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I'm looking for another manual, this time for either the Kinoton Studio Lamphouse, or the Kinoton Universal Lamphouse (as I suspect they're basically the same?? - if not, what are the differences?). If you have one that you can send me, shoot me a PM
I've still got the quesion of what the difference (if any?) between the "Studio Lamphouse" and the "Universal Lamphouse" is. From comparing the two brochures, all I can see is:
"Optimum light intensity and light distribution" vs. "best light intensity and light distribution"
"Safe, reliable automatic ignition system" vs. "safe, reliable automatic ignition system with special radio interference suppression for ignition impulses"
"Heat filter from 2,000 W on" vs. "heat filters"
So the Studio Lamphouse is just a slightly upgraded version of the Universal Lamphouse, with rf suppression, and heat filters in all models? Can someone confirm this?
Studio versus cinema? The paint and that is it! (I'm not kidding). The studio lamphouse had the anthracite (grey) paint and the cinema had the normal gold color. If you requested, they'd throw in the extra chokes for noise suppression but they were not a given by virtue of order.
Kinoton had an entirely different discount structure for "Studio" versus "Cinema". They came off of different price sheets and not all dealers were authorized for studio equipment. Where the differences came were in the feature sets, primarily of the projectors. For instance, you could get a rock-n-roll cinema projector, the FP-30ER. It would have the standard soundhead but with a roller lifter. The Studio version was the FP-30ES which added the studio soundhead that would have a magnetically coupled flywheel so when one was changing speeds or shuttling, the flywheel would decouple.
None of this had any bearing on the lamphouse, however. That said, Kinoton wouldn't let you pair a studio projector to a cinema lamphouse. That was just part of the deal. And, truth be told, the studio paint job NEVER held up as well as the cinema one. They grey paint flaked off if you looked at it too hard.
From what I recall (which is less and less these days), Studio lamphouses could be ordered with colour matched reflectors.
Interesting. I've always wondered to what extent the reflector coating styles could impact color temp etc. I wonder this cause our unfortunate pair of Strong Ultra80s from the island of misfit toys have not so matching reflector coating finishes. One is mirrored silver and the other has a golden yellow hue to it.
Interesting. I've always wondered to what extent the reflector coating styles could impact color temp etc. I wonder this cause our unfortunate pair of Strong Ultra80s from the island of misfit toys have not so matching reflector coating finishes. One is mirrored silver and the other has a golden yellow hue to it.
Yes, I saw that many times. One site, we ditched a pair of Super 80s (which had been ordered as a pair and conescutive serial numbers) because a; the light was totally differnet colours, b; one of the pair could not put a decent light out in 70mm (I came to the conclusion that it was warped in some way).
Replaced with a pair of non-consecutive numbered Kinoton Universals, problem solves. Although grafting them on to the back of DP70s required some metal bashing.
Yes, I saw that many times. One site, we ditched a pair of Super 80s (which had been ordered as a pair and conescutive serial numbers) because a; the light was totally differnet colours, b; one of the pair could not put a decent light out in 70mm (I came to the conclusion that it was warped in some way).
Replaced with a pair of non-consecutive numbered Kinoton Universals, problem solves. Although grafting them on to the back of DP70s required some metal bashing.
To be clear, we look "okay" on screen. The golden reflector isn't doing a ton to change things... but i bet if you measured with actual instruments you would spot a difference. I'm just happy we have two reflectors that are not flaking yet. (And two spares that were beginning to show signs of coating issues).
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