The Moving picture world (November 1926-December 1926)

our Equipment Serukefor you^Jheatre Owner'^BiuLder^StudW'^ Caboratori^ Sxchanqe txecutioe ^Jrom llourJiujle Edited bij dl. Van Bureri fowdl What Poker Hand Is Your Theatre Likel EVERY EXHIBITOR would like his theatre to be a full house — pat! But in many cases the poker hand a theatre most resembles is an inside straight — it's a long chance that you can fill it on the draw. You arc the dealer. You can stack the cards and get Away with it. If you want to get a look in on the money it's your own fault if you give yourself nothing to draw to. Pictures, Projection, Music, Comfort — these are the four suits you have to deal out. If you are anyways clever you will hand yourself an ace in at least three of them. Then you can afford to take a little chance on the picture you get in the draw. Why Deal Yourself a Deuce When an Ace is as Handy? You can't get away with a bluf?. You have to have the goods when the public calls. If you hold an ace in projection and another in music — you have to show the seats that stack up with them. If your seats and your projection are your pair and your music sounds like the deuce, and a punk picture conies along — you've only got aces and deuces. In that case, very likely your man-up-the-street has the full house ! But if you deal yourself the three aces within your control you can feel safe that with modern production quality you'll get an ace picture nine times out of ten — and nobody can beat four aces. Be Sure You Can Show When the Public Calls Replace projectors, lamps, condensers, reels — before they actually need replacing. Don't wait till you have a breakdown. Keep projection ace-high. Don't let either your organist or your organ get out of harmony with the picture. It's a strong card. If seats are uncomfortable, carpetings worn or lumpy — get action that will restore them to winning quality. Then when it comes to a showdown the public doesn't begrudge you their money. cient amount of drainage oil to give a long lower loop a steady bath. Sometimes the film gets a constant spray or sprinkle of oil through a worn intermittent bearing. It is also customary for the "Operator" to have a pan placed on the floor under the projector to catch the oil drip from the mechanism, and often this pan, with more or less oil in it, will also catch the ends of the film as the "operator" is either threading up the machine or is taking the film out of the lower magazine. You can rightfully place the blame for oil on film to one or all of these conditions, for in no other way does film ever come in contact with oil. Motion picture film in its rapid passage through the machine may become charged by friction with static electricity which will enable it to attract and attach any dust in its vicinity. Consequently when the doors of an enclosed projector are opened or when the film is "spilled" it becomes plentifully coated with lint and dirt which it annexes permanently if there is any oil to act as a cement. Further passages through the projector rolls the mixture in until a very objectionable layer of coats both emulsion and base. The projectionist is quite aware that a fine sparkling picture can only be produced from clean film ; nevertheless, in too many cases the presentation is marred because he has no equipment for securing this cleanliness. Cleaning Machine* In considering cleaning machines, we have had in mind the importance of the wash fluid which is actually to do the work. It must be non-inflammable, give off no explosive or poisonous gases, and be free from any acids or alkalis that might attack the silver image, and furthermore it must be cheap. We have been fortunate enough to (Continued on next pajre) Describes Method For Cleaning Motion Picture Positive Film THROUGH the courtesy of the Society of Motion Picture Engineers and of Mr. J. I. Crabtree, of the Research Laboratories of Eastman Kodak Company, we are giving general circulation to an article read at a recent meeting of the S. M P. E. by its author — a paper of interest to laboratory folks, to exhibitors and to the projectionists — as well as to exchange managers. By Trevor Faulkner In connection with a department of my firm which is concerned with the distribution of positive film, I have been interested since very early days in the production of an efficient film cleaning machine. The machine which I am about to describe to you has been installed after much experiment and is one which very satisfactorily cleans and revitalizes dirty film. That film should become soiled is in the nature of things. In practically all cases the projection booth is the most remote part of the theatre, where it is seldom under the care of a janitor or porter, and in too many cases is hardly ever inspected by the manager. This means the periodical accumulation of dust and dirt till the operator is forced to have a "house cleaning." It is seldom that you will find the floor of a booth free from grit and oil, which is most harmful if the film has to be "spilled" to secure uninterrupted screen presentation during a minor accident. Again, on account of being at the highest point of a theatre, and usually with an exhaust fan in it, most of the dust that arises from the constant stir of patronage is drawn into the projection room and necessarily through the port holes in front of the projection machines. So much for the conditions supplying dirt. Film and Its Care When positive film is first released, it is more sensitive to damage than when older, and consequently more care must be used in its handling. Regardless of any prior waxing the film may have had, to prevent the probable damage the "operator" often applies oil to the film. Then, there have been cases known where the unfortunate film runs through a continuous bath of lubricating oil. In one make of a projection machine, when the projector is tilted to fit the angle at which the light rays must be thrown to reach the screen, there is a receptable created at the base of the mechanism that is capable of receiving and holding a suffi ROLL — Machine — Coupon TICKETS QUALITY— Second to none! SERVICE Unexcelled— our LOWEST PRICES will be mailed to you on request. State your requirements by mail — Today 1 TRIMOUNT PRESS LARGEST AMUSEMENT TICKET PRINTERS IN NEW ENGLAND FOR 17 YEARS 119 ALBANY ST., BOSTON, MASS.