Showmen's Trade Review (Jan-Mar 1947)

E-12 SHOWMEN'S TRADE REVIEW, January 4, 1947 COL. FRANK CAHILL Warner Brothers Circuit C. JL DENTELBECK Famous Players Canadian UARBY J. GLENN Wm. K. Jenkins Theatres IBL GORDON Skirball Brothers Theatres CMMMLEB HQRSTMANN RKO Theatres A. C. INCE Griffith Theatres LESTEB ISAAC Loew's Incorporated I. r. JACOBSEN Balaban and Katz Corp. NATHANIEL LAPK1N Fabian Theatres HABRY RUBIN Paramount Pictures LEONARD SATZ Century Circuit /. C. SKINNEB Interstate Circuit Good Projection Room Accessories Indispensable to a Good Show The proposition that a good show cannot be put on without good projection and sound equipment is sufficiently self-evident; but this month's meeting of STR's Projection and Sound Advisory Council shows clearly that its expert members rank projection room accessories also among the absolute necessities for putting good entertainment before a theatre audience. Noteworthy is the fact that they draw no distinction in this respect between the smallest theatre and the largest. They make allowances for local legal requirements, and for the fact that some theatres have only one projectionist on duty and others more, but never in any detail do they otherwise suggest that even the smallest theatre can afford to follow different policies than the largest. The Councilors discussed the practices they themselves follow in this respect in the theatres under their own responsibility. Considerations of safety as well as performance enter into their policies. In general, and of course with some divergence in matters of detail, these experts provide their projectionists in even the smallest theatres with the seemingly minor as well as the major equipment items for doing their work well, and for doing it with safety. As the discussion proceeded through detail after detail, this general policy was outstandingly evident. The meeting discussed the preferred use of different types of rewinders, different types of changeovers, use of shipping reels for projection (unanimously disapproved), splicers, cue markers, reel bands, and such other vital accessories as film cabinets and fuse and spare parts cabinets. The correct apportionment of film maintenance work between the projection room and the film exchange entered into some of the questions. Opinion as to many details was unanimous, indicating the existence of very well-established standard practices. Wherever opinions differed, moreover, strong majorities appeared, and the minority was very distinctly in the minority, so that the Council considered as a whole cannot be said to have been doubtful about any of the many matters taken up. Rewinds The majority of the Council supply both hand and motor-driven rewinds in every projection room, regardless of the size of the theatre. A minority, however, distinguishes between different theatres on grounds of manpower, and avoids use of the motordriven type in some situations. "'Where manpower is adequate we supply hand rewinds only. In one-man projection rooms, both kinds." "For one-man operation, yes, both types. Only hand rewinds in two-man rooms." And a member of the majority, who puts both types into every one of his theatres, adds that his projectionists are instructed to use the hand re-wind always for inspection of film. Still a third policy, however, is followed by one member, who has some theatres in cities where the law requires use of MEET YOUR COUNCIL Lester Isaac Medical science lost the services of a painstaking and tireless doctor when a young medical student in Washington, D. C. took a part-time job as reel boy to help meet expenses. The call of the theatre triumphed over medicine. Isaac began his career as a fullfledged projectionist in Loew's Columbia Theatre, Washington, in 1916. In 1918 he projected the first picture ever shown on a Magnascope screen; in 1920 he was using the first of all high intensity projection lamps. Today, after 30 years service with Loew's, he is at the head of 1,200 men and responsible for projection and sound in 215 theatres. His primary hobby is technical research. Music, and lighting with color, are others. When he attends the theatre as "fan" his choice in entertainment is musicals, in technicolor. enclosed, motor-driven re-winds. He complies with the law of course, but in all other situations installs the hand-driven type only. Projection Reels No member permits the projectionists under his control ever to take a reel of film from a shipping can and put it into the projector. It must be rewound on a projection reel. Every member requires exclusive use of projection reels. "Yes, no matter how small the theatre is." "Shipping reels just are not dependable enough for the projection of pictures." There was no whisper of dissent from anyone. On this matter, opinion and policy are unanimous. Splicers and Cue Markers Similar unanimity appeared with respect to film splicers, but on the question of cue markers there was a minority dissent. Film splicers are installed in every projection room supervised by every member represented at the meeting. The size of the theatre has no bearing on this. "Film splices should never be made by hand." "Of course not, not anywhere." The large majority similarly supply cue markers to every theatre. But one among the dissenting minority with respect to cue markers explained: "Everybody tends to follow the line of least resistance, but this is all wrong. Putting cue marks on film is the function of the studio or the exchange. But it's so much easier to mark in missing cues than to complain about the condition of the print! The theatre should complain, not do the exchange's work for them. As it is, some theatres put in cue markers and let the projectionists put in marks when they are missing. So the exchanges don't always bother too much about sending out defective prints, and sooner or later such prints reach a theatre where there isn't any cue marker and the pro(Continued on Page E-20)