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Topic: Making Up Prints

Andrew McCrea
Jedi Master Film Handler

Posts: 645
From: Winnipeg, Manitoba, Canada
Registered: Nov 2000

posted 04-01-2001 05:48 PM

How long does it take to make up one print, approximately?

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Andrew McCrea

"I'm Not Bad, I'm Just Drawn That Way!" - Jessica Rabbit

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Scott Norwood
Film God

Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99

posted 04-01-2001 06:08 PM

I'd say that, on average, it takes me (personally) about 30-60 minutes to inspect a print in "typical" second-run condition. I don't think it makes much difference when dealing with small reels, large reels, or platters. With small reels, one must inspect the cue marks on each reel; with large reels, only one set of cues usually requires inspection, but the same amount of time is required to remove appropriate leaders and tails and splice everything together. With platters, there's no need to inspect for cue marks at all, but, if automation is involved, there are usually several cues that need to be added to a print, which also takes time. Obviously, there is no "break-down" time required for small reels, however, which makes them more appropriate for theatres where films change frequently (not to mention that they make it possible to inspect part of the feature while the first reel is running).

Obviously, this process takes some people more time than others, and some prints require more repair work than others, and I suspect that something like a Goldberg platter reel (see the reviews section) would save quite a bit of time as well.

The other variable is the particular theatre's trailer arrangement. I'm not counting this here, since trailer work can usually be done ahead of time before the print arrives. Splicing together one or two trailers can be done in a couple of minutes, but a full-blown trailer reel with commercials, snipes for coming attractions, feature presentation, sound format, etc., as well as 4-5 trailers will take significantly longer.

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Paul G. Thompson
The Weenie Man

Posts: 4718
From: Mount Vernon WA USA
Registered: Nov 2000

posted 04-01-2001 06:29 PM

Andrew, that depends on lots of things.

1. Your attitude towards the job at hand.
2. The condition of the equipment being used.
3. The type of equipment being used.
4. The condition of the print itself.
5. The number of reels involved.
6. Working enviroment.
7. How well you are organized.
8. Experience.
9. Pride in doing it correctly.

I could go on and on.

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Randy Stankey
Film God

Posts: 6539
From: Erie, Pennsylvania
Registered: Jun 99

posted 04-01-2001 07:24 PM

For me, it takes about an hour to build up a new print onto a platter. That includes doing the trailer pak and checking the reels for lab splices and other "problems". I build onto 6K reels at the bench. (I recommend this to everybody who CAN do this.) While the first half of the print is running onto the platter, I'm splicing up the second half.

If it's a used print it'll take a bit longer. I think the longese it has ever taken me to build up a print was 3 hours. That print was SOOoooo trashed I can't begin to tell you all the work I had to do on it. I remember a few prints where the heads and tails were all mixed up and the reference frames were missing. I had to call Technicolor and have them FAX me the "breakdown sheet". That one took a while as well.

Do I have to count the "down time" while I was on the phone with TES and while I was waiting for the FAX? If so, It took longer than 2 hrs. If not it probably took just under 2.

When it comes right down to it, I'm not in a race so I don't really time myself. It takes me however long it takes me to get the job done as well as I know how!

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Darryl Spicer
Film God

Posts: 3250
From: Lexington, KY, USA
Registered: Dec 2000

posted 04-01-2001 11:40 PM

It Takes me about an hour and a half to do everything. Trailers take about 10 to fifteen minutes depending on amount and if all are going in same direction. I inspect entire feature for scratches, lab splices and sprocket damage. The later is not as bad as it was a long time ago.

I do all this on the make-up bench onto 6000ft reels. Since I only have 8 screens i usually don't need any help. I build everything up then transfer it to platters.

I usually take in the entire day from open to close. I build up and break down everything. I have other people that can help if needed. Everything usually runs smooth and I am done and sometimes screening the movie by one o'clock.

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Aaron Mehocic
Jedi Master Film Handler

Posts: 804
From: New Castle, PA, USA
Registered: Jun 99

posted 04-02-2001 03:07 PM

Do you guys do the job on Thursday nights or early Friday mornings?

(We know already know about Darryl)

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Tom Sauter
Expert Film Handler

Posts: 163
From: Buffalo, NY, USA
Registered: Sep 2000

posted 04-02-2001 04:09 PM

Running changeovers, a new print will take about 50 minutes to check for lab splices, cues, and wind onto house reels (then rewind, since most films arrive heads out these days). On an average, second-run print I spend about 1.5 hours.

Breakdown time is about 5 minutes, or however long I need to rewind the last reel onto its shipping reel.

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Jeffry L. Johnson
Jedi Master Film Handler

Posts: 809
From: Cleveland, Ohio, USA
Registered: Apr 2000

posted 04-04-2001 12:47 PM

My general rule of thumb for print inspection and platter loading is the running time of the print. Shipping out is 1/2 the running time of the print.

Inspecting and mounting a new print will be less, but a used print may (usually will) take longer. That's what I tell management if they ask.

Note this if for a thorough gloved hand inspection of the entire print. This does not include trailers and snipes. I add 30 minutes for trailer work.

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John Pytlak
Film God

Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000

posted 04-04-2001 01:16 PM

My experience is along the line of Jeffry's -- a full inspection should take about as long as the running time of the print. If you are doing it much faster, you are either winding through the film too fast, or not really taking the time to find film damage or bad splices that could interrupt the show.

IMHO, putting an uninspected shipping reel on the makeup table (MUT), making the splice, and walking away as the film winds onto the platter, is NOT good practice. Just because the reel arrives heads out, or is a new print, or has an "Integrity Inspected" sticker, doesn't mean it is ready to project!

One of my mentors once told me: "Never ASSUME anything -- it will make an ASS out of yoU and ME".

YOU are reponsible for what goes up on the screen and though the speakers. YOU are responsible for "Doing Film Right". (And of course, YOU do!)
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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 Cell: 716-781-4036 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion

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Aldo Baez
Master Film Handler

Posts: 266
From: USA
Registered: Mar 2001

posted 04-05-2001 02:28 PM

It takes me 40-60 minutes to do everything. The trailers take the longest. The best way I have found for me to clear any damage/lab splices etc is to build up the movie, preferrably on thursday, and watch it thurs night after closing, or friday morning. Then if I see any lab splices I write it down while I'm watching and go back after and change it. Of course I can't do this if we get 4 prints in a week, if not I just basically run it through and check every reel every few minutes while I run around doing other stuff Friday morning.

Does anyone remember Saving private ryan? Man, we got this film 11am friday, ALL foot up. I have never sweated so much in my life. Right after we finished loading it on we practically pushed start. And I remember fight club, that was a doozy since I had very little light to work with and half the reels were fade in/fade outs. Last time I built up a film on something other than the build up table. :P

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John Pytlak
Film God

Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000

posted 04-05-2001 03:29 PM

Actually screening a film prior to the opening is always a good idea, IF you have the time. But careful inspection during make-up will find most of the problems that are within your power to correct. Taking the time to do a thorough "edges between the fingers" inspection will find 99% of any problems.

Your point about having the proper light for inspection is a good one. A good illuminator is invaluable for looking at the image as you inspect and splice the film. There are now portable battery-powered fluorescent illuminators and lamps that can easily be brought to the MUT or rewind bench. For finding scratches, nothing beats a bright specular light. A small spotlight, or even a high intensity quarz halogen desk lamp work well. Holding the film in the beam of a projector also makes any scratches or surface defects very easy to see.
Grainger Lighting Products

Use an obsolete lens as a high quality magnifier. I have an old Kodak EKTAR 28mm Super-8 projection lens that is better than any jewelers loupe for magnifying tiny objects. Radio Shack and Edmund Scientific also sell "pocket microscopes" that are great for looking at sprocket teeth for wear.
Radio Shack 30X Microscope

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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 Cell: 716-781-4036 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion

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Christopher Seo
Jedi Master Film Handler

Posts: 530
From: Los Angeles, CA
Registered: Jun 99

posted 04-06-2001 04:38 AM

Yes, after some practice lab splices will be discernable from random edge scuffing while feeling the film by hand (gloved or not) during inspection. This is much quicker than and preferable to backing a film off the platter to find a lab splice (yes, I had to do that once).

Actually, I prefer to get a print all tails out. Since I inspect to 6000s this saves a rewind before going onto the platter. Even in a rush, building to 6000s first is no problem, because while one 6k loads to platter you can be making up the next 6k. Also you have all the advantages of working at a rewind bench, which is good lighting, not having to bend over, and being able to stop, start, and change speed easily which a bulky platter isn't designed to do.

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Mitchell Cope
Master Film Handler

Posts: 256
From: Overland Park, KS, United States
Registered: Jun 99

posted 04-06-2001 05:58 AM

So, how does Tom breakdown a film in 5 minutes? That doesn't seem to be possible.

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John Pytlak
Film God

Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000

posted 04-06-2001 06:17 AM

Tom said he is running with changeovers. "Breakdown" usually consists of running the last show directly onto shipping reels.

The only problem running onto shipping reels is when the takeup's speed/torque is insufficient to wind up tightly onto the smaller hub diameter of a shipping reel/core (compared to a "house reel"), or if the shipping reel is in such poor condition that the film cannot wind onto it evenly.

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Tom Sauter
Expert Film Handler

Posts: 163
From: Buffalo, NY, USA
Registered: Sep 2000

posted 04-06-2001 12:27 PM

My rule here is to never run the print directly onto the shipping reels. I just don't trust plastic ones, and even the tin ones are usually wobbly enough to make me shy away.

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