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176 Transactions of S.M.P.E., August 1927
back than in the front." He wouldn't beheve it. I showed him with a pencil how the shadow came towards the camera. At the time I was making the photographs of paint-makers' charts, I also got a set of dyed hair, and had it photographed under the same conditions. I only got two colors, the white hair and all others black, because the blond color had a decidedly yellow tinge, which of course photographed black.
Mr. Jones: That condition can be met by orthochromatic rendering; that is as far as we need to go. We made a little test to determine the rendition of blond hair. Miss Hope Hampton was in Rochester a short time ago, and the matter of rendition came up. We thought it very advantageous to find out if the hair would come out fairly light. A short reel was made on panchromatic film under tungsten illumination and it was very satisfactory without any filter. If you are working under daylight with such cases I think there would be satisfactory rendition with a K-2 filter, which is sufficient.
Mr. Waller: I don't want to talk too much, but a question came up about neutral grays being used in studios, and I have a little information on its recent use and success. It has been stated here that it was given up some years ago. I think many of you have seen the German picture, "Metropolis." I met Eric Pommer, when he came here for Famous-Players, and I asked him about the painting of the sets. All of them and the costumes were done in neutral tones of gray, and it is a beautiful piece of work.
Mr. Ross: I should like to ask if anyone knows if experiments have been made with fluorescent material in the hair or on the garments for the purpose of establishing tone color.
Mr. Stewart: The only thing that has been used is aluminum and bronze powders; nothing fluorescent.
Mr. Coffman: One application of the idea of photographing neutral grays to produce synthetic color values in the print is being regularly made. In the "Synthechrome" process for producing animated drawings in color the original drawings are made in black and white and shades of gray, and are so photographed as to give color separation in the negative. Any color process, either subtractive or additive, may be used for producing the prints. On the screen, characters which never lived move through surroundings endowed with color which never existed save in the mind of the artist. The same general method may be used for testing out color camera ideas without the necessity for building special cameras.