posted 12-20-2004 11:14 AM                       

quote:

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6.2 Motor cue
The motor cue shall consist of black circles or clear
circles, printed from a negative which has had four
consecutive frames marked as shown in figures 6, 7,
and 8 for 16-mm, 35-mm, and 70-mm films, respectively.
The position and dimensions of this mark shall
be as given in table 1. Following the four frames
containing the motor cue, there shall be 172 frames
to the beginning of the changeover cue.

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quote:

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6.3 Changeover cue
The changeover cue shall consist of four frames
containing circles of the same dimensions and position
on the frame as those in the motor cue. Following
the four frames of the changeover cue, there shall be
18 frames to the beginning of the runout section of the
trailer.

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posted 12-20-2004 01:15 PM                       

quote: Tim Reed

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And why are they doing this?

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To conform to the current SMPTE standard, which has now also been accepted worldwide in the International Standards Organization (ISO). Jess Daily of the UCLA Film and TV Archive has noted the desire for all release prints to follow SMPTE 301-1999 in several recent meetings of the Intersociety Committee for the Enhancement of Cinema Presentation. It matters to those who want "Changeovers Done Right".

quote: John Hawkinson

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Would it be appropriate for you to use your communication channel to inquire about Deluxe's habit of attaching black with a white vertical bar on the opposite-soundside of the image? If you need an example, I'll get you one, but I think there are pictures on this site from prior threads.

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posted 12-20-2004 02:40 PM                      

quote: John Pytlak

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It matters to those who want "Changeovers Done Right".

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I did changeovers right before. Now, the new timing will screw it up if I ever get to make another. But I see why they moved the first cue 4 frames closer: to lay the first frame of the first cue on the 11 ft. mark, instead of the last frame. And, closing up the 1-second timing on the last cue is because the MTV generation reacts faster.

posted 12-22-2004 12:39 PM                       

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History
For many years the "Academy Leader" was in general use. In this leader the count-down was based on 16 frames of 1 foot of 35mm film, a holdover from the silent films in which the 16-frame spacing was equated in terms representing feet of film or seconds in running or projection time.

In 1950, the growing use of film in television production made it evident that some changes were highly desirable. An SMPTE Subcommittee under the chairmanship of C. L. Townsend was set up to revise the Academy Leader to fulfill the new requirements. This subcommittee, in cooperation with producers, laboratories, projectionists and broadcasters, developed a new All-Purpose Leader, commonly called the Society Leader; it was accepted for trial and has since served the industry. That Subcommittee considered 24-frame spacing for threading cues; but the change in spacing was dropped to avoid confusion.

Since 1951, private and commercial use of 16mm and the use of 35mm and 16mm film by television broadcasters has increased rapidly. In 1958, the requirement for 24-frame, 1-second, spacing of threading cues, to fit in with projection and TV cuing practices, was again brought to the attention of officers of the SMPTE and was passed by them to the Television Committee Chairman, W. T. Wintringham, for action.

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quote:

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Although it was not to become part of the leader, in order to standardize on the seconds basis, the spacing of the motor and changeover cues has been reduced from the present 172 frames to 168 frames or 7-sec running time. The Subcommittee had hoped to reduce the changeover cue to 5 sec but yielded to pleas for more time to permit older machines to reach stable operating speeds.

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