Motion Picture News (Aug-Oct 1920)

3052 (Equipment Service) giiuuiiuiiiuiiimiumiuiiiiiiiiiiiiiiiiiuiiiuiiiuiiiii iimiimiimiiiiiiiimiiiiiiilm mm iiiiiiiiimnmiimiiiimmiimiimm luiiiiLiiiuijiiitiniiiULUUinujuiiliiiUEiiiJiiiiiiiiuiiiuitiJiiituiiluiiiiiiiiuiiiuiUJUilJiiiiuiiiiiiiiiiiilllitii^' Equipment Service Department A section devoted to the technical branches of the industry containing records of the j | latest accomplishments in the machanical and scientific fields; projection helps, imuen- § | ttons and suggestions, cameras and their devices analysed and commented upon; labora [ | tory technique explained and nezv methods described; architectural plans of new and re § | modelled theatres; with treatises on nezv equipment for the interior and exterio'r of the | g theatre building and innovations in furnishings and decorations. I The service is maintained for the theatre manager, the projectionist, the studio and I | laboratory worker. No charge zvhatever is made for answering queries regarding any of | | the above subjects. § | E. L. Bragdon, B. S Technical Editor | | E. B. Janvrin, B. S v Assoc. Technical Editor 1 iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiimiimiiimiiiiiiiim Film Inspection in Exchanges From recent talks with workers in exchanges aided by letters from actual Exchange Managers one is inclined to the belief that' the Producer who gives one thought to the conditions of film inspection as carried out in Exchanges is as rare as the Dodo, the Dufangel and the Purple Cow. The entreaties of the small town theatre managers for better films is like a cry in a desert. There is no one interested in heeding such calls for help. It ^eems to be the feeling of Producers that theatre managers should consider themselves fortunate to get films at all. And there's that! Said an Exchange worker the other day : "I took a position in an Exchange to see just how they did the work. I've found out. They don't do it. It's a question with the Exchanges of getting the films in and out again with a minimum of time and labor. Why, I handled films that belonged in the junk pile but the manager ordered me to ship it out again. Say, it's a wonder the theatres stand for it." Says a letter received from an Exchange manager a few weeks ago in reply to a query as to the cause of film being sent out in such poor condition : "We're not to blame. We have tried to get the main office to get us a renovating machine but they ignore all our requests. What more can we do?" All of this discussion is not brought up here for the sake of making the task of the projectionist easier although that is one of the reasons. A considerable portion of the film received by the smaller theatres particuarly if they happen to be on a "circuit" is in an atrocious condition of repair. Such film is a fire hazard of the worst type and no end of skill and patience on the part of the projectionist can make it otherwise. The fault lies in the system of inspection carried out in Exchanges and from there the fingers of guilt point directly to the main offices. When action is started in the sanctums of the executives and not before will the condition of film be noticeably improved. That Phrase "Photographed By " "Credit where credit is due" has been for some time the cry of cinematographers. Shortly after feature films began their rise the makers of films commenced to give others than the stars the credit due them by mentioning their names and the part they had played in the production of the feature. Came the author, then the director, and then the scenarioist but there the custom halted. The cameraman on whom almost as much depended as on the director was overlooked. Although the thought did not occur to the producers at the time this custom of slighting the cameraman had the effect of tending to kill the ambition of those dependable and resourceful workers. Certain members of the profession — we say profession because it had attained to the distinction at the time whereof we Motion Picture News iMiiiiNiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii ii iiiiiiiiiiiiiiiiiiiiiin iiiiniimiiiiiiiiiiiiimimiiniiiimnimMHimMiimi* 0' UIPMENT I UIPS | iiiiiimiimiiiiiniiiii mini iiiniiiriiiiiiiiiiiFMiiiiniiitiiniiiiiriniriiiiiiiiiunTriiiuumimiuiiiJiiJitijuiiiHJHUfH^ Joe Hornstein, the hustling manager of the Howells Cine Equipment Co., is a speechmaker of the Chauncey Depew type. He had his picture in the News last week for a speech he made on a battleship. Versatile? You can't deny it. Cines of the Times Some pronounce it Sinny, Others call it Cine And so it looks as if your guess Was just as good as mine. Rio Start. Win. Roy Mott, Research Chemist of the National Carbon Co., recently delivered a lecture before the Portrait Photographers of the country on the subject of " White Flame Arcs." In his spare time between Conventions and Lectures Dr. Mott finds opportunity to increase the efficiency of carbons for the sake of projection. Did You Know That — Halvorson of the General Electric Co., can sail a yacht with the best of 'em. Someone said he was born with a main sheet in his hand — whatever that means. . . . Dr. H. P. Gage, co-author of " Optic Projection" was the moving force behind the inventing of the auto headlight lens known as the Conophore. . . . speak — who were foresighted enough to realize that this disregard of the men working the cameras was liable to hinder the advance of the art, proceeded to put into action a carefully planned propaganda to bring producers to their senses. For several years their work has continued until today probably nine tenths of the features credit the cameraman with the photography. A lesser proportion of the shorter reels carry this credit line, but their number is increasing daily. This is as it should be. This hall-mark of accomplishment has the double effect of Approval and Criticism. If the cinematographer's work as pictured on the screen is of a quality tocall forth praise he will receive it in full measure for despite the many pressagented stories of the wonderful photographic effects devised by directors it is well known that they would be impossible without the expert knowledge and resourcefulness of the cameramen. On the other hand if the consensus of opinion seems to be that the photographv has been poorly executed the cinematographer should be present (in name at least) to bear the blame. In this way is the man continually spurred on to better work. The American Society of Cinematographers stands forth firmly for the employment of the credit line "Photographed By " and to a large extent it is through their endeavors that it is now so frequently seen.