Moving Picture World (Jul-Sep 1911)

THE MOVING PICTURE WORLD 7i3 Labor, as is shown by accompanying circular letter, which I would ask you to kindly print. St. Louis, January 24, 1910. To Whom It May Concern: This is to certify that the Moving Picture and Projecting Machine Operators' Union No. 143 is duly affiliated with, and recognized by, the Central Trades and Labor Union of St. Louis and vicinity, and that said union is affiliated with the American Federation of Labor through the International Alliance of Iheatrical stage employes. This also certifies that the slides displayed in the various moving picture shows in St. Louis by the members of the Electrical Workers' Union No. 1, I. B. of E W., purporting that they are affiliated with the American Federation of Labor, is a misrepresentation, as the members of the aforesaid Electrical Workers Union No. 1 are not affiliated with the American Federation of Labor. Respectfully, The Central Trades and Labor Union, David Kreyling, Secretary. Because both the St. Louis and the Spokane locals were engaged in a scrap with I. B. E. W. operators organizations does not by any manner of means prove that the propositions are identical. As a matter of fact, ninety-nine times out of every hundred where such a fight springs into existence there is wrong, to some extent at least, on both sides. I notice in one place you say most of the other tellers couldn't qualify for an I. A. card. A little further on you say many of them are now members of the I. A. i he two statements don't quite tally, brother. Understand me: I am not defending the formation of I. B. E. W. operators unions. The I. A. T. S. E. is at present the only organization for the operator to get into, since it is the only union recognized by the A. F. of L., as the letter says. It does not, however, follow that the I. A. T. S. E. always has been in the right in general or individual cases. As a matter of fact, it has not. What the trouble was in St. Louis I don't know. What I am getting at is that the drawing away of operators into another organization, while wrong, usually signifies injustice, in some degree at least, on the part of the local Asks Questions.— Van Buren, Ind., writes: "Have a nonadjustable rheostat and wish to make one which will deliver 20 to 40 amperes. What kind and size wire must I use and how many feet would it require. What size fuses should I use on the main switch, no volt D C current using up to 40 amperes at the arc and about ten amperes for lights? Could I use a rheostat connected up like sketch? Have an Edison Exhibition Model machine, inside shutter, 50 foot throw and 14 foot picture. Have trouble with my picture moving up and down. Can stop movement by holding lower loop against plate below aperture, but when I take my finger away it commences to jump and sometimes loses the lower loop and misframes. What is the cause? Also sometimes the sprocket holes show on left side. This occurs only on some films. Have large ghost, dark blue and shaped like a watermelon seed standing on end. When I move lamp forward it spreads all over curtain and gets lighter, with rays running in different directions. This is my first letter to the department, but have gained many useful ideas therefrom. I couldn't do without the 'World.' For the benefit of those who may not know, I will contribute an exexcellent receipt for film cement: one-third banana oil and two-thirds collodion." Well, Van Buren, you certainly have troubles of your own. As regards the rheostat, the arrangement you show would work all right, provided there were sufficient resistance remaining after the left hand switch is closed to only allow 40 amperes to pass and further provided that the coils up to that point be of sufficient capacity (the wire of large enough diameter) to carry 40 amperes without undue heat. You will find that identical arrangement in effect, photographically illustrated by Neighbor Pringle, St. Paul, Minn., on page 1231, November 26, iqio, issue, and on page 532, on March 11, 191 1, issue it is illustrated by sketch by Friend Maddern, Willows, Cal. As to wire, you may use soft, black iron wire, such as you may obtain from your local hardware stores, about No. 8 gauge. I cannot tell you the length since every different batch of wire may have different resistance value per foot, even though of the same diameter. Stretch out plenty of it on insulators and test by making connection from one of the resistance wires to lamp. Then attach wire to switch and connect other end to a piece of copper and slide same along the wire until the desired amperage is obtained. That will be the amount of resistance wire necessary (for lowest amperage, of course). Coil up the wire then by winding around a mandrel. A small shade roller will do but an iron rod is better. You may get the regular resistance wire, of course, which is made of nickel steel and has a fairly constant resistance value. Write the Driver-Harris Company, Harrison, N. J., concerning this, they being the manufacturers of Climax resistance wire. Where a total of 50 amperes is used, the various circuits being protected by their own cut-outs, of course, it would be wise to use not less than 60 ampere fuses for the mains. Even 75 would not be excessive since the possible plunging of the audience in total darkness is a very distinct danger and ought to be guarded against thoroughly. The circuit fuses should be located on the board with the main fuses, therefore danger of trouble between the main and circuit fuses is practically nothing at all. If your description of film movement is correct I should say your tension springs are not set to give sufficient tension. They may be bowed out by inserting a screwdriver under them, one at a time, and pulling out, at the same time running the tool up and down. Try grasping the upper loop between thumb and finger as machine is running, and holding same with some pressure. If that takes out the jump it is almost sure the tension springs are at fault. It is also possible, from your description, that the film is .not held against the intermittent sprocket snugly enough by the idler roller. In one of these two things I think you will find your fault. I do wish those describing film-jump would be just a little more explicit. If it moves up and down in quick jerks that means one thing; if the movement is rythmatical, four times to each turn of the crank, that signifies a totally different trouble, while if it moves up gradually as the machine speed is accelerated, that is still another proposition. Are the teeth of your intermittent sprocket badly worn? As to the sprocket holes, I think probably the sprockets or guides at top of gate are out of line with aperture. Probably only such makes of film as have comparatively wide sprocket holes show the fault. Line your gate and sprockets carefully with aperture. As to the ghost: I take it you mean when you move the lamp back or forward in relation to the condensers the effects you describe occur. Try moving the whole lamphouse back_ or forward. You should have two 6l/2 condensers I think, though possibly one 6^4 and one 7l/2 would serve better. Given proper condensers and having your outfit properly lined (see page 119, July 22 issue), moving lamphouse ought to overcome the ghost matter. Many thanks for formula; but you don't say whether it is for ordinary stock, for N I, or for both. I take it to be for ordinary only. Condensers. — Del Rio, Texas, writes: "Find enclosed $1.50 for handbook. Have been reading the World for some time and have discovered how little I really know. However, I get as good results as any one I have seen to date. Have a new set of lenses, model B Edison machine, new. Projection lens is O. K., for I tested it in old machine. However, the condensers seem to be off for light on screen is brighter in some parts than others. I cannot remedy the fault, though picture is fairly good as it is. What is the trouble and what size condensers ought I to have — throw 69 feet?" In order to know what focal length of condensers are suited to your case I must know focal length of projection lens. To ascertain this I must know both throw and width of picture. You have not described the effect with detail enough to enable me to form a decided opinion. Try moving the whole lamphouse back and ahead. Try using the condensers from your old machine. Be sure your outfit is properly lined (page 117, July 22 issue). Examine condenser lenses and see that they are clear white and smooth on their surface. To aid you with further suggestions must have detailed description of effect on screen.