Film vs. Video: Format Issues
Future Projection Technologies
Links to projector manuals on film-tech site
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?
As a non-technical person how do you ascertain these things?
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?
Contributor:
Trevor Anderson
National Film and Sound Archive
Canberra, Australia
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.
The British Kinematograph, Sound and Television Society (BKSTS) Projection Manual.
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
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Updated: March 8, 2006
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