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This topic comprises 3 pages: 1 2 3
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Author
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Topic: Number of Operators
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Brad Miller
Administrator
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Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99
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posted 11-26-2002 05:33 PM
I don't think this question can be answered without knowing the booth layout, the equipment and the competency of the operator. John, at least tell us how many screens there are in your complex and what make/model of equipment (including automations) and locations of the status panels.
If the booth is split up into different rooms (like the one I worked with Joe), then that slows things down a bit. If the booth is on separate levels and has stairways (like that moronic design of Cinemark's flagship in West Plano), then that will REALLY slow things down. If the booth doesn't have timers and/or the operator isn't competent enough to thread up properly so that he/she can use them, then forget about it and shoot yourself in the head.
IMHO a professional booth with a flawless presentation requires:- Start timers (preferably where you dial in the start time and not just tell it the delay time...mathematical errors happen that way causing shows to start at the wrong time)
- Status panels. Nowhere in the booth should the operator not be able to see a status panel.
- Reliable equipment that can start and run itself without needing a human to stand over it.
- Media cleaners making up at least half the screen count w/FilmGuard
- Every operator in the booth to be competent. It only takes one bad guy to ruin it for everyone.
Of course all of that doesn't happen too often these days. However as an example, if I had a 30 plex booth split into no more than 2 rooms without stairs, Christie or Kinoton equipment with platters, CA21 automations, a CA Link and a Goldberg platter reel, I could easily run it by myself and would cheerfully put my presentation up against a brand new print. Thursday nights I could also run it myself provided I didn't have more than 3-4 prints to deal with. For Thursdays with more prints than that, I would want a second operator to assist. Now if you give me a weird booth layout, troublesome automations and equipment that I will spend more time cursing than operating, plan on paying for 2 operators for a 10 plex. I have personally worked with these guys on the forum and know they could run such a 30 plex by themselves too: Joe Redifer, Darren Crimmins, Dwayne Caldwell, Jeremy Spracklen. I am sure there are plenty more that could do it as well. Good operators are out there. You just have to find them and give them a good booth. Jason, I haven't had a break, wrap, toss or problem in years (not counting my recent times with a Strong booth). The beauty of start timers is that you are threaded well ahead of actual start times. If a problem with equipment should turn up, you have plenty of lead time to fix it while the rest of the booth runs unattended with only a mild delay, if any. Of course the mathematical penny pinchers at corporate who decide on what equipment to buy don't seem to be able to add this factor into their purchasing decisions.
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John T. Hendrickson, Jr
Jedi Master Film Handler
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Posts: 889
From: Freehold, NJ, USA
Registered: Apr 2001
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posted 11-26-2002 09:00 PM
I'm with you on this one, Gordon. The operator had better check the screen, sound monitor,projector and platter function at start-up in my complex. I have no use for timers. Since it's not a perfect world, you can stave off big disasters that way.
No pushing the button and walking away. I'm comfortable running our 13 screens by myself, but our turnaround time is short and you really have to hustle at times. Old habits die hard. As an old changeover guy, I always look out the port and double check things every time, and I insist that my operators do the same. We run one operator Sunday night, and one for matinees and evenings through Wednesday. Thursday matinee I have one on with me while I build prints, and two work the evening shift, runing and doing breakdowns, then moving prints at the end of the night. We then run two operators on Fridays and Saturdays and Sunday matinee. Our booths are all connected, but the place looks like a maze and is spread out.
I agree that equipment, competency of operators, number of screens, schedule, and layout are all factors in deciding the proper number of operators.
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Brad Miller
Administrator
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Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99
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posted 11-26-2002 09:06 PM
quote: So, Brad, you don't think that those of us who run manual booths are "professional" and capable of a "flawless presentation"?
Now now Scott, there you go putting words into my mouth. You know all too well that I was referring to multiplex arrangements.
For the anti-timer people, checking the screen during the first preview isn't near as important as checking the screen during the actual movie. I have a firm policy that ALL projectors should be checked every 20 minutes, and more often as the operator is traveling between screens to thread and any other time permitting. I also have a policy to NOT adjust focus on trailers and snipes. Often new trailers and low grade snipes won't focus precisely as the feature will due to their curl on those tiny cores. Plus, who wants to try and focus on a video to film commercial? Making an adjustment here will in all probability push the feature or the rest of the trailers just a hair out of focus. I set focus on the feature and with the exception of the first few passes of a new trailer, all remains razor sharp for the entire presentation. As for framing, framing knobs are best locked down. Either you get it perfectly right, or you get it completely wrong. None of this "almost in frame" nonsense I see at many multiplexes. The only exception I have found to this rule is art houses, where often minor adjustments have to be made to their non-standard prints.
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