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Author Topic: Regal CineMedia News Paul Linfesty Phenomenal Film Handler Posts: 1383 From: Bakersfield, CA, USA Registered: Nov 1999 posted 06-17-2003 05:38 PM                     Well, if Mike had said "check the frame/focusing" I would have been less concerned  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 06-17-2003 05:53 PM                        What happens if there are fewer than twenty (2wenty?) minutes between showtimes? Does the DLP show start late or does it start several minutes into it? And, yes, I agree with the others: thread in frame! And, in most cases, there shouldn't be a need to adjust focus except when prints move or when there is a lens change (double feature, print move, etc.).  |  IP: Logged Paul Linfesty Phenomenal Film Handler Posts: 1383 From: Bakersfield, CA, USA Registered: Nov 1999 posted 06-17-2003 06:23 PM                     Although, as a moviegoer, I have to be honest and say I prefer the frame to be adjusted at the start (as one megaplex nearby ALWAYS does) than to have the film hit out of frame and STAY out of frame (which is what happens at another megaplex nearby). Too bad the thread-in-frame seems to be a dying practice around here (in Bakersfield, not in F-T)  |  IP: Logged Mike Olpin Chop Chop! Posts: 1852 From: Dallas, TX Registered: Jan 2002 posted 06-17-2003 07:49 PM                     AGHHHH!!! THE FLAMES! THEY BURN! Of course I thread in frame. Like Carl says, its importaint to check these things. Please note that i added only 5 seconds per start to check all this. All in all you save 15 seconds on the whole run. Theatre 8 still starts 1:45 late. Now to answer the questions: In the time between the end of the last show, and the begining of the 2wenty, nothing is on the screen, and there is no sound. There never is a turnaround that is under 20 minutes. But since you asked, there is a device that is attatched to the wall outlet the slide projector used to plug into. When power flows into this device, it allows the L6 projector to show the preshow. If power is interupted (as is the case whenever the 35mm is running) it puts the L6 into standby mode, and won't let it exit standby mode until power is restored (the 35mm shuts off).  |  IP: Logged Thomas Procyk Phenomenal Film Handler Posts: 1842 From: Royal Palm Beach, FL, USA Registered: Feb 2002 posted 06-18-2003 06:38 PM                     Threading in frame is a no-brainer, but like Mike showed, sometimes there's a need to make a little "adjustment" now and then. Some trailers, (and in some cases, features as discussed in another thread) have these little framing nuances that need to be corrected now and again. This is why the idea of "locking down" the framing knob is retarded. (There, I said it.) Our print of "Nemo" starts out with the "Brother Bear" trailer which has the green band text printed low on the screen. If the operator doesn't stand there to check and make SURE the framing is right and it's just the trailer, he'll rack it up to center and then there will be a black line at the bottom when the hard-matte feature starts. =TMP=  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 06-19-2003 04:11 AM                     quote: Our print of "Nemo" starts out with the "Brother Bear" trailer which has the green band text printed low on the screen. If the operator doesn't stand there to check and make SURE the framing is right and it's just the trailer, he'll rack it up to center and then there will be a black line at the bottom when the hard-matte feature starts. And THAT is precisely why locking down the framing knobs is the best possible thing for a mainstream theater. Trailers are getting real bad about not being center framed. So when projectionists tweak the framing on them, they are actually screwing up the feature's framing. What's more important, a trailer running perfectly in frame or the feature? Think about it. A locked down framer absolutely guarantees the feature (the part of the show that the customers patronized your theater to see) will be presented properly. Either it's dead on perfect, or it's way off. So Thomas, when you work a shift after someone else, do you have to run around and check all of the framer settings? Of course you do! Because you have no idea what the last guy did. If your framers were locked down, you wouldn't have to worry about it. So long as you threaded in frame, it would be dead centered every show. I have better things to do than play jack-around for an entire round of shows after a projectionist who either used the framer as a crutch or from adjusting to a trailer that was not printed centered. The last mainstream feature I have seen that was printed off center was 1992, and that's a good enough record for me to lock those damn things down. You crazy guys and your framing controls! (There, I said it. )  |  IP: Logged Josh Kirkhart Expert Film Handler Posts: 165 From: Austin/Houston, TX, USA Registered: Nov 2001 posted 06-19-2003 04:58 AM                     http://www.comingsoon.net/news.php?id=317 Little article about how powerfull this in-theatre Digital Promotion may get.  |  IP: Logged Thomas Procyk Phenomenal Film Handler Posts: 1842 From: Royal Palm Beach, FL, USA Registered: Feb 2002 posted 06-23-2003 01:33 PM                     Brad -- Why not have the trailers AND feature in frame? Unfortunately, yeah, the framing knobs are all screwed up when I come in. Usually racked to their extremities. The other "operators" blame the equipment. But my point was, regardless of whether you thread in perfect frame every time, there WILL be instances where you need to adjust framing. Shrunken prints, lab printing errors from reel to reel, etc. Sure, in a perfect situation you wouldn't need to, but everyone knows only digital projection can be perfect. Besides, what if you have a brand new, perfect answer print threaded in frame all running well and a stray moth, or some other fluttering insect makes its way into the booth and is mesmorized by the bright Xenon only to fly into the intermittent and cause it to jump a sprocket. OOps! Have to re-thread because the framing knob is locked down! BLAH! I thought this thread was about Regal CineMedia!! =TMP=  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 06-23-2003 03:07 PM                     Is the bug problem in Florida really that bad? Still, with mainstream films I haven't found a need to adjust framing for 10 years. Now if we're talking about independent arthouse product...well that's a different story. Those prints are a joke.  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 06-23-2003 03:28 PM                        With normal contact printing, the only vertical shift that the lab should be able to introduce is the difference between the perf height of the BH-1866 negative perf (0.073 inches) and the KS-1870 perf height (0.078 inches), at most 0.005 inches, depending on the direction the film was transported during printing. This relatively small shift is sometimes seen reel-to-reel on prints made on a bi-directional printer. When the image shifts more than this, the fault likely is in the original cinematography (composition), or may be due to improper setup of the optical printer or digital recorder being used for titles or effects. Standard SMPTE 195 specifies the tolerances for vertical position with dimensions J=K nominally equal (the horizontal centerline should be equidistant between two perforations) and dimensions F=H within 0.012 inches (0.30mm) for the top and bottom of the projectable image area.  |  IP: Logged John Hawkinson Film God Posts: 2273 From: Cambridge, MA, USA Registered: Feb 2002 posted 06-26-2003 02:03 AM                     5 thousandths of an inch is one quarter of one degree on a framing knob with 4 perfs worth of travel. --jhawk [Edit: math was right, but we care about 4 perfs, not 4 frames. ] [ 06-26-2003, 12:27 PM: Message edited by: John Hawkinson ]  |  IP: Logged Charles Everett Phenomenal Film Handler Posts: 1470 From: New Jersey Registered: May 2001 posted 10-17-2003 07:15 PM                     Now, when The 20wenty ends, there are little "movie camera" logos in the top left and top right corner of the screen. This nice little visual cue alerts the booth to start the film projector for the trailers and feature. I noticed these "movie camera" logos on the end of The 20wenty when I saw Casa de los Babys at the UA Union Square.  |  IP: Logged Jesse Skeen Phenomenal Film Handler Posts: 1517 From: Sacramento, CA Registered: Aug 2000 posted 10-17-2003 08:09 PM                     Why not just put in the standard changeover cues at the end of it?  |  IP: Logged Mike Olpin Chop Chop! Posts: 1852 From: Dallas, TX Registered: Jan 2002 posted 10-17-2003 08:14 PM                     They just added these about a month ago because some projectionists were jumping the gun and starting the film projector before the regal logo had finished flying out onto the screen. Edit - last Friday the policy trailer was revised again, and a significant portion has been cut. It is now under 35 seconds, down from the 2 minute original described earlier in this thread. [ 10-20-2003, 09:26 PM: Message edited by: Mike Olpin ]  |  IP: Logged

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