American Cinematographer - October 1968 - 107

On the animation camera stand we
would place a piece of high contrast
positive stock on which we had pho¬
tographed an opaque title. The title
would be black on a clear field. Light
directed upward through this high con¬
trast positive stock would be masked
out so that nothing would appear on
the raw stock in those areas where the
letters are. The live action, on the
processed film, would be imprinted on
the raw stock by contact except in
those areas that have been matted out
by the high contrast positive stock.
If we were to process the film after
this first run, we would have live ac¬
tion with a black title. But this is some¬
times difficult to read and for this
reason we resort to a white title with

a dropped shadow. The black shadow
separates the white title from the back¬
ground and makes it much more read¬
ily legible.
To achieve the dropped shadow
effect, the film is run through the cam¬
era a second time. After the first run,
the film is run back to the start position
while the shulter is c!osed. The high
contrast positive stock showing a black
title on a clear field is now replaced
by a high contrast negative which
shows a clear title on a black field.
On the second run, however, the clear
title is positioned slightly above and
to the left of the first title. With under¬
lighting, the clear area will burn
through any image that may have
been previously photographed. After
the second run, the raw stock is proc¬
essed and the result will appear as
a white title with a dropped shadow
over a background of live footage.
There are many more types of spec¬
ial effects that could be included in
this treatise, but they are much more
intricate and more involved and for
that reason considered beyond the
scope of this article. They are worthy
of special and separate treatment in
a future article. ■

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Continued from Page 792

Let us say that we have some live
footage over which we wish to show
a white title with a dropped shadow.
One part of the "Bi-pack" magazine
would hold the exposed and processed
live footage while the other magazine
would contain the unexposed film, or
raw stock.

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shuttle of the animation camera, so that they
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799
American Cinematographer - October 1968

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