Cinema Technology

B•K•S•T•S The Moving Image Society

The leading specialist publication for cinema industry professionals

Vol 21 • No 2 • june 2008

Certification scheme’s great startMore about the BKSTS/CEA initiative

Independent cinemasConference and cinema profiles

Widescreen weekendBradford’s festival is better than ever

Digital projection supplementDigital cinema sound, EDCF workshop and more digital 3D

http://ctmag.slaterelectronics.com

B O O T H 1 0 9Cinema Expo International

Newsreel 4

Chief of chiefs honoured - Nigel Wolland’s MBE 8

Great start for BKSTS/CEA certification scheme 10

Independents’ day - third annual conference 12

Independent cinemas - Merlin Cinemas 21

Independent cinemas - The State Cinema Gainsborough 24

New preview theatre for Paramount Pictures 26

Independent cinemas - Singapore’s Cathay Organisation 28

Keith Shankster retires after 45 years 31

Widescreen weekend better than ever 32

DIGITAL PROJECTION SUPPLEMENT

Second digital awareness day another success 35

EDCF workshop - film distribution for digital cinema 36

Digital cinema sound - QSC explore the possibilities 40

RAAM conference - digital 3D day 43

Installing REAL D digital 3D 46

Hastings Odeon chief retires 48

A reel entertainer - a tribute to Gordon Potter 51

Movie engineer’s diary - Selsyns in cinema 52

Cinemas in Malta - a brief overview 53

New film handling wallchart 55

The Arc Cinema - Tees Valley’s independent cinema 56

Home cinema - the bigger picture of imaging 58

Feedback - letters to Cinema Technology 60

SPONSOR MEMBERSPLATINUMOdeon Cinemas

GOLDAutodesk• Kodak Limited • Pinewood Group

SILVERAvid Technology Europe • Deluxe London • Digital Theater Systems Dolby Laboratories • Filmlight • Hyperactive • Lee Filters • Lee LightingShooting Partners Ltd • Slater Electronic ServicesSoho Images • Technicolor • Vantis

BRONZEAardman Animations • Arri (GB) Ltd • Barco plc • Desisti Lighting UK Ltd Electrosonic Ltd • Film Distributors Association • Film & Photo Ltd Framestore CFC • Harkness Screens • Moving Picture Company Panasonic Broadcast Europe • Quantel Ltd • RTI (UK) Ltd • UGC Cinemas

SOCIETY SUPPORTERSAssociation of Motion Picture Sound • British Film Institute British Society of Cinematographers • British Universities Film & Video CouncilCinema Exhibitors Association • Cooke Optics • CST • Focal International • ITNSMPTE • Skillset • Society of Television Lighting Directors • UK Film Council

The Society gratefully acknowledges the support of the above Companies and Organisations.Enquiries regarding Sponsor Membership of the BKSTS should be addressed to: Roland brown, PresidentBKSTS - Moving Image Society, Pinewood Studios, Iver Heath, Bucks SL0 0NH, UKe: [email protected] www.bksts.com

BKSTS - THE MOVING IMAGE SOCIETYThe Society exists to encourage, sustain, educate, train and provide a focus for all those who are creatively or technologically involved in the business of providing moving images and associated sound in any form and through any media.

The BKSTS works to maintain standards and to encourage the pursuit of excellence in all aspects of moving image and associated sound technology, in the UK and throughout the world.

The Society is independent of all governments and commercial organisations.

Volume 21 • Number 2 june 2008

contents

On the cover:D-Cinema is more than a change in moving pictures, QSC provides the very best total

D-Cinema audio solutions (Signal Processing, Amplifiers & Loudspeakers)

See article on page 40

CINEMA TECHNOLOGYBKSTS Cinema Technology CommitteeDion Hanson (Chairman), Max Bell, John Bohnet, Ben Dowell, Keith Fawcett, Fred Fullerton, Richard Huhndorf, Denis Kelly, Alan McCann, Andre Mort, Mark Reader, Paul Schofield, Nigel Shore, Andy Symes, Nigel Wolland, Rich Phillips, Peter Knight and Mark Nice.

CINEMA TECHNOLOGY - ISSN 0995-2251 - is published quarterly by Jim Slater - Slater Electronic Services on behalf of the BKSTS - The Moving Image Society.

The print edition is mailed to all members of the BKSTS and is also distributed to the major cinema chains and independents to reach virtually every cinema in the UK and many in Europe and worldwide. It has a circulation of about 4000, in 55 countries around the world, achieving an estimated readership of 13,000.

CINEMA TECHNOLOGY E-MAG is an online interactive version of the print edition ALLOWING FREE ACCESS TO EVERYONE http://ctmag.slaterelectronics.comViews expressed in this journal are not necessarily the views of the Society.© BKSTS - The Moving Image Society

EDITORIALJim Slater, Managing Editor17 Winterslow Road, Porton, Salisbury, Wiltshire, SP4 0LW, UKT: +44 (0) 1980 610544 F: +44 (0) 1980 590611 e: [email protected]

ADVERTISING / DESIGN / PRODUCTIONBob CavanaghCaixa Postal 2011, Vale da Telha, 8670-156 Aljezur, Portugal T: +351 282 997 050 M: 00351 962 415 172 e: [email protected]

SUBSCRIPTIONSCinema Technology is mailed free of charge to all BKSTS Members.

Please contact the BKSTS for subscription payment details or further information -www.bksts.com or e-mail [email protected]

cinema technology

page 3cinema technology - june 2008

newsreel

CINEMA TECHNOLOGY E-MAG ONLINE

page 4 cinema technology - june 2008

NEW WEBSITE FOR CEA

FIRST ALL DIGITAL MULTIPLEX INSTALLED IN FRANCE

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Inkheart ; Sweeny ToddGolden CompassBourne UltimatumBlood Diamond

10,000BC and Casino Royale

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represented and supported,with

same day despatch.

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Our Equipment Includes:Barco DP90 and DP100

NEC iS-8/Nc800NEC NC2500

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Digital Installations Include:Cineworld Dublin (2 screens)

Odeon SouthamptonOdeon BlackpoolOdeon Braehead

Vue@The O2 Greenwich (3 Screens)Framestore CFC

Empire High Wycombe (All Digital)Odeon Hatfield (All Digital)

Odeon Leicester SquareColumbia Pictures Preview Theatre 20th Century Fox Preview Theatre

THE UK’s LeadingSupplier and Installer of

Digital And FilmProjection Equipment.

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T: 020-8238-6000 F: 020-8238-6060E: [email protected] W: www.bell-theatre.com

DIGITALPROJECTION:

FILMPROJECTION:

page 6

newsreel

cinema technology - june 2008

ALCONS EXTENDC-SERIES RANGE

CARLSSON RECEIVES BKSTS CINEMA TECHNOLOGY AWARD

NEW THEATRE MANAGEMENT SYSTEM FROM DTS DIGITAL CINEMA

Content

Dolby Show Library

One Ingenious Digital Cinema SolutionDolby Digital Cinema provides hardware and software systems that are highly intuitive to the user. Delivering exceptional reliability, superb quality, technical performance and flexibility, they meet the operational needs of all cinemas, from a multi-screen complex to a single screen theatre.

Dolby DigitalCinema System

Dolby DigitalCinema System

Dolby and the double-D symbol are registered trademarks of Dolby Laboratories. © 2008 Dolby Laboratories, Inc. All rights reserved. W08_19796

www.dolby.com/professional/motion_picture/

BELIEVE YOUR EYES

Dolby 3D DigitalCinema System

Visit us at Cinema Expo 2008(Booth No. 161)

page 8

chief of chiefs honoured


HELP PLEASE ... PAST ODEON LEICESTER SQUARE CHIEFS? Mark Nice, Chief at Odeon Leicester Square asks Cinema Technology readers for their help.Weʼre trying to do some research into past Chiefs and their Projectionists here at the Odeon Leicester Square, and can go back to the 1950s, but beyond that is a mystery!Iʼm sure someone out there will know, or know someone who knows something?? I would be particularly interested in the first crew who opened this cinema. Pictures of these people would be particularly good. We have loads of pictures of an empty OLS projection room in the 1930s but sadly with no sign of life! We wanted to end up with an engraved plaque on our Projection room wall, a bit like you find in these private boarding schools naming past head teachers! We also thought about making a book ourselves, or some sort of memorial of the people who were the backbone of this wonderful cinema – and maybe it would make for an interesting article in CT?Any help you could provide us with will be much appreciated!!Thank you ... Mark Nice, Odeon Leicester Square. Tel: 020 7930 1576

E- Mail:[email protected]. or, [email protected]

page 10

certification scheme


certification scheme


independents’ day


page 14

independents’ day



camstageSUPPLIERS AND INSTALLERS OF:

• All types of cinema screen frames including lace in, wrap / floating and flying frames• Front and rear projection screen surfaces for standard and digital projection• Multi-stop and multi-plane masking systems• Roller screens of all sizes• Horizontal and vertical draw curtain systems• Black and coloured flame retardant and acoustically transparent masking cloths

Acoustic Stretch Wall Systems to BS fire regulations, with a wide range of covering materials and coloursPleated Wall Drapes in a range of materials and sizes fitted on site to your individual needsWe offer a tailored curtain and Masking System Service programme to allow the show to go onWe are able to offer a Screen Cleaning Service that removes the majority of soft drink and sauce spills

Contact us now for more information

Camstage, 31 Hedley Road, St. Albans, Hertfordshire AL1 5JL, UKt: +44 (0) 1727 830151 f: +44 (0) 1727 855993 e: [email protected] w: www.camstage.com

page 16

independents’ day


page 17

Cinema Screens and Equipment

Specialist LED Lighting

Supply • Design • Manufacture • Installation

• Screen surfaces• Screen frames• Special concept screens• Masking and curtain systems• Electric / Electronic controls• Roller screens of all sizes• Equipment servicing• LED edge lighting• Special LED lighting effects

www.powellLED.com

Your Imagination , Our Products and Services

Unit 8Leighton Industrial ParkBillington RoadLeighton BuzzardLU7 4AJ

Phone: 01525 383054Fax: 01525 377010e-mail: [email protected]

page 18

independents’ day


page 20

independents’ day


page 21

merlin cinemas


page 22

merlin cinemas


page 51cinema technology - march 2008

page 24

the state gainsborough



the state gainsborough

page 26

paramount preview



McFARLANE LATTER ARCHITECTURE, INTERIORS,PROJECT MANAGEMENT

Innovative buildings andinteriors to inspire and enjoy.

• Preview Theatres.• Conference & Hospitality.• Multiplex Cinemas.• Cinema Refurbishment.

• Architecture & Interior Design.• Effective project, cost and programme management.• Pragmatic solutions.• Professional service.

www.mcfarlanelatter.co.uk Tel: 020 7287 5565

page 28

the cathay organisation




page 30





page 32

widescreen weekend


widescreen weekend


page 34

widescreen weekend


page 35digital projection - june 2008

digital newsreel

B•K•S•T•S The Moving Image Society

June 2008

A supplement to Cinema TechnologyThe leading specialist publication for cinema industry professionals

page 36

edcf workshop

digital projection - june 2008

page 37

edcf workshop


page 38

edcf workshop


edcf workshop


page 40

digital cinema sound


AVAILABLE DYNAMIC RANGE

Each quantization bit theoreticallyadds 6 dB in possible dynamic range, e.g.

144 dB (24 x 6) = for 24 bit systems (D-Cinema)

126 dB for 21 bit systems



96 dB for 16 bit systems (CDs)

Figure A



page 42



digital 3D conference


DLP® 3-DReady TV

Shutter Glasses

Transmitter

page 44





installing digital 3D

page 46 digital projection - june 2008

installing digital 3D


E-MAGhttp://ctmag.slaterelectronics.com

LINK THROUGH

hastings chief retires


cinema technology - june 2008 page 49





gordon potter

diary


GOZO

MALTAValletta

St Juliens

Fgura

Bugibba

Marsascala

cinemas in malta


cinemas in malta



cinemas in malta

FILM HANDLING FOR THE PROJECTIONIST

FILM HANDLING EQUIPMENT

MAKE-UP & BREAK-DOWN

STORAGE & ARCHIVING

PRINT CHECKING PRINT EXAMINATIONTECHNICAL SPECIFICATION SECURITY RECOGNISING & PREVENTING FILM DAMAGE

TRAINING

SPECIALISED PRINT HANDLING

Print checking starts before the cans are opened

1. Correct title?2. Correct no. of reels?3. Correct reels?

Demonstrating correct way of holding thefilm for removal from the can and replacement

All wound rolls will slacken during storage

EDGE LUBRICATIONWound roll wiped with cloth that

has been sprayed with furniture wax

Lubricates, reduces shedding, removes any extraneous dirt

Alternatively, some cinemas apply commercial products such as Film Guard

REEL SHAFT & BORE SIZESShaft / Bore Size Drive Method Application½ inch Pin 35mm / 70mm3/8 inch Pin 35mm9mm Pin 35mm

5/16 inch Pin / Keyway 35mm Preview & Dubbing / 16mm

5/16 inch Square Shaft 16mm

0Wound Length Carrier Dia. Enclosure

6000ft Reels c.24 ins Plastic / Metal Transit Cases

2000ft ( 1000ft ‘Singles’ still used in some territories )

Cores c.15 insPlastic / Metal Cans;Plastic / Cardboard / Fibre / Metal Box

2000ft Reels c.15 ins Plastic / Metal Transit Cases

SHIPPING FORMATS

1. All print deliveries / collections via secure courier only2. Print movement instructions in writing via email or fax3. Personnel collecting prints must provide ID4. Keep prints in secure areas (locked rooms) at all times5. Maintain Print Movement Log (Date In / Date Out, etc.)6. Ring dispatch if print is not delivered or collected on time7. Prints should not be kept at cinemas when run is over8. Projection Rooms kept locked at all times9. No unauthorised personnel10. Be alert to suspicious behaviour11. CAP Code on prints locates individual cinemas

The BKSTS is active in providing Training for Projectionists (www.bkstsctc.org)

It publishes the Projectionists’ Manual and the Current Film Formats Handbook, and a large range of Technical Wallcharts

Older, acetate base prints require careful attention to equipment tensions

Polyester or mylar base leaders should always be used on the Head of acetate prints

Great care should be taken using hand or motorised rewinders, or platter make-up tables

* Not to be confused with 1:1.38 (Academy Sound) ratio

SPECIALISED ASPECT RATIOS

1:1.19 (Upper) 1:1.33 (Lower)

DTS-70 1:2.39 FORMAT

Utilises frame area on the left and right formerly occupied by magnetic tracks

Requires appropriate aperture plate. Standard ratio for 70mm is 1:2.21

FOXM

OVIETONE (Early sound-era ratio)Silent fram

e cropped horizontally via addition of optical soundtrack*

ACAD

EMY

SILE

NTFu

ll Ape

rture

FLATBED EDITING MACHINESteenbeck

Film editing equipment remains in usefor print checking and conforming

Perforated steel can with absorbent linerfor optimal long-term storage

Recommended Storage Conditions for Film PrintsFilm Type Temperature Relative Humidity (%)Colour on polyester base 10˚ C (50˚ F) ** 20-30B&W on polyester base 25˚ C Maximum (77˚ F) * 20-50Colour on cellulose acetate base 10˚ C (50˚ F) ** 20-30B&W on cellulose acetate base 25˚ C Maximum (77˚ F) * 20-50* Storage at less than 20˚ C (68˚ F) preferred** For short-term storage 21˚ C (70˚ F) at 40-50% RH is adequate

Recommended Working Conditions for Film PrintsFilm Type Temperature Relative Humidity (%)All 21˚ C Maximum (70˚ F) 55 +/- 5

BARCODEMachine-readable data for dispatch and print tracking use

TITLE Title followed by year indicates re-make

COPYRIGHT NOTICELegal notice of CopyrightRefers to International Agreements

TWO TYPICAL PRINT LABELLING SYSTEMS

LANGUAGE

TOTAL REEL TALLYVerifies total number of reels in the print

PRINT COPY NUMBERCan include territory data

Information is also printed on Head and Tail Leaders

ANTI-PIRACY MARKINGIndicates print is marked with CAP coding or other form of anti-piracy mark

ASPECT RATIO SOUND FORMAT SCOPE 1:2.39 Dolby A, Dolby SR, Dolby SR•D, Dolby SR•D•EX, FLAT 1:1.85, 1:1.66, 1:1.38 DTS, DTS-ES, Mono, SDDS, SDDS 8-Channel

SPLICING

PERFORATIONPITCH

Splices will jump in projector gate

when perforation pitch across the join is either too

short or too long; particularly evident with incorrectly set adjustable splicers

Pre-perforated tape - tabUsed on splicers originally designed for cement joining

Pre-perforated tape - roll

Non-perforated tape – roll To suit different film gauges and applicationsShould be sufficiently strong, and not tear or leave residue when removed

Tail section marked whilst on core

ChinagraphHeated panel prevents flaking

Specially-marked proprietary splicing tapes also available

SPLICE MARKING

Narrow opaque tapeTypically 2 perforations in lengthApplied on non-soundtrack edge

Special needle point correction fluid. For use on join only

IDEAL BLANK SPACING

“Digital silence” data blocks prevent reversion to analogue

CinemaScope frame lines - invisible on screen for Flat and ‘Scope ratios

Colour stock for true black image (B/W is grey)

Mylar spacing (leader) on head of platter rolls or tower reels performs mechanical task of relieving

start-up tension and indicates soundtrack position for threading

Mylar should also be used on acetate prints

CEMENT SPLICERIncludes scraper blade for removing emulsion and

binder. “Hot Splicer” has heated platen to reduce drying time of solvent

Cement splices now used for specialised joining of acetate

print material

TAPE SPLICERPerforates tape with punch and dieAdjustable guillotine for accurate film cutting 8mm / 9.5mm / 16mm / 35mm / 70mm versionsAdditional diagonal guillotine used for 16mm & 35mm magnetic sound film for inaudible splices

TYPES OF SPLICE

A single-sided splice when returning prints makes leaders easy to remove at the next venue and greatly reduces damage around splices

A well-made splice should curve smoothly when flexed (1), and not “jacknife” (2) or be too rigid (3)

HEAD & TAIL LEADER CUTTING POINTS

Academy Leader & Variants

SMPTEUniversalLeader

In all cases the First Frame of Picture follows frame 47 of the blank section of leader as counted from ‘3’ on the Academy Leader or ‘2’ on the SMPTE Leader. One frame left on feature print Head and Tail leaders aids correct identification / matching when breaking-down

Tail Leader

LEADER SYNCHRONISATION MARKS

A number in the picture gate with its corresponding diamond mark against the soundhead scanning point will ensure correct synchronisation (1) - Very large auditoria require non-standard picture and sound separation

CHANGEOVER CUES(SMPTE STANDARD)

Changeover Cues: First cue (Motor Cue) is placed commencing 198 frames (12ft 6fr) from the tail and is 4 frames in durationSecond cue (Changeover Cue) is placed commencing 22 frames (1ft 6fr) from the tail and is 4 frames in durationThe interval between the end of the Changeover Cue and the tail leader is 18 frames (1ft 2fr)

SPLICING TAPE

BUTT JOINFor single performance

or workprintAlso required for 70mm

OVERLAP JOINMultiple performances

Narrow overlap (c.0.75mm) adds strength and mutes

join in analogue soundtrack

HEAD / TAIL SPLICEOne frame left on Head and Tail Leader for identificationOffset cut to permit overlap

join between reels

LABORATORY STOCK JOINPrint stock join

Often lies in picture areaUsually ultrasonic

35mm Sepmag: Assistant Editor makes sync marks on film and mag stockLong horizontal lines allow for easy location of marksPunched hole may additionally be used

35mm Optical: Academy Leader has diamond mark 20 frames preceding each number to permit accurate synchronisation

1

Counts in seconds; alters cueing in changeover operation

Counts in feet (16 frames per ft 35mm)

Asw“jri

1

2

3

4.750mm +/- 0.010mm0.1870in +/- 0.0004in

(5)Tail leader on trailers and short films should be cut at the first visible frameline after the last credit, etc. (1)Framelines on Leaders may often be fainter than normal and should be carefully looked for using a lightbox (2)If there are no framelines a frame counter should be used, or if a longer run-out is desired the film should be cut one frame in advance of the ‘Finish’ frame on the leader (3)Care should be taken not to inadvertently include areas of varying print density in the lengths of leader that appear black; a lightbox is essential to prevent this occurring (4)Short guide marks made every four perforations on the non-soundtrack side of the film prevent incorrect out-of-frame cuts where there are no framelines, and serve to assist the next Projectionist (5)

A Lightbox or illuminated panel isrecommended for print examination

Recommended manual inspection method using lint-free glove

Any film damage discovered during examination should be advised to the Distributor. Many cinemas draw up Print Reports for this purpose

Magenta Dye Layer

Cyan Dye Layer

Yellow Dye Layer

Anti-Static Layer

EMULSION

DYE-COUPLED SILVER HALIDEGRAINS

INGELATIN SUBSTRATE

BASEPOLYESTER

COLOUR PRINT FILM STRUCTURE (SIMPLIFIED)

EMULSION AND BASE ORIENTATIONPRINT FILM

35mm: Emulsion faces the observer when film is heads up and the soundtrack is on the left 70mm: Emulsion faces the observer when the film is heads up and the frame index holes are on the right 16mm: Emulsion faces the observer when the film is heads up and the perforations are on the left 8mm (Reversal): Emulsion is away from the observer when the film is heads up and the perforations are on the left

Emulsion has a raised profile and matt surface, whilst the base is flat and glossy Except in the case of reversal film, the emulsion faces the projector lamp

VISUAL CHECKOF ASPECT RATIOS

1:2.39 (Upper) 1:1.85 (Lower)

* The difference in frame area between 1:1.66 and 1:1.85 aspect ratios can be difficult to see from visual inspection of the film. If in doubt, a reel should always be screened

** Some 1:1.85 prints are masked as 1:1.38 for video transfer purposes. Care must be taken with framing these prints in projection to avoid microphones in shot, etc. 1:1.38 ratio often referred to as 1:1.37

VISUAL CHECK OF SOUND FORMATSMONO OPTICAL(Variable Area)Sound records are identical

SDDS S-track

DOLBY DIGITALSR•D / SR•D•EX

Data Blocks

SDDS P-track

DTS / DTS-ESOptical timecode

DOLBY SR / DOLBY AAnalogue photographic

sound record

MONODo.; can also be

Variable Density type

STEREO OPTICAL(Stereo Variable Area – SVA)Sound records differ, especially in passages with music and / or effects

CYAN DYE TRACKRead with Visible Light (Red)Cannot be played on sound-heads using tungsten halogen (exciter lamp) lightsource

HI-MAGENTA TRACKInterim format designed for both tungsten halogen and red LEDlight sources. Appears identical to traditional variable area track on colour stock, except for Magenta edges

1:1.66* (Upper) 1:1.38** (Lower)

HEAD

TAIL

As well as assessment, print examination also involvesremoval of any laboratory stock joins, and if the print has

been previously run, automation cues

EMULSION

Abrasions are caused by obstructions in the film path, sticking rollers on the projector and / or platter, tension on loose film windings (cinch marking) and misaligned parts Rollers can be marked with a small white dot to easily check rotation, and regular checks of the film path, careful handling and threading as well as a clean environment ensure no damage occurs

IMPACT ON THE AUDIENCEMagnification of dirt particle and line scratch on 30ft screen

1 15 microns dia.2 7 microns width

30ft x 12ft 6ins

Scope½ ins

Flat¼ ins

Flat ø 1 ¼ insScope 2 ½ ins width

1

2

CORRECT ENVIRONMENTSpotlessly clean, controlled projection room environment essential

Positive air pressure in room suppresses airborne contaminants

ANTI-STATIC FLOOR COVERING

FILTERED AIR SUPPLY

WASHABLE PAINTFINISH

WASHABLEREWINDBENCH

COVING COMPRESSEDAIR SUPPLY

OTHER TYPES OF FILM DAMAGE

Occurs when new film is wound loose, emulsion-in, under dry air conditions

Caused by changes in moisture content of emulsion relative to basePositive curl (+) : Emulsion shrinks due to low humidityNegative curl (-): Emulsion softens due to high humidity

Film may also be damaged by oil and adhesive deposits

Automation cues should be applied to a layer of

splicing tape for later residue-free removal

TWIST

Film damage is easily avoided through training, correctequipment specification, alignment and maintenance,and good operational procedures

A single print can be runover two thousand times

without visibledegradation

1 Magenta

Cyan

Yellow

1 Magenta layer removed leaves Cyan + Yellow = Green2 Magenta + Cyan layers removed leaves Yellow3 All three layers removed leaves transparent Base

BASE & LIGHT EMULSION ABRASIONS APPEAR BLACK

2

3

EMULSION ABRASION

BASE

EMULSION

CURL

Cross-section through width of film

POLYESTER

Edge Nicks

Runoff

Nicked Perfs

Crushed Edges

Torn Perf Split Perfs

ACETATE

“HOME-MADE” CUE MARKS

LineABRASIONSIntermittent

Full WidthCROSS-SCRATCHING

Partial

MISSING FRAMES

Loss of Continuity

Crimping

Shredded Perfs

Buckled Edges

Broken Perfs

with Teeth Marks

+

–

FILM SECURING METHODSOnto cores or reels via slots providedOuter winding secured with camera tape with tabbed endfor easy removal and prevention of residue / dirt buildupSmall rolls secured with elastic bands

FILM-TECH PLATTER SAFETY RINGPrevents thrown prints

PLATTER COVERPrevents dust settling on prints overnight

CARLSSON SYSTEMMoves platter rolls between auditoria safely using specialfilm cassette (1) and liftmechanism

SPLIT REELSWire type 16mm / 35mm / 70mm

Placing reels on lower tower spindle tails out, then rewinding, avoids having to

lift reels to upper spindle

Heavy 35mm long-play reels and 70mm reels should be lifted by two persons or by

chain hoist, etc.

GOLDBERG PLATTER REELAllows print transfer from platter to rewinder and vice versa, and from

screen to screen, or between cinemas. 35mm and 70mm versions

FLOATING HUB REELSHub moves independently of reel flanges

at large capacities, greatly reducing torqueand easing starting tension

Prints should be made-up using 6000ft reels on a rewind bench prior to loading onto a platter or tower system, to permit inspection and good handling (likewise when breaking down) Care should be taken when handling Leaders

MAKE-UP / BREAK-DOWN TABLESVertical & Horizontal

Can display footage or footage / framesIndexes frameline for accurate splicing

PLATTER ROLL IDENTIFICATIONOuter winding carries taped label providing identification for prepared roll:

TITLE ASPECT RATIO SOUND FORMAT(S) COPY NO. DISTRIBUTOR

Outer winding should be of blank opaque spacing, of 20-30ft in length, to allow forsatisfactory end of show and to prevent damage to outgoing frames as tail leaves platter

PLATTER

FILM PREPARATION FILM CLEANINGMEDIA CLEANER

PARTICLE TRANSFER ROLLERS (PTRs)

FEED & TAKEUP UNDERSLUNG REELS

Mounted on ProjectorLow position for safer

handling

Continuous presentation of non-feature length material can also be achieved through the use of Loop Cabinets similar to those used in Laboratories

Endless loop units have also been developed for other gauges

FRAME COUNTER

With spooling plates, keeper arms, tension roller and interchangeable shafts or adaptors

16mm / 35mm / 70mm

MOTORISED REWINDER

Film handling equipment used with magnetic soundtracks (70mm 6-track, 35mm 4-track etc.) should be regularly degaussed to prevent damage to magnetic tracks. Magnetic soundtrack prints must be kept well way from equipment while degaussing is taking place, and kept away at all times from magnetic fields such as generated by motors and transformers, from magnetisable tools and accessories, and from magnets and magnetic materials

Uses disposable cloth pads

in roll form

Can be used to apply commercial cleaners

and lubricants such as Film Guard

Polyurethane low-energy rollers lift dirt particles off film surfaceRollers easily removable for routine washing

Uses ionisation to reduce static attraction between film surface and dust particles, facilitating their removal via gentle brushing and/or vacuum action

ELECTROSTATIC CLEANER

FT Std 8mm18ft/min @ 24fps

1000 55 mins 33 secs2000 111 mins 7 secs3000 166 mins 40 secs

FT Super 8mm20ft/min @ 24fps

1000 50 mins2000 100 mins3000 150 mins

FT Std 16mm / S-16mm36ft/min @ 24fps

1000 27 mins 47 secs2000 55 mins 33 secs4000 111 mins 7 secs6000 166 mins 40 secs

FT 35mm90ft/min @ 24fps

1000 11 mins 7 secs2000 22 mins 13 secs4000 44 mins 27 secs6000 66 mins 40 secs14000 155 mins 33 secs

FT 70mm 5/70112½ft/min @ 24fps


FT 70mm 15/70 IMAX336ft/min @ 24fps


FOOTAGE AND RUNNING TIMEDetermines equipment capacities

Three, four or five PlatesDia. 42in / 44in / 48in / 52in / 55in

Various centre ring diameters35mm / 70mm / IMAX versions (1)

35mm to 300ft max16mm to 500ft

8mm

3 INCH DIA.2 INCH DIA.FILM CORES

35mm to 2000ft (preferred)

16mm to 1000ft70mm

4 INCH DIA.

35mm to 2000ft (preferred)16mm to 2000ft

(1) IMAX PLATTERWith Offset Plates

1

TOWERSingle- or double-sided

PTRs or Media Cleaner

Plat

ter or

Towe

r

Electrostatic Cleaner

1. Removes embedded dirt2. Removes lighter material shed in projector gate

IDEAL CLEANER DEPLOYMENT

REEL

DIAMETER-TO-HUB RATIO

3:1 Preferred

Bypass lacing of projector from platter keeps film

away from floor and free from dirt contamination

when threading

ENDLESS LOOP PLATTER

In conventional 35mm practice soundtrack is

always towards the Projectionist when

projector is being threaded

Photos courtesy:Avcom Ltd.Christie Digital Systems, Inc.CIR srl.Goldberg Brothers, Inc.

Jack Roe (CS) Ltd.Kodak Entertainment ImagingKinetronics Europe GmbHKinoton GmbHNFPPI

Omnex Pro Film Ltd.Philip Rigby & Sons Ltd.Sound Associates Ltd.Steenbeck BV

With thanks to:Dion Hanson FBKS & BKSTS Cinema Technology Committee

Grant Lobban FBKSEric Bastin FBKS

Mike Taylor MBKSPaul Rayton

BFI IMAXCineworld Cinemaswww.film-tech.comJack Roe (CS) Ltd.

Warner Bros. Entertainment UK

Published by BKSTS – The Moving Image Society © 2007 Pinewood Studios, Iver Heath, Buckinghamshire SL0 0NH, UK

www.bksts.com [email protected] by: Janto McMullin – Blueprint Reprographics

Printed in England by: Graphic Techniques Ltd.

All Cores 1 Inch Bore with Keyway

Edited by Tony Iles FBKS Compiled by Brian Guckian MBKS

Dedicated to John P Pytlak MBKS 1948 - 2007

Sponsored byBell Theatre Services Ltd.Kodak Entertainment ImagingSteenbeck BV

Narrow opaque tape

F

S-BENDS – Kinked film layers occur when loose film roll is tightened

EMBOSSING – Excessive heat energy expands picture area

SPOKINGOccurs when film with Curl is wound with low tension

RAISED EDGESCaused by unevenly wound film reel


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cinema technology - june 2008page 58

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FILM - DIGITAL - SOUND - DESIGNSupply, installation andservice of Digital andFilm projection and sound systems.Autorised UK THX representative.

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CINESTRUCTURES INTERNATIONAL LTDSuite 15, Intech House, 34-35 Wilbury Way, Hitchin SG4 0TW



Industrias Josper, S.L. of Spain are proud to announce that Cinestructures have been appointed as their agents in the U.K. & Ireland.For competitive pricing and friendly service for supply and installation of: • New cinema, conference and theatre seating • Home cinema seating • Auditorium seating • Custom designed cinema seating

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Contact: Bill Chew +44 (0) 7762 337834 Alan Kay +44 (0) 7810 480126 Office +44 (0) 1462 450589

CINESTRUCTURES INTERNATIONAL LTDSuite 15, Intech House, 34-35 Wilbury Way, Hitchin SG4 0TW



[email protected] Josper, S.L. of Spain are proud to announce that Cinestructures have been appointed as their agents in the U.K. & Ireland.For competitive pricing and friendly service for supply and installation of: • New cinema, conference and theatre seating • Home cinema seating • Auditorium seating • Seating for schools and universities • Custom designed cinema seating • Finance available (subject to status)

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CINESTRUCTURES INTERNATIONAL LTD11 Ashfield Road, Elmswell, Bury St Edmunds, IP30 9HG

DIGITAL CINEMAKinoton - BARCO - Panasonic

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SPARE PARTSAV - Kinoton - Cyan upgrades - great pricing/service

XENON LAMPSLong life - low costs - Film or D cinema

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Future Projections LtdU2 The Windsor Centre, Windsor CourtLondon SE27 9NT. Tel (+44) 020 87667100Fax (+44) 020 8766 7090 [email protected]

www.fproj.com

CINEMA SCREENSLIMITED

Screens and Frame SystemsScreen SurfacesMasking Systems

Curtains & Wall DrapesMotor Systems

Repair and MaintenanceDesign Consultancy

ManufactureInstallation


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