Exhibitors Herald and Moving Picture World (Oct-Dec 1928)

December 22, 1928 EXHIBITORS HERALD and MOVING PICTURE WORLD 55 stand that one, or at most two, drops of MEDIUM HEAVY oil is ALL THAT SHOULD BE USED ON ANY MOTION PICTURE PROJECTOR BEARING, and that OILING BEARINGS TWICE A DAY IN A TWO-SHOW HOUSE, OR EVERY THREE HOURS IN A CONTINUOUS HOUSE, IS AMPLE, PROVIDED A GOOD OIL (OIL RECOMMENDED BY THE PROJECTOR MANUFACTURER) BE USED. But we still find a few using thinas-water oil, which not only will fly all over kingdom come upon the least provocation but also is totally unfit to use in projector lubrication. If the oil well bearings leak, then a heavy oil should be used, and wipers arranged to take up any seepage. * * * But to get back to the exchange end of things. When an exchange signs a contract to supply service to a theatre, it naturally is understood, and therefore is an unwritten part of the contract, that the films will be at least in a sufficiently good mechanical condition to be safely projected, and that they will be in such condition as to cleanliness that the projectionist will be able to put an acceptable show on the screen — that they will not be so smeared with oil and (or) dirt that it will be impossible to project them at at least approximately 100 per cent of their amusement and dramatic value. This is especially true if the theatre is contracting for a fairly good grade of service, as the theatre in question undoubtedly is. Incidentally it might be well here to interject the remark that oil on the sound band of Movietone will seriously injure, if not entirely ruin, the sound effect. And since it seems but a question of time until Movietone will be more widely used, it is especially important that projectionists start right now exercising great care with regard to the matter of oil getting on film during the course of projection. It has always been important to prevent oil getting on the films (though some projectionists, or machine operators, seem to imagine it makes not the slightest difference, or, if we may judge from some films we have seen, is really a benefit) but "with sound, it just plain won't do at all. Exchanges should penalize any theatre returning film with oil on it, which of course involves careful inspection, and KNOWING there was none on it when it was sent out. What I am getting at is that OIL ON FILM IS ENTIRELY UNNECESSARY, AND IT IS ABOUT TIME THE MEN WHO GET IT ON BE MADE TO STOP SUCH OUTRAGE. AND IF THEY HAVE TO PAY ONCE OR TWICE FOR THEIR FUN THEY WILL STOP IT, BELIEVE YOU ME. I'M "FOR" THE PROJECTIONIST, BUT I'M NOT FOR MEN WHO DELIBERATELY ABUSE THE PRODUCTIONS ENTRUSTED TO THEIR CARE FOR PROJECTION. Any man who has even the most rudimentary knowledge of motion picture projection can tell you that a good screen image cannot possibly be projected with oil spattered film. Even the exchange manager should know that much, though some of them really don't seem to — either that or they don't know what their "inspection" department is passing out. The only other possible conclusion is that they don't care a (deleted). The sending of those films to that theatre constituted nothing less than an OUTRAGE, and in effect a violation of contract. I am sure every theatre manager and motion picture projectionist will agree with that. It is the business of theatre managers to out a stop to such practice, and one way 31 stopping it would be for theatres receiving films in an oil spattered condition o lay claim to substantial rebate in their ental price. That would quickly kick up a vigorous row, but it would put the exchange Better Theatres decorate with REISINQ'S True to Nature Artificial Flowers and Trees There are none better for Lobbies, Foyers, Auditorium or Orchestra Pit Mr. John Eberson, Architect, uses them exclusively in all his famous Atmospheric Theatres — There is a reason. Let us estimate your needs G. Reising & Co, 227 West Austin Avenue Chicago, 111. Qaining Public Favor I How can it be done? Good films, good location, an attractive theatre, comfort and convenience — of course. But all of these things are of no avail unless the picture on the screen has Clear Definition, Flatness of Field, Black and White Contrast, and Proper Illumination. For after all, the public pays to be entertained by the pictures. So page the Cinephor Lens. It will faithfully reproduce the film and help greatly to gain public favor. Bausch &l Lomb Optical Co* 652 St. Paul St. Rochester, N. Y. I