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Author Topic: Satisfying the Director or The Audience Michael Brown Phenomenal Film Handler Posts: 1522 From: Bradford, England Registered: May 2001 posted 02-15-2003 01:46 PM                     Do you think a Projectionists job is to satisfy the filmmakers (i.e strictly making sure that the film is played exactly how the film maker wishes) or to make the show the best as possible for the audience? (I suppose this mostly relates to sound levels when showing films.) We have all seen those letter included in film cans where you are directed to play the film at 7. (Well by rights all films should be ran at 7) But what if it is too loud? Or too soft? Do I make the director happy by making the audience strain to hear the dialog. Or do I notch up the fader to please the audience? In other words who does the projectionist work for? The filmmaker or the customers? I’d say it should be a balance between the two. You want to present the film as close as possible to how the director intended, while pleasing the audience at the same time. One thing to consider: The audience are the ones who are actually paying for the ticket.  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 02-15-2003 01:58 PM                     No two sound systems are the same (even if calibrated with an R2). There are many factors to consider, and all have been discussed extensively here before. The bottom line is that your 7 is going to be different than someone else's 7...maybe only slightly, maybe drastically. Adjust for the customers first. If you end up wanting to run at 8 and the director wants you to run at 7, then perhaps run at 7.5 or 7 3/4. If you are running at 5.5 and the director wants it ran at 7, perhaps you could push it a little and run at 6 or 6 1/4. Of course if the director is in attendance, you'll get a good "talkin' to" if you don't do it their way. However it's the customers who are effectively paying your check.  |  IP: Logged Joe Beres Jedi Master Film Handler Posts: 606 From: Minneapolis, MN, USA Registered: Nov 2000 posted 02-15-2003 02:24 PM                     As far as sound is concerned, if the director is not present, you have to do your job as best you can. As Brad said, no two sound systems are the same, and asking someone to play a film at seven is silly. I have gotten notes asking me to play a film slightly louder than I normally would, and I complied. That sort of a request makes much more sense to me. If a director is present, the I just do my best to get the image and sound as close as possible to their requests. I have screened films for many directors, and haven't run into any that had ridiculous requests that took away from the presentation from the audience's perspective.  |  IP: Logged Bruce Hansen Jedi Master Film Handler Posts: 847 From: Stone Mountain, GA, USA Registered: Dec 1999 posted 02-15-2003 06:11 PM                     The director is in the business of pleasing the audience. If he doesn't please the ticket buyers, then he will not be directing much longer. I think that some director's requests are missinterped by "yes" men who are too stupid to understand what the director really wanted, and too scared for their jobs ("yes" men are "yes" men, because they don't have a clue) to ask any further questions. Do what is "right". Most directors would thank you for THINKING. (There is WAY too little thinking going on today)  |  IP: Logged Ian Price Phenomenal Film Handler Posts: 1714 From: Denver, CO Registered: Jun 99 posted 02-15-2003 07:13 PM                     We've had that situation at the Telluride Film Festival. The director wants it louder and the audience's ears are bleeding. 1st rule: Never let a director in the booth. I go downstairs and introduce myself to the director, then I point out the house manager with the headset on, and tell them to direct their inquiries to the house manager. I feel that when a director is first presenting a film to an audience, nerves make the blood rush in his ears and drown out the volume.  |  IP: Logged Gerard S. Cohen Jedi Master Film Handler Posts: 975 From: Forest Hills, NY, USA Registered: Sep 2001 posted 02-15-2003 07:32 PM                     quote: I feel that when a director is first presenting a film to an audience, nerves make the blood rush in his ears and drown out the volume. That is a very funny thought, but true! May it be inscribed in the Film-tech Book Of Bon-Mots!  |  IP: Logged Tim Reed Better Projection Pays Posts: 5246 From: Northampton, PA Registered: Sep 1999 posted 02-15-2003 10:13 PM                       Here we go with the "7" argument again. There is nothing magic about "7" on a processor. It is only the reference point to which the output levels are calibrated during setup. That way, for a given position, the knob will reproduce a level that is known -- it allows for a specific degree of headroom. It's calibration for the fader. It is NOT the level where everything should ride, all the time; regardless of what the film can notes say. That is a ridiculous notion, as locking the fader on "7" does not, for one, account for differences in auditorium occupancy. For example, a full auditorium will require a higher playback level solely because the audiences bodies will absorb as much as 40% of the sound. So, how does that figure when there's only a handful of people there? It doesn't. If "7" were the no-compromise, all films, all audiences, all-the-time level position, there would be no need for a fader at all. It would just be setup at the prescribed level and forgotten. Loud does not equal good.  |  IP: Logged Darryl Spicer Film God Posts: 3250 From: Lexington, KY, USA Registered: Dec 2000 posted 02-15-2003 10:39 PM                    Seems like at some point in time I may have read about a device that could either automatically but most likey manually change the volume levels for the type of crowd you had. Was there such a monster? Basically the levels were preset for low med and full auditoriums.  |  IP: Logged Randy Stankey Film God Posts: 6539 From: Erie, Pennsylvania Registered: Jun 99 posted 02-15-2003 10:47 PM                     I guess I would answer the question with a question: "Who's buying the tickets?" Do what the customers want. (Up to a limit.) If your customers like it loud, turn it up. If not, tone it down. At Cinemark the audience was younger, on average. We often turned the volume up a bit more... Especially on busy Friday/Saturday nights. At Mercyhurst, the audience is a lot more adult/intellectually oriented. They don't want it ear-splitting loud. My boss even tries to tell me to turn it up sometimes. I happen to KNOW most of the customers' tastes because as soon as the movie tails out, I make my way downstairs to chat with the regulars as they exit the hall. They have told me, on no uncertain terms, that they don't like it loud. In fact, I was told, point blank, "If I want it THAT loud I'll go to Cinemark!" I have a reference mark painted on the face plate of the processor where, based on my conversations with the customers, I think the volume ought to be. When the boss tells me to turn it up; If it's already at the mark, I tell him, "Ok...", but I don't move the knob. He never notices the difference anyway.  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 02-16-2003 04:20 AM                        What we need is a calibration plate that can be rotated. So when you set your level as comfortable for your audience, then you rotate the plate so that the number 7 lines up with the pointer on the fader knob. There. It's at 7. Everyone is happy. Yes, my obligation is to make the film play as the director intended. I interpret that as the director not intending to drive patrons out of the theatre. If some piece of paper in the can causes that, then obviously whatever it says on that piece of paper can't be communicating the director's intentions adaquately. And bottom line, the director isn't going to reimburse me for the ticket refunds of the patrons who walk out, or even more importantly, he's not going to compensate me for the ill-will that will be generated by playing his picture in a way that offends my patrons. My theatre will still have to attract customers long after his picture finishes its run, so there is no question what motivates me as to where I set my fader -- the comfort of my patrons and the well-being of my business. When the director wants to four-wall my screen for a screening of his film for his friends, then he can set the fader anywhere he wants. As for directors who are present for a screening and who have come to tell how loud they want their picture played (and I know that it's too loud for my patrons), I instruct the ushers to point out the seat of the director to anyone who complains. "Go talk to that man....he controls the sound levels." Brooklynites have a way of making their displeasure known that cannot be mistaken. Let a few old ladies go at him and you'd be surprised how fast he comes to the booth to tell you to turn it down!  |  IP: Logged Antonio Marcheselli Phenomenal Film Handler Posts: 1260 From: Florence, Italy Registered: Mar 2000 posted 02-16-2003 05:17 AM                        I have my own opinion on Director's notes. When director says "show my film absolutely at 7.0" is because he/she knows that too many theaters show movie at a too low fader setting. If the director put a note in the can the projectionist/manager will raise the volume at least a bit just to follow the guidelines partially... I think that no directors would see the audience suffring while watching his/her film. I've always intended that notes like "pls show my film at a decent volume". Moulin Rouge come with a more reasonable notes approx. like this "This film is a musical so it need an adequate volume setting. We showed it at 6.5 and we found that the volume was correct. Perhaps in a larger theaters more is recommended. Pls adjust the fader level to assure the audience a correct fader level in your theater". This is more indicated that "SHOW MY FILM AT 7.0 or FOX WILL TAKE BACK THE PRINT". What so you think? Antonio  |  IP: Logged Mark J. Marshall Film God Posts: 3188 From: New Castle, DE, USA Registered: Aug 2002 posted 02-16-2003 05:26 AM                    quote: Seems like at some point in time I may have read about a device that could either automatically but most likey manually change the volume levels for the type of crowd you had. I remember reading once several years ago that someone (Dolby?) had a screening room that automatically adjusted the volume (and I believe the B Chain) based on how many people were in the room, the temp in the room, and certain other factors. I have no idea how this was done (censors in the seats???), it was just mentioned as an aside in an article somewhere. The temp thing is interesting. I would think that even the outside temp could be made a factor. 400 people wearing T-shirts is going to effect the room's EQ differently than a 400 people wearing sweaters and having coats on their laps.  |  IP: Logged Tim Reed Better Projection Pays Posts: 5246 From: Northampton, PA Registered: Sep 1999 posted 02-16-2003 05:45 AM                       quote: Perhaps in a larger theaters more is recommended. Okay, perfect example. This is the only reason why calibration of output levels need to coincide with "7" on the fader - it's the ONLY significance of the number. "7" is just an arbitrary point where we'll get a known quantity in the operation of the fader, which determines its range of adjustment. Nothing more. That's so, no matter what size auditorium the film plays in, everyone can count on the fact that a certain position on the fader translates to a particular level. That allows the system performance to be uniform from one installation to the next. The misunderstanding begins when variations occur and differing numbers of human bodies occupy the space. One unchanging playback level (i.e., "7") does not, and cannot, apply across the board. For studio screenings or dailies, I always hooked up a remote fader and threw it out the port to let them worry about it. Then they can play it as loud as they want -- and you can bet it won't be "7".  |  IP: Logged Jeffry L. Johnson Jedi Master Film Handler Posts: 809 From: Cleveland, Ohio, USA Registered: Apr 2000 posted 02-16-2003 07:37 AM                        quote: For example, a full auditorium will require a higher playback level solely because the audiences bodies will absorb as much as 40% of the sound. I thought Tomlinson Holman performed this experiment, first with an empty auditorium, and then with a full auditorium, and found no difference in levels. Granted this is just a recollection and I have no idea if there is a published article of this experiment. But is there a published reference to the 40% claim? Or any other claim of bodies absorbing more sound than empty seats and requiring the fader to be increased? Here's some URL's from a quick Google search. hereAn Overview of the Acoustical Effects of an Audience Index for 2aAA 2aAA2. Sound absorption of occupied chairs as a function of chair design and audience clothing. 2aAA3. An overview of the acoustical effects of an audience. hereSound Absorption in Concert Halls by Seats, Occupied and Unoccupied, and by the Hall's Interior Surfaces hereMany Architects Are Baffled by the Problems of Acoustic Design "Not only must acousticians consider the architecture of the room, but they also must take into account sound absorption attributable to the audience. For this reason, in spaces with fixed, upholstered seating, the sound absorption characteristics of an empty seat are typically comparable to those of the seat when occupied, ensuring that the room's acoustic qualities do not depend on the size of the audience." Sound Absorption Coefficients These seem to be primarily for concert halls, not motion picture theaters. here Scaling The Experience: Considerations for bringing movie sound into homes. By Tomlinson Holman  |  IP: Logged Daryl C. W. O'Shea Film God Posts: 3977 From: Midland Ontario Canada (where Panavision & IMAX lenses come from) Registered: Jun 2002 posted 02-16-2003 10:54 AM                        quote: a device that could either automatically but most likey manually change the volume levels for the type of crowd you had I think you guys are thinking of an auditorium fader. It adjusts the processor fader based on the 'volume' (likely SPL) in the auditorium.  |  IP: Logged

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