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Posted by Aaron Mehocic (Member # 15) on 03-16-2003, 06:58 PM:
 

 

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Posted by Brad Miller (Member # 2) on 03-16-2003, 07:09 PM:
 
He isn't using AW3 platters.

I've seen this quite a bit. If the print is small I can move it by myself without clamps. If I have a helper we never use clamps (don't want the scratched platter decks), but I would never move such a big print without a helper or clamps!
 

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Posted by Richard Hamilton (Member # 321) on 03-16-2003, 07:12 PM:
 
the sound "rack" is wall mounted (too high for short people to reach), the platter is slightly out of level, there is a big glass on an electrical wire raceway, and if you look closely......there is a bad splice between reels 9 & 10

Rick
 

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Posted by Daryl C. W. O'Shea (Member # 1303) on 03-16-2003, 07:12 PM:
 
Same here, I almost never use clamps. Anytime I would prefer to they usually aren't big enough for the print. Provided a platter is rewinding with proper tension I don't think twice about moving anything around 110 minutes by myself like in the photo.

BTW, that looks like a print of Gods and Generals.

Oh and the fact that it looks Photoshopped.
 

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Posted by German Marin (Member # 918) on 03-16-2003, 07:22 PM:
 
The smile. How do you do to have a big smile while you're handling that big print (without clamps)! Obviously the guy that took the picture should be helping you, doesn't he? How many reels has that movie print?
 

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Posted by Tim Turner (Member # 1109) on 03-16-2003, 08:07 PM:
 
I can understand how he'd pick up that print like that, but I don't understand how he intends to lay it down.
Anyway moving a large print like that with no help or clamps isn't very smart. I don't know if thats you Aaron, but I'm guessing that guy is not a projectionist, but probably a manger from downstairs, acting like he can do everytyhing, and he probably hasn't visited this website before either.
 

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Posted by Daryl C. W. O'Shea (Member # 1303) on 03-16-2003, 08:08 PM:
 
You'd basically have to throw it on the deck -- and hope you don't miss!
 

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Posted by David Stambaugh (Member # 1102) on 03-16-2003, 08:31 PM:
 
That picture scares the hell out of me and I don't even work in a freakin' booth.
 

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Posted by Manuel Francisco Valencia (Member # 710) on 03-16-2003, 08:34 PM:
 
We only had to move Gods and Generals once and we just pulled up the platter. With about fifteen minutes of trailers I believe Gods and Generals comes close to 4 miles of film. That would be a bitch to put back together if it were ever dropped.
 

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Posted by Scott Norwood (Member # 30) on 03-16-2003, 08:41 PM:
 
That big fluorescent light in the ceiling has got to go!

My preferred method for moving prints between platters is the "cookie sheet," which is just a big round masonite (?) disk with a hole in the center and holes for the pins in the center ring. The print takes up onto the cookie sheet on its last show, and then the whole thing can be easily and safely lifted up and moved to another house without needing clamps. This avoids scratching the platter decks and makes it possible to move prints which are either too long or too short to be clamped. I've never had the luxury of having a helper to assist with print moves and have had the "fun" of moving prints in a theatre where getting from one booth to the other involves walking through a (stadium-style) auditorium and then up a very steep staircase. Thankfully I've never had a problem when moving prints (knock on wood).
 

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Posted by Aaron Mehocic (Member # 15) on 03-16-2003, 08:56 PM:
 
The person in this picture is my boss, not me and in the past five years he has not dropped any prints, though he has come close and even he will admit that. I respect this guy as probably one of the best I've worked with in twelve years, but yes he can get a little cocky from time to time. His name is Chad and I have his permission to post this picture. This post has been edited by me because I accidentelly remained logged in on the booth computer and Chad felt the need to defend himself on my name and password. Brad, for that I apologize.

So come on Chad, register and post, you asked for it buddy!
 

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Posted by Richard Hamilton (Member # 321) on 03-16-2003, 09:28 PM:
 
that booth has an internet connection?
 

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Posted by Andrew Duggan (Member # 1302) on 03-17-2003, 12:46 AM:
 
I like to use the cookie sheet whenever possible, too. As far as moving prints myself, I just don't do it. Even if it is just a small 5 reel print. The way I see it, the extra 5 minutes you save by not calling and waiting for someone to give you a hand is laughable compared to the time you'll be spending on the floor with your splicer if you misstep and drop it. I also don't think slinging the print over your shoulder is a very advisable way to move prints either. While it's certainly more comfortable to carry and move around that way, if the print DID start to come apart on you, you would have almost no control, and no quick way to get it onto a horizontal surface without having to turn it (and probably end up doing more harm in the process)

The most god-awful, mind-bogglingly unprofessional way I've ever heard of people moving prints, happened for quite some time at the theater I work at. As I understand it, when the old projection staff (made up, not surprisingly, of teenagers who couldn't care less)had to move prints, they would just tape up the print on the platter, and than lift the entire platter off of the tree and swap it with the platter where they were moving it to. Thankfully these people were fired and are now gracing the kitchens of various fast food establishments. And as you could probably have guessed, a good number of our platters are FUBAR as a result.
 

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Posted by Paul G. Thompson (Member # 655) on 03-17-2003, 01:08 AM:
 
What's wrong with that picture? you probably jammed a your back enough where you had some pain the next day.
 

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Posted by Don Bruechert (Member # 1538) on 03-17-2003, 08:31 AM:
 
We do that platter move thing. It works quite well. All of our platters are the same type, and if we get a print that is too big for clamps we either have to pull several reels off and then put them back on, or find some other way. A couple guys I work with came up with a clamp that spans the entire platter and holds the print down. Then two of us pick up the whole platter and carry it to the next booth it needs to live in. We take the empty platter from that booth and put it in place of the one we just moved. Saves a lot of time and we haven't had any problems.
 

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Posted by Steve Kraus (Member # 476) on 03-17-2003, 09:07 AM:
 
Not recommended especially on the Strong/Potts platter which can easily warp if uneven force is applied.

However, this is such an obvious method that one wonders why platters are not designed with this in mind. A booth could be equipped with a few extra platter disks of various smaller sizes so that before a move the film can be taken up on a disk just large enough to hold it to simplify carrying it.
 

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Posted by Andrew Duggan (Member # 1302) on 03-17-2003, 09:21 AM:
 
Don, you should really consider starting to move the prints by themselves, without the platters. Taking platters and shifting them around like that is just asking for problems. Platters get easily dented and scratched that way (I can only imagine what dropping one would be like), and extra strain on the arms can bend them, which can lead to all sorts of fun problems, from timing to tossing. We've got one deck that's bent too far out to be used, caused by rough handling during one of the aforementioned print moves. Also, especially if usiong Potts platters, the pins and bearings wear really easily. When the same bearings run against the same pin for a long time, they get "locked into a groove" and wear each other into a comfortable postion. Thats why, if you've ever installed a platter, after the first few weeks, all of the decks seem to run better and quieter than they did in the beginning. But when you're constantly moving platters back and forth, the bearings and pins are always running against each other in new ways, and they both end up getting dirty and worn out very quickly. I wish our theaters were closer together, so I could invite you up to my booth and show you how screwed some of these platters are from this process. If I can sweet talk someone into borrowing a digital camera sometime soon, I'll post some pictures of these things. But for right now, I'm going back to bed
 

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Posted by John Pytlak (Member # 331) on 03-17-2003, 10:44 AM:
 
Moving a large print that way without clamps, "cookie sheet", or help, is like playing "Russian Roulette". Most of the time you get away with it, but it only takes one time to make a bloody mess you need to pick off the floor. Why take that risk with a print, when it's easy to do it the right way?
 

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Posted by David Stambaugh (Member # 1102) on 03-17-2003, 11:13 AM:
 
A guy I work with was a projectionist here in Eugene at the old Moyer West 11th Movieland while he was going to college. I showed him that picture. He said one time someone there (not him of course) was moving a print, not using clamps or anything, and something happened and it started unspooling from the center, in a spiral of course. It happened so quickly that within seconds the entire print collapsed into a tangled heap on the floor. It took them all night to put it back together, and of course the print was pretty much trashed at that point.

Couldn't a platter deck have several slots machined into the surface, say 90 or 120 degrees apart, so that 3 or 4 clamps could easily slide in underneath the print, without damaging the print or scratching the platter?
 

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Posted by Scott Norwood (Member # 30) on 03-17-2003, 11:31 AM:
 
I wish that someone would make clamps designed with a plastic or rubber or other non-metal edge. This would make it more difficult to scratch platter decks when moving prints.

I often work on Thursday nights at a 6-plex that doesn't have cookie sheets (the company claims that they are "too expensive" and "unnecessary," but obviously hasn't considered the cost of periodically refinishing the AW3 decks; this is the same company that won't spend a little bit more on a brand of xenon bulbs that lasts 50% longer than the brand which they are currently purchasing). I really don't like using clamps, but that's the only option at that place. The "clamping long prints" suggestion in the "tips" section of this site is quite helpful.

I also wish that more theatres would set up extra platter and interlock rollers to allow feeding two prints from one platter to two different houses. I've seen this done with AW3s by using 70mm shafts with two 35mm rollers on each on the payout side, along with some extra rollers in the interlock path, and it works very nicely to allow moving prints without having to physically lift them off the platters. Obviously this only works when moving prints within a single booth, however.
 

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Posted by Tim Reed (Member # 137) on 03-17-2003, 11:39 AM:
 
That's a good idea, Scott. Teflon-coating. National Amusements in Moline, IL used to use a putty knife to get under the prints for moves. Every disc in that theatre was a scratched-up mess!

The clamps are not much better in that respect.
 

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Posted by Thomas Procyk (Member # 1170) on 03-17-2003, 11:44 AM:
 
We never moved Gods & Generals. It started in the smallest house and stayed there.

=TMP=
 

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Posted by Don Bruechert (Member # 1538) on 03-17-2003, 11:46 AM:
 
Hmmm... We've had several discussions on this whole moving the whole platter thing, and there have been many valid points both ways. The bearing thing is one I never thought of, so it adds some new fuel to the fire. I always took the opportunity when me moved the platters to lube everything up, but I still didn't come up with that idea. Thanks.

We do have 2 booths that are adjacent to each other and they were set up for interlock. Most of us who are there now have never seen it done, although rumor has it there have been 1 or 2 uses of it over the years. I never thought of that as a way to move film, but of course those are the 2 newest booths and when the film moves due to age it tends to move upward into the tower (and the nosebleed seats!).
 

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Posted by Aaron Mehocic (Member # 15) on 03-17-2003, 01:31 PM:
 
Hey DH I'm waiting!
 

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Posted by Patrick McDonough (Member # 1363) on 03-17-2003, 02:04 PM:
 
my guess is that he had help picking up the film and is going to have help placing the film down, at least I hope. Either way its not a good idea, for dropping reasons
 

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Posted by Chris Markiewicz (Member # 1415) on 03-17-2003, 02:05 PM:
 
I would never move a print without clamps. Only did it once. Seven hours later the print was ready to run again. With clamps, I would line the sliding edge with drafting tape to reduce the chance of scratching the decks. The tape is good for about 3 weeks of changes, then needs to be replaced. I agree that moving the platter decks just causes problems with the bearings. Plus, on a Neumade deck the thrust washer ALWAYS sticks to the deck until you are in the darkest part of the booth, then falls off and rolls away.
 

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Posted by Brad Miller (Member # 2) on 03-17-2003, 04:11 PM:
 

quote:

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Couldn't a platter deck have several slots machined into the surface, say 90 or 120 degrees apart, so that 3 or 4 clamps could easily slide in underneath the print, without damaging the print or scratching the platter?

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That's a very cool idea David! Anyone? Anyone? (Watch whoever does this do something stupid like make 3 or 5 slots instead of keeping things balanced with 4. )

I always used print moving discs that were placed on the takeup platter right before the last showing in a particular auditorium, then moved the print while sitting on the disc. It worked extremely well except for those super long ones. When I went to Colorado, Joe showed me how EASY it is to use two people and move prints without clamps nor the slightest damage to the platter decks. Since then, that has been my preferred print moving technique. At some point I'll get pictures and an explanation for the tips section.

Nowadays I move them while they are playing through the interlock system of rollers whenever they need to move platters.
 

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Posted by David Stambaugh (Member # 1102) on 03-17-2003, 04:26 PM:
 
The only reason I can think of for doing an odd number of cuts (like 3) is to avoid compromising the "structural integrity" of the deck. If 4 cuts were made, one every 90 degrees, would that create a weak point spanning the entire diameter of the platter? In other words, the radius cut at 90 degrees and the cut at 270 degrees line up with each other across the entire platter. With say 3 cuts, one every 120 degrees, you're only weakening a single radius, not the entire diameter. Or maybe it's a non-issue. ? Someone could make these modifications to a platter and get Ian to stand on it to see what happens.
 

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Posted by Daryl C. W. O'Shea (Member # 1303) on 03-17-2003, 04:39 PM:
 
Now why wouldn't three slots be balanced? Three slots would be great, in the rare event that I clamp a print I only use three clamps.

I wonder how many manufacturers' decks are thick enough to mill 1/16th inch grooves in the decks to accommodate sliding clamps in...
 

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Posted by William Leland III (Member # 1400) on 03-17-2003, 04:40 PM:
 
I always used clamps even when it was a 4 reel movie. Never wanted to chance it.

7 or 8 reel movies I had help. When i couldn't get anpther projectionist I used someone from downstairs. They always said the same thing, " I thought every movie had it's own room". or "I thought it was some huge VCR." gotta love those.

If slots were put on the platter wouldn't the print be uneven. Even if the slots where close together the weight of the print will sag. What about building up. The film would hit the raised slots.
 

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Posted by Steve Kraus (Member # 476) on 03-17-2003, 04:55 PM:
 
I'm not sure I like the idea of the grooves flying by slapping the edge of the film that is taking up or working its way to the payout.

I still advocate a platter disk especially designed for lifting off. All that is needed is a bit of modification to the hub and bearing arrangement, overall reinforcement, availability in several sizes so the smallest can be used, a special center ring that positively locks to the disk, and, for theatres which will be moving prints in a way that requires it to be carried on edge there could be an upper flange that locks to the center ring. This is basically combines the idea of the transport disk and the platter reel except that instead of laying it on a regular disk it takes the place of it and it need not be designed to run as a reel although that could be an option.
 

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Posted by David Stambaugh (Member # 1102) on 03-17-2003, 06:45 PM:
 
This sort of illustrates what kind of grooves I was thinking of (ignore the sawdust):


The 90-degree corners at the top edges could be rounded if necessary, especially around the rim of the platter where fingers might come in contact while in motion. Would film catch on channels this small? What if channels are filled in during operation with either "fillers" or part of the clamp device?
 

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Posted by Brad Miller (Member # 2) on 03-17-2003, 06:54 PM:
 
Moving prints with 3 clamps sucks because one person has a clamp they can put their arm under (to make sure the print doesn't "fault"), but the other person has nothing to grab onto but the film. I always used 2 clamps, but if it was a large movie or I thought it would loose would use 4. Never ever odd numbers.
 

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Posted by Daryl C. W. O'Shea (Member # 1303) on 03-17-2003, 07:42 PM:
 
It could be that I only have three clamps... or maybe I'm just odd.

Dave, that's the same thing I was thinking of. Provided the both edges of the entire groove are rounded or filed off I don't see there being a problem. It's only when there are bumps or burrs for the film to catch on that you end up with film bounce.
 

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Posted by Richard Hamilton (Member # 321) on 03-17-2003, 08:15 PM:
 
I've got a replacement disk being shipped to an install i'm going to this week. I'll try to bring the bad disk back (it was going in the dumpster) and have our machinist look at it. I'm not sure how he could hold it on the mill to do any machining though. Don't the film clamps come in sets of 3?
Rick
 

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Posted by Daryl C. W. O'Shea (Member # 1303) on 03-17-2003, 08:21 PM:
 
You might be able to do it with a horizontal mill. Clamping it down would be a challenge though.
 

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Posted by Joe Redifer (Member # 3) on 03-17-2003, 09:14 PM:
 
I move 2 hour + prints like that all the time by myself, provided that I feel that they have been wrapped tightly enough. When they feel even a bit loose, I get help. The problem's not putting the print down. That is the easy part. The biggest problem is picking the print up and making sure that it maintains its structural integrity. Once the print is vertical it's pretty much good to go. I would never attempt this with a print the size of God 'n Generals. The biggest print I moved by myself was Pulp Fiction.

I am not advocating or promoting moving prints by one's self without clamps. That's just the way I do it sometimes. If you only feel comfortable moving 4 reel prints with 10 clamps and 6 big strong men to help, then continue doing it that way. It's your booth.
 

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Posted by Michael Cunningham (Member # 210) on 03-18-2003, 09:41 AM:
 
The only issue I see with moving prints by use of the 'Interlock' method is when do you find the time to do this? Since the final show of the print to be moved that night will undoubtedly be playing at the same time as the receiving platter's show, do you have to stay late and run an extra show? Or do you have the 5 deck, double variac platters at every screen? I love interlocking and horrifying newer Projectionists with it and this sounds like an ideal way to move prints about, but I just can't see how to accomplish it when the receiving platter's accumulator is already in use.

- Mike
 

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Posted by John Pytlak (Member # 331) on 03-18-2003, 09:52 AM:
 
I recall some companies are making "platter disks" that are thin rigid doughnut-shaped disks that can be placed on the platter when a print will need to be moved. The film is wound up normally on top of the disk, and the disk is simply lifted up with the film on top and transferred to another platter.

Who are the manufacturers? Kelmar? Goldberg? Speco? Stuart A/V? Others?
 

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Posted by Carl King (Member # 398) on 03-18-2003, 10:17 AM:
 
what's wrong? Everything. Projectionists should not be moving prints by themselves unless the print is clamped. An unclamped print can be moved by two people quite easily.

The clamps are provided for a reason. USE THEM, PLEASE!!

This pic is a fine example of FILM DONE WRONG
 

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Posted by William Leland III (Member # 1400) on 03-18-2003, 01:22 PM:
 
Carl I agree with you 100%.

Smokem' if you got them....I mean Clampem' if you got them
 

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Posted by Scott Norwood (Member # 30) on 03-18-2003, 01:29 PM:
 
Michael--I probably wasn't clear earlier with the "moving prints by interlocking" post. You don't actually interlock anything; the platters just need to be modified with 2x 35mm rollers on 70mm shafts on the payout side (think AW3 here) so that two different films can feed from one 3-deck platter. If the interlock rollers are lined up correctly, you should be able to feed one (of two) films from a given platter into another (non-adjacent) house. Essentially, the print "move" would be done as the films run on the first show in their new locations. It really only works right if you are moving only one print or swapping two prints between auditoria.
 

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Posted by Don E. Nelson (Member # 1049) on 03-18-2003, 02:23 PM:
 
.......there is nothing wrong with this picture. Lucas George, the projectionist in the photo, just sat through the entire directors cut of (insert "Title "of your least favorite movie here) and he took the personal iInitiative to send the the film back where it should have originally been deposited , namely, the good ole dumpster back behind the theater.

"Boy that sure felt good" he was heard muttering as he headed off to the snack bar for a Coke.
My inserted title is "Heavens Gate."
 

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Posted by Patrick de Groot (Member # 858) on 03-18-2003, 02:31 PM:
 
Moving prints without help isn't that difficult providing the takeup platter has winded the film tight together. We have to change films frequently and since their is only one projectionist at a time it is common practice in the 5 screen theatre I work at. Large prints are carried with 2 persons if possible) on a rectangular plank with three holes for the ring. Sometimes however I have carried HP and LOTR serveral times myself. I let it slowly fall over the border of the platter while holding it up. You should pay attention to the center ring. If that one slips away...
btw we don't even have clamps...
 

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Posted by Jean-Michel Grin (Member # 1360) on 03-18-2003, 02:57 PM:
 

quote:

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I recall some companies are making "platter disks" that are thin rigid doughnut-shaped disks that can be placed on the platter when a print will need to be moved. The film is wound up normally on top of the disk, and the disk is simply lifted up with the film on top and transferred to another platter.
Who are the manufacturers? Kelmar? Goldberg? Speco? Stuart A/V? Others?

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Goldberg make this type of disarmable reels.

In ours multiplexes we just use one "half-reel" (a plate) to move the print from one screen to an another.

The most important is to not forget to attach the tail of the feature with adhesive tape, and remove it when the film play in a another auditorium

I let you guess what could happend if you forget that...

at the next oportunity I will try to take a picture an place it here.
 

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Posted by Michael Cunningham (Member # 210) on 03-19-2003, 10:38 AM:
 
Ah, thanks for the clarification Scott, that makes a lot more sense than what I was trying to envision, heh. Even with the bit of modification work and limited utility that still sounds like quite the useful innovation.

- Mike
 

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Posted by Don Olson (Member # 90) on 03-20-2003, 12:17 PM:
 
I have moved hundreds of prints this way. Some platters wind them up tighter than others. You need to put something in the center ring to keep it in place. Jammed into the gap. Then put a plastic spatula under to get it started. If it feels solid when you start......go for it. If not......use two people and keep it horizontal. It's all in the technique.....Plus you need to be tall enough and strong enough. More than 8 reels is very dangerous. I tried to move a 70mm print of Close Encounters ( the remake with added scenes) alone one night. I got it just off the platter and it drove me to the floor. I was laying there, pinned under, it when a pal came looking for me. Together we were able to get me out and move it down the hall.
 

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Posted by Steve Kraus (Member # 476) on 03-20-2003, 12:45 PM:
 
Jeez...what did you expect with that mass of film which would be difficult to lift even if in a convenient form, which a platter roll is not?

As a general question:

Must everything revolve around taking shortcuts to save 3 seconds here, 5 minutes there?

Look at the discussion about single sided splicing. Why...why...why?
 

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Posted by Brad Miller (Member # 2) on 03-20-2003, 12:48 PM:
 
Awwwww, come on Steve. Haven't you ever moved a plattered 70mm print of Titanic by yourself? Just slide it off and flip it over your shoulder. No big deal. It's only about 4 feet in diameter and about 200 pounds. Again, no big deal.

Of course I'm kidding though. That would be suicide. I would make further comments, but I need to save a few seconds so I'll skip typing any further.
 

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Posted by Steve Kraus (Member # 476) on 03-20-2003, 12:56 PM:
 
No, but I know someone with a 70mm print of Lawrence, kept in two platter rolls. But I doubt he tries to move them single handed.

Maybe if everyone asked themselves if this was my personal print of my favorite movie, would I:

• Move it platter to platter solo (if more than a moderate length)
• Build it with single sided splices
• Put foreign matter on it to show the breaks
• Use anything but clear tape
• Try to break it down while running it

 

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Posted by Brad Miller (Member # 2) on 03-20-2003, 01:00 PM:
 
I think you may have stumbled upon something that will be repeated time and time again on these forums. If it was YOUR print, would YOU treat it like that?
 

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Posted by Bill Langfield (Member # 818) on 03-21-2003, 07:45 AM:
 
Don, you must be CRAZY!!!!
How on earth did you expect to be able to move that print on your own?

How many 70mm screens are you running to require a swap? We only have one. (well 2 if the dts only one is included)

I get in trouble (well not trouble, but 'you should not be doing that on your own') from everyone (floor staff/management) for swinging a 5 reeler (35mm) off the platter and walking through the foyer with it without help.

Anything over 6 reels, I make sure I get help and we move it in a sleeve/envelope.

But to do it with a a 2 hour + 70 mm, Im sure you are NUTS!!!

Bill.

BTW: With very few prints available these days in 70mm I think that is bad to handle the film that way - However you WERE joking right?
 

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Posted by Glen Rich (Member # 1150) on 03-21-2003, 10:51 AM:
 
When it comes to moving film from the plates ,between boxes I have a large wood and laminate film carrier which the film slides off the plate and into .To reduce the chance of scratching I've stuck a few bits of felt to the underside of the centre rings .
The use of film carriers is common in most cinema's here ,(Australia) ,with some people making there own to fit the larger prints.
Working in a single projectionist per shift box I've never had a problem moving prints with a carrier regardless of size,(though I've never had to deal with 70mm ).
If I came in and found one of the reverse shift operators moving a print without a carrier they'd get a serious kick up the rear end .
Having said that ,what do you mean by a film "clamp".
 

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Posted by David Stambaugh (Member # 1102) on 03-21-2003, 11:00 AM:
 
Glen, Look in the "TIPS" area for info & pics on clamps. To me, they look kind of ill-conceived, but what do I know.
 

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Posted by Evans A Criswell (Member # 381) on 03-21-2003, 01:24 PM:
 

quote:

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Haven't you ever moved a plattered 70mm print of Titanic by yourself? Just slide it off and flip it over your shoulder. No big deal. It's only about 4 feet in diameter and about 200 pounds.

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It would weigh 33 percent more than me. I could see the headlines -- "Man freed after being trapped all night in a projection booth after being pinned under a 70mm print of Titanic".
 

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Posted by Daryl C. W. O'Shea (Member # 1303) on 03-21-2003, 01:30 PM:
 
That's too long Evans! It'd have to read:

MAN TRAPPED UNDER TITANIC
 

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Posted by Steve Kraus (Member # 476) on 03-21-2003, 01:33 PM:
 
The captain always goes down with the ship, Evans.
 

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Posted by Peter Schoell (Member # 919) on 03-22-2003, 11:10 PM:
 

quote:

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I recall some companies are making "platter disks" that are thin rigid doughnut-shaped disks that can be placed on the platter when a print will need to be moved. The film is wound up normally on top of the disk, and the disk is simply lifted up with the film on top and transferred to another platter.

Who are the manufacturers? Kelmar? Goldberg? Speco? Stuart A/V? Others?

--------------------
John P. Pytlak, Senior Technical Specialist

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quote:

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Glen, Look in the "TIPS" area for info & pics on clamps. To me, they look kind of ill-conceived, but what do I know.

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