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Author Topic: Lab splices removal: good or ugly? Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 08-04-2003 04:20 AM                     Tom, look at Building 101 for examples of print inspection. A reel of film can be inspected in 2-5 minutes, depending on experience. Of course a rewind table is pretty much a requirement.  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 08-04-2003 05:55 AM                        I agree, a rewind table is a "given" for "Film Inspection Done Right". It's almost impossible to properly inspect a print for damage using only a make up table (MUT). A rewind bench allows "hands on" winding through the film with good light and plenty of room for tools like splicers.  |  IP: Logged Tom Kroening Expert Film Handler Posts: 214 From: Janesville, WI USA Registered: Oct 1999 posted 08-04-2003 11:16 AM                     Well, I would really love a rewind bench but there just isn't room for it in our satelite booths. I know how to do print inspection but we just don't staff a full time projectionist that works all day on thursdays so unfortunately we just have to deal with those ugly yellow lab splices. I also have to say that the strong MUT is about the worst invention ever... where the heck are you supposed to put the splicer?  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 08-04-2003 11:59 AM                        Tom Kroening wrote: quote: Well, I would really love a rewind bench but there just isn't room for it in our satelite booths. Is it possible to inspect and make up 6000-foot reels at a central location on a proper rewind bench, and carry the 6000 foot reels to your "satellite" booths?  |  IP: Logged Mark J. Marshall Film God Posts: 3188 From: New Castle, DE, USA Registered: Aug 2002 posted 08-04-2003 12:08 PM                    I try to catch all lab splices and get rid of them unless they're on a frame line. Most lab splices stick out like a sore thumb if you glance at the reel. There is usually (but not always) a thin whitish ring going around the reel at the point of a lab splice. Also, hold the reel up to the light and look for breaks in the patterns. Sometimes, that works too. Another thing about lab splices, is that there can also be image discoloration surrounding the splice. I'm sure John P. can fill us all in again on what causes that -- safety lights or whatever -- but suffice to say, you should make it a habit to at least LOOK at any lab splices on your prints to decide if you want to get rid of them. They look like crap on the screen IMO.  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 08-04-2003 12:25 PM                        A blue/cyan/magenta coloration around a lab splice is usually caused when the printer operator took much too long to make the splice, or accidently held the amber-colored "safelight" too near to the unprocessed film: http://www.kodak.com/US/en/motion/support/illumination/page01.blind It's usually a "people problem" that is quickly remedied by lab because of the cost of supplying replacement reels at several hundred dollars each.  |  IP: Logged Tom Kroening Expert Film Handler Posts: 214 From: Janesville, WI USA Registered: Oct 1999 posted 08-04-2003 04:08 PM                     Well, sadly enough there really isn't a place for a rewind bench anywhere outside of the booths either. You could probably stuff one up in there but there isn't nearly enough room to operate it. Every bit of space here is used for the auditoriums and the lobby.  |  IP: Logged John Wilson Film God Posts: 5438 From: Sydney, Australia. Registered: Dec 1999 posted 08-17-2003 11:15 PM                     We remove all lab splices that are not on the frame line...those on the frame line, I let stay. On those occasion a colleague misses one, I'll go back into the print and remove it as soon as I can.  |  IP: Logged

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