American cinematographer (Feb-Dec 1929)

Thirty-six American C i n e m a t o g r a p h e r August, 1929 A OTD f"V G ESE LLSCHAFT AO I riU B E R. L.I N ON SALE BY MITCHELL CAMERA CORPORATION 6025 SANTA MONICA BOULEVARD I OS ANGELES CALIF . Emotional Appeal of Color (Continued from Page 6) and Afterglow which make with this color a series increasing progressively in warmth. It is mildly stimulating, suggesting a mood of lively interest and attention, but not one of high excitemen or nervous tension. Tint No. 5, Candle flame. A pastel orange-yellow. It is slightly lower in transmission (75 per cent) than Sunshine giving a screen more orange in hue and lower in brilliance which definitely suggests artificial illumination when used on interior scenes. Somewhat warmer than No. 6. Possibly useful on exteriors in suggesting morning or afternoon with less intense sunlight than prevails at midday. By objective association useful in inducing rather mild mood reactions such as feelings of coziness, comfort, intimacy, well being, peace and plenty without opulence, etc. Tmf No. 4, Firelight. A soft yellow-orange. This is warmer than Candleflame to which it is closely akin in mood reaction value. The lower transmission (66 per cent) gives a somewhat less brilliant screen and this with the more orange hue makes it particularly adapted for use on an interior scene where it is desired to suggest an artificial illumination softened and subdued perhaps by shaded lamps and candles. It is suggestive also of illumination emanating from an open fire; but is not quite orange or red enough to satisfactorily render the fire itself if visible, for which Afterglow is perhaps better. It stimulates mood reactions of the same category as Candleflame but with greater intensity. Suggestive of warmth, comfort, intimate home relationships, mild affection, etc. Tint No. 3 , Afterglow. A soft rich orange color. It is probably the warmest color of the series. It is appropriate to exterior scenes at dawn and sunset. It lends to interiors an atmosphere of warmth and intimacy stronger than firelight. It should excite good reactions in general connected with luxury, wealth, security, and relatively strong affections. It is also related to the autumnal mood by obvious direct association with the autumn colors of nature. By indirect or subjective association it is symbolic of the same relative period in the life of an individual and its associated moods. It is indicative, therefore, of repose, ambitions attained, accomplishment, and similar psychological aspects of maturity. Tint No. 2, Peachblow. A delicate flesh pink. This has a small, but definite blue content, making it somewhat less warm than Afterglow. It is adapted to the rendition of close-ups where it is desired to do full justice to feminine beauty. The hue and saturation are such as to suggest the glow of life. Tint No. 1 , Rose Doree. A deep warm pink suggesting sensuousness and passion. Amorous, Romantic, and Exotic. It is adapted to the rendition of scenes representing an intimate atmosphere such as a luxuriously appointed boudoir. In keeping also with feeling of happiness, joy, and excitement. Tint No. 7, Verdante. A pure green, rather pastel in character. It is the hue of spring foliage suggesting directly trees, grass, and vernal landscapes. By subjective association typical of youth, freshness, unsophistication, innocence, etc. It is only slightly warm, but definitely not cold. It is very close to the neutral point in the warm-cool scale. Tint No. 8, Aquagreen. A brilliant blue-green. The color of more northern waters and suitable to the rendition of the sea under clouds and in storm. It is suggestive of wetness. Its transmission (40 per cent) being lower than that of Verdante, it gives a less brilliant screen. This together with its greater blue tint probably makes it more suitable for the rendition of the darker green of mature summer, foliage, dense forests of pine, jungles, etc. By extension from the objective correlation to summer it is suggestive of such mood reactions as pertain to maturity, wisdom, dignity, repose, and restfulness. It is cool but not cold; tranquil, but not subduing. Tint No. 9, Turquoise. A clear brilliant blue. It is definitely cool, but less cold than Azure or Nocturne. The visual transmission (43 per cent) is high for a blue of this hue but low as compared to the warm colors. This gives a screen of depressed brightness which together with the hue tends to produce a mood of peace, reposef ulness, and tranquility. It is the color of calm tropical seas under clear skies. It is suggestive of the Mediterranean and the South Sea Islands. If used on interiors it should impart a feeling of restfulness, dignity, and reserve without inducing appreciable depressive moods. With proper contextual influence it might be used for the suggestion of brilliant moonlight effects although No. 10 may be somewhat better for this purpose. Tint No. 10, Azure. A strong sky-blue. It is colder than Turquoise; tranquilizing to the point of becoming depressing. The visual transmission (28 per cent) is relatively low and hence gives a screen of low brightness. It is suggestive of the sedate and the reserved, even approaching the austere or forbidding; under certain conditions slightly gloomy. Tint No. 11, Nocturne. Deep violet-blue. The visual transmission is low (28 per cent) giving a screen of low brightness. It definitely suggests night, shadows, gloom, coldness, etc. By subjective associational reactions appropriate to depressive conditions, despair, failure, unattained ambitions, intrigue, the underworld. Tint No. 12, Purplehaze. A bluish-violet or lavender, rather pastel in character. It has a relatively high visual transmission (40 per cent) giving a screen of greater brilliance, higher key, than the adjacent tints, Nocturne and Fleur-de-lis, to both of which it is closely related in emotional value. The mood induced by this color is particularly dependent (more so than many of the other colors) upon contextual factors. For instance, to a twilight scene on the desert with distant mountains it imparts a feeling of distance, mystery, repose, and languorous warmth; while used on a scene containing snow fields, glaciers, snowcapped mountains, etc., it has a pronounced cooling effect. The hue of this color is approximately the same as that of the shadows on sunlit snow under a clear blue sky. Tint No. 13, Fleur-de-lis. A rich royal purple. This color has long been the badge of royalty, high office, power, and pomp. In ancient times the dye was very costly and was used to color the garments of the aristocracy. The transmission of this film tint is low (25 per cent) thus giving a depressed screen brightness suggestive of reserve, dignity, and austerity. It has a relatively cool color but not as cold as Nocturne. Tint No. 14, Amaranth. This is also a purple but has a greater red content than Fleur-de-lis, therefore it is warmer. Appropriate to king and court in a benevolent, smiling, happy mood, less austere and dignified than is suggested by Fleur-delis. It is adapted to the rendition of scenes showing opulence and luxury together with refinement. With proper contextual relation it may be well adapted to scenes approaching sensuality and abandon, such as bacchanalian revels when staged in settings of wealth, luxury, and elegance. Tint No. 15, Caprice. Cool pink. Visual transmission (53 per cent) relatively high, thus giving a brilliant sparkling screen. Mardi gras, fete days, and merry making in general. It is mildly exciting and exhilarating in an innocent fun-loving sense. 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