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» Film-Tech Forum ARCHIVE   » Operations   » Film Handlers' Forum   » Centralized platters? (Page 2)

 
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Author Topic: Centralized platters?
Thomas Pitt
Master Film Handler

Posts: 266
From: Leeds, West Yorkshire, UK
Registered: May 2007


 - posted 07-31-2007 05:27 PM      Profile for Thomas Pitt   Email Thomas Pitt   Send New Private Message       Edit/Delete Post 
While a centralized platter 'farm' may make it easier to move prints from one auditorium projector to another*, there are quite a few disadvantages to this arrangement:

Harder to service the platters (less space)
Lots more head and tail leader needed to reach the projector
Projectionists have to duck and dive to avoid moving film strips
More susceptible to airborne dust and dirt (more film exposed)

* Some platter 'farms' can feed any projector, eliminating the need to move prints between platters.

Also, when I looked into an IMAX booth, the projectionist had a sort of hand-operated fork lift truck, which was used to help load and unload prints on the platters. I can only assume that in this situation, it was easier to keep the IMAX film prints assembled on their platters, and load the platters onto the spindles when necessary. Eliminates the need to keep breaking down and building up again!

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Brad Miller
Administrator

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


 - posted 07-31-2007 07:00 PM      Profile for Brad Miller   Author's Homepage   Email Brad Miller       Edit/Delete Post 
quote: Thomas Pitt
Harder to service the platters (less space)
Actually no, there is more room and better light.

quote: Thomas Pitt
Lots more head and tail leader needed to reach the projector
So? We just use a junk trailer on the tail end of the prints which would otherwise have been thrown away. As far as head leader is concerned, the more the better, because it is the handling that makes most film presentations cluttered with dirt when the first image hits the screen. The extended head leader also provides tons of time for the xenon to stabilize as well as the entire design by it's nature keeps the threading leader entirely off of the floor.

quote: Thomas Pitt
Projectionists have to duck and dive to avoid moving film strips
The film runs all along one 2 foot wide strip down the center of the booths. If that is such an obstacle for you to dodge, then you've got bigger problems.

quote: Thomas Pitt
More susceptible to airborne dust and dirt (more film exposed)
Total bullshit. This has been raised before and simply does not hold up in real life. AIR does not damage film and if your booth is that dusty the film is going to get exposed to anything airborne anyway. Besides, these theaters run the prints through a film cleaner every single pass and there does not exist a theater with cleaner prints anywhere in this part of the country that I am aware of.

You also fail to take into account the various scheduling advantages of such a system. For example you can have a long movie and a short movie bounce back and forth between auditoriums all day long to SHORTEN the business day and still maintain the same number of showtimes (or the reverse, fit that extra show in). Having to physically move the print takes a bit more time and every time a print is physically moved the film is at a noticeable risk of damage, whether it be cinch scratches from flimsy center rings (like Strong) where the film is permitted to slip against itself, or a flat out drop.

You also forget that such a system forces quality projectionsts in the booth to operate it.

You may be quick to point out the cons, but for this chain's purposes the benefits outweigh any disadvantages.

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Chad M Calpito
Master Film Handler

Posts: 435
From: San Diego, CA
Registered: Apr 2006


 - posted 07-31-2007 08:15 PM      Profile for Chad M Calpito   Author's Homepage   Email Chad M Calpito   Send New Private Message       Edit/Delete Post 
When I looked at the Pics, I was amazed at it's simplicity as Brad pointed out. It certainly makes me wish I had something like that in my booth, but, space restrictions for such a system wouldn't make it possible. A system like that makes perfect sense. Way to go, Brad. You're a genius. [Big Grin]

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Mike Blakesley
Film God

Posts: 12767
From: Forsyth, Montana
Registered: Jun 99


 - posted 07-31-2007 09:33 PM      Profile for Mike Blakesley   Author's Homepage   Email Mike Blakesley   Send New Private Message       Edit/Delete Post 
Are those larger rings a "stock" item from Christie? I wouldn't mind getting one of those...would make print building faster.

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Brad Miller
Administrator

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


 - posted 07-31-2007 10:50 PM      Profile for Brad Miller   Author's Homepage   Email Brad Miller       Edit/Delete Post 
Yup, that is the oversized ring they offer. Nothing special.

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Tim Reed
Better Projection Pays

Posts: 5246
From: Northampton, PA
Registered: Sep 1999


 - posted 07-31-2007 11:07 PM      Profile for Tim Reed   Author's Homepage     Send New Private Message       Edit/Delete Post 
quote: Monte L Fullmer
STRONG's wouldn't work for the simple case that the decks are not independently controlled were they all depend on that one variac in the base
SCDCs would work.

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Mark Gulbrandsen
Resident Trollmaster

Posts: 16657
From: Music City
Registered: Jun 99


 - posted 08-01-2007 12:07 AM      Profile for Mark Gulbrandsen   Email Mark Gulbrandsen   Send New Private Message       Edit/Delete Post 
The oversized rings also help when platter calibration has drifted off because the deck does not have to turn as fast at the beginning of the film.
quote: Tim Reed
SCDCs would work.

Yes, they would.

Mark

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Chris Slycord
Film God

Posts: 2986
From: 청주시, 경북도, South Korea
Registered: Mar 2007


 - posted 08-01-2007 12:14 AM      Profile for Chris Slycord   Email Chris Slycord   Send New Private Message       Edit/Delete Post 
quote: Brad Miller
Actually no, there is more room and better light.
Having not used one and am only going based on pictures, I'd have to say I agree with you. Having the projector in a different section would allow you to have any sort of lighting configuration with no possible hurt to the presentation.

quote: Brad Miller
You also fail to take into account the various scheduling advantages of such a system. For example you can have a long movie and a short movie bounce back and forth between auditoriums all day long to SHORTEN the business day and still maintain the same number of showtimes (or the reverse, fit that extra show in).
My theater had something like this happen a while back. Some movie played only twice a day but it was in 2 different theaters. It would essentially be the 1st show of the day in theater A and be the last one in B (I forget which ones it was). And it was pretty annoying to have to move that print twice everyday (would've been simpler if we had known about the print pocket; but our "donut boards" do the job). But print pocket or not: central platter would've been sweet.

The only issue I could see with "booth clowns" is that I've have people thread the wrong movie when the print is right there next to the projector; they could end up threading anything now. On the other hand, if the print can be anywhere it has a possible built-in fix since the person has to look for the print. But idiots always prove that nothing is idiot-proof.

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Monte L Fullmer
Film God

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


 - posted 08-01-2007 12:31 AM      Profile for Monte L Fullmer   Email Monte L Fullmer   Send New Private Message       Edit/Delete Post 
quote: Tim Reed
SCDCs would work.

(Whoops..forgot about those newer STRONG platters - one can tell that I've got A3/AP3's on the mind...)

I guess simpler put that any platter assembly that has decks that are independent of one another would work great in a platter farm as what Brad put together.

Nice thing on the oversized rings is that they do come in handy in trailer pak changeouts - wind the last show on one of these rings, take the ring out and insert the new trailer pak that is wound on a conventional ring and simply insert the entire pak inside this enlarged area..and have no film tipping on the edge of the wind if used conventional rings.

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Bryan M. Montgomery
Film Handler

Posts: 47
From: Chillicothe, Ohio
Registered: Jul 2007


 - posted 08-04-2007 01:52 AM      Profile for Bryan M. Montgomery   Author's Homepage   Email Bryan M. Montgomery   Send New Private Message       Edit/Delete Post 
Brad, that looks both brilliant and incredibly complicated. Bravo for thinking outside the box and all the inovations.
Christopher: I have increased take-up tension on the Strong platters to allow clamp-free moving in the past, however we did it a bit different.When we knew we would be moving a print, on its last thread-up instead of threading the dancer (speed control)with the normal "W" thread, we would thread the film in a "Z" shape, hence we called it "Z-ing the print." It worked, but concerns over film damage have urged me to eliminate this from my booth. I cant trust the button-pushing monkeys that work at my theater too much ya know?

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Monte L Fullmer
Film God

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


 - posted 08-04-2007 03:28 AM      Profile for Monte L Fullmer   Email Monte L Fullmer   Send New Private Message       Edit/Delete Post 
Yes, that "Z" lace through the "W" is quite interesting..film's really tight around that ring.

When we transfer prints from city to city, I do the "Z" along with the clamps to keep things together..

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Chris Slycord
Film God

Posts: 2986
From: 청주시, 경북도, South Korea
Registered: Mar 2007


 - posted 08-04-2007 03:48 AM      Profile for Chris Slycord   Email Chris Slycord   Send New Private Message       Edit/Delete Post 
quote: Bryan M. Montgomery
Christopher: I have increased take-up tension on the Strong platters to allow clamp-free moving in the past, however we did it a bit different.When we knew we would be moving a print, on its last thread-up instead of threading the dancer (speed control)with the normal "W" thread, we would thread the film in a "Z" shape, hence we called it "Z-ing the print." It worked, but concerns over film damage have urged me to eliminate this from my booth. I cant trust the button-pushing monkeys that work at my theater too much ya know?
Even if we had Strong platters I would never move a print like that. The damage is one thing (that much tension just seems to be a bad thing to me), but if you ever had where your variac or motor started not performing quite as well as they used to you could end up with a print that wasn't on there tight enough to move and then you've got an entire print on the floor.

On the other hand, lots of people here use this method all the time with good results so maybe my ideas are more "theoretical" and in the real world I'm full of shit...

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Brad Miller
Administrator

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


 - posted 08-04-2007 04:38 AM      Profile for Brad Miller   Author's Homepage   Email Brad Miller       Edit/Delete Post 
Hanging a suitable weight from the takeup elevator is a superior solution than the Z threading. Too much tension and the slightest slippage causes more film damage than moving a print that is wound loose. Bear in mind, if you breathe on those Strong rings they will bend, so I consider it a very bad idea.

Also Monte, the SCDC won't work well in a platter array as there is no way to do dual takeup.

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Monte L Fullmer
Film God

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


 - posted 08-04-2007 04:22 PM      Profile for Monte L Fullmer   Email Monte L Fullmer   Send New Private Message       Edit/Delete Post 
quote: Brad Miller
as there is no way to do dual takeup.

..as why the AW3R platters are still the best platters that I've ever worked with. The options that one can do with those platters

True, since "BigBrother" variac still controls those STRONGS...

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Bryan M. Montgomery
Film Handler

Posts: 47
From: Chillicothe, Ohio
Registered: Jul 2007


 - posted 08-05-2007 01:22 AM      Profile for Bryan M. Montgomery   Author's Homepage   Email Bryan M. Montgomery   Send New Private Message       Edit/Delete Post 
Yeah, I dont allow anyone to "Z" the prints anymore, never liked the idea in the first place. I'll stick to me and my Print pocket.
The only good thing about the Strong platters is that due to the simple engineering of it,it can be fairly easy to repair.There isnt much a Strong platter can do that I cant fix.

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