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matic process, is less restricted than in the three-colour process. The importance of completing the white is moreover relative, since everything depends on the sensation of the eye, which receives the impression of white from a x/2 Watt electric lamp, though it differs not a little from daylight, being much poorer in blue and violet rays, as we can note by observing a blue or violet coloured object at night by artificial light.
It may be said that the pair of screens used in bi-chromatic photography may be varied somewhat according to the subject and that while, in staged scenes taken by artificial light, it is expedient that the green screen should tend to blue, yellowish-green screens are to be preferred for three colour photography of open air scenes, the deficiencies in blue covering being counteracted by means of the complementary exposure under white light to which I referred in a preceding article.
Illusion and Relief in Bi-chromatic Cinematography.
While we ask of the ordinary cinematograph to give our eyes the illusion of form and movement, colour cinematography by whatsoever process it may by realized must give us a sensation that increases the illusion and approaches nearer to the truth; this does not depend entirely on the more or less faithful rendering of colour, but also on the fact that, thanks to variety of colouring, the details of a picture, which would be merged in the usual chiaroscuro image, stand out.
A colour projection, though the colours may be but approximate, so long as they are the result of selection and are not merely applied by hand (as they were in the Pathe-Colour process that has now well nigh died out) affords not only the suggestion of colour, but also of relief.
And here it is fitting to make a comparison with the still projection of natural scenes, in which the effects of relief, atmosphere, and distance are considerably enhanced when the ordinary slides are replaced by coloured slides obtained by the autochromatic, tri-chromatic, or bi-chromatic process.
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