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This topic comprises 3 pages: 1 2 3
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Author
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Topic: So they tell me the framing lamp doesn't work...
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Frank Angel
Film God
Posts: 5305
From: Brooklyn NY USA
Registered: Dec 1999
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posted 06-06-2002 08:47 PM
Although I never worked a Kinoton, it sounds very similar to the Simplex -- a square opening (dummy aperture as Steve called them) that allows the operator to see exactly what is in the "real" aperture. Even a high school concessionaire could tell when they are in frame. In all of our Simplex XLs and P35s, I've replaced the standard 6v pilot bulb along with transformer and use a 12v halogen that is knock-your-socks-off bright -- simple change, especially effective for those SMPTE leaders that are 80% dense, with the frame image almost as dark as the black framelines. It's the Century's whole framing thing that is very scary. Using a little screw on the top of the gate to line up the frame line and judge where you are is pretty low-tech. I am forever looking into the lens to be sure. Then, given the fact that there is no sweet framing window like the Simplex, this raises the odds of a misframe, Century then goes and designes the framing mechanism so that it can correct only mis-frames of one and two sprockets off -- if you are off by three sprockets, the framing knob won't bring you back in frame and the only thing you can do is stop the show and rethread. Only now you are no longer on a leader but on picture, which in a dark scope scene, is nealy impossible to find a frameline and line it up with that damn screw. It's called "hey, Century man, you're screwed!" This happened to me with an audience of 5000 people in a screening of WEST SIDE STORY in the park. Hmmmm I had almost forgotten why I hate Century's, until just now. Gimme back my XLs -- I will take a little oil dripping rather than 5000 people clapping and hooting whilst I am trying to rethread... ANY time. Frank PS -- Yeah, yeah, Brad is going to raz me about not ever having to correct a misframe and locking down the framing knob. And I say, in a perfect world, you are right, but when you get a print an hour before show from Swank and it has about 200 splices in it, you might not have time to thoroughly inspect each and every splice as well as you would like -- a misframe could get by the best of us. That's why a framing window is more than just a nice idea, but more than that, it's why a framing mechanism that really allows you correct EVERY misframe, no matter if it is one, two or three sprockets off, is something I would consider essential in a well designed projector head, IMHO.
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Scott Norwood
Film God
Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99
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posted 06-07-2002 02:45 AM
No framing window on Centurys? What model?On the C's, the frameline is supposed to be even with the top of the gate runners. Same for early-model SAs. This is easier to do than to explain. Most of the SAs that I've used have framing windows that are very similar to the Simplex framing window, except not quite as easy to see. These have a separate framing bulb, much like Simplexes. The only JJ that I'm familiar with is an early model, but it has a great framing window. This model predates the ones with flexible gate bands, though, and I haven't seen the current models. After a quick demonstration and a couple of attempts, no one should ever have any difficulty threading in frame on any common model of Simplex or Century. Even though I'm defending the Century design here, I will agree that their framing mechanism is a bit lame. It will go about 1 and 3/4 perfs in either direction (on most SAs, anyway), which is just silly. Might as well just make it 1 perf or 2 perfs. Maybe the newer models have fixed this.
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Steve Guttag
We forgot the crackers Gromit!!!
Posts: 12814
From: Annapolis, MD
Registered: Dec 1999
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posted 06-07-2002 10:20 PM
I would think the toss up is being able to see the frame in the actual aperture vs what happens to the light as it leaves the aperture while projecting.While it is true that Simplex and Century (and others) block direct viewing of the aperture (historically, at least) they don't have the light leakage problem of the other types (like Norelco/Kinoton). Early FP-20 and AAII used a green plexiglass door cover to reduce the light leakage. Also there were light shields on the lens holders. Now one must be careful to ensure that stray light from the aperture area does not spill out into the auditorium. This can be a real issue in a theatre with a large A/V style window. All of that said, I still prefer framing up right on the aperture. From the AAII onward, I have never found any difficulty determining proper framing. The DP-75 was odd in that you had to pre-judge where the frame would be when the gate was closed versus when it is open. What you thought would be in frame when it is open will not be when it is closed...with practice, even that is overcomable. Steve ------------------
"Old projectionists never die, they just changeover!"
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Frank Angel
Film God
Posts: 5305
From: Brooklyn NY USA
Registered: Dec 1999
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posted 06-07-2002 11:18 PM
Scott, the Century's we have are SAWs (W being the water gate, or so I was told). There's a picture of it in the Picture section here -- go to Movies in the Park and then down a bunch of pics to the one where you can see the operating side. The angle is not great, but you can see the pilot lamp in the top left hand corner. And for sure there is no framing window above the gate -- only the wussy pilot bulb and nothing but that screw on the top of the gate band that you are supposed to wrap the film around so that it is between the second and third sprocket (try doint that with one hand while trying to sit the film correctly around the intermittant and then with the ball of the same hand closing the gate. I have been able to get the hang of it after some practice, and after ALWAYS double-checking through the lens (not easy with scope). BUT -- that aint no framing window. And threading on leader is ok, but the problem is, like the example I gave, if you run into a misframed splice that you didn't catch in prep, and it is in a very dark scene on a scope print with barely (and I mean barely) visible frame lines -- that little 7 watt bulb lighting up the area above the little screw is not enought to let you see diddley-squat. And of course none of this would be a problem if the damn intermittant framing design would allow you to correct any amount of sprocket misframe. Is there ANY other projector make that can't frame up and down a full frame or is this limitation unique to Century? Other than that, I love them! Oh, and while I've got ya'll, can someone explain exactly the function of the knurled knob with the set screw at the top of the lens holder? It seems to lock down the entire focusing knob. Sorry bout all the questions, guys, but I ran a Century booth 25 years ago and only 5 shows on these "new" Centurys.
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