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Posted by Amanda Johnson (Member # 3003) on 03-03-2005, 04:37 PM:
 
This is my first forum and I am so happy it's about what I love to do, so please bare with me.

I have been a projectionist since I was 16 years old. (young, i know, maybe I just made it through the loop-holes) Anyway, I was just wondering what others were doing out there. I come across a few different ways, so called, the proper ways to run a projection booth. Not to mention that I was just hired at a new theatre after moving out of state and found that the guys here don't really do anything to maintain the projectors or any precautions when building movies. I've never once seen them inspect the film when building. Here are a few things that I've been seeing...

1. Threading the film Sound Up rather that Sound Down and vice versus. (I've always thought that is was better to thread sound down in order to preserve the sound strip. Especially up here where humidity is a big problem when you don't have a temp. controlled booth. Also, with leaks and dust.)

2. After building up a movie, it's the best time to move it, because it's when the core is at the tightest, so there is less chance of pieces coming lose or it unraveling.

3. Out of habit, I always check my projectors every 15 minutes. Especially in high humidity, for any signs of potential problems.

4. I have also noticed some of the projectionists that I work with, don't clean the projector after every show. Most of them don't even clean it at the end of the night. There are days where I will come in and dirt is just caked on and you have to chisle it off in the morning. (I am a big believer in keeping them cleaned and well oiled. Proper maintenance is manditory.)

Now that I've given a few things, please let me know what you think about each item and let me know of a few things I can work on or ideas to help me run a more efficient booth. Also, Please let me know what you do and/or what you think is good projectioning habits and your idea of the proper way to projection...

thank you!!
 

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Posted by Dean Kollet (Member # 1789) on 03-03-2005, 05:12 PM:
 
Welcome to Film-Tech

1. I don't know why you would thread the sound down, or how it would really effect anything. I strive to keep the entire print perfect, and threading soundtrack up the past 3 years has caused me no problems.

2. I do this as well, when I can. But if they are too loose, maybe you should consider something to help you move it (clamps, print pocket, etc.). There are also tricks (search FT) to help it wind up tighter.

3. I do the same, never hurts.

4. Try and use FilmGuard. If the projectors are caked after a few shows, something is wrong. Do you clean your prints? I find cleaning between shows doesn't hurt, but I usually don't have to.

There are plenty of tips around here, my biggest tip is to just take your time and don't rush. Spread the word to the other projectionists. You will see a lot of talk of Film Done Right around here, taking time and caring is the best thing you can do.

edit: also, as your title says "Common Sense", using it has kept my ass safe in booth
 

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Posted by Mike Blakesley (Member # 26) on 03-03-2005, 05:45 PM:
 

quote: Amanda Johnson

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please bare with me

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Well, OK, Amanda, but you go first.



(Better get used to a lot of this kind of thing around these parts)
 

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Posted by Brad Miller (Member # 2) on 03-03-2005, 06:44 PM:
 
1. No, always thread soundtrack up. This has been discussed to extremes in the past, so just look it up via the Magic Answer Machine to find out all of the reasons as to why. Essentially though, when you run soundtrack down on a platter, you are putting the emulsion towards the abrasive side as well as risking damage to the soundtrack.

2. Again, wrong. You should build up the movie wherever it will run it's first performance. Only AFTER it has been ran through a projector one or more times should it be moved. You risk cinch scratching the print when you build and then immediately move it.

3. Yes very good. Every 15 minutes, or more if you aren't busy with something else. It is also a good idea to try and be there to tweek focus at the beginning of reel 1, not on the trailers. You want time for the lenses and such to heat up as well as to take into account any differences in film stock between the trailers and the feature.

4. Again, very good. Cleaning after each show should be considered mandatory in any professional booth. However if you would adopt proper film cleaning practices, you would find your projectors don't get dirty in the first place.

By all means those 4 points don't come anywhere remotely close to knowing everything you need to know to properly run a booth though. Just start reading these forums and do searches for various answers and tips.

Now where's your member picture?
 

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Posted by Thomas Dieter (Member # 2507) on 03-03-2005, 08:17 PM:
 
Welcome Amanda.

1. Follow what Brad said about soundtrack up. If the problem persists with the others not threading the sound up, let management know that you care about how the prints are presented to the audience. Usually that will score big points with them, and you will gain seniority quickly when the see the difference in the way the booth is run while you are there, compared to when you're not.

2. I agree with Brad totally. But you make a fine point too. I feel that if there is an open platter on the house that you will be building, build it there, if you have 2 prints on 1 screen already, build it there, run it through for the first run, then move it. I say this cause I work at a second run theatre and many of the screens are doubled up for matinee and evening showings.

3. Good Job. I attempt to do that as well, but at the moment, with me and (Fellow Projectionist) being the only ones to be cleaning the booths, it's hard. Once the place gets established, it will be easier.

4. Excellent. I have to say in my 7 years in working in the theatre industry, and my 5 as a projectionist, a clean booth(s) also is key to a good presentation. If your booth is clean, it's a good chance your prints are going to be almost speckle free. But there is one problem with you being the only one to clean the projectors, no one else is going to do it unless it's brought up to management. (Fellow Projectionist) and I at the moment are working our asses off to clean the theatre that we both were hired at that just opened in Altamonte Springs, FL. The projectors were filthy. Film shedding all over the projector bathed in oil, pinkish/purplish pad rollers, and dull platters. This is another good thing for you to watch, and clean. If the platters don't shine light, but dull like away from you, take some water and a cleaning solution (I, at the moment, am using an all purpose cleaner in a spray bottle until I find a better cleaning solution or if one is recommended). If you don't have an all purpose cleaner, I would suggest a gallon of hot/warm water, and a cap full of bleach. Just a recommendation, don't burn yourself out cleaning everything so that it's clean in just a week. Take your time. See if it gets noticed if it doesn't, then just do it every so often just to keep the prints clean.

Good Luck Amanda

*edited by request of mentioned person*

[ 03-06-2005, 12:25 AM: Message edited by: Thomas Dieter ]
 

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Posted by Scott Norwood (Member # 30) on 03-03-2005, 09:50 PM:
 
Agreed to all other comments. Anyone who can't be bothered to take thirty seconds to clean a projector before threading it should be fired immediately.

You really need to get your employees in the habit of inspecting film before putting it up on screen. By not doing this, you are giving your customers a sub-optimal film presentation and are also risking equipment damage and possibly causing extra work for yourself to fix problems not caught in inspection. Even if you deal mostly with new prints, you will be missing lab splices (which should be removed if mid-frame or badly made) and possible printing errors.
 

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Posted by Amanda Johnson (Member # 3003) on 03-03-2005, 11:12 PM:
 
Thank you all for all of your imput. I've learned a lot and hope to learn much much more.

Right now, I work with a few projectionists that just sit around downstairs and don't even go check the film once in between start times. They go up to thread and start and come right back down. I've even mentioned to the manager that these people aren't doing their tasks, but it seems to be no good (especially since the mangager herself has no projection experience at all, and has no intention of learning) I find it very sad.

I have one co-worker that only works with me on Thursday nights.(we have kinda taken it over from the other ones) When we build movies, we always inspect every reel thoroughly. Never going too fast either. Before it goes onto the platter, it is cleaned. It's a habit that EH and I are very used to and hopefully it will rub off on the rest (since it has never really been done before) Not to mention, that when I started at this theatre, no one seemed to care much about presentation. The booth looked like a sty (when the owner brought us in for a tour, he kept tripping over things on the booth floor - mostly composed of garbage) and the sound was horrible in two theatres and the picture sucked on all of them. Nobody would even change the masking for new shows. It was terrible....now it's tolerable

Being a female in a prodominately male profession, it's a little hard to make yourself heard. By no means am I timid, I tell people what I feel when I feel it, no hesitation. But I work with too many slackers. It's hard when you're sometimes the only one there to pick up the slack. However, I love what I do, and I enjoy learning more and more. I currently work with cinemecanicas. They are great machines when you get used to them. I still prefer christy or century to them. However, any of them is much better (and much easier) than working with 16mm anything. (I do not miss my AV Tech days in college)

Also, I was curious about what kinds of things anyone did to get into the industry.. Did anyone go to college to do this kind of thing? Whether it be tech work or just projection...

thanks again guys!
 

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Posted by Peter Mork (Member # 1336) on 03-04-2005, 01:17 AM:
 
Hope you enjoy this forum. You will meet some interesting characters here, including booth jockeys from all over the planet, lab workers (the ones who can't spell), various techies who know what "slit loss EQ" means and what to do about it, and crazy Australians who know how to find any part for the utterly obsolete gear they must keep alive long after normal people would've given it the heave-ho. Also a lot of hopeless cases crying in their beer over the fact that VistaVision doesn't rule the world.

You'll also find some cranks and know-it-alls, a common species in any internet message board. I'm glad you called this thread "Common Sense projectioning", use that and you can't go wrong. (Some people insist there's only one way to do things - THEIR way. By all means, sweat the details that matter, but don't sweat the ones that don't - experience and a little "C.S." will teach the difference.)

Keep a good set of fingernails - very useful for unsticking splicing tape. One use for your rewind bench nobody mentions is rerolling toilet paper from the big industrial rolls to small ones that fit in your booth's toilet roll holder. You can free a live mouse from any glue trap your boss may insist on using (very cruel) by squirting warm liquid butter from the butter dispenser on the gooey stuff and rubbing - works like a charm.
 

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Posted by Monte L Fullmer (Member # 2797) on 03-04-2005, 03:39 AM:
 
Yes, just keep on signing on each time and see what all we have to talk about, and don't be afraid to ask questions some of the replies might be a bit harsh, but they do mean well.

We're just a bunch of "film handlers" here - from "Old Farts", to "Greenhorns", which the latter should get a whipping at times.

enjoy Film-Tech. Best site on the internet.

Good luck as always. - Monte
 

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Posted by Dominic Espinosa (Member # 2122) on 03-05-2005, 01:39 PM:
 
Yes. The Film-Tech community is huge, and among them all there's nothing they don't know. There are engineers, fellow projectionists, even the knowledgable and friendly people from the likes of Christie, Kodak, and more.

My advice? Pick out what you're looking to find out and hit the manuels, and tips section, then hit the search of the forums and then ask questions, ya get flamed less

As for booth opperation:
As your subject suggests, common sense! This is key! If it looks like a bad idea, it probably is. Judgement can be a very valuable tool to a projectionist.

Our strict policies are as follows:
Each house gets a weekly cleaning. We clean projector, basement sound head, any digital penthouse heads, all rollers and guides. The entire film path is cleaned weekly or as needed.

Screens get a dry cleaning once a week. Though I'm trying to get a wet cleaning in for some of our more problematic screens.
I'd also like to implement a vandalism alert service or "vas" to monitor my screens and promptly "take out" anyone caught touching, throwing stuff at, writing on, slashing, or spit-wadding my screens.

The floor gets mopped weekly, cutting down on dust on the floor is a very good idea. If you have a carpeted booth you must vacuum like a mad-person.

And finally...Film handling...
Caring makes a difference. Trouble is most projectionists don't care.
When threading we train to wipe off the straps and rails in the trap/gate and brush out anything that dust is collecting on.
If you scratch a print by neglecting someting you're in trouble. Plain and simple.
Each film is inspected and an inspection report is filled out, lab splices in mid-frame are removed. All splices are blooped (search for the term "blooping"), and trailers are programmed to match the mood of the film.
These trailers get changed as often as necessary to maintain a current trailer pack. We try as hard as possible to play trailers only for movies we'll be getting. We get it right about 9 out of 10 times, this reduces people asking if we have something we don't and because the trailers match the film people tend to be a bit more interested in them.

Example: Hitch - Current Trailers: A lot like love, Wedding Crashers, Guess Who?, and Beauty Shop.
Okay, maybe bueauty shop doesn't quite fit but that's why it's up front

As for the projection personell...Quality projectionists are few and far between. Becoming one and developing strong work ethics and good habits can make you a very valuable employee.
Even if this is just a temporary job you should always strive to be the best.
The things you'll take away from this will help you in your other jobs and give you something to fall back on.
Though if you're like anyone on this site it's gotten into your blood already.
Most theater employees end up having warm and fuzzy feelings about working at the theater because it can be one of the most rewarding jobs you'll ever have.

Okay, enough of the mushy mushy.

Have fun!
 

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Posted by Jeremy Jorgenson (Member # 2989) on 04-23-2005, 10:58 PM:
 

quote: Amanda Johnson

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Did anyone go to college to do this kind of thing? Whether it be tech work or just projection...

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quote: Peter Mork

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hopeless cases crying in their beer over the fact that VistaVision doesn't rule the world.

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quote: Amanda Johnson

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Right now, I work with a few projectionists that just sit around downstairs and don't even go check the film once in between start times. They go up to thread and start and come right back down. I've even mentioned to the manager that these people aren't doing their tasks, but it seems to be no good (especially since the mangager herself has no projection experience at all, and has no intention of learning) I find it very sad.

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I can only go downstairs to check sound levels, take a bathroom break or to grab a Dr Pepper..if I'm gone for more 5 minutes I have call a person to stand watch (and i am not bitching, I know shit can happen).

And If I stayed down stairs hanging out...I'd be executed

(Must be AMC )
 

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Posted by Peter Kerchinsky (Member # 1098) on 04-24-2005, 05:14 AM:
 
Greetings and welcome Amanda!
By the way Monte, who the hell are you calling OLD?
Just kidding, of course.
Amanda, please ask your questions as we all will be glad to help out.....even us "old farts".
 

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Posted by Robert DeLoss Marken (Member # 2440) on 04-26-2005, 10:00 AM:
 
Amanda – I cannot answer your questions one by one because I never worked in a modern booth with platters and etc. I was a full time projectionist for 12 years in the old days when all the stock was nitrate, and the concerns were much different than now. But your question really goes to a thread addressed many time on this forum, that being an artist or professional. When I was first trained, back in 1947, it was drilled in my head that anyone could run a moving picture machine but it takes an artist to put on a show. Therefore, if the things that concern you are neglected, then once in a while, you will get caught and a show will not be put on. I can honestly say that I never had a film break, a machine break down, or turning the carbon arc off for a moment because I didn’t have sufficient carbon to last the reel. I always put on a good show.

By the way, my motion picture machine days, (we were called motion picture machine operators in those days) were in Des Moines and Ames. I would enjoy some back and forth email and find out about DM and the theaters there now. I live in Atlanta and don’t get to Iowa much anymore. The business agent of the DM Motion Picture Machine Operators Local back then was a guy named John Gaskill. I have a home hobby theater using the old stuff and truly enjoy the hobby and this film-tech forum.

Bob Marken
 

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Posted by Dominic Case (Member # 1830) on 04-27-2005, 01:28 AM:
 

quote:

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lab workers (the ones who can't spell),
. . . .crazy Australians
. . . .Also a lot of hopeless Cases

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quote: Scott Norwood

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lab splices (which should be removed if mid-frame

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quote: Dominic Espinosa

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lab splices in mid-frame are removed

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As a projectionist, I used to agree that the presentation was better for the removal of ultrasonic splices that are in the projected picture. I have since discovered that others in the industry - e.g. the distributors - have another perspective.

Removing the splice may fix the picture but it also causes a loss of a small portion of the sound track. With digital systems, the bad splice isn't audible. Fixing the splice fixes one problem but creates a new problem.

I would say both sides have a point. For myself, I have reluctantly decided that messing with an intact digital soundtrack with absolutely no problem doesn't really make sense. I just wish the labs could find a way to make their splices on the frame line.

Pre digital, an ultrasonic splice would usually leave some of the sound track clear, which was audible. In the analog only days, removing these splices was for the best because picture and sound were both compromised.
 

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Posted by Kris Dirix (Member # 3012) on 05-09-2005, 03:31 AM:
 

 

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Posted by Daniel Burns (Member # 1549) on 05-17-2005, 08:24 AM:
 
Your biggest problem is the staff who don't do any preventive maintenance. You could retrain them and they still won't do it. It's usually easier to train someone to do it right, that has never worked in booth. If they want to sit downstairs go to one of their projectors and cause a small problem, do this a couple times and they'll start having shifts in concession. I like projectionists that are downstairs only when coming to and leaving work. At night there's nothing else to do but clean and shut down, if nothing else (depending on your equipment) make sure you open the film gate, and the lateral guide rollers at the end of the night. Keep daily booth logs for relaying messages and even signing off on various daily/weekly/monthly maintenance tasks. Feel free to go over your managers head, to their superiors, it works. If it doesn't it's pretty easy to to "inadvertently" do something to really drive your point across. You've gotta show managers that they don't run the show anywhere but downstairs, the GM is the only one worth befriending so you can get those extra needed supplies for booth. Don't allow anyone including managers that aren't qualified to work in projection to be in projection, as much as possible. I'm not usually like by the management teams, and it's because they say: the way I talk to them is like they're children, in front of other staff or in front of their bosses, and as much as they'd like to get rid of me, the GM see's a really well ran booth and they don't usually want to give that up. So take charge even if your not, and show 'em how much better you can actually have your booth run. With that being said here's to all Operation Managers that have the title, but no real leadership skills I think that's a lot of 'em if I'm not mistaken.
 

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Posted by Scott Norwood (Member # 30) on 05-17-2005, 09:14 AM:
 
Do _not_ leave gates open overnight if your projector is a Simplex or Century or any other type that uses springs to keep the gate closed. Doing so will wear out the springs faster than if you leave the gates closed.

I agree that sound rollers on Simplex/RCA soundheads should be left open when not running film. (Though, interestingly, there is some soundhead...RCA-1040, I think...that won't let you close the door unless the roller is closed.)
 

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Posted by Daniel Burns (Member # 1549) on 05-18-2005, 01:33 AM:
 
You know I never knew that, I was always told that it would keep un-needed pressure on the tension straps while closed. But hey you learn something new everyday.
 

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Posted by Manny Knowles (Member # 1171) on 05-18-2005, 02:04 AM:
 
Daniel, you give up too easily!

Those trap springs in the Century won't wear out any time soon. The film bands, on the other hand, wear out quickly. For that reason, I would prefer to leave those traps open. I should also add that I have never replaced one of those springs, nor do I know anyone else who has.
 

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Posted by Daniel Burns (Member # 1549) on 05-18-2005, 02:40 AM:
 
Well I thought I remembered seeing something about that in the manual, but I looked through it and didn't see anything, so maybe I imagined it. Woohoo someone agreed with me!
 

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Posted by Dan Lyons (Member # 1454) on 05-18-2005, 02:41 AM:
 
Don't worry about the spring in the single-lens style Century.

The spring broke in one of mine almost a year ago. You don't need it. Once you rotate the knob closed by hand, it locks into place. No way the gate could pop open. You have to push it in and rotate the knob to open it.

I think the spring was put there only for lazy people who get a kick out of slamming their fist into it and having it snap closed.
 

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Posted by Brad Miller (Member # 2) on 05-18-2005, 04:08 AM:
 
I'm firmly with Scott on this one. Leave everything alone after a show finishes (except for a Simplex/RCA type of soundhead). I don't know why Manny's gate bands wear out so fast, but I have NEVER had to replace gate bands that were properly cared for in the first place. Those bands should perform better and better as the years go by. The only bands that I have seen that needed replacing were directly due to stupid people doing stupid things to them like trying to scrape off crusted on emulsion deposite with a blade or screwdriver that damage the bands.
 

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Posted by Manny Knowles (Member # 1171) on 05-18-2005, 10:49 AM:
 
Yet again, we have a fine illustration of the term "your mileage may vary."
 

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Posted by Brad Miller (Member # 2) on 05-18-2005, 11:39 AM:
 
Yeah, that mileage stuff happens.

By the way Manny, I don't mean to sound like an insensitive prick, but what was the reasoning for you to change out gate bands? What happened to them? Did they develop a crease, a discoloration, get abrasive, snap in half??? And what make of projector? I'm sure you had a valid reason, I'm just curious what it was.
 

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Posted by Manny Knowles (Member # 1171) on 05-18-2005, 11:56 AM:
 
Now that I'm really thinking about it, the bands on the original trap did not go bad.

The tension band replacements happened with the newer Kelmar traps that were part of a lens turret upgrade. The snap tended to happen at the screw hole, although I seem to recall one that somehow broke midway.

After I left the company and then went back about a year later, the trap bands needed to be replaced because of long-term encrusted dirt deposits. The projectors had fallen into various stages of disrepair.
 

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Posted by Jason Greek (Member # 3159) on 06-02-2005, 10:13 AM:
 


[ 06-02-2005, 04:47 PM: Message edited by: Jason Greek ]
 

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Posted by Mike Blakesley (Member # 26) on 06-02-2005, 12:29 PM:
 
We have a 1980-vintage Simplex projector and have had to replace the gate bands one time. One of them just broke at the end where the screw attaches it, just ahead of the hole. To this day, that's the only "parts" that projector head has needed outside of regular maintenance. (The machine has a relatively easy life though...just one or two shows a day.)
 

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Posted by Monte L Fullmer (Member # 2797) on 06-03-2005, 03:03 AM:
 
...kinda why I don't like the threading layout for the Mil2000 machine.

Being that they raised the upper constant speed sprocket up 2 inches due to the taller build of the case to allow the turret to swing around without opening (like it used to be with the 1050 units)the turret housing.

With this sprocket being raised and not being moved forward as well, whoever builds the upper loop a bit too tall, the upper loop slaps against the top corner of the band and will cause excessive wear on that corner. Had to replace a good dozen bands due to this wear.

Here's a pict of the result of "tall" upper loops.



..sad thing is that the body of these bands were still in great shape with plenty of the steel thickness. And these bands could have stayed in service for a good couple of more years if it wasn't for the loop height factor.

-Monte
 

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Posted by Joshua Waaland (Member # 287) on 06-04-2005, 01:21 AM:
 

quote: Brad Miller

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I don't mean to sound like an insensitive prick

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Pooh-Bah. Your killing me! I have seen this on several threads now. By all means be insensitive it's your site.
 

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Posted by Brad Miller (Member # 2) on 06-04-2005, 01:26 AM:
 
Just poking fun at Mannykins.
 

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