The motion picture projectionist (Nov 1931-Jan 1933)

20 Motion Picture Projectionist December, 1931 b. The plus and minus tolerances which must be allowed in accumulating the camera tolerances with a onehalf per cent film shrinkage. For Positive Films c. The plus and minus tolerances required in printing a positive and calculated first from the effect of registering the positive film against the right-hand side of the teeth of the main printer sprocket while the negative registers against the left-hand side; second from the effect of registering the positive and the negative films in the opposite direction. Both cases for unshrunk positive and accumulating with the tolerances arrived at (b). d. The plus and minus tolerances calculated from the (c) tolerances plus a positive film shrinkage of onehalf per cent. e. The plus and minus tolerances calculated from the (c) tolerances but with the addition of a positive film shrinkage of one and one-half per cent. The results obtained from the above have been derived with the assumption that the negative has only shrunk one-half per cent. However, since the shrinkage effect constantly progresses through the printing process as well as while the films are stored away, the calculations have been extended to include a greater negative shrinkage. Accumulated Tolerances The following series of computations was carried accumulating the plus and minus camera tolerances, with the tolerances necessitated by the various conditions expressed above, with the exception that a maximum one and one-half per cent shrinkage of the negative was considered instead of the minimum onehalf per cent. For Negative Films a'. Camera tolerances same as for (a). b'. Tolerances resulting from accumulation of (a') and one and onehalf per cent negative shrinkage. For Positive Films c'. Tolerances required in printing with unshrunk positive for both conditions of film registration expressed at (c), but accumulating tolerances calculated at (b') d'. Tolerances calculated through the accumulation of tolerance at (c') and one-half per cent shrunk positive film. e'. Tolerances calculated through the accumulation of tolerances (c') and one-half per cent shrunk positive film. The latest being the extreme case, accumulating a maximum permissible shrinkage and all constructional and register tolerances taken from the camera, the registering tooth, the processing of both positive and negative and those of the printing of the positive film, which are due to the differences in shape and dimensions of the positive and the negative perforations. The above method of determining shrinkage and mechanical tolerances has resulted in the determination of a maximum camera aperture as illustrated in Fig. 1. Talking the above dimensions and computing according to the accumulated tolerances determined at (d) , (e), (d') and (e')> the maximum and minimum dimensions of sound track and picture area of positive film are derived as shown in Fig. 4. Possible Objections to Proposed Change A large part of foreign release is now on full frame disc and foreign exhibitors are used to showing American product in this way. This is probably the most important objection to the proposed change even though foreign release is a comparatively small item. However, the same considerations of studio economy will also apply to foreign producers and it is probable that they will follow Hollywood's lead. Foreign theatres now showing full frame can make the same adjustments American theatres have made. If they make no adjustments at all the picture will not be hurt except to show a heavy black border on the top, bottom and left side. There will be a period when prints with different apertures are circulating side by side. While this is true of any standardization, the committee considered that the advantages will far outweigh any temporary inconvenience. Theatres will be given the necessary instructions in advance and should not make the changes until they begin to receive most of their bookings on the new standard. Cost to Theatres Negligible Many theatres are unable to afford expensive changes in equipment. In answer to this it may be pointed out that this change puts no burden on the theatre. The new frame can be projected if necessary without any changes in apertures or screens whatever and the only harm, will be that a black border may show around the picture. The theatre can get rid of this by installing new aperture plates at a maximum cost of $3 and putting a rim of black paint around the screen or moving the screen masks in at very slight expense. If an individual theatre does not want to install shorter focal length lenses and has been showing silent pictures or sound-on-disc pictures through the old silent aperture, the change will reduce its screen size by about eighteen per cent. If a theatre has been showing sound-on-film through a movietone aperture the change will reduce its screen area about seven per cent, unless shorter focal length lenses are installed. In answer to these statements it should be pointed out: first, that the area being matted off has not contained any vital action during the past year and so has contributed little to entertainment value; second, that standardization of the three-byfour proportions responds to a strong demand from the theatre field; third, that to the increasing number of. theatres using a reduced proportional aperture the change will mean a four per cent larger screen image without additional magnification. Development of Standard At its meeting, April 16, 1931, the Producers Technicians Committee heard letters from Albert S. Howell, J. I. Schnitzel*, Douglas Shearer, Dr. Alfred N. Goldsmith, D. E. Replogle and G. E. Mather relative to picture apertures. Attention was called to the previous investigation of the aperture problem by the Academy and the possibility that in view of subsequent changes in theatre conditions it might be desirable to amend the specifications established in 1929. A subcommittee consisting of Virgil Miller, George Mitchell, Joseph Dubray, Sidney Burton and Donald Gledhill was appointed. After securing preliminary data through a questionnaire, the subcommittee recommended that a conference of studio representatives be called. This was held on June 18, the following studios being represented: Fox, Metro-Goldwyn-Mayer, Paramount-Publix, RKO, Universal and Warner Bros.-First National. The conference endorsed a three-byfour proportion for motion pictures and recommended that specifications be drawn up for standard apertures on this basis. A questionnaire to the sound departments securing data for the standardization of sound track width was followed by a conference of the heads of sound departments on July 21. The following studios were represented: Metro-Goldwyn-Mayer, Columbia, Warner Bros.-First National, Paramount Publix, Metropolitan, RKO, United Artists, Universal Educational, and RCA Photophone, Inc., and Electrical Research Products, Inc. On July 24 a questionnaire was sent to the studio and commercial laboratories. The subcommittee then undertook to draw up specifications which made sufficient allowance for shrinkage in the negative and positive and the various weaves and tolerances which must be considered and at the same time to secure the largest possible useful image area on the film. In the necessary research and experimentation the subcommittee was particularly assisted by the full cooperation extended by the Paramount Camera department, Metro-GoldwynMayer Sound Department, Bell & Howell Company, International Projector Corp., and Consolidated Film Industries. On October 6 a meeting of studio (Continued on page 34)