Exhibitors Herald (1927)

28 BETTER THEATRES SECTION OF October 29, 1927 Here Is a Way to Save 25% in the Current Cost of Your Projection Due to the fact that a direct current arc is the only type of light that gives the proper luminosity desirable for perfect motion picture projection, a source of direct current is a necessity in all motion picture theatres. In practically all localities, outside of the very center of some of our largest cities, only alternating current is available, hence it is essential that some method of conversion into direct current be provided. The Liberty Syncrovertor is a truly synchronous commutating rectifier, and a revolutionary improvement in this field, and as a unit for the conversion of A. C. to D. C. proves its superiority beyond all question of doubt. It will save fully 25% in your current cost of projection. This highly efficient device consists of a transformer, a motor, a commutator, a switchboard control panel, all assembled in one unit, or with separate control panel. The actual rectification is done at the commutator— not within the motor. The transformer of the Syncrovertor is the machine’s own emergency unit. If the motor ceased to function, the transformer would furnish A. C. current of the proper voltage to the arc. Where the Syncrovertor is used, the “changeover” is effected without any flicker whatsoever on the screen. Write us and let us tell you how you can save 25 % in the cost of your projection The Liberty A Better Method of Rectification LIBERTY ELECTRIC CORP. Stamford, Conn. Distributed by The National Theatre Supply Co. Bowling Alleys Earn Money Theatre Owners and Architects send for our booklet " Silence Is Golden." No obligation. Bowling alleys in a theatre building are an important revenue producing adjunct. You can have bowling alleys In your theatre without any disturbing noises from them reaching the patrons in your auditorium. This is made possible by the Stevens System of sound isolation. Bowling alleys shown here are installed above a theatre auditorium in Chicago. They bring added profit to the owner. Write for our informative booklet containing valuable facts. STEVENS SOUND-PROOFING COMPANY 407 So. Dearborn St., Chicago, III. Representatives in all large cities Fundamentals of Presentation ( Continued from page 26) heading, “Mechanical.” The procedure that we use in the Oriental theatre in this department is worked out in great detail. Billy Jackson, who is handling the mechanical end of it for us, works from rough sketches which illustrate ideas and he proceeds to carry them out along four definite lines. ( 1 ) Scenery — drawings are made to scale and a ground plan and elevation of every show is blue printed with copies for carpenters, painters, and electricians. In addition to this a color diagram goes ' along with the blueprints which the artists work from. (2) A property plot is prepared including all of the necessary things in this department. (3) A lighting plot is furnished for stage electricians along with prints containing any special electrical work such as miniature lights, garlands, lanterns, illuminated houses, etc., which have to be planned in advance. One other important heading in this analysis includes the ballet and the costuming of our shows. Girls are a decided asset to any show and can be used effectively in openings and finales with the proper instruction and training along these lines. At the present time, Merriel Abbott is working with us in the handling of the girls and planning new routines for them from week to week. At the time we are planning new shows, ideas and suggestions are presented and discussed from which she works. After a show is entirely laid out on paper, and all of the ideas decided upon including scenery, musical numbers, girl numbers, and acts, the costuming scheme is planned. Let me emphasize the importance of this item because it is the finishing touch in painting the picture which greets the eye from “out front.” Many a color scheme which has been good or otherwise has been spoiled by the use of costumes which do not harmonize in the ensemble effect. People who assume the responsibility of handling this detail should at least be schooled in the rudiments of color, especially in the use of primary colors and their complementary. In summing up this analysis I would like to lay stress on the general effect to be obtained in shows of this kind bearing in mind that this is “eye and ear entertainment.” I cannot lay too much stress on the importance of carrying these ideas out on a large scale. By this I mean using design which contains large masses of color, groupings of people which produce large spots of animated color, and casting out small ginger-bread details which are lost to view back of the tenth row in any large motion picture theatre. If more stage producers would watch the results of their work from the last row in the balcony, more of them would work on this “large scale idea.” Hundreds of thousands of dollars are thrown away every year in small detail which is lost when viewed from a distance. (This is a hurried analysis of the “Paul Ash Policy,” which will be followed by a series of articles in the Herald in which the writer will give a more detailed discussion of the various phases of the “Paul Ash Policy.)