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October 4, 1930
EXHIBITORS HERALD-WORLD
39
DEVICES FOR SILENCING CAMERAS
[Concluded from preceding issue]
NEW E. R. P. I. MOTOR
Electrical Research Products has recently made available to the studios a new design of interlocked camera motor known as the KS-6723 motor. This new motor is a two pole machine, making its speed 2400 RPM instead of 1200, as on the KS-5210 type. This increase in speed has resulted in a material reduction in size and weight, and permits direct drive.
The over-all length is about seven inches and the diameter four and three-eighths inches. As the weight is only nine pounds, this motor with adapters can be mounted directly on the frame of either the Bell & Howell or Mitchell cameras without seriously unbalancing the camera when mounted on the tripod. Also the size of the soundproof blimp can be reduced to a minimum.
The official rated power output is sufficient to handle normal camera loads, and under actual test the motor delivers over four times this power without breaking out of synchronism. Due to this large factor of safety, there need be no concern about overheating.
A new and very effective automatic cutout has been developed which prevents damage to the camera in case of film buckle. This device can be operated manually to cut the camera in and out.
Electrically the motor has a higher impedance than the former KS-5210, therefore the line current is lower. This is an advantage because it results in a smaller voltage drop in the line leads, giving an additional improvement in operation. The higher impedance also results in a smaller disturbance to the remainder of the interlocked system should a camera motor be disconnected from the line while the remaining equipment is still running interlocked. This is important where cameras are to cut in and out during takes.
UNITED ARTISTS' SPECIAL MOTOR
A recently developed special motor is used on United Artists studio cameras. It is a four-pole, three-phase motor, driven at 1440 RPM (the speed of the shutter shaft) through a distributor which is chain-driven to the regular distributor. In the base of the motor is a six-pole switch for cutting it in and out of the circuit, and a relay for tripping the switch.
Studios Using Different Methods of Silencing Camera
Bungalows
Booths
Columbia
Blimps or
Mack Sennett
Darmour
Blankets
Pathe
Educational
RKO
Tiffany
Fox
MGM
Universal
Hal Roach
Paramount
Warner Brothers
Metropolitan
Metropolitan
Pathe
Pathe
Tec-Art
Tec-Art
United Artists
United Artists
Universal
DISTANCE MICROPHONE CAN BE
PLACED FROM CAMERA COVERED
BY BLANKETS OR BLIMPS
Principally
Distance
Studio
Used Device
in Feet
Educational
Blanket
10 to 12
Fox
Blanket
10
Hal Roach
Blanket
10 to 15
Universal
Blanket
10
Metropolitan
BlimT>
6
Metropolitan
Blanket
10 to 15
Pathe
Blanket or Blimp
12
United Artists
Blanket or Blimp
5
Columbia
Blimp
.->
RKO
. Blimp
6
MGM
Blimp
5
Paramount
Blimp
5
CAMERA SILENCING DEVICES, Report No. 3 of the Academy Producers Technicians Committee. Published by the Academy of Motion Picture Arts and Sciences, May 14, 1930. Seventeenth paper of Technical Digest.
Studio
Device
Educational
Blanket
Fox
Blanket
United Artists
Blanket
United Artists
Blimp
Pathe
Blimp
MATERIALS USED FOR BLANKETS AND BLIMPS
Material
Blanket and hair felt mattress to insulate tripod from floor
Balsam Wool Blanket with zipper
Canvas and sheep's wool; insulated tripod
Rigid, sponge rubber, ozite and cedar
Papier mache; shoot through glass. Also trying aluminum and rubber type; shoots through glass
Fibre and aluminum sheet with felt padding and sponge rubber
Rigid, wool and canvas on frame, also rubber
Aluminum, yucca, felt and rubber
Rigid, lead and aluminum, hair-felt and rubber
Rigid, hard materials
Semi-rigid, zipper, rubber and rock wool
Tec-Art
Blimp
Columbia
Blimp
RKO
Blimp
MGM
Blimp
Paramount Metropolitan
Blimp Blimp
TYPES OF MOTORS USED AND TYPES OF CAMERA DRIVE
Cameras Studio B & H Mitchell Motors
Columbia Rent Std. W. E.
In Blimp
Darmour Educational
Fox
Hal Roach
Mack Sennett MGM
24
(Not in use)
Paramovfnt 37 (Modified) Pathe 1
RKO Tee-Art Tiffany 3
United Artists 2 (Not used)
Universal 31
(Silent only)
Warner Bros. 20
3
(Modi
fled)
8
15
9
(Silent
12
(High
speed)
8 (Fibre gears high spetd)
30
Synchronous Std. RCA Synchronous Std. W. E. In Box Std. W. E. In Box Std. RCA Std. also Synchronous & 180 r.p.m. Std. W. E. In Blimp
Std. RCA Std. RCA Std. RCA Std. RCA Movements) Std. in boxes orU. A. special motor Std. W. E. In Box
Drives Standard Rubber Covered Flexible Shaft Some direct, Some flexible Standard rubber covered Standard rubber covered Direct
Standard rubber covered
Geared to
Standard
camera
Direct Direct Direct Direct
Standard rubber covered or none Standard rub ber covered
Flexible and geared
CAMERA QUIETING DEVICES USED BY STUDIOS
(Report as of January 6, 1930)
It should be noted that the following compilation of data from the various studios was made January 6, 1930. As during the course of the Academy activity on the project nearly all the studios have been conducting experi
ments and building improved blimps and camera bags, conditions have materially changed. This data is presented as a matter of record and will be revised by any survey of the studios which may be made in the future.
STUDIO REPRESENTATIVES
Personnel of studio representatives working with Engineers of Sub-Committee on Camera Silencing Methods.
Representative Appointed
John T. Livadary, Head of Sound Department
Neal Jack, Head Electrician
H. A. McDonell, Assistant General Manager
Arthur Haddock, Chief Electrical Mechanical Engineer
William Steincamp, in Charge of Camera Department
O. O. Ceccarini, Development Engineer
A. M. Granich, Transmission Engineer
Virgil Miller, Head of Camera Department
L. E. Clark, Technical Director of Sound
Don Jahraus, Head of Miniature Set Department
Elmer Raguse, Head of Sound Department
Paul Guerin, Technical Director
Ernest Revere, Head of Sound Department
Lewis E. Myers, Chief Sound Engineer
Thomas Moulton, Chief Engineer, Sound Department
J. Roy Hunter, Supervisor of Sound and Camera Departments
Arthur Haddock, Chief Electrical Mechanical Engineer
Studio Columbia
Darmour Educational
First National
Fox
MGM
Metropolitan
Paramount
Pathe
RKO
Hal Roach
Mack Sennett TecArt
Tiffany
United Artists
Universal
Warner Brothers
Edison Credits DeForest For Developing Important Link in Talking Pictures
Thomas A. Edison, in an article published in the Saturday Evening Post entitled "Patents, Profits and Pirates," gives Dr. Lee DeForest of General Talking Pictures credit for providing one of the most impdrtant links in the development of talking pictures, namely, the amplifier, or loudspeaker.
Edison commented on his first demonstration of talking pictures at the old Hampden theatre, New York, in 1913, as follows: "I want to say right here fairly and honestly that not until the amplifier was invented was it possible to make any permanent progress. DeForest supplied that link in the chain."
The machine used in 1913 by Edison was a record phonograph, or a sound-on-disc apparatus. The sound-on-film experimentation of Elias Ries and Dr. DeForest had not yet been demonstrated.
late lo turn back. Ihe pioneer caravan goes over a treacherous precipice to reach its western goal. Scene i'rom tiie Fox production, tkThe Big Trail. "