International projectionist (Jan 1943-Dec 1944)

justment in this circuit will not be very sensitive. Auxiliary switches for changeover may be installed or exciter lamp changeover may be employed depending upon the type of system used. When there is one main control per machine, it is usually in the grid circuit of one of the voltage amplifier tubes. Two resistors in series may be substituted for the full winding of the volume control, in other words an L-pad, the grid being connected to the junction of the two resistors. By proper selection of the value of the two resistors, full house volume may be arrived at. Additional adjustments by the methods just described may be employed. For application in systems having a main volume control per machine some contestants have provided a length of shielded cable (microphone type) equipped with clips at each end. This is used to connect the output of the machine associated with the defective volume control to the other voltage amplifier with the operable volume control. Volume control of both machines may then be obtained and changeover is by exciter lamp. In some systems slight mechanical modifications may be necessary in the changeover switches. The prize winners again have been selected on the basis of the comprehensive answers received. In some instances rather general descriptions of a proposed method were given, while on the other hand, several very complete papers covering various types of systems were received, together with sketches and in one instance, a model of a dissolver device. The first prize winner, Fred Erhard, sent the model of a dissolver designed for use in front of the photoelectric cell. This is in reality a double shutter device which cuts both the top and bottom of the light beam entering the photoelectric cell. One lever operates both shutters, and it can be set in any position. He has assumed that all he has to work with is an old trailer can {hope the WPB does not catch him at it — ED.), solder, soldering iron, and some small nails for use as rivets. Let us quote from his reply: "This working model replaces the guard in front of the PEC in the WE D206-A sound head and is used to vary the light beam reacting on the PEC from the exciter lamp. A dissolver of this nature can he used on any sound head, but I am using a WE D-206-A as an example. Place the fader on its highest point (no attenuation, no effect if fader is defective; he has also provided for an L-pad in place of the fader if necessary — ED.), leave the shutters on the dissolver closed until the projector is started, then open them slowly until you have correct volume. I tried it out on a Fox Netvs and I found that by ope/ting the shutters about \'k inch I had normal volume, and on Paramount's 'Palm Beach Story', which had a normal fader setting, I got the same volume by opening the shutters to about 5/16 inch." George Wilde, the second prize winner, relies mainly on sketches covering several types of volume controls. One method of volume control proposed is the variation of the screen voltage of the first tube of his voltage amplifier. For this purpose, he has sketched an arrangement for using thirty flashlight batteries in series, with a tap switch to vary the voltage. This is ingenious but cannot be made up in advance, as the batteries deteriorate. His other methods, such as an L-pad in the grid circuit, a homemade tapped volume control, or a potentiometer in the screen circuit are more practical. The third prize winner, M. J. Nederostek, suggests, among other proposals. {Continued on page 22) Cooperation Between Projectionist and Exhibitor Urged at S.M.P.E. Meeting THE ALL-IMPORTANT topics of copper conservation in motion piclure theatres and the cooperation between projectionists and exhibitors were the features of the. meeting held last month by the Atlantic Coast Section of the S. M. P. E. The meeting was opened by Dr. Alfred N. Goldsmith, Chairman of the Atlantic Coast Section, who introduced the speaker of the evening, Mr. Jay Emanuel, publisher and motion picture theatre exhibitor. Mr. Emanuel read a paper on "War Conservation from the Theatre Owners Viewpoint," in which he emphasized the importance of the conservation and proper maintenance of projection room equipment. He bore out our contention that a theatre owner seldom, if ever, knows anything about the maintenance of his projection room equipment. "As a theatre owner," he read from his paper, "it would be foolhardy for me to attempt to analyze sprocket by sprocket, grease cup by grease cup, cleaning method by cleaning method, and the many ways to 'baby' and maintain our theatre equipment. This is a specialized knowledge that has been correlated in numerous and very adequate forms by manufacturers, dealers, and service companies who are much better qualified to author such surveys that I am ... I also recognized from actual experience in my 30 years of theatre operating background, that developments and improvements in projection and sound equipment and methods were actually progressing faster than the obvious changes in physical theatre fronts, seating plans, interior decorations, and patron comforts. Therefore, in each remodeling program. I managed to work out a deal whereby my probably adequate projection room and back stage equipment was traded for the latest and most modern equipment. In this connection I was favored in having Harry Blumberg. manager of the Philadelphia branch of the National Theatre Supply Company. as both my friend and confidante, as well as my vendor. I merely told him that I wanted the best and accepted his ad vice without question . . . Equipment records which have been kept by each manager in his theatre files and duplicated in my general office files, have been brought up-to-date with added notations on the current condition of each item. With such a record at hand. I have gone over each theatre with my supply dealer and with the engineers of my local sound and equipment service in order to estimate the potential life and possibilities of breakdown which each item had." He also paid tribute to the projectionists employed in his theatres, stressing the close cooperation existing between his projection room personnel and his organization, by reading further: "The projectionists in our theatres are a pretty well trained group of oldtimers, who are thoroughly skilled in their tasks. I have always insisted on having good men assigned to my theatres, and have been willing to pay top scale for them; some of my projection room employees have been in their present jobs for upwards of fifteen years. My relations with my projection room personnel have been cooperative and friendly, and I know that the operation in my theatres has been trouhlefree and of the highest order. At my request, my projectionists report all of their difficulties and make helpful suggestions, for which I try to compensate them." Mr. Emanuel's paper also calls for a local equipment conservation committee in each territory, consisting of one representative from each recognized supply store, an equal number of representatives each of the major circuits, independent theatres, and I. A. T. S. E. local unions. The number of equipment dealers operating within a given territory would govern the number of representatives comprising each committee. It would be the objective of each local committee to create pools for all equipment in a given territory, and to inaugurate a series of exhibitor meetings in the key cities of each district for the purpose of educating theatre owners to the benefits derived from such a plan. FEBRUARY 1943 15