Film-Tech Forum ARCHIVE: Note from Warner Bros.

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Posted by Joe Redifer (Member # 3) on 11-25-2002, 08:37 PM:

Here is a picture of a note that was taped to the inside of a film can for the movie "The Searchers" from Warner Bros.

OK I can deal with having the film heads up, and the leaders and tails properly spliced back on, but what is this business about splicing on both sides of the film AND taping the heads/tails back on? If I don't do as they instruct, charges will "incurr". Should I toss professionalism out the window for the sake of this note?

Or should I just ignore the whole thing since they misspelled "incur" and "Regardless how you received it" is not a complete sentence? Actually "Charges will incurr" is not really a complete sentence, either. It just implies that I am going to be charged no matter what. [Smile]

Posted by Jason Black (Member # 684) on 11-25-2002, 08:54 PM:

From a professional standpoint, I highly doubt this came from WB direct. Looks like somone typed it up and printed it out from Word. Besides, who is going to inspect it between your theatre, the depot and the next theatre?

I could buy the splicing bakc together (even tho I don't do that here- I use a small piece of permacel), but taping on top of splicing? I smell [bs]

Posted by Scott Norwood (Member # 30) on 11-25-2002, 09:11 PM:

Is this print from Warner Classics (i.e. shipped for "Warner Bros. Craft Vault")? If so, then they want you to return the print heads out, leaders spliced on both sides of the film with clear tape. I think that the note in the picture is trying to say "tape down the ends of the film so that it doesn't unroll in shipping" (if there aren't reel bands) and not "put masking tape on top of your splicing tape." They are asking that the print be shipped back in a professional manner, which is what I am sure Joe would do anyway.

I believe that Warner Classics does actually inspect prints and charges theatres which abuse them. For this, and for the generally high quality of their prints, I have a great amount of respect for Warner Classics.

There should have been an inspection form enclosed with that print which explains all of this and has space for the operator to write in comments about print quality.

Posted by Alex Grasic (Member # 1371) on 11-26-2002, 12:10 AM:

As I've mentioned before, biggest pet peeve is receiving a print without the heads and tails PROPERLY reattached to the film. All that any changeover theatre can ask of any other theatre is, ship the film in the same condition that you received it!!!

Posted by Jack Ondracek (Member # 1466) on 11-26-2002, 01:20 AM:

I've never had a print from their classics library... so I couldn't say for sure... but I'd always be suspicious of an unsigned note like that... especially threatening financial liability. Says who???

To reinforce this, one only needs to note the recent volumes that WB has sent us in regard to our "obligations" to keep our copies of Harry Potter safe and warm. I don't know how many of you have seen the transmission... but there were a couple of them... one was upwards of 6 pages long and quite detailed. It was also on official WB letterhead, as opposed to the note taped on the shipping can above.

Posted by Mathew Molloy (Member # 666) on 11-26-2002, 04:26 AM:

Nearly all prints I've received from Warner's Classics had this message inside the cans.

Posted by Leo Enticknap (Member # 534) on 11-26-2002, 06:09 AM:

Unless they're saying that this print can only be shown in single reels with changeovers (which many archives do), I'm not sure about taping the heads and tails on both sides to return. That just means more film handling if the next person is making it up for long play. Furthermore, it's film handling in the sections of the reel which are most vulnerable to damage in the first place.

Posted by Kenneth Wuepper (Member # 1174) on 11-26-2002, 06:49 AM:

We just received a print of "White Christmas" in unique condition. The heads and tails were taped down with white tape, to the reel core and to the end of the reel of film. The heads and tails were spliced with "Zebra Tape" on both sides of the film.

Each of the splices had white tape across the splice on BOTH SIDES of the film.

I did not appreciate having to remove all of that stickum and if the reels had not been inspected before showing, the tape on the ends of the reels could have damaged the machines.

The print quality was very good. There was great difference in the color and density from reel to reel but there was no dirt or scratching visible. Ordinarily "archieve prints" are not available to known plattered houses. If you get a film with leaders intact and cut them, you will probably never receive another print from that source.

KEN

[Roll Eyes]

Posted by Leo Enticknap (Member # 534) on 11-26-2002, 07:30 AM:

If I remember correctly, White Christmas was originally in Vistavision, so an optical reduction to 35mm 4-perf widescreen should look pretty sharp. Most of the VV printdowns I've seen (The Searchers and Simon and Laura being the two most recent) look way better than something from the 50s which was shot on 4-perf flat.

Posted by John Pytlak (Member # 331) on 11-26-2002, 07:47 AM:

I think the request for using splicing tape on both sides of the print is due to fear that a one-side splice will fold up and cause a jam if someone projects the reels without inspection. Unfortunately, heads-out orientation, although convenient, runs more risk of having someone project the film without inspection.

As discussed before, if we assume most theatres are plattering the prints and will remove the leaders anyway, one-side splices are preferred since they are much easier to peel without loss of frames. For changeover houses, be sure those leaders are reattached with two-sided tape splices, and inspect the prints before projecting.

Posted by Gordon McLeod (Member # 33) on 11-26-2002, 07:43 PM:

Sorry john I disagree films should always be double sided spliced. A late delivery to a plattered house will delay a show a late delivery to a changeover house means it goes right on the machine.
Also the owner of the print can dictate any terms they want on how it is to be handled. I recently had a print that was on 1000' rolls and we had to run it for a week and there was a cavat in the cans "If you cannot show this print without requireing a splice you may not show it. Any splices found will require the last theatre to pay for a replacement print". It also had no lab splices in any roll (31 one of the m by the way

Posted by John Pytlak (Member # 331) on 11-26-2002, 09:30 PM:

Gordon: I certainly acknowledge the risk of serious print damage if a single-sided splice folds or hangs up. I just assumed a changeover house would never put up a print that had not been properly inspected. [Eek!]

Even if the print is delivered late, you have time to inspect all but the first reel. [Smile]

Posted by Steve Kraus (Member # 476) on 11-26-2002, 11:06 PM:

I have no qualms about leaving the tail single sided unless there is sticky residue I'd like to cover. Actually even on heads it would be safe for me but I won't take the chance. (X-L's, straight gates)

Posted by Joe Redifer (Member # 3) on 11-27-2002, 08:36 AM:

I will make sure I splice both sides and then tape both sides as well. After all, those leaders might fall off. Maybe I should staple them in addition to splicing AND taping. Also how about some superglue?

Does WB actually think a double-sided splice won't hold without tape to back it up? Morons.

Posted by Brad Miller (Member # 2) on 11-27-2002, 04:32 PM:

Sounds to me like WB Classics are still in the dark ages thinking that most theaters actually still use changeover. The double sided splicing requirement is just BEGGING for platter guys to chop that frame off when building it. Most platter houses are ran by kids who won't take the extra time and effort to peel off a double sided splice, but I've yet to find one that will chop when it is only single sided. I've also yet to find a changeover operator who won't insist that at least 5 minutes be given to him to check the leader and cue mark situation on reel 1, checking the rest of the print during the movie.