Basic Elements of Filmmaking II Handbook UW-Milwaukee Department of Film Peck School of the Arts © 2004 Rob Danielson
Notes on Creative Process – Lynn Kirby and Robert Nelson “Taking her inspiration from observations of her daily life and surroundings, Kirby focuses on the exploration of quotidian events as a foundation for a broader understanding of the relationship between self and community. Her films are short, complex, multi-layered and evocative”. Lisa Gibbs. From “Time, Space and Knick Knacks,” Interview with Lynn Kirby, " Lisa Gibbs, Release Print, 1993.
Bob Nelson: Where Film Ideas Come From “Ideas come from different, unexpected places…If you strain too hard for ideas the film will show your lack… The most reliable place for ideas to come from is from the work itself…You only need one small idea to start…Don't be too hard on yourself or prejudge your idea. Once you have started, you can re-evaluate things when you need to.
Principles of Cinematic Exposures Exposure is a function of two variables: the elapsed Time during the exposure and the Intensity of the light reaching the film stock. The amount of light energy needed to produce the desired exposure is also affected by the Exposure Index (EI) of the film stock. For camera stocks, this number reflecting light sensitivity is usually provided by the manufacturer. Time The duration of the exposure of each frame of film is established by the filming speed.
If the camera is slowed down from 24 FPS to run at 12 FPS, the exposure time is doubled: 1 --42 X 2 --1 2 --42 = or 1 --- Second 21 By memorizing the shutter speeds for 24 FPS and 32 FPS and applying following the simple proportion rule, the other shutter speeds can be quickly deduced in the field. Calculating Shutter Speeds for the Bolex Reflex About 20% the light passing through the lens is used for reflex viewing on Bolex Rex models.
light intensity of one Stop. With each Stop, the intensity of the light changes by a factor of 2. . Depending on the direction the aperture ring is moved, the light intensity is either doubled or cut in half with each Stop. For example, when the aperture setting is moved to a smaller number-- say from F11 to F8-- light intensity passing through the lens and reaching the film increases by 1 stop. 1.4 2 2.8 4 5.
Working with Known Light Intensities At a distance of 93,000,000 miles, the sun produces a steady field of light through which earth passes. The amount of light reaching the surface is quite consistent during the height of day which starts about 2 hours after sunrise and continues until 2 hours before sunset. The range in intensities during the height of day can be simplified to three basic conditions. • When sunlight passes through HAZY SKIES, its intensity is cut in half-- or is reduced by one STOP.
Exposure Index. The manufacturers assigned a film stock a number relating to the exposure time necessary to create a good image under Bright Direct Sunlight when the aperture setting was F16. If a film stock produced good results when the exposure duration was 1/50 second, the reciprocal value of "50" was assigned.
Answer: .200 /2 = 100. 100~110. 5. For every step that you divided the larger number by two, close-down the lens aperture one full Stop-- counting from F16. Answer: 1 "divide by 2 " step.. Close-down lens 1 stop from F16. Set Lens to F22. Example 3 Lighting Condition: Bright Direct Sunlight (BDS) Plus-X-Reversal in Daylight : EI = 50 Bolex Shutter Speed @ 24 FPS: 1/80 Second What is the proper F-Stop? 1. Is the reciprocal of the shutter speed (80) equal to the EI of the film (50)? Answer: no 2.
5. For every step you divided the larger number by two, open-up the lens aperture from F16 one stop. Answer: 2 steps. Open-up lens 2 stops from F16. Set Lens to F8.
Answer: Overcast skies provide 2 Stops less light than BDS. To convert for these conditions., open-up lens 2 stops from previous computed value of F8 to F4 : 2.8 4.0 5.6 8 <---------------------------------------- • ∆ Overcast BDS 11 16 The exposure law can also be used to compute the Daylight EI rating of a print stock film for which no EI number is published. First, a test must be run under bright, direct sunlight conditions.
Exposure: Density, Latitude & Metering Density The "black," "grays," and "white" of projected Black & White film are the result of a range of densities of silver particles embedded within the gelatin emulsion. The darkest or densest "black" produced by a film stock is called the Dmax (Density-Maximum). The brightest "white" produced by clear film is called the Dmin. (Density Minimum). In between, there are several values from dark gray to light gray.
Using A Light Meter CdS and Photoelectric In the Film Department we currently have three light meters: The Gossen Pilot II, the Sekonic LC128 and the Gossen Luna Pro. The first two meters photoelectric and the Luna Pro is a CdS design meter. The photoelectric design converts light energy directly into electricity causing the meter needle to move proportionally. The CdS design uses a built-in battery and the light modulates this existing current.
pointed at the surface one wishes to render as a middle gray value. When rendering faces and other surfaces with detail is a priority, the light meter can be held as close as a few inches away-just make sure the meter or operator does not block any of the light from the area that being is measured. The Sekonic light meter accepts light from a fairly wide angle so close placement will improve accuracy when reading smaller areas.
rendered within the 5 Stop exposure latitude of Plus-X or Tri-X. This wide range of reflected values is often the result of uniform, harsh sunlight and objects such as trees and buildings with deep "over-hang" creating deep shadows. The presence of the sky within the frame adds a very high reflectance extreme under BDS conditions as well.
Plus-X- Reversal 5 Stop Exposure Latitude Dmax I I -2.5 -2 Stops • Middle Gray I I -1 Stop 0 +1 Stop Dmin I I +2 Stops +2.5 Your light meter says that F2.8 would render the face as middle gray so you visualize a chart and place F2.8 in the middle gray position: Dmax I • I I I Middle Gray I F2.8 Dmin I I I Closing the aperture will result in increased film density and opening will result in less density.
Dmax Face 0 • Middle Gray ∆ Dmin Window +1 Stop + 2 Stops + 3 Stops + 4 Stops With the window four stops lighter than the face, it would be rendered as light gray. What simple adjustment could be made to increase the difference in illumination between these surfaces? Here, a basic rule of tonality control applies: If you can't move the light, move the subject. If you can't move the subject, move the light.
Optics and Cinematography Part of the magic of film is that it simplifies visual experience. This is particularly evident in its inability to portray subtlety of tone. The heightened contrast emphasizes the role of light carving a deeper impression in the psyche. The decisions of a cinematography revolve around the use of light.
Because coherent light is directional, intensity does seem to "fall-off" more quickly than with diffuse light. This characteristic can be used to dramatic effect by placing a coherent light fixture very close to the object or subject. The image will have a pronounced tonality shift even over a fair short distance. Drawbacks with coherent light should be apparent: scenes often have darker shadows and overall higher contrast producing a wider range of light intensities.
Creative Use of Diffuse Light Flesh tones and middle values can be rendered with more subtlety and contour under diffuse lighting. As a rule, a wider range of range of grays is easier to produce but the fixture will have to be placed quite a bit closer to the subject to compensate for the reduction in intensity. More flexibility in lighting angles exists with diffuse light. When using it as the primary light in a scene, experiment with side lighting more than you might normally.
in light intensity exists. Each stop is actually a doubling of light, so the perceived ratio in measured units (electro-volts, foot candles etc.) would be 2 X 2 or 4. The astute Director of Cinematography would observe, however, that the lighting ratio of the light from the key source to the light of the fill source in this example is not quite 4:1. The left side of the face is being illuminated by both direct sunlight and skylight making the lighting ratio a little less than 4:1.
Location and Motivated Lighting Realistic results with artificial lights on location are based on carefully studying locations of the type you imitating. Is there diffuse or coherent lighting? What are the lighting ratios? Sometimes the existing lighting is attractive but is simply not bright enough to shoot with. Other times, you may decide to start from scratch and create a new impression. In both cases, start with the key light. Here are some tips.
Exposure Chart for Tri-X- Reversal Test conducted Spring 1998 Bell & Howell 70 DR 24 FPS or 1/42 second
Kodak 16mm B & W Camera & Print Stocks KODAK PLUS-X Reversal Film 7265 (NEW) A medium-speed, panchromatic black-and-white film suitable for general exterior photography. It has a high degree of sharpness, good contrast, and tonal gradation. It can also be used in interior photography with ample artificial illumination. EXPOSURE INDEXES Kodak recommended reversal processing: Tungsten (3200K) - 80 Daylight – 100 No tests have been run on Plus-X as of 1/1.
Footcandles Required 16 32 64 125 250 500 Eastman Reversal B &W Film 7361 A black and white reversal film intended for making prints from black and white and color reversal originals. Suitable for making work prints and can be processed in the same solutions as Plus X and Tri X Reversal. Exposure Index numbers are not given for print films as sensitivity may vary from emulsion batch to emulsion batch. perf Cat, No. Net ea.
In Camera Special Effects – Bolex Rex Single-Framing Two modes are available, “I” and “T.” The “I” or Intermittent mode, takes one, brief exposure every time the button is pushed forward. An effective shutter speed of 1/40 sec can be used in determining exposure when the fps knob is set at 24fps. This would be the conventional mode to use when there is sufficient light and minimal motion blurring is desired.
Multiple Exposures or Superimposition Multiple Passes. You can make multiple exposures with a Bolex Rex same as you can with Bell & Howell 70 DR by running the film stock through the camera multiple times. You must use doubleperforation film. To make a whole roll of double-exposed images, run the roll completely through first underexposing each shot 1 stop. Place the take-up spool, on the supply side and thread the film through the gate in the usual manner.
Tips about Composite Images • If both or all of the shots to be combined have objects against a "black" background and the lighted objects will not over-la, little or no exposure adjustment needs to be made. • Superimpositions often look more interesting when parts of the images merge into the illusion of one image rather than discernable “layers.
Adapting a bellows for close-up work No extension tubes? Any way of supporting the lens away from the body will allow small scale cinematography. If you work in a darkened room the bellows in not crucial. Exposures cannot be computed as usual. Best to run tests and open up many stops and/or slow down exposures Matte Box We don’t have a matte box for the Bolex but you can get a sense of a basic design from the below picture.
Soundtrack Production Stages and Techniques Just as one determines locations, subjects, camera positions, lens settings and lighting when creating interesting images, one must learn to recognize and tailor the qualities of sound to make making an interesting soundtrack. In bringing your film soundtrack to a final “mixed” state this semester, there are six stages of sound production. Good soundtracks have intriguing qqualities which attract and engage the listener's curiosity.
This one used two hoops of hand wrapped heavy wire and two rubber bands Aluminum brackets, bolts, nuts, two rubber bands and a foam handle • Heavy cardboard tubing is strong enough to hold a Rode NT-3 . Optional small bungee cables are used here instead of rubber bands. Six 20 penny nails, four rubber bands and a small board are used for this X-Y stereo shockmount.
In urban locations some typical ones are: traffic, compressor and motor rumbles, fans, transformer hums, HVAC duct rumbling, appliance and lighting buzzing and the drones of factories or construction in the distance. As you walk around, keep an ear open for higher frequency sounds—those with percussive qualities like taps, tinks, scrapes, squeaks, pops, squeals. You can also thump or wiggle or vibrate materials to create sounds.
• Recording Foreground Sounds. You can tell when you have located a sound with foreground potential because it has a variety of tones and rhythmic variation. Unfortunately, they are kind of rare. The most common foreground soundtrack element is voice, The human voice produces both deep tones and high pitched consonants. It is capable of lots of rhythmic variation and nuance in delivery and rhythm. Some musical instruments do as well.
• • Recording Middle-Ground Sounds. If you go on a quest to discover interesting sounds and record a good variety of them, chances arethe majority of them will fit best into the middle-ground plane. They are more like classic “sound effects” in that they are typically higher in pitch and short in duration, In some cases they are perceived as “textures”— like trickling water, buzzing ciccadia or a whining light fixture—but these extended passages are actually densely packed percussive events.
More Field Recording Suggestions • When recording a location or a background, move away from areas where sustained, low pitched sounds like motors, hums and traffic dominate. Move your micing position towards sounds that are higher in pitch and percussive if available. The low energy sounds are more powerful and will be adequately recorded even from a distance. • When a sound source dominates a location, spend some time close micing it.
Sound Gear Check-List Sony TC-D5M Cassette Recorder Power: 2-D size batteries; High Bias or Metal Type IV cassette tape. Disasters: Turn “-20dB pad” OFF; Limiter Switch = OFF; Dolby ON; Will run on Low Batteries and make speed flawed recording. Tech: Mic Inputs” 2-1/4” Phone Plugs; Line Inputs: RCA phono (-10dB unbalanced) Rode NT-3 Condenser Microphone Power: 1- standard 9 volt size battery. Unscrew body to carefully install. Disasters: Very Sensitive to hand holding and wind noise.
Radio Shack PZM Microphone Power: Requires 1 AA battery. Disasters: Available with 1/4” phone plugs in checkout. Tech: Very resistant to wind, but sensitive to mechanical contact. For best performance place on flat area at least 4’ X 4’ . Best for location ambience but low sensitivity and noise makes it a lesser choice than the Sound Professional Lavs for this purpose. Field Recording Vu Metering Suggestions Foreground Sources Voice and other sources with a mixture of percussive and sustained sounds.
Recording with the Sony MZ-NH900 Hi-MD Recorder The HiMD recorders can record in two formats: the higher-quality HiMD format or the Standard MD SP format. They can also record on both the old, “MD” discs and the new HiMD discs.
Perform these steps with No Disc in the Recorder: + 2
Perform these steps with No Disc in the Recorder: + 3. 4. Set to Advanced Menu Mode Press and hold the Navi/Menu button for 2 seconds until the menu window activates. If "Menu Mode" is blinking, select it with the ENTER button (middle of Jog Wheel) and then select ADVANCED mode. Menu Mode is also available under the Option menu. You cannot access manual record level unless the menu is set in Advanced Mode. 5. Set Disc Mode to MD - use this mode until Sony upgrades software.
8. Look at the Menu window. The Record Mode should show “MD” and “SP. If the window shows HiMD or LP2, re-do the above steps 5 and 6. 9. Install a fresh, alkaline, 9 volt battery into the Rode NT-4 mic by unscrewing the lower section of the body and sliding the battery into the cavity (terminals first). Check for correct polarity (+ to + and – to –). Secure the battery in place with the flexible spring clip and screw the sections back together. 10.
MIC IN Headphone OUT 13. Set/Check Mic Sensitivity (Low or HI) Press and hold the Navi/Menu button for 2 seconds until the menu window activates. Use Jog Wheel to navigate to "Rec Set" and then "Mic Sens." Select "High" if you are recording ambience or "Low" if you are recording close voice or loud sound effects. 14.
15. To start recording, press again on the Pause button. When you are ready to stop recording, press on the PAUSE button again. Try to not stop the recorder with the STOP button unless you are taking a break because this will take the deck out of Manual Record Level mode. Note that the recorder jumps to unused disc space when a new recording is started. Recordings are organized into “groups.” A ‘Group” includes all the tracks made with the pause button.
Key Sound Terms and Definitions Loudness With many sounds arriving at the ears at once, a top priority of the "mind's ear" is to discern degrees of loudness. Typically one or two sounds seem loud and close, others are in general vicinity while many seem to arrive from much greater distance. The ear can detect sounds from all angles and from many distances but the brain attends to only one or two at a time.
living room seems much quieter than 60dB of hubbub from local street traffic in the backyard, but even the “quiet” living room is 50 times louder than the faintest sound level one can detect. The high background sound levels of urban environments makes it harder for us to discern and record sounds. It’s common to hear students complain about the “bad sound” they got on a location shoot.
Hertz , the person who refined the study of sound vibrations in time. Hertz used the term frequency to describe the phenomenon of certain rates being sustained long enough to be discerned as pitch. As vibrations actually cause the air molecules to constantly move back and forth, the energy of sound is constantly changing direction or polarity. This wave-like or cycling nature of sound is reflected in another term used to describe pitch, cycles per second, or CPS. (Hz is a modernized form of CPS.
Decay Decay Bass Drum Bass Guitar Time Time Waveforms, or graphs of each sound displaying the changes in volume over time provide a clear picture the difference we can hear. Both instruments have an abrupt beginning, but the way each sound ends (or “decays”) is quite different. The volume of the strummed bass guitar string is sustained over three seconds while the sound of the drum decays fairly rapidly, in about 1/5 of second.
Julie Dash intersperses background music, location sounds, brief passages of dialog in Daughters of the Du The location sounds occur in the sections with thin lines.
a second, the fundamental frequency is 40 X 5 or about 200 cycles per second. The embedded higher pitched tone is vibrating about 18 cycles or at 18 X 40 or 720 Hz. The sound is a very brief, low frequency but very pitched, "thump." Less musical or "concrete" sounds like speech, clicks, buzzes and squeaks, also have frequency and loudness characteristics. The appearance of these waveforms is less structured and they often reveal a wider rang of frequencies. Here's a waveform for the sound "s" in speech.
Cassette Tape to 16mm Mag Film (Transfers) Make this audio patch: Mag Recorder MON. 2230 EQ CAS 1. Check these buttons/switches: 16mm Mag Film Recorder Magnasync Record Amplifier Power Switch ON Record Level Knob at 5.5 Playback Level Knob at 6 First press yellow "Ready" button and than the red "Record" button.
5. Play the foreground sound on the cassette tape. Adjust red "Level" knob on the Tapco 2300 so that -3/-5 dB peaks occur on the Mag Film Recorder Vu meter. Adjust audio monitor level for a comfortable listening level. Leave the monitor level fixed at this level as you work. Put the tape with the foreground materials you wish to transfer into the cassette deck. Foreground Transfer Peaks to –5 to -3dB 6. Cue up the section you wish to transfer and “zero” the counter.
masking tape along the bottom of the row of white knobs on the equalizer. Starting from one end, write down the status of every knob in a sequence like: -9 -9 -6 -5 -4 -2 -1 0 0 0 0 0 0 +1 +2 +4 +3 +1 0 0 0 Attach the tape record to wax paper and you can put it back on the equalizer 8. After setting equalization, re-adjust the red "Level" knob on the Tapco 2300 to establish -5 to -3 dB peaks on the 16mm Mag Film Recorder Vu meter.
16. A big time saver when you are sound editing on a 4 or 6 plate is to take-up each of your transferred segments on separate cores (2" or 3"). This way you won't have to search through a whole roll of material whenever you need to add a sound. Let the Mag Recorder roll an extra 5 seconds after each take. Use scissors to cut the mag film where it meets the take-up reel. Remove the take-up split reel and the cored, transferred mag.
Sound Source Problem Equalization Suggestion Urban Day Exterior Dominant drone-like low tone that is too loud Urban Park Presence Leaves blowing in wind creates a high pitched sizzle that is too energetic. Rumble of City is too pronounced, gives the recording too much “drive” and energy. Roar is too loud. Can’t seem to get it to sound like a location Try all the sliders between 120 and 500Hz to determine which ones affect the dominant tone or tones the most and cut these. Locate sizzle and cut it.
27. Press the "Ready" and "Record" buttons on the Mag Film Recorder Amplifier. 28. Place the cassette with the middle-ground sound in the cassette deck. 29. Return all of the white equalizer knobs on the Tapco Equalizer to the centered positions. 30. Play the background sound and adjust record level on Mag Film Recorder with red "Level" knob on the Tapco 2300 equalizer. Middle-ground sounds should be transferred with peaks at -10 dB, maximum. For very sharp effects, set record level for -15 or -20 dB.
34. Start the Mag Recorder rolling by placing the transport knob into "FORWARD." Let the Mag Recorder run until you have plenty of material. 35. Turn -off the take-up motors of the Mag Recorder while you set-up for the next transfer by switching the "A Wind" knob OFF.
Transferring Edited 16mm Mag Tracks to LOGIC The Picture Roll and all Three Mag Rolls need to be leadered like this: Make this audio patch: DAW Left Right MON. MAG.REC MAG 1 TRANSFER (Foreground sounds): 1. Check these buttons on the16mm Mag Recorder Amplifier: Black Power Switch On Press "Safe" and "Repro" buttons in this order. Set "Reproduce" knob to "6." 2. Load Mag 1 on 16mm Mag Recorder/Player. Put in "Reproduce" mode. 3. Turn on the power to the Monitor Amp. 4.
Using your Own Computer for Final Mixing For your final BEII project, you are required to cut three tracks of Mag sound (background, middleground and foreground) on the Steenbeck exploring image-sound relationships before using a digital system to finish your mix. You may take the digital transfer files from the edited Mag tracks home, use your computer to finish your mix, bring the digital mix file back to B-65 to transfer to 16mm Mag film, and sync the mix with your 16mm picture on a Steenbeck.
7. Connect the FireWire (FW) drive to a FireWire jack on the Mac (front or back). Note that one side of FW connectors is slightly curved. Make sure that you align this curved side when you insert a cable. Forcing it in backwards will destroy the connector. Curved side of the FireWire Connector Starting the Computer 8. If you are using a FireWire drive, turn it on first. After you hear it spinning, press the Start button on the front of the Mac. 9.
Creating and Organizing Your Logic Session Folder Sound files need to be stored where you can find them. Most computer programs are designed to automatically keep track of assets (“media” files like sound files, QuickTime movies etc.) that are placed within the same folder as the main project document. In Logic, this “editorial” document has the Logic icon on it. 10. The instructor has created a folder on a hard drive partition of the computer with your last name on it.
Selecting File Creation Type 13. The doc you just named, “YrLastName_Mag_Transfers” is a session doc for the application, LOGIC, double click on it to launch LOGIC. 14. If you are going to be mixing in B-65 or working at home on your own Mac, under Audio -> Preferences, in the window that opens up, select, “SDII” in the pull down window where it says, Recording File Type.” Select “SDII” for B-65 or Working on a Mac Select “WAV” for Working on a PC Computer 15.
Note: If you do not find the AudioPhile driver listed after “Driver,” select it from the pulldown window. Any time you change the driver, you need to save the Logic session, quit Logic and re-launch it again by double clicking on the “YrLastNameMagTransfers” doc again. 17. Under AUDIO_>Sample Rate, check for 44.1K 18. Under AUDIO -> Set Record Path, do the following: a. Set record time to 10 minutes. (click on the number, drag up or down) b. Click on SET and a window opens.
10 “Yr_Last_Name_Mag1” NOTE: If you get a prompt after clicking on SET above a driver not being available, its likely you have not set the driver correctly or did not save and restart LOGIC after changing a driver setting. To fix this, save your Session, Quit Logic and re-launch LOGIC and repeat steps 15-120. Sometimes a LOGIC Session template can become corrupt. The Fix for this is to create a new template by choosing FILE NEW in Logic and then go through the same preferences you checked above.
select, “o”. Make sure the input levels on all of the channels are set to “0.0” (To reset an input slider to “0.0,” hold down on the Option key and click the square button on the slider once). Drag Mixer Ch 2 Pan Button clockwise (fully right) to setting of +63 Drag Mixer Ch 1 Pan Button counter-clockwise (fully left) to setting of -64 All Input sliders should be set at “0.0” dB Input Type: A single circle indicates a Mono Input. Two Circles indicates Stereo. Mono is the correct setting. 20.
If No Audio Comes Through A) Make sure the patch cables connected correctly (see start of this section). Make sure the Fostex Monitor Speaker is on and volume turned up. Make sure you are not playing a section of Mag1 that has no audio. B) If still no sound, make sure the amplifier for the Mag Deck is turned on, the Safety and Reproduce buttons are pressed in, and the Reproduce knob is set at 6.
25. After you have established a record level setting, adjust the monitor speaker volume to a comfortable listening level. Rewind Mag 1 at least 3 feet before the EDIT SYNC Beep. For the Transfer, its best to place LOGIC into record Mode before starting the Mag Deck Playing. 26. Make sure the current position indicator is near the start of the arrange window. Click on the ROUND icon button on the transport bar to place LOGIC into Record Mode.
32. Play through Mag 2 adjusting the Deck’s Reproduce knob (Playback Level) so that the loudest moment goes to the top of the scale WITHOUT causing Over-Modulation. 33. Rewind Mag #2 at least 3 feet before the EDIT SYNC Beep, click on the ROUND to place LOGIC into Record Mode. Play MagTrack#2 watching the levels to make sure it does not over modulate. Stop and select under File->Save. MAG 3 TRANSFER (Background Sounds): 34. Load Mag Track #3 on the Mag Deck.
Saving Your Transfer Session Doc Automatically created folder with copy of session doc. OPTION-DRAG COPY When you saved your Logic Sesson, it automatically created a back-up in folder named, “YrName_ _Mag_Transfer.bak” that was also created. It’s a good idea to save your session doc at this point. To do this. OPTION-DRAG the doc, “YrName_Mag_Transfers” into the “Danielson_Mag_Transfer.bak” folder and release the mouse.
Hold down on the OPTION key and click each of the Pan knobs sending the outputs from each track to Center. 3. Use the Vertical and Horizontal Enlarge and Reduce buttons in the top right hand corner of the Arrange Window to show the top three Tracks. Click-drag your Mag #2 Transfer into Track #2 of the Arrange Window placing it beneath Mag #1 Transfer: Do the same for Mag #3 Transfer.
4. Use the Enlargement Button to “zoom” into the head of all three Transfer Files: You should be able to see the “beep” frames that correspond with the “EDIT SYNC” frames of all three MAG Transfers. 5. To Zoom in even further, CLICK in the “empty” gray area below the audio files, hold down the Control key and “LASSO” the area you would like to zoom into. Release Mouse Button. To Drag an Audio Region with great precision (like Mag #2 to the right only a few Frames in this example): 1. 2. 3. 4. 5.
6. With a little practice, you can line-up all three, one frame, EDIT SYNC Beep Frames very accurately. 7. To listen to a rough mix, OPTION Click once in the empty gray area and the Lasso will “step-back” one setting to the prior view/magnification. Click the current position marker just before the sync marks and press the space bar to play all three the files. To adjust relative volume between the three tracks, use the sliders in the Mixer window for Tracks 1-3.
Logic Audio –Basic Mixing Techniques This tutorial assumes you have transferred 3 monaural sound files from edited, 16mm mag film with foreground, middle-ground and background sound types and that you are using the DAW for the BEII class in MIT B-65 with the sound cart. Make this audio patch: DAW Left Right Tascam Mixer MON. MAG.REC 1. Turn on the power to the Fostex Monitor Amplifier.
5. Carefully connect the FireWire (FW) drive to a FireWire jack on the Mac aligning the curved side when you insert a cable. Curved side of the FireWire Connector Starting the Computer 6. Turn on your FireWire drive first if you are using one. After you hear it spinning at full speed, press the Start key on the Mac keyboard. 7. If you are using an External FW drive, look for it’s icon on the desktop.
ASIO Delta Audiophile Note: If you do not find the AudioPhile driver listed after “Driver,” select it from the pulldown window. Any time you change the driver, you need to save the Logic session, quit Logic and re-launch it again by double clicking on your Mix session doc again. 11. Under AUDIO_>Sample Rate, check for 44.1K 12. Check to make sure all Mixer channels are set to centered output: Channels 3, 4 & 5, below, have not been centered yet.
14. Look at all of the Input channels and the master output channel on the Mixer. Are all of the sliders set at the 0.0dB position? If not, Option-Cick them one at a time and they will snap to into the“0.0dB.” Set to ”0.0” 15. Type RETURN or place the current position indicator to the start of the timeline Arrange window. Press Play (or space bar) and you should be able to hear your Mix. If No Audio Comes Through A) Make sure the patch cables connected correctly (see start of this section).
Setting Mix Reference Level 16. Now that sound is passing through, take a look at the Meter for Master Output 1-2 at the far right of the Mixer Window. Over-Modulation Light Indicator Box The sound levels in this meter are relative to 100% digital saturation. The loudest moments in your mix should use all of the range without causing the Over-Modulation light to come on. 17.
20. Press the space bar to start the section playing in Loop Mode. Look at the maximum peak in the Track 1 meter: Let’s say the playback level extended about 4/5’s of the way to the top. This leaves room for a little “boost” in volume before the “true” peak signal would be running through the system. With the slider at 0.0 dB, the loudest moment in the soundtrack caused the yellow level display to extend about 4/5’s of the way to full saturation.
Automating Track Playback Volume Volume Automation Shortcuts Turn On Hyper Draw Volume Create a Breakpoint Fine Adjust Volume Delete a Breakpoint Lockout Horizontal Turn Off Automation Click one region or lasso a few regions or All w/Apple-A + F1. Click in region drag up & down and left & Right. Scale is 0-128. 90= 0dB Click on Breakpoint + Option Key + Drag Breakpoint Up & Down Option-Click on the Breakpoint Control + Option or Control + APPLE F4 Establishing Space at Select, Softer Passages 24.
26. Click “S” in Track 3 Mixer to place the Background track in Solo mode too. Click in Track 3 area under the spot where the loop begins to create a volume breakpoint. Drag the point up and down until the playback volume for the Background elements sound about right in relation to the foreground sound. ( Try turning the volume off by dragging it to zero and raising it until its barely audible.
28. To keep these settings for the whole passage, Click again at the end of the passage in each track and drag to match the setting at the start. 111 39 79 111 39 79 Foreground volume for whole scene is set at 111 with a matched breakpoint on the right. Middle-Ground volume for whole scene is set at 39 with a matched breakpoint on the right. Background volume for whole scene is set at 79 with a matched breakpoint on the right. 29.
The Next step is to adjust the relative volume for the loudest scenes in decreasing order. 30. Zoom-in at the start of the loudest passage in your soundtrack and place the transition in loop play: Start of loudest passage Let’s say the transition between the soft passage and the beginning of the loudest passage seemed too abrupt. A lower volume at the head of the passage is desired. 31.
Or possibly with a little softer middle so the rise towards the end will seem even greater and more dramatic: 32. At the end of the loud passage, perhaps the volume seems to drop off too quickly towards the softer passage: So, automation is drawn to lower the volume after the peak and raise it cross the transition to the softer material. The initial volume of the softer passage is raised and then dropped to the level set for the scene earlier.
Of course, the backgrounds and middle ground sounds also have to be set for the louder passages as well. 33. Another common need is to lower the volume of a element that has relative slow attack and fade times. 34. Even lowering the volume of very short duration sounds is sometimes possible with some experimentation with the break points under extreme magnification. It can be necessary to create the automation a little before the waveform itself to compensate for computer latency.
Automating the Volume for the Beep Tones The beep tones at the “2” of the Academy leader and at the Edit Sync will be needed to synchronize the copy of the Mix on Mag film with the edited 16mm picture, so they need to be automated into the mix as well. Saving Your Mix Session Doc In order to prevent losing hours of work, it’s wise to make copies of your mix doc about every 30 minutes or so. 35. Save your Logic Mix Session. Click on your Mix Doc and press APPLE-D to make a duplicate of it. 36.
37. Store the duplicate in the back-up folder. (Note you can sort the files by preference of date created if needed to determine the most recent etc.) Bouncing Your Digital Mix of Your Soundtrack After the automation has been added to all of the Tracks (without Over-Modulation) and you have test played it a couple of times and are close to happy with it, you can output a test mix. 38. Make a loop segment on the timeline for the whole length of your film.
39. Click once on the “Bounce” button by the Master Output Track: 40. In the window that opens up, make sure the below selections are made. Click on BOUNCE. 41. Name and navigate so file will be saved in the MIXES folder within your Project Folder: 42. Press on SAVE and Logic will play through your soundtrack in real-time creating the digital sound file.
Transferring Your Digital Mix to 16mm Mag Film Make this audio patch: DAW Left Right MON. MAG.REC 1. Check these buttons on the16mm Mag Recorder Amplifier: Black Power Switch On Press “Ready” and “Record” buttons. Set Input knob to "4.5" 2. Load Mag stock on 16mm Mag Recorder (best to bulk erase before) 3. Turn on the power to the Monitor Amp. 4. Make sure you are working on the Mac platform equipped with the M-Audio AudioPhile Card. 5.
For Mac compatibility: Mac systems need to be set to output .AIFF or SDII (Sound Designer II). Transporting Mac Generated Media to UWM: It is recommended that you make a copy on both a 100mb Zip disk and a Mac format Data CD-R.. Failing this, burn the audio to an AUDIO CD. Do not assume because you could load a digital sound file onto a Zip Disk from your Mac at home that the disk will be “seen” by the Mac in B-65. Do a test and bring the disk to B-65 to see if it works.
ASIO Delta Audiophile Note: If you do not find the AudioPhile driver listed after “Driver,” select it from the pulldown window. Any time you change the driver, you need to save the Logic session, quit Logic and re-launch it again. Relaunch by double clicking on the ”YrNameTransfer_or_Mix” doc. 10. Under AUDIO_>Sample Rate, check for 44.1K Importing your Mix into Your LOGIC Session 11. In the Audio Window-> AudioFile-> select Add Audio File.
Slip the mix into an open Track underneath your MAG Tracks and line-up the Edit Sync Beep frames. Go to percussive events towards the end of the mix to confirm that they line-up with the same moments in the Mag transfers. If they don’t, you can either re-edit your Mix or make a few splices in your MIX sound file to make it sync-up. Retransferring the Mix to 16mm Mag Film 13. Option-Click on the Output slider for Track 4 (or the track your Mix is on) so that it’s set to “0.0”dB.
15. In solo mode with output levels set to unity (0.0dB), the record level in the MAG Deck VU meter should go to –3 dB at the loudest moment in your Mix. If the meter exceeds this, reduce the record knob on the MAG Deck below 4.5 until it does. If the loudest moment on your Max makes the Mag Deck VU meter fall short of –3dB, turn the knob above 4.5.
Designing Interview Questions Note: The following suggestions apply to the program style where the interviewer's voice will not be included in the final edit. 1. Your Angle. This step is based on the main question you are exploring which you should have already stated for yourself in writing. To develop your angle, start-off by defining the topic, issue, curiosity, etc. in one descriptive statement that has key nouns and the right tone. Imagine saying the sentence to someone who asks what you're doing.
Glossary of Image, Sound & Other Useful Terms Acceleration When an object or camera movement appears to be changing speed-- speeding-up or slowing down. In film editing, cuts are often made at moments of perceived acceleration taking advantage of the momentum created. The kinetic energy seems to flow across the cut. Amplifier The electronic device that controls the loudness of the sound through speaker system during audio playback. Amplitude A term for loudness or volume in electronics.
Low Angle Achieved when the lens of the camera is lower than the eyes of the subject. Lends a shot a sense of mild to significant inferiority depending on the difference in height. Camera Movement Dolly Movement of the camera towards or away from the subject. (I.e. "dolly-in", "dolly out") Pan Pivotal, horizontal movement of the camera on a tripod or hand-held. Tilt Pivotal, vertical movement of the camera on a tripod or hand-held.
Decibel A unit used in measuring the relative loudnesses between two sounds. Diagetic (On-Screen) Sound Sound elements that the viewer can associate with on-screen objects, persons, etc. These sound elements are not necessarily "original recordings" as they still called diagetic even when added or modified later in production. Dialogue Conversational speech as recorded sound element.
audibility within the volumes of the other elements; one that "fades-out" sinks to inaudibility within the existing volumes. Fade In image production, a very common transition with two variations. A fade-in creates the impression of a scene emerging from darkness. A fade-out creates the impression of a shot or scene falling into darkness. They are used often to mark the beginnings and endings of sequences in a program.
Grain The visual texture of the projected image that can be attributed to the size of the light absorbing particles of the filmstock. This texture changes with type of filmstock and the number of times the image has been copied (generations). Video also has a texture but its referred to as "noise." Hand-held Camera The act of holding and moving with a light weight camera during the act of filming or videotaping can create a great variety of movements and a surprising range of psychological implications.
Mixing Montage The process of combining several sound elements often from different tracks during re-recording. The "space" of the soundtrack is achieved through establishing different volume levels for the elements. The juxtaposition of two or more images of separate events that when shown together create a larger, more intense whole.
Post-Production The phase of making a film or videotape when the logging, edit scripting, editing, sound-cutting and sound-mixing is done. Program Recorder A representation with a fixed, timed duration. A device responsible for creating impressions that can be retrieved at a later time. Resonance A phenomenon of one object being vibrated by the sound vibrations transmitted from another object. For this to happen the "natural" frequencies of both objects must be similar.
Background [far]). Often a third plane is established with intermittent sound elements of medium volume (Middle-Ground). The illusion of space is often created by recording the sound element(s) of each plane separately in the field and carefully controlling their relative volumes and tonalities with multi-track equipment in postproduction.
Appendix
SEKONIC STUDIO DELUXE II L-398M Operating Instructions
Features ........................................................................................................2 Specifications................................................................................................4 Part Designations.........................................................................................5 Accessories ..................................................................................................6 Basic Operation of Meter Unit ...................................
Nearly all photographic subjects combine complex variations of strongly reflecting surfaces (high reflectivity) and weakly reflecting surfaces (low reflectivity). These variations delicately influence exposure determination and to which portion the exposure is set becomes a vital factor that considerably affects the appearance of the finished photograph.
7. After combining film sensitivity and shutter speed, direct reading slides (optional) can be used for directly determining the aperture value. 8. Selenium photocell is employed as light sensing element, eliminating need for battery. 9. Wide selection of available accessories allows numerous photographic techniques to be enjoyed.
Measuring System Measuring Range Measuring Accuracy ISO Scale Shutter Scale Aperture Scale Cine Scale EV Scale Calibration Constant Dimensions Weight Incident light (reflected light system also capable) At ISO 100, EV 4-1 7 Within ± 0.3 EV (1/3f stop) 6 - 12000 60 - 1 /8000 second 0.7-128 8 fps - 128 fps 1 20 (exposure value) C = 340 K = 1 2.5 112 x 58 x 34 mm Approx. 190 grams (NOTE) The outlooks and specifications described in this booklet shall be changed without pre -advice, if necessary.
PART DESIGNATIONS Fror’ Lumlsphera Light 1 pointer sensorm Footcandle ,;nrirlan+ Aperture (for direct scale linb.+\ P \ value reading) ___ wne xopper button ---. @ -1 - w , Dial scale 44 I - ^^^I^ /- mat A Rear 5 -__...
Lumisphere High (H) slide Lumidisc Optional Accessories (sold separately). Direct reading slides. Lumigrid Total of 11 direct reading slides (set of 11 slides in case).
1. Stopper Button Operation If the stopper button is pressed when the stopper button mark the meter needle is set to deflects according to bright ness. Then when the button is released, the needle remains fixed at the indicated position. By holding the stopper button depressed and turning it clockwise so that the mark position becomes the needle is released. At this time, the meter will deflect freely even if the stopper button is released.
Incident Light Measurement 1. Lumisphere a. Mount Lumisphere sensor To white dots of Lumisphere frame and light sensor, then turn Lumisphere carefully clockwise to secure. b. Set film sensitivity knob to sensitivity value of employed film. Set ISO value to right side ISO mark Photo shows setting for ISO 100. c. From position where subject is to be measured, point Lumiin direction of sphere camera. (Light sensor be turned freely.) d.
needle deflects according to brightness. When the stopper button is released, the meter needle becomes fixed at the deflected position. If the location is excessively bright and the meter needle deflects beyond scale, insert the High slide e. Read the footcandle indication of the meter needle. f. Transfer footcandle value to the dial scale dial ring and set the scale mark. If the High slide has been inserted, set the mark.
g. At this time, the shutter speed scale combination becomes the correct exposure. and aperture scale Example: With High slide inserted, meter indicates 80 footcandles At ISO 100, the proper exposure becomes 1, 250 sec at F 5.6, 1; 30 sec at F!16 and 1 sec at F-90. h. By changing ISO setting, the set combination of shutter speed and aperture scale is automatically altered to the appropriate one corresponding to the changed ISO value.
2. Lumidisc. Employ for illumination contrast Adjustment and luminance measurement. • Contrast measurement a. Mount Lumidisc sensor Install in the same manner as Lumisphere. b. Hold meter at subject position and point Lumidisc directly toward center of main light. c. Press stopper button read meter scale footcandle indication d. Turn the memo pointer dial and set the pointer 1 7 at the footcandle value the needle points to e. In the same manner, measure the fill-in light.
• Luminance (Lux) measurement a. Mount Lumidisc to light sensor Lumisphere. in the same manner as b. Place Lumidisc parallel with the measured surface. c. Press stopper button and read meter scale footcandle indication d. Multiply this value by 10.76 to obtain lux. Example: 80 x 10.76 = 860.8 lux then multiply If meter deflects beyond scale, insert High slide footcandle indication by 32. Example: 80 x 32 = 2560 footcandles 2560 x 10.76 = 27545.6 lux a.
e. Press stopper button and read meter scale footcandle indication . However, since footcandles are units of incident light only, this value becomes simply a reference. f. Transfer indicated value to dial scale and set Rotate the dial ring mark g. At this time, shutter speed scale and aperture scale combination becomes the correct exposure. Note: Do not employ slides for reflected light measurement.
a. Read meter needle candle indication foot - b. Transfer this number to the dial scale Rotate dial ring and set scale mark If the High slide is inserted, set the mark c. EV value indicated by EV mark becomes the correct exposure value. 2. Employing Cine Scale Incident and reflected light measurements during cine photography are performed in the same manner as described previously.
3. Using Exposure Multipliers ( -2, -1, +1, +2) Exposure multiplier indications are provided at both sides of the marks of the dial scale. Use the -1 or -2 mark when desir ing to cut the exposure to 1!2 of 1!4 and +1 or +2 mark to multiply the exposure by 2 or 4. Set the appropriate mark, instead of the or, to the dial scale value. EMPLOYING SPECIAL ACCESSORIES 1. Direct Reading Slides A total of 11 slides are available, all of which may be used together with the Lumisphere and Lumidisc.
Note: One set of slides consists of slide numbers 1 - 11 in a case. The High slide can also be used as a direct reading slide. 2. Direct Reading Slide Application When photographing, select slide from the above table according to film sensitivity and shutter speed. Insert slide and perform measure ment in the same manner as for incident light.
MEASUREMENT EXAMPLES WITH VARIOUS SUBJECTS 1. Portrait Photography There are various kinds of human subject photography. In a case, for example, of a skier against a snowy mountain background, the human subject simply becomes a picture detail and for the purpose of determining the exposure, this cannot be considered portrait photography. In the final analysis, portrait photography is when the human subject is in the center of the picture and the exposure adjusted to him.
2. Typical Scenery In the case of scenery, measure by using the Lumisphere at the camera position (refer to section on Incident Light Measurement). Although the previously described standard holding method is adequate, if lighting conditions of subject and camera positions are dissimilar, move the meter to a position where conditions are the same type as those of the subject and point in a direction parallel to the camera optical axis.
Distant scenes are subject to haze due to atmospheric effects on light and can be easily overexposed. For this reason, first use the Lumisphere and measure by standard method from the camera position. Then point the Lumisphere toward the sun and measure. Determine exposure from the mean of the two obtained values. Note: To obtain the mean of the two values, perform as follows. Transfer mean value of the two footcandle indications (aperture scale) to the dial.
4. Snow Scenes a. Many cases of problems occur with reflected light measuring methods due to snow surface glare. Using incident light measurement eliminates these concerns. Freshly fallen snow possesses a reflectivity of approximately 73%, while even after several days in urban areas, this declines only to about 60%. Compensation must therefore be performed.
0Note 3: In situations with direct or top lighting (sun near zenith), the Lumisphere will detect reflected light from the snow surface. Some means of blocking the light from below becomes required in this case. b. In some cases, good results can be obtained with reflected light measurement under back light conditions, cloudy snow scenes where glare is less and snow scenes under direct lighting.
In typical cases of back and side lighting, although the surface of a 3-dimensional subject facing the camera becomes dark, a portion is usually strongly lighted. Even though standard measurement with the Lumisphere can bring out detail of the darker portions, on occasion, the brighter portions can become overexposed and difficult to see. In some instances, this effect can even be enhanced to produce a special photographic composition, but for a generally more attractive result, perform as follows.
APPLICATIONS SUMMARY 1. Special Features of the Studio Deluxe 11 As the Studio Deluxe ll is a high precision measuring instrument, by fully utilizing its capabilities, its special functions can be displayed covering an additionally wide range of applications. Incident light measurement is an extremely practical method in actual photographic situations and is often employed by professional photographers and cinematographers.
2. Illumination Contrast Light balance measurements are the most important application of the Lumidisc. This consists of measuring the ratio of main light and fill in light in order to perform vital adjustments when photographing an illuminated subject. The photographer is advised to record the data obtained for his particular equipment. This will provide ready reference in the future and allow the same lighting conditions to be reproduced.
Main light measurement Fill in light measurement Use white or silver reflector to brighten shadow portions of subject.
Illumination ratio can be varied by keeping the main light fixed and varying the fill in light. Reflected Light Measurement Reflected light measurement is employed for the following purposes. a. Luminance range adjustment. b. Self-lighted subjects such as neon signs which can only be measured by reflected light method and locations such as show windows where meter cannot be brought into proximity with subject to allow incident light method. Measurement in these type situations in described below. 1.
Shown here is an example of using Lumisphere and by normal measuring method without slide, meter needle indicates 640 foot candles. With film sensitivity of ISO 100, exposure becomes f 45 and shutter speed 1 second. mark at this time indicates 20. This 20 indicates the exact center point of the luminance range. In the same condition, install Lumigrid and when standard reflectivity of 18% is measured, this means that the dial scale will indicate 20.
b. c. Hold meter about 15cm from the subject, point Lumigrid to each surface of the subject and read the footcandle scale value. To determine the luminance range, it is sufficient to divide the highest meter indication by the lowest. For example, if the highest value is 80 and the lowest 5, the luminance range becomes 80/5 = 16/1 or 16 : 1. Luminance range measurement 3. a. b. c. To obtain superior color photographs, determine upper and lower limits.
The Studio Deluxe indicates normal color photograph luminance range limits corresponding to 2 f stops left and right of the luminance range center point. 4. Illumination Adjustment The Studio Deluxe possesses an array of functions for the performance of illumination adjustments which were nearly unknown in earlier instruments. It allows the shooting site to be set up quickly and accurately.
examples to provide full control over movie scenes. It would not be erroneous to also apply these to still photos. Stage 1 Determine overall lighting strength. a. Set meter to ISO 100 (see film sensitivity intermediate values). b. Set 24 red line of cine speed scale to F/5.6. c. At this time, mark indication on dial scale becomes slightly lower than 640 (footcandles).
Adjust luminance range a. Install Lumisphere. b. c. d. Hold meter at subject position, point Lumisphere toward camera and read needle indication. With all lights turned on, adjust main light so that indication becomes 500 footcandles. Set mark to 500 and read ark indicated value. This value becomes 16 to indicate luminance range center point.
As can be noted from the above formula, if the subject luminance is fixed and the magnification changes, the film plane brightness (illumination) varies in the inverse proportion (M + 1)2. With a large subject distance, M is small and this effect becomes nearly absent, but as the subject distance decreases, M becomes larger. In an actual photographic example, with a magnification M of 1, film plane brightness becomes (M + 1)2 or 4.
Compensation factor = (M + 1)2 Subject to image ratio 20 : 1 19 : 1 18 : 1 17 : 1 16 : 1 15 : 1 14 : 1 13 : 1 12 : 1 11 : 1 10 : 1 9:1 8:1 7:1 6:1 5:1 4.5 : 1 4:1 3.5 : 1 3:1 2.75: 1 2.5 : 1 2.25: 1 2:1 1 .75 : 1 1.5 : 1 1 .25 : 1 1:1 33 Compression Compensation factor 1.10 1.11 1.11 1.12 1.13 1.14 1.15 1.16 1.17 1.19 1.21 1.24 1.27 1.31 1.36 1.44 1.50 1.56 1.65 1.78 1.86 1.96 2.09 2.25 2.47 2.78 3.24 4.00 Subject to image ratio 1:1 1 : 1.25 1 : 1.50 1 : 1.75 1:2 1 : 2.25 1 : 2.5 1 : 2.75 1:3 1 : 3.
HANDLING CAUTIONS Since the Studio Deluxe ll is a high precision instrument, use ample care in regard to the following points. Avoid dropping or subjecting it to strong shock. Do not store in high temperature or high humidity locations. Do not store in areas subject to magnetic fields or where insect repellants are located (metal cabinets, clothing dressers, etc.). Keep Lumisphere and Lumidisc clean and protect from scratches. If severely soiled, these can be washed in a lukewarm solution of mild detergent.
TECHNICAL DATA / BLACK-AND-WHITE REVERSAL FILM September 2003 • H-1-7265t KODAK PLUS-X Reversal Film 7265 KODAK PLUS-X Reversal Film 7265 (16 mm) is a medium-speed, panchromatic black-and-white film suitable for general exterior photography. It has a high degree of sharpness, good contrast, and tonal gradation. It can also be used in interior photography with ample artificial illumination. BASE KODAK PLUS-X Reversal Film 7265 has a grey acetate safety base.
EXPOSURE TABLE - TUNGSTEN LIGHT REVERSAL PROCESSING This table is based on EI-80 (tungsten) and reversal processing with a shutter speed of approximately1/50 second, 24 frames per second (fps), and 180-degree shutter opening: KODAK B&W Reversal Process This film should be processed with KODAK B&W Reversal Process Kit Chemicals or with solutions prepared according to the formulas presented in KODAK Publication No.H-24.15, Manual for Processing KODAK Motion Picture Films, Module 15. Lens Aperture f/1.
NEGATIVE PROCESSING MTF Although designed for reversal processing, this film is capable of yielding useful negative images or conventional quality and contrast if developed in a developer such as KODAK Developer D-96 and them fixed. When a developer of this type is used, the speed is not more than 1-1⁄2 to 1-2⁄3 that is normally obtained in reversal processing (using KODAK B&W Reversal First Developer and Replenisher (D-94A)).
CURVES Characteristic Curve Spectral Sensitivity Curve 3.0 3.0 Exposure: Daylight 1/50 sec Process: Recommended Reversal process at 76 F (24.4 C) Sensitometry: Diffuse visual Effective exp: 1/10 sec Process: Recommended Reversal Process at 76 F(24 C) Sensitometry: Diffuse visual D=1.0 Gross Density LOG SENSITIVITY* 2.0 DENSITY 2.0 1.0 1.0 0.0 -1.0 250 300 350 400 450 500 550 600 650 700 750 WAVELENGTH (nm) -3.0 -2.0 -1.0 0.0 1.0 2 2.
MORE INFORMATION Outside the United States and Canada, please contact your Kodak representative. You can also visit our web site at www.kodak.com/go/motion for further information. You may want to bookmark our location so you can find us easily the next time. Films Cinematographer’s Field Guide KODAK Publication No. H-2 Image Structure KODAK Motion Picture Film KODAK Publication No. H-1 Specification Numbers Cinematographer’s Field Guide KODAK Publication No.
TECHNICAL DATA / BLACK-AND-WHITE REVERSAL FILM August 2003 • H-1-7266t KODAK TRI-X Reversal Film 7266 We are committed to black & white film—improvements to our family of reversal films prove it. New KODAK TRI-X Reversal Film 7266 offers finer grain and increased sharpness, and includes EASTMAN KEYKODE Numbers for easy cross-reference of shots in minutes, not hours. Reduced static support allows for a cleaner image throughout the filmmaking process.
EXPOSURE INDEXES RECIPROCITY CHARACTERISTICS Daylight - 2001 Tungsten (3200K) - 160 Use these indexes with incident- or reflected-light exposure meters and cameras marked for ISO or ASA speeds or exposure indexes. These indexes apply for meter readings of average subjects made from the camera position or for readings made from a gray card of 18-percent reflectance held close to and in front of the subject.
IDENTIFICATION AVAILABLE ROLL LENGTHS After processing, the product code numbers 7266, emulsion and roll number identification, emulsion letter designator ED, and KEYKODE number are visible along the length of the film. For information on film roll lengths, check Kodak's Motion Picture Films product catalog or see a Kodak sales representative in your country.
Spectral Sensitivity Curve rms Granularity Curve 3.4 3.0 Granularity vs. Density (0-3 scale) 3.2 Reversal Process 3.0 2.8 2.6 Density DENSITY 2.4 2.2 1.0 0.0 -1.0 250 2.0 0.10 1.8 Grain 1.6 1.4 0.05 0.04 0.03 1.2 0.02 1.0 0.01 0.8 0.6 300 350 400 450 500 550 600 650 700 WAVELENGTH (nm) 750 0.006 0.005 0.004 0.003 0.4 Granularity SIGMA D LOG SENSITIVITY * 2.0 Effective Exposure: 1/10 sec Process: Recommended Reversal at 76F (24C) Sensitometry: Diffuse visual Density: 1.
MORE INFORMATION Outside the United States and Canada, please contact your Kodak representative. You can also visit our web site at www.kodak.com/go/motion for further information. You may want to bookmark our location so you can find us easily the next time. Films Cinematographer’s Field Guide KODAK Publication No. H-2 Image Structure KODAK Motion Picture Film KODAK Publication No. H-1 Specification Numbers Cinematographer’s Field Guide KODAK Publication No.
