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Author
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Topic: Where is the proper place to cut following the second set of change over cues?
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John Hawkinson
Film God
![](http://www.film-tech.com/ubbmembers/1135b.jpg)
Posts: 2273
From: Cambridge, MA, USA
Registered: Feb 2002
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posted 05-04-2008 07:29 AM
Frame counters and sync blocks are rare items in most US booths, and they are relatively expensive, several hundred dollars new (though you can get them used for $50-ish).
For this sort of thing (counting short frame lengths), I recommend a paper blotter on the bench. We put down a length of film (at least a second, more if you have room) and trace the outline onto the paper, mark the paper through the perfs with a marker, and remove the film. Mark the frame boundaries with a ruler and label each frame with its number. It makes it really fast to count a small number of frames (under a second), and costs you nothing.
Takes you 5 minutes to make and ours last around 6 months.
By all means, hunt for a sync block, but in the meantime, this is a useful tool for any booth.
--jhawk
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John Hawkinson
Film God
![](http://www.film-tech.com/ubbmembers/1135b.jpg)
Posts: 2273
From: Cambridge, MA, USA
Registered: Feb 2002
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posted 05-04-2008 11:08 AM
You'd score extra points in my book if you retitled the thread But sometimes I feel like I'm on a one-man campaign. (Sorry, Brian and Sean -- three-man!)
Anyhow, basically everyone here is right. 18 frames is the answer for the vast majority of modern release prints from Deluxe and Technicolor. But if you have an odd title, an arthouse title, a foreign title, a print from a foreign lab, or an older title, it pays to check (Prior to 2001 or so, Deluxe and Technicolor put the cues in different places). Ideally you should be able to find a reel where it is unambiguous and check it, and then use that as the standard for the remaining reels.
--jhawk
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