American cinematographer (Jan-Dec 1963)

GEVAERT GEVAPAN 30, TYPE 1.65 PANCHROMATIC NEGATIVE 1 Has extremely fine grain and a very high resolv1 ing power, making it an ideal studio film. ASA INDEX DAY: 80 TUNG: 64 j | GEVAPAN 36, TYPE 1.91 PANCHROMATIC NEGATIVE | A panchromatic film of extremely high sensitiv = ity, ideally suited to newsreel filming and for | all cinematography under poor lighting condi1 tions. | ASA INDEX DAY: 250 TUNG: 200 | GEVAPAN 30 REVERSAL, TYPE 8.63 A panchromatic reversal film for documentary | work and all photography at normal exterior | lighting levels; also for interiors where ad1 equate lighting levels prevail. Has a very fine | grain and great latitude in exposure. ASA INDEX DAY: 64 TUNG: 40 | GEVAPAN 36 REVERSAL, TYPE 8.80 An extremely high-speed panchromatic reversal | film for documentary, newsreel and all other 1 photography under poor lighting conditions. Has 1 soft gradation, fine grain and gives faithful | rendering of colors. ASA INDEX DAY: 320* TUNG: 200 | ‘Speed can be raised to 500 or even 1000 ASA | provided film is developed and re-exposed appro 1 priately. I ANSCO [ ANSCO SUPER HYPAN NEGATIVE, TYPE 366 Ultra high speed panchromatic negative film | possessing excellent definition, good gradation | and fine grain. For use under very low light 1 levels or where maximum depth of field is | required. i ASA INDEX DAY: 500 TUNG: 400 | ANSCOCHROME DAYLIGHT TYPE 2310 A high speed, fine grain reversal color film | for production work under adverse light con1 ditions. When reversal-processed, may be used | for direct projection. 1 ASA INDEX DAY: 32 TUNG: 12* 1 *With 80B filter. ANSCOCHROME TUNGSTEN TYPE 2320 A high speed, fine grain reversal color film for § production work under adverse light conditions. | For direct projection. | ASA INDEX DAY: 25* TUNG: 32** | ‘With No. 85 filter. **At 3200° K. ANSCOCHROME D/100, TYPE 2210 A fine grain, medium high-speed reversal color | film for production work under adverse light 1 conditions. | ASA INDEX: DAY: 100 ANSCOCHROME D/200, TYPE 2230 Said to be the world’s fastest color film. A fine § grain, high-speed color reversal film for camera | use as a direct projection film, ideally suited § to production work in adverse lighting condi§ tions. | ASA INDEX: DAY: 200 I ANSCOCHROME T/100, TYPE 2240 High speed reversal color film of fine grain, | balanced for 3200°K Tungsten illumination. For | use under low light levels or where maximum i depth of field is desired. | ASA INDEX: TUNG: 200 | ANSCOCHROME PROFESSIONAL CAMERA FILM 1 TYPE 242 | A medium speed reversal color film balanced | for 3200 0 K tungsten illumination. It provides | an original with low contrast from which color 1 release prints can be made. | ASA INDEX DAY: 16* TUNG: 25** | ‘With No. 85 filter. **At 3200° K. direct relationship to sound recording and reproduction quality. “Third, the ASA exposure index: This presents a dramatic difference when the 35mm color negative ratings of 32 daylight or 50 tungsten are com¬ pared to the 16mm Ektachrome Com¬ mercial speeds of 16 daylight or 25 tungsten. At a lens aperture of f/4, 400 foot candles are required for the 35mm negative film. 800 for the 16mm reversal — a need for just twice as much light. This is a pertinent comparison, since these are the two color films most widely used. “One other factor that directly af¬ fect film quality is the background of experience and personal prejudice of the production crew, particularly the cameraman. If all experience is in 35mm production, this — coupled with a disdainful opinion of 16mm as “spa¬ ghetti — will mean the resulting 16mm picture quality will justify only low opinion. Operating Guides “However, as the film business has changed, in Hollywood as elsewhere, the cinematographer has become millidextrous, shooting with equal ease in either 16mm or 35mm. And, in the course of becoming experts in 16mm cinematography, they’ve worked out certain operating guides: “Utilize the best camera available, in order to minimize the problems of screen movement. Selection of pro¬ fessional lenses of the right focal length is essential for sharp exposures. “Re-double normal care in mainte¬ nance and cleaning of the camera. Hairs and dirt are magnified in the projection of 16mm film. “Use the tripod and dolly the same as for 35mm. Don’t let the lighter weight and greater portability of 16mm equipment trap you into un¬ necessary hand-holding of the camera. “Follow the film manufacturer’s recommendations for light levels, time of day, directions of light, etc., as closely as possible. Figure out an alter¬ native shot for the one that might not turn out right. “Avoid the long shot — particularly the extreme area shot — because it won’t be as sharp in the print as you expect. If it’s needed for orientation, cut it as short as possible. “In exposing 35nnn film, there is a wider margin for error — in expo¬ sure, in going through extra film gen¬ erations, in splicing, and in printing. “In exposing 16mm film, it’s not necessary to be six times as careful, because of 16mm being one-sixth the frame area of 35mm, but it’s well to be at least twice as careful,” the Rewind article concludes. In a subsequent issue of General Film Lab’s informative publication, the editor dwelt at length on use of 16mm color film, stressing that one should “plan and expose the picture with the end use in mind.” In 16mm color film production, it was pointed out, where the product is intended for either television or screen exhibition, the original exposure is the greatest deter¬ minant of screen quality, and an im¬ portant factor in achieving quality in the 16mm original film is an under¬ standing of 16mm’s characteristics and limitations. General places heavy emphasis on the need for pre-production consulta¬ tion between the 16mm cameraman and his laboratory. “If he is thor¬ ough experienced in shooting 16mm color and anticipates meeting only the normal problems,” says General, “all he need do is alert the laboratory of his shooting dates, arrange exposure tests, and make known his require¬ ments. However, if he’s moving from 35mm to 16nnn, or is otherwise new to 16mm production, he’ll do well to discuss his project with the lab. Mo¬ tion picture laboratory personnel see everybody’s mistakes, and can help the consulting producer avoid unnecessary problems. Camera Stock “The most widely used 16mm color film is Eastman Ektachrome Commer¬ cial, type 7255. This film is ASA rated at 16 daylight and 25 tungsten, and compares with Eastman 35mm color negative ASA ratings of 32 and 50; so more light is required for 16mm Ektachrome than for 35mm color nega¬ tive camera exposure. “It’s well to keep in mind that other basic characteristics of the two films are different, aside from width. First, the 16mm picture area is about onesixth that of 35nnn. Second. 16mm Ektachrome is a reversal-positive color film, while the 35mm color film is a negative. “There is a 16mm color negative available on special order from East¬ man, but thus far it has been utilized principally in photo-recording by gov¬ ernment and defense contractors, plus Continued on Page 723 712 AMERICAN CINEMATOGRAPHER, DECEMBER, 1963