International projectionist (Jan 1961-Dec 1962)

LETTERS TO THE EDITOR Projection Tip from "Down Under": Identification Board and Lens Box EDITOR, IP: Accompanying is a diagram which illustrates the simple scheme I have used for years to identify just which feature, shorts, etc., are to be "screened in." The lens and aperture boxes are on the wall in front of each projector, and the blackboard can be in any convenient position where it can be seen from both machines. I have placed my blackboard on the back wall above the amplifier, where it can readily be seen by the Assistant as he passes to thread each projector. The identifying colors used on both the lens-and-aperture boxes and the blackboard "headings" at the top are as follows: YELLOW = Standard print and lens. BLUE = Vistavision (Widescreen) . RED = CinemaScope (SuperScope). White chalk is used for writing the program and playing times on the blackboard, and also for any special notations which may be added at the bottom. I hope that the exchange of ideas such as this "tip" proves of value to other projectionists throughout English-speaking countries. REG. A. STEWART, Projectionist Orana Theatre Wangaratta, Victoria, Australia O^t lens box. stick as tnis to he placed on wall in Front of eacn projector. CyVote the identifying colors for eacn lens -aperture set. -1Z // /¥. TTT&fficr' TIojlo^ 1 6 Ulal7arm.ari.SiU&t'\ (P-nta/wrx/) Qacu/qA, *" acC /* XPUlmAr-ZeUA, \C&*&) Blackboard, approx. 12" X 24 rr Those Deafening Decibels! EDITOR, IP: Referring back to the May 1960 Monthly Chat ("Hi-Fi Not to Public's Taste?") I'd like to ask what is the use of high-fidelity sound when turned up to the ear-shattering level of a boiler factory in operation? "Thunderous" hi-fi loses all of its quality and beauty — and you'll have a headache when the show is over! That's why people stay away from Todd-AO, and especially Cinerama. It's the worst — beautiful, but the worst (loudest) — of all shows. J. H. MALOY Austin, Texas TO WHICH YE ED. REPLIES: Sure 'nuff, the sound can be too loud as well as too low. There's a point in between, somewhere, that's just right. This critical and elusive point on the fader is properly located by listening to the spoken dialogue. When normal speech reproduces at the correct volume, the music and sound effects will come in as loudly or as softly as the director of the film intended. A big orchestra playing double-forte really is thunderous! But don't blame your brother projectionists for those headaches — blame the musical director who planned it that way! Maybe, in some instances, the director takes full advantage of the tremendous dynamic range of modern recording to "show off" a bit. The result may be excessive loudness; but it is usually startling and effective, and audiences seem to like it. So people stay away from Todd-AO and Cinerama? Not over here in Boston and New York, they don't! They love these spectacular shows — the big, sharp pictures and the powerful, wide-range stereophonic sound. A mistake often made in theatres having only obsolete 35-mm sound systems is an attempt to simulate the effect of the newer reproduction processes by turning up the volume much too high. In this case more or less distortion is present, the effect intended by the sound recordist is nullified, and the nerves and eardrums of the audience are shattered. This can be prevented by the rule stated above, namely, adjust the fader for normal volume on normal dialogue, and let the music and sound effects take care of themselves. International Projectionist January 1961 15