my profile | my password | search | faq & rules | forum home

» Film-Tech Forum ARCHIVE   » Operations   » Film Handlers' Forum   » CYAN Finally breaking through (Page 3)

This topic comprises 5 pages: 1  2  3  4  5

Author Topic: CYAN Finally breaking through Louis Bornwasser Film God Posts: 4441 From: prospect ky usa Registered: Mar 2005 posted 07-08-2005 08:57 AM                        Maybe I should make a 2 channel optical penthouse equipped with digital delay?  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 07-08-2005 09:08 AM                     William wrote "The Hilllsschh are alive with the tschound of muszhik" Actually at the premier of the film Plummer discovered for the first time they had redubbed his singing and said it should be called the sound of mucus  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 07-08-2005 12:20 PM                     Louis, that concept has already been broached (And even done to some degree by BACP and Kinoton). However, many venues that want the ability to play older titles also are 2-projector (or more)...as such one would need up to 4-projectors minimum of preamp (with level and changeover control). Remember too, that both sets of soundheads would need full 2:4 decoding with A or SR noise reduction. I'm not saying it can't be done (easier with some systems than others) but that it isn't just a matter of a penthouse optical reader on a delay to overcome the problem.  |  IP: Logged John Hawkinson Film God Posts: 2273 From: Cambridge, MA, USA Registered: Feb 2002 posted 07-08-2005 05:37 PM                     Hey, Steve, what about Dolby Field Bulletin #186: "CP65 Modification for Four Projectors"? Wouldn't that do the trick? --jhawk  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 07-08-2005 05:44 PM                     Hey the complete CP200 can handle 4 projectors right out of the box and a CP100 cpould be configured to do it too  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 07-08-2005 11:11 PM                     Hey John, I said this could be done easier with some units than others. Gordy...so at the AFI...a place that one would expect to run older traditional films...they have four projectors on their CP200 already...so even the mighty CP200 has enough inputs to handle this debacle. We will probably set up two machines with IR and two with visible red. The other two theatres also run classic films but do not have either CP200s or CP65s...they are Panastereo CSP1200/CSP4600 and pretty well loaded.  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 07-09-2005 08:36 AM                     Simple solution get one of those old teccon preamp trays with there optical preamp card and wiret to the mag b input sorry steve just pulling your chain  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 07-09-2005 05:37 PM                     Actually Gord...Mag B is so full of sources already...that there is a Pana MP64 with line cards in it to allow multiple sources.  |  IP: Logged Marin Zorica Jedi Master Film Handler Posts: 671 From: Biograd na Moru, Croatia Registered: May 2003 posted 07-10-2005 07:40 AM                     I.ve already installed home-made red led readers in mine projectors and everything is ok, sound is same like with magenta, i watch already couple of film in cyan and i can tell you there are no difference. What do you think about that home-made red led?? with luxeon elements?  |  IP: Logged Miguel Garcia Film Handler Posts: 7 From: Santa Cruz/ Murcia, Spain Registered: May 2004 posted 07-11-2005 05:17 AM                  To Gordon McLeod. Dear Gordon, in reference to your post about the Wassman Reverse Scan kit, I have to agree with you, and make clear that the kit is not from Wassman but from SAX, a cinema projection manufacture company from Spain. you can find them at: www.cinematografiasax.com best wishes Miguel Garcia  |  IP: Logged Dieter Depypere Master Film Handler Posts: 343 From: Deutsch-Wagram, Lower Austria, Austria Registered: May 2005 posted 07-11-2005 05:46 AM                     quote: William Hooper This sounds more like a problem in adjustment at the sound processor or the A-chain generally than red readers particularly, unless there's a red reader on projector 1 & tungsten forward-scan reader on projector 2, in which case the difference in response may make one sound 'louder' than the other. Both projectors are FP6 (Philips) with Siemens Klangfilm analog sound readers. The guy who modified the sound readers simply removed the exciter lamps with the optic systems and replaced it with laser thingys (both the same as in that pic:). The "Processor" is a Siemens Klangfilm tube preamp which seems not to have been modified. There is no manual here and I even don't have an idea where the power source is (as it has changed). Any ideas?  |  IP: Logged Richard Fowler Film God Posts: 2392 From: Ft. Lauderdale, FL, USA Registered: Jun 2001 posted 07-11-2005 08:40 AM                     That is a Swiss ACL laser retrofit and generally is powered by a "wall wart" plug in transformer.  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 07-11-2005 09:33 AM                        I am told that there were a few SR prints of TSOM struck and if we are lucky, we will get one. So the specter of distorted high frequencies thanks to the one flaw in the red/cyan system won't apply here, or will it? There can still be a question of what kind of soundtrack will be on the print....one optimized for red or one for white? Is it not possible that a SR print could still have been made early enough so that it was optimized for red exciters or is this problem only with prints that go back to the Dolby A era. Or does it only apply to Academy Mono tracks? Whatever the case, again I say that when they changed the characteristics of the soundtrack so it would play properly with red exciters, KNOWING that there would then be soundtracks out there that will NOT play properly with those red exciters, from that point on, the prints with the new characteristics should have been plainly marked, and it should have been publicized extensively. From what I see, what they did instead, was to ignore this significant difference and make it sound like ALL types of soundtracks were completely compatible with both red/reversed and white/forward exciters. And we know they are not. So, without any kind of specific identification on the print itself, projectionists are left to guess, will this soundtrack sound like crap or not. Not making it clear how a soundtrack is optimized, IMHO, is the equivalent of not indicating if a track is encoded A or SR -- just let the booth guy guess. It's completely irresponsible. It is conceivable that in special situations like ours where each engagement is treated and publicized as an "CinEvent" where we are presenting the film to large audiences, we would indeed swap out the red readers for white and do an alignment for such and engagement so that a print with a "white" soundtrack would play back properly. I am sure many venues would welcome this information so they could choose to go that extra step so that classic titles could be properly enjoyed by their audiences. Or does the industry just hawk those "100 greatest films of all time" lists, not because they want new generations to experience our film heritage or is it just to sell DVDs?  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 07-11-2005 09:58 PM                     Miguel Garcia The manual from wassman was labled Elementos de Diseno pura el Espectaculo SL  |  IP: Logged Miguel Garcia Film Handler Posts: 7 From: Santa Cruz/ Murcia, Spain Registered: May 2004 posted 07-12-2005 04:56 AM                  Dear Mr.Gordon, Wassman is a branch of the company “Elementos de Diseño para el Espectáculo”. “SAX”, cinematographic machinery, was the old factory for “Hispania”, that used to make cinema projectors. In the present time this company does not make projectors, its industrial activity corresponds to the manufacture, under order, of components of precision for cinema projectors of any mark. “SAX”, cinematographic machinery, makes the Kit “revers scan” for Eurokino Wassman, by express request of the company “Elementos de Diseño para el Espectáculo”. The technical and mechanical project of this Kit was developed by Mr. Pacual Leal (mechanical Technician for SAX). The optical and electronic project of that same Kit, was developed by Mr. Mieczylaw Jakimow (electronic Technician for SAX). Warm greetings. Miguel García.  |  IP: Logged

All times are Central (GMT -6:00)

This topic comprises 5 pages: 1  2  3  4  5

Printer-friendly view of this topic

Hop To: Select a Forum: Category: Operations -------------------- Digital Cinema Forum Film Handlers' Forum Large Format Forum Ground Level Feature Info, Trailer Attachments & REAL Credit Offsets Category: Community -------------------- Film-Yak Film Handlers' Movie Reviews The Afterlife Bob Maar's Joke-A-Thon Category: Classified -------------------- Equipment and Supplies Wanted/For Sale Help Wanted/Seeking Employment Category: System -------------------- Software Beta Testing Forum

The Film-Tech Forums are designed for various members related to the cinema industry to express their opinions, viewpoints and testimonials on various products, services and events based upon speculation, personal knowledge and factual information through use, therefore all views represented here allow no liability upon the publishers of this web site and the owners of said views assume no liability for any ill will resulting from these postings. The posts made here are for educational as well as entertainment purposes and as such anyone viewing this portion of the website must accept these views as statements of the author of that opinion and agrees to release the authors from any and all liability.