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Author Topic: Hey you, you suck! (AKA: Outing bad film handlers) Part 2 Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 10-27-2009 11:32 AM                     So for those theaters that cut out lab splices and replace them with tape splices, are you guys hearing reversions? (I will ONLY remove a lab splice with an ultrasonic splicer, as I feel the tape splice is equally distracting so I am out of the loop on this.)  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 10-27-2009 11:37 AM                        I have no problems with tape splices with SRD, unless the reader alignment was marginal to begin with. This is with Neumade clear tape and cat. 702 and BACP DSTR readers. I have not dealt with SDDS for years, and the only DTS setup that I deal with anymore is in my screening room (which also has no issues with tape splices). I do remove lab splices that are not on framelines, and I will put tape on one side of lab splices that stay in the print because they are on framelines. I don't use zebra, white, or yellow tape, so I don't know if those have issues. Agreed with Joe that non-clear tape is no easier to work with than clear tape, yet it costs more and adversely affects presentation quality. Thus, I see no reason to consider using it.  |  IP: Logged Jarret Chessell Master Film Handler Posts: 288 From: London, Ontario, Canada Registered: Jan 2009 posted 10-27-2009 02:59 PM                     Maybe we should all bust out our cement splicers so we only sacrifice one perf. of film?  |  IP: Logged Joe Redifer You need a beating today Posts: 12859 From: Denver, Colorado Registered: May 99 posted 10-27-2009 04:03 PM                        Brad, sometimes I do. It depends on what happened at that lab splice. Sometimes the splices throw the printing way out of whack (even if you don't see it happen onscreen) and a reversion is unavoidable, even if you were to replace it with an ultrasonic splice.  |  IP: Logged Paul Mayer Oh get out of it Melvin, before it pulls you under! Posts: 3836 From: Albuquerque, NM Registered: Feb 2000 posted 10-27-2009 06:19 PM                        quote: Jarret Chessell Maybe we should all bust out our cement splicers so we only sacrifice one perf. of film? That would be fine for acetate prints - cement doesn't work with today's polyester prints.  |  IP: Logged Damien Taylor Master Film Handler Posts: 493 From: Perth, Western Australia Registered: Apr 2007 posted 10-27-2009 06:44 PM                     You don't need to lose anything, am I the only one that peels splices off?  |  IP: Logged Geena Phillips Expert Film Handler Posts: 198 From: Norcross, GA / USA Registered: Apr 2006 posted 10-27-2009 07:02 PM                        quote: Randy Stankey What? The dotted line is the part you're supposed to cut out. Isn't it? It is, but some people get confused. It doesn't help that tape companies' own marketing materials frequently show the vertical (or dotted) line on the film itself.  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 10-27-2009 10:03 PM                     Jack Roe has a tape that is only 3/4" wide where when you splice, it's only covering a half frame on each side of the splice, or just a half of the block of SR-D information is affected, thus no dropouts will occur. I've seen it available in all forms - opaque, clear, zebra and "Splicemark" versions.  |  IP: Logged Randy Stankey Film God Posts: 6539 From: Erie, Pennsylvania Registered: Jun 99 posted 10-28-2009 01:25 AM                     I don't know whose dain bramaged idea this was: Today, I received a print of "Seraphine" via Technicolor but the film inside the cans was on cores. They were pretty much just bangin' around inside the cans with no padding or anything. Three out of the seven reels were dished so badly that I couldn't screw the split reel back together but the film was wound so tight there was no way to flatten them without risk of making sideways cinch marks. ("Dish marks?" ) I ended up having to hold the cores on the bottom half of the split reel by hand. I've got a whole new appreciation for film handler's callus! I suppose I should return the print with the film on cores wrapped in plastic bags and stuff the cans with newspaper or something. Right? What fucking bone head ever thought this was a good idea?  |  IP: Logged John Hawkinson Film God Posts: 2273 From: Cambridge, MA, USA Registered: Feb 2002 posted 10-28-2009 11:16 AM                     The irony is that a cardboard box works much much better for films on cores; while I hesitate to suggest that, it might be the way to go. (Also putting each core inside 2000' a lab can/tin (plastic or metal) and then that inside an octagonal ICC case works pretty well. --jhawk  |  IP: Logged Damien Taylor Master Film Handler Posts: 493 From: Perth, Western Australia Registered: Apr 2007 posted 10-28-2009 11:37 AM                     Cores in boxes is the standard Australian shipping method, and as you say, works very well.  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 10-28-2009 01:14 PM                        It works well for the first shipment. After a few shipments, it stops working well. Eventually, the box becomes a huge ball of tape which is near-impossible to open without a good knife, and the cans either dent (if metal) or shatter (if plastic). Also, the film rolls tend to slide around a bit in the cans, which can deform 2" cores and cause cinching if the end is not taped down. The Japanese (?) cans with the raised bit in the middle to hold the core in place help significantly here. Filling the empty space in each can with rolled-up newspapers can also help keep the film from shifting around. The other issue with this method is that the box is more awkward to carry than two ICC cans with handles, and a film on seven full reels can be quite heavy.  |  IP: Logged John Hawkinson Film God Posts: 2273 From: Cambridge, MA, USA Registered: Feb 2002 posted 10-28-2009 01:18 PM                     Yup to all of that. But: 2" cores for 2000' reels? No, no, no. Pretty much the maxium for a 2" core should be an eight-minute short. A full reel should have a 4" core. --jhawk  |  IP: Logged Jack Ondracek Film God Posts: 2348 From: Port Orchard, WA, USA Registered: Oct 2002 posted 10-28-2009 01:25 PM                        quote: Scott Norwood I will put tape on one side of lab splices that stay in the print because they are on framelines. Why is that? Other than the distraction of mid-frame studio splices, they don't cause me any trouble running through the machine. Has the price of ultrasonic splicers gone down any? Last time I looked, they were a bit spendy.  |  IP: Logged Paul J. Neuhaus Expert Film Handler Posts: 126 From: Iraq.. Again! Registered: Jun 2005 posted 10-28-2009 01:26 PM                     I absolutely hate when it just comes on cores. I remember when I got the movie "sleepers" it was just a box with no reels just the damn cores. If you take a plastic spacers reel that probably came in another can you can take it apart and snap it onto the cores. The best way to do this is a two person job. If you try it yourself you will pull uneven and break the reel. If two people pull evenly on either side it will just unclip. Then you can repeat this method with each core you have to build. It sucks but is allot better and safer to build from a full reel then to do it with just the core and blister your hand!  |  IP: Logged

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