International projectionist (Jan 1941-Dec 1942)

why we have to keep our eyes on our machines every moment they are in operation. If projectionists lost their heads and forgot to switch off the current, the entire projection room would be ablaze in a few moments." At that moment the signal for the changeover, a small black dot in the right-hand corner of the picture on the screen, became visible. The machine next to Miss Macknay's began to hum. While the last few feet on her projector's spool were running out, she continued her close watch on the many and diverse elements that go to make up a modern visual and sound reproducing system. Then, as the window in front of her projector became dark and the other machine "took up the story" without a break, she lifted the film out of the lower film box and started for the rewinding room. Her parting words were: "Tell any girl who is interested in machinery to apply for this job. It's fascinating." Typical Opinions on Proposed S.R.P. Changes HALF OF MOVIE FANS ARE LOST AT AGE 40, DR. LIST HOLDS Fifty per cent of the nation's theatregoers cease to be regular patrons when they reach the age of 40, according to Dr. J. S. List, consulting psychologist, who contends that 75 per cent of the patrons are lost to the theatre when they reach 60 and 98 per cent at the age of 70. Dr. List bases the figures on a thorough study of polls and surveys and he lays the blame for the diminishing market to a lack of understanding of adult tastes on the part of the producers and the failure of exhibitors to cultivate their publics. The majority of theatres, both independent and affiliated, have failed to capitalize on their ability to get people interested in making their neighborhood shows a community meeting place, he asserts. Most theatre managers, continued Dr. List, are not paid high enough salaries nor are they sufficiently trained to do anything more than look after the welfare of their theatres. Greater contact with their publics would keep more than 50 per cent of adults interested in the movies long after they pass the age of 40, he insisted. Possible Corrective Steps His theory that half the theatre fans lose interest in pictures after 40 could be corrected, Dr. List said, if greater attention were paid to tastes of all ages. This, he admitted, would be a difficult task and yet he insisted that psycho-analysis of a story in advance would insure its acceptance by the public as a whole. In this respect, Dr. List said that the radio industry was a step ahead of motion pictures, declaring that sponsors, advertising agencies and stations carefully diagnose their programs before putting them on the air so that as much mass appeal as possible can be obtained. MACK WENZEL DIES IN CHICAGO Mack Wenzel, founder of the Wenzel Co., makers of the line of projection equipment of the same name, died in Chicago at the age of 52. Two sisters and a brother Fred survive, the latter still being very active in the business. TYPICAL of the many and varied comments received by I. P. in response to its publication of the Local 150 (Los Angeles) proposals for changes in the Standard Release Print are the appended communications from two contributors whose names are not unknown to readers of these pages. The first, from Frank Dudiak, projectionist at the National Archives in Washington, D. C, follows : "When the S. R. P. was introduced it constituted a progressive step toward the standardization of projection practice, not only in the theatres but also in the commercial field. Almost from its very beginning, however, one aspect of the S. R. P. was overlooked or, possibly, disregarded. I am referring to the negligence of film exchanges in maintaining S. R. P. specifications. "The film exchange is the connecting link between the theatre and the film laboratory. I don't think that laboratory errors figure importantly in what is patently a breakdown of S. R. P. standards. It seems to me that the fault lies in the unwillingness of the exchanges to set up and enforce rigidly penalties against those theatres that wilfully or otherwise alter release print standards. "Under present practice a print contains a number of different starting marks by the time it reaches the subsequent-run theatres — and these are the fellows who need help the most. Cases are on record where a print carried five entirely different starting Tips on the Cleaning of Compound Lenses DO not use ordinary glass-cleaning, or spectacle-cleaning, liquids on projection or sound lenses of compound type. These fluids are perfectly safe for use on lamp mirrors, single condensors, simple lenses or prisms, but they are not safe for compound lenses cemented by Canada balsam. Nearly all such fluids contain alcohol, ether, turpentine or ammonia, substances that dissolve grease. Canada balsam, used for cementing compound lenses, contains 60% of a resin soluble in alcohol, 16% of a resin soluble in ether, and 24% essential oil. It is in itself a kind of turpentine, or tree sap, and is partly soluble in turpentine; also, its oleo-resins may be more or less disintegrated by ammonia water. Except in the case of a special lenscleaning fluid specifically warranted to be safe for compound lenses, use dry lens tissue only. Ry dampening the tissue slightly it may seem possible to dampen the surface of the lens, and thus promote cleaning, without getting any of the fluid into the cement. Rut some moisure may get in by capillary action, and repeated cleanings may thereby loosen the cement. Dirt and grease do not stick to polished glass. Cleaning with absorbent lens tissue, repeated as necessary, will do the job without risk. and ctlt-over cues. In another instance there were 22 separate marks within 15 consecutive frames used as changeover cues, and a like number as cut-over cues. What did the projectionist do about it? Why, he put his own marks on so as to be able to differentiate them from the others. "Who is at fault in such a situation — the projectionist or the film exchange? The answer is obvious. Probably in the near future the S.M.P.E. will undertake to really do something about this print-marking evil. Too Little Margin of Safety "Projectionists allow themselves about one foot of film on the incoming reel during changeovers as a margin of safety. I have handled a number of reels with very short fade-ins; consequently, if the changeover were made too soon, a flash of the wide S. R. P. frame line would show at either the bottom or the top of the screen; if it were made one second later, the fade-in would be missed. Investigation disclosed that the length of the fade-in was only about 20 frames — which is entirely too short. "For this reason I propose that fade-ins at the beginning of reels be at least 3 feet in length; in other words, that the distance from the end of the S. R. P. to the beginning of the fade-in be at least 20 inches, depending upon the type of fade-in." Another angle of the situation is discussed by Philip A. Towle, of the Garden Theatre, Marshall, Michigan, in the following note: Would Back Local 150 Proposals "When S. R. P. changeover dots are printed into the film, I always use them. When these dots are omitted (such as on some shorts and on previews) I use either crayon or the Clint Phare marker, or I go by certain scenes in the picture. However, 1 never use the Phare marker except where the dots will be of use to other projectionists who may be looking for the dots, as I feel that any additional markings constitute film mutilation and as such are to be avoided. "Fader instructions could be eliminated without occasioning any trouble. I use them only when considerable gain is indicated, and even then I come in on the first showing with only a slightly higher fader setting. "In general, I would back all the proposals of Local 150 anent changes in the S. R. P." Take it away, Local 150; it's all yours. MOVIE ATTENDANCE UP 10-18% Weekly attendance in the nation's picture houses is running 10 per cent to 18 per cent above what it was a year ago, according to The Wall Street Journal which asserts that the public is spending more money on amusements and recreation than ever before. The financial paper reported yesterday that the rise began on July 4 and, instead of being just a one-day windfall, became a permanent condition. Circuits, the Journal contended, doubled their hot-weather business over that of last year. Increase is not limited to picture houses, the Journal declared, as the public is pouring out money for legitimate theatre entertainment, horse racing, liquor, books and travel. The paper asserted that "good times are continuing." JULY 194 1 17