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This topic comprises 2 pages: 1 2
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Author
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Topic: Turning the lights down
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Ken Lackner
Phenomenal Film Handler
Posts: 1907
From: Atlanta, GA, USA
Registered: Sep 2001
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posted 04-04-2004 03:22 PM
OK, here's a situtaion. You started your last show of the set and now you're walking the booth, checking lights, focus, framing, etc.... You notice that in one of the houses for some reason the house lights did not go all the way down when the feature begain. Perhaps the print is missing a cue, or the automation missed the cue for some reason. The feature has been playing for quite some time. (Perhaps half an hour or longer.) No customers have complained about the lights staying at half.
Now, here's the question: Would you turn the lights down? On one hand, to me personally it is very annoying to watch a movie with the lights at half. I would want them turned down and would complain as soon as the feature began. OTOH, turning them down in the middle of the feature - especially when no one even noticed in the first place - may be more distracting than leaving them at half. Not to mention it may look tacky.
This scenario assumes an automation that uses a specific cue to execute a specific funtion, rather than sequential cues where it would be necessary to manually advance the cue in order for the next cue to perform its desired function.
What would you do?
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John Pytlak
Film God
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 04-05-2004 02:59 PM
As an audience member, I'd much rather have someone FIX the problem as soon as they notice it, rather than have the theatre personnel hope no one will notice or fear calling attention to it by fixing it right away. As others have said, for every customer that actually tells you something is wrong, there are probably a dozen others who never say anything, but are really dissatisfied.
A skilled projectionist learns to be discrete in fixing problems while on screen: focusing quickly, correcting framing (at a scene change or during fast action), removing hairs in the gate, gradually adjusting house lights to the correct value during a brighter scene, changing fader level, switching to analog with a print having digital sound problems, etc.
By all means, stop the show is when you are likely to damage the print if you don't stop to fix the problem. For example, if you have a misthread or lost loop that you know is scratching the print, stop and fix it. Or if you have a splice break at the takeup, don't just let the film pile onto the dirty floor. ![[Frown]](frown.gif)
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Frank Angel
Film God
Posts: 5305
From: Brooklyn NY USA
Registered: Dec 1999
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posted 04-05-2004 10:51 PM
quote:
Many people (myself included) prefer not to miss any of the film (if it is mostly watchable) but would still expect compensation for a less than satisfactory experience.
Ah, finally a legitimate use of the cell phone in a theatre. While sitting through three trailers with the frame-line in the middle of the screen, I simply whipped out my cell phone, called the theatre's number (had to listen to all of the titles and showtimes before they gave the number for the manager, which gives you some idea of how long this thing was out of frame) and then called the manager. Unfortunately it took him another 10 minutes to comprehend that I was calling from within his theatre. Now I make it a point to program the manager's number into my cell before I go to the theatre and have it poised and at the ready for just such occasions.
As for four reels of a scope picture playing flat, anyone on my staff would know they were in BIG trouble if they didn't stop the show and correct the error. We would definately stop the show, apologize for the mishap and offer comp tickets and a free popcorn and drink to everyone who had suffered through that major a goof. Then we'd correct the problem and play the last reels correctly.
But that certainly would not be the end of it; there would definately be a follow-up. I would want to find out what could possibly be the excuse for such a mistake. Who was it that for four reels never looked out a port window? Which ushers on the floor never stuck a head into the auditorium to check the presentation? Then I would post Joshua's Roy Williams great scientific data on every wall in the booth and in each office and make sure that there is a schedule in place assigining responsibility to staff to check the picture, the sound and room environment (light levels, heat, roudy patrons, etc.) at the start of each show or shorly thereafter. This kind of problem wouldn't happen if such a quality check system were in place.
As for lights left at preview level, just set the timer to 4 min and they will dim so slowly no one will be distracted or perhaps not even notice, but again, FIX IT. Everyone knows stuff happens; it's never good operating procedure or even good showmanship to just ignor it.
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