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Inspection: Difference between revisions
/* Inspection is one of the most important steps in the process of screening a film print. 1.It's a process of gathering information about the film print itself so you can project it properly. 2. It's a way for you to access print condition so you can...
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(/* Inspection is one of the most important steps in the process of screening a film print. 1.It's a process of gathering information about the film print itself so you can project it properly. 2. It's a way for you to access print condition so you can...) |
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*inspection report: There are many different looking types of reports, find out what works best for your venue. Single page ones are best, but you can also keep more detailed notes elsewhere and transfer them to the single page later. Some examples here: [[Inspection form]] | *inspection report: There are many different looking types of reports, find out what works best for your venue. Single page ones are best, but you can also keep more detailed notes elsewhere and transfer them to the single page later. Some examples here: [[Inspection form]] | ||
'''What we look for when inspecting a print:''' | |||
- Orientation: 35mm A wind (emulsion out (facing upward to the sky). B Wind (emulsion in towards the center of the reel). Keep an eye out for prints that come reverse wind, i.e NOT correct for projection. When heads out a correctly wound 35mm print (coming off the reel counterclockwise) will be soundtrack towards you, picture upside down and emulsion facing out. When threaded in the projector the emulsion side will be facing in towards the lamphouse, base side will be facing towards the screen. Some prints will arrive tails out, emulsion out, which is NOT CORRECT for projection. You’ll have to wind over/over or under/under to correct the wind. | |||
-base/emulsion: Know the difference so you can identify where the damage is, how it will look on screen. Emulsion scratches tend to be more visible to the audience. The base side will look shinier, the emulsion side more matte and you can often see the raised edges within the frame where the emulsion is thickest. Use your flashlight, move the film back and forth and observe how the light reflects off the surface. Some prints will be easier than others to tell which side is which. | |||
-Acetate vs Polyester base (Estar): Knowing what type of film base you’re dealing with is important - It can help you date the print, and the two types have different qualities. They have different thicknesses which can affect your focus if you go from an acetate to poly print or vice versa. | |||
-Acetate: Older acetate prints tend to be more brittle and prone to warping as they lose moisture. Acetate is thicker and tends to break when stressed, and it can suffer from vinegar syndrome if not stored properly. | |||
Polyester: is slightly thinner and tends to stretch rather than just snapping. Polyester stock began being used for 35mm prints in the early 90s (it was used for 16mm much earlier). Post mid 90s basically everything is polyester (often referred to as Estar base which is the Kodak trade name). They say when acetate snaps it’ll break the print, when poly snaps (or stretches) it’ll break your projector! | |||
-here’s a guide to making your own film viewer for easy identification of polyester or acetate bases. Older polarized 3D glasses work great for this if you can find some. Real-D glasses do NOT work. | |||
- Film stocks/dates: If you want to know the date of the print use the Kodak Edge Code Chart. There are some film stocks (like Agfa) that don’t have date codes. Remember that the date print was made is NOT always the date that the film was released but it’s helpful to know if you have a vintage print on your hands. | |||
===External Links=== | ===External Links=== | ||