Motion Picture Herald (Mar-Apr 1947)

PUT MORE LIGHT ON YOUR SCREEN 9 All reflectors gradually deteriorate to a state where replacement cost is insignificant. A drop of onlylO%in reflective efficiency results in a corresponding decrease in screen brilliancy, and represents a loss amounting to 10% of the cost of your current and carbons. Replace yours now, and regularly. Available for all types and makes of arc lamps. NATIONAL THEATRE SUPPLY Oivi*iW»©f Notorial •5lmpiit**8!ud*'tw1li,Irt(,. 'There's a Branch Near You' STRONG COPPER OXIDE AND TUBE TYPE RECTIFIERS For converting A.C. to D.C. as the ideal power supply for projection arc lamps. Low original, operating and maintenance eosts. Quiet operation. Distributed through leading independent theatre supply dealers. THE STRONG ELECTRIC CORP. 87 City Park Ave., Toledo 2, Ohio The World's Largest Manufacturer of Projection Arc Lamps Disastrous Film Fires — Don't Just Happen V REEL BAND • PREVENTS FILM • PREVENTS FILM PRCTEX REEL BAND CO. DAMAGB FIRE 200 Film Bldg.. Cleveland. 0. A DEPARTMENT ON PROJECTION & SOUND REPRODUCTION EQUIPMENT & METHODS FOR THEATRE OWNERS, MANAGERS AND THEIR STAFFS "No other art or Industry in the world narrows down its success to quite such a needle's eye as that through which the motion picture has to pass — an optic* aperture — in the continuous miracle of the screen by a man and his machine, the projectionist and his projector." —TERRY RAMSAYB Conducted by GEORGE F. MILLER Chief projectionist and head of maintenance, St. Cloud Amusement Corporation, New Jersey; president of local 365, IATSE & MPMO Dividing the Work in A Two-Man Booth (Socko!) this article sets forth what are my own — my very own — ideas as to how a two-man projection room should be run — that is, the work divided up. You readers who disagree are free; — in fact, you are invited — to state your views in writing, and I'll print 'em, too! I have been asked so many times for my views on the subject and matters related to it that I am going to give them. Maybe my neck is too long for my own good. However, here goes. First, regardless of contract, I think that on the opening day of a new show, both men should report to work at least one hour ahead of their usual reporting time, and every reel of film should be examined by hand. A report should be made out and handed to the manager before show time, stating the condition of the prints. This would include print number, seal number and exchange, and running time of each subject. This method protects the projectionist and theatre against paying for someone else's damage. If after the first show the manager finds there is trouble in the recording, he can fill in the report accordingly. The show being made up, the sound should be tested, and the machines and lamps be given a light cleaning (assuming that they were left in good condition the night before). One more thing on early arrival : There should be one day set aside for a real house-cleaning each week. By a real cleaning I mean every part of the booth should be gone over — in fact, everything that could stop a show should be checked, oiled and cleaned. If each man would show that much interest in his booth and job, I dare say we would not have many stops and I think we projection ists as a group would be appreciated a lot more by the owners of the theatres. Assuming all these precautions have been taken, let's start on what I think is a good way to operate the running of a show. I do not like each man having his own machine ! This would be all right if each man's likes and dislikes were the same, as far as light, focus and the attention he gives his machine. In my experience this doesn't always work out. So I say do it this way : One day let one man take care of all picture changeovers and stay by the running machine at all times. The other man laces, rewinds, trims the lamps, wipes out gates, cleans reflectors and makes sound changeovers, etc. The next day the men change responsibilities. I feel that in this way your job doesn't become tiresome and in some cases the second man isn't always stuck with the dirty end of the job. Moreover, there should be no hard feelings between the men because each does the same jobs. I presume other methods will work What to Do in Case of Film Fire Burning nitrate film is dangerous. It can kill — it has killed. The slower it burns, the more dangerous it is. Burning nitrate film produces nitrous gases which, when breathed into the lungs, combine with the water of the body to form nitric acid, which burns the lining of the lungs, causing injury likely to endure for years if it does not soon result in death. When film is ignited in a theatre projection room, only one proper course of action remains for the projectionist. GET OUT — INSTANTLY! [Originally published in Better Theatres of Feb.. 1945} 34 BETTER THEATRES. APRIL 5, 1947