Proceedings of the British Kinematograph Society (1931)

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he puts it : ‘‘ They all came off first time and I’m wondering when the beginner’s luck will break.”’ Mr. Honason : Is a light used on the set, with a blue light behind it, and, if so, how is the balance arrived at ? Mr. EveELEIGH : I understand from Mr. Martin that the lighting is a case of trial and error. The result required is known, but no guarantee can be given that it will come off first time. That holds good, of course, with any “ special process’’ work. I once saw an avalanche made in miniature. It had to be shot ten or twelve times before a result was obtained which was really convincing. I know of one Dunning shot which was taken 22 times before its makers were satisfied. Mr. Hopeson : What type of camera is used ? Mr. EveveicuH : Mitchell or Bell & Howell adapted for multicolour are quite satisfactory. They have a special gate to take Bipack negative and double magazines. I understand that Debrie have a camera adapted to take Bipack now, but 1 have not seen it personally. Mr. Hupson: Another question : the gauge of the positive and negative, naturally shrinkage will occur ? Mr. EvELEIGH : From what I have gathered, the picture is never used longer than a week after it is made. It is allowed to stand for two or three days to season, and the scene is then shot within a week. : Mr. Honveson : But it is a fact that the positive will not be the same as the negative. Mr. Eveveicu : Naturally. Mr. Hopvason : How does the process stand with regard to colour photography ? Mr. EvevetGcu : I had a letter from Hollywood only last week in which it was stated that tests were being made in this process with a view to making shots in colour, but that they were unsuccessful. The whole question of colour technicology is now being thoroughly explored. Mr. Hopason: There is a definite limitation to the Dunning process at present then ? Mr. EvELEIGH: Undoubtedly. With any of the special processes the subject must be carefully chosen. Mr. Pontina : It occurred to me that the shot showing the sleigh coming down the sleigh run is incorrect. Having made your background, anything in the foreground must be made to synchronise. I hold that it is absolutely impossible for anyone or anything to go round the angle as that sleigh did. Whilst there is so much to praise it does not seem the right thing to criticise. However, another thing which struck me was that the lighting of background and foreground in some instances did not match. As regards the use of this process in some of the places I have been, I must say it would be marvellous to be able to use it. I have travelled quite a lot, and have obtained negatives in China, India, Japan, etc. It would be wonderful to put figures in such backgrounds. Supposing a negative had shrunk, would there be any difficulty about using rit 3 ? Iam wondering if some of my old negatives could be used for backgrounds ? Mr. Eveveicu : Any negative that will go through a projection printer may be used. The Author would like to make the following observations, since he was unable to be present during the dicsussion. Regarding balance of light, this balance is arrived at by means of hand tests developed on the set. Very little time is taken up by making these tests and a perfect balance is obtained. Every assurance can be given that it will ‘come off first time,’ and it is very seldom necessary to retake. Dunning transparencies are made on Bell & Howell perforated stock, consequently the,perforation pitch is the same as in negative stock. As regards Dunning Process in colour cinematography, since the process is based on the utilisation of complementary colours, it is impossible to use it for colour w ork. No tests in this connection have ever taken place as it is quite obvious it could not succeed. Mr. Ponting raised the question of the sledge scene, in which the foreground action is out of synchronisation with the background scene. It was for this very reason that I mentioned in my paper that several of the scenes to be shown were N.G. takes. This is one of them. In the actual take used the synchronisation was perfect. Old negatives can be used for backgrounds prov ided they fulfil the general requirements dealt with in may pper under the heading ‘ ‘ Process Backgrounds ”’ and provided they are quite steady. 6