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Nov., 1945 PRACTICAL UTILIZATION OF MONOPACK FILM 329
Those having experience in photographing with Eastman Kodachrome reversal film will find that experience valuable when exposing monopack. In many ways the film characteristics of the two are the same.
It may be of interest to know that the exposure stops on Thunder head ranged from //2.8 to //16. The interior scenes were photographed at//2.8. Exterior exposures varied from //2. 8 for the dark canyon and waterfall scenes, which were made under the weakest of lighting conditions, to an average of f/8 for the regular landscape scenes. Cloud scenes and under-cranking to speed action accounted for the smaller stops mentioned. The exterior night scenes were, of course, taken in the daytime, and for these scenes the film was one stop underexposed to increase density of shadows. In the printing of these scenes we requested that the prints favor a bluish cast for the cool effect and to simulate the generally accepted conception of moonlight.
I have been frequently questioned about the scene containing the moon. This scene was made by employing an old trick of cameramen — that of double-expqsing the real moon over an undertimed scene previously made in the daytime. The scene in this case was taken with a 35-mm lens exposed at*//ll and the moon was photographed that night with a 4-in. focus lens at//2.8 on the same film.
Many of the same trick devices that are helpful in obtaining scenes with black and white may be made with single-film color. For example, in a scene preceding the horse fight, a split-screen double exposure was made on the location where the wild horse is apparently pouncing upon Roddy MacDowell. In the racing sequence there are 2 rear projection scenes, the plate being also photographed with monopack. Because of the fine definition of the process plate, these "process" shots are not inferior in quality with the normal scenes and can scarcely be detected.
To me, an interesting problem occurred in the sunrise sequence. To convey time lapse and distance covered, as well as an opportunity for pictorial effect, we dissolved from the night waterfall scenes to a sunrise scene. The next series of scenes which followed had to go on with the story and be delineated in full light. The sunrise scenes are naturally yellow in hue, as should be, but the next cut into the "hidden canyon," by necessity, had to be photographed at noon. At midday normal sunlight is white and vastly different in color from that at sunrise. Correction was made in color printing for the