Reading from the same booth

Pieces our contributors keep coming back to, because they were written by the people who threaded the reels, worked the door or sat through the grading session.

All journal entries

Projection booth craft

What 35mm Actually Sounds Like in a Braamfontein Booth

Three weekends listening to the projector more than the film: carbon-arc hum, splice pops, and a missing reel nobody could replace.

Read the diary

Event operations

Midnight Marathon Logistics in Maboneng

Queue design, staggered concession runs and the honest math of keeping a room awake until 4 a.m.

Read the notes

Craft interview

A Colourist on Why South African Shorts Look the Way They Do

Transcript excerpts from a Rosebank grading suite on high-veld light, dust haze and why the teal-orange preset goes first.

Read the transcript

Contributors named in these pieces also appear across our repertory and sound-mixing coverage. See who wrote what on the people page.

Clarifications

A few working definitions, so nobody has to guess what we mean when we credit a name or describe a screening.

Credited, not anonymous
Every byline on this page belongs to a real person with a stated role. If someone projected the print, ran the door or wrote the breakdown, their name appears next to the work. We do not publish under house pseudonyms, and we do not attribute a screening note to "the crew" when one person wrote it.
What counts as a contributor
Projectionists, festival volunteers, film-school graduates, directors and colourists who sit for a transcript, and regular viewers who send in a written note. A single screening diary qualifies. A forwarded poster does not.
Roles are specific
We name the actual job rather than a general title. Someone who threads 35mm reels and watches the gate is listed as a projectionist, not as "part of the team". A volunteer who managed the midnight queue in Braamfontein is credited for that shift, not for the whole festival.
Fact-checking before publication
Technical claims about projection, sound mixing or grading are checked with the person who made them before a piece goes live. Where a detail cannot be confirmed, we say so in the text instead of quietly smoothing it over.
Returning voices
The same names reappear across repertory seasons, sound-mixing discussions and audience-behaviour notes. That is deliberate: a contributor who has been in the booth for a season writes differently about it than someone who visited once.
Opinions stay with the writer
A viewing diary reflects one person's evening in one room. It is not a verdict on a film, a venue or a festival. Where a contributor criticises queue handling or a snack-bar decision, that criticism is theirs and is signed as such.

Questions about a credit, a correction or a role listed here can go to info@enneadcineplex.com or by phone at +27140199629. Post reaches us at 57293 Fortuin Crossing, North Werner, GP 0188.

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