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Topic: Screening Room set-up

Pete Lawrence
Expert Film Handler

Posts: 192
From: Middleburg, PA
Registered: Aug 1999

posted 05-04-2000 07:25 PM

Richard,
Congratulations! You may end up with a real Booth Burner before it's over.

Gordon,
From your post: "The slit lens in a Devry is 1.5mil high and in fact barely scans the width of the track the same one was used in there 16mm machines"

I don't doubt what you say about the 1.5 mil slit width. They are much to old for narrow slits.

However on the width, I just ran a loop of Buzz Track on one of my DeVry XD's. There is a very small 'dead zone' when neither tone is heard, so I have to disagree with your statement that it barely scans the track width. Seems just about right to me.

On both slit lenses I have they engraved "35mm" in the side of the barrel. If they were the same as the 16mm ones why would they bother with the engraving?

John,
I'm absolutely sure you won't like the price of a new fp20.

Pete

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Gordon McLeod
Film God

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

posted 05-04-2000 08:06 PM

The three machines I have (model 10)(mark has seen these machines when at my shop) all allow about 1 1/2 turns of the lateral guide and I tried the uniformity illumination test and granted the high frequency band was above the width of the slit the lowest band was not read
The slit lens had no markings on them at all
I replaced them with some kinotones when I replaced the scanners in some FP20's with reverse scanners so I kept the slits
And they did make a large difference
These machines were purchased directly from a Navy surplus auction one was still crated in the original devrey crate unused.
A clever machine We rent them with a M1000 on the back but with only mono cells and a shaftencoder to drive a Amega dubber

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Pete Lawrence
Expert Film Handler

Posts: 192
From: Middleburg, PA
Registered: Aug 1999

posted 05-04-2000 09:56 PM

Gordon,
I haven't taken any serious measurements. All I can say is I get about 1/8 turn on the lateral adjustment between high tone and low tone on the buzz track. Fidelity is good, but still mono. These things went through a few owners before I got them. Maybe someone found an upgrade, but I doubt it.

Your rental machines sound very interesting. Are they used often or to they mostly sit in the shop? I'm surprised there is a commercial use for a portable this old.

Pete

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Gordon McLeod
Film God

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

posted 05-05-2000 06:37 AM

They go out about once every two months I have several co that like them for there steady image in a "semi" portable compare to the MicroCine(mignon's) and Portacine (cinemecanica) that we have

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Harry Robinson
Expert Film Handler

Posts: 155
From: Franklin Tennessee
Registered: Dec 1999

posted 05-05-2000 09:32 AM

Pete, are you going to replace the slit lens in those 1040's you're rebuilding? After reading these posts I am beginning to wonder what I've gotten myself into. JA Duncan down in Decatur AL told me that any kind of upgrade will start at 350 dollars (for a newer slit lens) to nearly 1000 for the new LED system. Is there a compromise there for those of us on a serious budget? Right now I have my 1040 in about four boxes while I'm repainting the inside. I'm using epoxy enamel.

I hate to be the one to bring this up, but it looks to me like a "personal screening room" forum would be a pretty good idea. There are evidently quite a few of us out here who are rebuilding gear as a hobby. It would be great to be able to swap ideas in a dedicated venue.

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Pete Lawrence
Expert Film Handler

Posts: 192
From: Middleburg, PA
Registered: Aug 1999

posted 05-05-2000 07:40 PM

Harry,
For the time being I'm going to live with the ones I have. At least until I get the rest of the equipment up and running. $350 and up for new ones is about what I've seen also. When I do upgrade it will be some sort of reverse scan system. Probably partly homemade. I'd like to hear from Bill Purdy of Component Engineering on what he thinks my chances are. I need a little guidance with the optics, the electronics are no problem.

I completely disassembled and stripped the paint from the castings on one sound head. Then repainted it, white inside and black outside. Looks real nice. I haven't received the replacement parts I ordered yet, so it's not completely re-assembled. The second head is in the works.

Since this came up I took a real close look at the two RCA 1040 slit lenses I have. Yup, they show signs of oil inside just like the DeVry's did. Harry, you should take a careful look at yours. Now I know that not all of that Simplex oil ends up on the floor.

Any advice from you guys who service these things? "Throw them away" is not one of the options.

A "personal screening room" forum would be neat. We just have to convince Brad, it's more work for him.

Pete

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Serge Bosschaerts
Film Handler

Posts: 70
From: Schoten, Belgium
Registered: Jan 2000

posted 05-06-2000 01:55 AM

My screening room has the following set-up :
Screen throw of 10 metres with screen size in Scope of 4.5 x 1.8 metres.
I use for 35mm two Bauer B12 projectors with 1.6 Kw Xenon lamps. I show 1200 metres reels (2 reels) and then change over to the other projector. I have a Bauer rewind system that can show up to 2 1/2 h of film but I prefer to use the change over, much more fun.
For sound a I have a Dolby CP50 with the Dolby SRA5 installed and I'm currently planning to install a Subwoofer.
For 16mm I have a Bauer Multi Selection II 0 with 1.0 Kw Xenon lamp.
I also have a Cinemation IV unit that I use for controlling the lights, sound format, curtain and tabs.

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