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Author Topic: Hey you, you suck! (AKA: Outing bad film handlers) Adam Wilbert Jedi Master Film Handler Posts: 590 From: Bellingham, WA, USA Registered: Mar 2002 posted 03-14-2005 07:37 PM                        While cutting the reels any-old-place when they're full adds extra splices to the presentation for the next theatre, I'm guessing that (sadly) most operators wouldn't consider this to be "damage" in the scratch-n-dirt sense. (assuming the spliced film was kept clean, which it probably was not). Do theaters / exhibitors actually get billed for damaged prints anyway? For all of our phone calls to the distributors and the threats of receiving a bill, i've never heard of a case where a theater actually wound up cutting a check. Anyone? [ 03-14-2005, 11:11 PM: Message edited by: Adam Wilbert ]  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 03-14-2005 09:58 PM                        quote: Adam Wilbert Do theaters / exhibitors actually get billed for damaged prints anyway? For all of our phone calls to the distributors and the threats of receiving a bill, i've never heard of a case where a theater actually wound up cutting a check. Anyone? Over on another user group, someone just got an $1800 bill for diagonal scratches damaging the full length of a print of "Hitch" when the print rode up the flange of a mispositioned roller.  |  IP: Logged Peter Castle Expert Film Handler Posts: 220 From: Wollongong University, NSW ,Australia Registered: Oct 2003 posted 03-15-2005 06:35 AM                     Whoever screened the print of "Phantom of the Opera" before us (sorry I'm not near the print to report the print number) is someone who really must have been in a hurry. The print, 8 reels of it, came head out, with all leaders attached by masking tape, in reverse - first non-picture frame out. No frame left on the heads (or tails). There was an out of frame splice in the UIP leader. Three of the reels had been cut with scissors at an arbitrary point - not at the inter-reel splice which was still there with two adhesive spots on each side of the film at the splices. The tail of reel 1 was on reel 2. There was no tail on reel 4. Reel 8 had folded film edges including one part competed folded over in the winding. Instead of any key frames left on the heads and tails, some - I assume previous - operator had written H2, T1 etc over the SDDS soundtrack on the first/last frame of each reel. Too late to get a replacement print for our one screening. The distributor's contact didn't seem to know what to do when I reported it. Hope someone at least gets the message, but I doubt it.  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 03-18-2005 04:43 AM                     Wanna see something "pretty?" Received a circuit print from a small theatre in the area. They had Strong platters as well, so this print was picked up this way. Prettiest rings of shoe polish that I've ever seen! ..and with my suspicions on inspecting this print, I came across the most prettiest 20 foot run of shoe polish, which was 10 feet on each side of the splice, that was actually laid out in a very straight line on each reel change with no sloppage and smears over the soundtrack area. So, this individual actually did some caring on doing the shoe polish painting. Then at the splice joints was the most sloppiest display of yellow opaque tape usage that I've ever seen. Gooey and sticky opaque splices to make on wonder if this thing ever ran through smoothly. This operator was definitely lazy to resort to BOTH opaque and shoe polish...just to aid in breaking down films... ..another "go-figure" thing. -Monte  |  IP: Logged Steve Scott Phenomenal Film Handler Posts: 1300 From: Minneapolis, MN Registered: Sep 2000 posted 03-18-2005 08:50 AM                     When I get prints like the above, I wonder if these operators' booth toilets have leather seats & attendants to powder their fragile hands... Forget Sudafed, we should restrict the sale of shoe polish, and call the cops if somebody asks for white shoe polish!  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 03-18-2005 09:47 AM                        The irony is that even in Monte's photo, the sidewall gloss differences between the reels is obvious, showing the use of shoepolish or edge paint is totally unnecessary. The junk shoepolish and opaque splicing tape put on the picture and sound is obvious from the second photo. FILM DONE WRONG, bigtime.  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 03-18-2005 11:56 AM                     Not only that but it seems that no one realizes that the point of shoe polish isn't to coat 100 feet of film at the end of each reel, but to only mark up a few inches or so (hopefully with a paint pen for those who just cannot manage to handle film properly and have to have the crutch). I received a print of Shrek last summer for a kid's show and there was literally 200 feet of film at each reel change coated in shoe polish. WHY? So you find the spot of film with the shoe polish...then you have TWO HUNDRED FEET TO SORT THROUGH!!! Retards. John's post is right on the money though, there was no need for it purely due to the light reflections on the edge of the print. Furthermore a far more accurate marking could've been had if they used the reel-marking idea in the tips section under Building 101.  |  IP: Logged Dean Kollet Jedi Master Film Handler Posts: 591 From: Florida State University Registered: Jul 2003 posted 03-18-2005 01:30 PM                     we had a print (in very good shape) of Casablanca here a month or so ago, and there was about 100 feet of RED shoe polish (each reel) on that print. I still, to this day, don't understand why people can't find splices.  |  IP: Logged Thomas Dieter Expert Film Handler Posts: 234 From: Yakima, WA Registered: Jun 2004 posted 03-18-2005 05:25 PM                     I remember when I worked for the Chehalis Theatre in Chehalis Wa. They use Grease Pens to mark the reel changes, and I always thought that that was a bad Idea. Just one slip, and there's a line about 20 to 40 feet long right through the picture. What I don't understand is why people would put 10 feet of shoe polish on each side of the reel change. To me, that make no sence, cause then you still have to look through 20 feet of film. While I worked at the theatre, I only put the grease pen for about 5 seconds on the film. After I became the main builder and break down person, I stopped all together using the grease pens, and switched over from the zebra strip tape to the clear tape.  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 03-19-2005 02:50 AM                     quote: John Pytlak the sidewall gloss differences between the reels is obvious.... NOW, this is the way to build up film professionally with just clear tape. Just look at the gloss differences between reels and one can easily see where the splices at if they train their eyes very well. But, unfortunately, where I work at and with other operators being trained in using EdgeMark tape at the splice joint, I have to go along with this edge method intead of the clear tape only method. -Monte  |  IP: Logged Kurt Zupin Jedi Master Film Handler Posts: 989 From: Maricopa, Arizona Registered: Oct 2004 posted 03-19-2005 09:35 AM                     [ 04-06-2005, 09:26 AM: Message edited by: Kurt Zupin ]  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 03-19-2005 01:28 PM                     quote: Kurt Zupin I was forced to go back to Zebra tape, which I detest now. Yes, once again it's called a "tradeoff" - the choice of what one used to do, or trying something new and having to adapt to that new procedure. You should still keep trying to do clear, but here's a neat little trick: before you start your breakdown, take some of that white artist's tape, or even masking tape, place a 4inch piece on the wind just after the splice, going towards the ring. This will help you let you know when the splice is coming so one can slow down the MUT until the splice comes around. ....and yes, when I break down, I feel for the splice as well. with a finger on top of the film and the palm of my hand acting as a brake to help slow down the platter and help keep the film taught heading to the reel with these Strong platters. -Monte  |  IP: Logged Kurt Zupin Jedi Master Film Handler Posts: 989 From: Maricopa, Arizona Registered: Oct 2004 posted 03-20-2005 06:13 PM                     [ 04-06-2005, 09:27 AM: Message edited by: Kurt Zupin ]  |  IP: Logged Mike Spaeth Phenomenal Film Handler Posts: 1129 From: Marietta, GA Registered: Jul 2000 posted 03-20-2005 06:41 PM                        I would say the better question would be: How often does the DM actually break down a film ... and why is policy being dictated so that the one time a year he breaks it down it's easier on HIM rather than on the staff that's obviously comfortable with the better procedure?  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 03-20-2005 07:14 PM                     Agreed, the DM should have enough things on his slate to be dealing with anyway. Why not use the "reel marker" idea in the tips section under Building 101 coupled with clear tape? That's a great compromise.  |  IP: Logged

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