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This topic comprises 4 pages: 1 2 3 4
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Author
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Topic: Who uses platters?
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Stephen Furley
Film God
Posts: 3059
From: Coulsdon, Croydon, England
Registered: May 2002
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posted 12-26-2002 10:44 AM
Bernie wrote:
quote:
Still, no one has mentioned why their single switched over to a platter and blew out the other machine.
Bernie, I will try to answer for the uk, but need to explain the origin of the singles screens we have today first. Over here we have had several types of cincmas:
There were many purpose built cinemas opened around 1010, in response to new safety legislation which prohibited the prenentation in most of the places used for it. Most of these closed over the years, but a fair number still remain, some in largely original condition. These were quite small, under 1000 seats, so were generally not sub-divided.
Then there were the larger cinemas built in the late '20s to the late '30s. These generally held about 1500 - 2500, with a few over 3000, and just one, the Gaumont State Kilburn, going over 4000 (by just four seats) these were too large in later years, and very few indeed survive as single screens. Many simply closed and were demolished, others were converted to other use, mainly bingo, and most of those which continued to show film were tripled during the '70s. These conversions were almost always equipped with platters, one of the original machines being moved downstairs to one of the small screens, with the other receiving equipment from a closed theatre. Sometimes additional screens were later added, using the former front stalls seating, stage area, etc. In the last ten years or so, most of these conversions have closed, to be replaced by new purpose built multi-screen facilities. It is very unlikely that any of these places would ever be re-converted to single screen cinemas; they would be too large for todays needs, drastic and irreversible alterations have been made over the years, the buildings are often in poor condition, and would be very expensive to renovate and maintain (the reason for many of the closures), and the high value of the land for re-development.
Many modern multiplex cinemas have been built in recent years, but these have just about always had platters from the start. A few do have one or more screens with two machines.
Then there are the small cinemas which operate as part of some larger arts complex. or museum, etc. These are probably the most likely to have two machines today.
Lastly, there are the multi-purpose venues, which show film occasionally, and operate te rest of the time as live theatres, concert halls, sports venues, etc.
The early cinemas which remain are usually independently operated, and show a mixture of material, art house, classic, world cinema, festivals etc. The projection boxes of this era were very small, just large enough to contain two projectors, but nothing else, even if the separate rewind room, which was a legal requirement, has now been combined with it there is not a lot of space. Many of these places have a 16mm machine for special events, and there would not be room for a second 35mm machine. There is not usually room for a platter either, and the most common arrangement is an old projector, often a Westar, fitted with a xenon lamp, and fed from a tower. It is quite common to run the adverts and trailers from a small spool on the projector while the main feature is rewinding on the tower.
The multi purpose venues also have little space, the projection equipment has to fit in amongst thelighting and sound equipment etc. Also, these places see film as only being a minor part of their programming, and only install the minimum of equipment, grnerally similar to that described above.
The full time single screen cinema as part of some larger complex is more likely to have more modern equipment, and this tends to mean a platter, but may be two machines, towers are less common in this type of venue.
As a matter of interest, how does the cost of one machine, with a platter and make up table compare with that for two machines? Since this would be of concern mainly to places on tight budgets, let's consider reasonable secondhand equipment, which is what they would be most likely to buy. I wouldn't have thought there would be a great deal in it, compared to the total cost, including screen and frame, masking, seating, curtains, seating etc.
If I was building a cinema I would certainly prefer to go the two machine route. Even better, two dual guage machines, plus one 16mm (double band) and a video projector, with a wide range of machines to feed into it. Plus a pair of Carousel slide projectors, that should handle most special events, festivals, conference work, private hire etc. as well as the more normal shows. I don't think I'd want to install digital projection at the moment, maybe later, when the cost comes down.
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Bernie Anderson Jr
Master Film Handler
Posts: 435
From: Woodbridge, New Jersey
Registered: Apr 2000
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posted 12-26-2002 01:34 PM
But Tim,
My friend's theatre is a single (manager operated) 500 seat theatre. When he took it over in 1970 it had carbons with 20 min reel CO. He later converted to Xenon and 6K. He also added eprad Co-operators with cued change overs. I think he said in the 30 years of having the place, the automation failed to work twice because of a switch being put in the wrong position (operator error). I've seen these things in action and they do a change over better than most people. But he would never dream of going to a platter mostly because of a lost show. I understand in multipexes you need the platter. Your overhead for the cost of a projectionist would be increadible. I think that the Amboy, when it had 9 screens with auto CO had two guys in the booth rewinding and threading. But with a single, especially like the Lafayette, Suffern, NY. It doesn't make sense. Loose the projector and loose the show. From a business point of view, you are gambling, almost like Russian Roulette, with these machines. If anyone knows as well as I do, when does the projector go down? Not when it Santa Clause 2 in it's 10th week, but opening night of Lord Of The Rings. As a theatre owner, even with a twin or 3 plex it would only make sense to have two machines as security.
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Mike Blakesley
Film God
Posts: 12767
From: Forsyth, Montana
Registered: Jun 99
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posted 12-26-2002 02:13 PM
quote:
In every instance I know of, it was to eliminate a dedicated projectionist.
Not here. I was working the booth myself when we automated, and I still work it.
Our basic reason was because the old equipment was just old and tired. We origianlly installed the platter in a storage room next to the booth, and kept the second projector for emergencies. Later, it got to be such a pain to thread the film over the various rollers, that we took out the other projector and put the platter in the booth.
In the 20 years since, I've learned quite a bit...if I had it to do over again, I probably would have kept the original heads, because they were really not in bad shape, and thought about converting to a 6000' changeover system rather than the platter. But I'm happy with my AW3...21 years and counting without a major repair.
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Steve Kraus
Film God
Posts: 4094
From: Chicago, IL, USA
Registered: May 2000
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posted 12-27-2002 07:56 AM
I'm not sure why this is a question. A single screener, typically struggling to make a go of it, is likely not to keep someone in the booth full time. So of course they are going to use a platter or big reels (my term for 6000' reels, the feature length tower reels being "giant" reels) with automated changeovers. But the latter requires rewinding and rethreading twice while a platter needs no rewinding, rethreading only once, and less complex automation. So it's going to be a platter.
Assuming a reasonably decent platter, guidance, film cleaner, and a good operator along with frequent checks of presentation quality from the ground there is no reason that this method of operation is going to give a poorer end result than that of a large multiplex where operators must cover many screens each, particularly the ill-designed ones where they must run between many non connected booths.
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