Film-Tech Forum ARCHIVE: Moving prints between buildings

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Posted by Michael Voiland (Member # 5386) on 01-30-2010, 02:19 AM:

We have 2 locations. Whats the best way to move prints.
should you
1. Clamp the print put it in your car and drive it over to the other theater
or
2. Break the film down to larger reels and move the reels.

This is one I am struggling with the managers seem to think its ok moving it with clamps but I am just not sure.

Posted by Demetris Thoupis (Member # 833) on 01-30-2010, 02:32 AM:

Definately break the print at least into 2 1800m spools.

Posted by Joe Redifer (Member # 3) on 01-30-2010, 02:54 AM:

On the last show in the first building, just thread it through your interlock rollers and have it take up on the platter in the next building. The print moves itself!

Posted by Michael Voiland (Member # 5386) on 01-30-2010, 03:02 AM:

There is about 5 to 6 miles of road to thread through. I don't know if I have enough tension pins or rollers to make it that far. But in all seriousness. I need some good points to pursue them moving film on big reels or should i drop it. The idea not the film.

Posted by Monte L Fullmer (Member # 2797) on 01-30-2010, 03:19 AM:

We've clamped for years without any problems and between cities .. and in the past, even states.

Just make sure you got room in the car and the film is securely clamped.

there is one little trick to aid in clamping and that is when you're winding the film back on the platter (with an STRONG platter) instead of lacing the "yo-yo" in the normal "W" fashion, is to do the "Z method" as such: the film coming up from the lowest roller on the tower to the first roller on the yo-yo, you would go across to the other top roller on the right of the yo-yo, then down to the lowest left roller on the yo-yo, then back across to the lowest right roller on the yo-yo, then the film would continue upward in the normal fashion to the platter for takeup.

This makes the wind a lot tighter-tight enough that when you clamp it, that film definitely isn't going anywhere.

I've never had a print come undone and even had multiple clamped prints stacked in my car ...

Good luck -Monte

Posted by Demetris Thoupis (Member # 833) on 01-30-2010, 06:17 AM:

At least get some decent equipment from Carlsson Equipment to deal with moving films on film clamps.
Demetris

Posted by Jim Cassedy (Member # 4115) on 01-30-2010, 06:37 AM:

The theaters I project at are seperated by two city blocks.
When we need to move a print from one to the other, we use
a "Print Pocket", which looks very similar to one of the
"Film Cassettes" in the "Carlson Equipment Company" link
in the previous post. We usually drive the print beteween
buildings, but there's been one or two occasions when the
driver was running late and we just walked it down the street.

Posted by Jake Spell (Member # 5294) on 01-30-2010, 10:53 AM:

Whenever I move a print between buildings I just clamp it and carry it on a piece of plywood once its out of the booth.

Posted by Emma Tomiak (Member # 1862) on 01-30-2010, 11:26 AM:

How about using one of these? I can fit 3 stacked in the trunk of my little Civic.

Posted by Monte L Fullmer (Member # 2797) on 01-30-2010, 12:27 PM:

wooo..but they cost "$Money", honey ... Just like a "print pocket" .. spendy little devils ...

Posted by Scott Norwood (Member # 30) on 01-30-2010, 02:48 PM:

How much do the operators trust each other? Does either theatre (or both) use automation and, if so, do the cues do the same things on both systems? I assume that both theatres here are platter houses....

I can't say enough good things about the platter reels, but they won't be appropriate for every situation. Also, I have yet to find a theatre that can afford them.

Posted by Monte L Fullmer (Member # 2797) on 01-30-2010, 03:25 PM:

quote: Scott Norwood
How much do the operators trust each other? Does either theatre (or both) use automation and, if so, do the cues do the same things on both systems? I assume that both theatres here are platter houses....

In all the experiences with print moves, you just know what the other location has for automation - from "opticues" to bar code style - and adjust the cueing on the prints accordingly - even if one location having AW3 platters to one that runs either LP270's or STRONG A/AP3 units... you learn to adjust accordingly - plain and simple.

Also, it really helps to establish an employee/location relationship with doing circuits for this really makes these circuit moves a lot easier.

Also, some theatres owners can't justify spending the dough for a platter reel if clamping prints or breaking down to 6k reels is good enough. .. sorry, there are some real conservative operators out there.

-Monte

Posted by Joe Redifer (Member # 3) on 01-30-2010, 03:41 PM:

Adjusting the cues isn't always so simple, especially for the lights up cue at the beginning of the credits. That one requires that you spin the credits down onto a reel and change the cue. The issue there is if the print came from somewhere with a different platter than you use. The ring won't fit and you can't spin it down until after the first show has played. The end cue is easy enough to change and you should probably build up your own leader/trailer pack anyway, so all of the cues before the lights up at the credits start will be taken care of (there should be no cues in the middle of the movie).

Getting the show on separate reels will solve this issue because you can change the cue as you wind onto the platter deck.

Posted by Aaron Mehocic (Member # 15) on 01-30-2010, 03:46 PM:

I do this every Thursday night. Since I drive a Ford Freestar van, I just drop the backseat into the stow-and-go position and load up. Since as many as six prints may transfer between two locations, we have found clamps to be more of a problem then what they are worth, and, therefore, don't use them at all. I have asked for print pockets as discussed above and was denied. Plywood sheeting is difficult as the booth passages are narrow and stairwells are tight.

Every Thursday I move each of these prints with no protection at all. We pyramid them from longest length on the bottom to shortest length on top. They are arranged in the van so as not to slide forward by the middle row of captain's chairs and not to slide backwards by braced film cans that will not move. Since the theater from which they leave uses SPECO 280 platters the ring pins are removed and left behind for maximum ease when stacking in the van. Distance of travel is about one mile, but up a relatively steep grade on a three lane highway.

In almost two years we have not dropped or damage one print. We are extremely cautious moving prints in the rain and snow and take every effort to back the van almost literally into the building(s) to keep the film as dry as possible. Some people in our company still marvel as to the time myself and another operator moved film outdoors in a blizzard without one drop of water on the film. You may argue if this is "textbook", but I whole-heartedly believe this is "film done right" given our layout, resources, and manpower.

Posted by Monte L Fullmer (Member # 2797) on 01-31-2010, 12:14 AM:

quote: Aaron Mehocic
You may argue if this is "textbook", but I whole-heartedly believe this is "film done right" given our layout, resources, and manpower

Bottom line: as long as it works for you and you got it down to a system, then GO FOR IT and "Good Luck as always"

-Monte

Posted by John Wilson (Member # 269) on 01-31-2010, 03:18 AM:

quote:
On the last show in the first building, just thread it through your interlock rollers and have it take up on the platter in the next building. The print moves itself!

Joe, me likee you thinkin'.

Proof...

Posted by Monte L Fullmer (Member # 2797) on 01-31-2010, 07:52 PM:

Ya John .. that's-a pretty slick interlock. Joe need to pop on a link of his famous "Interlock 101" at the Arapahoe 16 the FT crew did a while back...

..I think I only saw one accumulator in that whole travel, but correct me if I'm wrong...

-Monte

Posted by John Wilson (Member # 269) on 01-31-2010, 08:47 PM:

Hi Monte

It's not an interlock, but simply a transfer of the print to its next screening location...hence no accumulators.

Posted by Gordon May (Member # 5608) on 02-01-2010, 02:29 AM:

We just clamp our's and hope that the film does not come loose. Oh, the days of Lord of the Ring, Return of the King!!!!! Our office double booked a show of Return of the King in the same building and this building was across the city, about 12 miles and the film was so big our clamps would not fit it. So I got two of the long ends and bolted them together with some foam in between the clamps and the film on the top side. It took two of us to put it in my van and then on the platter.

Posted by Jonathan Smith (Member # 5609) on 02-01-2010, 02:11 PM:

Hey first post here!

How much do those 2-3/4 hour full movie reels cost?

That looks like a good buy. . .

Posted by Monte L Fullmer (Member # 2797) on 02-01-2010, 02:26 PM:

quote: John Wilson
but simply a transfer of the print

...Oh, okey then ... like a super long version of Brad's cinema grill installs where the print goes from one platter to another platter for takeup... Still, pretty slick though.

quote: Jonathan Smith
How much do those 2-3/4 hour full movie reels cost?

First, welcome to Film-Tech! Put a plug in about yourself in the "Yak/Who the heck are you" sub-forum..and on to your question: Check with your local dealer/supplier for the pricing for maybe he can cut you a deal on the price for one of these units.

thx-Monte

Posted by John Wilson (Member # 269) on 02-01-2010, 02:28 PM:

Exactly. Moving AVATAR is a breeze. [Wink]

Posted by Tony Ratcliff (Member # 1196) on 02-02-2010, 07:44 PM:

Would that Platter Reel work on my Eprad Sword?

If so, that could be great for me.

I often get prints from the local multiplex.
They put the print on 6000' reels for me.
So if they could put it directly onto one of these
and I could then put it directly onto the Sword,
I wouldn't have to build the films back up I get from them.

Posted by Scott Norwood (Member # 30) on 02-02-2010, 07:48 PM:

It will fit on a pin-drive 1/2" shaft, like the Kelmar table. They definitely work on Eprad double-MUTs.

Note that if you take up onto one of these at a platter house, the print will be tails-up, and (usually) emulsion-out. You'll have to rewind it to play it on a large-reel system. Conversely, if you take the film up on a large-reel system onto a platter reel and can wind the film emulsion-out, you can take the entire thing into a platter house, plop it onto the platter, remove the top half, and run the print as-is. (Again, this works great with the double-MUT; I have not seen a Sword.)

Posted by Monte L Fullmer (Member # 2797) on 02-02-2010, 08:49 PM:

EPRAD's S.W.O.R.D. system looks like an oversized mini MUT with the projector sitting on top of it.

Look in the PICTURES section, then to DRIVE-INS, then to the MALDEN DR.IN to see a SWORD in action. Two years after I left the drive-in field, the owner took out the old Motiograph/Ashcraft setup and put in a pair of PRO 35's sitting on top of these SWORDS

Advantage with the SWORD is that you can replay part of the first feature over again, then rewind it back to the beginning if you have a pair of these SWORDS in your booth.

-Monte

Posted by Scott D. Neff (Member # 185) on 02-08-2010, 01:07 PM:

When I circuited movies off the theatre up the street we'd often just get them clamped. They were our competition so they would just remove their trailer pack before the last show and play it onto a ring. We would either bring them a replacement or return theirs after we got it back.

Yes - depending on how tightly (or loosely) it wrapped we had the ocassional hiccup, but it was much better than having an overzealous projectionist overload a 6000" because they didn't want to put one reel back onto the platter. Or worse yet, they would sometimes cut right in the middle of the reel once it got full.

Posted by Frank Angel (Member # 248) on 02-08-2010, 05:18 PM:

First off, make sure the exhibitor has booking clearance to run the title in both locations. Exhibtion rights are location specific and some times even screen specific (the distrib wanting their product played in an auditorium of a given number of seats). Prints can't be played in any theatre the exibitor happens to own at his whim. Sure, a lot of stuff goes on that's not particularly kosher and no one says anything about it, but should a question arise over an engagement happening in a location that is not licensed, a lot of unnecessary sheet can hit the fan, all of which is much easier to avoid before the fact rather than trying to clean it off the walls after it hits.

Posted by Manny Montes (Member # 5639) on 02-11-2010, 07:48 PM:

We have a sister theater that is about 8 miles away, for that trip I just Z-wrap the last showing, clamp it up and move it with my car. If its a really big movie and i'm worried, i'll break it down onto 6k house reels and move it that way.

Posted by Jason Black (Member # 684) on 02-15-2010, 07:24 PM:

Does anyone still move prints? I thought that the entore exhibition industry had gone DIGITAL.. ya know, because of it's inherent superiority to FILM? (LOL)

That said.. I always broke down on 6k reels if the print was to leave my booth. In house, we clamped and had two, sometimes three - depending on run time, people moving the prints.

Anyone who clamps and moves a print single handedly is ASKING for disaster. When the time comes that a print drops, and trust me, it WILL HAPPEN, you'll be sorry you didn't use more hands or a better transfer method..

Posted by Jonathan Althaus (Member # 5042) on 02-15-2010, 08:00 PM:

3+ years of moving prints with 1 person here, and no drops or disasters. If done right you won't drop them and I've moved some very loose prints. If I'm sending a print away I'll put it on 6k's, but if I'm getting a print, even if its late thursday or early friday, I prefer it to be completely torn down.