Magazine article American Cinematographer

Q&a

Magazine article American Cinematographer

Q&a

Article excerpt

This organization's membership is made up of manufacturers and dealers throughout the world. Direct all Q&As to AMERICAN CINEMATOGRAPHER, P.O. Box 2230, Hollywood, CA 90028.

Q Do the attendant problems of shooting in the Super-16 format (camera modification, new lenses, printer modification, editing equipment modifications, etc.) warrant it's use over regular 16?

A Super-16 is used only when blow-up to 35mm (in hard aspect ratio of 1.66/1 or 1.85/1) is the ultimate goal. Although still popular in parts of Europe, Super-16 has in many cases created more problems than it has solved. With the new 16mm color negative emulsions now available, many filmmakers find shooting regular 16mm is quite adequate. Super-16 limits the filmmaker to the wide screen 1.66/1 or 1.85/1 release formats. With the costs of blow-ups to 35mm, plus equipment modifications, it is almost as economical to shoot in 35mm from the start, especially for shorter films.

Q I have been searching for some time now, and have been unable to find out what the initials CID and HMI stand for on lights.

A H-Hydrargyrum

M-Medium arc length

I-Iodide

C-Compact

I-Iodide

D-Daylight

Q What source of light is called the "key" light? Also, can you explain, roughly, how directors of photography go about setting up their lights for motion pictures?

A The key light is considered the source or main direction of light used to illuminate the principal characters. Key light means source light. It may be strong, or very soft. It may be "hard" simulating sunshine, or soft-as the light reflected on the subject from some adjacent surface. It can be all-enveloping light, such as is found in a shaded area.

Set lighting patterns are dictated by the requirements of the scene to be photographed (mood; time of day or night). In other words, where should the light come from and what are its visible sources? …

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