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36
BRITISH (CINEMATOGRAPHY
Vol. 23, NO. 2
scene. This responsibility should be vested in the art director, and he may, if he thinks fit, be guided by colour pilots of the adjacent
scenes.
Safeguarding the Plates
To safeguard against damage, two or three copies of each plate should always be available on the floor. In the case of moving plates there are the risks of scratching and of damage to perforations. In the case of still
plates, there are the risks of fracture of the glass and fading of the image. It has been our experience that Ektacolor images tend to fade in the intense beams of the projectors. To prolong their lives, it is advisable to " save " them whenever possible and to use for liningup a black-and-white print from the colour negative. If this is made to the same overall density as the colour print, it can be used for much of the time and will effect a considerable economy in the expenditure of colour material.
REFERENCES
Craig, G. J., " Eastman Colour Films for professional motion picture work." Biit. K'<ne., 22, 146, 1953.
2. Ross, H. McG., "The heating of film and slides in projectors/' Brit. Kine., 16, 38, 1950.
3. Ross, H. McG., "A new still process projector.' Brit. Kine., 17, 158, 1950.
Mr. Houlfs lecture was exceedingly well supported by an excellent demonstration. It is deeply regretted that it has proved impossible adequately to reproduce the colour slides which were used to illustrate the author's argument, any paper colour printing process having failed to reproduce consistently the
shifts in colour balance which were so admirably presented to the audience by the transparencies. For those members who were unable to be present at the meeting and whom the subject vitally concerns, the slides may be examined at the offices of the Society by arrangement with the Librarian.
IT — THE PREPARATION OF COLOUR PLATES FOR STILL PROJECTION
M. E. Harper *
AS a result of our experiments to date, the most suitable material tried out has been Eastman Kodak Ektacolor, a sheet film negative-positive colour process which can be exposed in any normal still camera. Its low contrast makes it suitable for process reproduction, which always adds considerable contrast.
General Procedure
The still cameraman shoots plates on Ektacolor Negative Film using any standard camera.
The art director briefs the stillman on : —
(1) Camera height ;
(2) Camera level or tilt ;
(3) Direction of the key light ; if exterior, this is the position of the sun (if any) ;
(4) Time of day (this links with No. 3) ;
(5) Focal length of camera lens. This is important, as the perspective must match with corresponding cine takes, especially if the plates are exteriors needed for reproduction in the studio with interlocking foregrounds ;
(6) Composition of picture.
Transparency Section, J. Arthur Rank Productions, Limited.