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Posted by Jack Ondracek (Member # 1466) on 01-06-2004, 11:26 PM:
 
We're replacing our old 2-level Atmos mechanical dimmers with new 3-position solid-state ones. Is there a favored cue position for lights down (after trailers/policy strips)?

At the end of the show, do you use the shutdown cue to trigger "full-up", or a separately placed cue?

We're running TA-10 automations with FM-35 detectors.
 

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Posted by Aaron Sisemore (Member # 145) on 01-07-2004, 12:16 AM:
 
You may have to possibly 'reprogram' the TA-10 (using diodes and jumpers per the manual) to add the extra steps into its operating sequence to handle the extra dimming cues.

If you already have enough steps already built into it you are probably OK then. (most factory 'stock' TA-10s have several built in to handle most any situation)

With half-light dimmers I place the full-up command on the dowser close cue point.

-Aaron
 

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Posted by Manny Knowles (Member # 1171) on 01-07-2004, 03:04 AM:
 
Are you asking about where to place the actual foil cue? Or where in the sequence would be a good place to program the event?

I'm using a different automation which doesn't rely on placing the foil tape in different places. All our cues use the centre detector. Brad hates this but it's a preference thing. I don't like using the edges.

FWIW we decided to program the "lights down" cue as we transition out of ads and into previews. The physical cue is at the end of the policy trailer.

PAID ADS
POLICY (with lights cue)
TRAILERS

We raise the lights to 1/2 as the credits roll and then a timed cue raises them to full brightness 60sec later. In almost every instance, there are no customers reading credits and, even so, they can do this with the lights on.

Ushers usually sieze the opportunity to clean the theatre if no customers are reading credits (or enjoying theme music).

When the dowser closes at the end of the credits, the house returns to 1/2 light level. I prefer this to having the audience sit in a brightly lit room as they wait for showtime. It's a mood thing, I guess.
 

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Posted by Carl Martin (Member # 1146) on 01-07-2004, 05:43 AM:
 
why have them on full for most of the credits if they evidently are not needed for people to find their way? i'm a credit watcher, and if i get to a movie early i like to read or do a crossword. your lighting scheme is reversed.

when you put a center cue, which side of the film do you put it on? with an edge cue, you can usually remove it without harm to the emulsion, but center cues can be impossible to take off without scratching (did it just last week--the print came in with, count 'em, 7 cues on just the credits and tail).

jack, we put our lights-out cue at the very start of the feature, 1/2 up at the start of the credits (or maybe later if there are outtakes or other visual content), and the end of show cue (or possibly the dowser close some seconds later) triggers full up.

carl
 

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Posted by Stephen Wilkinson (Member # 1463) on 01-07-2004, 06:56 AM:
 
Like Manny and most of Australian cinemas we place our foil in the center of the film. We're using the FM 35's and Panalogic CA2000 automation. (so numerous things can happen at once with one foil cue)

I wasn't keen on using center cues for the above reason plus you see it on a scope film (black flash or 2 quick ones depending on where you place it.) But considering most cinemas use at least a center cue for lights up at start of credits, and most leave the foil on, I decided to conform!

We run our lights this way:
SLIDES - 1/2 light
FILM ADS - 1/2 light
Trailers - 1/4 light (people still come in during trailers)
SRD Tags - Fade out (At Head of Tag)

Beg Credits - 1/4 for 45secs then to 1/2 light till closer.
(on closer screen lights come up to full before last black)

We find 45secs is "usually" till the end of the cast credits.
If there are bloopers we keep lights at 1/4 level.

I remember going to see a movie in a suburb of LA late 1999 while on vacation.
When the credits came on, No lights, then when the cast had finished the lights came on.
They went from nothing to FULL in 2 seconds. You should of heard the mass of groans.

Jack I hope this is of some help.

Stephen
PS I've known some cinemas to program the automation to turn the sound down to 1/2 when the credits come on. Not Good!
 

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Posted by Jack Ondracek (Member # 1466) on 01-07-2004, 08:55 AM:
 
Thanks, guys.
I was actually fishing for most of the above.
It's a shame that physical cue placement seems to be so non-standardized, though I guess nobody would generally use the last guy's foils.

The practice of going "full-up" somewhere during the credits is interesting, but we'd probably get complaints from the credit watchers here, too. For that matter though, I guess I'd have to ask what "full-up" is. Our auditoriums were lamped at wattages high enough to be used for janitorial purposes, but too high for normal operating, so our "high" position is actually some level below 100%.

I don't see too many other theatre's "back rooms" these days, but like us, I guess most of you have some kind of "bypass" "janitorial" or "panic" switch to allow your lights to be brought to 100% from downstairs.
 

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Posted by Manny Knowles (Member # 1171) on 01-07-2004, 10:16 AM:
 

quote:

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why have them on full for most of the credits if they evidently are not needed for people to find their way? i'm a credit watcher, and if i get to a movie early i like to read or do a crossword. your lighting scheme is reversed.

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We don't allow crossword puzzles or outside food.

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you just lost my business. plus you're really really far away!

i forgot to mention my other beef with center only cues. you can't feel them during inspection. if you know where you put them you can find them, but if the last people didn't remove them you might not find out until it's on the screen and a big pain to deal with.

carl
 

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Posted by Stephen Wilkinson (Member # 1463) on 01-09-2004, 05:19 AM:
 
The "Full" isn't really full for House Lights (beg and end of show), there is a "Real Full" 100% preset, that's not wired to automation, which we call "Clean", staff select that for cleaning between sessions. There is a hidden control for lights in the auditorium.

We also have Janitor "Work Lights", which are a number of 150Watt Halogen flood lights, they help to find all that lost loose change.

Center cues are always placed on frame lines, so they are never seen in Flat films. The only time you see a tiny black flash is at the beginning of credits on a Scope film and then most of the time the picture is black, same with the tail (close down foil).

Outboard foils are sometimes used aswell for lens changes, at beg and end of feature, at one chain.

Unfortunately when 90% of theatres do it, (and don't remove foils) it's safer to do it the same, it becomes a "suedo" standard.
 

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