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gradations of lighting your eye can’t even see. No matter how dull the lighting is, Supreme always seems able to pick up enough traces of soft rim lighting to outline the laces and figures of your actors, so that they stand out as nicely, often, as though the scene were made under much more normal conditions, and with the benefit of ‘booster’ lights or reflectors.
1 have frequently had actors and director alike look at me as though they thought I was crazy when I told them that with Supreme I could still manage to get that one last, important scene not only after the sun had set, but after the evening was beginning to merge into night. Some of them have argued that even though the film was fast enough to yield an exposure, it couldn’t possibly give us a good picture under such impossible conditions. But so far. Supreme has given them a pleasant surprise when the rushes were screened: not only was the scene adequately exposed — it was good enough photographically to intercut successfully with scenes made earlier, under far more normal illumination.
Using filters on Supreme is another point in which I have found this film advantageous. Personally, I like a fairly heavy correction: I do not
always want a black sky, but I certainly want to keep the sky definitely darker than a hare, un-corrected white. At the same time, particularly in rugged action pictures, it would not do at all to let faces become white and “washed out.”
Of course filtering is to a great extent a matter of individual taste and technique. For my part, 1 do not care for the indefinite effects of the lighter
yellow and orange filters; I prefer the more positive correction one gets from the red ones, like the 23-A. 25-A and 29-F.
Simplified Filtering
Using either of my two favorite filters — the 23-A and 25 — on Agfa Supreme. I get just the effects I want. Giving a rather ample compensation, I can darken the skies to just the light degree, yet at the same time I do net sacrifice the faces. If anything, the slight lightening of face tones is an advantage, for practically none of the male actors in my pictures wear makeup, and the filtering helps to offset the effect of their bronzed, sun-tanned skins.
But even though I believe in using only a few filters, I certainly do not agree with those cinematograph, rs who, when they go out of the studio, make it a rule to slip one filter into the camera and leave it there. Atmospheric and lighting conditions can change too much for that! But with only two filters — a 23-A and a 25 — ■ one can generally meet most conditions, and still keep his scenes well matched on the screen.
For instance, when I am shooting at an angle well away from the sun, and have a clear blue sky with which to work, I use the lighter filter — the 23-A. Then when I come to a reverseangle, shooting more toward the sun and the paler sky that surrounds it, or when I am making related scenes on another day. with a less clear sky, I use the heavier 25-A. and keep the correction and sky values closely uniform in spite of the changed conditions.
For making night-effect exteriors,
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