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Now wait a minute why would I post earlier that I wish I could do a long place system myself and end it with several devil icons when in reality of course I've already done that before......
When I used a tower on 35mm some years ago the spools were speed regulated by four variacs, one for each spool. The speeds had to be altered at regular intervals to maintain all the correct tensions.
Some years later it was Christie platters which ran the whole programme in one go without any attention from the projectionist, and they even shut down at the end of the film.
As Maurice indicates, I recall working with a Westrex tower on which the tension needed to be monitored and altered throughout. It’s interesting that this is working for 8mm.
Just remember a 16 mm projector running at 18 frames per second will be nearly perfect take up machinery to handle that of super eight at 24 frames per second the difference of 5 to 7 ft./min. will be easily absorbed by the take up clutch and belt system
The most important fact is where to place the 16 mm take up machine and to make sure you have proper rollers to guide to film to it when it leaves the super eight machine
You can use those 16 mm brass adapters that step up to Super 8 Reels on the take up shaft of the 16 mm machine and it will work superb as long as you have a way to lock the reel onto that shaft
Given all the above I have done this prior and it works great
My whole idea to start with was to make something so simple, that within two minutes you could have it mounted on nearly every machine and have it up and running without having to think about anything else, other than watching the film you are showing.
Also to make it as portable as possible. I can pick up the entire unit on the projector and take it out into the garden to do a show without anything else. It's like turning any machine into a Fumeo for very little money.
When I am happy with the final version, I will draw up the plans and list out the parts needed and where to get them, and also bulk 3d print the spindles with a threaded shaft so anyone can have a go at making one, that was the idea.
I admire all of these people that had the opportunity to work with 35mm! I have some trailers in 35mm, and I used to watch my dad work the 35mm at the airbase movie theaters, but never worked with it myself.
Having worked for years making up programmes for long play use, towers and platters, I always regretted the day when then took away our twin 35mm projectors. They were such an easy way to project films.
I feel the same at home. I have plenty of sub-standard projectors and can always use two (for change-overs) if I feel like it.
Maurice, I couldn't agree with you more. There's nothing more fun than showing a film on changeovers, gazing out of a port, trying not to blink in case you miss the first cue dot, and that feeling of total satisfaction after the jump has been done.
I used to run 35mm the majority of the time from a platter (cake stand) and 70mm always on a changeover, it was such a great system, especially if you were showing a one off screening. As you could get the reels back in the cans as you were working your way though the film, without having to make it up and plate it off at the end of the show.
Good old days!
Yes, indeed, Steve
When running 2000ft change-overs prints on their last run we used to put a core on the projector's take-up. This saved time in rewinding them onto a core for transit.
I appreciate that in the USA 35mm prints actually travelled on spools, but I do not know how such prints were transported in France.
Here's some pictures of what I built for my long play system. These were the first one I built back around 2002. Today it is much more advanced. Including changeover, film cleaning, and Cinemascope.
Whereas mine is not portable - yet it works top to bottom threading that like a 35mm projector from the good old days.
I love it so much if I can't run without Tower projection, then I don't run at all.
If the pictures show up as small icons - please CLICK the image to expand it.
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