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94 CINEMATOGRAPHIC ANNUAL
Cinematographers universally rejoiced and photographic results were universally better.
Much of a theoretical nature has been written by the experts of the film companies. Several of these special articles will be found appended to this article. However, the writer here will attempt only to bring out the more practical aspects of the new film and its use, and will leave the curves and more technical details to the men who are far more able to discuss them.
While much stress was laid at first upon the speed of the new film and the fact that it was approximately fifty per cent more sensitive to daylight than the old film, this speed, to the cinematographer, is not as important as the fact that this new film makes possible a tremendous improvement in photographic quality, due to its immeasureably superior rendition of color.
Oliver Marsh, A.S.C., one of Hollywood's well known cameramen, in writing about this new fast film for the American Cinematographer magazine1 gives some practical views that should be of value to the readers of this article. He speaks after photographing two productions and after making extensive tests.
"After all", says Mr. Marsh, "it is of relatively little importance to the studio cinematographer that the film is some forty per cent more sensitive to light. Such monetary saving in electric current as is possible would be valueless if the quality of the picture is harmed. Therefore, this new fast film is of merely minor importance if it brings only increased speed without improvement in photographic quality. But if it brings not only a considerable increase in speed, but also a proportional increase in photographic quality, then, truly, it is a great advancement in cinematographic technique. And this new film is exactly that.
"It gives an increase in speed of some forty per cent and it gives an even greater improvement in photographic quality — which represents its real claim to importance for studio work. Speed alone is sometimes an advantage in studio production, but improved photographic quality is invariably of vital importance. And, since the new fast film embodies both these qualities to a high degree, it is of actual, practical value in our exacting work".
There is the practical man's viewpoint, and when a man of the ability of Mr. Marsh speaks as he does it means that real achievement has been attained in the new film.
The matter of color rendition with the new film is an important one. And it is in color rendition that the new film excels. It is generally conceded that the best color rendition is that which most closely approaches the natural visual brilliancy. The old Orthochromatic film distorted these relative values very badly, despite anything that the cinematographer could do with filters and careful arrangement of lights. The cinematographer had to be satisfied with that film until Panchromatic appeared. That was a memorable advancement. But then came Mazda lighting and an improved panchromatic emulsion. By that time the cinematographers had learned to use the new tool quite effectively, and good color and tonal rendition