quote: Jeremy Fuentes

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Ballantyne Pro 35's and Super Platters. Probably the most hated equipment, but its what I'm most comfortable with.

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My Condolences. Have Andy let you thread the projectors at Tinseltown. Much Better. Century SATA prjectors with R3 Soundheads and SPECO lP 270 Platters. Only thing that suck with their booth is the CFS Console/Automations and Peavey Amps in most of the small rooms. Century is another fun one. All Christie package with AW 3 platters and P35GP projectors. The P35 I hated because of all the belts in ours.
 

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Posted by Jeremy Fuentes (Member # 2135) on 07-29-2004, 10:27 AM:
 
Todd, I was trained on the Tinseltown equipment, but was only scheduled less than a week total of booth days, where I was able to work by myself. Then I wasnt in a booth until another 2 years later. But I'm sure youre right.

P.S.-Todd, I'm gonna beat you to 1000 posts too!!
 

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Posted by Scott Norwood (Member # 30) on 07-29-2004, 11:45 AM:
 
This has been discussed to death, but I'll add my $.02 anyway (based on equipment that I have personally worked with):

Century C, SA, or JJ heads on R-3 or R-50 (JJ) soundheads and Century bases, with enclosed reel magazines
Peerless Magnarc, Strong Super Lume-X (small screen), or Cinemeccanica ZX-4000H (medium-large screen) lamphouses
current-model ISCO or Schneider lenses
Dolby CP-65, -200 (upgraded), -500, or -650 with SRD and cat. 700 penthouse readers
MPU-1 if 70mm
QSC amps
JBL speakers
Kelmar rewind bench
Neumade splicer
Harkness screen

(note that this is the equipment that I would enjoy running most, not what would necessarily give best picture/sound quality)
 

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Posted by Richard Hamilton (Member # 321) on 07-29-2004, 12:29 PM:
 
at least ten rooms. All 8/70. All 3D maybe 1 or 2 4D. Throw in a motion ride or 2. If I had my preferance....Imax all the way, they kick ass when it comes to large format!!! Especially 8/70!!

P.S. It is about 2 a.m. here and I just got back from a bar full of russian guys in a chinese bar! We drank the chinese guys under the table!!!I even met a guy named Sergay!! I told him I was a spy also!!

Rick
 

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Posted by Matthew Jaro (Member # 1786) on 07-29-2004, 01:52 PM:
 
Two Simplex XLs (Simplex 35s or equiv.) 3 blade shutters.
No platters (changeover).
Strong Super Lumex Lamphouses
Christie bulbs
Strong pedestals (consoles are not dimensionally stable)
Strong 5 star sound heads
BACP reverse scan readers
Dolby Cat 700 white light SRD readers
DTS 6D system
Dolby DA 20 processor
Kelmar reel arms, media cleaner and make-up table
Panastereo CSP 1200 processor
Panastereo CX-330 Booth Monitor
QSC amplifiers running tri-amnp into JBL AE 6315/64 triamp stage speakers.
Rane RPM-267 digital signal processor crossovers
Eight JBL Control 25AVS surround speakers
MDI microperf screen with programmable masking.
Optical glass ports.

This is my current configuration and I tried to get a dream booth. Eventually I'll add JBL subwoofers.
 

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Posted by Leo Enticknap (Member # 534) on 07-29-2004, 02:36 PM:
 

• 2 x Philips/Norelco DP70s with three-bladed shutters, inverters for running at any speed from 16-30fps; plus magazines, firetraps and liquid-cooled gate for running nitrate.
• Kinoton reverse-scan combined SVA/Dolby digital reader. If it is possible to fit DTS and SDDS pickups without compromising the fire-resistant spoolboxes then I'd have those too, but if not, the ability to run nitrate takes priority.
• Not fussy about the lamphouse, just as long as the mirror can easily be refocused for 70mm, 35mm normal optical centre and 35mm full gate silent optical centre.
• No platter, tower or automation in sight - this is a manually run changeover show.
• Isco Ultra-Star lenses for full-gate silent (optically offset), Academy, 1-66, 1-75, 1-85, 2-00 and 'scope.
• 2 x Kinoton FP-18s for 16mm & super 16, with Kiptaron prime lenses.
• 2 x 16/35 sepmag followers.
• Xenon-lit super 8 projector of some description (this is my dream booth, so I might as well have everything!)
• Rigby motorised flatbed rewind bench.
• Tape joiners for all gauges.
• Cement joiners for 16 & 35 acetate, plus 35 nitrate.
• Ultrasonic joiner for polyester.
• U-XGA video projector with Digibeta, DVCAM, VHS and DVD players, plus a decent PC in case I ever want to show Powerpoint stuff.
• CP-200 processor, plus SR and mag preamp; plus DTS and SDDS players if the heads are fitted.
• QSC amps
• Martin Audio speakers
• Very big square screen (Harkness Perlux), with adjustable motorised masking on all four sides so that any ratio from silent to 'scope can be shown without the image looking stupidly tiny.
• Two sets of stage tabs in front of the screen, with several megawatts illuminating them while the houselights are up.

quote: Stephen Furley

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Matte white screen, about 10-12 metres, silver to let down in front of it for 3-D

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Why not just install silver screen and be done with it?
 

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Posted by Joe Redifer (Member # 3) on 07-29-2004, 09:36 PM:
 
For the big house:

RCA DVD Player
Sharp Video Projector
Optimus Receiver
Realistic™ brand Speakers.
Monster Cables[av=v]
 

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Posted by David Stambaugh (Member # 1102) on 07-29-2004, 10:37 PM:
 
Joe, forget the RCA DVD player - Get an Apex!
 

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Posted by Michael Schaffer (Member # 1204) on 07-29-2004, 11:37 PM:
 

quote: Mike Olpin

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Allthough a lot of people on here don't like them, but I'm really comfortable with the Christie package.

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Have you ever worked with different equipment?
 

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Posted by Ken Lackner (Member # 1002) on 07-29-2004, 11:53 PM:
 
Post edited to reflect why I chose the equipment I did.

*Kinoton PK60D projector head, with integrated Dolby Digital basement reader. This projector is the easisest to maintain and keep clean, provides the steadiest image, and is the kindest to film of all the projectors I've worked with.

*Strong Highlight II (now replaced by the IIA) console. Easiest to change a bulb and focus.

*High reactance rectifier. With Strong consoles, it's either high reactance or switchers. Switchers fail way too often. At a 12-plex I worked at, we would have at least three or four failures a year, and this theater is only four years old. (Was two years old when I left. Equipment was purchased new.)

*CNA-150 automation. Most flexible, feature-rich, and easily programmable automation I have used. Also like the fact that it only uses one cue position, so you don't have to place any cues in the image area.

*Component Engineering FM-35 failsafe/proximity cue detector. Much more reliable than the FP-350, which somes with the CNA automation. If money were no object, I'd purchase one for each screen and set the FP-350's aside (or sell them).

*Strong SCDC platters. Perfectly smooth feadout compared to the AP platters, even the phase control versions. I like the design of the brains and the platter decks themselves much better than Christie platters.

*Dolby CP500 or 650. Both of these are highly flexible processors, and are customizable, easily by the user. They both include built-in Dolby Digital decoding, so they don't require an external DA-20. I prefer the 500 because of the screen, but the 650 has a few more options.

This list is based on equipment I have actually worked with. I have never used the CA-21, so I don't personally know how it compares to the CNA, although I hear it's better. I'd also love to get my hands on a Kinoton platter.

[ 07-30-2004, 07:47 PM: Message edited by: Ken Lackner ]
 

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Posted by Paul Mayer (Member # 355) on 07-30-2004, 12:30 AM:
 
Here's mine:


 

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Posted by Matthew Bailey (Member # 601) on 07-30-2004, 08:12 AM:
 
Is that a spotlight or projector to the right of the DP70'S?
I cant remember what encyclopedia it was but one of the volumes showed a photo of a Strong/Simplex package consisting of two PR1014's with 5 Stars,Strong peds with Lume-X or Super Lume-x lamps running only changeovers with 6K reels. I can't remember was it a Cineplex Odeon or another theatre? BTW the booth floor had gray carpet with everything being brand new.
 

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Posted by Mike Olpin (Member # 1115) on 07-30-2004, 01:10 PM:
 

quote: Michael Schaffer

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Have you ever worked with different equipment?

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quote: Stephen Furley

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To accommodate four machines without putting some of them at horrible angles (I'm sure you know where I'm thinking of Leo)

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quote: Stephen Furley

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...a four plate 16/35 motorised Steenbeck would be nice.

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quote: Stephen Furley

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No nitrate in the main theatre, but I'd have a smaller one, set up for nitrate...

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quote: Stephen Furley

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Kinemacolor projectors would be nice, and some priints to run on them.

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I agree that it would be nice to experiment with different filter combinations, which would be possible if you had the projectors yourself. You could make subtle changes to the colour balance, taking account of the filters used to expose the panchromatic original in the camera, in relation to the ones you choose to use on the projector. But I'm not aware of any archive having struck Kinemacolor prints in the original format. The only person I'm aware of who has done any serious work on Kinemacolor restoration has printed through filters onto colour negative stock. The results look pretty impressive, though; and the colour fringing caused by the slight pulldown delay from the red to the green frame isn't anything like as noticeable as I thought it would be.
 

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Posted by Steve Scott (Member # 630) on 07-30-2004, 03:14 PM:
 
-Century JJ or SAW on a Century R3 Soundhead
-Xetron XCN or Strong X90 console (if I wanted to have the sound rack built in) or a Xenex lamphouse on a Century Base
-SPECO LP-280 platter
-CP200 or CP65-SR
-DA20 w/ CAT.702
-DTS XD10
-Component Engineering LED analog
-QSC DCM-1 Monitor/X-over
-QSC 1400/1700 amps
-EV Stage Speakers, Horns & Subs
-JBL Surrounds
-CA21/CNA-200 Automation
-Kelmar/Goldberg Rewind
-Schneider Lenses (35mm), ISCO Lenses (70mm)
-Nemade 35SS & 70SS splicers

*Yeah, my exposure's limited, I'll update thru the years as this topic inevitably comes up
 

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Posted by Brad Miller (Member # 2) on 07-30-2004, 03:53 PM:
 
As it stands right now, this thread is pretty much useless.

How about everyone posting here explain WHY they choose a certain piece of equipment? I have a feeling many here are posting based upon what they have worked with, and although that still holds water, there are many pieces of equipment out there in this industry that people have ignorance on because they don't know any better. For example, I used to always think a Simplex/Century put out a steady image. WRONG! That theory went down the drain once I started working with Kinotons. There are people out there who think CFS Super platters are good (because it's all they know). WRONG! And boy you couldn't be more wrong.

Come on guys, tell us WHY or at least tell us WHAT you have worked with so your posts hold some meaning.
 

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Posted by Thomas Jonsson (Member # 1902) on 07-30-2004, 05:00 PM:
 
To Paul Mayer
What a picture of those DP 70´s! What theater is it?
Some information of the equipment, perhaps?

Thomas
 

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Posted by Matthew Jaro (Member # 1786) on 07-30-2004, 05:44 PM:
 
Brad --- When I run a print of Sleeping Beauty (IB) (scope) on my Simplex XLs, it looks like the frame line is painted on the screen. The new release prints do not maintain this quality of precision. It is certainly possible that the models after the Simplex 35 were not built as well. However, I see absolutely no detectable movement. So why should I spend a fortune on Kinotons?

A major problem with Kinoton is also its best feature: the electronic intermittant. Think back only ten years ago when 5.25 inch floppy disks were the standard. They were the back-up medium of choice. Now they wouldn't fit in a modern computer's bay, and the modern controllers won't work with them. Same story with the DTS SCSI drives. They can only be obtained on eBay with luck.

Consequently, how are you going to service the Kinotons, when the processor or stepper motors go bad in ten years?

There is not a gigantic number of Kinoton units in service like the XLs which have been around since the 1940s. Consider a similar example: Bauer. This was one of the best built 35/70 projectors. Try getting parts today. Why would you think the situation with Kinoton would be different?
 

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Posted by Brad Miller (Member # 2) on 07-30-2004, 06:20 PM:
 
Matthew, head over to www.kinotonamerica.com and read up before you go claiming my electronic intermittents will not be serviceable down the road. Be sure to look up the exact model number so you don't post any other incorrect information (PK60D).

Also, I have seen older Simplexes...and up until I started working with the Kinotons I also *thought* their picture was rock steady. Sorry buddy, but they don't compare in film handling or steadiness (and their SRD reader is incredible).
 

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Posted by Matthew Jaro (Member # 1786) on 07-30-2004, 06:40 PM:
 
Brad -- Sorry --- I see that they use servo-motors rather than stepper motors. Further, it is there own design. Are they always going to make replacements? I still don't see anything that contradicts my argument that service might not be difficult in ten years.

I'm not saying that Kinotons aren't great projectors, (probably the best on the market) but only whether the large price difference is justified. As regards to their SRD reader what would be the advantage over a Cat 700 reader? I get fairly low error rates. Besides, the Dolby error correcting codes should correct most errors, rendering the sound virtually identical. Are the frames read more than three times? If so, would this make a difference?

Anyway, I'm not trying to be mean --- only to stir up some interesting debates.
 

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Posted by Brad Miller (Member # 2) on 07-30-2004, 06:44 PM:
 
On the PK60D, eh? Oh yeah, you're doing your homework.

Besides I never said YOU should upgrade. Remember that line from The Matrix? "Ignorance is bliss."
 

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Posted by Matthew Jaro (Member # 1786) on 07-30-2004, 06:51 PM:
 
Brad -- I edited my reply.
 

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Posted by Brad Miller (Member # 2) on 07-30-2004, 07:08 PM:
 
You're still missing my point about the electronic intermittents in my PK60Ds.
 

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Posted by Ken Lackner (Member # 1002) on 07-30-2004, 07:47 PM:
 
I have edited my post to reflect why I have chosen the equipment I have.
 

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Posted by Richard Fowler (Member # 893) on 07-30-2004, 08:31 PM:
 
As we beat in some education since this creates a good comsumer The Kinoton D series has a mechanical intermittent. The syncronous motor is made by PAPST one of the world's largest manufacturers of motors. In the D it is controlled by an invertor kit for smooth ramp up and down and speed ( one or more )selection. Kinoton builds all of their equipment over the same basic parts....in the E electronic intermittent projector the same PAPST motor drives everything except the intermittent. This motor is also used by another projection manufacturer. How many motor types have Simplex and Century gone through since their pre and post War World II debut....nothing last forever...there is alway an "upgrade" / conversion kit if the marketplace needs warrant . Bauer parts are available from Kinoton and their are several speciality companies making upgrades.
Kinoton PK60D expensive vs the XL....factoring the additional features built-in to the PK60D, we only have the weak U.S. dollar to make a noticable difference in price..........
 

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Posted by Brad Miller (Member # 2) on 07-30-2004, 08:39 PM:
 
Awwwwwww Richard, you spoon fed it to him!!! I was going to make him actually READ the website to find out the electronic intermittent in the PK60D was mechanical.

Personally I have worked with a reasonably wide variety of equipment in the projection room. Simplex Standard/E7/XL/3570, Century SA/C/JJ, Victoria 5/9/10, Christie P35/P35GPS, etc and nothing...and I do mean nothing provides the kind of onscreen image projector-wise as a Kinoton. This is a flat out hands down clear winner. Even floor staff has seen a difference!!! Current example, I am removing Simplex XL variety projector heads and replacing them with PK60D units. Even though the Simplex heads put out what most everyone would call a "rock steady image", the Kinotons are that much better. Managers, corporate personnel, floor staff and even customers have noticed. It's especially easy to see when you can walk between two identically equipped auditoriums, one with a Simplex and one with a Kinoton. Given the price difference, there is absolutely no excuse for anyone to not go with a Kinoton projector head.

Lamphouses, again a pretty wide variety. Probably all makes of Strong at one point or another, a few different Cinemeccanica models, Xetron, Christie, Kinoton, Big Sky, CFS (the worst lamphouse ever), ORC (mine as well be a CFS), etc. Hands down the Christie SLC beats all. The only lamphouses I have found do a good job is Super Lume X (but there is a hot spot), the Xetrons that we had at Northpark I & II in Dallas, the current model from Neumade and Kinoton. Still though, the SLC has everyone beat.

Platters. Well, there are only 2. Christie AW3 hands down. Good runner up is the SPECO LP270. (I would consider the ST200 from Kinoton if they would fix all of the foolish goofs in the design which have been discussed elsewhere on the forums.) Everything else on the market right now is shit. Yes, pure shit. It's junk platters like CFS Super platters and the crap from Strong/Potts that gives platters a bad name.

Automation is hands down the Pennywise CA21 (sold under various different companies, such as Kinoton EMK1...but without custom programmability which kills part of it's usefulness). There are no second runners up unless you want a super simple automation that does almost nothing. In that case Component Engineering's TA10 seems to do nicely. Whatever you do though, stay away from Strong's automation! Trust me, it's cheaper to spray some water on a Mogwai to get the same effect.

Sound...Dolby CP650. I would be interested in playing with a Panastereo, but haven't had a good opportunity and cost-wise the CP650 does everything it needs to for 99% of all theaters. Plus I want Dolby Digital, not dts for the multitude of reasons that have been discussed elsewhere. Going SRD with a Panastereo jacks the price up making the CP650 the winner.

Amplifiers...QSC DCA line all the way.

Speakers...JBL exclusively (although I am intrigued at the new QSC line).

Screens...Harkness!!! If you want an amazing image, go Harkness.

Lenses...Schneider is the best. An acceptable alternative is ISCO lenses, but I find they tend to kill the contrast in their quest for the ultimate transmission of light through the lens (which also seems to tone down the colors a little bit too). I like the colors vivid, the blacks BLACK and the whites bright enough to burn the retinas.
 

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Posted by Matthew Jaro (Member # 1786) on 07-30-2004, 08:48 PM:
 
OK --- sorry I missed the point. No wonder I couldn't find the model "D". I was looking at the electronic intermittant models.

Is there really so much difference bewtween mechanical intermittants to justify the price difference? Has anyone done actual stability measurements?

Is it worth having the electronic intermittants? Are the shutters electronic or standard blades?

You haven't answered my question about the SRD reader.

Also, Brad you should really consider a three blade shutter. I see Kinoton makes them for the model "D". Don't worry about the contrast issue. I certainly haven't noticed any difference (but then again, I think the XLs are steady). You should try it on one machine as an experiment. You'll have to double your lamp wattage, but it is the single best thing I did for enhancing the image.
 

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Posted by Brad Miller (Member # 2) on 07-30-2004, 09:03 PM:
 
I've nothing against a 3 bladed shutter and in fact am all for them. However for the typical cinema it is not an option. I will not sacrifice screen brightness for flicker reduction. So if I can't get the kind of light I want on a given size screen with a 6K lamp and 3 bladed shutter, it's not going to happen. (I am looking into equipping a future theater complex with all 6K lamps and putting 3 bladed shutters in the smaller auditoriums though.) I also don't know who started the whole "3 bladed shutters kill contrast" nonsense. Not true.

quote: Matthew Jaro

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I'm not saying that Kinotons aren't great projectors, (probably the best on the market) but only whether the large price difference is justified. As regards to their SRD reader what would be the advantage over a Cat 700 reader? I get fairly low error rates. Besides, the Dolby error correcting codes should correct most errors, rendering the sound virtually identical. Are the frames read more than three times? If so, would this make a difference?

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First, check the pricing before posting things like that. If you go buy yourself a Simplex and a Dolby penthouse reader, you will spend MORE than buying a Kinoton with their SRD reader. Plus you get a better projector and a better SRD reader by going the intelligent route of Kinoton.

The cat700 readers do a nice job. No need to "upgrade". You wouldn't notice enough of a difference to put any money into it. The Kinoton still tracks them better though.
 

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Posted by Matthew Jaro (Member # 1786) on 07-30-2004, 09:19 PM:
 
Brad --- I was thinking of three blade shutters for your screening room. Sam Chavez made the comment about contrast. Since I got the CAT 700s, DA-20 and Simplex equipment used, there certainly would be a great price difference. Anyway, I was thinking of the price for the electronic intermittant models. Sorry. I don't know why I assumed you had the electronic intermittants.
 

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Posted by Richard Fowler (Member # 893) on 07-30-2004, 09:34 PM:
 
The E series forte is in the multi-format machines or large screens. The laptop software program allows you to "tighten up" the steadiness on the intermittent to the point that from the third row seat on a 50+ foot screen the image "is" painted on the screen The remaining weak spot is print quality. The E shutters run continiously and sensors time the "very fast" electronic intermittent to pull when the blade is in position to block the aperture. The D for most cinemas is more than adequate. XL has been around for 54 + years, enough hardware to take care of the used market until the PK-60's hit the "vintage" market in 2044
 

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Posted by Michael Schaffer (Member # 1204) on 07-30-2004, 09:43 PM:
 
Why do you prefer the SLC console? In my experience, you get more and more even illumination out of a Kinoton console with a lamp one size below that of an SLC. I also like that in the Kinoton, everything is more accessible, so they are much faster to repair. An exception would be the igniter which is quicker to replace on the SLC, while on the Kinoton, it is on a board under the lamp which takes a little longer to exchange. But then you can quickly change components on the board because it is open. Of course, you can change components in the Christie igniter as well, so it all doesn't make a huge difference. What I mean here is general serviceability. Some parts of the power supply are also hard to reach. Typically failing parts like the diodes are quicker to reach, test and replace in the IREM rectifier. Just to piss those off who have acquired enough practice and a quick working strategy, on the more recent SLCs, Christie have decided to place the surge arrestor board across the diode leads on the main TB.
Also, the lamp foxus assembly is much more solid and precise in the Kinoton lamphouse. Even when you go without the horrible motorized focus assembly in the SLC, it is flimsier and less precise. The lamp often changes its horizontal or vertical position while moving through the focus. I hate that. It is also possible to achieve a good lamp focus with a little practice, but it is not quite as precise as with the Kinoton consoles.

BTW, what is a Mogwai? And what does spraying water on it do?
 

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Posted by Steve Guttag (Member # 268) on 07-30-2004, 09:55 PM:
 
Well I was going to post a photo I have the AFI/Silver booth #1...it has 5 projectors in all...one D-Cinema (Barco DP50), two 35/70s (Kinoton FP-75ES) and two 35/16s (Kinoton FP-38ES)...I don't have the picture at home so no post...sorry. If it isn't my dream booth...it is pretty darn close.

In truth, I don't think any one piece of equipment in any category is so above reproach that I wouldn't like a little of someone elses features mixed in or perhaps to loose an undesireable feature.

With any piece of equipment that has had a bit of a production run you are going to find fans of that equipment, by definition.

I don't like anyone's console if I'm trying to get the best light. I'm not a big fan of the Kinoton method of hanging the lamphouse off the back of the column idea either. I like a separate adjustable lamphouse table.

I don't think anyone can achieve the "hands down" award since we all have our preferences.

I will say I have put Christie xenon lamps up head-to-head (same complex, same wattage, same equipment) against most other brands of lamps and they have never lost in the light output, long lasting and overall cost/hour category (so long as you change them when they show a demonstrated need, not based on a fixed number of hours). Though I have had some 5K and 6K lamps be a bit flickery.

Steve
 

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Posted by Paul Mayer (Member # 355) on 07-31-2004, 12:32 AM:
 
For Thomas, the photo I posted is of the booth at the AMPAS Samuel Goldwyn Theater in Beverly Hills, CA. I used to visit the place quite frequently when I lived there and was a member of the SMPTE Hollywood Section. Also used to know one of their engineers, the late great Tony Witzel, Jr. His father Tony Sr. and I were flying buddies for many years, and even after we both quit flying and moved to SoCal, continued to get together for weekly lunches. Small world.

Some links to technical specs:

http://www.oscars.org/theaterops/sgt.html
http://www.oscars.org/theaterops/technicalinfo.html
 

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Posted by Andrew McCrea (Member # 674) on 07-31-2004, 01:20 AM:
 
Well, some may disgaree with this, but...

AUTOMATIONS:
CineQ
Kinoton EMK1

LAMPHOUSES/CONSOLES:
Super Lume-X, 80
Neumade Xetron Maxi-Light I
Xebex Hi-Beam, Supersol

PROJECTORS:
Victoria 5, 8
Century JJ
Strong Simplex Millennium PR2000

PLATTERS:
Potts 3-deck
Kinoton ST 200 E, ST 400 E

FAVOURITE COMBINATION:
CineQ Automation (with some features edited/improved)
Neumade Xetron Maxi-Light I Console
Strong Simplex Millennium (PR2000) Projector
Kinoton ST 400 E Platter

Well, that's it, but really, I think VIC 8s and Xebex lamphouses (although no longer made) are a good combination...
 

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Posted by Brad Miller (Member # 2) on 07-31-2004, 01:32 AM:
 
I'm curious as to why you think that is such a great combination Andrew? Surely you have your reasons.
 

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Posted by Andrew McCrea (Member # 674) on 07-31-2004, 01:48 AM:
 
You must never sleep, Brad !

At the Globe when I worked there, it was an old FAMOUS house, and it was still fully equipped from them (they were evicted for not paying the rent). The VIC 8s and the Xebex Supersol (4kw) gave a great picture. Steady, focussed, flicker free, large and fully lit, etc. The same could be said about the VIC 8s and Xebexk Hi-Beam IIIs in Cin II and Cin III. We had Strong Alpha platters, but the only thing I can compare those too are CFS platters... And I think the Alpha's tale the cake over the CFS platters.

I've talked privately with some people on the forums through e-mail about different equipment, and these were some that had good reviews/feedback... But hey, its only my opinion/preference.

Any chance Kinoton manuals will be permitted on the site soon?
 

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Posted by Daryl C. W. O'Shea (Member # 1303) on 07-31-2004, 01:54 AM:
 
Kinda sounds like someone's been working for Cineplex.
 

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Posted by Andrew McCrea (Member # 674) on 07-31-2004, 02:03 AM:
 
And why do you say that, Daryl?
 

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Posted by Daryl C. W. O'Shea (Member # 1303) on 07-31-2004, 02:24 AM:
 
Because they like 'dem 'dare V5s and V8s. Of course you also worked for Famous Players who used a whole bunch of that stuff too.
 

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Posted by Andrew McCrea (Member # 674) on 07-31-2004, 02:41 AM:
 
Ok, I got ya... I never worked for Famous though... I worked for a Landmark Cinemas art house in Downtown Winnipeg, who got the space fully equipped from the mall. The mall locked out Famous Players after the theatre closed because they didn't pay their lease prior to that. The mall also hoped to get the place opened as a theatre again.
 

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Posted by Stephen Furley (Member # 1277) on 07-31-2004, 03:16 AM:
 
Brad wrote:

quote: Brad Miller

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How about everyone posting here explain WHY they choose a certain piece of equipment?

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quote: Mark J. Marshall

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Why not just install silver screen and be done with it?

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quote: Leo Enticknap

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Agreed totally. A complete luxury but it lets you check for framing issues (quite common with archive prints contact printed from shrunk originals), out-of-sync soundtracks and a host of other issues that you could otherwise only detect by projecting the reel.

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quote:

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Noooooooo! If you're going to bother showing nitrate at all, put it on your biggest screen to show off the amazing silver density of a really crisp nitrate b/w print. No point faffing around projecting it onto something the size of a telly!

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quote: Michael Schaffer

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BTW, what is a Mogwai? And what does spraying water on it do?

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