quote: Mike Blakesley

---

we'll probably be digital in a year or two anyway.

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... that's pretty cool, Mike. Good luck on that venture since you've got the screen requirements to run digital.

-Monte
 

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Posted by Mark J. Marshall (Member # 1409) on 11-08-2008, 07:33 AM:
 
I would say that I use Joe's method above pretty much exactly the way he says it with one exception:

For us, the soundtrack ALWAYS faces the tree and away from the auditorium no matter if the platter is on the operator side of the projector or if it's on the non-operator side of the projector. I've heard all of the arguments as to keeping the emulsion side on the rollers, and it all may very well be true. I just don't see evidence of the advantage in our location. We've gone for months and months and months without scratching anything... until a manager comes up and tries to run things their own way. Then all of a sudden we may have two scratched prints.

I would add that threading bottom up also allows you to not have to waste time afterward taking up the slack on the take up platter. Yes you still have to take up the slack, but for me that happens while threading the bottom roller on the projector at the same time. It only saves a few seconds but it counts.

And I would say that I do not thread to the "START" (8 second) mark. I thread before that and then manually advance to it. That way I can look at the film advancing in the projector and be sure that I don't have any problems (film slipping off sprocket teeth, or pad roller pinching the film, etc.)
 

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Posted by Jon Miller (Member # 163) on 11-08-2008, 08:23 AM:
 
At the theatre where I help run film festivals, I work with Christie AW3s on the gear side of Century SA-TA projectors and thread in sort of a convoluted bottom-up/top-down fashion; soundtrack facing wall from platter to projector and facing away on the return trip.

First I thread the payout deck of the platter, run the film through the top projector guidance roller, give the film a half-twist, then take the film back to the platter and thread the takeup deck (yes, the "V" trick).

At the projector, I set the intermittent, then draw off slack from the platter takeup (triggering the motor and keeping the film off the floor), thread the lower guidance roller and failsafe, then clamp the film in place in the holdback sprocket of the R3 soundhead.

Next, I'll draw off enough slack from the payout side to load the film trap and intermittent, feed sprocket, idler sprocket, and soundhead, in that order.

Lastly, I release the holdback sprocket pad and feed off any remaining slack to bring the film into proper tension at the sound drum, then--as Mark recommended in the preceding post--manually advance the film to the proper starting point to ensure the film runs smoothly through the projector.

Whew. Thank goodness for AW3s! I could never pull this off with certain other platters (*cough* Potts *cough* Strong).

As to why I do it that way, the goal is keeping film off the floor. That, and because I never got the hang of threading in a pure bottom-up fashion.
 

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Posted by Steve Guttag (Member # 268) on 11-08-2008, 08:27 AM:
 
You know...little rules to guide the newbie are fine and consistancy is the key...particularly when trying to diagnose the problem.

I normally let the equipment and the film path dictate the way I thread a paricular theatre. The film is always presented a path that presents the least amount of twisting and also how the film sits on the rollers is taken into consideration.

I can thready top->down, bottom->up or even middle->out...again it depends on the equipment and, quite frankly what position I'm in as to where I'll start. Generally speaking, I thread top-down still but often with Kinoton FP20/30s, I thread bottom up, it just feels more natural. Regardless of method, I never dump the film on the floor, the travel on the take up mechanism normally is sufficient to allow the full projector be threaded...thus, on can pull the film up too (from the take up side of things).

Steve
 

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Posted by Joe Redifer (Member # 3) on 11-08-2008, 10:41 AM:
 

quote: Mark J. Marshall

---

I would add that threading bottom up also allows you to not have to waste time afterward taking up the slack on the take up platter.

---

quote: Jon Miller

---

Whew. Thank goodness for AW3s! I could never pull this off with certain other platters (*cough* Potts *cough* Strong).

---

I have the Strong platters which have the 4-way switches on each deck (OFF is totally useless, I usually just leave the decks on PAYOUT unless they need to be set to REWIND). Anyway, the way I teach others to thread these decks is to have them both set to PAYOUT and when the projector threading is done, switch the takeup deck to REWIND while braking the platter deck so it doesn't go apeshit insane and try to crush the leader and bend rollers all out of whack (which it WILL if you are not careful). The way I thread is to put the takeup deck on REWIND right at the start, so the deck is spinning away as I thread the platter. When I get to the ring I let the spinning deck take the leader on its own and tension comes naturally. The variac drops on its own at this point. Then as I begin to thread the projector I pull from the bottom to engage the variac and quickly pull so it raises without slamming into the top, that way it doesn't try to spin at warp 90, then I put the film into the bottom feedout roller and then upwards through the projector. I don't teach newbs this because I don't think I would like all of the crushed leader. It is easy to teach a newb this on a Christie platter, though.
 

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Posted by Tony Bandiera Jr (Member # 2365) on 11-08-2008, 12:37 PM:
 
I run changeovers so I don't have to deal with 30 feet of leaders anymore.

With my FP-38's I pull the film from the feed reel, start the leader on the takeup reel and wind down until the 10' (Academy) is right in front of the lens. I then thread the gate and upper feed sprocket. If using DTS, I then thread the extra sprockets and film capstans and DTS reader (mounted where the old 4-track mag goes). Then on the the reverse scan analog reader (BACP) and finally take up the slack on the takeup reel. Advance the film to the proper frame for the changeover.

So essentially I start in the middle and work up then down.

Best part the film never hits the floor.
 

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Posted by Monte L Fullmer (Member # 2797) on 11-08-2008, 01:21 PM:
 

quote: Tony Bandiera Jr

---

I pull the film from the feed reel, start the leader on the takeup reel

---

quote: Joe Redifer

---

Anyway, the way I teach others to thread these decks is to have them both set to PAYOUT and when the projector threading is done, switch the takeup deck to REWIND while braking the platter deck so it doesn't go apeshit insane and try to crush the leader and bend rollers all out of whack

---

quote: Tony Bandiera Jr

---

With my FP-38's I pull the film from the feed reel, start the leader on the takeup reel and wind down until the 10' (Academy) is right in front of the lens.

---

Bad practice. Pull down just enough to reach the takeup reel, thread the projector and then motor (or POS if your projector has it) down to the starting area. Handling the film on the countdown is precisely why older films that have "never been plattered" look like absolute shit at the reel changes, and lets be honest here, even really bad film handling practices during buildup and breakdown to/from a platter don't make the film THAT crusty at the ends of the reels. Fact of the matter is Tony's procedure is handling the film TOO CLOSE (only a wrap or two away) from the first/last section of picture.

Sadly Dolby is a big part of this film handling nonsense. Ever since 1992 people running SRD have had to deal with NOT using the motor switch to prevent triggering a false changeover, and most techs are not intelligent and/or don't care enough to give their operators a motor switch that isn't connected to the Dolby system for advancing leader. The result is that even a spectacular projectionist running such a booth is forced to use Tony's exact procedure above.

Assuming you have a booth that does not have such traditional silliness in regards to a SRD system and you have one of those leaders with 50 feet of clear before any framelines start and you don't have any time to add some extra leader or put a few frameline marks an arm's stretch from the tip end, just throw the film "good enough" into the projector, motor it down and then adjust the film in the gate and check your loops then. The film is handled much less, and also the entire leader isn't dragged across the side of the reel and/or projector.

With that being said, I thread platters bottom up and reel to reel top down. With platters you have the stretch of film hanging over the top roller of the projector that has just enough weight to keep the film out of your way, and you can pull as needed easily, so bottom up is much faster and easier. With reel to reel the way I do it the film never reaches the floor anyway, and with a heavy reel to pull (often slung backwards over the lamphouse to accommodate a ceiling height restriction) it is faster and easier to thread top down.

The big question Joe didn't ask is...how do you thread your test loops???
 

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Posted by Jon P. Inghram (Member # 4125) on 11-08-2008, 02:39 PM:
 
We've got Century SAs and Christie AW3s, with the platters on the non-operator side. I thread the leader from the platter to the top roller on the projector and then back to the platter. Back at the projector, I pull leader down from the top roller while keeping the lower half off the ground. I thread the leader through the bottom roller, the fail-safe/optical cue reader rollers, lock it in place over the last sprocket, and finally pull the slack out to activate the take-up platter. Next I pull some leader down from the top roller and thread top-to-bottom through the Cat. 702 and projector, making sure to get the intermittent in the correct location to be in frame with the right loop sizes. Then I let any excess leader slip past the last sprocket so I can tension up the analog reader and finally motor the leader through.

I was trained with the "pull a pile of leader onto the floor" method but after having read about the "bottom up" method I've used that (or a variation of it) as it just feels more natural to me. I have tried threading the entire projector up from the bottom in one step but it just doesn't seem as intuitive to me with our particular projectors.
 

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Posted by Steve Guttag (Member # 268) on 11-08-2008, 09:11 PM:
 
Brad, if you ever see the video of me making a changeover at the Uptown...you'll note that I do a "double-bump" to avoid the Dolby digital Changeover and also use the motor to keep ones hands FAR away from the countdown...in fact, the extra "leader" was just old trailers...easy to thread in frame.

While I'm not a fan of the double bump, it did not seem to have any notable motor issues due to the second start. With an inverter drive, things would have been much easier on the motor and everything else.

Speaking of the Kinoton positioning button...for some reason, Kinoton has deemed it isn't needed on "ES" grade and above...we add the functionality back in because it is the right thing to do.

Steve
 

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Posted by Tony Bandiera Jr (Member # 2365) on 11-08-2008, 11:24 PM:
 
While on one hand I do agree with Brad, there are several points that need to be considered:

First, most prints do not have sufficient leader(With proper frame lines far enough ahead of the first frame of picture (FFP)) to permit threading up and rolling down into the proper timing for changeover;

Since we don't run first run, we don't have a supply of trailers (a good idea BTW) to act as additional footage to thread up on;

A LOT of the prints I run are archival/last prints around and they take a very dim view of any "added" splices, especially in the leaders;

In most cases, I do wear editor's gloves (and if not, I have a restroom and wash my hands frequently while running) and I ALWAYS clean the machines between reels.

Finally, I have kelmar cleaners for both machines and use Film-guard as needed. And the aux roller on the film cleaner bracket allows me to wind the film down without contacting the projector frame or lens.

In short, while I can see the point Brad has made, I disagree that my threading method causes ANY dirt build-up that can migrate to the image areas.

The REAL problem with dirt/scratches on 80%+ of the prints I get is caused by the bad condition of the shipping cans (flaking cardboard inserts, etc.) AND people who don't properly secure the leaders. (See the "Hey you suck" thread..)

In 11 years of operations at my booth NOT ONE print has left with scratches/dirt caused by my handling or equipment, and this is as confirmed by the feedback from MGM and other archives. In fact the Korean Film Archive sent a very nice letter to my dept. head thanking us for CLEANING AND "RESTORING" their prints.

Having said that, I will state that I DO agree that it would be far better to have an extended leader, with proper frame lines, to thread up on. But until labs start providing them (or I revert back to a first run cinema with platters), I will continue to thread as I do and sleep soundly about it.

Edited to add:

quote: Steve Guttag

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Speaking of the Kinoton positioning button...for some reason, Kinoton has deemed it isn't needed on "ES" grade and above...we add the functionality back in because it is the right thing to do.

---

As much as those machines cost, I am dismayed that they took away the POS (Position) button. It is a far better way to advance the film instead of bumping the motor switch. Thankfully Steve is putting that function back.
 

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Posted by John Hawkinson (Member # 1135) on 11-08-2008, 11:28 PM:
 
For really long leaders, on inspection, I haul out my sync block and lay down a piece of a paper tape 5' from the start of the leader, and mark three framelines on it.

--jhawk
 

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Posted by Tony Bandiera Jr (Member # 2365) on 11-08-2008, 11:45 PM:
 
John, excellent idea when you have enough leader provided to do that. Sadly, most prints I've seen don't have that.
 

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Posted by John Hawkinson (Member # 1135) on 11-08-2008, 11:47 PM:
 
Huh? That's my solution when you have "too much" extra leader (e.g. 20 feet of clear stuff).

When you don't have a lot of extra leader, then you can frame without having to haul out lots of leader.

(Oh, is the problem here the SRD motor relay issue? Not an issue for us in our configuration, but...)

--jhawk
 

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Posted by Tony Bandiera Jr (Member # 2365) on 11-08-2008, 11:52 PM:
 
The issue is Brad disagrees with my threading method using a "standard" leader.

See the first page.
 

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Posted by Brad Miller (Member # 2) on 11-09-2008, 02:10 AM:
 
Actually Tony, had you read my post carefully, you would've seen that I recommended precisely what John was suggesting above when you have a print with tons of clear leader at the front before usable framelines appear. Just mark a few frames about an arm's stretch from the tip of the leader and you're good to go.

Also, no studio will get angry because you added extra leader to a print. You aren't cutting the film anywhere. That is the stupidest argument I think I've ever heard on these forums.

Regardless, the film should ideally never be handled closer than 25 feet from the first (or last) frame on the reel. Obviously reality prevents that in most circumstances, but regardless the fact of the matter is that every time the film is handled, it gets just a little bit more wear to it at and near that spot where it was handled, and every time the film runs, that section...even if only slightly dirty...migrates to the next layer of film. That's how it works, and is precisely why you can tell on an older print that you are approaching the reel change well before the cue marks appear.

If you only run a print a time or two (and especially if the print wasn't brand new to begin with), then I don't expect for you to be able to see what your practices are doing.

I do firmly agree with you though that the condition of the shipping cans and lack of tape to secure the leaders down are serious problems though. That is why for years when I used to work regularly in booths I would ship prints out with each reel individually wrapped in a small trash liner and about 8 inches of tape on each reel to secure the leaders.
 

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Posted by Jim Cassedy (Member # 4115) on 11-09-2008, 10:35 AM:
 

quote: Tony Bandiera Jr

---

If using DTS, I then thread the extra sprockets and film capstans and DTS reader (mounted where the old 4-track mag goes).

---

I've got one booth with a 35/70 JJ where the DTS reader is mounted on
top of an SDDS reader which mounted on top of the original 37/70 mag penthouse.

I have to keep an old milk crate next to the projector so
I can reach that roller way on top

( and I betcha didn't know old milk actually came in crates! )
 

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Posted by John Hawkinson (Member # 1135) on 11-09-2008, 10:48 AM:
 
For our shorter projectionists, we have one of these:


A "Rock Stop" or "Kik-Step" (trademarks both). Rolls when there's no weight on it, but when you step on it, the wheels disengage and it stays put. Quite handy.

--jhawk
 

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Posted by Joe Redifer (Member # 3) on 11-09-2008, 11:12 AM:
 
That's space-age technology, there! Just look at the color of that metal. We are forced to use a metal cage to stand on when we want to reach high places.
 

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Posted by John Hawkinson (Member # 1135) on 11-09-2008, 11:19 AM:
 
Well, gosh, Joe! It appears they're celebrating their 50th anniversary over at kikstep.com and they have all these colors:


On the other hand, I suppose it's 2008, so 50 years ago is 1958, and Wikipedia says the Space Age started in 1957.

--jhawk
 

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Posted by Damien Taylor (Member # 4255) on 11-09-2008, 11:23 PM:
 
3 screens with AW3's two non operator side. I was always taught soundtrack away from tree all times and towards screen to and from projector, makes for some pretty gnarly twists. Also we use prints soundtrack down, which I heard was an old fashioned thing to do.
 

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Posted by Tyler Potts (Member # 4952) on 11-10-2008, 12:52 AM:
 
Strong platters with simplex projectors and soundhead, dolby in 4 houses DTS in 10 (two of those needing the discs at all times, they don't save the media). I tree up like Joe's original post and thread with the proper loop sizes as my old (past and age) certifier instructed me. The 2 projectionists I personally trained thread this way, and I think I need to hold a back to basics seminar for the 3 others. They like to immediately pull nearly all the leader to the floor, loop to the top roller above the projector, tuck the tail under the print (even though we have MANY pucks), sometimes check the flywheel to see if they're in frame, and then the worst... after threading, pulling the leader away from the platter towards them to make it take up.
 

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Posted by Jim Cassedy (Member # 4115) on 11-10-2008, 09:36 AM:
 
I tend to thread as most of the other posters here, but I have the sound track facing the front wall of the booth as it heads towards the projector.

In my particular situation which involves a number of extra rollers between the projectors & platters due to them being in seperate rooms ( ! ) this arrangement keeps only the base side of the film in contact with the rollers.

Same thing on the return side.
 

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Posted by Dominic Espinosa (Member # 2122) on 11-10-2008, 11:40 AM:
 
Hey, Joe. What made you crave a can of worms?

I thread same as Joe with a few variations: I open up the pad rollers and gate and such, wipe it out, turn my intermittent, then start threading.

I as well learned to pull down a few feet of film onto the floor and thread top to bottom.
After becoming a Film-Techer I started locking it in the sound head holdback sprocket (Century R3's) and threading down until I learned to thread "up".

Now I teach everyone, regardless of machinery, to thread bottom to top and be as generous as possible with the leader when building up. We also do a "running start" by motoring through the extra leader before hitting the start button.

As was already pointed out, when you learn where the framelines go you never have to readjust your loops.
I can't imagine threading any other way because this way is so much faster, accurate, and let's face it, cooler.


 

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Posted by Monte L Fullmer (Member # 2797) on 11-10-2008, 01:43 PM:
 
Looks like I'm about the only one that does the soundtrack away from the screen. Simple reason why I do this is that (and I know this doesn't matter since film is film...) the film has a certain curl and it just seems to lay across the upper projector roller better if I do it this way than soundtrack facing the screen.

Plus, even though when I began working with platters in the mid 70's, it was soundtrack to the screen at first. But, it was easier for me to do away from the screen and thus continued that practice to this day.

Plus, with those who don't have any digital devices attached to their projectors, it seems that the film hits the upper sprocket rather on a distressed angle with the film being pulled down mainly by the inboard set of teeth whereas if one does it the way I do, then that sprocket is pulling down the film with both sets evenly.

It's all personal preference....

-Monte
 

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Posted by Bill Enos (Member # 440) on 11-10-2008, 01:46 PM:
 
This stupid topic will never die. A few years ago I asked some older, I'm talking 80+ years, retired union projectionists about threading up or down. They were all taught in the '40s to thread down and to avoid the floor but it was not an issue if it touched. One of these men was part of a 4 man crew that ran one print of one of the roadshow films for a year and a half and it didn't have visible dirt or scratches at the end. That was reel to reel 70mm on Norelcos. His comment was that if the booth was clean, the floor was swept 3 times a day, and damp mopped once, touching the floor didn't matter.
 

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Posted by Tony Bandiera Jr (Member # 2365) on 11-10-2008, 02:34 PM:
 

quote: Bill Enos

---

One of these men was part of a 4 man crew that ran one print of one of the roadshow films for a year and a half and it didn't have visible dirt or scratches at the end. That was reel to reel 70mm on Norelcos. His comment was that if the booth was clean, the floor was swept 3 times a day, and damp mopped once, touching the floor didn't matter.

---

{Bold emphasis added by me}

Thank you for posting that. It emphasises my point in my post above, that if you keep things clean, including the machines, booth floor, hands, then it WON'T cause the film to get dirty no matter where you thread up.

Although even though I keep my booth clean, I still won't let the film touch the floor.
 

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Posted by Joe Redifer (Member # 3) on 11-10-2008, 03:28 PM:
 
Bullshit. Just because YOU don't see scratches and dirt (or THINK you don't see them) doesn't mean that they are not there. It just means that either your light is insufficient to show things on your screen, your eyesite is bad or you are not capable of noticing such details... or a combination of the three. I'll often stand next to someone and say "you see those specks of dirt?" Of course they'll respond in the negative. That's when I start losing hope that others will care enough to do things correctly. Also keep in mind that the bulk of ancient union projectionists aren't the best source of valuable information when it comes to keeping things clean. They are the ones who taught the shoe polish method because they are blind and cannot find the splice any other way.

quote: Monte L Fullmer

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Looks like I'm about the only one that does the soundtrack away from the screen.

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quote: Dominic Espinosa

---

We also do a "running start" by motoring through the extra leader before hitting the start button.

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quote: Joe Redifer

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They use Strong CNA-style automations which can accommodate a start cue. But of course haven't figured that out.

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quote: Joe Redifer

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Bullshit. Just because YOU don't see scratches and dirt (or THINK you don't see them) doesn't mean that they are not there.

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quote: Joe Redifer

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hence the old programmed delay of 8 seconds

---

..unless you have the good ol countdown leader and frame between between "11" and "10".

This theatre that has these CNA-100's were having horrible startup due to them keep on forgetting to add that start cue, and if I put one one to do the show right, the booth monkeys would only remember that for a couple of days and still manage to fubar it up afterwards.

Thus, I reprogrammed the automation to go back to the default 7 second dowser opening on the "Cue 1" setting, and things been tons easier for them...and the patrons.

..and also do agree with Brad with his comments....seen a lot of both sides in his descripts.

-Monte
 

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Posted by Joe Redifer (Member # 3) on 11-10-2008, 10:42 PM:
 
How could they mess up the start cue? Once they are on a leader, they never need to add it again. All they have to do is thread the machine. The only way to mess it up is to consciously remove the start cue physically. I don't care for motoring to a specific frame when I thread. Countdown leaders are not ideal because not all platters are the same distance from the projectors, so the motoring would be required. I also like my leaders to be as long as possible. Start cues are the proper solution.
 

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Posted by Monte L Fullmer (Member # 2797) on 11-10-2008, 11:42 PM:
 

quote: Joe Redifer

---

How could they mess up the start cue

---

quote: Joe Redifer

---

Don't most digital pre-shows hold a looping "welcome to our shitty theater, we love showing you tacky ads" screen indefinitely until the projector starts? If not, they most certainly should. I am glad I don't have to deal with the headache (and tackiness) that is the digital pre-show.

---

I wish our pre-show DVDs were that well produced. They stop playing right after the ending "Welcome" slide and gives the audience the DVD players logo. And the person who makes them apparently doesn't understand the difference between 16x9 and 4x3 aspect ratios, nor even how to properly encode the slides: It's not uncommon for an advertisement to be corrupted bad enough that it can't be read.
 

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Posted by Monte L Fullmer (Member # 2797) on 11-11-2008, 07:38 PM:
 

quote: Fred Tucker

---

kinda hard to do when you thread from the bottom up though.

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quote: Steve Guttag

---

You'd have to be brain dead to now be able to thread up consistantly.

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Huh? I am able thread consistently. Does that mean I am brain dead?
 

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Posted by Chris Slycord (Member # 4239) on 11-12-2008, 06:58 AM:
 
It's called a typo. He typed "now" when he meant "not."
 

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Posted by Damien Taylor (Member # 4255) on 11-12-2008, 08:13 AM:
 
Typo's are inexcusable, they will be exposed and mocked without mercy for multiple pages. Or at least until the next splicer brand argument.
 

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Posted by Joe Tommassello (Member # 4632) on 11-12-2008, 11:16 AM:
 
I started with the soundtrack facing the tree and the screen, over the top roller, down through the bottom roller (track still facing the screen) and back to the take up deck. Our automation was timed to a specific interval so I started with the top sprocket on the projector keeping the show start at approximately 18" from the top roller above the projector in order to match the automation. Then I threaded down through the projector and up through the digital readers and/or film cleaner. Why? I was taught that way and it never gave us any problems. Of course our equipment was always properly maintained. Starting with the top sprocket gave us a standard by which to time the aperture opening regardless of which combination of digital readers or cleaner we had above that spot.
 

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Posted by Steve Guttag (Member # 268) on 11-13-2008, 08:28 AM:
 
God, there are about 50 typos in my previous post. I never proof read these things so yes meanings can change as "can" could be used instead of "cant" with the mere omission of the "t."

Then there are the spelling issues...in my previous post I used "your" instead of "yore." They sound similar, they mean different things. I generally don't go back and re-edit even when I see that I've goofed up a bit.

And yes, Joe, you ARE brain dead. I think that has been confirmed for some time now.

Steve
 

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Posted by Joe Redifer (Member # 3) on 11-13-2008, 04:45 PM:
 
I'd have to have a brain to be brain dead. Joke's on you, Steve!

quote: Joe Tommassello

---

Why? I was taught that way and it never gave us any problems.

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quote: Joe Tommassello

---

Why? I was taught that way and I never thought about doing it differently even with a mountain of evidence that it would improve my presentation.

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quote: Fred Tucker

---

However, it is preferred to pull leader through to where running the motor is not necessary, kinda hard to do when you thread from the bottom up though.

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quote: Monte L Fullmer

---

On your threading down, why didn't you attach the lead to the LP-270's ring and spin the platter (doing your "triangle" load as you did with the threading up procedure) til the area that where you need to frame up was close, so that only 4 ft of film was on the floor when you pulled down to the required number area instead of wasting the time untangling what was accumulated on the floor to attach the end to the ring?

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quote: Dominic Espinosa

---

Spotted that Speco from a mile away

---

Worked with these units for 8yrs - got to know them inside and out pretty well..and how to make them stand on their heads and bark at the moon when I hollered "Do IT"

quote: Dominic Espinosa

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however we have a few houses in the chain with long distances between platter and projector so it is a reality for us.

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quote: Kurt Zupin

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once they are compatent in this it only takes 45 seconds or so to do the whole thing.

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quote: Mike Blakesley

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I wonder if people trying to set "speed records" for threading are the ones responsible for all the out-of-frame starts we hear about?

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quote: Bill Enos

---

None of this stupid discussion matters at all, you won't be threading at all in a few years, so give it up, learn all you can or at least all you'll need to know about digital cinema so you will be of some use and be one of those who has a job.

---

Since the way I thread makes no difference to the customer, nor damages the film in any way, I just keep the critics out of my booth until I'm done.
 

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Posted by Damien Taylor (Member # 4255) on 12-31-2008, 11:26 AM:
 

quote: Bill Enos

---

None of this stupid discussion matters at all, you won't be threading at all in a few years, so give it up, learn all you can or at least all you'll need to know about digital cinema so you will be of some use and be one of those who has a job.

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quote: Damien Taylor

---

I choose to believe film and digital will be living together for quite some time.

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quote: Mike Blakesley

---

I wonder if people trying to set "speed records" for threading are the ones responsible for all the out-of-frame starts we hear about?

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