International projectionist (Jan-Dec 1935)

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10 fire that issues from the switch-box when the switch is pulled out very slowly as the light is killed. (The writer didn't believe this possible, either, until he actually witnessed it.) For long life, a switch should be the right size for safely carrying the amount of amperage used, and all wires in the circuit also should be of the proper carrying-capacity. It is important, of course, that all contacts should be as tight as possible. A little grease or vaseline on all working parts, such as the hinge and fork parts, prevents and absorbs arcing. Be sure that the spring washers have not lost their tension, and there be any doubt about it, replace the washers immediately. Proper tension is essential in the fork part of the switch, at the point where the blade fits in to make the contact, a lack of which tension causes undue arcing. Last, but certainly not least be sure to pull out the switch with a snap when killing the arc. Remove the pitting on the blades with a fine file or with emery cloth. Regular inspection and a little care will prevent switches from burning out under ordinary operating conditions. Should an arc lamp or motor switch burn out during a show, the best means to overcome the difficulty quickly is to connect the wires straight across, just as though there were no switch — the positive being connected to the positive, and the negative to the negative. After tapping the connections, the main switches on the panel board may be used. This advice is directed to those projectionists who work in theatres where there are no spare switches on hand — and there are innumerable such theatres. REVIEW NUMBER May 1935 Repair Work by Projectionists I T^HERE has been widespread discussion within the craft relative to the limits of the projectionist's responsibility in keeping the projector mechanism in good running order through the medium of effecting repairs. Opinion varies all the way from the entremely narrow view that the projectionist should do nothing but attend the projector, to that which sustains the opinion that provision be made in the projection room for the inclusion of a machine shop in which all minor and certain major repairs could be made. One can adopt a sensible attitude in the matter, without prejudice, to either school of opinion. All fair-minded projectionists will concede the justice of the viewpoint that any work done to keep the show going falls within the limits of their responsibilities. If projectionists desire general recognition of the importance of their positions in the theatre, and this writer holds that such recognition has been too long delayed, they must assume certain responsibilities which are the inevitable accompaniment of such recognition. The heart of the projection room is the projector, the anatomy of which should be thoroughly understood by every projectionist. Careful consideration of the problem of projection room upkeep leads one to the conclusion that By JAMES J. FINN a first-class projectionist should be able to make the following repairs: 1. Replace both upper and lower sprockets and sprocket pad rollers. 2. Put on film trap door lever spring. 3. Replace all parts on the film trap assembly, which includes the intermittent film guide assembly. 4. Replace the automatic fire shutter lift assembly. 5. Replace governor weight links on the film gate trap assembly. On the new Simplex projector with rear shutter a little difficulty may be experienced in effecting this change, but it can be done. 6. Replace the upper and lower magazine fire rollers. 7. Replace film stripper (S-508-D). 8. Change intermediate gear and shaft (G-l, including G-12, the formica intermediate gear and plate assembly) . 9. Replace main driving gear (G112-G). 10. Remove and set shutter. 11. Remove and replace the intermittent movement. 12. Keep scrupulously clean the entire mechanism, and positively keep the fire rollers rolling. To help prevent fire and sharply reduce scratch marks. From I.P., August, 1932 Halation Overcome By Use of Gray-Back Film Stock Gray Base Film Clear Base Film Glass Plate TTALATION is the blur or halo of light which is sometimes -■--•-seen in photographs around the edges of bright highlights, and although it may be present throughout the area of the highlight, where it has a deleterious effect on the quality, it is usually noticed only when the blur of light extends into the dark area surrounding the highlight. In most cases halation is undesirable because it tends to destroy detail, and this is particularly true in the case of the motion picture because of the high degree of magnification on the screen. From I. P. for November, 1931 The above group of three illustrations show how halation was overcome. The right-hand picture was made on a plate and shows the halation rings; the other two pictures were made on super-sensitive panchromatic negative films having the same emulsion, but coated in one case on a clear base and in the other on a gray base. The exposures were equal and the negatives were processed together, receiving identical treatments. The prints show very distinctly the effect of the gray base in reducing the spread of light around the edges of the image.