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J. I. CRABTREE AND C. E. IVES [j. s. M. p. E.
ing, so the overlay usually is made to resemble a ten to forty cycle variable area signal.
When a splice is "inked out" or "painted-out" in this way in the negative, it leaves an area of high transmission in the positive which is very easily scarred so that it might cause ground noise. In the positive, the "paint-out ".does its work very well. India ink has been used in this way but becomes brittle and develops very noisy cracks. An opaque lacquer has proven more satisfactory.
Improvement in the Method of Masking Out. — In a processing laboratory it is quite possible to make good "paint-outs" by applying a black lacquer with a fine brush either with or without the assistance of a stencil. In the hands of a skilled worker making many hundreds
FIG. 1. A typical "paint-out."
in a day, this method has proven satisfactory, but in the projection room of a theater different conditions exist. It is often necessary for the projectionist to make a number of splices in a few minutes when a new picture is received, and since he is not doing the brush work frequently, it is difficult for him to make a satisfactory "paint-out" quickly with the result that more noise is liable to be introduced by a poor "paint-out" than would have resulted from the splice in the first place. It was obvious that the solution of this problem lay not alone in the use of a quick drying lacquer, but in devising a rapid method of applying it.
Various types of stencils constructed of the following materials were tried: cardboard, rubber, inking roller gelatin, steel and rubber plated metal and steel. A slow drying lacquer or ink could be used with any of the above devices, but in the case of rapidly drying lacquers, if the brush contained sufficient liquid to make the film opaque with one or two applications, the more mobile, rapidly drying inks were sucked in under the edge of the stencil by capillary attraction,