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Author Topic: Vertical And Horizontal Xenon Bulb Working Position Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 05-08-2004 09:18 AM                     The honeycomb lens for the xenosol was required for lamps of 900watts or less. 1600 and 2500 and 6000 jut ad a heat filter in the nose cone. For 16mm use there was a condensor lens  |  IP: Logged David M. Dorn Film Handler Posts: 35 From: Hartford, CT USA Registered: Mar 2004 posted 05-08-2004 10:55 AM                     The Lincoln Center equipment list for Avery Fisher Hall show they have a Zeiss Ikow lamphouse in the booth. Must be a special modkel. The is the list: "Motion Picture Equipment: Screens: Hurley matte white perforated screen 18'2"h x 30'w Aspect ratios: 33, 66, 85, Scope, Silent and 16mm Wall to wall adjustable black velour maskings available Projectors: Two (2) Simplex X-L 35mm Projectors Light Source: Ashcraft "Core Light" High Intensity Projection Arc lamps Lens Ratios: 1:33, 1:66, 1:85, Scope, when screen is hung from Stage Pipe #2 One (1) Eastman Arc Model 40 Light Source: Zeiss Ikow Xenosol II, 1600w Motion Picture Sound: Dolby Cinema Sound Processor CP-55 capable of producing Dolby Stereo (no surrounds)" Anyone actually seen this booth?  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 05-08-2004 11:46 AM                     quote"The Lincoln Center equipment list for Avery Fisher Hall show they have a Zeiss Ikow lamphouse in the booth. Must be a special modkel. " There is nothing special with the xenosol II lamphouse to use i for 16mm just the condensor in the nose cone  |  IP: Logged David M. Dorn Film Handler Posts: 35 From: Hartford, CT USA Registered: Mar 2004 posted 05-08-2004 12:12 PM                     The face was for the Avery Fisher spelling of IKON as IKOW. I put it in bold when I copied the exact listing from the Lincoln Center web site but it did no reproduce in the post. I assume that Xenosol was for the Koadak Eastman Arc Model 40 projector (16mm???) even though the format of the listing had it separated from the Kodak projector.  |  IP: Logged System Notices Forum Watchdog / Soup Nazi Posts: 215 Registered: Apr 2004 posted 01-03-2006 08:53 PM                 It has been 605 days since the last post.  |  IP: Logged Mike Croaro Master Film Handler Posts: 394 From: Millbrae, CA Registered: Apr 2005 posted 01-03-2006 08:53 PM                     Hi Folks: The Belmont Theatre (Belmont, CA) had lamphouses like John P. describes. Christie BSG with dual mirrors. Large Butterfly mirror in the back of the unit. Smaller cone shaped "forward mirror" in FRONT on the lamp. Forward mirror throws "lost" light back onto the back main mirror and then shoots the light out thru the nose of the unit. The forward mirror was supposed to improve light output. These had been long removed because the projectionist at the time did not believe there was a benefit to them in terms of incresing light. Rather he believed that they overheated the envelope of the lamp thus decrease the life of the lamp. Does the forward mirror improve light out output or was it a failed attempt in design? Mike  |  IP: Logged Robert Throop Master Film Handler Posts: 412 From: Vernon, NY USA Registered: Jun 99 posted 01-04-2006 06:29 AM                     quote: David M. Dorn Light Source: Ashcraft "Core Light" High Intensity Projection Arc lamps These lamps are now in the Capitol theatre, Rome, NY where we frequently screen silent and other classic films. We still use the original Moller pipe organ. I think the lamps now in Avery Fisher Hall are Xetron. Bob  |  IP: Logged Marin Zorica Jedi Master Film Handler Posts: 671 From: Biograd na Moru, Croatia Registered: May 2003 posted 01-04-2006 03:16 PM                     Does the forward mirror improve light out output or was it a failed attempt in design? Off course is improved if is positioned and aligned well!  |  IP: Logged Dave Macaulay Film God Posts: 2321 From: Toronto, Canada Registered: Apr 2001 posted 01-04-2006 03:32 PM                     The forward reflex mirror does improve the light if it's aligned properly. only the light from the lamp that shines on the mirror gets reflected towards the aperture (OK, some light shines directly on the aperture with no reflex mirror). The reflex mirror takes the wasted light shining from the "front" of the lamp and reflects it back through the lamp towards the main reflector. Quite a bit is lost but certainly there's a gain in screen brightness. The envelope and electrodes will run somewhat hotter but that shouldn't be a problem. Running without the reflex mirror shouldn't be a problem either if you can get enough light on the screen. They rarely survive a lamp explosion and are pretty easy to break while relamping... it isn't unusual to find them missing.  |  IP: Logged Alex Cross Film Handler Posts: 34 From: Eccleshill, Brafdord, West Yorkshire, Registered: Dec 2005 posted 01-05-2006 06:20 AM                     I think some of you are missing the point (sorry, no put down or insult intended). The lamp in a vertical lamp house last longer due to the positioning of the flame itself inside the quartz bulb. If you turn a candle on inside, the flame will automatically rise. It's the same principal with Xenon in a vertical/horizontal lamp house. Because the Xenon in a horizontal lamp house is effectively on its side, magnetic forces are needed to pull the flame down into an ideal operating position. This is why until recently; it was common practice to rotate the lamp half way through its life, to even out wear on the tungsten tips, and to reduce the blackening on one side of the lamp, (we use Osram by the way). With the advances in lamp manufacture, it is no longer essential to rotate the lamp. I have worked with both types of lamp houses, and I have to say, I prefer the vertical, if only for ease of lamp replacement. Hope this helps (I am new to this, so forgive me if I have annoyed anyone). Alex.  |  IP: Logged

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