Theatre Catalog (1946-47)

is ineffective for the edges take up moisture faster than the remaining emulsion surface, and uneven moisture content is conducive to buckling. A somewhat primitive, but fairly effective, method of re-humidifying dry film is to run it on a continuous projector in a properly humid atmosphere with the lamp turned off so there is no heat and the film moves continuously, repeatedly exposed to cool, moist air in passing through the projector. CLEANING AND WAXING There are machines that clean, wax or moisten film, but ordinarily neither these nor other elaborate film handling facilities are found in libraries. In the absence of a special cleaning machine, during rewinding film may be passed through a folded pad of plush, moistened with carbon tetrachloride. As a precaution, there should be good ventilation or an exhaust fan, to remove carbon tetrachloride vapors, which cause serious illness if inhaled to excess, although with good ventilation there is little danger. Carbon tetrachloride should not contain impurities that might attach the image during long storage, if liquid is entrapped in the roll by rewinding: so rapidly fluid cannot all evaporate from the film. FILM DAMAGE FROM REWINDING A frequent cause of film damage is improper or damaged equipment, or improper rewinding. If rewinders are not in alignment, an edge of the film will ride against one flange of the reel, cavsing wear, cuts, or nicks if the reei is damaged or bent, or if sharp edges or burrs remain aiter it has been stamped in manufacture. Such damage might be minimized if hetter quality reels were in universal use. Assuming all rewinding equipment is in good order and properly aligned, another common source of film damage is cinching, when rewinding is started with a sudden jerk, or during rapid rewinding when the unwinding reel is stopped abruptly. Any sudden jerk during rewinding will tighten the roll so various convolutions of film slide against one another. If there are abraded surfaces or particles of dirt on film when it is cinched, they wili scratch the film surfaces with which they come in contact. FILM STORAGE For good storage, film should heave moisture content in equilibrium with air having relative humidity of 40 to 50 . per cent at temperatures of 70 to 75 degrees Fahrenheit before it is placed in containers. If film is to be stored for a long time, it should be removed from metal reels, spooled on laboratory cores, and wrapped in chemically pure photographic wrapping paper, as used by manufacturers for packing unexposed film. When very long storage is intended, it is desirable to have moisture content in the film in equilibrium with air having relative humidity of 40 to 50 per cent, as before, but with lowering of temperature to 50 or 55 degrees Fahrenheit. Probably few libraries have such temperature control, but without it, film can be stored in a room at normal 572 temperature, with relative humidity of 40 to 50 per cent, as suggested. RENOVATION; SCRATCH REMOVAL After a film bas been in service for some time, it may show serious deterioration from scratches in the emulsion, the base, or both. Sometimes a worn print can be improved by a renovating or scratch-removal process, provided that scratches and abrasions are not too serious and perforations are not badly nicked or torn. Commercially available scratch-removal processing is sometimes helpful in restoring valuable film. But scratch-removal is a cure. Since prevention is better than cure, it is better to minimize wear and tear by proper film handling at all times. EDUCATION FOR PROJECTION Libraries might cooperate to educate their customers and raise the level of 16-mm., projection. As with libraries circulating books, or any other rental organization, damage to property through willful ignorance or flagrant carelessness should be charged to those responsible, and provision of penalties might be a stimulus to film renters or projectionists who have no interest in careful treatment of prints. Every film shipped from the cooperating libraries might carry a standard printed form with space for a statement of film condition, record of existing minor damage, and number of splices, copied from the print record file. <A further paragrarh, listing bad projection practices, could end with a warning. Of course, application of such a_ policy should be tempered with reason, since the prime objective is the education and cooperation of film renters. FACTORS IN SHORT PRINT LIFE The chief factors leading to shortening of service life of 16-mm. films may be listed as folluws: Laboratory—(1) Insufficient hardening; (2) too rapid drying; and (8) insufficient drying or over-drying of film. Projection—(1) Projection of green film; (2) scratches from emulsion deposits and dirt: (8) abraded aperture plate; (4) stuck rollers; (5) pulled or torn perforations from improper threading; (6) cinching of film in rewinding; (7) use of imvroperly aligned rewinders, and cheap or damaged reels, causing edge nicks; (8) excessive heat in projection; (9) rapid rewinding before film cools; (10) continuous projection in a warm or dry atmosphere; (11) stopping continuous projectors without first turning off lamp so film and mechanism cool down; (12) improper storage of film between periods of projection. Library—(1) Green film sent out when first received from the laboratory without proper aging; (2) failure to clean film when necessary; (38) failure to humidify film when necessary; (4) failure to detect film damage because of careless inspection; (5) improper splicing; (6) cinching during rewinding; (7) edge nicks from improperly aligned rewinders and cheap or damaged reels; (8) improper storage with excessive temperature and insufficient moisture. LIST OF RECOMMENDED PRACTICES Consideration of these factors leads to the following recommended practices, tabulated in “do” and “don’t” form upon request for this as a list for cenvenient reference: Practices to Be Followed in the Library (1) Deal with reputable laboratories, since this is the best assurance of obtaining properly processed films. (2) Store new films for a week or more before projection. (3) Inspect prints upon their return to the library. (4) Have inspectors wear white cotton gloves. (5) Clean film at proper intervals. Be sure there is adequate ventilation if volatile cleaning fluids are used. (6) Humidify films when necessary. This cannot be effected properly by merely storing a roll of film in a moist atmosphere. (7) Make neat, strong, splices. (8) Rewind film carefully to avoid cinching. (9) Be sure 1ewinders are properly aligned. (10) Discard cheap or damaged reels that will scratch or nick film. (11) Store film in atmosphere with relative humidity of 40 to 50 percent. Temperature snould be maintained at 50 to 55 degrees Fahrenheit if possible, (12) Allow an hour or more for roll of film removed from cool atmosphere to warm up to room temperature before projection. This prevents condensation of moisture that may cause sticking in projectors. (18) Keep record of every print, listing its condition and any new damage or deterioration that occurs when out of library. (14) Adopt pclicy of placing responsibility for damage and charges for replacement upon the film renter if the print suffers from projection or handling away from the tibrary. (15) Adopt reasonable standard forclassification of print condition during service life, and a minimum standard after which films are discarded. These classifications might be standardized by a Committee appointed by co-operating film distributors. and proper List of Practices to be Avoided (1) Do not project green film until a week or more after it is received from the laboratory, (2) Do not store films upon their return without inspecting them. (3) Do not fail to clean and humidify films when necessary. (4) Do not fail to cut out damaged portions and faulty Splices. (5) Do not imake splices that cannot serve as a quality standard for splices made by film renters. (6) Do not rewind film at a rapid rate, with sudden acceleration or deceleration that will lead to cinching. (7) Do not use rewinders if they are not perfectly aligned, (8) Do not use cheap or damaged reels that will cut, nick, or scratch film. THEATRE CATALOG 1946-47