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636 Transactions of S.M.P.E., Vol XI, No, 32, 1927
Mr. Gray: Those I am using are 6.5'' equivalent focus. The important point in this matter is the relative aperture at which the lens is working rather than the focal length. When the lens is working at high speed, the depth of focus is slight and much refocusing may be necessary. When working at a low speed, perhaps no difficulty at all will be experienced.
Mr. Cuffe: With regard to buckling: I think that one of the causes is that new film dries quicker along the sprocket holes than in the center, so that the outside is shorter than the center of the film, which causes it to buckle. A thoroughly dried out film will not buckle.
Mr. Crabtree: I think the fact that different portions of the film buckle to different extents can be explained by the difference in moisture content of different sections of the film. When assembled, probably one scene has been dried excessively and another section has not been dried to the same extent, so that they are in equilibrium with atmospheres at different humidities. In the projector, the gelatin coating of the moist film shrinks more and therefore buckles more than the coating of the dry film.
There are several ways of diminishing the tendency of film to buckle. One very obvious way would be to make the film base thicker, but this costs money.
Toning with uranium gives a warm brown or red image and changes the size of the silver grains, and we observed that the tendency of the film to fire was about one-quarter that of a black and white image. The buckling is due to heat, so that if we can reduce the degree of heat absorption of the film, we will reduce the tendency of the film to buckle.
Mr. Richardson: Is not a great deal of film buckling trouble during projection caused by improper drying of the film? Would it not be possible to establish a standard for drying, so that the film would leave the laboratory in the best possible condition for use?
I was impressed by Mr. Gray's remark that the poor condition of films received by projectionists often discouraged them from making any attempt to care for them properly or from making any especial effort to prevent damage to them while in their possession. For example, I presume I am well within the limits when saying that during the seventeen years I have been technical editor of the Moving Picture World I have received ten thousand complaints concerning punch hole change-over markers in the tail end of reels of film. Every possible effort has been made to lessen or eliminate this evil. The