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ScreenCheck field engineers are contracted from established theatre service companies, and already have considerable experience in projection and sound. The program is managed by Kodak's Cinema Operations Group, headquartered in Los Angeles.

The pre-certification inspection covers over 130 aspects of presentation quality. The periodic follow-up inspections cover over 80 items. Each item is rated on a report card, and weighted according to its importance. Theatres must meet and maintain better than a "B" grade on ALL critical items (e.g., screen luminance, focus stability, steadiness, etc.), and a 75% weighted score overall. The detailed inspection report is shared with the theatre so they can fix any problems or deficiencies.

Image steadiness is a criteria? So therefore you automatically eliminate every theatre that has a Christie projector! Too bad Kodak Screencheck does not also apply to manufacturers (like THX) who have to meet certain criteria for their products to be used in a certified theatre.

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John Pytlak, Senior Technical Specialist
Worldwide Technical Services, Professional Motion Imaging
Research Labs, Building 69, Room 7419
Eastman Kodak Company
Rochester, NY 14650-1922 USA
Tel: 716-477-5325 Fax: 716-722-7243

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The only quasi-valid point I've seen on winding emulsion out is if the take-up guide roller causes the edge of the print to scrape the SDDS track off.

And to Scott...at the beloved Uptown, I switched the booth to emulsion-in wrap in 1988 (reel-to-reel with 8" hubs and 22" flanges).

The theatre has traditionally played extended runs and the longer the run the more difficult the focus became.

Now the Uptown has been a union house since it was built in 1936 and is steeped in tradion...I went through the "I've been running film this way for...blah, blah years...and such but got them to go along with it for one feature. The difference was dramtic...400+ shows and the focus was the same on the first show as the last. Nothing sells a system to an old-time union operator like being able to sit on his a**. (It was right around the time of Roger Rabbit)...it has been emulsion-in ever sense and still works just fine.

To John...touch a frame of picture with one's bare hand, of course not...That is why I have always used "scrap film" spliced onto the protective leader and protective tail of each reel. You hands touch the scrap film (after all what are all those old dumb ad films for...think of it as recycling :-)). After threading, wind down to the countdown. There is no reason for the film to hit the ground or be handled near the projection part of the film. The protective leader/tails create a nice buffer zone so the reel changes don't look crappy.

• You've got the stress of the film having to pull the weight of the supply reel.
  
• You've got the high back tension on the film at the end of the reel.
  
• You've got a constantly changing takeup tension being applied to the film.
  
• You've got the stress of rewinding after each show.
  
• You've got the chance of cinch mark scratching vertically from film convolutions slipping against one another.
  
• You've got the chance of cinch mark scratching horizontally from film not properly being "flange binded" against a side of a reel.
  
• You've got the constant handling of the film.
  
• Need I go on???
  

In regards to emulsion in and out, I have always ran emulsion out whether it be on a platter or reel to reel. I have never, not once had a problem with focus, and yes I have used binoculars to verify. I'm thinking there is something else that is aggravating the situation at your location. Also, my emulsion out practice wasn't ever an argument I would make with acetate film except on platters. I was just simply making a point with acetate stocks that was how "I" did it. With polyester film, I will argue the point to the end of time. Hopefully Mr. Pytlak will get SMPTE to re-evaluate the whole (and very outdated) emulsion in recommendation.

One must remember, the whole emulsion in recommendation in it's SIMPLEST form was to prevent the film from developing an excessive curl. With acetate film, the curl was outward towards the emulsion. With polyester film, the curl is outward toward the base. Film will always develop a curl in the opposite direction of the core...thus my point that no polyester film should be ran emulsion in for best focus and stability. I think the guys on the forum here can back me up on this. (For platter guys, emulsion out winding is running soundtrack up on the platter and emulsion in winding is running the soundtrack down on the platter.)