How do Super 8 cartridge notches and the built-in filter affect indoor vs daylight shooting?
Asked 9/15/2017
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I’m trying to understand how the Super 8 cartridge notch relates to film color balance and my camera’s built-in orange/salmon correction filter.
On my camera, when a cartridge with the notch is inserted, an orange-ish filter is moved in front of the film gate. When the notch is absent, the filter is moved out of the way. My camera also has a manual control that lets me remove the filter.
How should these different cartridge types be used for indoor filming versus daylight filming? In particular, when should the built-in filter be in place or removed?
Originally by Photography Stack Exchange contributor. Source · Licensed CC BY-SA 4.0
Photography Stack Exchange contributor
8y ago
2 Answers
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It is common practice to load a home movie camera with film fabricated to operate under tungsten illumination. This is because home movies shot indoors were most often exposed via a light bar. This is a portable light source using reflector flood lamps. These output a light that is quite warm. The warmness is due to the fact that these lamps operate by heating a tungsten filament. The bottom line is: The film is expecting this warm light as opposed to daylight.
Now daylight consists of an abundance of blue and violet light. If this “Tungsten” balanced film is exposed to daylight, the results are a cold bluish image.
To make the home movie camera more flexible, it is equipped with a salmon colored correction filter. This filter modifies the naturally bluish light of a sunlit vista and converts it so that it simulates tungsten sourced light.
Why tungsten balanced film using a salmon filter for daylight operation? Any color filter will induce some light loss. Now film is naturally most sensitive to blue and violet. Indoor film (Type A or Type B) is fabricated with a higher ISO (light sensitivity) than outdoor film. This is because indoor lighting contains less blue and violet, so indoor film need to be more sensitive than outdoor film. When an indoor film is used outdoors with a corrective filter, the filter blocks mainly the blue and violet. This combination, indoor film with filter, operates at the same ISO as its outdoor counter part. For the Kodachrome film you are asking about, the ISO for the daylight product was 25, for the indoor product, the ISO was 40. Thhis indoor product operated outdoor with the proper filter at 25 ISO.
Film fabricated for outdoor use (daylight type) does not require a filter outdoors. If used indoors, we use a light blue correction filter. Such a combination lowers the ISO a lot, so this is not common practice.Type A color film balanced for movie lights no filter required.
Type A color film balanced for movie lights 3400K to use under daylight conditions mount 85A (salmon color) this is the built-in conversion filter.
Type D color film Daylight no filter under sunlit conditions.
Type D color film Daylight to use indoors with movie lights (tungsten) mount 805A blue cooling filter (not supplied with camera). Will work but due to the low ISO of this companion, not commonly used.
Originally by user44949. Source · Licensed CC BY-SA 4.0
user44949
8y ago
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The notch is used by the camera to decide whether to place the built-in amber/orange conversion filter in the light path.
In general:
- Tungsten-balanced film is intended for warm indoor tungsten light.
- Daylight-balanced film is intended for daylight.
Your camera’s built-in filter is there to let tungsten-balanced film be used outdoors: it warms/corrects daylight so the film doesn’t record a bluish image.
So the practical use is:
- Indoors under tungsten/incandescent lights: use tungsten-balanced film with the filter removed.
- Outdoors in daylight with tungsten-balanced film: use the built-in filter in place.
- Outdoors in daylight with daylight-balanced film: filter removed.
- Indoors with daylight-balanced film under tungsten light: the image will look too warm/orange unless you use proper color-correction lighting/filtering.
The cartridge notch simply tells the camera which of those situations the film was designed for, and the camera moves the filter accordingly. If your camera has a manual filter control, use it to override the automatic setting when needed.
Exact notch conventions can vary by film stock and camera, so your camera manual and the film stock instructions are the final reference.
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