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280 <MXK.\I ATOORAPHIC ANNUAL
ii not only protects the emulsions, greatly increasing the useful life of the print, but also protects the sound track from the dirt, scratches, and abrasions which so frequently ruin the sound far ahead of the picture.
In this printing process, an amazing amount of control can be exerted over the qualities of the finished picture. Not only can the overall density of the print be varied, as with black-and-white, but the color balance as well. While, obviously, there is only one "right" balance of color for any given scene, in case of need the balance can be artificially altered to fit the mood: an increase of the red print tending to warm the scene up, and an increase in the blue to cool it. •
The new Rainbow Negative does not alter any of these processes, but serves to improve the color rendition very noticeably, and increases the overall sensitivity of the process to exact equality with black-and-white. This makes it possible to handle Multicolor in production in exactly the same way as black-and-white. Anything that is possible in monochrome is equally possible in Multicolor with no other change than the use of Multicolor films and the adjustment of the camera gate to accommodate the two films. No additional lighting is required, nor any special arrangements: every lighting effect used in normal production can be used unchanged in Multicolor. Extreme high-key and low-key lightings can be used exactly as in monochrome, as can every imaginable trick of artistic camerawork, including glass shots and front miniatures. In addition, by the use of colored gelatines on the lights, an almost unlimited range of absolutely new artistic effects can be produced.
The writer has seen a number of such shots, the beauty of which so far transcended anything heretofore accomplished in either monochrome or color, as to convince him that an entirely new field for artistic cinematography has been discovered. One scene in particular is memorable: representing a mediaeval prison cell, and photographed in extreme low key, the interplay of the cold, blue moonlight shining through a barred window upon a beautiful woman within, and the mellow, golden glow of the candle-light from within the room was without doubt one of the most strikingly beautiful scenes ever put on the screen — and one which would be impossible by any other method. Closeups, made either with or without a diffusion-disc, were so startlingly natural that it was hard to believe one was looking at mere colored shadows.
The extreme latitude of the process was well demonstrated by some scenes taken late in the afternoon on an extremely shady street set, but in which the shadows were full of detail, and the highlights none the less absolutely natural. Another scene, made in the desert, pamming around from a very flat front-lighting to an almost complete back-light, showed even less change of density than monochrome would under the same circumstances. But the greatest step of all is the fact that Multicolor has achieved the hitherto impossible feat of making slow-motion pictures in full color! Since the introduction of the new Rainbow Negative numerous tests have