International projectionist (Jan-Dec 1956)

International / PROJECTIONIST R. A. ENTRACHT, Publisher JAMES MORRIS, Editor R. A. MITCHELL, Contributing Editor Volwma 31 NOVEMBER 1956 Number 1 1 Index and Monthly Chat 5 Gretener Ventarc for Todd-AO i Joseph Tritsch New Trends in Hollywood Film Making 9 SMPTE President Advises Caution on Additional New Processes 10 James Morris Pros and Cons on Magnetic Sound 12 James Toler and Robert A. Mitchell Two Methods of Improving Projection Technique 13 Joseph Holt Better Light from HI Reflector Arcs 14 Robert A. Mitchell A Tour of the Photokina 17 R. Howard Cricks In the Spotlight , . 20 Projection Clinic 22 Science Notes 23 Genarco's New AC Arc Spotlight 23 Personal Notes 24 Miscellaneous Items, News Notes, Technical Hints INTERNATIONAL PROJECTIONIST, published monthly by the International Projectionist Publishing Co., Inc., 19 West 44 Street, New York 36, R. A. Entracht, President. Telephone: MUrray Hill 2-2948. Subscription Representatives: AUSTRALIA — McGills, 183 Elizabeth St., Melbourne, NEW ZEALAND — Te Aro Book Depot, Ltd., 64 Courtnay Place, Wellington; ENGLAND and ELSEWHERE— Wm. Dawson & Sons, Ltd., Macklin St., London, W. C. 2. Subscription Rates: United States and U. S. Possessions, $2.50 per year (12 issues) and $4 00 for two years (24 issues). Canada and Foreign countries: $3.00 per year and $5.00 for two years. Changes of address should be submitted four 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. INTERNATIONAL PROJECTIONIST assumes no responsibility for personal opinions appearing in signed articles, or for unsolicited articles. Entire contents copyrighted 1956 by INTERNATIONAL PROJECTIONIST PUBLISHING CO., INC. TrbnJthh} Choi Technical Showmanship TWO ARTICLES describing very different approaches to the problem of attracting more patrons to theatres through the skilful use of the right projection and sound equipment can be found in this issue of IP. They describe two very different types of theatre operation — both of which are prospering. One article concerns the elaborate roadshow installation for presenting "Around the World in 80 Days" at the Rivoli Theatre in New York City. The other deals with a small neighborhood house in a suburb of San Francisco which is owned and operated by Jim Toler, an IA projectionist with extensive experience in both theatres and Hollywood studios and a man who takes showmanship seriously. In both cases, the men responsible for installing and operating projection equipment made maximum use of the resources available to them. At the Rivoli in New York, Joe Tritsch, supervisor of projection for the Michael Todd Co., made a frontal attack on the problem of brightly lighting the giant ToddAO screen. Working through National Theatre Supply, he arranged for the importation of Gretener Super Ventarc lamps and developed an extensive cooling system to adapt these powerful and complicated lamps for film projection. Tritsch is also from the West Coast and is another IA man of long experience, both as a projectionist and as an inventor and developer of theatre equipment. On the other hand, Toler had little money available for re-equipping his small theatre and no need for such powerful equipment as the Gretener lamp. But by strategic purchases of much more modest equipment, he has been able to bring to his neighborhood house a quality of showmanship that excites a lively interest among his patrons. These very different achievements go far in quieting fears that motion picture theatres are in a helpless position because of TV competition. If skill and ingenuity are brought to bear and proper use is made of the improved projection and sound equipment now available, much can be done to stimulate wide interest. We are not, however, trying to make the dangerous assertion that the story told by a motion picture is less important than the size of the screen or the number of surround speakers attached to the sidewalls of a theatre. Obviously, tickets to "Around the World in 80 Days" did not become as difficult to obtain as those to the most important musical show of New York's legitimate theatre only because the screen is bright. But it is a fact that the high quality of projection has contributed much to audience enjoyment of the Todd-AO presentation. Neither do we say that all is right in the industry so far as the conception and development of the new processes are concerned. It must be noted that the story of Toler's showmanship appears in IP because he included a description of his projection methods in a letter taking issue with an article on magnetic sound reproduction which recently appeared in the magazine. Being a progressive individual, he installed magnetic sound early and has since been disappointed to find that there is controversy over the value of this form of reproduction. INTERNATIONAL PROJECTIONIST NOVEMBER 1956