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Author Topic: interesting lab splice Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 05-30-2003 02:27 AM                        Note the subtitles. Maybe I shouldn't have removed this one?  |  IP: Logged Dan Lyons Jedi Master Film Handler Posts: 698 From: Seal Beach, CA Registered: Sep 2002 posted 05-30-2003 02:47 AM                     That's a classic!! What picture is that from? Danny  |  IP: Logged Stan Gunn Expert Film Handler Posts: 176 From: Clematis, in the hills near Melbourne Australia Registered: Aug 2000 posted 05-30-2003 03:54 AM                        Nothing wrong with that splice. Or the comment.  |  IP: Logged Alex Grasic Film Handler Posts: 90 From: Toronto, ON, Canada Registered: Jul 2002 posted 05-30-2003 04:14 AM                     The subtitle speaks volumes  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 05-30-2003 06:58 AM                        Hey, at least 25% of lab splices are on the frameline. Looks like the upper piece of film also had a bit of safelight fogging too, and the soundtrack redeveloper had a "blip" at the splice, causing a narrow application over the silver + dye analog track on the lower piece of film.  |  IP: Logged Sam Hunter Jedi Master Film Handler Posts: 779 From: West Monroe, LA, USA Registered: Jan 2002 posted 05-30-2003 07:02 AM                     I don't know if it's because I never used to look for such things or what but the last five shows I've watched have had lab splices in them. Is this something thats on the rise or what?  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 05-30-2003 07:06 AM                        Since the film manufacturers usually supply print film raw stock to the larger release print labs as 6000-foot rolls, on average, there will be one lab splice in one 2000-foot reel out of three. If the splices are distracting and not on the frameline (like the one Scott found), they should be removed.  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 05-30-2003 07:17 AM                        Danny--it's from "Sweet Sixteen" (the latest film from director Ken Loach). It is in English but also has English subtitles, due to the thick accents of the characters. Good film, BTW...highly recommended. John--yup, there was safelight fogging on this for several feet leading up to the lab splice shown above. Out of curiousity, what's the approximate speed (in ASA) of print stock?  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 05-30-2003 07:27 AM                        Print film is balanced for printing with a low color temperature (under-volted) tungsten-halogen lamp in the printer and an orange-colored masked color negative, so the blue-sensitive (yellow dye forming) layer is MUCH faster than the red or green sensitive layers. If you load raw stock print film in your 35mm camera, you will get mostly a yellow image unless you use yellow-magenta color correction filters over the lens. An exposure index of about EI-5 would be a starting point. It is a VERY sharp and low grain film however.  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 05-30-2003 08:03 AM                    Hmmm...I've loaded my camera with photographic paper but never movie print stock.  |  IP: Logged Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 05-30-2003 09:41 AM                        I suppose it doesn't matter how fast or slow print stock is because in a printer you can hit it with as much light (and in a step printer, as long an exposure) as you like. In fact the slower the better, probably, as it would reduce the risk of fogging by a slight accidental light leak. Interesting that English films with strong regional accents and/or dialogue have to be subtitled in North America. Now I know why Hollywood had to remake Get Carter!  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 05-30-2003 01:11 PM                        quote: Hmmm...I've loaded my camera with photographic paper but never movie print stock. Print film has a very high contrast: Kodak VISION Premier Color Print Film Characteristic Curve (Sensitometry) of 2393 quote: I suppose it doesn't matter how fast or slow print stock is because in a printer you can hit it with as much light (and in a step printer, as long an exposure) as you like. In fact the slower the better, probably, as it would reduce the risk of fogging by a slight accidental light leak. Usually there's plenty of light, even in the highest speed contact printers. Generally, the slower the film, the finer the grains. Also, "Absorber Dyes" (provide the purple color of raw stock print film) are used to reduce light scatter in the emulsion to improve sharpness, since you have plenty of light.  |  IP: Logged Thomas Procyk Phenomenal Film Handler Posts: 1842 From: Royal Palm Beach, FL, USA Registered: Feb 2002 posted 05-30-2003 06:13 PM                     PERFECT!! That is going on the wall of the projection booth immediately! Oh, and you are incorrect, Mr. Pytlak: quote: Hey, at least 25% of lab splices are on the frameline. While that could be true, I think you meant One in Four lab splices occur on a frameline. We're talking probability, not necissarily statistics... quote: Since the film manufacturers usually supply print film raw stock to the larger release print labs as 6000-foot rolls, on average, there will be one lab splice in one 2000-foot reel out of three. See? MUCH better! =TMP=  |  IP: Logged Robert Harris Film Handler Posts: 95 From: Bedford Hills, NY, USA Registered: May 2003 posted 05-31-2003 09:59 AM                     Some twenty years ago, when estar based stocks were becoming a bit popular for projection, we produced a couple of Napoleon prints at a lab which will go unmentioned. For whatever reason, there were three to four splices per 2,000 roll. The print arrived at the venue and into the waiting hands of our crack projection team from Boston Light & Sound. It was Chapin Cutler who noted the oddity even before the print touched a sprocket. Someone at the lab had made all of the splices as if the print was acetate. If you simply held the splice between your fingers and pushed gently, it would come apart with a resounding pop. Over forty tape splices later... RAH  |  IP: Logged Stephen Jones Master Film Handler Posts: 314 From: Geelong Victoria Australia Registered: Jun 99 posted 06-01-2003 10:08 AM                     I reconised the scene soon as I saw it as we are currently screening Sweet 16.The language they are speaking is Scottish and is very broad or thick and can be hard for some peope to understand what they are saying hence the subtitles.As for myself I have no problems understanding what they say as my father in law spoke the same language (with out the bad language of course). Stephen  |  IP: Logged

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