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Author Topic: projectionists nightmare
Mike Spaeth
Phenomenal Film Handler

Posts: 1129
From: Marietta, GA
Registered: Jul 2000


 - posted 08-20-2000 12:16 AM      Profile for Mike Spaeth   Author's Homepage   Email Mike Spaeth   Send New Private Message       Edit/Delete Post 
Dave - try this policy w/ the 6K's. I've used it for awhile and never had a problem w/ it. I break the print onto 6K's for the other theater to pick up. Then I hold the cans as "insurance" that they will return the 6K reels. When they come back, we trade - cans for reels.

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John Wilson
Film God

Posts: 5438
From: Sydney, Australia.
Registered: Dec 1999


 - posted 08-20-2000 01:25 AM      Profile for John Wilson   Email John Wilson   Send New Private Message       Edit/Delete Post 
Shane,

I hope you've had the booth lighting improved since your little mishap with Saving Private Ryan. It must have been pretty dark for you not to realize there was no ring in the print. I'm all for keeping booths dimly lit, but not to the extent where you are putting yourself and the prints at risk.

Safety first.

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Shane Pena
Film Handler

Posts: 12
From: Show Low, AZ, USA
Registered: Aug 2000


 - posted 08-20-2000 06:04 PM      Profile for Shane Pena   Author's Homepage   Email Shane Pena   Send New Private Message       Edit/Delete Post 
John,

yes, the lighting has been improved, along with telling the story to new projectionists so they are aware of the dangers.

We also use clamps or straps WHENEVER we move a print,,, for Safety reasons, of course.

By the way, what is a cheeky bugger


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John Pytlak
Film God

Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000


 - posted 08-21-2000 06:45 AM      Profile for John Pytlak   Author's Homepage   Email John Pytlak   Send New Private Message       Edit/Delete Post 
If you've had to salvage a print from the floor, be sure to CLEAN it properly, to remove any dirt it has picked up before the dirt becomes embedded or causes cinch marks. Use a wet (e.g., Film-Guard) media cleaner or PTRs to reduce the risk of the dirt buildup scratching the print. NEVER try to clean a really dirty print with a dry media cleaner or by simply rewinding it through a dry cloth --- you WILL scratch it.

------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Eastman Kodak Company
Research Labs, Building 69, Room 7419
Rochester, New York, 14650-1922 USA
Tel: 716-477-5325 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com

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Carl King
Expert Film Handler

Posts: 199
From: Saint John, New Brunswick, Canada
Registered: Mar 2000


 - posted 08-21-2000 10:29 PM      Profile for Carl King   Email Carl King   Send New Private Message       Edit/Delete Post 
I have never moved a print without using clamps and never will. You would just be begging for disaster. If I have even the slightest doubt about the stability of the print I'm about to move I get assistance from the theatre manager or floor staff.

To anser the question about booth nightmares I will tell you that on one occasion I had removed the centre ring (Strong platter) to thread up and then remembered that the print was to move from that house. Just as I reached for the ring to replace it the intercom rang. I answered it and when I was finished placed the clamps around the print and lifted..guess what I forgot to put back? Yes..somehow I had placed the clamps around the print and not noticed that the ring was not in place. What a mess. I was able to save the show but it was sure a frightening thing to look at that mess sitting on a platter.

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Michael Pace
Film Handler

Posts: 64
From: Dalby, Queensland, Australia
Registered: Aug 2000


 - posted 09-22-2000 11:30 PM      Profile for Michael Pace   Email Michael Pace   Send New Private Message       Edit/Delete Post 
I have been amazed by all the fuss to shift a print from one platter to another. We use a sleeve that the film is slid into and then simply carried to the next platter and slid out of the sleeve and onto the platter. We have three small sleeves that comfortably take a feature of up to eight or nine spools including film ads and trailers and one large sleeve that has only been used for the largest of prints in recent times (TITANIC and a couple that didn't quite make it into the small sleeves)_

The large sleeve is a two person operation but the small sleeves are comfortable with only one person.

Regards,

Michael.

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Wayne Cope
Film Handler

Posts: 25
From: Micanopy, FL, USA
Registered: Apr 2000


 - posted 09-23-2000 12:44 AM      Profile for Wayne Cope   Email Wayne Cope   Send New Private Message       Edit/Delete Post 
If you've got no film clamps at hand and absolutely have to move a print, you could try what I always use. I take an ordinary legal-length clipboard (okay, you may need to improvise this, too) and a piece of masonite with a beveled edge (I'm sure you will have one of these sitting around in just the correct dimensions ). I slide the masonite under one side of the print up close the center feed. Then I slide the clipboard under the opposite side. One hand is around the center ring and the clipboard, the other around the outside edge of the print and the clipboard. One person stabilizes the masonite and I lift the opposing side of the print just above the center feed, slide it onto the masonite and lower it. Then the print, with center ring still in place, sitting on the masonite, is moved to where it is needed. It's set on one edge of the platter's disk. The clipboard goes under one side of the print, then it's lifted to again clear the center feed and lowered onto the platter, then the masonite is slid out from the other side. I center the print and am good to go.

In the very rare and unfortunate circumstance that I must do breakdown at this point, I can usually get the center ring's pins into the holes. If I cannot, I remove part of the mylar leader, which is just enough to allow the pins to go down and still maintain good tension.

And now it's time for my confession. I do this all the time, and usually alone. But if I'm tired, I always ask for help. Haven't slid or dropped one yet.

(BTW, one of our film festivals had nine 35mm films in three days. Single screen, tiny booth. No place to store the films in it. To get them out of the booth, they had to go thru an ordinary size door. Once I got them on the masonite, with the center ring in, I tipped it up, hugged the print to it, and walked. Had a volunteer walk with me, since I couldn't see well past the print. We stacked up the prints in a room behind the concession. Had to swap some prints between shows. What fun.)


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Per Hauberg
Jedi Master Film Handler

Posts: 883
From: Malling, Denmark
Registered: Jul 2000


 - posted 09-23-2000 06:02 PM      Profile for Per Hauberg   Author's Homepage   Email Per Hauberg   Send New Private Message       Edit/Delete Post 
Happiness is
--having a good old-fashioned spool-tower standing next to your platter system. I'm pretty glad, i didn't sell those two old film-killers, when the platters moved in.
Very little planning, and you never have to think about clamps, assistance or other nerve-splitting stuff

On the other hand: Tower spools also need a bit of brainwork: one night the projection booth pet (st bernard) had luck to flip over a full 4000 meter reel, which was leaning at the wall (never again !). Now this full reel got to lean on to the lower spool of the running tower instead, and "Dances with Wolves" got an additional intermission. Sold out cinema never got the truth - guess they'd never believed it anyway....

/ p.


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Per Hauberg
Jedi Master Film Handler

Posts: 883
From: Malling, Denmark
Registered: Jul 2000


 - posted 09-23-2000 06:07 PM      Profile for Per Hauberg   Author's Homepage   Email Per Hauberg   Send New Private Message       Edit/Delete Post 


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Wayne Cope
Film Handler

Posts: 25
From: Micanopy, FL, USA
Registered: Apr 2000


 - posted 10-04-2000 07:16 PM      Profile for Wayne Cope   Email Wayne Cope   Send New Private Message       Edit/Delete Post 
My apologies, I never did get around to answering the original question. Here's my nightmare story:

When I was a brand new assistant manager-operator for a first run twinplex, in 1983, I went to start a show and some part of the equipment wouldn't respond. It's been a long time and I can't remember this clearly, except for the punch line. Anyhow, all that filled my head was what I had been trained on and I ran over it and over it and could not figure out why things weren't working. I did not step back from the situation and ask myself, "What is wrong with this picture?" I got on the phone to our service company. They could not help me. They had three simultaneous emergencies on much larger screens in separate locations. So I broke the bad news to the audience, that I couldn't fix the problem and I've have to give them all passes. Thankfully, it was a small crowd!

Later, after everyone had gone, I walked back up to the booth to have a little look around. Much to my amazement, I noticed a power cord with the plug laying on the floor. I, or someone, obviously knocked it out of the outlet. I plugged it in and indeed that was my problem. I remembered a piece of advice I once heard. It's the sudden, acute problems that are usually easy to fix. The slow ones sometimes take a while to diagnose. It's the intermittent ones that drive one nuts.

And who'd have thought that such fancy equipment would have ordinary power cords? I never looked at them before. I thought it was all hard-wired.

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