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Author Topic: Repertory Plates Jack Theakston Master Film Handler Posts: 411 From: New York, USA Registered: Sep 2007 posted 09-21-2009 09:45 PM                     I'm compiling a list of 4-perf plate specs that rep houses should have (seeing as plate sizes changed over the years). Did I miss any? Measured in inches: Silent (.906 x .6795) Movietone (.800 x .680) 1930 Spec (Nov. '29) (.800 x .600, except Fox with +.04" height) Academy (Nov. '31) (.825 x .600) 1.66 flat (.825 x .497) 1.75 flat (.825 x .471) 1.85 flat (.825 x .446) 2.00 flat (.825 x .4125) 2.55 'scope (Sept. '53) (.912 x .715) 2.35 'scope (March '54) (.839 x .715) 2.39 'scope (Oct. '71) (.838 x .700) 2.39 'scope (Aug. '93) (.825 x .690) SuperScope (2.00) (.715 x .715)  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 09-22-2009 11:52 AM                        Interesting list. Is there any theatre anywhere that actually makes the distinction among the various 2.35/2.39 scope formats? In most such venues, you get four formats (Academy, 1.66, 1.85, scope), plus silent if you're lucky. I could see also having Movietone, 1.75, and 2.55. Beyond that, it just seems like splitting hairs, especially since there is always a fudge factor due to available lens sizes and keystone issues.  |  IP: Logged Jeremy Weigel Phenomenal Film Handler Posts: 1062 From: Edmond, OK, USA Registered: Mar 2007 posted 09-22-2009 01:23 PM                     I've also seen 2.40 and 2.41 scope specified in some flyers included in film cans. Do we have seperate plates for these; nope. I beleive we're maxed out at 2.35 for scope on our screens.  |  IP: Logged Jack Theakston Master Film Handler Posts: 411 From: New York, USA Registered: Sep 2007 posted 09-22-2009 04:24 PM                     quote: Scott Norwood In most such venues, you get four formats (Academy, 1.66, 1.85, scope), plus silent if you're lucky. I could see also having Movietone, 1.75, and 2.55. Beyond that, it just seems like splitting hairs, especially since there is always a fudge factor due to available lens sizes and keystone issues. In mainstream theaters, yes, with masking setting sometimes at a premium, I'm sure it doesn't make much difference. But a theater that regularly runs the variety of programming that would call for the above ratios (I seriously doubt anyone but a repertory theater would need a SuperScope plate). If you're running silent, for example, you're going so far as to re-center the image, right? In situations where you're doing perhaps one or two shows of one film, I don't see any reason why you wouldn't have the opportunity to try to get the most exact presentation possible. For those instances, that's why I'm compiling such a list.  |  IP: Logged Mark J. Marshall Film God Posts: 3188 From: New Castle, DE, USA Registered: Aug 2002 posted 09-22-2009 07:39 PM                    quote: Jack Theakston I seriously doubt anyone but a repertory theater would need a SuperScope plate Interestingly, The Everett has them hanging on the wall right next to the regular scope plates.  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 09-22-2009 09:00 PM                     We set up a LOT of rep houses...including the likes of the Library of Congress, American Film Institute and the National Archives. I think your list can be shortened quite a bit based on what you might actually GET. If you DO get one of the odd-balls, then worry about getting/making the needed plate. Remember, you can always bore out a smaller plate to a larger one. If really worried, keep a couple of extra 2:1 or hole plates on hand. We generally set folks up with the ones they will get... 1.85, 1.66, 1.37 and Scope (current dimensions and don't cater to the .715 x .838...with most any print you get, you will have splice flash or pad roller scratches out there). Lately, we have added 1.75 to the mix. It generally does not require another lens and it also allows for movies composed for 16:9 (1.78). If the theatre has 35-mag capability, we do equip it for 2.55:1 scope too. For Silent, we always equip those theatres that are set up to play it for the standard aperture (.680 x .910 give or take a 1/1000th or two). However we have also come up with a "Super-Silent"...which is basically just before the frame lines and just before the perforations. Several special venues have wanted this for educational reasons rather than as a presentation format...they want to see as much of the frame as possible when studying the movie...I want to say it is about .725 x .945 or so. Steve  |  IP: Logged Phillip Grace Expert Film Handler Posts: 164 From: ACMI. Melbourne. Australia. Registered: Mar 2004 posted 09-23-2009 02:42 AM                     Hello Jack. Our full aperture silent plate is cut to .680 x .906, based on the American standard, which is a reasonable catch-all. However there are some occasions when more height would be desirable. Ideally the set should also include a "maximum aperture" plate according to Steve's dimensions. Some of the newer restorations we see here, especially from German sources, use every bit of the frame. A set of Cinemascope aperture plates of different dimensions is highly desirable to cover the variations among the optical sound versions.  |  IP: Logged

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