Home Movies (1943)

HOME MOVIES FOR SEPTEMBER PACE 293 3rag,ile — J4andle %Vitk Care / . . . • Continued from Page 28) Enjoy Greater Variety — Brighter Entertainment! HAL ROACH Feature Releases on 16mm. sound it CAPTAIN CAUTION— Victor Mature, Leo Carrillo, Bruce Cabot, in Kenneth Roberts' historical saga of the sea. it SAPS AT SEA— Stan Laurel and Oliver Hardy head into a gale of merriment and blow the gloom hatches sky-high in their antics on the briny deep. * THERE GOES MY H EART — Frederic March and Virginia Bruce in an absorbing newspaper story. it ZENOBIA — (An Elephant Never Forgets) Oliver Hardy. Harry Langdon. Billie Burke in a bright, original picture. See and hear Zeke recite the Introduction to the Declaration of Independence. if TOPPER TAKES A T R I P— Constance Bennett. Roland Young in an unusual comedy full of camera tricks. ■k CAPTAIN FURY— Brian Aherne, Victor McLaglen in a thrilling story of Australia's Robin Hood. it THE HOUSEKEEPER'S DAUGHTER — Joan Bennett and Adolphe Menjou in a laugh-packed comedy. ir A CHUMP AT OXFORD— Stan Laurel and Oliver Hardy at their funniest in a comedy about life at Oxford University. ir OF MICE AND MEN— Burgess Meredith. Betty Field, Lon Chaney, Jr. in John Steinbeck's great drama. it ONE MILLION B. C— Victor Mature, Carole Landis, Lon Chaney. Jr. in an unusual prehistoric setting. it TURNABOUT — Adolphe Menjou and Carole Landis in Thump (Topper) Smith's most hilarious novel. Available at your film library Write for Free Catalogue listing other Sound Films but damage can only be avoided by permitting only those members of the family thoroughly familiar with use of the projector to thread and operate it. The movie maker whose wife wishes occasionally to show the family films to members of her bridge club should be instructed and coached in the care as well as the threading of film in the projector. Those who loan their projectors to churches or clubs for use in showing borrowed films, should first be sure that their machine is in first class running order and that the person who is to operate it knows his business. By doing so, safety of the borrowed films will not only be assured but the future working order of the projector will be guaranteed. In a properly designed projector, assuming the gate and all other film guiding parts are polished and perfectly clean, film in good condition should run without any trouble or damage to the emulsion surface. This implies nothing more than plain cleanliness and avoidance of dirt in the projector. If dirt is allowed to accumulate, in addition to scratches which occur while film passes through the gate, prints are frequently scratched if one or more rollers are stuck or do not turn freely. The cause of this trouble is obvious, and it should never occur if equipment is properly maintained. If all film supporting or guiding surfaces in every projector were perfectly smooth and constructed of a suitable glass-hardened material, there would be little trouble. But, unfortunately, some projectors have rather flimsy gates that are not sufficiently smooth and hard, though the better machines are constructed to give excellent service. Obviously, excessive tension will retard free passage of film through the gate so that pull down claws advance the film with excessive stress upon the perforations. This leads to nicked or pulled perforations, a starting point for further rapid wear and progressive deterioration of a film, leading to unsteady projection dtiring subsequent screenings. Much film has been ruined by passing through projector gates that appear all right upon casual observation, but have minute scratches or abrasions of the metal, resulting from dirt and wear, or caused by ignorant persons who clean film supporting surfaces with a pin or other sharp metallic instrument. Minute scratches or abrasions of the gate that are hardly discernible may lead to chronic projection troubles because particles of emulsion are scraped from and deposited on the metal along with dust and dirt, forming deposits that further scrape and scratch any film that is run through the projector. Bad threading and loops that are too large 01 too small are also common sources of projection trouble. If loops are too large, the moving film may touch projector parts not intended to guide the film, with consequent scratches and abrasions. Short loops may cause damage to perforations. A projector sprocket turns at constant speed to drive film into the upper loop, but pull-down claws advance at greater speed as they intermittently move it through the gate. If the upper loop is too short, it will not contain a sufficient length of film to allow unimpeded intermittent travel of film through the gate, and then perforations may be pulled or torn. Difficulties also arise from poorly made splices and they are so well known that they should require little mention. When a bad splice passes through the projector, there is always danger that it will part or that the film will break, especially when going over sprockets or through the gate. A splice should not be too thin from too much scraping to remove emulsion, but thick splices also may give trouble, and it is often helpful to scrape the base lightly, in addition to removing the emulsion, to reduce thickness of the splice and thus insure better adhesion. Film cement should be fresh and applied neatly, sufficiently for good adhesion but without excess that makes film buckle at the splice. Bulky, warped splices gather dirt and emulsion particles and deposit them in the projector to scratch the films that follow. A frequent cause of film damage is improper or damaged equipment or improper rewinding. If table rewinds are not in alignment, an edge of the film will ride against one flange of the reel, causing wear, cuts, or nicks if the reel is damage or bent, or if sharp edges or burrs remain after it has been stamped in manufacture. Assuming all rewinding equipment is in good order and properly aligned, another common source of film damage is cinching. This occurs when rewinding is started with a sudden jerk, or during rewinding on the projector when the un POST PICTURES CORP. 723 Seventh Ave. Dept. 14 New York 19, N. Y. 16mm SOUND on Film Recording Studio and Editing Facilities BERNDT-MAURER RECORDER GEO. W. COLBURN LABORATORY 995-A Merchandise Mart CHICAGO EXCEL MOVIE PRODUCTS Present NEWMORLD 16mm. -Jf 8mm. CAMERA FILM I6MM, 100 FEET — $2.40 8mm. Double, 25 Feet — $1.25 PRICES INCLUDE PROCESSING Silly Symphonies. Charlie Chaplin and other features at I'/2£ per foot for complete subjects. Write for catalog of finished subjects. LIFE OF CHRIST— 8 REELS CROWN OF THORNS— 8 REELS ST. ANTHONY OF PADUA— 8 REELS 16mm. Sound Prints $100.00 16mm. Silent Prints 75.00 8mm. Silent 50.00 STEEL REELS 400 feet, 16mm 35£ each $4.00 Doz. 200 feet, 8mm 25* each 400 feet, IGmm. cans 20c1 each, $2. Doz. Best Welding Film Cement 204 Bottle EXHIBITORS FILM EXCHANGE 630 Ninth Ave. (Dept. H) Film Center Bldg.,N.Y.C.