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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
DCM - A NEW JOINT VENTURE IN CINEMA ADVERTISING
DOLBY SCC2000 GOES WORLDWIDE
50 UP FOR SOUND ASSOCIATES
Recent Installations:Showcase Leicester De Lux
Showcase Derby De LuxCineworld High Wycombe
Vue @ The O2 Greenwich
Dailies Equipment Rental:Harry Potter and the Half Blood Prince
Inkheart ; Sweeny ToddGolden CompassBourne UltimatumBlood Diamond
10,000BC and Casino Royale
The UK’s largest stocks ofSpare Parts, Consumables
and Xenon LampsAll major manufacturers
represented and supported,with
same day despatch.
Recent Digital Premieres:U2 3D Sweeney ToddPirates of the Caribbean
Our Equipment Includes:Barco DP90 and DP100
NEC iS-8/Nc800NEC NC2500
NEC1600
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.
Bell Theatre Services
9 B Chester Road, Borehamwood, Herts. WD6 1LT
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
cinema technology - june 2008
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
cinema technology - june 2008
certification scheme
page 11cinema technology - june 2008
independents’ day
page 12 cinema technology - june 2008
page 14
independents’ day
cinema technology - june 2008
page 15cinema technology - june 2008
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
cinema technology - june 2008
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
cinema technology - june 2008
page 20
independents’ day
cinema technology - june 2008
page 21
merlin cinemas
cinema technology - june 2008
page 22
merlin cinemas
cinema technology - june 2008
page 51cinema technology - march 2008
page 24
the state gainsborough
cinema technology - june 2008
page 25cinema technology - june 2008
the state gainsborough
page 26
paramount preview
cinema technology - june 2008
page 27cinema technology - june 2008
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
cinema technology - june 2008
page 29cinema technology - june 2008
the cathay organisation
page 30
the cathay organisation
cinema technology - june 2008
the cathay organisation
page 31cinema technology - june 2008
page 32
widescreen weekend
cinema technology - june 2008
widescreen weekend
page 33cinema technology - june 2008
page 34
widescreen weekend
cinema technology - june 2008
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
digital projection - june 2008
page 38
edcf workshop
digital projection - june 2008
edcf workshop
page 39digital projection - june 2008
page 40
digital cinema sound
digital projection - june 2008
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
120 dB for 20 bit systems
108 dB for 18 bit systems
96 dB for 16 bit systems (CDs)
Figure A
digital cinema sound
page 41digital projection - june 2008
page 42
digital cinema sound
digital projection - june 2008
digital 3D conference
page 43digital projection - june 2008
DLP® 3-DReady TV
Shutter Glasses
Transmitter
page 44
digital 3D conference
digital projection - june 2008
digital 3D conference
page 45digital projection - june 2008
installing digital 3D
page 46 digital projection - june 2008
installing digital 3D
page 47digital projection - june 2008
E-MAGhttp://ctmag.slaterelectronics.com
LINK THROUGH
hastings chief retires
page 48 cinema technology - june 2008
cinema technology - june 2008 page 49
hastings chief retires
hastings chief retires
page 50 cinema technology - june 2008
page 51cinema technology - june 2008
gordon potter
diary
page 52 cinema technology - june 2008
GOZO
MALTAValletta
St Juliens
Fgura
Bugibba
Marsascala
cinemas in malta
page 53cinema technology - june 2008
cinemas in malta
page 54 cinema technology - june 2008
page 55cinema technology - june 2008
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
1000 8 mins 53 secs2000 17 mins 47 secs4000 35 mins 33 secs6000 53 mins 20 secs14000 124 mins 27 secs
FT 70mm 15/70 IMAX336ft/min @ 24fps
1000 2 mins 59 secs2000 5 mins 57 secs4000 11 mins 54 secs6000 17 mins 51 secs14000 41 mins 40 secs
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
E-MAGhttp://ctmag.slaterelectronics.com
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page 61cinema technology - june 2008
FILM - DIGITAL - SOUND - DESIGNSupply, installation andservice of Digital andFilm projection and sound systems.Autorised UK THX representative.
Cyan upgrades for allprojectors - V3001 lasers now in.
Xenon lamps from SuperiorQuartz, offering the bestwarranty, value and backup.
Theatre design, projectmanagement and turnkeyinstallation - recent creditsinclude the Soho Hotel,Courthouse, Curzon Mayfair.
Competitive pricing onLCD / DLP projectors,Kinoton 35mm systemsand audio equipmentfrom the world's bestmanufacturers.
Future Projections LtdU2 The Windsor Centre, Windsor Grove, London SE27 9NT, UK. Tel: (+44) 020 8766 7100, Fax (+44) 020 8766 7090 e-mail: [email protected]
www.fproj.com
FUTURE PROJECTIONS
EXPERIENCED HELPFUL FRIENDLY STAFF GIVE ADVICE ON:
• Film Trailers • Own manufactured JACRO film splicing tape
• Projection & Sound Equipment • Film Editing Supplies & Equipment
• Automation • Front of House items • Film Handling Equipment and more
Stock is held of most catalogue items
Roe Computer SystemsTaPoS TICKETING AND POINT OF SALE COMPUTER TECHNOLOGY including:
• Automated telephone & Internet booking• Credit Card clearing
• Reserved & unreserved ticket selling• Combined ticket/concession station & stock
control and more ....
JACK ROE (CS) LTDwww.jack-roe.co.uk [email protected]: +44 (0) 1989 567474 Contact: Sandie Caffelle
C I N E S T R U C T U R E Si n t e r n a t i o n a l l i m i t e d
www.cinestructures.co.ukwww.josper.com
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
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
C I N E S T R U C T U R E Si n t e r n a t i o n a l l i m i t e d
www.cinestructures.co.ukwww.josper.com
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
• Finance available (subject to status)
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
C I N E S T R U C T U R E Si n t e r n a t i o n a l l i m i t e d
www.cinestructures.co.ukwww.josper.com
[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)
Contact: Bill Chew +44 (0) 7882 909540 Alan Kay +44 (0) 7810 480126
CINESTRUCTURES INTERNATIONAL LTD11 Ashfield Road, Elmswell, Bury St Edmunds, IP30 9HG
DIGITAL CINEMAKinoton - BARCO - Panasonic
35MM CINEMAKinoton - Proyecson - Custom design
THXSound-Picture-Alignment-Sole authorised UK supplier
SPECIALIST VENUESHotels-Screening rooms-Private rooms-Concert Halls
SPARE PARTSAV - Kinoton - Cyan upgrades - great pricing/service
XENON LAMPSLong life - low costs - Film or D cinema
DESIGN AND INSTALLATIONTurnkey works - consultancy
RENTAL AND EVENTSOutdoors - indoors - Film - Video - Inflatable screens
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
page 62 cinema technology - june 2008
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