Home Movies (1943)

HOME MOVIES FOR JANUARY PAGE 25 HOLLYWOOD tire surface of the tree pattern with lead pencil graphite, then laying pattern over title card and rubbing off graphite onto title card with fingers as shown. The twin bell effect was created by coating the pattern stencil with lead pencil graphite, laying stencil over title card in proper position, then rubbing off graphite onto title card in the open area of stencil which constituted the bell design. Details of double bands and highlights were applied later by means of a pencil and eraser respectively. After all background designs were completed, the title text was then lettered in india ink. Most important implement in making title card backgrounds in this manner is the right pencil — that is, one with an exceedingly soft lead and preferably a heavy lead — larger than the average lead pencil. Also, the paper stock from which pattern is to be cut must not be smooth or glossy. On the contrary, surface of pattern paper or cardboard must be rough so it will accumulaet sufficient pencil graphite to be transferred to the title card by the rubbing-by-finger process already described. Another thing favorable about this idea is that it is applicable to title cards of any size — from small typewriter titel cards to 9 by 12 inches or larger. It presents opportunity for any amateur to personalize his title making and give it individuality by including in his main and credit title backgrounds, designs in keeping with the theme of the picture. One does not have to be an artist to draw the patterns and cut them out. Any design illustration cut from a newspaper or magazine will serve as a pattern from which the title pattern may be produced. Lxpoiure for iucceii^ul titlei • Continued front Page 1J liance. It becomes necessary to shoot at a wider lens opening, of course, or to increase power of the photofloods. The results of these experiments have done much to correct the ills of title making for many amateurs who, heretofore, have kept their photofloods pretty close to the camera, pointed directly at the title. Definition as well as contrast is affected by the volume of light falling upon the title card. If insufficient light is employed, requiring the use of an exposure of f/3-J or f/4 in shooting the title, sharp focus cannot result in the lettering, especially if lettering is small. The text will not be sharp and will prove difficult to read on the screen. Therefore, enough light should be employed to enable filming title at an opening not wider than f/5.6. F/8 is probably the best exposure to use for all around good titling. The lens is not closed down too far so that a fadeout can still be made by closing down to f 16 where the fadeout effect is desired. The problem of determining correct exposure for title filming is really no problem at all. An exposure meter may be used for the purpose, but not in the usual manner of pointing meter at title card. Obviously, it would be difficult to TITLE TROUBLES vanish when you have a book that tells you how to do everything that makes for successful titles. Such a book is "How To Title Home Movies,' written by Ceo. W. Cushman. Mailed prepaid for $1.00 by HOME MOVIES, 6060 Sunset Blvd., Hollywood, Calif. obtain an accurate reading of a black title card with a single sentence in white. A low reading would result, causing overexposure. The recommended method, for both black and white and color title filming, is to place a sheet of grey paper in front of the title card and take a reading from it. While there are a number of graduations of grey color, any difference will register only slightly on the exposure meter. And should such difference affect the final exposure, it will be so slight as to be unnoticeable. In subsequent title filming, the necessary allowance can be made in setting exposure. Where positive film is used for titles, the same practice as outlined above sohuld be followed for placement of lights and determining exposure. However, "direct positive" titles require, even more than ever, that there be maximum contrast between the title card and lettering. Here, color values are reversed from those required in reversal film titles — the title card must be snow white and the ink jet black if a maximum of contrast is to be obtained. Careful development of the film also enters into the problem of obtaining a contrasty title where positive film is used. This requires that a good contrasty developer be used in the strength and for the time recommended by the manufacturer. Also, it often entails the need for shooting a short test strip in order to determine proper developing time as well as the right exposure. Readers interested further in this phase of positive title production may refer to the article beginning on page 357 of the September 1942 issue which treats the subject at greater length. Black 4 White Sound or Silent Tinted or Kodachrome 1 6 MM movies made more enjoyable with smart Hollywood titles by Filmack — 22 years catering to theatres guarantees your personal satisfaction. Backgrounds to fit any subject or situation. Order today or write for details. FILMACK LABORATORIES 1331 S. Wabash Ave. Chicago, III. MASTER TITLEER and TITLETTERS The perfect combination for perfect Titles, Trick and Effect Shots; Ultra Close-ups. Professional tesul*s. Prices, Including Excise Tax Titleer $11.21 Titletters $4.?5 Auxiliary Lenses, 49c — Set 4, $3.45 Accessories available for making all types of titles. Color or black and white. Size of Titletters, 5 16* high. ORDER DIRECT Hollywood Cine Products 3227' 2 S. FIGUEROA ST. LOS ANGELES Sl^r. I TO £V£f?Y f^" J/OME MOV/F SUA/ Get this FREE BOOK ! 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