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» Film-Tech Forum ARCHIVE   » Operations   » Film Handlers' Forum   » Hey you, you suck! (AKA: Outing bad film handlers) (Page 43)

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Author Topic: Hey you, you suck! (AKA: Outing bad film handlers) Carl Martin Phenomenal Film Handler Posts: 1424 From: Oakland, CA, USA Registered: Feb 2002 posted 07-30-2004 05:33 AM                        aaron, i knew the print came from the rialto, thought maybe you worked there. in any case, i figured maybe some new person broke it down and needed to be sat down and chatted with in a friendly manner. as received by me, the print had 4 out of 5 loose leaders, with very small patches of reused tape on the ends. also had integrity inspection stickers dated july 15. maybe that's the problem right there. incidentally, all the reels were cut with around 3' of extra footage at the heads and tails! i guess the first guy didn't want to take any chances with those fades. that was a head scratcher but fixable. carl  |  IP: Logged Aaron Sisemore Flaming Ribs beat Reeses Peanut Butter Cups any day! Posts: 3061 From: Rockwall TX USA Registered: Sep 1999 posted 07-30-2004 06:49 PM                     quote: Carl Martin aaron, i knew the print came from the rialto, thought maybe you worked there. I don't. I ran it at a film festival. -Aaron  |  IP: Logged Jesse Skeen Phenomenal Film Handler Posts: 1517 From: Sacramento, CA Registered: Aug 2000 posted 07-30-2004 08:06 PM                     Whoever handled the print of "Harold & Kumar Go To White Castle" that played Wed. night at UA Market Square in Sacramento, you suck! Sections of the attached trailer were chewed up, the rest of the print seemed to be in decent condition but the tail end of the film was cut at the end of the credits! Hope there wasn't any funny dialogue at the end. I wouldn't put it past the people at this theater to have done that, but I'll give them the benefit of a doubt. They didn't cue it for show-end, so we got to hear their alarm system in the booth while walking out of the theater- I guess I should be glad they kept the lights down during the end credits though. Amazingly, the guy who started the show seemed to know what he was doing, since the framing on the green band was slightly off but he actually adjusted it! The sound system was totally fucked up though; the front right channel was either dead or very low, and badly needs EQ'ing too, so that proves nobody at this theater actually watches the films there. I gave up paying to see films there long ago, but had a free pass to the sneak- might not even go to sneaks there anymore though.  |  IP: Logged Kyle McEachern Expert Film Handler Posts: 165 From: San Francisco, CA Registered: Feb 2004 posted 07-31-2004 04:07 AM                 I had nothing but trouble from the guys at that theatre whenever I had to pick up a print for the theatre I was working for at the time (The Century just down the street)...I don't know if a single print I ever came into contact with that had come from there was in even halfway good condition. I agree, they suck.  |  IP: Logged Steven Jantzen Film Handler Posts: 30 From: goodwell, Oklahoma, USA Registered: Jul 2004 posted 08-01-2004 10:31 PM                     just to throw a monkey wrench in here... Who ever had print #4004 of "the new adventures of pipi longstocking".......thank you. That really wan't a bad print to put together  |  IP: Logged Chris Hipp Phenomenal Film Handler Posts: 1462 From: Mesquite, Tx (east of Dallas) Registered: Jul 2003 posted 08-01-2004 10:40 PM                     quote: John Pytlak I sense a "finger pointing" exercise coming on. Correct the problems, and if you know who had "Film Done Wrong", POLITELY and PRIVATELY let the other projectionist know if something can be improved in the way they handle film. "Film Done Right" means working together to improve. Isnt that what this thread is for, outing bad film handlers?  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 08-01-2004 10:45 PM                    Well not if it's us! LOL  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 08-01-2004 10:48 PM                        I'm just saying that if you KNOW the person who did the damage, it may be more effective to complain to them privately first. "Naming names" here may ruin friendships, especially if it is a case of misidentification, as seems to be the case.  |  IP: Logged Carl Martin Phenomenal Film Handler Posts: 1424 From: Oakland, CA, USA Registered: Feb 2002 posted 08-02-2004 03:12 AM                        for the record, i've got nothing against aaron. almost all of the posts in this thread point out errors presumably made by non-film-techers. they'll never see the accusations, and can't defend themselves or learn from them (of course, we can learn from their mistakes). aaron could make his case, and he is acquitted. carl  |  IP: Logged Aaron Sisemore Flaming Ribs beat Reeses Peanut Butter Cups any day! Posts: 3061 From: Rockwall TX USA Registered: Sep 1999 posted 08-02-2004 05:15 AM                     Nashville Film Festival: One of your film handlers REALLY SUCKS! Someone at the Nashville Film Festival took Show Print #2 of 'One Last Dance' and proceeded to do the following: With the exception of H1 and T6 which were on their proper respective places, you took the leaders and tails, placed them in random pairs and wound each pair onto a reel. Then you took and simply artist-taped the film to a leader/tail pair and wound up the reel. Luckily all the leaders were there, as I was not sure which reel was what (save for the info on the reel bands) until each of the reels had been built up and the mix of leaders and tails got arranged back into their proper order and ultimately placed on the proper reels when I broke the print down. Also almost all the reels were cracked, and one in particular was completely shattered as to be dangerous to handle, I replaced this with a reel I had on site... Upon speaking to co-producer Patrick Swayze and his wife Lisa Neimi (the film's director) I found out who last played this print, and they weren't very happy to have discovered their print was in that condition... -Aaron  |  IP: Logged Braden Mailloux Film Handler Posts: 19 From: Sonoma, CA, USA Registered: Feb 2004 posted 08-03-2004 12:59 AM                    What can I say. Nashville sucks... yeaaa........................  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 08-03-2004 12:54 PM                        Filmmakers and distributors need to be a lot more aggressive when it comes to demanding that qualified personnel handle their property. They sure turn into Robocop when it comes to their intellectual property, but seem not to give a hoot about the physical property on which it is contained. For all the pages and pages of minuscule print in the distrib's Master Contracts, hardly anything is ever said about how prints are to be handled or cared for or what punitive damages might the levied against theatres that damage prints. Why don't they specify the whole litany of things that would be grounds for monetary compensation if they happy to their prints? We would be all to happy to distill this thread into a concise list for them if they like. Why not, for example, insist that a qualified projectionist be present at all times in the booth when their print is being run? This would have prevented the insane situation where a $20,000 70mm print of 2001 was running unattended in a theatre that had already inflicted serious damage to it. The theatre gets to deduct its operating costs (house nut) right off the top of the bo receipts; the distrib should demand that cost include a fully trained and otherwise qualified projectionist salary. If a print is retuned in the condition Aaron just outlined, some heads should roll. If theatres were charged back the costs of repairing such damage, they would soon find it more economical to make sure that anyone in their operation who touches film knows what they are doing. Then if the theatre deducts those charge-back penalties to the guy who actually does the damage, it would be one huge incentive for film handlers to do film right or pay the consequences. But there has to be real consequences, damnit.  |  IP: Logged David Favel Jedi Master Film Handler Posts: 764 From: Ashburton, New Zealand Registered: Feb 2002 posted 08-03-2004 07:10 PM                     We had a cinema that was known as "Scratchland" A new manager & a few charges ($2-3 thousand)for damaged prints made that place a great deal better.  |  IP: Logged Steve Scott Phenomenal Film Handler Posts: 1300 From: Minneapolis, MN Registered: Sep 2000 posted 08-04-2004 01:15 PM                     Print #28 of "Prince of Egypt," R1 was horrible. About one foot into the Dreamworks logo, somone made a yellow tape splice that was split and attached for shipping with clear tape on one side What broke my mind even more was that my matinee projectionist who built it left this in, as well as a two foot section of bad spocket damage in R1. Great choice, expecially since we interlock these kids' films Plentiful vertical scratches over the the heads and tails, again. And plenty of black dirt on the soundtrack edges. Just two more of these matinees left...  |  IP: Logged Wolff King Morrow Master Film Handler Posts: 490 From: Denton, TX, USA Registered: Feb 2004 posted 08-04-2004 01:41 PM                        Lately, I've been getting new prints with shattered or extremely damaged reels. What's up with that? One print I received had every reel with the wrong kind of cores, such that the reels would fall apart as soon as you lifted them out of the can. BTW, I don't fault other theaters when reels show up damaged. I get plenty of damaged reels from new prints that I have to send on to the next guy. There's nothing I can do about that.  |  IP: Logged

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