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This topic comprises 2 pages: 1 2
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Topic: Theatre in upstate NY wants to revive booth
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Stephen Furley
Film God
Posts: 3059
From: Coulsdon, Croydon, England
Registered: May 2002
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posted 06-21-2003 02:55 AM
Mark wrote:
quote:
There's also another problem...they have to have an operator...no question about that.
![[Confused]](confused.gif) Everywhere I know that runs film on an occasional basis has an operator to do it. Sometimes it is somebody from their own staff, maybe a lighting or sound technician, sometimes they bring somebody in for an evening when required. I have done this myself from time to time, (shameless plug, anyone need an operator on an occasional basis in the London area?) Most of these type of places are now running towers, some are on changeovers, platters are not very common, but when there is film running there is a projctionist there to run it.
I don't know anywhere now running '30s machines, there are plenty of early to mid '50s ones still in use, the majority running as single machines. In many cases the old machines were still working reliably when taken out, either because of modernisation, or closure. Scott reports running Western bases reliably, albeit with later heads. Only a few years ago, I knew of two places still running even older equipment; one has closed, another, near Paris may still be doing so, I don't know. Both were running reliably, the French ones on a daily basis, the English ones for occasional shows.
After many years of dis-use, old machines would need restoration, and would need looking after when in use, but, given this, there is no reason why they should not run reliably. The last time I ran machines of similar vintage to these was not that many years ago, and there was certainly no doubt as to whether they would work for the next show, or even the next changover. Indeed, I have to say that film projectors, old or new, are about the most reliable devices I know.
What there is the opportunity to preserve here is a complete installation of the period, in almost original condition, in an original building, even down to the cans of film cement on the shelf. I know of plenty of outdoor nitrate boxes dating from the '10s to the '30s now equipped with a '50s Westar or '60s Philips/Kinoton, and I know of plenty of preserved '30s projectors, in museums, theatre foyers, homes, etc., but I don't know of anywhere with original equipment in an original building in as close to original condition as this, and still in use. It's a rare, possibly unique, opportunity to preserve a cinema installation of this period, in this condition, and it ought to be taken.
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Stephen Furley
Film God
Posts: 3059
From: Coulsdon, Croydon, England
Registered: May 2002
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posted 06-21-2003 03:02 PM
Looks like I'm heavily outnumbered on this one, but I'm going to make one last appeal to preseve this place; then I'll shut up.
Various suggestions have been made, sell everything, sell the sound equipment and use money to buy new, exhibit one machine in lobby, etc. All of these proposals mean the loss of what makes this place so unusual, a complete surviving installation, in almost original condition, and in an original projection room in an original theatre. I'm not suggesting that you would seek out equipment like this to equip a new cinema if you were building one today. My personal choice for that would be a pair of modified FP-30s, others will have their own ideas, nor that all cinemas should retain their original equipment for ever. I do howerver believe that we should preserve at least one example from this era, in working condition, and showing film. The example we see here is very probably the best we can get, it's not in perfect original condition, but it's not far off.
Other machines of this vintage which survived in regular use until recently were pretty well worn out by the end. This equipment had almost a 30 year shorter working life than some, and always ran as a pair, therefore the working hours may be quite low for equipment of this vintage.
Some machines were significantly altered, e.g. to work with long play units and xenons. The first xenons appeared not much more than 20 years after this sort of equipment was made.
Machines which were taken out of regular use long enough ago to have avoided the above fates have often been seriously damaged by vandals or the weather.
This is probably the best example which could be preserved now, I am pretty sure there is nothing in England now in this close to original condition.
It is impossible to tell from the photographs whether this installation could be restored to use, and, if so, at what cost. It would certainly need more looking after than modern equipment, but there may be people available to do that. Maybe the theatre could get financial help from some sort of heritage organisation to preserve this equipment in working order, I don't know how things work over there.
There are plenty of almost complete projectors in lobbies, old theatres with modern equiment, theatres with partly old and partly modernised equipment, but there are not plenty of complete installations, in situ, in original condition, and working. This may be the last chance, and is probably the best one, to preserve a complete working installation, in its original setting; I think they should at least look into the viability of it. If the equipment is removed then that is the end of it, there is no going back; and yes, keep those cans of film cement on the shelf, and the walls the same colour!
I promised I would shut up after ths post, so I will say no more.
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Scott Norwood
Film God
Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99
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posted 06-21-2003 09:27 PM
I'm with Stephen on this one. If they just want to show films once in a while (every month or so), then I would hope that there would be at least some effort made to keep the existing equipment with as few modifications as possible. It looks like it was a good installation to begin with and it must have far fewer "miles" on it than other, similar, installations, if the theatre really hasn't run film since the '70s.
This venue really needs to get someone who knows the equipment to come in and check it out firsthand. Assuming that everything is mechanically sound, I'd think that they would be best off by installing a new sound system (keeping the old one for display), getting new lenses, and keeping everything else.
I guess I just don't see the parts availability issues that others do. I personally know of at least one non-functional booth with Western Electric bases (no sound rack, though) where parts could probably be scavenged inexpensively. Carbons are available new from Marble and possibly others. Standard Simplex heads aren't exactly rare, either. Enarc lamps are tanks and don't really seem to need much in the way of parts.
The operator issue is probably a nonissue, too. No place like that should have a manager-operated booth, especially if they will be dealing with rare prints. Once they've paid a few hundred dollars for film rental and a bit more for lights, heat/AC, and other theatre staff, another $50 or so for an operator who can make sure that the show runs perfectly is trivial. If anything, I'd think that it would be easier to get operators to run a unique older booth in an historic theatre than to get people to run a "modern" booth. Sure, there might be a need to train people to run arc lamps, but that's a fifteen-minute excercise at most. A phone call to the projectionists' union or a few calls to some other nearby older theatres (probably not the mini-mall multiplexes, though) will probably find them a number of people who would jump at the chance to run film there and may be willing to travel a considerable distance to do so for relatively little pay.
There's absolutely no reason why equipment of that vintage (with upgraded lenses and sound systems) can't be used to put on a technically perfect show. Since they already have the equipment in place in an historically signifcant environment (original installation, mostly unmodified, etc.), I can't really see any reason for them not to at least try to get it to an operational state.
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