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But when you start getting into "megaplexes" that have
132 or more screens, then you might need
multiple projectionists on at the same time.

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WOW
 

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Posted by Antonio Marcheselli (Member # 373) on 11-26-2002, 03:27 PM:
 
Uhmp, I can Handle by myself up to one or two thousand of screen. More, last screen can start 1/2 minutes late.

...
 

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Posted by Jason Black (Member # 684) on 11-26-2002, 05:15 PM:
 
Anything over 12 screens needs two people in the booth at all times. In the unlikely event of an break (and we ALL have them from time to time) you have your second operator to start/thread the remainder of the shows without interuption...

I always run two, and have four on Thursday night sometimes. One to run the booth, one to build, one to break down (solely at night) and one to assist in screening.

I'll contend that, for the most part, a single operator of decent caliber can easliy run a 16 plex by him/herself assuming that the booth isn't in some crazy assed design like multi level/split booths/etc...
 

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Posted by Joe Redifer (Member # 3) on 11-26-2002, 05:25 PM:
 
My 16 plex was divided into 4 spectacular but separate booths. All of them had locked doors, to boot! Only one moron was needed at a time.
 

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Posted by Brad Miller (Member # 2) on 11-26-2002, 05:33 PM:
 
I don't think this question can be answered without knowing the booth layout, the equipment and the competency of the operator. John, at least tell us how many screens there are in your complex and what make/model of equipment (including automations) and locations of the status panels.

If the booth is split up into different rooms (like the one I worked with Joe), then that slows things down a bit. If the booth is on separate levels and has stairways (like that moronic design of Cinemark's flagship in West Plano), then that will REALLY slow things down. If the booth doesn't have timers and/or the operator isn't competent enough to thread up properly so that he/she can use them, then forget about it and shoot yourself in the head.

IMHO a professional booth with a flawless presentation requires:

• Start timers (preferably where you dial in the start time and not just tell it the delay time...mathematical errors happen that way causing shows to start at the wrong time)
• Status panels. Nowhere in the booth should the operator not be able to see a status panel.
• Reliable equipment that can start and run itself without needing a human to stand over it.
• Media cleaners making up at least half the screen count w/FilmGuard
• Every operator in the booth to be competent. It only takes one bad guy to ruin it for everyone.

Of course all of that doesn't happen too often these days. However as an example, if I had a 30 plex booth split into no more than 2 rooms without stairs, Christie or Kinoton equipment with platters, CA21 automations, a CA Link and a Goldberg platter reel, I could easily run it by myself and would cheerfully put my presentation up against a brand new print. Thursday nights I could also run it myself provided I didn't have more than 3-4 prints to deal with. For Thursdays with more prints than that, I would want a second operator to assist.

Now if you give me a weird booth layout, troublesome automations and equipment that I will spend more time cursing than operating, plan on paying for 2 operators for a 10 plex.

I have personally worked with these guys on the forum and know they could run such a 30 plex by themselves too: Joe Redifer, Darren Crimmins, Dwayne Caldwell, Jeremy Spracklen. I am sure there are plenty more that could do it as well. Good operators are out there. You just have to find them and give them a good booth.

Jason, I haven't had a break, wrap, toss or problem in years (not counting my recent times with a Strong booth). The beauty of start timers is that you are threaded well ahead of actual start times. If a problem with equipment should turn up, you have plenty of lead time to fix it while the rest of the booth runs unattended with only a mild delay, if any. Of course the mathematical penny pinchers at corporate who decide on what equipment to buy don't seem to be able to add this factor into their purchasing decisions.
 

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Posted by Scott Norwood (Member # 30) on 11-26-2002, 06:28 PM:
 
So, Brad, you don't think that those of us who run manual booths are "professional" and capable of a "flawless presentation"?

I enjoy running manual booths in single-screen houses, personally. Automation is great, but it's more satisfying to put on a perfect show without it. Multiplexes are fun, too, but a bit dull by comparison.
 

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Posted by Gordon McLeod (Member # 33) on 11-26-2002, 07:33 PM:
 
Well I don't permit timers in any booth I service. The operator better be beside the machine when it starts. Also some of the newer video projectors used for slides can't be automated.
Also several large complexs I service only allow about 15min between shows in each auditorium so that limits the time window one person can handle
 

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Posted by John T. Hendrickson, Jr (Member # 849) on 11-26-2002, 09:00 PM:
 
I'm with you on this one, Gordon. The operator had better check the screen, sound monitor,projector and platter function at start-up in my complex. I have no use for timers. Since it's not a perfect world, you can stave off big disasters that way.

No pushing the button and walking away. I'm comfortable running our 13 screens by myself, but our turnaround time is short and you really have to hustle at times. Old habits die hard. As an old changeover guy, I always look out the port and double check things every time, and I insist that my operators do the same. We run one operator Sunday night, and one for matinees and evenings through Wednesday. Thursday matinee I have one on with me while I build prints, and two work the evening shift, runing and doing breakdowns, then moving prints at the end of the night. We then run two operators on Fridays and Saturdays and Sunday matinee. Our booths are all connected, but the place looks like a maze and is spread out.

I agree that equipment, competency of operators, number of screens, schedule, and layout are all factors in deciding the proper number of operators.
 

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Posted by Brad Miller (Member # 2) on 11-26-2002, 09:06 PM:
 

quote:

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So, Brad, you don't think that those of us who run manual booths are "professional" and capable of a "flawless presentation"?

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Floor staff should also check presentation quality in each auditorium by making "rounds", and call up any problems immediately.

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It helps if the floor staff has been trained how to spot common, easily-fixed problems like slightly soft focus and slight mis-framing. Regal walks their auditoriums regularly here, but I don't think the floor staff has a sufficiently critical eye to pick up anything other than gross problems. There's no such thing as focus that's "good enough". Either it's in focus, or it isn't.
 

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Posted by Scott Norwood (Member # 30) on 11-26-2002, 11:33 PM:
 
Sorry, Brad...I was just having fun.

I do agree with you that timers really do save a tremendous amount of time and can contribute to presentation quality when used correctly. I use them whenever I (or someone else I really trust) ran the previous show in a given house. Otherwise, I start the show manually. Once focus and framing are set, though, I'll use the timers throughout the rest of the day. Timers can be an absolute necessity when there are multiple booths with identical start times; it's especially fun when moving between the booths requires walking through an auditorium. A security camera in each house and monitor in each booth can help to ensure that major problems get caught and fixed quickly.
 

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Posted by Michael Schaffer (Member # 1204) on 11-26-2002, 11:39 PM:
 
Timers can be very practical. I think the best way is to set the timer but still be there in person when the show starts. But in those rare cases when something goes wrong, it is good to know that you have a little time to address the problem because the other screens will start automatically. You can go and check them a few minutes later after you have solved the problem.
Here most multiplexes are operated by one person. Multiplexes with more than 10, 12 screens are quite rare here. On wednesday nights (the new program starts on thursdays), there are often 4-5 operators because we have about 30 minutes of rolling commercials and the commerciaL reels have to be edited every week
 

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Posted by Jason Black (Member # 684) on 11-27-2002, 04:50 PM:
 
Quote: "Jason, I haven't had a break, wrap, toss or problem in years (not counting my recent times with a Strong booth). The beauty of start timers is that you are threaded well ahead of actual start times."

What about those of us who work for companies that don't use start timers? I've been in the business for 15 years and never seen a start timer... I've seen remote start switches in older (60/70's era) theatres, but never timers... I've even been told of the elusive e "endless loop" setup, but I've never had any hands on with them.

As for Thursdays, any theatre over 10 screens needs to have two operators, IMO. One to take care of running the shows and the other to handle building. They both can handle breaking down as the night progresses... but, as I said, this is merely my own personal belief..
 

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Posted by Brad Miller (Member # 2) on 11-27-2002, 04:51 PM:
 
If your company does not have start timers, then they will forever have to settle with increased payroll costs. Simple math.
 

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Posted by Jason Black (Member # 684) on 11-27-2002, 08:40 PM:
 
Brad,
I call it being penny wise and dollar foolish.

 

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Posted by Bob Maar (Member # 763) on 11-27-2002, 10:14 PM:
 
Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha ha ha ha ha That was a good one.Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha ha ha ha ha That was a good one.Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha ha ha ha ha That was a good one.Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha ha ha ha ha That was a good one.Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha ha ha ha ha That was a good one.Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha ha ha ha ha That was a good one. I really like that answer.

Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha ha ha ha ha That was a good one. Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha ha ha ha ha That was a good one.
 

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Posted by Jason Black (Member # 684) on 11-27-2002, 10:38 PM:
 
Bob,
Are we having a very martini night tonight?
 

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Posted by William Leland III (Member # 1400) on 11-27-2002, 10:49 PM:
 
When I worked for a 16 Plex, we had 1-8 on one side, 9-16 on the other. The hallway between them was 200', with our office's/ poster room and boiler room in between. There was no need for 2 projectionist other than Thursday.

On Thursday's we had an opener and the "builder/breakdowner" would come in early like 4 p.m ,if there where alot of prints to be built. If not 6 p.m. While the builder built up, the other projectionist ran the sets. Both would close the night together. Uselly the builder/breakdowner and the projectionist ended the same time.

My question is when previewing movies on Thursday nights should you be clocked in. IMO I think we should. If something goes wrong we are there to fix it and need to be paid for it. The theatre chain I worked for didn't agree with this. What about you????
 

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Posted by Brad Miller (Member # 2) on 11-27-2002, 11:40 PM:
 
Bob, you feeling ok? I'm not quite sure what to make of your post.

Yes, IMHO projectionists should be paid to sit and test screen the prints. The whole purpose of doing this is to ensure that there are no defects in the movie, and with as much crap that comes out projectionists NEED to get paid to sit through it.
 

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Posted by Steve Kraus (Member # 476) on 11-28-2002, 12:22 AM:
 
Did your employer require you to stay to preview the prints or was this a voluntary thing? Would you be fired or sanctioned in some manner if you did not? If it was something they expected of you then you have to be paid. Period. It's not a matter of opinion. Making people work off the clock is illegal.
 

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Posted by Gordon McLeod (Member # 33) on 11-28-2002, 03:17 PM:
 
In many locations if you are on the premises you need to be paid if there is an acident and workmans comp is required
 

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Posted by William Leland III (Member # 1400) on 11-28-2002, 03:24 PM:
 
Most of the time it was voluntary. But in some instances like Harry Potter, Star Wars and other big Hollywood movies, we projectionist where expected to watch them. For those "Hollywood Blockbusters" we where on the clock. But when watching something a manager wanted or we wanted we where clocked out. It made no sense to me since if film is film. There is no guarantee that one movie will mess up verse another. I think it was just a way of them telling us we own you. If we want to pay you we will. I no longer work for this company, but every time I go there I am asked to come back. yeah right
 

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Posted by Ian Price (Member # 14) on 11-28-2002, 05:32 PM:
 
We pay whoever built up the print to verify the print. If that person is unwilling to watch it, then we pay another projectionist to verify the print.

Any staff member or spouse of a staff member may stay and watch the film as well during the verification.

Friends are not allowed.
 

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Posted by John Walsh (Member # 168) on 11-28-2002, 05:45 PM:
 
My own $0.02... We do not allow timers or any kind of remote starting. We really don't care if films that are supposed to start at 7:00 actually start at 6:58, 7:00, 7:02, etc.

Generally, if anything is going to happen, it will happen at start. We are mostly concerned with improper threading which damages film. It would be bad to have a show run out of focus, but even worse to damage it, and have a poor showing every show after. Checking focus drift after starting is a real, but seperate issue.
 

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Posted by Scott Norwood (Member # 30) on 11-28-2002, 07:31 PM:
 
I've _never_ heard of anyone being paid to pre-screen a print, except for the rare "big" special show (which I think has happened maybe twice). Generally, prints only get pre-screened if one or more theatre employees want to see the movie.
 

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Posted by Daryl C. W. O'Shea (Member # 1303) on 11-28-2002, 09:11 PM:
 
I've had the same experience as Scott has. The only time you get paid to screen a movie is if management understands why you are screening the movie (the reason not being that you actually want to watch the piece of crap).
 

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Posted by Michael Schaffer (Member # 1204) on 11-28-2002, 10:47 PM:
 
Prints are never pre-screened here. In one of the last theaters where I worked, it was actually seen as a big priviledge that we were allowed to watch the prints on the night before the start. So we were of course never paid but it got to be quite stressful, as the employees would usually start begging two or three days before "please, can we watch this or that movie".
 

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Posted by Jason Black (Member # 684) on 11-28-2002, 11:50 PM:
 
William,
Are you referring to the Palmetto Grande? Just curious.
I allow my operators to remain on the clock until they leave the building on Thur. night/Fri. morning. If they want to see a film that's opening, they can do so if circumstances allow, ie. everyone coming in to work/enough prints to screen, etc..

If they want to watch something after I've screened it (which I always screen at least one print per week on Thursday night sometimes two), they are off the clock. I only allow the operators to do so with NO other employees in the building.

Bottom line, all films need to be sreened regardles of WHEN you get them in. Down a show if they come in Friday and you didn't get it built until time for it to start. No film should go onscreen to the general public without being screened by a member of management or operator. WHomever does so is obligated to be paid for performing said task(s). PERIOD.
 

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Posted by Joe Redifer (Member # 3) on 11-29-2002, 01:49 AM:
 
At Mann Theaters when they were in Colorado, we were not allowed to "verify" the print, even off the clock. But then one busy Friday night customers started swarming out of a sold out showing of Saving Private Ryan. Reel 1 had a MAJOR misprint in that the last 5 minutes or so repeated or something like that. The managers realized that this could have been replaced quickly had we pre-screened the movie. From then on we screened every single movie, on the clock, and it eventually became a company wide policy I believe.

At UA we screened every single movie, on the clock. It didn't matter if it was a movie we were opening that week, a sneak preview, a trade screening, etc... it got watched.

The theater I am at now calls these screenings "Dry Runs". What the hell is a dry run? Sounds abrasive and bad for the print. I prefer to "screen" my movies.
 

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Posted by Mike Spaeth (Member # 524) on 11-29-2002, 02:41 AM:
 
I will pay ONE person per print to screen a film on Thursday night. I also require that all prints be screened. I, myself, take one of the prints, since I'm "free" (salaried ... so doesn't add to payroll).
 

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Posted by Jason Black (Member # 684) on 11-29-2002, 01:57 PM:
 
Mike,
One person per print paid... makes all the sense in the world to me. That's exactly I do here. The print(s) are divvied (is that really a word) up between mgmt and operators or one of a few employees I trust to screen for me... all other employees are allowed to screen as well but none are paid. If they are asked on what the print is about on opening day, they know (if they screened teh previous night). this has to be carefully monitored so that friends/family aren't "invited". I've asked more than a few people to kindly get up and leave in the years I've had screenings. The employees didn't last long after that either...
 

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Posted by Bob Brown (Member # 1205) on 11-29-2002, 06:39 PM:
 
Since all of our prints arrive at the theatre on Wednesday, I have some time to get them all built and screened. I never, allow a print to hit the screen that has not been looked at first. We also only allow certain projectionist that have a "eye" to screen prints. Our guests pay good money to come here, I have to compete with 70+ other screens in a city of about 250,000, so I got to have it right the first time. It seems to be working. We have been open for a year, and we are consitanly first or second in the area for attendance each week. A little extra on our part sure pays off in the end, and yes, the screeners are paid. Plus, we have a great staff and training program both in the booth and downstairs on the floor. We had our 1,000,000th guest walk thru the doors about 3 weeks ago.
 

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Posted by Jason Black (Member # 684) on 11-29-2002, 11:33 PM:
 
Bob,

So everyone in your town has been to your theatre four times in a year.. big deal..

Actually, 1 mil in a year is a super attendance... I can only imagine the cash numbers you push annually. I *think* I had attendance just over 750k last year... so I *know* you were busy.,...
 

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Posted by Jack Ondracek (Member # 1466) on 11-30-2002, 12:05 AM:
 

quote:

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from Bob Brown:
I have some time to get them all built and screened. I never, allow a print to hit the screen that has not been looked at first.... I got to have it right the first time. It seems to be working.... A little extra on our part sure pays off in the end... We had our 1,000,000th guest walk thru the doors about 3 weeks ago.

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Good for you, Bob!

We pre-screen everything before we show it, no exceptions. Granted, we have somewhat of an advantage, since there's no chance we'll ever have to start more than 4 shows on any given week. I don't know how you guys with 6 prints of Harry Potter do it!

As for screening... 2 reasons for doing it: The first should be obvious. The second is because the Film-Guard instruction sheet says we should!

No appologies... maybe I'm getting old... but even with my fancy frameline finder, I still miss one on the occasional trailer... and I HATE to see out of frame splices. I also don't care much for the streakie-look, as is expected on the first-run with the cleaner.

With all due respect to those of you who work for chains that don't see the need for pre-screening, I'm glad they don't do it here. It just makes us indies look that much better.
 

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Posted by Mike Babb (Member # 1379) on 11-30-2002, 01:46 AM:
 
10 screens, one operator. Easy enough. On Thursday we have an extra person or two help after close if prints need to be torn down that night. One person could do it of course but they may get out near dawn since we screen everything. As far as screening, we are all salary but we try to include hours screening in hours scheduled, I feel people should get credit for time served and we all have to watch duds.
 

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