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Author Topic: Port glass and lens cleaning Joe Beres Jedi Master Film Handler Posts: 606 From: Minneapolis, MN, USA Registered: Nov 2000 posted 01-27-2003 04:47 PM                     It isn't completely implausible, John, but the limitations caused by the frames/seams could be a problem, especially for non-film/video events. We get all sorts of things going on here and I must admit that having that much flexibility is great.  |  IP: Logged Bill Gabel Film God Posts: 3873 From: Technicolor / Postworks NY, USA Registered: Jan 2002 posted 01-27-2003 05:10 PM                     The way this place was designed, the port glass is 142" x 13". The port glass is made up of 3 pieces of optical glass and 4 pieces of general purpose glass. I have a second set of port glass, set 8 inches in front of the other set of glass. I have no sound problems in the auditorium from the booth.  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 01-27-2003 07:03 PM                     I use the delicate kimwipes exclusively almost 5 a show cleaning the Imax field flatner with no problems in fact they were originaly proposed to IMAX by Lietz optical  |  IP: Logged William Hooper Phenomenal Film Handler Posts: 1879 From: Mobile, AL USA Registered: Jun 99 posted 01-28-2003 12:49 AM                        quote: Being in much a similar boat, I've wondered at the feasability of framing optical glass within a larger sheet of general purpose glass. A guy in the early 1990s showed me his booth; it had large float glass "ports" with a circular section cut out in front of the lens & a square of optical glass taped over the opening.  |  IP: Logged System Notices Forum Watchdog / Soup Nazi Posts: 215 Registered: Apr 2004 posted 12-30-2007 10:29 PM                 It has been 1797 days since the last post.  |  IP: Logged Mike Olpin Chop Chop! Posts: 1852 From: Dallas, TX Registered: Jan 2002 posted 12-30-2007 10:29 PM                     Dragging this one up from the depths of time - again. Our install tech has recommended using a generic ammonia-free glass cleaner like Windex to clean the projector lenses and port glass. Having only ever used green lens cleaner, this seems strange to me. But is there any reason not to? Is Windex too strong or abrasive? Schneider Cinelux lenses, nothing special about the port windows.  |  IP: Logged Adam Martin I'm not even gonna point out the irony. Posts: 3686 From: Dallas, TX Registered: Nov 2000 posted 12-30-2007 11:57 PM                     Lens cleaner is generally a solution of isopropyl alcohol in water. Glass cleaner may have additional ingredients such as solvents and dyes. I would hesitate using a general glass cleaner on optical glass, not even considering whether or not the lens is coated or the port window has an anti-reflective finish.  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 12-31-2007 12:39 AM                     I used to shoot that 70% isoprop alcohol from a spray bottle and use Kemwipes on such surfaces.  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 12-31-2007 09:00 AM                     Rosco Lens Cleaner is Ethanol based.  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 12-31-2007 09:55 AM                        Been using Rosco for decades -- I put it in an atomizer bottle so I can get a really fine spray to avoid it seeping into the lens elemets (which happened to me once -- fogged the picture and I had to take the lens apart, dry it and put it back together before the change-over). Rosco isn't all that expensive and if you use it sparingly, one bottle will last quite a long time. No reason that I can see to experiment with all kinds of other stuff not made specifically for coated lenses, just to save a few pennies.  |  IP: Logged Floyd Justin Newton Jedi Master Film Handler Posts: 559 From: Phoenix, Arizona, USA Registered: Jun 2002 posted 12-31-2007 10:55 AM                     Frank-- I agree with you 106%. Roscoe always "filled-the-bill" with me. And I had some of the most expensive 70mm lens ever made for our JJs  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 12-31-2007 11:30 AM                     Frank....I always applied the cleaner to the lens tissue, not dirctly to the lens to avoid getting it into the lens. Steve  |  IP: Logged Adam Holland Film Handler Posts: 66 From: Oak Grove, LA Registered: Nov 2007 posted 12-31-2007 04:39 PM                     Question? Though we haven't gotten our 35 mm equipment this discussion is instresting to me. Our theatre built in 1950 doesn't have port windows just square holes cut into the wall with a metal shutter that slides up and down. What is the benefit of having a window or the benfit of having it the way we do? I have attached a photo to better explain what I am talking about. [ 12-31-2007, 05:10 PM: Message edited by: Adam Martin ]  |  IP: Logged Adam Martin I'm not even gonna point out the irony. Posts: 3686 From: Dallas, TX Registered: Nov 2000 posted 12-31-2007 05:12 PM                     Please read the instructions on the photo upload page. It's pretty cut-and-dry regarding posting photos on this board. The moderators won't be fixing any more posts for you. With regard to your question ... A port window cuts down the amount of projection room noise that can be heard in the auditorium. If you can get away without glass, doing so would eliminate the problems of dirty/scratched/bad/non-optical glass reducing the amount of light making it to your screen.  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 01-01-2008 06:59 PM                        Adam, the metal shutters are from the days when nitrate film (very flamable) was used. If you look carefully, you will probably fine metal links that will brake away when heated by fire, causing the shutters to fall and protect the rest of the theatre from fire. The walls in such booths are also double thick brick or cinderblock on all sides with poured concrete floors and ceilings. You might want run some film with the sound off and go into the theatre to see how much mechanical sound escapes from your open ports. If you don't hear the projector then you are probably OK, but if you do, then you might want to consider installing at least a single pane of coated OPTICAL glass (not regular glass which will color the light and introduce distortion) to stop mechanical noise. If you don't hear mechanical noise which might be the case in a very big house with a high balcony, then you can probably get way with no glass, which has its advantages. BUT, if do leave the ports opened without glass, then you have to be especially cautious of voices carrying into the house. You'll have to keep in mind to always speak softly, especially when on the phone. Be careful of other extranious sounds too, like banging reels and cans and noise from the rewind machines. Booth monitor speakers need to be carefully aimed and set at a level so they are not transmitting sound into the theatre as well. One of our booths has a single, wall-to-wall window instead of small ports, which at first looks very impressive and is why the architect used it, but it has some big disadvantates, not the least of which is that it does not totally stop noises from reaching the audience, especially banging film cans and voices. Voices, for some reason, really travel much better than you might expect.  |  IP: Logged

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