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Author Topic: Moving Prints Between Two Buildings Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 08-11-2008 01:00 PM                     It's a good idea, but some theatre owners refuse to spend money for such conveniences for their booth personnel. Some places are just plain lucky to have clamps and other cheap forms of moving prints. Otherwise, it's the classic 6k reel usage for print transfers.  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 08-11-2008 01:07 PM                     A platter reel costs about the same as two 6K reels, so there is really no excuse. And yes Jim, they are still being made. Sounds like it is time to change dealers. With you being in CA, there shouldn't be any problem finding another dealer nearby.  |  IP: Logged David Stambaugh Film God Posts: 4021 From: Eugene, Oregon Registered: Jan 2002 posted 08-11-2008 01:09 PM                        R.S. Engineering & Mfg sells them.  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 08-11-2008 01:14 PM                     Two 6k reels costing $539.11,what RSEM is selling this thing for? I'd be shot in the head if I presented this platter reel idea with my superiors...  |  IP: Logged Chris Slycord Film God Posts: 2986 From: 청주시, 경북도, South Korea Registered: Mar 2007 posted 08-11-2008 01:58 PM                     Just because it's the size of 2 6K reels doesn't make it valid to call it "2 6K reels." You save time building up (no need for rewinding) and this thing could also be used in place of a donut/board for moving plattered prints.  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 08-11-2008 02:04 PM                        Except that you still need the 6k' reels even if you have the platter reels. The 6k' reels are needed for dealing with prints that come in tails-up and also for exchanging prints with changeover houses (assuming that the changeover houses can accommodate the large reels). The platter reels are great, but really doesn't help with either of those issues.  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 08-11-2008 02:07 PM                     quote: Chris Slycord You save time building up (no need for rewinding) and this thing could also be used in place of a donut/board for moving plattered prints ..and I won't argue on that one. But sadly, the $$$ sign is more important to a lot of companies to be used somewhere else (mainly, for their own benefit than for the employee's benefit) and where money could be used in more useful places, it ususally gets spent where it really doesn't need to be at. -Monte  |  IP: Logged Chris Slycord Film God Posts: 2986 From: 청주시, 경북도, South Korea Registered: Mar 2007 posted 08-11-2008 02:21 PM                     If prints get built up quicker don't they save payroll?  |  IP: Logged David Stambaugh Film God Posts: 4021 From: Eugene, Oregon Registered: Jan 2002 posted 08-11-2008 02:57 PM                        I can see where if you just say "I need a $600 platter reel" the bean counters would reflexively reply "No". OTOH, if you give them a cost-benefit justification that shows the reel paying for itself in a reasonable period of time by, for example, reducing their labor cost, thus making the theater more profitable, that's something they can understand. If it also helps the presentation, that's a bonus.  |  IP: Logged Jim Cassedy Phenomenal Film Handler Posts: 1661 From: San Francisco, CA Registered: Dec 2006 posted 08-11-2008 03:44 PM                     quote: Chris Slycord If prints get built up quicker don't they save payroll? Not necessarily. I'm aware of at least two theaters here in San Francisco that pay a flat "bonus" rate to the platter-jockey who gets stuck making up or breaking prints. So they get paid the same regardless of if it takes them 30min or 2hrs.  |  IP: Logged Chris Slycord Film God Posts: 2986 From: 청주시, 경북도, South Korea Registered: Mar 2007 posted 08-11-2008 04:15 PM                     Well of course if the person who's doing the build-ups was going to be there regardless for his normal shift and was building up in addition to his/her normal duties then yeah saving time wouldn't save $. Then again, if you made it so that dealing with the build-up was no big deal (due to it taking far less time for the operator) you could remove that extra bonus fee I would think.  |  IP: Logged Bill Gabel Film God Posts: 3873 From: Technicolor / Postworks NY, USA Registered: Jan 2002 posted 08-11-2008 04:19 PM                     We got paid for a build-up and a teardown when we moved a prints between buildings. And at select locations we got paid for the moves (buildups & teardowns) of prints within a theatre in one of those large palaces that was plexed with a booth in the former balconey. And the chains paid for build-ups and teardowns on regular engagements, plus your regular hourly rate at the theatre.  |  IP: Logged Justin Hamaker Film God Posts: 2253 From: Lakeport, CA USA Registered: Jan 2004 posted 08-11-2008 04:48 PM                        From my perspective, the main advantage of a platter reel is when you get those sub-run prints on Friday morning that have to be on screen 90 minutes after you receive them . While the reels certainly save time over building up on 6K reels, I don't feel like it saves a ton of time - certainly not enough time to justify the cost when build up is usually just part of the daily routine of someone who is going to be on site anyways. Don't misunderstand me, I'm certainly glad my boss was willing to buy one. I'm just saying that I don't think the labor savings is enough to justify spending $500. For Jim: I believe we purchased ours the Harrah's Theatre Supply.  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 08-11-2008 09:38 PM                     quote: David Stambaugh reducing their labor cost, thus making the theater more profitable, that's something they can understand. If it also helps the presentation, that's a bonus. Oh, do fully agree with you Dave on this, just that the actual payoff that some of the bean counters (and they count every bean-big and small) will ask is: "If getting this device increases the tix sales whereas the previous method of clamps and board have proven itself to be a dependable method of doing film moves, then it will be worth it. Otherwise, it 's just money tossed out the door." (and this attitude goes along on the same breath of doing booth modification that could increase tix sales, but they see that things are going okey, why change it out...) And by that, sadly, they are just seeing projection staff as just people doing their job and nothing else. Goes back to the old saying that a cynic is a person who knows the price of everything, but knows the value of nothing. Personally, I would love to have one of these devices, but unfortunately, I don't have a main booth that I work in all the time - just watch over others plus the one I work at..and this would be the main reason of not getting one since to have others trained and learned out on how to handle a device would be complicated to these other booth locations. To them, doing clamps and boards is just easy enough for the booth jockeys to handle. -Monte  |  IP: Logged James R. Hammonds, Jr Jedi Master Film Handler Posts: 931 From: Houston, TX, USA Registered: Nov 2000 posted 08-11-2008 10:01 PM                     I have one question about taking up on the platter reel. How do you secure it to the platter. Since different types of platters use different types of rings, wouldn't the holes for the center ring be spaced differently for each one?  |  IP: Logged

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