Film-Tech Forum ARCHIVE: Booth tech training

This is topic Booth tech training in forum Film Handlers' Forum at Film-Tech Forum ARCHIVE.

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Posted by Zack Strickland (Member # 5503) on 10-08-2010, 03:21 PM:

Our company was wondering if anyone had any knowledge on where to find training to be a booth technician for digital, primarily, but also for our 35mm setups as well. We want to send someone to school to be our own tech. I'm sure you guys know something about this

Thanks,

Zack

Posted by Manny Knowles (Member # 1171) on 10-08-2010, 09:59 PM:

I don't know of an individual "school" that teaches everything your tech would need to know. Several of the manufacturers offer training but each session costs money to attend (plus travel/hotel), so it can get expensive. Such training sessions would be most valuable if your tech went in with specific things he/she wanted to learn. (Translation: don't send a total newbie.)

Personally, I found it very helpful to read manuals (available here on Film-Tech) and SMPTE documents. And, of course, the Film-Tech website is a great resource that can be searched/researched. (In fact, your question has been answered on here a few times, so do a search and you'll unearth other responses.)

I've been projecting film (and now video) for nearly 20 years now and I'm still learning. I think we all are. I know many people who, like myself, learned on-the-job with occasional formal training along the way.

I'm curious to know more about your cinema. Is it a multiplex? What's in your booth? How have you dealt with booth servicing up until now?

Posted by Monte L Fullmer (Member # 2797) on 10-09-2010, 03:59 AM:

..been cranking and spinning film for over 40 yrs and learned it all the hard way - no formal teaching, schooling,et.al.,but saved me with all of the manuals and parts manuals available per each booth I worked at.

Thus, I did a lot of "homework" figuring out things and seeing how it's all put together.

Plus, it really helps out a lot if one is really mechanical minded and not scared to dive in head first on a lot of instant decisions. You're gonna have to learn to be a leader and make decisions on the fly-not worrying on what someone else would say.

Best head off to electronics school and college to get electrical engineering degrees and similar.

..and with digital: that's a whole different animal to try to figure out since it doesn't have hardly any moving parts-it just sits there and blow air all around inside and shoots light out the lens to the screen....big ol' DVD player/projector. But, the server is something else for that's the thing that runs the show to the projector..

..and to learn digital does require some schooling by the manufacturers and that aint cheap by any means.

Good luck-Monte

Posted by Aaron Mehocic (Member # 15) on 10-16-2010, 01:35 PM:

Depending on the workload and rate of equipment breakdowns . . .

Unless your company is prepared to pay more than what the theater's general manager is making per year I'd recommend contracting with an independent service tech.

Posted by Randy Bowden (Member # 587) on 10-16-2010, 06:26 PM:

You company would probably be better off finding a good independent technician, unless you are over 100 screens, then it might make sense to have an in house tech. A good tech is worth every penny they charge. If you want training, you can hit up specific manufacturers, that's about it.

Posted by Aaron Mehocic (Member # 15) on 10-16-2010, 09:29 PM:

Think about this:

Lets presume Zack wants to in-house the tech and that person is responsible for servicing both digital and 35mm units. Lets use the 100 screen count as Randy suggested above and lets presume the current ratio is 25 digital units to 75 35mm. (For the sake of the argument lets make every digital house a Christie 2K with a Dolby server and every 35 mm house a Simplex X-L with Strong consoles and DTS sound.)

Even in this Utopian set-up there are still a ton of variables, such as specific servers, consoles and DTS units; but what kind of qualifications do you look for in the tech himself? Should this person be promoted from within or hired from outside? What level of education should this person have or does prior experience as a projectionist count? If a degree is required, should it be from an accredited two-year trade school or a four-year college? Finally, what is the starting wage?

If this was my company and the future looked bright enough to bring on a in-house tech, I would want somebody with a background in information-technology who could navigate in the digital cinema world. This, quite frankly means luring somebody from Christie, Barco, or any other manufacturer for that matter and being able to, at minimum, match his current salary. I would also require this person to have a basic knowledge of AC/DC theory, circuitry, and motor control . . . you know . . . to be able to service those archaic, pesky 35mm antiques when they breakdown. Finally, I would put this person under contract with me for a six month grace period, followed by a two-year period if I like his work.

Of course, there are probably less than 1000 technicians in this country that have these base qualifications and would be willing to work on both digital and 35mm units (not to mention the additional hours necessary as more 35's are torn out and DLP's are put in). And of course they will not do this stuff for $7.25 an hour either.

Avoid these problems, contract your work out to an independent service tech. Its the right thing to do, both morally and professionally.

Posted by Louis Bornwasser (Member # 3063) on 10-17-2010, 10:05 AM:

Ours is the only industry that Insources. Everyone else OUTsources. (One of the above is insane.) Louis

Posted by Aaron Mehocic (Member # 15) on 10-21-2010, 11:45 AM:

If you are directing the insane comment at me then I will take that as a compliment. [Smile]

Posted by Manny Knowles (Member # 1171) on 10-21-2010, 01:20 PM:

you know -- I never thought I'd agree, but maybe it IS possible to "think too much." [Roll Eyes]

I'm suddenly reminded of this thread.