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This topic comprises 2 pages: 1 2
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Topic: Close encounters of the Christie kind
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John Pytlak
Film God
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 12-13-2000 11:37 AM
Sound takes one frame (1/24 second) to travel about 50 feet. Standard SMPTE 40 specifies a 21 frame displacement between picture and analog sound on a release print. For a home screening room or drive-in where you sit only a few feet from the speaker(s), 21 frames would be the correct offset in threading. But if most of your audience is sitting 50 feet from the screen speakers, you want 20 frames between picture aperture and analog sound reader. In a very large theatre, a 19-frame offset would produce sync at 100 feet from the screen speakers.AFAIK, most digital sound systems use a "buffer", so the sync is adjustable within a range of offsets between the reader and projector aperture. The sound should be adjusted to be in sync for the center of the seating area in the theatre. ------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Eastman Kodak Company
Research Labs, Building 69, Room 7419
Rochester, New York, 14650-1922 USA
Tel: 716-477-5325 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com
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Randy Stankey
Film God
Posts: 6539
From: Erie, Pennsylvania
Registered: Jun 99
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posted 12-13-2000 01:33 PM
So, Michael; Now that you've seen your first "Purple Cow" what do you think?When I saw my first one I came away thinking, "It's just about all that people say it is.."
Shaky picture, shedding film, self-destructing dowsers... the works. Thing is, I don't think it's a horrible design. It just seems that somewhere in the "implementation" of the thing that stuff got messed up. If it was made right in the first place I think it could actually be a good projector. Still, if I was spending my OWN money, I wouldn't buy THAT cow.
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Paul G. Thompson
The Weenie Man
Posts: 4718
From: Mount Vernon WA USA
Registered: Nov 2000
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posted 12-14-2000 10:43 PM
Certainly, by all means, take Brad's advice. I presumed that the manual would caution the operators on big lower (and upper) loops anyway. If the supposedly lower loop size recommended by the manual is actually to big, a correction should be made in the manual. In addition to Brad's advice, most operators would discover what Brad was talking about by simply rolling the machine through by hand and inspecting the loops as they change size, like most professional operators are supposed to do. At maximum size immediately after the pull-down, what stationary part can that loop come in contact with? Hopefully, it will not be able to come in contact with anything below the bottom of the intermittant sprocket. With minimum loop size at the start of the pull-down, does the loop look like it
is "straining" and pulling the shoe away from the intermittant sprocket? Another concern is what happens if there is a mis-frame? Will the loop size compensate for it when the machine is re-framed? Also, I wish I had a nickle for every time I yelled at my operators for not returning the framing knob back to its center position after the show when a mis-frame happened for one reason or the other. Especially an out- of-frame splice that they are too lazy to repair. I have walked in many booths when I was servicing as a field engineer, and 9 times out of ten, I would find the framing knob jammed up against the stop. I have seen lot of damaged film because operators won't look any further than the end of their nose!! 
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Paul Konen
Jedi Master Film Handler
Posts: 981
From: Frisco, TX. (North of Dallas)
Registered: Jun 99
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posted 12-15-2000 09:17 AM
I don't see why you should be rebuilding a projector every month. I have 24 to take care of and just replace parts that start to go out. Now this has been mainly confined to shutter assy (6), jack shaft(3) and two continuous roller assy and that's about it out of about 18 months of use. Just make sure that those belts aren't so tight to cause undue stress on the shutter assy or jack shaft. Paul.
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