Film-Tech Forum ARCHIVE: Projectionist's List of things to remember.

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Posted by Steve Beverly (Member # 4540) on 12-30-2007, 12:47 AM:

Can anyone give me a basic short list of things a projectionist should keep in mind? Also are there any good books out there on film projection? Thanks!

Posted by Mike Blakesley (Member # 26) on 12-30-2007, 01:34 AM:

Keep film off floor
Thread in frame
Be sure proper lens is in place before starting
Check focus upon startup (and frequently during show)
Keep film path clean
Keep booth clean
Check sprockets for wear
Check oil level in projector
Check port glass and clean if necessary
Clean lenses if necessary - but not excessively
Make sure all rollers on platter are turning freely
Listen to the sound in the audtorium, not just on monitor
Use FilmGuard
Use clear splice tape
Always return DTS disks with prints
When breaking down film, remove your cues, and remove all tape from splices
Splice leaders and tails on the proper reels (with a real splice)
Tape down film ends on outgoing reels with a NEW, LONG piece of tape
No food in booth
Check supplies and restock as necessary (splice tape, oil, FilmGuard, window cleaner, Qtips, paper towels)
Review Film-Tech.com daily for tips

Posted by Phil Hill (Member # 371) on 12-30-2007, 02:19 AM:

+ make sure pull-down is at dwell when threading "in frame".

Posted by Frank Angel (Member # 248) on 12-30-2007, 02:42 AM:

+When threading, be sure the soundtrack is oriented correctly (toward you).

Re: Mike's next to last item -- checking items and restocking when necessary. Over the years we constructed a "Re-stocking/Contact List" of every consumable item in the booth. The list references what vendor carries each item and at what price it was last purchased. Then as supplies are needed, all the projectionist has to do is check off the item on the list and send the list to the front office. They then have all the information they need to place orders and do it with minimum look-up time. We found it encourages the booth operators to order supplies in ample time rather than last miniute crisis and it reduces front office labor considerably.

Posted by Rick Raskin (Member # 1561) on 12-30-2007, 10:35 AM:

+ Keep the booth lights low. No light spill into the theatres.
+ If you have a TV or radio (discouraged) keep the sound very low.
+ Keep conversations to a minimum.

Posted by Scott Norwood (Member # 30) on 12-30-2007, 11:16 AM:

In addition to the above...

Inspect every reel of every print by hand prior to its first exhibition; check for (and fix if necessary) the following:

- correct image and sound format(s)
- leaders complete, and attached properly and in frame
- leaders on correct reels; reels in correct order; correct number of reels
- bad splices, torn perforations, missing footage, edge damage
- lab splices--remove or bloop soundtrack
- cue marks and/or automation cue tape
- any special features of the print that might affect presentation (fade-outs/-ins near start or end of reel, walk-in/walk-out music, etc.)

Do all regular maintenance (oil changes, sound alignments, etc.) to avoid expensive downtime and presentation issues.

Check lamp alignment and adjust as needed. Replace xenon bulbs when they start to flicker or dim. Raise current gradually as xenons age to maintain light levels. Keep reflectors clean in carbon-arc lamps.

Check platter timing and adjust as needed. If reel-to-reel, check takeup and feed tension and adjust as needed.

Keep port glass clean.

Keep house reels in good condition--do not drop or bend them.

Add extra tail leader to the last reel in platter houses. Add extra head and tail leader to each reel in changeover houses.

Return every print in better condition than it was in when it arrived. Return with all reels in the same orientation (heads-up or tails-up).

Posted by Jim Bedford (Member # 4) on 12-30-2007, 11:35 AM:

+hand advance the film to make sure it is in frame and that it is threaded properly over sprockets.

"Motion-Picture Projection and Theatre Presentation Manual" published by SMPTE, even tho its 1969 publication is older than many readers here, is still a valuable tool for details and understanding 35mm projection. I think the most recent printing is 1992, but even by then Dolby is not even mentioned, so it's much stronger on the mechanics of projection.

Posted by Bill Bright (Member # 1998) on 12-30-2007, 12:31 PM:

+ Watch movies at the end of build up and correct any mistakes before public showing.

Posted by Jon Miller (Member # 163) on 12-30-2007, 01:19 PM:

quote: Jim Bedford
+hand advance the film to make sure it is in frame and that it is threaded properly over sprockets.

+ Don't “blip” Motor switch to advance the film. This will wear out the switch faster.

If you work with prints shipped on cores (in the USA, typically festival prints from abroad):

+ At end of run, be sure to tightly wind print onto the cores it came on (do not cinch the film) and secure the roll with about 4-6" of tape.
+ Never press cores out once film is wound.
+ If print arrives without cores and you have cores to spare (preferably 3" or larger, not trailer cores), ship print out on donor cores. Act as if the next person to handle that print is an F-T regular.

Posted by Scott Norwood (Member # 30) on 12-30-2007, 02:08 PM:

quote: Jon Miller
+ Don't “blip” Motor switch to advance the film. This will wear out the switch faster.

It's a $2 light switch, available at your local hardware store. Is it really an issue if it has to be replaced once every decade or so?

I thought that the real reason not to "bump" the motor was that doing so creates unnecessary wear on the gear train and/or motor. (Comments?)

(This is why the "POS" button on Kinoton projectors is so useful.)

Posted by Chris Slycord (Member # 4239) on 12-30-2007, 02:23 PM:

quote: Mike Blakesley
Keep film off floor

Including leaders/headers (since lots of people don't seem to care about them).

Posted by Jon Miller (Member # 163) on 12-30-2007, 03:33 PM:

You're right about the gear train and motor, Scott. I was, however, thinking about rocker switches used in automations, something not likely to be found in the shelves of a hardware store, Home Depot, or Lowe's.

If the switch was something resembling an ordinary light switch, chances are it would have been a more expensive motor-rated switch.

Posted by Thomas Pitt (Member # 4322) on 12-30-2007, 04:59 PM:

+ If you run different aspect ratios (flat/scope/academy) in a single showing, check focus and framing after each lens and masking changeover.

+ If you have more than one sound reader installed in your projector (such as DTS, SDDS and Dolby), make sure you thread ALL the readers, not just the one for the sound format you're using.

+ Never attempt to make big adjustments (e.g. entire projector tilt or swivel) while a public show is running. I actually had a showing of Spider-Man 3 messed up this way; the technicians were trying to adjust the projector's angle during the show as it wasn't perfectly on the screen!

Posted by Bob Koch (Member # 1062) on 12-30-2007, 06:51 PM:

The 2 dollar switch isnt the item. If you inch the film in the manner described you`re using the starting winding to inch the film which isnt good practice, even when I was a boy.

Posted by Mike Olpin (Member # 1115) on 12-30-2007, 09:59 PM:

+Make Lists

Posted by Steve Beverly (Member # 4540) on 12-30-2007, 11:37 PM:

Has anyone heard of or read this book:

BKSTS Projectionist's Training Manual

and I actually found this site which is interesting:

www.madcornishprojectionist.co.uk/index.php

[ 12-31-2007, 12:43 AM: Message edited by: Steve Beverly ]

Posted by Tim Reed (Member # 137) on 01-06-2008, 05:24 PM:

Yes, I have it. The SMPTE published a similar title in the late 60s: "The Motion Picture Projection and Presentation Manual."

Posted by Ed Alvarado (Member # 2760) on 01-10-2008, 03:12 AM:

now I just started to work as a projectionist and this theater is using those terrible platters i dont know the name of the company but it says something like DRIVE-IN but they suck but what i wanted to ask is should the projectionist be using alcohol?? last time i checked i heard those jack up the gears in the centry heads?

Posted by Monte L Fullmer (Member # 2797) on 01-10-2008, 03:21 AM:

quote: Ed Alvarado
something like DRIVE-IN but they suck but what I wanted to ask is should the projectionist be using alcohol?? last time I checked I heard those jack up the gears in the centry heads?

Those are SPECO LP-270 Platters (DRIVE-In was the old name for them..Actually, those are excellent platters if one knows how to take care of them.. with cleaning, adjustments, et.al. ..)

No, no alcohol in the gear side of the heads. Just use the Century Grease to lube those gears. If you need to clean the operation side of the Century head, one can use window cleaner and just soak up the rag first with the cleaner before wiping down the inside.

Posted by Ed Alvarado (Member # 2760) on 01-11-2008, 02:03 AM:

HA thanks so you should never use alcohol?? and why is that??

Posted by Monte L Fullmer (Member # 2797) on 01-11-2008, 02:18 AM:

Big issue with alcohol is the flammable content of this substance and is a huge liability concern for theatre owners that have strict insurance procedures, plus being a toxic agent as well if handled incorrectly, esp. if one uses ethanol.

If you sprayed any form of alcohol around the machine where sparks and heat could be present, along with the alcohol mist, you've got quite the possible alcohol flash - why if you use alcohol, extreme care has to be in control at all times.

Posted by Ed Alvarado (Member # 2760) on 01-11-2008, 02:25 AM:

hmm but does it have any major effect on the aperature plate or sprockets?? and hey man thanks for giving the name of the speco lp-270 now i printed the manuel so thanks FILM-TECH. but hey you know what your right after thiking about the platters i do have to say that its an awsome platter i just wish i could fix some problems im having with the platters.

Posted by Monte L Fullmer (Member # 2797) on 01-11-2008, 02:33 AM:

quote: Ed Alvarado
hmm but does it have any major effect on the aperature plate or sprockets

Nope. Just shoot some alcohol on a rag and wipe them down to get the sprockets cleaned.

On the aperture plate, a cuetip works great soaked in alcohol and wipe out the opening(s) - just to make sure that you don't leave "cotton stringers" clinging around the edges of the openings.

(Side topic here on the LP-270's: that reed switch under the deck: the magnet that swings over the reed switch can be adjusted so the payout can be made more sensitive by loosening up the screw that holds that magnet - to make that adjustment. Motor pucks - loosen up the two allen screws and one can raise that motor puck sleeve up on the motor shaft so the edge of the deck will have new rubber on the puck to run on. Big issue with the control box is that plug-in diode, for if that diode shorts out, you'll be blowing fuses like nobody's business down in the base. Otherwise, they're a great deck to work with..)

Good luck - Monte

Posted by Michael Coate (Member # 757) on 01-11-2008, 07:43 PM:

quote: Ed Alvarado
so you should never use alcohol?? and why is that??

So you don't become an alcoholic. [Big Grin]

Posted by Monte L Fullmer (Member # 2797) on 01-12-2008, 12:19 AM:

[Roll Eyes]

Posted by Michael Coate (Member # 757) on 01-12-2008, 01:33 AM:

Don't look so confused, Monte! It was a joke.

Posted by Steve Beverly (Member # 4540) on 01-12-2008, 01:33 AM:

Hey come on, if it weren't for alcoholics, there'd be no projectionists. [beer]

Posted by Monte L Fullmer (Member # 2797) on 01-12-2008, 02:26 AM:

Oh, did catch it as a joke ...just a "oh brother" look - but it was good.

Yea, but some theatres that I worked at, it's amazing of how many beer cans that I'd find in the hideaways in the booth (and you wonder if these guys soaked in booze can run a good show...), and guys running a drive-in hiding out in their cars between reels soaking up the spirits.

Now wonder why companies booted the projectionists out - drinking on the jobsites which was totally against company policies.

Posted by Jonathan Wood (Member # 4614) on 01-12-2008, 04:48 AM:

In UK I can recommend the BKSTS Training Manual, will be expensive tho to ship to US!?

I've also heard that there is an excellent training manual in English available from I think, the Swedish equivalent of the BKSTS?

http://www.bksts.com/books.html

Posted by Robert W. Jones (Member # 4228) on 01-13-2008, 04:48 PM:

You probably might not believe this, but with a single screen (or double)booth one of the air ionization filters does wonders. Trust me, I use one in my home booth which I keep as "clean room" as I can. You should see the particulates that build up on the grid.

A good electrostatic for any non-lamphouse exhaust vents help greatly too (no back flow debris due to building HVAC pressure changes.

Rob

Posted by Marc Jensen (Member # 3561) on 01-14-2008, 01:11 AM:

A few fundamental things missing from those lists earlier in the thread...

1.) Make sure you've got the right movie before you thread it up.
2.) Check, check and check again... and don't panic.
3.) The show must go on!

Posted by System Notices (Member # 2357) on 03-23-2009, 09:28 PM:

It has been 434 days since the last post.

Posted by Ronda Fitzsimmons (Member # 1418) on 03-23-2009, 09:28 PM:

OK, so I'm late to the party, but I didn't see the one thing I pound into my manager's head - wait and watch after you start the show to be sure it's paying out and taking up properly. That 30 seconds has saved countless shows!

Posted by Tyler Potts (Member # 4952) on 03-23-2009, 10:07 PM:

I'll vouch for that, the 2 new guys I'm training are leaning this the hard way. Wait... watch, next show. No problem. New proj. had his first Friday shift with 4 brainwraps because of this. Always check film path & speed before walking away!

Posted by Pete Naples (Member # 761) on 03-24-2009, 10:08 AM:

To add to the list of things for operators to remember.

Coffee, tea and biscuits for visiting engineers.

Posted by Joe Redifer (Member # 3) on 03-24-2009, 10:42 AM:

Here's one for the managers of my theater: Remember to change the lens and the masking! We have manual lenses and masking at our complex. I went in last night for some tech work and found a flat movie running with the lens and masking both set for scope. And yes, there was a paying audience in there.

Completely embarrassing!

Posted by Sean Weitzel (Member # 244) on 03-24-2009, 10:47 AM:

With the proliferation of 16:9 televisions all set to "stretch" mode, I wouldn't doubt that the audience either didn't care, or didn't notice.

Posted by Bill Enos (Member # 440) on 03-24-2009, 11:26 AM:

This hasn't been covered--learn to do something that pays well enough to bother to do, quit the theatre business for good.

Posted by Eric Robinson (Member # 2966) on 03-24-2009, 12:15 PM:

quote: Ronda Fitzsimmons
wait and watch after you start the show to be sure it's paying out and taking up properly

A couple of times...I won't say how many. I have started a show with a film path error, such as, the film jumped out of the brain plate feed out arm.

Taking 30 seconds or so to check the entire film path will avoid the problem I hear so often. "We had a brain wrap last night. It just happened for no reason."

So far, I have had 0 (zero) brain wraps.

Posted by Joe Redifer (Member # 3) on 03-24-2009, 03:16 PM:

I don't buy that film magically "jumps" anywhere. It is a misthread, plain and simple.

Posted by Brad Miller (Member # 2) on 03-24-2009, 03:43 PM:

I've seen it happen without a misthread, although it is generally due to the system not being setup right from the get-go. For example, I've seen film come out of rollers partway through the movie because a roller was not angled properly and the film was hanging onto it for dear life. Then when a sticky splice in the film hit, it caused the film to snap tight for an instant which popped the film out of the roller and initiated the damage (or wrap).

Posted by Joe Redifer (Member # 3) on 03-24-2009, 07:09 PM:

Usually when people tell me that film "jumped" is when they suddenly find the Strong brain misthreaded, like a loop of film gets around one of the thousands of rollers that surround it and it starts to wrap, or the film is on the wrong side of the "big" roller coming out of the arm in the brain. They are like "Oh! It must have jumped!" I have seen film fall onto the wrong side of the thousand rollers that surround it if there is an outer bulge from an added trailer or whatever, but it is extremely rare. If there is an inner bulge (which you should never ever allow) then the Strong brain goes crazy and usually can't keep up.

Another time people tell me when film must have "jumped" is when the lower feed roller directly after the failsafe is missed and the film is rubbing against the pole that holds that roller, causing fantastic moving scratches. This I can see happening because the Strong variac has sooooo much torque that the rewind does not stop trying to spin no matter what when threading and it bends the roller out of place. But any dipshit would see that and put the roller back into place.

Posted by Eric Robinson (Member # 2966) on 03-24-2009, 09:32 PM:

Here's a funny story. A projectionist came to me looking a little panic stricken. He tried to explain the problem which made no sense. We went to the projector and saw that midway through the film, at one of the splices, the film separated perfectly down the middle. The inboard half of the film was piling up on the floor and the outboard half of the film was winding up on the platter. The fail safe apparently was too dumb to figure it out, and the platter was happy since it was getting ... some ... film. To this day I still don't know how it happened. I think we lost two reels on that one.

Posted by System Notices (Member # 2357) on 01-03-2011, 04:49 PM:

It has been 649 days since the last post.