The Film Daily (1930)

HELPFUL TECHNICAL DATA GlEN THEATER MANAGERS To aid in a more comprehensive understanding of the technical details connected with managing a theater, the following questions and answers recently were sent by Publix to all house managers in the circuit: Q. In ordering lamps, what tour essentials must be specified? A. Type and shape of bulb, wattage, voltage, color-base type. Q. What three factors determine the quality of lamps? A. Cost, life, lumen outfit. Q. What is the average burning life of a lamp? A. 1,000 hours. Q. To what lamps does this average not refer? A. Spot lamps and projection lamps which burn 200 hours and 50 hours respectively. Q. What is the average color permanency of the different colored lamps? A. Natural colored most permanent. Dip and sprayed lamps — poor permanency. Q. Why is it not cheaper to use lamps whose life is longer than standard lamps? A. Although the life of the lamp is longer, more current is used giving less illumination and lower efficiency. Q. What lamps should not be burned base up or at an angle? A. All Mogul based lamps, spotlight lamps, and projector lamps. Q. Are all natural and sprayed lamps of the same standard type and color identical in color? A. No. Q. Why is money wasted in using projector lamps for spot lights? A. Shorter life at higher cost. Defective Splices Q. What types of splices are defective and why? A. (a) Splices so wide that they cannot follow the curve of the roller. Splices with this defect will be carried through the top rollers and through the intermittent, but will run :lie bottom roller leading to the magazine. Several frames will be damaged before the idler will set the film back on the sprocket. On the en, the defect will show up as a bad jump. (b) Splices which have been scraped too much, which have been fastened with tun much cement, or those having both defects. The film will buckle resulting in the same action described above. (c) Splices which have been mismated so that sprocket holes do not register. As the sprocket passes over the too roller, the teeth will enlarge Curtains and Lighting By L. G. APPLEBEE Paper Read at Blackpool, Eng., Conference The stage setting for the screen of the modern cinema is becoming more and more of importance, architects in particular are making the proscenium and stage or screen curtains a prominent feature of their interior decorative schemes, and realize that, as the frame for the screen itself it is the focus point of the attention of cinema patrons. It is important that the color scheme and design for the proscenium curtains should blend with the cinema's decorative motif, and should not, as is sometimes seen, form a contrasting patch of color, giving a sense of irritation and unrest to the eye. Having now established the fact that the front curtains should harmonize completely in every well designed decorative scheme, it will be interesting to consider for a moment some of the materials generally adopted for the proscenium curtain. In London, the fire regulations are asking for wool fabrics, and therefore it is impossible to now use silk, velour, tapestry, etc., in the metropolis. Fortunately, the whole field of the provinces is open for the employment of this material. With the architect's present-day tendency to capture Egyptian, Spanish and other "foreign" atmosphere for the decoration of the auditorium, the design and coloring of the proscenium curtains are of, even more importance than formerly. The securing of the necessary harmony in color whilst keeping within the limits of the adopted decorative period of style becomes more difficult, and unless great care is taken, incongruous effects may result. The the sprocket holes. The film will remain on the teeth as it passes over the intermittent roller but there w'll be a slight displacement resulting in i jump on the screen. At the takeup it will run off the roller causing damage to several frames. A defective splice will break occasionally at the intermittent, interrupting the run of the reel, and showing on the screen a flash of burning film. WE BUILD Johns-Mansville Asbestos Transite Motion Picture Booths BLUE SEAL PRODUCTS, Inc. 264 Wyckoff Street Brooklyn, N. Y. age of modernity has introduced further new styles,' but it's influence has not been very much followed so far in cinema design in this country. Its most successful exploitation is to be found on the Continent, where some very excellent interiors have been created. Modernity in hangings is a delicate subject, and unless handled carefully will produce too sharply defined an effect to achieve its object. The combined pelmet and side hangings are an excellent solution for many stage settings, and form a very delightful framework. Simplicity in design has its advantages, and can be exploited for curtains required for background use, such as those which work in front of the screen. Where variety or singing turns are given, this type of screen curtain fulfils a two-fold object. Where the large theater is concerned, there is a growing preference for the use of plain gauze curtains in addition, as part of the more elaborate stage settings. A good treatment for these is for the plain gauze to be slightly relieved with bands of colored ribbon which will change its hue in the color lighting. With a more than average depth of stage it is necessary to have a series of side curtains or wings on each flank, in order to form a fitting framework leading up to the screen. On smaller stages, splayed side curtains are sufficient to ensure good projection; careful masking with ample black around the screen, combined with a special stage cloth, is essential to first-class projection. From a lighting point of view this is very important, as some materials attract and carry light better than others. If the subject is a plain pair of curtains with practically no ITS CO COMPLETING NEW LINEU Carbon Products, Inc., importei and manufacturers of carbon proi ucts, is the exclusive distributor ar importer of Sun-Arc Yellow Se Regular and Blue Seal Special lo itensity carbons. Sun-Arc carboi are said to give a brilliant, even ligl of depth and definition and burn moi economically. Special Blue Seal ca bons can be used at higher ampe ages on low intensity mirror lamp The company is now completing i line with carbons for high intensi; reflector lamps as well as straigl high intensity carbons. Photographi blueprint and therapeutic carbons a also handled by Carbon Product Inc. design, the effects being entirely ol tained by the use of colored ligh then plain cream muslin is the bes if lighting alone is to be studid Muslin, however, unless lined, much too flimsy, and the next be medium is Japanese silk. Many di signers using colored light great! favor the use of a grey background If, however, the curtains are 1 be lightly decorated the design shou be worked on the fabric in such m; terials as satin and silk, althoug some excellent results have been ol tained with ordinary casement clot and even painted canvas. The latter, if treated by a seen or decorative specialist, can be mac by means of careful lighting to a| pear like a rich velvet or tapestry. {Concluded in July 21th issue) />H079ToV» TALK AFILM TURN TABLES ipn SOUNDHEADS Special Discounts in Quantities PHOTO TOM* *ORR ™*7^T2i #495 °^ "Pyroloid Dresser ware" The Answer to Empty Seal In 2 colors JADE PEAK I. and ROSE PEARL Genuine "PYROLOID" Drcsserivare In 4 ■ sets — Priced H'/a. 12'/i and 13'^ cents per piece in campaigns lasting 26, 30 or 36 weeks. Ever] -Theatre We Add to Our Hie List Are Booster! for I'yroloid. "Dresserware Night will build a Permanent Busines Pyroloid Sales Ci Factory: Athol, Ma; Aaron Sacks Room 538 200— 5th Ave, N. Y Jack Bullwinkel 28 Piedmont St. Boston Manufacturers for over 30 year* Jack Von TiUer Elks Hotel. Phils Import Fihn Co. 21st and Payne Av Cleveland. Ohio