Multiplex - Revision history

JesseCrooks: Fixed broken link

2020-05-22T00:46:51Z

Fixed broken link

← Older revision		Revision as of 17:46, 21 May 2020
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	A '''multiplex''' refers to any movie theater with five or more screens. (In exhibition parlance, a two-screen theater is a twin, a three-screen is a triplex, and a four-screen is a quad. Much of the following article describes practices prevalent with these exhibitors as well.)		A '''multiplex''' refers to any movie theater with five or more screens. (In exhibition parlance, a two-screen theater is a twin, a three-screen is a triplex, and a four-screen is a quad. Much of the following article describes practices prevalent with these exhibitors as well.)

	The economics of the multiplex introduced a substantial degree of [[automation]] to the projection booth. Because one projectionist would be responsible for many shows simultaneously, the multiplex model leaned heavily on the use of automation systems, [[xenon lamps]], [[platters]], [[make-up table\|make-up tables]], [[foil cues]],[[shoe polish]], [[interlocking]], [[Kelmar cleaner\|Kelmar cleaners]], [[lens turret\|lens turrets]], and more.		The economics of the multiplex introduced a substantial degree of [[automation]] to the projection booth. Because one projectionist would be responsible for many shows simultaneously, the multiplex model leaned heavily on the use of automation systems, [[xenon short-arc lamp\|xenon lamps]], [[platters]], [[make-up table\|make-up tables]], [[foil cues]],[[shoe polish]], [[interlocking]], [[Kelmar cleaner\|Kelmar cleaners]], [[lens turret\|lens turrets]], and more.

	Multiplex projection practices arose in an era when studios produced hundreds or thousands of prints for a typical release, and the consequences of damaging an individual print were very low. Given the radical shift in the exhibition landscape spurred by the introduction of DCP, all surviving film prints should now be treated as archival objects. Many of today's projectionists gained substantial experience working in a multiplex environment. This expertise is valid and valuable, but may include certain habits and philosophies that do not reflect [[archival best practices]].		Multiplex projection practices arose in an era when studios produced hundreds or thousands of prints for a typical release, and the consequences of damaging an individual print were very low. Given the radical shift in the exhibition landscape spurred by the introduction of DCP, all surviving film prints should now be treated as archival objects. Many of today's projectionists gained substantial experience working in a multiplex environment. This expertise is valid and valuable, but may include certain habits and philosophies that do not reflect [[archival best practices]].

JesseCrooks: Fixed redirect

2019-02-09T23:56:18Z

Fixed redirect

← Older revision		Revision as of 16:56, 9 February 2019
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	A '''multiplex''' refers to any movie theater with five or more screens. (In exhibition parlance, a two-screen theater is a twin, a three-screen is a triplex, and a four-screen is a quad. Much of the following article describes practices prevalent with these exhibitors as well.)		A '''multiplex''' refers to any movie theater with five or more screens. (In exhibition parlance, a two-screen theater is a twin, a three-screen is a triplex, and a four-screen is a quad. Much of the following article describes practices prevalent with these exhibitors as well.)

	The economics of the multiplex introduced a substantial degree of [[automation]] to the projection booth. Because one projectionist would be responsible for many shows simultaneously, the multiplex model leaned heavily on the use of automation systems, [[xenon lamps]], [[~~platter\|~~platters]], [[make-up table\|make-up tables]], [[foil cues]],[[shoe polish]], [[interlocking]], [[Kelmar cleaner\|Kelmar cleaners]], [[lens turret\|lens turrets]], and more.		The economics of the multiplex introduced a substantial degree of [[automation]] to the projection booth. Because one projectionist would be responsible for many shows simultaneously, the multiplex model leaned heavily on the use of automation systems, [[xenon lamps]], [[platters]], [[make-up table\|make-up tables]], [[foil cues]],[[shoe polish]], [[interlocking]], [[Kelmar cleaner\|Kelmar cleaners]], [[lens turret\|lens turrets]], and more.

	Multiplex projection practices arose in an era when studios produced hundreds or thousands of prints for a typical release, and the consequences of damaging an individual print were very low. Given the radical shift in the exhibition landscape spurred by the introduction of DCP, all surviving film prints should now be treated as archival objects. Many of today's projectionists gained substantial experience working in a multiplex environment. This expertise is valid and valuable, but may include certain habits and philosophies that do not reflect [[archival best practices]].		Multiplex projection practices arose in an era when studios produced hundreds or thousands of prints for a typical release, and the consequences of damaging an individual print were very low. Given the radical shift in the exhibition landscape spurred by the introduction of DCP, all surviving film prints should now be treated as archival objects. Many of today's projectionists gained substantial experience working in a multiplex environment. This expertise is valid and valuable, but may include certain habits and philosophies that do not reflect [[archival best practices]].

Rlyon at 22:58, 4 April 2017

2017-04-04T22:58:25Z

← Older revision		Revision as of 15:58, 4 April 2017
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	A '''multiplex''' refers to any movie theater with five or more screens. (In exhibition parlance, a two-screen theater is a twin, a three-screen is a triplex, and a four-screen is a quad. Much of the following article describes practices prevalent with these exhibitors as well.)		A '''multiplex''' refers to any movie theater with five or more screens. (In exhibition parlance, a two-screen theater is a twin, a three-screen is a triplex, and a four-screen is a quad. Much of the following article describes practices prevalent with these exhibitors as well.)

	The economics of the multiplex introduced a substantial degree of [[automation]] to the projection booth. Because one projectionist would be responsible for many shows simultaneously, the multiplex model leaned heavily on the use of [[xenon lamps]], [[platter\|platters]], [[make-up table\|make-up tables]], [[foil cues]],[[shoe polish]], [[interlocking]], [[Kelmar cleaner\|Kelmar cleaners]], [[lens turret\|lens turrets]], and more.		The economics of the multiplex introduced a substantial degree of [[automation]] to the projection booth. Because one projectionist would be responsible for many shows simultaneously, the multiplex model leaned heavily on the use of automation systems, [[xenon lamps]], [[platter\|platters]], [[make-up table\|make-up tables]], [[foil cues]],[[shoe polish]], [[interlocking]], [[Kelmar cleaner\|Kelmar cleaners]], [[lens turret\|lens turrets]], and more.

	Multiplex projection practices arose in an era when studios produced hundreds or thousands of prints for a typical release, and the consequences of damaging an individual print were very low. Given the radical shift in the exhibition landscape spurred by the introduction of DCP, all surviving film prints should now be treated as archival objects. Many of today's projectionists gained substantial experience working in a multiplex environment. This expertise is valid and valuable, but may include certain habits and philosophies that do not reflect [[archival best practices]].		Multiplex projection practices arose in an era when studios produced hundreds or thousands of prints for a typical release, and the consequences of damaging an individual print were very low. Given the radical shift in the exhibition landscape spurred by the introduction of DCP, all surviving film prints should now be treated as archival objects. Many of today's projectionists gained substantial experience working in a multiplex environment. This expertise is valid and valuable, but may include certain habits and philosophies that do not reflect [[archival best practices]].

Rfhall at 01:17, 11 December 2016

2016-12-11T01:17:41Z

← Older revision		Revision as of 18:17, 10 December 2016
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	Multiplex projection practices arose in an era when studios produced hundreds or thousands of prints for a typical release, and the consequences of damaging an individual print were very low. Given the radical shift in the exhibition landscape spurred by the introduction of DCP, all surviving film prints should now be treated as archival objects. Many of today's projectionists gained substantial experience working in a multiplex environment. This expertise is valid and valuable, but may include certain habits and philosophies that do not reflect [[archival best practices]].		Multiplex projection practices arose in an era when studios produced hundreds or thousands of prints for a typical release, and the consequences of damaging an individual print were very low. Given the radical shift in the exhibition landscape spurred by the introduction of DCP, all surviving film prints should now be treated as archival objects. Many of today's projectionists gained substantial experience working in a multiplex environment. This expertise is valid and valuable, but may include certain habits and philosophies that do not reflect [[archival best practices]].

			[[Category:Technique]]
			[[Category:Equipment]]

Kyle Westphal at 00:50, 11 December 2016

2016-12-11T00:50:27Z

← Older revision		Revision as of 17:50, 10 December 2016
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	A '''multiplex''' refers to any movie theater with five or more screens. (In exhibition parlance, a two-screen theater is a twin, a three-screen is a triplex, and a four-screen is a quad. Much of the following article describes practices prevalent with these exhibitors as well.)		A '''multiplex''' refers to any movie theater with five or more screens. (In exhibition parlance, a two-screen theater is a twin, a three-screen is a triplex, and a four-screen is a quad. Much of the following article describes practices prevalent with these exhibitors as well.)

	The economics of the multiplex introduced a substantial degree of [[automation]] to the projection booth. Because one projectionist would be responsible for many shows simultaneously, the multiplex model leaned heavily on the use of [[platter\|platters]], [[make-up table\|make-up tables]], [[foil cues]],[[shoe polish]], [[interlocking]], [[Kelmar cleaner\|Kelmar cleaners]], [[lens turret\|lens turrets]], and more.		The economics of the multiplex introduced a substantial degree of [[automation]] to the projection booth. Because one projectionist would be responsible for many shows simultaneously, the multiplex model leaned heavily on the use of [[xenon lamps]], [[platter\|platters]], [[make-up table\|make-up tables]], [[foil cues]],[[shoe polish]], [[interlocking]], [[Kelmar cleaner\|Kelmar cleaners]], [[lens turret\|lens turrets]], and more.

	Multiplex projection practices arose in an era when studios produced hundreds or thousands of prints for a typical release, and the consequences of damaging an individual print were very low. Given the radical shift in the exhibition landscape spurred by the introduction of DCP, all surviving film prints should now be treated as archival objects. Many of today's projectionists gained substantial experience working in a multiplex environment. This expertise is valid and valuable, but ~~maybe~~ include certain habits and philosophies that do not reflect [[archival best practices]].		Multiplex projection practices arose in an era when studios produced hundreds or thousands of prints for a typical release, and the consequences of damaging an individual print were very low. Given the radical shift in the exhibition landscape spurred by the introduction of DCP, all surviving film prints should now be treated as archival objects. Many of today's projectionists gained substantial experience working in a multiplex environment. This expertise is valid and valuable, but may include certain habits and philosophies that do not reflect [[archival best practices]].

Kyle Westphal: Created page with "A '''multiplex''' refers to any movie theater with five or more screens. (In exhibition parlance, a two-screen theater is a twin, a three-screen is a triplex, and a four-scree..."

2016-12-11T00:48:48Z

Created page with "A '''multiplex''' refers to any movie theater with five or more screens. (In exhibition parlance, a two-screen theater is a twin, a three-screen is a triplex, and a four-scree..."

New page

A '''multiplex''' refers to any movie theater with five or more screens. (In exhibition parlance, a two-screen theater is a twin, a three-screen is a triplex, and a four-screen is a quad. Much of the following article describes practices prevalent with these exhibitors as well.)

The economics of the multiplex introduced a substantial degree of [[automation]] to the projection booth. Because one projectionist would be responsible for many shows simultaneously, the multiplex model leaned heavily on the use of [[platter|platters]], [[make-up table|make-up tables]], [[foil cues]],[[shoe polish]], [[interlocking]], [[Kelmar cleaner|Kelmar cleaners]], [[lens turret|lens turrets]], and more.

Multiplex projection practices arose in an era when studios produced hundreds or thousands of prints for a typical release, and the consequences of damaging an individual print were very low. Given the radical shift in the exhibition landscape spurred by the introduction of DCP, all surviving film prints should now be treated as archival objects. Many of today's projectionists gained substantial experience working in a multiplex environment. This expertise is valid and valuable, but maybe include certain habits and philosophies that do not reflect [[archival best practices]].