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» Film-Tech Forum   » Operations   » Film Handlers' Forum   » Your Dream Booth (Page 1)

 
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Author Topic: Your Dream Booth
Bruce Felt
Film Handler

Posts: 7
From: Thief River Falls, MN
Registered: Jul 2004


 - posted 07-29-2004 09:46 AM      Profile for Bruce Felt   Email Bruce Felt   Send New Private Message       Edit/Delete Post 
what equipment (not including the hot tub, bar and massage table) do you really enjoy working with? What gives the best results and causes you the least headaches?

I ask this as I am working on a business plan for a new theater.

Thanks for your advice!

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Mike Olpin
Chop Chop!

Posts: 1852
From: Dallas, TX
Registered: Jan 2002


 - posted 07-29-2004 09:52 AM      Profile for Mike Olpin   Email Mike Olpin   Send New Private Message       Edit/Delete Post 
Allthough a lot of people on here don't like them, but I'm really comfortable with the Christie package.

AW3 platters
SLC lamphouses
CineX35 projectors
Dolby CP 650s
DTS XD10s and CP 650s on your larger houses.

Christie will often times discount thier equiptment when purchased together.

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Jeremy Fuentes
Mmmm, Dr. Pepper!

Posts: 1168
From: Corpus Christi, TX United States
Registered: Jan 2004


 - posted 07-29-2004 10:00 AM      Profile for Jeremy Fuentes   Email Jeremy Fuentes   Send New Private Message       Edit/Delete Post 
Ballantyne Pro 35's and Super Platters. Probably the most hated equipment, but its what I'm most comfortable with.

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William T. Parr
Jedi Master Film Handler

Posts: 823
From: Cedar Park, TX
Registered: Nov 2000


 - posted 07-29-2004 10:14 AM      Profile for William T. Parr   Email William T. Parr   Send New Private Message       Edit/Delete Post 
quote: Jeremy Fuentes
Ballantyne Pro 35's and Super Platters. Probably the most hated equipment, but its what I'm most comfortable with.
[Eek!]

My Condolences. Have Andy let you thread the projectors at Tinseltown. Much Better. Century SATA prjectors with R3 Soundheads and SPECO lP 270 Platters. Only thing that suck with their booth is the CFS Console/Automations and Peavey Amps in most of the small rooms. Century is another fun one. All Christie package with AW 3 platters and P35GP projectors. The P35 I hated because of all the belts in ours.

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Jeremy Fuentes
Mmmm, Dr. Pepper!

Posts: 1168
From: Corpus Christi, TX United States
Registered: Jan 2004


 - posted 07-29-2004 10:27 AM      Profile for Jeremy Fuentes   Email Jeremy Fuentes   Send New Private Message       Edit/Delete Post 
Todd, I was trained on the Tinseltown equipment, but was only scheduled less than a week total of booth days, where I was able to work by myself. Then I wasnt in a booth until another 2 years later. But I'm sure youre right.

P.S.-Todd, I'm gonna beat you to 1000 posts too!!

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Scott Norwood
Film God

Posts: 7929
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99


 - posted 07-29-2004 11:45 AM      Profile for Scott Norwood   Author's Homepage   Email Scott Norwood   Send New Private Message       Edit/Delete Post 
This has been discussed to death, but I'll add my $.02 anyway (based on equipment that I have personally worked with):

Century C, SA, or JJ heads on R-3 or R-50 (JJ) soundheads and Century bases, with enclosed reel magazines
Peerless Magnarc, Strong Super Lume-X (small screen), or Cinemeccanica ZX-4000H (medium-large screen) lamphouses
current-model ISCO or Schneider lenses
Dolby CP-65, -200 (upgraded), -500, or -650 with SRD and cat. 700 penthouse readers
MPU-1 if 70mm
QSC amps
JBL speakers
Kelmar rewind bench
Neumade splicer
Harkness screen

(note that this is the equipment that I would enjoy running most, not what would necessarily give best picture/sound quality)

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Richard Hamilton
Phenomenal Film Handler

Posts: 1341
From: Evansville, Indiana
Registered: Jan 2000


 - posted 07-29-2004 12:29 PM      Profile for Richard Hamilton   Email Richard Hamilton   Send New Private Message       Edit/Delete Post 
at least ten rooms. All 8/70. All 3D maybe 1 or 2 4D. Throw in a motion ride or 2. If I had my preferance....Imax all the way, they kick ass when it comes to large format!!! Especially 8/70!!

P.S. It is about 2 a.m. here and I just got back from a bar full of russian guys in a chinese bar! We drank the chinese guys under the table!!!I even met a guy named Sergay!! I told him I was a spy also!!

Rick

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Matthew Jaro
Film Handler

Posts: 74
From: Gaithersburg, MD, USA
Registered: Jul 2003


 - posted 07-29-2004 01:52 PM      Profile for Matthew Jaro   Author's Homepage   Email Matthew Jaro   Send New Private Message       Edit/Delete Post 
Two Simplex XLs (Simplex 35s or equiv.) 3 blade shutters.
No platters (changeover).
Strong Super Lumex Lamphouses
Christie bulbs
Strong pedestals (consoles are not dimensionally stable)
Strong 5 star sound heads
BACP reverse scan readers
Dolby Cat 700 white light SRD readers
DTS 6D system
Dolby DA 20 processor
Kelmar reel arms, media cleaner and make-up table
Panastereo CSP 1200 processor
Panastereo CX-330 Booth Monitor
QSC amplifiers running tri-amnp into JBL AE 6315/64 triamp stage speakers.
Rane RPM-267 digital signal processor crossovers
Eight JBL Control 25AVS surround speakers
MDI microperf screen with programmable masking.
Optical glass ports.

This is my current configuration and I tried to get a dream booth. Eventually I'll add JBL subwoofers.

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Leo Enticknap
Film God

Posts: 6840
From: Loma Linda, CA
Registered: Jul 2000


 - posted 07-29-2004 02:36 PM      Profile for Leo Enticknap   Author's Homepage   Email Leo Enticknap   Send New Private Message       Edit/Delete Post 
  • 2 x Philips/Norelco DP70s with three-bladed shutters, inverters for running at any speed from 16-30fps; plus magazines, firetraps and liquid-cooled gate for running nitrate.
  • Kinoton reverse-scan combined SVA/Dolby digital reader. If it is possible to fit DTS and SDDS pickups without compromising the fire-resistant spoolboxes then I'd have those too, but if not, the ability to run nitrate takes priority.
  • Not fussy about the lamphouse, just as long as the mirror can easily be refocused for 70mm, 35mm normal optical centre and 35mm full gate silent optical centre.
  • No platter, tower or automation in sight - this is a manually run changeover show.
  • Isco Ultra-Star lenses for full-gate silent (optically offset), Academy, 1-66, 1-75, 1-85, 2-00 and 'scope.
  • 2 x Kinoton FP-18s for 16mm & super 16, with Kiptaron prime lenses.
  • 2 x 16/35 sepmag followers.
  • Xenon-lit super 8 projector of some description (this is my dream booth, so I might as well have everything!)
  • Rigby motorised flatbed rewind bench.
  • Tape joiners for all gauges.
  • Cement joiners for 16 & 35 acetate, plus 35 nitrate.
  • Ultrasonic joiner for polyester.
  • U-XGA video projector with Digibeta, DVCAM, VHS and DVD players, plus a decent PC in case I ever want to show Powerpoint stuff.
  • CP-200 processor, plus SR and mag preamp; plus DTS and SDDS players if the heads are fitted.
  • QSC amps
  • Martin Audio speakers
  • Very big square screen (Harkness Perlux), with adjustable motorised masking on all four sides so that any ratio from silent to 'scope can be shown without the image looking stupidly tiny.
  • Two sets of stage tabs in front of the screen, with several megawatts illuminating them while the houselights are up.

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Brandon Willis
Expert Film Handler

Posts: 216
From: Richmond, VA, USA
Registered: Apr 2004


 - posted 07-29-2004 02:43 PM      Profile for Brandon Willis   Email Brandon Willis   Send New Private Message       Edit/Delete Post 
This is not really an equipment description, but it warrants discussion...
My dream booth is clean, organized, everything works properly and if something screws up it's attended to in a timely manner. No obsolete concession equipment sitting around. If old paperwork must be kept there, it's kept organized. A place where the promo coordinator doesn't pile up his crap all over the place making it almost impossible to move prints.
Guess I'm just dreaming...

[ 07-29-2004, 07:52 PM: Message edited by: Brandon Willis ]

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Mark J. Marshall
Film God

Posts: 3184
From: New Castle, DE, USA
Registered: Aug 2002


 - posted 07-29-2004 03:00 PM      Profile for Mark J. Marshall     Send New Private Message       Edit/Delete Post 
Climate control that actually works and keeps things cool would be wonderful, since I have yet to work in a booth where that's a given.

Also a sizeable film "vault" is a must.

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Alan Haigh
Film Handler

Posts: 45
From: Watford, UK
Registered: Jul 2003


 - posted 07-29-2004 03:51 PM      Profile for Alan Haigh     Send New Private Message       Edit/Delete Post 
(as a visiting sound engineer)
Brilliant projectionists
Cleanliness
care and maintenance
Tea!!

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Stephen Furley
Film God

Posts: 3045
From: Coulsdon, Croydon, England
Registered: May 2002


 - posted 07-29-2004 05:15 PM      Profile for Stephen Furley   Email Stephen Furley   Send New Private Message       Edit/Delete Post 
I tend to agree with Leo on equiping to run almost anything. I think I would tend to go for Kinoton machines. I'd like two 35/70, and two 16'35 machines. That gives me four machines capable of running 35mm; useful for special shows, with lots of format changes. To accommodate four machines without putting some of them at horrible angles (I'm sure you know where I'm thinking of Leo) I'd want a reasonably long throw. Matte white screen, about 10-12 metres, silver to let down in front of it for 3-D, roller screen would do, if no height available to fly a frame. 2 16/35 mag follower heads, ability to interlock anything to anything. I might not bother with Super-8 as a permanent installatiion, but I'd have a couple of spare ports available for temporary installations.

Peerless Magnarcs on all four main machines, I'd quite like some sort of rackover system, so I could have xenons as well.

Dolby CP-200 with all the extras, Dolby Digital and DTS, I probably wouldn't bother with SDDS, plus mag of course.

As many video formats as possible, plus the best video projector I could find. No digiital ciinema projector yet, but space to install one later, when the technology and cost are right.

Hand and motorised rewinds, a four plate 16/35 motorised Steenbeck would be nice.

Lots of 16A and 32A 240V single phase and 415V three phase plus neutral Ceeform sockets for temporary equipment. Plenty of audio and video lines up from the stage.

Bank of slide projectors for 35mm and mediium format slides.

No nitrate in the main theatre, but I'd have a smaller one, set up for nitrate, and a few other 'fun' things, Western Universal bases I think, complete with turntables, and the original variable speed motors, I've only ever seen one that still had that, they were all supposed to have been scrapped when fixed speed motors were fitted. Kinemacolor projectors would be nice, and some priints to run on them.

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Mark J. Marshall
Film God

Posts: 3184
From: New Castle, DE, USA
Registered: Aug 2002


 - posted 07-29-2004 08:42 PM      Profile for Mark J. Marshall     Send New Private Message       Edit/Delete Post 
quote: Stephen Furley
Matte white screen, about 10-12 metres, silver to let down in front of it for 3-D
Why not just install silver screen and be done with it?

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Joe Redifer
You need a beating today

Posts: 12859
From: Denver, Colorado
Registered: May 99


 - posted 07-29-2004 09:36 PM      Profile for Joe Redifer   Author's Homepage   Email Joe Redifer   Send New Private Message       Edit/Delete Post 
For the big house:

RCA DVD Player
Sharp Video Projector
Optimus Receiver
Realistic™ brand Speakers.
Monster Cables

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