Kinematograph year book (1944)

202 The Kinematograph Year Book. of the Board of Trade scheme of film stock saving. The reduction by 20 per cent, of the number of film prints demanded instant action if later runs were ever to receive a copy in runnable condition. As a consequence members of C.E.A. branches and their projectionists are evolving plans to discover culprits and, in some cases, to penalise them so that a better standard of film prints may be maintained, The K.R.S. and the C.E.A. both favour a nationwide scheme of inspection and instruction, and the N.A.T.K.E., through its K.P.E.A. branches, are taking a prominent part in the campaign ; indeed, credit is due to Nottingham projectionists for their public-spirited lead in the formulation of a scheme in which, with exhibitors, they operate a joint advisory committee. This has served as a basis of similar committees in other areas, which are receiving the support of the C.E.A. executive. Most of these efforts include training and instruction, by lectures, visits b}^ service engineers and selected chief projectionists — and in the larger areas by classes sponsored by the local technical institutes. In connection with this the very comprehensive scheme of Northern Irish exhibitors has proved a pattern deserving of adoption elsewhere. To the renter these efforts towards achieving a standard of operation are supremely important, and in many cases they are co-operating upon these local committees. Blame for a proportion of the damage has been laid upon the renters, on the grounds of lack of adequate examination, careless handling and improper packing by their despatch departments. On the other hand, one K.R.S. member cited three brand new copies which were returned from first run houses so badly damaged that considerable lengths will have to be reprinted. Not only is there a loss in film footage by the joining of substituted lengths, but the delay interferes with the release and the scheme of print issue and inspection. The K.R.S. has informed the Board of Trade that if it can be assured of the retention of trained personnel to enable frequent examination of prints a vast improvement could be carried out. Another source of mishandling is the transport conditions, and particularly the treatment of film containers at dumps. But, generally speaking, where stock economy fails, the fact is that the main responsibility lies with the projectionists. Main projection conditions which cause film damage are (1) scratched emulsion, (2) pulled or torn perforations, and (3) buckling of film. Nos. 1 and 2 are caused mainly by the hardening of tension in the projector gate. The former is caused by improper handling in rewinding in the projection room and the renter's repair department. Buckling is due to humidity and heat in the projector gate It has been suggested that an improved gate design is necessary to eliminate, scratching. Many films, of course, deteriorate normally because they are being overworked owing to the shortage of copies. In some cases it has been stated that six or seven copies are being made to do the work of ten or twelve previously. The chief factor, however, is the inefficiency of the projectionist whose malpractices cause those -flagrant examples of film mutilation, and it is difficult to see how this condition can be improved while inexperienced newcomers to the projection box are admitted to a highly skilled occupation without training or instruction. Preservation of film prints by the adoption of a hardening process when the copies are first put out is one of the Board of Trade's precautions to prolong life of film prints, but while this will do much to prevent the ordinary wear and tear to a much used copy the physical care of the film is the ultimate responsibility of the projectionist. From the above it will be seen that a real attempt is being made to solve the problem of the prolongation of the life of copies, but it is dispiriting to find an authority such as A. J. Gale contending in January that the condition of copies had not been bettered. And now as a footnote to show what can be done let us refer to the Ritz, Leicester Square, where the projectionist is on his tenth copy of " Gone With the Wind," which has been running there since April, 1940. Average time of running a copy is five months.