706 HANDBOOK OF PHOTOGRAPHY 



range of speeds. Many of the operations described in connection with the optical 

 printer, such as the making of wipes and special transitions, may be conveniently per- 

 formed on such a stand. Effects titles, in which action or scenery appears behind 

 title lettering, are made by a process of double-negative exposure from a title positive 

 and a scenic or action positive, the former having previously been prepared by exposing 

 film to a title card. The more intricate title and transition effects are made on the 

 optical printer rather than on title cameras. 



Various types of effect shots involve paintings or miniatures. For example, a 

 painting on glass, in correct perspective size, may be interposed between the lens of an 

 ordinary camera and a set. Solid miniatures are commonly used, not only to save 

 expense, but to show scenes of destruction— train wrecks, bombing of towns, etc.— 

 which could not be filmed in actualit5^ The correlations between the size of a minia- 

 ture, the speed with which action takes place in or around it, the angles of photography, 

 etc., are mathematically and experimentally determined and, when properly carried 

 out, convey a convincing illusion of reality. 



Sometimes three-dimensional "miniatures" are themselves of considerable size 

 and cost. One miniature of the city of London occupied a medium-sized dirigible 

 hangar used as a stage. In a recent marine film miniature frigates 18 ft. long, complete 

 with cannon, 16-ft. masts, etc., were used for battle scenes, at a cost stated to be about 

 1 per cent of that of full-sized vessels. Long- or medium-shot pictures of these 

 miniatures were intercut with close-up action filmed on part of the main deck of a ship 

 built to full size on a stage, where rear projection supplied sea, sky, and land 

 backgrounds. 



Miniature rear-projection screens are sometimes built into three-dimensional 

 miniatures, the edges of the screens being camouflaged so that the action which takes 

 place on them will merge photographicallj^ with the rest of the scene. There is no 

 limit to the combinations which may be devised or to the cinematic effects which 

 ingenuity may produce by such methods. 



Bibliography 



Periodicals: 



Dunning, Carroll H.: Dunning Process and Process Backgrounds, J. Soc. Motion Picture Engrs., 



November, 1931. 

 Walker, Vern: Special Process Technic, J. Soc. Motion Picture Engrs., May, 1932. 

 Leaht: Time-and-Temperature vs. the Test System for Development of Motion Picture Negative, 



J. Soc. Motion Picture Engrs., May, 1932. 

 Httse: Sensitometric Control in the Processing of Motion Picture Film in Hollywood, J. Soc. Motion 



Picture Engrs., July, 1933. 

 Report on Progre.ss in Setting Up Laboratory Controls to Improve Release Print Quality, Acad. Motion 



Picture Arts Sciences, Research Council Tech. Bull., July 27, 193.5. 

 Meyer: Sensitometric Studies of Processing Conditions for Motion Picture Films, J. Soc. Motion 



Picture Engrs., September, 193.5. 

 Dunn, Lynn: Optical Printing and Technic, J. Soc. Motion Picture Engrs., January, 1936. 

 Strohm, W.^lter: Progress in Lighting Means Economy, Am. Cinematographer , January, 1936. 

 Jackm.^n, F.: Process Shot Economics Made "Captain Blood" Possible, Am. Cinematographer, February, 



1936. 

 Report of Committee on Laboratory Practice, J. Soc. Motion Picture Engrs.. April, 1936. 

 Husb: The Characteristics of Eastman Motion Picture Films, Am. Cinematographer, May, 1936. 

 Meyer: Describing Agfa's Infra Red Film, Am. CineTnatographer, May, 1936. 

 Farnham, R. E.: Lighting Requirements of the Three-color Technicolor Process, Am. Cineinatographer , 



July, 1936. 

 Green, Howard: Matching Technicolor Exteriors with Artificial Sunlight, Am. Cinematographf:r, 



October, 1936. 

 Good, Frank B.: Using the Photometer to Balance Set Lighting, Am. Cinematographer, November, 



1936. 

 Db Mille, Cecil: .\ Director Looks at Process Shots, .4m. Cincmatograplur, November, 1936. 



