The Cine Technician (1953-1956)

180 CINE TECHNICIAN December 1956 A Technician's Notebook COLOUR DELETION John Paddy Carstairs has sent in a note concerning an idea of his for the use of colour in films which he calls " Colour Deletion ". He writes: " The idea, briefly and in simple terms, is this: The deletion of one or two of the primary and basic colours in a colour negative. The deletion, retention and deletion again of basic colours. The deletion of one colour for certain sequences. The deletion of all but one of the basic colours. For example, say one has a dream sequence in a colour film: a deletion, a merger and a subsequent emphasis by the return of a dominant colour could be very effective. Suppose in a comedy a man dreams he is in Hell, that sequence could be shot with the greens and blues deleted, leaving a fiery red screen. Suppose there is a moonlight sequence in a drama, the deletion of the red and possibly the green, might make a pleasing effect. I have checked its plausibility with Mr. Frank Bush, of Technicolor, who has agreed that it is: (a) possible to do (b) interesting to do, and (c) his laboratory can handle the processing. I have no doubt Rank Laboratories are similarly qualified. The use of near monochrome in Moby Dick leads one to suppose that new colour ideas and colour tricks may well be the trend. It is submitted that this deletion may well be of interest to producers of colour films. This process can also be used effectively for musical sequences, still pictures and as an isolated sequence in a black-and-white film." While there cannot be said to be universal agreement at present as to what is the best aspect ratio for wide screen presentation, the British Standards Institution has given the matter careful study and guided by recommendations from the B.F.P.A. has issued a British Standard which gives some positive guidance, yet permits of latitude in the ratio chosen for presentation. The standard relates to the taking and projection of 35mm. By A. E. JEAKINS films by normal techniques, it dees not relate to techniques using anamorphic lenses nor to proprietary techniques. The principles followed are that all films, whether for presentation at the previous standard ratio (1:1.375) or for wide screen presentation should have the full format image; that films which are intended for wide screen presentation should have their optimum composition at a ratio of 1:1.75 but should permit of being shown at any ratio between 1:1.65 and 1:1.85; and that the head line shall be the same whatever the particular aspect ratio chosen for wide screen presentation. This latter is a most important feature, since it enables the film studio to compose scenes and subtitles with the confidence that essential matter will not be cropped in presentation, and it enables the projectionist to use a single racking position for all films. The subject of aspect ratios was discussed at a meeting of the International Organisation for Standardisation (I.S.O.) held in Stockholm last summer, to which the B.S.I, sent a delegation, and the agreement then reached with the other European countries as to the position of the head line is that which is now standardised in this new British Standard. The British Standard gives fully dimensional diagrams for the various aspect ratios, both for projector and camera, and also gives the appropriate dimensions and locations for the areas within which the lettering of titles, credit titles and inserts should be contained. Copies of this British Standard B.S. 2784, " Aspect ratios for 35mm. Motion Picture Film ", may be obtained from the British Standards Institution. 2 Park Street, London, W.l. Price 3/-. It is from the American Cinematographer that we get the following sidelights on the production set-up in Hollywood at the present time. Firstly, TV film production continues to provide the greatest field of employment for cinematographers with around forty-five cameramen directing the photography of sponsored TV films each week as against an average of thirty shooting feature films in or for the major studios. Secondly, of the twenty-eight features being filmed in Hollywood during the week of May 28, nine were in Cinemascope, seven in VistaVision, one in 65mm., and eleven in miscellaneous wide screen formats (viz., 1:85.1, etc.). The latest of the excellent Camera Guide Series published by the Focal Press has just been published; it deals with the GB-Bell and Howell 624 8mm. camera and is written by G. R. Sharp. Like its companion volumes in this series it is a straightforward, practical exposition of how this camera works and how to handle it to get the best results. Roughly a quarter of the book is given to a description of the 624, its controls and how to handle it. The other three-quarters is virtually a manual of ' shooting ' in 8mm. with specific reference where appropriate to the 624 camera. It has chapters on choice of film, exposure, focusing, filters, colour, indoor filming, editing and finishes up with a piece on titles and the simple effects that can be achieved with this type of apparatus. It is all very clear, written in plain English, and illustrated with those excellent diagrams one has come to expect in {Continued on page 189)