International projectionist (Jan 1943-Dec 1944)

The Projection of Motion Pictures By HERBERT A. STARKE RKO SERVICE CORPORATION, HOLLYWOOD, CALIF. THE FINAL phase of a motion picture production is in the theatre. All the preparation and expenditure of money involved in its creation have been reduced to so much film footage. It is now in the hands of the projectionist, with whom lies the responsibility of transferring the material to the screen, through the medium of projectors and a source of light. Motion pictures are an illusion, and are intended to convey realism to the screen. Upon the arrival of the release print, the normal procedure in first-run theatres is a careful inspection and measurement of the entire footage. For several years, the exchanges have been doubling up the reels of features for shipment. This duty is performed for the most part by girls in the exchange. In other words, the composite film is delivered to them on spools from the laboratory; they in turn mount the A and B sections on 2000-ft. reels. Our experience has been that in many cases, this very important procedure is not properly handled. Most of the splicing is done with small mechanical splicers, which are allowed to become worn and out of alignment, with the result that inaccurate splices are made. Many of the girls engaged in this work do not realize the importance of properly blooping out splices. The splicing lacquer is allowed to become thick and slow-drying; and as the re-winding proceeds, deposits from the wet application are smeared on the track over several wraps. This necessitates cleaning with a lacquer remover, and invariably the splices are removed. Under no circumstances are the shipping reels used; they are, for the most part, badly bent and unfit for use. Most of the best theatres are equipped with cast aluminum reels, upon which the film material is mounted for the duration of the engagement. Daily Inspection of Equipment Projection room routine will vary from theatre to theatre. Nevertheless, certain duties must be performed daily. Of great importance are the inspection and cleaning of the following units: (1) Projector mechanisms. (2) Upper and lower magazine valve assemblies. t J. Soc. Mot. Pic. Eng., Aug. 1943. (3) Optical systems. (4) Lamp houses, contacts, and all component parts. (5) Take-ups and belts. Proper oiling with manufacturer 's specified lubricant. Many projectors have been ruined by inferior oils. (6) Inspection of sound system4. (7) Inspection of generators or rectifiers. Motor switches must be replaced at regular intervals. A failure here may cause interruption of the performance. It is important that the light from each projector be checked on the screen for intensity and color, and at the same time, image alignment should be checked. Every effort should be made to ascertain that the shutters are perfectly timed; slight bleeding that may not be observed from the projection room will cause loss of definition. There appears to be considerable lack of showmanship today, and the absence of lighting effects is noticeable. The general procedure is to work out a schedule, the starting time is determined, and the show is on. The practice of giving away cash and other prizes in many of our de luxe theatres has not enhanced the production but rather has cheapened it. The success of the presentation depends largely upon technical conditions often beyond the control of the projectionist. The equipment in many of our theatres today is inadequate, particularly with respect to the available light. Theatre managers seem to be reluctant to seek proper advice when purchasing lamp equipment, and false economy often results in inadequate projection. Light sources may be divided into three categories: (1) the largest theatres require condenser type high intensity arcs; (2) the intermediate theatres the Suprex type; and (3) the small theatres the 1-kw a.c. or d.c. types. Due to its yellow color and low intrinsic brilliancy, the low-intensity arc is being rapidly replaced by an intermediate type of non-rotating high-intensity arc having a color value approximating the white light of the rotating and non-rotating high-intensity arcs. The reflected screen light depends upon the character of the source, the optical system, and the reflectivity of the screen; and last but not least, upon the efficiency of operation. To the projectionist falls the task of coordinating these elements into a single, smoothly operating whole. Dense prints are quite common today, and it is also becoming the practice to increase the auditorium illumination. Smoking is permitted in many theatres, tending to decrease reflectivity of the screen. The projectionist in the large theatres using the Suprex equipment instead of the high-intensity condenser arcs will often increase the arc wattage beyond the rated capacity of the carbon trim in an attempt to increase the brightness of the picture. He then encounters a disproportionate increase in carbon-burning rate, often beyond the feed rate of the arc control mechanism. Operation then becomes critical and efforts at manual control prevent the arc from establishing itself on a stable basis. There has been a tendency, particularly on the West Coast, to increase the picture size without adding to the illuminations, whereupon a reduction in brightness and contrast results. Graininess is also noticeable, and all these factors lessen the value of the front rows of seats. Operating Difficulties Operating difficulties may be encountered with the rotating high-intensity lamp, due to pitted or burned com: act brushes, loose and dirty lead connections, excessive voltage at the arc. The carbon manufacturers' specifications should be rigidly followed. The lamp house should be ventilated, if possible, with a separate exhaust fan, and dampers put into the stack in such a manner as to control the travel of air without impeding the passage of waste materials of arc combustion. The Suprex and the 1-kw types of nonrotating high-intensity lamps are operated at small arc voltage and current. Hence, they are sensitive to drafts. The final phase of motion picture production is in the theatre, and the success of this phase depends upon the technique of projection and the condition of the projection equipment. This article discusses in considerable detail the importance of proper maintenance, the types of light-sources, and other factors of importance to good projection. JANUARY 1944 11