From: 40 Frames (email suppressed)
Date: Mon Jul 12 2010 - 11:38:09 PDT
The thing I can say about Eastman 25s (A. B, C or whatever) is they are
simple to thread (esp, when compared to Kinoton 16/18 and 38 models, Bauers,
and Hortsons), and will run near flawlessly even when they require some
attention.... something I cannot say for other machines.
Are parts an issue? Maybe, but James has a ton, there's a fellow in Atlanta
that has a ton, and I have a small stash of parts should need arise. If one
looked further they might find other sources.
The Eastman is a complex machine, but after initial setup, little is
required to maintain the more complex inner workings other than topping with
oil from time to time. After years of relying on Eikis, a few Elmos (my
least favorite machine), Hokushins, Kodak Pageants, etc., we love our
Eastman and wouldn't trade it for anything even a new Kinoton FP-38E (though
I would take the lamphouse, which Kinoton does very well).
While there are still Eastmans to be found, and with Bond available for
installation, I think more people should take advantage of these machines,
particularly with the art of projection being lost on more and more people
new to film projection. The Eastman makes projection easier... threading and
focus (with focus lock) should not be such complicated tasks (as they can be
with other machines). But I think you know all of this Sam, so perhaps I'm
speaking more to the group.
On Mon, Jul 12, 2010 at 10:41 AM, Sam Wells <email suppressed> wrote:
> They should get an Eastman 25 installed, in fact I'm surprised they
>> haven't. With the right lens and lamphouse (reflector) these can throw an
>> image much larger than you would expect from 16mm, and if I recall the
>> screen at the Walter Reade is very tall?
> I don't know what they should get, I'm not a paid consultant ! They are an
> institution with some kind of budget - altho like many, Edifice Complex (two
> word description of Princeton University) probably pulls the cash....
> I dunno Eastman 25, yes James Bond's 25A withwhatever ISCO lens he had gave
> me the sharpest, best 16mm picture I've ever seen from my work..... but
> maintenence, parts..
> I'm not trying to a whiner or wise-ass; just that I walked out of a film
> that might be my favorite "ag/exp" of all time and that is a WTF moment !
> (also either the contrast (collimation issues) w/ whatever that machine are
> seriously fucked, or that is much worse than the print I've seen at
> Anthology, which had real blacks etc etc)
> When news of Princeton U's mega arts center hit, I told P. Adams Sitney
> "you should get the projection you want NOW before they build anything, or
> they'll leave you petty cash to work it out" (see above re Edifice REX)
> I'm talking of school out of school (but we need more of that, not this
> f**************** phony polite "I don't want to offend A. because I 'll want
> to screen B. at C. mentality -- as he was expressing doubts he'd get what he
> I guess I had some impact as I noticed later on they had 2 Kinoton E38's in
> the booth at 185 Nassau (current Vis Arts dept) - replacing the 16/35 POS
> Prevosts they had before (even James Bond is not infallible)
> ..Alain I'm sure had James been, you know around to maintain them, or would
> be with your Eastman suggestions, it would be one thing but.... as I said
> to my freinds out on the street after the screening "you'll notice that
> Taxicab is NOT an Alfa-Romeo" ;-)
> FrameWorks mailing list
> email suppressed
-- 40 FRAMES Alain LeTourneau Pam Minty 40 FRAMES Attention: Pam Minty PO Box 15207 Portland, OR 97293 USA +1 503 231 6548 40frames.org 16mmdirectory.org
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