International projectionist (Jan 1963-June 1965)

INTERNATIONAL PROJ ECTIONIST Volume 39 October 1964 No. 10 FRANK W. COOLEY, JR. Editor and Publisher RAY GALLO Executive Publisher AL BLOOM Managing Editor TOM KENNEDY Equipment Editor RAY GALLO ASSOCIATES National Advertising Representatives 545 Fifth Avenue. New York, N. Y., 10017 Telephone Murrayhill 7-7746 (Area Code 212) IN THIS ISSUE Film Mutilators Inflight Motion Pictures Sound Track IATSE Local Directory Oxberry Animation Process New National General Theatre 4 6 8 9 14 16 News Notes — Technical Hints — Miscellaneous Notes INTERNATIONAL PROJECTIONIST, published monthly by the International Projectionist Publishing Co. division of The Northern Publishing Co., Post Office Box 6174, Minneapo'is Minnesota 55424. Editorial offices, 1645 Hennepin Avenue, Minneapolis, Minn. 55403. Subscription Representatives: AUSTRALIA — McGills, 183 Elizabeth St., Melbourne; NEW ZEALAND — Wixon's, Ltd., 64 Courtnay Place, Wellington; ENGLAND and ELSEWHERE — Wm. Dawson & Sons, Ltd., Macklin St., London, W. C. 2. Subscription Pates: United Stores, Conada, and U. S. Possessions. $3.00 per year (12 issues) and $5.00 for two years (24 issues). Foreign countries: $4.00 per year and $7.00 for two years. Changes of address should be submitted four weeks in advance of publication date to insure receipt of current issue. Second-class postage paid at Minneapolis, Minn. INTERNATIONAL PROJECTIONIST assumes no responsibility for personal opinions appearing in signed articles, or for unsolicited articles. Entire contents copyrighted 1964 by INTERNATIONAL PROJECTIONIST PUBLISHING CO. <2^t^K> International Projectionist October, 1964 MONTHLY CHAT CAN YOU TOP THIS? Can anybody top this? Projectionist John Stauffer and Exhibitor John Martina of the Cinema Theatre. Rochester, New York, are claiming a national record for a continuous run with 920 performances of "Irma La Douce" — from the same release print with never a break and no need to replace the original leaders. Furthermore, after the print had played a total of 179,054 admissions, it was examined by experts at Eastman Kodak Company in Rochester and pronounced good as new — "still suitable for use in a first-run theatre." The United Artists release was an imbibition print made by Technicolor on Eastman Fine Grain Release Positive. Type 5307. It ran for nearly 51 weeks starting in June. l963, showing twice daily and four times on Saturdays and Sundays, a recognized world-wide record for Irrriu. Experts' Opinion The da\ of its final Cinema showing ("It could have run well over a year; it was still doing business when we took it out." said Martina) the exhibitor invited a team of motion picture experts from Kodak to take seats in the audience. They reported: "The presentation was excellent and the screen image was remarkably free from dirt and abrasion." Subsequently, the print was examined in Kodak laboratories where it was reported that "the release could still be classified as a new print." The moral of the story for projectionists is clear. It was stated this way in the Kodak report complimenting Mr. Martina and Mr. Stauffer: "The performance of this print emphasizes that the life of a motion-picture print is more frequently limited by accidental damage than by wear alone. "When a print is run on equipment in reasonable repair and adjustment, handled in areas that are moderate^ clean and demonstrate good housekeeping, and used with reasonable regard for good practices, the life may be startling!) long. Reduced Perforation Life "On the other hand, perforation life may be reduced drastically by inadequate lubrication, worn sprockets, misalignment, etc. Image quality may be degraded rapidly by letting the film flop into dirty areas, acquiring dust that can scratch the image, running it against dirt and misaligned projector or rewind components and handling at improper tensions so that cinching is frequent. "General performance may be degraded by careless cueing, inattention to lighting trim, sloppy splicing and repair." That John Stauffer has a high regard for good practices is amply demonstrated by the record run of "hmd" in his theatre. When this was mentioned to his boss, John Martina's reaction was prompt and to the point: "Doesn't everybody?" Does everybody? iP 3