IN NATURAL COLOURS,

Evening Post, Volume LXXVII, Issue 111, 12 May 1909, Page 4

IN NATURAL COLOURS,

CINEMATOGRAPH PICTURES. The chromostereocinematograph is the short title of a new invention, which is destined to revolutionise the living picture entertainment. It will reveal the whole scene in its natural colours, where now there is either a monotint or artificial hues not wholly satisfactory, and where now the picture is flat, it will, by a stereoscopic device, make, the moving figures appear as they do in real life. It means the perfection of the picture as a representation of real life. The invention is not so complicated as the name would seem to imply. It is based on the thiee-colour process of photography, but is a singularly ingenious adaptation of that method to animated life. In the taking of photographs in natural colours, three negatives are taken through violet, red, and green screens respectively. These are reproduced on the screen, superimposed over one another, with their respective I colour plates. If this system were directly applied, without adaptation, to animated photography, it would entail a film three times as long as the present films, taken at about three times the speed. The inventor overcomes the difficulty by the use of the stereoscopic camera, I with double lenses. Over each of these films pass, at the same speed, but so exposed by the revolving shutter, that pictures are taken alternately, instead of simultaneously. In front of the films, between them and the lenses, pass at the same speed, and in actual conjunction, similar strips of celluloid, coloured violet, and red, and green, in patches the size of a cinematograph picture,, about three-quarters of an inch square. These colour bands are so ari ranged that red, say, on the left rim is followed by green on the right, by violet on the left, by red on the right, and so on, so that a succession of moving pictures at the usual rate is taken through red, green, and violet colourscreens in proper order. The pictures are developed in the ordinary way, and with their colour bands are ruled up on the lantern machine for' projection on the screen. The films are unwound in the same order and with the same colours as they had when they were taken by the camera. The whole mechanism, - both of the camera and of the projecting lantern, is so keyed that the films, with their perforations, run in exact series, taking one complete picture and displaying it with all its natural colours on the screen. Both lenses of the camera" are adjusted to converge on the same scene, so that, there is no overlapping, and there is the same adjustment m th" process of projecting the pictures on the tcieen. The double lenses, of course, givo the stereoscopic effect of making all objects stand out iv their proper, natural salience. Tho different colours are perfectly blended to the human eye, as the pictures pass at the rate of sixteen per second. The inventor of the machine with the long name is Mr r Friese-Greene, to whom also goes the credit of the original invention of the cinematograph. A model, which he showed before the Photographic Congress of the United Kingdom at Chester in 1890, created a sensation and tave the commercial instinct of T. A. Idison a tip for. the marketing of the living pictures in a way that left him with the reputation or the inventor of the cinematograph. Mr. Friese-Greene for the past twenty years has devoted himself to the problem of colour photography, which he has so successfully solved. The machine will be before the public ere long.

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