American cinematographer (Jan-Dec 1941)

unreliable when based on the readings of an ordinary photoelectric exposure meter, since the latter gives readings which vary with the character and contrast of the subject. Those who take their hobby seriously will also be well advised to make speed test films with their favorite filters — a few frames for each exposure-level is ample, and there is no need to waste five feet of film every time. The facts obtained from these tests can be noted down and after this literally any type of image can be reproduced to order. In applying these factors of so many stops under or over-exposure, it is naturally important to have some sense of the standard image which a normal reading produces, but some experience of the film stock used will soon provide an adequate guide for this. The fact is that so long as a standard exposure is wanted for a standard image-quality, the rules given earlier can be applied mechanically, but that as soon as it is necessary to deviate from this standard, human judgment — based, admittedly, on observed facts in the speed test — must be applied to the problem. The speed test film, moreover, can be used for another very important purpose. In any sunlit scene, it is possible to take one reading on the sun and one on the sky, the sun not being allowed to fall on the artificial high-light when taking the latter reading. The result will be the difference in exposure required to produce matched face tones in the sun and in the shade, so that the number of stop divisions difference between the two is clearly a measure of the contrast in the lighting. This is itself a convenient point where there is some doubt as to whether the shadows are sufficiently well lit to record properly, and we can go about establishing the fact in the following manner. If the sun reading is being used as a basis for camera exposure, and the shade reading is two stops less than that for the sun, we can refer to the lighting contrast as having a value of two stops (which means — since every stop division doubles the exposure given — that the light from the sun is four times as intense as that from the sky). While this value for lighting contrast makes it possible to ascertain whether two scenes are likely to give more or less the same contrast on the screen, the estimation of shadow detail is just as important an advantage. On looking through the speed test, one finds that at a certain degree of underexposure (preferably judged here by a shot taken in the shade, so that lighting contrast does not make the judgment difficult) the face tones do not show full detail. This may, perhaps, be at three stops underexposure. Now, the shadows of a face in a sunlit scene are only illuminated by the sky, and if we use the sun reading as a basis for exposure, it is simple to find from the shade reading just what the shadow tones of the face are going to look like. If the shade read EASTERN HEADQUARTERS for the CAMERAMAN <* Professional Studio and Cutting Room Equipment Always Available BELL & HOWELL Standard, Hi-Speed, Process and Eyemo Cameras MITCHELL Standard, Hi-Speed, Silenced and N.C. Cameras. WALL Latest Model Single System Sound Cameras WE SPECIALIZE in REPAIR WORK on MITCHELLand BELL&HOWELL CAMERAS Interlock, Synchronous, Hi-Speed and Variable Speed Motors with Tachometers FEARLESS BUMPS — FEARLESS and RABY PANORAM DOLLYS 35mm Double System Recording Equipment COOKE SPEED PANCHRO and ASTRO PAN TACHAR LENSES, all focal lengths MOVIOLAS SYNCHRONIZERS REWINDS TRIPODS ^j^ FRANK-ZUCKER CABLE ADDRE SS . CINEQUI P U AMERA EQUIPMENT V** 16 OO BROADWAY nyc \ CIrcle 6-50&0 ing is 3 stops lower than the sun reading, the shadow tones of the face are going to be given just the same exposure as that found in the speed test shot with three stops less exposure than our chosen standard, and it is perfectly simple to find a limit of lighting contrast beyond which the film cannot be expected to reproduce both sunlit and shadow sides of the face at the same time. END. way both score and cutting are handled for thematic effect. The music definitely adds to the film's dramatic value; but even without it, "A Tale of the North" stands out as a very much better than average scenario production. END. Home Movie Previews (Continued from Page 383) should give a mistaken-identity explanation for the Indian girl's final murder of the villain — which, if it is intended, is not too clearly established. If this motivation is not intended, it would be better to follow the practice that was so useful in the old silent-picture westerns, and have the hero in an easily-identifiable shirt — say a light color — and the villain in an equally distinctive one, say in a dark shade. This would be particularly useful in making clear who is hitting who in the fight scene. It would seem to us also that it would have been dramatically better if the villain had not seen the Indian girl immediately after he felled and robbed the hero. It could easily have been established that she saw his action, but he did not see her. Likewise, after characterzing the hero as an ardent, faithful husband, his display of affection for this Indian maid is a bit out of character. Similarly, fading out in the middle of the wife's battle for her virtue with the villain leaves certain obvious doubts in the audience's mind which are never dispelled. The musical score for this picture is excellent in every way, especially in the Showcase (Continued from Page 386) secured with the special infra-red flash reflectors that several of the equipment manufacturers have designed in collaboration with Wabash, and which are now being made available. A peculiar characteristic of infra-red film is off -focus. Pictures will not be in needle-sharp focus unless a slight focusing correction is made to compensate for the type of lens used, because the infra-red rays focus on a slightly different plane than visible light rays. The peculiar effects invisible light produce are extremely interesting. Dark lipstick, for instance, comes out almost pure white. Invisible veins lying under the skin show up with startling contrast. Old stains in clothing, even though drycleaned, show up clear in the picture as though they had never been removed. A clean-shaven man appears slightly unshaved, and many other odd effects will show up under various conditions with this type of photography. The new lamp will be identified as Wabash Superflash Blackout bulb, will list at 60c, and will be commercially available the latter part of August. Complete details can be had by writing Wabash Photolamp Corp., Brooklyn, N. Y. Plenty of "Movie-Mites" As of Julv 15th, the Movie-Mite American Cinematogratmif.r August, L941 Hi.",