This is topic Different types of splicing tape in forum Film Handlers' Forum at Film-Tech Forum ARCHIVE.
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Posted by Bruce McGee (Member # 131) on 09-02-1999, 03:26 PM:
I recently bought 10 rolls of "Quik splice" mylar tape made by Hudson Photographc Ind. The guy I bought it from threw in 4 extra rolls of tape: 2 have a yellow line printed across the tape. Ment to show where to line up the perfholes, I guess, and 2 have red lines. Is this just an easy way to see if it is your splices that are buckling, etc. or is it just for general identification.Also, the "quik splice" tape is in plastic wrap. I am leaving it in the shrink until I need it. Any suggestions on storage? I decided to use up the yellow tape first. You dont see the yellow line onscreen unless you are repairing damaged sprocket holes (not my prints-haha) I will appreciate all answers.
Brad: we need Film Guard here in the mountains of NC!
Bruce
Posted by Scott Norwood (Member # 30) on 09-02-1999, 04:06 PM:
The yellow-line tape is usually called "zebra tape" and is more expensive because of the lines. The idea is to use it for makeup splices on large reels or platters, so that finding the splice is (theoretically) easier when breaking down the print at the end of a run. Repair splices should still be made with clear tape in order to distinguish repairs from makeup splices. With flat prints designed to be run at 1.66 or 1.85:1, you won't see the line onscreen, although it does show up with scope prints.
When I was regularly running films with 6000' reels, my preference was not to use the zebra tape at all except for really splicy prints (for example, most anything from Kit Parker), since the tape that we had didn't peel as easily as Neumade clear tape and since finding splices usually isn't that difficult anyway.
Posted by Brad Miller (Member # 2) on 09-02-1999, 04:06 PM:
What you have is zebra tape. It is meant to be used to join the reels together and not for general splicing. The idea is to make it easier to break down, regardless of platter or 6000' reels.Personally I don't like the stuff. There is something about having those colored lines which makes peeling the tape off virtually impossible...and I don't like losing a frame.
Your storing the unused rolls in the plastic wrap is the ideal storage method. This will keep the sticky edges from accumulating dust and dirt, resulting in black "lines" on your scratches. Also make sure to never store a roll of tape on it's side, as the same end result will occur.
Posted by Rick Long (Member # 213) on 09-02-1999, 06:00 PM:
A number of projectionists I know, recommend storing their splicing tape, in plastic wrap, (not on its side) in a refrigerator. They claim that by doing this, they have no problems with the tape "peeling". Of course, if there is no fridge in the booth, it may mean negotiation with the candy bar staff.
Posted by John Wilson (Member # 269) on 09-02-1999, 08:34 PM:
I'd keep the tape in a cool cupboard but leave the wrapping on. This way it won't get dirt on the sticky edges and thus onto your prints when you make a splice------------------
John
Posted by Bruce McGee (Member # 131) on 09-02-1999, 08:57 PM:
OK. I wont use the zebra tape. Storage of the tape is as close as the kitchen. When storing tape, I dont want to lay it on the cut edges? Does the adhesive tend to oooozzze out?I'm ready to get the plastic wrap...
Bruce
Posted by Jason Burroughs (Member # 68) on 09-02-1999, 10:19 PM:
The QuickSplice splicing tape is known for the adhesive oozing out, but the clear is far better than the zebra. Personally I prefer the Neumade splicing tapes, the adhesive dosen't ooze and they are easily peelable. I belive there are many on here that would agree with me.On the other had I was recently given a few rolls of clear splicing tape the name on the core says "Frame to Frame" no other name or anything... it seems to be doing OK.
Posted by Brad Miller (Member # 2) on 09-02-1999, 11:11 PM:
Jason,Beware of that Frame to Frame tape! I guarantee you it will stretch on you. I tried this stuff about 6 months ago and thought it was fine until I had put about a month or perhaps two of running on my splices, then they started to split apart! The Hudson Photographic is excellent tape provided you don't ever plan on peeling the tape off (great for repair work within a reel). For reel joints I must recommend the Neumade.
The way I see it, any tape that will stretch when pulled taught between your hands can't be reliable.
Posted by Bruce McGee (Member # 131) on 09-03-1999, 10:57 AM:
Then I shoud get a few rolls of Neumade tape. Anybody got any they'd like to sell? Since I only have 2000' reels, the Hudson tape is going to last for awhile. I will stop using the zebra, as I found out that it leaves the yellow on my print!Oh well, drag out the Pic-Clear and clean off the residue!
Thanks
Posted by Scott Norwood (Member # 30) on 09-03-1999, 12:08 PM:
I've used the Frame to Frame tape for editing 16mm workprint. It's fine for that purpose (which is, I believe, what it's intended for), but I wouldn't recommend it for theatre use.
In addition to Neumade (my favorite), I have also been consistantly been pleased with the 16mm and 35mm clear non-perforated splicing tape sold by Christie's Editorial in Burbank, CA. under their own brand name. It's expensive ($5/roll), but it's almost as good as Neumade and they will sell it by the roll, so that you don't need to buy it in larger quantities. I haven't tried the Hudson Photographic tape yet, since I continue to be very happy with Neumade.
Posted by Mark Gulbrandsen (Member # 72) on 09-04-1999, 11:47 PM:
The best tape I have used recently is the new zebra tape that was designed specifically for Dolby Digital. It only 4 perfs wwide, so the processor doesn't jump back to SR at every splice(Remember loose more than 4 blocks of data and it jumps back). Instead of yellow its purple. One purple line is narrower than the other so you don't cover the data blocks with the stripe as you would with the yellow stuff from Neumade or HP. The stuff is sold here by Marble Co., and I assume by some others as well. Its imported from England. Give it a try, say goodby to splice blips!!
Posted by Mark Gulbrandsen (Member # 72) on 09-04-1999, 11:48 PM:
The best tape I have used recently is the new zebra tape that was designed specifically for Dolby Digital. Its only 4 perfs wide, so the processor doesn't jump back to SR at every splice(Remember loose more than 4 blocks of data and it jumps back). Instead of yellow its purple. One purple line is narrower than the other so you don't cover the data blocks with the stripe as you would with the yellow stuff from Neumade or HP. The stuff is sold here by Marble Co., and I assume by some others as well. Its imported from England. Give it a try, say goodby to splice blips!!
Posted by Gordon McLeod (Member # 33) on 09-05-1999, 11:29 AM:
The marble tape is made by Jack Roe in England and they make exceptional tape in a lot of different widths. It doesn't ooze and will peel off and is optically clear Also if dealers order a lot from marble they will put your logo in the core
Posted by Randy Stankey (Member # 64) on 09-08-1999, 05:22 PM:
Speaking of Zebra Tape...We got this order of tape that had a solid yellow 'crossbar' on it instead of the usual dashed line. With the dashed line, I could make sure that the yellow line never touched the soundtrack. You can position the soundtrack between the dashes. With this new crap, you have to cover the soundtrack. Obviously, now I have noise in my splices.
If you look at the tape closely, you'll notice that the printing has small dots at the edges of the crossbar. Now instead of a nice quite splice, (except for an almost imperceptible 'woosh'), I get a splice that sounds like a bowl of Rice Krispies! (Snap, Crackle, POP!)
Posted by Ken Lackner (Member # 1002) on 09-20-2001, 07:42 PM:
I've been told that the yellow striped tape and the red striped tape are for the same purpose, and it's just a matter of preference. I've also been told that the red striped tape doesn't block out the sound track. Your thoughts on this?
Posted by Tim Sherman (Member # 569) on 09-20-2001, 11:49 PM:
I would definatly have to say the neumade tape is the best i have used. I operate a drive-in and have an intermission clock that get run twice everynight. I have splices on there that are over two years old and are in perfect shape still. Just a note for those of you that must use zebra tape, get the neumade zebra tape. It peels off very easily when you want it too and leaves no yellow residue on the film. Even after being on the film for over a year. ------------------
http://www.autoramadrivein.com
come on out to the drive-in and spend a night out with the stars"
ME!!
Posted by Christos Mitsakis (Member # 143) on 09-21-2001, 10:45 AM:
The clear splicing tape made by Kinoton is my preference.
My question is, Which tape lasts in time (the adhesive material doesn't deteriorate or become sticky) so it is adequate for archival purposes?regards,
Christos.
Posted by Michael Cunningham (Member # 210) on 09-21-2001, 04:17 PM:
On the use of "Zebra" tape for marking reel changes, I was wondering how those who use it position the tape. The stuff I use has an 'I' shaped red striping pattern with clear blocks in between. I position the tape so that the vertical bar of the 'I' runs off the edges of the film. The end result is a red bar through bothe sets of sprocket holes woith no coloring in the picture area itself. I have seen other people place the tape so that the vertical red line runs right through the picture area, along the cut between the two pieces of film. Thoughts?-Mike
Posted by Scott Norwood (Member # 30) on 09-21-2001, 04:46 PM:
With zebra tape, I do what Michael does. The problem with positioning the bar across the frameline is that it becomes visible on screen with Academy or scope prints. It can also make a thump in the soundtrack.
As I've said before, I don't really like the zebra tape much; for the most part, it's not any easier to find splices made with it and it tends to be more difficult to peel than the clear tape. The zebra tape that I've used also tends to leave bits of yellow gunk on the film. Give me Neumade clear tape any day.
Posted by Ron Fleming (Member # 990) on 09-22-2001, 09:13 AM:
Does anyone still use the solid yellow tape?I found it vary easy to find the splices during break down. I still get prints coming in to my theatre with the shoe polish or white marker on the edge of the film to indicate where the splicer is.
Posted by Ken Lackner (Member # 1002) on 09-22-2001, 10:23 AM:
Ron,If you ever find a print with white-out or shoe polish to mark the splices, here's what you should do: Have the shipping depot track the print, and pay a visit to the last theatre that had it. Determin if they were the shoe polish users. If not, contue to the previous theatre, and so on. Once you found the culprit theatre, beat the operators with a 2x4! 
Solid yellow tape (this is called opaque tape, right guys??) will show up on screen, even if only breifly. I would not recomend using it.
My preference is the yellow zebra tape. I do place the line across the frame lines. (what else is it for?) Maybe you guys have well-trained eyes, but I have never seen it on screen. Does Nuemade make zebra tape that is as good as their clear?
Posted by Ron Fleming (Member # 990) on 09-22-2001, 10:42 AM:
Yes, nuemade does make the zebra tape. I order mine from NCS.Which is located in Florida. Give them a call.
Posted by Ron Fleming (Member # 990) on 09-22-2001, 10:44 AM:
This is true it does show up on the screen for a split second. Most audiences do not even notice but for the few that would I use the zebra tape for reel to reel splices and the yellow tape for trailer work.
Posted by Paul Turner (Member # 832) on 09-23-2001, 12:00 AM:
The last couple prints i recieved had a yellow tape folded over the edge of the film. It runs about 4" along the outside of the sprocket holes and is maybe a millimeter wide onto both sides -- just before the end of the reel. Colour me stupid, but I've never seen this before. Seems to be an adhesive version of shoe polish. My print of The Deep End had it on the "Platter" side (opposite sound track) of the film, which strikes me as a wee odd if it's to help break down the print. you can't see it!
Posted by Brad Miller (Member # 2) on 09-23-2001, 12:22 AM:
Paul, that's CPI's "EdgeMark" tape and it is designed to make breakdown easier. Joe did a review of it here in the reviews section well over a year ago and had problems, but supposedly the width has been corrected. CPI never did send me one of the newer rolls to perform a re-review though.Not everyone runs soundtrack "up" on the platter. Some die hard SMPTE fanatics have taken the much outdated "emulsion in" argument far beyond what it was written for and insist that the soundtrack must be down, hence the reason the tape was on the wrong edge for you to see.
Posted by Aaron Sisemore (Member # 145) on 09-23-2001, 01:11 AM:
I recommend the CPI "Splicemark" tape, as it doesnt seem to affect digital soundtrack reproduction, which opaque tape and yellow 'Zebra' tape does.Aaron
Posted by Steve Guttag (Member # 268) on 09-23-2001, 11:24 AM:
I'll be just a bit opinionated here...First off...if you use solid opaque splicing tape (yellow, white or what have you) for your splices...get out of the booth...you are really bad. It really pisses me off that those sort of booths operate and contribute to the deterioration of the quality shows in the industry. If you can't see a flagged splice (zebra, splice marked or home made) then once again, you are not good enough to handle the film. Many operators have no problem dealing with just clear tape, without the flagging of some sort. Kelmar had an interesting tape one that was clear but would glow purple under "blacklight"....it never caught on though.
Next...as to digital drop outs...it has nothing to do with the opaqueness of the tape...you can use an opaque tape (the full 1" variety) and not have a digital drop out...the problem isn't that the tape is opaque but that the film is both misaligned and out of focus when the spice goes through...any tape will though the film out of focus from the reader's standpoint. How well the two ends of the film are aligned and how well the tape is trimmed will affect how hard the reader has to work to "find" the data block...when these two items are combined dropouts occur. Splicemark's virtue is NOT the magenta color nor that it has a thin side that doesn't cover the digital data but that it is notably less wide (19mm?) so as to not have the data out of focus as long.
As far as tape goes, Neumade makes an excellent tape...it's adhesive virtues are well noted. It does not stick to oily film though which I don't find a problem since one should clean the oil off the splice area first anyway.
I have been testing CPI's splice mark. It has the nice virtue of being less wide. It only affects two perforations on each side of the splice. An added bonus is that either 6-hole or 5-hole splicers will now make the same splice. The 1" tape normally ends up only partially covering the last hole on each side. The tape seems very clear as compared to Neumade. It peels off as easy as Neumade's at the end of the run and seems a bit thinner and runs through the projector quieter. My wish would be that the flagging would be in white rather than magenta. I don't have any long-term results yet but I'm still working with it.
Steve
------------------
"Old projectionists never die, they just changeover!"
Posted by Scott D. Neff (Member # 185) on 09-23-2001, 01:33 PM:
I'm still partial to clear tape -- I agree that it's not that much harder to find than any other tape. Although I do enjoy the splice-mark tape, as you can see it fly by when you're watching the print break down.One thing I liked, we used to get movies circuited from Pacific Theatres Corp. -- and they had a clear splice that would glow if you shined a light on it -- I'm assuming this was expensive, and stopped being made, but it was great.
Posted by Wes Hughes (Member # 981) on 09-23-2001, 07:29 PM:
Personally, I don't use opaque tape...but geez, it isn't that bad! I covers half of two frames and goes by in less than half a second!I use a type of "zebra" tape, but it does not have a cross-frame line...it only has a skinny line inboard, and a broad line outboard. It does sometimes cause a short digital dropout. I try not to ever use just clear tape at reel joins anymore. On a busy thursday night, missing ONE clear splice can cost you 5 or 10 minutes of backtracking. I simply cannot afford that.
Posted by Gordon McLeod (Member # 33) on 09-23-2001, 07:31 PM:
Sorry but I can see those flashes and they tend to break the suspension of disbelief and remind one is watching poorly presented film
Posted by Darryl Spicer (Member # 711) on 09-23-2001, 07:51 PM:
I don't look for the splice I feel for it....I also cut out the lab splices that are present from the raw stock...these things look nasty and sound nasty in non digital set ups....I hate the use of shoe polish or anything else used to mark the films other than things designed for that purpose...and do tape both sides of the film when splicing.....that is all part of film done right.
Posted by John Pytlak (Member # 331) on 09-23-2001, 09:47 PM:
"Film Done Right" is the audience never seeing or hearing the splices. 
Love is never having to say you're sorry. 
------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Research Labs, Building 69, Room 7525A
Rochester, New York, 14650-1922 USA
Tel: 716-477-5325 Cell: 716-781-4036 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion
Posted by Brad Miller (Member # 2) on 09-24-2001, 01:23 AM:
I think Gordon just put it best. Wes, take a look at "Building 101" in the TIPS section below. A simple piece of tape on the flange of the reel will tell you when you are nearing a splice. Once you get toward that mark, you can start slowing the platter down and feel the edges for it to pass through.
No booth should ever use anything other than clear tape. The flash of it (even zebra) is annoying and unprofessional. The human eye can detect even just one frame of a defect. If that wasn't the case, then we would not be able to see dirt on the prints.
Posted by Mike Blakesley (Member # 26) on 09-24-2001, 07:11 PM:
Agreed on the 'clear' vs. 'opaque' issue. All rolls of opaque tape should be given to the concession stand to tape memos to the wall with. Using only clear tape in the booth is one of the easiest ways to improve presentation without spending any bucks. Not necessary to use yellow tape even when working with trailers...if anything, they're easier to see the splice because of the long "green" area on each one!
And yep, Neumade tape is my favorite too.
Posted by Bob Healey (Member # 1003) on 09-24-2001, 11:58 PM:
There is one thing I would consider using yellow tape for. We show cartoons on 16mm before changing over to 35mm and the main feature. They cartoons arrive 3/reel, with a healthy amount of black leader in between each cartoon. I would consider making a splice with the yellow tape in the middle of the black area to aid in cueing up the appropriate cartoon when the booth lights are off for a show. I would also make sure to COMPLETELY remove the tape before sending the prints back to the distributor.
Posted by Ken Lackner (Member # 1002) on 09-25-2001, 09:11 PM:
I do not like the magenta zebra. Too hard to see. Not much easier to see than the clear, and the purpose of the zebra is to make it easy to see. For me, it's yellow zebra for trailer- and real changes, clear for everything else. And I always make sure I do not cover the theater's primary sound track with the line.If it were just me doing all the building and breaking down, I'd consider using only clear tape. But you know there are idiots running the booth these days. I'll have to look into CPI's Edge Mark. How do you get a company to send you a sample of their product?
Posted by Ken Lackner (Member # 1002) on 09-26-2001, 09:02 AM:
Beleive it or not, one of the operators at my theatre uses the pink zebra tape to repair damage and lab splices instead of the clear! I asked him about it, and he said that if you use the pink line to COVER THE SOUNDTRACK, it doesn't pop when the splice goes through. Wouldn't adjusting the splicers so there's no gap between frames be a better idea????Just how anoyed (sp?) does everyone get when they find zebra splices in the middle of a reel?
Posted by Jeffry L. Johnson (Member # 453) on 09-28-2001, 09:23 AM:
It is extremely annoying to find "reel join identification" splicing tape used for a mid reel repair, especially if the repair is close to a genuine reel join. It can really slow down breaking down a print for ship out.A quality splicer in good repair will not leave a gap in a butt splice.