International projectionist (Jan-Dec 1948)

or over the entire film surface. New prints treated in this manner require no further lubrication. THE EXCHANGE PROCESS Investigation of the general procedure in the inspection and repair of prints indicates that a considerable proportion of print damage may begin in the film exchange. It is not so much that the exchange starts the damage as that it fails to stop it. Inspections are sometimes too rapid to be thorough. Splicing, if carelessly done, will frequently result in the films being sent to the theatres in such poor condition as to be unable to withstand ordinary projection and rapid rewinding. Careful inspection and repairs in the exchange result in better service to the exhibitor. They also eliminate theatre breaks which are a frequent cause of film damage, reduce the amount of replacements due to breakdown, and make the film subjects constantly available for service. Longer commercial life means increased earning capacity. Inspection of Release Prints— In nearly all exchanges inspectors run the film between their thumb and finger (protected with a soft cloth or cotton glove) to feel for splices and torn edges. If this is done carefully without cupping the film too severely, no damage is done. If the film is cupped so that a running Junk is formed, it may crack or split the film, especially release prints which have had repeated projection or which have dried out due to storage at low relative humidity. Prints are usually run through a cloth to remove dirt and oil. This is likely to result in scratching the film due to the accumulation of dirt particles on the cloth, and the oil is merely spread over the film rather than removed. This practice should be discouraged except in extreme cases, and particularly with new prints which are more easily scratched than films which have been run. If it should be necessary to remove surface dust from a new print, this should be done with clean, short-nap, silk plush held carefully in the hand. All release prints should be cleaned at intervals with carbon tetrachloride to remove dust and oil which may adhere to the film from the projector. Standard film cleaning technique serves the dual purpose of cleaning and waxing or lubricating in one operation. The film is rewound by slowly drawing it through a cotton or silk plush pad which is moistened with a 0.03% solution of carnauba wax in carbon tetrachloride. The pad can be folded over the film and held in the left hand while the right hand is used to operate the rewind. The operation should be carried out slowly so that the carbon tetrachloride adhering to the film can evaporate before the film is wound. Work done with carbon tetrachloride should be performed in well-ventilated rooms, as fumes of carbon tetrachloride are toxic if inhaled. In rewinding, care should be taken to see that the rewind is properly lined up so that the film will feed smoothly and squarely from one reel to the other. In this manner a smooth roll is wound with no turns or convolutions of the film having protruding edges. Such exposed edges may be damaged in shipping, and may cause a break during projection. Cinching will occur if an attempt is made to tighten the roll by pulling on the outer lap of film. This practice should be avoided because both sides of the film will be scratched. Splicing — Splicing, whether done in the film laboratories, film exchanges, or projection rooms, has such direct bearing on the welfare of the film as to call for special and constant attention. Much film is ruined by poor splicing. Splices that are wide, stiff, buckled, or out of line cause the film to jump the sprockets so that torn perforations or breaks result. Perforations in the vicinity of a splice of this kind are always strained or broken. Stiff and buckled splices are caused by making too wide a splice, too liberal application of cement, or both. The use of poor quality cement may result ~in splices pulling apart, especially in the film gate or trap. This constitutes a hazard, therefore all weak splices should be remade before projection. Precision splicing equipment is desirable as it is difficult to make a good splice unless the scraper is accurately guided. However, it is important that the splicer, regardless of type, be kept in the best possible condition. Fresh cement, proper scraping, and sufficient pressure are absolutely essential for making satisfactory splices. Reels — Bent reels and those with loose and sharp-edged flanges cause nicks and tiny cuts in the edges of the film which may result in subsequent breakage. The use of defective reels causes untold damage in the rewinding operation. This is especially true if there is a sharp point on the flange that might cut the edge of the film on each turn of the reel. Damaged reels should be discarded. Shipping Gases — Metal shipping cases frequently become bent due to rough handling so that the reels cannot be inserted or withdrawn except by force. . This causes broken film edges on poorly wound rolls. Damaged cases should be immediately repaired or replaced. THE PROJECTION PROCESS Good projection is entirely dependent on the skill of the projectionist and the condition of the film and the projector. Through constant use projector parts become worn and out of adjustment. Replacement parts for the most part are inexpensive, and any such expenditure will improve projection and materially reduce unnecessary film damage. When film is damaged on a projector, it is usually due to one or more of three different causes: namely, sprockets, idlers, and tension exerted on the film by the springs in the gate or film trap. While it is true that in most cases the trouble can be traced to one or more of these points, it must be admitted that the direct cause of a great amount of film damage is never definitely settled between the film exchanges and the projectionists, especially when the projectors in question have been examined carefully and have been found to be apparently in good condition. In cases of this kind, it is only natural to assume that the film stock is at fault. There are, however, various projector parts, generally considered more or less THE PROJECTION STAFF AT THE ODEON LEICESTER SQUARE THEATRE, LONDON i *21 Members of the projection crew shown examining the film after the successful first showing of the British-made feature, "Hamlet," at the Odeon Theatre. Left to right: R. W. Greenwood, J. Lowes, J. H. Garnham, R. Pointer, F. H. Burridge, and F. E. Cawlins, chief projectionist. INTERNATIONAL PROJECTIONIST October 1948