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Author Topic: 70mm tone and pink noise Dick Vaughan Phenomenal Film Handler Posts: 1032 From: Bradford, West Yorkshire, UK Registered: Jul 2000 posted 02-14-2006 02:53 PM                        We desperately need some replacement 6 track 70mm pink noise and 1kHz tone loops for line ups. Anyone know anywhere that has this in stock please along with price per foot? Thanks  |  IP: Logged Pete Naples Phenomenal Film Handler Posts: 1565 From: Dunfermline, Scotland Registered: Feb 2001 posted 02-14-2006 03:16 PM                     And if you find out, drop me a line! In all seriousness, have you talked to Dion? He was involved with the almost roadshow efforts with '2001', which was probably about the last time any was striped.  |  IP: Logged Ben Wales Jedi Master Film Handler Posts: 602 From: Southampton. England Registered: Jul 99 posted 02-14-2006 03:34 PM                     I tried last year searching for the 70mm Dolby Cat131 & Cat132 Tone/Pink Test Loops, from what I found out last year, Dolby Labs in the UK no longer stock it, But I was able to order the 70mm Dolby Tone (I belive) and that was through Jack Roe Group. Also could try Bell Theatres if they have any left in stock left  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 02-14-2006 07:05 PM                     Which films do you need the tones and noise for  |  IP: Logged Tony Bandiera Jr Film God Posts: 3067 From: Moreland Idaho Registered: Apr 2004 posted 02-14-2006 08:19 PM                     Gordon raises a good point, for quite some time the Dolby tone and pink was unique to EACH PRINT as there were some variations in levels and response depending on the lab laying down the tracks. I'm not sure if there ever was a true standard for either Tone or Pink that could be counted upon to be valid for most (or all) prints.... Maybe Sam Chavez knows? edited spellin..  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 02-14-2006 09:20 PM                     Agreed, most were title specific, although I've found that (as an example) one Universal print to the next Universal print was generally pretty close. quote: Gordon McLeod Which films do you need the tones and noise for Indeed this would help. One of us may have an exact match we could loan you.  |  IP: Logged Pete Naples Phenomenal Film Handler Posts: 1565 From: Dunfermline, Scotland Registered: Feb 2001 posted 02-15-2006 02:16 AM                     Good point that, although it would be nice to be able to get some fresh stuff, just to be sure that the kit is working at all from time to time, it's not fun to get called in 2 days before a 70mm screening, check the sound through with the prints own town and noise (if any), and find problems, which you then struggle to nail down to the kit or the print. Still, it's so little used these days that I'm not surprised that the economy police have killed off production of test films.  |  IP: Logged Jonathan Worthing Master Film Handler Posts: 384 From: Hereford, UK Registered: Apr 2001 posted 02-15-2006 06:14 AM                     Dick Give me a call & I will see if we can help. Jonathan  |  IP: Logged Louis Bornwasser Film God Posts: 4441 From: prospect ky usa Registered: Mar 2005 posted 02-15-2006 09:02 AM                        Yes, title specific. However, the "Dolby standard" (higher level wider tracks) are all nearly the same. Louis  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 02-15-2006 10:40 AM                     I found Universal was very consistant title to title but even dolby encoded sounded at other facilities and different oxides were all over the place on both level and EQ. I kept one loop of noise and tone for any film I ever aligned so I have a very large stash of material and I used to make R2 comparison files to the teccon loops but I lost most of those and the teccon test material is no longer available  |  IP: Logged Jack Ondracek Film God Posts: 2348 From: Port Orchard, WA, USA Registered: Oct 2002 posted 02-15-2006 10:54 AM                        quote: Gordon McLeod I found Universal was very consistant title to title but even dolby encoded sounded at other facilities and different oxides were all over the place on both level and EQ. I've never dealt with this, but it is an interesting subject. For Gordon or Louis: In broadcast equipment, switching tapes around was discouraged, because many tapes required different recording bias and eq settings. However, these settings were used to bring the tape's PLAYBACK as close to the NAB standard as you could get, so they could be played back on most anything. From that background, I'm curious why there should be any real deviation on films that would require print-specific tone sets at the playback site... unless the labs didn't have their recorders calibrated to the same standard in the first place???  |  IP: Logged Sam D. Chavez Film God Posts: 2153 From: Martinez, CA USA Registered: Aug 2003 posted 02-15-2006 11:00 AM                       70mm recordings did indeed wander all over the place as to level and response. You could not even trust the recording direction to be the same as the picture frames as there were diferences in level and EQ running "Heads Up" and "Tails Up". I had one 1000 Ft. roll where the recording was clearly done tails up and projectionists would invariably, if they were any good, thread it heads up but the dialouge was backwards. I even had one test roll where the mag stripes were somehow applied to emulsion side and stuck yet. Tom Holman did some great work getting different studios to get onto one standard and staying with it as there was a big print run on wither Return of The Jedi or Indiana Jones that could not be filled using one recording facility. The quality of the HF response improved to the point that Dolby MPU preapms had to be modified to lower the mid and HF response to "flat". The last 70mm Mag tracks I saw a few years back came from a British faclility and the Mag stripes were so thin you could see through them. Sounded pretty bad too. I, like Gordon nce had a giant box of loops on every 70 release, but they are probably in some warehouse at Dolby Labs.  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 02-15-2006 05:22 PM                     My favorite was receiving some test film in advance of the film and then finding the R-1 can also had test film for the feature...the two test films did not agree with each other on level or response. Which do you go with then? The problem is when the test film is sounded versus when the print is sounded and how things have worn at that point. The goal is to have test film that was sounded at the same time as the print was so you have a match. One trick I've used with great success is to play the "leader" of the print and listen for the "slate" which is normally some guy stating what the track is and also the sync pop. The sync pop will often give you a good feel for the channel balance on the reel since it is applied to all tracks. At the Uptown, we ran an old print of Raiders that had faded a bit...there were complaints on the sound until I came in on my Saturday shift and ran the slate...I set the levels based on the slate tone and whola...everything came into balance AND the levels were now tracking right for the Cat 22s. The problem was that Raiders was pre-1983 and the recording levels were lower (as were the tracks skinner on the heads themselves). This lower level had the NR circuits mistrack.  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 02-15-2006 09:49 PM                     often if I have a title with no noise available for I will play a reel with only one channel live (centre) and adjust by eaar what sound acceptable then run a noise loop and set the other channels to match and then replay the reel listening for music and other variables  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 02-15-2006 09:59 PM                     If I don't have actual noise and tone, I start with a loop from the same vintage/studio if there is no noise or tone on the leaders. I then run the actual film and get the LCR balanced and sounding good, then add the surrounds and sub tracks until I am satisfied with the overall sound. It isn't perfect, but there's not much you can do without the proper loops. What I hate is when some bonehead has "built" a good print between multiple prints! Almost always the sound quality changes drastically at their splices or between reels.  |  IP: Logged

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