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6
The Joitrnal of the Association of Cine-Technicians
May, u)3
New Diflfusion Filters
Some Technical Data from Hollywood
At the A.C.T. recent film showing in the Pathe Theatre, of the Columbia Picture "No Greater Glory," the photographic excellence of the work by that A.S.C. crack, Joseph August, was loudly commented on during the technical debate that followed.
Mr. Percy Strong (A.C.T.) , the well-known Lighting expert, remarked that August had no doubt used a Scheibe diffusing screen to procure such pleasing and level photography.
Some details of these filters, which have been obtained by the Journal, may interest our cameramen readers.
These filters are made of slightly mottled gelatine, mounted between optical flats. The gelatine is slightly blue in colour, cutting out the top of the red end of the spectrum.
Using these screens with modern high-speed anastigmat lenses enables the cameraman to produce a beautifully softened or diffused image without sacrificing the speed or correction of the lens.
These screens are made in the following strengths :
and yrV extremely mild diffusion.
to be used for distant views.
1
1 and JJ delicate diffusion. \ slight diffusion. No. 1 — Medium effect. No. 2No. 3
-For moderate close-up. -For extreme close-up.
These filters can be used in combination with any other light filter and are also suitable for the making of projection prints from sharp negatives.
The Agent for Scheibe in this country is Vinten.
"Through the Ground Glass"
[Continued from page 5)
impossible to know if a story can be effectively told in pictures until the attempt has been made. Where the film scores is in its abihty to make a street, a house, or even a country the chief actor as no stage play can.
The most essential aim of the cameraman sliould be to maintain evenness of quality. Nothing is more disturbing than to see distinct jumps in the quality of the photography from shot to shot. One shot may be really brilliant, but if it is followed by one of lesser quality, the grading is immediately reduced. The good shot loses its own value and at the same time the inferiority of the weaker shot is stressed.
I think it will be some time before colour photography completely replaces black and white. There must be radical changes in its presentation before people can sit three hours in a dark cinema looking at coloured pictures without discomfort.
In conclusion, may I advise film producers to spend a not inconsiderable part of their leisure in the cheap scats of suburban cinemas. They will learn much !
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