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Mr. Lucas: Has Mr. Baker any figures giving the possible relative cost of this process compared with the ordinary processes ? :
Mr. THORNE BAKER: We have got all those figures, but I wouldnotlike to discuss them to-night. Thereis no arrangement at the present moment for producing the stock in a commercial way and it will probably take some months, and during that interval I would rather be excused from going into that point. I will only say as far as we are concerned, the cost is very little over that of black and white. :
Mr. WaLEy: Can you tell us whether the process is going to be available in the 16 m.m. film ? 3
Mr. THORNE BAKER: We have made quite a lot of 16 m.m. shots and put them through the standard Kodak projector. The loss of light is about the same as with Kodacolor.
DISCUSSION
Mr. Ross: In regard to my query about the reflection, why I asked that was this, During the time I have been photographing black and white I have had many other people come along with colour cameras and they have been afraid to take something except without any light and shade, and that is why I wanted to know if I could get some idea as to whether it was natural light, and understanding that it is from Mr. Thorne Baker, I think it is the most marvellous thing I have ever seen..
Mr VINTEN : I have had a good many years on colour. I have seen a good deal of stuff during my years of working and got the impression it is very detrimental to use colours in a darkened cinematograph hall. The colour pictures seem to be over brilliant and over coloured. The best Kinemacolour pictures produced were those where they selected neutral tints and they balanced the extra brilliant scenes from an arc light. The right way, I think, to develop colour photography is to increase the light somehow in the theatre so that we do not get such a contrast.
Mr. EvELEIGH: Arising out of Mr. Vinten’s question, it is, I think, a Home Office order that there is a certain amount of lightin atheatre. That varies according to the taste of the lighting engineer in the first place. As to the actual rays sent out by the lamps during the preformance, I have seen various types of colour schemes used, and I cannot say I have noticed any difference in the picture on the screen, whilst the house lighting is on. We have seen these to-night without any light at all. Arising out of that very thing, has Mr. Baker seen this reel in a theatre with the full lighting on or only with the house lights on ? It would be rather interesting to know.
Mr. THORNE BAKER: With the ordinary lights down.
Mr. VINTEN : Take a 16 m.m. colour film and run it on a daylight projector and you will find the colours are far more pleasing than when run with artificial lights.
Mr. WILLIAMSON: This is the only three colour process that I have seen, other than the old Zoechrome, and following Mr. Ross’s question of light, in the old days I think people thought that colour processes were handicapped by the slow development of stocks. To-day I think we can dispense with Mr. Ross’s objections by saying that every commercial colour process can be used in the studio to-day. The results to-night certainly have reproduced more colours, more faithfully, than perhaps anything I have ever seen. It will become an art to use colour, and undoubtedly we are going to add to the studio staffs by having colour experts, who will know how to get the most pleasing results on the screen. The disadvantage of the two-colour process may be overcome by artistry in the studio and in the setting. I am naturally one who believes more and more strongly that colour is the next development, and the more of these processes that are made commercial and pleasing, I think the sooner it will be that the general use of colour will come about. I feelitmay besometime yet beforeitisin general use because people may be frightened of it. All the processes, Technicolour, Multicolour, and several others aim at giving the studio executives and the studio operators as little trouble as possible, and I think that is a strong point in favour of this process that all the work is done at the laboratory end and not the studio.
Mr. WILLIAMSON, SENR.: From what I have seen to-night it seems to me to be ‘it ’’—-what we have been waiting for all these years. You are apparently going to give us a film which we can expose in a camera in the same way as we had to do with a coloured plate. If a film is going to be produced and reproduced in that simple way, I think I am justified in saying that the Spicer-Dufay film is “it.”
Mr. Eveceicu: I think Mr. Vinten has given me this idea. Have you tried projecting this through a ground glass screen, in other words back projection ?
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