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Author Topic: Brenkert Spot-Flood Lamp Carbon Arc Restoration Michael Bell Film Handler Posts: 3 From: Brandon, FL, USA Registered: May 2013 posted 05-22-2013 12:49 PM                     Greetings. I am new to this forum. I am a lighting designer for the stage and live events. I also work as an electrician with a traveling entertainment company. My father runs the historic Tampa Theatre in Tampa, FL. He saved it from demolition and restored it using John Eberson's original concepts and colors. It is an amazing place in which to grow up. I recently went to work with him a few days ago just to putter around and see what new / old things I could find. I found two Brenkert spotlight fixtures on their bases. They seemed pretty put together. The one that caught my attention was a carbon arc fixture. Specifically, Brenkert Spot-Flood Model C3 100 Ampere Arc Lamp. I was so excited to see one I snapped a few photos. I didn't see a ballast for it however, I didn't look that hard at the time. I would love to restore this and get it working again. Any help on what could be missing or what I might need to get it functional again would be great. I am pretty well versed in the jargon and concepts of electrical theory and application. Don't be afraid to speak smartly. I prefer it. Images: http://bit.ly/12Wkh9w  |  IP: Logged Louis Bornwasser Film God Posts: 4441 From: prospect ky usa Registered: Mar 2005 posted 05-22-2013 02:44 PM                        Is your hope to use carbon or move to xenon? Louis  |  IP: Logged Michael Bell Film Handler Posts: 3 From: Brandon, FL, USA Registered: May 2013 posted 05-22-2013 06:11 PM                     My hope is to have it be a close to factory as possible. I understand certain limitations exist, especially with safety.  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 05-23-2013 09:52 AM                     Probably the theatre had a motorgenerator set to supply DC for all the arcs in the booth on both projectors and spots and they would have had ballast resistors located near them for each device On stage they provided a ballast that clamped on the base and plugged into one of the kleigl arc pocket floor pocket locations The kleigl connector was a block of wood with to copper paddles on the side and was rated for 100amp  |  IP: Logged Mitchell Dvoskin Phenomenal Film Handler Posts: 1869 From: West Milford, NJ, USA Registered: Jan 2001 posted 05-23-2013 11:23 AM                     Beware of any asbestos coated wires...  |  IP: Logged Randy Stankey Film God Posts: 6539 From: Erie, Pennsylvania Registered: Jun 99 posted 05-23-2013 11:57 AM                     The lens and snoot assembly seems to be missing from the front. Without those, you won't be able to focus the light beam. Just "Bwaaa!" Light everywhere. You've got asbestos wiring. Needs to be removed and replaced. Even if you ignored the presence of friable asbestos, the wiring probably isn't safe. If that insulation is dried out, cracked or broken, no way should you put 100 amps through it! You'll need a power source. Probably 100 amps DC. Don't even DARE plug that thing into a standard AC power source! If you get it burning without killing anybody, you'll need ventilation. Old-time theaters usually had ventilation in the spotlight booths. At least a grate in the ceiling. Many modern theaters don't have ventilation. Without it, you'll be smoked out in ten minutes. Finally, if you did manage to get it fixed up and burning without electrocuting anybody, asphyxiating them or giving them lung cancer, where would you get carbons for it? I don't know any company that still makes them. I'm sure you can find some but you'll have to dig for them. I can't imagine it would be easy... or cheap. I think you have something worth saving but I suggest you simply clean it up and make a museum piece out of it.  |  IP: Logged Jeff Taylor Jedi Master Film Handler Posts: 601 From: Chatham, NJ/East Hampton, NY Registered: Apr 2000 posted 05-23-2013 03:31 PM                     Way o/t and my apologies, but the Tampa Theatre was the final venue for famed theatre organist Rosa Rio, who performed on the Wurlitzer playing "Everything's Comin' Up Roses", her signature song, while riding up on the organ lift at I believe 105. She went back to silent theatre days and covered the heyday of radio soap operas. She had an escort to get her from studio to studio at 30 Rock when she had back to back radio shows. Quite a lady. Lots on Youtube about her.  |  IP: Logged Michael Bell Film Handler Posts: 3 From: Brandon, FL, USA Registered: May 2013 posted 05-24-2013 11:27 AM                     Thank you all for the information. I know those wires would have to go if I wanted it to be fully operational. Of course the ventilation is a major concern. I will poke around the old wiring blueprints if I can find any. My father has all of the old building drawings in his office. I might be able to find an old booth drawing. There was another Brenkert fixture: Brenkert Spot-Flood-Lamp Model- C5 A 1000 To 1500 Watt Incandescent Lamp This one had its lens (which looked to be a diameter which might fit the arc fixture). Now that I think of it, this one might be easier to fix up. I'm sure the theatre has some old rods hangings around, I found a full, unused National White Flame rod just sitting inside the arc fixture housing, in front of the carriage. I have entertained the idea of just aesthetically restoring it to its original splendor and donating to a museum or perhaps a collection. I knew Rosa Rio. I met her several times, listened to her play. I even sat on the Mighty Wurlitzer bench with her a few times as a boy. She was amazing. I would be interested to see any photos of the Model C3 if anyone has any. And thank you all again!  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 05-24-2013 03:20 PM                     OK couple of points lens in the front is a single plano convex lens made from tempered glass and it will determine the size of the spot most of the stage lighting manufactures of old will be able to provide one once you know the one you need they are speced as dia (in inches) and focal length (in inches) common ones were 6x9 6x12 6x16 8x9 8x11 and 4.5x6.5 those sizes im sure altman caould provide As to the wire asbestos wire lasts usually forever and all it needs is a fiber glass sleave afixed over it I have never seen any carbon fixture work properly with any other type of cable since it was so flexable which is need for feed mechanism this is a picture of the stage arc plug  |  IP: Logged Louis Bornwasser Film God Posts: 4441 From: prospect ky usa Registered: Mar 2005 posted 05-24-2013 03:37 PM                        Stage plugs always scared me if 120 volts.  |  IP: Logged Richard Fowler Film God Posts: 2392 From: Ft. Lauderdale, FL, USA Registered: Jun 2001 posted 05-25-2013 03:18 AM                     I operated that model arc-lamp follow spot at the Monroe Theater in Key West (since burned down). The low intensity carbon was run off a motor generator set and gave a light color which was on the warm side. We ran out of low intensity so we created adapters to handle hi-intensity carbons with a bluer light but constant adjustment do to the rapid burning and different arc flame. You do need a plano convex lens to enlarge and project the arc flame. I grew up in Tampa and I did my regular visits...in addition of the near by Florida and Palace theaters very week. The last time I was in the theater was to repair the Prevost / Xetron 16mm projector. I do work for the other Atmospheric Cinema in Florida - Olympia / Gusman in Miami.  |  IP: Logged Richard Fowler Film God Posts: 2392 From: Ft. Lauderdale, FL, USA Registered: Jun 2001 posted 05-25-2013 03:21 AM                     I operated that model arc-lamp follow spot at the Monroe Theater in Key West (since burned down). The low intensity carbon was run off a motor generator set and gave a light color which was on the warm side. We ran out of low intensity so we created adapters to handle hi-intensity carbons with a bluer light but constant adjustment to the do to the rapid burning and different arc flame. You do need a plano convex lens to enlarge and project the arc flame. I grew up in Tampa and I did my regular visits...in addition of the near by Florida and Palace theaters very week. The last time I was in the theater was to repair the Prevost / Xetron 16mm projector. I do work for the other Atmospheric Cinema in Florida - Olympia / Gusman in Miami.  |  IP: Logged

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