American Cinematographer - May 1933 - 32

May 1933 *

American Cinematographer

the actual toning takes much longer, and
gives a greater variety of tones.
De¬
pending entirely upon the length of the
toning, one may obtain a wide range
of tones-black, brown, purple and red.
The latter requires the longest toning,
some scenes that I have toned requiring
fifteen or twenty minutes. The copper
ferrocyanide solution acts very strongly
as a reducing agent, so it is advisable to
start with very vigorous, contrasty films.
Because of this action, too, it is surpris¬
ingly useful as a means of salvaging
underexposed scenes.

485 Fifth Avenue, New York

Filtering for Color

728 So. Hill St., Los Angeles

Obviously, with certain of these solu¬
tions, the nature of the image dictates
the type of tone obtained; in some cases
it might even be well to expose and
filter your scenes with special reference
to the toning process to be used (espe¬
cially for copper ferrocyanide toning).
There is a little trick to getting per¬
fectly uniform results, and the film must
be
dried
uniformly
and
carefully
squeegeed if water blemishes are to be
avoided; but these things are not dif¬
ficult. In the main, tinting and toning
16 mm. films by these methods is easy
-and incredibly fascinating. Once you
have mastered these simple processes,
there is an almost infinite range of dyetones and tints with which to experi¬
ment: detailed information as to these
processes is included in the appendices
of both volumes of the CINEMATO¬
GRAPHIC ANNUAL, and also in the
Eastman Kodak Company's book, "Tint¬
ing and Toning Eastman Motion Picture
Film." In this latter, the publishers also
provide several score samples of the dif¬
ferent tones, tints, and tone-tint com¬
binations, which give one a glimpse of
the possibilities of these coloring pro¬
cesses. Truly, they are the next-best
thing to natural-color films-and in
some cases, even more pleasing.

33

Tcssar y 2.7
/3.5/4.S
Biotar /1.4
Write Carl Zeiss, Inc.,

CARL ZEISS
CINE LENSES
We Have Reduced
The Price of

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1 Cinematographic Annual
Now $2.50

544 pages of the most valuable information
on cinematography ever gathered. Written
by Studio Experts.
AMERICAN CINEMATOGRAPHER
6331 Hollywood Blvd.
Hollywood, Calif.

Motiographing the Jig-Saw
Puzzle
Continued from Page 22

slip readily into position.
The former
were put into place (in the taking
actually taken out of place) across the al¬
ready completed portion of the picture.
Care was taken not to jar the whole set¬
up during the performance and to take
all hands out of range of the camera be¬
fore the button was pushed for the tak¬
ing of a picture. About 3 V2 feet of film
was used in this part of the procedure.
When the film was developed, it was
turned end for end and spliced on the
beginning of the original picture of the
four children at the table, the last frame
of the new film beginning exactly the
same as the first frame of the original
film.
When the completed film is run, the
screen starts black, several pieces start
going through gyrations, are assembled
in their correct positions; one by one

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It's what the laboratory gives back to you that counts.
Agfa s system of
giving every roll "personal
attention assures you of the best interpretation
possible of the pictures you have taken. If one of your best pictures is spoiled
in processing ... It is gone forever. Agfa's "Personal Processing guards against
this possibility.
Agfa Reversible Panchromatic Safety Film, or with the new Agfa Reversible
Super-sensitive Panchromatic Film.
Ask your dealer
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Agfa Ansco Corporation. 11112 Merchandise Mart, Chicago, Illinois
Agfa Ansco Corporation, 223 W. Third St., Los Angeles, California

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American Cinematographer - May 1933

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