Documentary News Letter (1947-1949)

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112 DOCUMENTARY NEWS LETTER TECHNICIAN'S ARTICLE ON NON-THEATRICAL DISTRIBUTION HAS PROVOKED THESE TWO REPLIES sir: 'Inside Information on Non-Theatrical Distribution' by a Technician, certainly draws the spotlight to a problem, or rather a set of problems, that has caused, and indeed still does cause, much 'heartburning' among distributors of substandard films. The Army Kinema Corporation distributes, and exhibits, more 16 mm. prints than any other single organization and, whilst I cannot relieve 'Technician's' intense despondency by giving him information of the COI's method of accepting and distributing 16 mm. prints, I propose to give a brief resume of the care and method with which the AKC tackle this problem. When placing an order with a laboratory, for the bulk printing of an individual subject, a strict instruction is given for a test print to be delivered before the bulk order is proceeded with. This print is carefully viewed by an expert viewer, the track is measured by a densitometer (yes 'Technician', I am happy to inform you the AKC does possess a densitometer, and we know how to read it) and on the result of this print it is decided (a) if the print can be accepted as a criterion for the remaining prints, (b) what adjustments by the laboratory are necessary to achieve this purpose; note a further test print may be called for after such adjustments, before permission is granted to proceed with the bulk order, (c) to stop distrbution of the subject on 16 mm; this is only decided after consultation with the laboratory has revealed that no better result is obtainable. The AKC Distribution Department at Wembley is equipped with four excellent 16 mm., in addition to two 35 mm. viewing theatres, and, it is in these that the prints of bulk orders are carefully examined by viewers especially trained for the job. An inquiry from any laboratory manager will confirm that the AKC insist on a high technical quality in their 16 mm. prints and, further, that when prints are rejected, intelligent technical reasons are given for such rejections.' Referring to 'Technician's' article again, we have now reached the stage when a good print has found its way into circulation, and, it is here quite frankly the AKC benefits considerably from the experiences gained during the war by the Army Kinematograph Service. During this period it was discovered that, although prints of the highest quality were used, the results on the screen, both picture and sound, were frequently disastrous. This was due almost entirely to the fact that although service engineers had a good general idea of the necessary adjustments needed from time to time on the projector, they did not possess a good medium to carry out such adjustments. As a result a technical panel was formed comprised of army personnel who were acknowledged experts in each section of their particular branch of the film trade. From this panel came two most comprehensive test reels (screen and sound) for primary use when making adjustments to mobile projectors. These test reels are now used extensively by AKC service engineers in order that the best possible results should be obtained from the projectors in use. Further, as far as acoustics arc concerned, in all courses held by the AKC for projectionists, etc., periods are set aside for special instruction and practical guidance is given on this matter. It will be seen, therefore, that the Army Kinema Corporation is very alive to the problems affecting 16 mm. presentation and one must agree with 'Technician' there are many. However, we have proved that providing each individual does his, or her, part, the result on the screen can be comparable to that obtained by the use of 35 mm. prints. Yours faithfully, L. S. BAKER Distribution Manager Army Kinema Corporation DEAR SIR, As 16 mil. operators of considerable experience we were interested in the article on 'NonTheatrical Distribution' by a technician in the April-May issue of your journal. With what 'Technician' writes about the quality of most 16 mil. prints we must heartily agree; with his categorical statement about 16 mil. projection we beg to differ. We have, a week or two ago, taken over a village hall which has been acoustically treated and which, for the past year, has been served by the former owner with twin 35 mil. projectors of 1938 manufacture. When we acquired the hall we installed a 'single' Carpenter 16 mil. projector with some misgivings as we were not at all sure how the audience would react to the two 'breaks' in each two-hour show, but the capital cost of twin projectors was a limiting factor at the time. The results of this experiment are as follows: (1 1 We have had larger audiences at each of the nine shows we have given to date than the previous owner had at any time during the year he operated; (2) we have been congratulated by all on the quality of sound and picture and we are, each evening, attracting people who did not previously attend the exhibitions; (3) we have been visited by two local 35 mil. theatre managers and, after seeing and hearing, both have reacted in the same manner. (Well, if I had not been present myself I would not have believed it.) As to method: the sound is tested at least twice weekly by running through both a gliding frequency and a constant frequency test film. Before each show the whole optical system is throughly dismantled and cleaned. This is done in a routine order so that nothing is missed. The films are examined on arrival and between each showing. After the renters had been saddled with a few 'reverse charge' trunk calls for replacement copies we now find they exercise greater care in the choice of copies they send us! Records for the non-sync are chosen to suit the feature and no departure from arranged programme is permitted. The one factor on which we cannot rely is the quality of the prints. On this point we are in entire agreement with 'Technician'. Many times at the start of the film the writer has, momentarily, been certain that the shutter has shifted on its spindle only to find that the 'ghost' has been caused by the optical printer. We cordially invite 'Technician', if he is ever in this part of the country, to call on us and we . will only be too pleased to let him see what can be done with a 16 mil. outfit given a decent print. Yours faithfully, George Hair, Director lnman Mobile Cinemas Ltd Dumfries Halas & Batchelor MEMBERS OF FEDERATION OF DOCUMENTARY FILM UNITS DOCUMENTARY CARTOONS FOR INDUSTRY EDUCATION INSTRUCTION PROPAGANDA Artists: John Halas. Joy Batchelor. Allan E. Crick. Bob Privett, Wally Crook, Vera Linnecar, Elizabeth Williams. Christine Jollow. Victor Bevis. Brian Borthw.ck. Anne Coulson, Edith Hampton. Stella Harvey. Patricia Heayes, Peter Hobbs, Richard Horn, Ivor Kirby. William Long. Constance Pope, Patricia Sizer. William Taylor Camera: Percy Wright Sound: Dr. Ernst Meyer Associate composers: Francis Chagrin, Matyas Sciber 10a SOHO SQUARE W.l GER 7681-2