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Author Topic: Opaque Splicing Tape - Why? John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 11-26-2002 08:04 AM                        Nathan wrote: "Kodak Film Notes Issue # H-50-3 pg 9 states, "One current method uses white translucent polyester splicing tape. The density of the tape is low and generally passes through the projector unnoticed on the screen, but can easily be seen on the film." I think Kodak's Paul Preo was referring to a tape that had a matte surface, kind of like the 3M Scotch "Magic" tape, that would easily be seen by it's dull surface against the shinier film, yet transmit light. Even so he cautioned to: "...prevent unnecessary visual disturbances to your audience." Since today only opaque (colored) tape, "Zebra" tape, and clear tape are available, the choice is CLEAR if the audience should not see the splices. Obviously, don't use "Magic" tape or any other tape not specifically designed for splicing.  |  IP: Logged Joseph D. Olson Film Handler Posts: 26 From: Seattle, WA, USA Registered: Jun 2002 posted 11-30-2002 05:34 AM                        I may be a little light on the lingo, but my understanding of Zebra tape is that it's the stuff that has bright yellow marks accross the frameline. Not the frame, correct? Now my problem is that my Booth Manager has banned use of Zebra tape in any form and clear tape is used for everything, thus leaving no differential between fixes and reel changes. Every once in a while I'll get a fix less than ten frames away from the next reel and it never fails that I fall for it and make my job just a little harder. And as far as opaque tape goes, I've known guys to use masking tape when they're being lazy and holy hell does it look bad.  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 11-30-2002 09:45 AM                    Your manager is right. Zebra tape is still visible on the screen on scope films and/or obscure some of the digital tracks, depending on the type of tape. As for repair splices near the reel splice (probably caused by a prior user making the cut at the wrong place and the next person getting it right) if you look at what you're doing you will rarely have a problem. The reel splice is (with very rare exception) at a scene change. If the scene is the same on both sides of the splice then it's a repair not a reel join. Now granted, there are some ineptly edited films these days that might have a scene change 10 frames from the reel end and there could conceivably be a repair splice there but we're talking about likelyhoods here. Finally, the reel that is ending will probably have changeover cues (dots) and these will be 24 frames from the end of the reel where your join is (24 usually inclusive of the 4 dot frames, sometimes exclusive), minus one or two check frames left on the leader and minus any lost due to hack operators who only know how to cut, not peel old tape. It really just comes down to a willingness to take the time to do things right.  |  IP: Logged Thomas Procyk Phenomenal Film Handler Posts: 1842 From: Royal Palm Beach, FL, USA Registered: Feb 2002 posted 11-30-2002 10:22 AM                     Just started a new job at an older 8-plex. They use opaque yellow tape AND yellow edge-mark tape at each reel, and each trailer. Hopefully, in due time, I can ween them off of this process, and the process of not putting ANY black leader before the first trailer/snipe, and the process of pulling the leader aaallll the waaaayyyy dowwnnnn to the first snipe when threading, and the process of.... *sigh* =TMP=  |  IP: Logged Joseph Pandolfi Expert Film Handler Posts: 213 From: Milford, CT. Registered: Nov 1999 posted 11-30-2002 11:47 AM                     I agree with Gerald 100% on opaque splicing tape. I just built a print up last week that the header reel was just over 20 minutes containing six NCN ads each ranging from 15 seconds to two minutes in length, our holiday greeting, our policy trailer, our emergency exit trailer required by the state of Connecticut, and six trailers. This makes a total of 19 spices not counting the leader and the Feature Presentation and two more rolling stocks ads. So locating a certain trailer or an ad that would be removed is quite easy if they were marked on the opaque tape with a fine sharpie pen. I just cannot see using any kind of tape necessary for spicing trailers or ads togehter and without IDing them especially on Thursday night when ads are required to be pulled or added.  |  IP: Logged James R. Hammonds, Jr Jedi Master Film Handler Posts: 931 From: Houston, TX, USA Registered: Nov 2000 posted 11-30-2002 01:37 PM                     Joseph, at the present time we are in the same boat. We have 6 or 7 NCN ads, one Coke ad, Movietickets, Previews clip, 5 to 7 trailers depending on the print, Silence Is Golden clip, and Feature Presentation clip before the movie. We also use clear tape for everything. Its really not that hard to find an ad or trailer with all the clear tape, especially if if you have seen the ad and can identify it by looking at a few of the frames while on the platter. The trick is that ALL the NCN ads on EVERY print should be in the exact same order, that way you know how many ads in a certain ad should be. Also, trailers ahow on screen in the order they are released. When it comes time to pull a trailer, the one to pull is usually the first one. Also, we have a list typed up that is kept in order as well.  |  IP: Logged Jesse Skeen Phenomenal Film Handler Posts: 1517 From: Sacramento, CA Registered: Aug 2000 posted 11-30-2002 05:57 PM                     When I worked at a theatre that ran a lot of rolling stock trailers, I never had trouble finding them with regular (clear) splices- I kept a list of exactly what trailers were on every film, so if there was any doubt I'd just consult those whenever an ad had to come off or a new one go on. At another theater I knew a guy who liked to use opaque tape just for the trailers, but I went through and re-did them all with clear tape BTW what REALLY needs to be banned is automation cues that can be seen on the screen! I recently saw a movie at a UA theatre and I could tell they were using those barcode stickers that go right on the film. I sent them a comment letting them know I won't be going back because of that. I subbed for a while at one place where the main projectionist used opaque tape on everything because he said "I can't find that zebra s---!" but since it was a triplexed theatre with mono sound in 2 auditoriums, I didn't make a big deal out of that (and I never watched a single movie there, while I'd watch everything at the real theatres I worked at!)  |  IP: Logged Thomas Procyk Phenomenal Film Handler Posts: 1842 From: Royal Palm Beach, FL, USA Registered: Feb 2002 posted 11-30-2002 06:34 PM                     Okay, smack me if this is a dumb idea... What about using a fine-tip sharpie to write the title on TOP of the ad/trailer as it lays flat on the platter? Never tried it, just an idea. =TMP=  |  IP: Logged Carl Martin Phenomenal Film Handler Posts: 1424 From: Oakland, CA, USA Registered: Feb 2002 posted 11-30-2002 07:05 PM                        smack. if you changed any snipe in front of it the writing would become italicized or unreadable. carl  |  IP: Logged Shaun Flichel Film Handler Posts: 42 From: Regina, Sask., Canada Registered: Sep 2002 posted 11-30-2002 09:22 PM                     The situation here is pretty bad with the big corporation.......no sufficient light in booth, most corps and trailers show up on Friday and must go on now, and if you have to stand there with no marks that stand out, this simply wont get done in time and trouble occurs......and for the record.........I only use clear splices. Shaun  |  IP: Logged Daryl C. W. O'Shea Film God Posts: 3977 From: Midland Ontario Canada (where Panavision & IMAX lenses come from) Registered: Jun 2002 posted 11-30-2002 11:06 PM                        Like Shaun, I also work in a booth that has 'zero' light near the platters. I too use clear tape without a problem. If you're feeling for the splices then it doesn't really matter how dark it is in the booth or what the splice actually looks like. If you've made repairs, well, you're just going to slow down a couple extra times -- oh no... you'll waste a couple minutes, big deal! If not being able to see splices at the platter is a problem for you, break down on 6000's (you'll have to find one, at most two splices) and then break down the rest at the bench.  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 12-01-2002 12:01 AM                     Repairs? Are you inferring that there are people who actually have film projection problems and have to repair damaged prints? Film done right means there is no such thing as "repair splices". quote: The trick is that ALL the NCN ads on EVERY print should be in the exact same order, that way you know how many ads in a certain ad should be. I couldn't agree with you more, James. This really is THE trick to keeping sanity in the booth when changing ads.  |  IP: Logged Daryl C. W. O'Shea Film God Posts: 3977 From: Midland Ontario Canada (where Panavision & IMAX lenses come from) Registered: Jun 2002 posted 12-01-2002 12:05 AM                        Apparently they do. At least that's what I gathered from the "I can't tell which splice is the right one" crap. Even if you cut out (which I do) the billions, maybe trillions, of lab splices, it's not too hard to see that there weren't any cue marks before the splice and that the same picture is on both sides of the splice.  |  IP: Logged

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