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This topic comprises 2 pages: 1 2
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Topic: Booth Standards
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Leo Enticknap
Film God
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Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000
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posted 09-15-2000 01:46 AM
I don't think you can be too prescriptive about the time it takes to make up a print - in my experience it depends on what state the print is in, and also the equipment being used to do the job.Example - the Cinemeccanica platters in my current workplace wind at about half the speed of the Kinotons at my previous one, and that makes a reel difference. A new or nearly new print which arrives in good condition with all the reels head out is going to be dealt with a lot more quickly than a knackered one which has hundreds of joins needing to be remade, is head out and being made up for changeovers (hence the need to wind each reel twice) and which arrives without leaders and tails in the correct cans. Being at an arthouse cinema, I get those on a regular basis and 4-5 hours to make up a print is not uncommon if it's really long and really bad. It often strikes me that the distributors are effectively getting a print repair service for free out of projectionists. Why should my employers be paying for those 4-5 hours when they are also paying the distributor to hire the film? As with the computer software industry (e.g. all the bugs in Windows 98), it seems to be an accepted fact of life that distributors can supply defective goods to their customers without any form of redress (on the rare occasions when I reject a print and it is actually replaced, we even have to pay for the transport). Now if there were a couple of high profile court cases...
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John Pytlak
Film God
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Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 09-15-2000 06:52 AM
I agree that the important jobs of print inspection, make-up and break-down should NOT be given an arbitrary time limit. You should be given as long as it takes to do a good job, which will depend on factors like the incoming print/reel quality, orientation on the reels, etc. Pre-screening to evaluate picture and sound of the entire film is highly recommended. Again, this might be an opportunity to offer free admission for a pre-screening to a few tech-minded film buffs in return for their written evaluation on an evaluation form.------------------ John P. Pytlak, Senior Technical Specialist Worldwide Technical Services, Entertainment Imaging Eastman Kodak Company Research Labs, Building 69, Room 7419 Rochester, New York, 14650-1922 USA Tel: 716-477-5325 Fax: 716-722-7243 E-Mail: john.pytlak@kodak.com
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Doug Fields
Film Handler
Posts: 15
From: Parsippany, New Jersey, USA
Registered: Sep 2000
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posted 09-15-2000 12:25 PM
Thanks for the replies everyone. It seems tat payroll has become a HUGE issue all of a sudden at our company. While I understand the need to control all expenses, I think that only allowing 5 hours for a 3 in 3 out Thursday with NCN changes in all theaters is a little unreasonable. Oh, I forgot to mention. In those 5 hours there is also the downstairs duties also. As a Manager/Operator, I a responsible for Inventory, Marquee changes, Poster changes, Concession delivery... etc., etc. So, I guess more to te point is they are giving me 5 hours to completely change over a Theater on a Thursday night. I was talking to a member in my local Union, and he said that the standard is 2 hours for a make up, and 1 for a breakdown. That seems reasonable to me. It would actually even out when you take into account that you could build up a 5 reel print faster than 2 hours, but you may have a 9 reel print to break down with crappy reels from technicolor. I really don't mean to rant, but I feel as though I am being scolded for doing my best, and they feel that I am padding the payroll hours.------------------ Doug Fields Union Manager/Operator/Projectionist Madison Cinema 4 Madison, New Jersey
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