Still I firmly back the single sided tape breakdown idea. If the next theater is platter ran, then it will save much time in building PLUS with only a single piece of tape on the film, the operator is more likely to peel the tape off and save the frame. With double sided splices, 99.9% of all operators will just cut the next frame over.

If the next theater happens to be reel to reel, most projectors will run a single sided splice through them just fine. I can't imagine a theater not having enough time to add a second side to the splices for reel 1 before projection. During reel 1, the operator can check the other reels. Also, I can't imagine anyone going on screen without a print inspection (although it happens every day). And what print wouldn't get there until 5 minutes before showtime??? (Oh wait, I forgot...Technicolor prints. )

Regardless of the method the next theater transports the film, I think a single sided splice is still the best way to go. And if I find out who's using masking tape, I'm gonna hunt you down!

 

I think when you look at the alternatives, you feel lucky when you get a print with a single sided clear splice.
 

The obligation of the last user is to have the print leave their theatre in playable condition
 

I just aquired a Bell & Howell 16/35 hot splicer. It is a beauty. Just needs a total cleaning. Any opinions on this monster? Even the neon lamp is working.

When I worked in the film dept in TV, we routinely sent prints out that were in better shape than when they arrived. Thats why when I inspect, it takes awhile, but I dont get suprises on the first showing.

But in the real world, you get prints for 16-24 or more theaters. My inspection ways take too long.

 

It makes making up to 6k's such a shorter task, and the fact that most of us are on platters or at least 6k's that it most definately the way to go.

As for prints arriving late, it doesn't take too long to throw a splice across spl 1 then do the rest as you go. If it arrives late and you're supposed to get it onto a plate, you'll be glad of the forethoughted single sided splicer that had your print before you.

------------------
John

 

I've found that on many prints, splicing tape on the emulsion side will often try to take the emulsion with it when peeled off.

Older prints & newer prints frequently come here with spliced leaders, indicating that they've been made up on platters or big reels before. And it's most likely that the next place they go they'll be made up for platters or big reels.

So my take has been that the most responsible way of sending them back out is with splicing tape on one side only, the base side, to reduce splice-peeling & handling injury when they're next run.

At first the idea bothered me a little because anyone running single reels would be at a disadvantage, but it seems the best way since:

1. The next place the print goes will have a 95% chance of being a house that removes the leaders again anyway

2. It's better for the print

3. The houses running 2k reels by now MUST be expecting that a print last came from a platter house & should be inspected for mismatched leaders, funky splices, etc.

The point about it not being much trouble to slap a piece of tape on the other side of a one-sided splice sorta makes me feel better about this approach.

------------------
William Hooper <wjh@mindless.com>
Junk drawer: http://www.geocities.com/hollywood/theater/3622

 

There are a lot of people who don't do a very good job of breaking down and I am forced to fix a lot of those bone-headed mistakes. Frankly, I'm SURPRISED when I get a film that has the heads and tails spliced on the right way!

Maybe people on this forum could come up with a list of 'rules of ettiquite'?? (sp?)
 

Another note, (off-topic). I just want to say that I appreciate all of the information in this forum. When I first started working with projectors, everyone taught me to do things the in-correct way. (ie, masking tape to re-attach leaders, building prints straight from the cans, etc.) Basicly the way that I was taught was speed vs. quality. Which is totatly disagree with. The people are spending $7 on movies and I want them to see a great performance. In the past 3 months I have been on here I have learned alot, things that my trainers have failed to tell me. Now it's just the matter of convincing (sp?) my other managers to start caring about the perfromance. (Which is probably another reason why Carmike gets a bad rep in the industry).
 

I am glad to see that you have rebelled against Carmike and care about presentation quality anyway. Perhaps they can learn from your good judgement. Or maybe they will fire you simply for caring. Let's hope it's the first one, since they are a fairly large company.
 

That's all I can think of right now, but I'm sure other people have suggestions, and I'm anxious to hear them.
 

By the way, credit goes out to Randy Stankey for the etiquette ideas. It wasn't me.
 

------------------

 

It's BRAD'S website!!!
 

How then should I fasten the head, or tail to it self on the outside of the reel, when they dont come with the paper dust gaurds? Or for that matter attaching the dust gard to the head/tail?

- I don't really find it necessary to use tape (any kind) to attach the reel band to the head or tail, you can just tuck it under the film a few inches then wrap it around and it should stay snug as long as the string is holding it tight. (I hope that made sense)

Yes, much sense. I've been using that meathod for years. I love reciving reels that have been pulled that way. Rolling off onto the 6k's the tail/head just spins right back onto the reel ready to pull the print, no searching for that ever so tiny slot to stick the head/tail into.

All in all my vote is for no tape, head or tail up (dosen't matter that much to me) just all head up or all tail up.
*points to the technicolor thread*
 

Or you can use Brad's method and just put a piece of tape on the side of the reel with the reel number and a mark where the film is when that particular reel is full.(Done during buildup) I don't find this necessary because I can easilly see where the reels are when a print is on the platter, but it may be able to help other people out there... it's not a bad idea at all!
 

I have always used clear splcing tape on both sides because that is company policy. I can see that using splicing tape, whether on one side or two, whether clear or zebra, is prefered to masking tape. Why? And why clear tape? Why both sides? Why not zebra tape on one side? (Which I have found before and personally do not have problems with. I am just trying to get your opinions as to why that might be my company's policy.)
 

------------------

http://www.autoramadrivein.com

come on out to the drive-in and spend a night out with the stars"
ME!!
 

When I dismount a print and ship it out, I use single sided tape splice so the next dude can peel it apart without too much trouble.

Agreed - one reference frame left behind when mounting a new print.

Paul

Chris
 

So, due to the volatility of nitrate film, the major studios switched to acetate film in the late 50's/early 60's. Acetate film was non-flamable, however, it had/has a tendancy to decay over time, something know as 'vinegar syndrome.' Do a search of these forums and you'll find plenty of threads on the topic. So today we use estar based film. Non-flamable and isn't susceptable to vinegar syndrome.
Both Acetate and Estar based films are known as 'Safety Film' due to the fact that they are non-flamable. If you ever come across nitrate film be extremely carefull how you store it. I don't know the proper procedure so I'll let someone else fill it in, but to be on the safe side you should avoid it at all costs.

If I got any of these facts wrong, feel free to flog me.
 

From: Steve Kraus (screenNOSPAM@filmteknik.com)
Subject: Another sign civilization is crumbling
Newsgroups: rec.arts.movies.tech
Date: 2001-09-20 15:14:03 PST

When we give up and codify the methods of the barbarian hords it's a
sure sign civilization doesn't have much longer.

Found this notice in a film can. Note that the same can be better
accomplished by making single sided conventional splices with quality
tape. You don't think they're going go buy artist tape at $5-8 a roll.
This just codifies hanging leaders on willy nilly with masking tape.

----
ATTENTION PROJECTIONIST

Leaders are attached to the body of this print with *temporary* artist
tape splices. They must be removed and respliced.

-> These temporary splices WILL NOT run through a projector <-

For 2000ft/changeover operation, the white artist's tape MUST BE REMOVED
and standard splices made at the joins in the usual manner.

For platter and 6000ft long-play reel operation remove the white artist
tape and leaders from the 2000 ft reels and splice the body of the print
together in the normal way.

This method of attaching leaders to the body of the print preserves the
integrity of the film by eliminating unnecessary splicing and resplicing
at the leader joints. The print is shipped on 2000 reels but almost all
engagements now mount prints on platters or on long-play reels.
Continued splicing at leader joins risks ruining multiple frames at the
beginning and end of each reel. Attaching leaders with white artist's
tape--without making full splices when breaking down the print--helps
extend the length of time that the print will remain in a pristine
condition.

You can help extend print life by *not* making full splices at
break-down but instead, attaching leaders at the joints by this
temporary method. Even when making temporary splices, they must be made
on a splicing block. NEVER simply attach leaders to the body by
overlapping the ends of the leader and print. And make sure you use
only white artist's tape--its adhesive is non-acidic and will not
harden. NEVER USE MASKING TAPE; its adhesive hardens and inevitably
will damage emulsion. If you do not have artist's tape, then an
alternative method of attaching leaders for 2000ft reel ship-out
configuration is to use regular splicing tape LENGTHWISE across the
joint. Be sure to leave a small flap of tape turned under itself so
that the tape can be easily peeled for the next build up for platter or
long-play operation.

If the print arrives with leaders attached with normal splices, PLEASE
make your cuts on the SAME frameline of the existing splice -- DO NOT
make additional cuts on new framelines.

Future movie-lovers thank you.

The single sided splice is still in my opinion THE way to break down. It is just as fast to build from as the artist's tape method and assures that the breakdown projectionist will actually take a splicer over to the table to perform the single sided splice. It also gives changeover theaters who get the print at the last possible second the chance to go ahead and get that first reel on-screen without destroying the tail leader. A single sided splice should make it through any decent projector at least once without damage. After that first show, the changeover theater could go back and lay a piece of tape on the other side. Now if that print had come with artist's tape instead of splices, then there would have to be MORE handling of the film, as the artist's tape is removed and splicing tape is layed down on both sides. The argument is completely backwards and the way I read it sounds as if by leaving that frame in-tact that somehow that miraculously keeps the print in "pristine condition". Not true. (Note: I DO agree with the original author that the existing cut in the film should be used and NOT to cut over one more frame.)

I know this isn't "proper" as I was union trained and my union mentor would flog me if he knew I did this!

I still occasionally run a 20min changeover booth, and I nearly ALWAYS recieve prints that CANNOT be run (in this respect) right out of the cans. 1 minute is all it takes to take care of the head splice of reel one, and then you have at least 15 minutes to get busy on the other reels. Even when I get a film late at the changeover house I would still rather the head/foot be UNattached completely.

(please don't hurt me! I really am a great guy!)
 

One-side vs. Both-sides is a matter of judging the risk: taping only one side risks a projector jam if not found before running the print, taping both sides risks a lazy projectionist just cutting out the splice rather than carefully peeling off the tape, losing frames that eventually add up to a significant loss of continuity.
------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Research Labs, Building 69, Room 7525A
Rochester, New York, 14650-1922 USA
Tel: 716-477-5325 Cell: 716-781-4036 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion

Those who are too cheap to use splicing tape and use masking tape should not be in the booth. Frequently the tape leaves a residue that ruins SEVERAL frames. Even Artist's tape will leave a residue once it has been applied to the film and the passage of time occurs.

Those who elect to not make any splice at all should also not be in the booth. What about a late delivery where a changeover theater has to check the head splice and run the show cold? That's real good for the tail end of the film to be slapping around the takeup while the projectionist starts the incoming projector. Also equally annoying is during a rushed platter buildup (either on the rewind bench or on the platter MUT). Not having the tail leader reattached can easily destroy the end of the reel as it is slapped around if the projectionist does not catch it.

I envision a splicing tape that does not have adhesive along one edge, but has a 1/8th inch strip of just the base. By having this loose flap on the trailing edge of the splice, it would not interfere with normal operation, but could be easily grabbed and peeled at breakdown.

I understand how tape is made, and that trying to make a tape like this would be difficult, but such a tape would encourage proper breakdowns of prints and less loss of film at makeup.

I suppose someone could try to find some thin clear plastic half circles to slip under the trailing edge of a splice in the picture area, and use that as a splice removal tab, but it isn't the easiest or best solution.
 

My first concern in this matter is for the print itself. If every projectionist took some time and care in prepping and breakdown of films, we wouldn't have prints with missing frames (or footage!) at the heads and tails, unexplainably dirty heads and tails, or residue from masking (or even duct(i am not kidding)) tape.

So what is the best solution? I completely agree with Brad. The one side tape method would work well. A one sided tape splice would run through most projectors. If a projectionist has time to inspect it, then a second splice can be applied. If a projectionist does not have time to inspect, and has a projector that is hard on single sided splices, then I would recommend keeping a splicer in the booth. Once a film is threaded up, you could reel the rest of the leader off and pit the second head splice on. That would not require much time, and at least the head of the film would be protected.

Double spliced leaders lead to more splices made by people too lazy to peel off the tape, and eventually to lost frames and choppy heads and tails.

Hot taping the leaders at all can lead to nightmares. I once received a film that had all of its head and tail leaders shoved in the bottom of the cans, and some that didn't have any reference frames that would indicate which reel was which. i ended up having to watch the entire film on a steenbeck while comparing it to a video copy to discern the reel order. Whoever had last broken down the film paid no attention to the correct reel length. The projectionist merely filled reels starting at the fifth reel. The changeovers ended up in the middle of the reels, and much of the film was badly damaged. It took almost 8 hours to figure the whole mess out. This is a worst case scenario, and I'm sure that no one that takes the time to look at any of the information on this website would do anything of the sort, but these people are out there. The more projectionists there are that handle prints properly, the longer prints will last, the better prints will look, and the more people will have a great experience at the theater and not give up the want to go to the cinema.

If anyone has actually read my lengthy rant, I thank you. I look forward to your responses.

Joe
 

The other thing that happens often is, when I DO manage to pull off the tape, the film ends won't align properly, so I have to cut a frame off one reel.