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ARSCLIST  April 2012

ARSCLIST April 2012

Subject:

Fw: Re: [ARSCLIST] EMI, opera and 35mm?

From:

Roderic G Stephens <[log in to unmask]>

Reply-To:

Association for Recorded Sound Discussion List <[log in to unmask]>

Date:

Wed, 25 Apr 2012 12:57:09 -0700

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (139 lines)

--- On Wed, 4/25/12, Roderic G Stephens <[log in to unmask]> wrote:

From: Roderic G Stephens <[log in to unmask]>
Subject: Re: [ARSCLIST] EMI, opera and 35mm?
To: "Jack Theakston" <[log in to unmask]>
Date: Wednesday, April 25, 2012, 12:41 PM

Jack, actually what you're talking about is the old technique of splicing 35mm film which was how it was done when I first started as an apprentice film editor in 1960, but just then, a Rivas butt splicer was introduced which meant that there were no frames lost in the cut, and splicing tape was used to make a smooth cut from one section to the next.  It also flowed more smoothly through the 35mm sprocket systems.  It's still used today, but the spice using cement was more often used in splicing 35mm composite release prints.

--- On Wed, 4/25/12, Jack Theakston <[log in to unmask]> wrote:

From: Jack Theakston <[log in to unmask]>
Subject: Re: [ARSCLIST] EMI, opera and 35mm?
To:
 [log in to unmask]
Date: Wednesday, April 25, 2012, 12:14 PM

Difficult?  Yes.  Impossible?  No.  With a pedal splicer, it's possible to lay a splice in anywhere.  The main problem was making the splices thin enough so that they couldn't be heard on playback.

The problem with 35mm mag tracks is that the clear film before it was coated was buffered and cleaned with acetone, which also made the acetate supple enough to take the glue bond to the oxide.  This in turn, causes the base to break down over years and cause really bad vinegar syndrome.

J. Theakston


________________________________
 From: "Mew, Peter" <[log in to unmask]>
To: [log in to unmask] 
Sent: Wednesday, April 25, 2012 2:36 PM
Subject: Re: [ARSCLIST] EMI, opera and 35mm?
 
Hi
35mm in this context looks the same as film, with sprockets etc, but is coated with oxide rather than photographic emulsion.
It is also known as "Mag Film" and is a universal standard.
A 35mm magnetic film recorder looks nothing like an audio Tape Machine, but serves the same function.
It looks more like a Film projector
Up until the 90s most film scores were recorded on mag film, the sprockets keeping the audio in sync with the projected film. There would be 1 reel of Mag film to 1 reel of Film.
This allowed the film editor to edit the sound and picture at the same time.
The audio might eventually end up as optical track on the film reels
I think it would be a devil of a job to edit classical music using a sprocketed
 medium
HTH
-pm


-----Original Message-----
From: Association for Recorded Sound Discussion List [mailto:[log in to unmask]] On Behalf Of Roderic G Stephens
Sent: Tue 24 Apr 2012 21:50
To: [log in to unmask]
Subject: Re: [ARSCLIST] EMI, opera and 35mm?

Ironically, 35 & 16mm films are the few exceptions to the rule of international differences in standards.  It was established in 1909 according to this: http://www.ehow.com/about_6635136_16mm-vs_-35mm-film.html 

--- On Tue, 4/24/12, Shai Drori <[log in to unmask]> wrote:

From: Shai Drori <[log in to unmask]>
Subject: Re: [ARSCLIST] EMI, opera and 35mm?
To: [log in to unmask]
Date: Tuesday, April 24, 2012, 1:36 PM

I thought 35mm was a US thing, like the command and mercury.
Shai


בתאריך 24/04/12 4:35 PM, ציטוט Tom Fine:
> Hi Ted:
> 
> But 35 millimeters = 1.37795276 inches.
> 
> So either the reporter completely confused what he was seeing (or hearing) or there was 35mm film in use.
> 
> Are there any Abbey Road veterans from that time on the list?
> 
> -- Tom Fine
> 
> ----- Original Message ----- From: "Ted Kendall"
 
> <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Tuesday, April 24, 2012 10:12 AM
> Subject: Re: [ARSCLIST] EMI, opera and 35mm?
> 
> 
>> On 24/04/2012 14:47, Tom Fine wrote:
>>> So they don't mean sprocketed magnetic film?
>>> 
>>> ----- Original Message ----- From: "Ted Kendall" 
>>> <[log in to unmask]>
>>> To: <[log in to unmask]>
>>> Sent: Tuesday, April 24, 2012 9:40 AM
>>> Subject: Re: [ARSCLIST] EMI, opera and 35mm?
>>> 
>>> 
>>>> On 24/04/2012 13:27, Tom Fine wrote:
>>>>> I came across this blurb in May 1968 High Fidelity:
>>>>> http://www.yousendit.com/download/M3Brc2ZPK3g3bUJEZU1UQw?cid=tx-02
>>>>> 002207340200000000&s=19102 (paste full link into browser if it's 
>>>>> split by e-mail)
>>>>> 
>>>>> The part from London, about Klemperer recording Wagner for EMI, starts at the bottom of the first page.
>>>>> 
>>>>> At the top of the second page, the piece reports that "35-mm tape (is used)
 when separate systems were being used for voices and instruments."
>>>>> 
>>>>> Are there any EMI veterans on this list who can tell me more about this technique? How long was it used? Aside from the Klemperer Wagner opera recording, what other records were made using this technique? Was it ever detailed or used as a marketing hook in EMI advertising or album-notes?
>>>>> 
>>>>> Finally, do any EMI veterans have photos of the setup, showing the 35mm equipment?
>>>>> 
>>>>> -- Tom Fine
>>>> I'm pretty certain this would be one inch tape on Studer J37s, of which Abbey Road had several at the time, although there was a similar Telefunken machine as well. Four tracks gave one pair for voices and one for orchestra.
>>>> 
>>> 
>> Not as far as I know - I have not come across any other suggestion that
 this was used there, and the technical climate was quite conservative at the time.
>> 
> 

-- בברכה,
שי דרורי
מומחה לשימור והמרה של אודיו וידאו וסרטים 8-35 ממ.

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