THE MILITARY VALUE OF THE CINEMATOGRAPH
Among the many uses of the cinematograph, frivolous and useful, amusing
and instructive, perhaps none has proved so difficult or illusive as
the attempt to apply it to soldiering for the purpose of improving
marksmanship. The motion-picture had scarcely impressed itself upon the
public when the war departments of the various powers were flooded with
suggestions and patents for its employment in this sphere. Needless
to say the majority of these ideas were found to be impracticable,
and probably this is the reason why the animated target has not been
seriously taken up by military authorities.
Notwithstanding the many disabilities under which the cinematograph
labours, it is generally admitted that it has real practical value in
this field up to a certain point. It is able to induce the recruit
to aim quickly and surely, and this is to-day recognised as being
the governing consideration whether the range be point-blank or
long-distance.
One of the first practical developments in this direction was that
perfected by Messrs. Paterson and Musgrave. Their wide and diversified
experience of all that pertains to shooting and targets enabled them to
avoid the defects of the system, which to many experimenters were not
apparent owing to a lack of knowledge.
The apparatus and method of operation were very simple. The target
consisted of an endless roll of white paper which served as the
screen, and upon which the pictures were projected from a point near
the firing line. A self-recording system was incorporated whereby the
result of a shot was transmitted back to the firing line to inform the
marksman about the value of his hit. As the paper became perforated
under the fusillade it was rolled up. The most important feature of
this invention was the mechanism placed behind the screen, which
synchronised with the movements of the objects at which the marksman
aimed.
In cinematographic projection, however, the throw of the picture
cannot be extended beyond certain limits, that is, if a clear view
is to be presented to those seated farthest away from the screen. In
target practice this is a serious disadvantage. At a range of 200 feet
marksmanship would be almost impossible, owing to the indistinctness of
the image upon the white wall. At that distance one always receives
an impression of flicker. Why this should be so is not quite apparent,
though it is evidently governed by some law of optics. Suppose, for
instance, that a picture is being followed from a distance of 200
feet, and a straining of the eyes is experienced. This may be overcome
merely by looking at the screen through the reverse end of a pair of
field glasses. As is well known, this usually makes the object appear
to recede to a great distance, but when it is done in connection with
moving pictures it makes the images stand out more brilliantly and
distinctly, while they are far steadier, the flickering being almost
entirely eliminated. In fact, if one wishes to witness a projection to
the best advantage with the minimum of eye fatigue, this is the way to
do it.
It is obvious, under these circumstances, that the distance of the
marksman from the target is restricted somewhat severely. From 75 to
100 feet is considered to be the greatest distance from which shooting
can be practised to advantage. Since the modern automatic pistol will
carry about 80 yards, while the latest types of rifles have a range
of 1,000 yards or more, doubts may be raised as to the utility of the
cinematograph in marksmanship. In the Paterson-Musgrave invention an
ingenious attempt to overcome this disability was made by what might
be termed a "range compensation." This end was achieved by making
the figures of varying sizes, according to their distance from the
marksman, so that a target of varying size was presented. Thus in one
case the man would appear in the foreground of the picture and be of
relatively large size, corresponding to the target he would offer
at a distance of 100 yards. Then he would be shown somewhat smaller
to represent 500 yards, and so on, until at the higher distances he
offered a very small target indeed.
From the military point of view the incidents were made as exciting as
possible, and closely analogous to actual war conditions. As a case in
point, the man on the screen would be shown behind cover, and aiming
directly at the man on the firing line. His movements could easily be
followed. He would be seen to expose himself slightly to sight his
rifle and then to fire. The effect upon the marksman firing at the
target was thrilling in its apparent realism, because he unconsciously
developed the feeling that he had got to shoot first, and straight, or
he would be hit. The self-recording system enabled him to judge whether
he had got his shot well home, while the judge could decide whether the
marksman or the photographic enemy had fired first.
The judicious selection of subjects for portrayal upon the screen
undoubtedly served to develop a sense of smartness among the marksmen.
A decided improvement in quick-sighting or snap-shooting was obtained
together with a concentration upon the work in hand.
Projection was carried out upon purely automatic lines. The projector
was set working by a button control placed at the firing point, and
pressed by the marksman or his officer. The instructor or officer had
thus a complete control over the whole installation, and was in a
position to make sure that his instructions were being followed, as
well as being able to tell whether his men were quick in sighting.
Despite the many ingenious features incorporated in this idea, it does
not appear to have met with official approval.
There has recently been another invention, based upon a similar
idea. This is what is called the "Life Target," and it is ingenious,
practical, and well thought out, especially from the mechanical and
electrical points of view. The original idea was suggested by a
non-commissioned Irish officer who fought through the Boer war. His
suggestion in its crude form, however, was scarcely feasible, but there
were three other patents available, each of which had been designed
for a different purpose, and it was realised that a combination of the
four would enable a practicable cinematographic target to be produced.
Even then, innumerable experiments were required before perfection was
gained.
In this invention the salient feature is that when a shot is fired
at the screen the whole of the mechanism is stopped for a very brief
period, and the hit is indicated by a bright spot of light on the
target. Consequently the marksman is able to ascertain instantly the
effect of his shot, and has no need to remove his eye from the object
at which he has aimed. This is a distinct advantage, because the
marksman can keep his sight ready for the succeeding shot, which may be
fired instantly the mechanism resumes working. Directly the film begins
to move once more the previous shot represented by the illuminated spot
upon the target is extinguished.
The apparatus, as described, appears to be rather complicated, but
as a matter of fact its working is extremely simple. The projector
is mounted at a convenient place near the firing point, so that a
truly square picture is presented to the marksman. In front of the
firing line, and above the picture, is a very sensitive microphone or
telephone receiver. Connected with this is a delicate relay, which
really forms the heart of the mechanism.
When a shot is fired the report acts upon the microphone and upon the
relay in turn. Immediately a magnetic clutch, which is placed upon
the motor drive of the projector, is released, and a brake arrests the
movement of the projector mechanism. Thus, the passage of the film is
stopped in the gate, so that the picture remains stationary upon the
screen.
The screen itself consists of three separate sheets of specially
prepared thick paper. The front sheet is coiled upon a horizontal
roller which is mounted at the bottom. From this it is carried up and
over a second horizontal roller at the top of the screen space, and
then down again behind the front sheet, to be coiled upon a third
horizontal roller, mounted above the first one. As the lower front
roller can be moved or "fed" the paper is free to travel upwards over
the top roller, and down again to be wound upon the third roller.
Behind these two thicknesses of vertically travelling paper is mounted
a third sheet. This is coiled upon a vertical roller at one side,
passed across the back of the two front sheets, and coiled round a
second vertical roller on the opposite side. It is kept very taut, and
serves to hold the two sheets in front in close proximity. It is moved
by hand at intervals.
Behind the screen are a number of arc electric lights, or other
illuminants, out of the firing line. In this way the space behind the
screen is brilliantly lighted. As the paper remains stationary while
the projector is running, it follows that a shot must penetrate the
three thicknesses of paper, and the puncture is shown by the light from
behind coming through the shot-hole. Thus the marksman can see where
his shot has struck.
When the projecting mechanism has been stopped, and the result has
been read, the shot-hole has to be obliterated before the film is able
to resume its forward movement. This is accomplished automatically
as follows: The relay, while declutching the drive and applying the
brake, also sets in motion a plunger in a dash-pot. The time of the
vertical travel of this plunger is varied, but the mechanism remains
stationary, and the shot-hole visible, during its movement. When it has
reached the limit of its travel it establishes contacts which serve
to set the screen mechanism in motion. On the lower horizontal roller
carrying the supply of paper is a ratchet and pawl movement, actuated
by a solenoid. When the plunger connected with the relay closes the
screen mechanism circuit, the ratchet is moved, and the outer sheet of
paper moves upward one-eighth of an inch, while its return forming the
second sheet moves simultaneously and correspondingly downwards. The
displacement of these two vertically moving sheets disturbs the line of
holes caused by the shot, and through which the back light was shining,
so that the spot of light is extinguished, and an opaque screen is
presented. The inclusion of the third or back paper not only serves as
a stiffener, but also acts as a means of lessening the possibility of
a repeat, especially as it is moved gradually and at long intervals
in a transverse direction. The movement of the travelling surfaces of
paper is extremely small, approximately the diameter of a shot-hole,
so that the consumption of paper is very low. When the first roller
has been exhausted it is only necessary to replace it by the roller on
which the paper has been rewound, and the paper can be used over again.
The possibility of three old shot-holes coming once more into line
without a shot being fired is so extremely remote as not to be worth
consideration.
[Illustration: SOLDIERS FIRING AT THE "LIFE TARGET."
The picture on the screen is thrown from the projector at right, and
the picture is held stationary by the action of the report of the rifle
caught by the microphone (marked X) upon the lantern mechanism.]
[Illustration: FRONT VIEW OF THE "LIFE TARGET," SHOWING SCREEN
OPENING.]
From this it will be seen that the final stage in the cycle of
movements arising from the action of the rifle report upon the
microphone, and the relay, is the movement of the paper forming the
screen or target. The time during which the picture remains stationary
may be varied within certain limits, but normally it is about a couple
of seconds. When the paper has moved, obliterating the shot-hole, the
brake on the projector is released, the magnetic clutch re-engages, and
the film resumes its travel. The ingenious means adopted for stopping
and restarting the projector will be appreciated as a great feature of
the invention, and though the action may appear to be abrupt, no damage
whatever is inflicted upon the film.
One point about this apparatus deserves attention. In the ordinary
projector, if the celluloid film is stopped in the gate for a fraction
of a second, and is exposed to the light, it flares up instantly, owing
to the great heat emitted by the illuminant and the high inflammability
of the film. As it is necessary to allow the film to stand still upon
the screen in this case, after the shot has been fired, means had to
be found to keep it sufficiently cool to prevent combustion. This is
done by a radiator arranged around the condenser, which in itself is a
special kind of cooling tank.
Another noteworthy point is the way in which a still-life lantern
slide is thrown upon the screen when desired. The projector carries
two lenses, one for animation, and the other for still-life lantern
slide work. The ordinary way of bringing the latter into use is to
push the front part of the projector bodily sideways so as to bring
the second lens before the condenser and the light. The objection to
this method is that the rigidity of the projector is likely to be
disturbed, especially after a little wear, with the result that the
projection of the moving pictures is apt to become unsteady. In this
apparatus a mirror is placed in the lantern and set at an angle of 45
degrees. By this means the light can be diverted and thrown through the
lantern slide lens. Thus it is not only possible to throw a still-life
slide upon the screen at the instant when a moving-picture scene is
completed, but excellent dissolving effects can be obtained.
[Illustration: THE SCREEN MECHANISM OF THE "LIFE TARGET."
The movement of the rollers and paper forming the screen is made by
means of a solenoid operated by the lantern mechanism.]
[Illustration:
_By permission of the Motograph Co._
CINEMATOGRAPHING HEDGE-ROW LIFE UNDER DIFFICULTIES.
Mr. Frank Newman and his camera concealed in the scrub.]
The pictures are projected at the normal speed, but this may be
accelerated if necessary. Any films suited to the subject may be used,
hydroplanes, airships, birds, wild animals, and so forth, just as
successfully as the military films prepared specially for the work. In
fact any picture where movement is portrayed is equally applicable,
so that the marksman can become used to all sorts of conditions.
Experience has shown, however, that a picture projected at the normal
speed of sixteen per second is too rapid for the average man unless
the object was moving slowly when photographed. It has been proved
that practice with this target improves quick-sighting and so teaches
the art of snap-shooting which is said to be the essence of modern
marksmanship. After a little experience the marksman develops the
tendency to sight instantaneously as he lifts his weapon. For training
in revolver shooting, which is essentially short-range point-blank
work, it would be difficult to conceive a better system.
Even if considered as a mere diversion the life target has many
advantages. There is a sensational realism which is lacking in the
ordinary shooting gallery. The man at the firing point is occupying the
same relative position as that of the cinematographer when he filmed
the subject, and when, for instance, a tiger is springing directly out
of the picture, the man with the gun has just the same feeling as if
caught at close quarters in the jungle. He sights and fires quickly,
hoping to hit in a vital part, and the instantly appearing shot-hole
tells him how he would have fared had he been face to face with the
animal in its native haunts.
So far as military shooting is concerned the system has its
limitations. For the reasons explained the screen cannot be more
than 100 feet from the firing line. It is a pure point-blank range.
No allowances can be made for windage or trajectory. There is yet
another factor that controls the distance between the firing range line
and the screen, and that is that paper cannot be obtained in widths
exceeding 9 feet. A single width must form the screen, since no light
must be visible from it until it is perforated by a bullet. So there
is a strict limit to the size of the target. But it is possible to get
subjects life size, and nothing more is required.