The Moving picture world (September 1923-October 1923)

600 MOVING PICTURE WORLD October 13, 1923 nison tunnel, years ago. The man who sold me the second edition was Charles Powers, who says your son stayed at his house for some time. The third edition I secured from a book store in Los Angeles. My best regards to you and to the profession in general. Guess my son— don't know which, but the youngest of 'em is twenty-five or so — is due for a sound spanking for having given up the book I gave him. But that is the way of sons, darn 'urn ! Best There Is Thomas Giberson, Pleasantville, New Jersey, ordered one of the new lens charts some while ago and said : Believe me, the Moving Picture World if the best trade paper there is, bar none, anc I've read them all. Also the new Bluebook of Projection is indeed marvelous. Any man who really wants to graduate from the "operator" into the projectionist class should get the new handbook — the Bluebook. It is a beautiful piece of work and a book any real man would be proud to own. Had the Third and Second editions and the old lens chart. I just could not get along without them. I am a member of Atlantic City local union No. 310. Work at the Strand Theatre, Pleasantville, New Jersey. There are those who may criticize me for printing this sort of a letter, but I think I can do you no greater service than to lei you see what those who have the book and lens charts think of them, which may induce you to go and do likewise. Really, gentlemen, this is NOT to boost sales, or at least not half as much to do that as to work BENEFIT TO YOU. Believe that or not, as you will. It is nevertheless evenly and exactly TRUE. Certainly increased sales benefit me, but the point is that the book you buy benefits YOU far more than its sale does me. Another man, Robert Dakin, Gait, Ontario, says in ordering the new lens chart : Having been a reader of the Projection Department for ELEVEN TEARS and owning all four handbooks and the first lens chart, you will understand why I want the new chart. There is really no proof of solid worth equal to orders for new works from those who have used the old ones. That is true, is it not? Impossible Happens When I read what follows, and realized that it apparently came from a man in no way connected with projection — probably a newspaper reporter — I nearly had palpitation of the wish bone. The letter was not sent to me, but to the Moving Picture World. It seems to have come through the ordinary news channels of the paper. Here it is. with notation that I don't even know where it came from : Attended opening for a big picture the other day and in looking over the press comments to see how their idea coincided with my own, was struck with one fact. The picture was directed by Mr. , whose fine work was enlarged upon. The photographer was Mr. (comments ditto). The lead was played by Miss and Mr. , in whose praise three or four paragraphs were consumed. The musical score was by and the orchestra directed by that famous knight of the baton, Mr. . .Shy Some Dope Now we have no complaint to make on this score, but every newspaper man who approached the theatre manager and press agent for space-filling dope departed shy one very important item, viz: The projection of this particular masterpiece was a work of art. The music score was so written that the alteration of the tempo of projection by just a few frames per minute would have hashed all the efforts of the writer of the score. The actors had to he nursed along in the matter of speed in many places, due to a variation in camera speed in different scenes, and the screen illumination was a joy to the hearts of those who knew difficulties which lay behind the production thereof. I searched in vain for any mention, of any sort whatsoever, of the man who had charge of projection in that theatre — the man who by his technical knowledge, good judgment and skill was able to co-ordinate the efforts of all the others in placing a work of art before the public AS a work of art. That man was the projectionist, and :f there is any doubt in the mind of any t ne as to the importance of the part he played in causing the audience to see the picture as a work of art, next time there is a picture to be "put over" select a man to have charge of its projection who merely "operates" the projector in a sort of semi-automatic fashion, and see what a difference there will be. Encouragement Essential No man works at his best, or even well, without encouragement. If you have a real projectionist, give him credit. It is Ills due. Save a line on the program for his nam'!. You will find he will work hard tc justii" the commendation and publicity you have given him. You may have the greatest picture ever made, the finest orchestra that can be gotten together, with a world renowned leader, a famous director and cast, but "UNLESS YOU COMPLETE THE COMPANY WITH A REAL PROJECTIONIST, ALL YOUR EFFORT IS WASTED to the extent that the whole thing will not appear to your audiences at its full value, and may appear very far 'ndeed below full value, the net result being disappointment. I'd give ten centavos to know who wrote that. Sounds like that crank Richardson, but it can't be, because I'm him, and I certainly did not write it. I would like just simply to rub the article, with its one hundred per cent. TRUTH, under the nose of every producer, and under the noses of about ninety-five per cent, of the theatre managers of this country and Canada. How He Does It John McKenzie, New Orleans, says : I have rigged a master cord such as you advised. Some time ago you suggested to projector manufacturers that they devise a method of fusing in the magazine, near the fire trap. I am sending you my method, and will say that it works quickly. Where there is but one man in a projection room and he must do everything, the shutters will drop twice out of three times before he even knows there is a fire. ceiu^c or goon In the top of the Simplex mechanism you will find a small oil hole near the block the magazine rests on. Near this I drilled a three-sixteenths-inch (3/16") hole through the top of the casting. This hole I made as close to the block the magazine rests upon as possible. Through this hole I pass a cord with a loop at its end, with a ring attached to its other (upper) end. Through the loop I pass a small roll of film which, when the cord is taut, rests against the under side of the top of the casing right besida the upper loop, and prevents the loop from pulling through the hole. The film roll should be not to exceed an inch of film rolled up or crumpled up into a wad. I pass the master cord through the ring at the other end of the cord. Of course, if the upper loop ignites, the fuse goes INSTANTLY, and the fire shutters are closed in from within one half to one second of the time the fire gets to the upper loop. Some Don't Like It Some of the men do not like this, as It causes the shutters to drop when there is a possible chance of extinguishing the fire, but I think once the blaze has reached the upper loop it is time the shutters go down. Your plan is excellent for the Simplex. Could not be improved, I think, but only, as you say, a small bit of film should be used. If the projector manufacturer adopted the plan, as should be done, two slots just big enough to thread a film through and back would be better, with a clamp on the end of the cord to grasp the ends of the film loop. I'm a Dumbhead?? A man whose name I shall suppress because he probably is just one of that vast army of men who mean well, but just won't keep up with the times, writes interestingly, though briefly, as follows : Dear Richardson: — You're a dumbhead! I've read all of your stuff for a long while. I get a lot of fun out of it because I see you continually insisting upon fine-as-silk projection, exactly-right theatre lighting and so forth, while I, who have none of those things just pile "em in, with the S. R. O. sign out half the time. I have what you would call a "coop." It Is six feet and eight inches front to back, six feet wide and five feet, eight inches, from floor to ceiling. The peek holes are six inches square. The machines are six years old and sound like Ford tractors. I've ten of the bright side lights you kick so much about, and yet I pack 'em in, showing nine reels for straight ten cents. It's pretty old stuff. Sure! But I'm making money just the same. Now what have you got to say? Really this letter amused me quite a bit. I've nothing at all to say, except that it never seems to have occurred to this genius that he could "pack 'em in" at a much higher admission price were he to run a decent show and stop the wretched abuses he has named. But why argue with a man who does things this way and is a bit proud of it? I merely print the letter as evidence of how foolish some men can be. JUST OUT A Brand New Lens Chart By JOHN GRIFFITHS Here is an accurate chart which belongs in every projection room where carbon arcs are used. It will enable you to get maximum screen results with the equipment you are using. The news Lens Chart (size 15" x 20") is printed on heavy Ledger Stock paper, suitable for framing. It will be sent to you in a strong mailing tube, insuring proper protection. Get this chart now and be all ready to reproduce with maximum screen results the splendid pictures which are coming this fall. Price $1.00 Postpaid Chalmers Publishing Co. 516 Fifth Avenue New York City