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This topic comprises 3 pages: 1 2 3
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Author
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Topic: non-theatrical 35mm
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Brian Guckian
Jedi Master Film Handler
Posts: 594
From: Dublin, Ireland
Registered: Apr 2003
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posted 11-11-2003 03:52 PM
Hugh said, "We therefore had use of the 35mm arc lamp, and projection optics"
Sounds fascinating - how was the 35mm head removed? Did it swing away or was it lifted off?
Getting (way) back to Aileen, if you're reading this, could you raise the money for a Kinoton FP38E? It's a long-term investment. When the outlay is viewed over say, ten to fifteen years (or more) it doesn't look so bad! It'd be the best of all worlds - superb projection in both formats, and not just for legacy reduction prints from 35mm, but also for short films etc. shot on 16mm. Is there filmmaking activity in your college?
(NB 16mm is still desirable at least over here as an alternative shooting / printing format for short films and documentaries. Not everyone wants the look of DVCAM / DVCPro / DV / DigiBeta etc. origination / projection. Also, digital sound developments for 16mm have somewhat stayed its "execution"!)
BTW I also know the Hokushin X-600 very well, always thought highly of it, its sound reproduction is excellent (even better when followed by an audio compressor, noise gate etc. in the signal path). Sounds very like the image size might be way too big given the number of seats.
The only bugbear is the pressure plate framing device, where you also have to adjust the machine tilt! Oh well - you can't have everything.
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Stephen Furley
Film God
Posts: 3059
From: Coulsdon, Croydon, England
Registered: May 2002
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posted 11-12-2003 03:58 PM
If you move outside the area of feature films, there is still a lot of 16mm being shown.
Yesterday I attended one of the regular Huntley Archives shows at the Fairfield Halls in Croydon, on the Southern outskirts of London. These shows used to be monthly, until the illness and recent death of John Huntley the founder of the archive, but are to be continued on a less frequent, but still several shows per year basis, by various other presenters; yesterdays show was presented by Johns son-in-law.
These shows are on various subjects, London cinemas and music halls, railways, famous local musicians, Croydon Airport etc. These shows are relatively inexpensive to put on, and attract good audiences. Last nights show was in the Ashcroft Theatre, the smaller of the two auditoria, and was getting on for full, something over 400 people I would think, at 7 pounds, about $10, per seat. Some shows have been in the larger Concert Hall, which seats just under 2000, and I have seen it almost half full. About 75% of the material shown at these events is on 16mm, many shows, including last nights, are entirely 16mm. The Concert Hall is fully equipped for both gauges, the Ashcroft Theatre has to use a Bell and Howell Marc 300 portable when they need 16mm.
On Monday I am heading up to Sheffield, (Full Monty land), to the Library Theatre, for an evening of transport documentaries. This is a smaller venue, probably seating about 250-300. It used to show film, and last year when I was there, the 35 and 16mm machines were still in the box, but non-operational. The venue is now used normally only as a live theatre, and another Marc 300 portable is brought in for the show. This is an annual event every November, and last year it was just about full. The year before somewhat less so, but the weather was poor. Still well over 75% full. I can't remember the ticket price, somewhere around 5 pounds , $7 ish, I think. A similar event is held in December, but I haven't been to that, so I don't know how well it does.
No venue is going to run these sort of shows every night, but they can be put on several times per year, and make good money. There are plenty of current feature films which do not attract audiences of anything like this size. They couldn't be done without 16mm capability.
If I was going to open a cinema (highly unlikely) I would install, in order of priority:
Two 35mm machines.
Video projector with Beta-SP, DV, U-Matic, DVD and VHS.
One 16mm machine, double band if possible.
Other video formats including Digi-Beta and Laserdisc. All video equipment to be multi-standard.
70mm, nice to have, but little product available.
Digital cinema projector, at the bottom of the list at present due to high cost and limited product availability.
Of course, things can change, a few years ago I would have put 16mm ahead of any video format.
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Brian Guckian
Jedi Master Film Handler
Posts: 594
From: Dublin, Ireland
Registered: Apr 2003
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posted 11-12-2003 07:10 PM
Hi Aileen
Sounds like the claw mechanism is out of adjustment, or if not, the bottom loop is being set incorrectly by the auto thread mechanism. The projector is very sensitive to incorrect loop sizes, and I recall a situation where the machine I was using was consistently making the lower loop too large. In that instance the sync went noticeably out, since the loop was so big, however it only needs to be a frame or two bigger to start jumping in the gate. Likewise, it's possible the autothread is setting the top loop too large also, or too small.
Try threading up a film, run it as normal for a few seconds, then stop and carefully count the number of frames between the gate and the soundhead. For 16mm optical, there should be 26 frames from the gate to the soundhead. Start counting from the frame that is in the gate and end at the frame that is directly opposite the soundhead. (You will actually get 27, but this OK because the frame that is in the gate and the frame opposite the soundhead are counted as half frames).There are other ways of checking this, but they aren't as accurate.
The top loop should be big enough so that the film is vertical just as it is going into the gate. Try adjusting by one frame larger or smaller and see if that helps.
If none of the above apply, then it's most likely the claw mechanism. You could also check the alignment of the pressure plate, though I haven't had a problem with these before. Nevertheless, since it slots in and out for cleaning, it may have become slightly misaligned.
Hope this helps, it is a very well designed machine and should be very steady and quiet.
Thanks for enlightening me re. the Debrie / Kalee Hugh - and interesting to hear the type of 16mm programming being screened in the UK Stephen. It's also great that John Huntley's wonderful work is being continued.
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