Film-Tech Forum ARCHIVE: Which Projector Do You Start the Night On? (Changeover)

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Posted by Daryl C. W. O'Shea (Member # 1303) on 05-24-2003, 02:53 AM:

Ever since I can remember, when running changeovers, I've always threaded my first reel on the right projector since 9 times out of 10 the machines are set up so that I can close the hand dowser and shut off the rectifier (if it's not practical to leave the lamp on) of the right machine while standing between the two, immediately after changing over.

Just wondering what side others favour and why. [Smile]

Posted by Michael Schaffer (Member # 1204) on 05-24-2003, 03:33 AM:

At the Berlin Film Festival, I always started with the right projector. Why? Because they wanted to see the first 1-2 minutes of each film right before the screening. Only the right machine (FP-38E) was equipped for reverse.

Posted by Ray Faultless (Member # 903) on 05-24-2003, 03:45 AM:

During my changeover days the right projector was used first. I always thought it was because thats the way the Chief projectionist wanted it. The left projector was number two and the right was noumber one.

Posted by Dick Prather (Member # 1136) on 05-24-2003, 04:48 AM:

I started on the left machine most of the time. I tried to start on the right every other week but it didn't work out most of the time. Most booths that numbered the projectors had the left one labeled #1, "A", or "RED" long before I got there.

Another reason was the main changeover panel, dimmer, and curtain controls were always by the center port. I liked to be by the machine while it started to make sure everything was OK. On the west coast we had full changerover panels and I never saw a foot switch in use untill I visited Chicago. Most theatres had panels by both or all three machines and you could changeover from any of them.

Posted by Stephen Furley (Member # 1277) on 05-24-2003, 04:57 AM:

Adverts and trailers on the right machine, then first reel of the feature on the left. Why? I've no idea, I've always done it that way,I wasn't taught to, I just did. With three machines, adverts and trailers on the left, then feature starting on the centre.

With two operators, I prefer to be on the right machine.

I have to admit, I've wondered about this myself, and usually look back to see which machine the show starts on; it seems to be both ways about equally.

Posted by Don Furr (Member # 1469) on 05-24-2003, 05:32 AM:

I was taught 40 years ago to always start on the left machine. I have NO idea why. I still begin on the left machine.

Posted by Per Hauberg (Member # 529) on 05-24-2003, 05:33 AM:

Beside of the superstition, taught Yoy by some older projectionist sometime back - Bad luck not to start on right projector and so, the soundrack is sitting near projector #2 and so easy to reach, -earlier the carbon dia-projector for local adds was standing right of proj 2, and with commercials and trailers on proj. 2, You would always have reel 1,3,5 etc on proj 1 - to remember on some tough day with 5 or 6 different prints whirling around the room on 2000 feet reels.
But still, the only reason should be, always running a given reel on the same projector, so that You was sure, where to look for a defect, if the print suddenly had been damaged.

Per

Posted by Brad Miller (Member # 2) on 05-24-2003, 06:24 AM:

I'm with Per on keeping the same reels on the same projector. However as to which one I start with, that depends on the amount of hours on the bulb and the film itself. For example, if the left projector (#1) has a couple hundred more hours on it than the right (#2) and I am running a 5 reel movie on 2000' reels, I will start with the right projector to burn more hours on that one. If that 5 reel movie is mounted on two large reels, I will start with the left projector because I always build up large reels so that the last reel(s) is full and if any are not full it is the first one.

Posted by Leo Enticknap (Member # 534) on 05-24-2003, 06:37 AM:

It depended on whether there was an even or odd number of reels in the programme for me. If you're operating the right machine, you can glance up and see the film coming off the feed spool on the left one (and thus get an indication of how long to go until the first set of cue marks), but not vice-versa - you're operating the left machine blind. Therefore I would work out the sequence which would give me the maximum number of incoming changeovers on right machine and position the first reel accordingly.

Posted by Scott Norwood (Member # 30) on 05-24-2003, 06:39 AM:

Depends on which machine is closer to the dimmer controls and/or sound controls and/or rewind bench. For me, that has usually been the right-hand machine (which, in this area, is usually labelled "#2"). Since it's usually necessary to adjust the volume level (and/or sound format) between trailers and feature, I like to have the first reel of the feature on the machine which is closest to the fader.

For me, an "ideal" booth would have controls for house lights, sound format/volume, curtain, and masking next to each machine, but that almost never seems to happen in practice.

Posted by Jeff Stricker (Member # 224) on 05-24-2003, 06:46 AM:

Trailers, cartoons on the left machine...first reel of the feature on the right machine.

Posted by Bernard Tonks (Member # 809) on 05-24-2003, 06:58 AM:

In the old days of carbon arcs & changeovers I worked, there was always a 2nd feature, and depending on the number of reels the programme was started on No 1 or No 2 projector, so that the Adverts, News & Trailers (normally just 1 or 2) were always on No 1 projector. There would of course be changeovers if the trailers were in scope, sometimes wide & scope. The programme was also made up into an even number of reels so that they always ran on the same projector for tracking any film damage.

When I was in the West End at the Carlton, there was never a 2nd feature. There might be a ‘short’ subject documentary, if 20-30 minutes (the spool boxes were 3k), this would start on No 2 projector. The Adverts, News & Trailers were always run on No 3 projector. A scope trailer would be on No 2 projector with a changeover, on No 1 if the feature was also in scope.

A couple of West End cinemas had a better choice with four projectors. I believe at one time the Plaza, Piccadilly Circus had 5 projectors, like Radio City Music Hall in New York.

Happy showmanship days! [Smile]

Posted by Gordon McLeod (Member # 33) on 05-24-2003, 09:36 AM:

I check the number of reels and there lenght and then start on which ever machine will keep the lamps with even hours
otherwise one lamp will darken quicker and then you will have a difference inlight level on changeover [Mad]

Posted by Matthew Nock (Member # 1575) on 05-24-2003, 09:44 AM:

I have never had the opportunity to work in a full change-over booth.

However, one theatre I worked out used to have a century and simplex PR1014 (with no turret) - and for scope shows, we used the left machine (the century) for the trailers and adverts, then changed over to the Simplex for the scope feature.

We would also use the Century (as machine two) when we had one-off presentations for schools etc/

Posted by Christian Appelt (Member # 1067) on 05-24-2003, 10:23 AM:

In a 1950s manual for projectionist the author advised alternating between L/R machines with every run of the film, meaning you show reel #1 left on the first showing, then on the right for the next show and so on.. That way both machines would have the same wear.
But this was after WW2 when there was a lack of spare parts.

Personally, I always start left, for no special reason. [Smile]

Posted by John Hawkinson (Member # 1135) on 05-24-2003, 12:18 PM:

Comments about lamp life in the context of 2k changeovers surprise me, since I'm of the impression most people who do 2k changeovers leave the lamps on. We strike both lamps before the show (simultaneously), and wait until the end of the last show to shut them both off. I guess that if turning off our arcs didn't cause a sound system noise, we might turn one off earlier than the other...but it does.

We do have remote format control and light control on either side of both projectors (and volume control for non-sync but not film), so it's comfortable for us to start from either left or right. Generally generally we run our trailer reel on the left and reel 1 of the feature on the right. Primarily so that, for those rare occasions where our trailer reel is missing a trailer for one of the immediately upcoming films (e.g. next weekend), we stop the trailer reel right after the "Friday and Sunday" datestrip, and changeover to the slide projector, which is to the left of the left MP projector, and show a brief slide describing the upcoming feature.

Similarly, if we have 16mm elements (generally shorts), since our 16mm projector is to the right of the right MP projector, we might end up starting on the right to ease 35/16 changeovers, which are not automated in our booth.

--jhawk

Posted by Gordon McLeod (Member # 33) on 05-24-2003, 12:27 PM:

Once you have done the last changeover most people will turn off the outgoing machine so it will end up with fewer hours

Posted by Robert E. Allen (Member # 1351) on 05-24-2003, 12:28 PM:

When running changeover I always started with the left machine (as you face the screen) as the center panel had all the controls for both machines, lights and curtains and you could control both machines from that position.

Posted by Paul G. Thompson (Member # 655) on 05-24-2003, 12:31 PM:

In a Carbon Arc Manual house, I usually started on the left machine. On accasion, I started on the right. There is really no specific reason why I started on the left machine, other that is just seemed "natural" to me.

Posted by Fred Georges (Member # 505) on 05-24-2003, 01:03 PM:

I always started a show on # 1 (Left)After replacing our magnarcs with Xenon I left both lamps on during the show. When we finally ditched our Nitrate setup and went to 6000ft. reels the lamps were cycled. [Big Grin]

Posted by Tim Reed (Member # 137) on 05-24-2003, 01:27 PM:

Whichever provides easiest/quickest access to house and sound controls. Otherwise, I start on the left (#1).

In certain drive-ins, however, I would start on whichever machine put the intermission clock on the machine closest to the door, so curious passersby had a good view of the works in operation.

Posted by John Stewart (Member # 989) on 05-24-2003, 01:29 PM:

I start on the right hand machine since it is closest to the dimmer and curtain controls. If we are running a festival off the platter, which feeds only the #1 (left machine), I dim the lights, open the curtain and make a mad dash around #2 to start #1. No automation at all here.

John

Posted by Gerard S. Cohen (Member # 994) on 05-24-2003, 04:41 PM:

I always started on the left machine, and loaded the reels in the bins from left to right. That's the way we read, in languages using the Latin alphabet, so it seems natural. (If you took a poll, would most Israeli projectionists start on the right, since Hebrew reads from right to left?)

Since the theatres where I worked changeovers had two or three shifts daily, it was an advantage to have all operators start the same way, as it avoided mistakes when the operators changed over between shifts. I think it was standard practice in NYC
to start on the left for uniformity of operation, especially important when relief or emergency replacement projectionists would take over.

Posted by Tim Reed (Member # 137) on 05-24-2003, 04:54 PM:

Gerard, the L to R reading order is logical, indeed, that's the way it should be. Although, I'm sure many of us have seen the odd booth that is numbered "backwards". I heard somewhere one school of thought suggested the projector closest to the door should be called #1.

Maybe that's what they were thinking?

Posted by Steve Kraus (Member # 476) on 05-24-2003, 06:12 PM:

I always start on the right machine (#2) for a couple of reasons. First of all it's what I'm used to because the post production center I used to work at had the dimmer controls to the right in all three booths. So despite having dual controls at my screening room I still stick to this and I do so when I work in other booths, too, unless there is a benefit to starting on #1. I think sticking to a routine as much as possible lessens the chances of error if one briefly spaces out. I like to keep my inspected, ready to run reels (on house reels) in order for the same reason.

Secondly, at my place the right machine is a bit more centered and has virtually no keystoning so all the better for logo & opening credits and roughly 50% of closing credits (assuming equal odds on whether a film has an even or odd number of reels) to run on that machine.

Posted by Aaron Sisemore (Member # 145) on 05-24-2003, 06:50 PM:

When I ran changeover at the Sonomarin D/I, I started with the cartoon reel on the left machine, and just continued alternating machines thru the first feature, intermission clock, and second feature, etc. until the night was done. Where things ended up depended on the number of reels in each feature. I am not 100% sure how I ran 2000' changeovers in Cloverdale and Novato, but I believe it was starting the feature always on the left machine.

-Aaron

Posted by Darren Crimmins (Member # 1116) on 05-24-2003, 08:39 PM:

I also have never worked a change-over booth either, I but I was thinking about what Leo said about being able to see the left projector (or the reel) to know when the cue marks are coming while threading the right, but while threading the left, you are blind.
I am just curious (knowing really nothing about changeovers), would it make any sense to look at the length of the odd reels versus the even reels and put whichever has smaller lengths on the left projector, so you can always see the shorter reels from the right projector versus the left? So if the odd reels were generally shorter, than have the odds on the left so easier to see and less chance of missing the change. I might be coming out of left field about this, but I was just curious.

Posted by Brad Miller (Member # 2) on 05-24-2003, 08:45 PM:

Nah, it doesn't matter. You aren't really paying attention until you get to within an inch of the core anyway, so how much film was on the reel at one particular point in time is somewhat irrelevant.

That being said, the one thing I really dislike is not being the one to load up the film onto the supply reel. I've worked changeover houses that had different sized hubs for what appeared to be identical 6000' reels...so you had to prestrike the lamp and assume the position for what could be 3-4 minutes, glaring at the corner of the screen in case you happened to be feeding from one of those large hub reels. [Mad]

The nice thing about automated changeovers is that you never have to really worry about it. Even if you space out, when the other projector fires up and does the changeover, that'll zap you back to reality! Then you've got 10-20 minutes to get the next reel set (assuming shipping reels). [Smile]

Posted by Craig Hanham (Member # 1010) on 05-25-2003, 01:09 AM:

In the projection room I use most I start on the left machine (Proj. 1), due to the position of dimmer, curtain, rack controls.
I occaisonally start on proj. 2 but its a hassle as the projector cotrols are on the left of the machines, so a bit of reaching through the pedastal to reach motor start is required, with judicious threading to get a good start squence.
Comes down to ease of operation really.

Posted by Steve Guttag (Member # 268) on 05-25-2003, 01:13 AM:

I'm in the "balance the lamp life" club. I don't prefer to start on either machine. The only time I keep reels associated with a particular machine is if I'm trying to suss out a damage issue.

So the booth I just install has four projectors that are 35mm capable (two 35/16 and two 35/70)...now which order do you use? [Razz]

Steve

Posted by Edwin Graf Diemer (Member # 545) on 05-25-2003, 02:04 AM:

At the drive-in, I always started the feature on the right projector (#2) because it was nearer the panel-using 6000 foot reels usually meant only one change-over anyway. It did come in handy though, when a certain manager always insisted that I start the show before it was dark enough-I'd toss an extra trailer reel on #1 to gain an extra few minutes. Since it was a short reel, it was helpful to be able to look to the left and see it!

Posted by John Pytlak (Member # 331) on 05-27-2003, 09:06 AM:

I always tried to balance the use of both projectors, so would alternate which got the starting assignment. As Steve Guttag notes, when searching out a film damage problem related to the equipment, you may want to remain consistent until you solve the problem.

Posted by Jim Spohn (Member # 1547) on 05-27-2003, 10:00 AM:

The booth at the Granada has full controls at both operator stations but I start on the left...I think I do that because thats the way I was taught and no other reason. What creatures of habit we are!!....Jim

Posted by Phil Housh (Member # 1721) on 05-31-2003, 05:46 PM:

Always the left one (#1) for trailers and then #2 to start the feature [thumbsup]

Posted by Steve Beeghly (Member # 1649) on 09-26-2003, 05:55 PM:

I always started on the #1 projector, which was only on the left; #2 on the right. It was always like that and I believe it was because the controls for lights and changes overs were on a panel between the 2 projectors.