Home Movies (1943)

HOME MOVIES FOR MARCH Positive v&. (Reversal tor TITLES . . . mm By CEORCE W C U S H M A N HILE it is probably true that most of the discussions regard ing title making concern the direct-positive title which the amateur develops himself, not all amateur-made titles are shot on positive film. Just as frequently, titles are made on Kodachrome or black and white reversal films. But because the direct-positive method offers certain advantages for the beginning amateur, this method has been discussed at greater lengths. Chief advantage of positive titles is economy and the fact any amateur can photograph, develop and edit a series of titles in the course of a single evening. Fine grain and extreme contrast are other advantages. On the other hand, reversal film titles have their advantages. The title cards are designed and lettered in the same colors or tonal values as they will appear on the screen. With the delicate shadings, background textures, highlighting and other artistic touches thus afforded, it would require the best of experts to work out similar title cards in "reverse" for positive film titles. To be able to visualize the title exactly as it will appear on the screen is an advantage. Another important point is the greater speed of most reversal films over that of positive. Given the same amount of light, a fast reversal film can be exposed on titles at a much smaller lens opening. To those amateurs with the best in lens equipment, this is not so important; but for the majority of amateurs with a popular priced camera fitted with an average lens, a smaller stop results in a finer, sharper image and this is highly essential in order to produce titles where every word, every letter, is sharp and readable even to edges of the title card. Those who would use positive film for their titles must, if their cameras are still loaded with reversal, wait until the camera is empty in order to re-load with positive film. The reversal filmer can shoot his titles on the very film his pictures are on, send the film to the laboratory and have pictures and titles processed at one and the same time. Then there is the ever-present bugaboo of varying film thicknesses which often requires constant refocusing of projector where the production is made up of two or more different film stocks. Where titles and pictures are of the same film stock, i. e., all reversal — either all Kodachrome or all panchromatic — refocusing is not a problem in projecting the picture. Another advantage offered in the production of titles on reversal film is that of lighting. It is easier to evenly illuminate a black title card with white lettering for reversal film than one of white with black letters for positive film. And the larger the title card, the more this becomes true. In shooting positive titles where the cards are white with the lettering black, if the photofloods are too close to the cards, the titles will appear unevenly lighted on the screen with edges somewhat lighter in tone than the center. Uneven lighting will" seldom result in an even, over-all density no matter how perfect exposure may be with positive film. Where special decorative effects are wanted in titles • Continued on Page 92 81 "m would b« • us«d 1 it i3 -Tiantoont the \ adly the ehatere«iag to « 5ierra c-u3c»«c % ° Cote h~ resist* J s of ait.+ Lf iov most ^^^^^^^^^B *mefk? 'he ,;«e te„ M "•nethinq «, .4 e" was <■._ .