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"Brad, in re your theory #1, it seems to me that there's not much wrong with using paper tape for a leader splice if you make the splice on a splicer. "

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I have done this when working booths that had super nasty splicing tape and have no problem with it. HOWEVER, there must be a clear distinction between the kind of white tape that has the same adhesive that is found on Post-It Notes (not strong enough) to the other extreme that is actual masking tape (leaves horrible residue). If the Artist's tape is not left on the print for "too long", then it will pull effortlessly off and leave no residue. For theaters that are super cheap and won't spend the money on quality splicing tape, I would RATHER see them use Artist's tape on a splicer. And yes it will run through a projector just fine if need be (even a single sided splice). In fact, at theaters with completely blind projectionists who absolutely insist on using solid opaque splicing tape, I generally recommend they make the splice with a piece of clear splicing tape on the base, and use the Artist's tape for the emulsion side. It's cheaper and doesn't leave a glob of sticky goop for the next theater. There has never been a problem either.

Jack, I have seen that MANY times since TES started using those translucent reels. It drives me crazy! It happened to me once rewinding a reel while threading a nearby platter in a rushed situation (I heard the film on the other reel cinch scratching away as it was tightening up on itself) and now I am extra careful anytime I get close to the end of a reel that may have been secured by an idiot.

And what's with the group of "projectionists" who think they can wrap a piece of film or masking tape around the hub of a reel that will miraculously allow them to remove the leaders without damaging the last foot or so of the reel? Are you people that damned lazy that going back to the cans to replace the R3-tail and R4-head leaders is just too much work? You guys suck too! Go back to shoveling popcorn. That practice FORCES people to tape down the end of the reel and still provides NO protection when the end of the reel is reached. I've been in a bind before where I had to run a show cold reel to reel and the last person had taped down the tail to the hub. (This was reel 1, I inspected the others during that first reel.) As the tail leader was short, I ended up sprocketing the last couple of feet of that reel in the projector because of that nonsense. Leaders should never be removed until it is actually time to join the reels together at the platter.

Story time:
Funny story here. Several years ago I broke a print down to 2 large reels for transport to a nearby 6 plex (which no longer exists). I left all of the leaders in the cans so as not to confuse them, but wrapped a protective stretch from some extra unused trailers with their leader around it. I told the projectionist who picked up the print what I did to protect the ends of the reels and I also had placed a stretch of Artist's tape on these ends with "THIS IS JUNK FILM FOR PROTECTION, REMOVE BEFORE PLATTERING". Of course that weekend one of my employees went to that theater to see the show and came back saying that "halfway through the movie it just stopped and the Coca Cola polar bear commercial started running upside down with weird sound and some random markings (this was the leader) for about 10-15 seconds, then the movie picked right back up." Idiots! Guess it's a good thing I cut that junk protection film in frame.

Accidents happen, and this isn't about the blame game (not necessarily) but just to get some accountability and maybe force goof-offs to be a little more careful.

UPDATE: The replacement print of Frida is brand new, never abused (or at least handled by a professional). Everyone is happy and it will leave the theater in perfect condition at the end of the engagement. Two points for TES on this one.

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Maybe someone should call the WGA and ask. (I tried.)

Writers Guild Theater
135 Doheny Drive
Beverly Hills, CA

Contact:
Caren Mandoyan
Writers Guild of America, west
7000 West Third Street
Los Angeles, CA 90048-4329
323.782.4525
theater@wga.org

As John said, I use white or colored artist tape to old the leaders down on prints which arrive without reel bands and I use scissors to cut it off the roll. It just feels unprofessional and tacky to tear it off the roll, but I'm just picky about this sort of thing.

However with reels sent to us where the splice has been cut, the majority of the time I will remove the offending frame. Depending on the quality of the tape residue. I have found that more damage can be done removing this crap than by just cutting my losses.

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It wouldn't take too long for theaters to become forced into putting professionals in the booth, because it wouldn't be economically feasible not to. Everyone right down to the paying customers would benefit.

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Either that, or they would find it easier to just switch to digital and avoid the "film problems" alltogether...

They invented tape dispensers recently. They are a marvel of 21st century technology. No more unprofessional tearing of artists tape! No more taking out the scissors! The tape dispenser makes a nice, clean cut for you. An added benefit is that the roll doesn't have to lay on it's side when not in use, collecting dirt and debris.

Honestly though, I don't find a perfectly straight cut done with scissors to be any more professional than one done by a tape dispenser. But I too thought you were referring to cutting the splices the first time I read it, but then I figured you were talking about the tape when I re-read your sentence and looked at the pics again. That was before Jiggidy Jhawk (yes with a capital J) suggested it. I'm smart!

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