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Author Topic: Loud projection booths could damage hearing William Hooper Phenomenal Film Handler Posts: 1879 From: Mobile, AL USA Registered: Jun 99 posted 09-19-2003 01:19 AM                        quote: I'm thinking of nicely faced compressed fiberglass panels. --------------- That stuff works pretty good Steve. We've used it in some larger recording studios where sonex foam wouldn't work much better due to the large space. The nice thing about fiberglass panels is that you can paint them. Where are you guys sourcing compressed fiberglass panels? What make & wholesaler/reseller/distributor?  |  IP: Logged Edward Jurich Master Film Handler Posts: 305 From: Las Vegas USA Registered: Jul 2003 posted 09-19-2003 09:48 AM                     Well, I guess a law suit could be cheaply avoided by hanging a set of those ear muff headsets on the wall with a sign requiring they be worn while in the booth. Bad thing about a loud booth, you can't hear low level noise because your ears have "compressed" the level down. Then you miss those little warning sounds that something may be going wrong.  |  IP: Logged John Anastasio Master Film Handler Posts: 325 From: Trenton, NJ, USA Registered: Sep 2000 posted 09-20-2003 05:17 PM                        There are two types of Sonex. One type is fire retardant and designed to be used in public areas. I use rubberized flooring. It comes in 4' square interlocking tiles. It absorbs quite a bit of noise and is an absolute pleasure on the feet. They don't get glued down, since they're interlocked, so if you mess one up, you just lift the sucker up and replace it. You can mop them or vacuum them just like tile or even pick one up, take it outside and hose it off. I don't know how they perform in a high traffice environment, but they seem tough enough to take a lot of wear. They're also cheaper than carpet.  |  IP: Logged Ron Yost Master Film Handler Posts: 344 From: Paso Robles, CA Registered: Aug 2003 posted 09-20-2003 06:54 PM                     The home theatre folks get 'rigid' fiberglas at either air conditioning installers, where it's used inside ducting, or from insulation contractors. It's not really rigid, as in stiff-as-a-board, but it is very compressed and less flexible than regular studwall insulation. The HT crowd cover it with GOM fabric .. just like the panels in real theatres. Expensive stuff, GOM. The rigid glass isn't exactly 'cheap', either. Check in the 'home theatre builder' section of AVSforum.com and you'll find enough info to read for days. Look for terms like 'linacoustic'. Here's a link to that section of the forum: AVS Home Theatre Builder Ron Yost  |  IP: Logged Warren Smyth Expert Film Handler Posts: 158 From: Auckland ,New Zealand Registered: Aug 2003 posted 09-20-2003 07:49 PM                     quote: It's amazing how many people just don't give a damn about their employees' work environment I'm amazed that there are still projection rooms that are detrimental to people's health. Here, one phone call would bring a visit from a man from OSH (Occupational Health and Safety) with his sound meter. As a government inspector, he has the power to close a site down. In some industries it is expected that ear muffs be worn, but that is hardly practical in projection rooms. When I worked as a projectionist thirty years ago, the greatest noise occured when running 70mm. We had acoustic tiles along the front wall and ceiling but lino floor. It was fairly noisy but obviously not to the danger level currently being complained of. The projectors were enclosed with side doors Vic 10s or Kalees which did reduce the noise at the source. I'm wondering if this is a factor and if there are a lot of open machines being used. Our major problem was heat in the projection rooms. I remember considerable resistence by exhibitors to air conditioning for projectionists. Even in those days, we were able to resolve the issue through mediation with the assistance of the labour department. The fact is, ALL these problems can be fixed. It just means spending money. Where there is resistence to doing this, it becomes an educational programme for the exbibitor. The aim is to get the message through that there are financial gains - less staff turnover, therefore less training costs, less absenteeism, more motivated staff who might actually hear that problem before the film pulls the platter over. I remember an engineer once telling me that he noticed that equipment was never cared for as well in theatres that had small sweat boxes. It's likely that this translated to greater instances of film damage as well. It's just amazing what a pleasant working environment will do. Most exhibitors are reasonable but if not, the only alternative is to engage a third party, consistent with local disputes settling provisions, or leave. Whatever you do, DON'T STUFF YOUR HEARING. Chances are, you will need it for your next job.  |  IP: Logged Richard B. Perrine Film Handler Posts: 89 From: Cuyahoga Falls, Ohio Registered: Apr 2000 posted 09-23-2003 12:55 AM                     I would check a recording studio design book......and build sound absorbtion panels...big ones ...out of 1 x 3 and mount them on the walls. RBPerrine@aol.com  |  IP: Logged

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