Projection Best Practices
Film vs. Video: Format Issues
Future Projection Technologies
Links to projector manuals on film-tech site
Introduction
There has been a notable decline in projectionist training standards since the introduction of multiplex cinemas. Projectionists were originally trained for long periods before they were allowed to actually screen a film. A trainee projectionist began by cleaning the projection room and then gradually moved up through other tasks such as film winding before being allowed to screen films. By the time they were allowed to present film on screen they were well-trained technicians capable of stripping down and rebuilding a projector.
With the demise of nitrate film stock and the advent of xenon arc lamps, cinema automation and then later multi screen complexes, the training of projectionists has been reduced to a shorter period. Service companies generally provide technical support for exhibition chains so that projectionists now have varying levels of technical competency depending on their interests and the availability of training.
So what should you look for in a person/venue that is going to screen your film?
- They should show an interest in your project/festival/film.
- They should have a firm technical grasp of aspect ratios, film gauges, lenses.
- The equipment should be well maintained and serviced regularly.
- They will preferably have a track record of catering to your kind of event.
- They should include or at least mention the projectionist as an essential element in their capability to present your project.
- They should be able to provide you with references from organizations that have used their facility previously.
- What training has the projectionist had?
- What are the seats in the auditorium like?
- Are you able to see all the screen from any seat with someone sitting in front of you?
As a non-technical person how do you ascertain these things?
- The organization/projectionist should ask you a few questions when you first contact them. These questions should include:
- What film gauge(s) you have (16mm, 35mm etc)?
- What base type (polyester, acetate)? There are very few facilities that are able to screen nitrate based films and they need rigorous certification to be able to claim this capability.
- What aspect ratio(s) are the films? (16mm Standard or Anamorphic, 35mm Full frame silent, Standard 1.375:1, European Wide Screen 1.66:1, Wide Screen 1.85:1, Anamorphic 2.35:1, 70mm)
- What is the running time of the film(s)?
- Will you require public address facilities, ability to screen slides, Powerpoint presentation etc?
- Access for disabled, wheelchair etc?
- Catering facilities required?
When assembling a program of films for screening it is ideal to have copies of films that are used for access purposes only so that you are not risking essential preservation elements in the screening process.
If you are screening films that have no other copies it is essential that they are not put at risk by sub standard equipment or personnel!
How are you able to assess the standard of their equipment?
- Is the facility generally clean and uncluttered?
- Do they have rags, cleaning brushes located next to the projectors?
- Do they have a film condition report for receipt and dispatch of films?
- The port glass should be clean.
- The screen should have an even surface with no discoloration or rips.
- There should be black non-reflective masking capable of masking to all the different aspect ratios you wish to screen.
- They should have lenses and aperture plates to allow screening of all different aspect ratios.
- Do they have a clean film preparation area?
- What film handling equipment do they have?
- There should be clean tape splicers with sharp blades (16mm and 35mm).
- There should be a bench with rewinders for the gauge of film you are screening.
- There should be an adequate supply of film reels that are not bent or have any sharp edges.
- A ganger for checking length and rack.
- There should be a loupe or magnifying glass to examine film.
- Ask them to run the projector(s)?
- Are they clean with no oil around or on the machines?
- Are there any unusual noises from the machines?
- With no film in the projector is the light on the screen even with no hot spots visible? For more see: http://www.kodak.com/US/en/motion/newsletters/pytlak/march2000
- Ask them to run a known test film or loop of projector alignment film and check for evenness of focus across the image
- Is the image steady on the screen with no excessive movement side to side or up and down?
- Is the audio clean with no buzz or hum apparent?
- Check the sprockets (claw for smaller 16mm projectors) on the projector(s). Check that they are not hooked i.e. there should be no wear on the side of the teeth (claw) that pulls the film through.
- Check the film gate. Is it clean?
- Do all the pad and lay-on rollers turn freely?
- Does the projectionist monitor the film through the projector while it is running? The projectionist should take a torch and examine the film as it is leaving the bottom fire-trap (just above the take up reel). This will allow them to see that there is no scratching being introduced by the projector. For 16mm projection the top and bottom loops should be constantly examined while screening to see that they are maintained.
Contributor:
Trevor Anderson
National Film and Sound Archive
Canberra, Australia
Equipment and Formats, selected links
Pytlak, John. 2000. Don't be in the dark about measuring screen luminance.
Evaluating the standard of screening equipment. Measurements of screen luminance are discussed in this a newsletter article from an Eastman Kodak Senior Technical Specialist.
Pytlak, John. 2004. Pytlak's practical projection pointers.
Index of newsletter articles that address projection & print standards.
Publications of International Federation of Film Archives (FIAF). Chapter 5 of FIAF's Projection Manual includes 3-D projection and is available in PDF format for download.
Handling and Projecting 35mm Archive and Studio Prints: Voluntary Guidelines. Guidelines from the NFPB's Film Preservation Plan, "Redefining Film Preservation."
Film Tech--an online forum of cinema-industry technicians Resources include Projector Manuals online, tips, links and listservs including the Film Handlers forum to which over 1000 projectionists subscribe."
Cinema projection topics from Schneider Optics. Projector lens information including white papers & FAQs on technical lens & projection topics.
BKSTS
The British Kinematograph, Sound and Television Society (BKSTS) Projection Manual.
Training, Mentors, Courses
The British Kinematograph, Sound and Television Society (BKSTS)
Professional association for the education, training & representation of members who creatively or technologically provide moving images and associated crafts in any form and through any media.
"In the UK, most training is delivered on-the-job. Odeon and Warner Village (two of the big multiplex chains) have their own training centres through which new projectionists with little or no prior experience pass, but these don't systematically address any of the issues which handlers of archival prints are likely to come across. Their courses are more geared towards delivering the film handling and maintenance skills needed in a typical multiplex environment (e.g. first line maintenance and repair of projectors, platters and automation systems).
Speaking for myself, I learnt almost entirely on the job: my training was delivered the traditional way, by a number of knowledgeable and experienced chiefs (Dave Young at the NFT being the one who probably had the greatest influence on me) and through learning by experience.
The British Kinematograph, Sound and Television Society (BKSTS) publishes a projectionists' training manual. The first edition, written by Bernard Happé and published in March 1979, is an excellent resource, covering the theory and craft skills of film handling and projection comprehensively. It also has sections on electrical theory, xenon and carbon arc light sources, and services and maintenance for buildings, too. The only problem is that much of the specific equipment it describes is obsolete now (especially the automation systems), and there is nothing on post-1970s projection room technology such as SVA, digital sound and polyester prints. Nevertheless, it's well worth trying to track down a second-hand copy. A new version came out in the late '90s, which, although it is more extensively illustrated, in my opinion, is not as useful. It appears to have been designed as a basic training resource for someone who is starting absolutely from scratch, and does not have much to offer a projectionist with some experience who is seeking to to broaden their skills base. There is also very little coverage of the specific issues related to the handling and projection of archive prints, e.g. changeover operation, 'legacy' ratios and sound formats, preparing older, worn or fragile archive viewing prints for projection, 70mm and 16mm projection."
Contributor:
Dr. Leo Enticknap, Curator
Northern Region Film and Television Archive
School of Arts and Media, University of Teesside
Middlesbrough, United Kingdom
ldge@y030.fsnet.co.uk