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Author
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Topic: Strong Lumex /super lumex
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Paul G. Thompson
The Weenie Man
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Posts: 4718
From: Mount Vernon WA USA
Registered: Nov 2000
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posted 02-12-2003 09:32 PM
Jack, I don't know for sure, but if they are talking about the 65000 "Yellow Dog," I had two of those in operation at Cinema 5 in Mount Vernon. The lamps did give a very nice light on the screen, and the lamps were virtually trouble free until someone put a under-rated blower in them to save a couple of bucks. The lamps then went through bulbs like crap through a goose. When we got Cinema 5 back from Plitt, I discovered that error and installed the correct blowers in them, and the lamps again performed virtually trouble free until the theatre finally closed.
However, for them to operate properly, the concave heat filter/condenser lens has to be installed. Without it, forget about getting the bulb to focus properly. I had them behind some PRO-35's. (your favorite machine)
Ken, there are still two of those laying in Shelton - without the condenser lens. When they were in service, they would not light up an ape's butt without the aid of a flashlight. They are the "Blue Dogs" up there, mine were the "Yellow Dogs."
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Paul Mayer
Oh get out of it Melvin, before it pulls you under!
![](http://www.film-tech.com/ubbmembers/355b.jpg)
Posts: 3836
From: Albuquerque, NM
Registered: Feb 2000
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posted 02-17-2003 04:29 AM
For some reason xenon supers just don't seem to put out the quality of light that the carbon arc ones did. It's hard to get the field even across the aperture and the light just doesn't have the "punch" of the old lamps, to put it in imprecise terms. Changing to xenon required a reworking of the barrel optics (specifically the rear lens which is now a more complex affair than the carbon arc's simple double convex lens). Don't know if this contributes to the attributes I see in the xenon lamp's output or not.
From an operator standpoint, the new lamps don't feel or work as smooth as the old ones. The new ones are quite a bit lighter and don't have the bearing surfaces that the old ones had--they feel cheap to me. Plus, the newer cradle design places the center-of-gravity of the instrument well above the pivot point, leading to over-center changes in the instrument's balance, especially with the long-throw barrels. With the new lamps you have to balance them for one rather narrow range of tilt angles and live with either a nose-heavy or tail heavy lamp at any other angle, or run with more tilt friction than you might otherwise use (I used to use almost no friction). The old lamps' center-of-gravity was much closer to the pivot point and therefore they could be balanced over a correspondingly greater range of tilt angles. Also, the xenon long-throw barrels place the color boom at the front, making the lamp rather awkward to operate if you don't have long arms, though I have to admit the front-mounted boom allows one to make simultaneous moves that were difficult with the old center-mounted boom. Nothing here that couldn't be accomodated by an experienced operator--it's just that I didn't appreciate the changes in feel that came with the newer lamps. Personal opinion and obviously now a moot point, but I very much prefer the older lamps' heft and feel for doing finesse work (which we did a lot of, in the 'Vegas shows of old).
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