American cinematographer (Jan-Dec 1963)

16MM CAMERA FILMS EASTMAN PLUS-X PANCHROMATIC NEGATIVE NO. 7231 A high speed, fine-grain negative, well-suited to general interior photography and to exterior photography under average lighting conditions. ASA INDEX DAY: 80 TUNG: 64 TRI-X PANCHROMATIC NEGATIVE NO. 7233 An extremely high speed negative of medium graininess, particularly suitable for newsreel work and for exterior and interior photography under adverse lighting conditions. Also useful where it is desired to obtain great depth of field without an increase in illumination. ASA INDEX DAY: 320 TUNG: 250 DOUBLE-X PANCHROMATIC NEGATIVE NO. 7222 A high speed negative material for both inter¬ ior and exterior photography with improved speed-granularity ratio. Ideal where set lighting economy is important and greater depth of field desired without increasing illumination. ASA INDEX DAY: 250 TUNG: 200 BACKGROUND-X PANCHROMATIC NEGATIVE NO. 7230 A fine grain, medium speed negative for making prints for background projection. It is also suitable for general exterior photography. ASA INDEX DAY: 40 TUNG: 32 PLUS-X REVERSAL NO. 7276 A high speed film suitable for general exterior photography and for indoor work where ample artificial light is available. Also useful for TV film production. When processed as a reversal, it yields good contrast and low graininess. (May also be used as a negative material with some sacrifice in speed.) ASA INDEX DAY: 50 TUNG: 40 TRI-X REVERSAL NO. 7278 A high speed film suitable for general photog¬ raphy indoors with artificial light. Ideal for TV film production and for recording news and sporting events under adverse artificial lighting. Otherwise same characteristics as Plus-X Re¬ versal. ASA INDEX DAY: 200 TUNG: 160 EKTACHROME COMMERCIAL FILM NO. 7255 A camera material designed to provide a lowcontrast original for making color release prints. Not intended for projection. Balanced for 3200r'K tungsten illumination. ASA INDEX DAY: 16* TUNG: 25 * With Kodak Wratten Ffilter No. 85. EKTACHROME ER FILM NO. 7257 (Daylight Type) A high speed reversal camera film designed for daylight use where illumination levels are very low or for high speed photography beyond capa¬ bilities of the slower color reversal films. Not recommended for use with tungsten light sources. When processed is suitable for direct projection or making of color prints. ASA INDEX DAY: 160 TUNG: (See note below) *Can be used with tungsten light but with severe loss of speed induced by filters that must be used. EKTACHROME ER FILM, TYPE B, NO. 7258 A high speed reversal camera film for use in adverse light conditions. When reversal-proc¬ essed may be used for direct projection or for making color prints. ASA INDEX DAY: 80* TUNG: 125** * With EK Wratten filter 85B.. “With 3200°K illumination. 710 DUPONT TYPE 131 A CRONAR NEGATIVE A high speed panchromatic negative suitable for high-temperature, ultra-rapid processing. May also be reversal processed for maximum picture speed and very rapid processing. ASA INDEXES: Negative Reversal DAY: . 80 160 TUNG: . 64 125 TYPE 136A CRONAR FINE GRAIN “SUPERIOR” 2 NEGATIVE An all-purpose panchromatic negative for both exterior and interior photography. Combines very fine grain, medium speed and wide latitude. ASA INDEX DAY: 125 TUNG: 100 TYPE 140A CRONAR HIGH CONTRAST FINE GRAIN NEiiAllVE A high contrast, tine grain negative which pro¬ duces maximum contrast when low brightness dii f erence exists between object and back¬ ground. Is particularly suited tor photographing missiles, aircraft and other targets against a sky background. As A INUtX DAY: 250 TYPE 914A PANCHROMATIC NEGATIVE A Tine grain negative film with wide latitude for interior and exxerior work. It may also be re¬ versal-processed with excellent results. ASA INDEXES: Negative Reversal DAY: . 32 50 TUNG: . 25 32 TYPE 928A "SUPERIOR” 4 PANCHROMATIC NEGATIVE A high speed panchromatic negative with medi¬ um gram and great latitude, designed for use under low light levels. ASA INDEX DAY: 320 TUNG: 250 TYPE 936A FINE GRAIN “SUPERIOR” 2 NEGATIVE An all-purpose panchromatic negative for both interior and exterior motion picture photography. ASA INDEX DAY: 125 TUNG: 100 TYPE 937A “SUPERIOR” 3 PANCHROMATIC NEGATIVE A high-speed panchromatic negative with medi¬ um grain and great latitude tor use in adverse light conditions or low key interiors. AoA INDEX DAY: 250 TUNG: 200 TYPE 930A RAPID REVERSAL PAN A medium speed, tine grain panchromatic re¬ versal film formulated tor rapid reversal proc¬ essing in the same solutions and at the same rate as Type 931A (see below). When properly processed, gives optimum pictorial and single¬ system sound results for professional television and motion picture production. May also be used as negative. ASA INDEXES: As Reversal As Negative DAY: . 64 32 TUNG: . 50 25 TYPE 931A HIGH SPEED RAPID REVERSAL PAN A high-speed, panchromatic reversal film de¬ signed to give a combination of highest picture speed and rapid processing characteristics. When properly processed gives optimum pictor¬ ial and single-system sound results for profes sional television and motion picture production. May also be used as a negative. ASA INDEXES: As Reversal As Negative DAY: . . . 160 80 TUNG: . 125 64 Continued on Page 712 SH001 16mm Today is big business. The nar¬ row gauge, “sub-standard’’ film that gave home movies its big start in the mid-twenties has come of age. Today, the consumption of 16mm film for pro¬ fessional use now exceeds that of 35mm and is growing at the rate of about 15% per year. Where does it go? Television, as might be expected, accounts for a sub¬ stantial slice of the total. Then there is the burgeoning production of 16mm industrial, training, religious, educa¬ tional, and collegiate sports films. As one 16mm cameraman remarked re¬ cently, “Just the daily film require¬ ments of all the 16mm Arriflex cameras in use in the U.S. would tax a single film supplier to capacity.’ The ascendency to prominence of 16mm has had its impact on the na¬ tion’s film laboratories, too, bringing wth it a host of problems that stem mainly from too little knowledge on the part of 16mm cameramen of the film stocks available to them. With the bulk of our annual film production being shot and printed on 16mm, it is important that camera¬ men know 16mm’s individual charac¬ teristics and be reasonably acquainted with the range of 16mm camera films presently available. (For convenient reference, these films together with pertinent data, are listed in adjoining columns on this page.) The importance of 16mm in pro¬ fessional film production today was pointed up in a recent issue of Rewind, monthly publication of General Film Laboratories, Hollywood, which em¬ phasized that users should “Shoot 16mm as 16mm . . . not as a cut-down version of 35mm.” The 16mm films of 1923 and the years directly following, the Rewind article points out, were manufactured for the amateur market. They were “amateur films.” However, film tech¬ nology has greatly improved the 16mm film over the past ten to twenty years. “In addition, other factors have been instrumental in up-grading the entire 16mm area. The first 16mm equip¬ ment, for the greater part, was mass AMERICAN CINEMATOGRAPHER, DECEMBER, 1963