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Author Topic: Projection room layout John Walsh Film God Posts: 2490 From: Connecticut, USA, Earth, Milky Way Registered: Oct 1999 posted 09-30-2005 07:46 AM                     Dave- I see your reasoning about simply raising the floor, but -sometimes- there are reasons why it would cost more. For example, if the projection room (PR) floor is raised, the PR ceiling has to go up -which means the roof has to go up. Sometimes, there's not much room between the PR suspended ceiling and the roof to clear AC ducts. At one job I worked on, the architect told me raising the roof costs $7500 per foot (of course that varies per size.) How high up stadium seating runs affects where the PR floor is. Zoning may not allow a building to be higher than some set height. Although, I've never seen where all projectors were raised in a PR; just where the large auditouriums were. If you have a place like that, and there's plenty of room above the PR suspended ceiling, then I'd agree that an architect was lazy or screwed up there. Or maybe they had to work around some stupid zoning law.  |  IP: Logged Steve Scott Phenomenal Film Handler Posts: 1300 From: Minneapolis, MN Registered: Sep 2000 posted 09-30-2005 01:23 PM                     I started off in the long hallway booths. At Muller's Lakeville, we had 18 machines stretched over roughly 430 feet. You could see completely down the hallway from either end, and thanks to the wash from the consoles it was quite easy to see what equipment was running. We were, really, the only location with such visual versatility; the other Muller hallway booths had protruding auditorium walls or tightly packed equipment which prevented a clear view. Concurrently, Lakeville was the only building without status panels. It's a lot more isolated at St. Anthony, where the projectors are mostly on straight angles in booths behind each auditorium.  |  IP: Logged Louis Bornwasser Film God Posts: 4441 From: prospect ky usa Registered: Mar 2005 posted 10-01-2005 08:29 AM                        Dave: the "tight" relationship you describe is caused when architects copy each other's work. This error crept into stadium theatre designs; the projector is on the same elevation as the back row of seats. Sometimes these concrete pads are poured in the booth with no regard to how much they weigh. I wonder often if the underlying floor is rated for the tonnage of all that 'crete. (Hopefully it is a hollow pour.) Louis  |  IP: Logged Robert E. Allen Phenomenal Film Handler Posts: 1078 From: Checotah, Oklahoma Registered: Jul 2002 posted 10-01-2005 10:29 AM                     The ten screen Regal cinema (built in '99) where I worked was built that way. Six machines on one side and four on the other. It is as long as a football field. Every so often our GM (a really nice guy) would draw up a schedule without thinking about the manager/projectionists and scheduled machine one and machine seven (on opposite ends of the booth) to start at the same time. I decided that, since I would have a lot of trouble with a 40 yard dash, I was not going to do a 100 yard dash and got to the second machine as soon as a brisk walk would get me there.  |  IP: Logged Jack Ondracek Film God Posts: 2348 From: Port Orchard, WA, USA Registered: Oct 2002 posted 10-01-2005 11:18 AM                        quote: scheduled machine one and machine seven (on opposite ends of the booth) to start at the same time. I... got to the second machine as soon as a brisk walk would get me there. ... which probably made you real popular when the start times got tattled to their noc, and the dm wanted to know why your shows weren't starting on time, eh?  |  IP: Logged Richard Fowler Film God Posts: 2392 From: Ft. Lauderdale, FL, USA Registered: Jun 2001 posted 10-01-2005 12:26 PM                     Elevating a projection platform would usually happen on past projects in the largest rooms usually in an existing shell of a shopping center with roof restrictions. The overall deck for the booth was framed and attached per limitations of the building. In a couple of locations we had steel decking welded at each "problem" location which was much lighter than a concrete pour to stay within floor loading situations. The first large multiplex I did ( eight screens in 1978 ) was a 210 foot long ( 64 meter )room with one operator who used roller skates  |  IP: Logged Andy Summers Master Film Handler Posts: 397 From: Bournemouth Dorset United kingdom Registered: Jun 2005 posted 10-01-2005 03:55 PM                 Burce’ I like that a pool table, or chess even and while your deciding on making your move with the other projectionist the audience shout up to the booth come on roll the film. LOL  |  IP: Logged Robert E. Allen Phenomenal Film Handler Posts: 1078 From: Checotah, Oklahoma Registered: Jul 2002 posted 10-02-2005 01:32 AM                     quote: Jack Ondracek ... which probably made you real popular when the start times got tattled to their noc, and the dm wanted to know why your shows weren't starting on time, eh? Actually Jack there were only a couple of complaints while I was there and they were about films being started too early (and that happened when the "Twenty" failed to play. I was actually able to make it from one end of the booth to the other within the 45 seconds allowed by Regal.  |  IP: Logged Jarryd Beard Expert Film Handler Posts: 229 From: Hellertown, PA Registered: Jul 2004 posted 10-02-2005 05:10 PM                     quote: Aaron Mehocic Perhaps if Jarryd Beard is lurking out there he can catch us up to speed on things. The Maxi Saver 12 is still around. I was only there once, however. Watching Matrix 3, the print was spiked. Talking to the manager (really nice guy, forget his name), I was told the print wasn't first run from either of the Carmikes in the area(Carmike 10 or Galleria 6), but rather from Cinemagic Squirrel Hill. No presentation problems from the theatre itself were noted. I believe the Waterworks is still around. There are ads in the Post-Gazette. PS: Upon receiving "Four Brothers" second run from Cinemagic Squirrel Hill a month or so back, I've lost all respect. The print was badly scratched, "spliced" with masking tape after each reel filled (disregarding the original opaque splice used during makeup), leaving an entire empty reel in the can. One of the splices jammed in the gate upon our projectionist's screening. Lucky, the theatre I'm now working at was in such a state of neglect at the time, the over three year old 1600W bulb never melted the film. I'm glad to say, since my manager and I have been there, all bulbs were replaced/rotated as needed, a new spare in reserve. Cinemagic  |  IP: Logged

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