Film-Tech Forum ARCHIVE: Questions about training new people in the booth

This is topic Questions about training new people in the booth in forum Film Handlers' Forum at Film-Tech Forum ARCHIVE.

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Posted by Jesse Skeen (Member # 586) on 07-19-2001, 02:59 AM:

I'm asking this now BEFORE I have to train anyone else to work in the booth:
How long should someone who has NEVER run a projector before be trained or practice with someone experienced there to help them, before they are put to work by themselves? Is there a maximum amount of time when someone should be expected to know how to do it without any help?
I was trained for about a week and a half before I was put to work at both a 6-screen theater and a single-screen a block away that had to be run at the same time, which was a rather unique situation. I had someone watch over me for about 2 days, then I worked a few more days basically by myself but someone else was upstairs to make sure I didn't mess up. During the first month I got to work on a regular basis, I had a few false starts (show not starting correctly because I missed something) and one film that I know of got (platter)scratched- after that happened I learned how to check everything and haven't knowingly damaged any prints since then.
I've heard people say that one reason presentation is so bad at some theaters is that people are not given enough training, in both quality and quantity. When I start out training people, I try to make them most concerned with not damaging the film- yes, it's embarrassing if you do something like start the film and have to immediately stop it again because the take-up platter wasn't turning, but it's a lot worse if a print gets damaged and gets shown that way the rest of the time it's there.
Any thoughts?

Posted by James Robertson (Member # 888) on 07-19-2001, 05:59 AM:

I did a FIVE YEAR apprenticeship in Scotland but then that was in the dark ages when quality of training was important and the bean counters didn't have such a stranglehold.

Good luck on your quest.

Jim

Posted by Linda Learn (Member # 562) on 07-19-2001, 06:58 AM:

Jesse, I think (just my own opinion) that a training period is going to depend on the individual you are training and how comfortable you feel about them. Why don't you set up a list of performance factors to be fufilled and have that be your guide: "projcectionist will be able to ...... "etc.

I had 8 hours training with a great theater manager/projectionist in Sayre PA and followed our tech around for a couple months while he was installing our used equipment and got info and training from him on that equipment. Another woman and I checked each other out and worked together for about a week and then we were both doing projecting on our own.
Of course, I DID/do read Film-Tech forums constantly and download all the manuals and info that could possible pertain to us .... and read them cover to cover.
I always follow the tech around when he comes and call him when I have a question.
And I'm planning to pick a few brains here at Film-Tech (as soon as I get back from selling fabric at the Pennsic War) so I can make a log and a few other things.

I didn't start out to be the "head" projectionist.... it just kinda' "growed" like Topsy. I had to make sure that it was done right and no one else was interested enough to sacrifice the time or effort.
...as an aside.. I'm now being paid for 12 hrs/week of time I put in and the board wants me to go to 30 hrs at $8/hr plus insurance. I want to set up this booth with appropriate procedures and policies right now while I'll have total control. I have PMCS but no one follows it but me. mad:

Bob, I hope you won't mind too much when I ask you to give me the benefit of your expertise and wisdom to continue setting up "my" booth. And I hope the rest of the list will put up with my questions which I try to keep at a minimum.

Posted by John Pytlak (Member # 331) on 07-19-2001, 07:03 AM:

The learning process should never end! In addition to "hands on" training, the new operators should be expected to learn from other material such as the SMPTE/BKSTS projection manuals and INTERNET resources such as Film-Tech. Past threads have discussed publications such as Kodak's Cinema Notes, and books by Richardson and Mitchell that can be used as training materials.

How long before a "newbie" goes "solo" depends upon how fast they learn and develop the skills. Everyone makes mistakes, but as a trainer, you need to feel confident they will not trash a print, damage equipment, have a xenon lamp explode in their face, or electrocute themselves because of incompetence, stupidity, or negligence.

Here are some links to training materials:
http://www.kodak.com/US/en/motion/screencheck/offer.shtml
http://www.kodak.com/US/en/motion/newsletters/index.shtml
http://www.smpte.org/smpte_store/books/
http://www.bksts.com/courses.htm
http://www.bksts.com/training/project.htm
http://www.bksts.com/Images.PDF
http://www.bksts.com/cinetec.htm

------------------
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 Cell: 716-781-4036 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion

Posted by Carl King (Member # 398) on 07-19-2001, 07:50 AM:

Jesse:

John Pytlak is correct. How long depends on how well he trainee learns. When I started back in 1970 the law in my province of New Brunswick required 500 hours of training. This was on the job, through a union, and there were no manuals at all. We learned from the operator in the booth. Thankfully times have changed and there is a wealth of valuable information on the WWW as well as from the SMPTE and Kodak. Send to Kodak for their projectionist training information. I believe it is free and it is great. I used it recently while training two people.

Approach this as if you were a teacher. You know what is needed to do the job so put down on paper all of the things that a projectionist does and set a schedule : ie: week 1..film handling: week 2..presentation (show them a good screen image and let them see what a good presentation looks like) etc.

If you know your job and they spend time with you then they will learn. The most important quality that a trainee needs is a desire to present a good film for the audience to see. Forcing someone who is not interested in film projection is not a good idea. Their lack of interest will soon show up on the screen.

Fiallly,this site is a resource. Great people who will always answer a question for you.

Good luck
Carl King

Posted by John Walsh (Member # 168) on 07-19-2001, 09:29 AM:

Training is not always easy because you have to tailor your instructions to the ablitities of the person you are teaching. I think Linda and JP have the right idea; set goals that the student must be able to do (thread correctly, know what to do if the film breaks, etc.) rather than a time limit. However boring, repetition is the key to learning. Be aware that a very small percentage *just can't do it* It's not that they are stupid or anything; there's always something that someone can't get a handle on. That's the way it goes.

Also, it will depend on what you want the projectionist to be able to do. When I started, operators were expected to know how to change "accessable" parts on the projectors and assocated booth equipment (sprockets, gate springs, belts, diodes in power supplies, plug-in relays, etc.) If your operators only need to know how to "operate," that is, threading, make-up and break-down, recovering from a film break, the training time will be less.

Do not expect the student to do very well if you rush a training session between shows, then require them to go back to being an usher, concession attendent, etc. for the duration of the shows. Don't expect them to do well if you try showing them the box office, cashing out, concession stand, ushering and the booth all at once. Of course, you want the person to get up to speed. So a suggestion might be to concentrate only on threading correctly and fixing common errors, since that's what you need the most. Then, as the person gets used to handling film (and proves themselves), work on make-ups, changing bulbs, etc. Nothing's worse than spending a lot of time on a person, then having them quit.

When I trained, I went to the theater from 6:00pm to closing (12:00) for 4-5 days a week for about 3 months (single screen w/ changeovers and carbon arc.) No pay!

Posted by Rick Long (Member # 213) on 07-19-2001, 08:53 PM:

This, of course, brings up another good question. What attributes would you look for in a prospective "apprentice"?

Part of this answer must depend on what the apprentice will receive in return, training for a job that may disappear within a few years.

As far as mechanical ability or knowledge of physics are concerned, it has been my experience that those who really want to know, find out for themselves.

It would be uneconomical for him/her to spend their time on the standards the older ones of us had to know to get a license in the old days; Ohm's law, lens calculations, ect. (Never knew a projectionist who was asked to use these anyways - still an understanding of the basic principles is never a bad thing).

I suppose the hardest thing to detect is the most valuable to you - the indefinable inborn quality known as "showmanship". The desire to put on the best performance you can, and to take pride in this invisible art. It is invisible because if you are doing your job right, the audience becomes totally unaware that you exist. A large part of this desire, will come from their work with you. The student must, at first, try to emulate the teacher.

In the brave new world that I live in since the disappearance of professional projectionists, by and large, I see people who just do this because the company pays them an extra dollar an hour to "learn the booth", and some who are genuinely interested in what the audience sees. All to often a "buck-an-hour" projectionist is worth exactly that.

Fortunaltely, we have a series of well-written, easy -to-read articles from Mr. Pytlak to help these people along. "The Seven Deadly Sins of Projection" should be a must-read for any apprentice, (and a read-again for all of us).

I have had the good fortune to train a dozen or so apprentice projectionists in my time. Eight of these passed the test, the others I talked into another profession. Of the eight who passed, none have ever given me any reason to be ashamed.

Unfortunately, most have them have left voluntarily or been forced, through circumstances beyond their control, to leave the booth.

Remind them often of the Lawrence Olivier line on performance, "Always strive to do your best. You can do no better. You must do no less."

Posted by John Pytlak (Member # 331) on 07-19-2001, 09:30 PM:

Rick Long said: "Fortunately, we have a series of well-written, easy -to-read articles from Mr. Pytlak to help these people along. "The Seven Deadly Sins of Projection" should be a must-read for any apprentice, (and a read-again for all of us)."

Thanks.

Here's a link to the article:
http://www.kodak.com/US/en/motion/newsletters/notes/june2001/pytlak.shtml

Please let me know any other topics you would like me to write about in future issues of Kodak Cinema Notes.

Posted by Gordon McLeod (Member # 33) on 07-19-2001, 09:53 PM:

Rick sorry to disagree but I had a former apprentice call the other night and after I had him use ohm's law (which he rememebred) we solved the problem over the cell phone so I didn't have to leave the pub

sorry shop hic