This is topic I got a test for Film-Guard.... in forum Film Handlers' Forum at Film-Tech Forum ARCHIVE.
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Posted by Chris Erwin (Member # 176) on 11-10-1999, 10:41 PM:
Hey guys, (and gals) I was wondering if I could make a good way to treat some of my Super 8mm films with Film-Guard. I could do the hand-rewind thing....but.... Any suggestions or comments?BTW, John at Kodak-Thanks for still making Kodacrome 40.
--Chris
Posted by Brad Miller (Member # 2) on 11-10-1999, 10:55 PM:
Been there, done that. 
Actually, I modified a 70mm Kelmar dry web cleaner exactly for this and made a mount for it to go on the platter...yes, a Super 8mm platter (take that Steve G!). FilmGuard was the only way to run Super 8mm with a Christie 2000 watt lamphouse behind the Beaulieu 7008EL, to keep the film from burning...and it worked beautifully.
If you can get your hands on ValueChoice wipers (or something similar), you can fold them over a few times to make a super plush cloth and squirt the FilmGuard right onto the pads and clean like normal...except you don't have to worry about winding so slow to ensure it "evaporates" before it hits the takeup reel, since it isn't designed to do so. Normally, I don't recommend hand cleaning, but Super 8mm is so small, it's easy to do without getting it on your hands.
Posted by Steve Guttag (Member # 268) on 11-11-1999, 06:12 PM:
>>"Actually, I modified a 70mm Kelmar dry web cleaner exactly for this and
made a mount for it to go on the platter...yes, a Super 8mm platter
(take that Steve G!)."<<You sir, are sick, very sick!!
Steve
Posted by Brad Miller (Member # 2) on 11-11-1999, 08:20 PM:
Thanks. Nice of you to notice!
Posted by Randy Stankey (Member # 64) on 11-12-1999, 03:52 PM:
8mm on a platter! Isn't that like shooting flies with a Howitzer?
Posted by Gordon McLeod (Member # 33) on 11-12-1999, 06:58 PM:
Many years ago after operating the Imax for 4 days of 13 hours shifts in a row the union called me and asked me to fill in for a sick projectionist ata rep house I get there and it is a student super 8 festival. Do you have any idea how small super 8 is after slugging 15perf Imax for 4 days
The machine they used was a Fumeo super 8 with a cinemecanica 1600w lamphouse on it
Posted by Brad Miller (Member # 2) on 11-12-1999, 08:56 PM:
I've got a pretty good idea, as there was one day I went from inspecting some regular 5 perf 70mm prints (building a good print from 3 worn ones) to running a show on Super 8mm about 3 hours later. I felt like I was going to break that 8mm film just touching it. I can imagine what that was like after a few days of IMAX projection! I think you get the record on that format switch.By the way, how was the gate cooled on the Fumeo? I had 2 intake and exhaust blowers forcing filtered air to keep the Beaulieu cool enough not to burn the film.
Posted by Chris Erwin (Member # 176) on 11-12-1999, 09:23 PM:
A 2000 watt lamphouse and a 1600 watt lamphouse for Super 8? Sure puts the DJL lamp in my Bell and Howell to shame! How big of an image? I set up one of my 8mm units in our booth once. The projector was the size of a 2000 foot reel!
Posted by Gordon McLeod (Member # 33) on 11-13-1999, 03:09 PM:
They had two blowers with vacume hoses blowing in the front and back of the apperture as well as several heat filters The picture was around 22' wide on a 110' throw
Posted by Brad Miller (Member # 2) on 11-13-1999, 03:50 PM:
My Beaulieu used 2 high intensity forced air blowers and a single heat filter. The biggest screen was 65 feet wide in scope. Lens was an Elmo f 1.0 with a custom modified lens barrel and the image was actually pretty darned good! Registration was steadier than many 35mm projectors and prints (like the shaky "6th Sense" ones) I've seen recently. Derann does a good job of making reduction prints of features.
Posted by Ben Wales (Member # 92) on 11-13-1999, 06:15 PM:
Come on guys, super 8mm?, this is bootlace film.
but then again, those popcorn kids projectionists/operators out there should only show show super 8mm, than real film like 70mm.
Posted by Brad Miller (Member # 2) on 11-13-1999, 06:38 PM:
Ben, what's easier...projecting a Super8mm with an excellent presentation or a 70mm film with an excellent presentation? I'll tell ya, 70mm is easier. Super8mm requires more skill and the tweeking of equipment. Granted, Super8mm will never have the resolution of 70mm, but the smaller the film format, the more attention is required to put on a good show. ...it may be bootlace sized,but it is still film. That VHS crap isn't. 
Posted by Gordon McLeod (Member # 33) on 11-13-1999, 11:28 PM:
How did you focus the light spot down?
did you use a diopter or just move the lamphouse back?
I recently picked up a old fumeo mag/opt super eight machine that take 2000' reels and used the Marc300 lampsource
I was thinking off of putting a ORC M1000 on the back of it Brad do you think that would work
Do you have pictures of your conversion?
Posted by Brad Miller (Member # 2) on 11-14-1999, 01:27 AM:
I forget where the condensor lens came from, but the fellow who worked on it with me had the lens in his stash of odd items. It did a nice job of focusing that light down. The lamphouse was butted right up against the Beaulieu.That ORC 1000 watt integrated lamphouse seen in the "16mm on a platter" link at the Picture Warehouse was originally used with the Beaulieu and when butted up right against the Beaulieu also worked well, although not quite as intense as that Christie.
Pictures are somewhere, but I'm not sure where. I was trying to dig them out a couple of months ago for posting and couldn't find them. Basically it looked very similar to the pics of the ORC1000 and Kodak Pageant listed above, except with a Beaulieu projector and Christie lamp. The big wooden board was the "alignment/base" board. There are 4 slightly cut out spots for the projector's feet to dock down into and the lamphouse slid on a track much like standard 35mm pedestals have (seen clearly on the 3rd pic). All that is required for setup is to place the board on a solid surface, dock the projector's feet into the half cut holes, dock the lamphouse in the track and slide up until it "bumps" up against the back side of the projector. With the 16mm version, that's all that was needed. With the Super 8mm version and Christie 2000 watt lamp, external forced intake and exhaust blowers had to be attached to the projector, but the actual physical alignment was preset and only the lamp needed to be focused. A lens holder of some sort can be made at the front to hold a Magnacom or anamorphic (as seen in the pic). Also, the Beaulieu is an ideal Super 8mm machine as it can output the film in the front just like the Kodak Pageant 16mm.
The only drawback of the system is if you need to angle the projector up or down, you must angle the entire board to prevent losing your light (as if you used the elevating feet on the front would do). I typically set it up so there is a slight shadow on the top masking, then "fine tune" the vertical projected image on the screen with those feet once a test film is running.
Here's the link to the 16mm on a platter: www.film-tech.com/picwarehouse/16mm.html