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Author Topic: Hey you, you suck! (AKA: Outing bad film handlers) Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 02-16-2006 04:38 AM                     quote: Brad Miller The ETS guys will also have one hell of a time trying to get their film out of it upon return. ...for he'll say "fugg it" and get the boxcutter out just to slice the thing open...thus destroying the box from future useage..That's quite insane...no handle insert on that inner flap... ..to be really mean, seal that box's with construction adhesive - all three flaps glued together... Then, it'll have to be cut open fur sure... ..I used to do the same with those first generation black shipping reels from TECH - glue those together with spray adhesive since they would always come in all apart in the cans...bet I ticked off a few of those 6 buck an hour workers on that assembly line when they couldn't take apart the reels...lol -Monte  |  IP: Logged Alexander Smith Expert Film Handler Posts: 128 From: Walney Island, Barrow-in-Furness, Cumbria. Registered: Jun 2003 posted 03-01-2006 12:05 PM                     Ok, just in case there are not enough "you suck" reports on this thread: "The Constant Gardener", copy # USA 1576 Prior to us receiving it, it has obviously been used by a cigarette smoking projecionist. The whole print stinks. I've nearly lost my lunch twice this afternoon while assembling the print. [I'm not a smoker BTW] I've done a quick search of the FT postings, and there seems to be a general consensus that smoking and film projection don't mix. Alex.  |  IP: Logged Paul Mayer Oh get out of it Melvin, before it pulls you under! Posts: 3836 From: Albuquerque, NM Registered: Feb 2000 posted 03-01-2006 12:29 PM                        Hey wait a minute! How are we supposed to put those cigarette burn cue marks on the prints then, huh huh?  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 03-01-2006 06:57 PM                     Send that print through a Kelmar cleaning machine using Fil-Guard a few times. That'll make that print smell a bit better.  |  IP: Logged Paul Van Dusen Film Handler Posts: 82 From: Roanoke, VA Registered: Feb 2006 posted 03-02-2006 07:36 PM                        I just put together one of the most annoying prints ever. It was Underworld Evolution and every single reel had the tail on the outside and the head on the inside. This wouldn't have been so bad, but the film was on the reel correctly. I, however, had to rewind all 6 reels twice just to get everything how it should have been when I got it. And of course they used the crappiest tape and every reel had started to unravel in the box when I opened it. Of course, to top it all off, there was some sort of bulge on reel 6, it almost looked like the film had a tumor. Ok, so maybe it's not the worst print i've gotten, but damnit, it pissed me off. lol  |  IP: Logged Randy Stankey Film God Posts: 6539 From: Erie, Pennsylvania Registered: Jun 99 posted 03-03-2006 11:46 AM                     Most reel-to-reel operators and even a fair number of platter operators prefer to get their reels with all the tails out. It saves the reel-to-reel operators from having to rewind the film before putting it onto their house reels before playing. It saves the platter operator a step in the inspection process before building the print. If I get a print that's all tails out, I can have it up on the platter in 30 minutes, ready to roll! If I have to rewind the print it will take a lot longer. If I have to make repairs, too, it can take over an hour to get a print ready.  |  IP: Logged Ron Curran Jedi Master Film Handler Posts: 504 From: Springwood NSW Australia Registered: Feb 2006 posted 03-03-2006 08:34 PM                        We make up and check our prints on 6000ft spools and rewind them to the MUT, from which the first show runs (which is why the Kelmar film cleaner is mounted on top of the projector, so it can be used from the platter and the MUT). If the print is tail out, the first 6000 is made up and rewound on the MUT while we make up the next lot. It is a little more handling but as long as you keep your wits about you it works fine. However, on breakdown night, if all programmes are going, you can’t get to the MUT to rewind, so that’s a curse. There is one advantage of making up from tails first. It is easier to check for automation cues.  |  IP: Logged Mathew Molloy Master Film Handler Posts: 357 From: The Santa Cruz Mountains Registered: Nov 2000 posted 03-04-2006 02:14 AM                     Definately receiving a print tails-out is the way to go for timesaving and inspection purposes whether I'm working a platter booth or R-R booth. Of course, there's an extra step to ship it tails out but no matter (unless I'm shipping back to Warner's Craft Vault who demand their prints be heads-out). When will most 'projectionists' learn to use a good length of fresh tape to secure the reel ends rather than what they seem to find on the bottom of their shoes?  |  IP: Logged Paul Van Dusen Film Handler Posts: 82 From: Roanoke, VA Registered: Feb 2006 posted 03-08-2006 01:40 AM                        That's just the thing, it wasn't actually tails out, it just had the tail attachment on the outside, and the head attachment on the inside. It was very weird, and a bit annoying.  |  IP: Logged Mike Spaeth Phenomenal Film Handler Posts: 1129 From: Marietta, GA Registered: Jul 2000 posted 03-08-2006 01:43 PM                        Which is a problem easily fixed by inspecting the print. As soon as you rolled it off, you would have realized that the heads were coming out first. Do you take the head leader for granted, and end up with out of order reels because of misspliced head leaders, too?  |  IP: Logged Carl Martin Phenomenal Film Handler Posts: 1424 From: Oakland, CA, USA Registered: Feb 2002 posted 03-09-2006 05:49 AM                        but mike, the point here is that whoever broke that print down last sucks, and that much is clear. and given how the leaders/tails were attached on that print, it might take rewinding several reels prior to assembly to verify for certain the correct order, and that does sound like extra work. which the dude did. thus giving him the right to bitch about it.  |  IP: Logged Kara J. McVay Film Handler Posts: 95 From: Delaware, OH Registered: May 2002 posted 03-25-2006 08:37 AM                        To whoever had the print of "World's Fastest Indian", you suck! Print ID number to follow. I opened the cans to find a note that read "This print of "Indian" fell off the platter. Put back together with much difficulty, may be dirty, scratched, and missing some". I am pharaphrasing the note. Well I called Technicolor right away to warn them about the note I just found. As I began to build-up, it was so dirty that I went though one glove per reel. They used zebra tape to "repair" the breaks, film had been scratched to the point of all during the film, black lines run down the screen the entire movie, not a couple, a scope screen with over a dozen black lines running through it. But this gets better. When I get to the bottom of the cans, I find what appears to be a trailer, so I picked it up and it was over 45 seconds of "mystery pieces" as per the masking tape lable. Also did I mention that the heads and tails were placed back on with masking tape. Anyway, as soon as I unspooled the "mysyery pieces" I discovered that it was one piece that went at the tail of reel 5. If I could figure that out with only seeing one ID frame on the tail of reel 5 WTF!!! In my many many years of builing up prints, which I do an incredible number of special showings and film festivals with very old prints, I have never in my life seen a print delivered to me in this condition. It was a circuit and Technicolor is trying to find me another print. Thanks for listening to my rant, still pissed off over a day later.  |  IP: Logged Robert Burtcher Expert Film Handler Posts: 194 From: Oklahoma City, Oklahoma Registered: Jun 2005 posted 03-25-2006 12:48 PM                     That sucks. I will say this, though: At least the previous projectionist actually left you a note. At least around here, the projectionist packing off a film that his/her theatre damaged usually won't say anything.  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 03-25-2006 02:54 PM                        Kara: Whether a note was left or not, you did exactly the right thing in notifying the film exchange and the distributor as soon as you found the damage. Always a good idea to do it in writing too, and maybe document the bad condition with a few photos. Hopefully the guilty party pays for any negligence.  |  IP: Logged Ian Price Phenomenal Film Handler Posts: 1714 From: Denver, CO Registered: Jun 99 posted 03-26-2006 03:53 AM                     I have been trying to see World's Fastest Indian for some time. First I was in Aspen working the US Comedy Arts Festival and I thought I could sneak away and see it but now I end up seeing Ultraviolet instead. Well Milla Jovovitch is just a little better looking than Anthony Hopkins. But he ends up getting laid more in World's Fastest Indian than she does in Ultraviolet. So then in Sonoma County I have the following choices. I can see it at the discount house 35-miles from my home for which I have a pass, I can see it a the little theatre in the very cute town on the other side of the washed out bridge over the Russian River and 50-miles away. Or I can see it at Aaron Sisemore's theatre in Petaluma also 50-miles away from me. Or I can see it at the nice theatre 100-miles away. So I decide to see it at The Roxy on the Square for which I have a pass. It's a discount house only 30-miles away. I exchange my pass for a ticket, but there isn't anybody there to tear my ticket, what do I care. I go to the concession stand to buy my M&M Peanuts. I say “M&M Peanuts please.â€� The Concessionist says huh? I say “M&M Peanuts please.â€� He says did you want Plain or Peanut? Then I see all kinds of people hanging out side the door, I peek in and the credits for the previous film are still showing. Then everybody rushes in and exclaims loudly that the place is a “pig sty.â€� I think it smells like vomit. There are two rows taped off for some reason, I'm guessing leaky roof. Then the first three rows are filled with surplus seats from some other old theatre. There are 38 people at this showing and every available row has at least two couples in it. I'm thinking this is the busiest show for them. Then seconds before the show begins, the manager comes in with a dust pan and sweeps the isle, sort of... Then the film begins, out of frame, focus and out of square. The projector winds down as the projectionist (sic) re-threads. The manager explains that he'll get it right the next time and it will come up a little out of frame. Indeed the film begins again, a little out of frame and it is sort of centered. I immediately run out to the lobby to tell the manager that the “Scope Lens is out of squareâ€� holding my hands up to demonstrate. He runs up to the booth and vigorously twists the lens back and forth. After he gets it from extremely out of square to sort of out of square, I look and see that there is 4â€� of fuzzy black on the bottom of the image, the ranging is not right and it isn't in focus and never will be. I immediately demand a refund, for my pass and hot foot it out of there. This theatre (North American Cinemas Roxy on the Square) should be torched and burned to the ground. Or at least cleaned and get their lens adjusted. I call up Aaron and ask if it will be any better in Petaluma. He states that it will be, but that he is doing a parental slide show thing and isn't working that evening. I diddle around the book shop for two hours waiting till the Petaluma show begins at 9:30 and head down there. The film starts out of focus and I have to go and tell the guy to focus it. He does after a bit and the film plays flawlessly after that. In Santa Rosa there were 40-people willing to pay to see this film and got dicked. In Petaluma there were 20-people who got to see a good show.  |  IP: Logged

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