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Author Topic: Interlocking with delay Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 03-14-2008 12:32 PM                     ...and by clamping up the elevator (I use coathanger wire to hook up the elevator to the desired level), using phase control brains works better in this operation than does those microswitch brains so the platter remains in constant rotation than stopping and going.  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 03-14-2008 12:57 PM                     You know what works even better than phase control brains Monte? Using Christie platters.  |  IP: Logged Ken McFall Jedi Master Film Handler Posts: 615 From: Haringey, London. Registered: Apr 2001 posted 03-14-2008 01:29 PM                     OK I'll stand corrected on this.... but it's a work around that requires attention during the run to resposition the take up roller on the feed platter. As for Christie platters.... what took you so long Brad Regards.  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 03-14-2008 02:27 PM                     And even better than that Brad? Two projectors on each screen...you can set the delay as needed and be ready to start the next show as desired! As to SPECO platters (and other take-up dependent payout speeds) we would make up a loop of film to hold the elevator up...with SPECO, you could obtain 3-4 heights that way pretty easily and adjust it during the show...that is, hook the loop to the low roller for show start, move it to the high roller after that, then pull the loop so it goes over the low on its way to the high and finally over the high and back down to the low. I'm sure the words are not giving the visual look of what is being done but it worked rather well and can be adopted to the Potts/Strong as well...if you don't want to just have the fixed setting. Steve  |  IP: Logged Tim Asten Film Handler Posts: 98 From: Brighton, United Kingdom Registered: Nov 2006 posted 03-14-2008 02:43 PM                     With so much film being dragged through so many rollers, backwards and forwards, what is the tension like as the film enters the delay machine? The reason I ask is when we do a normal two projector interlock with a distance of about 40 ft with 6 or 7 guide rollers, you can feel that there is quite a bit of tension already as the film enters the delay projector. Tim  |  IP: Logged Mark J. Marshall Film God Posts: 3188 From: New Castle, DE, USA Registered: Aug 2002 posted 03-18-2008 08:31 AM                    I love Brad's method and I'd like to try it one day or see it in action. But I have no need for it, nor do we have anywhere near enough rollers to do it for fun. quote: Ken McFall but it's a work around that requires attention during the run to resposition the take up roller on the feed platter. There's actually a position on the variac that pretty much lets the brain do all of its work normally without going too fast or too slow. If you find it when you start, you're ok throughout the show. But I don't tell my people that. I tell them to keep an eye on both projectors for the duration of the show. quote: Monte L Fullmer I use coathanger wire to hook up the elevator to the desired level Clothes pins work great too.  |  IP: Logged Robert LaValley Expert Film Handler Posts: 104 From: Tampa, FL Registered: May 2007 posted 06-17-2008 07:07 AM                     Brad, If you ever get a chance I would love it if you could make a video of an interlock with a delay, even if it is a 15 min delay one. I think everyone would really like to see this in action. plus to actually see the ending setup for next show would be interesting. Slightly related question: at my theatre I have two accumulator poles and some rollers, so at most I've only been able to interlock 3 theatres together. Is there anyway to "fake" an accumulator with a bunch of rollers so I could effectively interlock 4 theatres? I run Bigsky automation and the theatres are not hardwired together so I would have to have people hitting start at the same time (on the count of three..etc etc..) Bigsky platters too. I was thinking on disengaging the platters and creatively threading through all the accumulators on the side of the platter to have enough slack.  |  IP: Logged Sean McKinnon Phenomenal Film Handler Posts: 1712 From: Peabody Massachusetts Registered: Sep 2000 posted 06-17-2008 11:06 AM                        You could set up two roller about a foot apart and level with each other then take a weighted roller (like a loose kelmar type roller with the bearings in it) and just place the roller on the film so that the weight of the roller will keep the failsafe up... Kind of like what you would do if you were running a test loop in a projector with a weighted roller... of course if it falls off the film then youre screwed. As long as no one screws with it it shouldnt fall of though...  |  IP: Logged Andy Frodsham Expert Film Handler Posts: 238 From: Stoke on Trent, Staffs, UK Registered: Nov 2006 posted 06-17-2008 03:49 PM                     I know that someone is going to shoot me for writing this, but with all that film being moved about and all the rollers involved, isn't there a really bad problem with static (and consequently dust)? I assume a lot depends on the humidity/temperature of the projection booth. I just can't get over the feeling that this is a really terrible thing to do to film! From a humble changeover guy (now, persona non grata, I assume)!  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 06-17-2008 03:51 PM                     A common misperception from a reel to reel guy. No, there is nothing to worry about. Air coming into contact with the film doesn't damage it, and any good theater will be running inline film cleaners regularly anyway.  |  IP: Logged Charles Greenlee Jedi Master Film Handler Posts: 801 From: Savannah, Ga, U.S. Registered: Jun 2006 posted 06-17-2008 04:14 PM                        Our Stron platters had a button to lock the elevator in place just for interlocks, so we could feed from one tower and rewind to another no problem.  |  IP: Logged Robert LaValley Expert Film Handler Posts: 104 From: Tampa, FL Registered: May 2007 posted 06-17-2008 08:45 PM                     quote: Charles Greenlee Our Stron platters had a button to lock the elevator in place just for interlocks, so we could feed from one tower and rewind to another no problem. Correct me if I am wrong but wouldnt you NOT want to lock the elevator in place when attempting something like this? I would figure if it was locked in place if there was any mistiming and tension change the film would get damaged.  |  IP: Logged Charles Greenlee Jedi Master Film Handler Posts: 801 From: Savannah, Ga, U.S. Registered: Jun 2006 posted 06-18-2008 02:13 AM                        You lock the elevator on the payout platter, which switches on/off to accomodate the take off speed. You'd lock it in the lowest, which is the fastest, position. The rewind wouldn't be locked, and would use the film tension to adjust platter speed as normal.  |  IP: Logged Andy Frodsham Expert Film Handler Posts: 238 From: Stoke on Trent, Staffs, UK Registered: Nov 2006 posted 06-18-2008 09:42 AM                     I'm certainly not instrinsically opposed to the use of platters or towers (if the tension settings are OK)) but I would have thought that, statistically at least, the more exposed film there is knocking around, the more chances there are for damage. An extremely carefully controlled environment and very responsible operators must limit the risks, but they must still have increased. I'm still not convinced that there is not the smallest element of dust damage in all this! It does look fun, interesting and stimulating (getting your head around all the timings and lacing options) but I wouldn't like to do it to copy 1 of 1 when that very rare print arrives!!  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 06-18-2008 12:29 PM                     Andy the same argument is made for running reels. Changeovers force more handling of the film than running on a platter does. A lot of people seem to think that running a changeover makes them "part of the movie", which is actually bullshit. Unless the changeover projectionist is screwing up, all the movie is doing is making a machine out of the projectionist, telling him where to thread up the incoming reel and when to push the buttons. In no way is the "projectionist machine" adding any sort of "art" to the movie. All changeovers do is give a bored projectionist something to help pass the time. Anyone care to disagree with me on this needs to dredge up one of the countless changeover vs. platter threads in the archives here. I will delete any further postings on this thread about it so we don't get steered off topic.  |  IP: Logged

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