Improvement can be made here, though it entails a fair amount of redesign to get all sensitive filters into a cooler part of the optical system. A disconcerting and particularly frustrating phenomenon occurs rarely when the coils of the lamp filament contort and short out electrically when the lamp is turned on causing large exposure changes and some color shift. This can be avoided by applying voltage gradually when starting a lamp and never thereafter turning it off during the course of a day’s operation. During periods between actual use, the lamp would be operated at reduced voltage keeping the lamp hot and reducing the thermal shock of starting with a cold filament. Printer #2 is set up this way.

    Another serious source of error between panels can originate in the mattes used to effect scene to scene color changes. If different mattes are used for each panel, differences in the wear or fading characteristics can result in brightness and color differences between panels in the prints. The errors can be eliminated or considerably reduced if only a single matte is used for all three panels. To do this, however, requires that the negatives be delivered from the camera without color differences or serious exposure differences between the panels. The difficulty of matching and maintaining separate mattes for each panel is so great that many minor and some serious color errors have been allowed to remain in the picture so as to avoid this complexity. The only good way to effect color changes between panels is to utilize a completely automated additive light source rather than the subtractive type source we use. The source should operate with steps of .02 density units, accurate to about .005 density units.


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