Groups | Search | Server Info | Keyboard shortcuts | Login | Register


Groups > uk.tech.broadcast > #69880

Re: Light levels and temperatures

From John Williamson <johnwilliamson@btinternet.com>
Newsgroups uk.tech.broadcast
Subject Re: Light levels and temperatures
Date 2026-05-06 15:42 +0100
Message-ID <n612apFe8rcU1@mid.individual.net> (permalink)
References (1 earlier) <OGjKR.8282$qhwb.3621@fx14.ams1> <10td25j$h42f$1@dont-email.me> <kbhpcm-a5gn.ln1@newsauth.orpheusnet.co.uk> <10tfg2n$17eub$1@dont-email.me> <10tfi2a$q6jk$6@dont-email.me>

Show all headers | View raw


On 06/05/2026 15:09, J. P. Gilliver wrote:

> For Super 8 (in the late 70s, at least), it was indeed as you describe;
> about the only film widely available (and for which the cheaper cameras
> were preset) was a Kodak, nominally 25 ASA, but actually 40ASA indoor
> with the filter being in place in the camera (which came with a special
> key on the wriststrap that you pushed through a slot in the handle when
> filming indoors, which pushed the filter out of the way). For Standard
> 8, the default _was_ outdoor film - 25ASA for Kodak, though 10 was
> available (e. g. Perutz). I don't know what was used for professional
> formats (16mm and above) - presumably specifically indoor or outdoor
> film for whatever you were doing. (For the amateur formats it was
> assumed you wouldn't want to keep changing the film.)
>
 From what I remember of speaking to a guy who did the processing at 
Denham film studios in the late 1970s, they always used the same 
Ektachrome? film, with a filter when in daylight, then produced an 
editing positive copy using standard filtration. Then, once the final 
edited interneg had been produced, the results were finally balanced on 
a shot by shot basis (Sometimes frame by frame) to produce a master for 
the projection copies.

The colour balancer was the most important and finicky job in the 
processing department.

Nice guy, he used to give me random offcuts of film in 35mm canisters 
that I supplied, and processed them by tagging them onto the end of a 
run. I'd get half a dozen rolls of slides back, all with different 
colour balancing. :-)

Nowadays, the basic balance is done by settings on the camera, with the 
final balance done in the computer. The camera may have an ND filter in 
position for bright days...

-- 
Tciao for Now!

John.

Back to uk.tech.broadcast | Previous | NextPrevious in thread | Next in thread | Find similar


Thread

Fun handsignals from cameraman "J. P. Gilliver" <G6JPG@255soft.uk> - 2026-04-26 01:12 +0100
  RE: Fun handsignals from cameraman Jim Spriggs <foo@bat.baz> - 2026-05-05 10:32 +0000
    Re: RE: Fun handsignals from cameraman NY <me@privacy.net> - 2026-05-05 16:25 +0100
      Re: Fun handsignals from cameraman Charles Hope <clh@candehope.me.uk> - 2026-05-05 16:15 +0000
        Re: Fun handsignals from cameraman NY <me@privacy.net> - 2026-05-06 14:35 +0100
          Light levels and temperatures (was: Re: Fun handsignals from cameraman) "J. P. Gilliver" <G6JPG@255soft.uk> - 2026-05-06 15:09 +0100
            Re: Light levels and temperatures John Williamson <johnwilliamson@btinternet.com> - 2026-05-06 15:42 +0100
  Re: Fun handsignals from cameraman Adrian Caspersz <email@here.invalid> - 2026-05-11 01:14 +0100
    Re: Fun handsignals from cameraman "J. P. Gilliver" <G6JPG@255soft.uk> - 2026-05-11 13:29 +0100
      Re: Fun handsignals from cameraman David Paste <pastedavid@gmail.com> - 2026-05-13 18:47 +0100

csiph-web