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144 -RAY August!
the actual product in real life as possible. While in a theatrical release, if the color of the dress of the heroine is a shade or two different | from the original, the color director may object but usually the "front I office" will remark, "What matters — it is still 'color by Technicolor.'"
When a color production is ordered and only 16-mm prints are required, the print job is comparatively simple. Shoot 16-mm commercial Kodachrome, make 16-mm contact duplicates, and you have your best possible release prints. However, when the client asks for i 35-mm and 16-mm prints in three-color, there has been actually only j one process the industrial producer had to turn to, Technicolor. I Technicolor production, as everyone knows, is not geared especially to industrial production budgets; besides, very often, industrial location work is complex and camera equipment must be as mobile as possible with minimum crews for extensive traveling. This paper does not purport that Technicolor does not meet the requirements, but that Technicolor is not an economical color process for certain types of industrial color production which this paper presents.
Of course, two cameras, one 16 and one 35-mm, might be used simultaneously on all shots, but this calls for an extra crew, extra equipment, extra film cost, lighting problems, and double editing, conforming, and handling all through the production. The purpose of this paper is to present a method one production company used to solve the request for 35 and 16-mm color release prints and to do it in an economical manner.
The basic 35-mm color film used was Ansco color camera film, Type 735, which is an integral subtractive color film of the reversible type. Introduced in 1946, this camera film is balanced for exposure by daylight and the best color rendition on exteriors is obtained in bright sunlight.1 For interior work, high-intensity arc lamps with Y-l filters are recommended for key-lighting with the fill light supplied by white-flame arc broads, such as Duarcs, or "CP" lamps filtered with MacBeth Whiterlite filters.
In our studio we have obtained good results with incandescent lighting equipment, using CP lamps with MacBeth Whiterlite filters, although extremely high total wattage must be used as an exposure level of 1000 foot-candles at //2 with color temperature of 5400 degrees Kelvin is required. That is better understood when one knows that the film speed is rated thus: ASA Exposure Index (r. Weston, 5; and General Electric, 8. Ansco UV-15 or UV-16 filter or the Wratten 114A filter is recommended for all exteriors and interiors. '