Film-Tech Forum ARCHIVE: Converting to Digital.. What happens to my job?

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Posted by Phillip Remington (Member # 3498) on 09-01-2006, 01:35 PM:

Does anyone know what role projectionist play when switching to digital. I was first under the impression that when this happens this eliminates my job, but now I am not so sure any info would be greatly appreciated.

Posted by Aaron Sisemore (Member # 145) on 09-01-2006, 01:50 PM:

Unless you are a cinema sound technician or good at IT/computer stuff, you can kiss your job goodbye.

Most DC service contracts will have the company doing almost all of the non-sound servicing, so you won't be needed for any of that.

Sorry.

-Aaron

Posted by Aaron Mehocic (Member # 15) on 09-01-2006, 02:41 PM:

A mom-and-pop independent may keep you around if you're not busting payroll after the transition. Understandably, there probably wont be to many independents transitioning in the next ten years. I'd use this time to bone up on some element of the job that isn't going away.

In truth, even with Carmike and Marcus seemingly making the move over to digital cinema this could - at any given point - go cold for another 8 - 10 years just like it did back in 2000 - 2001 period.

Posted by William Clark (Member # 3938) on 09-01-2006, 03:11 PM:

They'll still need booth operators, but the job of a booth operator will be little more than pushing a button to start the movie, so they'll probably start hiring teenagers part-time to do the work (which some theaters have already done with film projectionists).

Posted by Kevin Raisler (Member # 1761) on 09-01-2006, 06:40 PM:

They told me I would be out of a job in 1998. I'm still waiting. While i'm waiting I'm getting IT certifications A+ , Network+ ,MCSE. So When I can Blow this pop sickle stand I will be on the road to better things.. [beer]

Posted by Dustin Mitchell (Member # 372) on 09-01-2006, 07:07 PM:

quote: William Clark
They'll still need booth operators, but the job of a booth operator will be little more than pushing a button to start the movie, so they'll probably start hiring teenagers part-time to do the work (which some theaters have already done with film projectionists).

Sorry to bust you bubble but at least with the Christie/Access IT package this isn't true. It takes less than 5 minutes to 'build' a digital movie, and with the Christie DCA-21 automation featuring start timers no one needs to be at the projector at time of start. Evenutally the MOS (Manager Operating System) will be able to be programed with the theatres entire weekly show schedule and everything will start automatically-the timers won't even need to be set every show.

If your sole job is projection and your theatre is scheduled to have digital projectors installed either work your way into management or update your resume.

Posted by John Koutsoumis (Member # 1855) on 09-01-2006, 08:11 PM:

What if (for whatever reason) the start time needs to be delayed a while? Do these systems have a manual override? I would think someone will need to be employed to keep an eye on things.

Posted by Kevin Raisler (Member # 1761) on 09-01-2006, 08:28 PM:

With the NEC digital package the ticket seller is the projectionist. When a ticket is sold at the POS the POS tells the Server, which tells the projector, to run at the given time.. now thats cutting payroll.. I'm going to quit bitching about not getting overtime now.. [Roll Eyes]

Posted by Cameron Glendinning (Member # 3516) on 09-01-2006, 08:29 PM:

The aspect of being made redundant is something that I have already come to turns with. All I can say is that I wouldnt swap the last 20 years for anything. What really pisses me off is that over the next few years, during the transition when both film and digital will co exist, is going to be so difficult.(For those who havnt run a DVD to a large crowd, well it can quickly turn into your worst nightmare.) We will all have to be retrained and learn how to work with this gear/ set up shows ect, DVD presentations/ Digital Servers. just to have skilles no one will eventually pay for!!! and no job. Its a big ask for an industry that no longer pays well.

Posted by Brian Guckian (Member # 1678) on 09-01-2006, 08:42 PM:

It ain't necessarily so...in the cinema I work in they only have converted two screens so far. We run the ads and trailers on film and the feature on digital. No threat to our jobs just yet!

Plus, the system isn't hooked up to the automation yet, so has to be run manually...in fact, there can be more work, not less.

Remember too that cinemas will still need people familiar with sound, automation, etc., etc. - not knowledge that a "newbie" from the IT sector might pick up that quickly. So it's not a done deal that the Projectionist's job will be made redundant - depends really on how the technology is implemented at each theatre.

Posted by Steve Guttag (Member # 268) on 09-01-2006, 09:02 PM:

I be more blunt...

If the projectionist is required in a DCinema theatre, it is not being implimented properly. There really is no reason for that job.

If you are talking about a multi-purpose venue, that is an entirely different story. When one is connecting and showing different sources on the fly, there needs to be an A/V guy in there somewhere. What we are talking about in the typical DCinema facility though is a standard, play the movie (and preshow) stuff on a rigid schedule, that again, if implimented properly, gives the manager the ability to hold the show...picture if you will, a "snooze" button downstairs if the manger sees the lines getting too long. It will be faster and more efficient than calling upstairs to tell someone to hold Theatre #42 5-minutes.

What will NOT be elmininated are the technicians to service the booth...it WILL take on a different feel. I can say that my experience with DCinema projectors has been that CLEANING is a big part of it...keeping up with the firmware updates and such...fielding glitches and so forth. The DCinema projectors pump air all over the place and as it gets dirty, filter or no, they start to have issues. I can tell you which projector is closest to the popcorn popper as the air moves just by looking at the filters!

Other things I've noted is that alignments on these projectors do not stay forever...if you want to keep your projectors in 1st rate condition (at least this generation) there will need to be some form of upkeep.

Now this does not mean that the projectionist turns into a maid...because they don't need daily, or weekly cleanings and tweeks or repairs (yes their modules fail too).

But if you desire to show movies to the public...don't plan on doing it in a digital cinema...that era (right now error) does not want or, frankly, need you.

Again, technicans still have a place so look towards being a troubleshooter...for both sound and picture and also learn how to optimize both of them to the point it makes a difference.

Posted by Dustin Mitchell (Member # 372) on 09-01-2006, 09:05 PM:

Not being fully implemented yet I can't speak to the exact operational details of the Chritie MOS-the automatic start thing was what a Christie tech specifically told me would be implemented. I imagine that there would be an overide, though.

And to echo Brian's statement, sometimes digital can be more work, at least in the transition. With half digital, half film, Thursday's become interesting when we 'final' a digital print and 'open' the same title on film (to free up a digital screen for a new release).

Posted by Monte L Fullmer (Member # 2797) on 09-03-2006, 03:07 AM:

...to echo's Steve's statement on the maintenance of DC machinery: DC cinema is a whole new animal that is going to need some serious caring after - being so new and haven't earned it's "wings" as a reliable platform compared to film presentations.

And let alone the massive revisions that can come forth with DC cinema. For example, take a look at Sony developing the 4k system. Wonder how much caring is gonna take with that system..we just don't know yet..

Thus, advice to film operators: better start getting in some schooling and learning on how to take care of this new breed of animal - if you want to survive and eventually be successful with this new field...and keep your job.

-Monte

Posted by Tim Reed (Member # 137) on 09-03-2006, 03:48 AM:

The job of projectionist has been gone for a long time. You know it's over when the union removes the projectionist's designation from its name.

Posted by Phil Blake (Member # 2012) on 09-03-2006, 08:37 AM:

I agree Tim , the projectionists job has indeed disappeared already. They way I work now is very different to how I was taught and how I studied to aquire my "cinematograph operators licence" in the early days. The projectionists job was disappearing when carbons, cement splices and change overs went out the door.

Posted by Paul Gordon (Member # 3320) on 09-03-2006, 08:44 AM:

There still are a lot of changeover houses running, I work at one... when your switching films every other day and doing double bills its still pretty effecient. Digital will take over though...but prices are going to have come down for art houses and second runs to invest it Digital Cinema. Remeber most people think theatres are already showing their films on a DVD/HDTape or through a computer.

Posted by Mark Gulbrandsen (Member # 72) on 09-03-2006, 08:47 AM:

quote: Tim Reed
The job of projectionist has been gone for a long time. You know it's over when the union removes the projectionist's designation from its name.

Tim, I disagree totally. Even when the word Projectionist was there many of the unions still employed people with other jobs and many of those people were no better than the kids that are operating booths today. With the exception of a few members Local 110 was the worst at that practice and most of the operators had gotten their job because they knew someone or their dad or uncle was in it... not because they were professionals at running and maintaining equipment....many didn't have the slightest knowledge about the equipment they were running. Many never ever cleaned the projectors thay ran and there was no training for the operators at all. Other unions like Seattle did a very good job and had proper training facilities for their members so they could at least learn the ins and outs of the booth and basics of maintaining the equipment.

Mark

Posted by Marin Zorica (Member # 1716) on 09-03-2006, 09:15 AM:

This pulling out another question! When digital era comes in huge amount, there gonna still be a small country thetres or so with 35mm projectors, so do the prints still gona ariving there? And what will be with film labolatories......lot's of people gonn alose job!

Posted by Steve Guttag (Member # 268) on 09-03-2006, 11:05 AM:

The projectionist's job has not disappeared completely...it is just mostly gone. In multiplexes, it is virtually gone...in screening rooms, it is very much alive and can play quite well. As a percentage of jobs available though...there are not enough reel jobs to go around.

Steve

Posted by Paul Konen (Member # 41) on 09-03-2006, 03:01 PM:

I could set up my two machines on automatic starts, except for three things. 1. It can't talk to the projector to strike or turn off the bulb between shows. 2. The First Look preshow doesn't always end on time, due to final promo ad or whatever. 3. Without an NTP server to talk to, the clock slips on the server and you would have to make constant adjustments to your playlist to compensate for it.

So, I think there will be someone in the booth for a while to handle things for a while. Also, it seems like it is sort of clunky for the multiple digital installations to move prints around. If they decide to move a title, they have to ingest into the new server overnight.

Posted by Gunnar Asgeirsson (Member # 3882) on 09-03-2006, 03:44 PM:

So far we have only one digitalcinema here in Iceland. They have the best technical stuff and computer and all can be automatic but they are to afraid to leave the booth without projectionist so they have allways projectionist.

That will be BIG DEAL if somethink go wrong and nobody is there to fix it.

So maeby you will not lose you job.

Posted by Tim Reed (Member # 137) on 09-03-2006, 05:36 PM:

Mark... I understand where you're coming from, and I don't necessarily disagree. Steve effectively pinpoints it. And I was thinking of myself, I suppose, and more the area I grew up in, but this was years ago. Everyone was a professional and it was a practiced craft. The IA withdrew their support and essentially fed projectionists to the dogs long before they changed the name. To me, that was truly the final nail in the coffin. The job, the profession, the craft wasn't coming back.

One thing's for certain. There's gonna be a lot of film collectors with some very nice booths in the future. [Big Grin]

Posted by Dustin Mitchell (Member # 372) on 09-03-2006, 11:51 PM:

Paul, your theatre has one of the older first-gen systems right? None of the points you mentioned apply to the install at my theatre (Christie projectors, DCA-21 automation, Doremi server), and from what I gather they don't apply to NEC installs either.

Posted by Mark Hajducki (Member # 1732) on 09-04-2006, 07:47 AM:

In the short term (with some screens all digital, others 35mm and digital and some 35mm only) there will still be a need for projectionists although with less workload since there are less 35mm screens to run.

Cinemas will not go all 35mm until the funding is established (in the UK the UKFC scheme is only funding some screens) and all the content is avaliable in the appropriate digital formats.

If less screens need to be run on 35mm then it is more likley that manager operation will be chosen.

Posted by Paul Konen (Member # 41) on 09-04-2006, 07:11 PM:

Dustin. Nope, I have DOREMI servers and both screens are Christie CP-2000's. I have the DOREMI handling all automation including the NCM PRESHOW latch, without having to "fake" the preshow stuff by running the 35mm.

Dustin, are you saying that your DOREMI does all that stuff?

Posted by Dustin Mitchell (Member # 372) on 09-04-2006, 08:49 PM:

Well, I think its more the automation than the Doremi. The Christie DCA-21 is what tells the Doremi to start playback and it tells the projector to strike the lamp, open the douser, etc. All you need to do is make sure the right show is cued up on the Doremi, set the timer on the DCA-21, and walk away.

Now obviously the show should still be checked, but seeing as how there aren't any possible mechanical failures (brain wraps, etc) there's no reason the show needs to be checkced from the booth, floor staff are perfectly capable of doing that.

Posted by Eric Robinson (Member # 2966) on 09-05-2006, 12:41 AM:

This scenerio has not yet occured in the multiplex theatres which I work for. I'm guessing though, that if it were to occur, there would be some type of company which would provide their own technical support for the new equipment. This type of situation would reduce the need for the handy booth guy who is good at replacing busted pad rollers and making last minute lens barrel and turret adjustments for a fine presentation.

For any sensible business owner; however, it would seem that having an employee who understands the new technology to the extent of possibly troubleshooting problems with networking, computer hardware, and sound systems would be a much more cost effective alternative to having the new digital system techs come out to provide servicing at some incredible price / hour.

What I'm saying is, get to know the new technology to the most fundamental level you can grasp and most likely you will become a valuable resource as an alternative to the overpriced techs which are provided with the digital system at a premium.

Posted by Monte L Fullmer (Member # 2797) on 09-05-2006, 03:13 AM:

Yea Eric, better head to school then and start learning about the SONY 4k units then - cinemas are keeping a watchful eye on this new resolution format since the 2k's JUST might be dinosaurs down the road.

Posted by Anslem Rayburn (Member # 1267) on 09-05-2006, 05:29 AM:

On a personal note, I was told last week that our digital unit (from 4 years ago) was considered "legacy equipment". We were allowed to keep it, in case we can find a use for it. I was told at the same time that projectionists would be pretty much useless once the change was made. I am considered 'important' enough to keep around, as I maintain the website, do the ads, and all promitional materials not coming from the distributor. I also have some electronic skills, and have computer knolwedge. I am in the process of looking for seminars and training that involves the DCI compliant equipment (presumably Christie, thought I don't know for sure yet). My company (an independent) is willing to send myself and an associate to these seminars. I am looking for California, Texas, Arizona, Nevada, New Mexico, and Hawaii(not really, but you can dream). Except for Hawaii, the rest are realistic. Anyone with information, please contact me.

If you are a projectionist that handles film only, get involved in the changeover, find a way to make yourself necessary to the company, or look for another line of work. It's coming, and it's coming faster than many of us believe...

Posted by Paul Konen (Member # 41) on 09-05-2006, 05:16 PM:

Dustin, are you part of a circuit that runs the NCM preshow?

If not, yeah, you can set up a show schedule to automatically do all the stuff necessary to start the show.

If so, you know how the end of the preshow drifts by a few seconds.

Posted by Dustin Mitchell (Member # 372) on 09-05-2006, 08:46 PM:

Pual, no, we still have good old fashioned slide projectors as our pre-show.

I don't imagine a major circuit would overlook such a cost saving opportunity as removing booth personel though for something that seems like it could be simply fixed by a bit of cooperation on NCN's part to provide exact runtimes of their preshow.

Posted by Charles Greenlee (Member # 3856) on 09-06-2006, 03:03 AM:

A few years back I remember seeing a video that had a fully automatic film projector. It wasn't one solid unit, but had sveral automatic units interconnected. Continual loop platter stand, and computerized automation. An autofocus unit. The clip shoed that the projector would automatically start at a prescribed time, do the sound changes, format/lens changes, playe the feature, and used an end cue to stop at the end of show. All of this to automatically start again for the next show, without human intervention. So with the level of some chains now that are currently using min wage platter monkeys, who don't clean or anything, just thread and start, they could eliminate even those. So even with film we could be replaced. What if a splice breaks? Who's going to glean the projector after every show? What if the autofocus stops working, or the cont. loop platter? OR worse, the projector has to be run in manual mode? But fortunatly, the people that count know that you simply cannot replace a good projectionist with a bunch of gagetry. Simply programming a computer and setting up a cont. loop won't run like that forever without someone cleaning, adjust, double checking the focus because the autofocuses don't work all of the time.
I'll have to track down the vid again, it's been a long time.