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Topic: Harry Potter Interval

Andy Muirhead
Master Film Handler

Posts: 323
From: Galashiels, Scotland
Registered: Dec 2000

posted 11-20-2001 06:57 PM

I can believe the fact editors hate projectionist's

I get a few prints now and again with fade ins/outs at reel changes. Those guys must hate us to do that, it's like a 'f&%k you guys, suck on this'!

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Dave Macaulay
Film God

Posts: 2321
From: Toronto, Canada
Registered: Apr 2001

posted 11-20-2001 09:24 PM

How about when they put the "film stopping and melting in the gate" effect in a movie. Must have given a few projectionists heart attacks over the years.

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Greg Mueller
Phenomenal Film Handler

Posts: 1687
From: Port Gamble, WA
Registered: Jun 99

posted 11-20-2001 09:31 PM

There's a realy great "Gremlins" trailer that has a film melting sequence. I've caught a few people with it. Just about the time they go "Oh-oh" there's this little demonic giggle and the trailer goes on from there.

------------------
Greg Mueller
Amateur Astronomer, Machinist, Filmnut
http://www.muellersatomics.com/

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Michael Brown
Phenomenal Film Handler

Posts: 1522
From: Bradford, England
Registered: May 2001

posted 11-21-2001 07:05 AM

Ok I ran Hannibal (2hour 12 mins) last night and my reel was extremly full. I could of got maybee another 2 or 3 mins on there as a maximum.

So its looking like an interval for definate. If we do end up runnig it in the new year.

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Pete Naples
Phenomenal Film Handler

Posts: 1565
From: Dunfermline, Scotland
Registered: Feb 2001

posted 11-21-2001 11:28 AM

Right Bernard, you'll find you can get less film on that Cinemec spool, although they do take up something lovely

Because you can't alter the take up tension on a DGB you can't use smaller hubs, as the tower won't take up quickly enough on start-up. I guess you could slug the projector start up down more, but I think you'd reach the point where it won't start The DGB's won't let you use those 8" hubs from Rigby / Premier, nor do they like the Goldberg easy start spools.

Michael. 2 hours 12?? Ye're an amateur!!! JJ. Is the tower behind the machine or to one side?? If it's behind the machine you can employ the 'tri-pair beer mate theory' to get that last little bit of film safely on. Not something for a ergular show, but ok for those one off screenings of "Apocalypse Now" etc!

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Michael Brown
Phenomenal Film Handler

Posts: 1522
From: Bradford, England
Registered: May 2001

posted 11-21-2001 11:42 AM

Tower is on the right of the projector.

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Wes Hughes
Expert Film Handler

Posts: 175
From: Raleigh, NC, USA
Registered: Aug 2001

posted 11-21-2001 12:31 PM

Why does everyone get so upset if there is a fade to black at a reel change?! That is the PERFECT place for it! ...Although it RARELY happens that they put them there...perhaps because projectionists everywhere bitch so much about it.

Do you not have a frame counter at your theatre??? If not, just use a piece of mylar leader with framing marks to measure from the point where you can see the frames to the point you need to cut. Not a big deal.

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John Pytlak
Film God

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

posted 11-21-2001 01:45 PM

Wes Hughes said: "If not, just use a piece of mylar leader with framing marks to measure from the point where you can see the frames to the point you need to cut".

FPC is one vendor of "frameline" leaders:
FPC Frameline Leaders

They also have other "goodies" of interest to projectionists:
FPC Product List/Links

------------------
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

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Andy Muirhead
Master Film Handler

Posts: 323
From: Galashiels, Scotland
Registered: Dec 2000

posted 11-21-2001 07:19 PM

Thank's for the tips Wes, We don't have a frame counter as i dont actually need one, and we have better things to spend our cash on. I can usually smell frame lines anyway

. Fades at reel changes are usually accompanied by sound fades as well, so cinemas running analogue are going to have an annoying click, no matter how well the splice is made. Also it helps in breaking down a print to have reference frames to work with, i have seen prints where most reel changes have been fades, must have hell for the guy breaking down (and i know about stickers, etc but it really shouldn't be necessary).

Michael, if you have got 2hrs 12m of Hannibal on your tower, there isn't much more to go with HP, maybe 20mins, which at that diameter on the tower is not much. Just ask Pete Naples for more info on the 'Tri beer mat theory' which i used when i worked towers. If you are running from your proj to the tower in a straight line it should work ok.

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Michael Brown
Phenomenal Film Handler

Posts: 1522
From: Bradford, England
Registered: May 2001

posted 11-22-2001 02:54 AM

Oh there is no way another 20 mins would fit on.

A month back i ran croutching tiger, (2hour 9 seconds) and i had to run our adds/trailers(approx 15-17 mins) from a separate reel. At First I tried to wind the adds/trailers on the feature and i had to stop about three quarters of the way when the reel became absolutely full.

I would estimate the max capacity of the reel to be about 2 Hour 15 mins at the maximum.

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Pete Naples
Phenomenal Film Handler

Posts: 1565
From: Dunfermline, Scotland
Registered: Feb 2001

posted 11-22-2001 03:17 PM

I wouldn't try the beer mat trick unless the tower is behind the machine.

Michael it sounds like you are using large centred spool. Measure the diameter of the hub, there are three sizes in common use, the Cinemec being the largest. The smaller ones can be a wee bit tricky to use, but once you get the knack you can fit that little extra bit of film on, although you might still have to run the ads on a separate reel, although I'd have thought for an operation like yours that would be the norm. With a tower I like to still have the spool boxes/arms in place, so you can run ads/shorts/whatever on it, then run the feature from the tower.

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Brad Miller
Administrator

Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99

posted 11-22-2001 03:23 PM

Pete, can you please explain how the location of the tower enables a reel to handle more film? Does the screen have to be facing due north too?

Or are you recommending that the reel be overfilled past it's flanges?

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Gordon McLeod
Film God

Posts: 9532
From: Toronto Ontario Canada
Registered: Jun 99

posted 11-22-2001 07:01 PM

I have found that since the towers don't usually have guidance rollers built in to them they are rather fussy for placement and how full the reels are made

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Brad Miller
Administrator

Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99

posted 11-22-2001 07:11 PM

I'm not a tower man myself, but how hard would it really be to mount a couple of rollers on them? It seems senseless to me that the tower would have to be in-line with the projector anyway.

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Leo Enticknap
Film God

Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000

posted 11-23-2001 05:47 AM

As a trainee projectionist 9-10 years ago I once asked my boss why in older Hollywood films, reel changes tended to happen on a fade to black whereas you never seem to find this with more modern productions. The explanation she gave me was that studio editors during the 30s and 40s would deliberately try and end a reel with a fade if possible, so that a slightly late changeover doesn't look obvious, but that nowadays editors avoid this at all costs to minimise the chance of someone cutting a print out of rack when preparing it for a platter or tower.

The changeover from hell I'll never forget in in 'Taxi Driver', right in the middle of a quick-fire dialogue exchange. You've got to be almost frame-accurate to avoid clipping a syllable or two from the incoming reel, and if frames have been lost from the print by previous users, then forget it.

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