Showmen's Trade Review (Jan-Mar 1942)

Page 22 SHOWMEN'S TRADE REVIEW February 28, 1942 Care And Teamwork for Ace Projection With the cry for conservation and preservation of supplies and equipment becoming more and more pronounced the projection room quite naturally comes in for the greater portion of attention. In the average theatre the projection room and its equipment are the very heart of the enterprise. The slightest fault or error in this department is cause for instant concern, and, it is in this source that the possibility of temporary or permanent shutdown is most acute. Neglect of equipment has always been the biggest of managerial headaches and the rules and measures devised to guard against damage or breakdown have been many. In the past, these, for the most part, have been rather routine in order and, as such, have lost that certain something that forcibly demands immediate and constant action from the person or persons responsible for their fulfillment. Accurate and complete co-operation between the management and the projectionists has always been important to the proper functioning of the theatre. Today, with the curtailment of supplies ; priorities on parts and metals ; and the many obstacles that stand in the way of securing new machines ; it becomes a vital necessity with the penalty of inadequate teamwork no less than complete loss of employment for both parties. Little Mishaps May Cause Shutdown The postponement or neglect of daily inspections ; the most minute misalignment of movingparts ; the slightest inattention to the condition of film ; the failure to immediately repair, or take steps to correct, worn or wearing surfaces ; permitting dust, or foreign deposits of any kind, to collect in the many cracks and crevices of equipment ; little mishaps that could previously have been corrected in minutes, or at most overnight, may now cause complete shutdown with consequent loss of work. Recognizing this urgent need for closer cooperation and the necessity for extreme care in daily inspection of machines and projection room accessories, Harry Rubin, Director of Projection for Paramount, issued instructions for projectionists of the New York Paramount that, while covering some circumstances and equipment not to be found in most operations, are, for the most part and in essential details, adaptable for almost any theatre. The clearness and precision of Mr. Rubin's instructions, as well as the detail with which he covers every unit of equipment, are such as to warrant their reproduction here as a guide for other showmen anxious to take every precaution to insure uninterrupted operation of their theatres during the national emergency. Daily Routine Before Theatre Opens Inspect all projection room fuses, fuse terminals, rheostat connections and switch blades and hinges. Make certain that all are making solid contacts and are in good condition. Turn on room and projection arc ventilation exhaust fans and see that they are working properly. Inspect each projector, checking tensions of take-ups and film gate. Report any excessive wear of film tracks, tension shoes, sprockets, idler rollers, fire valves, gears, and other vital parts. Check clearance of all sprocket idler rollers. Check each arc mechanism, noting the condition and tightness of the wire leads at the carbon contacts and at projector switch. Check the tension and condition of carbon contacts and clean out any corrosion. Check condition of arc feeding mechanism and motor. Proper Maintenance First and Coordination Second of Prime Requisites to Quality Results Lubricate arc motor if required (minimum once a week). Lubricate each projector mechanism, magazine shaft, and take-up. Run projectors for several minutes. Clean excess oil from projector. Clean projection lenses and arc condensers. (Use soft tissue.) Clean sound optical systems on each projector. (Use soft tissue.) Sound Amplifiers Light and warm up exciting lamp rectifiers. Light and warm up all amplifiers. (Both sound channels.) Light and warm up horn field rectifier. Check meter readings for all tubes and exciter lamps and note the appearance and condition of each tube. Check sound separately on each loud speaker. Check each projector for equalized sound level. Check operation of port shutter release control. Start up motor generator. Check operation of the arc when connected to the generator. Run one reel of first show with arc connected to emergency auxiliary power, if such auxiliary is available. Consult With Manager Examine daily schedule provided by the manager and consult with his office if there is any question regarding the running of the show or condition of the film. Note whether any changes in cues have been posted on the bulletin board. The day shift will make certain that all necessary information is written down and discussed till thoroughly understood with the evening shift. The evening shift will post all information on the bulletin board before leaving. This will include any arrangement with stage or house staff regarding exchange of buzzer signals, etc., also correct normal fader settings for each film on the schedule. Modernization of projection facilities of the Saenger Theatre, New Orleans, has stepped up the quality of screen presentations. Above, view of the projectors, which have been equipped with Strong Projection Arc Lamps, with associated rectifiers also made by Strong Electric Corp. The arrrangement of all work in connection with the show is to be discussed in advance by the projectionists and definite duties for each agreed upon. This will insure that all necessary work will be covered without duplication and that each man knows exactly which duties are his responsibility. After each projector has been threaded and the arc trimmed by one projectionist, the work is to be checked by the second projectionist to maker certain of the correct reel as per schedule ; that the film is making proper contact with each sprocket ; that all loops are of correct length ; that all idler rollers and film gate are closed and correctly engaging the film ; that the film is "in frame" in the aperture. He will also check to make sure the take-up reel is not bent and that the film is firmly attached to the take-up reel. While the film is being screened, a projection ' ist must be at the operating side of the machine and give his constant attention to the picture on the screen and to the operation of the projector. One Man at Each Machine At each change-over, one projectionist must be at each of the two machines with both men watching for film cues. The man at the outgoing machine will announce "motor" when the first set of cues appear and will announce "cut" when the second set of cues appear. He will also change over the sound. After a reel is projected it is to be removed to the rewinder where it is to be immediately inspected and, if necessary, repaired. It is then to be placed in its designated compartment of the film cabinet. Under no circumstances shall film be permitted to remain exposed on the rewinder or other parts of the projection room. Extra films must be kept in approved metal cases. Keep all spotlight and stereoptican ports closed when not in use. Avoid unnecessary noise in closing magazine or lamphouse doors and in handling tools and film. Avoid loud conversation which might be heard by, or disturb, the audience. Avoid any discussion that may distract attention from projection duties. Salt Superior to Sand For Smothering Fires Professor William D. Turner of Columbia University Department of Chemical Engineering has conducted a series of tests using salt as a means of smothering incendiary bombs and other fires that cause intense heat. The results prove that ordinary table salt is far superior to sand for this purpose as the salt holds in heat of intensity that would "break" sand and allow the fire to escape. The effect is that of smothering the fire rather than putting it out and a quantity of salt will hold the fumes and heat as though they were packed in asbestos, permitting the removal of small burning objects such as bombs, reels of film etc., to places where they can expend themselves without endangering surroundings. The use of salt instead of sand in booths seems particularly good due to the size of packages obtainable and the low price. A sack weighing 25 pounds can be purchased at approximately 35 cents. Weekly Checking Pays The weekly checking of seat standards, backs, etc., not only will serve to prevent discomfort to your patrons but will result in longer service and that is something every theatre manager should be looking for at this time.