International projectionist (Jan-Dec 1947)

WHY ACETATE FILM? by ROBERT MITCHELL Graphic Theatres Circuit A noted contributor to the literature of the art questions the necessity for the introduction of acetate film. ONE cannot help wondering just what this substitution of acetate for nitrate film business is all about. The inside story, it seems to the writer, would make for extremely interesting reading, especially if, as is widely suspected in the craft, the licensing of projectionists would be vitally effected by any widespread use of acetate stock. The safety factor of acetate film is undeniably an asset in situations where non-professional or untrained projectionists are in charge; but the skilled projection specialist may legitimately question whether this factor is of any value to him. In the hands of competent projectionists nitrate film very rarely ignites or "explodes" — the latter being a euphemism employed to "explain" film fires when the real reason is not known. Defective Equipment Chief Offender Defective or worn projection equipment is the cause of more than 90% of all projection room fires — but we don't see any frantic rush on the part of either the fire authorities or the exhibitors to provide an adequate periodic inspection system to obviate this trouble. Naturally not, since their primary interest is to save money not spend it. The great majority of the old-timers, with years of projection experience behind them, have never had a film fire. Moreover, damage to the projectors can result as readily from a pile-up of acetate film as from one of nitrate film. In the event of a film stoppage in the gate (an unusual occurrence) a film fire hardly ever results from nitrate film. A frame is burned out of the film, to be sure, but under similar circumstances acetate film suffers the same fate. The raw stock manufacturers' assertions anent the durability of acetate film have yet to be verified in the projection room. I believe that most projectionists hold the opinion that even the new type acetate stock does not compare favorably with regular nitrate stock in resistance to heat and wear. I hasten to concede the nuisance value of acetate stock, but I cannot quite understand some of the reported difficulties in splicing the stuff. Projectionists who have yet to receive an acetate print should nevertheless not neglect obtaining a supply of safety film cement (or a dualpurpose cement for both nitrate and acetate stock). Why get caught without the necessary materials? Substitute Splicing Aids In an emergency, however, the projectionist can save the show and his professional dignity by keeping in mind a few simple expedients. Most drugstores and photographic shops carry small bottles of cine safety film cement for the home-movie trade. This liquid is identical with the safety film cement which the theatre should have ordered from its supply house. In lieu of a regular safety film cement, however, the druggist can supply glacial acetic acid. No prescription is needed. This clear, watery liquid makes a perfect acetate film splice, and its viscosity can be increased for easier application by dissolving a few scraps of clean acetate film base in it. Glacial acetic acid "cuts" rapidly, but it has the disadvantage of a corrosive action on the skin and an overpowering odor. Excess acid should be wiped off the splicer to avoid injury to exposed metal parts. No special comment concerning Trucolor prints is necessary. Such prints are handled the same as any other doublecoated films (Cinecolor. Magnacolor, etc.) except that the film base is acetate and hence must be spliced with an acetate-joining material. The projectionist should be on the watch for black-and-white acetate shorts, and the best way to catch them is to examine the edge-markings of every short subject which does not belong to a regular well-known series. Ordinary black-and-white acetate film has the soft, "thin" feel of nitrate news stock. The feel of film cannot always be trusted, but it saved the day for me when I encountered an acetate leader on a nitrate subject. There were no edgemarkings on the leader, but I confirmed my suspicions by trying to light a clip from it with a match. It just fizzled. PROJECTIONISTS' SERVICE MANUAL $3.O0 THE MOST SUCCESSFUL ROADSHOW IN AMERICAN THEATRICAL HISTORY Do you know any of these old-timers? Personnel of the Lyman H. Howe troupe in 1903: (front row extreme left) Howe; (extreme right) S. Max Walkinshaw, manager No. 1 company, later general manager; (second row center, in derby) Chester S. Strontenberg, "operator"; (next, in cap) Le Roy Carleton, "sound effects man"; (third row left, in derby) Will C. Smith, "operator" with No. 2 company and later president of Nicholas Power Co., makers of the Powers Cameragraph, and much later with National Theatre Supply Co.; (next to Smith, in derby) W. C. Pflnegar, booking agent; (next right, in soft hat) Paul Felton, musical director; (next right, in sailor straw and high collar) Russell S. Blake, "operator"; (back row, tall man) Mr. Wilson, manager No. 2 company; (lady) Mrs. Wilson, musical director No. 2 company. INTERNATIONAL PROJECTIONIST • November 1947 25