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Topic: 16/35mm Projector? |
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Pete Naples
Phenomenal Film Handler
Posts:Â 1565
From:Â Dunfermline, Scotland
Registered:Â Feb 2001
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 posted 03-09-2002 09:07 AMÂ Central (GMT -6:00) Â (4:07 PM Local) Â Â Â Â    
I installed a 16/35 Ernemman last year, lovely machine. The sprockets are dual profile, save for the intermittent (there are seperate units for 35 and 16mm). Also hase separate sound heads, both are Raytheon laser units, it also has a Dolby SR.D basement reader.
To change from 35 to 16, all that is required is to change the gate/trap assembly (one screw), rotate the turret to bring the 16mm lens into position and to thread the 16mm film accordingly. The projector makes all the adjustments to speed, take-up, sound etc.
There's a 'back to back' Kinoton 35/16 in Edinburgh, about 3 years old, although it's not really a dual gauge machine. It's two machines glued together. Must be quite expensive as you have two projectors, two lamphouses and two rectifiers. It has also been somewhat temperamental.
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Pete Naples
Phenomenal Film Handler
Posts:Â 1565
From:Â Dunfermline, Scotland
Registered:Â Feb 2001
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posted 03-11-2002 12:49 PMÂ Central (GMT -6:00) Â (7:49 PM Local) Â Â Â Â
The Erneman (spelling!) is mech that I've always thought of as being gentle on film, and gives a nice steady picture. In 35mm it uses velvet gate bands, I can't remember if that's true for 16 either. It's a sprocket 16mm mech, which is definitely better than the claw type of most machines. Take up is motorised and adjustable, as is star-up ramp, the motor being invertor controlled. If I had to pick, based on the experience I have of the two machines, I'd take the Erneman because I don't feel there's anything to choose between them performance wise, actualyl I take that back, I've always thought the Ernemans Raytheon sound head sounded better, probably due to the on board pre-amp and equalisation (I've never had to apply any slit loss eq' with these), but the Kinotons I've dealt with have been somewhat tempremental to say the least. One other little thing for us installers; if you tell Erneman what CP you will be using, and how far it will be from your projector, they supply a pre wired cable with the projector. To set up the 'A' chain with the two I've installed all that was required was to plug in both ends, set Dolby level, set SR.D frame delay and off you go! I checked the 'A' chain and reader alignment of both machines as they came out of the box, and couldn't fault them, in fact I felt that if I messed with it I'd probably make it worse. Quality engineering like this atttacts a quality price tag, but like everything else in life, you get what you pay for!
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Steve Guttag
We forgot the crackers Gromit!!!
Posts:Â 12814
From:Â Annapolis, MD
Registered:Â Dec 1999
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posted 03-14-2002 06:47 PMÂ Central (GMT -6:00) Â (1:47 AM Local) Â Â Â Â
There is nothing I have seen to lead me to believe that the Ernaman has ANYTHING over the Kinoton FP-38E. The current 16mm soundhead is better beyond description. It is a complete davis loop system that, quite frankly, rivals just about any soundhead 16, 35 or 70mm. The only thing I wish Kinoton would add the 16mm soundhead is a flywheel decoupler for reverse and/or shuttle operation. Currently, it only detensions. The current Kinoton preamps are also top notch with very nice, crisp sound not normally associated with typical 16mm.
35mm wise, the FP-38 will still spank the Ernaman in both picture and sound categories. Furthermore, the studio soundhead option will allow the flywheel to be accelerated prior to being engaged so there is no slipping on the film. Another big plus, the Kinoton doesn't use the Raytheon laser pick up!
Now I will give you that the older FP-16, FP-18 and FP-28 soundheads can be tempermental. While they certainly were capable of supurb sound they had to be messed with a bit too much to keep them that way. The preamps were also wanting, in my opinion, up until about 1993.
Also, I haven't found a non-American projector yet that has good changeovers.
Steve
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"Old projectionists never die, they just changeover!"
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