International projectionist (Jan 1963-June 1965)

1 oN U31IVH1 133d These two film samples show pro ducer's mutilation. The one with printing on the sound track was from a trailer but it is not uncommon to any subject and is not pleasant when reproduced on the sound system. The other is an extract from a first run picture and occured at about one foot from the regular sound start. duced to guide purposes. For thai matter, there is no reason wh\ the enclosed magazines could not be reduced to a piopei l\ supported shaft such as is generally used on 16mm equipment. Excessive oil on the equipment or an) place the film ma) contact can also contribute to film damage. \l! areas the film ma) contact should be kept clean and oil free. Rewinds, too. ma) contribute to film damage. It is necessar) that both heads be in true alignment to avoid the film's rubbing reel sides during rewinding. Enclosed rewinds ar^ prett) much immune to misalignment. Rewind speed also deserve:attention. Onl) in case of inspection or program makeup should less than five minutes per double reel rewind time be tolerated, and then onl) under constant observation. The faster the film is whipped past the reel edges the more damage can result. Having touched on most of the sources of mechanical film damagelet's check on the human element. Fortunately, most projectionists endeavor to avoid inflicting damage to the film either mechanical or personal. Not all those entrusted with the fragile strip of entertainment which is our livlihood have such scruples. Marking subsequent reel ends by any means for any reason except that the producers have faile 1 to properly install standard cue marks that can be clearlv seen, is deliberate film mutilation. If. however, the producer has failed to mark reel ends clearly, every effort should be made to locate the original markings. Then, with a marker such as "Clint Phare," scribe them. Any other marking, punch, scratch or marking pencil is mutilation. Subject ends are quite another thing. The variety of "signatures on subject ends are as numerous as the film butchers who handle it. It is not enough that some previous "operator" has inscribed the film end at exactly the place a certain cue is desired. Some feel compelled to add their personal moniker. Some subjects come through with so main curtain cue marks it is impossible to determine which one is accurate After removing a variety of crayon marks, one recent subject still was blessed with six scratch, punch and scribe marks that could not be removed. Another subject, a first quality feature, had three superimposed markings at the same location, huge WW maik< in red china marking pencil, scribed cue marks and — worst of all — several wa\\ crayon markings continuing through 1 7 frames of the film. To say that this was striking on a light black and white scene is putting it mildly. A second screening of such film mutilation should be grounds for discharge without notice. There is no excuse for exposing the customers to such abuse even once — but there sometimes is not sufficient makeup time to thoroughly check the new proram. Click patches are another means of film mutilation practiced by too man) men in the booth. True. the) are not exposed to the public, and do no particular damage to the film. The fault in this practice is that there are materials used for this purpose which leave an adhesive gum on the film when patches are removed or wear off that is next to impossible to remove. If click patches of a material which can easily and completer) removed are used, this is the least objectionable means of personal cue markings. The "operator" who recently returned for circulation a print with two splices at four frame intervals at both motof start and changeover position was carrying a privilege a bit too far. In summation; no projectionist has a right to put anv markings of any kind on any film at any time, except to brighten up standard cue marks with an approved cue marker. If he finds it impossible to present a show without some additional visible marking — and if his boss will per mit such abuse — he owes it to his Please turn to page 6 Get all the facts! Ask your equipment dealer for the new 1964 Kollmorgen Projection Lens Catalog or write us direct. kTkollmorgen CORPORATION' NORTHAMPTON. MASSACHUSETTS International Projectionist October, 1964