Actually, Nicole, the guy did you a favor!

As the equipment gets more automated, the bean-counters will think projectionists are less necessary. That's the way it goes, I guess.

Carbon arc being too much work...your going to have to explain that one. But you are right in that carbon arc would not be approperiate for a large multiplex and would not be suitable with platters as carbons only last for a few reels.

As far as fires resulting from carbons. Once again you are going to have to explain that one. Remember the following.

Projection carbons are different from welding carbons! Welding carbons are a no no--and I have seen inexperienced operators try to use them!

It is imperative that carbons be properly stored--or they can be ruined.

When using carbons, do have the fire shield glass installed on the projector. This is really really critical with nitrate film!

Never, Never attempt to look at the arc directly--whether carbon or xenon! Actually I have been exposed to arc flash during arc welding twice. Once from a fluke defect in the welding mask and once from someone elses horseplay! Arcflash is not fun and can permanently blind you in a split second!

Whether working with xenon or carbon arc, always wear proper protective clothing to prevent injury.

Many of you probably destroy your used xenon bulbs in a garbage dumpster or the like? With carbons, always, always deposite used carbons in a sealed metal hazmat can with kitty litter. You might even cool them with a little water. Toss them away everynight in the garbage dumpster ONLY AFTER THEY HAVE THOURGHLY COOLED!

As long as the carbon arc lamphouse is properly sealed, is well maintained and cleaned, and is properly vented along with the projector fireshield hood glass, there should be no danger of a fire.

I assume you mean NON-FLAMMABLE (clay-based) kitty litter. Actually, when I worked with carbon lamps, we put the hot carbon ends directly into the fire-proof cans without any sand or litter (rattle-rattle). Just be sure NOT to use the cans as a trash can for flammable materials.

We collected the copper drippings for the Will Rogers fund.

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Dont touch or I cut your fingers off.
You touch you leave without touching the stairs.
If i think you have touched you never come back.
If you upset me just piss off.

Like anything I say, it's really just my own opinion, based on my past experience.

When I ran carbons, it was non-stop work. By the time the lamp was cleaned, I had washed up, previous reel was rewound, the next reel was threaded .... it was time to make the c/o and do it all over again. I never had to rush; there was plenty of time to do everything. But I couldn't do nothing, either. We were not allowed to leave right after the last reel ended. We had to wait until the lamp cooled down enough to clean off the silver jaws to prevent permanent tarnishing.

My comment about fire is from dust up the stack. This was heavily stressed by older operators, and by the state police at the time of my test for an operators license (the state police regulate projectionists in Connecticut.) At one place that did not have a regularly-scheduled operator, all the temporary operators thought, "The regular guy must be cleaning the stack; I won't bother." There wasn't a fire, but it was close.

While this is going on, the arc on the operating projector has to be checked and tweeked. In two places I worked at, the electric AC voltage was not regulated that well- you could not rely on the self-feed. The lamp wouldn't go out, but it wouldn't keep the crater centered in the mirror focal point. When I worked in the open plains of middle New Jersey, the strong winds blowing outside during fall would sometimes blow down the stack, and put out the arc. You knew right away, because the feed motor would go full speed ... "BUZZZZZZZ....!"

In one place, there was no air conditioning in the booth (it was in the theater auditorium, though!) Nothing like being in a small booth with a small window on a hot summer day hefting 70mm reels every 20 min. (for 8-10 hours) while running Ashcraft 150's. In Connecticut, you had to have real fire trap rollers on the projectors, not the simple things in use now. Fire trap rollers will easily scratch film (especially 70mm) if they don't roll, so regular cleaning is needed there, too.

We simply dropped stubs in a deep tray. The tray had a notch filed on the edge. Any stub shorter than the notch was too short to use. The first person in for the day would just throw the stubs away in the regular garbage, since the stub had all night to cool.

I'm happy to report that 99% of the shows I ran were uneventful. But like anyone who has run carbons for awhile, I can tell stories of things like; forgetting to tighten the collet on the carbon rod, or watching arc water-cooling hoses jump because of no water flow, guessing wrong on how long a carbon stub would last (silver jaws weren't cheap even then), cheap carbon-savers that (because of heat) would let go of the carbon stub, being forced to use cheap carbon rods after UC discontinued their line, fans that died and by the time you find out - your mirror is cracked, carbon ends that drop off and burn funny until a clean end is burned (with people yelling about the poor light the whole time).

Carbon arcs are like those old restored, Model-T Ford fire engines you see. They are really cool, love to see them operate during the firehouse "open house", hope they never go away, but sure don't want to depend on them for my livelihood!

Sadly, as far as the copper dripping were concerned, the lead operator had his own fund.

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John Walsh: As far as the fire pinch rollers--I too have heard about them damaging film. But please keep in mind that those were one of the fire prevention standards for use with nitrate film. They can be eliminated when only using safety film, but i believe that the holders are needed in order to mount magazines if they are used. I also know what you are speaking of regarding hot unventilated booths running changeovers with a toilet right behind the projectors!

Fire prevention devices for use with non safety film as mandated by law included much of the following:

Booth being totally sealed from auditorium with metal shields over each port window connected by chain to a shaft with fusable links. Each projector and booth exit had an emerengcy handle to drop these shields over the booth windows in case of fire.

Enclosed magazines.

Fire loop shoe on projector that would trip and drop projector fire shutter in case of film breakage.

Projector fire shield glass

Fire pinch rollers

Already discussed metal cans for spent carbons.

Sealed metal storage bin for each reel of the print being shown

Isolated print storage room

Another isolated storage area for flamable booth supplies

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In my booth I use clear splicing tape but place a small grease pencil line on the joint and then cover it with the tape. This keeps it from getting on the print or equipment ana makes the join easy to see when tearing down. The line is hidden by the shutter so no one sees it.

a couple weeks ago in the 24 i came in to watch brotherhood of the wolf with some friends (who all work projection at another theatre) who had not seen the movie yet. they hepled me move the print and, afetr i examined the different platter stack, threaded the movie and started it. i saw the closing projectionist and felt i should inform him that i moved and started a print so he wouldnt freak out when he saw it playing.

"that sort of activity is frowned upon here.", he said to me. "i know you are the manager and you have the final say, but next time have a projectionist do that for you."

i guess its a good thing to take ownership of the booth so that things are done right, but i am the manager. if i scratch the film or blow up the projector, thats my ass... not the projectionist's. he doesnt seem to grasp that notion.

I have seen a g.m. who would go for months w/o stepping foot in a booth. A few times the person tried to thread up machines and the projectionist preempted possible aw !

Sure, if you make a mistake and damage film/equipment it is your ass.....but what about the patrons who paid good $$ to see a quality presentation....do they deserve to be subjected to damaged prints? As John P. would say.....FILM DONE RIGHT !

Generally speaking, if we did after hours screenings it had a purpose. Used studio prints that were first run features for inspection prior to opening day, prints that may have been difficult to build up, etc, etc...remember that the theater is a business and not your private screening room....what you do costs the theater $$.
Unlike IATSE, I only wish that I got paid for dry runs...especially for films I did not care much about watching.... !