Film-Tech Forum ARCHIVE: Projectionist wanna be

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Posted by Gilly Rudolf (Member # 251) on 12-06-1999, 01:00 PM:

HI,

I work at a movie theater, in the concession department (I'm 16). I would really like to become a projectionist. I have talked about it with the main projectionist and the manager a couple of times and they seems cool. But so far i'm still in concession, can any of you projectionists give me any tips or advice on how to convince them to give me a chance.

Thanks,

Gilly

Posted by Erich Loepke (Member # 166) on 12-06-1999, 01:45 PM:

Hi,

My advice to you (although I'm not a professional projectionist, at least not yet) is to learn as much as you can about film and film projection. Film-Tech is a really good place to start. I also recommend getting yourself a 16mm projector and some films. You'll then be able to learn good film handling and projection techniques. You'll get a feel for what a good presentation should be. You can find lots of projectors and films on online auctions like Ebay. Most of the films you'll find at reasonable prices will need some work to run acceptably, so you'll get the opportunity to learn proper splicing techniques that you can take up to the 35mm booth later, especially if you work in a second-run or repertory theater.

Then you can go to the concession stand and talk about the films you ran at home and you'll sound like someone who's interested in film and knows something about it.

Good luck in your endeavor!!

Posted by Tyler Skinner (Member # 229) on 12-06-1999, 08:52 PM:

I know most chains require you be 18 to be a projectionist, and they will make you become a manager first so you have to work your way up from concessions, unless you had previous film work before you got hired. I Recomend trying to take a college class in film, it helped me greatly with editing and knowing the terminology, heads tails etc...

also, don't go up to projection with buttery hands :-)

Posted by Christopher Seo (Member # 7) on 12-06-1999, 09:27 PM:

Well, I was 17 when I was hired as a projectionist... in fact I just turned 18 last month. I don't think it was a big deal with management. As I look at it, how could intelligent managers turn down someone with enthusiasm, the desire to learn, and perhaps some background knowledge gained from Film-Tech and 16mm? The key word here being "intelligent" managers. And if they're not so bright, then you probably don't want to work for them anyway.

Yes, I understand the position you're in. Here's a thought... since you already work at the theater, perhaps you could ask to train in projection on your own time. I think your projectionist would be happy to do it since it means you're doing the threadups during his shift!...after you get good, anyway. Get to know the projectionist and the booth more, to increase your chances of being able to fill in there if needed. The training should always be an asset because at least you have that experience, should you go for a job elsewhere.

Posted by Tyler Skinner (Member # 229) on 12-06-1999, 09:30 PM:

I wonder how your local projectionist union would feel about a 16 year old, non manager in concessions running projectors off the clock...

Posted by Brad Miller (Member # 2) on 12-06-1999, 10:16 PM:

Is this a union booth? If so I don't think they would be too keen on such a practice. If not, learn what you can learn.

I'd recommend you find out what kind of equipment your particular theater has (example Simplex projectors, ORC lamphouse, SPECO platter) and download those manuals from the site and read them. You will learn a ton of information from those and they are just a free click of the mouse away. The projectionist might not want to let you train (although on your own free time is an excellent idea), but I'll bet he'll at least tell you what brand and model equipment they are running. If he won't, then you could search through the Picture Warehouse for pictures of the same equipment your theater uses. Just make sure next time you're in the booth to note anything printed largely on the equipment (such as "Autowind") and the color. Once you figure out what you've got, odds are the manuals are here for it.

Posted by Jim Ziegler (Member # 86) on 12-06-1999, 10:44 PM:

I have a few 16 and 17 year olds working in my booth. Basically, they were the few floor employees who impressed me on a regular basis. That is probably your best bet. Do you job as well and as enthusiastically as you can.

Posted by Brett Rankin (Member # 31) on 12-06-1999, 10:49 PM:

You're lucky!

I'm also 16, and have been collecting film for a few years. I've got a simplex in my garage, where I spend most of my time. I would definitely try and learn as much as you can from these sites as well as do a lot of reading on the matter. I've applied for just a concession job at several theaters and haven't had any of them call back (YET, I hope). Film is a lot of fun if you really get into it, so keep trying.

Good Luck

Brett

Posted by Michael Cunningham (Member # 210) on 12-07-1999, 11:46 AM:

One thing I have discovered about this is that occasionally the managers may not know that much about projection and film. Therefore, whatever technical knowledge you pick up may merely confuse them as to your ability in a booth setting. One way to counteract this is to volunteer, or assist with, various mechanical or electrical jobs on the floor. These can include such things as repair/replacement of floor track lighting, poster case repair, installation of door hardware, etc. Since a lot of projection is minor electrical and mechanical repair and adjustment, it helps to have these kind of "handyman" skills. Best of luck!!

-Mike

Posted by Randy Stankey (Member # 64) on 12-08-1999, 02:28 PM:

If you work at the concession stand it wouldn't hurt to 'buy' the projectionist a hot dog or a slice of pizza once in a while!

Posted by Robert Saba (Member # 259) on 12-12-1999, 02:33 AM:

Depending on whether your booth is union or not, just take it straight to the booth manager ONLY if you're truly interested. I currently work for a large chain, and they're not particularly picky about who they slap on the projection schedule, and I hate it. They're so bad that they even have them running movies by themselves their third day in projection. Anyway, let the booth manager know that you are desperately wanting in the booth. True, it's good to have older ones on the schedule, but that's mostly due to a larger availability and usually a little more maturity. Once you get up there, ASK QUESTIONS. You learn many new things every day on the job.

Posted by Jason Burroughs (Member # 68) on 12-13-1999, 11:54 AM:

I have to admit I like Randy's idea...

Bribery can work wonders...

Posted by John Walsh (Member # 168) on 12-13-1999, 03:46 PM:

You can work at our place.....

I like bacon on my pizza.

Posted by Alan Brandt (Member # 426) on 04-10-2000, 05:59 PM:

I wouldn't even bother working in the booth if the theater chain you are at uses speco platters or even cfs lamphouses. I have in the past while at Sony actually seen cfs lamphouses blow bulbs up while in mid show. Not to mention the stupid speco platters and their brain-wrapping all the time. Our theater ended up getting new platter systems at 3/4 price because the theater bitched at the supplier who sold them to us.

Posted by Robb Johnston (Member # 239) on 04-10-2000, 09:44 PM:

What state do you live in? In PA. you are not allowed to work in a projection booth until you are 18. You can get an apprentice license at 17, but cannot work unsupervised.

Posted by Bernie Anderson Jr (Member # 410) on 04-10-2000, 09:57 PM:

Have you just asked them if you could learn, not as a paid thing, but just as something you want to do? It worked for me. When the arts center I worked for started running film again after 7 years of down time, I asked the guy who was running it, "When are you goona show me how to run those things?" He said you wanna learn come up to the drive in when I'm working. It's was the Bethlehem Drive In in PA and I think the movie was Pet Cemetary II. CAn you believe it, I learned on Brenkert BX100's with RCA 9030 soundheads. Ashcraft High powered Arc lamphouses, you know with the rotating arcs and water cooling system. And the best it still was 20 min change overs. Sometimes being forward works. I'm training a guy now who's 17 and it was one of those things. He's just one of the best and most reliable employee and asked to learn. Give it time. I know with me, you have to earn my trust first and show a sincerity for wanting to learn for the film's sake and not for money. It's an art to do it right and believe me not many people can do it right. The person I work with always, always come on screen out of frame. Unacceptable! It's not that hard.

I would look at Kodaks web site. There's also a book that kodak puts out called "Reel People" it's a bout $20. I make all my trainees get a copy.

Posted by Randy Stankey (Member # 64) on 04-10-2000, 10:30 PM:

quote:
Originally posted by Alan Brandt:
Not to mention the stupid speco platters and their brain-wrapping all the time.

Although I have to agree with you that Speco wouldn't be my first choice, (2nd, 3rd or 20th! ), you CAN learn to get along with them if you're willing to put in the time. What I suggest is making DAMN sure you thread the brain correctly. If not, the film will jump off the control arm and cause a wrap. Once you get that in your head you're okay.

Yes, you're right... You shouldn't HAVE to remember things like that. They should just work right the FIRST time.

Posted by Brad Miller (Member # 2) on 04-11-2000, 03:00 AM:

The older SPECO platters were pretty good. Then they started making "improvements", but didn't do them right! Remember that extra roller on the elevator? That was my idea pitched through Cinemark 10 or so years ago. Only problem, they took the cheap way out and the prints do not wind tight and the little rig to hold the three rollers at the top of the elevator acts like a damn tuning fork, singing through the show!

Now I'm all for removable brains, but where in the hell did they come up with the current design? It's crap in my opinion. There is absolutely no back tension in the brain (not that I like a lot of it, but the new brains are ridiculous) and it is a pain to thread.

Anyway, even with the new improvements, you've got something really wrong if you are having brain wraps on a SPECO. If I couldn't have a Christie, it would still be my second choice (because I still haven't gotten to check out a Kinoton).

Posted by John Pytlak (Member # 331) on 04-11-2000, 07:44 AM:

Bernie:

Brad has scanned and posted almost all the back issues of Kodak's "Film Notes for Reel People". I'm looking for a few missing issues, so he can have the entire series of 55 issues "on line". They are in the "Manuals" section of Film-Tech.

Kodak's web site is also a good source of technical information:
http://www.kodak.com/go/motion

The Kodak site also has all the "Film Notes for Reel People" issues published since February 1997:
http://www.kodak.com/US/en/motion/newsletters/reel/

For a free mail subscription to "Film Notes for Reel People" (recently renamed to "Cinema Notes"), send your name, theatre, and address information to Pamela Jackson at: pamela.jackson@kodak.com.

------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Eastman Kodak Company
Research Labs, Building 69, Room 7419
Rochester, New York, 14650-1922 USA
Tel: 716-477-5325 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com

Posted by Paul Konen (Member # 41) on 04-11-2000, 07:45 AM:

When I was at TT, we rigged up some masking tape, doubled around so no sticky was present, and attached it from the control arm to the first roller to the right, thus closing the gap for brain wraps because of static. Remember to put lots of crimps in the tape so that it will move freely with the arm. It worked real well for us. Especially during SW-EP1 when 1 print was giving us static. This was before FilmGuard too.

Posted by John Pytlak (Member # 331) on 04-11-2000, 08:05 AM:

AFAIK, Speco has recently modified the coating used on their platter surfaces to make it more conductive, to better dissipate any static buildup.

Platters with non-conductive (plastic, painted or anodized) surfaces tend to be most prone to "static cling" problems, because there is no path to ground for any static buildup. Treat the platter surface and plastic rollers with Static Guard or a similar conductive anti-static spray. Be sure the platter system is properly grounded. Kinetronics is also selling conductive brushes designed for platters, although corona discharge anti-static ionizers are the most effective.

Posted by Dave Williams (Member # 299) on 04-11-2000, 09:16 AM:

We have SPECO lp270's and they work fantastic. True you have to thread them up correctly or they wrap, but what the hell, sounds like a good idea to thread it up correctly. I mean even my moronic projectionists know to thread it up right the first time.

As for static build up on the platters, we actually use Film-Guard to coat the platter surface. Once a week we just soak a thin cotton towel (disposable) and clean the platters with it. It removes ALL grease and dirt and leaves I think the best antistat treatment you can get. That with treating both sides of the film with the film-guard has prevented brain wraps. We have had no brain wraps in seven months. Now maybe the money man will write the damn check and get me those kelmar cleaners.

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"If it's not worth doing, I have allready been there and done it"

Posted by AndrewBurnell (Member # 122) on 04-11-2000, 07:21 PM:

Gilly,

I can probably best offer you advice because I have just turned 17 and have been put into projection. Last year when I was 16, I had your dilema.

I don't mean to be rude to anyone but I don't think the way to get up their is to learn heaps about all the equipment. Most likely they'll train you themselves so it won't matter that much to them what you already know, especially if you have a training program you have to follow.

The way it works at my cinema is the harder you work, the more you improve your chances of going into projection. I have been with my Cinema for only 8 months and am the first person to go upstairs who isn't 18. This is purely and simply because of how hard I worked downstairs.

Like you, I endeavoured to read manuals on everything we had, but it didn't make a differences to my chances of going upstairs, and it may only confuse you if you aren't putting what you're learning into practice. Books are literary, Projection is practical.

Just work as hard as you can, and prove you're in for the long haul, because they will undoubtedly want their training 'investment' to pay off.

Posted by Michael Barry (Member # 237) on 04-11-2000, 08:25 PM:

...Interesting.

Read Andrew's second paragraph above, then read my 'Interview with the Multiplex' post'.

I think I sense a trend here.

Posted by John Wilson (Member # 269) on 04-14-2000, 03:31 AM:

Gilly

Learn as much as you can, and I mean as much as you possibly can, books, manuals, websites are very good, then read more and train very hard and within a few months, you should be vacuuming just as good as the department heads.

Then, once this is mastered, you can slacken off and they'll put you in the projection room.

But remember, so long as you've got the vacuuming part down...you're set.

(I'd add a smilie here, but unfortunately it seems all too true so... )

If this post makes no sense to you, read the thread "Interview With The Multiplex"

Good luck, Gilly.

Gotta go and hit the books now...
Vrrrrrrrrrooooooooooooooommmmmmmmmmmmmmm...........

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"It's not the years honey, it's the mileage".
Indiana Jones.

Posted by Joshua Waaland (Member # 287) on 04-14-2000, 02:57 PM:

Gilly,
I was 17 when I was hired into projection. I had never even really thought about it before. I had only seen about 5 movies in a theater previous to that. Hey I was sheltered. Anyhow I knew the head projectionist and was looking to get out of my Stepmoms restaurant. I hated dishwashing! He told me that the manager was leary of hiring me because of no experience. So I came in on a saturday night and worked with him for free( I thought it was interesting so I didn't mind at all)and that night I was hired.

I tried to learn as much as I could as I still do try. Everytime a tech would come in I would ask them so many questions that they would get pissed off at me. But it paid off. One tech told the manager that I was very observant and a great assett to the company. Not that she really cared though.

Anyhow just work hard and learn as much as possible and it doesn't hurt to get in good with the other operators either. They will see your dedication and put in a good word for you. Also hook up the film-tech I.V. and learn as much from these people as possible. I didn't have this luxury when I started. I didn't know any other operators and had to learn on my own.

Posted by Tim Reed (Member # 137) on 04-17-2000, 08:30 AM:

Anyone notice this topic died in 1999 (until it was restarted several days ago), and Gilly Rudolf never came back?

I guess she figured it wasn't worth it.

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Better Projection Pays!

Posted by Josh Jones (Member # 447) on 04-27-2000, 11:26 PM:

Quote
"Most chains require you be 18 in order to become a projectionist. They make you a manager first."

Really, I was told you had to be 18 because CEC will make you plunge the toilets

Posted by Brad Miller (Member # 2) on 04-28-2000, 04:59 AM:

I'm not aware of any large chain that trains their staff as a manager before a projectionist. Generally it's the other way.

Posted by David Kilderry (Member # 142) on 04-29-2000, 04:19 AM:

Our circuit has a 100 hour training programme for projectionists. It is still a long way from the two year part time course we did at technical college whilst working full time as an assistant projectionist - a busy two years but a great foundation.

On the Speco LP 270: Good news on Speco modifying the platter surface coating John, you know all the troubles we had on our circuit with brain wrap on Specos last year. We found the most effective brain wrap prevention technique was to add out-rigger wires to either side of the payout arm. When a 2nd wrap does pull in from the roll, the outrigger wire prevents it from entering the brain and jamming in the rollers.

This combined with an obvious improvement to the stock has reduced our brain wrap problems by a huge amount (pre 1999 days).

The Speco is agricultural, but tough. It is still no match for the Kinoton platter - in any form.

Posted by Chris Wootten (Member # 283) on 05-04-2000, 05:39 AM:

Gilly.......Good on you for having a go....especially at your age......my son (17) regularly screens on his own at the cinema here. He has been in projection rooms with me since he was five. I taught him a lot, but I made sure as many other projectionist as I could find also passed on their experiences to him as well. You show a real keeness to be a projectionist. There are operators and their are projectionists. There is a difference.........get to know what film presentation is all about. There are a few very good books on film presentation ( not enough tho ) Get one, read up and surprise your boss with your new found knowledge. By actively demostrating your willingness to learn you will prove to him you are worth a chance.......best of luck and let me know how you get on......

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"I luv the smell of napalm in tha mornin !"

Keep Smiling......Chris

Posted by John Wilson (Member # 269) on 05-05-2000, 03:27 AM:

PFUHHH! PFUHHH! --tap tap tap-- Gilly? ... Gilly?

"LADIES AND GENTLEMEN! GILLY HAS LEFT THE BUILDING!"

(with apologies to Tim Reed)

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"It's not the years honey, it's the mileage".
Indiana Jones.

Posted by Tim Reed (Member # 137) on 05-06-2000, 09:02 AM:

HA! HA! John... I'm ROLLING!!!

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Better Projection Pays!