Boxoffice (Jul-Sep 1948)

Dear Subscriber: Please put a marker here and pass this issue on to Projection Room PRACTICAL DISCUSSIONS ON MODERN PROJECTION AND SOUND PRACTICES tinues in use, the projectionist is cautioned against any type of automatic shutoff which is dependent in its operation on friction with the film. Film Scratching: How to Locate Trouble and Remedy It ARLY IN THE HISTORY of film exhibition, a now unidentified member of the craft conceived the then brilliant but extravagant idea of using two projectors for the purpose of screening uninterrupted programs. This event marked a turning point in projection practice, but brought with it the beginning of reel-end cue manufacture by those whose best efforts were directed toward a smooth changeover from one projector to the other. This practice was accepted as a necessary part of projection room routine and prevailed for many years without protest from any source. Sound pictures in the late twenties brought to the profession the unforgettable “cue sheet,” a printed instruction sheet prepared for each feature, the success of which was dependent on the projectionist starting the drive motor on a certain word in the dialog or movement in the action, and making the actual changeover on another predetermined word or gesture. Early Effort Uncertain The results of this early effort were always uncertain, due to the wide differences in motor starting torque between equipment types. In 1930 it was abandoned in favor of the Standard Release cue which has been in continuous use since. Later in the thirties, the 2,000-foot reel was adopted as standard for the industry, replacing the 1,000-foot reel, and reducing the number of changeovers (and cues) by essentially half. In the intervening 18 years, abuse of the cue system has been a subject of annoyance and extensive discussion by the more conscientious members of the craft everywhere. It would appear that the system itself is fundamentally faultless by reason of its very simplicity. Its flexibility accommodates any imaginable starting torque, and its sucess is dependent on two controllable factors: (a) preservation of original cues, and (b) maintenance of original leader length. But in “b” lies the primary weakness: leader breakage in the course of handling and footage reduction in splicing results in “off footage” framing marks. To compensate, it seems that many projectionists alter the spacing between cues by GERALD BOEN Attention of All Exhibitors! With this issue we present to readers of Modern Theatre, Gerald Boen, our new Quiz Pot Conductor. Gerald’s first article discusses the all-important subject of film scratching . It is our suggestion that you read the article carefully then see to it that it is brought to the attention of your projectionists. by inflicting their own versions with a screwdriver, china marking pencil, lipstick, or what have you, and we complete our quarter century cycle of progress by ending up with essentially the same system practiced in silent days of each projectionist adding the mark of his fancy. The important difference today is that the film art has progressed to the point where these practices, orginally accepted as necessary, are no longer permissible. We now have “Suprex” type lamps which, with highly efficient lens systems, result in picture definition approaching perfection, and the flaws, as well as photographic detail, are clearly and annoyingly presented to the viewing public. Preservation of original cues without mutilation or addition is, of course, the first step toward correction. Since the underlying reasons for substitute cue infliction originate in the leader. Foteign deposit on sound opetiure plate alters film plane at scanning point. "Off focus" effect results in loss of highs in sound. the practical solution would appear to be leader replacement by the distributor as reduction in its length may require, and a tendency toward this practice has been noted increasingly in recent months. Lacking such replacement, many projectionists have worked out their own method of coping with inaccurate footage by measuring off the necessary length required for their “running in,” and marking a framing point on the leader without regard to the Standard Release footage indications. Undoubtedly a thoroughly practical procedure that in no way detracts from screen results, its use is highly recommended in preference to cue substitution. While the work of the “cue artist” is definitely a problem worthy of correction, of far more importance to projection practice is the subject of general film damage and scratching which embraces the entire reel rather than just a few feet at the end. There are probably few projectionists who have not been accused at one time or another of fihn damage, such damage usually occurring during initial runs of a new print. There is the possibility that the film distributor may be at fault in isolated instances of failure to properly process the new print before release to the field, which does not in the least detract from the projectionist’s responsibility to see that any film in his care receives the most intelligent handling in the interests of the future life of the print, although by no stretch of the imagination should he personally be held liable for accidental damage in the course of his best efforts. Causes of Scratching The most common cause of film scratching with a new print is the adhering of emulsion to the film tracks, resulting in a rapid accumulation of an extremely hard and sharp deposit which will inevitably ruin the entire reel as well as all successive reels unless detected and promptly removed. Usually, as a result of the deposit, the film is under abnormal tension at this point which is reflected in a louder than normal noise, not unlike the sound of a noisy intermittent movement. While a good projectionist will resort to almost any expe(iient to avoid an interruption of his program, this is one case where continued operation without correction is just plain foolish. The use of oil in such instances is not only ineffective but damaging. The only sensible course is immediately to stop the projector, remove the offending deposit, lubricate the tracks with a stick of ordinary paraffin to assist in avoiding a recurrence, then continue the show. The slight loss of time can not be compared to the loss of a reel of film or (Continued on page 36) 34 Tke MODERN THEATRE SECTION