Motion Picture Herald (Oct-Dec 1932)

November 19, 1932 Motion Picture Herald 27 and connected directly to the 60-volt direct current, and of course all battery connections to the exciter lamp were removed. "By cutting down resistance of the heater element by taking off pieces of the coil, I was able to get exactly the right amperage and control, the same as with the resistance. And now for the good news: // works! And the results are just as good as when using storage batteries. "I therefore fixed the other projector in like fashion, placing the heater element in »Rl tttuniaej "J f 1 J | j JSJ ( 601/ DC. >*/ fL ol U //fATC-Ell the rear part of the projector lamphouse, connecting it behind the projector main switch. In this fashion I get both the resistance of the heater element and the resistance of the arc itself; also, when the main switch is pulled, both the arc and the exciter lamp are cut out. "Of course when the incoming projector arc is lighted the exciter lamp is lighted at the same time. I have been using this for some time and find it to be okay. However, I still must use the storage batteries with the pre-amplifiers, as they are using the 112-A tubes. I am going to make the necessary changes in the pre-amplifiers, use another heater element to cut down the 60 volts to about 7 or 8 volts, put the tubes in both pre-amplifiers on one circuit, with the Bradley resistance to control same, and replace the 112-A tubes with No. 37, such as they are using in auto radio sets. The 37-tube is nearly 100% non-michrophonic. It is of the heater type, hence should give no trouble from the brush disturbance of the generator. To date I have not been able to make this change, due to lack of time, business being so 'good' that I am working out to make both ends meet. However, I am sure it will cut out the storage battery completely." I am publishing this with an emphatic warning to proceed carefully. So far as I can dope the matter out mentally, provided the generator be a good one and the commutator be kept in first class condition, with proper brush contact and brush pressure, it would work, though I would not care to say how well. Friend Sitton says it works well, but it seems to me there would have to be very close arc regulation, or there would be heavy and constant variation in the exciter lamp current, hence in its light producing power, with of course variation in the sound. Mark you well I'm not saying it will not work just as well as Sitton says it will, but I cannot help having doubts. Anyhow, the thing certainly is worthy of serious examination and consideration, if for no other reason than that if such a stunt really can be pulled without injury to the sound, it would eliminate a lot of trouble and expense, and that is an important thing, at least for the smaller theatres. Anyhow, it seems to me it is a thing which may be tried out with very little trouble and expense, and without risk, as the wiring may be so done that if the result is not satisfactory the batteries may be instantly cut in and the new device cut out. I should appreciate an expression of opinion from readers as to their view of the possibilities of this method A TREATISE ON PROJECTION CARBONS THE national Carbon Company has issued a new book dealing with projector carbons. A copy of this book may be had by addressing the National Carbon Company, Carbon Sales Department, Cleveland, Ohio, and I strongly advise every progressive projectionist to send for one immediately, because the book (92 pages) contains much matter which will be found helpful in enabling projectionists to secure better results. Just address the company as above and print your name and address, together with the name of the theatre you are with. Some of the subjects dealt with are (a) carbon, in a discussion of the basic materials from which projection carbons are formed; (b) carbon manufacture; (c) the carbon arc; (d) different types of projection lamps and the carbons they use; (e) SRA projection carbons; (f) carbon arc flood and spot lamps and effect projectors; and (g) brushes. The foregoing does not by any means exhaust the many interesting and helpful subjects treated of in this book. AUDITORIUM LIGHTS CAUSING GLARE FROM A projectionist, whose name and location it seems best not to publish, comes a letter, from which this excerpt is taken : "Our auditorium is so brightly lighted at the front that the picture contrast is badly injured ; also, on either side, well down front, are two ceiling lights under frosted porcelain globes. These lights form glare spots and I believe hurt the eyes of the audience, or such part of it as sits in position so that they meet their eyes more or less directly. I have spoken to the manager about these matters, only to be told to Attend to my own business.' "Now, Brother Richardson, perhaps I am wrong, but it seems to me that since these errors in lighting have a direct and very bad effect upon the results of my work, it is my business, at least as much as it is the business of the manager, and I am going to ask you, if you will do me that favor to write our manager about the matter. Possibly I may get fired over it, but I ALL COMMUNICATIONS TO F. H. RICHARDSON SHOULD BE ADDRESSED AS FOLLOWS: F. H. Richardson, No. 3 Tudor Lane, Scarsdale, N. Y. would rather have even that happen than to have this go on. "You see, I feel very real pride in, and love for, my work, and to have its finer points thus all ruined by such unnecessary foolishness is to me intolerable. I am very willing to leave it to you how to handle the matter. If you want to bawl him out when, or if, you write, all right. Just proceed as you think best." There was much more to the letter, all of which gave me the impression that this man is a real projectionist. Moreover, he is an educated man, and unless I am in error, a man of brains and intelligence. The manager who took such a position acted just about as unwisely as one well could act. The least he could have done would have been to listen carefully to what explanations his projectionist wished to make as to the damage being done, and to any suggestions as to the application of a remedy, or of remedial measures. Beyond any possible question of doubt the projectionist is right, always assuming him to have set forth the condition correctly, as I have no doubt he has. Poorly judged lighting at the screen end of theatre auditoriums may and often does do exactly what this projectionist says is being done in his case; namely, injure or even pretty well kill the contrast values of the picture. A glare spot on either side, as described, is worse than bad. It is (pardon the candor) just plain stupid. It is hard on the eyes of the audience, highly injurious to the appearance of the picture as viewed by that portion of the audience seated where such light is more or less in their line of vision. And here is the queer part. If these same persons were asked whether or no the lights (glare spots) were objectionable, many of them, or possibly even all of them would answer no. Why is this? The answer is simple. They have no knowledge of such matters and attribute the strain set up by the lights to the picture itself. But if, while the picture is being projected, these lights were extinguished they would, without exception, promptly declare: "There, that's better," though probably not one of them would be able to offer a lucid explanation as to just why it is better. Managers should recognize that in the very nature of things, anything which affects the results in sound or picture is a direct concern of the projectionist. The theatre manager has many things to take up his time other than those affecting projection. He should therefore most heartily welcome any inclination on the part of the projectionist to make a real study of all things affecting sound and picture as viewed by the patrons of his theatre, including auditorium lighting and screen surroundings. Wise theatre managers will, so far as possible, give preference in employment to projectionists who can convince them that they have really studied all phases of their profession. T might add that unions would benefit both themselves and the motion picture industry vastly if they took steps to oblige their members, seniority or no seniority, to provide tangible evidence of their knowledge.