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Author Topic: Pulling a header while the film is running 101 Alexander Smith Expert Film Handler Posts: 128 From: Walney Island, Barrow-in-Furness, Cumbria. Registered: Jun 2003 posted 09-04-2006 06:30 PM                     I used to do something similar to that many times on Thursday nights. I did it without getting film on the floor, and without defeating any of the failsafes. However... :-) I did find that one or two of the, shall we say, "less experienced" projectionists would get it wrong and have a show stop. This was certainly poor customer service, so we now wait until the show has completed on a Thursday night before changing the advert reel. It really doesn't take much longer (sometimes it's as quick). About the only time I'd lift out a advert/trailer reel "on the run" is if it needs an edit _and_ there's only a short turn-a-round between shows. Generally not worth the risks, nice vid though. :-) Alex.  |  IP: Logged Ben Stephenson Film Handler Posts: 29 From: Manchester, England Registered: Jan 2001 posted 09-04-2006 07:10 PM                    I have panned the ads out a film while its been running, you need a good hour at the very least before even trying it or as soon as you pull the ring out the dam thing will just slide off the platter, im happy for people who don’t have to do this or split whilst running but sometimes we don’t have the time to do any thing but! As for quote: Brad Miller 'In looking at the head of the feature, it appears it was permitted to slip around the center ring, further laying scratches on it for the first few feet' I hold my hands up, lacing that way has got me in a routine but I did keep the film pined to the ring for nearly two revolutions before letting go and on a happy note we did pull all digi tags a short time after removing any possible damage. We tend not to do this on a regular basis now but a few years ago this was common practice when we were losing films an x-over and would split the film so there was only one reel left running and the rest was sat in cans ready to go and in all the time I’ve done it I have (hand on hart) not had a shut down  |  IP: Logged Charles Greenlee Jedi Master Film Handler Posts: 801 From: Savannah, Ga, U.S. Registered: Jun 2006 posted 09-06-2006 02:50 AM                        I've done this with our Strong Aw-3's, to edit trailers. There were a few times where the showtimes were scheduled in a fashion where the next show was to start before the previous one dropped, and I worked a shift the didn't allow for me to do it before opening or after closing. AND, I was the only person doing it (Note: I did not say I was the only person that COULD do it. Which ticked me off that the others that could were too damned lazy). I'd place a platter cover under the projector, and bypass the failsafe the trailer before the one to be removed/changed. Once I was to the trailer to be removed, I'd release the rewind motor till the elevator dropped to where I could engage it in the lower hole, to keep the payour running. Then I'd break the splice exiting the projector, and the splice at the end of the trailer too. If I'm removeing, I'll just guide the film back to the platter stand and rethread to the rewind platter, being careful not to knock the elevator loose. I'd then splice the tail of what's already on the platter to the incoming trailer, re-engage the rewind motor, and take up the slack, which usually knocks the elevator loose and allowing for normal operation to resume. If I'm replacing, I'll put another platter cover down for extra space, and do as above with a few changes. After breaking the film, I'd slide it's platter cover out of the way and quickly slide a new one under to catch the film while I wind on the new trailer. I then splice the new trailer's head to the tail of the one on the ring, spooling from hand I manually spin the platter fast. When I get to the end, and the new trailer is ready to receive the rest of the print, I, as before, carefully guide the head of the played out film to the rewind platter, splice, manyually take up slack and engage the motor. All for a seemless show. BTW kids, make sure your failsafe is returned to normal operating mode, or it will not shut things off in the event of a break or end of show. But before that, make sure the film is flowing through it right and both froglegs are up, or you will shut down when you turn off the bypass. I haven't had to do it here, or at the Wynnsong, but I have had to do it a small number of times at the Carmike 10. I don't recommend doing it, at all!!!! Just because I got away with it, doesn't mean you'll get that lucky. I didn't on my first couple of attempts. You have been warned.  |  IP: Logged Chad M Calpito Master Film Handler Posts: 435 From: San Diego, CA Registered: Apr 2006 posted 09-06-2006 09:52 AM                        Thanks for the warning Charles. I know I won't be doing it. For me, it's just to risky. Besides, I wouldn't want to take the chance of screwing something up and have to stop the show because of my mistake. But, it sure is neat to read about other's experiences, though.  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 09-06-2006 01:16 PM                     quote: I've done this with our Strong Aw-3's, (Whoops..got Christie on the mind, don't you? You meant the STRONG AP-3's. When I first read this, I couldn't see the elevator on a AW3 having anything to do with film payout action, until I saw the word STRONG.) You'd think that you would have enough intermission time to where that one house had dropped, you had already isolated that one trailer with long foam strips to wind in the area of trailer removal, so that you could splice in the new trailer after cutting the old one out, then replacing the trailer pak in the middle of the filmroll.... - Monte  |  IP: Logged Charles Greenlee Jedi Master Film Handler Posts: 801 From: Savannah, Ga, U.S. Registered: Jun 2006 posted 09-06-2006 10:06 PM                        I don't remember what model it was, I do know at either the Wynnsong or the Carmike, we had AP-3's. The one I'm referring to had the selector switches, to set rewind/payout/etc. The AP-3, I though was the one without the switches, instead using switches on the rewind guide roller to detect where the film was rewinding to. I'd have had a bit more trouble with the automatic version.  |  IP: Logged Josh Jones Redhat Posts: 1207 From: Plano, TX Registered: Apr 2000 posted 09-07-2006 11:09 PM                        And now I know why dollar house prints always look like shit  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 09-08-2006 12:47 AM                     ....not all of them look like that..the majority of my prints coming to our discount house are pretty clean...and even been coated in Film-Guard. Why some do look they've been run through the mill is the "booth clown" attitude -which is not caring since they've never been taught how. About once every other month, I have to order a replacement print since the one received has been cat-lined on the base side (mainly from ETS.. but TECH's not out of the woods as well with this..). It's actually rare for an operator to have to do this special technique if there is organization and work arrangments met. Personally, I haven't done any of these tricks for some time now but I'mproud of myself to know that I can do such a feat that would scare the novice booth operator. -Monte  |  IP: Logged Charles Greenlee Jedi Master Film Handler Posts: 801 From: Savannah, Ga, U.S. Registered: Jun 2006 posted 09-08-2006 01:06 AM                        Me too. I'm glad I could do it, without damage. I hate having doing it though, but despetate times...... Anyhow, I palnned it out really, and even when I failed, the print didn't suffer, just caused the projector to stop. Didn't want that, but better than ruining a print. I have no where near the experience many of you guys have, but I am please that in my comparably short time, I have learned to pull off many things that's ruin any of the other local projectionists.  |  IP: Logged

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