Advice for Starting Projection? Simplex X-L Projector

[Sarah Grimes]

Hello! I work at a historic theatre and we're very fortunate to have what I believe are two Simplex X-L projectors with the Simplex Five Star soundhead. Unfortunately, no one currently working at the theatre knows how to use them as we haven't done film projection since 2012. I found the owner's manuals for both the soundheads and the projectors, but I wanted to see if there were any additional resources I should look to to learn how to actually use the projectors, as I would really like us to be able to show movies on 35mm film again as I think it would be a big draw. Any advice is appreciated and I'm happy to share photos as necessary!

[Randy Stankey]

Probably the best thing you can do is find somebody to come and be your consultant. Let them get things working right and teach your people how to run film properly. Then, as you get some experience, you can just let your consultant be on call when you need help.

There isn't any reason why an an intelligent person can't figure out how to run film if they apply themselves but, given the rarity of film these days, it's probably better to call in some help, at least until you get on your feet.

If I didn't live on the other side of the country, I'd come to give you some pointers in a heartbeat. Simplex projectors were my "bread and butter" for years. Unfortunately, circumstances probably won't permit.

I'm sure that there's somebody on this forum who might be able to help or recommend somebody who can.

[Leo Enticknap]

If the projectors have not been used for over 12 years, they definitely need an inspection, overhaul, and general tune up (internal clean, new oil, inspection of bearings for seizure, new lamps, that sort of stuff). Then there is operator training on top of that.

There are SoCal-based film projection specialists that we (the company I work for, which is a dealer, installer, and service vendor for digital cinema and related equipment) work with on projects that include film projection: if you would like some recommendations, please feel free to PM me. However, it would make a lot more sense (both financially and logistically) if you could find someone based in the vicinity of the Bay Area and not have to fly a tech in, and I therefore hope that others will chime in with suggestions.

[Sarah Grimes]

Probably the best thing you can do is find somebody to come and be your consultant. Let them get things working right and teach your people how to run film properly. Then, as you get some experience, you can just let your consultant be on call when you need help.

There isn't any reason why an an intelligent person can't figure out how to run film if they apply themselves but, given the rarity of film these days, it's probably better to call in some help, at least until you get on your feet.

If I didn't live on the other side of the country, I'd come to give you some pointers in a heartbeat. Simplex projectors were my "bread and butter" for years. Unfortunately, circumstances probably won't permit.

I'm sure that there's somebody on this forum who might be able to help or recommend somebody who can.

Thank you for the perspective! Do you have any advice on where to find/look for a consultant? And I appreciate the offer for the pointers, it's a shame we're on opposite sides of the States!

[Sarah Grimes]

If the projectors have not been used for over 12 years, they definitely need an inspection, overhaul, and general tune up (internal clean, new oil, inspection of bearings for seizure, new lamps, that sort of stuff). Then there is operator training on top of that.

There are SoCal-based film projection specialists that we (the company I work for, which is a dealer, installer, and service vendor for digital cinema and related equipment) work with on projects that include film projection: if you would like some recommendations, please feel free to PM me. However, it would make a lot more sense (both financially and logistically) if you could find someone based in the vicinity of the Bay Area and not have to fly a tech in, and I therefore hope that others will chime in with suggestions.

Yes I think that general maintenance is a big need for us, especially when it comes to oil. I read in the manual that there should be a visible oil splash on the window when the projector is properly lubricated, which I don't believe was the case when one of our staff tried to do a test run. Do you have any recommendations for where to purchase oil? If no one ends up chiming in with Bay Area specialists then I'll certainly reach out to you, thank you!

[Mark Gulbrandsen]

There are also a lot of Groups on Facebook, Like "Motion Picture Projector Repair", and "Motion Picture Technology" where you will undoubtedly find people that are closer to you. But ask for references!!
But to be honest, I'd highly recommend you call Leo's company, Moving Image Technology. They are certainly one of the best around. Also, a call to Dolby Customer Support may yield you the same results. They know just about every Tech on the planet. So either one or the other is my recommendation... Also running film takes practice, so having some junk film around to practice with is a good idea, especially if you are running a 2-projector show with change-overs. Or hire a qualified operator, as that pretty much alleviates having problems..

[Ryan Gallagher]

Also running film takes practice, so having some junk film around to practice with is a good idea, especially if you are running a 2-projector show with change-overs.

I'll 2nd this, especially if you are trying to build up the capacity with internally self-paced learning (hopefully with some expert consultation initially for maintenance). First thing I did when I knew running changeovers was in my future was pounce on a cheap feature length print on ebay, or even a couple odd reals would suffice. Trailers are also available that can be spliced into practice reels.

That said, don't dive in on machines you are unfamiliar with or in a questionable runnable state. The junk print is so you don't mind damaging the print while practicing and making inevitable mistakes. But such mistakes can just as easily damage the projector too, and the goal is to avoid having to repair additional things with parts that are much harder to source now than in the film-era.

[Frank Cox]

Be sure to check your prints over carefully before trying to run them through the projector. There used to be some that had sticky crap left on them from someone carelessly removing a splice or something and if you don't find it first you can jam the projector when it tries to pull it through, or at least leave some of that crap all over the inside of your machine.

If you have a questionable print the first thing to do would be to run through it on a manual rewinder (or an automatic one at slow speed) and watch the film go by. You can see a lot of problems just watching it as you crank.

[Leo Enticknap]

Do you have any recommendations for where to purchase oil?

One of the many challenges faced in trying to keep film projectors alive is that the original equipment manufacturers (OEMs) of most if not all 35mm and 70mm projectors no longer exist as corporate entities. In some cases, currently existing companies have taken over a semi-official role supporting them: for example, if you have a Philips/Norelco/Kinoton projector, Boston Light and Sound is the go to for expertise and parts. For others, you need to look for independent experts and knowledge.

In answer to your question, the mineral oil specifically formulated for these Simplexes is no longer made: or, more accurately, is no longer packaged and sold as specifically being suitable for these projectors. An expert that I trust has advised in the past that Honda automotive "dual pump" rear differential fluid is almost identical in its viscosity, heat resistance, and other relevant characteristics, and can be used as a substitute. I don't know enough about either Simplexes or fluid dynamics to assess that claim.

As everyone else has pointed out, the challenge you have basically has two parts: getting the equipment back into running condition (and thereafter maintaining it in that state), and acquiring film handling and show presentation projectionist skills. The former can be outsourced (and as stated above, my company can help you with that if you can't find anyone closer to Modesto). Many of us here can provide initial training for the latter, but to get good and consistent at it takes a lot of practice, which cannot be outsourced or short-cutted.

[Mark Gulbrandsen]

I have to disagree on the oil. It is indeed a common ISO oil available from most large (Shell or Mobil) oil distributors. It is available starting in 5 gallon containers. When I worked at Claco, we had several different oils lab tested by a local oil company... There are several large oil refineries in SLC. I believe it was a Mobil Oil Lab. They were able to verify that LaVezzi Oil was approximately equivalent to Norelco oil, the only difference being that LaVezzi put in some additives that lowered friction even further. We also had Century and Simplex oil tested and they actually sold us the equivalent of those to us in 5 gallon cans. We repackaged it into smaller cans and sold it as the appropriate Simplex, Century and Phillips oil. Wolk, and a number of other supply dealers did the exact same thing, and I assume Strong also did it that way. But in the DP-70's we used the LaVezzi stuff, and only did once a year oil change on them. They stayed incredibly clean inside and at the oil filter. I have no doubt the same oils (Minus LaVezzi) are still available today. I also remember some literature mentioned the Shell equivalents. John Eichoff also knew the Simplex and Century equivelents...

[Leo Enticknap]

The problem is finding those equivalents, and in manageable quantities for an individual theater. According to this, LaVezzi ceased to exist as a manufacturer of film projector parts in 2018. An individual cinema is unlikely to want to purchase as much as five-gallon drum (given that a typical projector only needs 2-3 cups at every refill), even if the ideal spec of oil needed is known, so the challenge then becomes buying it in manageable quantities. Looking back at this F-T thread from 12 years ago, I see various recommendations for alternatives to no longer available OEM oils, including the late, great Sam Chavez noting that he had used regular automatic transmission fluid in a Century for many years without any problems. For the Simplex, Chevron GST 32 is recommended: yours at $1,203.13 for a 55-gallon drum! Apparently it is packaged in five-gallon containers as well, but after a brief search I can't find anyone willing to sell them individually.

[Ryan Gallagher]

PS on the offer of photos, we always love seeing photos of other booths... by all means. Collectively we might also spot something worth addressing in your effort to revive film in that booth. Is this the STATE in Modesto? Circa 1934?

[Mark Gulbrandsen]

The problem is finding those equivalents, and in manageable quantities for an individual theater. According to this, LaVezzi ceased to exist as a manufacturer of film projector parts in 2018. An individual cinema is unlikely to want to purchase as much as five-gallon drum (given that a typical projector only needs 2-3 cups at every refill), even if the ideal spec of oil needed is known, so the challenge then becomes buying it in manageable quantities. Looking back at this F-T thread from 12 years ago, I see various recommendations for alternatives to no longer available OEM oils, including the late, great Sam Chavez noting that he had used regular automatic transmission fluid in a Century for many years without any problems. For the Simplex, Chevron GST 32 is recommended: yours at $1,203.13 for a 55-gallon drum! Apparently it is packaged in five-gallon containers as well, but after a brief search I can't find anyone willing to sell them individually.

Leo, Here is a distributor located in Orange County that apparently has locations all over CA. I am also really surprised Film-Tech doesn't sell projector oil.

[Leo Enticknap]

Thanks Mark. They appear to be willing to sell it in the 5-gallon quantity. That isn't as bad as having to buy 55 gallons, but still more than an individual theater is ever likely to need, given that a pair of projectors will use about a quart a year, and GST 32 has a shelf life of five years. Still, SCL Lubricants has locations in the Bay Area, so if Sarah wants to pursue that option, it's available nearby.

It would certainly be great if one of the remaining service and parts vendors that still serves the film market (e.g. Film-Tech, Boston Light and Sound, Christy's Editorial, or Larry Urbanski) would buy the right lubricant for the models of projector that arthouses, cinematheques, etc. are still trying to keep running in significant quantities, repackage and re-brand it in one-quart jugs, and resell it in that form factor and at a price that makes sense for the individual theater. MiT no longer officially installs or services film projectors directly, though as mentioned above, we have partners that we work with on mixed film and digital projects, and we are a dealer for some of the remaining OEMs of film-specific equipment (e.g. Goldberg and Kelmar). So I don't think we'd be interested in doing this, sadly.

[Ryan Gallagher]

Thanks Mark. They appear to be willing to sell it in the 5-gallon quantity. That isn't as bad as having to buy 55 gallons, but still more than an individual theater is ever likely to need, given that a pair of projectors will use about a quart a year, and GST 32 has a shelf life of five years. Still, SCL Lubricants has locations in the Bay Area, so if Sarah wants to pursue that option, it's available nearby.

It would certainly be great if one of the remaining service and parts vendors that still serves the film market (e.g. Film-Tech, Boston Light and Sound, Christy's Editorial, or Larry Urbanski) would buy the right lubricant for the models of projector that arthouses, cinematheques, etc. are still trying to keep running in significant quantities, repackage and re-brand it in one-quart jugs, and resell it in that form factor and at a price that makes sense for the individual theater. MiT no longer officially installs or services film projectors directly, though as mentioned above, we have partners that we work with on mixed film and digital projects, and we are a dealer for some of the remaining OEMs of film-specific equipment (e.g. Goldberg and Kelmar). So I don't think we'd be interested in doing this, sadly.

The shelf life problem applies to re-packaging distributors too... although presumably with a better shot at moving/using product before it expires than an individual cinema with only a few machines has. Most reasonable approach is probably for several individual venues to partner up on the bulk purchase every now and then, and divide accordingly. Sign me up with any other century having US group-buy. ;-)