Motion picture handbook; a guide for managers and operators of motion picture theatres ([c1916])

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

664 MOTION PICTURE HANDBOOK fund of good judgment and common sense, since in the smaller theatres it will be seldom possible to rehearse and plan out the music for the show, which latter is, as a rule, changed every day. Therefore it is necessary that the piano player be able instantly to select music which will at least fit in fairly well with the action of the film, and this can only be done by one possessed of not only a large assortment of know-it-by-heart music but also a fund of good judgment. Where an orchestra is used the members should by all means be uniformed. The subject of orchestras is, however, such a large one that I think it is not advisable to attempt to deal with it. Connecting Up for Temporary Show THE following instructions are by no means designed for regular road men. They are presumed to know their business. There are, however, from time to time small exhibitors who travel from town to town with their own outfit, covering only small villages, and this particular chapter is written to point out to them the various things they should look out for in connecting up to the local plant. Also it is quite true that city operators who have had no road experience are frequently employed to go out to some town and give a show in a church, theatre, school or lodge hall, and this is not quite so simple a proposition as appears on the surface. First, be very sure that your outfit is "all there" before starting out. Unless the exact throw and size of picture is known it is always advisable to take along at least three focal lengths of M. P. and stereopticon lenses, viz: a 3^, 4^ and 6 inch M. P. lens, and a 12, 16 and 21 inch stereo; the latter should always be "half size" lenses. It is necessary that sufficient resistance (rheostats) be taken along to handle the voltage of the current, and, in this connection, there is a book published by the McGraw Publishing Company, 239 West Thirty-ninth Street, New York City, which gives the voltage, kind of current, capacity of the generators, etc., of every town in the United States and Canada. It is published by subscription, and every traveling operator ought to be supplied with one. You should at least take along sufficient resistance to handle 220 volts. Before starting, examine the whole outfit and be sure you have not omitted some essential part. I have known of