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This topic comprises 5 pages: 1 2 3 4 5
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Author
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Topic: Projectionist test
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Scott Norwood
Film God
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Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99
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posted 04-19-2005 09:00 PM
Look for "Projectionist Study Material" in the "Manuals" section on this site. There are a few aspects of that file that are somewhat dated (stuff about cement splicers, etc.), but it's still a useful file, and it should be pretty easy to turn most of it into a written test. You'll need to add some questions that relate to your specific setup, particularly if you have a "modern" sound system.
Also see if your state or city has a requirement for projectionist licensing. If so, try to find out what is covered on that test and include that material as well.
You should definitely have a practical review covering basic equipment operation, correct terms for equipment and major parts, film handling, troubleshooting, maintenance, etc.
My personal feeling is that a "test" for this sort of thing is of questionable usefulness, and that you would do better to observe your employees at work and get a feel for their general level of competence, however.
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Randy Stankey
Film God
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Posts: 6539
From: Erie, Pennsylvania
Registered: Jun 99
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posted 04-20-2005 09:27 AM
It MIGHT catch fire if you cinch a piece of NITRATE film!
The aspect ratio question is one that I've been wrestling with:
PROJECTED aspect ratio would be correct. But, how far into terminology should I go when training newbies? Most of these students have only been donig the job for a few months. They only work once per week, as opposed to every day like they would in a commercial theater.
I've been flipping back and forth on that one. I think I'm going to put the work "projected" back in. .
Same question with the Academy/TV vs. 1.33/1.37 thing:
Is is sufficient to simply point out that movies USED to be the same size as what your (standard) TV screen is today?
In my booth, we can project 1.85 - 1.66/1.77 - 2.39 - 1.37
Yes, I know that 1.85, 1.66, 1.77 and 1.37 are all considered "FLAT" but I'm boiling things down a bit.
In daily use, I call them "Flat", "European", "Scope" and "Academy". With the "European" lens there are two aperture plates. Since my screen is on the stage's fly system I can adjust the screen to match the picture. It's a little bit more legwork but it's cheaper to cut another plate than to buy another lens.
The lens collars and aperture plate handles (Simplex PR-1003) are all marked with the names of the format in paint marker. Each week I write the correct information on the label at the tail of the print. The operator simply has to go read the label and install the lens/aperture that's called for. Most of the time the correct lens is already in place so it's just a formality to check it.
So, do you think I've boiled the question down too much?
You don't realize how hard it is to take information that you know by heart and put it down on paper so that it's clear to other people until you try it!
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Manny Knowles
"What are these things and WHY are they BLUE???"
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Posts: 4247
From: Bloomington, IN, USA
Registered: Feb 2002
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posted 04-20-2005 12:06 PM
This will probably make me seem like an insensitive prick but...
Avoid turning this into an opportunity to show off. Those multiple choice examples are needlessly complicated and you will confuse your projectionists, especially if they are complete newbies. Trick questions are silly and unprofessional and, in addition, can create an atmosphere in which the student is mistrustful of his teacher. I can understand how exciting it is to have the opportunity to train someone. Still, I would urge you to keep it simple. You can always offer "advanced training" at a later time.
The typical American film handler newbie only needs to know how to identify the scope format versus flat. From a practical standpoint, they need to know which lens and aperture plate is for which format and how to mount/dismount (or engage/disengage) the lenses and plates. If your theatre has moveable masking they will need to learn how to use it. The average newbie doesn't need to know what the numbers mean.
Unless you actually use 1.66 (and all that jazz) there is no reason to even bring that up in a "basic training" situation. Even with flat/scope I only mention the actual aspect ratios in passing. If they retain the information that's fine but they are not expected to learn/memorize any of it because it doesn't figure into their ability to do the job at the most basic of levels.
Again, if your theatre uses 1.66 and 1.85 then you *do* need to delve into the subject of aspect ratios a little deeper than this.
In most cases, however, the reality will be that your projectionist-in-training doesn't plan on being one for the rest of his/her life. Don't burn yourself out because, once in a while, you will find an excellent operator who is interested in learning more. Conserve your energy to groom that one when he/she presents him/herself.
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