American cinematographer (Jan-Dec 1938)

September, 1938 • American Cinematographer 387 such as shown in Fig. 4, where a reflector lightens up the shadow side of a back lighting. (For purposes of illustration, this was done with a "hard" reflector, which is really too intense for the best effect, as it is too obvious.) The contrast in the photographic value of the face in this and in Fig. 3 will be at once apparent. Notice, too, the effect this has in equalizing the exposure values of subject and background. Of course the same idea will work just as well in lightening the shadowed side of a cross-lighting, as in Fig. 5. Again, the aim should be to lighten the shadow, rather than to eliminate it. But there are infinitely greater possibilities to reflection than these simple ones. F'or instance, even with one reflector the angle of reflection can be varied to provide outlining highlights — even backlights, wherever desirable, with almost the same freedom we would have Figure 5 with photoflood units indoors. Properly placed reflectors can reach under the ordinarily heavy shadows cast by hatbrims, and also eliminate the shadow pools hiding overly deep-set or small eyes. If we have two or more reflectors, we have yet greater possibilities. For instance, in a backlit scene, we can use a hard reflector on one side and a soft one on the other to produce the same sort of modulated interplay of highlight and shadow we would get in a cross lighting, plus the outlining rim characteristic of the backlight. Bending Sunlight Finally, it is often a valuable ace in the hole to remember that light cannot only be reflected but rereflected as well. Using a series of reflectors we can — as the professionals often have to do — bend sunlight around several corners to reach finally into spots no simple reflection could reach. Simply set a "hard" reflector in the direct sunlight, and reflect its beam on to another reflector — either "hard" or "soft" as the occasion demands — from where the light can be rereflected on to the subject. This technique easily can provide us with front light, cross light or back light when working in deep shadows, on porches or the like. Above all, do not forget that light can be reflected obliquely from a reflector — especially a "hard" one — with the result that the reflector can often be used either beside the subject, or behind it, without either being in the picture or throwing its rays, as might at first be feared, into the lens. The real secret of using reflectors cannot be described; it must be experi THE Stith-Noble Corporation, pioneer in the field of duping Kodachrome films, has made what it believes to be a distinct advance in the difficult task of matching photographically the original in color film. Richard Stith of the company, who during the month showed the duplicate of a short subject photographed by Hugh Coburn of the staff of Western Air Express, insisted that while the unusually brilliant 16mm. picture he had just put on the screen was not the last word, nevertheless he was satisfied those expert in the particular field of recapturing the notable features of reversal film readily would concede the duplicate constituted a distinct advance. The subject was a bit of travelogue exposed in Glacier National Park. There were snow-patched mountains, tumbling streams and the brilliant cloud-flecked skies that reflect altitude. The white of the rapids and of the snow really were white. The sky really was blue. In sharp contrast with the latter was the light shade of blue that marked a part of the holiday garb of one of the troup of dancing Indians. Another notable sequence in the subject was the gathering of tourists with a wide range of color in costume. enced. And actual use will prove that using reflectors is quickly and easily learned, and better, that the results of using this simple tool can add immeasurably to the visual effectiveness of anybody's films. They are a tremendous help in ordinary black and white filming, but their greatest value is perhaps in color, where the aid of reflected light can go very far to expanding the inherently narrower latitude of all color processes. Stith explained the screened quality was no accident but rather the result of much experiment and research on the part of the company. "Distinctly what we have is not the end of our journey, but we feel confldent it does constitute a milestone," he added. "And you know faithfully matching Kodachrome in 16mm. is one of the really tough jobs in this business of ours." Asked as to the quality of the original from which he worked he declared: "Beautiful." "Skyways to Nation's Playgrounds," a half hour show in 16mm. color and sound which Western Air Express has completed, is now ready for exhibition by any approved organization. Calls for More Films The Czechoslovakia film advisory committee, which is attached to the Ministry of Commerce, approved the entry into Czechoslovakia of fourteen feature films of United States origin dui'ing May, 1938, compared with only four during May of last year, according to a report to the Department of Commerce from the office of the American Commercial Attache at Prague. Figure 3 Figure 4 Stith-Noble Scores Advance in Matching Quality in Kodachrome