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214 HANDBOOK OF PROJECTION FOR
would be as applied to any given production — what effect it would have on the "pulling" power at any given theatre.
Summed down, this all means that careful, intelligent work in the projection room brings added dollars in the box office, and unintelligent, slovenly work in the projection room means loss of money to the box office.
To put perfect projection on the screen and keep it perfect during even one entire reel requires ability and knowledge. It also requires ceaseless vigilance and artistic sense of high order.
Not only must the projector mechanism and optical train be kept in perfect condition, but also all other machines and projection room equipment must be maintained in like condition.
The actual mechanical knowledge required to accomplish this is considerable, the necessary electrical knowledge covers a wide range, and the optics of projection are quite sufficient to keep any man busy studying for an extended period of time.
As a matter of fact the modern high class projectionist must have comprehensive electrical knowledge covering dynamos, motors, transformers, mercury arc rectifiers, wire systems, magnetic action and many other things. He must have an accurate knowledge of the electric arc and its action. He must be a mechanic of no mean ability, because he is handling a high speed mechanism which must be accurate in its vital parts within 1/10,000 th of an inch. He must have a very good grounding in optics, and must understand lens action thoroughly. In addition to all this he must be able to judge naturalness of action in any moving object.
REDIRECTS PHOTOPLAY.— A no less person than D. W. Griffith is credited with having made the following statement: "The projectionist in a large measure is compelled to redirect the photoplay." This is not intended as a verbatim repetition of Mr. Griffith's words, but it is in effect what he is credited with having said. The statement attributed to Mr. Griffith is entirely correct, because by a change in the speed of projection the projectionist is enabled to alter the whole effect of any given scene, insofar as concerns the audience. For instance, a funeral procession projected at excessive speed becomes farcial and ridiculous. On the other hand, a race projected at a too-slow speed is absurd. These are two extremes, but the relative effect is there in any sort of scene projected at wrong speed. Actors and