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Author Topic: My First Interlock Richard Greco Phenomenal Film Handler Posts: 1180 From: Plant City, FL Registered: Nov 2003 posted 02-29-2004 11:34 PM                     My manager is finally letting me do an interlock of Passion tomorrow night. She has had another projectionist come in to just run the interlocks prior. She asked me that if the guy doesn't want to come in, if I could do it. I watched the guy thread the interlock 4 times and I feel very confident in doing it. The technician also told me how to thread it. My question.... Any ideas on how I can make it run smoothly w/o any issues. Anything I should be extra careful to keep an eye on? I want to show my boss that I am capable enough to handle more responsibility around the booth. Thanks Richard  |  IP: Logged Steven Privett Expert Film Handler Posts: 208 From: Pasadena, TX, USA Registered: Dec 2000 posted 02-29-2004 11:46 PM                    You should list the equipment you are using, automation, etc. Now I'm trying to get through the fact that you are about to thread two interlocked projectors for the first time, and run it for two sold out crowds. You should have no problem at all. Here's a hint.... make sure the booth doors are locked.  |  IP: Logged Richard Greco Phenomenal Film Handler Posts: 1180 From: Plant City, FL Registered: Nov 2003 posted 02-29-2004 11:54 PM                     I'm using Century SA projectors Speco LP-270 platters (drive-ins) DTS sound Key start automation Distance between projectors is roughly 15-20 feet Our interlock rollers are in the middle 3rollers on top 2 rollers on the tension arm I hope that helps. I think it is great though that my boss is starting to trust me. I do know that the 7pm show IS sold out and yes we are running to both our big theatres. I AM a little nervous but I think I'll be ok  |  IP: Logged Jack Ondracek Film God Posts: 2348 From: Port Orchard, WA, USA Registered: Oct 2002 posted 03-01-2004 12:02 AM                        If you're really concerned about getting it right for a paying crowd, go in after hours and set one up on your own time. While maybe not in your best economic interests initially, it's a far cry better than screwing something up with people in the building. Plus, there's far less pressure and you can take the time to assure yourself you've got all the buttons in the right places.  |  IP: Logged Mike Olpin Chop Chop! Posts: 1852 From: Dallas, TX Registered: Jan 2002 posted 03-01-2004 12:13 AM                     Lots and lots and lots of leader. We interlocked our two prints on 4 screens daily the whole weekend. It is also the first interlock for many of us. Sold out show + interlock = Scary!  |  IP: Logged Chris Hipp Phenomenal Film Handler Posts: 1462 From: Mesquite, Tx (east of Dallas) Registered: Jul 2003 posted 03-01-2004 12:17 AM                     Jack's advice is very good. I did just that when threading multiple syncs (3 or more projectors together). Just build you a "print" of trailers and thread it and run it. Without knowing your roller setup I dont think there is a whole lot of advice that any one can give you other than that. I will say this If you have "wrap detectors" make sure the one on the takeup platter is NOT threaded. There will be too much tension and your platter will shut off. Make sure you have plenty of leader and dont thread too fast because you might not be able to see the print from the other projector. Finally, have someone there that knows how to fix it if you screw it up! BTW, I have been running interlocks between two 600 seat houses all day all weekend sold out every show. Also triple syncs for a combine total of about 750 seats, sold out of course. But im not complaining, I have gotten almost 40 hours in three days because of it. Just dont freak out and you will be fine.  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 03-01-2004 01:19 AM                     Triples, eh? That's nothing!!! (In this example, projector 1 is not necessarily the house number, but the first projector that the film runs through in the interlock.) Thread film to and past projector 1, through interlock rollers to and past projector 2, over to takeup platter. Now this is where most people screw up when they thread an interlock. Most people walk back to the originating projector and then "thread down". Get with the program and don't do that. Thread projector 2 first. Be sure the takeup platter is set and ready to takeup as you normally would. Now thread projector 1, but pull ALL of the slack from the bottom of the projector upward such that your accumulator ("tension arm") roller is as tight as it can be. Now let about 2 feet of film back down, toward the second projector. Thread projector 1 (bottom to top, of course) and turn it over a few frames to make sure your loops are fine. At this point your accumulator roller should be at or very near the center point of it's travel. If it is too high, turn over projector 1 until it is centered. If it is too low, turn over projector 2 until it is centered. Once you do this a couple of times, you will know precisely how much film to let back and when you walk away from threading projector 1 you won't even have to check the interlock tension arm. Why do it this way? Doofuses thread "in order" and then have to play fuckaround with getting the tension right. Also not knowing how to thread "bottom up" will cause you unnecessary grief in interlocking. If you can thread bottom up, you will quickly find you can set up a 3 screen interlock in less time than it takes to thread 2 seperate movies each on their own screen. *Never, ever use the projector motors to advance the film. *If using polyester leader, single sided tape splices every 20 feet in the leader work nicely to help it to break if you screw something up. A break is easier than putting the ceiling back up. *Always press your start button on the lead machine, even though all automations I've seen will let you start an interlock with either button. Should you screw something up and things are not programmed properly, you would want the first machine to start and the second machine to sit there. Film on the floor is easier to fix than your ceiling. *If you don't have interlock circuitry, you can thread it up such that the accumulator is taught between the two projectors. Then start the first projector via timer while you sit with your finger on the start button of projector 2. Once you see the arm start to fall downward, press the start button of projector 2. NEVER do this trick the *other* way. Re-read the previous tip. *Finally, watch the print run on the last screen of your interlock like a hawk until you are positive you are not damaging the film somewhere in between the projectors. *RUN TESTS BEFORE YOU ATTEMPT THIS WITH A REAL PRINT!!! Seriously, heed the above advice of coming in early and trashing some trailer packs. Also, once you are comfortable with things, get a print that you are about to lose (or needs to be broken down) and run a test between those two projectors. I have seen instances where someone started an interlock after not interlocking for many years only to find out that the two motors did NOT run in sync with each other. You need to find out NOW if the two machines will definitely run happily in sync over the course of two hours. Those are only the basics, but you probably don't want to go through my grueling 36 hour interlocking course.  |  IP: Logged Wolff King Morrow Master Film Handler Posts: 490 From: Denton, TX, USA Registered: Feb 2004 posted 03-01-2004 02:21 AM                        Edit: My apologies for editing my posts. I was informed by my employers that I am not allowed to discuss anything pertaining to operation, proceedures, profits, or wages of the company I work for on this or any other public media. Please note I was NOT aware of such a policy, so I apologize for the disruption of the thread. Thanks for your understanding on this. -Wolff [ 03-02-2004, 09:36 PM: Message edited by: Wolff King Morrow ]  |  IP: Logged Chris Hipp Phenomenal Film Handler Posts: 1462 From: Mesquite, Tx (east of Dallas) Registered: Jul 2003 posted 03-01-2004 02:46 AM                     I could have said everything that Brad said except the idea of having single sided splices in the leader, but it felt like stating the obvious. Really.  |  IP: Logged Ron Keillor Expert Film Handler Posts: 166 From: Vancouver, B.C. Canada Registered: Jul 2003 posted 03-01-2004 02:55 AM                     Another thing: ensure that the projectors are running at the same speed. Make a big loop of leader or scrap film, run it through the projectors for several minutes (it does not have to go on screen) and observe if there be any tightening or loosening of the film between them. A small speed difference can make big trouble.  |  IP: Logged Aldo Baez Master Film Handler Posts: 266 From: USA Registered: Mar 2001 posted 03-01-2004 02:56 AM                    Brad, why wouldn't you use the motors to advance the film? I do what you do but afterwards I just go to the receiving projector and turn on the motor less than a second a couple of times till I get the correct tension on the other platter arm. Your way is interesting though I will have to try it.  |  IP: Logged Michael Schaffer "Where is the Boardwalk Hotel?" Posts: 4143 From: Boston, MA Registered: Apr 2002 posted 03-01-2004 03:21 AM                        Switching the motor on and off repeatedly and quickly can lead to sparking in the switch and mess it up.  |  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 03-01-2004 03:29 AM                        Who cares about the switch. Turning the motor on and of is (1) bad for both the motor and most projectors' drive trains, and (2) if you incorrectly predict the amount of time it's going to take for the motor to come to a stop you can end up breaking something (like your ceiling) or bending something (that is invariably expensive).  |  IP: Logged Wolff King Morrow Master Film Handler Posts: 490 From: Denton, TX, USA Registered: Feb 2004 posted 03-01-2004 03:56 AM                        Edit: My apologies for editing my posts. I was informed by my employers that I am not allowed to discuss anything pertaining to operation, proceedures, profits, or wages of the company I work for on this or any other public media. Please note I was NOT aware of such a policy, so I apologize for the disruption of the thread. Thanks for your understanding on this. -Wolff [ 03-02-2004, 09:37 PM: Message edited by: Wolff King Morrow ]  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 03-01-2004 05:01 AM                        I also agree with Jack's advice. If you just want to test out the interlock system, get some old junk acetate-base film. This will break under tension rather than stretching, so you won't pull the rollers off the ceiling and strip gears if the system isn't set up correctly. As usual, Brad is right--it's easier to start by threading the last projector in the series and work your way towards the first.  |  IP: Logged

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