Film-Tech Forum ARCHIVE: "Idiotproof" Trailers

my profile | my password | search | faq & rules | forum home

»	Film-Tech Forum ARCHIVE » Operations » Film Handlers' Forum » "Idiotproof" Trailers (Page 2)

This topic comprises 2 pages: 1 2

Author

Topic: "Idiotproof" Trailers

Monte L Fullmer
Film God

Posts: 8367
From: Nampa, Idaho, USA
Registered: Nov 2004

posted 04-11-2005 09:30 PM

quote: Adam Wilbert
except then you're writing all over the SDDS soundtrack

..doesn't matter when any of us doesn't have "Sony Baloney" at our theatres... - Monte

| IP: Logged

Brad Miller
Administrator

Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99

posted 04-11-2005 10:38 PM

The next guy might.

| IP: Logged

Darryl Spicer
Film God

Posts: 3250
From: Lexington, KY, USA
Registered: Dec 2000

posted 04-11-2005 10:52 PM

quote: Adam Wilbert
but theatres with poorly cut apperature plates or ones that are a bit out of frame would show that white line on the screen. I prefer no frame line to white ones.

Maybe that would make them get their act together and recut plates and make them frame correctly......and thats a big MAYBE

| IP: Logged

Monte L Fullmer
Film God

Posts: 8367
From: Nampa, Idaho, USA
Registered: Nov 2004

posted 04-12-2005 12:25 AM

quote: Brad Miller
The next guy might.

...good ol' "Isoprop" Alcohol removes "Sharpie" pen marks.

'sides, I only do this on trailers (if needed) when I'm attaching trailers to the first reel on the Kelmar worktable, not on the features.

Then, when I'm done with the print, the trailers get broken down via the Kelmar method (which I've done that trick for almost 10yrs years now..), and send them to our other theatres who could use them. I have a good bucket full of those inch cores.

None of our theatres have "Sony Baloney", nor practically any other theatre around this state.

thx-Monte

| IP: Logged

Dominic Espinosa
Phenomenal Film Handler

Posts: 1172
From: California, U.S.A.
Registered: Jan 2004

posted 04-13-2005 01:26 PM

I mark between sprocket holes on the non-soundtrack side, feature if necessary, trailer if necessary. Most of the time I can just grab it where I see the frameline, either by holding it up to the light or by matching it to the tail leader or a visible frame on the end of the trailer.
Most splicers I've worked with are 8 frames long as Brad described. I always tell people to use it like a ruler and get as far away from the picture as possible.

As for marking on the SDDS, correct me if I'm wrong but isn't each side of the sdds a copy of the other side? Sort of a primitive error protection thing?

| IP: Logged

Monte L Fullmer
Film God

Posts: 8367
From: Nampa, Idaho, USA
Registered: Nov 2004

posted 04-13-2005 01:53 PM

quote: Dominic Espinosa
As for marking on the SDDS, correct me if I'm wrong but isn't each side of the sdds a copy of the other side? Sort of a primitive error protection thing?

Yes, the soundtrack side of the data information is the main track for Sony. The other side is, if I remember, 26 frames down the stream for the backup in case the main one begins to fail.

Then, when this second track fail, the system dumps completely and the optical track takes over reproducing the sound in MONO, being that the Sony processor is by itself and is wired to bypass the other processor and the analog signal from the Sony heads directly down to the amplifiers. This is why booth checks are necessary on SDDS operations. One must look at the SDDS display and to see if the data stream have failed and if it's necessary to switch the processor off and let the other processor take over due to this over-riding of the Sony processor.

The Sony track where it's placed on the film and where the most wear on the film is located, is the WORST place to place any form of information. When one runs Sony, the track lasts on the average of one to two weeks before failure begins-and that's both of the tracks on the film.

Granted, Sony sounds great when running-moreso than even the other two, but SRD has it hands down with the data digital format-being where it's located in between the sprocket holes where there is very little wear.

...this is why we call it "Sony Baloney."

Fox and Paramount, on some of their releases, have voided printing the SDDS track on these releases.

Course, EP-III will probably have all of the digital information.

thx-Monte

| IP: Logged

Brad Miller
Administrator

Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99

posted 04-13-2005 02:33 PM

quote: Monte L Fullmer
Then, when this second track fail, the system dumps completely and the optical track takes over reproducing the sound in MONO, being that the Sony processor is by itself and is wired to bypass the other processor and the analog signal from the Sony heads directly down to the amplifiers.

Hate to have to correct you on this, but that is absolutely wrong. On the 2000 series SDDS players whatever signal that is punched up on your main Dolby processor (which should be SR) will simply "pass through" the Sony unit. On the 3000 series SDDS players, the analog sound is built into them and if the SDDS track fails, it will auto-switch to whatever you have it programmed to (the default is SR). There is never a resort to mono unless the projectionist or tech set it up that way.

| IP: Logged

Monte L Fullmer
Film God

Posts: 8367
From: Nampa, Idaho, USA
Registered: Nov 2004

posted 04-13-2005 03:25 PM

quote: Brad Miller
There is never a resort to mono unless the projectionist or tech set it up that way

True and fully agreeable statement. And what I mentioned above was that very thing - this one complex that I know of had their SDDS set up this way.

Thus, even though SDDS was installed, the primary digital usage was either SRD, or DTS on some of these machines that had all three digital options installed.

So, thus my knowledge of SDDS is/was limited to what was installed at this complex and please forgive me of my shortcoming on this.

Later on, the SDDS was removed from this complex due to the operators that wouldn't use the system and my knowledge of SDDS stopped with this.

thx-Monte

| IP: Logged

Frank Angel
Film God

Posts: 5305
From: Brooklyn NY USA
Registered: Dec 1999

posted 04-14-2005 07:41 PM

quote: Adam Wilbert
but theatres with poorly cut apperature plates or ones that are a bit out of frame would show that white line on the screen. I prefer no frame line to white ones.

The frame line can be miniscule - nothing but a white septum line at the frameline.

For the scope format, if the theatre is set up for proper 2.39 on scope as it should be, then there is plenty of leeway for a white septum line at the frameline -- it will be invisible to the audience; if the guy's scope plates are cut large enought to see that, then they simply are too large to begin with and they will be showing the negative flashes, which is why the apeture height of scope was reduced in the first place.

As for 1.85, the only way a white septum line could be visible in this format is if this guy is completely out of frame.

| IP: Logged

Mark J. Marshall
Film God

Posts: 3188
From: New Castle, DE, USA
Registered: Aug 2002

posted 04-14-2005 10:41 PM

I agree 110%. Print the damn line! I'm not saying this because I can't figure out where to cut on my own... I can do that just fine thanks. But why the hell should I have to waste time holding the film up to the light, straining my eyes, and counting sprocket holes?? Just print the line and be done with it. No need for SPLICE HERE, YOU MORON! ... just a line.

| IP: Logged

All times are Central (GMT -6:00)

This topic comprises 2 pages: 1 2

Printer-friendly view of this topic

The Film-Tech Forums are designed for various members related to the cinema industry to express their opinions, viewpoints and testimonials on various products, services and events based upon speculation, personal knowledge and factual information through use, therefore all views represented here allow no liability upon the publishers of this web site and the owners of said views assume no liability for any ill will resulting from these postings. The posts made here are for educational as well as entertainment purposes and as such anyone viewing this portion of the website must accept these views as statements of the author of that opinion and agrees to release the authors from any and all liability.