The Cine Technician (1935-1937)

106 The Journal of the Associatioji of CineTechnicians l^ec, iy36-Jan., 193; A.C-T. Inventor Talks Otto Kanturek on British Chemicolour [Otto Kanturek is joint Inventor, ivith Karl Grime and Viktor Gluck, of the British Chemicolour Process). The British Chemicolour Process is built up on a method in which photography is carried out in natural colours, that is to say, the colours are not applied mechanically or artificially, but are obtained by photographic means. The experimental work on the British Chemicolour Process set out from the hypothesis that the colour film can only find general application if its commercial exploitation safeguards the film industry against too heavy commitments and if, in manufacture and duplication, it is ma"de competitive as far as possible with the black and white film as regards time and money. One of the greatest difficulties encountered in colour cinematography has been the enormous proportion (anything up to 150%) of extra light required, which has not only occasioned high current costs but has also increased the number of special lamps and reflectors needed, viz., from ten to twenty times. Yet, in spite of this, the normal standard of modern cinematography could not be attained. According to data so far collected and based on highly reliable measurements and on already completed tests (involving 40,000 ft. of film), the actual proportion of extra light required by the Chemicolour Process, as compared with black and white photography, is only 10% to 15%, or even less, and a photographic standard is reached which is in every respect the equal of black and white photography. The experiments in make-up technique have demonstrated that, in the case of women, the desired first-class quality of skin texture in colour and photography can be obtained with less make-up than is needed in the black and white process, while for men there is no absolute necessity to use make-up at all. In this way the long-standing demand for soft pastel shades has actually been met in the moving film. Naturally, it remains an easy matter to make small subsequent adjustments or corrections in the intensity of the individual colours, without the whole picture being affected. In the application of the Chemicolour Process all errors of focus or depth are avoided in exactly the same way as in the case of black and white films. The images are absolutely sharp and, in their effect of depth, clear and plastic. The quality of the pictures depends, of course, on the skiU and ability of the cameraman. But this quality is OTTO KANTUREK. guaranteed, as far as the photographic, technical and colour aspects are concerned, by the very fact that, for photography with the British Chemicolour Process, any cine-camera which meets the requirements of modern black and white technique can be used, adapted only by a special device. The chief consideration is, however, that any lighting cameraman possessing ordinary knowledge of colour photography must, after very brief experiments with the Chemicolour Process, achieve perfect results. Any difficulty in the preparation of release prints in unlimited number, such as hitherto experienced, is entirely eliminated by the Chemicolour Process. Copies can be produced in any number desired and in the same time as black and white prints, yet without injury to the quality of photography or colour. For the projection of a Chemicolour copy no adaptation or alteration of any kind whatsoever is necessary in the projector, not even strengthening of the projection lighting ; on the contrary, a Chemicolour copy can be shewn without loss of quality on any school or home cinematograpli projector which, as is well known, carry only an incandescent lamp. Thus, the British Chemicolour Process really solves problems of the colour film, such as the simjilification of technique (possibility of employing any camera ; no rotating filters ; exposure, development and printing of copies in normal time ; and reduction of manufacturing costs during shooting). In "I Pagliacci," the new Trafalgar Films production which Karl Grune is now directing for world release by U.A. and which I am photographing, sequences will be made in colour by the Chemicolour Process. There follow further technical details of the new process : — Tlie British Chemicolour Process is the outcome of experiments extending over many years, during which time technical achievements in negatives, development, lenses, cameras, measuring instruments, lamps, etc., have all