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By the way, what you going to use it for? There are some very nice professional-grade 16mm machines out there, but they can be very expensive, too.

If you plan to use it in a public enviroment such as a theatre, I would recommend a machine that has an intermittant movement rather than the "claw", which is the standard shuttle.

My personal favourites are Eiki portables, tbough again, without the auto-load mechanism. Threading and operating is straightforward and routine maintenance (e.g. replacing lamps and belts) is dead easy. The entire film path is readily accessible and therefore can be kept clean very easily. Eikis are also very tolerant of shrunk and brittle stock, and will put up with most dodgy joins.

For full-scale cinema use, I'd say that the big Fumeos (e.g. the HL-3000) have a slight edge over Eikis for picture stability, although I found that they are ruthless to shrunk or brittle film. You could only really trust them with prints in near-perfect condition.

As Paul said, an intermittent-based machine is ideal but they cost very serious money. The Philips/Kinoton FP-18 gives a beautifully steady picture and is very kind to any sort of film stock in virtually any condition. But lacing up is quite fiddly, maintenance jobs which should take 10 minutes have a habit of taking an hour, and the price of spare parts would give George Soros a heart attack.

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One slight down side is you need to modify the arms (we did it without much trouble) to take 6000ft reels if you want to run full features. The arms as supplied only hold reels for about 80 min of film. The pedestal (the "B" designation) will accept the Strong carbon arc lamphouse that was specially designed for it as well as any standard xenon lamphouse -- we have a Xetron 1600w on it. Another is that the lensing can be a problem because the back element needs to fit into a smaller opening at the gate. The Eastman originals were slow and are hard to come by -- we use Eiki lenses in a special sleeve that we had machined and they work fine -- nice light throughput too. So far we have not used anamorphic attachements with this projector mainly because the need hasn't come up and halving the light on the screen in this format would be more of a compromise than would be acceptable. Lastly, sadly, Eastman no longer keeps parts for this gem, although ICECO in Miami does and has some used units available.

http://www.film-center.com/projmain1.html

ICECO and other dealers may have some used EASTMAN 16mm projectors in stock, along with spare parts:
http://www.iceco.com/16mm.htm

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John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Research Labs, Building 69, Room 7525A
Rochester, New York, 14650-1922 USA
Tel: +1 585 477 5325 Cell: +1 585 781 4036 Fax: +1 585 722 7243
e-mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion

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Was that Strong arc lamp a special model? I thought it was just a basic Strong Utility lamp.

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Steve, I'm fairly certain they were Strong Juniors.

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Better Projection Pays!

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