From: Steve Kraus (screenNOSPAM@filmteknik.com)
Subject: Another sign civilization is crumbling
Newsgroups: rec.arts.movies.tech
Date: 2001-09-20 15:14:03 PST

When we give up and codify the methods of the barbarian hords it's a
sure sign civilization doesn't have much longer.

Found this notice in a film can. Note that the same can be better
accomplished by making single sided conventional splices with quality
tape. You don't think they're going go buy artist tape at $5-8 a roll.
This just codifies hanging leaders on willy nilly with masking tape.

----
ATTENTION PROJECTIONIST

Leaders are attached to the body of this print with *temporary* artist
tape splices. They must be removed and respliced.

-> These temporary splices WILL NOT run through a projector <-

For 2000ft/changeover operation, the white artist's tape MUST BE REMOVED
and standard splices made at the joins in the usual manner.

For platter and 6000ft long-play reel operation remove the white artist
tape and leaders from the 2000 ft reels and splice the body of the print
together in the normal way.

This method of attaching leaders to the body of the print preserves the
integrity of the film by eliminating unnecessary splicing and resplicing
at the leader joints. The print is shipped on 2000 reels but almost all
engagements now mount prints on platters or on long-play reels.
Continued splicing at leader joins risks ruining multiple frames at the
beginning and end of each reel. Attaching leaders with white artist's
tape--without making full splices when breaking down the print--helps
extend the length of time that the print will remain in a pristine
condition.

You can help extend print life by *not* making full splices at
break-down but instead, attaching leaders at the joints by this
temporary method. Even when making temporary splices, they must be made
on a splicing block. NEVER simply attach leaders to the body by
overlapping the ends of the leader and print. And make sure you use
only white artist's tape--its adhesive is non-acidic and will not
harden. NEVER USE MASKING TAPE; its adhesive hardens and inevitably
will damage emulsion. If you do not have artist's tape, then an
alternative method of attaching leaders for 2000ft reel ship-out
configuration is to use regular splicing tape LENGTHWISE across the
joint. Be sure to leave a small flap of tape turned under itself so
that the tape can be easily peeled for the next build up for platter or
long-play operation.

If the print arrives with leaders attached with normal splices, PLEASE
make your cuts on the SAME frameline of the existing splice -- DO NOT
make additional cuts on new framelines.

Future movie-lovers thank you.

The single sided splice is still in my opinion THE way to break down. It is just as fast to build from as the artist's tape method and assures that the breakdown projectionist will actually take a splicer over to the table to perform the single sided splice. It also gives changeover theaters who get the print at the last possible second the chance to go ahead and get that first reel on-screen without destroying the tail leader. A single sided splice should make it through any decent projector at least once without damage. After that first show, the changeover theater could go back and lay a piece of tape on the other side. Now if that print had come with artist's tape instead of splices, then there would have to be MORE handling of the film, as the artist's tape is removed and splicing tape is layed down on both sides. The argument is completely backwards and the way I read it sounds as if by leaving that frame in-tact that somehow that miraculously keeps the print in "pristine condition". Not true. (Note: I DO agree with the original author that the existing cut in the film should be used and NOT to cut over one more frame.)

 |  IP: Logged

I know this isn't "proper" as I was union trained and my union mentor would flog me if he knew I did this!

I still occasionally run a 20min changeover booth, and I nearly ALWAYS recieve prints that CANNOT be run (in this respect) right out of the cans. 1 minute is all it takes to take care of the head splice of reel one, and then you have at least 15 minutes to get busy on the other reels. Even when I get a film late at the changeover house I would still rather the head/foot be UNattached completely.

 |  IP: Logged

 |  IP: Logged

 |  IP: Logged

 |  IP: Logged

One-side vs. Both-sides is a matter of judging the risk: taping only one side risks a projector jam if not found before running the print, taping both sides risks a lazy projectionist just cutting out the splice rather than carefully peeling off the tape, losing frames that eventually add up to a significant loss of continuity.
------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Research Labs, Building 69, Room 7525A
Rochester, New York, 14650-1922 USA
Tel: 716-477-5325 Cell: 716-781-4036 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion

Those who are too cheap to use splicing tape and use masking tape should not be in the booth. Frequently the tape leaves a residue that ruins SEVERAL frames. Even Artist's tape will leave a residue once it has been applied to the film and the passage of time occurs.

Those who elect to not make any splice at all should also not be in the booth. What about a late delivery where a changeover theater has to check the head splice and run the show cold? That's real good for the tail end of the film to be slapping around the takeup while the projectionist starts the incoming projector. Also equally annoying is during a rushed platter buildup (either on the rewind bench or on the platter MUT). Not having the tail leader reattached can easily destroy the end of the reel as it is slapped around if the projectionist does not catch it.

I envision a splicing tape that does not have adhesive along one edge, but has a 1/8th inch strip of just the base. By having this loose flap on the trailing edge of the splice, it would not interfere with normal operation, but could be easily grabbed and peeled at breakdown.

I understand how tape is made, and that trying to make a tape like this would be difficult, but such a tape would encourage proper breakdowns of prints and less loss of film at makeup.

My first concern in this matter is for the print itself. If every projectionist took some time and care in prepping and breakdown of films, we wouldn't have prints with missing frames (or footage!) at the heads and tails, unexplainably dirty heads and tails, or residue from masking (or even duct(i am not kidding)) tape.

So what is the best solution? I completely agree with Brad. The one side tape method would work well. A one sided tape splice would run through most projectors. If a projectionist has time to inspect it, then a second splice can be applied. If a projectionist does not have time to inspect, and has a projector that is hard on single sided splices, then I would recommend keeping a splicer in the booth. Once a film is threaded up, you could reel the rest of the leader off and pit the second head splice on. That would not require much time, and at least the head of the film would be protected.

Double spliced leaders lead to more splices made by people too lazy to peel off the tape, and eventually to lost frames and choppy heads and tails.

Hot taping the leaders at all can lead to nightmares. I once received a film that had all of its head and tail leaders shoved in the bottom of the cans, and some that didn't have any reference frames that would indicate which reel was which. i ended up having to watch the entire film on a steenbeck while comparing it to a video copy to discern the reel order. Whoever had last broken down the film paid no attention to the correct reel length. The projectionist merely filled reels starting at the fifth reel. The changeovers ended up in the middle of the reels, and much of the film was badly damaged. It took almost 8 hours to figure the whole mess out. This is a worst case scenario, and I'm sure that no one that takes the time to look at any of the information on this website would do anything of the sort, but these people are out there. The more projectionists there are that handle prints properly, the longer prints will last, the better prints will look, and the more people will have a great experience at the theater and not give up the want to go to the cinema.

If anyone has actually read my lengthy rant, I thank you. I look forward to your responses.

 |  IP: Logged

 |  IP: Logged