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This topic comprises 2 pages: 1 2
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Author
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Topic: Okay, this Thursday is going to be Fun
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Brad Miller
Administrator
Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99
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posted 08-04-2004 03:51 AM
Robert, you platter the first 3 reels, then have the last 3 on a 6K. You thread up, make the splice joining the tail of reel 3 to the head of reel 4, then start the show (giving the 6K reel a gentle "help start"). Do note there must be zero drag on the reel spindle for this to work.
Another way to pull it off is to use accumulator rollers and feed directly from reel 1 through the accumulators into the projector. While reel 1 is playing, you load up the next 3 reels onto a 6K. Then when you near the end of reel 1, you stop the reel from spinning as the splice exits it and quickly splice the tail of reel 1 to the head of reel 2 (containing reels 2, 3 and 4 on a 6K reel), then hand spin it to get it going again. The process is repeated for reels 5, 6, etc on another 6K. You commonly only have 20 seconds to do this.
None of these are "film done right", but in extreme situations I have had to do it and *fortunately* things ran without a hitch. Nowadays with the invention of the Goldberg platter reel, if you are willing to run the film without a proper inspection, you *can* build a 6 reel movie in about 5 minute's time (assuming no trailer pack and no cues) by running your rewind bench at full throttle. Part of this involves pre-cutting off the head leaders of the next reel while you are winding the current reel. Again, I don't recommend any of this, but sometimes you have to for various reasons.
The last time I had to do this was for a New Line super secret screening where all audience members were anal probed for cameras prior to entering the theater. I had 10 minutes to do it because they cared so much to get the print to me on time, but I got it done anyway and there were no problems.
[ 08-04-2004, 06:55 PM: Message edited by: Brad Miller ]
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Carl Martin
Phenomenal Film Handler
Posts: 1424
From: Oakland, CA, USA
Registered: Feb 2002
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posted 08-04-2004 07:13 AM
i considered resorting to method 1 just last week, but elected to do it the normal way and start the show 10 minutes late. i'd never tried it and didn't want to make things worse. also, the mut is on the other side of the platter, which is gear-side, so i'd need someone else to help spin the reel on startup.
not that it would have helped, but i don't see how the spare-projector interlock tip would work. you've still got r1-3 plattered and splicing 4-6 to that, right? the "spare" projector would have to run super fast to feed to the outer circumference of the plattered film, wouldn't it? what am i missing?
as for whining, remember that theaters that don't normally move lots of prints thursday nights often are not equipped to do so, with cobbled-together equipment that requires tlc to run smoothly. and the projectionists probably have other duties that megaplex projectionists wouldn't, and have to run shows as well as build. little things like riding the volume during the trailers and compensating for focus drift during the show can really eat into your build time.
carl
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Scott Norwood
Film God
Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99
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posted 08-04-2004 07:21 AM
Brad's methods are, um, "interesting" and I would truly like to watch him run a show like that, but I, personally, wouldn't feel comfortable implementing any of those suggestions. I'm sure that Brad (and maybe a few others here) could pull it off. I couldn't.
My own policy is that nothing (yes, nothing) hits the screen for an audience without a full bench inspection. If that means that the show starts late, then so be it. If the distributor can't be bothered to ensure that the print arrives on time, then I see no reason why I should be bothered to potentially risk a show and/or a print in order to get it on screen a few minutes faster. For most prints in average condition, I expect that it would take (at minimum) 15 minutes to inspect the first reel and get it on screen (changeover house) or an hour to inspect and platter the whole show excluding trailers, etc. (platter house). I think that most audiences would prefer to have a show start late than to have an unscheduled mid-show interruption. I recommend passing out cards/flyers with the name, address, and phone number of the film distributor and asking that audience members direct their inquiries about why a film didn't get delivered on time to the distributor's office.
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