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Author
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Topic: Film Damage Protocol
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Brad Miller
Administrator
Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99
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posted 01-12-2000 04:33 PM
I always pack my prints back up in the cans heads out/emulsion out with each reel securely wrapped in a 24"x24" trash liner. That prevents any of the dirt and crud from inside the cans from getting on the print. I always ensure if there are no reel bands that I use a generous amount of white artist's or flatback tape (at least 4 inches long) with the reel number clearly marked on the tape with a Sharpie marker). If for some oddball reason I have to send a reel tails out (say a TES reel breaks during breakdown), then I clearly mark "Reel 2---TAILS OUT" on the tape. (btw, I also single side splice the leaders back on...but there's an entire thread on "breakdown etiquette" if you search the archives here.)As to print damage, the studio should always be notified before even sending it back. In addition, I would call TES/ETS and let the depot guy know which reel(s) got damaged. Fortunately, I have never had this happen, but I most certainly would do so! In the real world, people try to tightwind the print and don't say anything, because they're afraid of being "charged" for the cost of the print. If only the studios would enforce that, presentations everywhere would improve significantly.
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Andrew D'Vrey
Film Handler
Posts: 92
From: St. Paul, MN USA
Registered: Dec 1999
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posted 01-13-2000 12:53 AM
We have some red stickers here...no idea where we got them, they were here long before I was. But they say "damaged reel". They're about the size of large return-address-labels. Heck, maybe that's what they actually are...but in the unfortunate case a print is damaged I use them to mark a bad reel.Before pickup it is always good to notify the distributor. ------------------
"And the monkey flips the switch."
- Major Don West, "Lost In Space" Andrew D'Vrey
IATSE Local 219
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John Pytlak
Film God
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 01-13-2000 01:44 AM
ANY damage or defects found during print inspection prior to make-up should be documented (keep a written print log) and reported to your manager, the distributor and the exchange immediately. Otherwise you might be blamed for the problem when the print finishes its run or people complain. Ask for a replacement reel if the damage hurts presentation quality.If you suspect a lab or stock problem, record the title, print number, reel number, complete film manufacturer's edgeprint (magenta letters in the SDDS track area), and lab name (written on the leaders or case labels). This aids in tracking the problem. Since minor (but noticable) problems may not be caught on the rewind bench, I suggest finding a few technically knowledgable "film buffs" who would be able and willing to report on any picture or sound problems whenever they attend a screening at your theatre. Free admission would usually be adequate enticement. If you damage a print  , document it and ask for a replacement reel if the damage is severe. Attach an obvious "DAMAGED PRINT" sticker to the OUTSIDE of the film case, since the print is rarely pulled out and inspected before going to the next theatre. Attach a note of explanation to the damaged reel, so the exchange personnel (or at least the next projectionist) will know what is wrong. And fix the cause of the problem, so it doesn't happen again. 
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John Pytlak, Senior Technical Specialist
Worldwide Technical Services, Professional Motion Imaging
Research Labs, Building 69, Room 7419
Eastman Kodak Company
Rochester, NY 14650-1922 USA
Tel: 716-477-5325 Fax: 716-722-7243
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William Hooper
Phenomenal Film Handler
Posts: 1879
From: Mobile, AL USA
Registered: Jun 99
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posted 01-14-2000 03:09 AM
I've been to booths where no one had heard of a film inspection report.This one's probably a 40's-era report form I found:
http://www.geocities.com/Hollywood/Theater/3622/misc/finspect.pdf It's broken down by reels, & so I like it because: 1. I can just check stuff off with hash marks as I inspect and/or repair a print. 2. It's detailed, so that when one of the downstairs people ask "how is the print" I can just make a photocopy & let them see for themselves. What, you want me to run the movie AND remember stuff, too? Besides, I hate it when the straights ask a technical question & then put up that glazed expression when they get an answer. 3. It has weird antique things in it. So when I get a damaged print, call The Place Where The Movies Come From & tell them that it's damaged & they say "send it back wih a film inspection report", they get to look at the report & wonder how changeover cues become incorrect or damaged. On the back of the report I make my notes about the show - fader level, any oddball EQ, curtain, sound, follow spot, etc. presentation sequences...whatever. So if I've got to send back a report, I just photocopy the front for them & I retain the original w/other details.
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John Walsh
Film God
Posts: 2490
From: Connecticut, USA, Earth, Milky Way
Registered: Oct 1999
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posted 01-14-2000 10:11 AM
If we damage a new print during make-up, we cut out the bad section. A report is filled out saying that it came in that way. This works well with used prints, because we know prints are not inspected between theaters. Hey; it's their word against ours! Then we bring that section out to the dumpster and bury it at the bottom, hoping the guy will take it away before anyone asks to see it. To insure against some do-gooder checking out our story, we pour whatever we sweep up behind the candy stand on it, with a half gallon of soda syrup for good measure. Root beer syrup is especally nasty, and I highly recommend it for this purpose. No one will touch anything under that mixture.If we do medium damage to the print during the run, we sigh and say; film is an imperfect media we must all live with, and digital projection will do away with these problems. Have a free pass, and please don't tell anyone. For serious damage during the run, we hold a Ouija-board seance to find who to blame. Who actually caused the damage is irreverent. Strangely, it usually turns out to be ushers that refuse to pick-up 'to-go' orders at Subway for the projection staff. Not being 'team-players,' they were gonna get it sooner or later anyway, so it might as well be sooner. And always remember the name of people who have quit. They are not around to defend themselves, so they can still 'work' for you, if you know what I mean (wink, wink.) When there's a problem it always sounds better to say, "He doesn't work here anymore..."
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Colin Wiseley
Expert Film Handler
Posts: 123
From: Blacksburg, VA
Registered: Dec 1999
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posted 01-14-2000 10:30 AM
John,I think that's the best advice of all! Colin Wiseley
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