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Author
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Topic: Dual 35/16 Projectors - Which to Buy?
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Frank Uhle
Film Handler
Posts: 2
From: Ann Arbor, Michigan, USA
Registered: Apr 2000
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posted 04-27-2000 02:14 PM
Hello. I work for the University of Michigan, and we are putting together plans for a new 80-seat screening room which will be used by our film studies program. Because of the small space we have been given to use (only a 29 foot throw from projector to screen, with an 18-foot wide screen, and a rather tiny booth space), we have decided to purchase machines which will show both 16mm and 35mm film, rather than getting separate ones for each. (There are no plans for 70mm.) Because we will be hosting visiting filmmakers and occasionally using archival prints, we are going to be purchasing two machines so that we do not have to put prints on a platter (most films will be shown only one time, then shipped out, anyway).I have read through a few discussions about which projectors were best/worst, and whether people think "electronic" ones are preferable (and durable) or not, but I was also wondering if anyone has had any direct experience with either of our candidate machines, the Kinoton FP-38E or the Ernemann 15-35/16. Price is not a consideration - I know that the Kinoton is substantially more expensive, but is it truly the better machine? We have some Kinoton FP-28s that we bought 10 years ago which are pretty good overall, but do have some quirks that at times have proved annoying. Thanks for any thoughts you might have. Frank Uhle
University of Michigan Film Projection Service
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Ari Nordström
Master Film Handler
Posts: 283
From: Göteborg, Sweden
Registered: Jan 2000
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posted 04-27-2000 02:33 PM
I can't really say which is the better one of the two, but I do have a minor point for you to consider. If you plan on screening Super 16 prints, you might want to check if the one you choose can be rebuilt to show the format.The gate must be modified, obviously, which means that the image stability in a modified gate must be taken into account. Also, all of the sprockets have to be modified so that they won't scratch the print. And finally, you'll need something to handle the mag strip that will have to be synchronised with the projector. I don't know if the Ernemann or the Kinoton offers you this without extensive rebuilding. If Super 16 is a requirement, then you might want to reconsider the decision to buy a combo machine, depending on how hard it is to modify the projector you choose. At my theatre, we have a Bauer Selecton (16mm) projector that has been rebuilt to handle the Super 16 format. The projector has it quirks, but handles all of the required formats well. Good luck!
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Frank Uhle
Film Handler
Posts: 2
From: Ann Arbor, Michigan, USA
Registered: Apr 2000
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posted 04-27-2000 02:45 PM
Ari,
Thanks for the information. We have no plans for projecting Super 16. Actually, the Kinoton FP-38E can be purchased with Super 16 capability, but there are no plans to do this. We _do_ want machines that can project multiple speeds, which both Kinoton and Ernemann are capable of. I have examined literature on both (and the operator's and service manuals on the Kinoton) and have spoken with people who own Kinoton FP-38s, but have not gotten a lot of information on the Ernemann yet. We may actually fly somewhere to examine the machines, but at this point are leaning toward the Kinoton, as we have more familiarity with the brand and it seems to be the better of the two in terms of quality. I was mainly curious if anybody out there had already gone through the process of choosing one of these dual 16/35 machines, and what their experience was.Thanks again,
Frank
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Steve Guttag
We forgot the crackers Gromit!!!
Posts: 12814
From: Annapolis, MD
Registered: Dec 1999
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posted 04-27-2000 03:34 PM
If you plan on running variable speed...then your choice is an easy one...the Kinoton FP-38E or FP-38ES is the one for you.Kinoton has had their "E" machines in use for over a decade and all are still in operation so I wouldn't worry too much about longevity. The key here is your desire for variable speed (possibly silent or slower than 24fps). With the "E" machines, the shutter doesn't slow down so the flicker doesn't get worse at the slower speeds the way mechanical machines do. We have just sold a pair of FP-38ES machines due to be installed later this summer...I'll keep you all posted. Steve ------------------
"Old projectionists never die, they just changeover!"
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Scott Norwood
Film God
Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99
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posted 04-27-2000 05:17 PM
The problem with super 16 is that, in addition to changing the gate/aperture plate and re-centering the lamphouse and lens, you also need some sort of interlock system for sound. 16mm mag dubbers are not cheap, although I believe that you can order the Kinoton machines with the mag dubber mounted on the non-operator side. This may not be the case for the 16/35 model, though.
Who else makes 16/35 machines, anyway? There's some weird Russian model that is no longer manufactured, but I've not heard of or seen any others, personally. Actually, the 16/35 machines are a pretty rare thing, anyway. The Kinoton model is the only one that I've seen personally.
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