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unusual had we confined our test to capturing the daytime night effects for which the film was intended. But practically all of our footage was not night effects, but extreme overcorrected daylight effects!
In other words, we tried using the Infra-Red film for effects which could ordinarily be considered as being in the province of conventional superpan emulsions!
The results proved that for such highly dramatized pictorial effects, Agfa Infra-Red negative is definitely superior to conventional panchromatic types. Using ordinary types of film we could, with the same heavy filtering, have obtained a similarly heavy overcorrection: but we would not have obtained the dramatic force, the unusual quality we got with Infra-Red.
For one thing, while heavy filtering on ordinary film would have brought the sky down to the desired jet black, making the clouds and snow-clad mountains stand out strikingly, this filtering would have lost us our foreground detail, and would have given us harsh contrasts we did not want.
Foreground Detail
If you will study the accompanying illustrations, you will notice that in spite of the dramatic overcorrection, contrast is not exaggerated. The white expanses of snow are not "washed out": they still retain a natural amount of texture and detail. On the screen, you see snow — not whitewash.
At the other end of the scale, the shadows are equally remarkable. Under ordinary conditions, using conventional films and heavy red filters, an exposure which retained the natural texture of the strongly illuminated snow-banks would lose shadow-detail. In "King Winter" the snow-clad highlights are natural, while at the same time there is ample detail in even the heaviest shadows. Ordinary intermediate shadows are beautifully "open". In fact I am inclined to believe there is more detail in these shadows than would be visible to the average eye on a bright day in such a snowy region.
Normal Face Values
In filming these scenes, Sinkey handled the Infra-Red film much as he would handle any ordinary super-panchromatic type. He used a 29F filter for most of his scenes, and gave a full, normal exposure. His lightings ranged from the flattest of front-lightings clear around to direct back-lightings. In every case he chose his lighting without particular reference to the special type of film he was using, merely choosing a lighting which would in his opinion be effective for that shot if he had been using ordinary emulsions.
In some of the scenes, people appeared. It is interesting to note that no special make-up was used, yet faces in every instance appeared normal and satisfactory. In some instances, no make-up at all was used, yet the results were satisfying.
The negative was processed in several different laboratories. Part of the footage was developed in two different Hollywood plants. Other scenes were
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