International projectionist (Oct 1931-Sept 1933)

10 INTERNATIONAL PROJECTIONIST October 1931 loops and break. Inspection of lamps is necessary to see if insulated parts and all working parts are in perfect condition. Maintaining the proper clearances of pad rollers, fire valve rollers and film trap, and the proper tension on pressure pads and the take-up will (1) extend the life of the mechanism parts; (2) lessen the liability to film fires; (3) conduce to best screen results; (4) reduce wear and injury to film, thereby effecting a tremendous saving. Defective Reels Avoiding the use of bent reels will prevent damage to film while in theatre. Inspection and cleaning of mechanism after each reel prevent accumulations of emulsion causing damage to subsequent reels. Inspection of film after each run will detect loose splices, scratches, or other defects, which may have developed during last run of film. Careful handling of amplifiers is allowing sufficient warming up time for tubes, prevention of excessive current in tubes, and when closing down, opening high voltage circuits before low voltage ones, will prolong the life of tubes. The proper level of sound must be maintained on each subject, and in order to do this, it is necessary that the projectors be periodically tested for equal volume. Spare Parts Stock All parts which show wear should be replaced and repairs made without delay. The spare parts should be kept on hand and replacements anticipated. A careful checking of spare parts at frequent stated periods against sudden shortage of vital equipment or supplies will eliminate expense of special ordering or shipping. Duplicates of parts subject to sudden breakage should be readily available in case of emergency. Using manufacturers' code number to designate part ordered wherever possible insures that correct article is received in the first instance. Using stage horns at high volume behind closed front curtains invites injury to the horn receivers. Repairs cost $20 per receiver. Careful projectionists guard against this trouble by keeping .volume within limits of receiver. Systematized Work Cleanliness, neatness, orderliness, and systematized work in the projection room are absolutely essential. Since the coming of the sound picture, cleanliness has become particularly important in the projection room. It is literally possible for dirt to be heard as well as seen. Sound reproducing mechanism is so delicate and sensitive that it can pick up the smallest speck of dust and transmit it in HARRY RUBIN SAYS: iiinLEANLINESS, neatness, orderliness, and systematized V>4 work are absolutely necessary in the modern projection room. ... It is literally possible for dirt to be heard as well as seen. Sound producing mechanism is so delicate and sensitive that it can pick-up the smallest speck of dust and transmit in the form of distorted sound to your audience* ''The manager who uses good judgment can establish a cooperative spirit which will produce excellent results and maintain friendly relations between the management and the projection staff. Where several men are employed on a sound projection shift, it is necessary that there be a complete understanding between the men as to the work \vhich each is to perform. Without such an understanding, some of the work may be neglected as a result of 'letting the other fellow do it', or several men may attempt to do the same work." the form of distorted sound to your audience. The sound can be interrupted — or entirely killed — through an extremely small speck of dirt which may block the transmitted light beams from the exciting lamp or may cause imperfect contacts at hundreds of points in the sound equipment. Dirt deposited in the aperture of the projector will show on the screen and divert the attention of the audience. This deposit may be caused by: 1. Dirt picked up on the film through contact with the floor. 2. Dirty projection. 3. Dirty film containers. 4. Lint from cloth used in cleaning film. The careful projectionist will keep the film in a clean condition and keep excess oil from projector, as he knows that oily film attracts dirt and that the oil spots on film show upon the screen; also, oily film affects the quality of the sound. Orderliness demands that all spare parts — kept on hand for use and emergencies— be instantly available when needed. Thus delays, if occasioned at all by breakdowns, will be remedied immediately, or with the least possible delay. For example, an exciting lamp is a very small but very important item. To properly perform its work, it must be placed in the projector and accurately positioned in its holder. In the event of an exciting lamp burning out under proper conditions, it is but a few seconds work to extract this lamp with its holder and insert another lamp and holder, which has been previously focused for this projector. No two projectors seem to have identical focus, and, therefore, each holder should be properly marked and placed near the projector upon which it is to be used. This may appear to be a trifling matter but it will shorten the delay to a few seconds should the exciting lamp burn out during the show. Managerial Cooperation The manager who uses good judgment can establish a cooperative spirit which will produce excellent results and maintain friendly relations between the management and the projection staffs. Where several men are employed in sound projection it is necessary that there be a full understanding between these men as to the work which each is to perform. They should arrange this in advance so that a smooth performance will be secured. Without such understanding, some of the work may be neglected or more than one man may attempt to do the same work. The manager should see to it that there is a full and complete check-up of the projectors and sound equipment every day before the start of the show and also a separate check of each horn unit. Pre-Show Preparation If the manager has an effect machine and magnascope screen, he should use the positive and negative effect designs to dress up his short subjects, seasonal and advance trailers, overture films, organ solos, and introductory titles of features. These positive and negative effect designs have become a distinctive feature of the high type of entertainment offered in the Publix Theatres. There are, at the present time, approximately 300 of these designs which were originated and created under my supervision. Many artists were employed in the making of them in order to obtain variety — and originality — of ideas and designs. Inasmuch as positive and negative designs are simply combinations of black and white with various shades of gray, the colors are obtained by means of colored gelatines. Considerable thought and experimentation was required before the