Motion Picture News (Oct-Dec 1930)

October 11, 10 3 0 Mot i o n Pic t it r e X e w s 33 Specifications for 35 mm Release Prints Blue Print Chart, Section 2 Plctur, MOTOR CPE Shall be circular opaque aarks with transparent outline 'printed from the negative which has had four consecutive francs punched with a serrated edge die ,094 inch in diameter. The center of these holes is to be half-way between the top and second sprocket holes .281 inch from the right-hand edge of the film with heads up and emulsion toward the observer. CHANGE-OVER CUE Shall be the same as Motor Cue. RUNOUT TRAILER Shall be opaque. IDENTIFICATION TRAILER (End-of-part title) Shall contain not less than 52 frames in each of which is plainly printed in black letters on white background: End of Part, part number (Arabic numeral not leas than fc of frame height), and picture title. PROTECTIVE TRAILER Same as protective leader. Running + Direction | Emulsion up. charged for it, and that a complete new leader or run-out be used each time rather than making patches. 2. The protective leader and the protective trailer attached to the front and end of the leader and run-out respectively are intended to facilitate threading and protect the rest of the print. When either leader has been whipped down to four feet, the length should be restored to six feet by the exchange inspector before sending that reel out again. 3. It is suggested that the nomenclature of the parts of a print be thoroughly understood and used by all exchange employees handling prints. 4. It is important that the exchange stamp or print the words STANDARD PRINT MAKEUP on the band of every reel which fulfills the standard specifications. Makeup of Reels In the Studio The standard print will be a distinct convenience to the studio cutter and in the handling of negatives through the dubbing processes. 1. While each reel division involves an individual problem in cutting it is recommended that picture action start and finish on fades wherever possible. Otherwise significant sound should be kept at least five feet from the start and finish of the picture. This extra footage insures steadying down of the projector carrying the incoming reel before significant sound is reproduced and Heavy Campaign To Educate All Projectionists also allows a margin of safety on the change-over. 2. In the case of change-over on a fade, the fade itself is considered as "picture" in the terms of the specifications. The changeover cue will be put 12 feet and the motor cue one foot from the end of the fade. The six feet of opaque run-out trailer is in addition to the fade. 3. The line across both picture area and sound track twenty frames ahead of the start mark frame will serve as the base for all matching of sound track and picture in making up the original negative. 4. The protective leader and the protective trailer of course apply specifically to the release print. However, these lengths of either transparent or raw stock can with advantage be carried through most of the studio operations. 5. The form of the part title is definitely specified. The part title is to occupy at least the first 32 frames of the Identification Leader. It may be extended to the entire four feet if desired. Otherwise the second 32 frames may be left blank or provide space for cueing or other instructions according to individual studio policy. 6. As the Synchronizing Leader is uniform for all prints it is only necessary for the cutting department to specify it to the laboratory. If these leaders are applied by the cutting department to sample prints, care should be exercised to see that the synchronizing leader has been retained in its full length. 7. The visible signal will show as a black dot against light background and as a white circle against dark background. No special cutting is necessary on account of the signal. Development of Release Print Makeup Standard Efforts to improve the make-up of release prints and change-over cues were begun in Hollywood more than a year ago. The confusion and complete lack of uniformity among studios was one of the byproducts of the abrupt introduction of sound. Until the more urgent production problems could be taken care of many important factors contributing to the presentation of the picture had to wait. In September of last year the need for correlating practice in the makeup and handling of release prints was recognized and a committee was formed by joint action of the Technicians Branch of the Academy of Motion Picture Arts and Sciences, the local chapters of the American Projection Society, the American Society of Cinematographers and the Society of Motion Picture Engineers. This committee included: Sidney J. Twining, chairman, manager of sound track laboratory, Paramount-Publix West Coast Studios; N. H. B rower, then president of the Xos Angeles Film Board of Trade : A. J. Guerin, manager of Plant No. 7, Consolidated Film Industries, Inc.; Sidney Burton, president of the California Chapter. American Projection Society; Gerald F. Rackett, then manager of the Techni(Contimted on Page 34-D)