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Author Topic: Exhaustive projectionist training videos Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 09-10-2016 11:19 AM                        I once encountered a Goldberg case that probably hadn't been opened since the 1970s (as evidenced by the overwhelming vinegar stink once I finally did get in to it), which took a crowbar, a 14lb sledgehammer and some R-rated language to open. But shooting it and tossing it off the top of a building, ISIS-style?! While I have tossed used xenon bulbs (wrapped in a sheet and sealed with zip ties) down an elevator shaft for safe disposal, that never occurred to me! Agreed with Scott and Kenneth: Perfix is a viable solution for short sections of perf damage, but not long ones. Before the days of sprocketless, continuous motion scanners, archives might Perfix hundreds of feet at a time in order to get them through a printer to strike a preservation element from (I was once shown an original element from 1903 that probably consisted of more Perfix tape than celluloid, by volume): if the only surviving element of that footage has bad perf damage, then that was your only option. But I've never seen it done to that extent on release prints for projection. One of the many things I love about the Norelco AA/AA-II/Philips DP70 is that if you use furry gate bands and back the gate tension off to almost nothing, it will tolerate leading edge perf damage that no other projector I've used will. You'll get a wobbly picture, but you'll just about be able to play a reel that you wouldn't otherwise.  |  IP: Logged Sam D. Chavez Film God Posts: 2153 From: Martinez, CA USA Registered: Aug 2003 posted 09-10-2016 11:44 AM                       Where does one obtain the furry gate bands?  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 09-10-2016 12:52 PM                     Leo, a properly setup Century JJ can do the same thing, but without the felt bands. I've ran prints that should have never been able to make it through a projector with leading edge perf tears through the sprocket holes as well as prints with literally no perfs at all on one side.  |  IP: Logged Will Kutler Phenomenal Film Handler Posts: 1506 From: Tucson, AZ, USA Registered: Feb 2001 posted 09-10-2016 05:16 PM                     https://www.youtube.com/results?search_query=35mm+movie+projec+tor This one is even more entertaining! This "genius" describes this as being a "silent" projector, when the sign hanging above clearly states otherwise! He then claims that the Magnarc douser is where the lens goes! He then goes to the aft Magnarc door and refers to it as the lens holder. He also calls the Magnarc Ammeter as a thermometer! He then refers to the projector motor as vintage 1910 "common 5". This idiot is just a laugh-a-minute!!  |  IP: Logged Randy Stankey Film God Posts: 6539 From: Erie, Pennsylvania Registered: Jun 99 posted 09-10-2016 06:45 PM                     quote: "You Tube" is not necessarily about the subject matter but more about the presenter. It could have been named "Me Tube" just as well. Star in your own world wide release of yourself! Agreed! In fact, I'd say that most "training videos," regardless of whether they are on YouTube or not, are more of a vanity project.  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 09-10-2016 07:40 PM                        On the topic of training videos, here is my all time favorite: Fork Lift Driver Klaus It is in German and has nothing to do with movies or cinemas, but it is entertaining and probably quite effective.  |  IP: Logged Paul H. Rayton Expert Film Handler Posts: 210 From: Los Angeles, CA , USA Registered: Aug 2003 posted 09-12-2016 03:51 PM                    To answer Sam's question above, the "fuzzy" gate bands are actually thin strips of edged velvet. Prior to my own employment at the Egyptian, I'd spent more or less the previous 20 years working around Cinemeccanicas, where such additions were not known; upon re-acquaintance with the DP-70s, the guy from BL&S said that the velvet on the bands was very helpful. In fact, in visiting around some other places, esp. in Europe in the late '90s and early '00s, I found velvetized bands were very common. After some learning experiences creating such strips, I finally managed to obtain a good quantity of the strip material, which was (so I was told) a Kinoton stock item at the time. I cleaned out one dealer, and got a "lifetime" supply of the velvet material, and I apply it myself when they get worn. With less film being run, that's maybe once every two years; it's really very durable. If one wants to start using it, it's necessary to have sufficient loosening travel in the adjustment range of the tension of the bands, as the velvet adds a bit of extra thickness to the band. Pressure has to be backed off or torn film will result, and it has to be re-checked carefully when changing between acetate and polyester prints. But I've had this soft layer on the bands perform absolute miracles when running prints which were shedding wax and also mag prints which were losing oxide. These are nuances which are definitely not illustrated in the training videos, and (IMHO) one of the reasons why venues which are serious about maintaining film projection over the years into the future need to have truly experienced projectionists, who are dedicated to the job. Their core workers should not be ones who watched a quickie video or two and then think they are qualified to jump into running a precious (and probably irreplaceable) archival print.  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 09-12-2016 04:50 PM                     Kinoton sold the DP70 tension bands with the velvet pre-attached. 35mm part number 5322 463 100040, 70mm part number 5322 463 100050. One could also obtain the velvet as something like a 15-foot strip (or maybe it was sold by the foot). Another nice side effect of the velvet is that the tension bands never wore down and split. The velvet took all of the wear and, depending on the adhesive you used, could be removed and fresh applied. Ernemann also used velvet tension bands.  |  IP: Logged Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 09-12-2016 11:20 PM                        The problem is that the velvet starts to shed hairs into the gate pretty quickly. For shock absorbing and reducing horizontal weave on severely shrunken stock I would use them, but for polyester and dimensionally stable acetate, IMHO furry bands are more trouble than they're worth.  |  IP: Logged

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