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is attractive to a very large extent. I think, because it is the silent drama.
Stereoscopic motion pictures have been the subject of considerable thought and have been attained in several ways, as described in the October. 1919, transactions of this Society, but never yet have they been accomplished in a practical way. By practical, I mean, for example, without some device to wear over the eyes of the observer. It is generally conceded that its acceptable accomplishment would enhance the beauty of the motion picture.
^lotion pictures in natural color have been attained by several persons, one of the first to have wide public exploitation was that employed by Smith and Urban (Chas. Urban, one of our members). The him had color stencil frames alternating longitudinally of the film and which were projected respectively through red-yellow and green-blue tinters so that the film running through the machine at twice standard speed produced a composite screen picture in natural color and motion.
Gaumont in 1913 had a color scheme in which three rows of frames were arranged side by side on a wide film, each row being projected through its appropriate tint and, superimposed, produced a screen picture in natural color. With a synchronizing attachment sound was also added giving "talking motion pictures in natural color."
As each of these schemes required special apparatus difiiculty was experienced in exploiting these processes and they fell by the wayside.
The process which will succeed is that which fits standard machines without change. Such, for example, as that patented-^ by Arturo Hernandez and skillfully developed by one of our members, Mr. Kelley. This was demonstrated at our Philadelphia meeting and described in the transactions of November. 1918, and April, 1919. It consists, as you will remember, of a double coated film, the red-yellow frames being on one side and the blue-green frames on the other side of the film, each side tinted in its proper color throughout the length of the film. Such a natural color film can be run in the standard projector without change, and can, and often is, put into a split reel with monochrome film.
The suppression of flicker (and resultant headache) was the next problem to attract attention and the first mention I find is in 1900- and the description says that "the shutter rotates once in the interval between the movements of the film."-'^ But as more commonly practiced flicker is subdued by adding one or more blades rather than by rotating the shutter oftener.
In France the Pathe Brothers have a notable establishment in which the requisites for the entire motion picture process are
U. S. Patent 1.174,144.
-^British Patent No. 2283 of February 5. 1900. -•^ From Digest in U. S. Patent Office Library.
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