American cinematographer (Jan-Dec 1926)

September. 1920 AMERICAN CINEMATOGRAPHER Seventeen PROJECTION (Continued from pa handling and the carelessness of the projectionist, we felt that if we could thoroughly clean up exchange conditions we would then be in a position to further eliminate the trouble by going direct to the projectionist, and 1 want to be perfectly frank with you when I say that conditions under which film was handled in many theatres, (not necessarily the small town theatres) were positively disgraceful. Not one theatre in a hundred ever possessed any kind of a splicing block or patch press, as they were called at that time. There was no attempt at registering sprocket holes or keeping the width of the splice within certain dimensions, etc., etc. Film arrived from the theatres with leaders parts, end titles, tail pieces, torn off, rolled up and stuck in the shipping case. This cost a great deal of extra work in the inspection rooms at exchanges, and sometimes resulted in the exhibitor not getting the show he had booked. Take-Up Tension Another common fault in the theatre, was excessive take-up tension which claimed its percentage of the film damage. Worn sprockets, excessive aperture tension, worn tension springs, worn magazine valve rollers, ' emulsion deposit, etc., etc., also were responsible for a certain percentage of the film damage. In working out the present day standards in our exchanges which have absolutely proven to be right, we had to disregard many theories and much equipment; and understand that all the time when we were carrying out this work in the field we were also testing splices and film on especially rigged projectors. We finally standardized on the full hole splice and schooled our examiners in the proper method of making this splice and we insisted under penalty of dismissal that the full hole splice and no other must be made at all times. We had reached the point in the manual inspection and splicing of film that we believed to be final, and we felt that if we could get the proper kind of automatic or semi-automatic film splicing machine that was adapted for exchange use, and would Now! A Professional Movie Camera at an Amateur Price DeVry Standard Automatic Movie Camera The De Vry Corporation, world noted makers of motion picture projectors, announces a new movie camera holding 100 feet of standard film at the amazing low cost of only $150.00. This remarkable new camera weighs 9 pounds and is 8 Vss x6 V2 x3 % . Handsome all-metal, grained-leather finished case. Accurate, automatic footage meter. Three view finders: 1 — direct on the film, 2 — direct on the scene, 3 — right angle view finder in upper right corner. F 3.5 anastigmat lens on micrometer mount. Any standard lens can be fitted to the camera including telephoto. Focusing range — 2 feet to infinity. Instantly removable aperture. Amazingly Low $ Price Only 150" The low price of the De Vry does not mean a sacrifice of quality of material or workmanship. It is due entirely to the quantity production machines constructed by De Vry to avoid the expense of assembled and handwrought jobs. This movie camera must be seen by professional cameramen to be appreciated It has all the features of other cameras and features the others do not possess. All other standard film automatic movie cameras sell for $350.00 and up! We welcome a comparison of the De Vry at the low price of only $150.00 with that of higher priced cameras. Ask Your Dealer Your dealer will gladly show you the De Vry. If your dealer cannot give you this information, write us direct. A postcard will do. The DEVRY CORPORATION mi Center Street Dept. 8-X Chicago, Illinois