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Author Topic: White Flash on scope films issue Dominic Case Expert Film Handler Posts: 131 From: Sydney NSW Australia Registered: Aug 2003 posted 03-10-2004 08:50 PM                       quote: Yet another reason to dislike Deluxe for bi-directional printing. Brad, you're going to have to dislike just about every release printing lab if you don't approve of bi-directional printing. [But then I suspect you do;-)] Bell and Howell first made the bi-directional "Model E" printer in, I think, the 1950s. That machine has been superceded many times of course by now, but the principle is as old and well-established as that. The standards and tolerances for splices take into account the variability that John calculated. If everything is done according to standard there are no problems. Howewver, if splices are a little too wide, then they will stray into the frame, and may be seen either at top or bottom depending on the printing run. The same applies with the specific projector that Richard mentions in the start of this thread. If the aperture plate is the correct width, it will allow for the tolerances in splices and in printing. If it's too high, it will show the splice. Except in digital intermediates, there is a "lab splice" at every shot change in a film.  |  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 03-10-2004 09:06 PM                        I'd have to agree with that. Being against bidirectional printing is plain stupid. Disliking incompetent or lazy negative cutters would be more appropriate.  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 03-10-2004 10:49 PM                     Dominic, come visit the US and take a look at some of the crap Deluxe Hollywood is cranking out on a weekly basis. Then maybe you will see where I am coming from with my annoyance from those guys. Regardless, only Technicolor seems to truly be able to print a pleothra of dupes without dirt and end of reel damage showing up on the negative. If this is not attributed to bi-directional printing, then fine. I still maintain the loop cabinet is a superior way of film handling.  |  IP: Logged Dominic Case Expert Film Handler Posts: 131 From: Sydney NSW Australia Registered: Aug 2003 posted 03-10-2004 11:28 PM                       quote: Dominic, come visit the US and take a look at some of the crap Deluxe Hollywood is cranking out Thank you Brad, I can see both DeLuxe and Technicolor product in this country (we don't get all the printing work ). And I've been to the US many times, and I've seen the insides of at least half a dozen labs, including the majors that you mention. Loop printing as well as bi-directional printing is alive and well in all the release printing labs. I was under the impression that your complaint in this thread was about the variability of pitch and frameline positioning in prints: now I see we're discussing dirt and damage.  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 03-11-2004 02:43 AM                     It's not JUST dirt and damage... Since you have made the rounds perhaps you can answer this simple question: why, why, why does Deluxe Hollywood prints have such godawful registration? I mine as well have a gorilla jumping on top of the projector.  |  IP: Logged Michael Schaffer "Where is the Boardwalk Hotel?" Posts: 4143 From: Boston, MA Registered: Apr 2002 posted 03-11-2004 02:53 AM                        Maybe it is not the print, but the type of projector which you prefer, Brad. Sorry, just couldn`t resist...  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 03-11-2004 08:27 AM                        Most film labs have a contact person for quality control, who would welcome constructive feedback on any print issues. You need to provide specific information, including the title, version, and print/reel number, and a clear explanation of the problem (send a photo of any physical problems like fogging or a bad splice), and a return address and contact information for follow-up. Here is a link to the Association of Cinema and Video Laboratories membership directory, with contact information: http://www.acvl.org/members.htm  |  IP: Logged

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