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tection mask, the slight side cropping from 16:9 to the narrower 185:1 won t be a big deal A 1,200-foot reel will cost you in the neighborhood of $400 Normally I d recommend going to a company that sells short ends for the ultimate in economy, but that would entail a substantial amount of splicing and editing, something you don t want to get involved in By recording your movie on three 1,200 foot reels you ve got a cross-projection package that just about any festival can deal with Total: $1,200
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One of the biggest problems inherent in the kinescope process is contrast Professional labs that do this have made accommodations to their CRT They know how different films handle and have gamma settings that correlate to the nuance of each stock You, on the other hand, must use another method to reduce the contrast or gamma The simplest solution is to add a low-contrast filter, but they have a tendency to reduce the color saturation in this environment Test! There are several devices, such as the Arriflex VariCon, which mount to the front of the lens and shine a low-level light into the front element This is a great tool for conventional studio and location work because it allows you to actually see the amount of contrast that you re controlling The biggest drawback with using a VariCon-type device in kinescope is that the light has a tendency to reflect off the front surface of the monitor, giving you a hot spot in the center of your picture Besides, this is way out of your budget Perhaps the most widely used method of lowering the gamma (and reducing grain in many stocks) is to underdevelop in processing This is called pulling, and any good lab can do this although they do charge a bit more Essentially, the film is overexposed when you shoot, generally by a stop; in processing you ask them to pull a stop If you re using an ASA 100 film you d meter it for 50 ASA I personally like the results of pulling, it adds an inherent richness
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Liquid-plasma displays (LPD) are similar to the liquid crystal displays (LCD) on laptop computers, except they are much larger and far brighter Like LCDs they don t flicker when filmed, so you don t need to make accommodations for frame rate They are, however, expensive If you don t personally know someone who actually owns one of these marvels of modern technology, go to a store that sells them and plead with a manager to let you run your video through the system while you record it with a film camera If whining and groveling doesn t work, offer money A couple crisp Benjamin Franklins should do the trick quite nicely and assure you of an uninterrupted, after-hours kinnie (kinescope) session Total $200 Rig a 185:1 mask onto the front of the camera Turn off all lights or better yet surround the path between the LPD and the camera with duveteen or black cloth Run an 85 percent
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to the scene and you re going to need all the richness you can get Again: Test! Another method is to preflash the film To do this you simply run the film through the camera in a dimly lit room What it ends up doing is increasing the exposure of the shadows while not affecting the brighter parts of the shot Let s say that you ve got a 12 12-foot room You d put a white card on the wall and then place the camera about nine feet from the card, making sure that the card s image fills the view Then crank the focus in as close to the lens as it will go and stop down to f8 You want to use a combined light source that is about 10-candle power with a slightly warm color temperature Small Christmas lights work quite well Mount one of these tiny lights on either side of the camera about 2 feet out from either side of the camera body Make sure the lights are well behind the lens (This is based on a 180 shutter and an ASA of 200) Make accommodations for shutter angle based on the fact that light falls off at a square of the distance Narrower shutters need more light or wider aperture Test!
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