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Authored by Geo W. Cushman
Some Like Revers Some Like
w he never we hear a group of cinebugs discussing their hobby, the ever interesting phase of title making sooner or later has its part in the conversation. Then, nearly always, the relative merits of positive titles and those made on reversal film are thoroughly raked over the coals. Those who prefer the positive method claim it superior, while workers in the reversal category argue that process to be the better of the two.
But it isn’t our purpose here to continue arguing along either vein, for both films have their characteristics — their advantages. Rather, we wish to review the many possibilities of title making with reversal film. It seems that most title discussions now-a-days rather assume that the ideal title is that made with positive film. An amateur in Seattle recently wrote us, “Is it possible to make titles on ordinary reversal film ? All the articles and magazines explain the uses of positive film, but seldom have I seen the results to be expected with reversal film. Must I use positive film ? Why can’t I use reversal film?”
His point, we believe, is rather well taken, for it does seem as though the positive method is the one most discussed. But many an amateur prefers reversal film for titles, even though it may be a bit more costly, and here are some of the reasons :
A title to be made on reversal film may be drawn or lettered exactly as the maker wishes it to appear on the screen — that is, the tonal values are the same. If he wants white letters, he makes them white. If he wants a shaded background, he can make it exactly as he wants the finished title to appear. He can visualize easily his final result on the screen before photographing it. The positive worker, on the other hand, must make his values in reverse — that is, he must make them as a negative.
Another tremendous advantage is that nearly all reversal film emulsions are much faster than positive films. Thus, smaller lens openings may be used, and less light is needed. Furthermore, since the background is black (or dark), the illumination need not be perfectly even, as is absolutely necessary when white backgrounds and positive film is used.
Some workers prefer the reversal title because they do not have to wait until the camera is empty before their titling can begin. To the amateur who prefers to title as he goes, the reversal title is his only answer unless, of course, he carries two cameras. Titles made on the same film as the scenes are always in focus when projected. This is not always true with titles made on positive film as some positive film bases and emulsions are not always of the same thickness as the reversal film into which they are spliced and this requires troublesome re-focusing of the titles during projection.
The first time an amateur tries titles on reversal film, he may get perfect results, then again he may not. There are four requisites necessary to a perfect title. The • Continued on Page 520
• Figures 1, 2 and 3 are original title cards for reversal film titles. Fig. 4 is a typical amateur title card for "direct-positive" title making. The title, as photographed on positive film, is shown in Fig. 5.
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