How 35mm Film is Projected 

I didn't want to mention it, because I was sure you simply forgat to do while on camera,it and I didn't want to criticize gratuitously, however it is one of the most important things a projectionist must do every time the projector is threaded, and one that has often mystified beginning projectionists. The DP-70 eliminates part of the mystery, being the only projector that comes to my mind where the gate cannot be opened unless the intermittent is in "rest" position, but of course placing the leader in the correct position, and making sure whatever leader you are threading on is spliced in frame with the film are both equally important aspects. Thanks for the film.

It does make me said how it faded away. At least you got to enjoy it before it ended

That is a fantastic story! I’ve only had the pleasure to use a carbon arc a few times, but man is it fun.

Thank you for the kind words! I will be making the splicing video in the coming future!

Thanks for watching!!

We love our simplex standard/regular with a high-intensity carbon-arc, I can see why!

Simplex's were great. Simple to thread, run and maintain. I started as a projectionist in the 60's and 70's before multiscreen theatres became common. Never touched a platter system. 75 years old here.

Yes you are correct! Thank you for the detailed explanation

Thanks for the tip! And yeah there are not many flaws with the DP70, but using the flywheel is always the best way to advance!

Wow you are good!

Glad I could help! Is there any type of videos you would like?

Why are you hoping to gain experience in a profession that no longer exists? You could learn how to make Daguerrotype photos, or Cyanotypes, and you could conceivably even make an offbeat living doing that, but projectionists have gone the way of telephone switchboard operators.

@@gregfaris6959 There are still universities, historic theatres, and museum collections and archives that employ film projectionists, not to mention private screenings. In fact if you can pick up this skill I would say you are VERY employable, and only getting more so with time, within a narrow scope of venues.

@@clickykbd Clickybd, I think you may be deluded about how many of these positions still remain, and in particular about the assertion that demand will be increasing. I was a projectionist for over 20 years, working my way up from local movie theaters to some of the most prestigious 70mm venues anywhere. I moved on to bigger and better things, designing and implementing theaters and audiovisual systems, but for years I felt my skills could serve in retirement, as a lower-stress supplemental income doing something I was very skilled at, but as I observe today the depth of penetration of digital presentation I understand that will simply not be possible. I quoted a job just last year for a small museum, where they had a film that had been made for them years earlier, which they would present at certain times every day for museum visitors. They had had a scan made from the film, and they were asking me to design a new, fully automated digital system so they could finally remove their two part-time projectionists from the payroll. Institutional, industrial, touristic and indie productions are even more fully digital today than mainstream Hollywood, with most productions never receiving any film footprint at any time, and as new prints become scarce, older prints deteriorate from age, and archival institutions focus more on digitizing them than risking damaging them further by projecting them.

Cette pratique est peu orthodoxe, et ne correspond pas au schéma de chargement du constructeur. En principe, le débiteur « F » fonctionne en tant que débiteur d’isolement pour le lecteur magnétique, et n’est utilisé que dans ce cas. Peut-il apporter une stabilisation accrue pour le film entrant dans la fenêtre de projection, comme vous le suggérez, si j’ai bien suivi ? La supposition serait d’autant plus convaincante s’il s’agissait d’un lecteur sonore (magnétique ou optique) où le défilement parfait du film est important. Il serait en effet concevable dans ce cas que les rebonds et autres oscillations de la bobine débitrice puissent se transmettre, si ce n’est que par le très léger « jeu » des perforations sur les dents. Dans le cas de la croix de malte, permettez-moi d’en douter, car les phénomènes vibratoires très violents induits par processus intermittent sont à des ordres de grandeur plus importants. Ceci appelle pourtant une autre observation plus générale sur les projecteurs Philips et Kinoton, qui n’utilisent pas de débiteur d’isolement APRES la croix, comme le font les projecteurs Américains. On peut douter de l’efficacité de cette « grande boucle » où la rigidité du film lui-même sert du seul amortissement avant son entrée dans le lecteur optique.

No, the projector uses 3kW xenon lamps. And the projector can do either type of audio, including magnetic, optical SR, DTS, and Dolby Digital

Thank you for the suggestion! I would love to make a Changeover video in the near future! Ill let you know when I do.

Not that I am aware of! Possibly a different model/revision? Both lamphouses are like this; but we are getting replacement lamphouses soon!

The speed of the take-up reel is should generally just pull on the film with not too much force. What seems to be the issue?

@@KyleMiko but how to adjust the angular velocity when the spool is empty and the spool is full

Velocity is not calculated or adjusted. The adjustment made is tension, which is adjusted by a simple slip-clutch mechanism and a tensioning spring.

We have “3” DP70s although one was purchased years ago for spare parts: 803, 806, and 873. 803 and 806 were together when they were donated to us in 1989, the 873 was purchased.

Yes it’s not professional! But I like to show new people with it out of frame so they can practice adjusting framing when needed :). Also after making this video and from other’s suggestions I did change the lenses so they were in focus at the same point, but thank you for the suggestion. Thanks for watching!

Interesting to hear your opinion! Any reason you prefer the Century/Christie projector? I am aware that they were some of the most popular in the last 50 years.

The Century and Christie projectors were very simple in design. Both worked well and put steady images on the screen. I also ran Simplex XL's in a Ukiah, CA 6 plex.

Manual, we have a switch that the projectionist switches just as they start their projector/reel and see the cue mark

Our intermittent loop is actually correct based on our Kinoton sound reader! It changed the loop size as the loop is moved down

Oui vous avez raison! Mais, si vous donnez suffisamment de film à la boucle supérieure, vous pouvez utiliser le bouton de cadrage pour mettre le film dans le cadre à la fin

@@KyleMiko Les boucle ne servent pas pour le recadrage (le recadrage est une solution de secours quand il y a un problème). Les boucles sont "normées", le film ne doit pas "claquer" mais avoir un "doux son". Le but est de permettre à la pellicule de s'arrêter proprement devant la fenêtre. Si le boucles ne sont pas ajustées, le film vibre et cela se voit sur l'écran. KWZ tv - Eric (anciennement projectionniste au Grand REX Paris).

It’s probably too late but it most likely is a flat lens. The aspect ratio is more to do with the aperture plate, with the lenses being wether or not the film was filmed with an anamorphic lens. Easiest way to tell is if the picture looks distorted or not. If it is, it’s the wrong lens

@@KyleMiko I think it depends a bit on the theatre/screen/masking setup. If you try the 166 with a flat lens and the image spills onto unmovable masking (or masking that doesn't move far enough), then that aspect needs it's own lens. It will be more common with 133/137 which use the full height of the frame. Our theatre has movable top and sides, but we also have a curved proscenium arch. We have a lens for 133 but can get by with the flat lens for 166.

Interesting, I was always taught that the upper loop should be in line with the circle object from the film gate. And yes, 100% agree should tell them not to open the gate until the DP70 has stopped. Sometime I forget what people don't know!

Different standards is all! The rollers in the magazines even are adjustable on our projector depending on the direction! If we ran it like you did, we would need to bench the film different (cross-wind it) but it would work as well

Thanks for the advice. Yes, I did forget to do framing first, and I was going to add that as a pinned comment, so thank you for the reminder.

@@KyleMiko No problem, glad you took my comment so well! Meanwhile, I will seek a place in my appartment to place a 35mm filmprojector....:P