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Author Topic: Hey you, you suck! (AKA: Outing bad film handlers) John Hawkinson Film God Posts: 2273 From: Cambridge, MA, USA Registered: Feb 2002 posted 09-07-2004 06:26 PM                     I believe I left 1 or 2 on a tail when they were sufficiently robust that they did not hinge (with the gap reinforced with a 1/8" strip of paper tape), but removed the vast majority. All opaque tape splices were remade. I sort of regret I didn't end up watching any of the IMAX-style pinking shear splices on the screen... --jhawk  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 09-07-2004 08:26 PM                    Where did these screenings take place?  |  IP: Logged John Hawkinson Film God Posts: 2273 From: Cambridge, MA, USA Registered: Feb 2002 posted 09-07-2004 08:29 PM                     Not reading the FITA, Steve? The 62nd World Science Fiction Convention (aka Noreascon4) was in Boston, from this past Thursday through Monday. There was a 70mm film program (two JJs), and Scott and I ended up pitching in. --jhawk  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 09-07-2004 09:23 PM                    Yes I saw that. I was wondering if the films were shown at a theatre, a temporary setup or what? If temporary who set this up?  |  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 09-07-2004 10:02 PM                        Ended up? I thought Scott was going to run it all along?  |  IP: Logged Randy Stankey Film God Posts: 6539 From: Erie, Pennsylvania Registered: Jun 99 posted 09-07-2004 10:56 PM                     Accordian splices and other damages usually end up tacked to a cork bord in my booth marked "Hall of Shame"... Left up there as a warning to new projectionists of things I never want to see in my booth. Then after a while, when they get some experience, we use them to poke fun at all the idiots who think they are good projectionist but who leave this kind of damage on a print. At the end of the year I usually toss them in the trash and start a new "Hall of Shame" for the next batch of students.  |  IP: Logged John Hawkinson Film God Posts: 2273 From: Cambridge, MA, USA Registered: Feb 2002 posted 09-08-2004 12:02 AM                     Perhaps Scott was planning on doing it all along. I usually try to avoid getting sucked in to films at SF conventions, since there are lots of other things to do. But 70mm sucked me in. Films were organized by Michael Donahue (who lives in LA). The JJs were his, and were set up a small balcony overlooking a ballroom. Perhaps Scott took useful pictures of the setup. There was some assistance from Boston Light & Sound in the setup (not totally sure, I think they filed the plates and did an optical A chain); they also leant me some mag tones. --jhawk  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 09-08-2004 01:51 AM                        Here are some shots of the setup; a full picture submission is forthcoming:  |  IP: Logged Carl Martin Phenomenal Film Handler Posts: 1424 From: Oakland, CA, USA Registered: Feb 2002 posted 09-08-2004 02:40 AM                        if there are as few as 3 intact frames between 2 (well-made) splices, i will leave them in. does that make me a bad person? as long as the splices aren't overlapping each other or hinged, i don't see that they'd be more likely to jam or jump a sprocket than if they're arbitrarily far apart. in most cases i'll remake the splices anyways. carl  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 09-08-2004 06:36 AM                     It doesn't matter how good the splices are. Even if you had 24 single frame "textbook/perfect" splices in a row, if you projected it, the image would shake around horribly from frame to frame, and there would be various audio problems. Leaving even one frame in (meaning 4 perfs between cuts for 35mm), is senseless, for if that happens to hit the screen or play through the soundhead, it destroys your presentation. Once they are cut off, they belong in the trash. You cannot salvage them.  |  IP: Logged Carl Martin Phenomenal Film Handler Posts: 1424 From: Oakland, CA, USA Registered: Feb 2002 posted 09-09-2004 02:00 AM                        i'm not really talking about 24 splices in a row. that's ugly whether or not you leave it in. i'm talking about where someone cuts a fade-out short and similar instances. i'll re-cut it in the right place and tape the incorrect cut together. you'd really have to know it was there to see it. or take our (used) print of donnie darko. in the last reel there are 2 splices very close together (let's just say 5 frames apart; it's probably more) with maybe a couple frames missing at each. i'd rather have those 2 minor jumps in continuity than one big jump from removing the intervening frames. carl  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 09-20-2004 10:47 AM                    I <3 Huckabees Print #4 From Loews Cineplex 600 N. Michigan Ave. Theatres (Chicago) Besides the usual lazy-ass non-spliced leaders Reel 2 was wound onto a defective reel and the film splayed out an extra half inch. Fortunately there were enough turns layed down at this level to protect it from serious damage in the cans and only minor edge wrinkling occurred at a few points. Ditto on reel ends caused by misaligned taped on leaders. Sorry but a broken reel is no excuse; wind onto a good one and remove the core. BTW, I just used this same "broken" reel to take up on with no problem. Between vertical orientation and the power of a good spindle clasp reels are rarely a problem. Something to think about for designers of MUTs. Before 600 N this print had been to Classic Cinemas Elk Grove (Chicago suburbs) which means of course there was still that annoying edge marking tape on each reel. --- I neglected to note the print number and haven't been able to find out the last user but last week we had a run-of-the-depot (ETS) print of Manchurian Candidate that came in sans any leaders so had to add them temporarily to be able to run. I showed my helper how to use the Film-Tech reference to confirm the reel ID given by little bits of masking tape.  |  IP: Logged Steve Scott Phenomenal Film Handler Posts: 1300 From: Minneapolis, MN Registered: Sep 2000 posted 09-20-2004 06:42 PM                     For some reason, we did a return engagement of I, Robot and Dodgeball this past weekend, both prints were dirty, and I robot had all mid-reel spices done with zebra tape, yellow lines through the middle of the frame But, I'm not picking at a particular print problem, today. I was, again, displeased to see about four inch long sections of cue tape placed straight down the image on the last reel of I, Robot. Not to mention, they were placed on both sides of the film... What automation system uses this obnoxious cue placement scheme?  |  IP: Logged John T. Hendrickson, Jr Jedi Master Film Handler Posts: 889 From: Freehold, NJ, USA Registered: Apr 2001 posted 09-24-2004 04:30 PM                     Napoleon Dynamite Print came from Clearview Cinema's Allwood 6 in beautiful Clifton, NJ. Thanks for the "pepper print". This one was so dirty that the folks are treated to constant black specks flashing all over the screen. I'll bet your booth is a pig sty. The print was automated by "P.A". You labeled it "Quad" on the tail identifier tape, but it only has SR and SRD tracks. You also used that vile yellow opaque tape for your reel splices. It was nice that you reattached the heads and tails with white opaque tape over top of the yellow. I also noticed that you made an improper cut at the end of reel #5, then re-taped the reference frame. And, yes, you left two reference frames on most of the heads and tails. You must have finicky automation. I had to peel off a foot of your cue tape in two places on the last reel. Finally, a botched loose rewind job on the first reel. Guess you havn't read Brad's enclosures on breakdowns. An excellent example of Film Done Wrong. You suck.  |  IP: Logged Alexander Smith Expert Film Handler Posts: 128 From: Walney Island, Barrow-in-Furness, Cumbria. Registered: Jun 2003 posted 09-24-2004 07:12 PM                     Here's another "you suck" report: Title: "Hero", aka Ying xiong (2002). Copy number: 8024 (on 35mm, natch) While most of the print was generally Ok-ish (BVI hadn't bothered to clean-up an obviously re-used print), during reel 6 there must have been a brain-wrap _but_ the film-handler hadn't bothered to tell the film distributor (BVI) about it. Therefore, I'm having to show a final reel with several splices in the space of about 3 feet, while a replacement reel is rushed to us. Of course, these splices interrupt one of the final scenes. Alex.  |  IP: Logged

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