Moving Picture World (Aug 1917)

August 18, 1917 THE MOVING PICTURE WORLD 1073 from Elbert & Hugel, both of San Francisco, California. These machines are illustrated on pages 275 and 276 of the Handbook, and they both operate on the same general principles as those of the Nicholas Power control. They may be attached to any machine. I shall be glad to hear from you at any time Friend Boatright, and gladly place at your disposal the projection department, which yourself and fellow exhibitors must feel at liberty to consult whenever you stand in need of help on any problem relating to projection. has reached a lens, which re-dlrectB tin rays, i art I bav< named, or the table on page 141 of the Handbook. What Do You Think About It? A. D. Hotaling, DeLand, Florida, voices a complaint which will be enthusiastically endorsed by quite some considerable few operators, and does it in the following language : Just a few lines to explain the predicament I am in. Received two Vitagraph pictures, viz. : "The Light at Dusk" and "Dollars and the Woman" in a literally rotten physical condition. The latter was received direct from the exchange. After several hours of labor I succeeded in putting them in very good condition. Perhaps I was in error, but I sent in a bill to the Atlanta office of the Greater Vitagraph for $5 for making the repairs, charging $3 for one and $2 for the other. The exchange replied, with regard to the first one, "The Light at Dusk," that they wanted a little further information, and said that they could "get a lot of film inspected for $3." On June 22, I used "Dollars and the Woman" and sent a bill for $2, making a total of $5, which sum I asked them to kindly remit. On June 2.3 I received the following communication signed by the manager of Atlanta office of the Greater Vitagraph : "Dear Sir : In reply to yours of the 22d would say that we are not enclosing remittance, as per your request, as we cannot reconcile ourselves to your ideas." I pointed out to them that it was not the operator's duty to inspect films, and that the managers pay rental on the presumption that they will receive films in condition to run ; also that by sending out stuff in this disgraceful condition they not only injured their own reputation, but ours as well. It was through me that my employers booked Vitagraph pictures, and now, after inspecting all their pictures for several weeks, at the rate of two a week, this is the thanks I get. I am inclosing both their letters. Now, Brother Richardson, what is a fellow going to do? Run this junk, which is supposed to be in first-class physical condition, through the projectors and have half a hundred breakdowns, or inspect and repair their films gratis? I have always done inspection free, but when it comes to putting such miserable stuff into a condition to run I am going to balk. It isn't up to me. Right you are. The exchange has no more moral right to force an operator to do their inspecting and repairing than they have to knock him down with a piece of lead pipe and steal his pocket-book. It is quite true that the exchange could possibly get considerable film Inspected for $3. We grant that freely, but Mr. Greater Vitagraph, Atlanta, exchange manager, THERE WAS NO ONE PREVENTING YOU FROM DOING IT, WAS THERE? I know of no law which stopped you from getting all the inspection and repair you wanted at that rate. The question is, "WHY THE DEVIL DIDN'T YOU GET IT?" The evidence is that, instead of getting this cheap repairs you are talking about, YOU TRIED TO FORCE THE OPERATOR TO DO IT FOR NOTHING. If the operator was compelled to put your films into condition to run after receiving them directly from your exchange it strikes me he had a perfect right to charge any sum he might see fit to charge, provided it be at ail ivithin the range of reason, AND IT WAS UP TO YOU TO PAY THE BILL WITHOUT ANY KICKING. If you didn't want to pay the operator's price for inspection and repairs, you didn't have to, did you? You could have had them (the repairs) made before they (the films) went to the theater, couldn't you? This thing of forcing operators to do something they are not paid to do is wrong from any and every point of view. It is a thing which deserves the attention of theater managers. THE BROTHER IS PERFECTLY CORRECT WHEN HE SAYS THAT THE THEATER MANAGER PAYS FOR FILM IN GOOD PHYSICAL CONDITION. Most emphatically he does not pay for junk which cannot be run through a machine with safety. Let's hear the views of some of you operators on this proposition, but confine yourself to orderly language and set forth ARGUMENT, not abuse. Condenser Combinations. S. B. Leland, Montpelier, Vermont, makes the following request : Can you give us information as to proper combinations of Meniscus, Bi-convex and Piano convex condensers for different throws? One of our customers, whose distance of projection is about one hundred and twenty feet, and whose picture is about nineteen feet wide, thinks he should use a Meniscus eight and one-half inch next the lamp, and a Biconvex seven and one-half inch in front. Do you consider this correct? If you do not, what would you recommend? Any information you can supply as to the proper combination to be used under different circumstances will be highly appreciated. I would respectfully refer you, Brother Leland, to the chart published In March 17 issue, page 17C8, of the Projection Department, with the notation that I do not believe this chart properly covers the situation where the amperage is low — say below 30. The trouble with the long focal length condensers, such, for instance, as a 8V4, 7'A combination, is that by their use you automatically place your arc a long distance from the condenser and thus bring into operation the law of inverse ratios, which reads : "Light intensity decreases inversely with the square of the distance from the source," the source, of course, being an open one. This law does not apply after the light A Portable Projector. The Ford Optical Company. Deliver, is marketing a projectoi designed for home use, manufacturers' display room and traveling men use, which is not only compact, strong and serviceable, but also contains some rather unique features. The intermittent movement is of the standard star and cam type. The shutter is a two-winger, cutting at a guess, about .'!.""> per cent, of the light. The upper magazine 16 immediately above and the lower magazine is immediately below the mechanism. In framing, the entire mechanism and two magazines raise and lower vertically, while the aperture and reels remain stationary, being rigidly attached to the upright cast iron frame. The magazines accommodate ten-inch reels, are made of pressed material, and contain the usual standard fire traps. The upper and lower sprockets have two idlers. The machine accommodates standard film. The lower reel is driven by a chain, and has a friction take up, which can be regulated at the will of the operator. The condenser is standard, and the equipment may be fitted with either incandescent or arc light. The machine is designed for use as a home projector by traveling salesmen and in manufacturers' display rooms. When used by traveling salesmen the whole machine, lamp house and all, is packed in a suit case 36x12 inches, as shown in the illustration. The machine is substantially built, rigid in construction, and, in asmuch as it is every way standard. I see no reason why it should not be a first-class outfit for the purposes for which it is designed. It is equipped with an efficient fire shutter, which automatically cuts off light when the speed drops too low, or the machine is stopped. This machine has been used for the past three years by some of the largest manufacturers and schools in the West, and has given satisfactory results. r-When You're in Trouble-i RICHARDSON'S MOTION PICTURE HANDBOOK FOR MANAGERS AND OPERATORS Is the Doctor That Can Unfailingly Prescribe for Your Ailments. There isn't an operator's booth in the universe in which this carefully compiled book will not save ten times its purchase price each month. BUY IT TODAY! $4.00 THE COPY, POSTPAID Your bookseller can supply you or the nearest Moving Picture World office will promptly fill your orders. MOVING PICTURE WORLD Schiller Bldg. 17 Madison Ave, Haas Bldg. Chicago, 111. New York City. Lo» Angeles, Cal.