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COLOR 777 toward red for day use is wrong for tungsten (Ansco artificial light designation) use (so-called from the old tungsten filaments) and will produce a reddish image. It is possible to use daylight film at night, provided a bluish light is used from a blue photo- flood or similar lamp fitted with a blue filter. In general, a color film may be used over the television film camera chain without any deterioration of definition or contrast provided there is not too much blue in it. In fact some producers, notably Bud Gamble, are making all their films in color so that they can reach a double market in the home movie and 16 mm theatre libraries as well as the television stations. There is no ob- jection to doing this provided the cost is not excessive for the pur- pose at hand. It is also extremely good practice in using color film. The focus of Kodachrome commercial stock should theoretically be better than the type of film with emulsion on each side due to more precise focussing. All the precautions taken in connection with lighting for black and white film apply even more particularly for color work. The user of color will be familiar with the effects produced by improper exposure, and the beginner will do well to read the instructions which come with the film package. However, it will not be out of place to mention a few points which sometimes cause grief for be- ginners in color photography. Supplementary lighting is much more important in color work than black and white since the contrast range, or range of subject brightness, is more limited. As a rule, softer contrasts are required for color, but because of the contrast obtained by color itself the lighting contrast can be re- duced. It is important to have adequate lighting in the shadow parts of the scene; otherwise, they may lack detail and appear as solid blobs of very dark color or even muddy black. When color television arrives, there will be a place for color directors to do the job that Natalie Kalmus does for Technicolor today in advising producers on colors for their shows. Most of the usual rules, such as avoiding busy backgrounds especially with vivid colors, apply. Cognizance of the fact that color is only an aid to the picture and that the picture is not a vehicle for artistic