LEADING ARTICLES. 



497 



lation, are but a few of the films Mr. 

 Brewer describes. Of trick films there 

 are no end. The easiest device is to 

 shows a film backwards. This unbuilds 

 buildings, shows boys diving from the 

 water feet first and landing on to a 

 spring-board above, and the operator 

 could no doubt illustrate the possibility 

 of " unscrambling eggs." 



The photo, play has, of course, been 

 undoubtedly successful, and the perfec- 

 tion of an instrument which will link up 

 the phonograph accurately with the pic- 

 tures will no doubt finally drive the 

 small touring company out of business. 



Mr. Brewer gives a lucid description 

 of the method of taking coloured mov- 

 ing pictures. In former days films were 

 coloured by hand. 



We have had hand-coloured films, but 

 these have required extraordinary patience 

 on the part of the colourist, who had to treat 

 each of the sixteen thousand pictures one at 

 a time. Excessive care was also necessary, as 

 an overlap of a thirty-second part of an inch 

 would show the colour many inches out of 

 place when the picture was shown 

 enlarged on the screen. The work 

 is so tedious that the capacity of the colour- 

 ist is said to be limited to about thirty-five 

 feet of film per day ; the cost is thus made 

 excessive. And the market needs, which fre- 

 quently require two hundred reproductions of 

 a reel, render the hand-coloured film com- 

 mercially impracticable 



The machine, which now produces 

 beautiful colour pictures is called the 



' Kinemacolour," and is the invention of 

 a London photographer and Mr Charles 

 Urban. 



The machine differs from the ordinary 

 cinematograph in several important particu- 

 lars. The most noticeable difference is a 

 rapidly-driven, revolving skeleton fraim- 

 known as a colour-filter, which is located 

 between the lens and the shutter. This 

 colour-filter is made up of different sections 

 of specially prepared gelatin, two sections of 

 which are coloured, one red, and the other 

 green. The filter-screen is revolved while 

 the pictures are taken, as well as when they 

 are reproduced, being so geared that the red 

 section of the filter appears in line with the 

 lens for one photograph, and the green sec- 

 tion for the next. 



The photographs are all in pairs, and twice 

 the number of pictures are taken and repro- 

 duced as in the ordinary machine, and the 

 speed is also twice as great, the kinemacolour 

 taking and reproducing thirty-two — and 

 sometimes as many as fifty-five — per second, 

 and the ordinary machine sixteen. Inciden- 

 tally, to care for the greater speed the kine- 

 macolour machine is also driven by a motor 

 instead of by the ordinary hand-crank. 



When a negative is produced through the 

 red screen, red light is chiefly transmitted, 

 and red-coloured objects in the original will 

 appear transparent on the copy produced 

 from the negative. Where the next section 

 of negative has moved into place the green 

 section of the filter has come into position, 

 and the red-coloured objects on this part of 

 the negative will appear dark. When the 

 pictures are thrown on a screen, the trans- 

 parent parts allow the colours of the filter 

 to pass through, and the revolutions of the 

 filter are arranged for showing the appro- 

 priate colour for every picture. 



TENNIS PLAYING WITH ONE'S HEAD. 



Mr. Raymond D. Little, one of 

 America's foremost champions, contri- 

 butes an article to the Outing Magazine 

 on " Quick Thinking in Tennis." 



Being himself an expert exponent of 

 the " heady " style of game, Mr. Little 

 is well qualified to write on this sub- 

 ject. In his opinion, headwork in tennis 

 means not only playing your own game, 

 but to some extent the other fellow's 

 also ; that is, trying to figure out what 

 your opponent will probably do and 

 acting accordingly— playing both sides 

 of the net, as it were. 



The tennis player must have an alert 

 mind in order to reach the top. An in- 

 stant's quick thought may in many 

 cases change the outcome of a game or 



an entire match. The very small margin 

 of "points" that may be noticed m 

 man}' matches, between the scores of the 

 winner and the loser, shows the import- 

 ance of using strategy to win every pos- 

 sible point. Mr. Little does not wish 

 to make it appear that tennis is " a game 

 of the fox," but the important fact to 

 remember is that every point begets 

 another point. 



The quick play of the mind is illus- 

 trated in the manoeuvre of the " fake 

 opening." In one such case a player, 

 having a large part of his court exposed, 

 had unluckily volleyed weakly to his 

 opponent, who therefore had a splendid 

 chance for a sure shot. Most players 

 caught in tin- way would have given 



