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This topic comprises 2 pages: 1 2
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Author
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Topic: Kinoton America site
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Stephen Furley
Film God
Posts: 3059
From: Coulsdon, Croydon, England
Registered: May 2002
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posted 04-17-2004 04:29 AM
Scott, most common here is to feed and take up emulsion in on 35mm, though I can think of places that feed emulsion out, and one that used to take up emulsion out; that was on a double-sided tower, and they had to run off the back side of the tower, due to space restrictions in the projection box.
On 16mm it starts to get complicated. The normal standard for 16mm prints, and by far the most common, is for the base to face the lamp as it would when projecting original reversal material. The same geometry was quite convienient for VNF original -> interneg -> release print or original neg -> CRI -> release print, but not very convienient for normal neg/pos working, and you can find 16mm prints with ehe emulsion on either side. I've even seen both spliced together within a single print! When running base to lamp, a spool running clockwise will be feeding, or taking up, emulsion out, and vica-versa, the opposite of 35. This assumes a conventional right-hand machine; there were quite a few left-handed 16mm machines, Carpenter, Hortson and Philips spring to mind, but there were others, and with these the situation reverses again, assuming that you are viewing clockwise and anti-clockwise from the operating side, so left-handed machine, base to lamp, anti-clockwise, would be emulsion out. I had to think about that one! Then just wait until you get a print with the old D.I.N. sound standard, it's the opposite to normal 16mm, with the track on the left, and the perfs on the right; assuming that you don't have a projector designed for it, you have to flip it over, putting the emulsion on the opposite side, re-focus the sound optics, and project via a mirror or prism, or directly on to a rear screen. Folks who only run 35mm don't know how complicated life can get. ![[Eek!]](eek.gif) Then with stereo sep-mag there is the complication that European and US standards for track positions differ: it's left on centre and right on edge track in Europe, I think. About the only way in which 16mm is better standardised than 35mm is the spindles, which always seem to be 5/16" square for 16mm, but with 35mm can be 5/16, 3/8, 1/2 or 9mm with several different sizes and positions and positions of keys or driving pins, and odd machine like the Fedi Solo, GBN portable and BTH Mk.1 SUPA, which do totally their own thing. I've seen 9 different standards, I think.
I can think of several 16mm machines where the take-up turns the opposite way, Micron and Bolex portables, and older Fumeo pedestal machines for example.
On the various small gauges, with the Kodak designed ones, 16mm, 8mm and Super-8 the spools tend to turn clockwise, while on the Pathe designed ones, 9.5mm, 17.5mm Rural and possibly 28mm, I'm not sure about that one, they tend to turn anti-clockwise. I don't know why.
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