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MANAGERS AND PROJECTIONISTS 1011
reel. It then follows that in all Vitaphone films there are fifteen unnumbered frames between each pair of numbered ones, hence the position of each foot of film is indicated, and the exact position of each single frame may be readily located.
Nor is that all, for in addition there is, in all synchronized productions, other locating numbers upon the edge of the film by means of which the scene number of the picture may be determined. These numbers are easily distinguished from the footage numbers just described, because on either side of them appears a dash, thus — 134 — , whereas the footage numbers have no such marking. Should it occur that the footage and scene numbers come into conflict, the footage number is omitted, though it is nevertheless counted in the sequence. Therefore, should a footage number be missed, one will be found when a total of thirty-one frames have been counted.
You will thus see that it is a simple matter to (a) ascertain whither or no any frames have been cut out by some former projectionist who was obliged to make a splice, and if so exactly how many. If there are only eleven frames between two consecutive footage numbers, then you know that 16 — 11 = five frames have been cut out. (b) Order the exactly right frames to make replacement, if it is necessary or advisable so to do. There are, I repeat, fifteen frames between each set of consecutive numbers. If on one side of a splice the footage number was 287, and there were six frames between it and the splice, and on the other side there was number 288, with two frames between it and the splice, then you know that frames 294 to 301, inclusive, have been cut out — seven frames in all.