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Author Topic: Carbon Arcs
Tim Reed
Better Projection Pays

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


 - posted 06-28-2000 10:23 AM      Profile for Tim Reed   Author's Homepage     Send New Private Message       Edit/Delete Post 
Jeepers, Bill, how old ARE you?

David, Strong Mighty 90s used 10mm rotating positives, as well as 11mm. I think Futuras would go down to 10mm, too. There are probably others I'm missing, but those come to mind.

I don't recall ever seeing a 10mm copper-coated... 9mm was the largest (positive) copper-coated I know of.

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Better Projection Pays!

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Dave Bird
Jedi Master Film Handler

Posts: 777
From: Perth, Ontario, Canada
Registered: Jun 2000


 - posted 06-28-2000 12:35 PM      Profile for Dave Bird   Author's Homepage   Email Dave Bird   Send New Private Message       Edit/Delete Post 
Tim, Futura 2 manual lists part numbers for conversion to 11, 10, and 9mm. Mine were using 13.6. Mustn't have been common to use the smaller two, as amperage charts only listed for upper two. I've looked and looked and can't find much different in the conversion kits except the hole size where the sticks went through (damn, I was trying to sound smart, but that's what it looks like to me!).

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Dave Bird

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Robert Throop
Master Film Handler

Posts: 412
From: Vernon, NY USA
Registered: Jun 99


 - posted 06-28-2000 01:14 PM      Profile for Robert Throop   Email Robert Throop   Send New Private Message       Edit/Delete Post 
All of the manufacturers of high intensity lamps using rotating positives were available for 9,10,11 and 13.6mm carbons.
These included Ashcraft, Strong and Motiograph-Hall. I personally ran Ashcraft Super Highs with 10mm positives at 90-95 amps. I also ran Strong mighty 90's with 9mm positives at about 75 amps. I also ran Strongs with 10mm carbons.

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Bob Throop

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John Walsh
Film God

Posts: 2490
From: Connecticut, USA, Earth, Milky Way
Registered: Oct 1999


 - posted 06-28-2000 01:46 PM      Profile for John Walsh   Email John Walsh   Send New Private Message       Edit/Delete Post 
John P wrote:
"....which one did you pass? Answer quickly, the ambulance is coming for you."

Let's just say that I hate wearing protective gear, and I like to eat too much!

The old-timer who trained me was always reminding me to check the lamp exhaust flues, make sure the exhaust fan belt was in good shape, grease the fan bearings, clean caked on carbon dust off of the fan blades, etc. etc. His dad (also a projectionist) has died of 'lung complications' and always made ventlation a priority.

I'm really glad I got to work with that guy- he was like a projection-technology time machine. His projection career started in about 1925, when (at age 10) his dad brought him to work to hand-rewind reels.

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David Johnson
Film Handler

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


 - posted 06-29-2000 01:41 AM      Profile for David Johnson   Email David Johnson   Send New Private Message       Edit/Delete Post 
All Ashcrafts that we used had 13.6 rotating positives, I seem to recall that the MGM circuit (Leows) used a few 11mm rotating positives. All 10mm that I have seen were copper coated, they were quite common and the Cinemacannica Zenith 450 lamphouses used these. When you get into low intensity lamp houses that is different thing, I have see some vertical lamphouses which used 20mm, you had to grind them on an angle before you fitted them, come to think of it this is what the "Brentograph" used.
David

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William Hooper
Phenomenal Film Handler

Posts: 1879
From: Mobile, AL USA
Registered: Jun 99


 - posted 06-30-2000 03:17 AM      Profile for William Hooper   Author's Homepage   Email William Hooper   Send New Private Message       Edit/Delete Post 
quote:
how many old theatres still have asbestos curtains?

(Sheesh, what a chore to copy n'paste.
What, disable the Backspace Key function next?)

Almost all old theaters with asbestos fire curtains still have them.

If you don't move them, the asbestos particles are not dislodged.

So theaters are saying they don't move them. Unfortunately, that means they're not testing the fire curtains if they're not moving them. Or, they're testing them, & not telling anyone.

Some lucky historic theaters will occasionally get huge grants & use part of the money to seal an old fire curtain. They're certainly in the lucky minority, though.



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John Walsh
Film God

Posts: 2490
From: Connecticut, USA, Earth, Milky Way
Registered: Oct 1999


 - posted 06-30-2000 08:13 AM      Profile for John Walsh   Email John Walsh   Send New Private Message       Edit/Delete Post 
An older guy I know once owned a small theater (in Stamford, CT, now called "The State.")

He said in the late 1950's the fire inspector made him "test" the fire curtian by cutting the rope and letting it go. It made a huge "BANG" when the bottom of it hit the stage. Dust went everywhere, probably asbestos dust. He said there was a really nice pattern printed on the fire curtian.

He and the inspector pulled on the rope to roll it back up. But with the two of them, they could only get it about 1/4 of the way back up. It was getting near showtime, and he finally ran out to the street and gave free passes to 3 more guys to help. The 5 of them finally got it back up.

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David Kilderry
Master Film Handler

Posts: 355
From: Melbourne Australia
Registered: Sep 1999


 - posted 06-30-2000 07:02 PM      Profile for David Kilderry   Author's Homepage   Email David Kilderry   Send New Private Message       Edit/Delete Post 
The state of Victoria, Australia had a projectionist licence and exam for about 60 years.

A two year part-time course was held by the Royal Melbourne Institute of Technology that was conducted in addition to full-time work as an assistant projectionist.

The exam was a full day! It included Projection Technology, Optics, AC, DC, Sound and practicle which included a spool of film full of out-of-frames, c/s and w/s backwards leaders etc. You encountered situations and had to deal with them whilst maintaining good presentation!

The government axed this licence in the late 1980's and the course was aboandoned at that time. We are now looking to emulate it in-house.

Yes, and it did contain questions on Carbons! I always had good performance from Westrex 14, Ashcraft Super Cinex and Corelite and Strong Futura 11.

David

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William Hooper
Phenomenal Film Handler

Posts: 1879
From: Mobile, AL USA
Registered: Jun 99


 - posted 07-03-2000 12:51 AM      Profile for William Hooper   Author's Homepage   Email William Hooper   Send New Private Message       Edit/Delete Post 
quote:
He and the inspector pulled on the rope to roll it back up. But with the two of them, they could only get it about 1/4 of the way back up. It was getting near showtime, and he finally ran out to the street and gave free passes to 3 more guys to help. The 5 of them finally got it back up

The ones hung with the rope chopped with an axe were "dead hung" without counterweights. Pulling it back up is just like lifting, umm, a 40x20 or more slab of asbestos straight up.

I say test the thing. Remember the Iroquois.


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Bill Enos
Film God

Posts: 2081
From: Richmond, Virginia, USA
Registered: Apr 2000


 - posted 07-05-2000 11:34 PM      Profile for Bill Enos   Email Bill Enos   Send New Private Message       Edit/Delete Post 
Been using carbons for 14 yrs. Marbles work quite well and are a little less expensive.
Nationals are still being made but not by Union Carbide, they are owned by a British company. Parts for our Magnarcs have been no problem. Eastern Cinema Supply in Hanson Mass. has had everything I've needed. His prices are very good too.

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John T. Mellor
Film Handler

Posts: 52
From: Htafield, Pennsylvania, USA
Registered: May 2000


 - posted 08-18-2000 06:56 PM      Profile for John T. Mellor   Email John T. Mellor   Send New Private Message       Edit/Delete Post 
Carbons For the light and color its the best thing for the dust dirt and work well enough said . I ran all types of corbons from peerless tp ashcraft Strong brenkert but the one I liked the best was the Peerless model 15 condencer arc 13.6 positive ,1/2 inch negative at 190 amps these were not the conventional burner at the back with a reflector but the arc was at the front with two condencers collecting the light there was apicture of one in an old Kodak broshure and I think its at Kodak. John P. help me on this one . Anyhow I ran it at the Mt . Penn drive in in Reading Pa. and at one time they were used at Radio City Music Hall. They are easy to recognise at the projector they are high sloping back to the rear If anyone knows were I can find two I would like to get a pair .

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Gordon McLeod
Film God

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


 - posted 08-18-2000 08:45 PM      Profile for Gordon McLeod   Email Gordon McLeod   Send New Private Message       Edit/Delete Post 
There is a waiting list for any peerless hycandescents. They are still the most popular lamp for process projection at studios

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Tim Reed
Better Projection Pays

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


 - posted 08-19-2000 09:43 AM      Profile for Tim Reed   Author's Homepage     Send New Private Message       Edit/Delete Post 
I got dibs on the Hy-Candescents!

BTW, Gord, if you ever find that manual, don't forget me!

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Gordon McLeod
Film God

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


 - posted 08-19-2000 11:18 AM      Profile for Gordon McLeod   Email Gordon McLeod   Send New Private Message       Edit/Delete Post 
Tim spent the last 2 days in the shop basement area cleaning up after a sprinkler pipe burst. Not fun
So while climbing around I dug out the manual email where to mail to copy to and I will get it out to you next week (after i get the hip waders off)

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Tim Reed
Better Projection Pays

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


 - posted 08-20-2000 06:55 AM      Profile for Tim Reed   Author's Homepage     Send New Private Message       Edit/Delete Post 
Thank you very much! Stay dry.

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