Carbon Arc Followspots

First time on a modern spot, I felt guilty, like I was only doing half my job!

Where as the Troupers used an AC clock motor for carbon feed, the Supers used a DC motor, with the "field" coil actually being a loop of the carbon-feed cable. No arc, no feed, which was pretty cool if one was flipped on and not struck. (no self-stike/meltdown.) The drawback was, it was a brush type motor, so if the commutator got dirty, you could end up with a dead spot and the motor wouldn't run. Easy to clean, but few knew about it! Also had motor speed wire-wound pot that would get dirty and have dead spots.

JD
that part you are showing looks like it may be something to offset a Carbon in a bad lamp house, or maybe a crank for the focus knob on the front of the light

Hints:
1) First used in projectors for nefarious /cheapness reasons.
2) Engineers at Strong would have cringed!
 
First time on a modern spot, I felt guilty, like I was only doing half my job!

Where as the Troupers used an AC clock motor for carbon feed, the Supers used a DC motor, with the "field" coil actually being a loop of the carbon-feed cable. No arc, no feed, which was pretty cool if one was flipped on and not struck. (no self-stike/meltdown.) The drawback was, it was a brush type motor, so if the commutator got dirty, you could end up with a dead spot and the motor wouldn't run. Easy to clean, but few knew about it! Also had motor speed wire-wound pot that would get dirty and have dead spots.



Hints:
1) First used in projectors for nefarious /cheapness reasons.
2) Engineers at Strong would have cringed!

Hello John;

In my mind, Troupers were AC arcs with matching carbons, both the exact same type, length and burn rate.
As you said, AC clock motors, constant speed, always ran the same direction, always pushing the rods towards each other.

Supers were DC arcs; front and rear carbons were different diameters, lengths, composition and burn / feed rates.
Front rods had hard centers, and soft perimeters so the perimeters would burn away easier and the centers would not become deep, shadowed craters.
The intensely bright end of the front rod was the light source at the reflector's focal point, you were projecting a well focused image of the business end of the front rod.
Rear rods had soft centers and hard perimeters so the center would burn away without extending into a long, thin, easily breakable point.
Without the differing compositions (if they were both manufactured with identical compositions) the front rod's crater would get ever deeper while the rear rod's conical point would grow ever longer. Were this allowed to continue, your intensely bright source would be deep within a cavern with the rear rod's point way down inside and shadowing the source from reaching the reflector. The difference in relative feed rates was accommodated by different thread pitches, threads per inch, on the common feed shaft driven by the DC motor as described in your post.

Whereas the AC Trouper's feed motor would operate when turned on, regardless of whether an arc was struck or not, the Super's DC motor would rotate the opposite direction upon turn-on, pulling the carbons apart, until an arc was struck when it would instantly reverse and begin pushing the rods together; one more reason for the spring loaded action required for igniting.

As to your comments on dirty spots on the speed adjustment and / or motor;
If your feed stopped, you only had so long to realize and correct before your arc was too long, blued and extinguished.
If your arc actually went out, the feed motor would begin happily pulling the rods even further apart.
Once you were a competent arc operator, keeping an eye on many things became second nature and life was easy.
Before you reached that plateau, every annoyance was rapidly a panic situation.

We’ve yet to get to the differences between silvered glass and polished metal reflectors nor have we touched upon drip shields and drip catchers within the lamp house.

Sorry for blathering on, for those who ran arcs this is all 'old hat' but I suspect it's pretty bizarre info for those who've never shared the 'joy'.

As to the odd little gizzy pictured; I'd love to see three rods in the same photo; an AC, a negative and a positive to compare OD's to the diameter of gizzy's solid end. I was beginning to think it was some sort of extension to permit burning short stubs from the butt pail but there’s no evidence of scorching / burning.

Geeeeze! I’m starting to write like Brian!!

Toodleoo!
Ron Hebbard
 
I was beginning to think it was some sort of extension to permit burning short stubs from the butt pail but there’s no evidence of scorching / burning.

*BINGO*

If you were good with them, you didn't burn them ;)
(Although the one pictured is a little scorched if you look close.)

Projectionists first started using them, but they made their way into the spotlights. I could usually toast a stub down to about 3/4 inch. The drawback is that if you are not watching you could roast/weld a pair! Nothing more frustrating then burning a new trim when it's only a 15 minute pre-show.
 
All right, Super Trouper fans, Who is the first one who can ID this unofficial (but popular) third party Super Trouper part and it's never approved purpose?

(I can't believe it was still laying where I set it down 30 years ago!)

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Positive rod extender. if memory serves.

On the Supers, you used a 6mm x 9" negative carbon and a 7mm x 12" positive. The negative always burned slower and you would end up with maybe 4 inches of excess negative carbon in the rear holder. The positive would also end up as about 3-4 inches unused (stubs), but due to the worm gear mechanism, you could never burn all the carbon before running out of travel on the positive holder. You could move the negative carbon forward in it's holder to use up excess, but needed the extender on the positive to use up it's excess and to regain travel on the worm gear and rod holders.

We got around this by removing the stopper pin on the back of the positive rod holder (that limited you to a 12" carbon rod) and using instead a 7mm x 14" positive carbon. Thus you could extend the use of the carbons by 15-20 minutes by shutting the machine down, cranking back the rod holders, using a clothes pin to grasp the hot carbon rods and reset the carbons a couple of inches towards focus point and re-striking. Faster then changing carbons to a new set.

We also used to "store" the next set of to-be-used carbons on the top of the hinge to the access door. This pre-heated the carbons which (in theory) removed any moisture that would accumulate in the carbons that were stored. Useful in a damp environment.

I was fortunate here at Brooklyn to have learned some tricks about carbon operation from our projectionist. Frankie is a true master at this and knew that the Super Trouper "lamp" house was identical to those used on Eastman 16mm movie projectors. Not common knowledge in the theater business was the fact that Strong made a lot (if not most) of the lamp houses for cinema's, still do. I suspect that the film end of the business was more lucrative then the theater.

One of the funny stories Frank told us was about taking the test to become a licensed film projectionist in New York City - yes you had to take a city test. The test giver had a set of dummy carbon rods made of wood and painted to look real. If the student didn't catch the error, the carbons would not strike. If you really knew what you were doing you could tell wood from copper/carbon by texture and weight alone. If you didn't.....
 
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* Nothing more frustrating then burning a new trim when it's only a 15 minute pre-show.

I used to save a few longer butts in matched pairs for when you needed an extra bit of time to interval or show's end.
Projectionists had the advantage of not having to follow, they had other things to do but their lamp house was always solidly in the same place.

Toodleoo!
Ron Hebbard
 
I always enjoyed the challenge of running an arc spotlight. The only one I ever used was an AC arc Trouper in the late 1980s at my high school. I may have been one of only a handful of people that ever knew how to trim and tweak it properly for maxiumum brightness. I tried to teach my successors but I don;t think they really ever caught on. I remember going back to help a few years after I graduated to run that light for a show and all were amazed at how clean and bright it looked after I had spent about 15 minutes with it. One of the big issue that I remember with the Trouper was that the upper part of the reflector would collect soot like a son-of-a-gun. Every hot trim would include a quick swipe of the top half of the reflector with a heavy towel and every cold trim would start with actually cleaning it with a damp towel. While I don't miss hot trimming a CA light, there was something somewhat magical about the organic, living and breathing nature of the arc and how everything needed to come together to keep it "alive." I'm 41 and I'm betting that there aren't too many people under 40 who used these lights for very long. The transition from arcs to Xenon & HMI happened pretty quickly between 1985 and 1995 or so.
 

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