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» Film-Tech Forum ARCHIVE   » Operations   » Film Handlers' Forum   » Hey you, you suck! (AKA: Outing bad film handlers) (Page 84)

 
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Author Topic: Hey you, you suck! (AKA: Outing bad film handlers)
Amanda Jones
Film Handler

Posts: 92
From: Indianapolis, IN, USA
Registered: Aug 2005

- posted 10-09-2005 02:23 AM      Profile for Amanda Jones   Email Amanda Jones   Send New Private Message       Edit/Delete Post 
My first time in charge of running Thursday night changeover (I was still a shift manager at the time) one of the other shift managers f'd up tearing down a print of National Treasure. He was a transfer from another location where he ran booth and built and tore movies. He was apparently well liked and they hated to loose him. He managed to completely disregard the splices and would just rewind until the reel got full, make a whole new splice and then start a new reel. He even threw away the heads to the print. Funny thing was the print was going to another one of our locations in town that was going to celebrate their grand opening so he could have just tore it down onto a couple of 6Ks.

The other theater ended up having to get a new print because they couldn't figure out which reel was which and it was badly scratched. Needless to say this shift manager got repremanded BIG TIME by our complex. He didn't last too long after that because he started showing up late for his shifts or calling in sick.

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Frank Dubrois
Jedi Master Film Handler

Posts: 896
From: Cleveland, OH
Registered: Mar 2005

- posted 10-09-2005 02:42 AM      Profile for Frank Dubrois     Send New Private Message       Edit/Delete Post 
I find that hard to beleive. REALLY hard to beleive.

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Amanda Jones
Film Handler

Posts: 92
From: Indianapolis, IN, USA
Registered: Aug 2005

- posted 10-09-2005 02:44 AM      Profile for Amanda Jones   Email Amanda Jones   Send New Private Message       Edit/Delete Post 
yeah you would think so but I highly doubt the managers at the other theater would lie. Plus when he was confronted with it he admitted to doing it so he could go home earlier. This guy was terrible.

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John Walsh
Film God

Posts: 2490
From: Connecticut, USA, Earth, Milky Way
Registered: Oct 1999

- posted 10-09-2005 09:34 AM      Profile for John Walsh   Email John Walsh   Send New Private Message       Edit/Delete Post 
I often heard stories about some operator who was considered a 'star' worker, only to find later they were taking every crappy shortcut they could.

I'm sorry to say that now, when I hear about someone who "works very efficiently" or "handles everything quickly" etc. my first thought is of suspicion.

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Jack Ondracek
Film God

Posts: 2348
From: Port Orchard, WA, USA
Registered: Oct 2002

- posted 10-09-2005 11:52 AM      Profile for Jack Ondracek   Author's Homepage   Email Jack Ondracek   Send New Private Message       Edit/Delete Post 
quote: Amanda Jones
one of the other shift managers f'd up tearing down a print of National Treasure. He was a transfer from another location where he ran booth and built and tore movies. He was apparently well liked and they hated to loose him. He managed to completely disregard the splices and would just rewind until the reel got full
quote: Frank Dubrois
I find that hard to beleive. REALLY hard to beleive.
A couple of weeks ago, that very thing happened to me. We circuited a print from a local chain house, and I provided 6k reels in advance. Whoever broke the print down just filled the first one up, then cut it in the middle of a scene & went to the next reel. They also damaged about 30 feet of film (folded in the middle). Naturally, they said nothing about the damage.

The "manager" tried to deflect blame away from this staff, even though they were the only ones to use the print.

You'd think that these guys would be a little more careful, when they know a print is going to another theatre in the same market (easier to trace the problems). On the other hand, maybe they really are ignorant or just don't care.

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Jason Whitlock
Film Handler

Posts: 28
From: Raleigh, NC, USA
Registered: Mar 2005

- posted 10-09-2005 02:37 PM      Profile for Jason Whitlock   Email Jason Whitlock   Send New Private Message       Edit/Delete Post 
This one goes to Hollywood 3 in Portland OR (ETS label).. and possible Cinema (10 or 12) who's name was on a shipping label on the side of the can..

I just put together a print of Everything is Illuminated.. First off the heads and tails were taped with some very strong tape.. shoe polish marked all the splices.. yellow zebra tape was used.. along with yellow edge marking tape..

WHY do you need 3 methods to identify splice locations??

and are there automations that require a cue to be 6 frames long.. it was one that was folded over the edge.. so i'm assuming it was a fp-350 being used.

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Jeremy Fuentes
Mmmm, Dr. Pepper!

Posts: 1168
From: Corpus Christi, TX United States
Registered: Jan 2004

- posted 10-09-2005 02:39 PM      Profile for Jeremy Fuentes   Email Jeremy Fuentes   Send New Private Message       Edit/Delete Post 
quote: Frank Dubrois
I find that hard to beleive. REALLY hard to beleive.
I find that hard to understand. REALLY hard to understand. Why?

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Monte L Fullmer
Film God

Posts: 8367
From: Nampa, Idaho, USA
Registered: Nov 2004

- posted 10-09-2005 04:28 PM      Profile for Monte L Fullmer   Email Monte L Fullmer   Send New Private Message       Edit/Delete Post 
quote: Jason Whitlock
I just put together a print of Everything is Illuminated.. First off the heads and tails were taped with some very strong tape.. shoe polish marked all the splices.. yellow zebra tape was used.. along with yellow edge marking tape..

WHY do you need 3 methods to identify splice locations??
..Called a very lazy operator who wants to break down that print as fast as possible - in one pass without stopping too soon or going too fast.

How I know this is that I know of one operator that does almost exactly this - 20ft of shoe polish on each side of the splice and opaque tape for the join.

..then he wonders why his rail bands wear out quick....

..he'd have a fit up in my booth - clear splices only and no edge markings what so ever...lol

-Monte

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Frank Dubrois
Jedi Master Film Handler

Posts: 896
From: Cleveland, OH
Registered: Mar 2005

- posted 10-09-2005 08:56 PM      Profile for Frank Dubrois     Send New Private Message       Edit/Delete Post 
quote: Jeremy Fuentes
I find that hard to understand. REALLY hard to understand. Why?
Incompetence like that is usually noticed early on in employees. I guess the question is, did this guy know better? Or wasnt this guy trained? at all? I'd never let anyone tear down a print that either wasnt trained or wasnt at least supervised a few times when tearing down a print. Either way, that guy would NEVER touch film in my theater again.. Theres just no excuse for that to happen.

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Randy Stankey
Film God

Posts: 6539
From: Erie, Pennsylvania
Registered: Jun 99

- posted 10-09-2005 10:35 PM      Profile for Randy Stankey   Email Randy Stankey   Send New Private Message       Edit/Delete Post 
Are you sure that it was the same person who put all three markings on the film?

Honestly, somebody who's that fuckin' lazy wouldn't take the time to mark the film in the first place let alone mark it THREE TIMES!

My guess is that it was three separate lazy people who put those marks on. "Lazy Fucktard #1" put on the yellow Edgemark but didn't take it off when he broke the print down. "Lazy Fucktard #2" couldn't find the ends of the reels even after "Fucktard #1 left his marks, so he shoe polished the print. "Lazy Fucktard #3" comes along and STILL thinks he can't find the ends of the reels fast enough so he makes with the yellow tape!

I see this kind of shit all the time. It's nothing new.

I must admit that I use yellow Edgemark tape in my booth as a training aid. The first few times the students build & break the film they use it. When they figure out that they don't need it they stop using it. Even then, they are supposed to take the stuff off the film when they break down.
(And, No! It doesn't leave stickumm on the film **IF** you take it off as soon as you break the movie down.)
My new students are only on their fourth movie of the year and they are already beginning to shun the yellow tape.

The ironic thing is that, if you do your job right, using shoe polish, markers, Edgemark or anything else actually takes LONGER. What these stupid, lazy bastards don't realize is that they are being DOUBLY stupid when they put that shit on the film in the first place. (Reasonable training period excepted, of course.)

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Amanda Jones
Film Handler

Posts: 92
From: Indianapolis, IN, USA
Registered: Aug 2005

- posted 10-10-2005 02:40 AM      Profile for Amanda Jones   Email Amanda Jones   Send New Private Message       Edit/Delete Post 
Why is using yellow zebra tape bad? Just curious because we use it and when I preview I never see it on screen. We use the clear tape when we take out factory splices. I'm also the only one who will splice back on the heads and tails when tearing. (my old GCC union guy taught me to) Everyone else uses masking tape.

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Jason Whitlock
Film Handler

Posts: 28
From: Raleigh, NC, USA
Registered: Mar 2005

- posted 10-10-2005 09:08 AM      Profile for Jason Whitlock   Email Jason Whitlock   Send New Private Message       Edit/Delete Post 
the zebra tape and the edgemark was done by the same booth.. but you may be right Randy about the shoe polish being used by a previous theatre..

Amanda: nothing wrong with zebra tape.. if you use it right, you should be able to see the yellow or red coloring on the top edge of the print.. using it with edge tape is stupid and redundant..

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Patrick Dunn
Expert Film Handler

Posts: 120
From: newark, DE, United states
Registered: Aug 2005

- posted 10-10-2005 04:59 PM      Profile for Patrick Dunn   Author's Homepage   Email Patrick Dunn   Send New Private Message       Edit/Delete Post 
The only time we use a mark such as shoe polish is if one of the theaters that had the print before us put it on, if not we just leave it alone. Our splices are made with the opaque tape which are easy to find while breaking down, and nobody notices when it goes through the projector.

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Dominic Espinosa
Phenomenal Film Handler

Posts: 1172
From: California, U.S.A.
Registered: Jan 2004

- posted 10-10-2005 05:17 PM      Profile for Dominic Espinosa   Email Dominic Espinosa   Send New Private Message       Edit/Delete Post 
quote: Patrick Dunn
Our splices are made with the opaque tape which are easy to find while breaking down, and nobody notices when it goes through the projector.
Just because they don't know what it is doesn't mean the audience doesn't see it.

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Mike Blakesley
Film God

Posts: 12767
From: Forsyth, Montana
Registered: Jun 99

- posted 10-10-2005 06:48 PM      Profile for Mike Blakesley   Author's Homepage   Email Mike Blakesley   Send New Private Message       Edit/Delete Post 
quote: Patrick Dunn
nobody notices when it goes through the projector
Bullshit.

They may THINK they don't notice it, but it will register in their subconscious. If you or your staff can't find splices made with clear tape, get outta the booth.

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