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Inspection: Difference between revisions
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*<u>Orientation</u>: 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. | *<u>Orientation</u>: 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. | ||
*<u>base/emulsion</u>: 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. | *<u>base/emulsion</u>: 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. | ||
*<u> | *<u>[[Film base]]</u>: 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. | ||
*<u>Acetate</u>: 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. | *<u>Acetate</u>: 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. | ||
*<u>Polyester</u>: 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! | *<u>Polyester</u>: 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! | ||