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Author Topic: Intermittent question Jeff Else Expert Film Handler Posts: 125 From: Detroit, MI, USA Registered: Nov 2006 posted 02-09-2009 02:11 PM                     just a general curiosity... is it possible for image instability to come from a bad/worn/failing intermittent? I operated a few Kinoton FP20's that are now out of service that I never could seem to get a stable image from. None of the intermittents ultimately failed, and my knowledge is limited so perhaps there were more adjustments to be done..  |  IP: Logged Tony Bandiera Jr Film God Posts: 3067 From: Moreland Idaho Registered: Apr 2004 posted 02-09-2009 02:31 PM                     Yes it is possible, but with FP-20's the most likely causes of image problems are worn nylon skates/runners (Gate and trap rails, respectively); insufficient skate tension; skate height incorrect. The intermittents on Norelco/kinotons are pretty durable. If it is either knocking or making a noise like gravel rolling around with no film, it is bad.  |  IP: Logged Louis Bornwasser Film God Posts: 4441 From: prospect ky usa Registered: Mar 2005 posted 02-09-2009 10:13 PM                        Occasional answer! (look at header.) Louis  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 02-09-2009 10:27 PM                     You probably had bad framing couplings in them! They still suffer from that same problem today. Mark  |  IP: Logged Tony Bandiera Jr Film God Posts: 3067 From: Moreland Idaho Registered: Apr 2004 posted 02-09-2009 10:35 PM                     Louis, that was really bad. Mark: You're right, I had forgotten about that possibility. I guess I'm spoiled with my FP38's which barely have 400 hours each on them.  |  IP: Logged Jeff Else Expert Film Handler Posts: 125 From: Detroit, MI, USA Registered: Nov 2006 posted 02-12-2009 06:08 PM                     how do i check to see if the framing couplings are good?(keeping in mind these machines are not connected to power) If they are bad, how expensive/difficult are they to repair? I may be recommending these to be sold to a small, indepentent art-house, so I'm wondering how good of an option they are...  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 02-12-2009 07:20 PM                     Since the FP20 design is extremely gentle on film it is ideal for rep/art houses that get damaged prints you may be able to feel play in the shaft by rocking the sprocket also check for endplay but you really need to set them up and run them  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 02-12-2009 10:10 PM                     I agree Gord... I've seen scotch taped film go through just like it was a regular splice... The DP-70 can also do that. Mark  |  IP: Logged Tony Bandiera Jr Film God Posts: 3067 From: Moreland Idaho Registered: Apr 2004 posted 02-13-2009 01:29 AM                     I second both Gordon and Mark,, I just had a print with several FEET of severe damage pass thru my FP-38 tonight, it made a lot of noise but the picture was surprisingly steady, though the focus went crazy form the wrinkled mylar..  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 02-13-2009 09:09 AM                     Actually the DP75 wins for handling shrunken film hands down that odd multi curved gate forces almost anything to lie flat on a side note my Motiograph AAA machines can run almost anything thrown at them even nitrate so shrunk the perfs are visable on the screen  |  IP: Logged Ian Parfrey Phenomenal Film Handler Posts: 1049 From: Imbil Australia 26 deg 27' 42.66" S 152 deg 42' 23.40" E Registered: Feb 2009 posted 02-15-2009 02:33 PM                     Don't forget my beloved Century DAW's. I saw these run an acetate print of "Flesh Gordon" with one set of legs stripped. It jumped a bit and both the Chief Projectionist and myself both had near heart attacks, but it went through for 7 shows that week.  |  IP: Logged Eric Robinson Jedi Master Film Handler Posts: 538 From: Santa Rosa, CA Registered: Jan 2005 posted 02-15-2009 02:37 PM                     quote: Ian Parfrey set of legs stripped What is a stripped leg?  |  IP: Logged Ian Parfrey Phenomenal Film Handler Posts: 1049 From: Imbil Australia 26 deg 27' 42.66" S 152 deg 42' 23.40" E Registered: Feb 2009 posted 02-15-2009 02:43 PM                     Hi Eric. My Chief used to refer a set of perforations that are torn the entire length of a spool as "a stripped leg". It just kinda stuck.  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 02-16-2009 10:07 PM                     ..and if you can run a reel with one side all stripped out and keep the show on the screen for the duration of the run, you definitely consider yourself "the Projectionist." That was one small problem with IB prints when they get some age on them: film stock becomes brittle with age and the sprocketholes are the first to expose the brittleness of the film. Been there and done that with all off the "kiddie mats" that I ran...and some of the prints that arrived at our theatre..  |  IP: Logged Ian Parfrey Phenomenal Film Handler Posts: 1049 From: Imbil Australia 26 deg 27' 42.66" S 152 deg 42' 23.40" E Registered: Feb 2009 posted 02-17-2009 02:30 AM                     Hi Monte. How true that is. This was in the days of switching a single print between two theatres, where the first 6000' spool would screen as the first show and as soon as it finished, a car-hop would throw it in the back of his car and motor to the other theatre where it would screen as soon as it arrived. This usually happened to both prints of the double feature. I cant say the print left our drive-in in any better condition than when it arrived but we never had a film-break. I am still amazed at how the Century's passed that print. Ahhhh for the days of (old, brittle) acetate! Dave Miller was my Chief that year.  |  IP: Logged

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