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Author Topic: Changovers: Tips and Tricks Andrew McCrea Jedi Master Film Handler Posts: 645 From: Winnipeg, Manitoba, Canada Registered: Nov 2000 posted 07-12-2004 07:40 PM                        When did Canada's big chains majorly make the big change from carbon to xenon, changeover to platter and which switch came first? Back in the days of the Garrick 4, and NorthStar 2, when they were both full changover houses, would they have one person run two auditoriums?  |  IP: Logged Matt Manalis Film Handler Posts: 27 From: Yamba, NSW, Australia Registered: Apr 2004 posted 07-12-2004 08:34 PM                        when changeovers were everywhere and especially here in OZ they used to have 2 projectionist per a screen and they would call the sues so you would never miss a changeover i don't know much about American history so i can't help U on that  |  IP: Logged William Hooper Phenomenal Film Handler Posts: 1879 From: Mobile, AL USA Registered: Jun 99 posted 07-13-2004 01:23 AM                        I agree that overall presentation quality has declined since changeover operators. The equipment overall has improved, but it's been more than offset by the fact that much of it was designed to reduce skilled (or even engaged) operators. You can analze the separate aspects, but you can't ignore how they interact.  |  IP: Logged Stephen Furley Film God Posts: 3059 From: Coulsdon, Croydon, England Registered: May 2002 posted 07-13-2004 01:30 AM                     Xenons came before platters:; you need xenons to run a platter, you don't need a platters to run xenon. I don't know about Canada, but it probably wasn't much different to over here. First change was from 1000 to 2000 foot reels. I don't know when this happened, but it was long ago. Next change was from 2000 to 4000 or 6000 foot reels, this couldn't happen untiil nitrate had gone, and started in the early '50s. This was very useful for 3-D, as otherwise you would need to do changeovers with four projectors. There were a few places that did it that way! Soon after this xenons started to appear, but were not common until much later. By sometime in the '60s, I'm not sure exactly when, 15,000 foot spools were available, which could run a whole film with one machine. A few projectors could take these directly, Philips and Fedi both made them, or the spools could be run on a tower behind the projector. To do thiis you needed xenon. Platters were introduced in the early '70s. Of course, it didn't happen overnight, it probably took about twenty years for xenons to become more common than carbon, and there are still plenty of places running changeovers today, and new ones are still being built. Among art-house type venues here in the u.k. platters aren't that common, most have either 6000 foot changeovers, or towers.  |  IP: Logged Will Kutler Phenomenal Film Handler Posts: 1506 From: Tucson, AZ, USA Registered: Feb 2001 posted 07-13-2004 01:41 AM                     Is equipment today better than that of yester-year? I think just about most of the older people here agree that the E-7 had about the steadiest image of any projector ever made. And while DTS is capable of excellent sound, is it not an update of old-technology? Is there no resembelence between DTS and Sound-On-Disc? But yes, there is some excellent equipment out today! I don't think enough people are giving credit to LaVezzi VKF sprockets and polyester-based film...which have both drastically reduced sprocket-hooking and sprocket hole damage! As for change-overs, yes Brad...it is mechanics. Some people have already mentioned here about film-inspections. Keep in mind that most change-overs occur at change-of-scenes or in fade-ins/outs. If the Projectionist has inspected the print and has familiarized him/herself with where C/Os occur, then excellent C/Os can be made on a routine basis...as long as the Projectionist also remains alert and quick-on-the-draw. It seems tome that no-one mentined adjusting the motor shunt resistors on RCA and Simplex soundheads to ensure projectors come up to speed in the required time?  |  IP: Logged Ron Lacheur Jedi Master Film Handler Posts: 650 From: British Columbia, Canada Registered: Feb 2002 posted 07-13-2004 01:55 AM                     Andrew, this is just a guess but I figured platters and xenons started coming in the late 70s/early 80's.  |  IP: Logged Carl Martin Phenomenal Film Handler Posts: 1424 From: Oakland, CA, USA Registered: Feb 2002 posted 07-13-2004 03:30 AM                        quote: John T. Hendrickson, Jr was the last to post With today's projection equipment options, choices in sound equipment, better screen surfaces, better lenses, advances in acoustical knowledge, vastly superior film stocks, film cleaners, etc. anyone who thinks that the presentation was better back in the old days is a nut. the things you mention are all better, yes. but i do think carbon arc looks marginally better than xenon, and i think a first-generation print looks miles better than a high-speed print off an interneg (case in point, the new print of fanny and alexander i saw 2 days ago: hot damn that looked good!). the print quality is not related to the projection equipment of course, but in the days of smaller print runs better prints were made, and today's superior stocks apparently just can't compensate for the generation loss. quote: Stephen Furley From the first frame of the changeover cue to the end of the reel is one second assuming no missing frames, it's usually one second from the last frame of the c/o cue (or is it different in the uk?) quote: counting 48 frames back from the end of the picture for the [change]over cue is it that different in the uk?? carl  |  IP: Logged Joe Redifer You need a beating today Posts: 12859 From: Denver, Colorado Registered: May 99 posted 07-13-2004 04:24 AM                        Here is an awesome tip/trick: During your changeover, if you press Up, Up, Down, Down, Left, Right, Left, Right, B, A, and then Start, you'll start with 10 extra guys. Seriously though, just remember that just because you think changeovers are cool, do not, I repeat DO NOT think that you must like old crappy equipment that is usually synonymous with changeovers as well. Believe it or not, good equipment CAN do changeovers and they CAN do them extremely well. You don't need a crappy Simplex to do it, nor a reel rewinder that only has two speeds (on or off) which destroys the film. Hell, you could get two prints of each movie and also two platters, then you'd have a kick ass changeover booth. You'd have frame accurate manual changeovers each and every time if you had both prints running on a platter (one per projector, started at the exact same instant). It would be the first ever changeover booth run on a platter. Don't think you have enough light on that screen? Open the douser on BOTH projectors! And yes, the cost and effort would be worth it.  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 07-13-2004 05:34 AM                        When a feature length film is shown in and IMAX SR theatre, the film is usually on PLATTERS (QTRU), and there is a CHANGEOVER between the TWO projectors.  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 07-13-2004 05:42 AM                     Even worse than that John, is that it's an AUTOMATED changeover! EEK! It's humorous how somehow putting a changeover in a show magically makes it better by so many arguments whether it be the "art" of the operator or the "showmanship" added because some guy is having to change reels. While it's possible to have seamless changeovers, if the two xenons are not perfectly matched, it shows. The aperture or lens could be knocked slightly, which shows. There is almost always a buildup of dirt at the ends of reels, which shows. It's been said before and most people agree, if a film is only going to be ran a few times, there is less wear running reel to reel, but if the show will be ran many times, there is less wear running platters. Of course I suppose I have to insert the "assuming qualified operators" comment here too. When compared in this light, the choice should be made for the best interest of the film depending on the kind of installation it is (commercial cinema vs. screening room). Will, if I had any E7s I would ship them all to you. What an oily joke of a machine! You want to see excellence in projection? Get your hands on a Kinoton. They'll beat the pants off of anything you can put up against it... and oh my, it's a current product too!!!  |  IP: Logged Peter Hall Master Film Handler Posts: 314 From: London, UK Registered: Dec 2000 posted 07-13-2004 07:44 AM                        I too come from a changeover background but cannot see how adding human intervention and the associated uncertancies every 20 minutes can improve presentation. WHere to lace up the incoming machine depends on the run up speed of the machine. We use this method; - Lace up a reel on, say, projector 2. - Lace up a reel on P1 BACKWARDS, ie tail out (run "b" wind or twist the film to get the soundtrack on the right side) - Run the reel on P1 down until the third or fourth frame of action is in the gate (eg just before the head leader). Stop P1 - Now run P2, and when you see the motor cue start P1 as normal. CHangeover when you see the "over" cue. Look on screen - chances are you'll be looking at black spacing between the 6 and the 7 mark on the leader. Note this point - this is where you should lace up to do a perfect changeover. This method allows for projector run up speeds, changeover shutter delays and even slow reactions of old duffers !  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 07-13-2004 10:47 AM                     Andrew Famous Players was using large reels with cinemation or showman2 and changeovers up until the late 80's  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 07-13-2004 11:26 AM                        "Film Done Right" assumes a competent changeover, without any loss of continuity or added wear/dirt at the reel ends. Whether the projectionist makes up the reels and programs the automation, or makes the changeover themself, is irrelevant.  |  IP: Logged Christopher Seo Jedi Master Film Handler Posts: 530 From: Los Angeles, CA Registered: Jun 99 posted 07-13-2004 11:33 AM                     Well Brad, changeovers may not be better, but they are a heck of a lot cooler. I assume when people are talking about "threading up on the 8", etc., they are referring to putting the 8-foot-mark in the gate. By that reckoning I thread up at nearly 10-1/2 feet in the gate (hot hole), assuming the reels are not missing frames at heads and tails due to previous (mis)handling. So there really is a wide variation depending on equipment and if at all possible one should practice first in an unfamiliar booth.  |  IP: Logged Will Kutler Phenomenal Film Handler Posts: 1506 From: Tucson, AZ, USA Registered: Feb 2001 posted 07-13-2004 12:30 PM                     WTF are you speaking about, Brad...that E-7s are an oily joke of a machine? If you know how to operate them, and keep them maintained, oil is no problem. Furthermore, as I stated in another thread, some of the oiling can be eliminated by modifying with oil-lite bushings! I have yet to see any machine...including the human body, that does not require lubrication of some type in order to function...I suggest you take Physics 111 at your local community college! Change-overs resulting in excessively dirty heads and tails? WTF...pay attention to what John Pytlak said!  |  IP: Logged

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