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» Film-Tech Forum ARCHIVE   » Operations   » Film Handlers' Forum   » Hey you, you suck! (AKA: Outing bad film handlers) (Page 22)

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Author Topic: Hey you, you suck! (AKA: Outing bad film handlers) Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 08-30-2003 07:59 PM                        So how does one order the new (well, "newer" than the "old" one) SMPTE book? The link on their web site to "SMPTE Store" and "Books" is just a link to Amazon, which seems kind of lame to me. Do they have a publications catalog or some other way of ordering the book by mail? I meant to get one when the new version first came out but was put off by the high price tag (more than twice what the old edition cost).  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 08-30-2003 08:13 PM                        I think SMPTE has subcontracted most of their publications distribution. I do know that they set up a bookstore at their conferences that usually has the Projection Manual on hand for direct sales. Some theatre equipment dealers carry the manual: RSEM Catalog The BKSTS also carries a manual: http://www.bksts.com/proj_train.html Here is an article that I wrote: http://wwwau.kodak.com/US/en/motion/newsletters/pytlak/oct2001P.shtml And other links: http://www.film-center.com/propractices.html http://www.sarai.net/cinematography/pages/biblio.htm  |  IP: Logged Torsten Jasper Film Handler Posts: 15 From: Braunschweig, Niedersachsen, Germany Registered: Aug 2003 posted 08-30-2003 10:37 PM                    Goofs are just all over the world! Its time to kick them out of the booth.  |  IP: Logged Michael Schaffer "Where is the Boardwalk Hotel?" Posts: 4143 From: Boston, MA Registered: Apr 2002 posted 08-31-2003 07:31 PM                        I have the BKSTS manual. I understand the SMPTE manual includes it in the first part and has a second section with articles written specifically for American practices. Is the BKSTS part exactly the same version as the original? How much additional material does the second part contain?  |  IP: Logged Aaron Garman Phenomenal Film Handler Posts: 1470 From: Toledo, OH USA Registered: Mar 2003 posted 09-01-2003 02:25 AM                     Thanks John. I have some reading to do. AJG  |  IP: Logged Brian Guckian Jedi Master Film Handler Posts: 594 From: Dublin, Ireland Registered: Apr 2003 posted 09-02-2003 06:38 PM                     Speaking of SMPTE, is there an RP (Recommended Practice) that could be drafted that would embody the best in film handling knowledge here on Film-Tech? That would "set in stone" guidelines in "Building 101" etc. in the Tips section. It would mean there would be a single agreed standard worldwide that everyone could refer to (even if inevitably some won't follow it!).  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 09-03-2003 06:11 AM                        Brian Guckian asked: quote: is there an RP (Recommended Practice) that could be drafted that would embody the best in film handling knowledge here on Film-Tech? There already are quite a few SMPTE Standards, Recommended Practices, and Engineering Guidelines that cover presentation quality and laboratory/theatre practice: SMPTE Standards SMPTE Recommended Practices SMPTE Engineering Guidelines Other practices and "tips" are often specific to the country, theatre circuit, or equipment, and may not gain universal agreement. Certainly, a proposal or draft of a document can be submitted to the SMPTE Theatrical Projection Technology Committee for consideration: SMPTE Technology Committees Pat Moore is the current Chairman.  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 09-03-2003 12:06 PM                        Getting a slew of technicans to agree on any one practice or technology is about as easy as getting everyone in the Middle East to agree on what has to be done to make peace. Just look over the debate on simple things like how to splice leaders or, dare we even say it out loud, the pros and cons of CYAN TRACKS. Agreement is not as easy as it sounds. Frank  |  IP: Logged Brian Guckian Jedi Master Film Handler Posts: 594 From: Dublin, Ireland Registered: Apr 2003 posted 09-03-2003 07:37 PM                     John, many thanks. Apologies as I wasn't completely clear earlier. I meant a single RP that would specifically cover make-up / break-down of prints. I shouldn't have used the phrase "best in film handling knowledge" as that quite rightly covers a multitude of issues. Sure, there's variation in practices and it's difficult to get agreement. But could one argue that it's the very variation in make-up / break-down techniques that is causing so many problems? Also, if it was historically possible to standardise issues as frame dimensions, optical soundtrack offset, etc. could certain modern practices be standardised also? It seems to me that there is now a "de facto" standard of single-splicing, leaving one ID frame on the leaders, etc. - and this was created here on Film-Tech. I suppose what I'm trying to get at is would formalising best practices like this help the situation? ELRs were a good idea but as we have seen the costs were prohibitive to apply on a wide scale.  |  IP: Logged Alexander Smith Expert Film Handler Posts: 128 From: Walney Island, Barrow-in-Furness, Cumbria. Registered: Jun 2003 posted 09-11-2003 07:45 PM                     While we're talking about "Tears Of The Sun": who handled copy 3009? You suck! You marked up the print with (quote): (A/SR/SRD/DTS/SDDS) It is superfluous to state A type, when SRD means that the married analogue track is SR anyway. Go RTM!  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 09-12-2003 06:48 AM                        Not to excuse mis-labeling of sound formats, but maybe whoever marked the print that way meant to imply that it could be played acceptibly in Dolby Stereo A-type. Of course, he should have labelled it as "mono" as well, since it can also be played in mono.... Anyway, if that's the only problem with the print, it doesn't sound too bad, considering how horrible some prints can be. Oh, and thanks for the links to the SMPTE book, John. I'll have to order one once I get over the sticker shock. Is there any chance of getting a bulk Film-Tech discount if there are others who want to order the book at the same time?  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 09-12-2003 02:37 PM                        You'll have to ask SMPTE about any bulk discounts.  |  IP: Logged Kevin Wale Expert Film Handler Posts: 167 From: Guymon, OK USA Registered: Aug 2003 posted 09-12-2003 07:51 PM                     This one is kind of odd. The Crossroads Mall Theatre in Oklahoma City had our print of Open Range(YES, WE FINALLY GOT IT YAY!). A mixture of good and bad. The reels came all masking taped up(which resulted in five lost frames because the end got wrapped up in under the head.) But, the print was otherwise in fantastic shape. Certainly no scratches(Except near all the reel changes and even they were very minor... more like splotches than lines). I don't want to give them the you suck because the print was obviously taken well care of and if all thier prints look like this one did, they put on one heck of a good presentation imagewise(assuming thier lighting is sufficient.) I don't know what chain, or if they are a chain. Is perhaps the lack of attention paid to putting heads and tails back on propperly a thing that litterally comes down from the executive leval? Are the big chains that do do film right doing it right in spite of what is taught from upper levals? This print was without question the best print we have ever recieved in the year+ that I have worked here that was not a break print. They obviously do a lot right. The bad news on our end is that the last roller in the brain had gotten just a touch loose and when a splice went through it pulled it around causing the film to jump the speed arm. I had just turned around to see how my rewind was doing and I heard the dreaded beep. However many seconds of walking and 10 feet of film has passed through the roller before it stops. I spliced it all back together and actually only lost 8 or 10 frames total(in four different places) and I am surprised that no more than that was scratched. It just scratched in the four places when there was a jerk. I was so excited that the print looked so good and then I go and screw it up. The other reason why I just can't ever find it in me lay the you suck tag. The movie was awesome by the way if you haven't seen it. And I don't like westerns or Kevin Costner particularly much.  |  IP: Logged Stephen Furley Film God Posts: 3059 From: Coulsdon, Croydon, England Registered: May 2002 posted 09-13-2003 04:31 AM                     It's sad that this thread is now 22 pages long.  |  IP: Logged Martin Brooks Jedi Master Film Handler Posts: 900 From: Forest Hills, NY, USA Registered: May 2002 posted 09-13-2003 04:43 PM                        Maybe a printout of this thread should be sent to the executives of not only the theater chains, but the execs at the film studios as well. It's about time pressure was put upon the theaters to put effort into something besides the concession stands.  |  IP: Logged

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