The motion picture projectionist (Nov 1930-Oct 1931)

June, 1931 Motion Picture Projectionist 29 Letters to the Editor Remote Volume Control EDITORIAL comment anent "Proper Volume Control" in the April issue prompted the following contribution from an English friend — a contribution which serves incidentally to deflate our ego a bit and to demonstrate anew that we here in America might with profit keep our eye on sound picture developments in England and on the Continent. This letter, signed by F. A. Cam, a director of Sound, Ltd., follows: Sir: With reference to your article entitled "Proper Volume Control" in your April issue, we note with surprise that you apparently look upon an outside (the projection room), volume control in a theatre as something of a rarity* We have for the past five years fitted outside volume controls in all our installations, the earlier installations being, of course, only for the accompaniment of silent films by non-synchronous disc recorded music. We agree absolutely with your opinion that volume control is not a part of the Projectionist's duties, and we may say from our experience that we have always found Projectionists only too glad to be relieved of this extra task. Your concluding sentence, "If a satisfactory remote control device is available, by all means let us have it as quickly as possible", also surprises us, as it is comparatively a simple matter to install a volume control which can be operated at any reasonable distance from the amplifier without introducing distortion, the relative amplitude of various frequencies remaining unchanged for any setting of the control. The method we employ usually is to shunt the primary winding of the first inter-valve transformer in the main amplifier with a variable resistance of approximately 50,000 ohms. This resisistance is not connected directly to the transformer but is isolated from the D.C. component by a large capacity condenser in series with each lead. As is well known, the shunting of the primary of a transformer by a resistance tends, if anything, to improve the characteristics, and we have found that this form of volume control gives most satisfactory results. Owing to the fact that no D.C. current passes through the resistance. the Graphite Type, such as the "Centralab", can be used, and it gives extremely smooth variation. More Data on the S.R.P. Tabulation of the returns from the survey on the Standard Release Print among projectionists throughout this country and in Canada is now in progress by the committee appointed to supervise this work. It is definitely understood that there will be some minor changes made in the S.R.P., after which will come the task of closely supervising the inspection work of the various exchanges, by the producer representatives, and the checking-up of work in the individual projection rooms, by the Projection Advisory Council agents in the various key cities. Although the survey is now complete, projectionists continue to express themselves on this important phase of theatre reproduction work. Several of the more interesting of these contributions are presented here: We have just received a letter from the Metro exchange stating that we have committed a crime in doubling-up their prints. We believe the crime is theirs in sending us reels in short lengths. There is more than one angle to this business. The faction favoring 1,000-foot reels (which, incidentally, average about 800 feet), is comprised mainly of exchanges who don't want to spend a cent in rearranging their shipping, inspection, and storing routine. A short time ago the trouble was combination prints ; now along comes the S.R.P. — and all the troubles are expected to be ironed out in the projection room. The remedy does not lie with the projectionist. We projectionists have ample reason to believe that the other branches of the industry know very little about projection and appreciate none of our problems. We have S.R. prints with 11, 11%, and 13 feet of blank leader (numbered to 12, of course) ; the dots are spaced incorrectly and positioned wrong ; on 'me reel of "Charlie Chan Carries On" the dots were on the left side. Fox is a flagrant offender in the matter of printing the reel number in the sound track a few inches from the first picture. Fox also carries the talk record too far on the end of the reels, sometimes giving less than the minimum 15% inches (we wonder if the Roxy Theatre tolerates this?). The S.R.P. is a fine idea, but it is absolutely worthless if it is not kept standard. When are we going to get film in 2,000-foot lengths ; and who among the executives of this business is big enough to grasp this problem in all its ramifications ? J. K. From Edward C. Smith, Post Exchange, Fort ' McDowell, California, comes this reflection on those of us who don't know a good thing when we see it: For several months now I have been reading the opinions of projectionists in all sections of the country on the S.R.P. All I can say is that some people don't know when they get something good. I think the few black dots look a darn sight better than a lot of scratches and punch holes, and the S.R.P. certainly is a grand "lift" for the one-day runs. An indication of a group of projectionists who believe in doing more than just talking about the S.R.P. is had in the following communication from A. H. Estes of Columbia, S. C, who sends in a sample sticker which is pasted on every film can sent out in his district — the work of that very progressive projectionist organization, the South Carolina State Council: I am sending along herewith a couple items which may be of interest to your readers. Practically every theatre in the jurisdiction of this L.U. (347, Columbia, S. C), is now receiving S.R. prints. This L.U. has notified every theatre i" its territory that the hookingup of prints must stop, and the local Film Notice! To all projectionists in the jurisdiction of Local 347, I.A.T.S.E. & M.P.M.O. Union, Columbia, S.C. This is to notify you that there will be no doubling-up of any print over one (1) reel on 2,000ft. reels regardless of whether the print has been cut before you receive it or not. All pictures must be run on the regular 1,000ft. reels during your run. Should you receive a print that has been already cut, please report same to your theatre manager. A fine of $10.00 will be placed on the shift that cuts any picture in order to double-up same on 2,000-ft. reels. Please abide by the above and let us have your full cooperation in this matter. Local 347, I.A.T.S.E. & M.P.M.O. Union, Secretary. Board of Trade is cooperating with us on this. The other item is a sticker that is placed on the lid of every film container which is shipped out of theatres in Charleston, Columbia, Greenville, and Spartanburg, calling attention to the fact that a little cooperation on the part of all projectionists will give the paying public a much better show and will aid the men who handle the prints after the first-run. R. G. Blake, projectionist at the Star Theatre, Bar Harbor, Maine, registers the following opinion: I think the 12-foot leader at the beginning of each reel is just right. The visible numbers on this leader are a great help. The "Start" motor cue and "Change-over" cues seem to fit the W.E. system nicely. I mean the distance between cues is just right to give the incoming machine just enough time to get up to speed. (Ed. Note: This maj' not hold true for all W.E. equipment, due to the difference in motor pick-up.) I think that if the CO. dots were almost at the bottom of the scene instead of at the top they would be less noticeable to the audience, but would be just as good for the projectionist. Three dots would be ti.ough, and they could be one-third smaller than at present. Placing the dots in the extreme lower right corner is my suggestion for improvement. An "international change-over" is the term employed by Wilfred Spicer of Saskatoon, Canada, in describing his suggested improvement: My idea on an international change-over is as follows : 1. The dots to be in the upper right corner, either 4 or 6 of them placed one or two frames apart and 15 feet from the BROTHER PROJECTIONISTS Let's all get together and see if we can't keep the Prints of the Pictures that we use in good condition. We all know that a Print leaves the Exchange for its first showing in a good condition. We know it can't stay new, but we can keep it in good condition. LET'S — Keep our Projectors in first class condition. LET'S — Inspect the Prints — Make good splices using good fresh cement. LET'S NOT — Punch holes — Scratch — Put paper — or mark the end of a part. LET'S NOT — Join subjects or parts of a picture together. LET'S — All help ourselves by helping others, it will mean Safety Service — and Better Projection. South Carolina State Council.