This is topic interesting lab splice in forum Film Handlers' Forum at Film-Tech Forum ARCHIVE.


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Posted by Scott Norwood (Member # 30) on 05-30-2003, 02:27 AM:
 
Note the subtitles. Maybe I shouldn't have removed this one?


 

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Posted by Dan Lyons (Member # 1454) on 05-30-2003, 02:47 AM:
 
That's a classic!! What picture is that from?

Danny
 

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Posted by Stan Gunn (Member # 554) on 05-30-2003, 03:54 AM:
 
Nothing wrong with that splice.
Or the comment.
 

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Posted by Alex Grasic (Member # 1371) on 05-30-2003, 04:14 AM:
 
The subtitle speaks volumes
 

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Posted by John Pytlak (Member # 331) on 05-30-2003, 06:58 AM:
 
Hey, at least 25% of lab splices are on the frameline.

Looks like the upper piece of film also had a bit of safelight fogging too, and the soundtrack redeveloper had a "blip" at the splice, causing a narrow application over the silver + dye analog track on the lower piece of film.
 

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Posted by Sam Hunter (Member # 1119) on 05-30-2003, 07:02 AM:
 
I don't know if it's because I never used to look for such things or what but the last five shows I've watched have had lab splices in them. Is this something thats on the rise or what?
 

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Posted by John Pytlak (Member # 331) on 05-30-2003, 07:06 AM:
 
Since the film manufacturers usually supply print film raw stock to the larger release print labs as 6000-foot rolls, on average, there will be one lab splice in one 2000-foot reel out of three. If the splices are distracting and not on the frameline (like the one Scott found), they should be removed.
 

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Posted by Scott Norwood (Member # 30) on 05-30-2003, 07:17 AM:
 
Danny--it's from "Sweet Sixteen" (the latest film from director Ken Loach). It is in English but also has English subtitles, due to the thick accents of the characters. Good film, BTW...highly recommended.

John--yup, there was safelight fogging on this for several feet leading up to the lab splice shown above. Out of curiousity, what's the approximate speed (in ASA) of print stock?
 

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Posted by John Pytlak (Member # 331) on 05-30-2003, 07:27 AM:
 
Print film is balanced for printing with a low color temperature (under-volted) tungsten-halogen lamp in the printer and an orange-colored masked color negative, so the blue-sensitive (yellow dye forming) layer is MUCH faster than the red or green sensitive layers. If you load raw stock print film in your 35mm camera, you will get mostly a yellow image unless you use yellow-magenta color correction filters over the lens. An exposure index of about EI-5 would be a starting point. It is a VERY sharp and low grain film however.
 

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Posted by Steve Kraus (Member # 476) on 05-30-2003, 08:03 AM:
 
Hmmm...I've loaded my camera with photographic paper but never movie print stock.
 

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Posted by Leo Enticknap (Member # 534) on 05-30-2003, 09:41 AM:
 
I suppose it doesn't matter how fast or slow print stock is because in a printer you can hit it with as much light (and in a step printer, as long an exposure) as you like. In fact the slower the better, probably, as it would reduce the risk of fogging by a slight accidental light leak.

Interesting that English films with strong regional accents and/or dialogue have to be subtitled in North America. Now I know why Hollywood had to remake Get Carter!
 

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Posted by John Pytlak (Member # 331) on 05-30-2003, 01:11 PM:
 

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Hmmm...I've loaded my camera with photographic paper but never movie print stock.

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I suppose it doesn't matter how fast or slow print stock is because in a printer you can hit it with as much light (and in a step printer, as long an exposure) as you like. In fact the slower the better, probably, as it would reduce the risk of fogging by a slight accidental light leak.

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Usually there's plenty of light, even in the highest speed contact printers. Generally, the slower the film, the finer the grains. Also, "Absorber Dyes" (provide the purple color of raw stock print film) are used to reduce light scatter in the emulsion to improve sharpness, since you have plenty of light.
 

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Posted by Thomas Procyk (Member # 1170) on 05-30-2003, 06:13 PM:
 
PERFECT!! That is going on the wall of the projection booth immediately!

Oh, and you are incorrect, Mr. Pytlak:

quote:

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Hey, at least 25% of lab splices are on the frameline.

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quote:

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Since the film manufacturers usually supply print film raw stock to the larger release print labs as 6000-foot rolls, on average, there will be one lab splice in one 2000-foot reel out of three.

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See? MUCH better!

=TMP=
 

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Posted by Robert Harris (Member # 1712) on 05-31-2003, 09:59 AM:
 
Some twenty years ago, when estar based stocks were becoming a bit popular for projection, we produced a couple of Napoleon prints at a lab which will go unmentioned.

For whatever reason, there were three to four splices per 2,000 roll.

The print arrived at the venue and into the waiting hands of our crack projection team from Boston Light & Sound.

It was Chapin Cutler who noted the oddity even before the print touched a sprocket.

Someone at the lab had made all of the splices as if the print was acetate.

If you simply held the splice between your fingers and pushed gently, it would come apart with a resounding pop.

Over forty tape splices later...

RAH
 

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Posted by Stephen Jones (Member # 16) on 06-01-2003, 10:08 AM:
 
I reconised the scene soon as I saw it as we are currently screening Sweet 16.The language they are speaking is Scottish and is very broad or thick and can be hard for some peope to understand what they are saying hence the subtitles.As for myself I have no problems understanding what they say as my father in law spoke the same language (with out the bad language of course).
Stephen
 

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Posted by Steve Guttag (Member # 268) on 06-01-2003, 05:43 PM:
 
And also note that it is a conventional, non high-magenta track.

Steve
 

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Posted by Leo Enticknap (Member # 534) on 06-02-2003, 01:31 AM:
 

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The language they are speaking is Scottish...

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