PPC Series
The features of the table are impressive. Independent electric clutching allowing fingertip switching control of sound and picture. Manual inching of each track. 24 fps sync drive system. Variable speed motor permitting 0-120 fps forward/reverse. Independently switchable torque motors for each take-up/supply reel. Single lever transport function control (sync, variable speed, forward/reverse). Large drive sprockets for safe unstressed film transport. (Masking tape splices even go through) The viewing system employs a modified Minette viewer with quartz light. Pulldown sync is possible. The table is designed with excellent work space.
As is stands, the PPC-25 is a honey of a machine, but some improvements wouldn't hurt. Granted, viewing systems are not easy or inexpensive to design. However, considering the possible applications of the table, a really high-quality viewing system is required. At the present, it is impossible for more than one person to see the image. In fact, one person cannot glance at both picture heads without some head craning. It has been my experience that there are always people who need to sit in on an editing session or for an interlock runthrough. Unless they can see, it will be an unhappy experience. Use of the Minette viewing systems should be a stopgap measure only.
The sound on current machines is a bit unsteady. It can be greatly improved with an optional flywheel ($100.00). Its hould not be an option. Without thefly wheel, the sound is about on a par with a motorized synchronizer, a condition no respectable flatbed should long endure.
But enough, those who already own the machine have learned to live with it and those who don't have the new improved version to look forward to. The new model designations are PPC-35M and the PPC-45M. The new models will be available in 6 or 8 plate versions ($3895.00 and $4495.00). Additional Picture heads will cost $800.00 each.
These new machines, they say, will truly be postproduction consoles. They will edit and they will mix. Not only that, but they can lock to a digital pulse train and resolve to Super-8 fullcoat. Full recording capability for mag edge stripe and fullcoat is part of the plan. Separate high quality heads for mixing and transfer will be provided. Special threading paths during recording and mixing will serve to stabilize the sound. All sound transports will be flywheel stabilized. A digital footage/time counter will be an option. Common start for interlock with other sync machines will also be provided. Optionally, the machine will be convertible for full large-screen projection. Available this fall, this new version of the PPC will definitely be worth waiting for.
Another new machine, now available, is a very basic (and I stress basic) four plate editing deck. For only $1095.00 you can edit horizontally. You should not expect an overly sophisticated machine however. There is no amplifier. You provide it. There are nofly wheels. If you want them, they cost $100.00 each. If you want a mag stripe reader for the picture head, it costs $125.00. Sync drive is included, but variable speed costs $150.00. Manual inching is provided.
This deck is an all metal machine weighing about 45 pounds. The viewer, a modified Goko, provides an adequate 3.5"x5" picture. The deck is essentially a stripped down version of the $2600.00 PPC-25 four plate. The basic high quality drives, sprockets and controls of the PPC-25 are retained. At $1095.00, this machine provides the modestly endowed filmmaker with an alternative to vertical editing.
Without a doubt, the Super-8 Research tables are designed by filmmakers for filmmakers. Further, the company adheres to the notion shared by most manufacturers in the Super-8 editing field, that all equipment must have multiple uses, provide complete in-house capabilities, and be adaptable for improvement over the years" (American Cinematographer, November 1975, pp. 1273 and 1302).