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Rewind bench: Difference between revisions
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→Best Practices
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Rewind tables designed for projection are typically vertically oriented, and are designed to work with film mounted on [[reels]], with either a [[split reel]] or [[trailer flange|flange]] required to rewind film mounted on [[core|cores]]. Rewinds manufactured for film editing may employ a multi-gang design, in which multiple reels are mounted on the same spindle. Inspection tables designed for archival use are often horizontally oriented '''flatbeds''' designed to work with film mounted on cores. In the platter era, some theaters replaced their rewind tables with make-up tables (MUTs) that could rewind film reel-to-reel in addition to spooling to and from the platter. | Rewind tables designed for projection are typically vertically oriented, and are designed to work with film mounted on [[reels]], with either a [[split reel]] or [[trailer flange|flange]] required to rewind film mounted on [[core|cores]]. Rewinds manufactured for film editing may employ a multi-gang design, in which multiple reels are mounted on the same spindle. Inspection tables designed for archival use are often horizontally oriented '''flatbeds''' designed to work with film mounted on cores. In the platter era, some theaters replaced their rewind tables with make-up tables (MUTs) that could rewind film reel-to-reel in addition to spooling to and from the platter. | ||
Vertical rewind tables may have spindles that face the operator (ex., Kelmar tables) or face away from the operator (ex., any hand-crank rewind). The spindles may have clips that fold up to retain the reel on the shaft, or they may be angled so that the reel is kept on the spindle by gravity. | Vertical rewind tables may have spindles that face the operator (ex., Kelmar tables) or face away from the operator (ex., any hand-crank rewind). The spindles may have clips that fold up to retain the reel on the shaft, or they may be angled so that the reel is kept on the spindle by gravity. Rewinds designed to accommodate multiple reels for film editing commonly employ spring clamps to secure the reel or reels on the shaft. | ||
Some rewinds are designed for use with a single [[film gauges|film gauge]] and reel size, while others can be used for a variety of gauges and reel sizes. Some rewinds have interchangeable spindles, while others use a single spindle with adjustable drive pins to accommodate different reel styles. | Some rewinds are designed for use with a single [[film gauges|film gauge]] and reel size, while others can be used for a variety of gauges and reel sizes. Some rewinds have interchangeable spindles, while others use a single spindle with adjustable drive pins to accommodate different reel styles. | ||
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**Many people find the most natural holdback technique to be applying friction to the flanges with the palm of your hand. When inspecting film, it may be easier to apply holdback pressure with the back of your hand while holding your thumb and forefinger against the film to check for damage. | **Many people find the most natural holdback technique to be applying friction to the flanges with the palm of your hand. When inspecting film, it may be easier to apply holdback pressure with the back of your hand while holding your thumb and forefinger against the film to check for damage. | ||
*Hand crank rewinds typically have bearings and metal gears that require periodic lubrication. Look for oil points bored into the casting. If the rewind is noisy, feels like it's grinding, or feels like the gearing has more resistance than usual, it is probably overdue for lubrication. | *Hand crank rewinds typically have bearings and metal gears that require periodic lubrication. Look for oil points bored into the casting. If the rewind is noisy, feels like it's grinding, or feels like the gearing has more resistance than usual, it is probably overdue for lubrication. | ||
*When stopping to inspect film, disengage the crank arm or wind it so that the arm is facing down. If left engaged in an upwards position, the weight of the arm may cause it to fall, thereby turning the reel. | *When stopping to inspect film, disengage the crank arm or, for crank arms without a counterweight, wind it so that the arm is facing down. If left engaged in an upwards position, the weight of the arm may cause it to fall, thereby turning the reel. | ||
*Motorized rewinds are typically better suited for inspection, since the operator’s left hand is free to hold the film without having to also regulate feed tension. When using hand rewinds to transfer film from an improper storage format for which the tension can’t be properly regulated on a motorized rewind (ex., trailers on a 1” core or trailers with no core), consider simply using the hand rewinds to mount the film onto a proper core or reel, and then using motorized rewinds to perform a careful inspection. | *Motorized rewinds are typically better suited for inspection, since the operator’s left hand is free to hold the film without having to also regulate feed tension. When using hand rewinds to transfer film from an improper storage format for which the tension can’t be properly regulated on a motorized rewind (ex., trailers on a 1” core or trailers with no core), consider simply using the hand rewinds to mount the film onto a proper core or reel, and then using motorized rewinds to perform a careful inspection. | ||
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* Check for bent spindles. Can be straightened out by a machinist, or you can buy new ones. Bouncing can mean the bearings are going bad or you need to replace the pad. | * Check for bent spindles. Can be straightened out by a machinist, or you can buy new ones. Bouncing can mean the bearings are going bad or you need to replace the pad. | ||
* Speed - Slower is better. When inspecting film, you should be winding it slowly enough that when you stop winding after feeling damage, you don't have to rewind the film to find the damaged section. If you're overshooting, you're winding it too fast. | * Speed - Slower is better. When inspecting film, you should be winding it slowly enough that when you stop winding after feeling damage, you don't have to rewind the film to find the damaged section. If you're overshooting, you're winding it too fast. | ||
* When using Kelmar tables, 20% motor power is typically appropriate for inspection, while 30% is appropriate for | * When using Kelmar tables, 20% motor power is typically appropriate for inspection, while 30% is appropriate for rewinding. Do not exceed 40%. | ||
* Rewinding onto reels that are out of round/not true (slowly but surely…) | * Rewinding onto reels that are out of round/not true (slowly but surely…) | ||
* Auto-rewind rollers - Using these rollers can ''sometimes'' help to get a tighter wind on warped prints. Make sure the roller is clean if you use it. Never leave rewind bench unattended while film is rewinding. | * Auto-rewind rollers - Using these rollers can ''sometimes'' help to get a tighter wind on warped prints. Make sure the roller is clean if you use it. Never leave rewind bench unattended while film is rewinding. | ||