Re: Projection Instructions?

From: Jason Halprin (email suppressed)
Date: Mon Feb 05 2007 - 07:29:48 PST

I have to agree about going for quality over quantity with regards to
video formats (and film for that matter). Trying to prepare for all
possibilities will be difficult to say the very least.

I would love to see a Super 8 specific venue somewhere - small theater,
bright projection, etc. I'm a huge fan of the Elmo GS-1200 projector,
but putting it in a large theater creates a paradox. At the 2006
version of TIE, Bill Storz was kind enough to bring his Elmo out to
Denver and we set it up in a 75 seat theater that was originally part
of a multiplex (@ the Starz Film Center for those who know Denver).
The brightness was great and the image streched across the whole screen
in the front of the theater, but it was so large that maintaining tight
focus was a problem. With the lower resolution of Super 8, and even
moreso in some of the 15-20 year prints that were shown, the sharpness
(or relative lack thereof) was an issue.

After I've rambled a bit there, I think what I mean to say is that if
what you are talking about is an opportunity to design a few specific
theaters for specific formats, make sure your 35mm and 16mm facilities
are top notch and have audio setups chosen with the screening space in
mind. For 16mm having the ability to show bright 18fps films is a must
- I would also note that tungsten projection is probably a better
longterm choice (other opinions here?), as not eveyone strikes xenon
prints. Also, the ability to properly EQ the sound should be a
priority - perhaps someone on this list can suggest some ideal
projector-EQ-amp combinations for 16mm?

Also, you can't go wrong by including a patch bay in your setups - both
video, audio, and film.

-Jason Halprin

PS Please, if anyone has some spare money ($100,000 USD should do it),
John and I can use it to setup a Super 8 multiplex;)


Date: Tue, 6 Feb 2007 01:35:10 +1100
From: Brett Garten <email suppressed>
Subject: Re: Projection Instructions?

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Hi Jonathan,

You have to let go of video formats and embrace the right video =
projector. You can support all the formats under the sun, but if your =
video projector is crap, then fuss-pot filmmakers will be pissed -as
you =
say in America. =20

A media server like a Panalogic 2000HD that runs high res mpeg files =
hooked up to 1080 HD projector is probably the way to go, especially if

you are starting up now, because filmmakers can just bring in their =
films on portable hard drives. Even a feature will down load fast.

As a back-up, use Beta Sp, DVD, and VHS. DigiBeta is good but ony if
you =
have SDI inputs on your rprojector. DVCam is probably the most popular
of the other, newer formats.

Beyond that can be a minefield and is best filmmaker supplied.=20

A lot depends on the space too - the sound, and the size of the screen,

and most important... the service.

Hope this helps.

  ----- Original Message -----=20
  From: john porter=20
  To: email suppressed=20
  Sent: Monday, February 05, 2007 9:56 PM
  Subject: Re: Projection Instructions?

  Thanks for asking Jonathan.
  I'm sure each format you mentioned would be considered essential by =
different people on Frameworks. My essential is super 8. In fact I'm =
cheekily starting to say now that super 8 is the future film production

format! By comparison, 16mm and 35mm will become too expensive to =

  John Porter, Toronto, Canada
  email suppressed

  ----- Original Message ----
  From: Jonathan Kahana <email suppressed>
  To: email suppressed
  Sent: Monday, February 5, 2007 4:14:19 AM
  Subject: Projection Instructions?


  The department in which I teach is in the process of overhauling its
classrooms and screening spaces, redesigning them from top to bottom. =
We're discussing which film and video formats are essential for
teaching =
and for the presentation of work by visiting filmmakers, artists, =
archivists, and curators. I would be very interested to hear from
anyone =
on the list, but especially filmmakers, which formats you'd consider =
essential. 16mm and 35mm are givens, as are DVD and VHS. Those of us =
with a stake in independent documentary and experimental are pushing =
also for 8mm and Super 8, miniDV, BetaSP, and DVCam.

  Any thoughts or suggestions, on- or off-list, will be greatly =



  Jonathan Kahana
  Department of Cinema Studies
  Tisch School of the Arts
  New York University
  721 Broadway, 6th Floor
  New York, NY 10003
  (212) 998-1821 tel=20
  (212) 995-4061 fax
  email suppressed

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