American Cinematographer - October 1984 - 116

counts

animation stands with multi featured
advanced process camera, also including

special-effects optical printers, stepregister contact printers, single and twinhead aerial image projectors and a choice
of computer control systems.
All this and more can be tailor made to suit
your own individual requirements.
At the last count we have served nearly 200
professional users and 70 colleges in 50
countries. Many of these have more than

Let us put you in the picture about our
professional range of film animation and

special effects equipment used by film
studios, T.V. stations, colleges and film
laboratories the world over.

one

Ranging from peg-bars and drawing discs
to fully professional

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long-term future, Dr. Kriss believes that
image processing could have a much
broader and deeper impact. For exam¬
ple, if you shoot an interior where it is
impractical or impossible to gel a win¬
dow to simulate daylight or moonlight, a
computer can be programmed to detect
the problem and make the correction as
part of an image-processing program.
You also could scrub unwanted grain
from sequences and reconstruct over- or
underexposed images so they appear on
the screen the way they should look to
the human eye in that situation.
We

could

mean

can look at what this
in very practical terms.
you are shooting a scene

Imagine that
a comparatively darkened room. The
main source of practical light is an open
window through which direct sunlight is
beaming. You are working with about
in

five foot candles, which allows you to
establish the mood the director wants in
the shadow areas. Even with today's

in the picture?

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Neilson-Hordell Limited

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computerised

So far, all of this only ac¬
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high-speed Eastman color negative film
and its recommended exposure index of
400, your stop is probably around

T-2.8.
onto a

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Wethersfield, CT 06109 U.S.A.

The open window looks out
beach where several people can

seen frolicking in the glaring sun¬
light. This has some importance to the

story, so the director wants you to carry
an image which extends from the de¬
tails in the shadow areas of the room to
the activity on the beach seen through
the open window. If you read the beach
with your

light meter, it would
off the scale at T-22. However, because your film has such a
broad range of latitude, chances are
very good that you are going to be able
to carry the scene. Even so, the
people
on the beach are going to be
grossly
overexposed and therefore pale - not at
all the way the human eye would see
them looking through that window in
scene

probably

the darkened room.
Here is a situation where im¬
age

long

processing could come into play. As
as there is some exposure, the

computer can be programmed to "look
at" the part of the scene shot through
the window and correct it so it appears
the way the human eye would see it.
Dr. Kriss stresses this is just
one small
illustration of the pos¬
sibilities. A bigger example involves the

American Cinematographer - October 1984

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