Film-Tech Forum ARCHIVE: My First Interlock

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Posted by Richard Greco (Member # 2032) on 02-29-2004, 11:34 PM:

My manager is finally letting me do an interlock of Passion tomorrow night. She has had another projectionist come in to just run the interlocks prior. She asked me that if the guy doesn't want to come in, if I could do it.

I watched the guy thread the interlock 4 times and I feel very confident in doing it. The technician also told me how to thread it.

My question....

Any ideas on how I can make it run smoothly w/o any issues. Anything I should be extra careful to keep an eye on?

I want to show my boss that I am capable enough to handle more responsibility around the booth.

Thanks
Richard

Posted by Steven Privett (Member # 718) on 02-29-2004, 11:46 PM:

You should list the equipment you are using, automation, etc. Now I'm trying to get through the fact that you are about to thread two interlocked projectors for the first time, and run it for two sold out crowds. You should have no problem at all. Here's a hint.... make sure the booth doors are locked. [thumbsup]

Posted by Richard Greco (Member # 2032) on 02-29-2004, 11:54 PM:

I'm using

Century SA projectors
Speco LP-270 platters (drive-ins)
DTS sound
Key start automation
Distance between projectors is roughly 15-20 feet
Our interlock rollers are in the middle
3rollers on top
2 rollers on the tension arm

I hope that helps.

I think it is great though that my boss is starting to trust me. I do know that the 7pm show IS sold out and yes we are running to both our big theatres. I AM a little nervous but I think I'll be ok [Smile]

Posted by Jack Ondracek (Member # 1466) on 03-01-2004, 12:02 AM:

If you're really concerned about getting it right for a paying crowd, go in after hours and set one up on your own time. While maybe not in your best economic interests initially, it's a far cry better than screwing something up with people in the building. Plus, there's far less pressure and you can take the time to assure yourself you've got all the buttons in the right places.

Posted by Mike Olpin (Member # 1115) on 03-01-2004, 12:13 AM:

Lots and lots and lots of leader.

We interlocked our two prints on 4 screens daily the whole weekend. It is also the first interlock for many of us.

Sold out show + interlock = Scary!

Posted by Chris Hipp (Member # 1788) on 03-01-2004, 12:17 AM:

Jack's advice is very good.

I did just that when threading multiple syncs (3 or more projectors together). Just build you a "print" of trailers and thread it and run it.

Without knowing your roller setup I dont think there is a whole lot of advice that any one can give you other than that. I will say this

If you have "wrap detectors" make sure the one on the takeup platter is NOT threaded. There will be too much tension and your platter will shut off. Make sure you have plenty of leader and dont thread too fast because you might not be able to see the print from the other projector. Finally, have someone there that knows how to fix it if you screw it up! [Smile]

BTW, I have been running interlocks between two 600 seat houses all day all weekend sold out every show. Also triple syncs for a combine total of about 750 seats, sold out of course. But im not complaining, I have gotten almost 40 hours in three days because of it.

Just dont freak out and you will be fine.

Posted by Brad Miller (Member # 2) on 03-01-2004, 01:19 AM:

Triples, eh? That's nothing!!! [evil]

(In this example, projector 1 is not necessarily the house number, but the first projector that the film runs through in the interlock.)

Thread film to and past projector 1, through interlock rollers to and past projector 2, over to takeup platter.

Now this is where most people screw up when they thread an interlock. Most people walk back to the originating projector and then "thread down". Get with the program and don't do that. Thread projector 2 first. Be sure the takeup platter is set and ready to takeup as you normally would.

Now thread projector 1, but pull ALL of the slack from the bottom of the projector upward such that your accumulator ("tension arm") roller is as tight as it can be. Now let about 2 feet of film back down, toward the second projector. Thread projector 1 (bottom to top, of course) and turn it over a few frames to make sure your loops are fine. At this point your accumulator roller should be at or very near the center point of it's travel. If it is too high, turn over projector 1 until it is centered. If it is too low, turn over projector 2 until it is centered. Once you do this a couple of times, you will know precisely how much film to let back and when you walk away from threading projector 1 you won't even have to check the interlock tension arm.

Why do it this way? Doofuses thread "in order" and then have to play fuckaround with getting the tension right. Also not knowing how to thread "bottom up" will cause you unnecessary grief in interlocking. If you can thread bottom up, you will quickly find you can set up a 3 screen interlock in less time than it takes to thread 2 seperate movies each on their own screen.

*Never, ever use the projector motors to advance the film.

*If using polyester leader, single sided tape splices every 20 feet in the leader work nicely to help it to break if you screw something up. A break is easier than putting the ceiling back up.

*Always press your start button on the lead machine, even though all automations I've seen will let you start an interlock with either button. Should you screw something up and things are not programmed properly, you would want the first machine to start and the second machine to sit there. Film on the floor is easier to fix than your ceiling.

*If you don't have interlock circuitry, you can thread it up such that the accumulator is taught between the two projectors. Then start the first projector via timer while you sit with your finger on the start button of projector 2. Once you see the arm start to fall downward, press the start button of projector 2. NEVER do this trick the *other* way. Re-read the previous tip.

*Finally, watch the print run on the last screen of your interlock like a hawk until you are positive you are not damaging the film somewhere in between the projectors.

*RUN TESTS BEFORE YOU ATTEMPT THIS WITH A REAL PRINT!!! Seriously, heed the above advice of coming in early and trashing some trailer packs. Also, once you are comfortable with things, get a print that you are about to lose (or needs to be broken down) and run a test between those two projectors. I have seen instances where someone started an interlock after not interlocking for many years only to find out that the two motors did NOT run in sync with each other. You need to find out NOW if the two machines will definitely run happily in sync over the course of two hours.

Those are only the basics, but you probably don't want to go through my grueling 36 hour interlocking course.

Posted by Wolff King Morrow (Member # 2226) on 03-01-2004, 02:21 AM:

Edit:

My apologies for editing my posts. I was informed by my employers that I am not allowed to discuss anything pertaining to operation, proceedures, profits, or wages of the company I work for on this or any other public media. Please note I was NOT aware of such a policy, so I apologize for the disruption of the thread.

Thanks for your understanding on this. -Wolff

[ 03-02-2004, 09:36 PM: Message edited by: Wolff King Morrow ]

Posted by Chris Hipp (Member # 1788) on 03-01-2004, 02:46 AM:

I could have said everything that Brad said except the idea of having single sided splices in the leader, but it felt like stating the obvious. Really.

Posted by Ron Keillor (Member # 1790) on 03-01-2004, 02:55 AM:

Another thing: ensure that the projectors are running at the same speed. Make a big loop of leader or scrap film, run it through the projectors for several minutes (it does not have to go on screen) and observe if there be any tightening or loosening of the film between them. A small speed difference can make big trouble.

Posted by Aldo Baez (Member # 790) on 03-01-2004, 02:56 AM:

Brad, why wouldn't you use the motors to advance the film? I do what you do but afterwards I just go to the receiving projector and turn on the motor less than a second a couple of times till I get the correct tension on the other platter arm. Your way is interesting though I will have to try it.

Posted by Michael Schaffer (Member # 1204) on 03-01-2004, 03:21 AM:

Switching the motor on and off repeatedly and quickly can lead to sparking in the switch and mess it up.

Posted by Daryl C. W. O'Shea (Member # 1303) on 03-01-2004, 03:29 AM:

Who cares about the switch.

Turning the motor on and of is (1) bad for both the motor and most projectors' drive trains, and (2) if you incorrectly predict the amount of time it's going to take for the motor to come to a stop you can end up breaking something (like your ceiling) or bending something (that is invariably expensive).

Posted by Wolff King Morrow (Member # 2226) on 03-01-2004, 03:56 AM:

Edit:

My apologies for editing my posts. I was informed by my employers that I am not allowed to discuss anything pertaining to operation, proceedures, profits, or wages of the company I work for on this or any other public media. Please note I was NOT aware of such a policy, so I apologize for the disruption of the thread.

Thanks for your understanding on this. -Wolff

[ 03-02-2004, 09:37 PM: Message edited by: Wolff King Morrow ]

Posted by Scott Norwood (Member # 30) on 03-01-2004, 05:01 AM:

I also agree with Jack's advice.

If you just want to test out the interlock system, get some old junk acetate-base film. This will break under tension rather than stretching, so you won't pull the rollers off the ceiling and strip gears if the system isn't set up correctly.

As usual, Brad is right--it's easier to start by threading the last projector in the series and work your way towards the first.

Posted by Michael Barry (Member # 237) on 03-01-2004, 08:27 AM:

This is re-stating what Brad and others have already said, but I will say it again anyway because it cannot be stressed strongly enough: test run a reel of something first before you do anything before a paying audience. Not just once. Run that reel two or three times to ensure that things are working peachy keen and you've got it down cold. Then you're ready - not before!

And good luck - you'll be fine! [Smile]

Posted by Darryl Spicer (Member # 711) on 03-01-2004, 09:14 AM:

Running it prior to an audiance is very important especially if the interlock has not been run before or for a long time. Problems you are not aware of can be found before the paying audiance does. otherwise it is good practice. I have also found that a good prayer prior to hitting the start button works very well too. [Smile]

Posted by Dave Williams (Member # 299) on 03-01-2004, 09:47 AM:

We should have a most complicated interlock thread. See who can outdo each other.

Ciao

dave

Posted by Jeremy Fuentes (Member # 2135) on 03-01-2004, 09:53 AM:

Can anyone top Brads 16 screen interlock? Or are we talking about one that actually runs for public viewing?

Posted by Wolff King Morrow (Member # 2226) on 03-01-2004, 10:33 AM:

It would be a lot easier to do the 16-screen interlock at my theater, so it wouldn't be as good as Brad's. We need someone at an 18 or more screen theater to top it!

Posted by Jack Ondracek (Member # 1466) on 03-01-2004, 10:44 AM:

quote:
If you have "wrap detectors" make sure the one on the takeup platter is NOT threaded. There will be too much tension and your platter will shut off.

Chris... just want to clear my head on this one, because I'm not seeing it.

Wouldn't a wrap detector follow the feed platter, not the takeup? And in any case, it seems to me that since the film is running from the feed platter to its own projector in the same manner it would anyway, it wouldn't "know" that it was being interlocked, regardless of how many machines would follow. I'd think a wrap detector on an interlock should be just about mandatory, considering the mess a wrap could cause "downstream".

I don't do interlocks much, so am I missing something?

Posted by Jeremy Fuentes (Member # 2135) on 03-01-2004, 10:52 AM:

quote:
I don't do interlocks much, so am I missing something?

Interlocking is fun and exciting and it helps relieve stress, on an otherwise stress filled day!! [thumbsup]

Posted by Richard Greco (Member # 2032) on 03-01-2004, 11:48 AM:

Thanks For all the help guys, I'm sure I'll be fine tonight.....

Just wish me luck [Smile]

Posted by Scott Norwood (Member # 30) on 03-01-2004, 01:12 PM:

Would a wrap detector (tension failsafe) do any good in an interlock situation? I've never worked with them personally, but my understanding is that they cut power to the takeup platter deck when feed tension is high. The idea is that this will cause the failsafe below the soundhead to drop and cause the automation to kill the show. I can't see how this would work in an interlock situation, assuming that the payout deck is on a different platter tree than the takeup deck.

Oh, and when you test the interlock system, you might want to test failsafe operation and the "emergency stop" buttons which are usually located on the control box. Some systems also have "restart after film break" buttons which might be worth a try as well.

Posted by Jackson Gilman (Member # 2142) on 03-01-2004, 01:58 PM:

Bypassing the failsafe on all projectors other than the feeding projector, in my opinion, is critical. This may not be the case if you're using those ceiling roller things, but if you're using interlock poles, the tension coming in from the poles will be too high, and you may end up triggering the failsafe as soon as you hit start. Our theater has been doing extensive interlocking on up to 6 projectors at a time daily with this Passion movie, but we're still working the kinks out of how to run them efficiently ourselves.

Posted by Jack Ondracek (Member # 1466) on 03-01-2004, 02:52 PM:

...from Scott:

quote:
Would a wrap detector (tension failsafe) do any good in an interlock situation? I've never worked with them personally, but my understanding is that they cut power to the takeup platter deck when feed tension is high.

Mine are connected to the projector failsafe. In an interlock situation, that would cause the whole chain of machines to shut down, as they should.

...from Jackson:

quote:
Bypassing the failsafe on all projectors other than the feeding projector, in my opinion, is critical. This may not be the case if you're using those ceiling roller things, but if you're using interlock poles, the tension coming in from the poles will be too high, and you may end up triggering the failsafe as soon as you hit start.

Some automations bypass the failsafe for a few seconds, so things can stabilize. You wouldn't need wrap detectors at projector 2+... but are you at least using the wrap detector at the feed platter?

Posted by Jackson Gilman (Member # 2142) on 03-01-2004, 03:14 PM:

On the feeding projector, yes. But the projector that is taking the print up is bypassed. Our automation system is designed to terminate the interlock in the event any projector does not detect film. I guess it works the same with any system. We run CNA 150 automation systems on Strong Simplexes.

Posted by John Pytlak (Member # 331) on 03-01-2004, 03:15 PM:

Always better to have the tension-sensing failsafe(s) shut down the projector(s) directly, rather than just shut down the take-up and expect the slack to trip the bottom film break detector.

With interlock, it is especially important to use on in-line film cleaner to keep the print spotless.

Posted by Jackson Gilman (Member # 2142) on 03-01-2004, 03:45 PM:

Yeah, our failsafe system seems to actually break film more than save it. But I can't be so entirely sure that we dont' remember to turn the failsafe back on after interlocks and whatnot.

Posted by Brad Miller (Member # 2) on 03-01-2004, 03:53 PM:

quote:
Some systems also have "restart after film break" buttons which might be worth a try as well.

CAREFUL!!! Not all projectors will ramp down to a stop at the same speed. If you stop an interlock, you MUST check the tension arms before proceeding. Odds are the tension will be off after stopping the machines.

quote:
We should have a most complicated interlock thread. See who can outdo each other.

I've got everyone beat on this, hands down. It's all about versatility. However I won't be posting pictures until I can do a full theater tour.

Posted by John Walsh (Member # 168) on 03-01-2004, 04:24 PM:

The only thing I can add is to be at the first projector the film will start at, to check framing, focus and sound - then follow the film to each projector after. Seems obvious, but.....

Don't want to sound like I'm plugging for Neumade, but we came up with an interlock pole with a switch that will trip if the tension gets to much, yet has extra 'film storage' to pay out film to allow the motors to wind down when tripped.

We did run a free kids show where all 16 houses were interlocked for the public. Brad's video is much cooler, though since it went through the lobby!

Posted by Joseph Pandolfi (Member # 223) on 03-01-2004, 04:40 PM:

I did one this past Saturday night for "Passion". Both were sold out shows in 500+ seat auditorium. This is the first time we ran it on a Saturday evening and it was the first time I ran it from two projectors that were across from each other. Besides scary times try doing with the Cinemation's in my other theatre.

Posted by Chris Hipp (Member # 1788) on 03-01-2004, 05:07 PM:

Jack, I did mean dont thread the wrap detector on the takeup platter but do thread it on the feed platter.

Brad, would you be interested in doing a 30 sync? Or have you already done it?

Posted by Brad Miller (Member # 2) on 03-01-2004, 05:19 PM:

If you're offering Chris, that would definitely be a blast. We'd need lots of rollers to cover that insanely huge complex though.

Think we could interlock all 30 with the next closest theater complex? We'd have to get Greg Mueller to make us some film cleaner brackets for telephone polls though.

Posted by Jack Ondracek (Member # 1466) on 03-02-2004, 09:18 AM:

After he extends his already-obscene record for most screens on a single button, Brad will be going into the used leader business.

Coming soon.... LEADER GUARD!!!

Posted by David Favel (Member # 1125) on 03-02-2004, 03:50 PM:

Ballpark, how much leader did you use for the huge interlock?

Posted by Aaron Sisemore (Member # 145) on 03-02-2004, 07:08 PM:

I believe the video says it was 2200 feet of leader joined in three sections.

-Aaron

Posted by David Favel (Member # 1125) on 03-02-2004, 10:47 PM:

So would it be better to use a reel of a crappy older movie?
Pearl Harbor could finally do some good in this world.

Posted by Steve Kraus (Member # 476) on 03-03-2004, 07:07 PM:

But if you made a mistake with the cueing some innocent person might be unwittingly exposed to it. [Mad]

Posted by Brian Michael Weidemann (Member # 2243) on 03-06-2004, 06:27 PM:

We had this big hoopla over Passion rentals, so we needed to get our interlocks working. Auditoriums #15 and #16 were set up for it originally (along with several other pairs in the complex), but when they installed the pre-show video projectors long ago, the platter tree had to be moved to the other side of #15 to make room at the port glass. Since our last interlock was years ago, we realized when setting up the interlock tests that the print could only go from #16 to #15, but not back again, necessitating the move of the Passion print back, every show.

After all the work getting the projectors to interlock properly, read the cues correctly, etc., we were ready to go. Then, at the last minute (since Passion rental turnout turned out not to be as great as predicted), it seemed easier just to move Passion to #14 (with only slightly fewer seats than #15 & #16 combined ... great planning, eh?)instead of interlocking at all.

Then, shortly after release, we got another print of Passion, bringing the total to four, and we have yet to interlock. No fun.

Posted by Jason Black (Member # 684) on 03-07-2004, 09:11 AM:

Did Richard ever reply as to how the interlock actually went? I missed it if he did...

Posted by Richard Greco (Member # 2032) on 03-07-2004, 01:55 PM:

Sorry, been a little busy...

The interlock actually went very well... No problems during the show. My boss was happy [Big Grin]

And a happy boss is a NICE boss [thumbsup]

Posted by Jackson Gilman (Member # 2142) on 03-07-2004, 04:09 PM:

I wonder who on these forums holds the record for the most interlocks from a "Passion" print. We've so far had 4 triple interlocks, at least 2 doubles every weekend, and on the Saturday after it opened, we had to run a 6-projector interlock. All in all, has anyone else had this kind of mayhem in their booth, or is it just Memphis?

Oh, and might I mention, the managers many times only give us about 15 minutes to set them up [Mad]

Posted by Jason Black (Member # 684) on 03-07-2004, 04:25 PM:

Speaking of interlocking, I, personally, don't care for it. Not only does it create issues of dropping other shows to make room for the interlock (which possibly violates booking contracts/agreemenst), you run the inherent risk of having double the amount of folks pissed should something go wrong.

I would much prefer to run a second print, when available, than to EVER run an interlock, whether it be 1 or 30 projectors.

And, for the record, I have the ability to run 4 in interlock right now. Running all 16 would be really, really easy were they automations all tied together, with the way my building is laid out.

I'm sure that there are those who really disagree with me on this, but, like Joe would state.. "I don't like it.. therefore it MUST suck!" or something like that.

Posted by John Wilson (Member # 269) on 03-07-2004, 05:07 PM:

I agree with that partially.

If you are going to do a lot of interlock sessions, it just makes more financial sense to get another print. No issues with 'potential interlock problems' and you get to stagger the session times meaning more bods on the seats.

However, if you are only doing a couple, say both shows Friday and Saturday nights, I'd just do the interlock. The second print wouldn't be worth it for just a few shows and let's face it...the guy doing the I/L should know what he's doing. If not, he/she shouldn't be doing it. There's too much at stake.

Posted by Mark Hajducki (Member # 1732) on 03-08-2004, 06:47 AM:

quote:
we realized when setting up the interlock tests that the print could only go from #16 to #15, but not back again, necessitating the move of the Passion print back, every show.

In a multiplex I used to work in (not in projection) interlocks were always run from the lower to the higher numbered screen. I asked the projectionist and the reason given was that the automation (cinemacica vector) gave out timing pulses in order (from 0 to 12). This resulted in a print move after every show (must have been fun for ROTK) with the added posibility of print damage.

Posted by Jackson Gilman (Member # 2142) on 03-08-2004, 06:06 PM:

Our theater is addicted to interlocks apparently. I do agree with you completely that interlocks are not a smart idea to do consistently. The only reason I wondered if other theaters had been running a lot of interlocks on the Passion print was because we've had many churches bring their congregation in en-masse (no pun intended) to see this movie. The preacher of the church would even hold sermons before and after the film, while the customers would sit there with their giant tubs of popcorn and gallon cups of soda.

Bellevue baptist, the largest church in Memphis, bought 2500 tickets, selling out 7 auditoriums including our big screen, and causing us to interlock six projectors. I just can't believe that management would let $12,500.00 ride on an operation that has more risks than some NASA space shuttle launches. One mistake and they lose everything. (so do we.)

Oh, and congratulations on the succesful interlock Richard!

Posted by John Wilson (Member # 269) on 03-09-2004, 06:12 PM:

Our interlock booth (3+4) now has the ability to run the print as an interlock and also take the print back to the cinema from whence it came. So, on Sunday we have an interlock at 6.50pm. It screens earlier in #4 so I'll I/L from 4 to 3 then run the print back again to #4 at the same time so the next show (again in #4) will be ready to go without physically having to move the print.

Also comes in handy when a session of Return Of The King (or anything, really but especially a long film) plays in say #4 for the first matinee, then in #3 for the rest of the day. No lifting. Me likeee. [Smile]

Posted by Daryl C. W. O'Shea (Member # 1303) on 03-09-2004, 06:19 PM:

Wow, so many people afraid of interlocking a few screens. Maybe that's the reason people stopped building 1000 seat auditoriums, wanting to divide up the failure risk.

I've never seen someone screw up an interlock for an audience. I have seen somebody screw up one screen, then screw up the next 3 or 4 screens before their head finally popped off. In most cases an unproportionately larger amount of attention is payed to interlocks than a film running on a single projector. Save mechanical or electrical failure, projectors don't screw up, the person running it does.

Posted by Chris Hipp (Member # 1788) on 03-09-2004, 06:32 PM:

I have only had two real problems running a syncs and it didnt really take longer to get back on screen than a single. One projector/platter is usually fine so you just have to fix the bad one.

Posted by Jason Black (Member # 684) on 03-12-2004, 04:38 PM:

Ok,

So I tested our interlock system a week or so ago after this thread came up. Figured out how the switching was set up, etc... dry ran the system (no film) and then put the film to it. Seems to work just fine with no problems to speak of.

One thing I do need to ask... on tailing out (shutdown), the lights up cue goes thru the first automation (Hi-Tec - built for Carmike out of St. Augustine, Fl.) to lower teh lights. The second theatres lights won't go down until the cue hits the pickups on the 2nd projector, correct? And it should be Same with the 7 second shutdown delay, correct?

I used a 4 reels of test film (defective reels never picked up by the distributor) but my operator didn't cue it out last week. Today, I didn't have enough time to allow it to run all the way thru to the end cues... I'll do that tonight, unless I get the good word here that what I previously asked is actually correct.

BTW, I'm using Christie M35GP with Hi-Tec automations (4 cues per show) and Strong platters. I have to interlock 'Passion' tomorrow, so I hope all goes well. I had a VERY bad experience the last time we interlocked (3 houses). Not five minutes prior to the credits, the payout platter decided to erractically feed out, thus throwing the remainder of the film onto the floor. Nothing like 900+ schoolkids and teachers wondering WTF you just let happen to the film. Thus my reasoning for being a little 'gun-shy' when it comes to interlocking....

Posted by Darren Crimmins (Member # 1116) on 03-12-2004, 05:14 PM:

Platter Safety Ring? [Wink]

It's a good investment. [thumbsup]

Posted by Jason Black (Member # 684) on 03-12-2004, 10:05 PM:

Darren...

Cheap and technically 'behind the times' chain...

And you think I coudl get a Platter Safety RIng? Bwwaaa haaaa haaaa

Posted by Jason Black (Member # 684) on 03-13-2004, 11:28 PM:

Not that anyone would have noticed.. but the interlock ran fine this morning. A little duct tape on the variac (dancer arm) kept the payour from becoming erratic... and all else was fine.

SO maybe interlocking isn't THAT bad... [Eek!]

Posted by Daryl C. W. O'Shea (Member # 1303) on 03-13-2004, 11:39 PM:

If nobody noticed you did well. [thumbsup]

I usually use a short length of 2x4 lumber to hold the roller assembly in place (well up, anyway). Saves getting glue all over the tree and allows for the arm to go up if something sticks and it needs the speed for a couple seconds.

Posted by Frank Angel (Member # 248) on 03-14-2004, 12:32 PM:

When John said,

quote:
Our interlock booth (3+4) now has the ability to run the print as an interlock and also take the print back to the cinema from whence it came.

For a second I had this image of the film traveling back to the another theatre where it was shipped from in a different part of town. Now THAT'S an interlock!

Posted by John Wilson (Member # 269) on 03-15-2004, 04:44 PM:

Hi Frank

Well, so long as it was just for a second. [Smile]

Posted by Chris Hipp (Member # 1788) on 03-15-2004, 04:56 PM:

Jason, what is wrong with your platters that you have to tape the take up carriage? I use strong platter and have never had to do this. You should have enough tension to hold it half way.

What I do is on the feed platter after I thread it I spin the motor by hand a few times to drop the carriage down to about half way. It doesnt have to move, I cant think of many reasons why the takeup projector would speed up in the middle of the show.

Posted by Jason Black (Member # 684) on 03-15-2004, 09:02 PM:

Chris,

You're talking take-up, I'm talking payout. Variable speed control proportionate to the dancer arm positioning.

Man.. did I just spit that out? Take up wasn't taped in place, the payout dancer was.

Clear as mud now? [Big Grin]

Posted by Chris Hipp (Member # 1788) on 03-15-2004, 09:26 PM:

yeah, I got confused by Daryl's post. My suggestion, get phase control brains, I've never had a problem.

Posted by Daryl C. W. O'Shea (Member # 1303) on 03-15-2004, 10:27 PM:

I must have been confused with myself when I wrote it. I use a 2x4 on the payout platter to hold the carriage up. That's about all it does. I guess I was thinking of non-plausible advantages.