Film-Tech Forum ARCHIVE: Platters to the left of me, platters to the right....

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Posted by Rick Long (Member # 213) on 12-13-1999, 05:23 PM:

I have encountered much (often heated) debate as to on which side of the console should the platter system be located; left, or right (as you stand behind the console, looking at the screen).

Those favouring the left side appreciate the lack of clutter around the projection working area, no likeleyhood of walking into the film in low-light areas while focussing, ect.

The "right-siders" claim faster threading, and the ability to keep an eye on the film travel when starting a performance.

When using Cinemeccanica bases, if booth depth permits, the platter tower can be placed directly behind the projector, allowing for a film feed with no "twists".

Which is your favourite?

Posted by Brad Miller (Member # 2) on 12-13-1999, 05:41 PM:

I do it the "right way". (Ok, so that was bad.) Having the platters on the operator side greatly speeds up threading and provides easier operator attention to film travel. Also, on installations where the engineer runs the cabling (say from a mag penthouse or digital reader) straight to the wall from the projector, it allows "speed winding" should a show need to be forwarded, whereas non-operator positioned platters can only have this feature IF all cabling is pulled to the ceiling or ran down the side of the console (which very few engineers do).

If the operator is stupid enough to walk into the film, that's their problem...they shouldn't be up there.

Posted by Christopher A Kerr (Member # 151) on 12-13-1999, 05:42 PM:

I have a 5-tier placed right in between my two Century C's. I find it much more user-friendly when the platter is feeding from the right (operating) side of the projector. The only thing you must be careful of is not trip when stepping through the film to check sound, focus ect., but you will only make that mistake once.

Cheers
Chris
Please Don't Feed The Projectionist

Posted by John Walsh (Member # 168) on 12-13-1999, 06:54 PM:

Isn't strange that a subject like this _does_ cause a heated debate!?

I used to like platters on the right, because it's easier to thread. If something goes wrong with the platter at start, you're right (oops!) there to save it before the failsafes kick in.

However, when we started bi-amping our theaters we needed a large 19" rack to hold everything. A good place for it is to the right of the projector (so the operator stands in between) to set the sound format listen to the monitor. This means the platter usually must go to the left.

That's now our 'standard.'

Posted by Nicholas McRobert (Member # 205) on 12-13-1999, 07:18 PM:

Same here. Sound rack on the operating side makes it impossible to have the platter setup anywhere else. I think it's completely down to personal preference, however I do agree that it's safer NOT to be stepping over film paths.
Experienced-best-operator-in-the-world or otherwise.... the risk is always there of standing on something you shouldn't have...

If your platter system is reliable enough on startup (such as the Kinoton) then there should be no need to do anything other than take a peek round to see that all is well once things are underway. Having worked with CFS "Superplatters" previously, though, I can say that I do agree that these need to be on the operator side where possible, as I was forever having to stop them from spinning wildly out of control when starting a show...

Nicholas

Posted by Ken Layton (Member # 133) on 12-13-1999, 08:43 PM:

The RIGHT side (operating) is for me. It only takes a second to walk over to the sound rack to check format/volume/monitor. I'd much rather have the film where I can catch any problems right away and prevent shutdowns.

Posted by Chris Erwin (Member # 176) on 12-13-1999, 09:23 PM:

Right is where my platter is. I tend to agree with the threading issue. It seems eaiser, especially if you thread platter to platter. (see threading question thread

)

--Chris

Posted by Joe Redifer (Member # 3) on 12-14-1999, 12:05 AM:

You want a heated debate? I put 'em on the LEFT side and there's nothin' none of ya can do about it! So there! Why? Well, why not? I mean, isn't it obvious? Geesh!

Please Feed the Projectionist - He is Very Hungry

Posted by George Roher (Member # 91) on 12-14-1999, 12:44 AM:

In many theatres, platters are all over the place and there seems to be no rhyme or reason behind their placement. In some booths platters are just stuck wherever they will fit. I prefer platters on the right side and with plenty of space to walk around the platter.

Brad: You should be able to speed wind regardless of where the platter is. Are you lacing the film through the upper and lower rollers at the projector when you speed wind? When I used to speed wind on a regular basis (with Xetron platters) I went from the roller at the top of the post straight down to the take up. The film never rubbed anywhere it shouldn't and it worked very well. I could run through an entire feature in 20 minutes.

Posted by Scott Ribbens (Member # 180) on 12-14-1999, 03:38 AM:

As far as speed of threading goes, it makes no difference to me, It doesn't take me any longer to thread a film from the operator's side or the non operator side.

That being said, I perfer the platter be on the non operator side, especially with the number of kids in the booth these days. I've seen them stand there with a film rubbing against their leg and they were not even aware of it. The second reason is that I belive that the sound rack should be right next to the projectionist so that, if needed, a format can be punched in right away and the focus and the volume checked at the same time. Not only that, from the operators side you can just look over or around the projector to see if all is well at show start with the platter.(It should be if you do your job right) If you have to run a show manualy, all of the buttons and indicators are where you can get at them right away. I really hate having to start a show and then run around to the other side of the projector to punch up the sound format.

Of course if you happen to have the sound rack mounted on the back of the console, then it's kind of a toss up. I still perfer to have it on the non operator side because I'm tall and don't need to have a bunch of film running through my hair.(Isn't there enough static on the film already? )

------------------

Scott

Posted by Brad Miller (Member # 2) on 12-14-1999, 06:38 AM:

George,

I quote myself...
"On installations where the engineer runs the cabling (say from a mag penthouse or digital reader) straight to the wall from the projector"...etc, etc, etc.

Obviously if this cabling is not there and rollers are set up in an ideal manner (as in not behind a strip of conduit or tilted at a 45 degree angle) then speed winding can be achieved with the platters on the non-operator side.

As to sound racks on the operator side equaling platters on the non-operator side, this is ridiculous. Simply place the sound rack on the operator side facing the console, but with the right edge of it flush with the back edge of the console leaving plenty of room for the film to travel between the sound rack and the wall. Roughly 2-3 feet will be left for the operator to thread past the rack when done in this manner. This allows the platter to go on the operator side as well.

...now if it is a sound system requiring 2 racks, then something else must be done. Still, I like the platters on the operator side...but NOT if it means the only possible place to put the sound rack is on the non-operator side. That is just annoying.

Posted by Gordon McLeod (Member # 33) on 12-14-1999, 12:41 PM:

Well I say the non operating side for the platter and the audio rack on the operating side facing the machine
I have found that long cables on test equipment cause problems during alignment and the rack on the other side is grief especially if you have a laptop connected to it serrial cables shouldn't exceed 6 feet. Also the new digital scope maximum probe length is 3'

On one job the thx guys insisted the rack be moved to the operating side for those very reason

And cabling isn't a problem since I run all flex down the front to the floor and back up to the trough anyway

Posted by Andy Davis (Member # 262) on 12-14-1999, 01:02 PM:

At my theatre, one of the projectors is set up with the sound rack and platters both on the operator side, as Brad mentioned. Unfortunately, whoever installed the equipment decided to run the conduit from the sound rack along the ground to the wall. Now the operators step on the conduit every time they thread and the wear and tear is finally showing. I'm debating whether to replaced the conduit and run the wires through the ceiling , or to build a wooden housing over the conduit.

Posted by Nicholas McRobert (Member # 205) on 12-14-1999, 07:08 PM:

I am gonna have to agree with Gordon.... Having worked with both setups before (including consoles), the non-operating side is for me (and there have never been any kids running around in my projection room...EVER!). It's standard in my company anyway, unless there is a space restriction involved.

Posted by Wallace Logan (Member # 225) on 12-14-1999, 08:02 PM:

Thanks to Mr Long I have 6 on the left of
me with one on the right, I tend to like the
one on the right and I have come like the left because the center post is behind the
projector so the line is straight to the projector and back to the platter.
If your wondering about the exaust pipe it has a nice bend in it so the film will pass.

Posted by Joe Redifer (Member # 3) on 12-15-1999, 01:33 AM:

There was a theatre I helped set up a few years back where the sound rack was on the operators' side like normal, and the platter was BEHIND that, simply because there was no other place to put them, as the booth was too narrow. So we threaded the platter with the film going between the soundrack and the wall and back again. Pain in the anus and nobody liked it, but it worked.

Personally, I just prefer them on the left. I am never in any super hurry to get the show threaded that a couple of seconds will make any difference.

You CAN speedwind no matter how the cabling is set up. We have a threatre that was set up with the cables going striaght to the wall (the projectionist changed that, eventually). Just thread and bypass the wires. You are speed winding, so there is no need to thread the projector. It doesn't matter. When you thread the projector just thread UNDER the wires and then pull the leader down when you get to the projector.

Posted by Brad Miller (Member # 2) on 12-15-1999, 02:17 AM:

Joe, I was referring to speed winding after the film has already been started...say after a power outage to reset the film. In the case of mag or digital cabling being wired straight to the front wall, you would have to cut the film to do what you're saying. Your trick only works if you want to speed wind a film without ever threading the projector...but that can be done completely on the platter.

Posted by John Wilson (Member # 269) on 12-17-1999, 05:00 PM:

The platter (for me) will ALWAYS go to the right of the projector if at all possible. That way, you can see the lot without any effort at all.

The sound rack never needs to be touched once it's on, so it can go to the left, so long as you can still see the dobly dig error rate readout from the machine.

Posted by Scott Ribbens (Member # 180) on 12-18-1999, 12:41 AM:

Sorry John, but I must agree to disagree with you about the soundrack never having to be touched once it is on. Yes, that may be true for the most part, normal running, but if you are doing a screening,or for some other reason are running the show manualy, you have to punch up the format, fade the non-sync out, switch the mic off, cut the processor off at the end of the show, or if you have a show break on you and you start the show back up on the automation and open up everything up manualy so that the audiance doesn't miss an additional 7 to 10 seconds of the show, you cannot beat having all the controls right by you.

It also helps when trouble shooting some sound problems if you can stick your head out the port and listen in the theatre while you are switching formats or whatever else you are doing. Not to mention if you are resetting the SPL's in the theatre and you don't have a radio and have another person in the theatre with the meter, you can actually see that person while adjusting the levels, rather than looking out the view port or projection port, then moving over to the rack to make a small adjustment then going back to the port ect., ect..

There are some theatres that I work at where they have the sound processors for two theatres in one rack, it's bad enough that the rack is on the non operator side of the first machine, but that also puts the sound rack for the second theatre on the non operator side, so it goes: sound rack / projector / platter / platter / projector. Makes it a pain to do an A-Chain on the second machine as the sound rack is about 40 feet away from the projector, and to make matters worse, the sound rack faces the back of the booth, so even if you can get a sight line to the rack past both projectors and platters, you can't see the darn processor, only the side of the rack!

------------------

Scott

Posted by Brad Miller (Member # 2) on 12-18-1999, 04:18 AM:

There is one good point about placing platters on the right side that no one has pointed out yet...that's running 70mm. If for whatever reason the operator has to stop the projector, having the platter on the right side allows him/her to stop the takeup platter by hand before the inertia from the weight of the film slams the takeup arm/elevator to the end of it's travel...damaging the film.

Still, if set up properly, there is NO reason why the sound rack and platter can be on the operator side of the projector.

So Scott, what's up with having TWO auditoriums worth of sound equipment in one rack???

Posted by Scott Ribbens (Member # 180) on 12-18-1999, 01:04 PM:

I did not set that one up Brad, but there is a lack of room in that booth, so the rack got put in the corner of the booth and the sound systems for both theatres in that booth (two CP-50's / 4 QSC 1400's / cd player /and music distribution system for the complex) got put in the corner of the room. There is just enough room to get between the platters/projectors.

BTW, I can see the pros to having the platter on the operator side of the projector. If I had a platter that was a pain in the butt, and malfunctionig a lot, I might want it on the operator side. I just have never had platter problems that make me want to change my mind on this.

Now here is a question for you all. If you had a Theatre that was not designed as stadium seating, then they decided to go that route at some time during construction, making you have to raise all of the ports 4 to 6 feet because now you can stand up in the back row and completely block the port. Now the projectors have to be raised, but the company dose not want to raise the whole floor, nor do they want to spend any extra money that they don't have to and only build platforms for the projectors and not the platters. Now you have stairs on both sides of the projector and the platters and the sound racks are on the floor 4 to 6 feet lower than the projectors. Do you want the platter on the operator or non operator side of the projector?

------------------

Scott

Posted by Steve Guttag (Member # 268) on 12-18-1999, 04:03 PM:

Like everyone else here, I have had to deal with platters on both sides of the projector at one time or another.

Heck during the 80s where twining reached new stupidity levels I had to convert a back-to-back twin to a 4-plex (each large auditorium was twined). Since the booth wasn't enlarged for this process I used Christie AW-35R (the first removables on a Christie 5-deck, I might add) so two theatres have the platter on the left, and two have it on the right. And to the soundracks...There are two theatre's worth of sound in the rack (the other two have Kelmar wall-mount mono sounds...it was the early/mid 80s where not all theatres were stereo).

As an operator, I always preferred having the platter (when I worked platter booths) on the right. It puts the film where the operator needs it. The soundrack is nice if it is close by for tuning...but if it isn't then there are always remotes for the better processors (ie Dolby) so the operator has full control over the volume and format. I now insist on remotes on new changeover installs to allow format changes on changeover.

Now if you have your typical "to be run by idiots" both, on the non-op side the platter goes...if the "operator" doesn't step on the film, the passers by (candy girl, manager...etc) to get a peak at the film will. A booth that gets good operators tends to guard against that sort of thing.

Steve

Posted by Stephen Jones (Member # 16) on 12-18-1999, 07:56 PM:

I prefer the platter to be on the operating side of the projector for the same reason as others have mentioned.I have also used platters on the left side which I dont like as I like to be able to keep an eye on the film on start up especially if it has smaller than normal center after ads/trls have been put in.

------------------

Posted by George Roher (Member # 91) on 12-18-1999, 11:12 PM:

One thing I don't like is when a pair of platters are "sandwiched" together to save space in a tiny booth, meaning one is propped up on wooden blocks and the decks overlap each other. In one booth I've worked, the decks overlap so much that there's barely room to get your hand in there to thread the center feed.

Posted by John Wilson (Member # 269) on 12-19-1999, 01:16 AM:

(cut)but if you are doing a screening,or for some other reason are running the show manualy, you have to punch up the format, fade the non-sync out, switch the mic off, cut the processor off at the end of the show, or if you have a show break on you and you start the show back up on the automation and open up everything up manualy so that the audiance doesn't miss an additional 7 to 10 seconds of the show, you cannot beat having all the controls right by you.

Hi Scott,

My automation has manual overides for all of those functions you mention and the console is right in front of me beside the projector. I know not all of us are fortunate enough to have these luxuries, but that's the way I design my booths. I've never had any reason to stick my head out the porthole, but I could do that anyway 'cos I stick a porthole beside the rack as well.

Everything at arms (well, two arms, anyway) length.