Motion Picture Herald (Apr-Jun 1933)

60 MOTION PICTURE HERALD June 24, 1933 TECHNOLOGICAL The BLUEBOOK Schoo By F. H. RICHARDSON BLUEBOOK SCHOOL QUESTION NO. 178— (A) To what extent and in what way have you found the Bluebook School beneficial to you? (B) What is a cartridge fuse; a plug fuse: a link fuse? (C) What various things do Underwriters' rules require with relation to cartridge fuses? (D) What are the required dinnensions for a 60-ampere, 220-volt cartridge fuse, ferrule type; knife blade type? Answer to Question No. 171 Bluebook School question No. 171 was: (A) Tell us just how you would proceed to inspect film received from an exchange. (B) Suppose you had some old film from which you desired to remove the emulsion. How would you go about it? (C) Suppose you wish to know the exact film footage of a subject. You have no film measuring device. How would you ascertain its exact footage? (D) Suppose you have some film you wish to store for several years, without using it. What would you do? The following answered acceptably, in some cases with a bit of strain perhaps : S. Evans and C. Rau, G. E. Doe, Bill Doe, R. K. Wayland, W. Ostrum, Dale Danielson, K. Dowling, E. E. Parkinson, J. Wentworth, H. C. Lake, T. Van Vaulkenburg, H. Edwards, B. L. Blinkerdorfer, O. L. Evans, M. R. Davis, H. D. Schofield, B. Jones, L. F. Evans, D. Holler and D.. R. Peters, D. L. Tapley, O. AUbright, S. Maybe and R. D. Konley, W. T. Soare and H. R. Baldwin, H. Haber and A. Breaston, P. Jackson and B. Diglah, R. Geddings, D. Goldberg and L. Hutch, D. T. Arlen and M. Spencer, L. G. Lamb and D. R. Lyon, R. Singleton and M. L. George, R. Rubin and L. Hendershot, D. L. Dillon, W. and S. F. Love, H. Rogers, G. Harrison and E. Harlor, P. L. Danby, H. B. Coates, T. H. and J. N. Wilson, G. Tinlin, D. L. Sinklow, O. L. Daris and M. Simms, B. L. Tanner and E. Rymer, N. T. Kane and G. Johnson and C. D. Carmody, T. S. Raymond, R. Geddings, L. Jones and B. L. Banning, H. True, L. M. Oglesby and Son, A. Bailey, D. U. Grainger, D. Emmerson, R. Suler and R. Wheeler, A. Ilks and P. L. Jenson, M. G. Greig and D. V. Peterson, L. H. Danville and R. S'. Patterson, T. McGruder, E. W. Warner, D. L. Howard, F. F. Franks, R. S. Allen and T. N. Williams, D. M. Banks and L. Summers, G. Farmann, P. K. Daniels and F. F. Franks, T. Kelley and C. Cummings, J. T. Ballinger and D. L. Mason, D. Little and J. H. Rathburn. Incidentally, the number of answers is, as usual, dropping down a bit as summer comes on. On second thought, it is possible that continued failure to have vour names listed as answering acceptably may, now that warm weather is upon us, be the cause of the drop-off. I note that few of those who have been even fairly successful have dropped. If that is true, my advice is to "stick." You are the ones who need this "school" most of all, as experience surely has shown you. Don't be quitters, men. Be stickers ! In the end you will find yourselves to have been largely benefited. We will listen to Dale Danielson on Section A. He says : "The first thing I do after the film is in the projection room, is to see if the entire program checks with the film received. Next I line the film up in the order it is to be projected. Next, taking the first reel, I see that the reel is just what the reel band calls for, i.e., the correct band is on the correct reel. I glance at the external appearance of the reel and interior of case. "Then I ascertain if the film has an exchange inspection seal. Paramount never uses an inspection seal however. In fact it isn't even sealed. I take particular notice of the leader, especially from footage number 8 on. That is where I thread. I exactly synchronize the leader, i.e. make exactly one foot footage number to footage number and exactly three feet between last number and picture. I either add or subtract film as is necessary. This I consider important as I thread exactly. This part completed, if I desire carefully to look at the reel it is placed on the motor driven rewind. This rewind is slow taking 9.14267 plus minutes per 1,000 feet of film. Besides an automatic stop I have an auxiliary switch that can be operated by the knee. I gently cup the film between my thumb and first finger. A ragged edge will be immediately evident. A loose splice is caught. In fact I inspect every splice, especially in some companies. There is a difference in splices by different exchanges. "I notch places where film is split between margin and one sprocket hole. I frequently stop to note cleanliness of film, examine sound track, sprocket holes and for presence of scratches or other faults. At the tail end I look at the standard cues (the projectionist's greatest godsend), making sure there are at least nine or ten frames between the first of the last cue marks and picture ending and that there are eleven feet between cues. I hope and pray then that this reel will run the gauntlet in projection." As to section B, Messrs. Evans and Rau tell it all in a few words. They say : "To remove the emulsion from film, soak the film in a bucket of warm water in which a large double handful of washing soda has been dissolved. Afterward wash the film in clean, warm water." Which really is all there is to it. Let the film soak for a while. The soda will affect nothing except the emulsion. As to section C, some hundreds all said exactly the same thing in different words, namely: "Since every projector used in theatres passes exactly one foot of film to each revolution of the crank shaft, it is only necessary to run film through the projector and count the revolutions of the crank shaft, or what once was the crank shaft. Each revolution equals one foot of film." D. It seems that in order to be able to answer the question, several obtained from the Eastman Company a booklet telling how to store film, and that is enterprise. However, while you will think I have a lot of nerve differing with the Eastman Company on a subject of this sort, I nevertheless do, on one point, namely, Eastman Company recommends mounting the film on large hub reel that would be comparatively free from oxidation. Now why any reel at all ? Personally I would wind the film on a large hub and remove the hub, or on a large wooden hub and leave the hub in if it is preferred, but with no metallic reel sides. The advice otherwise is good: "(a) The film should be moist but not excessively so. (b) It should be wrapped in chemically pure black paper, (c) Placed in tin plate cans, one reel or roll of film to the can only, and (d) kept comparatively cool, say around 40 to 45 degrees Fahrenheit, (e) If the film is kept in storage for a long period of time it should be inspected each alternate year, first, however, having brought the film to normal temperature throughout, in order to avoid condensure of moisture with possible softening of emulsion."