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Author
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Topic: HELP! Moviola film path question?
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Phil Hill
I love my cootie bug
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Posts: 7595
From: Hollywood, CA USA
Registered: Mar 2000
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posted 08-06-2002 01:01 PM
A big advantage of the upright is the small footprint as compared to those monster flatbeds. I have not seen the "jitter" some are speaking about except when not threaded correctly. Keep in mind these machines have a Geneva intermittent and must have a film loop before and after the intermittent sprocket. Also, make sure the intermittent gearbox is filled with oil. As was mentioned, there is flicker at slower speeds due to the shutter governor. It is normal to have some travel ghost even with the constant-speed motor...it is a viewer/editor not a projector. These machines are just as "gentle" on film as a projector that has the same diameter sprockets. Thread with soundtrack away from "operator side" - opposite of a projector. Film coming counter-clockwise or clockwise off of supply reel (bottom reel) around dampers, under picture head to front of machine and up to constant-speed feed sprocket. From sprocket, then a film-loop, through picture head, intermittent sprocket, another film loop to the 2nd constant-speed sprocket. If composite sound model, then over sound stablizer roller, around sound drum, under 2nd stablizer roller, then to constant-speed hold-back sprocket. Then around tensioners/dampers and up to take-up reel in a clockwise direction. Be sure the take-up reel clutch is not set too tight. >>> Phil
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Manny Knowles
"What are these things and WHY are they BLUE???"
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Posts: 4247
From: Bloomington, IN, USA
Registered: Feb 2002
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posted 08-06-2002 01:20 PM
On a "cutter" Moviola we didn't use loops...The film was just laid flat into the gate.Maybe that's why I experienced the "normal" jitter. BTW there isn't much diff between the cutter model and the take-up model. The take-up just has the rewind arms. Sound editors found them useful. Maybe that's coz they were working with assembled reels of film? Below is an image of a threaded Moviola with reel arms. It is from The Film Editing Room Handbook, Second Edition by Norman Hollyn (Lone Eagle Publishing, 1990).
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