Loudspeaker (Jan-Aug 1931)

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be submitted to the Academy committee for approval and adoption or rejection. Other Chapters Invited President Burton has, in collaboration with this publication, invited all the presidents of the various A. P. S. chapters to appoint committees to consider the many phases of the Standard and make whatever recommendations they deem advisable for its improvement. It is expected that the different chapters will be very anxious to co-operate with the Academy and the P. A. C. in this way. The aggregation of plans coming from the several committees will no doubt present angles which will prove invaluable. Messrs. Lester Cowan, S. J. Twining, Thad. C. Barrows, P. A. McGuire, Sidney Burton and many others are working very hard to perfect and put into practice a Standard which will prevent, by rendering it unnecessary, all unsightly scratches, etc., which have formerly been used for changeover cues. Individuals Invited to Write If you are not appointed on a committee or if you are not a member of the A. P. S. you are cordially invited to send to this publication your comments and suggestions. Only by this method can the industry be given the benefit of your idea. You owe it to yourself with those others who are giving of their time and knowledge for the benefit of the industry. Write in your suggestions today. i i i It is our policy to print each month those letters that come to us from the projectionists in the field. Their reactions and comments are most valuable to the Academy. The following letters display considerable thought on the part of the authors and merit your consideration : Oakland, Calif., Jan. 19, 1931. Mr. Sidney Burton, Projection Advisory Council, S126 Norton Ave., Hollywood, Calif. Dear Mr. Burton: Regarding the Standard Release Print, have an appointment Monday, 2:00 p. m., with the S. F. Film Board of Trade. Will send you a detailed report of the proceedings. Do you think it would be practical for the E i g h t e e n producers to ship or assemble their features in two thousand-foot reels instead of the thousand? Since many of the brush houses and others have reverted back to the one man some taking out the turntables, I firmly believe that the doubled reels would solve much of the trouble we are trying to cope. Routine of a brush house operator runs like this: Reports to work at 6:30 p. m. New show coming in. Starts the amplifier set, dashes for the News and Comedy. Rewinds to mark for curtain S. M. and C. O. and how. Then cuts in a trailer and then doubles on the feature. He probably by now has one and two of the features hooked up. Warms up th ■ projectors, trims the lamps, threads up and starts the show at seven. All this in thirty minutes. What kind of work do you think he is giving? Bum splices, hasty punch marks. Doubled reels from the factory will eliminate all this half way work and will give the operator a little more time to service the sound equipment and do the other work without even having to worry about the feature, as he knows it is already marked for C. O.s In this way he is not excited and can pay more attention to his show and last of all. the producers print is not chopped, punched or mutilated. Mr. Cowan told me that there was a difference in opinion between the projection supervisors of a large chain theatre circuit. That the eastern man was against the doubling practice, that he in a short time would have it stopped. The western supervisor did not object to the practice, and lets his men do it. It seems to me that the eastern man's idea is purely personal, there doesn’t seem to be any foundation to his objection. A check on this could be made by the producers in this way: "All Quiet on the Western Front" was shipped out doubled. Compare this feature’s ends with that of others, say at a certain length of time on the run. Also examine between 1 and 2 of the reels. As for the Standard Prints I found another flaw and I shall have to refer back to the doubling again. Every time an operator doubles he cuts away portions of the leader or print frames. This of course shortens the length of the threadup footage marks. The prints naturally have to be kept in their proper lengths to come out right. In other words, to be treated as a disc print would. But this is not being done here at all. I will say, though, the exchanges are doing their part in keeping the prints right. With kindest and personal regards to you and all the boys, I am fraternally yours, GEORGE J. LANCASTER. i i 1 New York, N. Y., Dec. 11, 1930. Projection Advisory Council, Attention Mr. P. A. McGuire. Dear "Mac" and Gentlemen of the Council: Your letter of November 5th reached me shortly after I read the pamphlet on "Standard Release Print Makeup and Practice.” I congratulate the Council for their part in the endorsement and wide distribution of this pamphlet and the Technical Bureau on this achievement. This is indeed evidence that the Council has emerged from a vague idea of possibilities with a practical reality. When I recall the years of preachment by F. H. Richardson against the butchery of film with 57 varieties of change-over marks, the past indifference on the part of exchanges — even more recently in small theatres — the scratches made on sound film for change-over cues, the "Standard Release Print” is a remarkable, if much needed, advancement in film practice. As my work takes me into the projection rooms of many theatres I will take every opportunity to discuss this matter with the projectionists, get their reactions and advocate their co-operation. Any suggestions I might obtain in this matter I shall be glad to pass on to the Council. Sincerely yours, (Signed) ARTHUR R. SCHULZE, RCA Photophone, Inc.