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Author
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Topic: Hey you, you suck! (AKA: Outing bad film handlers) Part 2
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Brian Guckian
Jedi Master Film Handler
Posts: 594
From: Dublin, Ireland
Registered: Apr 2003
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posted 02-06-2007 06:15 PM
Just as a matter of interest, and it's relevant here I think, what access to training and information does the standard multiplex in the US have?
There is this website, which gets you a long way there. But what else is out there in the US? Are there any entry-level publications, courses or seminars? Forgive me, I'm just not familiar.
Is it that all the knowledge and information is there, and so people are just being negligent, OR is it that it's just difficult for people to pick up stuff?
I know the arguments re. pay, having been discussed at length before, but that cannot be the only factor in these problems.
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Charles Greenlee
Jedi Master Film Handler
Posts: 801
From: Savannah, Ga, U.S.
Registered: Jun 2006
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posted 02-07-2007 11:08 PM
At Regal, we have a training and certification program. It's all based out of the PBOM, or the "Projection and Booth Operator's Manual". It's pretty interesting. Going through it, I've found several bad habits I have from working the Carmike's, which doesn't have a booth manual of any sort, that I know of. It's all hand trained, so if your trainer like to eat KFC while building a print, it's likely you'll learn to do the same. Also as likely, you can pick up good habits from your trainer too.
Regal also does the hands on training, but it's nice to have a standard set in writing in one consolodated manual.
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Monte L Fullmer
Film God
Posts: 8367
From: Nampa, Idaho, USA
Registered: Nov 2004
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posted 02-08-2007 12:05 AM
quote: Charles Greenlee
but it's nice to have a standard set in writing
Yes,when I first saw these manuals from REG, it was very interesting to read , and very well laid out in detail.
I have to admit, the first time I read this manual, I was actually having a good time being and being very entertaining to read since, to me, it was like reading a 3rd grade grammer book.
But, as time goes on, I soon realized that this manual was written for a purpose - and that is comformality..everyone to be on the same page without any changes or differences... in the "KISS" format.
Cineplex Odeon had a booth manual of sorts, but not as descriptive as REG's
-Monte
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Samuel Andrew Wetzel
Film Handler
Posts: 16
From: Appleton, Wisconsin, USA
Registered: Apr 2006
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posted 02-10-2007 01:22 AM
monte,
i worked at a discount 6-plex for about 3 years and i completely agree with you. The state that you get prints is often ridiculous...if not pure sabotage. I've seen prints where the "projectionist" apparently missed a splice and decided to make his own reel change by just cutting it where he felt like it...with a scissors or key or god knows what. also, people seem to forget to label reels correctly, something you get used to at a budget house. you get reels with no id frames....but they have markings of R5, R2, 6....you really just have no idea of what you're building sometimes. Now I work at a 14 screen first run and those problems are ancient history but I can definitely relate.
To everyone else,
When moving prints has anyone "Z-wrapped" the film to make the take up tighter? Also, I've heard of some theatres moving prints by just moving the entire platter deck to another house? it doesn't seem like this would be a good thing...but i wanted to know if anyone had any horror stories about film damage caused by z-wrapping or removing a platter deck to move a film. It's a Strong AP-3 platter system. Any advise would be appreciated.
Thanks,
Sam
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Monte L Fullmer
Film God
Posts: 8367
From: Nampa, Idaho, USA
Registered: Nov 2004
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posted 02-10-2007 01:51 AM
quote: Samuel Andrew Wetzel
When moving prints has anyone "Z-wrapped" the film to make the take up tighter? Also, I've heard of some theatres moving prints by just moving the entire platter deck to another house? it doesn't seem like this would be a good thing...but i wanted to know if anyone had any horror stories about film damage caused by z-wrapping or removing a platter deck to move a film. It's a Strong AP-3 platter system. Any advise would be appreciated.
Hi Sam, and thx for your replies. I also play with A-3/AP-3 Strong platters and it's actually not recommended in moving prints by using the deck since they are so flimsy of being light aluminum and can warp quite readilly when pulling them off and putting them back on the support arm center shaft.
If you had a Christie AW3R setup, then no problem since those decks are almost bulletproof and very sturdy designed decks.
And if they warp due to this, good luck in platter takeups since the motor has a hayday with warped platters (the spider leg bracing under these decks will twist easilly causing the warpage-being that these units are dependent on that variac in the base of the tower.
Now, to be honest, I'm guilty in moving print by using the decks, but these prints that I do this are the 3hr plus prints that are just way too big for a moving board that I use-let along quite heavy if doing the moves by yourself.
But, knowing of the potiental of warpage, I make certain that when I do the deck moves, that the decks go straight up (with either one or two helpers aiding me) off the shaft and straight down on the shaft so not to warp these decks, and so far, been successful in doing this rare practice.
As for "Z" wrapping, not a good idea for not to cinch the prints and causing scratching when emulsion and base come in hard contact with another.
Good luck and thx. - Monte
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Brian Guckian
Jedi Master Film Handler
Posts: 594
From: Dublin, Ireland
Registered: Apr 2003
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posted 02-10-2007 04:27 PM
The platter decks on the AW3 were designed for lifting off only in a maintenance context. If they were designed to be lifted off in order to move prints, then the Designers and Engineers would have come up with an appropriate mounting / de-mounting fixing!
Maybe we forget that highly skilled craftspeople, designers, machinists, engineers, etc., BUILD these things! We should respect their work IMHO... ![[beer]](graemlins/beer.gif)
quote: Charles Greenlee
Going through it, I've found several bad habits I have from working the Carmike's, which doesn't have a booth manual of any sort, that I know of. It's all hand trained
quote: Daniel Wright
I just or should I say almost finished watching Hannibal Rising at the Carmike 10 here in Stillwater Oklahoma. Five minutes before the movie was over the Xenon Bulb popped apparently destroying the reflector.
There was considerable static between trailers during the pre show. And the movie was slightly out of frame for the entire show. There was a few times where the text on the bottom of the screen was mostly chopped off.
What about writing to this, or similar companies that use purely on-the-job training, and suggest that they implement a formal written, or manual-based training and certification programme? As we know, Better Projection Pays. Investing in quality generates a return, which is something Shareholders in these concerns can relate to, surely.
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