International projectionist (Jan-Dec 1954)

"juice" required for the arc — at least 100 amps DC and better than 125 amps AC. If we got DC from the street car lines, as we did quite a few times, we had to use five rheostats in series and two or three in multiple series to obtain the necessary amperage. One lead of the 110-volt DC motor had to be plugged into the coils of the rheostat while the arc was burning to get the proper speed. With the heavy AC amperrage and one-inch carbons, the noise was terrible. The lamp was a vertical type and hand-fed. Closely watching the focus and feeding the arc at the same time meant keeping busy. Regarding the Kinemacolor projecttor, in my opinion it was tops, and I have often wondered why it was never used for standard projection. During a program we used to run some standard film for variation by reducing the speed to sixteen frames per second and removing the color filter. We achieved a remarkably steady picture Wilfred Spicer Local 300, Saskatoon, Canada To the Editor of IP: I enjoyed your article on film damage in the February issue. Wouldn't it be possible to have more articles of this type which are of much interest to 2-D projectionists? After all, which is more important, 2-D or 3-D? True, you are trying to give projectionists as much information as you can on 3-D, but why overdo it? I agree with the writer's theory on mutilation of film and the disregard some projectionists have for other pro jectionists. I couldn't swear to it, but I am quite sure the exchange from which we get our film seldom if ever inspects the film returned from theatres. Also, some inspectors don't know what the score is even if they do inspect it. It couldn't be otherwise when leaders are patched out of frame or not patched on at the beginning of a picture. Several times the film has come out heads up with the soundtrack on the opposite side, so I have to rewind each reel twice. Albert Powers Ashland, Kansas [We refer Mr. Powers to the lead article in this issue in which we imply that 3-D will receive increasingly less attention, thereby placing new emphasis upon regular 2-D projection in future issues of IP. — Ed] Williams Screen Co. Expands Added manufacturing space has been acquired by the Williams Screen Co., Akron, Ohio. A new plant on Kenmore Blvd. provides increased production facilities for the Williams all-purpose plastic silver screen. (BOXOFFICE APPEAL) • GREATER LIGHT • GREATER CONTRAST • GREATER SHARPNESS Watch your "B. A." climb when you install Super Snaplite Lenses. Give your patrons the benefit of pictures at their best. You can't beat the Super Snaplite f/1.9 when it comes to putting a clear, sharp picture on your screen. Super Snapiites give you a true speed of f/1 .9 in every focal length up to 7 inches. Ask for Bulletin 212. "You Gef More Light with Super Snaplite" ILOLLiUOIMfEK Plant: Northampton, Massachusetts ^K ® i:OKrOKATI03B New York Office: 30 Church St., New York 7, N. Y. INTERNATIONAL PROJECTIONIST • APRIL 1954 25