American cinematographer. (1943)

How To Care For 16 mm. Sound-Films By D. LISLE CONWAY President, Syracuse Movie Makers Association T HE past few years have seen an enormous increase in the use of 16mm. sound-films and projectors. They are being used for visual education purposes not only by schools and health associations, but by our War Industries, and by every branch of our Armed Serv¬ ices. In addition, a constantly increasing number of civilian amateurs are using 16mm. sound-films in various projects for bringing film entertainment to our troops, through YMCA, USO and similar organizations and in putting on volun¬ teer shows for men at isolated search¬ light and anti-aircraft gun posts, and in similar spots too small or too out-of-the- way to be reached by the usual “organ¬ ized” camp shows. As a result, more and more of the workers in these fields are being faced with the problem of taking 16mm. sound- films and equipment to outside meetings for film showings, with little or no ex¬ perience in the care and operation of this type of equipment. In the past, if film was damaged through accidental misuse, or the equip¬ ment broke down, it could be replaced easily enough. Today, however, because of the war, much of this equipment can¬ not be replaced. Now the films, projec¬ tion-lamps, amplifier tubes, photocells, and projectors themselves, must be made to last as long as possible with the least From a lecture delivered at the Convention of New York State Tuberculosis Associations. possible wear. Many of the tubes used in sound-projector amplifiers are no longer made; others are obtainable only on a priority basis. Projection lamps are being rationed, and in some places the old ones must be turned in for the new ones; all new sound projectors are go¬ ing to the Armed Services; electric cables cannot be purchased; and many other things which we have taken for granted could be easily replaced—cannot now be had at any price. For these reasons, this article will con¬ cern itself mainly with the conservation and protection of the equipment and ma¬ terial we now have in our possession, or still may be able to obtain. In addition to this, hints on good projection practice will be given later. To your audience, the most important thing is the picture on the screen and the intelligibility of its sound. Dirty, scratched pictures, hissy, uneven sound, not only detract from the appearance of the show itself, but in many cases result in the message that the film tells being entirely lost through distraction of the audience’s attention. Therefore the con¬ dition, storage, and handling of the films you show are of paramount importance. The rules to follow in helping to pre¬ serve your films are very simple, but nevertheless very important. Remember, once the film is badly damaged through careless handling or scratching, it can¬ not be repaired! Keep your films clean! Grease, oil, dust, and dirt are deadly enemies of mo¬ tion picture film. Oil is sometimes spat¬ tered on the film by the projector, grease may have been gotten on the film from fingerprints. These result in blobs of off-tone grey on black-and-white film, and a change of color on Kodachrome or any other color film. This grease and oil, unless removed, will serve as catchers and collectors of dust and dirt from the atmosphere and, in turn, result in scratched films. The dust and dirt so gotten on the film collect in the picture and sound gates of the projector, and unless removed before each projection will scratch whole sec¬ tions of film, leaving long white streaks which can never be removed. The pic¬ ture area on the screen is likely to be fringed with a sort of moss effect and will look like grass growing from the top and bottom of the picture. The sound will grow weaker in volume and, when the sound track of the film has been scratched, will result in crackling, hissy, unintelligible speech. The solution of this is simple, periodic, film cleaning with an approved film cleaner, and the cleaning of the picture and sound gates before each projection. The latter will be dwelt on later. There are many approved film cleaners on the market. Eastman’s Film Cleaner, put out by the Eastman Kodak Co., is one. However, let me stress here that only approved film cleaners should be used! Ordinary household “spot re¬ movers” should never be used, as the cleaning agents and solvents in them are most often deadly enemies of mo¬ tion picture film. This is especially true of cleaners containing alcohol or benzine, and the like, which will not only ruin the dyes in Kodachrome, but will attack the film base, as well. The process of cleaning a film is very easy. With most cleaners comes a piece of lint-free, soft, plush cloth. This is moistened with a small amount of the cleaner and the film, as it is slowly (Continued on Page 194) 180 May, 1943 • American Cinematographer