| Preprint material
is prepared in A and B rolls to achieve fades and
dissolves in the printing process of both 16mm and
35mm film, without the use of costly opticals. It
also enables the original to be cut in such a fashion
that slices in 16mm are invisible of the screen.
Sometimes it is necessary to prepare A, B, and C
rolls to achieve certain effects that might occur
in montages or title sequences. It is recommended,
however, that the printing rolls be held to a minimum.
Invisible
Splices
In order to make 16mm splices invisible, A and
B rolls may be prepared using the "checkerboard"
technique. This is accomplished by alternating
the scenes back and forth on the A and B rolls.
The splices should be made in a splicer that makes
one of the cuts on the frame line and the other
cut in the picture area. When splicing the scene
to black leader, the scene should be placed in
the splicer in such a manner that the scraped
portion of the splice occurs only in the scene
and never in the black leader. After splicing
the head of the scene, you will note that in order
to make the splice correctly at the tail of the
scene, it will be necessary to turn the scene
around in the splicer. Be sure the splicer is
properly aligned so that no white scrape line
is visible on positive image film and no black
overlap line is visible on negative.
Be sure when making a 16mm splice
for liquid gate optical printing that the cemented
overlap of the splice maintains the proper pitch
(x) between the perforation of the splice, which
is the first frame of picture negative, and the
perforation of the first frame of black leader.
If this pitch, or distance, between these two
perforations is not the same standard as the pitch
between any two perforations where a splice does
not occur, there will be a vertical jump in the
picture at the scene change. The reason for this
is that the registration pins on all 16mm full
immersion optical wet gates are either one or
two perforations away from the frame being exposed.
Thus, the frame being printed
is in a position established by a perforation
on the opposite side of the splice. If the splice
is off pitch, as described, the first frame, or
the first two frames after the splice, is improperly
positioned with the adjustment coming on the following
frame when the pin is registered after the splice.
This problem will not show up when you make a
16mm contact print from your A and B original
because, on the 16mm continuous printer, the sprocket
teeth register the film and raw stock at the area
of exposure.
Original should be spliced with
the utmost care. It is recommended that before
splicing any original, several test splices be
made to check the correct alignment of the splicer,
the depth and width of the scraped area and the
continuity of perforation pitch. Use only enough
cement to insure a good splice. Avoid winding
a wet splice onto the roll because it will mark
the next layer of film Be sure the cement is fresh
and clean. Cement in splicer bottles usually deteriorates
in a few hours due to evaporation. It is a recommended
practice that cement be stored in large supply
bottles and dispensed into small bottles for use.
Unused cement left in the small bottle from the
previous day’s use should be discarded and
replaced with fresh cement from the supply bottle
before the start of each day’s work. It
is advisable to use a weld time of not less than
10 to 15 seconds. A splicer with a heated block
is highly recommended. (Figure 8 - Checkerboard
Technique for Making Invisible Splices) topˆ
Zero
cuts
Another method of achieving invisible splices
in printing from A and B rolls is to use the checkerboard
technique, but extend each end of each scene at
least two frames. When rolls so prepared are placed
in a synchronizer, there would be a four-frame
overlap at the head and tail of each scene. Rolls
prepared in this manner must be printed on a printer
that will make scene changes by means of a shutter
that rapidly opens or closes. Not all laboratories
are equipped to print rolls prepared for zero
cut, so check with your lab. Zero cuts made on
a 16mm continuous release printer usually appear
as less than one frame dissolves. Zero cuts made
on 16mm step contact or optical printer will appear
as a perfect straight cut. topˆ
(Zero Cuts Image)
Black
leader
It is recommended that only black leader be used
between scenes. To insure that the leader is opaque,
it is suggested that the black leader be made
by fully exposing a positive stock and developing
in a positive bath to a minimum density of 3.00.
Specify this minimum density when ordering black
leader from your lab. If the black leader is old,
it is wise to check it for shrinkage. Use black
leader for 16mm negative A and B rolls and for
35mm negative rolls prepared for the checkerboard
technique. topˆ
Double
or Single Perforated Leader
16mm double perforated leader should be used only
when the entire original is double perforated.
When some or all of the original is single perforated,
the use of single perforated leader is recommended
to avoid possible future damage to the original.
It is recommended that head and tail leaders should
be single perf in the same wind as the printing
materials. topˆ
Fades
When a fade-out is followed by a fade-in from
original reversal materials, it is recommended
that the fade-in scene be carried across to the
other roll without any overlap. The preparation
is the same as that used in preparing "Invisible
Splices." Instructions must be given so that
the fades will be printed in at the desired places
and in the desired lengths.
Fades can be made from negative
A and B rolls (Figure 9) by keeping the fade-out
scene and the fade-in scene on the same roll.
Clear camera leader, which has been made by developing
unexposed camera row stock of the same type that
was used to photograph the scenes, should be cut
in opposite the area where the fade-out and face-in
will occur.
At least 5 extra frames of clear
camera leader must be added for each fade-out
and 48 frame fade-in desired. This length of 96
frames, plus 5 additional frames, make a total
of 101 frames of clear camera leader that should
be cut in opposite the fade-out and fade-in scenes.
topˆ
(Figure 9 - Fades for Negative Rolls)
Dissolves
It is suggested that the middle of each dissolve
be marked by making a small "x" in each
of two adjacent frames, in the center of each
frame, on both the A and the B roll. These two
small "x"s should be made on the emulsion
side of the film, outside the picture area. They
will appear in the center of the effect of the
perforated edge of 16mm film (not the track edge).
The two "x"s in the A roll will then
be exactly opposite the two "x"s in
the B roll when both rolls are placed correctly
in a synchronizer. Thus, the dissolve overlap
can be easily checked and correct synchronization
of the rolls verified. The 16mm emulsion can be
scraped by a scriber to form the "x"s
or they can be made with a pen using a white,
waterproof, quick-drying ink. Black ink should
be used on the track-side on 35mm film (since
the edge is clear). (Figure 10 - Dissolves) topˆ
Series
of Effects and Cuts
When dissolves, fades and cuts follow each other
at very short intervals, caution should be exercised.
The editor should remember that on a single roll,
no new effect or cut can be started before the
last effect is over. It is suggested that you
obtain your lab’s recommendations before
preparing negative rolls. topˆ
Length
of Effects
Forty-eight frames is the most common length of
fades and dissolves. Most labs can, however, offer
fades and dissolves of 16-24-32-48-64-96 frames
in length. Check with your lab. topˆ
Instructions
to the Laboratory
Instructions should accompany each film when sent
to the laboratory and should indicate in detail
all special effects. Use footage and frames to
indicate where effects are desired, measuring
from the printer start mark in the head leader.
Your cutwork print, with all effects correctly
marked, is an invaluable aid to the laboratory
timer. Do not use paper clips, grease pencils,
Scotch tape, string, adhesive labels, etc. on
the original to indicate where effects are desired.
topˆ
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