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This topic comprises 4 pages: 1 2 3 4
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Topic: Christie platters vs. Strong/Potts platters
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Brad Miller
Administrator
Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99
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posted 08-03-1999 08:51 PM
Ian! Shame on you! The word "rip" should not be in a film handler's vocabulary. But my answer to that is "not my problem, blame Technicolor!" I am so sick of them dropping off prints at the last minute!!! If I miss the first show, oh well. No skin off of my back. Perhaps if the studios will get onto Technicolor about their poor shipping standards, that wouldn't happen any more. If they want a show 15 minutes after the last one drops they have two choices: "it'll be ready when it's ready" OR I can cancel the last show. I'm not going to "rip" through a breakdown just to please them! Plus, I'm sure the next theater appreciates the care in breakdown.As to the Strong trick, that can be done on ANY* platter! All that must be done is to load up the first half of the film onto the deck, thread it and then make the splice joining the last half onto the first half and start the show. The trick on a Christie is to take the belt off of the drive motor on the make up table. Also, never do this trick where there is more film on the reel than platter. (That should be obvious.) Also on startup, the operator should spin the reel of film by hand so there is slack until everything is up and rolling, then slowly let it pull the film off the reel itself. But again, that can be done with ANY platter. *NOTE: never attempt this on an older Strong platter with the microswitch or any other with a straight ON/OFF payout, as the difference in speed will dump the print. The trick works fine on Christies or the newer Strongs.
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Ken Lackner
Phenomenal Film Handler
Posts: 1907
From: Atlanta, GA, USA
Registered: Sep 2001
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posted 09-18-2001 08:33 PM
OK. I have never worked with Christies. But I have worked at a brand new theatre for almost 2 years that had exclusively Strong equipment, including platters. They were micro switch. I loved them. I have never worked with the LED platters, but my tech tells me they can be more of a pain in the ass. I don't mind the on-off of the switches. They are easy to replace, easy to calibrate. Timing? Simple. I have never had a problem timing the platter, and the motors do not go so far up that they scratch the film.Of course they are not perfect. My complaints: They get warped easily. But, as Joe mentioned in the initial post to this thread, they are smooth and non-abrasive, so platter scratches are rare. Also, they can be difficult to clean sometimes. Certain solutions will leave a noticeable film on the platter deck. This has happened to me with standard glass cleaner. The best thing I have found to use is 409. Another complaint is (as I think someone already mentioned in this thread) that if you pull the film to quickly while threading, the elevator (yo-yo) becomes dissengaged and will drop. Even a slight degree of tension will do this. My final complaint is that the Christie "Bevan-Poo's" do not stick. Even when they are cleaned, I cannot get them to stick properly. Overall, I would say they are a good machine. But I would like to work with Christies. I won't knock 'em 'til I try 'em.  For clarification, what is the difference between Strong platters and Potts? Also, does anyone know anything about strong DMC platters? There is one theatre in my district that has them, but I have never worked projection at that theatre, so I don't know anything about them. I have never seen them at any other theater. thx.
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Richard Fowler
Film God
Posts: 2392
From: Ft. Lauderdale, FL, USA
Registered: Jun 2001
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posted 09-18-2001 10:37 PM
Potts and Strong platters are made by Design & Manufacturing Inc. Potts went to Design after a dispute with a relative which continued to manufacture is older platter which became the "super platter" that CFS marketed....this "super platter" is now made in India by the Monee company that also makes their version of a Century projector. I have sold Potts platters of all versions since the early 1970's (when he used to deliver them to the theatre in a special van).... and have sold hundreds with only two that gave us trouble out of the box. They are cheap to maintain and with systematic replacement of drive parts, very trouble free. In a twin theatre in Nevada, we ran film 125 feet to and from a microswitch platter with no hassles. Bob Potts is truely one of the nice guys in this business and Suzy Bright, another relative, is very helpful in the office. Strong bought out Design and Manufacturing with stock, when it was at a much higher price than today.
For customers that desire Christie type features, we sell Cinemeccanica platters, which went bought in quanity, falls between the price of a Potts and Christie platter.....of the units I have so far, only one has given us problems ( due to shipping damage ) and is built well enough that it was a easy field fix.
Richard Fowler
TVP-theatre & Video Products Inc. www.tvpmiami.com
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