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I'll take the largest complex you can run platters...add two and I'll run it automated changeovers.

On Thursdays I'll have my new films/trailers and old films/trailers done first too.

BTW...on all this boasting about how many screens everyone is boasting about being able to run, how many times do you get to check EACH screen to ensure optimal focus? I don't know of many platter guys that ever look out after the show starts and don't even do that if they use timers/clocks on the larger plexes.

Okay, I exagerate, but I think people get the point.

No matter how big or small your booth you should be constantly checking things. My suggestion is to just stay on your feet! So many people I train in the booth are good for about 2 months then they just slack off. Next thing you know, they are in one of three places. 1) watching a movie. 2) sitting at the desk reading the newspaper. 3) outside smoking.

If you just stay on your feet and walk up and down the row, (Except for breaks, etc.), you'll almost automatically be checking projectors! Any good projectionist knows that more than HALF of the problems you have can be detected by sound alone!

As Randy said, a good projectionist is checking things as he/she walks down the booth. I do it without even thinking about it. I also check my threads as I'm threading, and believe it or not - I DON'T make threading mistakes. Threading mistakes are for rookies.

And though I am usually not there when the projector starts up because of timers, I always have time to go downstairs to check movies from the auditoriums at least once a night. I tend to notice any technical problems long before the customers do.

Also, on the late model Christie platters, it's awful hard to make a threading error, as their new roller design doesn't allow the film to fall off the rollers and the AW3 was an excellent design to begin with.

As to checking all machines in a large complex, no problem. Running a large theatre requires going from machine to machine to rethread and such...one must walk by running machines all the time. Sound plays a big role in troubleshooting too. Most things can be detected by sound (except a douser not opening).

The gate parts heat up, the lens heats up and expands...it might look "ok" from a quick glance in the port but not so down at the theatre.

Every once an a while, I get a person that focuses for the trailers when they start...during the opening credits things have started to drift but still passable but by the 3rd reel there is really no description more fitting than "out of focus." And this is with top lenses by ISCO and Schneider.

If you want to see the drift, take binoculars with you around the booth.

One must remember though, those recommended practices were drawn up before polyester came around. I am referring to plattered prints and polyester. Running reel to reel will cause problems regardless of the winding orientation. The hubs are too small. Nevertheless, I've had no problems in the past running platter or changeover winding exclusively emulsion out. Perhaps there is something all together different we are doing other than the winding orientation which causes you headaches and doesn't affect me? Winding tension perhaps???

After you visit Brad's theatre, be sure to visit mine as well. It's right next door. That is if "next door" is an acceptable term for 1000 miles away.

He said that the reason for that was because during shipping, the film can get hot or cold and expand or contract. This expansion/contraction could cause reticulation (sp?) of the emulsion if it isn't stored emulsion IN.

He also said that if you store the film in 'stable' conditions, (eg: temperature), you don't have to worry. It won't make much difference which way it's stored 'cuz the film won't expand/contract.

Essentially, he said that you should store the film whatever way works best for you. (I like "out") If you think your film might be subjected to extremes of temperature, them you might want to go with 'emulsion in.'

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