Publix Opinion (Apr 27, 1929)

ee ae nena nna senessnanrecnsenerorsoressee? PRE eT RCE RS Se ™ © "oN ati tee eR eT RT eePETt VIEW-POINT STRESSED Jack Barry reports that since = the last report carried in Publix Opinion,’ the men in train ing at the Publix Theatre Mana= gers Training School have start THEATRE | i] C 7 iz “AD ( Houselighting—Stage Lighting-—P ro jection Sound-—Motors—Signs) POWER 1. Motors ' a. Ventilation ed the course in “Theatre and 2 Stage Lighting and Power.” This| 3 course is so arranged that the|s subjects are discussed commercially and practically, rather than scientifically, However, much of the discussion, because of the very nature of the subjects covered, must be technical. Technical facts are in every case applied to theatre management details of house lighting, stage lighting, projection, sound, mo tors, signs, animated displays, etc. Difficulty is always encountered in beginning a subject which requires technical treatment. To lessen the difficulty and to send the men into the subject with some enthusiasm, the importance of the instruction from the view point of dollars and cents is emphasized. Examples are given indicating how ignorance of certain principles of ‘“‘Light and Power" actually result in the waste of Money at theatres. This waste may result because equipment is mishandled, or not properly maintained. Possible profit may also be lost because advertising effects and program novelties which could be used if certain principles were understood, are neglected by those who do not understand the principles. The men in training are made to realize that the showman of today gets many of his effects by technical means. Generally, his effects will cost less and get better results if he is familiar with the necessary technical information. Many stage lighting effects, many projection effects, many sound effects, many advertising effects, and many house decoration effects are secured by the application of the principles that carry through the course in “Light and Power.” This: course requires more intensive training and more intensive study than some of the other subjects in_ the training program. Publix Opinion will carry in future issues questions taken from the examination based on the lectures in the course on “Light and Power”’’ that the men in training are required to pass if they are to continue the training program. These examinations will make evident to, the readers of Publix Opinion that every detail of the course in “Light and Power” applies to the daily work that the efficient theatre manager ¢ither must perform himself or supervise, These examinations will also make evident that certain necessary information is acquired only by intensive training and intensive study, and is not one of the “God-given gifts’? with which the so-called born showman is endowed. Instruction in “Light and Power” is introduced with diagrams of typical theatre wiring layouts. The wiring is traced from the city mains to the main distribution boards, and from the distribution boards to the various control panels. Although the wiring plan of every theatre is different, there are certain points common to all—for instance, power panels control motors for ventilation, heating, fire pumps, sump pumps, refrigeration, organ, elevators, vacuum cleaners, ete., 6. Wire Capacity 7. Insulation & Panels 9. Bus Bar 10, Switchboard WIRING Current—A. C.—-D. C. —— MEASURE. LIGHT & ILLU’ P MENT MINATION LAMPS | SIGNS 1. Volts 1. Sources 1, Sizes ¥ 1, Channel " 2. Watts a. Incandescent 2. Voltages 2, Exposed Lamp 3. Amperes b. Are 3. Bulb Shapes ‘ 4, Ohms 2 Reflection 5. Horsepower a. Regular 6. Kilowatt hour b. Specular 7 Lamen ¢. Diffused 6 Bay, ' 3, Diffusion 9. Beam 4. RB traction 10. Foot Candk 8. Lenses ll. Photometer 6 Pilea 12, Ammeter : 1, Animated displays 11, Starting Compen13. Voltmeter m, Stage effects sator Rotary Converter 12, Switches a. Rotary b. Knife ec. Tumbler d. Panel e. Tuggle f. Snap g. Interlocking —the emergency panel controls lighting for aisles, halls, staircases, toilets, mezzanines, exits, ete.,__the stage switchboard controls stage lights, foots, pockets, borders, proscenium lights, orchestra pit and organ lights, stage pockets, etce., and generally auditorium lighting in coves, ceiling, and wall fixtures—the projection motors also have their control panels, etc. The practical importance of a wiring diagram of theatre light and power is evident. It should indicate the lights controlled from each panel, capacity of lines, switch control, fuse ratings, etc. The point is made that there are theatres where such information is not on hand end the difficulties which result, and the inevitable waste and dangers are indicated. Kxamples are given of possible emergencies that might occur at the theatre requiring that the manager be familiar with the points mentioned above. Examples are given also of details of management which require this information. Subjects listed in the training program of the Managers’ School covering ‘“‘Theatre and Lighting and Power" include— Artificial Light—Its Limitations and Pdssibilities. Fundamental Terms of Lighting aod WWlumination which the Theatre Manager Should Know. Fundamentals of Electricity. Electric beady (Pg; wre Code which Apply to the 14. Voltage Tester 15. Line Tester 16. Speedometer 17. Test Lamp thi eal Goudie Seles. ee 10. Color 19. Demand Indicator a. Media 20. Meters Gelatine 21, Economies pete 22. Maintenance Cone Fabrics Foils Dipped Lamps Sprayed Lamps —_—_—_———— Frosted Lamps Ae IMPORTANT! Natural glass b. Availability = ae Vieipility ‘To iustrate the importance of a t ps bility Effect edge of the electrical plan of the theat Sensi kin, Director of Theatre : the complete wiring plan of each in blue prints. Coples of these wil ee every theatre manager. In the ; trical trouble, such as the blowing | : the houxe manager and , a complete picture of the house trouble may be intelligently and ¢ and corrected, i. In these summaries of the ject covered during the week and it + tention of PUBLIX OPINION to , Mazda Lamps Used in the TheaSuiihel Cebered Lash. cn Cake Tho Use of & tre—Types, Costs, Economies, ored Objects. Maintenance, etc. ; Directional and Shadow Effects Methods of Controlling Light— Reflectors, Lenses, ) for Stage and Advertising. The Efficiency of Lighting Fixtures. ) The Efficiency of Color Producing Media—Glass, Gelatine, Caps, Foils, Colored Lamps, ete..—Economies and Maintenance of Each. THE FOREIGN LEGION! The four corners of the world are represented at the Publix Theatre Managers’ School. Pictured below are four foreign students who as members of the Foreign Department are now attending the Publix Theatre Managers’ Training School sessions being held in New York City. These men, in company with twenty-five carefully chosen men from all parts of the United States, are undergoing one of the most rigorous, and certainly most comprehensive, schedules of training ever devised. Left to right they are: Irwin Lesser of Paris, Ferdinand Lubkowicz of Austria, Kingston Taft Tan of Shanghai, China; and with them, is “i Josef Zimanitch, of Russia, a member of the Publix Music Department. «|| }is ihr “tor One a rangement and the information and the info experience at t by the men in t lined index ir lecture notes. om