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Author Topic: Your Favourite Projector and Booth Thomas Dieter Expert Film Handler Posts: 234 From: Yakima, WA Registered: Jun 2004 posted 09-23-2005 01:40 AM                     I have to say from the platters that I've worked with CFS Super Platters, Potts Alpha Platters, and Christie AW3R Platters, I would say that the Chrisites are the best so far. I'd like to work with the MiT Platter that resembles the AW3. Anything to say about these? For projection units, I've worked with Century SA, Cinnemacanica V4, Simplex XL, Baylntine Pro35, Cennicita I will say I really like the Century's the best. Very Clean Machines, and quite. Never really had a problem with shedding or oil leaks. When it comes to the lamphouse, i've worked with 4. The ORC Stand Along, the CFS Lamphouse in the Reviews, Strong Lume XL, and the New Strong Stand Alone. I can't remember the exact name of the Strong Lamp House, but I like them the best.  |  IP: Logged Andy Summers Master Film Handler Posts: 397 From: Bournemouth Dorset United kingdom Registered: Jun 2005 posted 09-25-2005 08:02 AM                 The booth was a twin projection room, when entering the room there’s just a few steps to walk up, and placed to the left and right is screen 5 and 6 these where the main larger screens at UCI Tower Park, and screen with screens 1and 2, 3and 4, 7and 8, and lastly 9and 10 being the smallest screens each looking similar except one is on the right and the other is on the left, all had Dolby A and SR, the amplification, I can’t remember the name, the loudspeakers where “EV” “Christie cake plates.” Cinemeccanica Vic “V” was my first projector I worked on and I like the flexibility with it’s ease of use, she was a welcoming site every time I saw her, though there was no automatic lens rotating mechanism, I didn’t mind switching from flat lens from advertisements for some scope trailers and back to flat and then for some main features in scope 2.35:1, it was all about entreating the public…. Oh and setting it to Dolby SR type with the fader set to “7” cool….. The seating was sub standard and was not as good as the “EMPIRE” in London, including the sound and laser show, Tower Park was part of the fleet, but the “EMPIRE” was the flagship and still is to this day……….  |  IP: Logged Dan Harris Film Handler Posts: 86 From: Bristol, UK Registered: Jun 2003 posted 09-25-2005 11:42 AM                     Platter wise, I've worked with the Christie AW3R, Cinemeccanica CNR3-35N and Philips-Kinoton ST200. Neither the Philips or Cinemeccanica come anywhere near the AW3R in terms of sheer reliability and ease of use. I always found the Cinemeccanica to be flimsily built and awkward to calibrate. Projector wise, I've worked with Philips-Kinoton FP20's and 30's, and Cinemeccanica Vic 4's, 5's, 8's and 9's. I still prefer the Vic 8 over all of them, even though I've been working with 5's for the last five years. I do have to say that I've never had any major problems with any of our Vic 5's or Cinemeccanica console and lamphouses. Five of them are now 11 years old. As for booth design, the best I worked in was a 13-plex, straight "corridor booth", 8 machines on one side, 5 on the other with benches, desk and all staff facilities right in the middle. My current booth is pretty similar, an 8-plex with four machines on each side and benches, desks and automation PC in the middle, but it loses marks as one machine is 550mm off floor level, and two others are 300mm off floor level.  |  IP: Logged Steve Scott Phenomenal Film Handler Posts: 1300 From: Minneapolis, MN Registered: Sep 2000 posted 09-30-2005 01:49 PM                     Centuries are my favorite, by far. I love the C for how quiet and steady it runs. The SA gates are a snap to clean, too. I've come to prefer the R3 soundheads for their ease of threading, with fewer notched-rollers than the R5. But either sets of machines provide for simple, straight-line threading when mated. I think it's a lot easier to learn threading fundamentals on XL's, though. You have a lot more gate to align with during framing, and loop-sizing fundamentals are more upfront with the Simplex heads. Give somebody a Norelco AAII head and that'll teach them how to turn over a motor.  |  IP: Logged Chad M Calpito Master Film Handler Posts: 435 From: San Diego, CA Registered: Apr 2006 posted 05-05-2006 02:33 PM                        Well, I have worked with the Christie AW3R and the Strong Platters and would have to say that the Christie AW3R's are my favorite. I would, one day, like to try out the Kinoton Platters, Big Sky Industries Platters and the Cinemeccanica's as well. Out of the two I have used, the Christie Projector and Simplex 35 & Milleniums, I happen to like the Simplex 35. Of course, again, I would be willing to try out the Kinoton Projectors & Cinemeccanica's as well. So far, I've heard really good things about the Kinoton Projectors.  |  IP: Logged Chris Wootten Film Handler Posts: 50 From: Moonlit Cinema, RAAF Tindal, N.T. Australia Registered: Dec 1999 posted 05-14-2006 06:05 AM                     I personally prefer the Bauer U3 and U4, but I do have a soft spot for the Cinemecannica KLANKERS!  |  IP: Logged Ken McFall Jedi Master Film Handler Posts: 615 From: Haringey, London. Registered: Apr 2001 posted 05-14-2006 02:22 PM                     Without a doubt the best non rewind has to be the Kinoton ST200. VERY reliable, easy to maintain.... as in virtually no maintainance. Unique feature is that the non rewind switches off when the projector stops so film cannot wrap around module when projector is not running. Plates cannot speed up out of control. It does have more control gear than other non rewinds but it's design was and still is a classic. Best projector would be the Vic 8 with the Vic 5 close. Robust and easily adapted to the needs of today. Consumable parts, sprokets and runners etc, last for ever which makes it a very economical projector to run. I'm no fan of the over complicated electronics of the Kinoton series of projectors. Automation would be Component Engineerings TA10. Basically because it is inexpensive, reliable and simple to use..... and excellent after sales service which you cannot place a value on.  |  IP: Logged Jack Ondracek Film God Posts: 2348 From: Port Orchard, WA, USA Registered: Oct 2002 posted 05-15-2006 01:46 AM                        quote: Matt Fields these all sucked: ORC Can't say that I have a favorite. Over the years, Brenkert, Simplex E7 & XL and Century... even the Wenzel Ace have been very good to me. I've seen very good performance from Motiographs, even recently. I wouldn't go out of my way to put a chain around a Pro35, even if it IS heavy enough to be re-purposed as a boat anchor for a medium-sized yacht (and it is). Some of you speak highly of models I haven't had the opportunity to try. But the comment about ORC platters sucking... that was probably the ONLY thing they made that really did work well, at least for me. I got 25 years out of 3 sets of their platters, before they just flat wore out. They were the last part of my original equipment package that really needed to be replaced. The only parts I ever had to put into them were some motor brushes, a Variac in the makeup table and a few bearings. NONE of the parts I had to replace were proprietary, a huge plus, as far as I'm concerned. Once I put larger diodes in, the ORC xenon power supplies I used to use never failed. Before then however, I could count on them to conk out at least once in a season... usually on a Saturday night, with a good turnout, probably when starting the second show. I've moved on to Strong switchers now, but keep one of the old ORCs on-hand as a second-backup. It's too bad that Cinemeccanica didn't adapt the Sword/Double-Mut concept to their tower. Greg Mueller built one that's probably the best "powered-reel" arrangement I've seen that wasn't made by Eprad.... but that's another thread, I guess. I do like the Big Sky lamphouses (with glass reflector & optional heat filter)... even over the Ultra 80 at 7kW. They replaced my old X-60s here. Absolute flamethrowers, uniform coverage, excellent cooling design. Haven't worked around the SLC line. The one install around here that might compare to my setup isn't maintained well, and isn't putting out any more light than an old C-40(?) box. For their intended purpose, I agree with earlier comments about the TA-10/FM-35... a good replacement option for the old Co-Operators. They also adapted well to the slight mods I made to them, including the computer interface I use to run the entire 3-screen program at my drive-in.  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 05-15-2006 03:03 AM                     This is what a booth is...and my old favorite.. Simplex XL . SH-1000 soundheads, Peerless Magnarcs, magnetic sound, All Simplex sound - both mono and stereo.. Furnished by National Theatre Supply.. ..all long gone now... -Monte  |  IP: Logged Jack Ondracek Film God Posts: 2348 From: Port Orchard, WA, USA Registered: Oct 2002 posted 05-15-2006 05:02 AM                        I worked a booth with that exact setup, Monte. You're right, it was all pro. My setup also included mag sound. It was the only place where, at the same time, I had a mag print and the equipment to play it... "Capricorn One".  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 05-16-2006 03:02 AM                     Yea..ran "King Kong (1976)", "Fantasia" "Tora,Tora, Tora", "the Bible" and a few others in Magnetic stereo.. - and each time had RCA techs come up and tune in the mag for these performances... -monte  |  IP: Logged Gilbert Travin Expert Film Handler Posts: 101 From: Villeurbanne / France Registered: Jan 2004 posted 05-16-2006 06:38 AM                        Hi Monte ! When I was student, I had worked with exactly the same equipment (Simplex XL + Peerless) as I can see on your photos. It was in 1973-74 at Cinejournal Theater in Lyon. Projectors (installed in 1955) were equipped with magnetic sound heads, but in 1973, films were only optical mono. The power supply for carbon arc lamps (65 A each) was an hyper-compound DC machine (Hertner group). The theater has been demolished and replaced by .... a store, alas ... My prefered projectors : 1) Philips DP 70 of course ! 2) Simplex XL 3) Victoria VIII I have no opinion about "modern" machines (as FP 30 ...) because I have never worked with them !  |  IP: Logged James Robertson Film Handler Posts: 40 From: Sydney, Australia Registered: May 2001 posted 05-19-2006 07:26 AM                     Peerless Magnarcs were manufactured by Kelvin, Bottomley and Baird at Hillington Industrial Estate,Glasgow.  |  IP: Logged Floyd Justin Newton Jedi Master Film Handler Posts: 559 From: Phoenix, Arizona, USA Registered: Jun 2002 posted 05-19-2006 09:17 AM                     Huh?  |  IP: Logged Richard Fowler Film God Posts: 2392 From: Ft. Lauderdale, FL, USA Registered: Jun 2001 posted 05-19-2006 10:29 AM                     Peerless, like Century, Bell & Howell, Ampro and other makes, where licensed for manufacture in other countries.  |  IP: Logged

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