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» Film-Tech Forum ARCHIVE   » Operations   » Film Handlers' Forum   » Change lens turret to Flat in between EVERY show? (Page 2)

 
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Author Topic: Change lens turret to Flat in between EVERY show?
Jesse Skeen
Phenomenal Film Handler

Posts: 1517
From: Sacramento, CA
Registered: Aug 2000


 - posted 07-20-2001 05:00 PM      Profile for Jesse Skeen   Email Jesse Skeen   Send New Private Message       Edit/Delete Post 
Automation is Strong CNA-100 with "Millenium" model Simplex projectors. As I said, when I came in during someone else's shift they had not moved the masking back into position. It worked on every show I started though; just had problems with the lenses going back so they were perfectly aligned with the screen.

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Will Kutler
Phenomenal Film Handler

Posts: 1506
From: Tucson, AZ, USA
Registered: Feb 2001


 - posted 07-20-2001 05:36 PM      Profile for Will Kutler   Email Will Kutler   Send New Private Message       Edit/Delete Post 
As far as slides:

Being a 20 plex, and quite often running both flat and scope double/mixed features on one screen, we did the following. We just set the slide projectors on all screens with the masking in the scope format. It looked good and was well centered. Of course we had to change masking between shows--did we have complaints--none that I can remember. Just be sure that the formats and masking are in the correct formats, otherwise you will have complaints!

As far as turrets. Personally, I do not like them, but they are here. I remembered Projectionists who removed lenses at the end of the day and put them into cases with moisture absorbing packs. How many of you use lens caps? Automatic turrets and aperture changers are a lazy way out and are a bunch of !

And about the Christie manual turret and trap. Depending on your set-up, the turret may be too close to the port window to allow it to fully open. Some type of padding needs to be used to keep the turret from hitting and scratching the port window. And if you have a limited amount of turret space, be careful on how you open the trap, as it can hit the lens. There are also some adjustments on the Christie turret hinge and lock that need to be monitored. These parts can loosen up and cause the turret to shake during the show--makes for a nice steady picture!

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Brad Miller
Administrator

Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99


 - posted 07-20-2001 05:49 PM      Profile for Brad Miller   Author's Homepage   Email Brad Miller       Edit/Delete Post 
Will, Christie has fixed that turret problem. I don't have the part number handy, but pictured below is a what I am speaking of. Change out that part and the problem is gone.


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Ben Wales
Jedi Master Film Handler

Posts: 602
From: Southampton. England
Registered: Jul 99


 - posted 07-20-2001 06:10 PM      Profile for Ben Wales   Email Ben Wales   Send New Private Message       Edit/Delete Post 
The screen should never get "smaller" for the feature.

Sadly the local Multiplex Cinema where I am, built about 10 years ago had this problem and still lacks proper side masking only top!.

can't think anything worst than watching a movie in cinemascope with the main picture smaller than the ads & trailers, even the local Art House that I work for a while had top masking in the small screen, this was at a Theatre that claimed they were the best place to see a movie.

And they have no Tabs!

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Christopher Duvall
Jedi Master Film Handler

Posts: 500
From: Denver, CO
Registered: Dec 1999


 - posted 07-20-2001 06:20 PM      Profile for Christopher Duvall   Email Christopher Duvall   Send New Private Message       Edit/Delete Post 
Jesse,
You need to contact your DM ASAP about CSM having outdated slides. That is a very serious breech of contract and somebody's head will roll (not yours, of course) for not keeping up on that. You should have a CSM rep in there every other week or so checking on that.

Good luck...

------------------
Chris Duvall
General Manager
Regal Cinemas Colonnade14
Las Vegas, NV

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Randy Stankey
Film God

Posts: 6539
From: Erie, Pennsylvania
Registered: Jun 99


 - posted 07-20-2001 07:19 PM      Profile for Randy Stankey   Email Randy Stankey   Send New Private Message       Edit/Delete Post 
OK, I think it's a bone head idea to do it but if you must...

I am thinking, that if you have the C.E. FM-35 failsafe/cue detector, you are likely to have a bouple of unused cues hanging out on your system. That unit has 8 possible states:

0 - No cues. Normal running.
1 - Outboard cue only.
2 - Center cue only.
3 - Center and outboard cues.
4 - Inboard cue only.
5 - Inboard and outboard cues.
6 - Inboard and center cues.
7 - All three cues.

(I always think of them as if they were a 3-bit binary number.)

Usually, only three or four of them are being used and the others aren't even connected to anything. Assuming that your automation is 24v/low voltage, I'd think it'd be a simple matter to run wires from the cue detector out to the switches that manually control the masking. Just hook them in parallel. That way all you have to do is put cues on the film in the proper places.

Now for the strategy...
Make sure you tell the bosses that you CAN do this and ask for their permission before you do. Total up the cost of the wiring and connectors that you might need. Add a few bucks for good measure. If they know they have to spend money to do this they are likely to decide against it.
Use lots of words like "MODIFY" and "REWIRE". For instance, say, "Oh yeah! I can modify the projectors! All I have to do is rewire a few things." Those words are scary to people who don't understand machines.
Once you get their attention give them the "knockout punch"... Say, "All I have to do is retrain all of the people who run the projectors how to do it..."
Make like you are really eager to do this thing and go into a lot of detail about how you are going to do it.

We all know how bosses are. After you give them this "treatment" I am willing to bet they'll change their minds.


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Scott Norwood
Film God

Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99


 - posted 07-20-2001 07:29 PM      Profile for Scott Norwood   Author's Homepage   Email Scott Norwood   Send New Private Message       Edit/Delete Post 
Will - Why would you remove the lenses at night? That seems like overkill; instead, I would favor fixing the "dust in the booth" problem. Of course the lenses need to be removed when doing a thorough cleaning every few weeks, but I wouldn't bother for day-to-day operation. Of course, lenses should be capped and stored in proper cabinets when not in use.

My personal feeling about turrets is that they're probably a good idea for the typical gigaplex that will never run anything in any format other than scope or flat/1.85 and that they would be a bad idea for screening rooms and other facilites that have four or more sets of lenses and regularly need to change formats.

Note that the only turret machines that I've worked with are Cinemeccanicas. I have not worked with the Simplex turret machines and I don't think I've ever even seen the Century turret conversion, so I can't say if they are any good.

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Tom Ferreira
Expert Film Handler

Posts: 203
From: Conway, NH, USA
Registered: Jun 99


 - posted 07-20-2001 07:43 PM      Profile for Tom Ferreira   Email Tom Ferreira   Send New Private Message       Edit/Delete Post 
Must be a real slow day in the theaters-I just posted my comments on Val Morgan this afternoon, and we're already on the 2nd page! No business out there??
Seriously, I'll have to check my Val Morgan contract-I do not recall any of those stipulations that you mentioned, Brad. I can see where there would be a safety concern with the house light level.

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Brad Miller
Administrator

Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99


 - posted 07-20-2001 08:17 PM      Profile for Brad Miller   Author's Homepage   Email Brad Miller       Edit/Delete Post 
It wouldn't surprise me if Val Morgan makes different contracts for different theaters. The smarter theaters would force them to rewrite the contract to eliminate some of the crazy parts while the theaters desperate for cash would just sign on "as is" for the money.

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Tom Kroening
Expert Film Handler

Posts: 214
From: Janesville, WI USA
Registered: Oct 1999


 - posted 07-21-2001 03:29 AM      Profile for Tom Kroening   Email Tom Kroening   Send New Private Message       Edit/Delete Post 
When I worked for Regal in FL i believe we used cinema screen for our ads. I really didn't have any compaints with them. As far as I know we were not required to run a slide show in flat. Every Friday morning I would adjust the zoom on the top masking scope houses so it would run that way for the week. I agree that the screen should NEVER get smaller for the feature. When I trained at one of the other Regals down there im pretty sure they had the automation set to switch to flat at the end of the show, and back to the correct format at the start of the show. It's a great idea on side masking scope houses. It looks really nice having the screen open wide for the feature. It looks even better running flat trailors and having a format change before the feature. As far as this being an order from the advertisers, i highly doubt it. Most people don't even know there are many different aspect ratio's to film. You should probably still get your auto turots fixed despite this new policy.

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Michael Cunningham
Expert Film Handler

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


 - posted 07-21-2001 05:04 AM      Profile for Michael Cunningham   Email Michael Cunningham   Send New Private Message       Edit/Delete Post 
Actually, I too have Strong Simplexes with turrets and I know what Jesse means about the lenses not being centered. Those Strong turrets have about a half inch of free play in them. You can grab one of the lenses and rotate the turret that far before it hits it's stops. Also, if his theatre uses garage door openers to move masking, those things will only work from a cue about 75% of the time. When pushing the hard-wired button to activate them, you will often have to press it a few times to get the masking to move. This makes automated changeovers a very bad idea, at least in my opinion.

-Mike

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John Pytlak
Film God

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


 - posted 07-21-2001 08:57 PM      Profile for John Pytlak   Author's Homepage   Email John Pytlak   Send New Private Message       Edit/Delete Post 
Brad said: "As I found out, removing just ONE house light bulb was all it took to prevent the light from shining on the screen during the slides (washing them out). We're talking one bulb out of perhaps 30."

One way to identify the lights that are shining on the screen is to get close to the screen and cast a shadow with a pole. Eliminate or reposition the lights until there are no shadows on the dark screen.

------------------
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

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Ken Lackner
Phenomenal Film Handler

Posts: 1907
From: Atlanta, GA, USA
Registered: Sep 2001


 - posted 09-23-2001 09:31 PM      Profile for Ken Lackner   Email Ken Lackner   Send New Private Message       Edit/Delete Post 
Tom - which Regals did you work at?

I've worked for Regal for three years. I opened a theatre last year, and the corporate trainer told us it is Regal policy (he never mentioned anything about CSM policy) to have the masking default back to flat after every show. I did not understand why, and he explained it is mainly for presentation reasons when the masking opens up when the show starts to make the screen wider. I defintely agree about not moving top masking, but I guess they just want to maintain a uniform polcy. (BTW, we had Strong CNA-150 automation, which was all digital and could be programmed to do just about everything except take a for you. It was just a matter of programming to keep the masking at scope or flat when it reads the show end cue.)

Some Regals have a slide manager from CSM come to the theatre every 2 weeks. At my current theatre, I am the slide manager, and I receive the slides by priority mail every 2 weeks. In either case, you should call them. They are very helpful. And I think you can order bulbs from them, too.


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Freddie Dobbs
Expert Film Handler

Posts: 115
From: Pinson, AL, USA
Registered: Jun 2001


 - posted 09-24-2001 09:27 PM      Profile for Freddie Dobbs   Email Freddie Dobbs   Send New Private Message       Edit/Delete Post 
Jesse,

If you have a CNA 100 you can use the AUX contacts hardwired to the masking control to do what you want, just program an AUX on at the end of the program and it will set the masking to where you want it without moving the turret. Just a siide note, the turret should be set and not moved, if you are having to adjust the lens to a "center" position there is a problem that needs corrected. Reading over your post it sounds like the pin is not seating properly on the turret or the aperture plate is not being held in place and moves up or down in it's travel. If you have the PR2000 the turret should "rock" into place.

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Freddie Dobbs
Expert Film Handler

Posts: 115
From: Pinson, AL, USA
Registered: Jun 2001


 - posted 09-24-2001 09:39 PM      Profile for Freddie Dobbs   Email Freddie Dobbs   Send New Private Message       Edit/Delete Post 
Michael,

What model machine do you have? If it is the older "before Millennium” It has a piece of spring steel that holds the lens holder against the shaft, it usually gets sprung from twisting the lens in holder against it, thus allowing the lens holder to flop...

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