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Author Topic: Kinoton E Series Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 11-04-2003 05:43 PM                        William--just out of curiousity, why did you choose the FP-25E over the FP-30E or FP-60E? The FP-25 looks like it was designed more for portable use than the FP-30 (which is a full-size theatre projector. Have they finally fixed the changeover douser issue? The older models (up until a few years ago, at least) have changeovers that open faster than they close, causing an overlap of a couple of frames at each changeover.  |  IP: Logged Richard Fowler Film God Posts: 2392 From: Ft. Lauderdale, FL, USA Registered: Jun 2001 posted 11-04-2003 08:57 PM                     The FP-25 is a full sized cinema unit....there is no carry handle on the top It should be called a "transportable". In Asia large reel transports are more common than we are used to in the USA so it should be a good choice. One feature on the E series is the intermittent sprocket, which moves so blindly fast, it will bite you if your fingers are in the wrong place; when setting the pull down for threading...operators learn that feature very quickly. The rolling start up allows for the encoders and sensors to sync up prior to projecting intermittently. Image stability improves inperceptably the first few seconds of intermittent operation as the control circuity averages more data. Nice piece of engineering  |  IP: Logged Daryl C. W. O'Shea Film God Posts: 3977 From: Midland Ontario Canada (where Panavision & IMAX lenses come from) Registered: Jun 2002 posted 11-04-2003 09:03 PM                        Are you saying that you actually have to set the pull down, as in time it or set it in the dwell position? Don't you just thread in frame wherever the sprocket stops?  |  IP: Logged William Bunch Film Handler Posts: 87 From: Misawa, Japan Registered: Nov 2001 posted 11-05-2003 08:21 PM                        Scott: This is very much a full size cinema machine. The main reason we chose this model is because of our microscopic broom closet sized booth. We have no room for platters. The footprint of the FP25E is very compact including feed and takeup. That is probably how it earned a "portable" classification. Not small on performance however. Richard: The runup procedure makes sense. I understand it now. As for the lightning speed of the intermittent, I actually had to put a little paint mark on the side of the wheel just to be sure it was actually turning. Even when using the "POS" button during threading it is almost impossible to see the frames change. That is with the machine in the stopped mode. There is no in-between. You are either on frame "A" or frame "B" and never between. Amazingly fast. Daryl: As soon as the machine is powered up the intermittent sprocket is set at dead center. Once you frame the film in the gate then it is always framed. No need to "find" the shutter position prior to threading. Tim: Are you still out there getting all this down? Interesting? Bill BuncH Misawa, Japan  |  IP: Logged Tim Killen Film Handler Posts: 13 From: Melbourne, Victoria, Australia Registered: Mar 2000 posted 11-05-2003 11:10 PM                     Thanks for all the info guys. I am waiting with baited breath. Hopefully our FP30E is only a week or two away. Was wondering Bill if your 25E has the new movable turret, if so, how's it working out for you. This is has only been introduced in recent times and haven't actually seen one yet. TK  |  IP: Logged Peter Castle Expert Film Handler Posts: 220 From: Wollongong University, NSW ,Australia Registered: Oct 2003 posted 11-05-2003 11:24 PM                     We only recently took possession of a new FP-25E with a three-lens turret. It's very cramped threading as the lenses are quite close to the gate. It's taken a little while to get used to the delay in the intermittent starting up. I was very used to starting the motor and opening the dowser almost immediately on our Ballantine Pro-35's. But the picture is very stable. We purchased an FP25-E because of the large spool "tower" underneath the lamphouse. We've always use MUTT spools instead of a platter system.  |  IP: Logged Michael Schaffer "Where is the Boardwalk Hotel?" Posts: 4143 From: Boston, MA Registered: Apr 2002 posted 11-06-2003 02:08 AM                        quote: It's taken a little while to get used to the delay in the intermittent starting up. I was very used to starting the motor and opening the dowser almost immediately on our Ballantine Pro-35's. So you usually treat your audience to the analog sound starting up?  |  IP: Logged Peter Castle Expert Film Handler Posts: 220 From: Wollongong University, NSW ,Australia Registered: Oct 2003 posted 11-06-2003 02:25 AM                     I'm sorry. What a bitter remark about my attitude to my audience. I find the beginning of films, and especially digital logos are quite silent. I've never encountered a problem with audio startup.  |  IP: Logged William Bunch Film Handler Posts: 87 From: Misawa, Japan Registered: Nov 2001 posted 11-06-2003 04:29 AM                        Tim, we have the two lens automatic turret. It works in conjunction with both dowsers and is really pretty fast. It also changes the apertures. We were using Simplex XL in a changeover format up until now. With the Kinoton the whole feature is on one reel. We are using automation for things like startup, lens change and show end. The EMK automation that came with the FP25E is impressive but we are still in the learning process. That, and this is my first one so can't compare it with anything else. The big reels are a plus for us. This is a military theater so the room is small and features run one day on and three days off and slide all over the calendar according to popularity. For us it is better than platters. Hope you enjoy your new system as much as we are. I am involved in theaters only one percent of my job. The other 99 percent is maintenance of food service equipment, mainly refrigeration cooking systems. I can really appreciate good engineering when it comes my way.  |  IP: Logged Michael Schaffer "Where is the Boardwalk Hotel?" Posts: 4143 From: Boston, MA Registered: Apr 2002 posted 11-06-2003 01:56 PM                        The EMK is a great automation. It won`t be difficult for you to figure all the options out when you have a little time to play with it. What is really great is that the delay between lines can be edited in 1 second steps. You can make it work with light and curtains as if operated manually.  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 11-06-2003 07:19 PM                    quote: I am involved in theaters only one percent of my job. The other 99 percent is maintenance of food service equipment, mainly refrigeration cooking systems Well, if Ballantyne can't sell you projectors at least they can sell you deep fat friers.  |  IP: Logged William Bunch Film Handler Posts: 87 From: Misawa, Japan Registered: Nov 2001 posted 11-06-2003 08:59 PM                        Really!? Just what I need. Another fryer.  |  IP: Logged Richard Fowler Film God Posts: 2392 From: Ft. Lauderdale, FL, USA Registered: Jun 2001 posted 11-06-2003 09:27 PM                     Recycle that unused Simplex oil to give your chicken a golden sheen  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 11-06-2003 09:34 PM                        When used for deep frying, used projector oil is a good source of iron.  |  IP: Logged William Bunch Film Handler Posts: 87 From: Misawa, Japan Registered: Nov 2001 posted 11-06-2003 10:33 PM                        Good ideas! The guys over at Popeyes are taking orders for their Thanksgiving turkeys. I'll ask if they need some more oil. One thing for sure I have a surplus of Simplex oil now. The Kinoton is a low thirst machine. At least the "E" version is.  |  IP: Logged

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