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96 riXKl.M -YTOGRAPHIC ANNUAL
be vastly improved, and with this improvement will come a surprising improvement in perspective."
This writer has seen comparative tests of the new fast film and the old in which the difference in perspective was so marked that cameramen have doubted that the same lens was used.
Mr. Clyde DeVinna, A. S. C, another master of the art of cinematography, also has some very timely remarks2 on the subject which may be of assistance to the cameraman who has not yet tried the new fast film.
"In addition to working faster and with more comfort, and therefore greater efficiency for all concerned," says Mr. DeVinna, "this new film makes possible a tremendous increase in photographic quality" — almost the same words as those of Mr. Marsh. "Unusual overall sensitivity is of little real importance in studio use, except as it enables a reduction in the amount of lighting equipment used, and thus improves the working conditions on the set. But there can be no substitute for color sensitivity. The color sensitivity of the new emulsion is truly a remarkable improvement over the old. It is much more uniform, and closer to the sensitivity of the human eye. In other words, colors now photograph more nearly as we see them. Furthermore, this new fast film has inherently a color correction which approximates somewhat the correction obtained on the old type of film with a K-3 filter. This, however, is a haphazard way of putting it; but it gives us an approximate index as to what we can expect. From it we can at least get an idea of where we start; that is, with a film which has the same general chromatic advantages as the older film with the filter stated, but without the overcorrection frequently noticeable.
"To my mind, the greatest advantages of the new film come in exterior work. In the long series of tests which I have made on exteriors with it I have not yet found any way to make this film give an unpleasantly harsh, contrasty picture. You can over-correct upon it, but you cannot make it go contrasty. Even under the most absurdly impossible filter and exposure combinations, and for all night effects, it will still give a naturally soft picture, with surprisingly luminous shadows, and soft high lights.
"Even without filters, it is surprising what the new film will do in the way of cutting through the haze of distant landscapes. It will pierce haze that the eye will not, yet at the same time keep a nice atmospheric balance. With filters it is sometimes embarrassing, for with these aids it will ruthlessly rip its way into the distance and reveal more than you have bargained for. The new film is a great aid to the user of the long focus lenses. Such lenses have a disconcerting habit of giving a fiat picture at times, unless the exposure and lighting are very accurately managed. The new film goes a long way to remedy this trouble. I have made tests with extreme telephoto lenses and this film, panning my camera so that the light through the shot changed from a straight cross light to a perfect back light. At all times the shot stood out as crisply and nicely as though it had been done with a normal lens."