Film-Tech Forum ARCHIVE: Information for a new projectionist, anyone?

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Posted by David Yauch (Member # 2754) on 10-25-2004, 04:29 AM:

I had an interview Saturday which went very well, and pending a background check I'm going to be starting in the booth probably next week. We're a busy 25 screen theatre, so projection training usually covers mainly threading prints, moving prints, and cleaning projectors. I would like, however, to eventually replace one of the members of our film building team which recently quit. Obviously I'll need to demonstrate some knowledge of what I'm doing beyond what everyone and their wet dog in the building already knows. So I was wondering if anyone here knows of some good sources of information for a new projectionist. Web sites, books, anything at all would be appreciated. I figured this would be the forum to ask in, since you all seem pretty well educated and you must've learned it somewhere [eyes]

Posted by Ian Joseph Parfrey (Member # 2682) on 10-25-2004, 07:17 AM:

Hi David.
Welcome to the fray!
Two good books to start with are the
"SMPTE Motion Picture Projection and Theatre Presentation Manual" It's a bit long in the tooth now but still a good read. Then there's the British equivalent, the
"BKSTS Motion Picture Presentation Manual"
This is a bit more up to date than the SMPTE one.
"The Complete Projectionist" 1944 by R. Howard Cricks F.R.P.S has good historical stuff.
"Basic Motion Picture Technology" by Bernard Happe is a good all rounder in regards to film technology.
Any projection equipment manual you can find will help you out if the bookshelf's bare.

Posted by Steve Kraus (Member # 476) on 10-25-2004, 07:19 AM:

Unfortunately the training offered in this industry is rather lacking. Some chains do offer a bit of formal training--I know of at least one small chain that has a complete projection setup for training purposes in their offices--but usually it's simply done on the job so one person can show the next how to make the same mistakes.

I would suggest reading the Tips section here on F-T and also start flipping page by page through the Film Handler's Forum and read the threads that pertain to your areas of interest. That would be a good place to start.

Posted by Leo Enticknap (Member # 534) on 10-25-2004, 08:10 AM:

Happé is long out of print, sadly. The last edition was published in 1978, meaning that all the technology which has appeared in your projection box during the last two and a half decades (e.g. polyester film and digital sound) won't be covered. But I do agree that it's an excellent reference book to have on the shelf. There are some second-hand copies floating around on Amazon at the moment, though they're not particularly good value, IMHO.

I think that a revised version could do quite well - though if Happé is to do the revising, it would have to be via a seance!

Posted by John Pytlak (Member # 331) on 10-25-2004, 12:48 PM:

Kodak has lots of good tutorial information about film technology on its website:

http://www.kodak.com/US/en/motion/support/index.jhtml

quote:
Support
Interactive Tools

People & Planet

KODAK IMAGECARE Program

Education & Training

Technical Information

Laboratories Directory

Transfer Facilities Directory

http://www.kodak.com/US/en/motion/newsletters/index.jhtml

quote:
Publications
In Camera

In Camera On Campus

On Filmmaking

On Film Interviews

Projection Pointers

Technical Information Bulletins

H-24 Processing Manual

Kodak News—Product Change Notices U.S. Only

http://www.kodak.com/US/en/motion/newsletters/pytlak/?id=0.1.4.11&lc=en

quote:

Caring About Composition: Movie Audiences Deserve To See the Entire Film ( 41 KB)
Conquering Contrast Killers ( 38 KB)
Don't be in the Dark about Measuring Screen Luminance ( 34 KB)
Electronic Cinema What Did YOU See? ( 37 KB)
Heat Damage To Prints: Part 1 ( 35 KB)
Heat Damage To Prints: Part 2 ( 35 KB)
Help for Projector Dusting ( 33 KB)
Help for Static Cling ( 33 KB)
In the Splendor of 70mm: Part 1 ( 33 KB)
In the Splendor of 70mm: Part 2 ( 41 KB)
Let There Be Light ( 35 KB)
Platter Patter ( 38 KB)
Potential Sources of Problems in Your Projection Booth ( 34 KB)
Scope and Flat Apertures ( 67 KB)
The Seven Deadly Sins of Projection ( 37 KB)
Shedding Light on Screen Luminance Meters ( 38 KB)
SMPTE - Setting the Standards ( 37 KB)

http://www.kodak.com/country/US/en/motion/support/h1/index.shtml

quote:
Preface
Introduction
Selecting Your Films
Getting The Most From Your Films
Dealing With A Laboratory
Appendix
Glossary
Index's

http://www.kodak.com/US/en/motion/support/h2/

quote:
Introduction

Camera Films

Filter Information

Tips & Techniques

Formats & Packaging

http://www.kodak.com/US/en/motion/students/handbook/index.jhtml?id=0.1.4.9.6&lc=en

quote:
The Kodak Worldwide Student Program gratefully acknowledges the contributions of Ryerson Polytechnic University's Digital Media Projects Office in association with The Kodak Worldwide Student Program for the publication of The Student Filmmaker's Handbook.

Introduction
Which Film Should I Use?
Anatomy of a Data Sheet
Sensitometric and Image-Structure Data
Physical Characteristics
Storage of Raw and Exposed Film
How do I know I'm ordering the right film?
Cores and Spools
Winding
Perforations
Film Identification
Filtration
Motion Picture Sound Recording
Projection
Dealing with a Motion Picture Laboratory
Laboratory Operations
Marketing a Film
Distribution and Promotion
Glossary of Motion Picture Terms

Posted by David Yauch (Member # 2754) on 10-27-2004, 01:19 AM:

Thank you guys very very much.

I am starting this saturday up in the booth, I'll be getting training from a former GM and long-time projectionist on saturday, then the training is taken over on monday and wednesday by a couple of projectionists with a modest amount of experience. Should be a great deal of fun, we've had a lot of problems with print scratches and poorly cleaned projectors so hopefully i'll be able to succeed where some of my predecessors have not done quite as well. Which isn't to say we dont have good projectionists too, but they are becoming a rarity indeed.

Posted by Wolff King Morrow (Member # 2226) on 10-27-2004, 04:51 AM:

Hello David!

Three things that really helped me out when I had nobody to train from:

1. Get a complete set of manuals for all the projection equipment your booth uses. These can really be a life-saver if studied on your spare time and regularly consulted when you spot something you don't understand, not to mentioned needed for part-ordering.

2. Ask the experts around here when mysterious problems come up. Chances are one or two others here will have dealt with the problem before or can direct you on troubleshooting.

3. Soak up knowledge like a sponge from whomever is the most experienced in your booth. Ask them questions about scenarios you know you couldn't handle if they came up (and make sure they are correct by comparing suggestions on film-tech). That to me is always the sign of a good projectionist in training is when they anticipate problems by asking questions on procedures for dealing with them.

Posted by Dominic Espinosa (Member # 2122) on 10-27-2004, 01:00 PM:

I've caught myself giving the two pearls of wisdom...
"If it looks like a bad idea, it probably is."
Projection is just like any other technical job. It takes common sence most of the time. Think with a logical, clear head, and you'll be just fine.
And remember showmanship! Some of your counterparts will argue with you about it and give you crap for it, but attention to every detail and carring about what kind of show you put on is really the essence of a good projectionist.

And clean clean clean! Learn how to clean and maintain your equipment and you'll have fewer emergencies and, if you're all good at threading, now scratched prints.

Posted by Joshua Waaland (Member # 287) on 10-27-2004, 01:55 PM:

David,

I will give you the same advice I got when I looked here for the same thing. Visit film-tech often and learn as much as you can from these guys. Like some of the other guys said, unfortunately there isn't a lot of up to date literature on projection so read manuals. I learned a lot from manuals. If you are even somewhat mechanical you should be able to understand them.

I agree with Dominic. Showmanship, shomanship, showmanship. I can't think of anything that bothers me more than when I got to a cinema and I can see the soundtrack being projected on the wall, a dirty film print, out of frame/focus, bad sound.

When I worked as a projectionist I would go in every night thinking I wanted to be the best projectionist around. If you shoot for that you will always have something to achieve. It should keep you from getting complacant about your job and doing poorly.

A true sign of a good projectionist is when people can't even tell when you are there. They should be able to watch a movie and not even think about the fact that there is someone up there running the film (e.g. This means pictures coming up in frame and focus when the picture hits the screen)

Good luck and I am sure you will do fine.

Josh

Posted by David Buckley (Member # 2600) on 10-27-2004, 02:08 PM:

quote: Steve Kraus
... but usually it's simply done on the job so one person can show the next how to make the same mistakes

Thats exactly how I started out.

Film-tech is just wonderful, I have learned so much from here.

Tiny example - I annoy my mentor by refusing to put masking tape on the tails, which is what he's always done, and his mentor before him, and the chap before him etc etc etc... Someone on here wrote something like projectors were made to show film, not masking tape, and that seemed like excellent advice.

Its all the little things that keep adding up.

Posted by Scott Norwood (Member # 30) on 10-27-2004, 03:35 PM:

I've said this before, but I've learned so much just by working in a wide variety of booths with many different people (most of them very talented, some of them idiots) and a wide variety of equipment. I don't know what kinds of venues show film in your area, but I'd strongly suggest finding them (check colleges, live theatres that may occasionally run film, smaller/older theatres, etc.) and getting your contact information to them (preferably by knowing their regular operators). Eventually, these hole-in-the-wall venues will have trouble finding someone to run a show and they will call you. These sorts of jobs don't usually pay much considering the time involved, but they're usually fun and/or interesting and they give you a chance to work with all picture and sound formats as well as 16mm and video. Plus, you'll meet some interesting people and hopefully learn something from them.

There's much more to the job than running lab-new 35mm prints on the "Strong package" or the "Christie package" at a newly built first-run gigaplex.

Posted by John Pytlak (Member # 331) on 10-27-2004, 04:06 PM:

quote: Joshua Waaland
A true sign of a good projectionist is when people can't even tell when you are there. They should be able to watch a movie and not even think about the fact that there is someone up there running the film (e.g. This means pictures coming up in frame and focus when the picture hits the screen)

A good projectionist is the "Unseen Showman". [thumbsup]

Posted by Wayne Keyser (Member # 2420) on 10-27-2004, 11:08 PM:

Forget all the books - just read every post in the main threads on this board (especially those concerning disasters and "film done right") and you'll have quite an education.

Posted by David Yauch (Member # 2754) on 10-27-2004, 11:57 PM:

Again thanks for all the help guys. I've been reading and reading non-stop the last few days. I had the opportunity last thursday night(early early morning) to help clean up the projectors so I got to learn how to take a few things apart and what a few things were. I also managed to get another training shift on tuesday night from a manager who has spent a ton of time in projection.

You can also look forward to some questions coming from my corner soon. It appears there are some scratches that supposedly no one(including our engineering crew hired by our corporate office) can determine the cause of. Hopefully film-tech will be able to shed some light on them.

Not sure what else to say, I'm pretty excited to get started and learn something new. It'll be interesting to see what things I can do with the support of film-tech. It appears there is a lot of knowledge here which I plan on taking advantage of. Most of the threads in this forum don't make a great deal of sense to me, which I suppose will change as soon as I've had a chance to work up in the booth, so you can definately look forward to a lot of questions that'll probably annoy you.

Oh and John, thanks for the links, and for writing the articles. I thought I had seen that mug somewhere...

Posted by Daryl C. W. O'Shea (Member # 1303) on 10-28-2004, 12:27 AM:

quote: Joshua Waaland
A true sign of a good projectionist is when people can't even tell when you are there.

Now I know why I used to get paged or called on my cell all the time, wondering why I wasn't at work, even though I'd been in the booth for 8 or more hours already.

Posted by Anslem Rayburn (Member # 1267) on 11-10-2004, 06:09 AM:

I learned via a full time projectionist, and that got me started. I have learned much from these forums (thank you all). I now thread without the film touching the ground, and run Film Guard on every show I can (1 cleaner on 8 screens).

I have been training in a new kid (he's 18, but is very mature and actually listens to what I tell him). I even printed the manuals "Threading 101" and "Building 101" (I won't let him build yet, I think he needs more time threading first, but I think the tips there will help him understand the importance of proper film handling).

I guess I'm wondering how long you train people for threading and running film. He has been training for 3 weeks, and I'm very confident he understands how to run film properly. For the last two weeks, he has threaded every show (two days per week). I checked him while threading and prior to start, and he is doing a perfect job.

I plan to take old previews and reels that Technicolor doesn't want (they haven't picked it up in two years) and making test runs of brain wraps and other problems (during down time), teaching him how to deal with issues that might arise in the booth. Is it too early to do this, or do you think that it is okay to move on to this step?

I plan on working the same shifts as him for the next 2 weeks (just being in the building, taking care of other things that need my attention outside of the booth, but being there just in case), but do you consider that enough time?

I am no master film handler, I think I still have plenty to learn. But I do a good job, and am comfortable with this guy running loose in my booth. Am I crazy, or should I trust him (even if I watch closely to make sure the good practices I have tried to instill stick)?

Posted by John A. Parker Jr. (Member # 1719) on 11-10-2004, 07:20 AM:

Go to the manuals section of this web site and read the kodak

film notes. While some of it is old tech, a lot of it is good

info! [thumbsup]

John A. Parker Jr.

Posted by John Pytlak (Member # 331) on 11-11-2004, 11:29 AM:

Thanks. [Smile]

Paul Preo, who was the original editor of Kodak's "Film Notes for Reel People", retired from Kodak many years ago. (He can be seen as the puzzled projectionist in the first issue about platters (July 1980), H-50-11. I worked with Paul on issues since 1980. I also wrote many articles for the publication, especially since the Spring 1994 issue, H-50-33. [Cool]

Posted by Mark J. Marshall (Member # 1409) on 11-11-2004, 12:40 PM:

The best piece of advice I can give outside of what's been said here already is: LEARN HOW TO RUN A MANUAL SHOW! You never know when you might have to do that one day, and it will help you figure out where all the switches and buttons are and what they do.

That will really help you get around some problems quickly should one come up.

You'll become a lot more than the standard "button pusher" film handlers that run so many booths today.

Good luck! [Smile]

Posted by David Yauch (Member # 2754) on 11-18-2004, 01:10 AM:

Well just a quick update. Things have gone very well with the training. I've worked some shifts on my own and haven't had any problems with scratches or pictures out of focus. I did start one show with the masking in about a week ago but caught it in trailers, and started about 10 shows a day out of frame before i got the whole framing thing down [Embarrassed]

You'll be happy to know I only started one show out of frame today, and none during my last shift. I was also the only person in the booth today that knew what a photocell was.

Posted by Barry Martin (Member # 1376) on 11-18-2004, 01:26 AM:

David, do you know why you are having trouble with framing? Are you setting the intermittent before threading?

Posted by Chase Hanson (Member # 2779) on 11-18-2004, 04:45 AM:

Well, im just a lowly super button-pusher but...

A: Dont be button pusher.

Every CPA ive seen has an auto timmer, your ability to push buttons can be easily replaced.

B: Vocabulary doesnt make you good

You might be the only person up stairs that knows what a photocell is, but if you cant fix the problem with the photocell that knowledge doesnt do you a damn bit of good.

C: Showmanship is only half your job

Too many times have I seen new Projectionists that think if their start is "On time, in frame and in focus" their hands are clean. The giant machine with thousands of moving parts is on your side of the port glass, and entropy is a bitch.

D: I must not fear.
Fear is the mind-killer.
Fear is the little-death that brings total obliteration.
I will face my fear.
I will permit it to pass over me and through me.
And when it has gone past I will turn the inner eye to see its path.
Where the fear has gone there will be nothing.
Only I will remain.

Frank Herbert rocks...that aside.
Ive known a few projectionists that have some how managed to NEVER have to deal with one power supply failure or brain wrap. They are by far the worst projectionists I have ever worked worth. If the thought of a sold out auditorum watching you through the port glass window and 8 different managers harassing you over the radio while you have to resplice reels 2 and 3 back together, is too much for you to handle; you should seriously reconsider becoming a projectionist.

Other than that [thumbsup]

Posted by David Yauch (Member # 2754) on 11-22-2004, 10:37 PM:

quote: Barry Martin
David, do you know why you are having trouble with framing? Are you setting the intermittent before threading?

Well originally I was having problems because I was framing after I was completely done with the rest of the threading(which was how the obnoxious projectionist who trained me at the time had me doing) and so I was constantly leaving an extra perf or two of film in the gate area just before the intermittent which would of course cause it to pop right out of frame. After I had another projectionist show me how to check the motor knob and a couple others showed me how they did their framing I was just fine. I've only had 2 problems since, one was due to a bad splice and the other was due to not clamping the pad roller to the intermittent(a.k.a. carelessness).

quote: Chase Hanson
You might be the only person up stairs that knows what a photocell is, but if you cant fix the problem with the photocell that knowledge doesnt do you a damn bit of good.

But the bonus for me is that technical problems are all handled through our engineering department, so aside from those going above and beyond, all you really need to know is enough of the vocabulary to describe the problem so they can either walk you through it or properly equip themselves to come out and fix it.

quote: Chase Hanson
Too many times have I seen new Projectionists that think if their start is "On time, in frame and in focus" their hands are clean. The giant machine with thousands of moving parts is on your side of the port glass, and entropy is a bitch.

Point taken, I double check all auditoriums throughout the show, and triple check when time permits. And of course we have a presentationist downstairs checking every show twice as well.

quote: Chase Hanson
If the thought of a sold out auditorum watching you through the port glass window and 8 different managers harassing you over the radio while you have to resplice reels 2 and 3 back together, is too much for you to handle; you should seriously reconsider becoming a projectionist.

That's half the fun!

Posted by Thomas Procyk (Member # 1170) on 11-23-2004, 08:11 AM:

quote: Chase Hanson
Ive known a few projectionists that have some how managed to NEVER have to deal with one power supply failure or brain wrap. They are by far the worst projectionists I have ever worked worth.

Guess I'm a bad projectionist then. [Frown]

I've fixed my share of film and minor mechanical problems (belts, etc.) but when it comes to opening up the rectifier or doing any sort of electrical-related work, I usually leave that up to the techs.

Yes, I'm afraid. And even if someone showed me how to do it, I'd still be afraid. I'll try to fix what I can to get the show back on or keep it going, but I just don't feel comfortable messing with high-voltage stuffs. Moreso because I'm afraid of breaking something worse.

I'm impressed with many of the members on here who have done this for years and have no problems jumping into the guts of a lamphouse/console. [thumbsup]

I envy your bravery!

=TMP=

Posted by Chase Hanson (Member # 2779) on 11-23-2004, 02:45 PM:

quote: Thomas Procyk
Guess I'm a bad projectionist then. I've fixed my share of film and minor mechanical problems (belts, etc.) but when it comes to opening up the rectifier or doing any sort of electrical-related work, I usually leave that up to the techs.

Nope not really.

Because you've had to fix things. That makes you a million times more valuable than the people I was trying to describe.

Posted by Scott Norwood (Member # 30) on 11-23-2004, 05:52 PM:

I don't "do" rectifiers, either, mostly because I've never had one fail (knock on wood) and no one has ever shown me how to change diodes or do anything else to them. I hope to learn how to do this safely someday. I replaced an igniter once, though.

Oh, and I've had exactly _one_ brainwrap (very minor--it was my own fault during a botched trailer change). I guess I must also be a sucky operator.

Posted by William Hooper (Member # 71) on 11-24-2004, 12:59 AM:

In all those funky old booths where you work, Scott, you need to pull the power, take the panels off the rectifiers, & at least look in there!

Besides simple things like possibly catching a connection falling off or a wire burning up, you might see other things that you might want to take care of.

My favorite is a couple of old Ashcraft rectifiers (the ones with a bit of space below, & a cooling fan inside which draws air therefrom & exhausts it through the top) filled almost completely with styrofoam packing peanuts it had sucked up at some time.

Open that thing up! Tighten those connections! Vacuum that thing out! Lick the asbestos-covered wires for good luck!

Posted by John Pytlak (Member # 331) on 11-24-2004, 08:01 AM:

I agree. At least check visually to be sure there aren't any issues like clogged ventilation, brittle insulation, or overheated contacts or connections. Use your nose too, as even slight burning smells can point to a problem or overheating. Just be sure to "Lock Out, Tag Out" any power feed, and safely discharge any filter capacitors. [Eek!]

Posted by Mark J. Marshall (Member # 1409) on 11-24-2004, 07:21 PM:

quote:

quote:
quote: Chase HansonYou might be the only person up stairs that knows what a photocell is, but if you cant fix the problem with the photocell that knowledge doesnt do you a damn bit of good.
But the bonus for me is that technical problems are all handled through our engineering department, so aside from those going above and beyond, all you really need to know is enough of the vocabulary to describe the problem so they can either walk you through it or properly equip themselves to come out and fix it.

Right answer! You don't have to know how to fix it, but being able to speak to the engineers on the phone without using words like "round thingy with the teeth on it that turns intermitantly" will be an amazing help to both you and the engineers. And by knowing the terminology, learning how to fix it will come later.

As to fixing rectifiers, if you're only making a few dollars an hour above minimum wage, and you don't know exactly what you're looking at, you don't make enough money to open it up and look around. It can kill you... or at least send you flying across the room, if you touch something in there that you shouldn't - even with the power off. My advice is LOOK for a stuck fan or something else that's obvious, SMELL for something burning, then call someone else who makes a lot more than you do to look at it.

Now, I can hear the Film-Tech vets lining up to tell me I'm wrong on this and that it's perfectly safe as long as you know what you're doing, but I think this needs to be said. Of every piece of machinery / electronics in the booth, that is the one thing I always tell my new booth puppies to stay away from. Now, like everything else, I encourage folks that want to learn about it to learn from the pros that come in and handle those things for a living. But until you do, don't touch! [Wink]

Posted by David Yauch (Member # 2754) on 11-27-2004, 03:53 AM:

Oh boy time for another update.

Lets see, the other day I was way behind on my threading, and as a result I started an OC spongebob instead of the normal one(oops!) and threaded a movie with the film track in(at least I caught this one before the customers saw it!). Anyways, the reason I was so behind on my threading was because one of our engineering men came down and wanted me to show him all of our big problems in the booth. If you're thinking there's no point to this, you'll see where I'm going. In a move that would make most Film-Techers cringe and hurl, I got to personally witness a xenon bulb changing where the operator wore no protective gear! Yay! Anyways the good news is that it didn't blow up so I'm still here without any glass in me. Oh, and the xenon bulb in question was no baby, it was a good ol' 5000 watt, serving our biggest screen...

Other than that I did learn how to tear down prints, and I'm sure you'll all be relieved to learn that we do peel off splices, label reels correctly, handle film carefully, yadda yadda yadda. In fact I get to tear down again on thursday, and I think I might be tearing down the first print I ever built up!

Posted by Carl Martin (Member # 1146) on 11-27-2004, 04:21 AM:

what's an oc spongebob?

Posted by David Yauch (Member # 2754) on 11-27-2004, 05:03 AM:

Sorry, oc = open captioned. We always try to keep at least one open-captioned movie playing in the theatre every day. Last couple weeks it was polar express, this week it's sponge bob. Probably sponge bob for next week too.

Posted by John Pytlak (Member # 331) on 11-27-2004, 06:56 AM:

quote:
Anyways, the reason I was so behind on my threading was because one of our engineering men came down and wanted me to show him all of our big problems in the booth. If you're thinking there's no point to this, you'll see where I'm going. In a move that would make most Film-Techers cringe and hurl, I got to personally witness a xenon bulb changing where the operator wore no protective gear!

If you don't wear protective gear to handle a xenon lamp, the last thing you ever see may be the exploding lamp, as the shards of quartz shred your eyeballs. Even if you survive, the doctors will need to probe to find each piece of quartz shrapnel in your body, as it doesn't show up on x-rays. [uhoh]

Posted by Leo Enticknap (Member # 534) on 11-27-2004, 08:06 AM:

Agreed. I've had a 1.6k bulb explode as I was removing it from a lamphouse. The fact that I was wearing the full suit of armour certainly saved me from serious injury and possibly saved my life. The indentations on the surface of the face visor give a frightening indication of how much force those quartz fragments hit it with, even though the lamp exploded when cold. I wish I'd taken a picture of the visor at the time.

Another precaution I'd support is only handling bulbs with someone else in the booth (doesn't have to be another projectionist - just someone who can get help should there be an accident which causes injury).

Posted by Monte L Fullmer (Member # 2797) on 11-29-2004, 03:38 AM:

True, can be a bit scary when your changing out CHR CXL-60's - the 6K varieties. They REALLY can emit a nasty explosive force when these big ones do explode. One blew up in a console (a CHR Reference console) while operating, and they can put out some pretty effective shock waves...and I was standing next to the console, for the feature had just started and I was checking frame/focus. Yet, it really didn't damage the mirror all that bad-just a couple of lines here and there...but,OHH..the cleanup of quartz everywhere!

I'd like to see "newbies" learn on the old system-running changeover machines with carbon arc lamps with either foot or wall dowser buttons, and watching for the cue marks. We almost can add in running nitrate through these old machines. For This really teaches them on how to be "a Projectionist" instead of the usual "booth operator." .. But that's almost a thing in the past now.

thx-Monte

Posted by Tom Simcoe (Member # 2799) on 11-29-2004, 03:54 AM:

As the teacher of me always told me, believe in PIP.... Pride IN Presentation... your job is to do the best possible to give the audience a flawless showing with the movie going on the screen in frame and focus... care about details, and make everything as perfect as possible. [Wink]