After a roll of negative film has been exposed it is sent to the studio dark room for development. Every precaution is taken, of course, that no ray of light other than that which comes from the ruby lamp shall enter this room where films representing hundreds, and perhaps thousands, of dollars are being developed. The actual process for developing is no different from that used in developing other films, but the difficulties in handling a delicate snakelike, strip some 300 or 400 feet long and 1-3/8 inches wide are tremendous. All amateur photographers appreciate the difficulties of developing in one string a roll of twelve films of a reasonable size, but think of handling a roll of film several hundred feet long no wider than a ribbon, and holding sixteen pictures to each foot of surface! The difficulties of scratching, tangling, etc., were overcome by systematizing the process. In some cinematograph dark rooms the films are wound on racks about four by five feet, and then plunged into the various baths, which are in vertical tanks of convenient size. In yet other dark rooms the films are wound upon drums about four feet in diameter and revolved in horizontal tanks, only the lower part being immersed. The only difference is that the racks can be manipulated easier than the drums. While in the motion-picture dark room the boy visitor asked the photographer in charge whether an amateur could step in and develop a few hundred feet of film granted that he had the necessary materials. "Of course he could," came a cheerful voice from the darkness. "It's just the same as developing a roll of ordinary films, only we do more in a bunch than the amateur. If you'll step over here and watch this reel that we are now putting into the developing bath you'll see that it does just the same as the single film developed in the amateur's dark room." After watching this trained photographer and his assistant for a few minutes, however, the newcomer decided that it was not an amateur's job, but rather one of the most delicate operations in all cinematography, for the developer can remedy many faults of exposure by bringing out an under-exposed film or toning down an over-exposed one. Leaving the dark room the next stage of the negative is the drying room, where the film still on the rack is hung up to dry. This drying is a very difficult process because there is great danger of the film either becoming too brittle and cracking or of its being not hard enough. The air in the drying room has to be kept at a certain even temperature and it must be filtered so that no dust or impurity can injure the film.