American cinematographer (Jan-Dec 1963)

constantly adds new products to its roster of depend¬ able equipment to serve the changing needs of the Motion Picture, Television and Photo Instrumentation industries. Rewinders — Power, Conventional 70 mm Viewer for Type I Film Sound Readers Editing Tables Sound Reader for Video Tape Library Reader for 16 mm Sound Film Write for free literature — specify items that interest you. Technical Questions and Answers QWhen negative film is used in the production of single-system optical sound films for television, and the image is changed electronically to posi¬ tive in the course of TV transmission, fast, films such as I ri-X or DuPont 928 are utilized, and a variable density gal¬ vanometer used in the camera. What effect does the grain pattern of these fast films have on the sound reproduc¬ tion ? And what would happen to the sound track if it became necessary to over-develop the film to gain a suitably dense picture negative? — J.A.S. A. Apparently it is your intention to play the single-system negative on the TV film reproducer. The track must then be considered as a “direct positive” recording and, to avoid seri¬ ous distortion, must he exposed very low with a resulting unbiased density of approximately 0.4. The noise reduc¬ tion operation must be reversed — that is, greatest exposure while there is low sound level. To answer your specific questions: 1 ) The grain pattern from negative type stock is very detrimental to sound, resulting in a pronounced “hiss” dur¬ ing low-level sound passages. 2) Over¬ developing the single-system recording raises the gamma (contrast) on picture and sound together. However, in the case of “direct-positive” recording, the higher gamma is beneficial rather than detrimental. This is true for both vari¬ able area and variable density types of recording. Q* In order to provide fill light, for a large area outdoors, I understand that several sunlight reflectors are often used together. 1 have observed that most cinematographers achieve very evenly lighted scenes with reflectors, even to the extent of controlling the sun-to-fill ratio (3:1). It would seem impossible from a time standpoint alone to individually place the various re¬ flectors and measure the light. Hoiv is this uniformity achieved and the cor¬ rect ratio maintained without unduly delaying production? — V.S. A.— -The placement of sunlight re¬ flectors is always controlled by the po¬ sition of the sun in conjunction with the angle of the shot that is being made. Large areas are “filled” by using a number of reflectors — sometimes a dozen are used. But with enough grips on hand to constantly change the po¬ sition of the reflectors, the desired re¬ sult is accomplished. Cinematographers never measure the light from reflectors to determine a light value ratio. This is accomplished through experience and judgment — judging the balance by sight. Also, a great many shots are “filled” with booster lights, instead of with reflected light, especially closeups and medium shots. Q. 1 am planning to make a pic¬ ture with Ektachrome commercial film, using a Cine Special camera with Ektar lenses and also an Arriflex 16 with Schneider lenses. Test footage shot with both cameras show scenes made with the Schneider lenses are considerably “ bluer than those made with the Ektars. Can such differences be corrected in the printing? — E.P. A. It is suggested that the lenses be corrected so their respective results will match. If this is not possible, use of compensating filters on the lenses is suggested. Keep in mind that most film labora¬ tories offer scene-to-scene correction in color film printing. Q* When using ordinary 150-watt lamps with Colortran equipment and setting the converter to 3400° K, must 1 use a filter with daylight-type Kodachrome film? If I use Type A Kodachrome, should I set the converter to 3200° K? — A.L.L. A. It is necessary to use a Kodak ^ ratten 80B filter over the camera lens when exposing daylight Kodachrome to 3400° K illuminant. This film-filter combination is suggested for emergency use only, since it is ineffi¬ cient in use of available exposure illu¬ mination. It is recommended that Type A Kodachrome be exposed with 3400° K illumination without a filter. For 3200° K illumination, a Kodak light¬ balancing filter No. 82A is required for this film. AMERICAN CINEMATOGRAPHER, JUNE, 1963