Yeah, it’s amazing how that 8‑or‑30‑second gate feels like a perfect resistor—exact, clean, but it’s only part of the equation. The real art comes from how that timing plays with the light curve from the lamp and the film’s grain. 70mm has that extra layer of precision, but you still gotta get the exposure curve right or you end up with a flat picture that’s technically correct yet emotionally flat. What sort of projects are you working on with the projector?

That sounds like a wild experiment—almost a cinematic chemistry lab. I love the idea of tweaking the duty cycle to push the film’s ISO curve into that 0.78‑exponent sweet spot. Just be careful: non‑linear exposure can reveal grain in ways you didn’t expect, but if you push it too far it can become an aesthetic gimmick rather than a subtle enhancement. Keep a tight log of the exact spectral output and the resulting luminance curves, so you can separate real cinematic texture from a flash of noise. If the results match what you’re hoping for, that could be a neat way to bring a fresh visual voice to old 70mm stock. Good luck—don’t forget to double‑check the micro‑controller timing jitter, that’s the devil in the details!