American cinematographer (Jan-Dec 1960)

quest for llie ideal shooting niediuni. Overexposure is sometimes called for in order to heighten effectiveness of a scene. The consequences of overex¬ posure while using Double-X film are not as severe as with Tri-X. This is because granularity does not increase as rapidly with exposure as is the case with Eastman Tri-X film. In addition, tests show' that l)ouhle-X has the same ability as Plus-X film to produce sharp images. Combining this fine grain with a speed only about 10 per cent less than that of Tri-X film results in a high-speed negative film of exceptional quality. The exposure indexes recommended for Eastman Double-X negative film are ASA Daylight 250 and Tungsten 200. The color sensitivity of the new film is very similar to that of Plus-X and Tri-X. Specific filter recommenda¬ tions, if required, can l»e obtained from Eastman technical representatives. An important feature of Eastman Double-X film is its complete compati¬ bility with the existing processing prac¬ tices of Plus-X and Tri-X film. It is intended for processing in a normal motion picture negative developer. The development time for Douhle-X film to reach a control gamma of 0.70 is about half way between the times re¬ quired for Plus-X and Tri-X films. The results of an industry-wide eval¬ uation program indicate that Double-X may soon become the standard medium for indoor and low-light level shooting. At Desilu studios, for example, the ‘■Jack Benny Show” is shot entirely in the new medium, director of photogra¬ phy, Boh De Grass, ASC. said. The speed of Douhle-X film proved to he even better than expected. Continued On Page 493 WEDGE SPECTROGRAM showing color sensitivity of Eastman Double-X Panchromatic Negative 5222 by daylight January 8, 1960. WEDGE SPECTROGRAM showing color sensitivity of Eastman Double-X Panchromatic Negative 5222 by tungsten light January 8, 1960. Facfors inyolyed in RELEASE PRINT SOUND QUALITY Best procedure is to do a good job of original recording, choose a reputable film laboratory, then carefully inspect and audition each release print. How CA.x THE 16nuu film maker insure that the release prints delivered by his film laboratory will have top sound quality ? The answer to this question involves both the film producer and the laboratory, plus a high degree of cooperation between both, according to (/eneral Eilm Laboratories. Hollywood, which has set forth some rules and sound technical advice in an article on this subject in Vol. 2. No. 5 of Rewind, the company's monthly newsletter to producers. Obviously, the Rewind emphasizes, the starting point is the original recording, which involves using the right microphone for the job. use of carefully matched sound recording equipment which should include a professional machine capable of recording a reasonable wide range of sound, and proven sound recording materials. Other factors, it is pointed out, are the sound source itself, controlled acoustical conditions and hacksround noise, and other elements involved in sound environment. The better the original recording, the more quality can come through in the print. The next important step is rerecording — mixing the various sounds into a final composite track, either magnetic or optical. If it is magnetic, there will be still another step — transferring the mixed magnetic sound to the optical printing track. Here electro-printing is widely used, and this pro¬ cedure will be discussed in detail a little later on. The film lahoratorv first enters the picture in processing the eventual optical printing track. Erom this point on the producer can control his product — first, by already having chosen a reputable professional labora¬ tory and. second, l»y auditioning the laboratory’s work upon delivery of the release prints. This is particularly pertinent and valuable advice for independent 16mm film producers, and in-plant and industrial film production heads making films that are expected to measure up to the best professional product when screened. The processing of a sound negative is extremely important in deter¬ mining the quality of sound on the release print. With this in mind, the usual laboratory procedure is to make frequent test checks with the people who do the sound-on-film recording. Cross modulation tests are made on variable area recording conditions, intermodulation tests on variable density recording conditions. An analysis of these sound tests after the test film footage is developed and printed, aids in establishing the recording expo¬ sure and laboratory processing conditions that will produce maximum sound quality. \\ hen this work is completed, the laboratory will have a processed optical printing track and the edited reversal or negative photographic rolls— ready for printing. This brings us to the elements involved in the printing process: 1 . SuHicient printer light 2. Close contact between the sound negative and the printing stock ?■>. Steady movement of the film in the printer 1. Control of slippage between negative and print stock Continued On Page 498 485 AMERICAN CINEMATOGRAPHER