American cinematographer (Jan-Dec 1946)

SIMPLIFIED MOVIE PROCESSING IN YOUR OWN DARKROOM by JAMES R. OSWALD An understanding of the principles of motion picture developing is something to be acquired with advantage by every serious minded movie maker. Such a knowledge is beneficial not only from the standpoint of knowing, in a small way, what goes on behind the scenes of the professional processing laboratory, but also in the sense that picture tak¬ ing, itself, may improve through such experience. Just as the skilled crafts¬ man in any trade is a better worker when he is well acquainted with the tools with which he works, so also should the movie maker, worthy of the name, be thoroughly familiar with the “tools” with which he works. One of the best ways to learn some of the characteristics of motion picture film, and film certainly an important tool of the cinematographer, is through practical experience in one’s own dark¬ room. With the aid of simple equip¬ ment, the developing process is carried on with almost the same ease as that enjoyed in handling still films, and with surprising results. For the person who likes to tinker with tools, such appa¬ ratus as is necessary may be construct¬ ed right at home, or, if preferred, may be purchased already assembled. While it is possible to home-process practically any type of movie film, after one has advanced beyond the more ele¬ mentary requirements, it is rather fool¬ ish, and certainly inadvisable to handle film at home that will be processed by the maker free of charge. There are, (Continued on Page 69) I. The film is unspooled in the darkroom onto the developing rack. The rack should be so constructed as to fit a conventional size developing tray, such as 11x14 inch, requiring a minimum of solution. A rack similar to that illustrated accommodates approximately 25 feet of film at a time, uses about a gallon of solution. 2. Closeup showing method of attaching film to rack by means of rubber band and paper clip. Rubber band allows for any expansion or contraction of the film during the different stages of the process. Note guides which prevent film loops from overlapping. No part of the picture surface itself actually touches the rack, since edges of film rest on surface that is slightly raised from that underneath the picture area. 3. Film is immersed into the developing agent. Or¬ dinary D-72, D-76 or its equivalent, serves as the developer. For extreme contrast, such as in title work, D-ll is recommended. 4. As in the case of still films, the solution is con¬ stantly agitated, by rocking. Occasionally, the rack is turned over in the tray, during the process. 5. After a time, the film begins to darken, like this. Development is carried on to the length of time specified by the manufacturer of the particular developer being used. t. With development complete, the rack is raised from the tray, draining off the surplus solution. Film is then placed into another tray containing water or a short-stop, and from there into a third tray of fixing a solution or acid hypo and hardener. If film is to be reversed, instead of placing in the fiing bath, it is first put through a bleach, removing the nega¬ tive image, and then "flashed" to a light source, which exposes the remaining silver salts, to form the positive image, which is obtained by repeating the developing step. 7. In either process, the final step is to thoroughly wash the film in runninq water to remove all traces of hypo, after which the rack is hung up on wire hooks to allow the film to dry evenly. Sponging off excess water helps to prevent spots. 8. The operation complete, the film is left to dry in a room free from dust. When thoroughly dry, it is spooled onto a reel, ready for projection. 58 February, 1946 • American Cinematographer