Two projectors. A projectionist. Changeovers on the cue dot.Cinema projection hire on film, in the room you've got. The print has been through the gate before, the sound comes off the optical track, and nobody presses play.
Book a screening
only. No 16, no DCP, no laptop with an adaptor. If it isn't a print, we're not the right people.
projectors, always. Changeovers need two machines and a person who's watching for the dot.
a reel, give or take. A feature is six of them. That's six changeovers you shouldn't notice.
digital anything. The sound comes off the optical track. The picture comes off the print. That's the product.
A print flickers, twenty-four times a second. It has grain, a bit of weave, the odd scratch from the last cinema it played. That's not a fault. That's the thing a screen full of pixels was trying to imitate.
One night, a season, or outside. Same two machines, same projectionist, same twenty-minute reels.
We arrive four hours before, build the booth, thread the print, run the show, strike it after. You supply the room and the audience.
For a film club, a festival strand, a month of Sundays. Prints sourced, insured, shipped, and sent back in the cans they came in.
Twelve metres of screen and the projectors in a tent. Starts when the sky's dark enough, which in June is late. Bring blankets.
Two machines from 1978 that have never missed a changeover, and everything they need.
Tell us the film, the room, the date, and how many seats. We'll tell you whether a print exists, where it is, and what it costs to get it in the van. Some films only exist as one print. We'll find out.
Book a screening