quote: Joe Redifer

---

But you really shouldn't use a Strong of splicer since it is inferior (this is fact, not opinion).

---

quote: Joe Redifer

---

There is also some weird kind of red striped tape

---

That's "Splicemark" tape - made in Gr.Britian. It really does the job well when splicing film used for Dolby Digital. Yet, sadly a lot of booth monkeys are not trained correctly on how to use the "Splicemark" tape - where the thin edge should be used soundtrack side, covering over the SDDS track, but not covering the Dolby information.

There's even a trick that I do with Zebra: for FLAT - pull with the clear section and splice with the dotted section. for SCOPE - splice with the clear sections of the tape and pull with the dotted section.
 

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Posted by Charles Greenlee (Member # 3856) on 09-22-2008, 03:55 AM:
 
I think Carmike subcribes to the tape of the month club. But I'm wondering about Joe's Zebra tape. We had a couple of tapes we called zebra. We had a magenta/clear tape, a white/clear tape, and a tape that was all clear except a yellow marking in the shape of an H across it. The latter I beleive is more properly called T-splice. Where do these guys fit in? I actually liked the T-Splice. It held up decent, was clear to the picture, but still visible to the projectionist.
 

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Posted by Monte L Fullmer (Member # 2797) on 09-22-2008, 04:01 AM:
 
thought Carmike went all digital - they still have "film" cinemas?
 

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Posted by Charles Greenlee (Member # 3856) on 09-22-2008, 04:18 AM:
 
This was when they were still film. Been away from carmike for a few years. But they do still have some film projectors in the rare event of a film only release.
 

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Posted by Barry Floyd (Member # 385) on 09-22-2008, 08:42 AM:
 
I've been using the Jack Roe "T-STRIPE" splicing tape for 4 years. Never had a problem with it. I tried using clear splicing tape and then applying a strip of the yellow edgemark tape to the film. It was too much of a pain in the butt to get the little strips of tape folded over the edge of the film.
The T-Stripe stuff produces the same results in one application.
 

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Posted by Scott Norwood (Member # 30) on 09-22-2008, 08:45 AM:
 
1. Neumade clear
2. Everything else
 

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Posted by Bill Enos (Member # 440) on 09-22-2008, 09:45 AM:
 
Will never use Neumade again, had some splices come apart with the stuff a few years ago, it has a yellow tint, very visible on the screen, crap.
Have used only Jack Roe except for a year or so when I tried Newmade. NEVER had a problem with Jack Roe tape in 20 years.
 

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Posted by Brad Miller (Member # 2) on 09-22-2008, 12:41 PM:
 

quote: Bill Enos

---

Will never use Neumade again, had some splices come apart with the stuff a few years ago, it has a yellow tint, very visible on the screen, crap.

---

Bullshit. That "yellow tint" has the same refractory index of the film. It is NOT visible on screen. I have also NEVER seen a properly made Neumade splice break.
 

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Posted by Galen Murphy-Fahlgren (Member # 4535) on 09-22-2008, 01:40 PM:
 
I've always used what you guys are calling T-stripe, though I thought that was zebra tape. I'm pretty sure I've always used Neumade, and I've never had any problem with it. I briefly used clear tape because I was interested to see if there was any on screen difference, but a well placed stripe is virtually invisible even to my eye. I find using it has the dual advantage of helping other people break down as well as distinguishing between intentional, reel change splices and splices to repair damage or replace a lab splice, for which I've used Neumade clear. I've never had a problem with drops from digital on any tape splice.
 

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Posted by Bill Enos (Member # 440) on 09-22-2008, 01:42 PM:
 
Tape didn't break, it came unstuck from clean non oily film. Two sleeves of the stuff were just barely sticky. It came from a reputable dealer, I have reason to question his saying the tape was not over age. Granted, I used two other sleeves of the Neumade without incident but three splices coming apart while running is all it took to make a disbeliever of me. Maybe it was made while the quality control inspector was taking a It was clear non perf.
 

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Posted by Jim Cassedy (Member # 4115) on 09-22-2008, 02:02 PM:
 
What I'd really like to see is a review of CUE tape.
Some is definiately better than others, in terms of overall quality and durability.

What is cue tape made from anyway? Is that stuff really a thin stip of adheasive-backed metal, or some sort of 'metalized-paper-particle" compound?

ALL of my booths are located only a few blocks from and within sight of either the Pacific Ocean or San Francisco Bay. (and in one case, both!)

"Salt air" can take its' toll on mechanical and electronic equipment if one is not constantly vigilant.

Cue tape is often one of the first casualties. I find some brands 'oxidize' easier than others, greatly shortening their useful lifspan once applied to a print.

For maximum effectiveness, I find that I have to keep ALL brands of unused cue tape sealed in plastic bags or even better- old cat food cans- to keep it fresh.
(sure, it smells like dead fish-guts - - but it doesn't oxidize!)
 

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Posted by Marco Giustini (Member # 4544) on 09-22-2008, 02:38 PM:
 
I use 25mm red stripe from Jack Roe for reel splice and clear 15mm from Jack Roe for lab splice (we cut them away).

There is no thanks to the "buffer" feature of SRD.

About 15mm clear tape, if SRD around the splice is printed properly, there is no dropout.

Marco
 

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Posted by Joe Redifer (Member # 3) on 09-22-2008, 06:00 PM:
 
So why do you guys use marked tape for reel splices? Are you incompetent? Can you not feel for the splice as you are breaking down, or are there just sooo many other splices in the film from bad handling?
 

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Posted by Jim Cassedy (Member # 4115) on 09-22-2008, 06:40 PM:
 

quote: Joe Redifer

---

So why do you guys use marked tape for reel splices? Are you incompetent?

---

I'm many cases I'm sure that it's because a lot of good projectionists are forced to work with people who are incompetent.

I've been in this situation in the past.
If it were up to me, < I > would have made up and broken down all the shows. But this was not always possible.

So, it was necessary to "dumb down" the process so that less technically qualified staff could handle the task in between selling tickets, popping corn and putting new toilet paper in the restrooms.

Oh, c'mon, edge-marked tape isn't all THAT bad, if applied properly so that it doesn't show up on screen.

I remember back when platters first started appearing in booths (IMO, one of the first signs of the decline of the human race ) and it was not uncommon to get reels where head & tail ends of each reel were marked with white instant shoe polish to make them easy to find when breaking down.

After a while, the shoe polish would start flaking off and, thanks to the superior static electric properties of acetate film, particles would stick all over the image area of the film, making it look like you were watching a movie during a snowstorm.

Since I was working in a change-over house it was often a challange trying to figure out what exactly was a cue mark and what was just a piece of polish.
 

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Posted by Jon Miller (Member # 163) on 09-22-2008, 08:26 PM:
 

quote: Joe Redifer

---

So why do you guys use marked tape for reel splices? Are you incompetent?

---

No...if I used clear tape to splice reels together, my festival projectionist colleagues would want my head on a platter (the restaurant kind, not AW-3s). Yes, I use Neumade Zebra, positioning the clear section across the frame so only the edges are marked and scope prints aren't defiled.

Opaque yellow splicing tape has only one practical use...for splicer alignment. Other than that, it's the spawn of the devil.
 

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Posted by Monte L Fullmer (Member # 2797) on 09-22-2008, 08:39 PM:
 
...but I did a trick with shoepolish and that was to lay the stuff on the emulsion side only so it wouldn't flake off after age..

But agree: I do the clear splicing and use Edgemark tape (about an inch is all) so the other booth clowns can, at least, see the splices if they have to do the breakdowns. But, if I was sole projectionist in my operation, I could do without any form of film markings as what Joe's main reasoning is.

On the topic of cue tape (and not that "Opti-cue" stuff): It's just been one of those factors when dealing with adhesive aluminum, that the metal of the strip will always start cracking and breaking apart no matter how the tape is applied to the film.
 

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Posted by Marco Giustini (Member # 4544) on 09-22-2008, 08:52 PM:
 

quote: Joe Redifer

---

So why do you guys use marked tape for reel splices? Are you incompetent?

---

Yes, we're incompetent

Well, Our company still uses opaque yellow splice tape, I'm the only one that is using marked splice tape.
Since it does not have any effect on picture nor on sound, it just help us to better track reel splices.
Please note that you cannot see the red splices from the top of the platter, so you have to search and feel them by hand the same. The red splice just help us to better track the reel splices.

Opaque tape was a no-no, I agree. I'm using marked one just because it does not affect sound and picture in any kind and we don't have SDDS

Ciao
Marco
 

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Posted by Joe Redifer (Member # 3) on 09-22-2008, 09:47 PM:
 
Jon, your festival projectionist colleagues are incompetent and worthless. You can tell them I said that! Just use a piece of masking tape to mark how full the reel is on the inside of the reel itself during build-up. Striped tape and/or ID frames are not necessary. When I started working at my current theater I just started building films this way. There was only one other booth person who knew how to break down. After a week or two even his incompetent ass was able to handle it. Still, I break everything down myself. I actually enjoy breaking down prints. It's so quick and easy.

quote: Marco Giustini

---

Yes, we're incompetent

---

Until your mad skillz are demonstrated, I am forced to agree.
 

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Posted by Charles Greenlee (Member # 3856) on 09-22-2008, 10:10 PM:
 
I feel for splices. That's my primary detector. But I do prefer the Zebra because it adds a double check. As said before, if you're doing it right, only the clear is over the image, and there is no on screen sign of it. Really it only tells you that you missed it, because, by the time you see it, you've passed it. That and visible splices makes it easier for the "less skilled" people. We really must've hired from the center for the special needs.
 

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Posted by Brad Miller (Member # 2) on 09-22-2008, 11:40 PM:
 
Any of you "tape with marks" dorks want to break down one my prints built with ultrasonic splices?
 

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Posted by Joe Redifer (Member # 3) on 09-23-2008, 12:10 AM:
 
Brad, do you ever hear back from any of the theaters that get prints from you on 7Ks?
 

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Posted by Mike Blakesley (Member # 26) on 09-23-2008, 12:12 AM:
 
We've used Neumade clear tape ever since we got the tape splicer (around 1977, I think.) I've tried a few others over the years, usually as a result of picking up samples at conventions -- have never found a reason to switch.

We occasionally get prints on 6000' reels from neighboring theatres, both of which use that crappy yellow stuff. I have to go thru and remake the splices and they can't understand why clear is better.
 

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Posted by Monte L Fullmer (Member # 2797) on 09-23-2008, 01:59 AM:
 

quote: Mike Blakesley

---

and they can't understand why clear is better.

---

quote: Justin Hitmaker

---

I prefer the yellow zebra for several reasons.

• As someone else mentioned, it helps differentiate between a reel change and a mid-reel splice. I remove all lab glue splices and re-splice with clear tape.

---

quote: Justin

---

• The zebra tape is much better than the alternative of solid yellow or solid white that I've seen used.

---

quote: Justin

---

• While anyone with experience should be able to find a splice without much difficulty, why not make it a little easier when possible. Especially given that most break-down takes place in a dimly lit booth and platter work lights don't usually help much.

---

It really wouldn't make it any easier unless you are poorly trained. I don't even tell my trainees about zebra tape except that theaters with no booth skill use it so we may get a print with that type of tape applied. But we haven't had a print that wasn't new in a loooong time, fortunately.

I laugh at people who need to use zebra tape. Try it without and you'll be surprised how easy breakdown is.
 

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Posted by Justin Hamaker (Member # 2165) on 09-23-2008, 07:06 AM:
 
I'm so happy that you don't feel the need to use zebra tape. But I don't see any reason not to use it, so I'll continue to do so.

The simple fact is I've been using yellow zebra tape for reel splices and clear for mid-reel splices for over 10 years. Having watched hundreds of the prints where these were both used, I have never been able to discern a difference in picture or sound as a result of using the clear or the zebra. I have never noticed an issue related the the strength of the splice or the life. I've never noticed that one holds up better with Film-Guard. And I've never noticed that one sticks better to a previously Film-Guarded print (and I just built one of those a few days ago). And I have never notices that one is more or less easy to peel off of film.

In more than 10 years of building up movies, over hundreds of prints (probably over 1000 prints), I have never seen any reason that would suggest clear tape is any better than yellow zebra tape. Therefore I will continue using zebra tape and training people to use zebra tape.
 

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Posted by Blaine Young (Member # 3992) on 09-23-2008, 11:29 AM:
 
We've been using Jack Roe for some time. I'm a fan of overlap splices, and find that Jack Roe will only hold the splice for a couple of months of wear before the joint tears. Never had that problem with Neumade tape.

On the idea of zebra tape, there is some stuff we've purchased only once that is clear and opaque in alternating sections. It is the gummiest crap I've ever spliced with - and is murder to remove even after 1 week.
 

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Posted by Brad Miller (Member # 2) on 09-23-2008, 11:51 AM:
 
Regarding ease of removal and residue left behind:
#1 Neumade clear
#2 Neumade opaque
#3 Neumade zebra
#67-104 everything else clear
#187-219 everything else with colored marks or opaque

There is no #4-66. The Neumade is THAT much better. That being said if your splices are not going to be left on the print for an extended period of time, the Jack Roe and "QuickSplice" tapes will peel without too much aggravation, although neither will peel as easy as the Neumade. I've got films probably 20 years old now that have Neumade splices in them and even today they will still peel without leaving any residue. Anything non-Neumade is a godawful sticky mess.

Why adding the color to the tape kills the peeling ability I don't know, but for example the QuickSplice brand the clear will come off without too much hassle, but their zebra is possibly the worst shit ever made called "tape".

It is also very important to note that the Neumade is the ONLY tape that will not gum up your splicer. To anyone thinking I am joking, take two brand new splicers (Neumade splicers of course) and use one exclusively with Neumade clear tape and the other with anything else clear. (Let's be fair and leave out the colored shit.) Use both of those splicers for 6 months. Note at the end of the 6 month period the splicer used with Neumade tape has had no wear or cleaning needed, while the other one is already starting to show wear and in need of cleaning. Keep the test going for as long as you like...the results get more and more obvious. Case in point, people who come to my screening room tend to think that I have a brand new splicer. Not so.

Joe, as to your question, nobody has ever been able to break those prints down, as I'll usually get a phone call wanting to know how I got a print in one roll. It's amazing the level of training in these booths today. A number of times I ended up going to the theater and breaking it down for them. Idiots.
 

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Posted by Marco Giustini (Member # 4544) on 09-23-2008, 01:14 PM:
 

quote: Joe Redifer

---

You can tell them I said that! Just use a piece of masking tape to mark how full the reel is on the inside of the reel itself during build-up

---

quote: Brad Miller

---

A number of times I ended up going to the theater and breaking it down for them. Idiots.

---

quote: Paul J. Neuhaus

---

The reels when looked at are slightly differnt colors.

---

quote: Mike Blakesley

---

True, but a quick visual of that splice will usually show that it's (a) a lab splice and (b) in the middle of a scene, and thus not likely a reel change.

---

quote: Mike Croaro

---

Does anyone still use the old splicer unites that use the pre-punched tape?

---

Yes, I have been using the Rivas style splicer in all my booths over the years.
And you get more mileage from the tape too.
 

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Posted by Carey Barber (Member # 1586) on 09-24-2008, 01:55 PM:
 

quote:

---

The reels when looked at are slightly different colors.

---

quote: Mike Blakesley

---

they're rare enough in most cases that there's no need for any kinds of marks on the tape.

---

quote: Carey Barber

---

What causes this exactly?

It is certainly convenient, and I have always been curious as to why each reel would have a slightly different look to it.

---

quote: Mike Croaro

---

Does anyone still use the old splicer unites that use the pre-punched tape?

---

I've got one of these and use it as my "personal" splicer.

Being as how these were usually used in editing, they are very fast once you learn the proper technique.

The perforated tape can be tricky to find and quite expensive to buy, but I bought a sh_tload of both clear and white rolls of tape for almost nothing on E-bay last year.

The tape is slightly out of date, and except for a few inches at the begining of one roll, so far I haven't had a problem with any of it.

I love this thing! I got it on e-bay about a year ago for only $25,
and it was NIB!


These splicers and rolls of tape show up regularly on e-bay.

-->and before you guys start giving me grief- - the YELLOW tape
roll was put on here for photographic purposes since it stood
out against the red background(my shirt!) better than a roll
of clear tape.<
 

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Posted by Chris Slycord (Member # 4239) on 09-25-2008, 10:14 AM:
 
Liar
 

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Posted by Brad Miller (Member # 2) on 09-25-2008, 10:51 AM:
 
Hmmmm, why would he even have a roll of yellow tape in his possession? Hmmmmmmmmm.
 

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Posted by Joe Redifer (Member # 3) on 09-25-2008, 05:27 PM:
 
Yeah... and it won't even work with that splicer! Must be some kind of fetish.
 

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Posted by Monte L Fullmer (Member # 2797) on 09-25-2008, 08:03 PM:
 
Yep, the RIVAS splicer..MANN Theatres had them all over in their booths using white prepunched tape in the late 70's to early 80's, while the Guillitoine CIR splicer was the common at that time to have in the booth.

I actually didn't mind the RIVAS due to the tape was so strong and really held the film together. Yet, the tape was easy to take off the film when breaking down. Plus, the center knife could cut through both ends of the film so you can have a clean butt cut of each film.

But, I liked my Guillitoine better, until the Neutapers came online. Then it was a toss-up between the two of which I liked
 

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Posted by Jon Miller (Member # 163) on 09-25-2008, 08:53 PM:
 

quote: Joe Redifer

---

And for the third or fourth time, that's why you mark how full each reel is.

---

...unless you mainly deal with prints on cores (or in some cases, no cores at all ), in which case there are no reels to mark.
 

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Posted by Joe Redifer (Member # 3) on 09-26-2008, 01:41 AM:
 
Even with the many Indian prints I've dealt with, I've never had an issue finding my splice. Those bastards want their prints immediately after the screening is finished, too!
 

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Posted by Gordon McLeod (Member # 33) on 09-26-2008, 09:33 AM:
 
I have never had issues with dealing with Indian Prints other than it requires work which is what they are paying me to do
 

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Posted by John Hawkinson (Member # 1135) on 09-26-2008, 06:30 PM:
 
Paul Neuhaus noted, "The reels when looked at are slightly different colors," and Carey Barber asked, "What causes this exactly?"

John Pytlak explained in this post, namely

quote:

---

The difference in sidewall "shine" you see between reels is due to subtle differences in the slitter knives. Kodak slits 38 35mm strips out of one wide roll of print film, so the chances of two adjacent reels coming from the same slit are only 1 in 38:

http://www.kodak.com/US/en/motion/support/h1/sizesP.shtml#p

The key to seeing the shine difference is good lighting --- a small spotlight or bright flashlight at a grazing angle makes the difference easier to see.

---

quote: Joe Redifer

---

So why do you guys use marked tape for reel splices? Are you incompetent? Can you not feel for the splice as you are breaking down, or are there just sooo many other splices in the film from bad handling?

---

quote:

---

The difference in sidewall "shine" you see between reels is due to subtle differences in the slitter knives.

---

quote: Gordon McLeod

---

I have never had issues with dealing with Indian Prints other than it requires work which is what they are paying me to do.

---

Thank you Gordon. Can we all say AMEN!

And insanity of insanities, some of us can actually get a sense of, dare I say it, personal satisfaction in making a near unplayable print practically as good as new when it leaves the booth and all by reason of one's unique expertise and craft. Imagine that!
 

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Posted by Brad Miller (Member # 2) on 10-01-2008, 10:52 AM:
 
A near unplayable print can never be practically as good as new. I know what you are trying to say, but that statement just does not apply with film. Case in point, I would say most people would consider "a near unplayable print" to have emulsion lines and/or sprocket damage". No sprocket repair or cleaning will make that damage project "practically as good as new".
 

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Posted by Frank Angel (Member # 248) on 10-01-2008, 11:13 AM:
 
OK, poor choice of words; amend that to -- much better than when it came in and with a seriously improved presentation for the audience than before the work was applied to it (or the Film Guard)
 

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Posted by Monte L Fullmer (Member # 2797) on 10-01-2008, 12:59 PM:
 
deleted: posted article in wrong forum.
 

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Posted by Justin Hamaker (Member # 2165) on 10-01-2008, 03:03 PM:
 

quote: Frank Angel

---

personal satisfaction in making a near unplayable print practically as good as new when it leaves the booth

---

quote: Frank Angel

---

some of us can actually get a sense of, dare I say it, personal satisfaction in making a near unplayable print practically as good as new when it leaves the booth

---

Yes! Haven't we all had to deal with this at one time or another?

My best print resurrection was of what I was told was one of the last surviving 35mm prints of "Lenny!" about comedian Lenny Bruce. It was in HORRIBLE shape!- one of the worst prints I'd ever seen, and I had to run it as part of a film festival which was heavily advertised and was drawing big crowds.

It was an old, dried-out, brittle acetate print. Some reels seemed to consist of more splices (cement and tape) than film. Entire sections, sometimes 20, or 30 feet, or more were missing perforations from one side of the film. (see photo)
Other long sections had somehow acquired accordian pleats.
Forget about any usable leaders. (And this was a changeover booth)
And it smelled like enough vinegar to make a 'big salad'.

Most of the film consisted of footage of a Lenny Bruce performance apparantly shot only days before he died of a heroin overdose.

As horrible as it sounds, when I saw this print I remember wishing he had OD'ed a few days earlier so that I wouldn't have to deal with this mess of a print that looked like it had been used to teach a projector threading and splicing class to a group of idiots who had zero aptitude for either task.

It took me several hours, and a lot of swearing, but I managed to get the thing in runnable shape for my one show, and perhaps a few more after it left my theater.

Lenny Bruce had a very self-destructive personality.
Nobody could save Lenny the man,
but I managed to save Lenny the movie.

It's just part of what I do....


Actual Photo (WoW!)
This was actually a GOOD section of the print!
Here, only the very edge of the film is gone.
Some sections even had the little 'perf-tits' removed
for 20-50ft. (So it only had perfs along one edge)

 

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Posted by Bill Enos (Member # 440) on 10-02-2008, 12:50 PM:
 
Those stubs of perfs actually function nearly as well as intact edges. In the mid '80s we ran a lot of "classics". Many were prints left over from the '50s and '60s and occasionally there would be a few feet with both edges like the pictured piece, most ran OK. Lots of parts with 30 to 40 feet with perfs on one side only---those almost always ran OK.
 

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Posted by Brad Miller (Member # 2) on 10-02-2008, 01:32 PM:
 
And yet a Century projector (and possibly others) could run that without the edge no problem, provided you were running from a platter with the missing edge up on the deck. Been there, done that many times.
 

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Posted by Howard Johnson (Member # 62) on 10-02-2008, 02:32 PM:
 
Now now Joe! If you are dealing with used prints with several joins then it is vital to mark the correct reel end. I use clear tape and make a chinagraph line across the join so it is not visible, many people over here do this. I also peel the tape away when breaking down so leaving the tail or leader with one side taped. It is so easy for the next person, I hate having to peel away four bits of tape on each join when making up a print because the previous person just cut the joins and wound the tail or leader in with reel.
 

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Posted by Joe Redifer (Member # 3) on 10-02-2008, 05:13 PM:
 
Chinagraph? You mean china marker? That stuff flakes onto the picture!
 

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Posted by Charles Greenlee (Member # 3856) on 10-02-2008, 05:51 PM:
 
Well, I didn't consider the difference in appearance from reel to reel as a difference in "color", liked like a difference in shine. The film really doesn't appear a different color to me. I wonder if the edges of the film are polished in a way?
 

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Posted by Joe Redifer (Member # 3) on 10-03-2008, 10:40 AM:
 
OK I will concede that if the print is in bad shape then it's cool to use some sort of edgemark tape.

So, what do you guys assemble your trailers with?
 

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Posted by Monte L Fullmer (Member # 2797) on 10-03-2008, 12:48 PM:
 
simple clear tape. I leave the black header before the rating tag on - just hate seeing that splice join when the rating tag comes on screen.

And I cut down by the "kodak girl" when removing the tail lead. Just a smooth trailer transaction.

Gripes my gall when the cut is made as the end credits begins to fade then immediately is the next trailer without any form of break inbetween.

Those operators need not to be in the booth with sloppy trailer presentations like that - let along having to use opaque tape as well in trailer pak assemblies.
-Monte
 

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Posted by Joe Redifer (Member # 3) on 10-03-2008, 08:01 PM:
 
I try to do the same, but I have discovered that you can't leave too much head and tail on or you might hear some weird sounds on some trailers. Sometimes it will even revert to analog despite there being what looks like perfect SR-D code. I leave about 10-12 frames of black before the green band and usually about 8-10 frames of black after the very last frame of the trailer.
 

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Posted by Justin Hamaker (Member # 2165) on 10-04-2008, 12:26 AM:
 
I never really thought about leaving a couple black frames before the green band, but I like the idea now that your mention it. However, I've always left about a foot of black at the end of each trailer.
 

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Posted by Geena Phillips (Member # 3726) on 10-14-2008, 09:52 PM:
 
I assemble my trailers with clear tape, and I try to leave a decent amount of black frames at the beginning and end of each one.

However, since I still have some opaque yellow tape that I inherited with one of my booths, I use it to put together Screenvision ads. It's free, and I can honestly say I don't particularly care about the presentation quality of TV ads polluting my screens. Once it runs out, I'll go to clear.
 

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Posted by Galen Murphy-Fahlgren (Member # 4535) on 10-15-2008, 10:00 AM:
 
I recently switched from Neumade striped to Jack Roe SRD t-stripe. Now, I have never heard or seen SRD drop from a tape splice, at least not one I made, so I think the SRD aspect is hype, but it peels at least as well as the Neumade striped. Not quite as well as Neumade clear, and I've only broken down a print built with Jack Roe after a week run, so the jury is still out on its long term peelability, but I'm quite optimistic. I have some Neumade laying around, so maybe I'll do a comparison some time.
 

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Posted by Tim Reed (Member # 137) on 10-18-2008, 11:57 AM:
 
I use Kodak Presstapes.
 

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Posted by Tony Bandiera Jr (Member # 2365) on 10-18-2008, 01:47 PM:
 

quote: charles greenlee

---

Well, I didn't consider the difference in appearance from reel to reel as a difference in "color", liked like a difference in shine. The film really doesn't appear a different color to me. I wonder if the edges of the film are polished in a way?

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EDITED to add: Sorry for the duplicate info, I didn't see jhawk's post till after I posted this...

Our great member John P. (R.I.P.) explained that the difference in sheen on the edges is a result of the slitting process when the film stock is made. It is manufactured in very wide rolls and slit down into several 35mm widths (I think it was something like 30 per roll of master stock.) Actually 38...
 

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Posted by System Notices (Member # 2357) on 08-11-2011, 08:01 PM:
 

It has been 1027 days since the last post.

 

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Posted by Howard Zinman (Member # 6440) on 08-11-2011, 08:01 PM:
 
Hi,

Does anyone here use the 35mm clear tape that Larry Urbanski sells? It's not Neumade brand, but his own.

Thanks!
 

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Posted by Doug Thompson (Member # 6546) on 10-04-2011, 05:23 PM:
 
I use the 15mm width on a NeuTaper 16SS, and it's close to the Neumade tape I remember using on the NeuTaper 35mm and 70mm in the '80s. The only other non-perf tape I've used is Ciro
 

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Posted by Justin Hamaker (Member # 2165) on 10-04-2011, 07:08 PM:
 
The thing I've found with most splicing tape that is not Neumade is they may hold well, but they tend to come apart and leave adhesive behind when pealing off. Maybe this doesn't concern most people, it sure makes a difference to the theatre receiving the print after you.
 

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Posted by Mark Gulbrandsen (Member # 72) on 10-04-2011, 10:43 PM:
 
Splicing tape... that is quaint. I didn't think anyone on here was still using it. Or is this stuff secretly used in D-Cinema for some other application?
 

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Posted by Monte L Fullmer (Member # 2797) on 10-04-2011, 11:17 PM:
 

quote: Mark Gulbrandsen

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used in D-Cinema for some other application?

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quote: Mark Gulbrandsen

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quote: Mark Gulbrandsen

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Splicing tape... that is quaint. I didn't think anyone on here was still using it.

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