1 The Director of Photography – an overview

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Colour temperature 123 Figure 14.3 Mired shift values of Wratten colourcompensating or CC filters Positive – towards magenta Negative – towards green Filter Value Filter factor 5M – �2 10 M – �4 20 M – �8 30 M – �13 40 M – �18 1 ⁄ 3 1 ⁄ 3 1 ⁄ 3 2 ⁄ 3 2 ⁄ 3 Colour-compensating filters have only a limited use in cinematography, as they are primarily available for fine-tuning colours in transparency or reversal work. They do come into their own, however, when a cinematographer has to work with available light from fluorescent tubes, which often have an excess of green light. This discrepancy can be corrected by putting the appropriate magenta filter, magenta being the complementary colour to green, over the tubes or in front of the lens if no other source of light is to be added. Filters have another important value, their filter factor. This is also shown in the tables (Figures 14.2 and 14.3). The filter factor is always expressed as the part or whole of a stop on the lens and is expressed as a fraction of a real number or a real number plus a fraction.This is the amount that the lens must be opened up to allow for the amount of light absorbed by the filter. Therefore, a filter factor of one-third will need the aperture to be opened by one-third of a stop. Similarly, a filter factor of two-thirds will need the lens aperture to be opened by twothirds of a stop. Here it is important to understand the difference in approach when adding together Mired shift values and filter factors. If you put two filters in front of the lens then you will combine their Mired shift values, taking regard of their mathematical sign. For example, combining two filters having shift values of �35 and �10 will result in a combined Mired shift of �25. But if their filter factors, when expressed as f-stops, were one-third and one-third, then the combined filter factor will be two-thirds and the lens must be opened up by two-thirds of a stop. Filter factors are always positive so are always added together. In practice, it is usual to consider changes of 100°K or more as important, as this is the smallest change the eye is likely to notice unless it is possible, within the scene, to compare the sources – in which case differences down to as little as 20°K may be noticeable. This may occur, say, when a row of windows have one lamp each outside them, representing sunlight. In this case, very accurate measurement and filtration of the lamps will be required to get them all within a 20°K range. The colour temperature meter Filter Value Filter factor 5G – �2 10 G – �4 20 G – �7 30 G – �10 40 G – �13 Colour temperature meters come in two basic forms, reading either two or three colours.The two-colour meter reads only blue and red. It is not sophisticated enough for a working cinematographer but is useful for setting filters on lamps, as this usually only concerns blue and red. 1 ⁄ 3 1 ⁄ 3 1 ⁄ 3 2 ⁄ 3 2 ⁄ 3
124 Practical Cinematography Figure 14.4 The Minolta colour temperature meter For the professional cinematographer the three-colour meter is essential as it adds a reading in green.A three-colour meter is required if readings are to be made from fluorescent tubes, mercury vapour lamps, etc. As these, and many other sources, are frequently found on location these days, a good three-colour meter cannot be recommended too highly. The most popular meter in this category is the Minolta, shown in Figure 14.4.This meter can be set to read directly in degrees Kelvin or can have any film balance programmed into it. It can then be adjusted to read in the Mired shift values needed to correct the light source to the film being used. The meter will give both positive and negative values. There is also a chart on the back of the meter very similar to that shown in Figure 14.2 so that the equivalent Wratten filters can be chosen without the need to make reference to any other source. Colour film Colour film comes from the manufacturer balanced for a given colour temperature. That is, if the scene is illuminated with light of the same colour temperature for which the film is balanced, then you will get an accurate rendition of the colours in the scene.
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Dedication To the memory of my fath
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Focal Press An imprint of Elsevier
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vi Contents 5 Lenses 49 Artistic de
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viii Contents 17 Testing 146 Why so
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4 Practical Cinematography In early
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8 Practical Cinematography Nowadays
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12 Practical Cinematography Camera
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20 Practical Cinematography Technic
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44 Practical Cinematography A B C D
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62 6 Film stock What is film? Rolls
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198 22 High Definition - HD Is film
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202 Index Colour correction (contd)
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204 Index Lenses (contd) Panavision
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1 The Director of Photography – an overview

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