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This topic comprises 5 pages: 1 2 3 4 5
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Author
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Topic: Cinemeccanica vs. Kinoton
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Steve Guttag
We forgot the crackers Gromit!!!
Posts: 12814
From: Annapolis, MD
Registered: Dec 1999
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posted 11-09-2002 05:50 PM
That does indeed sound strange. The pound is trading as of 11/9/02) at 1.59 to the dollar (pound worth more). So you are talking about a platter that would sell for around $14,500. That is over "list" price. In fact, that is over double list price! With the current dollar to the Euro trade (they are made in Germany) the Christie AW-3R is about 2.4% cheaper. Now a year and a half ago...the dollar to the Euro was trading about 15% better so the Kinoton would have won out by a few percent..hence my comparison (to an American made, high-end platter). A Strong SCDC quite a bit cheaper than either the Christie or the Kinoton about 18% cheaper! Projector comparisons are a bit more difficult. The Europeans are much more a la carte. The PK-60D is about as close of a comparison to an American projector. A Simplex is slightly more expensive, a Century is approximately 10% more than either Simplex or Kinoton. Now if you get into the fancy Kinoton projectors with electronic intermittents ("E" Series) and all of the "tap dancing" features...their prices start to skyrocket. But they quickly become a party of one in those markets since they are the only ones that offer the fancy features. Steve ------------------
"Old projectionists never die, they just changeover!"
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Leo Enticknap
Film God
Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000
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posted 11-12-2002 02:13 AM
quote:
Early Vic 8's had reduced blade size on the shutter, not too sure why but they did.
I'd hazard a guess that it was to maximise light output. Early Vic 8s would mean late 60s/early 70s, when carbon arcs were still widespread and xenons weren't as powerful or reliable as they are today. Interestingly, this was also the reason why shooting and projection speeds gradually increased from around 16 to around 24 fps during the late teens and early 20s. As cinemas went from being small auditoria in converted buildings to large, purpose built theatres with long throws to large screens, the illumination technology of the time just couldn't cope with three-blade shutters. So projector designs moved to two-blade configurations, and the studios were forced to increase their shooting speeds so that the films could be shown without flickering. The standardisation of 24fps for sound on film was not, as is commonly supposed, a bandwidth requirement of the early variable area systems. In fact, the National Film and Television Archive have several musical shorts from 1927-28 shot in RCA Photophone at 18 and 20fps, and the sound quality is perfectly good. By the late 20s, 24fps had become the de facto standard used by the Hollywood studios (though not by many European ones, especially in Germany), which was why Fox and RCA went with it. Warners' Vitaphone also used 24fps to synchronise with the discs.
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