Film-Tech Forum ARCHIVE: Simplex vs. Century: 35/70

my profile | my password | search | faq & rules | forum home

»	Film-Tech Forum ARCHIVE » Operations » Film Handlers' Forum » Simplex vs. Century: 35/70 (Page 2)

This topic comprises 2 pages: 1 2

Author

Topic: Simplex vs. Century: 35/70

Aaron Sisemore
Flaming Ribs beat Reeses Peanut Butter Cups any day!

Posts: 3061
From: Rockwall TX USA
Registered: Sep 1999

posted 02-07-2001 07:55 PM

Norelco AAII!!! Cadillac? no- more like Mercedes-Benz! and built like a Sherman tank to boot! (about as heavy as one too)

I am trying to get the four of them we have installed somewhere soon...

If parts were only a bit less expensive...

Aaron

| IP: Logged

Michael Cunningham
Expert Film Handler

Posts: 186
From: Anchorage, AK
Registered: Nov 1999

posted 02-07-2001 10:06 PM

Speaking of the Norelco AA-II, how many of you currently working with them have had to replace the shutter multiple times? That's the only thing I don't like about this machine. When "threading monkeys" get their hands on it, they just can't seem to figure out that moving trap thing and are constantly slamming it into the shutter. There is one of these beauties (actually labeled as a Todd AO) in the entire state and it is situated in a booth with no competent personal. The shutter has been replaced four times that I know of in the past six years.

-Mike

| IP: Logged

Aaron Sisemore
Flaming Ribs beat Reeses Peanut Butter Cups any day!

Posts: 3061
From: Rockwall TX USA
Registered: Sep 1999

posted 02-08-2001 12:11 AM

IIRC, you aren't supposed to be able to even OPEN the gate unless the machine is not in motion on an AAII..or it has a kill switch... regardless, I am sure that more than the shutter gets damaged when someone does something stupid like that...

Aaron

| IP: Logged

Michael Cunningham
Expert Film Handler

Posts: 186
From: Anchorage, AK
Registered: Nov 1999

posted 02-08-2001 05:53 AM

You are right about the kill switch, but I'm not talking about while the projector is running. The problem I'm talking about is when they come to thread the machine and don't set the intermittant position before trying to open the gate or trap or whatever you call the part with the aperture plate that moves back into the shutter housing. They feel a bit of resistance (as the trap encounters the shutter) and just assume that the pivot must be sticking. They then push the knob back forward and slam it back open in an attemp to "unstick" the trap. Yeah, that is pretty stupid...

-Mike

| IP: Logged

Mark Gulbrandsen
Resident Trollmaster

Posts: 16657
From: Music City
Registered: Jun 99

posted 02-08-2001 08:36 AM

Michael,
Perhaps your kill switch has been removed. Also there is a weighted governer on the end of the shutter shaft to prevent it from even opening while it is running. I wonder if that is also missing. I ahve yet to have a DP pile up its shutter blade in normal service. Even with film monkeys running them. Check these two inportant things out next time you are at that theater!!

Aaron,
Why are you having to feed your DP-70's so many parts??? Thats odd. Perhaps they were well worn to begin with. Normally, you should only be replacing the normal sprockets and gate bands every 4 or 5 years. Occasionally a motor, perhaps a contactor. Not much really goes wrong with a michine if its in good shape.

John W., I have seen the curved 70mm thing that you are talking about. This is known as cupping of the film. It can also be caused by too much take up tension, either by reel or platter. This apparently happened at allot of theaters in Chicago running JJ's in the 80's as I got in all to many prints with the famous sound lens scratch as well as the 35mm upper pad roller scratch. I myself had it happen to a small section of film years ago. What a pisser! It never happened again. I know many techs that reccommend removing all 35mm stuff from the R-50 when doing a 70mm run. Also installing a 70mm pad roller in place of both 35 mm pads to prevent those neusance scratches.
Mark @ GTS

| IP: Logged

John Pytlak
Film God

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

posted 02-08-2001 09:38 AM

As far as film "cupping": this is often due to the film being excessively dry, such that the gelatin emulsion shrinks relative to the support, causing the film to "cup" or curl. Kodak recommends maintaining a relative humidity of 50 to 60 percent RH in film handling areas. Processed film will normally lie flat, or have only a very slight amount of benficial "positive curl" under these conditions. But if the humidity gets really low, say under 30 percent, the curl may become quite severe. This is sometimes a problem in cold weather, when heating systems dry the air excessively.

Monitor projection room humidity with an accurate digital humidity gauge or sling psychometer. Use an evaporative humidifier if conditions become too dry. (Misting or ultrasonic humidifiers should not be used, as they spray water into the air, leaving behind deposits of salts and minerals).

A simple way to check for the proper humidity is to let a short piece of the print (leader) hang freely in the booth, and observe the curl after it equilibrates to the room conditions. It should normally lie flat, or have a very slight amount of positive curl.

------------------
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 Cell: 716-781-4036 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion

| IP: Logged

John Walsh
Film God

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

posted 02-08-2001 04:40 PM

If anyone is interested, the 70mm feature I ran that was "cupping" the most was "SW-Jedi." It did it on others, but that was the worst. I'm sorry now that I didn't think of checking the take-up tension. At that theater, the union had been thrown out about 7 years before, so there wasn't any old timer to show me those little things that can really make a big difference.

A guy from Boston L&S who did the TAP alignment then suggested to me about changing out the 35mm pad roller for a 70mm one. Luckly, I had a friend who is a tool and die maker- he cut back that "wishbone" guide for me in the same day we opened.

I would always run the same reels on the same projectors- even if there were an odd number of reels. If a projector scratched the film, I would know which one.

Mark Gulbrandsen
Resident Trollmaster

Posts: 16657
From: Music City
Registered: Jun 99

posted 02-08-2001 08:04 PM

If you need to get parts for DP-70's, or any other pricy parts machine for that matter, try checking with your local tool and die shop or local job shop. You will find the price far more bareable than any other route. Shutters, and gears included. Take them the old part and tell them how many you want.
Mark @ GTS

All times are Central (GMT -6:00)

This topic comprises 2 pages: 1 2

Printer-friendly view of this topic

The Film-Tech Forums are designed for various members related to the cinema industry to express their opinions, viewpoints and testimonials on various products, services and events based upon speculation, personal knowledge and factual information through use, therefore all views represented here allow no liability upon the publishers of this web site and the owners of said views assume no liability for any ill will resulting from these postings. The posts made here are for educational as well as entertainment purposes and as such anyone viewing this portion of the website must accept these views as statements of the author of that opinion and agrees to release the authors from any and all liability.