International projectionist (Jan-Dec 1937)

April 1937 INTERNATIONAL PROJECTIONIST 17 formation on what is going on in their phase of the industry. This statement is substantiated by the many improvements and inventions that have come from the ciaft itself. Plainly speaking, "they know what it is all about." There is no attempt on the part of the craft to tell the distributors how to run an advertising campaign; but the lack of knowledge about the film itself in exchanges is pathetic and, I believe, merits sharp criticism. Now that the exchange workers are being organized, the union projectionists should take a hand in showing them what is expected of film classified as a good print. There is no need to teach them how to project, but only to teach them how to inspect from the projectionist's standpoint, which after all is the logical one. Don't blame the inspectress — she doesn't know any better. Just get one of those bookers, who thinks celluloid wears like iron, and that prints live as long as Methuselah, to look at one of his pictures in a second or third-run house, and I believe he will think twice before he lets a defective print go out. RUDOLPH MIEHLING In Remembrance and Appreciation of Fifty Years' Friendship THE death of Rudolph Miehling on April 6 marks the passing of a unique and outstanding figure in the motion picture field. It is customary to think only of great actors, great producers, directors and theatre men when we record the loss of one who has occupied a prominent place in the pioneering period or later tremendous development of the motion picture industry. But Rudolph Miehling, too, was an historical figure because he was a pioneer projectionist who helped solve many technical problems connected with the early and later devolpment of projection. Some one has noted that little of importance was contributed to the early development of projection by any engineer in the professional sense of the word; and there is much truth in this. Rudolph Miehling was the exception, however, for he was a graduate E. E. from Columbia University. But he had something more than a degree or mere theoretical knowledge. He was a real showman at heart. Many years ago, when a roadshow found itself in difficulty because of the lack of a rheostat, Rudy hastily rigged one of those "water-barrel rheostats" which were the last resort of not a few ingenious "operators" in those days. Such devices were typical of the manner in which pioneer projectionists like Rudy overcame the innumerable obstacles encountered. Rudy worked as a projectionist in a New York City Loew theatre up to the time of his last illness. He was a charter member of I. A. Local 306 and maintained this affiliation through NEW FIELDS FOR PROJECTION EQUIPMENT AND EMPLOYMENT By WILLIAM K. NELSON WHILE experiences of many office buildings which have been equipped with sound motion picture projection facilities for the benefit of tenants and others have not been as satisfactory as might be expected, there is plenty of evidence available that such facilities will in the end pay out on the investment, directly and indirectly. In the main, auditoriums so equipped, especially in New York City, have not been exploited fully by the building management, with the result that rental fees have failed to provide sufficient revenue to cover the investment. It is generally believed, however, that the rapidly increasing use of the sound picture screen by large corporations and associations both for purposes of training and entertainment, will make office building projection rooms profitable in both terms of earnings and of publicity and tenant service. The possibilities of making such a projection room pay are great providing the management of the building knows how to secure rentals and aggressively sets about to sell them. In most instances where the skyscraper projection room has been somewhat of an elephant, the management has installed it and looked upon it as a service feature, designed to accomodate tenants using or interested in using the sound screen. Aggressive Selling Required There are few buildings, even in the larger cities, which could sustain the overhead on such a setup without bookings from outside sources. This has been true in the Chanin and the Daily News buildings in New York and others. A plan of business development plus a fair but adequate showing fee will produce enough revenue in the average office building theatre to make it at least selfsustaining. Where is this screen time to be sold? Roughly speaking, the office building management will find its revenue among these groups: Commercial motion picture producers, for showings before prospective picture users. Commercial motion picture producers, for showings of customer productions before customers organizations and customer's customers. Associations of all kinds which use pictures in their advertising and propaganda work. Building tenants using pictures in their business. Advertising agencies, many of which now maintain commercial picture departments but do not have sound projection facilities. Entertainments. Important Cost Factors The matter of charges is, of course, an important one. I find that they vary greatly in buildings of the same type and size, and in buildings with the same equipment. Usually, a charge per reel is made, though in one instance the charge is based upon the period of time for which the facilities are rented. One of the chief difficulties lies in the necessity to maintain a competent projectionist on hand at all times. However, in every large city recourse can be had [Continued on page 31) all the years of his life. Technically, Rudy was always a projectionist, despite his wide and varied experience dating from one of the first "Birth of a Nation" roadshows. Later he was with Kinemacolor, after which he served as chief projectionist at the Capitol Theatre in N. Y. City under "Roxy". He was employed by Bell Telephone Laboratories on sound picture development, and was one of the first Erpi engineers when that company was formed. He also served as assistant to Harry Rubin in the servicing of projection for more than 1000 Publix theatres. Rudy was a member of the Society of Motion Picture Engineers, the American Projection Society, and was particularly helpful in the development of the Projection Advisory Council. His work in the Projection Practice Committee of the S. M. P. E. in recent years was of inestimable value He was a member of Antiquary Lodge, A. F. & M. Certain conditions connected with the death of Rudy Miehling keep me from systematically noting the inci dents connected with his long years of service. For if others knew Rudy better than I, none knew him so long. Fifty years ago we sat together in school, chumming and differing rather positively at times; but through all the years we maintained unbroken friendship and goodwill for each other. Thus, it is extremely difficult, if not impossible, for me to write about his passing and coldly marshal the details incident to his life. It is enough to say that a very useful life has been taken from tbe industry in general, and from the art of projection in particular, and that many individuals, not the least of whom is myself, have lost a great, good and true friend. — P. A. McGuire.