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Author Topic: Upcoming 70mm Screenings Michael Coate Phenomenal Film Handler Posts: 1904 From: Los Angeles, California Registered: Feb 2001 posted 02-12-2008 12:27 PM                     quote: Bernard Tonks The film ["2001: A Space Odyssey"] however had its first premiere run in normal 70mm at the Empire Theatre, Leicester Square. I don't think that's correct, Bernard. The first London season of "2001" appears to have been at the CASINO. If it played the EMPIRE, that would've been a re-issue. (The nine-day premiere date discrepancy aside, the following two sources indicate "2001" premiered at the CASINO.) quote: John Sharp's 70mm in London list 2001: A SPACE ODYSSEY -- May 10, 1968 -- Casino-Cinerama quote: Mike's '2001' list 01 May 1968 ... London, England, UK: Casino Cinerama (47 weeks)  |  IP: Logged Bernard Tonks Jedi Master Film Handler Posts: 619 From: Cranleigh, Surrey, England Registered: Apr 2001 posted 02-12-2008 04:04 PM                     Michael, you are of course right about 2001 having its premiere run at the Casino-Cinerama. I remember now that it was on at the Empire Theatre during the London release dates, when I showed the film in 35mm at the Classic, Hampstead. Sorry about that, but it was 40 years ago.  |  IP: Logged Mark Lensenmayer Phenomenal Film Handler Posts: 1605 From: Upper Arlington, OH Registered: Sep 1999 posted 02-15-2008 11:42 AM                     Many compliments on the Valentine's Day screening of VERTIGO in 70mm at the Ohio State University Wexner Center. The print was in near perfect condition and was perfectly projected by Bruce Bartoo. There was a surprisingly large crowd for a weeknight (I would guess about 300 or so), and the audience really loved it. Curator Dave Filipi game a brief description of the difference between 35mm & 70mm before the screening began. The film was shown on a very small screen due to the absolutely horrible design of the movie room at the Wexner (never let an avant-garde architect design YOUR theatre!). The detail was absolutely amazing. My wife could easily see the sharp focus on Jimmy Stewart and the soft focus on Kim Novak. With the recent troubles at 70mm screenings, it was nice to see this film in the best possible presentation. For the record, the Wexner Center runs reel to reel on 2 Kinoton projectors that are equipped for 16/35/70 projection. They rarely show a film for more than one or two screenings.  |  IP: Logged Tim Reed Better Projection Pays Posts: 5246 From: Northampton, PA Registered: Sep 1999 posted 02-15-2008 12:59 PM                       Most architects have little to no experience designing theatres. You really have to work closely with them to make sure they don't paint you into too many corners.  |  IP: Logged Brian Guckian Jedi Master Film Handler Posts: 594 From: Dublin, Ireland Registered: Apr 2003 posted 02-15-2008 06:33 PM                     I've always wondered why that was, given that Cinema is a long-established industry But great to hear of this excellent screening  |  IP: Logged Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 02-16-2008 08:45 AM                        New theatres/cinemas don't get built that often. I imagine that during the picture palace boom of the late 20s/early 30s, the multi-screen conversions of the '60s and the multiplex building spate of the '80s, architects that specialised in this sort of building will have sprung up. But how many new cinemas get built, or existing ones renovated so extensively as to require the services of an architect nowadays? One or two in Britain per year at the absolute most, I'd imagine. Certainly when we were opening the York cinema the architects were constantly having to deal with cinema-specific issues they hadn't had to consider with other types of public building. Not surprising, really.  |  IP: Logged John Walsh Film God Posts: 2490 From: Connecticut, USA, Earth, Milky Way Registered: Oct 1999 posted 02-18-2008 11:24 AM                     I agree with Tim, but will add that most architects don't want a 'layman's' input on the design. What could a person who works in and around projection rooms know about designing one?  |  IP: Logged Stephen Furley Film God Posts: 3059 From: Coulsdon, Croydon, England Registered: May 2002 posted 02-18-2008 01:26 PM                     Over the years I'd guess that I've probably been into 50-60 projection rooms, and to be honest, I'd rate the design of most of them as poor, and several as downright dangerous to work in. It's not always the fault of the architect, sometimes elements of the design were imposed by external factors, such as fire regulations, and sometimes the facilities had to be fitted into a difficult existing spaces. Starting with the early cinemas, around 1910, the space was often very small, I've seen two projectors in a space about six feet by five, access was often difficult, in the worst cases only by ladder, and sometimes out in the rain. By the time of the '30s super cinemas there was generally much more space, but the box was often very high up, leading to a steep projection rake, and a lot of stairs to carry prints, and equipment, up and down. Most of the triplings of the '60s and '70s squeezed in a new projection room for the downstairs screens as cheaply as possible, often with the projectors perched up on a platform. In multi-purpose venues, and conversions of existing buildings to cinemas the projection room seems to have been something of an afterthought. In one case I can think of, near London, the floor is raised about a metre above the entrance doors, with unprotected steps down to each door; I once stepped back and almost fell down the steps when carrying a tower spool full of film. Inadequate height is another common problem, as is poor ventilation. Well-designed projection rooms really do seem to be the exception rather than the rule. quote: Mark Lensenmayer For the record, the Wexner Center runs reel to reel on 2 Kinoton projectors that are equipped for 16/35/70 projection. They rarely show a film for more than one or two screenings. What have they got there? I've never seen a triple gauge projector, at least not for 16/35/70mm, there used to be one for 8/9.5/16mm. Have they got four machines, or the strange double-sided Kinoton things? I've only ever seen these with 35mm on one side, and 16mm on the back, but I can't see any reason why they couldn't build them with a DP-75 on the main side.  |  IP: Logged Brian Guckian Jedi Master Film Handler Posts: 594 From: Dublin, Ireland Registered: Apr 2003 posted 02-19-2008 08:10 AM                     Good points re. design issues - would it also be accurate to surmise that there has never been a standard, widely accepted textbook on the subject that architects could refer to? Of course SMPTE's (excellent) Engineering Guideline EG-18 document has been available in the past, but perhaps it was never known about that much within the broad architectural community? Just thinking aloud. Re. the 16/35/70mm installation at the Wexner Center, Kinoton have built machines to special order, so perhaps one machine has a 16mm mech built into the non-operating side of the column as you suggest, Stephen.  |  IP: Logged Mark Lensenmayer Phenomenal Film Handler Posts: 1605 From: Upper Arlington, OH Registered: Sep 1999 posted 02-19-2008 08:57 AM                     The Wexner Center has 2 film projectors, both with 35/70 on the right side facing the screen and 16mm on the left side facing the screen. They are equipped for 35 & 70mm DTS.  |  IP: Logged Brian Guckian Jedi Master Film Handler Posts: 594 From: Dublin, Ireland Registered: Apr 2003 posted 02-19-2008 06:26 PM                     That's the way to do it! Trying to remember - does the lamphouse slide across for 16mm or are there dual lamphouses?  |  IP: Logged Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 02-20-2008 12:55 PM                        I think the model number is FP38: it has a single chassis with an FP20 mechanism on one side and an FP18 mechanism on the other. The only one I used had separate lamphouses, though these were replacement units and not Kinoton originals. I presume that the original design would have to use separate lamphouses, because the heat from, say, a 4k xenon would be likely to totally fry a 16mm print. The 16mm lamp in the machine I used was a 500w xenon arc.  |  IP: Logged Stephen Furley Film God Posts: 3059 From: Coulsdon, Croydon, England Registered: May 2002 posted 02-20-2008 02:26 PM                     I seem to remember that the ones at the Barbican Cinemas were separate lamphouses, but I'm not sure if they're still there. The one at the Rio, Dalston had a periscope type arrangement to divert the light to the 16mm side, with a lever on top to move the first mirror out of the way when running 35mm. I don't know how they coped with the extra distance between lamp and gate. There have been two recent VW adverts shown at independent cinemas in the UK, which have featured a projectionist talking about films with one of these machines, running 16mm, behind him, and part of the other machine also visible on the left. These machines also had the same lamphouse arrangement as the Dalston one. There's also what looks like a QuVis digital server visible at the edge of the frame. I don't know where this was shot, but they need to look at the tension on the feed spool; maybe the 16mm side hasn't actually been used for a long time. They're strange machines, but they do have a couple of advantages over the current Kinoton 16/35 machines, you can do a direct changeover between gauges on the same machine, and if the main side of the machine is 35/70 you can have a par of machines for all three gauges with just two machines, rather than the four which would otherwise be needed; this can be a considerable advantage in auditoria with a short throw. The 16mm side is not the best of machines, but it does the job. These things are not a great deal larger than a standard FP-20 or 30, but they do need a rather larger port. I've never seen the price of them, but I would imagine they were expensive, though probably less so than separate 16mm and 35mm machines. I have to say that I've only a couple of times seen one of these running 16mm. I recently saw an old brochure for these among some papers at the Clocktower; If it's still there maybe I could scan it. [ 02-20-2008, 04:09 PM: Message edited by: Stephen Furley ]  |  IP: Logged Brian Guckian Jedi Master Film Handler Posts: 594 From: Dublin, Ireland Registered: Apr 2003 posted 02-20-2008 06:50 PM                     Thanks Stephen - most interesting. I'd seen a brochure myself many years ago but only vaguely remember the photos. Re. your comments Leo I had thought of heat energy issues when asking about single or dual lamphouse, but hadn't thought about wattages higher than 2K (as we know you can put 2K on 16mm if it's properly filtered etc.). But of course if the 35mm side also does 70mm then the wattage would be far higher, so thanks for pointing that out. The periscope arrangment you mention Stephen would also presumably stop light down too for 16mm. Also, interesting that you say the 16mm mechs you've seen of this type are not the best - I would have presumed they were based on the FP18, which is an excellent design. Intriguing!  |  IP: Logged Paul Linfesty Phenomenal Film Handler Posts: 1383 From: Bakersfield, CA, USA Registered: Nov 1999 posted 02-22-2008 02:49 PM                     Upcoming 70mm L.A. showings in March: 2001: a Space Odyssey March 7-9 at the Egyptian Theatre Cleopatra March 29 at 2pm at the UCLA Film Archives - Billy Wilder Theatre, Hammer Museum, Westwood. (Too bad they didn't take over the National instead of building a new theatre). Hello Dolly March 29, 7:30pm at the Aero THeatre, Santa Monica  |  IP: Logged

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