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This topic comprises 3 pages: 1 2 3
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Author
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Topic: projectionists nightmare
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Shane Pena
Film Handler
Posts: 12
From: Show Low, AZ, USA
Registered: Aug 2000
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posted 08-20-2000 06:04 PM
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
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posted 08-21-2000 06:45 AM
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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Michael Pace
Film Handler

Posts: 64
From: Dalby, Queensland, Australia
Registered: Aug 2000
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posted 09-22-2000 11:30 PM
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
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posted 09-23-2000 12:44 AM
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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Wayne Cope
Film Handler
Posts: 25
From: Micanopy, FL, USA
Registered: Apr 2000
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posted 10-04-2000 07:16 PM
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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