International projectionist (Jan 1963-June 1965)

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Projection Equipment At Europe's Photokina By R. Howard Cricks, Hon. FBKS, FRPS Photokina. Europe's vast photographic exhibition held every two or three years at Cologne, Germany, is primarily devoted to photography and amateur cine. But there is quite a lot of equipment of interest to the film trade; besides odd pieces of equipment in the general sections, there was one hall, the farthest from the entrance, containing only professional cine equipment. If one is to go by the projectors on show, the plain 35mm projector is a back number. Every projector firm showed a 70/35mm machine. Most widely used in Great Britain is the Philips; the Cinemeccanica is making headway. Enormous machines were shown by Zeiss-Ikon. Siemens, Bauer, FEDI and Pio Pion. These machines differ chiefly in the difficulty of conversion from 70mm to 35mm. In the simplest, all that is needed is to change the gate runners, but most need also a change of the sprocket rollers. Some have a three-lens turret, for wide-screen, CinemaScope and 70mm respectively. Most projectionists have forgotten what excellent effects we used to get on the Brenograph. A simple effects device was shown by Herceg Skobla of Vienna: a box like a shutter housing, containing sections of figured glass rotated by a small motor, and a hand-operated color wheel. In Europe — more I believe than in America — automation and remote control are coming into use in the cinema. The reason is simply the shortage of skilled projectionists. Pioneer system was Projectomatic — ■ now handled by Rank Kalee; in this, by inserting pegs into a rotating drum every aspect of the program can be controlled completely automatically — opening music, screen curtains, house lights, starting of the program, change-overs, right up to the final shut-down. An alternative I personally prefer is remote control. From a console in the auditorium the projectionist controls the whole of his equipment; be CAN YOU MATCH ONE OF THESE 3 TO YOUR SCREEN? X-16 XENON ARC PROJECTION LAMPS 900-watt model for screens up to 23 feet wide (matte— Cinemascope Aperture) or 28 feet wide (high gain— Cinemascope Aperture) 1600-watt model for screens up to 29 feet wide (matte— Cinemascope Aperture) or 36 feet wide (high gain— Cinemascope Aperture) 2500-watt model for screens up to 35 feet wide (matte— Cinemascope Aperture) or 43 feet wide (high gain— Cinemascope Aperture) • Steady, flickerless, pure white light is independent of voltage variations of the power line supply. • Extremely even distribution of light throughout the total screen area. • "Push-Button repeatability" of intensity and color temperature. • Excellent color film reproduction. • Focus remains constant. • Projects practically no heat to the film or aperture plate. No cooling required. • Cleanliness assures maximum life for the projector. • Simple operation. No moving parts in the light source. • Maintenance and current costs are approximately the same as for carbon and current costs for operating a carbon arc lamp of equivalent light output. THE Send for brochure. Demonstration in your theatre on request. ELECTRIC CORPORATION 31 CITY PARK AVENUE TOLEDO 1, OHIO Philips FP20S projectors as installed in the ABC Cinema, Croydon, England. Identical in appearance are the other two Philips projectors recently introduced at the Photokina exposition, FP22S and FP25S. ing in the midst of his audience, he can sense their reaction, making, I am sure, for better showmanship. Several firms showed both systems: Philips, Zeiss-Ikon, Siemens, Bauer. A problem with such a system, however, is the striking and control of the arc. Projectomatic makes use of a metal pellet which is gripped between the carbon tips, and fuses when current is applied, striking the arc. An alternative answer is to replace the arc by a light source needing no adjustment and the minimum of control. Increasingly used in the xenon lamp, which Osram and Philips showed in a range of sizes up to 2.5 kw — this is large enough for most cinemas, I have my own preference for the Philips pulsed discharge lamp, to be discussed later. Projectors are used nowadays not only in cinemas, but for television. Several firms showed machines adapted for this purpose. Zeiss-Ikon, for instance, showed the Ernemann machines fitted with a vidicon, and geared to run at the European frame rate of 25 frames per second. (In America one doesn't realize how simple it is to run both film and TV at 25 frames, instead of having to convert a film frequency of 24 frames to a TV frequency of 30). For studio use the same machine was shown fitted with a 300 ft. non rewind device. But it was Philips of Holland (Norelco to you) whose exhibit was the most advanced. As usual, they had a complete auditorium in which to demonstrate the full range of their 10 International Projectionist September, 1963