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Very few places ever had 70mm equipment, even fewer actually used it- especially today. That, and the poor pay for most projection positions means older guys are not replaced and younger people don't go into it. Knowledge is not passed on and dies. It's getting harder to find even experinced 35mm operators- never mind 70mm. It's becomming like ice harvesting; a lost profession.

John is right, it is the new, untrained and uncaring kids who are running the shows now because the audience does not demand quality. At least the fellow single sided it back together instead of masking tape, stapling or not reattaching the leaders at all. Now those things I've got a problem with. Granted it is an extra pain for you to go back and double side the leaders back on, but as Ripley said to Burke "you mine as well start dealing with it" because platters are here to stay. (I do have absolutely NO tolerance for morons who cut more than 1 frame off on the leaders for ID purposes. It is very unprofessional and displays a complete lack of interest in caring for a print.)

Remember, it was not the platter that damaged that film, it was the operator...just like a bad operator can destroy a film running reel to reel.

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I think pull-ups are when the sound is recorded on a print such that it sounds correct at the c/o or splice. When an optical sound print is meant for c/o's, but is spliced together for platter use, the last 18 frames' worth of sound gets cut off, because the reel is cut at the last image frame. I guess (using 70mm) with the sound ahead of the picture, the first 24 frames' worth of sound gets cut off. Or something like that.

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Yes, the sound IS repeated into the tail leader and starts in the head leader. Cutting the leaders off and replacing them does NOT in any way damage the capability to have a perfectly presented changeover show.
The only way it would affect a changeover presentation is if the last operator went in and cut frames off (some actually do this for souvenirs!) from building instead of peeling the tape off.

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Loss of frames at the heads & tails seems to be more related to deterioration from repeated cut/splice at buildup than souvenir pickers. If you run many rep prints that have been plattered, you've seen:

1. The infamous two feet of individual frames spliced together by operators who don't peel the old splices at build up, but just whack the next one in from the splice

2. Mangled frames with emulsion peeled away, bent up at the sprockets, across or up the frame, etc. from manhandling at splice peeling.

And when it gets to that point, you might as well just throw those frames away. That's going to sound awful on a mag changeover.

Not to mention that if the prior houses spliced them back together with tape over the oxide mag tracks. Peeling them apart & putting them back together *will* damage an oxide ribbon.

And there go Gordon McLeod's pull-ups.

Sure, when a print gets abused to that point, it would be best to get a new print. How easy is it to get a new mag 70mm print of Lawrence of Arabia?

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