International projectionist (Jan 1963-June 1965)

context. I hese colors surest one mood or emotional state in one scene, and an entirely different emotional feeling in a scene of different character. It is a simple matter to draw up a list of colors — red. orange, yellow, etc.. and even include all the tints of these colors conceivablv useful to the motion-picture dramatist — but it is next to impossible to match them in an) systematic wav with a list of dramatic moods or generalized emotion-, such as the following one which contains tour positive and four negative emotional states arranged in graded order with a neutral midpoint I "indifference" i : Incitement i Passion I -) 1 ( ( Joy I Satisfaction i -) H h Contentment (Satisfaction) -j -j Iwpectation I Hopefulness I -| lndifference I Knnui I 0 Apprehension I Anxierj I — Fear I Aversion i Hatred i Aversion I Terror I Anguish i I his is win simplified color-mood charts of the kind drawn up l>\ William \. \\ ellman are necessarilv limited in scope and restricted in applicability. The Important "Jones Paper" The most complete and practical color guide for the producer contemplating the use of tinted release-print stock is contained in an old paper b\ Dr. Lloyd \. Jones, "Tinted Films for Sound Positives." published in the Transactions of the Society of Motion Picture Engineers, Vol. Mil. No. 37, l')2«). pp. 199-226. Following are excerpts from Dr. Jones' suggestions regarding appropriate application of the seventeen tintedbase 35-mm positive films manufactured 1>\ Eastman Kodak and verv widelv used until the advent of soundoii-film. I The light grav neutral-base film called '" \rgent" is omitted because of its lack of hue and incompatibility with the optical soundtrack.) These 35-year-old suggestions are revived here, not just to reopen memory lane to old-time motion-picture men. but because they are important enough, valid enough, to inspire later comers with the creative use of screen mood-coloring via the movies' neglected asset, tinted-base release-print film. # # • Tint \<>. 1. Nose Doree. A deep warm pink suggesting 3ensuousness and passion. Amorous, romantic, and exotic. It is adapted to the rendition of scenes representing an intimate atmosphere, such as a luxuriously appointed boudoir. In keeping also with feelings of happiness, joy. and excitement. 7 int No. 2, Peachbloiv. A delicate flesh-pink. This has a small but definite blue content, making it somewhat less warm than Afterglow. It is adapted to the rendition of close-ups where it is desired to do full justice to feminine beauty. The hue and saturation are such as to suggest the glow of life. Tint 1X0. 3, Afterglow. A soft rich orange color. It is probably the warmest color of the series. It is appropriate to exterior scenes at dawn and sunset. /The magenta-pink film called Caprice seems more appropriate for dawn scenes. (R.A.M.) It lends to interiors an atmosphere of warmth and intimacy stronger than Firelight. It should excite mood reactions in general connected with luxury, wealth, security, and relatively strong affections. It is also related to the autumnal mood by obvious direct association with the autumn colors of nature. By indirect International Projectionist January, 1964 or subjective association it is symbolic of the same relative period in the life of an individual and its associated moods. It is indicative, therefore, of repose, ambitions attained, accomplishment, and similar psychological aspects of maturity. Tint No. 4, Firelight. A soft yellow-orange. This is warmer than Candleflame to which it is closely akin in mood-reaction value. It is particularly adapted for use on an interior scene where it is desired to suggest an artificial illumination softened and subdued, perhaps, by shaded lamps and candles. It is suggestive also of illumination emanating from an open fire: but it is not quite orange or red enough to satisfactorily render the fire itself if visible, for which Afterglow is perhaps better. It stimulates mood reactions of the same category as Candleflame, but with greater intensity. Suggestive of warmth, comfort, intimate home relationships, mild affection, etc. Tint No. 5, Candleflame. A pastel orange-yellow. It is •dightlv lower in transmission than Sunshine, giving a screen more orange in hue and lower in brilliance, which definite!) suggests artificial illumination when used on interior scenes. Somewhat warmer than No. 6. Possibly useful on exteriors in suggesting morning or afternoon with less intense sunlight than prevails at midday. By objective association useful in inducing rather mild mood reactions such as feelings of coziness, comfort, intimacy, well-being, peace and plenty without opulence, etc. Tint Vo. 6, Sunshine. A clear brilliant yellow approximate!) complementary, to sky-blue, therefore quite closeIv matching the subjective color of sunlight when seen in contrast to blue sky. The visual transmission is high; therefore it is particularl) adapted for use on a scene designed to give the impression of brilliant sunlit conditions and where an interior is obviously illuminated by sunlight entering through windows and open doors. This color is definitelv warm, but not to the same extent as Candleflame. Firelight, and Afterglow which make with lhi> color a series increasing progressively in warmth. It is mildlv stimulating, suggesting a mood of lively interest and attention, but not one of high excitement or nervous tension. (Most 1 and 2-reel slapstick comedies of silent-movie days were printed on clear-base film. When tinted-base stock was used for these pictures, yellow "Sunshine'" film was chosen. R. A. M.) Tint No. 7, Verdante. A pure green, rather pastel in character. It is the hue of spring foliage, suggesting directly trees, grass, and vernal landscapes. By subjective association typical of youth, freshness, unsophistication, innocence, etc. It is only slightly warm, but definitely not cold. It is very close to the neutral point in the warm-cool scale. Tint No. 8, Aquagreen. A brilliant blue-green. The color of more northern waters and suitable to the rendition of the sea under clouds and in storm. It is suggestive of wetness. Its transmission being lower than that of Verdante, it gives a less brilliant screen. This together with its greater blue tint probably makes it more suitable for the rendition of the darker green of mature foliage, dense forests of pine, jungles, etc. By extension from the objective correlation to summer, it is suggestive of such mood reactions as pertain to maturity, wisdom, dignity, repose, and restfulness. It is cool but not cold: tranquil, but not subduing. Tint No. 9, Turquoise. A clear brilliant blue. It is definitely cool, but less cold than Azure or Nocturne. (Please turn to page 12) 7