Moving Picture World (Jun 1919)

1658 THE MOVING PICTURE WORLD June 14, 1919 ship their films on 1,000-foot reels. In many theatres these reels are doubled up for projection. Why not ship all photoplays of 2,000, 4,000, 6,000 or greater length on 2,000-foot reels? In assembling the films on 2,000-foot reels at the theatre there is necessary waste, and waste again when they are returned to the small reels. Most projectors now in use have magazines large enough to hold a 2,000-foot reel, and if this were done the remaining small magazines would very soon disappear. This plan would reduce 'wastage, and if each double reel except the last ended with a slow fade-out and each reel except the first began with a slow fade-in there would be no more punching. A still better scheme would be to have a certain scene cut five to eight feet after a title. Surely any projectionist could remember the title, or he can make a cue sheet. Some projectionists believe in signal devices. I do not, because they cause laziness, and are apt to incline toward too much of an automatic system of projection, which practically leaves the whole projection of the picture to the mechanical devices instead of being under complete mind control of the projectionist. Then, too, such devices usually cause more or less damage to the films. Get this signal device stuff out of their noodles if you can. It's bad dope. And now. Old Sport, a word concerning this, our fair city. Projection, take as a whole, is as good, if not better, than in any city of its size I have seen, and I've traveled quite some lately, too. At present am working with Brother W. B. Allen In the new Allen Theatre, which same is up to date in every respect. In fact we consider its projection plans to be the best in the country. It would certainly make some big town projection rooms look pretty cheap. In our house program the projectionists are named as follows: 'Mechanical Engineer' and 'Chief Projectionist.' Edmonton is now and for some time past has been 100 per cent, organized, of which fact Local Union 360 is quite proud." Say, Mr. Man, you've a nerve with you coming over with a blast like that. But we'll forgive you because maybe an occasional kick at the editorial slats serves a good purpose in keeping us working right up in the collar. I cannot agree with you that the department has become dry. I believe it isn't that at all, but the fact that you have yourself advanced, so that much of the stuff which used to interest you does not do so any more, and we are compelled to keep a considerable part of the department running on comparatively elementary stuff, because a goodly percentage of the men are still in the elementary class. Your suggestion as to articels is a good one, and will most likely be adopted, but you must remember that from my viewpoint very much of that would be objectionable, because of the fact that it would appeal to a comparatively small number of men; also the possible subjects are not so many. What I have been considering is the conducting of a long range "examination," meaning by that the asking of examination questions such as any examiner would be justified in asking or any union committee would be justified in propounding to candidates for membership. But I would like to know how many of you would be interested. My idea would be to have such projectionists as cared to answer the questions, and then to give the answer maybe a month after publication of the question. It would be somewhat similar to the old series of questions you spoke of. How does the idea strike you, gentlemen? As to the big-reel idea, I cannot agree, for the very simple reason that we have to do those things which we can do. We CAN get some sort of changeover signal, but to get the producers or the film exchanges to do anything to help projection is just about as easy as it would be to ■move Pike's Peak off its base. The changeover signals certainly are open to the ob jections you name, but — . Glad to have the good report of Edmonton projection, also to know she is thoroughly organized. Good work! A Wide Awake Manager. S. A. Hayman, Grand Island, Neb., orders the lens charts and exercises his typewriter on the following: "I want to compliment you, Mr. Richardson, on all you have done to lift the industry to a higher level. Unquestionably many of our theatres have based their success upon your study and knowledge of projection — I know that is my case. I happen to be manager and proprietor of the Lyda Theatre, this city, and I study the projection department of every issue carefully. Having taken the electrical engineering course at the University of the State of Nebraska, I feel pretty well qualified in that line. Look after my own projection and believe I have as fine a screen result as any theatre in this state can show, though, as you say, we are never perfect. And so I am going to continue to study every word old man Richardson writes. I spare no expense in my projection room. It contains the very latest projectors. My projectionist is allowed anything he wishes. Result? Well, here is a sample. In March, with a house seating 287, I ran 4,400 children and 25,000 adults, and that in a town of 10,000. How is that?" In the language of the immortal Teddy, it's Bully! Going some, if you ask me! The lens chart has gone forward long ago. You no doubt have it by now. It is always a pleasure to meet a progressive, wide-awake man, be he manager, projectionist or exhibitor. Many thanks for your kind words as concerns the editor. We simply try to do the best we can and ■ — let it go at that. Solder Terminal. From one of the electrical magazines, I am sorry I do not know just which one, the following was clipped. It might come handy to projectionists. If a good hard solder were used, I think such a terminal would do for rheostat connections, unless the rheostat be overloaded, hence over heated. "A satisfactory way of making a durable, efficient terminal is to form a solid loop at the end of the ordinary high tension cable. The wire end is bared of the insulation for about 2 in., and the copper strands are untwisted and divided into two parts. Next, each of these sets of strands is twisted to make two large strands, after which the loop is made by twisting the two parts together for a short distance, then placing them around a small round rod and twisting the two ends together. The job is completed by dipping the loop in solder." Sixty-Five Foot Picture. P. L. Akins, Co. C, First Bn., A. P. O. 710 (Pfwat th' divil ever that is) writes from overseas, or rather sends a postcard, on which he speaks of a picture "sixty-five feet wide and good light," with the "good" underscored. Far be it from me to question Brother Akins' veracity, but Missouri is a good old state and I live in it for a spell. S-h-o-w me, Brother Akins. Show me. That's all. Interesting Letter from Toronto. A modest Ontario projectionist having something to say, arises, makes his bow and discourses thusly: "I read the department regularly, with much interest and not a little profit. My 'library' contains almost complete volumes of the Moving Picture World, including pink covers, down to the time when the Red Cross required all available papers. In February 15 issue, California's 'Queer Proposition' drew sympathetic attention from me, for, after using 60 cycle A. C. for years with fairly satisfactory results, 25 cycle was wished on me by the benevolent powers that be, viz., the Ontario Hydro Electric Commission. Admitting the best solution of this circumstance to be a modern motor generator set, a converter or Mercury Arc Rectifier, still there are those who are obliged to consider cost too thoroughly to invest in such an expensive device, and this brings me to the doo-dab which stands between my arcs and a 25 cycle supply, viz., the Excelsor Electric Current Converter. This little affair consists of three units, as follows: a y2 H. P. synchronous motor, connected to a specially designed commutator, an auto-transformer 220-70 volts, and an automatic polarity switch. The transformer delivers up to 100 amperes of the 25 cycle to rings on end of the commutator, through carbon brushes. The commutator, rotating in synchronism with the alternations of the current, delivers same to arc as D. C., which is first class — all jake as far as it goes, BUT it can't manufacture voltage to supply the zero period between alternations, so what I have is heavily pusating current at the arc. Hence and therefore my fellow feeling for California. "Early in the use of the device, I discovered that neither two or three wing shutters were satisfactory, therefore got busy with pasteboard and Jack knife, and now use a shutter with five blades. Made the main blade of just sufficient width to cover the movement period, and then divided balance equally between light and darkness. It is not a perfect solution, but is far and away better than any I have heard of to date, including several which decorate the wall over my work table. Have the notion that if flicker blades were made different widths it would break up the trouble at desired speeds. I lose in screen brilliancy, yes, but can use higher amperage if I desire, except when using both arcs at once. With my lens system lined up according to Hoyle, at a speed of 50 or less, I have flicker or synchronism, or both. At 60 results are fair, at 70 all is jake. At 80 to 90 I am unable to detect the slightest flicker of any sort, but I don't care to run that fast. The practical result is, therefore, that comedies usually flicker, while dramas of modern vintage sail smoothly. Query: Why are they thus made? And now, with due respect to conservation it does not pay, individually, to 'save current,' because it only costs us .15 of a cent per K. W., we being favored with a very low rate for power, and arc lamps being rated as power. Lights for illumination come higher. Power rate as follows: $1.25 per H. P. per month for the maximum demand. First 230 K. W. at 1.5 cts. per K. W., next 230 at .5 of a cent, and remainder at .15, which is some rate. "Am afraid that I have stretched the editorial patience, but would like to take a slap at machine manufacturers. Bought two new projectors, and was, of course, up against the shutter trouble. Explained trouble direct to manufacturer and received reply expressing sympathy. Great! But why the h — eck didn't they at least say, fight it out with cardboard and we will supply shutter in metal after your own pattern? If the latter survives scissor attack, it's an ear mark for the Enterprise Optical Company! Should you print