International projectionist (Jan-Dec 1953)

INTERNATIONAL PR0JECTI0NIS1 With Which Is Combined Projection Engineering JAMES J. FINN, Editor Volume 28 JUNE, 1953 Number 6 , Index and Monthly Chat 5 Simplex Theatre Stereophonic Wide-Screen, Single-Film 3-D Sound System A Diagrammatic Presenta Predicted 7 tion 16-17 3-D as Viewed from Olympus 8 In the Spotlight 18 James J. Finn Obituaries 20 Visibility Factors in Projection Prediction of Electrical Failures 21 2. Light Problems of 3-D and 11 Letters to the Editor 31 Panorama Robert A. Mitchell 3-D a Lumen-Eating Process — 75% Light Loss Overall 22 How Convergence Makes Objects All This and Heaven Too? .... 24 "Leap" from Screen 12 SMPTE Survey on Wide-Screen The "Hypergonar" Lens Process 14 Standards 26 Sidelights on the "Hypergonar" News Notes Lens 15 Technical Hints Large Reel Rewind Setup 15 Miscellaneous Items Published Monthly by INTERNATIONAL PROJECTIONIST PUBLISHING CO., INC. 19 Wert 44 Street, New York 36, N. Y. Telephone: MUrray HOI 2-2948 R. A. ENTRACHT, Publisher SUBSCRIPTION REPRESENTATIVES AUSTRALIA: McGills, 183 Elizabeth St., Melbourne NEW ZEALAND: Te Aro Book Depot, Ltd., 64 Courtenay Place, Wellington ENGLAND and ELSEWHERE: Wm. Dawson & Sons, Ltd., Macklin Sl, London, W. C2 Yearly Subscription: United States and possessions, $2.50 (two years, $4) ; Canada and foreign countries, $3; single copies, 30 cents. Changes of address should be submitted two weeks in advance of publication date to insure receipt of current issue. Entered as second class matter February 8, 1932, at the Post Office at New York, N. Y., under the act of March 3, 1879. Entire contents copyrighted 1953 by International Projectionist Publishing Co., Inc. International Projectionist assumes no responsibility for personal opinions appearing in signed articles in its columns, or for unsolicited communications. 420 V MONTHLY CHAT NOTHING has occurred during the past four weeks to change IP's oftrepeated estimate of the worth of the various "new" processes being offered to the theatre exhibition field. We still adhere to the view that for the majority of theatres an investment of about $800 tops for a pair of lenses, a new screen and a bit of construction work on the stage area will enable the showing of anything that hoves into view. This excludes the 20th-Fox CinemaScope process, but since this is strictly a wide-screen proposition, a couple of wide-angle lenses and proper screen masking (or a screen surround) will give a comparable effect. The controlling factor in all installations is the physical aspect of a given theatre. How many theatres can accommodate a screen width of 60, 50 or 40 feet? We'll wager that the average for most theatres will be about 30 feet. So, why do we need special lenses at great cost when all that is needed are a couple of standard wide-angle lenses? Does anybody believe that 20th-Fox will shoot exclusively in the CinemaScope process? If so, how many customers will they have among the bulk of theatres when the dust settles down? These considerations lead naturally to an estimate of stereophonic sound. Thus far the process has been grossly mishandled, mainly because the so-called stereo sound effect is just that and no more, the extra tracks carrying only additional effects for pictures which were shot almost two years ago. What will stereo sound add to a 30-foot picture. The horns required will just fit behind a 30-foot screen. And is there a directional impact from left and right-hand screen sides with a 30-foot screen. Paramount has just issued a 5-page directive for projectionists intended to overcome "projection deficiencies" which are causing "unfavorable audience reaction." This seems to us the veriest nonsense, because after we comply to the dot with the line-up directives, why do we still have to frame constantly? The fault lies in the taking not the showing of 3-D pictures. A Word of Caution: beware of these inclusive "package" deals now being blithely offered. First, the buyer will probably get not only more equipment than he needs and, possibly, the wrong kind. The extreme shortage of lenses will flatten many of these "packages" into an empty paper bag. Don't forget: any good screen image must be not only wide but high (and if in color, handsome). We still like the 1.85 to 1 (or even 1.75 to I) ratio. INTERNATIONAL PROJECTIONIST June 1953