Showmen's Trade Review (Jan-Mar 1942)

Page 28 SHOWMEN'S TRADE REVIEW January 31, 1942 Projector Preservation A Defense MUST Rubin Charts Course Good Craftsman Good Citizen! for Projectionists Under the title of "Good Craftsman — Good Citizen," Harry Rubin, Paramount's ace director of sound and projection, offers a series of detailed suggestions for operators that should be studied carefully by every man occupying a place in theatre projection rooms. Mr. Rubin's plans for conservation of supplies, preservation of equipment, and reclamation of vital used metals, etc., is addressed to the men, not only as master craftsmen, but as patriotic citizens who are anxious to lend every possible assistance to their Government in its hour of need. It is pointed out that priorities on copper, tin, bronze, brass, aluminum, high speed tool steel, rubber, etc., demand that theatres arrange to get along on their proportionate share of whatever amounts of these strategic materials remain for industrial use after war needs are completely satisfied. According to Mr. Rubin: "Intelligent care can result in projector parts giving from five to ten times the service they would give if neglected." Faithful performance of the preservation work recommended by Harry Rubin in the accompanying detail of proper projector care will keep the theatre's projection equipment running efficiently and reduce if not eliminate need for replacements which, no matter how badly needed, may not be possible under scarcities created by the war effort. Further than that, the projectionist, in addition to proving himself a true craftsman, will be making a contribution to national defense. From many sources come declarations that there is not a general grasp of the seriousness of the situation facing theatres in the matter of material shortages. Projectionists should be in the forefront of those within the industry who understand and put into performance a personal program for aiding their industry and their country by conserving equipment. The projectionists' program worked out byMr. Rubin is based upon years of practical experience in theatre projection, and a deep knowledge and understanding of his craft. He is one of that group of specialists who is eminently fitted to speak with authority and command the respect of projectionists everywhere. He here offers the full measure of his knowledge and experience for the guidance of his fellow projectionists. Harry Rubin Every Day Attention to the Following Entitles YOU, Mr. Projectionist, to the Rank of Good Craftsman and Good Citizen of the United States. This manual for projectionists prepared by one of the industry's foremost experts on theatre projection — Harry Rubin, chief projectionist, Paramount Theatres. Proper lubrication — Application of just enough of the correct grade of oil at the various friction points and at frequent intervals rather than a flood of oil every few days. The excess oil not only runs off without serving any useful purpose (outright waste) but also does actual damage by spreading to the film. The secret of properly oiling projectors is to use an oil can which will pass only a drop at a time. This type of oil can should be used for all projector bearings. A larger can is required to lubricate the reservoir of the intermittant and other oil wells in the sound head. Fire valve rollers — Should be kept clean, and an occasional drop of oil applied to the bearings. If these bearings are not looked after they will not revolve. If they remain stationary the film soon wears a flat side and renders them useless, resulting in extensive scratching of the film. Tension on the upper magazine spindle — should be sufficient only to eliminate back-lash of the film. This will minimize wear on the upper or feed sprocket and on the film. Sprocket and idler rollers — should be adjusted to a spacing from the sprocket equal to two thicknesses of film — no more and no less. Spring tension of the film gate — should be adjusted to a minimum at which the film will remain steady on the screen at the standard projection speed of 90 feet per minute. This will prolong the service of the intermittant star, cam, sprocket, the film tracks, the tension pads, and also the film. Take-up tension — should be adjusted to the minimum required to wind 2000 feet of film on the standard theatre reel. This will reduce wear on the take-up sprocket and on the film. Daily cleaning of carbon contacts of projection arcs — will prevent the formation of a high resistance scale that causes damage to the contacts and adjacent parts of the lamp and also results in electrical losses as well as inferior light on the screen. Vacuum tubes — will give much longer service if the proper warm-up period is always allowed before connecting the tubes to the high voltage plate circuit. Cast aluminum reels — should be handled carefully to avoid dropping or bending as replacements will be difficult to obtain. Motor-generator — should be checked carefully to see that it is positioned horizontally to allow the armature shaft to "float'' in the bearings, also to ascertain that there is sufficient end-play in the shaft to permit this action. Spring tension on each commutator brush — should be adjusted to the minimum that will insure good electrical contact. Contacting surface of each commutator brush — should be examined regularly to determine its condition. These adjustments and inspections will hold commutator and bearing wear to a positive minimum. Definite time schedules — should be established for the regular periodic examination of projector motors and arc feed motors. Film — should be examined after each showing and all defects remedied before it is projected again. Rewinding — should be done slowly and evenly to be certain of catching defects and to avoid scratching the film. Carbons — should be burned only within the amperage range recommended by the manufacturer. The burning rate of the trim used, and the length of the positive and negative carbons required for the various size reels, should be accurately determined. Such information will enable the projectionist to obtain maximum service from each package of carbons without sacrificing to even the slightest degree the quality of screen results. Carbon stubs— of the appropriate length for the various size reels that go to make up a complete show can be used and carbon waste reduced to an extremely low minimum by taking advantage of the units of your show and using single as well as double reels. The booth — should be kept immaculately clean at all times. Equipment — should be dusted several times daily to keep accumulation of particles from getting lodged in vital parts. Film — should never be permitted to lay around exposed, either on the rewinder or other parts of the booth. Salvage of metals — No metal is utterly useless so it is imperative that all used and worn out parts; the bases of light bulbs and tubes; the drippings from copper coated ends of carbons; and the coating from unused butts of carbons; all are of use if turned over to recognized dealers or to reclamation agencies. In the words of Harry Rubin: "Adherence to the foregoing will justify your status as a craftsman, serve the needs of your fellow countryman, and give you the deep personal satisfaction of having served your country in these trying times." IT MUST SPARKLE See Page Cwl