Modified (larger) gate for Eiki projector?

[Rob Koeling]

I was running a scope film ('Jules et Jim') and in this film it was very noticeable that the gate of my Eiki SSL blocks quite a bit of the top/bottom of the image. If I want to be able to read the subtitles, I need to make sure to keep the bottom of the image inside the frame, but then I lose quite a bit of the top of the frame. This results in a very claustrophobic picture and frequently partially cut off heads. Has anyone ever tried to modify the the gate dimensions?

- Rob

[Nantawat Kittiwarakul]

Haven't tried that myself, but that should be totally possible.
The best approach would be some sort of precision machining process (wire cut machine for example) - provided that your local machine shop is capable of that.
The next best thing would be a set of precision files, steady hands, and lots of patience.

I'm thinking about more or less the same idea to my Elmo projector. But I'd like to have a spare gate to work on it first, in case I screwed it up.

[Mitchell Dvoskin]

Be careful, the 16mm film frame is not capable of holding the full height of a 35mm scope film frame which exasperates the problem, so the image is cropped even before the film gets to your projector. If you enlarge the height of the 16mm aperture to eliminate what in video would be called overscan, you could cause a problem framing non scope film who’s position of the frame to the sprocket holes may shift slightly from section to section.

There is a reason why 35mm projectors have changeable aperture plates for scope and flat (non scope) films.

I would try first looking at the film on a different brand of projector to determine if your projector’s aperture is actually too small, and if not I would be very hesitant to alter it out of spec for one film.

[Maurice Leakey]

Many years ago, in the 70s, our small cinema, a Tatler, had uncensored films for the first part of the week, and "Film Society" type films for the rest of the week. We had an Eiki EX-1500 and it was a disaster trying to show 'scope foreign language films with subtitles. As mentioned above, racking was impossible at times to get the sub-titles on the screen and not cut off the actor's heads.

[Nantawat Kittiwarakul]

Oops, completely forgot that issue...

35mm Scope aspect ratio would be 2.35 to 2.39:1, but 16mm Scope would be 2.66:1. That 12% difference in picture height is all you need to cause havoc for subtitled features.

That reminds me one issue occurred in my country during 90's. For some reasons several suburban/rural area cinemas at that time can only show Cinemascope prints, and not Flat aspect ratio films. No matter how hard the distributor pressed they insisted the change. (The cinema chains were quite powerful back then)

Finally the compromise had to be made - all Flat films had to be reprinted to Scope format. So virtually all Flat films were shown as Scope ratio - complete with 20% loss in image area. This tradition eventually ended in early 200's fortunately.

[Mitchell Dvoskin]

Just a F.Y.I, there is no difference what is printed on the film between 2.35 and 2.39. At some point back in the 1990’s the specification for the height of the aperture plate was reduced to better hide splices in the film. The size and content of the actual scope frame did not change.

[Rob Koeling]

All great information. Thanks!
I will do some research in scope versus non-scope image size on 16mm prints (I was assuming it was always the same size) and also investigate how easy it is to exchange the gate in an Eiki projector and if exchanging them is doable, see if I can find a spare one to experiment with.
I'll report back!

- Rob

[Ricky Daniels]

Hi Rob,
Before you go off and file the gate aperture bigger may I suggest you acquire a 16mm Picture Alignment Test Film in order to see if yours is undersize. A test film of this kind also offers a guide to the size the official standard image that should be projected. You’ll need to scour the internet though in order to locate a test film, e.g. SMPTE prints
Best
Rick

[Rob Koeling]

That's a good idea, Rick. I wanted one anyway to help me focus the base lens and scope lens. So far I have not been successful. Anyone ideas where to buy these?

- Rob

[Ricky Daniels]

Hi Rob,
I can only suggest internet searching for anything available.
However, as a guide there are a couple of SMPTE technical drawings of 16mm camera and projector aperture dimensions here...

http://www.brianpritchard.com/16mm_windings.htm

Good luck,
Rick

[Maurice Leakey]

Rob

I may have misunderstood you comment about focusing your base lens and the anamorphic. If I am correct you don't really a test film to help with focus.

1) Run a good copy of a film and focus with the backing lens for a very clear picture
2) Connect the anamorphic and set it to the throw distance
3) Run the film again and now slightly alter the anamorphic each way until you feel the picture is in good focus
4) Give the backing lens a further tweak

I suggest you leave the anamorphic once it's done, and vary the backing lens as required for different film stocks.

[Mitchell Dvoskin]

Film credits (white on a black background) work great for this. As others have already posted, focus the prime lens first and lock it in place with tape on the knob so it does not shift if you need to screw the anamorphic lens onto the prime, then do as Maurice suggested.

As too getting SMPTE test film, I recommend watching eBay, they turn up from time to time.

[Rob Koeling]

Thanks Maurice, that is my procedure normally, but I like the idea of separately focussing on horizontal and vertical lines in the test film, so you are ready to go when you start the film. Also, even though I mostly use the Eiki with the scope lens on a bracket, on my Elmo I do screw the Elmoscope II straight onto the base lens.