Russell Richard Fowler

The DCI specs for a DCP package is becoming an international distribution standard since it provides studios security and control.....300 - 400 systems are being installed monthly. Many 2K (or 4K) Digital Cinema projectors + server have an Alternative Content Scaler (ACS unit / box) to allow other sources such as a Blu ray or HDCam to be displayed other than using the server. Sound can be patched in to Pro-logic non-sync or 5.1 digital input of the cinema sound processor which is another box not part of the QUBE server....sometimes there is delay caused by a system scaler or satellite feed so avoiding audio from the HDMI cable is best. If you can not get a proper DCP encoded package of your film best to source to an external device (Blu ray / HDCam.....and VERY last resort, your computer) than to get involved with the programming / ingesting your content on the QUBE. Advertising in Cinemas are usually contracted to a specialized vendor and is run on a separate video system or is DCP encoded to run on the QUBE type server.

1500 - 2000 watt scoop lights with spun glass diffusion for fill....probably on pantograph supports from the lighting grid to have a lower angle than the frensel spots and to keep the floor uncluttered for camera movement....2000 to 5000 watt size most common in that era. I remember working at 150 footcandles for overall light level (1965 - 68).

I have had many good transactions. They speak and will respond to e-mails in English.

The Schneider Optical Theatre Design Program for Cinema lenses display keystone image information on a flat or curved screen based on the elevation of projector lens ( e.g. tilt angle ) to the center of the projection screen. It also gives information on how much a given lens can be optically shifted to lessen keystone. I have a location that is used for Film festivals in Miami in which the projectors are at 14 degree tilt.......with the top edge of the image versus the bottom having an 18 inch difference in width....which the aperture plate "squares up"........no luck with subtitled prints which exhibit the keystoning on the letters.

Omni pin sockets have problems with arcing.......in the situation when I have replamped them, I checked the pins from the lamp being removed for arcing pits or color change due to heat...if so I check the socket before wasting another bulb......I sold the Omni units I had years ago.

You also had two competing sound systems....Vitaphone = Disc = silent aperture and Movietone = Optical sound with a "square" aperture due to the space given up for the soundtrack. To show both types of sound playback required shifting of projectors and /or use of a moveable mask to cover the screen between formats...by the early 1930's disk was losing out to optical sound so a 1:37/1 ratio simplified presentation. There are lens P.C. adapters to eliminate keystone ( and some projector lens turrets are able ) but I had to remove some out of a couple of locations and go back to custom filed aperture plates since the projectionists could not understand why the projectors where not "pointing" to the screen....because of the optical shift.

Agfa is a nice print stock and have had seen nice results done in labs in South America. In the U.S.A. you only have one distributor handling the product....Hollywood Film Company.

I have used the 1 inch duct board in many audio situations. I have the panels wrapped on the fiberglas side with flame retardant burlap to make handling less "itchy" and to protect the edges.

Xetron had an auto focus system in the early 1980's which they sold next to none. Newer lens designs started to show up at the same time with a greater depth of focus which required less movement of focus. Kodak AF slide projectors had a sensor that read the position of the emulsion to move focus, if needed, as a slide would warm up. The projector would pre-heat a slide just prior to projection. The use of glass mounts made the auto-focus units work less.

Basically there will be some ( in some cases minute ) focus drift based on location of image on the emulsion, composition of emulsion, thickness of base, F speed of reflector and lens, depth of focus on lens, type of film trap in projector. I was in Latin America when "Schindler's List" came out and saw the problems with the cut in of color stock into black and white and the later run on color stock. Lack of on hand projectionists due to automation makes it more of an issue today than in the past. Cutting in clips of I.B. Technicolor into B&W print stock was not a big issue since it behaved like B&W stock in the projector gate...but that is another bye gone option. Another nail in the B&W coffin is that many customers and labs may deal with a company like N.T. Audio to make their soundtrack negatives and not have to deal with the processing. After four months of Radiation therapy last year.....my piss range is excellent.....

Most locations there is no one watching the screen to "tweak" between film stocks.....or listening to a projector gate "asking you" to check focus.

Acetate B&W to Acetate color can focus drift.....

The main problem of splicing color print inserts into B&W print film is possible focus shift during projection....with an automated projection system it is a hassle. Silver in B&W prints tend to heat up in the projector gate compared to dyes in color print film.

Go......some of my nicest gigs have been for several cruise lines.....

Roy H. Wagner Steven Soderbergh...among the living. Ralf Bode Nestor Almendros.....among the remembered.

If you have an LCD or 3 chip DLP/SXRD/LCOS projector you should be fine. They do not process an image as a CRT tube with a scan bar. The only problem some light sources for these projectors run on high frequency A.C. so you should test for light flicker when choosing projector. quote name='Fernando Getz' date='Nov 20 2009, 12:45 AM' post='306504'] hey, everybody. I'm shooting a feature with an arri 416 at 24 fps and I have to shoot a PAL video projection of a wall, do i need a sync box or can i just phase out the bar?

I had similar problems from a lens that had just been serviced. The cabin pressure change during flight, which make your ears pop, was enough to have the lens lubricant creep. quote name='Hercules Fu' date='Nov 16 2009, 06:56 PM' post='306061'] But all the lenses were in good conidtion in HongKong, i double check them one by one, is that cause by temperature change?

The initial nail to the Drive-in theater coffin was the enactment of the Uniform Time Act of 1966 ( Daylight Savings Time ). Concession sales where lowered due to late showtimes; less program time on the screen at a good hour, especially during the middle of the week. Late 1970's is when home viewing via VCR became an issue for drive-ins. Going to a cinema has become more of an event with great choices due to multiplexing....I like grand movie palaces but I am old enough to remember many marginal crappy single house cinemas that multiplexes replaced. Too bad our print quality in the U.S.A. has become so poor compared what I have seen in Asia and Latin America. Cinemas will always be part of the distribution mix......the major studios just want the cinemas to re-invent their workspace to be in line as what was done with distribution of media to T.V. stations in the 1970 - 80's.... While at my local 7-11 today I saw on the cashier's counter a P.O.P. display with Bluray disks from major studios for $9.99.

Projection work is "fun" when the details are prepared and the audience is not held hostage by a bad performance.......I handle a world class festival with 250 screenings / 7 locations with a staff of 25 people.....this year we had 5 bad screenings....three of which the film maker assumed changing the rules where O.K.....the other two we had back up equipment and the show went on. Time frame....if the festival is in a couple of weeks, their staff is probably up to 100% speed doing prep / revision / and site work.

The lens is a little soft, which can be "worked" with...The aperture marks take account of the account of the light loss to the view finder tube...the prism elbow to finder tube would be a bear to shorten due to the ground glass and optics. Floren and Babb merged with CECO to become FB/Ceco decades ago.....I don't think they are still around.

I do tech and liason for many festivals in our region......in addition to worrying about multiple formats, there is usually scheduling of proper projection / tech staff, possible print (or media) inspection / revision requirements.....which equal time and money.

TFE wire ( teflon with glass braid cover ) @ 250C is good. 3M Scotch #27 Glass cloth tape to cover switch connections and wire splices. I am used to rewiring all my fixtures every 7 - 8 years due to humid Florida weather....

Some LCD projectors will have a stobing flicker if the projection bulb is powered by a high frequency A.C. ballast......test to be sure.

All screen companies are busting their tail trying to supply screens. Shipping is a problem since they generally need to be supplied rolled versus folded. I have a former sub-contractor cutting screens to fit at job-sites since due to construction time frame delays some screens have to be "reassigned". Chris Condon....and Lenny Lipton at RealD have been down this road before.

As a person who did scores of 3D installations using four different lens /prism / mirror systems during the last peak in the 1980's.........the use of 35mm to augment digital 3D is do...able. There has been a worldwide upgrade / improvement of cinemas in the 1990's in which lamphouse and lens design for 35mm projectors are much better than the 1980's. The cost of Digital 3D installation is several 100% higher than conventional existing 35mm equipment so present 3D screen availability is poor. There is a three to five year window to allow a film based 3D system to be used in addition to Digital 3D.....the low cost compared to Digital would allow it to be a "fast depreciation", almost a disposible, item. Circular polarization versus the 45/45 linear used in the 1980's is not a big deal.........Dolby is an interference color system using a standard (high gain) white screen, so other than cost, Technicolor's proposal targets RealD and other systems which rely on a silver screen. This would also be a good option for move overs to smaller auditoriums on film after a "digital open" for a feature.......due to lack of Digital 3D screens, many films are being dumped due to studio schedules for existing auditoriums. Next month is the next cinema operator's convention - ShowEast in Orlando, Florida....if Technicolor has a system that is easily deployed; it will probably be shown......