Motion Picture Herald (Oct-Dec 1952)

Zke J^eedle's Sye A DepartmEnt on PRDJECTIDIV SDUIVB "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 optical aperture — in the continuous miracle of the screen by a man and his machine, the projectionist and his projector.” — TERRY RAMSAYE. Yfhat Proiectionisis Should Know About Film Stock Today Second of a group of arficles primarily for projectionists whose short time in the field or job conditions have limited their experience. BY CIO CACLIARDI THE MOTION picture release print is one of the most valuable items in the long list of projection equipment. Unfortunately, it is one of the most perishable tools and it cannot withstand much ill treatment and abuse. It should be of considerable help to projectionists if they had a basic idea of tbe structure of the various types of release prints. Structurally, the theatre release positive print consists of a transparent plastic film which may be made from nitrate base material, or from the new acetate base material. Both nitrate and acetate film base are cellulose plastics. Good quality, clean cotton is practically 100% cellulose and is used in its purest form to manufacture motion picture film, d'he purified cotton is treated with nitric acid to produce the familiar “nitrate-cellulose” film plastic. In a similar but more complicated fashion, the cotton may be treated with acetic acid derivatives to produce “acetate-cellulose” film plastic. Both types of film plastics are then dissolved in volatile solvents to a consistency that may be fed to a rolling machine which produces a wide, continuous sheet of transparent film base. This coagulated film of nitrate or acetate plastic is carefully rolled and dried and finally wound up to await the emulsion coating, slitting, and perforating operations. Since the earliest days of motion pictures, there has been a constant search for a film stock or plastic which would have all the tough wearing qualities of the nitrate film, but which would have none of its terrific inflammable hazards. Some acetate film has been marketed since 1910; it was practically non-inflammable, but this film failed commercially because of its short active life. It became brittle and then it cracked very quickly. SAFETY FILM However, as a result of really extensive research, the Eastman Kodak Company was able to introduce, in 1946, a high-acetyl safety film which proved to be quite noninflammable, also pliant and tough, heat resistant, very transparent, and very longlived. Because of the great demand for this safety film, Eastman immediately went into an intensive manufacturing program aimed at complete replacement of nitrate stock with the new safety film. At the present time all motion picture film made by this company is furnished only on the new type safety stock. During this period of conversion from old nitrate to new acetate film, it is extremely important for the projectionist to he very careful. The dangers associated ivith the handling and storage of nitrate films are apt to he forgotten. The proper safety precautions must not be neglected nor should they be relaxed too soon. Where safety and nitrate films are both being used in theatres, the same precautions must be followed as if all the film were nitrate. Proper identification of GIO GAGLIARDI THE TREND IS TO STARCORED CARBONS, INC. BOONTON, N. J. For quality and quantity — the light produced with Lorraine Carbons is unsurpassed. The Star-Core feature of the positive Lorraine Carbons is your guarantee for a brighter, whiter and steadier light— more evenly distributed over the entire surface of the screen . . . more economically! BETTER THEATRES SECTION 37