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Motion Picture Laboratory Practice for Television*
BY ARTHUR J. MILLER
CONSOLIDATED FILM INDUSTRIES, NEW YORK 19, NEW YORK
THE USE OF MOTION PICTURE FILMS in television has brought with it a variety of problems, both for the producer or the user and for the laboratory making prints for such use. These remarks will be confined to the subject of picture quality on 16-mm films for use in television.
There are three controllable factors which can be considered in the production of an acceptable film for this use: definition, contrast of the print, and print density.
The definition of the print is first governed by the definition of the material from which the print is made. No print can be sharp if the original material used is lacking in definition because of improper focus of the camera, dirt, or moisture on the lenses, or any one of many factors.
Assuming that we have a negative or other original material which has as good definition as can be obtained, then the factors controlling the ultimate definition of the print used for television are limited to the equipment used in the laboratory, and the inherent limit of definition in the stock used for the print.
If the print is made by reduction from a 35-mm negative, it is essential that the printer used for this purpose be maintained in the highest state of mechanical and optical perfection.
Two types of printers are commonly used when making contact prints. One is the continuous printer which is most commonly used in all production work and in which the negative and positive films are moved continuously past an aperture during exposure, while being carried on a sprocket.
Contact and definition in this type of printer are dependent largely on the shrinkage of the negative in relation to the positive and the amount of curl inherent in the two films. Tension is applied during printing to keep these effects at a minimum, and it goes without
* Presented April 4, 1949, at the SMPE Convention in New York. 1 12 AUGUST, 1949 JOURNAL OF THE SMPE VOLUME 53