ANSCO 242 & YOU

[Music] when the motion picture section of the Air Force flight test center took this footage of a Thor engine under test the film and their cameras was [Music] anco when the first color picture of the veale nebula was taken by William C Miller research photographer at the California Institute of Technology the film in the giant 200 in hail telescope was anco when the scientists at letterly left Laboratories want photo micrographs or basic research on simple forms of life the film and their cameras is an [Music] skull why is it that the scientists in charge of these projects unanimously selected anco emulsions in a word Fidelity color Fidelity their purpose was not just to produce a pleasing picture but to give the truest rendition of reality possible so necessary in their evaluation of Rocket Flames the heavens microscopic structure and unlike so many other us their selection of an Emulsion was based not on habit nor inconclusive exclusive short-run tests but on Long detailed carefully evaluated studies such as this paper by Dr Marton salanov recently read into the minutes of the SM smpte several different films were tested for color sensitivity and balance and it was determined that super Ana Chrome despite its normal ASA speed of 100 could be pushed to give color density and saturation which were highly satisfactory after much experimentation with processing times for daylight and tungsten emotions color test strips exposed along with the explosive test produced a strikingly true color rendition now what does all this mean to you the professional Motion Picture producer just this the same color Fidelity characteristics which have been available for years in ancal Chrome sheet and roll film for still work and 16 mm anoc Chrome designed for direct projection are now being produced in a low contrast stock especially intended for making highquality release prints this Emulsion is ancal Chrome professional camera film type 242 and the purpose of this motion picture is to show you what 242 can do for [Music] you since all the delicate variations in the color spectrum can be produced from proper combinations of just three primary colors one of the best ways to judge the color Fidelity of any emotion is to see how it reproduces these primaries in all of their many shades red is perhaps the most difficult of the primaries to reproduce realistically yet it is also one of the most important from the Searing orange red of fire to the robust red of meat to the delicate pink of a healthy flesh tone red symbolizes excitement danger life itself blue is the sophisticated primary artists have used it since time immemorial to convey the entire range of human emotions from the happiness of blue skies to the depression of a blue mood many modernists have found it such an expressive color that everything they paint is done in shades of blue powerful Royal Blues delicate powder blues crisp Sky [Music] Blues [Music] green is like red difficult for many emotions to reproduce yet important because it is so much around us in nature the cool green of Woods and [Music] Water with such amazing color Fidelity it's a little wonder that so much scientific and high fashioned photography is filmed on anal Chrome emotions but since the average commercial producer only Encounters this type of assignment infrequently you may well ask what's in it for me how can 242 cut my cost make my job easier or both I've got to have some damn good reasons before I'll switch emotions all right let's look at a few ways 2 42's technical advantages can be translated into economic advantages take the sponsor's logo in all probability he's spent a lot of money having it developed or perhaps it's been the company's identity Mark for two generations in either case he wants it to appear on the screen the way it appears to the eye yet with some professional films the producer has to render his artwork in off colors so that the final print will match reality this kind of trial and error research is expensive both in time and money with 242 you get what you shoot for this same reason 242 is the ideal stock for the animation camera your art department will like its high color saturation and cameramen appreciate its high speed which allows a lower light level and consequently a lower temperature in the animation room but from the front office standpoint the m absolute color Fidelity of 242 is most important with the cost of artwork and stand time going higher every day you just can't afford to rework or re-shoot any animation one Eastern producer found this out the hard way after spending over $5,000 on artwork for an animated sequence and getting client approval before shooting his film was rejected why because the emotion he used was poor in its r Renditions as a result the molten iron reproduced as a magenta red rather than an orange red to an engineering eye this represented a poor cooling rate rather than the high efficiency which The Foundry was claiming in their copy another area where 242 Superior red reproducing capacity becomes valuable is with flesh tones a good flesh tone is a universally accepted standard of good color even the most unsophisticated client will spot the deathlike appearance of pasty white flesh tones or its counterpart at the other end of the scale excessive [Music] oress while extreme cases are usually the result of color temperature problems minor shifts which occur because of the buildup of contrast in printing can be minimized by starting with an original that's true to [Music] life Furthermore with anco 242 in many cases you can reduce or eliminate the need for color compensating makeup a real timesaver on the set the point we just raised about color temperature variations can be used to illustrate another economic advantage of 242 its inherent color temperature latitude this is of particular importance to Industrial producers who often have to work under less than ideal conditions daylight from Skylight doors or Windows often intermixes with the 3200 de illumination from regular lighting gear implant power supplies often fluctuate widely causing a corresponding fluctuation in the color temperature and on tough available light assignments there are often both fluorescent and 2900 de incandescent light sources to contend with making the cameraman's job of selecting the proper CC filter almost impossible while conscientious use of a color temperature meter will help to solve many problems there are times when the producer must shoot knowing that his color temperature is not right it's then that the color temperature latitude of 242 can save the day the following series of shots were taken without any CC filters on the lenss and the laboratory was instructed to print them normal so that they appear exactly as in the original first the scene lighted properly with 3200 de light now with daylight bleeding in as it might from a skylight here with the color temperature dropped down to 3,000 as might well happen with voltage variations and finally the basic lighting down the 2900 de Kelvin notice how even under these extreme conditions acceptable color is maintained in the original now let's run through the series again but this time with laboratory correction by close cooperation with your laboratory you can achieve good Color Prints even from Originals shot under adverse conditions you can achieve even better results by shooting shoting on a wide latitude stock such as 242 242 also has a wide latitude and exposure this in addition to its excellent color Fidelity with greens and blues makes it an ideal exterior Emulsion because of distance Haze or high contrast it's often difficult for the cameraman to get Perfect Exposure on an exterior like this here is the same scene taken at a half stop underneath nor notice the abundance of Shadow detail and the Brilliance of the colors as a matter of fact some producers consistently shoot at a slight underexposure because they feel it gives them more color saturation even at a full stop underexposure there's still plenty of detail and color without any laboratory correction and with proper lab compensation the scene becomes quite usable 242 is so good in this factor of exposure latitude that the only price tactical limit on correction is the light output capacity of the printer reversal emulsions do not generally have as much latitude in the direction of ere exposure but 242 is very acceptable up to a half stop over and some cameramen deliberately like to open up a little because they feel the corrected print has a somewhat finer grain structure while 242s exposure index of 25 is ideal in most situations for those impossible shots that seem to come up in almost every production it's wise to stock a few rolls of super anco Chrome in your loading [Music] room whether your client calls for highspeed motion analysis KN harness [Music] racing or an ultra long shot under available light conditions The Impossible becomes easy with super analon its nominal exposure index is 100 and for extreme conditions it can be successfully forced to 200 well there are some of the damn good reasons why you should be switching to 242 but before we let you get back to all those problems on your desk here are a few quickies for you to consider the latitude of 242 permits it to be successfully printed on any reversal print film and if you happen to prefer the negative positive system of producing release prints you'll find 242 gives Superior results because of the extra steps involved in the negative positive process good color in the original is even more important than in reversal Printing and 242 gives you the best best possible original since it goes without saying that this is a pressure business you'll appreciate the speed with which 242 can be obtained it's available from any ansco dealer there's no need to buy from just two or three widely scattered warehouses and no need to waste time certifying checks the same speed and convenience applies to processing in addition to ano's own Laboratories There are 16 independent laborat iies in the United States and Canada equipped to handle 242 and finally you can quickly evaluate your original footage because 242 gives you true color in the original there's no need to wait for a workprint to determine whether or not your shots are acceptable on color balance well that's the story on ancal Chrome professional camera film type 242 if you have any more questions talk them over with the an representative who brought this film to your studio he can give you any more technical data that you may require and if you haven't already tried a sample rooll in your camera you'll be very glad to give you one free once you've tried it I'm sure you'll agree it's another fine product from anco America's first name in highspeed color film you [Music]