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per minute this movement is increased to 27.66 per second, or 1,599.6 per minute and if we still further increase projection speed to 120 per minute it reaches the enormous total of thirty-two per second, or 1,920 per minute. Think of it! Thirty-two times per second the intermittent must start its mechanism and several inches of film, against the pull of the various forces before enumerated, from dead still bring the parts to high speed and again stop them to absolute stillness. And this must be done by comparatively light mechanism, which must be, and remain absolutely mechanically true (absolutely) in the ordinary meaning of that term. There is nothing actually "absolutely mechanically true," if it is to give a perfectly steady picture on the screen.
In considering this matter, it is well to remember that the normal speed of a twelve-inch circular saw is less than two thousand revolutions per minute. The speed of the armature of electric generators, except small, high-speed generators, does not nearly reach nineteen hundred per minute. It therefore follows that at a projection speed of 120 per minute the intermittent movement is taking place at a speed greater than the normal speed of a twelveinch circular saw, or the normal speed of the armature of the electric generator.
It should require no unusual powers of discernment to understand what the ultimate effect of such a terrific strain will be, if long continued. It cannot but result in the very great shortening of the life of the mechanism, and the rapid breaking down of its accuracy of function.
It is quite possible there are those who do not realize the frequency with which over-speeding is practiced in theatres. For their benefit I will say that hundreds upon hundreds of theatres, or socalled theatres at least, make it their regular practice to project a thousand feet of film in as little as eight minutes. Other hundreds do the same thing at certain "rush hours" of the day, either every day or on certain days of the week. Eight minutes to the thousand feet of film is at the rate of one hundred and twenty-five feet per minute. It is a deplorable fact that even some large, otherwise high-class theatres make it their habitual practice to project at the rate of from ninety to a hundred feet per minute.
The resultant damage to film and machinery is directly in proportion to four things, viz.: (A) The amount of excess speed.
(B) Amount of braking power the tension shoes exert on the film.
(C) Condition of the mechanism and (D) Lubrication of the Mechanism.
It is a well-established fact that the exhibitor who abuses his projectors by over-speeding, almost invariably blames their consequent shortness of life and the excessive repair bills upon faulty construction of the projector itself, instead of upon the abuse to which he has caused it to be subjected. Oily Film Traceable, in Part, to Over-Speeding
Another evil the motion-picture industry is called upon to bear which, while not entirely due to over-speeding, is nevertheless greatly
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