The motion picture projectionist (Nov 1931-Jan 1933)

REPAIR-REPLACE NEWS VOL I, NO. 2 NOVEMBER, 1931 REPLACE WITH SIMPLEX PROJECTORS Good Projection Vitally Essential to Prosperity of M. P. Theatre The picture, to have the proper entertainment value, must be rock-steady, perfectly sharp in focus, with lines absolutely unblurred and its contrast values undamaged by shifting lights. Each succeeding film photograph must register with minute precision with the one directly preceding it over the projector aperture, and the screen itself must be evenly illuminated and also lighted with a brilliancy suited to the individual needs of the theatre concerned. Failure to comply with the above specifications results in an unsteady, blurred picture of no entertainment value — no matter how good the film — and the resultant falling off in b. o. Teceipts. GOOD PROJECTION MAKES ALL THE DIFFERENCE BETWEEN FAILURE AND SUCCESS TO ANY PICTURE. Projector manufacturers have expended thousands upon thousands of dollars, and years of experimental research in trying to perfect their methods of manufacturing parts. Measurements of ten-thousandths of an inch are now a regulair paTt of shop routine, and this simply goes to show how infinitely accurate must be the registration of the projector at the time it is installed in a house. It only remains for the exhibitor to keep it up to the minute in repairs and additions which may be found necessary from time to time. EXHIBITORS MUST AWAKE TO THE ULTRA-IMPORTANT PART PROJECTION IS PLAYING IN THE LIFE OF THEIR THEATRES. THEY MUST REALIZE THAT THE PALTRY FEW DOLLARS THEY MAY SUCCEED IN SAVING ON THEIR PROJECTION REPAIR BILL WILL ASSUME UNRECOGNIZABLE PROPORTIONS AS COMPARED TO THE FALLING-OFF IN ATTENDANCE AS REGISTERED BY THE BOX-OFFICE REPORT. And they must realize that good projection is no longer a matter of speculation — but a 100% goldbond investment, with the resultant profits bearing a distinct relation, comparatively, to the original sum invested. D. E. CRANDALL TXc/nteraa&oaa/ jfro/ector Neglect a Grave Mistake It is a grave mistake to neglect repairs on any machine and this is particularly true of the motion picture projector. The mechanism of the motion picture projector is designed to handle the inflammable and delicate film so that danger and damage may be avoided even at the excessive speed the projector is sometimes operated in some theatres. IT IS, HOWEVER, NECESSARY THAT THE MECHANISM BE KEPT IN EXCELLENT CONDITION AT ALL TIMES AS A DEFECTIVE PART IS BOUND TO EVENTUALLY CAUSE SERIOUS TROUBLE. It has long been my belief that a "stitch in time saves nine," foT a wear on one part starts up a chain of wear. AND IT IS REALLY THE HIGHEST FORM OF ECONOMY TO MAKE REPAIRS JUST AS SOON AS THERE IS ANY INDICATION THAT THEY ARE NEEDED. Where repairs can and should be made by our own projectionists we do the work, but under no circumstances are repairs made by us which should be made by the projector manufacturer or where replacement is really necessary. Care, experience, skill, loyalty and pride in their work on the part of the men and liberal expenditures by the management are needed, but they certainly pay in the long run. HARRY RU31N Director of Projection, Publix Theatres Three Projectors an Economy I have always been an advocate for THREE PROJECTOR installations and think that every theatre, both large and small, should have three complete projectors in the projection room and all three should be in first-class working condition at all times if possible. I say if possible because at some time no matter how careful you are one projector is liable to go bad and it should not be allowed to be out of commission any longer than is necessary to put it back in good condition again. I have had the occasion to repair one projector while keeping the show going along on the other and we all know that this is not an easy task. With a THREE PROJECTOR installation it would i have been but a short wait to take the film from the disabled projector and continue the show on the third, repairing the laid up projector at leisure and thereby doing a better job. Then again IF YOU ALTERNATE ON THREE PROJECTORS YOU WILL LENGTHEN THE LIFE OF THEM ALL AND I BELIEVE THAT THREE PROJECTORS USED ALTERNATELY WILL BE OF SERVICE MORE THAN THREE TIMES LONGER THAN A TWO PROJECTOR INSTALLATION. I HAVE SEEN PROJECTORS USED UNTIL THEY WERE ALMOST READY TO FALL APART BEFORE THE MUCH NEEDED REPAIRS WERE MADE. CHARLES H. TRAVIS Schenectady, N. Y. REPAIR WITH GENUINE SIMPLEX PARTS Have You Studied the Safety of Your Projection Room? Let us look over the projectors. 1918 Model and looking as though, as far as overhauling is concerned, they have been forgotten since that year. It's hardly necessary to look at them; just listen to them — every rattle tells a story. Gear teeth worn to a knife edge, bearings that have become literally egg-shaped instead of round, enough blacklash to allow nearly half a turn in the gear train without moving the film. The shutter gears so worn that it is impossible to project a picture without "travel ghost" and film guides that are worn to a wafer thickness. You ask, what has the sad mechanical condition of the projectors to do with safety? The answer is simple: A WORN PROJECTOR WILL LOCK AND JAM SIX TIMES AS OFTEN AS ONE IN GOOD REPAIR. Film is moved down through the projector mechanism by the teeth on the sprockets. If these teeth are worn down or the gearing which actuates the movement of the sprocket locks, it is evident that the film will sooner or later cease movement. Remember that the heat at the aperture is greater than the flashpoint of the celluloid. If any part of that mechanism stops functioning for one-quarter of a second nothing more is necessary to start a fire. Where1 it may end is laTgely a matter of conjecture. GEORGE C. EDWARDS American Projection Society, Inc. NTERNATIONAL PROJECTOR CORPORATION 90 COLD STREET NEW YORK