American Cinematographer - April 1989 - 96

when you do blue screen or dupe matte
work. That's why we are excited about the

possibilities suggested during our initial
testing of this new film."
Bill Butler, ASC, was asked
about the 50-speed Eastman daylightbalanced film. "I exposed it in several situa¬
tions. There is a scene at the zoo. It's a

daylight exterior scene with baby gorillas
and baby monkeys. There is also interesting
footage of sunshine filtering through some
trees which are thick with leaves. That

created shadow areas that we could look
into for detail. In addition, it also showed us

something about the saturation characteris¬
tics of the

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film since the leaves

the

We also shot several other situations, in¬
cluding one in front of a building and another
in a lobby. I asked the lab to print all of the

footage right across the middle at
printer lights, 25, 25 and 25.
How did he compare this new
daylight-balanced film to Eastman color neg¬
test

ative film 5247?
"I used the same camera and
lens to compare 5247 with the new film.
When I shot with the experimental daylight

film, I rated it for an exposure index of 50.
Then, I shot the same scene with the 5247
film using a No. 85 Wratten filter on the
lens. It had an exposure index of 64 with the
filter. That's about a third of a stop faster,
which is

negligible. "Side-by-side the day¬
light film has more underexposure latitude.

You

details in the shadow
The contrast is very nice. But, the

can see more

areas.

amazing thing is that there is almost no
evidence of grain. The daylight film appears
to be almost grainless.
"Every cinematographer is dif¬
ferent. We all have our own ways of
working. But I think if you are shooting a
theatrical feature, this is likely to be your
film of choice at least for daylight exteriors.
You won't need a color-balancing filter, and
the image quality is the best I have seen.
There is nothing else like it. The 5247 film
was the standard for a long time. I think this
film will become the

image quality."

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were

"The most interesting footage
gorillas who were outside on a
grassy hilltop. There was some absolutely
fabulous stuff going on between them. The
light was very flat and it was overcast and
getting late in the day. There was a soft
backlight and soft front fill, and the film was
slightly underexposed by around a halfa-stop. There was nothing brightly colored.
was

Time, and other calculations.

new

changing colors.

new

standard for

A
American Cinematographer - April 1989

Table of Contents for the Digital Edition of American Cinematographer - April 1989
