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"T-Stripe can be applied on scope
film in such a way as to use 1 narrow band only, or 1 wide band only
or 2 narrow bands without cross-stripe if operators want to avoid the
cross stripe on scope.

In Australia for some years now the labs give us the stuff wound on cores, packed in a plastic bag with a cardboard seperator between each core.
By the time they have been around the traps a bit the plastic bags have gone as have the bits of cardboard and if the last couple of parts are small cores in overall diameter the bigger one/s on top cone downwards in transit so you have one unholy mess when you open up a box. It takes a fair degree of careful manipulation to get them apart without having the center come out of a part (reel).
So when you make stuff up there are no reel cheeks to mark so you do need a highly visible indicator to show where the reel joins are.
I use a steel tipped white correcting fluid called "Pentel" and mark(very carefully) the edge of the film so when it sits on the platter every join can be clearly seen.
I work from the cardboard boxes of film onto 6000' reels and load them from the MUT to the platter while I work on the bench doing the next 6000' reel until all is loaded. As it goes onto the platter I am watching that out of the corner of my eye while I wind the various parts onto the next 6000' reel and so on until all is done.
To pick up the splices on the bench on breakdown I colour the splice edge with RED spirit pen if the edges are clear (NON SDDS setup) and if dark I use the white Pentel.It comes off with the removal of the tape so all that remains on the film is a fine white edge to the film.
Frank mentioned multiple joins and as the group I work for use film from all manner of sources some of the stuff that passes thru looks like it has been attacked by a chainsaw as there are multiple joins at the end and start of every reel. This makes for quite exciting times trying to make sure you have got the right spot when you start to pull it apart. There are so many joins running it thru the fingers is not definitive enough, you have to watch and be a bit of a sleuth at times as often the previous operator has managed to hack off the cues (if any) and have bits of the end of one reel on the head of the next and so forth.
A lot of stuff comes from ScreenSound archives in Canberra (Aust) and much of this has NEVER been on a platter before it is so darn old. So that there can be NO error I ALWAYS leave one frame on the head and tail and then matching up is spot on.
In many cases these prints are the ONLY remaining ones in captivity so I treat them with care and spend a lot of time patching dried out splices and any film damage.
When the film is sent back it always goes back TAIL out with just one piece of tape holding the leaders on. In this way the next platter guy just peels it apart and if the next is not a platter the reel to reel guy can easily check for cues and whack a bit of tape on the other side to ensure a smooth joint.
Why so many just rip joins apart and do not spend just a few moments peeling the tape off is beyond me. It takes me about 8 mins per 2000' reel to make up a program and the same to breakdown so a few moments spent peeling the joint apart is nothing and it helps stop the idiots just chomping the next free of tape frame until the heads and tails look like a series of floppy cards. If I cop a spool like that at the outdoor on the reel to reel Simplex setup the old girls will shred those sorts of starts and ends so off it all comes and sometimes about a foot or more of film each end goes in the bin.
Back to cardboard boxes for shipping film... I have had prints come to me from Sydney across OZ and land in Perth with a couple of core wound spools hanging outside the cardboard box.
Apart from the dust and dirt, mechanical damage to outer layers was also evident but a bit of patching soon sorted out those problems.
The old metal trunks and spools inside was a much more secure way of shipping film but I guess with freight costs going up a reduction in weight was always going to be attractive to Distributors so I guess we are stuck with cardboard boxes and I reckon before long you fellas in USA will also cop them.
So once film has gone from first release sites it is almost essential that joins are clearly marked as we have no other way here of positively identifying joins.
Until I find a better way it is going to continue to be the Pentel pen.