708 EL SUPER 8 SOUND PROJECTOR HANDBOOK27:28 2931 32 33 34 [a ee LiNomenclature 1- Take-up reel arm 2- Mechanical digital c 3 - Feed reel arm 4- Fast rewind control knob 5 - Upper feed lever 6 - Film threading slot 7 - Automatic loading control lever 8 - Framing knob 9 - Micrometer focusing knob 10 - Lens retaining collar 11 - Zooming ring 12 - Zoom lens 13 - Manual film advance knob 14-- Loop restorer 15 - Magnetic head pressure plate 16 - Magnetic heads 17 - Lower feed pressure plate 18 - Onjoff switch 19 - Lamp intensity selector switch 20 - Master switch 21 - Speed selector switch 22 - Speed adjustment master switch 23 - Speed adjustment knob 24 - Track selector knob 25 - Sound monitoring selector switch 26 - Track 1/track 2 balance control knob 27 - Trick recording contro! 28 - Trick recording pilot light 29 - Recording pilot light 30 - Recording control knob 31 - Vumeter 32 - Bass tuning contro! 33 - Treble tuning control 34 - Volume control 35 - Public address system switch 36 - Record/play switch 37 - Auto/manual switch 38 - Line input control 39- icrophone input control 40 - Film trimmer 41 - Microphone input 42- Line input 43 - Remote control trick input/ modulation output socket 44 - External speaker socket 45 - Mains fuse 46 - 1-contact-per-frame output socket 47 - Voltage selector 48 - Mains connector socketContents Nomenclature +--+ Foreword - Your first silent projection -----+-+- — Preliminary operations --- ++ ++ s+0e++ — Adjusting the projector +++ +++ — Automatic loading — Adjusting the picture. — Restoring regular tilm advance - — Reverse +++. — Manual unloading — Rewinding — Changing lenses To ensure problem-free projection ----.------ Projecting sound films - — Film advance speed adjustment » — Choice of sound track. ----- — Amplifier and loud speaker... Public address system +--+ Recording «.-+.-- — General remarks .. — Connexion of sound sources - — Hints on recording .. — Monitoring ......ieeee ees — Normal recording... — Sound mixing—automatic mode — Track transfer... ee ceee — Sound superimposition ........006 — Track transfer with superimposition ... Maintenance .. Accessories .....+06sesseereere Specifications .. Picture dimensions on screen...........-.+FOREWORD The BEAULIEU 708 EL projector provides the most demanding of amateur film-makers and Super 8 professionals with just about everything they can expect from a Super 8 sound projector. Relying on very advanced technology. it nevertheless remains simple to handle thanks to the ease of access allowed by the functional design of the control desk. We recommend that you should read the various chapters of this handbook with care before launching out into projecting and recording. Complete familiarity with the projector will allow you to acquire the necessary prac- tice and will save you the cost and frustration of faulty handling.Your first silent projection Preliminary operations. First place your projector on a strong, stable sup- port. Then fold out both reel arms,'1 and 3, by turning them clockwise until they click into their “locked” positions. Fold the arms back into their storage positions by turning them anticlockwise after releasing the locking catches. Set voltage selector 47 to the voltage of your mains power supply (110 V, 220 V). You can also, to avoid possible overloads, set it to a slightly higher value: 127 V for 110, 240 V for 220; in this, case, for a real 110 V or 220 V mains voltage, lamp and amplifier output values will be 10 % below nominal. It is immaterial whether the mains fre- quency is 50 or 60 Hz. Check that master switch 20 is set to “stop”. Plug the power lead into the projector power socket, then into the mains socket. Projector circuits are ‘protected by a 2.5 A fuse for 220 V, and by a5 A one for 110 V. Place the empty reel on take-up reel arm 1 and the film reel on feed-ree! arm 3, with the perforations towards the outside. The maximum capacity of each reel arm is 700 m (2,300 ft). Slip the end of the leader into film trimmer 40 and press the button. Once trimmed, the end of the leader can be easily slipped into the film path, It should be about 1 m (40 ins) long. Adjusting the projector. Set on/off switch 18 to ‘ton’. This means that the lamp is preheating, thus avoiding thermal stress detrimental to the lamp's life on switching it full on. The projector offers two running speeds: 18 and 24 fps. Set speed selector switch 21 to one or other position, according to the film to be shown, and speed adjustment master switch 22 to “‘fix'’. Film spoed selection should for preference be done with the pro- jector at rest.Your first silent projection Automatic loading. In order that automatic film loading should go without a hitch, the leader must be neither folded nor creased, while its tip should have been trimmed with the film trimmer. With the master switch set to stop", slip the leader into the slot marked with an arrow (see photo). Depress loading lever 7, The motor starts and draws the film through the film path. As soon as enough length of film is available to allow its being wound onto the take-up reel, release the lever. Secure the film to the take-up reel. /Adjusting the picture. Now set master switch 20 to ‘‘light". The film advances and the picture appears on the screen. Switch 19 allows the light intensity to be adjusted according to the subject and to projection conditions. “high” setting: brighter picture “low"’ setting: picture less bright, but longer lamp life. Adjust the picture to the correct height on the screen by turning the knurled wheel beneath the projector. Then adjust picture size to screen size by means of lens zooming ring 11, You now only have to focus by means of micrometer focusing knob 9. If the film frame shows on the screen, turn framing knob 8 until the black edging strip disappears. Restoring regular film advance. A few damaged perforations at claw level are enough to destroy the film loop, and thus to cause picture unsteadiness. In order to restore the loop, move knob 14 below the lens towards the lamp housing, with the projector running. Should this operation be insufficient, reverse for a few frames, and repeat. Remark Normal running can only be restored when playing back, i.e, with master switch 20 set to "sound". Should the picture vibrate during silent projection, set this switch to ‘'sound'’ before moving loop restorer 14, Reverse. It might prove interesting to examine a part of the film in reverse, or merely to go back to an earlier part of the film so as to run it through again To do this, turn master switch 20 to “‘reverse"’, then to “light”. The film starts moving backwards. If the framing becomes unsatisfactory, adjust with knob 8Your first silent projection Manual unloading. In order to unload a film not yet entirely projected, return master switch 20 to the ‘‘stop"” setting, depress upper feed lever 5, and free the film from the driving sprocket, Pull the lens holder towards you, lift magnetic head pressure plate 15, and pull that of lower feed sprocket 17 to the left. The-film can now be removed from the projector By proceeding in the reverse order, it is possible to load the projector manually, This operation can however prove difficult. Be certain to form the loops properly on either side of the film path,Rewinding. Once the complete length of film has been transferred from the feed reel to the take-up reel, stop the projector by setting master switch 20 to ‘'stop". Secure the loose end of the film directly onto the hub of the empty reel 3, passing over the projector's upper housing. Rotate this reel anticlockwise through two revolutions, and turn master switch 20 one click to the ‘‘reverse" setting. The film is then rapidly rewound. In order to speed up the operation yet further, pull knob 4 towards you. By holding it in this position, you eliminate certain sources ‘of friction, and the motor's entire power goes to the rewinding operation. This procedure is strongly recommended in the case of large reels (360 m/ 1200 ft, or over). After rewinding, do not forget to return master switch 20 to “stop”. Changing lenses. The Beaulieu 708 EL projector's lens can be changed for another. While its standard lens is the excellent Schneider MC Xenovaron 11-30 mm f/1.1 zoom, it can also take any lens with a standard European mounting (2 32.5 mm). To remove the lens, loosen collar 10 and remove the lens from its housing. To replace, proceed in the reverse order; tighten up the collar thoroughly, then adjust the picture as described above. 9To ensure problem-free projection The normal positions of the chief controls are marked with an orange square. For pro- blem-free projection, systematically set to the “orange position” the following switches and controls: 10 @ Speed adjustment switch 22 “fix"’ setting @ Track selector 24 setting 1 @ Sound monitoring switch 25 — “normal” setting @ Trick recording control 27-+ setting 10 @ Project/public address switch 35 > “project"' setting @ Play/record switch 36 + "play" setting @ Line control 38 + setting O @ Mike control 39 > setting OProjecting sound films The Beaulieu 708 EL projector can reproduce any magnetic sound recording. Loading and starting procedures for the projector have already been described under "Your first silent projection". Reproduction of the sound track however requires that master switch 20 shall be set to sound". You can then adiust sound intensity with volume control 34 and “tone with bass and treble controls. 32+33 Film advance speed adjustment. As already stated above (cf page 5), the projector allows two film advance speeds: 18 and 24 fps. Change-over from one speed to another is achieved with speed selector switch 21, with the projector at rest for preference. It is moreover possible, when projecting with sound and with the basic film speeds of 18 and 24 fps, to vary the speed by + 1/3 or 2/3 fps. This means that you can at will modify the speed between 17 2/3 and 18 1/3 fps when set to 18 fps, and between 23 1/3 and 24 2/3 fps when set to 24 fps. To achieve this, set speed adjustment master switch 22 to ''variable", then adjust with speed adjustment knob 23. This characteristic of the projector enables you for instance to correct, while actually projecting, unsatisfactory film advance resulting from faulty camera speed. Choice of sound track. Any Super 8 magnetic-sound film has two tracks: one known as the main track, and the other as the balance track, originally intended to bring the film's thickness up to that of the other edge. The main track (track 1) is 0.7 mm wide; this is the track that receives the modulation from the magnetic head of your sound cine-camera when you shoot. The balance track (track 2) is 0.4 mm wide; it can receive a spoken commentary or back- ground music from the projector; its frequency range is slightly narrower than that of the other track, and its Sound quality, although more than acceptable, is not quite so good. The Beauliou 708 EL projector is a twin-track one, and allows both recording and play- back of either of these two tracks. By means of selector knob 24, you choose the track on which you want to work: main track, balance track, or a mixture of both (this third possibility is only available when playing back). In this last case, you can apportion sound levels by means of balance control 26 until you have given one track the desired preponderance over the other. nProjecting sound films Amplifier and loud speaker. The projector is fitted with a 24 W RMS amplifier and a 6 W loud speaker. A modulation output socket 43 makes it possible either to use another amplifier to listen to the sound recorded, or to rerecord it on another instrument. Volume control 34 makes it possible to adjust the amplitude of the signal available on this modulation output socket. When the control is set to 10, the signal’s amplitude is compatible with the level required on a line input. As for separate control of bass and treble, this is carried out with slides 32 and 33. An external speaker can be substituted for the built-in one via socket 44 (4 © min.). The built-in loudspeaker is then cut out. Public address system If you wish to give a spoken commentary on a silent film, or even if you wish to cut in during the projection of a sound film, you can use the projector's amplifier and loud speaker. Connect your microphone to input socket 41 on the projector and set selector switch 35 to ‘public address"'. Sound volume is controlled by means of mike input control 39. Caution: see to it that the loud speaker is not in the microphone's field, for this would cause '‘feedback"' noise. 12Recording General remarks. Once your film is edited, you can record all the sound effects you might desire, whether simple or complex, by means of the projector; you can fit in a carefully written commen- tary or background music, instead of or as well as the original sound; you can transfer a sound passage from one track to the other; you can superimpose, over your commen- tary recorded on the main track, the background music you have just perfected on the balance track, or vice versa; and so on... Your twintrack projector allows you to record either on the main or on the balance track of any Super 8 or Single 8 magnetic sound film, and to switch from one to the other at will. If you are shooting on Super 8 or Single 8 sound film, the magnetic tracks are striped in. If you have been using silent film, a track can be striped in the laboratory. Be careful, however: in order to avoid any breaks in the sound at the splicing points, have the striping done preferably once you have finished editing the film. Connexion of sound sources. Your projector will record music and commentary as would any tape recorder. You therefore have the choice of many sound sources. © For a personal commentary, you will need a microphone connected to special input socket 41. © For background music, use a tape recorder or record player with a line output socket, and connect it directly to, the projector. The connecting lead is plugged into line input socket 42 (also see ''Normal recording, manual mode”, page 15). Hints on recording. Manual modulation is to be preferred if a very high quality recording is desired. Auto- matic modulation will dull the peak of loud passages whilst amplifying the volume of the quiet passages. This second option is thus liable to alter the reproduction of a musical passage, but it may also be taken advantage of to compensate differences in voice strength or subject distance. It is in any case the easier method, and therefore recom- mended to all beginners in the field of recording 13Recording Monitoring. The Beaulieu 708 EL projector is fitted with a ‘monitoring head" — a playing head located just behind the recording head. This head allows you to monitor: — the track on which you are recording, if corresponding switch 25 is set to “‘normal" ; — or the track opposite the one on which you are recording, if the switch is set to “in verse” This ensures that you can insert a comment or music at a precise point in the film. You can adjust the sound level by means of volume control 34, then judge the effect by proiecting the film with simultaneous playback of both tracks, mixed or otherwise. wk . When you set switch 36 to record", you are connecting the amplifier to the monitoring head. You can therefore listen through the built-in speaker or an outside speaker. However, in order to avoid any risk of interference between input and output (eedback"), itis sefer to monitor with headphones connected to loud speaker output socket 44, 4Normal recording. Suppose you have filmed a wedding ceremony in Super 8 sound: the ambient sound recorded on track 1 (main track) seems to you essential, but background music would heighten the interest of certain passages. One-solution: retain the initial modulation on track 1, and record the music on track 2 (balance track) which has remained free. Play back both tracks simultaneously. Manual mode For this purpose, set the switch slides on the control keyboard as follows: 36 + “pro- ject", 36 + “record”, 37 > “manual”, Red pilot light 29 flickers ; the prerecording State is on. Using selector 24, choose the track on which you are going to work: in the present example, track 2, corresponding to setting 2. Set monitoring switch 25 to “in- verse'': using a headset, you can follow the sound on track 1 and start recording on track 2 whenever suitable. Also set trick control 27 to 10 so that superimposition pilot light 28 stays unlit, Connect the sound source(s) to the corresponding input socket(s): line input socket 42 when the modulation is output by a hi-fi system, mike input socket 41 when it comes fromm a microphone or any other instrument not delivering a sufficient voltage (some tape recorders, for example). You must adjust the sound level by means of the appro- priate control (38 if your background music is being input by line, 39 if input by mike) ‘so that the vumeter needle does not go into the red zone. If, in an extreme case, you simultaneously use a mike source and a line source, mix by méans of the same controls 38 and 39. You can monitor the resulting effect of mixing through your headphones by setting switch 35 to "public address" Turn master switch 20 clockwise all the way to "'sound’’. The film is now running. Recording begins as soon as you press red button 30. The programmed sound level is reached almost immediately. Pilot light 29 then stops blinking and remains perma- nently lit, Remark . Volume control 34 must be set to O to avoid any trace of ‘feedback’ noise. Automatic mode You can carry out the same sound editing by the automatic method. Proceed as for manual recording, except that switch 37 must be set to “auto”. If you use mike input socket 41, set mike contro! 39 to maximum. A similar adjustment on the line input socket is unnecessary. The sound level will rise gradually until it becomes automatically stabilized. 15Recording Sound mixing - automatic mode. If your original sound is almost non-existent, or distorted by wind noise in the mike, or without interest owing to an excessive number of sources, you might wish to wipe the initial sound and record a commentary with background music. With the Beaulieu 708 EL projector, you can perform both operations simultaneously and on the same track. Set the keyboard switches as follows: 35 — "'project'’, 36 — “record", 37 — “auto”, Rea pilot light 29 blinks: the pre-recording state is on. Select track 1 with selector knob Connect your music source to line input 42, and adjust its level so that vumeter 31 reaches the limit of the yellowish green zone in loud passages. Connect the microphone required for the commentary to input socket 41, and push corresponding control 39 to O. Set master switch 20 to sound". Recording of the background music will start when you depress red bution 30. The level is automatically adjusted. To insert the commentary on the track, all you have to do is to slide control 39 to 10 and to speak into the mike. The automatic recording system will gradually reduce the nusic to allow the speech to dominate, and this in proportion to the relative levels of oth sources. With monitoring switch 25 set to ‘normal’, you can follow the effect achieved in the headphones throughout the operation. 16Track transfer. A much-appreciated characteristic of the Beaulieu 708 EL projector is track transfer, which allows you to switch the modulation from one track to the other while benefiting by all the possibilities of automatic or manual recording. You can thus, for instance, alter having perfected your film's sound on the balance track, transfer it to the main track once it is finalized Track transfer being effected by means of the recording/playing head, sound-picture synchronization remains strictly unchanged. The procedure to be used is the same as for normal recording. When using the auto- matic mode, adjustment controls 32, 33 and 34 (respectively for bass, treble and volume) remain inoperative, and the recording level is self-adjusting; line and mike controls 38 and 39 should be set to ©. When using the manual mode, bass and treble adjustable controls 32 and 33 likewise remain inoperative, but you can adjust the recording level by means of line control 38, monitoring the level visually with the vumeter. Transfer from track to track is controlled directionally by track salector 24: preitinn 1° Bio! § Etre vier way. Caution . During transfer, no outside source of modulation is to be connected to the line input. Remark . This transfer in no way wipes nor modifies the recording on the original track, which thus remains available. 7Recording Sound superimposition. Suppose the ambient sound recorded on track 1 (main track) of your film while shooting might be improved by incidental music. You can, as indicated above, record the music on track 2 (balance track) and then play back both tracks simultaneously, But you can also superimpose the music on the original sound, directly on track 1, using either the automatic or the manual mode. The only indispensable accessory is the remote control lead. Automatic mode Connect the modulation source following the same procedure as for normal recording. Then connect the remote control Icad to input socket 43. Set control 27 to a value between C and 9, according to the percentage of superimpo: tion required. The recording technique in the case of superimposition is identical to that described above. Monitoring switch 25, set to “normal”, will allow you to follow the track on which you are working (in our case track 1) in the headphones. Start the film running and depress red button 30: the prerecording state is on. At the desired moment, press the remote control switch: superimposition starts, gradually rising from level zero to the programmed percentage. As soon as you release the remote control switch, the recor ding level drops back to O in the same way, Manual mode Proceed as for automatic, except that you must set superimposition control 27 to O. At the time chosen for superimposition to start, press on the remote control switch and bring control 27 to the desired graduation, as smoothly as possible. At the end of the superimposition, bring it back to O, and release the remote control switch 18Track transfer with superimposition. As its name describes, this technique combines track transfer and sound superimpo- sition. It makes it possible, for instance, to transter to track 1 of your film the incidental music to which you have given the finishing touch on track 2, without however comple- tely wiping the commentary already present on track 1. Or vice versa, from track 1 to track 2. As you would for normal recording, set switches 35 and 36 respectively to “‘project"’ and “record” Then, as previously described in the chapter on “track transfer", set the direction of transfer with track selector 24: 1/2 for transfer from main to balance track, 2/1 for the opposite direction. Finally, as for any superimposition, connect the remote contro! lead to input socket 43 9Recording Automatic mode Set switch 37 to “‘auto"’. Bring ''trick"’ control 27 to the graduation giving the required percentage of superimposition. Set master switch 20 to ‘'sound": the film will start tunning. Press red button 30: red pilot light 29 stays permanently lit, indicating that the pre-recording state is on. Now use the remote control switch: the transfer starts and the programmed superimposition percentage is progressively reached in a few seconds. When appropriate, release the remote control switch and transfer with superimposition will cease in the same manner, Remark . Bass, treble and volume controls 32, 33, and 34 have no effect on modulation control; recording levels are self-adjusting. Set switch 37 to"manual"and “trick” contro! 27 to O.Set master switch 20 to "sound": the film starts running. Press red button 30: the red pilot light stays permanently lit, showing that the pre-recording state is on. At the chosen time, operate the remote control switch and slide the “trick” control up to the graduation corresponding to the percentage of superimposition desired . At th> end of the sequence, bring the ‘“trick’’ control slide to O and release the remote control switch. Remark . Bass and treble controls 32 and 33 are inoperative, but you can adjust the recording level with line input control 38. With both automatic and manual modes, headphones connected to loudspeaker output socket 44 allow the superimposition effect achieved to be monitored. For this purpose, monitoring switch 26 should be set to ‘'normal”, allowing the track receiving the transter to be monitored. 20Maintenance Whatever the maintenance operation you may intend to carry out, do not forget to disconnect the projector first. Cleaning the lens. Keep the front and rear surfaces of the lens clean, since specks of dust and stains affect picture definition. To remove dust, use a very soft brush, never ordinary paper or cloth. For more resistant stains, moisten a piece of special optical paper with two or three drops of alcohol and wipe the lens gently, without rubbing. Cleaning the film path and pressure plate. Pull the lens holder towards you until it is out of the projection axis. You can then reach the film path and pressure plate. The small brush supplied with the projector allows quick removal of dust specks and particles left behind as the film runs through. After cleaning, swing the lens holder back into position. heads. Cleaning the magne Lift magnetic head pressure plate 15. A little alcohol on a cotton pad is suitable for cleaning the heads. Return the pressure plate after cleaning. Lubrication. The 708 EL projector is lubricated before leaving the factory. No further lubrication is necessary or even desirable. For any overhaul or repairs, put your projector in the hands of an approved Service Centre. Changing the lamp. Open the lamp housing door. Free the lamp-base two-pin plug. Unhook the stabilizing spring, Remove the lamp-dichroic mirror unit. To fit a new lamp, reverse the procedure. The spur on the forward edge of the dichroic mirror forming part of the lamp must fit into the recess in the lamp-holder plate. 21Maintenance Changing the mains fuse. The electric circuits are protected against possible voltage overloads by a fuse (5 A for 110 V, 2.5 A for 220 V) sunk into the left hand side of the projector (45). To replace the fuse, slip a coin into the slot and turn until the fuse holder can be extrac- ted from its housing. Change the fuse. Put everything back into place in the reverse order. Changing the amplifier fuse. A second fuse (1.6 A), visible under the projector, protects the amplifier. To change the fuse, turn the black pentagonal cap in the direction shown by the arrow, remove the fuse from its holder and change it. Replace by reversing operations. 22Accessories Se & x & Microphone. Unidirectional - Electrodynamic Length of lead: 3.50 m (11 ft 6 ins) Mains power lead. Length : 2.40 m (7 ft 10 ins). Fitted with a female plug for connection to the projector and a standard European male plug fitting standard European mains wall sockets. Connecting leads. Length: 2 m (6 ft 7 ins). The first lead is fitted with two five-pin DIN plugs; the second with only one of these plugs, the other end being bare to receive any jack or plug other than DIN. These two cables allow a hi-fi system to be connected to projector line input socket 42 or modulation output for use of an external ampli- jer. Remote control lead. Length: 2.40 m (7 {t 10 ins). Fitted with a five-pin DIN plug for connexion to projection input socket 43 and a switch to control superimpo- sition 23Accessories 24. Maintenance accessories. Brush for cleaning film path and pressure plate. Motor-drive belt coupling the motor to the claw arm, Plastic cover. To protect the projector from dust when not in use. Metal reels. The projector is supplied with one 240-m (800-ft) reel. Reels able to take 700 m (2,300 ft) of film are available as optional extras.— Film types: Super 8 or Single 8 — Standard lens: Schneider MC Xenovaron 11-30 mm {/1.1 zoom — Lens mount: 3 32.5 mm — Maximum film capacity: 700 m (2,300 ft) (up to 2 hours uninterrupted projection) — Lamp: 15 V 150 W, with dichroic mirror — Economizer (lamp brightness selector switch) — Pre-heating — Geared-down focusing system — Fixed speeds: 18 and 24 fps — Variable speeds: 18 + 1/3 fps and 24 + 2/3 fps — Automatic loading with automatic loop system — Manual unloading possible — Fast rewind available — Additive and subtractive digital counter (1 digit = 6 frames) — Built-in amplifier (24 W eff. into 4 2 min.) — Built-in loudspeaker (6 W) — Dual magnetic track playback — Automatic and manual recording on main track (1) or balance track (2) — Recording can be monitored with vumeter — Switch: track 1, track 2, tracks 1+ 2 — Simultaneous playback of both tracks possible, with balance — Superimposition with relative intensity adjustment by slide control. — Track transfer (track 1 — track 2, and vice versa) — Dual track monitoring head — Separate bass/treble tuning with slide control — Mike input adjustable with slide control — Line input adjustable with slide control — Headphone output socket — External amplifier output socket — Public address system — External loudspeaker output socket — External syne output socket (1 contact per frame) — Electronic regulators — DC motors — Fuse protection for electric circuits — Fuse protection for amplifier — Dimensions (with arms folded): 370 mm (L) x 232 mm (W) x 315 mm (H) approx. 14.6 in. x 9.13 in, x 12.4 in. approx. — Weight: 12.6 kg (27 Ibs 12 0z) approx. 25Specifications Sound specifications Frequency range, recording/playback Bass and treble tone control 18 fps 50 Hz - 10 KHz 100H2 + 12dB-160B 24 fps 50 Hz - 12 KHz 10KHz + 12dB-160B Input sensitivities Mike 200 uV minimum eff. 10 mV max. eff. (into 10 KO) Line 28 mV minimum eff. (into 47 KQ) Diagram of input sockets Remote Modulation» Sentral onto contact 2 2 alla 3 > =+4] [o 8 Hine 3 ° 3 input mike une ‘TRICK - UNE OUT Modulation output 160 mV eff. with volume contro! in position 10 Signal/noise ratio, weighted 48 dB 1 contact-per-frame output socket Limiting values: switched power: 10 W switched voltage: 100 V eff. switched current: 400 mA Headphone output socket: Impedance: 4 2 minimum Wow and flutter Less than 0.25 % weighted peak, slow Typical: 0.2 % weighted peak, slow Mlumination Ona 1-metre base screen, at a distance of 3 m, with the Schneider MC Xenovaron 11-30 mm f/1.1 zoom lens, values are: Low setting: 224 Lux High setting: 264 Lux 26Picture dimensions on screen The length of the base of the projected picture (L) varies according to three factors: projection distance (D), i.e. projector-to-screen distance; width of projection window {W); and focal length of lens (F). The calculation uses a simple formula valid for all formats: DxW F Example: For a projection distance of 4 m, a focal length of 20 mm, and a projection window width of 5.36 mm (with Super 8), you will obtain a picture whose base length is: 400 (cm) x 0,536 (cm) 2 (em) Using the same formula, you can, for a given screen width, calculate the projection distance or the focal length of the lens, FKL Dx Ww Ww L You will find below a table which may be useful to you for your projector. The values Given are naturally indicative, since tolerances made for focal lengths and projection " variably lead to slight variations in the actual values L= = 107.2 em D Dimensions of picture on screen (in centimetres) Focal length Projection distance (metres) of lens (millimetres) 2 4 é : i 12 oe ee "1 97,45 | 194,90 | 292,30 | 389,80 | 487,20 | 584.70 13 82,46 | 164,90 | 247,30 | 329,80 | 412,30 | 494.70 15 71,46 | 142,90 | 214,40 | 285,80 | 357,20 7 63,05 | 126,10 | 189,10 | 252,20 | 315,20 27