Since you saw The Shining in a commercial theater, most likely you saw projected a composite print. Which means (using Mr. Stainforth's music charts) the "odd jump" you saw was not caused by a reel changeover. The scene transition in question (from frozen Jack to dolly-in on photograph) would have been in the "middle" of the reel, not across a reel changeover. Bear with me.Roger Ryan wrote: ↑Fri Sep 27, 2019 8:35 amAlso, I now see (thanks to that simplified music chart linked to above) that a reel change did occur just before the dolly in to the photograph - that explains the "odd jump" I saw when seeing the film theatrically in 1980 (probably not an indication of last-minute projection booth editing, just the clumsy mechanics of film projection).
In 1979/1980 almost all studio post-production used 35mm for both picture and sound. All picture & sound editing, sound mixing and negative cutting used reels of 1000-feet (1000') in length. When that work was completed those 1000' reels were combined to create larger reels of 2000-feet (2000') in length. So the negative cutter spliced together every two 1000' reels of cut negative to create what were called 2000' AB reels. Reel 1 and Reel 2 were spliced together to created Reel 1AB, Reel 3 and Reel 4 combined to make Reel 2AB, and so forth. The sound mix on 1000' reels of 35mm fullcoat were combined to create the printmaster reels of 2000' in length. After color-timing (grading) and shooting the optical track negative, the composite prints are made and sent to the theater. The composite print is comprised of 2000' AB reels.
Now if you look at the "Two of Mr. Stainforth´s music charts, in readable form" there are charts for Reel 14 and Reel 15. You can see on the charts series of numbers in the columns. They are the reel footages for the music cues (and scenes and specific visual cues). At the bottom of Reel 14 is EP (end of picture) 907 1/2, indicating a 1000' reel. And Reel 15, has an EP of 834, also indicating a 1000' reel.
The the first part of the scene transition in question (from frozen Jack to dolly-in on photograph) is listed at the end of Reel 15 as "J sits down J frozen". But since Reel 15 is an odd-numbered reel it will become the first half of a 2000' AB reel. Reel 15 will be spliced together with Reel 16 to create Reel 8AB, a 2000-foot reel. So the scene transition will occur in the "middle" of the reel, not across a reel changeover.
Possible reasons for the "odd jump" you saw:
If someone physically cut the composite print and removed the hospital scene, they then needed to rejoin the reel using splicing tape. Having worked as a feature film editor for decades, I can say with experience that the projectors in commercial theaters are notorious for tape splices jumping in the gate. The projector gate has no tolerance for how a splice in the print and the tape that joins it physically alters the thickness of the print and slightly mis-aligns the perforations
There is also the possibility that the change was done to the Internegative (used to strike the release prints) or the Interpositive. This means the IN or IP is cut, the scene removed, and the reel rejoined with a physical glue splice. It is possible that the splice was a bit imperfect, and when the IN or IP is run at the lab, the physical imperfection of the splice created a slight blur or slight shift in the frame following the splice (in essence creating a visual artifact in the print) making the cut bump. The average film goer would never notice. (And this could happen recutting the original camera negative.)
Now making a cut to a composite print with an optical track creates a whole other can of worms, as the optical track is printed "ahead" of the picture because the sound reader on the projector comes after the picture gate when threading the film through the projector.
Unfortunately we would need Mr. Stainsforths music chart for Reel 16 to unravel the problem with the music edit. It would show us if any music was used in the hospital scene or if there was a music transition to the photograph scene; any fades, cross-fades, overlaps or prelaps. I haven't watched the film in years, but now I'm curious to watch the end and listen for how the mix was "fixed". Did they make a straight cut in the printmaster or go back on the dubbing stage to re-mix in an insert fix.
From my experience you spend a lot of time and hard work to perfect each cut and the mix, and if you have to go back in and "fix" something it never quite works seamlessly.