THE PICTURE WORLD

Evening Post, Volume XCIII, Issue 48, 24 February 1917, Page 11

THE PICTURE WORLD

IMPROVED METHODS,

It has been objected that the picture screen is a plane surface -without true perspective, and so Lt wa6 formerly to a very great extent. After much experimenting, however, by the use of the stereoscope screen perspectives need no longer be flat. The basis of the new process for which patents have been taken out is the old parlour stereoscope through which one could look at two apparently identical flat pictures t and see them merged into one in which everything stood out rounded. The stage has a black drop, with a single perspective painted upon it, this standing in violent contrast to the double perspective of the foreground. The simplicity of the process is its cardinal advantage. A perfect stereoscopic effect jr produced, the figures appear rounded as in life, and a single film is employed, which can be run through any projecting machine without a speoial attachment. Colour kinematography has not been commercially successful. The two most successful systems have so far been Pathecolour and Kinemacolour. The former was a mechanical process in which stencilling was , employed with very charming effects. Kinemacolour, on the other hand, is natural colour photography, and here also very beautiful pictures resulted. The trouble, however, was that neutral tints could not be produced, whilst the ordinary projecting machine could also not be employed. The film again ra-n through the machine at such a great speed that where in ordinary kinematography 1000 ft of film were projected in 15 minutes, double the footage of Kinemacolour film was required (to hold the screen for the same length of time. Hence double the expense of film in addition to the greatly increased cost of projection. The general principle of Kinemacolour was that colour sensation was produced by persistency of vision with two mixtures of hues . and some blue rays from the white rays of the projector. Some of the most notable Kinemacolour successes were the Durbar pictures, the brilliant hues' of the uniforms being specially suitable to reproduction by this natural colour process of photography. „ :

Edison is stated to have perfected' a film in which each picture is actually in full and correct colour. He claims that his invention will prove commercially successful, and he has already done.so much to perfect cinematograph processes that there is every reason for assuming that any claims he may make will be substantiated. Much will depend upon the process not necessitating special projecting apparatus. Correct colour •at every moment is impossible on the ordinary stage; if Edison's new invention possesses this accuracy it will be the greatest advance yet made in cinematography. Scenery is no longer painted for pictures in prevailing tones of blue and brown, but in full real colouring. Costumes, also are cinematographed in natural hues. Lighting has also made great progress- Focussing overhead lamps has made it • possible to cinematograph a scene with correct shadows from a table lamp. Large shadows instead of being discouraged, as was formerly the case, are now encouraged for their artistic effect. The effect of the spot-light in picking one particular character out of the scene lias been secured by the use of a transparent iris before the camera lens, making just,one figure bright.

The educational service that the film is rendering grows every day mpro.remarkable. The opportunities seem limit-: less. Nature study and travel are commonplace subjects for the screen. But it is decidedly stimulating to the imagination to learn that hi America a film company has been formed to produce motion pictures with scenarios taken straight out of the Bible with the intention of supplying .churches and religious societies. One of the several companies to be engaged will stage a stupendous religions spectacle similar to that, of the Passion Play at Oberammergau. Mr.. I/. Lorrimore, who is visiting Australia .in connection with the Famous Players and Lasky Films, one of the most important film corporations in the United States, brings news of important developments in kaleidoscopic projection. The screen is understood to play an important part in the .new process, which, if it bears out all that is claimed for it, will mean an innovation in picture projection. Miss Olga Petrova, the well-known and very popular Metro star, has enlisted under the Lasky banner, and will commence work at this firm's studio on Ist March. The new pictures may be expected out this way about July. One of the most popular pictures in the United States at present is "Joan the Woman," with Miss Geraldine Farrar in the leading part. The plot is based upon tho exploits and martyrdom of "Joan of Arc," all this being portrayed in a vision appearing to men in the trenches and inciting them to noble deeds.

Miss Mac Marsh, who became a screen favourite over-night (she was an extra girl one day and a star the next), figures prominently in a fire that is part of the new Triangle picture' "Hoodoo Ann." It proved an occasion even more thrilling for Miss Marsh than it will be for the andiences, for her enthusiasm carried hex into real danger not intended by the director, and she emerged with, severe burns and with her hair singed. In the rols of an orphan waif she bas to rush into a burning structure and rescue a little girl. A building was burnt down for purposes of the picture. Publicity was lately given in the New York press to the ever-growing popularity of moving pictures, brought about by the decision of the Supreme Court closing picture houses on Sundays in. New York State. The result of the judgment was that the New York Herald was literally flooded with protests against Sunday closing, and it is in connection with this matter that attention has been directed to the growth of moving-picture audiences. There are stated to be in New York City alone approximately 1000 picture theatres, with a total seating capacity of 575,000. The daily attendance is estimated at 1,250,000, whilst the average Sunday attendance is set down at 1,600,000, or more than 25 per cent, of the total population of Greater New York. On the last public, holiday—Australia- Day— it is estimated that more than 100,000 people visited the various picture theatres in Melbourne and suburbs (says the Melbourne Argus). The average Saturday night attendance at these theatres is reported to be approximately 70,000. There are some 800 picture theatres throughout Australia, and, curiously enough, taking the population of the Commonwealth and comparing it with Greater New York, we have the same number of picture theatres in Australia in proportion to population as there are in the great American city. In New York, however, the proportion of picture theatres seating relatively small audiences is much greater than in Australia. Out of the 1000 picture theatres in New York there'are 514 seating 600 or less. This description of theatre ia entirely absent).in Australia, where a theatre seating under 1000 people is an exception.