International projectionist (Oct 1931-Sept 1933)

October 1931 INTERNATIONAL PROJECTIONIST 11 proper balancing of light and shade was obtained which would give the desired effect when combined with color. Machines for showing these designs have been improved at our suggestion so that an effect may be kept on as long s desired without breakage and so that exact registration of positive and negative designs can be quickly made. The Projection Department has issued advice sheets describing those designs and explaining how each was used on which film or other subject, what color combinations were employed, also other suitable colors which might be used if desired, how masked off and what other effects were used in conjunction, also suggestions for the future use of each de sign. Use of Magnascope With the magnascope screen the manager should carefully select the weekly subjects or portions of his feature for such magnascope use. The opening of magnascope creates the illusion of gradual enlargement and, therefore, magnascope should never begin with a title — with this exception: — when the draw curtains are opened on a magnascope screen as at the beginning of a subject. When going from small picture to magnascope an appropriate scene must be chosen which conveys spaciousness and secures the best results. Where movable magnascope masking is employed it should move smoothly and accurately to position for both magnascope and small picture. Accuracy is required to prevent an excessive overlap of picture on the masking or, on the other hand, to avoid showing blank screen around the picture. The best illusion with sound pictures is obtained when the bottom of the picture is as close to the stage as sight lines will permit. This point should be observed, because sound pictures are really plays, and the players appear more natural when on the level of the stage. Correct Picture Size The size of the picture deserves consideration. The size will largely depend on: 1. Sight lines. 2. Distance between the screen and the furthermost seats, and viewing angles. It is not possible to obtain an ideal size for all parts of the theatre, but an average can be found which will be satisfactory. The picture should be of sufficient size so that the features of the players are easily distinguished from the farthermost seats. The proper type of screen for a wide theatre is one having a diffusive surface. This surface reflects light to the side seats almost as well as to those in the center. A highly reflective surface gives most reflection within a narrow angle, and consequently should be used only in theatres where the projection and viewing angles are small. Care of Batteries Attention given to storage batteries in the matter of maintaining proper level of electralyte and the avoidance of overcharging or over-discharging will result in a full, useful life, and, conversely, a lack of such attention will result in a greatly shortened life, with consequent waste and expense. Failure to keep battery plates covered with electrolyte results in permanent injury to those portions of the plates which are left exposed. Over-charging results in the rapid formation of sediment which soon short-cir cuits the cells, and is also wasteful in the use of current. When it is frecjuently necessary to add much water to battery, it may be taken as an indication that batteries are being over-charged. Lubricate Frequently Regular and frequent lubrication has a direct relation to the life. of the projector mechanism. Oil should be sparingly applied to bearings, and any excess wiped off before projecting film. Absorbent pads should be changed frequently, as this will prevent oil soaking into the film amplifier, causing damage to insulation of wires, and also will prevent the accumulation of oil on film. Photographic Problems the Solution of Which Would Materially Aid Reproduction Lewis W. Physioc SOUND pictures have greatly affected motion picture photography. The reasons are all very apparent. The cameraman no longer has that freedom and range of activity he enjoyed previously. He has had to make the best of the sound-proof booth and the various other camera covers. They have enveloped his individuality and his artistry in a mattress. They restrain the individual management of the camera. There is a very unsatisfactory feeling in having to shoot through heavy plate glass, with its problems of refraction and reflection, personal discomfort, the difficulties of lining up sets and focusing or following focus during the moving shots that seem to have become so popular. Many inquiries have been made as to which type of blimp is most satisfactory. There are no satisfactory blimps. This is the one thing that has taken all the joy out of the cameraman's profession. Indeed, there is little improvement in the "blimp" over the "dog house" (booth), of the earlier days of the talkers. In the booth the disadvantages, as before mentioned, were personal discomfort, shooting through the mediums and the difficulties of focusing, etc., all of which prohibit those little intimacies between the camera and its master. The Aperture: The present picture dimensions are a source of great worriment to the artist. It is very difficult to frame a pretty picture in the present awkward proportions. Vignetting and other individual effects are prohibited by these limited areas and proportions. Projection apertures are not standardized and the cameraman is never sure of his frame. We frequently see the tops of the heads cut off, people partly out of the picture and other awkward instances of framing. We realize the tremendous cost of providing a new aperture, but the present one is certainly unsatisfactory. Even when matted down to the original shape there are many disadvantages, chief among which is the increase of grain by further enlargement. Here, indeed, is another make-shift. Let us realize that if we must make talking pictures, let us make them right. Criticism : What we need very badly is honest, intelligent, constructive criticism. There is nothing so stimulating as criticism — not the caustic, controversial idea so common among reviewers, but competent, analytical disquisitions. We have very little of this. A picture is either a "knock-out" or a "flop": the photography is either good or bad, dull or clear. We want to know why a thing is good or bad. We want to know what to avoid and what fo enlarge upon. Some of us may not relish a criticism of our work, but secretly we will profit by it, for the real student will gather from every source.