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» Film-Tech Forum ARCHIVE   » Operations   » Film Handlers' Forum   » Best/worst projector (Page 2)

 
This topic comprises 19 pages: 1  2  3  4  5  ...  17  18  19 
 
Author Topic: Best/worst projector
Jim Ziegler
Jedi Master Film Handler

Posts: 753
From: West Hollywood, CA
Registered: Jul 99


 - posted 08-09-1999 01:28 AM      Profile for Jim Ziegler   Email Jim Ziegler   Send New Private Message       Edit/Delete Post 
Ah, someone else who as actually worked with P-93s... I would take my current Christie's anyday over a Prevost...

But the best projector I have ever had the pleasure to work with was a Simplex 35...

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Gordon McLeod
Film God

Posts: 9532
From: Toronto Ontario Canada
Registered: Jun 99


 - posted 08-09-1999 09:52 AM      Profile for Gordon McLeod   Email Gordon McLeod   Send New Private Message       Edit/Delete Post 
P93 I am not familiar with but is itthe one with the timming belt running in the oil bath to drive the upper sprocket. (They also used that design on the Favorite 16B that they built and was also sold under the Zies Name)
In toronto there are probably several hundred of the P55's running each day. they are an all gear machine and give very little grief, except for leaking oil. There are also several of the Favorite 35/70 machine that they built (zies also marketed them)

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Trevor Bailey
Expert Film Handler

Posts: 113
From: Woonsocket, RI
Registered: Jun 99


 - posted 08-09-1999 10:15 AM      Profile for Trevor Bailey   Author's Homepage   Email Trevor Bailey   Send New Private Message       Edit/Delete Post 
The P-93 has a timing belt driving the intermittent in an oil bath. That in turn has a gear driving the vertical shaft. All gears are held on with rolled or steel pins. The sound head area is a joke. Tension on the drum is by a roller assy that has a rolled pin and a spring. Slight film jam, pin breaks, no tension on the sound drum. Timing the shutter alone is a 30 minute process of disassembly. And they leak oil constantly. I've changed gaskets, but I am beginning to think they were designed to leak oil. Just like the SR-71 fuel tanks...yeah that's it, just like the SR-71.

BTW, has anyone else noticed Prevost also makes tour buses?

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Gordon McLeod
Film God

Posts: 9532
From: Toronto Ontario Canada
Registered: Jun 99


 - posted 08-09-1999 04:47 PM      Profile for Gordon McLeod   Email Gordon McLeod   Send New Private Message       Edit/Delete Post 
That Prevost is a different company.
Prevost SPA also invented the flatbead film editing machine and they also made cine cameras
The P95 was designed to be a cheap projector

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Mark Gulbrandsen
Resident Trollmaster

Posts: 16657
From: Music City
Registered: Jun 99


 - posted 08-25-1999 01:08 PM      Profile for Mark Gulbrandsen   Email Mark Gulbrandsen   Send New Private Message       Edit/Delete Post 
I used to have this list hanging in my office for some time with my employees and I going back and forth and adding and moving things. These are all machines that we have had experience(good and or bad)with.

WORST 35mm's.........
Any Shakeamecannicca model....film weave and oil leak central.

Super Simplex.....for platter operation.

Prevost P93.....They run great for about a month.

SORTA WORST 35mm's......

Ballantyne Pro35....The original Rock And Roll Machine.Watch out for one with a blown oil seal...I once slid into a VIP base from 8 feet away with my 40 lb tool kit! Also known as the Ballantyne Valdez!

Brenkert, except BX-60.....don't use any of those new spiral bevel gears outta Chicago!!

Simplex E-7.......for platter operation. Great film lab machine though, very steady picture. Hey....who pumped that oiler too many times today?

Powers 6B........ Ha? Whats this doin here? There have actually been a sighting or two of these.

DeVry........Old Man DeVry liked Supers and owned a bicycle factory.

REALLY WORST 35mm's.........

Any Holmes Model.......Thats a projector? Can the film be bent that tight around those rollers? Hey, are those rollers turning? Thats my I.B. print of "Gone With The Wind running on there!!

Standard Simplex..........Thankfully, none left except in Wheatfield, Iowa.

Any Cinecitta.......... I'll keep this one to myself.

Any Monee.............. This one too.

REALLY BEST 35mm's

Motiograph AA, And AAA,....They always had a small flicker problem that Motiograph could never fix, but this machne should easily get top honors in the steadiness catagory, and it had really great water cooling, and beefy 4" lens mount on the AAA.

Christie P35GP......When everything is juuuuuust riiiiiiight...............its darn good.

Phillips FP-7(Baby AA-2)FP-20, FP-30, Most all their 35mm's. I guess bicycle chains are ...well ....ok in 35 machines.

Simplex X-L....Runs forever if there's oil in it. Can project really steady images. That darn accessory cooling blower...I mean dust sucker upper. Poor water cooling....really JUST for the aperature plate. The new Strong Melinium model is the best yet and utilizes the Century Model A gate and trap and gives you an increased oil resevoir.

Brenkert BX-60.....I don't see any of those spiral bevel gears in there so its gotta be ok!!

Brenkert BX40,BX80,BX-100...With original Brenkert Spiral Bevel Gears inside they're really, really great!!

Century Model C,CC,SA,SAW,DAW........ Probably the best 35mm machine ever made till ORC got ahold of it. Strong has fixed the problems though. Very reliable, easy to work on.....even in between reel changes. Larger Star and cam in the A models than any other US built projector. The gate and trap are the best in a US made machine and Strong has recently put this design into the new Melinium version of the X-L. Need to install a two lens turrett? Use the Kelmar retrofit kit. The cast Iron C models are really, really great!!

Kalee Model 19, 20, 21......British made:Hand scraped cast iron main housing, parts have the fit and finish of a swiss watch, heavy cast bronze intermittant housing, double speed - single blade shutter (in 1955!), art deco appearance, heavest 35mm ever made at over a ton per machine, WOW!!!!! They were known to have crashed through the booth floors of several theaters. Just imagine the 35/70 would have weighed over 2 tons!

ABSOLUTE BEST 35mm machine....Gaumont Kalee Model 21
-----------------------------------------------
Worstest 35/70mm machines........

Any Shakeamecannica model, but for some reason they do run 70mm better than they run 35mm.

Ballantyne 35/70.......Sorry Mr Manager, but we'll have to wait for the technician to come change the gate,trap and sprockets so we can run that 35mm feature next. Caution: Not for use in a rep house!

Phillips DP-75......Too many pathetic plastic pieces on them.

Simplex 35/65/70?........thats right folks, it has never been updated for 70mm. Hence the narrow 65mm gate bands and sprockets. Hey,why's that extra 2.5mm of film hanging over each edge of the sprockets? And hows about that teenie weenie Star and Cam in thare??

Zeiss 35/70.........Its really a Prevost thats been disguised! Isn't that enough said.

Cinecitta 35/70.....The name has been changed to protect the innocent. Gee Ma these assemblies don't interchange for some reason.

Monee 35/70........If they made one it would be bad.

Wheely Great 70mm Machines..........

Norelco DP-70........Nothing need be said. Its wheely the best ever made. Thankyou Mike Todd!

Century JJ........Extremely Steady image....almost as good as the DP-70, excellent driven penthouse. Seperate 35 and 70mm mag heads makes em cheaper to replace. Great gate and trap design. Great water cooling, and that Cinefocus device really,really works.

Bauer U-2...... German made: Heavier that a DP-70(really). Has teflon coated metal gate bands, excellent driven Klangfilm penthouse, Steadiness as good as a JJ, but not quite as good as a DP-70. Complicated but reliable electrical system,unique 24/30 fps geared Pabst drive motor, conical shutter. A few are still running in the states.


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Bruce McGee
Phenomenal Film Handler

Posts: 1776
From: Asheville, NC USA... Nowhere in Particular.
Registered: Aug 1999


 - posted 08-26-1999 05:15 AM      Profile for Bruce McGee   Email Bruce McGee   Send New Private Message       Edit/Delete Post 
I dont know of a Holmes running in a theater setting. I know the Holmes is tight and small, but wasn't that the point? They needed to design a portable. I think the sound system is for the birds. If you dont leave a 2 sprocket loop before the sound sprocket, the thing will rip your film either starting or stopping.

Mine has a sloppy intermittant. I can see the bounce on an 8' screen.
As for side weave, yes. Plenty.

The framing system is a hoot. Whatever you do, dont frame the lever in the extreme up position. Sprocket damage is possible.

BUT in the case of mine, they are still running after 50 years, or so without too much work besides having to clean all that nasty hard grease out of the body.

I ran an old CC the other night, and now I want one. Too bad they are so big. I have space for the Holmes, barely.

Bruce

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Scott Norwood
Film God

Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99


 - posted 08-26-1999 09:28 AM      Profile for Scott Norwood   Author's Homepage   Email Scott Norwood   Send New Private Message       Edit/Delete Post 
Now that we've thoroughly covered the best/worst projector issue...how about best/worst for other items of theatre equipment. I'll nominate the following:

Worst amps: McMartin (no contest!)
Worst popcorn machine: "Star" (incredibly slow!)
Best exciter supply: Kelmar
Best rewind bench: Kelmar
Best shipping reels: "Hollywood Film Company" plastic reels with solid hub for 35mm, Goldberg steel floating-hub for 70mm
Worst shipping reels: Technicolor fall-apart grey or black reels
Best ticket machine: Automaticket
Best carbon-arc lamphouses: Peerless
Worst xenon lamphouses: Cinemeccanica vertical bulb
Best-looking projector for lobby display: Super Simplex with Peerless "F" lamphouse and old-style Simplex 2000' reel magazines (black with gold lettering)
Best popcorn topping: O'dell's butterfat
Worst popcorn topping: anything else

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Mark Gulbrandsen
Resident Trollmaster

Posts: 16657
From: Music City
Registered: Jun 99


 - posted 08-26-1999 11:28 AM      Profile for Mark Gulbrandsen   Email Mark Gulbrandsen   Send New Private Message       Edit/Delete Post 
Hey Bruce,

A Century can be set up in a smaller space quite easily. Custom bases have been built in the past to fit these machines into incredibly small spaces. If ya don't want to make a custom base look for a Simplex Slim-Jim Base to put it on. They have a VERY small footprint. Also, try to find a used Kneisley 500 watt xenon lamphouse, or an ORC 1000 self contained lamphouse to go along with it and you'll have a great compact setup thats inmpossible to beat.......at least till you get that Norelco DP-70 and larger house to put it in.

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Gordon McLeod
Film God

Posts: 9532
From: Toronto Ontario Canada
Registered: Jun 99


 - posted 08-26-1999 01:46 PM      Profile for Gordon McLeod   Email Gordon McLeod   Send New Private Message       Edit/Delete Post 
Actually a DP75 with the small Kinotone 500 watt zenon that actually is inside the shutter box is the smallest
Or one can always use pulse light
how come that isn't in any one worst list? I am getting address's so the truck load of pulsators should hit the road tomorrow for a new learniong experience for all

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Brad Miller
Administrator

Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99


 - posted 08-26-1999 02:59 PM      Profile for Brad Miller   Author's Homepage   Email Brad Miller       Edit/Delete Post 
Bruce,

If ya want a Century SAW and ORC integrated portable 1000watt lamphouse (which can all run off of 110v household current) I've got both in excellent conditon for sale. The Slim Jim base is a great idea for saving space. I forget the theater, but if you look at the pic warehouse index page, you'll see the theater that has them. Even with a standard pedestal, the setup would only take up about 2'X 6'X of floor space. With 8000' reels it would stand almost to an 8' ceiling. The Slim Jim would save even more.

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Mark Gulbrandsen
Resident Trollmaster

Posts: 16657
From: Music City
Registered: Jun 99


 - posted 08-26-1999 05:26 PM      Profile for Mark Gulbrandsen   Email Mark Gulbrandsen   Send New Private Message       Edit/Delete Post 
Hey Gord,

Didn't Phillips only ever make two pulsenators?? That musta been the pair that was shown in the old red Theater Catalog.... Those lamps only last for 10 or so pulsinates anyway. Thats why there were a bunch of em mounted on an automatic lamp turret in the back. One good thing about it though was that it used a High Speed 5 to 1 pull down to make up for the pulsenators inefficiency.

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Bruce McGee
Phenomenal Film Handler

Posts: 1776
From: Asheville, NC USA... Nowhere in Particular.
Registered: Aug 1999


 - posted 08-26-1999 07:09 PM      Profile for Bruce McGee   Email Bruce McGee   Send New Private Message       Edit/Delete Post 
My Holmes can be picked up and carried to the car (After removing Mags) and taken to my friends houses where we see old prints and party.

The take-up on the front means I can sit it on the end of a sturdy table.

This is my last Holmes reply for now.
Theres no real place for me to set up a real 35 projector, so I gotta stick to this right now. Still for all its shortcomings, it beats the hell out of 16mm.

Bruce

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Scott Norwood
Film God

Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99


 - posted 08-26-1999 07:43 PM      Profile for Scott Norwood   Author's Homepage   Email Scott Norwood   Send New Private Message       Edit/Delete Post 
Bruce -- what are you using for a short-throw scope lens? I have this really nice Kollmorgen KA298 here, but it only focuses down to 50 feet...the longest throw possible in my house is 20 feet. :-( I'm told that the 1950's B&L lenses can focus down to 20 feet, but I'm interested in hearing what others are using at home. Anyone want to trade for the Kollmorgen?

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Bruce McGee
Phenomenal Film Handler

Posts: 1776
From: Asheville, NC USA... Nowhere in Particular.
Registered: Aug 1999


 - posted 08-26-1999 09:41 PM      Profile for Bruce McGee   Email Bruce McGee   Send New Private Message       Edit/Delete Post 
I am embarassed to say that all I have for scope is an old 16mm scope lens that happens to fit my Eiki xenon.
I installed it in the front of my 4" lens. Its a presentable picture, but not very bright. My room is just under 14 feet wide.

I nearly died when I saw what scope lenses go for...

My flat lenses are 2.75" currently. Am thinking of cutting a window in the wall and moving the creature there.

Bruce

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Mark Gulbrandsen
Resident Trollmaster

Posts: 16657
From: Music City
Registered: Jun 99


 - posted 08-27-1999 09:11 AM      Profile for Mark Gulbrandsen   Email Mark Gulbrandsen   Send New Private Message       Edit/Delete Post 
There is an easy way to modify the standard diameter Bausch & Lomb Anamorphics to focus down to about 15 feet. It takes about 15 min. to do. If anyone is interested in the modification e-mail me back and I'll send a picture of what and where to modify. I once had a B&L that had sharpness and contrast that even blew the people at Schneider away. There are a few really good ones out there. But years of rough handling and cleaning the glass improperly have left most unusable. My ultimate choice is the new ISCO 6 element lens. I used a pair on a dailies job when they forst came out and all I can say is WOW! My second choice would be the newest style Schneider with the allen key adjuster. Finally a lens that no one can throw out of alignment unless its intentional.

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