Motion Picture Herald (Apr-Jun 1933)

June 17, 1933 MOTION PICTURE HERALD 65 TECHN€L€GICAL The BLUEBOOK Schoo By F. H. RICHARDSON BLUEBOOK SCHOOL QUESTION NO. 177.— (A) What Is the composition of a fuse wire? (B) Just in what way do fuses act in protection of electrical apparatus and wires? (C) Why do sonne cities permit the use of link fuses and, in fact, insist upon their use in theatre projection rooms? (D) Where link fuses are used in a projection room, how should they be installed? What types of fuses is the projectionist likely to be called upon to use in his work? Answer to Question No. 170 Bluebook School question No. 170 was: (A) Give us your idea of the best method for storage of film while in the projection room. (B) While moistening dry film does not ordinarily come within the scope of a projectionist's duties, yet tell its how it is done. (C) What damage is film, subject to if too dry, as compared with properly moistened film? The following answered acceptably : C. Rau and S. Evans, G. E. Doe, T. Van Vaulkenburg, J. Wentworth, Dale Danielson, H. Edwards, E. E. Parkinson, W. Ostrum, H. B. Coates, D. Goldberg and L. Hutch, B. Diglah and P. Jackson, S. Maybe and R. D. Konley ; D. Emmerson, R. D. Oberleigh, T. Lambert and T. Divis; L. H. Simmons, D. I. Bancroft, P. L. Day and P. L. Daniels; D. Anderson, H. Rogers, L. Summers and D. M. Banks ; L. S. Zaren, B. I. Fanchann, T. R. Bancroft, D. L. McCarthy, H. R. Beldwin and G. K. Berger; D. L. Sinklow, H. Pilson and D. L. Daniels ; P. L. Jensen and A. Ilks, L. Grant and P. T. Zann, J. F. and O. L. Evans; H. True, L. Hendershot, L. F. Thomas, D. R. Gilbert, T. O. Wilde and N. S. Watkins ; T. M. Vinson and D. K. Ormie, D. Michelson, F. Hanson, J. L. Hanson, H. Harrison and E. Hralor; L. M. Croft, L. Thomas and D. D. Davis ; L. G. Howe, M. Spencer and D. T. Aden; E. W. Warner, B. L. Timlinson and T. G. Raynor; G. Farmann, Bill Doe, T. Taylor and C. Ray; D. T. Arlen and M. Spencer ; O. Allbright, R. Wheeler and R. Suler ; O. L. Daris and M. Simms ; J. C. Peters, B. L. Blinkendorfer and O. L. Blachley; R. Gedcings and P. L. Danby; L. Jones, B. L. and C. F. Banning ; D. L. Mason and J. T. Ballinger ; T. L. Raybomd, B. T. Miller and D. Meills ; L. Jones and B. L. Banning, L. Lorient and E. L. Gibbs, T. R. Thompson and A. K. Moss. I believe that while there are many excellent answers to Section A, that of L. Hutch and D. Goldberg suits the needs of publication best. These gentlemen say. "In the process of projection, film is submitted to heat of high degree. It therefore is essential to good practice that when not in use it be not only stored in as cool a place as is practicable, but also that the air in the storage chamber be kept at least reasonably moist. It also is an essential to safety to audiences that not only shall the storage reservoir be thoroughly fireproof, but also that each reel of film be kept in a compartment wholly separated from every other reel compartment, but also that each such compartment be connected directly with the open air outside the theatre, to the end that smoke and gasses generated (should a fire occur) be carried not only outside the projection room, but also outside the building. This greatly reduces the danger of audience being alarmed, as they will be if smoke seeps out from the projection room at every possible point. "In addition to all of which the film storage reservoir must be constructed with rolled seams, since solder would melt and permit the whole thing to fall to pieces were it relied upon to hold the reservoir together under the condition of high temperature generated by burning film. "Summing up: Film should be stored (a) in as cool a place as is available; (b) in one-reel compartments with rolled or riveted seams, each compartment connected with open air outside the theatre and, if possible, above its roof; (c) each compartment should have under it a receptacle for water, with a float so arranged that when the water level drops too low a spot of red will be disclosed as warning; (d) each one-reel compartment must be so arranged that the weight of a reel, or any part thereof, will automatically close the compartment door; (e) such storage reservoir should, where practicable, be built into the projection room wall with its face flush with the surface thereof; (f) such cabinet may well, under suitable conditions, have a double front, one in the projection room for removal of reels, and one in the rewinding room for their insertion after rewinding is finished." (B) We will now listen to Rau and Evans on Section B. Many I have given credit to in the listing this week did not do any too well on this one, but, after all. it is not exactly a practical projection problem, so I forgave them and included their names. Evans and Rau say: "The projectionist may moisten dry film by unwinding the film into a large can in the bottom of which is water and a wire screen which prevents the film from coming into actual contact with the water. The film is allowed to absorb the moisture until it is in satisfactory condition, when it is taken from the can and allowed to dry out slightly; that is, until removal of excess dampness which might have a tendency to make the emulsion sticky before being wound on a reel. Also, a glycerine and water bath may be given the film by immersing the film in a solution of 30 parts of water to one part of glycerine. The immersion should be only for a very short period. The difficulty usually encountered is getting an even distribution of moisture over the entire surface of the film. If the distribution is uneven, blisters will raise on parts of the emulsion when the film dries. To satisfactorily dry the film after the immersion, a large drum is almost a necessity. Even 50 feet of film cannot be handled otherwise without danger of warping the film." Dale Danielson says, concerning section C : "Film that is too dry is very brittle ; also, it is relatively noisy during projection and subject to danger of breakage at sharp bends or under the strain incidental to loosening a loop. It is more difficult, not to say impossible, to make as good a splice with very dry film as with film in proper condition as to moisture. In passing through the projector any of the several possibilities of damage would be aggravated if the film be very dry." D. Emmerson answers thus : "Dry film loses much of its flexibility, therefore is brittle and easily fractured by any bending strain. Very dry film is more susceptible to almost any kind of damage than is moist, flexible, tough film. Moist film is tough. Dry film is not, and in a way that is a very good answer to the whole question.''