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» Film-Tech Forum ARCHIVE   » Operations   » Film Handlers' Forum   » Hey you, you suck! (AKA: Outing bad film handlers) (Page 54)

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Author Topic: Hey you, you suck! (AKA: Outing bad film handlers) Chris Brown Expert Film Handler Posts: 105 From: Fairport, NY, USA Registered: Nov 2004 posted 11-08-2004 02:26 PM                        Hey thanks John! I work at the Regal at Eastview Mall, in Victor.  |  IP: Logged Nate Lehrke Master Film Handler Posts: 396 From: Denver, CO Registered: Oct 2002 posted 11-10-2004 01:22 AM                     Hey, whoever had Print #3005 of BRIDE & PREJUDICE, YOU SUCK! Also, ETS, YOU SUCK! I want to track down whoever was responsible for this print. (The previous shipping label has it at "MAGNOLIA" on 11/4/04. I am not sure what that is though.) Some of the reasons YOU SUCK: 1. You decided that 3 ID frames were necessary for every splice 2. You decided to attach the head to the foot using masking tape. 3. You decided that labeling was beneath you 4. You decided that you weren’t going to secure any of the film and therefore determined that the film would suffer damage during shipment. I think that it is rather apparent that ETS didn’t even open these cans between theatres or they would have seen immediately how bad the condition was. I hope you rot in hell.  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 11-10-2004 02:22 AM                     Rumor is that Mye (their original projectionist) left the theater and moved to another state and they now have a replacement. Anyway, this is the Magnolia.  |  IP: Logged Randy Stankey Film God Posts: 6539 From: Erie, Pennsylvania Registered: Jun 99 posted 11-10-2004 08:18 AM                     Nate, Most of the prints I get arrive in that condition! After a while you get used to it. About a month ago we played a sneak for "Saw". I opened the can and just about shit myself! "Holy shit!", I said. "A BRAND NEW PRINT!! I can't believe it!" That was the first time a brand new print has EVER been in my booth. It was the first brand new print I had seen in almost 4 years. Aaah! The smell of a brand new print, fresh out of the soup! It brings back memories! Anyway, if it wasn't for all the shitty prints we get, I wouldn't have been able to convince the boss to buy me a brand new Kelmar RTV-8900 work bench!  |  IP: Logged Nate Lehrke Master Film Handler Posts: 396 From: Denver, CO Registered: Oct 2002 posted 11-10-2004 04:56 PM                     Randy, it’s ridiculous that you have to put up with that on regular occasions! I blame the depots for not checking these prints between runs. I don’t care if there isn’t enough time; make more prints if you cant keep quality control at a reasonable level.  |  IP: Logged Bill Gabel Film God Posts: 3873 From: Technicolor / Postworks NY, USA Registered: Jan 2002 posted 11-10-2004 05:56 PM                     This morning I ran print #3002 of "Bride and Prejudice" which last played at the Arclight Theatre in Hollywood. The main differences between your print and the one that I ran is. The operator at the Arclight returned the print right, only making one cut on the leaders and double splicing back the leaders. I had that print last week when it had not been cut yet. Yesterday, I had a print returned to the New York office of "The Chorus". It had all the problems that your print #3005 had. The real problem is the prints are circuited from theatre to theatre before going back to TES/ETS or other depots. So its a luck of the draw. Its 50/50 if the last operator was a good film handler or a bad film handler. And those labels sometimes gives the last user. But sometimes there is a play date in between, that does not show on paper.  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 11-11-2004 01:34 AM                        quote: Bill Gabel its a luck of the draw. Its 50/50 if the last operator was a good film handler or a bad film handler. Bill, you are giving it MUCH better odds. I'd say the reality is 30/70 against getting a print handled by someone who knew what they were doing. Right Randy? The second run guys like Randy and me think the cinema gods have smiled on us when we open a can and the film is not spilling out all over itself. And Nate, if we returned every print that came in in that condition, we'd never get anything up on the screen. In our situation, you wind up not being just a projectionist but you've got to be a print restorationist as well. We can spend hours on repairing a print so it's runable. When a print comes right from the lab you probably can get away using that minimium wage high school dropout to make up the print. But it takes a bit more skill and a lot more work when you open a can and find nearly ALL the problems described in this 54 page post living in that one print.  |  IP: Logged Jesse Skeen Phenomenal Film Handler Posts: 1517 From: Sacramento, CA Registered: Aug 2000 posted 11-11-2004 02:59 AM                     "In our situation, you wind up not being just a projectionist but you've got to be a print restorationist as well." Hahaha! I always joked about adding my name to the end credits for "print restoration" whenever I got a used print that underwent abuse! I always commented on anything wrong that had been done to a print by a previous theater on the film inspection reports, as a subtle reminder to the home office that sort of thing was not tolerated in MY booth!  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 11-11-2004 03:17 AM                     Geez Frank, I think you're being too nice. Try more along the lines of 90/10% bad vs. good operators.  |  IP: Logged Nate Lehrke Master Film Handler Posts: 396 From: Denver, CO Registered: Oct 2002 posted 11-11-2004 02:08 PM                     It doesn't surprise me that you guys get such horrible prints working 2nd run. I used work 2nd run & can remember some longs nights trying to put someone else's laziness back together. But the print I had referenced was a sneak print. It is just outrageous that a print that new would be treated so poorly. How do these places stay in business? I would assume that the level of professionalism (lack thereof) they put into tearing down would also apply to their projection standards. Maybe we need to start burning people at the stake again, I mean, those who don't treat the film with respect that is.  |  IP: Logged Bill Gabel Film God Posts: 3873 From: Technicolor / Postworks NY, USA Registered: Jan 2002 posted 11-11-2004 02:27 PM                     quote: Nate Lehrke But the print I had referenced was a sneak print. Nate, I handle many prints months before release for New York media and post-production screenings. I get the print brand new prints from the labs. Since these are early answer prints, they are circuited between East coast and West coast for screenings. Most of the times the turn around time is within the next day. So they almost never go back to the depot till a week or two later. I might have a new print today and then ship it out to a theatre. And when they return the print to the office, the lazy last operator has turned the print into a messed up print. I had another pre-release title that just came back into the office. The operator used white and yellow splicing tape plus they shoe polished it too. It's not going to get any better. There are to many lazy operators.  |  IP: Logged Randy Stankey Film God Posts: 6539 From: Erie, Pennsylvania Registered: Jun 99 posted 11-11-2004 04:24 PM                     I have half-hartedly joked that I should charge the owner(s) of the film for my print restoration services. Other times I wonder if they send me shitty prints on purpose because they know I will repair them and clean them with F.G. Most of the time I'm just joking but every once in a while I start thinking that it's all true! Bill; If somebody is returning prints to you in such shitty condition, why are they not getting charged?  |  IP: Logged Bill Gabel Film God Posts: 3873 From: Technicolor / Postworks NY, USA Registered: Jan 2002 posted 11-11-2004 05:05 PM                     Randy I don't know, why they are not getting charged for damage. I guess no one has sat down and shown them what kind of poor film handling goes on with their screening prints. Right now Miramax is going through a period were no one knows anything. The head person that handled the print department left not to long ago. Focus Films and New Line are always checking on print condition for screening prints. Paramount and Fox Searchlight only circuits special show prints for screenings.  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 11-12-2004 12:12 AM                    "Testosterone" (Strand Releasing) Print #2 Print sent directly from Miami Gay & Lesbian Film Festival Head leaders detached. Tail leaders entirely missing except for last reel. Scratched to hell on the base side (black lines). (same on all reels) Whether it was damaged by the last user or a prior one I do no know. It has been built to platter at least twice if not more often. First builder left 2 & 3 ID frames.  |  IP: Logged Thomas King Expert Film Handler Posts: 119 From: Sheffield, Yorkshire, England Registered: Oct 2004 posted 11-13-2004 10:01 AM                        Print 8014 of "Jersey Girl". Excessive masking tape holding the reels closed, going over the edge and leaving sticky residue on the film edges. Headers and footers had been first cut off leaving one ID frame, however someone thought that they needed up to three more frames added. They weren't attatched, either. Reels were heavily marked at either end with correction fluid all over the SDDS and SRD soundtracks. Reels had indentification information written on the feature itself with china marker. Whoever had last built it didn't remove the old splicing tape from the reel ends either. Oh, and the two DTS discs were just thrown in the last can without a case. They looked pretty scratched. Judging by the delivery label that was half sticking out of one of the cans, the last people to have it were an Odeon. That made it all make sense.  |  IP: Logged

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