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Author Topic: HELP HELP HELP, I NEED HELP WITH KILL BILL Matthew Stevens Film Handler Posts: 37 From: Colorado Springs, Co Registered: Jan 2004 posted 04-15-2004 07:12 PM                        Ok, if anyone has gotten kill bill, you should have also received a fax saying, "TO all projectionist, Please note that kill bill vol, 2 is a reel show. Reel 1AB contains a fade out at the end of the reel. Reel 5Ab contains a fade out at the end of the reel and reel 6ab contains a fade in at the beginning of the reel. In order to splice 1&2 together please not the frame box on the tail leader of reel 1. Put your synce box at this point and zero it out. GO back 2 feet exactly and cut between the 15 & the 0, (this should be exactly 2 feet in length). Or you can go the last cue mark, zero out the synce box and go 24 frames to cut off the leader." What is the 15 & the 0? WHat is the sync box? I was never taught this stuff. Sorry.  |  IP: Logged Bill Gabel Film God Posts: 3873 From: Technicolor / Postworks NY, USA Registered: Jan 2002 posted 04-15-2004 07:33 PM                     You should go to Feature Info & Trailer Attachments area on this site. And look up "Kill Bill Vol.2". Brad has given the info about the cutting of the reels. A sync box is a footage counter.  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 04-15-2004 07:34 PM                     link  |  IP: Logged Wolff King Morrow Master Film Handler Posts: 490 From: Denton, TX, USA Registered: Feb 2004 posted 04-16-2004 06:21 AM                        quote: A sync box is a footage counter. Which comes in REAL handy for ambigious reel changes and fade-in/outs. The UA theater I worked at some years ago didn't have one, so I was thrilled when I finally got to use one later on.  |  IP: Logged Pete Lawrence Expert Film Handler Posts: 192 From: Middleburg, PA Registered: Aug 1999 posted 04-16-2004 02:13 PM                     This is Neumade's version of a footage counter. I got one off eBay a while back for $25. Sometimes it pays to buy your own tools.  |  IP: Logged Bobby Henderson "Ask me about Trajan." Posts: 10973 From: Lawton, OK, USA Registered: Apr 2001 posted 04-16-2004 06:50 PM                     Matthew, I know this probably isn't the right forum to ask this. But your member photo...are you eating a potted plant!?  |  IP: Logged Tao Yue Expert Film Handler Posts: 209 From: Princeton, NJ Registered: Apr 2001 posted 04-16-2004 09:04 PM                        A sync box is a gadget used to sync up 24-frame video with the camera shutter when shooting a film. Bottom of http://www.cinematography.net/45%20monitor.htm refers to it. Buy one from http://www.mandy.com/1/class3.cfm?id=14494. Can't seem to find a manufacturer's page, many in the film business are still not on the 'net. A sync block is a footage counter with at least two wheels for film. Near the bottom of http://www.sfu.ca/sca/Manuals/ZAAPf/s/sync_path_oview.html there's a picture of a 4-wheel sync block with mag heads, used to keep soundtrack (on mag fullcoat, probably) in sync with picture when cutting. Is this a case of an error in an official fax, or is it another typo in Matthew's post?  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 04-16-2004 10:14 PM                    Do you suppose they saw my rant on newsgroups (rec.arts.movies.current-films, r.a.m.tech and alt.fan.tarantino) where I challenged viewers to report theatres cutting off the fades?  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 04-18-2004 07:49 AM                        Of course the question is, why the eff was the print cut this way in the first place? There is no reason. If he wanted to preserve fade-ins and fade-outs in today's booth environment where you might find "booth attendants" (as the UA Theatres execs like to call them, so loathed are they of the word "projectionist") that might not have the experience of verteran projectionists, he damn well should have cut the reels on shot changes and not on opticals. And then to stick that nonsense instruction sheet in the can that would confuse anyone, is a joke. I know of plenty of booths that don't even have frame counters. And to call for a sync box or to refer to 15 and 0 and not explain what he's talking about or to mention reel 1AB and 5AB to many a booth operator who have never heard of A/B 1000ft rolls, is just pathetic. And what in hell is this sentence supposed to mean? "Please note that kill bill vol, 2 is a reel show." As opposed to what may I ask? And how much you want to bet that in the fades there are no visible frames to make it even more of a pain in the butt. If he cut a print in such a manner, I say he deserves whatever crap happens at his freaken reel splices. After all, TO KILL BILL V2 is a reel show!! Geez, what an a-hole.  |  IP: Logged Darryl Spicer Film God Posts: 3250 From: Lexington, KY, USA Registered: Dec 2000 posted 04-18-2004 10:46 AM                    On my print I found a small circle that looked like a changeover cue. It was a lone circle. Took into account the direction the film was going and used the circle as a referance to cut the film. That circle was positioned in the same manner as a Changeover cue so I cut three sprocket holes down from the circle. Everything ran fine with no out of frames or abnormalities.  |  IP: Logged John Walsh Film God Posts: 2490 From: Connecticut, USA, Earth, Milky Way Registered: Oct 1999 posted 04-18-2004 10:59 AM                     Agree with Frank, completely. The editor made a mistake, just like that reel change with 'Lion King." His laziness at not fixing the one problem caused thousands of people (making up prints) headaches.  |  IP: Logged Thomas Procyk Phenomenal Film Handler Posts: 1842 From: Royal Palm Beach, FL, USA Registered: Feb 2002 posted 04-18-2004 03:45 PM                     The theater I saw it at, I heard a sync-pop (bleep!) at the aforementioned reel changes. =TMP=  |  IP: Logged John T. Hendrickson, Jr Jedi Master Film Handler Posts: 889 From: Freehold, NJ, USA Registered: Apr 2001 posted 04-18-2004 06:11 PM                     Right on, Frank!!! Bottom line here is that there are going to be a hell of a lot of presentations that are going to be  |  IP: Logged Adam Martin I'm not even gonna point out the irony. Posts: 3686 From: Dallas, TX Registered: Nov 2000 posted 04-18-2004 09:11 PM                     What the hell are you guys bitching about? Are you saying that filmmakers should make changes in the way things have been done FOREVER (and has worked just fine, by the way) because SOME exhibitors are too cheap to properly equip and to train people to properly operate their projection booths? That's like saying all exhibitors should convert to digital projection because some distributors are too cheap to pay for prints to send their mostly-crappy and under-performing product to 8,000 screens opening weekend. Give me a break.  |  IP: Logged Dominic Espinosa Phenomenal Film Handler Posts: 1172 From: Boulder Creek, CA. Registered: Jan 2004 posted 04-22-2004 02:58 PM                     Oh, I loved Kill Bill Vol. 2...At first I was a bit thrown by the fact that it was edited like that...And what's with the "intentional" beep 250 feet into r2? A sync pop? Whatever, the memo for KB 2 didn't show up in my fax machine until I had already loaded the first 4 reels to the platter. I admit to cutting about 6" off on the first reel, I respliced it later, the splic is virtually undetectable while watching since it's in the middle of all that pictureless grey film. I believe reel 5ab contained a "splice here" mark which I think should have been on all three of those reels. However, in the event you don't happen to have a sync block lying around the Miramax memo did indicate footage listings which I later checked against a ruler, they are in fact a viable means of finding where to cut it.  |  IP: Logged

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