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In the chain where I work we have a theater with an endloop system. I used it just few times to understand how it works just in case of problems.
I agree with you: is my opinion that the system scratches the film, depending of the type of the print. I noted that with some type of print static is a problem (with or without air conditioning, with or without the cleaner with anti-static) and while the print is jamming into the brain, it touchs itself continuously: I hnoted that after few shows little scratches appear. I beleive that a bit of dust between folder of print could create these type of scratches. For Pearl Harbor, for example, we didn't have any problem with static and the film entered the core perfectly: after one month of shows the print was in perfect conditions.

The E.L.F. platter received a Technical Achievement
Award (Academy certificate)in 1998:

Clark F. Crites for the design and development of the
ELF 1-C Endless Loop Film Transport and storage
system.

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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 Cell: 716-781-4036 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion

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Endless loops are BAD BAD BAD BAD (ok, not as bad as DLP)..... Not only to film itself but to the life of the traditional operators' career. Besides I would find it very impractical to attempt multiple shuffles of screen placements with loops if a couple features bomb and require moving same day.

EVIL! EVIL! EVIL!

rant off...

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Back in 1986, Hoyts were about to open their first suburban multiplex (yep, only downtown complexes, suburban twins and drive-ins up until that time).

I worked at the Hoyts Waverley Gardens Twin, a very nice all Kinoton location with capacities of around 500 and 400 respectivly. As a trial for the new upcoming multiplex (Hoyts 8 Chadstone) we trialled a Cinemeccanica endless loop system mounted onto the top plate of the Kinoton ST 200. The system worked very well, under the supervision of two full time licenced projectionists. The main drawback being that we had to unthread after each session to clean the projector! This obviously defeated the purpose. We would have welcomed the installation of two sets of PTR's back then.

I recall running Aliens and Leagal Eagles without any scratching or problems until a well-used and oiled print of Crocodile Dundee came back for a session. Well there was no session, once this was loaded into the system it just would not run. Oil on film has the opposite effect to its intended purpose, instead of being a lubricant it acts as an adhesive! The session was abandoned. The unit was trialled for a few more months but ultimately packed back up.

In a remote location, under the guidence of a skilled projectionist, with the correct cleaning system, they can and do work well, but they will never take over the business as many feared.

Hoyts 8 Chadstone opened later that year with four projectionists per shift and no Endless Loop Systems.

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Strong makes an Endless Loop Platter System and, after an admittedly long learning curve, I think the system works pretty well. We have a few in Korea, believe it or not, among a few other places in the owrld as well as the US. Once the atmosphere is stabilized (i.e., some amount of humidity and temperature control) they've operated very reliably even overseas.

Would I put one in my theatre? Only in the rarest of circumstances or applications. Regardless of what anyone says, there is abrasian from film-to-film contact -- it's the nature of the beast as the outer diameter is "scalloped" down into a smaller diameter. There are things we've done to minimize the problem but it's still there, on anybody's endless loop. I think that damage does show up after x-many runs depending on a lot of factors -- mostly condition and cleanliness of the film and ambient factors in the booth.

I look at a Loop as another step in automation -- a tool and nothing more. As far as I am concerned it does NOT replace a projectionist. In fact, it requires a higher skill level.

Pat

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Personally I'd love to play with one, but I can't imagine it being as good of a means to transport film when compared to a normal platter. Heck, even running a lengthy engagement on 2000' reels would probably be better. ( to Steve)

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My experience with the system is that it was usually more reliable and offered better image quality than some of the video in-flight movie systems of today.

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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 Cell: 716-781-4036 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion