• I open the sound pinch roller. (Simplex 5-Star sound head.)
• I shut off the LED supply to the sound head. (Pull out the exciter lamp.)
• I defocus the picture.
• I rack the framing knob unexpectedly.
• I have a second "practice movie" that has SCOPE and FLAT film all mixed up or has bad splices in it. I switch in the F-ed up reel when nobody's looking.
• Sometimes I'll shut off an amplifier or hit a button on the sound rack.
• If I'm feeling particularly evil I'll walk over with a pair of scissors and cut the film. (Hey, it's not a "real" movie. Only junky trailers!)

I have to remember not to be too aggressive with new recruits when I do these things. It tends to scare people off if you're too hard on them. However, if you let people know that you're having "troubleshooting practice" and you make a game out of it, so to speak, people can actually start to have fun with it. You might even get your trainees to start perpetraging "evil" on each other!
 

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Posted by Paul G. Thompson (Member # 655) on 12-17-2003, 03:53 PM:
 
Chris and Randy, I did the same thing.

I assembled several one-hour runs of outdated previews which served as training aids. I would do much of the same thing you guys do. A few other things I would do is carry a scissors around and cut the film either on the pay-out or take-up side on several projection stations within 30 seconds or so of each other. Then I would hound the projectionist's butt like a manager would and get in their way because they are off the screen. I would also trip over the take-up path to knock the show off the screen, turn off pay-out head or take-up drive motors while the machine was running, etc. Anything goes as long as it will not damage the equipment.

I make it perfectly clear to the projectionist that I am going to do some very nasty things during the training sessions, and for them to be prepared to get things back in order. After the training sessions, the projectionists were ringing wet with sweat, and after they cooled off, we held an objective critique.

Almost 100% of the projectionists were eager for another scheduled obstacle course again. They actually looked forward to it. It was fun, and they learned. There was no bitching or whining from them.....they loved it!

After it was all done, we all went out for coffee and laughed at some of the things that transpired.
 

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Posted by Bryan Fournier (Member # 264) on 12-17-2003, 04:45 PM:
 
Those troubleshooting sessions are a very valuable part of training. Knowing how to run a projector "manually" vs. using the automation exclusively really separates you, as a projectionist, from the (thread-up and hit the start button people). Below is my short list.

film break
xenon lamp does not light
no power to some amps
tripped breakers
no sound/distorted sound
platter malfunctions

One should know how to fix these problems and many, many more both quickly and efficiently.
 

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Posted by Chris Hipp (Member # 1788) on 12-17-2003, 04:53 PM:
 
We have CNA-200's and on one of the termination boards there is a fuse that when it burns out, you can hit start and it will run for a couple seconds and then stops.

That one always freaks people out, just take that fuse out and they'll never figure it out.
 

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Posted by Brad Miller (Member # 2) on 12-17-2003, 05:05 PM:
 
Setting traps, eh? Hmmmmm, let me think about this.

• Place a piece of cardboard sandwiched in between the prime and anamorphic lens
• Replace the projector oil with Elmer's glue
• Smear oil onto the shutter blades
• Disconnect a leg of the 3 phase
• Snip off a few pigtails on the diode connections
• Jam a paper clip in between two gears in the projector
• Blast the xenon on a Century shutter until you get a hole in it.
• Spray WD40 on the xenon bulb
• Remove the light filter on AW3 platters
• Reverse the connections on the failsafe (microswitch type) so the arms must be down to operate
• Flip the flat and scope lenses in each other's mount on an auto turret
• Set the sound processor to "remote fader" and place a jumper instead of a potentiometer on the remote fader connections
• Disconnect every safety switch on every door and blower inside the lamphouse
• Split the spark gap in the ignitor

Oh wait, you meant setting traps for training purposes!
 

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Posted by Jack Ondracek (Member # 1466) on 12-17-2003, 05:43 PM:
 
Geez, Brad... you are viscous (yah, I know!)

I was wondering though... if your curriculum was intended for typical operators (as opposed to the real projectionists of the '60s)... or maybe you got your paperwork mixed up with the "anti-booth terrorist" training seminar that we all need in today's modern theatres!
 

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Posted by Greg Pauley (Member # 503) on 12-17-2003, 05:45 PM:
 
I think Brad's new evil picture is no joke!
 

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Posted by Bryan Fournier (Member # 264) on 12-17-2003, 07:33 PM:
 
You might also want to consider a written quiz bfore training completes and the person is scheduled to work on their own. This quiz of say 50 multiple choice questions can ensure the trainee is grounded in the foundations of our craft (ie sound formats, aspect ratios, etc.)

I'll provide you with the first question:

Q. At what speed does 35mm film run through a projector?

A. 16 frames per second.
B. 20 frames per second.
C. 24 framed per second.
D. 28 frames per second.

The answer is of course D. 24 frames per second.

I know this question is quite easy for anyone with any experience in the field, but you would be surprised how many people are working in a booth who do not know the answer.

Can anyone come up with any other questions?
 

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Posted by John Westlund (Member # 913) on 12-17-2003, 07:39 PM:
 
Actually that answer is of course C. 24FPS

Sorry I had to.
 

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Posted by Bryan Fournier (Member # 264) on 12-17-2003, 07:42 PM:
 
Sorry for the typo!
 

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Posted by Scott Norwood (Member # 30) on 12-17-2003, 07:57 PM:
 
Ah, but what about silent films and the need for variable frame rates? I hate tests like this where one spends more time trying to figure out what answer was intended by the test-maker than trying to figure out the actual correct answer.

Other possiblities that come to mind without thinking too hard:

- preamp card in processor with input trimpots set to zero
- blown fuse in amp, exciter supply, or processor
- broken drive belt on Simplex 5-star (or Cinemeccanica or similar)
- aperture plates or lenses mixed among projectors
- masking stops set wrong
- film with Dolby A-type soundtrack (shows them what to do if a film obviously has a stereo track but sounds bad in SR)
- focus ring set wrong on scope lens
- broken takeup belt (if reel-to-reel)
- platter left in makeup mode (if platter)
- rollers out of alignment
- sound lens out of focus (results in lack of high frequencies)
- defective motor card (if AW-3 platter)
- melted changeover blade gets stuck
- fire shutter misadjusted
- shutter loose on shaft
- gate tension horribly misadjusted
- automation left in interlock mode
- fire alarm pulled mid-show (usually kills automation in newer multiplexes)
- automation set to "intermission" mode (rather than "timer" mode, e.g. on Maxi-10)
- defective relays in automation box
- wrong size carbons (in carbon house)
- automation disabled--need to run show manually (only in automated houses, of course)
- cable comes disattached from DTS, SRD, or SDDS reader
- projector/soundhead low on oil (do they check? don't let them start show until they do!)
- lens cap on (really!)
- takeup tension misadjusted (if reel to reel)
- wrong prints in wrong houses (or reels mixed up in cabinet)
- etc.

This sounds like it would be fun!
 

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Posted by Darren Crimmins (Member # 1116) on 12-17-2003, 08:07 PM:
 
The best traps are for those who try to run the booth and are not qualified to do so.
 

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Posted by Joe Redifer (Member # 3) on 12-17-2003, 09:40 PM:
 
If a newbie can't figure out and fix Brad's traps, then they do not deserve to work in the booth. They are no better than movie pirates. And movie pirates are worse than murderers.
 

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Posted by Kyle Watkins (Member # 986) on 12-17-2003, 09:45 PM:
 
On flat movies put 2 scope lenses in the turret.
 

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Posted by Chris Byrne (Member # 1563) on 12-18-2003, 04:26 AM:
 
Thanks for the ideas! Evil has no boundaries.
 

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Posted by Evans A Criswell (Member # 381) on 12-18-2003, 09:56 AM:
 
Evil knows no boundaries:

1. Take all the aperture plates out of all the projectors and randomly permute them when putting them back. There are n factorial ways to do this. If you have 18 screens, that's only 6402373705728000 permutations to try.

2. Obtain two damaged, cracked or broken lenses and put them in the turret in place of the normal ones, which you hide well.

3. Put a dark piece of construction paper over the port glass on the auditorium side. Do a neat job to make it as unnoticeable as possible.

4. Put a speaker and small amp and MP3 player device somewhere inside the equipment that makes loud "equipment tearing up" sound effects at various times.

5. Sneak up behing him with an air horn while he's threading.

6. Swap all the auditorium number labels on all the projectors.

7. Fix the scope lens so it stretches the wrong way (orthogonal to the way it should, or something).
 

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Posted by Steve Kraus (Member # 476) on 12-18-2003, 11:17 AM:
 
Not a trap but a great practical joke: During the Cinemiracle* presentation of Windjammer at Chicago's Civic Opera House they told a new guy to poke his head out of the port to check sound and just as a wave crashed over the ship in the film an accomplice in the balcony splashed a cup of water into the fellow's face.

* Cinemiracle was a knock-off of Cinerama, also using 3 x 35mm 6-perf films, curved screen, and 35mm full coat mag for sound.
 

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Posted by Gracia L. Babbidge (Member # 582) on 12-18-2003, 11:33 AM:
 
A few more things to check attentiveness:

-run the previous show so that the film winds up 'upside-down' on the platter
-hide the dts discs
-unplug the platter system
-close the manual douser
 

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Posted by Aaron Sisemore (Member # 145) on 12-18-2003, 12:15 PM:
 
Some more for the EVIL side:

-Mistime the shutter 90 degrees

-Switch around all the inputs for the amplifiers (if they are connected by XLR or 1/4" connectors)

-Reverse the open and close windings on the electric dowser

-AS
 

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Posted by Michael Schaffer (Member # 1204) on 12-18-2003, 12:34 PM:
 
Here`s another good one: rotate the scope lens so that the picture becomes a parallelogram. If they find out what the problem is, it means they paid attention to how the format works.
 

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Posted by Gordon Bachlund (Member # 124) on 12-18-2003, 02:09 PM:
 
It’s been great fun following these suggested “traps.”

For a taste of reality, the Los Angeles City projectionist license test in the 1950s was in two parts, written and practical. If the examinee survived the written test, which included calculating lens focal lengths for various throws and screen sizes and electrical exercises based on Ohm’s Law, he was ushered into a real booth in City Hall and asked to thread up and run a short film while the examiner set as few “traps” of his own that began with feeding the carbon arc lamphouse with AC. If the examinee identified the problem, the examiner could then feed the lamphouse with dc with reversed polarity. If the examinee identified that problem, he was then expected to thread the ancient projector and equally elderly soundhead and then deal with no take-up reel belt (one was provided if asked for), the wrong focal length lens (the correct one was provided if asked for), and deal with other surprises including blown renewable-link fuses. It was rare for an examinee to pass on the first try, but the license was “earned” in every respect.

The Los Angeles County projectionist license test did not employ a booth, but examinees were required to make cement splices that could endure a pull-apart test and an examination for workmanship. “Workmanship?” Does that term even apply any more?
 

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Posted by Randy Stankey (Member # 64) on 12-18-2003, 02:14 PM:
 
Might I suggest that with all the evil ideas being put forth that we classify them as "Beginner", "Intermediate" or "Advanced"?

A new "guy" in the booth should know how to check for the basic problems like bad splices/reframing, focus or lack of sound but I'd never expect him to open up a SCOPE lens pair and check for foriegn objects. (Simulated lens damage?)

A guy who has been around for a while should know how to change fuses or activate the emergency bypass mode on a power supply but I wouldn't expect that person to know how to check/adjust Dolby tone levels or realign an A-Chain.

Which gives me an idea for an "Intermediate" level trick: Put a piece of clear Scotch tape over the slit lens or otherwise "schmutz" it. An inexperienced person should know that there is a problem with the sound but wouldn't necessarily know how to fix it. Somebody with experience should know to check the sound slit lens for cleanliness/foriegn objects.
 

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Posted by Peter Hall (Member # 695) on 12-18-2003, 02:32 PM:
 
Evil alright - WD40 in the frigging xenon - wish we sold your site lamps !

I look after a site where a new operator felt he should be promoted, however the company took on an older guy with really solid experience. The young guy was pissed off to say the least, and slagged the older guy off no end. Then "things" started happening on the older guy's shifts - strangely on the first show of the day ALL screens would have a film break, only on the first show... The older guy would lace up and run all shows himself fine, but whenever the younger guy was on the night before shit would happen. Usually a film break in the middle of a reel in the middle of a featyure, and once timed so that all three screens broke at once. I rememver once the current on a rectifier was turned way up (110A for a 1k6) and the lamp and mirror blew - other times there would be "mysterious" sound faults, and the older guy would ring the younger guy to ask if he had any problems.. The younger guy would offer to come in and help, and within seconds of "fiddling" in the back of the rack the younger guy would have "saved the day" and became everyones hero. Finally the older guy had too much and resigned. The younger guy took over as "chief" and his first rule was not to clean the platter discs - apparently the film slides off ! (Thankfully the younger guy then decided he was an engineer and left the company, proclaiming that he could set up a CPxx by ear better than anyone with calibrated test gear could)..

Maybe he's rignt - an fed up with humping a scope, analyser, laptop and set of loops and cards acvourn
 

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Posted by Tim Reed (Member # 137) on 12-18-2003, 05:43 PM:
 

quote:

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Q. At what speed does 35mm film run through a projector?
that answer is of course C. 24FPS

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quote:

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plug the platter into the slide projector outlet.

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I once had a new install where the #&!%$#&^ electrician wired one of the outlets (the one for #1's platter) to the DIMMER!!! It was a troubleshooting nightmare!

-Aaron
 

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Posted by Joe Schmidt (Member # 822) on 12-19-2003, 02:21 PM:
 
Murderers?

No, Joe, you've got that wrong. Lawyers are worse than murderers.
 

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Posted by Chris Byrne (Member # 1563) on 12-20-2003, 12:37 AM:
 
Thanks for the contributions!

My final list:

brain in wrong film.
incorrect pinning to matrix.
fader set to zero.
isolate projector.
remove canon motor plug on platter.
aperture upside down.
remove fuses from CP55 processor.
disconnect one end of auto-douser bar.
isolate timer to matrix.
interlock projectors.
disconnect reader plug on DA20.
back tension right off on lay-on roller.
remove lateral guide rollers.
turret wound to the extreme one way.
take up carriage not engaging rail microswitch.
Turn gain on AMPS to 0.
take belts off projector motor.
jammed slide in carousel.
block airflow in exhaust ducting.
cowling scraping on projector roller.
pot speed in brain set to zero.
all slide relays removed from slide box.
focus ring and anamorphic out of whack.
pull output lead from centre channel amp.
sensor backed right off so as not to pick up foiling.
 

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Posted by Peter Hall (Member # 695) on 12-20-2003, 04:46 AM:
 
Or crosswire the masking of screen X to screen Y. Whilst you are desperately working out how to get the masking to open in screen X, the phone keeps going from a manager with audience complaints from screen Y. So you go to screen Y, adjust the maskling and nothing happens. Now you've got two houses of upset customers..
 

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Posted by Brad Miller (Member # 2) on 12-20-2003, 02:08 PM:
 

quote:

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disconnect reader plug on DA20

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BE CAREFUL!!! The DA20 was not designed to be plugged/unplugged when the unit is powered on. You could do some serious damage there. So long as your readers were properly installed in the first place, it would be pretty much impossible for the cable at the reader to become unplugged and the DB25 connector on the DA20 should've been screwed in anyway, so that's not something that a trainee should ever have to deal with. I would recommend you leave this out, as you do want to train and not destroy. In fact, I would make it a point when explaining how xenon lamps can explode how the digital can be destroyed if you "hot plug" the reader cable should for some bizarre reason it ever become unplugged.
 

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Posted by Jack Ondracek (Member # 1466) on 12-20-2003, 02:46 PM:
 
OK... turn off the power first...
then take off the whole reader! Wouldn't surprise me any to see someone thread through a film cleaner & call it good! (you mean Filmguard won't substitute for a reader? Phooey... send it back!).

While we're all showing the extent of our true colors... I don't suppose any of you would consider swapping drive pulleys on your Century soundheads???

I got one of those last Summer... mismatched motor... darned thing made everyone sound like Donald Duck.
 

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Posted by Aaron Sisemore (Member # 145) on 12-20-2003, 03:01 PM:
 

quote:

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pull output lead from centre channel amp.

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Hopefully you meant INPUT lead?

On some amps, disconnecting the load (output leads) will fry the amp.

-Aaron
 

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Posted by Bruk Mogos (Member # 2043) on 12-20-2003, 04:03 PM:
 
My advise is before you do any of the traps, show them how to fix the things you are going to mess with and after couple of days or weeks set the traps and see if the remember what you have thought them, this can save you a lot of time and money, since the can mess up a lot of stuff trying to fix one simple trap that you decided to test them on.

Be my guest if you have any better ideas.Oh one more thing make sure they don't embarrass you with your own trick, because one time one of this rookie booth managers tried the same trap on me but I ended up knowing little more than him and he was really pissed, the good thing is he doesn't work with us any more.
 

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Posted by Chris Byrne (Member # 1563) on 12-20-2003, 04:55 PM:
 
Thanks Guys,

Will let you know how they perform.
 

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Posted by Gordon McLeod (Member # 33) on 12-20-2003, 06:05 PM:
 
In many house if one wants the optimum noise floor on the soundsystem the gains are set on the amps and as such playing with them is a no no
 

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Posted by System Notices (Member # 2357) on 01-13-2005, 08:39 PM:
 

It has been 390 days since the last post.

 

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Posted by Jason Evenden (Member # 2951) on 01-13-2005, 08:39 PM:
 
With one of my projectionists, i decided to move all the leaders into different cans...and he never checked it, made him re-do the 7 reels correctly. From that day to this, he double checks EVERY SINGLE reel....
 

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Posted by Dick Twentyman (Member # 2746) on 01-14-2005, 10:03 PM:
 
Here's a trap for you artistically talented projectionists, but probably won't be of any use because carbon arcs are just about non-existent. Cut some lengths of wooden dowel (8mm), paint them with copper coloured paint, taper the ends, paint them black then store them with new carbons. It takes an age to strike the arc - like forever!!!
 

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Posted by Brad Miller (Member # 2) on 01-14-2005, 10:26 PM:
 
That's hilarious Dick! I guess I'm going to have to try and get ahold of some of those display xenons from ShoWest for, ummmmm...."future use".
 

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Posted by Thomas King (Member # 2745) on 01-14-2005, 10:44 PM:
 
We have what we affectionately refer to as the "f-up reel" , which is the last reel of Beverly Hills Cop, with a few things done to it which makes it interesting. It's designed mainly to simulate things that could go wrong with the show because of a bad film on the deck. They take a bit of time and ingenuity to make, but are worth it, I think. I certainly learned a lot from it.

- Cut from wide to scope.
- Simple flip (ahh! Why is the soundtrack down there?)
- Tail out section (yes, it's happened)
- Film break
- Tension cutout (payout jam)
- Perforation and edge damage
- Perforation and edge missingness.
- A shedload of horrible racking errors.
- Soundtrack dropouts (correction fluid madness)

That's all I can remember from it. My trainer didn't let me take anything for granted, when I was on my knees with a splicing block, he'd lock up the manual douser, fiddle with the racking and focus, swap the lens, switch it to manual, anything to catch me out if I just pressed play without checking everything. Horrible man
 

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Posted by Scott Norwood (Member # 30) on 01-15-2005, 07:14 AM:
 
Brad--would those bulbs be model "XBO-0000 W/H"?
 

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Posted by Mark Andrews (Member # 2926) on 01-16-2005, 08:05 PM:
 
I have made a reel that has just bad splices so new projectionsists would have to find out the best way to solve the problems however I also want to teach them how to fix a tail/brain wrap. However how do you get a good wrap without damaging the equipment? Everytime I've seen a brain wrap in our theater it has damaged equipment, mainly putting so much preasure on the brain that it breaks something like one of the rollers. This has never been done to me since I became a projectionist because "they didn't have time" and now I'm the senior projectionist...

We use AW3 platters
 

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