American cinematographer (Oct 1936)

414 American Cinematographer • October, 1936 Just What Mysterious About H ollywood is a poor place to try to keep o secret or to maintain a veil of mystery around any photo- graphic process that may be employed in the course of studio production. Ours is a closely knit, tight little community whose inhabitants eat, drink, sleep—and talk^ • picture making. Confidences are not necessarily bared but routine items of mechanical procedure are debated and their relative merits, features and short-comings ruthlessly exposed from unbiased working viewpoints. For some reason totally unknown to us, but not difficult to surmise, makers of some color processes endeavor to shroud their practices in thick walls of smoke-screen. The presumption is that such technical processes are beyond ordi- nary human comprehension and can be entrusted only to re- cently sprouted graduates of prescribed scientific reading courses. As a matter af cold fact, the basic premises of color pho- tography have long been in public domain. Almost any cur- rently practising Director of Photography could, if sufficient- urged, bat out a color photograph or two in short order. Indeed, results would be limited only by the limitations of the particular process employed. Which brings us to consideration of these limitations under actual production conditions. Almost any of the color processes now offered are capable of turning out splendid laboratory samples. But haw do they stand up in the face of actual firing? We diligently remained away from proprietors of the in- dustry's newest infant, color. Parents are notoriously un- reliable witnesses as to the behaviorism of their own off- spring. Likewise, nursemaids whose acceptance of weekly wages implies a commendable and layal blindness to unbe- coming conduct. Rather, we sought out the youngster's playmates—the other kids in the neighborhood, so to speak •—to find out their straight-seeing observations. In other words, men experienced in practical studio production meth- ods with nothing at all at stake. These are the studio men who have tackled the jabs of producing the half dozen or so color features that have gone through the mill in the last year or more. For obvious reasons of policy they don't care to be directly quoted. But they talk over their experiences with color in the mutually helpful spirit of trying to make something of it. Tribulations are many. All of them are laid before the door of peculiarities of the processes. What follows is fairly general consensus. At the present stage of development, there appear to be many still unknown qualities of colors in terms of photo- graphic negative. Colors clash and fight among themselves. Strong colors trample over weak colors. Light absorption and reflection characteristics fluctuate with compositian of pigment, texture of surface, intensity of light falling upon them and the angle from which it falls. Colors perform strange tricks at most unexpected times and for no apparent good reason. One may suddenly decide to stand up and cheer, or roll over and play dead. And the perverse little devil usually does it at just the wrong time. It is reported from one dYector, "Despite our best efforts, colors will suddenly pop up and bark at you." Admittedly, it's a tough job trying to make these colors behave. Light readings are taken from light sources. On a set, with light pouring in from three directions, readings are taken of all three and the two highest are averaged. Exposure is set from this mean figure. Color? This estimate of maximum source light can be but a general approximation. Reflected light—light actually falling on camera lens—is seemingly impossible to measure accurately at present; manifestly, one can’t take a meter reading from every square inch of the many colors on cast, wardrobe, props and set, nor from all the characters as they move to various points on the stage during the scene. With exposure set for what is considered a safe average —determined from theoretical laboratory tests—it is only to be expected that certain of the colors will "pop out" while others, reflecting less than their average quota of light, wash out. It's a very involved situation. The marvel is that the color processes get as good results as they average in the face of their present stages of growth. Constant alertness is maintained to keep these cunning colors from stealing scenes. An extra name is added to the camera crew salary roll. He is a sort of color script-clerk who makes a complete list of all colors appearing in the scene and where. This goes to the laboratory which tries to match these specifications with film, making such cor- rections on the film as are needed. But printing down, or up, to correct one color affects all the others and unbalances the delicate color composition. How much of the total pictorial value of a scene is lost in these laboratory jugglings, by light cut-offs of camera prisms and filters, and such, is difficult to say. One di- rector is quoted to the effect that one process conveys to the screen only about sixty percent of the scene's total passibilities. In other words, forty percent of the scene's production effectiveness is lost between lens and screen. The process isn't equal to its job. Focusing by eye is practically an impossibility. With one type of color camera, ane squints through a peep-hole in the rear of the machine and attempts focus through the back of the negative that registers the green. There are various and sundry instruments, measurements and calibra- tions which according to arbitrary charts, scales and for- mulae should provide focus determinotion. Under ideal canditions, it works. Scratched negative is an ever-present hazard. Minute particles from the bi-pack and other sources gather at the gate and invade other camera areas. It is distracting, putting it mildly, and costly, for director and cast to repeat a perfect performance merely because negative acquired scratches. If scratches are not noticed on the spot, retakes are in order upon viewing rushes. In California, sunlight from intensely blue skies is often highly polarized, falsely exaggerating the blue values on film. Pola-screens have not been used with any degree ot success. Faces of players frequently come up unnaturally and un- flatteringly shiny. This is traced not so much to the make- up technicians who dig heavily into their resources to rem- edy the situation, as to the excess light which throws off a noticeable sheen. Scene-taking is reported to run at least twenty-five per-- Continued on page 424