The Academy of Motion Picture Arts & Sciences and many studios and equipment companies have all contributed to this projector improvement problem. As a result, we very frequently photograph screens in color more than 20 feet wide, and have photographed, in color, process screens approximately 28 feet wide. This size was used in the Paramount-de Mille production Reap the Wild Wind. A shot has recently been made by the same studio using a split screen including a total camera spread of 50 feet. This was accomplished with the aid of two triple relay projectors incorporating the recent improvements previously mentioned. In this emphasis on large screens it should not be forgotten that miniature screens also have their uses, and can be successfully handled on the same general basis as the large screens.
The problems faced by the color cameraman in handling process photography are generally about the same as those found in all process work. However, he must be very color-conscious and on his guard against an off-color projector light and improperly burning foreground lights. He must also be very careful of his foreground-to-background balance, as a background that is carried too high will often present a burned-out appearance that greatly alters the color values of the plate, and destroy the illusion of realism that he is striving to create.
Modern Technicolor camera equipment closely parallels the black-and-white studio equipment in its principal operational features and functions. There are available, for the camera, lenses of 25, 35, 40, 50, 70, 100, and 140-mm focal lengths. They are all in carefully calibrated mounts that fit onto a master focusing mount on the camera. In almost all cases focusing is accomplished by actual measurement to the focal plane desired, and then the lens is set on this indicated calibration. Repeated tests have shown that this method is more accurate than eye focusing. Eye focusing is seldom resorted to unless the focal distance is so short that it exceeds the lens calibrations. The stop calibrations on the lenses are all photometrically determined and calibrated on an arbitrary arithmetic scale. These lenses have all been specially corrected for Technicolor work. A very interesting and very valuable follow-focus aid, which has been standard equipment since the manufacture of the cameras, is available to the assistant or technician in the form of a pair of selsyn motors. One is attached to the lens mount, and the controlling motor is held in the technician's hand, or fastened to some support if desirable, permitting the technician to be 50 feet or more away from the camera, and yet maintain accurate control over the lens focus. This is of especial value when the camera is put into the sound "blimp," making actual rigid mechanical connection with the lens-mount unnecessary. This is very helpful on sound shooting inasmuch as the camera unit inside the blimp is actually floating in rubber and has no direct mechanical contact with the blimp except through this sponge rubber.
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