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Topic: Hey you, you suck! (AKA: Outing bad film handlers)
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Brad Miller
Administrator
Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99
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posted 03-03-2005 08:17 PM
I would have to agree with JHawk on this one. (Mark your calenders. ![[Wink]](wink.gif) ) Once a print plays it's first engagement, the attached trailer is pretty much something that shouldn't be expected to return with the print. Frequently, the trailer is "old news". In the specific case of Spanglish, the attached trailer was "Hitch", which has been out for a few weeks. Whoever last had that print in all probability removed it since it was no longer a "coming soon".
Of course that being said, anyone receiving a print from me gets my ENTIRE trailer pack, less threading leader. With as plentiful as trailers are these days, there is just no reason for me to even bother breaking it down. I just ship it attached to the head of reel 1 (with the reel 1 head leader of course) and if the next guy needs subrun trailers, then they're right there. If not, he can toss them.
I am also starting to ship back my extra "cored" trailers. As it is, I get so many trailers that most of them get thrown out of the port window into a trash can below. I am now just dropping my extra trailers into the cans to use as a spacer, just like how the prints come when I receive them. Hopefully these practices will not only help to protect the reels and print itself during shipping, but I know subrun houses generally have to fight to get previews, so maybe that will help them out. ![[Cool]](cool.gif)
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Monte L Fullmer
Film God
Posts: 8367
From: Nampa, Idaho, USA
Registered: Nov 2004
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posted 03-04-2005 03:28 AM
..okey - time for me to do some whining again ...lol..
Once again, for a review to all, I work in a discount theatre (damn, I miss working in first run houses...).
So, I get stuck receiving used prints, and once in a while, with my first reel, the leaders are also gone due to the edit removal of the attached trailer. For some circuits require policy/feature presentation tags to be attached between the attached and the beginning of the feature. I live with this and the prints go out the same-without head leads for reel 1. If this is the way the depots want to send prints out...fine with me.
Now, here comes my EXTREMELY big bitchy gripe.
On features with fadeout changeovers-both front and/or the back of the reel and the next ajoining reel.....: (!!)
Does anyone, in the mondane amateur world of booth operators,know how to find your frameline, especially with scope prints, so you DON't have to make the frikken cut JUST as the scene is fading out-or should I say RIGHT inbetween the first and second set of the cuemarks?
DAMN! I sure get sick and tired of receiving prints that was designed for a very smooth fadeout at the end of one reel then a nice fade in for the next, CHOPPED in the middle of each fade scene so it looks like a bad changeover.
I have to completely resplice this cut area so it doesn't look like an obvious splice.
GRRRRR!!! ![[Mad]](mad.gif)
(Even though with all of my bitching and griping above, the print of Spangelish that came in today, the one reel that had a fadeout changeover at the end, was cut correctly at the end of the fadeout scene-almost one frame to the "finish" wording on the tail leader of that one reel. So, my kudos for that operator that did this splice right).
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Jesse Skeen
Phenomenal Film Handler
Posts: 1517
From: Sacramento, CA
Registered: Aug 2000
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posted 03-04-2005 01:01 PM
Regarding attached trailers- I've always believed they're to be treated as part of the movie, since they're printed right on Reel 1 and the feature immediately follows. I worked at one place that didn't have policy trailers, so we just ran Reel 1 as-is, they didn't usually keep movies long enough for the attached trailer to become outdated. Used prints would often come in with the attached trailer missing, which I found annoying just because I felt the last theater should have sent it out in EXACTLY the same condition as it came in (this includes removing any automation cues as well!)
When I worked at a place that did have policy trailers, when breaking down the films I'd put the policy trailer onto a reel then splice the attached trailer back onto Reel 1, just as it came. If the attached trailer became outdated, I'd remove it, but would splice the leader back on it, roll it up and put it back in the film can so it could all be spliced back on when the film got broken down. The idea was to have the prints sent out in the same way they had come in, the only difference of course being that the leaders and attached trailer had been cut and spliced. Even if the attached trailer was outdated, the leader usually indicated which trailer it was so the next place that got it could decide for themselves whether to run it or not.
My biggest complaints about used prints were splicing tape not properly peeled off, automation cues left on, and removal of any attached trailers- while the trailers aren't usually a big deal, at least it shows you cared about keeping the print in the same condition it was when new.
But of course that's just my opinion. Company Policy(TM) doesn't say you have to care about how films are when they're done playing, after all ![[Razz]](tongue.gif)
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Thomas Dieter
Expert Film Handler
Posts: 234
From: Yakima, WA
Registered: Jun 2004
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posted 03-14-2005 10:54 AM
Okay, I'm outing this person, cause I work with him, and he needs to be outted. No it's not anyone from here. He dosen't even know this site exists, so with that said here goes.
Yesterday while at work, I was wondering where all our trailers had been going that we could have reused on future prints that we recieve, like Hitch. Hitch is out in the first run theatres, but not the second run theatres, so we could still play the preview until we get the print in. Not any longer. If you read a few posts back, I posted one about Spanglish #3018. He broke down that print, and I went to see if our trailers were with it still. Yes they were, and to top it off, the reel changes weren't correct. Half of Reel 2 was on reel 3, and half of reel 1 was on reel 2, and so on so forth. I showed the owner the horrible job that was done with the print, and with that she said to put it in the projectionist log not to do that, and try to fix it.
needless to say, I didn't get a chance to finish the print last night, but I did get to note the projection log. I have a feeling that something is going to be happening soon.
***Question***
If a movie is broken down in this fashion, can the theatre that was responsible for the tear down be billed for damage to the print?
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