Boxoffice (Oct-Dec 1961)

men carry. Metal reflectors are a different problem and must be cleaned exactly as specified in the manufacturers’ instructions. The very fine tool referred to has been developed by the Motion Picture Reseai’ch Council. This is known as an optical aligning tool and enables our men to check the mechanical and optical alignment of the equipment in a short period of time. This device will indicate the condition of the reflector, if it is properly trimmed and focused, and if there are any obstructions between the reflector and aperture. Our men use these tools to the greatest advantage and in many cases can make a real improvement to the screen illumination in a matter of minutes. It is also necessary to know if the voltage and current is right for the carbons being used and if the meters in the booth are properly calibrated. The carbon man also carries instruments such as the Columbia clamp-on ammeter and a highly accurate voltmeter, both of which are checked for accuracy at regular intervals. SCREEN BRIGHTNESS METER Another very important meter in the service kit is the screen brightness meter developed by the MPRC, considered the standard for checking theatre screen illumination. Center brightness, or a hot spot, is not the criteria. Overall distribution of light over the entire screen is the desirable goal which Hollywood subscribes to emphatically. One of the most important jobs that can be done for you by a carbon man is to adjust your lamps so there will be a minimum of carbon wasted. In too many cases we find maladjustments which cause the carbons to be consumed up to 25 to 33 Ms per cent faster than necessary and not providing any additional light — in some cases even less light. Patience and knowhow are required to get the maximum light with most economical burning rate. Avoid Film Damage on Rewind Much film is damaged and badly scratched in rewinding because the winding equipment is not properly aligned. This is especially true with a hand rewind. The film must feed smoothly and squarely from one reel to the other, and there should be no protruding edges. The film should be wound tightly, but not pulled down by holding the reel and forcing the film in order to obtain a tight roll of film. There should be just enough tension on the dummy rewind to make it go on smoothly and tightly. Unevenly w'ound film is often caused by a waited exchange reel and protmding edges may be damaged when placed in the film can. An electric rewind should be adjusted to rewind 2,000 feet of film in about eight to ten minutes. The dummy end of the rewind unit should have sufficient tension so that the film will wind tightly. Most rewinds are equipped with a brake strong enough to make the film rewind snugly, though not too tightly. No set rule can be laid down for braking power. Each projectionist must determine that for himself. Bulletin 222 describes Kollmorgen lenses in detail. See your equipment dealer, or write us direct. SHARP CONTRAST IN PROJECTION Kollmorgen lenses rate tops in the motion picture industry. Used exclusively with Cinerama, they are standard equipment in more than 70% of American theaters. Wire sharp contrast of the projected image on the screen — the whole screen — is typical of the outstanding performance of SUPER SNAPLiTE® lenses. Other advantages that add up to superior screening with super snaplites are: Fastest lens speeds Uniform illumination Crystal clarity Wide range of focal lengths Sealed construction CORPORATION NORTHAMPTON, MASSACHUSETTS [ Garver rectifiers There's no better way to beat high rectifier cost than with highly developed, efficient, low priced Gorver Tube Rectifiers. A dependable source of screen light since 1916, both Garver tube and stack type rectifiers can be built for single or three phase operation at any amperage. Write today for full details. GARVER ELECTRIC CO., Union City, Indiana Export Agency; Streuber & Lo Chicotte, Inc. 250 W. 57th St., New York 19, N. Y. BOXGFFICE :: November 20, 1961 33