International projectionist (Jan 1943-Dec 1944)

LETTERS TO THE EDIT Non-Intermittent Projectors To the Editor of I. P.: This is in answer to Eddie Whitford's query in the November 1943 issue of I. P. regarding non-intermittent projectors. I distinctly recall the two Mechau projectors which were installed many years ago in the Capitol Theatre in New York City. I had the pleasure of seeing these projectors in operation and the late Art Smith, who was chief projectionist at that time, explained to me in detail the mechanical and optical phenomena. The Mechau projector was a very heavy and rugged affair built for permanent installation. It was set level with the floor and the projection angle was taken care of by a tilted mirror — an arrangement similar to the one you will find today on the Brenkert F-7 effect machine. (Projectors mounted in this position will give longer life and enhance the performance of the carbon arc.) The working parts of the projector were completely enclosed and bearing races were extensively used, thus making a nearly noiseless running projector. The lubrication was semi-automatic, and while the threading was a little different from the ordinary run of projectors, it was not complicated. To get away from the one hundred per cent mechanical compensation for projecting a picture on the screen, the Mechau projector was outstanding in that this was accomplished by optical compensation. The light rays emanating from the light source were focused on a rectangular mirror, which, in turn, was reflected onto a prism located at the film aperture with another lens in between. An objective lens focused the illuminated image onto a train of eight sector mirrors which revolved around an axis at this point. The movement of the mirror train was properly coordinated with the film movement by a suitable mechanical arrangement. Because the mirrors followed each other without any gap, parts of two sector mirrors were in the light beam at the same time. The first mirror compensated the one movement of a film picture, whereas the second mirror had already begun the compensation of the following picture. With every transition of a picture on the projected screen, the projection of two film pictures which followed each other occurred at the same time. This process went forward in such a manner that during eyery change of picture the mirror leaving the field got less and less light, and the mirror which was just entering the field got more and more light, so that the brightness of both pictures, which covered each other on the screen, was continuously changing. Their total brightness, however, remained the same. A projected picture was thus replaced by the one immediately following without the dark interval, and the change of pictures correspond perfectly to the process as it took place in the human eye. This action was focused onto the tilted mirror with a Tele-objective lens. The projected picture was viewed without eye strain and was absolutely flickerless at any speed. It was rock-steady and the definition was very pronounced, and had uniformity of illumination. The intensity and quality of the picture illumination was beyond criticism. The Mechau projector produced a minimum amount of wear on the film due to the non-intermittent movement of the film, the extremely light aperture tension, light even tension take-up, and 32 sprocket teeth. Since very little heat passed through the film, buckling was eliminated. Why these projectors did not get recognition, I do not know. Perhaps the price of $2400 for each projector had something to do with it. Andrew J. Seeley Local No. 376 Syracuse, N. Y. Drive-in Theatres To the Editor of I. P. I have read your articles in I. P. for a number of years and have found them both instructive and interesting — keep on with the good work. I should like to make a few comments on the article "Drive-In Theatres of the Past. Present and Future," by Leroy Chadbourne. which appeared in your November 1943 issue. By the way, drive-in theatres are unknown in Western Canada. There seems to be difficulty in transmitting the sound to the cars, properly locating the horns, and annoyances with the plugs in the horns. It is here that I would like to suggest radio transmission with aerials overhead and receivers in the cars, probably dry battery operated. Before the war I visited England and it was there that I first became acquainted with a "hard-of-hearing" set. Deaf patrons of theatres were supplied with earphones, each one of which had a cord attached to a small box. I believe these small boxes contained crystal detectors. With the aid of these "hardof-hearing" sets, the deaf patrons sat in any part of the theatre and had no trouble in hearing the sound coming from the stage, or from any part of the theatre, as the aerials were installed under the carpets, and were wired to a high-frequency low-wattage radio transmitter fed from the main amplifier in the projection room. With study and planning I think this could be adapted to the drive-in theatres. Edward B. Marshall Local No. 348 Vancouver, Canada SHOWS GO ON "DOWN UNDER" DESPITE MANY HANDICAPS The "circuit" now being operated in remote and rugged regions "down under" by Sergeant Bert Hinchley of the Australian Army is a really tough one, according to the Australian exhibitor, and if any exhibitor thinks he is having some tough going he will change his mind quickly when apprised of Hinchley's woes. Sergeant Hinchley, who is in charge of cinema activities of the Australian Army Amenities Service in a northern area, is responsible for the operations of seven complete RCA Mobile Cinema Units which carry morale-building entertainment films to soldiers in even the most remote portions of a wide territory. Some of the troubles of the "circuit" are set forth in the article, which cites, for one instance, that when a show is scheduled for troops stationed where no road transport is available, one of the outfits is mounted on a jeep and driven into the cargo hold of a plane to be flown to the site. When the site is reached the "theatre" must be set up, and if no suitable building is available, any reasonably flat out-of-door area, large enough to accommodate projection and sound equipment, audience and screen, may serve the purpose. Workshops have been evolved and sound equipments are being serviced with such efficiency that shows are given regularly and compare favorably with those presented under normal conditions. STRONG ELECTRIC DISTRIRUTING NEW HISTORIC ROOK TO TRADE Believed to be the first book written on the history of the motion picture which breaks down the story into distinct sections dealing with the various phases of the industry, "Then and Now" is being distributed to exhibitors with the compliments of the Strong Electric Corporation, Toledo, manufacturers of projection arc lamps. The departmentalization plan was adopted in the belief that many persons are interested in one or two branches of the art and would not be inclined to read a history which treated with phases in which they are not concerned. Production, projection equipment, exhibition, distribution, film productions, and the acting profession are handled in order, and as the six parallel stories unfold a more profound respect for the industry naturally is the result. The work is profusely illustrated and will be of special interest to those who long have been identified with the business. Early studios are shown, as well as the first projectors and the earliest theatres. The book has been dedicated to War Bond sales and is signed by Harry H. Strong. 18 INTERNATIONAL PROJECTIONIST