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https://projectionproject.warwick.ac.uk/files/original/42c18a1626282ec07d1092da281378fe.mp3
b1c54d4ac67f1965346770c52c098a0d
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
Mike Williams
Date of Interview
2015-08-25
Location
The location of the interview
Cardiff
Transcription
Any written text transcribed from a sound
Normal procedure: our films used to arrive mainly on a Thursday morning, right? They could arrive, if you had a Monday start, they could arrive on a Monday morning, if they were crossed over from another cinema. They could arrive on a Sunday or a Saturday depending how FTS, Film Transport Services, delivered them. But mainly they came up on a Thursday. So Friday morning they would then be carried upstairs. Now, we were lucky, we only had a projection suite on the first floor. Some cinemas had to carry these damned heavy boxes right up to god. We were lucky, unless we were showing Todd-AO because they were very heavy, and a lot of them. But then you feel sorry for the guys that had Cinerama, who had three times as many. But anyway, that was Thursday morning they’d arrive. Friday morning would be make up day. Chief would come in and out to the rewind room and he would make up the programme for the following week. Now, in those days every join in the film had to be checked and because Frank was a bit meticulous most joins would be remade. In those days you had to scrape off the emulsion, scrape off the base and join the film together with film cement. Nowadays they use a form of Sellotape which is very easy and very quick. It wasn’t in our day. You physically had to check that every … that was a long arduous job and he would be doing that probably up until about four o’clock in the afternoon on a Friday. Then they’d be put away in the lower spool racks until Sunday when the feature would be taken out and played through for chief to edit the sound, edit the way it was played and it would be shown on the Sunday usually lunchtime-ish. Then it would come out again and it would be shown through the week as per normal. Then on Saturday the process would be to break it down again. Now what we used to do in those, in our cinemas, on a Saturday night we used to use what they called blind spools, a spool with only one side on it. So you put your film on the top of the projector, put the blind spool on the bottom with a film block in the middle, lace your film on that and when you come to the end of the reel you take your reel of film off and it would be ready to put in the box, in a can and sent away again. That was basically it. The only thing you would have to break down physically is the adverts, the news and the trailers.
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.)
PT00H02M24S
Bit Rate/Frequency
Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio)
320kbps
Cinema
ABC (Olympia) Cinema, 67 Queen Street, Cardiff
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 and breaking-down film prints (Mike Williams)
Subject
The topic of the resource
making-up and breaking-down film prints
Description
An account of the resource
Projectionist Mike Williams describes the process of making-up film prints ready for screening and breaking them down once finished.
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 Mike Williams
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
2015-12-04
Contributor
An entity responsible for making contributions to the resource
Richard Wallace
Mike Williams
Relation
A related resource
http://cinematreasures.org/theaters/7970
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
1956-1964
POINT(-353442.43008433 6707021.6118356)|15|-353483.0372556|6706795.0626356|osm
ABC (Olympia), 67 Queen Street, Cardiff
1950s
1960s
chief projectionist
film damage
Mike Williams
preparing the print
routine
Wales
working conditions