The motion picture projectionist (Nov 1931-Jan 1933)

September, 1932 Motion Picture Projectionist 23 after we first started experimenting but by that time they had taken out the wide film developing machines and printers and it would have been an expensive expenditure to replace them. MR. PELTON— I might add that during this period of depression, the subject of wide film cameras is taboo. VOICE — Has the yellow carbon lite ever been tried? Could I ask whether you use any other than white plain carbons now that there is an extreme sensitivity to yellow in the panchromatic film? MR. HAMMERAS— Yes, at one time we used a red flame German carbon. VOICE — Have you tried the yellow or red National Carbons. MR. HAMMERAS— Yes. However we found that it is not a perfect light on account of the high intensity at which it burns., and because through the glass it doesn't make a great deal of difference, white red or yellow in exposure. We have even filtered our light for the new panchromatic film (which is more sensitive to yellow light), by using a light yellow filter on the projector, but it doesn't have much effect in added exposure. We are now using just a standard National Carbon. VOICE — I would like to ask if you have tried to double sand blast the glass and what effect you obtained? Is there any increased value over the single blasting? MR. HAMMERAS— Yes. We had two large glasses. One we sand blasted on both sides. That was before they were able to sand blast with flour to give the real smooth finish. Then we sand blasted one on one side and lacquered the back side and put a little color — white lead — into the lacquer. The difference between the two was that with the single blasted glass you get a distinct hot spot, while with the double sand blasted glass the image is given more diffusion and the hot spot disappears, so at present we are sand blasting our glass on both sides. VOICE — Do you find your exposure cut down? MR. HAMMERAS— It cuts down our exposure about 10 per cent, and when we got this new finish with the flour sand blast it cut our exposure about 20 per cent. To overcome this we enlarged the carbons in the mirror arc lamps. While we used to run 75 or 85 amperes, now we have to run at top, 115 to 120 amps. MR. PELTON— Mr. Edouart, what throw do you use? MR. EDOUART— Our average throw runs around 90 feet. We use various throws depending upon the size of the shots. We have set up for as many as four shots on one stage at one time. We may have set up closest to the projector a small shot through a little window on a small glass, such as an automobile shot. We may then pull that out and have already set up next in line an 8 by 10 foot glass, pulling that out afterwards, and so on. MR. PELTON— The reason I ask these questions is that every studio seems to have a little different practice. At Metro-Goldwyn-Mayer we try to eliminate the hot spot by using the greatest throw and the longest length lens we can get. The throw is 106 feet and we use either a 5 inch or a 5V2 inch lens with glass about 12 feet by 18 feet. I think that the largest glass obtainable until some of the new plants open — I believe the Ford-Owen is shut down now — everyone has been asking for larger glasses, but until some of the big glass companies start manufacturing large plate, we can't get them. I am sorry there is no sample of the Metro-Goldwyn-Mayer process work here — however, their work is represented in the sound re-recording portion of the program. The hot spot seems to disappear particularly due to the large focal length projection lens and the increase in throw. Physical limitations may not permit that in all places, but after some experimenting we decided that we shouldn't attempt this work in a stage under 200 feet in length, where we can allow 125 feet for projection and 75 feet for the cameras. As a matter of fact, we would like 50 feet more in length. Is there anyone who wants to question the speakers as to how these different shots were made? MR. CLARK — I noticed on some of those shots that you had a full figure, then you went to a waist figure, say, or a bust shot of two people talking. As you did, the background went out focus — just as it should do. Was the background the same as in the full length shot, or was it projected out of focus? MR. EDOUART— No, it was projected just as sharp as the long shot, but optics will automatically take care of that just as it does in normal straight photography. MR. CLARK— In other words, the glass is far enough away from the people so that that works out? MR. EDOUART— That is one of the problems which has to be worked out on each set up. You have to figure the distance of the glass from your subiect to give you the desired result. If you don't want a sharp background, your glass can be farther away. It is particularly desirable to have a sharp image on the background for close shots, you bring your glass closer and watch your focus, and you have it. MR. PELTON— Mr. Edouart and Mr. Hammeras, will you each tell us whether you move your troupe to the process stage or move your apparatus to the set? MR. EDOUART— Well, at Paramount, we are limited in stage space. We have one stage which is known as the transparency stage, and we try to do as much of our transparency process work there as we can. While I think each studio has its own name for its own particular process, we call our work straight trans parency shots or transparency projection shots. The name "transparency" is derived from the fact that the pictures are photographed by transmitted light. I should say that we do about 85 per cent of all our shots on the transparency stage. Frequently it happens that we have to work with a set which is very difficult to move. For these we have one particular equipment which can put on a Bell and Howell projector head and get absolutely perfectly stationary shots. We take this with our 12 by 18 foot glass right onto the stage. We have experienced no difficulty so' far, and I certainly hope we don't, because we can't get a cent of insurance on these glasses. While we aren't limited to the transparency stage, we do prefer to> shoot there. As all our equipment is there it is more economical if we can arrange it. I might say that our work is limited by the length of our stage. The whole building isn't more than 135 feet long,, which naturally limits us as to our throw. We would like to have a stage 250 or 300 feet long — maybe we'll have one some day. MR. PELTON— And what is the practice at Fox? MR. HAMMERAS— We have our largest glasses mounted on a dolly and can cart them around to any stage or wherever they may build the set. We can take either our 8 foot by 10 foot or our largest glass anywhere on the lot and put either one behind a window or porch or wherever they may want it. MR. PELTON— What are your plans for the screen such as you mentioned a while ago — the 25 by 30 foot one? MR. HAMMERAS— We will have to. have a stage 200 feet long. MR. PELTON— What do you intend to use for this screen — etched glass? MR. HAMMERAS— No, we expect to use a gelatine screen. We have been promised by a New York manufacturer that we can have a screen made up 30 by 40 feet or as large as is necessary. Screens made of woven materials cut down the exposure too much to^ make them practical. We have made tests of different screens sent out from New York but the weave in the screen cuts down the light 50 per cent. Wherever there ia a cross weave, there isn't a chance for light to transmit through that weave, which cuts down the exposure. MR. EDOUART — May I ask something about the Metro-Goldwyn-Mayer method of working? What focal length lens are you using? MR. PELTON— On projection? MR. EDOUART— Yes. MR. PELTON— 5% inch. MR. EDOUART — And your throw is 125 feet? MR. PELTON— 106 feet. That is correct, Mr. Layton?