Kodak ISBN 0-87985-749-8 manual Introduction, Types of Filters, Filters for Black-and-White Films

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FILTER INFORMATION

Introduction

Use the filter and color temperature charts in this section as a quick reference and general guide. The values are approximate. They offer good starting points for trial exposures in critical work. For less demanding work, the recommendations may be adequate, but it is always best to run tests before shooting final footage. For photog- raphy with fluorescent lights, see the individual film’s filter information in the section“KODAK Motion Picture Camera Films.”

Types of Filters

Optical filters may be solid, liquid, or gaseous; only solid filters are discussed in this book. These consist mainly of colorants dissolved in a gelatin or in cellulose acetate. Each Kodak filter, gelatin or acetate, is standardized for spectral transmittance and total transmittance by special instruments which apply an optical form of limit gauge to these characteristics.

The dyes are obtained from a number of sources, and many have been synthesized. Like other dyes, the dyes used in filters may, in time, change under certain condi- tions of heat and light. In this publication, we will be addressing only filters for black-and-white films, color compensating, conversion, light balancing, and neutral density (No. 96).

Filters for Black-and-White Films

You can use a wide range of KODAK WRATTEN Filters with black-and-white negative films for many purposes. They vary the contrast and tonal rendering of the subject in a photograph, either to correct to the normal visual appearance or to accentuate special features. The total photographic effect obtained with a particular filter depends on four main factors: its spectral absorption characteristics, the spectral sensitivity of the sensitized material, the color of the subject to be photographed, and the spectral quality of the illuminant.

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Contents Cinematographer’s Field Guide Cinematographer’s Field Guide Seventh Edition, November Contents Introduction Need Another H-2? Page Kodak Motion Picture Camera Films Color Temperature Page Kodak Motion Picture Camera Films MPF-5 50D 5245/7245 100T Process ECN-2 5248/7248Vision 200T 5274/7274 200T 5293/7293 SFX 200T SFX Vision 250D Illumination Incident Light Table for Daylight 5246/7246Vision 320T Handling Total darkness 5277/7277Vision 500T 5279/7279 500T 5298 Vision 800T 5289/7289 Ektachrome 100D 5285 7240 16 mm, Super 8 Eastman Ektachrome Film Tungsten EI 125 7240 7239 35 mm/16 mm Eastman Ektachrome Film Daylight EI 160 7239 MPF-32 9/98 7250 MPF-34 9/98 7251 5231/7231 35 mm/16 mm Eastman PLUS-X Negative Film 5231/7231 Daylight- 250 25 Tungsten- 200 5222/7222 35 mm/16 mm Eastman DOUBLE-X Negative Film5222/7222 7276 16 mm, Super 8 Eastman PLUS-X Reversal Film 7276 Daylight- 200* 24 Tungsten- 160 7278 16 mm, super 8 Eastman TRI-X Reversal Film7278 Daylight Incident-Light Illumination in footcandlesIntroduction Types of FiltersFilters for Black-and-White Films PLUS-X DOUBLE-X TRI-X Color Compensating Filters Conversion Filters for Color Films Exposure To Obtain Kodak Light Balancing FiltersKodak Wratten Neutral Density Filters No Neutral Density FiltersDaylight Page Aspect Ratios Tips and Techniques10 9/00 Protection from Physical Damage Ambient-Background Radiation effects on raw stockProcessed Film Storage Unprocessed Film Before and After ExposureShooting for Television Ditty Bag Getting ReadyTools Camera AccessoriesCamera Operator’s Meter Case Flashing Camera Films to Lower Contrast Exposed Film -What Now?Final Thought About Laboratories Page Winding Designations Perforation TypesMm and 65 mm End Use Mm End Use Quantities -Standard PackagesOrdering RAW Stock Product and Technical Information United States of America Austria InternationalArgentina AustraliaDenmark ChileColombia Czech RepublicGreece FinlandFrance GermanyItaly IranIreland IsraelNetherlands LuxemborgMalaysia MexicoPortugal PeruPhilippines PolandTaiwan SpainSweden SwitzerlandUnited States UruguayVenezuela CAT 141
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