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» Film-Tech Forum ARCHIVE   » Operations   » Film Handlers' Forum   » Hey you, you suck! (AKA: Outing bad film handlers) (Page 12)

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Author Topic: Hey you, you suck! (AKA: Outing bad film handlers) John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 03-11-2003 12:34 PM                        I agree that if you make a one-sided splice to reattach the leaders, the base side would be preferred, for the reasons outlined by Leo. On most projectors, the loops are such that a base-side splice is slightly more resistant to "folding up" than an emulsion-side splice. Of course, taping both sides minimizes the risk of fold-up, but makes it more difficult to peel the tape off so as not to lose frames. In a changeover situation, it's probably best to use splicing tape on BOTH sides. All permanent splices should be made with tape on BOTH sides. I agree, using anything other than high quality clear splicing tape is "Film Done WRONG".  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 03-11-2003 12:53 PM                    Outing: Loews Cineplex Streets of Woodfield Crime against film: Leaders hung back on with masking tape The damage is not just hypothetical as the sloppy reattachment of leaders caused misalignment which led to the edge of the film being creased by the reel flanges. This is the same venue previously cited for writing all over the image area of the trailer green bands. This is AFAIK an IATSE Local 110 theatre so while that generally assures a certain level of experience it does not guaranty that the operator will bring that experience to bear on "Film Done Right" when there are a few seconds to be saved by "film done wrong."  |  IP: Logged Joe Redifer You need a beating today Posts: 12859 From: Denver, Colorado Registered: May 99 posted 03-13-2003 01:53 AM                        To the Madstone in Chandler, Arizona: YOU SUCK! You need to learn how to build up and break down films. Masking tape is NOT a good substitute for splicing tape when you break down a print. Also is it too much to ask that you break reels down in a manner that is at least somewhat consistent? I don't like finding some reels wrapped emulsion-in and others emulsion-out throughout a single print. This seems to affect everything you break down. And what is your fascination with the yellow opaque splicing tape? It is a bad choice for reel changes, and even WORSE for mid reel splices! And when you do have a break in the middle of the reel, is it too much to ask that you at least resplice the film back together IN FRAME? You are a disgrace to the motion picture industry as a whole.  |  IP: Logged John T. Hendrickson, Jr Jedi Master Film Handler Posts: 889 From: Freehold, NJ, USA Registered: Apr 2001 posted 03-13-2003 09:02 PM                     Outing whoever had print #475 of Agent Cody Banks. You suck big time! Non-emulsion side roller scratch throughout the entire print. Obviously, this was part of the sneak preview run of two weeks ago. I knew I was in trouble when I saw the green dot on that orange can. FWIW, I reported it to TES this afternoon and was told they would send a new print. Just got a call at home tonight from one of my evening operators to say that TES called back and said they could not get a new print to us until Monday! Our principle owner will call MGM tomorrow morning and raise hell. Isn't it incredible that someone can run a print ONCE and damage it? You also have to question the wisdom of MGM sneaking a print, then demanding it be sent back (in mint condition,I might add) only to get back another print that is damaged and will have to be shown to large audiences all weekend long!! What do you tell your patrons? How about the shipping costs? Labor costs to build up and break down? And we wonder why this industry is in trouble? It just makes you want to  |  IP: Logged Dennis Udovich Film Handler Posts: 71 From: Sheboygan, WI, USA Registered: Dec 2001 posted 03-15-2003 03:11 PM                        Once again, I don't understand why we have to send the "sneak" print back and then get another print a week or two later. Makes no sense for the theatre, the distributor, shipping costs, etc. Luckily the print of Cody Banks we received this week is in fine condition.  |  IP: Logged John Hawkinson Film God Posts: 2273 From: Cambridge, MA, USA Registered: Feb 2002 posted 03-15-2003 09:21 PM                     Seems like the quality of this thread is diminishing. I sort of wish there was an "Outing masking tape users" thread that was seperate. I'm sorry, but I just can't see putting something that doesn't permanently damage the film (however inconvenient it may be; people with the right tools can remove it) in the same bucket as people who permanently damage the film. I'm curious -- how many of you who've "outed" theatres have actually called or sent them a letter raising the issues? Constructive criticism, y'know. --jhawk  |  IP: Logged Daryl C. W. O'Shea Film God Posts: 3977 From: Midland Ontario Canada (where Panavision & IMAX lenses come from) Registered: Jun 2002 posted 03-15-2003 11:43 PM                        Outing: Famous Players Jackson's Square, Hamilton, ON, CA. Auditorium: 'Strand' Showing: 4:10pm, Saturday March 15, 2003 1. This screen has had a hole in the centre of it for I don't know how long now... it looks bad and you suck! 2. Whoever built up your print of Tears of the Sun should be sent back to the concession stand. Their ability to platter scratch the entire show is second to none. YES IT WAS YOU!!! You managed to scratch every ad, trailer, Famous Players feature snipe and reel of the print in the exact same spot. 3. Somebody managed to misthread a roller in the week you've had it. The nice green emulsion scratches down the centre-right of the entire print complimented the black base side platter scratches nicely. 4. Learn how to clean out your gates. I was disappointed with your consistency on this issue. You only managed to totally destroy the Dolby Digital track on reels 2, 3 and 4. What happened to wrecking the track on 1, 5 and 6? The aperture dirt was very nice too -- it adds to the theatre's 'old fashoined' setting. 5. Speaking of destroying the digital track, your analog reproduction is great. You might want to try aligning that analog pickup... listening to the sprocket holes go by for half the film gets annoying! 6. I have never seen a print at this theatre that hasn't been absolutely filthy, this one included! Not one. Not even the day after it opens. In fact, I can think of only one that wasn't somehow scratched. Now I was going to go through all of this with a manager, but like usual nobody was around -- except for their idiot concessionists that don't know what it means when you say 'no I don't want to upsize my popcorn, this is already costing me $9 for a small drink and a large pop'. Bottom line: See what happens when you let all your experienced projectionists go? YOU SUCK! Am I ever glad that I don't receive prints from you, to show them would be the most embarrasing thing I've ever done.  |  IP: Logged Jason Whyte Expert Film Handler Posts: 132 From: Victoria, BC, Canada Registered: Sep 2002 posted 03-16-2003 01:35 AM                        Daryl, That sounds VERY much like a typical old-school, non-Silvercity Famous Players theater to me. The Capitol 6 in Victoria is not much different, and that incident happened to me a few years back as well. Shameful! Jason  |  IP: Logged Daryl C. W. O'Shea Film God Posts: 3977 From: Midland Ontario Canada (where Panavision & IMAX lenses come from) Registered: Jun 2002 posted 03-16-2003 02:05 AM                        Yup, they're a definite candidate for digital cinema. 'DLP, for those who can't get film right.'  |  IP: Logged Jon Miller Jedi Master Film Handler Posts: 973 From: San Diego, CA, USA Registered: Sep 1999 posted 03-16-2003 02:34 AM                     For those of you who haven't experienced the joy of film festival projectionist duty, I can confidently say the larger the festival, the more suckage you will likely experience, especially when most of the prints come from from countries where shipping prints on cores is the norm. Unfortunately, it is difficult to assign blame for a poorly-handled print if it was last run outside of your home country and the shipping data is removed from the cardboard box the cans came in. That said, I am compelled to vent over the first print I made up for the 2003 San Diego Latino Film Festival... Whoever last ran "El Segundo Aire" before it was sent to Madstone Theatres Hazard Center, ¿como se dice en español?-- you suck! To wit... Ends not taped down... I have no idea how this could have happened, but the end was not taped down on this one, either... This time, the end was taped down in feeble fashion, but this reel did not even come on a core. Notice the loose leader... Here's a beauty of a cue-tape job. What automation could require doing film wrong this way?... I guess one tail ID isn't enough. A conga line is more like it... I'll give credit for the print arriving tails out. However, the head and tail leaders were attached to the wrong ends of the print, with masking tape to boot (save for the one loose head I mentioned earlier) and with no regard for reel numbers. (Each head and tail had a reel-number imprint which, while not exactly large, is not hard to overlook if you're paying attention). Finally, the print had a fair amount of dirt (I brought in my Christie film cleaner and my personal supply of FilmGuard to use on the prints I ran, but the cleaner had a hard time with some of the junk on this print, especially near the splices).  |  IP: Logged Joe Redifer You need a beating today Posts: 12859 From: Denver, Colorado Registered: May 99 posted 03-16-2003 06:41 AM                        Jon, You can order Filmguard from Brightstar... as long as the total order is under $100 it does not need to be approved by Madstone first. With all of the Film Festivals San Diego does it will come in handy and you won't empty out your personal supply.  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 03-16-2003 07:02 AM                        Steve said: "This is AFAIK an IATSE Local 110 theatre so while that generally assures a certain level of experience it does not guaranty that the operator will bring that experience to bear on "Film Done Right" when there are a few seconds to be saved by "film done wrong." Thing is, if Loews is being true to its policy of keeping the union guy on for only 20 hours a week and letting the concessions boys and girls have at the booth the rest of the time like they do here in NYC, then it could very well be that the union guy never even had a chance to do Film Done Wrong. No one with experience was in the booth here in NY at the Astor Plaza during the first run of 2001 and so what followed was damage to the 70mm print. As the youngster who was sitting outside the booth exclaimed when I asked where the projectionist was, "Oh, he only comes in on Fridays." Maybe the damage you saw was done sometime between Monday and Thursday.  |  IP: Logged Neil McGovern Film Handler Posts: 35 From: Sheffield, UK Registered: May 2002 posted 03-16-2003 09:50 PM                        To whomever last showed A.I. UK27: Thank you. Your wonderful piece of make down was an amazing tool for me to show one of my little trainee projectionsts how not to break-down a print. Your crimes are as follows: a) Reel 1 in bottom of shipping box, without a can. Underneath the other cans. b) Head is *gaffa* taped on. Tail out, emusion in. c) Reel 1: no head. d) Reel 2 head has reel 1 tail attached, Reel 2 head found neatly folded in can. e) Reel 3 has no core. Head out, emulsion out. f) Reel 4: due to your speed control while making down, there's a few large spikes here that have crushed the edge of the film, into the picture area. g) Why have you cut 20 secs from the middle of reel 5? You have returned them with the print, and they are in perfect condition, with a note scribbled on some scrap paper reading "Middle of R5 is here. It got taken out because it was quite violent and we were showing the film to kids". Certificates anyone? And as for the splice, for your future reference: a frame has 4 sprockets, not 2. Which begs the question: e) What piece of your equipment will produce a cut sprocket every 3 sprockets, for half a reel? (reel 5 again). f) Reel 6. Thank you for folding the dolby digital ST slightly for the entire reel. I can now show my trainee what the little 'F.' looks like in the CP500. g)Is that a big scratch I see running the length of reel 7? I believe it is. h) Reel 8. Please explain this one. Anyone on film-tech. Please. HOW can you possibly remove 20 seconds worth of edge (the entire SDDS primary track area) from a film, and still run it through a projector? At this point, after I had already spent 6 hours repairing damage, I returned the film, and got another copy sent. How do you plead?  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 03-17-2003 10:21 AM                        Darryl wrote: quote: 'DLP, for those who can't get film right.' What makes you think they will get "Digital Done Right"? I've been to a few digital cinema presentations that were too. Proper equipment maintenance and a skilled projection staff are important to BOTH "Film Done Right" and "Digital Done Right".  |  IP: Logged Tim Reed Better Projection Pays Posts: 5246 From: Northampton, PA Registered: Sep 1999 posted 03-17-2003 11:42 AM                       That's absolutely right, John. But as long as wages continue to be cut and the technical community de-professionalized, that may be as good as it's ever going to get.  |  IP: Logged

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