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1950 EFFECTS OF COLOR TEMPERATURE 73
nant rather than color temperature, since it is color balance that is actually meant.
In setting up a color process, whether it be one which uses three separate negatives, like Technicolor, or an integral tripack coated on a single base, such as Kodachrome and Ansco Color, the maker balances the film for a particular color ratio in the taking light source. So far as we are aware, very little information has been released by Eastman Kodak and Ansco on the procedures involved in this and the standards used, and it might eventually become an important contribution to a better standardization and simplification of nomenclature in this field if the manufacturers were disposed to co-operate in setting up specified procedures. It must not be forgotten that the illuminant under which color motion pictures are taken is not an end in itself but solely a means to an end, that end being a positive color film which the ultimate beholder will find agreeable and acceptably realistic.
Color temperature, in motion picture production, is not an academic question. Given a particular color process and a particular batch of film, what is desired is to make a balanced set of negatives on that film, using whatever light may be necessary for that purpose regardless of what this light may be called or how it may be classified. The basic conditions to be satisfied in this direction were laid down many years ago, when the practice of color photography was in an almost purely empirical state, in terms of what is known as "the first gray condition" and "the second gray condition." The first gray condition specified that a neutral gray, photographed through the three taking filters, shall produce equal densities in all three negatives, and the second gray condition specifies that equal densities in the three negatives shall produce a neutral gray, or a good approximation thereof, in the finished positive. Today, we should probably modify that a little bit, recognizing that in such processes as color development and some other means of forming colored images, equal silver densities do not necessarily yield equal dye densities. Therefore, the "first and second gray conditions" could probably be more accurately reworded to say that "a neutral gray object, photographed through the three filters, shall produce correctly balanced densities in the three negatives, and that correctly balanced densities in the three negatives shall be those densities which produce dye densities in the positive giving the best neutral gray of which the process is capable."
The simple statement of the problem in this way holds the whole basic question of photographic color temperature, and helps to point up the fact that what we are interested in is not color temperature per se, but a certain specific and definite ratio of silver densities in the