Motion Picture Herald (May-Jun 1946)

THEATER PROJECTORS AND SOUND SYSTEMS In realism of image and naturalness of sound these trouble-free, streamlined aces of the projection booth exceed the demands of the most critical audiences. They are built to standards far in excess of those generally accepted for motion picture sound equipment — a great pair to draw to for a full house. Priced To Enable ANY Theater To Afford NEW Equipment DeVRY know-how engineering, teamed with DeVRY precision methods in parts production and assembly, assures top-flight picture and sound performance for either blackand-white, newsreel or technicolor features . . . Your DeVRY includes a synchronized built-in sound-head. DeVRY has the world's most complete peace-time line of motion picture sound equipment. Also IllFidelity Theater Amplifiers and Multi-Cellular Speakers. Before you buy, mail coupon to DeVRY . . . Only 5-time winner of Army-Navy "E" award for motion picture sound equipment. DeVRY CORPORATION BT-C6 1111 Armitage Ave., Chicago 14, Illinois Ploase send details alx>ut the NEW DeVRY 35 ram. Theater Projectors and Sound Systems. Name I A ddress 1 CrVy Slale MOTION PICTURE SOUND EQUIPMENT PERFORMER T FILM REWINDER Sold thruTHEATRE SUPPLY DEALERS Exclusively enough volume level in the auditorium with present-day recordings and with enough to spare to cover future recordings. These speakers are of the permanent magnet type, eliminating the need for a field supply. They are furnished in different sizes for different theatres, with two sizes being offered for any theatre — one for "commercial" performance and one for "deluxe" performance (the latter merely being over-size). We all know that sound systems are sold with different models for different sized theatres. The circuit for which we work has always purchased the next larger size sound equipment than the one recommended by the manufacturer for each job. We think that this is a wise policy to follow, both when choosing sound equipment or when purchasing allied equipment, such as speakers. High-Intensity Means Brightness and Quality Arthur Reitano of the Hudson theatre in Cold Spring, N. Y., writes to submit a question which indicates that the full significance of high-intensity projection lamps may not be fully appreciated by every theatre operator. Says Mr. Reitano: "I have a small theatre and use Simplex rear shutter projectors and low-intensity lamps. We have 30-ampere Forest rectifiers. Our throw is 60 feet and our pic ture is 7 by feet. It seems that the light is adequate. "I have been seriously thinking of changing to high-intensity lamps as my house is open only four nights a week, and afternoon and evening on Sunday, therefore the cost of operation with the high intensity lamps would not amount to very much more than the low intensity." It is the size of the picture, not the throw, which determines the amount of light on your screen with any given equipment. You have a very small picture, and your present equipment should give you ample light. But there is another matter to consider, and that is the kind of light you have on your screen. With the low-intensity equipment your are getting a yellow light. If you changed to one-kilowatt high-intensity lamps you would have white light, and you would still have extremely economical operation. Your present equipment, regardless of the amount of light on your screen, is definitely obsolete. A one-kilowatt outfit would give you a picture of the same appearance as those which the finest and largest theatres project today. As you make a picture larger, the brilliance of the picture decreases very rapidly. One-kilowatt equipment would about double your light, even if you used your present lenses and changed no other equipment ; so if you wanted a larger picture 5'OU would not have to worry about having enough light for it. Orval C. Storlie, chief projectionist of the Menominee theatre, Menominee, Mich., has sent in this good photograph of the new projection room in that recently remodeled house operated by M. E. Cammack. The room is finished in cement piaster over metal lath; the floor is a 4-inch concrete slab, painted grey. Walls are olive green with buff dado. With the projection room located above the balcony, the projection angle is 14 degrees, the throw 68 feet. A toilet room adjoins. Equipment includes Simplex E-7 projectors and Simplex sound system Type B-30; National-Simplex suprex lamps; Super-Cinephor 3'/2-inch coated lenses, F/2.0; Walker white plastic screen, l3'/2 x 18 feet; Neumade rewind table and 12-section film cabinet. There is also a Kliegl spotlight. Arc lamp exhausts are equipped with Sirocco booth fan. Curtain control equipment is Vallen track and controls switched from either projection room or stage. A 12-circuit panel is located in the projection room for General Electric power control — a circuit for each projector, one for curtain control, one for rewind, house lights on several others, and the others are available for later use. All circuits, except exit lights, are connected for control through a master switch, and all, except projection and sound, can be controlled as well from the manager's office. 40 BEHER THEATRES, JUNE 1, 1946