American cinematographer (Jan-Dec 1949)

Color Compensating Filters Simplified A single CC filter in new progressive series produces the desired "in between" effect that formerly required two and sometimes three compensating filters. THE TERMINOLOGY of color compensating filters — except to the photographer who uses them — has always been a language with symbols all its own. As a result, some time has usually been required by the uninitiated to learn what was what and how to choose the most effective filters for the particular job in hand. The Eastman Kodak Company has taken steps to dispel this confusion, how¬ ever, by announcing a new line of color compensating filters with practically selfexplanatory designations, and variations in density from filter to filter which follow a more practical and useful pro¬ gression than heretofore. For example, the name, “Kodak Color Compensating Filter CC-05M,” yields the information that the filter is a color compensating one (CC) ; that its density is .05 (05) ; that it is magenta in color (M), and hence absorbs green. The new series includes yellow filters By ARTHUR ROWAN (to absorb blue) ; magenta filters (to absorb green) ; cyan filters (to absorb red) ; red filters (to absorb blue and green) ; green filters (to absorb blue and red) ; and blue filters (to absorb red and green). The initial letter of the color in each case is included in the filter desig¬ nation to specify the color of the filter. The numerals (such as 05) appearing in the filter designation specify the strength or absorptive qualities of the filter. The filters are spaced uniformly in density ( instead of geometrically as heretofore) so that the difference be¬ tween successive filters in any given series is .10, except between the first two in each series where the difference is .05. This has been made possible by the de¬ velopment, by Kodak, of better dyes for filter-making purposes which can be kept to closer tolerances. What that means, as far as usefulness is concerned, is that because of the new uniform progression between filters, pho¬ tographers can much more precisely con¬ trol the color of light entering the camera — and thus the color of the fin¬ ished results. The new progressive series of filters permits one filter to be used in most instances where heretofore two or even three filters were required to achieve that “in between” compensating effect desired for a particular picture. These new filters replace to some de¬ gree the CC filters formerly offered by Kodak. Although there is no exact simi¬ larity between any of the old filters and any of the new, a chart comparing the old and new filters — as well as a table of applications — is included in a revision of the booklet, “Compensating Filters for Kodak Color Films.” Copies of the booklet are available without charge on request to Sales Service Division, East¬ man Kodak Company, Rochester 4, New York. In general, the price of the new filters (Continued on Page 296) KODAK COLOR COMPENSATING FILTERS Yellow Exposure Magenta Exposure Cyan Exposure Peak (Absorbs Increase (Absorbs Increase (Absorbs Increase Density Blue) in Stops* Green) in Stops* Red) # in Stops* •05 CC-05Y CC-05M x/3 CC-05C l/3 .10 CC-10Y 1/3 CC-10M l/3 CC-10C l/3 .20 CC-20Y i/3 CC-20M J/3 CC-20C 1 / 3 •30 CC-30Y !/3 CC-30M 2/3 CC-30C 2/3 .40 CC-40Y !/3 CC-40M 2/3 CC-40C 2/3 .50 CC-50Y 2/3 CC-50M 2/3 CC-50C 1 Red Exposure Green Exposure Blue Exposure Peak (Absorbs Blue Increase (Absorbs Blue Increase (Absorbs Red Increase Density & Green) in Stops* and Red) in Stops* and Green) in Stops* •05 CC-05R 1/3 CC-05G i/3 CC-05B l/3 .10 CC-10R 1/3 CC-10G l/3 CC-10B i/3 .20 CC-20R i/3 CC-20G !/3 CC-20B 2/3 •30 CQ-30R 2/3 CC-30G 2/3 CC-30B 2/3 .40 CC-40R 2/3 CC-40G 2/3 CC-40B 1 .50 CC-50R 1 CC-50G 1 CC-50B i-i/3 •These values are approximate. For critical work, they should be checked by practical test, especially if more than one filter is used. 284 • American Cinematographer August, 1949