Let's hope the new 16mm projector that gets installed at the New Beverly is
Bond modded Eastman 25/30/40.
Whether Kinoton is out of the game with the FP-38E or not, I've seen a lot
of inconsistency from one FP-38E
to the next (even in top facilities), and convinced it has design flaws.
The FP-38E dialed can look super bright,
with impeccable edge to edge sharpness, and mostly steady, but not as
steady as the modded Eastmans.
Best projection of 16mm that I've seen was in the larger theater at Gene
Siskel Film Center, the Bijou at CalArts,
and at Harvard Film Archive, all Eastman installs by Bond. The Siskel and
HFA installs are particularly impressive
because the image is so damn tall. I don't know the exact specs, but I'm
guessing close to 20' high for 16mm.
On Fri, Sep 5, 2014 at 11:20 AM, Mark Toscano <filmobj...@gmail.com> wrote:
> For those not in LA or not familiar with the New Beverly, it's a longtime,
> beloved local rep house that still does classic double feature programming,
> mostly on 35mm. In fact, they only got a DCP-ready projector a few months
> ago for the first time.
> Quentin Tarantino has been the benevolent landlord of the New Bev for
> seven years now. He bought the building to save it from being turned into
> condos when Sherman Torgan, the New Bev's programmer/operator died. Since
> then, Michael Torgan (Sherman's son) has continued to run the New Bev in
> the tradition of his dad, as a classic rep house, and Tarantino paid for a
> bunch of upgrades to help them out.
> Anyway, on the heels of Tarantino being one of the high-profile directors
> who essentially made an ultimatum to the studios about continuing to
> support 35mm and Kodak, this news (via an interview with Tarantino) showed
> up in the LA Weekly:
> I thought it'd be relevant here, because although the New Bev hasn't
> traditionally shown any experimental work, this is a particularly big
> commitment to film-only exhibition (including 16mm) in 2014.
> Mark T
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