The methode that Leo talks about can work but only if one side of the frame is correct. If you have a situation where you are two out on one side and three out on the other any change you make will result in the flash of the splice across the screen.

I see no need for a frame counter, i don't have one and even if i did, i wouldn't use it for this particular situation.

I too, often use Leo's method. As John points out, with a relatively new splice, peeling off the tape is not a problem.

When observing the misframe, as Leo points out, if the frameline suddenly occurs in the centre of the screen, it is necessary to remove 2 sprocket holes.

If the frameline appears in the bottom third of the screen, it is necessary to remove only one sprocket hole.

If the frameline appears in the top third, it is necessary to remove 3 sprocket holes.

This is usually done during a short intermission. If "screen flash" is a problem, simple working out of the amount to be removed can be corrected when time permits.

I would also suggest based on how many platter operators are cutting off fade-ins and fade-outs as part of their build (I see where their splices are) because they're too lazy to figure out where the frameline is in solid back, that a frame checker belongs in every booth. At the moment I am screening a previously plattered Sony Classics print which has a splice a short way into the SPC logo because someone couldn't deal with a fade-in which is only a few frames long.

When I was teaching platter operations to newcomers I always taught them to drop foam or something similar onto the takeup before or after a bad splice to enable it to be lifted out for repair. I assume that is so universal it doesn't even count as a "trick."

At the moment i can be seen in the proj box marking framelines with a china pencil.

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However, if you have a good eye or a good magnifying glass, you can see the credits as they come out of or going into the the frame line area. That could make it much easier and faster to repair the bad splice.

I use this method on film inspection proir to running the print, and it saves alot of hassle afterwords.

As to why the tails get so beaten to crap, this one is simple. It is from platter operators who:

#1 Fail to add extra tail leader, because the end of the film roll is going to drag all over the floor (at least 25 extra feet should be required - shame on you people who don't!)

#2 Did not properly secure the tail, the tail comes loose and causes an axle wrap, thus throwing the print.

#3 Have improperly timed platters and/or static, causing a thrown print.

The closer to the end of a film roll on a platter, the better the chances of these things happening. All are easily prevented.

NOTE: not adding extra head and tail leader on each reel in a changeover booth is equally unprofessional IMHO too, for it allows the ends of the reels to get dirty from the constant handling that is required when running reel to reel. Lab leaders are never long enough.

--jhawk

And I see no need to be subtle. Film damage is film damage. If you are running reel to reel and are not adding extra leader over what the lab provides, you ARE causing film damage, even if you do not believe it to be true. If you have a problem, contact me offline via email.

If your concern is damage outside the projector (i.e. dirt creeping in the reels during shipment, etc.) it seems like your comments would be better directed to the labs and the people paying them the bucks.

Perhaps I'm naive here, but I don't see how a longer head is going to be "more professional". A longer tail I can see, if there's a long threading path, but my assessment is that that is rarely necessary.

It sounds like you're just sore at us changeover guys for not having to breakdown our prints, and are trying to give us something to make us sit around the booth after we're done. But that couldn't possibly be what you mean . I suppose we could try a different codec.

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It was my understanding that most of that dirt does not get in the film from the tail running through the projector absent tension from the supply side (end-of-reel effect), nor does it come from reels being carried around the booth when proper procedures are followed (film not on floor, etc.), but rather that it comes from dirt and crud in shipping cannisters, and failure to tape down or reel-band down the ends of reels during shipping. Not to mention platter booths where the heads and tails are poorly handled and not kept in a workmanlike fashion while the print is plattered.

If that understanding is correct, then adding an extra 25' of tail for a few shows is not going to help.

If my understanding is incorrect, then you'll need to tell me how much tail you think is really going to be necessary to fix how much of the problem. Will 25' of tail move the dirt 90% closer to the end? 95% closer? What's the cutoff? It's a judgement call.

Beyond that, because this is a slow buildup effect over time, is there really any point in one or two changeover booths doing this if everybody does not? This is not analagous to the platter situation where failure to attach a tail causes the entire tail of the print to be trashed, guaranteed.

Perhaps you see why you haven't yet convinced me.

--jhawk

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