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This topic comprises 3 pages: 1 2 3
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Author
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Topic: Archive Projection Equipment Advice Sought
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Ari Nordström
Master Film Handler
Posts: 283
From: Göteborg, Sweden
Registered: Jan 2000
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posted 04-18-2000 01:33 AM
"Ben Hur" is 16 reels in 35mm, as far as I can remember.All of the 70mm reels were combined from two lab reels, except reel 6 that was shorter (reel 6 was the last one before Intermission). This should mean a total of 9 reels. 9, maybe 10 if I'm confusing the "Ben Hur" print with the "Spartacus" print... The Intermission (and the following overture) in the 35mm print we got was gone, as was the overture in reel 1. Damned vandals. I always filed bitter and angry print inspection reports when I got that print. The 70mm prints had the intermission and the overtures intact, thankfully.
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John Eickhof
Jedi Master Film Handler
Posts: 588
From: Wendell, ID USA
Registered: Jan 2000
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posted 04-18-2000 11:30 PM
On the standpoint of service and parts stocks, as well as equipping for Nitrate, I would stay standardized with the XLs, Go with older PR-1002, 1006, or early 1012s, all of these can be fitted for nitrate film. (Check
out the Stanford theatre in Palo Alto, CA.)
We supplied a full nitrate 35mm 2 machine booth WITH peerless magnarcs (8 X 9 mm NATIONALs)For this job, over twelve years has passed,and HUNDREDS of UCLAs archive NITRATES have run with NO complaints! These machines were equipped with FOX-HOLE sprockets for the shrinkage factor. (and of course, they have mag penthouses)Remember...IATSE rules say
'Two operators and one Rewind person in booth at all times when flammable film is
being projected'!!!!
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John Pytlak
Film God
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 04-19-2000 09:53 AM
The paper Gordon is referring to is "The Care and Handling of Hazardous Nitrate Film at UCLA's Unique Projection Facilities" by Jess Daily, published in the June 1990 SMPTE Journal. Jess is the Chief Projectionist at UCLA's Melnitz Theatre, and very active in the SMPTE Theatrical Projection Committee.BTW, that same June 1990 issue of the SMPTE Journal has an excellent paper by John Belton on "Todd-AO: A History". Big pictures, big screens and big audiences deserve 70mm prints.  ------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Eastman Kodak Company
Research Labs, Building 69, Room 7419
Rochester, New York, 14650-1922 USA
Tel: 716-477-5325 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com
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Frank Wylie
Film Handler
Posts: 11
From: Dayton, Ohio, USA
Registered: Mar 2000
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posted 04-21-2000 07:15 AM
quote:
Originally posted by Mark Gulbrandsen:
Definately go the CP-200 route. Its very easy to find a very late unit. Alot of chains will trade out even for a new CP-500. Its important to have the real noise reduction and not a make believe version.
Mark
Thanks Mark, and many thanks to everyone who posted to this thread!
At least now, I have good idea of where and what to look for in both the used and new markets. Many thanks again.
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