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Author Topic: Running flat trailers on scope Ron Curran Jedi Master Film Handler Posts: 504 From: Springwood NSW Australia Registered: Feb 2006 posted 06-03-2006 08:42 PM                        Then there were the Kalee 21s, nice machine built to withstand wrecking balls and with a removable aperture fixed in the gate, obviously designed for changeover booths. Change from flat to Scope procedure with single machine: Send audience home for dinner close curtains bring up stage lights change sound to non sync close dowser stop projector remove flat gate insert scope gate remove flat lens insert scope backing lens swing over anamorphic remove lens cap recall audience start projector fade stage lights open dowser open curtains open masking change to film sound check focus and level change shift  |  IP: Logged John Wilson Film God Posts: 5438 From: Sydney, Australia. Registered: Dec 1999 posted 06-03-2006 09:41 PM                     Hey Ron And then along came Associated Sound to the resue and patrons didn't need to go home for dinner. (They cut a slide-in plate into the gate) If you have the ability to change a lens between features (obviously we all DO) then you can run the previews the way they're supposed to be run. I'm sorry Dan, I'm sure you're a nice person and just trying to do the right thing...but to me it's just film-done-wrong to screen ANYTHING in the incorrect ratio. Bottom line... Scope is Scope Flat is Flat ...and never the twain shall meet.  |  IP: Logged Ron Curran Jedi Master Film Handler Posts: 504 From: Springwood NSW Australia Registered: Feb 2006 posted 06-06-2006 03:05 AM                        Yes John, but the Kalee was on loan while our Centurt was bein overhauled. One of our projectionists forgot one of the 14 steps at the first matinee of The Empire Strikes Back, leaving the flat lens behind the anamorphic. The crowd was treated to an image extending beyond the screen to the ceiling, walls and floor. When he corrected his error, the audience was strangely disappointed.  |  IP: Logged Eric Hooper Jedi Master Film Handler Posts: 532 From: Fort Worth, TX, USA Registered: May 2003 posted 06-06-2006 05:36 PM                     Sooo, When I'm at the movies, and the masking is set to scope for the scope movie I'm seeing, and then a trailer that looks flat is shown, with the sides of the screen blank, what am I seeing?  |  IP: Logged Lyle Romer Phenomenal Film Handler Posts: 1400 From: Davie, FL, USA Registered: May 2002 posted 06-06-2006 05:48 PM                     You are either seeing a "windowboxed" 1.85 trailer printed in 'scope or you are seeing a flat trailer projected in flat on a common height screen in an auditorium that doesn't have motorized masking (or the masking motor isn't being used).  |  IP: Logged Manny Knowles "What are these things and WHY are they BLUE???" Posts: 4247 From: Bloomington, IN, USA Registered: Feb 2002 posted 06-07-2006 04:36 PM                     "Letterboxing" = black bars top/bottom. "Pillarboxing" = black bars left/right. On trailer labels or placement worksheets, I indicated those trailers as FLAT/BOX and SCOPE/85 so that I could use them on purpose (or not use them by accident). FWIW, I don't condone running ANYTHING in the wrong format for ANY reason. Close the dowser. Change lens and plate. Open dowser. Figure out how much time you need to do all of this and then insert an appropriate amount of blackout leader. Don't forget to VERIFY FOCUS. Frankly, I am SHOCKED that people on this forum are actually entertaining "alternate" ways of doing this. Whatever happened to "Film Done Right" ?  |  IP: Logged John Koutsoumis Master Film Handler Posts: 261 From: Melbourne, Victoria, Australia Registered: Aug 2003 posted 06-07-2006 10:32 PM                     quote: Manny Knowles Close the dowser. Change lens and plate. Open dowser. In a situation where you don't have a lens turret or a second machine how about showing the trailers with the correct lens then closing the dowser and traveller, bring the lights back up slowly, then start some nice grand overture music (there is tons of music to pick from out there) that suits the feature you are going to show, all the while you do your lens and aperture change. Then slowly and gradually bring the lights down. If the music you pick has a final big finale note than attempt to open the dowser and have the first logo hit the screen as the big final note sounds. Of course you don't need those long five minute overtures just something with enough time to do your required changes although you may need an assistant. To me that's great presentation.  |  IP: Logged Dieter Depypere Master Film Handler Posts: 343 From: Deutsch-Wagram, Lower Austria, Austria Registered: May 2005 posted 06-08-2006 12:58 AM                     Oh, well, it shouldn't take longer than 10-15 seconds.  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 06-08-2006 02:52 AM                     ..a "real projectionist" can do that lens/aperture/dowser time even sooner..but STILL, get the 30 seconds of black leader inbetween the trailers and feature...  |  IP: Logged Manny Knowles "What are these things and WHY are they BLUE???" Posts: 4247 From: Bloomington, IN, USA Registered: Feb 2002 posted 06-08-2006 03:44 PM                     30 seconds in a dark silent theatre is an ETERNITY. Get it down to 10 seconds.  |  IP: Logged Mike Blakesley Film God Posts: 12767 From: Forsyth, Montana Registered: Jun 99 posted 06-08-2006 05:04 PM                        I do a lens change in 6 seconds. We have lights that shine on the screen (in lieu of curtains) that I fade back on during the change, so the crowd doesn't see a blank screen. Even 6 seconds seems like quite a while when you're just sitting there.  |  IP: Logged Justin Gorka Expert Film Handler Posts: 174 From: High Wycombe, England Registered: Apr 2006 posted 06-14-2006 05:25 PM                     Very stange question, turn off the automation and do a manual!  |  IP: Logged Dieter Depypere Master Film Handler Posts: 343 From: Deutsch-Wagram, Lower Austria, Austria Registered: May 2005 posted 06-16-2006 09:54 AM                     What I also have noticed recently: I got a movie in Cinemascope, and the distributor's logo was still flat... Kind of a dumbass idea...  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 06-16-2006 10:18 AM                        Even better--yesterday I ran an Academy print with a scope logo. Yuck! edit: it was actually worse--an Academy image pillarboxed within a 1.66 frame, with a full-frame scope logo attached [ 06-16-2006, 09:26 PM: Message edited by: Scott Norwood ]  |  IP: Logged Jarrad Salmon Film Handler Posts: 25 From: Baulkham Hills, NSW, Australia Registered: May 2006 posted 06-18-2006 05:40 AM                     It is just wrong, very wrong! At the moment I'm running Vic 5's. They are all automated to do turret changes from the flat Ad/Trailers. So all it takes is a stretch of black spacing to hide the lense/aperture change. Had to do this many times manually too. At the end of the day, even if it takes you a while (a few seconds) to change, it is the lesser of two evils  |  IP: Logged

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