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This topic comprises 2 pages: 1 2
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Author
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Topic: video and/or 16mm capability
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Frank Angel
Film God
Posts: 5305
From: Brooklyn NY USA
Registered: Dec 1999
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posted 04-07-2004 09:02 AM
In the Brooklyn Museum we use an Eastman 25B with modified take-up and supply arms that were re-machined and with stronger motors installed in them to accept 6000ft long-play reels. A Xetron 1600w lamphouse replaced the original Strong carbon arc lamphouse. The 35mm is a change-over system via Simplex P35 heads and Xetron 2000w lamphouse. Dolby SR via a CP55; no digital formats -- red exciter/scanners sitting on the shelf waiting for either Kelmar to supply us with IR arrays or for the first cyan track print to come in. Ceiling "surrounds."
They recently installed a Eiki LC-XT3 3 bulb LCD video projector that can display XGA and produces a whopping 10,000 lumens, making it as bright as the 35mm. 16mm, 35mm and video have common height, although the 16mm does have to crop top and bottom slightly. The 16mm does not have anamorphic capability nor do we see any need for it as we have come by so few situations where we had to play any anamorphic films -- if it is an anamorphic film, that means that 99% of the time it was released in 35mm and we will try to get the 35mm print. 16mm is not as bright as the 35mm but still presents a very viewable picture. The video image nearly matches the 35mm in brightness.
When playing anamorphic DVDs, the Eiki leaves a slight band on top and bottom, but that's because the vendor supplied the wrong $3000 zoom lens and they are working out the legal battle to get him to supply the correct one. The Eiki will accept any format. Right now in the rack is a Laserdisc, DVD, a SVHS-NTSC and a PAL, U-Matic and a DigiBeta and a PC. They have a switcher with rack jacks to accept other piece of equipment someone might wheel in.
The Eiki costs upwards of $23,000 and I do not know how they expect to amortize this....hopefully not by firing me, although now that they realize they can "run movies" on the Eiki, all of a sudden there seems to be less urgency in getting 35mm prints. Obstensibly the video projector was installed to be used, as others have said, for independent "films" and festivals that come in and rent the museum's theatre to screen their programs, now ladened with video titles.
In our Brooklyn Center Cinema/part of Brooklyn Center for the Performing Arts (at Brooklyn College), in our 2500 seat Whitman Theatre, we have 35mm Simplex XL change-over/carbon arc and again, an Eastman 16mm modified to accept 6000ft long play reels. We cannot do 16mm anamorphic because of the screen size, 40 width, which simply wouldn't be a bright enough picture and I either do common height or I don't do it at all. No video from the booth. Occasionally we run video via rear screen by flying out the main screen and its curtain and then dropping down a rear screen. The projector which is borrowed from the college is mounted on a scaffold back stage. They bring over an number of modelsl....I have no idea what they've used, other than I know they were LCDs.
Rear projection is just what the name implies....an ass-backwards concept. The screens' grain structure melds with the picture and the image is nothing but a big hot spot. They use this for college presentations and lectures and the like....I never use it as part of any Brooklyn Center Cinema presentation. Digital sound is DTS.
In the Prospect Park Celebrate Brooklyn venue, it's just 35mm change-over via Century SAWs backed up by ORC 4000w-ers, to a 50ft wide screen. No digital; no 16mm; no bloody video!
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