This guy that is apparently extremely rich wants to start a single screen theatre in a rather small town, but I do believe it has the potential to make a lot of money so I am completely willing to help him out on this. He wants to buy bran new equipment for the projection booth. What projector, platters, amps, speakers, automation, and the other related booth equipment would you suggest that this guy buy? If this does happen my self and one other person will be installing everything. I want to know what equipment would be the easiest for him to use. What equipment would be the most reliable? All of my experience comes from Strong projectors and Platters, and several different automations and sound equipment. Also what would you charge for something like this? This project will include everything from building the screen frame to pulling all of the wires. Thanks in advance for your comments.
 

A friend of mine has run a one-screen cinema for a dozen years, and I am sure he will chime in.

Make sure that you will never have competition; it makes life much easier. I wouldn't build less than a 3-screen. If it were a tiny town, (up to 1,500) I would build one 200-seat house, then a 100-seat house and finally a 50-seat house. If the population were greater than 1,000 I would add a few more seats.

As for equipment, I would find out what was used and good. I'd like to have an all Kinotone booth. www.blsi.com/kinoton I would also like to drive a Porsche and date Cindy Crawford. We have a both full of Strong/Simplex equipment and I drive a Dodge. Sometimes you work with what you got.

I think a three-screen theatre would be real manageable and not much more work than a single screen. If you build carefully it could also be as charming as a single screen theatre.

Good luck!

Yes the town I am talking about will never have competition by ANY major chain. They also currently do not have any form of theatre or recreactional outlet. I am not sure as to the size of the town. I do know that it is extremely small though.
 

Anything under three screens is a bad choice if you're starting from ground up and have the option... IMHO.
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"Yes, it is humble, isn't it?" Daffy Duck

 

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

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

Seriously, though, a triple-screener makes a lot of sense. I mean, if the town is fairly small, I would think a theater owner would want to offer a varity of films to "capture" as many people as possiable. With 3 screens, you could (for example) do a retrospective thing in one house, while still running the mainstream stuff in the others.

I wouldn't be surprised if alot of people up there had satllite dishes. 3 screens might be enough to offer "something" to most everybody.

Also, I noticed several times where a rich person spends a lot of money on a unique thing (restaurant, store, etc.) but if it doesn't fly on it's own, they loose interest and close it - even if they have the money to keep it open.

While looking at cool booth equipment is fun, it's all for nothing if the place closes in a year or two.
 

Our theater occasionally hosts the live play or music concert, a few per month. These performances seem to really help the budget by far! They also are a great way to get PR for the theater for folks that aren't really movie-goers who see live stuff, and movie-goers who rarely see live stuff. Frequently people will go to see both just because they are being held in the same house.

Be sure to include in your plans a real stage, theater-grade lighting, like catwalks, programmable dimmers, dressing rooms, and other such live show-friendly equipment. If your town is like you describe, your theater can be a great hub for any kind of entertainment!
 

Forgetting the heavily opinionated feelings around here, any of the three (or all for that matter) of digital systems are good choices. I would say that for the analog system, stick with quality SR and that means genuine Dolby Cat. 280, 300, 350...it does make a difference. This leaves you with the choice of Dolby CP-65, CP-500D/300 and Panastereo.

Speakers and amps and such will depend on the actual theatre dimensions and such.

This is a start.

Steve

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"Old projectionists never die, they just changeover!"
 

Go with platters and forget the second projector unless you plan on doing a lot of "one performance only" type of shows (festivals and such). Spend that money on digital or something that will matter to the customers. They don't give a flip as to how the film is ran.

And by all means, nothing less than a 3 screen! I'd go 5 if you can swing it.
 

A couple of flaws with your argument there Brad. There is no question that starting out with 2-projectors vs projector/platter is more expensive but amortorized over how long? It really doesn't make a flip of a difference. Furthermore, the specifications of this theatre did NOT place any financial considerations into its initial to design.

It should be a given that in this day and age, any theatre opening should be either starting with digital sound or planning on its inclusion very soon.

The equipment I described above will NEVER have a static problem (without having to continiously purchase your VERY fine product), with automation can run with less $$ on the payroll for the entire life of the theatre, and that WILL add up. Also, short of a power failure, will NEVER loose a show. In the long run, the 2-projector booth is cheaper and more flexible. The platter only wins on initial purchase.

Steve

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"Old projectionists never die, they just changeover!"
 

First off, as you agree a platter setup is cheaper "initially"??? Yes it is and will continue to be cheaper via payroll. Also, money ALWAYS matters, even though it was not specifically mentioned. If you know of a theater where money is no object, I'd love to go visit it. However, something tells me this theater venture will fall into more of a "normal" situation where money will matter.

Second, your last paragraph is rather jumbled in making it's dollar figure point. Please reword so I may understand dollar vs. dollar.
 

Brad and Steve need a platter vs changeover thread that they can revive whenever they are feeling ornory. I have run both and I just don't care.

I am hoping that Jim Bedford will chime in here with his insites to a single-screen vs a small multi-screen.
 

It is rather simple math...in a 2-projector automated booth you simply need either the same or fewer people (using the equipment listed above you need 0 people after initial threading). The lack of show cancellations with the 2-projector booth increase both revenue and customer good will, the lesser potential of misthread and consequently damaging film also go towards customer value and good will. For the creative multi-plexer the option of using just one print in up to three houses with staggered showtimes will yield higher per-capita (less people to service with the concession stand on three individual shows than one BIG show) than the same solution on a platter interlocked. Again the creative multi-plexer can run a long film and short film alternating screens such that they get the effective mean running time of both films so that the long film gets more "Start times" and thus more revenue while having the theatre open later and close sooner (less payroll).

Lets say you are mom and pop single screen and really running on a shoe-string budget (ie owner operator)...with the two-projector booth, the next show is threaded up at least an hour ahead of time which allows the available floor staff to stay downstairs when they are needed most, after shows and prior to shows rather than rethreading (and hopefully cleaning)....they then have an hour to get the next machine ready for a changeover.

Print build up and tear down times (not to mention trailer servicing) are reduced since they can be torn down before the show is even over. Heck you can be on shipping reels as the last show comes off the screen (like I just did tonight).

With the new Kinoton FP-30E-R projectors, the film rewinds through the machine at up to 100fps (shuttle mode). No need to rethread. You could run any size multi-plex with these machines with no operators except on show change days. Talk about labor savings.

What is the big advantage about platters? Oh yeah they cost less. Is this a factor, you bet. And sometimes finances dictate what one can spend at the onset. If they can afford it, I sell them the 2-projector booth and have never had a complaint about it.

Steve

PS I agree that Brad and I will go on, if left unchecked, with this Platter vs Changeover bickering forever and as such I will not make anymore replys to this thread on the virtues of one over the other. Suffice to say, I would champion the changeover side, Brad will champion the platter side (neither will admit the other has won his case). We even set limits on ourselves when we get into private bickering. ;-)

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"Old projectionists never die, they just changeover!"
 

Now Steve, put that Kinoton projector aside, as that is a very rare find. NOW tell me that it takes less people to run a changeover booth! How many people will really buy those projectors along with a full blown automation to handle rewinding and such? Also, all of your points after that indicate shuffling reels around the complex...something that defeats the purpose of the Kinoton, so I feel that is a poor example. Also, who in the hell wants to "rewind through the projector"??? I've ran Showscan systems before that used this method and, wow what a joke! No print survived for more than a week unless the reels were manually taken off and rewound on the bench and then completely reloaded and reset.

Second, how often has everyone here seen a manager just cancel other movies to interlock one without getting fired? It doesn't happen. Also, when is the last time a movie has been booked with the intent of interlocking? Geez, quite some time! Again, I feel that "benefit" is not valid as the studios will just send out 2 or 3 prints in this day and age.

Next on the agenda is a Mom and Pop single screen theater "on a shoestring budget". Yeah, like they've got the bucks to blow on an entire second projector/lamphouse, etc if they're on a shoestring budget. How long does it really take to thread a film on a platter? I'd say if it takes more than 2 mintues, that's going pretty slow. And if Mom and Pop are doing that much business that they cannot lose one employee for 2 minutes at the concession stand, then they can afford to hire another concessionist!

So far, the only valid argument is print tear down. Print build up doesn't take but a few minutes longer on a platter vs. building to large reels. It's simple. Build up the first half of the movie just like you would for a changeover house and start it loading while you build the second half. Now, the only extra time that is wasted is the loading time of the second half onto the platter, which does not have to be supervised! That person can then be cleaning the candy counters, since you seem so pro-concessionist/projectionist in your post. Tear down, yes a whopping 15 extra minutes is wasted once "per feature" that plays at the theater regardless of how long it runs. Oh WAH! Let's all cry about that incredible amount of wasted time now, shall we? I think it's worth it to ABSOLUTELY GUARANTEE that every performance will run in order and not upside down (easily achieved when running reels).

Finally in those non-Kinoton booths, you have failed to mention the wasted time it takes to rewind those reels! Let's say we've got a 3 screen here. Odds are they will have one rewind table. You do the math.

Oh wait Steve, you completely forgot to mention the unnecessary handling, stress and wear on the film during rewinding when running reel to reel! Oh well, I'll save that one for the next post.

Platters save money AND operating costs. They are also more gentle on the film. It's as simple as that. The industry has changed, check one out someday Steve, cause platters are here to stay.

(For the masses, yes this is something Mr. Guttag and I argue in good humor virtually every week.)
 

Scott, there are plenty of people here who can tell you 15 minutes is plenty of time to breakdown an average print. I will agree with you it would be extremely convenient to pull the last reel of a feature off of the platter for it's last show and break down the first 5 of 6 reels of a print during the last one (I did this a lot in college as we had that setup), but it is a minor savings of time considering the vast cost difference.

I only favor changeovers if the print is to be run 3 times or less. Any more than that and that is unnecessary print wear with the rewinding and handling. I've said that a thousand times and I still stand by it. "Minimal wear" is simply not acceptable to me regardless of the lengeth of the run. Tiny little "cinch marks" and dirt at the changeovers are also completely unacceptable and unless the changeover theater in question adds a lot of leader and is extremely careful with the rewinding process...it WILL happen over time.

The response from that paragraph above is always "that won't happen with a competent operator". Well, why is it that I can take a 16 year old popcorn jockey and show him how to string up the platter/projector and the presentation continues to remain perfect? You simply cannot do that with a changeover system as there is far too much film handling going on. (Not that I'm advocating untrained operators...just making a point.)

Scott, please come see me when you're in this part of the country. It won't take long to convince you in person.
 

Scott, come check out the lovely snow here! Just let me know when your flight is arriving.
 

A platter...1 thread,1 time to be out of frame. Easier to run for a novice.

A chageover, several threads, and you BETTER be in frame. Nothing I hate to see worse than a changeover and the incoming reel in out of frame.

It all depends on the application. An art/rep house that does concerts,festivals,etc. I might go with 2 projectors.

A simple mom and pop theater,a platter.

--Chris
 

You said you're talking about Barrow, Alaska, but it sure sounds like you mean "Cicely." And would, by chance, your financier be named "Maurice Minnefield"?

kenn
 

Platters. If the theater will run some rep stuff; one house with c/o's. And a platter next to the twin projectors.

Stephen's suggestion for some live shows at this theater (Joshua is thinking about) is a great idea. If you have the money for a real stage OK, but I've seen many great shows on just a simple stage platform, etc. Try to make the theater the "hub" of entertainment, so people will always go there.

If someone told me they can consistly break down a print (from a platter) in 15 min. I would be worried about damage. I broke down 6 reels of "Whole Nine Yards" on Sat. and it took me 25 min. (and I was in a slight hurry.) If Brad did it, I wouldn't worry because I know he knows what he's doing. But, there are very few 'Brad's around.

Same thing with Steve G.; He could probably run 10-14 theaters with c/o's- no problem. But if he quit, no one could replace him.
 

If the extra money is there, then its far more important to give the theater goers other reasons to go there than the fact that there are 3 - 2 machine booths. A very attractive well decorated lobby is extremely important these days, sometimes decorated to some sort of theme, as is a catchy sign and a well done answering machine system. These are all basics that cost bu koo bucks! Gee we have not even made it to the ultra pricy concession stand of today or the pricy ticketing systems........still more to buy.
Another note here is that I would definately stay away from installing any electronic machines in any remote place like Alaska. They may be fine in Weehawken N.J., but God knows who would be able to work on it(and it will have to be worked on at some point) in Alaska. There are not many projection techs that I know of with the exception of a couple that have posted on this thread that could ever reasonably deal with repairs to any electronic projector, let alone have the necessary test equipment or spares on hand. How many of you have ever worked on one? How many of you REALLY know AND understand how they work or could read the schematic and understand how it works? ALSO---Since you are not familiar with electronic projectors you probably will not be able to get field support from the manufacturer on the phone at 2am. While manufacturers can claim easy modular servicing, and that may indeed be true, wait till you go to order that module you need and find out that its of stock, being redesigned, modified, or upgraded because of problems like the one you just experienced. The worst thing is that when you do get a module a day or two later you find its the wrong revision number, and uncompatable with your serial number!! Now you're stuck and you have to fix the bad one. How ya gong to sweat that one out? All of this happens quite frequently in all aspects of the electronic industry! The kicker here is that the theater would really have to buy quite a number of spare parts to be guaranteed to be able to fix them quickly. More big bucks spent that may or may not ever be used.
And then there is the old problem that the semiconductors will probably not be available in 5 to 7 years. Thats an all too common problem right now in the lighting industry. Many light boards and dimmer rack computers can't be repaired for lack of semis! The real problem here is that these electronic projectors will now be obsolete in 7 years like all other electronic equipment. Thats fine for NBC or PAramount pictures but not for mom and pop. They're still making payments on those projectors! Gee what happens if the motor manufacturer goes bye bye? That HAS happened in the recording industry to a large famous motor manufacturer. Try getting any major parts for an RCA FP-35...... Good luck!
Anyway enough said....3 screens would definately be the minimum to build, with one perhaps being equipped with a 2 machine booth if that can be justified. Install standard machines, no fancy european stuff needed here. Just a straight foreword very attractive theater so the owner can pay the bills.
Mark

 

If you go with 2 platters and 1 changeover system as Mark suggested, make sure that changeover house has platter capability as well. Otherwise moving prints around will be a major pain and cannot be quickly done if you find one movie is doing significantly more business and films should be switched around.
 

Hey I am just getting ready to get on a plane, but I received your message
and will respond asap. $15.00 maybe, but $25.00? Nope. Prices are
basically double what they are in Anchorage. It is $7.50 to go to the
cinema in Anchorage.

There used to be a very theater in Barrow in a Quonset hut. I'll send you
history and my ideas as soon as I can -- NKR

Hi. There is a very nice, THX-type digital system in the high school
auditorium, and movies are shown there on a fairly regular basis during the
school year. There is another, not quite as nice, system at the new middle
school. I mentioned this idea to the mayor of Barrow and he thought there
wouldn't be enough money in the venture to warrant the expense. Building in
the Arctic is expensive of course. Maybe he is wrong. At the auditoriums,
there are no snack bars or previews -- it isn't like going to a real
theater! I asked about the history of the old theater in the Quonset hut,
that still sits out at NARL, but it was closed down many years ago because
it was too expensive to maintain and because of vandalism I believe. The
mayor seemed to think the local kids have calmed down and that the community
wouldn't put up with that kind of thing anymore. I could certainly help
come up with some names for a cinema! Tuttu Theater! (Caribou Theater)
Nanuq Cinema (Polar Bear Cinema) or something... Sun Dog Cinema... Ice
House Theater... :-)

I will tell you that when I lived in Barrow, I would definitely have gone to
the show and paid $15.00 a whack. There are currently three video stores in
a community of approx. 4,000. Videos are very popular. Cable TV costs
about $80 a month and they have all the good movie channels.

I hope this helps? Let me know if I can be of further assistance -- NKR