Semi-Portable 35mm setup for popup theater

[Jeremy Klein]

Hey all. Me and a friend are looking into creating a popup film series where we setup in local theater/studio spaces and host public, ticketed movie screenings. As lovers of film, we're looking into the logistics of one day projecting 35mm for these screenings. Full disclosure, we're early on in our research phase, don't have much prior knowledge or experience with film projection, and I'm really just looking for some pros to discuss how practical something like this is, if at all.

The idea is that we'd buy two semi-portable 35mm projectors and some (relatively) inexpensive reels, and start teaching ourselves how to operate them. We do live in a major city and there are certainly trained projectionists in the area, so attempting to get some help is on the table. We would start by collecting more obscure prints and doing small screenings to friends. The ultimate goal would be to gain the technical know-how and organizational legitimacy necessary to start borrowing prints from distributors and do licensed, ticketed screenings, working towards a more permanent space.

We have other sources of income and are willing to put a reasonable amount of money into this up front.

Some questions:

Is a "portable" projector setup practical, or would a fixed projector booth installation be necessary. I see listings like this for "semi portable" projectors.

How would you recommend approaching learning to operate a film projector? There seems to be resources online as well as books on the subject. I was considering reaching out to local projectionists/theaters to shadow them during their 35mm screenings. Also worth mentioning I'm within long driving distance to George Eastman Museum, not sure if there's any help I can get there outside their full higher education programming.

Generally speaking, what's the bar for distributors who lend out film prints to trust an organization like this? I've been to many small theaters that did 35mm screenings of widely known films. Is it possible at all to borrow prints from say, Kino Lorber for film screenings without being a permanent, known theater.

Any other considerations? Is this a completely idiotic idea or is it possible? Let me know!

[Sean McKinnon]

You could also just hire someone to bring in a portable setup for a day when you need it. Less fun but maybe more cost effective?

[Ryan Gallagher]

For strictly 35mm more portable arrangements have existed or do exist. There are probably limited outfits you can hire out to these days... Sean might work at one of them. ;-)

Not a crazy idea, but you are right the hurdles are the sources of prints and exhibition rights, and building the market for the pop up concept... either in empty spaces, or in cinemas that want to have a special engagement with a print.

There is at least one all 35mm drive-in that recently spun up a tour-able 35mm setup to take some of what they do on the road. I don't know how well it is working/booking but others are in fact trying it.

Technically the considerations would be, beyond the projector arrangement, will you be providing sound reinforcement too, or are you narrowing your focus to facilities that already have some sound system (you mentioned theatres and studios, which are maybe in the latter group).

The next technical questions become screen and the size of the spaces you would hope to play. The inflatable screens are easy to get (especially after covid), but your lamphouse wattage is gonna vary depending on what capabilities you are aiming for. And the brighter that gets the more cooling and power become a factor. Lensing is also an issue if your screen and throw are changing gig to gig.

As for learning, I think initially, before any investment, shadowing in some 35mm booths is the best option. Bonus if the folks are knowledgeable enough to offer advice on such a project. I'm not sure i'd buy a 35mm projector (or two) until you know what you really want/need. Unless you come across someone trying to give some away in a booth renovation and don't mind setting them up in a garage for a time while you learn the ropes, even if they are not your final portable solution.

I remember seeing Top Gun shown outdoors on 35mm by our student union entity on one of the campus quads in the film era. It's not a new concept for 35mm, you just have to do some work to re-invent the setup.

I think the real take-away would be to do the digital series and build an audience first. If it is working well, only then consider how you might add 35mm capabilities. Having 35mm before the whole concept was working would only be justified if you felt "analog" functioned as the major selling point, in a large enough market that has lost it's art-house or classics analog capable venues previously. If such venues still exist... just try to partner with them to have your org curate some analog screenings, this might make it much easier to acquire exhibition prints too!

Our programmer and classic series does that with a couple of local film orgs, including 35mm selections.

[Sean McKinnon]

Honestly, If somebody really wants to take on the challenge I would totally recommend Either an FP10 Style set up with collapsible bases or an fp 25 style set up where the projector and lamp house sits on a spool tower Even if you never plan to use big reels, they just handle film so gently.

The major considerations though are the bases making them easily transportable, Easy to set up, Adjustable because not every place you go into is going to have windows in the right place. You need interconnect cables that are going to survive. Road cases there is a lot to consider.

having lenses an inventory to cover different venues and formats, plates etc…

if it’s something that you plan to set up in the same venue over and over again and never use it any place else then I would say there may be better options like a rail system Or wheels and locating pins.

[Ed Gordon]

...

I think the real take-away would be to do the digital series and build an audience first. If it is working well, only then consider how you might add 35mm capabilities. Having 35mm before the whole concept was working would only be justified if you felt "analog" functioned as the major selling point, in a large enough market that has lost it's art-house or classics analog capable venues previously. If such venues still exist... just try to partner with them to have your org curate some analog screenings, this might make it much easier to acquire exhibition prints too!

...

Ryan, I agree with your assessment. All that is needed is already available and is used extensively for those summertime outdoor movies presentations in parks, et cetera.

[Jay Schwartz]

I've been doing essentially the same thing you describe, but in 16mm, for 33+ years (and mainly in Philadelphia!). It's a whole lot of work, but I can tell you that it is significantly more complicated with 35mm (which is why, up until now, I've presented 35mm programs in theaters with still-operating booths. I DID purchase so-called portable 35mm projectors for mobile use (since so many theaters got rid of their film equipment, though a few in the area have re-installed projectors, as you no doubt know). But I have yet to gather all of the pieces needed for a mobile set-up (and the needs would vary depending on the dimensions of the venue and what they already had or did not have in place).

[Jesse Crooks]

There is no such thing as a good "portable" 35mm projector. My primary concern would be how harsh they are on film, before even considering the poor presentation, or the fact that a decent one is a total pain to haul around. They tend to be rough around the edges from a mechanical / film gentleness perspective, and a lot of them will puke oil (including the Acme you linked). Sean's recommendations are good (no surprise there).

Since you're in Philly you may be familiar with the portable 35mm setup that Exhumed Films uses at some local venues. They have Kinotons that have been adapted for portable use. Not sure if they bought them from MTE but they usually have some listed for sale. I don't know how well the clutches work (that's the main mod), but I imagine that would be the only decent (or at least non-horrible) option. The mechanism itself will be gentle on film, unlike pretty much any other "portable" option.

If the goal is to run film I would start with a good portable 16mm setup. That is actually easily portable and much easier to do well. If I were trying to come up with a portable 35mm setup I would probably try to use a Century SA with an R3 soundhead and a DIY base that is significantly smaller and lighter than a factory base. The lamp would probably be the sticking point.

[Mark Gulbrandsen]

I concur with Jesse... I have owned two types of portables. Tokiwa, and Prevost. Nether put out a decent steady image and the Tokiwa ran hotter than the sun. I did portable dailies work on gobs of movies over the years, and I built my own Century Projector based systems and never had a single problem. The DP's also liked the steadiness and light distribution across the screen I could have also used Simplex X-L's , but you have to deal with too much oil, and the Simplex projectors and sound reproducers tend to drip a bit of oil. So based on my experiences running film for a lot of the fussiest people in the industry, the Century's prevailed. I ended up having three complete systems of my own, and I sold four systems to other POST Houses. I actually did have all my systems out a few times as well as the VV Projector. I acted more as the on site Tech, Did the setups and weekly maintainance and check up. But also did the projection work on a number of features. As Jessie says, the Kinoton's are also very good, and today are likely much easier to get parts for than the older stuff. I had a Kinoton projector and platter in my home screening room for quite a few years when I lived in Utah... They are very nice machines, and also do not suffer from oil drip like Simplex's do. You may want to consider putting your stuff in an enclosed Trailer or cube truck. That would minimize what you need to setup and tear back down each time you do showings. Also, consider your power. You really should have a ground fault system if you are outside due to rain possibiliies...

[Stefan Scholz]

Portable projectors are - a special thing. THere was the one eyed under the blind ones, called Veronese portable and 1600 or 2500 Watts Xenon source. Yes, ok, but not a great professional projector. At least bright and portable. Most of these are not kind to film and do not offer steady images or bright lamp sources.
The ones I own have been mentioned Sean McKinnon, the Kinotone sitting on a spool table. This is not really a lightweight portable, its a theatre style console head mounted to the spool tower and combined with the lamp house for the standalone theatre machines. I love those. There's one in my flat in the city, with 1200 W Xenon and built in switching ballasts, and rather compact to be placed in my bedroom.

In the Cinephiles screenings years ago in Hollywood we used standard studio type Simplex XLs with sep sound capability, from a rental company. Which just showed the non console version with pedestal, table and Strong Super LumeX is portable enough to be set up anywhere. Looking for two standard theatre type pedestal machines in good condition is another idea.
Even Ernamann 15 by Raytheon Corporation is a projector superior to real portables, and the complete projector including pedestal with controlled winding, lamp and projecor head is less than 170 lbs each. Semi portable, I'd say.

[Juergen Kellermann]

This Italian company still builds new portable 35mm and 16mm projectors...

http://www.cinemec.it/products.html

Probably the only place left, where you can get new machines?

[Josh Jones]

This Italian company still builds new portable 35mm and 16mm projectors...

http://www.cinemec.it/products.html

Probably the only place left, where you can get new machines?

From what I've heard from others, there is also a 3 year wait...