The Moving picture world (May 1924-June 1924)

May 3, 1924 MOVING PICTURE WORLD 91 of real brains and ability. Read it, my brother; and say whether or not YOU would brother, and say whether or no YOU would welcome into ANY field of the motion picture industry a man who writes as Greene does. I feel unable to answer the questions he propounds — not when he asks them that way. I would NOT be made to feel responsible for the crystalization of plans for the future of a man of such apparent ability, but I certainly would welcome him into the field of projection with both hands. Here is an article which OUGHT to bring comment from every man of ability and brains in the profession of projection — from every man who admires ability and takes real pride in the profession he has chosen for his life work. What have YOU to say to friend Greene? Here is what he says to YOU: In commenting on my answer to Mr. Dunlop's question regarding intermittent movement speed and shutter master-blade width, you (after prodigious, but I sincerely hope unsuccessful efforts to cause my hatband to fit too snugly) inquired, "Is this an indication that men of engineering training are being attracted to the field of projection?" I can only make this answer: Any field, to be attractive to the truly professional man, must hold forth four inducements. The Inducements 1. The subject itself must hold for him an Intense interest amounting to fascination. He must be able to love the work for the work's sake; 2. It must offer reasonable remuneration, sufficient to permit him to move in professional circles without embarrassment, and to insure the future comfort of those dependent upon him. 3. The field must be capable of limitless expansion and deepening. Each problem solved must point the way to other problems of still greater intricacy and still greater promise. 4. There must be opportunity for real service. At the close of each year he must be able to look back through the previous twelve months over achievements which will swell the conviction within him that "as the swift seasons roll" he will approach the end of life with a calm assurance born of the knowledge that countless thousands of people are happier and better because of the application which he has made of his knowledge, his training and his Godgiven talents. At Rest on Three Points For my part, my mind is at rest on the first three points, but I am not so sure about the fourth as applied to the motion picture industry. I am very unwilling to believe that I, for instance, could rise to any responsible position in so great an industry and not render real service; and yet when I compare it with the service rendered by the man who brings whole rivers down from a mountain range to a sun-baked desert and adds millions of acres to the productive area of the earth, or with that rendered by the man who harnesses almost inaccessible waterfalls and transmits their energy in the form of man-made lightmng to take the place of power otherwise derived from irreplaceable coal, I am not so sure. Is it not likely that your views on this phase of the question in the light of your years of experience would be greatly appreciated by a large number of department readers? What Would You Dof Assuming that the motion picture industtry fulfills all four requirements, and that you were in my circumstances, about to graduate from the U. of M. after five years of technical training in the Electrical Engineering Department and nine years of practical projection exper.ence, and wanted to follow up projection from the engineering standpoint, just what would you do.' If this is something which you cannot conveniently answer through the department, or for any reason would rather answer directly I would be more than glad to pay the usual rate. This is a very vital question to me just now. because within the year I must decide whether I am going to leave the field of projection for good and all, or whether I will continue in it with the intention and the determination to become, eventually, a recognized world authority. No lesser aim would be worthy, no lesser realization would ever satisfy me. I will just add this comment. While it is quite true that men who harness and make available the forces of nature are doing for humanity a work of almost incalculable value, still that one who expends his talents and energy in providing good, wholesome, clean amusement for many people each day, is performing just as essential a service, because after all,, while life without labor is not an enjoyable existence for the worthwhile man or woman, that labor must be fol lowed by relaxation and amusement— play in various forms, else life becomes a mere drab existence of work-eat-sleep, sleep-eat-work, eat-work-sleep, world without end, and thus is the "Brother to the Ox" created. So we who help supply the amusement — who help the worker to play and thus put him in condition to more effectively harness the powers of nature, may feel our employment to be just as important and just as commendable and honorable as any other line of human endeavor, bar none. From Toronto Our old friend, Harry T. Dobson, projectionist Palace Theatre, Toronto, sends in answer to first set of Bluebook questions, with following remarks on separate sheet of paper: Dear Friend Richardson: Here are answers to the first five questions. Seems like old times, doesn't It? A few years ago you did the same thing, only then we had no "Bluebook' to find the answers in. Are you going to publish an "Honor Roll' as you did then? That also was a good idea. Tried out Griffith's pinhole-in-back-oflamphouse stunt, but was not successful. I got three or four images of crater floor, but none of them sharp. You surely can see the carbons burning, and in natural colors, too; however, if you hold a condenser against the pinhole and get a sharp image on a sheet of paper held a few inches away from the lens, it is the rear of the carbons you see, though — not the face. A Tip Here is a thing I tried out and found successful with a Simplex projector and a Fulco or Peerless arc control — or, so far as that goes, with any arc control. Changed the rod or handle which feeds the carbons together from its regular postion inside of rear of lamphouse, B in drawing, and located to po sition A, in center of sliding panel in center of back of Simplex large lamphouse. This gives a more direct action and eliminates all tendency to bind; also is lessens the collection of handles on the working side by one, which is not in itself at all objectionable. In closing let me express my sincere good wishes for the success of the Bluebook. Thanks, Brother Dobson. Its success was GET IT NOW! The 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 IS" x 20") is printed on heavy Ledger Stock paper, suitable for framing. Price $1.00 Chalmers Publishing Co. 516 Fifth Avenue New York City assured almost from the start. Considering the necessarily rather high price, the book has had and is having a phenomenal sale. This is gratifying to me, because I find that the real honest-to-God value I tried so hard to put into the book succeeded against very ROTTEN tactics pursued by some, who depend upon such tactics instead of real worth incorporated in what they have for sale. As to your two-or-three-images— well, I'll leave friend Griffith to explain matters and tell you why it didn't work and why you got all those images. Personally, I dunno. As to Feed Control As to the Simplex carbon feed control, and changing its position: I think the handle was placed where it is with intent to put it in convenient position for hand feed— also to leave the sliding panel free. Where an arc control is used and the sliding panel is not, I would say there ought to be an advantage in making the change. As to the honor roll — well, what do you who have taken up the matter of replying to the questions, or who contemplate doing so, think about the matter? Also exactly what was the "honor roll" composed of? I don't remember. It was long ago. Can look it up, of course, but presumably Brother Dobson remembers all about it. P. S. By the way, what I think I'll do is to publish all the names of those answering each question in a satisfactory way at the same time the best answer is published— which will be about four or five weeks after the publication of the question itself, thus giving ample time for all our readers in the United States and Canada to reply who may wish to. NOTE: I will also, about ninety days after publication of the first list of questions, begin publication of the best answer received from any country other than the U. S. and Canada, together with name and location of all those who send satisfactory replies. Now let's see what country has men best trained in the technical end of projection. Go to it ! Atta Boy! H. E. Schlichter, Projectionist, the Ligget Theatre, Madison, Kansas, sticks his oar carefully into the writatorial waters thusly : After reading your article, "Waking Up" March 22 issue, I am tempted to let you know that, even though I am out here in "The Sticks," I am interested in the more extended use of the term Projectionist. Moreover, I am glad to sav I am working for a manager who is of like opinion. He regards high grade projection as first among the requisites for success at the box office. Uses Simplex I have two 1923 Simplex projectors and use Mazda with a 105-foot projection distance. Am getting a fine picture on a Gardner screen. A direct current arc was tried out first, but Mazda was used in preference. I have an up-to-date projection room. It is 14x9x11 feet (Not very clear when we don't know which dimension the 14 stands for. Presumably the 9 is ceilino height. — Ed.), with automatic port fire shutters, an automatic revinder and a film inspection and repair room. Am very much interested in your department in the World (Wrong! It is NOT "my" department, but "OUR" department, friend Schlichter. — Ed.) and sometimes when I run into a brain twister which I am unable to solve — (not an infrequent occurrence) you may hear from me. We have as fine a little 600-seat theatre as you will find in this section of unexplored Kansas. If ever you happen to be in this part of the woods we would feel honored by a visit. Good for your manager. Shake hands with him for me. Most managers, I am sorry to say, seem to think projection a mere more or less necessary damned nuisance, and they treat it accordingly. I will be glad to hear from you and to help you in any way I can at any time. It is no disgrace to be out there "in the sticks." Sometimes I wish I were, myself. If we all left "the sticks" — well, I guess we city chaps would soon be taking some several reefs in friend belt I