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This topic comprises 4 pages: 1 2 3 4
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Author
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Topic: Disneyland projectionists
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Jon Miller
Jedi Master Film Handler
Posts: 973
From: San Diego, CA, USA
Registered: Sep 1999
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posted 12-07-2002 09:53 AM
Speaking of Iwerks, "Pirates 3D" at SeaWorld in San Diego is a fully-automated Iwerks 3D installation (8/70, IIRC), with twin Ballantynes (with the Iwerks emblem on the door glass), Strong Ultra 80s running 7 kW lamps, loop cabinets, digital sound tracks served from rack-mounted storage devices, many thousands of watts of sound amplification, and little synchronized "surprises" for the audience.
While on a group visit two years ago, I was able to talk my way into viewing the show from the booth (colleagues from my day job moonlit at SeaWorld at the time and I just had to experience the show from the projection booth perspective. Besides, I avoided getting soaked and "bird-bombed" that way! ![[Smile]](smile.gif) )...the 3D effect is just flat-out amazing, even from the "projectionist's" position.
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Art Averett
Film Handler
Posts: 14
From: Orlando, FL
Registered: Mar 2000
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posted 12-09-2002 08:10 PM
I work at the Disney/MGM studios. Yes Ian, I'm the "old man" that you have seen at Show East. HEHEHE. Prior to working at Disney, I retired from the Air Force in 1988, stationed in Germany. My background has been electronics and I finally obtained an Associates degree in electronics after I retired. However, starting out in projection, I was an AV geek in junior and high school. WE had a lot of RCA 16MM projectors, tube amps and such. I didn't get into 35MM until I entered the service and bugged a projectionist that worked for the old Army and Air Force Motion Picture Service (AAFMPS). I cut my teeth on Simplex XL's and Peerless Magnarcs. It was the standard set-up for the military. There were a few 16MM set-ups in remote locations, but I never bothered with them. It wasn't until 1974 that I was stationed in Wash DC, that I went to local 224 IA, and got my babtism of fire in projection. Everything in projection from Simplex to Century to Norelco's. It wasn't all glory, as there were a lot of old theaters that had Simplex Supers, E-Sevens, Century C's and a lot of carbon arc lamphouses. Everything from Peerless to Ashcraft. Drive-ins were thriving and it wasn't uncommon to have one driv-in that had car heaters. I know because I had to turn the main ckt brkr's on in December for a Billy Jack feature. From there I was stationed ovewrseas again for two years and then to MA. I worked for local 182 IA, and joined them. I also met two very good friends that I'm constantly in touch with, Larry Shaw and Chapin Cutler of BL&S. I went back overseas agin for ten years in Germany. Finally I returned back to the states, arriving in Orlando. Yes I sent a resume in Disney, and Universal. It took awhile, but in between I went back up to Boston to work, almost moving back there. I returned to FL and was contacted by a gentleman from Disney, went for an interveiw, and have been with them ever since. There is also alot of special effects projection that Disney uses. I have been involved with showing daily rushes of films that were shot in the area. The first was Passenger 57, the last being Instinct, with ANthony Hopkins and Cuba Gooding Jr. While the shows are going, I spend time working on power supplies, strobe units, and going on top of the Great Movie ride and working on the skylights or, pichels as they are called. I also have to answer to trouble calls on any of the projection shows in the park. We're dedicated to presenting the best that can be shown. We also follow SMPTE standards for screen lumination and film. Our "one Man's Dream" film is presented in Digital Dolby sound. It is quite an experience working for Disney, I would not trade it for anything else. ![[thumbsup]](graemlins/thumbsup.gif)
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Jack Ondracek
Film God
Posts: 2348
From: Port Orchard, WA, USA
Registered: Oct 2002
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posted 12-10-2002 12:23 AM
quote:
from Jacob...
"Does anybody know off hand approx. what it would cost to rebuild a
Ballantyne Pro-35? Also, what all would be replaced in a rebuild?"
That can be a pretty variable issue, Jacob.
Depending on what needs to be replaced, a "rebuild" could start with a coupler, and wind up including everything from replacement gears & bearings, rails, guides, sprockets... even possibly the intermittent... though that's a little more unusual, considering it lives in oil.
A lot will depend on what you consider acceptable performance from this machine. A couple of people on this board have indicated they get good performance from the PRO-35. More often though, you hear that the machine has been removed from service in favor of a different brand. Whether this is due to legitimate design problems (many seem to go with this option) or something more like a lack of understanding of a picky mechanism... I don't know. What does seem to be the case is that even at its best, this machine does not appear to perform over the long term without more qualified attention than, say... a Century or Simplex would require.
You'll need to decide if the cost of keeping one of these machines going will be worth it. If it's true, as people like Ken Layton suggest, the PRO-35 requires framing couplers every year or so, then you're putting more money into the mechanism than other brands would require. If you can't do the work yourself, then tech costs would add to the price of running a PRO-35.
I think I probably gave this machine as good a shot as most, short of actually shipping one to Pat for a factory rebuild. I replaced intermittents, gears, rails, shoes, guides & pressure pads & still couldn't get this thing as stable as a pair of locally operated, 20-year-old, relatively unmaintained, pretty much worn-out Indian ORC/Cinecita machines. It's pretty frustrating when you go at something like this & still can't get the credits to settle down.
The PRO-35 is a good looking machine with a decent sound head. It will meet the expectations of some, but not all. The ones that are ok with the machine won't see anything wrong with it... and maybe they have a "magic touch" with it that others don't have. For others, including me at this point, it's easier to invest in brands like Century, Simplex and others that seem to be more stable, consistent & forgiving.
So... back to your question... how much would it cost? Maybe the thing to do is to fire it up & see how it looks. That'll give you a pretty good idea what needs to be worked on/replaced/adjusted.
Good luck!
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