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This topic comprises 3 pages: 1 2 3
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Author
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Topic: Projecton Booth Destruction
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Jonathan Smith
Expert Film Handler
Posts: 201
From: Youngstown, OH
Registered: Jan 2010
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posted 05-15-2010 04:24 PM
They tore out the film projectors and they didn't "tear you out" too?
I'm not naturally a very cleanly person, but I made sure to keep my booth spotless with film.
With digital, honestly, why bother? That's someone else's problem who has an exclusive maintenance contract.
I'd crawl around on my hands and fucking knees, off the clock to get every last bit of dust out of the path of a platter and projector system, but I couldn't care less about our digital projector. Keep the lens clean of dust and the air intake, and the filters clean, as has been already mentioned, but why go any farther.
It's a projection room. Who cares what it looks like, except up on the screen?
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Jonathan Smith
Expert Film Handler
Posts: 201
From: Youngstown, OH
Registered: Jan 2010
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posted 05-15-2010 07:46 PM
Let me restate: Who cares about a projector that is obsolete the day you buy it, that will be torn out again in two years?
I'm not saying leave a mile-high pile of dust on the floor, but it isn't the same as with film. You have to do a basic amount of cleaning, but not like with film.
And, no, no matter how anal retentive you are, ultimately the way the movie looks on the screen is what matters, not how your booth looks. I know PLENTY of people who care more about the latter than the former. Whatever floats your boat, but if you have scratches up on the screen, and your booth is spotless and organized a PARTICULAR way, or your booth is sloppy but the prints are spotless, which one do you think the customer will like better?
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Jack Ondracek
Film God
Posts: 2348
From: Port Orchard, WA, USA
Registered: Oct 2002
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posted 05-15-2010 08:18 PM
Guess it's a matter of what kind of environment you're willing to work in.
When I was a radio engineer in Oregon, I worked in a transmitter building with 8 or 9 100,000 watt dual transmitter sets. On the upper floor, one of the sets was installed in a windowed room by itself, climate controlled, looking like the day it came out of the factory... some 20 years before... a real showpiece.
In the basement was a copy of the same transmitter, sitting in a big room, shared by several others. No climate control here. The transmitter was owned by the building operator, one of the top-rated stations in the market. This transmitter was a cosmetic nightmare. Half an hour with Simple Green would have done wonders... but nope.
The engineer's philosophy was simple. About every 6 months, he'd shut down one side, open it up, clean the interior and put in new tubes. He'd start it up and tune it, and short of a shutdown, wouldn't touch it again until the next cycle on that side, 12 months later. As far as he was concerned, Simple Green on the outside neither added nor subtracted one day from the transmitter's operation.
That transmitter ran 24/7, and was as reliable as the spit-shined model upstairs.
So... While I wouldn't want a dump to work in, I suppose you don't need an operating room environment either, eh?
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Chris Slycord
Film God
Posts: 2986
From: 퍼항시, 경상푹도, South Korea
Registered: Mar 2007
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posted 05-16-2010 12:08 AM
quote: Jonathan Smith And, no, no matter how anal retentive you are, ultimately the way the movie looks on the screen is what matters, not how your booth looks. I know PLENTY of people who care more about the latter than the former. Whatever floats your boat, but if you have scratches up on the screen, and your booth is spotless and organized a PARTICULAR way, or your booth is sloppy but the prints are spotless, which one do you think the customer will like better?
Classic strawman argument.
You've reduced the argument for keeping the room clean into supporting the idea of scratching prints.
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