198 PICTURING MIRACLES 



ing turns at the stencil cutting on account of eye 

 strain and applying the color, could cut the stencils 

 and color a reel of pictures lasting eleven minutes 

 on the screen, in four months' time. This made the 

 cost prohibitive unless there was a market for at 

 least one hundred prints, but the ability to get as 

 many colors as the subject required made the result 

 well worth while. 



I have worked with several other methods. They 

 had nothing but grief. The perfect color process is 

 still a thing of the future. A three-color Technicolor 

 would give almost perfect results as far as color is 

 concerned, but the added cost of material and labor 

 would be very great. 



An attachment I made a year ago for the large 

 studio model Bell and Howell camera enabled me 

 to make most wonderful three-color separation nega- 

 tives, both microscopic and lapse-time, of flowers 

 in the 35 mm. size, but by the time those three nega- 

 tives were combined into one print the cost mounted 

 up to about $1,000 a reel, outside of my own work. 



The above refers to the standard 35 mm. film as 

 used in the theaters and it is only within the last year 

 that the narrow 16 mm. safety film has been consid- 

 ered anything but amateur equipment. But with the 

 introduction of the 1,000 watt and improved optical 

 systems in projectors, making it practical for theater 



