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Author Topic: Screens of 80 foot width... Louis Bornwasser Film God Posts: 4441 From: prospect ky usa Registered: Mar 2005 posted 04-21-2006 09:41 AM                        Maybe we need "a light amplifying crystal." Louis  |  IP: Logged Brian Guckian Jedi Master Film Handler Posts: 594 From: Dublin, Ireland Registered: Apr 2003 posted 04-21-2006 06:47 PM                     80ft for 35mm is a no-no as it really exceeds the design capacity of the format. As has been pointed out, illuminating that size screen is extremely problematic and you have excessive heat energy problems, but you also have tremendous magnification of grain, jump and weave. 60ft on 'Scope is a good maximum for 35mm. Even then, you need high-wattage lamps with water cooling, a gain screen, preferably an electronic intermittent and top-of-the-range lenses and port glass too! We're lucky to have a cinema here in Dublin (Cineworld) with a Kinoton FP30E and all of these additional features. Tremendous presentation quality, but it is at the limit and at this size and up 70mm "is your only man", as they say here! quote: Richard Fowler Typical "warehouse" and shopping center building typically have 30 - 31 foot spans between roof support pads = 26 foot screen with an exit door Just on that point, I think this is a good argument as to why we should go back to stand alone cinemas. One of the downsides of tying them in to shopping developments has been the impact on design.  |  IP: Logged Ron Curran Jedi Master Film Handler Posts: 504 From: Springwood NSW Australia Registered: Feb 2006 posted 04-21-2006 11:05 PM                        “Never mind the quality, feel the width.” Like it or not, monster screens are a sales gimmick. There is a section of the market that seeks out the biggest screens, just as there is a market for films on miniscule mobile phone screens. Some of those monster screens are constant width! You can fool some of the people all of the time.  |  IP: Logged Andrew McCrea Jedi Master Film Handler Posts: 645 From: Winnipeg, Manitoba, Canada Registered: Nov 2000 posted 04-22-2006 02:02 PM                        Yes, its more of a sales gimmick. So, say you're going with a Kinoton common booth: -FP30E Projector -Universal Lampenhouse (7kw- highly efficient optical system?) -ST200E Platter And you use a Kinoton Air/Water cooler. Would you put antifreeze coolant in the circulated path? I'd imagine it would require extra ventilation. Can you get a stronger blower on the lamphouse, and what about an auxillary blower? Then, you throw it on to a high gain (2.0) perforated screen, that is curved. It would then be tilted so that the top is closer to th audience then the bottom?  |  IP: Logged John Vincent, Jr. Film Handler Posts: 16 From: Eastham, MA, USA Registered: Jul 2003 posted 04-22-2006 07:43 PM                        "Yes, in some cases, "Drive-In Prints" have been made for drive-ins or theatres with huge screens..." Actually I see more DI prints come through every year. They call them IMAX prints, why, I don't know. Even though our screen is 100ft, from the majority of spots in the DI field the screen image takes up less space in your vision than an average 30' screen does in an indoor. Therefore, the finer details are not as important in DI's. As a side note it is too bad 70mm went by the wayside, I would love to slap Century JJ heads on our Ashcraft Carbon Arc projectors and see what image I get.  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 04-23-2006 12:36 PM                     The reason they are reffered to as IMAX prints is that they are intended for 35mm presentations in IMAX theatres where getting enough light can be a challenge  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 04-23-2006 02:06 PM                     Which is why many Imax 35mm's have had the Technilight conversions done to them. And I have to say that after seeing a 6 screen D.I. converted to the Technilight system it really does work... and without having to buy new lenses. Of course new lenses will also help out a little more. The Redwood Drive In in Salt Lake City on all 6 screens now has light levels well with in SMPTE specs for indoor screens! quote: Louis Bornwasser Maybe we need "a light amplifying crystal." Louis I think those were made bu the Krell People... but alas they now only make fine audio gear . Mark  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 04-23-2006 02:49 PM                     which is no big deal as the kinoton or the ernamann lamphouses all do that right out of the box  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 04-23-2006 02:53 PM                     quote: Gordon McLeod which is no big deal as the kinoton or the Ernamann lamphouses all do that right out of the box And I forgot to mention that his conversion is about 1/5th the cost of a Kinoton or Ernemann lamphouse, and about 1/3 the cost of a 7kw SLH. Actually the kinoton and ernemann won't outperform it... Talk to Paul Rayton at the Egyptian Theatre about that, they replaced the Kinotons with Christie SLH. Talk to James Bond at Full Aperature in Chicago, he runs the Technilight kit installed IN his Kinoton lamphouses, and also ask Bob Destolphi at Ultraflat as well. While YOU might not like Robert his system does indeed work and I look forword to it showing up on more screens around this area in the near future! Mark  |  IP: Logged Andrew McCrea Jedi Master Film Handler Posts: 645 From: Winnipeg, Manitoba, Canada Registered: Nov 2000 posted 04-23-2006 10:43 PM                        Do you get more light out of a metal reflector, or a glass reflector? I know there's a choice for most lamphouses. Which is the way to go and why is that particular one preferred? And thanks for all of your participation!  |  IP: Logged Andrew McCrea Jedi Master Film Handler Posts: 645 From: Winnipeg, Manitoba, Canada Registered: Nov 2000 posted 04-24-2006 04:33 PM                        Ok, so I searched around and found that glass mirrors are preferred. I'm guessing the optical system is the lenses...  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 04-25-2006 11:15 AM                        With a dichroic coating on glass/pyrex reflector, the IR goes through to a heat sink located behind the mirror. With a dichroic coating on a metal mirror, the metal itself is the heatsink. Unless the metal is kept cool by sufficient air flow, the metal mirror heats up, reducing the efficiency of its IR reduction. You can further reduce the IR by using BOTH a dichroic mirror, and an additional dichroic heat filter that reflects any remaining IR to a heat sink.  |  IP: Logged

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