We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
Supreme eliminates both of these limitations, and gives the process the scope and the actuality which make it a technical and an economic asset of production.
Two years ago, a process screen twenty feet wide was considered a large one, and the use of a screen twenty-four feet in width was regarded as a daring experiment.
Larger Screens
Since the introduction of today's fast films, the use of twenty-four-foot screens has become a commonplace, and in certain studios projection-shots have been made successfully on screens half again as large. In one notable instance at least, a screen thirty-six feet wide was successfully used with the projector so positioned that the projected image “bled off'' for six or seven feet on all sides of the screen: in effect, the entire projected image was more than forty-five feet in width. The composite camera was loaded with Agfa Supreme negative film, and the Directors of Photography responsible for this, the most spectacular achievement in process photography in the last season’s releases, have gone on record as stating that these scenes could not have been made without this modern, ultra-sensitive film.
In more routine work, where extremely great screen-sizes are not required, the speed of modern emulsions is also valuable. With a highly sensitive negative film in the foreground camera, screen brightness is no longer the limiting factor in the composite exposure. It becomes possible to deliberately throw away a portion of this background illumination in the interests of improved quality.
Since the introduction of the projection process, it has been obvious to most thoughtful cinematographers that we were of necessity making sacrifices in the gradational scale of our projected background plates by using prints which were too light to give really correct gradation. We gained overall light transmission at the sacrifice of gradational value.
Improving Gradation
With a faster film, we can now use daiker background prints, which will give us a more normal gradational scale. This will obviously enable us to match more closely the gradation of the actual foreground and the projected background.
In addition, it is sometimes possible to reduce the amperage of the projection arcs, thus subjecting the background film to less heat. This extends the useful life of these keys.
Since the introduction of today’s fast films, projection-process cinematography has so eidarged its scope as to reach proportions which greatly aggravate the problem of securing depth of field in the composite shot. When it becomes necessary, as it has in some recent instances, to carry adecpiate definition from a near limit of less than twenty feet from the camera to a background screen seventy-five, a hundred or more feet distant, with lenses of normal focal length, stopping down is the only course which x\ i 1 1 give the desired focal depth. With a fast negative film in the composite camera and an amply powered background projector, this becomes possible. On shots where with the older Superpan-type film an aperture of /: 2.3 might be needed, it now becomes possible with modern film to stop the
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