Exhibitors Herald World (Jul-Sep 1929)

40 EXHIBITORS HERALD-WORLD September 21, 1929 Suggestions for Successful Projection Of Sound Pictures ELECTRICAL Research Products, Inc has just issued a handy pamphlet entitled "Suggestions," compiled to assist exhibitors and projectionists and serve as guidance in the successful operation of Western Electric sound systems. On the introductory page of the pamphlet it is explained that the aim is to bring attention to some important suggestions which have been compiled in the interest of attaining the highest practicable standards of operation for sound pictures in the theatre. It is pointed out that extensive experience in this field indicates that a careful study and use of these suggestions will result in a performance of higher entertainment value and pleasure for the patrons. * * * 1. Keep All Parts of Projector Mechanism Clean Thorough cleanliness of the mechanism and the film sound track is essential for satisfactory reproduction. The projectionists should therefore make a thorough daily inspection. Particularly, accumulations of dirt or hardened emulsion on the idler rollers, light gates, tracks of the tension pads and aperture plates must be guarded against and removed to prevent danger of scratching and damaging the film. Excessive lubrication should be avoided, as it is a prolific cause of dirty films and consequently poor reproduction. A large quantity of oil does not remain any longer on the wearing surfaces than does a moderate amount. One or two drops of oil daily are all that are necessary on small parts of type used in sound reproduction equipment. Smaller quantities at frequent intervals are much better than large amounts at infrequent intervals. 2. Establish Routine Tests on Daily Basis The projectionists should make a thorough daily test of the equipment before the house opens, including a careful check of each horn, indizridually, urith speech or music. This is the only certain way of detecting faulty operation in any part of the equipment, particularly a defect appearing in one of the receivers. This test should be made early enough to permit a defective receiver unit to be replaced before the show opens if necessary. Either the manager or the observer mentioned in item 6 should listen to these tests. 3. Give Batteries Careful Maintenance Storage batteries form one of the most important parts of the system but are nevertheless frequently abused. The life of batteries can be greatly increased by good care. Correct charging, neither too little nor too much, lengthens their life more than any other factor. If the gravity (charge) is allowed to fall too low or if water is not added when needed to offset that lost by evaporation there is danger STJMMARY k_7 KJ IT JJ.T IxUl X I. Keep all parts of projector mechan ism clean. 2. Establish routine tests on daily basis. 3. Give batteries careful maintenance. 4. Operate sound films at standard speed (90 ft. p.m.) only. *>. Give every new program a thorough rehearsal. 6. Keep the sound at the proper volume. 7. Keep a full stock of spare parts. 8. Horn placements should not be altered. 9. Familiarize yourself thoroughly with the Operating Instructions. 10. Study audience reaction and con structive criticism. 11. Utilize the facilities of our Service Department. of their not functioning properly, and not only interrupting the performance but damaging the batteries as well. Troubles can often be detected by the service engineer before they actually develop if the battery log charts are carefully maintained. The projectionists should consequently take accurate gravity readings each day, recording them on the charts provided. 4. Operate Sound Films at Standard Speed (90 ft. p.m.) Only All sound films must be run at the same speed at which they were recorded, namely, 90 feet per minute. This speed is obtained when the regulating switch on the motor control cabinet is set at "REG." You MUST NOT DEVIATE from this procedure under any circumstances, since to do so would vitally affect the quality of the reproduced sound. 5. Give Every New Program a Thorough Rehearsal Rehearsals of new programs are well worth while for the following reasons: A. — To arrange the proper timing of the program. This is especially necessary because the length of time required to run the synchronized subjects cannot be altered. (See Item No. 4.) B. — To check the physical condition of the sound film in order that scratches, oil spots, poor patches, etc., may be detected and such conditions remedied as far as may be possible. C. — To check the synchronism of the picture and sound. This is especially important where prints are obtained elsewhere than directly from the film exchanges. If patches have been made in film used with disc reproduction the picture will not be in synchronism, unless the same number of frames of blank film are inserted as have been removed. D. — To see that each reel has sufficient "leader" to permit the motor to get up to speed before the sound begins, and sufficient "trailer" so that, in the event of the machine being provided with a safety device, the motor will not be stopped before the sound has finished. E. — To determine the right points for the sound change-over between reels so that this can be accomplished without any noticeable break in the continuity of the sound. F. — To determine proper fader settings and the proper cues at which to change these settings. (See Item No. 6.) If cue sheets come with sound films the necessity for independent cueing will probably be eliminated, but not the necessity for rehearsal. Although these cue sheets are valuable as a general guide, it should be remem bered that the acoustic conditions peculiar to a particular theatre may be such as to make alterations of the fader settings advisable. Furthermore it sometimes is possible to intensify the effectiveness of the sound considerably through slight changes in fader settings; a change of one or two steps for a few seconds at a critical spot may change entirely the interpretation of the music. Such cues should of course be carefully rehearsed. Projectionists should always familiarize themselves with the final cut sheets before opening the show. The importance of sound to the motion picture today is such that the manager should give rehearsals his personal attention and supervision. 6. Keep the Sound at the Proper Volume Excessive loudness of sound pictures is one of the most frequent causes for pronounced audience disapproval. We have observed this fact ourselves and it is repeatedly borne out by the numerous criticisms directed at sound pictures by recognized critics. Sound pictures when operated too loud have been variously described by these commentators as bellowing, shrieking, harsh and blasting. Normal speaking voices should be no louder than is required to enable a quiet attentive audience to hear distinctly. At the rehearsal determine, in accordance with this standard, the correct fader setting for every reel and either mark it on the cue sheet or check it with the recommended setting. THIS SETTING SHOULD BE JUST LOUD ENOUGH TO ENABLE A PERSON WITH NORMAL HEARING TO UNDERSTAND DISTINCTLY AT THE OBSERVER'S POSITION DURING REHEARSAL. Give especial attention in rehearsal to places where a change in volume would help realism, as for example, in changing from a "close-up" to a "long shot" Care should be taken in making such changes, however, since if music is sometimes loud and sometimes soft it is probably the manner in which it was recorded and consequently the "expression" intended by the producer. To raise the fader setting during soft passages for instance in an endeavor to make the volume uniform throughout, would be likely to injure the character of the music. The amount of sound energy required to produce a given impression of loudness in a theatre varies somewhat with the size of the audience. This is due to the fact that the clothing and bodies of the audience absorb more sound energy than unfilled seats. Hence the correct fader settings for a given subject will be found to be one to two steps lower for a small audience than for a crowded house. Correct volume of sound is of the utmost importance in contributing to the enjoyment and satisfaction of the audience and the consequence success of your show. It is therefore essential that some competent member of the house staff be made definitely responsible for indicating to the projectionists the changes required in volume of sound as soon as they become necessary. The careful selection of this observer will go far toward solving the proper handling of this important problem. He should be selected on the basis of his sense of showmanship together with his ability to pay close attention to the details of the program and to the audience reaction. He should be fundamentally ear-minded rather than eyeminded, since he may be subjected to conditions which might tend to distract his attention from the sound. Obviously he must have good "sound" judgment, both from volume and quality viewpoints. It is of course essential that he have no defects in hearing. (Note — Western Electric Audiometers for the (Continued on page 44)