Business screen magazine (1938)

X X >f A HAPPY NEW YEAR is on the way for readers of BUSINESS SCREEN 1939 EDITIONS OF THIS stimulating magazine are now in preparation — bringing you fresli, vital information on the commercial and educational film developments of each month! DON'T MISS THESE ARTICLES: * "Training Salesmen with Films" * "General Electric: A Motion Picture Survey" * "The Personnel Department Uses Visual Aids" * Edison Electric and Films by John Coakley. * Caterpillar Tractor Rolls it Own! * and many others! PLUS Two Special Annual Numbers 1. The First Directory Edition of the Commercial Film Industry. 2. The Equipment Review Special 1939 "Blue Book" Numljer. Address Your Requests for Sample Copies to BUSINESS SCREEN 20 North Wacker Chicago >f X >f Ti^^ ^of ^ettef ^hct^^ 1. START "IN frame": One of the little niceties that may mean the difference between a professional-appearing or highly amateurish showing is the starting of the film exactly "in frame". Itarely docs one see in a theatre the beginning of a movie with the frame line of the film two high or too low on the screen: yet we have seen quite a few slide-film and commercial movie showings in which this has happened. To make sure the film is properly framed, the operator may observe either of the following procedures: (a) Before the start of the regular performance, throw picture on screen and make framing adjustment. Or. if audience is present, (b) open shutter of projector by turning the test-threading knob (all of the better projectors in the 16mm. class have some variation of this device) . Hold a small flashlight between film aperture gate and lamjjhouse. Looking in through the lens, in front of the projector, at the film, the film may then be properly framed. With some makes and models this is difficult to do, but the same results may be obtained by holding a white card a short distance from projector: then, at silent speed, and with sound turned off. the picture is framed before the actual beginning of the film. With slide-films this is, of course, a very simple procedure. 2. .START IN focus: An approximate focus may be secured without film in projector before start of a show by "sharpening" the edges . . . adjusting the focus till aperture edges on the screen appear sharpest. During showing of title, focus should then be gradually adjusted till title appears as sharp as possible. The proper lens should be used to fill the screen (Chart to be published later) , but if screen is not filled, picture shoidd be balanced in the center of the screen. 3. START AT THE BEGiNNi.N'c: The numerals following the threading-leader of a film arc for the convenience of the operator, and are not intended for the audience. These should not be thrown on the screen. Most 16mm. operators know this, but many do not realize the effect upon the audience when, through carelessness, the numbers are allowed to flash on the screen. Start at the beginning — not before, and not after. In an emergency, light may be "doused" by holding a white cardboard close to the front of the projector until the last number has flashed, then removing the card quickly. It is better, of course, to do this preparatory work before the audience is seated, having the film properly framed — with the title ready to flash on when the projector lamp is switched. 4. OPENINO SOXIND SHOULD FOLLOW PICTURE: Operators should not turn on the exciter-lamp switch (.sound) until projector has reached its proper speed, as a most undesiralile sound will in that case, be heard in the speakers. About two seconds is sufficient for the interval between turning on projector switch and projector lamp-switch (which in all 16mm. projectors is coupled with exciter switch) . 5. REELS SHOULD BE PROPERLY SPLICED TOGETHER: Two or three hundred 400'-reels of 16mm. film are often spliced together to form the standard 16nnn. reel of film. The producer often handles this splicing, sometimes not. Proper "breaks" have been allowed between the -too' reels, so that musical phrases or spoken phrases will not be rudely cut in half. However, an awkward interval between portions of spliced films often results from poor splicing, or failure to cut out sections of leader film between them, or the leaving of short patches of blank film or the "sink numbers" used on all ;3.5mni. film (from which the 16mm. was reduced) . Further, a poor splice may throw the picture out of frame. Splices should be carefully made, in accordance with instructions furnished with splicing devices. Unavoidable blank patches which may sometimes appear on the sound track lietween spliced sections should be carefully painted with a bit of indiaink to avoid a "blurping" sound. STAGING THE CONVENTION {Continued jroin Page Ij) motion pictures as a medium of sales promotion is indicated by the fact that Clairol, Incorporated, largest producer of hair coloring materials, devoted its entire exhibit at the New York State Hairdressers Convention to a motion picture presentation. :More than 15.060 beauty shop owners and jobbers attended the convention, held recently at the Hotel Pennsylvania in New York City. The usual procedure at this show is for each manufacturer to present demonstrations in his own exhibit room, and to offer merchandise for sale. This year Clairol's exhibit, however, was a miniature theater, complete with posters, box oflice and spotlights to give a preview atmosphere. Admission was by ticket only, the tickets being distributed by the jobbers who handle Clairol products. Sound and color motion pictures offered a condensed training course in the use of Clairol products and a presentation of the latest hair and hat styles from Paris, which showed how famous hat designers and great hair stylists are working to gether in the creation of new fashions centering around the upswept style of hair dresing. Besides the showing at the Hairdressers Convention, this motion picture program is now being presented to similar audiences in more than 100 cities. 40