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Platter Systems: Difference between revisions
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[[File: | [[File:Simplex Platter.JPG|right|thumb|500px|A Simplex 35 PR-1014 configured for use with a platter system in a multiplex. The reel arms are bypassed by guide rollers. There are two guide rollers on the upper arm, one for directing film to the from the Strong platter system pictured behind the projector and to guide film in from another projector when the two are interlocked. A Kelmar cue detector/failsafe is mounted beneath the soundhead.]] | ||
A platter system is a non-rewind film transport system in which multiple reels are [[splicing|spliced]] together on a horizontal deck. Each platter deck can hold enough film to allow all but the longest features to play without a changeover or intermission. The film is fed through a centerfeed, run through the projector, and wound onto a center ring on the takeup platter. To play the film again, the ring is removed and the film is rethreaded through the centerfeed, allowing it to be run repeatedly without being rewound. | A platter system is a non-rewind film transport system in which multiple reels are [[splicing|spliced]] together on a horizontal deck. Each platter deck can hold enough film to allow all but the longest features to play without a changeover or intermission. The film is fed through a centerfeed, run through the projector, and wound onto a center ring on the takeup platter. To play the film again, the ring is removed and the film is rethreaded through the centerfeed, allowing it to be run repeatedly without being rewound. | ||
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==Archival Implications== | ==Archival Implications== | ||
When properly maintained and operated by a skilled projectionist, platter systems can be a suitable method of projecting first-run films. However, plattering or otherwise building up prints for large-reel playback is not acceptable for archival projection. Film archives and the repertory divisions of many studios and distributors strictly forbid plattering. | When properly maintained and operated by a skilled projectionist, platter systems can be a suitable method of projecting first-run films. However, plattering or otherwise building up prints for large-reel playback is not acceptable for archival projection. Film archives and the repertory divisions of many studios and distributors strictly forbid plattering. | ||
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Another source of intentional print damage is the application of the [[foil cues|foil cue tape]] required by [[automation systems]]. Aluminized mylar tape was applied as strips or small circles, and the reflective surface triggered a sensor as it passed through the projector. Strip cues are particularly problematic because they take up more surface area and can be more difficult to remove, and when they are removed they can leave significant adhesive residue. Cues within the picture area are also visible on screen. Dot cues are less problematic because they take up less surface area (in 1.85 prints they could even be hidden by placing them in the cropped portion of the frame) and are easier to remove without damaging the print. In addition to foil cues, alternative systems were designed using barcodes stickers, but these were only employed on a large scale but the United Artists theater chain. These stickers were applied to the center of the frame and were very difficult to remove without damaging the print. Thoughtful projectionists would apply clear splicing tape beneath the cues so that they could be peeled off with less risk of scratching the picture area. | Another source of intentional print damage is the application of the [[foil cues|foil cue tape]] required by [[automation systems]]. Aluminized mylar tape was applied as strips or small circles, and the reflective surface triggered a sensor as it passed through the projector. Strip cues are particularly problematic because they take up more surface area and can be more difficult to remove, and when they are removed they can leave significant adhesive residue. Cues within the picture area are also visible on screen. Dot cues are less problematic because they take up less surface area (in 1.85 prints they could even be hidden by placing them in the cropped portion of the frame) and are easier to remove without damaging the print. In addition to foil cues, alternative systems were designed using barcodes stickers, but these were only employed on a large scale but the United Artists theater chain. These stickers were applied to the center of the frame and were very difficult to remove without damaging the print. Thoughtful projectionists would apply clear splicing tape beneath the cues so that they could be peeled off with less risk of scratching the picture area. | ||
<gallery widths=300px heights=300px mode=packed> | |||
File:ScratchedFrameLine Halloween.JPG|A head badly damaged by a platter projectionist. The frame lines are scratched into the emulsion, and the scratches extend into the soundtrack. A sticker in the picture area marks identifies the reel. | |||
File:Platter splice.JPG|This head was poorly cut when it was removed for plattering. The cut ran into the perforation, so the frame could not be saved. | |||
File:Universalplatterwarning.jpg | |||
</gallery> | |||
===Makeup and Breakdown=== | ===Makeup and Breakdown=== | ||
Most of the damage to plattered prints occurs when individual reels are built up to the platter or when the print is broken back down to shipping reels. | Most of the damage to plattered prints occurs when individual reels are built up to the platter or when the print is broken back down to shipping reels. | ||