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Episode 300 - 35mm Film Projection at the Byrd Theatre

For Amusement Only EM and Bingo Pinball Podcast·podcast_episode·38m 8s·analyzed·Jan 5, 2016
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claude-haiku-4-5-20251001 · $0.023

TL;DR

Nick Baldridge discusses electromechanical 35mm film projection at historic Byrd Theatre for podcast episode 300.

Summary

Nick Baldridge celebrates his 300th podcast episode by sharing detailed personal experiences working as a projectionist at the historic Byrd Theatre in Richmond, Virginia. He provides an in-depth technical explanation of 35mm film projection, including carbon arc lamp technology, film splicing and changeover procedures, soundtrack systems, and equipment maintenance challenges from the 1920s-1970s era. The episode connects projection craft to pinball maintenance philosophy and briefly mentions adjacent content from the Coinbox podcast.

Key Claims

  • The Byrd Theatre was built in 1928 and features a Wurlitzer pipe organ that rises from below the stage.

    high confidence · Nick Baldridge describing the Byrd Theatre in Richmond, Virginia

  • When Nick started at the Byrd, there were only three places in the country making carbon arc rods; by mid-tenure, it was down to one in the world.

    medium confidence · Nick Baldridge recounting the declining availability of carbon arc rods during his tenure

  • The carbon arc rods being produced had air quality issues causing hot spots that could burn holes through film.

    high confidence · Nick Baldridge explaining the quality control problems with carbon arc rods

  • The Byrd Theatre upgraded from 1940s carbon arc lamp houses to 1970s xenon lamp houses acquired from a closing movie theater.

    high confidence · Nick Baldridge describing the lamp house upgrade with Bill Enos and the theater's engineer

  • Film countdown sequences (10-9-8-7-6-5-4-3-2-1) are meant only for projectionists and should never be visible to the audience.

    high confidence · Nick Baldridge explaining the purpose of countdown leader frames

  • Changeover cues are cut 7 seconds before the end of a reel to signal the projectionist to start the second projector.

    medium confidence · Nick Baldridge describing the cue-cutting procedure, acknowledging he's forgotten the exact technique

  • 99% of modern movie projection is digital, making 35mm film projection effectively obsolete.

    high confidence · Nick Baldridge reflecting on the current state of film projection

  • The Byrd Theatre's original spring-loaded reel finger had weakened over decades of daily operation since 1928, requiring a custom fabricated set-screw fix.

    high confidence · Nick Baldridge recounting the reel-locking problem and improvised solution

Notable Quotes

  • “It's all thanks to the people who maintain it, of course.”

    Nick Baldridge @ early in episode — Sets the maintenance-focused philosophy that carries through to pinball discussion later

  • “Once I tell you about this, you'll never be able to see a film projected in the theater ever again, because you'll see them everywhere that you go.”

    Nick Baldridge @ mid-episode during cue discussion — Illustrates the hidden technical details of film projection that become apparent once known

  • “I lived in utter fear of dropping one of these things because they were, I believe, from the 1940s or maybe 50s. But they were super duper expensive and essentially irreplaceable because they were a matched set from way back then.”

    Nick Baldridge @ mid-episode during lens discussion — Demonstrates the high stakes of maintaining irreplaceable historical equipment

  • “There is no replacement part. We would have had to fabricate something, and we couldn't.”

    Nick Baldridge @ near end during reel finger story — Shows creative problem-solving when dealing with vintage equipment lacking modern parts support

  • “You want to leave it nice for the next person who works on it. And the same is true of this projection stuff.”

    Nick Baldridge @ mid-episode discussing rewinder procedure — Explicitly connects projection craft to pinball maintenance philosophy

  • “That is one of the worst things that can happen. Not only does it make a huge loud noise, obviously the audience knows, everybody gets all bent out of shape.”

    Nick Baldridge @ during reel falloff story — Captures the high-pressure nature of live projection operation with audiences watching

Entities

Nick BaldridgepersonBill EnospersonByrd TheatrevenueFor Amusement OnlyorganizationWurlitzerproductBrenkographproductCoinbox podcastorganizationTodd Tuckeyperson

Signals

  • ?

    historical_signal: Extended discussion of maintaining and adapting 1920s-1970s projection equipment in continuous operation, including creative solutions (custom set-screws, lamp house upgrades) when parts become unavailable.

    high · Detailed accounts of spring-loaded reel finger failure and fabricated replacement using pipe fittings; xenon lamp house upgrade from 1940s-1950s carbon arc technology; manual operation of 1920s film winders alongside automated alternatives.

  • ?

    technology_signal: Transition from carbon arc to xenon lamp technology in projection systems; carbon arc supply chain collapse (3 manufacturers down to 1 globally) due to quality control issues.

    high · Nick recounts that carbon arc rods became difficult to source and were full of air impurities; the upgrade to xenon lamps resolved quality issues and simplified operation (no need to strike rods together, just flip a switch).

  • ?

    content_signal: Nick Baldridge marks episode 300 of For Amusement Only podcast with a special long-form retrospective on projection technology and his theater work.

    high · Opening and closing remarks explicitly frame this as episode 300; Nick notes it's the longest single-topic episode he's recorded.

  • ?

    design_philosophy: Nick articulates a philosophy of leaving equipment in good condition for the next person (projection and pinball), emphasizing craft quality and thoughtful maintenance over expedience.

    high · Nick explicitly states: 'You want to leave it nice for the next person who works on it. And the same is true of this projection stuff' and earlier discusses always rewinding film head-first so the next projectionist has clarity.

  • ?

Transcript

groq_whisper · $0.114

0:00
What's that sound? It's 4 Amusement Only, the EM and Bingo Pinball Podcast. Welcome back to 4 Amusement Only, this is Nick Baldridge.
0:16
Tonight, for my 300th episode, I wanted to talk a bit about projection. Electromechanical projection. I've mentioned in previous podcasts that I was a projectionist for a few years at a theater in town called the Bird Theater Now the Bird Theater is a movie palace that was built in 1928 It's beautiful inside Multi-story seating Ornate plaster and, best of all, the mighty Wurlitzer pipe organ that rises from below the stage and can play instruments located all over the building,
1:13
all from the controls of the one keyboard and foot pedal area. beautiful, amazing sound comes out of that organ.
1:26
And it's all thanks to the people who maintain it, of course. Now, I don't know much about organs at all, but what I know about projection I learned from a man named Bill Enos.
1:42
Bill was a projectionist at the Bird who recently passed away. and he taught me how to run the projectors, how to build up and break down film, how to cut cues, and how to run the Brenagraph machine.
2:01
Before we get into the nuts and bolts of projecting, I thought I'd talk for a minute about this Brenagraph machine.

industry_signal: Brief reference to ongoing 16mm film recording and film swaps discussed on Coinbox podcast, indicating niche enthusiasm communities around film media preservation.

medium · Nick mentions listening to Coinbox podcast where Todd Tuckey was discussing 16mm recording and film swaps, framed as evidence that film enthusiasm persists despite 35mm being largely obsolete.

  • ?

    venue_signal: Byrd Theatre operates as a functioning historic cinema with 1928 original architecture, full EM-era equipment (Wurlitzer organ, manual projection systems), and remains active for public film exhibition.

    high · Byrd Theatre described as operating continuously since 1928; now has digital projectors and digital sound but retains historic organ and infrastructure; Nick still visits with family.

    • 2:09
    The Brenagraph was simply a slide projector. we used it for ads and we would print the ads on transparencies sandwich them between pieces of glass and then the brennograph would allow you to switch between them while the lamp houses were lit. Now when I started, the lamp houses were lit by a carbon arc. this is something that should be fascinating to any electromechanical person, any electromechanically inclined person, the carbon arc was simply a positive and negative carbon rod which were run by a very high voltage DC current and what happens is you put the negative rod in the negative side and the positive rod and the positive side, and you actually physically touch them together. Now the act of touching them together causes the current to flow, and because the voltage is so high across this thing, you simply separate it a bit, and an arc forms. This arc is actually fire, and the fire continues as long as the projector is turned on. Now the thing about carbon arcs is that they cause the rods to wear down. So after a certain number of showings, a certain number of uses of this slide projector, you'd have to take out the stubs, the used cigarette butt-sized things, and toss them.
    4:05
    Now, we had a big box that we put them into, and I believe we sent them back to the factory for recycling. so the cool thing about the slide projector is that of course both lamp houses for both of the slides were lit at the same time and the brain graph had a control that would iris one closed and the other open and so you just switch back and forth at your own pace pretty neat so up in the projection booth you're swapping out slides every 15, 20, 30 seconds and switching and then doing it all over again and we did that for I believe 10 minutes and then we would actually start the show now to start the show what we would do is dim the lights and we had individually controlled red, green, blue, and white lamps.
    5:20
    And these were actually incandescent lamps with these massive levers that you would use to control them.
    5:32
    One of the nice things about this huge control panel, which was probably, I don't know, 12, 15 feet long, you could lock all of the lamps into a master lever.
    5:51
    So let's take the red section. There might be eight levers that control the reds and then a master lever. Well, if you have the reds all the way up or three-quarters of the way up or whatever the case may be.
    6:07
    You simply line them all up with the master and then the master will dim them all or raise them all simultaneously.
    6:17
    So when it's time to start the show, you go and dim all the lamps. You turn on the lamps in the projector you start the motor and then when the time comes you open the dowser and you switch over the sound. Now I'll explain all of that momentarily but what you have to remember is that projectors are set up as pairs.
    7:02
    There are very few exceptions on a reel-to-reel projector where it's just a single unit. Until recently, big chain movie theaters would run a single projector for a single movie, and I'll get into the perils of that at some point here later on in this episode. But what we did at the bird, and what these projectors were built for, is to run anywhere from a single reel on each projector all the way up to three reels built together.
    7:45
    So, for a single reel, you have about 15 to 20 minutes of run time. For three reels together, you have obviously tripled that.
    7:57
    the way that you set it up so that you can have three reels on the same large spindle is that you have to build the film, what you call building the film.
    8:13
    So, most everyone has probably seen the countdowns in old cartoons or old movies where it counts down from 10 all the way to 2, and then it actually blips and starts.
    8:29
    Well, the reason that countdown is there is for the projectionist. The audience is not actually supposed to see that countdown. So when you see that, that means there's an improper transfer that's happened.
    8:47
    You know, the audience should never, ever even know of that existence. So, what you do is you take your first reel and you put it on a winder. A winder is simply a machine that allows you to move film from one reel to another. So what I would do is I'd take the first reel, which should be rewound, by the way, and you can tell if it has that sequence of numbers starting at 10 and moving on down. So you take that and you thread it through the reel and you start winding. Now Bill, the man that I mentioned earlier had built an automated rewinder or an automated winder It was just simply a motor that would automatically turn this spindle I didn like to use it and the reason that I didn like to use it is if you were not paying attention, for example, if you had to run over and make some adjustment to the running film, then it'd be easy for this thing to just fly off of the other reel and start slapping the table and possibly getting caught and so forth. And I just didn't want that to happen. So what I would do is I would manually wind it. And of course the original winders from the 1920s were there, so why not use them?
    10:08
    Get a little work out at the same time. So you just spin this handle until the reel has been wound backwards onto this other larger reel.
    10:27
    Now at the end, you have something called a footer. A footer is similar to the header, where it counts down from 10 to 1, but it's essentially just dead space. You want to get rid of that. So what you have to do is put it in the film cutter. And the film cutter looks very much like a paper cutter.
    10:51
    You simply put the tractor feed area of the film into this cutter, line it up with the correct frame, and then slice.
    11:03
    It's gone. You set that aside to be reconnected before you ship the film back to the distributor. and then you pull out the next reel. You cut off the header of that one and then you splice the two ends together. To do this, you have to put both frames of film, the one from the end of reel one and the one from the beginning of reel two, together.
    11:33
    Make sure that they're oriented correctly. Set them in the splicer right in the center and then you take a piece of film tape, which is this plastic tape, very thin, and you run it across and then you push down on the handle and that essentially punches out the tractor feed holes. Then you flip it over.
    11:58
    You pull the tape out, put it across, punch again. What this does is it creates a very strong bond so that when it goes through the projector, it doesn't fall off or get caught, even worse, and start burning.
    12:14
    So, you do that for reel 2, and you do the same for reel 3. Now, at the end of reel 3, you have a special condition. The condition is that you have to do what's called a changeover. You have to switch over to the other projector, because those projectors could only handle three reels of film put together at the same time. And so to do this, you have to cut what's called cues into the film. And once I tell you about this, you'll never be able to see a film projected in the theater ever again, because you'll see them everywhere that you go.
    12:52
    Now, luckily for the listening audience here, it's very unlikely that you'd go see a recent movie and have it be projected as film. 99% of the stuff is projected digitally now and so you're unlikely to run into this situation.
    13:11
    It would only be at one of these older movie houses. So the deal is, you cut cues a specific length of time away from the end of the reel.
    13:36
    And I believe it's seven seconds. And there's a trick to finding that exact spot, and I've completely forgotten what it is. It's been years and years since I did this, but...
    13:50
    You put the film in the splicer at that particular spot, and there's something called a cue cutter. Now a cue cutter is just simply this little metal rod or plastic rod And it goes in a particular hole in the splicer And when the film is held in place by the top plate of the splicer You can push this cue cutter in and then twist it around And all it does is it cuts a circle out of the film Now the circle becomes white on the screen And it shows up in the upper right corner and whenever you see that, that's a signal to the projectionist that he needs to start the second projector once the second projector is started he can flip down the dowser at the same time the audience will never see the countdown 10, 9, 8, 7, 6, 5, etc because of persistence of vision and some other tricks that have to do with projection.
    14:57
    But, about three seconds from the end of the film, there will be another cue. And the cues, by the way, are cut across four frames. They happen very, very quick.
    15:12
    I was not aware that these existed, except, again, in old cartoon transfers where someone had obviously transferred from a very worn piece of film.
    15:23
    because cues are not cut from the distributor or from the factory that produces these films. They're only cut by projectionists.
    15:33
    So, across these four frames, you get the signal to start the next projector. Then, the next set of cues tells you to switch over the sound and press the foot pedal, which actually switches over the picture.
    15:50
    That's the other trick I was talking about. So at that point, you're at your leisure to go over and shut off the other lamp house,
    16:00
    turn off the motor, and pull the reel off, rewind it, and move on. And most movies will fit onto three to four large reels, those ones that are made up of three reels at 15 to 20 minutes apiece so let's get back to these carbon arcs when I started at the bird they were still using carbon arc for their projection as well as the brennograph and we had a problem when I first started there were three places in the country that were still making carbon arc rods towards the end of my tenure or about halfway through I guess they were down to one in the world and the problem was that the rods that they were producing were full of air they didn't have very good quality control and so you would get hot spots where the rods would burn very quickly this is potentially very dangerous and very bad if the arc burns hotter than it's supposed to it can burn a hole right through the film or you can run out of carbon rod before the end of the reel also it creates a very scattered brightness on the screen so this is no good it's like trying to watch a film by candlelight so what we ended up doing is upgrading the lamp houses that we had that were made in the 1940s to lamp houses that were made in the 1970s there was a movie theater that was closing down in town and they were able to negotiate a deal for these lamp houses now these lamp houses had xenon bulbs.
    18:12
    And the thing about xenon, it's a noble gas. And you have to excite it to get the light to come on. And the way you excite it is to push a really super high voltage through it.
    18:26
    Just increase the potential until all those electrons are just bumping into each other waiting to light up the screen.
    18:35
    So, essentially we were able to keep the same rectifier situation and just swap out the lamphouses. And I believe there was some engineering that was involved. I was not involved, but Bill and then the bird's engineer got together and they got this done. So one day I left work and we were using carbon rods And then the next day we were using these xenon lamphouses It was much simpler because you didn have to strike the rods together to get the reaction started
    19:11
    You only had to flip a switch. Now, xenon bulbs being super bright, you couldn't look at them directly. So these lamp houses had essentially welder's glass on the outside, so you could see and make sure that the lamp was lit.
    19:35
    But it would not damage your eyes if you looked at it. So let's move on and talk about soundtracks. Now today, listeners are kind of spoiled by the amazingly crisp and clear sound that both Dolby and DTS produce. And Sony at one point was doing this as well, but honestly I prefer DTS out of the three. And I'm pretty big into good sound. Now the reason I prefer DTS is that it's uncompressed. Every channel. Dolby has compression, at least they did in the early days of Dolby Digital.
    20:24
    So, at any rate, the Bird didn't have digital sound at the time. They do now. They also have a digital projector, but again, we're talking electromechanical. So how does the sound work on a projected film? Well, the answer is the soundtrack. And you may have heard this word numerous times and not really known what it was, or you only know it in the context of an album that you buy, or a CD, or whatever, a track that has the film's score on it. But the soundtrack is actually a part of the frame outside of the projected area that has the sound information, and it's analog. There's a lamp, a special lamp that reads it. It runs through an amplifier circuit, and it comes out through the speakers.
    21:24
    In the early days, you'd have mono sound. Later, they expanded to stereo. And eventually, they played around with all these different types of readers. You know, the color of the bulb and eventually magnetic tape. The Blues Brothers, for example, a very famous movie that used magnetic tape. And the reason that they used magnetic tape soundtrack on that was so that they could have four different channels of audio.
    21:59
    Now again, today's movie experience, you have like 10 or 12, some ridiculous number of channels. there was no such thing obviously when you had space as a concern now when these digital soundtracks started coming out they would crowd out the analog soundtrack and so you would have a narrower area because you'd have the digital soundtrack for Sony you'd have the digital soundtrack for DTS and you'd have the digital soundtrack for Dolby each one of which would have a separate reader. Sony's, if I recall correctly, was on the outside edges of the tractor feed.
    22:45
    Now, it doesn't take a genius to see what's wrong with this. If any one of you has messed with tractor feed printer paper, you know that the tractor feed will eventually rip into the outside frame, and it causes the paper to jam and yada yada yada. It only takes one small weakness in that tractor area for everything to just fall apart. And the same is true of film. Now, I'll get into that and some good stories about that here shortly. But just know that the soundtrack is sharing space with the actual film, the picture that you're watching. so there has to be a way for the projectionist to hide that soundtrack from the viewing public and the way we did it is with what's called an aperture plate this plate is a custom piece of metal and we had two for each projector one was for what we called flat films which were a standard aspect ratio.
    24:05
    Those would be non-letterbox films for those of you who have seen such things or non-widescreen. So the term that we used for the widescreen was stereoscope and that's because that was the brand name that was invented for this widescreen format. I forget the exact aspect ratio. Was it 16 by 10? 16 by 9?
    24:32
    I don't think it was 16 by 9, but I'm sure somebody out there knows and is probably yelling at their listening device right now.
    24:44
    Feel free to write in and let me know. But stereoscope used a special lens. It also used a special masking plate, And so you'd have to know before you started the film what kind of film it was. Was it stereo or was it flat?
    25:03
    If it was flat, you would leave the masking curtain in place. Now the masking curtain prevents you from just seeing the edge of the projected area. It's just a black felt or velvet curtain.
    25:20
    And it just essentially pulls some of the light. away from that edge so that you as the viewer are not distracted by weird flickery pieces that are showing up on the edge of the frame.
    25:38
    For stereo, though, the masking is pulled back, and we had a special control button that would do this.
    25:46
    Now, the big trick is that for the brain graph, we would run it in flat. So before the movie started, we would have the masking pulled in.
    25:57
    And this just makes it so you have less of a viewing area. You know, you don't see this entire huge screen and just this ad right in the center. It kind of helped focus the viewer's eye.
    26:15
    When we pushed that, though, is when we started the motor for the projector. when we'd start to film.
    26:25
    Now, I mentioned that we'd have to change the lens, and the way that we did this is there was a little thumb screw.
    26:34
    And these lenses are big and heavy, and of course the stereo one is huge. It's really lengthy because it needs to throw that picture very wide. And so I lived in utter fear of dropping one of these things because they were, I believe, from the 1940s or maybe 50s. But they were super duper expensive and essentially irreplaceable because they were a matched set from way back then. so I made absolutely sure that I tightened that thing as tight as possible and I would give it a little tug to make sure that it didn't come out if it did, at all I would redo the whole procedure so one interesting story that I have is that I ran a movie it was kind of an art movie and I had threaded the film in through the projector and I threaded it with a twist somewhere before the viewing area.
    27:50
    Now when you do this, of course, the soundtrack is exposed and everything's backwards and whatever sound you hear is just a garbled mess because it's trying to read part of the frame, part of the picture that you can see normally. So I turned this movie on, and again, it was kind of an art film. And so it starts up, and it shows the title, and it was backwards. And I said, huh, that's weird. And then the sound was like a bunch of thumps and weird, you know, odd noises. and I said huh that pretty weird And then eventually I saw someone talking on the screen after about you know five seconds or so and realized I'd threaded it with the twist. So what I had to do was quickly rewind the thing by hand in the projector and re-thread it and then re-run it. That was fun. So as far as threading the projector, what you have to do is run it through this complex series of tractor feeds. And each one has a little clamp.
    29:07
    So you essentially put the bit of film that you want in that area and then clamp it shut. And then it starts pulling. Well, you have to thread in all these extra little loops and so forth so that the film has room to move as it goes through these different parts. and so it's not being choked and therefore if there's some kind of obstruction, it doesn't halt and start burning.
    29:37
    So the other thing is you have to have a take-up reel. And obviously this is as the film goes through the projector, it's got to go somewhere and so it goes on to another big reel. And you take that reel off at the end after you've switched to the other projector, you've done the changeover. You put it on the rewinder and you rewind it manually. Or at least I did. You could do it automatically too. Then it's ready for the next showing. You always put it head around so that the next projectionist has a good idea of what to do. You leave it nice for the next guy.
    30:16
    And there's a similar concept in pinball. You want to leave it nice for the next person who works on it. So, in most instances, you want to do your work on a game to make it work, but you also want to make it friendly for yourself or somebody else to go back later and fix it. And the same is true of this projection stuff. So, another story that I have, I was working a very important film festival, and I had threaded the thing through, and I was using these special, essentially lock nuts to hold the film on to the projector spool. there's a little finger that comes out from the projector film well where you put the reel and when it was new you could just flip it over and there was enough spring strength that it would just hold it closed well of course over the years and years and years Remember, this theater had been in operation every day since 1928.
    31:45
    So there was really no strength left in that spring, and it's not really a replaceable part. There is no replacement part. We would have had to fabricate something, and we couldn't. So what we did is came up with this pipe fitting, and then tapped a hole into the side of it and put a set screw. and the set screw goes over top of this finger and then latches down and it holds the reel on. Well, the reel, as you can imagine, is moving and shaking and it was the only print of this foreign film and the director happened to be there and he was from another country and the film falls off the projector while I'm running it. Of course. and it gets caught and it burns and I go over and shut it down and I have to cut the print in order to fix it. Now, it was probably a good thing that I was working and not one of the other projections, not Bill, he would have done right as well, but I ended up cutting out just a single frame that had burned. I didn't have to make any other cuts. I didn't have to cut anywhere around it. There was no damaged tractor area. And I just threaded it through and then got it started back up within about a minute. It was pretty impressive for having a reel fall off.
    33:13
    That is one of the worst things that can happen. Not only does it make a huge loud noise, obviously the audience knows, everybody gets all bent out of shape. But in this case, the director came up and started screaming obscenities at me in a foreign language. And I had no idea what he was saying. I just picked up the reel, did my work, put it back together, and got it going. I mean, there was nothing I could do other than fix the problem. So, that kind of thing is always interesting.
    33:51
    Well, one thing I haven't talked about was the rectifier. Now, I mentioned that these carbon arcs required a huge amount of DC voltage.
    34:03
    And if you know about DC, you know that if you're stepping down AC voltage, it takes a substantially large transformer.
    34:14
    If you're converting it to DC, you need a rectifier, a bridge rectifier, and so forth. Well, in order to rectify the huge amount of voltage needed for this thing, there was an entire room full of equipment that had to be turned on and would start converting the massively large input voltage from the AC to DC.
    34:43
    These things had to run all night long, and they were super-duper loud. If there's interest, I'll talk about some of the other interesting areas in this theater. Maybe some of the ghosts and so forth. Because, of course, there's ghosts. It's old enough. Why not?
    35:05
    That was a fun place. I still love going there. I've taken the kids to see movies there. It's just beautiful.
    35:15
    And there's a lot of people that complain about it because the seats are uncomfortable. because they were made in 1928 for people that are a different size than people today. And they were shorter and much less wide than people today.
    35:33
    So, that's all true, but it's really an experience to go there. Especially on a Saturday night, they open the balcony and the mighty Wurlitzer comes out through the floor and starts playing a song.
    35:49
    Well, that's probably the longest amount of time that I've talked to myself for a single episode. I hope you've enjoyed it and learned a bit about projection.
    36:04
    It's a really interesting and dying art form. It may actually be dead at the time that I record this. I have no idea. I know there are enthusiasts that do 8 and 16 millimeter recording and film swaps and so forth.
    36:25
    I was just listening to the Coinbox podcast where Todd Tuckey was on, and he was talking about that with 16 millimeter. But as far as 32 millimeter or even 70 millimeter, it's mostly digital. so at the push of a button you start the thing it's not the same now before I let you go for episode 300 I wanted to announce a two week pre-order period for t-shirts I'm doing a second run if you're interested in getting a t-shirt I will have the link available here shortly.
    37:13
    And you can buy internationally or in the United States. It doesn't matter. I'll have links for each.
    37:23
    And I'd be more than happy to see my shirt out and about in more areas. Well, thank you very much for listening. My name again is Nick Baldridge. You can reach me at 4amusementonlypodcast at gmail.com or you can call me on the bingos line. That's 724-BINGOS1 724-246-4671 You can also listen to us on iTunes, Stitcher, Pocketcast via RSS, on Facebook, on Twitter at bingopodcast. You can follow me on Instagram, also at bingopodcast. Or you can listen to us on our website, which is 4amusementonly.libsyn.com Thank you very much for listening and I'll talk to you next time. Thank you.