In his seminal studies of Shakespeare on film—one appearing in an earlier number of this publication—Robert Hamilton Ball traced Beerbohm Tree's involvement with four film projects that spanned his twenty-year career (1897–1917) at His Majesty's Theatre: the opening shipwreck from his 1904 revival of The Tempest, captured on film at His Majesty's in 1905 by Charles Urban; a five-scene version of Henry VIII based on his 1910 production featuring him as Cardinal Wolsey and filmed in February 1911 at William Barker's Ealing studio; a 1916 Macbeth, bearing no direct resemblance to his 1911 stage version, filmed in California by D.W. Griffith with Tree playing the title role; and, though allegedly not as extensive as the others but certainly the most important historically, a brief segment from his King John revival filmed in 1899 on the Adelphi embankment—Tree's initial cinematographic venture and the very first record of Shakespeare on film. Although little is known about the exact nature of these films because the primary sources—the films themselves—are lost, Ball, working from the knowledge that the films were, in the main, transcriptions of either the stage revivals or Tree's roles, reconstructed their contents by culling mostly from theatrical documents such as reviews and programs and augmenting these with rare descriptions or photographs from the films whenever available.