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Author Topic: Setting Traps Chris Byrne Expert Film Handler Posts: 102 From: Kirwan, Australia Registered: Jan 2003 posted 12-20-2003 12:37 AM                     Thanks for the contributions! My final list: brain in wrong film. incorrect pinning to matrix. fader set to zero. isolate projector. remove canon motor plug on platter. aperture upside down. remove fuses from CP55 processor. disconnect one end of auto-douser bar. isolate timer to matrix. interlock projectors. disconnect reader plug on DA20. back tension right off on lay-on roller. remove lateral guide rollers. turret wound to the extreme one way. take up carriage not engaging rail microswitch. Turn gain on AMPS to 0. take belts off projector motor. jammed slide in carousel. block airflow in exhaust ducting. cowling scraping on projector roller. pot speed in brain set to zero. all slide relays removed from slide box. focus ring and anamorphic out of whack. pull output lead from centre channel amp. sensor backed right off so as not to pick up foiling.  |  IP: Logged Peter Hall Master Film Handler Posts: 314 From: London, UK Registered: Dec 2000 posted 12-20-2003 04:46 AM                        Or crosswire the masking of screen X to screen Y. Whilst you are desperately working out how to get the masking to open in screen X, the phone keeps going from a manager with audience complaints from screen Y. So you go to screen Y, adjust the maskling and nothing happens. Now you've got two houses of upset customers..  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 12-20-2003 02:08 PM                     quote: disconnect reader plug on DA20 BE CAREFUL!!! The DA20 was not designed to be plugged/unplugged when the unit is powered on. You could do some serious damage there. So long as your readers were properly installed in the first place, it would be pretty much impossible for the cable at the reader to become unplugged and the DB25 connector on the DA20 should've been screwed in anyway, so that's not something that a trainee should ever have to deal with. I would recommend you leave this out, as you do want to train and not destroy. In fact, I would make it a point when explaining how xenon lamps can explode how the digital can be destroyed if you "hot plug" the reader cable should for some bizarre reason it ever become unplugged.  |  IP: Logged Jack Ondracek Film God Posts: 2348 From: Port Orchard, WA, USA Registered: Oct 2002 posted 12-20-2003 02:46 PM                        OK... turn off the power first... then take off the whole reader! Wouldn't surprise me any to see someone thread through a film cleaner & call it good! (you mean Filmguard won't substitute for a reader? Phooey... send it back!). While we're all showing the extent of our true colors... I don't suppose any of you would consider swapping drive pulleys on your Century soundheads??? I got one of those last Summer... mismatched motor... darned thing made everyone sound like Donald Duck.  |  IP: Logged Aaron Sisemore Flaming Ribs beat Reeses Peanut Butter Cups any day! Posts: 3061 From: Rockwall TX USA Registered: Sep 1999 posted 12-20-2003 03:01 PM                     quote: pull output lead from centre channel amp. Hopefully you meant INPUT lead? On some amps, disconnecting the load (output leads) will fry the amp. -Aaron  |  IP: Logged Bruk Mogos Film Handler Posts: 19 From: USA Registered: Nov 2003 posted 12-20-2003 04:03 PM                     My advise is before you do any of the traps, show them how to fix the things you are going to mess with and after couple of days or weeks set the traps and see if the remember what you have thought them, this can save you a lot of time and money, since the can mess up a lot of stuff trying to fix one simple trap that you decided to test them on. Be my guest if you have any better ideas.Oh one more thing make sure they don't embarrass you with your own trick, because one time one of this rookie booth managers tried the same trap on me but I ended up knowing little more than him and he was really pissed, the good thing is he doesn't work with us any more.  |  IP: Logged Chris Byrne Expert Film Handler Posts: 102 From: Kirwan, Australia Registered: Jan 2003 posted 12-20-2003 04:55 PM                     Thanks Guys, Will let you know how they perform.  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 12-20-2003 06:05 PM                     In many house if one wants the optimum noise floor on the soundsystem the gains are set on the amps and as such playing with them is a no no  |  IP: Logged System Notices Forum Watchdog / Soup Nazi Posts: 215 Registered: Apr 2004 posted 01-13-2005 08:39 PM                 It has been 390 days since the last post.  |  IP: Logged Jason Evenden Film Handler Posts: 4 From: Notting Hill London, England Registered: Jan 2005 posted 01-13-2005 08:39 PM                        With one of my projectionists, i decided to move all the leaders into different cans...and he never checked it, made him re-do the 7 reels correctly. From that day to this, he double checks EVERY SINGLE reel....  |  IP: Logged Dick Twentyman Film Handler Posts: 21 From: Highton, Victoria, Australia, Registered: Oct 2004 posted 01-14-2005 10:03 PM                  Here's a trap for you artistically talented projectionists, but probably won't be of any use because carbon arcs are just about non-existent. Cut some lengths of wooden dowel (8mm), paint them with copper coloured paint, taper the ends, paint them black then store them with new carbons. It takes an age to strike the arc - like forever!!!  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 01-14-2005 10:26 PM                     That's hilarious Dick! I guess I'm going to have to try and get ahold of some of those display xenons from ShoWest for, ummmmm...."future use".  |  IP: Logged Thomas King Expert Film Handler Posts: 119 From: Sheffield, Yorkshire, England Registered: Oct 2004 posted 01-14-2005 10:44 PM                        We have what we affectionately refer to as the "f-up reel" , which is the last reel of Beverly Hills Cop, with a few things done to it which makes it interesting. It's designed mainly to simulate things that could go wrong with the show because of a bad film on the deck. They take a bit of time and ingenuity to make, but are worth it, I think. I certainly learned a lot from it. - Cut from wide to scope. - Simple flip (ahh! Why is the soundtrack down there?) - Tail out section (yes, it's happened) - Film break - Tension cutout (payout jam) - Perforation and edge damage - Perforation and edge missingness. - A shedload of horrible racking errors. - Soundtrack dropouts (correction fluid madness) That's all I can remember from it. My trainer didn't let me take anything for granted, when I was on my knees with a splicing block, he'd lock up the manual douser, fiddle with the racking and focus, swap the lens, switch it to manual, anything to catch me out if I just pressed play without checking everything. Horrible man  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 01-15-2005 07:14 AM                        Brad--would those bulbs be model "XBO-0000 W/H"?  |  IP: Logged Mark Andrews Film Handler Posts: 3 From: Rancho Cucamonga, CA Registered: Dec 2004 posted 01-16-2005 08:05 PM                    I have made a reel that has just bad splices so new projectionsists would have to find out the best way to solve the problems however I also want to teach them how to fix a tail/brain wrap. However how do you get a good wrap without damaging the equipment? Everytime I've seen a brain wrap in our theater it has damaged equipment, mainly putting so much preasure on the brain that it breaks something like one of the rollers. This has never been done to me since I became a projectionist because "they didn't have time" and now I'm the senior projectionist... We use AW3 platters  |  IP: Logged

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