Great story Rob, I always wonderd if RCMH ran reverse wrap, and due to a typo your message it reads emulsion it, I am not sure if you meant in or out. That would have been a good sign to hang in the booth, ATTENTION: ALL PRINTS ARE RUN EMULSION IT.
All kidding aside, I can only imagine what went thru yours and the operators minds when they made that changeover and saw the film backwards with the sound track running along the left side of the screen. Good Grief!
Which brings me to another question, how many operators were on duty for each shift? how did they divide up the work? I remember they would call out the cue marks to one another during a changeover
I forgot to mention the film transport, we have two three stacked platters, so that when we run 3-D, one for the left eye and one for the right.
William I’d say 80% of the studio test screenings I did before I retired were D-5 tape. There are fewer and fewer screenings using unmarried prints.
I should explain to anyone not understanding, an unmarried print is what we would use to show sneak and test sceenings of unfinished movies. The picture and sound were on seperate reels which would be interlocked. I am sure Rob has had a lot of experience with this at RCMH
CConnolly, I shall tell you what I know about IMAX.
First of all the picture is not digital, but a 70mm fifteen perforation film which runs thru the IMAX projectr horizontally at 24 frames per second. The projector is capable of running two prints at the same time for 3-D.The sound comes on CD disks which is then loaded onto the computer’s hard drive which syncs up the picture and sound. In the theatre I worked, the light source is a 15,000 watt lamp and the sound system carried 12,000 watts of power. A wall to wall,floor to ceiling silver screen, to maximize the reflection to the audience, was installed. IMAX has been a new shot in the arm now due to DMR which is a process of digitally re-mastering regularly shot 35mm movies to the IMAX process,as was the case in “Robots” and the upcoming “Batman Returns” amoung many others.
I hope I helped explain a bit about IMAX and hope someone with more knowledge can add to or correct anything I wrote
Rob, I can only imagine the pressur of working at RCMH. But it had to be a rewarding and thrilling experience. As for the Guys running digital, I suppose it must have it’s anxious moments. As a film projectionist, when something went wrong we could generally take care of the problem. Switching rectifiers/generators for a light source problem or amplifiers when the sound gave us trouble. Heck, most of us at one time or another have had to change out an intermittent or replace a drive gear at one time or another not to mention a water cooled jaw in a arc lamp house that suddenly sprung a leak. Ahh the memories… but my experience with digital was one of
a feeling of helpness when it went sour, something I was not used to or enjoyed very much. All one could do was call the 800# for tech support. As you very well know, digital projection comes with it’s one sets of problems. So the industry had changed a great deal, my last booth job was in an IMAX theatre, I played “Polar Express” in IMAX 3-D. What a nightmare that was!, the print didi not carry a time code as does DTS for example, but rather runs on it’s own program so the chances of losing sync was always about. Then of course if you had a film break and lost any frames in the left eye print you had to replace (slug) the missing footage in the right eye print to keep everything matched up. Of course we had to do the same thing in the old 3-D and Cinerama days and I know some of the boys would sometimes cheat and simply remove the missing footage from all the prints, but with IMAX if you did that you would lose sound sync.
But at least we had film, and running 2-3 or even, as you did, 5 projectors in a single thetare in a single booth. I miss that!
Welcome Riche, looking forward to Q&A with you. I have only the utmost respect to all who worked RCMH.
Rob, I remember similar “Breathing” problems in a theatre I worked in with a short throw on to a large curved screen with an arc burning at about 150 amps if I recall. Focus drift was another issue which we resolved with “reverse wrapping” the print, which meant of course running the reels clockwise changing the way the emulsion wrapped on the reel. We had to turn the reel end alarms around and start rewinding “over to over”. We even put large arrows pointing the way to load the reels in the upper magazine for the relief guys who all thought we were nuts, But it helped, Ever hear of or try that?
By thr way REandres, I trained in digital projection before I retired and I am sure glad I never had to work any shifts with digital projection. There is so litle to do. I thought it got boring with platters, but gosh all you do with digital is log on to a computer choose a platter (film) and hit the start button. My goodness what in the world do those projectionists at the Ziegfeld do all day? That has to be a boring job. I only wish I had a chance to work RCMH during the glory days.
Thanks REandres for that info. I forgot about the water cooled gates
Peter, you misunderstood, I never wrote all projectors are compatable. I am refering to 35/70 projectors, which is what all 70mm theatres have. There is nothing to do but convert the idle rollers, change the aperture plate and lens and your done. As for platters, most of them have feed plates (brains) that simply change out for either 35 or 70 and duel purpose guide rollers so again, little has to be done. As for the masking, we usually have three presetts, Flat, Scope and 70 for both the side and top masking settings. I have had several sneak preview showings of a 70mm print
playing with a 35mm feature and two of us did the conversion during
intermission, (about 20 minutes). In the case of DTS readers, nothing has to be done with them because they are always there, usually mounted above the mag penthouse, and simply bypassed when not in use. I suppose if you wanted to play a 70mm DTS print followed by a 35mm DTS print you would have much more work but that would be unusual.
Perhaps REndres can tell us more.Radio City Music Hall has three 35/70mm projectors and two 35mm projectors. I imgine the 35/70 projectors are used for both 35 and 70. I would be interested in how he handles the changeover.
Some of the threads regarding 70mm have me wondering if everyone understands that all theatres have projectors and film transport systems (platers) that are 35/70mm compatable. At one time the Rivoli and one or two others had Todd-AO projectors which were designed for 70mm, however now in any theatre you go to, the booth has projector(s) that can run either 35mm or 70mm. We do not have straight 70mm projectors sitting in the booth collecting dust. It is a simple conversion from 35mm to 70mm that takes only a few minutes to perform and can easly be done even during intermission, there may be some minor Xenon bulb re-alignment as well. The film transport systems (platters) are also 35/70 compatable and can be converted just as easily. The sound format is chosen by the simple push of a
button and you are good to go.
Yes Peter, you are correct, not only is the digital projector usually installed along side the film projector, often a 35mm print will be delivered to the theatre as a back up should the digital fail.In some of the new IMAX installations, a 35mm projector is maintained as well to alternate between 70mm IMAX and regular 35mm engagements. I know when “Aliens of the Deep” played in some of the IMAX theatres, a 35mm print was ready to go if needed. I would expect the same for the new “Batman” film opening in June. This of course does not apply to the IMAX filmed features designed exclusily for IMAX.
Bill, the 70mm theatres in New Jersey, for the most part, have maintained the 35/70mm projectors although we haven’t used them
in quite a while.
There were no obsturcted seats anywhere in the Paramount.
The Liberty on Canal Street had some beams supporting the balcony, perhaps you were thinking of that. You are right about the cavernous orchestra section which seated about 1800, there were about 500 seats in the balcony. I sure do miss that theatre.
This may not be the place to discuss this, but I too wondered about letterboxing, can anyone expain how the different aspect ratios are re-formatted for TV/DVD, and why the image size varies?
While the St.George was under going the first attempt at restoration, we asked the new owner of the Paramount if we could salvage anything to use, he said we could have anything we wanted, but sadly their was little left that had not been either destroyed or removed. I took four marquee letters which spell out my name. It was like visiting a graveyard, I remember standing on the stage looking towards the balcony and remembering what it once was, it was one of the most depressing days of my life.
Absolutly, you do the best you can from old photos, blueprints,and speak with as many people as you can find who knew what how the theatre looked originaly,then you can go out there and save the ole girl. Warren is quite correct, the owners were very respectful of the theatre and kept an eye on their investment. I remember speaking with the owner before it was sold, and he spoke of the joy of owning what he described as a magnificent structure. The new owners have spent a lot of money and had many people helping to bring the theatre back to it’s former self. I urge everyone who can go and see the theatre even if just to visit, bring the kids because they will may never see the likes of it again. LONG LIVE THE KINGS!
Theaterat,I hope your visit was post December 2004, most of the work had been completed by then and the results are rather spectacular. The theatre celebrated it’s 75th anniversary in December.
Visit the website at www.stgeorgetheatre.com
Theatrerat, You mention the Paramount and St George theatres on Staten Island. They are both listed on Cinema Treasures and I have made a few comments on both. The St.George has been beautifully resored and is currently working as a live show venue with classic movies planned for later on. As for the Paramount, sadly, I think it’s a dead issue, it was sold recently to a developer who has plans that do not include saving it as a theatre. I recently visited the Paramount and was brought to tears by it’s current condition. If you get a chance to see the St George, I think you will be pleased.
Ahh the business agent… Didn’t love it when he sent you to those old houses cold. you would have to run around the booth and find out where everything was and how it worked. He would say
“ever check out the booth at such and such a place?” I would say “no” and he would reply “That’s ok, you’ll fiqure it out”
Fun times.
How about when the take up belt would break half way thru a reel and you had to turn it by hand to finish the reel. Or when you ran a movie for the first time and you were not sure when the cue mark was coming and were afraid to blink. Hot booths were common in the ole days, you could always crack open a port window a bit and get a nice cool breese.I loved running those kiddie matinees with 10-20 cartoons and a stooge comedy, it was a great way to get rid of all those carbon stubs. I would start at 10am with the kiddie shows till about 3-4pm then start the regular shows till around midnight, 14-15 hours in the booth, but like Ron wrote, it was a sweet job. I worked a few of the palaces and nothing can compare to hearing the roar of laughter during a comedy or the screams during a horror picture coming from 2000 people.
Thanks Michael, I am sure you are right about the dates, I am after all geting old and the Jedi’s may be taking over my mind. However I don’t remember ever playing “Star Wars” in 70mm. Perhaps my friend Scott B, who worked the booth as well, can jump in with his memories of this. I seem to remember it opened at both the Cinerama and Kapiolani in 35mm mono sound, yikes!! We did eventually install Dolby part way thru the run and started playing it in 35mm Dolby stereo. At least that’s how I remember it.Then of course the next two “star Wars” films were presented in 70mm. I was there working the booth and lovin it.
Another case of too many cooks spoiling the soup. If they had any sense at all they would simply say to guys like REndres, here’s our movie do your magic and play it the way it should be played.
I remember during the technical rehersal for “Hello Dolly” at the Rivoli, the Fox guys were running around playing with the sound, the lights, even the curtain which closed to late leaving a white sheet, the sound seemed loud enough to be heard across the street from the theatre. Some of us complained, and Rivoli management said, “don’t worry guys let the Fox guys have some fun, after they leave we can set up everything the way we know it should be” Which is what we did.
Of course all of you realise that only “White Christmas” played RCMH in actual horizontal VistaVision. After that, all movies shot in VistaVision were shown with a standard 35mm reduction print.
However, the Paramount actually projected many horizontal VistaVision prints, I am not sure which titles were shown that way, hopefully someone knows. As for the Capital and Criterion, VistaVision projectors were, as far as I know, were never installed at either theatre. Even “The Ten Commandments” was shown using a 35mm reduction print. By the way Bill,regarding your New Years Eve outing, exactally one year after later in 1959, I too spent New Years Eve at the Paramount watching “Journey to the Center of the Earth”
Correction, I meant to say the sound track was running along the right side of the screen. well…… at least it wasn’t upside down
Great story Rob, I always wonderd if RCMH ran reverse wrap, and due to a typo your message it reads emulsion it, I am not sure if you meant in or out. That would have been a good sign to hang in the booth, ATTENTION: ALL PRINTS ARE RUN EMULSION IT.
All kidding aside, I can only imagine what went thru yours and the operators minds when they made that changeover and saw the film backwards with the sound track running along the left side of the screen. Good Grief!
Which brings me to another question, how many operators were on duty for each shift? how did they divide up the work? I remember they would call out the cue marks to one another during a changeover
I forgot to mention the film transport, we have two three stacked platters, so that when we run 3-D, one for the left eye and one for the right.
William I’d say 80% of the studio test screenings I did before I retired were D-5 tape. There are fewer and fewer screenings using unmarried prints.
I should explain to anyone not understanding, an unmarried print is what we would use to show sneak and test sceenings of unfinished movies. The picture and sound were on seperate reels which would be interlocked. I am sure Rob has had a lot of experience with this at RCMH
CConnolly, I shall tell you what I know about IMAX.
First of all the picture is not digital, but a 70mm fifteen perforation film which runs thru the IMAX projectr horizontally at 24 frames per second. The projector is capable of running two prints at the same time for 3-D.The sound comes on CD disks which is then loaded onto the computer’s hard drive which syncs up the picture and sound. In the theatre I worked, the light source is a 15,000 watt lamp and the sound system carried 12,000 watts of power. A wall to wall,floor to ceiling silver screen, to maximize the reflection to the audience, was installed. IMAX has been a new shot in the arm now due to DMR which is a process of digitally re-mastering regularly shot 35mm movies to the IMAX process,as was the case in “Robots” and the upcoming “Batman Returns” amoung many others.
I hope I helped explain a bit about IMAX and hope someone with more knowledge can add to or correct anything I wrote
Rob, I can only imagine the pressur of working at RCMH. But it had to be a rewarding and thrilling experience. As for the Guys running digital, I suppose it must have it’s anxious moments. As a film projectionist, when something went wrong we could generally take care of the problem. Switching rectifiers/generators for a light source problem or amplifiers when the sound gave us trouble. Heck, most of us at one time or another have had to change out an intermittent or replace a drive gear at one time or another not to mention a water cooled jaw in a arc lamp house that suddenly sprung a leak. Ahh the memories… but my experience with digital was one of
a feeling of helpness when it went sour, something I was not used to or enjoyed very much. All one could do was call the 800# for tech support. As you very well know, digital projection comes with it’s one sets of problems. So the industry had changed a great deal, my last booth job was in an IMAX theatre, I played “Polar Express” in IMAX 3-D. What a nightmare that was!, the print didi not carry a time code as does DTS for example, but rather runs on it’s own program so the chances of losing sync was always about. Then of course if you had a film break and lost any frames in the left eye print you had to replace (slug) the missing footage in the right eye print to keep everything matched up. Of course we had to do the same thing in the old 3-D and Cinerama days and I know some of the boys would sometimes cheat and simply remove the missing footage from all the prints, but with IMAX if you did that you would lose sound sync.
But at least we had film, and running 2-3 or even, as you did, 5 projectors in a single thetare in a single booth. I miss that!
Welcome Riche, looking forward to Q&A with you. I have only the utmost respect to all who worked RCMH.
Rob, I remember similar “Breathing” problems in a theatre I worked in with a short throw on to a large curved screen with an arc burning at about 150 amps if I recall. Focus drift was another issue which we resolved with “reverse wrapping” the print, which meant of course running the reels clockwise changing the way the emulsion wrapped on the reel. We had to turn the reel end alarms around and start rewinding “over to over”. We even put large arrows pointing the way to load the reels in the upper magazine for the relief guys who all thought we were nuts, But it helped, Ever hear of or try that?
By thr way REandres, I trained in digital projection before I retired and I am sure glad I never had to work any shifts with digital projection. There is so litle to do. I thought it got boring with platters, but gosh all you do with digital is log on to a computer choose a platter (film) and hit the start button. My goodness what in the world do those projectionists at the Ziegfeld do all day? That has to be a boring job. I only wish I had a chance to work RCMH during the glory days.
Thanks REandres for that info. I forgot about the water cooled gates
Peter, you misunderstood, I never wrote all projectors are compatable. I am refering to 35/70 projectors, which is what all 70mm theatres have. There is nothing to do but convert the idle rollers, change the aperture plate and lens and your done. As for platters, most of them have feed plates (brains) that simply change out for either 35 or 70 and duel purpose guide rollers so again, little has to be done. As for the masking, we usually have three presetts, Flat, Scope and 70 for both the side and top masking settings. I have had several sneak preview showings of a 70mm print
playing with a 35mm feature and two of us did the conversion during
intermission, (about 20 minutes). In the case of DTS readers, nothing has to be done with them because they are always there, usually mounted above the mag penthouse, and simply bypassed when not in use. I suppose if you wanted to play a 70mm DTS print followed by a 35mm DTS print you would have much more work but that would be unusual.
Perhaps REndres can tell us more.Radio City Music Hall has three 35/70mm projectors and two 35mm projectors. I imgine the 35/70 projectors are used for both 35 and 70. I would be interested in how he handles the changeover.
Some of the threads regarding 70mm have me wondering if everyone understands that all theatres have projectors and film transport systems (platers) that are 35/70mm compatable. At one time the Rivoli and one or two others had Todd-AO projectors which were designed for 70mm, however now in any theatre you go to, the booth has projector(s) that can run either 35mm or 70mm. We do not have straight 70mm projectors sitting in the booth collecting dust. It is a simple conversion from 35mm to 70mm that takes only a few minutes to perform and can easly be done even during intermission, there may be some minor Xenon bulb re-alignment as well. The film transport systems (platters) are also 35/70 compatable and can be converted just as easily. The sound format is chosen by the simple push of a
button and you are good to go.
Correction: It was not “Aliens of the Deep” but “Robots” that had the 35mm backup prints
Yes Peter, you are correct, not only is the digital projector usually installed along side the film projector, often a 35mm print will be delivered to the theatre as a back up should the digital fail.In some of the new IMAX installations, a 35mm projector is maintained as well to alternate between 70mm IMAX and regular 35mm engagements. I know when “Aliens of the Deep” played in some of the IMAX theatres, a 35mm print was ready to go if needed. I would expect the same for the new “Batman” film opening in June. This of course does not apply to the IMAX filmed features designed exclusily for IMAX.
Bill, the 70mm theatres in New Jersey, for the most part, have maintained the 35/70mm projectors although we haven’t used them
in quite a while.
There were no obsturcted seats anywhere in the Paramount.
The Liberty on Canal Street had some beams supporting the balcony, perhaps you were thinking of that. You are right about the cavernous orchestra section which seated about 1800, there were about 500 seats in the balcony. I sure do miss that theatre.
This may not be the place to discuss this, but I too wondered about letterboxing, can anyone expain how the different aspect ratios are re-formatted for TV/DVD, and why the image size varies?
While the St.George was under going the first attempt at restoration, we asked the new owner of the Paramount if we could salvage anything to use, he said we could have anything we wanted, but sadly their was little left that had not been either destroyed or removed. I took four marquee letters which spell out my name. It was like visiting a graveyard, I remember standing on the stage looking towards the balcony and remembering what it once was, it was one of the most depressing days of my life.
Absolutly, you do the best you can from old photos, blueprints,and speak with as many people as you can find who knew what how the theatre looked originaly,then you can go out there and save the ole girl. Warren is quite correct, the owners were very respectful of the theatre and kept an eye on their investment. I remember speaking with the owner before it was sold, and he spoke of the joy of owning what he described as a magnificent structure. The new owners have spent a lot of money and had many people helping to bring the theatre back to it’s former self. I urge everyone who can go and see the theatre even if just to visit, bring the kids because they will may never see the likes of it again. LONG LIVE THE KINGS!
Theaterat,I hope your visit was post December 2004, most of the work had been completed by then and the results are rather spectacular. The theatre celebrated it’s 75th anniversary in December.
Visit the website at www.stgeorgetheatre.com
Theatrerat, You mention the Paramount and St George theatres on Staten Island. They are both listed on Cinema Treasures and I have made a few comments on both. The St.George has been beautifully resored and is currently working as a live show venue with classic movies planned for later on. As for the Paramount, sadly, I think it’s a dead issue, it was sold recently to a developer who has plans that do not include saving it as a theatre. I recently visited the Paramount and was brought to tears by it’s current condition. If you get a chance to see the St George, I think you will be pleased.
Ahh the business agent… Didn’t love it when he sent you to those old houses cold. you would have to run around the booth and find out where everything was and how it worked. He would say
“ever check out the booth at such and such a place?” I would say “no” and he would reply “That’s ok, you’ll fiqure it out”
Fun times.
How about when the take up belt would break half way thru a reel and you had to turn it by hand to finish the reel. Or when you ran a movie for the first time and you were not sure when the cue mark was coming and were afraid to blink. Hot booths were common in the ole days, you could always crack open a port window a bit and get a nice cool breese.I loved running those kiddie matinees with 10-20 cartoons and a stooge comedy, it was a great way to get rid of all those carbon stubs. I would start at 10am with the kiddie shows till about 3-4pm then start the regular shows till around midnight, 14-15 hours in the booth, but like Ron wrote, it was a sweet job. I worked a few of the palaces and nothing can compare to hearing the roar of laughter during a comedy or the screams during a horror picture coming from 2000 people.
Welcome to New York Chris, I would suggest you also check out the Beekman which sadly, is about to close. Take the Radio City Music Hall tour as well.
Now now Vincent, let your brother Warren play or I’ll send you both to your rooms without any supper.
But I like the idea of an old movies forum.
Thanks Michael, I am sure you are right about the dates, I am after all geting old and the Jedi’s may be taking over my mind. However I don’t remember ever playing “Star Wars” in 70mm. Perhaps my friend Scott B, who worked the booth as well, can jump in with his memories of this. I seem to remember it opened at both the Cinerama and Kapiolani in 35mm mono sound, yikes!! We did eventually install Dolby part way thru the run and started playing it in 35mm Dolby stereo. At least that’s how I remember it.Then of course the next two “star Wars” films were presented in 70mm. I was there working the booth and lovin it.
Another case of too many cooks spoiling the soup. If they had any sense at all they would simply say to guys like REndres, here’s our movie do your magic and play it the way it should be played.
I remember during the technical rehersal for “Hello Dolly” at the Rivoli, the Fox guys were running around playing with the sound, the lights, even the curtain which closed to late leaving a white sheet, the sound seemed loud enough to be heard across the street from the theatre. Some of us complained, and Rivoli management said, “don’t worry guys let the Fox guys have some fun, after they leave we can set up everything the way we know it should be” Which is what we did.
Of course all of you realise that only “White Christmas” played RCMH in actual horizontal VistaVision. After that, all movies shot in VistaVision were shown with a standard 35mm reduction print.
However, the Paramount actually projected many horizontal VistaVision prints, I am not sure which titles were shown that way, hopefully someone knows. As for the Capital and Criterion, VistaVision projectors were, as far as I know, were never installed at either theatre. Even “The Ten Commandments” was shown using a 35mm reduction print. By the way Bill,regarding your New Years Eve outing, exactally one year after later in 1959, I too spent New Years Eve at the Paramount watching “Journey to the Center of the Earth”