This is topic Japanese-made 35mm Projectors in forum Film Handlers' Forum at Film-Tech Forum ARCHIVE.
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Posted by Erkan Umut (Member # 330) on 01-26-2001, 05:06 PM:
If you need detailed information on Japanese 35mm projectors, you may visit my web site:
www.erkanumut.com/j.htm
[ 11-26-2005, 06:50 AM: Message edited by: Erkan Umut ]
Posted by Paul G. Thompson (Member # 655) on 01-26-2001, 10:05 PM:
It was in 1962, maybe 1963, when I visited some theaters in Yokosuka, Japan (while I was in the navy)The projectionists sure did things differently than we do. First thing I noticed was they had no splicers. They did all their splicers freehanded with a pair of scissors and a cotton swab. And their splices were perfect. This one lady projectionist showed me how to do it. She would hold the film up to the light, and make a perfect cut. Then she took the other end and made the cut for one perf overlap. Then, with her scissors, I heard two GROTZZE's (scraping of the emulsion with the scissor edge) and she would piece the ends together with her fingers. At that time, she would use a cotton swab with film cement, and a quick two wipes and a clamping of her fingers on the splice, it was done. It took her 15 seconds to make a splice, and another 15 seconds for it to set. A perfect one, at that!
She was an old carbon-arc projectionist, her lamphouses looked like Peerless magnarcs, but it had the "ROYAL" trade name. The projectors looked like modified Super Simplexes, with the same trade name. Anyone know anything about these setups?
Posted by Gordon McLeod (Member # 33) on 01-27-2001, 03:43 PM:
Tokiwa and FUji central are workhorse japanesse projectors
Also the toshiba photophone line which copied brenkert RCA.
The even had a BX100 35/70mm machine and a knockoff of the dp70
Posted by Paul G. Thompson (Member # 655) on 01-27-2001, 04:26 PM:
That BX-100 35/70 must have been one rare breed. I have never seen one.
Posted by John Pytlak (Member # 331) on 01-27-2001, 07:23 PM:
AFAIK, until recently, platters were not very common in Japan. Large reel "towers" were the preferred mode of automation. I've seen a training video for Japanese projectionists, and they seem to emphasize professionalism and showmanship. One of the best movie presentations I've been to see was "Dances With Wolves" in 1991 at a very large Tokyo cinema just off the Ginza. Flawless 35mm print and presentation on a very large screen. The print was in English with Kanji subtitles along the side, and the printed English subtitles at the bottom of the frame for when the Lakota Indians spoke in their native tongue.Interestingly, most of the major releases in Japan are printed on Kodak film. 
------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Eastman Kodak Company
Research Labs, Building 69, Room 7419
Rochester, New York, 14650-1922 USA
Tel: 716-477-5325 Cell: 716-781-4036 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion
Posted by Martin Frandsen (Member # 74) on 01-28-2001, 09:10 AM:
Did Tokiwa make any small (travel) projectors for 35mm?------------------
Martin Frandsen
Film crazy!, Big 70mm fan!
Posted by Michael Barry (Member # 237) on 01-28-2001, 09:35 AM:
The first projector I used theatrically was a portable 35MM Tokiwa. They had a 1000W incandescent bulb made by Ushio, and the spool arms were lengthened to take 6000 foot spools. They worked OK, but were a bit noisy and they started up too suddenly for my liking, sometimes breaking the leader on startup. The changeovers were done by extinguishing one bulb (and exciter) while striking the other. Not the most 'elegant' setup I've worked on, but I learned a lot! They (the venue itself) could show all ratios and had good quality lenses from Isco and Schneider. The quality of the image, while not the brightest, was often stunning.Now I really ought to go back and get photos for the picture warehouse. It might qualify as the world's smallest booth! It was literally in a bathroom and was converted from a toilet! You couldn't actually go inside - too small. Standing on a pedestal to (barely) gain access was about the limit. But that's not all! The 'rewind room' (separate, of course) was the inspiration for the 7 1/2 floor in 'Being John Malkovich'. If anyone has worked in a smaller booth, let me know! 
This was back in 1992. I showed a lot of foreign classics there. My first screening ever was a double feature of Jean Cocteau's 'Orphee' and Ingmar Bergman's 'The Virgin Spring'. These 35s looked pretty good considering the vintage, especially the other Bergman stuff they had. Sven Nykvist's photography is peerless.
Posted by Erkan Umut (Member # 330) on 01-28-2001, 10:15 AM:
Attn. to Mr. PAUL G. THOMPSON,
------------------------------
Sir! I could not reach you via your e-mail!
I thank you very much for sharing your nice memory with us.
If you like I can send you some info on "ROYAL" brand japanese projector.
Please email me.
Thanks again.
Erkan
Posted by Paul Mayer (Member # 355) on 01-28-2001, 05:06 PM:
The Cinerama Dome in Las Vegas, NV had a pair of Japanese AA-II knockoffs called Toho Imperials. These machines went in with the original construction in 1963. I wonder what the Toho/Toshiba relationship was (same machine/different name)?
Posted by Paul G. Thompson (Member # 655) on 01-28-2001, 05:29 PM:
Erkan: I'm sorry the usnrete7@aol.com email address failed. I had to put some strict email controls on that screen name since the SPAM and other stuff was overwhelming me. I'll edit it again to make sure you are on the acceptance list. As for now, there are three email addresses you can use:
bullplop@aol.com
paul_g_thompson@hotmail.com
ret_nav_cpo@yahoo.com
One of those should work.
P.S. to the rest of the forum members, please feel free to use the above addresses if you desire to send me email. Thanks.
Paul
Posted by Paul G. Thompson (Member # 655) on 01-28-2001, 05:47 PM:
John, you were "right on the button" when you said the Japanese projectionists emphasized professionalism and showmanship. I never saw a "botched" presentation in their theaters. I wish the USA and the greedy corporates would take note of that.
Posted by Paul G. Thompson (Member # 655) on 01-28-2001, 06:06 PM:
Yeah, Michael. I worked a booth just as small as that, at the Northern State Hospital in Sedro Woolley, WA. That was the state asylum for the mentally ill, (maybe I belonged there because I ran the booth )and it was small and hotter than hell. A shoehorn was standard equipment for that booth, as you needed it to get through the booth door.
Posted by John Walsh (Member # 168) on 01-28-2001, 09:48 PM:
I've run several Japanese films, and from what I can tell (by the reels) I would agree with y'all: they are excellent projectionists.All the reels come on cores, (not unusual for most non-US films) each in a plastic or sheet metal can. The reels all come wrapped in a plastic bag; the reels are wound tight enough so they don't "fall-out" when you go to mount them on the split reels. The prints are clean, heads-out, no splices (never mounted on a platter or damaged) and clearly marked.
Ho-hum....
Posted by Mark Gulbrandsen (Member # 72) on 01-29-2001, 04:53 PM:
Michael,
Years ago I also had one of those Tokiwa portables. I think it was a model T-60. Luckily I got mine cheap at an auction in Burbank. It's definately a reel leader snapper with the quick start. I also had trouble keeping any sort of lube in the movement!! What a piece of junk! The roller framer was also really bad. I have yet to find a decent portable 35mm and I think its because of the overall crappy intermittents that most portables usually have. Prevost made what they called a portable but the head was actually a P-93 theater machine. I have also have a few MP-90's and they were as bad as the Tokiwa. The Phillips FP-4 is only so-so, and not too gentle on film either. The Russian copy of the Ziess portable is about the best that I have found in a true portable. At least the picture is dead steady, but I wouldn't run any important film on them. The old DeVry is probably about the best portable still around. At least it has a good movement and standard framing.
Mark @ GTS
Posted by Paul Mayer (Member # 355) on 01-29-2001, 08:02 PM:
Regarding the Japanese plastic film cans, I really like the ones that have a spindle molded into them to hold the core in place. If you have less than a 2000' load on the core, the spindle keeps the pack from banging around inside the can. Neat!
Posted by Gordon McLeod (Member # 33) on 01-30-2001, 09:32 AM:
The MicroCine portable is a decent little machine. When the Eaton's Centre cineplex converted to 35mm from 16mm years ago all 21 screens used them for many years grind in each of the rear screen booths. Later they were replaced with Prevost p55's
Posted by Stefan Scholz (Member # 147) on 02-01-2001, 02:40 AM:
I agree on the Microcine,it is not too bad,I used to own one, until UPS dropped the return shipment package after a use abroad from an aircraft door. Insurance value was ITL 1 (about 1/2000 USD), so I never received compensation. It used a 400W metal halide bulbv, which was as bright as 1600 Xenon, but the color of light was lacking red content. But bright enough for evening outdoor screening in a town hall square in Italy.
THe best portable I came across is the Kinotone FP 23, which is a compact, FP30D projector. It consists of three parts, Spool tower base, Xenon lamp, and projector mechanism. Each individual component hides away in a flightcase, weighing around 70 lbs.
A "home version" comes with 400 W halogen incandescant bulbs with automatic backup bulb turret, built into the shutter housing. The projector then is about 100 lbs, due to the built in lamp transformer. With this type a reel arm up to 6000ft comes on top. Really neat stuff, and practically FP30D think Brad has a photo, I e-mailed some time ago.
The MP 30 we owned leaked oil like hell, and was not reeally good.
Another famous recent portable is called Veronese from Italy featuring 1600 W Xenon in a very compact package. Quite commonly used in rural screening setups.
Again, nothing for commercial use...
The list of good portables is rare.
Posted by Gordon McLeod (Member # 33) on 02-01-2001, 08:32 AM:
All the microcine's we used had a 500watt xenon light source with an internal powersupply
Wassman makes a fair portable
Posted by Mitchell Cope (Member # 32) on 02-02-2001, 11:35 AM:
Here's a picture of my 35mm A.V.E. Transportable projector. It was manufactured in Japan around the 1960s by a company named Shinkyo. It has what I think is a great, steady picture. Haven't figured out how to put a reverse scan led in it. Maybe someday. 
Posted by Erkan Umut (Member # 330) on 02-02-2001, 02:28 PM:
Dear Mr. Cope,
Thank you for posting this beautiful SHINKYO pic!
They're great machines. This company SHINKYO ELECTRIC INDUSTRIAL CO., LTD. is closed years ago unfortunately... 
They made some stationary or standard-like models. They are the portable type heads and reels mounted on pedestals, which I never want to own! This company is well known for its portables. However, as a TOKIWA agent in Turkey (in the past), I announce that Tokiwa resells them.
By the way,would you email me that pic. It makes me happy
Thanks so much!
Posted by Stefan Scholz (Member # 147) on 02-06-2001, 01:46 PM:
Gordon,
most Microcines were 500 Watt Xenon, or 400 W tungsten halogen bulb, but there also is a 1600/2000 W Xenon type. The Micron portables are made again, according to a friend in Italy. I did not really liked the Wassmann, or the Marin, the ones I had leaked oil like hell.It was really interesting to learn about all those japanese projectors, I was just familiar with the Tokiwas, which I actually liked to work on.