American Cinematographer

May 1933

AMATEUR SECTION

forest-scene using a sepia tone over a green tint, or a nightexterior using a blue tone over a red or yellow tint, and so
on.
Users of the negative-positive system may have their
prints made on tinted-base stock, and then tone them: but
either toning or tinting may easily be done at home, on
either positive or reversal film.
The equipment required for tinting and toning is simple,
and easily acquired or made.
The exact nature of the
equipment will, of course, depend upon the method you
wish to use.
Probably the simplest is the drum system,
in which the film is wrapped spirally around a drum which
is revolved with its lower edge dipping into the solution.
For the average small-quantity sort of work that most of
us do, the "Leica" developing drum shown in the illustra¬
tion is ideal. As will be seen, it consists of a glass drum
which will hold approximately ten feet of film, a support¬
ing stand, and clips by which the ends of the film are at¬
tached to the drum.
For the greatest convenience, one
should have-or make- two additional stands so that the
film may be moved from the toning solution to the wash,
etc., without having to move the stand every time.

Tinting
and Toning

16 mm.

Films
by

William Stull, A.S.C.

NYONE who has seen even a single issue of the Pathe
Audio Review must surely appreciate the beauty
that can be added to motion pictures by the judicious
use of the coloring processes known as tinting and toning,
either singly or in combination.
There is no need, how¬
ever, for the amateur cinematographer to envy his pro¬
fessional cousin, for both tinting and toning can easily be
done at home; and while it is true that some of the formu¬
lae used professionally call for more or less rare dyes and
involve a certain degree of complication, the great majority
of tints and tones ordinarily used can be achieved very
easily and with little difficulty or expense.
The simplest
solutions for this purpose are those prepared by the Bur¬
roughs-Wellcome Company and marketed under the tradenames "Tabloid" and "Soloid." While these preparations
are intended primarily for the use of still photographers in
staining and toning gaslight and bromide prints and lan¬
tern-slides, they are none the less excellent for use with
cine film, whether reversal or positive.
By the use of
these products, one may easily produce Sepia, Blue, Green,
and Red-chalk tones, and Red, Green or Yellow tints.
In
addition, the Eastman Sepia-toner and the Agfa Gold-tone
solutions may somewhat extend the range of tones easily
available.
Here, one must differentiate between
"Tints"
and
"Tones." Tinting affects the film-base, and not the image,
giving an effect such as one would get by slipping a sheet
of colored glass or gelatine over the lens of the projector.
Toning, on the other hand, colors the picture itself, but
leaves the high-lights clear. Tints and tones may be used
in combination, with excellent results, as, for instance, a

If, however, you prefer to use the rack method, it is
quite easy to make pin-racks to fit any tray you may have.
These racks are made of two flat arms of hardwood, joined
together in the form of a cross, and fitted with a series of
pegs (which can be made of ordinary cabinet-makers' dowel
stock) around which the film is strung in a spiral. The
length of the arms will, of course, be dictated by the
diagonal measurement of the trays you use; the pegs should
be spaced as close together as is safe, giving plenty of free
space between the face of each winding of film and its
neighbors. The pegs should extend up about three-quar¬
ters of an inch from the base. Using this method, the film
is completely immersed in the solution, while in the drum
method the film is revolved so that is constantly dips into
the solution.
The best speed for revolving the drum is
slightly less than one turn per second.
In either method,
a drying rack or drum is necessary: this is simply a cylinder
whose sides, instead of being solid, are made of a number
of parallel bars; the ends may be solid or not, as is most
convenient for the maker.
This drying drum should be
revolved steadily by a small motor, though in the smaller
sizes such as suffice for amateur use, it is quite feasible
to fit small vanes inside the drum, and use an electric fan
for the purpose of revolving the drum as well as for cir¬
culating air around the drying film. In a pinch, one may
dry the film on a simple, rectangular frame, such as an un¬
painted picture or mirror-frame: but this is not to be
recommended strongly, as the film develops rather definite
bends where it drys in the sharp angles incident to winding
on such a dryer.
The actual operations of tinting and toning are simple,
and may, of course, be carried out in daylight or ordinary
white artificial light. Regardless of the method or process
used, the film must first be thoroughly washed, not only
to ensure that it is completely free from all traces of hypo,
but to assure that it is uniformly soaked, and therefore
uniformly conditioned to receive the coloring solution. This
washing should be for at least ten minutes in order to assure
uniformity. The film should, of course, be wound on tjie
drum or rack for this washing. After washing, the film will
be found to have stretched to some extent: therefore it
should be tightened in order to prevent any overlapping.
The film is then removed to the solution or solutions re¬
quired by the process being used, washed again, and put
on the drying rack. When doing this, the film should be
squeegeed by gently passing it between two layers of
chamois-skin, in order to remove the surplus moisture,
and prevent the formation of irregular water-marks. The
Continued on Page 32

American Cinematographer - May 1933

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American Cinematographer - May 1933

Table of Contents for the Digital Edition of American Cinematographer - May 1933