In an article in the Motion Picture World of February 24, 1923, the Denver Department of Safety requested to be enlightened "on the maximum speed at which motion picture film may be projected?" The article appeared in Mr. F.H. Richardson's department. Some of Mr. Richardson's answers to the questions asked I found very amusing; for instance:
"A. [By Mr. Richardson] There is, and in the very nature of things can be, no such thing as a 'standard camera speed.' This is for the reason that light intensity varies enormously, and especially when out on 'location,' with an expensive company and an enormous overhead expense, the cameraman will, under adverse light conditions, use as large a lens opening as is practicable and slow down as much as he can, in order to obtain sufficient exposure. Conversely, when the light is strong the tendency is to speed up. This is something which will in all human probability be entirely overcome."
"These estimates do not, however, vary widely and in my opinion what we may call the ordinary or average camera speed is about eighty (80) feet of film per minute. Some estimate it as high as ninety (90) feet, while others put it as low as seventy."
Mr. Richardson concludes by stating that "in my judgment eighty feet will hit pretty close."
Suggests Visit
Really the above answers are so ridiculous and show such appalling ignorance that I would suggest that Mr. Richardson visit some studio where I'm sure that any assistant to a cameraman would explain to him that under all conditions of light slowing down of camera speed would result in increase in the speed of all objects acting normally before the camera and that speeding up of the camera would result in slowing down all normally moving objects before the camera, as long as the projectionist kept his machine operating at the proper speed, i.e., about 65 feet a minute.
Does Not Recall Instance
I do not recall a single instance of slowing down on my crank to obtain sufficient exposure, or speeding up to decrease exposure. Our lenses are fast enough to get an exposure in almost any light on an exterior, so is the negative stock we use.
In order to enlighten Mr. Richardson I should like to say that in strong sunlight it is not necessary to overcrank to keep from over-exposing, for the reason that all the cameras used in studio work have adjustable shutters, and that all lenses have diaphragms for regulating exposure, and that the speed of the crank is not being used to control exposure.
The average camera speed is two turns per second, or one foot of film per second. There are approximately 16 images per foot, and the above speed is used invariably, and projection should be at this speed except in scenes where the tempo of the action requires speeding up of the objects, as, for example, in a fight scene. "Average" speed in this case would be too slow. In comedy various speeds are used from normal to stop motion, in order to obtain desired effects. Of course if a projectionist speeds up to 100, where the scene was shot at 60, in order to get through with the show, no human eye will be able to stand the strain of watching objects moving at that speed. It will ruin every effort made by the producer, director and staff to put their best efforts before the public.
Likewise when the projection operator allows down to 40 or so and uses a rubber band to keep his fire shutter from dropping, he or the manager ought to be hung.
Day's Work Projected
I wish further to inform Mr. Richardson that the day's work in each and every studio is projected by experienced operators, on the most modern projectors, where a speed indicator is used to indicate to the director the projection speed, which to set at about 65 to 72, and if a scene shows the wrong speed it is retaken.
I had occasion to ask Mr. Rex Ingram for his opinion as to the proper speed of projection. Mr. Ingram stated that he is very careful in viewing his "rushes" to obtain perfect speed. He firmly stated that in his opinion 100 feet per minute would absolutely ruin any products and that the projectionist should watch the tempo of the action of the story.
Mr. Richardson further states that occasionally there is a scene in which camera speed is in excess of 84.
"The cameraman who does this," Mr. Richardson states, "should be soundly spanked and sent to bed on bread and water."
I should be very much interested to know how Mr. Richardson derives at what speed the film was shot I should not be a bit surprised if Mr. Richardson is not accustomed to our modern methods of fast cutting and mistakes such cutting for camera speed!
Fast projection as well as too slow projection will ruin any film. Particularly nowadays, when projecting machines are motor-equipped and race 1000 feet through at an express speed, there are still a number of managers who take advantage of high speed to accommodate the crowds. The fact that projection speed of this kind will eventually ruin their business never enters their minds.
I remember running 1000 feet in 12 minutes in the old days of hand cranking at the eight o'clock show, and in the afternoon I used to project the same reel so slow that it took Maurice Costello ages to cross the set. Those were my manager's orders. I don't doubt a bit that the above conditions still exist in some towns, and that the producers give them little thought.
Victor Milner, "Speed Of Projection," The American Cinematographer, July 1923, page 6.
© 1998, David Pierce, on editing and revisions (if any)
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