|  IP: Logged

 |  IP: Logged

 |  IP: Logged

When that happened, the width of the splice line got just a hair-bit wider. In order to compensate for that, SMPTE declared that aperture plates be made just a hair-bit smaller (in the vertical dimension) to cover the white mark left by the wider splices.

This is not a problem with FLAT prints because only SCOPE prints will use the whole frame. FLAT prints only use (approximately) HALF the area of each frame. Fat frame lines don't matter.

What is likely to be happening to you is one of two things:
(Or both)

1. Your aperture plates are still filed to the old standard and the fat frame lines are showing through when you come to a scene/camera change.

2. You are framing your picture just a hair-bit too high or low. Try adjusting your framing knob just an wee bit up or down and see if you can't make it go away.
   

True, some films may have bad, out of place or non-standard frame lines which will exacerbate the problem. In which case you probably just have to live with it and be secure in the knowledge that 90% of the people out there don't have the "mental bandwidth" to recognize it.

If it's just one or two prints every once in a while, don't worry about it. There's not a lot you can do. IF you have this problem a lot, especially if it happens on more than one projector in your complex, call your tech and have him make you new aperture plates to the new SMPTE standard.

 |  IP: Logged

quote:

---

Editors and lab operators had to switch to ultrasonic splicers.

---

Isn't polyester used only in release prints?

 |  IP: Logged

 |  IP: Logged

I have handled unmarried Estar work prints and Estar dailies, and am pretty sure that all other production stocks (except for the camera negative itself, which has to be 'breakable' in case of a potentially expensive and disastrous film jam inside of a camera) are now Estar based.

Dave W.: XXX is from Sony.

------------------
Better Projection Pays!

Duplicate negatives used for release printing use either triacetate base or polyester base. With modern high speed printing, polyester base is usually preferred by the labs. Splices between scenes are RARE in a duplicate negative:
here Kodak VISION Color Intermediate Film
here Kodak Intermediate Film Catalog

SMPTE Recommended Practice RP111 specifies the dimensions of splices, and notes the need for less overlap (dimension A) when splicing anamorphic negatives. However, some labs/negative cutters prefer the greater reliability of a slightly wider splice, which can result in visible splice lines at scene changes.

Splice lines can be completely eliminated by using A/B roll printing and "checkerboard" splicing with "zero cuts" when printing the spliced negative:
here ACVL Invisible Splice Technique

------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Research Labs, Building 69, Room 7525A
Rochester, New York, 14650-1922 USA
Tel: +1 585 477 5325 Cell: +1 585 781 4036 Fax: +1 585 722 7243
e-mail: john.pytlak@kodak.com
Web site: here

 |  IP: Logged