Film-Tech Forum ARCHIVE: Making Up Prints

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Posted by Andrew McCrea (Member # 674) on 04-01-2001, 05:48 PM:

How long does it take to make up one print, approximately?

------------------
Andrew McCrea

"I'm Not Bad, I'm Just Drawn That Way!" - Jessica Rabbit

Posted by Scott Norwood (Member # 30) on 04-01-2001, 06:08 PM:

I'd say that, on average, it takes me (personally) about 30-60 minutes to inspect a print in "typical" second-run condition. I don't think it makes much difference when dealing with small reels, large reels, or platters. With small reels, one must inspect the cue marks on each reel; with large reels, only one set of cues usually requires inspection, but the same amount of time is required to remove appropriate leaders and tails and splice everything together. With platters, there's no need to inspect for cue marks at all, but, if automation is involved, there are usually several cues that need to be added to a print, which also takes time. Obviously, there is no "break-down" time required for small reels, however, which makes them more appropriate for theatres where films change frequently (not to mention that they make it possible to inspect part of the feature while the first reel is running).

Obviously, this process takes some people more time than others, and some prints require more repair work than others, and I suspect that something like a Goldberg platter reel (see the reviews section) would save quite a bit of time as well.

The other variable is the particular theatre's trailer arrangement. I'm not counting this here, since trailer work can usually be done ahead of time before the print arrives. Splicing together one or two trailers can be done in a couple of minutes, but a full-blown trailer reel with commercials, snipes for coming attractions, feature presentation, sound format, etc., as well as 4-5 trailers will take significantly longer.

Posted by Paul G. Thompson (Member # 655) on 04-01-2001, 06:29 PM:

Andrew, that depends on lots of things.

1. Your attitude towards the job at hand.
2. The condition of the equipment being used.
3. The type of equipment being used.
4. The condition of the print itself.
5. The number of reels involved.
6. Working enviroment.
7. How well you are organized.
8. Experience.
9. Pride in doing it correctly.

I could go on and on.

Posted by Randy Stankey (Member # 64) on 04-01-2001, 07:24 PM:

For me, it takes about an hour to build up a new print onto a platter. That includes doing the trailer pak and checking the reels for lab splices and other "problems". I build onto 6K reels at the bench. (I recommend this to everybody who CAN do this.) While the first half of the print is running onto the platter, I'm splicing up the second half.

If it's a used print it'll take a bit longer. I think the longese it has ever taken me to build up a print was 3 hours. That print was SOOoooo trashed I can't begin to tell you all the work I had to do on it. I remember a few prints where the heads and tails were all mixed up and the reference frames were missing. I had to call Technicolor and have them FAX me the "breakdown sheet". That one took a while as well.

Do I have to count the "down time" while I was on the phone with TES and while I was waiting for the FAX? If so, It took longer than 2 hrs. If not it probably took just under 2.

When it comes right down to it, I'm not in a race so I don't really time myself. It takes me however long it takes me to get the job done as well as I know how!

Posted by Darryl Spicer (Member # 711) on 04-01-2001, 11:40 PM:

It Takes me about an hour and a half to do everything. Trailers take about 10 to fifteen minutes depending on amount and if all are going in same direction. I inspect entire feature for scratches, lab splices and sprocket damage. The later is not as bad as it was a long time ago.

I do all this on the make-up bench onto 6000ft reels. Since I only have 8 screens i usually don't need any help. I build everything up then transfer it to platters.

I usually take in the entire day from open to close. I build up and break down everything. I have other people that can help if needed. Everything usually runs smooth and I am done and sometimes screening the movie by one o'clock.

Posted by Aaron Mehocic (Member # 15) on 04-02-2001, 03:07 PM:

Do you guys do the job on Thursday nights or early Friday mornings?

(We know already know about Darryl)

Posted by Tom Sauter (Member # 616) on 04-02-2001, 04:09 PM:

Running changeovers, a new print will take about 50 minutes to check for lab splices, cues, and wind onto house reels (then rewind, since most films arrive heads out these days). On an average, second-run print I spend about 1.5 hours.

Breakdown time is about 5 minutes, or however long I need to rewind the last reel onto its shipping reel.

Posted by Jeffry L. Johnson (Member # 453) on 04-04-2001, 12:47 PM:

My general rule of thumb for print inspection and platter loading is the running time of the print. Shipping out is 1/2 the running time of the print.

Inspecting and mounting a new print will be less, but a used print may (usually will) take longer. That's what I tell management if they ask.

Note this if for a thorough gloved hand inspection of the entire print. This does not include trailers and snipes. I add 30 minutes for trailer work.

Posted by John Pytlak (Member # 331) on 04-04-2001, 01:16 PM:

My experience is along the line of Jeffry's -- a full inspection should take about as long as the running time of the print. If you are doing it much faster, you are either winding through the film too fast, or not really taking the time to find film damage or bad splices that could interrupt the show.

IMHO, putting an uninspected shipping reel on the makeup table (MUT), making the splice, and walking away as the film winds onto the platter, is NOT good practice. Just because the reel arrives heads out, or is a new print, or has an "Integrity Inspected" sticker, doesn't mean it is ready to project!

One of my mentors once told me: "Never ASSUME anything -- it will make an ASS out of yoU and ME".

YOU are reponsible for what goes up on the screen and though the speakers. YOU are responsible for "Doing Film Right". (And of course, YOU do!)
------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Eastman Kodak Company
Research Labs, Building 69, Room 7419
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

Posted by Aldo Baez (Member # 790) on 04-05-2001, 02:28 PM:

It takes me 40-60 minutes to do everything. The trailers take the longest. The best way I have found for me to clear any damage/lab splices etc is to build up the movie, preferrably on thursday, and watch it thurs night after closing, or friday morning. Then if I see any lab splices I write it down while I'm watching and go back after and change it. Of course I can't do this if we get 4 prints in a week, if not I just basically run it through and check every reel every few minutes while I run around doing other stuff Friday morning.

Does anyone remember Saving private ryan? Man, we got this film 11am friday, ALL foot up. I have never sweated so much in my life. Right after we finished loading it on we practically pushed start. And I remember fight club, that was a doozy since I had very little light to work with and half the reels were fade in/fade outs. Last time I built up a film on something other than the build up table. :P

Posted by John Pytlak (Member # 331) on 04-05-2001, 03:29 PM:

Actually screening a film prior to the opening is always a good idea, IF you have the time. But careful inspection during make-up will find most of the problems that are within your power to correct. Taking the time to do a thorough "edges between the fingers" inspection will find 99% of any problems.

Your point about having the proper light for inspection is a good one. A good illuminator is invaluable for looking at the image as you inspect and splice the film. There are now portable battery-powered fluorescent illuminators and lamps that can easily be brought to the MUT or rewind bench. For finding scratches, nothing beats a bright specular light. A small spotlight, or even a high intensity quarz halogen desk lamp work well. Holding the film in the beam of a projector also makes any scratches or surface defects very easy to see.
Grainger Lighting Products

Use an obsolete lens as a high quality magnifier. I have an old Kodak EKTAR 28mm Super-8 projection lens that is better than any jewelers loupe for magnifying tiny objects. Radio Shack and Edmund Scientific also sell "pocket microscopes" that are great for looking at sprocket teeth for wear.
Radio Shack 30X Microscope

------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Eastman Kodak Company
Research Labs, Building 69, Room 7419
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

Posted by Christopher Seo (Member # 7) on 04-06-2001, 04:38 AM:

Yes, after some practice lab splices will be discernable from random edge scuffing while feeling the film by hand (gloved or not) during inspection. This is much quicker than and preferable to backing a film off the platter to find a lab splice (yes, I had to do that once).

Actually, I prefer to get a print all tails out. Since I inspect to 6000s this saves a rewind before going onto the platter. Even in a rush, building to 6000s first is no problem, because while one 6k loads to platter you can be making up the next 6k. Also you have all the advantages of working at a rewind bench, which is good lighting, not having to bend over, and being able to stop, start, and change speed easily which a bulky platter isn't designed to do.

Posted by Mitchell Cope (Member # 32) on 04-06-2001, 05:58 AM:

So, how does Tom breakdown a film in 5 minutes? That doesn't seem to be possible.

Posted by John Pytlak (Member # 331) on 04-06-2001, 06:17 AM:

Tom said he is running with changeovers. "Breakdown" usually consists of running the last show directly onto shipping reels.

The only problem running onto shipping reels is when the takeup's speed/torque is insufficient to wind up tightly onto the smaller hub diameter of a shipping reel/core (compared to a "house reel"), or if the shipping reel is in such poor condition that the film cannot wind onto it evenly.

Posted by Tom Sauter (Member # 616) on 04-06-2001, 12:27 PM:

My rule here is to never run the print directly onto the shipping reels. I just don't trust plastic ones, and even the tin ones are usually wobbly enough to make me shy away.

Posted by John Pytlak (Member # 331) on 04-06-2001, 01:15 PM:

Good for you, Tom.

So your 5-minute figure was for that last rewind onto the shipping reel? So prints leave your theatre heads out?

Posted by James R. Hammonds, Jr (Member # 673) on 04-06-2001, 01:21 PM:

I once spent 2 hours biulding up a print with the trailers already made.

The print in question was our third print of END OF DAYS (why 3 prints i will never understand).

This print came in at 1 AM from another theatre in town (i dont know why technicolor wouldnt just let them keep it since they were going to run it anyway) that used it for a screening.

These guys tore the film down NOT by separating the reels but by filling one reel up completely and cutting it NOT EVEN ON THE FRAME LINE.

Although this should NEVER happen, it would not have been so bad if they had left the trailers off.

That way, I could have just found the Universal logo and matched the frame at the end of this the first reel an a half to the next reel and 3/4 and so on.

But they did leave three trailers attached, the first one being PITCH BLACK.

This trailer started off with some frames that looked like it could have been part of the END OF DAYS feature.

So my manager and I spent two hours winding and rewinding each reel so we could either find the beginning or end and start from there.

So we had the print biult up by 3 AM AND THEN WE HAD TO SCREEN IT!!!

If this print had been torn down properly, we probably would have said "screw it, lets get out of here" but given the condition of the print, we felt some strange moral obligation to run it anyway.

Only one bad splice in the whole feature.

If this would have happened today, I would have called technicolor to report this (which I should have done then) and probably called this particular theatre's manager to let him/her know what happened.

Speaking of tearing down prints, I know a guy who could have a print torn down 5 minutes after it was over using platters.

What I am about to tell you should NEVER be done as most of you already know.

What he would do is:

1. Trun off the failsafe.
2. Wait until the reel change and rip the splice, letting the beginning or reel 2 feed to the floor.
3. Quickly wind reel 2 onto a new center ring and let the print play as usual.
4. While reel 2 is taking up, wind reel 1 onto a shipping reel.
5. Repeat as neccessary.

Now there are A LOT of things I've been willing to try in the past (some of them not very good), but for some reason, I was always afraid to try this one.

I think I'd rather stay an extra half hour that to deal with god knows what would happen.

Posted by Mike Blakesley (Member # 26) on 04-06-2001, 01:27 PM:

I think I've gotten some prints from that guy!

Posted by John Pytlak (Member # 331) on 04-06-2001, 01:35 PM:

James R. Hammonds Jr. said:

"What I am about to tell you should NEVER be done as most of you already know. I know a guy who could have a print torn down 5 minutes after it was over using platters.

What he would do is:

1. Turn off the failsafe.
2. Wait until the reel change and rip the splice, letting the beginning or reel 2 feed to the floor.
3. Quickly wind reel 2 onto a new center ring and let the print play as usual.
4. While reel 2 is taking up, wind reel 1 onto a shipping reel.
5. Repeat as neccessary.

Now there are A LOT of things I've been willing to try in the past (some of them not very good), but for some
reason, I was always afraid to try this one.

I think I'd rather stay an extra half hour that to deal with god knows what would happen."

____________________________________________

That kind of uncaring and selfish incompetence makes me sad, and MAD! I can just image how filthy and scratched that print looked at the next theatre that was unfortunate enough to get it. As the cartoon character Pogo said, "We have met the enemy, and he is US!" Please tell that guy to "Do Film Right", or he should find another job.
http://www.igopogo.com/Wehavemet01.jpg
------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Eastman Kodak Company
Research Labs, Building 69, Room 7419
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

Posted by Tom Sauter (Member # 616) on 04-06-2001, 04:57 PM:

John:
Yes, 5 minutes to rewind onto the shipping reel. And prints leave heads out... I used to be very conscious of this but I now receive so many prints heads out that four separate trips through the rewind bench eats up a lot of time that I'd rather spend inspecting and pre-screening. When prints arrive tails out (for which I am always eternally grateful) I like to keep the good karma going and give it another whirl through the rewind at the end of the night.

James:
We could have a new olympic sport on our hands !

Posted by Randy Stankey (Member # 64) on 04-06-2001, 05:42 PM:

For me it all depends on the conditions I am working under.

At the first run theatres you can take a few carefully chosen shortcuts, essentially because you know you're getting a freshly-struck print. All you need is to give it a "once over" when you build it. Again, when you break it down, you know YOU (or somebody you know) are the one who built it up. You don't have to waste a lot of time looking for extra splices and damage in the film. (Unless you have had wraps, etc.)

When I'm doing things in a "Dollar Theatre" I take my time to check the reels for preexisting damage. Breaking down goes a little slower too since I was not the only one to handle the film.

When I'm working with even older prints, such as when I was working at the college, I took the time to inspect every foot of film and run it through the film cleaner even before it was screened for the first time. We used to get a lot of prints through New Yorker Films and Kit Parker. Lemme' tell you, I almost cried the first time I opened up some of those prints!

Posted by Demetris Thoupis (Member # 833) on 04-08-2001, 02:28 AM:

Well Well Well.
Making up a print depends on many factors. If the print is brand new, used, being made up on a platter or on spools. Personally I have dealt with both and I found out that making a print on spools is much faster and easier but that depends on the experience of each projectionist. On spool it takes me approximately 35-40 minutes to actually prepare a brand new print with trailers e.t.c. On platter, it takes no more that 1 hour and ten minutes to make a nice built up of a film with trailers e.t.c.
Thanks

Posted by Rachel Carter (Member # 693) on 04-08-2001, 03:52 AM:

I work at a "dollar" theater so I get the old, used, and disgusting films....some of the films we get I just feel like throwing on the floor, HEY they're scratched, dirty, and ruined anyway!!! NO, no, no, just kidding!!!

Really, some of the prints we get are horrible considering most have usually been thru at LEAST 2 theaters if not more!!! There is no reason for a print to be cut half way thru a reel just because the “so called” projectionist went by the splice and didn’t want to back it up! This has happened many many MANY times! What about the, hey lets screw with the projectionist at the next theater and splice the movie half way thru the reel and turn the print over so the sound track is on the opposite side….THAT SOUNDS FUN! GRRRR… That has also happened numerous times.

Some of the prints we get are horrible and every pre-run print needs to be inspected closely. It usually takes me about 2 hours to build a complete print (depending on the length of the film) and 30-45 minutes to break down a print.

Posted by Randy Stankey (Member # 64) on 04-08-2001, 04:58 PM:

When I was runnning films at the college I called up the previous place that had that film on occasion. Based on what I found I would often call up the distributor and tell them what I found out. Sorry to say that more than one place probably got charged for damaging film on my account. On second thought... NO! I'm NOT sorry!

Posted by Scott D. Neff (Member # 185) on 04-08-2001, 05:05 PM:

Why not just get a Super or Potts platter... then you can break down OR build up in about 20 minutes -- ESPECIALLY if you're Aaron Sisemore -- HOW MANY brains have been lost to the "instant makeup"?

------------------
Scott D. Neff
"Biding My Time"

Posted by Aaron Sisemore (Member # 145) on 04-08-2001, 10:56 PM:

Scott: Are you insinuating that I trash prints??? I Think NOT. And only one brain was the victim of a polyester film snap while going onto a 6000' reel, no more. Sheesh... :P

Aaron

Posted by Joe Schmidt (Member # 822) on 04-09-2001, 02:27 AM:

Well, I sure am enjoying reading all the posts on this forum to get a feel for things.

Platter systems have always made me somewhat nervous under the best of circumstances, particularly the practice of having only a single projector with no backup associated with the platter. At least a 4 or 5-platter stack has some redundancy as you could rob parts from one to fix another. Knowing the way things were going made me happy to retire from the business when I did and go on to other interests that weren't, as I saw it, deteriorating.

Guess this makes me a bit of an old fogey. I'm fully familiar with how platter systems function and I've worked booths that had them, but platters are best described this way: "When they're good, they're very, very good, and when they're bad, they're horrible!

I used to know a guy who routinely did exactly what everyone is complaining of in the previous posts -- bypassing the fail-safes, ripping the splice, etc. and on his way home 5 min. after the last show. There were never any horrible consequences, but...

a) This was an immaculate, carpeted booth and the floor was very clean and vacuumed often, thus the film was not harmed by a little bit going on the carpet briefly for the switch-over.

b) He was a real solid, focused and well-coordinated guy.

c) He didn't have to do the "magic act" too many times as he for the last show he'd take up the film onto a 6000' reel, rip the splice, pull the reel off, put another on, get it started taking up and finally put the failsafe back on. The last reel of the feature wound direct to its shipping reel; into the can, out the door and on the way home!

d) This was really something to watch, and he never messed up. True, it is not for everyone and I doubt I'd have the courage, or the sharp coordination, to try it. Still, I think it is an acquired skill that could be learned by practicing the routine with some scrap film until you got it right. That's what I would need to do.

Really, what it all came down to was, as he said, "I have a life" and "I don't want to stay here half the nite tearing down film when there's a faster way!"

Posted by Randy Stankey (Member # 64) on 04-09-2001, 03:18 AM:

Platters: Some people swear BY them... Some people swear AT them.

Posted by John Pytlak (Member # 331) on 04-09-2001, 08:43 AM:

Joe Schmidt:

Even if the floor were spotless, just cutting the print "on the fly" and starting the next reel onto a takeup hub will put lots of cinch marks onto the film. Not to mention the fingerprints from the rushed handling involved. It is NOT "Film Done Right".

I'm sorry, but " "I have a life" and "I don't want to stay here half the nite tearing down film when there's a faster way!" strikes me as having a selfish attitude when it comes to presentation quality.

Posted by John Walsh (Member # 168) on 04-09-2001, 09:21 AM:

I once knew a girl who managed a theater, and did a great job. She was telling me how great her staff was, and gave this example: Once, they were shipped a bad last reel of a feature, and could not get a replacement in time for the show. So, they started the feature anyway and let it run. The replacement reel arrived about 40 minutes before the end would run out. Apparently, the operator spliced the tail on to the head of the last reel while the show was running, and let the last reel pay out while on the makeup table.

Now, I had visions of some guy pulling off about 50 feet of film, it sliding across the floor while he frantically chopped and spliced it. I mentioned this to her (suggesting it would be better to at least stop while splicing) and she was surprised I would think that. She really thought I had the _entire_ concept totally wrong; that the show must go on, customers should never sit in a dark theater, they pay good money and deserve this kind of service.

So my point is, you never know how even a well-meaning person will interpret “doing it right.” She was a good manager, ran the theater well, kept the booth clean, etc. What could I say? I ended up just not saying anything further.

Posted by John Pytlak (Member # 331) on 04-09-2001, 10:14 AM:

John: In your hypothetical case, let's say there were a few HUNDRED people in the audience. Yes, since the replacement reel came in 40 minutes before the end of the show, it would be nice to use it, and not show the defective reel. But putting the new reel at risk with this "on the fly" splicing and running off the MUT is very likely to diminish the quality seen by the THOUSANDS of people viewing the print in the months following this showing.

Teaching "common sense" to managers and projectionists is sometimes more difficult than teaching the technology.

Posted by Dustin Mitchell (Member # 372) on 04-09-2001, 02:48 PM:

I just can't imagine splicing on the fly like that. You'd either have to have the splicer in mid air, moved it with the film as you pulled the tape across, punched, flipped the filmed, and did it all over again. Since that seems impossible (there just isn't enough time between the platter and the projector to do it), one must assume that instead about 50 feet of film was spooled onto the floor before the splice, thus giving enough time to make the splice before the slack was taken up.

Posted by Mike Blakesley (Member # 26) on 04-09-2001, 06:24 PM:

I doubt any actual splicing is taking place. More likely the splice is ripped, film starts going onto the floor, the empty reel is slammed into place, the end of the film is slid under the end of the leader and the reel is allowed to spin-up the excess. (this would be nigh impossible with good old breakable film!) If there happens to be a twist, oh well...it just gets creased and folded under.

Like I said, I think I've gotten prints from these people! I've seen it all, and worse.

Posted by Paul G. Thompson (Member # 655) on 04-09-2001, 07:34 PM:

I see nothing wrong with "Splicing On The Fly" if:

1. If you have absolutely no other choice.
2. Use common sense.
3. Keep the film off the floor.
4. Plan ahead.

Just the other day, one of our platters tossed the last 15 minutes of the show on the floor. Obviously, they lost the show.

When I got there, the crew already glombed it up and put it in a plastic barrel just to get it off the floor. It was in one hopeless knot, and they were in danger of losing the next show.

I told them to start the show anyway, as I had a plan. After about 40 minutes, I had all the knots untied and the film rolled up on a plastic core.

I then purposely over-fed the platter for several convolutions, just enough to physically stop the platter and quickly splice the last 15 minutes on to the tail.

I re-started the platter, and with the core between my thumb and social finger, I let the platter do its thing. It went as planned.

In the process of getting the knots out of the film, it took what I thought was one hell of a beating.

But when it came time to run that last 15 minutes, I was pleasently surprised I observed no film damage, other than the four splices I had to do to untangle the mess.

The next pass, the film cleaner was installed, and everything is in great shape.

That polyester film must have been cast iron!

But just to splice on a new reel, NAH!!!!! Too risky - and to easy to cause damage due to dirt, etc.

Posted by Joe Schmidt (Member # 822) on 04-10-2001, 04:10 AM:

Hi, John Pytlak!

Your points are well-taken, but another aspect of the problem I didn't mention was that the cheap exhibitor didn't like paying extra for someone to stay late and break down film. So we mustn't be too hard on the guy... and he could do the magic act with more than one feature at the same time !!!

Let's face it, folks, platters were put into houses to get rid of union projectionists and replace them with teenagers at part-time minimum wage, no benefits. I saw all this coming, and knew it was the end of something I'd enjoyed for many years. Knew it was time to get out of a doomed craft. Retired at the age of 48 to manage my investments and pursue other interests. Must be doing something right.

I'll get into all this more later on in another post when have time to write it up. This is a wonderful forum and a lot of smart, dedicated people are here. But... do your employers appreciate you? Think about it.

Posted by Linda Learn (Member # 562) on 04-10-2001, 08:59 AM:

Joe, please take this in the spirit in which it was meant: some of us are just starting doing projection and we really don't want to hear the bitching and tearing down, we want to hear the solutions

If you know of a solution, tell us.

But I (being the newest projectionist here, I believe, as I will be running my first film tomorrow) don't appreciate what appears to be the description of the reason for your burn-out without a solution added on to it.
And I'm a bit leary of what sounds like a promise to a later diatribe against "the system".

I know burn-out... I "retired" from an elementary art position after 15 years (and 4 schools, 1000 kids, 38 classrooms and 41 classes per week) of running from school to school and room to room every day of it. But I don't turn off everyone with complaints about the administration and how they only used us "special" teachers for the mandated cigarette breaks for the classroom teachers ..... instead, if asked, I relate tricks and techniques for handling the classroom teachers and admin in "selected" situations and educational, technical jargonese to justify something you want to do in a lesson.

Oh yes, I'm 54 and this will be another of my unpaid or under-paid careers if the non-profit I helped start doesn't do well in this venture. There are just some things that you do for the love of it.

And, again, I want to thank you, Brad, for having such a great site for us beginners... and for all the wonderful, experienced and talented professionals here who take the time to answer and explain so much!!!

Posted by John Pytlak (Member # 331) on 04-10-2001, 12:27 PM:

Linda said: "There are just some things that you do for the love of it."

Exactly! If you love the movies, you do all you can to present them in the best way, and to never take shortcuts that will damage prints. In reality, "Film Done Right" doesn't cost that much more than cutting costs to the bone at the expense of quality. Promoted properly, it can yield dividends at the boxoffice with loyal and appreciative audiences.

I agree with Joe about how projection is no longer treated as a skilled profession. But I don't blame automation, which should have allowed skilled projectionists more time for maintenance and monitoring presentation quality. Instead, many theatres treat projection and sound quality as an afterthought, and the first place to cut costs on personnel and maintenance.

At times I feel like Don Quixote, tilting at the windmills of "progress" and cost cutting. Fortunately, many of the folks here on Film-Tech are beacons in the darkness of mediocre movie presentation. Welcome to the quest!

Posted by Randy Stankey (Member # 64) on 04-11-2001, 01:11 AM:

Here's my theory and it may not be popular...
So.. the reel came in when the first show was playing. Wait until the end of the show. Use the time to get all your ducks in a row. As soon as the projector drops, spring into action. Spill the damaged reel(s) off onto a 6,ooo footer. Put the (already pre-inspected) NEW reel onto the make-up table and wind it on. Replace the other reels you took off.

Now, you're ready to go, and providing you do everything right and double check your work there should be no problems. Best of all there's minimal risk.

I have been able to replace the 3rd reel of a 5 reel movie on in-betweeners and STILL get the show off on time. Maybe once, have I needed an extra 5 minutes.

If you need 5 minutes extra time for something important like replacing a bad reel then the people can wait.

Not only CAN people wait, I'd believe they would WANT to wait. Why not have the ushers or box office people explain to people who buy tix for that movie that you are fixing a problem? If people are kept informed they are more likey to be on your side.

Posted by Brad Miller (Member # 2) on 04-11-2001, 01:27 AM:

Randy's got it right on the mark as far as I am concerned. His description is precisely how a reel change-out should be done. Also, on many occasions I have sent an employee to make a quick announcement like this one:

"Ladies and Gentlemen, could I have your attention for just one quick moment? The film print we received from _____ studio came in damaged and we did not receive the print in time from the film depot in order to get a replacement. The projectionist is currently finishing up replacing the damaged sections, but is not positive if the show will be able to run on time, or if it will be a few minutes late. I am making this announcement in order to let everyone know this just in case the show is slightly delayed. We felt you as paying customers would appreciate seeing a print of this movie in good condition a few minutes late than seeing the defective copy we otherwise would be playing."

...and not once has anyone ever complained. Normally the usher gets "thank yous" from the audience!

There is absolutely no reason in the world to do something to save time for one show or to try and cut a few minutes of payroll that would or could cause damage to a film. Remember that one small audience for that one presentation is nothing compared to the weeks or months of having to run that damaged print to an awful lot more paying customers...and all because someone was in a hurry for one show.

To those cheapskates trying to cut a few bucks or to those in a hurry (inparticularly if this is a screening print), you better hope that print never gets sent to me...because I WILL reject it and you may very well be paying the studio $2000-3000 to strike a new print! Anyone who has worked with me knows I am not exaggerating in the least. Any print damage (even if it is only on the first couple of feet of a reel) is a damaged print any way you slice it and that constitutes a reject, damnit.