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180 Transactions of S.M.P.E., August 1927
film, the actors' make-up should be modified to suit the new actinic selectivity.
Referring to your concluding remark, there were no tests made as specified by you, for, as you probably know, there were internal disruptions at the Vitagraph at this time and I happened to be very' close to Stuart Blackton and not all so with A. E. Smith and Blackton left the Company. At that time Blackton and I were going to light a set with Mazda lamps on my proposal and a lot of preparation was done towards this, but of course came to a sudden stoppage when he left.
Mr. Jones: In answer to Mr. Ross I should like to point out first of all that panchromatic film is available at the same cost as ordinary film so that the use of sets painted in gray offers no advantage from this standpoint. Moreover the speed of this material is practically identical to that of ordinary film and filters which will produce very good approximation to orthochromatic rendering are available which have relatively low multiplying factors. This is especially true in case studio illumination is used which is relatively rich in long wave radiation, that is radiation within the region from 550 to 700 mu.
Theoretically it should be perfectly possible to determine the reflecting power of a graj^ to correspond to any specified color. This reflecting power of course will depend upon the spectral sensitivity of the photographic material and the spectral distribution of energy in the radiation from the source which is used to illuminate the set. Hence any change either in light source or sensiti\dty of the photographic material will necessitate the redetermination of the graj^ corresponding to a specified color. This might be a rather serious inconvenience as considered from the practical standpoint. There is one other factor which may be rather troublesome in arriving at a satisfactory solution of this problem. This is the intensification of saturation and the change of hue which occurs due to multiple reflections of light from colored surfaces. For instance let us consider a piece of buff colored fabric which as seen from the camera does not lie in a single plane but is draped in folds. This occurs in practically all cases of materials used for hangings, draperies, dresses, etc. [n the folds of such materials the fight is reflected back and forth from the fabric surface and the color as seen by the eye may be a relatively deep orange as contrasted to a light buff where the surface is viewed directly. Now this change in hue and saturation will mean