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» Film-Tech Forum ARCHIVE   » Operations   » Film Handlers' Forum   » Something must be done about these $^%&*&@#! reels! (Page 2)

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Author Topic: Something must be done about these $^%&*&@#! reels! Thomas Procyk Phenomenal Film Handler Posts: 1842 From: Royal Palm Beach, FL, USA Registered: Feb 2002 posted 03-02-2003 10:36 AM                     As for the studios having "custom reels", I don't think it really matters. Sometimes, I receive prints from the correct studio that corresponds with the reels, but most of the time it's a mix of Paramount, Fox, WB and Technicolor, regardless of the print or depot. My favorite is seeing the old PolyGram reels, or just part of one pieced together with a WB reel. (both blue) =TMP=  |  IP: Logged Bill Enos Film God Posts: 2081 From: Richmond, Virginia, USA Registered: Apr 2000 posted 03-02-2003 11:16 AM                     As far as glueing reels, it you spray the hard plastic ones with CRC Brakeclean in the red can, the non flamable stuff, it will disolves the plastic enough to squeeze the whole thing together, it sets up in a few minutes. Does not work at all on the soft translucent reels. The flamable brakecleaning products are nothing but alcohol and not only won't work are an extreme hazard.  |  IP: Logged Bruce Hansen Jedi Master Film Handler Posts: 847 From: Stone Mountain, GA, USA Registered: Dec 1999 posted 03-02-2003 11:57 AM                     If you wish the fix to match the quality of the reels themselves, then you must use bubble gum to stick them together. Instead of running the last show back onto the platter, and then braking it down, why not just let it run into a big box, and send the box back (they are just going to destroy it anywhay)?  |  IP: Logged Jason Black Phenomenal Film Handler Posts: 1723 From: Myrtle Beach, SC, USA Registered: Nov 2000 posted 03-02-2003 12:58 PM                        Speaking of reels, who was it that posted with the opinion poll of reel design... seems like the name was Helmut or something like that, I forget, and I haven't taken the time to look thru the search feature yet... Why is it that there is no set standard for reel design? I like the idea of using superglue to all the old crap reels that break apart. Either that, or simply toss them on build up and request new ones BEFORE the print is released. I mean, if the distributor wants the print(s) for delivery to another theatre, they'd have to get you replacement reels, right?  |  IP: Logged Don Bruechert Mmmmmmmmm, bird! Posts: 340 From: Manitowoc, WI, USA Registered: Jan 2003 posted 03-03-2003 11:44 AM                        John, Thanks for the info on the trailer flange. I'll have to see if I can sneak one in the next order. I wonder if anyone at my place has ever seen one before!  |  IP: Logged Joe Morris Film Handler Posts: 35 From: Papillion, NE, USA Registered: Jan 2003 posted 03-03-2003 11:59 PM                     As far as reels are concerned. Go to your ETS depot and pick up some spares they have lying around....then just stick the core back in the can like an Indian movie would come...at least it's a good way to save your reels for next time....not that i've ever done something like that before.....ever...  |  IP: Logged Nicholas Roznovsky Expert Film Handler Posts: 156 From: College Station, TX, USA Registered: Apr 2001 posted 03-04-2003 12:02 AM                        quote: Instead of running the last show back onto the platter, and then braking it down, why not just let it run into a big box, and send the box back? An outstanding suggestion! Just make sure your Technicolor boxes are orange!  |  IP: Logged Joe Morris Film Handler Posts: 35 From: Papillion, NE, USA Registered: Jan 2003 posted 03-04-2003 12:08 AM                     Do we have to make sure the boxes are orange? or can we just stick the pain in the butt labels to the box? wouldn't that be easier?  |  IP: Logged Nicholas Roznovsky Expert Film Handler Posts: 156 From: College Station, TX, USA Registered: Apr 2001 posted 03-04-2003 12:13 AM                        In a perfect world, yes, but you're forgetting the two fundamental commandments of TES: 1) If something makes our job easier, it shall be done. 2) If something makes your job easier, thou shalt not even consider it.  |  IP: Logged Joseph D. Olson Film Handler Posts: 26 From: Seattle, WA, USA Registered: Jun 2002 posted 03-05-2003 01:27 AM                        Forgive my rookie mind, but if all the film came on cores, how would you load it to a platter? Split-reel?  |  IP: Logged Daryl C. W. O'Shea Film God Posts: 3977 From: Midland Ontario Canada (where Panavision & IMAX lenses come from) Registered: Jun 2002 posted 03-05-2003 01:49 AM                        Yeah, split reels. Just like it's done in Europe.  |  IP: Logged Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 03-06-2003 10:50 AM                        If you're using a flatbed make-up table, you don't even need those, just a spindle hub that will fit the core directly. Of course there are some circumstances in which you'd want to make up on to 6,000 foot spools before transferring to the platter deck. In this case, a 2,000 foot plate on one side of the bench is all you need. Crushed or deformed cores can be a problem, but only if someone's tried to cram 2,200 feet plus on a 2" core in order to get it in a can. 3" and 4" cores work fine.  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 03-11-2003 11:14 AM                        Winding trailers on a small 1-inch hub (or even no hub) usually results in severe "core set" or "clockspringing", which will make focusing difficult. Winding and storing the film on a 3-inch (75mm) or 4-inch (100mm) diameter core causes much less core-set, and results in much more stable focus. The "traditional" 35mm shipping reel is specified by standard SMPTE 192, and has a hub diameter of 4.1 inches. Kodak supplies print film raw stock on 3-inch diameter cores, so there should be ample supplies of recycled cores: http://www.kodak.com/country/US/en/motion/support/h1/sizesP.shtml Cores are also available for purchase from Kodak FPC: http://www.fpchollywood.com/cores-3--cores.html  |  IP: Logged Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 03-13-2003 07:22 AM                        One of the few positive things I'd say about polyester release prints is that they've put an end to the practice of shipping overlong reels on 2" cores in order to make them fit into a 2,000 foot can. Because the stock is so much thinner you can easily get 2,200 feet on a 3" core in a can and still have a centimetre or two to spare. With the 2" cores you would not only have the core set problem, but the sheer weight of the film combined with the relatively low tensile strength of the core would combine to crush it, making it very difficult and fiddly to wind the film off it. Now I'm in the archive business I'm getting even more of these than in my last few years in the projection box, sorting out newly acquired release print elements. Not as bad as the cores used in the '20s and '30s, which were wood and about the diameter of a sewing machine bobbin (and with a number of various centre bores which are guaranteed not to fit any spindles you have), but a pain in the bum nonetheless.  |  IP: Logged Stephen Furley Film God Posts: 3059 From: Coulsdon, Croydon, England Registered: May 2002 posted 03-13-2003 07:41 AM                     I would like to see four inch cores used as standard, except for camera raw stock. I remember seeing a picture not long ago of a can with a central spigot to locate a core, thus preventing even a small roll of film from moving about in the can. These, combined with good quality four inch cores, would seem like a good way of both storing and transporting film; cheap, lightweight, and a good degree of protection to the film. Cores, unlike spools, seem to be universal worldwide, and anywhere could use them, with a plate or spilt spool to fit whatever equipment they happen to have.  |  IP: Logged

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