Film-Tech Forum ARCHIVE: High Priced Concert Crashed, Regal Tries To Pawn Off Low Priced Regular Movie Passes

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Posted by Mitchell Dvoskin (Member # 751) on 06-17-2011, 03:31 PM:

The woman in the article below went to Regal to see the NY Philharmonic performance of the musical Comany. Apparently the server crashed and they could not restart from the point of the crash. The theatre's response was to offer re-admit tickets that are only good for much lower price regular movie screenings. If the story is true, it is an epic fail on Regal's part that would make me never set foot in a Regal Cinema again.

The Consumerist

quote: The Consumerist

I am writing in regard to my experience at the screening of Stephen Sondheim's Company at Regal [redacted] on June 16, 2011. I spent a total of $38.50 on tickets alone for my party of two to attend the screening - nearly double the cost of seeing a regular film at your theater. With such an exorbitant price, I expect to, at the very least, be able to see the entire feature; this did not happen.

During the song "Ladies Who Lunch" (which is one of the highlights of the show), the sound repeatedly cut out, the image on the screen pixilated and skipped, and then the entire film outright stopped and we were left to stare at a Windows XP screen. We sat there for approximately ten minutes hoping that the problem would be fixed before a manager finally decided to come in. He explained that they were picking up satellite from Colorado and that if everyone sat back down, they were going to try to get us the rest of the film. We sat there for another ten minutes.

The fix involved watching the same "signal lost/did not record" sequence happen again, Windows rebooting, and then they fast forwarded through Patti LuPone's "Ladies Who Lunch" instead of letting us see and hear the entire song. They played Neil Patrick Harris' "Being Alive," though the volume was not fully restored, and then the screen cut to black, then another Windows screen. No manager came back. No end of the film, no birthday party scene, no curtain call - nothing. No one even came to turn on the lights; a customer trying to leave actually fell on the stairs in the dark.

An employee who did not appear to be a manger was giving customers "readmission passes" at customer service, declining to process any ticket refunds. This would have been acceptable if these passes did not state across the top that they were not valid for special events (or RPX, IMAX, or 3-D features - which cost less than this screening). This means that I would not have even been able to use that "readmission pass" to see the same show at the June 19th screening and would have to spend another $38.50 if I wanted to see the ending of Company.

I honestly feel that management should have been more communicative with the full theater about what was happening and that we should have either been given our money back or invited back to the second screening of Company (or another special event, such as a Met Encores event). If this goodwill gesture had been extended, I would have happily returned to the theater and even spent money on concessions during the return visit.

Instead, I see that nearly $40 spent at Regal Cinemas does not mean I'll even be able to see an entire film. I see that management doesn't really care and instead of inviting us to return for another special event, customers are just left to stumble and fall in a dark theater. I'm disappointed that I was not able to see the end of a spectacular production of Company and I'm even more disappointed that Regal was not willing to make things right by their customers.

Posted by James Westbrook (Member # 3690) on 06-17-2011, 07:38 PM:

We ran this program Thursday night from a dvr and it ran without incident. NCM remote fed the program via a high def channel on Dish network. Regal must have set their system up differently.
Another Film-Techer encountered a similar problem on the same program, but I forget where that thread is...

Posted by Monte L Fullmer (Member # 2797) on 06-17-2011, 07:50 PM:

Even though passes may look cheap, but they're worth their weight in gold down the road since they're suppose to be good for any time of the performance day.

True though, those mgrs should have, at least, tried to match the amount purchased with the same or more passes to buffer out the disappointment. That way everyone is in a win-win thing, but unfortunately, this bad publicity is the results of not caring.

Old saying goes that if you please one person, that person will tell ten others, but if you displease that one person, that person will tell a hundred.

Posted by Manny Knowles (Member # 1171) on 06-17-2011, 08:29 PM:

Worth their weight in gold?

Well...maybe...considering they don't actually weigh that much.

Bottom line: they didn't earn the money. They should have offered a choice -- readmit or refund. Or both!

Posted by Caleb Johnstone-Cowan (Member # 3710) on 06-17-2011, 09:07 PM:

It sounds like a show I would have cancelled rather than dick the audience around for ages. That way you can spend a couple of minutes explaining how severe the technical problem is and organise your staff to help you issue passes.

I'm not sure the passes these guys were issued are worth anything if it will not get them back in to something they want to watch. Usually the people who go to these music events will only come to the Cinema for a 'Kings Speech' type film and nothing else.

Posted by Mark Lensenmayer (Member # 134) on 06-17-2011, 09:33 PM:

The screening I attended had problems which I reported on in the F-T Movie Review section. I have to applaud the Gateway Film Center for handling things well. They are an independent with ties to Ohio State University.

At the CONSUMERIST website, another commenter reported that at a Carmike theatre "they screened Act II first THEN went to screen Act I. By the time we realized what was happening, it was too late." I'm surprised the Sondheim freaks didn't rush out the to lobby screaming when the second act began playing first.

Just how are these things transmitted to the theatre? Do they come down early to be recorded at the theatre in some way for playback? What I saw looked like seeing a dvd with a bad section...the screen breaks up and then it jumps to the next chapter.

Posted by Jonathan Goeldner (Member # 4854) on 06-18-2011, 12:07 AM:

and this is why satellite feed events freak me out - if (and when) problems like this, occur. I'm really glad the Wednesday night AFI Silver screening went off without a hitch.

Posted by Monte L Fullmer (Member # 2797) on 06-18-2011, 12:14 AM:

After looking at this more, these satellite feeds are from a third party which in turns REGAL, or any other theatre company in that matter, into a vendor - an auditorium rental type of situation.

Thus, whatever happens really isn't REGAL's fault since the provider of the program feed failed...and they should be paying back the refunds on the failed performance since doing the readmits wasn't for a fault of REGAL's.

..maybe this is why the staff and mgmt of this one location acted the way they did since they really didn't know what to do being that the problem wasn't on their side of the spectrum, but with the third party's.

..but, it's easy to point the finger on the venue since it was at their location...

True though: satellite feeds are tricky in themselves...

-Monte

Posted by Jonathan Goeldner (Member # 4854) on 06-18-2011, 12:22 AM:

did anyone else here actually see 'Company' cause my one complaint was that I thought the overall image seemed a bit dark - maybe it was the representative of how the show was actually filmed (low lights), but I was practically squinting, rubbing my eyes thinking I was going partially blind.

Posted by Jim Henk (Member # 3628) on 06-18-2011, 02:41 AM:

quote: Monte L Fullmer
..maybe this is why the staff and mgmt of this one location acted the way they did since they really didn't know what to do being that the problem wasn't on their side of the spectrum, but with the third party's.

Nope. It's the one who took the customer's money is responsible to the customer. That's just common sense.

It's the one who "last had it".

Posted by Dustin Mitchell (Member # 372) on 06-18-2011, 03:25 AM:

The Carmike program was played either via the Technicolor 'Friend' server or a DCP provided by the home office. We played the DCP (preferred format, tech server is to be backup only) and as far as I know had no problems.

Posted by Mark Lensenmayer (Member # 134) on 06-18-2011, 07:22 AM:

I saw COMPANY, and the image was bright. The show lighting was not dim at all.

Posted by Edward Havens (Member # 4715) on 06-18-2011, 11:55 AM:

We've ran two performances of Company off the sat feed without a single hitch.

Now watch our show tomorrow go down. [Frown]

Posted by Steve Guttag (Member # 268) on 06-18-2011, 12:24 PM:

The AFI/Silver's Company is off of BluRay. As for the light, it was probably a little dim, the lamp was changed on Thursday (the day after your screening). Unfortunately, you got to see it at its worst (last day of the lamp). Since SilverDocs (The AFI/Silver's annual Documentary festival) is next week, the video side of things are normally prepped just before that so they are at their brightest/sharpest...etc.

And Monte...as has been pointed out. It IS Regal's fault for the muffed show. The contract (ticket purchased) with the customer is between Regal and the Customer. If the show was not complete, nothing less than a full refund should have been acceptable. A readmit with restrictions and not sufficient to see an equivalent show is nothing short of theft (it would be like me stealing $10 from your wallet and then when caught, only having to give you $5 back). If Regal wants to pursue damages with the 3rd party, that is their business, not the customer's. If the 3rd Party can't supply reliable performances, Regal should not offer them.

Personally, my opinion is that this sort of performance should have been delivered on DCP, HDCAM, HDCAM-SR or D5 formats only. Those are "reliable" formats. Disc and Windows (anything) are not.

-Steve

Posted by Kurt Zupin (Member # 2751) on 06-18-2011, 07:35 PM:

Monte- It doesn't matter if they are the "third party" or not. They should of made the guest happy at all costs then when all was said and done. Sent a bill to who ever they were getting the feed from, or the server went down for the lost earnings/refunds the theatre had to do. In the end the customer doesn't care where the image is coming from, only who is giving it to them. The customer felt shafted by the Managment team and I side with them.

Posted by Elizabeth Betty Gross (Member # 2532) on 06-19-2011, 12:19 AM:

Monte: Why make excuses for a badly trained staff? If they don't have brains enough to turn on the lights in a dark house, if they don't have enough respect to keep their customers informed about the state of the presentation, if they don't know that the customer is entitled to a cash refund on request (by law), and if they give customers passes of lesser value than was paid, then they should undergo retraining or lose their jobs (and I don't say this lightly).

Steve: I have enjoyed reading your contributions over the years, and usually regard them highly. For this reason, I was quite surprised that, for a high profile, limited engagement screening of "Company", you didn't change the bulb before complaints were warranted. A week early would not have effected the festival.

Kurt: Guests are invited, customers pay.

Posted by Joe Redifer (Member # 3) on 06-19-2011, 12:53 AM:

quote: Elizabeth Betty Gross
Guests are invited, customers pay.

QFT. And I should quote it a million more times to companies like Regal get it.

quote: Elizabeth Betty Gross
Guests are invited, customers pay.

Posted by Frank Angel (Member # 248) on 06-19-2011, 05:37 AM:

If someone tried to sneak into a theatre without paying, that's the same as shoplifting and they could be arrested for theft-of-service. They'd call the cops. They'd have that person arrested. So how is the theatre not giving a refund for services THEY didn't provide after pocketing the patron's money, not the same thing -- theft of service? Someone should have called the cops and had the manager arrested for stealing $38 bucks.

And sorry, Monte, that third party argument sure won't hold water with patrons. They only see the theatre -- the entity that took their money and then didn't deliver -- no one else. And they certainly don't give a hoot about what contractual arrangements have on behind closed doors. Do patrons get pissed at the film studio when the theatre screws up a screening? "Damn that Warner Brothers." Not at all. The anger and bad will and "I'm never coming back here again." is always directed at the theatre management, and rightly so. No matter if the problem is something technical that even the best-run theatre couldn't have avoided, if they don't have a policy in place whose sole purpose is to "make the customer happy" in such situations, then they are STILL at fault.

We used to run Vegas world champion fights via satelite and video projection back in the early 80's. If there were anything more stressful and nerve-wracking, I can't think of it. We lost the feed more than once and immediately after the first time that happened, I had slides made up that could be thrown up on the screen to tame the savage beast. And let me tell you, 2500 fight fans who each paid $50 (adjusted for inflation probably were really $150) are definately one mean savage beast. I even made a loop of they arena crowd noise that I recorded during the pre-fights so that I could cover any lost audio should that happen (and used it at least three times -- audience never knew they weren't hearing real audio, other than the announcer and color commentor mysteriously just stopped talking). I only had to use the "PlEASE STAND BY. WE ARE EXPERIENCING TECHNICAL DIFFICULTIES. THE PICTURE WILL RETURN MOMENTARILY" slide one time, and then only for maybe 45 seconds before the feed returned. I had nightmares about what would be left of our theatre if we lost the feed for any real lenght of time. I can gurantee that mob wouldn't be looking for the production company to beat up.

Posted by Elizabeth Betty Gross (Member # 2532) on 06-19-2011, 11:24 AM:

I remember those days, and I showed a few professional wrestling shows at the Garden. I had to laugh when I was told that the most important thing for the projectionist to know was the NEAREST EXIT!!

Posted by Jack Ondracek (Member # 1466) on 06-19-2011, 03:19 PM:

On the few times we've had a problem I couldn't fix, we've offered our customers their money back. To sweeten the deal however, and possibly build a little good pr out of a bad situation, I offer them a carload pass as an alternative... no limit, no restrictions. With that offer, I don't give back much money.

I've had them come back to a first-run release with 20 people stuffed in a Volkswagen bus. They're grinning and we do, too. If I have to eat the percentages, so be it. Everyone's happy and they're buying my popcorn.

Regal blew an opportunity on this one, for sure.

Posted by Bobby Henderson (Member # 840) on 06-19-2011, 04:42 PM:

$38.50 for a couple tickets to watch a recording of a concert? On Blu-ray? I don't get it. Most Blu-ray discs you can buy at a store cost nearly half that or even less than half.

Whether the show played flawlessly or not, I think the price is a rip-off regardless. The value might be there for me if I got something extra for a ticket costing upwards of $40. I don't know, maybe a lap dance from some sexy, stacked lady.

Posted by Monte L Fullmer (Member # 2797) on 06-19-2011, 04:58 PM:

Okey, I agree with all of your comments, for true, the customer doesn't care how it works, what happened or such - they expect a perfect presentation no matter how much was spent at the boxoffice... a dollar or a hundred.

Posted by Scott Norwood (Member # 30) on 06-19-2011, 06:11 PM:

Why is this stuff so unreliable? Television networks have used satellite distribution (both analog and digital) for decades and problems are rare. Is there a reason why the same technology is not used for cinemas? Why is anyone using Windows XP for this sort of thing?

Posted by Steve Guttag (Member # 268) on 06-19-2011, 06:47 PM:

Elizabeth. First off, I don't decide when lamps get changed...the hours on the lamps do and if close on SilverDocs, they get changed for it. You are VERY MUCH MISTAKEN as to the light fall off by running that lamp an extra week. Little to most folks know...a 6KW lamp (unless it is a CDXL or DXL) is going to drop its light by as much as 20% in the first 50 hours! Typical smaller lamps drop 20% in their first 100-hours.

It isn't that Company was selected to have low light...in fact, I don't know if the light was below spec. The lamp was NOT over-hours either. It was only at about 900 out of 1100. It will be lower than a fresh lamp, for sure. Company was not treated differently than any other presentation. It isn't like the lamp was on its last legs, flickering and only putting out 2fL. Company IS a stage play with nothing special about the lighting for the taping of the performance. So yes, there is much back on the screen with just the actor's lit. The lamp was NOT replaced due to complaints and likely would have only be tweaked up (focus optimized, current raised) to get the last few hundred hours out of it unless it was found to not be able to put out acceptable light quality (either brightness or stability).

As for the price (Regardless of what the medium was) I'm sure it was dictated by those that control the rights to Company. It was a limited engagement and not currently offered to the home. Hence, via supply/demand, it commanded a premium.

-Steve

Posted by Mike Blakesley (Member # 26) on 06-19-2011, 08:32 PM:

I can see why they wanted to give "movie" passes -- maybe that venue doesn't show "special" events very often. It might be years before the average patron finds another "special" type event they want to go to.

Now with that in mind, what I would have done is give everyone TWO movie passes. That way they get a better value for their money, and the venue would have twice as many chances to sell popcorn and soda to those people. A win for everyone.

Posted by Jonathan Goeldner (Member # 4854) on 06-19-2011, 09:23 PM:

quote: Steve Guttag
The AFI/Silver's Company is off of BluRay. As for the light, it was probably a little dim, the lamp was changed on Thursday (the day after your screening). Unfortunately, you got to see it at its worst (last day of the lamp). Since SilverDocs (The AFI/Silver's annual Documentary festival) is next week, the video side of things are normally prepped just before that so they are at their brightest/sharpest...etc.

And Monte...as has been pointed out. It IS Regal's fault for the muffed show. The contract (ticket purchased) with the customer is between Regal and the Customer. If the show was not complete, nothing less than a full refund should have been acceptable. A readmit with restrictions and not sufficient to see an equivalent show is nothing short of theft (it would be like me stealing $10 from your wallet and then when caught, only having to give you $5 back). If Regal wants to pursue damages with the 3rd party, that is their business, not the customer's. If the 3rd Party can't supply reliable performances, Regal should not offer them.

Personally, my opinion is that this sort of performance should have been delivered on DCP, HDCAM, HDCAM-SR or D5 formats only. Those are "reliable" formats. Disc and Windows (anything) are not.

-Steve

son of a .... [Mad]

(bluray? really?)

quote:
Elizabeth. First off, I don't decide when lamps get changed...the hours on the lamps do and if close on SilverDocs, they get changed for it. You are VERY MUCH MISTAKEN as to the light fall off by running that lamp an extra week. Little to most folks know...a 6KW lamp (unless it is a CDXL or DXL) is going to drop its light by as much as 20% in the first 50 hours! Typical smaller lamps drop 20% in their first 100-hours.

It isn't that Company was selected to have low light...in fact, I don't know if the light was below spec. The lamp was NOT over-hours either. It was only at about 900 out of 1100. It will be lower than a fresh lamp, for sure. Company was not treated differently than any other presentation. It isn't like the lamp was on its last legs, flickering and only putting out 2fL. Company IS a stage play with nothing special about the lighting for the taping of the performance. So yes, there is much back on the screen with just the actor's lit. The lamp was NOT replaced due to complaints and likely would have only be tweaked up (focus optimized, current raised) to get the last few hundred hours out of it unless it was found to not be able to put out acceptable light quality (either brightness or stability).

As for the price (Regardless of what the medium was) I'm sure it was dictated by those that control the rights to Company. It was a limited engagement and not currently offered to the home. Hence, via supply/demand, it commanded a premium.

-Steve

Which is odd since the taping/theatrical run of ‘RENT: Live from Broadway’ the lighting was exceedingly bright and the camera very up close at times – that hidef presentation from Sony’s Hot Ticket – was great!

In regards to Silverdocs – it’s the only time I know at the AFI Silver that the DLP projectors on all three screens are ever used (aside from the occasional slip ups: i.e, ‘Pink Floyd the Wall’ – projected DVD – not cool). At the numerous festivals and regular runs, 35mm is definitely the preferred medium at the Silver.

My sister’s in town and she’s dying to see 'Company', so she and I are trekking over to Bow Tie Reston to check it out – really really hope no snafu’s occur.

Posted by Steve Guttag (Member # 268) on 06-19-2011, 10:41 PM:

Jonathan,

Sorry about popping your bubble on the BluRay thing...that is how they received it. Since your complaints had nothing to do with the source image, how can you fault it? It is a 1080 source. Note, YOU got to see your show...unlike the other delivery mediums like Bill Gates-O-Vision. Though, as I as said before, I would feel uncomfortable with something other than HDCAM, HDCAM-SR, D5 or DCP...just from a reliability standpoint.

As for the DLPs...they are used every day on all three screens...sometimes just for the pre-show stuff/policy...sometimes for meetings, for movies that are on video only (could be DVCAM, HDCAM, D5, DVD, BLURAY...Computer...you name it). They are actually VERY active. They are just integrated into the various performances with changeovers between video/film as the performance so dictates.

Posted by Randy Stankey (Member # 64) on 06-19-2011, 11:47 PM:

quote: Jonathan Goeldner
and this is why satellite feed events freak me out - if (and when) problems like this, occur.

Can you say "Solar Fade?"

On two different broadcasts we had this happen and on both occasions people would come up to me and ask me to fix it. On one occasion, after I had explained the problem no less than three times, I finally got so pissed off that I pretended to dial my cell phone and said, "Hello... God?... Could you please move the sun?... Yes, Lord... Thank you." Then I turned to the person (an usher) and said, "He says, 'Yes," but you'll have to wait about another seven minutes."

Wise ass commentary aside, this kind of shit actually gives me panic attacks. Honest to goodness, heart-racing, sweating, shaking, out-of-breath panic attacks. It has gotten so bad that I have ended up in the hospital. Not kidding!

I understand that it's logically no different than a movie projector blowing up on you (which has happened) butI hate the feeling of being stuck in a situation where shit goes to hell and you basically can't do anything but stand there with your dick in your hand.
(Figuratively speaking.)

To top it all off, management needs to back up their employees when shit hits the fan. Somebody else fucks up and I am the one getting hung out to dry!

Posted by Monte L Fullmer (Member # 2797) on 06-20-2011, 01:56 AM:

...might as well as go back to land line feeds - something that solar energy can't interfere with.

I trust that with all of this, that some sort of advanced location training can be implimented in case another one of these unfortunate situations arises..

..after the DM of that location gives the mgr a total ripping apart (he might have lost his job due to this..) since the one above the DM tore into the DM and gave him a tongue lashing that echoed around the district...

Posted by Frank Angel (Member # 248) on 06-20-2011, 01:03 PM:

quote: Scott Norwood
Why is this stuff so unreliable? Television networks have used satellite distribution (both analog and digital) for decades and problems are rare. Is there a reason why the same technology is not used for cinemas? Why is anyone using Windows XP for this sort of thing?

Scott, I can guarantee that the equipment the networks and use and the little toy dishes the provider brought in are two different animals. The networks and TV stations have huge monster systems that cost LOTS-o-money. This thing the "tech" drove in on the back of his pickup was about the size of today's satelite dishes and back then, I'll bet not nearly as sophistocated.

Evidently the company had to contract out every guy in the five boroughs who was in any way connected with video equipment to be at the sites with these dishes and set them up for the venues --there were dozens of them.

I watched him "align" the dish. He aimed it at the proper quadrant in the sky -- ok, I guess he had to know that detail -- but then, while watching a little 12in TV set, looked at the feed (not even color bars) and just kept turning the dish by hand until he got the strongest signal, then locked it down; not even a signal strength meter in his other hand. I kept hearing Peggy Lee in my head --"Is that all there is?" I am figuring there may not have been much more high tech that that on the feed end either.

Posted by Bill Enos (Member # 440) on 06-20-2011, 07:02 PM:

I'd much rather see a Blu-Ray than one of the shitball prints studios send out calling them archival or some other meaningless
term. Haven't seen end to end scratches, platter hash, gorgeous pink on a BD yet, and the sound is always better than anything an analog print can muster. How about a little honesty from studios about the condition of what they send.

Posted by Frank Angel (Member # 248) on 06-20-2011, 10:06 PM:

Well, I don't know where you are getting your archive prints from Bill, but you can't make that broad, general accusation without stretching the truth a bit in your statement. Art houses are running classic titles all the time and not all of them are the grindhouse prints you are describing.

I can pull a dozen projection reports of prints we've run where a good 80% are between B- and AA condition. I just ran a spanking new print of 2001 with not a scratch on it, and will run a A condition print of WEST SIDE STORY in July.

I can guarantee that the prints the AFI and The American Cinemateque run at the Egyptian and Aero in LA or the Film Forum in NY or the Loews Jersey in NJ are not pink or scratched or have dirt on them or any of the other issues you are claiming plague all classic prints. And yes, although you may find lousy prints on occassion, they usually come from third party non-theatrical distributors and I dare say are often obtained by venues which want to take the easy road just book thru a non-theatrical distributor and not taking the time or making the effort to go after the harder to obtain archive prints. We have on occasion gotten permission after LONG negotiations to run AA condition collector IBTech prints when we could find them. Others do the same.

Would I run a BluRay in the venues that have adaquate video projection if there were no decent print to run? ONLY if I really needed it in a theme or director's series. BUT, I would always explain to an audience that film was not being used but video was.

Posted by Mike Blakesley (Member # 26) on 06-21-2011, 12:24 AM:

I agree with Elizabeth and Joe's definition of "guest," but the dictionary says otherwise:

quote:
guest
/gɛst/
1. a person who spends some time at another person's home in some social activity, as a visit, dinner, or party.

2. a person who receives the hospitality of a club, a city, or the like.

3. a person who patronizes a hotel, restaurant, etc., for the lodging, food, or entertainment it provides.

Posted by Joe Redifer (Member # 3) on 06-21-2011, 01:54 AM:

I think the dictionary definition was written as a reflection of how it is actually used, not the other way around. It's kind of like adding LOL to the dictionary... which they did. Just like we cringe when people say "I filmed it with my video camera". The dictionary says that terminology is absolutely correct.

Posted by Manny Knowles (Member # 1171) on 06-21-2011, 12:36 PM:

While I am in favor of projecting via DCP or even HDCam, I will agree that even a beat-up film print offers a certain level of reliability that Bluray does not offer.

If I've inspected it and I feel it will run okay. Given where we stand today, I *would* feel more confident with a print versus a Bluray.

In the few cases where I have had both versions but opted to run the Bluray, I still play the film print in parallel as a security measure. (Choosing the Bluray, in these cases, means that the quality of the film print was significantly compromised.)

Posted by Randy Stankey (Member # 64) on 06-21-2011, 03:00 PM:

quote: Frank Angel
Scott, I can guarantee that the equipment the networks and use and the little toy dishes the provider brought in are two different animals.

quote: Frank Angel
I watched him "align" the dish. He aimed it at the proper quadrant in the sky -- ok, I guess he had to know that detail -- but then, while watching a little 12in TV set, looked at the feed (not even color bars) and just kept turning the dish by hand until he got the strongest signal, then locked it down; not even a signal strength meter in his other hand. I kept hearing Peggy Lee in my head --"Is that all there is?"

That is one thing that makes me happy about our satellite setup. We have two 1.2 m. dishes on the roof and two receivers. The dishes are good quality and, when the guy pointed them, he used a signal analyzer. Not just a "bird dog" signal meter. A full fledged analyzer.

I hauled the equipment up to the roof, assembled it and located it. All he had to do was run the cables and do the final pointing then lock it down.

Even so, I still thought to myself, "Is that all?"

Posted by Kurt Zupin (Member # 2751) on 06-21-2011, 04:23 PM:

quote: Elizabeth Betty Gross
Kurt: Guests are invited, customers pay.

Thank you, I'm glad I know this now [Wink]

lol If you notice I put customer through out my post, that was the only place I put guest. My theoretical "Guests" were always paying Customers.

Posted by Steve Guttag (Member # 268) on 06-21-2011, 10:30 PM:

A "guest" who "pays" must be a "Patron!"

Posted by Jonathan Goeldner (Member # 4854) on 06-22-2011, 01:46 PM:

the Bow Tie Reston Cinemas last night presentation went on without a hitch [thumbsup]

- the image was brighter but the sound didn't sound as good as at the AFI Silver. Looks like last weekend did bofo business, more screenings are being added for this weekend.