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Topic: TES Exhibitor Guide
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Randy Stankey
Film God
Posts: 6539
From: Erie, Pennsylvania
Registered: Jun 99
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posted 09-22-2000 05:25 PM
I have, on several occasions, made use of Technicolor's "Breakdown Sheets". They have saved my life more than once.It was Princess Mononoke that I received on the day of the show and only had a (relatively) short time to build, FilmGuard, and screen the print before a crowd of badly dressed college students beat down my door. They faxed the sheet to me. It is NOT just a description of the changeover frames. It is an actual scan of each frame, marked Reel-1 (head) -- Reel-1 (tail), etc. It was very helpful. **IF** you call up TES and are nice to them, they will fax the sheet to you in 1/2 hour or less. TES peeves me off a lot but on THIS issue they have been very helpful.
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Brad Miller
Administrator
Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99
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posted 09-22-2000 06:18 PM
Well I mine as well go ahead and announce what I have been working on for a couple of months now since it sounds like TES is doing something similar. Ever since the debate here on the forum over whether to cut ID frames or not, I have been trying to get with the studios on photographing the first and last frame of each reel to be able to create an archive right here on Film-Tech. Of course this would not include older films, but would start with whatever films were currently in release. Here is the example page I made back when Gone in 60 Seconds was released the FIRST time. You will note the page was designed with printing in mind. CLICK HERE FOR THE SAMPLE I chose to shoot the entire film, edges and all for further verification of sound formats as well as picture format. Unfortunately, no studio has responded regardless of which office I direct the plea to. If anyone knows of a good contact at ANY or all of the studios, please pass the info along. Such an archive would be a great assett to projectionists who receive a used print with or without leaders or ID frames. It would also serve as a nice method for break-down verification in the booth. Since it is layed out in a manner to be easily printed, theaters could keep a printout of this on file or insert it in the film cans for when it comes time to break the print down. Nice projectionists could even leave the printout in the cans for the next guy when they ship the print back.
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Aaron Sisemore
Flaming Ribs beat Reeses Peanut Butter Cups any day!
Posts: 3061
From: Rockwall TX USA
Registered: Sep 1999
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posted 09-23-2000 05:42 PM
Prints should be shipped in the cans that accomodate the number of reels that the print is. Period. The DTS disks can be added to one of the cans, either in a DTS round carrier, or as some ETS prints have done, just in the clear 'Pride' jewel cases (a lot thinner than the round thingy and a bit more rugged than a hard plastic jewel case) with the jewel cases placed on top of or in between the reels and then closing the can. It does fit without damage. 'Enclosed' trailers should be shipped in a plain cardboard box or plastic bag along with the print, just as many studios do now for other treailers that they wish top have played with a certain competitors' prints... This would eliminate a lot of the bullshit associated with damaged reels, damaged trailers, damaged cans, etc... Aaron
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John Pytlak
Film God
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 09-26-2000 12:33 PM
Brad -- the photos of the frames around the reel changes are a great idea, and perfect for Film-Tech's "Feature Info & Trailer Attachments Section". I will bring this up at the meeting of the Inter-Society Committee for the Enhancement of Theatre Presentation" at ShowEast, to see if there is any objection to posting "copyrighted" feature frames of current films. I think the MPA and NATO will agree it's a good idea, and should be done, but we do need to check. The only caution would be when other countries have a different version, that may not have the same editing or changeover points as the USA.BTW, you were going to send me an example of the trailer leaders that had the flared white framelines in the black section, that couldn't be cut out because of the 21-frame sound advance. I plan to show the trailer splicing section and the samples at the Inter-Society too. ------------------
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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