In the simplest terms, P-5 is a lubricant that will not deteriorate the polyestar base
unlike other lubricants. It does not dry out and evaporate within seconds like
other popular film cleaners (Renovex, Vitafilm, Filmrenew, RTI, etc) but is
designed to stay on the print in liquid form.

The P-5 is applied through the use of a normal media-type film cleaner (soaking
the pads in it) and for optimum results the pads are rewound and run again after
every show and reused for one week at a time. Just one application will make the
film run substantially quieter and smoother. The picture will be more steady and
have better focus. After multiple applications a nice thin layer is formed on the
print, which will cover up scratches and dirt.

The way the P-5 covers up scratches is exactly like wet gate printing does. Again
to put it in simple terms, the light is refracted through the liquid coating bending the
light ever so slightly and giving the appearance of a scratch free print. Granted,
this won't eliminate heavy emulsion scratches, but virtually all base side scratches
will no longer project and over a bit of time will discolor emulsion scratches to
project black.

As to dirt, the constant cleaning through the media cleaners keeps the print
perfectly clean without being abrasive. If the P-5 applications is stopped then
obviously dirt will start being attracted as normal. However, the thickness of the
P-5 coating will keep the dirt layer out of focus during projection and one swipe
of the cleaner (even a dry one) will knock all the dirt off again.

Another benefit of the P-5 cleaner is the stopping of vinear syndrome. In test
prints of early stage vinegar syndrome, applying P-5 would knock out the smell
and as of about 5 years the films have not deteriorated. P-5 will also work nicely
on prints that are starting to shrink. However, both of the above must be caught in
time. Obviously an unrunnable print cannot be magically restored to runnable
condition. P-5 will however make a print run smooth that was on it's last days and
prevent it from deteriorating more. How much longer is unknown as the product
has only been in testing for 10 years.

Still though, for new theaters and new prints, applying P-5 will keep them in better
than brand new condition (because of shipping dirt) for months and months of
constant running. Take for example the scene in Matrix where Keanu Reeves and
Lawrence Fishburne are in the "white" room (basically clear film except for the
actors and two chairs). Imagine this looking as clean as a DVD even after running
for 6 months! That's what P-5 does.

P-5 has been in constant testing for 8-10 years now at various theaters under
varying conditions and equipment. There have been no side effects or negative
feedback whatsoever. The UA Galaxy is a test theater. Hopefully it will be on the
market next year.
 

I find it extremely difficult to access new ideas down-under in Australia, mainly because we are so far from the scene where everything is happening.

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We are gearing up for commercial production on the film cleaning/lubricant commonly referred to as P-5. Our patent lawyers expect us to be able to release the product within a couple of months.

We have also added another test theater: The Mann Chinese in Denver, Colorado. Joe Redifer will be testing it up there for us. He has agreed to report his findings here on the forum and will try to rejuvenate a two month old print of Phantom Menace to "lab new" conditions. He will also be putting it to the real test of performing ONLY intermittent cleaning, instead of the recommended constant cleaning.

We look forward to hearing your results, Joe.

 

Many prints have ran from between 4-6 months and a one as long as 8 months, 3 weeks, 6 shows a day.

If splicing onto a print that has been coated, as in a film break or a rebuild of a used print, use your cloth and wipe that frame dry before applying the tape.

 

I will report on the P5, which is now officially called "FilmGuard" over the next few weeks. All I gotta say right now is this -- Start buying as many media cleaners as you can... try to get 1 per screen!
 

I still must strongly cast my vote away from PTRs as they don't really accomplish anything. In every test, the PTR print looked worse than one that had one or no cleaning to it with a dry media cleaner.

As to large format use, the larger the film, the smaller the dirt particles will be. I don't think that is a fair comparison. I've said it previously and I'll repeat myself here..."PTRs do exactly what they're named after. They transfer the dirt particles from one part of the print to another."

 

His booth was of average cleanliness. The floor was typical UA carpeting which in my opinion is not the best way to go. The projectors were not the cleanest I have ever seen. Brad admits that he only cleans them about once per week. I preface my statement like this in order to say with great certainty.

P5 works!

I observed his oldest print the Mummy. It had been playing for at least 7 weeks. It was dirt free. I couldn't detect any dirt on the print. I saw one spice go through the projector. There was no dirt announcing the arrival of the splice. I saw the motor start cue. I saw the changeover cue and that was it. His ultra sonic splices don't jump in the projectors. Had it not been for the cues I wouldn't have known the splice was there. Is it time for the labs to stop placing cues on the films?

Thanks for the tour Brad.

 

SIGN ME UP!!!
 

The 2 films that I put FilmGuard on, which were shedding massively, are now clean as a whistle. Last week it took us 30 seconds with compressed air and at least an additional minute wiping (and scraping off hard gunk) to clean the projector. Now they barely even need to be wiped at all. Not to mention that the onscreen image is 100% immaulate! Perfection! Digital video cannot compete with this!
 

What is the price for a Kelmar, or equivalent film cleaner and mounting bracket?

I'm interested in pitching the "FilmGuard" idea to my boss at Mercyhurst College. We get some CRUMMY prints.

I need to get the film cleaner and bracket for a Simplex / Potts Alpha system.

PS: What will be the price for a bottle of "FilmGuard" be when it becomes available. (Ballpark)

K.Y.S.O.T.I.
 

I understand your frustration, Brian. There have been some slight delays that have nothing to do with the FilmGuard formula itself, but it should still be fairly soon, hopefully. I had a print of Phantom Menace (Kodak) and a print of Big Daddy (Kodak) that were both shedding like no tomorrow and they are both perfect now, after less than a week. Yes, it even works on Kodak prints! I don't even use it on FUJI prints (no need), but I am still trying to obtain more media cleaners as it does bring out the colors!
 

Kelmar charges around $400 per cleaning machine if I remember correctly. You can purchase them through your normal cinema vendor and get an exact price.

The Christie platters come with the holes ready to mount. As for other platters such as the Strong, you can drill holes and insert a pre-threaded insert for mounting. I find it easiest to work with the cleaners on the side of the platters, but they can be used equally well on top of the projectors.

The delay in releasing FilmGuard is due to the plastic rewinding cores. The master cast mold is to be ready in about 3 weeks and assuming everything is ok, will be about 1-2 weeks after that for release.

 

For collector type prints which are only shown once a year, I recommend running them through the FilmGuard with every showing to ensure they don't dry out over time, become brittle and shrink.

Just a note, the Kelmar/Christie dry web media cleaners are easily converted for 16mm use!

 

Convienantly too much for me to order without authorization...

Which, by the way, gets me wondering, WHY are they $470.00? The material costs on these things can't be more than $20.00...
 

I have a newfound respect for higher priced articles such as the cleaning machine. I just found out recently to make the little plastic rewinder keys (for rewinding the media when using FilmGuard) that the mold itself would cost $9200.00 And that was not much more than a slightly modified media core!

Something tells me Kelmar isn't making all that much on those little cleaners. What is the going rate for PTRs? Someone recently told me $90 each! That's almost $200 for a set and that doesn't include the mounting bracket either. Oh yeah, and they don't do anything. A $1.99 egg of Silly Putty would probably pick up dirt better.

 

I have also wondered why Christie charges $5.00 for those pins that hold the reels onto the make up table...

As for PTR's, the last theatre i was at we paid close to $600 for a SPECO PTR with a bracket and two rollers.
 

I always thought it funny in the SPECO ads for this product the film running through the PTRs is faded red. Kind of makes you wonder what the long term effects are! (just kidding)
 

I agree with those blades being overpriced. What is Neumade thinking? Are they made out of platnum or something? Three years ago, I ordered eight new blades and it took literally ALL SUMMER for Neumade to send them out! That's customer service! Anybody else had a problem receiving equipment from Neumade?
 

Paillard Bolex made a 16mm splicer which bevelled both the emulsion and
base sides of the
splice, so the resulting overlapped splice was the same thickness as the
original film. Anyone
had any experience with these?

I have a large collection of 16mm prints and I use an RTI Pulsar 800
inspection and cleaning
machine. Will Film-Guard be able to be substituted for the RTI liquid
cleaner?

 

I have used the ECCO system too. It also depends on the fast-drying quality of the fluid. RTI automatically advances the flannel tape; ECCO requires you to do it by hand.
 

I hear it comes in 5 gallon drums now if you go through it like no tomorrow.