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This topic comprises 3 pages: 1 2 3
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Author
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Topic: Soundtrack UP or DOWN?!?!?!
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Scott Norwood
Film God
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Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99
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posted 05-01-2001 07:23 AM
What kind of corporate policy is that? Wouldn't it be better to have a corporate policy about "don't damage film" (maybe something like "you break it, you buy it"?) rather than having one that basically says "we know that you will damage the film, but at least this way it will get damaged in a less offensive way"?
To my way of thinking, the only legitimate debate here is emulsion-in versus emulsion-out winding. I'm sure that others (Brad, John P., Steve G., etc.) will have plenty to say about this.
I suppose that the other possible issue is standardization: if one theatre starts doing something "weird" and employees from another theatre have to go there and run the booth someday, things will tend to run better if things tend to work in mostly the same way as they do in other theatres. That would tend to be a very good argument for soundtrack-up orientation, since that seems to be common in most theatres (just like "S-wind" for reel-to-reel booths). Any deviation from this would have some potential for causing problems for employees who were familiar with the "standard" configuration. Whether this is an issue probably depends on the degree of turnover of the employees in a particular theatre. In any case, I do think that every theatre that has any sort of house-specific procedure ought to post a notice to this effect above the booth desk or rewind bench, along with information like the proper placement of automation cues (if using automation), typcial order of trailers, etc.
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John Pytlak
Film God
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Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 05-01-2001 08:11 AM
SMPTE Recommended Practice RP 39-1993 has "Specifications for Maintaining an Emulsion-In Orientation on Theatrical Release Prints". This recommended practice was based on work by Paul Preo and Eric Yavitz of Kodak, reported in the June 1965 SMPTE Journal, "Effect of Winding on the Projection Performance of 35mm Motion-Picture Film". Preo and Yavitz documented a significant improvement in screen image quality when 35mm theatrical release prints were wound, used and stored consistently in an emulsion-in orientation, including minimal focus drift and a much lower tendency toward flutter and in-and-out of focus. BUT, their work was based on the performance characteristics (e.g., curl, core-set) of TRIACETATE base film, using small-hub (2000-foot) reels. Unfortunately, a similar study has not been done for today's POLYESTER print films which have different curl and core-set characteristics, or with platter performance. That said, many on Film-Tech have noted that POLYESTER prints usually perform better when wound emulsion-out (analog soundtrack up) on a platter. With platters, the effect of winding orientation on focus flutter is much less important. Compared to a core or reel, the hub diameter is much greater, so there is little "core-set". The preferred winding orientation on a platter depends mostly upon the curl of the film, which in turn, depends upon the relative humidity in the projection room. Use the orientation that gives the best winding quality, and the least tendency for "static cling" in your situation. It may vary with the humidity. ------------------ John P. Pytlak, Senior Technical Specialist Worldwide Technical Services, Entertainment Imaging Eastman Kodak Company Research Labs, Building 69, Room 7419 Rochester, New York, 14650-1922 USA Tel: 716-477-5325 Cell: 716-781-4036 Fax: 716-722-7243 E-Mail: john.pytlak@kodak.com Web site: http://www.kodak.com/go/motion
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John Pytlak
Film God
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Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 05-02-2001 09:16 AM
Brad said:"All polyester film comes with a negative curl. Lay a short strip of film emulsion down against the surface of a flat table. Note only the edges touch the table. Now lay the film emulsion up, away from the surface. Note that the edges of the film no longer touch the table, but the center of the film does." Not always the case. Curl depends mostly upon the relative humidity tha film is equilibrated to. Film emulsion is mostly gelatin, which expands as it absorbs moisture, and contract as it dries out. Polyester film base is very stable as the humidity changes, so when the humidity changes, the film's curl will change as the emulsion shrinks or expands relative to the base. Processed print film is designed to lie flat between 50 and 60 percent relative humidity. As the humidity gets below 50 percent RH, the emulsion shrinks more than the base, causing the film to curl inward toward the emulsion. This is termed "POSITIVE" curl, not negative as Brad described. In really damp conditions, the gelatin emulsion may absorb enough moisture to expand and cause the film to curl toward the base side -- this is termed "NEGATIVE" curl: Definition of Curl Description of Curl Under very dry or very moist conditions, there may be enough positive or negative curl to cause winding difficulties (e.g., spoking, roll taking the form of a polygon rather than a circle). Use the winding orientation that give the best winding quality and least tendency to pull in with "static cling": Platter Patter article ------------------ John P. Pytlak, Senior Technical Specialist Worldwide Technical Services, Entertainment Imaging Eastman Kodak Company Research Labs, Building 69, Room 7419 Rochester, New York, 14650-1922 USA Tel: 716-477-5325 Cell: 716-781-4036 Fax: 716-722-7243 E-Mail: john.pytlak@kodak.com Web site: http://www.kodak.com/go/motion
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