International projectionist (Oct 1931-Sept 1933)

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12 INTERNATIONAL PROJECTIONIST September 1933 Stage scene from prologue, "King Kong," at Radio City Music Hall {N. Y.), where the shields, spears, and costumes exhibited a variety of luminously-colored designs under the ultra-violet radiations American stage, Ziegfield's Follies of 1922 brought forth a gasp of admiration from the audience as the stage lights were dimmed to black out, and the pale lace gowns turned luminously brilliant and many-hued. The gowns were treated with vari-colored luminous painted designs which were practically invisible to the audience under the stage illumination, but beautifully luminous in the presence of ultraviolet furnished from concealed foot-lights containing quartzmercury lamps with special glass filters. Many theatrical productions since have enhanced the beauty of their settings and in some instances, effected dual-scenes on the same curtain drop, through the use of luminous paints. At the Century of Progress, Chicago, several exhibitors feature posters showing two and three different scenes through the combined use of non-luminous, fluorescent, and phosphorescent paints. In one setting, the wall paper of a room exhibits a simple conventional design of cross-section lines when viewed in ordinary light. Under the ultraviolet radiation, this simple design is transformed into a beautiful, luminously colored sea garden of various fish and flowering jDlants. The ceiling changes to a sky by night, studded with luminous stars. Likewise, another exhibitor hangs a large Spanish shawl in a prominent position of a space easily darkened. The edges of this shawl are beautifully marked and under ordinary light the center remains blank. In the presence of the ultraviolet, the edges of the shawl take on a luminous irridescent effect of sailboats, waves, and fish. The company monogram of exhibitor, appears brilliantly in the heretofore blank center. In a recent exhibit at a large department store in New York City, a unique effect was created in completely changing a dining room into a party setting by switching off the regular light and turning on the ultraviolet. The green walls became covered with luminous flora and fauna, the curtains with foamy waves, the table cloth, doilies, glasses, flowers, etc., glowed in brilliant colors. The furniture appeared to vanish and the hostess's pink lace dress shown in many lustrous hues. Since the effectiveness of these displays depends largely on the maxi mum brightness contrast between the untreated areas, which remain dark, and the luminous designs, it is extremly essential that visible light be eliminated. A small quantity of stray light is sufficient to illuminate the dark background, thereby reducing this contrast and consequently weakening the effect. Varied Applications With refinements and modifications of present available ultraviolet lighting equipments, and with ultraviolet paints now satisfactorily developed, the art of ultraviolet luminescent effect lighting offers interesting possibilities. Ultraviolet light sources may be concealed in wall urns, indirect floor pedestals, or suspended domes, or in coves, for the purpose of energizing ultraviolet painted scenes or designs in framed pictures, or on the side walls and ceilings. One of the most attractive and intriguing creations is that of a dualscene painted on the upper side walls and ceiling of a night club resort or theatre. With the skill of experienced artists, a simple design is painted on these areas in non-luminous or ordinary paints. A second scene, applied with fluorescent paints, is carefully incorporated in the first design, and combined with these, a third view is concealed with phosphorescent paints. Under artificial or natural light, the first design will take prominence. Under the ultraviolet the combination fluorescent and phosphorescent scene will luminously stand out in the dark. On withdrawing the rays, the phosphorescent painted view alone remains visibly luminous. THE ACCURATE MEASUREMENT SCREEN LIGHT VALUES OF T^O find the light factor of your arc, can determine the electrical efficiency -* multiply the illuminated area of or light factor of your carbons. your screen in square feet by the average intensity in foot-candles to which that screen is raised, and you will arrive at the lumens being projected thereon. For example, you would be using 3,740 lumens to get 10 footcandles on a screen 22 feet by 17 feet. Supposing now that your arc was using 75 amperes at 55 arc volts, your wattage would be 4,125, and you would therefore be obtaining approxim.ately .9 lumen on the screen for every watt consumed in the arc. Now, it is this ratio of lumens to watts that is the important thing, because by reference to this figure you Supposing, in the example we have just taken, that you fit another pair of carbons, and find that you can, for the same arc wattage, obtain 12 footcandles. Your lumens will now be 4,488, and your light factor will be 1.0 lumen per watt. Conversely, if you found that with the new carbons you could still get 10 foot-candles for an expenditure of only 70 amps., SO arc volts, your wattage would be 3,500, and your light factor at 3,740, lumens would again be approximately 1.0 lumen per watt. Having therefore determined the light factor of your carbons, the next