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MANAGERS AND PROJECTIONISTS 1007
In other words I believe we have both the legal and moral right to assume that the exchange contracts to keep the films supplied, regardless of the class of service, in as good condition as is reasonably possible, and that therefore it is the duty of the exchange to subject its films to a thorough cleaning as often as may be necessary to enable their projection with good results, both in pictures and sound.
SPLICING SOUND FILM.— NOTE: These instructions apply alike to all kinds of film upon which the sound itself is recorded. It is of course essential to excellence in results that any film, be it silent or sound, be carefully and correctly spliced. It is, however, true that a poorly made splice in sound film is likely to result more harmfully than a poorly made one in silent film. This is because of the fact that there is the same possibility for damage to picture results there is with the silent film, plus the possibility for damage to the sound. It therefore is of very great importance that the projectionist not only know how to make a good, sound film splice, but also that he put that knowledge into practice.
Viewed merely from the standpoint of making a splice — fastening two ends of film together — there is no difference between the silent film and sound film splice. Each should be the same maximum and minimum width. Each is made exactly the same as to mechanical details. Each must be firmly cemented through its length, with ample cement (applied with just one stroke of the brush) to make a strong splice, but without any surplus cement above the amount so required. You will find the correct process of splicing film described and illustrated on pages 274 to 280, Volume 1.