The new "red readers" that use a red LED as the light source do not need silver in the soundtrack, as they are not sensitive to infrared light. In a few years, when most theatres have converted to red LED readers, the film industry hopes to convert to analog soundtracks that are printed in the cyan dye layer, and eliminate the cost and problems of redeveloping the silver. The current "high magenta" tracks are a step in that direction, as they are more compatible with both old "white light" and new red LED readers. High magenta tracks still require the soundtrack redeveloper step to form silver in the soundtrack area.

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John Pytlak, Senior Technical Specialist
Worldwide Technical Services, Professional Motion Imaging
Research Labs, Building 69, Room 7419
Eastman Kodak Company
Rochester, NY 14650-1922 USA
Tel: 716-477-5325 Fax: 716-722-7243

Now I know that I'm not crazy. (Well...)

We've had this problem for a long time, on and off and it drives me nuts! (Okay, a short walk...)

We call it the "Spitfire Effect" 'cuz that's the first movie we noticed it in... (Spitfire Grill -- Almost 3 years ago!)

It sounds like a scraping or rumbling sound. Usually only audible in the quiet parts, but sometimes pretty loud. It often starts in the middle of a reel and ends abruptly at change-over. We've probably had to get over a dozen replacement reels over the years. (We pretty much always knew it was the film, just didn't know WHY.)

Finally, the last time it happened, I stopped the projector (The only guy in there got a rain check and LEFT) and I looked at the film in the light. When I found the wonky-looking soundtrack I cut out a frame or two and saved it. (I hope it didn't get tossed)

Essentially, all this means is that there's ANOTHER stupid lab/processing error that I have to look out for when I build up prints.... JEEZ!!!

TIP: Don't screen your movies in digital! If you do, you might not find out till two weeks later when the print moves to a non-digital house!!! It will probably be on a Friday night when you get 9,000,001 complaints!!!

With regard to test film...
35-PA (aka RP-40) and P35-BT (Buzz track) are camera originals and VERY expensive (low volume and high failure rate)

50 feet of 35-PA is $170.00 from SMPTE ($3.40/foot)

50 feet of P35-BT is $139.00 from SMPTE ($2.78/foot)

I can therefore understand not sending out the film willy nilly. Also there is a service life to the film and once it changes dimensionally, no longer is valid.

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• The identification
  
• The sound advance
  
• To show off how clean my prints are
  

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For the most part, I agree with you. How the heck can you screen the print 3 or 4 times? My rationale is this...

1) If you know that your SR track is good, you can always fall back to it if your digital track(s) are bad or if your SDDS goes wonky. If your SR track is bad too, you're pretty much screwed. (This has happened to me!)

2) If your theatre doesn't have digital in every house, like mine, you could play the movie in digital for a month before it moves to a non-digital house. It won't be until some busy Friday when it gets noticed. Then you'll be up to your armpits in complaints like, "Don't you PRE-SCREEN your movies?! (This has also happened to me!)

The logic I use is that your SR track is your lowest common denominator or your 'fall back' option. If for some reason you need it and it's not useable, you're outta' luck. I find VERY few problems with digital tracks. Chances are that it's your player (SDDS) that's bad! However, I find that more and more SR tracks are bad.