The Cine Technician (1938-1939)

•J 2 THE (IN E T E CHNICIAN July-August, 1080 LIGHTING FOR THE NEW FAST STOCKS [Continued from previous page) tube developed by General Electric, intended originally for house lighting. Jt gives a very soft blue-white light. Used for a trout light for faces, it is wonderful how it irons out wrinkles. The tube is big enough — about two leet long and two tubes are used in each lamp — so that the lighting seems to come from all directions — front, top, sides and underneath — giving a perfect, shadowless foundation light. These tubes couldn't be used with the old film. They are rated at only 20 watts: they don't give enough light to pick up on ordinary emulsion ! But they are perfect lor the new fast films. BUILD FROM THE SHADOWS THEODOE SPABKUHL, A.S.C. (just commencing "Beau Geste"): Since I'm only beginning my first picture OH the new film I don't feel 1 can say much about its use. Hut it seems logical to me that it may change our method ol lighting back to something like those we used some years ago. That is, first lav down a foundation of soft general lighting, and build up the halftones and highlights from this rather than the other way around. VICTOB MILNER, A.S.C. : The new fast film is without doubt the most important photographic advancement in a long time. The cinematographer has to be far more alert using the new film — in making "Union Pacific" I've worked harder than ever before in my life, but the results on the screen, in terms of better, more expressive photograph \ , are worth it. But I think that if we limit our thinking about the new film to the relatively simple fact that we can use less Light we are missing half the possibilities of the new emulsions. FLEXIBLE TECHNIQUE W e've got a film which needs less light for an exposure. Using smaller globes to put less light on the set is only one way of putting this quality to work. With the ordinary film we developed a technique of altering the key of our lighting to match the dramatic mood of the action. With the new film we can add to this idea, making the camera more expressive than ever. For instance, the other day 1 had a scene in an oldtime western saloon and dance hall. It was a big set, bright and full of picturesque action. Using the new film, that scene could have been lit with half the light I actually used. But instead. I used what would be about a normal lighting for the old film — and compensated by stopping down my lenses. That way I gained in depth and crispness in a way that enhanced the mood of the shot. At other times, I felt it best to lower my lighting level and keep my lens rather well open. This gave me softness and a naturalness better suited to that particular action. And when the action calls for such things the possibilities of the new film for effect lightings seem endless. AN ANUUAL SUBSCRIPTION (5/6 POST FREE —4/ TO A.C.T. MEMBERS) ENSURES REGULAR DELIVERY OF "THE CINETECHNICIAN." SEND REMITTANCE TO:— 145, WARDOUR STREET, W.1. l or this reason J feel that any attempt to set down rigid rules for lighting the new film is wrong. Jt can close our eyes to opportunities the new film otters for making camerawork more expressive. We've always prided ourselves on the thought that cinematography is as expressive a medium as a great orchestra. This new film widens that expressiveness. It makes it possible for us to run the scale between extremely soft, naturalesque low-level lightings (50 foot-candles or less), shot with lull lens apertures, to the opposite extreme ot higher-level illumination (perhaps as high as *2<J<t Coot-candles or more) exposed at greatly reduced apertures lor a new and greater depth and crispness. But we must keep ourselves mentally free to use these opportunities to the full, playing each scene visually for its best dramatic values. 50 FOOT-CANDLE -LEVEL CHARLES ROSHEB, A.S.C. (working on a large, stage-built exterior set lor Warners' "Hell's Kitchen"): Just look around you. if you think this new film isn't last. This is lit for a full daylight effect : but the highest light intensity is only 50 foot-candles by my G.E. meter. It comes from that H.I. Arc spotlight over there— nearly 100 feet away. With the old film it wouldn't pick up. With Plus X it will do so strongly. The rest of the lighting graduates downward from this 50 foot-candle level. Working at these low levels, a meter is a tremendous help in checking the fine distinctions in illumination between highlights, halftones and shadows. I've noticed one little detail which should be watched in using Plus X. Greater care must be used on "goboing off" lamps. If they are not shielded carefully, stray rays which in the past could be ignored will have a visible effect on the new, faster film. For instance, you see that "sky pan" illuminating the backing at the side. 35 or -10 feet from the action? Lighting escaping around its reflector is definitely helping illuminate the players down here. On small sets, the lighting units used must he much more selective, and better shielded, than before. The increased speed of the film must be watched if your are working with people with ruddy or florid complexions. It accentuates red tones. Grant Mitchell, who is playing in this film, has worked successfully without make-up in many films I've photographed. But in this one, due to the way the new film accentuates his natural coloring, he is wearing make-up for the first time. All of these things are of course details. But speaking more broadly, this new film, if one is alert and utilises not only the film but the improvements available in modern meters, lighting equipment and so forth, opens up the way to a lasting improvement in cinematography. REST AND BE THANKFUL (Continued from next page woman sat on a chair which wasn't there. A short about St. James' Park produced some unexpected reactions — for instance, shots of people walking about were sure-fire laugh-getters, and a man in a bowler hat sitting on a park bench, quietly eating a sandwich, brought the ceiling down . We left the island after a stay of about six weeks. Looking back to our time there, I realise now that it was, on the whole, a good time, though we were often disheartened and irritated by weather and other local obstructions.