Film-Tech Forum ARCHIVE: Okay, this Thursday is going to be Fun

This is topic Okay, this Thursday is going to be Fun in forum Film Handlers' Forum at Film-Tech Forum ARCHIVE.

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Posted by Thomas Dieter (Member # 2507) on 08-03-2004, 01:19 PM:

Now, I don't know about alot of you, but I work for a small independant movie thatre company, we have a 1 screen, and a 3 screen theatre. Just yesterday, I saw the line up for the following week, and it's looks good, but it also looks bad.

On Thursday, it's going to be a 2 movie tear down, and build up. That's not so bad, but building is the small problem. There is really only one good building platter due to the fact that one dosen't work, and the other is in the dark, leaving only one for building. And to top it off, I am schedualed to work the Box Office.

This week, we are getting Collateral, and Catwoman. Gotta Say that I want to see Collateral, but Catwoman looks like a bad movie. The more that I watched the previews, the more that it just didn't appeal to me.

Anyways, that's going to be my delema for Thursday.

Posted by Jeremy Fuentes (Member # 2135) on 08-03-2004, 01:27 PM:

Sounds like a scheduling problem to me. You should just be doing booth only, at least on Thursday's. Then it wouldnt be so bad on you. Good luck.

Posted by Steve Scott (Member # 630) on 08-03-2004, 01:35 PM:

Just forget about building Catwoman. Place the box of film out in the lobby and discuss the box with patrons. I think that's all of that movie that patrons need to "see."

Posted by Robert L. Fischer (Member # 2424) on 08-03-2004, 04:10 PM:

I do most of the film work at our five-plex, and I usually have to build one or two prints on Thursday and break down one or two as well. But in addition to changing our marquee (a real pain in the ass), posters, and recording, I don't have to worry about much else.

Posted by Brad Miller (Member # 2) on 08-03-2004, 04:19 PM:

Whine, whine, whine. I've had to put 8 prints together on a Thursday night with multiple breakdowns, and that was with proper full hand inspections too. It's not that hard.

Posted by Chris Hipp (Member # 1788) on 08-03-2004, 04:41 PM:

three words: Goldberg platter reel!

Seriously though, I regualr do 8-12 print buld up and the same number of tear downs each week. No biggie.

Posted by Rachel Gilardi (Member # 1016) on 08-03-2004, 04:50 PM:

When I worked for my 3-screen $1.50 theater my worst was 7 builds and 8 breakdowns. Yeah, we had about 1 showing of each movie a day...it was interesting. [Smile]

So to quote Brad...

quote: Brad Miller
Whine, whine, whine.

Posted by Joe Redifer (Member # 3) on 08-03-2004, 05:41 PM:

Why is this in Yak? Moving to FHF! (Actually this could probably go to Ground Level, too... damn... where to move it? Must...move...it...ahh oh well.)
[av=r]
Also, if on any given week the film work is too much, simply don't finish. The studios are very understanding. [evil]

Posted by Chris Trainor (Member # 9) on 08-03-2004, 08:24 PM:

Awwww,

When I was running Bollywood movies on Wednesday nights, the guy with the film would show up at about the same time the customers would.... I'd build it, run it, break it down and send it on it's way. All in the course of about 3.5hrs.
--chris

Posted by Tony Bandiera Jr (Member # 2365) on 08-04-2004, 12:16 AM:

Agree with Brad on this one, Thomas.

Once had to build a print WHILE IT WAS BEING PROJECTED FOR THE FIRST SHOW!! [Mad]

It arrived five minutes before showtime and thanks to the funky Potts platter and MUT I was able to think of a solution. [Big Grin]

I'm willing to bet that quite a few of you figure out how I did it. [beer]

Part of the fun (I'm not being sarcastic) of this gig is getting the show on RIGHT no matter what management, the equipment, nature or delivery guys throw at you.

May I suggest a desk lamp or drop light for your dark platter? [Smile]

Keep smiling and you'll run with the best!

(Edited for spelling, yikes!)

Posted by Brad Miller (Member # 2) on 08-04-2004, 12:17 AM:

I've done that once on a LP270 SPECO with the old wooden mut. I don't recommend it, but it does work.

Posted by Tony Bandiera Jr (Member # 2365) on 08-04-2004, 12:19 AM:

My sympathies, Brad! [beer]

Posted by Jason M Miller (Member # 2597) on 08-04-2004, 12:39 AM:

This Thursday we have 2 break downs and 2 makups, and we only have one platter and minimal staff. I guess I am probably going to have to go in and help... [Frown]

Posted by Robert L. Fischer (Member # 2424) on 08-04-2004, 01:19 AM:

quote: Tony Bandiera Jr
I'm willing to bet that quite a few of you figure out how I did it.

Run directly from one side of the MUT to the payout platter and unwind the end of the reel like a mofo in time to splice the next reel from the other side of the MUT?

Posted by Darryl Spicer (Member # 711) on 08-04-2004, 01:24 AM:

you only have one platter. Do you have a make up bench and 60 minute reels. If so make up the film on 60 minute reels and run it on the platter then move it to where it needs to go. Better yet, if your projecters have a reel spindle on the top that a 60 minute reel can be put on put the movie to gether on 60's and run it on while screening it stopping it at the end of the first reel splicing the second 60 on and running that half through. I have done this before at the old theater I worked at back in the 80's.

Posted by Brad Miller (Member # 2) on 08-04-2004, 03:51 AM:

Robert, you platter the first 3 reels, then have the last 3 on a 6K. You thread up, make the splice joining the tail of reel 3 to the head of reel 4, then start the show (giving the 6K reel a gentle "help start"). Do note there must be zero drag on the reel spindle for this to work.

Another way to pull it off is to use accumulator rollers and feed directly from reel 1 through the accumulators into the projector. While reel 1 is playing, you load up the next 3 reels onto a 6K. Then when you near the end of reel 1, you stop the reel from spinning as the splice exits it and quickly splice the tail of reel 1 to the head of reel 2 (containing reels 2, 3 and 4 on a 6K reel), then hand spin it to get it going again. The process is repeated for reels 5, 6, etc on another 6K. You commonly only have 20 seconds to do this.

None of these are "film done right", but in extreme situations I have had to do it and *fortunately* things ran without a hitch. Nowadays with the invention of the Goldberg platter reel, if you are willing to run the film without a proper inspection, you *can* build a 6 reel movie in about 5 minute's time (assuming no trailer pack and no cues) by running your rewind bench at full throttle. Part of this involves pre-cutting off the head leaders of the next reel while you are winding the current reel. Again, I don't recommend any of this, but sometimes you have to for various reasons.

The last time I had to do this was for a New Line super secret screening where all audience members were anal probed for cameras prior to entering the theater. I had 10 minutes to do it because they cared so much to get the print to me on time, but I got it done anyway and there were no problems.

[ 08-04-2004, 06:55 PM: Message edited by: Brad Miller ]

Posted by Carl Martin (Member # 1146) on 08-04-2004, 07:13 AM:

i considered resorting to method 1 just last week, but elected to do it the normal way and start the show 10 minutes late. i'd never tried it and didn't want to make things worse. also, the mut is on the other side of the platter, which is gear-side, so i'd need someone else to help spin the reel on startup.

not that it would have helped, but i don't see how the spare-projector interlock tip would work. you've still got r1-3 plattered and splicing 4-6 to that, right? the "spare" projector would have to run super fast to feed to the outer circumference of the plattered film, wouldn't it? what am i missing?

as for whining, remember that theaters that don't normally move lots of prints thursday nights often are not equipped to do so, with cobbled-together equipment that requires tlc to run smoothly. and the projectionists probably have other duties that megaplex projectionists wouldn't, and have to run shows as well as build. little things like riding the volume during the trailers and compensating for focus drift during the show can really eat into your build time.

carl

Posted by Scott Norwood (Member # 30) on 08-04-2004, 07:21 AM:

Brad's methods are, um, "interesting" and I would truly like to watch him run a show like that, but I, personally, wouldn't feel comfortable implementing any of those suggestions. I'm sure that Brad (and maybe a few others here) could pull it off. I couldn't.

My own policy is that nothing (yes, nothing) hits the screen for an audience without a full bench inspection. If that means that the show starts late, then so be it. If the distributor can't be bothered to ensure that the print arrives on time, then I see no reason why I should be bothered to potentially risk a show and/or a print in order to get it on screen a few minutes faster. For most prints in average condition, I expect that it would take (at minimum) 15 minutes to inspect the first reel and get it on screen (changeover house) or an hour to inspect and platter the whole show excluding trailers, etc. (platter house). I think that most audiences would prefer to have a show start late than to have an unscheduled mid-show interruption. I recommend passing out cards/flyers with the name, address, and phone number of the film distributor and asking that audience members direct their inquiries about why a film didn't get delivered on time to the distributor's office.

Posted by Brad Miller (Member # 2) on 08-04-2004, 06:55 PM:

You're right Carl. I am confusing that with something else. I edited that part of my post so as to not confuse anyone.