The Moving picture world (November 1922-December 1922)

464 MOVING PICTURE W ORLh December 2, 1922 FIGURE 3 Showing the Device for Inclosing Light Beam and thus bringing in mure money at the box office. Baldas'sari has the entire condenser l)enm enclosed, and I have never yet, in all my experience, viewed as workmanlike a job of connecting the condenser with the aperture by means of an inclosure for the beajii. The job is shown photographically in Figure 3, which also shows the inclosure of the light beam between the projection lens and shutter: also the mask and its support. The insert shows the condenser inclosure open, ready for threading the projector. I asked Baldassari to send ine photos of this, and in so doing he remarks : "Took these photos myself and am out of practice with the camera. Used artificial light — my spotlight— hence was obliged to do it largely by guess." Well, all ri! say is that he is some considerable guesser. Closed Lens Ports In addition to the shield at the aerial image the lens ports are closed down to size of actual light beam; this, presumably, to minimize pa.-,;age of sound into auditorium. There was a dissolving shutter for the projectors, though whether this was made by the projectionists or not I cannot say. There were two Transvertcrs — one 25 and one 60 cycle. This is because there are two power companies, one (the 25-cycle) taking current from Niagara Falls power station. The rewinder table and film cabinet combined was made by Baklassari and Sedgwick. It is an excellent piece of work, but they stopped too soon. The reels should be divided from each other, preferaljly by a fireproof partition, though that is not insisted upon. However, I will say that all film cabinets should be connected with the open air by a vent flue of ample size, so that, in case of fire (remote contingency, but possible, and has occurred), the smoke will be carried away and not enter the projection room at all. This is not a criticism of the Savoy or of Baldassari or Sedgwick. I am of the opinion that authorities would do well to oblige theatres constructed in future to build a film cabinet into the wall, with a vent flue of ample dimensions leading therefrom to the open air. Will some one tell me some good reason why this should not or could not be done? A bit of extra expense, yes; but what is that as agaii-.st the possibility of panic or even injury through damage done the theatre by smoke? Framed Charts In the Savoy room I saw lens charts neatly framed and hung on the wall; also a framed, neatly typewritten sheet entitled "Routine of Duties Pertaining to Care of Equipment of Savoy Theatre Projection Room." This was divided into three sections, viz. : "Daily Duties," •Semi-Weekly Duties" and "Weekly Duties." Beside each observation port is a Transverter panel, with volt and ammeter; and Baldassari has rigged a switch so that, by its manipulation, the projectionist is able to instantly connect the panels to either Transvertcr. There is a high-power field glass (not an opera glass) with which to view the screen. The spotlight has been mounted on a special stand, with a clever joint made from two llangos, as illustrated in I'igure 4. The dotted lines represent an extension, which, I suppose, enters the lower pipe, though that is a guess. The friction between the tlangcs is just sufficient to cause the lamp to swing freely and stilt "stay put" wherever it is placed. Corking Good Picture Needless to say that, aside from the tilted screen, the Savoy has a corking picture. The Savoy management has used good sense and good judgment in providing the projectionists with excellent equipment — lacking only needed arc controls. My hat is off to them for that; but, unless it has already done so, it should encourage such men as it has by recognition of their high-class work in the pay envelope. It is that which makes otherwise lukewarm men strive to do better, and gives high-class men the incentive to improve still further. Now, don't you other Hamilton men feel hurt because I have said so much aljout Baldassari and not much about the rest of you. Every theatre I visited showed evidence of intelligent work. The rooms were all dark, for instance, while projection was in progress. In the Capitol I found a good projection room, two Power's projectors, Fulco arc controls, an extension shutter shaft and automatic dowsers. Brother II. Paro was projectionist in charge. He is doing good work. (To be continued) PERfECrr PROJECTION Upontke sound jounJation c^" pjERf ECT PROJECTIO^l Rests Picture Success Re sts Theater Success RGstsVOU R Success RICH>sRDSO>j'5 y^fJ-?^"" Can mukejjjou mon&s^ rWCEK>»S-CHMMERS PUB.CO.-5I6nFTH.?WE.>l.y PRICE $6.00 CHALMERS PUB. COMPANY 516 FIFTH AVE., N. Y. FH RICHARDSON