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Despite these systems for marking reel changes, some projectionists working with platters or other large-reel transport systems were careless or intentionally negligent when breaking down prints. In the worst cases, the projectionist would ignore the original reel breaks and simply wind the film onto each reel until it was full and then make a new cut in the middle of the reel. This often went uncorrected at future venues. Even reel-to-reel theaters would often recue the poorly cut reels instead of restoring the original reel breaks.
Despite these systems for marking reel changes, some projectionists working with platters or other large-reel transport systems were careless or intentionally negligent when breaking down prints. In the worst cases, the projectionist would ignore the original reel breaks and simply wind the film onto each reel until it was full and then make a new cut in the middle of the reel. This often went uncorrected at future venues. Even reel-to-reel theaters would often recue the poorly cut reels instead of restoring the original reel breaks.


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.


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Another risk inherent to plattering and other large-reel systems is the damage caused by the equipment used to build up and break down prints. Large reels ranging from 6,000’ to 12,000’ were used for plattering, requiring greater holdback tension, which in combination with the rewind speeds commonly employed in platter houses often resulted in print damage. Most make-up tables were also problematic from a film handling perspective. This was compounded by careless projectionists, who would fail to properly align the make-up table to the platter, resulting in platter scratches; fail to regulate feed and takeup tension, especially during breakdown (when disengaged from their drive motors to feed out to the make-up table, many platters were freewheeling and friction had to be applied by hand to regulate the tension); wind the film at excessive speeds and start and stop abruptly; leave the equipment unattended during transport, etc.
Another risk inherent to plattering and other large-reel systems is the damage caused by the equipment used to build up and break down prints. Large reels ranging from 6,000’ to 12,000’ were used for plattering, requiring greater holdback tension, which in combination with the rewind speeds commonly employed in platter houses often resulted in print damage. Most make-up tables were also problematic from a film handling perspective. This was compounded by careless projectionists, who would fail to properly align the make-up table to the platter, resulting in platter scratches; fail to regulate feed and takeup tension, especially during breakdown (when disengaged from their drive motors to feed out to the make-up table, many platters were freewheeling and friction had to be applied by hand to regulate the tension); wind the film at excessive speeds and start and stop abruptly; leave the equipment unattended during transport, etc.
[[File:Plattermarks.jpg|right|thumb|400px|An example of "platter marks" on the emulsion side of a 35mm print, crossing into the optical track.]]
What are often referred to as "platter marks" can occur when the picture area makes contact with the surface of the platter. This usually happens when the film is run to or from the platter using a make-up table. If the guide roller on the make-up table is too low, the lower side of the frame will drag across the platter as it spools. This typically results in slightly diagonal horizontal scratches that run from the film edge of one side, with the scratches ending partway way across the frame. Platter scratches can occur on the base or the emulsion side, depending on how the film is being spooled when the damage occurs.


Kinoton make-up tables were generally much gentler on film than the other models available, using a simpler film path that required less handling of the picture area and employing Hall sensors to auto-calibrate the speed of the takup platter and perfectly regulate the film tension. However, the magnetic field generated by the Hall sensor will destroy a print with a magnetic soundtrack.
Kinoton make-up tables were generally much gentler on film than the other models available, using a simpler film path that required less handling of the picture area and employing Hall sensors to auto-calibrate the speed of the takup platter and perfectly regulate the film tension. However, the magnetic field generated by the Hall sensor will destroy a print with a magnetic soundtrack.
JesseCrooks
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