Motion Picture Herald (Mar-Apr 1947)

RAY S. HANSEN of the Fox theatre, Fertile, Minn., writes to inquire about a .double rear shutter that I described in one of my columns. He asked if they could be purchased at this time. I had to inform him that Alvin Sloan of Washington, N. J., who developed them some years ago, still has the models shelved. Also received a thank-you note from Bill Howe, Pittsburgh, Pa. From John C. Mowrer, Royal theatre, Danville, Ind., comes the following: After reading your colum I became curious about the "pinhole" test. Our light is good but could stand improvement. Any information you could give would be appreciated. W e are using Simplex regulars, throwing slightly more than 100 feet. Our lamps are Strong high-intensity. Recently we have bought a pair of Kollmorgen Series II coated lenses with 4.75-inch focal length. They are doing a great job but I would like to improve it. From what Bill Howe writes, your test should do this. I have informed Mr. Mowrer to look up the May 4, 1946 issue of Better Theatres and he will find the complete data on the pinhole and split aperture test. He can also write to Heyer-Shultz, Inc., Montclair, N. J., for their booklet containing the same information (probably a bit more on the technical side, and a lot of other useful data). He can also purchase his pinhole and split aperture plates from this concern. the projectionist be responsible for the other booth equipment. I don't mean that all projectionists should be first-class repair men. That is why we have repair shops with skilled mechanics in charge. But each projectionist should be able to make the repairs necessary to keep a show going. Any circuit of any size should employ a chief projectionist to look after these repairs and try to keep the booths up to standard at all times. He, being paid for that service, could spend time in each booth other than at show time and make minor adjustments, thus making breakdowns and showstops less likely. Owners with only one theatre should allow his projectionist enough money over and above his salary for coming in mornings and checking and learning more about his machines. I think this would tend to make more work and salary for each group and, furthermore, would save countless arguments and hard feelings between projectionists and sound engineers. Rear Projection for Veteran Hospital Shows a letter from Cecil M. Sansbury, Chief, Motion Picture Section, Special Services, Veterans Administration, 1. Don't fool yourself, sound trouble could make this happen at your theatre. 3. Regular checkups by RCA experts avert trouble— assure high-quality sound. 2. And result in lost receipts that bring on box-office blues. 4. Continual, high-class showings please patrons — bring them back. How to put an end to box-office blues When you buy RCA Service, you assure yourself of trouble-free operation, economical upkeep, and Academy-approved tone adjustments for your sound system. In addition to regular checkups by a skilled, well-equipped techni cian— you get fast service on parts — prompt help in an emergency. Unload your sound equipment problems on RCA Service specialists. For the cost of a few admissions per day, you may prevent box-office blues. MCA SERVICE COMPANY IMC. RADIO CORPORATION of AMERICA CAM DEM. M.J. way to k&tp posted!/"" Ofe a. coupon clipper ^^^ALL METAL GUARANTEED 5 YEARS against pitting, tarnishing and breakage Manufactured by HEYER-SHULTZ, Int. MONTCLAIR, N. J. Distributed Exclusively by i THEATRE SUPPLY BETTER THEATRES, APRIL 5, 1947 39