When I worked for H---- I didn't pay as much attention to what kinds of machines I worked with...

First theater I was at had Christie P35GPs (not 100% certain on that detail), Christie AW3R platters, XeTron XCN consoles.
All in all, things ran pretty well there.

Second theater I was at had the same types platters & lamphouses as the first, but instead had Century projectors. I'm not sure which model, they did 35mm only, and were nothing but a big headache for me. Oily, greasy, gear driven machines with an affinity for wrapping and fusing film to the soundheads, and in general, munching on the film.

The both I am in now has Christie AW3R platters, ORC lamphouses, two Century JJ2 projectors and eight Christie P35C projectors.
Very few problems.

Given what I was trained on, and have worked with, I prefer the Christie projectors. I don't even have to think when I thread, my fingers know what they are doing. I could probably thread one of those things blindfolded!

If there were some certain ammenities that I feel are lacking in the booth I am in now, it would be my favorite booth, given how well I know the quirks of the equipment and how to outfox them to avoid problems. I just have to keep my hopes up that one day the booth fairy godmother will appear and grant some of my wishes...

~The Purple-Tressed Booth B*tch

You right about being able to thread the machine you learn on blindfolded. I was taking a group of people through my first projection room and while showing off, I was blindfolded and threaded the projector...got it in frame too! (believe it or not)

Mmm, I've only worked with a few centurys (and a few Monee's - cheap Indian copy of a Century). Mmm, Oily, greasy - its all coming back to me now...

Sounds like most of you guys over there have Christies and Centurys everywhere (sucks to be you guys ) Is that a consious effort to support the local economy? Is it because spare parts are easier to get? Is it because other machines (such as Kinoton or Cinemcannica) are more expensive to import? Or is it because in your oppinion they are better machines?

I've mostly run Cinemecannicas and Kinotons here in Aus and Christies in other parts of the world.

I've also ran Bauers and Centurys, but in smaller amounts.

I've had the very recent pleasure of moving some Kalee heads around, man they are heavy!!!

Sound processors: CP50; CP100; CP55; CP65; CP500

2. Projectors: Favorit70; Philips FP5

Would not mind to get my hand on a DP70...sometime...my friend Per has two in his booth, but never runs c/o's??

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Ari, who are the Favourit70's sold through? Until you mentioned them, I'd never heard of them, and there aren't any dealers that I know of that supply them here in Australia.

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I know a lot of people don't like them. One of the problems they have is that they throw prints pretty easily. Well, I thought this solution was interesting.

... and a closer view...

Appearently, one of the guys who worked there years ago decided enough was enough and went to town on the platters. It may look like hell but it worked. They haven't thrown a print in years. The only drawback is that you can't put as much film on them because of the hardware and the holes. That's rarely a problem, though. If a print is that big, they would probably split it in two anyway.

I like the MW3 platter as long as it is not one of the 'single board' models that are prone to failures that usually result in the mainboard catching fire, destroying it, and they [the single board MW3's] are no longer supported by Christie and the replacement mainboard is no longer available. The newer model MW3's have a modular chassis design like their big brother AW3 eliminating the mainboard and if something caught fire on the newer one just the part(s) that actually flamed out would have to be replaced.

A retaining ring could be made out of flexible PVC pipe or heavy garden hose formed into a ring, and adjustable for various diameters around the film roll. Be sure to attach it to the platter surface, or use Stick-a-poos or "Bevan-poos" to keep it in place.

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