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processed after Sinkey's return from the Coast, by Consolidated's New York laboratory.
In making the rushes and later the release-prints, we learned something very important about the use of Infra-Red film for normal, overcorrected day effects. Using the film for night-effect scenes filmed in daylight, it is possible to intercut the Infra-Red scenes with other shots made on ordinary super-panchromatic films in any way that may be necessary.
Using the same film for this special type of day effects, we discovered that the Infra-Red scenes cannot successfully be intercut with similar scenes attempted on ordinary emulsions. The differences in contrast, exposure, printing value and quality are so great as to be beyond the range of compensation possible to most laboratories. The Infra-Red scenes would show up the ordinary ones most embarrassingly.
Editing Problems
This works no particular hardship on the producer of scenic short-subjects, for as a rule such films maintain one photographic mood from start to finish. The same fact need occasion no trouble to the feature producer who has a sequence calling for this type of dramatic camerawork, either. Since our experiments proved that people photograph satisfactorily under the conditions stated, no trouble need be expected from that phase of the problem. For the rest, it is easy enough to photograph an entire sequence requiring dramatic Infra-Red day effects with this one type of film. Since the dramatic effect in itself makes a notable difference in quality between such a sequence and ordinary interior or exterior scenes, the dramaticized sequence, as long as it is made entirely on the one type of film, can be cut into conventional sequences with no difficulty whatever.
Summed up, Sinkey's experience shows that Infra-Red film can be used to open up a whole new range of dramatic camera effects in addition to the familiar night-effect scenes. For dramatically over-corrected day exteriors, with or without people, it permits effects never before possible.
35MM. ENLARGEMENTS FROM "KING WINTER"
Photographed by Chalmer Sinkey
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