Boxoffice barometer (1944)

cmr ciimc PRACTICAL DISCUSSIONS ON MODERN PROJECTION AND SOUND PRACTICES Present Outlook on Projection and Sound Reproduction S we go to press with this review preview issue of 1944-5, there is not much to report in the way of new product development for early postwar consideration. New product developments, now in the making, are still not ready for disclosure or discussion as we close the forms for this issue. This much can be told, however: There will be new models of both projection and sound equipment, new lamps, lenses, amplifiers, speakers and other accessories ready for announcement and marketing within a reasonably short time after wartime restrictions on their manufacture are removed. The time, of course, is indefinite. Sneak Preview We have had the privilege of inspecting a few of the developments (under guard, of course) and we can assure our readers definitely that the size and shape of things to come will not be radically different from their predecessor models still in service. In this respect, the process of refinement and improvement of prewar models is being worked out on drawing boards and behind closed doors in the factory laboratories. In other words, all “bugs,” if any, are being extracted from prewar models of both sound and projection equipment and their kindred accessories. Among the objects of present projection engineering, research and development are such things as (1) heavier elements for greater life, less frequent repair and adjustment and steadier performance of the screen image projected; (2) improved oiling systems for improved gears and wearing parts; (3) greater foolproof ness in op MAINTENANCE POINTERS ON PROJECTION AND SOUND EQUIPMENT UPKEEP FOR EFFICIENCY. 1. Keep the projection room and all its equipment clean. Dirt and dust on equipment combine with excess oil, qrease and air moisture to increase wear and maintenance. 2. Use specified grades and quantities of oil or grease according to the manufacturers instructions. Equipment that is properly lubricated lasts longer. Never lubricate equipment while in operation. 3. Be sure all switches are pulled when the show is over. 4. Maintain proper adjustments. Improper adjustments will shorten equipment life and increase replacements. 5. Inspect fire shutters frequently for proper operation. Properly operating fire shutters prevent fires and damage to equipment. 6. Be sure that the lamphouse is kept thoroughly clean both inside and outside. Carbon ash, drippings, pittings, etc., should be removed regularly once a day. Reflectors also should be cleaned every day. 7. Clean lenses often and carefully, using only good quality tissue in order to avoid scratching. 8. Dirt on the screen reduces brilliancy and definition of pictures and contributes to poor sound quality. At least once a month remove dust by vibrating the screen and brushing with a soft, long-haired brush. Use a vacuum cleaner occasionally on both front and back of the screen, but only with the proper attachments for screen-cleaning. 9. Try to maintain more cooperation between projection room and manager's office. If repairs or replacements are necessary, they should be provided at once. 10. Regular contract Service for projection rooms is a boon in these days of equipment restrictions. eration; (4) easier access tx) all elements and numerous other improvements and refinements over the models of 1940. In their preparations to produce and introduce new light sources for better projection, the lamp manufacturers are also busily engaged in development toward the higher intensity range; but they’re showing nothing yet and are talking less. However, it is pretty certain that the new lamps when they come will not seriously upset present projection standards; by which is meant that they will readily replace older models under all ordinary conditions. Optical systems also are the subject of research and development, as is as well the provision of new equipment for electrical current supply and regulation; but there’s nothing on the horizon now to indicate that any of the new equipment promised will not fit comfortably into our present projection rooms or those to be planned for our new postwar theatres. Sound equipment, too, is quietly undergoing a similar process of revision and refinement of elements for better results, and further integration with the projection units is promised with the provision of new models. But here again, no revolutionary changes are to be anticipated. What’s Wanted During this past year, our “Cine' Clinic” has raised the question of “What Should the Postwar Projector be Like?” on frequent occasions and hundreds of letters have been received from projectionists all over the country outlining their ideas for product improvements. Some of the suggestions, several of which have been outlined by sketches, have been highly practical; many have been more idealistic than attainable, others have been admittedly of the “Rube Goldberg” type; but on the whole these many suggestions have served to bring out and highlight the points at which improvements are needed in the new equipments to come. The purpose of our monthly clinical discussions since the war put a stop to further equipment production has been to assist manufacturers in their postwar plans by bringing to their attention in this most practical manner the need for improvements and where they may be applied for the satisfaction of the men who operate projection and sound equipment and who are held most responsible for the final result. Conservation and maintenance too have been subjects of regular treatment in the “Cine' Clinic.” Invitations have been consistently tendered to our projectionists to tell us their troubles in connection with the upkeep and caretaking of their irreplaceable equipment. Many valuable suggestions in the form of “Kinks and Gadgets” have been exchanged by members of the craft through the “Clinic” as well as “The Quiz Pot.” The methods by which our men of the projection room have solved their problems have ranged from clever to crude contraptions: but they indicate what a good (Continued on page 42) 40 The MODERN THEATRE SECTION