Table Of Content

A M E R IC A N C IN E M A T O G R A P H E R M A N U A L SEVENTH EDITION EDITED BY D R . R O D R Y A N T h e ASC P r e s s H o l l y w o o d , C a l i f o r n i a American Cinem atographer M anual Seventh Edition Copyright© 1993 by The ASC Press Hollywood, California, USA All Rights Reserved Library of Congress Catalog Card No. 79-93439 ISBN 0-935578-11-0 Cover Design and Artwork by George E. Turner Copy edited by David Heuring, Stephen Pizzello and Marji Rhea Production by Martha Winterhalter Printed in the United States of America by Sinclair Printing Company Ü Acknowledgements This edition, like all of the previous editions, was a joint effort. We have called on A SC members, associate members and manufacturers' rep­ resentatives to discuss the state of the art in the areas of their exper­ tise. I would like to thank each of the more than 50 contributors for tak­ ing time from their busy schedules to help in the preparation of this manual. M ehrdad Azarmi, Ph.D.; Ed Blasko, Eastman Kodak; Paul Bourque, Agfa Photo Division; James K. Branch; Steven C. Chamberlain, Arriflex Corp.; Ed Clare, Matthews Studio Equipment Group; Chris J. Condon, StereoVision International, Inc.; Anthony Coogan, StereoMedia, Inc.; Jack Cooperman, ASC; Ed DiGiulio, Cinema Products Corp.; Fred Detmers; Linwood G. Dunn, ASC; Richard Edlund, ASC; Jonathan Erland; Marianne Exbrayat, Aaton Des Autres, Inc.; Doug Fries, Fries Engineer­ ing; Tom Fraser; Richard Glickman, Gliconen Corp.; William Hansard, Sr., Hansard Enterprises; Frieider Hochheim, Kinoflo Inc.; Michael Hofstein; Bill Hogan, Sprocket Digital; Robert C. Hummel III, Theme Park Produc­ tions, Inc.; Masaru Jibiki, Fuji Photo Film USA; John Jurgens, Cinema Prod­ ucts Corp.; Frank M. Kay, Panavision; Conrad Kiel, Photo-Sonics, Inc.; Jon Kranhouse; Bern Levy, Bern Levy Associates; Frank Leonetti, Leonetti Co.; Grant Loucks, Alan Gordon Enterprises; Harry Mathias; Rami Mina, Don Miskowich, Eastman Kodak; John Mosely, CAS; Martin Mueller, MSM Design, Inc.; Dennis Muren, ASC; Ryan O'Hara, Chapman Leonard; Marty Ollstein; Allan Peach, DemoGraFX; Steven Poster, ASC; David L. Quaid, ASC; Pete Romano, Hydroimage; Gavin Schütz, Image Transform; Daniel L. Symmes, Spatial Technologies, Inc.; Bill Taylor, ASC; Ira Tiffen, Tiffen Manufacturing Corp.; Bill Turner, Century Precision Optics; Petro Vlahos, Vlahos Motion Pictures, Inc.; Paul Westerfer, AMPTP; Michael Whitney, DemoGraFX; Geoffrey H. Williamson, Wilcam Photo Research; Irwin W. Young, DuArt Laboratories. Special thanks to David Heuring, Martha Winterhalter, Steven Pizzello, Marji Rhea, and the American Cinematographer staff for their suggestions and assistance. — Rod Ryan Dr. Rod Ryan retired as Regional Engineering Director of Eastman Kodak MP&A V Division after 40 years service with that company. He is a graduate of the University of Southern California BA, Ma, PhD, an Honorary Member of ASC, a Life Fellow of SMPTE, Retired Fellow BKSTS, a member of the Acad­ emy of Motion Picture Arts and Sciences, the Academy of Television Arts and Sciences and the Motion Picture Pioneers. His awards include the Herbert T. Kalmus Gold Medal, three SMPTE Special Commendations, the AM PAS Sci­ entific & Engineering Award and the AM PAS Medal O f Commendation. Dur­ ing World War / / , he was a USN photographer, and after the war one of the pho­ tographers of the Atomic Bomb Tests at Bikini Atoll. He is the author of "A His­ tory of Motion Picture Color Technology, " editor and contributing author of "Color Sensitometry" "Sixtieth Anniversary Issue SMPTE Journal," "Fiftieth Anniversary Issue American Cinematographer," contributing author of " Con­ trol Techniques in Film Processing," "Technologies in the Laboratory Handling of Motion Picture and Other Long Films/' "The Book of Film Care," and several articles in the SMPTE Journal and other trade publications. WRS MOTION PICTURE AND VIDEO LABORATORY ONE CALL ANSWERS THEM ALL: 800-FILM-WRS ■J WRS-Pittsburgh • 1000 Napor Blvd. • Pittsburgh, PA 1 5 2 0 5 > mm/35 mm dailies, color or black and white > Video dailies, wet or dry, with time-code or key code ■ Answer prints, intermediates, volume release > Screening and editing rooms Audio > Most film/video formats including R-DAT > Rerecording, sweetening, transfers Video > Film-to-tape - NTBC/PAL wet gate »Standards- Conversions NTSC/PAL/SECAM ■ Duplication all formats ■ Tape-to-film transfers »Satellite Services > Syndication CONTENTS CINEMATOGRAPHIC SYSTEMS 35mm Systems 16mm Systems Special Purpose Systems Pros and Cons of 1.85,2.35 and Super 35 Film Formats CAMERAS 65mm Arriflex 765 Cinema Products CP-65 Fries 865 Mitchell Reflex TODD-AO MSM 8870 Panavision AC/SPC Panavision System-65 Panavision Panaflex System-65 35mm 3 9 10 13 31 33 34 36 37 39 39 43 Aaton 35mm 45 Aaton 35-11 46 Arriflex 535 47 Arriflex 535B 50 Arriflex 35-3 52 Arriflex 35BL-4s 54 Arriflex 35-3C 56 Arriflex 35-2C 57 Cinema Products FX35 59 Cinema Products XR35 61 Feathercam CM35 62 IMAGE 300 35mm 63 Mitchell NC, NCR, BNC, BNCR (35mm); FC, BFC (65mm) 64 35mm continued Mitchell S35R (Mark II) 66 Mitchell Standard and High Speed 67 Moviecam Super 35mm 69 Panavision Platinum Panaflex 70 Panavision GII Golden Panaflex 74 Panavision Panaflex-X 74 Panaflex Panastar High-Speed 74 Panavision Super R-2000 76 Photo-Sonics 4B/4C 79 Photo-Sonics 4ER 79 Ultracam 35mm 80 VislaVision MSM 8812 81 Wilcam W-7 82 Wilcam W-9 83 Wilcam W -ll 85 16mm Aaton XTRplus 86 Arriflex 16SR-2 88 Arriflex 16SR-3 93 Arriflex 16BL 95 Arriflex 16S/B, 16S/B-GS, 16M/B 97 Bolex 16mm 99) Bell & Howell Filmo 70* -Itil Minicam 16mm (GSAP) ' 102 Cinema Products CP-16, CP-16A 102 Cinema Products CP-16R, CP-16R/A 102 Cinema Products GSMO 105 Eclair ACL 107 Eclair CM-3 (16/35mm) 108 xviii 16mm continued Eclair NPR 109 Mitchell Professional HS, HSC 111 Mitchell 16mm Reflex, SSR-16, DSR-16 113 Panavision Panaflex 16mm 114 FILM Color 119 Black & White 120 Color Reversal Film 121 Edge Numbers 121 Film Perforations 123 Film H andling and Storage 125 Charts: 122,127-141 LENSES Selection of Lenses 142 Understanding an MTF Chart 145 M odem Telephoto Lenses 148 Zoom Lenses 153 Lens Formulas 160 Extreme Close-up 165 Special Purpose Lenses 170 Charts: 146,174-199 FILTERS Filters for Both Color and Black & White 201 Special Effect Filters 208 Filters for Black & White 216 Filters for Color 217 Charts: 226-232 xix ACCESSORIES Exposure Meters 233 Crystal-Controlled Cordless Camera Drive Systems 242 Camera Supports 246 Camera Stabilizing Systems 253 Preparation of Motion Picture Equipment 258 PUTTING THE IMAGE ON FILM Exposure 270 The Cinematographer and the Laboratory 280 Photographic Testing and Evaluation 288 Emulsion Testing 294 Charts: 272-279,300-312 LIGHTING Light Sources and Lighting Filters 313 Characteristics of Light Sources 313 Photographic Light Sources 328 Light Source Filters 352 Commercial/Industrial Light Sources 354 Fluorescent Lighting for Motion Pictures 359 AC Arc Lamp Flicker Problem 376 Luminaires 380 Light Control Accessories 390 Charts: 314-315,319,323,328,339,345, 366-375 SPECIAL VISUAL EFFECTS Shooting Background Plates 394 Front-Projection Process 399 Compositing 415 Photographing Miniatures 420 Motion-Control Cinematography 424 xx Travelling-Matte Composite Photography 430 The Future for Travelling-Matte Composite Photography 445 Digital Effects Cinematography 460 High-Resolution Electronic Intermediate System for Film 462 Computer Graphics 467 Cinemagic of the Optical Printer 475 Aerial Image Cinematography 481 Charts: 413,419,423,443 SPECIAL TECHNIQUES Aerial Cinematography 487 Underwater Cinematography 495 Safety Guidelines for Insert Camera Cars 503 Arctic Cinematography 504 Tropical Cinematography 511 Day-for-Night Cinematography 518 Infrared Cinematography 521 Ultraviolet Photography 523 Shooting 16mm Color Negative for Blowup to 35mm 527 Stereoscopic Motion Picture Technology 534 3-D Cinematography 538 Synchronizing M ethods for Picture and Sound Systems 540 Filming Television Screens 555 Television Film Cinematography 561 Shooting Videotape for Transfer to Film 566 REFERENCES 577 INDEX 579 xxi CHARTS AND TABLES FILM Comparison of Film Speeds Film Data Chart Film Stock Tables Agfa XT-100 Agfa XT-320 Agfa XTS-400 Agfa PAN-250 Eastman EXR 5245/7245 Eastman EXR 5248/7248 Eastman EXR 5293/7293 Eastman EXR 5296/7296 Eastman 5297/7297 Eastman Ektachrome 5239/7239 Eastman Ektachrome 7240 Eastman Ektachrome 7251 Eastman Ektachrome 7250 Eastman Plus-X 5231/7231 Eastman Double-X 5222/7222 Eastman Plus-X 7276 Eastman Tri-X 7278 Eastman Kodachrome 7267 Eastman Kodachrome 7268 Fuji F-64 8510/8610 Fuji F-64 8520/8620 Fuji F-125 8530/8630 Fuji F-250 8550/8650 Fuji F-250 8560/8660 Fuji F-500 8570/8670 122 127 128 128 129 129 130 130 131 131 132 132 133 133 134 135 135 136 136 137 137 138 138 139 139 140 140 Film Stock Tables continued Fuji FG 71112 141 Fuji RP 72161 141 LENSES Typical MTF of 3:1 Zooms for 16mm 146 Depth of Field Charts 35mm Camera 9.8mm 174 15mm 175 20mm 176 25mm 177 35mm 178 40mm 179 50mm 180 85mm 181 100mm 182 150mm 183 200mm 184 400mm 185 16mm Camera 8mm 186 9.5mm 187 12mm 188 16mm 189 25mm 190 35mm 191 50mm 192 85mm 193 100mm 194 135mm 195 VistaVision 196 xxiii LENSES continued Vertical Angle vs. Effective Focal Length 196a-b Extreme Close-up 35mm Depth of Field and Exposure Factor 197 16mm Depth of Field and Exposure Factor 198 Plus Diopter Lenses Focus Conversion 199 FILTERS Filter Compensation 226 ND Filter Selector 227 Color Filters for B & W Daylight Exteriors 228 Color Filters for Altering B & W Contrast 229 Conversion Filters for Color Film 230 Kodak Light Balancing Filters 230 Kodak Color Compensating Filters 231 Nomograph for Light Source Conversion 232 EXPOSURE Incident Keylight/T-stop 272 T-stop Compensation for Camera Speed 274 Shutter Angle/fps/T-stop Change 276 Color Balancing Existing Fluorescent Lighting 277 Balancing Daylight Windows in Interiors 278 Balancing to Match Existing Interior Lighting 279 Recommended Panning Speeds 310-312 Footage Tables 16mm (24 fps) 300 16mm (25 fps) 301 xxiv Footage Tables continued 16mm (29.97 fps) 302 35mm (24 fps) 303 35mm (25 fps) 304 35mm (29.97 fps) 305 65/70m m (24 fps) 306 Footage Obtained at Various Camera Speeds 16mm 307 35mm (+ frames) 308 65mm (+ frames) 309 LIGHTING Com mercial/Industrial Light Source Characteristics 314 Comparison of Photographic Light Sources 315 Correlated Color Temperature 319 MIRED Shift Value Effec ts 323 Tangent Function 328 National Carbons for Studio Lighting 339 HMI™ Lamp Characteristics 345 Lighting Filters: Color Adjusting 366-367 Color Balancing for Existing Fluorescents 368-373 Color Balancing of AC Arc Discharge Lighting 374 SPECIAL EFFECTS Minimum Object-Distance 413 Background Projection 419 Miniatures: Speed/Scale/Exposure 423 Alternative Methods for Travelling Mattes 443 xxv

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598 Pages·1993·11.55 MB·English
by  Rod Ryan
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A M E R IC A N C IN E M A T O G R A P H E R M A N U A L SEVENTH EDITION EDITED BY D R . R O D R Y A N T h e ASC P r e s s H o l l y w o o d , C a l i f o r n i a American Cinem atographer M anual Seventh Edition Copyright© 1993 by The ASC Press Hollywood, California, USA All Rights Reserved Library of Congress Catalog Card No. 79-93439 ISBN 0-935578-11-0 Cover Design and Artwork by George E. Turner Copy edited by David Heuring, Stephen Pizzello and Marji Rhea Production by Martha Winterhalter Printed in the United States of America by Sinclair Printing Company Ü Acknowledgements This edition, like all of the previous editions, was a joint effort. We have called on A SC members, associate members and manufacturers' rep­ resentatives to discuss the state of the art in the areas of their exper­ tise. I would like to thank each of the more than 50 contributors for tak­ ing time from their busy schedules to help in the preparation of this manual. M ehrdad Azarmi, Ph.D.; Ed Blasko, Eastman Kodak; Paul Bourque, Agfa Photo Division; James K. Branch; Steven C. Chamberlain, Arriflex Corp.; Ed Clare, Matthews Studio Equipment Group; Chris J. Condon, StereoVision International, Inc.; Anthony Coogan, StereoMedia, Inc.; Jack Cooperman, ASC; Ed DiGiulio, Cinema Products Corp.; Fred Detmers; Linwood G. Dunn, ASC; Richard Edlund, ASC; Jonathan Erland; Marianne Exbrayat, Aaton Des Autres, Inc.; Doug Fries, Fries Engineer­ ing; Tom Fraser; Richard Glickman, Gliconen Corp.; William Hansard, Sr., Hansard Enterprises; Frieider Hochheim, Kinoflo Inc.; Michael Hofstein; Bill Hogan, Sprocket Digital; Robert C. Hummel III, Theme Park Produc­ tions, Inc.; Masaru Jibiki, Fuji Photo Film USA; John Jurgens, Cinema Prod­ ucts Corp.; Frank M. Kay, Panavision; Conrad Kiel, Photo-Sonics, Inc.; Jon Kranhouse; Bern Levy, Bern Levy Associates; Frank Leonetti, Leonetti Co.; Grant Loucks, Alan Gordon Enterprises; Harry Mathias; Rami Mina, Don Miskowich, Eastman Kodak; John Mosely, CAS; Martin Mueller, MSM Design, Inc.; Dennis Muren, ASC; Ryan O'Hara, Chapman Leonard; Marty Ollstein; Allan Peach, DemoGraFX; Steven Poster, ASC; David L. Quaid, ASC; Pete Romano, Hydroimage; Gavin Schütz, Image Transform; Daniel L. Symmes, Spatial Technologies, Inc.; Bill Taylor, ASC; Ira Tiffen, Tiffen Manufacturing Corp.; Bill Turner, Century Precision Optics; Petro Vlahos, Vlahos Motion Pictures, Inc.; Paul Westerfer, AMPTP; Michael Whitney, DemoGraFX; Geoffrey H. Williamson, Wilcam Photo Research; Irwin W. Young, DuArt Laboratories. Special thanks to David Heuring, Martha Winterhalter, Steven Pizzello, Marji Rhea, and the American Cinematographer staff for their suggestions and assistance. — Rod Ryan Dr. Rod Ryan retired as Regional Engineering Director of Eastman Kodak MP&A V Division after 40 years service with that company. He is a graduate of the University of Southern California BA, Ma, PhD, an Honorary Member of ASC, a Life Fellow of SMPTE, Retired Fellow BKSTS, a member of the Acad­ emy of Motion Picture Arts and Sciences, the Academy of Television Arts and Sciences and the Motion Picture Pioneers. His awards include the Herbert T. Kalmus Gold Medal, three SMPTE Special Commendations, the AM PAS Sci­ entific & Engineering Award and the AM PAS Medal O f Commendation. Dur­ ing World War / / , he was a USN photographer, and after the war one of the pho­ tographers of the Atomic Bomb Tests at Bikini Atoll. He is the author of "A His­ tory of Motion Picture Color Technology, " editor and contributing author of "Color Sensitometry" "Sixtieth Anniversary Issue SMPTE Journal," "Fiftieth Anniversary Issue American Cinematographer," contributing author of " Con­ trol Techniques in Film Processing," "Technologies in the Laboratory Handling of Motion Picture and Other Long Films/' "The Book of Film Care," and several articles in the SMPTE Journal and other trade publications. WRS MOTION PICTURE AND VIDEO LABORATORY ONE CALL ANSWERS THEM ALL: 800-FILM-WRS ■J WRS-Pittsburgh • 1000 Napor Blvd. • Pittsburgh, PA 1 5 2 0 5 > mm/35 mm dailies, color or black and white > Video dailies, wet or dry, with time-code or key code ■ Answer prints, intermediates, volume release > Screening and editing rooms Audio > Most film/video formats including R-DAT > Rerecording, sweetening, transfers Video > Film-to-tape - NTBC/PAL wet gate »Standards- Conversions NTSC/PAL/SECAM ■ Duplication all formats ■ Tape-to-film transfers »Satellite Services > Syndication CONTENTS CINEMATOGRAPHIC SYSTEMS 35mm Systems 16mm Systems Special Purpose Systems Pros and Cons of 1.85,2.35 and Super 35 Film Formats CAMERAS 65mm Arriflex 765 Cinema Products CP-65 Fries 865 Mitchell Reflex TODD-AO MSM 8870 Panavision AC/SPC Panavision System-65 Panavision Panaflex System-65 35mm 3 9 10 13 31 33 34 36 37 39 39 43 Aaton 35mm 45 Aaton 35-11 46 Arriflex 535 47 Arriflex 535B 50 Arriflex 35-3 52 Arriflex 35BL-4s 54 Arriflex 35-3C 56 Arriflex 35-2C 57 Cinema Products FX35 59 Cinema Products XR35 61 Feathercam CM35 62 IMAGE 300 35mm 63 Mitchell NC, NCR, BNC, BNCR (35mm); FC, BFC (65mm) 64 35mm continued Mitchell S35R (Mark II) 66 Mitchell Standard and High Speed 67 Moviecam Super 35mm 69 Panavision Platinum Panaflex 70 Panavision GII Golden Panaflex 74 Panavision Panaflex-X 74 Panaflex Panastar High-Speed 74 Panavision Super R-2000 76 Photo-Sonics 4B/4C 79 Photo-Sonics 4ER 79 Ultracam 35mm 80 VislaVision MSM 8812 81 Wilcam W-7 82 Wilcam W-9 83 Wilcam W -ll 85 16mm Aaton XTRplus 86 Arriflex 16SR-2 88 Arriflex 16SR-3 93 Arriflex 16BL 95 Arriflex 16S/B, 16S/B-GS, 16M/B 97 Bolex 16mm 99) Bell & Howell Filmo 70* -Itil Minicam 16mm (GSAP) ' 102 Cinema Products CP-16, CP-16A 102 Cinema Products CP-16R, CP-16R/A 102 Cinema Products GSMO 105 Eclair ACL 107 Eclair CM-3 (16/35mm) 108 xviii 16mm continued Eclair NPR 109 Mitchell Professional HS, HSC 111 Mitchell 16mm Reflex, SSR-16, DSR-16 113 Panavision Panaflex 16mm 114 FILM Color 119 Black & White 120 Color Reversal Film 121 Edge Numbers 121 Film Perforations 123 Film H andling and Storage 125 Charts: 122,127-141 LENSES Selection of Lenses 142 Understanding an MTF Chart 145 M odem Telephoto Lenses 148 Zoom Lenses 153 Lens Formulas 160 Extreme Close-up 165 Special Purpose Lenses 170 Charts: 146,174-199 FILTERS Filters for Both Color and Black & White 201 Special Effect Filters 208 Filters for Black & White 216 Filters for Color 217 Charts: 226-232 xix ACCESSORIES Exposure Meters 233 Crystal-Controlled Cordless Camera Drive Systems 242 Camera Supports 246 Camera Stabilizing Systems 253 Preparation of Motion Picture Equipment 258 PUTTING THE IMAGE ON FILM Exposure 270 The Cinematographer and the Laboratory 280 Photographic Testing and Evaluation 288 Emulsion Testing 294 Charts: 272-279,300-312 LIGHTING Light Sources and Lighting Filters 313 Characteristics of Light Sources 313 Photographic Light Sources 328 Light Source Filters 352 Commercial/Industrial Light Sources 354 Fluorescent Lighting for Motion Pictures 359 AC Arc Lamp Flicker Problem 376 Luminaires 380 Light Control Accessories 390 Charts: 314-315,319,323,328,339,345, 366-375 SPECIAL VISUAL EFFECTS Shooting Background Plates 394 Front-Projection Process 399 Compositing 415 Photographing Miniatures 420 Motion-Control Cinematography 424 xx Travelling-Matte Composite Photography 430 The Future for Travelling-Matte Composite Photography 445 Digital Effects Cinematography 460 High-Resolution Electronic Intermediate System for Film 462 Computer Graphics 467 Cinemagic of the Optical Printer 475 Aerial Image Cinematography 481 Charts: 413,419,423,443 SPECIAL TECHNIQUES Aerial Cinematography 487 Underwater Cinematography 495 Safety Guidelines for Insert Camera Cars 503 Arctic Cinematography 504 Tropical Cinematography 511 Day-for-Night Cinematography 518 Infrared Cinematography 521 Ultraviolet Photography 523 Shooting 16mm Color Negative for Blowup to 35mm 527 Stereoscopic Motion Picture Technology 534 3-D Cinematography 538 Synchronizing M ethods for Picture and Sound Systems 540 Filming Television Screens 555 Television Film Cinematography 561 Shooting Videotape for Transfer to Film 566 REFERENCES 577 INDEX 579 xxi CHARTS AND TABLES FILM Comparison of Film Speeds Film Data Chart Film Stock Tables Agfa XT-100 Agfa XT-320 Agfa XTS-400 Agfa PAN-250 Eastman EXR 5245/7245 Eastman EXR 5248/7248 Eastman EXR 5293/7293 Eastman EXR 5296/7296 Eastman 5297/7297 Eastman Ektachrome 5239/7239 Eastman Ektachrome 7240 Eastman Ektachrome 7251 Eastman Ektachrome 7250 Eastman Plus-X 5231/7231 Eastman Double-X 5222/7222 Eastman Plus-X 7276 Eastman Tri-X 7278 Eastman Kodachrome 7267 Eastman Kodachrome 7268 Fuji F-64 8510/8610 Fuji F-64 8520/8620 Fuji F-125 8530/8630 Fuji F-250 8550/8650 Fuji F-250 8560/8660 Fuji F-500 8570/8670 122 127 128 128 129 129 130 130 131 131 132 132 133 133 134 135 135 136 136 137 137 138 138 139 139 140 140 Film Stock Tables continued Fuji FG 71112 141 Fuji RP 72161 141 LENSES Typical MTF of 3:1 Zooms for 16mm 146 Depth of Field Charts 35mm Camera 9.8mm 174 15mm 175 20mm 176 25mm 177 35mm 178 40mm 179 50mm 180 85mm 181 100mm 182 150mm 183 200mm 184 400mm 185 16mm Camera 8mm 186 9.5mm 187 12mm 188 16mm 189 25mm 190 35mm 191 50mm 192 85mm 193 100mm 194 135mm 195 VistaVision 196 xxiii LENSES continued Vertical Angle vs. Effective Focal Length 196a-b Extreme Close-up 35mm Depth of Field and Exposure Factor 197 16mm Depth of Field and Exposure Factor 198 Plus Diopter Lenses Focus Conversion 199 FILTERS Filter Compensation 226 ND Filter Selector 227 Color Filters for B & W Daylight Exteriors 228 Color Filters for Altering B & W Contrast 229 Conversion Filters for Color Film 230 Kodak Light Balancing Filters 230 Kodak Color Compensating Filters 231 Nomograph for Light Source Conversion 232 EXPOSURE Incident Keylight/T-stop 272 T-stop Compensation for Camera Speed 274 Shutter Angle/fps/T-stop Change 276 Color Balancing Existing Fluorescent Lighting 277 Balancing Daylight Windows in Interiors 278 Balancing to Match Existing Interior Lighting 279 Recommended Panning Speeds 310-312 Footage Tables 16mm (24 fps) 300 16mm (25 fps) 301 xxiv Footage Tables continued 16mm (29.97 fps) 302 35mm (24 fps) 303 35mm (25 fps) 304 35mm (29.97 fps) 305 65/70m m (24 fps) 306 Footage Obtained at Various Camera Speeds 16mm 307 35mm (+ frames) 308 65mm (+ frames) 309 LIGHTING Com mercial/Industrial Light Source Characteristics 314 Comparison of Photographic Light Sources 315 Correlated Color Temperature 319 MIRED Shift Value Effec ts 323 Tangent Function 328 National Carbons for Studio Lighting 339 HMI™ Lamp Characteristics 345 Lighting Filters: Color Adjusting 366-367 Color Balancing for Existing Fluorescents 368-373 Color Balancing of AC Arc Discharge Lighting 374 SPECIAL EFFECTS Minimum Object-Distance 413 Background Projection 419 Miniatures: Speed/Scale/Exposure 423 Alternative Methods for Travelling Mattes 443 xxv

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