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'''The 21st century projectionist's guiding principle''': every print borrowed for exhibition, regardless of gauge or source, should be handled with a maximum of care and a minimum of shortcuts.
'''The 21st century projectionist's guiding principle''': every print borrowed for exhibition, regardless of gauge or source, should be handled with a maximum of care and a minimum of shortcuts.


[[File:Do not destroy.jpg|center|700px|]]
...exactly what this means is a matter of debate, of course. Below we will try to collectively come up with some general best practices.
 
[[File:Do not destroy.jpg|center|650px|]]


===Elements of Style===
===Elements of Style===
* Inspection
'''Before the show''':
** '''Creating an [[Inspection form]]'''
* Have a thorough [[inspection]] procedure for assessing print condition.
*: Having a good inspection form is becoming more and more important as prints become harder to obtain and increasingly priceless. An inspection form serves two main purposes and each are equally important. To provide a guide for the projectionist in order to properly screen the a film print (especially in places where the one inspecting is NOT the one projecting the film), and to act as a record of the condition of the print when as it was received (both for you and for whomever lent you the print). Many people choose to combine these two onto one form in order to minimize paperwork, but they can also be kept separate (allowing for more detail). At the very least, the following things should be included even if using only one sheet.
* Carefully inspect the countdown [[leader]] and the [[cues]] at the end of each reel to ensure that your [[changeover|changeovers]] go smoothly.
*:'''Projection Guide:''' General info (Title, year of production, director, number of reels, archival or not)
* Have an [[inspection form]] to facilitate communication about print condition.
*:::::: [[Aspect ratio]], [http://www.sprocketschool.org/wiki/Sound_formats Sound format ], [http://www.sprocketschool.org/wiki/Variable_speed FPS ], Subtitles
 
*:::::: First image (take note if audio it starts in black etc.), intermission ?
'''During projection''':
*:::::: Last image, exit music etc.
* Use 2000 ft. reels and a [[changeover]] projection system. Never [[platter]] and avoid building prints onto 6000 ft. reels.
*:::::: [[Cues]] (if they are different, mark down what they are for each reel) Where on the leader should the projectionist thread to?
* Never use automation systems or attach automation tape to prints.
*:::::: [[Film damage]]: make note of any damage, especially damage that may require extra attention as the film runs (broken perfs, crunched film, warping etc.)
* Show the film in its proper [[aspect ratio]] using the appropriate [[lens]] and [[aperture plate]].
*:::::: Always note the general condition of the print, is it pristine? Does the projectionist need to stand next to the projector praying for the length of the reel? That sort of thing. The more you know beforehand about a print, the more likely your show is to be great!
*:'''Print Condition:''' Take note of where print came from (either distributor or the last venue that ran it)
*:::::: [[Film damage]]: Common things to look for are, base/emulsion scratches, edge/perf damage, oil/dirt, color fading, warping/shrinkage and any other types of damage you observe.
*:::::: [http://www.sprocketschool.org/wiki/Splicing Splices ]: what type and how many?
*:::::: What condition are the heads and tails in? Did you have to replace any?
*:::::: Repairs: make note of any repairs you made, any frames removed, any cues that you added to the print, and any damages incurred (hopefully none!)
*: So ideally two separate sheets should be made, or a neat combination of the two. Having a sheet that is overly complicated is just as bad as having one with too little information on it. For some examples of different inspection forms see the [[Inspection form]] page.


* Projection
'''After the show''':
* [[Shipping]]
* Wind the film with care, making sure the edges of the film are flush.
* Not plattering (including 6k reels?) - arguments pro + con
* When packing for [[shipping]], be sure that the film is secure and packed in material that will not harm the film.
** runs vs. one-offs
* Not using automation or automation tape
* Cues
* No need for lens turrets


===Recommended Equipment===
===Recommended Equipment===
* Projector models
* Projector models
** avoid lens turrets
* splicer varieties
* splicer varieties
* cleaning supplies
* cleaning supplies

Revision as of 19:24, 13 August 2013

The 21st century projectionist's guiding principle: every print borrowed for exhibition, regardless of gauge or source, should be handled with a maximum of care and a minimum of shortcuts.

...exactly what this means is a matter of debate, of course. Below we will try to collectively come up with some general best practices.

Elements of Style

Before the show:

  • Have a thorough inspection procedure for assessing print condition.
  • Carefully inspect the countdown leader and the cues at the end of each reel to ensure that your changeovers go smoothly.
  • Have an inspection form to facilitate communication about print condition.

During projection:

  • Use 2000 ft. reels and a changeover projection system. Never platter and avoid building prints onto 6000 ft. reels.
  • Never use automation systems or attach automation tape to prints.
  • Show the film in its proper aspect ratio using the appropriate lens and aperture plate.

After the show:

  • Wind the film with care, making sure the edges of the film are flush.
  • When packing for shipping, be sure that the film is secure and packed in material that will not harm the film.

Recommended Equipment

  • Projector models
    • avoid lens turrets
  • splicer varieties
  • cleaning supplies
  • rewind benches
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