Now, if it is a 3" or 4" core, you can go through some of your orange Technicolor cans and search for one of their original designs that was a black pull apart reel with a metal centerpiece. If you can find one, pop it apart (it's probably already broken anyway so this won't be difficult) and them sandwich the film onto the reel.

That is the way a new print is shipped from the labs to a film exchange. If the exchange is in a hurry, or if it is a one shot thing, they won't put it on reels for you. They will just ship it to you as is.

You might want to purchase a "split reel" which is a reel with one side that comes off. You put your print on it's center hub, then screw the side back on. You will really need a split reel when it comes time to ship the print back, unless you exchange will send you empty reels to use.

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"And the monkey flips the switch."
- Major Don West, "Lost In Space"

Only during film festivals do I encounter the plastic reels used by Technicolor and others for the American prints fresh from American theatres or labs. Those reels give me additional work since my rewind setup lacks the right adapters for the reels (the axle dimensions are all wrong). A screwdriver and a VERY low rewind speed usually solves this, but somebody else always has to rewind the print back to the original Technicolor reels.

OTOH, I've received prints with wooden cores (no sides), prints without ANY kind of cores, some of them in potatoe sacks, prints on 6000' transport reels that use the 70mm axle diameter (12.5mm; I don't know if you guys use the same axle diameter for your 70mm setups but the Danes sure do), russian prints without cores in about two dozen tiny little tin cans (they look like land mines to me)...

quote:

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Originally posted by Gordon McLeod:
In most of the world (outside North America) this is how most prints are shipped on lab cores in tins

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Gordon is very right. ALL films foreign or domestic come in cans rounded in cores (for the first run) and without cores after the first run theatre returns them back to the distributor.
The most common practice in the make up is to use either split reels, or a core (sometimes custom made) with metal plates at the sides, OR ...just plain core -in fact that is the way I learned 20 yrs ago.
The whole procedure is totaly unprofessional since different theatres use variable diameter cores (even the distributors) and most of the time you have to tighten or loosen the film to fit the core you have. The result is the one can imagine. SCRATCHES.
Most of the time you can tell when a reel is going to change from the many scratches at the head and tail of each reel (unfortunately even sometimes in the FIRST run of a movie)
In such cases you have to be carefull and of course respect the print in your hands.

Information on how film is supplied by Kodak can be found in Kodak's publication H-1 "EASTMAN Professional Motion Picture Films". It includes information on film identification, cores and spools, and film dimensions. It is available for free download on Kodak's web site:
http://www.kodak.com/US/en/motion/support/h1

Check out the section on "Selecting Your Films", and the subsections on "Sizes Available" and "Film Identification".

Every theatre should have "split reels" or "flanges" to properly handle film when it arrives on cores rather than reels. Manufactured by companies like Goldberg Brothers Inc., these are available through theatre equipment dealers.

The Goldberg Brothers website is: http://www.goldbergbrothers.uswestdex.com

Another site is Editorial Equipment Parts Co.: http://www.eepco.com/products.html

Another supplier is L&M Editorial Inc.: http://www.lm-inc.com/price.html

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