I can't recall that Kodak's "Film Notes for Reel People" ever recommended the practice of "notching". In fact, issue H-50-12 (dated 1981) says "The practice of "V" cutting should be avoided because of further damage that often occurs".

I agree with you that "some machines don't like them", such that you are likely to damage the film far beyond a few torn perfs. An occasional torn perf should be fixed with perforated clear tape such as the Perf-Fix or Cine-Bug, or splicing tape that mends the torn perforation and is perforated.

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John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Research Labs, Building 69, Room 7525A
Rochester, New York, 14650-1922 USA
Tel: 716-477-5325 Cell: 716-781-4036 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion

"Is it my imagination, or is IB film more prone to having brittle base stock? I've got several IB features that have alot of minor damage here and there along the perf edges, and occasionally there are runs of perf breaks along the center of the holes. I get the breaks aligned properly, and lay on the splicing tape. I dont see this much with my acetate Eastman, Fuji, Agfa, etc. stuff. Think it's just the old age of the IB print showing? My youngest IB print is from 1971, and the oldest is from 1960."

I suspect it has more to do with the lubricity of the prints, rather than a difference in the film base. For optimum projection performance and print life, SMPTE Recommended Practice RP 151 specifies that 35mm prints be edgewaxed. The Kodak processing specifications also specify that prints be properly lubricated for optimum projection life:
Kodak Specification for Print Lubrication

Proper lubrication and using the minimum gate tension that still produces a steady image reduces the amount of force needed to pull the film through the projector gate, greatly reducing perforation wear and damage.

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John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Research Labs, Building 69, Room 7525A
Rochester, New York, 14650-1922 USA
Tel: 716-477-5325 Cell: 716-781-4036 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion

As you know, I still have my copies of most of the "Reel People" publications.

I am a V-notcher. If there are 2 consecutive tears on the spkt holes, I will tape rather than notch them both.

When I did 16mm, the only machines that disliked my notch work were the Kodaks that I still have with me. And then again, it was only prints that had 2 frames within a couple of inches of film notched, and then again, all I would see on the screen is the image bounce to the side.

I still love my old Kodak Pageants.

My notcher is very old. No name on it that I can see, but when done properly, it makes notches that do not catch on my fingers, cleaning pads, etc.

Some of my prints were crushed on bad metal reels when I got them. One 1936 feature that I consider my best came on reels that were not damaged in shipment, but were squashed down all the way around the core of film. Pliers were needed, along with the muffler for what was spewing out of my mouth!

Now, I've fixed every inch of the print. You cant tell that anything happened to the print, except for some slight weave at the fade-outs at the end of each reel. FilmGuard did a great job on this one. Now, 2 years later, the print winds smoothly and has no focus problems.

Personally, I've learned tons of information here on Film-Tech, along with what I learned from my film-director boss Sid O'Berry back in the late '70's in a small TV station.