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Author Topic: How do you identifiy test film John Hawkinson Film God Posts: 2273 From: Cambridge, MA, USA Registered: Feb 2002 posted 07-02-2006 07:16 AM                     Current 69-T has an SRD track. I had been under the impression that was true ever since 69 split into 69-T and 69-P, no? --jhawk  |  IP: Logged Stephen Furley Film God Posts: 3059 From: Coulsdon, Croydon, England Registered: May 2002 posted 07-02-2006 07:22 AM                     Possibly, but I never noticed it before this film arrived a few months ago.  |  IP: Logged Tommie Evans Expert Film Handler Posts: 116 From: Birmingham, West Midlands, UK Registered: Sep 2004 posted 07-02-2006 08:39 AM                     quote: Frank Dubrois Some looks clear with a small border around each frame. Could be threading Mylar, known as 'Clear Mylar', usually has a solid soundtrack though?  |  IP: Logged Louis Bornwasser Film God Posts: 4441 From: prospect ky usa Registered: Mar 2005 posted 07-02-2006 09:48 AM                        Dolby stopped the "2-sided" cat 69 to improve yield. Too many times one side was good and the other not good. Louis  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 07-02-2006 04:46 PM                        Stephen's strip of film isn't all that odd, at lease not to me; I have seen this kind of sine wave modulation before on leader, my guess would be it was on foreign prints, although I don't recall if the stuff I saw also carried a digital track along side it. Since I save everything, I probably could find it if I took it in my head to look for month or two (but I won't). Why does it seem so unusual? Perhaps it's just something a lab used to calibrate low end response or something. Betcha my subs would like to have a wack at it.  |  IP: Logged Sean McKinnon Phenomenal Film Handler Posts: 1712 From: Peabody Massachusetts Registered: Sep 2000 posted 07-02-2006 11:06 PM                        The purpose of the SR*D track on the cat. 69T is because it is also used as the cat 150 loop for SR*D reader alignment with the DRAS software.  |  IP: Logged Charles Greenlee Jedi Master Film Handler Posts: 801 From: Savannah, Ga, U.S. Registered: Jun 2006 posted 07-03-2006 04:12 AM                        Oh, I've never had to mess with any of that. I've used bizz track to align my cells. And I've used Dolby Tone to balance them. We didn't have any other test loops, except some we made from old MPAA green band from old trailers. If it's clear, decent to adjust focus, and picture on screen alignment. I really liked the coke ad where the guy and girl are in the theare, it worked wonderful as a focus track. I'd focus in and out untill I could clearly see the pores of the guy's face. You can't beleive how many projectors that were supposedly focused, and looked focused from watching the trailers or feature, that'd I'd check behind with the coke ad, that were still very out of focus.  |  IP: Logged Frank Dubrois Jedi Master Film Handler Posts: 896 From: Cleveland, OH Registered: Mar 2005 posted 07-03-2006 06:17 AM                    I was told that focusing to pre-show material was a bad thing. Wouldn't the coke ad qualify as pre-show?  |  IP: Logged Mike Blakesley Film God Posts: 12767 From: Forsyth, Montana Registered: Jun 99 posted 07-03-2006 12:31 PM                        It's OK to focus on pre-show material as long as you focus again when the feature starts. (And preferably check focus again after every reel change, at least.)  |  IP: Logged John Hawkinson Film God Posts: 2273 From: Cambridge, MA, USA Registered: Feb 2002 posted 07-03-2006 01:44 PM                     Fundamentally, it's not a good idea to focus with different material than what you care about the focus of. Different film stock, different ages, different wear, differnet humidity -- all of these things can affect focus. --jhawk  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 07-03-2006 03:37 PM                     quote: John Hawkinson Different film stock, different ages, different wear, differnet humidity -- all of these things can affect focus. ...except on a Kinoton. I recently ran a bunch of short bits of film through a Kinoton that ranged from 2006 film stock all the way back into the 40s. The films were all in different degrees of health, some warped, curled, acetate, polyester, etc. Not one time did I see any need to touch the focus.  |  IP: Logged John Hawkinson Film God Posts: 2273 From: Cambridge, MA, USA Registered: Feb 2002 posted 07-03-2006 03:48 PM                     Brad, isn't this a function of the depth of focus of your lens? I always do get confused on depth-of-field, depth-of-focus, etc., but one of these determines how precise you have to be with your focus, yes? --jhawk  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 07-03-2006 03:54 PM                     Yes that certainly does help, but more importantly the Kinoton's gate design is such that the emulsion side of the film is at a constant position, unlike most projectors where the base is against the fixed runners and the emulsion rides on tensioning bands of some sort. Does that make sense?  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 07-03-2006 04:30 PM                        quote: Yes that certainly does help, but more importantly the Kinoton's gate design is such that the emulsion side of the film is at a constant position, That's very interesting, but am trying to picture it. How does it do that? If the emulsion is swollen with humidity, what would keep it in the same plane as emulsion that is normal or thinner? unless the emulsion is pressed up against something like a piece of glass to always keep the emulsion surface always in the same plane? Then again, John is right in that unless the optical system is at some extreme magnification, like a huge picture at a very short throw, modern lenses all have a great enough depth of field to focus well in front and in back of absolute zero focal point. That broad range should compensate for the slight variations normally found in emulsions and film curl. We run old films all the time, many times mixing lots of different prints and never have any focus problems, in fact, you can rack the focus knob back and forth slightly and still keep perfect focus. On a 50ft screen at 100ft throw, we are not pushing lens optics to any extreme magnification and the only time I can recall ever having a focus problem was with two reels of PORGY AND BESS that had VS. Even before we got our ISCOs, the Kollermorgans and Snap-lites could get a very good focus with ease, and once you were on the money, it would say in focus no matter what you ran thru the machine.  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 07-03-2006 05:05 PM                     quote: Frank Angel unless the emulsion is pressed up against something like a piece of glass to always keep the emulsion surface always in the same plane? Not glass, but you've got the right idea.  |  IP: Logged

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