Digital sucks,...it just doesn't have the majic that film has.

Dave L, I feel your pain even here in the UK!!

what's the qualifications of a projectionist

We were non-union so if you could operate a projectors that was the only qualifications you needed. Some of the guys started at our little theater then joined the union and work at other larger theaters. One of our guys got a job running a projector at Disneyland. That was also a union job.

ok cool

thnx

The way you describe was the only possible one for safety reasons. In the age of nitrate footage, there were only reels with about 20 minutes allowed.

The lens change occurred because of a piece of metal tape in a certain location on the film that triggered the cue to happen as it passed through the metal detector

@mrsupadupa. You just told everyone what kind of a projectionist you were. A brain wrap 2 REELS THICK means that you didn't regularly walk around your booth to double check on everything. It means you're hanging out downstairs, or sleeping upstairs. A film that spun off your platter, I would be so embarrassed if that ever happened to me or any of my operators. All the projectionists reading your comments are looking at you as the reason why people think projectionists are lazy.

its not. it's a easy job..I did it for 5 years..I loved it. once you know the machines its 90% threading 5% build up and 4% teardown..1% troubleshooting

@@andersonjeremiah6 apparently you weren't doing it right. You're forgetting cleaning your machines and film path after every show, doing your oil work, opening up the back side of 1or 2 projectors nightly at a multiplex so that you can keep up on the maintenance. Like greasing the nylon gears and checking the tension on the belts and make sure your ball bearings are free. Checking shutter alignment for drift by running an RP40 loop. Rotating your lamphouse bulbs 90° clockwise after 500 hours and then 270°back counterclockwise the next 500 hours so the zenon gas doesn't settle and scorch the quartz, ensuring that these very expensive bulbs can last longer than expected. This means in a multiplex having to do this in one projector every week. And then there's the sound maintenance. Running a Dolby tone loop every week on every machine to make sure your baseline trim level is set, using the projection booths oscilloscope and microphone to accomplish this with. Which I'm betting you never had. Sweeping the floors daily and dusting all surfaces, and a whole list of things it takes to run a proper projection room that's state of the art, in perfect condition and completely dust free. Every good projectionist I had working for me was always in the building 2 hours after hours or 2 hours before hours to do their regular maintenance every day. I had to fire many projectionists like you sir. Guys who thought they just thread up and sit on their ass and play video games or sleep all day. It was a real job, where real men and women who cared about quality worked hard. That's the reason union operators from a good shop make $30 an hour. There's nothing "supadupa" about running a filthy booth with prints that get coated in dust and oil and look like black snow on your screen with projectors that are not well maintained and out of alignment.

Pay no attention to mrsupadupa. Read my comment and know the truth about the job you would have enjoyed

Oh and mrsupadupa, how can it be 5% build up and 4% takedown? Unless you're losing footage cuz you're a bad projectionist or just keeping footage because you're a selfish slob, 100% of what you build up should be torn down as well. Duh!