sheets stood out from the periphery of a rotating drum, and flipped into view in succession. Lumière genres Lumière cameramen were trained to shoot in a specific type of framing and to be alert for certain kinds of action. Louis Lumière personally approved every subject released and rejected about 500 films made for the company that did not meet his standards. They were consciously building a document of the world around them in 50-second shots, and Lumière cameramen had the greatest reach worldwide of any motion picture company in the business, filming in Asia, Africa and other hard-to-reach places. They were careful to preserve and properly store their films, and all but 18 of the 1,423 films they made have survived. When the Lumière films as a whole were submitted to the "Memory of the World" register at UNESCO, they were subdivided into the following categories: Military events Everyday scenes Official events Fiction (comic or historical) Circus or music-hall entertainment The Lumière family The first three descriptors nearly encompass the whole of the subject matter represented in actuality films, to which may be added "news events", though these were relatively rare, as it was difficult for any motion picture cameraman to make it, with his equipment, to an actual news event in a timely fashion, leading to the inception of event reconstructions. Nevertheless, both Vitagraph and Biograph released subjects filmed in Galveston after the hurricane of 1900; the aftermath of the San Francisco Earthquake was likewise filmed by at least three companies. The Lumières never shared their camera system—with its 35mm film and round perforations—with anyone. But Pathé did begin to market its smaller, lighter camera to cinematographers around 1903, and even some cameramen employed by Edison and Biograph began to use them in defiance to the patent cameras owned by the companies that employed them. Biograph relented in 1903, discontinuing use of 68mm and adopting the increasingly universal 35mm format at this time. The significance of this was that it then became easier for film-makers to record actuality films generally, though the genre's popularity decreased significantly soon after this. Traveling actualities A special kind of actuality film is the traveling actuality, in which a camera is placed on a kind of conveyance—such as a bus, or rail car—so that the scene can change by virtue of the movement of the vehicle which is transporting the camera. These films were