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310 CINEMATOGRAPHIC ANNUAL
NATURAL
DE
:nsity filters
Filter
No.
Name
Filter Factor For
Super Type
Sensitive Two
USE
25%
2 2
Used to slightly soften contrasty scenes.
50%
3 3
Most popular of the Neutral Density filters. Used to soften harsh highlights or glaring skies.
75%
4!< AV%
Used to modify harsh contrasts, and in combination with fog filters, to produce general fog effects.
100%
8 8
To soften extreme harshness, such as sunsets, backlight on water, strong sunlight on white objects, as cement walks, etc.
SCHEIBF DIFFUSION FILTERS
Filter No.
Name
FLte. Factor For
Super Type
Sensitive Two
USE
Yi 0 0 For sLght diffusion in long-shots. When used with
25% Neutral Density, gives very beautiful soft effect upon foliage and water scenes.
1 Yl Yi For medium diffusion on light objects; gives the
slightly fuzzy softness popular with ail cameramen. Useful in making still enla gements.
1 Yl /4 Y* F°r extreme diffusion of long-shots. Used mostly,
however, for close-ups; eliminates most of the harsh lines on faces.
SCHEIBE FOG FILTERS
FLter Factor For Filter Super Type USE
No. Name Sens tive Two
Yi 14 V* F°r slightly hazy effects on both exteriors and
interiors.
1 Yl Yl Used with 50% and 75% Neutral Density filters
for fog effects. Used alone makes good effects on ~;- water shots.
1 Yl Yl Yl For extreme fog effects or ghostly sequences.
Principally used on water scenes with 50% Neutral Density filter.
The 49 C filter may be used as a viewing filter when using Orthochromatic film.
The Wratten 90 filter serves as a viewing screen for Panchromatic film, and when used together with any color filter will indicate visually the color rendition that that filter will give. The 90 must only be used for viewing purposes.
In using yellow or green filters (K-l, K-2, K-3, B) the best results will follow a very slight underexposure.
It is always best to overexpose slightly when using contrast filters such as the G, 2 1 , A and F.
A slight overexposure with all neutral density filters will give softer results. All neutral density filters may be used in combination with fog filters, depending on the results desired.
It is quite as important to shade the filter from direct sunlight as it is to shade the lens.
When not in use, all filters should be protected from moisture or direct sunlight. Moisture will soften the cement, and spoil the filters, while sunlight will fade certain of the pigments.