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Author Topic: Cyan Tracks Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 03-31-2004 03:33 PM                        quote: Seems the residents there are fed up with video tapes and satellite tv and want to have the movie theater operating again.  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 03-31-2004 06:50 PM                     Sam, I'm actually working on a theatre that will be running nitrate. If you've ever seen the stuff...it really does look better than everything else. Steve  |  IP: Logged Per Hauberg Jedi Master Film Handler Posts: 883 From: Malling, Denmark Registered: Jul 2000 posted 03-31-2004 07:01 PM                        To spend money on Scope, on magnetic sound, on digital sound (well - at that time even on Dolby A) was an investment in better performance in a theater. This time, we're forced to spend good money on something, we'll only need as a backup for now and then weak stability of SRD. Not fun at all ! Those two soundheads for my DP70's will cost more than a new 2 kW Kinoton lamphouse, which I would rather have had here and now. Life is tough to little people !  |  IP: Logged Sam D. Chavez Film God Posts: 2153 From: Martinez, CA USA Registered: Aug 2003 posted 03-31-2004 08:03 PM                       In response to Leo, I make an analog reader kit for the DP70 for very little money. It was strictly a labor of love and if I sell 50 total I'll consider it a great success. I'll be showing it at Cine Expo, Amsterdam if you are there. To Steve, You don't have to convince me, I ran Nitrate prints on many occasions in the 60's. I'm that old! Ever hear of Alexander Nyevsky? Pardon the spelling if it's wrong.  |  IP: Logged Warren Smyth Expert Film Handler Posts: 158 From: Auckland ,New Zealand Registered: Aug 2003 posted 03-31-2004 10:47 PM                     quote: I think we should return to nitrate prints Sam I agree. It didn't only have a better look, but it was the fire hazard from nitrate that ushered in licensing with decent training and examination of projectionists. In my part of the world it was introduced in 1928 and remained until the seventies. This is because it was recognized by governments that there was a direct link between competence of projection staff and public safety. Regretably, resulting from pressure from exhibitors, the baby was thrown out with the bath water or should I say fire bucket?  |  IP: Logged William Hooper Phenomenal Film Handler Posts: 1879 From: Mobile, AL USA Registered: Jun 99 posted 04-01-2004 02:47 AM                        Yesterday, I started calling around to some big (2,000 - 4,000 seats) historic houses around the southeast which are now PAC's & run summer film series, to see what they've got for readers. Only one could get me in contact with their projectionist at the time; he's a guy I know slightly, longtime projectionist not in 1st run for at least a couple of decades, does tech work at the theater also, intelligent, scrupulous, good shows, etc. They run changeovers on Century's. "Yeah, we're ready." Last year, when the word was going around about the coming of cyan tracks, they decided to make sure they're ready, he decides to just let that end be worked out by the tech guys, they got with a company in NY which asked them to send up a couple of Motiograph sound heads (they run changeover Century's). They got a couple, sent them up to be fitted with the neccessary readers, they came back & were installed. You've got red readers, then? "They put in infrared readers. They said that they'll run anything that's out there." They've got SDDS, too. ---------- So far all the art/rep houses I've checked had either tungsten or infrared readers updated not long ago, & most also had spent the bucks on a digital format.  |  IP: Logged Sam D. Chavez Film God Posts: 2153 From: Martinez, CA USA Registered: Aug 2003 posted 04-01-2004 10:02 AM                       While we are at it, why not return to black and white? The mind fills in the color anyway. I'd like milk bottles on my porch in the morning as well. My point of course is that there is no going back. Life, technology and commerce keep moving forward whether we are ready or not.  |  IP: Logged Ken Layton Phenomenal Film Handler Posts: 1452 From: Olympia, Wash. USA Registered: Sep 1999 posted 04-01-2004 11:33 AM                     Hey, I like black and white. I'm tired of today's grainy and underexposed, washed-out 'color' movies. I wish they'd go back to black & white films and most importantly get a decent story!  |  IP: Logged Sam D. Chavez Film God Posts: 2153 From: Martinez, CA USA Registered: Aug 2003 posted 04-01-2004 05:26 PM                       Ken, I'm sorry to say you were born at least 60 years too late.  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 04-01-2004 05:40 PM                     "he decides to just let that end be worked out by the tech guys, they got with a company in NY which asked them to send up a couple of Motiograph sound heads (they run changeover Century's). They got a couple, sent them up to be fitted with the neccessary readers, they came back & were installed." _______________________________________________________________ So these two guys must be from the planet Knotknoweth. They obviously Knotknoweth that Kelmar has Motiograph red LED scanners available off the shelf(usually). If they are out of stock then they will put you on the list for when the next batch is made up. I've installed a half dozen of them myself. No need to remove the reproducers and send them off. Thats really ludicrous! This is one that unfortubately Sam doesn't make up...... Mark @ CLACO  |  IP: Logged Sam D. Chavez Film God Posts: 2153 From: Martinez, CA USA Registered: Aug 2003 posted 04-01-2004 06:19 PM                       I looked at the Motiogrief SH7500 and decided to leave it be. Although I cut my teeth on this model and it is a direct descendant of Western Electric, my reader will not fit within the exciter body without temporarily removing the bulkhead that separates the exciter chamber from the soundrum and it is not removable on some models.  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 04-01-2004 08:39 PM                     Sam, You're very correct on that statement. I did have to remove the exciter-lens casting assy on all the 7500's that I installed the Kelmars in. It wasn't really all that difficult to do though.... Three screws are all that holds the exciter casting into the main casting.... You'd have to make yours in two pieces to get it in there. Mark  |  IP: Logged Matthew Jaro Film Handler Posts: 74 From: Gaithersburg, MD, USA Registered: Jul 2003 posted 04-01-2004 09:33 PM                        When the move was made from nitrate to acetate was the difference due to less silver content or the quality of the base itself. Would a black and white film on mylar with high silver content look as good as nitrate? Sam -- Alexander Nevsky was one of the great movies of all time.  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 04-01-2004 09:41 PM                        The emulsion formulation is mostly independent of the type of film support. Some hypothesize that the "nitrate look" was partially due to poor halation protection on earlier films, so light that passed through the emulsion "bounced back" from the backside of the film, softening the image.  |  IP: Logged Sam D. Chavez Film God Posts: 2153 From: Martinez, CA USA Registered: Aug 2003 posted 04-01-2004 11:34 PM                       The older Motiograph SH7500's did not have a removable bulkhead as far as I could determine. As far as Nitrate is concerned, I ran my house in Berkeley safely, but one of my fellow Local 169 brothers did not and burned his booth down with Nitrate. He tossed some scraps into a can, a friend put a lighted match into it and that was it. The booth floor collapsed into the audience, but no one was hurt. I had the mixed blessing of working in art houses owned by Pauline Kael before she moved to NYC. I ran a number of great films during that time and it formed a great part of my education.  |  IP: Logged

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