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» Film-Tech Forum ARCHIVE   » Operations   » Film Handlers' Forum   » When should you stop a movie (Page 2)

 
This topic comprises 3 pages: 1  2  3 
 
Author Topic: When should you stop a movie
Leo Enticknap
Film God

Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000


 - posted 03-26-2004 07:50 AM      Profile for Leo Enticknap   Author's Homepage   Email Leo Enticknap   Send New Private Message       Edit/Delete Post 
I hope he had a supply of UN-approved 'Biohazard' labels to stick on the cans before he sent the prints back!

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Paul Mayer
Oh get out of it Melvin, before it pulls you under!

Posts: 3836
From: Albuquerque, NM
Registered: Feb 2000


 - posted 03-26-2004 08:00 AM      Profile for Paul Mayer   Author's Homepage   Email Paul Mayer   Send New Private Message       Edit/Delete Post 
No worse than licking those suction-cup print keeper thingies for platters... [Smile]

I have to admit I've done that on occasion in both 16 and 35mm. It is a reasonably good quick fix if one doesn't have any air handy for blowing out the gate.

Heh heh, post #777. Another favorite aircraft of mine... [Roll Eyes]

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Bruce McGee
Phenomenal Film Handler

Posts: 1776
From: Asheville, NC USA... Nowhere in Particular.
Registered: Aug 1999


 - posted 03-26-2004 08:03 AM      Profile for Bruce McGee   Email Bruce McGee   Send New Private Message       Edit/Delete Post 
Our TV projectionists would spit on the upper loop of 16mm prints as they ran on our TP-66's if there was something in the gate.

I have a print from 1977 that still to this day has a dark area on the image where the spit was applied. I didn't do it.

Our station didn't use air. We rigged a momentary contact switch at the switcher station that would activate a small valve that would drip a drop or two of Vitafilm on the upper loop as it played. Effective. Later, we got Piclear units. The only drawback was that the Vitafilm ate the paint off of the projector!

I started with a quartet of TP-6 projectors.

EDIT: OMG! I'm about to hit 1000!

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Jon Miller
Jedi Master Film Handler

Posts: 973
From: San Diego, CA, USA
Registered: Sep 1999


 - posted 03-26-2004 10:58 AM      Profile for Jon Miller   Email Jon Miller   Send New Private Message       Edit/Delete Post 
I had a nagging hair-in-the-gate issue while running a 16mm short on my Pageant 250A Marc-300 for a film festival about three years ago. Used an aerosol duster to blast that hair free and, in the process, touched off a small fireball in the gate. [Eek!] Then I notice the "Flammable" warning on the duster can. Guess I was too used to the old Freon-based products.

Moral: Always read the label first! [Roll Eyes]

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Paul G. Thompson
The Weenie Man

Posts: 4718
From: Mount Vernon WA USA
Registered: Nov 2000


 - posted 03-26-2004 08:39 PM      Profile for Paul G. Thompson   Email Paul G. Thompson   Send New Private Message       Edit/Delete Post 
I just simply blast it with a compressed can of air. Usually it works. The times it doesnt, I just simply yank the plate, clean it, and stuff it back in. As someone said, it takes about 4 seconds. I don't even bother to close the dowser when I do it. The biggest thing is to get the darn hair out of the picture without interrupting the presentation. Sprocket holes and sound tracks projected on the masking is no real big deal. I would sooner do that for 4 seconds than to rin a black screen for the same amount of time, especially in the movie.

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Phil Hill
I love my cootie bug

Posts: 7595
From: Hollywood, CA USA
Registered: Mar 2000


 - posted 03-26-2004 09:36 PM      Profile for Phil Hill   Email Phil Hill       Edit/Delete Post 
quote:
...would spit on the upper loop of 16mm prints as they ran on...
Yuck! That's disgusting, Bruce!

At least when I worked projecting porn, I used to clean the gate while the film was running with my tongue. To this day, I have a rectangle permanently burned on it.

>>> Phil

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Phil Blake
Jedi Master Film Handler

Posts: 558
From: esperance western australia
Registered: Nov 2003


 - posted 03-27-2004 10:04 AM      Profile for Phil Blake   Author's Homepage   Email Phil Blake   Send New Private Message       Edit/Delete Post 
I have always believed in keeping the show rolling, Shut down only as last resort.

I remember in the old days we were running 2000 foot reels , the take up drive belt broke , I spend 18 minutes sitting on the floor winding the reel by hand , but the show continued !

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Manny Knowles
"What are these things and WHY are they BLUE???"

Posts: 4247
From: Bloomington, IN, USA
Registered: Feb 2002


 - posted 03-27-2004 11:49 AM      Profile for Manny Knowles   Email Manny Knowles   Send New Private Message       Edit/Delete Post 
I got that one beat: Try turning a platter by hand for an hour-and-a-half when a motor craps out during the first reel.

Let's bring this thread back on-topic. Tell us about these "last resort" situations when you actually had to shut down a movie.

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Scott Norwood
Film God

Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99


 - posted 03-27-2004 12:27 PM      Profile for Scott Norwood   Author's Homepage   Email Scott Norwood   Send New Private Message       Edit/Delete Post 
-Film break (once).
-Improperly installed belts on belt-driven "MP-30" projector (once, not my fault).
-Xenon bulb explosion (once).
-Brainwrap (once).
-Curtain stuck while opening due to blown fuse on curtain motor (once).
-Wrong films playing in wrong auditoria in multiplex due to last-minute change of schedule that didn't make it to the projectionist (once, not my fault). [Mad]
-Xenon lamphouse failsafe dropped due to broken belt on roof blower (once).
-Smoke coming out of rectifier (one days' worth of shows lost).

That's all I can think of at the moment.

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Leo Enticknap
Film God

Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000


 - posted 03-27-2004 02:01 PM      Profile for Leo Enticknap   Author's Homepage   Email Leo Enticknap   Send New Private Message       Edit/Delete Post 
Incidents which were my fault:

  • I mislaced the film over a stop roller (or it jumped, but it was probably my fault), resulting in it putting an emulsion tramline down the print. Thank goodness, I caught it after about three adverts. It would have written off the print otherwise.
  • I laced a full-gate silent print up the wrong way round and it came on back-to-front after the changeover (once, after which the golden rule was drummed into me: lace up with the top of the frame pointing downwards and mirror-writing facing the lens; intertitles the right way round facing the lamphouse).
  • I started a DP-70 in the wrong ratio, and had to stop to change the plate.
  • There was once a very tight turnaround from a 70mm show to a 35 show. I therefore converted one projector and started reel 1 of the 35mm feature ASAP. Just as I was about to do the second the duty manager asks me to look at a faulty stopcock on an ice-making machine in the bar which has blown and is flooding the whole place. By the time I'd isolated it and got back to the box, I didn't have enough time to convert the other projector back to 35 and lace up before the first changeover. I should have told the manager that I was tied up, I guess.
  • On a 16mm sepmag show, reel 2 of the mag turns out to be completely blank - not a sound on it. We had a six-plate Steenbeck in our workroom, and I would have caught it if I'd have rehearsed the print on it.
...and ones which were not:
  • Manager's infant son let himself into projection box and unhooked the film from the Kinoton platter's take-up tensioner. Chief projectionist had disabled stop roller without telling me; I returned from fixing box office PC problem to find a pile of film on the floor.
  • Print is delivered 15 minutes after advertised start time. Reel 1 is put straight in a split spool and started (archive print, so I know there won't be a suspect join at the end of a leader). Reel 4 turns out to be from a completely different film. Show stopped, manager explains to audience that we're going straight to reel 5 and that they'll miss 20 minutes or so of the film.
  • Exciter bulb blows.
  • Show stopped automatically by fire alarm, or manually in response to fire alarm (several false alarms and one actual fire).
  • When double-checking a rep print for a Sunday afternoon show which had been made up by an inexperienced colleague, I discovered several of the reels to be nitrate. Show delayed while a VHS was obtained from the local Virgins, which was then projected.
  • Fight breaks out among teenagers in auditorium, and manager instructs me to stop the show while they are evicted.
  • Customer starts smoking in auditorium; ditto.
I've had two lamp explosions but neither resulted in a lost show (they were both in two projectors plus platter houses).

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Gordon McLeod
Film God

Posts: 9532
From: Toronto Ontario Canada
Registered: Jun 99


 - posted 03-27-2004 02:52 PM      Profile for Gordon McLeod   Email Gordon McLeod   Send New Private Message       Edit/Delete Post 
Manny I can beat tha try haveing to spin an IMAX reel for 35min when the reel unit decided to die with a full house

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Manny Knowles
"What are these things and WHY are they BLUE???"

Posts: 4247
From: Bloomington, IN, USA
Registered: Feb 2002


 - posted 03-28-2004 01:09 AM      Profile for Manny Knowles   Email Manny Knowles   Send New Private Message       Edit/Delete Post 
Okay, Gord.

I'm guessing that the weight of an IMAX film and the faster speed would make it a bit more challenging but, even so, I would imagine that having to spin a platter for 90mins would suck moreso than having to spin one for 35mins.

Maybe the two can't be compared. It's like trying to compare a long-distance marathon to a sprint.

How many feet/min for IMAX?

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Daryl C. W. O'Shea
Film God

Posts: 3977
From: Midland Ontario Canada (where Panavision & IMAX lenses come from)
Registered: Jun 2002


 - posted 03-28-2004 01:24 AM      Profile for Daryl C. W. O'Shea   Author's Homepage   Email Daryl C. W. O'Shea   Send New Private Message       Edit/Delete Post 
337.5 feet/min.

Although I haven't hand spun an Imax platter, I have spun a (AW-3) platter deck by hand for two hours. That however is far easier than hand cranking a 6000' reel for 65 minutes, which I've done far more times than I wish to recall. If I ever find the bugger that was unnecessarily shortening the belts I'll kill him.

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Brian Michael Weidemann
Expert cat molester

Posts: 944
From: Costa Mesa, CA United States
Registered: Feb 2004


 - posted 03-28-2004 01:31 AM      Profile for Brian Michael Weidemann   Author's Homepage   Email Brian Michael Weidemann   Send New Private Message       Edit/Delete Post 
IMAX film travels at about 5 feet a second, or precisely 3.75 times faster than 35mm. (15 sprockets a frame vs. 4)

I can't imagine manually spinning an IMAX platter to keep up. It's my understanding that should the reel unit fail, the console would refuse to let the projector run ... or was everything done purely manual at that point, because of the full house?

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Daryl C. W. O'Shea
Film God

Posts: 3977
From: Midland Ontario Canada (where Panavision & IMAX lenses come from)
Registered: Jun 2002


 - posted 03-28-2004 02:18 AM      Profile for Daryl C. W. O'Shea   Author's Homepage   Email Daryl C. W. O'Shea   Send New Private Message       Edit/Delete Post 
I think Gord's setup would let the machine jettison parts into the lake before anything even thought of shutting down. [Smile]

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