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Light Filters — Jones 177
Mr. Ross: I should like to ask Mr. Stewart if the production which was a failure, if the grays had been photometrically determined before they were painted on the scene. When we speak of grays we have in mind there are three classes of gray; that is gray made from black and white, battleship gray, which is a mixture of black and white color, and slate gray, which is black and white and blue. It occurs to us that it might be possible to determine some particular shade of grey, which would, when photographed, represent color as seen in daylight.
Mr. Jones: I should hke to point out that my usage of the word "gray" refers to a color without hue. There is only one series of grays which extend from white to black. None of these show any hue. The colors referred to by Mr. Ross are not grays in the true sense of the word but are colors in which the saturation factor is low. The fact that they differ from each other in any respect other than reflecting power means that these colors must have hue and hence are not grays. I think in the interest of consistency we should confine our usage of the word "gray" to the hueless colors. Just so soon as a surface shows any selective absorption and requires the usage of such words as yellowish or bluish to describe it, it ceases to be a gray.
Mr. Stewart: I preceded my remarks by saying that artists have conceded that there are seventy-one grades of gray between black and white. The grays that we used were based on the photographic reproductions of the color chart that I showed you yesterday. A paint maker's catalogue gave us all the colors which we photographed; we made no photometric tests of them.
(The following communications were received subsequent to the meeting at Norfolk, and in view of the lively interest displayed in the subject, are published.)
Mr. Ross: Mr. Jones, the fact that the use of correlative color shades of gray could be employed to substitute for other established colors has been previously conceived by yourself, and the fact that Mr. Pommer has stated that the successful picture entitled "METROPOLIS"— and produced by the UFA people— was photographed in shades of gray, would tend to further convince us that the correlative rendering of color on motion picture films and without the use of filters, or special films, is practicable. It certainly seems to be the ideal way as it permits the photographing of a set with ordinary film — as distinguished from panchromatic and without