Film-Tech Forum ARCHIVE: Big public thanks to Prevost!

This is topic Big public thanks to Prevost! in forum Film Handlers' Forum at Film-Tech Forum ARCHIVE.

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Posted by Matthew Taylor (Member # 2310) on 04-11-2005, 08:39 AM:

I would like to thank Prevost for some superb support since I got my new (new to me,anyway) P70.

I contacted Prevost a few weeks ago asking for some wiring diagrams for the turret and a manual for the machine. They promptly sent me the wiring diagrams I needed and then last week sent me a letter apologising for a delay in sending the manual - they had trouble finding the manual for my particular serial no. in their archives. Today I received a manual.

Each piece of correspondance was sent by express airmail from Italy. If only all companies were this helpful. Thanks Prevost! [thumbsup]

Posted by Gordon McLeod (Member # 33) on 04-11-2005, 08:42 AM:

Prevost has always stood behind there products

Posted by Gilbert Travin (Member # 2138) on 04-13-2005, 07:34 AM:

OK Matthew, it's a good news !

Is your machine a P70 (24 fps only, paint is "mouse" grey) or an Actua 70 with "vario-speed" (24 to 30 fps) ?

Posted by Leo Enticknap (Member # 534) on 04-13-2005, 07:51 AM:

Why would you want a 35mm mech capable of running faster than 24? If you were showing shot-for-PAL-TV stuff then you'd want 35, but most of that is 16mm. If you wanted to show an original print of Oklahoma you'd want 30, but that would be 70mm. Surely variable speed from 16 to 24 would be far more useful?

Posted by Gilbert Travin (Member # 2138) on 04-13-2005, 08:54 AM:

In my knowledge, Actua 70 is the first generation of Prevost 35/70 mm projectors and it was designed for earlier 70 mm 30 fps prints.
Speed was adjustable on this machine. the projector incorporate an analog tachymeter. But I don't know the process to change speed [uhoh]

Posted by Robert Throop (Member # 61) on 04-13-2005, 09:05 AM:

The Favorit 70 had gears for both 24 and 30 fps.
Bob

Posted by Steve Guttag (Member # 268) on 04-13-2005, 09:10 AM:

Why would someone want 35mm to run faster than 24/25 fps? Simple...some films are shot at 30fps if they are intended for Television viewing...a case in point...we did a show for NFL films...they shot film at 30fps...looked VERY impressive (sound was DTS for that showing too).

Posted by John Pytlak (Member # 331) on 04-13-2005, 09:44 AM:

NFL Films is one of Kodak's largest customers for 16mm film. Transferring film to video at 30fps eliminates any 3:2 pulldown artifacts, giving smoother action on NTSC television.

Steve Sabol Interview Clip

http://www.kodak.com/US/en/motion/news/nflFilms.shtml

quote:
Steve Andrich, vice president of cinematography at NFL Films, will present compelling evidence about the power of 16 mm film on HDTV screens at the Kodak booth at NAB...The conversation will be augmented with film clips from the past few decades.

"These incredible films get under the surface of the action and capture emotions on faces and in body language," says Robert Mayson, general manager and vice president of image capture for Kodak's Entertainment Imaging division. "It's just like being on the field. Steve Andrich has been on the frontline for years. He can eloquently explain how NFL Films has created this fantastic library based on its weekly shows."

NFL Films operates a 200,000-square foot facility in New York, housing state-of-the-art television and motion picture studios. The NFL Films archive is the largest sports film library in the world with over 100 million feet of 16 mm film.

Andrich began working for NFL Films as a freelance cinematographer in 1987. In addition to filming pro football games 22 weeks a year, Andrich is a second-unit cameraman and cinematographer. His second unit credits include Junction Boys, The Waterboy, Jerry Maguire and Steal Big, Steal Little. His cinematography credits include the telefilm My Father's Gun, Adam Sandler's music video The Lonesome Kicker, Barbara Streisand's tour documentary, and much more.

http://www.kodak.com/country/US/en/motion/newsletters/inCamera/july99/nfl.shtml

quote:
The combination of 16mm and Super 16 footage was rushed to a waiting private jet for processing at NFL Film headquarters, in Mt. Laurel, New Jersey. By the following afternoon the entire batch of film had been developed and printed, ready for editing. The footage was then used to produce official highlight films for the Super Bowl contenders and several special programs aired on broadcast and cable television. It is also the official archives for the National Football League.
The NFL Films archives contain hundreds of thousands of feet of film going back to the early part of the twentieth century. During the regular season NFL Films assigns at least two cinematographers to document each game. One is at field level and the other in a fixed position high in the stands at midfield. The number of cinematographers present is determined by the importance of the game. As the season progresses, several cameras will be used on important games, placed in strategic locations around the action. However, for the biggest game of the year, Steve Andrich, vice president/cinematography, NFL Films, wants every nuance captured on film.

"We assign each cameraman to cover specific parts of the game from selected points of view, but mostly we leave it to them to use their expertise and their experience to come back with exciting shots that capture the essence of the game," Andrich says.

NFL Films has developed a recognizable visual style. "Most people recognize us for the slow motion and the up-close, tight shots," says Andrich. "It's been described as 'athletic ballet'. It's the kind of thing you don't see unless you see it in slow motion."

Posted by Bruce Hansen (Member # 281) on 04-13-2005, 12:21 PM:

Matthew,
Could you scan the manual(s) and post them here at film-tech? If you don't have a scaner, than Brad may be talked into doing the scaning, if you will loan him the manual(s).

Posted by Leo Enticknap (Member # 534) on 04-13-2005, 12:59 PM:

Sorry - I forgot about shot-for-NTSC. I still think it's a bit strange to go to all that trouble to build a multi-speed capable mechanism which can't do the silent speeds, though.

Posted by Matthew Taylor (Member # 2310) on 04-13-2005, 05:09 PM:

Gilbert, it is just the normal P70 @ 24fps.

Bruce, I do have a scanner but as it's mostly a parts and circuit diagram manual, there are quite a few A3 size pages that would be a bit more difficult to scan.

Posted by Gilbert Travin (Member # 2138) on 04-14-2005, 02:17 AM:

OK Matthew !
Here is a photo of the Ernemann/Zeiss Favorit 70 = a Prevost P 70 improved by Zeiss !

http://perso.wanadoo.fr/projecteur.cinema/zeiss2.htm

Posted by Gordon McLeod (Member # 33) on 04-14-2005, 09:57 AM:

The zeiss favorite 70 and the p70were the same machine just relabled Atlantic audio visual used to sell them over here and they were always shipped direct from Italy as a seperate shipment to the 35mm machines ordered for the same jobs that came from germany.I could never find any difference between the prevost we bought direct and the ones that were badged zeiss ikon

Posted by Richard Fowler (Member # 893) on 04-14-2005, 11:22 AM:

No difference...worked on both.

Posted by Gilbert Travin (Member # 2138) on 04-15-2005, 03:20 AM:

That is a photo of P70 "grey" that worked in Lyon and was used for projectionnists formation, you can notice that instead of Favorit model, the mechanism is not closed in a "cabinet"

Posted by Matthew Taylor (Member # 2310) on 04-15-2005, 03:35 AM:

This is exactly the same as my one except mine is only a twin turret.