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probable after many years devoted to the study of projection practice. The actual amount of damage may be either more or less. But that damage of considerable amount results to both film and projection machinery through over-speeding will be generally admitted by every one in the least conversant with projection practice I have no doubt. The main intent of this paper is to call attention to the matter in a way which will cause further investigation, rather than to quote exact values of damage actually done to film and machinery.
What Happens to the Music
Another efifect of over-speeding projection is to speed up the music, and thus very often ruin its artistic ef¥ect. This, however, acts, both ways, because as a matter of fact, unless there be very careful selection of music which will synchronize with projection, it may be found that the projection of some scenes at normal speed will act to slow down the music and thus injure, if not ruin its effect. In the foregoing we assume that there is a certain definite relation between tempo of music rendition and tempo of screen action, and that in most instances the two must agree unless one or the other is to suffer.
Injury to Screen Action '
But, after all, by far the greater damage due to over-speeding projection is found in the injury to the action of the photoplay itself. This one thing has, we venture the assertion, done more to render difficult the popularization of the photoplay as a high class form of theatrical entertainment than any or all other causes combined. It has tended to cheapen the photoplay and to prevent its drawing at high prices, except where some story of extraordinary power, supplemented by wonderful scenic effects, has offset the unnaturalness caused by high speed, or where the screen has been supplemented by added attraction.
The industry pays literally high sums to individuals to enact the principal roles in photodrama. This is by reason of the fact that these "stars" have established a "drawing power." In examining into what constitutes this drawing power we are certainly justified in assuming its main foundation to the ability to portray the character artistically. Who will dispute this? And if that be the fact, then does it not follow that their rendition could hardly be improved upon by so ordinary a person as a theatre manager or a projectionist, or even by the producer himself? That much is hardly subject to argument. It may be accepted as fact; and if it is fact, then it naturally follows that the artistic rendition for which huge sums were paid to the artist may only be reproduced on the screen when projection is at precisely the speed at which the camera "took" each individual scene. That, too, is fact, is it not? If the tempo of projection be speeded in any degree above speed of "taking," the effect, insofar as relates to moving objects on the screen, is altered, and the alteration is in exact proportion to the excess of projection speed over "taking" speed.
If the actor enacted a death-bed scene artistically, which was
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