http://www.sprocketschool.org/w/api.php?action=feedcontributions&user=Kyle+Westphal&feedformat=atomSprocket School - User contributions [en]2024-03-29T06:44:58ZUser contributionsMediaWiki 1.40.0http://www.sprocketschool.org/w/index.php?title=Film_stock&diff=3488Film stock2021-04-03T17:33:58Z<p>Kyle Westphal: </p>
<hr />
<div>*identification<br />
*date codes<br />
*storage<br />
*dye fades<br />
*how and why we use edgecode charts<br />
<br />
==Edge Codes ==<br />
* Searchable film stock database: https://filmstocks.info/<br />
* A comprehensive guide to Kodak edgecodes can be found [https://www.kodak.com/uploadedfiles/motion/Guide_to_Identifying_Year_of_Manufacture.pdf here], with a handy printable PDF [https://amianet.org/wp-content/uploads/Resources-Film-Data-Code-Chart-Kodak.pdf here]<br />
*[https://www.kodak.com/uploadedfiles/motion/Guide_to_Identifying_Year_of_Manufacture.pdf A Guide To Identifying the Year of Manufacture from Kodak].<br />
* AGFA optical sound recording film stock, edge code will say "AGS": http://www.agfa.com/docs/sp/motionpictures/st8d_en.pdf<br />
* A great page for [[16mm]] film stock identification can be found [http://www.paulivester.com/films/filmstock/guide.htm here]. Many of these tips are applicable to [[35mm]] as well.<br />
* Another good page for film stock I.D [http://www.afana.org/preservation.htm#Storage%20and%20Preservation/ here] <br />
* Some film stocks do not have edge codes pertaining to year, such as [http://www.example.com ORWO].<br />
* [http://www.brianpritchard.com/IMPF.htm Excellent "tools for identifying motion picture film" both 16mm and 35mm from Brian Pritchard]<br />
<br />
==See Also==<br />
*[[Inspection]]<br />
*[[Film base]]<br />
<br />
<br />
[[Category:Film prints]]<br />
[[Category: Film handling]]</div>Kyle Westphalhttp://www.sprocketschool.org/w/index.php?title=Hard_matte&diff=3487Hard matte2021-04-03T17:27:10Z<p>Kyle Westphal: </p>
<hr />
<div>[[File:HardMatteBullwinkle.jpg|300px|thumb|right|In THE ADVENTURES OF ROCKY AND BULLWINKLE (2000), Shots featuring CGI are printed hard matte and live action only shots are printed open matte.]]<br />
<br />
'''Hard matte''' is a term used to describe prints which are masked close to their intended aspect ratio, as opposed to [[open matte]], which is printed to the full height of the frame, regardless of intended projection aspect ratio. This mask may be applied in the camera, printer, or in a digital intermediate. <br />
<br />
'''Hard matte''' prints are rarely printed to an exact aspect ratio. For example, a 1.85:1 matted print may actually be 1.80:1 to allow for some wiggle room for venues with undercut aperture plates.<br />
<br />
[[Category: Film prints]]<br />
[[Category: Showmanship]]<br />
[[Category: Technique]]</div>Kyle Westphalhttp://www.sprocketschool.org/w/index.php?title=Trailer_core&diff=1779Trailer core2016-12-11T01:11:51Z<p>Kyle Westphal: </p>
<hr />
<div>A '''trailer core''' is a 1" plastic core used to facilitate the shipment of 35mm film trailers. It is used in conjunction with a [[trailer flange]].<br />
<br />
== Usage ==<br />
During the heyday of [[multiplex]] exhibition, 35mm trailers were produced on a massive scale and sent out to theaters indiscriminately. Trailers were supplied to theaters even when the venue did not plan to book the feature film being advertised. Trailers for an individual film were also supplied in multiple versions ([[scope]], [[flat]], [[green band trailer|green band]], [[red band trailer|red band]], etc.). As trailers had a finite shelf-life, there was no incentive for theaters to return them to distributors after their run.<br />
<br />
The 1" trailer core was manufactured to facilitate the dissemination of 35mm trailers in the most cost-effective manner. Produced from a thinner plastic than a standard 2", 3" or 5" core, the 1" trailer core allowed distributors to ship short quantities of film in the most compact way possible. <br />
<br />
Trailer cores cannot be placed directly on a standard [[Kelmar]] spindle for the purpose of film inspection. Trailer cores also do not fit on a standard split reel; they can only be used in conjunction with a trailer flange. Once the trailer core is seated on the trailer flange, the film can be wound onto a standard reel. <br />
<br />
== Archival Implications ==<br />
Most films trailers from the modern era were supplied to theaters on 1" trailer cores. Although trailer cores are perfectly acceptable for their original, short-term purpose, they are not recommended for archival storage. The 1" diameter of the core creates a relatively tight wind, so it will likely cause curling and warping over time. Trailer should be transferred to standard 2" or 3" cores for long-term storage.<br />
<br />
[[Category:Tools]]<br />
[[Category:Equipment]]<br />
[[Category:Film handling]]<br />
[[Category:35mm]]</div>Kyle Westphalhttp://www.sprocketschool.org/w/index.php?title=35mm&diff=177535mm2016-12-11T01:09:29Z<p>Kyle Westphal: </p>
<hr />
<div>'''35mm''' has been the standard theatrical exhibition format since the early 20th century. As the name implies, it is 35mm in width. <br />
<br />
== Applications ==<br />
For much of the 20th century, 35mm was used for production, editing, distribution, and projection. In its most typical iteration, each frame is four perforations in height. It can accommodate multiple [[aspect ratio|aspect ratios]] when used in conjunction with different [[lens|lenses]] and [[aperture plate|aperture plates]]: 1.33:1, 1.37:1, 1.66:1, 1.85:1, and 2.35:1. <br />
<br />
There are other variants, including [[VistaVision]] (eight perforations per frame, running horizontally), [[dual-strip]] polarized [[3-D]] (two 35mm prints running on two projectors, interlocked), Techniscope (two-perf negative, optically printed to four-perf Cinemascope), Super 35 (three-perf negative, printed to four-perf print with an [[anamorphic]] squeeze or a [[hard matte]]).</div>Kyle Westphalhttp://www.sprocketschool.org/w/index.php?title=35mm&diff=177335mm2016-12-11T01:08:51Z<p>Kyle Westphal: Created page with "'''35mm''' has been the standard theatrical exhibition format since the early 20th century. As the name implies, it is 35mm in width. == Applications == For much of the 20th..."</p>
<hr />
<div>'''35mm''' has been the standard theatrical exhibition format since the early 20th century. As the name implies, it is 35mm in width. <br />
<br />
== Applications ==<br />
For much of the 20th century, 35mm was used for production, editing, distribution, and projection. In its most typical iteration, each frame is four perforations in height. It can accommodate multiple [[aspect ratio|aspect ratios]] when used in conjunction with different [[lens|lenses}} and [[aperture plate|aperture plates]]: 1.33:1, 1.37:1, 1.66:1, 1.85:1, and 2.35:1. <br />
<br />
There are other variants, including [[VistaVision]] (eight perforations per frame, running horizontally), [[dual-strip]] polarized [[3-D]] (two 35mm prints running on two projectors, interlocked), Techniscope (two-perf negative, optically printed to four-perf Cinemascope), Super 35 (three-perf negative, printed to four-perf print with an [[anamorphic]] squeeze or a [[hard matte]]).</div>Kyle Westphalhttp://www.sprocketschool.org/w/index.php?title=Multiplex&diff=1740Multiplex2016-12-11T00:50:27Z<p>Kyle Westphal: </p>
<hr />
<div>A '''multiplex''' refers to any movie theater with five or more screens. (In exhibition parlance, a two-screen theater is a twin, a three-screen is a triplex, and a four-screen is a quad. Much of the following article describes practices prevalent with these exhibitors as well.) <br />
<br />
The economics of the multiplex introduced a substantial degree of [[automation]] to the projection booth. Because one projectionist would be responsible for many shows simultaneously, the multiplex model leaned heavily on the use of [[xenon lamps]], [[platter|platters]], [[make-up table|make-up tables]], [[foil cues]],[[shoe polish]], [[interlocking]], [[Kelmar cleaner|Kelmar cleaners]], [[lens turret|lens turrets]], and more. <br />
<br />
Multiplex projection practices arose in an era when studios produced hundreds or thousands of prints for a typical release, and the consequences of damaging an individual print were very low. Given the radical shift in the exhibition landscape spurred by the introduction of DCP, all surviving film prints should now be treated as archival objects. Many of today's projectionists gained substantial experience working in a multiplex environment. This expertise is valid and valuable, but may include certain habits and philosophies that do not reflect [[archival best practices]].</div>Kyle Westphalhttp://www.sprocketschool.org/w/index.php?title=Multiplex&diff=1739Multiplex2016-12-11T00:48:48Z<p>Kyle Westphal: Created page with "A '''multiplex''' refers to any movie theater with five or more screens. (In exhibition parlance, a two-screen theater is a twin, a three-screen is a triplex, and a four-scree..."</p>
<hr />
<div>A '''multiplex''' refers to any movie theater with five or more screens. (In exhibition parlance, a two-screen theater is a twin, a three-screen is a triplex, and a four-screen is a quad. Much of the following article describes practices prevalent with these exhibitors as well.) <br />
<br />
The economics of the multiplex introduced a substantial degree of [[automation]] to the projection booth. Because one projectionist would be responsible for many shows simultaneously, the multiplex model leaned heavily on the use of [[platter|platters]], [[make-up table|make-up tables]], [[foil cues]],[[shoe polish]], [[interlocking]], [[Kelmar cleaner|Kelmar cleaners]], [[lens turret|lens turrets]], and more. <br />
<br />
Multiplex projection practices arose in an era when studios produced hundreds or thousands of prints for a typical release, and the consequences of damaging an individual print were very low. Given the radical shift in the exhibition landscape spurred by the introduction of DCP, all surviving film prints should now be treated as archival objects. Many of today's projectionists gained substantial experience working in a multiplex environment. This expertise is valid and valuable, but maybe include certain habits and philosophies that do not reflect [[archival best practices]].</div>Kyle Westphalhttp://www.sprocketschool.org/w/index.php?title=Foil_cues&diff=1704Foil cues2016-12-11T00:14:29Z<p>Kyle Westphal: </p>
<hr />
<div>[[File:Foil_cues.jpg|250px|thumb|right]]<br />
'''Foil cues''' are short strips of adhesive foil attached to the edge of a 35mm projection print. They are used to facilitate auditorium and projection booth automation, often in a [[multiplex]] setting. When using foil cues, a proximity cue detector is embedded somewhere in the projector's normal thread path; when the foil cue passes through the proximity cue detector, the circuitry closes the appropriate relay and triggers the desired automated function. <br />
<br />
Foil cues were widely used during the multiplex era, but are rarely used today. They are not considered compatible with archival best practices. <br />
<br />
== Functionality ==<br />
<br />
Foil cues were used to trigger many common projectionist tasks, including, but not limited to:<br />
<br />
* Raising or lowering auditorium lights<br />
* Opening or closing the projector [[dowser]]<br />
* Activating the projector [[changeover]] function<br />
* Turn the lamphouse on or off<br />
Cue proximity detectors were programmed to detect [[inboard]] foil cues, [[outboard]] foil cues, and crossframe foil cues. Several manufacturers produced foil cue readers, and many multiplex managers customized the technology to fit their specific needs. As foil cue position and function were never standardized for all theaters, they could not be applied in advance by the [[laboratory]], [[distributor]], or [[exchange]] manager. Foil cues were always applied by the projectionist with an eye towards the venue's specific needs, often during the print inspection and make-up process. <br />
<br />
Consequently, an inboard foil cue could trigger a change-over on one system while triggering an auditorium lighting change on another. Best practices dictated that a projectionist remove cues from a print at the conclusion of its run; otherwise, the existing cues could inadvertently trigger undesired automation at the next venue.<br />
<br />
== Archival Implications==<br />
<br />
Foil cues were used to facilitated a level of projection booth automation that is incompatible with [[archival best practices]]. As archival booths are expected to use a [[two-projector change-over]] system and be staffed at all times, automation is neither necessary nor desired. <br />
<br />
Stray foil cues will not trigger inadvertent automation functionality unless a cue proximity detector has been installed. Nevertheless, archive vault staff will often remove leftover foil cues because they are viewed as a [[print contaminant]]. Older foil cues can sometimes leak adhesive, which tends to attract dirt and dust.<br />
<br />
[[Category:Film prints]]<br />
[[Category:Equipment]]<br />
[[Category:Film handling]]<br />
[[Category:35mm]]</div>Kyle Westphalhttp://www.sprocketschool.org/w/index.php?title=Print_contaminant&diff=1701Print contaminant2016-12-11T00:13:17Z<p>Kyle Westphal: Created page with "'''Print contaminant''' refers to any foreign element that should not be present on a film print. Though many contaminants were introduced to facilitate and simplify film proj..."</p>
<hr />
<div>'''Print contaminant''' refers to any foreign element that should not be present on a film print. Though many contaminants were introduced to facilitate and simplify film projection, they are not compatible with [[archival best practices]]. Print contaminants can potentially damage the print or projector components by introducing dirt or static.<br />
<br />
Print contaminants include, but are not limited to:<br />
* Mold<br />
* [[Projector oil]]<br />
* [[Foil cues]]<br />
* [[Shoe polish]]<br />
* Scotch tape<br />
* Adhesive<br />
* Staples<br />
* Dirt 'n' general crud<br />
<br />
Print contaminants should be removed to assure the long-term health of the print unless doing so would risk inflicting further damage.</div>Kyle Westphalhttp://www.sprocketschool.org/w/index.php?title=Foil_cues&diff=1698Foil cues2016-12-10T23:56:40Z<p>Kyle Westphal: </p>
<hr />
<div>[[File:Foil_cues.jpg|250px|thumb|right]]<br />
'''Foil cues''' are short strips of adhesive foil attached to the edge of a 35mm projection print. They are used to facilitate auditorium and projection booth automation, often in a [[multiplex]] setting. When using foil cues, a proximity cue detector is embedded somewhere in the projector's normal thread path; when the foil cue passes through the proximity cue detector, the circuitry closes the appropriate relay and triggers the desired automated function. <br />
<br />
Foil cues were widely used during the multiplex era, but are rarely used today. They are not considered compatible with archival best practices. <br />
<br />
== Functionality ==<br />
<br />
Foil cues were used to trigger many common projectionist tasks, including, but not limited to:<br />
<br />
* Raising or lowering auditorium lights<br />
* Opening or closing the projector [[dowser]]<br />
* Activating the projector [[change-over]] function<br />
* Turn the lamphouse on or off<br />
Cue proximity detectors were programmed to detect [[inboard]] foil cues, [[outboard]] foil cues, and crossframe foil cues. Several manufacturers produced foil cue readers, and many multiplex managers customized the technology to fit their specific needs. As foil cue position and function were never standardized for all theaters, they could not be applied in advance by the [[laboratory]], [[distributor]], or [[exchange]] manager. Foil cues were always applied by the projectionist with an eye towards the venue's specific needs, often during the print inspection and make-up process. <br />
<br />
Consequently, an inboard foil cue could trigger a change-over on one system while triggering an auditorium lighting change on another. Best practices dictated that a projectionist remove cues from a print at the conclusion of its run; otherwise, the existing cues could inadvertently trigger undesired automation at the next venue.<br />
<br />
== Archival Implications==<br />
<br />
Foil cues were used to facilitated a level of projection booth automation that is incompatible with [[archival best practices]]. As archival booths are expected to use a [[two-projector change-over]] system and be staffed at all times, automation is neither necessary nor desired. <br />
<br />
Stray foil cues will not trigger inadvertent automation functionality unless a cue proximity detector has been installed. Nevertheless, archive vault staff will often remove leftover foil cues because they are viewed as a [[print contaminant]]. Older foil cues can sometimes leak adhesive, which tends to attract dirt and dust.<br />
<br />
[[Category:Film prints]]<br />
[[Category:Equipment]]<br />
[[Category:Film handling]]<br />
[[Category:35mm]]</div>Kyle Westphalhttp://www.sprocketschool.org/w/index.php?title=File:Foil_cues.jpg&diff=1695File:Foil cues.jpg2016-12-10T23:54:32Z<p>Kyle Westphal: </p>
<hr />
<div></div>Kyle Westphalhttp://www.sprocketschool.org/w/index.php?title=Pre-print_element&diff=1692Pre-print element2016-12-10T23:46:18Z<p>Kyle Westphal: Created page with "'''Pre-print element''' refers to any film element created during the production of a film. As the name implies, it refers to all film elements except the final exhibition cop..."</p>
<hr />
<div>'''Pre-print element''' refers to any film element created during the production of a film. As the name implies, it refers to all film elements except the final exhibition copy. Outside of the confines of a production facility or lab, pre-print elements are not intended for projection. They should never be handled or projected in a exhibition setting. Projecting pre-print elements would yield an aesthetically incomplete and incomprehensible presentation, and amount to an unacceptable risk to irreplaceable elements. <br />
<br />
Pre-element elements include, but are not limited to: <br />
* The original camera negative (OCN)<br />
* The fine grain master (FGM) or interpositive<br />
* The duplicate negative or internegative<br />
* The optical soundtrack negative<br />
* The master magnetic track<br />
* Trims and outtakes<br />
<br />
If you encounter any of the above elements, please alert an archivist. Do not project them. <br />
<br />
A '''reversal original''' is a pre-print element that can easily be confused for a projection print. Some reversal originals, such as home movies, were often treated as projection prints, though [[archival best practice]] would dictate that they be duplicated or digitized before projection.</div>Kyle Westphalhttp://www.sprocketschool.org/w/index.php?title=Core&diff=1684Core2016-12-10T23:23:00Z<p>Kyle Westphal: Created page with "A '''core''' is a chemically-inert plastic cylinder used in film manufacturing, development, and storage. Cores are available in all standard gauges: 35mm, 16mm, [..."</p>
<hr />
<div>A '''core''' is a chemically-inert plastic cylinder used in film manufacturing, development, and storage. Cores are available in all standard [[gauges]]: [[35mm]], [[16mm]], [[70mm]], and even [[Super 8]]. They are available in several sizes: 4", 3", 2", and 1" for [[trailer core|trailers]]<br />
<br />
== Usage ==<br />
Raw film stock is supplied to laboratories on a plastic core. After a new print is manufactured, it is also wound onto a plastic core and shipped to the producer in this form. The film must be transferred to a [[projection reel]] before it can screened. <br />
<br />
Most distributors send films to theaters on [[shipping reel|shipping reels]], though films are sometimes shipped to theaters on cores in exceptional circumstances. A well-stocked booth must be able to accommodate film whether it arrives on a reel or a core. The projectionist must use a [[split reel]] to safely transfer film from a core to a projection reel. '''Film should never be projected from a split reel.''' <br />
<br />
Archives typically store all films on cores, whether they are projection prints or [[pre-print element|pre-print elements]]. There are several advantages to storing films in this manner: cores allow for more compact storage and substantially limit the potential for external contamination (e.g., rusty reels). Archives will also occasionally ship prints to exhibitors on cores. <br />
<br />
== Proper Handling and Potential Pitfalls==<br />
Film on a core must always be handled more carefully than film seated on a reel. If the film is not wound tightly enough around its core, it can unspool and create a [[film spill]]. To limit the potential for a film spill, projectionists and archivists should always use both hands to brace the film when transferring it to and from its can.</div>Kyle Westphalhttp://www.sprocketschool.org/w/index.php?title=Trailer_flange&diff=1676Trailer flange2016-12-10T22:49:47Z<p>Kyle Westphal: </p>
<hr />
<div>[[File:Trailerflange.jpg|thumb|300px]]<br />
<br />
A '''trailer flange''' is used to transfer a 35mm [[trailer]] from a non-standard [[core]] to a projection reel. It is functionally similar to a [[split reel]], but can only be used in conjunction with a 1" [[trailer core]].<br />
<br />
Trailer cores cannot be placed directly on a standard [[Kelmar]] spindle for the purpose of film inspection. Trailer cores also do not fit on a standard split reel; they can only be used in conjunction with a trailer flange. Once the trailer core is seated on the trailer flange, the film can be wound onto a standard reel.<br />
<br />
[[Category:Tools]]<br />
[[Category:Equipment]]<br />
[[Category:Film handling]]<br />
[[Category:35mm]]</div>Kyle Westphalhttp://www.sprocketschool.org/w/index.php?title=Foil_cues&diff=1675Foil cues2016-12-10T22:49:00Z<p>Kyle Westphal: </p>
<hr />
<div>'''Foil cues''' are short strips of adhesive foil attached to the edge of a 35mm projection print. They are used to facilitate auditorium and projection booth automation, often in a [[multiplex]] setting. When using foil cues, a proximity cue detector is embedded somewhere in the projector's normal thread path; when the foil cue passes through the proximity cue detector, the circuitry closes the appropriate relay and triggers the desired automated function. <br />
<br />
Foil cues were widely used during the multiplex era, but are rarely used today. They are not considered compatible with archival best practices. <br />
<br />
== Functionality ==<br />
<br />
Foil cues were used to trigger many common projectionist tasks, including, but not limited to:<br />
<br />
* Raising or lowering auditorium lights<br />
* Opening or closing the projector [[dowser]]<br />
* Activating the projector [[change-over]] function<br />
* Turn the lamphouse on or off<br />
Cue proximity detectors were programmed to detect [[inboard]] foil cues, [[outboard]] foil cues, and crossframe foil cues. Several manufacturers produced foil cue readers, and many multiplex managers customized the technology to fit their specific needs. As foil cue position and function were never standardized for all theaters, they could not be applied in advance by the [[laboratory]], [[distributor]], or [[exchange]] manager. Foil cues were always applied by the projectionist with an eye towards the venue's specific needs, often during the print inspection and make-up process. <br />
<br />
Consequently, an inboard foil cue could trigger a change-over on one system while triggering an auditorium lighting change on another. Best practices dictated that a projectionist remove cues from a print at the conclusion of its run; otherwise, the existing cues could inadvertently trigger undesired automation at the next venue.<br />
<br />
== Archival Implications==<br />
<br />
Foil cues were used to facilitated a level of projection booth automation that is incompatible with [[archival best practices]]. As archival booths are expected to use a [[two-projector change-over]] system and be staffed at all times, automation is neither necessary nor desired. <br />
<br />
Stray foil cues will not trigger inadvertent automation functionality unless a cue proximity detector has been installed. Nevertheless, archive vault staff will often remove leftover foil cues because they are viewed as a [[print contaminant]]. Older foil cues can sometimes leak adhesive, which tends to attract dirt and dust.<br />
<br />
[[Category:Film prints]]<br />
[[Category:Equipment]]<br />
[[Category:Film handling]]<br />
[[Category:35mm]]</div>Kyle Westphalhttp://www.sprocketschool.org/w/index.php?title=Trailer_core&diff=1672Trailer core2016-12-10T22:44:00Z<p>Kyle Westphal: Created page with "A '''trailer core''' is a 1" plastic core used to facilitate the shipment of 35mm film trailers. It is used in conjunction with a trailer flange. == Usage == During the h..."</p>
<hr />
<div>A '''trailer core''' is a 1" plastic core used to facilitate the shipment of 35mm film trailers. It is used in conjunction with a [[trailer flange]].<br />
<br />
== Usage ==<br />
During the heyday of [[multiplex]] exhibition, 35mm trailers were produced on a massive scale and sent out to theaters indiscriminately. Trailers were supplied to theaters even when the venue did not plan to book the feature film being advertised. Trailers for an individual film were also supplied in multiple versions ([[scope]], [[flat]], [[green band]], [[red band]], etc.). As trailers had a finite shelf-life, there was no incentive for theaters to return them to distributors after their run.<br />
<br />
The 1" trailer core was manufactured to facilitate the dissemination of 35mm trailers in the most cost-effective manner. Produced from a thinner plastic than a standard 2", 3" or 5" core, the 1" trailer core allowed distributors to ship short quantities of film in the most compact way possible. <br />
<br />
Trailer cores cannot be placed directly on a standard [[Kelmar]] spindle for the purpose of film inspection. Trailer cores also do not fit on a standard split reel; they can only be used in conjunction with a trailer flange. Once the trailer core is seated on the trailer flange, the film can be wound onto a standard reel. <br />
<br />
== Archival Implications ==<br />
Most films trailers from the modern era were supplied to theaters on 1" trailer cores. Although trailer cores are perfectly acceptable for their original, short-term purpose, they are not recommended for archival storage. The 1" diameter of the core creates a relatively tight wind, so it will likely cause curling and warping over time. Trailer should be transferred to standard 2" or 3" cores for long-term storage.<br />
<br />
[[Category:Tools]]<br />
[[Category:Equipment]]<br />
[[Category:Film handling]]<br />
[[Category:35mm]]</div>Kyle Westphalhttp://www.sprocketschool.org/w/index.php?title=Trailer_flange&diff=1670Trailer flange2016-12-10T22:43:49Z<p>Kyle Westphal: </p>
<hr />
<div>[[File:Trailerflange.jpg|thumb|300px]]<br />
<br />
A '''trailer flange''' is used to transfer a 35mm [[trailer]] from a non-standard core to a projection reel. It is functionally similar to a [[split reel]], but can only be used in conjunction with a 1" [[trailer core]].<br />
<br />
Trailer cores cannot be placed directly on a standard [[Kelmar]] spindle for the purpose of film inspection. Trailer cores also do not fit on a standard split reel; they can only be used in conjunction with a trailer flange. Once the trailer core is seated on the trailer flange, the film can be wound onto a standard reel.<br />
<br />
[[Category:Tools]]<br />
[[Category:Equipment]]<br />
[[Category:Film handling]]<br />
[[Category:35mm]]</div>Kyle Westphalhttp://www.sprocketschool.org/w/index.php?title=Trailer_flange&diff=1668Trailer flange2016-12-10T22:35:18Z<p>Kyle Westphal: </p>
<hr />
<div>[[File:Trailerflange.jpg|thumb|300px]]<br />
<br />
A '''trailer flange''' is used to transfer a 35mm [[trailer]] from a non-standard core to a projection reel. It is functionally similar to a [[split reel]], but can only be used in conjunction with a 1" [[trailer core]].<br />
<br />
Trailer cores cannot be placed directly on a standard [[Kelmar]] spindle for the purpose of film inspection. Trailer cores also do not fit on a standard split reel; they can only be used in conjunction with a trailer flange. Once the trailer core is seated on the trailer flange, the film can be wound onto a standard reel.</div>Kyle Westphalhttp://www.sprocketschool.org/w/index.php?title=Foil_cues&diff=1662Foil cues2016-12-10T21:55:44Z<p>Kyle Westphal: /* Functionality */</p>
<hr />
<div>'''Foil cues''' are short strips of adhesive foil attached to the edge of a 35mm projection print. They are used to facilitate auditorium and projection booth automation, often in a [[multiplex]] setting. When using foil cues, a proximity cue detector is embedded somewhere in the projector's normal thread path; when the foil cue passes through the proximity cue detector, the circuitry closes the appropriate relay and triggers the desired automated function. <br />
<br />
Foil cues were widely used during the multiplex era, but are rarely used today. They are not considered compatible with archival best practices. <br />
<br />
== Functionality ==<br />
<br />
Foil cues can be used to trigger many common projectionist tasks, including, but not limited to:<br />
<br />
* Raising or lowering auditorium lights<br />
* Opening or closing the projector [[dowser]]<br />
* Activating the projector [[change-over]] function<br />
* Turn the lamphouse on or off<br />
Cue proximity detectors were programmed to detect [[inboard]] foil cues, [[outboard]] foil cues, and crossframe foil cues. Several manufacturers produced foil cue readers, and many multiplex managers customized the technology to fit their specific needs. As foil cue position and function were never standardized for all theaters, they could not be applied in advance by the [[laboratory]], [[distributor]], or [[exchange]] manager. Foil cues were always applied by the projectionist with an eye towards the venue's specific needs, often during the print inspection and make-up process. <br />
<br />
Consequently, an inboard foil cue could trigger a change-over on one system while triggering an auditorium lighting change on another. Best practices dictated that a projectionist remove cues from a print at the conclusion of its run; otherwise, the existing cues could inadvertently trigger undesired automation at the next venue.<br />
<br />
== Archival Implications==<br />
<br />
Foil cues were used to facilitated a level of projection booth automation that is incompatible with [[archival best practices]]. As archival booths are expected to use a [[two-projector change-over]] system and be staffed at all times, automation is neither necessary nor desired. <br />
<br />
Stray foil cues will not trigger inadvertent automation functionality unless a cue proximity detector has been installed. Nevertheless, archive vault staff will often remove leftover foil cues because they are viewed as a [[print contaminant]]. Older foil cues can sometimes leak adhesive, which tends to attract dirt and dust.</div>Kyle Westphalhttp://www.sprocketschool.org/w/index.php?title=Foil_cues&diff=1661Foil cues2016-12-10T21:51:42Z<p>Kyle Westphal: Created page with "'''Foil cues''' are short strips of adhesive foil attached to the edge of a 35mm projection print. They are used to facilitate auditorium and projection booth automation, ofte..."</p>
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<div>'''Foil cues''' are short strips of adhesive foil attached to the edge of a 35mm projection print. They are used to facilitate auditorium and projection booth automation, often in a [[multiplex]] setting. When using foil cues, a proximity cue detector is embedded somewhere in the projector's normal thread path; when the foil cue passes through the proximity cue detector, the circuitry closes the appropriate relay and triggers the desired automated function. <br />
<br />
Foil cues were widely used during the multiplex era, but are rarely used today. They are not considered compatible with archival best practices. <br />
<br />
== Functionality ==<br />
<br />
Foil cues can be used to trigger many common projectionist tasks, including, but not limited to:<br />
<br />
* Raising or lowering auditorium lights<br />
* Opening or closing the projector [[dowser]]<br />
* Activating the projector [[change-over]] function<br />
Cue proximity detectors were programmed to detect [[inboard]] foil cues, [[outboard]] foil cues, and crossframe foil cues. Several manufacturers produced foil cue readers, and many multiplex managers customized the technology to fit their specific needs. As foil cue position and function were never standardized for all theaters, they could not be applied in advance by the [[laboratory]], [[distributor]], or [[exchange]] manager. Foil cues were always applied by the projectionist with an eye towards the venue's specific needs, often during the print inspection and make-up process. <br />
<br />
Consequently, an inboard foil cue could trigger a change-over on one system while triggering an auditorium lighting change on another. Best practices dictated that a projectionist remove cues from a print at the conclusion of its run; otherwise, the existing cues could inadvertently trigger undesired automation at the next venue. <br />
<br />
== Archival Implications==<br />
<br />
Foil cues were used to facilitated a level of projection booth automation that is incompatible with [[archival best practices]]. As archival booths are expected to use a [[two-projector change-over]] system and be staffed at all times, automation is neither necessary nor desired. <br />
<br />
Stray foil cues will not trigger inadvertent automation functionality unless a cue proximity detector has been installed. Nevertheless, archive vault staff will often remove leftover foil cues because they are viewed as a [[print contaminant]]. Older foil cues can sometimes leak adhesive, which tends to attract dirt and dust.</div>Kyle Westphalhttp://www.sprocketschool.org/w/index.php?title=List_of_post-2000_films_made_without_a_digital_intermediate&diff=1175List of post-2000 films made without a digital intermediate2014-06-04T17:43:33Z<p>Kyle Westphal: /* 2007 */</p>
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<div>List in progress. This list is limited mainly to "mainstream" features, where prints made through a DI would be considered normal workflow. <br />
<br />
=====2001=====<br />
*ARTIFICIAL INTELLIGENCE: AI (Steven Spielberg, 2001) ''unconfirmed'' <br />
*[http://www.theasc.com/asc_blog/goldman/2010/11/05/vilmos-and-woody-together-again/ THE CURSE OF THE JADE SCORPION]* (Woody Allen, 2001)<br />
*MOULIN ROUGE (Baz Luhrmann, 2001) ''unconfirmed''<br />
*TROUBLE EVERY DAY (Claire Denis, 2001)<br />
<br />
=====2002=====<br />
*FRIDAY NIGHT (Claire Denis, 2002)<br />
*GANGS OF NEW YORK (Martin Scorsese, 2002) ''unconfirmed''<br />
*[http://www.theasc.com/asc_blog/goldman/2010/11/05/vilmos-and-woody-together-again/ HOLLYWOOD ENDING] (Woody Allen, 2002)<br />
*[http://screenrant.com/christopher-nolan-imax-3d-cgi-mlee-164945/ INSOMNIA] (Christopher Nolan, 2002)<br />
*[http://motion.kodak.com/motion/Publications/InCamera/Wally_Pfister_is_the_KODAK_Focus_at_the_LA_Film_Festival.htm LAUREL CANYON] (Lisa Cholodenko, 2002) <br />
*MINORITY REPORT (Steven Spielberg, 2002) ''unconfirmed'' <br />
*PUNCH DRUNK LOVE (Paul Thomas Anderson, 2002)<br />
<br />
=====2003=====<br />
*[http://www.theasc.com/asc_blog/goldman/2010/11/05/vilmos-and-woody-together-again/ ANYTHING ELSE] (Woody Allen, 2003)<br />
*HULK (Ang Lee, 2003)<br />
*[https://www.cameraguild.com/AboutUs/memberspotlightcustom/member-spotlight-tom-stern.aspx MYSTIC RIVER] (Clint Eastwood, 2003)<br />
<br />
=====2004=====<br />
*INTRUDER, THE (Claire Denis, 2004)<br />
*[http://www.theasc.com/asc_blog/goldman/2010/11/05/vilmos-and-woody-together-again/ MELINDA AND MELINDA] (Woody Allen, 2004)<br />
*MILLION DOLLAR BABY (Clint Eastwood, 2004) ''unconfirmed''<br />
<br />
=====2005=====<br />
*[http://screenrant.com/christopher-nolan-imax-3d-cgi-mlee-164945/ BATMAN BEGINS] (Christopher Nolan, 2005)IMAX Prints went through DMR for 35mm scenes<br />
*[http://www.studentfilmmakers.com/news/how-to/A-Conversation-with-Award-Winning-Cinematographer-Rodrigo-Prieto-ASC-AMC-3.shtml BROKEBACK MOUNTAIN] (Ang Lee, 2005) Release prints on Fuji stock<br />
*[http://www.theasc.com/asc_blog/goldman/2010/11/05/vilmos-and-woody-together-again/ MATCH POINT] (Woody Allen, 2005)<br />
*MUNICH (Steven Spielberg, 2005) ''unconfirmed''<br />
<br />
=====2006=====<br />
*[http://www.theasc.com/asc_blog/goldman/2010/11/05/vilmos-and-woody-together-again/ SCOOP] (Woody Allen, 2006)<br />
<br />
=====2007=====<br />
*WE OWN THE NIGHT (James Gray, 2007)<br />
*[http://www.theasc.com/asc_blog/goldman/2010/11/05/vilmos-and-woody-together-again/ CASSANDRA'S DREAM] (Woody Allen, 2007)<br />
*[http://www.theasc.com/ac_magazine/January2008/ThereWillBeBlood/page2.php THERE WILL BE BLOOD] (Paul Thomas Anderson, 2007)<br />
<br />
=====2008=====<br />
*[http://www.theasc.com/asc_blog/goldman/2010/11/05/vilmos-and-woody-together-again/ VICKY CRISTINA BARCELONA] (Woody Allen, 2008)<br />
<br />
=====2009=====<br />
*[http://screenrant.com/christopher-nolan-imax-3d-cgi-mlee-164945/ DARK KNIGHT, THE] (Christopher Nolan, 2008) IMAX Prints went through DMR for 35mm scenes<br />
*[http://www.theasc.com/asc_blog/goldman/2010/11/05/vilmos-and-woody-together-again/ WHATEVER WORKS] (Woody Allen, 2009)<br />
<br />
=====2010=====<br />
*[http://www.theasc.com/asc_blog/goldman/2010/11/05/vilmos-and-woody-together-again/ YOU WILL MEET A TALL DARK STRANGER] (Woody Allen, 2010)<br />
<br />
=====2012=====<br />
*[http://screenrant.com/christopher-nolan-imax-3d-cgi-mlee-164945/ DARK KNIGHT RISES, THE] (Christopher Nolan, 2012) IMAX Prints went through DMR for 35mm scenes<br />
*[http://www.studiodaily.com/2012/09/films-not-dead-yet-part-2-fotokems-workflow-for-the-master-in-70mm-35mm-and-4k/ MASTER, THE] (Paul Thomas Anderson, 2012) 70mm prints and ''some'' 35mm prints did not use a DI<br />
<br />
=====2014=====<br />
*[http://motion.kodak.com/motion/Publications/InCamera/Sections/The_StoryBoard/Pfister_and_Hall_Go_Above_and_Beyond_in_Transcendence.htm TRANSCENDENCE] (Wally Pfister, 2014)</div>Kyle Westphal