British Kinematography (1950)

152 BRITISH KINEMATOGRAPHY Vol. 16, No. 5 MAINTENANCE OF 16 mm. PRINT QUALITY Read to the British Kinematograph Society Sub-Standard Film Division on I Ith January, 1950 I. THE RENTER'S PROBLEMS E. F. Bradley, M.B.K.S.* IN the past, some interesting papers have been given dealing with material for making release prints from 35 mm. production, particularly regarding sound.1 It is generally agreed that a re-recorded track with a 16 mm. sound characteristic is preferable to a reduction print made either direct from a 35 mm. negative or by using a 16 mm. dupe. The modern laboratory is efficient within present-day standards when making 16 mm. release prints, providing suitable material is available from which to make them, although on some occasions it is necessary to return sections for reprinting, due to faults which have been discovered on projection. An old argument is whether a renter of 16 mm. films should have to project each copy when received from the laboratory, thereby increasing overheads. In most cases the laboratories guarantee that all prints have been projected, and the necessary replacements made, so it would appear rather a waste of time and money in making a double check. Waxing The emulsion should have been suitably hardened. Waxing is to be strongly recommended, although opinions differ whether the additional outlay is justified. From tests between waxed and unwaxed prints, the following information has been obtained : — (a) If a print is going to be slightly damaged by scratching, waxing may save it, as the scratch may only penetrate the wax ; but if that scratch is fairly deep, then the film will be damaged whether it is waxed or not. (b) Waxing will assist in the projection of new prints and often save perforation damage. (c) If the gate pressure in projection is not correctly adjusted, waxing will often save a print becoming seriously damaged, especially when new. (d) The cost of having a print waxed is only a fraction of the normal cost of one hire. Storage In most libraries, 16 mm. film is stored on spools, and it is immaterial whether the stock is placed vertically or horizontally in the vaults. Temperature should be at 60 °F. and the atmosphere should be fairly moist.2 There is no standard of tolerance laid down for the shrinkage of a 16 mm. film, but I gather from Messrs. Kodak Ltd. that a film with a shrinkage of between 0.5 and 1 per cent, should not prove difficult to project. Where possible, it is wise to store a print for two or three weeks before shipping. Despatch The question of despatch next arises, and here our main problem is weight. The majority of film to-day is sent through the Post Office, and no parcel can be despatched which exceeds 15 lbs. ; in most cases this means that two packages have to be used for the average feature film. The weight of a 16 mm. film per 1,000 ft. is approximately 32£ ozs. which based on a 4,000 ft. feature, means that 8 lbs. will be taken up on film alone. This leaves 7 lbs. for spools, metal or cardboard containers and packing, etc. Some manufacturers have experimented with a type of centre bobbin and lightweight stays, which would hold a roll of film together so that the centre would not fall out. When the film is received by the exhibitor, it would be * Formerly Metro-Goldwyn-Mayer Pictures Ltd.