HEURTIER projectors any good ?

[Steve Lee]

Are there any forum members who have had first hand experiences with HEURTIER projectors, as I keep coming across them for not very much money. There are some interesting models out there like the stéreo 42 and the stereovox, but are they just film scratchers / shredders in disguise ?

[Maurice Leakey]

Read Dino Everette's comment about the projector re scratching.
8mm Forum: Heurtier Projector on Ebay (film-tech.com)

[Paul Browning]

i have a couple of these machines, st42 stereo model and two stereovox machines, and as you may have read a quirky odd ball machine. A strange set up with both reels at the rear, a removable gate, which on the high end machines has rubies either side of the frame to keep the film from buckling when viewing. On first use, this has a rotary main function switch not unlike many others, but the print is in french so unless you speak the language could be a bit confusing, but not that difficult to solve. A bit clunky when turned on, and i noticed how good the focus on this is, just with a short film though never refocused it once, good steady picture too, sound did not seam that bad either, with both bass and treble easily adjusted. They have tin plate toy look about them and i think that puts people off, and a lot of plastic parts that are brittle, but no more than say the beaulieu or elmo or bauer. I doubt whether you would be able to unlace this very easily half way through a film, its tightly lace around the sprocket wheels and shrouded well too, spring loaded in some cases. I also have a scrap machine, well it is now, but received free of charge, it was minus the power supply and circuit boards, and gate, but i managed to salvage some good parts. One thing about fixing a projector or repairing one is you get to see how its made, and how good the components and machined, and i can tell you, this is as good as any of the biggies, in some cases better made, phoshur bearing and the main drive shafts, and roller bearings in places where others haven't bothered to put them, over complicated ?, maybe, even the claw mechanism is work of art. This is the only machine i have seen that has relays on the outputs for short circuits, any one seen this on any other machine ?. I guess the question is would you put your precious films through on a regular basis, i did use them for shorts and cartoons,and still do, and iv'e had the beaulieu concertina films without no reason to, and the elmo machines, it comes down to the individual to make up there own mind, some people can some carn't...........

[Phil Murat]

Paul has pretty well described the situation, not a lot to tell more:

I have a few of them somewhere in a room, just for the fun. These machines are realy beautifull , seriously constructed with quality material.
However, yes, these MACHINES SCRATHES FILMS. So , if you realy need to use one for your precious films, it is very, very important to modify some parts within film path to fix scratching source(s) first.
There are only fitted with 12v/100w bulbs for main of them.

[Paul Adsett]

This ad by Heurtier in Movie Maker clearly highlights the incorporation of 2 rubies in the center of the film gate in order to flatten the film and improve sharpness. No doubt the root cause of many centerline scratches.

[Nantawat Kittiwarakul]

Wait...what???😳
Having stationary part in physical contact with the film , right in the middle of the picture area??? No kidding?

[Phil Murat]

Hello Paul,

2 rubies in center line from each side of plate aperture window was optional. I have both configurations (with and without) , and machine has scratched for each one.
An other point, material of aperture plates is not hard enough and wears easily due to mag strips.
So , in case of this machine has to be often use, there are many upgradings to carry out.
For exemple , a hard chrome plated (a flash coating associated to a polishing finish) for the floating plate could be something to consider.

[Barry Attwood]

I've had a few of these machines in my time as a dealer, and they are never easy to sell, although the top end models always seemed to work OK for myself, but the reel set up does put some people off.

I remember when I first started to work with my late friend Gary Watson, we sent a Heurtier to France, and after a couple of weeks a Parcel Force man presented us with a big plastic bag which had all the bits of the projector, in assorted states of being shattered. Now I packaged this up myself, it had it's original box and packaging, I wrapped it in additional buuble wrap (as it was going abroad), and it came back like that, completely useless. It took Gary nearly 9 months to get compensation, as each country was arguing who did the deed, but if you could have seen it, it must have dropped from an amazing height, or something really heavy landed on it. What annoyed us most was the fact a very nice stereo machine had gone from the market, never to be replaced!

[Martin Davey]

Very interesting to read about the Heurtier. I never realised about the jewels in the fim gate and it looks like quite a terrifying concept, just waiting for a disaster. Its exactly like a lesson on how not to make a film gate and ignore tried and trusted methods.
Out of interest are the Beaulieu 708 range somehow connected with Heurtier projectors in the long distance past, or is it just something I misread decades ago?

[Phil Murat]

So far I remember, there is no relationship between "Heurtier" designers and "Beaulieu" designers. Moreover, Beaulieu 708 EL design was subcontracted to "Buisse & Botazzi" compagnie which is very famous for their "1st Class", top notch machines.
(Buisse & Botazzi, closed to Lyon town, only producted limited quantities for great 16mm and 35mm machines. There are very sought after and quite expensive on the second hand market now.)

[Brian Fretwell]

I can only assume that they thought the jewels were hard and polished smooth they would not be likely to scratch. Also that they wouldn't chip and form any sharp edged to damage the film.

[Phil Murat]

I agree with you Brian. Also, there are some others scratching sources in these machines.

[John Burgess]

I can only relate to the Heurtier P6-24 std 8 sound machine, this is the modular machine enabling one to first buy the projector, then when needed the amplifier and sound head. In defence of Heurtier I can only praise this great projector, it is exeptionly quiet in operation , easy to thread . kind on film and above all a beautifully designed sound head with huge fly wheel , all sitting on a valve amplifier delivering that rich sound that valves always do. A separate head for monitoring sound as you record and a quality big speaker housed in the lid of the carrying case. The only critism I could level is the feed and take up arms situated at the rear of the projector. I am presently working on larger arms to take 2000 feet spools,then hopefully HID lighting.
It would appear they lost the plot when designing the latter Super 8 models.
John

[Phil Murat]

Yes John, something has been lost on their last super 8 machines. However, even they are quite simple, my position is that it needs too much parts to make these machines , so that they were not cost effective. A Beaulieu is much more simple and is not made up of many parts.
I like former Tri-Films (8/9.5/16, from 1950 to 1960 approximately) they were seriously designed, showing a simple film path, with good quality materials.
From my side , you can often find them for few money sometime , very few.

[Paul Adsett]

John's Heurtier P6-24 sounds like a really great Standard 8 sound projector. Does it have the standard 56 frames sound separation?