SAN ANDRÉS DE TEIXIDO: EL SANTUARIO SECRETO AL QUE PEREGRINAN LOS GALLEGOS

Uno de los secretos mejor guardados de Galicia, y lugar de peregrinaje obligado para los nativos de la región (dado que si no lo visitan de vivos, lo harán de muertos),  es un Santuario situado al borde del acantilado mas alto de Europa, muy cerca del lugar donde el avión de Leslie Howard fue abatido por los nazis. 

Por ello, en la sierra de A Capelada, en las inmediaciones del mítico Santuario de San Andrés de Tierra, se erigió un cruceiro en un mirador para recordar la figura del inolvidable protagonista de "Lo que el viento se llevó" o "Pigmalión".  El lugar conmemorativo se había  convertido en punto de visita imprescindible de muchos cruceristas británicos, muy especialmente cuando los trasatlánticos atracaban en Ferrol, antes de que el COVID-19 arrasara con la industria de los cruceros.

Hoy, 30 de noviembre, día de San Andrés, recupero este documental que filmé sobre dicho Santuario en Súper-8 hace ocho o nueve años con el antiguo Ektachrome, revelado artesanalmente, "Donde vaga Leslie Howard... San Andrés de Teixido". Este corto formaba parte de seis trabajos promocionales realizados para la Diputación. Los otros cinco los  grabé en digital con la Red One,  pero "Donde vaga..." , que quería homenajear a los noticiarios de la época dorada del cine, fue filmado y postproducido íntegramente empleando técnicas del ayer: la vieja película inversible Kodak Ektachrome revelada artesanalmente por el autor con la inestimable ayuda del caballero legionario Angel Caro, montaje físico de la película, adhesión de pistas magnéticas en los bordes del film y sonorización en estas pistas. La película ha sido cortada a partir de rollos de 16 mm con perforación tipo S e introducida en cuarto obscuro en chasis Fuji Film. Únicamente el titulaje ha sido digital. En aquella época se digitalizó únicamente en calidad PAL. Todavía puede verse aquí:

DONDE VAGA LESLIE HOWARD: SAN ANDRÉS DE TEIXIDO from IB CINEMA Motion Picture Films on Vimeo.

Dispone, también, de una versión en gallego, llamada "Onde vaga Leslie Howard: San Andrés de Teixido":

ONDE VAGA LESLIE HOWARD: SAN ANDRÉS DE TEIXIDO (versión galega) from IB CINEMA Motion Picture Films on Vimeo.

WHICH SUPER-8 PROJECTORS TO BUY? THE BEST SOUND PROJECTOR WITH BUILT-IN SCREEN. (Part 5 of 10)

 During the "golden age" of Super-8, Bauer  Silma, Eumig, Elmo, Bolex, Chinon, Fujifilm and other manufacturers sold "buit-in" rear projection machines, silent and with sound. In this post of the blog, we will only deal with sound versions.

SC-8T: industrial use

Although before there were some brands specialized in buit-in projectors, in the United States and Norway, for industrial use, mainly advertising and educational, the first mass production of this kind of devices is due to Elmo with its Elmo Sound System SC-8T model, which in Spain we began to see it in 1975 at the shows of certain car dealers.

The revolution would come a few years later, in 1976. from the hand of Eumig, first with silent built-in machines and, shortly after, already with sound. 

It is worth mentioning here that the built-in screen projector for the Polavision cinema system, from Polaroid, was also built in those years by Eumig.

Eumig RS3000: a best seller in Spain.

The first built-in screen sound projector to reach the market was the Eumig RS 3000 High Quality Sound, with a 334 x 300 mm screen. The popularization of this kind of rear screen projectors with sound for domestic use, at an affordable price, was possible in Europe thanks to the Austrian firm Eumig that in 1978 sold its RS 3000 High Quality Sound model in Spain as hot cakes. Exactly the same machine, with a few cosmetic changes, was also distributed under the Bolex brand, as Bolex Sound 815

Shortly after, Robert Bosch also presented his range of built-in screen projectors, with the Bauer TR100, 200 and 300, built in Italy at the Silma factory (in those years, owned by Bosch), with a screen of 224 x 300 mm. For many decades, I have owned the Bauer TR300 that can read both soundtracks. It has not only one, but two rear projection screens (one, very small, to, in theory, sound the movies). Bauer built-in screen projectors were also sold under the Silma brand, painted in heavenly white!

TR300: this machine was many year in my office

Both the Eumig / Bolex and the Bauer / Silma, although they are well built, and offer very good sound quality, lack a fundamental element, the upper feed toothed roller: it is the claw itself that pulls the film, from its feed spool.

Other with built-in screen with rear projector is the Chinon DS, with a 220 x 300 mm screen, available in 3 versions: black, brown and with piano-key type control, but my opinion about the Chinon products is very bad.

A cheap but very well done built-in screen device, twin track, is the Elmo SC18 but the screen is only moderated, of 150 x 110 mm. Inside, the same projector of the model Elmo ST180, so, a very reliable machine.

ELMO HIVISION SC30: ELMO'S LATEST BUILT-IN PROJECTOR

The SC30 should not be confused with its younger brother the SC18. The SC30 offers a larger (156 x 220 mm), higher-quality built-in screen, as well as being fully automatic: just feed the film through the slot and the machine does everything on its own, from turning on the lamp to turning off at the end of the run.

It is one of the few Super-8 projectors that also have an electronic remote control that even incorporates a microphone!I used the microphone on the remote a lot when my children were young to record their narrations superimposed on the original sound of magnetic stripe while they watched the movie on the small screen.

It is also the brightest projector with a built-in screen, of those described in this article, as it uses the 150 lamp instead of the 100 W lamp, like all the others.

ELMO SC 30: A MAGNIFICENT REAR-PROJECTION MACHINE.

Although it can project on a large screen, with its famous f 1.1 zoom lens (one of the sharpest ever made) and its 150W lamp, I normally use the SC30 as it was conceived: for rear projection, with the two units I own, one in the HAL9000 room at IB Cinema and another in my bedroom at home.

THE UNKNOW PROJECTOR: THE FUJICASCOPE AUTOVISION.

In 1980, and during 3 years, the Fujicascope SD Auto was the leader market of sound super 8 projectors in Spain. Moderately priced, the machine was fully automatic. The Fujicascope SD Auto was, as all the Fujicascope projectors built from 1975, manufactured by Yamawa, a joint venture between Fuji Film and the Japanese division of the Xerox in Japan. The projectors built in Yamawa factory were sold with the Fujifilm brand in Japan, Fujicascope,  but in other markets were sold by many other names: Bell & Howell, Porst, Yashica, even Noris,  and also with the own brand of Yelco.

In those times, I was an student of journalism living in Barcelona and I regularly wrote test reports about S8 mm gear for the Spanish magazine “Cinema 2002”. In 1981, I was given by the then Fujifilm agents in Spain, Mampel Asens, one of this Fujicascope Autovision to check it. They payed me to write an inform about the commercial possibilities of this projector in Spain.

The Fujicascope Autovision is a sound projector that projects either in a small built-in screen, which is approximately 150 x 200 mm, or, by opening a swing open lateral little door, onto an external front-projection screen in normal way. Differently of other similar sound projectors of the period, that looks like convencional super 8 projectors with a built-in screen,   the Fujicascope Autovision looks like an old videocassette recorder. 

As in the early 80s the video was round the corner, and the thinking of the men should to go to new medium, according to the marketing experts in Fujifilm, the AutoVision was designed as an easy fully automatic projector for the women, to match with the Fuji P100 Sound camera or the little P2. As in the SD Auto, this machine is fully automatic: you only need to introduce the film in the projector and the its start to work alone: the motor starts to works, switch on the lamp, the loop –if necessary- is redone automatically; and the projector stops without help when the film is end. Incluso you don´t need a take up reel.  This projector was thinked to be in one table of the living room.

Despiste the price should be so low as possible the machine is twin track magnetic and the optical sound is a standard feature. A curiosity of the Autovision is that it does not have a take-up reel: the film is collected inside the projector, and is automatically rewound.  After check the projector, I sent my written verdict to Fujifilm Spain: the commercial success of this machine in Spain could be a fiasco. I was told than the report of a technician in Germany had the same verdict, so, the Autovision never was sold out of Japan. Only two units came to Europe and I was given one of them by Fujifilm Spain. Still with me, after this decades, now in my living room!, to watch super-8 movies with the family meanwhile we dinner.

Bolex 815, a clone of Eumig RS3000

• CONCLUSION. In case you need a projector with a built-in screen, my recommendation is the Elmo SC30. For a home living room, then, the Fujicascope Autovision. If low price is a fundamental condition, but at the same time you need a quality machine, in that case the Elmo SC18.

In this series of ten articles, a digest of the one published in the international magazine SilverGrain Classics, are described the most interesting projectors to buy, depending on the use they will be put to. 

Originally published in SilverGrain Classics

Part 2 of 10, click here

Part 3 of 10, click here

Part 4 of 10, click here

Part 5 of 10, click here

Part 1 of 10, click here

EL CALENTAMIENTO GLOBAL ¡¡¡CALIFICADO POR EL MINISTERIO!!!

 "Spitsbergen, O Gardián do Ártico" ha sido calificado por el ICAA (Instituto de la Ciencias y las Artes Audiovisuales, del Ministerio de Cultura) como "autorizado para todos los públicos", justo la clasificación de edad que se deseaba. Muy contentos, pues el calentamiento global es un problema que no debe ser escamoteado a los mas pequeños de la audiencia... ¡mas preocupados por el futuro de nuestro planeta que ciertos jerarcas de designación política!, como el máximo responsable del organismo que regula las industrias culturales en Galicia que, cuando todo esto no era mas que un proyecto, y se lo fui a presentar, me despachó desde su poltrona con un nada sutil (sic): "el calentamiento global no es un problema nuestro".

No podemos hablar mas que bien de los eficientísimos funcionarios del Instituto de las Ciencias y las Artes Audiovisuales que, según veo por los detalles publicados en la ficha, hasta se han molestado en buscar información adicional que ellos no tenían, sin ser su obligación, tanto en la web IB Cinema como en la bitácora Mi mundo en Súper-8 o, incluso, en la página del Festival Internacional de Cine de Ourense, donde el mes pasado fue estrenada y galardonada la película con nada menos que el Premio Especial XXV Aniversario del Festival OUFF.    Unos profesionales de primera, los del Ministerio, máxime en unos momentos que, en lo personal, están siendo difíciles para el equipo calificador del ICAA. ¡Dios quisiera que todas las administraciones estuviesen copadas por personas tan diligentes en su trabajo!

Calificacion ICAA, pulsar aquí

V EDICIÓN DEL SELLIER FILM FESTIVAL RENDIRÁ HOMENAJE A SANTIAGO FERNÁNDEZ. NUEVAS FECHAS.

 La V Edición del Sellier Film Festival todavía no puede anunciar fechas confirmadas, por culpa del maldito coronavirus. Al no celebrarse esta edición en un auditorio, sino en el plató de rodaje de IB Cinema, verifiqué ayer martes en el ayuntamiento que este evento se considera un acto privado: este tipo de reuniones siguen prohibidas en La Coruña.  Me dicen que hay que esperar al día 4 de diciembre, para saber las nuevas directrices de confinamiento de las autoridades... y así establecer unas fechas definitivas, con todos los requisitos para el plató: aforo limitado e identificado, sillas desinfectadas separadas dos metros, gel desinfectante, etc.   De lo que se trata, es de no suspender: ¡¡¡el coronavirus no nos podrá vencer!!!, aunque la superioridad limite el aforo a pocas, o incluso, muy pocas personas. 

Santiago Fernández

• Podemos anunciar, sin embargo, la persona del audiovisual coruñés que se homenajeará este año: ¡¡¡Santiago Fernández!!!, "la voz", y, casualidades de la vida, también vinculado al histórico Cine Club Aldebarán. La figurita de Sargadelos en reconocimiento a su labor de décadas le será entregada por el senador Miguel Lorenzo, de la comisión de cultura en el Senado.  

Con Miguel Lorenzo

La I edición, celebrada en el auditorio del Sporting Club Casino, homenajeó a José Luís Moar, ex director técnico del MUPEGA y número dos del Cine Club Aldebarán.  En la II edición,celebrada en Portas Ártabras,  el homenajeado fue Antonio Docampo, uno de los padres del cine gallego, que fallecería poco después. La III edición fue dedicada a consagrar la figura del otrora todopoderoso Ricardo Fernández Castro, fundador del Cine Club Aldebarán, que pudo acceder a la sala Goya de la Fundación Rodríguez Iglesias - Ediciones Hércules, postrado en su silla de ruedas.  Con la IV edición, dedicada a conmemorar el centenario del coruñés inmortal Amando de Ossorio, fueron tres de sus familiares los que recogieron el presente de la organización. La IV edición fue especial pues, organizada gracias a la buena gente de Naturgy en Barcelona, fue el acto que clausuró la historia gloriosa del MACUF.

Con Ray Harryhausen

La V edición, además de reconocer el gran trabajo de Santiago Fernández, incluso en el terreno de la formación interpretativa de los nuevos valores del audiovisual gallego, conmemora el Centenario de Ray Harryhausen y el 125 Aniversario del Cine, con una terrorífica y alucinante programación a celebrar en fechas, que reiteramos, se anunciarán tan pronto como las autoridades nos lo permitan.

Un rasgo distintivo, que diferencia al SELLIER FILM FESTIVAL de cualquier otro de España, es que absolutamente toda su programación se hace con película de cine, siendo uno de sólo dos festivales en un Europa que mantiene esta filosofía: lo digital o el vídeo serán otras cosas, pero cine, cine, con película, no. 

Deleiten sus retinas, señores, con el avance de la programación de esta V EDICIÓN DEL SELLIER FILM FESTIVAL: 

PRIMER DÍA:

"EL BOSQUE PETRIFICADO" (con un complemento por determinar)

"SIMBAD Y EL OJO DEL TIGRE" (Centenario de Ray Harryhausen, precedido por una Puppetoon de George Pal)

SEGUNDO DÍA:

"EL DESVÍO" (con un complemento por especificar)

"LA TIERRA CONTRA LOS PLATILLOS VOLANTES" (Centenario de Ray Harryhausen, precedida por una Puppetoon de George Pal)

TERCER DÍA:

"DIOSAS DE LA PANTALLA" (documental, estreno en España)

"LA BESTIA DE OTRO PLANETA" (Centenario de Ray Harryhausen, precedido por una Puppetoon de George Pal)

CUARTO DÍA:

"JASÓN Y LOS ARGONAUTAS" (precedido por una Puppetoon de George Pal)

"PRIMER PROGRAMA DE LOS LUMIERE HACE 125 AÑOS

"SPITSBERGEN, O GARDIÁN DO ÁRTICO" (Premio especial XXV aniversario Ourense Film Festival, octubre 2020)

¡¡¡Sería glorioso si el coronovirus hiciera coincidir esta último sesión un 28 de diciembre, para la conmemoración exacta, incluso horaria, con el 125 aniversario de la primera sesión cinematográfica de los Lumiére!!!

Los amigos que deseen asistir, pueden reservar su entrada escribiéndome a mi correo: ibenedeti arroba ibcinema punto com o bien mediante Telegram (evito usar WhatsApp). Salvo un milagro, el aforo será muy limitado.

Jasper, protagonista de varias Puppetoon de George Pal

EUMIG 938: UN POCO DE MANTENIMIENTO

Tras casi 40 años de haber salido de la fábrica en Viena, ya es hora de  un poco de mantenimiento del Eumig 938 Stereo, aprovechando que Alex López, aunque entusiasta de Fujicascope y Fumeo, conoce a fondo la mecánica de estos maravillosos aparatos austriacos. 

El mantenimiento consistió en limpiar la grasa vieja, amarillenta, y sustituirla por otra nueva, así como colocar una tuerca interna del sistema de sujección del visor. Consejo: muchos no lo saben, pero siempre es conveniente limpiar cualquier resto de grasa vieja antes de engrasar los aparatos de nuevo.

Mi Eumig 938 lo tengo permanentemente instalado en la sala HAL 9000, de IB Cinema, con una pantalla de visión diurna Eumig, con la finalidad exclusiva de transferir el sonido de la pista una a la dos en las películas monofónicas.  

Siempre se dijo que a los Eumig los cabezales magnéticos le duran muy poco, pero, de momento, este tiene todavía cuerda para rato. La calidad sonora es asombrosa. 

En mi opinión, los Eumig 940 (que fue mi primer proyector "de calidad", comprado cuando estudiante), el 938 y el 926 proporcionan la mejor calidad sonora posible en Súper-8, rozando los límites físicos de lo que es posible de obtener con un par de pistas tan estrechas de superficie no siempre plana sino cóncava.

WHICH SUPER-8 PROJECTORS TO BUY? GOOD MID-RANGE PROJECTORS. (Part 4 of 10)

In this chapter we will write about projectors that are moderately priced, easy to find in Europe and capable of not only making good projections, but also recording good sound.

The favorite of Italian S8 filmmaker Luigi Petrin

Elmo ST 1200 HD-2 Tracks is the best in the ST series with the ability of reading two tracks, optical sound 150W lamp and open swing type lens hloder. Reel capacity is for 360 meters reels (1.200 ft). 

1.1 as standard, twin track magnetic and optical track

This version is better than the old one because, in addition to being able to reproduce the two soundtracks (although not in stereo, except with an external amplifier), it can project silent movies or with magnetic sound with the magnetic head raised. When this happens, however, some units gradually lose the lower loop: this does not happen with my Elmo ST1200, fortunately, and it is already said out there that there are no two Elmo STs identical. 

More modern and handsome, although much more plastic,the Elmo GS800 Stereo, with stereo sound, but the lamp here is the most modest  100 W one.  The standard GS800 is without optical sound. On the back, the knob for fine adjustment of variable speed, a must-have feature for dubbing movies from DVD 

Both models of projectors from Elmo are able to do atonishing pin sharp projections with the optional Elmo lenses (1.2, 1.1 or 1.0), whose performance is said to be superior to the Xenovaron f 1.1 11 to 30mm. But, care!, one of these lenses can cost you more than the projector itself! 

The Fujicascope SH9 has also optical sound and fine adjustment of variable speed, but only can play the main magnetic track. The projection gives a high standard of picture steadiness, absolutaly rock-steady,  with fully contant speed and no trace at any time of "wow" on the sound, even from films with many splices. A much-appreciated feature of this projector is the ease with which a partially-run can be unthreaded, in seconds, without damage or marks on film. 

Alex is looking a brand new Minolta 7000, the favorite of Marwan Mozayen

There are several clone machines of the Fujicascope SH9, as the Yashica P810 (or 820 only without optical sound), the Minolta 7000 or the Yelco 605, 607 or 610 models, but whithout variable speed.

The Sankyo 800 Stereo, with 150W lamp,  that can be found cheaply and, if you're lucky, with the optional 15-30mm 1.0 lens, sound quality is very good. The Sankyo 800 has an additional feature: it can transfer sound from one track to the other without connecting any cables or external accessories, something that only can do certain projectors much more expensive. 

The Yelco DS 810 MT Quartzmatic is one of the most interesting mid-range projectors: this is the "features down-sized" of the Fujicascope SD20 (model that was not sold outside of Japan). It comes with a modest 1.3 lens, but can be improved with any Fujinon 1.0 or 1.2 zoom lenses. 

Focusing knob works smoothly without backlash.   The 810 Quarztmatic can record the sound on both tracks  and, in addition to fine speed adjustment, it has a quartz mechanism that allows it to be synchronized with other devices with absolute precision. A very useful feature is the slow running button wich held pressed, the projector runs at only 5 f.p.s., so is very easyy to get a particular frame in the gate.

The sound-on-sound mixing facility can be done automatically by programming the memory film counter, with the buit-in recording audio-start auto stop. 

A comprehensive range of input sockets is provided, allowing for mixed imputs; and low-level output sockets are provided for each atrck (thus making it possible to reproduce stereo tracks using an external amplifier).

 The "crono" or mechanical head (gate/claw projection system) is the same than in Fujicascope SD20 machines and  gives a incredible steadiness,  with  insuperable sound stability, without "wow" on the sound, even from films with many splices. Also, the film can be unthreaded in seconds, safely.

This projector use also the powerful 15V 150w, and, and as the pull down of the claw is very fast, light on screen is amazing (specially with f 1.0 lens).

Modificacion for 360 meters (1200 ft) take up reel

The 810 Quartmatic is originally distribuited for 240 meters reels but as you can fit 360 meters in the feed arm, easily, in less than an hour, you can remove a rear guide, so the projector can also accommodate 360 meter take-up spools. Rewinding is very fast. 

Of other mid-range projectors, such certain models of Eumig and  Noris, due to special importance of these European brands in the world of cinema, they will be described in a separate chapter.

THE PROJECTOR TO AVOID. One of the worst mid-range Super-8 projectos is the Chinon SS1200, called the "poor man" GS1200.

 The specifications are NICE IN THE LEAFLET AND IN THE WINDOW DISPLAY BUT... I remember the disappointment when I saw the Chinon SS1200 in person first time, when studient: very plastic appearance, not very good quality, with even the pressure pad made of plastic,  and difficult to clean. 

But all in all, the most disappointing was its electronic conception, with a tangle of cables inside that made it more like a Chinese product than a Japanese one.

In Japan, Chinon barely sold any product, quite the contrary than in United States or Europe, where it was marketed not only with its brand, but with many others. In England, exclusive sales were then made by almighty Dixons, the largest chain of photographic stores, until, at the end of the 1990s, Perry's Movies bought all the inventory that remained in Spain to offer to British filmmakers.

MY EXPERIENCE WITH THE CHINON SS1200.

I used the Chinon SS1200, in late 1980s, to record the sound in some family movies, until I discovered that it produced slight scratches on the film!

Thanks to its variable fine speed adjustment,  I also used it to  record the sound in Spanish in two Red Fox feature films from a VHS-dubbed video as a source, until I discovered with horror that the sound recorded with the SS1200, as it has narrower than usual magnetic heads, if the films are projected with another machine, you can listen to the original sound recording in the background!

It is, the  Chinon SS1200, a projector that looks good on paper, but, in practice, what they have done in Chinon is to dress their well-known small very cheap models in a large way. The Chinon SS1200 reminds me of those fake Ferrari, with cheap plastic Ferrari bodies on VW Beetle chassis.

Something as simple as disassembling the lens for periodic cleaning requires watchmaker skill, including  the rear on the built in screen! Given how hidden the lens is, the SS1200 cannot project anamorphic movies.

This projector is interesting only as a good example of a device that tried to popularize the Super-8 at a low price, but I could no use it with expensive and irreplaceable films.

• CONCLUSION. Considering features, reliability and price, in this kind of mid-range of projectors, my recommendation would be to buy the Yelco DS810 MT Quartzmatic

This series of ten articles is a digest of the one published in the international magazine SilverGrain Classics, are described the most interesting projectors to buy, depending on the use they will be put to. 

Originally published in SilverGrain Classics

Part 1 of 10, click here

Part 2 of 10, click here

Part 3 of 3, click here

CENTENARIO DE HARRYHAUSEN Y 125 ANIVERSARIO DEL CINE EN EL SELLIER FILM FESTIVAL EDICIÓN V

 La V edición del SELLIER FILM FESTIVAL, uno de los dos únicos de Europa que se celebra EXCLUSIVAMENTE con película de cine, conmemorará, el próximo diciembre, el Centenario de Ray Harryhausen amén del 125 aniversario del Cine. Además, se proyectará, naturalmente con película de cine, el largometraje documental sobre el Calentamiento Global "Spitsbergen, O Gardián do Ártico", galardonado el mes pasado con el Premio Especial XXV aniversario del Ourense Film Festival OUFF.

Ignacio Benedeti con Ray Harryhausen

Entre las películas cinematográficas que se exhibirán, con soporte cine, figuran:

"La tierra contra los platillos volantes", de Harryhausen. "La bestia de otro planeta", de Harryhausen. "Jasón y los Argonautas", de Harryhausen,  "Simbad y el Ojo del Tigre", de Harryhausen. "Surgió del fondo del mar", de Harryhausen; "La gran sorpresa", de Harryhausen; "La isla misteriosa", de Harryhausen.

La programación podría complementarse con los largometrajes de culto "El bosque petrificado" y "El desvío", así como el estreno en España del documental sobre la mujer en el cine "Diosas de la pantalla".   Como siempre, podría haber algo de Amando de Ossorio. Y naturalmente, las primeras películas de los Lumiére y Edison: ¡verlas, con el proyector de cine en la propia sala, nos devuelve la magia del cine!

En la sesión cinematográfica final, con el estreno de "Spitsbergen, O Gardián do Ártico", el senador Miguel Lorenzo hará entrega de un premio de cerámica de Sargadelos a un ilustre coruñés vinculado al cine cuyo nombre se anunciará próximamente

Debido al coronavirus, esta V edición se celebrará no en un auditorio público, sino en el plató de IB Cinema, con cada silla separada a dos metros de la siguiente, y un aforo limitadísimo: ¡pero lo importante es no parar la cultura! En todo el mundo, no hay ni un sólo caso registrado de contagio en una proyección de cine. 

Pronto, antes de siete días, se anunciarán las fechas. programación definitiva y horarios pero, como siempre, la entrada es gratuita.

WHICH SUPER-8 PROJECTORS TO BUY? A great stereophonic projector for small pockets. (Part 3 of 10)

What stereophonic projector to buy if your budget is limited? Or if your wife only allows you to have a small machine at home?, as happened to my friend Tak Kohyama, the C.E.O. of the largest film laboratory in Asia, Retro Enterprises (firm that keeps Fuji´ single-8 system alive reloading commercially cartridges even with the best reversal colour American film).  When I visited him at his home a few years ago, I was able to check his choice, the Fujicascope SD15 Stereo,  with the optional zoom. 1.0 Fujinon 14-28 mm. 

For those who have a wife who does not like motion picture gadgets, or who have little space at home, or small pockets with little cash to spend, but, at the same time, are looking for a good, reliable, small, stereophonic projector, and with great recording possibilities, they have in the Fujicascope SD15 the answer. 

If the Super-8mm movie film has magnetic coating in both edges, then, machines like the  Fujicascope SD15 is capable of separate recording and playback on each of these two tracks. It permits independent and simultaneous mixing playback and stereo playback with easy. 

Very compact with high performances

The Fujicascope SD15 is equipped with a high fidelity amplifier with maximum output of 15W + 15W, with sufficient power to give a concert-hall presence. 

High class glass: optional 1.0 Fujinon zoom

Although its lamp is only 12 V 100 W, the luminosity can be good if its original 1.3 15-25 mm lens, of average quality,  is replaced by the optional Fujinon f 1.0 14-28 mm, which takes full advantage of the lamp because, as happen in almost all Fuji, the pull down movement of the claw is very fast. Also available a high fidelity zoom lens f 1.2 of 21-5 -43 mm. 

The sound recording capabilities are excellent and it has fine variable speed adjustment (+-1 frame), so important to synchronize the audio in feature films from digital sources that are at 25 frames per second. This projector, has also a slow drive system permitting forward and backward feed for accurate picture sound positioning.  This machine is equipped with a high performance servo motor for exceptional speed stability: the is the prime technical prerequisite for true high fidelity.

Sound transfer of track, even in superposition, is very easy with this machine, without loss of quality, using the dubbing connector plug stored under the lamp house cover. Recording level can be controlled manueally, using the excellent VUmeter, or it can be switched to auto level control. 

This small machine has even "public address" function: when a microphone is plugged into the P.A. jack the projector can be used a a public address system amplifier, even with narration being add while sound films are projected, with volume for public address adjusted independent of the playback control knobs. 

Other feature of this projector is the ease with which a partially-run film can be unthreaded.

INDESTRUCTIBLE. The Sendust-type magnetic heads, for recording and playback, provide superior sound quality and, compared to Permalloy magnetic heads in other Japanese projectors, are virtually indestructibles. Another advantage of this model is that you do not need to take it to a technician to change the belt: its access is very easy, simply by removing the rear cover.

Easy change of the belt

THE BEST FEATURE: THE PRICE.

A clone Of this machine can be found, very cheaply, in many countries like Yelco 630 and, in Germany, like Porst 215 (with digital LED VUmeters). Fujicascope projectors and its clones were built in Japan by Yamawa, a joint venture between Fujifilm, Xerox and another company. 

SPECIFICATIONS.

Cheap 12 v 100 W lamp with ultra fast pull down claw movement. High/Low intensity switch for the lamp. Fine variable speed adjustment. 4 digit counter coupled with a recording memory device. Compact size: 227 x 250 x 190 mm, with 8.3 kg.

Fujinon 1.0 zoom in the cheap Porst 215 version, with LED VUmeters

In this series of ten articles, a digest of the one published in the international magazine SilverGrain Classics, are described the most interesting projectors to buy, depending on the use they will be put to. 

Originally published in SilverGrain Classics

Part 1 of 10, click here

Part 2 of 10, click here