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268 CINEMATOGRAPHIC ANN CAT,
camera-head are positively synchronized, the result is a steady duplicate picture. In order to gain certain special effects, special gearing is provided in this synchronizing hook-up, whereby the synchronism may be varied from this normal, so that if it be so desired, a single frame of the positive may be photographed on as many frames of the negative as may be necessary, or, conversely, every alternate frame, of the positive, or every third frame, or any other desired combination may be photographed on successive frames of the negative. If it is desired, the printer-head may be run backwards, while the camera runs forwards, reversing the action.
Probably the most common use of optical printing is in the making of lap-dissolves. Due to various mechanical factors introduced by sound, it is an absolute necessity in most cases where sound is used to make these dissolves at a later date rather than in the camera on the set. And since this necessity has forced us to make all dissolves optically, we have found that this method is by far preferable; perfect timing of dissolves may be had, with the constant option of changing them to comply with all possible re-cutting of the production. Therefore while in the old days much time and labor was wasted because the production cameraman was saddled with the responsibility and worry of making intricate lap-dissolves and multiple-exposures on the original negative at the time of photographing, todav all of this complicated technical work is handled by a separate department specializing in this work, which might be termed "postphotographing". The production cameraman now simply photographs his scenes in the regular manner, with the lightings with which he normally works. He is required to adhere to certain simple requirements that will assure the suitability of his shots for optical after-treatment. Then, after the film has been developed and printed, the Special Effects Department takes charge of it. inserting whatever dissolves, lap-dissolves, or multiple-exposure effects may be required.
In this branch of cinematography the laboratorv takes on added importance. A print which is to be rephotographed must have certain definite characteristics. It must naturally reproduce faithfully all of the fine detail and gradations of the original negative, and must moreover be of just the precise density and contrast that are best suited to optical printing — and which are quite different from those best suited to normal projection. Equally important is fineness of grain both in the positive master-print and in the resultant duplicate negative. To this end the laboratory technicians must not only keep abreast of the latest technical developments in their craft, but be individually experimenting with new and specialized developers themselves. Furthermore, even the routine processing of film intended for optical printing must be carefully supervised by conscientious and expert technicians, who realize that perfection is composed of trifles, and that perfection itself is no trifle.
There are ever increasing demands made on the optical printing experts to "doctor up" scenes that have already been photographed and which require certain "adjustments" in order to make them usable in a production. By careful manipulation on the optical printer