International projectionist (Jan 1963-June 1965)

photoplavs. sagas of God's great out-of-doors, and spectacular epics of every conceivable kind. But the theatrical motion picture depends for its existence upon the human soul projected in an intense isolation: and for the deeper introspection of human nature, the profounder mood, monochrome appears to be the most suitable medium. As we said, the blindness of the old-time potassium photocell to the red and infrared wavelengths of exciter radiation prevented the unrestricted use of tinted-base stock for sound-positive printing. The need for moodcoloring monochrome productions was nevertheless occasionally met by toning the silver image without adding color to the base or to the clear gelatine of the emulsion. White areas of the photographic image remained white, but the halftones became sepia-brown or some other muted shade of color — a welcome relief from the expressionless achromatic grays of the silver image. Image-toning was possible because the metallic salts which replaced the silver of the photographic image are nearly opaque to the wavelengths which affect the photocell most strongly, thus insuring a normal sound level without affecting the signal-to-noise ratio. For presentlnv. Visible Invisible Wavelength (nyt) Scale of Electromagnetic Radiations FIG. 1 — The radiant emission of light sources, the response of photocells to various wavelengths of radiation, and the transmittance of radiation by colored plastics can best be shown graphically by a "curve" drawn on a rectangular network of co-ordinates. This diagram is just such a graph, but presented without a curve of any kind in order to reveal more clearly the range of radiation wavelengths in which we are most interested — a "spectrum" from 350 to 1200 millimicrons. Note that this range includes the visible spectrum (unshaded) divided into its characteristic color bands, violet, blue, green, yellow, orange, and red. Beyond the shortwave and longwave extremes of the visible spectrum lie the invisible ultraviolet and infrared regions, respectively. day use, the colored salts chosen for image-toning must absorb strongly in the low red and near infrared regions of the spectrum so as to "look" opaque to the S-4 type of photocell. Many projectionists will remember the bluetoned soundtracks of the old Cinecolor and Trucolor prints. The blue salt was a form of Prussian blue I ferric ferrocyanide), opaque to the infrared. The writer recalls several dramatic westerns and other "locale" pictures ( e.g. "The Good Earth" ) which were enhanced in mood by sepia toning. Also much used about 25 years ago was a beautiful process called Sepia-Platinum which resulted in a pleasing combina 400 500 600 700 800 900 1000 1100 IZ0O Wavelength (mu.) Emission of tungsten-filament exciter (2x00° Kj FIG. 2 — The emission of a tungsten-filament soundhead exciting lamp operated at a color temperature of about 2500° K (amber-yellow light) has most of its radiant energy concentrated in the infrared region of the spectrum. The maximum intensity of exciter radiation occurs close to 1000 millimicrons in the invisible infrared. tion of greenish pastel tones and chocolate-brown deep tones. Tinting and toning were often used together in silent-film printing practice. For example, a green image on a yellow ground produced by blue toning on "Sunshine" positive, a violet image on a rose-pink ground produced by blue toning on "Caprice" positive, a sepia image on an amber ground produced bv brown toning on "Afterglow." "Candleflame." or "Firelight" positive, etc. These and other attractive color combinations were especially frequent and varied in such "novelty reels" of yesteryear as Walter Futter's Curiosities. Pathe Review. Lynam Howe's Hodge Podge, and Paramount Pictorial. We miss the color effects as well as the lively variety of the movie shows of other days, for, after all. the public doesn't attend the theatre to be bored to death ! Tinted Film Glorifies the Screen The second question we have in mind concerns the improvement of theatre motion pictures by the use of tinted positive for monochrome feature-film releases. Is tinted film a boxoffice asset? That is to ask, will the average moviegoer enjoy the movies more when they are pictorially beautified, emoticnallv enhanced, and dramatically enlivened by the use of tone color for monochrome productions? Our answer is a resounding YES! Aside from the undisputed fact that tinted film allows pictorial effects which the dead white-and-grav scenes of monochrome TV sets are unable to duplicate, tinting and toning motion-picture film makes for visual interest, viewing comfort, and a significant intensification of the emotions being portrayed on the giant theatre screen. Let the case be stated by Dr. Loyd Jones, an authority on film and color who wrote on the subject during the transition from silent to sound motion pictures:* "There is little doubt that the employment of material which imparts a pleasing and variable color to the screen adds to the beauty of the production, breaks the monotony of looking for long periods at a plain blackand-white picture, and softens harsh outlines which otherwise may produce unpleasant impressions. But of much "The Lonely Life" by Bette Davis, G. P. Putnam's Sons, now also available in a Lancer paperback edition. "Tinted Films for Sound Positives" by Loyd A. Jones, Transactions of the SMPE, Vol. XIII. No. 37. 1929. International Projectionist December. 1963