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Author Topic: Moving prints between buildings Michael Voiland Expert Film Handler Posts: 219 From: Naperville, IL US Registered: Aug 2009 posted 01-30-2010 02:19 AM                     We have 2 locations. Whats the best way to move prints. should you 1. Clamp the print put it in your car and drive it over to the other theater or 2. Break the film down to larger reels and move the reels. This is one I am struggling with the managers seem to think its ok moving it with clamps but I am just not sure.  |  IP: Logged Demetris Thoupis Phenomenal Film Handler Posts: 1240 From: Aradippou, Larnaca, Cyprus Registered: Apr 2001 posted 01-30-2010 02:32 AM                     Definately break the print at least into 2 1800m spools.  |  IP: Logged Joe Redifer You need a beating today Posts: 12859 From: Denver, Colorado Registered: May 99 posted 01-30-2010 02:54 AM                        On the last show in the first building, just thread it through your interlock rollers and have it take up on the platter in the next building. The print moves itself!  |  IP: Logged Michael Voiland Expert Film Handler Posts: 219 From: Naperville, IL US Registered: Aug 2009 posted 01-30-2010 03:02 AM                     There is about 5 to 6 miles of road to thread through. I don't know if I have enough tension pins or rollers to make it that far. But in all seriousness. I need some good points to pursue them moving film on big reels or should i drop it. The idea not the film.  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 01-30-2010 03:19 AM                     We've clamped for years without any problems and between cities .. and in the past, even states. Just make sure you got room in the car and the film is securely clamped. there is one little trick to aid in clamping and that is when you're winding the film back on the platter (with an STRONG platter) instead of lacing the "yo-yo" in the normal "W" fashion, is to do the "Z method" as such: the film coming up from the lowest roller on the tower to the first roller on the yo-yo, you would go across to the other top roller on the right of the yo-yo, then down to the lowest left roller on the yo-yo, then back across to the lowest right roller on the yo-yo, then the film would continue upward in the normal fashion to the platter for takeup. This makes the wind a lot tighter-tight enough that when you clamp it, that film definitely isn't going anywhere. I've never had a print come undone and even had multiple clamped prints stacked in my car ... Good luck -Monte  |  IP: Logged Demetris Thoupis Phenomenal Film Handler Posts: 1240 From: Aradippou, Larnaca, Cyprus Registered: Apr 2001 posted 01-30-2010 06:17 AM                     At least get some decent equipment from Carlsson Equipment to deal with moving films on film clamps. Demetris  |  IP: Logged Jim Cassedy Phenomenal Film Handler Posts: 1661 From: San Francisco, CA Registered: Dec 2006 posted 01-30-2010 06:37 AM                     The theaters I project at are seperated by two city blocks. When we need to move a print from one to the other, we use a "Print Pocket", which looks very similar to one of the "Film Cassettes" in the "Carlson Equipment Company" link in the previous post. We usually drive the print beteween buildings, but there's been one or two occasions when the driver was running late and we just walked it down the street.  |  IP: Logged Jake Spell Master Film Handler Posts: 294 From: Johns Island SC Registered: May 2009 posted 01-30-2010 10:53 AM                     Whenever I move a print between buildings I just clamp it and carry it on a piece of plywood once its out of the booth.  |  IP: Logged Emma Tomiak Expert Film Handler Posts: 238 From: Carrollton, TX, USA Registered: Aug 2003 posted 01-30-2010 11:26 AM                        How about using one of these? I can fit 3 stacked in the trunk of my little Civic.  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 01-30-2010 12:27 PM                     wooo..but they cost "$Money", honey ... Just like a "print pocket" .. spendy little devils ...  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 01-30-2010 02:48 PM                        How much do the operators trust each other? Does either theatre (or both) use automation and, if so, do the cues do the same things on both systems? I assume that both theatres here are platter houses.... I can't say enough good things about the platter reels, but they won't be appropriate for every situation. Also, I have yet to find a theatre that can afford them.  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 01-30-2010 03:25 PM                     quote: Scott Norwood How much do the operators trust each other? Does either theatre (or both) use automation and, if so, do the cues do the same things on both systems? I assume that both theatres here are platter houses.... In all the experiences with print moves, you just know what the other location has for automation - from "opticues" to bar code style - and adjust the cueing on the prints accordingly - even if one location having AW3 platters to one that runs either LP270's or STRONG A/AP3 units... you learn to adjust accordingly - plain and simple. Also, it really helps to establish an employee/location relationship with doing circuits for this really makes these circuit moves a lot easier. Also, some theatres owners can't justify spending the dough for a platter reel if clamping prints or breaking down to 6k reels is good enough. .. sorry, there are some real conservative operators out there. -Monte  |  IP: Logged Joe Redifer You need a beating today Posts: 12859 From: Denver, Colorado Registered: May 99 posted 01-30-2010 03:41 PM                        Adjusting the cues isn't always so simple, especially for the lights up cue at the beginning of the credits. That one requires that you spin the credits down onto a reel and change the cue. The issue there is if the print came from somewhere with a different platter than you use. The ring won't fit and you can't spin it down until after the first show has played. The end cue is easy enough to change and you should probably build up your own leader/trailer pack anyway, so all of the cues before the lights up at the credits start will be taken care of (there should be no cues in the middle of the movie). Getting the show on separate reels will solve this issue because you can change the cue as you wind onto the platter deck.  |  IP: Logged Aaron Mehocic Jedi Master Film Handler Posts: 804 From: New Castle, PA, USA Registered: Jun 99 posted 01-30-2010 03:46 PM                     I do this every Thursday night. Since I drive a Ford Freestar van, I just drop the backseat into the stow-and-go position and load up. Since as many as six prints may transfer between two locations, we have found clamps to be more of a problem then what they are worth, and, therefore, don't use them at all. I have asked for print pockets as discussed above and was denied. Plywood sheeting is difficult as the booth passages are narrow and stairwells are tight. Every Thursday I move each of these prints with no protection at all. We pyramid them from longest length on the bottom to shortest length on top. They are arranged in the van so as not to slide forward by the middle row of captain's chairs and not to slide backwards by braced film cans that will not move. Since the theater from which they leave uses SPECO 280 platters the ring pins are removed and left behind for maximum ease when stacking in the van. Distance of travel is about one mile, but up a relatively steep grade on a three lane highway. In almost two years we have not dropped or damage one print. We are extremely cautious moving prints in the rain and snow and take every effort to back the van almost literally into the building(s) to keep the film as dry as possible. Some people in our company still marvel as to the time myself and another operator moved film outdoors in a blizzard without one drop of water on the film. You may argue if this is "textbook", but I whole-heartedly believe this is "film done right" given our layout, resources, and manpower.  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 01-31-2010 12:14 AM                     quote: Aaron Mehocic You may argue if this is "textbook", but I whole-heartedly believe this is "film done right" given our layout, resources, and manpower Bottom line: as long as it works for you and you got it down to a system, then GO FOR IT and "Good Luck as always" -Monte  |  IP: Logged

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