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» Film-Tech Forum ARCHIVE   » Operations   » Film Handlers' Forum   » Hey you, you suck! (AKA: Outing bad film handlers) (Page 16)

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Author Topic: Hey you, you suck! (AKA: Outing bad film handlers) David Favel Jedi Master Film Handler Posts: 764 From: Ashburton, New Zealand Registered: Feb 2002 posted 06-30-2003 09:32 PM                     In the middle of frames.  |  IP: Logged Mike Blakesley Film God Posts: 12767 From: Forsyth, Montana Registered: Jun 99 posted 07-04-2003 08:50 PM                        Whichever AMC theatre that handled print #00383 of "Finding Nemo," YOU SUCK! Not only did you remove (and keep) the attached trailers which we are "contractually obligated" to play, but you left your cheesy "AMC" no-talking and chain-ID trailers on the print. I called TES to try getting a replacement reel, but they said they will not replace reels based on the trailers being missing. So, should I write to Disney and gripe about this? I don't mind missing the trailers so much as I'm upset with the AMC people who blatantly ignored the giant note in the film can and cut-up this print.  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 07-05-2003 10:21 AM                     I think the reply from Disney would be most interesting and might offer justification not to run there trailers in the futur as a precedence  |  IP: Logged Jesse Skeen Phenomenal Film Handler Posts: 1517 From: Sacramento, CA Registered: Aug 2000 posted 07-05-2003 01:28 PM                     Doesn't AMC still cut green bands too? They should not be doing that...  |  IP: Logged David Stambaugh Film God Posts: 4021 From: Eugene, Oregon Registered: Jan 2002 posted 07-05-2003 01:34 PM                        Cinemark cuts green bands too.  |  IP: Logged Thomas Procyk Phenomenal Film Handler Posts: 1842 From: Royal Palm Beach, FL, USA Registered: Feb 2002 posted 07-07-2003 02:02 AM                     I never understood why we cut those things off when I worked for Regal back when they used to do that. 9 times out of 10 the sound would be hacked off along with it... Besides, it's better to see a green band than a "ratings certificate" or some other BS that looks like a diploma signed by the government before every trailer. =TMP=  |  IP: Logged Michael Schaffer "Where is the Boardwalk Hotel?" Posts: 4143 From: Boston, MA Registered: Apr 2002 posted 07-07-2003 05:45 AM                        In most cases it is not really the "projectionist" whose fault it is. They are undertrained and overworked. It is the company who fails to give them the training and which should also supervise their work. Since I have come here, I had very little time yet myself to spend with our projectionists. But whenever it was possible, they were very interested in learning more and tried to apply what I had said. Of course, there will always be foul eggs - but again it is up to the supervisors to sort these out. I guess many first-run companies don`t care at all about how the prints are treated when they leave the cinema. They think that it doesn`t matter anyway as it will not affect their own presentation. Wrong - the way you treat prints and equipment is part of a general working athmosphere. You can`t teach people to make up prints and operate equipment very carefully, but then to "throw out" the print like trash. It will have a reverse negative effect on the other aspects of the work. Either it is done right or it isn`t. That applies to all aspects of everyday work in the cinema.  |  IP: Logged Ken McFall Jedi Master Film Handler Posts: 615 From: Haringey, London. Registered: Apr 2001 posted 07-07-2003 09:56 AM                     That's the root of the problem... they don't see or suffer the results of their lack of training. Once the print left there is nothing to see. The attitude is often to get over a problem and ignor the long term effect it has. When short staffed or under pressure just get it done whatever way just to stay on screen. At my last cinema the manager knew the adverts were being changed a day early every week. But because none of the staff were trained in doing the job it was left to one guy to do it. This was totally against the terms of the advertising contract but allowed to continue because it suited. The staff had been given no training and it showed on screen with very dirty scratched prints. Most people will respond to training... but the trainer has to be given the resouces to allow for it. Unfortunatly that costs money so you are right back to where you started. We want it done right.... but we don't want to pay for it. When will they ever learn.  |  IP: Logged Michael Schaffer "Where is the Boardwalk Hotel?" Posts: 4143 From: Boston, MA Registered: Apr 2002 posted 07-07-2003 03:01 PM                        Actually training people may cost a little time and money, but it saves tons and tons and tons of money in the long run. There will be less damaged prints and equipment, the equipment will be better maintained, operators who have received training can often solve little problems themselves or be talked through on the phone. Far fewer shows have to be cancelled, no service companies have to be called to come down to change a fuse... If a theater company`s management does not understand this, they are simply incompetent and in the wrong place. Not only from a film fan`s perfectionist point of view, but also very much so from an ECONOMICAL point of view. Companies who don`t invest into training their people are actually wasting a lot of money.  |  IP: Logged Aaron Sisemore Flaming Ribs beat Reeses Peanut Butter Cups any day! Posts: 3061 From: Rockwall TX USA Registered: Sep 1999 posted 08-04-2003 04:09 AM                     To Whomever handled print #0001 of "Se souvenir des belles choses" (AKA "Try To Remember") prior to 7/17/03 : Did you really have to hack virtually every 'nudie' frame from the 'love-making' scenes in this film? The scene begins with a couple kissing in a rainstorm. First, the woman removes the man's shirt. Then the woman begins to take her clothes off and that's when all the splicer-induced jumping and chopping begins, with the final splice (of about 15-20) cutting to the couple just finishing up after their sexual rendezvous... At least this idiot was 'courteous' enough to leave about 6 frames of bare breasts in- They must've figured that they had chopped enough out... whomever you are!!! -Aaron  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 08-04-2003 06:00 AM                        IMHO, anyone that takes "souvenir" frames from any film should be banned from the booth forever. You are deliberately destroying the continuity of the print for everyone that watches it.  |  IP: Logged Mark J. Marshall Film God Posts: 3188 From: New Castle, DE, USA Registered: Aug 2002 posted 08-04-2003 11:58 AM                    Hey, Ambler theater in PA... YOU SUCK!!! You showed a special red carpet premier of Seabiscuit the night before it opened, and were supposed to send us your backup print, which we were told was never even built up, when the premier was over. Instead the print arrived with heads and tails taped on with what has to be the cheapest masking tape known to man. The film around the reel splices also had about a foot and a half of WHITE OUT on both sides of the soundtrack edge SDDS track, presumably so that a BLIND projectionist can SMELL the splice go by when he breaks the print down. If you're going to use a whole bottle of white out to mark the splices, do you really need the cheap splicing tape with ID marks on it to signify that the splice with three feet of white out around it is indeed the reel splice? If you do, can you at least peel it off and clean all the residue from the film to save me five minutes on each splice cleaning the film with Film Guard? I'd hate to cut a second frame off the ends of the reels. Finally, that's great that you included the paper bands with the reels, but it's really not necessary to tape the paper band to the head of the reel, then flip it over and also tape the head of the reel to the paper band on the other side. Here, we call that "overkill" especially since the print was only going five minutes down the street. Not to worry, I did contact Technicolor and have a new print delivered the next day at what might end up being your expense. But I'm curious, how did you convince Universal that YOU should be the one to get the premier, anyway? It must have been that fancy red carpet.  |  IP: Logged Jesse Skeen Phenomenal Film Handler Posts: 1517 From: Sacramento, CA Registered: Aug 2000 posted 08-04-2003 01:40 PM                     I watched a DVD of an old movie called "CB Hustlers" that had some nudity in it, and the print had a lot of splices in most of the nude scenes; I figured someone had taken souvenir frames from it  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 08-04-2003 02:14 PM                        It would be VERY unusual to make a DVD master from a worn and splice-filled release print. Who manufactured the DVD?  |  IP: Logged Carl Martin Phenomenal Film Handler Posts: 1424 From: Oakland, CA, USA Registered: Feb 2002 posted 08-04-2003 05:25 PM                        it (aaron's print) sounds more like local censorship than souvenir-grabbing. if it's the theater's policy to do so then that theater should be blacklisted by distributors. if it's some town's ordinance then the voters of that town should be stricken with a fast-acting cancer. carl  |  IP: Logged

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