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1 The Director of Photography – an overview

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134 Practical Cinematography<br />

but in colour with the tone scale modified to match the tonal scale <strong>of</strong><br />

modern colour emulsions.<br />

If one is honest, the most common use <strong>of</strong> a modern p<strong>an</strong> glass is to<br />

look at the clouds in the sky to see if one c<strong>an</strong> get a matching lighting<br />

state from the previous shot. M<strong>an</strong>y DPs still judge their lighting by<br />

them as, particularly when using a camera operator looking down the<br />

viewfinder may be inconvenient, a colour viewing filter c<strong>an</strong> be a great<br />

help in judging the lighting ratio <strong>of</strong> a scene.<br />

A good gaffer will do the sky watch for you. My gaffer has<br />

developed <strong>an</strong> unc<strong>an</strong>ny ability to guess a cloud’s progress across the<br />

sky. He might use his p<strong>an</strong> glass or a gaffer’s viewing filter I found for<br />

him. This is incredibly dark <strong>an</strong>d green, as this is the safest colour to<br />

look at the sun with, though he reluct<strong>an</strong>tly admits that in the UK it’s a<br />

bit too dark <strong>–</strong> hence he is always asking me when we are going to get<br />

that picture in California so that he c<strong>an</strong> make proper use <strong>of</strong> the glass<br />

I gave him!

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