Showing 101 - 125 of 1,412 comments
It had a hugh projection room with a shower in the bathroon and large windows overlooking the turnpike.
Of course working for Century in the day was the ultimate job for a projectionist.
St George I worked on that booth a few years back and left in usable two projector operation. Some additional work was recomended on the gear train on projector #2 and the scope lenses were mising but it was a workable operation The sound system, stage speaker and lamp houses were all working fine. What has happened up there since?
Thanks for that responce I sorta thought they were cooling of some kind but they semed a-bit-much for that purpose,124 degrees yikes. Temperature was also a problem with the 70mm IMAX which ran off of platters. In order to keep the film from warping and sticking together on the platter we had to introduce enough humidity into the booth to turn it into an African rainforest. :)The new Digital IMAX of course does not have that problem but sd you have explained needs cooling. Yes, I recall now REendes telling us about the change in the lamphouse for the 3-D
Jay, You are referring to the xenon exhaust vents on the film projecors, What I am interested in are the giant tubes next to the digital machines If you look at the just posted pictures of the booth you will see what I mean.
Thanks rcdt55b for those booth pictures I enjoyed seeing those.
Question if I may, what in the world are those huge tubes hanging down next to the digital projectors? They appear to be some sport of blowers to keep things cool? Also the lamp house for the #4 35/70 film projector looks different then the ones for #2 and 3 did you change that and why?
I can see now why movies won’t be shown digitally with those projectors they seem to be for effects rather than projecting a movie.
Best of luck with the shows have fun up there and of course please keep us informed
Copy that Tinseltoes please keep em coming
Hey Pete have you ever posted pics of the booth?
Love to see them
I am curious why take those machines apart an remove them rather than just cover them wih plastic and leasve them in place. Would they be of no use for anything other than the Christmas show?
Also what does the port hole config look like now with those two extra projectors?
Thanks for that, I suppose the same problem exsists for the Hall to show movies from the booth I thought perhaps the light source had improved so that movies could be shown from there even thu we would of course prefer fim:) Still it5 must be impressive to see all 6 of the projectors side by side perhaps a Picture if you can? Tanks again for the info and please keep us informed as it is much appreciated.
Projector 5 as I recall was kind of the lost brother of the group with just a 35 projector head. So now if I understand you there is #1 which is straight 35mm followed by 2-3-4 which are 35/70 have I got that right? What will the light source for the additional digital projectors be and can/will they be used in the futute for movie presentations rather than the set up in the first Mezz which was the case in the past. I apprecaite your filling in on this stuff which interests ne a great deal. thanks
Thanks Bill and to you Michael as well.
I noticed the ? mark for the run of the engaement at the syosset, I wish I could recall how long we played the picture, unfprtunatly all of the partners I had in the booth have gone to the big WSS in the sky and can’t help me recall that. I do know a fella who was with us when we reinstalled the three strip Cinerama for “The Wonderful World of the Brothers Grimm” (we took it out after "HTWWW”) I belive that was in July of 62 so the WSS run must have been at least 12 weeks. Perhaps when I speak with him next I wil ask if he recalls the length of the engagement.
Thanks redt55b I appreciate that info. Kndly let us know more about how all that will be incorporated into the show. As to the three digtal projectors in the booth where will they be located and does it mean removal of any of the film projectors to make room for them.
Ross,please post that article
Michael, I would love to see that article is it posted anywhere else?
Hi Mark nice hearing from you Any thing you find out would be appreciated
We have seen the ads for the new Christamas show and I wondered if anyone working the Hall would be kind enough to tell us more about what to expect with the shows “new digital technologhy” and what if anything will be going on the the original booth
Bill I ran that picture in 70mm at the Syosset on Long Island for months and months and …. Still when we packed it on on the last night I was sad to see it go.
I am so glad you finally got to see it properly.
I recall hearing that the Egyptian Theatre in Hollywood ran a new print which included the full original mix of “West Side Story” with 5-across, Todd-A0 stereo. It may have been the first time since the original release that folks got to hear it that way since about 1980.
It was Murray Spivak who went to Bobby Wise and convinced him to use the 6-track sound format; Left, Left center, Center, Right center, Right and mono Surround which was no longer being used in that fasion, with the center track carrying all the diologue. Later of course we had 4-track Left, center, right and surround with the 5 and 6 channels used for sub woofers and stereo surrounds
There is only one way to present this film on such an occassion and that is in 70mm with the original 6 track mix. Please don’t bore me with all the details of how the stage speakers are configured diffferently now or any of the other excuses just take the time to do it the way it was meant to be seen for all of who remember seeing it that way and for those who never had that experince.
Please for heaven sake can someone just do this properly in at least in a couple of locations.
I belive this was the engagement that was so sucessful an additional stage show was added to the day. In order to accomplish this Lewis personally cut “Irma” on a moviola in the booth by about 10 minutes in order to make up time to squeese in a another stage show each day. I am doing this from memory so if anyone recalls more or can correct me kindly do so.
Ed, That was “The Deadly Mantis” from 1957 but it wasn’t Graves it was Craig Stevens and William Hopper
We had a ton of those giant bug movies in the 50s.
But no, my Mantis was not quite that big :)
Big bugs alays scared me, when I lived and worked in Hawaii a giant flying roach got into the booth and terrorised me for hours.
There was a sky light in the ceilng of the Gables booth I still recall the day a giant praying mantis hovered over me all day watching me work. :)
Thanks for thjat responce New Yorker 68 I have since learned that was the case with the curtain not being used during the perfomance. I was glad to hear however that it is closed prior to the show begins and raised at the start, at least the audience is not subjectd to an open curtain befoe the show begins.
The Bayshore was 70mm capable with two Norlco 35/70 projectors in the booth.
Thanks NPoi abd garth, I too was very excited about the project as well as Peter and his partner. They managed to get most of the marquee up and running again and were waiting on a permit to light it up in the evening. And yes, if you are wondering, Peter said “ I want to bring movies back to the Paramount” I know Peter used to visit this site so Peter if you are put there please let us know more of what happened.
I am sure there may have been other contibuting factors but I belive the code updates were a big part of it. I worked on the St George and it was just one thing after another getting the fire codes up to date. It is a tribute to that wonderful family who persurvered and got the job done.
When I last spoke to Peter Lisi, who was one of the investors, he told me of the unexpected problems with getting the building back up to code and the enormous expense involved perticularly with fire codes. I believe this to be the primary reason for the end of the restoration. I offered to speak with the family that had resored the St George for assistance but he never took me up on that.