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Tinted Films for Sound Positives — Jones 211
and hence the use of a screen illuminated by a tungsten lamp in conjunction with these tinted bases will give appreciably different hues from those indicated in Table I. In the column designated as ''No." under "Hue" are the Kidgway hue numbers. The system of color nomenclature developed by Kidgway^ is one of the best available. The entire hue gamut, including the spectral hues and the non-spectral purples, is divided into 72 hue steps. These hue steps are equally placed on the sensation scale.
Tints Evenly Spaced Along Normal Hue Scale
In setting up a scale of hue it is not satisfactory to adopt intervals which are identical in wave-length difference because the sensitivity of the eye to hue differences varies enormously throughout the spectrum. In order to establish a normal hue scale in which the steps are equal in terins of sensation, it is necessary, therefore, to use wave-length intervals differing widely in magnitude. It will be noted that, with the exception of a region in the orange, yellow, and yellow-green, the hues of these tinted materials are fairly evenly spaced on the normal hue scale. It seems highly desirable to adopt such spacing, since it makes available the entire gamut of hue and a change from one tint to another produces a hue displacement of known and fairly equivalent subjective magnitude. The positions of the dominant hues of these colors are shown graphically on the chart in Fig. 4. At the left are given the Ridgway hue numbers and the names applied by Ridgway to these hues when oecurring in colors of high saturation. At the right in the first column are the numbers for the tinted positive films, and the names applied to these. It should be remembered that these colors are in general of relatively low saturation and it is considered that these more delicate tints are of greater utility for use in applying color to the motion picture screen than those of higher saturation. It is a rather peculiar coincidence that the colors corresponding to the hue numbers 25 to 35, which are absent from this positive film series, are those which, according to all of the available psychological data (see Lukiesh, loc. cit.), are the colors classified as least agreeable or least preferred. These color preference data are derived from a large group of observers and hence are very significant. It has been impossible thus far to obtain these hues with sufficiently low photo-electric density..