From: Madison Brookshire (email suppressed)
Date: Wed Mar 15 2006 - 09:53:19 PST
I'd be curious to know what the preferred choice is as well. Are many
theaters showing on Tungsten projectors? My guess is no. And yet I view my
own work on a tungsten Pageant. Do I really want to make prints that I can't
watch? Even so, making a print for myself and then showing it on xenon...
The difference is pretty striking. "A little bluish" doesn't quite connote
the panicked feeling of "Dear God, where have my yellows gone?"
Keystoning: I think most theaters that have a significant top-to-bottom
keystoning due to an elevated booth use a curtain to mask the keystone and
just deal with the focusing issue. Maybe there's more corrections going on
that I don't know about, but that's the way it looks to me. I know keystone
correctors exist for 35mm, but I've never heard of them for 16. Might be
worth contacting James Bond.
BTW Xenon pageants run hotter'n hell. Try focusing after the first five
minutes!
Waiting to hear from Sam,
Madison
Val Verde, CA
On 3/15/06, Jason Halprin <email suppressed> wrote:
>
> David,
>
> I'm not sure on your second question regaridng Keystoning, but am
> sitting here at 6:30 in the morning trying to work out the
> optics...good mental exercise.
>
> As for xenon vs. tungsten prints, without looking at any figures I'd
> guess tungsten prints are more prevalent. Filmmakers who are concerned
> with tone tend to have 2 sets of prints, one for each lamp. I'm not
> going to speak for Canyon, but I know that I was once asked by Dominic
> if the print I was getting would be shown on a xenon or tungsten
> projector.
>
> The Ann Arbor film festival, for example clearly states on their
> website that if you choose to send a 16mm print for preview it will be
> watched on tungsten, and the festival will be presented on xenon...
>
> I'll note here that it is possible to get a xenon pageant, and I
> suspect many other tungsten projectors could be converted.
>
> If anyone has more concrete information, please share...
>
> -Jason Halprin
> --- David Tetzlaff <email suppressed> wrote:
>
> > 1) We'll be screening an experimental film (on film!) at a symposium,
> > and
> > we got a query from the maker asking if we wanted a print balanced
> > for a
> > xenon bulb or a tungsten bulb. I had never thought about this before,
> > but
> > obviously the two types of projectors have different CT. Is it common
> > for
> > prints to be made for both types of lamps? (I'd guess not...) When
> > you
> > rent a print from FMC, Canyon or MOMA, what CT is it most likely to
> > have?
> > (tungsten? something in between?) Assuming most prints are NOT
> > balanced
> > for Xenon, what do venues that run Xenon due to needing the
> > brightness
> > typically do? (just roll with it if the image is a bit too bluish???)
> >
> > 2) Our campus has a couple auditoriums I'd like to set up for 16mm
> > projector, but both have booths significantly higher than the screen,
> > so
> > the projectors have to point down, resulting in unacceptable
> > keystoning
> > with a std lens setup. I've been in theaters where the booth is high
> > up.
> > How do they dxeal with the keystoning. I'm guessing it's some kind of
> > special optics that is hard to find and obscenely expensive... Is it
> > projector/lens specific? or is there some device that fits all?
> >
> > thanks for any help...
> >
> >
> > __________________________________________________________________
> > For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
> >
>
>
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__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.