International projectionist (Nov-Dec 1933)

20 INTERNATIONAL PROJECTIONIST November 1933 the National Labor Board was somewhat surprised to learn that there existed any opposition in Labor ranks to certain code provisions, inasmuch as John P. Frey, the picture code labor advisor, had informed them that it was eminently satisfactory. It was reported also, that the National Labor Board was at loss to account for the failure of the picture code to provide for an adjustment of wages with respect to the overage in hours beyond the 40-hour maximum set in the code. Investigation by this publication failed to disclose any basis in fact for the story which appeared in certain exhibitor trade papers to the effect that responsible LA. officials had given assurances, both to Rosenblatt and the exhibitors, that a revision downward would be okayed by them in cases where present scales were demonstrated to work hardship on exhibitors. This story was given prominence in the trade press, but it appears to be an unsupported fact. One thing is certain, however, and that the promise given to the NRA by union officials relative to future acts of violence by organized labor unions which may find themselves in disagreement with exhibitors. The code itself, of course, prohibits strikes pending arbitration of a given dispute, and it is certain that any acts of violence while a dispute is being arbitrated will result in summary punishment for the offender. The plain import of the "no strike" clause is to impose governmental authority over all labor unions, irrespective of what form of milder language may be employed to describe this section. Heretofore, if a local union reached an impasse with an exhibitor, it could immediately "strike" the theatre or theatres in question. All this is a thing of the past under the code provisions. It is well known throughout the trade that no LA. local union, now or in the past, could strike without express permission of the LA. General Office, thus the present excitement in the exhibitor trade press anent the "intention" of the General Office to "take away this privilege" from local unions in future, in accordance with promises supposed to have been extended to both the A. F. of L. and the NRA, is so much hokum. It has ever been thus. Elsewhere in this article appears certain excerpts from the current Official Bulletin of the LA. which throw some light on the position of this labor organization with respect to the code. When and if the proposed motion picture code is signed by President Roosevelt, and this action is expected even as these lines are written, International Projectionist will endeavor to distribute generally among its readers a special bulletin which will include any material changes effected in the labor sections of the code since its third, and so far as is now known, final revision. PROJECTION ROOM SWITCHES Sidney Wein A MONG the most important elements in a projection room are the various switches in use therein — yet a majority of projectionists pay very little attention to this item. Switches that are faulty in design or manufacture, or that have been worn to an extreme degree, have often proved troublesome, and in several instances have been known to stop a show. All projectionists know that switches are replaced only when they are burned out or become so troublesome as to be inoperative. So difficult has it been during the past several years to obtain room equipment that might be described as absolutely indispensable to the operation of the show, that many projectionists never give a thought to room switches. The pennypinching manager (who is only acting on orders from "up above"), has no means of knowing the importance of the various projection room switches, this being the responsibility of the projectionist. Of course there is no hope for that type of manager, encountered by this writer, who said: "If you do not have spare parts available, you will not have breakdowns". Still it is not inconceivable that much of the difficulty experienced with switches is due to the fact that some projectionists do not understand what causes a switch to burn out. Arc Lamp Switch The arc lamp switch is the one most likely to burn out, and there are several reasons why this is so: lugs not clamped down tightly enough on the binding posts; wires not soldered properly into the lugs, and excess heat, caused by the wrong size wire or the wrong size switch. Excess heat takes the temper out of the spring washers on the switch, inducing undue arcing in the hinge part of the switch and inevitably causing the latter to melt. This can happen when the wire or switch is below the proper carrying-capacity for the amperage being used in the arc. This writer recalls one instance of where a 100-ampere switch was used on a certain hi-low lamp, which was replaced with a high-intensity lamp using 130 amperes. Although the projectionists requested the proper size switches at the time the change in lamps was made, and have renewed this request many times since, the 100-ampere switches still are in service. The burn-out on this job probably will occur when the theatre is filled with cash customers. Another not infrequent cause of a burn-out is the pleasure experienced by some projectionists in seeing the long flash of fire that issues from the switchbox when the switch is pulled out very slowly as the light is killed. (The writer didn't believe this possible, either, until he witnessed such a performance himself.) For long life, a switch should be the right size for safely carrying the amount of amperage used, and all wires in the circuit also should be of the proper carrying-capacity. It is important, of course, that all contacts should be as tight as possible. A little grease or vaseline on all working parts, such as the hinge and fork parts, prevents and absorbs arcing. See to it that the spring washers have not lost their tension and if there be any doubt as to the tension, replace the washers immediately. Proper tension is essential in the fork part of the switch, at the point where the blade fits in to make the contact, a lack of which tension causes undue arcing. Last, but certainly not the least important rule, be sure to pull out the switch with a snap when killing the arc. Remove the pitting on the blades with a fine file or with emery cloth. Emergency Repairs Regular inspection and a little care will prevent switches from burning out under ordinary operating conditions. Should an arc lamp or motor switch burn out during a show, the best means to remedy the difficulty quickly is to connect the wires straight across, just as though there were no switch — the positive being connected to the positive, and the negative to the negative. After taping the connections, the main switches on the panel board may be used. This advice is directed to those projectionists who work in theatres where there are no spare switches on hand — and there are innumerable such theatres. Finally, it is suggested that in those sound systems where there still are several switches on the same line, as many of these switches be jumped as is possible^— cut out entirely — as such switches are potential noise and trouble makers, and there appears to be no good reason for their being retained in the system.