The Nickelodeon (Feb-Sep 1909)

June, 1909. THE NICKELODEON. 161 Points for the Operator By Jolin A. Nelson AMOVING picture operator need not be a master mechanic. But he should at least understand thoroughly the mechanism of every machine he will ever be called upon to operate, and should be willing to study the different types until he is familiar with them. He should be handy enough with tools to use properly such simple implements as a vise, a small machinist's hammer, screwdrivers, pliers, wire cutters and scissors; he should be able to use a round file on carbon clamps, and to cement the ends of film in a neat and accurate joint. He should be a good enough mechanic to believe that the manufacturer of the machine knows his business, and that the operator can gain nothing by removing or changing any part. The last sentence does not mean that any machine has yet reached perfection. As a matter of fact, none has ; although there are many excellent machines on the market. But no machine has been provided with a brain ; and it is the function of the operator to supply this deficiency. Eternal vigilance is the only road to safety and successful operation. Ability to operate a machine while conversing with a visitor and exchanging smokes does not indicate the competent and efficient operator. There is no place for the smoker inside a machine booth ; there is but one place for the operator's eye — and that is, glued everlastingly on the film. If the film should start to back up through the opening in the tank-box, and reach back toward the lamp-house, it makes considerable difference' in the result whether the operator's eye and hand are ready for it or not. Celluloid, of which moving picture film is made, is highly combustible. It is not explosive, as the daily press wovild have us believe ; but it burns very rapidly, and when a loosely wound roll, with air between the layers, becomes ignited all at once, a very good imitation of an explosion results, with plenty of smoke. This film travels through the machine at the rate of about 50 feet a minute. At this rate no one picture occupies the space before the lamp for over tV of a second, which is too short a time to become heated. So long as the motion continues, the film is safe. If it stops for so little as a few seconds, the part of the film directly in front of the lamp is like a match under a burning glass. A flash — some one cries fire — and the stampede follows. Of course the operator will not deliberately stop the film until he has dropped the light-shutter. But there are several things that may stop the film or throw it out of place without any fault of the operator. An imperfect joint in the film is one of the most prolific sources of trouble. Torn or imperfect perforations are next in order; then there are poor adjustment of the machine and imperfect alignment of reel and sprocket. Of course when the film parts or jumps the sprocket, the only thing to do is to drop the shut-off at once, and spring the trap on the tank-box. But the best cure in this case is prevention. Imperfect joints should be remedied before running, even if it delays the show. All machine adjustments should be carefully made before starting. Any film whose perforations do not register with the sprocket should not be run at all. A film box so small that the film must be crowded and pushed into it is a constant menace, both from fire hazard and injury to the film. For two reels of film, a box not less than two by four feet, and three feet high, should be used. Even with this size, the operator should watch the film to see that it does not loop over and run onto the floor. With a large box the film is less apt to become kinked or torn ; and if by chance the end of the reel or film slips through the machine at the end of a run, it is easily found by following down the upper loops in the box. An operator who would light a match to help him find the end in such a case is incompetent, and should not be allowed to operate a machine. One of the small pocket electric flash lamps now so common may be used to advantage, however, and should have a place in every operating booth. Their cost is trifling. Any short pieces of film which are cut off in patching and repairing should never be thrown on the floor. They are small ; but a spark may readily start a big fire. Throw them into the film box, where they may be removed and destroyed from time to time. The magazine, or metal box in which the reel of film is enclosed while on the machine, is usually provided with metal rollers between which the film passes. These rollers should at all times be in direct contact with the two surfaces of the film. They form an efficient fire preventative, for a blaze in the exposed portion of the film cannot get past the rollers, which snuff it out. But they naturally have a tendency to scratch the coated surface of the film, and so it should always be seen that they are clean, properly adjusted, and run easily. The machine turns more easily with this magazine open, which sometimes proves a temptation to run it in that condition ; but this is very bad practice, and should not be allowed at any time. Reels of film not actually in use on the machine should always be kept in the covered tin box provided for that purpose. Even in an emergency, an operator sometimes hesitates to take any action that may damage the film. The closing of the automatic shut-off on the film bo.x may cut the film ; but this is a matter easily repaired. The throwing of water or chemicals on a roll of film, however, is more serious, since it is practically certain to destroy the film. An operator may perhaps be pardoned for his hesitation in some cases ; but a few minutes' serious reflection on what a fire in a crowded house means — the panic, and perhaps loss of life — will convince him that any means to safety is cheap enough, even though it involves the loss of a reel of film. The proprietor who would upbraid his operator for an action of this kind deserves to show to empty houses. However, the operator should keep a clear head and not act in a panic himself. The experienced eye can tell at a glance where danger begins. The operator is more or less responsible for the whole house. Any disturbance in the audience should be his signal to switch on all the lights, even in the middle of a reel of film. After the last show of the day he should stay long enough to rewind the film, never leaving