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1 The Director of Photography – an overview

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<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

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