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Topic: The digital revolution

Jim Henk
Master Film Handler

Posts: 364
From: San Diego, CA
Registered: Feb 2006

posted 02-22-2011 01:41 AM

quote: Manny Knowles
Digital prints have not replaced me

Well okay. I'm glad. Sounds like that run of Metropolis was huge fun. True congratulations and kudos for showing how a person can run a great show. I mean that. Wow. I really hope that leads towards a really great gig for you in this new world.

But wasn't the post that started this thread all about a truly hot-d**n new system that goes great lengths towards the eventuality of operator-less booths? If so, then I'm obviously missing your point... Is it that projectionists somehow need to work harder to prove their worth to be able to stay in their chosen field?

Really... I'm not getting it.

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Brad Miller
Administrator

Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99

posted 02-22-2011 01:50 AM

Manny works at a special venue, not a mainstream commercial cinema. His job position will ALWAYS be there because of the type of venue that it is.

The industry is quickly switching to film-less projection booths, and along with that dedicated projectionists are being eliminated. Absolutely nothing is going to stop that. With that being said, the job of "projectionist" is typically being passed onto the managers, who don't have the time or often the technical knowledge to pay attention to the details because they are too busy running their theater. That is where the DCS shines, because the point is to keep the quality and showmanship level high for each and every show.

Think about it, there is a reason why the studios are constantly freaking out over every digital theater running the movie in advance for a "QC" check. It isn't that they are concerned the movie might have a reel out of order or a misframe. It is because of the "new projectionists" and the many things that can be overlooked or done incorrectly causing the loss of shows.

Hopefully that makes sense. Another way to look at it is that the best projectionists today will become tomorrow's technicians. After all, once we are sucked into this industry, we never leave. [Wink]

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Jim Henk
Master Film Handler

Posts: 364
From: San Diego, CA
Registered: Feb 2006

posted 02-22-2011 01:59 AM

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Frank Angel
Film God

Posts: 5305
From: Brooklyn NY USA
Registered: Dec 1999

posted 02-22-2011 05:34 AM

Manny, what was the digital source you had for METROPOLIS? And was it the Alloy Orchestra playing? I recently ran THE GOLEM but we were using DVD, not even BluRay; the BQE Project ensemble played an original score. It's hard to make a great presenation using less than ideal technology.

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Edward Havens
Jedi Master Film Handler

Posts: 614
From: Los Angeles, CA
Registered: Mar 2008

posted 02-23-2011 12:17 PM

quote: Brad Miller
Think about it, there is a reason why the studios are constantly freaking out over every digital theater running the movie in advance for a "QC" check. It isn't that they are concerned the movie might have a reel out of order or a misframe. It is because of the "new projectionists" and the many things that can be overlooked or done incorrectly causing the loss of shows.

Maybe I'm unique, then, because my encounters with studios are the complete opposite. Disney, for example, had the key for Tron: Legacy unlocked five days before open, and included a letter in with the hard drive, asking for us to QC the print ASAP and report back to them our experience. They even sent us 10 Tron t-shirts and soundtracks for being one of the first to get back to them. And our presentation was tip-top, in part because I didn't just watch the movie, but sat in the booth and monitored the presentation.

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Manny Knowles
"What are these things and WHY are they BLUE???"

Posts: 4247
From: Bloomington, IN, USA
Registered: Feb 2002

posted 02-23-2011 01:07 PM

We were provided with an HDCam, which looked amazing. I was blown away by how well this film has held up -- not only physically but thematically. Of course, the 16mm segments were greatly distressed. I recently watched a clip of Maria's dance in the Intermezzo -- without the added footage -- and it was missing one of my favorite shots (where Freder sees the thin man appearing before him as a priest). So, distressed or not, I like it with the "new" footage.

Our version of the score was reduced for a 16pc "salon" orchestra, from the original 60pc setting. The orchestra consisted of students from Indiana University's Jacob School of Music, including the conductor (who did NOT use a click-track). The students did an amazing job -- and we cut to live video of them so they could have a "curtain call" at the end. They deserved the recognition!

The live music was presented in surround -- Left, Right, Ls, Rs -- I thought it sounded better than the recorded Lo/Ro track.

The musicians did this neat gag at the opening where they started tuning as the curtain rose...and then straight into the THX sound...We had just received our official THX certification about a month prior.

I agree with what Brad says -- it's a special venue -- the "replacement" is happening in commercial applications -- no denying that.

I was responding to the claim that film handling means showmanship -- it does not. As a patron, I don't want to be subjected to dirty images that jump, weave and breathe -- and may be missing footage -- just because the projectionist has a love affair with handling film. Sorry if digital means you don't get to have as much fun in the booth but, for my money, I want image quality on-screen. THAT'S showmanship at its core.

I enjoy running film when the print and equipment are in top form -- and that's rare. Even NEW PRINTS today aren't as good as they can be because they're not coming off the OCN and they're being duped at warp speed. The prints we got of BRIDGE ON THE RIVER KWAI, LAWRENCE OF ARABIA and THE GRAPES OF WRATH were in excellent condition and it was a joy to show those on film.

But every time I get a "beat up" print, I yearn for the day when repertory titles will exist as DCP's.

Listen to what Steve and Brad are saying -- the best projectionists will become technicians. We may not be at the "ground floor" anymore but it's not too late to transition.

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Brad Miller
Administrator

Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99

posted 02-23-2011 01:46 PM

quote: Edward Havens
Disney, for example, had the key for Tron: Legacy unlocked five days before open, and included a letter in with the hard drive, asking for us to QC the print ASAP and report back to them our experience.

Wow, you totally missed the point. Disney WANTS you to QC the digital show, not because they are worried about the presentation quality, but because they are worried the staff at the theater handling the ingestion, content and playlists will screw it up and they will lose shows opening day as everyone at Technicolor scrambles to get keys that work and talk the theater staff through how to setup the system properly.

The words "quality" and "experience" is simply used to disguise the real intent and to make you feel special.

Also just as an FYI, sitting in the booth is not a proper check of "quality". The customers don't sit in the booth, they sit in the auditorium. It is impossible to truly verify the "quality" of a presentation from the booth. You must be inside the auditorium where the customers will be viewing the film. For example, you could have a blown speaker, a rattling AC grill in the ceiling, a shiny spot behind the screen viewable only from the auditorium, etc.

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Manny Knowles
"What are these things and WHY are they BLUE???"

Posts: 4247
From: Bloomington, IN, USA
Registered: Feb 2002

posted 02-23-2011 02:18 PM

I recently heard the booth referred to as "the worst seat in the house."

I have to agree. [Frown]

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Edward Havens
Jedi Master Film Handler

Posts: 614
From: Los Angeles, CA
Registered: Mar 2008

posted 02-23-2011 02:41 PM

Sorry, Brad. I had to get to my theatre, so I couldn't finish my post...

Anyway, we don't ever QC with just one person. One manger in the theatre, one in the booth. Both with radios, to stay in touch. We check everything from sound levels (with meter to ensure the sound is neither too loud nor too soft) to getting right up to the screen to make any minor adjustments should there be any bleedthrough on the masking or blackness on screen.

And at my theatre, we don't let just anyone go in to booth. We make sure each person entrusted to be in booth understands the full importance of their duties. We spend hours with them troubleshooting theoretical issues before they become real issues. They know how to change a bulb, even though they won't be doing any swapouts except under extreme emergency situations. They've been taught a brief history of projection, even though I'm probably the only one here who has or ever will work with 35mm.

My customers expect the best presentation, and I make sure that's exactly what they get. I may have never been a union projectionist, or solely a projectionist, but I take all aspects of my job as seriously as anyone on this board.

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Joe Redifer
You need a beating today

Posts: 12859
From: Denver, Colorado
Registered: May 99

posted 02-23-2011 03:31 PM

So where are all these technician jobs that the best projectionists will take? I certainly don't see any around here. It would be foolish to go into business for myself as an independent tech as I would not make any money or get enough business to be competent in what I do since my skills would get rusty. Regal already has their own tech. AMC has their own really shitty tech. There are a few independents, but not enough to keep me alive. The cinema industry is a well that has dried up.

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Steve Guttag
We forgot the crackers Gromit!!!

Posts: 12814
From: Annapolis, MD
Registered: Dec 1999

posted 02-23-2011 03:56 PM

STS often has job openings. Be prepared to travel! And that is true of the current jobs.

An independent tech, could actually make a very nice living doing DCinema installs if one were to line the jobs up well and have a person keeping an eye on the books to ensure payment (that is a key).

-Steve

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Ben Wales
Jedi Master Film Handler

Posts: 602
From: Southampton. England
Registered: Jul 99

posted 02-23-2011 04:13 PM

quote: Joe Redifer
So where are all these technician jobs that the best projectionists will take?

You "Hit on the Head" so well Joe!, the only Jobs I have seen and heard are "Manager Projection" with multi tasking in running the Retail side, most of the (Projection Hours) are cut right back when Cinemas go "All Digital" and I have heard that almost 300 Projectionist's across the UK will be made Redundant within the next two years.

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Joe Redifer
You need a beating today

Posts: 12859
From: Denver, Colorado
Registered: May 99

posted 02-23-2011 07:52 PM

I definitely don't want to travel for a job. I don't think it is true that the best projectionists will become techs, only the projectionists who have no other skills at all and have nothing worthwhile at home.

Also, even if one could make a decent living doing DCinema installs, what happens once everything is converted over and there are no more installs to do? It'd be the same situation of not enough work all over again and that's only a few years away. Like I said, this industry is a well that has dried up.

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Brad Miller
Administrator

Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99

posted 02-23-2011 08:25 PM

Joe, once you install the projector, you still need to service it. Your unfortunate reality is where you live. It is all Regal/AMC and you don't want to travel. That is not the case elsewhere. (Also most techs travel.)

Edward, as long as you have someone in the theater its good. Your previous post did not make that clear. Sorry for the mixup. Still, the whole "please QC our movie" has little to do with actual quality concerns from the studio. You don't see studios begging every 35mm theater to "please QC our print". [Razz]

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Chris Slycord
Film God

Posts: 2986
From: 청주시, 경북도, South Korea
Registered: Mar 2007

posted 02-24-2011 02:11 PM

quote: Brad Miller
You don't see studios begging every 35mm theater to "please QC our print"

And if you receive something that was claimed to be QC'd already, this is meaningless as QC can just mean "someone checked it was the right reel" instead of "someone checked that there were no issues with the reel."

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