quote: David Barlow

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TEAR A FILM

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!!!!!
 

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Posted by Bill Enos (Member # 440) on 11-17-2009, 05:39 PM:
 
Tear down a print? I would think that anybody who works in the booth should be able to do everything on all three lists.
 

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Posted by David Barlow (Member # 2509) on 11-17-2009, 05:49 PM:
 
Yeah, tear down a print. That what I get for writing these things at 4 in the morning. I would agree that ALL projectionists should be able to do all of these things, but we have been brining new people in lately and we are trying to figure out how to train them from the ground up. It seems to me like this is the order in which things should be learned?
 

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Posted by Ian Parfrey (Member # 5122) on 11-17-2009, 06:26 PM:
 
David.

In regards to your wanting to recruit potential staff members for the projection role, the best method I have found is to make a general announcement to the staff that there will be an upcoming booth tour and that you would like an indication of those who would be interested.

This will do two things:

1. It will automatically weed out those who dont want to be a projectionist in the first instance
2. It will show you those who do want to improve their standing with your company.

During the booth tour, get one of the current projectionists to show the staff how it all runs. You will just stand back and watch each staff member and see which ones show INTEREST in the job. It will most likely be the ones who WANT to do the job that will ask questions and take a visible interest whereas the ones who don't want the job will be the ones who look away and show no real urge to be there.

I hope this may be of interest and some help.

Good luck with it all.

Cheers
Ian
 

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Posted by Justin Hamaker (Member # 2165) on 11-17-2009, 07:04 PM:
 
When evaluating crew members to see who would be good upstairs, look at those who show attention to detail and those who have an ability to understand technical details.

Attention to detail is not always easy to see among floor staff, but it could be simple things like wiping a counter between customers, keeping an eye on when to start the poppers, cleaning the lobby without prompting. Just these basic things will weed out the majority of your floor staff.

Understanding technical details is not always to see with floor staff, so look for things like ability to disassemble the popper and other equipment at night, ability to change a bag-in-box, and anything else that show an ability to work out how things work. Butter pumps can be good for this.

When I train someone upstairs, I always start with teaching them how to thread an old trailer pack on one of our two types of projectors. If they can't build some basic proficiency in a two hour training session, they are not fit to work upstairs. Then they learn to tear down film and if they do well with that I will eventually teach them to build up movies.

I handle virtually all projector maintenance and repairs myself. I also deal with all print moves. I do teach my assistants how to move a clamped film with two people, but I work about 99% of change-over nights.
 

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Posted by Tim Reed (Member # 137) on 11-18-2009, 12:15 PM:
 
You spend the first two weeks just watching. Then, maybe the projectionist will let you rewind. After a while rewinding, you start getting to thread up. After a few months, you finally get to make a changeover.


 

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Posted by Monte L Fullmer (Member # 2797) on 11-18-2009, 01:02 PM:
 
See if any of them are mechanically inclined - to understand mechanical physics and how machinery works. With this, then they can understand how to handle certain situations that may arise.
 

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Posted by Jesse Skeen (Member # 586) on 11-19-2009, 04:29 AM:
 
Eliminate anyone from the potential candidates list who gives as their top reason for wanting to work in the booth "because you don't have to deal with the customers."
I personally have several other criteria which would get you banned from the entire theater, not just the booth, but I'm not in the mood to offend anyone right now
 

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Posted by Tom Inglis (Member # 5181) on 11-19-2009, 10:11 AM:
 
This is very interesting to me, as I and my colleague are currently writing the training manual for the company...

As for how we recruit, we advertise on site for applications, asking people to write in with a short paragraph about why they want to come up to the booth and why they'd be good at it.

From there, any that make the short list (based on my manager's decision) come up for a trial shift. For mine, it was me and one other guy. We were taken through lacing up in 2 stages and then laced all the shows alternately for about 4 hours, being checked and critiqued each time.

After that, the boss made his decision.

As for the levels that the OP was about, our level 1s are taught to open the site, lace and run shows and thats it. As we develop the manual more, I'll feed into this more.

Our current learning order is something like:

1. Induction
2. Opening/Closing the Site
3. Shows
4. Ads and Trailers
5. Film makeup and breakdown
6. Maintenance
 

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Posted by Michael Voiland (Member # 5386) on 11-19-2009, 10:18 AM:
 
In regards to handling a dropped print... The last week of my training during close one of the people I was working with dropped a print trying to move it by themselves. I got home at 5 am McDonald's turns their chocolate shake machine off at 3.

Also I have not heard the term QUBE before could someone explain this one to me.
 

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Posted by Chris Slycord (Member # 4239) on 11-19-2009, 11:05 AM:
 

quote: Tom Inglis

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Induction

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quote: Jesse Skeen

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Eliminate anyone from the potential candidates list who gives as their top reason for wanting to work in the booth "because you don't have to deal with the customers."

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quote: Tim Reed

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You spend the first two weeks just watching. Then, maybe the projectionist will let you rewind. After a while rewinding, you start getting to thread up. After a few months, you finally get to make a changeover.

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Ha!
 

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Posted by Justin Hamaker (Member # 2165) on 11-19-2009, 02:29 PM:
 
Speaking of dropped prints, last night when I was moving 2012 with a platter scoop, the assistant who was helping me lost her grip and the film came apart. Luckily it was in 3 solid sections - one of which was the first ~3 reels still wound nicely on the ring. I was able to plop the other two sections on the platter, surround them with suction cups and run them through the projector to get them back on the print. Other than the initial "Holy Shit" moment, it was pretty easy to deal with.
 

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Posted by Tom Inglis (Member # 5181) on 11-20-2009, 03:16 AM:
 

quote: Chris Slycord

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What is this referring to? You must be using that word differently than I.

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quote: Tom Inglis

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Yeah, sorry, it means that they get shown around the booth and given all booth relevent maps, paperwork and procedures. Shown the fire procedures etc etc.

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Sounds like an "introduction" rather than "induction" which is what I was confused about.
 

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Posted by Ed Alvarado (Member # 2760) on 12-10-2009, 06:17 AM:
 
well good luck i just recommend that if your looking for anybody in the booth they need to keep the drama at home. i mean its not hard to work in the booth its the easiest job to do. i think you should just do these simple things in order and the rest well come naturally because if you separate that huge list for a person to work in the booth it becomes a hassle and you dont have much time to be training because of hour use so just do this instead.
THREAD
BUILD
TEAR DOWN
MAINTENANCE

learning to repair a film is not hard because once you learn to thread you figure out how the platter system works so with that being done its easy to repair a brain wrap. so in just a two week training all should be taken care of with out all the stress.
 

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Posted by Jonathan Althaus (Member # 5042) on 12-10-2009, 02:20 PM:
 
Only time I've ever had a dropped print was when I was moving with another person. Since then I always move prints by myself, no matter how big they are.
 

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Posted by John T. Hendrickson, Jr (Member # 849) on 12-10-2009, 03:52 PM:
 
Sorry, but I find this strange. I never allowed anyone to move a print by themselves. In all my time in the booth, I have never seen two people who are properly trained drop a print.

I have seen an individual make a mess moving a print alone, hence, my rule.
 

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Posted by Alex Edwards (Member # 5413) on 12-10-2009, 04:37 PM:
 
Same with our theater. Prints hardly ever get moved by one person and if they do, it better be tightend and less then 6 reels. I've NEVER heard of one person being better than two.
 

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Posted by Tom Inglis (Member # 5181) on 12-10-2009, 05:44 PM:
 
We use reinforced wooden boards to move our films about, so it's perfectly safe to do it solo.
 

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Posted by Ed Alvarado (Member # 2760) on 12-14-2009, 06:30 AM:
 

quote: Jonathan Althaus

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Only time I've ever had a dropped print was when I was moving with another person. Since then I always move prints by myself, no matter how big they are.

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how can you drop a film with two people? thats terrible man! working for a place that i worked at before i cant say no mames but i was forced to move films on my own. but its a must man you need two people to move a print some films are waaay to big and if the film drops its not worth repairing a film for 4hrs. I DONT RECOMMEND YOU MOVE FILMS ON YOUR OWN.
 

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Posted by Tom Inglis (Member # 5181) on 12-14-2009, 06:48 AM:
 
I think I'm allowed to post this...

This is the contents to the new Projection Training Manual that Matt and I are currently writing. It is subject to change, and any input would be welcome.

Equipment varies throughout the company, so we remain fairly unspecific, and we're not covering digital.

Projection Training Guide 0.1

Contents

1. Induction
1.1 Site Induction
1.2 Projection Induction

2. Site Operation
2.1 Turning on Projection
2.2 Turning on the projector
2.3 Closing down Projection
2.4 Troubleshooting

3. Shows
3.1 Practical: Lacing up
3.2 Practical: Seeing on/over
3.3 Practical: Extras
3.4 Theory: Shows
3.5 Troubleshooting

4. Ads and Trailers
4.1 Trailers: Receiving and the Trailer Sheet
4.2 Trailers: Set Make-up and changes
4.3 Adverts: Receiving and Makeup
4.4 Adverts: Breakdown
4.5 Troubleshooting

5. Film
5.1 Receiving
5.2 Breakdown and return
5.3 Makeup and rehearsal
5.4 Troubleshooting

6. Housekeeping
6.1 Jobs and responsibilities
6.2 Troubleshooting

7. Tech
6.1 Introduction to PPM
6.2 Xenon Hours
6.3 Xenon Lamp Changes
6.4 Weekly Jobs
6.4.1 Screen Checks
6.4.2 Mech Checks
6.4.3 Portholes
6.4.4 Lens Cleaning
6.4.5 Hearing Impaired System Check
6.4.6 Clean Optics/Set Dolby Levels
6.5 Monthly Jobs
6.5.1 Xenon Check
6.5.2 Film Cleaner Check
6.5.3 B-Chain Noise Sequence
6.5.4 Bypass Level Check
6.6 Bi-Monthly Jobs
6.6.1 Lens Line-up and Phasing Check
6.6.2 Clean Feed Units
6.6.3 Platter Clean
6.6.4 Deep Clean Projector
6.7 Quarterly Jobs
6.7.1 Soundrack Clean
6.7.2 Lamphouse/Rectifier Clean
6.7.3 Slide Projector Maintenance
6.7.4 Roller Clean
6.7.5 Platter Timing
6.8 Troubleshooting
 

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Posted by Sean McKinnon (Member # 612) on 12-14-2009, 12:35 PM:
 
personally I have always found it difficult to move prints with two people holding the print flat... especially if you have to climb stairs or go through doorways or tight spaces. I prefer to CLAMP the print with at least three film clamps and carry the print vertical with two hands. I have NEVER dropped a print this way. I do however have a second person help me remove, and place the print on the platter, I also have this second person hold doors for me etc...

I find that when two people move a print they are less likely to use clamps and less likely to tape the tail down which causes more issues. With one person you have to use clamps and tape the tail down no exceptions. I also do not like those boards as I have seen prints slide off them when someone twisted it vertically to go through a doorway without holding the ring in the middle
 

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Posted by Jonathan Althaus (Member # 5042) on 12-14-2009, 01:10 PM:
 

quote: Ed Alvarado

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how can you drop a film with two people?

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Going through a tight space and the guy I was moving it with tripped and dropped his end. I moved Inglourious Basterds the other day, 4 clamps, double clamped with one end on a rolling stool, the other end in my hand, no problems at all. I'll continue to move prints alone, looking forward to the 172 minute 3 Idiots film next week.
 

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Posted by Brad Miller (Member # 2) on 12-14-2009, 01:56 PM:
 
Jonathan, I presume you are still running the old SPECO LP270 platters over there? My problem with those and moving with one person is that it completely screws up the center ring, bending it into egg shapes and such. That slippage can cause scratches. SPECO does have a Christie-type center ring knockoff that is well worth the money to upgrade to.

I'm curious, do you guys still skip the roller on the takeup elevator on the newer models like I originally showed some 15 years ago before you move a print?

And do you still have no auditorium #13?
 

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Posted by Monte L Fullmer (Member # 2797) on 12-14-2009, 02:12 PM:
 
Or, make a board with a cutout (making the board look like a big forked device) with the cutout in the middle that is the same width as the brain area in the middle to scoop prints off of those LP-270's, AW3's with the stationary brain and with AW2's as well.. The board (use 1/4" "sand and shop",or a finished side plywood") then one can lift the print right over the brain, not tweak out any rings and you do the reverse when putting the print on a different deck.

Then, one person can move prints quite easily...

-Monte
 

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Posted by Jonathan Althaus (Member # 5042) on 12-14-2009, 02:13 PM:
 
Brad

Yes we are still running the 270's, except for the Barco we got back in October. I don't seem to have any problems with bending rings, I always use 4 clamps and support the ring with my hands so it stays in the same shape.

On the 2 newer models we do skip the middle roller if the print moves from that theatre. Those are our 2 smallest theatres, so prints usually die there and don't have to move. 2 other houses have even newer speco slide bar assy's but dont seem to have an issue with loose winding if you don't bypass the center roller.

As for #13, sometime between when you were here and when I got here, the houses were renumbered, so we no longer have a #16.

Edit:

As far as the newer christie-type rings, our tech mentioned that to me a few weeks ago, but I've never had any issues with our rings, other than running out. A few wks ago on our 14 35mm's, I had 25 prints built, with no spare rings. (Plus 2 movies ready to go on the digital)
 

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Posted by Monte L Fullmer (Member # 2797) on 12-14-2009, 02:20 PM:
 

quote: Jonathan Althaus

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I moved Inglourious Basterds the other day, 4 clamps, double clamped with one end on a rolling stool

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I have a 36"x 36"x 1/4" plywood board with a length of board on the end as a stop that I move the print of "IB" by myself...
 

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Posted by Matt Gress (Member # 5377) on 02-08-2010, 08:21 PM:
 
A minimum of 40-50 hours unpaid training and a Massachusetts Motion Picture Operator's License (50 bucks and a test). This weeds out the doofuses pretty well and goes for pros and rookies alike. This is the kind of booth where if you goof up, it can be pretty traumatic. The job generally supplies its own spanking. It's also a really great one to work in, so the turnover is very low.

I try not to hire floor staff.
 

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Posted by Chris Slycord (Member # 4239) on 02-08-2010, 09:35 PM:
 
Unpaid training sounds illegal.
 

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Posted by Sean McKinnon (Member # 612) on 02-09-2010, 01:05 PM:
 
um... please don't take this the wrong way Matt but the Mass MPO test is a joke. It contains nothing practical, and is a true/false test on the Department of Public Safety Laws.

For example:

It is ok to smoke in the booth if your manager gives you permission? True/False?

I trained dozens of people on that test when I was with Loews Cineplex in Mass and I never had anyone not pass even the less than bright. I had manager who never threaded a machine in thier life pass the test just so someone in the building would have one.

Again, I am not trying to knock you at all Matt, I still hold a mass license I am just saying that I don't really think it weeds out any dummies... Also, 99% of theatres don't care if anyone has a license and the Commonwealth of Mass has proven they don't care. I have never seen DPS come out and inspect a booth or ask for licenses. Never.
 

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Posted by Monte L Fullmer (Member # 2797) on 02-09-2010, 08:18 PM:
 
Wooo..guess what I'm going to do real soon - is to train a fellow on how to run a changeover booth...esp in a booth that I had to train myself on real quick to know where everything is at since I've never been up in this booth to operate it myself.

This booth was a single machine/platter operation since the mid 70's. Now, they went back to "old school" (Highlites with Simplex XL 35/70's) for premiere showings...

My name came up being the only person in this area that knows anything about and how to do a changeover booth.

Quite fun, to say the least.

-Monte
 

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Posted by James Larden (Member # 5594) on 02-10-2010, 11:43 AM:
 
Does anyone have any knowledge of the CTC training courses that they could share?

Cinema Training Central
 

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Posted by Scott D. Neff (Member # 185) on 02-10-2010, 12:28 PM:
 
Does anybody know what old GCC that is they run out of?
 

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Posted by Matt Gress (Member # 5377) on 02-11-2010, 05:33 PM:
 
No offense taken, Sean. I know how that test is and I've never seen anyone fail either.

What I mean about weeding people out is this: It takes a certain level of seriousness and commitment to study for a test and then go wait around somewhere to pay fifty bucks for a license. It's a rite of passage. Most people don't want to blow it after being made to jump through those hoops. A creates an atmosphere where new projectionists feel that something is expected of them. It's been very useful to me when training.
 

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Posted by Sean McKinnon (Member # 612) on 02-11-2010, 06:24 PM:
 
I totally agree with that I don't think anyone would spend fifty bucks and waste a day at the department of public safety unless they had some desire to do the job. The unfortunate thing is it seems like most theatres don't have any licensed operators anymore, or if they do it is a General Manager who never runs the booth.
 

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Posted by Manny Montes (Member # 5639) on 02-11-2010, 09:38 PM:
 
Regal's program is a joke, its the "Booth Certification Program" Each district "Should" have a certifier, if the one you're in doesn't have one, then you're SOL. Plus, in order to be in booth you don't actually have to be certified at all.

Level 1 is basics (threading)
Level 2 is a little more advanced (but still basic) - Breaking down and building movies
Level 3 focuses on maintenance
Level 4 is changing major parts (diodes, bulbs, etc)

I've done level 3 stuff without being certified (there is no rule against it), currently I am studying for the level 1 test (sadly it has taken over 4 months to get the certifier out to my location to test me), oh, did I mention that you have to wait 2 weeks between each test? It's a great program if it was implemented better, IMHO no one should be allowed in booth who isn't certified, as the certification program is actually challenging and focuses on important things (everything in the film path, problems with the automation, general troubleshooting, etc.) Everyone in booth should be at least level 1. I got called in one time on my day off because the manager in booth (not to knock managers in booth, as thats what I do ) did not know how to fix a brain wrap. They cancelled the show instead and refunded 40+ tickets. Why was someone in booth who can't even fix a brain wrap?
 

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Posted by Monte L Fullmer (Member # 2797) on 02-11-2010, 09:47 PM:
 
Ya, I went through that training and easily passed all four levels when REG took over the EDW's circuit in 2002 - kinda embarrassed the certifier since I knew more than what that person knew.

Yet, it does work with the beginners since they have many employees and really need a foundation of something to keep things in a form of order for good presentations.
 

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Posted by Manny Montes (Member # 5639) on 02-12-2010, 11:27 AM:
 
What I do like about it is that the focus really is on "excellent presentation", we have a local AMC 20-plex that is a huge bully (they decided that they want to show art product and are stealing art films from my little 5-plex arthouse) We sometimes get prints from them and they are routinely dirty, coated with opaque tape. One time a print was so ruined we called them to see what happened and they dropped one of the reels down the stairs by accident.

Maybe I'm too hard on employees, but I feel that under no circumstances should floor staff be in booth (AMC uses floor staff in their booth, with a little extra training they are called film crew). Every theater i've been to that allows this I've seen terrible issues. The worst was one time the aperture plate was set incorrectly, they spent 5 minutes trying to change the lens to scope, then they shut it down for 10 minutes until I finally went over and told the manager that the lens wasn't the problem, it was the aperture plate.

To the original poster:
At one theater i've been to they had a 6k reel labeled "test reel" which had bad splices, bad cues, various other issues and would let the new projectionists thread it without telling them it was a test. Then they taught them how to fix each problem, they would brain wrap the test film, get it to tail wrap, reverse wrap, etc. It really was pretty great, if you can get something similar and use that it really works well.
 

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Posted by Chris Slycord (Member # 4239) on 02-12-2010, 06:14 PM:
 

quote: Manny Montes

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(AMC uses floor staff in their booth, with a little extra training they are called film crew).

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