This is topic Will a well-made splice be visible onscreen? in forum Film Handlers' Forum at Film-Tech Forum ARCHIVE.


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Posted by David Stambaugh (Member # 1102) on 01-03-2003, 10:20 PM:
 
I can't find any threads that deal with this specific question.

Assume a platter operation; high-quality clear splicing tape; clean work environment; care and skill on the part of the film handler making up the print; and ends butted rather than overlapped when making the splice.

Under those conditions, how visible should that splice be onscreen? It seems like some splices are nearly undetectable, while others are VERY noticeable, sometimes in the same movie. If splices always look jumpy onscreen, does that mean the gate tension is wrong?

And are splices on scope prints any more or less likely to show onscreen than flat prints? Seems like scope would be more revealing since it uses the entire frame.
 

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Posted by Brad Miller (Member # 2) on 01-03-2003, 11:05 PM:
 
If you know what you are looking for, any tape splice will be noticeable on screen. Different tape, cheap splicers and proper splicing techniques will result in splices that are obvious or for the most part invisible. You cannot beat a properly aligned Neumade 35SS splicer (modified of course) and Neumade clear tape. Nothing else comes close for an invisible splice. Probably the worst combination I have come across is "Frame to Frame" splicing tape and a CIR splicer (brand new or used, doesn't matter).

I've seen too many butt splices stretch a bit over use and create an obvious gap which can and have broke during projection. At bare minimum such a splice will pop the audio. ALL projectors I have worked with handle them like a charm. Anyone saying otherwise is working with junk or doesn't have the gate adjusted properly. (I'm sure Gordon will be along in a minute to list off a bunch of machines no one has ever heard of before that *supposedly* cannot handle an overlap splice (but somehow are able to handle overlap cement splices). Of course he uses CIR splicers, so that should be taken into account. Let's see how long it takes him to post.)

By the way, this has been beaten to death before and neither side is going to budge. If Gordon gets a print with an overlap splice, he will chop out 2 frames and remake it with a butt splice that has a sliver of a gap. If I get a print with such a splice, I am going to whack out 2 frames and remake it overlap. Then again, most theaters are taught if they see an ultrasonic splice...even if it is on the frameline...that they must throw out those 2 frames and remake it with a tape splice (of either kind). It's a never ending situation.
 

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Posted by Gordon McLeod (Member # 33) on 01-03-2003, 11:15 PM:
 
Cir splicers rule(except for UltraSonic) and the Marble white one is the worse. When properly set up and maintained they produce a flawless splice and the best tape is the JackRoe (CPI and others) and perferably in the 8perf version
As fo overlaps well most machines with felt(velvet) gate bands don't like them (the studio standard by the way) nor do some straight gate machines such as the Prevost P55 and the like
Also there was a certain straight gate turretted version of the XL that would tear perfs if there was an overlap
Also several digital readers don't like the overlap as it puts them out of focus and the stiffness disturbs the tight loop damper
Over lap splices with tape also exceed the specification of exactly 2 film tickness clearances on pads
 

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Posted by Brad Miller (Member # 2) on 01-03-2003, 11:20 PM:
 
That was fast. Here we go again.

CIR splicers are worse than a pair of scissors and a paper clip! I had Gordon make me a sample splice at ShoWest on a brand new genuine CIR splicer with Jack Roe clear tape and the quality of that splice was plain and simple. I would never allow a splice of that quality in a booth I ran.

I will give you that an 8 perf tape is preferred. However Neumade does not as of yet make an 8 perf splicer, so what good is 8 perf tape if there is no good splicer to use it on?

Has anyone actually done a proper poll to find out just how many screening rooms have velvet gate bands? I'm betting it is not as common as Gordon would like to believe. I have tried the velvet trick and it did not make any visible difference on PA35.

I am familiar with the "evil gate" on that certain version of the XLs with TU2000 turrets (vintage mid 80's). I have one theater still running them. (Pat Moore, is there an upgrade for this?) I tried making loops with a butt splice and an overlap splice and guess what...the overlap splice actually held together a little bit longer before ripping perforations. (This was back in the days of acetate.) I don't know where you got your results from, but I did not turn up with the same findings.

I have not had any problems with any of the 3 digital formats dropping out at an overlap splice, or even a splice made with opaque tape. Might I recommend you double check your reader alignments?

A cement splice is thicker than 2 film thicknesses. On top of that, many projectionists will tape OVER a cement splice. Pad rollers should be set to spin completely freely with 2 layer's clearance and still spin, but be just a hair snug with 3 layers. Set them that way and you will never have a problem.
 

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Posted by Gordon McLeod (Member # 33) on 01-03-2003, 11:28 PM:
 
Actually that was the bottom of the line CIR and in fact I was holding it in my hand due to lack of space
As for neumade not making a 8 perf splicer that knocks them off the block and lastime I checked they also didn't offer different perf styles such as B&H and Fox

As for velvet it is common on all the Kinotons up here even in several theatres that use them as well standard on ernamann 12 and 15

As for reader alignment they usually track at around 1 to 1.5 and I have never seen a reader that dras will not show a reversion (abit very momentary) on a splice in the log
As for pad clearance it is 2 not 3 and a cement splice is actually slightly thinner than two thicknesses
 

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Posted by David Stambaugh (Member # 1102) on 01-03-2003, 11:30 PM:
 
Sorry, I didn't mean for this to turn into a debate about different splicers or splicing techniques (which I know has been debated plenty). But carry on.

Rephrased: Assuming a correctly-made butt splice, is a "jump" in the image when the splice goes through 100% preventable in all cases, on all projectors?
 

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Posted by Brad Miller (Member # 2) on 01-03-2003, 11:34 PM:
 
Not on all. From what I've worked with (Gordon could list a bunch of oddball projectors though) the Christie is the only gate that is difficult to make a splice that does not have a tiny "bounce" to the image as it runs through. It CAN be done, but the alignment must be precise. Most projectors (Century is the best) are fairly forgiving and won't jump the picture.

Still though, the projector, the quality of the splice, the splicer and the splicing tape has a huge amount to do with what you are asking. You really need to set more specifics to get a proper answer.
 

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Posted by Gordon McLeod (Member # 33) on 01-03-2003, 11:35 PM:
 
Actually this "butt" issue has been whacked to death
 

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Posted by Steve Kraus (Member # 476) on 01-03-2003, 11:37 PM:
 
When editors prep a workprint for a screening they generally use the Inviso splicer devised by Walter Murch.
 

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Posted by Brad Miller (Member # 2) on 01-03-2003, 11:42 PM:
 
Steve, got a link for the Inviso splicer?

Gordon, I asked you if you felt that was a quality splice and you said "YES"! Don't start making excuses now. Remember, there were witnesses to attest that you were pleased with that splice.

I can understand a rep house needing a splicer with odd sized perfs, but in a typical multiplex, you knocking Neumade "off of the block" is ridiculous. So just because they don't make an 8 perf splicer with the option of odd sized perf holes that a regular multiplex will NEVER use, that multiplex should automatically refuse to purchase the best unit on the market? Oh yeah, I love your reasoning. ("Screw quality, that company doesn't make a fox hole splicer!")

Someone please tell me right now if the CURRENT line of Kinotons require velvet bands? I am pretty sure they don't, but if they do, they will be on my list of "do not buy". I was not impressed with the whole velvet thing. What a huge hassle with no payoff! BTW Gordon, will they run an overlap splice, or is it that they are pouty and do not like them? I'm curious as I'm betting they WILL run them.

2 thicknesses...I don't care what book you pulled that out of, I have always been shown by every tech I have worked with "between 2-3 thicknesses" and that rule of thumb has never let me down.

Regarding the SRD dropouts, stop looking at your computer, turn off the exciter/led, go downstairs and LISTEN TO THE SOUND as a splice goes through! Did you hear a revision to silence? What? You mean you didn't hear any glitch in the sound but your computer still said that there was a revision? Then.......



......because nobody but you cares.
 

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Posted by Jason Black (Member # 684) on 01-04-2003, 12:00 AM:
 
Nice Edit Brad... LOL...

You must have posted just as I read it....
 

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Posted by Steve Guttag (Member # 268) on 01-04-2003, 08:19 AM:
 
The Neumade 35-CS will do CinemaScope perfs...dunno if they have a B-H version...I've never seen it advertised in the states.

I like 8-perf splices due to the invisibility but would never use one since it guarantees that the Dolby Digital track will drop out.

Steve
 

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Posted by Steve Kraus (Member # 476) on 01-04-2003, 10:18 AM:
 
It would still throw you out of focus for 2 frames unless you did one side only so I don't see much advantage.

Can't find any links to the Inviso only references to it. The Inviso is basically a standard editor's block splicer (using perforated tape) but the design is modified for hmmm...was it 1-perf or 2-perf splices?
 

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Posted by Mark Gulbrandsen (Member # 72) on 01-04-2003, 10:26 AM:
 
Steve,
They are two perf splices. They also bounce when going through many projectors, including both Century, and Simplex. No one seems to have sucessfully made an ultrasonic butt splice as of yet......
The LF theatres also use that width of tape.

Brad, I am assuming that Gord failed to mention that those dang CIR splicers ONLY work north of the border. Thats why it failed for him in Nevada.
Mark
 

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Posted by Gordon McLeod (Member # 33) on 01-04-2003, 11:40 AM:
 
The actaul width of the large format tape is the outside of 3 perfs
It is normally located so that it covers 2 and the edge is eq distant between the two outside perfs
Also I have yet to find two of those neumade pieces of junk sawtoothed specials that actually can produce interchangeable cuts between them
 

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Posted by Brad Miller (Member # 2) on 01-04-2003, 12:00 PM:
 

quote:

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"Also I have yet to find two of those neumade pieces of junk sawtoothed specials that actually can produce interchangeable cuts between them"

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While I always enjoy reading about IMAX Gordon, we are talking about regular 35mm film projection here in typical theaters, not that criss-cross 70mm splicer that Neumade makes. (This was what you were referring to, right?)

And Mark, I think you are right! Next time I am in Canada I will try and make a splice on a CIR. Maybe it has something to do with the magnetism of the north pole.
 

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Posted by Gordon McLeod (Member # 33) on 01-04-2003, 01:04 PM:
 
Actually Mark brought up the 15/70 splicer issue with the narrow tape and I just gave my opinion of that pile of
 

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Posted by Christopher Seo (Member # 7) on 01-04-2003, 02:03 PM:
 
David,

In reply to your original question, I can virtually always see tape splices. Most of the time there is a slight jump (at least), and even if the splice goes through smoothly, the tape edges are visible onscreen as more-or-less horizontal black lines. The tape edges become even more visible as they pick up dirt and dust (especially when run through a dry media cleaner loaded with dirt), but I actually see the edges from the first pass, even with clean tape. This leads me to think that the edges cause some sort of refraction of the light (which is, after all, why black scratches are black).

I've never worked with a splicer that was well aligned enough to consistently produce totally jump-free splices. It is also possible with Rivas (?) splicers used in postproduction, which utilize preperforated tape, although workprints usually seem the worst as far as jumpy splices. Inviso splices are just splices made with preperforated tape that extend halfway over either perforation immediately adjacent to the splice. They are completely invisible in 1.85, but not necessarily in 2.39. And, they can still jump, although preperforated tape splices require quite a bit of skill as you're aligning the perfs in the tape with the perfs in the film.

Still, there are exceptions. I have seen totally invisible splices made with the different kinds of splicers. One that comes to mind is an edit I had to make in "Gladiator" due to a brain wrap. It helped that it was a dark scene, but not only could I not detect a splice, I could not detect a jump in the continuity due to the missing footage! The only telltale sign was a few emulsion scratches around that point.
 

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Posted by David Stambaugh (Member # 1102) on 01-04-2003, 02:56 PM:
 
Thanks for the explanations.
 

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Posted by William Leland III (Member # 1400) on 01-04-2003, 03:12 PM:
 
While watching IMAX prints, I have never seen reel changes or trailors splices. The reason being the splices are at the edge of the screen. The film moves right to left not vertical like 35mm. The spices go across the screen but I have never seen it.

Our reel changes have no little dots in the upper corners. Also our splicer cuts frames with a jagge edge, not a staight edge like 35 splicers. Maybe that is the difference in seening the reel changes.
 

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Posted by Gordon McLeod (Member # 33) on 01-04-2003, 04:17 PM:
 
The splices may be a the sides of the screeb but they can be very obvious especially on a dark scene unless you bloop them out
 

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Posted by Mark Gulbrandsen (Member # 72) on 01-04-2003, 04:20 PM:
 
Brad said...."Maybe it has something to do with the magnetism of the north pole."

I think you're right Brad....thats why I found Gord waving it in and out in front of the heads on the Imax dubbers there one day. Its also a useful de-magnitizer....Definately MUST have something to do with the promiximity of the North Pole....
Also for some reason CP-500's sound harsh up there while CP-650's sound great. Just the opposite down here where magnetism must be at a constant or something.....
Mark
 

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Posted by Gordon McLeod (Member # 33) on 01-04-2003, 04:25 PM:
 
Yah mark and the panastereo's sound the best since you heard them first up here
Also it is the home of the first JJ's as well.
 

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Posted by Ken Lackner (Member # 1002) on 01-04-2003, 06:27 PM:
 
Brad, at CinemaWorld we had Kinoton PK-60D's, and they did not have velvet gate bands. It must be an option.

Why would an 8-perf splice cause Dolby Digital to drop out? I, too, would definitely prefer an 8-perf splice since the edge of the tape would not be visible in the frame.
 

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Posted by Brad Miller (Member # 2) on 01-04-2003, 06:36 PM:
 
Thanks Ken. I didn't ever remember seeing velvet bands on the Kinoton projectors I have been so impressed with. Now I know I'm not losing my mind. (Well, at least not on THAT issue.)

8 perf splices will cause the SRD track to go "out of focus" because of the thickness of the splicing tape. When the reader is calibrated, it is on film sitting flat on the drum. When a splice comes through (talking about the base side splicing tape here), that pushes the film closer to the lens and farther away from the drum, resulting in the digital bits of data leaving that sweet spot of focus. Just like when a picture is out of focus you can't see the detail, when the digital camera cannot sharply focus on the individual bits of data, it defaults to "guessing" with some form of digital concealment until which point it just drops to analog. Steve reports that an 8 perf splice will knock the digital out and a fallback to analog will result. I seem to recall specifically faking an 8 perf splice with 2 layers side by side of opaque tape and not having any dropout. I guess I'll have to sit down one day and repeat the experiment. Anyway, that's the theory at least.
 

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Posted by Scott Norwood (Member # 30) on 01-04-2003, 07:59 PM:
 
Kinoton FP-30s (at least the mechanical "D" version) don't have the velvet bands, either. The gates are made of Delrin and need to be replaced periodically.

Brad--I think you would like the FP-30. With the exception of the changeover and the takeup clutch (both of which have been improved, according to Steve G.) and the silly motor switch which also operates the xenon lamp, they are very nice machines and the on-screen image is at least as bright and steady as any that I have seen.
 

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Posted by Gordon McLeod (Member # 33) on 01-04-2003, 08:13 PM:
 
Velvet gate bands for the FP20 FP30 and PK60's are available if one chooses to order them and are very common up here with many uses of the FP20 in particular
 

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Posted by John Pytlak (Member # 331) on 01-06-2003, 07:46 AM:
 
SMPTE Recommended Practice RP 111 specifies dimensions for splices:

SMPTE Standards
 

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Posted by Steve Guttag (Member # 268) on 01-06-2003, 08:07 AM:
 
Scott,

The take up clutch issue you mentioned has been an option for decades...It is called "accelerated frictions" in the options category.

And Mark, I prefer the sound of the CP-650 over the CP-500. I even prefer the CP-650's digital emulation of SR to the standard CP-500's Cat. 222SR/A card. Just my opinion (which everyone is entitled to).

Steve
 

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Posted by Michael Brown (Member # 890) on 01-06-2003, 04:33 PM:
 
At my cinema we prefer overlap splices. I'm a second run cinema. I peel tape off the splices and encourage my trainees to also do so. If I end up with butt splices, then I run them.
 

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Posted by Antonio Marcheselli (Member # 373) on 11-14-2003, 05:16 PM:
 
Sorry if I've take this old thread from the archive but I believe it is better than opening a new one with the same subject, am I right Brad?

I have a question. In the multiplex I'm working now I'm using CIR splicers. Perhaps I will be soon in a multiplex equipped with Neumades.

When I worked in a one-screen theater I modified my CIR as FT shows, and all went perfect for years. Now I was not sure that the same improvement could be the best thing to do since the job is much more than before and I set for another time my wish to modify all the CIR and train the team. In the meantime we made all overlapped splices (using the "Special" feature of the CIR, I know now that is not inteded to do overlap and I understand why!).

However the problem is that during reels splices the image jumps too much for my wishes... But making all butt splices means to have a lot of POP between trailers and, particularly, between all leaders spliced after the fader has been set for film (think of a lens change black leader before sound logo...). But butt splices usually do not have problem at reel change since usually Dolby Digital does not drop in analog and the image does not jump or jumps in a not noticeable way.

So I set the job in this way: butt splices between reels and overlapped anywhere else! it works, I have silence between trailers (don't mind if I damage a bit the perforations of few trailers!) and pre-show stuff but almost invisible splices between reels.

So where is the problem? Here: what about Neumade splicers? Since they does not have the variable pins, I can just decide to make butt OR overlapped splices, right?

Perhaps I can setup half splicers for overlapping and half not...

I will appreciate your opinions and suggestions!!

Bye
Antonio
 

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Posted by Brad Miller (Member # 2) on 11-14-2003, 05:39 PM:
 
I think you need to address an issue with your projectors before worrying too much about your splicers.
 

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Posted by Antonio Marcheselli (Member # 373) on 11-14-2003, 06:06 PM:
 
In other words?
A
 

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Posted by Gordon McLeod (Member # 33) on 11-14-2003, 06:38 PM:
 
The trouble with overlap splices is that there are many different machines that will jump as they pass through the trap

To [prevent the audio pop bloop the splice
 

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Posted by Antonio Marcheselli (Member # 373) on 11-14-2003, 07:10 PM:
 
Gordon, Brad

I made two pictures to explain what I want to say... Pls do not smile!



In this way the image does not jump too much since the print that is coming is between the maltese sprocket and the print that is running out.



In this way the image jump a lot since the print that is coming is between the maltese sprocket and the print that is running out causing an overlap that "pull" the incoming print like the arrow.

I tested it. But sometimes you have no time to think the correct order of overlap!! This is why I decided to make butt splices.

Gordon, why do you say that butt splices make no pop in sound? It is not so simple to have perfectly butt splices (particularly with CIR splicer!! ). Sometimes a bit of light pass trought and you can hear the pop...

What do you think??

Bye!
A
 

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Posted by Brad Miller (Member # 2) on 11-14-2003, 07:33 PM:
 
What kind of machines do you have Antonio? I agree with Gordon that there are machines out there that will have a vertical jump on an overlap splice as it passes, but from previous conversations about this it was learned that those are generally the undesirable projectors anyway.
 

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Posted by Antonio Marcheselli (Member # 373) on 11-14-2003, 07:39 PM:
 
Victoria 5 all the time. But it seems reasonable that an overlapped splice will cause a little jump in the image, isn't it?

I'm talking of a little jump but I prefert not to see it!
A butt splice does not jump at all (or: I'm the only one in the auditorium that see the splice!).

I have no experience with other brands of projectors, I can't say nothing on them...

Bye
A
 

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Posted by Gordon McLeod (Member # 33) on 11-14-2003, 07:40 PM:
 
I use CIR splicers all the and don't have pops
If one takes the time to align the cutter and then use blooping ink they are silent
 

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Posted by Antonio Marcheselli (Member # 373) on 11-14-2003, 08:43 PM:
 
I do not use blooping ink. Are there some special pencil? I found that "permanent" ink left part of the ink when rewind.

However, I have no problems with CIRs. I wonder how can I do with Neumade without overlapping and without blooping ink.

Bye
A
 

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Posted by Michael Schaffer (Member # 1204) on 11-14-2003, 09:21 PM:
 
CIR makes a blooping pen which goes with the splicer.
 

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Posted by Chris Hipp (Member # 1788) on 11-15-2003, 12:52 AM:
 
Industrial strength sharpies work pretty well also. You just have to let it dry before winding becasue it will com off of the splice,or maybe make it under the tape, I never tried that.

Personally, I prefer to over lap, less annoyinf to see a jump then hear a pop.
 

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Posted by Mike Baer (Member # 1519) on 11-15-2003, 08:27 AM:
 
Antonio,
i work with Vic 5s and the Neumade Splicer.
And the overlap splices go through the Machine without Problems.
Only sometimes after the Intermissionband when the first Pic of the new reel came,it jumps.

And with the CIR with the moveable Pins it is possible to make a butt splice without any gap and pop.
 

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Posted by Antonio Marcheselli (Member # 373) on 11-15-2003, 06:47 PM:
 
Mike

So let me say that I prefer butt splices since they jump less than overlapped ones!!

I didn't say that it's impossibile to make butt splices with CIR, but it is not so simple... And when you're under one of your CNR and you have to splice something... It's almost impossibile!! That's why I prefer to make overlapped splices other than in the film.
As many said the moveable pins shouldn't be used to overlapped prints since if you overlap in this way you damage the perforation and then also the butt splice jumps!

Bye
A
 

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Posted by Carl Martin (Member # 1146) on 11-15-2003, 06:59 PM:
 
i think i'd rather hear a pop than see a jump, within reason. y'all are just spoiled on noiseless digital sound.
 

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Posted by Scott Norwood (Member # 30) on 11-15-2003, 07:33 PM:
 
I prefer splices that don't jump or pop.

I use Neumade splicers that make splices with very slight overlaps. The splices don't pop and don't jump in Century or Simplex projectors. It's been about a year since I last touched a V5 or Kinoton, but splices didn't jump in those, either.
 

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Posted by Antonio Marcheselli (Member # 373) on 11-15-2003, 08:15 PM:
 
I can't say on other brand however seems impossibile to me that an overlapped splice does not jump... Despite how good is the gate seems physic to me...

However, I can't say more!

bye
A
 

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Posted by William Hooper (Member # 71) on 11-17-2003, 12:45 AM:
 

quote:

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Industrial strength sharpies work pretty well also. You just have to let it dry before winding becasue it will com off of the splice,or maybe make it under the tape, I never tried that.

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quote:

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Blooping ink or India ink was often used for blooping soundtracks containing silver, as the carbon particles absorb both visible and infrared light. These inks should be just as effective on cyan dye tracks.

Dye-based markers usually absorb little infrared, and so would not effectively bloop a track played on a tungsten exciter lamp reader. But as long as they are opaque to red light, they would be effective on a cyan dye track read with a red light reader.

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Sharpies are variable in results, & not as fast as an india ink pen. I get them at a local large arts/crafts store & an arts supply store. Steve Kraus mentioned that he uses little triangles of black plastic electrical tape under the splicing tape. I've seen those on a couple of prints, & wondered if Steve Was Here. I've also seen bizarre Sharpie & felt tip swipes & blobs which couldn't bloop, & wondered who did those.
 

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Posted by John Pytlak (Member # 331) on 11-19-2003, 01:31 AM:
 
If you put the effort into blooping the analog track at a mid-reel splice, use proper blooping ink or opaque tape that will be effective for both red LED and white light readers. Using a dye-based marker will be ineffective for a white light reader.
 

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Posted by Antonio Marcheselli (Member # 373) on 11-19-2003, 07:24 AM:
 
Can someone tell me exaclty what is the "blooping ink"? I searched but I didn't found any detailed description, on jack-roe web there is no photos or anything else.
I used once a black permanent ink but I found that the black line I made to cover the space on the soundtrack was transfered many times on other part of the print (I saw the splice and then a black line, and another brighter black line... and another brighter black line...!!)

Thanks

A
 

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Posted by John Hawkinson (Member # 1135) on 11-19-2003, 10:04 AM:
 
Antonio,

When you bloop, you should do so under the splicing tape. That prevents your ink from wearing. You can also bloop on both sides, but this is more technically difficult.

In page 2 of To Bloop or Not To Bloop, I recommended Mark-tex filmopaquer pens, and Bernard Tonks recommended the Pentel N50.

As for ink, if you want to use your own pen, John Pytlak has repeatedly recommended "India ink," which I always assumed would be available wherever fountain pen supplies are sold.

--jhawk
 

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Posted by Antonio Marcheselli (Member # 373) on 11-19-2003, 10:22 AM:
 
John,

This is my problem: what means bloop? What is a blooping pen? How can I bloop a splice?

Bye!

Antonio
 

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Posted by Daryl C. W. O'Shea (Member # 1303) on 11-19-2003, 10:52 AM:
 
Blooping ink is an ink that will block infra-red light -- like metallic ink.

Blooping is 'covering up' or 'writing on' the soundtrack (with a blooping ink) anywhere that might cause a pop in the sound system -- such as lab splices.
 

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Posted by Antonio Marcheselli (Member # 373) on 11-19-2003, 10:55 AM:
 
uhm... but how can I block light that passes though a splice with ink? I mean, I used ink on some soundtrack "error" (not covered "blip" on analogue soundtrack or lab splices) but how can I cover a space between two parts of prints with simple ink?

Thanks!

Bye
A
 

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Posted by Daryl C. W. O'Shea (Member # 1303) on 11-19-2003, 11:27 AM:
 
If you've got a small gap that you want to fill without chopping off another frame, you can tape one side of the splice, flip the film over and use the blooping ink on the sticky side of the splicing tape (where the gap is), then put the other piece of tape on.
 

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Posted by Scott Norwood (Member # 30) on 11-19-2003, 12:22 PM:
 
Hmm...has anyone ever considered making splicing tape with pre-printed triangle marks on it to bloop the soundtrack? I'm thinking of something like zebra tape, except with those triangle or diamond shapes printed with some sort of ink that blocks infra-red energy.
 

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Posted by Antonio Marcheselli (Member # 373) on 11-19-2003, 12:27 PM:
 
Ah, it is more clear to me now!! I should paint the tape and not the print!

Thanks!

Bye
A
 

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Posted by Ken McFall (Member # 845) on 11-19-2003, 05:28 PM:
 
Scott the problem with any pre printed tape is getting it correctly located when applied.

You have to consider that the SRD track is very close, DTS being MUCH MORE forgiving, and it would be too easy to obscure it and cause a revesion. After all SRD drops out at the slightest glitch as it is.

There have been many different types of splice tape pre printed for good visability when breaking down prints etc. But they have mostly been forgotten with the introduction of digital sound tracks, SRD and SDDS, which are in exactly the place these tapes were high lighted. There was also the problem that when applied poorly they were visablee on the right of the screen.

Personally I use the yellow edge marking tape which, if applied correctly, does not cover the SRD track. If I had my way I'd run sound track down so the SRD track was even less disturbed.

At the end of the day all of these things are fine 'IF' applied correctly 100% of the time. But as we all know we cannot be on duty 24/7 and have to rely on other's to do the job correctly as they were trained. This unfortunatly is seldom the case.

What is needed is the distributor to come up with a difinative guide as to how to make splices and mark prints. That way everybody would be singing from the same hymne book..... or would they!
 

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Posted by Brad Miller (Member # 2) on 11-19-2003, 05:31 PM:
 

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Personally I use the yellow edge marking tape which, if applied correctly, does not cover the SRD track. If I had my way I'd run sound track down so the SRD track was even less disturbed.

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