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Author Topic: Former Employees Sneaking In To An Employee Screening. Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 03-27-2004 03:20 PM                        Based on several private responses I've received to my comment in this thread, I obviously suck and don't care and my presentations are terrible. I am a bad persion and the industry would be better off without me. Seriously, I haven't seen a correctable (by replacing the print) lab problem that hasn't been obvious on the rewind bench. Maybe I've just been lucky. In the hundreds (thousands?) of prints I've handled, new and old, I've seen only a couple of defective reels (one had scratches, one had been wound wet and the emulsion was sticking to the next layer of film; there might have been a handful of others). All of these defects were completely obvious. The prints that I deal with at the moment and for the forseeable future are a mix of new, used, and repertory, and are almost all "limited" releases (anywhere from 1-1000 prints), where the lab work tends to be better than with mega-saturation releases.  |  IP: Logged Dustin Mitchell Phenomenal Film Handler Posts: 1865 From: Mondovi, WI, USA Registered: Mar 2000 posted 03-27-2004 03:39 PM                     I'd like to state for the record that I don't doubt that Scott is a fine film handler. Although it might have come across as such my reply was not meant to be sarcastic or 'talking down' to him in any way; I was honestly wondering if my print inspection skills needed refining. For what its worth, with virgin prints one could probably get away with no inspection/pre-screening 95% of the time. Skipping inspection and/or pre-screening can be rather dangerous though especially with blockbusters; there is that 5% to worry about after all.  |  IP: Logged Mark J. Marshall Film God Posts: 3188 From: New Castle, DE, USA Registered: Aug 2002 posted 03-28-2004 10:10 PM                    I for one am not bashing anyone or their film handling / showmanship skills. I'm just saying that there are problems that aren't detectable without screening. Like the Bruce Almighty reel 3 DTS problem. It's also a lot easier and more thorough to just build the damn thing and screen it rather than to try and study two miles of film on the bench. But, to each his own, I guess!  |  IP: Logged Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 03-29-2004 03:25 AM                        I once had a similar example: a print of Hilary and Jackie in which the SR-D track was perfect, but the analogue SR was about a second out of sync on one reel. This being a film about classical music, it was instantly noticeable! We only found that out after moving the print from a digital to a non-digital screen at the end of its first week. When I looked at the reel after breaking it down there was no way you could have seen that for sure. There was no start mark printed through from a sound neg in the wrong place, for example. OK, the visible modulations on the SVA track did continue for a foot or so into the black at the end, but you often see that on perfectly kosher prints. After that incident I made a point of always cycling through all the sound formats we could play, at least once during each reel, whenever I rehearsed a print.  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 03-29-2004 09:37 PM                        The most likely areas to have safelight fogging are near the head and tail, and near any ultrasonic lab splices. Safelight fog on print film is usually bluish in color, depending on the film type, type of safelight, and duration/intensity of exposure. Edgefog can sometimes occur if rolls of unprocessed film were left out underneath a safelight too long.  |  IP: Logged

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