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This topic comprises 3 pages: 1 2 3
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Topic: New Studio Movie Grill Pictures
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Brad Miller
Administrator
Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99
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posted 02-09-2008 08:21 PM
The older theaters have had different people servicing them and originally SMG bought only used equipment. I installed the new builds and the equipment was purchased new, so there are no surprises.
I personally prefer the setup at Royal with a platter beside each projector. Some of the SMG projectionists prefer them all lined up in a row, as it makes it easier to monitor all of them at once despite the longer threading paths. Both ways work fine and have their pros and cons vs. the other. There was not room in this booth to put them all in a row, so that was the deciding factor on the platter array layout.
quote: Michael Schaffer
Are they cut out templates projecting the logos on the faces of the guests?
I almost made a joke to the owners one time about making a looping DVD with that logo spinning that we could project onto the lower right corner of the screen during the movie and then I quickly shut my mouth. I predict your idea of the logo on the patron's faces will follow logos carved into the urinals.
The automations are easier to work with in the racks on a day to day basis, as they are higher. They are also easier serviced in the rack. The pictures don't show it, but locking panels are going over the automations this week using 4 different type of security screws to prevent idiots/morons/fucktards/etc from pressing the buttons when they shouldn't be. Only the projectionists have keys to unlock the panel.
You should check out the current line of heads Christie is putting out. I know it is hard to believe, but these heads are every bit as steady as the PK60D. Although I love the Kinotons, the Christies do have some benefits as well that affect the final image such as more control over the precise alignment and focus calibration of the image the way their turret is designed, and their apertures permit a much sharper edge to be cut (the aperture shadows are thinner). Plus they don't have that side to side play in the aperture like the turreted Kinotons do. That being said I still LOVE the Kinotons with their other advantages, but at half the price, the Christie is the winner.
quote: Daryl C. W. O'Shea
Why 3x ProCurve 1800-8G (which are rack mountable in pairs with HP part #5183-7210) rather than 1x ProCurve 1800-24G (which comes with mounting ears and is 20% cheaper before you even buy mounting gear for the -8Gs)?
The building has a spare 8G in the event of a failure. It is cheaper to buy an 8G to sit on the shelf as opposed to a 24G.
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Brad Miller
Administrator
Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99
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posted 02-09-2008 09:01 PM
Before anyone starts asking what I mean about the Christie turrets being superior to the Kinotons, here is a basic outline of a setup routine on the Christies. (Kinoton turrets simply do not have all of these controls. They have a clumsy "loosen 4 screws, jiggle the lens around and then retighten them" solution which is not very precise and does not permit fine tuning the side to side and top to bottom focus across the image.)
De-focus the bulb a bit.
Remove the flat lens and align console to center the reflector spot on screen.
Re-align reflector if you don't get a perfectly round spot with even dark circles around it (if new from the factory, Christie does a darned good job of aligning things).
Run loop in flat and physically level the projector. Be sure to verify it is level by racking the framing a bit so you are checking the top and the bottom. Assuming the projector has a downward tilt, remember the top of the image will be closer to level than the bottom.
Set eccentric so the image is as far left (if the right projector) as possible on both lenses. (This is for dual projector or installations such as SMG where the projector is offset due to the dual port windows. Most often you will want near the maximum amount the turret offers, but not always. This has always been a good place to start for me.)
Level scope lens by eye and set astigmatism through the lens with binoculars. (This should be done by throwing the astigmatism setting on the anamorphic as far off as you can so the picture is horribly blurry. At this point adjust the focus control on the projector and look through the binoculars to obtain perfect sharp horizontal lines. Concentrate on the thinnest lines the lens can resolve. Then without touching the projector's focus control again, adjust the astigmatism control on the lens so that any chromatic abberation is minimized and the vertical lines are as sharp as possible. Always use the binoculars for this entire step. Lock the astigmatism adjustment.)
Using binoculars, adjust for perfect side to side focus using the turret stop on scope.
Using binoculars, adjust for perfect side to side focus using the turret stop on flat. If you should come across a difference between the formats, make a note of how far you have to turn the allen wrench from the optimum setting for the scope lens and split the difference on the turret stop adjustment.
Bump the console to center the image on the screen if needed. Obtaining perfect focus across the image is most important.
At this point use the binoculars again to verify you are maintaining perfect top to bottom focus. If not, you will need to adjust the gate stop slightly until you obtain this. Having perfect focus in all 4 corners at the same time is imperative before you file the apertures.
Run a loop to verify your level again. Often booth floors are not level and if you should have to bump the console even half an inch you could throw off the level of the projected image on the screen. Make any necessary adjustments viewing through the flat lens, then switch to scope and re-level the lens if it looks off.
Run a pillarboxed scope trailer of something bright and verify the pillars appear to be parallel to the side masking. (This is most important in a changeover install, as the more of a downward tilt you have, the more slanted the scope image may suddenly appear with actual content running through it.) Re-level the scope lens and re-compare with PA35. At this point it becomes a judgment call if you can't get both to look level and squared off to the masking. Don't forget you also have the eccentric adjustment that may come into play on this step. If you need to adjust it to get things right, you will need to repeat the last however many steps.
At this point I always re-check the astigmatism on the anamorphic using binoculars.
Use the eccentric to center the flat lens horizontally. (If this is a 2 projector install do NOT rely on a piece of tape on the screen as your "centerline". Fact of the matter is any offset of the projector will end up with you cropping part of the image unnecessarily when compared to the other machine. Use the arrows and squares to center the image from the outer 0.825 line and save your tape.)
Put the aperture in and center the turret's vertical stop in scope to make the aperture edge fit within the masking.
Remove the aperture and frame the projector for perfect vertical framing using the projector's framing control.
Switch to the flat lens and adjust the turret's flat vertical stop for perfect vertical framing. Do not touch the projector's framing control during this step. The framing should remain perfectly centered between the formats WITHOUT touching the framing knob.
Switch turret and masking back and forth half a dozen times as well as opening and closing the turret to ensure that the settings hold accurately.
Reinsert the aperture and verify that with both lenses the undercut aperture fits within the boundaries of the masking. If not, go over the last few steps.
File the apertures. Angled cuts with the "pointed edge" on the screen side of the aperture will make for a sharper final aperture and permit you to obtain square corners as opposed to corners that are slightly rounded.
Focus the bulb for optimum alignment and go eat some yummy cheesecake.
I may have missed something in there, but I think that covers it. It's worth it to spend the extra time on the initial setup because things cannot be realigned after the apertures are cut without having to re-cut them, and the alignment of the equipment will affect the quality of EVERY SHOW the theater runs in that auditorium until somebody gets in there and sets it up right.
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. The CobraNet system looks great if you require flexable amp positioning. Personally I like amps where I can see 'em in case they go wrong and need replacing, which they do in our cinema quite often - lost two this week do to Cloverfield Meltdown Syndrome. Not sure about the platter array though, It must be a nightmare if you get a brain wrap or something. I take it that the AW3's work independently of the projectors? Our Kinoton ST200's feed platters need a constant motor run signal from the source machine to run smoothly, so I guess the platter arrays would not be practical for Kinotons.. Tim.
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