Moving Picture World (Jul-Sep 1911)

THE MOVING PICTURE WORLD ■it hot one, isn't it gentlemen? The Dear Committee of course really meant that the lamphouse should be thus made, but, not even knowing the names of the things they were setting themselves up as experts on, they got somewhat twisted. In clause d, same section, we are informed that lamp must be controlled by a double pole switch. No particular kind, such as knife switch, is named, so you will doubtless be at liberty to use a snap switch if you wish. In clause e, same section, the "case" of a lamp is named. I've worked quite some time in operating rooms, but have never heard of a lamp case before. Lamphouse is meant, of course. One inch mesh guards for rheostats are allowed in clause f. A fat lot of good such a guard would be. But here is a real, genuine laugh: Clause g gravely relates to us that "The lamp must not be mounted upon a base or frame composed of wood." Verily this is wisdom, for such a base would be in flames in less than two minutes. Imagine a wooden lampbase! Lamphouse and table or stand is meant, of course. Section 13 says each machine while in operation shall be in charge of an experienced operator. Surely such a law would be pie for the cheap manager. Of what earthly use to say "experienced" without defining the minimum amount of experience? A man who had run a machine two weeks could claim to be "experienced" under the wording of that clause. Exhibitors should examine section 15 closely. They are then at liberty to laugh or swear, as to them seems best. An exhibition room abutting on one street may not exceed 1,000 square feet area. That means 20 x 50, or its equivalent. At most this would leave not to exceed 44 feet actual seating area in length, while four, or even three feet for an aisle would reduce it to 16 or 17 the other way. Total seating capacity rather under than over 160. If you abutt on two streets you may actually be allowed to double this. Marvelous wisdom! Where did they get it all? And this bundle of stupidity is actually being put forward by a reputable association as a model for cities in creating their laws. Why did a committee who were so densely ignorant of their subject that they cannot even call things by their right names attempt to do such a thing without calling in practical motion picture experts into consultation? Echo answers, "why?" We would earnestly recommend city authorities to seek elsewhere than the above quoted document for guidance in compiling laws governing operating rooms and theaters. Several Things. — New York City writes: "Wrote you some time ago and in your reply (January 28 issue, page 193) you asked me to report on certain things. My picture was out of focus on one side; due to side throw. You suggested that I try several lenses and that possibly I might find one which would very nearly overcome the difficulty. I did this, but without much improvement. At the same time I asked you to advise me what to do with an asbestos curtain already coated with two coats of whitewash . You suggested getting wide bleached muslin and stretch it over the old curtain. We did so and pasted it on. Two days after the inspector came in and we had to remove the muslin. He said the screen would not be fireproof with the muslin on it. Have followed your idea of putting two rollers on the bottom takeup bracket of my Powers five and have not lost my loop for months. It works like magic. I note in la>t week's issue, in article on studios, you say titles are made by painting the letters in black on white cardboard. A gentleman who claims to have been director for some of the leading manufacturers tells me it is the reverse, viz.: white letters on black. Is he right? I have found an excellent lubricant for machine gears and enclose sample stick. It is called Chrystal Sperm. As you see it is in stick form, hence very convenient for use. Rub just a little on the gears a couple of times daily and they will run fine. It may be had at any bicycle store, but there are two kinds, white and dark. The white is the right kind. I have your handbook. I cannot see how you can sell it for $1.50. It certainly is worth more than that. Chrystal Sperm may be had by mail. Be sure to get the white kind. I wish to thank yourself and all the correspondents of the department for all the many things I have learned through the medium of its columns. I had my machine overhauled two weeks ago and now cannot get a steady picture. It jumps, but only on one side of the crank. Have tried turning bushings without effect. Have new cam, star, intermittent sprocket and spindle. Parts are all stamped N. Power and am sure they are the real goods." If the new lens you speak of does not do the trick you might try stopping down the lens by reducing its diameter by about % inch by means of rings of black paper. Put a ring on the front of the front and rear of the back combination by taking the combinations apart and clamping the paper rings in. This may or may not help. I can suggest nothing further. As to the inspector ordering the removal of the muslin, I have spoken to the chief inspector concern ing it. He tells me the reason for ordering the muslin oil was that if one be allowed to go that Ear another would make that technical infraction the excuse for something perhaps far worse. Glad the second roller idea gave satisfaction. Most titles are made from while letters on black field. It is possible to make them the other way. It is simply a matter of positive and negative and calls for no argument. Colored letters are due to the tinting of the film itself. Letters on untinted stock will show white. Many thanks for the information concerning Chrystal Sperm. The sample looks good and I have no doubt but that it will do all you claim. We made the price of the handbook low in order to get the operator to buy it and learn that there really are books of that kind worth purchasing and studying. The operator had, for the most part, never laid out a cent for projection knowledge. He was skeptical as to the value of such things. He would not. as a first experiment, have ventured two dollars and a half. He would, however, probably take a chance on the lesser sum. He has found out that he has made an excellent investment and will, next time, be willing to pay something like what a book of that kind is worth. Taking the exceeding difficulty and tremendous amount of hard work involved in the making of such a work, there i> practically nothing at all in it, from a monetary standpoint, at the figure it sells for. As to the machine trouble: you say the picture jumps on "one side of the crank." By this I assume you mean that it jumps only during one-half of each revolution of the crank. I think this indicates that for some reason or other the whole head, or the lens itself is vibrating during each alternate half-revolution of the crank. AJso see to it that your tension springs are tight enough. If you don't find the remedy in these suggestions, please describe the jump more in detail. Light Trouble. — Brooklyn, N. Y., writes: "I cannot get a round spot. It forms in all kinds of shapes and is ragged on its edges, instead of clean-cut circle. Have 60 cycle A C, 40 amperes through a compensarc. Also used 50 through a rheostat. Use your set and get both craters to face the condenser, as you advise, most of the time, especially with 50 through rheostat. Trouble seems to be in handling of lamp. Why do fresh carbons make less noise than after they have burned for a time?" You have mistaken my meaning, I believe, to some extent. Fig 33C, page 88 of the handbook, shows ideal A C set. I did not mean, however, that any attempt should be made to utilize light from the lower crater. Quite the reverse. I take all my light from the upper, keeping the lower advanced exactly enough to hold the upper crater in shape as shown and at the same time not to allow of the condition shown at Fig 33D, which latter must be carefully guarded against. You can hardly expect to get the clean-cut spot had from D C with A C, but the A C should be round, or reasonably so. Are your condensers clean and square with each other? Possibly you are using too much of the light from the lower crater. Don't try to use both, is my advice. I presume the added noise in burned carbons is due to change in the carbon binder under the action of heat. I know of no other cause for it. Ninety Degree Automatic Lamp. — Seattle, Wash., writes: "I notice on page 455 of the Aug. 19 issue you say: "Ninety degree lamps have not been found adapted to moving picture work.' Will you kindly tell me why this is so? I have in use a lamp of this kind of my own invention that operates six to eight hours at a time without any attention whatever. The carbons are reset every two or three minutes, as I desire, by mechanical means, and the light is without flicker of anykind. Has such a lamp any market if offered for sale? Everyone that has seen it considers it a superior light, but operators seem to think it may endanger their positions if an automatic light is used. I cannot see it that way, as it seems to me that to relieve an operator of care of the light would be to the advantage of any manager, as it gives the operator the more chance to watch the running of the film. My carbons are set exactly central with the condenser at each setting and the resetting every two minutes for direct current and every three minutes for alternating seems ideal. The setting is hardly perceptible to the eye. Has such a lamp any value in the moving picture business? I am a subscriber to your valuable paper and look forward to many changes in the moving picture business, as it is going to have a great influence over the progress of the world, standing next to the newspaper in point of influence." Frankly, Seattle, I'm skeptical! The matter of an automatic lamp has been subject for experiment for some years. Many have evolved an automatic, ninety-degree arc lamp, but the fly in the ointment is that carbons are not, and probably never will be perfect. The automatic lamp may work fairly well when carbon is uniform and as it should be, but