Movie Makers (Jan-Dec 1949)

456 MOVIES IN COLOR: 1 Indoors or out, Kodachrome or Ansco Color, here are the basic characteristics every amateur should know about today's color films . . . The first of a series THE use of color film byamateur movie makers has become so general that it is safe to say black and white emulsions are now used only by necessity — economic or otherwise. Fortunately, it is easier to make effective movies with color film than with black and white, even though everyone knows that exposures must be accurate to within one half stop. The eye-filling beauty of full color completes the picture and releases the camera operator from the need to seek accented lighting effects as he must do when shooting in monochrome. Although brilliant highlights and velvety shadows may be put to work in color filming also, still it is safe for a movie maker to employ general flat lighting without risking monotony. This is because the constant change in color patterns diverts the attention of an audience to such an extent that the unimaginative lighting schemes will go unnoticed. It is, indeed, easy to create effective movie scenes in color, but there may be times when unsatisfactory results are obtained. These generally are due to the more obvious causes of failure — underexposure or overexposure — which can soon be corrected. Of prime importance is a basic understanding of the color material you have to work with and its characteristics under all photographic conditions. Let us examine these materials. TYPES OF MOVIE FILM AVAILABLE The amateur movie maker has available to him two brands of color film which he may purchase for use in his camera: A. Kodachrome, manufactured by the Eastman Kodak Company, Rochester 4, N. Y. B. Ansco Color, manufactured by Ansco, Binsrhamton, N. Y. In these brands, the following film sizes are made: A. Kodachrome, in both 8mm. and 16mm. widths. B. Ansco Color, in the 16mm. width only. In the widths indicated, there are two. types ©f color film offered by each manufacturer: A. Outdoor film, known as Daylight Type in both of the brands. B. Indoor film, known as Type A Kodachrome, or as Tungsten Ansco Color. There are these two types of film (outdoor and indoor) because of differences in the color qualities of outdoor and indoor (artificial) light. These differences are expressed technically in degrees of color temperature (°Kelvin), a matter into which there is little value for the amateur to inquire deeply. We shall refer to color temperature ratings only in so far as they will serve to clarify other needed data. TO ACL MEMBERS Late in 1949, the Amateur Cinema League brought off the press a revised edition of The ACL Movie Book, our basic handbook of the hobby, and began its distribution to members joining the League at that time. The major revisions made in the book took place in Chapter XVII, Movies In Color. This material — on a subject of the greatest interest to every amateur — was enlarged and wholly rewritten to provide complete coverage on all aspects of modern color filming. So that this new and improved data shall be equally available to all members of the League, we begin its presentation in this number of Movie Makers. Three other installments will follow in immediately succeeding issues. — The Editors. The indoor films are readily converted to outdoor (daylight) use by means of a suitable filter, and the modified speed of the film will then be the same as that of regular daylight type film. The daylight type film may be used with artificial light if a suitable filter is used, but the film speed is then reduced so much that it is unwise to use daylight film with artificial light unless absolutely necessary. For certain effects, such as a lap dissolve from an outdoor to indoor scene, such use of daylight film is unavoidable. But it is only in extreme cases that it is feasible to employ it, because of the slow speed. INTERCHANGEABILITY OF THE TWO BRANDS The physical characteristics of Kodachrome and Ansco Color — such as width, perforations, thickness of film, etc. — are sufficiently alike so that the two films may be spliced together and projected interchangeably. Aesthetically, however, some differences may be noticed which will make this practice inadvisable. It is wholly a matter of personal taste and decision. CHARACTERISTICS OF KODACHROME FILM Daylight Type. This film is balanced for exposure in sunlight, plus skylight. It produces its best color rendering in bright or hazy sunlight during the period between two hours after sunrise and two hours before sunset. At other times, sunlight is not recommended for making pictures of people, although the warm, orange cast in the sun's rays may be very desirable in, for example, a landscape or a seascape. For bluish daylight conditions, and scenes taken in shade under a clear blue sky, or on an overcast day, and also to reduce bluishness in distant scenes, a Kodachrome Haze filter is recommended with no increase in exposure. Color rendering becomes warmer with the Kodak CC14 filter (% to % stop exposure increase), or still warmer with Kodak CC15 (i/2 to % stop exposure increase). EXPOSURE INDEX Daylight Tungsten ASA-10 ASA-4* W-8 W-3* GE-12 GE-5* *With Kodachrome filter for Photoflood. Type A for artificial light. This film is balanced for exposure with Photoflood lamps (3400° K) by means of which the best color rendering will be obtained. 3200° K lights (professional type) may be used if a Kodak CC4 filter is in place on the lens. Type A film can be used with daylight most satisfactorily if a Kodachrome Type A [Continued on page 477]