International projectionist (Jan-Dec 1947)

Tele Features SAAPE Meet THE immediate future of theatre television will likely be settled at the forthcoming convention of the S.M.P.A. at the Hotel Pennsylvania, October 2024. With RCA expending every effort to sell video to a paying audience the while they energetically promote network tele to the home, and with several outstanding theatre projection men scheduled to enter strenuous objections to the intrusion of wired stuff into the normal theatre program, it seems that this meeting of the industry's outstanding technicians will settle the fate of the video art in the theatre for some time to come. One can only applaud the action of the Society in inviting both brickbats and bouquets anent video art at the several open-forum sessions scheduled for this meeting. IP has long advocated such an open discussion of the conflicting opinions on the proper place of television in the motion picture theatre. The significance of these discussions to the projectionist is apparent, because this is the first time that the prima donnas of both the video art and the motion picture will be encouraged to express themselves on a development which is fraught with great significance to thousands of workers in the projection art. Projection Men's Tele Slant The program reveals the importance with which the hard-driving RCA forces regard this meeting. With three papers programmed, plus a demonstration of large-screen television scheduled, and with the ubiquitous Dr. A. N. Goldsmith summoned to defend their point of view, RCA has finally put itself in the position of either proving or eating its intention to put television over in the theatre field. It is an open, secret that practical projection people who are responsible for the daily operation of hundreds of theatres from coast to coast will strenuously oppose the well-publicized theory that video can be interpolated into the customary movie theatre program. Even so stalwart a proponent of the theory of human gregariousness as Dr. Goldsmith is likely to find the going difficult. Twenty-five Equipment Exhibits Television, however, is only one aspect of the well-rounded program of technical papers and exhibits that promise to compensate even the long-distance visitor to this engineering conclave. James F. Frank, Jr., chairman of the arrangements committee, announces that 25 lead ing equipment manufacturers have already booked exhibition space for what promises to be the provocative display of the latest motion picture equipment. Film Screen Background Light A new departure in the use of color for film presentation — the application of dynamic luminous color in screen and auditorium lighting — will be revealed by R. Gillespie Williams. This paper describes a new color mixing lighting controller, soon to be marketed, which provides an almost unlimited range of color hues including all those found in the theatre gelatine range. The new method of decorating with light uses luminous instead of static colors and makes possible the creation of lighting plots to fit in with the film story. Important Papers Listed By presenting screen pictures against this background of luminous color, asserts Williams, the size of the "show" area is increased, vision is improved, eye-strain is reduced, and the general effect is the visual equivalent of background music. Indicative of the wide scope of motion picture technology to be covered at this S.M.P.E. meeting is the appended list of scheduled papers and exhibits : Report on Advancement of Theatre Design, by Ben Schlanger, architect. Psychological Aspects of the Theatre, by Walter Cutter, New York University. General Theatre Construction, by John McNamara, architect. A comparison of low and high-cost methods of construction under current conditions. Drive-in Theatres, by S. Herbert Taylor, Consulting Engineer. Selection of suitable property, methods of construction, operation, and maintenance. Foreign Theatre Construction, by Clement Crystal, Paramount. A resume of foreign theatre construction, methods, and some of their special problems. Seating Arrangements, Sight Lines, and Seating Design, by Philip Alexa. American Seating Corp. A broad discussion of the entire subject. A New Theatre Loudspeaker System, by H. F. Hopkins, Bell Telephone Labs, and C. R. Keith, Western Electric Co. The new system employs sectoral highfrequency horns and a crossover fre (Continued on page 27) LETTERS To the Editor of I. P.: Frequently I come across the expression "Film damaged by the operators," particularly in "warnings" from exhibitors on a prior run which are pasted onto film cans. After years of experience, and in discussions with scores of projectionists in my own territory and elsewhere, I am convinced that the major blame for film mutilation rests with the exchanges. Three-reel Case Maximum First, no feature should be shipped with more than three reels in a case. Four-reel cases are too heavy to be handled by anybody, especially when transit of several flights of narrow, winding stairs is required. Very often film cases reach the projection room so battered and crushed that the covers must be opened and, subsequently, replaced with the aid of tools. Once the covers are removed, the film cans themselves require tools for their removal. The majority of exchanges send out film in such poor condition that it requires a couple hours per feature to properly examine and repair it. It's a laugh to encounter "inspection" seals; not infrequently such seals indicate that the film should be sent to the fire department, not projected via a carbon arc. The conditions of leaders is particularly bad. Sometimes a film has very short leaders; at other times there are no leaders at all, which means that we have to run down the film and thus cut the picture. Sprocket holes are broken through and patches open up, attesting to the superficial examination accorded the print. Hairline Patching Ban Favored Nine patches out of every ten which open up are curved or are straight hairline patches. Since there exists considerable disagreement as to the comparative worth of acetate and nitrate stock, and as to what cement should be used thereon, it is vitally necessary that these hairline patching machines be banned. Every projectionist I know complains about them. But will the exchanges do anything about them? No; not until we projectionists give them "the works" by refusing to handle such film. Proper examination of film by the exchanges would enable placing the blame for damaged film where it belongs — instead of damning the craft generally. (Continued on page 35) 16 INTERNATIONAL PROJECTIONIST • October 1947