Moving Picture World (Jan-Feb 1927)

fetter Projection r>^ °)hi$ Department UJas founded in 1910 by its Present 6ditor^ OK Richardson Better Projection Pays Puhlix Students Study Projector HE editor of this department was invited to address the class of the Publix Theatre Managers Training School at the offices and factory of the International Projector Corporation, 90 Gold street, New York City, on January 25. The invitation was, of course, accepted since it was a duty to help such a meritorious work as the training of future motion picture theatre managers in any possible way. I was most agreeably impressed by the appearance and number of the men enrolled. The meeting was arranged by John F. Barry, director of the training school, and Walter E. Green, vice-president of the International Projector Corporation. It impressed me as being what is commonly termed a “darned good stunt.” The class remained at the factory two full days, and the introduction of these future theatre managers to the complexity of the processes necessary to the manufacture of modern projectors, and the marvelous accuracy of fitting and functioning of some of the parts, cannot but have a highly beneficial effect, in that these men will, when they take charge of theatres, not imagine that because a projector sprocket, for example, has three or four teeth still visible about the surface of the rim, it follows that the request for a new sprocket represents needless expense and waste. P. A. McGuire, advertising manager for the company, welcomed the class to the factory. B. F. Greene, inspector for the Department of Water Supply, Gas and Electricity, who has charge of the examination of applicants for projectionist license in the City of New York, addressed the class. Mr. Greene said that out of about 1,000 applicants for license examined each year, something less than 10 per cent, were found sufficiently competent to be licensed. He stressed the need for thorough competency I Bluehook School Question No. 563 — Is there such a thing as an A C and a D C rheostat, and would there be any difference in amperage delivery if the same rheostate were used on A C and then on D C, light source resistance and supply voltage assumed to be equal in both cases ? Question No. 564 — What proportion of waste is there in a rheostat as compared with the power available for light production at the arc? Where power is consumed there always is a result. What is it in a rheostat? Note: This question is designed to test your knowledge of rheostatic waste. in the theatre projection room, if only to so far as possible minimize the fire hazards. During his address Mr. Greene said: “It is an excellent thing that theatre owners are coming to the greater realization of the importance of good projection. In the past there has been too great a tendency to believe that all expenditures for the proper maintenance of equipment, for the betterment of projection is a waste of time and money. Good projection can only be secured by having competent projectionists, good working conditions, and standard equipment kept in first-class condition at all times. “Projection rooms are under weekly supervision by inspectors of the Department, but we will not compel repairs and replacements unless it is necessary to do so. Neglect, however, is very poor economy, and theatre owners and managers should not wait until they are compelled to make repairs. Equipment kept in good condition insures the safety of audiences, adds to their pleasure, reduces damages to film and, I sincerely believe, increases box office receipts.” (Continued on next page) Show Indifference To Travel Ghost IN a large vaudeville-motion picture theatre which I quite often attend, paying my way in — which entitles me to criticise as one may do so with regard to goods one buys and pays for — the projection work is very poor. There is apparently no attempt to suit projection speed to the speed of action in various scenes. The light is what one might call “just fair,” though there are very few discolorations of it upon the screen. I have attended this theatre an average of once a week through each winter for THREE YEARS. I cannot remember the time when there was not a travel ghost upon the screen, though usually it has been slight and sometimes discernible only by use of an opera glass. What harm does it do them, do you ask? And if you do, it merely proves that your knowledge of motion picture projection is not very great, because travel ghost, no matter how slight, operates to injure both the definition of the picture and the contrast as between the blacks and whites. Recently, however, I attended this theatre, and through a whole performance there was travel ghost six or more inches long. I attempted to speak to the assistant manager about it, but was invited to stand out in the hall and talk to him through the bars of the ticket office, though the ticket selling was entirely over for the day. I passed on. I then wrote the manager, but received no answer, which apparently shows how little some theatre managers care for such trifling details as the perfect projection of the motion picture which forms half their bill. Remember, gentlemen, I am not talking as editor of this department now, but am criticising goods I BOUGHT AND PAID FOR, which I most certainly have every possible right to do. Why is such crude work tolerated?