CHAPTER XVI

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.

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.

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.