<html><head></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><div>One might want to clarify whether that 16mm color film at UCLA was indeed struck from a Lenticular element.</div><div><br></div><div>A Lenticular print could have some identifying characteristics from the color filter separation process:<blockquote class="webkit-indent-blockquote" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 40px; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><div><div><br></div></div></blockquote><div>Per the article linked to below:</div><blockquote class="webkit-indent-blockquote" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 40px; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><div><div><br></div><div>...(the film) must be capable of recording </div><div>separately the four bands of light imaged </div><div>behind each lenticule. There are 100 </div><div>of these bands per millimeter. </div></div><div><br></div></blockquote>And further:<blockquote class="webkit-indent-blockquote" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 40px; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><div><div>As seen from the lenticules, the four recording aper- </div><div>tures are then separated by narrow dark lines or “guard bands.’’</div></div></blockquote><div><div></div></div></div><div><br></div><div>UCLA Film Archive now has 2336 x 1752 scanning capability for 16 and 35, which could be a help if viewing via a loupe isn't revealing enough.</div><div><br></div><div>Prints could be made, as described during the 1956 SMPTE Convention in a presentation by <a href="http://journal.smpte.org/content/65/7/365.full.pdf">C. H. Evans and R. B. Smith, “Color kinescope recording on embossed film,” Jour. SMPTE, 65: 365-371, July 1956</a>:</div><div><br></div><div>In part:</div><div><br></div><blockquote class="webkit-indent-blockquote" style="margin: 0 0 0 40px; border: none; padding: 0px;"><div><div>The recording equipment consists of an </div><div>ordinary 35mm kinescope recording </div><div>camera fitted with a special lens, and </div><div>working in conjunction with some form </div><div>of combining unit which utilizes the </div><div>principle of geometrical separation. The </div><div>three recording kinescope tubes have </div><div>P-16 phosphor screens with peak </div><div>emission in the near-ultraviolet region, </div><div>and the video signals applied to these </div><div>kinescopes have such a polarity that the </div><div>color-separation images appearing on </div><div>the screens are positives. </div><div>The camera is loaded with blue- </div><div>sensitive embossed film. After the re- </div><div>cording step, the film is developed for 4 </div><div>or 5 minutes in a positive type of de- </div><div>veloper and fixed, washed and dried in </div><div>the normal manner. The developed </div><div>images are in the form of color-sepa- </div><div>ration negatives. </div><div>By electronic reversal from negative </div></div><div><div>to positive, these original recordings </div><div>are used for time-zone-delayed rebroad- </div><div>cast of the program. Synchronized </div><div>magnetic recording film carries the </div><div>sound portion of the program. After this </div><div>use of the embossed-film negative, it </div><div>may be used directly for preparing 16mm </div><div>reduction prints on Eastman Color </div><div>Print Film, Type 7382. A sound-re- </div><div>cording negative suitable for printing on </div><div>Type 7382 can be prepared by re- </div><div>recording from the original magnetic </div><div>track. The composite 16mm color prints </div><div>can then be televised.</div></div></blockquote><div><br></div><div>The author previously advised that prints could be made from the lenticular 35m film:</div><blockquote class="webkit-indent-blockquote" style="margin: 0 0 0 40px; border: none; padding: 0px;"><div><div>A banded color filter and a special con-</div><div>densing lens system replace the ordinary </div><div>illumination system of the printer. The</div></div><div><div>35mm embossed film passes through the </div><div>printer gate, with its lenticules facing </div><div>the banded filter. While in the film gate, </div><div>the interlaced color-separation records </div><div>become colored, as explained in the dis- </div><div>cussion of the projector. This 35mm </div><div>color picture is then imaged in reduced </div><div>size upon the 16mm gate of the printer, </div><div>where the print stock is exposed. The </div><div>spectral transmittances of the filter bands </div><div>are chosen with proper regard for the </div><div>sensitivities of the print stock, and not for </div><div>their visual effect. Prints have been </div><div>successfully made in this manner, with </div><div>an Acme reduction printer. The special </div><div>illumination system employed had the </div><div>same length as the regular system so that </div><div>no modifications of the body of the </div><div>printer were required. </div><div>According to the polarity of the signals </div><div>applied to the recording kinescopes, and </div><div>depending upon the choice of ordinary </div><div>or of reversal photographic processing, </div><div>the color-separation images recorded on </div><div>the embossed film may be positives or </div><div>they may be negatives. If they are nega- </div><div>tives, the 16mm print stock would be of </div><div>the positive type, such as Eastman Color </div><div>Positive Film; if they are positives, a </div><div>reversal film such as Kodachrome would </div><div>be chosen. </div></div></blockquote><div><br></div><div>You could look for specific use of the film stocks mentioned, and any noticeable characteristics or artifacts this process imparts.</div><br>Hope this is of some help, and the quotations don't go beyond fair use.<div><br></div><div>Ted<br><div><div><div><br></div><br><div><div>On Dec 31, 2013, at 3:14 AM, Richard Wirth wrote:</div><br class="Apple-interchange-newline"><blockquote type="cite"><br><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">Thanks, Ted.<div><br></div><div>The Lenticular process was 35mm double system as the film stock (at least initially) had no way to record optical to it according to the Broadcasting article. Kines were double system to maintain quality for the network runs, particularly the TZD's. Art Schneider talks about syncing sound and picture for the hot kines in his book. So there had to be a separate mag somewhere.</div><div><br></div><div>The question that still is unanswered for me is how did a 35mm Lenticular color recording end up on 16mm color film? </div><div><br></div><div>If they did a 16mm back up, it would have been in black and white for TZD. If they did a 16mm on color film, it wouldn't have been processed in time to make the 3 hour delay. Could they have made a THIRD kine to 16mm color film for client/sponsor purposes? Would they have gone to that expense?</div><div><br></div><div>Thanks again,</div><div>Richard</div><div><br></div><div><br></div><div><div><div>On Dec 30, 2013, at 9:12 PM, Richard Wirth wrote:</div></div><br></div><div><br class="Apple-interchange-newline"><br class="Apple-interchange-newline">
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<div><div><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; font-size: 14px; "><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><div style="font-size: 17px; "><font class="Apple-style-span" size="3" style="font-size: 17px; "><span class="Apple-style-span" style="font-size: 15px; ">Ted</span></font></div><div><font class="Apple-style-span" size="3"><span class="Apple-style-span" style="font-size: 12px; "><br></span></font></div><div><font class="Apple-style-span" size="3"><span class="Apple-style-span" style="font-size: 12px; ">Ted Langdell</span></font></div><div><span class="Apple-style-span" style="font-size: 12px; ">Secretary</span></div><div><font class="Apple-style-span" size="3"><span class="Apple-style-span" style="font-size: 12px; ">Skype: <span class="Apple-tab-span" style="white-space: pre; "> </span>TedLangdell</span></font></div><div><font class="Apple-style-span" size="3"><span class="Apple-style-span" style="font-size: 12px; ">e-mail:<span class="Apple-tab-span" style="white-space: pre; "> </span><a href="mailto:ted@quadvideotapegroup.com">ted@quadvideotapegroup.com</a></span></font></div><div><font class="Apple-style-span" size="3"><br></font></div></div></div></div></div><br class="Apple-interchange-newline">
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