Having personally threaded 35mm, 16mm and Super8 / 8mm, one thing applies to ALL film. Never ever let any part of the film including the leader touch the floor. If you do, the dirt from the floor will slowly work it's way inward and after a few showing the dirt will be projected on the screen and affect the viewing experience. The dirt from the floor can also increase the risk of the film getting scratched and that is very bad.
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I'm just looking for batman forever movie 🎬 🎞 🎥 🎦 a film and director R.I.P Joel Schumacher and cast together with Val Kilmer as batman Tommy Lee Jones as Two-Face Jim Carrey As the Riddler Nicole Kidman as Dr. Chase Meridian and Chris O'Donnell as Robin.
One interesting tidbit for those watching film projection videos; Note that you did not see him "frame" the image in the aperture, as 35mm and 70mm projectionists must always do. He just placed the film flat on the rail, and away we go. This is because 16mm film uses only ONE perforation per film frame, as opposed to four for 35mm and five for 70mm. So in 16mm, the film is always in frame. There may be a little adjustable mask used to better fit the image to the screen, but there is no such thing as an "out-of-frame" condition, which used to cause no end of annoyance to movie-goers. Interestingly, the small guage (8mm & 16mm) film projectors did not use the Maltese Cross intermittent movement that the 35 and 70mm projectors did. They could not! A Maltese Cross movement turns 90° every cycle of the movement, or four perforations in 35mm and 5 perforations in 70mm, translating to a generous sprocket diameter of 24.2mm (about an inch diameter) for 35mm, and 30.2mm for 70mm. To use this mechanism in 16mm, the sprocket would have only four teeth on it, and would be only 9.7mm (3/8 inch) in diameter - bringing far too much stress to the film and the mechanism. There "have" been some rare examples of 16mm projectors (EIKI being one) that used the unusual 8-branch Maltese Cross, allowing these values to increase to 3/4" diameter, and thus to use a sprocket - the advantage being that it is constantly engaged with the film, and helps hold it steady when it is not in movement (when the image is being projected). But most 16mm projectors use a reciprocating "claw" mechanism instead, leaving the film free to float around while it is being projected. Claw mechanisms can be very precise - all great film cameras use them, including Mitchell, Arriflex and Panavision, but these mechanisms are accompanied by a registration pin, holding the film firmly in place while it is not being advanced, something that 16mm projectors do not generally use. Maltese Cross and Claw mechanisms are not the only ones to have been used in 16mm projection. There have also been "ramp" mechanisms (notably used by Philips) which may combine the advantages of both.
Very nice video! Those big EIKI projectors look great! Well I ran a lot of 16mm and Super 8 through projectors from the 1970s through 90s. Siemens 2000, Bell&Howell TQI, Bauer T 600,.... I refrain from stopping a film mid reel unless it´s absolutely necessary, since the drum of the optical sound head will scratch the film. Nice 16mm prints taken from the 35mm intermediate through a 16mm interneg are hard to find. Most are grainy dupes from a 35mm print. The one you projected seems to be very nice. Thanks again.
I have an earlier version of it with the changeover button on the top of the frame, just ahead of the handle. It's a great machine even though it sounds like an air-raid siren.
@@KyleMiko Here you go!...flic.kr/p/pCrAT8 . These machines received quite a few changes and tweaks over the years; the service manual I have for mine, dated August 1983, covers six different power supplies, as well as two schematics each for the mechanism and amplifier.
these are great videos, I've been binging all of the projector videos, do you think you will do a video on the digital cinema projector? Also can the college receive the DCP hard drives like theaters do or is the digital cinema projector used for other functions within the college?
It’s not the best but it’s right before it hits the floor. Also it is just the tip of the head which is not supposed to be run through the projector, but yea you are right!
I have a 16mm projector and one 7 inch reel with family events on it. No sound. I've checked the libraries and retail camera shops and I can't find a 16mm empty reel. Can I view the reel and let the film drop on the table?
Im surprised these Eiki projector doesn't have the Eiki Zoom lens adaptor, They just screw on to the end of the existing lens.. not much use if your using the anamorphic lens adaptor but it makes getting the projected image to closer fit the screen a breeze
Hello! Because film is not digital but instead chemicals there is not an exact resolution in pixels, but more of what resolution you can scan film before it becomes too grainy. Generally speaking 16mm film can be scanned to 2K resolution. 35mm I believe is around 4K, and 70mm is 12k. I could be mistaken but that is the general idea
@@KyleMiko Nevertheless, if you were to scan 16mm in 4k the end result will look better and sharper than a 2k scan even though 16mm is nowhere near 4k by any sane definition. Film is complicated and scanning is complicated. Those who don't like film often say it's very low resolution. Those who like it sometimes throw around some laughably high numbers. Both are kind of right at the same time. Like I said it's complicated.
@@trax-3987 you are right, but other things matter too such as the film stock and the sensitivity of the film (ISO/ASA) when shot. You can scan anything to any resolution, but at what point the grain is bigger than a pixel varies
Having personally threaded 35mm, 16mm and Super8 / 8mm, one thing applies to ALL film. Never ever let any part of the film including the leader touch the floor. If you do, the dirt from the floor will slowly work it's way inward and after a few showing the dirt will be projected on the screen and affect the viewing experience. The dirt from the floor can also increase the risk of the film getting scratched and that is very bad.
Very true! Should have made that more clear in the video, thank you! I’ll pin your comment :)
@Noe Jimmy what does flixzone have to do with 16mm film and threading a film projector???
Excuse me, I'm just looking for batman forever original 1995 Warner Bros. And DC Comics movie 🎬 🎞 🎥 🎦 📽 with Val Kilmer Tommy Lee Jones Jim Carrey Nicole Kidman Chris O'Donnell a film director R.I.P Joel Schumacher.
I'm just looking for batman forever movie 🎬 🎞 🎥 🎦 a film and director R.I.P Joel Schumacher and cast together with Val Kilmer as batman Tommy Lee Jones as Two-Face Jim Carrey As the Riddler Nicole Kidman as Dr. Chase Meridian and Chris O'Donnell as Robin.
One interesting tidbit for those watching film projection videos; Note that you did not see him "frame" the image in the aperture, as 35mm and 70mm projectionists must always do. He just placed the film flat on the rail, and away we go. This is because 16mm film uses only ONE perforation per film frame, as opposed to four for 35mm and five for 70mm. So in 16mm, the film is always in frame. There may be a little adjustable mask used to better fit the image to the screen, but there is no such thing as an "out-of-frame" condition, which used to cause no end of annoyance to movie-goers. Interestingly, the small guage (8mm & 16mm) film projectors did not use the Maltese Cross intermittent movement that the 35 and 70mm projectors did. They could not! A Maltese Cross movement turns 90° every cycle of the movement, or four perforations in 35mm and 5 perforations in 70mm, translating to a generous sprocket diameter of 24.2mm (about an inch diameter) for 35mm, and 30.2mm for 70mm. To use this mechanism in 16mm, the sprocket would have only four teeth on it, and would be only 9.7mm (3/8 inch) in diameter - bringing far too much stress to the film and the mechanism. There "have" been some rare examples of 16mm projectors (EIKI being one) that used the unusual 8-branch Maltese Cross, allowing these values to increase to 3/4" diameter, and thus to use a sprocket - the advantage being that it is constantly engaged with the film, and helps hold it steady when it is not in movement (when the image is being projected). But most 16mm projectors use a reciprocating "claw" mechanism instead, leaving the film free to float around while it is being projected. Claw mechanisms can be very precise - all great film cameras use them, including Mitchell, Arriflex and Panavision, but these mechanisms are accompanied by a registration pin, holding the film firmly in place while it is not being advanced, something that 16mm projectors do not generally use.
Maltese Cross and Claw mechanisms are not the only ones to have been used in 16mm projection. There have also been "ramp" mechanisms (notably used by Philips) which may combine the advantages of both.
Fantastic writing! Thanks, Greg
The soundhead has a Davis loop system. The flywheel under the film gate is the loop restorer. Nice video, thanks!
Thanks for the info!
This projector looks like serious business! I have a somewhat similar Eiki, but. Definitely no xenon bulb or changeover system
I use to have a kalart 16mm projector! :)
Very nice video! Those big EIKI projectors look great! Well I ran a lot of 16mm and Super 8 through projectors from the 1970s through 90s. Siemens 2000, Bell&Howell TQI, Bauer T 600,.... I refrain from stopping a film mid reel unless it´s absolutely necessary, since the drum of the optical sound head will scratch the film. Nice 16mm prints taken from the 35mm intermediate through a 16mm interneg are hard to find. Most are grainy dupes from a 35mm print. The one you projected seems to be very nice. Thanks again.
I have an earlier version of it with the changeover button on the top of the frame, just ahead of the handle. It's a great machine even though it sounds like an air-raid siren.
That sounds cool! Do you have a photo of this, I am very curious!
@@KyleMiko Here you go!...flic.kr/p/pCrAT8 . These machines received quite a few changes and tweaks over the years; the service manual I have for mine, dated August 1983, covers six different power supplies, as well as two schematics each for the mechanism and amplifier.
@@arclamp Wow what a great photo! And i see the different changeover mechanism!
Thanks for sharing what size of Reels can it take.
yo no cap nice vid helped a lot brother
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these are great videos, I've been binging all of the projector videos, do you think you will do a video on the digital cinema projector? Also can the college receive the DCP hard drives like theaters do or is the digital cinema projector used for other functions within the college?
Yes I will be making videos in the future about our CP-2210 and the Media Server
Hello could tell us if .....we can get one or two of these 16 mm machines for us,please.....Thnks.
we had these at school.
Nice video
2:38 "until it hits the floor" 😬
It’s not the best but it’s right before it hits the floor. Also it is just the tip of the head which is not supposed to be run through the projector, but yea you are right!
I have a 16mm projector and one 7 inch reel with family events on it. No sound. I've checked the libraries and retail camera shops and I can't find a 16mm empty reel. Can I view the reel and let the film drop on the table?
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Im surprised these Eiki projector doesn't have the Eiki Zoom lens adaptor, They just screw on to the end of the existing lens.. not much use if your using the anamorphic lens adaptor but it makes getting the projected image to closer fit the screen a breeze
I was not aware of this adapter! I want to look more into it. We do have an Anamorphic lens but I do not think we own any Anamorphic prints
Great video! I learned a lot!! And you're a cute guy, too!
16mm = ..... resolution in pixels?
Hello! Because film is not digital but instead chemicals there is not an exact resolution in pixels, but more of what resolution you can scan film before it becomes too grainy. Generally speaking 16mm film can be scanned to 2K resolution. 35mm I believe is around 4K, and 70mm is 12k. I could be mistaken but that is the general idea
@@KyleMiko Nevertheless, if you were to scan 16mm in 4k the end result will look better and sharper than a 2k scan even though 16mm is nowhere near 4k by any sane definition.
Film is complicated and scanning is complicated. Those who don't like film often say it's very low resolution. Those who like it sometimes throw around some laughably high numbers. Both are kind of right at the same time. Like I said it's complicated.
@@trax-3987 you are right, but other things matter too such as the film stock and the sensitivity of the film (ISO/ASA) when shot. You can scan anything to any resolution, but at what point the grain is bigger than a pixel varies
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you like wasting time in useless chatter who watches this video is already an expert in 16mm projections.
Not everyone is a pro... you need to be more kind to people... negativity isn't needed Sir. Move on troll.