Projectors in movies (as opposed to the other way around) ... continued

[Rik Jackman]

Just watched this film tonight and in the closing credits of the 2011 film A Lonely Place To Die there is some nice Super 8 mountaineering footage but it was transferred by Soho Film Lab / Andec Filmtechnik rather than projected.

OK so it's not exactly a projector but do I get a half point 😉?

[Dominique De Bast]

On Sunday nights, National TV channel France 3 usually broadcasts detective series. Yesterday, started the new (sixth) season of the British "Grantchester Mysteries (Grantchester, in French). In the episode 1, we see :





Two Sundays ago, the same channel aired the second episode of the eighth season of the British (again !) Endeavour (Les enquêtes de Morse, in French). The viewers of France 3 were lucky to see :

[Nick Regan]

Having just bingewatched the new "Ipcress File" on ITV Hub (Its showing weekly on ITV) there is a Bolex G series projector that rears its ugly head in numerous scenes

Nick

[Nick Regan]

Brian Fretwell

Quote ; "Unidentified projector from season 2 of Catweasel intended for a children's party show." Projector is a Kodascope Model D

Nick

[Ed Gordon]

In Star Trek: The Motion Picture, projectors had an unaccredited major role:

Aside from control interfaces, the bridge set was populated with monitors looping animations. Each oval monitor was a rear-projection screen on which super 8 mm and 16 mm film sequences looped for each special effect. The production acquired 42 films for this purpose from an Arlington, Virginia-based company, Stowmar Enterprises. Stowmar's footage was exhausted only a few weeks into filming, and it became clear that new monitor films would be needed faster than an outside supplier could deliver them. Lee Cole, Michael Minor and Rick Sternbach, worked together with Povill to devise faster ways of shooting new footage. Cole and Povill rented an oscilloscope for a day and filmed its distortions. Other loops came from Long Beach Hospital, the University of California at San Diego, and experimental computer labs in New Mexico. In all, over two hundred pieces of monitor footage were created and cataloged into a seven-page listing.

Almost most of the dialogue in the Enterprise bridge scenes had to be dubbed by the actors in post-production. This was due to the fact that the animation/graphics seen on the bridge station display monitors was projected from behind the bridge set walls by dozens of 16 mm projectors (one for each display screen), as computer technology was not advanced enough at the time to use real computer monitors on a practical basis. As a result, the clattering sound of the noisy projectors nearly drowned out the voices of the actors, and their dialogue had to be dubbed over later at considerable added time and expense.

[Eberhard Nuffer]

Jean-Paul Belmondo in „L‘Animal“ (Animal/Stuntwoman, 1977)

[Dominique De Bast]

From the French film Jacquot de Nantes (1991).

[Janice Glesser]

A great find Dominique! Thanks so much for the screen caps.

[Dominique De Bast]

I'm happy you like them, Janice

[Joerg Polzfusz]

„Hugo Cabret“ also shows various pre-WW1-cameras and -projectors.
https://m.imdb.com/title/tt0970179/

[Janice Glesser]

Joerg Polzfusz very cool!

I am a TV true crime junkie. Saw this Bell & Howell16 mm projector in an episode of Forensic Files today.

[Brian Fretwell]

Rewatching "life on Mars" series one episode eight I'm sure the porn films being shown were meant to be projected from the Eumig Mk 501 shown on the table. They obviously weren't as later with the same machine they showed a still picture and the 8v 50w lamp wouldn't have been powerfull enough for th epicture size in the lighting conditions, but full marks for a machine suitable for the time (1973).

[Joerg Polzfusz]

From today’s episode of „Tatort“ (German crime series produced by the TV-channel „ARD“)

[Ken Finch]

Visited our local independent cinema the Kavenagh yesterday to see “Empire of Light”. Lots of shots inside the projection box of Kalee projectors including Toby Jones demonstrating the 20 min change overs. Pure nostalgia for ex projectionists. Ken Finch😊

[Steve Lee]

Back in 1988 I worked on the music video for the promo of the film Buster. This was shot in one of the warehouses at elstree studio over a period of 24 hours.
I was the projectionist for this shoot. I had only about 500 feet of film to work with, which was made up of some of the rushes from the movie.
I don't know how many times I laced up that machine over the 24 hours, starting it up and having to hide behind a curtain on order not to be in the shot.
But I know one thing for certain, I never want to hear that song ever again.