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Author
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Topic: Make two platter system projectors into changeover System
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Leo Enticknap
Film God
Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000
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posted 10-10-2015 10:30 AM
It's possible, though you may need some parts that weren't fitted to the projector mechanisms as delivered for multiplex/platter use. These are essentially:
1 - Arms and spindles for the feed and take-up reels
2 - Drive/transmission mechanism (belt, chain or separate motor) for the take-up.
3 - Changeover shutters on each machine, interlocked with each other such that when you press the "over" button the shutter comes down on the outgoing machine and comes up on the incoming one simultaneously
4 - Identical audio heads on both machines, and an audio processor that supports a two-projector changeover system, which again is connected to the changeover buttons on each projector.
5 - Two sets of identical lenses and aperture plates for all the aspect ratios you wish to support. If you're looking to be able to play the full range of archival prints, this at the very least means full-gate silent, 1.37, 1.85 and 'scope, and ideally should include 1.19, 1.66 and 1.78 as well.
The following are also desirable to play archival prints properly:
1 - Three-blade shutters and a variable speed motor to enable projection at any frame rate from 16 to 25
2 - Interchangeable white light and red light optical audio readers, so that you can play any sort of optical track that could be thrown at you, including ones that really need one sort or the other (e.g. unilateral variable area on silver dye needs white light, cyan needs red).
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Scott Norwood
Film God
Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99
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posted 10-10-2015 01:41 PM
What Leo said, although I personally prefer separate changeover controls for picture (foot pedal) and sound (push button). This is a preference thing, though.
The other issue is the size of the reel shafts that you choose. Aside from Kinoton and the 35/70 machines, these are generally not easy to interchange. In the US, the choice is 5/16" or 1/2". Here, at least, the 1/2" shafts are unquestionably better (less likely to become bent or otherwise damaged), but house reels with 1/2" shafts are often hard to find, and you will need more of them than if you go with 5/16" shafts, since you will not be able to use shipping reels or split reels to feed or take up film in a pinch (yes, I know, this is bad form...but sometimes necessary). All 70mm shafts are 1/2"; the 5/16" option exists for 35mm only. I would personally only go with 1/2" shafts if you will regularly be running 6000' reels, which is unlikely if you are regularly showing archival prints.
Also, you will (of course) need a rewind bench, house reels, lens collars, reel cabinet(s), house reels, split reels, spare leaders and tails, spare takeup belts, etc.
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Dennis Fung
Film Handler
Posts: 11
From: Kwun Tong, Kowloon, Hong Kong
Registered: Jul 2014
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posted 10-10-2015 05:51 PM
First, thanks all of your information. I really learn a lot more about 35mm projectors at this “dying age”.
As I don’t know which model the cinema will acquire. Maybe Simplex or Century depends on their supply? I may need to double check with the owner and following by Leo’s checklist.
I think quite challenging looking for good lens for projectors, I wish I could found extra lens at 1.37 and 1.66, instead of Flat and Scope.
About turret, I know some projectors comes with 2 lens turret designed for Flat and Scope. If I can’t find 3 lens kits, is it still possible change into special lens? Or I should avoid these auto turrets and aperture models?
Mark, I could find two 3-deck platters easily, but the projection can’t fit two platters and dual projectors. I also need to fit Digital Projector and rewind table, etc. Obviously, install 2 platters not a better choice for me. Especially I still looking for another 16mm film projector if possible.
Scott, just interesting about the Kinoton, why this German brand easier for both 5/16" and 1/2" shafts? Btw, I don’t think I will be running 6000’ for 35mm, so I will keep 5/16" as usual. I don’t mind more changeovers.
Sam, I won’t use cue maker as really damaging archival prints. I will use stickers / tapes instead, at least removable. Normally I got some prints with proper cues.
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Leo Enticknap
Film God
Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000
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posted 10-11-2015 11:17 AM
Interesting - I've never had an archive want to know the make and model of projector (although I've seen the unbelievably extensive GEH new venue questionnaire, which even asks if the prints will be kept under guard, with a check box for "armed," while in your care). But that having been said, I've only once been responsible for programming archival prints at one new venue which hadn't dealt with them before (University of Leeds), and then only the BFI, so maybe this is a standard practice.
All the archives whose prints I show now will almost always scribe their own cues onto prints if there aren't any on the intermediate element they were printed from. Thanks to the growth of DI and filmouts, I've noticed a steady uptick in archive prints with scribed cues as distinct from printed ones.
Strange - I'd have expected the software driving the Arrilaser (or whatever) to give you the option of burning the cues digitally, but even if it exists, the major archives (and FotoKem, for that matter) seem to prefer adding Clint Phare cues after processing, rather than integrating them digitally.
The only serial offender I've come across is the Nederlands Filmmuseum (or whatever they're calling themselves nowadays), whose digital filmout prints almost never have any cues on them, and I have to add (and then remove, adding to pack-off time) click strips.
That having been said, I had to do this with a UCLA print during Cinecon (Valley of the Giants), but UCLA and the Academy are usually very good at providing projectionist-friendly prints: they arrive tails out on Goldberg reels, the leaders are in perfect condition, aspect ratio and audio format (if any) clearly marked and there is generous spacing at both ends. I wish they wouldn't add polyester spacing to the ends of an acetate reel, though, because it puts me at risk of forgetting to reduce the gate tension if I'm showing an acetate reel immediately after a polyester one. This can be very bad news on a Norelco - excessive gate tension risks causing perf damage, especially on older and slightly shrunk acetate. Feeling the thicker spacing when starting to thread the reel reminds me to check.
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