Film-Tech Forum ARCHIVE: How does a film print cure?

This is topic How does a film print cure? in forum Film Handlers' Forum at Film-Tech Forum ARCHIVE.

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Posted by Daniel Weber (Member # 2866) on 12-26-2004, 03:27 PM:

Hi folks,

I am in pre-production for a self funded short 35mm film. I would like to send my print to the festival in top condition. I understand from reading this forum, and by observation of film dailies that prints fresh from the lab are "green", soft and very easy to scratch.

Is it just time that makes the print's emulsion toughen up? or the heat from the lamphouse when projected? If so approximately how long or how many projections? I have an E-7 for interlock use but no healthy lamphouse, I just use a slide projector. Is it OK to use FG on a new print without heat from a normal lamphouse?

I know a guy that had his one and only print (feature length) get scratched (big nasty green line) on the first private showing in a theater, this made the print useless for submission to a festival.

Thanks,

Dan

Posted by Brad Miller (Member # 2) on 12-26-2004, 03:44 PM:

Festivals...UGH! Just about every one of them will trash your print. Some tips and answers:

*First things first, find out if the festival can handle large 6000 foot reels. If so SEND IT THAT WAY! Don't give them the option of scuffing up every reel change by letting them splice and disassemble them.

*Does the festival run platters or changeovers? If platters, make sure there is plenty of extra tail leader on the last reel (at least 30 feet). Ideally bring the print in on a Goldberg platter reel. Yeah this sucker will cost you $350ish, but it is WELL worth saving your expensive print to not let them do any loading or unloading of it. If you bring the print pre-built on a platter reel, make sure there is 100 feet of head leader on the beginning of the roll.

*If the festival is going to run changeovers, this is generally a better sign except for your reel changes. To prevent the ends of your reels from becoming crusty and dirty, put tons of head and tail leader on every reel. (Seriously, like 50 feet!) Remember, the head leader must have framelines throughout the entire stretch for this to work. The idea is to put so much on there to FORCE them to thread up and "motor down" rather than putting "the 8 in the gate", because that WILL get the ends of your reels dirty! The extended tail leaders are so the projectionist can do his changeover and walk back to the outgoing projector still running, rather than letting the tail slap and sling oil from the almost always leaky antique projectors found at changeover festivals.

*Also regarding changeover festivals, does your print have properly placed changeover cues? If not, you better add them yourself...in the correct positions, with a proper marking tool. Otherwise you'll cry when you see what kind of slash marks the print is returned to you with.

*FilmGuarding it before you send it out would be a good idea. Blasting it with a large lamphouse would help it "toughen up" faster.

*A note in the cans certainly wouldn't hurt either, to the tune of not cutting off ID frames and "this print has been 100% inspected before being sent to your X festival and you will be held responsible for ANY damages found on the immediate inspection following your playdate". The note needs to be dated, very specific and personally signed to attract attention.

Just remember, your print will in all probability come back either trashed or slightly abused in some form or another. I've only time I have seen and/or heard of one festival that this has not happen at was the festivals or screens I was running. (No I'm not being arrogant, this is just something I have seen over and over. Prints get trashed at film festivals!)

Posted by Scott Norwood (Member # 30) on 12-26-2004, 10:20 PM:

Agreed to everything Brad said, though I would emphasize that you should check with the festival first to find out how the venue where you film will play is equipped. DO _NOT_ send it on 6000' reels unless you are absolutely sure that the venue can handle them. DO _NOT_ show up at a changeover house with your print on a Goldberg platter reel.

It might not be a bad idea to have two prints--one for platter houses and one for changeover houses.

Definitely label everything with title, aspect ratio, reel number, sound format, and your name. If your film is anything other than 1.85 or scope at 24fps, be sure to check with the festival ahead of time to ensure that they have what is needed to show it properly.

Send your print in on time or early--give the festival plenty of time to inspect your film to ensure a good show.

Brad should come visit me in August; I will be happy to show him a film festival where prints leave in better condition than they were in when they arrived.

Posted by John Pytlak (Member # 331) on 12-27-2004, 08:03 AM:

As Brad notes, proper lubrication really helps reduce projector wear on a print, especially one that is freshly processed ("green"). Some labs still have facilities for edgewaxing prints, per the Kodak H-24 processing specifications and SMPTE Recommended Practice RP151. FilmGuard also serves as a very effective print lubricant.

I certainly would project the print to inspect it prior to a festival, but there is really no requirement to "season" the print by projection if it was processed and dried properly by the lab.

Posted by Christian Appelt (Member # 1067) on 12-27-2004, 10:11 AM:

I had every short film print I ever sent to a festival coated/lacquered, so even when they scratched the prints badly, I had it recoated and the picture was good again.
As I remember reading negative comments about protective lacquers on the forum, I'd like to stress that it was NOT the 3M process called ScotchGuard or PhotoGuard.
FilmGuard is a great product, but I am afraid that some *resourceful* festival projectionist might take filmguarded prints for oily prints and clean them by whatever means available (don't try to imagine!), thereby creating more damage.

This is why I would recommend protective coating/lacquering, provided you know a company that has a good record, which may be a problem in those days of throwaway prints.

Posted by Gordon McLeod (Member # 33) on 12-27-2004, 11:07 AM:

I would get the print photoguarded as it will save it from the majority of abuse it will probably recieve with estar film stock the issues of vinegar sydrom degassing are not a issue

Posted by Daniel Weber (Member # 2866) on 12-27-2004, 08:30 PM:

Thank you all for the good info, notes taken. [Smile]

Posted by Mark Hajducki (Member # 1732) on 12-28-2004, 04:50 PM:

Make sure that the print arrives at the cinema in plenty of time before showtime (see the comments on this forum regarding late deliveries of films).
Send the version you want shown only.
Give enough time for the film to be broken down after the film.
Please send the film in proper (undamaged) reel cans (if on cores) in a strong transport case.