Movie Makers (Jan-Dec 1953)

138 MAY 1953 THE THIRD D HOLLYWOOD, in its first flush of enthusiasm for three-dimensional (and/or wide-screen) motion pictures, has hailed them as the industry's savior from television — if not, indeed, from its own banalities. Could be. The crowds do still queue up before any movie marquee which flashes the magic symbol t(3-D!" Broadway still is packing them in at Cinerama, the archetype of the wide-screen system; and, our agent informs us, the same situation obtains in Detroit — where Cinerama had recently its second flowering. Could be . . . However, like our author in this issue (see Stereo Movies — Novelty or Nonpareil?) , we are inclined to doubt it. To begin with, either system (3-D or widescreen) carries with it a massive accumulation of technical difficulties — first in production, again in exhibition. To be sure, it is reasonably safe to assume that Hollywood, with its unparalleled know-how, will solve these difficulties in time. But having solved them, is it also safe to assume that Hollywood will say anything with its new and impressive technology? Anything, that is, essentially fresh and cinematic. They haven't so far. Instead they have thrown spears at us — or taken us for rides on a roller coaster. We are moved to these musings by the approaching imminence of ACL's Ten Best competition for 1953. For in the months since our last contest, the tools for making stereo movies (in two technically effective forms) have been placed within reach of the amateur filmer. It now remains to be seen what, if anything, he will do with them. As far as ACL is concerned, 3-D movies are as welcome to compete in the Ten Best contest as are 2-D, or color, or monochrome, or sound, or silent productions. But each, in its own medium, must first, last and always be essentially a movie. Throwing spears at our judges will be regarded not only as in bad taste. It also will impress us as rather silly — and will be marked off accordingly. THE AMATEUR CINEMA LEAGUE, Inc. Founded in 1926 by Hiram Percy Maxim DIRECTORS Joseph J. Harley, President Frank E. Gunnell, Vicepresidenl The Amateur Cinema League, Inc., sole owner and publisher of MOVIE MAKERS, is an international organization of filmers. The League offers its members help in planning and making movies. It aids movie clubs and maintains for them a film exchange. It has various special services and publications for members. Your membership is invited. Eight dollars a year. AMATEUR CINEMA LEAGUE. Inc.. 420 LEXINGTON AVE.. NEW YORK 17, N. Y.. U. S. A. Walter Bergmann, Treasurer Arthur H. Elliott Fred Evans John V. Hansen James W. Moore, Managing Director George Merz Stephen F. Voorhees Roy C. Wilcox inal from your projector and hook up a special lead. However, if you decide (as I did) to leave the speed control in your projector, you can wire a control cord into your machine as is indicated in Fig. 3. A three-conductor cable must be used, with one line for the rheostat and two for the pilot light. The rheostat cord ends in an Amphenol three-pole polarized cable socket, while a three-pole polarized plug is installed in the cabinet. This can be either the flush-mount type shown, or a below-surface shell can be used. But in so small a cabinet I think the plug used here is best suited for the job. The circuits called for by these arrangements are essentially simple. That for the cabinet is diagramed in Fig. 4. The modified wiring for your projector is plotted in Fig. 5. Finally, in finishing off the cabinet, it should be equipped with four rubber feet and a back should be provided out of cardboard or flocked radio-grille screening. From this rear side extends the flexible drive shaft — now of the covered type used in auto radios — which is connected to the projector via a specially-cut plate with a welded-on nut. In operation, the only difficulty in using this unit to create synchrony between your recorder and projector will be found in starting both of these instruments simultaneously. Ideally, a master switch which controls the power feed to both machines should do it — if the operating controls have been left in the "On" position. Practically, however, this does not work out well. With my Pentron two-speed recorder, for example, when all the controls were set on "Record" and I threw the master switch, the recorder motor did not have the power to start pulling tape instantly. It is only from the idling position that the recorder can move the tape immediately after the motor is engaged. Since the projector will start easily at any time, it seemed clear that the recorder would have to be regarded as the leader in any synchronized-start arrangement. With this in mind, I installed a micro-switch (again see your radio parts store) on the frame of the recorder in such a position that it would be actuated by any slight shifting of the recorder's teeter bar. To make possible this physical contact, two small angle brackets are attached to the teeter bar and the switch is positioned by trial and error until there is only a split second of lag between movement of the tape and the closing of the switch. Here's how you do it. Fasten the switch into position, but only loosely. Then run some wire from it to a hookup with an ordinary electric bulb. But do not forget: of the two wires from your live outlet, one goes directly to the bulb, the other into the micro-switch and then on to the bulb. Now start your recorder and watch the tape and bulb. The bulb should seem to light in almost the exact instant that the tape starts moving. If it does not do so at first, make test adjustments of the position of the switch or the angle brackets on the teeter bar until you achieve the desired timing. There are many ways, of course, of hooking your projector to this switch control. For example, you could install in the recorder case an Amphenol standard AC socket with a below-surface mount, and then splice into the recorder's 110 volt AC line or take it off the AC input terminals. But here again remember: one live wire goes to the micro-switch, one goes to the socket, and the last connection is socket to switch again. From here on in, follow your established recording procedures. The Synchro-Tach unit will keep your projector in accurate step with your tape recorder.