International projectionist (July-Dec 1934)

December 1934 INTERNATIONAL PROJECTIONIST said, and quite correctly, that even the aforementioned paper is a very thin line upon which to hang so much clothes; to which the answer is that International Projectionist has gone to not a little trouble to dig into this matter. The results of this investigation prove beyond any reasonable doubt that not only is such a plan in work but that its announcement is only a few weeks away, if that long. Naturally, the logical response to the foregoing is, what of it? Without attempting to speak officially for either projectionists or stagehands, it can be said that these groups undoubtedly will resist with every weapon they can muster the fruition of any such general servicing plan. The tendency of such a service undeniably would be to minimize the importance of these workers. Significance to Labor The projectionist has been buffeted about enough to date, without having to stand the knocks which are almost certain to be visited upon him by the operation of any such servicing scheme If he is to be trampled upon a bit more, according to several impartial observers, then he may just as well throw up his hands and quit. Ditto for the stagehand, particularly those who are now engaged in maintenance work. If, on the other hand, such a servicing plan will not operate to encroach further upon the projectionist's domain (something that was accomplished rather neatly by the sound equipment service man I , and if it will help the projectionist to produce a better show through keeping his equipment up to snuff by obtaining parts and effecting needed repairs — then, and only then, the plan might be acceptable to Labor. This angle is something for the sound companies sponsoring the plan to mull over. It can be said without fear of contradiction, however, that the assurance given on this point will have to be very much more definite than any mere jumble of sweet-sounding words. On the face of the record, however, the sound companies might just as well put up their backs right now insofar as any wholehearted acceptance from the projection field is concerned. The projection field, mindful of 1928, is not likely to suffer any sudden mental lapse. Unions Now Servicing An interesting sidelight to this matter, and one not generally known, is the fact that not a few Local Unions of the International Alliance are today servicing sound equipments. This writer could name offhand at least ten Locals now engaged in this type of work, and doing a first-class job, too. This angle might prove of absorbing interest to the electrics. The status of theatre supply dealers WHAT OF THE SMALL THEATRES HAVING L. I. ARCS? Eric W. Schumacher NORIS CARBON COMPANY, INC. MUCH has been written about projection with the modern A. C. and D. C. Lamps, and the high-low and highintensity types have also come in for not a little attention. However, it seems that the enormous field of low-intensity projection has been neglected, or glossed over, and this is indeed a strange tiling in view of the fact that more than 60 per cent of all lamp houses in use are of the low-intensity type. The amount of light produced by the low-intensity carbon arc is remarkable considering the small load of amperage required; and the light intensity of these lamps could be improved greatly if more care was taken in their maintenance and operation. Popular Sizes, Amperages Considering first the smallest carbon combination for low-intensity arcs, the 10-mm. x 8" positive and 7 mm. x 8" negative, the customary load for this trim should not be more than 13 to 18 amps. This trim is usually found in small theatres having a seating capacity of from 200 to 350 seats and with a projection throw of from 50 to 60 feet. The amount of light produced by this trim is comparatively enormous. The most popular low-intensity trim is the 12 mm. x 8" positive and 8 mm. x 8" negative, which is used in theatres having from 350 to 550 seats and a throw of from 65 to 75 feet. The required amperage is from 18 to 25. Next is the 13 mm. x 8" positive and 9 mm. x 8" negative combination which is used in theatres of from 500 to 700 seats having a throw of from 65 to 85 feet. The load for this trim is 23 to 28 amperes. In cases which cannot be considered as normal, such as a theatre having 500 seats and a throw of 85 feet, or where still better light is desired because of an old-type screen, difficulties of obtaining a uniform current supply, etc., the manufacturers of projector carbons have created a "special" brand. These special brands are better known under such trade names as the Bio SA, the SunArc SAS, the National SRA, and the Noris SCH. These special combinations are intended to meet the demand for a low-intensity trim using higher amperages and giving correspondingly more light. The loads for the various special trims are: 10 mm. x 8" Pos. cored 7 mm. x 8" Neg. cored 18 to 23 amperes 12 mm. x 8" Pos. cored 8 mm. x 8" Neg. cored 25 to 32 amperes 13 mm. x 8" Pos. cored 9 mm. x 8" Neg. cored 30 to 35 amperes Operating Precautions Although low-intensity reflectors are the most widely used lamps, and thousands of projectionists are handling both lamps and carbons, there still are many operating faults to be corrected. The best possible results will be obtained if (Continued on page 25) under the new order of things appears to be pretty well defined. It is inconceivable that the electrics, once launched upon the new program, will resist the impulse to buy, sell and install equipment direct. This would make the profit just that much larger and undoubtedly would enable establishment of a rock-bottom price on the "servicing". Should this situation eventuate, the theatre supply dealers as we now know them could make arrangements to go into some such enterprise as the junk business, to set up in which they could use their existing stocks. And this is no attempt to inject humor herein, either. The manufacturers are in a somewhat different classification. If the sound companies go along and patronize the usual sources of equipment supply, there might be no objection on the part of manufacturers. But the question is: Does the policy adopted by the sound companies from 1928 until now justify the belief that all manufacturers would receive equal consideration? Or is it a fact that the sound companies, having adopted a given equipment item, proceeded to execute a blanket contract for its use to the exclusion of all other makes? Maybe the few independent sound equipment manufacturers who have had sales experience in the theatre field between 1928 and now could supply the answer to these pertinent questions. And there you have it. Without attempting to predict the outcome of this matter, it is the safest bet in the world that the attempted introduction of this all-inclusive service plan will raise merry Hell in this industry and produce results of a character which probably will not be altogether to the fancy of either side of the argument.