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Author Topic: Harry Potter 2 Changeover dots Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 12-09-2002 06:33 PM                     Simple in my book No cues=clint phare marks  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 12-09-2002 09:53 PM                        I agree, if there are no cues or they are invisible, properly mark the cues with a Clint Phare device.  |  IP: Logged John Hawkinson Film God Posts: 2273 From: Cambridge, MA, USA Registered: Feb 2002 posted 12-09-2002 11:22 PM                     If you don't mark the cues within the image area, Brad, how will the audience know what reel you're on? More seriously, not every booth is situated such that it is easy to see the outgoing projector when you're positioned at the incoming projector. I think it would be hard in our booths... In many ways, this is sort of a lame answer, though. Philosophically a method that doesn't mark film is superior; pragmatically, it's hard to get there... I keep meaning to stock adhesive dots and give them a try. Though it does only come up extremely rarely.... --jhawk  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 12-10-2002 12:58 AM                    To answer Patrick's question, Bill Gabel (in New York) and I (in Chicago) run screening rooms, not regular theatres. Building up a print on a platter or large reel and taking it apart again would be a tremendous time waster when a film is only screening once or twice. I scribe missing or poorly visible cues because I feel that that is part of a standard print and they ought to be there. I wipe clean grease pencil cues if I scribe (often they are not standard). In the event film loss off the end doesn't leave enough for a proper change I will scribe new C/O dots and then measure the distance to the original motor dots and adjust thread-ups of subsequent reels to suit the new spacing. Sometimes I'll leave a list of offsets from normal in the cans for the next person. Edgemark tape I consider to be foreign matter that does not belong on the film and it comes off just like opaque splicing tape, multiple layers of any splice tape or masking tape.  |  IP: Logged Mathew Molloy Master Film Handler Posts: 357 From: The Santa Cruz Mountains Registered: Nov 2000 posted 12-10-2002 04:20 AM                     In regards to Nicholas Nickleby, I've just run a "magenta" check print. The cues were quite easy to see, however, black never appeared to be really black. In fact it was more of a blackish-green. I've run a couple check prints before that have "magenta" handwritten on the leaders (which I think were 'deluxe'). I have a vague idea that this is referring to the color balance but what, exactly, does it mean?  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 12-10-2002 07:04 AM                        I suspect "Magenta" means it has a "high magenta" analog soundtrack, where the soundtrack exposure is in the magenta layer only, rather than the cyan+magenta layer. The "high magenta" track is more compatible for lowest cross-mod distortion with today's mix of white light and red LED readers: http://www.kodak.com/US/en/motion/support/dyetrack.shtml http://www.dyetracks.org  |  IP: Logged Bill Gabel Film God Posts: 3873 From: Technicolor / Postworks NY, USA Registered: Jan 2002 posted 12-10-2002 09:15 AM                     Mathew quote: I just ran You ran a much later check print than I did. I ran the first answer print that was timed to dark 2 weeks ago. So the cues were really dark to see. I've been working with the "Nicholas.." people for the last 4 months.  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 12-10-2002 12:22 PM                        I know I've mentioned it before, but I use removable cue dots made by Letraset. Scott is right -- it's a dilemma. If you don't make well-made good cues and the print winds up in a change-over house, there is a chance that ill-trained personnel could scar it for life by attacking it with the many implements of print destruction that we all know too well (razor blades, hole punches, pen knives, deck paint, etc.), better to make correctly made cues to stop the molesters from doing their perverted thing to the print. Thing is, etched Clint cues are there forever. The Letrset cues are permanent in that if not removed, they will probably last for the life of the print and they look almost as unobtrusive as the black lab cues except without the halo. This would usually thwart the temptation for others to go on the attack. The thing I feel good about is that they still can be easily removed by a conscientious projectionist down the line in an art house using platters who wants pristine reel joints (assuming he's not already faced with a dozen fanfold, accordion splices strung together with splicing tape, already ruining the joints). This all is presumptive on the print arriving without any cues, which are far and few between, but a question of what to do when such a print is encountered. Much more of an everyday reality are the prints with multiple, misplaced cues. Even if made correctly, if you wind up with a dozen Clint etched cues all over the place, they become a real distraction. This is what we get with subrun and art house titles all the time. The Letraset black line material can be used to cover a whole series of irrelevant, badly made cues while the dots can be used to indicate the correct ones. I have no problem leaving my corrections and additions since they are all made with removable material and are much less haphazard than other removable handiwork like grease pencil slashes across the frame. Frank  |  IP: Logged Mathew Molloy Master Film Handler Posts: 357 From: The Santa Cruz Mountains Registered: Nov 2000 posted 12-10-2002 12:22 PM                     Thanks John, that makes sense. Bill, I didn't mean to imply you were blind and couldn't see the cues. Just that this check print was, IMO, a little too light with black looking dark green - but the cues were quite easy to see. BTW, I too have been seeing more and more European prints without any c/o cues. Always makes for a hurried, last-minute rush to get the cues on that first reel - my fault for waltzing in only 15 min. before the screenings.  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 12-10-2002 12:48 PM                    I'm on screen with N.N. right now and I agree that the blacks seem a bit washed out and greenish. Perhaps that is deliberate? This is an excellent looking Super 35 blowup. Cues are fine; no scribing needed. Yes Frank, the scribed cues are there forever. I see no problem with that if they are done properly. If not then one can adjust one's procedures to accomodate what's there. I have no idea why someone would add additional cues but then I don't understand a lot of things. I don't understand why "Quiet American" #27 has masking taped on leaders, has Tail R1 on the head of R1, is missing Head R1 and possibly a Miramax logo (if there was one) and has a loop of film bulging out from one reel. I skipped any further inspection and I'm sending it back because enuff's enuff.  |  IP: Logged Bill Gabel Film God Posts: 3873 From: Technicolor / Postworks NY, USA Registered: Jan 2002 posted 12-10-2002 02:05 PM                     Mathew no problem I'm having fun fixing a print of "25th Hour" that came from AMC Sherman Oaks (One of the theatres I worked at once ) Notice on reel 3, it has a fade out. The person cut a foot 1/2 to early. And used masking tape to tie the heads & tails. How is the Regent?  |  IP: Logged Mathew Molloy Master Film Handler Posts: 357 From: The Santa Cruz Mountains Registered: Nov 2000 posted 12-10-2002 02:47 PM                     The Regent is doing well, despite business. I'm hoping to get the purchase of a second AAII approved today. Just got word we have the world premiere of Nicholas Nickleby next week. After my finger-pointing at the unfortunate events surrounding "The Pianist", I'm now trying to gather up all the good Karma I can!  |  IP: Logged

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