American cinematographer (Jan-Dec 1960)

iDIVIDENDS Edge-numbering of processed motion picture film plays a most important role in simplifying editing techniques and assuring positive synchronization of the picture and sound tracks in the least amount of time. In the beginning, and for many years after, in the motion picture industry, matching of the negative and positive was accomplished by matching the action. This method was slow at best, tedious and generally unreliable since it de¬ pended completely on the eyesight of the individual and this was, of course, hardly foolproof. In the mid 1920’s, Joe Aller of the Rothacker & Aller Laboratory in Hollywood, devised and patented a method of applying footage numbers on film with quick drying ink in a manner similar to the operation of a printing press. This technique was immediately successful for it proved to be a tremendous time saver and eliminated the possibility of human error. When sound was introduced to the motion picture indus¬ try in 1928, it not only played an important role in the revitalization of motion pictures, but caused edge-number¬ ing of film really to come into its own, since it provided a positive method of synchronizing the picture to the sound track in a practical and economical manner. Today, all raw stock manufactured in this country car¬ ries a key number on one edge which can be used for identification. However, during the period when the editor is cutting the work print, these key numbers are no longer consecutive and it is to the film editor’s advantage to apply his own edge-numbers in a consecutive order for simple filing and quick identification. The film editor notes the edge-numbers of each scene of the cut dailies in a master log. Thus when editing of the entire film has been completed, the negative cutter is able to cut the negative picture and sound track to match the completed work print. Edge-numbers are printed photographically on 35mm release prints so that film exchanges can order replacement sections of damaged prints by using the code numbers. Edge numbering of motion picture film is accomplished by depositing ink from a fountain onto a rubber roller which is then applied to a revolving metal numbering block that prints the inked numbers in numerical sequence on the base side of the film at given intervals (every 16 frames or 1 ft. on 35mm and every 40 frames or 1 ft. on 16mm) . The numbering block usually consists of two letter wheels manually operated and four number wheels going from 0000 to 9999, which are mechanically operated. The num¬ bers are applied to tbe base side of the film and printed photographically onto the daily prints. By changing let THE MFC EDGE-NUMBERING machine which can print edge-numbers on motion picture film at speeds up to TOO feet per minute. ters in numerical continuity, hundred of thousands of feet of film can be thus coded. Rapid-drying inks in black, red or yellow are used for edge-numbering, and festooning rollers are used to lengthen the drying cycle, thus assuring that the ink will be dry before the film is taken up. Black ink which is most difficult to eradicate is used when permanent numbering of tbe film is desired. Red ink is most widely used on striped magnetic film since it lends itself to easy removal for magnetic film re¬ claiming. Yellow ink is generally used for numbering 16mm color film since it is a color most easily read when applied on a black background. Hollywood Film Company, Hollywood, manufactures a film edge-numbering machine that is widely used in the industry’s studios and film laboratories. The HFC machines handle a maximum of 3,000-ft. of film on reels or flanges at one time and apply edge-numbers at a normal rate of 100-ft. per minute. When there is a black edge on 16mm film, which pre¬ vents printing edge-numbers photographically in the film printing process, the required edge-numbering can be per¬ formed on the HFC machine, which employs a directreading numbering block for this operation. In addition, the machine can be set to simultaneously apply synchro¬ nized numbering to both the original and the duplicate reversal print. Thus, when both films are placed in a synchnonizer, the frames will match because the edge numbers will be adjacent. Continued on Page 188 MARCH • 1960 165