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This topic comprises 2 pages: 1  2 
 
Author Topic: Drying Prints
Jason M Miller
Master Film Handler

Posts: 284
From: Kalamazoo, Michigan, USA
Registered: Jul 2004


 - posted 08-30-2004 09:44 AM      Profile for Jason M Miller   Email Jason M Miller   Send New Private Message       Edit/Delete Post 
I was just curious, if I ever get a print in that had gotten wet from water, what is a good way of drying the film

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Floyd Justin Newton
Jedi Master Film Handler

Posts: 559
From: Phoenix, Arizona, USA
Registered: Jun 2002


 - posted 08-30-2004 09:53 AM      Profile for Floyd Justin Newton   Email Floyd Justin Newton   Send New Private Message       Edit/Delete Post 
Jason--

If you ever get a print that is wet, the best bet is to order
another. Film can ONLY be dried with certain methods and under
certain conditionns. Checkk with John P.

fjn
Local 294 Ret.

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Bill Langfield
Master Film Handler

Posts: 280
From: Prospect, NSW, Australia
Registered: Apr 2001


 - posted 08-30-2004 01:08 PM      Profile for Bill Langfield   Author's Homepage   Email Bill Langfield   Send New Private Message       Edit/Delete Post 
I'm just curious, Jason, are you expecting a thunder storm while your next print is transit?

If that happens and it gets wet due to courier running the gauntlet between delivery van and cinema AND the the reels are not in sealed bags, I'd be doing what Floyd said, and sending it straight back.
(What are those condition Floyd? Sending it back to the lab for run through the driers? Wonder if that would work?)

However if your doing the RED CARPET screening and it's the only print in the world, I think the only way to screen it would be to (depending how wet it got) run on 2000' change-over or 6000' change-over. This you could keeep hold of the payout reel while the film is being sticky as hell.

Eprad double mutt 15000' spools would be the best way to go.

But if you only have one projector and platter, you'll be in for a horror night, laying over the payout plate 'ripping' each layer of film apart on every rotation (in fact, you'd need one person on each side of the plate plealing the film apart).
Been there done that after the roof leaked and Titanic got wet, but luckily we had a eprad mut, and moved it to that. After a few dozen runs the stickyness went away, but not the water marks. Didnt matter there was heaps of water in that film anyway, we just added more fx!

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John Pytlak
Film God

Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000


 - posted 08-30-2004 01:30 PM      Profile for John Pytlak   Author's Homepage   Email John Pytlak   Send New Private Message       Edit/Delete Post 
Generally, you should NOT attempt to project a print that is wet or sticky with moisture. The gelatin emulsion quickly absorbs water, becoming very soft and sticky. If wet film is allowed to dry out while still wound in a roll, the film convolutions will stick together like glue, and the emulsion may delaminate from the film if the "blocked" roll is unwound.

Best practice would be to tightly wrap each wet roll in a polyethylene bag to keep it wet, and ship the film back ASAP so it can be properly unwound, rewashed, and dried at a processing lab. If the film stays wet for more than a week or so, mold or fungus growth is likely (gelatin is a good nutrient). If you can't ship the film back quickly, refrigerate the sealed rolls to prevent mold growth.

Here is a procedure to "do it yourself" for short lengths of film (e.g., a trailer):

http://www.kodak.com/US/en/motion/support/technical/storage_room.jhtml?id=0.1.4.11.12.10&lc=en#water

quote:
Water Damage
Another hazard for film that can significantly shorten its life is water from floods, fire fighting, burst pipes, leaky roofs, or other such sources. (And yet, if it wasn't for water, the film could not have been processed.) You can keep water damage to a minimum through quick salvage actions. Since very few motion picture laboratories offer film cleaning services for water(and mud ) damaged film, a salvage job is usually a do it yourself project as mentioned in the following steps and requires manual skill, patience, and a lot of improvising.

1. Keep the roll of film wet. If the film dries, the convolutions may be stuck together, ruining the film. For holding wet or muddy films prior to the cleaning operation, immerse the roll completely in containers of cold water, below 18°C (65°F). The cold water will help prevent both swelling and softening of the emulsion, which are the major causes of damage.

2. With the roll completely submerged underwater, gently rub the edges of the film to remove most of the mud and silt. Make frequent water changes.

3. Unwind the wet film carefully and slowly. Pass the strand of film under running water to remove any remaining mud or silt. In extreme cases, a gentle scrubbing action with a cotton swab may be needed to remove stubborn particles. Be careful in swabbing the film because the wet emulsion is very susceptible to physical damage. From the running water, pass the film through a tank containing water and a laundry or dishwater type of water softening solution to minimize spotting. Avoid any sudden temperature changes in the wash waters.

4. Drape the film carefully on a wash line to air dry. Try to keep the drying area dust free and avoid any surface contact to the wet emulsion side of the film. When the film is dry, clean and lubricate it by hand with a suitable film cleaner, as you wind it onto a reel. The ideal way to recondition water damaged film would be to have it go through a normal motion picture processing machine while using the proper solutions for the particular damaged films. One of the companies that restores or rejuvenates films may be able to help you.

Kodak does offer "disaster recovery" services to owners of irreplaceable films like microfilm of banking or business records:

http://www.kodak.com/global/en/business/docimaging/downloads/sellSheets/A-1610disasterRecovery.pdf

I know some on Film-Tech have reported coaxing a wet/sticky print through a projector by liberal application of FilmGuard. But if the print is really wet, you still need to dry it somehow. That's best left to a film laboratory to do in a processing machine dryer.

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Brad Miller
Administrator

Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99


 - posted 08-30-2004 02:35 PM      Profile for Brad Miller   Author's Homepage   Email Brad Miller       Edit/Delete Post 
I'm betting he is talking about your general roof leak. If I had've taken pictures of some of the prints before that were saved with the FG trick, you would be amazed. When the tail was attempted to be unwound, the emulsion ripped louder than velcro and peeled right off, but after the FG procedure, the show ran fine and the print had no visual or physical damage. The procedure is somewhere in the FHF archives here.

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Jason M Miller
Master Film Handler

Posts: 284
From: Kalamazoo, Michigan, USA
Registered: Jul 2004


 - posted 08-30-2004 10:28 PM      Profile for Jason M Miller   Email Jason M Miller   Send New Private Message       Edit/Delete Post 
Really, I am just curious, just in case it happens, it never has happened to me yet, but I would like to be ready for it if and when it does.

quote:
Been there done that after the roof leaked and Titanic got wet,
Kind of Ironic

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David Graham Rose
Expert Film Handler

Posts: 187
From: Cambridge, UK
Registered: Sep 2002


 - posted 09-01-2004 10:46 AM      Profile for David Graham Rose   Email David Graham Rose   Send New Private Message       Edit/Delete Post 
Greetings All

 -

Simple as that.

David

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John Pytlak
Film God

Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000


 - posted 09-01-2004 12:08 PM      Profile for John Pytlak   Author's Homepage   Email John Pytlak   Send New Private Message       Edit/Delete Post 
quote: David Graham Rose
Simple as that.

[Smile] Drying a wet roll of film in an oven like that is a good way to make oversized hockey pucks. [Wink]

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Bill Langfield
Master Film Handler

Posts: 280
From: Prospect, NSW, Australia
Registered: Apr 2001


 - posted 09-01-2004 01:43 PM      Profile for Bill Langfield   Author's Homepage   Email Bill Langfield   Send New Private Message       Edit/Delete Post 
Hmm,

That makes me think, what if you microwaved the crap out of wet reel, a 2000ft flat would fit nicely in there!!

I might start by dumping an old trailer or ad under water, then nuking it!

Too cool. A project for me to try in the staff room tommorrow! [Smile]

(erm, could even melt the silver out of the sound track (of old prints), I can see myself making a forturne in recycling)

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John Pytlak
Film God

Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000


 - posted 09-01-2004 03:00 PM      Profile for John Pytlak   Author's Homepage   Email John Pytlak   Send New Private Message       Edit/Delete Post 
Actually, the grains of silver in the analog soundtrack would likely absorb more microwave radiation than the rest of the film, so you may have some localized heating once the water has boiled off.

In other words, don't try microwaving a nitrate print. [Eek!]

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John Hawkinson
Film God

Posts: 2273
From: Cambridge, MA, USA
Registered: Feb 2002


 - posted 09-02-2004 02:40 PM      Profile for John Hawkinson   Email John Hawkinson   Send New Private Message       Edit/Delete Post 
Yet another advantage of cyan dye soundtracks [Big Grin]

--jhawk

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David Graham Rose
Expert Film Handler

Posts: 187
From: Cambridge, UK
Registered: Sep 2002


 - posted 09-02-2004 03:06 PM      Profile for David Graham Rose   Email David Graham Rose   Send New Private Message       Edit/Delete Post 
Greetings from Cambridge

The Raeburn oven has been a most commendable associate when prints are received from the laboratory in a wet state. There are two options for drying said prints.

a) main oven on 'simmer' or
b) warming oven for 9 hours withthe main oven on roast.

This technique has never failed. The warming oven is of particular advantage since the centre bobbin does not decompose under these circumstances.

My research team and I have dried out many a print/trailer via this method without any degradation of the film.

With this idea, I bid you all, a very good night

Regards

David

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John Pytlak
Film God

Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000


 - posted 09-02-2004 03:46 PM      Profile for John Pytlak   Author's Homepage   Email John Pytlak   Send New Private Message       Edit/Delete Post 
quote: David Graham Rose
The Raeburn oven has been a most commendable associate when prints are received from the laboratory in a wet state.
Have you told your laboratory the prints are arriving in "a wet state"? Perhaps the packaging of the prints isn't protecting them from the weather, especially if sent by post?

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David Graham Rose
Expert Film Handler

Posts: 187
From: Cambridge, UK
Registered: Sep 2002


 - posted 09-05-2004 02:01 PM      Profile for David Graham Rose   Email David Graham Rose   Send New Private Message       Edit/Delete Post 
Greetings to you All

Unfortunately, the majority of the prints that end up on my research assistants bench have come from a single laboratory based in London (England). Needless to say, it would be un-Gentlemanly to point the finger at the purpetrator, but I am sure that anyone in the UK exhibition sector, or even distribution will know exactly at which London postcode I would direct my pointed digit! I believe it would be in the inerests of anyone from the UK to point the finger for me, and there will be a nice cold pint of Fosters/Directors (substitute a beverage of your choice) at the forthcoming CTC party on 20-12-04 at the Odeon Theatre Leicester Square.

With fondest greetings

David

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Bill Langfield
Master Film Handler

Posts: 280
From: Prospect, NSW, Australia
Registered: Apr 2001


 - posted 09-05-2004 02:53 PM      Profile for Bill Langfield   Author's Homepage   Email Bill Langfield   Send New Private Message       Edit/Delete Post 
Jolly good show David.
Let John know the TRUTH.

My tests are not complete, but here is my 'data' :-) so far.

Six 60 second ads of the same type wound seperately onto cores were placed into the bathroom hand basin full of tepit tap water, for at least 60 seconds.

The object was to then to subject each ad to...

1. Microwave 60 (allow to cool)
2. Microwave 5 mins (Don't touch for ten mins - ouch, my finger)
3. Ambient temp dry (around 19c)
4. Warm in Oven at 'warm to feel' oven (about 28c)
5. Hot in Oven at 'whoa, thats kinda hot' (about 40c)
6. Place in Frezzer right away. (It's still there)

I'll tell you right now..

1. & 2. NEVER bother microwaving film. All it seemed to was is turn the emultion into glue, that peeled off the base. (Oh its hard to explain. Just dont bother with that one)

3. Slightly sticky after 2 hours, fine after 6 hours (But remember this is lightly wound 60 second ad, not a NEW 2000ft tight wound print from the lab.

4. Best result, was ready to use after 20mins.

5. The metal plate I had it on melted the lower perfs. Plus I forgot about it.

6. Still in frezzer. (Was a crap ad anyway. There are about 20 more to screw with)

BEFORE you say anything, any of you, I need a hobby OUTSIDE work ok. Erm, gezz, I DO.

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