but if i remember correctly, up until about five years ago projectionist here in BC got paid alot, because they were all unionized. but then the big chains stopped paying them the big bucks and started the whole minimum wage thing.

i do fell kinda ripped off that i, as a projectionist, get paid the same amount as the ushers and candygirls. i might aswell go back to scoopin popcorn and slangin candy.

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Richard, Six figures...? I want a job with your company starting tommrrow. I can do everything your guy can do alot better, alot faster and, and for 10 grand a year less! Are there good restaurants where your guy is presently going?
Mark @ GTS

I think most people realise that you can't pay a good yearly pay (to me, that's currently about $40,000 a year) to a guy for operating one screen, like the old days.

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Last paid projectionist job I had was at the Caesars Omnimax--it was an IA job (actually listed as a "lounge technician" ) that paid around $22.00/hour in 1996. Previous to that there was some occasional dailies or premiere work (Double-system changeovers on 1000' split reels. Lots of fun! ) that paid around $23.00/hour under IA contract. Projection in a showroom situation pays the same as a spotlight operator, probably around $20.00/hour these days.

Mark mentioned "nitpicky" bosses. I quit my last 35mm projection gig (a volunteer gig at that) precisely because of such a moron. Same situation--the AV boss wanted to paint the projectors instead of doing upgrades and repairs. Money wasn't the problem, we had an adequate budget. But this guy fancied himself a film and video expert, even though his only experience was with consumer or prosumer video stuff. All that PITA did was second-guess my work and overrule my spending requests. It's bad enough having to deal with such things when getting paid for it, but volunteering for it? After four months I'd had enough. Who needs children telling one how to play in their own sandbox?

Oops! Must've accidently kicked the rant switch. Sorry.

Cheers!

Paul

As an employer, I will pay what the market will bear. If I can get a projectionist that meets my needs for $2.00 per hour then that is what the job pays. If I can't get a competent projectionist for anything less then $15 per hour then that is what the job pays. This is true in almost any industry. Most jobs that require an advanced degree or some level of licensing will require more pay. Jobs that require little training or licensing will be gotten for less pay.

In the film exhibition industry at the moment, projectionists get very small pay. The danger in the job has been eliminated, as has much of the skill. When we were playing with hot carbon rods and doing 20-minute changeovers, the job required more pay.

The next problem in the industry is that people will accept the job of projectionist for low pay and if they will accept the job for low pay there goes my incentive to pay more. The fact that being a projectionist is a desirable job to get and that some people accept the job for minimum wage, leave little incentive to pay more.

This also has the effect of reducing the average pay for other projectionist in the industry who are used to being paid more.

There are a few solutions. One is that if you want to train as a projectionist, accept a position in the booth with the clear understanding that this is a training position and that once you have achieved an agreed upon level of competence that you will be paid more. If you are a seasoned projectionist, never accept a job that pays less than you are worth, you are only undermining everybody else’s pay. The next issue is to acquire skills beyond just being a projectionist. Learn to service the projectors. Then make sure that the company compensates you as a service technician while you are performing repairs. Never do these repairs as a projectionist because you are selling yourself short. Use your own best judgment. It's hard to refuse to fix something unless you are paid to do so. Once you perform a service for free, you will be expected to perform this service for free forever.

If you have achieved a level of competence and you aren't being properly compensated, shop yourself around. I know this is hard because I spent seven years in a job when I know after 4 that I should move on. I took 3 years to make that decision and it still came as a shock to my manager.

If you love your job as a projectionist but are being under-paid, conceder doing it as a part-time, second job. Find other work that pays the bills. Keep the projectionist job for fun. You may find that if you are really good, the management may ask what it would take to get you back to full time?

The reason projectionist are paid so little is that there are people who will accept the job for little pay. Would you dig a ditch for $6.25 per hour, I wouldn't.

As for those people who are responsible for many screens, ask your employer if they are willing to spend $1 per hour, per machine to ensure that it runs well. Then point out that in a 16-plex that would be $16 per hour. Now there is a vast gulf between $16 per hour and $6.25 per hour. So being a projectionist should land somewhere in between. I would pay Brad or Gordon $16 per hour to run my booth in a 16-plex. I'm not sure they would accept that level of pay.

I run a 5-plex and I pay my top projectionist $10 per hour. We pay her that more for her value as an assistant manager than for her skills as a projectionist. She is eager to learn. She takes responsibility for the welfare of the machines. She comes in early one day per week to clean the booth without being asked.

Above all, if you feel you are being underpaid, be prepared to quit. It took me a while, but I finally was able too do just that. I was hired before my two weeks were up and my pay went up 50%.

You are also taking advice from a man who once got a 5-cent raise.

Also please note that the people who populate this forum and are considered the highest paid of the group have mostly moved on from the booth. Gordon likes to keep his hand in, but he is first and foremost a service technician. Brad likes to run a few shows, but he is an inventor, technician, small business owner, entrepreneur and I'm am sure he makes more money from that then he ever made in a booth. John Pytlak has moved on to work for Kodak where he was able to take his skills as a projectionist and an advanced degree and make it work for him. Being a projectionist isn't the end; it's the beginning of a great adventure. Where you go with that adventure is up to you and fate.

Very well stated! I loved being a projectionist. I worked my way through college in a part-time job I really enjoyed. What I learned in the booth has probably helped me more in my career at Kodak than what I learned in college. But you don't easily raise a family and send two daughters to college working at a minimum wage job. If you love the business side of theatres, get a degree in business, or start your own! If you love the technical side, get that degree and go into service or engineering. If you love the art or craft of the movies, consider a career in production. If you love the history of movies and want to save them for posterity, consider a career in archiving. Whatever you decide to do, you can still say you "work in Show Business", and still enjoy what you do!

------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Research Labs, Building 69, Room 7525A
Rochester, New York, 14650-1922 USA
Tel: 585-477-5325 Cell: 716-781-4036 Fax: 585-722-7243
E-Mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion

When I began theatrical projection in 1970, many of my partners married and each put several children through college, becoming professionals, while some had their wives, sons or daughters follow
their parents' careers as projectionists. It was a life-long career
for many. My first tech, from Altech, in his old age finally took
a license and joined IATSE so he could earn the much higher projectionist's wage and not have to climb many flights from theatre to theatre each day. And the managers on 42nd Street would thank me for running a good show, and say they wished they could earn my wages.

But that's rapidly changing, and only in a few cities can the average projectionist earn enough to support and educate his or her family, while the technician's job becomes more difficult as technology advances, and is suitably rewarded financially. Managers
are still underpaid, even though their jobs have become more demanding
and frustrating.

I worked at a Regal for a year or so in their booth in Lynnwood and made around 8.00/hour. The head projectionist (the guy right above me and the job I was about to get but left) was paid salary. I've recently put in my management letter in with Harkins Theatres down here in 'Zona and'll hopefully get back into projection soon.
I have a question if anyone can answer: I've always thought of joining the union, does anyone know a contact in Arizona? Just a thought, thanks guys!