This is topic Splicing Tape Preferences -- Opaque or Zebra in forum Film Handlers' Forum at Film-Tech Forum ARCHIVE.


To visit this topic, use this URL:
https://ft-forum.com/ft/cgi-bin/ubb/ultimatebb.cgi?ubb=get_topic;f=1;t=006918

---

Posted by Rhys M. Blavier (Member # 2557) on 01-31-2005, 04:26 AM:
 
I would like to get opinions from other professional projectionists about their personal preferences for splicing tape. Specifically, between reels do you prefer to use opaque (yellow or white) or zebra (clear with yellow dashes) tape between reels.

I personally prefer to use opaque tape for several reasons. First, it is about half the cost of zebra tape. Second, zebra tape is clear tape with the dashes added and, in my opinion, the coloring used for the dashes has a horrible tendency to stain the film where it contacts for any length of time. Third (and, to me, the most important reason), in my experience, an audience member cannot tell when a an opaque splice has gone through any better than they can see cue dots so it is not a detriment to their viewing while on my end it speeds up my ability to find and remove the splices considerably.

Over the course of the last 20 or so years, I have specifically asked people I know who have NO projection experience to LOOK for splices going through. Even when I tell them what to look for, no one I have talked to has ever been bothered by opaque splices on a print. In a very rare instance, someone I have coached may see one on if they remember to look for them but all of them have told me that unless they are bored by the movie, it never occurs to them to watch for the splices and that they do not notice when a splice goes through.

On the other hand, when I am breaking down a print, especially when I am having to work fast, it is very easy to miss a zebra tape splice go through and I continually have to manually unwind to search for splices that go by without my seeing them. Opaque splices, however, are very easy for me to find and remove. Using opaque tape, my current best breakdown is two movies, 15 reels total (a 7-reel feature and an 8-reel feature), in just under an hour and a half. That is going from platters to 6000-foot reels on portable make-up tables, taking the 6000-foot reels to my base make-up table and then breaking down from the 6000-foot reels to individual 2000-foot reels. This is not something I could have accomplished if I had been having to search for my splices during break-downs.

So, to summarize, since cost, film care and speed factors all come out in favor of opaque tape on a consistent basis, while audience viewing is not noticeably or significantly improved by the use of zebra tape, I prefer, without reservation, to use opaque tape to make any and every slice which will later need to be removed. Does anyone else have any experiences, thoughts, opinions, etc. to support or to contradict my preferences?
 

---

Posted by Mike Pennell (Member # 1692) on 01-31-2005, 04:37 AM:
 
You just might have opened a big can of worms!! The next question should be which is better: platters or changeovers?
 

---

Posted by Liam Utley (Member # 1931) on 01-31-2005, 04:41 AM:
 
Neither... I prefer completely clear tape. I didn't know any company was THAT tight that you couldn't spend an extra buck on a roll of splicing tape. Maybe this place is a good place for a real opinion... the general public don't look out for splices, and even if they do see one they probably don't know what it is. There are better ways to mark your reel joins than using opaque tape.
 

---

Posted by Carl Martin (Member # 1146) on 01-31-2005, 05:08 AM:
 
rhys, trust me, you will get plenty bawled out for saying that on this site. clear tape is the way to go.

i do agree that most people will not notice splices, or any other non-cataclysmic defect for that matter, to the extent that they'd remember if you asked them afterwards. nevertheless their experience will be worse than it could be, for reasons they can't account for. i've seen many poor presentations, and i'm generally able to live with it. but when i see a great presentation, which is rare around here, it wows me. i can pinpoint many reasons why, but even if i couldn't, the wow would still be there.

part of our job should be training our audiences to know what film can deliver and to expect the best. check out don sneed's post in the japan thread to see maybe an extreme example of what i mean. too damn many people seem to think watching a video is just as good. that's the way they've been trained.

imagine the most perceptive, discriminating film viewer. imagine giving this person nothing to complain about. now try to make that happen.

carl
 

---

Posted by John Pytlak (Member # 331) on 01-31-2005, 05:26 AM:
 
Ideally, a splice should never be seen nor heard by the audience. Now you know what kind of splicing tape to use.
 

---

Posted by Brad Miller (Member # 2) on 01-31-2005, 06:50 AM:
 

quote:

---

"I would like to get opinions from other professional projectionists...blah, blah, blah..."

---

Sorry, but if you are using opaque tape, you have no right to call yourself a professional. Most will also say that people using zebra tape have no right to be called a professional either, but occasionally you will find people who feel zebra is ok.

Still, all of the GOOD professional projectionists I know use clear tape exclusively. There really is no need for any marking on the print (or tape) of any sort.

You should also be breaking down directly onto the shipping reels off of the platter. Running onto 6000 foot reels and then breaking the film down further is just plain retarded. Not only is it an incredible waste of time, but you won't achieve the same quality wind on a rewind bench that can be obtained on a platter MUT.

Also your 90 minute record for 2 lengthy movies is pretty slow. Both could easily be done in 30-40 minutes tops if broken down properly (and this includes either clear tape or ultrasonic splices being used on the initial buildup).

Remember, you don't LOOK at the film while searching for splices, you FEEL the edges of the film for the splices. That's how professionals do it.

I do have one question for you though...who trained you??? They really need to be outed here.
 

---

Posted by Thomas King (Member # 2745) on 01-31-2005, 07:12 AM:
 
I find clear tape can be tricky to spot on it's own (especially if you're making down in the dark) so I use a chinagraph pencil to put a white line down the splice, and along the top and bottom edge of the tape. That way I'm only marking the tape (so it all comes off easily) and it's much easier to spot.

Certainly don't bother making down off 6000's unless you need the platter clear in a real (five minutes!) hurry. I always prefer to make down off the bottom or middle platter, because if you're taking film off the top one, it goes over one fewer horizontal roller and the tension seems to suffer accordingly.
 

---

Posted by Michael Cunningham (Member # 210) on 01-31-2005, 08:47 AM:
 
For those of you advocating the use of various splice "marking" devices, the problem is that you keep talking about seeing the splices. You shouldn't be LOOKING for splices at all. Looking across the top of the film roll will show you the different colored bands of film for each reel. When you start getting close to the end of one, FEEL the edges of the film, just like during inspection and you'll never miss. Notice if the splice is on a scene change, check it against your ID frame, match up the soundtrack or whatever to determine that it's really a reel-change splice and you're good to go.

- Mike
 

---

Posted by Mark J. Marshall (Member # 1409) on 01-31-2005, 09:12 AM:
 
The whole point of what makes a splice better, is making it so you (and the audience) CAN'T see it. So why folks try to make really really good splices, that will be invisible to everyone, and then struggle to LOOK for them is beyond me.



Clear tape. Always. 100% of the time.
 

---

Posted by John Pytlak (Member # 331) on 01-31-2005, 09:18 AM:
 
With good light, it is usually easy to see the slight gloss difference on the edge of the film for each reel as the film lies on the platter. The only time there may be confusion is when there is a lab splice, such that two different slits of film are used for the same reel, so the gloss is different for each half of that reel.

Other threads have discussed the technique of putting a piece of artists tape on the flange of the shipping reel, and marking the diameter to which the film fills that reel. Then when breaking down the print onto its shipping reel, you know the splice is near as you approach your "fill line" on that reel.
 

---

Posted by Jeremy Fuentes (Member # 2135) on 01-31-2005, 09:47 AM:
 
Thats really the only reason for an id frame John. To easily distinguish a reel change or lab splice or perhaps a spot where there was a brainwrap and the film had to be spliced back together. I used to use opaque tape, but realized it wasnt the best way to do things. Try the clear tape, its not nearly as hard as it seems..
 

---

Posted by Randy Stankey (Member # 64) on 01-31-2005, 10:12 AM:
 
If you're worried about cost then you should stock clear tape and ONLY clear tape. You will only have to keep one item in inventory at any time, versus TWO items.

If you use opaque tape, zebra tape, splice-mark tape or any other item, you must also keep plain clear tape on hand as well. If you don't, how are you going to repair film if/when it breaks? How will you remove lab splices? Clear tape must be kept on hand in any professional booth. The use of opaque tape thereby necessitates the need to keep a SECOND kind of tape.

You will need to stock, inventory, order and PAY FOR a second kind of tape. Even if both kinds of tape are EXACTLY the same price you will STILL have to keep inventory on two products. The time and energy used to inventory two products equates to cost. (Time = Money.)

Using clear tape only is the only way to go. It's cheaper all the way around.

If you can't find a splice using clear tape you need to get with the program.

If you need to be able to tell the difference between repair/lab-splice repairs and splices between reels you can differentiate them with some kind of marking system. (Sharpie marker on the splice tape, etc., etc.)

Oh! And customers DO notice the difference between good splices and crummy ones. They just don't tell you about it in so many words. They just stop coming to your theater.

Case-In-Point: How many times have you heard somebody say, "I don't want to go to [some theater]. I always get a headache when I go there." (We've all heard this at least once, if we haven't said it ourselves.)

Why does it happen? Because something's wrong with the projector. A jittery picture or a dim lamp or a shutter out of time or one of 1,000,000 tiny little things could go wrong. Customers notice these things but they don't know WHY they happen. They only know they don't like getting a headache when they come to your theater.

Here's the thing... It may have happened ONE TIME several YEARS ago but because of CONFIRMATION BIAS they will seem to remember the one bad incident at your theater. The customer will tend to stay away from your theater.

The same thing happens with splices and other "little" things you don't think they notice. Poor focus, crappy sound, crummy splices... They all add up in the customer's brain. Even if they don't specifically remember that crappy splice they just won't be as "satisfied" with the movie.

People DO notice crappy splices! They just don't tell YOU. They just don't come back!
 

---

Posted by Mike Blakesley (Member # 26) on 01-31-2005, 12:46 PM:
 

quote: Randy Stankey

---

you must also keep plain clear tape on hand as well. If you don't, how are you going to repair film if/when it breaks?

---

That's easy...just use the opaque tape for everything!

My personal record is, one time I had to redo 17 (!) splices in one print that were all made with opaque tape. This was a print that had been thrown, I'm sure.

Add my vote for ALL CLEAR, ALL THE TIME.

Also - to aid with the light on the middle and bottom platters, I installed a couple of flourescent lights from old standees. (strapped them onto the platter arms with plastic ties.) They light up the film much better than the platter lights ever did and it's possible to see the reel changes easily.
 

---

Posted by Monte L Fullmer (Member # 2797) on 01-31-2005, 02:09 PM:
 
..seems like we had a thread on this before on splicing and marking techniques.

Yeppers, using opaque (yellow or white) is just plain laziness and very unprofessional.

I don't use china markers, I use Edgemark tape (for I have to since our theatres have idiots who can't see very well), otherwise I'd be clear all the time with no markings whatsoever.

BUT.....if you're going to do the opaque thing, here is a trick to make the splices not so noticable:

when cutting the film: Cut each frame in half so you have two sprocket, half frame on each side of the splice line on the splicer. Then draw the yellow goop across this, and then you would be only covering up one complete frame and this is not as noticable as the conventional one and a half frame coverup, which is extremely annoying to see - like missing a changeover between every reel after the second cue.

You want to make your presentation as smooth and flowing as possible, for the audience is expecting a complete, uninterrupted show. Not "broken" apart with the black blip between reels. You don't see this "breaking" apart on video and DVD movies, so why not make your theatre presentations the same. (why the home theatre industry is taking off some-perfect presentations)

-Monte
 

---

Posted by John Hawkinson (Member # 1135) on 01-31-2005, 03:12 PM:
 
Monte writes, "...if you're going to do the opaque thing, here is a trick to make the splices not so noticable: when cutting the film: Cut each frame in half so you have two sprocket, half frame on each side..."

That's a terrible suggestion! Please don't do this.

At least if you use opaque tape normally, the next projectionist can peel it off and not lose anything. But now the next guy has to cut off your two half frames (thus losing two frames of the print) in order to get an acceptable splice on the screen.

As for the initial question at hand, full agreement with the consensus: opaque tape is not acceptable for any on-screen use, and has no place in a booth.

--jhawk
 

---

Posted by Rich Ferrando (Member # 2056) on 01-31-2005, 03:35 PM:
 
Just to throw in my 2-cents. Yes, as everyone else has said, Opaque tape is evil and wrong. Zebra tape is, if seen by the audience, evil and wrong. HOWEVER- we do use zebra tape, but in a weird and strange sort of way that allows for splices to be eaily seen WITHOUT getting any yellow muck in the picture area.

Since our booth, due to the stupidity of its design, has very low light, we do need to be able to feel AND see the splices. So, we simply use the zebra tape in the exact opposite way than it's intended, meaning the space that's traditionally BETWEEN the zebra portions. The division between the zebra portions of the tape are slightly less than 35mm long, so what you end up with is a bit of yellow on the extreme top and bottom of the splice (on the SDDS soundtracks), which leaves the picture area, analog soundrack, Dolby Digital soundtrack, and DTS timecode track completely clear.

Naturally, if you run SDDS this option would be bad, but we run Dolby Digital, so it works beautifully for us. And yes, we always remove our splices on break-down, so if the next theatre has an SDDS system, they will not experience any issues.
 

---

Posted by Scott Balko (Member # 438) on 01-31-2005, 08:04 PM:
 
Definitely 100% clear, and not the cheap crap either. To reitterate a previous thread, NeuTape is the only stuff I know of that will peel decently leaving no residue.
 

---

Posted by Thomas King (Member # 2745) on 01-31-2005, 08:52 PM:
 
Should lab splices be removed? I've never bothered in the past; they always seem more robust and permanent than tape splices.
 

---

Posted by Jason Burroughs (Member # 68) on 01-31-2005, 10:02 PM:
 
Without sounding too caustic, Opaqe tape has no place in a professional projection booth. The ONLY time I would EVER use opaque tape is in between trailers. Even then it would only be in a pinch.

IMHO, Zebra tape is fine, as long as its used properly. Don't have the bar of the tape running though the image area, leaving the colored portion of the tape at the edges. Otherwise its clear only.

If you use a quality zebra tape (Neumade) the yellow portion will not transfer to the film.

It truly isn't much more difficult breaking down a print with clear tape than it is opaque, unless you're breaking down at Warp 10 and not feeling the film edges for splices.
 

---

Posted by Chris Trainor (Member # 9) on 01-31-2005, 10:29 PM:
 
Rich: SDDS can survive a 1 frame dropout without any problems. Tho the prefered method if you must use Zebra is to only cover one half of the SDDS track if possible, that way there is no chance for a dropout. (provided the rest of the print is in OK shape).

--Chris
 

---

Posted by Mike Spaeth (Member # 524) on 01-31-2005, 10:30 PM:
 
Using the original logic of the thread ... since a lot of audience members don't notice scratches or dirt evil ... then those are OK too, right?
 

---

Posted by William Hooper (Member # 71) on 02-01-2005, 01:13 AM:
 
Wasn't there a "high magenta" splice marking tape that just had a magenta stripe on the outsice edges?

That yellow "zebra" tape is awful. When you try to peel it off, it leaves adhesive with yellow die stuck to the film.

In order of evilness:
1) That opaque white splicing tape (Inventor, people who manufacture it, people who sell it, & people who use it will spend eternity in a hot splicer in hell)
2) That yellow splice mark tape (that leaves all the yellow behind it when you try to peel it off)
 

---

Posted by Mike Blakesley (Member # 26) on 02-01-2005, 01:22 AM:
 
What exactly IS the purpose of Zebra tape anyway? The horizontal strip that supposedley lands on the edges of the film I can understand, but to mark the frameline on the splicing tape is dumb, since the film is cut on the frameline anyway. Why does it have that line going across the image area? Huh?
 

---

Posted by Rhys M. Blavier (Member # 2557) on 02-01-2005, 02:12 AM:
 
It has been very interesting to read the responses to my question. I don't agree with those responses, but I find them interesting. I am also curious about the fact that not one single respondent has anything positive to say about opaque tape when I know that there are other projectionists out there who do use it and, like me, prefer it. If even one of those who had responded had been in that camp, I would be willing to consider that the responses might be representative of the percentage opinions on the subject, but the animosity of the responses makes me believe that those who might agree with me are simply not wanting to get attacked as well and just chose to not post anything. I must say that I feel that the tone of the responses I have been reading makes me believe that a reasoned and objective discussion of different views may not be possible on here. I do want to answer a few things that have come out in some of those responses and then I will just let it all drop.

1.) I am a professional, I make my living at this and have done it for a very long time. My view on this matter being different from anyone else's does not negate that or make me unqualified to consider myself a professional.

2.) The company I work for are not concerned about the additional costs of zebra tape... I am. The company standards are to use it and I do not want to. I was hoping for supporting opinions or information I could present to them to change that standard.

3.) The Chief and other projectionists who trained me do not need to be "outed". They were outstanding practitioners who taught me well and instilled in me a love of this profession and of the shows I put on the screen. One thing that I was taught, however, which does not seem to be a consideration among those who have responded, is that when the quality of presentation is not adversely affected, practicality is not a bad thing. There are enough things that do need special attention and efforts that there is no need to make unnecessary things difficult... like finding splices.

4.) I do NOT find splices by "feel" because I do not touch film if I do not need to. This is especially important when my theatre management will not keep my booth supplied with film gloves as they are not, to them, a high priority to worry about. I will also say that this may be a hold over from when I was first being trained in 1982 as film gloves were never even something that we had heard of, much less had on hand. In fact, I was considered kind of overzealous when I started keeping Dawn detergent in my booths so I could wash my hands with it before I built up any print (being a degreaser, it would remove excess oil from my hands and fingers for when I did need to touch a print to make a splice). This was a personal "innovation" of my own because I did not like leaving fingerprints, etc. on my films when I worked on them.

5.) An opaque splice is seen on screen in half of a frame for 4/96th of a second. Cue dots are on screen more and longer (and if you want to make the arguments which are being made because of their visibility to the audience, then we should all be lobbying to have cue dots removed from prints). The human eye only perceives approximately 16 changes a second. Thus, I do not worry about the conscious or unconscious impact of an opaque splice. It is a non-issue. Dirt, scratches and other FILM DAMAGE ARE seen by audience members and, even if they aren't, still cause or indicate actual damage to a film. You cannot equate such problems with opaque splices.

6.) I agree with everyone that we need to be giving the audiences the best possible presentations of our films. I, myself, and all of my serious film friends, however, would like to see presentations that do not show us shutter speed problems, badly cut aperture plates, film jitter, torn or damaged screens, bad sound and other common problems I find all to often where ever I go. When there are no more problems which are there for every second of a presentation, when having an opaque splice is the WORST thing that I could say about a presentation, THEN I MIGHT be willing to consider worrying about the fractions of seconds during which an opaque splice is a concern.

7.) I think that ALL of us would agree that WHATEVER tape we prefer, the fewer reel splices that are needed the better. All to often I get my films on more reels than they need to be on. Why is no one lobbying to get films sent out on full 2000' reels (and, thus, on as few reels as possible) in order to minimize the number of reel splices needed on any print.

8.) As for other ways of marking upcoming splices (i.e. -- china markers, silver markers, etc.) I find too many of them used by people who get sloppy and end up getting marker, paint, whatever, on soundtracks, pictures, etc. In addition, these, in my experience, simply add to the amount of stuff that rubs off of the print and is left behind on rails and traps in film gates. I never leave anything permanent on a print that I can avoid leaving on it (like a permanent splice).

9.) Some on here have brought up lab splices. I personally hate lab splices and I find them amazingly distracting when they go across the screen. However, again, the audience does not see them and I have been reprimanded before for "wasting time" to remove them from my prints and replace them with standard clear splices because it is "unnecessary". They are the one concession I have made to my personal standards. I hate them, but I now let them stay on the print. I will admit, however, that I honestly do not understand why they are made in the middle of a frame instead of between frames. Do any of you have a good answer for this?
 

---

Posted by Monte L Fullmer (Member # 2797) on 02-01-2005, 02:46 AM:
 

quote: Rhys M. Blavier

---

that I honestly do not understand why they are made in the middle of a frame instead of between frames. Do any of you have a good answer for this?

---

quote: Carl Martin

---

try feeling for splices. it will make a difference.

---

quote: Rhys M. Blavier

---

I am also curious about the fact that not one single respondent has anything positive to say about opaque tape when I know that there are other projectionists out there who do use it and, like me, prefer it.

---

quote: Rhys M. Blavier

---

I am a professional, I make my living at this and have done it for a very long time.

---

quote: Rhys M. Blavier

---

The company I work for are not concerned about the additional costs of zebra tape... I am. The company standards are to use it and I do not want to. I was hoping for supporting opinions or information I could present to them to change that standard.

---

quote: Rhys M. Blavier

---

when the quality of presentation is not adversely affected, practicality is not a bad thing.

---

quote: Rhys M. Blavier

---

I do NOT find splices by "feel" because I do not touch film if I do not need to.

---

quote: Rhys M. Blavier

---

An opaque splice is seen on screen in half of a frame for 4/96th of a second.

---

quote:

---

Cue dots are on screen more and longer (and if you want to make the arguments which are being made because of their visibility to the audience,

---

quote: Rhys M. Blavier

---

I do not worry about the conscious or unconscious impact of an opaque splice. It is a non-issue.

---

quote: Rhys M. Blavier

---

I agree with everyone that we need to be giving the audiences the best possible presentations of our films.

---

quote:

---

Some on here have brought up lab splices. ... However, again, the audience does not see them and I have been reprimanded before for "wasting time" to remove them from my prints and replace them with standard clear splices because it is "unnecessary".

---

How do you know the audience doesn't see them? 99% of the audience doesn't know what a lab splice is. All they see is a bright flash of light. Between all the bright flashes of lab splices and the dark blobs of opaque reel splices, I'd say you have a pretty tattered presentation.

Please, don't get upset that everyone has jumped on your case for this. For the most part, this community says what it thinks and doesn't pull punches. You asked a question and you got your answer. The fact that nobody agrees with you is not because people are afraid to speak out. It's because you are in the minority AMONG THE PROFESSIONALS on this. Unfortunately, I have the feeling that all the evidence in the world is not going to get you to change your mind. Too bad for your audiences.
 

---

Posted by Monte L Fullmer (Member # 2797) on 02-01-2005, 03:20 PM:
 
(an interesting side topic that can parallel this)

...just wonder if Rhys is an actual professional projectionist, but decided to "throw" in this topic of opaque tape, then saying that he uses it, so he can see how much the "pot gets sturred up" with our rebuttals and comments.

I've seen this in chat rooms at times.

-Monte
 

---

Posted by Rhys M. Blavier (Member # 2557) on 02-01-2005, 03:25 PM:
 
Mike,

It is not 1/12th of a second. There are 24 frames per second, yes, and an opaque splice is over two frames, yes. However, each frame is shown twice and in dark twice before the intermittent shifts to the next frame. That is a total of 4 events per frame. 4 events per frame times 24 frames a second equal 96 events per second. The opaque splice would show up in the two events of the two frames it is over (obviously the other two events per frame being darkness it is not an issue). Hence 4/96th of a second, not 1/12th of a second.
 

---

Posted by Brad Miller (Member # 2) on 02-01-2005, 03:39 PM:
 
Rhys, you need to redo your math. It IS 1/12th of a second, and even at 1/24th of a second, it's plainly noticeable and completely unprofessional. Remember, just because you *technically* are a professional because you do this job full time, does not mean you are a professional in regards to the quality of your work. Sorry bub, but even all of the megaplexes I have been to don't use opaque tape. The only places I see using opaque tape are the major DUMPS.
 

---

Posted by John Hawkinson (Member # 1135) on 02-01-2005, 03:47 PM:
 
Mike writes, "Nobody ever damaged a print by placing their fingertips on the edge to feel for a splice. This just simply isn't a concern."

Strictly speaking, that is untrue. You won't see it with any first-run prints, but old acetate rep. prints can in fact be damaged during the handchecking process if they are very very brittle. It's mostly a non-issue, but I have seen it happen (when the film is very very weak between the perfs).

Rhys is technically correct that the splice is not visible on the screen for 1/12 of a second, because of the intermittant pulldown time. But this ignores the phenomenon of persistence of vision, where the viewer PERCEIVES the image to be on the screen during the extra 2/96 second per frame of pulldown.

And it is the PERCEPTION of the splice that is important. Viewers do notice lab splices. And they do notice opaque splices. It's even worse with opaque tape, actually, because first they see the top half of the frame covered, and then it shifts to the bottom half of the frame. So it is not only an interruption, but an interruption that moves in a well-defined way. The top half the frame flashes and then the bottom.

The entire time from start to finish of this effect is what matters, and that is 1/12 of a second, or 83 milliseconds. It is in fact a real concern for many of us.

--jhawk
 

---

Posted by Thomas King (Member # 2745) on 02-01-2005, 03:50 PM:
 
And please make sure to peel the splicing tape off when breaking down, not just cut across the print. Some of us run second/third/fourth/one meeelionth run theatres.
 

---

Posted by Brad Miller (Member # 2) on 02-01-2005, 03:54 PM:
 
Allow me to add to that...if you are too lazy to peel off your own tape when breaking down, then TEAR it between two fingers and then make a single sided splice (yes, using the splicer) over the remains of your opaque tape when you reattach the leaders. While yes leaving your old splicing tape on the ends of the print is also unprofessional, it at least gives the courtesy to the next guy if he wants to peel off your tape so that the ends of the cuts will still line up. If you CUT the splice, then those two ends are destroyed and at least one more frame has to be cut in the future to remake that reel change splice.

Now if you tell us you just cut those frames off when breaking down, you're going to have people coming after you for being an insanely bad projectionist.
 

---

Posted by Rhys M. Blavier (Member # 2557) on 02-01-2005, 04:25 PM:
 
I not only peel off all tape from my own splices which I remove, but I peel off all tape from old splices which others are not considerate enough to remove when they send a print out. I take the boy scout view of, whenever possible, sending a print out in better shape than that in which I recieved it (obviously this does not, can not apply to a print I got in as a virgin). When I train others, I also emphasis that I want all prints sent back in the condition in which I would want to recieve it myself. If for no other reason than I hate hypocricy and if I sent prints out with old tape, cue tape still on, etc. then I would have no moral ground for getting mad when I get a used print in that was sloppily done.

BTW, Brad, I know that you are at the Studio Movie Grill in Plano and not the one in Addison but you are still with the company (as I understand it... if I am wrong about this, I apologize) so I want to say that when I mentioned torn screens, I was specifically refering to the Addison theatre as it has at least two screens with tears or holes or marks which I find incredibly distracting when I watch movies there. And just the other night I was at another major Dallas theatre where there was dirt that got caught in the film trap (and was there for the entire show) in addition to having bad shutter speed. These are problems which honestly concern me much more, not just as an audience member but as a projectionist.

I will also say, for the last time, that just because I have a differing opinion from the rest of you, and while I acknowledge that I will never be up to the level of many of you (I doubt I will ever consider myself more than a compentent journeyman and never a "master" projectionist) it does not mean that I am not a professional, that I do not take pride in my profession, that I do not care about the presentations I give my audiences, that I do not know what I am doing and that I do not try to be the best projectionist that I can be. I would appreciate the courtesy of not having personal alligations to the contrary used to attack my honest and sincere difference of opinion on this matter. It is not just bad form for making an argument, it is rude and demeaning and I do not believe that I deserve it. I am not resorting to personal attacks upon anyone else to try to bolster my argument, I am trying to simply present relevant points and information. If anyone does not agree with me, I respect that and, yes, I am reading all of these posts and considering the points being brought up. One thing I always try to keep foremost in my mind is that no matter how strongly I believe in something "I may be wrong". With that, I am open to changing my opinions or views when presented with logical arguements and valid points of difference. Personal attacks only make me inclined to disregard anything being said by the person making the attacks.

One thing I would like to ask, however, is that if everyone is so uniformly sure that opaque tape is a blight upon the world and an evil without without peer, and no one, (according to Brad, not even the megaplexes) uses opaque tape except me, why has it been around for so long and why does every company which makes it even bother since there is obviously no market for it. If I was honestly the only projectionist who prefered it, it would not be available from ANY company. I did not create opaque tape, did not train myself to use it and do not have to introduce it when I go to new theatres or new companies.
 

---

Posted by Mike Blakesley (Member # 26) on 02-01-2005, 05:46 PM:
 
There is a big market for opaque tape. It is used by people who:

a. Don't realize the difference and have never had it explained to them, the way we have done for you here;

b. Are not confident enough in their ability to find splices without having them stand out like a beacon in the night

or

c. Work for companies who look for the easiest way to train their concession people, ushers, etc to handle film. It's easier to train someone to find/break a yellow splice than a clear one.

Unfortunately, if you add all the people in a, b and c above, you probably have a majority of the film handlers in this country. But even if they are the majority, they're still wrong.

It looks as if we are at least beginning to sway you, so that's good. That's why we're here!
 

---

Posted by Brad Miller (Member # 2) on 02-01-2005, 05:49 PM:
 
Good to hear you peel off your tape upon shipout. THAT is being a professional. BTW, it is possible to send a print back in better condition than when the print arrived at your theater without ever being ran through a projector. Film cleaners provide that benefit.

Yes you are correct there are a couple of torn screens at the Addison location. Not much I can do about it when we replace a screen and freakin' TWO WEEKS LATER some customer throws something at it and puts a nice huge rip in it! (No joke, it was literally two weeks until someone decided to make a frizbee out of a pizza pan and launched it with such force it slit right through the screen. ) The company just ordered 4 more replacement screens this week due to stupid things like this. They also have a brand new Kinoton projector installed in one auditorium and the rest are on their way, among many other upgrades. The company isn't afraid to put money into their presentations.

(By the way, trailers there are spliced together with clear tape and features are spliced together with an ULTRASONIC splicer and no markings on the film. Those are harder to find during breakdown than ANY form of tape splice, yet none of the guys have any problem finding them. They are flat out impossible to "see" visually, and much harder to "feel" for than a lab splice. Want to come break a print down one day? Honestly, you would HAVE to un-learn how you currently break down prints in order to be able to ever find the splices. Seriously, I will be willing to show you. )

Now where do YOU work?
 

---

Posted by Steve Guttag (Member # 268) on 02-01-2005, 06:04 PM:
 
I don't think anyone here said anything to the effect that the state of the industry in general has good or great performances. In fact, I've yet to be pleased by the performance in a multiplex type theatre.

Where you are missing on this particular issue is the word "opinion"...it is not an opinion that opaque splices are visible and distrupt the sound...it is a fact...no opinion there. What you do is demonstratably, and measurably inferior and, as I have stated previously, is a practice that absolutely has no merit.

When looking at the whole way the opaque splice is perceived...it is worse than has yet to be described...typically the opaque splice user uses the fat stuff of approximately 1" wide. This allows for up to 3 perforations on either side of the splice. As such, when it goes though, the bottom of the screen gets the first flash, then the top...but the brain does not just process it that way. It actually looks like a dark black bar across the middle of the screen with gray bars top and bottom that are out of sync with each other so they flash. All this for no benefit? Where is the opinion in all of this?

Are there other problems associated with projecting film...sure...but this is such an easy one for the booth personal to fix without having to spend, well, ANY extra money. In fact, by your own admission, the company you work for is willing to spend extra money on striped tape to avoid the poor performance opaque tape presents (picture and sound) just so you can have a marker to see on breakdown. Sounds pretty reasonable to me.

I don't think you will find anyone advocating torn screens, dirt in the aperture (or on the film). There are things within a projectionist's control and there are things that are not...in your specific case, you have been afforded the means to present the show in a higher quality and yet want to project it in a lower quality..

What next? Is it okay to pull down a wad of leader onto the floor when threading up the projector so you have slack?

If you can't get the whole concept of not actively degrading the show is wrong, you aren't a journeyman...just an apprentice. As I've explained it to several older operators with bad habits...1-year repeated (insert your years of service) does not equal experience of that amount of time. (e.g. 1-year repeated 10 times does not make 10-year of experience...it is still just one year.)

Brad, why don't you tell em to use curtains...they help protect the screen!

Steve
 

---

Posted by Brad Miller (Member # 2) on 02-01-2005, 06:16 PM:
 

quote:

---

Brad, why don't you tell em to use curtains...they help protect the screen!

---

Ok, this is a long time inside joke between Steve and I, but for the benefit of others to experience my aggravation, I'm going to explain it here.

The theater USED to run curtain calls! One day awhile back there was a special event rental and some podiums and staging was set up in the front of the big auditorium. After the morning rental was over, these items were moved to the side to get them out of the way so they could run movies. When this happened, somehow the podium got placed in such a way to prevent the curtain motor from functioning propery (even though it is in it's own box) and the chain jumped the track...but only AFTER the curtains closed just before the first preview was to hit the screen.

It took 45 minutes for the projectionist and manager on duty to untangle the mess, cut the cord and manually pull the curtains open. To make matters worse, every show sold out that day (did I mention this was the biggest auditorium?) and the running time that was provided by the studio was something ridiculously incorrect to the tune of 20-30 minutes off. By the end of the day they were running almost a full show too late! Needless to say the customers were NOT pleased.

The "money boys" said "unhook the curtains - never use them again". Sure I can see their logic, but then again that wouldn't have happened had the people running the SE at the time not thrown their stuff in an area that they were not supposed to. Oh well, I just grumble quietly about it now. It's their decision. Grrrrrrr
 

---

Posted by Rhys M. Blavier (Member # 2557) on 02-01-2005, 06:22 PM:
 
Brad,

I perfectly understand what you are talking about with bigger problems than what we can take care of ourself. As for where I work, I am at the Magnolia (was working at both the Magnolia and the Inwood before they did the rennovation to the Inwood, but now they have me at the Magnolia exclusively). I have quite a few problems that require more than just personal attention. Hell, I have problems with them letting me stay to clean the projectors much less doing a lot of the big stuff that I feel needs to be taken care of there. In fact, when I try to implement any real standards there, the response is to cut back my hours and tell me in writting that I have no authority to set standards or make expectaions for anyone else who operates the booth... mainly managers but also some part time people. If you could have seen the condition of the booth and the equipment there when I was hired to be the Chief, I think you and anyone else who actually cares about quality in booth operations would have been appalled. I certainly was.

Mike, I would like to say that when I was first trained it was on a reel-to-reel set-up (as I was told, my theatre was the last chain theatre in Texas to still be doing changeovers) and my theatre did not use ushers or even managers to do projectioning. I will say this for Plitt, at least in my experience with them, they didn't push for training operators or for having Managers or Ushers or anyone else doing projectioning except for a trained and scheduled projectionist... that all started when Cineplex- Odeon came in and bought us. I was trained in a very dedicated enviroment at a theatre and by staff that gave a damn about being good... and we used opaque splices and had, as I understand it, since that theatre had opened in 1973.

As for the speeds some of you are talking about doing break-downs, how fast are your rewind capabilities? They must be considerably faster than mine are. I can break-down an average of about one reel in five minutes and most of that time is simply waiting for the film to rewind onto the 2000' reel. It takes me longer to do build-ups because that is when I do all of my cleaning of a old stuff left on prints by other theatres (expecially old cue tape and splice tape left on ends or on leaders) but because of this all I have to do for break down is remove my splices and my cues and go. The most time consuming part of my break-down is the waiting for the film to rewind onto the reel. However, no matter how rushed I am for time, I never send a print out in a condition in which I would not want to recieve it. Expediency is not effciency and I do not believe in doing things badly just because it is easier. A half-a$$ job that saves time is still a half-a$$ job.
 

---

Posted by Brad Miller (Member # 2) on 02-01-2005, 06:33 PM:
 
The Inwood has always been a major shithole incapable of putting on a good presentation. I have gone to many a show over the years there simply because it was the ONLY place to see a particular movie, and every time I left with a major presentation horror story. I even serviced them twice, but the place was so nasty in every way possible I flat out refused to return. As far as I am concerned, the Inwood is one of about 3 places locally that is actually worse than the Glen Lakes, which has the reputation of being able to scratch a print before the projectionist opens the cans. Everyone I know agrees that it has something to do with the cans being physically carried through the front doors that does it, because the Glen Lakes is immediate death to film.

Just so you know, the Magnolia never used opaque tape until Mye left. A gal by the name of Mye Hyong used to run that place and did an awful good job at it, as I have played a couple of circuited prints from when she was running things 3-4 years ago and they were quite good with no complaints from me (those who know me should know how clean her prints were by that comment). Things must've really gone downhill with operations, because the last couple of circuits I have heard about from the Magnolia were not happy stories in regards to the print condition. (This may not have been your fault if you got them used or if other people in the booth are damaging the films when you are not working though.)

More importantly, you will want to read this since you have to deal with Strong platters. It might be worth your going across the street to the Angelika and asking the projectionist if you can take a look, as they use these clutches there.

While you are at it, read this as well. It shows how you can mark the edges of the reel to make breakdown easier.

I know someone will ask and yes, I swear sometime this year I will make a full blown detailed video showing proper breakdown.
 

---

Posted by Mark J. Marshall (Member # 1409) on 02-01-2005, 06:41 PM:
 
Rhys,

Just TRY IT!

Make the LAST splice in a few prints using clear tape. Watch the shows. See the difference. When it's time to break them down, it's only one splice, so it shouldn't be much of a headache for you. Then when you figure out that it looks better, and breaking it down isn't that bad, then you've taken your first step to a better presentation.

But, do it a few times before you decide to give up. I'll grant you that finding the splice will suck at first if you're not used to it. But once you figure it out, you'll be breaking them down with no problems, and your presentation will be that much better.

Trust us. Try it, then give us a report in two months. My guess is that by then, you'll be ready to help the next guy who asks what kind of tape to use.
 

---

Posted by Rhys M. Blavier (Member # 2557) on 02-01-2005, 07:11 PM:
 
Brad,

I know all about Mye... she was the one I inherited the booth from... and she never cleaned ANYTHING. No, she did not use opaque tape between reels, she used zebra tape because that is Landmark's standard... using opaque tape was one of the first changes I made there. If you approve of the splicing tape which she used I assure you that you would not have approved of pretty much anything else about how she ran the booth. I was literally appalled by the condition of the equipment when I took over, hell, the projectors didn't even have oil in them, they were all dry. The aperture plates are still badly cut from her tenure (one of the things I am still trying to get redone there that I acnnot get approved). And NOTHING about the booth or the equipment was in any way clean or taken care of. If you thought well of how Mye ran the booth then I don't think you must have ever been in there to look at it while she was there. She was popular and she may have known movies, but she was NOT a good projectionist and did NOT run a good booth.

Reagrding the Inwood, I agree. Again, before I did anything there, nothing was taken care of. When I cleaned those booths and equipment it was the first time in I don't know how long since they had been cleaned. In fact, my efforts to elevate the projectioning standards at both theatres have gotten me relegated to insignificance and I am not even asked about anything to do at the Inwood any more because of my vocal efforts.
 

---

Posted by Joe Redifer (Member # 3) on 02-01-2005, 07:36 PM:
 

quote: Brad Miller

---

Blah blah blah blah Mye Hyong blah blah blah no complaints from me blah blah blah blah sexy blah blah blah don't squeeze the Charmin blah blah blah blah...

---

The highly coveted Mye Hyong.

All I know is that I saw cases and cases of Filmguard and cleaning media when I broke into the booth.
 

---

Posted by Gordon McLeod (Member # 33) on 02-01-2005, 07:56 PM:
 
Ok she looks cute so she must be okay if she stocks filmguard
 

---

Posted by Carl Martin (Member # 1146) on 02-01-2005, 07:58 PM:
 
rhys,

we work for the same company. i can sympathize with your frustrations from your last post. any time you try to improve something, shit flies at you from every direction. i figured things might be better in texas due to the proximity of the owner, but i guess not. i hope you keep up the good work that you are doing. (and use clear tape!)

carl
 

---

Posted by Brad Miller (Member # 2) on 02-01-2005, 08:36 PM:
 

quote: Rhys M. Blavier

---

If you thought well of how Mye ran the booth then I don't think you must have ever been in there to look at it while she was there. She was popular and she may have known movies, but she was NOT a good projectionist and did NOT run a good booth.

---

Just out of curiosity, do you think I care how a booth is ran so long as a print that comes out of there that I end up playing is in pristine condition? Do I care what color the walls are, or what posters are hung, or what the projector maintenance was like or even how much movie trivia Mye knew? Nope!!! I don't care if they were ran on a platter, or changeover, or a tower or some homemade concoction either...just so long as the prints leaving that theater leave in equal or better condition than when they arrived. THAT is what matters to me, and THAT is true professionalism. Mye always provided that end result, and for that I have a lot of respect for what she did.

Yeah I remember the cheap zebra tape that they had there because on a couple of instances I got a print from her on 6K reels, but at least zebra tape did not project a big black BLOB to the screen like opaque tape does. (Sorry for the slam, but it's true.) Still, pointing the finger at her for that is pretty low since she was extremely well stocked with that stuff by the installing company when the theater opened. It's really hard to have a company buy more splicing tape when you have 200 rolls of it sitting on the shelf, you know.

The aperture situation is also not her fault. The original installers did not properly line up the turrets before they cut the plates. As a result, they went out of frame whenever the lens change occured! Not only that, but the projectors were not optically aligned with the projectors worth a flip either (probably a fault at the Strong factory, but the installer should've checked it). I know she had the service company come back in and recut some of them, but they were reportedly just as bad. I did go in for her once and cut a plate for a special 1.33 show a few years back because they didn't have masking to pull in to that format and nobody else she could find was able to get a straight clean cut on it. She wanted me to come back and cut the rest of them, but I was too swamped. So while I sympathize with you on the aperture problems, that wasn't her fault just like it isn't your fault now.

It might also interest you to know that the equipment in that booth was USED when the theater opened. Yes it was "factory refurbished" by Strong, but I certainly wasn't impressed by the job done, and I saw the place a couple of weeks after it opened, as well as multiple times after that. Your last post seems to be blaming all of the problems on Mye, but really, she is not the problem. That equipment was not in great condition when the theater opened, and the problems you are citing are either installation related or Strong related.

The end result is still the same. The PRINTS there left in very good condition when Mye was at the helm. They are no longer leaving there in good condition anymore. So you tell me, what changed? Do you no longer run the film cleaners constantly like Mye did? (There is nothing better you can do for your presentation than to use them religiously.) Do you have an operator up there that is seriously screwing up? Is the equipment really falling apart such that film can no longer leave that booth without damage?

Don't misunderstand me, for I am not accusing you personally of any of this. Seriously though, something happened down there over the last year or so. Clue us in please so we can sympathize.

By the way where is Mye these days? Didn't she move to another state?
 

---

Posted by Gordon McLeod (Member # 33) on 02-01-2005, 09:15 PM:
 
Ultrasonic print assembly is still an issue as 2 frames are lost if the next theatre (after a theatre with an ultrasonic) tries to reassemble it with one just like with cement splicers
Ultrasonic splicers are really for use where disassembly isn't planed
 

---

Posted by Rhys M. Blavier (Member # 2557) on 02-01-2005, 09:18 PM:
 
Brad,

When I got there no one even knew how to put the media on a film cleaner... I had to show them. My favorite was the "experienced" projectionist who I came in after when he had put the full media rolls on the take-up spindles and, as a result, ran the film across media which did not rotate but instead sat there and gathered dirt, etc. while running the film over it like sandpaper. No one knew how to use Filmguard either (I had never worked with Filmguard before getting to the Magnolia but I read what I could about it when I found it there and have made an effort to learn). Yes, there was a lot of media here and all of the boxes of it were full and unused. I was the one here who started using the film cleaner on a regular basis but I still can't get anyone else to do much, if anything, with it.

If you say that prints are no longer leaving the Magnolia in good condition, I would like to know any specific instances. I can only speak for how I send them out because I am not given any authority to make any insistances of standards for anyone else here but I sure so everything that I can. As for how Mye may have sent out prints, I don't know and I don't care... she left right before I started working there. What I know is what I walked into and it was an unbelievable mess and what passed for training of the others who ran the projectors was minimal. As for supplies, what there was at the theatre was little used and difficult to locate since there was no effort to have any system or order to how or where things were stored.

Now, I would like to say that I do not think that this thread is the proper place to discuss this, but if you would like to discuss Mye, I will be happy to do so in a way that does not put it all out in a public discussion. I did not bring her up, but I will tell you that what I found caming in behind her was a booth that was as bad as any I have ever seen. If you think that is is "low" of me to point this out when you mentioned her, I'm sorry, but I stand by my criticisms of her and how she ran the booth there. But as for others besides her who have been running the projectors here, I have gotten in serious trouble for trying to teach them anything or for trying to get them to do more than simply thread up and bush start buttons. Unfortunately, I can not be there all of the time or even as much as I want or when I feel I would be most useful so I often come in after not haveing been there for a couple of days and find new scrtaches and damages to prints. It does not seem to be a concern to others here. Some sympathy from people who know ANYTHING about projectioning would be nice as I get none from anyone I work for. It has been like beating my head against a brick wall. Maybe when Mye was still here with Rita, she was able to get some things done which I have not been permitted to do or have authority for but Mye is gone, Rita is gone and Tearlach is no longer City Manager (he has been moved up).

If no one has anything else to add regarding the topic of this thread, maybe it is time to lock it to keep it from going down the road it seems to be heading.

I almost missed your question... yes, Mye moved out of state... New York, last I heard.
 

---

Posted by Brad Miller (Member # 2) on 02-01-2005, 09:30 PM:
 
Your theater has shipped prints to other theaters where I know the operators or service. I don't keep track of titles or print numbers, I just remember hearing the "what the hell happened at the Magnolia, I just got a shitty print from there" questions from people I know. No one ever had any issues with prints from Mye that I have ever heard of, and you dodged the question of "what changed". Perhaps the key here is Tearlach leaving???

By the way, you are the one who took this thread into a tangent. I am in agreement with one thing you said though, that this thread needs to get back on track. Let's everyone please keep all future replies to the subject of splicing tape.


 

---

Posted by Scott Norwood (Member # 30) on 02-01-2005, 10:11 PM:
 
Landmark's standard is zebra tape? I've never heard of that. We always use Neumade clear at the Embassy (which always puts on a great show). They used to use zebra tape for trailers, but never between reels of a feature. The full-time operator there is extremely fastidious and the booth floor and equipment are clean enough to eat off of.
 

---

Posted by Rich Ferrando (Member # 2056) on 02-01-2005, 10:52 PM:
 
I work for Landmark as well, and as far as I know (I could be mistaken here) there isn't a standard for splicing tape. We've bought both zebra and clear, and never had a problem getting it approved. Major fixes are, naturally, hard to get approved, but I think that's true anywhere. The changes I've made during my tenure in the booth have always been accepted (of course, I usually just change things without informing anyone, and then say "Hey, look at this, ain't it cool?" and they usually agree.)

While I'm at it (way off-topic)- thanks everyone for the advice on installing multichannel external inputs on our processors. I tested them last week (played that cool Pixar THX/Cow Stampede logo from my "Finding Nemo" DVD) and the sound is awesome. I doubt anyone renting our theatre will ever use anything but left and right, but hey- the option's there. :-)
 

---

Posted by Monte L Fullmer (Member # 2797) on 02-02-2005, 12:58 AM:
 
I like the Splicemark 3/4inch splicing tape, for the size makes the draw much easier. Plus, with this size, the worry of SRD dropouts is eliminated.

Great stuff for use in the megaplex world.

-Monte
 

---

Posted by Thomas King (Member # 2745) on 02-02-2005, 09:07 PM:
 
When making down Scarface (10 reels: played to death) in the dark today, an excellent reason for marking splices visibly came to mind: when you've got on average 25 or more instances of splicing tape per reel, doing it by feel can take a very long time
 

---

Posted by Monte L Fullmer (Member # 2797) on 02-02-2005, 09:14 PM:
 

quote: Thomas King

---

in the dark today, an excellent reason for marking splices visibly....

---

quote:

---

Rich Ferrando said:

Since our booth, due to the stupidity of its design, has very low light, we do need to be able to feel AND see the splices. So, we simply use the zebra tape in the exact opposite way than it's intended, meaning the space that's traditionally BETWEEN the zebra portions. The division between the zebra portions of the tape are slightly less than 35mm long, so what you end up with is a bit of yellow on the extreme top and bottom of the splice (on the SDDS soundtracks), which leaves the picture area, analog soundrack, Dolby Digital soundtrack, and DTS timecode track completely clear.

---

I thought that was the way it was supposed to be used Afterall, the roll sits in the splicer the same way. And while it's true that you're wasting half the roll, by having to use the lines on either edge of the film, it's zebra tape, who cares?

We don't normally stock zebra tape, but there was a mix up when we ordered it (person who made the order from our theater must have gotten the numbers wrong, or thought it was something different from what he actually ordered ... whatever) I've been using it only for breakdowns. We have a small amount of regular clear tape around for our own film presentation, but since we're short on that, I thought I'd use the zebra stuff on films we're going to ship out since more than likely anyone who recieves the print is going to peel the tape off anyway when they make it up onto a platter, or if they're on changeovers, it *is* a real splice even if it has the markings (unlike some people who break down using *choke* masking tape )

Of course, I use completely clear tape for reel to reel changes. BUT I admit I do use yellow opaque tape for trailer splices. Afterall, it's black film to black film. Sorry if anyone finds that objectionable.
 

---

Posted by Chris Hipp (Member # 1788) on 02-03-2005, 05:43 PM:
 
The only problems that I can see with using opaque in the trailers would be sound related. Could cause a pop in the analog or cause you digital to drop out.
 

---

Posted by Brad Miller (Member # 2) on 02-04-2005, 02:47 AM:
 
Assuming you have at least decent light from your lamphouse, opaque splices within the black between trailers are still visible as a rolling "darker black" flash.
 

---

Posted by Carl Martin (Member # 1146) on 02-04-2005, 02:50 AM:
 
i don't find it super-objectionable. it is visible, especially if it's 1" tape, since black film isn't completely black. but black levels often vary between trailers anyways and the splice doesn't interrupt the continuity of anything. still i use clear tape though.

carl
 

---

Posted by Joe Redifer (Member # 3) on 02-04-2005, 09:04 PM:
 
Opaque tape is unprofessional, even on trailers. If your eyes suck so bad that you need opaque tape to find the splice, then you shouldn't even be working in the projection booth. Instead you should be outside selling pencils in a cup. As far as old crappy prints with tons of splices, why not just mark the reel at it's full point as you are building it up? This is explained in the Building 101 Tips Section. Once it gets close to that mark, you slow down and look for the reel change. Easy as pie and does not slow you down at all. Any other way than my way is obviously the wrong way, for there is no better, higher quality way!
 

---

Posted by Mike Blakesley (Member # 26) on 02-04-2005, 09:26 PM:
 
What in the HELL is the point of using opaque tape in the trailer reel? Trailers are the absolute easiest splices to find, fercripesake.

I'd like to see NATO come out with a resolution against opaque tape. Although it'd probably work about as well as the failed trailer volume resolution(s) did.
 

---

Posted by Frank Angel (Member # 248) on 02-05-2005, 01:23 PM:
 
The booth I work in has literally DOZENS of rolls of freakin YELLOW tape. Anybody have ANY ideas on what other uses this crap could have? I hate throwing it all out, but I fear that should I retire I KNOW someone is going to break that stuff out & start using it.

quote: Mike Blakesley

---

I'd like to see NATO come out with a resolution against opaque tape. Although it'd probably work about as well as the failed trailer volume resolution(s) did.

---

quote: Frank Angel

---

Anybody have ANY ideas on what other uses this crap could have?

---

quote: Frank Angel

---

I can just throw the lot out without feeling guilty

---

..junk makes good shipping tape when wrapped around itself a couple of times (if you can find a few good rolls to do this trick with..)

Monte.
 

---

Posted by Carl Martin (Member # 1146) on 02-06-2005, 03:44 AM:
 
our remaining opaque perforated tape gets used for blooping splices when necessary (just a tiny wedge cut out) or for splicing film that will never show on screen, like when adding extra tail leader to a print.

it should last some time.

carl
 

---

Posted by System Notices (Member # 2357) on 03-23-2012, 04:56 PM:
 

It has been 2602 days since the last post.

 

---

Posted by Manny Knowles (Member # 1171) on 03-23-2012, 04:56 PM:
 
I just had the need to rant about opaque tape today.

That's all.
 

---

Posted by Jack Ondracek (Member # 1466) on 03-23-2012, 05:13 PM:
 
We've only had the season open three weeks and I've already received a move-over with yellow tape.

We've been using clear for as long as I recall. I'm too cheap to waste half a roll, even if it is Zebra tape, and the blips in the picture are not acceptable to me. Of course, there's the effect on sound. I've always been baffled by people who think they need opaque, zebra, markie pens, shoe polish or animated, electrified arrows. Just doesn't seem that big a problem.

Even when I break down at night, the lights on my platters provide enough to see that a splice is coming up. You can see the bands from across the room, fer cryin'out loud.

I'll be digital next year, and will be glad never to have to see or clean off another opaque splice.
 

---