The handbook of kinematography, the history, theory, and practice of motion photography and projection (1911)

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HANDBOOK OF KINE M ATOGR APH Y. 141 tion at all costs to produce something that shall be solid and thorough in every essential. In these days, when projectors have to stand the daily strain of ten to twelve hours' work, when keen and critical audiences observe at once a badly projected and unsteady picture, and seek their recreation and amusement at halls projecting the best picture, we cannot help feeling that Tyler's will find their efforts to produce a really first-class " All-British " machine, will meet with a gratifying and immediate reward at the hands of the trade. Among some of the many novel features which must appeal to users are, the heat-proof lantern body, with doors opening on both sides the full extent of the frame ; the stirrup holder for the con- denser ; the facility for exchanging from kinematograph to still picture lens ; the Maltese Cross movement in its oil bath ; the get-at-ableness of the gate ; the ease with which each part can be adjusted ; the solid bearings and shafts ; the automatic light cut-off ; the sheet steel fireproof boxes ; the original take-up and rewind gear ; the solidity of the projector stand ; the numerous dustproof oil caps, and the general finish and appearance of the whole outfit. FIG. 106, THE "ZAR" PROJECTOR Needless to say, many firms are still striving to improve'and beat past achievements. Whether any of these efforts "will meet with success, it is not for us to hint in a machine review like the present, but the thought of all-steel projectors natur-