In many of the multiplex theatre chains that emerged in the 1980s, the role of the projectionist was largely confined to assembling screening programs (consisting of a feature film print and other supporting material such as advertisements and trailers) onto a long-play platter or tower device, programming automation systems and very basic equipment maintenance such as cleaning film path components and the routine replacement of life-limited parts. More extensive maintenance and repairs are carried out by technicians employed centrally by the parent company and who visit its theatres to conduct maintenance on a regular cycle. In smaller chains and independent theaters, and especially those situated in geographically remote locations, projectionists are more likely to undertake more extensive maintenance and repair duties, both on a theater's projection and sound equipment and on other infrastructure in the building, e.g. heating and air conditioning plant. 35mm release prints continue to be shipped on 2,000 foot reels to the present day, even though very few theaters still present films using a two-projector system with changeovers. A number of attempts have been made over the years to introduce larger shipping reels for print distribution, but none has gained widespread acceptance. Future Some larger theater chains are now in the process of eliminating the projectionist's job altogether. In order to avoid paying a higher wage rate and to circumvent skilled labor laws, some companies (such as Cinemark Theaters) use the job title "Booth Usher" for an employee who simply carries out basic screening operations and does not perform any program assembly, maintenance or repair procedures. Their starting wage is the same as that for popcorn concessionists and ushers ($7.84 per hour in Ohio as of August 2009). Smaller theaters in this chain and those with union bargaining contracts that specify a minimum wage utilize management for these duties. In Britain, this started to happen early 2000 onward as labour laws were wiped out by then. The introduction of digital cinema projection, on a significant scale from approximately 2006 to 2008, is rapidly bringing to an end the role of the projectionist as a professionally skilled operator of film-based projection equipment in mainstream theatres. As of November 2010, the major chains in the US and Europe are in the process of a large-scale conversion to digital projection, in some ways comparable to the mass installation of sound equipment in the late 1920s and early 1930s. This has