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camera's lens down to /: 3 or /:4.5, which virtually doubles the region of adequate definition.
Making Background Plates
Today’s film types offer tremendous advantages in making the background plates, as well. For many types of night-effect backgrounds, the possibilities offered by Infra-Red negative are already familiar. If Infra-Red has become an invaluable tool in making production night-effects, it is an even greater asset in making background night scenes.
But many background plates require city night-effects, with street lamps, shop-windows and electric signs aglow. Scenes of this type on any large scale are naturally beyond the scope of any method of shooting in daylight with overcorrecting filters. They must be made actually at night.
Since the introduction of Agfa Supreme and Agfa Ultra Speed Pan, such shots can be made more easily and more convincingly than has ever before been possible. Exposed at normal lens apertures and camera speeds, these films, especially the latter, will record the normal lighting of such scenes; the windows, street lamps, and signs do not have to be specially lit to obtain a convincing effect.
Frequently it is necessary to obtain normal, day-effect background plates of distant locations, in places where the normal lighting conditions are photographically unfavorable, and where it may be impractical, or even wholly impossible to use any artificial lighting equipment. Today’s highspeed negative films are invaluable under such circumstances. Where the light conditions are only moderately unfavorable, such emulsions as Agfa
Supreme may be used, to obtain the most satisfactory balance between high film speed and fine grain-structure. Where the light conditions are at their worst, such films as Agfa Ultra Speed Pan, offering the maximum of outright film speed, can he used to obtain the desired background without the expense and delay of using artificial lighting. Thus the film chemists have made it possible for special-effects cinematographers to obtain background scenes under circumstances and in places where two years ago no cinematographer could hope to work successfully.
Making Miniatures
Many of these same considerations apply to the photographing of miniatures. In this work, exposure has almost from the start been a limiting factor. As is well known, one of the fundamental tricks in making a photographed miniature appear convincingly large on the screen is to photograph it in slow motion — that is, at camera speeds four, six, eight or more times normal, depending upon the scale to which the miniature is built, the lens and angle used, and so on.
This ultra-speed camerawork inevitably shortens the time of each exposure tremendously. At eight times the present normal speed of 24 frames per second, or 720 feet a minute, with a shutter opening of 170 degrees, each frame receives an exposure of only 1 /408th of a second!
Working under full natural sunlight, this introduces a definite exposure problem. Working under artificial light, the problem is greatly increased, for there is a limit to the amount of light that can be flooded
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