Moving Picture World (Jan-Feb 1927)

PKettep Projection yiiis Department Was founded in 1910 by its Present dditor* Richardson Better Projection Pays Arthur Smith Leaves Capitol For the Roxy ARTHUR SMITH, who has for several years been in .charge of projection at the Capitol Theatre, New York Citv, has resigned and has accepted a similar position with S. L. Rothafel. He will be in charge of projectiqn matters at the new, magnificent Roxy Theatre, which will open next month. George Bothwell will act as chief projectionist at the Capitol, but the position will be that of chief projectionist, the difference being that whereas, Mr. Smith devoted all his time and energy to the supervision of projectional matters, Mr. Bothwell will work his “trick” with the other men. A Questionable Move It is not for me to say whether or no this is a wise move, but it does seem as though such a famous, magnificent theatre as the Capitol, which numbers its daily patrons by the many thousands, does need the entire energies of one very able man devoted entirely to the supervision of the production of the one most important thing it has for sale. Please understand that I am not presuming to criticize the action of Major Bowes in making the change, but merely discussing the matter. Much of the continued popularity of any theatre, particularly in this day of fierce competition along the Great White Way, depends upon what may be just a little difference in the “snap” of the performance. On the speaking stage, two “acts” may be identical in every detail, but one set of actors may, by the addition of just a bit of “pep” in the performance of that act, “bring down the house,” which applauds very mildly at the same thing put on by the other actors, who lack that little thing which is so tremendously big in amusement affairs. Generally True It is my claim that this also is true in projection to a very appreciable degree. I have myself many times seen the same iden tical photoplay put on in two theatres v'hich were essentially the same insofar as has to do with projection equipment. In one theatre the thing went “flat”; in the other it was very fine. Why? There could be but one answer, and that was the difference in the screen image as viewed by the audience — in the projection and those various things which directly or indirectly affect it. And that last is very big. Projection rightly includes many things, all of which should have consideration by the supervisor of projection of large theatres or theatre chains. It is not merely a matter of projection equipment and its location, important as those things are. Projection includes all those various elements which directly or indirectlv affect the screen image as viewed by the audience. In such a theatre as the Capi Bluehook School Suppose you were sent out to put on a show in a country place. You were late in arriving and found the current to be 110 volt D. C., but that no rheostats had been provided. You were able to secure three 50-volt, 90ampere rheostats. The highest possible amperage available from the local power lines was fifty. What would you do? Question No. 561 — Explain just why two 110volt rheostats cannot be used in multiple on 110 volts. tol it also includes the lighting effects which lend such superb beauty to the various divertisements. Again I emphasize the fact that this is not intended as in any sense a criticism of any one, but only as a discussion of the points involved in considering the employment of an able man in large theatres, whose sole duty it shall be to supervise projection and to keep that intangible thing “pep” in it and the various things allied thereto. This department and its editor wishes Mr. Smith every success in his new position. He was with the Capitol when Mr. Rothafel was managing director of that theatre. Handbook Bulletin Publication of the new 5th Edition Handbook of Projection has been delayed longer than we expected. It should be ready soon, however. Watch these pages for the announcement. Orders on hand will be filled first. Chalmers Publishing Company, 516 Fifth Avenue, New York City. SPECIAL ROLL and MACHINE TICKETS Your own special Ticket, any colors, accurately numbered; every roll guaranteed. Coupon Tickets for Prize Drawing:: 5,000 for $7.00. Prompt shipments. Cash with the order. Get the samples. Send diagram for Reserved Seat Coupon Tickets, serial or dated. ROLL AND MACHINE TICKETS In Five Thousand Lots and Upward Ten Thousand $6.00 Fifteen Thousand 7.00 Twenty-five Thousand 9.00 Fifty Thousand . 12.50 One Hundred Thousand 18.00 National Ticket Co. Shamokin, Pa. Northwest Complains Of Strange Splicing FROM the Northwest comes this letter accompanied by certain samples of marker which I shall describe later : “Inclosed find several splices of film which were run through a projector. The paper is to let the OPERATOR know where he joined the film together. They insist on doing this. When I say anything about it I get the horse laugh. Is it the proper thing; to do?” So you get the “horse laugh,” do you? Well, you know, brother, the bigger the ass the louder the bray. The “papers” referred to are stickers about an inch and a half long. They are pasted lengthwise of the film over a splice. Judging by what the brother says, they are the splices where two 1,000-foot reels of film have been joined for projection as 2,000-foot reels. The real projectionist would not even consider projecting such a thing as that to the screen. He would have too much pride in his work to do it. The projection of a fault deliberately placed in the film merely for the convenience of the projectionist represents outrageous procedure. The man who does such things you rightly name a machine operator. He is NOT a projectionist in any right meaning of the term. He is a disgrace to the profession of projection. There are several methods of marking the disassembling splice. One is to get a bottle of white draftmen’s ink, or make a bottle of water color by dissolving Spanish whiting in a water to which a little glue has been added, and then, using a very small artist brush, draw a white line across the splice exactly at the frame line. A more practical method is to secure some gummed labels from any drug store. Cut the labels the exact width of the film. Then when assembling the two reels, make the splice and cut from the side of the gummed label a strip not to exceed one-eighth of an inch -wide — one-sixteenth is better — and paste it across the splice exactly over the line. Such a marker is easy to see but will not be visible to the audience if its width is not greater than what I have suggested, and if it. be placed exactly over the frame line. Oh yes, it is true that if it be an eighth of" an inch wide it will actually show on the screen a bit, but so little that it will not be in any degree objectionable. What’s that? Too much trouble? Well, men, if it is too much trouble for you to do your work right, and not outrage your screen, then I would suggest that you . seek other fields of endeavor. There is noright place for you in a theatre projection room. If you are satisfied to project such a blotch as those stickers to your screen, you would be perfectly well satisfied to also commit almost any other outrage which would make things just a bit easier for your lazw self, and which you thought you could eet away with.