I worked as a projectionist at the Cedar Theater from 1979 to 1982.
The theater had 2 Super Simplex projectors, with Peerless Magnarc Carbon Arc Lamps. Simplex SH-1000 soundheads.
Because of its proximate University setting, the theater also used a Bell & Howell 16mm projector for some showings.
But the most exceptional thing about the CEDAR was its mainstream projectionist. Harold Peterson was the best of the best, and in the Local 219 no one could contest his authority on cinema projection. He really introduced me to a mathematical approach to projection systems, which has served as one of the pillars of my career.
Reading my notes, from the first time I walked in the place - 1979:
Daily Minimum=4 ¾ hours. Pro-Rata $4.75/hour
Weekly minimum = 39 1/4h, including 12:45 - 11:30 Sunday = $186.44
Overtime: Past 11:30PM is 1/2h @ prorata to midnight.
Past midnight is $7.13/h in ¼-hour segments.
I worked the ORPHEUM theater as a projectionist in 1979 and 1980. I remember showing TESS there as a premiere showing. The booth has 3 x Simplex E7 projectors, with RCA soundheads and Ashcraft High-Intensity water-cooled carbon arc lamphouses. Interestingly, for pre-show and intermission music, we had an automotive-style 8-Track player. Also interestingly, the Orpheum was the only US theater I ever worked that respected the SMPTE “Emulsion-In” standard, and had to upper payout reels turn the same direction (clockwise) as the lower takeup reels. I also noted the pay-scale in 1980: $6.25/hour pro-rata; $9.39 overtime Day Shift (5 hours) $31.25; 6 hours $37.50 Night Shift (6 ¼ hours) $39.06
I worked as a projectionist at the WORLD Theater from 1979 to 1981.
The projection room was accessed only by a steel ladder, bolted to the rear wall of the upstairs balcony.
Once in, you would find two Century CC projectors, with RCA soundheads (2000’ changeover system exclusively), and Peerless Magnarc carbon arcs, driven by a generator in the back generator room.
I am 100% certain of these details, as I am reading from the notes I took entering the room for the first time, 47 years ago, to be able to work the place, but I remember much more.
There was a tiny window that opened to an alley that joined Hennepin Avenue to 7th Street, and we had a box on a rope we would use during long shifts to order a pizza. The delivery service was used to it – we would lower the box with cash in it, and we would carefully hoist the box up three stories to the projection room.
I believe I remember showing the original Mad Max movie there, before anyone had heard of Mel Gibson.
I also worked the Academy next door, which had Philips/Norelco TODD/AO 35/70mm projectors with Ashcraft High-Intensity water-cooled arc lamps, with DC current directly from City Supply, something I have not seen in any other projection booth anywhere.
I worked the ORPHEUM theater as a projectionist in 1979 and 1980.
I remember showing TESS there as a premiere showing.
The booth has 3 x Simplex E7 projectors, with RCA soundheads and Ashcraft High-Intensity water-cooled carbon arc lamphouses.
Interestingly, for pre-show and intermission music, we had an automotive-style 8-Track player.
Also interestingly, the Orpheum was the only US theater I ever worked that respected the SMPTE “Emulsion-In” standard, and had to upper payout reels turn the same direction (clockwise) as the lower takeup reels.
I also noted the pay-scale in 1980: $6.25/hour pro-rata; $9.39 overtime
Day Shift (5 hours) $31.25; 6 hours $37.50
Night Shift (6 ¼ hours) $39.06
I worked as a projectionist at the Cedar Theater from 1979 to 1982. The theater had 2 Super Simplex projectors, with Peerless Magnarc Carbon Arc Lamps. Simplex SH-1000 soundheads. Because of its proximate University setting, the theater also used a Bell & Howell 16mm projector for some showings. But the most exceptional thing about the CEDAR was its mainstream projectionist. Harold Peterson was the best of the best, and in the Local 219 no one could contest his authority on cinema projection. He really introduced me to a mathematical approach to projection systems, which has served as one of the pillars of my career.
Reading my notes, from the first time I walked in the place - 1979: Daily Minimum=4 ¾ hours. Pro-Rata $4.75/hour Weekly minimum = 39 1/4h, including 12:45 - 11:30 Sunday = $186.44 Overtime: Past 11:30PM is 1/2h @ prorata to midnight. Past midnight is $7.13/h in ¼-hour segments.
I worked the ORPHEUM theater as a projectionist in 1979 and 1980. I remember showing TESS there as a premiere showing. The booth has 3 x Simplex E7 projectors, with RCA soundheads and Ashcraft High-Intensity water-cooled carbon arc lamphouses. Interestingly, for pre-show and intermission music, we had an automotive-style 8-Track player. Also interestingly, the Orpheum was the only US theater I ever worked that respected the SMPTE “Emulsion-In” standard, and had to upper payout reels turn the same direction (clockwise) as the lower takeup reels. I also noted the pay-scale in 1980: $6.25/hour pro-rata; $9.39 overtime Day Shift (5 hours) $31.25; 6 hours $37.50 Night Shift (6 ¼ hours) $39.06
I worked as a projectionist at the WORLD Theater from 1979 to 1981. The projection room was accessed only by a steel ladder, bolted to the rear wall of the upstairs balcony. Once in, you would find two Century CC projectors, with RCA soundheads (2000’ changeover system exclusively), and Peerless Magnarc carbon arcs, driven by a generator in the back generator room. I am 100% certain of these details, as I am reading from the notes I took entering the room for the first time, 47 years ago, to be able to work the place, but I remember much more. There was a tiny window that opened to an alley that joined Hennepin Avenue to 7th Street, and we had a box on a rope we would use during long shifts to order a pizza. The delivery service was used to it – we would lower the box with cash in it, and we would carefully hoist the box up three stories to the projection room. I believe I remember showing the original Mad Max movie there, before anyone had heard of Mel Gibson. I also worked the Academy next door, which had Philips/Norelco TODD/AO 35/70mm projectors with Ashcraft High-Intensity water-cooled arc lamps, with DC current directly from City Supply, something I have not seen in any other projection booth anywhere.
I worked the ORPHEUM theater as a projectionist in 1979 and 1980. I remember showing TESS there as a premiere showing. The booth has 3 x Simplex E7 projectors, with RCA soundheads and Ashcraft High-Intensity water-cooled carbon arc lamphouses. Interestingly, for pre-show and intermission music, we had an automotive-style 8-Track player. Also interestingly, the Orpheum was the only US theater I ever worked that respected the SMPTE “Emulsion-In” standard, and had to upper payout reels turn the same direction (clockwise) as the lower takeup reels. I also noted the pay-scale in 1980: $6.25/hour pro-rata; $9.39 overtime Day Shift (5 hours) $31.25; 6 hours $37.50 Night Shift (6 ¼ hours) $39.06