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» Film-Tech Forum ARCHIVE   » Operations   » Film Handlers' Forum   » Would you have removed these lab splices? (Page 5)

 
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Author Topic: Would you have removed these lab splices?
Kenneth Wuepper
Phenomenal Film Handler

Posts: 1026
From: Saginaw, MI, USA
Registered: Feb 2002


 - posted 01-15-2003 05:45 PM      Profile for Kenneth Wuepper   Email Kenneth Wuepper   Send New Private Message       Edit/Delete Post 
Tape over lab splices does not make a focus shift if the tape is placed ONLY on the base side (facing the lens).

Sound bloops are easily accomplished with acetate waterproof "India" opaque ink in a draftsman's pen with #1 point. This ink was developed for drawing on frosted "Mylar"(c) drafting film. Earlier forms of india ink were effective on the silver tracks of the mono days.

The closeups of the frames show the gunshot, full volume, soundtracks which emulsion removal splices create.

Bang or Bloop ... Your choice!

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Brad Miller
Administrator

Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99


 - posted 01-15-2003 06:18 PM      Profile for Brad Miller   Author's Homepage   Email Brad Miller       Edit/Delete Post 
quote:
Tape over lab splices does not make a focus shift if the tape is placed ONLY on the base side (facing the lens).
That depends on the model projector, Kenneth. Also, regardless there will be two horizontal "tape lines" across the screen. Unless the lab splice is made crooked or otherwise unplayable, those lab splices on polyester stock won't break. (Back in the early 90's and previously though I could understand why someone would want to reinforce the lab splices, but not with today's filmstocks.)

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Thomas Procyk
Phenomenal Film Handler

Posts: 1842
From: Royal Palm Beach, FL, USA
Registered: Feb 2002


 - posted 01-16-2003 06:51 PM      Profile for Thomas Procyk   Email Thomas Procyk   Send New Private Message       Edit/Delete Post 
Building up our print of "A Guy Thing" I noticed there was a lab splice in Reel 2, among others. I got it to the point where the splice was to see if it needs removing, and lo and behold:

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A SCRATCH! Excuse the bad pics, but as you can somewhat see, there's a nice green scratch that starts right after the lab splice!

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Here's a close-up. Unbelievable. It looked like it disappeared for a minute, but...

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It "pulsated" on and off through to the end of the reel. Came and went, sometimes green, sometimes black.

My manager promptly called Technicolor for a replacement reel which should arrive tonight or tomorrow morning.

"YAY!" to Deluxe Toronto! [Mad]
=TMP=

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John Pytlak
Film God

Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000


 - posted 01-17-2003 01:27 PM      Profile for John Pytlak   Author's Homepage   Email John Pytlak   Send New Private Message       Edit/Delete Post 
If you still use a white light (tungsten exciter lamp) reader, any blooping ink used for silver + dye analog soundtracks should be opaque to infrared light (i.e., be carbon-based like India Ink). Any dye-based ink is transparent to infrared, and will be ineffective.

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John Pytlak
Film God

Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000


 - posted 01-17-2003 02:33 PM      Profile for John Pytlak   Author's Homepage   Email John Pytlak   Send New Private Message       Edit/Delete Post 
Scott Norwood asked: "Is it just me or do lab splices always seem to look worse on Fuji stock than on Kodak stock?"

Kodak worked to optimize the ultrasonic splicing characteristics of Kodak VISION Color Print film, and reduce sensitivity to "safelight" fogging.

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