Motion Picture Herald (Apr-Jun 1931)

68 Better Theatres Section May 9, 1931. STAGE EQUIPMENT ASBESTOS CURTAINS BELAYING PINS BLOCKS— RIGGING CHANDELIER WINCHES CLEATS— SCENERY COUNTERWEIGHT SYSTEMS CYCLORAMA FITTINGS DRAW CURTAIN TRACKS DRAW CURTAIN OPERATORS GRAND PIANO TRUCKS KEYSTONES AND CORNERS LOCKING RAILS PIN RAILS PIPE BATTENS RIGGING— ALL TYPES ROLLER CURTAINS ROPE AND CABLE STAGE BRACES STAGE SCREWS STEEL CURTAINS TRIM CHAINS WINCHES 223-233 West Erie Street CHICAGO from Use J WLounting Costs You know the sad double-meaning in those two words, if you're using old-fashioned stepladders. Keep on expecting profits. You won't get any, until you eliminate risks ladder-workers' duties. Dayton Safety Ladders ! Keep your costs down, and your workers up, working — safely! Strong, easy to carry, light, steelbraced. Large guarded working platform. Moderately priced. Made in sizes 3 to 16 feet. Full Injormation from Dept. BT-5 THE DAYTON SAFETY LADDER CO. 121-123 West Third St. Cincinnati, Ohio DAYTON Safety Ladder (Patented) Stock carried on Pacific Coast by E. D. Bullard Co., Los Angeles and San Francisco, and by 160 other distributors from coast to coast. Made and distributed in Canada by Percy Hermant, Ltd., Toronto. THE STANDARD RELEASE PRINT AGAIN FROM L. A. Fox, projectionist at Publix Capitol theatre in Salisbury, N. C, comes an interesting suggestion \^:th regard to change-over cues. I present it merely as an interesting item, with the remark that what Friend Fox says concerning the likelihood of the dots in the Standard Release Print being far more likely to be seen by those who are looking for screen faults than by the ordinary theatre patron, is in my opinion very true. He says: "I have noted, with much intrest the various comments made through the department with regard to the Standard Release Print, and the various methods suggested for cueing changeovers. May I voice my own opinions with regard to this matter ? "Concerning the Standard Release Print, I like the standard footage idea at the beginning of reels. With it present, so long as no one cuts the leader when doubling up (an inexcusable crime), it is a very simple matter to make changeovers without rehearsal — that is, of course, provided the signal dots have not been destroyed in the doubleing up process. I am very much in favor of the standard leader. "With regard to the dots themselves, I believe they are not so objectionable as some of the brothers seem to think. Naturally, a projectionist will notice the changeover cues of another projectionist, if they can be seen at all. Is it not true that a projectionist watching a show in another theatre than his own place of employment is, consciously or not, watching for defects in projection — screen image faults? He may even be doing this entirely subconsciously. "Do you believe the average theatre patron is as sensitive to faults, such as the dots in question, as you or I would be? I believe he is not! I have asked at least 50 of our own patrons whether or not they have noticed the dots. Not one of them replied in the affirmative. "The chief objection I am myself able to raise against the dots is the eye strain it sets up for the projectionist who has a long projection distance. That point should, in my opinion, receive a lot of consideration. "But what about the prints which do not have the Standard Release Print? Many ask how they may cue the changeover with such films, so that they may put on a perfect show without rehearsal when the Release Print is absent. For their benefit I will set forth my own method, "Presuming me to be cueing the end of reel No. 1, to change to reel No. 2. — first, I measure the exact distance between the starting mark and the first frame of the picture on reel No. 2, which we will assume to be exactly 15 feet. Next, I rewind reel No. 1, and exactly one foot from the last frame of pictures thereon I cement a piece of clear film on the frame line between two picture spaces. This piece is cut narrow enough to fit between two sprocket holes and short enough to reach only long enough to reach from one edge of the film to the sound track. It must not extend on the sound track else there will be a click produced in the horns. As I have said we assume that reel No. 2 has a 15-foot leader. "In my case, I will measure 19^/^ feet from the strip cemented at the end of No. 1, and there will cement another just like it. By this I mean I will measure ahead on reel No. 1. This strip will be the signal to start the motor. It will be 19^ feet from or in advance of the other, and will be the signal to start the motor. The last one is the changeover signal. "You will note that the distance between these two markers is 4^ feet greater than the footage between the starting mark and the picture on the incoming reel. In our case that is exactly right, but of course this additional footage between splices will vary with different types of equipment, because different motors will come up to full speed in dif?erent lengths of time. A little experimenting will determine exactly what footage will fit any individual case, and believe you me it is well worth the time and trouble involved. "Hey, wait a minute! I almost forgot a very important point; namely, be sure you cement the motor starting cue on lightly, and that you pull it off when you ship the show out. The dowser or changeover cut can stay on because it is always the same. The starting cue does vary, however, for the reasons set forth. Hence, in order to avoid trouble for the other projectionist it should be removed. "I really see no good reason why the system I have tried to describe might not be able to take the place of the dots in the Standard Release Print, the strips being put on exactly where the dots would be in the Print. Their advantage as against the dots are two ; namely, they would be entirely invisible to the audience, and they would cause no eye strain to the projectionist, to which I might add that if they be put on as I have described there will cause absolutely no click in the horns, nor will they cause the picture to move or jump perceptibly. Outside the projection room no one knows they are there. "This system is not original with me. As you know it was started something like two years ago by Metro-Goldwyn-Mayer, but later discarded for the dot system. I have merely taken the old system and ironed out a few of its rough spots. "And so, Mr. Richardson, if you think the system, as I have described it, has any value, just pass it along to the man who may not as yet have figured out a system which will always work and which is unobjectionable. "As to the department, many thanks for it. It has served me for many years." The system Fox describes is, as he says, by no means a new one. It has been tried and for several reasons rejected. It didn't work out well in practice. One of these