BUT!!!!!

The last theatre had used clear splicing tape so it was hard for the operator to find the reel splices I guess. On the frame lines, on both sides of the splicing tape, there was a silver paint streak like you get from one of those paint pens. Now I supose that this would have been ok BUT!!! The paint was not dry when that splice was spooled onto the platter so, you guessed it, there are silver blotches on the two wraps on either side of the splice. These blotches of silver paint are on the emulsion side and are in the projected image area.

How tragic! Another fine print is damaged.

Happy Halloween!

 |  IP: Logged

 |  IP: Logged

It was a really great job of handling film! The leadres were spaghetti in the can. Two of the leaders were stuck on in reverse, image out and tail in. All of the leaders were "tacked on" with a square inch of hand torn masking tape which bled adhesive into the emulsion side of the film. (the IPA cleaned that up nicely)

Is there anything that is safe for the image that will remove this silver paint? Are all of our patrons doomed to see those big black blotches in the center of the screen this week?

White Shoe Polish
Liquid Paper
Splice Tape that disintegrates and leaves adhesive behind
on peeling--usually white
Join Marking Tapes (strips of tape designed to be folded around
the edge to identify joins)
Masking Tape (except for non film use)

How about opaque splicing tape in general?

quote:

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Does anyone want to start a list of items that should be completely banned from any and all booths?
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Join Marking Tapes (strips of tape designed to be folded around
the edge to identify joins)

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Thanks for the lighter fluid information. I believe that it is also a burning agent as well as the existing IP Alcohol.

There is a can of WD-40 in the booth. It works well for getting the chewing gum off the floor when the downstairs folks have it on their shoes.

The nature of splices is such that they can be "felt" with relative ease and the pack level tape inside the reel flange lets you know when to look and if you missed it.

Thanks for the help, fellows.

1.) The contrast of light as it hits the top edge of the film is a dead giveaway for reel splices even if there is one or more lab splices removed. I usually pull my screening report to see how many were removed and then count the next splice over as the reel splice.

2.) You can feel the spice on the top edge of the film roll and you can slow down the MUT as you get near one.

3.) Run your MUT at 30% speed or just enough not to labor the motor when the reel gets full and with two fingers of your left hand feel the film between the top roller and the bottom roller of the MUT pole. And your right and at the speed and brake contol. When you feel the splice go through hit the brake and kill the speed. This method works 100% for me and I never miss a splice that way.

In the Multiplex I'm working now we are using a white pen to mark the print edge for fast breakdown. Unfortunately, as Kenneth noted, if the print is rewinded when white ink is not dry, the ink will leak on the frame and on platter rollers.....
I understand the need to mark the reel splices, the CNR Cinemeccanica platters are sooooooo slow to stop at maximum speed and you need to know exactly where splice is otherwise you'll have to re-engage the motor, rewind the print, stop, cut the splice, disengage the motor etc. etc. If you have to breakdown 2 or 3 prints in few time, you'll have to find something.

The white pens we're using are water based and it takes a lot of time to dry. Does exists an alchool based pens that dry in few seconds?

I used to see the chaning colours of the reels with my two no-platter projectors. Now it is hard to see the reel change in a semi-dark booth on the platter. I believe that a mark is important, I can also feel the splice but the CNR will stop in a thousand of meters and then to rewind it takes a lot of time.
I HATE labels, and everything that can be seen on the projected image. But I really to find out a reliable and valid way to mark splices.