British Kinematography (1950)

194 BRITISH KINEMATOGRAPHY Vol. 17, No. 6 Where the light sources vary, the lights themselves must be filtered individually to a common level. This may be time-consuming and expensive and, therefore, any sort of mixed lighting is to be avoided if at all possible. For use on lenses, the Kodak range of compensating filters, CC3-4-5-6 (blue) and CC1 3-14-1 5 (amber) are useful, but I have found that the CC20, 30 and 40 series mentioned above lead sometimes to a more pleasant screen result. The only occasion when mixed lighting really becomes inevitable is where a large area is being photographed where daylight is present and cannot be excluded. In such a case, I have found that the use of white flame arcs filtered, using a CC23, CC24 or CC25 filter on the lens gives satisfactory results. Let me emphasise, however, in all matters connected with colour balance the need for adequate tests. Tests enable the best light source-emulsion-filter combination to be arrived at, after which the use of a colour temperature meter assists in maintaining conditions constant. Art Direction. The important subject of Art Direction will now be briefly dealt with. Whenever possible, control should be exercised over the colour of objects and backgrounds. This is, of course, by no means always practicable, but it is often possible, even on industrial films, to have walls and machinery repainted in colours which are known to photograph well, so avoiding objectionable colour clashes and confusion which might otherwise result. Certainly the colour of garments, such as overalls to be used, can usually be influenced, and a further point is the need for complete co-operation and mutual understanding between all concerned in a colour production — from script to screen. In editing a 16 mm. colour film, it is important to do all possible to ensure a smooth-flowing picture. Smooth flow is not only a matter of action continuity ; colour flow must be smooth as well. The eye should not be conscious of the cutting, and there is nothing more irritating than clashes of colour, contrast or density from scene to scene. This means not only careful direction and photography, but careful selection of the master takes to be used at the time of editing. It will be remembered that bracketing exposure has been recommended, primarily for the purpose of minimising processing variations. Such a practice has an added advantage, however, in that it makes the task of ensuring colour flow in the film easier to accomplish, since, although not primarily made for the purpose, one has more than one take from which to choose in selecting the masters to be used. In this way one is assisted in grading the film in cutting, and, although a certain degree of grading is possible in printing, this leads to a better screen result. It is important that the laboratories should be given adequate time for their work. They too want to produce the best results, and any rush may mean quite unavoidably inferior work. This particularly applies to printing — if the job is hurried the benefit of all the careful work previously put into the film may be lost. Sound Recording. In regard to sound recording, the important thing is that the sound should be intelligible under the sort of conditions met with in average 16 mm. projection. These vary of course very widely, but it is probably true to say that in general the acoustics in the average hall where 16 mm. film is shown are poor compared with those of the average kinema. Further, as is well known, the response possible on 16 mm. film is inferior to that of 35 mm. film. The speech must " get through." The sound track on a Kodachrome film is not a silver image, it is a sulphide image, brown in colour, and the contrast range is reduced compared with silver. Whilst it is normal practice to employ a " tipped-up " track for 16 mm. work,