1 The Director of Photography – an overview
1 The Director of Photography – an overview
1 The Director of Photography – an overview
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
<strong>The</strong> laboratory 85<br />
Figure 8.3 <strong>The</strong> optical printer<br />
5%<br />
10%<br />
Shadows<br />
5%<br />
50%<br />
Mid-tones<br />
5%<br />
90%<br />
Highlights<br />
Figure 8.4 <strong>The</strong> effect <strong>of</strong> flare in<br />
<strong>an</strong> optical printer<br />
Master Negative<br />
Raw Positive stock<br />
Shutter<br />
Linked Intermittent<br />
Mech<strong>an</strong>isms<br />
Light Source<br />
Condenser Lens<br />
Objective Lens<br />
Negative Film Gate<br />
Positive Film Gate<br />
through these gates one frame at a time by linked intermittent mech<strong>an</strong>isms.<br />
In order to tr<strong>an</strong>sfer the image from the negative to the positive<br />
film, <strong>an</strong> objective lens is positioned between the two gates.<br />
<strong>The</strong> purpose <strong>of</strong> this layout is to enable optical effects, such as fades<br />
<strong>an</strong>d dissolves, to be achieved. A dissolve is made by first printing<br />
the outgoing shot <strong>an</strong>d fading out the printer light. <strong>The</strong> positive film is<br />
then rewound <strong>an</strong>d the incoming shot replaces the outgoing shot. <strong>The</strong><br />
printer is then restarted <strong>an</strong>d the light source faded in over the same<br />
section <strong>of</strong> print stock. This produces a situation where the outgoing<br />
image is reduced in exposure at exactly the place on the positive where<br />
the incoming exposure is increasing. <strong>The</strong>refore, the overall exposure<br />
from the two negatives always adds up to the full, correct, exposure.<br />
Although <strong>an</strong> optical printer c<strong>an</strong> achieve m<strong>an</strong>y eleg<strong>an</strong>t effects, it<br />
does have two distinct disadv<strong>an</strong>tages. Firstly, because it has, by its very<br />
needs <strong>an</strong>d design, <strong>an</strong> intermittent mech<strong>an</strong>ism, it c<strong>an</strong>not be run at <strong>an</strong>ything<br />
like the speed <strong>of</strong> the contact printer.<strong>The</strong>refore, optical prints will<br />
always cost considerably more th<strong>an</strong> contact prints because <strong>of</strong> the extra<br />
machine time. Secondly, although the objective lenses used in optical<br />
printers are always <strong>of</strong> the very highest quality, <strong>of</strong>ten being specially<br />
computed for the task, nevertheless no optical path, even if it only<br />
contained air, will ever produce a print as perfect as one made with the<br />
two emulsions in absolute contact.<br />
<strong>The</strong> cinematographer must be aware that there will be two slight differences<br />
in the appear<strong>an</strong>ce <strong>of</strong> a contact print <strong>an</strong>d <strong>an</strong> optical print. Due<br />
to the optical path travelled by the image between the two emulsions in<br />
<strong>an</strong> optical printer, there must be a slight loss <strong>of</strong> definition compared<br />
with a contact print. This is hardly worth worrying about, as the loss is<br />
very, very slight. <strong>The</strong> second import<strong>an</strong>t effect <strong>of</strong> the optical printer is to<br />
introduce a little flare, again as a result <strong>of</strong> there being <strong>an</strong> objective lens<br />
between the two emulsions. Flare is simply a very small amount <strong>of</strong> the<br />
total amount <strong>of</strong> light forming the image being lost to the image <strong>an</strong>d<br />
redistributed, evenly, over the whole <strong>of</strong> the image.<strong>The</strong> effect <strong>of</strong> this is to<br />
add a small percentage <strong>of</strong> the overall image to all the tones in the image.<br />
In Figure 8.4, the effect <strong>of</strong> flare has been greatly exaggerated in order to