+Scott Lawrence th-cam.com/video/NgDdYC86qXI/w-d-xo.html The Clyde Goes Digital It's pretty cool, the way that the server which provides information to the Forcade projector can create a playlist preprogrammed to start at a given time beginning with the dimming of House lights, previews, Feature House lights backup. But what I I'm really interested in is learning how to create the files i.e. DCP Digital cinema package as I believe it is called. We have a variety of video artists, independent filmmakers in the area, and a theater that is glad to support them. Now just to create the correct file format so that they don't have to go from blu-ray. It be wonderful to produce preshow clips to drop into the playlist. I'm working in Final Cut Pro if anyone has thoughts on that. Thanks
I do remember all the protection of a fire spreading from the projection booth to a theater. In the 20's they had nitro cellous film which was highly flammable so all the protection. Later film base material changed to a less flammable medium so were at dangerous.
Studios are shooting less and less on Film and making a fraction of release prints. Major Film processing Labs that were the Industry staple like Technicolor and Deluxe no longer process 35 and 70mm film. In fact last year both places auctioned off all their equipment. I've even seen theaters that changed to Digital, throw away their 35mm Projectors / Equipment in land fills rather then store them. Film has been around for so long it is hard to fathom that it has all but disappeared. Just like generations that grew up using 127,120,620 and 126 cartridge film for their family album pictures; Film in Mutiplexes is almost extinct. The Digital transistion seems to have come so fast to the Industry that many independent single screen theaters weren't ready for it or hoped it was still a long way off. Many of these Mom and Pop theaters have had to close their Doors because the expense of converting to Digital was out of reach. Sad ending for something we took forgranted and was well over a 100 yrs old...
Man this brings back memories. Almost verbatim setup at the theatre I worked at in the '70's. Simplex 35mm projectors, xenon lamps, flat, cinemascope, 6000' reels. The works. Even had the toilet and an escape ladder & hatch to the roof in case there ever was a fire.
Carbon arcs lasted until the 1970s, replaced by xenon only gradually during the decade because they tended to explode when they failed. Mylar film stock was still experimental when I left the business in 1988. Since it wouldn’t break like acetate stock, you could lose some gears if it came off a sprocket and jammed inside the projector. A 6000 foot reel is not really old school. House reels were 2000 ft. An average film would be shipped on 6 reels. The epics, like “Dr Zhivago” or “How The West Was Won” could be on 12-14 reels of varying lengths. A projector could easily run for 50 years if properly maintained. I always dimmed the auditorium or house lights before starting a projector running. It makes a smoother presentation of the film. I am 3rd generation projectionist in Metro Denver, CO.
i miss projecting so much the place i worked at went digital and through me to the dogs but i wont let it stop someday i will show old films as well as up to date digital first runs
I REMEMBER GOING UP THERE TO FEEL MY WAY AROUND FOR THE SWITCH TO LIGHT THE STAGE!!! OH THOSE WERE THE DAYS OF ISLAND THEATER AND GETTING STAGE READY!! BECKY
Michael Uebler We can only hope that 35mm film will stay as a niche product in the future. I don't maybe a speacial 35mm projection of a popular film. They are still film shoot on 35mm so there is hope. Digital is just not the same in image and sound quality but also in showmanship.
Hey everyone, I'm a projectionist that works for a company who still runs the occasional 35mm. Our venue uses a platter system and we have a pair of Strong projectors to run reel to reel in the event that we get archival print in order to preserve it and not splice the print up. Are there any guides for running reel to reel? I know it's kind of archaic but I would really like to learn how to do this. Haven't run any film prints on a change over system and I think it would be cool to learn. Thanks!
other than nostalgia, im not sure why one would run reel to reel not platter if one is already running 35mm for nostaglica and arts sake... if you have some kind of system that eased the stress of reel changes every 20 minutes, id stick with that...esp in this age where running film and all the other problems platters caused are a moot point...
@@julesotis13 Many archives insist on running their prints on changeover systems, since it means the prints aren't constantly being cut up, spliced together, and then cut back up into individual reels up when being shipped back out.
so glad I got the opportunity to work in a projection booth in high school. we had platters, but I'm still glad I got as much experience as I did.
Thanks for posting this one too! It's amazing how much work and stress there is on that side of the theater!
+Scott Lawrence th-cam.com/video/NgDdYC86qXI/w-d-xo.html The Clyde Goes Digital
It's pretty cool, the way that the server which provides information to the Forcade projector can create a playlist preprogrammed to start at a given time beginning with the dimming of House lights, previews, Feature House lights backup. But what I I'm really interested in is learning how to create the files i.e. DCP Digital cinema package as I believe it is called.
We have a variety of video artists, independent filmmakers in the area, and a theater that is glad to support them. Now just to create the correct file format so that they don't have to go from blu-ray. It be wonderful to produce preshow clips to drop into the playlist. I'm working in Final Cut Pro if anyone has thoughts on that. Thanks
Long, long, long live THE CLYDE!!!
I do remember all the protection of a fire spreading from the projection booth to a theater. In the 20's they had nitro cellous film which was highly flammable so all the protection. Later film base material changed to a less flammable medium so were at dangerous.
Nicely done on both sides. I've always appreciated The Clyde and I like Robbie's work. Glad to see them together.
Wow my life to a "T" Started in a 1933 Theater in Williamsburg Va. in 1979. Lucky enough to still be running 70mm film today.One of the last i'm sure.
Studios are shooting less and less on Film and making a fraction of release prints. Major Film processing Labs that were the Industry staple like Technicolor and Deluxe no longer process 35 and 70mm film. In fact last year both places auctioned off all their equipment. I've even seen theaters that changed to Digital, throw away their 35mm Projectors / Equipment in land fills rather then store them. Film has been around for so long it is hard to fathom that it has all but disappeared. Just like generations that grew up using 127,120,620 and 126 cartridge film for their family album pictures; Film in Mutiplexes is almost extinct. The Digital transistion seems to have come so fast to the Industry that many independent single screen theaters weren't ready for it or hoped it was still a long way off. Many of these Mom and Pop theaters have had to close their Doors because the expense of converting to Digital was out of reach. Sad ending for something we took forgranted and was well over a 100 yrs old...
Man this brings back memories. Almost verbatim setup at the theatre I worked at in the '70's. Simplex 35mm projectors, xenon lamps, flat, cinemascope, 6000' reels. The works. Even had the toilet and an escape ladder & hatch to the roof in case there ever was a fire.
Good Show.
Great video! Thanks for posting. (Would have loved to have seen the change-over though...)
Carbon arcs lasted until the 1970s, replaced by xenon only gradually during the decade because they tended to explode when they failed. Mylar film stock was still experimental when I left the business in 1988. Since it wouldn’t break like acetate stock, you could lose some gears if it came off a sprocket and jammed inside the projector. A 6000 foot reel is not really old school. House reels were 2000 ft. An average film would be shipped on 6 reels. The epics, like “Dr Zhivago” or “How The West Was Won” could be on 12-14 reels of varying lengths. A projector could easily run for 50 years if properly maintained. I always dimmed the auditorium or house lights before starting a projector running. It makes a smoother presentation of the film. I am 3rd generation projectionist in Metro Denver, CO.
i miss projecting so much the place i worked at went digital and through me to the dogs but i wont let it stop someday i will show old films as well as up to date digital first runs
I miss the Simplex 35 projector, Strong X16 Lamp, in the "Cine Teatro Vega Real" in
La Vega, Dominican Republic.
I REMEMBER GOING UP THERE TO FEEL MY WAY AROUND FOR THE SWITCH TO LIGHT THE STAGE!!! OH THOSE WERE THE DAYS OF ISLAND THEATER AND GETTING STAGE READY!! BECKY
Michael Uebler We can only hope that 35mm film will stay as a niche product in the future. I don't maybe a speacial 35mm projection of a popular film. They are still film shoot on 35mm so there is hope. Digital is just not the same in image and sound quality but also in showmanship.
35mm is considered "old school" now, but reel to reel is just dinosaur! I'm assuming the booth is too small for platters? Thanks for the video! :)
Hey everyone,
I'm a projectionist that works for a company who still runs the occasional 35mm. Our venue uses a platter system and we have a pair of Strong projectors to run reel to reel in the event that we get archival print in order to preserve it and not splice the print up.
Are there any guides for running reel to reel? I know it's kind of archaic but I would really like to learn how to do this. Haven't run any film prints on a change over system and I think it would be cool to learn.
Thanks!
other than nostalgia, im not sure why one would run reel to reel not platter if one is already running 35mm for nostaglica and arts sake... if you have some kind of system that eased the stress of reel changes every 20 minutes, id stick with that...esp in this age where running film and all the other problems platters caused are a moot point...
@@julesotis13 Many archives insist on running their prints on changeover systems, since it means the prints aren't constantly being cut up, spliced together, and then cut back up into individual reels up when being shipped back out.
the only way to watch a flick on 35 mm
this is real cinema,digital is for loosers.