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THE PICTURE ORIGINAL 61
Where best over-all print quality is the objective, the most suitable materials for 16-mm originals are reversal materials. Reversal materials when handled carefully show little or no evidence of dirt, scratches, and light flashes that are almost unavoidable even with carefully handled negative. Reversal always produces a reduction of grain size; it is inherently a fine grain process. In black-and-white reversal, the larger grains of the film emulsion, being most sensitive to light, are most affected by the first or negative exposure. These larger grains are then removed in the bleaching operation that follows the initial development, leaving the smaller grains of the emulsion exposed by the second or positive exposure to make up the final image on the film. In color reversal, the final image is made up essentially of dyes which are, to a major degree, grainless ; the initial development and bleaching operations are essentially the same as for black and white.
The advantages of direct positive materials are now so pronounced that negative-type materials have been abandoned in most applications where a large number of print copies from an edited original is required. Some independent laboratories are reversing positive film for the making of work prints and duplicates but the volume of this work at the present time is not large when compared with release printing.
Consistency of Picture Quality for the Picture Original
Consistency in picture quality is extremely important for an individual, group, or organization engaged in the making of motion pictures. Since a copy can never be any better than the original from which it was made, deviations in quality in the original are ordinarily aggravated by the release print manufacturing process ; the result is poor quality on the projection screen.
Strangely enough, the importance of consistency of quality seems to be little recognized before the original is photographed ; too often the film laboratory is called upon to "save" an original because of lack of care or knowledge in the making of the original. " Saving' ' a film is really a thankless proposition; the result at best is only marginal. Every time an owner views a release print from a ' ' saved ' ' film, he wonders what he might have done to avoid his dilemma and wishfully thinks about "the film that might have been." Such experiences on the part of film producers or makers point out quite forcibly that a laboratory cannot bring out detail in the copying process that does not exist on the original film. If that were accomplished, it would be magic and not film processing.