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Topic: Which lamphouse is the easiest to adjust?

Mark Gulbrandsen
Resident Trollmaster

Posts: 16657
From: Music City
Registered: Jun 99

posted 05-18-2000 07:16 AM

Hey David,
Does the Kalee have the big two ton base? If so I might be interested in it. It would have to go by sea transport though.
Mark

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Tim Reed
Better Projection Pays

Posts: 5246
From: Northampton, PA
Registered: Sep 1999

posted 05-18-2000 07:22 AM

Yes, the old Christies were a bear. The little nylon gears would get brittle, the retaining rings would also pop off, and it made for an unpleasant experience.

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Better Projection Pays!

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John Pytlak
Film God

Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000

posted 05-18-2000 07:55 AM

David Kilderry:

Yeah, having a common width image for 2.39:1 scope and 1.85:1 flat can give quite a disparity in screen luminance. Try to keep it under 22 footlamberts, or flicker might be an issue for some people.

Assuming you don't want to refocus the lamp or reduce current for scope, how about "cashing in" some of that excess light for a "stopped down" lens like the IscoOptic Ultra-Star HD Studio as your prime lens for anamorphic? It would give you better depth of focus and a better match in light level on the screen.

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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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David Kilderry
Master Film Handler

Posts: 355
From: Melbourne Australia
Registered: Sep 1999

posted 05-19-2000 07:30 PM

Mark:

Not sure on the base of the Kalee, sorry. Hard to remember every machine on a circuit that runs into the hundreds of screens! They will be shipped to our wharehouse next month and I'll know then.

John:

Yes, we are looking at various options for correcting the light problems when we have movable top masking. My argument is you have none of these problems when you move the side masking. I am working on the situation!

Flicker is apparent when the lamp is adjusted so levels reach around 25fl. The largest screens at the Rivoli do have side masking and a c/s image is sparkling with new Schneiders and 16fl.

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Gordon McLeod
Film God

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

posted 05-19-2000 08:43 PM

The pulse light failed because of low light output
was not reliable
went through a lot of water and tended to lime up
And the colour was awfull
The 4 mirror design could produce a lot of light
We had them for years on a d150 screen here in Toronto on DP75's and they worked great but took most of a day to line up

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David Johnson
Film Handler

Posts: 54
From: Melbourne Vict Australia
Registered: Oct 1999

posted 05-20-2000 05:48 AM

Thanks for the info on the pulse light, I have never seen one. I am surprised that you got a good light with the 4 mirror lamphouses? we only had one set but the Australian Airforce had a lot of them and they reported much the same thing, possibly you had a larger size than we had? I can't remember what the bulb size was but we only had a small screen. As a point of interest, when Philips closed down their Australian Cinema distributorship they sold us the last pair for A$10 each, we felt that they got the best part of the deal.
David

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