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Topic: A question about Cinemark presentations

Randy Stankey
Film God

Posts: 6539
From: Erie, Pennsylvania
Registered: Jun 99

posted 10-22-1999 03:27 PM

THE thing that I'd ask for is some test film. A little RP-40/PA-35 and some BT-35, etc. would hit the spot. I have some of my own that I obtained from other sources but I don't use it unless it's important. Normally I use old trailers. I realize that they don't want to give the stuff out willy-nilly 'cuz some people fould really F--- things up if they had it. But it sure would come in handy, sometimes!

#2 would be those extra-big clamps!

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Joe Redifer
You need a beating today

Posts: 12859
From: Denver, Colorado
Registered: May 99

posted 10-22-1999 03:56 PM

Screw film clamps! I have never ever used them at my current theatre. Never had to. Waitaminute.... there were a couple of times when we gave a print away to another theatre without busting it apart first, but we usually took the print off of the platter and then clamped it. But we certainly don't use them for moving prints. Don't want the platters to get all scratched up like I see in every other Christie booth. (Scratched platters can actually sling prints!!)

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Scott Norwood
Film God

Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99

posted 10-22-1999 04:22 PM

I second the inclusion of "test films" in the list. Personally, I think that every theatre, particularly multiplexes (where the cost per screen is low), ought to have a full set of test films for picture and sound alignment. Test equipment would be nice, too, but the resourceful projectionist can usually find someone who will loan him, say, an oscilloscope for a day or two.

Every theatre ought to have a 2000' split reel and, if they are using ELRs, a 6000' Goldberg split reel. I once dealt with a feature that was shipped on cores, which got interesting because we only had a 1200' split reel in the theatre. I ended up attaching (with maskign tape) a 2000' 16mm reel to one side of it and using a handcrank rewind bench to slowly and carefully transfer the film to/from cores and Goldberg 2000' house reels. This was Not Fun.

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Erika Hellgren
Expert Film Handler

Posts: 168
From: Denver, Colorado
Registered: Jun 99

posted 10-22-1999 07:02 PM

To answer Stephen's question about the green bands - I was told that legally I had to include them with the trailers. But even if that isn't true, I would never cut them off because a lot of trailers' sound starts during the green band, so if you cut off the green band, you cut off part of the sound, and I find that very tacky. I like to cut the heads of trailers a few inches before the green band starts - that way the customers can't see the splice jump.

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Brad Miller
Administrator

Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99

posted 10-22-1999 09:05 PM

I leave them on not only for the sound problem Erika spoke of, but to "show off" how clean the prints are as well.

Legally, I don't think there is anything anyone can do. At least if there is, the MPAA certainly hasn't bothered pursuing it.

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Andrew Walls
Film Handler

Posts: 17
From: Newark, DE
Registered: Oct 1999

posted 10-22-1999 10:10 PM

[ 04-22-2007, 10:00 PM: Message edited by: Andrew Walls ]

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Joe Redifer
You need a beating today

Posts: 12859
From: Denver, Colorado
Registered: May 99

posted 10-23-1999 03:35 AM

I think the real reason behind those company policies of removing the greenbands is because they don't want to show off the obvious dirt and scratches that the greenband makes so visible (because said companies feel that they are incompetant). I mean really---what company cares so much about the flow of TRAILERS that they make an entire policy about it? These are the same companies who put tons and tons of ads on the front of their films! That surely ruins the flow. If the companies put that much emphasis on the flow of trailers, why not put emphasis elsewhere as well? Like all Dolby processors? THX? (I may not be a huge fan of THX but I love that crossover). Or an ultrasonic splicer for the booth? That'd make things flow pretty smooth!

And yes, a true theatre will have a flawless greenband (except when they come from the lab looking like your xenon is out of focus when it is not). And FilmGuard sure helps make things bright, steady and clear! Not a speck!

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Chris Erwin
Expert Film Handler

Posts: 195
From: Olive Hill,KY
Registered: Oct 1999

posted 10-23-1999 12:59 PM

Back to comments on Cinemark theaters,the ones here in central and eastern Kentucky are good. I live near Lexington and Ashland,KY where there are several Cinemark houses and they are your better bet than the Sony/Loews that represent your other major chain choice. The presentations I have been to were ok. It just varies on who's in the booth.

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William Hooper
Phenomenal Film Handler

Posts: 1879
From: Mobile, AL USA
Registered: Jun 99

posted 10-23-1999 04:18 PM

>The "Projectionist's Mecca" near me would
>be New York City.
...
>Also, don't forget movie palaces of old
>nearby at the Loew's Valienca and Loew's
>Kings (now a church.) Forget about Loew's
>Pardise which has been chopped up.

Hop the PATH train to NJ...it looks like they're resuscitating the Loew's Jersey City.
http://www.panix.com/~solan/loews.html

Volunteer for a work day; have a friend take your picture with your head poking out the chandelier-hole.

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Jim Ziegler
Jedi Master Film Handler

Posts: 753
From: West Hollywood, CA
Registered: Jul 99

posted 10-24-1999 03:24 AM

Personally, scratched platters or no, I ALWAYS use clamps.. Picking up prints that have come apart and ended up in piles on the floor is NOT fun. This has happened TWICE at the theatre I am at and both times were due to no clamps...

Randy, in reply to your earlier comments, you *should* be able to get loops of RP-40, BT-35 and Cat 69T from your region engineer. If your engineer won't send you any, send in requisitions. You should be able to get 50 feet of each for under your purchasing limit.

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Rick Long
Jedi Master Film Handler

Posts: 759
From: Toronto, Ontario, Canada
Registered: Nov 1999

posted 10-24-1999 02:32 PM

I agree with Jim's choice of test film for the booth (provided they are used with a reasonable amount of thought).

RP-40 is valuable for checking lens resolution, aperture alignment and travel-ghost (although for the latter, I prefer the B.O.F.T.G.T.K.). The Blind Old Fart's Travel-Ghost Test Kit consists of a loop of high-contrast black and white credits from an old trailer and a pair of 10 X 35 binoculars.

The Buzz-track is great for determining whether that vacuum-cleaner sound in the background is an improperly printed D.T.S. track or a mis-aligned latteral guide assembly.

Cat 69 T is essential for checking Dolby level to assure level matching for optimum noise reduction, however, don't be too quick to pick up that tweaker yet!

This system was, presumably, perfectly set the last time it was aligned. Something has changed. It is probably not the solar cell, and Dolby pre-amps are quite stable. The change, therefore is likely in the sound-head. First, check for dirty optics, sagging exciter lamp filliament (correctable in most American soundheads), or tampering. Check these possiblities first.

If using the old black-and-white Dolby C.N. 69, make sure that the right side of the loop is threaded and you are not trying to reach Dolby level with pink noise.

P.S. It helps if you buy the technician a coffee or two.

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Rick Long
Jedi Master Film Handler

Posts: 759
From: Toronto, Ontario, Canada
Registered: Nov 1999

posted 10-24-1999 02:34 PM

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Aaron Sisemore
Flaming Ribs beat Reeses Peanut Butter Cups any day!

Posts: 3061
From: Rockwall TX USA
Registered: Sep 1999

posted 10-25-1999 02:52 AM

Coffee??!?

A six-pack of Newcastle Brown Ale is an absolute must! <grin>

Aaron

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Randy Stankey
Film God

Posts: 6539
From: Erie, Pennsylvania
Registered: Jun 99

posted 10-27-1999 11:06 PM

The time I use my piece of BT-35 is when we get that 'vacuum cleaner' sound...

I adjust the L.Guide and shut off the proj, and re thread. If it STAYS in alignment, OK. If it doesn't, the problem isn't the L. Guide roller. (I have to call NCS -- The new guy we got is pretty good.)

BTW... If you get a 'SCRAPE....SCRAPE....SCRAPE' sound or a 'freight train' sound in the background..... I just recently discovered that you can visually see the bad soundtrack. It fades from black/purple to blue, repeatedly.

I mentioned this because I USED to think it was something wrong with the proj.

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Aaron Sisemore
Flaming Ribs beat Reeses Peanut Butter Cups any day!

Posts: 3061
From: Rockwall TX USA
Registered: Sep 1999

posted 10-28-1999 12:51 AM

Usually the 'growling' or 'freight train' sound is DTS timecode being read by the solar cells, rather than a color changing soundtrack...

Aaron

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