American cinematographer (Jan-Dec 1941)

TYPEWRITER TITLE TRICKERY By ROBERT W. TEOREY Los Angeles 8mm. Club ALMOST every movie-maker possesses a typewriter-letter size titler. To the average owner, this auxiliary device appears limited to fixed or stationary titles and in consequence there is no variation from the lead and explanatory titles to the wordings interspersed throughout an entire reel. A modicum of variety in title presentation adds a large measure of interest to any program in addition to improving the amusement value of our home movies considerably. But even though you have only this small titler to work with, you can enliven your titles at a minimum of trouble and hardly any expense. And, in the end, you will have adaptations that will put your titler on a par with devices costing several times your present investment! The prime requisites are heavy cardboard, pins, a couple of paper clips, some large corks, Scotch tape and a razor-blade to be used as a cutting tool. These requirements are almost too simple and may seem slightly open to question; but the results obtained in forming these materials into trick title devices will tell a story in action titles that will amply reward you for your efforts. Figure 1 reveals what may be termed a Flip-flop — although in operation it is anything but the latter half of that hyphenated word. This adaptation has a title on each side of the cardboard rectangle framed in the center of the easel. During filming — when sufficient exposure has been made of the opening title — the title on the reverse side is flipped into position by the simple expedient of rotating the center-piece by means of a pin inserted as a handle at one edge A bit of mystification may now be added to this set-up by pasting a new title over the opening title which is now on the side away from the lens. Start the camera and add a short length to the footage already exposed of the second title and then flip the piece back to its original position. This brings the new or third title to view. The illusion thus created is that three titles have very smoothly materialized from the single section of cardboard mounting. Figure 2 is similar to the Flip-flop with the exception that it operates in a horizontal plane. These two title set-ups are prepared as follows: A section of cardboard is cut to the exact outside dimensions of the titler easel and inserted therein. A pencil outline is then made of the easel aperture after which the section within the line is cut out with the razor-blade. From this — the title area — approximately an eighth of an inch is trimmed from the edges with the exception of sma'l sections at the points to be pivoted. The piece is then re-fitted in the cutout frame and pivoted at the exact center of rotation by means of pins thrust through the edges of the cardboard. Titles may be printed directly on the center-piece, or printed separately and attached by tape or pasted lightly by the corners, as is the case of those illustrated. The Zoom title gadget depicted in figure 3 is a rectangle of cardboard somewhat larger than the easel so that when drawn back for the beginning of the movement the edges of the card will not be visible during the projection of the opening frames of the title. This card is thumb-tacked to the end of a 3 or 4 -inch length of wood. More thumb-tacks are lightly pushed into the table in rear of the easel to provide a guide track for this base to follow in the forward motion so essential to provide the zoom effect. The lower edges of the cardboard on each side of the block are trimmed to provide clearance for the assembly to glide over the guide tacks. Print your titles on paper the size of the rectangle and secure with tape or paste as mentioned before. Draw the assembly to the farthest point allowed by the track; start the camera and move the zoom device up against the easel and the opening effect of this arrangement is effected. The spinning arrangement (figure 4) consists of a section of cardboard fitted in the spring-back of the easel, and a round piece large enough to hold a title background of the size determined by the titler-mask. The pivot is a small nail which has been pushed through a bit of cardboard and cemented at the exact center of the disk. The nail is then thrust through a hole centered in the easel card and a large cork is pushed over the nail to hold the assembly in place. A pin inserted off-center in the cork serves as a spinning handle. To secure the effect of one title spinning into another, square your first title on the disc with the titler-mask and expose sufficient footage for the wording. Then, while the camera is still in operation, spin the title. While the title is rotating, stop the camera. Now replace the lead-title with the one next in order. and after squaring this with your titlermask, expose for the text. The appearance on the screen will be that of the first title spinning into the second one without a noticeable break. It makes a very effective and novel transition, and may be repeated as often 426 September, 1941 American Cinematographeu