FilmGuard keeps new prints looking like
new even after hundreds of runs
and cleans up old films too!

FilmGuard works by cleaning dust and dirt off of the film and forming a slick protective coating, ensuring hundreds of runs free of dirt, scratches and static charges.
POLYESTER SAFE!

How does it work?  Simple.  FilmGuard is a non-evaporating lubricant and cleaner.  All other liquid film cleaners currently on the market, such as VitaFilm, RTI, ECCO, Renovex and FilmRenew to name a few, are designed as a cleaner/lubricant, but only really provide cleaning benefits due to their evaporative qualities.  Pads of some sort are soaked in the liquid and then the film is quickly dragged through the cloth, before the cleaner evaporates.  The second most popular method of cleaning film is through the use of PTR rollers.  Upon my personal testing of these, I have found they don't really accomplish anything.  In fact a theater I worked at tried a side by side comparison between a dry web media cleaner ran once a week vs. a PTR cleaning system ran every show.  The prints were both brand new, of the same film stock and movie, run on exactly the same projection equipment and by the same caring operators, with the projectors thouroughly cleaned out after each run.  To put it simply, after one week the PTR print looked dirty and the print that had only been cleaned once with a dry web media cleaner still looked good.

But prints ran once or twice a week through dry web media cleaners will still attract dust and dirt, right?  Correct.  This is where FilmGuard comes in.  By utilizing the commonly found dry web media cleaner most projection rooms already have, I  have developed a system for application of a cleaner, lubricant and protective coating all in one.

First, FilmGuard will deep clean better than any other liquid cleaner on the market.  I have taken many an older print and run it through FilmGuard several times and cleaned up virtually all of the dirt and even covered up base side scratches.

Second, FilmGuard is polyestar safe!  As everyone knows, the switch to polyestar film was accompanied by a loss of ability to lubricate prints at the theater level, and even recent attempts to lubricate prints at the lab do not work effectively.  FilmGuard is the first cleaner which is safe to apply to polyester film since Warner Brothers introduction of Estar film stock with "The Fugitive."  Prints ran with FilmGuard run smoother, steadier and quieter than prints without.

Finally, since FilmGuard is designed  to NOT evaporate, a thin coating is created on both sides of the film.  Thus, the film is in a way "submerged" in liquid and will project to the screen with true "wet gate" qualities, the likes of which can only be seen today in laserdiscs, DVDs and the Texas Instruments' new DLP video projection system.  As I mentioned above, since the film is covered in liquid, many base side scratches, just like in wet gate printing, will be covered up and will not project to the screen...even though they are still there.  With FilmGuard, you will have all these benefits without having to purchase new equipment or make any modifications to existing equipment.

What do I need to use FilmGuard?  Although it can be applied just like any other film cleaning solution on the market, the preferred method as mentioned above is through a typical dry web media cleaner.  Since these small machines are film driven and geared to a takeup shaft, a constant fresh stretch of media is presented to the film at all times during the show.  In addition, these machines will apply even pressure unlike a pair of hands would holding a cloth on the rewind bench.  Best of all, it is fully automated and once set requires no operator attention whatsoever.

What the operator does is load up two rolls (one for the base side and one for the emulsion) onto the media cleaner as normal.  Then, he takes the spray bottle of FilmGuard and while holding the sprayer tip against the media pads, he sprays the FilmGuard cleaner onto the pads until they are soaked.  The reason I say hold the sprayer tip against the media pads is to keep from spraying the FilmGuard all over the cleaner.  Now run your film as you normally would through the cleaner.  At the end of each show, rewind the media pads to the start again by loosening the take-up thumbscrews and inserting the plastic rewinding key (supplied with each bottle of FilmGuard) into the supply roll for quick and easy rewinding of the media pads.  Retighten the take-up thumbscrews and you're ready for another show.  I recommend the film be ran on every show and new pads with freshly soaked FilmGuard be loaded onto the cleaner once a week.  In short, use the same set of media pads over and over for an entire week.  If FilmGuard is utilized in this manner, your film will look just as good 6 months down the road as they did on the first day of the engagement when the print was brand new from the lab.

An alternative method for theaters who don't have enough of these film cleaning machines to go around is to cycle the cleaners between the auditoriums during the course of the week.  The preferred method in this instance is once a day.  For example, a 14 screen with only 2 cleaners could clean auditoriums #1 and 2 on Friday, #3 and 4 on Saturday, #5 and 6 on Sunday, etc.  If used in this manner, be sure and load up fresh media pads at the start of each day and soak thouroughly with FilmGuard.  This will keep your prints looking in very good condition, but may pick up traces of dust and dirt and the film is not being constantly cleaned.  However, your prints will STILL look far better than any other cleaning method on the market to date.  Another example would be a 16 screen with 4 cleaners.  This way auditoriums #1, 2, 3 and 4 could be cleaned for 2 days straight on Friday and Saturday.  Auditoriums #5, 6, 7 and 8 could then be cleaned on Sunday and Monday, etc.  In short, the more you can run your prints through FilmGuard, the better they will look.

What if I don't own any media cleaners?  You can still use FilmGuard to effectively eliminate static charges and shedding from your prints!  The method in this case is simple.  Spray a thick cloth with FilmGuard and then wipe the cloth on the top edge of the print as it is laying on the platter.  The ideal procedure is to start the platter spinning (from a makeup table or an obstruction in the centerfeed arm) and wipe slowly from outside edge to the center.  There should be a definite "wet" glaze to the print.  On this next performance, takeup the film "upside down" from your normal procedure and when the show is over, wipe the other side (now up on the platter) in the same manner as before.  (Note:  using FilmGuard in this manner will not offer cleaning benefits...only the elimination of static and print shedding.)

So using FilmGuard in the above mentioned manner, how long will a one quart spray bottle last?  Typically one month for the average 8 screen.  That estimate will very slightly due to climates and other conditions specific to the theater.  For example, if your facility runs 6 shows a day, you may need to change out the pads once every 5 days.  On the other hand, if you only run 3 shows a day, you would probably be more ideally suited to changing out the pads every 10 days.  The operator will need to make that specific call.  If he finds the pads are severely drying out at the 5 day mark, that would be the ideal interval for changing.  On the other hand, if the pads are still moist after 7 days of running, the operator can run them a couple of extra days.  The bottom line is each booth varies with temperature and humidity, but typically a once a week change-out is ideal.

How much extra time is taken away from the operator's normal threading and projector cleaning between shows to use FilmGuard?  None at all!  When using FilmGuard, your projectors won't need cleaning between shows.  Test theaters as well as my own personal results find that brushing out the projector once a week is more than acceptable.  The only real reason to clean the projectors is...A: for cosmetic purposes and B: to remove the tiny buildup of FilmGuard which will accumulate on the sound drum.  We have found a quick wipe with a degreaser will remove this buildup quickly and easily.  Since shedding is put to a halt, the projector doesn't get dirty.  The time spent in rewinding the cleaning pads between shows (approximately 20 seconds) is more than made up for in the time saved by not needing to clean the projector heads between shows.

So if I run FilmGuard every show, wouldn't the action of the film rubbing across the pads create a higher static charge then already exists with my polyestar prints?  No.  Remember the pads and film are WET.  Thus, static is virtually non-existent.  Brain wraps, lost shows, refunds and disappointed customers are a true rarity.

What about my Dolby Digital and SDDS tracks?  I find if they get a mark on them they will stop playing properly after a few weeks/months.  Well, the same rule to the digital tracks applies to the picture.  If there is no dirt on the film and a thin coating has formed, the digital tracks will play flawlessly throughout the entire run, because there would be no dirt or scratches to cause it to dropout to analog.  In fact, if you have access to QC programs, you will actually see a reduction in tracking errors.

Are there any side effects to using FilmGuard?  None that have come up in almost ten years of testing.  Thus far, all test theaters as well as my own experimenting have turned out virtually perfect results every time, regardless of the film stock or type of projection equipment used.  However there are two added and unexpected benefits with the FilmGuard sytem.

Has your theater ever had a roof leak water onto a print?  I have ran across seven.  Two of those were at theaters currently testing FilmGuard.  Even after considerable water dripped onto the print, the film still ran perfectly fine and projected flawlessly!  The other five were at other non-test theaters.  When those prints were attempted to be unraveled, the film stuck together and was very tacky, the emulsion literally peeling off.  By putting clamps on the print and standing it upright, we were able to soak some thick paper towels with FilmGuard and wipe it on both sides of the film, literally to the point where the edges of the print were shining with FilmGuard liquid.  After letting it soak in for a few minutes, we found we could thread up the movie as normal and ran it through a freshly soaked set of new media pads and only the tail end of the film which was attempted to be unraveled before applying FilmGuard wouldn't project.  The rest of the print looked perfect!

The second unintentional benefit has not had a lot of testing, but I offer it here for what it is worth.  I am speaking of Vinegar Syndrome.  I have had several prints come my way with a distinct vinegar odor to them, coated them with FilmGuard and after 5 years are still running beautifully without any vinegar smell.  Is this a cure?  Well, I'm not sure.  Again I have not done enough testing to promise that.  However, if anyone uses FilmGuard specifically for this purpose, I would be very interested to know the results and will post them here.

What about film storage?  Films stored wet with FilmGuard will be protected far better than prints stored dry.  The film does not get brittle if relubricated occasionally.  I have tested identical prints of brand new trailers, some almost ten years old, and the trailers coated with FilmGuard still run perfectly while an identical trailer stored dry is brittle, warped and will not run steadily.

You say FilmGuard is "polyester safe."  I heard polyester film could not be lubricated.  You heard correctly.  Polyester film can't be lubricated...that is with the conventional products out on the market.  FilmGuard does not damage polyestar film stock.  It is the only cleaner/lubricant available that doesn't.

What about magnetic film?  We run a lot of repertory films in 35mm and 70mm magnetic.  Will this damage the sound tracks?  No.  The General Cinema Northpark West 1 & 2 has used the FilmGuard system on many, many repertory and new magnetic prints for very long playdates and has found there is no degradation and admitted the tracks actually held up so well that dropouts never occured.

What is the longest run of a film using FilmGuard?  8 months, 3 weeks, 6 shows a day.  On the last day, I screened that print in it's entirity and it looked absolutely perfect without the slightest speck of dirt, even around the splices, and not a hint of a scratch anywhere.  That's almost 1500 runs!  Remember the 300 runs according to SMPTE?

There has to be something negative related to FilmGuard.  Yes, but it is minor.  The first time FilmGuard is applied to a print you will notice some light streaking which looks like water on the film.  This is normal and will disappear within 1-2 shows.  It is part of the coating process.  This is also why I strongly recommend FilmGuard be applied starting on the FIRST run-through showing.  This way, the public only sees a perfectly clean presentation.

Also, FilmGuard was not intended for use with Photoguarded prints.  FilmGuard will not damage them, but will offer no benefits as the lubricant cannot penetrate through the Photoguard.  However, Photoguarded prints are a rarity and most theaters will never run one.  In addition, FilmGuard should not be used on endless loop platter systems.  However, endless loop cabinets are fine.

I hope I have been able to answer most of everyone's questions here.  For questions not covered here, feel free to contact me directly via e-mail at FilmGuard@film-tech.com.

A list of cinema supply vendors who carry FilmGuard is listed at the bottom of this page.

The following are some reviews from people who have "signed their life away" to be test theaters as well as some people I have come to know who have noticed the quality level of presentation and inquired directly at the theater level about it.

Rich Peterson
Witness and Independent Theater Owner
I make posts around the net from time to time and I'm fairly well experienced in most parts of our industry.  I'm a little hard to work for and I demand a lot from my employees, but my most important consideration in exhibition is PRESENTATION.  As far as I am concerned, presentation is the only thing we have to sell.  I've said it hundreds of times and I believe it with all my heart.

Last Sunday I attended the UA Galaxy 9 in Garland / Dallas, Tx to see STAR WARS #1 in a THX theatre that held about 200 seats (more or less).  The film has been out for several weeks and the prints at this theatre have been run, say, 35 showings a week.  You do the math.  Plenty of time to pick up polyester dust, booth dust, you name it.

Without rambling on for pages, this presentation was the BEST DAMN PRESENTATION I HAVE EVER SEEN IN MY LIFE.  THE BEST!!!  Light seemed to be about 16 fl (perfect) and was uniform across the screen (Christie console).  All JBL speakers and they were pumping out purity.

Now you have to take my word that I am just about as picky as any person who will ever walk into a theatre.  I also know what I'm looking at.  This presentation looked like a FLAWLESSLY CLEAN WET GATE  PRINT AND IT WAS LIKE TI'S NEW VIDEO SYSTEM! IT WAS NOTHING LESS THAN OUT OF THIS WORLD.  I WAS RAVING FOR HOURS AFTER MY WIFE AND I LEFT THE THEATRE.  I'M TALKING ABOUT A FLAWLESS IMAGE PRESENTATION WITH FLAWLESS SOUND.

When the movie was over, I stuck my nose up to the booth glass and, when the kid in the booth turned the lamp house off, realized the credit did NOT go to the Christie projector on the other side of the glass.

Was this something UA had done?  This is the company that doen't take care of its theatres, doesn't take care of their employees, is the second worst at presentation, and single handedly destroyed Dimension 150 (which was my favorite process).  Hell no, it's not UA.

You all know how I rant and rave from time-to-time, but you don't often hear me paying kudos for WORLD CLASS PERFORMANCE in a theatre.  Mr. Miller has spent many years developing some kind of cleaning system.  His system, secretly developed in his office,  makes perfect presentation a reality.  Can you imagine and appreciate what  this means to the rest of us who care about QUALITY?

Stay tuned for news of this from Brad Miller.  He's up in that dark booth with bubbling beakers and secret mixes working on his top secret process that will benefit this industry!  Wait and see!

Rich Peterson/2nd Review
I drove down to the UA Galaxy in Garland / Dallas again earlier this evening.  My interest this time was to be sure the results of Brad's "system" is consistant from screen-to-screen.

Once again, I looked at a number of screens including "The Mummy" from Universal that has been out for almost three months.  I have been in this business in both exhibition and distribution for about 32 years and I have never seen a 35mm presentation that looked so close to 70MM.  Contrast is wonderful, dust is not there, even at points where the reels come together.  THIS THING IS FABULOUS!  I can only imagine the impact this could have on our industry as a whole!  It could benefit directors, whose creations will look just as they were produced.  Potential profit participation could increase over time as people return to theatres knowing that a film that has been out for months will be as good or better than the first day the film came out.  Distribution could look for potential longer runs and additional film rental.  Sub run theatres could present a better product, again helping distribution with more revenue.

Everyone wins with this development.  Everyone who spends a few dollars a week to use it.  Yes, its also going to be affordable to all!  I hope a few top directors will get behind this and support Brad's work.  He should be considered for some form of techinical award.

As always, this is the way I see it.  Brad didn't ask me to say anything.  But seriously, this has knocked my socks off just as digital (DTS and Dolby Digital) did, and 70mm did back in the 1950's and 1960's.  Just as mag / optical did before that.  This is a big deal!  Not expensive at all!  Will make money for all of us who use it!  Check this out!!!

(NOTE:  The UA Galaxy in Dallas, Tx is the current primary testing theater for FilmGuard since 1998.  Before that the primary test theaters were the UA Berkeley Square 8 from 1993-1997 and the Cinemark Vista Ridge 12 from 1989-1992.)

Ron Beardmore
GCC Northpark West 1&2 Test Theater
Although the Northpark theater has been closed for almost a year now, we were the first theater to test the P-5 cleaning and conditioning system.  This is now being released to the public as FilmGuard.  We have used it for years.  Our 1200 seat theater was the largest in town and was the premiere place to experience a movie with the biggest screen, 70mm and THX.

We started using the FilmGuard system because of the tiny amount of dust and dirt that would accumulate after several months of running a film, despite our immaculately clean booth environment.  The end result was far better than we had ever imagined.  Colors on screen almost glowed.  Contrast and sharpness were boosted as well.  We soon started to realize the worst presentation on a six month run was the first day when the film was brand new, had shipping dust and had not received a coating of FilmGuard yet.  Using the FilmGuard system improved the picture quality as every week went by.

Although there was a brief period when the industry converted over to polyestar stock film where the original mix did not work, Mr.Miller quickly found the cause of the problem and we were back on track with his latest mixture.  To our surprise we found the newer mixture worked perfectly on repertory midnight movies which were printed on triacetate stock.  People would always compliment us on how hard we must've searched to find those old prints in pristine condition for our midnight movie series.  What no one realized is that the FilmGuard cleaner was responsible for cleaning up the majority of those presentations.

We have tested many different cleaning systems over the years at the Northpark theater including, VitaFilm, Renovex, Tomakote, FilmRenew and PTRs.  Nothing came remotely close to the quality level we had with FilmGuard.  I recommend it highly to anyone who seriously wants a perfect presentation every time.

(NOTE:  This theater tested FilmGuard for several years on new, 70mm and magnetic prints.  It closed in the fall of 1998.)

Jeff Winkler
Witness/Paramount Pictures
I haven't been in the projection booth for a long time now, but I've seen the results of what polyestar film is capable of doing to the equipment as well as our prints.  Every week we must send out replacement prints due to brain wraps and tossed prints.  This is a problem throughout the exhibition industry.

After knowing Mr. Miller for many years, I recently asked him if it was possible to perform some repair work on a few repertory prints of ours.  He accepted and performed miracles with a solution I have learned is becoming available to the public in the very near future.  I screened a couple of those prints prior to and after his rejuvenation work and can attest this solution he is using is nothing short of incredible.  These prints I would've sent to junking were now perfectly acceptable for playdates.

Mr. Miller has been using this cleaning product for several years in public theaters and I have always noticed the superior level of quality at his complexes, but up until recently I had no idea he was using such a cleaner.  I have been so impressed with the prints that come out of his theater, we have been specifically saving those prints for repertory use.  I wish Mr. Miller the best of luck with his product and hope the industry as a whole takes the initiative and uses it.  It will improve the movie going experience for everyone and keep the customers coming back.

Jeremy Spracklen
Loews 20/287 Test Theater
I am one of the fortunate test theaters who have used the FilmGuard/wet gate method. All I have to say is WOW! Anyone who has seen what this product can do will be instantly amazed. Last year we began using the FilmGuard film lubricant at what would have to be described as one of the worst Loews theaters in the chain. We had a manager who was dead set on the power of PTRs.  He was just about to purchase a set for the entire theater when we began using FilmGuard. He loved it so much that when I left he offered to keep me on the payroll just so he could keep using the cleaner/lubricant.  We were able to keep prints for six months at a time without the slightest mark on the film. It even works great when we get films in bad condition from the other theaters in our zone. No matter how much dirt is on the film, with a couple of applications it looks like brand new. This is a product that will revolutionize the film industry!

(NOTE:  This theater tested FilmGuard for one year and is no longer a test theater.)

Brandon Ward
UA Prestonwood Creek 5 Test Theater
FilmGuard is incredible!  I have never used anything like it.  It proved to be the best film lubricant, cleaner, and restorer I’ve ever seen.  I used it in many different situations and was amazed every time.  My prints always looked better when they left the theatre than when they got there.  FilmGuard worked wonders to repair water damage caused by an intermittent roof leak, and made my films run smoother, quieter, and stopped all shedding!

 I can’t say enough about the great things FilmGuard can do for your presentation.    Try it.  You will notice the difference immediately.

(NOTE:  This theater tested FilmGuard on selected prints as well as water damaged prints.  It closed in the fall of 1998.)

Christian Lundgren
Witness and Home Theater Consultant
I have been an avid fan of movies my entire life.  Through my time at all the local cinemas I had found one theater to stand out among all others.  That theater is the General Cinema Northpark West.

In 1996 I became acquainted with the technical director of the theater, Mr. Ron Beardmore.  I wanted to ascertain why everything was always perfect at that theater and why not at others.  After speaking with him and being convinced of the quality equipment, professional projectionists and caring staff he told me of a unique process they used to clean their films.  Apparently it was not a public process.

Every show was always perfect from the beginning of a run to the end.  The presentation did not deteriorate over time.  There was never any lines, black dots or blotches, even at reel joints.  No visible problems at all.  I saw Titanic on it's first showing and again on it's last day over five months later and it looked just as perfect the last show as it did the first one.

Mr. Beardmore informed me the only other theater in the area using the system was the United Artists Berkeley Square and later a few others including the United Artists Prestonwood and United Artists Galaxy.  These soon became the only theaters where I would attend movies.  I couldn't stomach the defects in other theaters when I knew I would get a perfect show at these specific theaters.

I became to know Mr. Brad Miller through Mr. Beardmore and ever since the Northpark closed down will only attend the United Artists Galaxy and the Granada Prestonwood theaters.  To my knowledge they are the only two theaters in town using this system.  Mr. Miller recently informed me of the public release of this cleaning system and I couldn't be more delighted.  Finally I will be able to see movies that are not playing at these theaters with confidence of a quality show.  All I must do is figure out which theaters will be using the system.  Hopefully it will be widely accepted.

I am a home theater consultant and got into the business as a hobby due to my dissatisfaction with presentations at local theaters.  I have wrote this note on behalf of Mr. Miller's cleaning system and to assure you from the viewer's standpoint that his system works and works well.  The biggest advantage of seeing movies at home is the lack of print deterioration which is plaguing theaters today.  With laserdiscs and DVDs there is no deterioration.  This film cleaning system gives the same result.
It has my full and enthusiastic support.

Kevin Fox
UA Berkeley Square 8 Test Theater
   How can you scratch a piece of film with a key and not damage the print?  I can tell you, with FilmGuard.  I wouldn't believe it if I didn't see it, but I saw it.  I watched in amazement as a co-worker scratched a length of film that had been coated in FilmGuard.  When he ran the same piece of film through a projector the scratch was undetectable on the screen.  I realize that 99.9% of films will never be scratched as severely as that one was, so I have complete confidence that FilmGuard will secure all prints from having visible scratches.

        After the key test, he showed me something else amazing about FilmGuard.  He showed me a piece of film that had very light scratches on it.  He then coated the film with FilmGuard, and the scratches disappeared.  Then he took a brand new trailer and intentionally ran it around the metal roller brackets on the platter and intentionally scratched it to simulate a misthread.  A half dozen passes through the FilmGuard cleaner and they were gone!  Like I said I wouldn't believe this stuff if I hadn't have seen it with my own eyes.  FilmGuard is the best film protectant you can buy and it cleans dirt better than anything else I've ever seen to boot.  We test ran it for 5 years and never had a scratch, any dirt, brain wrap or thrown print!

(NOTE:  This theater tested FilmGuard on every print from 1993-1997.  It was the primary test theater at the time.)

Dwayne Caldwell
Granada Movie Grill Test Theater
I've been using FilmGuard for more than six months on my prints and it has worked wonders for my presentation.  Since using this product, I 've witnessed no signs of dirt or dust on the screen, no scratches of any kind, no indications of degradation in the emulsion, or any other blemishes that come along with showing films for months at a time.  There has been no static in any of the prints and the film gate, pad rollers and the projectors in general have had almost no dirt accumulation even if we don't clean the projectors daily.

The restoration properties of this product are what amazes me most.  Before using FilmGuard, I had a print of "The Waterboy" that was about two months old and was shedding badly.  It was projecting speckles of dirt throughout the entire show, not just at the reel changes, and it was getting worse on each subsequent showing.  After a few passes through FilmGuard I saw an overwhelming improvement in the picture's quality.  In one week's time, that print looked just as good as the first time we screened the show, brand new.  The speckles were completely eliminated, the shedding ceased and the print, which we kept for an additional three months afterward, still maintained it's quality resolution and dirt free image.

In my six years of experience in the projection business, I have not seen anything quite like FilmGuard or used anything near as effective.  I'm glad to have it in my storehouse of tools and cleaning materials.  It's helped make my booth operations run a lot smoother and with perfection.  I highly recommend FilmGuard to any professional exhibitor looking to improve the quality in their theatrical presentations.

(NOTE:  This theater started testing FilmGuard on all their prints at the end of 1998.  It is still a test theater.)

Jim Zeller
ASC Technical Services Field Engineer
I recently went into a theatre that I service on a regular basis which is not known for putting on a very good show.  I noticed that the films were very clean and they weren't scratched as had always been in the past.  I asked the manager if they had hired a professional projectionist to run the booth.  The manager said no.  Upon asking the operator on duty about the difference in presentation, he said they were testing a new product called "FilmGuard" on their prints.

I could tell a marked difference in the presentation (dirt on screen), projector and platter cleanliness.  The operator told me that static problems were virtually eliminated and I can attest to not having to work on a platter at this theatre for the several months they were test running the product.  The lubricating ability of this product causes the projectors and platters to run more smoothly and there had been no brain wraps or thrown prints while using the product, unlike before.

After seeing how FilmGuard helped this theater's booth operations, I would highly recommend this product to any theatre seeking to improve their presentation.

Jason Burroughs
UA Lakepointe Test Theater
As one of the tester's for the FilmGuard formula, I have had the opportunity to put this product to the test and see the results.  After using FilmGuard there was a noticeable difference on what was seen on screen.  The film was much cleaner, ran smoother, and didn't shed.  Even on problem prints and with construction dirt!  All this has helped me maintain a better presentation, and keep my prints in prime condition.  FilmGuard is a must have in the projection booth!

(NOTE:  This theater tested FilmGuard on selected prints during it's opening few months.)

Paul Hemme
Home Theater Designer and Ex-AMC Projectionist
I have been a projectionist for almost ten years and I have never seen anything like FilmGuard. This stuff removes all those distracting dust particles.  It makes you think you are watching a newly developed print.   I also have experience in the new digital projection for home theatre use of Laserdisc and DVD as well.  With the recent flurry to “remaster” our film masterpieces, I can definantly see FilmGuard having an application in that process of restoration.  A DVD and Laserdisc transfer can only be as good as its source material.  With FilmGuard it is easy to say, the process just got simpler.  Its just a shame we didn’t have it sooner.  FilmGuard takes the excuses out of presentation problems.

Joe Redifer
Mann's Chinese Test Theater/3 days into testing
I have been using FilmGuard for the past 3 days.  Believe it or not, I could see immediate improvements in a few areas.  The first was the splices.  They run smoothly through the projector now instead of jumping, and the film runs much quieter as well.  The onscreen image has improved significantly and by the looks of it will probably be perfect in the next few days.  Static is gone as well.  This stuff is great and will revolutionize the industry once discovered.  More to come after I have tested it more extensively!

Joe Redifer
Mann's Chinese Test Theater/5 days into testing
The 2 films that I put FilmGuard on, which were shedding massively, are now as clean as a whistle. Last week it took us 30 seconds with compressed air and at least an additional minute wiping (and scraping off hard gunk) to clean the projector. Now they barely even need to be wiped at all. Not to mention that the onscreen image is 100% immaulate! Perfection! Digital video cannot compete with this!

(NOTE:  This theater started testing FilmGuard in July 1999.  It is still a test theater.)