GETTING TO KNOW 'MONOPHOTO' FILMSETTERS

[Music] To make sense, the component parts must be rearranged as the first line going into the position given by the layout underneath. [Music] And now we lift not the next line on the galley film, but the next line that's needed to tell the story. Don't worry about the technique the operator is using because we shall explain that in detail presently. Now we've gone back to what was their second line of copy and bring that into position. [Music] Here go the main display lines as a single piece of film. This matter was set last because the character size is larger than in the other lines. You're going to see later how a range of different sizes is obtained from a single set of film mattresses, provided there's no change of face. You never believe how sticky the legal requirements are for the proper use of trademarks. Now you've been able to see how our introductory matter has been produced by the simple procedure of making up film set material. Which brings us to our title. Lots of people are getting to know monophoto film setters today and to know them well. But when we first produced a film on the subject a few years ago, there were very very few such machines in operation. Potential purchasers and potential operatives alike were inclined to distrust a sort of glorified camera that was intended to do the work of a machine which, in the classic words of the Daily Mail, eats paper and lays type. But it is soon apparent that the digestion of the caster and the film setter is the same even to a quader. The differences lie in the gestation. For monofphoto film setters now installed in some 30 countries use paper ribbon prepared in the familiar way by the operators of monotype keyboards. This is basically the sort of thing he has probably been used to for years. so that there is scarcely a change in his routine, and his trusted redwinning skill is as rewarding as ever it was. His final job is to note on the spool the size, face, and other details of the job for the benefit of Colin, the film setter operative. Can he read it? Ah, that's better. Now to set up first the face. Fit the appropriate film case. Then for point size adjust the optics, lens position and diaphragm and prisms to give the right illumination and magnification of the character image. It's convenient to set the line feed next to agree with the point size plus leading if any. Now he wants the unit selector. It takes the place of the normal wedge to match the matrix case arrangement. For the set width of the font, he reads from a table the appropriate gear train and quickly selects, fits, and meshes the two spur wheels required. As it's a multicolumn job, gag blocks will be fitted later on like this. Finally, by noting the measure and number of lines on the spool as well as the point size and leading, he can easily gauge the size of film necessary. This has already been positioned on its drum in the dark room and the drum in its light proof box is fitted to the machine. The spool is put in place on the air tower and as soon as the air supply has been turned on, the machine is ready to start running. Starting entails all the labor of pressing one switch and turning another. Collins gone back to the dark room, confident that all will be well till the end of the spool, provided he occasionally checks that the machine hasn't been automatically stopped by interruption of an electrical circuit. Running speed is 160 revolutions per minute irrespective of the size of character. There's no need to wait while liquid metal solidifies. Meanwhile, what's going on inside? Let's start off with a diagram to follow the theory before seeing its application. Here is the source of light. It shines through a condenser lens to give equal light distribution all over the character in the film matrix case selected by the mechanical action controlled from the paper ribbon. Then the light travels through the projection lens to produce a focused image. But in order to save space and to produce different sizes of image from a single matrix, we fold up the light beam by passing it through a pair of reflecting prisms rather on the principle used in binoculars. So far, even though we changed the position of the film matrix case to project the succeeding character, we shall still get its image in the same position and the film would simply register this as the double exposure that haunts the amateur photographer. So to put the second image beside the first, we use a pair of mirrors which after each exposure move a distance governed by the width of the character projected. Now let's look at the machine again. The source of light that's here in the ventilated turret. It's switched on all the time the machine is running. And the individual exposures are made by the shutter just below it. The prisms and projection lens are housed in this prism box which keeps out the dust. The traveling mirrors are inside this casing and throw the image up onto the film carried by the drum in here. So much for the general scheme of things. Now we'll see how it's really done. Let's start off with the film matrix case. Just the same sort of thing as the matrix case of a monotype caster and when in the machine moved in exactly the same way. But instead of the punched metal mattresses, we have the characters transparent against an opaque background and arranged in unit rows as they would be in a hot metal matrix case. Let's open it up. There are 272 film matrices in the case arranged in 16 rows, each of 17 columns. Every matrix gives a range of several image sizes variable by quick action positive adjustments of lens and prisms. As we've already seen, a film matrix is virtually everlasting. It has no mold contact and being struck only by light suffers no wear. Heating, cooling, and centering pin and their effects are non-existent. These are impressive factors when it comes to costing. Each of the characters is contained in a separate casing for protection and easy handling. If any odd sorts have to be used, it is quite easy to affect the changeover. A special type of spring force is inserted in the casing allowed to expand and withdrawn, extracting that character to make room for the replacement. This is picked up in the same way and inserted in the space so that the film setter is just as flexible in application as a hot metal caster. A vacuum cleaner is then used to extract those tiny particles of dust which however carefully the job is done have settled on the mattresses during the operation. And then the transparent cover, the same way up and same position as before, is replaced at once. The retaining grid follows and the eight screws secure it. This arrangement keeps all the film mattresses in position and prevents any more dirt getting in. Now we put the film matrix case into its carrier. Punch a couple of perforations into a bit of paper ribbon and turning the machine slowly by hand. Show you how standard monotype mechanism brings the corresponding character into its operational position. It's held there by the usual locking arrangements. The lamp, you will remember, is up in this housing. It's simply a prefocus 48W projection lamp. And just below it is the condenser lens. Then comes the film matrix case followed by the shutter which has a variable opening to compensate for differing film speeds but not for variations in machine speed as this is constant whatever the image size. You see there's no cooling of molten metal to consider. Inside the prism box at the top before we come to the lens an optical flap will be located if mathematical settings are to be undertaken. Its purpose is to deflect the image of a superior character in certain sizes so that it is automatically positioned as an inferior when the appropriate signal is transmitted. This flat is simply a thick piece of glass with parallel upper and lower faces. When light strikes this at right angles, it continues in the same straight line into the glass and out again. But if the glass be tilted, the path of light is deflected by refraction at the point of entry. As it returns from the glass to air, the path is again refracted through an equal angle but in the opposite direction. Consequently, the light travels on a course parallel to its original one but displaced from it by a distance which is governed in the case of any particular flat by the angle of tilt. We'll see the practical application of this presently. After the optical flat, we come to the projection lens with its diaphragm to regulate the intensity of the light according to the image size and then to the first prism and the second prism. The light then goes down through an aperture automatically light sealed whenever the door is opened and so to the first of the inclined mirrors. Both mirrors are rigidly fixed to the same traveling bar. And the second mirror throws the beam up to the film on its drum where it is focused. To make the action a little clearer, let's have another diagram here. A chain represents the path of the light down to the first mirror across to the second and so up to the film. Now as the mirror bar moves so the light strikes lower down the first mirror across a narrower gap to the second and up a longer path to the film. But the total length of the chain is unvaried even though it is reaching only to the near side of the film with the mirrors at 45° to the path of the light. This is a natural phenomenon for which we are very grateful to Mr. Uklid. Back on the machine, it's easy enough to move the inclined mirrors along as they mounted as a unit on the mirror bar. The problem is to shift this after each exposure just the right amount for either a character or a space. This is all done with great precision by an assembly of racks and gears which takes the place of the wedge operation of the hot metal machine. First, let's look at the unit rack. This takes the place of the normal wedge and advances and retires in step with the film matrix case. Its movement rotates this pinion mounted on a lay shaft at the other end of which is a helical gear to give motion to the unit selector. This therefore turns carrying the unit selector to the position of the required unit value. This turning brings into an operative position one of the lugs which finally determine the amount of drive to be given to the set gear. This converts it into a movement representing so many units of the set of the face concerned. The movement is fed back into a shaft running along inside the gearbox where by means of differential gears, it governs the rotation of a vertical shaft that drives through an electromagnetic clutch a pinion that meshes with the mirror bar rack. It's an interesting mechanism and quite logical, but nobody can be expected to pick it all up in the few minutes we have available. So I'll just say that the principle of the justification racks is very much the same. Introduction of the 16th row of mattresses bringing the total up to 272. Arrangements were made for the matrix case to be one step out of phase with the normal rack when unit shift is signaled. A single perforation causes an additional air pin to rise under the front draw rod. This is hinged at the matrix case end so that the head can be at either of two levels registering with one or other of two sockets in its left hand matrix jaw. The difference in depth between the sockets is equal to one row of matrices. Consequently, for a given position of the rack, the draw rod and therefore the matrix case can be in either of two positions selecting either of two rows of matrices. As the principle applies to all rows except the first and the last, it is possible for any of the intermediates to contain matrices of two different unit width values. A good example of flexibility. Now let's look at something a bit simpler for a change. Above the casing in which the inclined mirrors travel is a slot covered either by this dust shield or by the film box containing the drum on which the film is laid. The film box has a corresponding slot at the bottom so that the light from the left hand mirror can come up anywhere along it to its focus on the film as the mirrors move along. So the successive images are projected in perfect alignment across its surface. A shutter attached to the drum covers the slot to prevent light leaking in through the bottom of the film box when it's not in its working position. The location of the shutter is shown on this scale which indicates how much film has been used. There's also this second wheel with its scale graduated in half points, giving scope for very accurate positioning when the drum has to be reset, for example, for column work. When a line has been completed, the mirror bar and mirrors return automatically to their starting position and carry on with the next line as the feed rack has at the same time turned the drum forward by the required amount. This may be preset for the distance needed for solid text. or for any greater or smaller distance in halfpoint steps up to 24 point to give the effect of leaded type. Accuracy of alignment is maintained by holding the drum with a lock rack all the time the images are being recorded on the film and only releasing it after the feed rack has been engaged. In addition, line spacing can be varied automatically in the middle of a job. Special keys, one of which is depressed at the same time as the justification signal, enable up to six points of extra white to be introduced. As a result of this special signal, the lock rack of the film drum is made to act as a controlled supplementary feed when the combined signal operates instead of only gripping and releasing. Another refinement we've already seen is the optical flat. The signal for tilting this to deflect the image is given by perforations made by the low alignment key. This causes any character which is simultaneously signaled to appear lower on the film than its normal alignment. A very useful facility for mathematical work as characters can be produced in the numerator or denominator of a simple fraction or as the superior or inferior of a more complex expression as required. A further signal preventing movement of the mirror bar gives the usually to be avoided double exposure. But it also brings inferior characters into vertical alignment with superiors. Given for example a fraction like this, one first taps the superior figure seven. Then comes the first section of rule. The signal for this incorporates the double exposure so that the rule would overly the figure if it were not located on a low alignment in the matrix. Now we require a double exposure signal to prevent setwise motion and lower alignment to create a denominator and a superior figure 8 which therefore appears below the rule. into its natural position. Now comes the superior figure three. The second section of rule with its automatic double exposure signal forms a continuation of the first. And then with provision for double exposure and lowered alignment comes superior 5. The next numerator, superior 4, falls into its proper place. And so the fraction is built up step by step to produce figures that are canceled or boxed. The multiple exposure signal can also be used if mattresses for these are not available. Another button on the keyboard is the character delete which enables the operator when setting space to be guided by the characters in the line below. He actually taps these with the delete and so registers their unit values or application of the continuous delete control will save double tapping. The film setter treats this as normal composition except that the extra signal cuts off the light path at the shutter. Very irregular mathematical expressions can easily be spaced accurately by this method. An experienced chap can set this sort of thing far quicker than one can describe. Coming back to the film setter, we find that main switch and fuses are part of the electrical system. This also includes the safety switch. You see what happens as a result of the projection lamp circuit failing. There's a sudden silence which brings Colin back to investigate. The machine doesn't go on wasting time and film if it can't make the exposures. You can easily check the functioning of the different sections, motor, lamp, and clutch by the selective control on the panel above the hand wheel. We've seen a precautionary stop. Here's the routine stop at the end of a spool. Now, the film has to be processed. First of all, that shutter on the drum must be brought down to the bottom to light seal the box. There's the dust cover replaced. And now Collins off to the dark room. Here the box is opened and the film extracted, ready for the usual photographic procedure of development and fixing, washing and drying. While this is going on, a new film cut to the length and width required for the next job is positioned on the drum. It's important that this should be done carefully with the film registering exactly to the stop pin at its base and the flange of the drum on the near side. Having got it there and made sure there are no wrinkles, he tapes it in position, replaces the cover, and brings the shutter back to close the slot. There, that's done. Now our film's almost ready for the making of a photographic print to be treated as a proof. This is a reverse reading film positive. But it is possible to produce from any given keyboard spool an original that is of this type or a reverse reading film negative, a reverse reading paper positive, a reverse reading paper negative, a direct reading film positive, a direct reading film negative, a direct reading paper positive, or a direct reading paper negative. The terms direct and reverse reading always refer to examination of the material from the emulsion side. It is essential to determine before film setting the eventual printing process so that the product is the most suitable for making the required printing surface without it having to be converted afterwards. Conversion can be done but it costs. Our material is 2 thou mainbase film which handles well. You must use a flat printing frame for reproquality copies of madeup film as they must have flat and perfect contact. But it's permissible to proof a raw galley of film in a moving exposure machine. Submasters can be similarly made and then run through the same machine to give as many proofs as may be wanted. Here we are using a popular ammonia fume type of machine that works with dazo film or paper. The corrected proof. Corrections will be with us just so long as authors and keyboard operators remain human, and some of them are terribly human. The lines affected are treated as new copy, keyboarded, set on film, similar to that of the main text, and developed to matching density by the guidance of a gray scale. We are now at the stage where early critics of film setting habitually took their stand, but their position has grown progressively weaker. To substitute one piece of hot metal type for another is simple. There's something to get hold of. This uh sorry this is all that is needed for letter press printing. But the body that gives height to paper is a convenient handle. So temporary handles of plastic sheet called transfer strips are used for manipulating film. A makeup table backlighted to take advantage of the transparency of the film is the major item of the equipment. On this is laid a transparent six-point grid in alignment with and secured to the underside of the upper rule. Next come the layout if necessary aligned with the grid and a sheet of polished plastic, a transfer sheet to act as the foundation of our madeup page of film. The gripper will hold layout and transfer sheet while work progresses. Now a second piece of plastic, the cutting sheet is secured to a convenient part of the table by adhesive tape. On the cutting sheet is placed the film to be made up. The text lines must be strictly parallel to the grid and the bottom rule is set to an alignment just above the headline. Use a scalpel carefully to cut away surplus material which is discarded. Similar cuts are made to separate the headline from the subhead and the subhead and narrow measure matter from the text. A transfer strip is then used to lift the heading. Pressure adhesion is the secret. And carry it to the position on the transfer sheet dictated by the layout where it is accurately stripped in. The subhead and narrow measure matter are lifted in the same way and conveyed to their allocated space. In some cases, more elaborate maneuvers may be demanded by the layout, but some variation of this cut, lift, and press principle will generally give the required result. When the text matter occupying a larger area is transferred, a roller will ensure that any air bubble that may have been trapped is eliminated. Now for the correction, the correction galley is placed in proper grid register on the cutting sheet and the required line isolated by two scalpel cuts made close above and below. The faulty line is also isolated by cuts separated as widely as possible without mutilating the adjacent lines to give clearance and not overlap. the correction line is laid in exact register with the faulty one, but only the left hand end of the transfer strip is pressed into adhesive contact with the transfer sheet. The right hand end is hinged up and the force lift the end of the faulty line from the transfer sheet. This line is easily stripped out and the transfer strip released so that the correction line is accurately located in place of the faulty one and there it is stripped in. The same transfer strip technique is used for any other corrections and also in association with a halfpoint verier scale for amending the interlinear spacing of heading or subheading if the proof of the madeup page calls for such amendment. With a little practice, a correction line can be stripped in in a matter of seconds, and its precision leaves nothing to be desired. This is a method which we have found accurate and easy to learn as well as speedy. Experience elsewhere has shown that other techniques, some employing stripping film, can be quite satisfactory. transfer sheet material is too expensive to leave it as a permanent foundation. So other means are adopted to maintain the positions of the film pieces. The simplest is to lay a strip of special adhesive tape over each of the joints. Any wide gaps where the tape would adhere to the transfer sheet can be filled in with pieces of two thou cover sheet material cut to size. The whole makeup is then stripped from the transfer sheet and it can either be stored in file for use later or it can go immediately for printing down. Other methods involve the use of bonding sheets of various kinds such as ozling which we're showing you, adhesive clear film or adhesive translucent paper, or the making of a submaster from the film while it is still held on the transfer sheet. When any one of these processes is complete, the film is ready for printing down. The transfer sheet being freed for further service. This then is an outline of composition by the use of a monopoto film setter. The process by hot metal standards is still relatively new. So that its most efficient applications have not all been listed. That it is fully capable of handling Hebrew and Arabic texts and complicated mathematical formula gives some idea of its versatility. Any work involving horizontal ruling is performed to perfection. Mixed horizontal and vertical rules are best achieved by overlay techniques with the verticals set as horizontals or drawn and overlaid. Standing type with its demands on space and tied up capital is resolved into light inexpensive material that is conveniently stored in the drawers of filing cabinets. Facilities for training operators in film setter techniques are provided at the Monotype Corporation's factory in Surrey where the machines are made. It is a factory that has for more than 60 years pursued the ideal in all its products. It is now the hub of a worldwide organization for sales and service. fully conscious that its fortunes depend entirely upon the fortunes of its customers. [Music]