American Cinematographer - August 1984 - 98

tently to achieve color correct pictures
this way is to use fill light with the
same color temperature as the ambient
light for any given water path. Then
both light sources simultaneously will
receive proper color correction from the
Aquacolor filters in the camera.
Reflectors would appear to
be the

The first

designed by a working filmmaker.
Provides ready access to accessories
in any working situation. Holds most
16/35mm 400' magazines plus Matt
Box, rods, French flag, Slate, etc.
8"xl6"xl6" compartment with pad¬
ded adjustable/removable dividers.
Cordura nylon. All Velcro closures.
Foam padded throughout. Meets
carry-on requirements. Weighs less
than 5 lbs. Navy blue. $200 post¬
paid. Satisfaction guaranteed. For
complete information, call or write:
Larry Huston Studio,
40 E. 21 St., N.Y., N.Y 10010
212-777-7541.

Patentpending

Spice up your lighting with our
astonishing, powerful little

Professional quartz-halogen
...100Wto650W... preeam control... sturdy,
cast-aluminum construction...
ideal for fast films and video!
Dealer

Inquiries Invited

I range

of accessories, incl.

snoots, doors, scrims.

Fresnels
Floods

Softlights
Framers

simple, logical way to provide
the supplemental lighting with color
temperatures that match the ambient
light. Unfortunately, reflectors of suffici¬
ent light-gathering capacity in the dif¬
fuse light in water too often would be
unmanageable in the ceaseless motions
of the

sea.

We

experimenting with
self-contained ni-cad powered 6000 K
xenon arc underwater light units which
we built recently. The lights are 12.3
times brighter than automobile high
beam headlights. To the 6000 K lights
add
filters to

we

up

$125.
to $230!

Top opening for easy bulb replacement.

i;i\i

series of blue conversion

produce supplemental key and
fill lighting to match the color tempera¬
ture of water for various water paths.
When practical tests with the
complementary filter selections have
been completed, it then will be possible
to provide servo-operated, continuously
variable conversion filters on any 6000
K lights. The servos will be controlled
automatically by the Aquacolor cam¬

*

Hollywood, CA 90038

can result in acute
loss of details and colors in shadow

areas. For illustration, all one need do is
watch any TV newscast and observe
what happens to back-lighted subjects
shot in sunlight.
Of course, one could time the

original negative in the film lab and
print it on 5380 or 7380 Eastman film
stock specifically designed with 15%
less contrast than projection print stock
and a narrower density spread similar to
TV. But if the final product is to be
video, it makes sense to do the timing
during the negative-to-tape direct trans¬
fer where what you see is exactly what
you get.

created by
instead of

on

showing objects
as

in

is
full color

monochromes. The color

accentuates the definition of
underwater objects. This increases the
amount of detail in each scene, making

contrast

Aquacolor pictures desirable for televi¬
sion viewing.
Our best film-to-tape trans¬
fers are made directly off Eastman color
high speed negatives. The negative film
density range fits within the density
range of typical NTSC or PAL systems.
So it can be transferred directly from
the negative (by reverse polarity). In this
the fullest amount of informa¬

tion is transferred
before the negative

to

the video tape

density scale is ex¬
panded to the greater density spread of
the projection print.
Theoretically, projection print
film-to-tape transfers are not desirable
for Aquacolor pictures. The dynamic
range of the video system ranges from a
minimum
to

a

peak light density of about .3
maximum TV black density of

Telephone (213) 460-6166 * Telex 67-7693
1160 N. Las Palmas Ave.

density constrictions

era's filter selection system.
With Aquacolor, contrast

( ORI*. OF AMERICA
96

tions encountered underwater, such

Aquacolor technology can
light for video cameras
just as it does for movie cameras. At
this time, however, TV producers will
achieve superior Aquacolor video tapes

manner,

From just

a

are

roughly 2.4. The relative density range
of a positive projection print extends
from .2 to 4.0. The density scale of the
print is not compressible. So when
transferring from a project print, every¬
thing within the density range of roughly
2.5 through 4.0 is lost as TV black.
This is not to say that projection print
transfers necessarily are a handicap for
films made in controlled studio lighting
situations with lighting ratios of 2:1.
But for the uncontrolled lighting situa¬

August/September 1984

color correct the

if the underwater scenes are recorded
Eastman color high speed negative
film and then transferred directly to

tape.

There

are several reasons.
Unlike Eastman color nega¬

tive film, video does not tolerate lighting
ratios of 4:1. When filming by ambient

light in the
ment
nance

fill

sun and shadow environ¬
of the sea, the restrictive lumi¬
ratio of video requires the use of

lights in all but ideal reflective white

sand bottom

areas.

Otherwise,

too

shadow details and colors invari¬
ably must be lost as TV black.
Aquacolor requires the full
camera exposure latitude of 7 stops
provided by film. Video camera ex¬
posure latitude may be as little as 2Vi
stops, with some latest state-of-the-art
many

advances that

approach 41/2

or even

5

stops. Without the full 7-stop latitude,
Aquacolor techniques cannot be applied

consistently through 40 feet and more
of sea water, which is important for
professional applications.
American Cinematographer - August 1984

Table of Contents for the Digital Edition of American Cinematographer - August 1984
