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Author
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Topic: Uptown Theater ditches quality projectionists in search of a crappy presentation
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Monte L Fullmer
Film God
Posts: 8367
From: Nampa, Idaho, USA
Registered: Nov 2004
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posted 07-23-2005 03:51 AM
quote: Phil Hill
it's ALSO us old fart's responsibility to pass on our collective and specific knowledge to those youngins that love the hardware as well as the "art".
..and you know Sir Phil, your dead on the money with this statement. For them youngins are just in desparate yearning to learn from us elders, for they crave knowledge and most of all-leadership. And they have that right to deserve the knowledge that they crave.
And who's to give it to them, but us "old farts" that have and gained testimonies of this experience, and them youngins know this. Why, they bomb us "old farts" with gobs of questions on what goes on upstairs in the film rooms - what makes it tick and we then show them.
And top of it off, it's the absolute joy in teaching and training most of these youngins what we know and do so they can learn the "art" of our trade-and eventually teach others themselves of this valuable trade.
Some may think that film projecting is a dying trade, but in the long run, it's a trade that is strong as ever - just have to do some of it a bit different than what it was done in the past.
..and I take joy in this new training of an old trade to others, for it builds respect between teacher and student(s), plus a form of bond between the teacher and the student(s) that never ceases to end - like an eternal "team" of sorts.
..also with this, of such successful results, a Legacy has been left of such one teacher.
I leave Legacies where ever I go and have been, to this day.
And I plan on to continue to leave Legacies until I can't do it anymore.
thx-Monte
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Tim Reed
Better Projection Pays
Posts: 5246
From: Northampton, PA
Registered: Sep 1999
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posted 07-24-2005 12:28 PM
You're absolutely right, Mark, my experience indicates the same. Standards, Supers, and E-7's looked like hell as far as the film path was concerned, but unless they were just worn down to nothing, they were very gentle on prints and quiet in operation. I never saw one damage a print.
I also agree that platters remove a lot of potential errors that could be made by an incompetent in a c/o booth. I've seen both sides of that coin. One guy I ran a 20-min. reel booth with absolutely would not endeavor to thread in-frame. So, nearly every one of his changeovers would come up out of frame. He just attached no importance to it, saying that's what the framing knob was for. I later ran a 6k reel booth with another guy who said the same thing, although, I forced him to pay attention to it by REMOVING THE FRAMING KNOB. He wined and cried about it, but I made my point. ![[Big Grin]](biggrin.gif)
And I completely agree with Brad that, in today's climate, there is a time and a place for each system. I have recommended both in the appropriate installations over the years.
Personal druthers: if i'm projectionist, I'd rather be at a drive-in somewhere in the sticks, with 20-minute reels and some big-ass carbon lamps, like Ashcrafts. If I owned a theatre, though, and someone else was going to be operating, it'd be a platter hands down.
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Monte L Fullmer
Film God
Posts: 8367
From: Nampa, Idaho, USA
Registered: Nov 2004
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posted 07-24-2005 12:37 PM
True. Just when I had to do a rebuild on an E-7 (intermittent rebuild, gate and trap rebuild with new rail and guide parts, rebuilding that damned oblique shaft with the new fibre gears and putting in the appropriate shims behind the oblique shaft mounting plate for the correct gear spacing...), that E-7 ran so quiet, smooth and with a very steady picture, that all one could hear was the Strong platter whirring and the blower on the lamphouse whizzing away. And one couldn't even hear that machine through the port window which wasn't covered with glass
And I agree also with the Standards: thread them right and take care of them with the continual maintenace (since these machines had projectionists, not "B-ushers" to handle them) and these "old timers" can handle film as they supposed to do and much better than these newer machine can - being built with such better precision and more of a hands on quality than with these newer ones. (Why I miss my Motiograph AA's)
DeVry Portables were fun to thread as well.
quote: Tim Reed
with 20-minute reels and some big-ass carbon lamps, like Ashcrafts.
LOL - Big ass carbon lamps would be those Peerless Hy Candescents condensor arcs, Stong 135's or the Futura IIs with 13.6mm rotator positives. But the big-assed Ashcraft, as you want, are the Corelite variety with that blower assembly sitting on top of the lanphouse.
You know, one could miss running carbons..that kept you busy. LOL
-Monte
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