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1950 EFFECTS OF COLOR TEMPERATURE 77
suitable meter. With standardized color matching sources of this type, makeup colors could be standardized, ending the present chaos. Different studios, using the same Technicolor process, employ sharply differing basic makeup colors. Which are correct? Which are better? It would seem that this might well be a matter for the attention of the Research Council of the Academy of Motion Picture Arts and Sciences, rather than the individual manufacturer of cosmetics. As regards camera tests of makeups, fabrics and the like, it goes without saying that the color of the illuminant should be rigorously controlled, so that it may be duplicated during production.
2. Taking Illuminant. The causes of variation in the color of the prevailing illumination on the set or on location are so numerous that an entire paper could easily be devoted to them. In the studio, the type and age of lamps, the line voltage, silks which grow yellow, niters which fade, arcs which smoke — these and a score of other factors — make the color of set illumination problematical. In the open air, there are comparable variations due to meteorological and geographical conditions. We know that reasonable errors in balance can be corrected later, provided the error is fairly constant over the entire frame. Nothing can be done, however, if it is a single face, or a single portion of the set. Control by means of suitable instruments will reduce the need for laboratory correction to a minimum, and should virtually eliminate scenes which cannot be corrected.
3. Film and Filter Balance. We know that there is some unavoidable variation in manufacture, in the age of the film, and so on. However, if we hold our tolerances closely on the color of the taking illuminant, the requirements of a particular emulsion number can be determined accurately and closely met. Naturally, we must be sure there is no serious image regression through too long storage after exposure and before development, since this affects balance very adversely.
4. Nonselective Objective. This is a minor item, but yellowed balsam in an old lens can affect blue transmission perceptibly, and lowreflectance coatings which are all of the purple type can drop red and blue transmission as much as 6%. All blue or all yellow coatings give an even worse result. The remedy, of course, is to discard old and yellowed objectives, and to have low-reflectance coatings applied with a suitable mixture of purple and brown surfaces.
5. Negative Processing. This has been so adequately dealt with in other papers before the Society that there would be no point in repetition here; however, better standardization of illuminant, film and filter relationships will obviously make it easier to obtain uniform laboratory results.