The Cine Technician (1938-1939)

40 T H E CINE-TECHNICIAN July-August , 1989 LIGHTING FOR THE NEW FAST STOCKS (Reprinted from "American Cinematographer) FAST FILM is unquestionably the technical topic of the day. The recent introduction of two sensationally faster production-type emulsions — Agfa's "Supreme" and Eastman's "Plux X"— offered cinematographers a revolutionarily improved material upon which to work. At the same time, the tremendously increased speed of the new films — fully twice that of previous films — gave rise to new problems in putting these emulsions to practical use. A basically important aspect of the problem is lighting. The new emulsions require far less light to give a normal exposure. How, then, shall this reduction in exposure be accomplished'.' In theory, several methods present themselves: which is the most practical? In addition, what detail differences in lighting technique for the old and new films may exist to trap the unwarj newcomer to plus-speed filming? Since the new films are only just finding their way into general use, there are many who have not as yet had an opportunity to find for themselves the answers to all ot these questions. From among those members of the A.S.C. who have actually used the new films on production the following opinions have been gathered in the hope that they will in sonic measure make things easier for others, here and elsewhere, who are just beginning their personal use of these newest cinematerials. "CAFE SOCIETY" FIRST ON " PLUS X" TEDDY TETZLAFF, A.S.C, is understood to hold the honor of being the first to expose the new Eastman product on actual production, using it in filming Paramount's "Cafe Society," He says, "Changing to Plus X I have simply reduced the average intensity of my lighting between 35 and 40 per cent." He continued : This is a relatively simple matter. Actually, the electrical department did much of it for me by fitting smaller globes in my lamps, replacing the usual 2,000watt globes in 18's and Juniors with 1,000-watt ones, and in the larger units replacing 5,000-watt globes with 2-kws. Some of the smaller units — "broads," "rifles" and the like — cannot well be fitted with smaller globes as they are designed expressly for the 1,000-watt PS52 globe. (A 750-watt PS52 globe of the same dimensions is now available.— Ed.) These lamps are therefore either used with more diffusion or moved farther back. The big thing to remember in changing films and making such a reduction in lighting is that in changing the intensity of the lighting, the balance must not be changed. Don't, for instance, make all the reduction in your highlight levels, or in your shadow level ; if you do, the balance as a whole will be thrown out of key. The results will naturally not be good photography, and you will find yourself blaming the film instead of yourself for what is really a mistake in lighting. For the rest, don't become too overawed at the changed speed of the new film. Take it in your stride ! If, is is sometimes necessary, you have to change films with too little opportunity for making advance tests, change your lighting gradually, making the obvious reductions at first, keeping your balance normal, and let further changes come later, as you get accustomed to the film and the new . low illumination levels. WATCH HIGHLIGHTS WILLIAM MELLOR, A.S.C. : I've had the experience of using both the Eastman and Agfa fast films and my experience agrees with Tctzlaff's. The most important thing to keep in mind when changing jrom conventional to last film is the importance of a normal lighting balance. Keep that, and exploring the possibilities ot the new film is a real pleasure. I'sing ordinary film, we know there must be a definite relationship between the most intense highlight and the deepest shadow. With the new fast films this is more important than ever. There is apparently less latitude to protect you. The film technical experts tell me this is due to a combination of a slightly sharper break in the shoulder of the H. A D. curve and the changed printing quality of the far finer grained negative. In practical terms, it means — watch your highlights ! With the older film highlights could often be lit quite a hit too "hot" without seriously affecting the quality of the print. W ith the new film, let them grow just a little bit too "hot" and they "burn up." In the old days there used to be a saying, "Expose for the shadows and the highlights will take care of themselves." With the new film, we've got to turn that statement around. Today we must watch our highlights — and the shadows can pretty well take care of themselves. Aside from this, lighting is still lighting, even if done in a lower key. In general, use smaller globes than usual. In the floor units, either use small units or, if you prefer, move standard units farther back and diffuse a bit more. Then forget about film speeds and reduced lighting levels, and go ahead and balance these elements in your accustomed way." LIGHTING WITH "BABY JUNIORS" ARTHUR EDESON, A.S.C. : I've just finished a picture on Plus X. The new film made me work harder than ever before — but the results on the screen are worth it. The whole thing can be summed up in a nutshell by saying that the secret of using the new film is keeping your lighting balance normal even though you have less light to balance. I've reduced my lighting level largely by using smaller globes and smaller lamps. So far it seems impractical to use fewer lamps, for lighting balance depends on the angles of light as well as intensity. And we've still got to keep our established number of lighting angles for any scene, whether or not a high degree of illumination comes irom each source. Personally. I've been lighting my sets largely with Baby Juniors and baby spots modernized with Fresnel lenses. The speed of the new film is such that it is uncanny what can be done with these tiny 500-watt units. And of course where larger units are necessary, Juniors and 18s fitted with 1,000-watt globes instead of the usurd 2-kw ones do the trick. If you can just remember to keep your lighting normally balanced, regardless of the reduction in overall intensity, you'll find that the increased speed of Plux X is only part of the story. The real thing is improved photo