International projectionist (Jan-Dec 1954)

PnjoJUe4n Projectionists whose problems appear below will each receive a $3.00 check from IP. We'd like to know "what's YOUR problem ?" Q. Perhaps you can help answer a small problem which should be of interest to other projectionists. Ashcraft lamps are well known the world over for their many fine features and here in New Zealand we have many of these lamps operating in numerous theatres. As you know, all good high intensity lamps have some means of projecting an image of the burning carbons onto a gauge card. Ashcraft lamps have an imager assembly but owing to the system used the projected image of the two carbons is upside down on the card. The projectionist is constantly looking at an arc in reverse. He has two carbon images to carry on the gauge card lines to be sure but it would be a great help to have the projected image the correct ivay up. The factory tells me that a small metal plate with a tiny hole drilled in it and placed an inch in front of the present lens will reverse the image. I've tried this and so far with no results. Perhaps you can tell me how the arc image can be reversed. Is it only possible by using two lenses? The present image magnification is okay, approximately twice actual size on the card. Douglas A. Harley, Chief Projectionist, Embassy Theatre, Auckland, New Zealand. A. Reversal of the arc image is extremely simple, but for the life of us we can't see why you want to do that! The "picture" of the arc tail flame reaches the aperture in reverse, exactly the way you see it on your gauge card. Obviously you have an older Ashcraft lamp. These lamps had the gauge mounted near the top of the lamp house, with the lens and mirror assembly on a level with the arc. The newest lamps have the lens and mirror in the same place but the image-carrying beam is aimed forward and hits a small ground glass screen. The image is still inverted as it is on your gauge card. Apparently someone (Clarence Ashcraft swears he didn't do it!) suggested to you that you place a small pin-hole camera in front of your assembly. Yes, it should work. However, Mr. Ashcraft and your IP reporter ran a test at the Long Island City factory and successfully reversed the image by inserting a small (1" diameter) long focal length lens in front of the mirror. We held the lens about two inches from the mirror. The tail flame, right side up, was focussed perfectly on the ground glass screen. You can do the same thing with your gauge card, using a cheap lens from the corner optician and using your ingenuity to mount it in permanent position. Anyway, as we see New Zealand from the antipodes in New York everything is upside down there. Or maybe, from the New Zealand point of view, we're standing on our heads in New York. Q. Will you please advise me of the correct name and trade term for the F/1.9 projection mirrors that are used with F/1.9 projection lenses? The supply dealers in our territory have told the managers that there are no such mirrors. ^ will appreciate any information that you can give me on this. John Marks, Sec, Local 636, Lewistown, Penna. A. The supply dealers your managers have been talking to must have rocks in their heads. Just to make sure that these mirrors are obtainable through dealers, IP did some checking in the New York area and they're buyable from any one of them. However, you do not tell us what type lamp you use — and these fast reflectors cannot be used with most lamps because the mirrors are made only in 16" diameters and above. For example, the Strong "Mighly 90," and several other lamps can take a big mirror, the dimensions of the housing being big enough. If you have been using slower speed lenses and have now switched to the F/1.9, or even F/1.8, and are having trouble because of your 14" mirrors, things can usually be corrected by changing the operating distances within the lamphouse, the positioning of the arc in relation to the mirror and the lens, as an example. Your service engineer should know about this. Or you might write to the manufacturer of your lamps. Give him all details, including throw, screen width, etc. We can't help you very much from here because we lack the essential information about the situation, or situations, involved. Q. I have been taking IP for only a short time, so maybe you have discussed this problem in earlier issues although I haven't heard about it. While I realize you cannot give me a solution for my problem, I am in hope that you could satisfy my curiosity by giving me a reason for it. I work for an organization ■which exhibits second and third-run features. In many cases I will find almost the last 14 feet of a reel completely covered with all sizes, shapes and descriptions of cue marks. Why is it necessary for each projectionist to put on his own personal cues? Aren't the original ones sufficient? Dennis Lewis, 10337 Dante Ave., Oakland, Calif. A. According to Mike Springer, chief projectionist at RCA's Johnny Victor Theatre in New York, projectionists should be happy to go by the Academy standard cue markings that are placed on all prints sent out by the studios to the exchanges and from there to the projection room. When, for some reason, extra cue marks must be made, they should be done neatly with a grease pencil or special marking device. Cue marks which scar or scratch the print are not only unnecessary but most unfair to those who must use the print afterwards. Unfortunately there is a persistent feeling among some projectionists that their own specially-designed cue marks give a greater sense of security during changeover. These projectionists are said to feel that they are putting their signature on the film when they make their own cue marks, and they don't get the same feeling of security from marks made by somebody else. It is also true that a projectionist, faced with an already badly marked-up print, often has no choice but to add extra cue marks to avoid confusion. In addition, the standard cue marks may sometimes be very dim or even missing. IP is planning an article on this subject in the near future. PERSONAL note's" Dr. Alfred N. Goldsmith, a co-founder of the 42-year-old Institute of Radio Engineers, will receive the coveted Founders Award of the IRE at the Institute's annual banquet in March at the Hotel Waldorf-Astoria in New York. The award is given only on rare occasions to outstanding leaders in the radio engineering profession. Dr. Goldsmith, a past president of the SMPTE, received the IRE Medal of Honor in 1941. R. WiLLL\M Dassow has been appointed sales manager for the the theatre and television screen division of Radiant Mfg. Corp., Chicago, makers of the Astrolite screen. Mr. Dassow was formerly sales manager of C. Bendsen Marquee Co., and later part owner of several outdoor theatres. He was also associated with National Theatre Supply for 18 years, eight of which were with the New York branch and ten years as manager of the Chicago branch. INTERNATIONAL PROJECTIONIST f JANUARY 1954 17