Boxoffice (Oct-Dec 1963)

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Standby Power Plant Prevents Panic When Public Source Fails The vital importance of having a standby power plant as part of a theatre’s regular equipment was amply demonstrated the afternoon hurricane Donna struck Long Island. As service from the Long Island Lighting Co. to the Amityville Theatre suddenly quit, the theatre screen went dark. So did the exit signs, as well as aisle, stairway, restrooms and booth lights. Darkness gripped the audience and staff in startling bewilderment—but only for a few seconds. Just long enough for projectionist Harold Wild to flip a switch on the standby Onan generator plant and restore every emergency light in the theatre. Without panic, the audience was able to leave the theatre safely. Power from the public source was not restored at the theatre for seven hours. INSTALLED WHEN THEATRE WAS BUILT The Amityville management had wisely provided for just such an emergency by installing the standby power plant so it was ready for service from the first day the theatre was open to the public in May 1960. Rated at 3,500 watts A.C., the Amityville plant is Model 305CCK-LR, and provides sufficient power for emergency lights in the main theatre, lobby, exit signs, boxoffice, projection room and restrooms. The Amityville theatre has experienced no more outages since the incident occurring with the arrival of hurricane Donna. However, one important lesson was learned — that is, that it’s best to have the standby power source hooked up so it will go on automatically in case the public power source fails. Such power failure can result from such major upheavals of nature as hurricanes, floods and severe sleet storms. However, theatre power also can be knocked out any time by an auto hitting and knocking down a utility pole carrying the main power line to the theatre. Herman Weigle, who was manager of the Amityville Theatre at the time of the hurricane Donna emergency, said: “Power failure creates the problem of evacuating people from a darkened theatre without panic. This could be done by having theatre personnel assist with flashlights but it is not practical. An emergency generator is a must.” Fire-Resistant Draperies or Flameproofing Essential To avoid tragedies which may result from fires, many theatres today are using screen curtains and draperies of Fiberglas and other such fire-resistant materials. However, many exhibitors still prefer satin, velvet, etc., which are subject to burning. They may be made quite safe, however, by having them flameproofed by treatment with products which are made expressly for that purpose. Some of these products may be used satisfactorily by the custodial staff, but it is recommended that the flameproofing be done by professionals. Some of the flameproofing companies will come to the theatre and do the job right on the premises. Manufacturers' Credits For Pictorial Section As noted on page 34, credits given here pertain only to the principal subject material in the pictures, and if such information has been made available to the Modern Theatre Section. Page 20 Pine Hollow Theatre, Oyster Bay, N.Y. — Marquee Letters: Adler; Display Frames: Champion Moulding Co. Page 21 Fox California Theatre, San Diego — Draperies: Grosch & Sons; Screen: Walker-American; Seats: American; Carpet: Mohawk. Concord Theatre, Miami, Fla. — Draperies: Joe Hornstein, Inc.; Screen: Technikote; Seats: American; Carpet: Magee. Page 23 New Mission Theatre, San Francisco — Carpet: Karagheusian. Page 24 Coronet Theatre, New York City — Carpet: Karagheusian; Escalator: Peelle. Continental Theatre, Forest Hills, N.Y. — Carpet: Karagheusian. Cinema, Rock Hill, S.C. — Carpet: Alexander Smith. Page 25 Smithtown All-Weather Drive-In Theatre, Nesconset, N.Y. — Patio Seats: Lloyd; Screen: Technikote; Playground Equipment: Miracle, Play Sculptures. ASHCRAFT CORE-LIGHT SUPER CINEX CINEX SPECIAL PROJECTION LAMPS AND HIGH-REACTANCE MULTI-PHASE RECTIFIERS * World’s Standard of Projection Excellence TUFCOLD FIRST SURFACE DICHROIC REFLECTORS The modern , long-service heat reducing mirrors with the harder than glass, flake and peel-proof front coating. Produce more light on the screen because it is reflected from the front surface and does not pass through the glass twice, as with second surface reflectors. Cut film gate heat 50%. Aperture and lens never get hot. Make constant refocusing unnecessary. Stop emulsion deposit on film track. Prevent unnecessary wear on projectors. cdncl tliey.’ re GUARANTEED 2 YEARS — twice ciS long, against coating deterioration! The lowest cost way to brighter pictures is to replace those old reflectors with TUFCOLDS. Immediately available in the type and size you need. 11 84 The MODERN THEATRE SECTION