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Par BettyChan le Le dernier episode subtitle ben ouais voil, peuttre un pato natalia lafourcade guitarra tutorial hijab idos media bad girl dog soul party kits como va website translator duong chan euy khemarak macy lee chaolan ending noaa ta perastika mou lyrics zicon o the amazing diy rewiring a laptop ht k vergleich como pararse bien. To arrive at this we have sometimes to use spacing in the stencil to make up for the leads that are always to be found on positive copies.
These leads on the positive print repeat themselves in exactly the same length, as the positive copies have also been printed on the continuous machine, and from the very same negative from which the stencil was obtained. The nature of the colouring solution implied by the velvet can easily be pressed. As the body to be coloured is gelatine, we have to get an aqueous solution. The strength of this solution varies according to the depth of tint we wish to obtain.
The colouring must be perfectly even. And as the solution is being applied by velvet it will be readily realized that this velvet has a tendency to become poorer on the very spaces covering the stencil holes, and richer everywhere else. It is, therefore, necessary to spread the solution in a more even manner, and to get this result the worker should continuously rub the top of the velvet whilst it is passing over the film.
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This spreading operation will be noticed when the film showing you the working of the machine is projected. Having spoken of colouring matter, it is essential to add that these colours must be light-resisting and transparent. With colours specially tested and proven to have these qualities the worker can obtain all the desired tints. Deciding on tints is not always an easy task. We soon found that with a slight alteration in the lighting of the room trouble occurred in matching colours.
For reason we decided to install a permanent system of lighting, which is also, as near as possible, that of daylight. To obtain this result, we had, as we did with the cutting machines, to use blue-tinted lamps.
There mains the registering. We have seen that for the colouring operations the width of the teeth is adjustable, the drum being made of two half-sections, each carrying a line of teeth. These two sections being adjustable, it will be realized that the stencil and the positive print are always perfectly taut one over the other. Lateral registering between the positive print to be coloured and the stencil openings will depend for mutual register on the perforations.
This trouble is avoided, as we have already seen, by taking the precaution of printing from the same negative, not only the positive prints to be coloured, but also the films used as stencils. The diameter of the drum has been carefully calculated, so that three full images are always resting on the face of the drum ; thus each image is, therefore, coloured by several different sections of the velvet.
In this way the tint is more regular. It must not be concluded that colouring operations are always perfect and never need touching up. This we have sometimes to do. A worker is always liable to make a mistake, and we can usually save the film and avoid reprints by merely washing the colour off. It only remains to add that this method of colouring—which you appreciate in England for the actual value of the work it represents—by stencil will always present the following interest.
It can be applied to any film whatsoever without its having been prepared for that purpose. Given a good negative, the colouring operation can be performed on any film.
Ruot for the very lucid manner in which he had laid the subject before them and explained a very intricate mechanism.
The vote of thanks having been heartily accorded, M. RUOT briefly expressed his appreciation of the kind remarks that had been made. A stencil is made from a celluloid strip, one strip for each color, on a pantograph device which has a vibrating, electrically driven needle that cuts the celluloid away completely in the stencil film. Stencil film is carried under the electric needle while a companion picture film is carried in synchronism with it and projected up to about lantern size, over which the long end of the pantograph swings.
Each picture in a series is done in this manner for each of the colors that are to be applied. The matrix film is then a series of openings through which a color is applied to the finished print.
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Celluloid to be cut for the stencil is a positive print from which the emulsion is later removed and the film cleaned. Show prints are on a registering printer in which the feeding pins, in a step movement, draw both the negative and positive forward one frame at a time.
About midway of the stroke, one of the feeding pins spreads sideways from the other, thus adjusting the films laterally. Prints are sometimes toned to produce one of the shades to be used. In both cases, each frame is worked by hand, for in the Handschiegl all parts not wanted are blocked out with color, by hand. Stencil and positive to be colored are brought into contact over a sprocket wheel while a velvet ribbon wipes a color through the stencil to the positive.
This color ribbon is a loop of about one foot in diameter.
A series of brushes feeds the dye to the ribbon, so that it does not receive too of the colored liquid. Film passes through this machine at the rate of about 60 feet per minute, one strip for each color, on a pantograph device which has a vibrating, electrically driven needle that cuts the celluloid away completely in the stencil film. The stencil film is carried under the electric needle while a companion picture film is carried in synchronism with it and projected up to about lantern size, over which the long end of the pantograph arm swings.
An object to be traced is followed over the enlarged picture and the needle at the opposite end cuts away the celluloid in the normal picture.
The celluloid to be cut for the stencil is a positive print from which the emulsion is later removed and the film cleaned. The show prints are made on a registering printer in which the feeding pins, in a step movement, draw both the negative and positive forward one frame at a time.
The prints are sometimes toned to produce one of the shades to be used. Journal of the Society of Motion Picture Engineers, 18,2,pp. With this technique, each color had its own stencil that was made by cutting out holes into a positive, black-and-white print of a film, frame by frame, in the spots where color was to be added to the film.
Once all these cuts were made in each frame of the film section to be colored, the emulsion was washed off, leaving a clear, perforated stencil that could be placed in alignment over the image of a new, positive print of the film. Typically between three and five separate stencils would be used on a film or segments of a filmand though the preparation of the stencils was laborious, once produced they provided an automated means of reproducing the colors on multiple prints.
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