-
https://cinemaprojectionist.co.uk/files/original/f8e3b5cad1e528651f957227b27d42c7.jpg
4d98a327a38ddadf092b52b03ed81180
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Projection Boxes
Creator
An entity primarily responsible for making the resource
Michael Pigott
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Image: Digital Projector
Subject
The topic of the resource
digital projector
Description
An account of the resource
An image of a digital projector (left) standing alongside a 35mm projector (right) in the Department of Film and Television Studies at the University of Warwick.
Creator
An entity primarily responsible for making the resource
Richard Wallace
Source
A related resource from which the described resource is derived
Richard Wallace
Publisher
An entity responsible for making the resource available
The University of Warwick
Date
A point or period of time associated with an event in the lifecycle of the resource
2017-11-01
Contributor
An entity responsible for making contributions to the resource
Richard Wallace
Rights
Information about rights held in and over the resource
Published with permission
Format
The file format, physical medium, or dimensions of the resource
.jpg
Language
A language of the resource
English
Type
The nature or genre of the resource
Image
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
||||osm
2010s
2010s
digital projection
projection box
-
https://cinemaprojectionist.co.uk/files/original/b94f09f29396594e7d6a936b15e6af0c.mp3
c179cf7c6f7a1ca3e59a91e26a777397
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Projectionists' Memories
Subject
The topic of the resource
Interviews with projectionists
Description
An account of the resource
Interviews with projectionists
Creator
An entity primarily responsible for making the resource
The Projection Project
Publisher
An entity responsible for making the resource available
University of Warwick
Format
The file format, physical medium, or dimensions of the resource
.mp3
Language
A language of the resource
English
Type
The nature or genre of the resource
Sound recordings
Oral History
A resource containing historical information obtained in interviews with persons having firsthand knowledge.
Interviewer
The person(s) performing the interview
Richard Wallace
Interviewee
The person(s) being interviewed
Neil Thompson
Date of Interview
2014-11-11
Location
The location of the interview
Gateshead
Transcription
Any written text transcribed from a sound
When you used to get the films in at the Odeon there, again used to come and in the transit cases. Five, six, or seven or eight parts. And used to make them up onto a split spool, again on a bobbin. And then you used to put the 6,000 foot of film horizontally onto a little table, and from the table you used to run it onto the platter. But, of course, what you used to do was you’d put a leader on the beginning and you’d put the ads and trailers on ‘cause that's how we used to work. Used to put the ads and trailers on there and then join the feature to it you see. And you put all the parts on, but you put them all head out because you’re working from the middle not from the end. And you ran all your show onto a ring and once it was all on the platter you used to pull the ring out in the middle, and in the middle of the plate you had a feeder unit. Some people used to call it the brain, I don’t know why, but we just called it, well it’s the platter feed unit. You always started from the middle and as you pulled it you went over the rollers on the wall to the machine at the other end. And you pulled it until you got to the countdown leader, say about maybe nine, you laced it up and then you brought it back onto another plate where there was another ring and the ring used to take up the film. Once the machine started, this plate used to revolve. As I say, it started off, ‘cause it was all interlinked with the projector. As soon as you started that the feed would start and the take-up would start. And the take-up was controlled by an arm, so if the arm was right across like that the take up would be quick but as the film increased the arm would go towards the column, it would go slower because, of course, there’s more film being taken up. And that's how it worked, it was quite an ingenious piece of equipment. When you saw it working, when people used to come in and see it… I remember when we opened people used to come in and they were just astounded. They said, “What’s this? ‘Cause we thought you was still working on reels.” I said, “Oh no, this is what you call the non-rewind system.” Because once the film had taken up on the bottom… say you started on the top, and it was feeding from the top of the projector onto the bottom, taking up on the bottom, once it finished on the bottom you just pulled the ring out again and you started again so you didn’t have to rewind it. You see all that had gone. But, of course, what you had to do as well because you’d made it up on the plate with your ads and your trailers and your feature all together, when you’d finished with it, you went from that plate onto the make-up table then used to put the film onto a bobbin and you had markings to where each part was. Used to mark it so you knew how far you had to go, and then once you got that you snapped it and put the leader back on and put that back in the tin. That's how it worked. And you had to do that on a Thursday night when you’d finished so there was two of you on a Thursday night. Say, the guy would be upstairs doing that one, while you would be downstairs doing this one. And sometimes you’d be there to like one o’clock in the morning plating off these films because they’d be picked up in the morning, they’d be picking up, say, it might have had to go to another cinema. Or there were times when we had to move the film off which, again, was another headache. I mean at first we had to put them on a big board which was about, you know, five foot square. Used to have to pull the ring out so far, but not right out, so it would slide onto a board and then two of you would have to carry it to another screen. But it was quite heavy ‘cause you had about 12,000 feet of film in your hand and you had to carry it somewhere. And, of course, the rings were made of like a reinforced plastic but that doesn’t mean to say that they wouldn’t break, because when you got hold of it and you let it go you could feel it sagging. ‘Cause there was once or twice I got hold of a one, after I’d carried it and, you know, put it against the wall and I could see the ring, instead of it being sort of like round it would be starting to go oval shape and I’d be thinking, “That’s gonna break!” So you better get it off and get it on a board because if it broke and the film went like that, that was it. You were in trouble, you were in ghastly trouble.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
One-to-one interview
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
PT00H03M57S
Bit Rate/Frequency
Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio)
320kbps
Cinema
Odeon Newcastle upon Tyne, Pilgrim Street, Newcastle upon Tyne
Empire Cinema, The Gate, Newgate Street, Newcastle upon Tyne
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Using platters (Neil Thompson)
Subject
The topic of the resource
platters
Description
An account of the resource
Projectionist Neil Thompson describes the process of using a platter (cake stand) projection system.
Creator
An entity primarily responsible for making the resource
The Projection Project
Source
A related resource from which the described resource is derived
Interview with Neil Thompson
Publisher
An entity responsible for making the resource available
The University of Warwick
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-12-29
Contributor
An entity responsible for making contributions to the resource
Richard Wallace
Neil Thompson
Relation
A related resource
http://cinematreasures.org/theaters/3307
http://cinematreasures.org/theaters/25181
Format
The file format, physical medium, or dimensions of the resource
.mp3
Language
A language of the resource
English
Type
The nature or genre of the resource
Sound recording
interview extract
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1980-2014
POINT(-179436.52103875 7356795.9379675)|16|-179284.2441465|7356537.4591398|osm
Odeon Newcastle upon Tyne, Pilgrim Street, Newcastle upon Tyne
POINT(-180105.94220043567 7356484.908683271)|15|-179782.2791588|7355922.5665422|osm
Empire Cinema, The Gate, Newgate Street, Newcastle upon Tyne
1980s
1990s
2000s
2010s
Neil Thompson
North-East England
preparing the print
things going wrong
working conditions
-
https://cinemaprojectionist.co.uk/files/original/e63dac39bcfdef756e08fb6b58edc788.mp3
678382b61e5d6fd52ec3473043d16800
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Projectionists' Memories
Subject
The topic of the resource
Interviews with projectionists
Description
An account of the resource
Interviews with projectionists
Creator
An entity primarily responsible for making the resource
The Projection Project
Publisher
An entity responsible for making the resource available
University of Warwick
Format
The file format, physical medium, or dimensions of the resource
.mp3
Language
A language of the resource
English
Type
The nature or genre of the resource
Sound recordings
Oral History
A resource containing historical information obtained in interviews with persons having firsthand knowledge.
Interviewer
The person(s) performing the interview
Richard Wallace
Interviewee
The person(s) being interviewed
Neil Thompson
Date of Interview
2014-11-11
Location
The location of the interview
Gateshead
Transcription
Any written text transcribed from a sound
We started using polyester, and polyester was sometimes problematic because, as I say, it had static problems. And sometimes you would see the film feeding through the feeder unit, and maybe instead of taking one loop out, it would take two or three and it would go round like that and you’d think, “Ah god! That’s gonna pull or snap or do something.” We used to have a solution of stuff, we used to work with, we used to use at the Gate called Film Guard I think it was called. And we used to put this Film Guard on, when we knew it was a polyester copy we used to cover it with this Film Guard and it used to keep the static down but it didn’t eliminate it. But used to reduce it by about 30%. And what they fitted, once we started using static… the polyester prints, there was a device that fitted to the platters. And what happened was if it jammed up due to the polyester, if it sort of tightened itself around the feeder unit, there used to be a cut off system. You see it wouldn’t snap. Polyester was very hard to snap. It would pull all your rollers off and cause a lot of damage. And we used to use one of these, it was an anti-tension unit, and you had to lace the film through this tension unit, it was just a roller. And if the film pulled the roller went down and shut everything off. ‘Cause if it didn’t shut everything off, if you’re using polyester and it jams somewhere and it pulls, it would pull all your rollers right off the wall. It would, it would cause an awful lot of damage. It could be a headache sometimes. If you saw a problem starting like that, you’d say to whoever came on at four o’clock or five you’d say, “Oh, keep an eye on screen six because, you know, it’s polyester and I nearly had a snap with it or nearly had a stop. Because it pulled too much film out at the same time. It wrapped itself round, you know.” And of course, with polyester as well when you lifted it off you would get a crack on your hands because it was static. So you’d be pulling it off and your hand would touch the metal plate and boom! You know.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
One-to-one interview
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
PT00H01M59S
Bit Rate/Frequency
Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio)
320kbps
Cinema
Odeon Newcastle upon Tyne, Pilgrim Street, Newcastle upon Tyne
Empire Cinema, The Gate, Newgate Street, Newcastle upon Tyne
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Polyester film (Neil Thompson)
Subject
The topic of the resource
polyester film
Description
An account of the resource
Projectionist Neil Thompson describes the characteristics of polyester film, including its static properties, the difficultiy tearing it and the problems that these caused.
Creator
An entity primarily responsible for making the resource
The Projection Project
Source
A related resource from which the described resource is derived
Interview with Neil Thompson
Publisher
An entity responsible for making the resource available
The University of Warwick
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-12-29
Contributor
An entity responsible for making contributions to the resource
Richard Wallace
Neil Thompson
Relation
A related resource
http://cinematreasures.org/theaters/3307
http://cinematreasures.org/theaters/25181
Format
The file format, physical medium, or dimensions of the resource
.mp3
Language
A language of the resource
English
Type
The nature or genre of the resource
Sound recording
interview extract
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1990-2014
POINT(-179434.13238159 7356799.5209532)|16|-179284.2441465|7356508.7952542|osm
Odeon Newcastle upon Tyne, Pilgrim Street, Newcastle upon Tyne
POINT(-180101.1648861764 7356477.74271167)|15|-179796.6111016|7355889.1253420|osm
Empire Cinema, The Gate, Newgate Street, Newcastle upon Tyne
1990s
2000s
2010s
Neil Thompson
North-East England
things going wrong
-
https://cinemaprojectionist.co.uk/files/original/8c6d4e9a7f9cd91cb694f461f98032d2.mp3
07c91193a2d7237d3bacb022c5bd7528
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Projectionists' Memories
Subject
The topic of the resource
Interviews with projectionists
Description
An account of the resource
Interviews with projectionists
Creator
An entity primarily responsible for making the resource
The Projection Project
Publisher
An entity responsible for making the resource available
University of Warwick
Format
The file format, physical medium, or dimensions of the resource
.mp3
Language
A language of the resource
English
Type
The nature or genre of the resource
Sound recordings
Oral History
A resource containing historical information obtained in interviews with persons having firsthand knowledge.
Interviewer
The person(s) performing the interview
Richard Wallace
Interviewee
The person(s) being interviewed
Neil Thompson
Date of Interview
2014-11-11
Location
The location of the interview
Gateshead
Transcription
Any written text transcribed from a sound
Obviously making up a show you had to make sure that each part was like, you know, in line, say, one, two, three and four, five and six. Because if you mixed them up, you know, which it has been done, I didn’t do it, but I have known where it’s gone to one, two, four and then three, five and six, you know, it has happened, but it didn’t happen at The Queen’s. Again it was down to you to make sure that these parts were made in the right order. ‘Cause what you used to have to do when you actually made a film up, if it was a brand new film the leaders were attached to the parts, what you had to do is when you cut the leaders off to join up each part, so you didn’t see anything in between, you used to leave a frame of film on the end so you had the leader and a frame of film so you knew when you put them back in the tins that that was the right leader, it would match up. Some projectionists used to just cut the blinking thing off and they never left a frame so you didn’t know whether that was the leader that went… “I mean if that's part four, is that part four because there's nothing to match it?” And a lot of projectionists used to just put the part in the tin and wrap anything round. And, of course, the next person to get it didn’t know where he was because he thought, “Hang on, is that part four or is it not?” Because there was nothing to identify that leader with that. And before you knew where you were you put the show on and you’d get a call from somebody saying, “Well hang on, that part there, there's a guy been killed and he’s shown up again in the film so there’s obviously something not right.”
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
One-to-one interview
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
PT00H01M33S
Bit Rate/Frequency
Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio)
320kbps
Cinema
Queens Theatre, Northumberland Place, Newcastle upon Tyne
Odeon Newcastle upon Tyne, Pilgrim Street, Newcastle upon Tyne
Empire Cinema, The Gate, Newgate Street, Newcastle upon Tyne
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Making-up films (Neil Thompson)
Subject
The topic of the resource
making-up films
Description
An account of the resource
Projectionist Neil Thompson descibes the process of making-up film prints, including the projectionist's trick of leaving one frame on the leader to help reassembly.
Creator
An entity primarily responsible for making the resource
The Projection Project
Source
A related resource from which the described resource is derived
Interview with Neil Thompson
Publisher
An entity responsible for making the resource available
The University of Warwick
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-12-29
Contributor
An entity responsible for making contributions to the resource
Richard Wallace
Neil Thompson
Relation
A related resource
http://cinematreasures.org/theaters/26353
http://cinematreasures.org/theaters/3307
http://cinematreasures.org/theaters/25181
Format
The file format, physical medium, or dimensions of the resource
.mp3
Language
A language of the resource
English
Type
The nature or genre of the resource
Sound recording
interview extract
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1974-2014
POINT(-179195.26666825 7357427.7377796)|16|-179075.2366473|7357562.1930503|osm
Queens Theatre, Northumberland Place, Newcastle upon Tyne
POINT(-179432.93805304 7356805.4925963)|17|-179329.6286320|7356674.8069252|osm
Odeon Newcastle upon Tyne, Pilgrim Street, Newcastle upon Tyne
POINT(-180105.94220043 7356472.9653974)|15|-179877.8254442|7355934.5098276|osm
Empire Cinema, The Gate, Newgate Street, Newcastle upon Tyne
1970s
1980s
1990s
2000s
2010s
Neil Thompson
North-East England
preparing the print
presentation and showmanship
-
https://cinemaprojectionist.co.uk/files/original/00105cf05986bcb8e57a5044ebd41f32.mp3
63c59e29593e7937184fbeb69572f570
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Projectionists' Memories
Subject
The topic of the resource
Interviews with projectionists
Description
An account of the resource
Interviews with projectionists
Creator
An entity primarily responsible for making the resource
The Projection Project
Publisher
An entity responsible for making the resource available
University of Warwick
Format
The file format, physical medium, or dimensions of the resource
.mp3
Language
A language of the resource
English
Type
The nature or genre of the resource
Sound recordings
Oral History
A resource containing historical information obtained in interviews with persons having firsthand knowledge.
Interviewer
The person(s) performing the interview
Richard Wallace
Interviewee
The person(s) being interviewed
Neil Thompson
Date of Interview
2014-11-11
Location
The location of the interview
Gateshead
Transcription
Any written text transcribed from a sound
And it makes such a noise, I mean when you start the machine up and you can hear it rat-tat-tat-tat. I don’t know how the people outside in the auditorium didn’t hear it. It made you more aware of what you were doing, when you had hold of all this massive film, and you’re showing it on a massive screen and you had a full audience, that's what drives you on, that’s what the adrenalin is all about. You think, “I'm in charge of this. This film’s cost so many millions to make and it’s me that’s in charge of showing it. I’m the last link in the chain. Which is what I always think a projectionist is. ‘Cause you are the last link in the chain from a story to a screenplay, then a crew’s got ready and then they get the actors and it’s filmed, it’s processed, then it’s sent to cinemas for people to see. You’re the last link in the chain so it’s up to you to present it properly.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
One-to-one interview
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
PT00H00M51S
Bit Rate/Frequency
Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio)
320kbps
Cinema
Queens Theatre, Northumberland Place, Newcastle upon Tyne
Odeon Newcastle upon Tyne, Pilgrim Street, Newcastle upon Tyne
Empire Cinema, The Gate, Newgate Street, Newcastle upon Tyne
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Being the last link in the chain (Neil Thompson)
Subject
The topic of the resource
projectionist as last link in the chain
Description
An account of the resource
Projectionist Neil Thompson outlines his thoughts as being the last link in the creative process.
Creator
An entity primarily responsible for making the resource
The Projection Project
Source
A related resource from which the described resource is derived
Interview with Neil Thompson
Publisher
An entity responsible for making the resource available
The University of Warwick
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-12-29
Contributor
An entity responsible for making contributions to the resource
Richard Wallace
Neil Thompson
Relation
A related resource
http://cinematreasures.org/theaters/26353
http://cinematreasures.org/theaters/3307
http://cinematreasures.org/theaters/25181
Format
The file format, physical medium, or dimensions of the resource
.mp3
Language
A language of the resource
English
Type
The nature or genre of the resource
Sound recording
interview extract
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1974-2014
POINT(-179194.07233968 7357426.5434509)|16|-179062.0990331|7357571.7476788|osm
Queens Theatre, Northumberland Place, Newcastle upon Tyne
POINT(-179430.54939591 7356797.1322965)|17|-179320.0740035|7356633.0054255|osm
Odeon Newcastle upon Tyne, Pilgrim Street, Newcastle upon Tyne
POINT(-180105.94220044 7356480.1313687)|15|-179815.7203587|7355896.2913133|osm
Empire Cinema, The Gate, Newgate Street, Newcastle upon Tyne
1970s
1980s
1990s
2000s
2010s
Neil Thompson
North-East England
presentation and showmanship
-
https://cinemaprojectionist.co.uk/files/original/fee3f76d4540ab687a3d93a6fd504deb.mp3
c804d0694ee94b45a0d08b1351a1730c
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Projectionists' Memories
Subject
The topic of the resource
Interviews with projectionists
Description
An account of the resource
Interviews with projectionists
Creator
An entity primarily responsible for making the resource
The Projection Project
Publisher
An entity responsible for making the resource available
University of Warwick
Format
The file format, physical medium, or dimensions of the resource
.mp3
Language
A language of the resource
English
Type
The nature or genre of the resource
Sound recordings
Oral History
A resource containing historical information obtained in interviews with persons having firsthand knowledge.
Interviewer
The person(s) performing the interview
Richard Wallace
Interviewee
The person(s) being interviewed
Neil Thompson
Date of Interview
2014-11-11
Location
The location of the interview
Gateshead
Transcription
Any written text transcribed from a sound
We knew, oh it must be about thirteen or fourteen months before how it was going to work, ‘cause we got a letter saying that, you know, now that the digital is going to be installed there's a chance that there'd be redundancies. I think that was the September 2012 and yet we didn't leave until the April 2014. So there was about three or four cinemas done first to see how it went, and then they said what we're gonna be doing is changing one or two and then all will be changed all at once. The first one was put in about 2009. It took about a month or two to get in installed. I remember when it first came, of course all the staff came up to look at it, they said, “Oh I must see what this is”. Of course a lot of them were being funny, they’re saying, “Where do you put the cups?” ‘cause they thought it was one of these, like a tea maker or a coffee maker. The digital got changed more or less overnight. There was about eight screens to do. There was about four of the engineers came in and all the digital equipment arrived one night and it was all just standing, waiting to be put in. And within two days all the projectors and Cinemeccanica stuff had been pushed to one side and the digital machines had been put in, all the plugs were all ready just to put into the wall. They had all been rewired weeks before. Because the lads that I worked with were, when I was on they'd say, “Hey, this is not going to take long, they're gonna do this and they're gonna do that.” And I'd say, “Oh well you know, wait, you know, we might be here longer than you think.” And of course when digital was put in and it didn't take long. All that had to be done was be set up with a laptop. It used the same amplifiers, all you need to do was put a server. I was there when they were putting the last ones in. In fact number eleven was the last one to be put in and I was the last one to lace up a 35mm projector in that place. And the lads were just standing, watching me and I was lacing up and I said, "When this has finished you're carting this out aren't you?" And he said, "Yeah, as soon as that's finished we'll be getting rid of that." And there was a digital projector right behind, ready to put in its place. And once the film finished I went down the bottom end to do something, and when I came back it was all just pushed out the place. Four of them just got hold of it and pushed it to one side, the plinth, the lot, the projector. And the digital was in its place. And that was the last one to go in, and I just thought, “My god,” you know, I just couldn’t believe it. They had it all wired up ready and they said, "Right just check it and on the next show you can go ahead." I said, "What, already?" And he says, "Oh yeah, it's ready." Unbelievable.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
One-to-one interview
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
PT00H02M25S
Bit Rate/Frequency
Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio)
320kbps
Cinema
Empire Cinema, The Gate, Newgate Street, Newcastle upon Tyne
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Arrival of digital (Neil Thompson)
Subject
The topic of the resource
digital transformation
Description
An account of the resource
Projectionist Neil Thompson descibes the arrival of digital projection in his cinema, including the timeline of the digital conversion.
Creator
An entity primarily responsible for making the resource
The Projection Project
Source
A related resource from which the described resource is derived
Interview with Neil Thompson
Publisher
An entity responsible for making the resource available
The University of Warwick
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-12-29
Contributor
An entity responsible for making contributions to the resource
Richard Wallace
Neil Thompson
Relation
A related resource
http://cinematreasures.org/theaters/25181
Format
The file format, physical medium, or dimensions of the resource
.mp3
Language
A language of the resource
English
Type
The nature or genre of the resource
Sound recording
interview extract
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
2009-2014
POINT(-180115.49682897 7356477.7427116)|15|-179794.2224446|7355934.5098276|osm
Empire Cinema, The Gate, Newgate Street, Newcastle upon Tyne
2000s
2010s
digital projection
Neil Thompson
North-East England
working conditions
-
https://cinemaprojectionist.co.uk/files/original/a8b0fb6e0273cce003170953a64d2a28.mp3
dd49b82d04688d2c7cbf22cbac0fdb5c
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Projectionists' Memories
Subject
The topic of the resource
Interviews with projectionists
Description
An account of the resource
Interviews with projectionists
Creator
An entity primarily responsible for making the resource
The Projection Project
Publisher
An entity responsible for making the resource available
University of Warwick
Format
The file format, physical medium, or dimensions of the resource
.mp3
Language
A language of the resource
English
Type
The nature or genre of the resource
Sound recordings
Oral History
A resource containing historical information obtained in interviews with persons having firsthand knowledge.
Interviewer
The person(s) performing the interview
Richard Wallace
Interviewee
The person(s) being interviewed
Mick Corfield
Date of Interview
2015-08-03
Location
The location of the interview
Coventry
Transcription
Any written text transcribed from a sound
I’d wasted my childhood at school and couldn’t be bothered and then ended up working in a factory, and decided that there were two great loves in my life. One was cinema and one was football. So therefore I got a job as a steward at West Bromwich Albion and a job in a cinema. Now, it was really strange, because my Mum had no inclination that I was interested in the cinema at all, and then when I’d got the job at the local cinema as a projectionist I went and told Mum ‘cause I was quite thrilled and Mum burst into tears and I said, “What’s the matter, Mum, it’s a steady job, it’s a...,” you know, “It’s a job, it’s something I was looking forward to doing.” And Mum said, “Well you didn’t know, but your father was a projectionist and that’s how I met him ‘cause I was an usherette.” And I hadn’t had any idea of, of this, you see. So there’s often when you talk to people, people’ll say, “Oh it’s in my blood.” Well clearly it was in my blood but obviously I wasn’t aware of it. So that’s how I got into cinema, just ‘cause I wanted something different, something for a change.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
One-to-one interview
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
PT00H01M01S
Bit Rate/Frequency
Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio)
320kbps
Cinema
Reel Cinema, 12 Hagley Road West, Birmingham
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Family connections to cinema (Mick Corfield)
Subject
The topic of the resource
career progression
family
Description
An account of the resource
Projectionist and BECTU representative Mick Corfield describes his appointment as a cinema projectionists and finding out that his father used to be a projectionist as well.
Creator
An entity primarily responsible for making the resource
The Projection Project
Source
A related resource from which the described resource is derived
Interview with Mick Corfield
Publisher
An entity responsible for making the resource available
The University of Warwick
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-12-08
Contributor
An entity responsible for making contributions to the resource
Richard Wallace
Mick Corfield
Relation
A related resource
http://cinematreasures.org/theaters/6934
Format
The file format, physical medium, or dimensions of the resource
.mp3
Language
A language of the resource
English
Type
The nature or genre of the resource
Sound recording
interview extract
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1989
POINT(-224245.93737184 6884214.4560318)|12|-219111.5188632|6886904.7744354|osm
Reel Cinema, 12 Hagley Road West, Birmingham
2010s
becoming a projectionist
career progression
Mick Corfield
Midlands
-
https://cinemaprojectionist.co.uk/files/original/d48e3560cc00c314bfef6f04982b58a8.mp3
70f9bfd369fd68e4626bf0563cb1f977
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Projectionists' Memories
Subject
The topic of the resource
Interviews with projectionists
Description
An account of the resource
Interviews with projectionists
Creator
An entity primarily responsible for making the resource
The Projection Project
Publisher
An entity responsible for making the resource available
University of Warwick
Format
The file format, physical medium, or dimensions of the resource
.mp3
Language
A language of the resource
English
Type
The nature or genre of the resource
Sound recordings
Oral History
A resource containing historical information obtained in interviews with persons having firsthand knowledge.
Interviewer
The person(s) performing the interview
Richard Wallace
Interviewee
The person(s) being interviewed
Mick Corfield
Date of Interview
2015-08-03
Location
The location of the interview
Coventry
Transcription
Any written text transcribed from a sound
The time I knew that we were finished was the time when there was a problem with a projector and I was standing with my projectionist and we dialled in on the ISDN line, he sorted it out and he said to me on the phone, “All I’ve got to do is press ‘start’, shall I press ‘start’?” And I went, “I don’t think that’s a good idea, do you?” And he went, “No actually.” And then I pressed ‘start’ and then I turned round to my colleague and went, “We’re finished because if he can press ‘start’ remotely we’re finished.” So that was when it was pretty straightforward that we knew that we were on our way out.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
One-to-one interview
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
PT00H00M36S
Bit Rate/Frequency
Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio)
320kbps
Cinema
Cineworld, 181 Broad Street, Birmingham
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Digital projection (Mick Corfield)
Subject
The topic of the resource
digital projection
job losses
union business
Description
An account of the resource
Projectionist and BECTU representative Mick Corfield describes the moment he knew digital projectors would replace projectionists.
Creator
An entity primarily responsible for making the resource
The Projection Project
Source
A related resource from which the described resource is derived
Interview with Mick Corfield
Publisher
An entity responsible for making the resource available
The University of Warwick
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-12-08
Contributor
An entity responsible for making contributions to the resource
Richard Wallace
Mick Corfield
Relation
A related resource
http://cinematreasures.org/theaters/24153
Format
The file format, physical medium, or dimensions of the resource
.mp3
Language
A language of the resource
English
Type
The nature or genre of the resource
Sound recording
interview extract
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
2005-
POINT(-213254.5315716861 6886296.170723664)|14|-212119.9194332|6886585.8887081|osm
Cineworld, 181 Broad Street, Birmingham
2000s
2010s
digital projection
Mick Corfield
Midlands
multiplexes
running the show
things going wrong
working conditions