Business screen magazine (1946)

\nimation can be planned to move lit relatively low speed — 6 to 9 fps — Ivithout any blurring or appearing jumpy. PIPs accurate registration ;.ystem and rapid frame advance nakes "pop-ons" and "I'lash-ons" .ery effective at only 1 or 2 fps. .Ami I title or diagram can stay on the 'IP screen as long as necessary as |i single frame. i In preparing artwork for PIP. it ►hould he planned with a one-field ,afety margin for titles or essential iction. High light transmission back3X)unds are recommended, as with ny rear screen projection system. Handling Live Action Live motion can be photographed the same frame rate designated the storyboard. However, caulon should be exercised when shooing at relati\ely slow frame rates, as iction crossing the screen can cause urred images. As an alternative, you can either use sync strobe, or loot the film at a faster frame rate nd skip-print to the desired speed vhen making the internegative. Considerable time should have )een spent in establishing the frame ates for the storyboard. Care should taken in planning all live action liming. If you are unable to estabish the frame rate for this storylOard, shoot at a speed which you ire sure will be faster than will be leeded. Then, when you are able to istablish the correct frame rate, just cip-print to order. Skip-printing ilso is a practical solution if you mh to use existing film footage 'hich had been shot at 24 or 16 fps. One effective technique which PIP Jlows you to utilize in showing li\e iCtion is to use varying frame rates irithin a single piece of footage. For xample. we prepared a PIP segicnt which demonstrated a golf wing in three different modes. The iriginal sequence was shot entireh it 48 fps. Skip-printing every other ame in the internegative for a pro tion rate of 24 fps, gave us the nefit of unblurred images using lalf the original film footage. We rogrammed the downswing, up to It before impact, to be projected t 12 fps using every frame. The ult is the downswing is slowed own to one-half the speed of the Ctual swing. The impact and followtrough are shown at normal speed. ly combining the original speed with ic half speed, then adding single Lining up a live shot of actress. Live sequences can be filmed at frames rates between 6 and 12 fps. Preparation of animated sequences is simplified by reducing frames rates to speeds as low as 6 to 9 fps. frame "holds"" to analyze swing and stance, an effective teaching sequence was developed. All live action sequences should be analyzed in the same manner to try to select the most economical film speed that, in each instance, illustrates the action most effectively. All original scenes, both art and live, should be leadercd and syncpunched. An exposure sheet should be prepared for use on the optical bench. Plan to make a head leader 25 frames long with a focus frame that reads "Focus. Then Start."" preceding a lO-frame countdown to a focus frame that reads "Start Button." .Also make a 25-frame tail that reads "Rewind Frame. " If all procedures are followed properly, you will end up with a 16mm internegative made directly from original photography without splices. From the internegative a 1 6mm contact print is made to check continuity and exposure. When all points are checked and any necessary corrections made, a Super 8 reduction print is made from the 16mm internegative, and inserted in a PIP film cassette. You are now ready to synchronize the film and sound using the Norelco Frame Pulse Generator. It is during pulsing that the variety of effects possible with PIP becomes most apparent. The director and his sound engineer have the opportunity to experiment . . to try for neu effects ... to discover for thcmsehes the endless possibilities inherent in the electronic programming technique of the PIP system.