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All incoming prints (new or used) should be inspected at the theatre before making-up onto a platter or large reels. Obvious problems like poor lab splices, torn perfs or edges, etc. can usually be found and repaired at the rewind bench. Examining the film surface under a strong specular light (e.g., a spotlight or halogen desk lamp) will usually reveal any scratches or heat damage (opalescent hot spot damage).

I highly recommend theatres having someone watch and listen to each print early in the run, to note any less obvious problems like sound drop-outs/defaults, sound sync problems, minor scratches, etc. (Find a few regular technically-minded "film buffs" who would be willing to report on a print's condition for a free admission). Report any serious damage immediately, and request a replacement reel. Keep a log for each print, noting any problems that may develop.

At the end of the run, carefully "break down" the print onto shipping reels, reattaching the leaders. As discussed in another thread, take enough pride in your work to "seal" the outer lap of each reel with an "inspection sticker" with your name and theatre, and include a copy of your print log for that print, so the next projectionist can know what to expect.

Professional pride and mutual support among projectionists is probably the best way to address the lack of print inspection by the distributors and exchanges. If we don't do it, no one else will.

It is not fair that theaters should pay top dollar for scratched up prints. If they scratch them themselves, then that's their own stupid fault, but to HAVE to receive a pre-damaged print is unacceptable.

Make the theaters PAY for their damage, then we might start getting some REAL projectionists in there and not people who are professional vacuumers and part time operators of projection equipment. The bean counters will surely start looking at the bottom line more closely if they are saving $100 per week by having a candy-kid upstairs over a trained projectionist, but that $100 saving is gonna look much less attractive if there is a $2000 dollar bill to be paid every month for replacement reels.

Also, if a theater knows there is a pretty good chance that the print he is previewing will make it back to him for the season, he may take a little bit more care with it. If he knows that will never happen and he also knows that he will not be charged or even found out, he ain't gonna bother making sure that film goes around the right rollers.

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"It's not the years honey, it's the mileage".
Indiana Jones.

I've even heard of cases in which multiple prints of a film were shipped to certain venues as 'backups' - clearly anticipating irreversible damage! Did these venues get charged extra for requiring extra prints?

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