The Cine Technician (1939)

24 T H E CINE T E C H N 1 1 I A N April-May, 1937 The Last Link Ti : '.HE picture may approach a masterpiece, but if the projection fails, the picture can hardly help failing. The projectionist with his projection equipment is largely the master of our photographic destinies." The above was quoted by Richard (Dick) Barthelmess some years ago. Since then the projectionist has had his equipment increased with sound. Admittedly sound engineers keep this up to scratch, but the chief projectionist is still held responsible for its upkeep. Do all the studios realise that from the producer to the editor, from make-up to the camera, from the star to the sound, right from top to bottom, all their efforts are shown by the projectionist, and without his constant help, where would any film be? Even with a feature or a super-film in the cinema, the projectionist is the last link in a great chain, because concentrated within the spool-box is the consummate artistry of playwrights, actors, producers and cameramen. Success depends on the diligence and craftsmanship of the projectionist, and according to his anxious care is the enormous expense of a super-film justified. The cinema has the task of taking thousands of fellowmen and women away from the cares of an often drab and colourless life, transporting them on a magic carpet to a Lab. Topics {continued from preceding page). into the spirit of the evening and putting up a grand performance, as also did Kenneth Gordon, O.C. of the filmwinding competition (not so easy with sub-standard, either) and joint M.C. with ( . J. Phillips. As a tailpiece, we should like to repeat the retort, which we overheard, to a distinguished official of the A.C.T. Laboratory Section who, upon confiding to his partner that he was not a very good dancer, received the reply, "I think it's very good of you to dance at all." Nevertheless, we have been assured and know that a good time was had by all. Cinematograph Trade Provident Institution The other day I had cause to discuss insurance and safeguards against unemployment, illness, etc. Later it struck me that I would be doing you all a good turn by introducing you to the Cinematograph Trade Provident Institute. The Institute is designed to cater for cinematograph workers only, and does its job well. Sixpence per week insures a member against unemployment, family, illness, death, etc. Many employees at Elstree Film Laboratories are members, and I strongly advise all other Film Laboratories to take it up. The procedure is simple. Ask your Manager to write to: — The Secretary, Cinematograph Trade Provident Institute, 52 Shaftesbury Avenue, London, W.I., when forms of application and literature outlining the lieiieliis will be sent to him. The weekly subscription can either be stopped out oi your pay or yon can nominate someone to collect the money weekly and forward it to the Institute. "Gamma." F. G. BAIL land of make-believe, sending them away refreshed to tackle the world of realitv with renewed zest and courage. But if the showing of a film is bad they do not get that feeling. This is the responsibility of the projectionist, and not that of the manager, producer or artiste, no matter how good the film may be. The same applies to the projectionist in the film studio, who is the first link in the long chain. Adolph Zukor, in the "Motion Picture Herald," published the following article : — "There comes in the career of every motion picture that final occasion when all the artistry, all the earnest constructive endeavour of all the man-power and genius of the industry, and all the capital investment, too, must pour through the narrow gate of the projector on the waxto the fulfilment of its purpose, the final delivery to the public. That delivery is a constant miracle of men and mechanism in the projection rooms of the world's fifty thousand theatres. That narrow ribbon, thirty-five millimetres, flowing at twenty-four frames a second through the scintillating blaze of the spot at the picture aperture and coursing at an exactingly precise 90 feet a minute past the light slit of the sound svstem, demands a qualitv of skill and faithful, unfailing attention upon which the whole great industry depends. The projector lens is the neck of the bottle through which all must pass. The projectionist presiding over that mechanism is responsible for the ultimate performance Upon which we must all depend. The projector must not fail, and, more important still, that man must not fail or permit it to waver in its performance. ft is to the tremendous credit of the skill of the modern projectionist that perfect presentation of the motion picture upon the screen is to-day a commonplace, a perfection that is taken as a matter of course." * * * After reading that you, whoever you may be, must realise that the projectionist does exist. I myself have had the awful feeling of being ignored. Directors, editors, and cutters, have left the theatre without even saying "We've finished, thanks." Many directors must do their work after the floor has broken, thereby must work perhaps 5-6 hours after rushes have been shown, or production finished. We in projection must stay to show that film : many a time we are forgotten and passed over, but many have left with thanks, which makes the projectionist feel happier and lighter of heart. I would like (and am certain that my colleagues at ether studios would also) to be recognised a little mor< a body of men who work to give the best co-operation possible (not forgetting there are others besides the chief, his assistants). We have our moans and grumbles every day, but there is a saying, "a happy man is happiest when lie lias something to grumble ovei " Projection, BackProjection, Re-recording, Synchronous Projection. Posl Recording with Projection. Producers, directors, music directors, editors, cameramen and sound, all are oui bosses in one way or another, and we are .it their beck and call from 9 a.m. till —