This is topic Teething problems on first showings in forum Digital Cinema Forum at Film-Tech Forum ARCHIVE.
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Posted by Thomas Pitt (Member # 4322) on 02-06-2019, 01:22 PM:
I frequently go to see movies on the day of their release; often the first public showing of the movie in that particular theater. More than once, the theater has had a problem with the projector, server or 3D polariser that's affected the movie.
Today I saw Alita Battle Angel in 4DX. The movie didn't start at the programmed start time; someone had to go start it manually. The trailers played ok, but when the movie started the screen was all purple with only the green channel showing any image. With 3D glasses on it was even worse; awful flickering on alternate left and right eyes. Eventually they did manage to get the picture to look correct, but I had missed the opening 5-10 minutes of the movie due to this issue. They gave out free passes to people who stayed to the end after that.
Any of you guys had the first showing of a movie fail? Aren't theaters supposed to do a staff-only screening first to make sure everything is working?
Posted by Mike Blakesley (Member # 26) on 02-06-2019, 01:34 PM:
Sounds like they had a 3-D DCP programmed into a 2-D playlist. That would cause something like the color issue you described.
We always test every movie. If it's a "major" movie we'll do a full run-through, but I always look at the first minutes, then a dialogue scene to see what volume we need to use, and then I always run the full credit roll to see if there are any easter eggs. If there are, I'll program the lights to go down during them.
Posted by Frank Cox (Member # 6258) on 02-06-2019, 02:24 PM:
I watch every movie that I play from start to finish, sitting all by myself in the auditorium, before showing it to the public. Over the years there have been two or three instances where a movie showed up here too late on Friday afternoon to allow me to have time to watch it in advance so I just had to press play and pray, but I don't like that at all.
Most movies used to have note stating that this must be done before showing the movie to to the public, and a paper form was also included in the shipping case for the projectionist to fill out and fax back to Technicolor or whoever. "(title) has been pre-screened at (theatre name) by (projectionist name) at (time) on (date). After the first few years that form disappeared but the note about pre-screening being required still shows up on some of the papers that come in the shipping case along with the movies.
I guess a lot of theatres don't do that (and maybe they never did) but they're all supposed to and in my opinion it's negligent to not do that.
When I got film, I could see the film and know if it was in good shape. Are all of the reels there? Is the film itself in good shape? It didn't happen too often that I got a film in such poor condition that I had to pre-screen it to fix it but I did have to do that on more than one occasion, too.
With digital cinema you don't know what you've got until you watch it. Is it correct? Is it complete? Does it play all the way through in the right order? Any other issues with the picture or the sound? There's simply no way to know any of those things without actually sitting down and watching it all the way through.
Posted by Monte L Fullmer (Member # 2797) on 02-06-2019, 04:39 PM:
If Real D and just using a Z-screen, the connection between the Read D transmitter box and Z-screen is broken.
Flickering between lenses is what I get when a Z-screen has lost communication with the transmitter.
That S-Video cable they used for the connection isn't the greatest, esp if the Z-screen is on a slider, which loved to irritate that S-Video cable.
Posted by Mike Blakesley (Member # 26) on 02-06-2019, 08:03 PM:
I would love to watch every movie before playing it but with my day job, there just isn't time every week. If we're opening a big movie, I'll usually try to watch it the night before it opens or if it's a Marvel or DC movie, I have a buddy who is totally into that stuff so he's glad to watch it for me if I can't.
We've been digital since June of 2010 and have played at least six hundred different movies on our system, and as of now I've had playback problems with exactly one title. Any other problems we've had were equipment issues that a pre-screening wouldn't have necessarily uncovered.
Posted by Randy Stankey (Member # 64) on 02-06-2019, 11:48 PM:
quote: Frank Cox
When I got film, I could see the film and know if it was in good shape.
Yeah! And, if you built the film up at the workbench before running it onto the platter you could practically watch the whole movie before you even threaded it in the projector.
After a while, once you’ve seen enough film go by, you learn how to shift your eyes the right way and you can see a clear image of the film.
Can’t do that with digipix. Digital movies don’t exist in the real world. They are merely a set of instructions that a computer can use to reconstruct a likeness of a movie... but not a movie, itself.
Posted by Carsten Kurz (Member # 5396) on 02-10-2019, 12:30 PM:
Also makes a big difference wether you want to screen the full show or only the main feature. Main feature is for checking it's intactness and e.g. audio levels, credit offset, etc, but, if there's a tendency for mistakes in the SPL cues, you need to sit through the full preshow to make sure everything ends up properly at the main feature.
Some locations program shows fully manual, some use a TMS, some receive preset program blocks from a central office. Each of these methods has it's own potential issues. Oh yes, and then there may be unreliable equipment.
Some screens may not get the minimum time slot to actually do a test screening. The big chains are all excited about staff reduction and automation, so, who should do these tests?
- Carsten
Posted by Martin McCaffery (Member # 37) on 02-10-2019, 12:46 PM:
quote: Carsten Kurz
who should do these tests?
There's a breech in the market for you: Screening self tests! If we let self-driving cars on the street, why not self checking movies in the theatres.
Now if we can figure out a way to eliminate the need for people to actually watch the movies to make money...oh wait, Netflix.
Posted by Justin Hamaker (Member # 2165) on 02-10-2019, 01:20 PM:
One of the issues is KDMs are not always valid in time to do a qc check the night before. We've had times when the bes we could do was a quick check in the morning before the first show.
One positive with digital movies is they can be checked in just a few minutes. If the playlist starts properly, including the proper format and automation cues then you're usually in good shame. Then verify no audio issues like narration in the rear channel and that the credit offset is correct.
With film you pretty much had to watch all the way through because of the possibility of out of frame splices, or reels attached upside down. Neither should ever happen, but sometimes a print arrives late and your best person isn't available. Or you get a used print that has issues. I remember when we played Bill Maher's Religioulous there was an out of frame splice at almost every reel change. The person who built it up was normally very reliable, but something went seriously wrong in this instance.
Posted by Tony Bandiera Jr (Member # 2365) on 02-10-2019, 08:25 PM:
quote: Frank Cox
When I got film, I could see the film and know if it was in good shape. Are all of the reels there? Is the film itself in good shape? It didn't happen too often that I got a film in such poor condition that I had to pre-screen it to fix it but I did have to do that on more than one occasion, too.
With digital cinema you don't know what you've got until you watch it. Is it correct? Is it complete? Does it play all the way through in the right order? Any other issues with the picture or the sound? There's simply no way to know any of those things without actually sitting down and watching it all the way through.
^^^^ This.
Even when time constraints prevented me from building a print at the bench (Or when I built up the 70mm print of Branaugh's "Hamlet" at the Laemmle Royal) I could still hold the edges of the film coming off the MUT to try and catch problems. (And it paid off with "Hamlet", I found two random splices in the film, done with staples!)
Now it's ingest the hard drive and pray.
While I can agree with the overall presentation at least maintaining a consistent, higher quality over the length of the run, you STILL have the possibility of breakdowns that, unlike film, may not be recoverable for that show.
In the film days I have dealt with stripped gears (changeover booth so we kept going on one machine while I worked on the other during each running reel, we only had two pauses during the show to rethread), platter failures (used the MUT or a spare staff kid to turn the platters), one bulb explosion (restarted after a very quick bulb swap) and so on. Film breaks (as long as it wasn't due to a brain wrap) could be fixed in well under a minute.
And due to digital's quarks, it has happened where you run a test showing and everything works, but a future show has problems due to some sort of server or projector glitch.
Thankfully the KDM issues have been pretty well sorted out, but the idea of keeping the film locked until too close to first scheduled show is still a problem.
And there's THIS to consider.
Posted by Marcel Birgelen (Member # 6801) on 02-11-2019, 05:42 PM:
I've had lot of crap happening around many of the shows I recently attended...
I went to a Dolby Cinema show of Aquaman: The show started, the lights did not dim, it took about 15 minutes to make somebody aware about that fact. It's pretty frustrating that you pay premium fees to get a botched presentation. Nobody even cared to give the visitors any form of compensation for this kind of butchery.
When I went to see The Avengers, Infinity War, somewhere in the last months on some "PLF" screen, the movie initially started without a picture. After fiddling around, they managed to start the 2D version. (We paid for the 3D version.) At first, nobody seemed to notice or care, but then some people went out to complain. Resulting in another 10 minutes of botched attempts to restart the movie, but now with the second projector operating. Eventually, they managed to start the movie in 3D, but the Atmos in the room was clearly not working.
When I first tried to watch Glass in a proper cinema, they couldn't figure how to dim all the lights in the room. Some irritating, white-blue LED strip, mounted vertically alongside our row apparently didn't want to dim, even after 10 minutes of random button pushing. We left, since we didn't want to see the movie with a bright light shining in our face from the left.
While trying the laser-shark upgraded IMAX theater in Amsterdam, the whole thing broke down midway the movie. Fortunately, we could finish the movie in another room, using an old-school Christie Xeon machine... The irony: the picture looked better in that smaller theater and the 7.1 surround in that theater beats the rock-concert arrangement of modern IMAX hands down...
Posted by Carsten Kurz (Member # 5396) on 02-11-2019, 05:57 PM:
They simply need to get more IT and remote monitoring in to overcome these issues. That will allow them to get rid of the human factor that causes all these glitches.
- Carsten
Posted by Randy Stankey (Member # 64) on 02-11-2019, 08:33 PM:
quote: Carsten Kurz
That will allow them to get rid of the human factor that causes all these glitches.
The "human factor" is the reason why people go to the movie theater. It is one person providing a service to another for the purpose of entertainment, diversion and enjoyment.
Yes, there will be mistakes and problems because it is part of the human experience to make mistakes but, as long as people are honest and straightforward, I don't have a problem with it.
The day they took the "human factor" out of movie theaters is the day that movie theaters died.
Posted by Marcel Birgelen (Member # 6801) on 02-12-2019, 05:46 AM:
quote: Carsten Kurz
They simply need to get more IT and remote monitoring in to overcome these issues. That will allow them to get rid of the human factor that causes all these glitches.
It's hard to judge whether you're sarcastic or not. ![[Wink]](wink.gif)
I was under the impression that each Dolby Cinema setup was already meticulously remotely monitored. I mean, it was an almost sold-out Saturday evening show... the kind of show every self-respecting projectionist would check every minute, to ensure everything runs smoothly...
I can understand that stuff breaks down, although given my recent experiences, it feels like stuff is breaking more than it used to do and there is generally nobody around that has any clue how to fix it. Still, it shouldn't be me, arguing with the concessions sales guy that stuff is broken. But yeah, it also shouldn't be me, reminding the guy at the door to the theater, that RealD glasses won't cut it in a Dolby Cinema 3D show... (they sent most people before me back to the concessions counter to buy a pair of glasses, which they then couldn't use...)
If something breaks, the theater should know it roughly at the same time I notice it. You should send somebody out to politely excuse for the mishap, while trying to fix the issue. If you can't fix the issue, then try to give your patrons a worthwhile compensation for their screwed evening. A simple free pass, that often doesn't even cover for upcharges for 3D or "premium" presentations and unfinished concessions, simply doesn't cut it.
In this case kudos for the Pathe Amsterdam Arena, where they, at least did go all the way and look for a possibility for us to finish the movie. Sorry that your upgraded IMAX theater still sucks balls though.
Posted by Bruce Cloutier (Member # 9615) on 02-12-2019, 07:08 AM:
quote: Marcel Birgelen
it feels like stuff is breaking more than it used to do and there is generally nobody around that has any clue how to fix it.
If this were a tweet I would have to give this a Like and would probably RT with commentary. The decline is universal. Technology was supposed to improve life. It did mostly up until that late 90's until capitalism realized that there would be profit in it and the race was on to gobble up every crumb. The story from that point is likely not about the benefit to mankind.
Sorry. I digress. You touched a nerve.
Posted by Carsten Kurz (Member # 5396) on 02-12-2019, 08:11 AM:
quote:
It's hard to judge whether you're sarcastic or not. [Wink]
I am 50+, I am mostly sarcastic.
- Carsten
Posted by Tony Bandiera Jr (Member # 2365) on 02-12-2019, 11:09 AM:
Bruce, funny you mentioned this: (Bold added by me)
quote: Bruce Cloutier
If this were a tweet I would have to give this a Like and would probably RT with commentary. The decline is universal. Technology was supposed to improve life. It did mostly up until that late 90's until capitalism realized that there would be profit in it and the race was on to gobble up every crumb. The story from that point is likely not about the benefit to mankind.
Sorry. I digress. You touched a nerve.
See this
Notice the last paragraph.
Posted by Mike Blakesley (Member # 26) on 02-12-2019, 12:30 PM:
As a society we've given up having things work correctly all the time in trade for convenience. All driven by our constant need for instant gratification. The '80s were supposed to be the "me decade," but that decade has nothing on this one.
My old phone was attached to the wall with a wire, but it worked 100% of the time. Cellphone....well, it usually works most of the time, unless a call gets dropped or there's no signal or there's sunspots or whatever.
My old CD player works 100% of the time. MP3 player/iPod...well, doesn't sound as good, sometimes won't connect to the device I want to play it through, occasionally files get garbled, but hey...it's convenient!
The internet. We used to have 100% of our privacy. Now we don't have that anymore, but look how convenient online shopping is.
And movie projectors. No carrying film around, no scratches or splices, but when it breaks, you've probably lost at least one show. But, it's convenient!
You could make a pretty long list of "nice stuff" we have now that doesn't always work when it's supposed to, for no particular reason.
Posted by Bruce Cloutier (Member # 9615) on 02-13-2019, 08:39 AM:
Well I don't mean to fan any flames here as I am sure that we could all vent and rant about the cons with the current state of technology in cinema and everywhere else.
I have to agree with Carsten in trying to keep an individual screen as an island and not invite disasters that could affect multiple shows simultaneously. Remember KISS. Yeah, that does increase your hardware costs but perhaps you don't need all of the complication (and additional cost) that goes along with a multi-screen management system. But remember I am not talking from any position of experience having not managed a theater myself.
Ultimately though the network ties everything together and can be a critical source of failure. Of course you can fairly inexpensively subnet each screen. Those of you who might be a fan of Battlestar Galactica might remember the issue they had with the networking. There is more foresight in that fictional premise than it may at first seem.
Okay, what? Here I am the guy who created the JNIOR a "network oriented" I/O device. Maybe you can see some of the rationale that I have in having written the JANOS operating system from scratch and developing an entire product that does not run a single byte generated by any third-party.
Posted by Tony Bandiera Jr (Member # 2365) on 02-13-2019, 11:07 AM:
Bruce, no flames fanned. ![[Big Grin]](biggrin.gif)
You brought up a very good point, and Mike elaborated upon it.
Those who have been around here a long time know I was (and to a lesser degree, still am) an opponent to the digital movement.
For sure, it has brought about a significant improvement in presentation quality... (But then again, film done right will STILL look as good over the length of an extended first-run), but we STILL have theatres who don't care about presentation, a serious lack of qualified people supervising things, and when a show is dumped it is often not recoverable.
And I still maintain that the only real, fiscal benefit is to the studios, as the theatres have to keep upgrading equipment that has built-in obsolescence, at their expense. (Compare that to a properly maintained film projector that will run for DECADES without a forced replacement/upgrade.)
The benefits were (are) too heavily skewed to the studio's favor for me to ever feel it was the right thing to do.
Posted by Martin McCaffery (Member # 37) on 02-13-2019, 11:41 AM:
quote: Tony Bandiera Jr
(Compare that to a properly maintained film projector that will run for DECADES without a forced replacement/upgrade.)
I think I read somewhere the average lifespan of a theatre is 15 years. I can't vouch for the accuracy of that number, but it seems pretty close. So who needs equipment that can last for decades when you expect to get all of the money you can out in 15 years?
Keeping in mind that I run a theatre that has been in operation since 1941.
Posted by Mike Blakesley (Member # 26) on 02-13-2019, 12:04 PM:
That seems to be the model that the old Carmike was following in Billings. Build a shiny new theater, run the crap out of it, and then abandon it. There are currently two abandoned Carmikes in Billings, one of which was resurrected as a discount theater (unsuccessfully). There was a third one, but it was finally torn down a couple of years ago.
We've been here since 1930 (and I've owned it since 1979...40 years this year!) and our neighboring theater down the road from us has been in business since 1936.
Posted by Frank Cox (Member # 6258) on 02-13-2019, 02:51 PM:
"Main Street" changes all the time. I've been here for about 25 years and today my theatre is the only business on this block that's both still here and still owned by the same person. Three of the other businesses on this block are still here but they have changed owners, one of them three times. And everything else is "new". Next block down, the only place that havsn't changed either use or ownership in the time that I've been here is the bank on the corner. Which is an intersting thought in a small town where "nothing ever changes" but I'm sure it's the same anywhere else you go too.
My friend down the street who sells cell phones is closing his store at the end of this week and retiring, too. He just called me to say that I should come to his store and he'll give me any of of his fixtures and other odds and ends if I want them since he's going to be hauling everything to the dump that I don't want and that doesn't sell by the end of the week.
Time marches on.
And the next time I need to borrow an iphone to take a picture of my screen I might be outta luck. ![[Roll Eyes]](rolleyes.gif)
Posted by Tony Bandiera Jr (Member # 2365) on 02-13-2019, 05:01 PM:
quote: Martin McCaffery
I think I read somewhere the average lifespan of a theatre is 15 years. I can't vouch for the accuracy of that number, but it seems pretty close. So who needs equipment that can last for decades when you expect to get all of the money you can out in 15 years?
Well that may be true in the new digital age, but when I was with RCA Service the average theatre age was well over 20 years for all but a few of the 145 screens I serviced. (That era predated the megaplex concept...if you had 6 screens in one building that was a lot back then.)
Point is, if the theatre was in business for decades, odds were great that the projectors were original. Upgrades were mainly sound, screen sheets and seats.
And as for the money, if you were wanting to buy an existing theatre location, and could choose between one with projectors that were 15 years old, but still had at least another 15-25 years of service left in them, and one with ten year old equipment that had to be upgraded, which one is the better choice? (Or if you were the one selling, which one do you think can fetch a higher price, thus recouping more of your investment?)
quote: Martin McCaffery
Keeping in mind that I run a theatre that has been in operation since 1941.
So how old were the film projectors before you made the digital switch?
Posted by Martin McCaffery (Member # 37) on 02-13-2019, 05:30 PM:
quote:
So how old were the film projectors before you made the digital switch? [Wink]
I, of course, should have been using the sarcasm font
We bought the refurbished, but I'm guessing at least 50 years old. The only place you'll ever see a 50 year old digital projector is in a Digital Museum or some cranks basement. And it sure won't be in working condition.
Posted by Marcel Birgelen (Member # 6801) on 02-13-2019, 05:37 PM:
quote: Carsten Kurz
I am 50+, I am mostly sarcastic.
I consider sarcasm to be a byproduct of optimistic realism.
quote: Bruce Cloutier
Ultimately though the network ties everything together and can be a critical source of failure. Of course you can fairly inexpensively subnet each screen. Those of you who might be a fan of Battlestar Galactica might remember the issue they had with the networking. There is more foresight in that fictional premise than it may at first seem.
As an engineer, I've learned (sometimes the hard way), that even when you think you covered all bases of failure, it's only your own hubris to believe that you have. There is a merit for time-proven solutions and "functional islands" or "functional containers" are one of them. It's also a common strategy in e.g. aviation engineering, where you try to avoid cross-dependencies between systems with identical or similar functions.
But I've ranted enough about this, so let's keep it at that.
quote: Bruce Cloutier
Okay, what? Here I am the guy who created the JNIOR a "network oriented" I/O device. Maybe you can see some of the rationale that I have in having written the JANOS operating system from scratch and developing an entire product that does not run a single byte generated by any third-party.
I think the biggest advantage of writing something from scratch is, that you intrinsically know how the stuff works. There are no real black-boxes and if you need to extend something, you're not being blocked by the inability of some third-party library or API.
Writing everything yourself can be a blessing, but also be a curse, besides the extra efforts you have to put in. The most difficult part is probably continuity. What do you do when the people that built your system aren't around anymore?
Another is that in some cases, it might not even be desirable to implement your own, because it's almost impossible to get right. One of those things might be encryption. I have, for example, implemented RSA in the past by myself. In hindsight, that was incredibly stupid, because it's almost impossible to do it right, on your own. Although crypto stacks like OpenSSL got some bad press in the last years, it would probably still be safer to have used it in its worst years, than my own implementation.
quote: Martin McCaffery
I think I read somewhere the average lifespan of a theatre is 15 years. I can't vouch for the accuracy of that number, but it seems pretty close. So who needs equipment that can last for decades when you expect to get all of the money you can out in 15 years?
It's also relevant to know what time-span this average is based on and what territories it covers.
The problem for theaters nowadays is that they're now caught up in the flux of the digital age. It's somewhat amazing that 35mm film kept a considerable advantage over digital technology for more than 100 years (a century ago, "digital" wasn't even a term), but ever since digital has "caught up" or has been deemed "good enough", theaters have been exposed to this high flux. While it's even questionable if your current digital projector and server will survive 15 years, it may be questionable if your technology is still "à la mode" by the time it hits that age.
quote: Frank Cox
And the next time I need to borrow an iphone to take a picture of my screen I might be outta luck.
I see a new promotional campaign coming up: Own a recent iPhone? Get a free ticket in exchange for a picture of our screen!
You could combine that with a marketing campaign on one of your favorite social networks.
quote: Tony Bandiera Jr
And as for the money, if you were wanting to buy an existing theatre location, and could choose between one with projectors that were 15 years old, but still had at least another 15-25 years of service left in them, and one with ten year old equipment that had to be upgraded, which one is the better choice? (Or if you were the one selling, which one do you think can fetch a higher price, thus recouping more of your investment?)
Although I understand your point, I think the primary price differentiator will still be location, location, location and how the business has been doing the last few years.
Posted by Frank Cox (Member # 6258) on 02-13-2019, 05:43 PM:
quote: Tony Bandiera Jr
if the theatre was in business for decades, odds were great that the projectors were original. Upgrades were mainly sound, screen sheets and seats.
A service tech that was doing some maintenance work here twenty-odd years ago told me that a theatre in southern Saskatchewan (he said exactly where but I've forgotten now) was at that time still using dual projectors made for silent movies that had been converted for sound.
Posted by Bruce Cloutier (Member # 9615) on 02-14-2019, 08:03 AM:
quote: Marcel Birgelen
Another is that in some cases, it might not even be desirable to implement your own, because it's almost impossible to get right. One of those things might be encryption. I have, for example, implemented RSA in the past by myself. In hindsight, that was incredibly stupid, because it's almost impossible to do it right, on your own. Although crypto stacks like OpenSSL got some bad press in the last years, it would probably still be safer to have used it in its worst years, than my own implementation.
It can be a challenge to code cleanly and reach a certain level of validation and verification enough to be fully confident in your implementation. The JVM in the JNIOR was written 5 years ago and continues to perform without need for debug or tweak. That has even surprised me.
Did you know that https://honeypot.integpg.com is a JNIOR surviving on the open Internet? It is not running the CINEMA application but a short one that analyzes the access.log and monitors failed Telnet login attempts. It builds a database of infected hosts (by IP address) and presents the map that you see using the Google Maps API and a service for IP address location. I've provided the link to demonstrate the TLSv1.2 implementation (note the HTTPS). Given that it is a small device it is vulnerable to a DoS attack but likely difficult to 'pwn'.
Back on topic, the digital solutions do have their benefits. Most of it was easily achieved. Now though you are pushed to go beyond 2K and beyond 5.1 as part of perhaps some effort to continue to draw revenues from the market. Most theater goers are likely not to recognize the difference in a 4K ATMOS experience. There are those that would pay extra change for it. Seating and other amenities all add to the experience. I suppose in a competitive situation where you have a choice between two theaters for the same content you might have a disadvantage if your theater isn't loaded with the leading edge technology. At least, that is the paranoia used to prompt you to repeatedly part with your box office proceeds.
I don't subscribe to that approach. We created the JNIOR 15+ years ago and work diligently to keep it up to date and available (at the same price) so you can rely on that tool being always available. We could have recreated it every two years and made the older stuff unusable so you would have to buy the latest (and increasingly more expensive) automation. But then again we haven't been able build ourselves into a QSC or Crestron sized organization. Maybe ultimately that is a good thing. I don't know.
Posted by Justin Hamaker (Member # 2165) on 02-14-2019, 04:51 PM:
quote: Martin McCaffery
I think I read somewhere the average lifespan of a theatre is 15 years.
Realistically I can see this having some validity. Over time equipment becomes worn out and needs replacement or a major overhaul. Over time equipment becomes obsolete and parts become difficult to find. This doesn't mean the facility itself can't last more than 15 years, but there is a definitely need for periodic renovations and overhauls.
Posted by Martin Brooks (Member # 1269) on 02-14-2019, 07:44 PM:
I was at a Dolby Cinema in NYC recently and the pre-show played fine, but when the trailers started, there was no audio whatsoever. I went out and complained and it was fixed relatively quickly, but this should not have happened IMO.
But in this digital age there's rarely someone in the booth, so this is what is going to happen. On the other hand, even in a multiplex, the trailers play long enough so that a manager or assistant manager can walk around and check every screen before or when the feature comes on.
Posted by Jarod Reddig (Member # 6363) on 02-15-2019, 04:52 PM:
The second computers were put into things , longevity went completely out the window.
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