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70 IV. MAKING 16-MM OEIGINALS
Color Negative Film
For conventional uses, color negative has not been available in the United States in the 16-mm size despite the fact that it was widely used in Germany prior to World War II (Agfacolor, 35-mm size). It is probable that it will not be marketed since negative can not be recommended because of the excessive splice marks, dirt, and scratches appearing in the release print as a result of negative editing, this handicap also occurs with black-and-white negative.
Color Duplicate Negative Film
The use of the direct-positive, dupe-negative, release print technique so common in 16-mm black-and-white film copying, has not yet acquired commercial acceptance in color copying, partly due to the relatively large order of magnitude of the resolving power losses encountered with multi-layer integral tri-pack color films. Ansco will undoubtedly offer such materials to the 16-mm market as it has to the 35-mm market; when the market is ready, it is likely that other manufacturers such as Kodak and Dupont will do likewise. It should not be very long before the many advantages of the duplicate negative technique can be utilized in color as it is in black and white. Although it will call for a considerable "tightening up" of processing control, it will be well worth the effort, and laboratories that are progressive enough to grasp the opportunity to do an excellent job should reap generous rewards for their efforts. For the present, the resolving power losses of the over-all copying process are considered excessive, and film manufacturers are not encouraging such duplication in 16-mm.
Exposure of Original Reversal
The instructions for properly exposing both black-and-white reversal film and color reversal film are alike in many respects. Overexposure is to be studiously avoided ; when there is doubt, it is preferable to deliberately underexpose by an additional one-half light stop. Reversal originals that are slightly underexposed (approximately one-half light stop) provide the maximum tonal range in release prints regardless of whether or not they are in color, or whether the release prints are to be made in color or in black-and-white. An original that is even slightly overexposed or one that is underexposed by more than 1J light stops should be discarded as unsuitable for high-grade duplication; there will