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[[File:Simplex Platter.JPG|right|thumb|400px|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 projector from the Strong platter system pictured behind it, and a second to guide film in from another projector when the two are interlocked. A Kelmar cue detector/failsafe is mounted beneath the soundhead.]]
[[File:Strong platter system.jpg|right|thumb|400px|A Strong platter system.]]


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.


==History and Use==
==History and Use==
[[File:Plattered print.jpg|right|thumb|400px|A plattered print being clamped for transport.]]


Platter systems rose to popularity in the late 1970s as part of the movement towards increased [[automation]]. Along with the transition from [[carbon arc]] to [[xenon short-arc lamp|xenon lamps]] and the development of [[automation system|automation control systems]], platter systems facilitated the rise of the [[multiplex]] (a movie theater with several screens). Platter systems and other single-reel film transport systems such as towers and double make-up tables (MUTs) largely replaced reel-to-reel projection as the most common means of [[35mm]] projection because it enabled the simultaneous screening of multiple films on multiple screens with fewer operators. Benefits of the platter system included reduced labor costs—multiple films could be run simultaneously by a single projectionist or theater manager—and reduced print wear over the course of a long run. After the reels have been plattered the projectionist only handles the clear leader spliced to the head and the tail of the last reel, and the print does not have to be rewound between each screening.
Platter systems rose to popularity in the late 1970s as part of the movement towards increased [[automation]]. Along with the transition from [[carbon arc]] to [[xenon short-arc lamp|xenon lamps]] and the development of [[automation system|automation control systems]], platter systems facilitated the rise of the [[multiplex]] (a movie theater with several screens). Platter systems and other single-reel film transport systems such as towers and double make-up tables (MUTs) largely replaced reel-to-reel projection as the most common means of [[35mm]] projection because it enabled the simultaneous screening of multiple films on multiple screens with fewer operators. Benefits of the platter system included reduced labor costs—multiple films could be run simultaneously by a single projectionist or theater manager—and reduced print wear over the course of a long run. After the reels have been plattered the projectionist only handles the clear leader spliced to the head and the tail of the last reel, and the print does not have to be rewound between each screening.
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These methods of marking reel changes are completely unnecessary for two reasons. First, platter houses used colorful [[splicing tape|zebra tape]] to delineate reel changes, so a projectionist rewinding at a responsible speed would be able to find the splice without an issue. Second, reel changes are visible on the platter. The splices themselves can usually be found (they are thicker than the surrounding film), and it is possible to differentiate between reels because the surface of each reel has a slightly different gloss (just as trailers joined on a reel can be distinguished by viewing the side of the reel). Although film that was printed separately and joined with an ultrasonic splice may also exhibit a different gloss, an experienced projectionist should be able to easily find the reel changes on a platter just by looking at it.
These methods of marking reel changes are completely unnecessary for two reasons. First, platter houses used colorful [[splicing tape|zebra tape]] to delineate reel changes, so a projectionist rewinding at a responsible speed would be able to find the splice without an issue. Second, reel changes are visible on the platter. The splices themselves can usually be found (they are thicker than the surrounding film), and it is possible to differentiate between reels because the surface of each reel has a slightly different gloss (just as trailers joined on a reel can be distinguished by viewing the side of the reel). Although film that was printed separately and joined with an ultrasonic splice may also exhibit a different gloss, an experienced projectionist should be able to easily find the reel changes on a platter just by looking at it.


At the extreme, some projectionsts would scratch frame lines or even etch notes into the picture area. Others applied stickers to the picture area or wrote the reel number in Sharpie or grease pencil. It is also very common to find Sharpie tick marks that were applied to count frames at reel changes. These sources of print damage are the result of poor practices and are not an inherent flaw of large-reel transport systems.
At the extreme, some projectionists would scratch frame lines or even etch notes into the picture area. Others applied stickers to the picture area or wrote the reel number in Sharpie or grease pencil. It is also very common to find Sharpie tick marks that were applied to count frames at reel changes. These sources of print damage are the result of poor practices and are not an inherent flaw of large-reel transport systems.


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.


<gallery widths=300px heights=300px mode=packed>
<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 identifies the reel.
File:ScratchedFrameLine Halloween.JPG|The head of a film with intentional damage. Frame lines are scratched into the emulsion, and the scratches extend into the soundtrack. A sticker in the picture area 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:Platter splice.JPG|Repeated cutting and splicing of heads and tails when plattering prints may lead to poorly cut frames or damaged perfs.
File:Universalplatterwarning.jpg
File:Universalplatterwarning.jpg| A note on an [[Archival prints|archival print]] from Universal prohibiting plattering.
</gallery>
</gallery>
===Makeup and Breakdown===
===Makeup and Breakdown===
Much 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.
Much 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.
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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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