my profile | my password | search | faq & rules | forum home

» Film-Tech Forum ARCHIVE   » Operations   » Film Handlers' Forum   » Strong Ballantyne Projector and 6k Reels

Author Topic: Strong Ballantyne Projector and 6k Reels Tony L. Hernandez Expert Film Handler Posts: 158 From: Windsor, CO, USA Registered: Dec 2005 posted 02-09-2007 10:57 PM                     Hi everybody! I'm sorry I have not been around posting lately. Life got pretty hectic right about after my last post a couple months ago. Anyhow, I just took a gig as a fill in projectionist at a local theater (an old, huge, single screen opera house)and will be starting by building up this weeks print on Sunday and running a private showing of it so the management can see that I am competent to run for a public showing. I have ran 2k changeover and platters but never so much as touched a 6k changeover setup. You see, most of the booths I have worked in have been pre-1945 with only updated sound and xenon lamps; platters in one as well, unfortunately. So I was wondering if some of you folks would be kind enough to share some helpful tips about building up 6k reels. Also, they have Strong projectors in the booth that the other projectionist tells me are from the late 60s/early 70s. I cannot remember the exact model but I think they were Pro-35s or something...I seem to remember a crown-like emblem on the side if that helps any. Sorry to sound so stupid, but like I say, I am used to older machines, especially Simplex E-7 and Motiograph AAA. Also, I want and need someone to explain how, or, even better yet, provide a threading diagram for me. I would like to not go in there looking like a fool. Everything else seems like it will be a piece of cake. I am so happy to have this opertunity. Thank you all for reading this! Tony H.  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 02-10-2007 12:38 AM                     (nothing wrong with playing with E-7's and Motiograph AA(A)'s..and I'm sure you had your time with that oblique shaft one the Simplex'es. And I'd die and go to heaven to run Motiographs again-well built machine) Bet they were PRO-35 Mk VIII's due to the crown symbol-the elite PRO unit.. did the unit have two lenses that were mounted in a slide unit to change between flat and scope? Unit was originally designed for 6k reel playback with the takeup reel down in the console area below the lamphouse.  |  IP: Logged Darryl Spicer Film God Posts: 3250 From: Lexington, KY, USA Registered: Dec 2000 posted 02-10-2007 02:58 AM                    5 reel movie first reel =3 second reel =2 6 reel movie first reel =3 second reel =3 7 reel movie first reel =3 second reel =4 8 reel movie depending on length first reel =3 or 4 second reel =3 or 4 third reel =2 9 reel movie first reel =3 second reel =3 third reel = 3 10 reel movie could be depending on the length of each reel first reel =3 or 4 second reel =3 or 4 third reel =3 or 4 fourth reel sometimes may be needed  |  IP: Logged Tony L. Hernandez Expert Film Handler Posts: 158 From: Windsor, CO, USA Registered: Dec 2005 posted 02-10-2007 03:56 AM                     Haha Monte, yes...we did have our time with the E-7...although I did not find it the least bit funny Cristmas of '05 when it nearly canceled our showing of "White Christmas" and we had to show it on a DVD and DLP projector. I would love to actually get to work with a proper Motiograph set up. Our Motiograph is set up on platters...some of my least favorite things, so I dont get to do much but thread and start. The Strongs actually do not have that slide thing. http://www.kteservices.com/xcineman/x02/5/projectors/uploads/200010007.jpg That is the machine, I am pretty sure. I have not gotten to look at them too close so I am not positive but I think... And thanks for your addition, Darryl!  |  IP: Logged Darryl Spicer Film God Posts: 3250 From: Lexington, KY, USA Registered: Dec 2000 posted 02-10-2007 03:36 PM                    Yep, worked with those years ago. Noticed a couple of things in that picture. One was the framing knob not centered. I also noticed that it was missing the added roller that Strong put in to quiet the loop below the intermittent. It may have made it quiet but if you didn't make sure that roller kept turning it would wear down and eventually cause the film to bow in and rub on the center of the roller causing a nice scratch right down the middle of the picture. The big thing that I hated was that stupid design for a fail-safe. If you did not keep an eye on the two arms that the film edges came into contact with it would wear grooves into it. it would cause splices to catch in the grove then causing the film not to take up. You would then end up with a pile of film in the floor running platters.  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 02-10-2007 03:46 PM                        There are a number of different types of reels that are generally called "6000' reels." Some have fixed hubs, some have "floating" hubs (which spin independently of the flanges), some have larger hubs, some have smaller hubs, and some have slightly different diameters. The important thing for you is to make sure that you use "floating-hub" reels for takeup. Use of fixed-hub reels for takeup usually results in either film breakage (with acetate-base prints) or perf damage (ESTAR-base prints) unless the takeup tension is set perfectly. Even so, takeup tension is much more critical when running the larger reels (vs. 2000'). Ideally, you want to use floating-hub reels with the largest possible hubs (usually 7" or 8") for everything, but most theatres seem to have a mix of different types of reels that have accumulated over the years. Also, take note of the diameter of the hub on the feed reels, as that will determine when you should start to prepare for the changeover. Again, larger hubs make things easier. Make sure that your takeup reels will hold at least as much film as your feed reels! I don't like to fill any reel closer than about 1/2" to its edge, although in some cases you can get away with over-filling the reel (not recommended). Before the final show of a particular print, I like to remove the final reel of the print from whatever big reel it is on and run it on its own. This makes it possible to have the entire print broken down and ready to ship out shortly after the feature ends (since you can do everything but rewind the final 2000' reel while the show is running). My favorite reels for this type of booth are 26" diameter Goldbergs with 7" floating hubs. These will usually hold four shipping reels' worth of film (or three plus lots of trailers) and are very gentle on film when compared with the (more common) 24" reels with 5" hubs. Edit: be sure to add extra blank tail leader to each big reel! The lab leaders on most prints are barely long enough to make one revolution around a big reel and you will get dirt and film damage at the tail of each reel if you don't add extra leader. Extra leader at the head of each reel is less critical, but is also a good idea.  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 02-10-2007 06:16 PM                     Actually HEAD leader is also very important...that is what YOU handle...the countdown should not have any human handling (other than inspection)...when you are done with the film, remove the scrap leader from the head/tail and send the print out looking like it was never run (with perhaps the slightest smell of Film Guard). When I supply 6K reels to customers (and I probably sell the bulk of reels nowadays for actually showing movies...I supply 25" flanges and 7" hubs (floating). The 26" reel does not fit many things in a typical projection booth and really depends on what reel arm you have (or Magazine), rewinder...etc. I have found that 25" reels fit everything and the difference in capacity from a 26" reel is negligable. I order/sell enough that Goldberg put the 25" on the price sheet when they previously only printed in even inches in that size. Depending on the equipment, I also have all 6K reels run on 1/2" spindles. For singles I always advocate just 20-minute reels (15" x 5"). Steve  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 02-11-2007 04:15 PM                     quote: Monte L Fullmer And I'd die and go to heaven to run Motiographs again-well built machine) There are some people in Chicago that could probably arrange for that to happen Tony, If they are E-7's in decent shape you got it made but what ever you do don't try to turn em over by the shutter shaft. If they are Ballantynes I pity you. Mark  |  IP: Logged Tony L. Hernandez Expert Film Handler Posts: 158 From: Windsor, CO, USA Registered: Dec 2005 posted 02-12-2007 02:17 AM                     Mark, we have E-7s at one of the historic venues I volunteer at. Still have fire traps, magazines and 2k reels. We actually aquired them from The Broadmore Hotel in Colorado Springs when the theater was being renovated back in to a theater in the mid 1990s. They just sat there for 5 years until we could convert them to Xenon in 2001. The Ballantynes are at the new place I am going to start working as a fill in projectionist. Thoes are the 6k deals. And the other projectionists have said what pieces of junk they are but I don't know why (yet). Darryl, that was not a picture of the unit its self that I will be working with. It is a picture I found on google. The ones in this theater actually look to be well taken care of....  |  IP: Logged Dan Lyons Jedi Master Film Handler Posts: 698 From: Seal Beach, CA Registered: Sep 2002 posted 02-12-2007 02:32 PM                     quote: Tony L. Hernandez The ones in this theater actually look to be well taken care of.... Very clever...the plastic part that breaks is hidden INSIDE the machine. You'll know right away the true condition once you get some test film on the screen. Good luck.  |  IP: Logged James Westbrook Phenomenal Film Handler Posts: 1133 From: Lubbock, Texas, Usa Registered: Mar 2006 posted 02-13-2007 08:47 PM                     Dan, is this in reference to the dreaded fiber coupler?  |  IP: Logged Tony L. Hernandez Expert Film Handler Posts: 158 From: Windsor, CO, USA Registered: Dec 2005 posted 03-06-2007 10:09 PM                     Thanks for all the advice, folks.I have successfully operated that equipment and built up and torn down 6k reels several times now. Thanks again!  |  IP: Logged

All times are Central (GMT -6:00)

Printer-friendly view of this topic

Hop To: Select a Forum: Category: Operations -------------------- Digital Cinema Forum Film Handlers' Forum Large Format Forum Ground Level Feature Info, Trailer Attachments & REAL Credit Offsets Category: Community -------------------- Film-Yak Film Handlers' Movie Reviews The Afterlife Bob Maar's Joke-A-Thon Category: Classified -------------------- Equipment and Supplies Wanted/For Sale Help Wanted/Seeking Employment Category: System -------------------- Software Beta Testing Forum

The Film-Tech Forums are designed for various members related to the cinema industry to express their opinions, viewpoints and testimonials on various products, services and events based upon speculation, personal knowledge and factual information through use, therefore all views represented here allow no liability upon the publishers of this web site and the owners of said views assume no liability for any ill will resulting from these postings. The posts made here are for educational as well as entertainment purposes and as such anyone viewing this portion of the website must accept these views as statements of the author of that opinion and agrees to release the authors from any and all liability.