This is topic Dolby Digital Readers. in forum Film Handlers' Forum at Film-Tech Forum ARCHIVE.


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Posted by Stephen Jones (Member # 16) on 08-11-1999, 12:42 AM:
 
I am curios to find out why you guys in the U.S prefer to use penthouse readers rather than basement readers.I have used both and found no problems with either type of reader. I had the priviledge to attend a forum day which the company put on a couple of years ago when they and Dolby brought out a technician to Australia from the U.K. The question was raised which was better, and were told that Dolby recomended to use basement readers if possiable, the reason being was that up and down movement of the film coming from the platter caused the movement of the film through the reader to vary as the movement through the basement reader is more constant as I have said I have used both and have not had any problems with this.Most of our platters are located on the operating side of the projector at a close distance, whether or not this makes a differance or not. What do you guys think?.

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Posted by Joe Redifer (Member # 3) on 08-11-1999, 01:01 AM:
 
I have used both penthouse readers and basement readers myself. What type of projectors do you have your basement readers in? The type of projector is very important. We have a theatre with basement readers in Simplex projectors, and they work fairly well (white light, not L.E.D.) however the error rate hovers around 5 and 6 constantly, which is rather high. They don't fail too often, though. I personally use basement readers in the Christie P35GPOS machines, and the performance varies. If you have your belts too tight or the gears and pulleys are not clean, you will get vibration which will make the error rate jump to 'F' every few seconds. Once you iron out these problems, the error rate goes down anywhere from 0 to 4 consistantly. But all is not well in the world.

No matter what you do, there will always be vibration at the Dolby reader (basement). If you get less than a perfect print (all of them) then you will see jumps to 'F' on occasion. The LED intesity tends to drift over time as well. No 2 projectors will have the same exact amount of vibration. My fix for the Christie is simply to place a 1/4 nut under the upper tension arm of the reader and stick it down so it doesn't move. This eliminates about 80% of the vibration, so that only really bad prints with really bad code will 'F'. With penthouse readers, you can get the same low error rates, but rarely do you have to deal with F-ing or dropouts, even with opaque splices. They just seem to offer more stable and consistant performance without worries. I always put my platters on the non-operator side and allow at the very least 6 feet between the platter and the projector.
 

Posted by Stephen Jones (Member # 16) on 08-11-1999, 09:27 AM:
 
Joe,
Thanks for your comments. The projectors in question are Centuries with the basement reader retro fited with a unit from Component Engineerng and the other a Cinemecanica Vic 5 with a factory fitted reader. The projectors fited with the cat 700 are Baueru3 and Kinoton f.p 30s.The platters used with the later are specco including the Centuries and Cinemecannica platters with the vic 5. They are placed about 6 ft on the operator side. The error rate with equipment above is low and hardly shows F.

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Posted by Brad Miller (Member # 2) on 08-11-1999, 09:31 PM:
 
I really don't think the whole platter thing has that much to do with it, unless the platter in question is a Christie with it's center brain roller spring still intact. That little back-tension roller is notorious for bouncing the film, which could cause such problems. Platter distance also should not be an issue, provided the platter is feeding out steadily in the first place. However, for reel to reel operation, I could see where a basement reader would be preferred since the tension constantly changes coming off the supply reel.

Personally, I think the major problem with the Christie basement reader is their bearings. Now, let me make this clear...I am guessing, as I have never worked with one up close and personal. However, the Christie analog reader's bearings are a joke, so why should the other be any different? Notice Simplexes and Centurys don't seem to have such problems with basement readers!

My main reason for sticking with a penthouse reader is moveability. With a basement setup, that's it. You're stuck! With a penthouse, you can move things around fairly easily should the need arise. The added bonus is of course, that I have yet to find a penthouse reader that did not track smoothly.

 

Posted by Stephen Jones 1 (Member # 114) on 08-12-1999, 05:59 AM:
 
Brad,

I agree with you on the concept of the basement readers in the Christie Projectors. I have worked with penthouse Dolby readers and basement readers and the basement readers go into "f" almost all the time. It's almost ridiculous. I have a question for you. I'm having a problem with two of my projectors where the analog sound from the P35GP Christie basement reader make the sound very "gargly" like the dialogue is underwater. I thought it might be the way some of the projectionist were threading the sound head. But, all were threading correctly and LED is correctly aligned. I was wondering if you had an idea what could be causing this.

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Stephen Jones is the Booth Manager at a Cinemark Theatre in Benton, Arkansas

 

Posted by Joe Redifer (Member # 3) on 08-12-1999, 08:03 AM:
 
I have had this happen. There are a few things to check into:

Somehow I am betting 10 to 1 it is the bearings causing the trouble from what you are saying.



 

Posted by Joe Redifer (Member # 3) on 08-12-1999, 08:29 AM:
 
Oh yeah, I almost forgot! Your optics could be "out of focus" as well. This has also happened to me at least twice. If you take an allen wrench and loosen the screw that holds the barrel to the sound lens in place, you should be able to twist the ring on the front of the lens back and forth and this can make a world of difference. You may want to confront the technician about doing this. Tell him to bring his oscilloscope. Usually the symptom is very muffled sound. How do the optics get like this? It's a Christie! It's designed to fail! Just kidding, they can become loose during shipment, and if you don't retighten them during install, bad things happen.

 
Posted by Brad Miller (Member # 2) on 08-12-1999, 07:10 PM:
 
Well, it seems a little creativity has started with this thread. Stephen's "signature" is a pretty good idea to detail where the poster works. And what better way to make a point than in bold! Oh yeah, a little Dr. Evil humor is always fun too.

Seriously, I'm starting a new thread on Christie projectors after a visit by a Christie rep today...check it out, it'll surprise you.

 

Posted by RICK HAMILTON (Member # 115) on 08-12-1999, 10:29 PM:
 
STOP!!!!!! Don't touch that lens barrell! If you loosen any adjustments on the sound optics, you are asking for trouble if you don't have a scope, analyzer,test film and knowledge. It sounds like either lateral guide, or sound drum bearings. If you loosen and twist the lens barrel, then you mess up the azimuth. If you move the barrell in or out, then you mess up the focus. You need a scope and analyzer hooked up at the same time to make these adjustments! Do not attempt these!
 
Posted by Jim Ziegler (Member # 86) on 08-13-1999, 03:57 AM:
 
While on the subject of SRD's, what type of oscilloscope is needed to sdjust them? I have seen older single and dual trace scopes for sale for reasonable prices, but I am not sure what I need.


 

Posted by Joe Redifer (Member # 3) on 08-13-1999, 05:43 AM:
 
Ummm... Didn't I say that he should get his tech in with his scope? Yes, I did! I think he is plenty smart enough to figure that part out anyway.
 
Posted by RICK HAMILTON (Member # 115) on 08-13-1999, 11:03 PM:
 
No Joe....And I quote "You may want to confront the technician about doing this". If one of my booth people did something like this, there would be more than just a "confrontation". Please do not give technical advice like this to projectionists and booth managers! Why would the fact that it's a CHRISTIE projector make the lens barrel out of adjustment?? By the way, what does it take to be an "Expert Film Handler"? Just curious.
 
Posted by Brad Miller (Member # 2) on 08-13-1999, 11:22 PM:
 
The forum program is designed to "bump up" the postee's standing with a certain number of postings. The first promotion is at 100 to "Expert Film Handler" which Joe has just hit. (It in no way means you are not an expert, it's just a little fun thing built into the system.)

In reference to a projectionist who does not have the tools and knowledge to properly adjust an SRD reader, I would have to agree with Rick as typically it will cause more harm than good. This goes for analog sound too. However, I have been able to readjust not only an analog soundhead but an SRD soundhead without tools in an emergency situation in the field. It "is" possible, but of course, when I went back with the proper equipment, I was able to improve on it. ...but I did get it running for the show!

Also, I think I read Joe's post a little differently. I took it more to mean the adjustment is possible if the thing isn't working at all. "If it ain't broke, don't fix it. If it doesn't work, what are you gonna do, break it?"

I have known Joe for awhile now and I can't imagine him intentionally trying to persuade a kid who knows nothing about what he is doing to make such an adjustment...however, I can see how such could be misinterpreted. In his defense, this forum started out with mainly experienced projectionists/engineers and has grown to include even newbies that want to learn the practice who haven't even been able to thread a machine yet. You have brought up an excellent tip for the forum here Rick. Some things requiring strict engineering knowledge might be best left for private emails between people. I think when Joe returns to the forum toniht, he will agree too.
 

Posted by Sean Thompson (Member # 105) on 08-14-1999, 01:11 AM:
 
Brad,

This is a little off subject (...acutally a lot), but I would just like to say after reading this forum for the past few months and the posts that were just made, I have to conclude that you are one of the best moderators I have seen of any forums I frequent. You take so much pride in keeping this forum in tip-top shape. I would love to see what u do with your theaters! Keep up the good work!

Thanks Sean
 

Posted by Joe Redifer (Member # 3) on 08-14-1999, 03:22 AM:
 
I am in no way responsible for what anybody else does in their projection booth. This is a forum of projection and film knowledge. If somebody has a question that I think I may have an answer for, then I will answer it. If it is overly technical, so be it. I do not know the technical skill of Stephen Jones 1, so that's why I said "you may want to have your tech..." Stephen Jones 1 is responsible for figuring out what he can and cannot accomplish on his own. Not everyone on this forum is a popcorn slinger running the projectors between batches of kernels. Most are hard working dedicated operators and engineers.

If you want to get on my case about my Dolby Digital tips and my Christie comment, then glide through the rest of this forum and behold all of the posts that yield technical answers. Mine isn't even the tip of the iceberg. You should respond to those guys, too. Look at Brad's "Christie Equipment Tips" page. Nowhere in there does it say "Have your technician do it for you". It is written as if he is telling you how to do it yourself. Perhaps a post telling everybody that without the proper tools and knowledge, you will screw up your Christie platter when you take it apart and mess with the spring near the filter cam? And behold all of the other anti-Christie comments on the site. It's called opinion. I don't want to get into nasty arguments, because that is not what this forum is for. It is for film handlers to share information.

Basically all that I am saying is that if you bash me for what I say, then you must bash everybody else who gives out similar technical information in the forum. I demand equal opportunity bashing!

Thank you.
 

Posted by RICK HAMILTON (Member # 115) on 08-14-1999, 07:35 AM:
 
Joe- I just found this site the other night and this was the most recent topic. I thought I could save Stephen Jones 1 from what would be in my opinion "messing up" his optical alignment. I just think he should be aware of the consequences of trying to adjust the optics. As far as bashing everyone else, I don't have time, and it probably isn't necessary. I think this is a good site that offers some great tips. From a technicians point of view though, I don't like the fact that some projectionists may now try to "fix" some problems that may be too technical for them. Sorry if I offended you!
 
Posted by Scott Norwood (Member # 30) on 08-14-1999, 09:24 AM:
 
I don't know very much about aligning a Dolby Digital reader (I've read the CP-500 manual, but that's the extent of my knowledge), but the printed description doesn't make it sound any harder than a standard A-chain alignment. In some ways, it sounds like a simpler procedure.

Even a standard A-chain optical soundhead alignment isn't that difficult, particularly if you have a scope and a full set of test films. It's really just a "cookbook"-type procedure that can be done by anyone with a little technical knowledge and some patience. Of course, it helps tremendously if you have seen someone else do it beforehand.

It's even possible to do a fairly good job "by ear," using only the Dolby Tone/pink noise loop (been there, done that). It's really amazing what can be done with a Dolby manual, a bit of patience, a desire to do things "right," and the knowledge that management will never pay for a full set of test loops or a tech to visit the theatre.
 
Posted by Gordon McLeod (Member # 33) on 08-14-1999, 10:36 AM:
 
I think there is an obligation that lies with the reader to decide whether to follow a post's advice or not. This is a public forum so all can read it not just a hierachy based on
engineer
technician
projectionist
operator
popcorn button pusher on saturday mornings
I just feel that all information exchange is important how it used is strictly the end users obligation
Maybe Brad will have to post a disclaimer to that effect

 
Posted by Scott Norwood (Member # 30) on 08-14-1999, 11:20 AM:
 
Gordon's point is a good one--maybe Brad should have a universal disclaimer so that we all don't have to have to worry about getting sued if we don't type "do this at your own risk" at the end of every post.

Of course, no one should be making adjustments to sensitive equipment without some knowledge of what he is doing and the consequences of misadjustment. If something works most of the time and is difficult to adjust, it's probably not worth the risk of making it worse. On the other hand, if it just plain doesn't work, then there's not much to be lost by experimenting.

Some of this also depends on the attitude of theatre management. Some places will call a tech to replace an exciter bulb. Others (like a certain place where I used to work) haven't had a tech visit in years. Obviously these are two extremes, but if you have someone who comes to your theatre every month or six months or year to align everything, it's worth being present to watch what he does and ask questions. Manuals are helpful, but are no substitute for seeing someone who's done the same thing dozens of times before.

Along the same lines, I recommend that all new projectionists try to seek out some "old timers" who have been in the business for decades. If you're lucky, you'll find one or two who are friendly and will enjoy having someone to talk to; learn everything you can about film care and projector maintenance from these people. In many cases the long-time union guys are the last of a dying breed of career projectionists, and it is worth learning from them before they are all extinct. Also, visit lots of different types of theatres; if you work in a platter house, visit a reel-to-reel booth; if you run a manual reel-to-reel setup, visit a gigaplex with platters and automation. Make an effort to understand how film is handled in different environments and what contributes to film wear and damage (and how to avoid it).

This forum is a great place to exchange information and ideas, both highly technical and general gripes about Technicolor reels and whatnot. Brad has done a nice job of gently moderating things (thanks!) without being overly intrusive.
 
Posted by Gordon McLeod (Member # 33) on 08-14-1999, 01:32 PM:
 
Regarding Osiliscopes The minimum for aligning the SRD CCD is a 20Meg Dual Trace Scope
I use a Leader 60meg dual trace miniscope
The LCD Digital scopes just don't cutit
 
Posted by Brad Miller (Member # 2) on 08-14-1999, 11:53 PM:
 
A disclaimer? Hmmmm...what a good idea.

Thanks guys!
 

Posted by Bobby Parry (Member # 117) on 08-15-1999, 02:30 AM:
 
I've experienced the best performance from the Dolby Cat 701 Readers. I've seen errors as low as 1's on these. The best I've seen from a basement reader was a 2 on a Century with a Component Engineering reader. For the best, most consistant performance the Dolby Cat 701 is the only way to go.


 

Posted by Joe Redifer (Member # 3) on 08-15-1999, 02:36 AM:
 
I certainly agree that the Cat. 701 is the most consistant good performer and definitely the way to go. However I have seen error rates as low as 0 (not 0 and a half) on my Christie basement readers. They hit 0 and hold it. It depends on the movie. I have seen at least 5 of our readers do this. Unfortunately the consistancy is not as good as the 701
 
Posted by Bruce McGee (Member # 131) on 08-15-1999, 11:31 AM:
 
Back to self-aligment of the sound for a minute:

When I got my Holmes, the seller shipped the lamps, lenses, and the sound slit lens in a separate container to "protect" them.

Having messed up my share of 16mm junkers that I was experimenting with, I was not looking forward to a sound alignment.

I found a reel of film that had alot of music on it, and went to it. Within 2 runs of the 20 minute reel, I had it pretty close to what I thought was clear, and true.

A couple of months later, I found a few test loops on the net. I set it up using the headphones, and my meter (analog)

I was not even close with my initial set ups. What a difference! Now, if my oscilliscope would only work again (very old dual trace B and K with no visible model #--case is missing--got hit by lightning while I was working on a TV--had no idea the storm was coming.) I could really tweak the alignment. For stereo, it s going to have to be perfect.

Should I try to install the stereo cell that Brad sent me less than 1/8" from the running film? This will require some "engineering" on my part.

You people are great. I have learned alot here.

Bruce
 

Posted by Scott Norwood (Member # 30) on 08-15-1999, 05:41 PM:
 
Bruce - interesting post. I certainly wasn't recommending aligning a soundhead by ear...I just said that it can be done, although you are definitely correct that a mono system is far less finicky than a Dolby system. Also, when you do the alignment you need to be sure that you are using a good print (i.e. not old, shrunken, cheaply printed trailers) with a well recorded track.

In my case, with a two machine booth, one projector's soundhead was aligned almost perfectly, which helped things tremendously when I had to replace the solar cell on the other projector. What I did was run the Dolby tone loop in projector #1 (good) and set the levels on the preamp card in the processor (CP-50). Then, I connected the second projector to the #1 input on the processor, ran the Dolby loop on that machine, and physically adjusted the solar cell to match the levels of the channels as closely as possible (optics were OK). I then re-connected each projector to its proper input and set the levels on the preamp card for the #2 projector. It wasn't perfect, but it only took about ten minutes, and sounded OK (the matrix was fine, though there was a little dialogue leakage in the surround channel).

Good luck. Another way to set things up by ear is to get a good mono print and adjust the optics and solar cell position while monitoring the surround channel (this, again, assumes a Dolby system). When you hear no information in the surround channel, check the left and right channels. If everything is aligned properly, the matrix will decode the mono information and play everything through the center channel only.

I'd be interested in hearing others' suggestions for low-budget soundhead alignment. I certainly wouldn't recommend that anyone try this unless the optics and/or solar cell are so far out of alignment that the situation can't possibly be made worse, which, sadly, is the case in way too many theatres.
 
Posted by Jason Burroughs (Member # 68) on 08-16-1999, 12:58 AM:
 
This may be a little off subject, but to perform an A-Chain alignment on a Sony DCP-1000 is incredibly simple. No oscilliscope is used, all you need is the standard A-chain alignment test film. The on panel display is a little odd, but it seems to work quite well. Now if I can get my hands on some of the test films :-)


Jason Burroughs is a projectionist at the Loews Keystone Park in Dallas, TX
 

Posted by Stephen Jones (Member # 16) on 08-16-1999, 01:50 AM:
 
When I posted this topic I really didnt expect this amount of discussion on the subject of Dolby Digital readers but thats what what a forum page is all about.I have used both type of readers and have found they both give good results I suppose it all comes down to personal preference. The discussion on who should fix or adjust what in the bio was also interesting. My 10cents worth is that if you dont Know what you are doing contact someone who dose. I have been projecting 35mm film in cinemas and drive-ins for 29 years and over that time have learnt a thing or two, mainly from watching techs and asking them every question I could think of. One of them told me "if aint broke dont fix it"and thats what I have done over the years, I also now how to effect emergency repairs to keep the show going till a tech can attend to the problem (eg reattach a cell if it is dislodged from the bracket)as for more advanced technical adjustments I allways ask the techs before I attempt anything and they allways advise me yes or no.As I have worked in theatres in the out back I have learned thing the hard way as well as you are miles away from any help and have to do things yourself this has given some very good experience over the years, but again I say if you are not sure contact someone who dose, also a lot of cinemas dont have the technical equipment that is needed to the job anyhow.

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Posted by Stephen Jones 1 (Member # 114) on 08-16-1999, 04:34 AM:
 
Sorry to get everyone in a tangle about my problem. I take the advice given to me as advice and not a "must do." I'm certainly not going to go messing around with anything that requires a oscilloscope to calibrate it. If I don't have the tools or the know how, I'm just gonna get someone else how does have the tools and the know how to do it for me and maybe show me how to do it. It's very hard to get any kind of technical training with projectors and Dolby systems when there's no one around to teach it except for a Technician that comes around maybe once a year. I just don't want my presenatation to be alright, I want it to be the best. Does anyone have input on where someone like me can get this type of training? I'd gladly go to a technical school, if I knew they were teaching me how I can perfect my presentations.

I think this page is great and I love that the well-experienced projectionist and technicians can share their thoughts with us "newbies." Thank you Joe and Rick. I know both of you are trying to help and I appreciate that.
 

Posted by Gordon McLeod (Member # 33) on 08-16-1999, 01:27 PM:
 
Sorry the new Sony software eliminates the scope feature it wasn't all that accurate

 
Posted by Rick Long (Member # 213) on 08-17-1999, 12:59 AM:
 
When you are alone in the booth and you know that the optical (or digital) reproduction isn't all it could be, there is a great temptation to try and see if you can improve the situation. If this temptation isn't there, you are in the wrong job.
Consider first, however, that the system once worked perfectly. Something has since changed. Taking the optical system as an example, (exciter-lamp, sound lens, latteral-guide adjustment and solar cell) think about what may have changed. In most projectors the sound lens is tightened down pretty well. It is not likely that it has shifted. Moving this lens can cause you an awful lot of grief. To properly align an optical sound lens requires a dual-trace scope, real-time analyzer, pink noise loop and two beers. (The beers are for consolation after you discover you have done a perfect A-chain alignment with the loop threaded with the emulsion on the wrong side).
Dolby puts out an excellent test film, the C.N. 251 "Jiffy". If you can convince your management to get you a copy of this film (please don't swipe it from your technician - he'll get even, believe me), it will show you more than you ever wanted to know about the quality of your sound system.
 
Posted by Brad Miller (Member # 2) on 08-17-1999, 02:09 AM:
 
I must agree with Rick. Generally the lens is not the problem. However, I have seen the set screw come loose on a Simplex. On a Simplex an operator can easily make this adjustment by ear in the booth monitor (or better yet, blasting with the port open.) On most other soundheads, stay away from it. Many problems can simply be tracked down to a dirty cell or gunk on the outer edge of the sound drum, partially blocking the left analog channel and simple stuff like that.

As to the beers, did you know Specialty Products (makers of technician's tool kits) are now making a special beer holder on their flaps? Engineers will now be able to carry that all-important beer wherever they go with their tools. That way there is no need to hide the beers in the water circulators!

 

Posted by Gordon McLeod (Member # 33) on 08-17-1999, 11:23 AM:
 
For the beers do they make a deluxe refridgerated version for those jobs where the booth isn't airconditioned. Nothing worse than a warm beer after discovering the loop is backwards
gord

 
Posted by Rick Long (Member # 213) on 08-17-1999, 11:45 PM:
 
Water coolers and air conditioning? Gee, thanks guys, I hadn't thought of that. Saves me from borrowing a lot of ice from the concession stand.
Back to digital problems, the old Simplex souhndhead manuals for the SH-1000 (four-star) soundheads (similar to the Five-Star, but built better), used to recommend putting the sound impeadance roller in the un-locked (thread) position overnight to prevent the occurance of a "flat spot on the roller which might cause a slight warble in the sound until this flat spot rolls itself out. (Sort of like nylon tires in cold weather).
Given the Dolby digital tracks suseptibility to "vertical jitter", I wonder if this practice should again be adopted. Here in Toronto, with the Union contract being what it is, projectionists are often told to go home before the last performance is completed, thus this task would be left to managers or ushers, some of whom leave a projector running all night with the lamphouse on.
A second item in the old Simplex manuals advocated putting an occassional drop of oil on the pin that locks the impeadance idler in place. This pin is located under the sound drum and is what catches the latch when you close the idler. The purpose of oiling it was to prevent the latteral guide roller from sricking in the wrong position due to friction on this pin.


 
Posted by Rick Long (Member # 213) on 08-17-1999, 11:49 PM:
 
By the way, do you have an address for Specialty Products? Those damn plastic bags break at the most embarassing moments.
 
Posted by Joe Redifer (Member # 3) on 08-18-1999, 12:03 AM:
 
Rick - try running Dolby Digital with the soundhead like you suggest and see what happens. If it does not work, close the latch. No biggie. Plastic bags?
 
Posted by Brad Miller (Member # 2) on 08-18-1999, 12:05 AM:
 
Personally I pull those little nylon idler rollers OUT of there. They do nothing but embedd dirt into the emulsion (when the film is warm and soft, just after being heated by the lamp). A very idiotic design from the 30s I believe...and no one has bothered to change it!

Get yourself a media cleaner rubber insert (intended for the takeup shaft) and cut to size and install in it's place. No more needing to open them up at night, no more possibility of a flat spot and no more dirty films.

Of course, you must do another A-chain. Nothing is easy.

Plastic bags??? Do you have a beer storage trick you're keeping from us?
 

Posted by Rick Long (Member # 213) on 08-18-1999, 12:32 AM:
 
Joe, I meant that the film be run with the impeadance roller closed. Just open it after the last performance. This same proceedure used to be advised for turntables to prevent the same problem.
Plastic bags work if you put the beer in first, then stuff the top of the bag with test loops, S.P.L. meters, ect. Warning - don't put the scope into the bag as well.
 
Posted by Rick Long (Member # 213) on 08-18-1999, 12:34 AM:
 
Of course, the girl behind the candy bar may wonder why you're cooling your test loops with ice.
 
Posted by Jim Ziegler (Member # 86) on 08-18-1999, 02:26 AM:
 
Naaa.. They are probably too clueless to notice, after all, these are the same people who don't notice the popcorn burning.
 
Posted by Joe Redifer (Member # 3) on 08-18-1999, 02:52 AM:
 
And if they ask "What are those cans?" just tell them it is oil. Tell them WD-40 fixes everything. It works best when it is cold. When they point out the fact that you are there to change an exciter bulb, kindly remind them that it is necessary to spray the socket with WD-40 first, and the bulb itself. Works great on xenons!
 
Posted by Gordon McLeod (Member # 33) on 08-18-1999, 10:58 AM:
 
WD40 on xenon bulbs hmm Maybe it works like the antenna greese we used to send the new kid out for it makes the radio wave slip off the mast better
Or the famous film stretcher. Rick will remeber once that I sent a apprentice up to his shop to gett the 1.66:1 film stretcher ( each format does require its own) and him coming back with the heavy commutaor from a Hertner MG set in his trunk quite proud of himself
 
Posted by Rick Long (Member # 213) on 08-18-1999, 09:56 PM:
 
Gord, of course, was the one who advised this same apprentice that the problem of static build-up that occurs when checking film on the rewind bench, could be cured by taking a jumper lead and attaching one end of it to the grounded rewind bench and the other end on the tab of his zipper.
 
Posted by Brad Miller (Member # 2) on 09-28-1999, 12:09 AM:
 
Has anyone else noticed that the same reel of film will track it's best on a cat699 as opposed to a cat700? I find this all the time.
 
Posted by Martin Frandsen (Member # 74) on 01-22-2000, 09:34 AM:
 
My question is about the basement readers for cinemeccanica. I have a vic8 wich i will like to run 'digital'. By reading what you have posted earlyer it depends on wich projector you have. I could of cause buy the penthouse reader ( cat701 ) and get away from nearly all problems except one, that is when the upper reel feeds the film in to the reader it can go thight/slack (varios) is that a VERY big problem?

Thats why i will like to no if the basement readers made by cinemeccanica (in my part of the world) are worth buying?

I have a platter so i COULD of cause skip the upper reel for running digital and purchase a penthouse reader and be happy

So the main question is:
Are the basement readers for vic8 worth buying? do they run with out to many -F-'s?

Another big issue here i will ONLY run film collector prints. They quit often are not all in the best condition. The cat701 will be best for that i think.

A lot of question from me in one post, hopefully with out to many spelling mistakes, i am getting better at it all the time

Any help is very appreciated.

 

Posted by Brad Miller (Member # 2) on 01-22-2000, 04:34 PM:
 
In my opinion, stick with the penthouse. You never know, one day you may get a different projector for yourself and THEN where will you be? You'll have to buy another basement reader!

If you're getting a bounce on your supply reel, then the drag tension or friction pad is usually at fault. Steve Guttag I think is our resident expert here on running reel to reel. Perhaps he will chime in shortly.

 

Posted by Ari Nordström (Member # 288) on 01-22-2000, 07:07 PM:
 
>>"I'd be interested in hearing others' suggestions for low-budget soundhead alignment."<<

If you have a laptop computer with a decent Soundblaster-compatible soundcard, there are some fairly good RTA programs out there, for free. I've aligned a couple of A-chains using an old scope and RTA freeware in the laptop, with good results (confirmed later with professional-quality RTA's). The real problem is that since the sound curve you see really isn't flat because of various laptop hardware limitations, you can't really trust the RTA all the way when adjusting the hf. You need a reference reel you really know, but then, you'd need one regardless of the quality of your RTA. Focusing the soundhead optics, on the other hand, becomes entirely possible and very reliable.

Aligning the B-chain using a freeware RTA isn't recommended, however. Even if you find a good microphone, the sound card will probably not give a flat curve, and most freeware RTA's don't have calibration functionality.

These days, I use a program called SpectraLab that makes the A-chain alignment fairly reliable. I'd still like to own a "real" RTA, though. (And a really good microphone, of course.)

I agree that it is possible to align an A-chain "by ear" only, but it's very time-consuming and requires a test reel (preferably several of them) you know well. Plus, of course, the usual test loops.

A note to my tech (if you happen to be lurking): I leave the alignment of my theatre to your capable hands, of course.
 

Posted by Steve Guttag (Member # 268) on 01-22-2000, 07:22 PM:
 
>>"Has anyone else noticed that the same reel of film will track it's best
on a cat699 as opposed to a cat700? I find this all the time."<<

Yes, I agree, the Cat. 699 seems to get lower error numbers (well, bar graph) than the Cat. 700 running the same reel. I currently have a two projector set up where one has the 699 and the other has a 700 and the 699 wins every time.

The 699 is a machined unit whereas the Cat. 700 is cast but more likely the result has to do with the Cat. 699's ability to deal with speed anomolies. It has a spring loaded roller just prior to the sprocket that takes the shock out of bouncing film prior to the drum so it is rather smooth at that point. The Cat. 699 also has one more roller prior to the springed roller which yield a bit better guidance and works in conjunction with the springed roller. I think if the Cat. 699 had a more massive flywheel, like the Cat. 700 it would track even better.

My preference for penthouse readers are 699, 700 and 701, in that order. Kind of a digital regression!

Depending on the projector, I prefer basement readers, especially Component Engineering's Century Basement reader, your error numbers should be as low or lower than a penthouse reader with that system or you haven't set it up right.

Steve

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"Old projectionists never die, they just changeover!"

 





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