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there is of course nothing quite like Agfa Infra-Red negative. In the old days, we naturally had to make our night exteriors at night, with expensive lights. As a result, if we had many night scenes in the script, we had to expect to spend more time and money on the picture.
Today, I use Infra-Red whenever the script calls for an outdoor nighteffect. In one recent production fully one-third of the picture was made in night-effects, on this film. And the night-effects were more convincing than any I ever got with lights at night. In addition they were easier to make, and took less time and trouble.
I have found that Agfa Infra-Red is a surprising schedule-saver. With it you can not only make night-effects all day long, but you can keep on making them surprisingly far into tbe later and less photogenic hours.
Night Effects
When the light is favorable, I follow tbe usual method of using the Infra-Red film and a 29-F filter. However, I give a more full compensation than I believe the Agfa experts advise. If I recall correctly, they suggest using a factor of 6; I prefer to give a factor of 8; for if you have it on the negative, it is easy enough to print a scene down a bit to darken it — but if it isn’t on the negative, no amount of laboratory trickery can give you a picture.
But later in tbe day, as the light grows weaker and more yellow, the flexibility of Agfa Infra-Red permits one to keep right on shooting convincing night-effects. For as the light grows less ideal, and more ruddy, you need only change to lighter and lighter filters to keep your exposure and your
effect uniform. And when schedules are short, you have no idea what an asset it is to be able to switch first to a 25-A, and later to even a 23-A — and still keep on getting uniform and convincing night-effects while you make those last few vital shots.
Some cinematographers — especial ly, I believe, those who have not tiied seriously to use the film — have sometimes held that they could not easily light up windows and the like for Infra-Red night-effects. Perhaps I have been doing it so much I've forgotten my own first worries over the problem, hut I do not remember having any difficulties in this direction.
Really, lighting windows for InfraRed night scenes is a very simple matter. You can use booster lights, if you have them. If you have not. you can do as well, if not even better, by simply using reflectors intelligently.
Where I can, I do the trick by simply placing a reflector in the proper place behind the window.
When this cannot be done. 1 use two reflectors: one behind the window, and another outside the window, reflecting light into it. In such a case, of course, I have to he careful to mask the outside rellector so that it does not scatter its beams where I don’t need light, outside the window on walls and window-frames. But this is of course a simple matter. Sometimes I have “lit” half-a-dozen or more windows this way.
In general, you see, I have used these two films to simplify the mechanical phases of cinematography. It is not only the skill, hut the time and energy a cinematographer can spend on the creative parts of his work that make him truly of value to his production and its producer.
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