Movie Makers (Jan-Dec 1933)

320 Dayton Snyder Transmitted light will give charming effects in color JOHN V. HANSEN, ACL Color counsel The hues of nature, vivid or delicate, call for Kodacolor FAITHFUL reproduction of the glorious colorings of nature has long been the goal of photographers, and the amateur movie maker is particularly fortunate for he has one of the best media yet developed — the Kodacolor process. Now, due to faster emulsions and improved filters, there is no closed season for color filming. In fact, the cameraman needs hesitate only when the light intensity comes under the category of "very dull." Even this warning may be tempered by one's judgment of the type of scene being made, for it is evident to any user that the scope of Kodacolor exposure is wider than generally is thought. At present two types of filters are in use. The older of the two is the familiar tricolor filter which slips into the lens barrel; exposure is controlled by means of neutral density filters that cut down the light without affecting color registration. The newer type of filter also slips into the lens barrel but incorporates a special diaphragm, which enables the cameraman to decrease the amount of light admitted without resorting to the addition of filters. When open to capacity, this filter will pass about seventy five percent more light than the older type. At the smaller openings there is a very helpful greater depth of focus. For some reason, many color filmers expend their main effort on closeups and near shots, rarely venturing into the field of middle distances — and then only in fear and trepidation. As for the long vistas — the picturesque, nestling town in a charming distant valley, the expanse of rolling country flecked with patterns of fields and woods, wide waters terminated by the green of the shores or the remote, majestic mountain tops, veiled in delicate blue haze — they are thought flights of fancy and beyond the capacity of color films. But this is a fallacious assumption and is the regrettable cause of the sacrifice of many rare opportunities. Given the proper light and atmospheric conditions, the correct exposure, a clean filter and the right distance setting, this marvelous color medium will register every hue, value and intensity appearing near and far, provided there is color in sufficient mass to retain distinct and noticeable space in the completed picture. The most difficult problem faced by the amateur is that of exposure. As the experimenter will soon find, the exposure markedly affects the brilliance and intensity of color values. Some users keep an exposure record and build up their judgment by experience, while others rely on exposure meters. For the more inexperienced, the exposure meter will work wonders. The other method soon brings its own reward in better pictures and a fuller appreciation of picture possibilities but it requires more study of light intensities than does ordinary black and white filming. In the study of light for Kodacolor filming, three different classifications should be considered — reflected light, transmitted light or a combination of both. The last two mentioned must not be confused with what is termed backlighting for, in this type of lighting, the subject does not necessarily— or usually — transmit light to the camera lens; the image is recorded by means of reflected light even though the source of illumination is behind the subject. Amateurs confine their shots almost entirely to those made with ordinary reflected light, for few realize that pictures made with transmitted light often exceed in charm and beauty those taken by reflected light. Perhaps the opportunities are somewhat limited but the resulting effect tenders compensation in softness and delicacy of hues and values, while, as a whole, the light and color rendition can be woven into striking and fascinating compositions. Foliage and garden objects provide an excellent field for this type of lighting. Closeups of translucent orchids or the large petals of other flowers are obvious possibilities, but filming need not be limited to closeups by any means. Even medium shots made with transmitted light are possible, especially in the fall season. A composition with a background of green trees, lawn or sky, with the principal object a large bronze maple or blue beech through the foliage of which the sun's rays pour in sparkling streams, is bound to bring thnlls when seen on the screen. There will be one time of the day when the light will be just right for such work and only a little study of the scene is required to capture it. When the camera is facing the light, one must take precautions to prevent the direct light from striking the lens. A sunshade or matte box will help and is invaluable in many ways to the serious color worker. Under ordinary conditions. [Continued on page 342]