Here is an interesting film I stumbled across. It is for the Bolex titler from 1950.

Bolex Titler
The Bolex Titler allowed accurate framing and filming of titles, animation and other effects. It may have been first produced in the late 1940s; I can only date it as early as September 1950, in a price list of that date. The basic version of the device was comprised of an optical bench with a spring mounted tape measure, two lamps, title frame, rackover camera carriage and extension cord. An accessory kit was available with multiple frames, scroll device, drum, turntable, tilting plates and other items which allowed the film maker to produce a variety of effects, animation and motion titles. It was later referred to as the “Super Titler” and modified slightly throughout its production into the 1960s.

8mm Titler
In 1955, Paillard introduced a titler for pocket size cameras. In order to provide accurate framing with these non-reflex cameras, a unique D mount device was designed to project a circle of light through the lens onto the titling board. The Basic Titler consisted of the titling board with a field frame and centering card, support stand and camera base, and precision centering device with 4V lamp and wire with alligator clamps for attaching to a battery.
A full accessory kit could be purchased, which included two adjustable lamps, horizontal and vertical “Flip Flap” boards, drum, disc, scroll title device and 10″ extension legs; all effect devices, apart from the scroll, were covered with black velvet.

~ from Bolex Collector.com

Visionaries: Pioneering Experimental Shorts

Wednesday, January 29, 2020
7:00 PM only

Northwest Film Forum
1515 12th Ave., Capitol Hill, Seattle

A special program of outstanding and strikingly visual experimental shorts from the 20th century, all on 16mm film. Featuring works of animation, collage, visual music, abstraction, and electronic psychedelia by Shirley Clarke, Bruce Conner, Scott Bartlett, Len Lye, Mary Ellen Bute, Norman McLaren, Oskar Fischinger, and others. Curated by Spencer Sundell, drawing from the vaults of the Sprocket Society and Canyon Cinema.

(“Bridges-Go-Round” preserved by Anthology Film Archives.)

Co-presented by the Interbay Cinema Society, the Sprocket Society, and Northwest Film Forum.