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Scanned  from  the  collections  of 
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AUDIO-VISUAL  CONSERVATION 
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Packard  Campus 

for  Audio  Visual  Conservation 

www.loc.gov/avconservation 


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JANUARY 


1954 


VOLUME  29 


NUMBER  1 


30c  A  COPY 


$2.50  A  YEAR 


NOW 
IIM     AND     RUNNING 


^IN^F^AMA 


AT 

NEW  YORK 

CHICAGO 

LOS  ANGELES 

PHILADELPHIA 

BOSTON 

WASHINGTON,  0.  C. 

fi  J 1)  5  i] ;]  fi 


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Can  Produce  As  IUijch  Light 

_  Iff"'' 

For 

CinemaScopE 

&tufi4*^  leid  ta  iavz  *Hamif  16-  Uke  iiofifUna  tU&  clock,  ta  ia4j-z  titne 


J.E.MeAULEY  MFG. CD. 

552-554    WEST    ADAMS    STREET 

CHICAGO   6.  ItLINOIS 


JHI1  <:i'  h'h' 


OWER 


pours  morelight  on  any  screen  ••  • 


Now,  HERE'S  THE  EXTRA  LIGHT  POWER 
the  new  motion  pictures  call  for  .  .  .  the  new 
RCA  Wide-Arc  Lamp  System. 

This  is  the  lamp  that  brings  3-D  and  large- 
screen  presentations  to  life— pours  light  on 
the-  screen  where  even  your  present  high- 
amperage  lamps  fail  to  measure  up. 


RCA's  new  Wide-Arc  Lamp  System  features  a 
revolutionary  "Hi-Efl&ciency"  design  .  .  .  For 
rapid  dissipation  of  excess  heat  .  .  .  For  extra 
protection  to  the  lamp's  high  speed  reflector 
.  .  .  And  for  the  prevention  of  film  damage  .  . . 
The  result— More  light  per  ampere,  than  any 
other  projection  lamp  ever  before  oflfered! 


New  Operating  Economy.  The  carbon 
burning  rate  is  low  — Operating  costs 
ore  kept  to  a  minimum. 


New  Automatic  Water  Circulator. 

Keeps    operating    temperatures    down. 
Starts  automatically  for  extra  protection. 


New  High  Speed  Positive  Carbon 
Rotation.  15  complete  revolutions 
per  minute  — Provides  maximum  arc 
stability.  Carbon  rotating  chain  drive, 
requiring  no  lubrication,  eliminates 
troublesome  gearing. 


New   Large   Higli   Speed   Reflector. 

Co-ordinates  closely  with  modern  high 
speed  projection  lamps  — better  light 
distribution  than  ever  before. 


New  "Instant-Acting"  Ventilating  Assem- 
bly. Large  screened  vents  in  lamp  house  base 
suck  in  cool  air  which  instantly  forces  heat, 
carbon  dust  and  ash  out  through  a  downward 
extending  tube  — keeps  reflector  cool  and  free 
of  carbon  dust  for  maximum  efficiency. 


Equally  EfHcient  with  Stand- 
ord  and  new  Hitex  Carbon. 

Superior  screen  illumination 
with  either  standard  high- 
intensity  carbons  or  the  new 
Hitex  carbons. 


It's  RCA's  answer  to  today's  big 
light  problems.  Demonstrations 
on  screens  up  to  70  feet  wide 
prove  it's  everything  you  could 
ask  for  in  big  light  power.  For 
more  light  in  drive-ins,  for  more 
light  in  3-D  and  large-screen 
presentations,  pour  it  on  with 
the  new  RCA  Wide-Arc  Lamp 
System. 

CHECK  with  your  RCA  Dealer 
for  information  on  the  Wide- 
Arc  Lamp. 


^i) 


THEATRB  EOUtRMEMT 

RA DiO    CORPORA  TtOM  of  A  MERtCA 

EMGIMeeRiMO  PRODUCTS  DEPARTMENT,  €AMDEM,M,J, 

®     In  Canada:  RCA  VICTOR  Company  Limiled,  Monlrtal, 


FAMOUS  TIRSTSr.. 

JUl^  S&S)^  ''the  great  train  ROBBERy" 
ATTEMPTED  THE  FIRST  COMPLETE, 
DRAMATIC  l=IUV\  STORV.    10  THE  ENTERTAINMENT  WORLD^ 

A  FLEDSLINS  SIANT  WAS  BORN. 


^lMAj\/..STia  RRSI  WITH  THE  Rk5HT  LIGHT 

FOR  EVEi^y  jo3/'naticnal"  projector  carbons 

ANSWER  THE  CHALLENGE  OF  EXCITING/  NEW  AUPIENCE- 
BUILDING  TECHNI(?UES. 


THE  "NATIONAL"  CARBON  ARC ...  NOTHING  BRIGHTER  UNDER  THE  SUN 


The  terms  "National"  and  "Suprex"  are  trade-marks  of  Union  Carbide  and  Carbon  Corporation 

NATIONAL  CARBON  COMPANY 

A  Division  of  Union  Carbide  and  Carbon  Corporation 

30  East  42nd  Street,  New  York  17,  New  York 

District  Sales  Offices:  Atlanta,  Chicago,  Dallas,  Kansas  City,  New  York,  Pittsburgh,  Son  Francisco 


INTERNATIONAL  PROJECTIONIST     •     JANUARY  1954 


INTERNATIONAL 

PROJECTIONISl 

With  Which   Is  Combined    PROJECTION   ENGINEERING 


FREDERICK  HODGSON,  Editor 
JAMES  MORRIS,  Associate  Editor 


Volume  29 


JANUARY   1954 


Number  1 


Index  and  Monthly  Chat ....        5 

1954  Seen  As  Biggest 

Year  for  Color 7 

James  Morris 

Recent  Projection  Advances 

In  Europe,  II 9 

Robert  A.  Mitchell 

Color  Catalyst  in  Battle 

of  the  Tubes 14 

Frederick  Hodgson 

The  3-D  Score  for '54 16 

Thomas  L.  Burnside 

What's  Your  Problem? 17 

Personal  Notes 17 

In  The  Spotlight 20 


Turn  Your  Projection  Skills 

Into    Cash 21 

Michael   Smollin 

Free  Polaroid  Land  Cameras.      23 

More  Small  Theatres  Go 

Stereophonic    24 

lA    Obituaries 25 

Index:  International 

Projectionist  January  to 
December,  1953 33 

News  Notes 
Technical  Hints 

Miscellaneous  Items 


Pub//sfiec/  Monthly  Isy 

INTERNATIONAL  PROJECTIONIST  PUBLISHING  CO.,  INC. 

19  West  44th  Street,  New  York  36,  N.  Y. 

Telephone:    MUrray  Hill  2-2948 

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under  the  act  of  March  3,  1879.  Entire  contents  copyrighted  1954  by  INTERNATIONAL  PRO- 
JECTIONIST PUBLISHING  CO.,  INC.  INTERNATIONAL  PROJECTIONIST  assumes  no  responsibility 
for  personal  opinions  appearing  in  signed  articles,  or  for  unsolicited  communications. 


MONTHLY     CHAT 

As  1954  opens  the  film  trend  is  still 
towards  the  wide  aspect  ratio, 
stereophonic  sound,  more  3-D,  and  the 
ultra-skilled  tub-thumping  of  20th  Cen- 
tury-Fox. One  producer  after  another 
is  jumping  on  the  bandwagon,  each 
whipping  the  horses  in  his  own  way. 

International  Projectionist,  surveying 
the  scene  with  what  we  fondly  hope  is 
editorial  detachment,  holds  with  Shakes- 
peare that  "the  play's  the  thing"  and 
that  no  amount  of  gadgetry  can  substi- 
tute for  good  pictures.  Technological 
progress  is  inevitible,  desirable  and 
healthy  but  it  must  not  be  allowed  to 
become  an  end  in  itself. 

Illustrating  the  point  in  Columbia's 
"From  Here  to  Eternity." 

Here  we  have  a  picture,  shot  in 
standard  black-and-white,  that  has  been 
cracking  boxoffice  records  all  over  the 
world.  Why?  The  film  does  not  have 
the  advantage  of  Cinerama  or  Cinema- 
Scope  novelty.  Nor  does  it  have  the 
curious  fascination  of  3-D.  Yet  "Eternity" 
stayed  at  the  4,000-seat  Capitol  Theatre 
in  New  York  for  more  than  20  weeks  and 
grossed  over  $1,450,000.  It  broke  all- 
time  records  in  Tokyo,  Japan,  in  Sydney, 
Australia,  and  in  dozens  of  other  cities 
abroad.  It's  well  on  its  way  to  doing 
the  same  thing  at  the  Marble  Arch 
Theatre  in  London.  At  this  writing  the 
picture  is  playing  a  phenomenal  18th 
week  in  Washington,  D.  C.  Even  at  the 
Shore  Theatre,  a  Skouras  house  in 
Huntington,  L.  I.,  "Eternity"  grossed 
$30,500  in  one  week. 

What's  the  answer?    Simply  this: 

A  good  picture  will  bring  in  the  busi- 
ness—  with  or  without  3-D,  trick  lenses 
or  color! 

"From  Here  to  Eternity"  is  good 
enough  to  have  won  the  top  award  of 
the  New  York  film  critics.  It  has  been 
on  every  "ten  best"  list  so  far  compiled, 
never  below  third  place.  And,  according 
to  those  in  the  know,  "Eternity"  stands 
a  better  than  even  chance  of  winning 
the  Academy  "Oscar"  in  March. 

True,  Columbia  did  make  an  unfor- 
tunate bow  towards  the  new  processes 
by  filing  the  aperture  and  showing 
"Eternity"  at  the  Capitol  in  a  ratio  of 
1.85  to  1,  plus  stereophonic  sound.  Most 
spots,  however,  are  playing  the  picture 
straight. 

Maybe,  just  maybe,  the  lesson  of 
"Eternity"  will  be  learned  by  the  in- 
dustry. Maybe,  just  maybe,  1954  will 
see  the  "sin"  taken  from  CinemaScope 
and  a  move  towards  a  safe  and  sane 
aspect  ratio.  Some  projectionists,  we're 
told,  are  filing  apertures  for  greater  pic- 
ture height,  rather  than  for  width.  May- 
be, just  maybe,  this  indicates  that  the 
trend  has  started.  IP  hopes  so  sincerely. 


INTERNATIONAL  PROJECTIONIST     •     JANUARY  1954 


5 


iron  CAN'T  ARGQMWITH  A  UGHT  METERi 
Li 


"SUPER  135" 
ARC  LAMP 


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-:x;'t»:rr- «.  -  --  ^^^^  ,„„,  ,,„, ... 

\ost  abo^  reflector.  instanWy 

urn.    .o"*''*-,:S'  oiop,..-  -»  <■""  •*"  "" 

Kv  Underwriters    loo  amperes, 

service  a\  ^■i~>        "[^ 


Projects 

Much  Higher  Level 

of  Illumination 

Than  Any  Other 

Lamp 

In  impartial  tests  ttie  foot  candle  meter  proves 
that  it  is  the  most  powerful  of  all  lamps,  and 
you  can't  argue  with  a  light  meter. 

Accommodating  a  20-inch  carbon,  the  "Super 
135"  is  the  only  Reflector  Arc  Lamp  which 
can  burn  the  10  mm  "Hitex"  carbon  at  120 
amperes  or  11  mm  regular  carbons  at  115 
amperes  for  a  full  hour  as  required  by  3-D 
5000-foot  reels.  The  increased  volume  of  light 
projected  by  the  "Super  135"  is  especially 
important  with  3-D  because  of  the  60%  light 
lost  to  the  viewer,  resulting  from  the  use  of 
polaroid  filters.  The  "Super  135"  furthermore 
maintains  a  screen  light  that,  in  itensity  and 
color  value,  is  constant  and  identical  to  that 
of  the  associated  lamp  which  is  burning 
simultaneously. 


For  fyrther  informntion      Mm 
on  profecfion  ore  lighting  of  3-D 
or  wide-screen  pictures  by  ony 
system,  oddress  Department  3-D 


THE   STRONG   ELECTRIC   CORPORATION 

The  World's  Largest  Manufacturer  of  Pro/ecfion  Are  Lamps 
31      City  Park  Avenue  Toledo  2,  Ohio 

Pleoie  send  detoiii  on  Strong  "Super  135"  Prelection  Arc  Lamps. 

NAME — 

THEATRt. 

STREET       — 

CiTY  &  STATE  . 

NAME  OF  SUPPLIER 


INTERNATIONAl  PROJECTIONIST     •     JANUARY  1954 


VOLUME  XXIX 


JANUARY   1954 


NUMBER   1 


1954  Seen  as  Biggest  Year  for  Color 

Wide  screen  and  3-D  systems  need  color  to  eliminate  graininess  and  enhance 
entertainment  values.  This  article  covers  the  Eastman  and  Technicolor 
processes    and    discusses    some    projection     and    theatre    lighting     problems. 

By  JAMES  MORRIS 


DURING  the  year  just  past  an  im- 
portant change  has  been  taking 
place  in  the  art  of  motion  pic- 
ture production,  a  change  which  has 
not  received  sufficient  attention  even 
from  craftsmen  within  the  industry  be- 
cause 3-D  and  CinemaScope  have 
monopolized  the  limelight. 

Partly  because  the  new  processes 
require  color  to  maintain  their  effects 
of  depth  and  realism,  and  also  because 
Hollywood  is  generally  making  greater 
use  of  its  technical  resources  in  order 
to  lure  lost  customers  back  into  the 
theatre,  about  75  percent  of  all  films 
now  planned  or  in  production  at  the 
major  studios  are  in  color.  This,  of 
course,  is  exclusive  of  black-and-white 
films  for  television. 

This  estimate  was  made  by  Nick 
Tronolone,  formerly  president  of  Pathe 
Laboratories  and  now  an  independent 
consultant  on  motion  pictures. 

Co/or  is  Needed 

"Use  of  color  has  been  increasing  at 
from  5  to  10  percent  per  year  in  the 
last  five  years  with  a  big  spurt  during 
1953,"  he  said,  "and  its  use  will  con- 
tinue to  grow." 

An  interesting  point  with  regard  to 
color  and  the  new  processes  is  the  fact 
that    the    technical    nature    of    wide- 


screen  projection,  whether  it  is  accom- 
plished by  the  CinemaScope  system  or 
merely  by  altering  aperture  plates  and 
using  a  shorter  focal-length  lens,  needs 
color  to  overcome  the  grainy  effect  re- 
sulting when  35-mm  prints  are  blown 
up  to  giant  screen  sizes.  This  is  in 
addition  to  the  fact  that  color  is  needed 
for  realism. 

Situation   Complicated 

For  the  present  at  least,  the  color 
situation  in  Hollywood  is  complicated 
because  the  standard  Technicolor  "dye 
imbibition"  method  of  printing  cannot 
as  yet  be  used  to  advantage  on  film 
photographed  through  a  CinemaScope 
anamorphic  lens. 

This  and  other  events  of  the  past 
year  have  brought  increasing  popular- 
ity to  the  new  Eastman  Color  which 
can  be  used  as  a  complete  camera  and 
printing  system,  or  in  combination 
with  Technicolor  or  other  color  pro- 
cesses. Ansco  Color,  a  single-film, 
triple-emulsion  color  process,  as  is 
Eastman  Color,  has  also  been  achiev- 
ing wider  usage. 

Eastman  Color  has  grown  in  popu- 
larity despite  the  fact  that  it  is  a  more 
expensive  process  than  Technicolor. 
At  present  if  costs  about  $585  for  a 
CinemaScope   release   print   processed 


by  Technicolor  on  Eastman  Color 
film.  Were  Technicolor  able  to  use 
its  standard  process  on  CinemaScope 
film,  the  cost  would  drop  to  $448  per 
print.  However,  the  saving  that  Tech- 
nicolor makes  possible  is  true  princi- 
pally of  heavy  volume  print  orders. 

Eastman  Color  is  the  process  used 
in  filming  such  CinemaScope  produc- 
tions as  "The  Robe,"  "How  to  Marry 
a  Millionaire,"  "Beneath  the  Twelve 
Mile  Reef,"  "Knights  of  the  Round 
Table,"  and  other  pictures.  Because 
of  the  increasing  importance  of  color, 
projectionists  may  be  interested  in  a 
general  description  of  the  Technicolor 
and  Eastman  Color  processes  and  how 
they  function. 

Projection  Problems 

But,  since  the  projectionist  works  in 
a  theatre,  he  is  primarily  concerned 
with  the  technical  problems  of  putting 
on  a  good  show  with  th^  product  re- 
ceived from  Hollywood.  If  color  is  to 
become  all-important  in  the  motion 
picture  business,  the  first  question  to 
consider  is  what  procedures  should  be 
followed  in  the  theatre  if  the  best 
color  projection  is  to  be  achieved. 
Technicolor,  which  has  had  a  great 
many  years  experience  in  the  process- 
ing of  color  motion  pictures,  has  dis- 


INTERNATIONAL  PROJECTIONIST      •      JANUARY  1954 


tributed  information  to  projectionists 
on  the  handling  of  color  film,  and  the 
subject  has  been  covered  in  IP  over 
the  years  in  articles  by  Robert  A. 
Mitchell  and  others. 

It  should  be  remembered  that  good 
color  values  cannot  be  obtained  on 
the  screen  when  light  is  discolored  or 
not  uniform.  In  an  arc  lamp  that  gives 
no  better  than  60-  to  80  percent  side- 
to-center  distribution,  color  values  on 
the  screen  are  damaged.  Red  changes 
to  terra-cotta,  blue  to  steel-gray,  and 
orange  to  brown.  It  has  been  standard 
practice  in  the  past  to  process  Techni- 
color prints  for  projection  with  high- 
intensity  arcs  capable  of  delivering  ten 
or  more  foot-lamberts  at  the  screen. 
Information  about  new-process  light 
standards  is  not  yet  available  from 
Technicolor,  but  it  is  reasonable  to 
believe  it  will  be  substantially  the 
same.  If  the  illumination  at  the  side 
of  the  screen  falls  far  below  the  speci- 
fied level,  good  results  will  not  be 
obtained.  A  foot-lambert  is  a  unit  of 
measurement  for  the  actual  brightness 
of  a  screen  surface. 

An  interesting  sidelight  to  consider 
at  this  point  is  the  suggestion  that 
lighter-density  color  prints  be  used  to 
obtain  more  light  for  beam-splitter  3-D 
projection.  This  is  a  highly  question- 
able practice  because  with  subtractive 
color  processes  such  as  Technicolor 
and  Eastman  Color,  the  color  quality 
is  directly  related  to  the  transparency 
of  the  film  in  such  a  way  that  really 
good  color  is  available  only  with  prints 
of  high  density.  This  will  be  true  so 
long  as  dyestuffs  that  change  satura- 
tion and  hue  with  varying  density  are 
used  for  subtractive  color  processes. 

House  Lighting 

It  is  regarded  as  bad  practice  to  use 
any  but  absolutely  necessary  colored 
house  lighting  near  the  screen  during 
the  showing  of  a  color  film.  The  re- 
moval of  red  or  amber  decorative  light- 
ing in  the  auditorium  is  suggested  to 
the  extent  possible  under  local  regula- 
tions. 

Color  flooding  of  titles  of  Techni- 
color productions,  either  by  projecting 
the  title  on  a  colored  curtain  or  by 
using  colored  foot  and  strip  light  is 
bad  practice  because  Technicolor  titles 
are  designed  with  care.  Color-flooding 
alters  the  colors  recorded  on  the  film 
—  colors  which  not  only  make  the 
titles  pleasing  to  see,  but  which  harmo- 
nize the  titles  with  the  dramatic  mood 
of  the  picture  to  follow. 


It  is  also  suggested  that  the  projec- 
tion arcs  be  struck  two  minutes  before 
the  changeover  so  that  the  discolora- 
tion produced  by  a  cold  carbon  trim 
is  avoided,  and  the  arc  be  allowed  to 
reach  normal  burning  temperature  be- 
fore the  changeover  is  made.  Focus 
should  be  checked  at  the  beginning  of 
each  reel. 

Although  it  is  only  now  coming  to 
dominate  American  film  production, 
color  on  the  screen  is,  of  course,  far 
from  new.  The  first  color  movie  that 
could  be  run  on  a  standard  35-mm 
motion  picture  projector  without  any 
changes  or  attachments  was  also  the 
first  Technicolor  picture,  "The  Gulf 
Between,"  produced  in  1917.  Even 
this  color  system  had  been  preceded  as 
far  back  as  1909  by  color  systems  such 
as  the  British  Kinemacolor. 

Color  Before  7 970 

It  may  interest  projectionists  to 
know  that  Nick  Tronolone,  mentioned 
earlier  in  this  article,  was  connected 
with  the  American  affiliate  of  Kinema- 
color and  projected  the  first  Kinema- 
color showing  in  the  United  States  be- 
fore 1910,  sweating  over  a  hand- 
cranked  projector  that  had  to  run  at 
32  frames  per  second  —  double  the 
"silent"  speed  —  to  make  the  process 
work. 

Kinemacolor  used  a  red-and-green 
color  wheel  mounted  on  the  projector 
and  synchronized  with  the  projector 
movement  so  that  alternating  film- 
frames,  which  carried  red  and  green 
color  values  in  black-and-white,  would 
be  in  front  of  the  proper  section  of 
the  wheel.  The  red  and  green  com- 
bined on  the  screen  to  give  an  effect 
of  full  color. 

Mr.  Tronolone,  who  is  celebrating 
his  50th  year  in  motion  pictures  dur- 
ing 1954,  has  worked  in  all  technical 
phases  of  the  business,  projection  and 
photography  as  well  as  laboratory 
processing. 

Technicolor  Processes 

Dr.  Herbert  T.  Kalmus,  inventor 
of  Technicolor,  soon  abandoned  his 
first  process,  which  made  use  of  suc- 
cessive red  and  green  tinted  frames, 
when  he  decided  that  it  was  too  crude. 
After  the  first  World  War  he  began 
to  experiment  with  a  subtractive  color 
method  which  is  the  forerunner  of  the 
modern  Technicolor  process. 

Two  important  developments  came 
at  this  point.  First,  a  split-beam 
camera  was  developed  which  recorded 
red   and   green  color   values   on   two 


separate  strips  of  film.  Then  a  sub- 
tractive  rather  than  an  additive  color 
process  was  used  by  Dr.  Kalmus  in 
preparing  the  prints.  A  picture  in 
natural  color  was  produced  on  the 
print  as  well  as  the  screen.  In  the 
previous  additive  process,  then  out- 
moded, white  for  instance,  was  pro- 
duced on  the  screen  by  a  rapid  succes- 
sion of  colors.  Curiously,  in  the  color 
television  of  1954  white  is  produced 
by  a  mixture  of  complementary 
colors.  In  the  subtractive  process, 
white  is  white  on  the  finished  print. 
This  was  a  real  landmark,  not  only 
because  it  improved  the  quality  of  the 
color,  but  also  because  the  subtractive 
process  permitted  much  more  light  to 
reach  the  screen. 

In  the  additive  process,  such  as  the 
first  Technicolor,  alternate  frames 
were  tinted,  or  dyed,  all  over  their 
entire  area  with  the  appropriate  color 
—  red  or  green.  But  in  the  double- 
print  subtractive  process  developed  by 
Technicolor  about  1920,  the  black  and 
silver  were  bleached  out  chemically 
from  the  two-color  separation  prints 
which  were  then  toned  to  the  desired 
color  with  the  white  areas  of  each 
print  remaining  free  from  color. 
Two-Color  System 

Used  in  a  picture  called  "Toll  of  the 
Sea,"  made  in  1921,  the  above  process 
differed  from  modern  Technicolor  in 
two  important  respects.  It  was  a  two- 
color  rather  than  a  three-color  system. 
And,  although  it  was  a  substractive 
system,  the  red  and  green  color  values 
were  each  carried  on  a  separate  film, 
both  cemented  together  for  projection. 
These  double  prints  often  buckled 
badly  during  projection. 

It  was  "imbibition"  printing  (imbi- 
bition is  a  formidable-looking  word 
that  merely  means  drinking  in  or  im- 
bibing) ,  developed  for  motion  picture 
film  the  next  year,  that  really  opened 
the  way  for  modern  Technicolor.  In- 
stead of  being  toned  or  tinted  for  pro- 
jection, the  two  color  prints  were  con- 
verted into  "wash-off  relief"  matrices. 

These  relief  matrices,  on  which  the 
raised  gelatine  image  could  be  felt  with 
the  fingernail  if  it  were  run  across  the 
matrix  film,  were  hardened  and  used 
in  the  imbibition  printing  process 
which  is  really  not  photographic  at  all 
but  which  resembles  a  lithographic 
printing  process.  The  matrix  bearing 
the  red  image,  for  instance,  received 
or  "imbibed"  crimson  dye  from  rollers 
with  only  the  raised  gelatine  image 
(Continued  on  page  31) 


INTERNATIONAL  PROJECTIONIST     •     JANUARY  1954 


This  Is  the  Second  of  Two  Articles  Coverings 


Recent  Projection  Advances  in  Europe 

European  Developments,  from  the  CinemaScope  anamorphic  lens  to  single  strip  3-D, 
are  revolutionizing  American  films:    Here  Mr.  Mitchell  looks  at  projection  overseas 

By  ROBERT  A.  MITCHELL 


IN  THE  DECEMBER  International 
Projectionist  various  European 
projectors  were  discussed,  and 
some  emphasis  was  placed  on  projec- 
tion lenses.  This  article,  which  con- 
cludes the  present  series,  reports  on 
optical  soundheads  overseas  with 
special  reference  to  photocells,  on 
European  projection  lamps  and  on 
mirror   and   condenser   systems. 

The  Ernemann  sound  reproducer, 
similar  to  the  Ernophon  S  reproducer 
which  may  be  attached  to  the  back  of 
any  regular  European  projection  head 
(shown  in  Fig.  3),  departs  widely 
from  conventional  American  design. 
Unlike  the  heavy  and  complicated 
sound-heads  with  which  American 
projectionists  are  familiar,  the  Erne- 
mann, Bauer,  and  Europa-Klangfilm 
sound  reproducers  have  no  sprockets, 
no  gears,  no  pressure  rollers  on  the 
sound  drum,  and  no  complex  rotary 
stabilizer.  Such  a  reproducer  weighs 
only  15  or  16  pounds. 

"Braked  Retard" 

The  film  passes  from  the  lower  loop 
to  a  large  idler  roller,  against  which 
it  is  pressed  by  a  rubber  roller.  This 
is  the  "braked  retard"  which  filters 
out  all  intermittent  flutters  from  the 
film.  The  film  then  passes  around  one 
or  two  rollers  which  smooth  its  motion 
still  further,  acting  also  upon  irreg- 
ularities of  motion  which  might 
originate  in  any  part  of  the  film-course 
from  the  lower  loop  to  the  holdback 
sprocket.  The  sound  drum,  instead  of 
being  a  plain  cylinder  which  allows 
the  film  to  be  displaced  sufficiently 
for  scanning  of  the  track,  is  a  flanged 
roller  which  supports  both  margins 
of  the  film.  Since  the  axial  portion  of 
the  roller  between  the  flanges  has  a 
small  diameter  relative  to  the  diameter 
of  the  flanges  (56  mm.,  or  2.2  in.), 
the  scanning  beam  is  not  obstructed, 
but  passes  over  it  to  the  photocell.  The 


film  is  quite  tight  over  the  drum,  and 
since  the  flanges  edge-guide  the  film, 
the  tensioned  inner  flange  pressing  the 
film  toward  the  soundtrack  edge,  no 
pressure  guide-rollers  are  needed. 

To  the  axle  of  the  sound  drum  is 
attached  a  very  accurately  machined 
cup-shaped  flywheel  weighing  6  kilo- 
grams (13  lbs.)  supported  by  two  ball 
bearings  placed  at  equal  distances  from 
the  center  of  gravity  of  the  rotating 
mass  to  assure  an  even  distribution  of 
the  load. 

Starting  Speed 

From  5  to  6  seconds  has  hitherto 
been  required  to  bring  the  film  at  the 
scanning  point  to  a  perfectly  constant 
speed  when  starting  a  projector.  This 
was  due  to  slipping  of  the  film  on  the 
rotary  sound  drum  caused  by  inertia 
of  the  flywheel.  In  the  Ernophon  S 
reproducer,  however,  the  two  rollers 
immediately  above  the  drum  are 
pivoted  in  such  a  way  that  both  can 
be  displaced  against  the  action  of  an 
adjustable  spring.  The  spring  gives  a 
lighter  restoring  force  at  small  deflec- 
tions than  at  large  ones.  And  in  order 
to  reduce  the  swing  of  the  yielding 
compensating  device  to  a  minimum  of 
time,  it  is  damped  by  a  pneumatic 
dashpot. 

When  starting  the  projector,  the 
double-roller  equalizer  is  under  the 
strongest  pressure  and  moves  down- 
ward to  press  against  the  rotary  sound 
drum.  The  already  large  initial  wrap 
of  film  around  the  drum  is  then  fur- 
ther increased  temporarily,  increasing 
the  friction  between  the  film  and  the 
drum.  The  film  cannot  slip,  but  forces 
the  drum  to  pick-up  speed  very  rapidly. 
But  as  soon  as  the  pull  of  the  film  de- 
creases, when  full  speed  has  been  at- 
tained, the  rollers  are  lifted  away 
from  the  drum  automatically. 

This  arrangement  permits  the  film 
to  attain  constant  speed  within  1  or 


2    seconds,   no    disturbances    of   pitch 
being  noticable  at  changeovers. 

A  double-roller  compensator  is  used 
below  the  drum  to  filter  out  residual 
fluctuations  in  film  speed  caused  by 
the  lower  sprocket  of  the  projector  and 
the  takeup  assembly. 

Tube  Is  Small 

The  scanning-beam  optical  tube,  al- 
though small,  is  fully  corrected  and 
highly  efficient.  Each  of  its  several 
lenses  is  hard  coated.  The  light  out- 
put is  high  despite  a  slit  image  only 
18  microns  (0.7  mil)  in  width.  This 
image  provides  better  high-frequency, 
response  with  less  distortion  than  the 
1^4"™il  slit  images  often  used  in  other 
countries. 

Because  the  film  is  edge-guided  at 
the  scanning  point  by  the  flanged 
drum,  the  film  being  gently  pressed 
towards  the  soundtrack  edge  to  prevent 
any  sideways  wandering  of  the  sound- 
track, the  slit  in  the  optical  tube  is 
adjustable  for  length  at  both  ends  for 
correct  centering  upon  badly  displaced 
tracks  as  well  as  upon  those  positioned 
normally  on  the  film.  The  longest  slit 
image  is  2.22  mm.  (87.4  mils),  while 
the  normal  length  is  2.13  mm.  (84 
mils ) . 

The   photoelectric   cell   used   in   the 


.  ^ 


FIG.  3.  The  Ernophon  S  sound  attachment  for 
older  European  projectors.  Similar  to  the 
sound  take-off  unit  of  the  Ernemann  IX  and 
X  projectors,  this  reproducer  has  no  sprockets, 
gears,  rotary  stabilizers,  or  scanning-drum 
pressure  rollers  to  mar  its   compact  simplicity. 


INTERNATIONAL  PROJECTIONIST      •      JANUARY  1954 


Ernemann  and  Ernophon  S  sound  re- 
producers is  an  antimony-cesium  blue- 
sensitive  cell  patented  by  Zeiss  Ikon, 
but  similar  in  response  characteristics 
to  the  RCA  photocell  No.  IP37. 

Photocell  Types 

The  regular-type  photocell,  having 
a  cathode  composed  of  a  mixture  of 
cesium  and  silver  oxide  coated  upon 
a  silver  plate,  is  called  a  red-sensitive 
cell  because  it  is  most  sensitive  to  red 
and  infrared  light,  and  responds  only 
very  feebly  to  blue  rays.  In  fact,  the 
sensitivity-peak  of  this  cell,  which ,  is 
still  the  most  widely  used  in  all  coun- 
tries, lies  in  the  invisible  infrared 
region  of  the  spectrum.  Consequently, 
the  red  photocell  works  well  only  with 
silver-image  tracks,  not  with  colored- 
dye  tracks  which,  if  they  could  be 
used,  would  lower  the  cost  of  all  types 
of  multilayer,  dye-coupler  natural 
color  prints.  Silver  images  absorb 
red  and  infrared  as  well  as  all  other 
wavelengths  emitted  by  the  exciting 
lamp,  but  dye  tracks,  no  matter  what 
color  they  may  be,  are  quite  trans- 
parent to  low  red  and  infrared  radia- 
tion. 

The  blue  cell  is  practically  insensi- 
tive to  red  and  infrared  light,  and 
thus  gives  excellent  response  with  red 
(magenta  plus  yellow)  soundtracks  as 
well  as  with  ordinary  silver  sound- 
tracks. The  Zeiss  Ikon  blue  cell  has, 
in  addition  to  this  property,  superior 
electron-emitting  characteristics  and 
an  exceptionally  long  life.  There  are, 
however,  two  disadvantages  of  the 
blue  cell  which  will  soon  be  mentioned. 

Strontium  Photocell 

A  strontium  photocell  having  its 
sensitivity-peak  in  the  green  region 
of  the  spectrum  is  just  now  being  de- 
veloped in  Germany.  This  green  cell 
would  work  with  magenta  dye  tracks, 
thus  further  simplifying  the  work  of 
processing  color  prints. 

Another  solution  of  the  problem  in- 
volves producing  a  cyan  dye  which 
completely  absorbs  both  red  and  infra- 
red. While  the  common  cyan  dyes  in 
use  absorb  "high"  and  "medium"  red 
wavelengths  very  efficiently,  most  of 
them  transmit  bands  in  the  low  red 
and,  what  is  more  serious,  practically 
all  of  the  infrared  emitted  by  an  incan- 
descent exciting  lamp.  If  a  perfect 
cyan  dye  could  be  produced,  cyan 
tracks  would  give  good  response  with 
the  regular  red-sensitive  photocell. 

It  all  amounts  to  making  the  sound- 
track images  "look"  as  dense  as  pos- 


FIG   4.   The    Ikosol    II    (left)    and    Magnasol    IV    (right)    convertible   arc-lamps   for    both    LI    and    HI 
operation   at  maximum   optical   efficiency.     Note  the   clean  design   and   centralization   of   controls. 


sible  to  the  light-sensitive  cathode  of 
the  photocell.  To  an  ordinary  red  cell 
a  dye  track  looks  almost  blank  because 
the  colored  dyes,  even  when  superim- 
posed (cyan,  magenta,  and  yellow)  to 
look  black  to  the  eye,  pass  along  waves 
which  such  a  photocell  readily  per- 
ceives. 

To  return  to  the  blue  photocell,  we 
must  point  out  that  this  type  of  cell, 
though  very  sensitive,  is  excited  only 
by  a  very  small  portion  of  the  rays 
emitted  by  the  filament  of  an  exciting 
lamp.  Incandescent  lamps  give  out 
mostly  infrared,  red,  orange,  and  yel- 
low rays,  a  fairly  large  amount  of 
green  rays,  but  relatively  few  blue 
and  violet  rays.  And  it  happens  that 
the  intensity  of  the  blue-violet  radia- 
tion of  an  incandescent  bulb  varies 
much  more  than  that  of  the  red  and 
infrared  with  fluctuations  in  the  cur- 
rent which  lights  the  lamp.  This  fact 
is  revealed  by  a  reddening  of  the  light 
when  the  voltage  is  decreased. 

Blue  PC  Faults 

The  sound-current  output  of  a  blue 
photocell  excited  by  an  incandescent 
lamp  is  therefore  at  the  mercy  of 
exciter-voltage  fluctuations  too  small 
to  affect  the  performance  of  a  red  cell 
noticeably.  In  theatres  where  line  volt- 
age is  none  too  steady,  the  blue  cell 
would  behave  very  badly  indeed  and 
force  the  projectionist  to  stick  by  the 
volume  control  in  an  effort  to  main- 
tain  a  constant  level  of  volume. 

Then  too,  we  must  take  into  con- 
sideration that  the  greater  number  of 
color  prints  in  America  are  made  by 
the  dye-imbibition  process  (Techni- 
color), a  method  which  is  much  less 
expensive  than  the  use  of  multilayer 
dye-coupler  color  films.  But  imbibi- 
tion printing,  generally  satisfactory 
for  pictures,  cannot  be  used  for 
printing  soundtracks  because  it  in- 
volves a  rather  serious  loss  of  image 
definition. 

Satisfactory  "resolution"  is  a  neces- 


sity in  soundtrack  printing  —  a 
"fuzzy"  track  gives  fuzzy  sound,  and 
no  amount  of  electrical  high-frequency 
equalization  in  re-recording  can  com- 
pensate frequencies  which  fail  to  print 
through  in  the  projection  copy.  For 
this  reason  Technicolor  films  will  al- 
ways have  to  be  made  with  silver 
soundtracks. 

Small  Preamplifier 

The  sound  unit  of  the  Ernemann  X 
and  IX  projectors  has  a  small  pre- 
amplifier (visible  in  Fig.  2.  See  De- 
cember IP)  close  to  the  photocell.  This 
single-stage  voltage-gain  amplifier 
makes  it  possible  to  set  up  the  main 
amplifier  in  any  part  of  the  projec- 
tion room  without  danger  of  picking 
up  noise  or  of  attenuating  the  high 
frequencies.  A  preamplifier  attached 
to  the  projector,  it  will  be  recalled, 
was  employed  in  the  very  first  Western 
Electric (ERPI)  equipments;  and  most 
American  manufacturers  of  sound- 
heads now  favor  photocell  coupling 
amplifiers. 

Zeiss  Ikon,  the  manufacturer  of 
Ernemann  projectors  and  sound  re- 
producers, also  makes  "Dominar" 
theatre  amplifiers,  "Ikovox"  speaker 
combinations,  a  separate  cell-coupling 
preamplifier  for  use  with  earlier  Erne- 
mann models,  or  when  the  Ernophon 
S  reproducer  is  used  with  other 
(European)  makes  of  projector.  Erne- 
mann exciter  rectifiers  are  part  of  the 
projector  equipment,  and  in  the  Model 
X  the  rectifier  is  located  in  a  metal 
drawer  under  the  lamp  table. 

Dominor  Amplifiers 

The  Dominar  amplifiers  require  no 
detailed  description,  since  their  char- 
acteristics are  very  similar  to  the 
highest  grade  theatre  amplifiers  made 
in  England  and  America.  They  have 
less  than  2  per  cent  distortion,  utilize 
degenerative  feedback,  and  have  fre- 
quency-response networks  for  adjust- 
ing to  auditorium  conditions.  Note- 
worthy, however,  are  the  very  heavy 


10 


INTERNATIONAL  PROJECTIONIST      •      JANUARY  1954 


Ue  0m  0J  Pmess  Peyec/m 

■  IN  SIGHT  AND  SOUND  iQUIPMENT      C 


J(jj)!)riosiiap}j 


meahe  e^uifimeni 
Jesi^nea  jo^  mose  wns  au  saiisjieJ  my  wi^Ii  i/te  lesi . . .  msJean 
et^uijimeni  mai  assum  Un^,  JejtenJai/e,  hmi/e-j/iee  se/ivice .  .  . 
ye^  smffm  cash  msfie  man  Me  ofiJina/iy. 
'^_jneM  k  a  (/Hoikt^Mfin  aeam  neafi  you  wm 
*):"  wiii  ce  (^Ua  h  counsel  w/M  you  as 
h  yeu/i  neeJs,  maie 
aemsnskah'ms,  ana  exfi/a/n  a 
ifoe/ia' jinanctnt^  fiian.  0/i  ysu  can 
omin  aesc/iffi^ive  ifk^ah/ie  en  any 
(/Ke^iepafi^  ji/ieJuci  wMeui 
;.-^,         eiii^aiien  iy  aJJ^ssint^ 
yeu/i  fie^ues^  h 
J^eiie^/iafiL  cine., 

443  f  Wes/  Zaie  Skeci, 
C/iica^e  24,  Jllineis. 


PIOJICTORI 


mOTIOGRflPH 


(Condenser 


I  ma^e  -  forming' 
lens 


iC 


Aperture 


T 


FIG.  5.  The  Koehler  "intermediate-imase"  condenser  system  for  incandescent  portable   projectors. 
The  condensing  lens,  not  the  bulb  filament,  is  imaged  upon  the  aperture,  hence  uniform  light. 


and  rugged  electrical  components 
which  resemble  those  used  in  the 
American  Motiograph  -  Mirrophonic 
amplifiers. 

Ikovox  speaker  combinations,  con- 
sisting of  low-frequency  dynamic  PM 
speakers  and  cellular  high-frequency 
horns  in  baffle  cabinets,  are  quite  like 
those  put  out  in  America. 

The  two  latest  Zeiss  Ikon  reflector 
arc-lamps  are  the  Ikosol  II  for  normal 
(low-intensity)  carbons  up  to  35 
amperes  and  for  Beck  (high-intensity) 
carbons  up  to  50  amperes,  and  the 
Magnasol  IV  for  Beck  carbons  up  to 
80  amperes.  These  are  illustrated  in 
Fig.  4.  Although  these  units  resemble 
American  simplified  HI  lamps  in  their 
general  particulars,  several  significant 
differences   require   comment. 

Instead  of  being  placed  at  the  ex- 
treme rear  of  the  lamphouse,  the 
mirror  is  positioned  farther  forward, 
as  in  the  older  American  reflector 
lamps  designed  exclusively  for  LI 
operation.  This  position  has  always 
seemed  desirable  to  the  writer,  for  it 
permits  better  facilities  for  adjusting 
the  mirror-aperture  distance  to  obtain 
maximum  uniform  illumination  on  the 
screen. 
Two  Feed  Motors 

Although  we  do  not  find  automatic 
"photronic"  arc-positioning  in  these 
German  lamps  (a  feature  of  several 
American  rotating-positive  lamps)  the 
Ikosol  II  merits  attention  by  having 
two  separate  feed  motors,  one  for  the 
positive  carbon  and  one  for  the  nega- 
tive. This  arrangement  (of  which  we 
do  not  entirely  approve)  eliminates 
the  need  for  differential  gears  and 
cams  which,  however,  are  found  in  the 
Magnasol  IV.  Because  these  lamps 
(especially  the  Ikosol  II)  may  be  used 
for  LI  as  well  as  HI  projection,  the 
ratio  of  negative-  to  positive-carbon 
rates  of  feeding  can  be  varied  through- 
out an  enormous  range. 


The  controls  of  the  Magnasol  IV 
are  neatly  arranged  on  a  panel  beneath 
the  door  on  the  operating  side,  elimi- 
nating an  array  of  knobs  on  the  rear 
of  the  housing  and  permitting  the 
projectionist  to  operate  the  projector 
without  rising  from  his  seat  by  its 
side. 

The  door  of  the  lamphouse  carries 
the  crater  screen  as  well  as  a  dark- 
glass  window,  and  is  opened  by  sliding 
it  up  into  the  lamphouse.  So  also  with 
the  Ikosol  JI.  The  housing  of  both 
lamps  is  double-walled  and  well 
ventilated. 

The  Ikosol  II,  designed  primarily 
for  use  with  the  amazing  "Waben- 
kondensor"  (Honeycomb  Condenser) 
to  permit  even  and  uniformly  white 
screen  illumination  with  even  the  very 
lowest  HI  arc  currents,  and  without 
much  attention  to  the  evenness  with 
which  the  positive  crater  forms,  has 
very  few  knobs.    The  mirror  adjust- 


ments, moreover,  are  inside  the  lamp, 
and  may  be  reached  by  raising  the 
door  slightly.  We  should  not  like  this 
feature  if  we  were  operating  the  lamp 
without  the  Wabenkondensor,  but  with 
this  special  optical  system  the  mirror 
adjustments  need  not  be  altered  once 
they  are  set  for  maximum  light. 

Lamps  Are  Lighier 

The  first  models  of  the  Ikosol  (not 
the  present  model)  have  been  criticized 
by  European  projectionists  for  flimsy 
construction,  and  while  it  is  true  that 
German  lamps  are  lighter  and  perhaps 
less  substantially  built  than  many 
American  lamps,  a  high  degree  of 
ruggedness  and  mechanical  stability  is 
claimed  for  the  Ikosol  II. 

While  limitations  of  space  prevent 
a  discussion  of  the  caboose-shaped 
predecessors  of  these  modern  German 
lamps  (Magnasol  I,  II,  and  III,  Erne- 
sol,  Kinesol,  Artisol,  and  Ikosol  I), 
attention  is  called  to  the  influence 
which  American  lamp  design  has  ex- 
erted upon  the  kerosene-drum  shape 
of  the  lamp  housing  and  upon  such 
details  as  the  carbon-consumption 
scales,  arc-indicator  screen,  spatter- 
guard  douser,  and  plain  glass  mirror 
shield  (which,  however,  covers  only 
the  bottom  portion  of  the  mirror) . 

The  mirrors  employed  in  these  lamps 
—  300  mm.  (11%  in.)  diameter  for 
the  Ikosol  II  and  356  mm.  (14  in.) 
diameter  for  the  Magnasol  IV  —  are 
aspheric  reflectors  made  of  Ignal  glass 
and  notched  out  at  the  top  (like  the 
old  Peerless  LI  reflectors)   to  prevent 


FIG.  6.  The  Wabenkondensor,  or  honeycomb  condenser,  a  special  modification  of  the  Koehler 
principle  for  use  with  HI  mirror  arcs.  The  mirror  is  imaged  by  each  rectangular  lens  of  plate  A 
upon  each  corresponding  hexagonal  lens  of  plate  B.  The  lenses  of  plate  B,  in  turn,  superimpose 
ih*  images  of  the  rectangular  lenses  of  plate  A  upon  the  operture  to  give  uniform  brightness. 


12 


INTERNATIONAL  PROJECTIONIST     •     JANUARY  1954 


cracking  due  to  the  heat  of  the  arc. 
When  used  in  conjunction  with  the 
Wabenkondensor  the  side-to-center  dis- 
tribution of  these  lamps  is  88%  -  90%. 

The  theory  of  the  Wabenkondensor 
was  discussed  in  our  translation  and 
commentary  beginning  on  page  5  of 
the  April  1951  issue  of  IP.  Now  that 
the  Wabenkondensor  has  undergone 
further  development  and  has  enjoyed 
wide  and  successful  use  in  the  field,  a 
review  of  this  ingenious  optical  sys- 
tem is  again  in  order. 
The  Wabenkondensor 

In  principle,  the  Wabenkondensor 
is  a  special  application  of  the  Koehler 
intermediate-lens  system  used  in  Ger- 
man portable  projectors  to  provide 
perfectly  smooth  screen  illumination 
with  incandescent  lamps.  Fig.  5  illus- 
trates the  Koehler  system. 

When  an  ordinary  condensing  lens 
is  used,  a  more  or  less  fuzzy  image 
of  the  bulb  filament  is  focused  upon 
the  projector  aperture,  and  the  field 
of  illumination  on  the  screen  is  ac- 
cordingly marred  by  traces  of  the 
filament  image.  The  Koehler  system 
eliminates  these  inequalities  of  light 
by  intercepting  the  beam  with  a  second 
lens  which  forms  an  image  of  the 
evenly  illuminated  condenser  upon  the 
aperture. 

Now,  the  center  of  the  positive 
crater  of  a  high-intensity  arc  is  con- 
siderably brighter  than  the  edges,  the 
brightness-difference  increasing  with 
decreasing  current.  For  example,  the 
brightness  of  the  edges  of  the  crater 
is  but  65%  that  of  the  middle  at  50 
amps.,  and  only  45%  at  25  amps.,  the 
lowest  practical  current  for  HI  arcs. 
When  this  type  of  luminous  crater  is 
imaged  upon  the  projector  aperture, 
as  by  a  conventional  arc-lamp,  we  get 
a  field  illumination  on  the  screen 
which  is  bright  in  the  center  and  dim 
at  the  edges. 

Secret  Is  "Honeycomb" 

This  disadvantage  of  HI  projection 
could  be  overcome  by  the  Kohler  ar- 
rangement, imaging  the  uniformly  il- 
luminated mirror  upon  the  projector 
aperture  by  means  of  a  lens  placed 
in  the  light-cone  of  the  lamphouse. 
But,  unfortunately,  the  hole  in  the 
center  of  the  mirror,  as  well  as  the 
interposed  positive  -  carbon  holder, 
would  cast  shadows  upon  the  aperture, 
making  the  light  even  more  uneven. 
To  make  the  Koehler  principle  applic- 
able to  the  mirror  arc,  therefore,  a  new 
kind  of  lens  had  to  be  devised  —  the 
"Honeycomb"    (Waben)    condenser. 


Fig.  6  is  a  diagram  of  the  Waben- 
kondensor setup.  The  ordinary  image- 
forming  lens  of  Fig.  5  is  replaced  by 
two  "lens-array  plates"  {Linsenraster- 
plalten)  which  consist  of  a  large 
number  (about  150)  of  single  lenses 
which  join  each  other  without  any 
gap  (Fig.  7).  The  number  and  ar- 
rangement of  these  lenses  is  the  same 
on    both   plates,    but   their   sizes    and 


FIG.   7.  The  Wabenkondensor  assembly  In  place 

in  an  arc-lamp.     Pictured  below  it  are  the  two 

lens-array    plates:       (left)    the    rectangular-lens 

plate,    (right)    the   hexagonal-lens    plate. 

shapes  are  different.  Each  single  lens 
of  the  lenticular  plate  A  in  Fig.  6 
focuses  an  image  of  the  mirror  upon 
its  corresponding  lens  in  plate  B.  The 
lenses  of  plate  B  are  hexagonal  to 
conform  to  the  circular  form  of  the 
mirror  image. 

Each  individual  lens  of  plate  B,  in 
turn,  images  its  corresponding  lens  in 
plate  A  upon  the  projector  aperture. 
Accordingly,  the  lenses  of  plate  A  have 
an  oblong  shape  of  the  3 :4  proportion 
to  conform  to  the  shape  of  the  aper- 
ture. The  total  optical  effect  is  the 
superposition  on  the  aperture  of  about 
150  different  images  of  the  oblong 
lenses.  The  partial  shadowing  of  a 
portion  of  plate  A  by  the  positive 
carbon-holder  can  have  no  effect  on 
the  illumination  of  the  aperture,  which 
is  completely  even. 

The  Critical  Distance 

The  distance  between  the  mirror 
and  the  Wabenkondensor  is  not  par- 
ticularly important,  but  the  correct, 
and  very  critical,  distance  separating 
the  two  lenticular  reseau  plates  is 
maintained  by  their  mount,  which  re- 
places the  light-cone  of  the  lamp.  The 
distance   between   the   projector   aper- 


ture and  the  outer,  smooth  surface  of 
the  hexagonal-lens  plate  must  be  ad- 
justed to  136  mm.  (5.3.54  in.),  with 
a  permissible  leeway  of  1  mm.  (0.039 
in. ) .  Under  no  circumstances  should 
this  distance  be  altered,  for  any  change 
shows  up  on  the  screen  as  a  loss  of 
light  or  shadows  at  the  edge  of  the 
picture. 

It  may  seem  that  a  little  light  might 
be  lost  by  reflection  from  the  surfaces 
of  the  two  lenticular  reseau  plates, 
which  is  true;  but  these  losses  are 
minimized  by  the  use  of  high-grade 
glass  and  antireflex  coatings.  But 
whatever  the  residual  losses,  they  are 
more  than  compensated  for  by  the 
efficient  oblong  shape  of  the  spot  of 
light  on  the  aperture  plate.  A  circular 
spot,  as  every  projectionist  knows,  not 
only  wastes  a  great  deal  of  light,  but 
heats  the  film  gate  ( if  not  water- 
cooled)  to  an  uncomfortably  high 
temperature. 

It  has  long  been  this  writer's  opinion 
that  uniform  screen  illumination  of 
the  order  of  90%  -  95%  side-to-center 
distribution  is  a  necessity  for  first- 
class  projection,  and  that  the  projec- 
tionist is  severely  handicapped  in  the 
practice  of  his  art  by  the  ordinary  HI 
arc-lamp.  There  are  several  ways  to 
produce  uniform  HI  screen  illumina- 
tion, and  the  Wabenkondensor  sys- 
tem is  one  of  the  more  practical 
methods. 

Efficient  Illumination 

What  of  the  illumination  efficiency 
of  the  Wabenkondensor?  Does  it  in- 
crease the  brightness  of  the  picture 
or  does  it  waste  light?  These  questions 
can  be  answered  on  the  basis  of  tests 
made  with  the  Ikosol  II  lamp  burning 
various  HI  trims  with  and  without 
the  Wabenkondensor. 

In  making  these  comparative  tests 
the  projector  was  run  without  film,  a 
F/1.9  coated  lens  was  used,  the  plate 
glass  in  the  projection  port  was 
coated,  and  the  lamp  was  adjusted 
for  75%  -80%  side-to-center  distribu- 
tion of  screen  light  without  the  antire- 
flex-coated  Wabenkondensor,  88%  - 
90%)  with  it. 

With  a  6/5-mm  trim  burning  35 
amps,  screen  light  with  the  Waben- 
kondensor is  114%  of  the  light  with- 
out it.  With  a  6/5-mm  trim  at  40 
amps,  the  light  is  110%:  with  a  6V2/ 
Syo-mm  trim  at  40  amps.  113%;  with 
a  6y2/5^/^-mm  trim  at  45  amps. 
109%;  with  a  7/6-mm  trim  at  45 
amps.  115%;  and  with  a  7/6-mm 
(Continued  on  page  28) 


INTERNATIONAL  PROJECTIONIST 


JANUARY   1954 


13 


Color  Is  Catalyst  in  Battle  of  the  Tubes 


24-inch  color  television  tube  is  already  here.  So  claim  the 
engineers  who  developed  the  unpublicized  Chromatron.  RCA  and 
CBS  vie  in  race  for  public  favor  as  new  medium  gets  FCC  blessing 

By  FREDERICK  HODGSON 


COLOR  TELEVISION  has  arrived 
officially  —  and  with  it  comes 
the  start  of  one  of  the  most 
exciting  races  for  preferred  position 
since  land-hungry  settlers  in  the  Old 
West  careened  across  the  plains  in 
the  sprint  for  the  Cherokee  Strip.  The 
fun  began  on  December  17  when  word 
was  flashed  from  Washington  that  the 
Federal  Communications  Commission 
had  formally  approved  colorcasting 
under  standards  proposed  by  the 
National  Television  System  Com- 
mittee, an  all  industry  group  now  well 
known  by  its  initials,  NTSC. 

Thte  new  colorcast  standards,  replac- 
ing a  previous  set  approved  back  in 
1950  at  the  behest  of  the  Columbia 
Broadcasting  System  with  its  now  out- 
lawed (except  for  closed  circuit  color- 
casts) field-sequential  system,  permits 
reception  of  color  programs  on  stand- 
ard black-and-white  sets. 

In  this  article  we  are  concerned 
principally  with  the  "Battle  of  the 
Tubes,"  with  the  receiving  end  of  color 
television  rather  than  with  the  now 
satisfactorily  settled  issue  of  how  to 
put  the  show  on  the  air.    This  latter 


PHOSPHOR     SCREEN 
METAL     SHELL 


COLOR     GRID 


POST-DEFLECTION     VOLTAGE 


GUN     VOLTAGE 
5   KV  +  — 


13  KV 


This  !s  a  cross  section  of  the  Lawrence,  single- 
gun  Chromatron  tube.  Note  how  the  electron 
stream  inside  the  shell  is  deflected  by  the 
coil  magnetic  yoke.  Note,  too,  the  placing  of 
the  wires  of  the  color  grid  in  relation  to  the 
phosphor  face  plate.  The  13  KV  post  deflec- 
tion voltage  varies. 


matter,  of  great  importance  to  projec- 
tionists because  of  the  increasing  use 
of  film  both  for  broadcast  and  for 
rear  projection  in  live  shows,  will  be 
dealt  with  briefly  later  on  in  this  piece 
and  will  be  the  subject  of  future  IP 
attention. 

The  NTSC  standards,  now  a  part  of 
the  law  of  the  land  via  FCC  regula- 
tions, demand  that  any  color  television 
system  be  compatible,  in  other  words 
that  the  27,000,000  black-and-white 
sets  now  in  use  should  not  be  rendered 
obsolete.  The  three  types  of  tubes  to 
be  discussed  here  can  receive  in  either 
black-and-white  or  color,  a  simple 
clockwise  turn  of  the  chroma  dial  on 
the  receiving  set  changing  a  program 
broadcast  in  color  from  the  familiar 
blacks,  whites  and  grays  to  all  the 
hues  of  the  rainbow. 

Three  picture  cathode  tubes,  or 
kinescopes,  are  major  entries  in  the 
color  television  sweepstakes.  They  are 
RCA's  tri-dot,  three-gun  kinescope,  the 
one-gun  Lawrence  tube,  also  known  as 
the  Chromatron,  and  the  three-gun 
CBS-Hytron,  or  Colortron.  Engineers 
of  the  three  developing  companies 
quite  naturally  claim  very  special 
advantages  for  their  respective  brain 
children. 

Let's  look  at  this  trio  of  entries  in 
the  contest  of  the  cathodes,  starting 
with  a  brief  description  of  the  RCA 
receiving  tube.  This  kinescope  was 
discussed  in  some  detail  by  James 
Morris  in  an  article  on  "Color  TV  .  .  . 
and  How  it  Works!"  in  IP  for  Septem- 
ber, 1953. 

Basically  the  Same 

Basically,  the  three  kinescopes  are 
the  same.  The  differences,  however, 
are  of  extreme  importance  because 
they  will  determine  the  winner,  if  any, 
in  the  race  for  public  favor  —  and  be- 
cause the  differences  will  largely  de- 
termine how  much  you'll  pay  for  a 
color  TV  set  and  how  big  a  picture 
you  will  see. 

Each  of  the  tubes  is  of  the  vacuum 
type  employing  one  or  more  cathodes, 
or  "guns,"  to  fire  one  or  more  electron 


Dr.  Paul  K.  Weimer..  RCA  engineer,  is  shown 
holding  an  experimental  single  tube  unit  for 
the  taking  camera  in  the  RCA  tri-color  tele- 
vision broadcasting  system.  Called  an  icono- 
scope, or  orthicon,  the  tube  Is  expected  to  do 
the  work  of  the  three  tubes  now  used.  The 
CBS  system  uses  a  single  tube  for  broadcast- 
ing color,  separating  the  three  colors  by  means 
of  a  color  wheel.  Circuitry  for  the  single 
tube  is  simpler  than  for  three  guns,  according 
to  both  CBS  and  RCA  engineers. 


beams  at  a  phosphor  plate.  In  the 
black-and-white  phosphor  plates  the 
electrons,  hitting  the  phosphor  dots 
at  high  speed,  cause  these  dots  to  glow 
with  varying  brilliancy.  Hence  you 
are  able  to  see  a  picture.  In  color 
television  the  chemical  composition  of 
the  dots  has  been  changed  so  that  they 
glow  in  color,  also  with  varying  bril- 
liancy. In  the  case  of  the  Lawrence 
tube,  or  Chromatron,  there  are  no 
dots,  phosphor  strips  are  used  instead 
of  the  dots. 


Mask 


versue 


Grid 


The  electron  beams,  or  cathode  rays, 
carry  the  color  and  picture  informa- 
tion and,  in  accordance  with  NTSC 
demands,  utilize  black-and-white  scan- 
ning standards,  520  lines  at  30  cycles 
per  second.  Two  of  the  kinescopes, 
the  RCA  tube  and  the  CBS-Hytron, 
use  aperature  masks,  each  perforation 
positioned  directly  behind  a  phosphor 
dot.  Electrons  stream  through  the 
tiny  holes  of  the  plate,  strike  the  proper 
dots  and  so  produce  the  color  picture. 
The  Lawrence  tube,  using  but  one  gun, 
actually  bends  the  beams  by  means 
of  an  electrostatic  "lens,"  a  charged 
wire  grid  placed  just  back  of  the 
phosphor  face  plate.  This  "lens"  sys- 
tem eliminates  the  perforated  shadow 
mask. 

The  Lawrence  tube  differs  from  the 
RCA  and  CBS-Hytron  in  other  ways 
as  well.  For  example,  the  distance 
from  the  cathode  to  the  phosphor  plate 


14 


INTERNATIONAL  PROJECTIONIST     •     JANUARY  1954 


is  much  shorter  thus  permiting  a  inuch 
larger  picture.  First  of  these  new 
tubes,  now  completely  unknown  to  the 
general  public,  to  go  on  the  market 
will  be  as  big  as  those  now  popular 
in  black-and-white  sets,  21  inches  and 
24  inches.  The  top  picture  size  so  far 
announced  for  the  RCA  tube  is  16 
inches,  with  the  12Vi>  inch  tube  being 
widely  publicized.  A  21-inch  tube  has 
been  announced  by  CBS. 

In  the  RCA  tube  the  three  guns  arc 
positioned  inside  a  metal  cylinder  and 
converge  at  a  narrow  angle  so  as  to 
aim  three  narrow  electron  streams  at 
the  perforated  masking  plate.  The 
beams  sweep  across  the  plate,  electrons 
streaming  through  the  tiny  holes  to 
strike  the  phosphor  dots  and  make 
each  glow  in  its  proper  color.  The 
magnetic  deflection  system  in  the  tube, 
as  in  the  other  tubes  under  considera- 
tion here,  is  somewhat  similar  to  that 
used  in  the  black-and-white  tubes. 

An  idea  of  the  complexity  of  a 
cathode  color  tube  may  be  gleaned 
from  the  fact  that  for  the  RCA  121/.- 
inch  picture  size,  the  phosphor  plate 
contains  some  600,000  phosphor  dots, 
1,000,000  for  the  16-inch.  These  are 
placed  so  closely  together  that  the  re- 
sultant picture  is  smooth.  An  analogy 
might  be  the  photographs  reproduced 
in  IP  as  halftone  engravings  using  a 
120  screen.  Examine  one  of  these  pic- 
tures under  a  magnifying  glass  and 
you'll  see  a  myriad  of  tiny  dots.  Be- 
cause IP  is  printed  on  an  exceptionally 
fine  grade  of  paper  these  dots  can  be 
smaller  and  closer  together  than  is 
possible  for  a  daily  paper  printed  on 
newsprint.  Newspapers  usually  use  a 
screen  as  coarse  as  60-line,  or  even 
55-line.  Use  the  glass  to  examine  a 
photo  in  your  favorite  daily  and  you'll 
see  what  we  mean.  Another  analogy 
might  be  the  grain  in  film. 

Midget  Pictures 

Some  criticism  has  been  leveled  at 
RCA  tubes,  notably  by  Lee  DeForest, 
and  others,  who  say  that  the  necessary 
metal  shield  adds  unduly  to  the  weight 
and  also  restricts  picture  size.  RCA 
engineers,  on  the  other  hand,  insist 
that  there  actually  is  no  restriction  on 
the  ultimate  picture  size.  However, 
the  proof  is  in  the  eating,  and  any 
color  TV  we've  seen  on  RCA  sets  has 
been  of  the  midget  variety,  even  in 
situations  where  the  company  was 
putting  its  best  foot  forward  and 
would  be  expected  to  use  the  biggest 
screen  possible  and  still  have  a  good 


color  picture.  Too,  RCA  is  known  to 
be  experimenting  with  one-gun  tubes, 
even  with  the  wire  grid  type  of  electro- 
static lens  as  in  the  Lawrence  tube. 

In   IP's  humble  opinion,  subject  to 
change    as    the    inventive    genius    of 


Above  is  a  simplified  sketch  showing  the  pas- 
sage of  the  high-velocity  electron  stream  from 
the  cathode  of  the  Lawrence  tube  to  the  phos- 
phor plate  through  the  high-voltage  grid,  or 
electrostatic  lens.  Note  that  the  two  sets  of 
grid  wires  (marked  red  and  blue)  are  con- 
nected to  two  separate  electrodes.  In  prac- 
tice the  grid  is  set  but  a  fraction  of  an  inch 
behind  the  phosphor  plate. 

engineers  continues  to  perform  elec- 
tronic miracles,  the  most  promising  of 
the  three  tubes  under  discussion,  for 
mass  production  and  other  reasons,  is 
the  Chromatron,  or  Lawrence  tube. 
The  public  has  been  conditioned  to 
big  TV  screens  and  may  be  expected 
to  balk  when  asked  to  shell  out  any- 
where from  $500  to  $1,000  or  more 
for  a  TV  set,  color  or  not,  with  a  pic- 
ture size  reminiscent  of  the  early  days 
of  black-and-white. 

The  Chromatron  was  invented  by 
a  world-famous  physicist.  Dr.  Ernest 
0.  Lawrence,  winner  of  the  Nobel 
Prize  for  his  invention  of  the  cyclotron 
and  other  types  of  atom  smashers.  He 
is  now  director  of  the  Radiation  Labor- 
atory at  the  University  of  California 
and  consultant  to  Chromatic  Television 
Laboratories,  Inc.  Dr.  Lawrence  was 
one  of  the  top  ranking  scientists  called 
upon  for  work  on  the  atomic  bomb. 
He  is  responsible  for  the  development 
of  the  Calutron,  the  electromagnetic 
method  for  isotrope  separation. 

3-D  on  TV 

The  Chromatron,  based  on  Dr. 
Lawrence's  ideas,  was  brought  to  its 
present  development  by  Chromatic 
Laboratories,  a  Paramount  Pictures 
subsidiary  headed  by  Richard  Hodg- 
son (no  relation  to  the  writer),  a 
Stanford  University  engineer  and  war- 
time radar  expert.  We  first  saw  the 
new  tube  at  Chromatic's  closely- 
guarded  New  York  laboratory  on  the 


ninth  floor  of  the  Paramout  Building. 
There  we  examined  the  electrostatic 
lens  grid  assembly  and  phosphor 
plate,  heart  of  the  tube.  We  men- 
tioned to  Albert  Chesnes,  a  Chromatic 
engineer,  that  the  assembly,  with  its 
grid  of  many  hundreds  of  fine  wires 
mounted  just  behind  the  phosphor 
screen,  looked  for  all  the  world  as  if 
the  lab  were  developing  a  motion  pic- 
ture screen  for  parallax  barrier  .3-D. 
Chesnes  grinned,  and  let  a  secret  slip. 
Just  for  the  heck  of  it.  Chromatic 
engineers  had  "broadcast"  .3-D  over 
the  closed  laboratory  circuit.  This, 
however,  had  nothing  to  do  with  the 
wire  grid.  Any  color  tube,  RCA,  CBS 
or  Lawrence,  can  pick  up  perfectly 
good  stereoscopic  pictures  of  the 
anaglyph  variety.  Viewers,  of  course, 
must  wear  traditional  red-and-green 
anaglyph   glasses. 

Later,  still  over  the  closed  circuit, 
Chromatic  engineers,  for  the  benefit 
of  IP  and  Henry  Kogel,  staff  engineer 
for  SMPTE,  "broadcast"  an  analyph 
still  picture.  As  in  theatre  3-D  pro- 
jection using  the  anaglyph  system,  the 
original  color  picture  reached  the  eyes 
through  the  "glasses"  as  a  black-and- 
white  picture.  Without  the  red-and- 
green  viewers  the  picture  was  nothing 
but  a  dark  blur  with  red  streaks. 

3-D  Importance 

This  completely  unexpected  blessing, 
or  curse  if  one  doesn't  happen  to 
like  the  third  dimension  in  movies 
and  shudders  at  the  idea  of  its  inva- 
sion of  the  home,  is  of  real  interest 
and  may  be  of  great  importance.  With 
3-D  projection  of  training  films  in 
industry  and  for  military  training  pur- 
poses, rapidly  gaining  in  use,  along 
with  in-plant  television,  the  possibili- 
ties for  development  are  obviously  very 
great. 

Up  to  this  writing  telecasting  of  3-D 
has  been  impossible  except  under  har- 
rowing conditions.  Several  months 
ago  we  saw  true  3-D  on  our  home 
black-and-white  television  set  in  a 
broadcast  from  the  University  of 
Pennsylvania.  The  viewer  stood  with 
his  back  to  the  screen  and  watched  the 
screen  in  a  mirror  held  at  arm's 
length.  A  piece  of  cardboard  was  then 
held  vertically  on  a  level  with  the  nose, 
permitting  the  eye  to  get  just  one  of 
twin  pictures  on  the  screen.  We  saw 
3-D  alright  but  wouldn't  want  to 
spend  an  evening  with  such  dubious 
entertainment. 

riO  BE  CONTINUED] 


INTERNATIONAL  PROJECTIONIST     •     JANUARY  1954 


1$ 


The 


SCORE 
FOR  '54 


By  THOMAS  L.  BURNSIDE 


In  or  out  of  sync,  the  third-dimension  business  booms  as  single-strip  and 
twin-film    proponents  view   the   New   Year   through    rose-colored   filters 


WHAT  with  "Kiss  Me  Kate,'" 
"Hondo"  and  other  3-D  fea- 
tures burning  up  boxoffice 
records  all  the  way  from  the  smog- 
ridden  shores  of  California  to  the 
rocky  coast  of  Maine,  the  backers  of 
the  third-dimension  are  happily  look- 
ing forward  to  the  sham  and  shekels 
of  fifty-four. 

Let's  take  a  quick  look  at  the  3-D 
picture  before  the  stereophony  horn- 
tooting  and  elbow-bending  of  New 
Year's  Eve  is  forgotten. 

To  begin  with,  some  sort  of  single- 
film  system  seems  to  be  in  the  cards, 
despite  the  askance  glances  of  some 
chief  projectionists  who  are  not  too 
fond  of  the  beam-splitting  apparatus 
now  being  diligently  peddled  by  a  half 
a  dozen  companies. 

Meanwhile,  it's  gleefully  claimed 
that,  as  of  January  1,  some  5,000 
theatres  in  the  nation  have  been 
equipped  for  3-D. 

The  Baffle  of  Sysfems 

Here's  a  quick  run-down  on  the 
various  single-strip  3-D  systems  in  the 
nation  as  the  film  industry's  most  cock- 
eyed year  got  the  hook  from  the 
wings : 

Vectograph:  This  is  a  really 
promising  single  film  idea,  now  being 
hatched  by  the  Polaroid  Corp.,  Cam- 
bridge, Mass.  The  picture-carrying 
emulsion  is  on  both  sides  of  the  film 
base,  therefore  but  one  projector  is 
needed.  No  projection  filters  are  re- 
quired because  each  side  of  the  film  is 
polarized  oppositely.  Viewers,  how- 
ever, are  specific.  Vectograph  has 
just  signed  a  royalty  agreement  with 
Technicolor.     Watch    this    one! 

MOROPTICON:  This  is  the  Matthew 
Fox  tie-in  beam-splitter  system  and  was 
described  in  the  December  IP. 

Nord:  Like  Moropticon,  this  is 
also  a  beam-splitter  although  the  Nord 
people  don't  like  that  term,  claiming  it 
lets  through  more  light  than  other  pro- 
cesses of  the  same  ilk.     However,  the 


prism  apparatus  is  larger  than  the 
Moropticon  and,  because  of  projection 
room  architecture,  it  is  sometimes 
mounted  outside  the  ports.  It  uses 
filters  and  requires  audience  viewers. 

More  Light  Claimed 

Norling:  Claims  three  times  more 
light  than  other  systems.  Uses  a 
double  lens  assembly  attached  to  any 
standard  projector.  John  A.  Norling, 
the  inventor,  says  it's  not  a  beam  split- 
ter. IP  holds,  however,  that  if  the 
light  comes  from  one  strip  of  film  a 
beam  must  be  split  somewhere. 

Photorama:  Claims  that  no  audi- 
ence viewers  are  necessary.  The  sys- 
tem involves  the  ingenious  use  of  a 
screen  mounted  on  a  concave  frame. 
Doc  Faige,  director  of  Norpat,  is  in- 
terested in  this  one. 

Synthetic  Vision:  This  is  a  beam 
splitter.  Company  tells  IP  it  is  getting 
set  to  demonstrate  for  the  trade  quite 
soon  in  Dayton,  Ohio. 

Stereocolor:  This  uses  a  dual 
lens  arrangement  in  the  projector  and, 
at  no  increase  in  sprocket  speed,  shoots 
48  images  a  second  at  the  screen.  Roy 
E.  Schensted,  developer  of  this  one- 
strip  color  system,  claims  his  process 
gives  the  necessary  solidity  to  the  pic- 
ture on  the  screen.  Stereocolor  has 
been  demonstrated  in  Davenport, 
Iowa,  and,  while  IP  hasn't  seen  it  and 
therefore  cannot  vouch  for  its  value, 
engineers  who  have  seen  it  say  the 
thing  really  works. 

Television  3-D 

Geneoscope:  Primarily  for  tele- 
vision 3-D,  this  process  is  claimed  by 
its  sponsors  to  be  applicable  to  the- 
atres as  well.  In  this  system  the 
viewer  does  all  the  work,  wearing  a 
pair  of  "shadow  boxes"  with  lenses 
over  each  eye.  One  lens  cuts  down 
the  speed  of  the  light  rays  from  the 
screen  (that's  what  the  man  says!), 
the  other  letting  the  beam  pass  normal- 
ly.   The  result  is  one  image  hitting  the 


retina  a  split  second  before  the  other, 
thus  giving  the  stereo  effect. 

DoRSETT:  This  one,  developed  by 
Dorsett  Laboratories  for  military  use, 
is  promised  for  some  time  in  '54  but 
hasn't  been  released  so  far  for  mere 
civilians. 

AsTOR:  Uses  a  single  film  and  a 
single  lens  on  a  special  camera.  Film 
speed  in  the  taking  camera  is  doubled 
and,  so  far  as  IP  can  find  out  right 
now,  the  printing  process  does  the 
rest.  Sponsors  of  the  system,  known 
as  the  "Astor  3-D  Single-Camera  Op- 
tical Unit,"  are  R.  M.  Savini,  presi- 
dent, and  John  C.  Feys,  vice-president, 
of  Astor  3-D  Films,  Inc. 

3-D  Screen:  Word  from  London 
has  it  that  Boris  Morros,  who  is  dem- 
onstrating the  Moropticon  system  in 
the  British  Isles,  has  got  hold  of  a 
special  multiple-screen  system  that  will 
enable  people  to  get  the  stereo  effect 
without  glasses.  To  IP,  this  sounds 
like  another  parallax  barrier  gimmick. 
(Continued  on  page  27) 


(T,)    I 


GLASSES 


LEFT  EYE 
CONSCIOUS  OF 
PICTURE   AT 

T| 


RIGHT  EYE 

CONSCIOUS  OF 

PICTURE   AT 


This  is  a  sketch  of  the  Geneoscope  3-D  teio- 
vision  system.  The  system,  which  the  company 
says  is  adaptable  for  theatre  use,  requires 
viewers  to  wear  "glasses,"  red  over  the  left 
eye  and  yellow  over  the  right.  The  red  filter, 
according  to  the  Geneoscope  people,  retards 
the  chemical  dilution  of  the  red  pigment  of  the 
eye's  retina  causing  that  eye  to  see  the  picture 
at  Ti,  a  moment  before  the  right  eye  sees  T2. 
Illustration   is   by   courtesy   of   Tele-Tech. 


1$ 


INTERNATIONAL  PROJECTIONIST      •      JANUARY  1954 


PnjoJUe4n 


Projectionists  whose  problems  appear  below 
will  each  receive  a  $3.00  check  from  IP. 
We'd  like  to  know  "what's  YOUR  problem  ?" 


Q.  Perhaps  you  can  help  answer 
a  small  problem  which  should  be  of 
interest  to  other  projectionists.  Ashcraft 
lamps  are  well  known  the  world  over 
for  their  many  fine  features  and  here  in 
New  Zealand  we  have  many  of  these 
lamps  operating  in  numerous  theatres. 
As  you  know,  all  good  high  intensity 
lamps  have  some  means  of  projecting  an 
image  of  the  burning  carbons  onto  a 
gauge  card.  Ashcraft  lamps  have  an 
imager  assembly  but  owing  to  the  sys- 
tem used  the  projected  image  of  the 
two  carbons  is  upside  down  on  the  card. 
The  projectionist  is  constantly  looking 
at  an  arc  in  reverse.  He  has  two  carbon 
images  to  carry  on  the  gauge  card  lines 
to  be  sure  but  it  would  be  a  great  help 
to  have  the  projected  image  the  correct 
ivay  up.  The  factory  tells  me  that  a  small 
metal  plate  with  a  tiny  hole  drilled  in 
it  and  placed  an  inch  in  front  of  the 
present  lens  will  reverse  the  image.  I've 
tried  this  and  so  far  with  no  results. 
Perhaps  you  can  tell  me  how  the  arc 
image  can  be  reversed.  Is  it  only  pos- 
sible by  using  two  lenses?  The  present 
image  magnification  is  okay,  approxi- 
mately twice  actual  size  on  the  card. 
Douglas  A.  Harley,  Chief  Projectionist, 
Embassy  Theatre,  Auckland,  New  Zea- 
land. 

A.  Reversal  of  the  arc  image  is  ex- 
tremely simple,  but  for  the  life  of  us 
we  can't  see  why  you  want  to  do  that! 
The  "picture"  of  the  arc  tail  flame 
reaches  the  aperture  in  reverse,  exactly 
the  way  you  see  it  on  your  gauge  card. 
Obviously  you  have  an  older  Ashcraft 
lamp.  These  lamps  had  the  gauge 
mounted  near  the  top  of  the  lamp  house, 
with  the  lens  and  mirror  assembly  on 
a  level  with  the  arc.  The  newest  lamps 
have  the  lens  and  mirror  in  the  same 
place  but  the  image-carrying  beam  is 
aimed  forward  and  hits  a  small  ground 
glass  screen.  The  image  is  still  inverted 
as  it  is  on  your  gauge  card.  Apparently 
someone  (Clarence  Ashcraft  swears  he 
didn't  do  it!)  suggested  to  you  that  you 
place  a  small  pin-hole  camera  in  front 
of  your  assembly.  Yes,  it  should  work. 
However,  Mr.  Ashcraft  and  your  IP 
reporter  ran  a  test  at  the  Long  Island 
City  factory  and  successfully  reversed 
the  image  by  inserting  a  small  (1" 
diameter)  long  focal  length  lens  in  front 
of  the  mirror.  We  held  the  lens  about  two 
inches  from  the  mirror.  The  tail  flame, 
right  side  up,  was  focussed  perfectly  on 
the  ground  glass  screen.  You  can  do  the 
same  thing  with  your  gauge  card,  using 
a  cheap  lens  from  the  corner  optician 
and  using  your  ingenuity  to  mount  it  in 


permanent  position. 

Anyway,  as  we  see  New  Zealand  from 
the  antipodes  in  New  York  everything 
is  upside  down  there.  Or  maybe,  from 
the  New  Zealand  point  of  view,  we're 
standing  on  our  heads  in  New  York. 


Q.  Will  you  please  advise  me  of  the 
correct  name  and  trade  term  for  the 
F/1.9  projection  mirrors  that  are  used 
with  F/1.9  projection  lenses?  The  supply 
dealers  in  our  territory  have  told  the 
managers  that  there  are  no  such  mirrors. 
^  will  appreciate  any  information  that  you 
can  give  me  on  this.  John  Marks,  Sec, 
Local    636,    Lewistown,    Penna. 

A.  The  supply  dealers  your  managers 
have  been  talking  to  must  have  rocks  in 
their  heads.  Just  to  make  sure  that  these 
mirrors  are  obtainable  through  dealers, 
IP  did  some  checking  in  the  New  York 
area  and  they're  buyable  from  any  one 
of  them. 

However,  you  do  not  tell  us  what  type 
lamp  you  use  —  and  these  fast  reflectors 
cannot  be  used  with  most  lamps  because 
the  mirrors  are  made  only  in  16" 
diameters  and  above.  For  example,  the 
Strong  "Mighly  90,"  and  several  other 
lamps  can  take  a  big  mirror,  the  dimen- 
sions of  the  housing  being  big  enough. 
If  you  have  been  using  slower  speed 
lenses  and  have  now  switched  to  the 
F/1.9,  or  even  F/1.8,  and  are  having 
trouble  because  of  your  14"  mirrors, 
things  can  usually  be  corrected  by 
changing  the  operating  distances  within 
the  lamphouse,  the  positioning  of  the 
arc  in  relation  to  the  mirror  and  the 
lens,  as  an  example.  Your  service 
engineer  should  know  about  this.  Or 
you  might  write  to  the  manufacturer  of 
your  lamps.  Give  him  all  details,  includ- 
ing throw,  screen  width,  etc.  We  can't 
help  you  very  much  from  here  because 
we  lack  the  essential  information  about 
the  situation,  or  situations,  involved. 


Q.  I  have  been  taking  IP  for  only  a 
short  time,  so  maybe  you  have  discussed 
this  problem  in  earlier  issues  although 
I  haven't  heard  about  it.  While  I  realize 
you  cannot  give  me  a  solution  for  my 
problem,  I  am  in  hope  that  you  could 
satisfy  my  curiosity  by  giving  me  a  rea- 
son for  it.  I  work  for  an  organization 
■which  exhibits  second-  and  third-run 
features.  In  many  cases  I  will  find  al- 
most the  last  14  feet  of  a  reel  com- 
pletely covered  with  all  sizes,  shapes  and 
descriptions   of   cue   marks.     Why   is   it 


necessary  for  each  projectionist  to  put 
on  his  own  personal  cues?  Aren't  the 
original  ones  sufficient?  Dennis  Lewis, 
10337  Dante  Ave.,  Oakland,  Calif. 

A.  According  to  Mike  Springer,  chief 
projectionist  at  RCA's  Johnny  Victor 
Theatre  in  New  York,  projectionists 
should  be  happy  to  go  by  the  Academy 
standard  cue  markings  that  are  placed 
on  all  prints  sent  out  by  the  studios  to 
the  exchanges  and  from  there  to  the 
projection  room.  When,  for  some  reason, 
extra  cue  marks  must  be  made,  they 
should  be  done  neatly  with  a  grease 
pencil  or  special  marking  device.  Cue 
marks  which  scar  or  scratch  the  print 
are  not  only  unnecessary  but  most  unfair 
to  those  who  must  use  the  print  after- 
wards. 

Unfortunately  there  is  a  persistent 
feeling  among  some  projectionists  that 
their  own  specially-designed  cue  marks 
give  a  greater  sense  of  security  during 
changeover.  These  projectionists  are 
said  to  feel  that  they  are  putting  their 
signature  on  the  film  when  they  make 
their  own  cue  marks,  and  they  don't  get 
the  same  feeling  of  security  from  marks 
made  by  somebody  else.  It  is  also  true 
that  a  projectionist,  faced  with  an  al- 
ready badly  marked-up  print,  often  has 
no  choice  but  to  add  extra  cue  marks  to 
avoid  confusion.  In  addition,  the  stand- 
ard cue  marks  may  sometimes  be  very 
dim  or  even  missing.  IP  is  planning  an 
article  on  this  subject  in  the  near  future. 

PERSONAL    note's" 

Dr.  Alfred  N.  Goldsmith,  a  co-founder 
of  the  42-year-old  Institute  of  Radio 
Engineers,  will  receive  the  coveted 
Founders  Award  of  the  IRE  at  the  Insti- 
tute's annual  banquet  in  March  at  the 
Hotel  Waldorf-Astoria  in  New  York.  The 
award  is  given  only  on  rare  occasions 
to  outstanding  leaders  in  the  radio 
engineering  profession.  Dr.  Goldsmith, 
a  past  president  of  the  SMPTE,  re- 
ceived the  IRE  Medal  of  Honor  in  1941. 

R.  WiLLL\M  Dassow  has  been  appointed 
sales  manager  for  the  the  theatre  and 
television  screen  division  of  Radiant  Mfg. 
Corp.,  Chicago,  makers  of  the  Astrolite 
screen.  Mr.  Dassow  was  formerly  sales 
manager  of  C.  Bendsen  Marquee  Co., 
and  later  part  owner  of  several  outdoor 
theatres.  He  was  also  associated  with 
National  Theatre  Supply  for  18  years, 
eight  of  which  were  with  the  New  York 
branch  and  ten  years  as  manager  of  the 
Chicago   branch. 


INTERNATIONAL  PROJECTIONIST      f      JANUARY  1954 


17 


11 

Hw^       '^  ^^1 

9 

^  ^^^^^s 

u 

n 

■iliP^^^^^-^^ 

BBK 

y 

1 

1 

4'.i:i*#>^ 

■ 

■i 

,m   Hi;" 


^f^^^^^'k^S 


Old  Style  shooting... 


ne\A/  style  showing 


"Law  and  lawless  meet  on  the  street  and  shoot  it  out."  Time-honored 
script . . .  new  style,  wide-angle  handling — giant  figures,  cause-and-effect 
in  action,  sense  of  depth — all  in  one.  Made  for  today's  projection — 
sound  and  picture — on  today's  wider  screens.  Technical  problems, 
there  are  . . .  problems  of  film  selection,  processing  and  projection  . . . 
problems  which  Kodak  is  helping  the  industry  solve  through  the  facilities 
of  the  Eastman  Technical  Service  for  Motion  Picture  Film. 

Branches  are  located  at  strategic  centers,  inquiries  invited. 

Address:  Motion  Picture  Film  Department,  EASTMAN  KODAK  COMPANY,  Rochester  4,  N.  Y. 


East  Coast  Division 
342  Madison  Avenue 
New  York  17,  N.  Y. 


Midwest  Division 

137  North  Wobash  Avenue 

Chicago  2,  Illinois 


West  Coast  Division 

6706  Santa  Monica  Blvd. 

Hollywood  38,  California 


Old  style  shooting... 

new  style  showing 


"Law  and  lawless  meet  on  the  street  and  shoot  it  out."  Time-honored 
script . . .  new  style,  wide-angle  handling — giant  figures,  cause-and-effect 
in  action,  sense  of  depth — all  in  one.  Made  for  today's  projection — 
sound  and  picture — on  today's  wider  screens.  Technical  problems, 
there  ore  . . .  problems  of  film  selection,  processing  and  projection  . . . 
problems  which  Kodak  is  helping  the  industry  solve  through  the  facilities 
of  the  Eastman  Technical  Service  for  Motion  Picture  Film. 

Branches  are  /oco/ed  at  strategic  centers,  inquiries  invited. 


IN    THE 


SPOTLIGHT 


THE  BUREAU  of  National  Af- 
fairs, a  non-partisan  research 
service,  recently  announced  that 
paid  vacations  are  now  practically 
universal.  The  Bureau  analyzed  400 
current  labor-management  contracts, 
covering  all  fields,  and  found  that  paid 
vacations  are  provided  in  98  percent 
of  union  contracts,  compared  with  90 
percent  in  1950.  The  most  prevalent 
vacation  formula  calls  for  one  week 
after  one  year's  employment;  two 
weeks  after  five  years'  service,  and 
three  weeks  after  15  years.  Vacation 
as  an  earned  right  for  workers  has 
become  an  accepted  fact  in  unionized 
industries. 

•  Frank  Kinsora,  president  of  Detroit 
Local  199  for  the  past  20  years,  has 
taken  over  the  duties  of  ailing  Roger 
Kennedy,  the  Local's  business  repre- 
sentative. Kennedy  has  been  in  failing 
health  for  the  past  few  years,  but  was 
able  to  take  care  of  his  ofi&cial  duties 
until  recently  when  his  illness  took  a 
serious  turn. 

•  The  wage  committee  for  Local  324, 
Albany,  N.  Y.,  recently  concluded 
negotiations  for  a  new  contract  pro- 
viding members  of  the  Local  with  $4 
weekly  wage  increases,  retroactive  to 
September  1,  1953.  A  special  feature 
of  the  new  pact  calls  for  an  additional 
$7.75  per  week  when  3-D  features  are 
shown.  lA  Representative  Joseph  Bas- 
son  assisted  the  Union  officials  in  the 
negotiations. 

•  AFL  unions  have  contributed 
$90,000  to  the  Truman  Memorial 
Library  at  Grandview,  Mo.  It  is  esti- 
mated that  the  library  will  cost  $1,750,- 
000.  AFL  President  George  Meany  is 
one  of  the  trustees  of  the  Harry  S. 
Truman  Library,  Inc. 

•  Herbert  AUer,  business  representa- 
tive for  Cameramen's  Local  659,  Holly- 
wood, Calif.,  recently  charged  that 
documentary  films  are  being  produced 
for  the  U.  S.  State  Department  and 
the  U.  S.  Armed  Forces  by  non-union 


civilians,  who  have  been  given  motion 
picture  contracts  by  these  government 
agencies.  "Using  non-union  civilians 
to  make  pictures  in  this  country  for 
the  State  Department  and  Armed 
Forces  is  comparable  to  using  prison 
labor  to  escape  paying  union  labor 
scales,"  he  stated.  AUer  promised  to 
launch  an  investigation  to  find  out  if 

We  wish  to  extend  our  thanks  to 
our  many  friends  throughout  the 
Alliance  who  so  graciously  remem- 
bered us  with  their  beautiful 
cards    during    the    Holiday    Season. 

the  purpose  of  this  policy  is  to  "under- 
mine unions."  He  is  arranging  an 
early  meeting  with  lA  President  Walsh 
for  the  purpose  of  further  exploring 
the  situation  and  taking  necessary 
measures  to  counteract  this  policy. 

•  A  report  in  the  exhibitor  trade 
press  relative  to  the  decision  handed 
down  by  the  American  Arbitration 
Board  in  the  controversy  between  Los 
Angeles  Local  150  and  the  Southside 


Theatres  and  the  Fanchon  &  Marco 
circuit  anent  3-D  showings  was  so 
slanted  as  to  appear  in  favor  of  the 
exhibitors.  The  following  explanation, 
forwarded  to  this  department  by 
Charles  Vencill,  secretary-treasurer  of 
the  Local,  puts  a  slightly  different  light 
on  the  ruling,  to  wit: 

"Our  contract  provides  for  arbitra- 
tion on  conditions  within  the  contract," 
states  Vencill.  "Southside  Theatres  and 
Fanchon  &  Marco  tried  to  arbitrate 
something  that  was  not  in  the  contract, 
charging  violation  of  certain  clauses 
which  in  no  way  pertained  to  3-D  be- 
cause there  was  nothing  in  the  contract 
that  mentioned  3-D. 

"The  Local  held  that  the  contract 
covered  only  flat  pictures  because  at 
the  time  of  the  negotiations,  3-D  was 
unknown  and  not  discussed.  South- 
side  Theatres  and  Fanchon  &  Marco 
wanted  to  substitute  arbitration  for 
negotiations.  The  Local  held  that  3-D 
was  not  arbitrative  under  the  terms  of 
the  contract.  The  Arbitration  Board 
on  a  2  to  1  decision  upheld  the  Local's 
contention  that  the  contract  calling  for 
one  projectionist  applied  only  to  flat 
pictures  and  that  3-D  showings  were 
subject  to  further  negotiations." 

•  Local  400,  Alexandria,  La.,  reached 
an  agreement  with  the  management  of 
the  Joy  Twin  Drive-In  and  the  Joy 
Drive-In  theatres  in  which  the  projec- 
tionists were  given  a  7%  percent 
weekly  wage  increase,  effective  January 
2,  1954.  Representing  the  Local  at 
the  negotiations  were  W.  Martin  Lip- 


LOCAL  306  MEMBERS  BRING  HOLIDAY  CHEER  TO  HOSPITAL  PATIENTS 


Members  of  the  Movie  Social  Club  of  Kings  County,  which  is  comprised  of  members  of  New 
York  306,  at  the  Hospital  of  St.  Giles  the  Cripple  in  Brooklyn,  N.  Y.,  on  Christmas  day  where 
they  distributed  gifts  and  brought  entertainment  to  the  crippled  children.  Harry  Garfman 
(center),  the  Brooklyn  and  Queens  business  representative  for  Local  306,  devotes  much  of  his 
spare  time  to  help  bring  a  little  sunshine  into  the  lives  of  these  unfortunate  shut-ins.  Club 
members  assisting  Garfman,  as  shown  above  are,  left  to  right:  Burt  Sutter,  Murray  Berlof, 
Harry  Weinberg,  and   Irving  Meltzer. 


20 


INTERNATIONAL  PROJECTIONIST      •      JANUARY  1954 


scomb,  business  representative;  Stew- 
art E.  Wilson,  secretary,  with  lA  Rep- 
resentative Albert  S.  Johnstone,  assist- 
ing in  the  discussions. 

•  AFL  and  CIO  leaders  signed  a  "no- 
raiding"  two-year  agreement,  in  Wash- 
ington, D.  C,  effective  January  first. 
Although  the  pact  is  binding  only  on 
the  parent  organizations,  leaders  of 
both  AFL  and  CIO  predict  that  the 
individual  Locals  will  soon  fall  in  line 
and  sign  similar  agreements. 

•  An  amendment  requiring  only  one 
man  in  the  projection  room  instead  of 
the  two-man  law  in  effect  for  the  past 
20  years,  was  recently  introduced  be- 
fore the  St.  Louis  board  of  alderman. 
This  bill  is  sponsored  by  a  group  of 
exhibitors  who  have  long  tried  to  re- 
duce the  projection  room  manpower 
and  are  determined  to  make  the  mea- 
sure effective  before  existing  contracts 
with  St.  Louis  Local  143  expire, 
August  31  next.  Needless  to  say. 
Local  143  officials  are  equally  deter- 
mined to  defeat  the  bill. 

•  Evidently  remembering  the  smart 
showmanship  of  Local  400  in  spot- 
lighting the  Christmas  parade  of  the 
previous  year,  the  Alexandria  (La.) 
Chamber  of  Commerce  once  again 
turned  to  the  Local  for  assistance  in 
staging  the  holiday  parade  last  month. 
The  Local's  job  was  to  highlight  the 
Santa  Claus  float  —  a  feature  attrac- 
tion of  the  parade.  A  Strong  Trouper 
spotlight  with  a  50-60  foot  throw,  was 
bolted  to  the  floor  of  a  trailer  that 
immediately  preceded  the  Santa  float 
so  as  to  provide  a  steady  light.  Nine 
different  color  combinations  playing 
on  the  float  achieved  a  kaleidoscopic 
effect,  producing  a  striking  spectacle. 

The  Local  received  a  rental  fee  for 
the  use  of  the  spotlight,  and  three  men 
working  the  parade  —  Jerry  Clark, 
Ralph  Scott,  and  Earl  Dupree  —  were 
well  paid  for  their  services.  W.  Mar- 
tin Lipscomb,  the  Local's  business 
representative,  was  in  charge  of  all 
arrangements. 

25  Years  Ago— January  1929 

•  The  lA  General  Executive  Board 
donated  $2,000  to  the  Gompers' 
Memorial  Fund  .  .  .  Warnings  were 
issued  against  a  party  who  used  the 
name  of  Lance  and  represented  him- 
self to  be  a  member  of  Local  185, 
Spokane,  Wash.  On  the  strength  of 
this  false  representation  and  forged 
documents,  he  borrowed  money  from 


the  Local  at  Columbus,  Ohio,  and  left 
the  city  before  he  could  be  appre- 
hended by  the  police,  presumably 
"working"  his  way  East  .  .  .  This 
seemed  to  be  open  season  for  imposters 
—  John  Downs,  claiming  membership 
in  Baltimore  Local  181,  appeared  at 
several  Southern  Locals  for  the  pur- 
pose of  obtaining  loans.  The  Balti- 
more Local  denied  Downs'  claim  of 
membership  .  .  .  Minutes  of  the  Gen- 
eneral  Executive  Board  meeting,  held 
at  the  Hotel  Roosevelt,  New  Orleans, 
La.,  November  19,  1928,  were  pub- 
lished in  the  lA  Bulletin  for  January, 
1929.  Among  the  cases  heard  and 
acted  upon  by  the  Board  were  the 
following: 

Request   of   Local   348,   Vancouver, 


B.  C.  to  transfer  back  to  the  First 
from  the  Twelfth  District.  Unanimous- 
ly approved  .  .  .  Request  of  Local  289, 
Elmira,  N.  Y.  to  transfer  from  the 
Tenth  to  the  Fourth  District  was 
denied  .  .  .  Appeal  of  Fred  F.  Heck, 
Local  157,  Allentown,  Penna.,  against 
action  of  the  Local  in  expelling  him 
from  membership  for  violation  of 
Local  laws  was  denied  .  .  .  Local  376, 
Syracuse,  N.  Y.  appealed  for  the  rein- 
statement of  member  Robert  Sardino, 
who  had  been  expelled  on  complaint 
of  Syracuse  Local  9  for  violation  of 
International  By-Law.  Appeal  was  sus- 
tained and  reinstatement  approved  .  .  . 
Eugene  Klingensmith,  Local  132, 
Niles-Warren,  Ohio,  appealed  $10  fine 
for    breaking   Local   laws.     Denied. 


Turn  Your  Projection  Skills  Into  Cash ! 

Many  things,  from    busted   toasters,    irons   and    radio   sets, 
need  fixing  and  offer  ways  to  earn  spare  time  pin-money. 

By  MICHAEL  SMOLLIN 

Member,   Local   640,    Nassau   and   Suffolk    Counties,    N.   Y. 


npHE  SPECIALIZED  skill  of  the 
-■-  projectionist  opens  several  avenues 
to  sideline  income.  Many  projec- 
tionists, including  myself,  earn  extra 
money,  sometimes  in  considerable 
amounts,  by  exploiting  their  skills  out- 
side the  theatre.  Following  are  some 
suggestions  for  those  who  like  to  em- 
ploy their  free  time  in  profitable 
activities. 

Careful  analysis  of  sideline  activi- 
ties open  to  projectionists  reveals 
three  basic  requirements: 

(1)  Your  skill  —  this  includes  at 
least  an  elementary  knowledge  of 
electricity  including  Ohm's  Law,  the 
ability  to  use  a  multimeter,  soldering 
iron,  electric  drill,  tape  and  reamers. 
Also  very  important  is  your  ability  to 
find  needed  information  quickly.  This 
is  your  mental  equipment. 

(2)  The  second  requirement  com- 
prises your  stock  of  tools,  some  of 
which  you  probably  already  own  and 
others,  as  previously  mentioned,  you 
can  add  as  business  warrants.  You 
will  need  a  "base  of  operations"  — 
a  room  in  which  to  keep  your  equip- 
ment and  a  work  table. 

(3)  The  third  is  a  practical  and 
regular  method  of  going  after  busi- 
ness. 

Let   us   take  these   requirements  in 


order  and  examine  them.  Many  of 
us  learned  our  abc's  of  electricity  by 
bits  and  snatches  from  various  techni- 
cal books  and  articles.  Some  of  us, 
like  myself,  were  fortunate  enough  to 
have  to  our  credit  a  formal  course  in 
elementary  electronics.  A  knowledge 
of  Ohm's  Law  is  very  important.  It 
is  assumed  that  every  projectionist 
knows  this  law  in  its  algebraic  form 
so  that  he  can  quickly  and  accurately 
determine,  when  necessary,  the  dissipa- 
tion  requirements. 

Every  projectionist  should  be  able 
to  use  a  basic  test  meter  so  that  he  can 
measure  resistance,  AC  and  DC  volt- 
ages, current  consumption,  and  make 
continuity  checks.  Perhaps  my  own 
best  investment  was  the  $20  I  paid 
for  a  multimeter.  If  you  can  use  a 
meter  to  tests  for  leaks  and  grounds 
in  your  lamphouse,  you  can  make 
money  outside  the  theatre. 

The  foregoing  will  take  on  their 
full  importance  when,  for  instance,  the 
lady  next  door  brings  you  her  electric 
iron  which  refuses  to  work  (and  this 
is  exactly  how  many  of  us  started  on 
the  path  to  extra  income ) .  You  check 
the  plate  marking  on  the  iron,  attach 
the  meter  prods  across  the  plug 
prongs,  set  the  selector  for  the  proper 
range,  and  you  will  be  able  to  see  the 


INTERNATIONAL  PROJECTIONIST      •      JANUARY  1954 


21 


nature  of  the  trouble.  If  the  iron  is 
rated  for  1000  watts,  your  pencil  and 
paper  will  give  you  the  answer  quickly, 
using  Ohm's  Law. 

Repairing  electric  toasters,  and 
table  lamps  offer  another  source  of 
sideline  income. 

Record  Players 

You  probably  own  a  record  player 
and  you  know  from  your  own  experi- 
ence that  sooner  or  later  it  will  need 
attention.  The  manual  type  is  very 
simple;  the  changer  type  is  complex, 
particularly  the  three-speed  variety. 
You  should  obtain  servicing  instruc- 
tions for  the  changer  in  question  and 


Best  Wishes  for  a  Happy  and  Prosperous  1954 

to   all   our   Friends  from 

PROJECTIONISTS  LOCAL  NO.  128 
Boston,  Mass. 


a  most  satisfactory  income  may  be 
delivered  from  the  repair  of  these  ma- 
chines. 

Sound  Projectors 

In  addition  to  portable  sound  pro- 


cepted.     Placing    your    finger    on   the 
grid  cap  of  the  first  stage  tube  in  the 
amplifier  will  result  in  a  buzz  in  the 
speaker,  if  the  amplifier  is  OK. 
Portable   sound   movie   systems   are 


Study  them.    The  illustrations  that  are      jectors,  the  tape  recorder  is  also  be-      very  tough  and  can  take  a  lot  of  abuse.  I 


included  with  the  instructions  will  en 
able  you  to  grasp  the  sequence  of 
operations  and  will  give  you  a  better 
understanding  of  the  mechanism. 

Your  skill  also  includes  the  knowl- 
edge of  circuits  as  used  in  your  own 
theatre  amplifiers.  Many  portable 
record  changers  with  their  own  sound 
systems  require  frequent  attention  be- 
cause the  heat  is  contained  within  the 
cases.  This  heat  destroys  the  lubricat- 
ing qualities  of  grease  and  oil,  turning 
them  into  sticky,  gummy  layers  and 
interfering  with  the  automatic  opera- 
tion of  the  machine.  This  is  a  very 
lucrative  source  of  side-income,  but 
you  must  know  your  stuff  and  give 
quick  and  efficient  service. 

The  skill  of  the  projectionist  in 
handling  film  and  projectors  stands 
him  in  good  stead  in  the  16-  and  8-mm 
fields.  The  narrow  gauge  films  are 
widely  used  now,  especially  in  the 
educational  and  industrial  fields,  and 


coming  very  popular  in  non-profes- 
sional application.  Both  types  of 
equipment  are  operated  quite  often  by 
relatively  unskilled  persons  and  are 
bound  to  require  attention  by  an  ex- 
perienced person  sooner  or  later. 
Many  projectionists  own  their  own 
16-mm  equipment  and  profit  by  rent- 
ing it  out,  with  themselves  handling 
the  shows. 

In  checking  portable  projection  sys- 
tems, your  procedure  is  much  the  same 
as  with  standard  machines  in  the  pro- 
jection room  except  that  some  special 
stunts  may  be  necessary.  When  testing 
for  sound,  for  example,  use  a  piece  of 
thin  paper  to  interrupt  the  x-lite  beam. 
This  is  so  that  you  can  see  the  light, 
if  it  is  present.  This  would  not  be 
possible  with  a  thick  card  and  your 
conclusions  might  be  incorrect.  With 
the  volume  control  advanced,  power 
on,  you  should  get  a  plunk  in  the 
speaker  when  the  x-lite  beam  is  inter- 


MAYBE  THE  UNITED  NATIONS  CAN  SETTLE  THIS  THING? 


By  Louis  Sumien,  member  of  Local  640,  Nassau  &  Suffolk  Counties,  N.  Y. 


22 


An  extra  PEC  and  x-lite  are  usually 
carried  with  each  set-up.  Exciter  lamp 
failure  is  often  due  to  a  defective  oscil- 
lator coil.  Here  your  ohmmeter  tells 
the  story  quickly  —  whether  it  is  an 
open,  short,  or  ground.  If  you  are  in 
a  position  to  do  this  sort  of  work,  you 
should  obtain  schematics  for  several 
makes  and  study  them. 

The  thing  that  owners  appreciate  is 
resourcefulness  in  making  the  equip- 
ment operate  by  substitutes.  Thus  an 
x-lite  in  a  portable  movie  system  can 
be  supplied  with  current  from  batteries 
appropriately  wired  to  give  the  re- 
quired pressure  and  paired  off  to  give 
heavy  current.  In  a  pinch  you  can 
use  a  50L6  output  transformer  as  a 
step-down  transformer  to  light  the 
x-lite,  but  here  will  you  run  into  a 
noticeable  hum  since  a  PEC  has  a  high 
sensitivity  to  frequency  change. 

Radio  Repairs 

Radio  repair  work  requires  some- 
what extensive  equipment  in  the  way 
of  oscillators,  tube  testers,  and  analy- 
zers. Custom  sound  installing  does  not 
require  any  great  number  of  tools  and 
the  projectionist  usually  has  the  back- 
ground needed  for  this  work.  Such 
work  involves  selecting  an  amplifier, 
a  record  player,  and  a  speaker.  Where 
a  stereophonic  or  binaural  effect  is 
desired,  a  speaker  system  is  necessary. 
Home  decorating  magazines  provide 
good  ideas  on  custom  installations 
that  can  be  "sold"  to  prospective  cus- 
tomers. 

Part  of  your  equipment  is  your 
"caddy."  This  is  a  baggage  type  case 
with  compartments  in  which  you  carry 
tubes,  phono  cartridges,  a  clean  rag, 
extension  cords,  and  other  tools.  A 
test  meter,  soldering  iron,  and  socket 
wrenches  are  indispensable  tools. 
(Continued  on  page  26) 


INTERNATIONAL  PROJECTIONIST     •     JANUARY  1954 


I 


Free  Polaroid  Land  (lainera 


for  the  best  letters 
on 


3-D 


projection 


If  you're  a  working  projectionist,  if  you  know  any  3-D  tricks,  if  your  ideas  can 
improve  stereoscopic  projection,  then  you  stand  a  good  chance  to  win  one  of  these 
camera  beauties  as  offered  by  the  Polaroid  Corp.  in  cooperation  with  your  magazine 


THE  Polaroid  people  think  that 
America's  much  berated  projec- 
tionists should  be  heard  from  on  the 
third  dimension.    IP  thinks  so  too! 

So  for  three  months,  starting  with 
the  March  International  Projectionist, 
the  Polaroid  Corporation,  in  coopera- 
tion with  IP,  is  giving  one  Polaroid 
Land  Camera  per  month  —  and  for 
free  —  to  the  working  projectionist 
who  writes  the  best  and  most  construc- 
tive letter  to  the  3-D  Editor. 

Subject:  3-D  movies  and  how  to 
handle  them. 

Letters  will  be  judged  by  a  three- 
man  panel  consisting  of  Dr.  Lewis 
Chubb,  research  physicist,  Polaroid 
Corp.;  Henry  Kogel,  staff  engineer 
of  the  Society  of  Motion  Picture  and 
Television  Engineers,  and  Frederick 
Hodgson,  editor  of  IP. 

What  we  want  is  simply  this: 

Your  suggestions  on  how  to  make 
3-D  better.  Any  tricks  you  may  have 
devised  in  your  own  projection  room, 


tricks  that  improve  your  3-D  projec- 
tion. For  example,  one  theatre  we 
know  has  an  ordinary  carpenter's 
spirit  level  handy  so  that  the  3-D  filters 
at  the  ports  may  be  kept  absolutely 
horizontal.  If  you've  had  a  brain  wave 
like  that,  send  it  in! 

If  you've  found  a  way  to  out-smart 
the  exc-hanges  and  their  sometimes 
amazing  inspection  systems,  let's  hear 
about  it! 

In  other  words,  if  you,  as  a  working 
projectionist,  have  an  idea  or  a  sug- 
gestion you  think  is  good  don't  hesi- 
tate. Don't  walk,  run  to  the  nearest 
mailbox. 

You  don't  have  to  be  a  Hemingway. 
We  don't  care  how  the  letters  are 
written.  It's  the  subject  matter  that 
counts. 

Address  your  letters  to  the  3-D 
Editor,  International  Projectionist,  19 
West  44th  St.,  New  York  36,  N.  Y. 

Write  as  many  letters  as  you  like. 
And  if  you  don't  win  the  first  camera. 


try  again  and  you  may  win  the  second 
—  or  the  third. 

Incidentally,  the  Polaroid  Land 
Camera  is  a  honey.  It's  that  famous 
new  camera  you've  been  reading 
about,  the  one  that  develops  its  own 
pictures  in  just  one  minute.  The  price, 
if  you  had  to  buy  it,  is  a  neat  $89.75 
(and  worth  every  nickel  of  it!). 

The  Polaroid  Land  Camera  gives 
you  photography  at  its  quickest, 
easiest  and  simplest.  One  adjustment 
takes  care  of  all  shutter  and  lens  set- 
tings. All  you  do  is  snap  the  shutter, 
pull  a  paper  tab  and,  voila,  in  one 
minute  by  the  clock  you  have  your 
picture.  Prints  are  black  and  white 
and  are  big  31/4"  by  4iy4"  —  and  they 
can  be  enlarged  or  duplicated,  too, 
if  you  like. 

So  get  you're  letters  in  —  fast!  To 
qualify  for  March's  camera  your  letter 
must  be  in  the  IP  office  no  later  than 
February  15th. 

Here's  wishing  you  luck! 


Qoad  fi^vojecti04t  H  Uie  keif  ta  <fOad  3-^ 


INTERNATIONAL  PROJECTIONIST     •     JANUARY  1954 


23 


More  Small  Houses  Go  Stereophonic 


IF  DOUBTERS  there  be  as  to  the 
practicability  of  stereophonic 
sound  equipment  in  small  theatres 
they  might  ponder  an  installation  now 
being  made  by  National  Theatre  Sup- 
ply. Walter  Green,  company  president, 
tells  of  the  installation  in  the  pint-size 
screening  room  of  a  state  censor  board. 
The  tiny  theatre  seats  85  and  the 
biggest  screen  the  room  can  take 
measures  7  by  13  feet. 

With  the  battle  dust  now  settling 
as  20th  Century-Fox  and  various 
recalcitrant  exhibitor  groups  observe 
an  uneasy  truce,  IP  is  receiving  an 
increasing  number  of  reports  on  instal- 
lation of  stereosound  and  Cinema- 
Scope  equipment  in  the  smaller 
theatres  of  the  nation. 

Family    Size    Theatres 

National  Theatre  Supply,  for  ex- 
ample, announces  more  than  600  in- 
stallations in  family-size  theatres,  the 
neighborhood  and  small  town  houses 
that  are  the  backbone  of  the  picture 
business.  Use  of  such  equipment,  of 
course,  is  now  commonplace  for  the 
big  movie  palaces,  the  Music  Halls, 
the  Roxys  and  the  other  "Grand  Cen- 
tral Station"  theatres. 

Motiograph  sends  along  a  list  of 
185  small  theatres  in  which  that  com- 
pany has  completed  the  equipment  job. 

"And  this  list  is  for  our  company 
only,"  said  Fred  Matthews,  of  Motio- 
graph, "and  does  not  include  Altec 
Service  Corporation,  RCA,  Century, 
Simplex,  Ballantyne,  Ampex  or  any 
other  company.    These  companies,  as 


well  as  ourselves,  are  making  installa- 
tions or  filling  orders  on  stereophonic 
sound." 

Pointing  out  that  the  most  impor- 
tant elements  of  the  CinemaScope 
process  are  a  wide  screen,  plus  true 
stereophonic  sound,  Mr.  Matthews  said 
that  "these  elements  combine  to  pro- 
vide the  greatest  approach  to  motion 
picture  story  telling  ever  achieved  and 
the  public  has  spoken  for  them  by 
attending  the  theatres  which  are  show- 
ing pictures  filmed  in  this  medium. 
The  alert  theatre  owner  who  wishes  to 
share  in  the  receipts  of  the  many  great 
pictures  to  be  produced  for  wide 
screen  and  stereophonic  sound  will 
make  an  early  decision  to  properly 
equip  his  theatre." 

Disclosing  that  his  company  has 
booked  almost  700  orders  in  the  past 
five  months,  Walter  Green,  of  National 
Theatre  Supply,  said  that  a  rapidly 
increasing  proportion  of  these  sales 
are  to  theatres  in  the  500  to  1000  seats 
bracket,  with  many  in  even  smaller 
categories. 

Tests    Exhaustive 

As  to  the  85-seat  screen  room  for 
the  state  censor  board,  Mr.  Green  said 
his  company  had  made  exhaustive 
tests  to  determine  the  feasability  of 
stereophonic  sound  in  such  a  small 
theatre. 

"The  results  were  as  effective  and 
spectacular  in  this  small  auditorium 
as  in  the  largest  theatre,"  he  said. 

RCA  installations  are  proceeding  so 
rapidly  that  the  company   is   sending 


Strong  Electric  Has  New  Heavy-Duty  Selenium  Rectifiers 


equipment  by  truck  from  Camden, 
N.  J.,  as  far  away  as  Michigan  and 
Rhode  Island.  In  one  recent  month, 
according  to  A.  J.  Piatt,  manager  of 
RCA  Theatre  Equipment  Sales,  more 
than  100  independent  theatres  and  five 
circuits,  including  the  RKO  and 
Stanley-Warner  chains,  placed  orders 
with  the  company  for  stereo  sound. 
Ampex,  as  reported  elsewhere  in  this 
issue  of  IP,  made  45  installations  in 
the  New  York  area  alone  in  less  than 
one  month. 


1  A    ELECTIONS 


LOCAL   150,  LOS  ANGELES,  CALIF. 

Wallace  G.  Crowley,  pres.;  Chas  A.  Ven- 
cill,  sec.-treas.;  Clyde  W.  Shuey,  bus.  rep.; 
E.  R.  "Sam"  Pierson,  guide;  C.  C.  Bolinger, 
Virgil  Crowell,  John  Sickinger,  exam,  board; 
Charles  Bramel,  R.  L.  MacDonald,  Tom 
Ginthner,  trustees ;  Al  Adams,  Harold  Angel, 
Clem  Marchand,  George  O'Brien,  H.  C. 
Smith,  exec,  board;  A.  Adams,  W.  G.  Crow- 
ley, C.  W.  Shuey,  Paul  J.  Mahoney,  Magnus 
Nielsen,  Geo.  J.  Schaffer  and  C.  A.  Vencill, 
del.  to  lA   Convention. 

The  following  were  elected  to  the  board 
of  directors  of  the  Local  150  Club,  Inc.: 
A.  Adams,  H.  Clay  Blanchett,  W.  Crowley, 
M.  Nielsen,  G.  Schaffer,  C.  Shuey,  Leo  F. 
Stockwell,  C.  Vencill,  Harold  Angel,  R.  L. 
MacDonald,  P.  Mahoney,  and  H.  C.  Smith. 

LOCAL  173,  TORONTO,  ONT.,  CANADA 

J.  Sturgess,  pres.;  A.  Kerrin,  vice-pres.; 
L.  Lodge,  sec.-treas.;  R.  Higgins,  rec.-sec; 
P.  Travers,  bus.  rep.  (by  acclamation)  ;  D. 
Siegel,  R.  O'Connor,  L.  Applebaum,  R.  Wil- 
son, exec,  board;  T.  Covert,  J.  Harris,  E. 
Whyatt,  trustees;  S.  Cohen,  sgt.-at-arms  (by 
acclamation)  ;  G.  Robinson,  tyler  (by  accla- 
mation) ;  P.  Travers,  J.  Sturgess,  G.  Jones, 
and  D.  Siegel,  del.  to  I A  convention. 


« 


Above  are  tvi/o  views  of  the  components  of  the  new  selenium  rectifier  produced  by  the  Strong 
Electric  Corp.,  Toledo,  Ohio.  Described  as  extremely  rugged  and  dependable,  the  rectifier  is 
designed  for  use  with  high  intensity  projection  carbon  arc  lamps  pulling  from  70  to  135  amperes. 
Two  sets  of  transformer  taps  are  provided  for  adjusting  output  current  over  a  wide  range  of 
amperages  and  to  compensate  for  variations  in  line  voltages  from  200  to  250.  At  left  Is 
shown  the  fan,  switch  and  transformer  and  at  right  Is  the  grid  system. 


LOCAL   181,  BALTIMORE,  MD. 

L.  Sieber,  pre5. ;  H.  BieisweQ.,  1st  vice-pres.; 
C.  Dotson,  2nd  vice-pres.;  W.  MacKinzie, 
3rd  vice-pres.;  T.  P.  Finn,  Sr.,  sec.-treas.; 
C.  Towers,  rec.-sec;  C.  Bayne,  bus.  rep.;  H. 
Gentile,  C.  Grauling  (chairman),  R.  Rush- 
worth,  trustees;  E.  Kastner,  sgt.-at-arms;  I 
E.  Eich,  0.  Niquet,  wage  scale  comm.;  C.  I 
Grauling,  S.  Isaacson,  L.  Sieber,  del.  Balti- 
more Federation  of  Labor. 

LOCAL  253,  ROCHESTER,  N.  Y. 

Louis  Levin,  pres.;  Joseph  Pandina,  vice- 
pres.;  Lester  D.  Barager,  sec;  Leon  E.  Bur- 
ton, treas.;  Fred  E.  Boekhout,  bus.  rep.; 
John  Copple,  sgt.-at-arms;  Harry  Levy,  trus- 
tee; Frank  Britt,  Louis  Goler,  Floyd  Spencer, 
Ernest  Henley,  exec,  board;  Joseph  Vecchio, 
Sr.,  and  Abe  Orden,  del.  Central  Trades. 

LOCAL  348,  VANCOUVER,  B.  C.  CANADA 

Douglas  Calladine,  pres.;  W.  McCarthey, 
vice-pres.;  George  Thrift,  sec;  Ray  Ward- 
rop,  rec.-sec;  Les  Walker,  bus.  rep.;  Gordon 
Sutherland,  sgt.-at-arms;  L.  Walker,  F. 
Smith,  and  D.  Calladine,  del.  lA  Conven- 
tion. 


24 


INTERNATIONAL  PROJECTIONIST      •      JANUARY  1954 


OBITUARIES 


Felix  D.  Snow,  66  ,  3rd  vice-president  of  the 
lA  and  business  representative  for  Stage 
Employees  Local,  31,  Kansas  City,  Mo.,  died 
on  Christmas  day  following  a  heart  attack 
suffered  the  previous  day.  The  day  before 
he  was  stricken  he  was  re-elected  by  accla- 
mation as  business  representative  of  his 
Local,  having  held  that  post  for  the  past 
28  years.  He  served  as  a  member  of  the 
General  Executive  Board  since  1940  and 
up  until  the  time  of  his  death  was  the  lA 
representative  for  the  Midwest,  spending  a 
great   deal   of   his   time   traveling. 

Funeral  services  were  held  at  the  Free- 
man Chapel,  Kansas  City,  on  December  29. 
President  Walsh  and  other  top  lA  officials 
served  as  honorary  pallbearers. 

H.  Merrill  Young,  58,  former  secretary 
of  Local  661,  Reading,  Penna.,  died  recently 
after  a  six-months'  illness.  He  began  his 
projection  career  back  in  1915  when  he 
joined  the  Reading  Local.  Last  summer  he 
was  appointed  chief  projectionist  at  Read- 
ing's Warner  Theatre  but  illness  forced  him 
to   give   up   the   position   shortly   afterward. 

Young  was  active  in  American  Legion 
affairs,  and  was  commander  of  Gregg  Post, 
1943-44.  He  was  a  member  of  Masonic 
Lodge  2,  Reading  Consistory;  Rajah  Temple, 
Tall  Cedars  of  Lebanon,  and  Green  Dragons. 
He  is  survived  by  his  wife  and  daughter. 
J.  Sidney  Crans,  business  representative 
for  Local  311,  Middletown,  N.  Y.,  died 
several  months  ago  at  the  age  of  70.  He 
joined  Local  45,  Newburgh,  N.  Y.  in  early 
1900,  transferring  to  Local  311  in  1923.  In 
1924  he  was  elected  business  representative 
of  the  Middletown  Local,  and  served  in  this 
office  until  the  time  of  his  death. 

Robert  Ansett,  Sr.,  62,  member  of  New 
York  Stage  Employees  Local  No.  1  died  last 
month.  He  was  a  member  of  the  Local  for 
more  than  40  years,  and  served  as  president 
for  10  years,  from  1938  to  1948.  At  the 
time  of  his  death  he  was  a  property  man  at 
the  Roxy  Theatre  in  New  York,  having  held 
that  position  for  the  past  21  years. 

John  Ford,  member  of  San  Francisco  Local 
162  since  1912,  succumbed  to  a  heart 
attack  on  December  28.  At  the  time  of  his 
death  he  was  employed  at  the  El  Capitan 
Theatre,  where  he  worked  for  a  number  of 
years.  He  was  an  ardent  lA  man  and  was 
very  popular  in  the  Local.  His  sudden 
death  was  a  shock  to  his  many  friends 
throughout  the  Alliance. 
{The  late  John  Ford  is  not  to  be  confused 
with  John  A.  Forde,  present  business  repre- 
senative  of  the  Local.) 


Huff  Announces  New  Nozzle 

An  improved  nozzle  for  Hufi  Hydro 
Carbon  Coolers  is  announced  by  the 
Hal  I.  Huff  Mfg.  Co.,  Los  Angeles.  The 
new  nozzle  is  fitted  with  a  high-refractory 
ceramic  insert  designed  to  increase  its 
life.  The  ceramic  insert  acts  as  an  in- 
sulator, minimizing  the  danger  of  arcing. 
All  previous  models  of  the  Huff  cooler 
can  use  the  new  nozzle. 


B.A. 


*(BOXOFFICE 
APPEAL) 


MOVIES 

ARE 

BETTEK 

THAN 

EVEK 


J,\.:l,.l 


<mtL  KIIPGK  SKAPLITB 


•  GREATER  LIGHT  •  GREATER  CONTRAST  •  GREATER  SHARPNESS 

Watch  your  "B.  A."  climb  when  you  install  Super  Snoplite 
Lenses.  Give  your  patrons  the  benefit  of  pictures  at  their  best. 
You  can't  beat  the  Super  Snaplife  f/1.9  when  it  comes  to 
putting  a  clear,  sharp  picture  on  your  screen. 

Super  Snaplites  give  you  a  true  speed  of  f/1 .9  in  every  focal 
length  up  to  7  inches.    Ask  for  Bulletin  212. 

"You  Get  More  Light  wifh  Super  Snaplife" 


KOLLAVOKIpEK 


Plant: 
Northampton,  Massachusetts 


^■^ 


COKPOKATIOK 


New  York  Office:     30  Church  St.,  New  York  7,  N.  Y. 


INTERNATIONAL  PROJECTIONIST     •     JANUARY  1954 


25 


PROJECTION  SKILLS 

(Continued  from  page  22) 

These  you  should  own  anyway.  You 
may  add  other  items  as  your  business 
warrants,  always  using  money  earned 
on  the  side.  Reference  material  is  also 
important. 

A  word  of  caution  about  your 
stock  —  stick  to  profitable,  often-called 
-for  parts.  Do  not  overstock.  Find  a 
source  where  parts  may  be  obtained 
quickly. 

Go  After  Business 

Once  set  up  and  organized  for  some 
specialized  work,  your  next  move  is 
to  canvass  your  neighborhood.  Stop 
at  stores  dealing  in  appliances  and  get 
acquainted  with  the  owners.  Leave 
your  cards  with  people.  In  a  small 
town  you  can  carry  a  small  ad  in  the 
local  newspaper.  Remember  the  value 
of  advertising  is  cummulative;  each 
time  the  reader  sees  your  name,  you 
become  more  strongly  entrenched  in 
his  mind. 

Last,  but  equally  important,  you 
should  collect  your  money  upon  com- 
pletion of  the  work.  Where  custom 
installation  is  involved,  it  is  customary 
to   collect  about  60%   of  the  figured 


cost  as  advance  payment.  This  is 
necessary  because  components  cut  or 
drilled  to  special  requirements  cannot 
be  returned  for  exchange. 

The  avenues  to  pin-money  listed 
above  are  just  a  few  of  the  possibilities 
open  to  the  projectionist  with  time 
on  his  hands  and  the  need  (as  who 
hasn't!)   for  some  extra  cash. 


Film  Pioneer  Dies 

George  K.  Spoor,  81,  well  known  film 
industry  pioneer,,  died  in  Chicago  on 
Nov.  24.  The  original  Essanay  Co.  got 
its  name  from  "S"  for  Spoor,  and  "A" 
from  his  partner,  Gilbert  M.  "Broncho 
Billy"  Anderson. 

Born  in  Highland  Park,  111.,  and  edu- 
cated in  Waukegan,  Spoor  entered  the 
picture  business  in  1895  when  he  in- 
vested in  a  device  called  the  Magni- 
scope,  a  precurser  of  the  motion  picture 
machine.  Essanay  is  credited  with  show- 
ing the  first  commercial  3-D  films  in  the 
United  States.    That  was  in  1925. 

The  old  Essanay  studios  in  Chicago, 
together  with  Selig  in  the  same  city,  gave 
many  top  stars  their  start,  including 
Charlie  Chaplin,  Wallace  Beery,  Gloria 
Swanson  and  Francis  X.  Bushman.  The 
studios  closed  in  1916  when  the  film 
industry  center  moved  to  Hollywood. 


McAutey  Lamp  Booklets  Ready 

New  booklets  covering  operating  in- 
structions and  maintenance  of  the  Peer- 
less Magnarc  and  Peerless  Hy-Candes- 
cent  Cinearc  lamp  are  now  available 
from  the  J.  E.  McAuley  Mfg.  Co.,  552- 
554  West  Adams  St.,  Chicago  6,  111. 

Heavily  illustrated,  the  booklets  cover 
such  subjects  as:  setting  up,  voltage  and 
amperage,  electrical  connections,  lamp- 
house  ventilation,  carbon  trim  alarm, 
optical  alignment,  wiring  diagrams,  car- 
bon holder  sizes,  and  mechanism  shutter 
alterations. 


New  Adjustable  Lens 

An  anamorphic  projection  lens,  said 
to  be  adjustable  for  five  different  aspect 
ratios,  has  been  demonstrated  in  Holly- 
wood by  RKO  Pictures.  The  lens,  tenta- 
tively priced  at  a  low  $200,  was  designed 
by  Joe  Tushinsky,  a  studio   technician. 

The  ratio,  according  to  RKO  claims, 
starts  at  1  and  can  be  moved  up  to  3  to 
1,  just  about  covering  the  field.  RKO 
announces  a  companion  "printing"  lens 
capable  of  processing  film  into  any 
ratio  desired. 

The  trick  lenses  were  produced  by 
Tushinsky,  formerly  an  independent 
producer,  in  collaboration  with  his  bro- 
ther, Irving.  RKO  backed  the  project 
and  provided  studio  space  for  tests. 


RAYTONE 


mm 


will  change  your 

mind  about 

the  screen 

you're  going 

to  buy! 


SOr^ 


^  "smuMMSHiP 


II 


We  have  once  again  met  the  Challenge  of  a  new  medium 
and  stand  ready  to  supply  the  theatres  of  the  world  with  a 
screen   that  the   Exhibitor   wants  for   his   theatre. 

Raytone  is  equal  in  MEASURE  to  any  screen  on  the  market 
today!  Weigh  all  factors  -  and  RAYTONE'S  NEW  HI-LUX 
SCREEN  will   emerge  as  the   Exhibitor's  choice! 

1.  BETTER    Light    intensity   for    wide    screen,    3-D    and 
Anamorphic   use. 

2.  Clearness   of   image,   seamless   construction 

3.  No  streaks,  blemishes  or  visible  shadings 

4.  Tear-proof.    Guaranteed  flame-proof. 

HI-LUX  Screens  now  available  for  any  CinemaScope  pro- 
duction. Now  in  use  for  CinemaScope  in  all  sizes  both  large 
and  small  —  will  comply  with  all  requirements  for  proper 
presentation.  Accepted  and  preferred  by  leading  Circuits 
and   Independent  Exhibitors! 

RAYTONE  SCREEN  CORP.  i^VoST^'l 


26 


INTERNATIONAL  PROJECTIONIST     •     JANUARY  1954 


THE  3-D  SCORE  FOR  '54 

(Continued  from  page  16) 
We've    had    these    before    and    they 
haven't  worked. 

MGM's  Normal  Vision:  Dore  Schary, 
production  chief  at  MGM  studios,  has 
made  the  intriguing  announcement 
that  his  company  is  experimenting 
with  "normal  vision,"  a  process  to 
"take  up  where  3-D  left  off."  Based 
on  "physiological  principles",  accord- 
ing to  Schary,  the  system  will  require 
viewers  to  wear  a  new  type  of 
Polaroid  glasses. 

Research  Council  System 

However,  perhaps  the  happiest  news 
comes  from  Hollywood  where  the  Mo- 
tion Picture  Research  Council,  de- 
termined to  bring  some  sort  of  sense 
into  the  chaotic  scramble,  is  working 
on  a  single-film  system  of  its  own. 
The  unit,  somewhat  larger  than  either 
the  Nord  or  the  compact  Moropticon, 
has  already  been  tested  and  reports 
are  favorable. 

William  Kelley,  secretary  of  the 
Council,  sends  along  the  information 
that  the  new  single-strip  system  is  cur- 
rently being  set  up  in  the  Academy 
Award  Theatre  in  Hollywood.  The 
film,  says  Kelley,  is  compatible  with 
Nord's  but  not  with  Moropticon. 

"We  do  not  use  a  beam  splitter," 
Kelley  writes,  "but  separate  the  pic- 
tures after  we  are  out  approximately 
8%  to  10%  of  the  throw." 

Meanwhile,  proponents  of  3-D,  par- 
ticularly the  people  who  sell  viewers 
(principally  Polaroid  and  Pola-Lite) 
are  going  to  town  with  some  top-flight 
promotion.  Pola-Lite  is  backing  a 
3-D  Council,  a  sort  of  chamber  of 
commerce  affair  designed  to  push 
stereo.  Polaroid  is  sending  engineers 
into  the  field  to  show  projectionists, 
and  others,  just  how  to  keep  two- 
strip  in  sync.  The  same  company  is 
making  equipment  available  free  to 
theatres.  IP  plans  a  story  on  this  in 
the  near  future. 

However,  and  quoting  our  contem- 
porary, Variety,  the  situation  in  the 
single-trip  3-D  sweepstakes  is  a 
"chicken  or  the  egg"  matter.  Theatres 
are  willing  to  sign  up  with  Moropticon, 
Nord  or  whoever  comes  down  the  pike 
provided  the  producers  will  promise  to 
make  the  films.  Conversely,  the  pro- 
ducers are  telling  the  exhibitors  to 
install  the  equipment  first.  The  question 
before  the  house  seems  to  be:  If  the 
chicken  does  cross  the  road  will  she 
lay  an  egg? 

INTERNATIONAL  PROJECTIONIST      •      JANUARY  1954 


fe 


'±. 


1  f    "(C   U   \   <*.;    O'l 


■magnetic  soundhead 


The  soundhead  chosen 
by  exhibitors  through- 
out the  country  for  first 
runs  of  the  new  stereo- 
phonic sound  features! 


■v-.>.J 
'''  •     i 


^     "Brush"  pick-up  head  plugs  in 
for  instant  replacement. 

^     Tight  loop  system  tested  and 
approved  by  major  studios. 

^     Compact,  easy  to  install,  fits 
any  standard  projector. 

*  Ptom  Petfommei 

NAT  I  ON  All 


THEATRE        SUPPLY 


Division   of  National  •  Simple>  •  BFudwerthilnc. 


CIIJ 


27 


PROJECTION  IN  EUROPE 

(Continued  from  page  13) 
trim    at    50   amps.      109%    when   the 
Wabenkondensor  is  used. 

In  addition  to  providing  screen  il- 
lumination which  is  uniform  in  bright- 
ness and  color,  therefore,  the  Waben- 
kondensor actually  increases  the 
brightness  of  the  picture! 

Helps  In  Small  Theatres 

The  very  small  theatres  which  are 
so  numerous  in  Europe  find  in  the 
Wabenkondensor  a  perfect  solution  to 
their  lighting  problems.  Beck  (HI) 
arcs    consuming   less    than    35    amps. 


are  not  ordinarily  feasible  because  of 
their  extreme  "hot-spot"  characteris- 
tics and  discolored  light.  Now,  the 
Wabenkondensor  permits  the  use  of 
Beck  arcs  drawing  as  little  as  25 
amperes  because  it  insures  screen  light 
which  is  perfectly  uniform  both  in 
brightness  and  color.  This  is  one  of 
the  "selling  points"  of  the  Wabenkon- 
densor, though  the  writer  must  admit 
that  he  is  not  able  to  vizualize  a 
theatre  screen  so  diminutive  as  to  be 
excessively  bright  with  a  35-  or  40- 
amp.  Beck  arc.  It  is  always  a  good 
thing  to  have  plenty  of  light  to  spare; 


Wide  Screen  Projection 

Requires  More  Light... 

Get  an  "HS" 


T^BS^HS 


RE©.  U.S.  PAT. OFF. 


The  "HSD"  dual-ballast 
rheostat  available  in  two 
capacities  —  65-100  am- 
peres and  5-5}  volts;  85- 
1 15  amperes  and  5-25  volts. 


The    "HS"   Tronsverter 
115/230  amperes 


Control   Panel  Type  G 


to  Meet 
THIS  INCREASED 

POWER 
REQUIREMENT 


•  Exhibitors  everywhere  are  finding  out  that 
wide    screen    equipment    requires     increased 
amperage  for  proper  screen  illumination. 
Loss  of  light  through  use  of  filters  plus  giant 
screen  sizes  makes  existing  projection  equip- 
ment inadequate  to  do  the  job. 
Additional  power  is  a  must,  for  carbon-arc  am- 
perage and  voltage  requirements  have  been  in- 
creased up  to  100%  for  wide  screen  projection. 
In   order   to  get  this  increased  power,  get  a 
Hertner  "HS"  Transverter. 
When  you  buy  a  Transverter  you  are  obtaining 
a   power   conversion   unit  that  has   been   the 
standard    of    the    industry    for    nearly    half 
a  century. 

Distributed  by  National  Theatre  Supply 
In  Canada:  General  Theatre  Supply  Company 


THE  HERTNER   ELECTRIC   COMPANY 

12690    ELMWOOD    AVENUE  .  .  .CLEVELAND   11,  OHIO 
A    General   Precision    Equipment   Corporation    Subsidiary 


and  when  there  really  is  far  too  much 
light,  a  contrast-enhancing  gray  screen 
may  be  used. 

The    Wabenkondensor    is    intended 
for  HI  lamps  only,  and  may  be  used 


MOTORS 


MOTOR   GENERATORS 


GENERATOR   SETS 


FIG.  8.  The  Ernemann  X  modified  for  un- 
distorted  projecHon  at  a  22°  tilt.  This  pro- 
jector was  first  built  to  order  for  the  Eld- 
genossische  Technische  Hochschule,  Zurich, 
Switzerland,  where  it  is  now  giving  satisfactory 
performance   in   the   new   physics   lecture   room. 

with  arcs  of  any  power  up  to  50  or 
60  amps,  before  the  danger  of  crack- 
ing the  lens-array  plates  becomes 
really  great.  The  projectionist  who 
is  lucky  enough  to  have  the  Waben- 
kondensor as  a  component  of  his  lamp 
equipment  can  forget  his  mirror  and 
carbon  adjustments  —  almost.  The 
light  remains  unform  in  brightness 
and  color  even  when  the  crater  burns 
at  quite  a  slant,  though  it  is  hardly 
necessary  to  add  that  for  the  brightest 
light  it  is  still  necessary  to  maintain 
a  crater  formation  sufficiently  good 
to  prevent  the  glowing  gas  ball  from 
streaming  off  in  the  tail-flame  of  the 
arc.  But  most  startling  of  all  is  the 
fact  that  the  amount,  uniformity,  and 
color  of  the  screen  illumination  with 
the  Wabenkondensor  remains  prac- 
tically constant  when  the  arc  is  moved 
to  and  from  the  mirror  through  a 
considerable  range. 

In    addition    to    the    regular    Erne- 
mann Model  X  projector,  there  is  a 


2S 


INTERNATIONAL  PROJECTIONIST      •      JANUARY  1954 


specially  designed  Model  X  which  has 
no  counterpart  in  the  projection  ap- 
paratus produced  by  any  other  manu- 
facturer. It  is  intended  solely  for  un- 
distorted  projection  at  steep  angles. 
This  machine  is  shown  in  Fig.  8. 

It  is  common  knowledge,  even 
among  the  uninitiated,  that  an  exces- 
sively large  projection  angle  results 
in  a  picture  having  an  exaggerated 
vertical  dimension  and  a  distorted 
shape  due  to  increased  width  of  the 
picture  toward  the  bottom  of  the 
screen  —  the  so-called  "keystone  ef- 
fect." The  upper  drawing  in  Fig.  9 
illustrates  the  conditions  which  prevail 
when  a  conventional  projector  is 
pointed  downward  at  the  screen. 

The  keystone  effect  (which,  by  the 
way,  is  seldom  visible  from  the  projec- 
tion room)  is  not  troublesome  if  the 
tilt  of  the  projectors  does  not  exceed 
10  or  15  degrees.  A  greater  projection 
angle  results  in  distortion  that  spoils 
the  cinema  patron's  enjoyment  of  a 
motion  picture.  Tilting  the  screen 
backwards  at  the  top  is  a  common 
remedy,  but  it  has  the  disadvantage 
of  making   the  picture  look   "askew" 


tG.  9.  (A)  Oblique  projection  with  standard 
projector  results  in  distorted  picture.  (B)  The 
Ernemann  X  modified  projector  makes  possible 
oblique  projection  free  from  the  "l<eystone 
effect."  Note  that  the  film  gate  is  parallel  to 
the  screen,  and  that  the  optical  axis  of  the  lens 
is   perpendicular   in   relation   to   the   film-plane. 

to   patrons   at   the   side   of   the   audi- 
torium. 

The  Zeiss  Ikon  works  at  Kiel  at- 
tacked this  problem  on  entirely  new 
lines  when  the  Confederate  Technical 
College  of  Zurich,  Switzerland,  re- 
quired for  a  certain  auditorium  an  un- 
distorted  screen  image  at  a  projection 
angle  of  22°.   The  first  step  taken  by 


Bausch  &  Lomb 


Projection  Lenses 


ir311»iS!SE!SSS5?SSk'!L  i'K'SlSSl'laijsPl.f,  „4VJ1"" 


First  and  only  lens  giving  full  edge-to- 
edge  sharpness  on  widest  screens ! 

Now  . . .  the  one  lens  series  that  gives  you  today's  brightest, 
sharpest  image  on  any  screen:  CinemaScope,  2-D,  expanded  2-D, 
and  3-D!  Finest  edge-to-edge  definition  ever  achieved.  White  glass- 
no  color  absorption  . .  .  transmits  full  image  color  and  brightness. 
Fastest  projection  lens  made.  Complete  range  of  focal  lengths. 
You're  all  set  now  and  throughout  the  foreseeable  future 
with  this  revolutionary  new  //1. 8  series —  new  world's  standard 
for  the  motion  picture  industry. 


WRITE  for  complete  information.  Bausch 
&  Lomb  Optical  Co.,  61625  St.  Paul  St., 
Rochester  2,  N.  Y. 


INTERNATIONAL  PROJECTIONIST     •     JANUARY  1954 


29 


Zeiss  engineers  was  the  development 
of  a  suitable  lens  —  the  Alinar  II.  The 
next  step  involved  modification  of  the 
Ernemann  X  to  conform  to  well- 
defined  theoretical  principles. 

Keystone  distortion  is  completely 
avoidable  when  the  plane  of  the  film 
remains  parallel  to  the  screen  even 
when  the  machine  is  inclined,  as  shown 
in  Fig.  9. 

In  such  a  case  as  this,  the  projec- 
tion lens  must  be  positioned  so  that  its 
optical  axis  is  perpendicular  to  the 
film-plane,  but  moved  downward  to  a 
point  specified  by  optical  considera- 
tions. Only  when  these  conditions  have 
been  met  can  the  whole  film-photo- 
graph be  reproduced  sharply. 

Required  New  Lens 

It  can  be  seen  at  once  that  the 
image-forming  light  rays  enter  the  lens 


^, 


THE  ORIGINAL 


Hydro  Carbon  Cooler 

Concentrates  all  the  heat  at  the  gas  ball. 


Permits  more  amperage.  You  gain  20  to 
40%  more  light  from  your  present  lamps. 
No  copper  coated  carbons  needed.  Pays 
for  itself  from  the  savings  on  carbons, 
even    with    higher    amperage. 


See  your  Dealer  or  write  to 


HAL  I.  HUFF  MFG.  CO.j 

659  W.  Jefferson  Blvd. 
Los  Angeles  7,  Calif. 

-  EXPORT  DIVISION   - 

FRAZAR  &  HANSEN,  LTD. 

301    Clay   Street  San    Francisco,   Calif 


obliquely,  requiring  the  lens  to  repro- 
duce a  flat  field  over  a  very  wide 
angle.  Ordinary  projection  lenses  are 
not  suited  to  the  job  because  they 
normally  cover  only  the  10°  to 
15°  necessary  for  the  standard  film 
picture;  but  at  an  inclination  of  22° 
an  angle  of  about  50°  is  required.  So 
large  an  angle  of  view  must  not  be 
achieved  by  decreasing  the  "speed"  of 
the  lens,  forasmuch  as  it  is  not  advis- 
able to  abandon  the  speed  of  F:2 
which  is  nowadays  the  customary 
speed  of  35  mm  projection  lenses.  Be- 
cause a  rather  long  focal  length  has 
to  be  retained,  this  difiiculty  is  the 
main  reason  why  the  problem  of  dis- 
tortion-free oblique  projection  had  not 
been  solved  previous  to  the  creation 
of  the  Zeiss  Ikon  Alinar  II  lens. 

As  the  Ernemann  X  has  removable 
base  plates  for  components  on  the 
operating  side  of  the  mechanism,  all 
of  the  alterations  required  for  oblique 
projection  could  be  made  in  the 
upper  base  plate,  the  rest  of  the 
mechanism  remaining  unchanged.  The 
position  of  neither  the  cylindrical 
shutter  nor  the  film  gate  was  changed, 
though  the  aperture-window  and  the 
lens  were  lowered  to  new  positions  in 
accordance  with  the  projection  angle. 
The  lamphouse  was  placed  upon  an 
intermediate  inclined  support  fastened 
to  the  regular  lamp  table. 

As  a  result  of  the  oblique  passage 
of  the  light  rays  through  the  lens,  the 
field  of  light  projected  upon  the 
screen  showed  a  fadeaway  from  top  to 
bottom  owing  to  the  natural  vignetting 
of  the  lens.   This  unevenness  of  screen 


CURTAIN  CONTROLS, 
TRACKS  and  SPECIAL 
OPERATING   DEVICES 

VALLEN,lnc. 

AKRON  4,  OHIO 


s 


PUCES    ^^ 
NOT  ^ 


HOLDING 

Film  breaks  are  costly. 
Play  safe  by  using 

JEFRONA 

All-purpose  CEMENT 

Has  greater  adhesive 
qualities.  Don't  take 
our  word  for  it.  Send 
for  FREE  sample  and 
judge  for  yourself. 

CAMERA  EQUIPMENT  CO. 


1600  Broadway 


New  York  19,  N.  Y. 


illumination  was  completely  overcome 
by  a  special  arrangement  of  the 
Wabenkondensor  optics. 

Furthermore,  the  oblique  transmis- 
sion of  the  light  within  the  lens  neces- 
sitated an  adjustment  of  the  position 
of  the  film  plane  in  conformity  to  the 
mounting  of  the  lens,  as  the  depth  of 
focus  of  these  lenses  is  extremely  small. 

The  film  gate,  therefore,  has  been 
so  arranged  that  it  can  be  inclined 
within  a  very  small  range  in  order 
to  place  the  running  film  into  the 
most  favorable  focal  plane. 

Tests  with  the  new  projector  met 
all  demands  and  produced  an  undis- 
torted,  well-illuminated  image  on  the 
screen  with  sharp  definition  over  the 
entire  image-field. 

[THE  ENDl 


Closed  Circuit  TV 

Closed  circuit  theatre  television  is 
being  used  this  month  by  National  Dairy 
Products  to  present  its  advertising  and 
promotion  plans  at  a  series  of  sales 
meetings  in  a  number  of  cities.  The 
program,  produced  by  Alexander  Left-  | 
wich  and  handled  by  Theatre  Network 
Television,  is  shown  during  off  hours  at 
the  various  theatres. 


^(n^uiatem^^^ta^tdoHd 


3-D,  Drive-ln$, 

and  other 

Wide  Area  Screens 


CARBONS,  Inc.    boonton,  N.  J 


30 


INTERNATIONAL  PROJECTIONIST     •     JANUARY  1954 


BIG  YEAR  FOR  COLOR 

(Continued  from  page  8) 

picking  up  the  dye,  the  amount  de- 
pending on  the  thickness  of  the 
gelatine. 

Matrix  Carries  Color 

As  the  process  was  carried  out,  clear 
gelatine-coated  release  stock  was  im- 
pressed against  the  matrix  film  in  exact 
registration  by  rollers  and  by  sprocket 
teeth  that  are  the  exact  shape  and 
size  of  the  film  perforations.  The 
same  procedure  was  followed  with  the 
other  color  to  be  printed,  each  dye 
being  "imbibed"  by  the  release  print. 

The  Technicolor  positive  was  ready 
for  projection  as  it  came  from  the 
printer.  A  large  number  of  positives 
could  be  printed  from  a  single  set  of 
matrices,  and  when  these  wore  out,  a 
new  set  could  be  made  from  the  camera 
negative. 

The  basic  improvement  made  in 
Technicolor  after  this  period  was  to 
convert  it  from  a  two-color  to  a  three- 
color  process.  This  was  accomplished 
shortly  after  the  advent  of  sound  when 
Dr.  Kalmus  again  became  dissatisfied 
with  his  process  and  decided  that  a 
two-color  system  was  no  longer  ade- 
quate. He  devoted  himself  to  the  build- 
ing of  improved  Technicolor  cameras 
and  processing  machinery.  The  first 
full-length  Technicolor  film  to  use 
three  colors  was  "Becky  Sharp"  in  the 
early  30's. 

The  standard  method  of  filming  in 
Technicolor  now  involves  a  special 
camera  which  also  makes  use  of  the 
beam-splitting  principle.  However, 
even  though  three  separate  negatives, 
one  for  each  primary  color,  are  used 
in  the  Technicolor  camera,  the  beam- 
splitting  prism  produces  only  two 
identical  images  of  the  scene  being 
photographed. 

Prism  Splits  Beam 

A  prism  of  special  design  is  posi- 
tioned directly  behind  the  lens.  Part 
of  the  light  passes  straight  through  the 
prism  and  through  an  emeraude  or 
greenish  filter  where  the  green  color 


WANTED: 

Experienced  Sound  Engineers 
for    Theatre     Servicing. 

For  particulars  write  to 

INTERNATIONAL  PROJECTIONIST 

Box  954 

19  West  44  St.,  New  York  36,  N.  Y. 


values  are  recorded  on  a  film.  The 
remainder  of  the  light  from  the  lens  is 
reflected  at  a  right  angle  to  form  an 
image  of  the  scene  in  the  second 
aperture.  In  this  aperture,  two 
negatives  run  together  in  a  double 
pack.  The  first  film  in  the  pack  records 
the  indigo  color  values  and  the  rear 
film  records  vermilion  light  through 
a  continuous  vermilion  filter  that  runs 
between  the  two  films  in  the  pack. 
A  number   of   less   drastic   but  im- 


portant improvements  have  been  made 
in  the  Technicolor  process  in  recent 
years.  One  is  the  method  of  using  the 
process  for  color  film  shot  in  a  single- 
film  standard  motion  picture  camera 
with  "monopack"  color  film.  How  this 
process  records  a  scene  in  full  natural 
color  will  be  described  along  with  the 
new  Eastman  Color  process  which  also 
is   a   monopack   process. 

Eastman  Color  film,  is  fast  gaining 
in    popularity,    both    because    of    its 


Finest  Theatre  Seryice— Anywhere 


Back  of  every  RCA  Theatre  Serv- 
ice engineer  are  all  the  resources 
and  facilities  of  the  Radio  Corpo- 
ration of  America.  No  technical 
problem  in  theatre  sound  or  pro- 
jection  is   too   difficult  for   RCA 


Service   engineers   to    tackle   and 
solve  ...  for  You! 

For  over  25  years,  RCA  Theatre 
Service  has  been  consistently  of 
the  highest  quality  .  .  .  thoroughly 
dependable  .  .  .  and  friendly. 


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A  Radio  Corporation  of  America  Subsidiary 
Camden,  N.  J. 


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Regardless  of  the  new  medium  you  select  for  your  theatre, 
all  "depth"  pictures  require  near  perfection  from  the  projectors.  Before 
converting  see  your  dealer  about  using  LaVezzi  projector  parts  in  on 
ly^         overhaul.  The  unusual   precision   and   long   life  bring   about  efficiency. 


economy,  and  peace  of  mind. 


LaVezzi 
Machine  Works 

4635  W.  LAKE  ST.,  CHICAGO  44,  ILL 


INTERNATIONAL  PROJECTIONIST     •     JANUARY  1954 


31 


adaptability  to  CinemaScope  and  be- 
cause it  can  be  handled  by  a  great 
many  processing  laboratories  in  con- 
trast to  Technicolor  prints  which,  up 
to  the  present,  can  be  processed  only 
by  Technicolor  laboratories  in  Holly- 
wood and  London.  Technicolor,  real- 
izing its  disadvantage  on  this  score, 
has  just  entered  into  an  agreement 
with  the  Deluxe  Laboratories  in  New 
York  for  the  processing  of  Technicolor 
prints  on  the  East  Coast.  Another 
laboratory  is  planned  for  Paris. 
The  Eastman  Color  negative  —  con- 


Now  You  Can  Install  the 

CRON-O-MATIC 

CARBON  SAVER 

at  the  NEW  LOW  PRICE  of  only 

$42.50 


Saves  $400  a  year  on  carbons  if  you  are  using 
Ashcraft  "D"  or  "E",  Brenkert-Enarc,  Peerless 
Magnarc   or   Strong   Mogul   lamps. 

Burning  average  lengths  (3^4")  down  to  94" 
saves  2%"  or  22.2%  of  carbon  costs. 

Uses  positive  carbon  stubs  of  any  length  with- 
out preparation.  When  entirely  consumed,  the 
new  carbon  goes  into  use  without  losing  the 
light,    or    otherwise    affecting    lamp    operation. 

If   your   dealer   can't   supply   you,   order   direct. 

DEALERS  NOT  PRESENTLY  HANDLING  THIS 
SENSATIONAL  CARBON  SAVER  ARE  IN- 
VITED TO   INQUIRE  ABOUT  A  DEALERSHIP 

—^  PAYNE  PRODUCTS  CO. 

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(     )   Ship  Cron-O-Matic  Carbon  Saver: 
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EXPORT:  Frazar  &  Hansen,  Ltd. 

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sists  essentially  of  three  light-sensitive 
emulsions,  each  sensitized  differently 
and  coated  on  a  safety  support.  In- 
corporated in  the  emulsion  layers  are 
dye  couplers  which  react  simultan- 
eously during  development  to  produce 
a  separate  negative  dye  image  along 
with  the  silver  image  in  each  layer. 
The  silver  images  are  removed  later  by 
bleaching.  Two  of  the  dye  couplers 
are  themselves  colored. 
■  The  original  color  of  these  couplers 
is  discharged  during  development  in 
proportion  to  the  development  of  the 
emulsion.  The  remaining  colored 
couplers  serve  as  automatic  color  cor- 
recting masks  to  aid  in  obtaining  good 
color  reproduction  when  the  color 
negative  is  printed  on  the  companion 
product,  Eastman  Color  print  film  or 
on  other  color  materials. 

The  color  print  film  is  a  multi-layer 
color  film  intended  for  use  in  making 
color  release  prints  from  the  Eastman 
negative.  It  is  also  used  in  printing 
from  black  and  white  separation  nega- 
tives such  as  the  Technicolor  process. 

Three  Emulsions 

The  Eastman  Color  print  film  con- 
sists of  three  light-sensitive  emulsions, 
each  sensitized  differently  and  coated 
on  a  safety  support.  Incorporated  in 
the  emulsion  layers  are  dye  couplers 
which  react  simultaneously  during  de- 
velopment to  produce  separate  dye 
images  with  the  silver  image  in  each 
layer. 

The  silver  image  is  later  removed 
by  bleaching,  leaving  only  the  dye 
images  in  the  picture  area.  The  sound- 
track area  is  redeveloped  to  give  both 
a  dye  and  silver  image  for  the  track. 
Since  the  material  is  exposed  through 
a  color  negative  (or  from  black  and 
white  separation  negatives  with  colored 
light)  the  resulting  images  are  color 
positives. 

In  conclusion  it  can  be  stated  that 
color    motion    pictures    have    become 


more  important  than  black-and-white 
in  the  Hollywood  scheme  of  things.  So 
far  as  competition  between  color 
processes  such  as  Technicolor  and 
Eastman  Color  is  concerned,  it  is  con- 
sidered likely  by  such  observers  as 
Nick  Tronolone  that  both  will  be  im- 
portant in  the  future. 

It  is  likely,  he  said  that  Technicolor 
will  be  able  to  solve  the  problem  of 
adapting  the  dye-imbibition  process  to 
CinemaScope.  In  addition,  Eastman 
Color,  which  is  constantly  being  im- 
proved and  which  can  be  processed  in 
the  studios'  own  laboratories,  has  the 
advantage  of  offering  greater  freedom 
and  control  over  the  production 
process. 

TV  Booms  in  Britain 

More  TV  sets  than  radios  are  now 
being  manufactured  in  Great  Britain. 
During  the  first  nine  months  of  1953, 
some  728,000  video  sets  were  made  com- 
pared with  706,000  radios. 


FILM  CEMENT 


Makes   a    splice 
that  HOLDS  I 

Actually,  a  splice 
made  with  Ethyloid 
is  stranger  than  the 
film  itself. 

Works  fast  in  any 
climate,  hot  or  cold. 
Will  not  congeal. 


THIS    UNION    MADE 

FILM  CEMENT  IS 

AVAILABLE  AT 


ALL  THEATER  SUPPLY  DEALERS 


FISHER  MFG.  CO., 

1  SALTER  PLACE  •  ROCHESTER  13,  N.Y. 


Clayton  Ball -Bearing  Even  Tension  Take-Ups 

For  all  Projectors  and  Sound  Equipments 

ALL  TAKE-UPS  WIND  FILM  ON  2,  4  AND  5  INCH  HUB  REELS. 
SILENT  CHAIN   DRIVE 

THE   CLAYTON    REWINDER 

FOR  PERFECT  REWINDING  ON  2000-FOOT  REELS. 

CLAYTON    PRODUCTS   CO. 

31-45  Tibbett  Avenue  New  York  63,  N.  Y. 


32 


INTERNATIONAL  PROJICTIONIST     •     JANUARY  1994 


Index:    INTERNATIONAL     PROJECTIONIST 


January  to  December,   1953 


INDEX  BY  CLASSIFICATION 


Book  Reviews 

Canadian    Film    Weekly    Yearbook,    1953-4. 

Hye  Bossin,  Nov.,   p.   25 

New  Screen  Techniques.  Martin  Quigley,  Jr. 

Oct.,  p.  27 

Carbons,  Arc  Lamps 

Film-Cooling  Problem,  Fred  C.  Mathews. 

March,  p.  10 
How   to   Check   for  —  and    Get  —  Maximum 
Light  at  the  Screen.  Motion  Picture  Re- 
search Council.  Sept.,  p.  16 
An    Improved    Carbon    Lamp    for    3-D    and 
Wide-Screen.   Dr.  Edgar  Grelener. 

Dec,  p.  29 
King-Size  Arc  Lamp  Due.  Nov.,  p.  22 

The  New  Cooling  Systems,  Charles  A.  Hahn. 

May,  p.  13 
Projection,  Military  Arcs  Use  Discs. 

Dec,  p.  36 

Projector  Carbons  for  New  Motion  Picture 

Systems,  F.  P.  HolLoway,  R.  M.  Bushong 

and  W.  W.  Lozier.  July,  p.  14 

RCA's  New  Wide-Arc  Lamp.  July,  p.  24 

Strong  HI  Spots  Dominate  Nevada  Resorts. 

March,  p.  6 
Strong    Electric    Announces    New   3-D    Pro- 
jection     Lighting      Equipment,      Arthur 
Hatch.  Feb.,  p.  31 

Strong's  "Super   135"  Is  Designed   for  3-D. 

Aug.,  p.  24 
Water-Cooling  for  Projection  Carbons:  What 
Are  the  Facts?,  Charles  A.  Hahn. 

July,  p.  20 
CinemaScope 
(See  Wide-Screen  and  Sound  Reproduction) 

Film 

Ansco   Color  Film.  Feb.,   p.   19 

Film    Splicing    for    3-D    and    CinemaScope, 

James  Morris.  Dec,  p.  11 

New  Synthetic  Film  Base  by  DuPont  Detailed 

Aug.,  p.  26 

I  Drive-in  Theatres 
[The  Drive-in  Dissected,   Wilbur  Flaherty. 
May,  p.   10 
General 
Cinerama  Moves  to  the  Mezzanine. 
I  Aug.,  p.  17 

Highlights  of  TESMA-TOA  Show,  Frederick 
Hodgson.  Nov.,  p.  15 

1952:    A   Wonder   Year   of   Progress,   Leroy 
Chadbourne.  Jan.,  p.  9 

RCA  Unveils  Transistor  Units,      Feb.,  p.  23 
Technical   Puzzlers   Clarified,   Henry  Kogel. 

Oct.,  p.  23 
lA  Notes,  Labor 

American  Labor  Movement.  A  summary  pre- 
pared by  the  U.  S.  Dept.  of  Labor. 
Jan.,  p.  24;   Feb.,  p.  24;   March,  p.  13; 
April,  p.  25;   May,  p.  20 
lA-IP   Radio    Bulletins,   Amos   Kanaga. 

Jan.,  p.  25;  April,  p.  24;  Nov.,  p.  24 
lA-IP  "Ham"  List.  Jan.,  p.  26 

lA   Visits   Will   Rogers   Memorial   Hospital. 

Sept.,  p.  21 
Pension    Protection  —  Goal    of    Labor.    Pre- 


pared  by  the  AFL.  July,  p.   19; 

Aug.,  p.  20;   Oct.,  p.  26;   Nov.,  p.  21 
Monthly  Chat  (Editorials) 

Confusion    Over    New    Processes,    James    J. 

Finn.  Feb.,   p.5 

Exaggerated  Aspect  Ratios.  Sept.,  p.  3 

Handling  New-Process  Equipment.  Jan.,  p.  3 
New- Process  Equipment  Prices.  June,  p.  5 
New-Process  Vs.  Standard  Projection,  James 

J.  Finn.  April,  p.  5 

Panoramic     and     3-D     Process     Examined, 

James  J.  Finn.  March,  p.  3 

Progress   Report   on   New   Processes,  James 

J.  Finn.  May,  p.  5 

Repeal  of  Theatre  Admission  Tax.  Aug.,  p.  3 
Supporting      an      Industry-Wide      Research 

Organization.  July,  p.  3 

3-D    Projection   Problems.  Oct.,   p.   5 

Will  Rogers  Memorial  Hospital.  Nov.,  p.  5 
Year-End  Reflections.  Dec,  p.  5 

New  Projection  Processes 

(See  also   Wide-Screen,  Sound  Reproduction 
and  3-D) 

Confusion  Over  New  Processes    (editorial), 
James  J.   Finn.  Feb.,   p.  5 

Graphic    Outline    of    Various    3-D,    Wide- 
Screen   Processes.  May,   p.   5 

Handling     New-Process     Equipment      (edi- 
torial). Jan.,  p.  3 

New  Process  Equipment  Prices    (editorial). 

June,  p.  5 

New-Process    vs.    Standard    Projection    (edi- 
torial), James  J.  Finn.  April,  p.  5 

Panoramic    and    3-D    Processes    Examined 
(editorial),  James  J.  Finn.        March,  p.  3 

Progress    Report    on    New    Processes     (edi- 
torial), James  J.  Finn.  May,  p.  5 

RCA's  "Magnetic  Movies"  Portend  Industry 
Revolution,  Frederick  Hodgson.  Dec,  p.  22 

Optics 

Bausch  &  Lomb  has  New  F/1.8  Lens. 

Nov.,  p.  21 

Bell  &  Howell  Make  'Scope  Lenses. 

Dec,  p.  38 

The  "Hypergonar"  Lens  Process,  Prof.  Henri 
Chretien.  June,   p.    14 

New    Variable    Focal-Length    Lens,    Merle 
Chamberlin.  Oct.,    p.    25 

Sidelights  on  the  "Hypergonar"  Lens. 

June,  p.  15 

Projectors,  Projection 

{Also  See  New  Projection  Processes.) 

Ampro   Corp.'s   Model  477   Magneto-Optical 
Projector.  Jan.,   p.  21 

Anent    Shutter    Blades.  May,    p.    17 

Portable    16-mm    Arc    Projector    Marketed 
by  Victor.  Nov.,  p.  22 

RCA   Develops   16-mm  Projector  for  3-D. 

Oct.,   p.  22 

Recent     Projection     Advances     in     Europe. 
Robert  A.  Mitchell.  Dec,  p.  7 

To  Trim  or  Not  to   Trim    (shutters). 

May,   p.   15 

Outline   of   16-mm   Projection.   An   abridge- 
ment    of     W     H.     OJfenhauser's     16-mm 


Manual.  March,  p.  17;  April,  p.  26; 

July,   p.  22;   Aug.,  p.   16 

Screens,  Screen  Brightness 

(See   also    Wide-Screen   and    CinemaScope) 

Effect  of  Stray  Light  on  the  Screen,  Ray- 
mond L.  Estes.  Nov.,  p.  14 

How  to  Check  for  —  and  Get  —  Maximum 
Light  on  the  Screen,  Motion  Picture  Re- 
search Council.  .Sept.,  p.  16 

Projected    Light    and    the   Curved    Screen. 

May,  p.  12 

SMPTE  Screen  Brightness  Committee  Re- 
port. March,  p.  22 

These  "Curved"   Screens.  March,  p.   16 

Visibility  Factors  in  Projection,  Robert  A. 
Mitchell.  3  parts;  May,  p.  7;  June,  p.  11; 

July,    p.    11 

SMPTE 

Abstracts  of  papers  read  at  SMPTE  Spring 

Convention.  April,  p.  21 ;   May,  p.  19 

Fall   Convention    papers.  Oct.,   p.    15 

Nov.,  p.  20 
Approved    Projection    Room    Ventilation. 

Feb.,   p.   13 
Highlights  of  the  SMPTE  Fall  Convention, 
Frederick  Hodgson.  Oct.,   p.    14 

Projectionists'    Aid    .Sought    in    Survey. 

Sept.,  p.  25 

Report  on  Theatre  Survey.  Oct.,  p.   14 

3-D    Feature    Topic    of    SMPTE     (Spring) 

Convention.  April,  p.  21 

Sound  Reproduction 

Film      Industry      Eyes     New      Stereosound, 

Thomas   L.    Burnside.  Oct.,    p.    7 

Hints    on    Handling    Magnetic    Soundheads, 

C.  A.  Tuthill.  Nov.,  p.  7 

Measuring   Sound   Absorption,  Earle   Jones, 

Seymour  Edelman  and  Albert  London. 

Jan.,   p.  20 
Motiograph  Speeds  "Penthouse"  Production. 

Oct.,   p.  30 
Multiple    Magnetic    Tracks    With    Picture 

Opposed.  July,  p.  22 

Panaphonic  System  Is  Shown  on  Coast. 

Dec,  p.  37 
Schematic     Diagrams     of     Altec-Paramount 

stereophonic   sound   installation. 

April,  p.  16 
Seventy-fifth   Anniversary   of  First   Dynamic 

Loudspeaker.  March,    p.   27 

Simplex  Theatre  Stereophonic  Sound  Sys- 
tem, a  diagrammatic  presentation. 

June,  p.  16 
Small    Theatres    Install    Stereosound,    L.   D. 

Netter,  Jr.  Dec,  p.  15 

Types     of     Theatre     Sound     Reproducers, 

Robert  A.  Mitchell.  4  parts;  Jan.,  p.  16; 

Feb.,  p.  17;  March,  p.  5;  April,  p.  11 

Westrex,    Magnasync    "Penthouse"    Sound- 

■    heads.  Nov.,  p.  23 

What   Price   Chaos   in   Sound?,    Thomas  L. 

Burnside.  Aug.,    p.    15 

Stereoscopy 

(See  3-D  Projection) 

Television 

Color  TV  .  .  .  And  How  it  Works,  James 
Morris.  Sept.,  p.  14 

Color  TV  Simplified  by  New  Paramount 
Tube.  Jan.,  p.  14 

Introducing  "Modulation,"  (TV  picture  and 
sound  signals).  Jack  Behlke,      Feb.,  p.  14 

Too    Far,    Too    Fast?     (TV    programming). 

April,  p.  28 


INTERNATIONAL  PROJECTIONIST 


JANUARY  1954 


33 


TV  Projection  with  Image-Orthicon  Cameras, 
R.  D.  Chipp.  March,  p.  14 

Worm  Turns  —  TV  Fears  Theatre  Competi- 
tion. Aug.,  p.  15 

3-D  Projection  (Stereoscopy) 

Addendum:    3-D    Projection,     The    Motion 
Picture   Research   Council.       May,   p.    14 
All  This  and  Heaven  Too?  June,  p.  24 

Depth  Perception  — ■  An  Eye  Doctor's 
Opinion.  Nov.,  p.  24 

"House  of  Wax"  Critique.  May,  p.  19 

Motiograph  3-D  Projector  Interlocks. 

March,    p.    8 

Natural  Vision  —  Another  Step  in  the  Right 

Direction,  Merle  Chamherlin,      Jan.,  p.  5 

Nord  Single-Film  3-D.  Nov.,  p.   13 

Polaroid's  Device  Keeps  3-D  in  Sync. 

Aug.,   p.  21 
Single-Strip  3-D  to  Get  Circuit  Tests. 

Dec,    p.   28 
Some  Technical  Details  of  Natural  Vision. 

Jan.,  p.  6 

Stereoscopic    Projection    and    Photography, 

Robert  A.  Mitchell.     4  parts;  Aug.,  p.  5; 

Sept.,  p.  9;    Oct.,  p.   10;   Nov.,  p.  11 

3-D  a  Lumen-Eating  Process.       June,  p.  22 

3-D    as    Viewed    from    Olympus,    James    J. 

Finn.  June,   p.  8 

3-D  Filter  Cooling  Unit.  July,  p.  13 

3-D  Presentation  Notes,  Lester  Barager. 

March,  p.  22 
3-D  Projection  Problems  (editorial) . 

Oct.,   p.  5 
3-D  Projection  Faults.  Aug.,  p.  20 


3-D     Projection:     Progress     Report,     Merle 
Chamberlin.  Feb.,   p.   7 

3-D  Projection    Requisites,    Motion    Picture 
Research  Council.  March,  p.  12 

Wide-Screen,  Single-Film  3-D  predicted. 

June,  p.  7 

World    Premiere    of   Altec-Paramount   4-pro- 
jector.  No-intermission  3-D  Color  Showing. 

April,  p.   15 

Ventilation 

Approved      Projection      Room      Ventilation, 
Formulated  by  the  SMPTE.       Feb.,  p.  13 

Carbon  Arc  Gases,  Dust:  Addendum,  James 
J.  Finn.  Feb.,  p.  12 

Projection    Room   Ventilation,    Los   Angeles 
Plan  Reviewed.  March,  p.  21 

Wide-Screen  and  CinemaScope 

CinemaScope:    What   it   Is,   How   it   Works, 
Arthur   Gavin.  April,   p.   7 

CinemaScope  Wrecks   Records,  James  Mor- 
ris. Oct.,   p.    16 

Converting    Theatres    for    CinemaScope,    in- 
cluding projection  data.  Aug.,  p.  11 

Does      CinemaScope      Have      the      Answer, 
Thomas  L.  Burnside.  Sept.,  p.  5 

Exaggerated  Aspect  Ratios   (editorial). 

Sept.,    p.    3 

Lens  Chart  for  Wide  Screens,  M.  D.  O'Brien. 

Oct.,  p.  17 

M-G-M,    Paramount    develop    New    Camera 
(for  wide  screen).  Nov.,   p.  28 

Roundup  of  the  Wide-Screen  Process. 

July,   p.   5 

Two  Views  of  CinemaScope.       Dec,   p.   15 


INDEX  BY  AUTHOR 


/ 


BARAGER,  LESTER. 

3-D  Presentation  Notes.       March,  p.  22 
BEHLKE,  JACK. 

Introducing   "Modulation."   Feb.,   p.    14 
BURNSIDE,  THOMAS  L. 

Does   CinemaScope   Have   the  Answer? 
Sept.,  p.  5 

Film  Industry  Eyes  New  Stereosound. 
Oct.,  p.  7 

What  Price  Chaos  in  Sound?  Aug.,  p.  15 
BUSHONG,  R.  M.,  E.  P.  HOLLOWAY  and  W. 

W.  LOZIER. 

Projector  Carbons  for  New  Motion  Pic- 
ture Systems.  July,  p.  14 
CHADBOURNE,  LEROY. 

1952:   A  Wonder  Year  of  Progress. 

Jan.,  p.  9 
CHAMBERLIN,  MERLE. 

Natural   Vision  —  Another   Step   in   the 

Right  Direction.  Jan.,  p.  5 

New   Variable    Focal-Length    Lens. 

Oct.,  p.  25 

3-D   Projection:    Progress   Report. 

Feb.,  p.  7 
CHIPP,  R.  D. 

TV     Projection     with     Image-Orthicon 

Camera.  March,  p.  14 

CHRETIEN,  PROF.  HENRI. 

The  Hypergonar  Lens  Process. 

June.  p.  14 
EDELMAN,     SEYMOUR,     EARLE    JONES     and 

ALBERT  LONDON. 

Measuring  Sound  Absorption.  Jan.,  p.  20 
ESTES,  RAYMOND  L. 

Effect   of    Stray    Light    on    the    Screen. 
Nov.,  p.  14 


FINN,  JAMES  J. 

Caibon    Arc    Gases,    Dust:    Addendum. 
Feb.,  p.  12 
Confusion  Over  New  Processes. 

Feb.,  p.  5 
New  Processes  vs.  Standard  Projection. 
April,   p.  5 
New    Process    Equipment    Prices. 

June,  p.  5 

Panoramic  and  3-D  Process  Examined. 

March,  p.  3 

3-D  as  Viewed  from  Olympus.  June,  p.  8 

FLAHERTY,  WILBUR. 

The   Drive-in   Theatre   Dissected. 

May,  p.  10 
GAVIN,  ARTHUR. 

CinemaScope:     What    It    Is,    How    It 
Works.  April,  p.   7 

Roundup    of   the   Wide-Screen    Process. 
July,   p.   5 
GRETENER,  DR.  EDGAR. 
An  improved  Carbon  Lamp  for  3-D  and 
Wide-Screen.  Dec,  p.  29 

HAHN,  CHARLES  A. 
The   "New"    Cooling    Systems. 

May,  p.  13 
Water  Cooling  for  Projection  arbons. 
What  are  the  Facts?  July,  p.  20 

HATCH,  ARTHUR. 
Strong  Announces  New  3-D   Projection 
Lighting  Equipment.  Feb.,  p.  31 

HODGSON,  FREDERICK. 
RCA's      "Magnetic      Movies"      Portend 
New  Industry  Revolution.       Dec,  p.  22 
Highlights  of  the  SMPTE  FaU  Conven- 
tion. Oct.,  p.  14 


Highlights   of  the   TESMA-TOA  Show. 
Nov.,  p.  15 

HOLLOWAY,    E.    P.,    R.    M.    BUSHONG    and 
W.  W.  LOZIER. 

Projector  Carbons  for  New  Motion  Pic- 
ture Systems.  July,  p.  14 

JONES,     EARLE,     SEYMOUR    EDELMAN     and 
ALBERT  LONDON. 
Measuring  Sound  Absorption.  Jan.,  p.  20 

KANAGA,  AMOS. 
lA-lP    Radio    Bulletins.       Jan.,    p.   25; 
April,   p.  24;    Nov.,   p.  24 
lA-IP    "Ham"    List.  Jan.,    p.   26 

KOGEL,  HENRY. 
Technical  Puzzlers  Clarified.  Oct.,  p.  22 

LONDON,  ALBERT,  SEYMOUR  EDELMAN  and 
EARLE   JONES. 
Measuring  Sound  Absorption.  Jan.,  p.  20 

LOZIER,    W.    W.,    E.    P.    HOLLOWAY,    and    R. 
M.   BUSHONG. 

Projector  Carbons  for  New  Motion  Pic- 
ture  Systems.  July,   p.   14 

MATHEWS,  FRED  C. 
The  Film-Cooling  Problem.  March,  p.  10 

McBRYDE,    FRANK. 
Rebirth  of  a  Theatre.  Sept.,  p.   13 

MITCHELL,  ROBERT  A. 
Recent  Projection  Advances  in  Europe. 

Dec,  p.  7 
Stereoscopic      Projection      and      Photo- 
graphy. 4  parts;  Aug.,  p.  5;  Sept.,  p.  9; 
Oct.,  p.  10;  Nov.,  p.  11 
Types   of   Theatre   Sound   Reproducers. 
4  parts;  Jan.,  p.  16;  Feb.,  p.  17; 
March,  p.  5;  April,  p.  11 
Visibility  Factors  in  Projection.  3  parts. 
May,  p.  7;  June,  p.  11;  July,  p.ll 

MORRIS,  JAMES. 
CinemaScope  Wrecks  Records. 

Oct.,  p.  16 
Color  TV  .  .  .  and  How  It  Works. 

Sept.,  p.  14 

Film  Splicing  for  3-D  and  CinemaScope. 

Dec,  p.  11 

MOTION  PICTURE  RESEARCH  COUNCIL. 
Addendum:  3-D  Projection.  May,  p.  14 
How   to   Check   for  —  and   Get  —  Maxi- 
mum Light  at  the  Screen.      Sept.,  p.  16 
3-D  Projection  Requisites.    March,  p.  12 

NETTER,  L.  D.  JR., 
Small   Theatres   Install   Stereosound. 

Dec,  p.  15 

TUTHILl,  C.  A. 
Hints    on    Handling    Magnetic    Sound- 
heads. Nov.,  p.  7 


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INTERNATIONAL  PROJECTIONIST      •      FEBRUARY  1954 


INTERNATIONAL 

PROJECTIONISl 

With   Which   is  Combined    PROJECTION   ENGiNEERING 


R.  A.  ENTRACHT,  Managing  Editor 
JAMES  MORRIS,  Associate  Editor 


Volume  29 


FEBRUARY   1954 


Number  2 


Index  and  Monthly  Chat  5 

THE  LENS:  Key  to  Projection 

Quality   7 

Robert  A.  Mitchell 

That  Hardy  Perennial: 

Damaged  Film!  9 

James  Morris 

Proper  Tools  a  3-D  'Must'  12 

Stanley  Cohen 

Atom-Smasher  Principle  Aids 

Color    TV    14 

Frederick  Hodgson 

Light-Gain,  Better  Screens 

Demanded    by   New   Systems      17 
Leonard  Safz 

What's  Your  Problem?  18 

Ampex  Has  New  Stereophonic 

Sound    Series    18 

Pension  Protection  — 

Goal  of  Labor,  V  19 

Versatile  Magnarc  Used  for 

CinemaScope    19 


In  the   Spotlight  - 20 

3-D  Is  Job  for  Men  of  Muscle  ....      22 
Robert  L.  Moore 

Film  Industry  Profits  Rise 

Despite  Forebodings  23 

New    Products   for   the    Industry  24 

lA    Elections    25 

Free   Polaroid   Land   Camera,    II  26 

Book  Review  27 

Motiograph  Offers  'Raincoat' 

In-Car  Speaker  28 

Westrex  Has  Stereophonic 

Conversion    Unit   29 

Big  Future  Seen  for  the  New 

Giant  Magazines   30 

Obituaries  __ 31 

Canada  Doubles  Number  of 

Theatre    Seats    32 

News  Notes 

Technical  Hints 


Published  Monthly  by 

I  INTERNATIONAL  PROJECTIONIST  PUBLISHING  CO.,  INC. 

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9 


MONTHLY     CHAT 

PROJECTIONISTS  who  remember 
the  hand-crank,  the  milk  bottle  and 
projection  room  batteries  of  the  old 
shooting  gallery  days  may  feel  that 
they're  playing  at  being  Buck  Rogers  in 
this  age  of  wondrous  confusion.  Mule 
team  drivers  must  have  felt  that  way 
when  they  saw  the  first  locomotive  belch- 
ing its  way  across  the  salt  flats.  Lee  De- 
Forest,  away  back  in  1907,  must  have 
wondered  a  little  when,  for  the  first 
time  in  the  life  of  any  man,  he  heard 
the  human  voice  via  the  vacuum  tube. 

Now,  in  1954,  IP  ponders  the  problem 
of  "What  hath  Sarnoff  wrought?"  —  or 
rather,  Gen.  Sarnofl's  bright  young  en- 
gineers ! 

It  is  curious  that  every  advance  in  ap- 
plied science,  including  the  modern 
miracle  of  the  motion  picture,  had  its 
genesis  in  the  work  of  some  pure  scientist 
struggling  to  find  out  about  nature  and 
not  caring  a  hoot  to  what  useful  purpose 
his  discoveries  might  be  put. 

Sound  motion  pictures  would  be  im- 
possible if  Clerk  Maxwell  in  1864  hadn't 
worked  out  his  theory  of  electro-magnetic 
waves.  Or  if  Sir.  J.  J.  Thomson  hadn't 
isolated  the  electron  in  1897,  paving  the 
way  for  the  cathode,  the  rectifier,  the  Tv 
kinescope  and  ten  thousand  other  items. 

IP,  in  a  Nostradamic  mood,  is  wonder- 
ing (backed  by  engineering  friends  in 
the  electronics  field)  about  the  newest 
RCA  demonstration,  a  tube  powered  by 
Beta  rays  from  atomic  waste.  Next 
month  we'll  carry  an  article  on  this  new 
development  and  on  its  application  in  the 
projection  room.  Meanwhile,  let's  do 
a  little  preliminary  wondering. 

The  RCA  gimmick  is  a  simple  tube, 
with  a  radioactive  electron  source 
bombarding  a  transistor-like  wafer  act- 
ing as  the  cathode.  The  radioactive  ma- 
terial takes  the  place  of  the  heater  in 
the  tube  familiar  to  every  projectionist. 

Imagine  the  perhaps  not  too  distant 
future  when  no  heating  elements  will  be 
necessary  in  rectifier  tubes!  Think  of 
the  simplified  circuitry!  Ponder  the 
ease  and  fidelity  of  sound  reproduction 
and  amplification  when  the  power  source 
becomes  an  absolute  constant! 

Strontium-90,  the  radioactive  source 
material,  is  abundant  and,  as  a  waste 
product  of  America's  expanding  atomic 
program,  its  cheapness  makes  for  its 
speedy  utilization  in  industry,  including 
the  film  business. 

Less  than  a  year  ago  few  projectionists 
had  ever  seen  magnetic  sound  tracks  on 
film.  Maybe  next  year,  or  the  next, 
we'lll  be  running  our  projection  rooms 
with  atomic  power.  Let's  call  up  Mars 
and  ask  the  engineers  there  about  it. 
Or  maybe  we  can  call  20th  Century  Fox? 


INTERNATIONAL  PROJECTIONIST      •      FEBRUARY  1954 


INTERNATIONAL  PROJECTIONIST      •      FEBRUARY  1954 


NTERNATIONAL    PROJECTIONIST 


VOLUME  XXIX 


FEBRUARY   1954 


NUMBER   2 


This  is  the  first  of  three  articles 


THE  LENS:  Key  to  Projection  Quality 


By  ROBERT  A.  MITCHELL 


A  projection  lens  has  no  moving 
parts.  It  gets  dirty  and  has  to 
be  cleaned  at  intervals;  but 
there  is  nothing  in  it  to  wear  out. 
When  the  focus  is  properly  adjusted, 
the  lens  has  nothing  to  do  but  "stay 
put"  and  "look"  at  the  intensely  il- 
luminated photographs  in  the  film-ap- 
erture. What  the  lens  "sees"  it  paints 
with  rays  of  light  upon  the  large,  dis- 
tant screen. 

Human  vision  is  seldom  perfect. 
Our  eyes  may  be  astigmatic,  near- 
sighted, far-sighted,  or  have  other 
things  wrong  with  them  which  falsify 
our  visual  impressions  of  the  world. 
And  so  it  is  with  projection  lenses. 
They  too  may  suffer  from  various 
"visual"  defects  —  spherical  aberra- 
tion, coma,  astigmatism,  field  curva- 
ture, and  other  distortions.  They  may 
be  unable  to  see  the  film-photographs 
as  they  really  are,  and  accordingly 
mess  up  our  screens  with  blurry,  dis- 
torted images.  But  when  the  lenses 
function  properly,  the  visual  product 
captured  on  the  film  will  be  faithfully 
reproduced,  its  shortcomings  as  well 
as  its  merits. 

Lens  Is  Everything 

The  projectionist  understandably 
has  a  profound  and  tender  respect  for 
a  pair  of  good  lenses.  He  knows,  as 
everyone  else  in  the  movie  industry 
ought  to  know,  that  everything  in  a 
motion-picture   production   except   the 


sound  must  pass  through  the  lens  of 
the  projector.  Many  theatre-owners, 
profit-wise,  are  also  aware  of  the  im- 
portance of  the  projection  lens;  and 
they  sagely  seek  the  advice  of  the  pro- 
jectionist when  considering  the  pur- 
chase of  the  new  ones.  Many  theatre- 
owners,  yes!    But  not  all! 

Penny-Wise  Exhibitors 

It  might  seem  that  no  exhibitor 
would  be  so  stupid  as  to  consult  an 
usher,  a  doorman,  or  a  janitor  about 
lenses.  And  yet  that  is  exactly  what 
some  few  exhibitors  do.  They  allow 
themselves  to  be  "educated"  in  pro- 
jection technology  by  managers  whose 
knowledge  of  motion  pictures  has  been 
acquired  on  non-technical  levels.  The 
fellow  who  counts  the  pennies  fre- 
quently draws  no  distinction  between 
saving  a  shilling  on  lavatory  disinfec- 
tant and  practicing  a  similar  "econ- 
omy" on  projection  lenses.  Ignorance 
has  closed,  not  hundreds,  but  thou- 
sands of  theatres. 

A  closed-until-further-notice  sign  on 
the  door  of  a  dark  theatre  may  in 
about  three  out  of  ten  cases  be  at- 
tributed directly  to  the  type  of  exhibi- 
tor who  expects  the  projectionist  to 
"get  by"  with  lenses  that  are  chipped, 
cracked,  heat-blistered,  or  just  plain 
no  good.  Such  an  exhibitor  blames 
his  loss  on  Tv,  high  taxes,  a  mythi- 
cal business  recession,  or  almost  any- 
thing   except    the    real    cause    of    his 


financial  woes  —  the  intolerably  poor 
quality  of  his  audiovisual  wares.  The 
moviegoing  public  can  be  lured  into 
the  "cheap"  type  of  theatre  only  by 
unusually  good  films,  a  commodity  too 
scarce  to  sustain  the  "dumps"  through 
days  and  weeks  of  quite  mediocre 
film-fare. 

We  do  not  want  any  theatre  to  close, 
but  it  does  not  surprise  us  when  mis- 
managed theatres  lock  up  for  good. 
We  dislike  the  idea  of  jobs  being  lost 
through  the  sins  of  managerial  in- 
competents who  do  not  belong  in  any 
theatre  and  would  quickly  ruin  any 
business.  It  does  not  please  us  at  all 
to  see  the  public  getting  gypped  by  the 
"economists"  who  operate  on  a  day- 
by-day  basis  and  totally  ignore  pro- 
jection, the  one  factor  that  often  spells 
the  difference  between  success  and 
failure  in  the  exhibition  field.  Only 
in  projection  are  images  dealt  with, 
and  it  is  only  for  the  sake  of  images 
that  cinema  tickets  are  purchased. 
And  the  public  today  will  pay  to  see 
only  good  images. 

A   Good  Screen  Image 

The  projectionist  knows  what  con- 
stitutes a  good  screen  image.  He  is 
the  only  employee  in  the  theatre  who 
knows  on  what  factors  a  good  screen 
image  depends.  He  is  not  expected  to 
possess  the  optical  and  mathematical 
knowledge  of  an  optical  scientist,  nor 
is  it  necessary  that  he  be  capable  of 


INTERNATIONAL  PROJECTIONIST 


FEBRUARY  1954 


designing  a  lens.  He  does  not  make 
projection  lenses:  he  uses  them!  And 
he  is  the  only  person  who  uses  them. 
And  because  of  this,  he  knows  that 
the  performance  of  any  lens  depends 
in  a  great  measure  on  the  peculiar 
behavior  of  the  intensely  lighted  and 
heated  film  in  the  projector  aperture. 
His  work  thus  involves  certain  prac- 
tical aspects  of  lens-performance  that 
cannot  possibly  enter  into  calculations 
of  the  optical  designer. 

The  Basic  Problem 

The  lens-designer,  for  example,  goes 
on  the  assumption  that  the  film-photo- 
graph in  the  aperture  is  a  fixed,  flat 
plane  which,  when  the  lens  is  in  focus, 
coincides  with  one  of  the  two  conju- 
gate focal  planes  of  the  lens  (the  other 
being  the  screen).  The  projectionist, 
however,  is  forced  to  deal  with  a 
film-photograph  that  flutters  and  prac- 
tically never  lies  perfectly  flat  in  the 
aperture. 

The  moment  the  rotating  shutter 
opens  to  permit  the  light  of  the  arc 
to  strike  the  film,  the  center  of  the 
tiny  film-frame  begins  to  move  along 
the  optical  axis  either  away  from  or 
toward  the  lens,  eventually  assuming 
the  form  of  a  pincushion.  To  get  the 
best  possible  focus  the  lens  must  be 
moved  to  accommodate  the  pincushion- 
shaped  photograph,  but  if  the  film 
flutters  excessively  even  the  best  focus 
obtainable  will  not  be  very  good  and 
the  screen  image  will  be  fuzzy. 

Variation  In  Lenses 

Projectionists  who  have  operated  in 
a  large  number  of  theatres  and  com- 
pared different  types  of  lenses  have 
found  from  actual  experience  that  all 
makes   do   not   give   identical   results. 

Some  give  pictures  of  high  contrast, 
but  slightly  blurry  toward  the  edges 
of  the  picture.  Other  makes  provide 
flatter  fields,  but  with  less  sparkling 
contrasts.  A  third  type  may  produce 
an  extremely  sharp  image,  but  with 
a  tendency  to  go  out  of  focus  easily; 
and  a  fourth  type  may  give  a  softer 
focus  that  seldom  requires  refocusing 
for  the  focus-drift  of  the  film.  It  will 
also  have  been  noticed  that  coated 
lenses  give  much  better  images  than 
uncoated  ones,  and  that  "fast"  (F/1.8 
and  F/1.9)  and  short  focus  lenses 
(E.F.  1-^  to  3%  inches)  are  some- 
times rather  troublesome. 

The  difference  between  a  first-class 
lens  and  a  poor  one  can  be  seen  im- 
mediately,   but   the   difference   in   the 


performance  between  two  high-grade 
lenses  of  different  makes  is  rather 
subtle.  Differences  do  exist;  and  the 
projectionist  is  often  correct  when  he 
maintains  than  one  brand  is  better 
than  another  in  the  short  focal  lengths, 
while,  perhaps,  a  third  brand  is 
superior  in   the  longer  focal  lengths. 

"Formulas"  Vary 

These  differences  are  due  to  slight 
variations  in  the  "formulas"  used  by 
different  manufacturers  for  the  same 
general  type  of  lens,  differences  in 
optical  glass,  and  differences  in  manu- 
facturing methods.  As  a  rule  these 
variations  are  minor  among  American 
lenses,  but  rather  pronounced  among 
European  brands.  Some  American 
lenses  made  before  the  war  are  not 
held  in  very  high  esteem,  the  English 
Ross  and  German  Zeiss  lenses  of  that 
era  being  preferred  where  quality  pro- 
jection really  counts.  Even  though 
these  foreign  lenses  are  preferred  even 
today  by  some  exhibitors  and  projec- 
tionists, it  is  a  fact  that  American 
optical  manufacturers  have  produced 
projection  lenses  fully  equal  to  the  best 
European  lenses. 

The  day  of  uncoated  lenses  is  over; 
and  there  is  no  excuse  for  continuing 
to  use  them.  Coated  lenses  provide 
images  of  increased  brightness,  clarity, 
and  contrast.  It  is  truly  surprising 
what  a  difference  the  microscopically 
thin  film  of  magnesium  fluoride  on  the 
surfaces  of  the  glass  makes!  It  is  too 
bad  that  good  uncoated  lenses  must 
be  discarded;  but  keeping  them  in 
service  compromises  picture-quality. 
Very  few  exhibitors  can  really  afford 
to  do  that!  Unfortunately,  old  un- 
coated lenses  cannot  be  coated  because 
the  slight  corrosion  of  the  glass  sur- 
faces prevents  an  even  distribution  of 
the  antireflection  film. 

"Short"  and  "Fast"  Lenses 

The  greatest  differences  in  the  per- 
formances of  lenses  are  undoubtedly 
due  to  differences  in  focal  length,  the 
shorter  the  E.F.  (equivalent  focal 
length'),  the  greater  the  focusing  diffi- 
culties caused  by  optical  aberrations 
and  by  flutter  and  buckling  of  the  film 
in  the  aperture.  Then  too,  the  faster 
(larger)  the  short-focus  lens,  the  more 
trouble  it  gives  the  projectionist. 

A  few  theatres  must  use  short-focus 
lenses  because  of  purely  local  condi- 
tions. The  projection  room  may  be 
located  at  the  edge  of  a  deep  balcony, 
for  example,   and   be  so  close  to  the 


screen  that'  short-focus  lenses  are 
necessary  for  a  picture  of  adequate 
size.  But  a  larger  number  of  other 
theatres  needlessly  employ  short-focus 
lenses.  A  picture  which  is  too  small 
is  a  bad  thing;  but  a  picture  which  is 
far  too  big  is  much  worse! 

Neglecting  CinemaScope  and  other 
wide-screen  processes  for  the  present, 
it  may  be  said  that  the  width  of  the 
picture  should  be  about  1/5  of  tho 
projection  throw.  This  size  of  picture 
is  obtained  with  4-inch  lenses.  It  is 
quite  all  right  to  use  4-^-inch  lenses 
for  a  picture  just  a  few  inches  smaller, 
though  to  use  3-%-inch  lenses  to  get 
a  slightly  larger  picture  is  inviting 
trouble. 

Screen  Size  Importance 

The  size  of  screen  suitable  for  a 
specific  auditorium  should  be  very 
carefully  chosen  in  order  to  avoid  a 
picture  which  is  too  large  or  too  small. 
Actually,  most  theatres  have  screens 
which  are  a  trifle  too  small.  Unless 
the  theatre  is  a  long,  narrow  one,  it  is 
a  safe  bet  that  the  picture  is  too  small 
if  lenses  of  longer  focus  than  4-1/^ 
inches  are  used.  The  best  time  to  en- 
large the  picture  is  when  the  purchase 
of  new  lenses  is  contemplated.  A  new 
screen  will  probably  be  desired  any- 
way. Order  a  screen  2  feet  wider  and  I 
higher  than  the  new,  larger  picture, 
and  there  will  be  plenty  of  leeway  if 
a  slight  error  has  been  made  in  meas- 
uring the  projection  throw  (distance 
from  aperture  to  screen). 

If  the  new  picture  is  vastly  over- 
sized, however,  extremely  powerful 
lamps  and  very  short-focus  lenses  are 
required.  This  combination  is  deatl\ 
to  top-notch  projection.  Short-focus 
lenses  show  up  even  the  smallest  traces 
of  film-flutter  as  a  blur,  and  high- 
powered  lamps  under  such  circum- 
stances, only  increase  the  flutter.  It 
should  also  be  remembered  that  lenses 
of  very  short  E.F.,  especially  if  fast, 
do  not  give  such  sharp  images  as 
lenses  of  normal  focal  length.  In  ad- 
dition, oversized  screens  require  mag- 
nification of  the  film-photographs  to 
the  point  where  they  appear  grainy 
and  fuzzy  to  patrons  seated  in  front 
seats. 

Not  only  are  the  film-frames  buckled 
into  the  shape  of  pincushions  by  the 
heat  of  the  arc,  but  the  film  may  also 
be  twisted  or  warped  at  the  aperture 
by  worn  film-runners  or  "pinched"  by 
improperly     adjusted     guide-rails     or 

(Continued  on  page  34) 


INTERNATIONAL  PROJECTIONIST 


FEBRUARY  1954 


That  Hardy  Perennial:  Damaged  Film! 

CinemaScope  and  3-D  have  aggravated  an  age-old  controversy— the  projectionist 
versus  the  exchange.  Who's  to  blame  when  a  show  goes  berserk  because  film 
breaks?    Or  when  other  damage,  perhaps  unavoidable,  sends  tempers  soaring? 

By  JAMES  MORRIS 


PROJECTIONISTS  are  often  ir- 
ritated by  what  they  feel  is  a 
lack  of  cooperation  on  the  part 
of  the  film  exchanges.  One  recent 
letter  received  by  IP  from  a  projec- 
tionist on  the  West  Coast  concerned 
an  argument  with  an  exchange  there 
over  a  new  print  with  nicked  sprocket 
holes  which  the  exchange  insisted  had 
been  mutilated  by  improper  thread- 
ing of  the  projector.  The  projection- 
ist, equally  vehement,  was  sure  that 
the  exchange  was  wrong.  Who's  to 
blame?  IP,  in  the  projectionist's  cor- 
ner, thought  it  was  about  time  we  had 
another  look  at  the  problem  of  film 
damage. 

Another  letter  from  a  projectionist 
concerned  the  large  number  of  puz- 
zling and  messy  cue  marks  on  old 
prints  coming  his  way  from  the  ex- 
changes. 

When  3-D  pictures  were  making 
their  first  appearance  at  both  ex- 
changes and  theatres,  the  fur  flew 
thick  and  fast,  with  both  sides  accus- 
ing each  other  of  perfidy,  neglect  — 
or  worse.  However,  in  the  case  of  3-D 
both  sides  had  somewhat  valid  alibis. 
Manpower  on  the  exchange  side  was 
short,  woefully  short.  And  on  the 
tlieatre  side,  few  and  far  between  are 
exhibitors  who  are  willing  to  spend 
the  money  for  proper  inspection  of  the 
twin  3-D  films  by  their  projection 
staffs  before  the  film  is  run  for  the 
first  time. 

Inspection  inadequate 

IP  has  constantly,  both  in  the 
"Monthly  Chat"  column  and  in  other 
editorial  columns,  brought  out  the 
often  inadequate  practices  of  the  ex- 
changes. In  fairness,  we'll  give  the 
exchange  people  a  chance  at  bat  in 
this  article. 

An  interesting  insight  into  thinking 
at  the  exchanges  can  be  gained  from 
the  remarks  of  one  inspection  room 
chief  to  IP.    He  wanted  to  cooperate 


V'.'ith  the  projectionist  and  insisted 
that  nothing  could  be  gained  by  hurl- 
ing accusations  back  and  forth. 

"What  the  projectionist  should  do,'' 
he  said,  "is  check  his  print  before  he 
runs  it  and,  if  it  is  a  bad  print  and  if 
the  time  element  allows,  send  it  right 
back  to  the  exchange  and  demand  a 
new  one.  There's  no  point  in  running 
a  bad  print  and  then  cursing  the  ex- 
change when  a  break  or  other  damage 
occurs. 

"If  the  projectionist  did  this,  he 
would  be  accomplishing  two  things. 
First,  he  would  be  clearly  establishing 
that  the  damage  did  not  occur  in  his 
theatre.  Second,  and  even  more  im- 
portant because  it  could  lead  to  better 
service  in  the  future,  the  projection- 
ist's efforts  might  help  in  forcing  the 
big  bosses  to  hire  more  inspection 
personnel." 

Too  Many  Layoffs 

While  talking,  this  man  pointed  to 
the  inspection  room  at  his  exchange. 
Only  half  the  tables  were  in  operation. 
A  number  of  inspectors  had  been  laid 
off  in  recent  months  with  poor  busi- 
ness used  as  an  excuse.  However, 
even  when  business  was  good  and  the 
exchange  was  running  full  blast,  the 
inspectors  were  in  no  position  to 
properly  examine  all  prints. 

In  many  cases  prints  coming  into 
an  exchange  today  are  merely  labeled 
"checked"  and  shipped  to  the  next 
theatre.  When  a  print  is  actually  in- 
spected, an  hour  is  the  time  often 
allotted  for  the  complete  inspection 
and  repair  of  a  feature  film  in 
fairly  good  condition.  Properly  and 
thoroughly  done,  this  job  could  easily 
take  three  hours,  it  was  estimated. 

One  cause  of  confusion  among  ex- 
change personnel  over  the  cause  of 
print  damage  is  the  fact  that  they  do 
not  have  the  intimate  knowledge  of 
the  motion  picture  projector  that 
would  enable  them  to  understand  that 


the  most  careful  and  alert  projection- 
ist will  have  plenty  of  trouble  if  it  is 
necessary  for  him  to  work  with 
poorly  inspected  prints  and  worn 
equipment  that  includes  components 
such  as  sharp,  hooked  sprocket  teeth. 
According  to  exchanges,  the  most 
common  types  of  film  damage  are: 
(1)  vertical  scratches  or  lines  on  the 
film;  (2)  bad  splices  or  splices  out  of 
alignment;  (3)  "runoffs,"  or  holes 
made  by  sprocket  teeth  in  the  picture 
area;  (4)  nicks  and  breaks  in  the 
sprocket  hole  area,  and  occasionally, 
(5)  messy  cue  marks  such  as  holes  or 
slashes  at  the  end  of  a  reel. 

Vertical  Scratches 

Vertical  scratches,  or  lines  running 
up  and  down  the  film  on  both  the 
emulsion  and  support  side,  were  re- 
garded as  the  most  common  type  of 
damage  that  film  receives  in  the  pro- 


"Runoff,"  as  illustrated  above,  is  a  common 
type  of  film  damage  that  occurs  when  the  film 
jumps  a  sprocket  because  of  a  stiff  splice  or 
some  other  reason.  Long  lengths  of  film  are 
often  damaged  when  the  sharpened  sprocket 
teeth   cut   holes   in  the   soundtrack   and   picture. 


INTERNATIONAL  PROJECTIONIST 


FEBRUARY  1954 


jection  room.  The  most  frequent  cause 
of  this  damage  is  in  the  valve  rollers 
of  the  magazines,  particularly  the 
upper  magazine,  which  is  the  first 
point  of  contact  between  projector 
and  film  after  it  leaves  the  feed  roll. 
Dirt,  oil  and  small  pieces  of  film  can 
accumulate  at  this  point  so  as  to  pre- 
vent the  free  turning  of  the  rollers, 
even  preventing  one  or  more  from 
turning  at  all. 

Another  frequently-found  type  of 
film  damage  is  nicked  or  broken 
sprocket  holes.  This  was  the  kind  of 
damage  mentioned  in  the  letter  re- 
ferred to  in  the  first  paragraph  of  this 
article.  Such  nicks  usually  indicate 
too  much  tension.  The  rub,  of  course, 
is  what  caused  the  tension?  New 
prints  in  which  the  emulsion  is  not 
fully  set,  when  exposed  to  the  heat  of 
the  gate,  very  often  become  sticky  and 
create  tension  which,  in  turn,  causes 
the  nicks  as  the  film  goes  past  the 
intermittent  sprocket.  Once  the  print 
has  been  seasoned  a  little,  this  trouble 
is  eliminated. 

Excessive  tension  at  the  film  trap 
causes  wear  on  both  the  projector 
movement  and  film.  The  sprocket 
teeth  of  the  intermittent  are  more 
quickly  worn  out  of  shape.  Tests  by 
Eastman  Kodak  indicate  that  complete, 
equalized  trap  tension  in  excess  of  16 
ounces  is  unnecessary  and  only  in- 
creases wear  on  film.  Settings  as  low 
as  six  ounces,  in  some  cases,  seem  to 
give  a  steady  screen  image. 

Another  cause  of  nicked  sprocket 
holes,  and  also  of  completely  broken 


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film,  is  faulty  threadiing  ot  the  pro- 
jector which  results  in  the  loop  being 
lost  at  one  of  the  sprockets  while 
framing. 

When  the  excessive  tension  at  the 
film  trap  is  the  basic  cause  of  nicks 
in  the  sprocket-hole  area,  the  damage 
is  actually  caused  by  the  teeth  of  the 
intermittent  sprocket  which  can  be 
worn  into  a  hook-like  shape  or  de- 
velop other  malformations  as  a  result 
of  excessive  tension  when  the  film  is 
pulled  down.  A  tooth  of  this  type  will 
tear  small  pieces  of  film  from  the 
pulldown    edges    of    the    perforation. 

Knife-like  edges  on  the  teeth  of  the 
intermittent  sprocket  is  another  type 
of  tooth  deformation  that  results  from 
contact  with  the  inside  walls  of  the 
intermittent  guide  or  shoe.  Such  teeth 
make  small  straight  cuts  parallel  to 
the  edge  of  the  film  on  the  pulldown 
edges  of  the  perforation  and  well  in 
from  the  corners.  These  small  cuts 
can  quickly  lead  to  the  breaking-off  of 
the  edge  of  the  film. 

"Runoffs,"  which  are,  of  course, 
the  gashing  of  the  track  and  picture 
area,  occur  when  film  jumps  a 
sprocket  because  of  a  stiff  splice  or 
some  similar  reason.  It  can  also  re- 
sult from  faulty  threading.  In  addi- 
tion to  defacing  the  picture,  these  re- 
peated gashes  weaken  the  film  in  such 
a  way  that  subsequent  bending  of  the 
edges  will  often  break  it. 

In  order  to  minimize  the  danger  of 
runoffs,  it  is  advisable  to  check  regu- 
larly the  clearance  between  rollers  and 
sprockets  to  see  that  rollers  are  hold- 


:-mmfMrm  •  i  1 1 


Four  samples  of  unsightly  changeover  cue  marks  sometimes  found  at  the  end  of  reels  are  shown 
above.  This  type  of  damage  is  not  nearly  as  common  as  it  was  some  years  ago  and  is  generally 
found   on   old   prints  that  have  seen  a   great  deal   of  use  in   many   theatres  over  a   long   period. 


Tension  adjustment  on  the  nevi^er  projectors 
has  been  greatly  simplified  by  the  cone- 
shaped  tension  springs  as  illustrated  above. 
Excessive  tension  from  the  film  trap  can 
cause  much  wear  on  the  projector  and   prints. 

ing  the  film  properly  in  place  but 
without  pressure. 

Prints  are  often  encountered  where 
the  film  is  bent  between  the  perfora- 
tion and  one  edge.  Known  as  "idler 
cramping,"  this  type  of  damage  can 
be  especially  harmful  with  brittle  film 
and  when  the  bend  is  against  the 
emulsion  side.  Long  edges  can  be 
broken  off  completely.  Usually  start- 
ing at  an  edge  break  or  loosened  cor- 
ner of  a  splice,  this  trouble  most  often 
occurs  on  the  first  pad  roller  of  the 
intermittent   loop. 

Bad  splices  —  splices  where  a 
proper  joint  is  not  made  and  splices 
that  are  out  of  alignment  —  are  a 
principle  cause  of  "beefs"  from  ex- 
changes as  well  as  from  projection 
rooms  because  they  lead  to  extra 
work  or  else  to  torn,  broken  or  gashed 
film.  "I  want  to  know  what  kind  of 
splicer  some  projectionists  use,"  one 
inspector  asked.  "Do  they  have  a 
bench  splicer  like  the  Griswold  or  do 
they  splice  by  hand?" 

In  answer  to  this  remark  it  can  be 
said  that  not  every  splice  on  present- 
day  film  is  going  to  be  perfect  or  hold 
indefinitely.  Exchanges  which  inspect 
prints  hurriedly  or  don't  inspect  them 
at  all,  or  even,  as  in  some  areas,  go  so 
far  as  to  "bicycle"  them  directly  from 
theatre  to  theatre,  have  themselves  to 
blame  when  bad  splices  cause  serious 
(Continued  on  page  28) 


10 


INTERNATIONAL  PROJECTIONIST      •      FEBRUARY  1954 


Lamps  that  are  SCREEN  ENGINEERED 


Lamps  are  selected  on  the  basis  of 
the  prevailing  or  desired  screen  size. 

While  lamps  such  as  the  Super 
"135"  work  admirably  on  any  size 
screen,  they  are  unnecessary  with 
small-size  screens.  Similarly,  the 
Utility  1  KW  lamp  puts  a  "cheaper" 
light  on  a  giant-size  screen,  but  the 
results  are  unsatisfactory. 

That's  why  Strong  has  designed  a 
full  range  of  lamps  to  exactly  fill  the 
requirements  for  screens  of  all  sizes. 
Every  Strong  lamp  is  engineered  for 
maximum  efficiency  under  a  specific 
set  of  conditions.  The  accompanying 
chart  will  help  you  determine  your 
requirements. 

^f^  LAMPS 

are  NEVER 
EQUALLED 

tind  there's 
a  Good  Reason! 


As  the  only  lamps  produced  com- 
plete within  one  factory.  Strong 
lamps  can  be  engineered  to  obtain 
the  highest  efficiencies  ever  attained. 

With  Strong,  designing  equipment 
for  projecting  light  is  a  science  and 
a  business.  That's  why  more  dealers 
sell  and  more  theatres  buy  Strong- 
made  projection  arc  lamps  than  any 
other  make. 


PROJECTION    ARC    LAMP    RECOMMENDATIONS 

FOR  THE  VARIOUS  PRINCIPLES 

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BY  INDOOR   THEATRES  AND  DRIVE-INS 

INDOOR  THEATRES 

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3-D 
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Single  Film 

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CinemaScope 

20  feet 

1  KW 

Mogul 

Mighty  90 

25  feet 

46-Ampere 

Mighty  90 

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1  KW 

30  feet 

Mogul 

Mighty  90 

Super  135 

46-Ampere 

35  feet 

Mighty  90 

Super  135 

Super  135 

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40  feet 

Super  135 

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Mighty  90 

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45  feet 

Super  135 

Mighty  90 

Mighty  90 

50  feet 

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55  feet 

Super  135 

Mighty  90 

60  feet 

Super  135 

Super  135 

65  feet 

Super  135 

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Super  135 

DRIVE-IN  THEATRES 

30  feet 

46-Ampere 

46-Ampere 

Mogul 

35  feet 

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Mogul 

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40  feet 

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45  feet 

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Super  135 

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Super  135 

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Super  135 

UJAM^-tic  iuHffia,  tm  STRONG  -(Ae /oid^tie  it  ^A^/    j 


INTERNATIONAL  PROJECTIONIST 


FEBRUARY  1954 


THE  STRONG   ELECTRIC   CORPORATION 

"The   World's   Largest  Manufacturer   of   Projection   Arc   Lamps." 
31    CITY  PARK  AVENUE  TOLEDO  2,  OHIO 

Please    send    free     literature     on     the     (      )   Super     "135"      (     )  Mighty     "90" 
(      )   Mogul     (      )  46-Ampere    Utility     (      )   One-Kilowatt 

NAME   

THEATRE  

STREET  

CITY  &  STATE  

NAME  OF  SUPPLIER  

II 


Proper  Tools  a  3-D  ^Must' 

Third  dimension  pictures  triple  projectionists' 
problems,  says  Stanley  Cohen,  Polaroid  expert 
who  has  some  hints  for  better  3-D  presentations 

By  STANLEY  COHEN' 


THE  BEST  CRAFTSMAN  in  the 
world  can't  do  a  top  job  unless 
he  has  the  proper  tools  and  good 
materials  with  which  to  work.  Pro- 
jectionists who  have  struggled  with  the 
third  dimension  and,  in  spite  of  their 
best  possible  efforts,  have  listened  to 
frantic  calls  from  "downstairs"  that 
people  were  demanding  their  money 
back,  will  know  the  truth  of  that  state- 
ment. 

This  writer  has  covered  thousands  of 
miles  and  visited  projection  rooms  in 
dozens  of  cities,  all  in  the  interest  of 
good  3-D  presentation,  a  subject  about 
which  my  company,  the  Polaroid 
Corp.,  is  not  exactly  unconcerned. 
We're  in  the  3-D  business  up  to  our 
ears  —  and  it's  good  business  for 
us  to  have  the  best  possible  presenta- 
tion of  pictures  in  the  medium. 
Hence  this  report  to  the  craft  on  my 
own   observations. 

To  begin  with,  3-D  with  the  twin 
films  does  not  double  the  things  a 
projectionist  must  check  during  pre- 
sentation.    It   triples   them! 

Rebirth  of  3-D 

Polaroid  Corp.  is  going  all  the 
way  to  give  3-D  a  technical  shot  in 
the  arm.  The  object,  of  course,  is 
to  obtain  perfect  projection  (such 
projection  is  now  commonplace)  of 
stereoscopic  motion  pictures.  To  that 
end  the  company  several  months  ago 
started  an  extensive  institutional  pro- 
gram. Known  as  a  "technical  serv- 
ice program,"  it  was  first  tested  in 
the  Boston  and  New  York  areas  and 
then  extended  to  other  parts  of  the 
country.  The  goal  is  to  reach,  in  one 
way  or  another,  each  of  the  5,000- 
odd  projection  rooms  in  the  country 
where  facilities  for  3-D  presentations 
now  exist. 

After  a  few  months  of  intensive 
field  work,  together  with  research, 
development,  manufacture,  distribu- 
tion and  training,  we  feel  that  our 
efforts  have  been  rewarded.  3-D  pre- 


sentation today  is  immeasurably 
better  than  it  was  during  the  early 
stages  of  3-D  when  projectionists 
literally  had  the  twin  reels  thrown  at 
them.  They  had  to  teach  themselves, 
adjust  to  the  new  medium  and  put 
on   a   show  without  the  proper   tools, 


•  Mr.    Cohen    is    a    technical    representative    for 
the    Polaroid    Corp.,    Cambridge,   Mass. 


Neils  Hoiness,  Local  306,  checks  his  screen 
with  a  stroboscope  at  Loew's  State,  New  York. 

often  with  banged  up  prints  that 
would  have  baffled  the  genius  of  a 
Houdini.  Projectionists  took  the  situa- 
tion in  stride  without  encouragement, 
without  sympathy  and,  quite  often, 
without  explanations.  Under  these  cir- 
cumstances they  have  done  a  surpris- 
ingly good  job.  We  at  Polaroid  like  to 
think  that  our  3-D  projection  kit  has 
made  life  a  little  easier. 

The  3-D  Sync  Kit 

Briefly,  the  kit  includes  high  quality 
filters  for  mounting  at  the  ports,  a 
stroboscopic  sync  monitor  and  a  sync 
control.  The  latter  is  wired  between 
the  selsyns  of  the  two  projectors  and 
has  a  knob  which  permits  relative  ad- 
justments in  1/6  frame  steps.  Used 
together,  the  monitor  and  the  control 
enable  the  projectionist  to  discern  and 
correct  variations  down  to  1/12  frame. 
To  detect  variations  greater  than  one 
frame,  a  window  with  a  tell-tale  filter 


is  mounted  on  top  of  the  monitor  unit. 
This  filter,  which  presents  the  two 
images  of  the  right  and  left  projectors 
as  overlapping  images  of  red  and  green 
respectively,  permits  the  projectionist 
to  determine  which  projector  is  run- 
ning visibly  ahead  of  the  other  by 
seeing  which  color  is  leading  the  other 
in  fast-action  scenes.  Use  of  the  sync 
control  easily  brings  the  two  film  strips 
to  within  one  frame  of  each  other. 
Mis-synchronization  is  then  further 
corrected  by  lining  up  the  strobe 
stripes. 

Projectionists  visited  on  our  field 
trips  were  cooperative,  enthusiastic 
men  who  were  trying  to  put  on  a  good 
show  with  new  and  complicated  tools 
and  often  under  the  most  adverse  con- 
ditions. Let's  look  at  some  of  the  prob- 
lems this  writer  met  in  projection 
rooms  up  and  down  the  country: 

Tell-Tale  Filter 

Suppose  your  picture  gets  out  of 
svnc,  you  look  into  the  window  of  the 
monitor  and  observe  that  the  stripes 
line  up.  You  look  at  the  screen  and  see 
slightly  watery  images.  Now  you  try 
the  tell-tale  filter  atop  the  stroboscope 
and  discover  that  the  two  images,  red 
and  green,  are  not  moving  simultane- 
ously but  are  so  close  you  cannot  tell 
which  is  leading.  You  know  two  things 
for  sure:  first,  because  the  strobe 
stripes  line  up,  you  know  that  the  error 
is  in  whole  frames,  and,  second,  the 
error  is  probably  one  or  two  frames,  no 
more.  To  correct,  you  turn  the  switch 
one  complete  turn,  that  is  six  snaps, 
ill  one  direction.  If  the  sync  looks 
perfect  in  the  tell-tale  and  with  your 
3-D  glasses  on,  you  have  corrected  a 
one-frame  error.  If  it  looks  better, 
but  not  perfect,  you  continue  in  the 
same  direction  one  more  full  turn  of 
six  snaps.  Now  sync  should  be  per- 
fect. 

If  turning  the  control  in  one  direc- 
tion makes  sync  look  worse  in  the 
tell-tale,  you  simply  go  back  to  where 
you  started  and  then  make  one  com- 
plete turn  in  the  other  direction. 
TSiTien  you  become  familiar  with  the 
equipment,  and  can  recognize  a  one- 
frame  error,  correcting  it  becomes 
routine.  The  whole  procedure  can  be 
carried  through  in  a  matter  of  per- 
haps 30  seconds. 

A  one-frame  error  may  be  due  to  a 
number  of  things:  improper  syncing 
of  the  film  at  the  exchange  or  in  the 
projection  room;  improper  threading, 
or  framing  to  correct  vertical  dis- 
placement on  the  screen.   Actually,  all 


i 


12 


INTERNATIONAL  PROJECTIONIST      •      FEBRUARY  1954 


of  these  can  be  avoided.  It  is  com- 
mon practice  in  many  projection 
rooms  for  two  men  to  switch  machines 
before  starting  in  order  to  check  each 
other  on  start  marks,  loops,  flywheel 
sync  marks,  etc.  Every  3-D  film 
should  be  tried  on  a  dry  run  before 
the  opening  day  and,  of  course,  the 
same  applies  if  replacement  prints 
come  from  the  exchange.  If  prints  are 
out  of  sync,  the  time  to  find  out  and 
to  correct  errors  is  before  the  first 
ticket  is  sold  at  the  boxoffice. 

The  Kit  in  Action 

An  example  of  the  3-D  sync  kit  in 
action  was  seen  by  one  of  Polaroid's 
men  in  a  projection  room  in  Connecti- 
cut. There  was  a  film  break  and,  in 
splicing,  one  foot  of  film  had  been  left 
out  of  one  of  the  mates,  an  error  that 
could,  and  does,  happen  very  easily. 
When  the  picture  hit  the  screen  the 
sync  was  out  by  16  frames.  Sixteen 
full  turns  of  the  control,  six  snaps  to 
the  turn,  and  the  picture  was  perfect 
again  in  less  than  two  minutes. 

This  writer  was  present  in  the  pro- 
jection room  at  an  important  pre- 
view in  Chicago  when  the  intermittent 
sprocket  sheared  its  retaining  clip  on 
one  of  the  projectors.  Fortunately, 
the  circuit  technician  was  handy  and 
he  repaired  the  machine  in  five  min- 
utes. Just  six  minutes  after  break- 
down the  picture  was  brought  back 
into  sync. 

In  New  York,  at  a  key  opening,  a 
vertical  frame  error  occurred  when 
the  second  pair  of  machines  was 
turned  on.  The  right  projector  was 
framed  down  quickly.  But  framing 
the  picture  had  produced  a  one  frame 
sync  error  which  was  corrected  in  25 
seconds. 

The  above  instances  are  given  to 
show  how  simply  matters  can  be 
handled  when  things  go  wrong,  pro- 
vided the  projectionist  has  the  right 
tools  and  provided  he  has  the  know- 
how. 

Some  projectionists  have  expressed 
concern  over  a  slight  jog  in  the  stripes 
of  the  strobe  monitor,  that  is,  black 
lines  are  over  black  lines  and  grey 
lines  are  over  grey  lines  but  they  do 
not  line  up  perfectly.  This  is  due  to 
backlash  (electrical  wind-up),  or  to 
gear  slippage  in  the  system,  and  is 
nothing  to  worry  about.  The  error  is 
perhaps  1/12  of  a  frame  and  is  as 
close  to  perfect  sync  as  is  necessary. 
It  is  possible,  too,  that  the  shutters 
are  not  in  exact  alignment.  This  can 
be  easily  adjusted. 


Bad  sync  is  not  the  only  problem 
in  projection  of  3-D.  Focus,  variable 
brightness,  clean  and  level  filters, 
image  registration  and  proper  carbon 
trim  are  other  things  to  watch  for. 
I'ocusing  is  simple  with  Polaroid 
focusing  filters,  and  the  projectionist 
should  make  a  check  after  starting 
each  reel.  Field  glasses,  even  inexpen- 
sive ones,  are  a  great  help  in  focusing 
and  close  reading  of  the  screen.  From 
the  orchestra  floor  detecting  bad 
focus  is  even  simpler  by  alternately 
closing  one  eye  and  then  the  other 
while  wearing  3-D  glasses. 

The  two  images  should  be  as  nearly 
equal  in  brightness  as  possible.  The 
Polaroid  brightness  matching  filter 
is  helpful  here.  Carbons  should  be 
feeding  properly  and  with  the  proper 
arc  adjustment  for  equal  burning.  In 
some  color  prints  the  color  values 
vary  between  the  two  images.  This 
may  cause  an  apparent  difference  in 
brightness  which  may  alternate  with 
scene  changes.  Correcting  the  lamps 
for  one  scene  may  cause  the  next 
scene  to  go  off.  This  is  another  good 
reason  for  a  dry  run  before  opening 
with  new  prints. 

Filters  and  Targets 

Projection  filters  should  be  checked 
for  power  of  blackout.  When  the 
polarizing  axes  of  the  filters  are 
crossed  at  right  angles,  transmission 
should  be  nil  except  for  a  dim  violet 
light  that  may  get  through.  Polaroid 
No.  750  filters  are  specially  designed 
and  manufactured  for  perfect  3-D 
projection  because  we  know  from  sad 
experience  that  filters  of  poor  optical 
quality  can  play  havoc  with  projec- 
tion. You  can  check  optical  quality 
by  such  tests,  for  example,  as  holding 
the  filter  at  arms  length  and  sighting 
an  object  through  it  with  one  eye.  If 
the  object  seems  to  "worm"  or  jiggle 
when  the  filter  is  moved  slowly  up 
and  down,  the  filter  is  faulty. 

Projection  filters  should  be  hori- 
zontally level  and  in  this  a  spirit  level 
is  a  mighty  useful  tool  to  have  around. 
If  the  projection  angle  to  the  screen 
is  greater  than  20  degrees,  it  is  a  good 
plan  to  bring  in  the  bottom  of  the 
filter  in  order  to  have  the  filter  per- 
pendicular to  the  beam  as  closely  as 
possible.  Most  important  of  all,  how- 
ever, is  to  have  clean  filters.  It  is 
wise  to  check  them  before  each  3-D 
engagement  and  change  them  when 
scratched   or   oily. 

Perhaps  the  problem  getting  the 
least  attention  in  3-D  is  image  align- 


ment. The  cameramen  taking  stereo 
movies  give  the  two  images  the  proper 
horizontal  displacement  (interocular) 
by  adjusting  the  camera  lenses.  The 
films  are  then  printed  carefully  so 
that  this  interocular  displacement  is 
retained.  Therefore  it  is  essential  that 
the  two  projector  beams  be  exactly 
superimposed  on  the  screen.  This  can 
be  done  only  by  using  lenses  of 
matched  focal  length  and  by  running 
target  films.  There  must  be  no  vertical 
nor  horizontal  displacement  of  the' 
target  patterns. 

Some  target  films  are  not  symmet- 
rical. That  is,  the  pattern  may  be 
closer  to  one  edge  of  the  film  than 
the  other.  Therefore  it  is  necessary  to 
thread  both  target  loops  with  the  pat- 
terns on  the  same  edge. 

If  the  picture  has  a  vertical  dis- 
placement the  patrons'  eyes  try  to 
twist,  one  up  and  the  other  down,  if 
the  horizontal  displacement  be  too 
great,  or  too  little,  the  3-D  depth  ef- 
fect may  be  altered  or  lost  entirely.  A 
vertical  error  may  be  corrected  by 
framing  one  or  both  projectors,  but 
always  check  the  sync  after  correcting 
a  framing  error.  Framing  may  cause 
one  picture  to  advance  by  one  or  two 
frames  and  this  becomes  a  sync  error. 

One-Eyed  3-D 

On  occasion  a  carbon  may  burn  out 
while  showing  a  3-D  film.  When  that 
happens  people  are  watching  a  flat 
movie  with  only  one  eye.  The  other 
eye  is  blacked  out.  This,  of  course,  is 
a  very  disturbing  situation  giving  rise 
to  headache.  If  a  carbon  burns  out, 
the  first  thing  to  do  is  to  remove  the 
filter  from  the  port  where  the  picture 
is  still  going.  This  will  allow  the 
theatre  patrons  to  see  2-D  with  both 
eyes  until  the  burned  carbon  has  been 
replaced.  Then  douse  the  "dead"  pro- 
jector. When  the  carbon  has  been  re- 
placed, put  the  filter  back  in  the  port 
where  the  picture  is  on  and  then  fire 
the  other  machine. 

It  seems  that  there  are  many  things 
to  do  in  order  to  give  a  good  3-D 
show.  These  things,  however,  become 
routine  once  the  tricks  are  learned. 

Before  writing  "finis"  to  this  little 
exposition,  this  writer,  on  his  own 
behalf  and  on  behalf  of  Polaroid, 
would  like  to  thank  the  projectionists, 
the  technicians  and  the  service  com- 
pany field  engineers,  and  all  others 
who  have  given  us  such  whole-hearted 
cooperation  in  making  3-D  an  at- 
traction calculated  to  bring  more 
people  than  ever  into  the  theatre. 


INTERNATIONAL  PROJECTIONIST 


FEBRUARY  1954 


13 


Atom-Smasher  Principle  Aids  Color  TV 


Projectionists  very  much  in  the  picture  as  color  TV 
gets  off  to  a  hesitant  start  with  the  Cyclotron  idea 
of  electron   acceleration   spurring   new  controversies 

By  FREDERICK  HODGSON 


PROJECTIONISTS  who  have 
watched  technological  advances 
turn  the  motion  picture  in- 
dustry topsy-turvy  within  the  past 
twelve  months  may  spend  a  profitable 
and  enlightening  moment  considering 
the  effect  of  progress  in  other  fields, 
color  television  as  the  top  example.  If 
any  there  be  who  think  that  Tv  in  rain- 
bow hues  has  nothing  to  do  with  the 
film  business,  let  them  read  this 
month's  "Spotlight"  in  IP  and  ponder 
some  of  the  data  recounted  there. 

This  brings  us  back  to  the  subject 
under  discussion  in  this  series  of 
articles,  color  television  at  the  receiv- 
ing end  —  the  cathode  tubes,  or  kine- 
scopes, that  bring  the  show  into  the 
living  room  and  will  eventually  bring 
Tv  into  the  theatre.  Either  way,  the 
projectionist  is  very  much  in  the 
picture. 

Last  month  we  discussed  very  brief- 
ly the  three  kinescopes  so  far  entered 
in  the  color  television  sweepstakes,  the 
three-gun  RCA  and  CBS  tubes  and 
the  simpler  one-gun  Chromatron  de- 
veloped by  Paramount-owned  Chro- 
matic Laboratories. 

Atom-Smasher  Principle 

The  Chromatron,  devised  by  Dr. 
Ernest  0.  Lawrence,  inventor  of  the 
atom-smashing  Cyclotron,  makes  use 
of  the  Cyclotron  principle  of  high  ac- 
celeration voltage  to  fire  the  picture- 
carrying  electrons  from  the  cathode  at 
ultra   high   speeds   into   the   phosphor 


strips  of  the  face,  or  picture,  plate  of 
of  tube.  Let's  pick  up  where  last 
month's  article  left  off  and  examine  a 
few  of  the  differences  between  the 
three  top  kinescopes  so  far  announced. 

Some  Chromotron  Details 

The  basic  differences  between  the 
Chromatron  and  the  CBS-Hytron  and 
the  RCA  tube  have  been  recounted 
previously.  It  remains  now  to  cover 
details  of  the  Chromatron,  some  of 
them  shared  with  the  other  kinescopes. 

The  Chromatron  uses  a  flat  viewing 
plate  with  more  than  1,000  phosphor 
strips  placed  horizontally  across  the 
back  for  the  21-inch  picture  size.  The 
color  scheme  used  is  red,  green,  blue, 
green,  red,  green,  and  so  on,  every 
second  strip  being  green.  Other  com- 
binations might  be  used  for  the  strips, 
provided  every  other  strip  were  of  the 
same  color  phosphor.  Back  of  each 
red  and  blue  strip  (none  for  the  green) 
is  a  fine  wire  carrying  the  voltage 
which  switches  the  electron  beam  to 
the  proper  color. 

There  has  been  some  criticism  of  the 
Lawrence  tube  on  the  score  that  the 
voltages  necessary  for  its  operation  are 
too  high.  In  truth,  the  Chromatron 
anode  voltage  is  18,000,  which  is  the 
same  or  less  than,  with  either  the 
RCA  or  the  CBS  tubes.  Voltages  must 
correspond  for  the  high  velocity  elec- 
tron beam  and  for  the  control  grid 
wires. 

Too,  it  has  been  asserted  that  there 


CONVERGENCE 
ELECTRODE 


PHOSPHOR   PLATE 


APERTURE  MASK 


CLASS   FACE  PLATE 


PURITY    YOKE 
FOCUS  ELECTRODES 


Above  is  a  simplified  cross  section  of  the  present  RCA  three-cathode   (or  gun),  tri-dot  kinescope, 
or    receiving    tube.     Note    the    length    of    the    tube    in    contrast    to    the    other    tubes    illustrated. 


This  is  an  early  experimental  Chromatron,  or 
Lav/rence  tube.  Production  models  for  21" 
and  24"  color  pictures  will  be  rectangular  at 
the  face  plate  instead  of  round.  Note  the 
short  distance  between  the  cathode  in  the 
neck  of  the  tube  and  the  phosphor  face  plate. 

is  a  loss  of  electrons  caused  by  the 
grid  wires  and  that  this  results  in  a 
loss  of  picture  brilliance.  IP  fails  to 
see  how  this  loss  of  15%  or  less  in 
electrons  can  be  a  greater  disadvantage 
than  is  the  obviously  much  greater 
loss  of  electrons  caused  by  the  per- 
forated metal  masks  of  the  RCA  and 
CBS  tubes.  Some  electronic  engineers 
place  this  loss  as  high  as  85%,  a  fig- 
ure vehemently  denied  by  RCA  spokes- 
men. 

Aperture  vs  Grid 

In  the  Lawrence  tube  the  electron 
stream  from  the  single  gun  is  bent 
around  the  grid  wires  to  hit  the  proper 
phosphor  strip.  In  the  aperture  or 
perforated  masking  plate  type  of  tube 
there  is  no  bending  effect,  part  of  the 
electron  stream  being  stopped  dead  by 
the  metal  plate.  Only  that  part  of  the 
beam  passing  through  the  perforations 
is  of  any  use  in  bringing  the  color 
picture  to  the  screen.  Even  a  casual 
study  of  the  illustrations  accompany- 
ing this  article  will  make  the  point 
clear. 

Stated  as  briefly  as  possible,  and 
closely  quoting  Chromatic  engineers, 
claims  for  the  Lawrence  Chromatron 
are: 

1.  Wide  deflection  angle.  This  is 
72  degrees,  making  it  a  short  tube. 
The  overall  length  for  a  22%-inch 
picture  is  22  inches,  comparing  very 
favorably  with  the   length    (from  the 


14 


INTERNATIONAL  PROJECTIONIST      •      FEBRUARY  1954 


face  plate  to  the  back  of  the  cathode 
in  the  neck  of  the  tube)  of  your  21- 
inch  black-and-white  set  at  home. 

2.  Large  picture.  Over  60%  larger 
than  pictures  produced  by  three-gun 
shadow  mask  tubes  of  the  same  dimen- 
sions. 

3.  Bright  picture.  At  an  anode  volt- 
age of  18,000,  the  brightness  measured 
through  66%  efficient  filter  face  plate 
is  above  50  foot  lamberts  in  the  high- 
lights. 

4.  Low  raster  (image)  scanning 
power.  The  deflected  beam  is  one 
quarter  the  potential  of  the  final  ac- 
celeration. 

5.  Resolution.  In  the  horizontal  di- 
rection definition  is  equivalent  to 
black-and-white.  In  the  vertical  it  is 
limited  only  by  the  number  of  color 
strips. 

6.  Standard  deflection  components. 
The  tube  uses  standard  low-cost  black- 
and-white  magnetic  deflection  yoke  and 
standard  magnetic  focal  coils. 

7.  Quick  set  up.  This  is  done  in  a 
matter  of  minutes  since  there  are  no 
problems  of  raster  registry  or  dynamic 
convergence.  This  is  in  contrast  to 
other  tubes. 

8.  Simplified  circuitry.  This  is  be- 
cause the  Chromatron  is  a  one-gun 
tube,  not  three. 

Other  Advantages  Claimed 

In  addition  to  the  above,  Chromatics 
engineers  boast  of  fringe-free  color 
pictures  and  fringe-free  reception  of 
black-and-white.  They  claim  that  the 
tube  is  relatively  inexpensive  to  pro- 
duce because  of  several  factors,  notably 
because  of  the  single  gun,  the  stand- 
ard magnetic  yokes  and  the  fact  that 
only  reasonable  production  tolerances 
are  required.  Alignment  of  the 
Chromatron  is  extremely  simple. 

The  Lawrence  tube  illustrated  with 
this  article  is  an  early  experimental 
type,  no  pictures  of  the  new  tubes 
being  available  as  IP  goes  to  press. 
The  new  tubes  are  rectangular  at  the 
face,  rather  than  round.  It  is  pointed 
out  by  practically  all  concerned  in 
the  development  of  color  televicion 
that  the  present  production  bottleneck 
is  the  shortage  of  envelopes,  the  glass 
bottle  of  the  tube. 

An  indication  of  the  expected  de- 
mand for  Chromatron  tubes  is  found 
in  Chromatic  Laboratories'  action  last 
month  in  setting  up  new  facilities  for 
grid  production  at  the  company's  plant 
in  Emeryville,  Calif.  This  new  plant, 
scheduled  to  employ  some  200  people 
at  the  start,  will  be  in  production  by 


SPHERICAL  FACE 
PLATE   AND   PHOSPHOR 
DOT  SCREEN 

(J 


GLASS 
FUNNEL 


ELECTRON  GUN 
ASSEMBLY 


GLASS   /  APERTURE   ^  ^LOCK 
HEMISPHERE    MASK 


Above  is  an  "exploded"  diagram  of  the  CBS-Hytron  tube  showing  the  three-gun  assembly  inside 
the    neck    of   the   envelope.     Note   that    the    phosphor    screen    is    on    the    face    of    the    tube    itself. 


the  end  of  March  with  an  initial  capa- 
city of  25,000  grids  per  year.  CTL 
has  been  making  grids  for  licensees 
and  potential  licensees  in  a  pilot  plant 
connected  with  the  company's  Oak- 
land laboratories. 

Start  of  mass  production  of  the 
Lawrence  tube  and  delivery  to  set 
manufacturers  for  enclosure  in 
cabinets  with  the  necessary  electronic 
units  for  its  operation  should  come 
quickly,  according  to  Chromatic 
Laboratory's  president,  Richard  Hodg- 
son. At  this  writing  two  manufac- 
turers, Crosley  and  Thomas  Elec- 
tronics, Inc.,  of  Passaic,  N.  J.,  have 
been  licensed  to  produce  the  tube. 
The  Thomas  firm,  said  to  be  the  largest 
manufacturer  of  cathode  tubes  in  the 
country,  is  picture  tube  supplier  to 
most  of  the  major  producers  of  Tv 
sets. 

Some  further,  and  a  bit  more  tech- 
nical, information  on  the  Lawrence 
tube  might  be  of  interest.  An  examina- 
tion of  the  diagrams  will  show  that 
the  wires  behind  the  red  phosphor  dots 
are  electrically  tied  together  and  are 
brought  to  a  single  terminal  at  the  side 
of  the  tube.  In  the  same  manner  the 
wires  behind  the  red  phosphors  are 
tied  together  and  brought  to  a  second 
terminal.  There  is  a  third  electrode 
for  the  aluminized  backing  of  the 
phosphor  plate. 

As  stated  previously,  a  focusing 
and  acceleration  potential  is  applied 
between  the  electrical  center  of  the 
wire  grid  and  the  aluminum  coating. 


This  creates  the  electrostatic  lens,  or 
rather  series  of  lenses,  in  the  front 
section  of  the  tube.  As  electrons  stream 
down  the  length  of  the  tube  from  the 
single  cathode  gun  perpendicular  to 
the  image  plate,  they  are  focused 
sharply  by  this  series  of  lenses  to  the 
green  strips  between  each  red  and  blue 
strip,  when  there  is  a  zero  potential 
between  the  red  and  blue  termini  of 
the  wire  grid.  Thus  a  green  raster 
appears  on  the  image  plate. 

At  this  point,  to  quote  Robert  Dres- 
sier,* director  of  research  and  develop- 
ment at  Chromatic's  New  York  Labora- 
tory, "a  potential  difference  may  be 
applied  between  the  sets  of  wires  to 
deflect  the  focused  beam  in  the  direc- 
tion of  the  positive  wires.  This  voltage 
can  be  made  of  such  a  magnitude  that 
the  beam  will  strike  a  phosphor  strip 
adjacent  to  the  green,  thus  rendering 
a  red  or  blue  raster  on  the  image  plate, 
depending  on  which  set  of  wires  was 
positive.  Separate  colors,  therefore, 
can  be  displayed  by  simply  changing 
the  potential  of  these  wires.  With  a 
color  switching  device  of  this  type, 
the  color  displayed  depends  only  on 
the  potential  of  the  wires,  so  that  no 
color  distortion  or  contamination  can 
result  from  nonlinear  sweeps  or  minor 
inaccuracies  in  gun  position.  In  addi- 
tion, the  cylindrical  lenses  up  front 
focus  the  beam  of  electrons  into  a 
spot  so  fine  as  compared  with  phosphor 
strip  width,  that  the  placement  of  wires 


*  In    a    paper    read    at  the   July,    1953,    meeting    of 
the    Institute   of   Radio    Engineers. 


INTERNATIONAL  PROJECTIONIST      •      FEBRUARY  1954 


15 


behind  the  phosphors  need  not  be  ex- 
tremely critical." 

The  CBS-Hytron  tube,  known  as  the 
Colortron,  was  unveiled  to  a  waiting 
world  last  October  and  turned  out  to  be 
a  shadow  mask,  tri-dot  three-gun  tube. 
Thus  it  is  similar  to  the  RCA  tube  in 
some  of  its  important  aspects,  but  quite 
unlike  the  Chromatron.  Its  main  point 
of  distinction  is  a  curved  rather  than 
a  flat  type  mask  designed  to  minimize 
or  completely  eliminate  color  conver- 
gence. This  latter  simply  means  color 
registration.  Production  differences 
are  also  announced  for  this  tube,  which 
is  shown  in  "exploded"  form  in  the 
diagram  (Page  15),  the  main  one 
being  the  method  of  applying  the 
phosphor  dots.  This  is  accomplished 
for  the  Colortron  by  a  photographic 
technique.  In  the  case  of  both  the 
RCA  tubes  and  Lawrence  tube,  the 
Chromatron,  application  of  the  phos- 
phors is  by  silk  screen,  although  indi- 
vidual manufacturers  of  these  tubes 
may  elect  to  use  other  methods. 

Too,  the  Lawrence  tube  has  been 
criticized  to  the  effect  that  the  phos- 
phor strips  are  visible  to  the  viewer  and 
do  not  give  the  smoothness  of  either 
the  RCA  or  the  CBS-Hytron.  It  is 
argued  that  the  1,000  or  so  phosphor 
lines,  each  15  mils  wide,  cannot  com- 
pete with  the  million  phosphor  dots. 
The  reader  can  judge  for  himself  by 
simply  watching  color  television  on  the 
three  tubes  and  contrasting  the  perfor- 
mance of  each. 

Feel  this  page  of  IP  for  thickness 
and  you'll  have  an  idea  of  the  width 
of  the  phosphor  strips.  This  page  is 
approximately  2%  mils  thick.  There- 
fore, roughly,  the  phosphor  strip  of 
the  Chromatron  is  six  times  as  wide  as 
the  page  thickness.  Chromatic  engi- 
neers are  working  on  methods  which 
they  hope  will  reduce  the  strip  width 
to  10  mils  or  even  less.  Ten  mils,  of 
course,  is  one  one-hundredth  of  an 
inch. 


The     sketch     shows     how     electrons     from     the 
cathode  of  the   Lawrence  tube,  travelling  thou- 
sands   of    miles    per    second,    strike    the    green 
phosphors  without   hindrance  from   the  grid. 


J, 


— -^ 


+  °  z 


shown  here  is  how  the  electron  stream  from 
the  cathode  of  the  Lawrence  tube  to  the 
aluminized  phosphor  face  plate  is  acted  upon 
by  an  electrostatic  "lens"  (the  grid)  and  is 
deflected  at  the  grid  (indicated  by  plus  and 
minus  signs)  to  the  appropriate  phosphor 
strips.      Note  that   the   polarity   alternates. 


Pilot  production  of  the  CBS-Hytron 
tube  is  set  to  start  this  month  at  the 
Hytron  plant  in  Newburyport,  Mass. 
At  the  Kalamazoo,  Michigan,  plant, 
production  is  scheduled  to  begin  in 
September. 

Bruce  A.  Coffin,  president  of  the 
CBS-Hytron  division  of  the  Columbia 
Broadcasting  System  states  that  em- 
phasis will  be  placed  on  production  of 
21-inch  rectangular  models.  Hytron 
tubes  seen  by  IP  have  been  round, 
very  likely  due  to  the  same  bottleneck 
in  the  glass  envelopes  that  is  plaguing 
other  manufacturers. 

The  Hytron  tube  has  a  metal  face 
mask  held  from  the  flat  glass  phosphor 
plate  by  a  spacer  frame.  This  is  to 
maintain  a  rigid  relation  between  the 
perforations  of  the  mask  and  the  re- 
lated phosphor  dots  which  are  planted 
directly  on  the  inner  face  of  the  tube. 
This  latter  trick  has  the  advantage  of 
keeping  down  the  weight  of  the  tube. 
The  tube,  so  CBS  claims,  does  not 
require  the  high  vacuum  of  the  RCA 
tube,  an  important  cost  factor  in  manu- 
facturing. 

An  interesting  point  of  difference 
between  RCA  and  CBS  is  the  fact  that 
the  latter  clings  tenaciously  to  its  field- 
sequential  system  in  transmission. 
RCA  uses  a  three-tube,  or  three  orthi- 
con,  taking  camera.  Dichroic  mirrors 
split  the  color  image  into  its  red,  blue 
and  green  components,  then  reflects 
the  beams  through  color-selective  fil- 
ters to  the  trio  of  orthicons,  whence 
they  are  fed  to  the  adder,  then  encoder 
and  the  transmitter.  CBS,  on  the  other 
hand,  uses  but  one  taking  tube  but 
splits  the  image  into  its  component 
colors  by  means  of  a  spinning  color 
wheel.  The  alternating  red,  blue  and 
green  impulses  are  then  carried  to  an 
ordinary  black-and-white  tube,  a  sys- 
tem of  mirrors  picking  up  the  color 


and  picture  information  from  there 
and  reflecting  this  information  triad 
into  three  color  tubes,  one  for  red, 
one  for  green,  and  one  for  blue.  Each 
of  these  tubes  has  a  shutter  synchro- 
nized with  the  color  wheel  (doubtless 
by  selsyn  interlocks) .  The  information 
is  then  carried  through  the  rest  of  the 
broadcast  circuit  and  out  onto  the  air 
as  a  compatible  picture. 

Incidentally,  the  field-sequential  sys- 
tem, now  passe  with  the  adoption  of 
the  NTSC  standards,  simply  fired  the 
pictures  at  the  receiving  tube  in  a 
rapid  succession  of  color  messages. 
These  could  be  separated  at  the  receiv- 
ing tube  by  means  of  a  color  wheel. 
Such  a  system  was  incompatible  be- 
cause color  television  could  not  have 
been  picked  up  by  the  present  black- 
and-white  sets.  Nor  could  color  sets 
built  for  field  sequential  reception  pick 
up  the  present  black-and-white  tele- 
casts. 

An  interesting  sidelight  to  the  sud- 
den furor  over  the  advent  of  com- 
mercial color  television  is  RCA's  in- 
terest in  projection  color  television. 
The  reason  is  easy  to  figure  out.  The 
three-tube  projection  system  of  the 
RCA  laboratories  projects  images 
through  a  special  optical  system  onto 
an  18  by  24  inch  translucent  screen. 
For  a  picture  of  similar  size  on  the 
RCA  color  tube  described  earlier  in 
this  article,  the  tube  would  have  to  be 
nearly  three  feet  in  diameter.  This 
experimental  projection  of  color  tele- 
vision has  been  demonstrated  by  RCA 
on  full-size  theatre  screens. 

PHOSPHOR     SCREEN 
METAL     SHELL 


POST- DEFLECTION      VOLTAGE 

13  KV. 


GUN     VOLTAGE 
5  KV  -+- 


This  is  a  cross  section  of  the  Lawrence,  single- 
gun  Chromatron  tube.  Note  how  the  electron 
stream  inside  the  shell  is  deflected  by  the 
coil  magnetic  yoke.  Note,  too,  the  placing  of 
the  wires  of  the  color  grid  in  relation  to  the 
phosphor  face  plate.  The  13  KV  post  deflec- 
tion  voltage  from   the   grid   "lens"   varies. 


16 


INTERNATIONAL  PROJECTIONIST 


FEBRUARY  1954 


Light  Gain,  Better  Screens 
Demanded  by  New  Systems 

So-called  "all  purpose"  screen  for  CinemaScope 
3-D  and  wide-angle  projection  is  industry  need 

By  LEONARD  SATZ 

Raytone    Screen    Corporation 


THE  SUDDEN  importance  of 
wide-screen,  3-D  and  anamor- 
phic  presentation  in  our  indus- 
try has  created  a  critical  need  for 
more  efficient  screens.  The  interpre- 
tation of  "more  efficient"  will  vary  a 
good  deal  in  the  considered  opinions 
of  many  experts  and  has,  indeed, 
caused  quite  a  stir. 

One  fact  stands  out  above  all  others. 
More  light  is  required  from  the  pro- 
jection room  and  higher  brightness 
is  a  must  as  far  as  the  reflectivity  of 
the  screen  is  concerned  if  acceptable 
standards  of  projection  are  to  be 
maintained.  (See  table.)  How  much 
more  light  and  how  much  higher  gain, 
and  the  distribution  of  these  qualities 
in  any  theatre,  is  a  question  that  has 
been  bandied  about  with  too  much  ap- 
parent positiveness  by  some,  and 
without  due  regard  for  actual  results 
in  the  theatre  auditorium. 

3-D  Needs  Most  Light 

A  so-called  all-purpose  screen  is 
now  in  demand.  The  screen  manufac- 
turer must  carefully  consider  the  re- 
quirements —  facility  to  show  2-D, 
3-D,  wide-screen  and  anamorphic 
systems.  The  least  amount  of  light 
I  gain  is  required  by  the  anamorphic 
system  since  its  lenses  transmit  wide- 
angle  lighting  more  efficiently,  but 
this  gain  is  somewhat  tempered  by  the 
fact  that  two  lenses  are  needed.  A 
regular  lens  plus  the  attachment  of  a 
six-element  anamorphic  lens  results  in 
slower  speeds  and  light  losses  because 
of  reflection  at  extra  lens  elements. 
However,  the  system  still  transmits 
more  light  than  any  other  wide-angle 
technique. 

3-D  on  a  wide-angle  screen  requires 
the  most  light.  Here,  according  to 
unquestionable  authority,  brightness 
gains  on  the  order  of  five  times  are 
required  to  overcome  the  deficiencies 
of  polarizing  porthole  filters  and 
audience  viewers.  A  compromise  is  in 
order,  and  the  writer  believes  in 
brightness     gains     of     approximately 


three.  In  other  words,  the  screen 
must  be  capable  of  reflecting  300  per- 
cent more  than  a  white  screen  at  peak 
performance.  No  screen  can  do  this 
at  all  angles  —  here  one  must  be 
practical. 

Brightness  curves  or  graphs  are  like 
electrical  characteristic  curves  for  the 
tuning  of  a  sound  system.  With  the 
latter,  add  high  frequencies  and  it  is 
the  same  as  eliminating  the  lows. 
With  the  former,  add  brightness  at 
the  sides  and  the  center  will  suffer. 
Add  too  much  in  the  center  and  the 
sides  will  suffer.  At  this  point  the 
writer,  believing  in  a  practical  ap- 
proach, feels  that  a  screen  must  re- 
turn the  maximum  possible  amount 
of  light  to  the  greatest  number  of  de- 
sirable seats  in  any  auditorium.  It 
must  also  distribute  light  evenly 
enough  to  avoid  "hot  spots"  and  too 
rapid  fall-off  within  useful  viewing 
angles.  The  word  "useful"  should  be 
analyzed  with  care  in  this  instance. 

A  theatre  traditionally  fills  up  in 
the  shape  of  a  modified  diamond.  The 
most  desirable  seats  are  occupied  first 
in  the  center  diamond.  Then  overflow 
takes  place  at  the  rear,  next  at  the 
center  and  rear  sides,  and  lastly,  the 
extreme  front  of  the  theatre,  especially 
the  front  sides.  The  exhibitor  is  well 
qualified  to  judge  the  results  and 
knows  the  useful  angles  that  are  his 
special  problem. 

It  might  be  well  to  quote  here  from 


a  report  that  was  prepared  by  a  tech- 
nical and  scientific  organization  within 
our  industry,  the  Motion  Picture  Re- 
search Council,  whose  reputation  for 
accuracy  cannot  be  questioned: 

"We  can  see  that  to  bring  brightness 
levels  up  to  the  values  now  obtained 
in  accepted  practice,  it  is  necessary  to 
increase  the  brightness  of  wide  screens 
or  of  screens  used  for  3-D,  either  by 
increasing  the  total  light  reaching  the 
screen  from  the  projector  or  by  in- 
creasing the  brightness  of  the  screen 
for  a  given  illumination,  or  both. 

Increasing  Brightness 

"As  has  been  indicated,  two  gen- 
eral methods  are  available  for  increas- 
ing screen  brightness.  One  is  to  in- 
crease the  light  from  the  source.  The 
other  way  is  to  increase  the  bright- 
ness gain  of  the  screen.  This  can  be 
done  by  increasing  the  reflectivity  of 
the  surface  or  by  changing  the  reflec- 
tion characteristics  so  that  more  light 
is  reflected  in  those  directions  where 
it  will  be  useful." 

Either  of  the  above  methods  can  be 
used  with  success,  in  the  opinion  of 
the  writer.  The  question  of  uniform- 
ity of  surface  enters  the  picture  and 
becomes  the  manufacturer's  problem. 

As  for  polarization  defect,  the 
Polaroid  Corp.  would  like  to  see 
screens  with  a  polarization  defect  of 
only  0.5  or  one  half  of  one  percent. 
This  is  attained  by  certain  screens  at 
direct  viewing  angles,  but  varies  con- 
siderably at  45-degree  viewing  angles. 
At  this  extreme,  defects  as  low  as  1 
percent  and  as  high  as  6.5  percent 
have  been  noted.  In  the  author's 
opinion,  at  wide  viewing  angles  the 
defect  should  not  exceed  approxi- 
mately 2  percent  for  best  results. 
Since  3-D  is  still  with  us  and  promises 
to  be  an  important  feature  for  some 
time  to  come,  the  exhibitor  should 
ponder  well  the  over-all  performance 
of  any  contemplated  new  screen. 


BRIGHTNESS  INCREASE  REQUIRED  TO  MAINTAIN  PRESENT  STANDARDS* 


Screen  aspect 

With  Ana 

morphotic  Lens 

Ratio 

2D 

3D 

1.33   to    1 

1. 

3.33 

1.66   to   1 

1.25 

4.17 

1.75    to    1 

1.31 

4.36 

1.85    to    1 

1.39 

4.63 

2.00   to    1 

1.49 

4.97 

2.66   to    1 

2.00 

6.67 

With  reduced 
Aperture  Height 

3D 


2D 

1. 

1.56 

1.72 

1.92 

2.27 


3.33 
5.20 
5.75 
6.40 
7.55 


Present  Standards  mean  Screen  Brightness  at  center  of  9  to  14  Ft.  Lamb. 
Present  Standards  mean  incident  light  at  center  of  12  to  19  Ft.  Cand. 
Table  prepared  by  the  Motion  Picture  Research  Council 


INTERNATIONAL  PROJECTIONIST 


FEBRUARY  1954 


17 


WUat^l  y 044/1  PnxUUem? 


Projectionists  whose  problems  appear  below 
will  each  receive  a  $5.00  check  from  IP. 
We'd  like  to  know  "whafs  YOUR  problem  ?" 


Q.  Will  you  please  help  another  "goat" 
—  namely,  a  projectionist.  I  am  sup- 
posed to  be  at  fault  over  some  damaged 
film.  The  exchange  claims  I  damaged 
it  by  faulty  threading  of  the  projector. 
I  believe  the  damage  was  due  to  defec- 
tive perforation.  I  am  enclosing  a  sample 
of  the  film.  1400  feet  was  damaged 
from  the  Paramount  feature  "Roman 
Holiday"  which  I  ran  as  a  new  print. 
Being  unable  to  convince  the  exchange, 
I  am  taking  the  privilege  of  asking  your 
expert  opinion  and  advice.  Jack  Bay- 
lor, Mt.  Baker  Theatre,  Local  117,  Bel 
lingham,   Washington. 

A.  The  damage  on  the  film  sample  sent 
to  us,  tiny  nicks  in  the  pulldown  edges 
of  the  sprocket  holes  on  both  sides  of 
the  film,  could  have  happened  in  a 
variety  of  ways  and  in  a  variety  of 
places,  even  in  the  processing  labora- 
tory itself.  Sometimes  these  prints  leave 
the  lab  and  go  in  and  out  of  the  ex- 
change and  somehow  miss  inspection  all 
along  the  line.  However,  you  seem  to 
be  quite  sure  that  the  damage  was  not 
caused  by  faulty  threading.  This  nar- 
rows things  down  to  two  possibilities,  a 
faulty  print  from  the  lab  and  damage 
due  to  newness  of  the  print  and  occur- 
ring in  your  projector.  An  "unseasoned" 
print  when  first  exposed  to  the  heat  at 
the  film  gate  can  suffer  a  softened  emul- 
sion. This  may  work  off  at  various  spots 
in  the  projector  mechanism  and,  being 
gummy,  increase  tension  just  enough  to 
cause  the  nicks  as  shown  on  your  film. 
This  sticky  emulsion  may,  after  awhile, 
work  its  way  out,  or  be  worn  off,  and 
then  we'll  defy  anybody  to  tell  what 
caused  the  trouble.  The  projecjionist 
can  examine  his  loops  while  the  machine 
is  running,  check  his  tension  —  and 
then  wonder  how  in  heck  the  nicks  got 
on  his  film.  The  people  in  the  exchange 
don't  wonder  at  all,  they  just  blame  the 
projectionist.  Incidentally,  your  letter 
gave  IP  the  idea  that  it  was  about  time 
we  ran  another  piece  on  film  damage. 
It's  in  this  issue. 


Q.  It  seems  to  me  that  it  is  about  time 
that  something  be  done  about  "black 
prints."  I  mean  those  "tar  paper"  black- 
and-white  prints  you  can't  pump  light 
through.  Thirty  years  ago,  35  amps  pro- 
duced a  well-lighted  picture.  Then 
prints  came  along  that  were  darker  and 
we  boosted  the  amps.  Then  the  prints 
got  darker.  The  lamp  manufacturers 
turned  out  better  lamps.  Again  the 
prints  got  darker,  and  once  more  better 
lamps  came  along.  National  Carbon  Co. 
came   out   with    better   carbons.    So   the 


prints  got  darker.  Like  Major  Bowes 
once  said,  "Round  and  round  it  goes. 
And  where  it  stops,  nobody  knows."  To 
this  writer,  it  seems  that  it  is  about  time 
this  thing  were  stopped.  I  would  sug- 
gest that  members  of  projectionists' 
groups,  the  producers,  and  the  film  labs 
get  together  and  talk  this  thing  over. 
The  writer  works  in  a  drive-in.  Picture 
is  58  feet  wide;  throw,  260  feet;  angle, 
ten  degrees  up;  picture  area,  2525  square 
feet.  Aluminum-painted  screen  does  not 
help  any.  The  drive-in  operator  is  really 
behind  the  eightball.  I  believe  the  above 
situation  is  worth  looking  into.  H.  Y. 
Ballou,  Manhattan  Beach,  Calif.,  Local 
150. 

A.  With  an  outdoor  screen  as  large  as 
yours  it  is  no  wonder  that  prints  seem 
to  be  made  of  tar  paper.  So  far  as  con- 
ditions 3.5  years  ago  are  concerned,  the 
drive-in  business  was  unknown.  Theatre 
screens  were  smaller  and  not  nearly  so 
M'ell  lighted  as  they  are  today.  Since 
that  time  organizations  such  as  the 
SMPTE  and  the  Motion  Picture  Research 
Council  have  established  standards  both 
for  print  density  and  screen  light  that 
are    aimed   at   giving   the    sharpest    and 


most  pleasing  picture  possible  in  indoor 
theatres.  Unfortunately,  similar  stand- 
ards have  not  as  yet  been  set  for 
drive-ins. 

It  is  true,  of  course,  that  a  somewhat 
brighter  picture  can  be  obtained  on  a 
drive-in  screen  if  a  lighter-density  print 
is  used.  We  hear  that  it  is  a  common 
practice  to  supply  such  prints  in  areas 
where  there  is  a  heavy  proportion  of 
drive-ins,  and  the  print  is  known  to  be 
specifically  for  them.  Light  gained  in 
this  manner,  however,  is  gained  with  a 
loss  of  sharpness  and  contrast.  It  is  a 
question  of  which  is  the  lesser  of  two 
evils. 


CinemaScope  in  Britain 

Only  13.5%  of  theatres  in  Great 
Britain  could  switch  to  CinemaScope  and 
maintain  that  system's  aspect  ratio  of 
2.55  to  1  without  structural  alterations, 
according  to  a  survey  by  the  British 
<Cinamatograph  Society.  It  was  pointed 
out,  however,  that  80%  of  the  theatres 
could  show  CinemaScope  if  the  height 
of  the  picture  were  reduced  about  27% 
to  preserve  the  width  to  height  ratio. 


Anipex  Has  New  Stereophonic  Sound  Series 


A  new  stereophonic  theatre  sound 
system  designed  to  "make  show 
failure  almost  impossible"  has  been 
developed  by  the  Ampex  Corp.,  Red- 
wood City,  Calif.  The  system,  known 
as  the  Master  Series,  is  priced  at 
•13,995  for  the  complete  package.  Dis- 
tribution is  through  the  Circuit  Con- 
struction Corp.,  and  all  installations 
are  handled  by  the  Altec  Service  Corp. 

Some  100  Ampex  sound  installations 
are  now  in  theatres  throughout  the 
country,  according  to  Harrison  John- 
ston, Ampex  sales  manager.  These  are 
in  the  30,  60,  80  or  100  watt  classifi- 
cations. The  new  Master  Series,  in  the 
30  watt  class,  follows  the  higher  priced 
De  Luxe  series  and  Super  series. 

Primarily  a  three-channel  system, 
the  Master  series  may  be  changed  to 
four  channels  by  using  the  theatre's 
existing  optical  system,  it  was  stated 
by  Ross  Snyder,  Ampex  engineer. 

The  new  30  watt  series  equipment 
includes  two  penthouse  magnetic  re- 
producers, each  equipped  with  four 
channels  in  the  head,  three  for  sound 
and  one  for  the  signal,  together  with 


a  simple  switching  system  adaptable 
for  either  three  or  four  channel  opera- 
tion. Power  amplifiers,  pre-amplifiers 
and  three  stage  speaker  groups  are 
included  in  the  Ampex  package. 

The  safety  feature,  Snyder  said,  is 
a  switch  in  the  projection  room  where- 
by the  projectionists  can  correct  any 
speaker  failure  quickly  by  funnelling 
the  sound  from  any  one  channel  into 
the  two  remaining  speakers.  Should 
two  speakers  fail,  the  one  remaining 
speaker  could  handle  the  whole  show. 

Failure  of  any  pre-amplifier  or 
power  amplifier  will  not  cause  a  show 
stop,  according  to  Ampex  engineers, 
since  the  same  type  of  emergency 
switch  enables  the  projectionist  to  use 
the  equipment  remaining  in  operation. 

Harrison  Johnston  said  that  45 
Ampex  installations  were  made  in  the 
New  York  area  for  showing  "The 
Robe"  during  the  holiday  season. 
Ampex  equipment,  Johnston  said,  was 
installed  at  the  Egyptian  Theatre  in 
Hollywood  for  the  world  premiere  of 
MGM's  first  CinemaScope  picture, 
"Knights  of  the  Round  Table." 


18 


INTERNATIONAL  PROJECTIONIST      •      FEBRUARY  1954 


Pension  Protection  —  Goal  of  Labor 

Various  cost  factors  that  must  be  worked  out  when 
setting  up  an  adequate  pension  plan  —  now  much  dis- 
cussed amorllg  lA  men  —  are  considered  in  the  following 
article    which    reflects    the    official    views    of    the    AFL. 


COST  is  probably  the  most  difficult 
single  question  involved  in  the 
establishment  of  a  pension  plan.  Only 
a  reliable  actuary  is  qualified  to  make 
a  firm  estimate  as  to  how  much  a  giveii 
level  of  benefits  for  a  particular  group 
of  workers  may  cost — or  how  much  in 
the  way  of  benefits  a  given  level  of  con- 
tributions can  safely  provide  —  and 
even  his  estimate  is  likely  to  be  little 
more  than  an  educated  safe  guess. 

While  the  union  negotiator  should  not 
undertake  the  functions  of  an  actuary, 
he  should  know  something  about  the 
principles  upon  which  cost  estimates  are 
based,  so  as  to  be  able  to  make  intelli- 
gent use  of  these  figures  at  the  bargain- 
ing table,  and  in  the  administration  of 
the  plan. 

The  actual  operating  costs  of  a  retire- 
ment plan  will  be  determined  by:  (1) 
the  amount  of  benefits  paid  to  each 
retiring  worker;  (2)  how  many  workers 
qualify  for  benefits;  (3)  how  long  re- 
tired workers  live  to  receive  benefits; 
(4)  the  rate  of  interest  earned  through 
the  investment  of  the  money  held  in  the 
pension  fund;  (5)  the  expenses  in- 
curred in  administering  the  pension 
eystem  (clerical  expenses,  legal,  actua- 
rial and  accountant's  charges,  etc.). 

Actual  Pension  Cost 

The  real  cost  is  equal  to  the  total 
benefits  paid  out,  less  the  interest 
earned,  plus  the  operjfting  expenses. 
How  much  a  plan  will  b(;  costing  at  any 
one  future  moment  in  time  cannot  be 
accurately  predicted  long  in  advance. 
However,  over  an  extended  period  of 
time,  the  temporary  up  and  down  move- 
ments of  these  variable  factors  will 
tend  to  balance  out. 

To  aid  in  making  this  estimate,  the 
actuary  has  certain  facts,  records,  and 
tables  of  statistics  available.  These 
records  and  tables  show  what  past  ex- 
perience wilh  the  factors  affecting  pen- 
sion costs  has  been. 

If  a  group  of  workers  is  large  enough 
to  enable  the  "law  of  averages"  to  work 
out  as  expected ;  if  the  group  has  no 
peculiar  characteristics  which  might 
cause  a  variation  from  the  general  ex- 
perience on  which  the  assumptions  were 
based;  then  the  actual  cost  should  — 
over  the  long  run  —  turn  out  to  be 
reasonably  close  to  the  actuary's  pre- 
liminary  estimate. 


There  are  other  causes  which  may 
lead  to  substantial  deviations  between 
estimated  costs  and  actual  costs.  A  sys- 
tem whereby  cost  estimates  are  based  on 
certain  past  averages  cannot  anticipate 
long-term  upward  or  downward  trends 
which  may  cause  these  averages  to  be 
no  longer  valid  in  the  future.  There 
is  no  practical  way  for  instance  in  which 
actuaries  can  take  accurate  account,  in 
advance,    of    extraordinary    events    such 


as  wars  and  depressions. 

Generally  speaking  there  are  two 
ways  in  which  unions  and  employers 
can  get  outside  actuarial  assistance  in 
setting  up  a  pension  plan.  They  can 
either  engage  a  professional  consultant 
on  a  fee  basis  or  they  can  call  in  an  in- 
surance company  representative  and  ask 
him  to  submit  cost  estimates  for  a  pro- 
posed  plan. 

An  insurance  company  will  supply 
cost  estimates  "free"  of  any  direct 
charge  to  the  union  or  employer,  in 
hopes  of  selling  its  particular  insurance 
product  to  the  parties.  However,  all  of 
the  insurance  company's  expenses,  in- 
cluding sales  commissions,  and  profits, 
are  included  in  its  premium  charges  — 
so  none  of  its  services  are  actually 
"free"   of  charge. 

(Continued  on  page  33) 


Versatile  Magnarc  Lamp  Used  for  CinemaScope 

The  versatile  Peerless  Magnarc  re- 
flector arc  lamp,  standard  equipment 
in  a  variety  of  projection  rooms  since 
it  was  first  marketed  in  the  thirties, 
has  been  adopted  for  many  Cinema- 
Scope  and  3-D  installations  during 
the  past  few  months  according  to  the 
manufacturer,  the  J.  E.  McAuley  Mfg. 
Co.,  Chicago. 

The  Magnarc,  which  can  be  oper- 
ated on  a  wide  range  of  current  loads 
from  the  so-called  one-kilowatt  trim 
using  40  amperes  with  7-mm  positive 
and  6-mm  negative  carbons  to  a  75- 
ampere  trim  using  9-mm  positive  and 
8-mm  negative  carbons,  is  easily  ad- 
justed to  meet  different  light  require- 
ments. If,  after  installation,  it  is  found 
desirable  to  change  the  original  car- 
bon sizes  to  use  more  or  less  current, 
this  may  be  accomplished  with  very 
little  effort  in  the  projection  room  by 
simple  alterations  in  the  gear  arrange- 
ment of  the  positive  carbon  feed. 

One  of  the  latest  improvements  in 
the  Peerless  Magnarc  is  the  carbon- 
trim  alarm,  regularly  furnished  as 
standard  equipment  on  the  deluxe 
models,  which  provides  two  signal 
lights  mounted  at  the  rear  of  the  lamp 
to  warn  the  projectionist  if  insufficient 
carbon  remains  for  the  showing  of 
another  reel  when  the  arc  current  is 
cut  after  a  changeover. 

An  important  feature  of  the  Mag- 
narc is  the  method  employed  to  insure 
correct  alignment  of  the  positive  and 
negative  carbons  which  consists  in 
providing  "floating"  carbon  clamps 
and  rigid  carbon  guides  near  the  arc- 
ing end  of  each  carbon.    The  function 


Peerless  Mognarc   40-  to   75-amp   lamp. 

of  the  carbon-end  guides  is  to  ac- 
curately locate  the  ends  of  the  carbons 
in  respect  to  each  other.  Since  'he 
positive  and  negative  carbon  clamps 
"float"  in  their  respective  supports, 
even  badly  warped  or  crooked  car- 
bons can  be  made  to  burn  perfectly. 

An  adjustably-mounted  arc-stabiliz- 
ing magnet  makes  possible  a  means 
for  the  complete  arc  stabilization  and 
control,  and  impressing  of  the  gasses 
of  the  core  of  positive  carbons,  there- 
by materially  increasing  the  percent- 
age ratio  of  lumens  per  arc  watt  of 
the  total  light  generated  by  the  arc, 
at  no  increase  in  current  or  carbon 
cost:-. 

The  magnet  is  made  of  alnico  and 
is  a  double-bevel  end,  bar  type.  It  is 
adjustably  positioned  well  above  the 
axis  of  the  carbons,  so  that  the  entire 
magnetic  flux  force  is  exerted  against 
the  arc  crater  and  its  gasses  with  an 
impressing  effect. 

Magnarc  installations  include  not 
only  indoor  theatres  but  a  large  num- 
ber of  small  and  medium-sized  drive- 
ins,  particularly  in  the  south. 


INTERNATIONAL  PROJECTIONIST 


FEBRUARY  1954 


19 


IN    THE 


SPOTLIGHT 


TELEVISION,  for  all  its  highly 
exaggerated  threat  to  the  motion 
picture  industry  is  of  vital  interest  to 
projectionists  for  a  variety  of  rea- 
sons, not  all  of  them  on  the  debit  side 
of  the  ledger.  For  example,  it  is  esti- 
mated that  from  1,500  to  3,000  pro- 
jectionists are  employed  in  television 
studios  in  the  United  States  and  Can- 
ada. Two  factors  are  expected  to  dou- 
ble even  that  top  figure  within  the 
next  couple  of  years  —  the  increasing 
number  of  new  Tv  stations  and  the 
rapidly  increasing  use  of  film. 

Latest  figures  from  the  Federal 
Communications  Commission  show 
that  an  average  of  about  3  dozen  new 
Tv  stations  start  operations  each 
month.  Each  station  employs  from  3 
to  12  projectionists,  and  by  striking 
an  average  of,  say,  6  to  a  station,  we 
find  that  more  than  200  new  jobs  for 
projectionists  are  opened  up  each 
month. 

John  J.  Francavilla,  lA  representa- 
tive, is  authority  for  the  information 
that  well  over  5,000  members  of  the 
Alliance  are  now  employed  directly  in 
Tv  studios.  The  figure  includes  stage- 
hands, projectionists,  wardrobe  peo- 
ple, and  other  lA  classifications.  The 
projectionist  performs  a  variety  of 
tasks,  such  as  the  showing  of  movies, 
handling  of  rear  projection  for  "live" 
shows,  the  projection  of  slides  and 
film  commercials,  and,  in  some  stu- 
dios, "riding  the  boom." 

•  Two-year  contracts  recently  nego- 
tiated between  Pittsburgh  Local  171 
and  the  Theatre  Managers  Associa- 
tion, which  represents  the  Stanley- 
Warner,  Loew's,  Shea  and  Harris  cir- 
cuit theatres  in  the  Pittsburgh  area, 
provide  for  a  15-cent  hourly  wage 
boost  for  the  Local  membership,  ret- 
roactive to  October  31,  1953,  with  an 
additional  7%  cents  per  hour  becom- 
ing effective  the  second  year  of  the 
contract. 

An  important  feature  of  the  new 
pact  is  the  elimination  of  free  prepar- 
atory   time    which    usually    averages 


from  30  minutes  for  a  new  show  and 
15  minutes  other  days.  Pay  for  this 
time,  also  retroactive  to  October  31 
last,  adds  another  2^  to  3%  percent 
to  the  overall  hike  in  pay. 

•  Harold  Lackey,  business  represen- 
tative for  Local  337,  Utica,  N.  Y.,  has 
been  named  to  the  arrangements  com- 
mittee for  the  forthcoming  Union  La- 
bel Industrial  Exhibition  to  be  held 
at  Utica's  Hotel  Hamilton,  May  20-22. 
This  exhibition  will  be  held  in  con- 
junction with  the  sessions  of  the  Union 
Label  Trades  Department  of  New 
York,  and  it  will  be  modeled  after  the 
shows  which  are  sponsored  in  the 
larger  cities  by  the  AFL's  Union  La- 
bel Trades  Dept.  It  is  expected  that  a 
large  number  of  New  York  State  AFL 
affiliates  will  be  represented. 

*  The  annual  installation  dinner  and 
dance  of  the  25-30  Club  was  a  lively 
affair  with  little  time  devoted  to 
speeches  and  the  greater  part  of  the 
evening  reserved  for  merrymaking.  A 
highlight  of  the  affair,  which  was  held 
last  month  at  Zimmerman's  Hungaria 
in  New  York,  was  the  presentation  of 
a  life-size  portrait  of  the  late  Mike 
Berkowitz,  a  former  president  of  the 
Club,  to  his  widow. 

Among  the  invited  guests  attending 
the  party  were  Arthur  E.  Meyer  and 
Barry  Passman  of  International  Pro- 
jector   Corp.;    Allen    Smith,    National 


Theatre  Supply;  Paul  Reis,  National 
Carbon,  and  Bernard  Scholtz,  of  RCA. 
Souvenirs  ranging  from  pocket  memo 
books  from  IPC,  to  pocket  flash  lights 
fiom  NCC,  and  pocket  diaries  from 
RCA  were  distributed  to  all  the  guests. 

Out-of-town  Locals  were  represent- 
ed by  a  delegation  from  Local  384, 
Hudson  Co.,  N.  J.,  which  included  Ai 
DeTitta,  Ralph  DeMea,  John  Contoli, 
Tom  Nethery.  Tony  Boscorelli,  and 
past  Club  presidents  Al  Kaye  and  Ed 
Dougherty.  From  Local  640,  Nassau 
County,  N.  Y.,  came  Joe  Engel.  West- 
chester Co.  Local  650,  N.  Y.,  was  rep- 
resented by  Fred  Thome.  Among  the 
Local  306  members  present  were  Ernie 
Lang,  Isidore  Schwartz,  Harry  Garf- 
man,  Charles  Eichhorn,  Mike  Spring- 
er, Eddie  Stewart,  Charles  Muller, 
and  Wally  Burns.  Judge  Nat  Dora- 
goff,  member  of  Local  .306  and  chair- 
man of  the  N.  Y.  State  Workmens 
Compensation  Commission,  was  also 
present,  as  were  IP's  Fred  Hodgson 
and  James  Morris. 

The  25-30  Club  officers  for  1954 
are  Abe  Kessler,  president  Jacob  S. 
Winick,  vice-president;  Morris  I. 
Klapholz,   secretary;   Benjamin  Stern, 


Oscar  Rosenbaum,  member  of  New  York  Local 
306,  whose  hobby  is  painting,  proudly  stands 
next  to  the  portrait  he  painted  of  the  late 
Mike  Berkowitz  which  the  25-30  Club  presented 
to    the    widow    at    the    group's    annual    dinner. 


Morris  J.  Rotker  (center),  past  president  of  the  25-30  Club,  installing  the  newly  elected  officers. 
Shown  above,  left  to  right:  Anthony  Boscorelli  (L.  384,  Hudson  Co.,  N.  J.),  trustee;  Jacob  S. 
Winick  (L.  306,  NYC),  vice  president;  Abraham  Kessler  (L.  306),  president;  Rotker;  Abe  Seligman 
(L.  306),  sergeant-at-arms;  Abraham    Stern   (L.   306),   financial  secretary,   and   Morris    I.   Klapholz, 

(L.  306),  recording  secretary. 


20 


INTERNATIONAL  PROJECTIONIST     •      FEBRUARY  1954 


financial-secretary;  Abe  Seligman, 
sergeant-at-arms,  and  Julius  Wetzler, 
trustee. 

•  The  long  drawn  out  negotiations 
between  Local  348,  Vancouver,  Can- 
ada, and  the  Famous  Players  theatres 
in  the  Local's  jurisdiction,  seem  to 
have  reached  a  stalemate.  The  Local 
rejected  the  latest  award  of  the  con- 
ciliation board  and  Orin  M.  Jacob- 
son,  International  representative,  has 
been  appointed  to  investigate  the  case. 

•  At  the  January  meeting  of  Detroit 
Local  199,  the  membership  unani- 
mously elected  President  Frank  Kin- 
sora  to  the  office  of  business  repre- 
sentative,  to   succeed   ailing   Roger 


Kennedy  whose  illness  forced  him  to 
resign  from  office.  Deeply  apprecia- 
tive of  the  loyalty  of  the  members, 
Kinsora  requested  this  department 
to  publicly  extend  his  thanks  to  thern 
for  their  confidence  in  his  ability  to 
cope  with  the  many  problems  con- 
fronting the  local.  He  has  been  a 
member  of  199  for  the  past  42  years 
and  has  held  various  offices.  He  is  a 
native  of  Detroit,  a  veteran  of  World 
War  I,  and  is  the  father  of  three  sons, 
all  of  whom  are  veterans  of  World 
War  n. 

•  lA  President  Richard  F.  Walsh  has 
been  named  chairman  of  the  labor 
committee  for  the  film  industry's  1954 
Brotherhood  Week  campaign. 

•  A  catastrophe  was  averted  last 
month  when  1,600  patrons  watching 
a  movie  at  the  Granat  Theatre  in  Mex- 
ico City  were  hurried  out  of  the  burn- 
ing building  just  before  the  roof  col- 
lapsed. It  is  reported  that  10  persons 
suffered  minor  injuries.  The  spec- 
tacular blaze,  which  was  caused  by  an 
explosion  in  the  projection  room  of 
the  theatre,  reduced  the  building  to  a 
shambles  within  one  hour. 

•  A  gold  life  membership  card  in 
Local  205,  Austin,  Texas,  was  award- 
ed to  the  well-known  exhibitor,  Louis 


Novy,  head  of  Trans-Texas  Theatres, 
in  recognition  of  his  friendly  rela- 
tions with  the  Local  extending  over  a 
period  of  many  years.  The  presenta- 
tion was  made  by  Local  officials  Frank 
Sykes,  Jr.,  president,  arid  C.  W.  Schu- 
bert, business  representative. 

•  Lawrence  J.  Katz,  lA  representa- 
tive, assisted  Local  561,  Johnstown, 
Penna.  officials  in  negotiating  a  new 
three-year  contract  with  the  Stanley 
Warner  and  Fabian  Theatres.  De- 
tails of  the  agreement  have  not  been 
announced  but  it  is  said  to  allow  for 
substantial  wage  increases. 

•  We  enjoyed  a  very  pleasant  visit 
with  Douglas  Cameron,  member  of 
loronto  Local  173,  who  spent  several 
days  in  New  York  last  month  on  a 
business  trip. 

•  Morris  J.  Rotker,  member  of  New 
York  Local  306  and  former  president 
of  the  25-30  Club,  was  re-appointed  to 
the  Local  School  Board,  District  No. 
19,  Bronx,  N.  Y.,  for  a  five-year  term. 
The  appointment  was  followed  by  his 
election  to  the  office  of  secretary  of 
the  Board. 

•  Prentiss  E.  Flowers,  charter  mem- 
ber of  Local  400,  Alexandria,  La.,  has 
returned  to  work  after  an  illness  of 
nine  months,  four  of  which  were  spent 
in  a  local  hospital. 

•  According  to  a  survey  made  by  the 
Fvew  York  Times,  craft  workers  in  the 
West  Coast  motion  picture  studios 
lost  at  least  900  days  of  work  during 
the  year  1953  because  of  films  made 
abroad  by  American  producers.  The 
survey  further  reports  that  at  least 
1,000  craft  workers,  not  including  per- 
formers in  the  bit  roles  and  extras, 
were  affected. 

In  a  recent  trade  announcement,  lA 


Paramount  producer  George  Pal  (left)  hosts 
James  W.  Hickey,  business  representative,  Local 
159,  Portland,  Ore.,  and  Mrs.  Hickey  on  the 
set  of  "Conquest  of  Space."  In  addition  to  his 
duties  as  an  officer  of  the  Local,  Hickey  works 
as  a  projectionist  at  the  Oriental  Theatre  in 
Portland.  Behind  Mrs.  Hickey  is  seen  Eric 
Fleming    of   the    picture's    cast. 


President  Walsh  stated  that  the  lA 
did  not  object  to  pictures  made  in  for- 
eign countries  where  frozen  Ameri- 
can funds  were  involved  or  when  it 
was  necessary  to  obtain  authentic  for- 
eign locales,  but  he  did  voice  strenu- 
ous objections  to  those  producers  who 
went  abroad  for  the  express  purpose 
of  obtaining  cheap  labor.  He  re- 
ferred particularly  to  those  producers 
who  made  film  commercials  abroad 
to  be  used  in  this  country  to  "sell 
American  products  to  the  American 
people." 

•  The  recent  re-election  of  Charles 
F.  Wheeler  as  secretary-treasurer  of 
Local  108,  Geneva,  N.  Y.,  marks  his 
22nd  year  as  an  official  of  the  Local. 
His  side-kick,  E.  Francis  Larham,  is 
serving  his  8th  consecutive  term  as 
business  representative. 

•  Copies  of  the  96-page  booklet, 
"American  Labor  Looks  at  the  World" 
(Volume  VII),  is  now  available  at  50 
cents  each  from  the  Free  Trade  Union 
Committee,  AFL,  Box  65,  Radio  City 
Station,  New  York  19,  N.  Y. 


Herman  Gelber^  president  of  New  York  Local  306,  being  congratulated  by  lA  President  Walsh 
upon  his  installation  into  office  last  month.  Participating  in  the  ceremonies  may  be  seen  the 
following  Local  306  officers,  left  to  right:  Steve  D'Inzillo,  N.  Y.  business  representative;  Frank 
J.  Inciardi,  executive  board;  Archie  Hollander  (his  head  may  be  seen  peeping  out  behind 
Inciardl's  shoulder},  retirement .  board;  Al  Kunze,  vice-president;  Max  Kessler,  executive  board; 
Charles  F.  Eichhorn,  retirement  board;  Walsh;  Herman  Boritz  and  Frank  E.  Miller,  executive 
board;  Gelber;  Max  Aidikoff,  sick  committee;  David  Shapiro,  retirement  board;  Artie  Klein,  sick 
committee;  Ernie  Lang  (seated),  recording-secretary;  Herman  Stoller,  sergeant-at-arms;  Harry 
Garfmon,    Brooklyn    business    representative;    Al    Ashkinos,    executive    board,    and    Phil    Shafran. 


INTERNATIONAL  PROJECTIONIST      •      FEBRUARY  1954 


21 


ENCASE 

COUNTERWEIGHT 
PIPE  GUIDE 


The  simple  combination  of  a  hook  and  counterweight,  mounted  as  shown  in  the 
two  illustrations  above,  can  make  life  much  easier  and  safer  for  projectionists.  Note 
the    ease    wi!h    which    ths    heavy    reel    is    lifted    to    the    eye-height    spindle    of    the    projector. 


3-D   Is  Job   For  Men   of  Muscle 


So  a  safety-conscious  insurance  company  executive 
comes  up  with  a  system  of  pulleys  and  hoists  to 
make    life    healthier   and    happier   for    projectionists 

By  ROBERT  L.  MOORE 


T\m  YOU  EVER  haul  an  old- 
■^^^  fashioned  "Hghtweight"  reel  up 
the  rungs  of  an  iron  ladder  from  the 
rear  of  the  back  balcony  into  the  pro- 
jection room  aerie. of  a  motion  picture 
theatre?  Remember  away  back  in  the 
dim  and  distant  past  (last  year!)  how 
much  those  things  weighed? 

You  can't  do  that  with  the  new 
babies,  the  3-D  and  Cinerama  mon- 
sters of  1954  —  not  without  leaving 
yourself  open  to  an  uncomfortable 
hernia  and  an  aching  back. 

Unless  you  rig  up  a  very  simple 
system  of  a  pulley,  a  wire  and  a 
counterweight. 

Reel  Hazard 

However,  and  this  is  important, 
despite  the  pulleys  and  the  counter- 
weights, hand-handling  of  the  new 
king-sized  reels  is  still  essential.  So 
the  next  time  the  boss  asks  you  to 
lug  a  mile  and  a  half  of  film  from 
here  to  there  (an  8,000-foot  reel  con- 
tains  just   about    1%   miles   of   film) 


*  Mr.  Moore  is  director  of  the  Technical  and 
Engineering  Division,  Safety  Engineering  Depart- 
ment, Lumbermans  Mutual  Casualty  Co.,  of 
Chicago,   111. 


play  it  safe  and  protect  your  health. 
Make  no  mistake  about  it,  the  new 
and  heavier  film  reels  for  the  new 
techniques  represent  a  real  hazard  for 
both  projectionists  and  shipping  per- 
sonnel. For  projectionists  there  is  a 
double  hazard.  The  film  has  to  be 
brought  from  the  lobby  to  the  projec- 
tion room  (and  sometimes  projec- 
tionists do  that  job)  and  it  has  to  be 
mounted  on  the  projector  as  well. 

Safety  Tricks 

Cinerama  reels,  for  example,  may 
reach  three  feet  in  diameter,  weigh  as 
much  as  60  pounds  and  hold  8,000 
feet  of  film.  Although  CinemaScope 
reels  are  on  the  lighter  side,  they,  too, 
should  be  handled  with  care. 

The  uEual  shipping  procedure  is  to 
put  two  separate  reels  in  one  can  so. 
even  for  ordinary  5,000-foot  reels, 
these  reels  may  reach  a  weight  of  from 
90  to  100  pounds.  What  then  is  the 
3-D,  CinemaScope  and  Cinerama  pic- 
ture? It's  black  and  blue,  with  sound 
effects,  if  you  drop  a  reel  on  your  toes ! 

Below  are  some  of  the  tricks  worked 
out  for  safety's  sake  in  the  handling 


of  the  block-buster  reels: 

Get  the  manager  to  obtain  a  spare 
3-D  film  can,  parked  permanently  in 
some  storage  space  on  the  lobby  floor 
of  the  theatre  where  it  is  handy  when 
the  delivery  truck  comes  around. 

When  the  usher,  the  porter,  or  who- 
ever else  does  that  job,  receives  the 
can  of  film  in  the  lobby,  he  takes  out 
one  reel.  This  is  placed  in  an  ordinary 
newspaper  boy's  canvas  sack,  or  some 
similar  bag,  and  the  one  reel  and  the 
spare  can  be  carried  to  the  projection 
room  (using  a  hoist  if  you  have  the 
old  iron  ladder  business). 

Tripping  Hazard 

In  the  projection  room  the  reel  is 
immediately  taken  from  the  bag  and 
placed  in  the  can.  Then  the  porter 
(or  whoever)  return  to  the  lobby  for 
the  second  reel.  This  is  carried  in  the 
bag  to  the  projection  room  and  placed 
in  the  can  with  the  first  reel. 

Never,  but  never,  allow  a  reel  to  lie 
on  the  floor  or  stand  vertically.  There's 
a  tripping  hazard  and,  in  addition  to 
breaking  a  leg,  the  film  might  be  in- 
jured. 

A  good  idea,  too,  is  to  have  a  special 
cart  (see  illustration)  for  moving  the 
film  cans  up  stairways.  The  best  type 
consists  of  two  sets  of  three  rubber 
tires  which  allow  a  direct  pull  as  the 
handler  precedes  the  cart  up  the  stairs. 

Nylon  Strap 

Another  method,  also  illustrated,  in- 
volves a  nylon  carrying  strap.  The 
strap  fits  over  the  shoulder  and  the 
carrier  uses  his  hand  to  carry  part  of 


The  strain  of  lugging  heavy  reels  up 
theatre  stairs  is  eliminated  by  means  of 
this  specially  designed  cart.  It  has  two 
sets        of        three        rubber    -    tired        wheels. 


22 


INTERNATIONAL  PROJECTIONIST      •      FEBRUARY  1954 


Film  Industry  Profits  Rise  Despite  Forebodings 


An  adjustable  nylon  carrying  strap  makes 
the  job  of  carrying  a  film  can  much 
easier.  For  safety's  sake,  grasp  tha  hand 
rail.  Also  help  distribute  the  weight  by 
using  the  handle.  A  3-D  can  loaded  with 
two      reels      is      definitely      a      two-man      job. 

the  load  by  its  top  handle.  While  the 
combination  of  strap  and  handle  helps 
to  distribute  the  load  over  the  body, 
this  is  still  an  unwieldy  way  of  lugging 
film  cans  around.  Incidentally,  the 
strap  is  attached  by  simply  opening 
the  can  and  running  the  nylon  strap 
under  the  lid,  remembering  to  close 
the  lid  securely  over  the  strap.  The 
strap  may  be  equipped  with  an  adjust- 
able buckle  so  that  it  may  be  carried 
by  men  of  assorted  sizes. 

The  container,  or  carrying  can,  is 
equipped  with  two  side  handles  and  a 
two-man  operation  should  be  insisted 
on  wherever  and  whenever  possible. 
Then  the  total  weight  can  be  halved 
and  properly  distributed.  This  should, 
without  question,  be  a  two-man  opera- 
tion whenever  two  reels  are  carried 
at   one   time. 

Sash  Weight  Hoist 

Once  the  can  is  in  the  projection 
room,  the  problem  is  a  bit  simpler 
than  getting  it  up  the  stairs.  Reels 
must  be  lifted  by  the  projectionist  to 
approximately  eye-height  to  place  them 
on  the  spindle  of  the  projector.  Be- 
cause of  the  awkward  lifting  job  in- 
volved this  constitutes  a  very  definite 
hernia  hazard  if  not  handled  properly. 

For  the  lifting  job  a  counterweight 
arrangement,  as  illustrated,  with  a 
hook  of  some  simple  design  is  sug- 
gested. The  hook  for  the  job  holds  the 
reel  in  place  by  a  spring.  This  engages 
one  side  of  the  reel  so  that  it  may  be 
easily     unhooked     after    the    reel    is 


Despite  the  dire  predictions  of  bank- 
ruptcy prevalent  last  summer,  it  would 
seem  that  most  theatre  circuits  and  pro- 
ducing companies  earned  increased  pro- 
fits during  19.53  and  were  faring  better 
than  industry  in  general.  This  was  indi- 
cated by  a  check  of  motion  picture 
securities  with  the  general  average  of 
50  leading  stocks  as  compiled  by  the 
New  York  Times  and  by  reports  from 
o'her  sources. 

Reports  from  leading  theatre  circuits 
on  gross  profits  during  the  closing 
months  of  1953  indicated  scarcely  any 
instance  where  box  office  revenues  were 
not  reported  at  least  slightly  in  excess  of 
1952.  In  some  cases  the  reports  indi- 
cated business  as  10  percent  and  more 
over  1952. 

Credit  for  the  increase  has  been  given 
both  to  the  availability  of  pictures  with 
more  powerful  boxoffice  pull,  and  to  a 
new  interest  in  motion  pictures  on  the 
part  of  the  public  created  by  the  intro- 
duction of  the  new  processes,  Cinema- 
Scope  and  3-D.  Another  factor  men- 
tioned was  that  Tv  set  purchases  have 
reached  something  close  to  a  saturation 
point  in  most  heavy-population  areas. 
It  is  also  said  that  people  are  getting 
back  into  the  habit  of  going  out  when 
superior  entertainment  is  available. 

Ten  common  stock  issues,  Allied  Art- 
ists, Columbia,  Loew's,  National  Thea- 
tres, Paramount,  Republic,  RKO  Pic- 
tures, RKO  Theatres,  20th  Century-Fox 
and  Universal,  showed  a  gain  of  23  7/8 
points  or  an  average  gain  of  2.38  points. 
This  contrasts  with  an  average  loss  dur- 
ing 1953  of  18.48  points  in  the  New 
York  Times  average  of  50  leading  stocks 
issued  by  a  variety  of  industries. 

Theatre  circuits  which  registered 
gains  during  1953  include  National  The- 
atres, which  paid  30  cents  a  share  on  its 


common  stock,  valued  at  6%  dol- 
lars a  share  at  year's  end,  a  gain  of 
2  7/8  dollars  or  points  over  1952.  RKO 
Theatres  paid  15  cents  a  share  in  1953 
on  common  stock  valued  at  4^4  dollars 
a  share  at  year's  end,  1^^  points  over  its 
value  at  the  end  of  1952.  Loew's,  Inc., 
paid  80  cents  a  share  on  its  common 
stock  which  stood  at  $13  a  share  at 
year's  end,  %  of  a  point  more  than  at 
the  end  of  1952. 

In  the  motion  picture  production  field, 
business  also  improved  in  1953,  accord- 
ing to  profit  reports.  Considerable  gains 
were  registered  by  Columbia  and  20th 
Century-Fox,  with  Warner  Brothers  re- 
maining in  approximately  the  same 
profit  position. 

Columbia  Pictures  common  stock,  val- 
ued at  20%  dollars  a  share  at  year's 
end,  was  8^/4  points  higher  than  last 
year.  20th  Century-Fox  stock  rose  to 
2OV2  dollars  at  the  end  of  the  year,  gain- 
ing TYg  points  and  paying  $1  per  share 
for  the  year. 

Allied  Artists  common  stock  was  sell- 
ing for  5^/4  dollars  a  share  at  year's  end, 
2%  dollars  more  than  at  the  end  of 
1952.  Universal  paid  yearly  dividends 
of  $1  per  share,  and  its  common  stock 
rose  4%  dollars  in  value  during  1953  to 
19^/4  dollars  at  the  end  of  the  year. 

However,  some  production  companies 
did  show  losses.  Paramount  stock  was 
down  1%  dollars  a  share  for  the  year, 
RKO  Pictures  IVg,  and  Republic  %. 
Early  this  month  RKO  stock  doubled 
in  value  in  one  day  on  Howard  Hughes' 
statement  that  he  was  throwing  an  addi- 
tional $23,000,000  into  the  company  in 
a  move  to  gain  absolute  control. 

According  to  Dept.  of  Commerce  fig- 
ures, there  were  3,400  more  theatres  in 
the  United  States  on  June  30,  1953,  than 
on  December  31,  1944. 


mounted  on  the  spindle.  A  sash  weight 
only  slightly  lighter  than  the  full 
reel  will  provide  the  counterweight. 
Obviously,  the  projectionist  is  only 
called  upon  to  lift  the  difference  be- 
tween the  full  reel  and  the  weight. 

Big  reels,  and  perhaps  even  bigger 
reels,  seem  to  be  very  much  the  s'yle 
for  today  and  for  the  future.  Handling 
them  shouldn't  be  too  difficult  a  task 
for  the  projectionist  who  knows  the 
score.  And  just  think  of  the  advan- 
tages over  the  small  reel,  what  with  half 
the  number  of  changeovers  and  thus 
exactly  half  the  chances  for  trouble! 

Like  it  or  not,  big  reels  are  here! 

A  newsboy's  canvas  bag  is  just  the  ticket  for 
lugging  3-D  reels  around— one  reel  at  a  time. 
Try  carrying  two  and  you're  just  begging  for 
something  to  happen.  Pictures  courtesy  of 
National   Safety  News  AAagazine. 


INTERNATIONAL  PROJECTIONIST      O      FEBRUARY  1954 


23 


Unistrut  Metal  Framing.  An  easily 
and  quickly  assembled  system  of  metal 
tube  framing  for  overhead  projection  and 
production  lighting  in  television  studios 


This  !s  the  Unistrut  movable  grid  system  of 
metal  framing,  designed  to  handle  lights, 
microphones,  wiring  for  projection  equip- 
ment, etc.,  in  television  studios  where  space 
is  at  a  premium.  This  is  the  installation  at 
Station  KGO-TV  in  San  Francisco,  Calif. 

is  being  marketed  by  Unistrut  Products 
Co.,  1013  W.  Washington  Blvd.,  Chicago 
7,  111.  The  prefabricated,  completely 
adjustable  scaffolding  easily  supports 
the  1%"  nominal  black  pipe  sections 
that  support  the  actual  lighting  units. 
Portable  patch  plug  sets  are  attached 
directly  to  the  Unistrut. 


Gallagher  16-mm  Arc  Projector. 
Using  the  Strong  Junior  High  Intensity 
arc  lamp  and  rectifier  along  with  a 
specially  built  RCA  arc  head  projector 
assembly,  this  new  piece  of  16-mm  equip- 
ment operates  from  any  AC  outlet. 
Manufactured  by  Gallagher  Films  Inc., 
the  projector  is  available  through  all 
RCA  dealers. 


Multiple  Aspect  Ratio  Lens.  Tests 
will  be  made  shortly  at  the  Paramount 
Theatre,  New  York,  of  a  new  set  of 
lenses  designed  to  enable  projectionists 
to  switch  from  the  CinemaScope  ratio 
of  2.55  to  1  to  smaller  ratios  at  various 
times  during  the  showing  of  a  picture. 
IP  will  carry  a  report  on  the  system  in 
a  subsequent  issue 


"Slice-Away"  Transistor  Batteries. 
Tiny  high-power  batteries  for  use  with 
transistors  are  announced  by  RCA.  The 
new  batteries  can  be  sliced  like  a  roll 
of  salami  into  numerous  combinations 
of  cells  to  provide  different  voltage  re- 
quirements. Two  types  are  now  on  the 
market  (VS087  up  to  2  ma  and  VS088 
up  to  10  ma).  Both  are  21-volt  special 
purpose  types,  intended  mainly  for  ex- 
perimental use.  Each  contains  15  indi- 
vidual %-volt  crown-type  alkaline  dry 
cells  encased  in  a  plastic  sleeve.  Various 


power  requirements  from  ^  volts  to 
21  volts  may  be  obtained  quickly  by 
simply  slicing  the  battery  with  a  knife. 


requires  no  changes  in  the  present 
standard  optical  head.  A  device  to 
achieve  the  same  purpose,  in  which 
darkened  intersprocket  spaces  on  the 
film  are  used  to  cue  sound  signals,  was 
reported  in  IP  for  October  as  a  product 
of  Dorsett  Laboratories,  Norman,  Okla. 


Aluminum  Drive-in  Paint.  Tropical 
Paint  and  Oil  Co.,  Cleveland,  Ohio,  is 
marketing  a  new  aluminum  paint  for 
drive-in  screens  which  the  company 
claims  "combines  general  screen  bright- 
ness and  low  light  deflection  with  dura- 
bility and  weather  resistance  in  outdoor 
use."  The  paint  has  been  tested  by  the 
Polaroid  Corporation  and,  according  to 
the  Tropical  Co.,  was  rated  "high  in 
brightness  and  clarity  of  angle  viewing." 


Color  TV  Tester.  Designed  to  measure 
the  performance,  alignment  and  phase 
errors  of  color  television,  a  new  testing 
instrument,  the  1601-AR,  has  been  intro- 
auced  by  Telechrome,  Inc.,  Amityville, 
L.  I.  A  calibrated  chart  on  the  cathode 
tube  face  permits  the  setting  of  standard 
color  values  and  also  indicated  phase 
and  burst  amplitude. 


First  Color  TV  Receiver.  Emerson 
Radio  and  Phonograph  Corp.  is  the 
first  manufacturer  to  announce  for  sale 
a  color  TV  receiver.  The  price  tag  is 
$700  for  the  Model  C-500,  a  console 
ensemble  with  a  16-inch  tube  providing 
a  14-inch  picture. 


Glare  Spray.  A  glare-softening  Aerosol 
spray  is  offered  to  television  and  motion 
picture  cameramen  by  the  Crescent 
Portrait  and  Frame  Co.,  Cleveland,  Ohio. 
The  spray  gives  a  matte  surface  to  shiny 
objects,  thus  eliminating  bright  reflec- 
tions under  studio  lights. 


Metro  Optical  Stereo  Sound.  Arthur 
M.  Loew,  president  of  Loew's  Interna- 
tional, announces  a  new  stereophonic 
sound  device  that  records  sound-on-film 
ny  optical  means  instead  of  magnetic 
striping.     The   new   device,    says   Loew, 


CinemaScope  Drive-in  Screen.  Claimed 
by  the  maker,  Poblocki  &  Sons,  Milwau- 
kee, Wis.,  to  be  suitable  for  Cinema- 
Scope and  3-D  in  drive-ins,  a  new  cor- 
rugated aluminum  screen  is  now  on  the 
market.  The  screen  is  reported  to  cost 
from  $12,000  to  $20,000. 


Standards?    We'd  All  Go  Crazy  Without  Them 

Maybe  the  fellow  in 
the  cartoon  at  the 
right  has  got  hold 
of  a  lens  with  too 
short  a  focal  length 
— but,  whatever  the 
cause  of  his  trou- 
bles, the  cartoon  is 
supposed  to  illustrate 
the  importance  of 
standards  in  motion 
picture  projection. 
The  cartoon,  taken 
from  a  lively  little 
booklet,  "Through 
History  With  Stand- 
ards," published  by 
the  American  Stand- 
ards Assn.,  shows 
what  might  happen 
if  chaos  were  to  re- 
turn to  the  projec- 
tion room.  That  is, 
chaos  old  style.  In 
the  old  days  (and 
many  a  projection- 
ist remembers  them 
with  shudders) 
sprocket  holes  and 
film  perforations 
were  all  sorts  and 
sizes.  Film  was 
ribbed,  torn,  man- 
gled and  generally  abused.  Then,  in  1916,  the  Society  of  Motion  Picture  Engineers,  now  the 
SMPTE  (television  has  been  added),  got  to  work.  Standards  were  set  and,  with  the  cooperation 
of  the  ASA  Sectional  Committee  on  Standards  for  Motion  Pictures,  these  were  quickly  adopted 
internationally.  Today,  more  than  60  American  Standards  prevail  in  the  industry,  most  of  them 
world-wide  in  effect.  Now  motion  picture  film  from  one  country  can  be  projected  on  the 
equipment  of  any   other  country   in   the  world  whether  the   machines   be  American   or  foreign. 


24 


INTERNATIONAL  PROJECTIONIST      •      FEBRUARY  1954 


I 


lA    ELECTIONS 


LOCAL  108,  GENEVA,  N.  Y. 

Arthur  J.  O'Neill,  pres.;  Emerson  Garling, 
vice-pres.;  Charles  F.  Wheeler,  sec.-treas.; 
E.  Francis  Larham,  bus.  rep.;  William 
Baroody,  Arthur  Gardner,  trustees,  and  E.  F. 
Larham,  del.  to  State  and  lA   Conventions. 

LOCAL  171,  PITTSBURGH,  PENNA. 

Daniel  V.  Flask,  St.,  pres.;  Harold 
O'Donnell,  vice-pres.;  James  V.  Sipe,  bus. 
rep.;  Luther  W.  Thompson,  sec.-treas.; 
Dean  Martin,  Leroy  McConnell,  and  Charles 
Lang,  exec,  board;  James  0.  Caskey,  Russell 
R.  Kerr,  Michael  J.  Ventrone,  trustees; 
Angelo  Diodati,  sgt.-at-arms';  D.  Flask,  Sr., 
Henry  W.  Link,  Sr.,  Paul  P.  Mach,  and  J.  V. 
Sipe,  del  to  lA  onvention. 

LOCAL  204,  LITTLE  ROCK,  ARK. 

Leonard  Thalmueller,  pres.;  Jimmy  Cow- 
sert,  vice-pres.;  Paynter  Rochelle,  rec.-cor.- 
treas.;  L.  B.  Herring,  fin.  sec;  Guy  Red- 
mond, treas.;  J.  H.  Schoemaker,  bus.  rep.; 
Walter  Melton,  sgt.-at-arms  and  trustee;  J. 
Sipe,  del.  to  lA  Convention. 

LOCAL   257,   OTTAWA,   ONT.,   CANADA 

James  P.  McGuire,  pres.;  John  Macauley, 
vice-pres.;  Wm.  H.  Hartnett,  bus.  rep.;  W. 
Murray  Hall,  sec.-treas.;  S.  Ventura,  sgt.-at- 
arms;  E.  Field,  L.  Lamothe,  and  D.  M. 
Ritchie,    trustees. 

LOCAL  303,  HAMILTON,  ONT.,  CANADA 

Harry  H.  Thornberry,  pres.;  Stanley  L. 
James,  vice-pres.;  Hugh  W.  Usher,  bus. 
rep.;  John  P.  Owens,  treas.;  Hugh  J. 
Sedgwick,  Herb  Konkle,  and  James  C. 
Rowe,  exec,   board. 

LOCAL  343,  OMAHA,  NEBR. 

Alvin  Kostlan,  pres.;  Ora  Farmsworth,  1st 
vice-pres.;  C.  Jones,  2nd  vice-pres.;  Ross 
Hatton,  treas.;  J.  L  Kelly,  fin.  sec;  Clyde 
Cooley,  sec;  Howard  Jackson,  bus.  rep.;  Al 
Frazier,  sgt.-at-arms;  R.  L.  Mclntyre,  Clyde 
Blubaugh,  Art  Krake,  trustees. 

lOCAL  376,  SYRACUSE,  N.  Y. 

Louis  R.  Boyd,  pres.;  Melvin  A.  Denny, 
vice-pres.;  George  F.  Raaflaub,  sec;  Lionel 
B.  Wilcox,  fin.  sec.-treas.;  Walter  M.  Scarfe, 
bus.  rep.;  John  L.  Klock;  sgt.-at-arms; 
Philip  T.  Rossomando,  del.  Central  Body; 
Russell  Stevens,  Charles  R.  Nelson,  John 
H.  Eccles,  trustees;  Lawrence  F.  Sherman 
and  Warren  E.  Williams,  exec,  board. 
LOCAL  407,  SAN  ANTONIO,  TEXAS 

Benno  J.  Kusenberger,  pres.;  Alfred  Pena, 
vice-pres.;  Henry  Villapadierna,  sec.-treas.; 
Horace  E.  Blanton,  rec  sec;  W.  B.  Keeler, 
bus.  rep.;  Manuel  Ayala  and  G.  A.  McElyeai 
members  at  large. 

LOCAL  440,  ST.  JOHN,  N.  B. 

Louis  J.  McCourt,  pres.;  L.  Edward  Laird, 
A.  T.  Wedge,  vice-pres.;  Cecil  Beesley,  rec- 
sec;  James  A.  Whitebone,  bus.  rep.;  R.  J. 
Foulds,  treas.;  A.  S.  Olive,  M.  F.  Brown,  l! 
A.  Chatterton,  trustees. 

Color  motion  pictures  were  first  ex- 
hibited in  1908  at  the  Society  of  Arts  in 
London.  Two  colors  were  used  and  the 
inventor,  G.  A.  Smith,  had  trouble  keep- 
ing them  in  sync. 


EVERY 

EXHIBITOR 

NEEDS 


EVERY 

EXHIBITOR 

NEEDS 


M.O'f- 


STEREOPHONIC 
SOUND ! 


^NATIONAL^^^^ 

^™       THPATPP        5UPPIY       m 

^^                  Uivliion    al    Nalianol  •  Vimnlffw  •  Hliidioartli    Inr.                  jd :^^^^^^ 

INTERNATIONAL  PROJECTIONIST 


FEBRUARY  1954 


2S 


ft 


Free  Polaroid  Land  Oainera 


for  the  best  letters 
on 

3-D 

projection 

yo44A.  letted? 


m 


If  you're  a  working  projectionist,  if  you  know  any  3-D  tricks,  if  your  ideas  can 
improve  stereoscopic  projection,  then  you  stand  a  good  chance  to  win  one  of  these 
camera  beauties  as  offered  by  the  Polaroid  Corp.  in  cooperation  with  your  magazine 


LETTERS  from  projectionists  are 
beginning  to  roll  into  the  IP  office 
as  men  of  the  craft  unburden  them- 
selves of  their  ideas  on  3-D  projection. 
The  winner  of  the  first  Polaroid  Land 
Camera  will  be  announced  in  the  next 
issue  (March)   of  this  magazine. 

The  contest  will  run  for  three 
months,  with  the  Polaroid  Corp.  co- 
operating with  IP  in  a  joint  effort  to 
find  out  just  what  projectionists  think 
about  3-D  —  and  what  they're  doing 
about  it  in  their  own  theatres. 

The  contest  is  open  to  working  pro- 
jectionists only.  Letters  with  your 
ideas  and  suggestions  will  be  judged 
by  a  three-man  panel:  Dr.  Lewis 
Chubb,  Polaroid  research  physicist; 
Henry  Kogel,  SMPTE  staff  engineer, 
and  by  your  editor  as  the  third  man. 
What  we  want  is  simply  this: 

Your  suggestions  on  how  to  make 
3-D  better.  Any  tricks  you  may  have 
devised  in  your  own  projection  room, 
tricks  that  improve  your  3-D  projec-  ~ 


tion.  For  example,  one  theatre  we 
know  has  an  ordinary  carpenter's 
spirit  level  handy  so  that  the  3-D  filters 
at  the  ports  may  be  kept  absolutely 
horizontal.  If  you've  had  a  brain  wave 
like  that,  send  it  in! 

If  you've  found  a  way  to  out-smart 
the  exchanges  and  their  sometimes 
amazing  inspection  systems,  let's  hear 
about  it! 

In  other  words,  if  you,  as  a  working 
projectionist,  have  an  idea  or  a  sug- 
gestion you  think  is  good  don't  hesi- 
tate. Don't  walk,  run  to  the  nearest 
mailbox. 

You  don't  have  to  be  a  Hemingway. 
We  don't  care  how  the  letters  are 
written.  It's  the  subject  matter  that 
counts. 

Address  your  letters  to  the  3-D 
Editor,  International  Projectionist,  19 
West  44th  St.,  New  York  36,  N.  Y. 

Write  as  many  letters  as  you  like. 
And  if  you  don't  win  the  first  camera, 
try  again  and  you  may  win  the  second 


— or  the  third  camera  to  be  offered. 

Incidentally,  the  Polaroid  Land 
Camera  is  a  honey.  It's  that  famous 
new  camera  you've  been  reading 
about,  the  one  that  develops  its  own 
pictures  in  just  one  minute.  The  price, 
if  you  had  to  buy  it,  is  a  neat  $89.75 
(and  worth  every  nickel  of  it!). 

The  Polaroid  Land  Camera  gives 
you  photography  at  its  quickest, 
easiest  and  simplest.  One  adjustment 
takes  care  of  all  shutter  and  lens  set- 
tings. All  you  do  is  snap  the  shutter, 
pull  a  paper  tab  and,  voila!,  in  one 
minute  by  the  clock  you  have  your 
picture.  Prints  are  black  and  white 
and  are  big  3^"  by  41/4"  —  and  they 
can  be  enlarged  or  duplicated,  too, 
if  you  like. 

So  get  you're  letters  in  —  fast!  To 
qualify  for  April's  camera  your  letter 
must  be  in  the  IP  office  no  later  than 
March  15th.  All  letters  shall  become 
the  property   of   IP. 

Here's  wishing  you  luck! 


Qaod  pAx^feotion  H  Ute^  ke4f.  to-  (food  3-2> 


26 


INTERNATrONAL  PROJECTIONIST      •      FEBRUARY  1954 


BOOK    REVIEW 

The  Theory  of  Stereoscopic  Trans- 
mission AND  ITS  Application  to  the 
Motion  Picture.  By  Raymond  and 
Nigel  Spottiswoode.  177  pages  and  ap- 
pendices. With  stereoscopic  diagrams 
by  Brian  Borthwick.  University  of 
California  Press.  $6.00. 

The  Messers  Spottiswoode,  who  should 
be  well  known  to  IP  readers  for  their 
work  in  the  3-D  field,  have  taken  the 
mathematical  approach  to  the  third 
dimension  in  this  highly  technical  ex- 
position of  the  subject.  The  writers  in 
the  present  study  look  on  3-D  as  a 
science,  rather  than  as  an  art.  From  the 
vantage  point  of  this  editorial  sanctum, 
wearing  bifocals  instead  of  anaglyph 
spectacles,  we  are  willing  to  admit  that 
3-D  is  complicated  but,  in  its  present 
state  at  least,  we  fail  to  see  it  either  as 
an  art  or  as  a  science.  Some  of  the  first 
pictures  in  the  film  industry's  recent 
splurge  into  the  medium  were  apparently 
produced  by  people  who  never  got  out 
of  fifth  grade  and  we're  afraid  they'd 
find  this  book,  with  its  plethora  of  equa- 
tions, rather  tough  going. 

The  study  is  complete,  perhaps  a  bit 
too  complete,  except  in  one  department, 
that  of  projection.  There  is  some  discus- 
sion of  systems  and  processes  from  the 
point  of  view  of  the  man  behind  the 
projector  but  one  wishes  that  the  Spottis- 
woodes  had  given  this  some  additional  at- 
tention. Curiously,  the  authors  evaluate 
four  systems,  the  long-awaited  Vecto- 
graph  in  which  two  self-polarized  images 
are  carried  on  one  film  strip,  alternate 
frame  projection,  split  image  projection 
and  the  familiar  double-band  projection 
of  "Bwana  Devil,"  "Hondo"  and  "Kiss 
Me  Kate."  The  Spottiswoodes  state  quite 
flatly  that  the  Vectograph,  because  of  its 
simplicity  of  handling  in  the  projection 
room,  is  the  best  system  for  commercial 
projection.  However,  they  also  state  that 
the  two-film,  two-projector  system,  with 
all  its  synchronization  difficulties,  is  the 
best  all-round  process  when  the  very 
tops  in  3-D  excellence  is  desired.  How- 
ever, their  comment  on  the  double-film  is 
quite  interesting.  The  (double  film)  sys- 
tem, they  write,  "has  great  advantages 
for  production  screening  in  the  studio." 
We  know  a  couple  of  projectionists  who 
would  like  to  confine  it  to  that  limited 
area,  the  studio,  and  keep  it  out  of  the 
theatres. 

First  'Scope  Theatre 

The  first  theatre  to  be  built  especially 
for  CinemaScope,  3-D  and  the  other  new 
projection  and  sound  reproduction 
methods  is  planned  for  a  large  new 
suburban  shopping  center  to  be  built 
on  the  site  of  Roosevelt  Field,  Long 
Island,  N.  Y. 


Lens 
Showmansliip 


,Vi,     M/ 


with  Slli*i<:ir  SKArLiTK 


Projection 
Lenses 


. . .  and  "Showmanship"  includes  your  plant  equipment 
Super  Snaplite  f/1 .9  Projection  Lenses  give  your 
patrons  maximum  viewing  satisfaction. 

For  Better  Showmanship  and 
Better  Boxoffice  use  Super  Snaplites 
True  speed  of  f/1 .9  in  all  focal 
lengths  up  to  7  inches. 

Ask  for  bulletin  212. 


You  get  more  Light 
with  Super  Snaplite 


KOLLaWOI 


Plant:   Northampton,   Massachusetts 


COKPOKATIOS 


NEW   YORK    OFFICE:    30    CHURCH    ST.,    NEW    YORK    7,    N.   Y. 


I 


INTERNATIONAL  PROJECTIONIST      •      FEBRUARY  1954 


27 


TYPES  OF  FILM  DAMAGE 

(Continued  from  page  10) 
damage  to  the  film  during  projection. 

On  the  subject  of  extra  and  un- 
sightly cue  marks,  exchanges  in  the 
New  York  area  were  less  vocal.  Ex- 
cept for  prints  used  a  great  many 
times,  this  did  not  present  a  serious 
problem.  The  practice  of  putting  con- 
fusing and  unsightly  marks  on  leaders 
and  using  picture-defacing  slashes  as 
cue  marks  at  the  end  of  a  reel  has 
greatly  decreased  in  recent  years,  the 
inspectors  agreed. 

However,  since  more  than  one  pro- 
jectionist has  written  to  this  office 
recently  on  this  problem,  it  is  worth 
repeating  some  advice  contained  in  an 
article  by  Robert  A.  Mitchell,  "Pro- 
jection Room  Handling  of  Film 
Prints,"  IP  for  March,  194S. 

Care  of  Leaders 

"In  the  matter  of  conserving  lead- 
ers, projectionists  can  help  by  using 
great  care  in  threading  and  by  re- 
fraining from  marking  reel  numbers, 
titles,  etc.,  on  the  leaders  with  in- 
delible ink,"  Mr.  Mitchell  stated.  "No- 
tations should  be  confined  to  the  first 
few  feet  of  the  plain  'protection  leader' 
and  then  written  only  with  easily- 
erased  cellophane  marking  crayon  or 
grease  pencil. 

"The  painting  of  squares  and 
crosses  on  threading-up  footage-num- 
ber frames  has  high  nuisance  value, 
as  has  also  the  cementing  of  opaque 
strips  of  film  across  leaders. 

"Inasmuch  as  the  standard  release 
print  depends  for  its  effectiveness  on 
the  exact  positioning  of  the  cues  and 
leader  footage  numbers,  projection 
efiiciency  is  reduced  when  these  have 
been  mutilated.  It  is  the  responsibility 
of  the  distributor  to  replace  leaders 
which  have  been  unduly  shortened 
through  repeated  use,  and  it  also 
behooves  him  not  to  overdo  the  re- 
placement of  film  to  the  extent  of 
interposing  several  yards  of  black 
film  between  footage  numbers  and  the 
start  of  the  picture.  Such  excess  foot- 
age must  be  removed. 

"The  motor  start  and  changeover 
cues  are  frequently  rendered  unsightly 
by  projectionists  who  fear  that  they 
may  not  catch  the  printed  cues  when 
they  flash  on  the  screen.  Much  worse 
is  scratching  curtain  cues  into  the 
emulsion,  for  their  presence  is  likely 
to  confuse  the  projectionists  who  sub- 
sequently use  the  film.  Curtain  and 
lighting  cues  should  be  marked  on  the 


Magazine  valve  rollers,  shovi/n  in  the  above  il- 
lustration, can  be  responsible  for  much  damage 
to  film  when  dirt,  oil  or  chips  of  film  ac- 
cumulate around  them  and  may  prevent 
them  from  turning  freely.  The  results  are 
vertical  scratches  running  up  and  down  the 
emulsion     or    the    support    side     of    the    film. 

film  with  crayon,  and  then  wiped  off 
when  the  film  has  completed  its  run. 
"Motor  start  and  changeover  cues 
which  are  really  too  faint  to  be  seen 
on  the  screen  may  be  rendered  visible 
by  lightly  scoring  them  with  a  regular 
cue-marking  device,  several  of  which 
are    on    the    market.      Holes    should 


never  be  punched  in  the  film." 

In  conclusion  something  should  be 
said  regarding  film  damage  problems 
in  connection  with  the  new  Cinema- 
Scope  film.  Josephine  McGrath,  chief 
inspector  at  the  20th  Century-Fox 
New  York  exchange,  was  inclined  to 
feel  that  exchanges  and  projectionists 
still  have  a  lot  to  learn  in  processing 
the  new  film  with  its  smaller  sprocket 
holes  and  four  magnetic  tracks. 

CinemaScope  Film 

Some  annoying  problems  have  come 
up  at  the  exchange,  including  balki- 
ness  of  some  of  the  big  semi-auto- 
matic splicing  machines  in  handling 
the  film  which  must  be  scraped  on 
both  sides.  Also,  considerably  more 
care  must  be  exercised  in  inspecting 
CinemaScope  prints  because  of  the  ex- 
posed position  of  the  magnetic  tracks. 
(See  "Splicing  for  3-D  and  Cinema- 
Scope" in  the   December,   1953,   IP.) 

The  types  of  damage  covered  in 
this  article  are  not  meant  to  comprise 
an  all-inclusive  list.  Not  covered,  for 
instance,  is  the  severe  buckling  and 
blistering  of  film  caused  by  excessive 
projection  temperatures,  something 
that  happens  most  often  at  drive-in 
theatres,  or  the  fact  that  considerable 
damage  is  done  to  film  shipped  badly 
wound  in  deformed  or  dented  cans 
and  reels  or  by  cans  being  thrown 
around  during  transit. 

"Common  Causes  of  Film  Damage 
to  35-mm  Release  Prints,"  published 
by  Eastman  Kodak,  covers  the  sub- 
ject in  detail  all  the  way  from  the 
laboratory  to  the  projection   room. 


Motiograph  Offers  "Raincoat"  In-Car  Speaker 

With  Spring  not  so  far  away,  and 
with  drive-in  operators  preparing  for 
what  they  hope  will  be  banner  business, 
Motiograph  is  drawing  industry  atten- 
tion to  its  improved  "Rainmaster"  in-car 
speakers. 

Covering  the  face  of  the  unit  is  a  taut 
hnen  cover  impregnated  with  a  chemical 
which  makes  it  rainproof  and  dustproof. 
This,  Motiograph  claims,  makes  the 
speaker  impervious  to  all  kind  of 
weather,  from  cloudbursts  to  duststorms, 
and  so  doubles  the  life  of  the  unit. 

Speaker  and  box  are  made  of  alumi- 
num for  extreme  lightness.  The  "Rain- 
master"  is  designed  to  fit  practically 
any  make  or  model  of  junction  box,  so 
that  it  may  be  ordered  with  or  without 
its  junction  companion.  The  junction 
has  multi-tapped  transformers  which 
permit  exact  impedance  matching  with 
any  make  or  model  of  sound  reproduc- 
ing equipment. 


The  Motiograph  Rainmaster 


28 


INTERNATIONAL  PROJECTIONIST 


FEBRUARY  1954 


Westrex  Has  Stereophonic  Conversion  Unit 


PROJECTIONISTS  familiar  with 
-'■  the  Westrex  R9  penthouse  repro- 
ducer for  stereophonic  sound  will  be 
interested  in  the  company's  new  pent- 
house stereophonic  modification  unit 
for  the  1035  single-track  magnetic 
recording  system.  The  unit  is  illus- 
trated on  this  page. 

The  new  modification  unit  adds  the 
facility  for  the  recording  and  monitor- 
ing of  three  or  four  magnetic  tracks 
to  the  basic  single  magnetic  track 
RA-1467A  recorder  now  used  in 
studios  throughout  the  world. 

The  new  conversion  unit  is  mounted 
between  the  recorder  and  the  reel 
assembly  and  contains  a  film  driven 
filter  and  the  magnetic  heads.  The  film 
is  driven  by  a  32-tooth  sprocket  and 
the  magnetic  recording  is  quality- 
regulated  by  the  Davis  drive  filter.  The 
film  also  passes  over  two  impedence 
drums  between  which  are  located  the 
two  magnetic  head  assemblies.  The 
unit,  Westrex  claims,  does  not  inter- 
fere in  any  way  with  the  operation  of 
the  regular  single-track  system. 

The  film  pulling  mechanism  of  the 
conversion  unit  floats  on  four  rubber 
mountings  to  reduce  vibration  and  to 
permit  transportation  of  the  unit  with- 
out removing  the  twin  flywheels  on 
the  impedence  drum  shafts. 

For  convenience  in  threading,  the 
sprocket  is  provided  with  detents  as- 
sociated with  both  pad  arms.  When 
either    arm    is    open    the    sprocket   is 


This  is  the  Westrex  stereophonic  modification 
unit  designed  for  greater  facility  in  monitor- 
ing and  recording  the  three  or  four  magnetic 
tracks    to    the    Westrex    single    track    recorder. 


restrained  from  moving. 

The  roller  is  normally  set  for  the 
takeup  reel  to  run  clockwise  but  by 
crossing  the  takeup  belt  the  roller  di- 
rection may  be  reversed.  The  multiple 
track  magnetic  head  circuits  terminate 
in  receptacles  on  the  rear  of  the 
adapter  case.  The  pad  arms  may  be 
adjusted  for  film  clearance  by  two 
screws  which  secure  the  base  of  the 
of  the  pad  arm  assembly. 

The  impedence  drums  and  the  filter 


rollers  have  sealed  ball  bearings  con- 
taining light  oil  and,  according  to 
Westrex,  little  attention  is  required. 
The  idler  rollers  are  made  of  graphite 
impregnated  nylon. 

The  conversion  unit  is  available  for 
multiple  track  stereo  recording  with 
three  tracks  in  the  ASA  position,  four- 
track  CinemaScope  master,  or  four- 
track  CinemaScope  release  positions. 


The  British  navy  has  developed  a  3-D 
television  camera  for  use  at  depths  down 
to  1,000  feet  beneath  the  surface. 


SPROCKETS 


The  new  wide  screen  presentations  de- 
mand rock  steady  projection  which  for 
years  exhibitors  have  been  expecting 
and  getting  by  using  LaVezzi  sprockets. 
In  addition,  the  clean  burr-free  teeth  are 
easier  on  the  film — an  important  factor 


with  the  narrow  perforations  of  the  four 
stripe  magnetic  film.  LaVezzi  sprockets 
are  properly  engineered  to  resist  wear — 
and  are  hardened  for  that  extra  margin 
of  usable  life.  For  better  projection  and 
peace  of  mind  get  LaVezzi  and  be  sure! 


Conversion  kits  for  most  models  of  Projectors  and 
Sound  Reproducers  —  See  your  Theatre  Equipment 
Dealer  or  write  direct  for  illustrated  brochure 


LaVezzi  Machine  Works 


SINCE    19 


46  3  5   WEST   LAKE  ST. 


CHICAGO  44,  ILL. 


INTERNATIONAL  PROJECTIONIST 


FEBRUARY  1954 


29 


Big  Future  Seen  for  the  New  Giant  Magazines 


Even  bigger  film  reels  than  the  25- 
inch  giants  of  today  are  seen  for  the 
future  by  C  J.  Williams,  sales  manager 
for  the  Wenzel  Projector  Co.,  Chicago. 

"The  film  load  of  a  single  reel  to- 
day," Mr.  Williams  told  IP,  "is  limited 
only  by  the  ability  of  the  projector  to 
handle  the  longer  footage  magazine,  and 
by  the  dimensions  of  the  projection  room 
where  the  bigger  machines  must  be 
installed." 

There  has  been  much  discussion  in 
the  industry  ever  since  the  advent  of 
3-D  and  Cinerama  over  the  advisability 
of  the  big  reel.  Arguments  pro  and  con 
have  been  heard,  with  some  projection- 
ists preferring  the  giants  because  of 
fewer  changeovers.  Others  complained 
about  the  weight  and  difficulty  in 
handling. 

Mr.  Williams  believes  that  the  change- 
over advantage  is  now,  and  will  be  in 
the  future,  the  ruling  factor. 

"At  the  start  of  motion  pictures,"  he 
said,  "reels  of  400-feet  and  500-feet 
were  considered  standard.  As  the  in- 
dustry grew,  the  reel  grew  also.  The 
average  became  1,000  feet. 

"Then,  for  the  same  reason  as  now, 
the  contents  of  a  single  reel  jumped  to 
2,000  feet.    The  reason,  of  course,  was 


changeover.  The  size  stopped  at  that 
footage  because  film  was  highly  inflam- 
mable and  it  was  considered  dangerous 
to  have  reels  any  bigger.  Now,  with 
safety  film  almost  universal,  a  reel  can 
be  loaded  with  5,000  feet  of  film,  or 
more,   without   endangering    anyone. 

"The  first  3-D  pictures  proved  con- 
clusively the  ability  of  projectors  to 
handle  5,500  feet  of  film  on  one  reel. 
There  seems  to  be  a  fast  growing  opin- 
ion that  3-D  is  in  revival  and,  whether 
it  is  run  on  a  single  strip  of  film  or  on 
two  interlocked  projectors,  there  still 
remains  a  strong  argument  for  the  25- 
inch  magazine. 

Large  Reels  Practical 

"These  big  fellows  have  proved  that 
they  are  practical  in  use,  that  they  de- 
crease the  possibility  of  a  bad  change- 
over by  50  percent  and  that  they  give 
the  projectionist  more  time  to  attend  to 
his  other  ever-increasing  duties.  Those 
who  say  that  the  big  reels  are  too  hard 
to  handle  might  remember  that  the 
same  objection  was  raised  when  film 
footage  jumped  from  1,000  to  2,000 
feet. 

"With  the  25-inch  magazines,  as  they 
are  being  made  today,  with  double  ball- 


Altec's  current  installation  rate  accounts  for  75%  of  total 
stereophonic  sound  salesi 

Broadway  or  Main  Street,  theatre  owners  know  Altec's  engineering 
skill  and  know-how  assure  perfect  installation,  sure  service. 

That's  why  Brandt's  GLOBE,  Broadway,  New  York,  (pop.  8,000,000) 
and  the  OPERA  HOUSE,  Lebanon,  New  Hampshire,  (pop.  4,614) 
signed  Altec  stereophonic  installation  and  service  contracts! 


SPECIALISTS  IN  MOTION  PICTURE  SOUND 

161  Sixth  Avenue,  New  York  13,  N.Y. 


AITEC 


bearing  shafts,  suitable  gauge  cases  and 
covers,  and  specially  designed  brackets, 
hinges  and  take-ups,  together  with  the 
comparable  price  of  the  18-inch  maga- 
zine, plus  the  fact  that  any  amount  of 
film  can  be  used  from  400  feet  up  to 
the  full  capacity  of  the  magazine,  it 
only  remains  to  sum  up  the  magazine 
situation,  as  I  see  it,  in  this  manner: 

"The  use  of  25-inch  diameter  maga- 
zines, where  projection  room  conditions 
are  suitable  or  can  be  made  so,  has  a 
very  definite  spot  in  the  immediate  fu- 
ture of  the  motion  picture  industry." 


RCA  Honors  Engineers 

Four  engineers  credited  with  import- 
ant contributions  to  the  development  of 
color  television  were  among  20  employ- 
ees of  the  Radio  Corp.  of  America  who 
recently  received  the  RCA  Award  of 
Merit,  the  company's  top  citation  for 
salaried  employees.  They  are:  Wallace 
M.  James,  engineering  manager  of  the 
Receiving  Tube  and  Transistor  Opera- 
tions Division;  Robert  K.  Lockhart,  de- 
sign and  development  engineer  at  the 
Camden,  N.  J.,  plant;  John  W.  Went- 
worth,  leader  of  the  television  terminal 
design  and  color  projects  group  in  Cam- 
den, and  Steven  Wlasuk,  engineering 
manager  for  a  special  projects  group  at 
the  RCA  Service  Co. 


Snaider  Theatre  TV  on  Marke* 

Joseph  Snaider,  president  of  the 
Snaider  Television  Corp.,  announces  that 
theatre  TV  equipment  produced  by  the 
firm  is  available  to  exhibitors  on  a  direct 
cash-purchase  basis  in  addition  to  the 
installment  purchase  deal  arranged  by 
Box  Office  Television,  Inc.,  promoter  of 
theatre  TV  shows. 

In  addition  to  Snaider  portable  and 
RCA  permanent  equipment,  BOTV  is 
said  to  be  willing  to  finance  exhibitor 
purchases  of  Trad  Theatre  TV  equip- 
ment. Terms  call  for  theatres  to  pay 
installation  costs,  plus  one  year's  rental 
in  advance,  and  agree  to  carry  all  BOTV 
theatre  telecasts  that  are  offered  week- 
day evenings  on  a  straight  50-50  boxof&ce 
split.  BOTV,  in  turn,  finances  the  pur- 
chase of  the  equipment  and  guarantees 
a  minimum  of  30  telecasts  a  year. 


JACKSON'S  Reel-End  Alarms 

Aulomalic,   not   Electric!      Projectionists' 
Favorite!     Patented  —  truly  Dependable! 

$21.50  per  pair 

on  money  back  guorantee 

Test  one  at  your  dealer  or  write  to 

American    Theatre    Supply   Co.,    Inc. 

2300  First  Ave.,  Seattle  1,  Wash. 


30 


INTERNATIONAL  PROJECTIONIST      •      FEBRUARY  1954 


OBITUARIES 


Edward  A.  Meilink,  Sr.,  59,  member  of 
Local  228,  Toledo,  Ohio,  died  January  24 
after  a  brief  illness.  For  the  past  13  years 
he  was  employed  as  projectionist  at  the 
Pantheon  Theatre.  He  was  a  32nd  degree 
Mason  and  a  member  of  Damascus  Lodge, 
Fort  Meigs  Chapter,  RAM;  Toledo  Com- 
mandery,  Toledo  Council,  RNSN,  and  An- 
cient Accepted  Scottish  Rite,  Valley  of 
Toledo.  Survivors  are  his  wife,  two  daugh- 
ters and  one  son. 

Fred  Leroy  Sowash,  61,  president  of 
Local  430,  Eureka,  Calif.,  died  December  19 
after  a  long  illness.  He  was  a  member  of 
the  Eureka  Local  for  the  last  11  years,  serv- 
ing as  president  the  past  year.  He  also 
served  one  term  as  secretary-treasurer  and 
for  the  past  four  years  as  assistant  business 
representative.  He  worked  as  projectionist 
in  a  number  of  theatres  in  Eureka. 

An  accomplished  musician,  Sowash  took 
extra  training  at  the  University  of  California 
and  San  Francisco  State  College,  where  he 
majored  in  reed,  brass  and  string  instru- 
ments. He  directed  the  Eureka  municipal 
band,  local  minstrel  shows,  and  field  day 
parades.  He  served  as  band  sergeant  in 
World  War  I,  and  after  the  war  he  organized 
the  American  Legion  Drum  and  Bugle  Corps 
in  which  he  was  active  for  many  years.  He 
was  a  member  of  Humboldt  Lodge  No.  79,  F. 
and  A.  M.,  and  of  Fort  Humboldt  Post 
American  Legion.  Surviving  are  his  wife, 
three  sons  and  two  daughters. 

Edwin  Borchardt,  56,  member  of  Mil- 
waukee Local  164,  died  of  a  heart  attack  last 
month.  He  was  found  lying  on  the  balcony 
steps  of  the  Oriental  Theatre,  where  he  had 
been  employed  for  the  past  15  years.  He 
evidently  was  stricken  while  on  his  way  to 
the  projection  room.  Borchardt  became  an 
apprentice  member  of  Local  164  back  in 
1917.  In  1918  he  joined  the  U.  S.  Armed 
forces  and  served  in  World  War  L  Upon 
his  return  from  overseas  he  resumed  his  ap- 
prenticeship in  the  Local  and  in  1922  was 
accepted  as  a  full-fledged  member.  His  sud- 
den death  was  a  shock  to  his  brother  crafts- 
men. He  was  unmarried  and  his  survivors 
are  several  cousins  and  distant  relatives. 

Frank  M.  DeLorenzo,  member  of  Mil- 
waukee Local  164  since  1912,  died  several 
months  ago.  He  was  very  active  in  the 
affairs  of  the  Local  and  served  in  various 
official  capacities.  At  the  time  of  his  death 
he  was  employed  at  Stanley-Warner's  down- 
town Alhambra  Theatre  in  Milwaukee.  He 
was  one  of  the  real  old-timers  in  the  movie 
industry,  having  worked  as  manager  for  the 
Selznik  Film  Exchange  in  Milwaukee  and 
Omaha,  and  also  as  a  salesman  for  Metro. 
Many  years  ago,  he  and  his  brother  John, 
also  a  member  of  the  Local,  operated  the 
first  poster  mounting  service  in  Milwaukee 
and  Minneapolis. 

Frank  DeLorenzo  was  noted  for  his  wit 
and  great  sense  of  humor.  He  was  praised 
for  his  hospitality  and  was  at  his  best  when 
entertaining  his  many  friends  at  his  home. 
Survivors  are  his  wife  Mabel,  one  son  Comm. 
Frank  L.  DeLorenzo,  USN,  now  stationed  in 


Trinidad,   B.  W.  I.,   four  brothers,  and   one 
sister. 

Arthur  C.  Ward,  41,  member  of  Local 
396,  Binghamton,  N.  Y.,  and  projectionist 
at  the  State  Theatre  in  Union  District,  died 
December  23  of  a  heart  attack.  He  was  a 
veteran  of  World  War  H,  having  served  in 
the  Asiatic-Pacific  theatre.  He  was  a  mem- 
ber of  Maj.  Ray  Humphrey,  DSC,  Post 
1449,  VFW  of  Endicott,  N.  Y.;  Loyal  Order 
of  Moose  1065;  Fraternal  Order  of  Eagles, 
Aerie  2269,  and  of  the  George  F.  Johnson 
Post  1700  of  West  Endicott.  Survivors  are 
his  wife,  two  daughters  and  three  sons. 

Charles  E.  Mason,  74,  charter  member 
of  Local  253,  Rochester,  N.  Y.,  died  January 
18.     A   native  of   Rochester,   he   joined   the 


Local  in  1904,  and  for  20  years  was  projec- 
tionist at  the  Temple  Theatre.  When  use  of 
the  Temple  was  discontinued  several  years 
ago,  he  became  projectionist  at  the  Regent 
Theatre.  He  was  an  expert  craftsman  and 
often  was  called  upon  to  create  special  light- 
ing effects  for  shows  playing  in  Rochester. 
He  also  was  projectionist  for  the  Memorial 
Art  Gallery  movies.  Survivors  include  his 
wife,  one  daughter  and  one  son. 

Tape  Men   Organize 

Formation  of  the  Magnetic  Recording 
Industry  Association  is  announced  with 
Joseph  R.  Hards,  of  A-V  Tape  Libraries, 
New  York,  as  president,  Russell  Tink- 
ham,  of  Ampex,  vice  president. 


Finest  Theatre  Seryice— Anywhere 


Back  of  every  RCA  Theatre  Serv- 
ice engineer  are  all  the  resources 
and  facilities  of  the  Radio  Corpo- 
ration of  America.  No  technical 
problem  in  theatre  sound  or  pro- 
jection  is   too   difficult  for   RCA 


Service    engineers    to    tackle    and 
solve  ...  for  You! 

For  over  25  years,  RCA  Theatre 
Service  has  been  consistently  of 
the  highest  quality  .  .  .  thoroughly 
dependable  .  .  .  and  friendly. 


RCA  Service  Company,  Inc. 

A  Radio  Corporation  of  America  Subsidiary 
Camden,  N.  J. 


Clayton  Ball -Bearing  Even  Tension  Take-Ups 

For  all  Projectors  and  Sound  Equipments 

AIL  TAKE-UPS  WIND  FILM  ON  2,  4  AND  5  INCH  HUB  REELS. 
SILENT  CHAIN   DRIVE 

THE    CLAYTON    REWINDER 

FOR  PERFECT  REWINDING  ON  2000-FOOT  REELS. 

CLAYTON    PRODUCTS   CO. 

31-45  Tibbett  Avenue  New  York  63,  N.  Y. 


INTERNATIONAL  PROJECTIONIST      •      FEBRUARY  1954 


31 


Canada  Doubles  Number  of  Theatre  Seats 


THE  MOVIE  business  is  booming 
in  Canada  with  new  drive-in 
theatres  accounting  for  a  good  portion 
of  the  gains  noted  for  1953.  Accord- 
ing to  statistics  compiled  by  Canadian 
Film  Weekly,  Toronto,  123  new 
theatres  appeared  in  the  Dominion 
last  year  —  78  drive-ins  and  45  stan- 
dard theatres. 

In  addition,  26  new  theatres,  includ- 
ing 16  drive-ins  and  ten  standard 
houses,  were  under  construction  at  the 
end  of  the  year.  Thirty-three  theatres, 
including  14  drive-ins  and  19  stan- 
dards, are  on  architects'  drawing 
boards. 

Figures  released  by  the  Dominion 
Bureau  of  Statistics,  Ottawa,  when 
combined  with  data  published  by 
Canadian  Film  Weekly,  show  a  really 
amazing  gain  in  motion  picture 
theatres  during  the  past  15  years  — 
almost  double  the  number  of  seats  in 
that  comparatively  short  period. 

In  1938  the  seating  capacity  of  all 
Canadian  theatres,  according  to  gov- 
ernment figures,  was  658,174. 

At  the  end  of  1952  seating  capacity 
was  1,  106,  316,  including  some  16-mm 
seating,  a  jump  of  448,142  in  14  years. 


To  this  add  Film  Weekly's  figures  for 
the  1953  gain  and  we  have  an  approxi- 
mate 1,206,000  number  of  seats,  al- 
most double  the  1938  figure. 

While  some  of  the  gain  may  be  put 
down  to  the  addition  of  the  former 
Crown  Colony  of  Newfoundland  to 
Canada  as  a  tenth  province,  it  is  point- 
ed out  that  this  is  but  a  small  factor. 
There  are  but  28  theatres  in  the  new 
province  and  the  seating  capacity  is 
well  under  15,000.  The  largest  theatre 
on  the  island  is  the  Paramount  in  St. 
John's,  1,195  seats,  followed  by  the 
York,  also  in  St.  John's,  with  1,100 
seats. 

The  figures  are  all  the  more  remark- 
able when  it  is  remembered  that  the 
period  from  1938  to  1953  saw  great 
expansion  in  the  radio  and  television 
fields.  Canadian  film  men,  it  is  pointed 
out,  do  not  seem  to  fear  the  impact  of 
television  as  a  rival. 

As  one  Canadian  projectionist  put 
it  when  he  visited  IP's  office  in  New 
York: 

"This  is  good  news  for  the  boys  in 
the  projection  rooms.  Every  new 
theatre  means  more  projectionists." 


N  EW 


"MOVIES   ARE    BETTER   THAM    EVER"    WITH 


f/1.8 


I   L  U  X 


#     ^sjs'  ixsi^  f  % 


if/""  ffHif 


with  the 
brightest 
clearest 
picture 


^P 


p  R  0  J  E  trf  I  0  N 


NEW  ANASTIGMAT  FORMULA'"'"^ 

ONE  PIECE  HERMETICALtY  SEALED  MOUNT 

NO  CfMENT  FAILURE- NO  RECEMENTING 

ALC  AIR-GLASS  SURFACES  PRO-COATED 

MINIMUM  VIGNEniNG 

MAXIMUM  SCREEN  BRIGHTNESS 

COMPANY,    INC. 


■3-3   0       LYELL      AVENUE      •      ROCHESTER      6,      NEW      YORK 


PAT  ON  THE  BACK  DEPT. 

To  the  Editor  of  IP: 

...  If  I  may,  I'd  like  to  commend 
you  on  the  material  and  on  the  vari- 
ous topics  covered  in  your  publica- 
tion. It  should  be  a  weekly  magazine. 
It  seems  too  long  between  issues.  I'm 
always  looking  forward  to  the  next 
one!     Keep    up    the    splendid   work! 
Peter  R.  Sadesky 
Secretary,  Local  461 
St.   Catharines,   Ont. 


Mobile  Cinerama  Camera  Unit 

The  first  mobile  camera  unit  for  the 
production  of  the  next  Cinerama  pro- 
duction, "The  Thrill  of  Your  Life,"  has 
been  delivered  to  Cinerama's  Oyster  Bay, 
N.  Y.,  headquarters.  The  unit  consists 
of  three  large  trucks,  the  first  contain- 
ing Cinerama's  triple  camera,  the  sec- 
ond, the  stereophonic  sound  equipment 
and  the  third  for  general  utility.  The 
first  unit  will  be  used  by  producer  Louis 
deRochemont  in  Europe.  A  second 
group  of  trucks  will  soon  be  ready  for 
use  in  the  United  States. 


'  New   Industry   Museum 

The  old  Warner  Brothers  studio  on 
Sunset  Blvd.  in  Hollywood,  regarded  as 
:he  birthplace  of  the  talking  picture,  will 
soon  become  a  combination  television 
center  and  museum.  The  property  has 
been  sold  to  Paramount  as  a  future  home 
for  its  Los  Angeles  Tv  station,  KTLA. 
Paramount  has  agreed  to  make  a  portion 
of  the  building  available  to  the  Motion 
Picture  Relief  Fund  for  the  establish- 
ment of  an  industry  museum. 


s 


NOT  7 


HOLDING 

Film  breaks  are  costly. 
Play  safe  by  using 

JEFRONA 

All-purpose  CEMENT 

Has  greater  adhesive 
qualities.  Don't  take 
our  word  for  it.  Send 
for  FREE  sample  and 
judge  for  yourself. 

CAMERA  EQUIPMENT  CO. 


1600  Broadway 


New  York  19,  N.  Y. 


32 


INTERNATIONAL  PROJECTIONIST 


FEBRUARY  1954 


PENSION    PROTECTION 

(Continued  from  page  19) 

Aside  from  the  question  of  greater 
expense,  there  are  certain  advantages  in 
hiring  an  independent  actuary  rather 
than  relying  on  an  insurance  agent.  The 
professional  consultant  will  not  be  inter- 
ested in  selling  any  particular  product 
or  type  of  plan  as  against  some  other 
plan  which  might  be  better  adapted  to 
the  needs  and  desires  of  the  group.  He 
will  be  on  hand  for  consultation,  to 
answer  technical  questions  and  to  give 
advice  if  needed,  at  the  time  it  is  needed. 

Local  unions  that  are  about  to  nego- 
tiate a  retirement  plan  should  consider 
the  possibility  of  an  arrangement  with 
the  employer  whereby  they  might  jointly 
engage  an  impartial  actuary  to  provide 
the  necessary  cost  estimates,  and  to 
whom  technical  questions  might  be  re- 
ferred by  both  parties.  If  relations  with 
the  employer  are  such  as  to  make  this 
possible,  it  would  certainly  be  the  most 
economical   approach. 

If  this  is  done,  care  should  of  course 
be  taken  in  the  selection  of  the  actuarial 
consultant.  Private  consulting  firms 
have  generally  in  the  past  derived  most 
of  their  revenue  from  employer  busi- 
ness, and  many  —  if  not  most —  of 
them  are  well  saturated  with  the  em- 
ployer  point   of   view.    However,    there 


FILM  CEMENT 


Makes   a   splice 
that  HOLDS  1 

Actually,  a  s  p  I  i  c  • 
made  with  Ethyloid 
is  stronger  than  the 
film  itself. 

Works  fast  in  any 
climate,  hot  or  cold. 
Will  not  congeal. 


THIS    UNION    MADE 

FILM  CEMENT  IS 

AVAILABLE  AT 


ALL  THEATER  SUPPLY  DEALERS 


FISHER  MFG.  CO., 

1  SALTER  PLACE  •  ROCHESTER  13,  N.Y. 


are  a  number  of  consultants  that  do  a 
good  bit  of  trade  union  as  well  as  em- 
ployer business  and  are  equipped  to 
provide  thorough,  fair  and  impartial 
service. 

Before  the  cost  of  financing  a  particu- 
lar plan  can  be  estimated,  the  actuary 
or  insurance  company  must  have  cer- 
tain data  on  the  workers  who  are  to  be 
covered  by  the  plan.  The  following  facts 
on  each  individual  worker  in  the  group 
to  be  covered  by  the  plan  should  be 
collected:  (1)  Rate  of  pay  (if  the 
benefits  of  the  plan  are  to  be  related  to 
earnings).  (2)  Age.  (3)  Sex.  (4) 
Seniority  or  past  service  (if  the  benefits 
of  the  plan  are  to  be  related  to  service.) 

Employer  Cooperation 

Local  unions  should,  in  most  cases, 
be  able  to  get  this  data  from  the  em- 
ployer, who  will  probably  have  it  readily 
available  in  his  files.  If,  for  any  reason, 
this  information  cannot  be  obtained 
through  the  employer,  the  union  can 
make  up  cards  with  blanks  for  the  mem- 
bers  to   fill   in   with   the    data    needed. 

To  figure  out  how  much  money  mu*t 
be  in  the  pension  fund  when  a  worker 
reaches  retirement  age  in  order  to  guar- 
antee his  pension  for  life,  the  actuary 
makes  an  initial  assumption  as  to  how 
long  the  worker  is  likely  to  live  after 
retirement.  To  guide  him  in  making 
this  assumption,  he  has  at  hand  a  mor- 
tality table  which  shows  the  average 
future  life  expectancy  of  an  individual 
at    all   various    ages. 

One  table  in  common  use  at  the  pres- 
ent time  is  the  so-called  1937  Standard 
Annuity  Mortality  Table.  According  to 
one  table,  the  average  male  at  age  65 
can  expect  to  live  14.4  years  longer. 
The  average  female  at  age  65  can  ex- 
pect to  live  17.55  years  longer. 

Inferesf  Cuts  Cost 

If  the  rate  of  pension  for  which  a 
worker  qualifies  at  age  65  is  $1,000  per 
year,  the  fund  must  be  large  enough  to 
provide  him  with  a  total  of  $14,400  in 
income  from  the  time  of  retirement  until 
his  death,  when  the  pension  will  cease. 
This  does  not  mean,  however,  that  the 
pension  fund  need  contain  this  full 
amount  at  the  time  he  reaches  age  65. 

As  previously  mentioned,  the  actual 
cost  equals  benefits  paid  less  interest. 
A  portion  of  the  pension  will  be  paid 
out  of  interest  earned  by  the  residual 
part  of  the  fund  during  the  period  of 
his  retirement. 

If  interest  is  earned  at  the  rate  of  2%, 


for  example,  then  a  fund  of  about 
$12,400  will  be  needed  to  pay  a  pension 
of  $1,000  a  year  beginning  at  age  65.  [f 
the  rate  is  3%,  the  same  job  can  be 
done  with   about   $11,550. 

[TO    BE    CONTINUED] 

Cineraina  Earns  $6,500,000 

Gross  receipts  of  approximately 
$6,500,000  were  earned  by  "This  Is 
Cinerama"  in  the  period  between  its 
opening  in  September  '52  and  January  1 
of  this  year.  The  film,  which  is  the  first 
picture  made  for  the  Cinerama  medium, 
is  now  playing  in  nine  cities  and  was 
viewed   by   3,500,000   before   January   1. 


Billion  for  Broadcasters 

The  broadcasting  industry  may  achieve 
its  first  billion-dollar  gross-income  year 
in  1954,  according  to  an  announcement 
by  the  National  Association  of  Radio  and 
Television  Broadcasters.  Tv  is  expected 
to  gross  over  $500,000,000  with  radio 
running  very  close  to  it. 


HEADQUARTERS  FOR 

FILM   MAGAZINES 

Give  your  Projectionist,  Wenzel  25" 
Magazines.  He  can  use  that  "Extra 
Changeover  Time"  for  other  Booth  re- 
quirements. 

• 

The  Wenzel  25"  Magazine  is  not  a 
"made  over"  18"  magazine.  It  has 
been  designed  and  engineered  es- 
pecially for  the  job  it  is  required  to 
do. 

The  Wenzel  25"  Magazine,  known 
as  PRO-51  Upper,  and  PRO-52 
Lower,  are  S-Vg"  deep,  and  when  the 
beaded  type  door  is  closed,  there  is 
approximately  4"  inside  clear  depth 
in  the  magazine. 

Wenzel  also  has  a  Hand  Rewind 
for  23"  Reels,  that  is  complete  in  it- 
self, and  can  be  used  with  a  motor, 
if  desired. 

FILM  MAGAZINES 
18"  Standard  Type 
18"  De  Luxe  Type 
25"  All   Purpose  Type 

Write  for  complete  illustrated  and 

descriptive   literature,   or   ask 

your  supply   dealer. 

WENZEL  PROJECTOR  COMPANY 

2505  -  2519  S.  State  Street 

Chicago  16,  Illinois 

Cable  Address:    WENZKO 


^<ntauiem^^&^i^o^ 


CARBONS,  Inc.    boonton,  N.  J. 


INTERNATIONAL  PROJECTIONIST 


FEBRUARY  1954 


33 


PROJECTION    LENSES 

(Continued  from  page  8) 

flanged  guide  -  rollers.  Long  -  focus 
lenses  tolerate  these  defects  rather  well, 
but  short-focus  lenses  show  them  up 
as  out-of-focus  areas  on  the  screen. 

It  is  easy  to  see  that  projection 
lenses  work  under  handicaps  that  are 
so  variable  that  the  lens-designer  can 
do  nothing  about  them.  Also,  a  pro- 
jection lens  must  have  a  large  diameter 
to  provide  efficient  illumination  of  the 
picture  on  the  screen.  A  cameraman 
may  sharpen  the  image-definition  of 
his  short-focus  ('wide-angle')  lenses 
by  "stopping"  them  down  to  a  smaller 
diameter  and  increasing  the  exposure- 
time  by  adjusting  the  shutter  to  com- 
pensate for  the  loss  of  light.  The  pro- 
jectionist cannot  do  this  because  his 
shutter  already  works  at  maximum  ef- 
ficiency. And  even  if  it  were  possible 
to  speed  up  the  action  of  the  inter- 
mittent sprocket  and  to  narrow  the 
shutter  blades,  stopping  down  a  pro- 
jection lens  increases  the  "vignetting 
effect"  of  optical  mismatch  between 
arc-mirror  and  projection  lens. 

Best  None  Too  Good 

No  compromise  of  projection  qual- 
ity, and  hence  of  lens  quality,  should 
be  tolerated.  New  lenses  of  high 
quality  are  costly,  and  yet  no  theatre 
can  afford  lenses  which  are  not  the 
best.  It  would  be  a  wonderful  thing 
if  the  different  lens  manufacturers 
could  pass  "sample"  lenses  around  to 
theatres  where  old,  uncoated  lenses  are 
still  used.  Projectionists  and  exhibi- 
tors alike  would  be  amazed  at  the  dif- 
ference. 

In  every  case  new  lenses  should  be 
tested  under  actual  working  conditions 
in  the  theatres.  The  first  part  of  the 
test  should  consist  of  a  careful  visual 
examination  of  a  focus-target  test  film, 
preferably  in  loop  form  so  it  can  be 
kept  on  the  screen  as  long  as  desired. 
Center  and  edge  areas  of  the  chart 
should  have  very  nearly  the  same 
focus,  definition  should  be  sharp  and 
brilliant,  and  there  should  be  no  trace 
of  haze  surrounding  bright  areas. 
Plain  black-and-white  titles  provide  ex- 
cellent test  films  for  detecting  haze. 

With  a  new  lens  in  one  projector, 
an  old  lens  in  the  other,  and  identical 
focus-test  loops  running  in  each,  rapid 
changeovers  will  show  up  the  dif- 
ferences in  the  two  lenses.  To  elimi- 
nate the  effects  of  accidental  gate  mis- 
adjustment  in   one   of  the  projectors. 


the  lenses  should  be  interchanged  and 
the  test  repeated. 

"Control"  Testing 

The  second  part  of  the  test  involves 
projection  of  an  entire  show,  first 
with  the  old  lenses  and  then  with  the 
new  ones.  The  edges  and  corners  of 
the  picture  require  close  examination; 
but  failure  of  the  lenses  to  resolve 
these  extreme  areas  may  be  due  to 
mechanism  defects.  The  projectionist 
should  merely  keep  in  mind  the  re- 
sults obtained  with  the  old  lenses  and 
judge  the  new  lenses  on  this  basis. 

"Fast"  lenses  having  speeds  of  F/1.9 
or  more  were  introduced  in  an  attempt 
to  obtain  more  light  on  the  screen  and 
greater  uniformity  of  illumination.  It 
is  our  own  opinion  that  the  new  speeds 
are  very  desirable  in  focal  lengths  of 
4  inches  or  greater,  and  introduce  no 
serious  operating  difficulties  on  ac- 
count of  their  slightly  smaller  depth  of 
focus.  In  the  case  of  lenses  having 
focal  lengths  shorter  than  4  inches, 
however,  too  great  a  speed,  or  lens- 
diameter,  may  make  good  focus  im- 
possible. 

Now,  the  slower  lenses  (speeds  of 
F/2.5  or  F/3.0  are  not  necessarily 
"old-fashioned."  Many  of  the  pre-war 
lenses  are  outmoded  simply  because 
they  are  uncoated;  but  modern  im- 
provements in  optical  glass,  lens- 
design,  and  coating  methods  benefit  all 
projection   lenses   of  recent   manufac- 


ture, slow  as  well  as  fast.  It  is  well 
known  that  the  slower  lenses  are  more 
fully  corrected,  and  that  they  have  a 
greater  depth  of  focus.  They  give 
clearer,  if  less  brilliant,  pictures.  The 
differences,  however,  are  so  slight  as 
to  be  virtually  non-existent  in  the 
longer  focal  lengths,  and  become  really 
serious  only  in  the  extremely  short- 
focus  lenses  required  for  large  pictures 
at  relatively  short  projection  throws. 
The  fast  lenses,  as  we  have  said,  make 
possible  brighter  and  more  uniformly 
lighted  pictures. 

[TO  BE  CONTINUED] 

'Scope  on  Standard  Film 

A  satisfactory  method  of  optically  re- 
ducing CinemaScope  film  to  standard 
size  has  been  developed  at  the  West 
Coast  laboratories  of  20th  Century-Fox, 
but  in  accordance  with  company  policy, 
these  standard  prints  will  not  be  made 
available  for  exhibition. 

The  system  developed  by  Fox  provides 
a  standard  print  framed  in  an  aspect 
ratio  of  1.75  to  1  which  is  said  to  hold 
picture  area  loss  at  side,  top  and  bottom 
to  a  minimum  Perfection  of  the  method 
eliminates  the  need  to  actually  photo- 
graph a  standard  version  of  CinemaScope 
pictures.  Studios  have  been  photograph- 
ing CinemaScope  in  duplicate  with  both 
anamorphic  and  standard  lenses.  None 
of  the  standard  prints  have  been  released 
as  yet  but  Warners  is  rumored  to  be 
planning  simultaneous  release  of  both 
types  of  print. 


How  Many? 


Was  this  copy  dog-eared  when  it  came  to  you? 
How  many  men  read  it  ahead  of  you? 

You  would  receive  a  clean,  fresh  copy  if  you  had 
a  personal  subscription— and  you  wouldn't  have 
to  wait— you  would  be  first  to  read  it. 

Use  coupon  below. 

INTERNATIONAL  PROJECTIONIST, 
19  WEST  44  St.,  New  York  36,  N.  Y. 

n    1  year— 12  issues— $2.50 

D    2  years— 24  issues-$4.00 


Enter  my  subscription  for 


Foreign  and  Canada:    Add  50c  per  year. 


Name    .. 
Address 
City 


Zone. 


State. 


34 


INTERNATIONAL  PROJECTIONIST      •      FEBRUARY  1954 


Bell  &  Howell  presents 

tbe  world^s  sbatpest 

CinemaScope  lens 


sharp  focus.. 

resolution.. 

brilliance.. 

full  color.. 


For  Ci/iemaScope  and  all  wide  screen  releases. 
Designed  to  fit  all  projection  lenses. 

Six  elements  provide  extreme  sharpness.  Each  individual  lens 
precision  coUimated  for  crisp  definition  to  full  corners  and  edges. 

modern  formula  developed  by  world's  foremost  lens  designers  . . . 
all  twelve  glass  surfaces  held  to  test  gauge  quality. 

unequalled  light  transmission  ...  all  air  surfaces  magnesium  fluoride 
hard  coated— 3  doublets  butyl  methacrylate  cemented. 

color  banding  and  fringing  eliminated  by  full 
correction  of  all  color  aberrations. 


For  full  information  see  your  local  theatre  supply  house. 


Bell  ^Howell 

7160  Mccormick  road  •  Chicago  45,  Illinois 


<# 


^. 


■» 


MARCH 


1954 


VOLUME  29 


NUMBER  3 


30c  A  COPY 


$2.50  A  YEAR 


For 


CinemaScoPE 

32,000 


TRADE    MARK   REG 


fi  J  I)  £  i)  l]  fi 


•  •  • 


i 

r^TRUTH       7 
\  ADVERTISING  / 

^ 

9  o  • 


/  "^      M6S.NABC 

TRAUE   MARK    WtG 

fi  J  J]  £  })  il  fi 


TOTAL 
LUMENS    "^ 


At  180-185  Amperes  .  .  .  With  No.  15363-Q  and  No. 
15367-P,  "Hy-Speed"  Condensers  .  .  .  With  a  .715"  x 
.912"  "CinemoScope"  aperture  .  .  .  With  a  3"  Focus, 
F-1.8  coated  projection  lens  .  .  .  On  any  kind  or  any 
size  of  screen   .... 

Using  presently  available  and  standard  carbons, 
there  is  "No  other  projection  lamp  in  the  world, 
today"  that  con  produce  so  much  light. 

(*)  Subject  to  6-10%  average  deduction  for  PEER- 
LESS "Hy-Lumen"   Heat   Filter,   if   used. 


22^000         LUMENS    t 

At  75-77  amperes  .  .  .  With  presently  available  and 
standard  8x9  m/m  copper  coated  carbons  .  .  .  With 
a  .715"  X  .912"  "CinemoScope"  aperture  .  .  .  With  a 
3"  Focus,  F-1.8  coated  projection  lens  .  .  .  With  a  14" 
diameter  No.  2012  PEERLESS  "Hy-Lumen"  glass  reflec- 
tor that  retails  at  a  list  price  of  $22.00  .  .  .  With  a 
No.  2880  PEERLESS  Tail  Flame  Flue  ...  On  any  kind 
or  any  size  screen  .... 

All  of  this,  at  the  lowest  possible  first,  and  opera- 
tional cost. 


(t)  NO  heat  filter  of  any  kind   required. 


J.E.McAULEY  MFE.CD. 

552-554    WEST   ADAMS    STREET 

CHICAGO  6.  IlLINOIS 


HEAVY-DUTY 
SELENIUM  PLATE 

B  V  I  I  ■    I  K  K  9 

NTINUpUSX 
E^tAFia*^ 


*  Strong  manufactures  tube-type  recti- 
Fiers  for  every  type  of  lamp;  4-tube  and 
6-tube;  single  and  three  phase  models, 
for  rotating  feed  angular  trim  high  in- 
tensity, copper  coated  coaxial  high  in- 
tensity, 1-KW.  high  intensity,  and  low 
intensity  lamps. 

*  Transformer  taps  provide  adjustment 
to  compensate  for  supply  voltage  vari- 
ations through  a  range  of  10%  above 
or  10%  belov^  the  rated  A.C.  input  volt- 
age throughout  the  output  rating  range. 

*  All  Strong  rectifiers  have  been  espe- 
cially designed,  manufactured  and  test- 
ed in  one  plant,  together  with  and  for 
use  with  motion  picture  projection  arc 
lamps.  This  is  highly  important,  since 
efficient  operation  of  each  type  and 
rating  of  arc  necessitates  a  rectifier  spe- 
cifically engineered  to  its  particular  re- 
quirements. 

*  All  Strong  rectifiers  assure  smooth 
output  current,  long  life,  low  operating 
temperature,    and    flexibility    in    control. 

THE  STRONG  ElECTRIC  CORP.  * 

31   CITY  PARK  AVE.  TOLEDO  2,  OHIO       * 

Please  send  free  literature  on  Strong  Rectifiers 

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INTERNATIONAL    PROJECTIONIST      •      MARCH    1954 


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INTERNATIONAL 


PROJECTIONI 


With   Which    Is   Combined    PROJECTION    ENGINEERING 


R.  A.  ENTRACHT,  Managing  Edifor 
JAMES  MORRIS,  Associate  Editor 


Volume  29 


MARCH   1954 


Number   3 


Index  and  Monthly  Chat  5 

Where  Do  We  Go  From  Here?        7 

Simple  "Degaussing"  Procedure 

Protects  Magnetic  Tracks 10 

Edward  Stanko 

THE  LENS:  Key  to  Projections 

Quality,  II  12 

Robert  A.  Mitchell 

World's  Premiere  Theatre 

Adopts  "Flat"  Screen  for  ALL 

Film  Showings 16 

Charles  Muller 

Polaroid — IP  Contest  Winner: 

Amando  Ganzales 17 

In  The  Spotlight 1  8 

Unique  Cinematic  Collection  ....      20 


Pension  Protection — 

Goal  of  Labor,  VI 21 

"Omnisphere" — The  True  Total 

Cinema? 22 

Jozef  Cohen 

New  Products  in  the  Industry  ....      23 

What's  Your  Problem? 24 

Personal  Notes  27 

Brush-up  on   Fundamentals- 
Rectifiers  for  Projection  28 

lA  Elections  28 

lA  Obituaries __ 34 

News  Notes 

Technical  Hints 

Miscellaneous  Items 


Published  Monthly  by 

INTERNATIONAL  PROJECTIONIST  PUBLISHING  CO.,  INC. 

19  West  44th  Street,  New  York  36,  N.  Y. 

Telephone:     MUrray  Hill  2-2948 

R.  A.  ENTRACHT,  Publisher 

SUBSCRIPTION  REPRESENTATIVES 

AUSTRALIA:     McGills,  183  Elizabeth  St.,  Melbourne 

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YEARLY  SUBSCRIPTION:  United  States  and  possessions,  $2.50  (two  years,  $4);  Canada  and 
foreign  countries,  $3;  single  copies,  30  cents.  Changes  uf  address  should  be  submitted  two  weeks 
in  advance  of  publication  date  to  insure  receipt  of  current  issue.  Entered  as  second  class  matter 
February  8,  1932,  at  the  Post  Office  at  New  York,  N.  Y.,  with  additional  entry  at  Yonkers,  N.  Y., 
under  the  act  of  March  3,  1879.  Entire  contents  copyrighted  1954  by  INTERNATIONAL  PRO- 
JECTIONIST PUBLISHING  CO.,  INC.  INTERNATIONAL  PROJECTIONIST  assumes  no  responsibility 
for  personal   opinions  appearing   in  signed  articles,  or  for  unsolicited   communications. 


MONTHLY     CHAT 

SOME  years  ago.  an  aviator  called 
Corrigan  flew  across  the  Atlantic 
without  official  permission.  Taken  to 
task,  he  politely  explained  that  he 
had  no  intention  of  spanning  the 
ocean  but  he  had  made  a  "mistake"' 
and  flown  in  the  wrong  direction. 
And  so,  "wrong-way  Corrigan"  passed 
into     history    with     a     laugh. 

But  the  "wrong-way  movies"  of  the 
last  few  years  are  not  so  funny.  In- 
deed they  are  tragic  for  the  industry, 
the  labor  which  has  built  it  up,  and 
the    public    which    is    served. 

Did  the  industry  adopt  a  single 
sensible  aspect  ratio  (for  example. 
1.75    or   2.00    or   even    2.2.5)? 

Did  it  accept  a  reasonably  sized  and 
economical  screen  of  easily  installed 
and    readily    movable    type? 

Did    it    avoid    off-beat    lens    systems? 

Did  it  adopt  the  simplest  and  least 
costly  sound  systems  which  would  do 
what   was    needed? 

Did  it  keep  projection-room  jobs 
on  a  basis  that  could  be  handled  by 
men  with  only  two  arms  and  two 
legs? 

And  in  the  3-D  field,  did  it  work 
out  correct  3-D  camera  methods  and 
correct  projection  equipment  and  pro- 
cesses in  advance? 

Did  it  provide  reasonable  size  reels 
and  enough  projectors  to  handle  the  job 
sensibly  and  without  long  and  unpleas- 
ant intermissions? 

Did  it  put  good  stories  into  3-D?  And 
did  it  furnish  acceptable  3-D  spectacles 
for  the  audience?  Were  the  3-D  pic- 
tures on  the  screen  bright  enough? 

Did  the  producers  enthusiastically 
support  3-D  with  their  best  directing, 
acting,  writing,  and  technical  talent? 

Did  the  enthusiastic  audience  reaction 
to  the  handful  of,  at  least,  fair  3-D  pic- 
tures jar  the  producers  into  producing 
more  and  better  3-D  pictures? 

Were  the  problems  of  the  studio,  the 
box-office,  and  of  Labor  all  sympa- 
thetically   and    intelligently    considered? 

To  all  these  questions,  the  unfortu-. 
nate  answer  is  a  resounding  "No!" 
And,  in  addition,  with  story  values 
again  dropping  in  many  instances,  does 
the  future  look  bright  during  this  un- 
certain period?  You  can  answer  for 
yourself. 

There  never  was  so  critical  a  time 
for  "Corrigan  of  the  Movies"  to  look 
soberly  at  his  problems  and  intelligent- 
ly, bravely,  and  continuously  try  to 
solve  them.  If  he  wishes  to  reach  Holly- 
wood, he  should  stop  flying  to  Ireland. 

[The   foregoing  is   by  way   of   being 

a  preliminary  to  the  inclusive  article 

headed    "Where    Do    We    Go    From 

Here?"  beginning  on  page  7.] 


INTERNATIONAL    PROJECTIONIST 


MARCH    1954 


FOR  PICTURE  SPARKLE**"" BRILLIANCE 


4 


that  bBtits  your  presentation  of 


CinemaScopE 


OR 


PROJECTIO 
RC     LAMPS 


National's  new  Reflect-O-Heat  Unit  permits  the  great 
increase  in  light  at  the  screen  without  a  corresponding 
increase  in  heat  at  the  aperture.  The  color  value  and  intensity 
of  the   light  at  the   screen   is  maintained   constant 
throughout  a  full  trim  without  manual  adiustment  by 
^  an  automatic  arc  crcter  positioner.  ft 


iMws  A  nunm  mm  roti 


..J 


INTERNATIONAL    PROJECTIONIST      e      MARCH    1954 


VOLUME  XXIX 


MARCH    1954 


NUMBER   3 


Where  Do  We  Go  From  Here? 


The  once-proud  motion  picture  business  which  prided  itself  on  its  technological 
achievements  is  today  faced  with  the  fruits  of  its  own  timidity  and  indecision. 
Technical  problems  that  could  have  been  resolved  with  a  minimum  of  expense 
and  effort  a  few  short  years  ago  —  with  much  face-saving  in  terms  of  public  re- 
lations —  constitute  a  major  industry  sickness.    IP  now  reiterates  this  conclusion. 


IT  IS  now  March,  1954,  and  nearly 
a  year  has  past  since  some  seem- 
ingly harsh  opinions  on  how  the 
industry  has  handled  the  so-called  new 
processes  were  expressed  in  an  edi- 
torial in  this  magazine.  In  the  inter- 
vening months  there  have  been  no 
epoch-making  developments  that  would 
suggest  a  change  in  this  outlook.  We 
refer  specifically  to  the  following  ex- 
cerpt from  a  commentary  which  ap- 
peared in  IP  for  May,  1953  (page  23  j . 

Here's  how  the  "majors"  stack 
up  in  terms  of  aspect  ratio  prefer- 
ences (keeping  in  mind  20th  Fox's 
2.55  to  1  ratio)  : 

Paramount— 1.66  to  1;  RKO — 
1.70  to  1;  Columbia— 1.85  to  1; 
M-G-M  and  Warners— 2  to  1.  It 
will  be  noted  that  these  figures  are 
not  too  far  apart,  and  it  is  likely 
that  just  a  little  giving  and  taking 
all  around  could  achieve  unanimity 
for  a  standard  ratio.  .  .  . 

IP  holds  that  a  projection  system 
adopted  by  any  theatre  should  have 
two  basic  characteristics:  1,  it 
should  fill  the  normal  line  of  sight 
for  a  majority  of  the  seats,  and  2. 
it  should  be  consistent  with  not 
ripping  out  a  theatre's  entrails  by 
major   structural    changes. 

As  for  screen  sizes  for  all  types 


of   pictures,    IP's   preference   is   as 
follows: 

Small  Theatre:  30  x  18  ft. 
-  Medium  Sized :   44  x  24 
Large  Theatre:    50  x  38 

It  is  obvious  from  the  foregoing 
that  there  exists  a  basic  conflict  of 
ideas.    Why? 

The  "why?"  of  this  situation  need 
never  have  ben  posed  by  an  industry 
that  prided  itself  upon  being  the  fifth 
largest  in  hte  world  if  there  had  been 
even  a  modicum  of  common  sense 
among  those  who  have  directed  its 
destinies. 

Witness  how  another  (and,  if  you 
will,  blood-brother)  art  solved  one  of 
its  most  complex  problems.  We  quote 
now  from  the  ofiicial  figures  on  the 
RMA  (Radio  Manufacturers'  Associa- 
tion) which  portray  graphically  the 
effort  expended  to  nourish  a  develop- 
ing industry  which  for  many  years 
previous  had  not  even  paid  its  "keep." 
In  the  past  20  years  the  radio-Tv  in- 
dustry has  expended  for  develop- 
mental work   the  following: 

1.  For   black-and-white 

Tv   S30,000,000 

2.  For    color    develop- 
ment        45.000,000 


3.  For     supplementary 

color  research   50,000,000 

4.  Cooperative  study  of 
the  basic  problems 
of  color  Tv,  through 
the  National  Tv  Sys- 
tem  Committee    ...    10,000,000 

Now,  then,  when  did  the  responsible 
executives  of  the  motion  picture  busi- 
ness ever  hold  a  round-table  confer- 
ence for  a  discussion  of  general  in- 
dustry problems?  If  they  met  in  pri- 
vate at  Miami  Beach  or  Palm  Springs, 
were  the  conclusions  stemming  from 
such  a  meeting  of  the  great  minds 
made  available  to  the  industry  from 
which  they  have  for  years  drawn  their 
sustenance? 

IP  has  consistently  advocated  — 
nay,  begged — for  a  meeting  of  minds 
among  those  whose  livelihoods  depend 
upon  the  successful  conduct  of  an  in- 
dustry which  depends  for  its  life  blood 
upon  serving  the  public.  The  most 
unimpressive  coffee  house  would  not 
ignore  such  a  challenge  to  its  exist- 
ence. 

We  quote  from  a  recent  (March  4) 
bulletin  from  the  Theatre  Owners  of 
America,  Inc.  a  statement  attributed 
to  President  Walter  E.  Reade: 

"Mr.  Y.  Frank  Freeman  .  .  .  ex- 
plained that  when  a  picture  is  made 
by   the   new   Vistavision   camera   and 


INTERNATIONAL    PROJECTIONIST      •      MARCH    1954 


projected  by  means  of  conventional 
prints  in  an  aspect  ratio  of  1 :85,  there 
is  a  tremendous  improvement  in  enter- 
tainment value.  Mr,  Freeman  went 
on  to  state  that  while  he  did  not  criti- 
cize or  knock  any  other  aspect  ratio, 
his  company  (Paramount)  felt  that 
the  1:85  ratio  was  the  more  efficient 
because  it  had  height  as  well  as  width. 

"We  questioned  Mr.  Freeman  con- 
cerning the  use  of  stereophonic  sound 
and  we  were  told  unequivocally  that 
Paramount  will  not  require  the  use  of 
stereophonic  sound  under  any  con- 
ditions." 

We  quote  now  from  an  address  by 
Herbert  Barnett,  president  of  the 
Society  of  Motion  Picture  and  Tele- 
vision Engineers,  before  the  recent 
meeting  of  the  National  Allied  Drive- 
in  Theatres  Association: 

Still  Experimenting 

"Some  of  the  studios  have  indi- 
cated something  less  than  satisfac- 
tion with  the  CinemaScope  sound 
proposal.  This  is  evidenced  through 
their  continued  experimentation 
with  other  schemes.  Some  of  these 
are  apparent  attempts  to  accomo- 
date product  to  all  theatres,  whether 
equipped  with  stereo  sound  or  not. 
Some  indicate  preference  for  op- 
tical recording  over  magnetic,  and 
only  the  sponsors  know  what  some 
of  the  others  are  trying  to  accom- 
plish. 

"One  aspect  of  this  we  can  all 
understand — confusion  still  reigns. 
It  would  be  extremely  narrow- 
minded  to  suggest  that  these  ex- 
periments cease,  for  it  is  through 
such  that  progress  is  assured.  In 
the  present  state  of  the  art,  how- 
ever, it  is  urgent  that  these  be  kept 
in  the  laboratory  until  engineering 
and  economic  facts  clearly  establish 
the  process  as  commercial  in  the 
accepted  sense  of  being  adaptable 
to  all  segments  of  exhibition.  And 
there  should  be  prior  agreement, 
through  give  and  take,  on  one  sys- 
tem acceptable  to  all.  This  is  al- 
most too  much  to  expect  until  you 
realize  that  a  healthy  industry  de- 
mands it  be  so." 

How  can  any  major  industry  exist 
without  standards? 

Mr.  Spyros  Skouras  states  flatly  that 
no  CinemaScope  production  will  be 
licensed  for  exhibition  unless  the  20th 
Century-Fox  version  be  used.  One 
question  immediately  suggests  itself: 
Will   the   use   of  the   special   Cinema- 


Scope sound  reproducing  equip- 
ment insure  the  boxoffice  success  of 
a  given  production,  and  thereby  jus- 
tify   the    added    expense    involved? 

IP's  view  is  precisely  the  same  to- 
day as  it  was  a  year  ago  (May  1953  I  : 

Really  Good  Pictures 

"With  all  this  fussing  about  new 
processes,  visual  and  sound,  let's 
not  forget  that  a  bad  picture  can- 
not be  helped  by  them  and  a  good 
picture  cannot  be  hurt  by  their  ab- 
sence. We're  mindful  of  the  fact 
that  a  good  old-fashioned  2-D  pic- 
ture, "Moulin  Rouge",  is  now  in  its 
14th  week  at  the  Capitol  Theatre 
on  Broadway,  N.  Y.  City,  and  that 
over  on  52nd  St.  another  good  2-D 
picture  "Lilli",  still  is  knocking 
them  dead  around  the  clock  daily 
at  $1.50  a  head.* 

"We     wish     wistfully     that     the 
dozen  or  so  men  whose  aggregate 
income  as  "leaders"  of  the  motion 
picture  industry  runs  to  several  mil- 
lions    annually,     and     who     meet 
socially  with  the  utmost  cordiality 
in  Hollywood,  in  Miami  and  New 
York,    in   Paris    and   Monte    Carlo 
and  in  Rome  —  we  wish  these  fel- 
lows would  spend  about  $25  for  a 
hotel    suite    some    afternoon    and, 
with   the   help   of   a   few   first-class 
technical  minds,  reach  a  degree  of 
agreement  which  would  put  an  end 
to  all  this  insanity.    It's  simply  in- 
credible that  they  don't." 
When  the  writer  first  saw  Cinema- 
Scope he  was  doubtful  of  its  commer- 
cial success,  because  the  composition 
of    the    image    (not    ot    mention    the 
photographic     quality)     violated    the 
basic  fundamentals   of  artistic  photo- 


*   Lili    is    still    playing    at    this    theatre    and    is 
billed  as  the  longest-run  hit  in  New  York. 


Harvard  O'Laughlin  (right),  business  repre- 
sentative for  Local  143,  St.  Louis,  Mo.,  presents 
honorary  membership  card  to  Lester  B.  Isaac, 
director  of  exhibition  for  Stanley  Warner 
Cinerama     Corp. 


graphic  framing.  Still  unanswered  is 
the  question  of  whether  any  artistic 
composition  may  be  presented  on  a 
super-elongated  framework.  We  in 
the  motion  picture  industry,  can  no 
longer  contest  the  comfortable  im- 
mediacy of  home  Tv  with  "gimmicks." 

We  are  tossed  and  pulled  by  a  be- 
wildering variety  of  suggestions  which 
if  subjected  to  two  hours  honest  con- 
sideration by  competent  technicians 
would  be  dissolved  as  is  the  morning 
mist  by  the  rays  of  the  sun.  But  we 
are  asked  to  digest  the  economically- 
unpalatable  fare  of  the  non-technical 
overlords  and. their  technically-minded 
sycophants,  who  in  the  process  of  col- 
lecting their  quite  handsome  weekly 
stipend,  are  throttling  the  exhibition 
end  of  the  business. 

In  short,  it  is  the  old,  old  story  of 
the  tale  wagging  the  dog.  What,  then, 
can  be  done  to  effect  some  degree  of 
order  out  of  this  economic  and  tech- 
nical chaos?  Lest  it  be  thought  that 
IP  projects  its  own  particular  brand 
of  bias,  we  again  quote  Herbert  Bar- 
nett, president  of  the  SMPTE  in  his 
interesting  speech  to  the  confused 
operators  of  our  nation's  drive-in 
theatres. 

Industry  Stability 

"I  feel  that  stability  could  be  ac- 
complished only  through  a  change 
in  the  operating  pattern  of  the  in- 
dustry and  that  there  was  now  great 
need  for  some  kind  of  mechanism 
through  which  products  of  the 
present  technical  evolution  could  be 
sifted  and  impartially  evaluated  in 
the  interests  of  all. 

"Since  the  exhibitor  is  'closest  to 
the  customer's  requirements  and 
preferences'  he  can  best  provide 
what  the  audience  wants  to  see  and 
he  can  do  this  with  attention  to. 
the  technical  performance  of  his 
own  equipment." 

Varying  aspect  ratios?  Curved 
screens?  Stereophonic  sound?  Pic- 
ture height  and  width?  These  and 
many  other  problems  which  confront 
the  exhibition  end  of  this  industry, 
and  on  the  solution  of  which  depends 
the  livelihoods  of  thousands  of  con- 
scientious and  hard-working  people, 
are  not  insoluble.  The  chief  execu- 
tives of  the  major  producing  com- 
panies are  but  a  telephone  call  re- 
moved from  each  other.  Dealing  in 
the  communication  of  intelligence,  as 
we  in  the  motion  picture  industry  most 
certainly  do,  this  should  be  no  difficult 
feat. 


INTERNATIONAL  PROJECTIONIST      •      MARCH  1954 


^V  V  V 


If^PlClBEAND 


SOUm  AT  BUDGET 


\^ 


fi 


V\ 


Simple  ^^Degaussing''  Procedure 
Protects  Magnetic  Tracks 

Alertness  is  required  in  the  projection  room 
to  prevent  CinemaScope  sound  from  picking  up 
noise  or  being  erased  by  stray  magnetic  fields. 

By  EDWARD  STANKO 

Manager,   Engineering    Section,   Technical    Products   Service   Division 
RCA   Service   Co.,    inc.,   Camden,    N.   J. 


WITH  the  advent  of  sound  re- 
cordings on  magnetic  tape,  and 
particularly  stereophonic  sound  on 
magnetic  striped  film,  special  precau- 
tions are  necessary  for  handling  mag- 
netic film  by  recording  engineers,  film 
laboratories,  studios  and  projection- 
ists. Unless  special  precautions  are 
taken,  it  is  possible  to  erase  the  sound 
from  the  magnetic  track,  or  to  add 
extraneous  noises  and  sounds  which 
may  ruin  the  sound  on  the  tape  or 
film.  In  many  instances,  proper  "de- 
gaussing" of  certain  parts  of  the 
equipment  may  be  necessary  to  avoid 
such  damage. 

The  problem  of  degaussing  is  not 
new,  nor  is  it  difficult  to  degauss  met- 
al parts  of  a  projector  or  soundhead. 
Nearly  everyone  is  familiar  with  de- 
magnetization or  degaussing  of  a  time- 
piece or  watch.  Watches  that  have 
become  magnetized  run  erratically  and 
will  not  keep  accurate  time.  They 
must  be  degaussed  before  they  can 
be  adjusted  and  regulated  to  keep  ac- 
curate time.  This  is  done  by  passing 
the  watch  through  an  alternating  cur- 
rent magnetic  field. 

Normally,  the  molecular  structure 
of  metals  is  arranged  in  a  haphazard 
way  and  not  much  attention  is  given 
to  their  arrangement  unless  the  ma- 
terials are  susceptible  to  magnetic 
fields  and  are  used  in  electrical  or 
electronic  circuits,  or  must  be  ar- 
ranged in  some  particular  way  for 
stress  purposes. 

The  recording  of  sound  on  magnetic 
tape  or  film  is  a  process  whereby  the 
molecules  of  iron  oxide  are  arranged 
in  a  pattern  to  conform  to  the  mag- 
netic flux  produced  by  the  recorder 
head  in  response  to  a  signal  from  the 
pickup  microphone  through  the  ampli- 
fier system. 


The  varying  magnetic  flux  of  the 
recorder  head  leaves  a  semi-permanent 
residual  magnetic  field  on  the  iron 
oxide  of  the  sound  track  which  can 
be  converted  to  sound  by  running  the 
tape  or  film  over  the  reproducing 
head.  The  magnetic  track  can  be 
made  visible  by  the  application  of 
Visi-Mag*  to  the  tape  or  film  if  the 
signal  level  to  the  recording  head  is 
high  enough  and  the  magnetic  oxide 
molecules  retain  sufficient  magnetism 
to  orient  the  fine  ferrous  particles  in 
the  Visi-Mag. 

Because  the  sound  recorded  on  mag- 
netic tape  or  film  is  accomplished  by 
varying  the  frequency  and  amplitude 
of  the  magnetic  flux  of  the  recorder 
head,  extraneous  sound  can  be  record- 
ed on  the  magnetic  tracks,  or  the  sound 
on  the  tracks  can  be  vyiped  off  by 
stray  fields  produced  by  any  electrical 
device  that  has  an  electro-magnetic 
field,  or  any  object  that  has  become 
magnetized,  either  purposely  or  in- 
advertently in  the  process  of  manufac- 
ture or  use. 

Electrical  devices,  which  produce 
electromagnetic  fields  and  used  near 
film  recording  or  reproducing  equip- 


ment are:  electric  motors,  transform- 
ers, arc  lamp  rectifiers,  arc  lamp  gen- 
erators, rewind  motors,  exciter  lamp 
power  supply  units,  soldering  irons, 
etc. 

Parts  that  may  become  magnetized 
and  may  be  the  cause  of  introducing 
extraneous  noises  on  the  magnetic 
sound  track,  or  may  be  responsible 
for  wiping  the  sound  from  the  tracks 
are  projector  sprockets  and  sprocket 
shafts,  soundhead  sprockets  and 
sprocket  shafts,  projector  and  sound- 
head   pad    rollers,    pad    roller    shafts 


1/4  HP  AC  MOTOR    WITH    END  BELLS 
AND   ROTOR   REMOVED 


CARDBOARD 
TUBE 


RUNNING 

WINDING  OF 

MOTOR 


OBJECT  TO  BE 
DEMAGNETIZED 


Degausser   from   old   electric   motor 

and  fire  trap  rollers.  Projector  gate 
shoes,  particularly  the  pressure  shoes 
mounted  on  the  end  of  the  pressure 
gate  to  apply  pressure  to  the  film  on 
the  intermittent  sprocket,  have  also 
been  frequent  causes  of  wiping  sound 
modulation  from   magnetic  film. 

In  order  to  protect  the  recorded 
sound  on  magnetic  sound  tracks  all 
metal  parts  that  can  become  magnet- 
ized should  be  carefully  checked  with 
a  small  compass  or  gauss  meter.  Any 
part  that  has  less  than  ten  gauss  will 
probably  not  affect  the  sound  track. 
A  small  compass  will  give  a  relative 
indication  of  how  much  magnetism 
a  part  has  by  registering  the  amount 
of  attraction  or  repulsion  it  exerts  on 
the  compass. 

A  very  simple  way  to  check  a  metal 


*  Obtainable     from     Magnecessories,     Box     6960, 
WasJiington  20,   D.    C. 


POLE 


PIECE 

CUT  OUT  TOP  PLATE 
(ON  A  LATHE)  APPROX. 
4"DIA.  TO  WIDEN  PATH 
OF  MAGNETIC  FIELD 
FIELD  COIL 

COUNTER-SINK  SCREW 
HOLES --USE  FLAT- 
HEAD SCREWS --EVEN 
WITH  PLATE  FACE 


INSU 

POSTS  WITH 
TAPE 

DEGAUSSING    UNIT  --  MADE  FROM  DISCARDED 
ELECTRO-MAGNETIC    SPEAKER    MECHANISM 


10 


INTERNATIONAL    PROJECTIONIST      •      MARCH    1954 


part  is  to  use  a  ferrous  stapling  clip 
taken  from  a  paper  hand  stapler.  If 
the  magnetized  object  will  pick  up  an 
individual  iron  staple  clip,  it  probably 
has  more  than  ten  gauss.  If  it  does, 
the  part  should  be  degaussed.  If  it 
will  not  pick  up  a  staple  clip,  the 
amount  of  magnetization  is  probably 
less  than  ten  gauss  and  will  have  no 
effect  on  the  recorded  sound  nor  will 
it  wipe  any  sound  from  the  magnetic 
tracks. 

In  addition  to  magnetized  projector 
and  soundhead  parts  causing  damage 
to  the  sound  tracks,  stray  fields  pro- 
duced by  rewind  motors  have  been 
known  to  affect  the  sound  track.  Mag- 
netic track  films  should  be  rewound 
either  by  hand  or  the  motor  placed  in 
such  position  so  that  its  field  will  not 
affect  the  sound  track.  Cutting  of 
magnetic  sound  films  with  magnet- 
ized film  splicers,  or  scissors,  can 
also  introduce  noise  on  the  sound 
track.  All  such  devices  should  be  de- 
gaussed before  using  on  magnetic  film. 

Degaussing  Tools 

For  degaussing  metal  parts,  the 
most  convenient  tool  is  a  Waller  S- 
500,  250  watt  gun-type  soldering  iron 
equipped  with  special  coils.  The  fol- 
lowing size  coils  are   recommended. 

Twelve  turns  of  :#:6  wire  wound 
into  a  coil  3V2  inches  in  diameter. 
This  coil  can  be  used  to  degauss  a 
complete  projector  gate  and  other 
large  parts. 

Twelve  turns  of  ^8  wire  wound 
into  a  coil  2^/2  inches  in  diameter. 
This  coil  size  can  be  used  to  degauss 
sprockets,  sprocket  shafts,  pad  rollers 
fire  trap  rollers,  etc. 

Twelve  turns  of  #14  wire  wound 
into  a  coil  I/2  inch  in  diameter.  This 
smaller  diameter  coil  is  used  to  de- 
gauss the  magnetic  reproducer  pick 
up  head.  All  coils  should  be  made 
of  round  copper  wire  insulated  with 
Formvar. 

One   small   compass.     This   item   is 


available    in    sizes    from    '/-    inch    lo 
IV2  inches  in  diameter. 

An  excellent  type  of  degausser  can 
be  made  from  a  discarded  14  horse- 
power AC  motor.  Remove  both  end- 
bells  of  the  motor.  Insert  a  card- 
board tube  inside  of  the  motor  so  that 
the  metal  parts  to  be  degaussed  do 
not  contact  the  metal  parts  of  the 
motor.  This  will  prevent  such  parts  as 
sprocket  teeth  from  becoming  dam- 
aged. Connect  the  motor  running 
winding  to  a  110  volt  AC  power  sup- 
ply through  a  switch.    A  foot  switch 


What  "Degaussing"  Means 

"Degaussing"  is  another  of  those 
strange-looking  words  that  are 
now  being  bandied  about  in  pro- 
jection circles.  It  simply  means 
"demagnetizing"  and  is  used  in 
reference  to  various  projector  parts 
and  other  equipment  which  may 
generate  magnetic  fields.  The  word 
gauss  is  from  the  name  of  Karl  F. 
Gauss,  a  German  mathematician, 
and  is  a  unit  of  measurement  for 
the    intensity    of    a    magnetic    field. 

As   explained   in   Mr.   Stanko's   ar- 
ticle, when  a  magnetic  field  reaches 
10   gauss,   it   is   sufficiently   power- 
ful to  injure  magnetic  sound  tracks. 

will  be  found  to  be  very  convenient 
when  numerous  parts  have  to  be  de- 
gaussed. 

Similarly,  an  excellent  degaussing 
unit  can  be  made  from  a  discarded 
electro-magnetic  speaker  mechanism. 
The  voice  coil  and  diaphragm  are 
removed  from  the  unit  and  discarded. 
The  air-gap  between  the  center  pole- 
piece  and  the  inside  periphery  of  the 
cover  plate  is  enlarged  to  widen  the 
magnetic  field  path.  The  field  wind- 
ing can  be  connected  to  a  110  volt 
AC  circuit  without  rewinding  as  the 
impedance  of  the  coil  is  higher  than 
the  DC  resistance  of  the  coil.   The  part 


to  be  degaussed  is  passed  over  the 
magnetic  field  while  the  field  coil  is 
connected  to  the  AC  power  circuit. 

Proper  Procedure 

After  it  has  been  determined  that 
a  part  is  magnetized  by  using  a  gauss 
meter,  compass,  or  a  staple  clip,  a 
coil  of  suitable  diameter  is  slipped 
over  the  part  and  the  coil  connected 
to  the  soldering  unit  terminals.  With 
AC  power  applied  lo  the  gun,  pass  the 
coil  over  the  part  and  withdraw  slow- 
ly to  a  distance  of  two  feet  before 
turning  off  power. 

Do  not  turn  off  the  AC  power  while 
the  part  is  in  the  field  of  the  coil. 
Always  withdraw  the  object  that  is 
being  degaussed  slowly  from  the  mag- 
netic field.  Degaussing  should  be  con- 
tinued for  about  30  seconds  for  each 
part.  After  the  part  has  been  degauss- 
ed, it  should  be  checked  with  a  com- 
pass or  staple  clip  to  determine  if 
there  is  any  magnetism  left.  If  there 
is,  the  procedure  should  be  continued 
and,  if  possible,  the  part  being  de- 
gaussed should  be  rotated  as  the  part 
may  be  magnetized  in  several  direc- 
tions, that  is,  vertically,  horizontally 
or  transverse. 

It  is  advisable  that  degaussing  of 
projector  and  soundhead  parts  be 
done  at  periodic  intervals.  In  some 
instances  it  has  been  necessary  to  de- 
gauss more  than  once  weekly,  de- 
pending on  local  conditions.  It  is 
suggested  that  each  projection  room 
be  equipped  with  degaussing  equip- 
ment so  that  new  parts  or  parts  sub- 
ject to  magnetism  can  be  degaussed 
before  serious  damage  occurs. 

In  checking  the  parts  for  magnet- 
ization, be  sure  the  "metal  attraction ' 
for  the  compass  needle  is  not  mis- 
taken for  magnetization  of  the  part. 
In  some  cases  transverse  or  radial 
magnetization  cannot  be  completely 
eliminated,  and  it  is  questionable  if 
such  magnetism  would  have  any 
affect  on  the  magnetic  sound  track. 


DEGAUSSING  GUN 
WITH  THREE   DIFFERENT 
SIZE  COILS  ■*<-. 


# 


■J/^    "'vj 


DEGAUSSING 

SPROCKET 

USING  THE  2-1/2" COIL 


INTERNATIONAL    PROJECTIONIST      •      MARCH    1954 


11 


THE  LENS:  Key  to  Projection  Quality 


The  second  in  a  series  of  three  articles. 


By  ROBERT  A.  MITCHELL 


THERE  are  major  optical  aber- 
rations which  tend  to  spoil  the 
performance  of  lenses.  Two  of 
these  are  chromatic  aberrations  which 
introduce  spurious  colors  around  the 
edges  of  images.  All  good  lenses  are 
practically  free  from  color  aberrations, 
which  are  eliminated  by  using  several 
kinds  of  optical  glass  of  proper  cur- 
vature in  a  single  lens.  Much  more 
difficult  to  eliminate  are  several  of  the 
remaining  five  aberrations  which  affect 
the  clarity  of  the  image  and  the  flat- 
ness of  the  field. 

The  lens  designer  cannot  get  rid  of 
all  of  the  aberrations  entirely:  he  can 
only  reduce  them  to  the  point  where 
they  are  no  longer  bothersome.  Sev- 
eral compromises  have  to  be  effected, 
and  the  most  critical  tests  will  reveal 
traces  of  several  aberrations  in  even 
the  finest  lens. 

Aberrations  in  Lenses 

Spherical  aberration  prevents  the 
formation  of  crisp  images;  coma  is  the 
most  serious  obstacle  to  sharp  focus 
at  the  edges  of  the  field,  and  field- 
curvature  prevents  a  sharp  focus  at 
the  center  and  edges  of  the  field  simul- 
taneously. 

The  faster  the  lens  and  the  shorter 
its  focal  length,  the  greater  the  diffi- 
culties which  the  seven  aberrations 
present  to  the  optical  designer.  Resi- 
dual aberrations  may  prevent  top  pic- 
ture quality.  As  a  rule,  flat-field, 
short-focus  lenses  result  in  images 
lacking  "crispness"  and  brilliant  con- 
trasts. And  yet,  modern  short-focus 
lenses  are  superior  to  old-style  ones 
because  the  new  optical  glasses  and 
anti-reflection  coatings  permit  the  de- 
signer to  use  six  or  eight  instead  of 
the  usual  four  elements.  This  means 
that  he  can  reduce  the  troublesome 
aberrations  to  lower  levels  than  was 
formerly  possible. 

As  already  mentioned,  short-focus 
lenses  have  very  little  depth  of  focus, 
especially  if  they  be  "fast."  This 
is  the  nature  of  the  beast  and  cannot 
be  remedied.  Strange  as  it  may  seem, 
even  a  perfect  short-focus  lens  (if  there 


were  such  a  thing!)  would  reveal  the 
focus-ruining  efteutS  of  film-flutter  and 
buckling  which  normally  occurs  under 
the  influence  of  heat. 

Safety  Film  Characteristics 

Some  of  our  focusing  troubles  may 
be  blamed  on  the  high-acetyl  safety 
film  in  its  present  form.  This  type  of 
acetate  film  is  a  bit  too  sensitive  to 
heat  to  be  really  good  for  projection 
in  theatres.  True,  it  shrinks  very 
little,  and  it  does  not  get  so  brittle 
with  repeated  use  as  the  old  nitrate 
film  did.  But  heat  warps  and  de- 
forms it  and  causes  it  to  buckle  and 
flutter  in  the  gate  much  worse  than 
nitrate  film.  We  got  clearer  movies 
with  nitrate  film.  The  answer  to  this 
problem  is  the  development  of  a 
tougher,  more  heat-resistant  safety 
film. 

We  projectionists  know  that  uneven 
gate  tension  and  hollowed  places  worn 
in  the  steel  film-runners  adjacent  to 
the  aperture  distort  the  film  so  that  it 
fails  to  lie  flat  over  the  aperture.  (Of 
course,  film  never  lies  perfectly  flat 
over  the  aperture,  but  at  least  the  posi- 
tion it  assumes  should  be  symmetrical 
to  the  lens.)  If  one  corner  of  the  film- 
photograph  is  bent  away  from  the  lens 


by  only  a  few  thousandths  of  an  inch, 
for  example,  the  corresponding  corner 
of  the  projected  picture  will  be  a  bit 
hazy  —  and  no  amount  of  focusing 
will  clear  it  up! 

This  defect  is  easily  corrected  by  in- 
stalling new  film-track  runners  and 
new  gate-door  tension  pads,  the  only 
sure  cure  where  just  one  corner  of  the 
picture  stubbornly  refuses  to  come 
into  focus.  The  trouble  can  also  affect 
more  than  one  corner;  and  even  one 
whole  side  of  the  picture,  usually  the 
right-hand  side,  may  be  slightly 
blurred. 

Although  the  lens  is  rarely  to  blame 
for  lack  of  clearness  in  just  one  corner 
or  side  of  the  picture,  it  is  neverthe- 
less a  good  idea  to  test  the  lens. 

Lens  Test  Procedure 

Loosen  the  lens-barrel  clamp  so  that 
the  entire  lens  can  be  rotated  in  the 
holder.  Project  a  reel  of  pictures  and 
rotate  the  lens  barrel  slowly,  maintain- 
ing the  sharpest  possible  focus  all 
the  time.  If  the  blurred  area  moves 
around  the  screen,  the  lens  is  at  fault, 
and  should  be  replaced  with  a  new  one 
at  once.  But  in  all  probability  the  of- 
fending area  will  stay  in  the  same 
place.      In    this    eventuality    there    is 


LONG-FOCUS 
LENS 


Focus -range 

rS 


Focus-range 

1^ 


"FAST" 
LENS 


SHORT-FOCUS 

LENS 


® 


FiG.  1.  Depth  of  focus.  The  sharpest  image  of  a  true  point  that  a  lens  is  able  to  produce  is 
really  a  small  disc  —  the  smallest  "circle  of  confusion."  The  size  of  this  disc-image  does  not 
change  appreciably  when  the  lens  or  the  film  is  moved  within  a  short  range  called  the  depth 
of  focus  of  the  lens.  As  shown  in  (A),  "slow"  lenses  have  a  greater  depth  of  focus  than  "fast" 
lenses.    And,  as  shown  in  (B),  long-focus  lenses  have  more  depth  of  focus  than  short-focus  lenses. 


12 


INTERNATIONAL    PROJECTIONIST      •      MARCH    1954 


SHARPERfCLEARER,  MOVIES 

for  large  audiences  in  industry,  business, 

education  and  entertainment. •• 

I6mm 


»0h  ljjr*'r*fV) 

^^•■jf^'W  If*  '"M    st>l  isn^^'A  III  w 

r  ^^m^iM  WCm  I  I  w  I  \ 

_1        tI  "^y^  Wijir  "gar  ^^^  vi.-_J  J   \^^f  J  ,^ 


JVloRE  LIGHT  than  ever  thought  possible 
with  a  16mm  projector  assures  users  of  the 
RCA  Porto -Arc  Projector  of  sharp,  clear 
and  bright  pictures  on  the  screens  of  large 
auditoriums. 

Industry,  business  and  education  can 
now  show  16mm  films  at  their  best  in 
company  or  school  auditoriums ...  in  tents 
at  road  shows,  in  fairs  in  rural  areas,  and 
to  groups  gathered  outdoors. 

RCA's  new  Porto-Arc  16mm  Projector 
operating  at  30  amperes  delivers  up  to 
1600  lumens,  providing  brilliant  screen 
images  on  screens  as  wide  as  20  feet.  When 
operating  at  10  amperes,  the  750  lumen 
output  provides  brilliant  pictures  on  screens 
up  to  15  feet  wide,  and  one  set  of  carbons 
burns  over  two  hours. 


The  powerful  amplifier  is  especially  de- 
signed for  16mm  reproduction  of  speech 
and  music  at  high  levels  with  the  best 
sound  quality.  It  provides  all  the  power 
output  needed  for  a  wide  choice  in  speaker 
setups — from  single  or  multiple  portable 
speaker  units  to  theatre-type  systems, 
and  it  also  provides  microphone  and  rec- 
ord player  inputs  for  public  address. 

RCA's  Porto- Arc  Projector  incorporates 
the  superior  professional  features  and  top- 
quality  workmanship  of  the  famous  "400" 
projector.  These  include  dependable  oper- 
ation .  .  .  "thread-easy"  film  path  .  .  .  the 
time-proved  "400"  mechanism. 

This  rugged  and  completely  portable 
16mm  projector  disassembles  into  5  easy- 
to-carry  cases.  It  can  be  set  up  or  taken 


down  in  five  minutes.  The  suitcase  type 
projector  stand  has  adjustable,  non-slip 
legs  and  an  elevating  mechanism.  It  pro- 
vides ample  storage  space  for  its  legs, 
cable,  carbons  and  other  accessories. 


We'll   be   pleased   to   send  you   information 
on  RCA's  complete  line  of  i  6mm  projectors. 

MAIL  COUPON  FOR  LITERATURE  NOW 

VISUAL  PRODUCTS,   Dept.      C-63 
Radio  Corporation  of  America,  Camden,  N.  J. 
Please  send  me  information  on  the  new  RCA 
16mm  Porto- Arc  Projector. 


ORGANIZATION- 


ADDRESS- 


-ZONE STATE- 


nothing  to  do  but  install  new  film  run- 
ners and  tension  pads. 

The  flatness  of  the  runners  can  be 
checked  with  a  steel  straight-edge 
which  is  known  to  be  accurate.  In 
order  to  see  the  hollows,  a  flashlight 
(preferably  a  "pen-light")  is  directed 
upon  the  casting  behind  the  runners. 

Remember,  too,  that  an  improperly 
adjusted  guide  roller  can  distort  the 
path  of  the  film,  and  that  a  guide- 
roller  flange  that  presses  too  forcibly 
against  the  edge  of  the  film  will  ac- 
tually pinch  the  film  and  increase 
buckling  in  the  gate.  Excessive  side- 
sway  of  the  picture  usually  accompa- 
nies this  condition.  The  tension  can 
be  decreased  by  removing  the  coil 
spring  and  snipping  a  few  turns  from 
it  with  scissors  before  replacing  it  — 
a  delicate  operation  that  should  not  be 
attempted  unless  the  film  is  actually 
seen  to  be  buckling  badly  as  it  passes 
between  the  guide-roller  flanges. 

The  operation  of  any  projector  is 
improved  by  keeping  the  guide-roller 
assembly  free  from  dirt  and  very  light- 
ly oiled.  Projectors  having  studio- 
guide  rails  in  the  gate  —  a  poor  fea- 
ture from  every  point  of  view  —  re- 
quire frequent  examination  and  test- 
ing for  wear  and  misalignment. 

Right-Hand  Edge  Blur 

Why  is  the  right-hand  edge  of  the 
projected  picture  usually  blurrier  than 
the  left-hand  edge? 

When  film  is  exposed  to  the  heat  of 
the  arc  pouring  through  the  aperture, 
the  photographic  images  absorb  con- 
siderable heat.  As  a  result,  the  emul- 
sion normally  expands  more  than  the 
film-base,  and  each  frame  "pin- 
cushions" almost  immediately,  the 
bulge  ordinarily  facing  the  lamp 
("negative  buckling").  Since  every 
frame  has  this  shape  during  projec- 
tion to  the  screen,  the  lens  is  focused 
not  for  a  flat  film  but  for  a  bulged 
film. 

Now,  the  sound-track  displaces  the 
picture-area  by  about  1/10  inch.  The 
bulging  is  rather  gradual  on  the 
sound-track  side  of  the  picture  (left 
on  the  screen)  because  this  edge  of 
the  picture  is  1/10  inch  away  from  the 
gate-runner  and  tension  pad  which 
clamp  the  film  flat  in  the  gate.  On 
the  opposite  side  (right  on  the  screen) 
the  film  is  firmly  clamped  right  up  to 
the  very  edge  of  the  picture-area.  The 
bulging  on  this  side  is  comparatively 
severe,  and  the  distortion  of  the  tiny 


photograph  often  exceeds  the  depth  of 
focus  of  the  lens.  As  a  result,  the 
right-hand  side  of  the  picture  is 
blurrier  than  the  left-hand  side. 

Because  of  the  edge  of  the  film- 
photograph  on  the  sound-track  side  is 
1/10  inch  removed  from  the  clamping 
action  of  the  gate,  this  edge  of  the  pin- 
cushioned  photograph  is  a  trifle 
farther  away  from  the  lens  than  is 
the  opposite  edge.  It  is  just  as  though 
the  film  were  slightly  slanted  in  the 
gate.  Each  side  of  the  picture  con- 
sequently has  a  slightly  different 
focus. 

Most  important,  however,  is  the  first 
effect  —  the  actual  warping  of  the 
firmly  clamped  edge  opposite  the 
sound-track  edge.  A  distorted  film 
cannot  be  focused  sharply.  With 
nitrate  film  this  particular  trouble  was 
seen  only  very  seldom;  with  safety 
film  it  has  become  a  frequent  nuisance. 
The  use  of  short-focus  lenses  has  also 
increased  this  defect  of  35-mm  projec- 
tion. 

Forms  of  Buckling 

Short-focus  lenses,  especially  if  fast 
—  and  some  are  F/1.8  —  exaggerate 
every  distortion  of  the  film  in  the  aper- 
ture and  every  movement  it  may  make 


under  the  impact  of  radiant  heat.  1 
While  the  pincushioning  of  the  film- 
photographs  is  normally  negative,  as 
described  above,  extremely  high  arc 
currents  may  cause  prints  that  have 
been  projected  10  or  12  times  to  bulge 
out  with  the  convex  side  of  the  frames 
toAvard  the  lens  —  reversed,  or  posi- 
tive, buckle.  This  is  due  to  progres- 
sive shrinkage  of  the  emulsion. 

Positive  buckle  makes  good  projec- 
tion absolutely  impossible.  First, 
while  a  slightly  concave  frame  gives  a 
flatter  field  at  the  screen  than  a  per- 
fectly flat  frame,  a  convex  frame 
(bulging  toward  the  lens)  results  in 
a  concave  field  at  the  screen.  The 
center  or  the  edges  of  the  picture  may 
be  brought  into  focus,  but  never  both 
at  the  same  time.  Second,  a  positive 
buckle  is  mechanically  unstable.  The 
film  may  flop  in  and  out  of  focus  so 
violently  that  the  entire  picture  looks 
blurry  and  fluttery.  Projectionists 
who  have  operated  in  large  drive-ins 
are  very  familiar  with  this  trouble, 
and  have  fould  by  experience  that 
nothing  except  heat  filters  in  the  arc 
beam  will  alleviate  it. 

Even    normal    negative    buckle    is 
greater  at  high  arc  amperages.    -And 
since  the  film  undergoes  bulging  while 
(Continued  on  page  31) 


A  Night  Off  From  Tv? 

Radio    and    the    motion    picture    theatre    became    step-children 

simultaneously— according  to  the  defeatist  viewpoint.    It  would 

seem,    however,   that   radio   does   not  suffer   from   the    mental 

circulatory  disease  prevalent  in  Hollywood. 

By  JACK  GOULD 

Radio-TV   Editor,   The    New   York   Times 

ON  THE  RADIO,  station  WNEW  to  be  specific,  there  is  a  gentleman 
named  Albert  Collins  who  is  performing  a  major  public  service.  He 
is  providing  soothing,  long-lasting  relief  from  television. 

Each  weekday  evening,  from  9:30  to  11,  Mr.  Collins  plays  just  about  the 
best  recorded  jazz  available  and  does  it  in  a  manner  that  bespeaks  both 
singular  taste  and  intelligence.  If  you  want  to  study,  read  a  book  or  tinker 
with  a  hobby,  he  can  make  a  video-less  evening  seem  slightly  wonderful.  .  . 

WNEW  now  has  virtually  a  house  rule  that  one  way  for  radio  to  meet 
Tv's  competition  is  to  keep  superfluous  talk  to  a  minimum.  Mr.  Collins 
obeys  the  rules.  As  a  way  of  providing  a  framework  for  his  show  an4 
establishing  an  entente  with  his  audience  he  makes  believe  that  he  is  op- 
erating from  the  moon,  which  enables  him  to  look  at  earthly  things  with  a 
bemused  and  detached  eye.  He  does  not  overwork  the  gimmick,  however, 
and  most  of  his  commentary  is  devoted  to  a  word  or  two  about  the  record 
to  be  played.    He  carries  his  knowledge  lightly. 

With  television  this  programming  philosophy  is  now  more  valid  than 
ever.  Turning  on  the  radio  should  be  a  guarantee  of  relaxation.  If  it  is, 
radio  need  have  little  fear  of  competing  with  jittery,  frantic  and  "loud 
video.  Perhaps  radio  has  overlooked  its  most  appealing  slogan:  "A  night 
off  from  television." 


14 


INTERNATIONAL    PROJECTIONIST 


MARCH    1954 


•  Your  present  "National"  carbon  trim  may  be  capa- 
ble of  giving  much  more  light  than  your  patrons  are 
now  enjoying.  It's  easy  to  find  out  for  yourself. 

ARE  YOU  OPERATING  YOUR  CARBONS 
AT  MAXIMUM  EFFICIENCY? 

If  not,  you  can  do  so  and  get  a  better  picture ...  in 
many  instances  for  as  little  as  the  price  of  one  admis- 
sion per  day  in  slightly  increased  carbon  consumption. 

HERE'S  WHY:  All  carbons  are  designed  to  de- 
liver greatest  brilliance,  most  uniform  light  distribu- 
tion and  best  color  balance  at  the  maximutn  recom- 
mended operating  current. 


Take  full  advantage  of  this  fact  and  you  can't  help 
but  improve  your  position  in  a  highly  competitive 
market. 

THE  PICTURE  IS  LIGHT- 
GIVE  IT  ALL  YOU  CAN 

with  "NATIONAL"  CARBONS 


The  term  "National"  is  a  registered  trade-mark  of  Union  Carbide  and  Carbon  Corporation 

NATIONAL   CARBON    COMPANY 

A  Division  of  Union  Carbide  and  Carbon  Corporation   •   30  East  42nd  Street,  New  Yorl<  17,  N.  Y. 

District  Sales  Offices:  Atlanta,  Chicago,  Dallas,  Kansas  City,  New  York,  Pittsburgh,  San  Francisco 


,  INTERNATIONAL    PROJECTIONIST 


MARCH    1954 


15 


World's  Premiere  Theatre 
Adopts  "Flat"  Screen 
For  ALL  Film  Showings 

This  presentation  by  an  acknowledge  projec- 
tion authority  coincides  with  IP's  views  anent 
the   proper   presentation   of   motion    pictures. 

By  CHARLES  MULLER 

Director    of    Projection,    Raciio    City    Music    Hall,    New    York    City 


THE  CINEMASCOPE  projection 
system  received  what  I  consider 
to  be  its  toughest  test  so  far 
when  MGM's  "Knights  of  the  Round 
Table"  opened  at  New  York's  Radio 
City  Music  Hall  with  a  picture  70  feet 
wide  and  28  feet  high.  Despite  special 
space  considerations  on  our  stage 
which  necessitated  using  a  flat  screen 
instead  of  the  customary  curved  type, 
we  achieved  excellent  results  with  a 
few  alterations  in  our  standard  projec- 
tion equipment,  plus  a  new  RCA 
stereophonic  sound  system. 

The  Music  Hall,  with  6,020  seats,  is 
unusual  in  that  it  is  not  only  the 
largest  but,  so  far  as  I  know,  the  widest 
theatre  in  the  world.  Our  projection 
throw  is  185  feet  at  a  19-degree  angle. 
In  addition,  a  big  drawing  card  here 
is  our  elaborate  stage  show  with  its 
highly  complicated  system  of  stage 
elevators.  The  stage  show  has  to  be 
considered  when  changes  are  made  in 
our   projection   methods. 

The  necessity  of  conserving  space 
in  our  stage  fly  lofts  and  clearing  the 
stage  of  speakers  as  quickly  as  possible 
at  the  end  of  a  picture  were  the  pri- 
mary reasons  for  using  a  flat  rather 
than  a  curved  screen.  The  maximum 
depth  of  the  fly  loft  area  available  over 
the  first  stage  entrance  for  flying  the 
giant  screen  and  also  the  center  speaker 
of  the  stereophonic  sound  system  is 
50  inches.  This  speaker  unit  plus  a 
70-foot  CinemaScope  screen  with  the 
standard  curve  could  not  be  fitted  into 
the  space  available  above  the  stage. 

The  way  things  worked  out,  rela- 
tively little  change  in  our  equipment 
was  required  in  order  to  convert.  It 
was  not  necessary,  for  instance,  to 
obtain  a  new  framework  for  the  screen. 
The  steel  frame  used  for  suspending 


our  old  screen  is  110  feet  long,  10 
feet  more  than  the  full  width  of  the 
half-circle  stage  proscenium.  The  ef- 
fective working  area  within  this  arc 
for  both  screen  and  stage  show  is 
about  70  feet  wide,  the  rest  of  width 
being  masked  by  curtains  on  both 
sides.  Our  new  Magnaglo-Astrolite 
screen  is  70  feet  long  and  32  feet  high, 
covering  the  entire  length  of  the  usable 
area. 

Screen  sizes  and  aspect  ratio  for 
pictures  shown  here  during  the  past 
year  varied  considerably  according  to 
how  well  the  picture  was  adapted  to 
wide-screen  projection  with  part  of 
the  top  and  bottom  of  the  picture 
masked  at  the  aperture  plate.  We 
experimented  considerably  and  are 
still  equipped  to  play  any  picture 
available. 

Masking  Is  Automatic 

We  decrease  screen  size  for  the 
showing  of  newsreels  and  trailers  by 
means  of  automatic  masking  of  black 
velour  curtains  which  move  in  over 
both  sides  of  the  screen,  and  which 
also  can  decrease  the  height  of  the 
screen.  The  electric  system  operating 
this  masking  can  be  regulated  to  pro- 


Here  is  a  view  of 
new  flat  screen  in- 
stallation at  the 
Radio  City  Music 
Hall  in  New  York. 
Noteworthy  is  the 
fact  that  in  the 
world's  largest 
theatre  Cinema- 
Scope  productions 
are  presented 
without  benefit  of 
a    curved    screen. 


vide  almost  any  screen  size  or  aspect 
ratio  at  the  push  of  a  button. 

Except,  of  course,  for  the  installa- 
tion of  stereophonic  sound,  few 
changes  were  made  in  our  projection 
room  equipment  for  CinemaScope  and 
none  are  now  contemplated.  Cinema- 
Scope sprockets  were  installed  and 
also  new  projection  lenses  in  addition 
to  the  anamorphic  attachments.  We 
are,  however,  constantly  checking  the 
light  on  the  screen,  focus,  and  the 
amount  of  heat  absorbed  by  projector 
and  lamphouse  parts  to  determine  if 
additional  cooling  aids  would  be 
needed  if  we  were,  for  instance,  to 
consider  raising  the  amperage  in  the 
lamps. 

The  present  projection  equipment 
includes  Simplex  projectors  and  Peer- 
( Continued  on  page  30) 


Curved-  or  Flat-Headed  ? 

In  view  of  all  the  dogmatic  statements 
made  during  the  past  year  concern- 
ing curved  screens  and  the  added 
effect  of  "depth,"  better  light  distribu- 
tion, etc.,  supposed  to  be  derived 
from  their  use,  IP  thinks  that  the 
story  on  this  page  about  the  Radio 
City  Music  Hall  CinemaScope  in- 
stallation is  very  interesting. 

The  wide,  flat  screen  installed 
there  seemed  to  observers  to  give  just 
as  much  feeling  of  depth  as  a  curved 
screen  with  less  distortion  of  the 
images  on  the  screen.  It  was  also 
felt  that  a  flat  screen  distributed 
light  better  to  all  seats  in  the  wide 
Music  Hall  auditorium. 

It  has  always  been  IP's  opinion 
that  a  curved  screen  is  optically 
wrong,  and  that  the  new  screen  at 
the  Music  Hall  reinforces  our  opinion. 
If,  as  insisted  by  pseudo  projection 
geniuses,  a  curved  screen  is  required 
for  CinemaScope,  why  does  the 
world's  premiere  theatre  blandly 
switch  to  a  flat  surface? 


16 


INTERNATIONAL    PROJECTIONIST      •      AAARCH    1954 


Polaroid-IP 
Contest  Winner: 


ARMANDO  GONZALES 
Kingsville,  Texas,  Member,  lA  Local  604 


IN  a  contest  that  enlisted  the  cumu- 
lative experience  of  the  organized 
(projectionist  craft,  Armando  Gon- 
Gonzales,  member  of  Local  604, 
Corpus  Christi,  Texas,  emerged  the 
winner  by  the  unanimous  vote  of  a 
judging  panel  which  included  the 
following  picture  industry  person- 
nel: Dr.  Lewis  Chubb,  Polaroid  re- 
search physicist;  Henry  Kogel,  staff 
engineer  of  the  SMPTE;  and  the  edi- 
torial staff  of  IP. 

Lest  it  be  suspected  that  Mr.  Gon- 
zales won  "going-away,"  so  to  speak, 
we  hasten  to  mention  that  he  was 
subjected  to  the  keenest  of  competi- 
tion by  the  following  lA  members: 
Ray  Brian,  722  W.  Maywood  Ave., 
Peoria,  111.,  member  of  Local  434; 
Paul  Cota,  829  Third  St.,  Mason 
City,  Iowa,  Local  450;  and  Wilfred 
H.  Spicer,  314  29th  Street,  W.,  Sas- 
katoon,   Sask.,    Canada,    Local    347. 

Focus,  Brightness  Check 

The  award  to  Mr.  Gonzales  was 
on  the  basis  of  simplicity  of  con- 
ception and  execution.  IP  is  particu- 
larly proud  of  the  fact  that  among 
the  hundreds  of  entries  —  be  it  from 
Maine,  Florida,  Oregon,  or  Texas  — 
there  are  hidden  away  in  projection 
ranks  those  craftsmen  who   are  both 


FIG.   T.    Viewer  used  by  Mr.   Gonzales,  details 
of  which   are   diagrammed   in   Fig.   2. 


working  and  thinking  each  day  on 
the  job  to  improve  the  process. 

Both  focus  and  the  relative  bright- 
ness of  3-D  imagines  on  the  screen 
can  be  checked  by  means  of  special 
polarized  viewers  available  from  Po- 
laroid Corp.,  but  it  remained  for 
Mr.  Gonzales  to  develop  a  device 
which  not  only  enables  the  projec- 
tionists to  do  both  jobs  at  the  same 
time,  but  also  further  simplifies  the 
job  of  focusing  the  double  images 
by  enabling  him  to  make  a  quick 
comparative  test  of  both. 

What  Mr.  Gonzales  did  and  how 
he  did  it  is  clearly  described  in  the 
diagram    reproduced    on    this    page, 


Prize  Winning  Entry 

Enclosed  you  will  find  draw- 
ings of  a  device  that  I  made  to 
help  me  with  3-D  projection. 
What  it  does  is  this:  I  look 
through  it  with  one  eye,  and  I 
see  the  left  and  right  picture  at 
the  same  time  side-by-side.  With 
it  I  can  check  and  see  if  the  light 
from  both  lamps  is  the  same 
brightness,  and  also  check  the 
focus  a  whole  lot  easier,  because 
I   see   the   two   prints   side-by-side. 

Armando  Gonzales, 

P.  O.  Box,  703,  Kingsville,  Tex. 

submitted  with  his  entry.  It  is  not 
difficult  to  construct,  and  only  easily- 
obtained  materials  are  needed.  Other 
projectionists  may  be  interested  in 
this  time-saving  aid  and  may  want 
to  construct  one  for  themselves. 

Basically,  the  Gonzales  device  puts 
the  two  stereo  images  side-by-side  in 
front  of  one  eye  so  that  they  may  be 
compared  for  focus  and  relative 
brightness  of  each  image.  The  path 
of  each  image  as  it  enters  the  view- 
er and  is  then  positioned  by  the  mir- 
rors for  a  one-eye  view  is  clearly  set 
forth  in  the  accompanying  diagram. 


LEFTP/CTURE        RIGHT  PICTURE 


FILTER 


FILTER 


MIRROR    \  i     1   /MIRROR 


FIG.  2.      Detailed    diagram    of   images   as   seen 
through  viewer  shown   in  Fig.   1. 


\The  Polaroid-Land  Camera  devel- 
ops its  own  pictures  in  one  minute 
and  eliminates  the  need  for  waiting 
for  prints  to  return  from  the  labora- 
tory. Snapshots  can  be  passed  around 
just  a  moment  after  the  shutter  clicks. 
One  adjustment  of  the  camera  takes 
care  of  the  shutter  and  lens  settings, 
and  all  the  photographer  need  do  is 
snap  the  shutter,  pull  a  paper  tab, 
and  the  picture  is  ready.  Prints  are 
black-and-white,  Sy^^  by  4%  inches. 
They  can  be  enlarged  or  duplicated 
if  desired,  adapting  the  camera  to 
business    uses    as    well    as    pleasure.] 


Polaroid-Land   Camera 


INTERNATIONAL    PROJECTIONIST      •      AAARCH    1954 


17 


IN    THE 


SPOTLIGHT 


IN  a  reminiscent  mood  of  late,  we 
were  struck  by  the  fact  that  the 
entertainment  field,  craftwise,  has  now 
completed  the  full  360-degree  cy- 
cle. At  the  turn  of  the  last  century 
stagehands  were  the  dominant  fac- 
tor in  the  show  world  —  with  motion 
pictures  being  used  as  a  "chaser." 
Then  the  projectionist  was  in  the  as- 
cendancy, culminating  in  what  seem- 
ed to  be  in  the  1930's  the  near-ex- 
tinction of  the  living  stage  and  its 
stagehand  practitioners.  Sound  pic- 
tures catapulted  the  projectionist, 
the  cameraman,  and  every  other 
practitioner  of  the  audio  visual  art 
into  prominence.  Many  and  varied 
were  the  comments  about  stagehands 
being  members  of  a  "lost"  profes- 
sion. 

But  let's  look  at  the  entertainment 
field  today.  Visit  any  arena  in  which 
entertainment  of  whatever  character 
is  presented,  and  you  are  immediate- 
ly aware  of  the  fact  that  the  stage- 
hand CIA  parlance)  is  the  dominant 
factor  in  the  production  and  execu- 
tion of  entertainment  fare.  This  is 
not  to  say  that  the  other  branches 
of  the  organized  craft  don't  contri- 
bute in  full  measure  to  their  respec- 
tive talents,  but  it  is  meant  to  point 
up  the  more  or  less  dominance  of  the 
"stagehand"  in  the  entertainment 
scheme  of  things  as  of  1954. 

Now,  we  projectionists  must  face 
and  answer  the  vital  question  as  to 
whether  the  very  tools  that  we  utilized 
to  make  motion  pictures  the  world's 
fifth-ranking  industry  are  now  being 
used  with  more  telling  effect  by  our 
brother  workers  in  the  entertainment 
vineyard. 

•  Dan  Kelly,  recently  re-elected 
treasurer  of  Local  230,  Denver,  Colo., 
was  signally  honored  in  Masonic  cir- 
cles when  he  was  advanced  to  the 
office  of  King  in  Royal  Arch  Chap- 
ter No.  30,  and  was  made  Generalis- 
simo in  Commandery  No.  30,  K.  T. 
Another  member  of  the  Local.  R.  E. 


Waller,  secretary,  served  in  1953  as 
Worshipful  Master  for  Blue  Lodge, 
Paul   Revere   162. 

•  Each  member  of  Local  330,  Fort 
Worth,  Texas,  pledged  100%  sup- 
port to  Fort  Worth's  United  Fund 
by  contributing  one  hour's  pay  each 
month  during  1954.  Local  330  is  one 
of  the  many  lA  Locals  throughout 
the  country  participating  in  organ- 
ized Labor's  efforts  to  push  the  Com- 
munity   Chest    and    United    Commu- 


Jn  ilptttnriam 

HARRY  SHERMAN 

March  3,  1952 


nity  Fund  drives  for  1954  ahead  of 
last   year's   figures. 

•  The  Chicago  Arena  was  recently 
purchased  by  CBS  for  conversion  in- 
to a  Tv  center,  which  will  give  the 
Windy  City  a  Tv  center  second  in 
size  only  to  the  one  in  Hollywood. 
Three    million    dollars    was    involved 


in  the  deal  —  half  for  the  purchase 
of  th*^  Arena  and  half  for  remodel- 
ing. Programming  plans  for  the  cen- 
ter have  not  yet  been  announced. 

•  Irving  Merkur  and  Joe  Clayton, 
prominent  members  of  New  York 
Local  306,  were  the  featured  speak- 
ers at  the  regular  (March)  meeting 
of  the  25-30  Club.  Production  sche- 
dules prevented  this  department  from 
giving  a  report  of  these  most  inter- 
esting discussions,  the  content  of 
which   will   be   reported    in   our   next 


•  The  lA  Executive  Board  held  its 
regular  semi-annual  meeting  at  the 
Roosevelt  Hotel,  New  Orleans,  La., 
the  week  of  March   15. 

•  In  recognition  of  ihe  rapid  growth 
in  recent  years  of  the  establishment 
of  health  and  welfare  funds  cover- 
ing union  members,  the  AFL  is  com- 
piling full  information  on  such  plans 
in  handy  pamphlet  form  to  assist 
affiliated  unions  in  the  development 
of    these   programs. 

•  Nathan  D.  Golden,  director  of  the 
Scientific,  Motion  Picture  and  Pho- 
tographic Products  Division,  U.  S. 
Department  of  Commerce,  and  hon- 
orary member  of  Cleveland  Local  160, 
received  the  Department's  Silver 
Medal  Meritorious  Service  Award 
for  outstanding  accomplishment  and 
service  in  the  promotion  of  foreign 
and  domestic  trade  for  the  motion 
picture    and    allied    industries. 

Nat    Golden    has    represented     the 


Harmonious  working   relationship  between  fellow  workers  is  exemplified   in  the  projection  team- 
work  at  the   Imperial   Theatre   in   Toronto.,   one   of   the   largest   in   Canada.     Projectionists    George 
Robinson,   left,  and   Thomas  Marsden,  members  of  Toronto   Local    173,   have   worked   togefher   on 
the  same  shift  ever  since  the  opening   of  this  de  luxe   house  34  years   ago. 


18 


INTERNATIONAL    PROJECTIONIST      •      MARCH    1954 


United  States  government  oii  many 
missions  overseas  on  matters  relating 
to  the  international  trade  of  motion 
pictures.  In  1945-46  he  tieaded  a 
mission  to  Germany  for  the  Indus- 
trial Intelligence  branch  of  the  Joint 
Chiefs  of  Staff  to  secure  the  formulas 
of  the  "Agfa"  color  process,  for 
which  he  was  later  rewarded  with 
the  Army's  Certificate  of  Apprecia- 
tion. 

•  A  projection  crew  which  has  work- 
ed together  for  an  accumulative  total 
of  184  years  may  not  be  constituted 
an  all-time  record,  but  it  would  seem 
to  warrant  top  billing  in  this  depart- 
ment which  is  devoted  mostly  to 
personalities.  The  men  who  have 
compiled  this  enviable  record  of 
service  to  the  industry  are  members 
of  Local  219,  Minneapolis,  Minn., 
and  are  still  in  harness  at  the  Radio 
City  Theatre  in  Minneapolis.  Their 
respective  terms  of  service  are  as 
follows: 

Horace    Evans     36  years 

Fred    Berglund    38  years 

Wood   Smith    41  years 

Pat  McMurchie   30  years 

Frank    Rogers     39  years 


On  behalf  of  New  York  Local  306,  Charles  Venclll  (third  from  extreme  right,  secretary  of  Los 
Angeles  Local  150,  presented  honorary  retirements  cards  to  Local  306  members  (front  center) 
Harry  Reichline,  Dave  Narcey,  and  Marcus  Pattiner.  The  presentation  was  made  in  the  execu- 
tivetive  board  meeting  of  the  L.  A.  Local  and  was  witnessed  by  the  following  board  members 
(left  to  right)  George  O'Brien;  Wallace  G.  Crowley,  president;  Hugh  C.  Smith;  Clyde  W. 
Shuey,    business   representative;    Harold    Angel;    Vencill;    Clem    Marchand,    and    Albert    R.    Adams. 


184  years 
We  think  it  eminently  fitting  to 
quote  the  exact  words  of  Fred  W. 
Berglund,  chief  projectionist  at  Radio 
City  Theatre,  and  spokesman  for  the 
group: 

'"When  sound  first  came  in,  there 
was  the  same  mad  scramble  for 
equipment  as  there  is  now  for  3-D 
and  CinemaScope  apparatus.  Schools 
for    instruction    were    held    after    the 


show  at  night  and  many  dignitaries 
of  national  prominence  in  the  audio- 
visual world  addressed  us.  Despite 
this,  needles  did  jump  out  of  the 
groove;  lips  did  move  when  the) 
shouldn't;  records  did  have  cracks 
that  didn't  show  on  the  surface;  stor- 
age batteries  did  run  dry  and  go  dead, 
and  6-pole  switches  were  forgotten, 
oh!    so  many  times. 

"Let's  go  back  a  decade  or  more 
to  the  days  when  it  was  against  the 
law  to  have  a  motor-driven  projec- 
tor; when  1,000  feet  was  the  limit  on 
one  reel;  when  the  lamphouse  was  on 
tracks,  to  be  pushed  over  to  form  a 
stereopticon ;  when  illustrated  songs 
were  part  of  every  de  luxe  perform- 
ance. 

"Finally,  motors  were  permitted 
(that  is,  if  the  "operator"  furnished 
them  himself ) .  I  can  recall  one  thea- 
tre  I   worked   during   these   balmy    ? 


Projection   staff   at    Radio    City    Theatre,   Minneapolis,    Minn.,    members    of    Local    219,    who    have. 

I  compiled  a  total  of  184  ytars  of  service  working  as  a  team.  Reading  from  left  to  right: 
W.  H.  Smith,  Frank  S.  Rogers,  Fred  W.  Berglund  (chief),  Horace  J.  Evans,  and  Pat  McMurchie. 
: 


INTERNATIONAL    PROJECTIONIST 


MARCH    1954 


days.  It  had  a  projection  ( ?  )  room 
built  out  in  the  alley  on  the  back  end 
of  a  former  grocery  store.  It  was 
built  on  stilts  and  the  floor  sagged. 
A  motor  was  mounted  on  the  floor 
with  a  belt  running  up  to  a  make- 
shift motor-drive  attachment.  When 
more  "speed"  was  wanted,  you  shift- 
ed your  weight  closer  to  the  motor, 
thus  tightening  the  belt. 

"What  a  long  way  this  business 
of  ours  has  come  since  then!  Stand- 
ard equipment  formerly  consisted  of 
one  machine  and  an  AC  compensarc. 
Here  is  what  we  now  have  at  our 
theatre : 

(a)  2  Simplex  X-L  projectors,  equip- 
ped with  RCA,  Ashcraft  lamps,  Simplex 
penthouses  and  Selsyn  motors 

(b)  1  model  60  Brenkert  projector 
with  Peerlees  Magnarc  lamp  (all  three 
are  equipped  with  5000-ft  Simplex  mag- 
azines) 

(c)  1  Stanch-Hoffman  reproducer 

(d)  1  Altec  relay  rack  with  3  ampli- 
fiers and  monitor 

(e)  1  Altec  A126A  amplifier,  plus 
two  Western  Electric  No.  87  amplifiers 
in  multiple 

(f)  1  Sonex  booth  monitor 

(g)  3  Altec  E18  DC  power  supply 
units 

(h)  1  Hard  of  hearing  amplifier, 
wired  to  the  back  row  of  seats  on  the 
main  floor 

(i)  1  transfer  panel  to  supply  voice 
to  a  separate  public  address  system  when 
the  regular  horns  have  been  raised  for 
stage  presentations 

(j)  1  microphone  control  panel  for 
p.  a.  system. 

(k)  1  double-deck  Chicago  slide  pro- 
jector 

(1)  1  double-deck  Brenkert  effect 
machine 

(m)    2  300-amp  motor  generators,  lo- 


^9 


cated  in  the  basement  engine  room,  with 
remote  controls  in  the  projection  room  • 
(n)  1  Paramount  intermediary  Tv 
system.  This  is  located  in  a  room  by  it- 
self, adjacent  to  the  projection  room  and 
connected  to  it  by  a  doorway.  A  metal 
film  chute  goes  from  the  Tv  dryer, 
through  a  wall  and  directly  to  one  of 
the  projectors. 

(o)  1  Huff  Hydro  carbon  cooling  sys- 
tem for  the  positive  jaws  on  the  Ashcraft 
lamps 

(p)  1  Spencer  air-cooling  system. 
This  is  piped  directly  to  the  aperture 
plates  on  the  two  CinemaScope  projec- 
tors. The  blower  is  mounted  on  the  ceil- 
ing above  the  projectors.  The  compres- 
sor is  located  in  another  rom  adjacent 
to  the  Tv  room. 

"In  addition,  we  have  lamphouse 
and  projection  room  suction  fans, 
as  well  as  the  regular  house  ventila- 
ting system.  Quite  an  array  of  stuff, 
as  compared  with  the  old  days. 

"We  have  two  screens  —  one  is  a 
Walker  Silver  screen  on  which  we 
show  a  33-ft.  picture.  The  other  is 
a  Miracle  Mirror  CinemaScope  screen 
on  which  we  show  a  25  x  60  ft.  pic- 
ture. We  use  approximately  95  amps 
on  a  10-mm  positive  carbon,  and  our 
throw  is  164  ft.  for  the  regular  pic- 
ture, and  the  CinemaScope  sheet  is 
10  ft.  back  of  that. 


Manifold  Talents 

"We  could  go  on  and  on  with  these 
reminiscenses,  much  of  which  prob- 
ably would  be  considered  trivia. 
However,  we  would  be  remiss  in  our 
duty  were  we  to  overlook  mention- 
ing that  one  of  our  members,  Frank 
Rogers,  is  the  possessor  of  a  very 
special  talent.  He  is  an  artist  of  abil- 
ity and  he  has  produced  some  very 
beautiful  effects  which  have  been 
used  as  a  part  of  our  regular  produc- 
tions. Incidentally,  he  is  the  design- 
er of  the  cover  page  on  the  lA  Con- 
vention program  used  at  the  1952 
Convention  held  in  this  city." 

•  The  25-30  Club  (New  York) 
meeting  scheduled  for  June  19  next 
will  be  the  occasion  for  the  presenta- 
tion of  honorary  membership  awards 
to  Paul  Reiss,  supervisor  of  carbon 
arc  sales  for  National  Carbon  Com- 
pany, and  Charles  F.  Horstman,  sup- 
ervisor in  charge  of  sound  and  main- 
tenance for  RKO  Theatres.  This  spe- 
cial meeting  will  be  held  at  the  Grand 
Street  Boys'  Clubhouse  in  New  York 
City,  and  is  expected  to  be  a  gala 
affair. 


The    old,    or    "museum",    corner    of    the    Malkames    collection 


Unique  Cinematic  Collection 


IP  is  proud  to  present  the  chronicle  of  Don  Malkames  (char- 
ter member  of  Cameramen's  Local  644,  New  York  City,  and 
also  a  licensed  projectionist  in  Yonkers,  N.  Y.),  who  has 
one  of  the  finest  private  collections  of  cinematic  lore  extant. 


This  the  story  of  an  extraordinary 
fellow  whose  counterparts  look 
back  on  the  early  years  of  motion  pic- 
tures with  more  than  affection  and 
nostalgia.  They  are  anxious  that  the 
film,  equipment  and  memorabilia  of 
the  movies'  turbulent  youth  be  saved 
from  almost  certain  destruction. 

One  of  the  outstanding  private  col- 
lectors of  these  historic  mementos,  Don 
Malkames  of  Tuckahoe,  N.  Y.,  is  a  top- 
flight motion  picture  cameraman,  and 
personifies,  perhaps,  the  ultimate  in  de- 
votion to  this  unusual  calling. 

Mr.  Malkames  revealed  that  he  had 
fallen  victim  to  the  movie  virus  at  the 
age  of  five  when  he  was  given  a  toy 
"magic  lantern,"  and  was  a  lost  soul 
at  the  age  of  17  when  he  promoted 
himself  a  professional  projector  and 
some  vintage  numbers  like  "Life  of 
Our  Saviour"  and  "Last  Days  of 
Pompei."  After  running  a  traveling 
show  he  convinced  his  father  that 
he  deserved  a  chance  to  make  his 
way  in  the  film  world  rather  than 
go  to  college.  The  West  Coast,  with 
the  then  booming  film  industry,  was 
his  next  stop. 

Malkames  returned  to  the  East 
Coast  in  the  early  30's,  and  in  1933 
he  began  his  film  and  equipment  col- 
lection which  today  is  one  of  the 
most  outstanding  in  private  hands. 

Exemplary  Housekeeping 

One  section  of  his  spotless  base- 
ment is  devoted  to  a  combination 
film  workshop  and  display  area  for 
his  equipment  collection.  A  wall 
contains  neat  rows  of  projectors,  each 
a   milestone  in   cinematic   history. 


One  niche  contains  an  Enterprise 
dissolving  stereopticon,  an  early  at- 
tempt to  make  projected  pictures 
move.  In  the  1897  section  can  be 
seen  a  Selig  "Polyscope,"  a  "Jen- 
kins "Phantoscope,"  and  a  Colt 
"Criteriascope."  A  Gaumont  "Dem- 
eny"  projector  of  1898,  gleaming 
with  its  brass  polished,  sits  on  a 
nearby  shelf. 

Advances  In  Art  Shown 

The  improvement  of  equipment 
can  be  seen  in  a  Powers  "Camera- 
graph,"  of  1904,  a  1900  "Motio- 
graph,"  and  a  1910  Edison  "Kineto- 
scope,"  one  of  several  of  the  famous 
'  Kinetoscopes"  of  various  periods 
which  he  owns.  Cameras  of  all  ages 
sand  about  the  room.  One,  well 
preserved  and  of  obvious  age,  has  a 
possible  distinction. 

"I'm  reasonably  certain  it's  the 
camera  D.  W.  Griffith  filmed  'Birth 
of  a  Nation'  with,"  Malkames  stated, 
stroking  it  paternally.  "And  this," 
he  continued,  moving  to  a  projector 
hoary  with  years,  "is  where  the  term 
'limelight'  came  from."  Opening  it 
he  pointed  out  the  stick  of  lime  which 
when  heated,  turned  incandescent, 
producing  an  intense  white  light. 

Personal  Preferences 

Malkames  prefers  to  collect  films 
which  are  unusual  rather  than  just 
old.  An  example  would  be  the  hand- 
colored  trick  film  by  George  Meilies 
of  1904,  or  "The  Bold  Bank  Rob- 
bery" (Lubin,  1903),  which  was  a 
bold  copy  of  "The  Great  Train  Rob- 


20 


INTERNATIONAL    PROJECTIONIST 


MARCH    1954 


Pension  Protection-— Goal  of  Labor 


Malkames'  Modern   Installation 

bery,"  of  which  he  owns  an  original 
Edison   print. 

In  his  beautifully-appointed  minia- 
ture theatre  with  dual  projection  set- 
up, he  can  run  off  films  from  his 
collection  of  more  than  350  of  his- 
torical value.  Lumiere's  "Arrival  of 
a  Train,"  Griffith's  "Battle  of  Eld- 
erbush  Gulch,"  or  Edison's  21-mrri- 
wide  "The  Wicked  Elf,"  can  be 
screened  with  ease,  sometimes  on 
the  original  equipment. 

One  projection  room  is  equipped 
for  21-mm  films  which  were  devel- 
oped from  1907  to  1910  by  Thomas 
Edison  for  home  showings.  Malk- 
ames has  examples  of  this  interesting 
variant  still  in  their  original  con- 
tainers. 

The  number  of  theatre  fires  in 
France  in  the  early  part  of  the  cen- 
tury prompted  the  development  there 
of  28-mm  devices  for  showing  fire- 
proof acetate  film.  Laws  were  pass- 
ed forbidding  the  use  of  nitrate  film 
on  28-mm  machines,  and  France  and 
Germany  produced  acetate  films  in 
goodly  numbers.  Production  began 
to  cease  around  1922;  but  Malk- 
ames possesses  good  specimens  and 
frequently   screens   them. 

Films  of  this  early  era  are  not 
exclusively  shown  in  Malkames'  little 
theatre,  for  he  has  installed  modern 
35-mm  equipment.  It  would  not  be 
unusual  for  "Policeman's  Love  Af- 
fair," (Lubin,  1903)  to  be  followed 
by  the  latest  wide-screen  or  3-D  pro- 
duction. 


"^^^ 

'•a 

^                  ^^m^Hffl 

w; 

1^           ^iIkbIKhIb! 

(>  ' 

^iiF^    ~. 

M 

T          7                       -        ^ 

The  relationship  between  Social  Security  benefits 
and  private  pension  plans  is  very  important.  This 
is  the  sixth  and  final  article  in  a  series  on  pen- 
sions wrhich  reflect  the  official  viev/  of  the  AFL. 


VI 


Museum's  Miniature  Theatre 


BENEFIT  schedules  of  some  pen- 
sion plans  have  been  constructed 
in  such  a  way  as  to  make  certain  allow- 
ances for  benefits  available  under  the 
Federal  Old  Age  and  Survivors'  Insur- 
ance program,  commonly  known  as  So- 
cial Security.  Generally  speaking,  this 
has  been  done  in  one  of  two  ways: 
either  through  the  use  of  an  "inte- 
grated" formula;  or  through  a  so-called 
"offset"  formula. 

An  integrated  formula  is  one  which, 
in  relating  benefits  to  earnings,  pro- 
vides a  higher  percentage  benefit  on 
that  portion  of  earnings  which  is  in  ex- 
cess of  the  Social  Security  cut-off  level 
(formerly  $3,000,  now  $3,600  under  the 
1950  amendments)  than  it  does  on  the 
portion  below  that  level. 

For  instance,  the  plan  might  contain 
a  formula  which  calls  for  a  benefit  of 
1%  of  earnings  of  up  to  $3,600  a  year, 
plus  2%  of  all  earnings  in  excess  of 
$3,600,  for  each  year  of  service  from 
entrance  until  65. 

Formulas  of  this  type  are  used  as  a 
means  of  providing  higher-paid  em- 
ployees with  a  larger  pension  than 
would  otherwise  be  possible  under  In- 
ternal Revenue  regulations.  These  reg- 
ulations provide  that  no  employee  can 
receive  a  greater  pension  in  proportion 
to  his  earnings  than  any  lower  paid 
employee,  assuming  identical  periods  of 
service  and  taking  S.  S.  into  account. 
Otherwise,  employer  contributions  to  the 
plan  will  not  be  tax  exempt. 

The  "Offset"  Formula 

Some  plans  take  account  of  S.  S. 
benefits  through  the  use  of  a  so-called 
automatic  "offset"  formula,  wherein  the 
benefit  schedule  of  the  plan  is  stated  as 
a  certain  amount  or  percentage  inclu- 
sive of  the  primary  S.  S.  benefit.  In 
other  words,  the  employer  promises  to 
pay  only  the  difference  betiveen  what 
the  worker  gets  in  primary  benefits  and 
the  amount  the  formula  sets  forth. 

Unlike  the  "integrated"  plans  de- 
scribed above,  "offset"  plans  are  de- 
signed to  compensate  automatically  for 
future  changes  in  S.  S.  rather  than  just 
to  take  account  of  the  existing  level  of 
S.  S.  benefits.  Any  improvement  in 
OASI  benefits,  regardless  of  whether  or 
not  employer  contributions  to  OASI 
are  increased,  will,  with  the  offset  de- 


vice, reduce  the  amount  of  benefits  pay- 
able imder  the  plan,  and  the  employ- 
er's cost  will  drop  accordingly. 

"Offset"  Disadvantages 

The  level  of  benefits  available  through 
S.  S.  will,  of  course,  always  have  an  im- 
plicit bearing  upon  the  level  of  benefits 
which  a  union  might  desire  to  provide 
through  a  private  negotiated  plan,  even 
though  S.  S.  is  not  referred  to  in  the 
terms  of  the  plan.  Obviously,  a  private 
pension  of,  say,  $80  a  month  would  be 
much  less  satisfactory  to  a  union  group 
if  there  were  no  imderlying  structure  of 
S.  S.  benefits  to  which  it  might  be  added. 

Also,  inasmuch  as  the  negotiation  of 
a  pension  plan  involves  the  segregation 
of  a  sum  of  money  which  could  other- 
wise have  been  used  for  a  cash  wage 
increase,  an  increase  in  S.  S.  benefits 
may  make  it  less  desirable  to  sacrifice 
a  future  wage  increase  in  order  to  add 
further  to  the  level  of  private  pension 
benefits. 

Nevertheless,  to  express  this  relation- 
ship in  the  form  of  an  automatic  offset 
gimmick  in  the  benefit  formula  is  a  very 
questionable  practice.  In  the  first  place, 
it  implies  acceptance  of  the  proposition 
that  the  level  of  combined  benefits  set 
forth  in  the  plan  is  so  nearly  adequate 
that  any  increase  in  S.  S.  during  the 
term  of  the  agreement  can  be  spared  by 
the  workers  so  as  to  be  used  to  cut  the 
employer's  costs  rather  than  to  provide 
a  higher  level  of  benefits.  Few  plans 
now  provide  benefits  high  enough  to 
iustify  this  proposition. 

Employer  Support  Lacking 

Third,  the  argument,  advanced  by 
some,  that  such  provisions  would  induce 
employers  to  lend  their  support  to,  or 
cease  to  oppose,  necessary  improve- 
ments in  the  S.  S.  system  has  not  been 
borne  out  by  the  facts,  and  is  not  likely 
to  be. 

Over  the  long  run,  the  cost  to  the 
employer  of  a  certain  level  of  pensions, 
provided  through  a  private  plan  which 
makes  no  provision  for  vesting*  —  and 
which  is  loaded  with  so  many  maximum 
limits    and    restrictions    on    eligibility. 


•  The  word  "vesting"  refers  to  a  complete  and 
consumated   right   which   cannot   be   taken   away. 

(Continued  on  page  29) 


rNTERNATIONAL    PROJECTIONIST      •      MARCH    1954 


21 


!)!> 


^^Omnisphere 

—  the  True  Total  Cinema? 


In  line  with  its  long-estabEished  policy  of  providing  a  forum  for 
anybody  hoving  anything  interesting  to  say  about  the  projec- 
tion process,  IP  herewith  presents  one  point  of  view  anent  the 
"total"    cinema,    supplemented     by     its    own     views    thereon. 

By  JOZEF  COHEN 

University  of  Illinois,  Urbana,   III. 


THE  TOTAL  cinema  made  its 
modern  debut  in  the  form  of 
Cinerama,  utilizing  three  synchronized 
projectors  and  about  146  degrees  of 
projection  arc.  Here  was  demon- 
strated conclusively  the  importance  of 
the  peripheral  vision  in  achieving  the 
enormous  enveloping  effect  which 
transports  the  audience  outside  of  the 
theater. 

The  total  dnema  is  very  old,  and 
was  considered  almost  as  soon  as  mo- 
tion pictures  were  developed.  Even 
before,  still  projection  in  360°,  using 
multiple  projectors,  was  demonstrated 
in  the  United  States  by  the  Chase 
Electric  Cyclorama  Co.  of  Chicago  in 
1899.  In  1900,  Grimoin-Sanson  placed 
ten  synchronized  cameras  in  the  bas- 
ket of  a  balloon  and  drifted  over 
Paris,  recording  the  first  panoramic 
motion  pictures.  Later  the  film  was 
shown  by  ten  synchronized  projectors 
in  a  complete  circle.  The  theater  was 
at  the  Paris  Exposition  of  1900,  and 
was  called,  as  you  might  expect,  Cine- 
orama. 

The  "Moussard"  Principle 

During  the  last  half  century  there 
have  been  many  attempts  to  develop 
cameras  and  projectors  for  pictures  on 
a  wide,  curved  screen.  Almost  all  of 
these  are  based  on  the  so-called  prin- 
ciple of  Moussard,  which  is  the  same 
as  that  incorporated  in  "still"  pan- 
oramic cameras  which  photograph 
high  school  graduation  classes. 

In  the  1930's,  Eastman  Kodak  Co. 
perfected  the  Widescope  camera  on  the 
same  principle;  Fred  Waller,  the  de- 
veloper of  Cinerama,  has  many  patents 
on  similar  cameras.  Because  it  is  in- 
herent in  the  principle  that  the  lens 
shall  rotate  on  its  rear  node,  cameras 
of  this  type  are  impractical,  for  only 
one  very  narrow  segment  of  the  pic- 
ture can  be  projected  at  any  one  time. 


Waller  finally  adopted  three  projec- 
tors, and  we  know  the  result  as 
Cinerama. 

Although  the  enveloping  principle 
was  properly  demonstrated  in  Cine- 
rama, the  three  projectors  do  not  syn- 
chronize, the  color  temperatures*  of 
the  three  projection  lamps  are  not 
equal,  and  the  three  portions  of  the 
screen  are  therefore  clearly  distin- 
guishable. Also,  it  was  my  experience 
that  the  enveloping  effect  could  be 
broken  if  the  head  is  shifted  to  take 
in  even  a  portion  of  the  outside  peri- 
phery. 

To  counter-effect  these  difficulties, 
American  Optical  Co.  (Dr.  Brian 
O'Brien  and  Dr.  Robert  E.  Hopkins) 
has  designed  a  new  system,  called 
Todd-AO,  which  I  understand  utilizes 
65-mm  film  and  a  wide-angle  lens  of 
about  140°  of  projection  arc.  This 
film  size  is  undesirable,  since  it  neces- 
sitates the  forming  of  new  processing 
machinery,  and  also  the  picture  should 
at  least  be  capable  of  coming  out 
farther  around  the  audience. 

I  believe  that  the  problem  of  pro- 
jection of  motion  pictures  on  a  cir- 
cular screen  can  be  accomplished  for 
any  projection  arc,  up  to  360°,  using 
only  one  projector,  35-mm  film,  and 
several  ordinary  stock  lenses.  This 
camera  and  projector  are  the  subject 
of  a  patent  application,  and  although 
a  disclosure  cannot  be  made  here,  the 
patent  application  is  available  to 
proper  and  responsible  people. 

Projection  "Dreamboat" 

This  system,  which  I  have  called 
"Omnisphere,"  will  take  and  project 
motion  pictures  of  the  width  of  Cine- 
rama,  or   a   complete   half   circle,    or 


even  a  full  circle,  if  anyone  would 
want  it. 

I  cannot  emphasize  too  strongly  that 
there  is  exhibited  not  the  slightest 
spherical  aberation,  and  that  the  defi- 
nition of  the  picture  so  produced  is 
equal  to  or  better  than  that  found  in 
ordinary  theater  projection.  Further, 
the  nature  of  the  optical  system  per- 
mits the  most  efficient  use  of  the  light 
source,  so  that  the  brilliance  of  the 
image  is  equal  to  or  better  than  or- 
dinary theater  projection. 

"Omnisphere"  projects  pictures  in 
motion  simultaneously  in  180°. 


•Those  who  wish  fo  pursue  th;s  matter  of  color 
temperature  in  greater  detail,  are  referred  to  the 
article  "Co^or  Temperature:  Origin  and  Meaning," 
by    F.    T.    Bowditch,    IP   for    November,    1947,    p.    5. 


IP  Eyes 
"Omnisphere" 

WE  HAVE  checked  the  history 
given  in  the  opening  paragraphs 
of  Professor  Cohen's  leter.  But  this, 
after  all,  is  not  particularly  important. 
We  certainly  do  not  agree  with  his 
statement  that  the  Cinerama  projec- 
tors do  not  synchronize  and  that  the 
color  temperatures  of  the  three  lamps 
are  not  equal. 

Most  certainly  the  projectors  do 
synchronize,  to  the  best  of  our  under- 
standing. And  there  is  no  special  rea- 
son why  the  color  temperatures  of  the 
three  arcs  should  be  noticeably  dif- 
ferent, nor  even  that  the  three  prints 
which  are  synchronously  projected 
should  not  be  identical  in  color,  if 
careful  processing  is  carried  out. 

"Invisible"  Joins? 

We  agree  with  Professor  Cohen, 
however,  that  the  joints  between  the 
center  picture  and  the  side  pictures  are 
visible,  despite  the  action  of  the  so- 
called  "gigolo".  We  rather  doubt  that 
these  joints  can  be  made  invisible  in 
any  practical  and  economic  system 
using  multiple  films  simultaneously. 

We  are  not  in  agreement  with  Pro- 
fessor Cohen  as  to  the  enveloping 
effect.  There  is  only  a  relatively  small 
portion  of  the  house  in  Cinerama 
where  one  is  completely  "enveloped" 
by  the  picture.  From  the  sides  and 
back  of  the  orchestra,  and  from  the 
balconies,  there  is  certainly  no  en- 
veloping effect. 

As  to  the  Todd-AO  process,  we  do 
not  regard  this  as  being  a  member  of 
the  "Cinerama  family".  It  is  more 
closely  related  to  CinemaScope,  but 
differs  in  using  a  larger  film  and  there- 


22 


INTERNATIONAL    PROJECTIONIST      •      MARCH    1954 


fore  producing  sharper  and  less  grainy 
pictures.  It  is  not  known  how  far  the 
public  will  respond  to  such  an  im- 
provement in  picture  quality.  In 
de  luxe  houses  such  a  system  might 
be  advantageous  even  though  costly. 

Large-Area  Light  Dispersion 

In  closing  stages  of  his  description, 
Professor  Cohen  speaks  of  using  sev- 
eral conventional  lenses  on  one  pro- 
jector with  35-mm  film  and  a  single 
projection  arc  to  produce  360-degree 
pictures!  We  can  only  observe  that 
this  is  a  good  trick  if  Professor  Cohen 
can  bring  it  off — particularly  if  he  can 
spread  the  light  of  the  arc  through  an 
optical  system  and  several  lenses  over 
five  or  ten  times  the  conventional  area 
and  still  have  just  as  bright  a  picture. 
We  shall  remain  on  the  sidelines  rela- 
tive to  this  claim  until  it  is  more  fully 
explained  and  a  conclusive  demonstra- 
tion is  given. 

Humans'  Field  of  View 

As  to  the  value  of  180-degree  pic- 
tures, psychologically  this  might  even 
be  undesirable.  The  field  of  view  of 
the  eyes  is  limited:  people  do  not  like 
to  keep  turning  their  heads  all  the 
time;  and  action  splattered  over  large 
horizontal  angles  and  areas  may  be 
distracting  rather  than  dramatic.  This, 
however,  is  conjectural.  And  the 
answer  must  await,  at  the  very  least, 
experimental  proof. 


New  Products  for  the  Industry 


All-Purpose  RCA  Plastic  Screen.  A 
new  vinyl  plastic,  aluminum  pigmented 
all-purpose  screen  adaptable  to  standard 
"flat,"  wide-screen  and  3-D  projection 
has  been  marketed  by  RCA.  Called  the 
Dyna-Lite  Silver  Screen,  it  is  made  of 
a  special  formula  vinyl  plastic  which  is 
flameproof,  tearproof  and  highly  mois- 
ture resistant.  A  special  metallic  coat- 
ing applied  after  the  screen  is  fabri- 
cated assures  a  uniform  reflection  sur- 
face for  3-D.  Another  feature  is  its 
imperceptable  seams,  it  was  said.  The 
seams  are  sealed  by  means  of  electronic 
equipment  which  leaves  the  en  ire  seam 
area  smooth,  flat  and  in  the  same  plane 
as  the  rest  of  the  screen  surface.  Also, 
the  entire  surface  of  the  screen  is  alumi- 
nized,  including  the  seams.  The  screen 
is  available  in  sizes  up  to  30  feet  by  60 
feet,  either  perforated  or  unperforated, 
the  later  being  recommended  for  16-mm. 

Best's  porthole  fire  shutters.  A  new 
liiie  of  porthole  fire  shutters,  designed  to 
meet  all  state  and  city  inspection  laws  - 
for  projection  room  operation  in  theatres, 
schools,  churches  and  all  types  of  audi- 
toriums, is  announced  by  Best  Devices 
Co.,  Inc.,  10921  Briggs  Road,  Cleveland. 
Four  distinct  types  of  shutter  are  avail- 
able in  standard  sizes  or  on  special  or- 
der for  picture  ports,  picture  and  stere- 
opticon  ports,  observation  ports,  and 
spotlight  ports. 

Each  shutter  consists  of  a  welded  steel 


By  Way  of  Definition 


Color  temperature  is  that  degree  of  luminescene  produced  by  a 
specific  light-emitting  source  (carbon  arc,  tungsten,  etc.)  which,  in 
turn,  is  based  upon  (a)  the  nature  of  the  light  source  and  (b)  the 
degree  to  which  it  is  heated. 

The  color  range  extends  from  a  dull  red  to  a  blue-white,  and  is 
subject  to  minute  variations  which  are  dependent  upon  the  degree 
of  care  expended  upon  the  operation  of  a  particular  equipment  ( s  j . 
Especially  is  this  true  when  two  motion  picture  projectors  are  used 
and  the  instantaneous  changeover  from  one  mechanism  to  the  other 
is  employed. 

Everyday  Examples  of  Color  Temperature 

The  glowing  coals  of  a  furnace,  the  heater  element  of  an  electric 
toaster  and  the  filament  of  an  incandescent  lamp  are  everyday 
examples  of  luminous  substances  that  have  a  color  related  to  their 
temperature.  When  these  substances  become  hotter  and  hotter,  their 
color  progresses  from  a  dull  red  at  low  temperatures  to  a  brilliant 
white  at  higher  temperatures. 

Scientists  have  learned  to  use  this  characteristic  of  heated  sub- 
stances to  set  up  an  exact  scale  with  which  light  may  be  compared 
and  exactly  described.  For  example,  the  similarity  between  the  light 
of  the  sun  and  that  of  a  high-intensity  arc  can  be  demonstrated  by  the 
fact  that  they  have  approximately  the  same  color  temperature. 


frame  to  hold  a  V4-Jnch  steel  drop-plate 
and  glass.  Simultaneous  closing  of  all 
Best  shutters  in  a  projection  room  may 
be  accomplished  by  a  semi-automatic 
red-brass  control  bar. 


Best's    porthole    fire    shutters    mounted    in    a 
projection   room. 


Ampex  Tape  Recorder  Reel.  A  new 
1200-foot  reel,  using  the  standard  Na- 
tional Association  of  Radio  and  Televi- 
sion Broadcasters  hub  to  eliminate  tape 
stretch,  breakage,  and  pitch  changes  as 
tne  tape  approaches  the  end  of  the  reel, 
has  been  announced  by  Ampex.  The 
new  8-inch,  all-metal  reel  can  be  used  on 
any  machine  which  makes  the  NARTB 
hub.  Until  now,  the  critical  recordist 
has  had  to  use  a  lOi/^-inch  reel,  regard- 
less of  the  length  of  the  tape,  to  avoid 
the  effects  caused  by  the  extreme  tension 
of  the  tape  near  the  end  of  a  small  reel. 

Reeves  Lifetime  Magnetic  Tape.  A 
magnetic  tape  guaranteed  never  to  break 
or  curl  when  used  under  normal  con- 
ditions of  recording  or  playback  has 
been  announced  by  Reeves  Soundcraft 
Corp.,  New  York,  ft  is  claimed  that  the 
tape  owes  its  permanent  qualities  to  a 
newly  developed  magnetic  coating  and 
to  a  base  of  Du  Pont  "Mylar"  polyester 
film.  Break-strength  of  the  new  base  is 
said  to  be  2^/2  times  as  great  as  standard 
cellulose  acetate  base  tape. 

New  Dual  Rewind.  Developed  and 
marketed  by  Carroll  Hathorn,  projec- 
tionist at  the  Victory  Theatre,  Dayton, 
Ohio,  is  a  new  dual  rewind  machine 
designed  to  accommodate  reels  from 
trailer  size  up  to  5,000  feet,  taking  two 
reels  simultaneously.  The  rewind  is  es- 
pecially valuable  in  synchronizing  3-D 
or  stereophonic  reels  when  patching. 


INTERNATIONAL    PROJECTIONIST      •      MARCH    1954 


23 


Projectionists  whose  problems  appear  below 
will  each  receive  a  $5.00  check  from  IP. 
We'd  like  to  know  "what's  YOUR  problem?" 

Question  :  Perhaps  you  can  help  me  settle  a  problem  which  I  have  had  for 
the  past  five  years.  I  am  troubled  with  a  downdraft  in  each  lamphouse. 
This  is  bad  during  the  winter  months,  but  it  really  gets  troublesome  when 
the  attic  fans  are  in  use  in  the  theatre  auditorium.  These  fans  exhaust  from 
openings  directly  over  the  balcony  and  into  the  attic. 

In  the  past,  I  was  able  to  stand  the  "smog"  in  the  projection  room 
because  I  used  the  1  kw.  lamps,  but  recently  I  installed  Brenkert  Enarcs 
using  a  larger  trim  and  more  amperage.  Now  I  have  to  leave  the  projection 
room  when  these  attic  fans  are  in  use.  I  clean  my  lenses,  and  within  two 
hours  they  are  completely  covered  with  a  blue-white  soot. 

The  lamp  stacks  are  attached  to  6-inch  ducts  which  are  directly  over 
each  lamp  and  run  up  through  the  attic  to  the  roof  and  ext^id  about  2% 
feet  above  the  roof.  Just  above  each  lamp  I  have  installed  the  Strong  back- 
draft  section  of  pipe  (grilled  pipe  with  the  cone  in  it).  This  seems  to  have 
no  effect  on  the  draft. 

Also,  in  the  center  of  the  projection  room  is  a  20-inch  open-air  duct 
opening  onto  the  roof.  Although  I  suggested  to  the  manager  of  my  theatre 
that  a  3-speed  fan  be  installed  in  this  duct,  and  that  the  two  lamps  ducts 
be  joined  to  the  large  {20-inch)  air  duct,  nothing  has  been  done  about  it. 
You  probably  know  how  theatre  exhibitors  are  —  they  will  pay  $150  to  have 
new  shelves  built  for  the  concession  stand  but  balk  at  spending  an  extra 
dime  on  the  projection  room. 

Lavfrence  Johnson 
Aggie   Theatre,    Stillwater,    Okla. 


Answer:  The  suggestion  you  make 
in  the  last  paragraph  of  your  letter 
leads  us  to  think  you  have  hit  on  the 
best  method  of  solving  your  problem. 
The  downdraft  you  complain  of  is 
most  serious  in  the  summer  when 
the  attic  fans  are  in  use,  leading  us 
to  suspect  that  there  is  a  year-'round 
situation  whereby  air  is  sucked  from 
your  projection  room  by  the  thea- 
tre's ventilating  system,  tending  to 
cause  a  partial  vacuum  in  your  pro- 
jection room  that  sucks  air  down 
through  the  ducts. 


the  degree  of  down- 
from  winter  to  summer, 
no  way  for  us  to  gauge 
it  is  probable  that  if  the 
were  connected  to  the 
■air  duct  that  you  de- 
a  motor-driven  fan  in- 
would  be  no  more  down- 


Although 
draft  varies 
and  there  is 
its  pressure, 
two     ducts 
larger    open- 
scribe,    and 
stalled,  there 
draft. 

Something  else  to  check  on,  how- 
ever, is  the  present  location  of  your 
exterior  exhaust  stacks  or  ducts.  It 
has  often  been  found  that  prevailing 
winds,  if  of  great  enough  velocity 
and  blowing  in  the  direction  of  the 
exterior  lamp  exhaust  stack,  can  form 
an  impasse  for  the  exhausted  gasses, 
creating    a    backdraft    and    bringing 


the   fumes    back    into    the    projection 
room. 

The  British  have  contrived  a  rather 
ingenious  device  for  exhausting  pro- 
jection room  fumes  that  has  the 
added  advantage  of  resisting  back- 
drafts.  The  device,  known  as  the 
Arvcent,  is  described  as  follows  by  an 
English  projection  expert: 

The  principle  involved  is  that  the  ven- 
tilating system  is  manufactured  as  a  unit 
to  be  mounted  on  the  top  of  each  projec- 
tion lamp;  the  fan  unit,  of  the  turbine 
design,  draws  the  air  across  the  motor  unit 
itself  and  directs  the  stream  of  air  into  a 
jet  unit  under  pressure.  The  jet  unit  blows 
the  air  into  the  main  exhaust  chimney  at 
great  force  so  as  to  cause  a  vacuum  behind, 
which  induces  the  fumes  from  the  arc  in  a 
controlled  exhaust  movement.    Therefore,  it 


Brockliss  "Arcvent"  mounted 


Steel  scaffolding,  made  up  of  lightweight 
tubular  steel  frames  and  cross  braces  is  shown 
supporting  a  large  CinemaScope  screen  at  the 
Grove  Theatre  in  Freeport,  N.  Y.  It  rigidly 
maintains  a  predetermined  curve  on  a  24-  by 
64-foot  screen.  The  steel  framework,  manu- 
factured by  Safeway  Steel  Products,  Inc.,  Mil- 
waukee, Wis.,  is  similar  to  that  sold  for  light 
construction   work   to   the   building   trades. 


i^  certain  that  the  objectionable  fumes 
which  deposit  themselves  on  the  lamphouse 
parts  and  mirror  generally  are,  by  the  new 
system  of  ventilation,  induced  by  controlled 
draft  to  the  open  air. 

Wind  Direction,  Velocity  Immaterial 

It  follows  naturally,  also,  that  prevailing 
winds  at  the  outside  of  the  theatre  do  not 
interfere  with  this  ventilation,  due  to  the 
force  of  the  jet  unit  in  operation.  It  neces- 
sarily follows,  also,  that  the  Arcvent  does 
give  controlled  ventilation  irrespective  of 
weather  conditions  and  high  efficiency  con- 
cerning the  burning  of  the  arc,  which  is 
undisturbed  by  any  exterior  elements. 

In  addition,  the  fan  unit  also  (which 
should  be  left  running  all  day  whether  the 
projection  lamp  is  burning  or  not),  ven- 
tilates the  projection  room  and  in  the  case 
of  an  accidental  fire  would  disperse  the 
fumes  quickly  from  the  projection  room, 
s'nce  the  fan  unit  is  situated  near  the  film 
mechanism;  also,  the  unit  being  left  in 
operation  all  day  cools  the  working  parts 
of  the  lamp  when  not  in  use.  Thus  the  pro- 
jection lamp  parts  are  ready  for  handling 
without  any  undue  heat  due  to  the  extra 
cooling  which  is  induced  by  the  system. 

A  Projection  Room  "Must" 

We  found  that  mirrors  are  kept  very  much 
cleaner  and  do  not  require  the  usual  wip- 
ing. Altogether,  this  unit  invention  is  being 
received  by  all  projectionists  as  a  very  use- 
ful asset  to  their  working  conditions.  We 
are  enclosing  a  copy  of  a  letter  received 
from  a  projectionist  who  is  very  impressed 
with  the  capabilities  and  performance  of 
this  apparatus.  We  should  also  mention  that 
we  have  received  a  further  letter  from  a 
second  projectionist  which  points  out  that 
the  Arcvent  unit  should  be  installed  in  all 


24 


INTERNATIONAL    PROJECTIONIST      •      MARCH    1954 


projection  rooms,  as  expense  incurred  for 
installing  the  units  is  as  nothing  when  it 
is  considered  that  human  lungs  cannot  be 
bought   at  any   price. 

Our  attention  was  drawn  to  this  problem 
by  the  projectionist  of  the  R.M.S.  Coronia, 
who  visited  your  office  and  indicated  he 
had  seen  the  Arcvent  in  operation  while 
his  ship  was  docked  in  Liverpool. 

Enclosed  in  Mr.  Durban's  communi- 
cation is  the  following  letter  from  the 
manager  of  a  British  theater  in  the 
provinces: 

Works  Out  Perfectly  in  Practice 

We  are  in  an  exceptionally  exposed  po- 
sition, standing  on  a  hill  with  no  sheltering 
building  near  and  from  5-9  miles  of  open 
country  in  any  direction.  On  the  southern 
and  westerly  sides  is  a  high  range  of  hills 
with  Salisbury  Plain  on  the  other  side,  so 
the  prevailing  winds  come  with  a  fierce 
blast  and  the  first  object  to  stop  them  is 
our   theatre. 

So  we  have  had  a  fierce  down-draught 
in  the  Arcvents.  No  mirror  has  been  shat- 
tered through  this,  and  it  used  to  be  the 
normal  thing  to  carbon-up  with  the  fumes 
from  the  other  arc  blowing  into  one's  face: 
on  windy  days  fumes  and  smoke  would 
pour  out  of  the  lamphouses.  I  am  happy 
to  say  this  is  now  a  thing  of  the  past,  and 
the  air  in  the  projection  room  is  clear  and 
dust-free.  What  did  cause  some  surprise  was 
the  definite  increase  of  light  towards  the 
end  of  the  performance,  due  to  non-cloud- 
ing of  the  mirrors. 


Question.  Thanks  for  your  recent  art- 
icle on  splicing  CinemaScope  film  (Dec. 
1953).  There  are  a  few  questions  I 
would  like  to  ask  though.  First,  I  have 
not  had  much  luck  with  the  wire  brush. 
Could  you  help  me  out  on  this.  Second, 
will  you  find  enclosed  some  splices  that 
came  loose  in  the  projectors  while  we 
played  "The  Robe"  in  our  town.  Two  of 
these  caused  me  to  stop  the  show  and 
rethread.  The  rest  came  loose  on  the 
rewind.  I  have  had  much  trouble  with 
patches  of  this  kind  before.  Could  you 
please  tell  me  why  the  exchanges  have 
discontinued  the  one-hole  splice. 

Lamar  McKinnon, 
Rose  Theatre,  Thomasville,  Ga. 

Answer.  You  do  not  state  in  your 
letter  exactly  what  trouble  you  en- 
countered in  using  the  wire  brush. 
However,  its  manufacturer  states  that 
the  edges  of  the  wires  sometimes  be- 
come slightly  bent  and  tangled  after 
a  period.  This  can  be  corrected  by 
carefully  twisting  the  strands  with  a 
circular  motion  or,  if  necessary,  by 
sniping   off   a   small   portion. 

You  also  mention  that  some  ex- 
change splices  came  loose  while  you 
were  projecting  "The  Robe."  The 
samples  of  broken  splices  you  sent 
were  made  on  an  automatic  splicer 
which  cuts  the  film  in   a   slight   arc, 


when  you  use 

projection  lenses 


"^^VViv" 


Yes  "MOVIES  ARE  BETTER"  and  they're  "BETTER  THAN  EVER"  if  you 
use  Super  Snaplite  f/1.9  Projection  Lenses.  These  superb  lenses 
give  you  maximum  light,  maximum  sharpness,  and  maximum  contrast 
.  .  .  maximum  viewing  satisfaction  for  your  patrons. 

True  speed  of  f/1 .9  in  every  focal  length  up  to  7  inches. 
Ask  for  Bulletins  212. 

"You  Get  More  Light  with  Super  Snaphte" 


®9 


PLANT: 
Northampton,     Massachusetts 


COKPOKATIOK 


NEW  YORK  OFFICE:  30  Church  St.,  New  York  7,  N.  Y. 


INTERNATIONAL    PROJECTIONIST      •      MARCH    1954 


25 


avoiding  a  patch  over  the  sprocket 
holes.  This  type  of  splicer  usually 
gives  good  results  with  the  standard 
type  of  film  not  employing  magnetic 
sound  and  should  do  equally  well 
with  CinemaScope  provided  the  film 
is  properly  scraped  on  both  sides 
and  the  splicer  is  in  proper  adjust- 
ment. 

A  disadvantage  is  that,  since  the 
operation  is  automatic,  it  is  diffi- 
cult for  the  inspector  to  make  abso- 
lutely sure  that  the  magnetic  striping 
has  been  completely  removed  from 
the  sprocket  hole  area  and  the  cor- 
rect amount  of  cement  applied.  It 
may  be  that  further  changes  in  addi- 
tion to  resetting  the  register  pins 
will  be  necessary  in  order  to  better 
adapt  this  splicer  to  CinemaScope 
film. 

The  wire'  brush  is  very  important 
in  projection-room  splicing  of  Cine- 
maScope film.  The  sprocket-hole 
area  is  delicate  and  easily  torn  if 
scraped  too  much  with  a  blade,  mak- 
ing the  brush  most  valuable  in  re- 
moving traces  of  the  magnetic  strip- 
ping.    Also,    the    particular    pressure 


clamp  arrangement  in  the  Neuscope 
bench  splicer,  which  is  designed  es- 
pecially for  CinemaScope  film,  makes 
it  necessary  to  condition  the  splice 
area  with  the  wire  brush  if  the  best 
results  are  to  be  obtained. 


CinemaScope  Lens  Mount 

A  universal  lens  mount,  designed  to 
simplify  the  problem  of  switching  from 
CinemaScope  to  standard  projection  dur- 
,  ing  a  show  in  a  projection  room 
equipped  with  the  usual  two  projectors, 
has  been  developed  and  marketed  by 
Projection  Products,  146  East  151st  St., 
New  York  City. 

The  attachment  is  designed  for  use 
with  Simplex  projectors  using  lenses 
with  2-25/32  inch  diameter  lens  barrels. 
Space  considerations  in  the  projector 
prevent  using  a  similar  lens  mount  cap- 
able of  accepting  a  4-inch  lens  because 
there  would  not  be  sufficient  space  for 
the  vertical  and  horizontal  adjustments 
of  the  larger  lens  which  the  universal 
mount  makes  possible. 

According  to  Dave  Corbett,  head  of 
Projection  Products,  the  need  for  this 
lens  mount  may  be  stated  briefly  as  fol- 


lows: If  an  anamorphic  attachment  is 
removed  from  a  projector  to  show  a 
newsreel  or  other  type  of  standard  film, 
it  will  be  found  that  the  lower  edge  of 
the  screen  image  is  raised  slightly  so 
that  the  masking  will  not  meet  the  edge 
of  the  picture.  Since  masking  moves  in 
from  the  sides  or  down  from  the  top  of 
the  proscenium,  but  not  up,  it  is  neces- 
sary to  compensate  for  this  horizontal 
displacement  by  slightly  changing  the 
position  of  the  lens  then  in  the  projector. 

There  is  also  a  vertical  or  side-to-side 
displacement.  In  addition  to  becoming 
smaller,  the  image  on  the  screen  is  dis- 
placed vertically  by  from  1  to  3  feet 
when  a  standard  film  is  projected.  This 
displacement    is    also    compensated    for. 

Corbett,  who  has  had  15  years  exper- 
ience in  the  repair  of  projection  ma- 
chinery, opened  his  present  well-equipped 
machine  shop  in  1950.  He  does  a  variety 
of  repair  work  for  customers  throughout 
the  country  in  addition  to  research  and 
development  work  and  the  manufacture 
of  special  parts.  When  the  rush  for  3-D 
equipment  was  on  last  year.  Projection 
Products  did  a  brisk  business  supplying 
mechanical  interlocks  and  25-inch  maga- 
zines. The  shop  is  now  also  engaged  in 
producing  experimental  rear  projection 
equipment. 


FOR  THOSE  WHO  NEED  THE  BEST! 

Best  Results  Are  Obtained  From   The   Best  Materials.    Use 

ETHYLOID  HLM  CEMENT 

AND  YOU  USE  THE  BEST! 


That  is  why  Ethyloid  is  the  stand- 
ard film  cement  in  all  Hollywood 
studio  cutting  rooms.  Ethyloid  is  the 
projectionists'  friend  in  thousands  of 
theatres  in  the  United  States,  Cana- 
da and  abroad.  The  Army  and  Air 
Force  Motion  Picture  Services  also 
use  Ethyloid  in  large  quantities  — 
domestic  and  overseas  branches. 

We  do  not  sell  all  the  film  cement 
used  throughout  the  world  —  but  we 
do  sell  a  very  large  percentage. 

Give  Ethyloid  Film  Cement  a  try 
and  you'll  use  it  always.  Make  your 
next  film  cement  order  Ethyloid, 
you'll    be   glad    you    did,   especially 


when  you  splice  3-D  and  Cinema- 
Scope prints.  We  guarantee  you 
won't  have  to  reinforce  your  splices 
with  ceilulo3e  tape  to  make  them 
hold.  You're  in  trouble  when  3-D  or 
CinemaScope  splices  come  apart 
during  projection.  (They  say  it  has 
happened!) 

AM  theatre  supply  dealers  in  the 
United  States  from  coast  to  coast 
sell  Ethyloid  Film  Cement.  In  Cana- 
da get  Ethyloid  from  all  branches 
of  Perkins  Electric  Co.,  Ltd. 

FISHER  MANUFACTURING  CO. 

Manufacfuring  Chemists 
1   SALTER  PL.  ROCHESTER  13,  N.  Y. 


26 


INTERNATIONAL    PROJECTIONIST 


MARCH    1954 


PERSONAL     NOTES 


Clarence  W.  Lindrose,  jr.,  of  Hertner 
Electric  Co.,  Cleveland,  has  been  ap- 
pointed to  the  firm's  Transverter  sales 
and  service  field  staff.  He  will  work 
out  of  the  Cleveland  factory  office,  cov- 
ering the  continental  U.  S.  and  Canada, 
and  call  on  National  Theatre  Supply 
branches  in  29  major  cities,  as  well  as 
the  General  Theatre  Supply  Co.  in 
Canada. 

Edouard  p.  Genock  has  been  appointed 
head  of  Tv  production  at  the  Eastman 
Kodak  Co.  Genock  has  been  engaged 
in  a  variety  of  editorial  and  technical 
work  for  radio,  motion  pictures  and  Tv 
over  a  period  of  25  years,  having  been 
active  with  March  of  Time,  Paramount 
News,  Telenews  and  others. 


James  S.  Brown  has  been  appointed 
division  manager  of  a  newly  established 
Chicago-Milwaukee  sales  territory  for 
Anipro  Corp.,  Chicago,  manufacturer  of 
motion  picture  projectors  and  tape  re- 
corders. Formerly  a  midwest  territory 
representative,  he  will  now  be  responsi- 
ble for  dealer  appointments,  dealer 
salesmen  training,  and  the  conduct  of 
merchandising  programs  in  his  new 
territory. 

Dr.  John  G.  Frayne,  engineering  man- 
ager of  the  Westrex  Corp.,  left  Holly- 
wood recently  on  a  two-month  round- 
the-world  trip,  which  will  include  visit- 
ing ten  of  the  countries  where  Westrex 
has  supplied  large  quantities  of  theatre 
and  studio  equipment.  Dr.  Frayne  has 
been  closely  associated  with  sound  re- 
producing and  recording  activities  in 
the  motion  picture  industry  since  1929, 
and  is  an  expert  on  magnetic  sound. 

John  Jipp  has  joined  the  Ampex  Corp., 
Redwood  City,  Calif.,  as  manager  for 
instrumentation  recorder  sales  for  the 
firm,  which  also  produces  theatre  sound 
equipment.  Jipp  was  formerly  with  Mo- 
torola, Inc.,  for  which  he  established  a 
West  Coast  parts  and  service  depot. 

William  E.  Roberts  has  been  elected 
to  the  newly-created  office  of  executive 
vice-president  of  Bell  &  Howell.  A  17- 
year  veteran  with  the  company,  Roberts 
has  been,  vice-president  in  charge  of  op- 
erations since  1951.  During  World  War 
n  he  was  responsible  for  the  produc- 
tion and  sale  to  the  government  of  Bell 
&  Howell  optical  and  photographic 
equipment. 


Mobile  3-D,    16-MM  Theatre 

The  Ramsdell-Victor  3-D  system  has 
been  installed  in  what  is  believed  to  be 
the  first  mobile  three-dimension  theater 
in  the  world.  The  16-mm  projectors  by 
the  Victor  Animatograph  Corp.,  Daven- 
port, Iowa,  are  being  put  to  work  for 
industry  by  the  Cincinnati  Lathe  and 
Tool  Company  for  the  showing  of  its 
15-minute,  3-D  film,  "A  Way  of  Think- 
ing." Produced  by  Floyd  Ramsdell,  of 
Worchester  Film  Corp.,  Worchester, 
Mass.,  the  film  dramatizes  production 
methods  of  C.  L.  &  T.  and  is  being 
shown   to   metalworking   shop   operators, 


vocational  school  leaders,  and  industrial- 
is'-S. 

Two  mechanically-linked  Victor  16- 
mm  motion  picture  projectors  are  in- 
stalled behind  the  driver's  seat  of  the 
"Magic  Carpet"  14i/2-ton  coach.  The 
theater  seats  eight. 

The  famous  Victor  Safety  Film  Trips 
play  a  vital  part  in  projection  of  this 
valuable  three-dimension  venture  by 
C.  L.  &  T.  The  Trips  (standard  on  all 
Victor  16-mm  projectors)  automatically 
stop  the  projectors  in  case  of  film  em- 
ergency, and  if  a  loop  is  lost  during 
projection,  the  entire  system  is  pro- 
tected  until  adjustment  is  made. 


SPROCKETS 


The  new  wide  screen  presentations  de- 
mand rock  steady  projection  which  for 
years  exhibitors  have  been  expecting 
and  getting  by  using  LaVezzi  sprockets. 
In  addition,  the  clean  burr-free  teeth  are 
easier  on  the  film — an  important  factor 


with  the  narrow  perforations  of  the  four 
stripe  magnetic  film.  LaVezzi  sprockets 
are  properly  engineered  to  resist  wear — 
and  are  hardened  for  that  extra  margin 
of  usable  life.  For  better  projection  and 
peace  of  mind  get  LaVezzi  and  be  sure! 


Conversion  kits  for  most  models  of  Projectors  and 
Sound  Reproducers  —  See  your  Theatre  Equipment 
Dealer  cr  write  direct  for  illustrated  brochure 


LaVezzi  Machine  Works 


4635   WEST   LAKE  ST. 


CHICAGO  44,  ILL. 


INTERNATIONAL    PROJECTIONIST      •      MARCH    1954 


27 


Brush-up  on  Fundamentals 

Rectifiers  for  Projection 


AN  ELECTRONIC  rectfier  is  a  con- 
-^*-  version  device,  an  electrical  "One- 
Way  Street"  as  it  were,  which  will 
allow  current  to  flow  in  one  direction 
only  and  blow  the  whistle  if  it  tries 
to  obey  its  impulses  and  run  back 
again.  This  conversion,  or  rectification, 
is  really  a  simple  business  and  the 
circuitry  necessary  to  turn  the  trick 
is  quite  as  simple. 

Projectionists  and  theatres  have  no 
monopoly  on  unidirectional  electric 
power.  Electro-plating,  battery  charg- 
ing as  done  at  the  corner  garage,  gen- 
eral laboratory  work,  even  home  radio 
and  television  sets,  all  need  some  sort 
of  device  to  change  the  alternating 
current  from  the  public  power  lines 
into  direct  current. 

However,  in  this  piece  we  are  con- 
cerned only  with  rectification  as  re- 
gards theatre  projection  requirements 
and,  while  the  film  business  twirls 
like  a  Dervish  full  of  hashish,  with 
a  few  crystal  ball  looks  at  the  future. 

The  Transistor  Era 

As  IP  sees  it,  the  electronics  part 
of  the  amusement  business  within  a 
few  years  will  have  come  full  circle, 
from  the  crystal  of  the  old-time  "Hey, 
I  got  me  Pittsburgh!"  crystal  radio 
set  to  the  ultra-modern  germanium, 
silicon  or  whateverelse  "crystal"  trans- 
sistors  of  tomorrow. 

To  the  projectionist,  no  matter  how 
big  or  how  small  his  theatre,  rectifiers 
provide  him  with  the  direct  current 
he  must  have  and  cannot  get  from  the 
alternating  current  city  mains.  His 
principal  demand  is  for  DC  amperage 
for  operation  of  carbon  arcs  and  sound 
amplifiers. 

Rectifiers  play  the  field.  They  exist 
in  a  plentitude  of  sizes,  shapes  and 
types,  from  the  aforementioned  cat's 
whiskers  and  radio  crystals  of  almost 
pre-historic  time  (that's  BC  —  Before 
CinemaScope)  through  mercury  vapor 
tubes,  diode  vacuum  tubes,  and  dry 
plate  rectifiers  to  the  new  transistors. 
While  these  latter,  so  far,  have  had 
little  applicatien  in  the  picture  busi- 
ness (except  in  Hollywood  where  the 
big  brains  run  on  very  low  amperages 
anyway),  the  tiny  transistor,  with  its 


amazing  stability  and  unbelievably 
long  life  very  rapidly  is  replacing  other 
more  costly  and  less  efficient  units  in 
many  fields.  However,  excluding 
generators,  the  diodes  (or  two  fila- 
ment) tubes  and  the  dry  plate  recti- 
fiers, either  the  copper  oxide  or  the 
newer  selenium  types,  still  provide  for 
immediate  projection  requirements. 
The  crystaline  transistors,  so  the 
omens  say,  are  still  in  the  not  so  dis- 
tant future. 

Seleniums  Are  Efficient 

Most  projectionists  are  quite  famil- 
iar with  diode  tube  rectifiers  but  many 
have  not  had  a  chance  to  get  cozy 
with  the  relatively  new  seleniums,  al- 
through  projection  processes  requiring 
very  high  amperages  demand  recti- 
fication devices  far  beyond  the  capa- 
bilities of  the  usual  theatre-type 
vacuum  tube.  Seleniums  can  handle 
the  heaviest  projection  requirement. 
One  top  manufacturer  in  the  field,  for 
example,  the  Federal  Telephone  and 
Radio  Corp.,  operates  its  Nutley, 
N.  J.,  plant  around  the  clock  with 
seleniums.  The  plant  pulls  some  21,000 
amps.  Variable  loads  from  zero  to 
5,000  amperes  are  under  pushbutton 
control.  The  company's  electro-plating 
selenium  rectifiers  supply  up  to  10,000 
amps  from  a  220-volt,  three-phase,  60- 
cycle  source.  On  that  basis  a  selenium 
rectifier  should  handle  easily  the  180 
amps  of  3-D  or  CinemaScope  or  the 
sometimes  heavier  drive-in  demands. 
[TO   BE   CONTINUED] 

Projection  Optics 
And  Curved  Screens 

A  GOOD  projection  lens  is  designed 
to  form  an  image  on  a  plane  sur- 
face. The  light  rays  contributing  to  the 
formation  of  each  point  on  such  image 
(italics  ours  —  Ed.)  emerge  from  the 
aperture  of  the  projection  lens,  2  inches 
or  so  in  diameter,  and  100  feet  or  more 
away. 

The  cone  of  light  thus  formed  has  a 
very  small  included  angle  and,  in  conse- 
quence, a  displacement  of  the  screen  a 
few  inches  from  its  theoretical  plane 
surface  would  have  little  or  no  visible 
effect  upon  the  image  quality. 

A    sufficiently    concave    screen    would 


have  some  effect  upon  the  distortion  of 
the  screen  image  when  viewed  from  a 
position  to  the  extreme  right  or  left  of 
the  theatre.  Figures  on  the  far  side  of 
the  screen  from  the  observer  would  ap- 
pear somewhat  less  distorted,  since  the 
viewing  angle  would  be  less  acute;  those 
on  the  near  side  would  appear  mort 
distorted  (italics  ours)  ;  and  those  in 
the  center  would  remain  unchanged. 
Whether  these  results  would  be  of  ad- 
vantage to  the  audience  we  cannot  say. 

Investigation  Needed 

This  matter  of  curved  surfaces  would 
need,  and  seems  worthy  of,  much  more 
thorough  investigation  and  some  tangible 
information  if  one  is  to  properly  evalu- 
ate Its  worth  or  lack  of  it.  Thus  far  the 
proponents  of  such  screens  have  offered 
nothing  that  would  provide  the  basis  for 
such  scientific  appraisal. 

It  appears  that  the  manufacturers  of 
such  screens  consider  each  installation 
as  an  individual  problem  and  that  each 
screen  must  be  specially  designed  on  the 
basis  of  width  of  theatre,  screen  size  and 
length  of  throw.  An  analysis  of  a  typical 
situation  of  this  sort  and  of  the  method 
whereby  the  curvature  of  the  screen  is 
computed  would  be  of  considerable  in- 
terest and  a  most  worthly  contribution 
to  the  literature  of  the  art. 


1  A    ELECTIONS 


LOCAL  230,  DENVER,  COLO. 

James  W.  Dooley,  pres.;  Lee  I.  Brand, 
vice-pres.;  Dan  M.  Kelly,  treas.;  R.  E.  Wal- 
ler, sec;  Charles  P.  Weber,  bus.  rep.;  G. 
L.  Campbell,  chairman,  bd.  trustees. 

LOCAL  356,  ST.  PAUL,  MINN. 

Harold  A.  Miller,  pres.;  Jerry  Boileau, 
1st  vice-pres.;  Howard  W.  BarkdoU,  2nd 
vice-pres.;  Joseph  McHugh,  3rd  vice-pres.; 
Sidney  R.  Moore,  rec.-sec;  James  C.  Whal- 
en,  fin.-sec;  John  L.  Johnson,  bus.  rep.; 
Thomas  M.  McEachron,  sgt.-at-arms ;  Wal- 
ter E.  Hoffman,  chairman,  exam,  comm.; 
Frank  Karpinski,  del.  Trades  and  Labor 
Assembly  and  Legislative  Committee;  J.  L. 
Johnson,  C.  Russell  Van  Vliet,  del.  lA  Con- 
vention; H.  Miller,  Louis  Goldman,  del. 
Minnesota  State  Federation  of  Labor. 

LOCAL  409,  SAN  MATEO,  CALIF. 

Charles  J.  Wagner,  pres.;  C.  W.  Schen- 
kel,  1st  vice-pres.;  Carlyn  Bayman,  2nd 
vice-pres.;  Joseph  Turturici,  3rd  vice-pres.; 
Robert  Moore,  4th  vice-pres.;  Barclay 
Smith,  5th  vice-pres.;  Raymond  M.  Cayla, 
sec;  W.  G.  Mason,  fin.  sec-treas.;  John 
Turturici,  bus.  rep.;  Harry  Hillyard,  sgt.-at- 
arms;  Richard  Rhodes,  Storme  Wade,  Leon- 
ard Peterson,  trustees;  John  Turturici,  del., 
and  R.  M.  Cayla,  alternate  del.  lA  Con- 
vention. 


For  Uncle  Sam—*  YOU 
BUY  U.  S.  SAVINGS  BONDS 


28 


INTERNATIONAL    PROJECTIONIST 


MARCH    1954 


PENSION  PROTECTION 

(Continued   from   page   21) 

credited  service,  etc.,  that  relatively  few 
workers  can  qualify  for  full  benefits  — 
is  not  likely  to  be  substantially  higher 
than  his  share  of  the  contributions 
which  would  be  necessary  to  fund  the 
same  level  of  pension  benefits  through 
the  S.  S.  system. 

The  S.  S.  system  provides  those  bene- 
fits, not  just  to  those  few  who  manage 
to  reach  age  65  after  long  and  un- 
broken service  with  a  single  employer, 
but  to  all  workers  who  are  employed 
anywhere  within  the  range  of  S.  S.,  re- 
gardless of  how  many  times  they 
change  jobs. 

The  prospect  of  employer  support  is 
a  very  poor  reed  for  labor  to  lean  on 
in  its  efforts  to  secure  genuine  and  nec- 
essary improvements  in  the  S.  S.  pro- 
gram. The  type  of  support  that  em- 
ployer groups  would  be  likely  to  give 
would  be  a  very  dubious  asset  at  best  — 
for  the  superficial  improvements  that 
might  result  might  also  involve  other 
changes  which  could  have  the  effect  of 
undermining  the  soundness  of  the  pro- 
gram. 

Craft-Wide  Programs 

What  would  seem  more  likely  to  ease 
employer  opposition  to  further  improve- 
ments in  the  Federal  Social  Security 
system  would  be  the  prospect  that  unions 
might  otherwise  press  for  the  wider 
adoption  of  collective  bargaining  plans 
that  provide  the  same  type  of  protec- 
tions and  the  same  continuity  of  cover- 
age as  does  S.  S.  —  through  liberal  vest- 
ing provisions  and  industry,  area  and 
craft-wide   programs. 

Plans  of  this  type  would  be  more 
costly  to  the  employers  involved,  per 
unit  of  benefit,  than  would  an  improved 
Federal  system,  and  would  thus  offer  a 
very  substantial  inducement  to  employ- 
ers to  avoid  such  a  development  by  sup- 
porting a  liberalized  Federal  system  — 
regardless  of  whether  or  not  an  "offset" 
device  is  employed. 

ICONCLUSION] 


Those  Tinted  Windshields! 

Fears  that  tinted  windshields  will  damage 
the  drive-in  theatre  business  are  unfounded, 
according  to  a  recent  report  by  the  Automo- 
bile Manufacturers  Assoc.  Effect  of  the 
tinted  glass  is  negligible  upon  both  black- 
and-white  and  natural  color  screen  images, 
it  was  stated. 

The  tinted  windshields,  usually  green,  are 
a  new  development  in  the  auto  industry,  and 
are  described  as  heat  absorbing.  A  small 
amount  of  iron  in  the  glass  composition  is 
said  to  absorb  about  51%  of  solar  heat. 
The  amount  of  tint  resulting  is  actually  less 
than  is  found  in  many  eyeglasses  of  the 
slightly  tinted  type  (not  sunglasses)  now 
being  widely  used. 


INTERNATIONAL    PROJECTIONIST      •      MARCH    1954 


Sharpest  image, 
edge-to-edge . .  • 
most  uniform  light 
distribution... 
on  any  screen ! 

•  NORMAL    2D-3D 

•  EXPANDED    2D-3D 

•  CINEMASCOPE 

Recommended  by  20th  Century-Fox  for  clearest, 
sharpest,  brightest  CinemaScope  screen  images. 
Complete  range  of  focal  lengths,  for  finest  image 


qualityj^  any  film,  on  any  screen. 


Bausch  &  Lomb 


Projection  Lenses 


WRITE    for    new    catalog 
E-123.  Bausch  &  Lomb  Opti- 
cal Co.,  61627  St.  Paul  St., 
Rochester  2,  N.  Y. 


FLAT  SCREEN  FOR 
PREMIERE  THEATRE 

(Continued   from    page    16) 

less  Hy-Candescent  condenser  arc 
lamps,  burning  at  170  amperes,  the 
same  level  as  before  CinemaScope  in- 
stallation. Our  standard  cooling  unit 
is  the  Simplex  heat  filter  which  re- 
moves heat  from  the  projection  beam 
by  means  of  staggered  strips  of  heat- 
absorbing  glass,  air  cooled  by  a  blower 
unit  with  its  own  motor  and  fan. 

Our  stereophonic  sound  system  was 
manufactured   and  installed  by  RCA, 


including  the  "penthouse"  soundheads 
mounted  on  the  projectors.  The 
speaker  system  includes  three  stage 
speaker  units,  one  at  the  center  and 
two  side-speaker  units  which  are 
mounted  on  movable  towers  that  are 
quickly  rolled  off  the  stage  just  before 
the  "live"  show.  Plans  are  underway 
to  fly  these  speakers  also  so  that  the 
stage  can  be  cleared  in  the  least  pos- 
sible time. 

Altogether,  the  biggest  problem  to 
be  solved  in  making  the  CinemaScope 
installation  at  the  Music  Hall  was  the 
selection    of    the    most    suitable    type 


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ampere  arcs  for  all  types  of  wide  screen  and  3D  pictures  requiring 
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rounds  out  our  line  of  dependable  power  units  designed  espe- 
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screen.  Before  installation  of  the 
present  screen,  a  number  of  tests  were 
made  by  myself,  John  Jackson,  stage 
manager,  and  Eugene  Braun,  director 
of  lighting,  with  the  cooperation  of 
the  manufacturers  of  the  Magnaglo- 
Astrolite  screen.  Four  different  types  f 
of  screens  were  tested  in  addition  to 
four  different  panels  of  screen  material 
before  a  selection  was  made. 

Light  Is  Adequate 

Other  tests  included  a  light  meter 
examination  of  the  screen.  We  found 
both  center  and  side  adequately 
lighted.  Eye  examination  of  the  pic- 
ture from  many  different  angles  in 
both  orchestra  and  balconies  pleased 
everyone.  Use  of  a  flat  screen  was 
felt  to  have  another  advantage  to  us 
in  addition  to  economy  of  stage  space. 

Another  interest  during  the  screen 
tests  was  to  reduce  the  faint  horizontal 
lines  visible  when  light  shined  on  the 
screen.  It  was  found  that  these  lines 
were  slightly  more  noticeable  toward 
the  bottom  of  the  screen  when  viewed 
from  the  balcony.  For  that  reason  a 
reverse  method  of  "shingling"  was 
used  in  the  joints  of  the  lower  panels 
where  the  projection  beam  strikes  at 
the  sharpest  angle. 

In  conclusion,  I  want  to  mention 
again  the  flatness  of  the  screen.  Be- 
fore it  was  installed  we  were  naturally 
concerned  because  a  curved  screen, 
which  we  couldn't  use,  had  been  re- 
quired by  20th  Century-Fox  for  its 
CinemaScope  projection  method,  but 
we  now  feel  that  the  peripheral-vision 
depth  effect  can  be  maintained  on  a 
flat  as  well  as  the  curved  screens 
usually    employed    for    CinemaScope. 


New  Pola-Lite  Beam  Splitter 

Theatres  interested  in  an  inexpensive 
beam-splitting  device  for  single-film  3-D 
propection  may  want  to  consider  a  new 
"package"  plan  being  offered  by  the 
Pola-Lite  Co.,  of  New  York  City.  A 
light-weight  beam  splitter  that  clamps 
on  the  projection  lens  can  be  had  for 
$100  by  any  theatre  contracting  to  buy 
6,000  pairs  of  Pola-Lite  glasses  at  10 
cents  a  pair. 

Presently  the  biggest  stumbling  block 
in  the  path  of  single-strip  3-D  systems 
is  the  lack  of  films  printed  for  the  pro- 
cess. Pola-Lite  believes  that  it  has  made 
a  good  start  toward  solving  this  problem 
by  arranging  with  Universal  to  obtain 
prints  of  two  newly-released  3-D  features 
with  the  double  images  printed  side  by 
side  on  the  same  frame  for  beam-splitter 
projection. 


30 


INTERNATIONAL    PROJECTIONIST 


MARCH    1954 


LENSES:  Projection  Heart 

(Continued   from   page   14) 

it  is  being  exposed  on  the  screen,  its 
rapid  movements  parallel  to  the  optical 
axis  produce  an  out-of-focus  effect 
that  cannot  be  corrected  by  manipulat- 
ing the  focusing  knob.  This  peculiar 
blur  is  seldom  noticeable  with  long- 
focus  lenses,  but  it  is  exceedingly 
troublesome  with  short-focus  lenses. 

Print  Age,  Condition 

New  prints  fresh  from  the  proces- 
sing laboratory  give  more  trouble  in 
this  respect  than  old,  well-seasoned 
prints  that  have  been  projected  many 
times  at  normal  arc  amperages.  A 
new  print  lies  quite  flat  in  the  aper- 
ture when  not  illuminated,  hence  the 
pincushioning  must  begin  from  "zero 
point"  when  Hashed  by  the  arc  beam. 
In  other  words,  the  middle  of  each 
frame  moves  along  the  optical  axis 
from  the  zero  point  of  flat  film  to 
maximum-buckle  point  each  time  the 
rotating  shutter  allows  light  to  strike 
the  film. 

An  old  print,  on  the  other  hand,  is 
to  some  extent  already  pincushioned, 
or  permanently  "frame  embossed." 
Further  exposure  to  heat  has  little 
effect  upon  it;  and  since  the  pin- 
cushioning  of  the  frames  is  nearly  at 
a  constant  value,  the  film  flutters  but 
very  little,  and  the  lens  is  able  to 
maintain  an  excellent  focus. 

This  is  not  to  say  that  all  old  prints 
present  no  focusing  problems.  A  print 
that  has  spent  a  summer  making  the 
rounds  of  large  drive-in  theatres  is 
usually  so  badly  buckled  that  it  can- 
not be  kept  in  focus  for  even  a  minute 
at  a  time.  And  heat  filters  are  power- 
less to  prevent  a  heat-damaged  film 
flopping  in  and  out  of  focus. 

Picture  Focus  Drift 

A  small  amount  of  focus  drift  is 
found  even  in  prints  that  have  not 
been  punished  by  projection  at  120  to 
175  amps.  With  long-focus  lenses, 
normal  focus  drift  is  practically  in- 
visible, and  projectionists  who  operate 
in  long,  narrow  theatres  need  refocus 
during  the  running  of  a  single  reel 
very  seldom.  When  lenses  of  4  to  5 
inches  E.F.  are  used,  normal  focus 
drift  often  requires  frequent  sharpen- 
ing of  the  focus.  With  short-focus 
lenses  the  situation  is  practically  hope- 
less. 

The  causes  of  normal  focus  drift 
are  not  fully  understood.  Some  au- 
thorities are  of  the  opinion  that  varia- 
tions  in   the   moisture-content   of   the 


emulsion  are  mainly  responsible,  while 
others  lay  the  blame  on  the  curl  which 
is  set  in  the  film  by  being  wound 
tightly  on  a  reel.  There  are  probably 
other  factors,  the  winding  of  soft,  new 
film  on  small-hubbed  reels  immediate- 
ly after  processing,  for  example. 

Because  focusing  must  be  done 
rather  frequently  in  theatre  projection, 
it  has  developed  into  something  of  an 
art.  It  should  be  done  inconspicuous- 
ly so  as  not  to  divert  the  audience. 
Briefly,  the  knob  should  be  turned 
slowly  in  the  correct  direction;  and 
when  crisp  clarity  of  image  has  been 
attained,  the  turning  of  the  focusing 
knob  should  stop  then  and  there. 
Finesse  is  required. 

Depth  of  Focus  Variations 

We  have  mentioned  "depth  of 
focus"  several  times.  Fig.  1  shows 
how  this  varies  with  different  types  of 
lenses.  The  smallest  image  of  a  point 
which  any  lens  is  able  to  produce  is 
not  a  point  at  all,  but  a  small  disk  — 
a  "circle  of  confusion."  With  every 
lens  there  is  a  slight  leeway  in  the 
position  of  sharpest  focus.  The  lens 
can  be  moved  back  and  forth  within 
these  narrow  limits  without  increasing 


the  size  of  the  smallest  circle  of  con- 
fusion, hence  without  affecting  the 
clarity  of  the  image  on  the  screen. 

Slow  lenses  and  those  of  long  focal 
length    have    greater    depth    of    focus 


5 


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INTERNATIONAL    PROJECTIONIST      •      MARCH    1954 


31 


than  fast  lenses  and  those  of  short 
focal  length  simply  because  the  angles 
formed  by  the  light  rays  produce  a 
wider  range  wherein  the  smallest 
circles  of  confusion  do  not  materially 
change  in  size. 

We  may  visualize  depth  of  focus  as 
a  region  between  two  nearly  parallel 
planes  which  limit  the  range  of  sharp 
focus.  The  film,  naturally,  must  lie 
in  this  region  in  order  to  appear  in 
focus  on  the  screen.  If  the  film  flutters 
outside  the  limits  of  this  critical 
region,  then  it  will  temporarily  go  out 
of  focus.  The  projectionist,  when  he 
focuses  the  picture,  moves  the  entire 
region  of  sharp  focus  into  the  film! 

Film  Flutter  Range 

The  amount  of  negative  buckling, 
or    pincushioning    toward    the    lamp, 


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may  actually  exceed  0.02  inch  at  high 
amperages,  but  at  lower  arc  currents 
it  is  normally  only  0.005  to  0.01  inch. 
This  is  the  normal  range  of  flutter  in 
brand-new  prints,  and  it  closely  cor- 
responds to  the  depth  of  focus  of 
lenses  in  the  6-to-8-inch  E.F.  class. 

With  well-seasoned  prints  some  of 
the  buckle  has  been  embossed  in  the 
film,  and  the  flutter  consequently  is 
less  than  the  total  amount  of  bulge 
as  measured  from  the  zero-point  of  a 
perfectly  flat  film-plane.  In  such  a 
case  the  flutter-range  may  be  much  less 
than  the  0.002-to-0.004-inch  depth  of 
focus  of  lenses  in  the  4-to-5-inch  E.F. 
class,  and  accordingly  quite  invisible 
on  the  screen. 

But  with  fast,  short-focus  lenses,  as 
pointed  out  previously,  the  depth  of 
focus  is  so  small  that  even  the  slightest 
amount  of  buckling  and  flutter  will 
obviate  a  good  screen-image  —  even 
if  the  lens  itself  be  perfect!  And  we 
wish  to  repeat,  also,  that  it  is  usually 
necessary  to  use  the  most  powerful 
lamps  with  short-focus  lenses  for  ade- 
quate screen  illumination,  and  that 
these  lamps  increase  buckling  and 
flutter.  Projection  quality  thus  finds 
itself  the  victim  of  a  vicious  circle 
from  which  there  is  little  possibility  of 
escape.  The  lens  manufacturers  can- 
not help  us,  but  the  film  manufacturers 
can  by  inventing  a  more  suitable  film 
for  high-powered  projection. 

High-Powered  Arcs 

A  perfect  motion  picture  screen 
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seems  that  every  technological  innova- 
tion of  the  past  few  years  has  deprived 
the  movies  of  some  of  the  pictorial  ex- 
cellence which  all  of  us  took  for 
granted  a  couple  of  decades  ago.  The 
matter  of  acetate  safety  film  has  been 
mentioned.  The  excessively  high- 
powered  arclamp  is  another  innova- 
tion. Designed  at  first  for  the  large 
drive-ins  that  require  them,  such  lamps 
are  excellent  devices  for  raw  lumen- 
production.  But  no  one  really  expects 
or  looks  for  top-notch  picture-quality 
in  a  drive-in.  It  is  the  increasing  use 
of  these  lamps  in  indoor  theatres  that 
is  objectionable.  ii 

Objectionable  or  not,  however, 
powerful  lamps  must  be  used  for  il- 
luminating gigantic  screens  for  normal 
projection  and  wide  screens  for 
CinemaScope    presentations.      It    can 


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32 


INTERNATIONAL    PROJECTIONIST 


MARCH    1954 


I 


be  reasonably  argued  that,  in  America, 
indoor  theatres  are  too  few  and  too 
large. 

In  1947  a  lamp  manufacturer  de- 
clared that  "it  is  impractical  to  use 
more  than  1500  lumens,  as  it  would 
damage  the  film.  ...  It  is  furthermore 
wasteful,  as  well  as  futile,  to  burn 
more  than  70  amperes  in  any  reflec- 
tor lamp."  We  heartily  agree.  And 
yet  that  same  manufacturer  has  sub- 
sequently marketed  several  90-amp., 
120-amp.,  and  135-amp.  reflector 
lamps  which  are,  admittedly,  abso- 
lutely necessary  for  3-D  and  wide- 
screen  projection,  but  with  unavoid- 
able deterioration  of  picture  quality. 

Apart  from  its  dullness  and  the 
clumsiness  of  its  technique,  polarized- 
light  3-D  has  nibbled  away  at  pictorial 
quality  in  other  ways,  well  known  to 
the  reader.  So  let  us  pass  on  to  the 
latest,  most  expensive,  and  most  heavi- 
ly financed  process,  CinemaScope. 

CinemaScope  Presentations 

CinemaScope  has  destroyed  trueness 
of  pictorial  perspective  with  its  curved 
screen.  Its  anamorphic  optics  has 
indulged  in  a  damaging  whack  at 
image-definition.  (CinemaScope  focus 
is  sometimes  awful  and  sometimes 
fair,  but  never  good.)  And,  like  true 
3-D,  CinemaScope  demands  the  use 
of  film-withering  arc  currents. 

The  widespread  use  of  short-focus 
lenses  for  the  projection  of  standard- 
format  pictures  is  due  in  no  small 
measure  to  the  present  aspect-ratio 
fad.  The  worst  effects,  of  course,  are 
produced  by  the  small  depth  of  focus 
of  short-focus  lenses;  but  there  is 
another  very  important  point  to  be 
considered.  Celluloid  personages  are 
daily  suffering  various  degrees  of  de- 
capitation and  amputation  by  such  ex- 
treme aspect-ratios  as  1:2.5,  1:2, 
1:1.85,  1:1.75,  and  1:1.66.  It  is  im- 
possible to  trim  such  large  areas  from 
the  top  and  bottom  of  a  standard- 
format  picture  without  scalping  some- 
one in  the  close-ups.  Pictorial  sur- 
gery of  this  sort  is  utterly  barbaric  — 
and  a  bit  unfair  to  the  cash  customers. 

It  is  hard  to  escape  the  conclusion 
that  the  use  of  undersized  apertures  is 
a  species  of  optical  cheating.  No  mat- 
ter how  thin  the  conventional  picture 
is  sliced,  it  isn't  Cinerama,  and  every- 
one knows  it. 

The  standard  format  is  3:4  or,  more 
exactly,  2.9:4,  which  corresponds  to  an 
aspect-ratio  of  1:1.37.  It  has  been  in 
use  ever  since  the  movies  came  into 


being,  and  it  is  extremely  adaptable, 
suitable  for  both  close-ups  and  long- 
shots.  However,  a  slightly  wider  pic- 
ture might  indeed  be  an  improvement. 
An  aspect-ratio  of  1:1.5  suggests  itself 
as  a  picture-proportion  which  would 
not  interfere  with  the  dramatic  fluidity 
of  the  movies. 

Recommended  Aspect  Ratio 

But  we  do  not  recommend  that  the 
area  of  a  standard  picture  be  cut  down 
by  the  use  of  a  l:1.5-proportioned 
aperture.  What  we  do  recommend  is 
a  wider  film  to  accommodate  such  a 
picture  without  loss  of  picture  detail 


and  without  loss  of  footage  due  to 
thick  framelines  or  interframe  spaces. 
Such  a  recommendation,  however, 
might  not  seem  sufficiently  spectacular 
to  an  industry  which  is  interested  only 
in  applying  expensive  frosting  to  the 
same  stale  cake.  In  fact,  film  stand- 
ards should  have  been  radically  re- 
vised when  the  inception  of  sound-on- 
film  offered  an  excellent  opportunity 
to  do  so. 

It  is  only  fair  to  state  that  a  clever 
use  is  made  of  short-focus  lenses  in  a 
few  theatres  by  reserving  them  only 
for  selected  scenes  in  certain  types  of 
feature  films  and  for  one  or  two  of  the 


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1 


INTERNATIONAL    PROJECTIONIST      •      MARCH    1954 


33 


short  subjects.  This  is  essentially  the 
idea  involved  in  Harry  Rubin's  famous 
Magnascope  lens,  the  judicious  use  of 
which  increases  the  effectiveness  of 
mob  scenes  and  other  spectacular 
shots,  especially  when  photographed 
in  natural  color. 

Special  Aperture  Plofes 

When  such  a  lens  is  used  as  a 
novelty,  it  is  necessary  to  have  a  large 
screen  and  motor-controlled,  or  manu- 
ally-operated, movable  masking  in 
order  to  expose  the  entire  area  of  the 
large  screen  for  the  highly  magnified 
picture.  Moreover,  since  the  bottom 
edge  of  the  regular,  small  picture  and 
the  bottom  edge  of  the  large  picture 
coincide,  there  must  be  some  provi- 
sion for  raising  the  image  somewhat 
when  the  short-focus  lens  is  used.  This 
may  be  done  by  inserting  a  special 
aperture  plate  having  a  slightly  lower 
window,  or  else  by  raising  the  short- 
focus  lens  so  that  its  axis  lies  above 
and  parallel  to  the  optical  axis  of  the 
projector. 

Because  it  is  impossible  to  switch 
quickly  from  one  lens  to  another  for 
special  scenes  within  a  reel,  even  when 
each  lens  is  clamped  in  a  prefocused 
mount,  the  most  that  can  ordinarily  be 
done  is  to  use  the  short-focus  lens  for 
selected  whole  reels.  It  is  always  pos- 
sible, of  course,  to  break  up  a  long  reel 
into  several  short  rolls;  but  this  pro- 
cedure is  bothersome  to  the  projec- 
tionist and  discountenanced  by  the 
film  exchanges. 

All  of  these  difficulties  may  be 
hurdled  by  using  a  "zoom"  lens.  This 
is  a  lens  of  variable  focal  length. 
When  it  is  desired  to  enlarge  the  pic- 
ture, the  projectionist  merely  turns  a 
knob  which  alters  the  distance  separat- 
ing the  several  elements  of  this  special- 
effects  lens. 

Motor-controlled  masking  is  man- 
datory with  the  zoom  lens  because  the 
regular-size  picture  does  not  look 
pleasing  on  an  open,  oversized  screen. 
This  is  a  considerable  expense. 

'Trick'  Lenses— Yes,  But  .  .  . 

At  all  events,  the  zoom  lens  should 
not  be  used  for  regular  projection 
when  no  zoom  effect  is  to  be  used.  A 
lens  can  be  adequately  corrected  op- 
tically for  one  definite  focal  length 
only.  Change  the  focal  length  by 
changing  the  distance  between  the 
elements,  and  serious  aberrations  creep 
in  to  mar  the  picture.  "Trick"  lenses, 
therefore,  should  be  reserved  only  for 


EQUIPMENT  &  SUPPLIES 

fbrSV^^y  Theatre /l/ee<^f 


NAT 


I 


occasional  use,  and  never  kept  on  for 
the  projection  of  an  entire  show.  It 
should  be  remembered  that  a  large 
part  of  their  effectiveness  is  due  to  the 
change  which  takes  place  in  the  size  of 
the  picture  before  the  eyes  of  the  au- 
dience. 

The  cost  of  a  zoom  lens  is  even 
more  shocking  than  that  of  a  Cinema- 
Scope  lens.  Unlike  all  other  projec- 
tion lenses,  zoom  lenses  have  moving 
parts  and  are  custom-built.  The  aver- 
age theatre  cannot  afford  them. 
[TO   BE   CONCLUDED] 


lA     OBITUARIES 


James  G.  Campion,  66,  charter  member 
of  Local  498,  Kansas  City,  Kans.,  died 
February  11  from  a  heart  attack.  A  native 
of  Canada,  he  came  to  Kansas  City  in 
1903  and  helped  to  organize  Local  498. 
He  served  the  Local  as  its  business  rep- 
resentative for  30  years  until  1949,  when 
ill  health  forced  him  to  resign  from  office. 
His  son,  Edward,  was  elected  to  that  post 
upon  his  father's  retirement.  During 
World  War  H,  Campion  was  a  special 
organizer  for  the  AF  of  L,   and   also   serv- 


ed   on   the   Wyandotte   rationing   board.  ' 

He  is   survived   by   his   wife   and   son. 

Harry  W.  Williams,  58,  president  of 
Local  626,  Nashville,  Tenn.,  succumbed 
to  a  heart  attack  on  February  3  as  he 
was  about  to  report  for  work  at  Loew's 
Theatre,  where  he  had  been  employed  for 
the  past  30  years.  "Puddy"  Williams,  as 
he  was  knovm  to  all  his  friends,  was  a 
charter  member  of  the  Local  and  was 
extremely    popular    with    the    membership. 

William  F.  Weisheit,  64,  member  of 
Los  Angeles  Local  150  since  1928  and  a 
charter  member  of  Hollywood  Studio  Pro- 
jectionists Local  165,  died  suddenly  on 
February  6.  Born  in  Dubuque,  Iowa, 
Weisheit  came  to  California  just  before 
the  turn  of  the  century.  He  joined  the 
projection  department  of  20th  Century- 
Fox  studios  in  1928.  In  1933  he  was  ap- 
pointed projection  supervisor  for  Fox 
studios,  a  post  he  held  until  the  time  of 
his    death. 

Weisheit  was  a  highly  skilled  tech- 
nician and  was  active  in  the  pioneering 
development  of  20th  Century-Fox's  Cine- 
maScope    and    stereophonic    sound. 

He  is  survived  by  his  wife  and  two 
daughters.  Masonic  services  were  held 
in  Beverly  HiUs,  Calif.,  on  Wednesday, 
February   10. 


Fox  Restricts  'Scope  Lenses 

Use  of  Japanese  and  German  anamor- 
phic  lenses  for  the  showing  of  Cinema- 
Scope  pictures  released  by  20th  Century- 
Fox  seems  to  be  effectively  ruled  out  in 
new  contract  terms  with  exhibitors  set 
by  the  film  company. 

The  contracts,  it  is  understood,  call 
for  the  use  of  Bausch  &  Lomb  or  Bell  & 
Howell  lenses  only. 


How  Many? 


Was  this  copy  dog-eared  when  it  came  to  you? 
How  many  men  read  it  ahead  of  you? 

You  would  receive  a  clean,  fresh  copy  if  you  had 
a  personal  subscription— and  you  wouldn't  have 
to  wait— you  would  be  first  to  read  it. 

Use  coupon  below. 

INTERNATIONAL  PROJECTIONIST, 
19  WEST  44  St.,  New  York  36,  N.  Y. 

n    1  year— 12  issues— $2.50 

n    2  years-24  issues-$4.00 


Enter  my  subscription  for 


Foreign  and  Canada:    Add  50c  per  year. 


Name  _ 
Address 
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Zone. 


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34 


INTERNATIONAL    PROJECTIONIST      •      MARCH    1954 


Wrapped  in  sleep wropped  in  lo\/^^ 

Day's  end  for  tiny  legs  and  arms  . . .  the  bedtime  story  told, 
prayers  said,  the  tired  little  body  held  for  a  mome^it's  hug, 
then  tucked  into  bed  .  . . 

Seal  the  day  noiv  toith  her  good-night  kiss  and  let 
her  drift  aivay  into  slumber,  safe  and  secure. 

Security  is  the  deepest  need  of  our  living,  and  its  greatest 
reward.  To  provide  it  for  those  we  love  is  a  privilege  possible 
only  in  a  country  like  ours. 

And  this  is  how  we  make  America  secure :  by  making  our 
own  homes  so.  One  secure  family  circle  touching  another 
builds  a  secure  land. 


Saving  for  security  is  easy! 
Read  every  word  — now! 

If  you've  tried  to  save  and  failed, 
chances  are  it  was  because  you  didn't 
have  a  plan.  Well,  here's  a  savings  sys- 
tem that  really  works  — the  Payroll 
Savings  Plan  for  investing  in  Savings 
Bonds. 

This  is  all  you  do.  Go  to  your  com- 
pany's pay  office,  choose  the  amount 
you  want  to  save— a  couple  of  dollars  a 
payday,  or  as  much  as  you  wish.  That 
money  will  be  set  aside  for  you  before 
you  even  draw  your  pay.  And  auto- 
matically invested  in  Series  "E"  U.  S. 
Savings  Bonds  which  are  turned  over 
to  you. 

If  you  can  save  only  $3.75  a  week  on 
the  Plan,  in  9  years  and  8  months  you 
will  have  |2,137.30.  If  you  can  save  as 
much  as  $18.75  a  week,  9  years  and  8 
months  will  bring  you  $10,700 ! 

For  your  sake,  and  your  family's, 
too,  how  about  signing  up  today? 


The  U.  S.  Government  does  not  pay  for  this  advertisement.  It  is  donated  by  this  publication 
in  cooperation  with  the  Advertising  Council  and  the  Magazine  Publishers  of  America. 


I 


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TOTAL 
LUMENS    ^ 


At  180-185  Amperes  .  .  .  With  No.  15363-Q  and  No. 
15367-P,  "Hy-Speed"  Condensers  .  .  .  With  a  .715"  x 
.912"  "CinemoScope"  aperture  .  .  .  With  a  3"  Focus, 
F-1.8  coated  projection  lens  .  .  .  On  any  kind  or  any 
size  of  screen    .... 

Using  presently  available  and  standard  carbons, 
there  is  "No  other  projection  lamp  in  the  world, 
today"  that  can  produce  so  much  light. 

(*)  Subject  to  6-10%  average  deduction  for  PEER- 
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if^/OOU         LUMENS 


At  75-77  amperes  .  .  .  With  presently  available  and 
standard  8x9  m/m  copper  coated  carbons  .  .  .  With 
a  .715"  X  .912"  "CinemoScope"  aperture  .  .  .  With  a 
3"  Focus,  F-1.8  coated  projection  lens  .  .  .  With  a  14" 
diameter  No.  2012  PEERLESS  "Hy-Lumen"  glass  reflec- 
tor that  retails  at  a  list  price  of  $22.00  .  .  .  With  a 
No.  2880  PEERLESS  Tail  Flame  Flue  ...  On  any  kind 
or  any  size  screen  .... 

AH  of  this,  at  the  lowest  possible  first,  and  opera- 
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(t)   NO   heat  filter  of  any  kind   required. 


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INTERNATIONAL  PROJECTIONIST      •      APRIL  1954 


INTERNATIONAL 


PROJECTIONI 


With  Which   Is  Combined    PROJECTION   ENGINEERING 


JAMES  J.  FINN,  Ed/for 
JAMES  MORRIS,  Associate  Editor 


Volume  29 


APRIL   1954 


Number  4 


Index  and  Monthly  Chat  5 

As  of  the  Moment 7 

James  J.  Finn 

Paramount's  VistaVision   13 

loren  Ryder 

Ryder  Explains  Par's  Position 

on  Screens 14 

Proper  Method  of  Splicing 

CinemaScope  Film 14 

Irving  Merkur 

THE  LENS:  Key  to  Projection 

Quality,  III 15 

Robert  A.  Mitchell 

Polaroid-IP  Contest  Winner 17 

In  The  Spotlight 20 


lA  Obituaries   21 

Brush-Up  on  Fundamentals: 

Rectifiers  for  Projection,  II  ... .      22 

CinemaScope  on  102-Foot 

Drive-ln  Screen  23 

What's  Your  Problem?  24 

Letters  to  the  Editor 24 

Proper  Procedure  for  Re- 
Opening  the  Drive-ln  Theatre      26 

lA  Elections  30 

News  Notes 
Technical  Hints 
Miscellaneous  Items 


Published  Monthly  by 

INTERNATIONAL  PROJECTIONIST  PUBLISHING  CO.,  INC. 

19  West  44th  Street,  New  York  36,  N.  Y. 

Telephone:    MUrray  Hill  2-2948 

R.  A.  ENTRACHT,   Publisher 

SUBSCRIPTION  REPRESENTATIVES 

AUSTRALIA:     McGills,  183  Elizabeth  St.,  Melbourne 

NEW   ZEALAND:      Te   Aro   Book   Depot,   Ltd.,   64   Courtenay    Place,   Wellington 

ENGLAND  and  ELSEWHERE:    Wm.  Dcv/son  &  Sons,  Ltd.,  Macklin   St.,  London,  W.  C.  2 

YEARLY  SUBSCRIPTION:  United  States  and  possessions,  $2.50  (two  years,  $4);  Canada  and 
foreign  countries,  $3;  single  copies,  30  cents.  Changes  of  address  should  be  submitted  two  weeks 
in  advance  of  publication  date  to  insure  receipt  of  current  issue.  Entered  as  second  class  matter 
February  8,  1932,  at  the  Post  Office  at  New  York,  N.  Y.,  with  additional  entry  at  Yonkers,  N.  Y., 
under  the  act  of  March  3,  1879.  Entire  contents  copyrighted  1954  by  INTERNATIONAL  PRO- 
JECTIONIST PUBLISHING  CO.,  INC.  INTERNATIONAL  PROJECTIONIST  assumes  no  responsibility 
for  personal  opinions  appearing  in  signed  articles,  or  for  unsolicited  communications. 


INTERNATIONAL  PROJECTIONIST      •      APRIL  1954 


MONTHLY     CHAT 


Standard  2-D,  3x4  pictures 

Cinerama 

CinemaScope 

VistaVision 

Variable   prismatic  anamorphic 
units  for  varying  ratios 

Two-film  3-D 

Single-film  3-D  beam-splitter  (Pola- 
Lite)   with  glasses 

Single  optical  track  sound 

Stereophonic   sound,   with   a   mass 
of  amplifiers  and  speakers 

3-D  viewing  glasses 

3-D  projection  filters 

3-D  projector  interlocks 

Varying    screen    proportions    as    to 
both  height  and  width 

Seamless  screens 

Screens  with  seams 

Standard  sprockets 

Narrow  CinemaScope  sprockets 

Multiple  magnetic  sound  tracks 

Single    magnetic    sound    track 
(wanna  bet?) 

Curved   screens    (indeterminate 
radii) 

Flat  screens 

Triple  in-car  speakers 

o 

• 

The  foregoing  list  comprises  the  muck 
and  mire  of  the  technological  swamp- 
lands which  the  harrassed  exhibitor  is 
expected  to  traverse  accompanied  only 
by  a  sharp,  persistent  fear  for  his  future 
security.  It  is  also  the  hazard  which 
demands  of  the  projectionist  that  he  be 
a  hydra-headed,  many-tentacled  entity 
with  an  Einsteinian  mind  in  order  to 
cope  with  not  only  the  day-to-day 
changes  in  projection  setups  but  also 
the  changes  within  a  given  program! 

These  are  the  technological  standards 
(?)  of  an  industry  which  once  boasted 
of  its  position  as  the  fifth  largest  in  the 
world.  This  is  a  situation  which  can't 
possibly  be  anything  else  but  a  snide 
effort  precipitated  by  the  industry's  so- 
called  executives  who  wish  to  retain  the 
plush  seats  of  the  mighty  and,  of  course, 
the   emoluments   accruing   thereto. 

If  there  be  even  a  trace  of  sanity  left 
in  this  industry,  then  in  the  name  of 
simple,  common  decency  let  us  ex- 
ercise it. 

J.  J.  Finn 


i. 


•  Your  present  "National"  carbon  trim  may  be  capa- 
ble of  giving  much  more  light  than  your  patrons  are 
now  enjoying.  It's  easy  to  find  out  for  yourself. 

ARE  YOU  OPERATING  YOUR  CARBONS 
AT  MAXIMUM  EFFICIENCY? 

If  not,  you  can  do  so  and  get  a  better  picture ...  in 
many  instances  for  as  little  as  the  price  of  one  admis- 
sion per  day  in  slightly  increased  carbon  consumption. 

HERE'S  WHY:  All  carbons  are  designed  to  de- 
liver greatest  brilliance,  most  uniform  light  distribu- 
tion and  best  color  balance  at  the  maximum  recom- 
m^ended  operating  current. 


Take  full  advantage  of  this  fact  and  you  can't  help 
but  improve  your  position  in  a  highly  competitive 
market. 

THE  PICTURE  IS  LIGHT- 
GIVE  IT  ALL  YOU  CAN 

with  "NATIONAL''  CARBONS 


The  term  "National"  is  a  registered  trade-mark  of  Union  Carbide  and  Carbon  Corporation 

NATIONAL   CARBON   COMPANY 

A  Division  of  Union  Carbide  and  Carbon  Corporation   •  30  East  42nd  Street,  New  Yorit  17,  N.  Y. 

District  Sales  Offices:  Atlanta,  Chicago,  Dallas,  Kansas  City,  New  York,  Pittsburgh,  San  Francisco 


INTERNATIONAL  PROJECTIONIST      •      APRIL  1954 


VOLUME  XXIX 


APRIL  1954 


NUMBER  4 


As  Of  The  Moment 


By  JAMES  J.  FINN 


This  is  another  in  a  series  of  definitive  articles  which  IP  directs  to  its 
readers  and  all  those  who  are  interested  in  the  latest  technical  de- 
velopments and,  consequently,  the  economic  well-being  of  the  industry. 


ON  THE  basis  of  present  de- 
velopments, 3-D  presentation 
is  just  floundering  around. 
Maybe  Technicolor's  astute  manage- 
ment will  come  up  with  the  answer  to 
single-film  3-D  projection  —  and  it  is 
hardly  conceivable  that  an  organiza- 
tion such  as  Technicolor  would  go  to 
any  great  technical  or  economic  length 
to  prove  a  point  wrong.  However  suc- 
cessful their  efforts,  the  cruel,  in- 
escapable fact  remains  that  analyzers 
(viewing  spectacles)  would  be  re- 
quired for  exhibition  purposes  —  a 
process  which  IP  has  always  regarded 
dubiously. 

What  Went  Wrong? 

3-D  pictures  were  mangled  on  both 
the  production  and  projection  ends. 
IP  can  only  reiterate  those  questions 
which  it  has  posed  repeatedly,  as  fol- 
lows: 

In  the  3-D  field,  did  it  work  out  correct 
3-D  camera  methods  and  correct  projection 
equipment  and   processes  in  advance? 

Did  it  provide  reasonable  size  reels  and 
enough  projectors  to  handle  the  job  sensibly 
and  without  long  and  unpleasant  intermis- 
sions? 

Did  it  put  good  stories  into  3-D?  And 
did  it  furnish  acceptable  3-D  spectacles  for 


the  audience?  Were  the  3-D  pictures  on  the 
screen  bright  enough? 

Did  the  producers  enthusiastically  sup- 
port 3-D  with  their  best  directing,  acting, 
writing,  and  technical  talent? 

Did  the  enthusiastic  audience  reaction  to 
the  handful  of,  at  least,  fair  3-D  pictures 
jar  the  producers  into  producing  more  and 
better  3-D  pictures? 

Were  the  problems  of  the  studio,  the  box- 
office  and  of  Labor  all  sympathetically  and 
intelligently  considered? 

To  all  these  questions,  the  unfortunate 
answer  is  a  re-sounding  "No!" 

In  any  event,  IP  can  never  lend  as- 
sent to  the  use  of  viewing  spectacles 
for  motion  pictures  unless  some 
radical  improvement  is  effected. 

Production,  Exhibition  Values 

Cinerama  was  and  is  the  first  really 
honest  effort  to  deal  with  a  wide- 
screen  picture.  Why?  Because  both  in 
production  and  in  projection  they  did 
not  cheat  on  production  values,  pro- 
jection, or  Labor.  It  is  unfortunate 
that  the  economic  status  of  the  in- 
dustry, no  less  than  the  deplorable 
lack  of  acceptable  subject  material, 
militated  against  the  widespread  use  of 
this  system.  Moreover,  certain  tech- 
nical deficiencies,  including  a  view  of 


Niagara  Falls  flowing  upward  when 
viewed  from  the  balcony,  indicate  that 
the  structural  characteristics  of  exist- 
ing theatres  are  woefully  deficient  in 
terms  of  viewing  conditions. 

Examining  the  Record 

Now  we  come  again  to  the  Cinema- 
Scope  process  which  has  the  industry 
in  such  a  dither.  It  is  undoubtedly 
true  that  the  exhibition  of  Cinema- 
Scope  productions  has  to  date  resulted 
in  a  profit  for  exhibitors  and  has  given 
the  industry  an  economic  "lift."  How- 
ever, while  IP  is  and  always  will  be 
interested  in  the  economic  health  of 
the  industry,  its  primary  task  is  to 
convey  technical  information.  To  this 
end  IP  is  of  necessity  forced  to  restate 
its  original  evaluation  of  the  Cinema- 
Scope  system,  as  follows: 

1.  Historically,  there  is  nothing  new 
about  Chretien's  anamorphic  lens.  We 
say  this  not  in  a  deprecatory  sense 
but  only  to  keep  the  record  straight. 
Proof  of  this  is  readily  available  by 
reference  to  the  issue  of  IP  for  July 
1939,  (p.  13)  in  which  a  full  descrip- 
tion of  the  Chretien  anamorphic  pro- 
jection lens,  together  with  an  illustra- 
tion of  the  "giant"  curved  screen,  was 


INTERNATIONAL  PROJECTIONIST      •      APRIL  1954 


k. 


given    (Paris,    France,    Film    Exposi- 
tion) . 

CScope  Proportions  Rejected 

2.  IP  is  unalterably  opposed  to  the 
2.55-to-l  projected  picture  proportions 
of  the  CinemaScope  system.  This 
proportion  is  not  only  aesthetically 
incorrect  but  it  provides  an  image  the 
sweep  of  which  the  human  eye  is  in- 
capable of  encompassing.  Proof  to  the 
contrary  is  invited,  especially  from 
20th  Century-Fox. 

3.  The  insistence  of  20th  Century- 
Fox  upon  the  use  of  multiple  so-called 
stereophonic  sound  tracks  is,  to  our 
way  of  thinking,  the  veriest  nonsense. 
In  support  of  our  opinion  we  offer  the 
accompanying  excerpt  from  a  state- 
ment by  the  eminent  motion  picture 
critic  of  the  New  York  Times,  Mr. 
Bosley  Crowther  (January  31,  1954), 
with  which  we  wholeheartedly  agree, 
and,  we  are  sure,  so  do  countless  other 
moviegoers : 

Ear-Splitting  Volume 

Forgetting  the  shocking  bombardment  of 
multiple-outlet  sound  that  went  with  the 
Warner  Brothers  three-dimensional  film, 
"House  of  Wax"  —  which  shattering  experi- 
ence, incidentally,  is  hard  to  erase  from  the 
mind  —  one  still  can  cite  pointed  examples 
of  confusion  and  excessiveness  in  sound 
that  have  been  notable  in  other  pictures 
where  the  stereophonic  feature  has  been 
used. 

It  must  be  said  that  a  private  demon- 
stration, made  for  a  few  people  here  last 
week,  to  show  the  difference  between  stereo- 
phonic and  regular  single-outlet  sound  in 
the  crucifixion  sequence  from  "The  Robe," 
did  not  impress  this  observer  with  any  over- 
whelming advantage  in  the  stereophonic  de- 
vice. As  a  matter  of  fact,  the  single-outlet 
system  was  more  effective. 

Confusion  the  Net  Result 

In  using  the  stereophonic  device  to  have 
voices  seem  to  emerge  from  the  screen  ap- 


proximately where  the  speaking  character 
is,  the  business  of  switching  from  one  to 
another  outlet  (or  alternating  the  respective 
volume)  as  the  character  moves  becomes  an 
obvious  mechanical  contrivance  that  con- 
fuses the  image  on  the  screen.  This  is  so, 
even  when  the  passage  is  uniform  and 
smooth.  When  there  is  a  variation  in  vol- 
ume in  the  different  sound  tracks,  the  dis- 
turbance is  bad. 

.  .  .  there  remains  a  question  of  whether 
the  reproduction  of  sound,  to  represent 
voices  or  specific  noises,  is  not  more  uniform 
and  plausible  from  a  single  horn. 

Any  sound  from  outlets  away  from  the 
screen,  however,  is  superfluous  and  disillu- 
sioning. 

Stereophonic  sound  reproduction, 
when  properly  applied,  would  un- 
doubtedly enhance  any  motion  picture 
presentation,  as  was  fully  demon- 
strated in  the  "Ave  Maria"  sequence 
of  Walt  Disney's  "Fantasia"  of  blessed 
memory  as  an  outstanding  technical 
achievement.  However,  the  Holly- 
wood contingent,  persisting  in  their 
technical  ignorance,  refuses  to  insist 
upon  acceptable  sound-levels  in  the 
theatre. 

Auditory  perspective  is  by  no  means 
an  unknown  art,  and  there  comes 
readily  to  mind  the  notable  research 
work  done  20  years  ago  by  Dr.  Harvey 
Fletcher,  of  Bell  Telephone  Labora- 
tories. These  data  are  available  even 
to  the  Hollywood  technicians  who 
today  seem  to  be  reading  as  they  run. 

Dramatic  Content 

Mere  magnitude  of  projection  screen 
image  as  exemplified  by  the  Cinema- 
Scope  system  does  not  alter  one  whit 
the  old  adage  that  for  entertainment 
purposes  a  vital  consideration  is  the 
dramatic  content  of  the  picture.  The 
old  saying  that  there  can  be  too  much 
of  a  good  thing  may  be  readily  trans- 
posed in  terms  of  much  too  much 
(screen  size)   of  a  bad  thing. 


The  Tushinsky  pris- 
matic anamorphic 
lens  attachment.  This 
adjustable  device  is 
fitted  to  projection 
lens  in  a  manner 
similar  to  the  stand- 
ard cylindrical  type 
of  anamorphic  at- 
tachment, but  can 
be  adjusted  to  pro- 
ject pictures  in  a 
variety  of  aspect 
ratios. 


In  passing,  let  us  not  forget  that  if 
companies  having  the  industry  stature 
that  Paramount  and  Loew's  enjoy  are 
ready  to  accept  the  single-optical  track 
system,  the  method  must  have  some 
practical  merit. 

The  Fine  system  (Perspecta  Sound) 
is  a  sound  reproduction  process  that 
uses  one  optical  sound  track  of  the 
standard  size  and  can  be  adapted  for 
conventional  one-channel  reproduc- 
tion, or  can  also  give  an  effect  of 
stereophonic  sound.  If  no  stereo 
sound  is  desired,  the  film  need  only 
go  through  the  soundhead  in  the  con- 
ventional way.  If  the  theatre  be 
equipped  for  stereophonic  sound,  spe- 
cial low-frequency  signals,  incorpo- 
rated on  the  optical  track,  can  cue  the 
sound  from  the  single  track  to  speakers 
positioned  at  various  parts  of  the 
screen. 

Prismatic  Anamorphoser 

There  were  demonstrated  in  New 
York  during  the  latter  part  of  March 
two  prismatic  anamorphic  lens  attach- 
ments devised  to  project  motion  pic- 
tures in  any  aspect  ratio  ranging  from 
the  conventional  1.33-to-l  up  2.55-to-l 
—  the  Tushinsky  lens  and  the  Gotts- 
chalk  lens. 

Such  devices  are  a  commonplace  in 
the  projection  art,  having  been  known 
and  utilized  for  years  in  various 
forms.  Prisms  are  tricky  units  and 
involve  serious  consideration  in  both 
their  design  and  application  to  projec- 
tion work.  The  first  public  demon- 
strations were  given  at  the  RKO  86th 
Street  Theatre  in  New  York  under 
conditions  completely  under  the  con- 
trol of  the  demonstrators  and  using 
their  own  film,  all  of  which  was  in 
color  and  of  extremely  light  density. 
Obviously,  such  film  will  pass  a  much 
greater  amount  of  light  than  would  a 
color  print  of  a  darker  density;  and 
with  black-and-white  prints  the  difficul- 
ties of  light  transmission  would  be 
pronounced. 

Non-Technical  Acclaim 

These  demonstrations  met  with  con- 
siderable enthusiasm  by  a  large  seg- 
ment of  the  industry,  and  practically 
the  entire  trade  press  went  overboard 
in  its  acclaim.  However,  IP  is  in  the 
projection  business,  not  in  the  orchid- 
throwing  business,  therefore,  it  ar- 
ranged for  a  subsequent  private  dem- 
onstration of  the  Tushinsky  device. 

At  this  later  private  demonstration 
(Continued   on   page   10) 


INTERNATIONAL  PROJECTIONIST      •      APRIL  1954 


Oven-fired  pToMic 
encapsulated  —  shock, 
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OTHER  FEATURES 


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•  Performance  guaranteed. 


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321  S.  Church  St.,  Charlotte,  N.C. 

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218  East  56th  Street,  Savannah,  Georgia 

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INTERNATIONAL  PROJECTIONIST      •      APRIL  1954 


for  IP,  the  Tushinsky  device  accom- 
plished the  purpose  for  which  it  was 
intended  —  the  showing  of  motion 
pictures  in  all  aspect  ratios  within  the 
range  mentioned  previously.  How- 
ever, at  this  showing  we  used  a 
CinemaScope  black-and-white  test-pat- 
tern film,  having  both  horizontal  and 
vertical  lines.  Alternate  projectors 
were  used  to  show  the  difference  in 
both  focus  and  light  level  between  the 
Bausch  &  Lomb  CinemaScope  lens  and 
the  Tushinsky  prismatic  attachment. 

Considerable  Light  Loss 

Much  to  our  surprise,  the  focus  of 
the  Tushinsky  anamorphic  attachment 
was  good  and  in  every  respect  com- 
parable to  that  attained  by  the  B.  &  L. 
CinemaScope  lens.  But  we  were  sur- 
prised to  note  that  as  between  the  B.  & 
L.  CinemaScope  lens  and  the  Tushin- 
sky unit  there  was,  to  our  eyes,  a  light 
loss  with  the  Tushinsky  unit  of  ap- 
proximately 45% ! 

Now,  this  was  rather  an  astonishing 
spectacle,  since  we  couldn't  conceive 
how  a  rather  simple  prismatic  device 
employing  only  two  optical  elements 
could  possibly  induce  such  a  large 
degree  of  light-transmission  loss.  In 
all  fairness  to  Tushinsky,  it  must  be 
stated  that  his  effective  aperture  open- 
ing was  only  3  %",  while  the  projec- 
tion lens  was  4"  in  diameter.  This 
would  naturally  have  the  effect  of  cut- 
ting down  his  light  by  reason  of  his 
reduced  "working"  aperture.  IP  un- 
derstands that  a  larger  effective  aper- 
ture will  be  employed  in  the  Tushinsky 
unit  in  the  very  near  future  to  accomo- 


date the  present  4"  diameter  lens 
mounts.  This  could  make  a  whale  of 
a  difference. 

Eminent  Optical  Opinion 

The  light  loss  occasioned  by  the  use 
of  the  Tushinsky  unit  prompted  IP  to 
consult  eminent  optical  authorities. 
Several  theories  relative  to  the  action 
of  optical  anamorphic  prisms,  and  the 
possible  reasons  for  light  loss,  were 
advanced,  as  follows: 

1.  The  angle  at  which  the  light 
beam  strikes  the  prism  may  occasion 
considerable  dispersion  and  absorp- 
tion of  light  within  the  housing. 

2.  The  effective  aperture  of  such  a 
device  should  be  fully  equal  to  that  of 
the  projection  lens  so  that  it  can  accept 
the  full  light  output  from  the  latter. 

3.  Extremely  accurate  positioning 
of  the  optical  elements  within  the  hous- 
ing, which  is,  of  course,  a  mechanical 
manufacturing  procedure. 

4.  Possible  desirability  of  matching 
the  optics  of  such  a  unit  with  those  of 
the  projection  lens  being  used. 

5.  The  speed  of  the  regular  projec- 
tion lens  would,  if  of  a  "fast"  char- 
acter, naturally  magnify  any  inherent 
errors  in  the  attached  unit. 

Two  Vital  Field  Problems 

There  are  other  factors  to  be  con- 
sidered in  connection  with  the  use  of 
prismatic  anamorphic  devices  such  as 
the  Tushinsky  unit.  First  and  most 
important  is  the  quality  of  the  glass 
used.  Next  is  the  positioning  of  the 
elements    within    the    housing    —    a 


Lens  Pre-Focusing  Device 

A  calibrated  device  which  enables  the 
projectionist  to  pre-focus  a  variety  of 
different  lenses  has  been  designed  by 
Joe  Tritsch,  member  of  Los  Angeles 
Local  150  and  projectionist  at  the  Encino 
Theatre,  Encino,  Calif.  Called  the 
"Focuset,"  it  is  a  simple  attachment 
by  which  the  projectionist  may  metho- 
dically and  accurately  index  different 
projector  lenses  in  exact  focus. 

The  device  consists  of  a  dial  indicator 
type  of  indexing  mechanism  attached  to 
the  lens  holder  casting  in  such  a  posi- 
tion that  the  extended  or  actuating  posi- 
tion of  the  indexing  mechanism  contacts 
the  main  projector  frame  casting. 

In  using  the  unit,  a  sharp  image  is 
first  obtained  on  the  screen  and  the  posi- 
tion or  reading  of  the  indexing 
mechanism  noted.  Every  basic  position 
of  lenses  needed  for  various  aspect  ratios 
may  consequently  be  determined  and 
their    position    on    the    indicator    noted. 


These  indexing  points  remain  valid  for 
all  subsequent  lens  positioning  so  long 
as  neither  the  Focuset  mounting  nor  the 
main  frame  casting  is  varied. 


Variable  Prismatic  Units 

1.  The  angle  at  which  the 
light  beam  strikes  the  prism 
may  occasion  considerable  dis- 
persion and  absorption  of  light 
within  the  housing. 

2.  The  effective  aperture  of 
such  a  device  should  be  fully 
equal  to  that  of  the  projection 
lens  so  that  it  can  accept  the 
full  light  output  from  the  latter. 

3.  Extremely  accurate  posi- 
tioning of  the  optical  elements 
within  the  housing,  which  is,  of 
course,  a  mechanical  manufac- 
turing procedure. 

4.  Possible  desirability  of 
matching  the  optics  of  such  a 
unit  with  those  of  the  projec- 
tion lens  being  used. 

5.  The  speed  of  the  regular 
projection  lens  would,  if  of  a 
"fast"  character,  naturally  mag- 
nify any  inherent  errors  in  the 
attached  unit. 


Handy   lens   pre-focusing   device   developed    by 

Joe    Trilsch,    member    of    I A    Local     150,     Los 

Angeles,      and      projectionist      at      the      Encino 

Theatre,  Encino,  Calif. 


question  of  precision  manufacturing 
procedure. 

Once  in  the  field,  there  arise  two 
vitally  important  considerations  in 
connection  with  such  devices:  first, 
theatre  personnel  (managers,  projec- 
tionists) may  attempt  to  exercise  their 
personal  preference  for  picture  ratio  to 
the  extent  that  they  use  a  device  such 
as  the  Tushinsky  unit  to  project  a  pic- 
ture in  a  ratio  in  which  the  picture  was 
not  originally  made.  Gross  distortion 
will  be  the  inevitable  result. 

Next,  and  equally  important,  is  the 
fundamental  necessity  for  cleaning  any 
optical  element.  We  all  know  that  in 
a  projection  room  the  accumulation  of 
dust  on  optical  surfaces  is  a  deterrent 
to  good  projection.  This  demands 
that  optical  surfaces  be  cleaned  fre- 
quently, and  this  applies  with  especial 
emphasis  to  a  device  such  as  the 
Tushinsky  prismatic  unit. 

Granted  that  projectionists  wish  to 
clean  the  optical  surfaces  in  the 
Tushinsky  unit,  the  procedure  would 
involve  removing  the  various  screws 
in  the  housing  and  wiping  oif  the  pris- 
matic lens.  What  is  the  warranty  that 
the  elements  will  be  subsequently  re- 
positioned in  proper  alignment? 

Healthy  Competitive  Force 

With  all  the  foregoing  considera- 
tions fresh  in  mind,  we  regard  the  in- 
troduction of  devices  such  as  the 
Tushinsky  unit  as  a  healthy  competi- 
tive force  in  the  motion  picture  indus- 
(Continued   on   page   34) 


10 


INTERNATIONAL  PROJECTIONIST      •      APRIL  1954 


^Icuik! 


THE  FIRST  DRIVE-IN  THEATRE 

INSTALLS  APPROVED 

DUAL -SPEAKER  IN -CAR 

STEREOPHONIC  SOUND 

The  900  -  Car 

Motor-Vu  Drive-ln 

Salt  Lake  City 

(Owned  and  operated  by  Eric  and  Carl  Peterson) 

Presents 

"THE  ROBE"  IN  CINEMASCOPE 

on  a  102'  X  48'  screen 

Opened  March  19  to  Capacity  Crowd 
with  a 

MOTIOGRAPH  IN-CAR  STEREOPHONIC  SOUND  SYSTEM 

and 

MOTIOGRAPH  AAA  PROJECTORS 

VAe  GMoUeHce-  e4i4Jti44da6JUcalUf.  acclcU4fted  two-okanHel  ite^eafiliOHic  iound. 

The  installation  was  supervised  by  Service  Theatre  Supply,  Inc., 
Salt  Lake  City;  Motiograph,  and  Altec  Service  engineers. 

INTERNATIONAL  PROJECTIONIST      •      APRIL  1954  II 


^A 


Burning  10  mm  "Hitex"  carbons  at  135  amperes, 
or  11  mm  regular  carbons  at  120  amperes, 
impartial  foot  candle  meter  tests  prove  the 


#1 


^^SUPER  135 


THE  MOST  POWERFUL 
PROJECTION  ARC  LAMP 

and  you  can't  argue  with  a  light  meter.  If  you  want 
further  proof,  demand  a  comparison-demonstration 
and  see  for  yourself. 


_——-—'■ —  "t  divert* 

vents  the      r  ^^^^^^ 


,»5  amP«'"  „,    de- 


Wk^iJUiamfiAMt  STRONG  t4e/ocat9£0^t^/ 


THE  STRONG  ElECTIC  CORPORATION 

rfce  WorU's  largett  ^onufacfurer  of  Pro/ecf/on  Arc  Lamps 
31     City  Park  Avenue  Tol.do  2.  Ohio 

Please  send  free  liferature  on  Strong  Projertion  Lamps. 


NAME 

THEATRE- 
STREET 


CITY  &  STATE 

NAME  OF  SUPPUER- 


12 


INTERNATIONAL  PROJECTiONlST      •      APRIL  1954 


h 


Paramount's  Vista  Vision 

By  LOREN  L.  RYDER 

Engineering    Director,    Paramount    Studios,    Hollywood,    Calif. 


SIMPLICITY  is  the  keyword  for 
VistaVision.  This  development 
sets  a  new  pattern  in  photo- 
graphy and  provides  a  maximum  of 
entertainment  value  at  a  minimum  of 
expense.  The  fact  that  theatres  the 
world  over  may  utilize  its  advantages 
on  standard  projection  equipment 
makes  it  doubly  attractive. 

Paramount's  consistent  belief  that 
wide-screen  presentation  is  enhanced 
by  adding  height  and  the  need  for 
greater  screen  clarity  prompted  the 
development  of  this  system.  The  first 
step  was  a  method  of  procuring  better 
original  photographic  detail.  This  was 
accomplished  by  exposing  the  area  of 
two  frames  horizontally  on  regular 
35-mm  film,  the  camera  being  turned 
on  its  side. 

Larger  Camera  Negative 

Using  a  wider-angle  lens  and  pull- 
ling  eight  sprocket  holes  before  the 
lens  instead  of  the  conventional  four, 
a  new,  large  negative  measuring  1.472 
x  0.997  inches  was  produced.  (Fig.  1). 
With  almost  three  times  the  area  of 
a  standard  35-mm  frame  exposed, 
much  more  detail  was  photographed 
than  was  possible  on  a  standard  frame. 
Furthermore,  scenes  can  be  photo- 
graphed for  best  composition  in  as- 
pect ratios  of  1.66  to  1  or  1.85  to  1. 

The  next  step  was  to  get  an  optical 
reduction  on  regular  35-mm  film  so 
that  it  could  be  shown  in  any  exist- 
ing theatre  without  changes  in  pro- 
jection equipment.  For  this  a  new 
technique  was  developed  whereby  in 
the  printing  process  the  large  nega- 
tive was  turned  90  degrees  and  print- 
ed the  same  as  any  previous  release 
film  ( Fig.  2 ) .  The  net  result  of  such 
a  process  meant  that  the  original  depth 
of  focus  was  retained  in  the  reduction 
and  the  grain  effect  was  practically 
eliminated.  When  projected,  the  full 
beauty  of  the  entire  scene  is  repro- 
duced. This  is  the  outstanding  feature 
of  VistaVision. 

Big  Screen  Advised 

While  no  added  expense  is  neces- 
sary to  gain  the  full  quality  in  Vista- 
Vision theatre  prints,  certain  improve- 
ments will  give  greater  viewing  pleas- 


ure and  the  first  and  most  important 
is  a  suitable  screen.  For  those  thea- 
tres who  do  not  have  a  big  screen, 
Paramount's  recommendation  is  to 
provide  as  high  and  as  wide  a  screen 
as  the  premises  will  permit. 

Further,  a  seamless  screen  of  good 
quality  should  be  installed  and  the 
theatre  should  fill  the  screen  with  pic- 
ture. A  first  cost  for  the  more  ad- 
vantageous use  of  Vista-Vision  is  the 
screen  and  with  each  increment  of 
expenditure  better  picture  quality  will 


Full  -  size  re- 
production of 
the  35  -  mm 
release  print 
made  from 
the  double- 
frame  Vista- 
Vision nega- 
tive. Latter  is 
turned  90  de- 
grees and 
printed  down 
to  ^.  r  e  a 
shown.  Re- 
sultant print 
gives  greater 
resolution. 


result  whereby  the  viewer  will  see 
more  and  get  more  enjoyment.  Good 
standard  lenses  and  adequate  projec- 
tion light  will  add  to  these  improve- 
ments. 

No  Projection  Problems 

As  stated  above,  a  VistaVision  re- 
lease print  can  be  played  on  any  stan- 
dard projection  equipment.  Using  a 
standard  good  quality  lens  all  of  the 
beauty  and  clarity  may  be  shown  in 
any  aspect  ratio  from  1.33/1  to  2/1 
by  the  simple  expedient  of  masking 
with  a  properly  shaped  projection 
aperture.    (Fig.  3) .  Light  requirements 


1 1.85/1  wnc 


■,--\Z5%ka\o\- 


133/1  RAlWl 


New  VistaVision  high  and  wide  screen.  Dotted 
line  shows  how  ordinary  motion  picture  screen 
size  compares  with  big  VistaVision  screen. 
Broken  lines  shows  comparison  of  2.55  to  1 
ratio   screen   with    high    1.85   to    1    VistaVision. 

will  depend  on  the  screen  size  and 
throw. 

In  very  large  houses  with  very 
large  screens  it  might  be  advisable  to 
use  a  variable  expander  prismatic  lens. 
With  it,  lens  handling  becomes  simpli- 
fied and  complete  light  is  gained  for 
the  entire  picture  of  any  size.  Para- 
mount will  make  available  both 
standard  and  compressed  prints;  the 
latter  will  be  made  in  the  ratio  of 
1.5/1  and  will  give  a  screen  picture 
in  the  ratio  of  2/1  when  shown 
through  the  expander  lens.  Such  a 
lens  may  also  be  used  with  standard 
prints  and  in  addition  will  play  com- 
pressed prints  from  other  studios. 

Standard  Sound  Track 

All  VistaVision  theatre  prints  will 
have  standard  sprocket  holes  and  will 
carry  the  regular  optical  sound  track. 
In  addition,  each  print  will  have  a 
control  track  which  will  control  the 
sound  placement  in  theatres  equipped 
for  dimensional  sound.  It  is  felt  that 
for  most  houses,  the  single  horn  sys- 
tem will  give  excellent  results;  how- 
ever, dimensional  sound  will  be  avail- 
able and  optional. 

Since  the  introduction  of  wide 
screens  many  theatres  have  found  that 
the  front  seats  are  even  less  desirable 
than  in  the  past.  With  VistaVision, 
these  seats  are  regained  for  the  ex- 
hibitor for  with  its  exceptional  clarity 
and  lack  of  film  grain,  pictures  down 


Full  -  size  repro- 
duction of  the 
Vista  Vision 
camera  negative 
showing  size  and 
placement  of  the 
image.  Note 
clarity    of    detail. 


INTERNATIONAL  PROJECTIONIST      •      APRIL  1954 


13 


front  can  be  viewed  with  comfort. 
In  fact,  they  will  probably  be  better 
than  ever  before  and  this  will  be  ap- 
parent in  all  theatres  regardless  of 
size. 

While  it  has  already  been  said  that 
neither  wide  screen,  3-D  nor  stereo- 
phonic sound  can  substitute  for  a 
good  picture,  given  a  reasonably  good 
production,  VistaVision  will  make  it 
better. 


Ryder  Explains  Par's 
Position  on  Screens 

IN  CONNECTION  with  this  Vista- 
Vision  "new  look,"  Paramount  wishes 
to  re-emphasize  the  need  for  bigger  and 
better  screens.  Exhibitors  and  paying 
patrons  alike,  in  every  community,  are 
becoming  acutely  wide-screen  conscious, 
with  many  such  units  already  installed, 
but  there  still  are  many  exhibitors  who 
are  undecided  on  this  point. 

Paramount  feels  that  it  is  a  distinct 
advantage  to  every  theatre  to  install  a 
screen  that  has  height  as  well  as  width, 
and  where  the  theatre  is  capable  of  ac- 
cepting il,  a  screen  ratio  of  1.85  to  1 
is  our  choice.  This  would  apply  to  all 
medium  and  large  houses,  where  we 
found  after  a  series  of  tests  that  the 
same  scene  always  looks  better  and  the 
actors  can  be  brought  closer  to  the  audi- 
ence as  the  screen  height  is  increased 
with  respect  to  the  width  up  to  the  ratio 
of    1.85    to    1. 

Factors  Affecting  Screen  Size 

Screen  height  the  same  as  screen 
width  is  usually  limited  by  the  pros- 
cenium. However,  screen  height  may 
also  be  limited  in  balcony  houses  by  the 
maximum  height  that  can  be  seen  from 
the  back  row  of  the  main  floor  where 
the  sight  line  is  eclipsed  by  the  over- 
hang of  the  balcony.  In  this  case  it 
may  be  necessary  to  use  a  screen  aspect 
ratio  of  2  to  1. 

For  houses  with  smaller  screens  where 
the  width  is  limited  to  30  feet,  but 
where  there  is  plenty  of  height,  an  as- 
pect ratio  of  1.66  to  1  is  suggested.  In 
the  latter  case,  picture  height  can  be 
reduced  when  necessary  for  good  view- 
ing. In  all  cases  the  objective  is  to 
fill  the  screen  with  picture. 

Screen  Light  Distribution 

It  has  been  found  that  some  screens 
have  been  selected  to  give  uniform  dis- 
tribution of  light  across  the  house.  Our 
opinion  is  that  such  a  screen  tends  to 
give  an  inferior  picture  at  the  center  of 
seating  and  seldom  improves  the  side 
seats. 

For  large  theatres  we  suggest  a  metal- 


ized  seamless  screen  that  has  a  light 
gain  of  21/^  to  1.  This  type  will  give 
much  better  viewing  to  the  important 
and  largest  number  of  seats  and  will 
provide  satisfactory  light  distribution 
throughout  the  theatre.  Further,  the 
screen  should  be  curved  in  a  radius 
equal  to  the  production  throw. 

In  long  narrow  houses  the  radius 
could  be  increased  to  1^4  to  l^/^  times 
the  throw.  In  addition,  where  the  thea- 
tre has  a  high  projection  angle,  excel- 
lent results  are  obtained  by  tilting  the 
screen  back  slightly  at  the  top  about 
Vs  the  projection  angle,  but  not  more 
than  5  degrees. 

Paramount  Studio  Tests 

Tests  made  at  the  Paramount  Studio 
in  Hollywood  were  shown  on  a  Stewart 
Trans-Lux  Luxuria  seamless  screen 
measuring  62^/2  by  33%  feet  on  which  a 
picture  61  by  33  feet  was  projected.  This 


was  the  1.85  to  1  ratio  with  a  projection 
throw  of  165  feet. 

Such  a  screen  could  be  fitted  in  only 
a  few  houses,  but  it  served  to  demon- 
strate the  possibilities  of  clarity,  depth 
of  focus,  and  resolution.  On  it  a  Vista- 
Vision-produced  picture  appeared  bril- 
liant, with  excellent  light  distribution 
throughout  the  house.  An  improvement 
was  noted  too  with  pictures  made  on  the 
old  standard.  They  were  noticeably  bet- 
ter even  in  the  4  by  3  size. 

It  can  be  said,  therefore,  that  where 
an  exhibitor  is  about  to  make  an  out- 
lay for  a  new  screen,  we  feel  that  it  is 
wise  to  invest  in  a  good  quality  seam- 
less screen.  Another  reason  is  that 
seams  tend  to  divide  and  separate  the 
picture  and  become  an  annoying  dis- 
traction after  awhile. 

A  new  screen  of  the  seamless  type 
will  add  much  to  the  enjoyment  of  the 
patrons. 


Proper  Method  of  Splicing 
CinemaScope  Film 

By  IRVING  MERKUR 

Ace  Electric  Manufacturing  Co. 
Member,   lA   Local  306,   New  York   City 

AT  the  last  meeting  of  the  25-30 
Club  of  New  York  City  I  offer- 
ed my  views  on  the  topic  of  the  proper 
splicing  of  CinemaScope  film,  regard- 
ing which  there  has  been  considerable 
comment  in  projection  circles.  Ap- 
pended is  a  digest  of  the  open,  and 
rather  rugged,  discussion  which  en- 
sued at  this  meeting. 

I  introduced  at  this  meeting  the 
Griswold  "Hot"  splicer  which  I  re- 
gard as  essential  for  the  proper  splic- 
ing of  present-day  acetate  film.  I 
used  Jefrona  cement  in  this  demon- 
stration, but  I  am  confident  that,  with 
the  proper  procedure,  any  good  ce- 
ment will  produce  equally  satisfactory 
results.  I  regard  the  use  of  a  heater 
element  as  essential  for  the  satisfac- 
tory splicing  of  acetate  film. 

Proper  Procedure 

For  safe  splicing  I  recommend  the 
following  procedure: 

First,  place  the  film  in  the  splicer 
right-side-up  and  then  cut  in  the  usual 
manner.  Remove  the  film  from  the 
right  side  of  the  splicer.  Then  reverse 
the  film  and  place  it  on  the  left  side  of 
the  splicer  with  the  magnetic  track 
facing  upward. 

Next,  apply  a  thin  coating  of  ce- 
ment to  the  magnetic  side  of  the  film. 
Let  this  "set"  for  at  least  ten  seconds; 
then    carefully    wipe    off    any    excess 


cement.  This  will  remove  the  mag- 
netic coating  and  gloss. 

For  the  next  step,  remove  the  film 
and  replace  it  on  the  right  side  of  the 
splicer,  following  which  replace  the 
film  which  was  on  the  left  side.  Scrape 
this  piece  of  film  dry  with  the  Ace 
scraper  and  apply  a  thin  coat  of  ce- 
ment. Then  close  your  press  plates 
—  and  the  splice  is  made  to  hold 
securely. 

Is  is  absolutely  essential  to  let  the 
completed  splice  rest  within  the  press 
plates  for  a  minimum  of  1  minute  — 
never  less.  This  gives  the  cement  a 
chance  to  penetrate  the  film  and  to 
dry  properly.  Never,  under  any  cir- 
cumstances, try  to  squeeze  out  the  ce- 
ment from  the  splice,  because  this 
will  cause  the  magnetic  coating  to 
smear. 

Basic  Splicing  Requisites 

The  following  rules  are  essential 
for  the  making  of  a  good  splice  for 
any  type  of  film: 

1.  Scraping  must  be  clean  and  not 
deep. 

2.  No  water  should  be  used. 

3-  Cement  must  be  applied  evenly  and 
sparingly. 

4.  A  good  splice  will  always  be  made 
if  you  raise  the  left-side  plates  and 
apply  the  cement  to  the  film.  Never 
apply  cement  to  film  while  it  is 
resting  on  the  cutting  bar,  as  this  will 
cake  your  cutting  edge  and  make  it  im- 
possible to  get  a  clean  patch. 

Many  projectionists  have  experi- 
enced difficulty  with  the  splicing  of 
CinemaScope  film,  and  I  should  ap- 
preciate it  if  any  questions  arising 
from  this  difficulty  be  submitted  to  IP. 


14 


INTERNATIONAL  PROJECTIONIST      •      APRIL  1954 


THE  LENS:  Key  to  Projection  Quality 

Problems  that  result  from  the  use  of  fast  modern  lenses  and  lenses  of  short-focal 
length  are  described  in  this  third  and  concluding  article  of  a  series.  Considered 
also  is  a  step-by-step  procedure  for  the  care  and  cleaning  of  projection  lenses. 


IF  WE  double  the  width  of  a 
screen-image  by  halving  the  focal 
length  of  the  lens  (using  a  21/2- 
inch  lens  in  place  of  a  5-inch  lens,  for 
example),  the  area  of  the  projected 
picture  is  increased  4  times.  This 
means  that  4  times  more  light  is 
needed  to  get  the  same  picture-bright- 
ness with  the  21/2-inch  lens  as  was 
obtained  with  the  5-inch  lens,  the 
speeds  of  both  lenses  being  the  same. 
This  consideration  is  often  over- 
looked: the  exhibitor  who  buys  new 
short-focus  lenses  fails  to  buy  new 
lamps  of  suitable  power  to  go  with 
them.  And  the  purchase  of  new  lamps 
usually  also  entails  the  purchase  of 
new   generators   or   rectifiers. 

Brightness  Comes  First 

This  reminder  is  not  meant  to  dis- 
courage the  use  of  shorter  focal- 
length  lenses,  but  adequate  screen  illu- 
mination should  never  be  sacrificed 
for  mere  picture-bigness.  And  as  slow, 
rather  than  fast,  lenses  in  the  extreme- 
ly short-focal  lengths  are  recom- 
mended for  better  image-definition, 
the  need  of  suitable  lamps  to  accom- 
pany the  new  lenses  is  all  the  more 
urgent. 

Specifically,  slow  and  medium  lens- 
speeds  (F:3  to  F:2.5)  are  best  in  the 
lV2-inch  to  3%-inch  focal  lengths, 
fast  speeds  (F:2  or  F:1.9)  in  the  4- 
inch  and  greater  focal  lengths.  Thea- 
tres contemplating  a  change  from  5- 
inch  to  4-inch  lenses  (to  increase  pic- 
ture-width from  14.9  feet  to  18.5  feet 
at  a  90-foot  throw,  for  example), 
should  obtain  coated  4-inch  lenses  of 
F:1.9  speed.  If  the  old  5-inch  lenses 
were  slower  than  this,  and  not  coated, 
new  lamps  may  not  be  necessary,  as 
the  new  picture-area  is  only  IV2  times 
the  old  area.  It  depends  wholly  on 
whether  the  lamps  gave  adequate 
light  with  the  old  lenses. 

Coated  Lenses 

Coated  lenses  transmit  much  more 
light  than  uncoated  ones  —  15  to  25 
per  cent  more  light.    This  substantial 


By  ROBERT  A.  MITCHELL 


gain  is  augmented  by  the  increased 
speed  which  can  be  obtained  in  mod- 
ern lenses.  All  too  often,  however, 
the  advantages  of  coated  projection- 
port  glasses  are  overlooked.  When 
both  surfaces  of  these  glasses  are 
coated,  a  gain  of  about  10  per  cent  in 
screen-illumination  is  obtained.  In  ad- 
dition to  this  positive  boost  of  picture- 
brightness,  coated  port  glasses  assist 
in  the  production  of  more  sparkling 
and  lifelike  image-contrasts. 

The  "F-number"  speed  of  a  lens  is 
found  by  dividing  its  equivalent  focal 
length  (E.F.)  by  the  diameter  of  the 
"pupil,"  or  clear  opening  through 
which  light  may.  pass.  As  an  example, 
a  certain  lens  has  an  E.F.  of  4  inches 
and  an  opening  of  2.1  inches  in  dia- 
meter. Its  speed  is  F:4/2.1,  which 
equals  F:1.9. 

Arc  Mirror  Speed 

Theoretically,  a  lens  will  intercept 
all  of  the  light  passing  through  the 
projector-aperture  when  its  speed 
matches   that   of  the  arc-lamp  mirror 


or  condensing  lens.  We  say  "theo- 
retically" because  the  "theory"  usually 
fails  to  include  a  mighty  important 
factor,  namely,  the  size  of  the  aperture. 

The  true  optical  speeds  of  arc  mir- 
rors and  condensers  are  extremely 
rapid  (in  the  neighborhood  of  F:0.4), 
and  are  not  used  in  lens-matching 
calculations.  Instead,  the  mirror  is 
regarded  as  a  lens  which  images  upon 
the  aperture  a  luminous  positive  crater 
placed  infinitely  far  behind  the  mir- 
ror! The  "working  distance"  (distance 
from  center  of  mirror  to  aperture) 
then  becomes  virtual  focal  length.  On 
this  assumption,  the  virtual  speed  of 
a  12-inch  mirror  removed  30  inches 
from  the  aperture  is  F:  30/12,  or 
F:2.5. 

We  are  allowed  to  make  this  as- 
sumption because  the  distance  from 
positive  crater  to  mirror-center  ("geo- 
metric focus")  does  not  affect  the 
angles  of  the  light-rays  when  the  sys- 
tem is  in  focus  (that  is,  when  the 
crater  is  accurately  imaged  upon  the 
aperture  as  a  brilliant  "spot"). 

All  this  is  simple  enough;  and  such 
a  mirror  (virtual  speed  of  F:2.5) 
will  be  perfectly  matched  by  an  F:2.5 
projection   lens   if  the  aperture   be  a 


FIGURE    2. 

The  mirrors  and  lenses 
illustrated  here  have 
the  same  "speed" — 
F:2.  The  lens  in  (A) 
matches  the  mirror 
perfectly,  but  not  the 
lens  in  (B).  The  dif- 
ference is  due  to  the 
different  sizes  of  the 
apertures — the  larger 
the  film  aperture,  the 
faster  the  lens  must 
be  to  capture  all  of 
the  light  and  thus 
match  the  mirror.  In 
actual  practice,  there- 
fore, an  F:2  lens  is 
too  slow  to  match  an 
F:2   mirror. 


INTERNATIONAL  PROJECTIONIST 


APRIL  1954 


X 


-^ii— Mirror  y-.  2.5 
OPTICS   ivLfVrCHED 


1.5 


.\ 


L 


Condenser /:  2.5^ 

OPTICS  NOT  matched/ 

FIG.  3.  The  closer  It  is  to  the  aperture,  the 
smaller  a  mirror  or  condensing  lens  must  be 
to  have  the  same  speed  as  a  mirror  placed 
farther  away.  Because  of  differences  in  the 
relation  of  the  sire  of  the  aperture  to  that  of 
the  lamp-mirror  or  condenser,  a  projection 
lens  which  matches  one  mirror  or  condenser 
does  not  necessarily  match  another  having 
the    some    speed. 

mere  pinhole  of  infinitesimal  dimen- 
sions. But  projector  apertures  are  not 
mere  pinholes:  they  are  rectangular 
openings  of  appreciable  size!  Here  is 
where  we  encounter  difficulties. 

Figure  2  shows  how  the  light 
spreads  out  as  it  emerges  from  (A) 
a  pinhole  aperture  and  from  (B)  an 
actual  35-mm  film-aperture  having  a 
diagonal  of  about  1  inch.  Notice  that 
the  F:2  lens  does  not  match  the  F:2 
mirror  in  the  case  of  a  real  aperture 
because  there  is  too  much  "spreading" 
of  the  light  rays.  The  outer  rays  miss 
the  lens  entirely.  Therefore,  the  lens 
must  be  faster  than  F:2  if  it  is  to 
match  an  F:2  mirror! 

Condenser  Speed 

There  is  still  another  peculiarity 
that  appears  when  we  are  dealing  with 
real  apertures.  Condensing  lenses,  as 
all  projectionists  know,  are  much 
closer  to  the  aperture  than  are  mirrors. 
To  have  the  same  virtual  speed  (work- 
ing distance  divided  by  diameter),  a 
condensing  lens  need  not  be  nearly 
as  big  as  a  reflector.  And  regardless 
of  what  the  working  distance  may  be, 
an  F:2.5  condensing  lens  matches  an 
F:2.5  projection  lens  (just  as  an  F:2.5 
mirror  does)  if  the  aperture  be  only 
a  tiny  pinhole. 

With  a  35-mm  film-aperture,  how- 
ever, the  small  F:2.5  condenser  pro- 
duces a  greater  spreading  of  the  light- 
rays  from  the  aperture  than  does  the 
larger,  but  more  distant,  F:2.5  mirror! 
This  is  because  the  diameter  of  the 
condenser  divided  by  the  diagonal  of 
the  aperture  is  a  smaller  number  than 
the  diameter  of  the  mirror  divided  by 
the  diagonal  of  the  aperture.  (See 
Fig.    3.)     Hence    the   surprising   con- 


clusion: a  condenser  requires  a  faster 
lens  for  perfect  optical  match  than 
does  a  mirror  having  the  same  speed! 

Matching  Optics 

At  this  point  we  seem  to  be  hope- 
lessly entangled  in  optical  complica- 
tions. Is  it  possible  to  calculate  the 
speed  of  a  lens  required  to  match 
perfectly  any  lamp-mirror  or  condens- 
ing lens?  It  is  possible  to  do  so,  most 
assuredly;  though  the  formula  is  a 
bit  complex.  But  before  examining 
this  formula,  let's  review  the  defini- 
tion of  perfect  optical  match. 

A  state  of  optical  match  between 
projection  lens  and  lamp  optics 
exists  when  the  lens  has  sufficient 
speed  to  intercept  all  of  the  light 
emerging  from  the  aperture. 

The  matching  formula  which  gives 
the  F-number  of  the  lens  (fj  required 
to  match  the  lamp-optics  is: 
Fm 

/  = 

bF  +  a(F  +  m) 

in  which  a  is  the  aperture-diagonal 
(1  inch),  b  is  the  diameter  of  the 
mirror  or  condenser  in  inches,  F  is 
the  E.F.  of  the  projection  lens  in 
inches,  and  m  is  the  working  distance 
of  the  mirror  or  condenser  in  inches.* 

A  complete  explanation  of  this 
formula  and  its  mathematical  deriva- 
tion may  be  found  in  the  October  1949 
issue  of  IP,  beginning  under  the  head- 
ing The  Efficiency  Ratio  on  page  8. 

Although  this  formula  is  absolutely 
correct  for  simple,  single-element  pro- 
jection lenses,  and  extremely  accurate 
for  actual  lenses  consisting  of  several 
elements,  its  practical  value  consists 
solely  in  revealing  that  projection 
lenses   must   be   even   faster   than   the 


*  The  distance  from  mirror  (or  condenser)  to 
aperture.  In  the  case  of  a  mirror,  m  in  this 
formula  is  the  length  of  a  straight  line 
parallel  to  the  optical  axis  drawn  from  the 
edge  of  the  mirror  to  the  plane  of  the  aperture. 
In  other  words,  the  mirror  is  treated  as  a  flat 
disc   instead   of  the  concave   surface   it   really  is. 


most  rapid  lenses  now  available  to 
match  perfectly  ordinary  projection 
lamps.  (See  Tables  A  and  B  on  p.  9 
of  IP  for  March  1949.)  We  may  now 
ask:  are  the  extremely  fast  lenses 
needed  for  perfect  optical  matching 
really  desirable?  No,  they  certainly 
are  not! 

Depth  of  Focus 

It  has  been  shown  that  fast  lenses 
have  a  smaller  depth  of  focus  than 
slow  lenses.  The  extremely  fast  lenses 
demanded  by  the  perfect  matching 
would  be  so  sensitive  to  film-flutter 
and  buckle  that  good  focus  would  be 
absolutely  impossible.  The  most  rapid 
lenses  now  available  (F:1.9)  represent 
the  limit  of  practicability. 

However,  when  the  lens  fails  to 
match  the  optics  of  the  lamp  —  and 
this  is  practically  always  the  case  — 
light  is  lost  and  a  certain  amount  of 
"vignetting,"  or  fadeaway  of  light  at 
the  edges  of  the  picture  results.  This 
is  one  of  the  causes  (but  by  no  means 
the  most  important  one)  of  the  "hot- 
spot  effect"  —  a  bright  central  area 
of  the  projected  picture  with  fade- 
away at  the  edges. 

Rays  from  the  edge-zones  of  a  fast 
mirror  diverge  so  rapidly  on  the  lens- 
side  of  the  aperture  that  they  may  miss 
the  lens  entirely,  especially  when  pass- 
ing close  to  the  edges  of  the  aperture. 
Rays  from  the  central  zone  of  the 
mirror,  however,  are  intercepted  and 
utilized  by  the  lens.  This  makes  for 
hot-spot  projection  and  also  increases 
film-buckling  because,  whether  the 
rays  reach  the  lens  or  not,  they  pass 
through  the  film  and  increase  its 
temperature. 

One  way  to  attain  optical  match 
without  increasing  the  speed  of  the 
lens  is  to  decrease  the  speed,  or  dia- 
meter, of  the  mirror.    In  other  words, 

(Continued   on   page   32) 


You  Can^t  Stretch  Light! 

If  we  double  the  width  of  a  screen-image  by  halving  the  focal 
length  of  the  lens  (using  a  2T>4-inch  lens  in  place  of  a  5-inch 
lens,  for  example),  the  area  of  the  projected  picture  is  in- 
creased 4  times.  This  means  that  4  times  more  light  is  needed 
to  get  the  same  picture-brightness  with  the  2l/'2-inch  lens  as 
was  obtained  with  the  5-inch  lens,  the  speeds  of  both  lenses 
being  the  same.  Adequate  screen  illumination  should  never 
be  sacrificed  for  mere  picture-bigness. 


16 


INTERNATIONAL  PROJECTIONIST 


APRIL  1954 


Polaroid-IP 
Contest  Winner: 

GEORGE  A.   HARTNETT 

Member  I A  Local  286,  Des  Moines,  Iowa 


FIRST  prize  in  the  final  round  of  the  Polaroid-IP  Contest  for  the  best  sug- 
gestions relative  to  improved  projection  of  3-D  pictures  was  copped  by 
George  A.  Hartnett,  member  of  lA  Local  286,  Des  Moines,  Iowa,  who  con- 
ceived and  put  them  into  practical  operation  at  the  Des  Moines  Theatre  in 
that  city.   Hartnett  scored  over  some  60-odd  entries. 


A  Polaroid  Land  Camera  is  now  be- 
ing shipped  to  Mr.  Hartnett,  who  won 
despite  stiff  competition  from  Thomas 
Cromer,  632  C  Ave.,  West  Columbia, 
S.  C,  lA  Local  347,  and  John  J.  Brown, 
Paramount  Theatre,  Moncton,  N.  B., 
Canada,  who  were  named  for  honorable 
mention  by  the  judges,  Lewis  W.  Chubb, 
research  physicist  for  the  Polaroid  Corp., 
and  the  editorial  staff  of  IP. 

Prociical  Operaiing  Tips 

Hartnett  was  declared  the  winner  on 
the  basis  of  three  suggestions  made  in 
his  letter.  While  not  spectacular  individ- 
ually, the  suggestions  cumulatively  are 
practical  and  very  useful  ideas  for  cop- 
ing with  the  special  problems  of  3-D 
projection. 

One  Hartnett  suggestion  is  to  utilize 
the  support  rod  which  is  now  installed 
over  the  lens,  of  many  projectors  to 
support  the  weight  of  the  CinemaScope. 
It  was  suggested  that  this  rod  can  be 
adapted  to  hold  polarizing  filters.  An- 
other proposal  is  to  fasten  polarizing 
viewers  to  the  front  of  a  pair  of  small 
field  glasses  as  an  aid  in  focusing  3-D. 
The  third  idea  describes  a  method  of 
unloading  oversize  reel  cans  that  lessens 
the  danger  of  strain  or  injury. 

Here  is  Mr.  Hartnett's  winning  entry: 

The  following  three  suggestions  for 
your  Polaroid-IP  3-D  Contest  have  been 
practically  applied  in  our  projection 
room  with  very  satisfactory  results. 

(1)  3-D  Filters 

On  the  front  of  our  Simplex  XL  pro- 
jectors are  half-inch  rods  which  are 
located  above  the  lens  and  extend  for- 
ward about  nine  inches.  On  the  front  of 
our  CinemaScope  lens,  which  is  19 
inches  long  and  quite  heavy  is  a  band 
or  collar  supporting  a  roller  which  rides 
on  this  rod  and  supports  the  front  end 
of  the  lens. 

Now,  when  the  lens  holder  screw  in 
the  projector  is  loosened,  and  with  the 
projector  set  at  an  angle,  the  whole 
lens   assembly   would   roll   forward   and 


right  on  out  the  porthole  unless  held 
very  firmly,  a  rather  difficult  thing  to 
do. 

To  avoid  such  a  mishap,  we  fashioned 
two  collars  out  of  some  old  gears  which 
happened  to  be  the  right  size,  grinding 
off  the  teeth  to  make  a  collar.  Fitted 
with  a  thumbscrew,  the  collar  may  be 
fastened  firmly  to  the  rod  up  against 
the  roller,  holding  the  lens  securelv 
while  the  back  lens  holder  screw  is 
loosened. 

Now  here  is  how  we  put  this  to  work 
to  hold  our  3-D  filters.  We  made  an- 
other pair  of  the  collars  and  to  them  we 
fastened  our  3-D  filter  holders.  This 
may  be  done  with  glue,  solder  or  small 
machine  screws.  The  collar  is  then  slip- 
ped on  the  rod,  the  thumbscrew  tighten- 
ed to  hold  the  filter  level  and  at  exact- 
ly the  same  angle  as  the  projector  and 
lens. 

When  not  needed,  a  quarter  or  half 
turn  throws  the  filter  up  out  of  the  way, 
where  it  can  be  held  by  tightening  the 
screw  and  can  immediately  be  flipped 
again  into  position  for  the  next  3-D  reel. 
In  this  way  the  filter  is  never  dropped 
or   mislaid    and    is    always    handy   when 


Polaroid-Land  camera 


needed.  The  assembly  may  be  easily 
slipped  off  for  cleaning  and  quickly  re- 
placed or  stored  away  until  needed 
again. 

(2)  3-D  Focusing  Aids 

Because  of  the  double  images,  main- 
taining sharp  focus  is  a  problem  with 
3-D.  Closing  one  eye  in  order  to  see 
only  one  picture  does  not  work  well  in 
many  cases,  and  hanging  a  spare  filter 
in  the  lookout  port  also  has  disadvan- 
tages. We  purchased  two  pairs  of  opera 
glasses.  Over  the  front  lenses  of  one 
pair  we  fitted  two  of  the  "left"  filters 
carefully  cut  from  a  pair  of  polarized 
viewers.  We  attached  the  two  "right" 
filters  to  the  other  pair.  By  using  the 
opera  glasses  with  the  "left"  filters,  it 
is  possible  to  get  a  closeup  of  only  the 
left  picture,  making  focusing  quick  and 
easy.  The  other  pair  of  opera  glasses 
is  used  for  the  right  picture. 

(3)  3-D  Reel  Storage 

When  attempting  to  lift  a  5,000-foot, 
3-D  reel  from  a  large  film  can  when  it 
is  standing  upright,  it  is  often  difficult 
to  get  a  firm  grip  on  the  reel  and  many 
times  it  will  slip  and  drop  back  into  the 
can  or  onto  the  floor,  resulting  in  a 
broken  or  badly  bent  reel.  I  know  of 
one  projectionist  who  dropped  such  a 
reel  can  on  his  foot,  breaking  his  big 
toe. 

A  very  simple  solution  is  to  lay  the 
large  reel  can  on  its  edge.  The  lid  will 
act  as  a  door,  easily  opened  and  closed. 
The  reels  may  be  very  easily  rolled  out 
of  or  into  the  cans  and  can  be  grasped 
firmly  for  carrying  to  the  projector. 

IP  regrets  that  this  Contest  could 
not  be  extended  for  a  longer  period  of 
time  no  less  than  the  fact  that  many  of 
the  splendid  suggestions  received  could 
not  have  earned  an  award.  It  feels, 
however,  that  the  ideas  advanced  have 
been  of  much  benefit  to  the  craft. 

Stewart-TransLux   Seamless  Screen 

Increased  interest  in  "seamless" 
screens  as  opposed  to  the  types  with 
visible  seams  joining  either  horizontal 
or  vertical  panels  is  reported  by  the 
Stewart-TransLux  Corp.,  New  York, 
which  manufactures  large  seamless 
screens,  suitable  for  CinemaScope  or 
other  wide  screen  processes. 

The  "Luxuria"  screen,  manufactured 
by  Stewart-Trans-Lux,  can  be  obtained 
in  sizes  up  to  50  feet  high  and  90  feet 
long.  These  screens  are  completely  per- 
forated to  conform  to  any  type  of  sound 
system  the  exhibitor  wishes  to  use.  The 
plastic  screen  is  said  to  have  less 
tendency  than  fabric  to  absorb  sound, 
making  possible  more  efficient  sound 
transmission. 


INTERNATIONAL  PROJECTIONIST      •      APRIL  1954 


17 


t> 


A^ 


Novi  all  seats  are 


Watch  an  audience,  as  one  of  today's  wide-screen 
romances  unfolds.  There's  a  new  feeling  of  reality — a 
new  sense  of  being  right  in  the  midst  of  things.  And 
everyone  in  the  house  shares  it.  All  of  this  comes  from 
combined  new  technics  in  picture-taking,  processing  and 
projection — problems  which  the  Eastman  Technical  Serv- 
ice for  Motion  Picture  Film  is  helping  the  industry  solve. 
Branches  at  strategic  centers.  Inquiries  invited. 


r^jd 


W^x 


h-^ 


dovfn  front! 


Address:  Motion  Picture  Film  Department 
EASTMAN  KODAK  COMPANY,  ROCHESTER  4,  N.Y. 

Eas^  Coasf  Division  Midwest  Division  West  Coast  Division 

342  Madison  Avenue       137  North  Wabash  Avenue        6706  Santa  Monica  Blvd. 
Nev/  York  17,  N.  Y.  Chicago  2,  Illinois  Hollywood  38,  California 


I 


*«»  I." 


^it^J 


^^i 


Now  all  seats  are      down  front! 


Watch  an  audience,  as  one  of  today's  wide-screen 
romances  unfolds.  There's  a  new  feeling  of  reality— a 
new  sense  of  being  right  in  the  midst  of  things.  And 
everyone  in  the  house  shares  it.  All  of  this  comes  from 
combined  new  technics  in  picture-taking,  processing  and 
projection— problems  which  the  Eastman  Technical  Serv- 
ice for  Motion  Picture  Film  is  helping  the  industry  solve. 
Branches  at  strategic  centers.  Inquiries  invited. 


Address:  Motion  Picture  Film  Department 
EASTMAN  KODAK  COMPANY,  ROCHESTER  4,  N.Y. 


iast  CoasI  Division 
342  Madison  Avenue 
New  York  17,  N.Y. 


Midwest  Division 

I  37  North  Wabash  Av 

Chicago  2,  Illinois 


West  Coast  Division 
6706  Santa  Monica  Blvd. 
Hollywood  38,  California 


IN    THE 


SPOTLIGHT 


FINALLY  and  conclusively  the 
motion  picture  business  has  come 
home  —  technologically  speaking.  So 
long  ignored,  the  very  existence  of  the 
motion  picture  business  today  depends 
upon  the  ultimate  delivery  of  the 
finished  product  into  which  has  been 
poured  the  creative  talents  of  the 
writer,  the  producer,  the  cameraman 
and  his  technical  associates  on  the  set. 
Now,  then,  comes  the  financially 
fateful  moment  —  the  final  delivery 
of  the  finished  product  to  the  public 
which  picks  up  the  tab  for  all  the 
manifold  activities  of  the  industry. 
Simply  expressed,  this  means  the  box- 
office. 

Time  was  when  the  executive  studio 
personnel  in  Hollywood,  while  quite 
aware  of  the  results  of  the  fourth  race 
at  Santa  Anita,  were  utterly  unaware 
of  what  was  happening  to  their  prod- 
uct in  those  outlets,  large  or  small, 
Broadway  or  the  crossroads,  which 
exercised  a  profound  influence  upon 
their  very  existence.  In  effect,  they 
are  not  confronted  with  the,  to  them, 
dismal  spectre  of  coping  with  that 
factor  which  had  never  even  occurred 
to  them  previously  —  technology. 

Now  begins  the  hustle  and  bustle. 
Now  the  grim  necessity  for  facing 
reality.  What  is  this  strange  factor, 
previously  ignored,  which  threatens 
their  empirical  status?  It  is  the,  to 
them,  depressing  but  vital  necessity 
for  translating  at  the  box-office  their 
so-called  "art"  into  dollars  which  will 
ensure  their  economic  survival. 

If  there  be  any  element  of  executive 
sanity  left  in  this  industry,  wiih  par- 
ticular reference  to  production  and 
exhibition  standards,  when  will  it  be 
exercised  ? 

•  Wilfred  H.  Spicer,  member  of 
Local  300,  Saskatoon,  Canada,  makes 
some  very  interesting  comments  in 
this  month's  "Letters  to  the  Editor" 
department  about  the  early  days  of 
motion  picture  exhibition.  Spicer  is 
one  of  the  real  old-timers  in  the  craft. 


He  started  "cranking"  machines  back 
in  1908  and  spent  many  years  troup- 
ing  all  over  the  United  States  and 
Canada  showing  pictures  in  Kinema- 
color  —  the  first  colored  movies 
shown. 

•  The  42nd  Convention  of  the  lATSE 
will  be  held  in  the  Music  Hall,  Cin- 
cinnati, Ohio,  during  the  week  begin- 
ning August  9  next.  Convention  head- 
quarters will  be  at  the  Netherlands 
Plaza  Hotel. 

•  Albert  S.  Johnstone,  president  of 
New  Orleans  Local  293,  was  appoint- 
ed 7th  lA  vice-president,  and  William 


How  To  Kill  A  Union 

1.  DON'T  attend  meetings. 

2.  If  you  do  attend,  arrive  LATE. 

3.  If  the  weather  isn't  pleasant,  stay 
HOME. 

4.  DON'T  accept  any  office  —  it's 
easier  to  CRITICIZE. 

5.  NEVER  approve  anything  your 
Officers  of  Committees  do. 

6.  DON'T  pay  your  dues  until  you 
have  to. 

7.  INSIST  upon  official  notices 
being  sent  to  you,  then  DON'T 
pay  any  attention  to  them. 

8.  DON'T  waste  any  courtesy  at  a 
meeting,  it's  up  to  your  officers 
to  take  it. 

9.  When  you  DON'T  like  what's 
going  on,  say  so,  but  under  no 
circumstances  oifer  any  con- 
structive suggestions. 

10.  Devote  most  of  your  time  TALK- 
ING; let  someone  else  do  the 
work. 

11.  Look  for  hidden  motives;  DON'T 
credit  Brother  Members  with  any 
ideals. 

12.  DON'T  co-operate  with  any  Of- 
ficer of  Committees,  make  them 
co-operate  with  you. 

13.  Remember  YOU  know  more 
than  anyone  else  about  every- 
thing. If  THEY  don't  agree  with 
you,  THEY  ARE  WRONG. 

Labor  News,  Worcester,  Mass. 


Donnelly,  business  representative  of 
Minneapolis  Local  13,  was  named  8th 
lA  vice-president,  to  fill  the  two  vacan- 
cies caused  by  the  deaths  of  vice- 
presidents  Roger  M.  Kennedy,  Detroit, 
and  Felix  D.  Snow,  Kansas  City.  The 
appointments  were  made  by  the  I A 
General  Executive  Board  at  its  recent 
semi-annual  meeting. 

•  The  New  York  State  Association  of 
Motion  Picture  Projectionists  will 
hold  its  1954  Spring  meeting  on  Mon- 
day, May  10  at  the  Moose  Club,  Hor- 
nell,  N.  Y.  At  the  close  of  the  Asso- 
ciation's business  sessions,  Hornell 
Local  676  will  celebrate  its  25th  an- 
niversary at  a  dinner-dance  in  the 
ballroom  of  the  Club,  to  which  all  the 
delegates  and  their  guests  are  invited. 

•  Minneapolis  Local  219  reached  a 
compromise  settlement  with  subse- 
quent-run houses  on  the  issue  of  pay 
for  preparatory  time  in  the  showing 
of  CinemaScope  features.  The  projec- 
tionists will  be  paid  for  30  minutes 
preparatory  time,  the  same  as  in  the 
first-run  houses.  Originally  the  Local 
had  asked  for  45  minutes  extra  time, 
thus  the  settlement  appears  to  have 
been  very  advantageous  for  the  Local. 

•  Walter  E.  Bryner,  charter  member 
of  Local  323,  Springfield,  111.,  was 
presented  with  a  gold  life  membership 
card  at  the  Local's  recent  40th  anni- 
versary celebration. 

•  Local  434,  Peoria-Pekin,  111.,  was 
awarded  a  judgment  of  $785  in  its 
suit  against  Harry  C.  Runyan,  opera- 
tor of  the  Luce  Theatre  in  East 
Peoria.  The  judgment  covers  a 
promissory  note  held  by  the  Local  for 
$750,   plus   interest. 

•  Hartford  Local  84  sponsored  a  two- 
hour  vaudeville  revue,  headed  by  Jan 
Murray,  radio  and  Tv  star,  the  pro- 
ceeds of  which  went  into  its  welfare 
fund.  Charles  Obert,  president  of  the 
Local,  and  Rube  Lewis,  business  rep- 
resentative, were  co-chairmen  in 
charge  of  the  affair. 

•  The  officials  of  Local  287,  Beaver 
Falls,  Penna.,  are  negotiating  with 
drive-in  theatre  owners  for  a  new  con- 
tract which  includes  a  provision  for 
pay  for  15  minutes  preparatory  time 
for  the   projectionists. 

•  Local  646,  Ft.  Lauderdale,  Fla.,  has 
set  up  a  nightly  picket  line  in  front  of 
the   Fox   Drive-In   Theatre   in   nearby 


20 


INTERNATIONAL  PROJECTIONIST      •      APRIL  1954 


Oakland  Park,  as  a  result  of  the  man- 
agement's refusal  to  employ  union  pro- 
jectionists. The  Fox-Drive-In  is  the 
only  theatre  in  the  Local's  jurisdiction 
not  employing  lA  men. 

•  A  compromise  settlement  between 
Vancouver  Local  348  and  Canadian 
Famous  Players  was  reached  several 
weeks  ago  after  many  months  of  nego- 
tiations. The  theatre  circuit  acceded 
ot  the  Local's  demand  for  a  wage  in- 
crease of  25  cents  per  hour,  with  most 
of  this  increase  going  into  a  welfare- 
pension  fund.  The  Local  agreed  to  the 
conversion  of  10  Famous  Players 
theatres  in  the  province  from  the  two- 
man  to  the  one-man  shift. 

•  The  AF  of  L  Union  Industries  show 
which  was  held  several  weeks  ago  at 
the  Pan  Pacific  Auditorium  in  Los 
Angeles  drew  a  record-breaking 
crowd.  The  exhibit,  staged  by  the 
Union  Label  and  Service  Trades  De- 
partment, was  officially  opened  by  Wil- 
liam F.  Schnitzler,  AF  of  L  secretary- 
treasurer. 

•  Now  that  Armando  Gonzales,  mem- 
ber of  Corpus  Christi  Local  604,  is 
the  possessor  of  one  of  the  famous 
Polaroid-Land  cameras  which  he  won 
for  the  best  contribution  in  the  Pola- 


Armando 
Gonzales,  mem- 
ber of  Local 
604,  Corpus 
Christi,  Texas, 
prize  winner  in 
the  Polaroid-IP 
3-D  contest 

roid-IP  3-D  contest  for  February,  he 
can  add  still  photos  to  his  hobbies  of 
radio  and  8-mm  movies.  Gonzales, 
who  is  27,  has  been  a  member  of 
Local  604  for  the  past  six  years  and 
works  as  projectionist  at  the  Texas 
Theatre  in  Kingsville. 

•  The  Hollywood  AF  of  L  Film 
Council  has  gone  on  record  officially 
as  opposing  foreign  production  of  mo- 
tion pictures  by  American  producers 
who  go  abroad  to  take  advantage  of 
cheap  labor.  It  has  called  upon  the 
U.  S.  government  to  use  its  influence 
in   negotiations   with   foreign   film   in- 


George  J.  Flaherty,  business 
representative  for  Local  165,  Holly- 
wood, Calif.,  has  been  appointed 
West  Coast  representative  for  the 
lATSE.  He  succeeds  Roy  M. 
Brewer,  who  resigned  last  Septem- 
ber. Flaherty  has  long  been  ac- 
tive in  union  affairs  and  is  highly 
regarded  in  lA  West  Coast  circles. 

dustries    "in    order    to    equalize    the 
bargaining  power." 

Among  the  lA  Locals  participating 
in  the  Hollywood  AF  of  L  Film  Coun- 
cil are  Studio  Projectionists  Local  165, 
Cameramen's  Local  659,  Laboratory 
Technicians  Local  683,  Sound  Techni- 
cians Local  695,  Film  Editors  Local 
776,  and  Studio  Cine  Technicians 
Local  789. 

•  Last  month,  in  these  columns,  we 
mentioned  that  Nathan  D.  Golden, 
director  of  the  Scientific,  Motion  Pic- 
ture and  Photographic  Products  Di- 
vision, U.  S.  Department  of  Com- 
merce, was  an  honorary  member  of 
Cleveland  Local  160.  A  note  from 
Nat,  however,  sets  us  straight  on  this 
matter,  to  wit:  '*I  am  not  an  honor- 
ary member  of  Cleveland  Local  160: 
1  am  proud  to  say  that  I  am  a  regular 
card-carrying  member  of  that  Local." 
Okay,  here  you  have  it. 

Incidentally,  Golden  is  now  in  Co- 
logne, Germany,  representing  the  De- 
partment of  Commerce  at  "Photokina 
1954,"  which  is  the  International 
Photographic   Trade   Fair   and   Show. 

•  25-30  Club  Highlights:  The  un- 
usually large  turnout  which  marked 
the  April  8  meeting  of  the  25-30  Club 
of  Greater  New  York  was  due  in  large 
measure  to  the  scheduled  appearance 
of  Richard  M.  Altman,  optical  en- 
gineer with  the  Bausch  &  Lomb  Op- 
tical Co.,  who  addressed  the  gathering 
on  the  subject  of  CinemaScope  and 
the  anamorphic  lens.    At  the  conclu- 


Irving  Merkur, 
member  of 
Local  ,306, 
demon- 
strated  at  a 
recent  25  -  30 
Club  meeting 
how  to  prop- 
erly splice 
Cinema- 
Scope  film 
with  the  new 
Ace-  Gris- 
wold  "hot" 
splicer 


sion  of  the  lecture,  Altman  and  Andy 
Scheick,  B  &  L's  New  York  represen- 
tative, held  a  question  and  answer 
session  which  the  members  found  very 
interesting  and  informative.  The 
stereopticon  machine  used  to  illustrate 
the  talk  was  operated  by  Joe  Abrams, 
member  of  the  Club  .  .  .  Tickets  for 
the  Club's  June  10  dinner  at  the 
Grand  Street  Boys  Clubhouse  in  New 
York  City  have  been  selling  like  hot- 
cakes.  This  will  be  a  gala  night  and 
many  surprises  are  in  store  for  the 
guests.  Tickets  will  have  to  be  pur- 
chased in  advance,  as  none  will  be 
sold  the  night  of  the  party. 


lA     OBITUARIES 

Wayne  E.  Swank,  Sr.,  55,  president  of 
Local  521,  Long  Beach  Calif.,  died  March 
27  from  a  prolonged  illness.  A  member  of 
the  Local  for  the  past  32  years,  he  served 
in    many    official    capacities.      For    the    past 


The  late 
Wayne  E . 
Swank  who 
was  a  mem- 
ber of  Local 
521  and  Its 
president  at 
the  time  of 
his   demise. 


20  years  he  had  been  employed  as  projec- 
tionist at  the  United  Artists  Theatre. 
Wayne  was  highly  regarded  by  his  brother 
members  and  his  many  friends  throughout 
the  Alliance.  He  is  survived  by  his  wife, 
Ruth;  a  son,  Wayne  E.  Swank,  Jr.,  also 
a  member  of  the  Local,  and  three  sisters. 

Roger  M.  Kennedy,  62,  lA  second  vice- 
president  and  business  representative  for 
Detroit  Local  199,  died  March  19  after  a 
lingering  illness.  A  native  of  Norwalk, 
Ohio,  he  began  his  career  in  the  entertain- 
ment field  back  in  1906  by  working  as  a 
projectionist  at  the  old  Comique  Theatre  in 
Columbus.  In  1910  he  became  of  member 
of  Local  194,  Indianapolis,  Ind.,  transferring 
to  Detroit  Local  199  in  1913.  He  was 
elected  vice-president  of  the  Detroit  Local 
in  1919,  president  in  1920,  and  business 
representative  in  1921,  holding  the  latter 
office  almost  continuously  until  his  retire- 
ment early  this  year. 

George  H.  Goodrich,  66,  member  of  New 
York  Local  306,  died  March  23.  At  the 
time  of  his  death  he  was  employed  at  the 
8th  Street  Playhouse  in  New  York.  He  is 
survived  by  his  wife  and  three  sons. 
Sheridan  "Sherry"  McAuley,  65,  member 
of  Local  225,  Atlanta,  Ga.,  died  in  a  local 
hospital  on  March  14.  He  worked  at  the 
Rialto  Theatre  for  the  past  15  years,  re- 
tiring several  months  ago  because  of  ill 
health.    He  was  a  veteran  of  World  War  I. 


INTERNATIONAL  PROJECTIONIST      •      APRIL   1954 


21 


Brush-up  on  Fundamentals 

Rectifiers  for  Projection  II 


RIGHT  NOW  and  before  we  get  in- 
volved any  deeper  let's  consider 
several  questions.  For  instance, 
what's  selenium?  What's  a  vacuum 
tube?  What's  a  diode?  Most  projec- 
tionists know  the  answers  but  for  the 
benefit  of  the  few  who  don't  we'll  let 
go   with   capsule   definitions   on   each. 

It's  a  "Valve" 

Long  ago  it  was  known  that  if  copper 
plates  were  heated,  really  hot  till  they 
glowed,  then  exposed  to  oxygen  until 
well  coated  with  copper  oxide,  the 
plates  developed  the  curious  property 
of  letting  a  current  of  electricity  pro- 
ceed freely  in  one  direction  —  and  in 
one  direction  only.  Then  it  was  dis- 
covered that  a  substance,  named  se- 
lenium, if  fused  to  one  side  of  a  metal 
plate  in  a  thin  coating,  did  the  same 
job  even  better.  Both,  the  copper 
oxide  and  the  selenium-coated  plates, 
provide  the  base  for  dry  plate  recti- 
fiers. 

Vacuum  tubes,  like  all  good  cathode 
tubes,  depend  on  thermionic  conduc- 
tion within  the  tube  for  their  perform- 
ance. In  other  words,  if  the  negative 
cathode  is  heated  it  throws   off  elec- 

FIGURE    1 

OUTPUT 


PLATE 


^^m 


CATHODE 


B 


AJ 


HALF-WAVE  RECTIFICATION 

trons  rapidly.  Boils  them  off  might 
be  a  better  way  of  putting  it  —  and 
doesn't  let  them  come  back.  English 
electronic  engineers  have  a  more  ac- 
curate word  for  "tube"  than  we  have. 


They  call  a  vacuum  tub  a  "valve" — 
and  that's  precisely  what  it  is.  For  a 
rough  analogy,  think  of  the  valve  of 
an  automobile  tube  —  it  lets  the  air 
go  in  but  won't  let  it  out. 

Diode's  Two  Elements 

Diode  tubes  have  two  internal  ele- 
ments, a  cathode  and  a  plate.  When 
the  cathode  is  heated  by  a  low  voltage 
(source  A,  Fig.  1)  and  the  plate  at  a 
higher  positive  potential  (source  B, 
Fig.  1)  with  respect  to  that  of  the 
cathode,  the  cathode  emits  electrons 
which  are  attracted  to  the  plate.  The 
current  flow  is  in  one  direction  only, 
from  the  cathode,  which  is  negative,  to 
the  plate,  which  is  positive.  This  is 
easily  shown  by  connection  of  a  direct 
current  milliammeter  at  point  "MA" 
(Fig.  1.). 

Since  the  above  is  true,  if  an  alter- 
nating voltage  (dotted  lines,  Fig.  1) 
is  connected  across  the  cathode  and 
the  plate,  after  the  positive  plate  source 
"B"  has  been  removed,  electrons  will 
flow  between  cathodes  and  plate  only 
during  that  half  cycle  when  the  plate 
is  positive.  There  will  be  no  flow  dur- 
ing the  half  cycle  when  the  plate  is 
negative.  Under  this  condition  a  diode 
produces  an  output  of  pulsating  direct 
current  (Fig.  1).  It  becomes  a  recti- 
fier converting  alternating  current  to 
a  direct  current.  However,  since  the 
current  flows  through  the  rectifier  only 
during  every  other  half  cycle  such  a 
unit  is  known  as  a  half  wave  rectifier. 

Full  wave  rectification  may  be  ob- 
tained through  the  use  of  two  or  four 
diodes  when  connected  as  shown  in 
Figs.  2  and  3.  (The  heater  source 
"A"  is  deleted  for  simplicity.)  For 
these  full  wave  circuits  current  flows 
every  half  cycle  instead  of  for  every 
other  half  cycle  as  in  the  case  of  half 
wave  rectification.  Many  other  connec- 
tions are  possible  but  the  three  illus- 
trated with  this  article  are  sufficient  for 
our  immediate  purposes. 

Center  Tap  Rectifier 

Let's  take  a  look  at  Fig.  2.  In  this 
circuit  two  diodes  are  used.  When 
the  plate  of  Diode  1  is  charged  posi- 


tively current  flows  through  that  tube, 
then  through  the  load  resister  (sharp 
wavy  lines)  and  back  to  the  center  tap 
of  the  transformer  secondary.  The 
positive  half  cycle  for  this  condition 
cannot  flow  through  Diode  2  at  all 
since  its  cathode  is  positive  this  time 
instead  of  its  plate.  Thus  no  conduc- 
tion can  pass  through  the  tube. 

Now  let's  see  what  happens  a  tiny 
fraction  of  a  second  later.  When  the 
polarity  reverses  with  the  next  half 
cycle  of  the  alternating  current  the 
opposite  end  of  the  transformer  sec- 
ondary becomes  positive.  This  places 
a  positive  potential  on  the  plate  of 
Diode  2  which  then  passes  current  on 
through  the  load  resistor  and  back  to 
the  center  tap  of  the  transformer.  Be- 
cause of  this  momentary  condition  no 
current  can  pass  through  Diode  1  be- 
cause this  time  its  cathode  is  positive 
in  respect  to  the  plate.  With  this 
center-tapped  transformer  circuit  both 
halves  of  an  incoming  cycle  become 
rectified  and  full  wave  rectification  is 
obtained. 

Bridge  Circuits 

When  the  upper  end  of  the  sec- 
ondary winding  (Fig.  3)  is  positive, 
current  flows  through  Diode  2,  through 
the  load  of  Diode  3,  and  through  that 
diode  returning  to  the  lower  end  of 
the  secondary  winding.  All  elements 
are  in  series  and,  as  the  two  diode 
plates  receive  the  positive  charge,  they 
conduct.  When  the  lower  end  of  the 
secondary  becomes  positive,  the  con- 

FIGURE    2 
OUTPUT  LOAD  RESISTOR 


DIODE  I 


wmimmmmMW 

-INPUT  TRANSFORMSR  SECONDARY 


CENTER  TAP  RECTIFIER 

dition  is  reversed.  Diode  4  conducts, 
current  passes  through  the  load  and 
impresses  the  positive  charge  upon  the 
plate  of  Diode  1.  It  in  turn  conducts 
and  the  circuit  is  completed  back  to 


22 


INTERNATIONAL  PROJECTIONIST      •      APRIL  1954 


the  upper  end  of  the  secondary  wind- 
ing. Each  pair  of  tubes,  connected  in 
series,   carries   half   of  the  total  load 


FIGURE    3 


BRIDGE  RESISTOR  LOAD 


+       1 


FULL-WAVE    RECTIFICATION 

current.    The  resultant  rectified  wave- 
shape is  shown  in  Fig.  3. 

Dry  Plate  Rectifiers 

That  "One  Way  Street"  for  electric 
current,  just  as  described  for  diode 
vacuum  tube  rectifiers,  may  easily  be 
obtained  by  the  use  of  metallic  oxide 
or  dry  plate  rectifiers.  These  units 
can  handle  heavier  traffic  and  are 
often  substituted  for  diodes  and  the 
same  basic  circuits  may  be  used.  Pre- 
viously we  mentioned  the  copper  oxide 
rectifiers.  Now  we'll  go  into  the  se- 
lenium rectifiers  and  see  what  makes 
them  click.  The  basic  elements  and 
one  method  of  assembly  are  described 
below. 

Aluminum  base  plates  are  chemically 
etched  and  then  electro-plated  with  a 
very  thin  coat  of  nickel.  Highly  pure 
and  finely  powdered  selenium  is 
sprinkled  over  one  side  of  the  nickle- 
plated  base  plate  which  is  then  sub- 
jected to  a  high  temperature  while 
under  considerable  hydraulic  pressure. 
The  pressure  causes  the  selenium  to 
adhere  to  the  base  plate  and  starts 
crystal  nucleation.  The  selenium  cell 
thus  formed  is  oven-baked  for  crystali- 
zation  whereupon  the  selenium  is  con- 
verted to  metallic  form.  This  heat 
treatment  forms  a  very  thin  oxide 
barrier  on  the  selenium  which  acts  as 
a  one-way  valve  during  ultimate  rec- 
tification. 

Alloy  Over  Barrier  Surface 

A  low  melting  point  alloy  is  sprayed 
over  the  barrier  surface  to  serve  as  a 
contact  for  circuit  connection.  Appli- 
cation of  the  alloy  completes  a  single 
rectifier  cell  which  can  handle  approxi- 


mately ten  volts  (varying  with  the  size 
and  type  of  the  unit).  For  a  given 
unit  to  handle  higher  voltages  block- 
ing action  is  increased.  This  is  ac- 
complished by  subjecting  cells  to  volt- 
ages great  enough  to  cause  current 
to  flow  in  a  reverse  direction,  against 
the  barrier.  This  electro-forming 
process  requires  several  hours  and 
stabilizes  the  final  cell  for  one-way 
conductivity  and  blocking  character- 
istics.   In  final  form,  then,  a  selenium 


rectifier  is  composed  of  two  metals 
separated  by  a  semi-conducting  bar- 
rier. 

For  heavy  duty  requirements,  such 
as  theatres,  cells  are  stacked  and 
bolted  tightly  together.  These  stacks 
should  never  become  loosened.  Series 
contact  from  cell  to  cell  requires  tight- 
ness. Although  rugged,  these  recti- 
fiers should  never  be  subjected  to 
severe  physical  shock. 

[TO  BE  CONTINUED] 


CinemaScope  On  102-Foot  Drive-In  Screen 


ONE  of  the  really  significant  de- 
velopments in  connection  with 
the  introduction  of  the  various  new 
projection  processes  was  the  installa- 
tion in  the  past  month  of  Cinema- 
Scope  equipment  at  the  Motor  Vu 
Drive-In  Theatre  in  Salt  Lake  City. 
This  drive-in  theatre  is  now  project- 
ing "The  Robe"  on  a  screen  which  is 
102  feet  wide  and  48  feet  high. 

The  entire  installation  operation 
was  supervised  by  Service  Theatre 
Supply,  Inc.,  Salt  Lake  City,  with 
Motiograph  representatives  participat- 
ing; while  the  stereophonic  sound  in- 
stallation, the  first  ever  to  be  made 
in  a  drive-in  theatre,  was  handled  by 
Altec    Service    Corp.    engineers. 

Two  Ashcraft  jet-controlled  Super- 
Power  projection  lamps  are  used  at  the 
Motor-Vu,  and  according  to  Harry 
Swonson,  of  Service  Theatre  Supply, 
despite  the  difficult  problems  involved 
the  picture  image  now  being  shown 
is  as  good  as,  if  not  better  than  the  old 
image  which  was  70  feet  wide  by  48 
feet  high. 

Projection  Equipment  Used 

Two  speakers  are  provided  for  each 
car,  one  hooked  to  the  left  side  of 
the  car  and  the  other  to  the  right  in 
order  to  provide  a  stereophonic  effect. 
The  screen  is  faced  with  Johns-Man- 


ville  1/4-inch  thick  Flexiboard  which 
was  given  3  coatings  of  white  Raytone 
Drive-In  theatre  screen  paint. 

In  view  of  the  many  projection 
problems  that  had  to  be  solved  in 
making  this  installation,  the  following 
listing  of  the  projection  equipment 
used  may  be  of  interest:  two  Motio- 
graph AAA  projectors;  one  pair  of 
CinemaScope  anamorphic  lenses;  one 
pair  of  Kollmorgen  wide-angle  lenses; 
one  Robin  Imperial  25-horsepower 
motor  generator;  two  Ashcraft  pro- 
jection lamps,  as  previously  men- 
tioned; two  Motiograph  penthouse 
soundheads;  two  transformers;  one 
pre-amplifier  with  combining  net- 
works; two  glass  heat  filters;  11  film 
cabinets;  11  amplifiers,  and  800 
speakers. 

Among  the  technical  personnel 
present  for  the  installation  were  Frank 
Riffle  and  Charles  A.  Moore,  sound 
technicians  from  Motiograph. 


A  subsequent  installation  of  Cinema- 
Scope and  stereophonic  sound  equip- 
ment was  made  at  the  Sky- View  Drive- 
In  in  Augusta,  Ga.  The  Sky- View's 
screen  is  reportedly  the  world's  larg- 
est, measuring  120  feet  wide  by  50 
feet  high,  with  the  equipment  being 
practically  identical  with  that  installed 
in  the  Salt  Lake  City  job. 


Screen  used  for  the 
first  CinemaScope 
dr!ve-!n  presentation 
at  the  Motor  Vu 
Drive-In  Theatre, 
Salt  Lake  City. 
Enormity  of  screen, 
102  by  48  feet,  may 
be  gauged  by  com- 
paring its  range  with 
human  figures 
shown  at  lower  left. 


INTERNATIONAL  PROJECTIONIST      •      APRIL  1954 


23 


i 


WUcU'6,  y<uiA>  PiJdem? 


Projectionists  whose  problems  appear  below 
will  each  receive  a  $5.00  check  from  IP. 
We'd  like  to  know  "what's  YOUR  problem?" 


Question:  My  theatre  will  shortly  in- 
stall CinemaScope.  I  should  like  to 
know  if  there  is  some  reasonably  easy 
method  of  calculating  CinemaScope  pic- 
ture and  lens  sizes. 

Pedro  Armandez,  Los  Angeles,  Calif. 

Answer:  There  are  two  approaches  to 
this  problem.  The  first  is  desirable  for 
making  calculations  in  older  theatres 
where  it  is  not  advisable  to  try  to  use 
the  projection  distance  for  determining 
CinemaScope  picture  and  lens  sizes.  It 
is  very  difficult  to  measure  the  distance 
from  lens  to  the  screen  without  appre- 
ciable error. 

(Symbols  used  in  the  formulas  below 
have  the  following  meanings:  W  ^= 
width  of  CinemaScope  picture;  w  z= 
width  of  old  regular-size  picture;  f  ^ 
focal  length  of  old  regular-size  lens; 
F  =  focal  length  of  lens  used  for 
CinemaScope.) 

For  Older  Theatres 

If  the  size  of  the  old  picture  and  pro- 
jection   lens    is    known,    width    of    the 
CinemaScope  picture  can  be  developed 
from  the  following  formula: 
W  =  w  X  2.21 

If  you  intend  to  change  the  projec- 
tion len.3,  and  if  the  size  of  the  new  lens 
is  known,  you  can  find  the  width  of  the 
CinemaScope  picture  in  the  following 
manner: 

W  =  w  X  2.21  X  f 


To  find  the  projection  lens  needed  in 
conjunction  with  the  anamorphic  attach- 
ment for  a  given  size  CinemaScope  pic- 
ture, this  formula  may  be  used: 
F  =  w  X  2.21  X  f 


W 

For  New  Theatres 

At  new  theatres,  where  the  exact  dis- 
tance from  the  projection  lens  to  the 
center  of  the  screen  is  known,  the  same 
information  can  be  obtained  a  little  more 
easily  by  the  use  of  slightly  different 
formulas. 

(The  symbols  used  in  the  formulas 
below  have  the  following  meanings: 
W  ^  width  of  the  CinemaScope  pic- 
ture; D  z=  distance  from  the  projection 
lens  to  the  center  of  the  screen;  F  z= 
focal  length  of  lens;  H  =  height  of  the 
CinemaScope  screen.) 

To  find  the  width  of  the  CinemaScope 


picture  if  the  size  of  the  projection  lens 
and  projection  distance  are  known,  use 
this  formula: 

W  =  D  X  2  X  0.912 


To  find  the  size  of  the  projection  lens 
needed  for  a  given  width  of  Cinema- 
Scope picture  at  a  given  projection  dis- 
tance the  following  formula  may  be 
used: 

F  =  D  X  2  X  0.912 


W 

The  height  of  a  CinemaScope  picture 
at  zero  angle  of  projection  is  determined 
as  follows: 

H  =  W  X  0.392 

Question:  /  wonder  if  it  would  be  pos- 
sible for  you  to  give  me  an  idea  of  what 
percentage  of  the  35-mm  prints  now  cir- 
culating in  this  country  are  on  the  old 
nitrate  base  rather  than  safety  film.     By 


this  I  mean  film  that  is  produced  by  the 
motion  picture  industry  for  exhibition  in 
theatres  today. 

Frank  Peacock,  Newburgh,  N.  Y. 

Answer:  It  can  be  said  definitely  that 
there  are  no  new  films  being  printed  on 
nitrate  base  in  this  country,  and  that  any 
new  release  coming  from  a  Hollywood 
studio  would  be  on  safety  film  base. 
When  a  nitrate-base  print  is  received  by 
a  projectionist  at  the  present  time,  it  is 
usually  a  case  where  an  old  picture  is 
being  revived  (something  that  is  hap- 
pening more  frequently  these  days  be- 
cause of  the  shortage  of  new  releases). 
Also,  nitrate  prints  can  be  imported 
from  Europe  where  the  nitrate  base  is 
still  frequently  used.  "Art"  houses  in 
this  country  receive  many  such  prints. 

Nitrate  Print  Circulation  7  %? 

Film  manufacturers  place  the  amount 
of  nitrate  film  in  circulation  in  the 
United  States  as  low  as  1%  of  all  film 
circulating  to  theatres.  It  has  been  re- 
marked that  this  is  a  dangerous  situa- 
tion because  there  is  so  little  nitrate  film 
around  that  many  people  who  handle 
film  may  relax  the  constant  vigilance  re- 
quired to  protect  workers  and  public  so 
long  as  any  amount  of  nitrate  film  is  in 
circulation,  no  matter  how  small.  Always 
look  at  the  edge  markings! 


ETTERS    TO    THE    EBIT 


^a 


To  the  Editor  of  IP: 

In  the  article  "1954  Seen  as  Biggest 
Year  for  Color,"  by  James  Morris,  in 
the  January  issue,  the  author  mentions 
Kinemacolor.  This  is  the  first  reference 
to  that  process  I  have  seen  in  a  long 
time.  In  the  old  days,  I  was  on  the 
road,  all  across  Canada,  and  spent  some 
time  in  New  York  showing  Kinemacolor 
film.  I  though  that,  perhaps,  some  remi- 
niscence and  information  might  be  of 
interest  to  projectionists. 

Filter  Color  Composition 

It  was  stated  in  the  article  that  red 
and  green  filters  were  used.  This  is  es- 
sentially correct;  really  the  colors  were 
blue-green  and  orange-red  which  were 
obtained  by  blending  the  three  primary 
colors  in  equal  proportions.  During  pro- 
jection I  used  a  strip  of  purple  gelatine 
in  the  middle  of  the  "red"  filter  to  clear 
up  the  white.  The  general  range  of  col- 
ors ran  pretty  true  but  the  blue  of  a 
flag  was  never  a  true  blue  but  always  a 
blue-green. 

The  principle  films  in  1911  were  the 
coronation  of  King  George  V  in  London, 
and  at  a  later  date  the  Indian  Durbar  at 


Delhi.  Among  the  many  subjects  were 
"From  Bud  to  Blossom"  which  showed 
the  growth  of  flowers  by  a  series  of 
timed  exposures,  and  "Choosing  Wall- 
paper", where  a  lady  is  shown  matching 
wallpaper  to  fabrics  for  home  decoration, 
and  many  scenic  films. 

One-man  Proposition 

Trouping  with  Kinemacolor,  although 
hard  work  and  a  one-man  proposition, 
never  got  monotonous  because  of  the 
multiplicity  of  difficulties  to  be  over- 
come in  the  various  theatres  and  halls 
which  we  played.  The  predominating 
trouble  was  electrical.  Everything  need- 
ed was  carried,  including  a  sheet  metal 
booth  with  angle  iron  frame,  which  had 
to  be  bolted  together.  This  was  later 
replaced  by  a  tubular  framework  which, 
when  assembled,  was  covered  with  a 
heavy  asbestos  cloth.  Also  carried  were 
over  two  hundred  feet  of  No.  4  twin 
cable,  about  a  dozen  rheostats,  and  three 
motors,  one  110  DC,  one  110  AC  and 
one  220  AC.  Thus  equipped,  we  were 
supposed  to  handle  any  electrical  sys- 
tem  from  500   DC   down. 

One     problem     was     the     amount     of 


24 


INTERNATIONAL  PROJECTIONIST      •      APRIL  1954 


"juice"  required  for  the  arc  —  at  least 
100  amps  DC  and  better  than  125  amps 
AC.  If  we  got  DC  from  the  street  car 
lines,  as  we  did  quite  a  few  times,  we 
had  to  use  five  rheostats  in  series  and 
two  or  three  in  multiple  series  to  ob- 
tain the  necessary  amperage.  One  lead 
of  the  110-volt  DC  motor  had  to  be 
plugged  into  the  coils  of  the  rheostat 
while  the  arc  was  burning  to  get  the 
proper  speed.  With  the  heavy  AC  am- 
perrage  and  one-inch  carbons,  the  noise 
was  terrible.  The  lamp  was  a  vertical 
type  and  hand-fed.  Closely  watching  the 
focus  and  feeding  the  arc  at  the  same 
time  meant  keeping  busy. 

Regarding  the  Kinemacolor  project- 
tor,  in  my  opinion  it  was  tops,  and 
I  have  often  wondered  why  it  was  never 
used  for  standard  projection.  During 
a  program  we  used  to  run  some  stand- 
ard film  for  variation  by  reducing  the 
speed  to  sixteen  frames  per  second  and 
removing  the  color  filter.  We  achieved 
a  remarkably  steady  picture 

Wilfred  Spicer 
Local  300,   Saskatoon,  Canada 

To  the  Editor  of  IP: 

I  enjoyed  your  article  on  film  damage 
in  the  February  issue.  Wouldn't  it  be 
possible  to  have  more  articles  of  this 
type  which  are  of  much  interest  to  2-D 
projectionists?  After  all,  which  is  more 
important,  2-D  or  3-D?  True,  you  are 
trying  to  give  projectionists  as  much 
information  as  you  can  on  3-D,  but  why 
overdo  it? 

I  agree  with  the  writer's  theory  on 
mutilation  of  film  and  the  disregard 
some  projectionists  have  for  other  pro 
jectionists.  I  couldn't  swear  to  it,  but  I 
am  quite  sure  the  exchange  from  which 
we  get  our  film  seldom  if  ever  inspects 
the  film  returned  from  theatres.  Also, 
some  inspectors  don't  know  what  the 
score  is  even  if  they  do  inspect  it. 

It  couldn't  be  otherwise  when  lead- 
ers are  patched  out  of  frame  or  not 
patched  on  at  the  beginning  of  a  pic- 
ture. Several  times  the  film  has  come 
out  heads  up  with  the  soundtrack  on  the 
opposite  side,  so  I  have  to  rewind  each 
reel  twice. 

Albert  Powers 
Ashland,  Kansas 

[We  refer  Mr.  Powers  to  the  lead  article 
in  this  issue  in  which  we  imply  that  3-D 
will  receive  increasingly  less  attention,  there- 
by placing  new  emphasis  upon  regular  2-D 
projection    in    future    issues    of    IP. — Ed] 


Williams  Screen  Co.  Expands 

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Akron,  Ohio.  A  new  plant  on  Kenmore 
Blvd.  provides  increased  production  fa- 
cilities for  the  Williams  all-purpose 
plastic  silver  screen. 


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INTERNATIONAL  PROJECTIONIST      •      APRIL  1954 


25 


Proper  Projection  Procedure  For 
Re-Opening  The  Drive-In  Theatre 


THE  TERM  "summer  theatre" 
when  used  in  connection  with 
motion  pictures  denotes  an  exhi- 
bition operation  providing  screen  en- 
tertainment during  the  summer  vaca- 
tion season.  These  operations  may  be 
divided  into  three  main  classes: 

1.  "Permanent"  theatres  which  are 
operated  only  during  the  summer 
months  because  winter  operation  is 
unprofitable. 

2.  "Temporary"  motion  picture  in- 
stallations, among  which  are  found 
open-air  tents,  concert  halls,  and  dance 
pavilions  pressed  into  service  as  cine- 
mas. 

3.  Drive-in  theatres. 

Drive-in  theatres  are  usually  per- 
manent in  that  the  projection  equip- 
ment is  not  removed  at  the  close  of  the 
season.  The  "temporary"  venture 
often  employs  motion  pictures  as  a 
filler  for  open  dates  between  concerts 
and  stage  shows.  The  "permanent" 
type  of  summer  theatre  is  the  most 
conventional,  but  the  presentations 
consist  largely  of  first-run,  top-quality 
productions  on  single-feature  bills  with 
selected  short  subjects. 

The  operational  policy,  in  general, 
is  conservative  and  dignified. 

Projectionists  in  most  summer-re- 
sort theatres  are  required  to  close 
down  at  the  end  of  the  first  evening 
show  for  an  intermission  —  a  conve- 
nience for  waiting  second-show  pa- 
trons who  find  that  a  "preview"  of  the 
last  few  scenes  of  the  feature  picture 
spoils  their  enjoyment  of  the  show. 
Starting  times  of  shows  are  seldom 
delayed,  except  in  the  case  of  reserved- 
seat  performances. 

Reopening  Tasks  Formidable 

A  truly  formidable  number  of  tasks 
await  the  projectionist  who  must  open 
a  theatre  which  has  been  closed  for  a 
considerable  length  of  time.  To  neg- 
lect any  of  them  is  to  invite  film 
breaks,  light  failures,  and  sound-sys- 
tem troubles.  The  skill,  experience, 
and  reputation  of  the  projectionist  are 
put  to  the  test  of  preconceived  stand- 
ards   from    the    outset.       Failure    to 


On  the  sound  premise  that  one  needs  not  so  much  to  be  told  as  to 
be  reminded,  IP  presents  again  the  appended  material  which  it 
published  originally  in  April,  1949.  These  data  are  particularly 
appropriate  now  when  feverish  activity  in  terms  of  new  processes 
is  rampant  in  the  drive-in  field,  particularly  the  new  wide  screenj. 


achieve  acceptable  screen  results  will 
discredit  him.  Ample  time  must  be 
allowed  to  line  up  the  projection  and 
sound  equipment  prior  to  opening. 

Certain  legal  aspects  of  such  opera- 
tions affect  the  projectionist  and  must 
be  considered  before  anything  else. 
No  matter  what  the  type  of  theatre,  its 
projection  facilities  must  meet  the  spe- 
cifications of  state  and  municipal 
ordnances.  Examinations  for  projec- 
tion licenses  cover  the  following  six 
points : 

1.  Handling  of  the  head,  lamp,  ap- 
pliances, and  wiring  of  the  projection 
equipment. 

2.  Practical  testing  for  electrical  de- 
fects in  the  lamp  and  wiring  in  the 
projection  room. 

3.  Use  of  the  safety  appliances  in 
the  projection  room. 

4.  Film-handling  regulations. 

5.  Laws  and  regulations  governing 
motion  picture  projection. 

6.  Projection  demonstration  in  a 
theatre. 

Legal  requirements  having  been 
met,  the  projectionist  is  free  to  pro- 
ceed directly  to  the  equipment,  and  for 
this  work  a  systematic,  step-by-step 
servicing  plan  is  helpful.  It  is  only 
by  exercising  the  utmost  care  in  check- 
ing and  lining  up  that  the  projection- 
ist can  be  sure  that  all  units  have  been 
covered  thoroughly,  and  that  the  all- 
important  opening  show  will  run 
smoothly  and  with  professional 
"snap." 

The  following  suggested  plan  has 
been  devised  with  the  very  worst  con- 
ditions in  mind.  Specific  instructions 
for  checking  various  projector  adjust- 
ments were  outlined  in  "Notes  on  Pro- 
jector Maintenance"  (IP  for  August, 
1948,  p.  6),  hence  only  the  details  of 
systematic  inspection  and  servicing 
are   treated   at  length   in   this   article. 


The  principal  steps  of  the  plan  are 
numbered  and  headed  to  facilitate 
reference. 

Inspection,  Servicing  Plan 

1.  Preliminary  Cleaning.  Do  not 
switch  projector  motor  on  at  this  time! 
Dust  off  the  exterior  surfaces  of  each 
projector,  lamp,  magazines,  head, 
motor,  and  pedestal.  Wipe  the  rust- 
preventive  grease  from  all  exterior  and 
interior  parts,  and  remove  rust  spots 
with  a  small  cloth  wet  with  kerosene. 
Dry  thoroughly,  apply  a  thin  film  of 
projector  oil  to  the  parts  cleaned,  and 


Warning:  Correct  Width  of 

Adjustable  Shutter  Blades 

Shutters  having  blades  of  ad- 
justable width  need  special  atten- 
tion. It  has  been  stated  incorrectly 
in  a  well-known  textbook  on  pro- 
jection that  the  lens  may  be  about 
one-third  open  when  the  intermittent 
sprocket  starts  to  move  and  the 
same  distance  open  when  the 
sprocket  comes  to  rest,  without  af- 
fecting the  screen  image. 

This  inconceivably  bad  practice 
is  advocated  as  an  effective  measure 
for  increasing  screen  illumination. 

Actual  projection  tests  prove  that 
the  extra  illumination  amounts  to 
only  2  or  3% — an  amount  imper- 
ceptible to  the  average  eye.  The 
really  important  effect,  however,  is 
the  introduction  of  an  annoying 
rapid  trembling  of  the  edges  of  all 
bright  objects  in  the  screen  image. 

We  are  forced  to  conclude,  there- 
fore, that  the  occulation  of  the  film 
image  must  be  positively  of  suffi- 
cient duration  to  keep  the  screen 
dark  during  the  entire  interval  of 
the  film  movement  in  the  gate.  It 
is  decidedly  better  to  have  the 
blades    a   trifle   too   wide   than   too 


26 


INTERNATIONAL  PROJECTIONIST      •      APRIL  1954 


again  wipe  dry.  (Do  not  use  cotton 
mechanic's  waste  for  cleaning  projec- 
tors.) 

2.  Cleaning  Drives  and  Gears.  At- 
tention will  now  be  directed  to  the 
drive  side  of  the  machine.  Remove 
excess  oil  from  the  mechanism  and 
soundhead,  using  a  medicine  dropper 
to  drain  off  oil  pools;  afterward  clean 
rags.  Scrub  off  accumulations  of 
grime  from  the  gears  with  a  stiff- 
bristled  toothbrush  dipped  in  kerosene. 
Be  sure  to  wipe  the  kerosene  off  after- 
ward. Check  all  machine  screws  and 
taper-pins.  This  is  the  time  to  re- 
quisition gears  and  other  parts  which 
need  to  be  replaced.  Do  not  oil  the 
projector  yet. 

3.  Checking  the  Intermittent 
Test  the  intermittent  sprocket  for  end- 
play  and  backlash  when  in  the  locked 
position.  Note  the  "feel"  of  the  mech- 
anism when  the  machine  is  turned  by 
hand.  If  there  are  no  evidences  of 
binding,  the  motor  may  be  run  for 
short  periods.  With  the  machine  run- 
ning, listen  carefully  to  the  intermit- 
tent movement  with  the  film  gate  open. 
A  noisy  intermittent  unit  must  be 
taken  out  of  the  head,  carefully  ex- 
amined for  wear,  and  adjusted  for 
noiseless,  rock-steady  operation. 

Checking  Film  Path 

4.  Check-ing  the  Film  Course. 
Remove  the  upper  magazine.  Clean 
thoroughly  all  parts  of  the  film  side  of 
the  projection  and  sound  heads,  using 
kerosene  as  a  cleaning  agent.  Carbon 
tetrachloride  may  be  used  to  loosen 
stubborn  dirt  deposits.  A  quantity  of 
clean  rags,  a  toothbrush,  and  copper- 
wire  probe  are  indispensable.  The 
gate  door,  the  aperture  plate,  and  the 
projection  lens  should  be  taken  out, 
and  the  lens  carefully  placed  in  the 
cabinet  for  cleaning  at  a  later  time. 

Check  all  sprockets  for  worn  or 
burred  teeth.  The  intermittent  and 
sound  sprockets  are  likely  to  be  the 
worst,  as  these  are  the  most  difficult 
to  remove.  Reverse  or,  better,  replace 
sprockets  having  worn  teeth. 

Examine  idlers  and  pad  rollers  for 
wear  and  adjustment.  The  lateral  and 
clearance  adjustments  of  pad  rollers 
are  sufficiently  important  to  warrant  a 
review  of  maintenance  notes  thereon. 

Thread  a  short  strip  of  new  film 
over  the  sprocket.  Open  and  close 
the  pad  roller  several  times  rather 
sharply.  Remove  the  film  strip  and 
examine  its  edges  at  the  place  where 


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INTERNATIONAL  PROJECTIONIST 


APRIL  1954 


27 


it  was  on  the  sprocket.  If  an  edge  is 
found  to  be  nicked  or  roughened, 
loosen  the  set-screw  and  move  the  pad- 
roller  arm  in  or  out,  as  required,  and 
tighten.  Repeat  the  test  until  a  posi- 
tion is  found  where  the  edges  of  the 
film  are  not  injured  by  opening  and 
closing  the  pad  roller. 

Double-Film  Test 

Thread  the  sprocket  with  two  thick- 
nesses of  film  and  close  the  pad  roller. 
Adjust  the  stop-screw  until  the  point  is 
reached  where  the  two  thicknesses  of 


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film  are  only  very  slightly  loose  in  the 
sprocket  with  the  pad  roller  closed. 
Then  tighten  the  locknut. 

Clean  the  aperture  plate  and  gate 
door,  adjust  the  tension  of  the  pressure 
pads,  if  necessary,  and  return  these 
parts  to  the  machine.  A  thin  film  of 
heavy  petrolatum  may  be  rubbed  on 
the  film  tracks  and  pressure  pads. 
(Oil  should  not  be  used  in  the  gate, 
as  heat  will  vaporize  it  and  fog  the 
lens.) 

The  gates  of  old-style  soundheads 
and  the  takeoff  drums  of  newer 
models  may  now  be  cleaned.  Petro- 
latum is  unnecessary  here.  The  focus 
of  the  optical  tube  should  not  be  dis- 
turbed if  this  is  known  to  be  correct. 
(More   anon   concerning   this   point.) 

Check  the  alignment  of  the  inter- 
mittent sprocket  shoe  by  slowly  clos- 
ing the  gate  while  the  projector  is 
running.  If  a  loud  intermittent  sound 
is  heard  only  when  the  gate  is  closed, 
adjustments  are  necessary. 

Lateral  Guide  Rollers 

Examine  the  lateral  guide  rollers 
for  condition  and  cleanliness,  but  the 
adjustment  of  these  must  wait  until 
the  picture  projection  test  is  made. 
Clean  and  correct  the  position  of 
sprocket  strippers. 

Finally,  thread  up  a  10-foot  length 
of  film  —  preferably  a  strip  contain- 
ing several  wide  and  badly  buckled 
splices  —  and  run  down  slowly  by 
hand,  noting  the  action  of  the  loops 
and  the  passage  of  the  film  over  the 
sprockets.  Correct  any  faults  which 
may  be  revealed  by  this  test. 

5.  Upper  Magazine.  The  upper 
magazine  should  be  overhauled  before 
replacement  of  the  projector.  Take 
the  assembly  completely  apart,  clean 
and  oil  the  spindle  shaft,  then  reas- 
semble.    Clean   the    fire-valve    rollers. 


Put  the  magazine  back  on  the 
machine  in  correct  alignment  with 
the  head.  Check  the  assembly  by 
placing  an  empty  2000-foot  reel  in 
the  upper  magazine  and  turning  it 
while  pressing  it  on  the  edge  of  the 
reel.  Scraping  of  the  reel  against  any 
part  of  the  magazine  indicates  a  con- 
dition to  be  corrected. 

Now  test  the  tension  of  the  friction 
spring  by  spinning  a  fully  loaded 
2000-foot  reel  in  the  magazine.  The 
reel  should  not  run  too  freely. 

Magazine  &  Takeup  Assembly 

6.  Lower  Magazine  and  Takeup 
Assembly.  It  is  highly  advisable  to 
service  thoroughly  the  lower-maga- 
zine takeup  assembly  of  any  projec- 
tor which  has  been  idle  for  a  con- 
siderable length  of  time. 

Replace  the  takeup  belt  with  a  new 


FILM  CEMENT 


Makes   a   splice 
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Actually,  a  splice 
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28 


INTERNATIONAL  PROJECTIONIST      •      APRIL  1954 


one,  if  frayed  and  oil-soaked.  Tighten 
takeup  action.  Replace  belts  having 
more  than  one  splice  or  coupling. 

Disassemble  the  takeup  assembly. 
Inspect  all  parts  for  wear.  Clean  and 
oil  the  takeup  spindle  shaft.  Scrub 
the  clutch  surfaces  with  carbon  tetra- 
chloride and  do  not  oil  them.  Wash 
dirt  and  oil  from  the  leather  friction 
disk  with  carbon  tetrachloride,  dry 
thoroughly,   and  oil  only  one  side. 

Reassemble  the  takeup  and  adjust 
the  tension  to  the  correct  degree.  This 
may  be  done  by  placing  a  fully-loaded 
2000-foot  reel  of  film  in  the  lower 
magazine  and  switching  on  the  pro- 
jector motor.  The  reel  should  indeed 
turn  (start  turning  of  its  own  accord  ) , 
but  it  should  also  be  easily  restrained. 

7.  Complete  Lubrication.  Oil 
and  grease  the  motor,  drive  transmis- 
sion, projector  mechanism,  and  sound- 
head according  to  manufacturers'  in- 
structions, using  the  proper  type  of 
lubricant  in  every  case.  Drain  the 
intermittent  well  and  refill  with  fresh 
oil,  if  this  has  not  already  been  done. 
Run-in  the  projector  for  30  minutes 
and   note  the   "feel"   of  the  machine. 

8.  Automatic  Fire  Shutter.  The 
projectionist  should  assure  himself  that 
the  lifting  and  dropping  action  of  the 
safety  shutter  is  perfect.  When  check- 
ing this  device  by  switching  the  motor 
on  and  off,  do  not  turn  the  motor  on 
while  the  projector  is  coasting  to  a 
standstill.  In  other  words,  wait  until 
the  machine  is  absolutely  motionless 
before  turning  the  motor  on  again. 
Failure  to  observe  this  precaution  may 
result  in  injury  to  the  gears. 

(The  timing  of  the  occulting  shut- 
ter, will  be  left  until  projection  tests 
are  conducted.  It  suffices  for  the 
present  to  see  to  it  that  undue  back- 
lash and  endplay  are  eliminated  from 
the  shutter  shaft,  and  that  all  the 
bearings  have  received  proper  lubri- 
cation.) 

9.  Motor  Check.  The  starting 
action  of  the  projector  motor  is  an 
extremely  important  consideration.  A 
faulty  cutout  or  centrifugal  switch 
must  be  corrected  at  this  time.     All 


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electrical  connections  are  examined  — 
the  starting  rheostat  requiring  special 
attention  —  and  of  course,  more  than 
a  passing  glance  must  be  given  the 
motor  switch.  An  unduly  loose  or 
otherwise  defective  switch  should  be 
replaced,  and  no  attempt  made  to 
repair  it. 

10.     Film-Flovp    Test.     This    step 
serves  as  a  final  check  on  the  mechani- 


cal functioning  of  the  projector. 
Thread  up  the  projector  with  a  reel 
of  film  and  run  it  off  with  magazine, 
mechanism,  and  soundhead  doors 
open.  Observe  the  flow  of  the  film  and 
the  action  of  all  working  parts  on  the 
film  side  of  the  machine.  If  minor 
defects  are  discovered,  they  are  now 
corrected.  The  film-flow  test  also  pro- 
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INTERNATIONAL  PROJECTIONIST 


APRIL  1954 


29 


pickup  time  of  the  loaded  projector. 
11.  Projection  Lens.  The  pro- 
jection lens  is  now  carefully  cleaned 
and  restored  to  the  projector.  For  the 
correct  method  of  cleaning  lenses  refer 
to  "Coated  Lenses:  Nature  and  Care" 


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New  York   19,  N.  Y. 


by  A.  E.  Murray  of  the  Bausch  & 
Lomb  Optical  Company  (IP  for  Feb- 
ruary, 1949,  p.  7) .  So  comprehensive 
is  Dr.  Murray's  contribution  to  this 
phase  of  the  projection  art,  that  the 
subject  is  dismissed  here  with  the 
oft-repeated    admonition ; 

NEVER  "scrub"  lenses;  NEVER 
wash  lenses  in  alcohol  or  other  organic 
solvents!  Failure  to  heed  this  warn- 
ing may  ruin  a  fine  lens. 

lamp  &  Ventilating  System 

12.  Lamp  and  Ventilating  Sys- 
tem. The  interior  of  the  arc  lamp 
may  be  so  dirty  that  much  time  and 
effort  will  be  required  to  clean  it 
out.  The  presence  of  carbon  stubs 
in  the  carbon  holders  is  mute  evidence 
of  the  laxity  of  the  projectionist's 
predecessor. 

If  the  vent  pipes  appear  to  be 
clogged  with  carbon  dust  and  oxide 
fluff,  take  them  down  and  clean  them 
before  cleaning  the  lamps.  In  any 
event,  the  effectiveness  of  the  ventilat- 
ing system  should  be  tested  long  be- 
fore an  arc  is  struck.  Invisible  gases 
produced  by  electric  arcs  are  highly 
poisonous. 

As  a  rule,  low-intensity  get  grimier 
than  high-intensity  lamps.  Oil-caked 
carbon    encrustations    are    frequently 


N  EW 


"MOVIES    ARE    BETTER    THAN    EVER"    V/ I  T  H 


f/1.8 


I   L  U  X 


v\^ith  the 
brightest 
clearest 
picture 


-k    NEW  ANASTIGMAT  FORpiA- 

•k    ONE  PIECE  HERMETICALLY  SEALED  MOUNT 

■k    NO  CJEMENrFAILURE-NO  RECEMENTING 

^^ -^LITaIR-GLASS  SURFACES  PRO-COATED 

ir    MINIMUM  VIGNEHING 

ic    MAXIMUM  SCREEN  BRIGHTNESS 


P  R  0  J  E  tTT  ION     OPTICS     COMPANY,    INC. 


3   30       LYELL      AVENUE      •      ROCHESTER 


NEW      YORK 


the  cause  of  faulty  mechanical  action. 
The  roof  of  the  lamp  should  be  cleaned 
first,  and  all  ash  removed  from  the 
vent.  Then  the  floor  may  be  brushed 
free  of  dust.  Grease,  graphite  ac- 
cumulations, etc.,  may  be  washed 
with  kerosene  from  the  guide  rods, 
feeding  screws,  and  reflector  gearing. 
After  cleaning,  lubricate  all  moving 
parts  of  the  lamp  according  to  the 
manufacturer's  instructions. 

Lamp  Electrical  Units 

13.  Lamp  Electrical  Appliances. 
Burnish  the  contact  surfaces  of  the 
carbon  holders.  If  light  filing  is  neces- 
sary, use  a  magneto  file,  taking  care 
to  preserve  the  flatness  of  the  sur- 
faces. Then  give  them  a  final  polish- 
ing with  crocus  cloth.  Test  the  clamp- 
ing action  of  the  carbon  jaws,  and 
give  rotating-positive  feeds  extra  at- 
tention. 

Electrical  connections  to  the  carbon 
holders,  are  relay,  feed  motor,  etc., 
must  be  secure.  It  is  not  uncommon 
for  as  much  as  3  amperes  to  be  lost 
through  faulty  carbon-holder  lug  con- 
nections. The  lost  current  is  con- 
verted into  heat  which  aggravates  the 
troubles  by  accelerating  corrosion  of 
the  metal.  The  condition  of  the 
flexible  asbestos-insulated  cables  must 
also  be  checked,  for  these  cables, 
being  composed  of  many  fine  strands 
of  wire,  are  particularly  liable  to 
oxidation. 

The  cut-out  points  of  arc  relays 
may  be  touched  up  by  drawing  00 
sandpaper  between  them  while  lightly 
pressing  them  together.  (For  routine 
cleaning  use  heavy  writing  paper  in 

lA     ELECTIONS 


LOCAL  162,  SAN  FRANCISCO,  CALIF. 

Norman  E.  Maynahan,  pres.;  William 
Van  Ornum,  vice-pres.;  Herman  J.  Lehr- 
baoh,  sec.-treas.;  Larry  H.  Weaverling,  bus. 
rep.;  Jesse  Lunsford,  sgt.-at-arms ;  W.  Van 
Ornum,  James  T.  Luther,  St.,  Paul  G.  Zern, 
Oscar  Brostrom,  Antone  J.  Salami,  exec, 
board. 

LOCAL  433,  ROCK  ISLAND,  ILL. 

Edward  A.  Short,  pres.;  Richard  T.  Mur- 
phy, vice-pres.;  George  A.  Stoddard,  rec- 
sec;  Kenneth  L.  Benedict,  fin.-sec;  Lloyd 
Burrs,  treas.;  Fred  R.  Parker,  bus.  rep.;  Al- 
bert B.  Adams,  sgt.-at-arms;  Roy  L.  Blu- 
baugh,  Frederick  R.  Mauck,  trustees;  F.  R. 
Parker,  exec,  board. 

LOCAL  488,  HARRISBURGER,  PENNA. 

Lawrence  J.  Katz,  pres.;  Charles  J.  Jones, 
vice-pres.;  E.  Richard  Bennett,  sec;  Paul 
F.  Paterson,  treas.;  Sam  Rubin,  bus.  rep.; 
Charles  Zinn,  sgt.-at-arms;  Paul  N.  Hippie, 
John  L.  Bruner,  exec,  board. 


30 


INTERNATIONAL  PROJECTIONIST 


APRIL  1954 


I 


place  of  the  00  sandpaper.  Never  use 
emery  paper!) 

Check  the  feed-motor  rheostat  and 
then  proceed  to  the  feed  motor  itself. 
Clean  and  check  the  condition  of  the 
commutator  and  the  brushes.  If  the 
commutator  is  scored,  touch  it  up  with 
00  sandpaper  followed  with  writing 
paper.  Do  not  use  emery  paper  or 
cloth  on  commutators! 

[TO  BE  CONCLUDED] 

C'Scope  Lens  Price  Slash 
Follows  Prismatic  Shows 

Drastic  price  reductions  in  Cinema- 
Scope  lenses  were  made  during  the  past 
month  by  two  major  lens  manufacturers. 
Bausch  &  Lomb  and  Bell  &  Howell. 
These  price  slashes,  amounting  to  ap- 
proximately $750  (from  $1900)  per  pair 
were  viewed  in  projection  circles  as  a 
move  to  offer  stiff  competition  to  the 
Tushinsky  and  Gottschalk  anamorphic 
prismatic  attachments  shown  in  New 
York  recently. 

Thus,  CinemaScope  lenses  by  B  &  L 
and  by  B  &  H,  which,  it  should  be  re- 
membered, are  cyclindrical  units,  now 
sell  in  the  $1150  per  pair  bracket;  while 
the  Tushinsky  and  the  Gottschalk  units, 
which  are  prismatic  anamorphosers,  are 
in  the  $700  to  $1000  per  pair  range. 

Picture  Ratio  Vital 

Both  B  &  L  and  B  &  H  emphasize  the 
fact  that  their  CinemaScope  lenses  will 
project  all  CinemaScope  releases,  and 
that  no  prismatic  anamorphic  attach- 
ment can  convert  standard-format  films 
to  wide-screen  proportions. 

This  statement  was  evidently  made  to 
correct  an  impression  currently  held  by 
some  exhibitors  that  the  variable-type 
anamorphic  attachments,  such  as  the 
Tushinsky  unit,  can  expand  any  stand- 
ard print  into  something  like  Cinema- 
Scope. No  anamorphic  lens  can  func- 
tion except  with  a  print  that  has  been 
"squeezed"  for  it. 


New  Processes  Hypo  GPC 
Equipment  Sales,  Net 

General  Precision  Equipment  Corp. 
net  income  for  1953  soared  to  $3,436,349 
or  $5.09  per  share.  This  is  more  than 
double  the  net  for  1952  which  was 
$1,255,278  or  $1.88  a  share.  Net  work- 
ing capital  as  of  last  Dec.  31  rose  to 
$18,651,901,  or  better  than  $6,000,000 
higher  than  a  year  earlier. 

Sales  of  picture  theatre  equipment 
and  supplies  by  subsidiaries  last  year 
were  66%  better  than  in  1952,  hittiijg  a 
record  of  $22,878,000.  Boost  reflects  the 
general  improvement  in  the  industry 
plus  the  heavy  demand  for  new  and  im- 
proved equipment,  including  the  multi- 
track    single    film    system    of    magnetic 


sound  reproduction. 

Among  the  GPC  subsidiaries  are  In- 
ternational Projector  Corp.,  National 
Theatre  Supply  Co.,  J.  E.  McAuley  Mfg. 
Co.,  Hertner  Electric  Co.,  and  Strong 
Electric  Co. 


EPRAD  Stereosound  Car  Speakers 

The  premiere  showing  of  Eprad  stere- 
osound car  speakers  took  place  April  24 
at  the  Cactus  Drive-in,  Tucson,  Ariz.,  in 
connection  with  the  CinemaScope  show- 
ing of  "The  Robe"  on  a  90-  by  40-foot 
screen.  Strong  Super  "135"  arclamps 
provided  the  projection  light. 

Two  additional  wires  were  buried  to 
provide  three  sound  wires  and  one  com- 


mon wire  to  the  Eprad  stereosound 
speaker  units.  The  speaker  case,  which 
is  10  1/8  inches  long  and  3  13/16  inches 
high,  is  only  slightly  larger  and  heavier 
than  conventional  speakers,  although  it 
contains  three  3  1/2-inch  driver  units. 
It  is  made  of  two-tone  Fibreglas  and 
mounts  on  the  rear-view  mirror. 


Pathe   Labs  Lecture  Series 

Pathe  Laboratories  is  expected  shortly 
to  launch  a  series  of  clinics  on  a  trial 
bas's  to  give  producers,  newsmen,  critics, 
and  projectionists  the  opportunity  to  be- 
come better  acquainted  with  the  latest 
developments  in  color  film  processing 
and  better  understand  the  role  of  the 
laboratory  in  motion  picture  production. 


.....>..  .   ..rmu  PERIODIC 

INSTALLATION  INSPECTION 


Call  RCA  for  SERVICE 

o"  STEREOPSOWC  sound 

More  than  25  years  of  knowledge  and  performance  in  Stereophonic  Sound. 

experience  in  the  installation  and  main-  In  addition,  thoroughly  dependable, 

tenance  of  all  kinds  of  theatre  sound  prompt  and  courteous  service  are  yours 

systems  assures  you  top  standards  of  when  you  call  in  RCA  Theatre  Service. 

RCA  Service  Company,  Inc. 

A  Radio  Corporation  of  America  Subsidiary 
Camdeiir  N.  J. 


Clayton  Ball -Bearing  Even  Tension  Take-Ups 

For  all  Projectors  and  Sound  Equipments 

ALL  TAKE-UPS  WIND  FILM  ON  2,  4  AND  5  INCH  HUB  REELS. 
SILENT  CHAIN   DRIVE 

THE   CLAYTON   REWINDER 

FOR  PERFECT  REWINDING  ON  2000-FOOT  REELS. 

CLAYTON    PRODUCTS   CO. 

31-45  Tibbett  Avenue  New  York  63,  N.  Y. 


INTERNATIONAL  PROJECTIONIST      •      APRIL  1954 


31 


k. 


LENSES:   Projection   Heart 

(Continued  from  page  16) 
the  speed  of  the  mirror  may  be  re- 
duced until  it  corresponds  with  the 
effective  speed  of  the  lens.  This  ex- 
pedient reduces  screen  illumination, 
of  course,  but  it  improves  the  quality 
of  illumination  and  decreases  heating 
of  the  film. 

A  German  Suggestion 

Another  method  has  been  devised 
by  Zeiss  Ikon  of  Germany,  manufac- 
turer of  the  Ernemann  projectors.  In- 
stead of  increasing  the  speed  of  the 
projection  lens  or  decreasing  the  speed 
of  the  arc-mirror,  the  light-rays  which 
emerge  from  the  aperture  are  all 
directed  into  the  projection  lens  by 
means  of  a  special  single-element  lens 
placed  directly  behind  the  aperture. 
This  special  lens  is  called  a  Bildfen- 
sterlinse,  a  German  word  meaning 
"picture-aperture  lens." 

Figure  4  illustrates  diagrammati- 
cally  how  this  lens  forms  a  small, 
intensely  brilliant  image  of  the  arc- 
reflector  inside  the  projection  lens. 
The  special  lens  is  placed  as  close  to 
the   aperture   as  possible   in   order  to 


form  the  smallest  possible  image  of 
the  mirror,  insuring  that  all  of  the 
light  coming  from  the  aperture  goes 
into  the  lens  for  projection  to  the 
screen. 

Picture— Aperture  Lens 

The  "picture-aperture  lens"  im- 
presses us  as  a  worthwhile  contribu- 
tion to  projection  technology.  Made 
of  special  heat-resistant  optical  glass, 
it  is  inserted  into  the  Ernemann  pro- 
jector as  shown  in  Fig.  5. 

Actual  tests  show  that  this  lens  con- 
siderably increases  the  brightness  of 
the  picture  when  employed  in  con- 
junction with  the  W  ahenkondensor 
lamp  (See  IP  for  January  1954).  It 
is  evident  from  Fig.  4  that  the  Bildfen- 
sterlinse  produces  the  effect  of  match- 
ing the  projection  lens  with  the  lamp- 
optics  without  requiring  the  use  of 
lenses  of  extreme  speed  and  unsatis- 
factory optical  characteristics. 

Cleaning  of  Lenses 

A  fine  lens  should  be  accorded  even 
better  care  than  a  priceless  jewel.  A 
diamond,  being  harder  than  optical 
glass,  better  withstands  careless  scrub- 


EXPERIENCE 


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The  finest  service 
experience  in  stereophonic 
sound  is  yours  when  you  sign 
an  Altec  contract.  Experience 
bought  and  paid  for  in 
countless  hours  of  pioneering 
effort  and  research . . . 

■  experience  in  supervising 
critical  CinemaScope  industry 
showings  and  first  run 
premieres,  experience  with  an 
unceasing  flow  of  stereophonic 
installation  and  service  orders, 
experience  implemented  by 

.  Altec-devised  precision  tools. 

YOUR  experience  with  an 
Altec  stereophonic  service  contract 
will  prove  pleasant  and  profitable! 


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New/ York  13,  N.Y. 


SPECIALISTS  IN  MOTION  PICTURE  SOUND 


bing  and  scratching!  Coated  lenses 
require  special  thought,  if  not  special 
care,  because  the  anti-reflection  coating 


J 


I 


© 


----Ahens  [ 
Aperture 


© 


e» 


iBildfcn|terltn|c  image  of 

\         mirror 

Aperture 


FIG.  4.  How  the  Zeiss-lkon  Bildfensterlinse 
(picture-aperture  lens)  defies  the  laws  of 
optics.  In  (A)  is  shown  a  conventional  mirror- 
aperture-lens  projection  system.  Note  that 
much  light  is  wasted  because  the  lens  isn't 
big  enough  to  intercept  all  of  it.  In  (B)  we  see 
what  happens  when  a  small,  powerful  lens  is 
placed  in  the  lamp  beam  at  aperture  dis- 
tance —  an  intensely  brilliant  reduced  image 
of  the  mirror  Is  formed  in  mid-air  a  few 
inches  away  from  it.  In  (C)  such  a  "picture- 
aperture  lens"  is  placed  behind  the  aperture 
to  route  all  of  the  light  rays  into  the  pro- 
jection lens.  The  effect  of  perfect  optical 
matching  Is  thus  cleverly  produced  without 
using     impractically     large     projection     lenses. 

is  a  film  of  magnesium  fluoride  only 
1/8000  mm  thick  —  about  800  times 
thinner  than  this  sheet  of  paper. 

So,  even  though  the  coating  on  a 
coated  lens  is  somewhat  harder  than 
most  glasses,  it  is  so  thin  that  it  can 
easily  be  scratched  off.  And  scratches, 
as  well  as  fingermarks,  oil-spots,  and 


FIG.  5.    Projectionist  inserting  the  "Bildfenster- 
linse"   behind    the    aperture    of    an    Ernemann 
projector  —  the     picture-aperture     lens. 

Other  stains,  are  extremely  conspicuous 
on  a  coated  lens  because  they  destroy 
the  anti-reflection  properties  of  the 
coating. 

As  for  removing  dirt  from  lenses, 
both     coated     and     uncoated     lenses 


32 


INTERNATIONAL  PROJECTIONIST 


APRIL  1954 


should    be   cleaned   the   same   way  — 
with  utmost  care. 

1.  Dust.  Remove  with  a  soft,  dust- 
free  camel's-hair  brush  of  the  type 
used  by  water-color  artists. 

2.  Surface  Slightly  Soiled. 
Breathe  on  the  surface  and  gently 
wipe  with  a  very  soft,  dry  linen  rag 
(frequently  washed).  Breathe  on  the 
lens  again  before  each  wiping. 

3.  Surface  Heavily  Soiled.  Dis- 
solve a  piece  of  Ivory  Soap  the  size  of 
a  small  pea  in  a  pint  of  pure  (prefer- 
ably distilled)  water  to  make  a  weak 
soap  solution.  Dampen  a  clean  linen 
rag  with  this  mild  solution,  wipe  the 
surface,  then  polish  with  a  dry  linen 
rag  as  under  (2)  above,  breathing 
on  the  glass. 

4.  Oil  on  the  Surface.  Moisten 
a  soft  linen  rag  with  clean  gasoline 
(lighter  fluid)  and  wipe  off  oil.  Con- 
tinue as  under  (3)  and  (2)  above. 

5.  Special  Stains.  Paint.  Remove 
cautiously  with  turpentine,  and  con- 
tinue as  under  (3)  and  (2)  above. 
Film  Cement.  Remove  very  cautiously 
with  a  half-and-half  mixture  of  ace- 
tone and  chloroform,  and  continue  as 
under     (3)     and     (2)     above.     Apply 


s 


PUCES    ^^ 

NOT  y 


HOLDING 

Film  breaks  are  costly. 
Play  safe  by  using 

JEFRONA 

All-purpose  CEMENT 

Has  greater  adhesive 
qualities.  Don't  take 
our  word  for  it.  Send 
for  FREE  sample  and 
judge  for  yourself. 

CAMERA  EQUIPMENT  CO. 

1600  Broadway  New  York  19,  N.  Y. 


these  powerful  solvents  very  sparingly, 
and  only  to  the  soiled  spot,  not  to  the 
entire  lens-surface. 

Warning!  Use  only  linen  or  cotton 
rags  for  cleaning  lenses,  never  wool, 
silk,  or  rayon,  which  scratch.  Wool 
also  leaves  greasy  streaks  on  glass. 
Do  not  use  "lens-paper"  on  coated 
lenses,  and  especially  avoid  silicone- 
impregnated  spectacle-cleaning  papers. 

Use  only  a  soap  solution  containing 
nothing  but  a  pure  soap,  such  as  Ivory 
cut  from  a  fresh  bar.  Never  use  soap 
powders  or  soapless  detergents,  many 
of  which  are  adulterated  with  caustic 
chemicals  capable  of  attacking  glass 
or  dissolving  the  magnesium  fluoride 
coating. 

Warning  About  Solvents 

Never  wash  lenses  with  alcohol, 
acetone,  ether,  carbon  tetrachloride, 
or  similar  organic  solvents  which  may 
seep  into  a  lens  and  blister  the  cements 
with  which  achromatic  couplets  are 
cemented  together.  Avoid  all  com- 
mercial lens-cleaning  nostrums.  No 
attempt  should  ever  be  made  to  take 
modern  sealed  lenses  apart. 

The  oftener  we  clean  the  mecha- 
nisms of  our  projectors  the  better 
they  will  work ;  but  lenses  should  not 
be  cleaned  more  often  than  is  abso- 
lutely necessary.  A  lens  can  "wear 
out"  only  through  over-cleaning.  Ex- 
amine the  lens  daily  and  clean  only 
the  surface  which  needs  cleaning. 

In  nearly  all  cases  the  rear  lens 
facing  the  aperture  gets  the  dirtiest; 
the  front  lens  usually  having  nothing 
more  than  a  few  dust-specks  which 
can  be  whisked  off  with  a  brush.  The 
rear  surface  is  exposed  to  hot,  oily 
film,  and  thus  gradually  becomes 
fogged  by  an  almost  invisible  coating 
of    oil-droplets.     This    oil-film    makes 


Wcuiied: 


Experienced  Sound  Engineers 
for     Theatre     Servicing. 

For  particulars  write  to 

INTERNATIONAL  PROJECTIONIST 

Box  954 

19  West  44  St.,  New  York  36,  N.  Y. 


the  picture  dull  and  hazy;  but  it  is 
readily  removed  with  the  weak  soap 
solution. 

Barring  accidents,  a  lens  will  last 
almost  indefinitely  with  sensible  treat- 
ment. One  important  thing  to  guard 
against  is  the  projection  of  blank  light 
to  the  screen  without  having  the  pro- 
jector running. 

Even  though  the  rotating  shutter 
cuts  the  light  in  half,  it  is  unwise  to 
leave  the  light  on  the  lens  too  long. 
The  intense  heat  may  blister  the 
Canada  balsam  or  synthetic  resin  used 
for  cementing  the  lens-elements  to- 
gether. When  high  arc-amperages  are 
used,  the  sudden  heat  of  the  full  beam 
on  a  cold  lens  may  actually  crack  the 
rear  element.  This  is  especially  likely 
to  happen  if  the  lens  is  covered  with 
a  dew  of  moisture  condensed  from  the 
air. 

[CONCLUSION] 


HEADQUARTERS  FOR 

FILM   MAGAZINES 

Give  your  Projectionist,  Wenze!  25" 
Magazines.  He  can  use  that  "Extra 
Changeover  Time"  for  other  Booth  re- 
quirements. 

• 

The  Wenzel  25"  Magazine  is  not  a 
"made  over"  18"  magazine.  It  has 
been  designed  and  engineered  es- 
pecially for  the  job  it  is  required  to 
do. 

The  Wenzel  25"  Magazine,  known 
as  PRO-51  Upper,  and  PRO-52 
Lower,  is  S-Vs"  deep,  and  when  the 
beaded  type  door  is  closed,  there  is 
approximately  4"  inside  clear  depth 
in  the  magazine. 

Wenzel  also  has  a  Hand  Rewind 
for  23"  Reels,  that  is  complete  in  it- 
self, and  can  be  used  with  a  motor, 
if  desired. 

FILM  MAGAZINES 
18"  Standard  Type 
1 8"  De  Luxe  Type 
25"  All   Purpose  Type 

Write  for  complete  illustrated  and 

descriptive  literature,  or  ask 

your  supply  dealer. 

WENZEL  PROJECTOR  COMPANY 

2505  -  2519  S.  State  Street 

Chicago  16,  Illinois 
.  Cable  Address:    WENZKO 


INTERNATIONAL  PROJECTIONIST      •      APRIL  1954 


33 


AS  OF  THE  MOMENT 

(Continued    from    page    10) 

try.  This  view  was  buttressed  by  the 
fact  that  immediately  following  the 
Tushinsky  demonstrations  in  New 
York  the  price  of  the  CinemaScope 
cylindrical  lens  was  drastically  re- 
duced from  $1800  a  pair  to  $1095  for 
a  small  pair  and  $1195  for  a  large 
pair.  To  the  best  of  our  information, 
the  price  of  the  Tushinsky  anamorphic 
attachment  will  be  $700  a  pair. 

The  Gottschalk  anamorphic  lens 
attachment  unit,  which  was  demon- 
strated in  New  York  a  few  days  fol- 
lowing the  Tushinsky  exhibition,  is  a 
similar  prismatic  device,  and  it  is 
quite  probable  that  the  considerations 
enumerated  previously  anent  the 
Tushinsky  unit  apply  with  equal  force 
to  the  Gottschalk  unit. 

Single-Track  Optical  Sound 

An  escape  from  the  manifold  prob- 
lems posed  by  the  various  new  pro- 
cesses is  offered  by  the  single-track, 
straightaway  optical  reproduction  sys- 
tem now  enjoying  the  favor  of  both 
Paramount  and  M-G-M,  known  as 
Vista  Vision.  We  append  hereto  an 
official  statement  by  Paramount  Pic- 
tures Corp.  anent  this  process. 

"The  position  of  Paramount  is,  and  has 
been  from  the  beginning,  that  any  plan  de- 
veloped should  be  applicable  to  all  theatres, 
large  or  small.  Furthermore,  such  a  plan 
should  not  make  it  mandatory  for  the  ex- 
hibitor to  invest  large  sums  of  money  in 
new  equipment.  .  .  . 

"Paramount  is  firmly  convinced  it  has  the 
overall  answer  to  the  problem  of  how  to  im- 
prove the  presentation  of  motion  pictures 
and  that  all  exhibitors  will  be  able  to  af- 
ford it.  .  .  . 

"VistaVision  will  be  available  to  any  and 
all  motion  picture  production  companies  and 
can  be  used  by  any  theatre  of  any  size  in 
the  world. 

"From  the  beginning.  Paramount  de- 
termined that  in  the  presentation  of  a  mo- 
tion picture  on  the  screen  HEIGHT  was 
equ£illy  as  important  as  width."  (This  coin- 
cides exactly  with  the  stand  taken  by  IP 
since  the  introduction  of  all  these  various 
new  processes. — Ed.) 

"Therefore,  Paramount  recommends  that 
every  exhibitor  install  the  largest  possible 
screen  both  as  to  height  and  width  that  his 
theatre  will  permit.  Having  done  this,  the 
exhibitor  will  be  able  to  play  pictures  of 
any  size  and  ratio  he  desires. 

"VistaVision  uses  a  new  camera  technique 
which  produces  a  picture  of  the  highest 
quality  ever  seen  on  the  screen. 

"The  VistaVision  camera  uses  a  horizontal 


double-frame  negative  to  photograph  the  pic- 
ture. This  double  negative  photographs 
images  on  an  area  2%  times  the  regular 
35-mm  camera  frame.  This  large  negative 
is  then  compressed,  by  printing,  to  a  stand- 
ard 35-mm  frame  for  release  prints. 

'Fuzzyness'  Drastically  Reduced 

"This  process  eliminates  grain  and  fuzzi- 
ness  and  provides  an  overwhelming  picture 
with  complete  definition  of  focus  and  the 
finest  quality  picture  it  is  possible  to  ob- 
tain. In  addition,  the  VistaVision  camera 
permits  the  use  of  lenses  in  photographing 
with  an  angle  varying  from  9  up  to  75 
degrees,  and  still  permits  the  photographing 
of  scenes  without  distortion  due  to  the 
excess  ratio  of  width  to  height. 

"With  the  VistaVision  Process,  people  and 
the  objects  around  them  can  be  photo- 
graphed as  seen  by  the  human  eye.  It  is 
not  necessary  to  regroup  or  diminish  the 
size  of  actors  to  meet  abnormal  limitations 
of  height  with  respect  to  width. 

"The  key  words  in  Paramount's  plan  are 
"compatibility"  and  "flexibility."  Under 
this  plan  it  is  optional  with  the  exhibitor 
as  to  whether  he  installs  auxiliary  sound 
equipment  or  not.  If  auxiliary  sound  equip- 
ment is  to  be  used,  it  is  Paramount's  find- 
ing that  dimensional  sound  is  simpler  and 
less  costly  in  every  respect  than  stereophonic 
sound  and  the  results  are  approximately  the 
same. 

Sound  Reproduction,  Cost 

"Dimensional  sound  is  from  a  single 
sound  track  on  the  positive  print.  This 
track  will  be  available  on  Paramount  pic- 
tures. If  an  exhibitor  desires  to  use  di- 
mensional sound  he  will,  of  course,  have  to 
install  a  sound  control  unit  in  his  projec- 
tion rooin — the  cost,  approximately  $1,500. 

"Through  this  system  the  sound  will  be 
directed  to  three  horn  units  —  one  at  the 
left  of  the  screen,  one  in  the  center  and 
one  at  the  right  of  the  screen.  If  the  ex- 
hibitor does  not  have  the  horn  units  avail- 
able, he  will  need  to  purchase  these  in  ad- 
dition to  the  sound  control  unit.  This  equip- 
ment will  cost  the  exhibitor  approximately 
an  additional  $2,000. 

"Prints  of  Paramount  pictures,  starting 
with  "White  Christmas,"  will  have  the  di- 
rectional sound  control  on  the  sound  track. 
However,  this  same  print  containing  the  di- 
rectional sound  control  can  play  in  any 
theatre  in  the  normal  way." 

Honest  Endeavor  Applauded 

IP  will  never  decry  any  honest  en- 
deavor in  the  technological  area  which 
will  contribute  in  even  the  slightest 
degree  to  the  welfare  of  the  industry. 
At  the  same  time  we  hold  seriously  to 
the  view  that  it  is  our  responsibility 
to  report  and  evaluate  in  terms  of 
practical  application  any  device  which 


purports  to  enhance  the  entertainment 
value  of  the  projected  motion  picture 
image. 

When  the  once-vaunted  fifth  largest 
industry  in  the  world  requires  for  the 
showing  of  its  product  to  the  paying 
public  six  projection  lenses  for  the 
various  processes  —  all  for  the  lack  of 
an  agreement  on  standards  —  then  we 
have  indeed  reached  a  deplorable  — 
nay,  desperate  —  stage. 

Out  of  sheer  weariness  by  reason  of 
constant  repetition,  IP  once  more  sug- 
gests that  a  meeting  of  only  ten  tech- 
nical personnel  (free  from  the  influ- 
ence of  executive  "brass")  —  five 
from  the  Coast  and  five  from  the  East 
—  could  within  the  space  of  a  few 
hours  agree  upon  and  settle  finally  such 
matters  as  a  standard  aspect  ratio, 
stereophonic  sound,  etc.,  which  our  in- 
dustry so  desperately  needs. 

SMPTE  Convention  Starts  May  3 

A  number  of  papers  investigating  the 
early  history  of  the  motion  picture  in- 
dustry will  be  read  at  the  75th  semi- 
annual Convention  of  the  SMPTE,  which 
opens  May  3rd  and  runs  for  five  days  at 
the  Hotel  Statler  in  Washington,  D.  C. 

The  historical  tone  will  be  set  by  the 
authors  of  15  papers,  who  for  more  than 
a  year  have  combed  archives,  examined 
antiquated  cameras,  projectors  and  old 
films  for  clues  that  would  shed  new  light 
on  the  early  history  of  the  motion  pic- 
ture industry.  In  addition  to  describing 
the  evolution  of  modern  projectors  and 
cameras,  the  speakers  will  examine  early 
successes  and  failures  in  the  making  and 
processing  of  film  and  in  the  recording 
and  reproduction  of  sound. 

There  will  also  be  the  usual  wide 
selection  of  papers  on  new  engineering 
achievements  in  the  motion  picture  field. 
To  be  reported  on  are  Vista  Vision, 
Perspect-A-Sound,  an  Xenon-arc  projec- 
tion lamp  and  a  variety  of  other 
developments. 


Baiaban  &  Katz  Goes  "Flat" 

Balaban  &  Katz's  Chicago  Theatre  has 
been  equipped  with  a  flat  Radiant 
Astrolite  screen  60  feet  wide  and  29  feet 
high.  This  is  the  second  large  theatre 
to  announce  that  it  will  use  a  flat  screen 
for  CinemaScope.  The  first  was  the 
Radio  City  Music  Hall  installation 
which  IP  reported  on  in  detail  last 
month. 

Balaban  &  Katz  is  also  installing 
Raytone  screens  in  the  Senate,  Central 
Park,  Nortown,  Biltmore  and  United 
Artists  theatres,  bringing  to  19  the  num- 
ber of  B  &  K  theatres  equipped  for 
CinemaScope.  Eighteen  Great  States 
houses  are  also  CinemaScope  equipped. 


34 


INTERNATIONAL  PROJECTIONIST 


APRIL  1954 


ing 


rs    to     hold 


Who  wants  to  walk  alone  when  Daddy's  hand  is  there  to  hold? 
Makes  a  girl  feel  the  same  size  as  everybody. 

That's  the  way  all  little  girls  and  boys  need  to  feel— safe  in  a  world 
of  love  where  they  can  grow  without  fear.  That's  where  the  security 
we  need  begins— for  every  one  of  us. 

To  build  security  for  those  we  love— that  is  our  common  dream.  And 
it  is  a  dream  that  can  come  true  only  in  a  counti'y  like  America. 
For  only  in  a  free  land  is  every  man  and  woman  free  to  work  for  it. 
It  is  by  taking  care  of  our  own  that  we  also  make  America  strong. 
For  the  strength  of  our  country  is  simply  the  strength  of  each  secure 
home  joined  to  the  security  of  another. 


Saving  for  security  is  easy!  Read 
every  word  — now!  If  you've  tried  to 
save  and  failed,  chances  are  it  was 
because  you  didn't  have  a  plan.  Well, 
here's  a  savings  system  that  really 
works— the  Payroll  Savings  Plan  for 
investing  in  Savings  Bonds. 

This  is  all  you  do.  Go  to  your  com- 
pany's pay  office,  choose  the  amount 
you  want  to  save-  a  couple  of  dollars  a 
payday,  or  as  much  as  you  wish.  That 
money  will  be  set  aside  for  you  before 
you  even  draw  your  pay.  And  auto- 
matically invested  in  Series  "E"  U.  S. 
Savings  Bonds  which  are  turned  over 
to  you. 

If  you  can  save  only  $3.75  a  week  on 
the  Plan,  in  9  years  and  8  months  you 
will  have  $2,137.30.  If  you  can  save  as 
much  as  $18.75  a  week,  9  yeai's  and  8 
months  will  bring  you  $10,700 ! 

For  your  sake,  and  your  family's, 
too,  how  about  signing  up  today? 


L 


Jt*^ 


I*. 


The  U.  S.  Government  does  not  pay  for  this  advertisement.  It  is  donated  by  this  publication 
in  cooperation  with  the  Advertising  Council  and  the  Magazine  Publishers  of  America. 


.nufactur 
International  Projector  Corporation 

Distributed  by 

lonal  Theatre  Supply 


•  Exclusive  "WEATH'R'CAP"  protec- 
tion —  on  the  post  ...  in  the  car! 

•  Durable  compact  construction!  — 
Rugged  diecast  aluminum  .  .  .  long- 
lasting  enamel  finish  over  zinc  chro- 
mate!  •  Tamper-proof!  —  Phillips 
head  case  screws  used  throughout! 

•  Floating  speaker  unit!  —  reduces 
shock  .  .  .  minimizes  magnet  shifting 
.  .  .  simplifies  replacement!  •  Four 
inch  speaker!  Weatherproof  AInico  V 
Aluminum  voice  coil  speaker!  •  "Easy- 
grip"  plastic  handle  with  phosphores- 
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n      47:»r)37 


1954 


VOLUME  29 


NUMBER  5 


30c  A  COPY     •     $2.50  A  YEAR 


V 


For 


CinemaScopE 

32,000 


RADE    MARK    REG 


fi  J 1]  £  i)  II  fi 


•  •  • 


\       TRUTH       / 
\  ADVERTISING  / 

I 

•  •  • 


/  '^        MAGNA 


MAGNARC 


fi    J    J]    £    i)    J]    fi 


TOTAL 
LUMENS    ^ 


At  180-185  Amperes  .  .  .  With  No.  15363-Q  and  No. 
15367-P,  "Hy-Speed"  Condensers  .  .  .  With  a  .715"  x 
.912"  "CinemaScope"  aperture  .  .  .  With  a  3"  Focus, 
F-1.8  coated  projection  lens  .  .  .  On  any  kind  or  any 
size  of  screen   .... 

Using  presently  available  and  standard  carbons, 
there  is  "No  other  projection  lamp  in  the  world, 
today"  that  can  produce  so  much  light. 

(*)  Subject  to  6-10%  average  deduction  for  PEER- 
LESS "Hy-Lumen"   Heat   Filter,   if   used. 


22,000 


J^^ 


TOTAL 
LUMENS    t 


At  75-77  amperes  .  .  .  With  presently  available  and 
standard  8x9  m/m  copper  coated  carbons  .  .  .  With 
a  .715"  X  .912"  "CinemaScope"  aperture  .  .  .  With  a 
3"  Focus,  F-1.8  coated  projection  lens  .  .  .  With  a  14" 
diameter  No.  2012  PEERLESS  "Hy-Lumen"  glass  reflec- 
tor that  retails  at  a  list  price  of  $22.00  .  .  .  With  a 
No.  2880  PEERLESS  Tail  Flame  Flue  ...  On  any  kind 
or  any  size  screen  .... 

All  of  this,  at  the  lowest  possible  first,  and  opera- 
tional cost. 

(t)  NO   heat  filter  of  any  kind   required. 


liiufuta,  le6.i,  ta  4,au2  tnamtf  14.  like  ito-oMittci,  tlte.  cloch  to-  iioaz  turn 


J.E.McAULEY  MFG. CD, 

S52-554    WEST   ADAMS    STREET 

CHICAGO  6.  IlLINOIS 


HAY  28  (954 


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^jOrfS^ —  CARBONS 


THE  PICTURE  IS  LIGHT... 
GIVE  IT  ALL  YOU  CAN 
with  "NATIONAL"  CARBONS 


The  ferm  " NatioTiai"  is  a  rea^stereti  trade-mark 
of  Union  Carbide  and  Carbon  Corporation 

NATIONAL  CARBON  COMPANY 

A  Division  of 

Union  Carbide  and  Carbon  Corporation 

30  East  42nd  Street,  New  York  17,  N.  Y. 

District  Sates  Offices.   Atlanta    Chicago    Dallas. 

Kansas  City.  New  York.  Pittsburgh,  San  Firancisco 

iN  CANADA  :   Union  Carbide  Canada  Limitea.  Toronto 


WITH  THE  LATEST  impressive  developments  in  wide-screen,  3-D  and  ste- 
reophonic sound,  with  the  flurry  of  new  stars  and  really  better  movies,  ex- 
hibitors have  more  to  work  for— and  more  to  work  with  —  th?in  ever  before. 
In  your  efforts  to  capitalize  on  the  new  projection  techniques,  don't  overlook 
these  important  facts: 

THE  PICTURE  IS  LIGHT  —  This  is  a  fact  exhibitors  should  know  and  remem- 
ber. Every  tone  of  light  and  shadow,  every  hue  and  shade  of  color  on  the 
screen  are  contained  in  the  light  behind  the  film.  The  film  itself  cannot 
add  to  the  picture.  It  creates  the  screen-image  only  by  filtering  or  holding 
hack  certain  elements  of  the  projection  light. 

LOW-COST  IMPROVEMENT  —  Your  "National"  carbons  deliver  maximum 
screen-light  at,  or  near,  maximum  recommended  operating  currents.  Only 
by  operating  at  peak  current  can  you  get  all  the  screen  light  your  present 
equipment  is  capable  of  delivering.  So,  while  you're  figuring  new  lamps 
or  awaiting  delivery,  don't  miss  this  inexpensive  means  of  improving  your 
position  in  a  highly  competitive  market.  Light  is  box  ofl&ce,  too! 


INTERNATIONAL  PROJECTIONIST 


MAY  1954 


i. 


ACCLAIM  DRIVE-IN  INSTALLATION  OF 

^^^  LAMPS  FOR  Cinemascope 


DRIVE-IN  CHAIN  ADOPTS  SUPER  "135"  AND 
MIGHTY  "90"  LAMPS  FOR  18  THEATRES 


Delegates  to  Variety  Club  international  Convention 
Witness  CinemaScope  Demonstration  at  600-car  Buckner 
Drive-In,  Dallas. 

Lamps  burning  at  97  amperes  project  a  picture  218  feet  to  a  flat  white  painted 
spun  glass  screen  80  feet  by  32  feet  .  .  . 

The  Buckner  is  but  one  of  the  18  Claude  Ezell  &  Associates  drive-in  theatres  to 
install,  through  Hardin  Theatre  Supply,  wide  screens  and  Strong  lamps  for 
CinemaScope  presentation. 


i.?*^ 


Send  today  for  full  de- 
tails on  Strong  Super 
"135"  and  Mighty  "90" 
projection      arc      lamps. 


^Ueif   a^e 


AUSTIN 

Chief 
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Winkler 

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Gulf 

SAN    ANTONIO 

Trail 

WACO 

Circle 

THE  STRONG  ELECTRIC  CORPORATION 

"T/ie  World's  Largest  Manufacturer  of  Projection  Arc  Lamps" 

31    CITY    PARK   AVENUE  TOLEDO  2,  OHIO 

Please   send  free  literature  on   Strong   Super  "135"  and 

Mighty    "90"    projection    lamps. 


NAME   

THEATRE  

STREET    

CITY  &  STATE 


INTERNATIONAL  PROJECTIONIST      •      MAY  1954 


INTERNATIONAL 

RQJECTIONISl 

With   Which    Is  Combined    PROJECTION   ENGINEERING 


JAMES  J.   FINN,  Editor 
JAMES  MORRIS,  Associate  Editor 


Volume  29 


MAY    1954 


Number   5 


Index  and  Monthly  Chat  5 

The  Anatomy  of  CinemaScope..  7 
Robert  A.  Mitchell 

Who  Killed  Cock-Robin? 10 

Chauncey  L.   Greene 

VistaVision:    Promise  of  Sanity..  1  1 

A  Bitter  Lesson  Learned 12 

Light-Emitting   Characteristics   of 

Peerless  Hy-Lumen  Reflector..  14 

Backstage  at  Cinerama  15 

Simplex    Dual-Speaker,    Drive-ln 

Stereo   Sound 17 

In  the  Spotlight  ._ 18 

lA    Elections    19 

Brush-Up  on  Fundamentals: 

Rectifiers  for  Projection,  III. ...  20 


Perspecta    Sound 21 

What's  Your   Problem?   22 

Letters  to  the  Editor  23 

Re-Opening  the  Drive-ln  Theatre  24 

The     Fair-Haired     Boy:      Wide- 
Angle,    Short-Focal    Lenses....      24 

Film  Biz  Thrives  on  Confusion — 
or  Does  It?  26 

Personal   Notes 27 

lA   Obituaries 27 

Color     "Sensation"     vs.     Color 
"Stimulus"    28 

Goombye  Curved  Screens?  29 

News    Notes 

Technical   Hints 

Miscellaneous  Items 


Published  Monthly  by 

INTERNATIONAL  PROJECTiONIST  PUBLISHING  CO.,  INC. 

19  West  44th  Street,   New  York  36,  N.  Y. 

Telephone:     MUrray  Hill  2-2948 

R.   A.   ENTRACHT,   Publisher 

SUBSCRIPTION  REPRESENTATIVES 

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under  the  act  of  March  3,  1879.  E;;tire  contents  copyrighted  1954  by  INTERNATIONAL  PRO- 
JECTIONIST PUBLISHING  CO.,  INC.  INTERNATIONAL  PROJECTIONIST  assumes  no  responsibility 
for  personal   opinions  appearing   in   signed   articles,   or  for  unsolicited   communications. 


MONTHLY     CHAT 

MENTIONED  previously  in  these 
pages — and  often  with  more  than 
a  bit  of  rancor — is  the  sudden  conver- 
sion of  executive  personnel  in  the  motion 
picture  industry  to  the  doctrine  of 
technical  competence.  We,  who  have 
often  wondered  whether  these  people 
knew  of  the  existence  of  a  projection 
room,  a  camera,  a  photo-electric  cell,  a 
generator,  or  a  sprocket,  are  now  being 
beguiled  by  the  spectacle  of  Mr.  Mighty 
Industry  facing  an  audience  and  begging 
for  attention  to  those  details  which  have 
always  determined  the  success  or  failure 
of  the  industry's  effort — the  image  on 
the  motion   picture  theatre  screen. 

Recently,  the  patriarch  of  the  in- 
dustry, Mr.  Adolph  Zukor.  faced  an 
audience  of  some  4000  in  Radio  City 
Music  Hall  in  New  York.  Did  this 
venerable  gentleman  talk  about  the  sale, 
the  price,  or  the  dating  of  motion  pic- 
tures? Not  at  all.  He  delivered  himself 
of  a  sane,  simple  plea  that  the  various 
processes  now  being  utilized  by  the  in- 
dustry be  given  the  impetus  of  good 
equipment  handled  competently. 

Mr.  Zukor  himself  would  have  no  ob- 
jection, we  feel  certain,  to  the  appended 
reconstruction  of  his  remarks: 

"Today  everything  that  we  in  this 
business  hope  to  achieve  depends  upon 
our  technological  resources.  We  at  Para- 
mount feel  that  all  our  efforts  are  de- 
pendent upon  the  finest  equipment  ex- 
pertly used.  All  that  we  pour  into  a 
narrow  ribbon  of  film  goes  for  naught 
if  we  do  not  reproduce  it  properly  on 
the  theatre  screen.  For  my  part,  I  am 
glad  to  stand  here  and  beg — beg,  mind 
you — that  every  theatre  in  the  world 
avail  itself  of  the  finest  equipment  that 
money  can  buy.  Such  equipment,  in 
the  hands  of  competent  craftsmen,  will 
go  far  toward  solving  our  most  pressing 
problems." 

Thus  spoke  Mr.  Zukor.  But  even  as 
he  spoke  there  were  among  his  audience 
a  group  of  people  who,  seizing  upon 
such  trifles  as  acetate  film,  electric 
motors,  push-button  curtain  drapes  and 
the  like,  were  actively  engaged  in  a 
concerted  action  to  break  down  that 
standard  which  contributes  the  vital  ele- 
ment to  the  successful  presentation  of  a 
motion  picture — the  sure,  deft  touch  of 
the  experienced  craftsman. 

Sure,  give  us  magnetic  soundtracks; 
sure,  give  us  multiple  loudspeakers; 
sure,  give  us  3-D;  sure,  give  us  ample 
arclight  ranging  up  to  200  amperes — 
but.  God  NO,  don't  give  us  the  experi- 
ence, the  patience  and  the  trust  in  a 
competent  day's  work  which  must  in- 
evitably accompany  such  appurtenances. 

Grant  us,  God,  an  overflowing  box- 
office,  Miami  in  mid-winter,  the  country 
club  in  the  summertime  and  all  the 
other  manifestations  of  Heavenly  munifi- 
cence. But  also,  God,  deliver  us  from 
the  scourge  of  paying  in  the  form  of 
wages  for  these  blessings. 


INTERNATIONAL   PROJECTIONIST      •      MAY   1954 


J'  /■  / 


y--/////' 


.with  the 


PORTO-ARC  PROJECTOR 


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Name_ 


_Title_ 


Organization. 
Address 

City 


.Zone. 


.State. 


INTERNATIONAL  PROJECTIONIST      •      MAY  1954 


NTERNATI 


wr- — TT?n>-s 

B 

gpsis^ 

VOLUME  XXIX 


MAY   1954 


NUMBER  5 


The  Anatomy  of  CinemaScope 


By  ROBERT  A.  MITCHELL 


Twentieth  Century-Fox  seems  to  think  that  the  paying  patron 
at  movie  box-ofFices  is  interested  not  in  entertainment  value 
but  in  optical  weight-lifting  feats  which  encompass  gigantic 
screens.  Quality  of  visual  image  and  acceptable  accompany- 
ing sound  have  been  sacrificed  to  the  Great  Jehovah  —  SIZE. 


SEEMINGLY,  the  theory  of  rela- 
tivity has  been  visually  con- 
firmed by  CinemaScope.  Space 
is  curved — see  it  for  yourself.  A  flat 
floor  in  a  CinemaScope  picture  looks 
like  the  interior  of  a  bathtub.  Walls 
vault  in  graceful  arches.  Rivers  flow 
uphill,  and  skyscrapers  emulate  the 
leaning  tower  of  Pisa. 

As  we  gazed  at  these  Einsteinian 
marvels  in  "The  Robe"  and  in  such 
less  pretentious  C'Scopers  as  "How  to 
Marry  a  Millionaire,"  we  wondered  if 
the  curved  screen  rnight  not  become 
the  nemesis  of  the  20th  Century-Fox 
anamorphic  process.  Will  the  theatre- 
going  public,  long  accustomed  to  per- 
fect pictorial  delineation  in  the  movies, 
tolerate  CinemaScope's  manifold  dis- 
tortions after  its  novelty-value  has 
subsided?  The  writer  thinks  not.  Even 
3-D,  far  more  realistic  visually  than 
CinemaScope,  has  failed  to  oust  the 
time-tried  conventional  type  of  screen 
presentation.  And  CinemaScope  has 
no  depth — only  weird  distortions. 

CinemaScope  and  Curved  Screens 

Because  the  anamorphic  optics  of 
CinemaScope  function  with  fair  suc- 
cess, and  with  promise  of  becoming 
better,  flat-screen  projection  of  Cine- 
maScope would  undoubtedly  have 
been     far     less     irritating     than     the 


curved,  roller-towel  version  employed 
to  date. 

Curved  screens  wreck  proportion 
and  perspective.  Only  the  special  3- 
projector  system  used  by  Cinerama 
can  get  away  with  curved-screen  mon- 
keyshines.  In  Cinerama  the  curved 
screen  is  intended  to  "surround"  the 
audience  with  the  picture.  This  Cin- 
erama does,  and  very  effectively.  Not 
so  with  C'Scope's  much  shallower 
curved  screen. 

While  it  is  theoretically  possible  to 
get  a  Cinerama-like  picture  with  only 
one  projector  of  special  optical  design, 
it    is    obvious    to    the    technically    in- 


Curved  aluminum  screen 


FIG.  1.  Reflection  of  light  from  (A)  flat  and 
(B)  curved  aluminum  CinemaScope  screens. 
A  flat  white  screen  would  give  even  distri- 
bution of  light,  but  would  require  twice  as 
much  projection  light.  An  additional  metal- 
lized     screen      would      be      needed  ,   for      3-D. 


formed  that  C'Scope  fails  to  give  the 
desired  "surrounded"  feeling.  That 
may  be  a  good  thing  in  view  of  the 
fact  that  most  moviegoers,  after  hav- 
ing seen  a  novelty  process  two  or 
three  times,  attend  movies  for  relaxa- 
tion, not  distraction. 

Cinerama  is  good  in  its  own  field, 
but  it  is  hardly  a  dramatic  medium. 
CinemaScope,  on  the  other  hand,  be- 
ing midway  between  Cinerama  and 
conventional  movies,  is  in  the  writer's 
book,  neither  fish  nor  fowl. 

Limit  of  Screen  Curvature 

There  is  a  definite  limit  to  the 
amount  of  curvature  permissible  with 
the  CinemaScope  screen.  In  practice, 
tlie  radius  of  screen-curvature  is  the 
distance  from  the  projector-aperture 
to  the  middle  of  the  screen.  In  other 
words,  screen-curvature  radius  is  the 
same  as  the  "throw.''  In  theatres  hav- 
ing short  projection  distances,  the 
CinemaScope  screen  will  have  greater 
curvature  than  in  theatres  having 
longer  throws. 

The  curvature  of  the  CinemaScope 
screen  apparently  has  only  one  useful 
function,  namely,  better  distribution 
of  picture-illumination  from  its  alumi- 
nized  surface.  An  aluminum  screen 
has  "specular"  properties  similar  to 
those  of  an  ordinary  mirror.   If  such  a 


INTERNATIONAL  PROJECTIONIST      •      MAY  1954 


screen  were  perfectly  flat,  light  pro- 
jected upon  the  side  areas  would 
bounce  oft  to  the  walls  of  the  audi- 
torium and  be  wasted  audience-wise. 
By    curving    the    screen    so    that    the 


CinemaScope- delineation  at  a 
projection-angle  of  0  degrees 

/  7~~/~-/— /—/.  Ill                       \  \  \  4— \— V'V^  \ 

/rr~r4~t~l  1                                 \  \-X-^r\\\\ 

J~if~l~-f~LJ  l                    1  1  1  jZI--\---Vt\ 

l  H~T~f~Ll. I                                \  \Ia-\--\-\\  \ 

l~r~r~j~Cll  1                               \    1  4l-M---rTM 

■-xrTT~4--l--                                  -4— -frTTL. 

JrTrr~l--+—                                     ■-\--\~T\\. 

ijlTT----                                         —'-\^'\W 

ttrrrr--                            --r'^JU 

Curved-screen  distortion  of 

CinemaScope  projected  at  an 

angle  of  20  degrees 

FIG.  2.  Distortion  of  CinemaScope  pictures 
caused  by  the  combination  of  screen-curvature 
and  downward  tilt  of  the  projectors.  The 
amount  of  distortion  shown  here  has  not 
been     exaggerated. 

radius  of  the  curve  is  equal  to  the  pro- 
jection throw,  the  side  areas  reflect 
the  light  they  receive  to  the  seating- 
area  ( Fig.  1 ) . 

Curved  Screen  Distortion 

If  a  CinemaScope  picture  be  pro- 
jected "on  the  level"  (that  is,  with  a 
zero-degree  projection  angle)  no  dis- 
tortion due  to  the  curvature  of  the 
screen  will  be  apparent  to  patrons 
seated  near  the  center-line  of  the  audi- 
torium. Patrons  in  side  seats,  how- 
ever, will  notice  a  perspective-fore- 
shortening which  is  greater  at  the 
liearer  side  of  the  curved  screen.  The 
effect  is  such  that  an  actor  "gains 
weight"  as  he  walks  from  the  nearer 
to  the  farther  side  of  the  screen. 

Matters  are  complicated  (for  the 
worse,  unfortunately,)  when  the  pro- 
jectors tilt  at  an  angle.  In  normal 
projection  a  steep  projection  angle 
produces  two  interrelated  effects:  a 
"keystone"  shape  of  the  picture-frame 
and  an  elongation  of  the  images 
which  makes  actors  appear  abnormally 
tall  and  thin. 

The  keystone-effect  is  mitigated  by 
obtaining  apertures  of  undersize  width 
and  filing  them  to  a  trapezoidal  shape. 
Elongation  cannot  be  remedied,  al- 
though in  narrow  theaters  the  screen 
may   be  tilted   back   slightly   to   mini- 


mize it.  Moderate  projection  angles 
do  not  appreciably  affect  the  quality 
oi  standard  flat-screen  pictures. 

With  CinemaScope  we  encounter 
difficulties  of  a  more  serious  nature 
even  when  the  projection  angle  is 
comparatively  small — difficulties  due 
partly  to  the  enormous  width,  but 
mostly  to  the  curvature,  of  the  screen. 
What  really  happens  to  CinemaScope 
images  projected  at  an  angle  is  geo- 
metrically a  rather  complicated  prob- 
lem, but  the  effects  are  apparent  even 
to  the  most  casual  observer.  The  pic- 
ture undergoes  a  gross  distortion,  the 
topic  of  frequent  unfavorable  com- 
ment by  patrons.  CinemaScope  often 
tempts  us  to  laugh  even  when  the  pic- 
ture is  unfunny. 

Bizarre  Image  Elongation 

A  downward  tilt  of  the  projectors 
in  CinemaScope  converts  horizontal 
lines  into  curves  that  bend  upward  at 
the  ends.  The  ocean  looks  like  a  mael- 
strom, and  speeding  trains  maneuver 
strange  humps  and  hollows.  At  the 
same  time,  all  vertical  lines  become 
arched  at  the  sides  of  the  screen  (Fig. 
2 ) .  Skyscrapers  bend  and  lean  peril- 
ously. 

So  grotesque  is  the  effect  that  any 
"grandeur"  which  the  CinemaScope 
picture  might  otherwise  have  is  nulli- 
fied. Only  natural  landscapes  com- 
posed of  irregular  lines  and  masses 
successfully  mask  the  distortion  and 
give  pleasingly  realistic  reproduction. 

These  disturbing  distortions  make 
their  appearance  when  a  motion  pic- 
ture of  any  aspect-ratio  is  projected 
on  a  curved  screen,  thus  are  not 
peculiar  to  CinemaScope.  The  ana- 
iiiorphic-lens  process  has  nothing  to 
do  with  these  effects,  of  course;  but  a 
wide-screen  picture  will  suffer  more 
than  a  picture  of  normal  proportions 
on  a  curved  screen  simply  because 
wider  angles  are  involved. 

Projection  Room  vs.  Audience 
V levying  Angle 

Projectionists  should  remember  al- 
ways that  curved-screen  distortions, 
even  when  acute,  cannot  be  seen  from 
the  projection  room.  Neither,  for  that 
matter,  can  the  lengthening,  or  elonga- 
tion, of  normal  pictures  projected  at 
steep  angles.  The  line  of  sight  of  an 
observer  in  the  projection  room  so 
nearly  coincides  with  the  optical  axis 
of  the  projection  setup  that  distortions 
due  to  projection  angle  and  screen 
curvature  are  practically  eliminated 
for  him — but  for  him  alone.     Patrons 


in  the  auditorium  look  at  the  screen 
from  very  different  angles,  and  ac- 
cordingly see  these  distortions. 

Because  the  projection  crew  ought 
to  know  what  kind  of  picture  the  audi- 
ence sees,  every  projectionist,  whether 
he  shows  CinemaScope  or  not,  should 
study  the  screen  images  from  different 
points  in  the  auditorium,  especially 
from  the  "orchestra." 

Why  curve  the  CinemaScope  screen 
at  all?  We  have  seen  that  fadeaway 
ol  light  at  the  sides  of  the  picture  pre- 
cludes the  use  of  flat  aluminum 
screens.  If  CinemaScope  is  to  be  pro- 
jected on  a  flat  wide  screen  (which 
would  eliminate  the  intolerable  geo- 
metric distortions  peculiar  to  curved 
screens)  we  must  use  a  matte  white 
screen.  Matte  screens  undeniably  give 
clearer,  more  evenly  lighted  pictures 
than  do  aluminum  screens,  but  since 
they  are  "diffusive,"  rather  than 
"specular,"  they  require  almost  twia 
as  much  projection  light  for  the  same 
apparent  picture-brightness. 

The  exhibitor  saves  money  on  car- 
bons and  electricity  when  he  uses  an 
aluminum  CinemaScope  screen,  and 
he  is  also  spared  the  expense  of 
installing  a   special   metallized   screen 


.825"- 


047  "rad; 


/ 


c 
o 


-(.912")- 


FIG.  3.  Relative  sizes  of  standard  (white)  and 
CinemaScope  (black)  apertures  and  screen 
images.  The  CinemaScope  screen  image  is 
expanded  to  twice  normal  proportions  by 
the  anamorphic  lens-attachment.  Lenses  of 
slightly  shorter  focal  length  should  be  used 
to  produce  a  standard  picture  with  the  same 
height  as  the  CinemaScope  picture. 

for  polarized-light  3-D  showings.  Also, 
20th  Century-Fox  approved  only  two 
makes  of  screen  for  its  CinemaScope 
films.  Miracle  Mirror  and  Astrolite, 
both  of  which  are  metallic. 

CinemaScope     would     undoubtedly 
appear  to  much  better  advantage  on  a 
flat  white   screen;    and   while   the   ex- 
hibitor   has    heretofore    not    been    al- 
(Continued  on  page  32) 


INTERNATIONAL  PROJECTIONIST      •      AAAY  1954 


\ 


MADE    ITS    BOW,    FOUR 


PROJECTION    ARC    LAMPS 

ore  operating  seven  days  a  week 
on  a  daily  woric  sciiedwie  of  fourteen  and  a  iiaif  iiours. 


DISTRIBUTED      BY 


NATIONAL 


<*THERE'5^A     BRANCH      HEAR      YOU' 


iBilil 


iNTERNATIONAL   PROJECTIONIST      •      MAY   1954 


Who  Killed  Cock  Robin  ? 

By  CHAUNCEY  L.  GREENE 

Member  lA  Local  219,  Minneapolis,  Minn. 


WITH  3-D  dead  —  if  not  decent- 
ly interred  —  a  post-mortem  is 
presumed  to  be  in  order.  Much  has 
been  written  —  and  most  of  it  would 
seem  to  be  true  —  about  the  low 
order  of  story  material  assigned  to 
3-D  production,  but  in  IP  we  should 
properly  concern  ourselves  with  the 
projection  aspects  of  the  3-D  post- 
mortem. 

The  true  situation  was  unconscious- 
ly evaluated  more  correctly  by  a  serv- 
ice company  engineer  many  years  ago. 
Speaking  of  the  nuisance  of  "shim- 
ming" projector  mechanisms  when 
mounting  them  on  ERPI  soundheads 
he  said,  "The  whole  trouble  was  that 
we  were  trying  to  fit  our  precision 
mechanism  to  one  which  was  not  a 
precision  mechanism." 

Calling  a  projector  head  a  non- 
precision  mechanism  is  a  slight  error, 
to  say  the  least,  but  if  the  engineer 
had  taken  in  considerably  more  terri- 
tory he  would  have  been  far  more 
correct  and  pin-pointed  the  underlying 
situation.  They  were  trying  to  fit  a 
precision  industry  (telephone)  to  one 
(theatres)  which  never  had  been,  was 
ignorant  and  therefore  fearful  of,  pre- 
cision and  fanatically  determined 
never  to  be  a  precision  industry. 

Exhibitor  Stubborness 

Through  the  years  the  exhibitor 
stubbornly  clung  to  this  policy.  The 
cornicopia  of  science  and  invention 
poured  lavishly  into  his  lap.  High  in- 
tensity and  high  fidelity  came  forth 
from  the  golden  horn  by  the  early 
thirties,  followed  by  push-pull  repro- 
duction, extensive  use  of  color,  Ben 
Schlanger's  screen,  stereophonic  sound 
(Fantasia)  and  3-D.  All  these  were 
offered  him  long  before  the  war  but 
he  wanted  none  of  them.  In  the  few 
instances  when  he  did  grudgingly  ac- 
cept one,  he  did  his  best  to  emasculate 
it. 

A  good  example  was  exhibitor  re- 
jection of  Fantasia's  special  sound 
equipment  and  the  hanging  of  a  few 
echo  squawk-boxes  around  the  walls, 
which  jerry-rigged  assembly  was  sold 
to  the  public  as  Fantasound.  The 
public  came,  heard,  and  was  not  im- 


pressed. Most  of  them  never  guessed 
that  they  never  heard  the  real  thing. 
If  that  was  the  brave  new  world  of  the 
cinema  they  didn't  think  much  of  it's 
future. 

Economic  Suicide 

The  exhibitor  had  taken  the  first 
step  to  prepare  his  audience  for  tele- 
vision, but  he  never  knew  it.  He 
smiled  smugly.  He  was,  he  told  him- 
self, one  smart  cookie;  this  was  show- 
manship. Also,  he  was  resisting  sub- 
versive influences  threatening  to  un- 
dermine the  fine  old  traditions  of 
show  business.  Actually  he  was  build- 
ing up  the  technological  vacuum  into 
which  television  was  drawn.  Televi- 
sion did  NOT  invade  the  theatre  in- 
dustry; it  was  sucked  into  the  tech- 
nological vacuum  the  exhibitor  creat- 
ed  and  fostered. 

The  man  (was  it  Sam  Goldwyn?) 
who  said  that  a  man  could  make  more 
money  with  less  brains  in  motion  pic- 
tures than  anywhere  else  spoke  truly. 
Can  anyone  imagine  an  auto  dealer 
prospering  while  offering  1932  cars  in 
1950?  How  long  would  any  Cadillac 
dealer  remain  in  business  if  he  re- 
placed the  Cadillac  motor  with  a 
"Jeep"  engine  and  filled  the  gear- 
boxes with  sand  before  delivering  the 
cars  to  the  buyers? 

Then,  when  the  effects  of  television 
began    to    be   felt,    did   the    exhibitor 


seek  to  exploit  any  of  the  manifold 
things  which  the  screen  could  do 
which  television  could  not  possibly 
imitate?  Scarcely.  Instead  he  "cut 
out  all  frills",  reduced  lighting,  cur- 
tailed cleaning  and  in  countless  ways 
advertised  to  his  public  that  his  was 
a    retrogrescent    and    dying    industry. 

The  Discerning  Eye  and  Ear 

The  public  was  quick  to  quit  the 
sinking  ship.  If  television  had  been 
fostered  by  that  calibre  of  mentality, 
its  tremendous  technological  problems 
would  never  have  been  solved.  Tv 
would  never  have  been  a  threat  to 
anything  but  insomnia. 

Suddenly  a  little  clique  tossed  the 
exhibitor  unceremoniously  into  the 
stream  of  normal  competitive  business 
activity  and  he  went  bouncing  down 
the  river  bawling  for  help.  Three 
great  ogres  rose  to  confront  him. 

1.  He  was  going  to  have  to  spend 
money. 

2.  He  was  going  to  have  to  yield 
to  the  demands  of  precision  in- 
stead of  playing  both  ends 
against  the  middle  and  (worst 
of  all), 

3.  He  was  face-to-face  with  in- 
creased  wages    and   manpower. 

This  last  was  sheer  communism  and 
he  would  have  none  of  it.  Rags  were 
royal  raiment  if  worn  for  virtue's 
sake. 

Now  to  the  rescue  of  the  exhibitor's 
virtue  came  a  prominent  motion  pic- 
ture personality,  who  couldn't  have 
made  a  creditable  presentation  of  a 
"flat"  and  silent  motion  picture,  to 
proclaim:  "It's  only  runnin'  pitchers". 
The  exhib  rallied  to  this  Messiah. 
Come  whatever  else,  he  would  resist 
(Continued  on  page  32) 


"Of  course  I'm  an- 
noyed. Just  when  I 
get  a  couple  of  pro- 
mising trainees  you 
have  to  crack  that 
old  one  about  clean- 
ing out  the  perfora- 
tions in  the  screen 
with  a  pin." 


Ideal  Kinema,  London 


10 


INTERNATIONAL  PROJECTIONIST 


MAY  1954 


VistaVision:  Promise  of  Sanity 


PARAMOUNT  Pictures  pranced 
into  New  York  City  during 
April's  closing  days  and  before 
4000-odd  critical  industry  personnel  in 
the  giant  Radio  City  Music  Hall  pro- 
ceeded to  demonstrate  via  its  Vista- 
Vision  process  that  a  large  measure  of 
executive  and  technical  sanity  sur- 
vives within  the  higher  eschelons  of 
major-company  producing  and  dis- 
tributing   personnel. 

For  VistaVision,  in  addition  to  its 
captivating  visual  impact — sensible 
proportions,  depth  of  focus,  edge-to- 
edge  flatness  of  field,  and  ultra-fine 
color — also  gave  rich  promise  of  being 
the  keystone  for  industry-wide  tech- 
nical  standardization. 

Simplicity,  Compatability 

Details  of  the  VistaVision  system, 
in  conception  and  execution,  in  both 
production  and  exhibition,  have  been 
published  in  these  pages,  but  the 
Music  Hall  show,  the  first  public 
demonstration  of  the  system,  lent  con- 
firmation of  the  worth  of  the  process. 

Simplicity  and  compatability  are 
the  keywords  for  VistaVision,  with  a 
new  development  in  photography  pro- 
viding a  maximum  of  entertainment 
value  at  a  minimum  of  expense.  The 
fact  that  theatres  the  world  over  may 
utilize  its  advantages  on  standard  pro- 
jection equipment  makes  it  doubly  at- 
tractive. 

The  New  York  demonstration  gave 
rise  to  several  important  technical 
questions,  concerned  mostly  with  pro- 
jection procedure,  which  bear  directly 
on  the  existing  widespread  confusion 
as  to  the  proper  utilization  of  the  pro- 
cess. 

Important  Technical  Questions 

The  VistaVision  demonstration  de- 
finitely established  once  and  for  all 
the,  to  us,  inherent  error  of  a  motion 
picture  screen  image  that  gave  merely 
width  but  not  height.  Before  we  con- 
sider the  questions  and  answers  stem- 
ming from  this  VistaVision  showing, 
we  should  like  to  set  forth  here  a  brief 
resume  of  the  process,  as  detailed  by 
Loren  Ryder,  engineering  director  of 
Paramount  Studios,  Hollywood: 

Paramount's  consistent  belief  that 
wide-screen  presentation  is  enhanced 
by  adding  height,  and  the  need  for 
greater  screen  clarity,  prompted  the  de- 


velopment of  this  system.  The  first  step 
was  a  method  of  procuring  better 
original  photographic  detail.  This  was 
accomplished  by  exposing  the  area  of 
two  frames  horizontally  on  regular  35-mm 
film,  the  camera  being  turned  on  its  side. 

Larger   Camera   Negative 

Using  a  wider-angle  lens  and  pulling 
8  sprocket  holes  before  the  lens  instead 
of  the  conventional  4,  a  new,  large  nega- 
tive measuring  1.472  by  0.997  inches  was 
produced  (Fig.  1).  With  almost  three 
times  the  area  of  a  standard  35-mm 
frame  exposed,  much  more  detail  was 
photographed  than  was  possible  on  a 
standard  frame.  Furthermore,  scenes  can 
be  photographed  for  best  composition  in 
aspect  ratios  of  1.66-to-l  or  1.85-to-l. 

The  next  step  was  to  get  an  optical 
reduction  on  regular  35-mm  film  so  that 
it  could  be  show^n  in  any  existing  theatre 
without  changes  in  projection  equip- 
ment. For  this  a  new  technique  was  de- 
veloped whereby  in  the  printing  process 
the  large  negative  was  turned  90  degrees 
and  printed  the  same  as  any  previous 
release  film  (Fig.  2). 

The  net  result  of  such  a  process  meant 
that  the  original  depth  of  focus  was  re- 
tained in  the  reduction  and  the  grain 
effect  -was  practically  eliminated.  When 
projected,  the  full  beauty  of  the  entire 
scene  is  reproduced. 

Aspect  Ration  All-Important 

IP  restates  its  firm  conviction  that 
motion  pictures  shot  on  a  flat  plane 
should  be  shown  in  the  same  manner. 
IP  recognizes  that  the  flat  matte  screen 
used  for  the  VistaVision  demonstra- 
tion (68  feet  wide  by  37  feet  high) 
poses  a  terrific  problem  of  acceptable 
illumination.  This  Music  Hall  show- 
ing pulled  220  amperes — with  benefit 
of  filters,  blowers,  and  sundry  as- 
sorted cooling  aids.  Where  in  the 
name  of  reason  may  such  conditions 
be  duplicated?  The  answer  is  simple: 
nowhere. 

The  confusion  created  by  the  Vista- 


Vision showings  stems  from  one  point 
— the  mistaken  notion  that  such  re- 
lease prints  may  be  shown  in  all  aspect 
ratios  from  1.33-to-l,  to  2.55-to-l. 
But  even  Paramount,  flushed  with  its 
VistaVision  success,  not  only  admits 
but  insists  that  the  most  desirable  ratio 
is  1.85-to-l. 

Now,    what    does   this   mean   to   we 
projection  people?    It  means  that  once 


,^^'fcA 


Zjipp^  - 


FIGURE  2. 

Full  -  size  re- 
production of 
the  35  -  mm 
release  print 
made  from 
the  double- 
frame  Vista- 
Vision nega- 
tive, tatter  is 
turned  90  de- 
grees and 
printed  down 
to  area 
shown.  Re- 
sultant print 
gives  greater 
resolution. 


the  screen  proportions  permissible  by 
the  physical  characteristics  of  a  given 
theatre  are  established,  we  people  go 
out  and  get  ourselves  a  wide-angle, 
short-focal,  lens  to  properly  fill  the 
desired  screen  area.  It's  as  simple  as 
that. 

Part  of  the  confusion  over  Vista- 
Vision probably  results  from  the  an- 
nouncement that  the  Tushinsky  lens,  a 
variable  anamorphic  lens  attachment, 
could  be  used  with  a  special  anamor- 
phic VistaVision  print  that  would  be 
supplied    to    exhibitors    upon    request. 

"Ratio  In  Which  It  Is  Short" 

This  announcement  gave  rise  to  the 
idea,  particularly  among  exhibitors, 
that  a  marvelous  lens  had  been  dis- 
covered that  was  capable  of  projecting 


FIGURE  1. 

Full  -  size  repro- 
duction of  the 
Vista  Vision 
camera  negative 
showing  size  and 
placement  of  the 
image.  Note 
clarity    of    detail. 


mew 


INTERNATIONAL  PROJECTIONIST      •      MAY  T954 


11 


a  "rubber"  picture.  Some  thought  that 
the  aspect  ratio  of  any  release  print 
could  be  varied  all  the  way  from  the 
standard  1.33-to-l  up  to  2.55-to-l 
merely  by  a  simple  twist  of  a  knob 
on  the  Tushinsky  lens. 

This,  of  course,  is  not  the  case. 
Specially-made  anamorphic  prints  for 
different  aspect  ratios  ranging  from 
1.85-to-l  through  2.55-to-l  would  be 
required.  The  Vista- Vision  anamor- 
phic print  is  designed  for  projection 
at  an  aspect  ratio  of  2-to-l.  This  ratio 
cannot  be  varied  more  than  a  small 
amount  without  causing  unpleasant 
distortion   on  the   screen. 

Two  Different  Prints 

Aspect  ratios  below  2-to-l  are  to  be 
obtained  by  using  the  other  un- 
squeezed VistaVision  print  (there  will 
be  two  prints  available)  and  then 
using  different  aperture  plates  and 
different  focal-length  lenses  for  each 
aspect  ratio. 

Another  innovation  with  VistaVision 
is  the  framing  marks  shown  in  the 
upper  right-hand  corner  of  the  picture 
frame  in  Fig.  3.  These  markings  are 
to  be  made  less  apparent  thari  change- 
over markings  and  fr&,  to  he^^sed  by 
the  projectionist  iM  :~^aini%.^  proper 
framing.  |,  4  '  |. 

Screen  Image  Framing 

The  framing  marks  appear  only  at 
the  head  end  of  the  2000-foot  reels. 
The  first  such  marks  will  appear  ap- 
proximately 5  feet  in  from  the  start 
of  the  reel,  and  the  second  set  of 
marks  will  appear  8  feet  in  from  the 
start  of  the  reel. 

In  framing  for  a  1.33  to  1  picture, 
the  projectionist  will  frame  just  above 


FIG.   3.   VistaVision   standard   release   print 

the   top   frame   line,   in   keepirig  ,with  • 
past  practice. 

If  the  picture  is  being  projected  in 
the  aspect  ratio  of  1.66  to  1,  the  top 
frame  line  of  the  picture  as  seen  on 
the  screen  should  just  cut  the  line. 
For  a  picture  projected  in  the  aspect 


A  Bitter  Lesson  Learned  .  .  'M  f«  ** 

Carthage  had  its  counterpart  in  the  spectdol^  staged  during  the 
first  few  days  of  May  1954  vrhen  the  exponents  of  the  2.55-to-l 
visual  image,  plus  so-called  "stereophonic"  soun|[v^  Admitted  puHicly 
that  they  might  be  wrong.  Thus  prevailed  th^ei  /l6ne  voice  aii^6nfg 
the  trade  press  (IP),  all  but  stilled  by  the  raucQjbs,  if  unreasoiiih^',^,, 
chorus  of  adulation  emanating  from  the  recipients  of  press  handout^, ' 

Banished  is  the  utter  nonsense  ol  culfvidsereens;  relegated  to^t, 
the  darkest  caverns  of  idiotic  thdi^ght  is  the  so-called  stereophonic   "^ 
sound;  riddled  is  the  senseless  theory  that  one  must  show  a  picture 
of  grotesque  proportions  which  violates  the  rudiments  of  physiology 
and  psychology. 

IP,  for  its  part,  feels  that  as  the  sole  reportorial  agency  in  the 
motion  picture  business  which  has  consistently  fought  this  perver- 
sion of  technological  standards,  it  has  served  the  common  industry 
welfare.   It  has  been  a  long,  lonely  road. 

It  is  too  much  to  hope  that  in  future  that  w^hich  passes  for  a 
critical  press  in  this  industry  will  cease  to  exhibit  a  magnificent 
digestion  for  handouts  from  those  to  whom  they  are  beholden.  IP's 
path  now,  as  in  the  past  and  in  the  future,  is  clearly  defined — the 
demolition  of  vague  figures  having  vague  thoughts  about  vital 
matters.  "  ; 


ratio  of  2  to  1,  it  should  be  just 
possible  to  see  the  bottom  dot  at  the 
top  of  the  screen. 

In  operation,;  the  projectionist  will 
complete  his  changeover  operation  and, 
while  he  -is  looking. through  the  port, 
he  will  observe  the  position  of  the 
first  set  of  dots.  If  the  framing  is. 
incorrect,  he  will  make  a  correction 
and  gain  a  check  observation  by  view- 
ing the  second  framing  signal. 

Framing  on  VistaVision  prints  will 
be  at  the  top  of  the  frame  in  keeping 
with   the   prevailing   practice. 

Par's  Electronic  Splurge 
Cited  in  Corp.  Report 

Paramount's  consolidated  earnings 
last  year  (1953)  increased  to  $6,779,563, 
equal  to  $3.06  per  share,  as  compared 
with  $5,899,871,  or  $2.52  per  share  in 
1952.  Profit  in  1952  included  a  non- 
recurring profit  from  the  sale  of  real 
property  of  $559,287;  while  last  year's 
results  included  $62,649  profit  on  sales 
of  real   proper:;y. 

Paramount's  operating  revenues  last 
year  were  $111,963,557,  against  $106,- 
090,044  in  1952.  Earnings  from  opera- 
tions- wer««uptto.„,$12,465,054,  compared 
with  $9,445,924.  Diviaend9;;.Jrom  non- 
consolidated  wholly  owned  companies 
were  $261,102,  against  $146,215;  while 
dividends  from  affiliated  companies  were 
$515,758,  compared  with  $582,955. 

Conceding  the  value  of  such  "drama- 
tic technical  improvemehts"  as  Cinema- 


Scope,  wide-screen,  3-D,  and  innovations 
in  sound  projection,  Barney  Balaban, 
Paramount  prexy,  observed  that  these 
not  only  aided  the  grosses  of  many  pic- 
tures, but  "more  important — they  ex- 
cited public  interest  in  'movies'  gen- 
erally."   •  , 

"Significant"  Electronic  Stake 

Paramount,  according  to  Balaban, 
views  these  developments  as  only  the 
beginnings  of  a  permanent  enhancement 
of  the  film  medium,  and  recalled  the 
company's  search  for  a  process  to  pro- 
vide a  superior  picture  on  any  size 
screen  in  various  aspect  ratios.  This,  he 
informs  stockholders,  has  resulted  in  the 
VistaVision  system  of  photography  and 
projection. 

Paramount's  "significant  stake  in  elec- 
tronics," Balaban  pointed  out,  includes 
about  26%  of  Allen  B.  Du  Mont  Labora- 
tories; 100%  of  station  KTLA,  Los 
Angeles;  50%  of  Chromatic  Television 
Laboratories,  and  a  majority  interest  in 
International  Telemeter  Corp.  (pay-as- 
you-see  Tv). 


More  VistaVision  Cameras 

The  Technicolor  Corp.  is  building  six 
VistaVision  cameras  by  modifying  the 
same  number  of  its  regular  3-strip  color 
cameras.  Film  runs  horizontally  through 
the  VistaVision  camera,  permitting  an 
oversize  image  to  be  registered  sideways 
on  the  film.  When  this  negative  is  used 
to  make  a  smaller  standard-size  35-mm 
print,  there  is  a  gain  in  sharpness  which 
is  particularly  useful  inj  wide-screen 
projection. 


12 


INTERNATIONAL  PROJECTIONIST 


MAY  1954 


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(^mong  the  §onnoUmr^ 

IN   THE   FINEST  THEATRES 
•  ••AT  THE    BETTER   DRIVE-INS 


The  choice  above  all  other       -> 
theatre  equipment  by  the  projec- 


4431       WEST       LAKE       STREET 


CHICAGO       24,       ILLINOIS 


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Backstage  at  Cinerama 


Our  good  friend  and  colleague.  Jack  Gieck,  with 
the  cooperation  of  his  publishers.  Movie  Makers 
(April  1954),  has  made  available  to  us  as  an 
industry  service  his  recent  article  on  Cinerama. 


UNTIL  RECENTLY  the  Ciner- 
ama process  has  been  cloaked 
in  secrecy.  Thus  I  was  elated 
a  few  weeks  ago  when  Ed  Miller, 
Cinerama's  resident  engineer  in  De- 
troit, invited  me  to  have  a  look  into 
the  inner  sanctum.  I  could  even  bring 
my  camera,  he  said. 

On  the  appointed  night  I  entered 
Detroit's  Music  Hall  and  found  Ed 
at  his  desk  in  the  cutting  room,  talk- 
ing simultaneously  to  the  telephone 
and  to  the  intercom  which  connects 
him  with  the  console  operator  and  the 
four  projection  booths.  Lining  the 
walls  of  the  room  were  rewind 
benches,  splicing  equipment  and 
enormous  square  film  cans  storing 
Cinerama's  8000-foot  reels. 

"How's  Charlie?"  Ed  was  asking 
the  intercom.  Charlie,  I  figured,  must 
be  a  member  of  the  crew;  but  I  soon 
learned  that  this  was  the  phonetic 
designation  for  the  left  projection 
booth  (the  others  being  "Able"  and 
"Baker,"  reading  from  right  to  left). 

Seven  Sound  Tracks 

To  review  briefly.  Cinerama  em- 
ploys three  projectors,  each  in  its  own 
projection  booth,  to  cover  a  screen  66 
feet  wide  by  24  feet  high,  curved 
horizontally  on  a  25  foot  radius.  The 
projectors,  like  the  lenses  on  the  cam- 
era which  made  the  picture,  are  set 
48  degrees  apart  to  cover  a  field  of 
146  degrees  on  the  screen. 


Seven  tracks  of  stereophonic  sound 
(representing  six  microphone  loca- 
tions and  one  composite  track)  of  ex- 
tremely high  fidelity  are  recorded 
magnetically  on  35-mm  film  base.  The 
magnetic  sound  reproducer  is  located 
in  the  fourth  projection  booth,  situ- 
ated above  the  balcony  at  the  rear 
of  the  theatre.  This  booth  also  houses 
the  standard  35-mm  optical  sound 
projector  which  projects  the  conven- 
tional movie  prolog. 

The  Sound  Room 

The  magnetic  sound  reproducer  is 
about  7  feet  tall  with  a  31 -inch  reel 
housing  at  top  and  bottom.  The  center 
section  contains  the  soundhead  and 
there  are  several  sprockets  to  lead  the 
film  off  the  feedreel  and  onto  the  take- 
up  reel.  I  found  that  all  seven  mag- 
netic pickups  are  side  by  side  in  a 
single  head  narrower  than  the  film 
width. 

(This  is  in  contrast  to  the  Warner- 
phonic  system — a  la  House  of  Wax, 
for  example — which  uses  35-mm 
magnetic  film,  but  has  only  three 
tracks  with  the  pickups  staggered 
along  the  film.)  What  is  even  more 
surprising,  under  these  conditions,  is 


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the  absence  of  intermodulation  (cross- 
talk)   between  the  seven  tracks. 

Also  mounted  on  the  magnetic  re- 
producer is  the  heart  of  Cinerama's 
synchronization  system.  Cinerama 
does  not  use  conventional  selsyn 
motors  to  keep  the  three  projectors 
and  sound  in  "locked-in"  sync.  In- 
stead, they  "fall  in  off  the  line."  Each 
projector  is  equipped  with  a  small 
"slave"  synchronizing  device  similar 
in  appearance  to  the  "master"  on  the 
sound  machine.  In  Fig.  2  a  black  disc 
resembling  a  strobe  card  with  32 
white  graduations  can  be  seen.  Each 
time  this  disc  revolves,  32  frames,  or 
approximately  3  feet  of  the  film,  pass 
through  the  machine. 

Mointoining  Sync 

At  the  conclusion  of  each  revolu- 
tion the  device  sends  out  an  electrical 
pulse  to  the  slave  units  on  the  pro- 
jectors. If  the  latter  are  in  svnc,  a 
green  light  mounted  on  each  machine 
flashes  momentarily.  If  one  of  the 
projectors  is  ahead  or  behind  by  as 
little  as  one  frame,  the  light  fails  to 
flash.  Instead,  one  of  the  two  small 
(6-volt)  synchro  timing  motors — 
visible  in  the  illustration  as  the  round 
black  objects  to  the  right  of  the  disc 
— takes  over  and  accelerates  or  re- 
tards the  projector  by  the  required 
amount. 

This  gadgetry  is  especially  busy  at 
the  start  of  the  show.  When  the  pro- 
jectors are  loaded,  the  films  are  syn- 
chronized on  a  common  start-mark, 
perforation  for  perforation.  The  sound 
is  started  slightly  ahead  of  the  picture, 
and  the  projectors  accelerate  as  re- 
quired   while    15    feet    of   leader    run 


Ed    Miller,    resident   engineer   of   Cinerama 
show  in  Detroit,  takes  a   hand  at  console. 


Seven    tracks    of    magnetic    sound    on    film 
ore   scanned    by   this    reproducer. 


Amplifiers:  Booster  at  right,  power  at  left — 
are   rated   at  75   watts   per   channel. 


INTERNATIONAL  PROJECTIONIST      9      MAY  1954 


15 


through  them,  so  that  all  four  ma- 
chines are  in  step  by  the  time  the  pic- 
ture appears  and  the  dousers  (arc- 
house  shutters)    swing  open. 

Since  this  sync  mechanism  is  not 
completely  foolproof,  the  green  pulse- 
lights  also  appear  on  the  console 
board  in  the  center  of  the  theatre,  and 
the  console  operator  can  correct  any 
projector  from  his  control  panel. 
We'll  have  more  to  say  about  the  con- 
sole later  on. 

To  the  left  of  the  reproducer  the 
preamplifier  panel  may  be  seen.  The 
plug  cords  hanging  down  are  used 
for  "patching"  in  case  one  of  the 
magnetic  pickups  should  fail.  That  is, 
in  case  one  sound  track  is  not  being 
reproduced,  an  adjacent  track  can  be 
spread  over  two  of  the  auditorium 
speakers  to  avoid  a  dead  spot  behind 
the  screen.  This  also  can  be  done 
from  the  console,  as  we  shall  see. 

The  Projection  Booths 

Leaving  the  sound  room,  we  went 
downstairs  to  one  of  the  projec- 
tion booths — Able,  to  be  exact,  on 
the  extreme  right.  The  projectors 
are  built  especially  for  Cinerama. 
Though  the  arc-house  and  the  basic 
casting  are  standard  projection  equip- 
ment, the  interior  of  the  head  is 
drastically  modified.  For  example,  the 
frame  size  on  standard  35-mm  sound 
film  measures  0.631  by  0.868  inches. 
Cinerama's  frame  is  half  again  as 
high — with  six  perforations  per  frame 
instead  of  the  usual  four — and 
runs  to  the  sprocket  hole  edges  on 
both  sides  (since  the  optical  sound 
track  is  eliminated).  The  resulting 
frame  is  slightly  taller  than  it  is  wide 
-—that  is,  1.119  by  1.000  inches. 

Further,  there  are  the  "jiggilos"  on 
each  side  of  the  aperture  to  dodge  out 


In  the  cutting  room  pro- 
jectionist Joe  Gates 
handles  Cinerama's  31- 
inch,  8000  -  foot  reel 
which,  when  loaded, 
weighs  from  75  to  80 
pounds.  From  the  looks 
of  these  babies,  project- 
ing Cinerama  would 
seem  to  be  a  job  for  a 
man  with  muscle. 


the  sharp  vertical  lines  which  would 
otherwise  appear  between  the  three 
screen  panels.  These  comb-like  metal 
strips  are  cam-operated,  moving  up 
and  down  once  per  frame  and  remain- 
ing stationary  while  the  shutter  is 
closed.  Jiggilos  on  adjacent  projec- 
tors are  180  degrees  out  of  phase.  Be- 
cause they  generate  considerable  fric- 
tional  heat  in  the  aperture,  which  is 
already  subject  to  arc  heat.  Cinerama 
projector   apertures   are   water-cooled. 

Oversize  Reels 

We  have  mentioned  the  8000-foot 
reels  used  in  the  Cinerama  process. 
Because  the  ordinary  projector  motor 
would  not  be  strong  enough  to  turn 
a  full  reel  of  this  size,  an  auxiliary 
torque  motor  turns  the  takeup  reel. 
And  to  counteract  its  inertia,  the  feed 
reel  is  equipped  with  a  brake.  All 
this  film  does  not  constitute  a  fire 
hazard,  however,  since  Eastman  safety 
film  is  used. 

Because  human  vision  is  more  sen- 
sitive to  flicker  in  the  peripheral  area 
of  the  retina  which  Cinerama  covers, 
the  projectors  are  operated  at  26 
frames  per  second  instead  of  the  con- 
ventional 24.  Combined  with  the 
taller  frame,  this  results  in  a  film 
speed  of  146.3  feet  per  minute  com- 
pared to  the  standard  90  for  conven- 
tional  3.5-mm   sound  projection. 

Sound  System  Backstage 

After  loading  his  projector  and 
trimming  his  arc  carbons,  each  pro- 
jectionist flips  a  control  switch  from 
"local"  to  "remote,"  which  turns  over 
subsequent  control  of  his  machine  to 
the   console    operator. 

Next  stop  on  our  tour  was  back- 
stage, behind  the  great  curved  screen. 


As  we  stepped  out  of  a  rear  door 
onto  the  stage,  the  boards  vibrated 
beneath  our  feet  under  the  impact  of 
the  low-frequency  "drivers."  There 
are  six  banks  of  speakers  behind  the 
screen— ^one  for  the  prolog  projec- 
tor, five  for  the  Cinerama  sequences. 
Each  consists  of  two  18-inch,  low- 
frequency  reproducers  ("woofers") 
and  two  exponential  high-frequency 
horns  ("tweeters").  All  are  Altec- 
Lansing  equipment. 

In  the  auditorium  there  are  nine 
additional  banks  consisting  of  one 
woofer  and  one  tweeter  each.  These 
are  distributed  as  a  left  wall  and  right 
wall  bank  on  each  audience  level,  as 
well  as  a  rear  wall  bank  behind  the 
audience   on   each   level. 

The  booster  and  power  amplifiers 
(Altec -Lansing  models  126  and  247-B, 
respectively)  for  the  stage  speakers 
are  located  on  the  stage  as  close  as 
possible  to  the  speaker  banks  to  avoid 
power  and  fidelity  losses.  Amplifiers 
for  the  side  speakers  are  installed  in 
the  side  projection  booths  (A  and  C) 
downstairs.  The  rear  speaker  ampli- 
fier is  the  center  booth  (B)  and  also 
serves  as  a  standby  amplifier  for 
the  composite  track. 

For  audiophiles  interested  in  the 
amplifier  tube  layout,  the  preamp  for 
each  channel  (located  in  the  sound 
room)  contains  a  1620  and  6SJ7; 
these  are  coupled  into  the  booster 
stage  (near  the  speaker)  which  con- 
sists of  a  pair  of  1620's  driving  a 
pair  of  6L6's  in  turn  driving  a  pair  of 
807's  in  the  power  amplifier.  The  out- 
put transformer  is  the  size  of  a  small 
doghouse  and  the  power  rating  for 
each  channel  is  75  watts,  giving  Cine- 
rama a  potential  power  output  of 
nearly  600  watts!  Needless  to  say,  it 
has  never  been  opened  up — the 
building  might  fall  down! 

Faster  Tape  Speed 

Another  factor  contributing  to 
Cinerama's  high  fidelity  sound  (which 
faithfully  reproduces  frequencies  from 
30  to  15,000  cycles  per  second)  is 
the  linear  operating  speed  of  its  mag- 
netic tracks.  While  home  tape  record- 
ers get  along  on  tape  speeds  of  3% 
or  7%  inches  per  second,  and  hi-fi  or 
broadcast  equipment  generally  runs 
at  15  i.p.s.,  it  will  be  noted  that  146.3 
feet  per  minute  (which  is  the  film 
speed)  comes  out  29%  inches  per 
second.   You  can  put  a  lot  of  stuff  on 

(Continued  on  page  30) 


16 


INTERNATIONAL  PROJECTIONIST      •      MAY  1954 


Simplex  dual  in-car 
stereosound  speak- 
ers shown  mounted 
on  special  bracket, 
four  to  a  post.  One 
speaker  is  attached 
to  each  side  of  car 
for  stereo   affect. 


Simplex  Dual-Speaker  Stereo  Sound 
Available  for  Drive-In  Theatres 


ment  and  also  retain  his  speaker-post 
light. 

It  follows,  naturally,  that  new 
speaker-post  brackets  would  be  re- 
quired to  accommodate  ("hang")  the 
two  speakers  which  would  replace  the 
single-speaker  bracket  formerly  used. 
Any  existing  drive-in  theatre  having  a 
minimum  of  three-wire  underground 
wiring  will,  at  the  sacrifice  of  only 
the  post  light,  be  able  to  use  this  Sim- 
plex and  similar  drive-in  systems.  On 
a  new  project,  it  would  seem  to  be  the 
better  part  of  wisdom  to  install  the 
four-wire  system  which  would  accom- 
modate a  light  for  each  speaker  post. 

Further  detailed  data  anent  any 
drive-in  situation  will  be  forthcoming 
promptly,  at  no  charge,  upon  request 
to  IP. 


HIGH-QUALITY  sound  distribu- 
tion within  the  limited  area 
provided  by  a  car  parked  in  a  drive-in 
theatre  has  long  posed  a  most  difficult 
problem  for  designers  and  develop- 
ment engineers.  Of  late,  these  tech- 
nical personnel  have  been  engaged  in 
offering  to  the  drive-in  patrons  an  ap- 
proximation of  true  binaural  hearing. 

In  the  forefront  of  the  technological 
ranks  which  accepted  and  successfully 
met  this  challenge  to  their  abilities 
were,  among  others,  the  engineers  of 
International  Projector  Corp.  The  re- 
sult of  this  engineering  and  produc- 
tion talent  is  evident  today  in  the 
Simplex  dual-speaker  system  for  drive- 
in  theatres  —  a  method  whereby 
binaural  reproduction  is  accomplished 
within  an  automobile. 

In  the  Simplex  system  the  three 
channels  of  CinemaScope  sound  are 
fed  to  both  the  No.  2,  or  middle, 
channel  being  split  to  serve  both 
speakers  with  that  degree  of  sound 
which  gives  balance.  In  addition  to 
the  double-speaker  wiring  and  post 
equipment,  a  special  "mixer"  for  com- 
bining the  sound  from  the  center 
track  with  left  and  right  channels  is 
required.  Also  needed  are  "pent- 
house" soundheads. 

Once  a  drive-in  has  installed  the 
Simplex  system  of  stereosound,  it  can 
reproduce  any  type  of  sound  now 
available.  Its  regular  soundheads  can 
handle  standard  optical  sound  or  the 
Fine  Perspecta  system  of  optical 
stereosound,  reproducing  it  in  the 
standard  onfc-channel  way.  In  addi- 
iton,  the  drive-in,  when  equipped  with 


the  Simplex  system,  will  be  able  to 
reproduce  CinemaScope  magnetic 
sound. 

Installation  Modus  Operandi 

Now,  in  existing  installations  hav- 
ing a  three-wire  underground  system, 
the  Simplex  unit  may  be  used  provided 
that  the  exhibitor  is  willing  to  sacri- 
fice the  individual  speaker-stand  light. 
If,  on  the  other  hand,  an  exhibitor 
wishes  to  "start  from  scratch"  he  may 
wish  to  install  a  four-wire  under- 
ground system  which  will  enable  him 
to   employ   the   dual-speaker   arrange- 


-— 1° 

111        \' 

'    Y 


SH-1025 
MAGNETIC 
SOUNDHEAD 


I   a  CONTROL 


POWER 
AMPLIFIER 


Graphical    representation   of  the   Simplex   in-o- 

car  speaker  system  which  delivers  stereophonic 

sound.   Volume   control   knob   is   shown   on   the 

right-hand  speaker. 


DuMont's   19-Inch  Color  TV 

A  progress  report  on  color  Tv  made 
by  Du  Mont  Laboratories  has  disclosed 
a  19-inch  color  picture  tube  which  de- 
livers a  picture  almost  equivalent  in  size 
to   a    19-inch   black-and-white   tube. 

Du  Mont  stated  that  the  simplicity  of 
the  tube's  design  and  its  inherent  pic- 
ture clarity  may  bring  mass  production 
of  large  screen  color  television  at  a 
reasonable  price  within  two  to  three 
years.  This  apparently  means  that  the 
small  screen  color  receivers  presently 
being  offered  have  been  rendered  ob- 
solete. 

The  tube  is  called  the  Du  Mont 
"Chroma-Sync  Teletron."  It  has  a  19- 
inch  glass  envelope  with  a  round  face 
plate  and  produces  a  picture  of  185 
square  inches,  more  than  twice  the  size 
of  pictures  of  color  receivers  currently 
being  marketed. 


Universal's  Profits  Rise 

Consolidated  net  earnings  of  Uni- 
versal Pictures  and  subsidiaries  for  the 
13  weeks  ended  January  30  last  were 
$772,979,  after  provision  of  $800,000  for 
federal  taxes.  This  figure  represents  the 
biggest  Universal  first  quarter  since 
1946,  and  compares  with  $475,888  after 
$675,000  tax  provision  in  the  same 
period  of  the  previous  fiscal  year. 


Another  Tv  Extravaganza 

David  0.  Selznick  has  signed  a  con- 
tract to  produce  a  two-hour  multi-net- 
work Tv  show  next  October  24,  marking 
the  diamond  jubilee  of  the  electric  light. 
The  show  will  be  the  most  expensive  in 
the  history  of  Tv,  costing  substantially 
more  than  the  Ford  50th  Anniversary 
show  of  last  year,  or  the  recent  Rodgers 
and  Hammer  stein  cavalcade  sponsored 
by  General  Foods. 


INTERNATIONAL  PROJECTIONIST      •      MAY   1954 


17 


IN    THE 


SPOTLIGHT 


ONE  of  our  boys — Jim  Day  by 
name  and  by  affiliation  a  mem- 
ber of  lA  Local  199,  Detroit — is 
currently  enjoying  a  solid  year -plus 
experience  with  Cinerama  at  the 
Music  Hall  Theatre  in  that  famed 
Motor  City.  Jim  is  by  way  of  being 
a  mere  amateur,  since  by  the  time 
these  words  appear  in  print  he  will 
have  supervised  700  presentations  of 
the  intricate  Cinerama  showings. 

Of  blessed  memory  is  Jim  Day's  ob- 
servation that  "there  are  no  chief  pro- 
jectionists at  the  showings  of  Cine- 
rama at  the  Music  Hall  Theatre.  The 
men  of  our  crew  are  all  particularly 
well  qualified  to  run  Cinerama,  or  any 
other  professional  showing  in  the 
world." 

Successful  presentation  of  Cinerama 
in  Detroit  (as  detailed  elsewhere  in 
this  issue)  or  in  any  other  city  is 
dependent  upon  the  teamwork  of  well 
trained  crews  and  not  on  any  one 
man.  All  of  the  men  are  experienced 
showmen. 

For  instance,  Gary  Lamb,  console 
man  on  one  team,  joined  Local  199  in 
1916;  Joe  Gates,  of  this  crew,  1921; 
William  "Pop"  Stolz,  1912;  Michael 
Ureel,  1921;  Marius  Duffourc,  1912— 
about  190  years  of  experience  between 
them.  The  other  team  consists  of 
Glenn  Harnden,  1918;  Bruce  Green- 
haw,  1919;  Matt  Haskins,  1919;  Ross 
Campbell,  1920,  and  Roy  Light  in 
1929.  A  grand  total  of  about  365 
years  of  experience  for  the  group. 

Jim  Day  was  console  man  for  about 
400  of  Cinerama's  880  shows.  He 
started  with  Cinerama  in  February 
1953.  A  member  of  Local  199  since 
1929,  Jim  has  worked  in  various 
theatres  in  Detroit  as  projectionist, 
and  on  the  road  for  Jam  Handy.  He 
was  with  Altec  Service  Corp.  as  sound 
engineer  for  about  6  years,  and  was 
also  electronic  technician  on  the  large- 
screen  Tv  set-up  at  the  Michigan 
Theatre,  Detroit.  He  opened  station 
WXYZ-Tv  as  projectionist  and  was 
with  them  for  about  two  years.    Born 


November  25,  1908.  Got  his  first 
"ham  ticket"  for  W8NJT  in  1935,  and 
has  held  commercial  radio  operator's 
licenses  for  years  but  never  worked  at 
it.  Jim's  family  includes  Mrs.  Jim 
(Jackie)  and  one  Cub  Scout,  Matty 
Day,  8  years  old.  Jim  is  a  member  of 
Daylight  Lodge,  F.  and  A.  M.,  No. 
525.  Radio  and  quality  sound  are  his 
hobbies.  Since  Ed  Miller  left  to  go 
back  to  Altec  Service  Corp.,  Jim  has 
been  working  at  Cinerama  as  resident 
technician. 

•  Local  332,  Clinton,  Iowa  celebrated 
its  40th  anniversary  last  month  at  a 
stag  luncheon  party  which  was  held 
at  the  Labor  Temple  there. 

•  A  recording  of  a  discussion  between 
Nelson  Cruikshank,  director  of  social 
insurance  activities  for  the  AF  of  L, 
and  Andrew  J.  Biemiller,  member  of 
the  AF  of  L  national  legislative  staff, 
which  helps  to  clarify  the  AF  of  L's 
attitude  toward  the  government's 
social  security  proposals,  is  now  avail- 
able to  all  labor  unions. 

The  AF  of  L  representatives  discuss 
each  of  the  six  points  of  the  Eisen- 
hower program,  and  they  also  explain 


Jim   Doy,   Local    199,   Detroit,   had   worked   652 

Cinerama   shows  when  this   picture  was   made 

at  control  console  which  he  is  operating. 

the  improvements  recommended  by 
the  Federation.  The  record  plays  at 
33%  rpm,  runs  13  minutes,  and  costs 
$5.50  each.  It  may  be  obtained  from 
the  Workers  Education  Bureau,  1625 
Eye  St.,  N.  W.,  Washington  5,  D.  C. 

•  One  of  the  out-of-town  visitors  to 
the  offices  of  IP  the  early  part  of  this 
month  was  Anthony  De  Cosmo,  busi- 
ness representative  for  Local  152, 
Hazelton,  Penna.  He  had  quite  a 
gaff  session  with  IP's  editorial  staff 
on  the  merits  of  the  various  projection 
processes  now  very  much  in  the  news. 

•  Following  the  expiration  of  the 
contract  with  Local  607,  Kittanning, 
Penna.,  the  owner  of  the  Super  66 
Drive-In  Theatre  refused  to  negotiate 
a  new  contract  with  the  lA  Local,  and 
at  the  beginning  of  the  present  season 
employed  projectionist  members  of  the 
Construction  Workers  Union,  which 
is  affiliated  with  No.  50,  United  Mine 
Workers  of  America.    Peaceful  picket- 


Members  of  the  "Old  Timers  Club"  of  Music  Hall  Theatre,  Detroit,  Mich.,  as  they  gathered 
at  the  festive  board  in  celebration  of  the  first  anniversary  of  the  Cinerama  showing  at  this 
theatre.  This  Club  is  comprised  of  employes  who  have  been  with  the  theatre  since  Cinerama 
first  opened  there  in  March  1953.  Seated,  left  to  right,  are:  Ross  Campbell,  Michael  Ureel, 
Bruce  Greenhaw,  James  Day,  and  Joseph  Gates,  members  of  Detroit  Local  199.  Shown  at 
the  extreme  right  is  George  Santer,  house  manager.  Standing,  left  to  right:  Frank  Upton, 
managing  director;  Betty  Dolan,  chief  of  service;  William  "Pop"  Stolz,  Local  199;  Evelyn 
Hunter,  ass't  chief  of  service;  Harry  Pollack,  Stagehand  local  38;  Gary  Lamb,  Local  199; 
Si  Finley,  Local  38;  William  Loll,  theatre  treasurer;  Jane  Thorn,  ass't  treasurer;  Russ  Russo,  ass't 
manager;    Adeline    Messerschmidt,    ass't    treasurer;     Mrs.     Knapp,     head     cleaner,    and     William 

Green,    director    of    publicity. 


18 


INTERNATIONAL  PROJECTIONIST      •      MAY  1954 


ing  by  Local  607  has  been  so  effective 
that  the  theatre  owner  appealed  to  the 
courts  for  an  injunction  to  restrain 
the  lA  Local.  Local  607  maintains  its 
right  to  picketing  of  the  drive-in  on 
the  basis  that  workers  from  another 
jurisdiction  have  been  brought  in  to 
replace  lA  men. 

•  Good  news  it  is. that  Arthur  Sulli- 
van and  Philip  Levine,  members  of 
Local  96,  Worcester,  Mass.,  who  suf- 
fered heart  attacks  and  were  hospital- 
ized about  the  same  time,  have  left  the 
hospital  and  expect  to  be  back  at  work 
within  the  next  few  weeks. 

•  Winning  ski  tourneys  has  become  a 
commonplace  with  Jim  and  Bill 
Georgas,  members  of  Toronto  Local 
173.  Taking  part  in  a  number  of 
important  ski  meets  in  Ontario,  Can- 
ada, during  the  past  season,  the  bro- 
thers Georgas  took  either  first  or 
second  place  in   many   of  the  events. 

In  the  Huntsville  (Ont.)  meet,  Jim 
copped  firsts  in  cross-country,  down- 
hill, fourway,  Alpine,  and  Nordic; 
second  in  slalom,  and  third  in  jump- 
ing. Competing  in  the  very  difficult 
run  at  Collingwood,  Southern  Ontario, 
he  won  the  cross-country,  Alpine, 
Nordic,  and  the  fourway.  He  was  sec- 
ond in  slalom,  and  third  in  downhill. 
He  is  hopeful  of  making  the  Olympic 
team.  At  the  same  meet.  Bill  won  first 
in  downhill,  second  in  Alpine,  Nordic, 
and  fourway,  and  third  in  cross- 
country. 

To  add  to  this  excellent  record, 
Jim  and  Bill  Georgas  rescued  a  skier 


who  was  lost  and  had  been  buried  in 
the  snow  for  several  hours. 

•  Herbert  F.  Slater,  Sr.,  business  rep- 
resentative for  Providence  Local  223 
since  1926,  was  honored  at  a  surprise 
dinner  given  by  the  Local  immediately 
following  the  April  meeting.  In  ap- 
preciation of  his  successful  steward- 
ship of  the  Local  for  the  past  28  years, 
Slater  was  awarded  a  gold  life  mem- 
bership  card.     A   tape    recording   en- 


Jim    and    Bi 
Local     173, 


I    Georgas,    members    of    Toronto 
hold     many     ski-jumping     awards. 


Philip   Sugarman   (left),   vice-president   of   Local 

223,   Providence,   R.    I.,   is   shown    presenting   a 

gold  Life  Membership  card  to  Herbert  F.  Slater, 

Sr.,   business   representative   for   28   years. 


titled  "This  is  Your  Life,  Bill  Slater," 
accompanied  by  old  pictures  shown  on 
a  balopticon  describing  highlights  of 
his  life  from  infancy  to  the  present 
date,  was  a  feature  of  the  party. 

•  Claude  E.  Watkins,  projectionist  at 
the  Strand  Theatre  in  Troy,  N.  Y.,  and 
member  of  Local  324,  Albany,  N.  Y., 
is  a  proud  dad  these  days  now  that 
his  daughter,  Nancy,  was  elected  to 
the  national  honorary  society  for  home 
economics  students,  Omicron  Nu. 
Nancy  is  a  student  at  Syracuse  Uni- 
versity, where  she  is  majoring  in 
social  work. 

Watkins  has  been  a  member  of  the 
Albany  Local  since  1921  and  in  past 
years  served  as  both  president  and 
business  representative.  In  1936  '  he 
was  elected  for  one  term  as  president 
of  the  N.  Y.  State  Projectionists'  Asso- 
ciation. He  has  held  his  present  posi- 
tion at  the  Strand  Theatre  in  Troy  for 
the  past  33  years. 

1  A      ELECTION 


LOCAL    195,  MANCHESTER,   N.   H. 

Leo  R.  Mclntyre,  pres.;  Arthur  A.  Smet, 
vice-pres.;  Thomas  P.  Swist,  sec.-treas.; 
Samuel  F.  Cooley,  rec.-sec;  Arthur  A.  Smet, 
bus.  rep.;  Ernest  Gunderman,  Maurice 
Watts,  George  Nightingale,  executive  board: 
A.  A.  Smet,  del.  to  lA   Convention. 


•  Prize-winning  suggestions  in  our 
final  Polaroid-IP  contest  were  sub- 
mitted by  George  A.  Hartnett,  secre- 
tary of  Local  286,  Des  Moines,  Iowa. 
We  hope  he  will  enjoy  the  use  of  the 
Polaroid-Land  camera  awarded  him 
for  his  suggestions. 

Back  in  1912,  George  Hartnett,  to- 
gether with  several  other  projection- 
ists, helped  organize  Local  286,  which 
was  granted  an  lA  charter  the  fol- 
lowing year.  Since  then  he  has  served 
the  Local  as  president,  vice-president, 
business  representative,  and  for  the 
past  20  years  has  held  the  office  of 
secretary.  In  1933  he  helped  form  the 
Iowa  State  Association,  lATSE,  serv- 
ing as  its  secretary-treasurer  ever 
since.  For  the  past  21  years  he  has 
been  auditor  for  the  Iowa  State  Fed- 
eration of  Labor. 

Fine  Legislative  Record 

In  the  1933,  193.5,  1937  sessions  of 
the  Iowa  General  Assembly,  Hartnett 
waged  a  vigorous  campaign  for  the 
enactment  of  legislation  providing  for 
fireproof  construction  of  projection 
rooms,  and  for  other  fire-preventive 
measures  in  connection  with  theatres. 
He  authorized  a  booklet  "Fire  Hazards 
of  Motion  Picture  Film,"  which  was 
widely  circulated  among  lA  Locals 
that  were  conscious  of  the  ever-present 
danger. 

Born  in  Port  Angeles,  Wash.,  in 
1891,  Hartnett  has  made  Des  Moines 
his  home  since  1901.  He  has  held  his 
present  position  as  projectionist  at  the 
Des  Moines  Theatre  for  the  past  26 
years.  He  is  a  veteran  of  World  War 
I,  having  served  with  the  Second  Divi- 
sion in  France  and  Germany.  For  the 
past  15  years  he  has  been  Legislative 
Officer,  Department  of  Iowa,  Veterans 
of  Foreign  Wars.  He  has  a  son,  John, 
18,  now  a  member  of  the  U.  S.  Air 
Force. 


Lou  Hammond, 
holder  of 
No.  1  Seniority 
card  in  New 
York  Local  306. 
Lou  wras  for 
many  years 
"Mr.  Strand", 
by  reason  of 
having  opened 
the  Stra  nd, 
Broadway, 
N  .  Y.,  first 
"  presentation" 
house  in  the 
world. 


INTERNATIONAL  PROJECTIONIST      •      MAY  1954 


J9 


Brush-up  on  Fundamentals 

Rectifiers  for  Projection  --  Conclusion 


DURING  one  half  cycle  of  A.  C. 
voltage  introduced  to  the  se- 
lenium cell,  its  base  plate  is  negative 
while  the  barrier  is  positive.  At  this 
instant  free  electrons  converge  upon 
the  base  plate  which  is  a  good  con- 
ductor. These  free  electrons,  under 
voltage  pressure,  pass  through  the  thin 
selenium  barrier  to  the  contacting  al- 
loy on  the  other  side;  a  current  flows 
from  the  base  plate  to  the  alloy. 

During  the  next  half  cycle,  the  base 
plate  becomes  positive  and  the  selenium 
barrier  negative.  Ordinarily  the  flow 
of  current  would  reverse  but  the 
barrier,  being  a  very  poor  conductor, 
does  not  accumulate  the  quantity  of 
electrons  necessary  for  a  flow  from  the 
contacting  alloy  through  the  barrier 
to  the  base  plate.  Since  only  half  of 
the  alternating  cycle  has  been  passed 
the  output  is  a  pulsating  direct  cur- 
rent. This  entire  action  is  shown  in 
the  simple  schematic  of  Fig.  4A.  We 
note  at  once  the  lack  of  requirement 
for  an  "A"  potential  as  shown  in  Fig. 
1  for  the  simple  diode  tube.  This  is  a 
talking  point  for  selenium  versus  the 
vacuum  tube.  Full  wave  rectifying 
circuits  for  these  units  may  be  set  up 
in  the  same  manner  as  described  for 
diodes  and  as  shown  in  Fig.  4B. 

Operating  Precautions 

While  projection  rooms  do  not  offer 
some  of  the  hazards  attendant  on 
selenium  rectifiers  it  might  be  well 
to  pass  along  a  warning  or  two.  These 
units  should  not  be  installed  in  ex- 
plosive atmosphere  or  where  they  will 
be  exposed  to  mercury  vapors.  Ade- 
quate ventilation  is  always  required. 
The  stacked  rectifiers  should  be 
mounted  so  that  their  fins  are  posi- 
tioned vertically  in  free  space  to  allow 
for  heat  radiation.  No  other  heat  pro- 
ducing equipment  should  be  nearby. 
In  surrounding  temperatures  of  110 
degrees  F.  or  higher  the  unit  should 
be  operated  below  its  normal  rating. 
This  will  prolong  life  and  avoid 
trouble.  While  simple  seleniums  have 
no  moving  parts,  most  theatre-type 
units  have  a  fan  mounted  at  the  top 
for  forced  air  cooling.  This  permits 
operating  at  heavier  current  loads. 


Do  not  use  an  ohmmeter  to  check  a 
selenium  rectifier.  Its  non-linear  resis- 
tance will  produce  erroneous  readings. 
A  test  voltmeter  or  ammeter  will  de- 
tect any  abnormal  conditions.  If  the 
voltage  output  is  low  and  no  overload 
condition  has  occurred,  check  the  as- 
sociated components  as  described  later 
under  "Trouble  Shooting."  The 
chances  are  that  the  rectifier  itself  is 
good.  If  not,  the  best  thing  to  do  is 
not  to  fool  around  with  it.  Get  a  new 
one.  There  is  no  more  chance  of  local 
correction  than  there  is  with  a  blown 
vacuum  tube.  However,  the  manufac- 
turer can  rebuild  the  cells  of  selenium 
whereas  defective  vacuum  tubes  are 
useless.  When  voltage  control  is  criti- 
cal, inductive  voltage  regulators  should 
be  installed.  The  manufacturer  will 
provide  data  on  this. 

Prolonged  Overloading 

Momentary  overloading  of  current 
output  should  cause  no  damage  to  a 
selenium.  However,  a  prolonged  over- 
load, such  as  a  shorted  load,  will  dam- 
age the  rectifier.  Overload  breakers 
or  fuses  should  be  used.  Locate  the 
external  short  as  speedily  as  possible 
and  correct  it  before  applying  power 
to  the  rectifier. 


Excessive  voltage  will  cause  damage. 
Watch  the  rating  otherwise  you're 
likely  to  cause  a  breakdown  across  the 
selenium  barrier  and  ruin  the  unit. 
Seleniums  are  somewhat  self-healing 
but  miracles  must  not  be  expected. 
When  a  sustained  over-voltage  break- 
down occurs,  the  odor  of  selenium 
fumes  will  warn  the  projectionist  and 
give  him  a  chance  to  shut  off  the 
power,  and  if  he's  lucky,  switch  to  a 
spare  rectifier. 

Filters 

The  basic  rectifiying  circuits  des- 
cribed here  produce  a  pulsating  direct 
current.  These  pulsations  represent  the 
rectified  alternations  of  the  original 
AC  current  supplied  to  the  rectifiers. 
It  is  generally  necessary  to  smooth  out 
these  pulsations  to  obtain  a  more  con- 
sistent or  unvarying  direct  current. 
This  is  accomplished  by  means  of 
filters  comprised  of  chokes  and  con- 
densers. These  should  be  a  part  of  the 
original  installation.  Primarily,  filters 
utilize  energy  storage  characteristics 
and  the  rise  and  fall  of  voltage  is 
smoothed  out  and  a  steady  output 
obtained. 

Voltage  Regulation 

A  five  per  cent  drop  in  voltage  out- 
put may  be  expected  after  the  first 
few  thousand  hours  of  operation  to  a 
natural  aging  process  inherent  with 
selenium  rectifiers.  The  drop,  how- 
ever, may  be  no  greater  than  this  even 
after  10,000  or  more  hours.  To  over- 
come this  slight  fall-off  a  tapped  trans- 


PULSATING   DIRECT  CURRENT 
OF   HALF.WAVE  RECTIFICATION 


FIGURE  4 


SELENIUM  RECTIFIERS 


FULL-WAVE  RECTIFICATION 
BRIDGE  CIRCUIT  RECTIFIER 


miWJ 


HALF-WAVE  RECTIFICATION 


B 

FULL-WAVE  RECTIFICATION 


20 


INTERNATIONAL  PROJECTIONIST      •      MAY  1954 


former  may  be  used  to  boost  the  input 
voltage  by  the  required  amount. 

Most  rectifiers  have  some  ripple  con- 
tent which,  of  course,  is  the  reason  for 
the  filters.  For  a  single-phase  bridge 
circuit  the  ripple  will  be  twice  the 
frequency  of  the  source,  triple  for  three 
phase. 

Trouble  Shooting 

Warning:  Voltages  developed  within 
power  supplies  are,  to  put  it  mildly, 
injurious.  In  other  words,  you  can 
be  knocked  head  over  heels.  Shut  off 
power  before  attempting  any  service 
within  one  of  these  units. 

Filter  condensers  hold  a  consider- 
able charge  for  a  month  or  more  if 
there  is  no  leakage.  Thus  the  better 
the  equipment  the  greater  the  danger. 
Such  storage  voltage  in  the  higher 
voltage  television  units  has  caused 
fatalities  among  servicemen.  Before 
going  ahead  with  any  work  be  sure 
to  discharge  each  condenser  terminal 
to  ground  by  securing  wire  jumper 
first  at  ground  and  then  applying  the 
other  end  of  the  jumper  individually 
to  each  condenser  terminal. 

Diode  tubes  are  something  else 
again.  They  can  be  checked  quite 
easily  by  the  simple  expedient  of  sub- 
stitution, using  a  new  tube  each  time. 
Never  install  a  different  type  or  rating 
of  tube  unless  the  service  engineer  or 
the  manufacturer's  manual  sanctions 
it.  If  trouble  persists,  check  the  chokes, 
filter  condensers,  bleeder  resisters  and 
wiring.  If  a  component  is  scorched 
or  carries  an  odor  of  burnt  insulation, 
replace  it.  The  same  holds  for  wiring. 
Insulation  must  be  good  between 
chassis  ground  and  condensers  and  re- 
sisters.  Check  with  an  ohmmeter  or 
continuity  meter.  No  through  circuit 
should  be  indicated.  Replace  any  con- 
denser showing  any  signs  of  internal 
leakage. 


Fairchild's  Sound  Division 

The  Perspecta  system  of  recording 
and  reproducing  sound  received  a  fresh 
and  powerful  impetus  during  the  past 
month  with  the  announcement  by  Fair- 
child  Recording  Equipment  Co.,  of 
Whitestone  57,  New  York,  of  the  estab- 
lishment of  a  special  Motion  Picture 
division  to  manufacture,  sell  and  license 
this  new  process.  Fairchild  is  a  famous 
name  in  the  field  of  precise  instruments, 
including  the  world-famous  Fairchild 
aerial  photography  cameras. 

Delivery  of  the  first  "integrator"  units 


for  the  Perspecta  system,  developed  by 
C.  Robert  Fine,  is  now  progressing.  The 
Perspecta  system  is  the  first  "compat- 
ible" theatre  sound  system  which  per- 
mits reproduction  of  three-speaker 
stereophonic  sound  from  a  single  optical 
track,  or  via  the  conventional  one- 
speaker  setup.  M-G-M  and  Paramount, 
among  others,  have  announced  the 
availability  of  Perspecta  prints  for  all 
future  releases. 

Perspecta  requires  no  variance  in 
standard  projection  procedure  —  in  fact, 
Perspecta  film  may  be  spliced  into  con- 
ventional film,  and  the  switchover  is 
automatic  via  the  "integrator". 

Ray  Crews,  in  charge  of  this  new  Fair- 
child  division,  formerly  supervised 
sound  recording  at  Paramount  and  was 
at  one  time  manager  of  the  Westrex 
subsidiary    division. 

Dubbing   in   English 

Shortage  of  film  product,  resulting  in 
an  increased  demand  for  foreign-made 
pictures  in  American  theatres,  has 
started  a  trend  to  dubbing  in  the  English 
dialogue.  Dubbing  American  films  in 
foreign  languages  has  long  been  a  prac- 
tice in  Hollywood. 

It  is  pointed  out  that  most  foreign 
actors  speak  English  to  a  greater  or 
lesser  extent  but  that  their  accents  make 
their   voices    unacceptable   to    audiences 


Projector^  Lens  Cleanliness 
a  Magnetic-Film  '^MusV 

The  reproduction  of  magnetic  sound- 
tracks poses  a  problem  for  projectionists 
that  has  received  no  attention — the  de- 
positing of  the  iron  filings  with  which 
magnetic  prints  are  treated  all  over  the 
projector,  including  the  back  end  of 
the  lens,  during  the  film-transit  from 
the  upper  magazine  to  the  penthouse 
reproducer,  to  the  head  and  on  to  the 
lovver   magazine. 

This  condition  may  be  caused  by  the 
air  current  set  up  by  the  rear  shutter, 
or  by  the  constant  s'ream  of  air  pro- 
duced by  the  use  of  an  air-cooling 
blower,    or    by    a    combination    of    both. 

Absolutely  required:  the  constant 
cleaning  of  the  projector  and  the  re- 
moval of  the  gate  at  least  three  times 
daily  in  order  to  remove  these  deposits 
from  the  lens. 

The  failure  to  perform  this  work  is 
due  to  lack  of  manpower  in  many  pro- 
jection rooms,  the  penalty  for  which  is 
a  most  unsatisfactory  screen  image. 


here.  By  speaking  their  lines  in  English, 
even  if  badly  spoken,  for  the  cameras 
the  actors  at  the  production  centers 
abroad  make  it  simple  to  do  the  dubbing 
here  and  still  maintain  proper  lip  sync. 


Here  is  a  graphic  rep- 
resentation of  the  Per- 
specta (Robert  Fine) 
single-optical  track  sys- 
tem of  recording  and 
reproducing  sound. 
Paramount  is  definitely 
committed  to  this  sys- 
tem for  all  future  re- 
leases, and  M-G-M  is 
going  along. 
This  Perspecta  sound 
system  incorporates  on 
a  single  optical  track, 
100  mills  wide,  the 
means  for  reproduction 
in  the  theatre  of  either 
the  stereophonic  effect 
through  a  3-horn  setup. 
If  available,  or  the 
straightaway  sound  re- 
production through  a 
single  horn.  The  eco- 
nomic and  technological 
appeal  of  the  Perspecta 
system  is  that  it  can  be 
shown  in  any  theatre  in 
the  world  with  existing, 
standard  projection 
equipment  without  a 
nickel's  extra  expendi- 
ture. As  shown  here  the 
existing  equipment 
(prior  to  the  Perspecta 
installation)  is  indicated 
in  the  black   areas. 


PROJECTOR 
WITH  STANDARD  SINGIE 
OPTICAL  SOUND  HEAD 

II 

< 

Eh 
M 

MULTIPLE 

"H          GANG 

FADER 

^^^^^ 

^^I^P 

r- 

^T 

FAIRCHILD 

PERSPECTA 

STEREOPHONIC  SOUND 

INTEGRATOR 


PREAMPtlFIERS 


INTERNATIONAL  PROJECTIONIST      •      MAY  1954 


21 


WUcU'l  y<uiA,  PnoUem? 


Projectionists  whose  problems  appear  herein  will  each 
receive  a  $5.00  check  from  IP.   What's  YOUR  problem? 


Question.  We  have  Simplex-Hi  lamps 
operating  off  two  separate  4-bulb, 
Tungar-type  rectifiers,  rated  at  40  amps., 
27  volts.  Each  lamp  has  an  ammeter  but 
no  voltmeter.  Recently  one  of  the  lamps 
developed  trouble  which  we  have  been 
unable  to  overcome. 

The  current  reads  in  the  vicinity  of  25 
amps.,  and  the  automatic  carbon  feed 
is  very  erratic.  The  usual  tendency  is 
for  the  carbons  to  drift  toward  the 
front  of  the  lamphouse,  with  the  gap 
becoming  very  short;  sometimes  the 
carbons  run  together. 

On  an  average  of  about  one  nightly, 
however,  the  carbons  pull  apart  and 
we  lose  our  light.  I  feel  that  this 
trouble  may  be  due  to  the  Tungar  bulbs, 
which  are  old,  or  to  high  resistance  in 
the  leads  from  the  rectifier  to  the  lamp. 
I  would  appreciate  your  opinion  on  this. 
Kenneth  G.  Alley 
lA  Local  421,  Herrin,  111. 

Answer.  Your  difficulty  may  result 
from  defective  Tungar  bulbs.  In  this 
type  of  rectifier  two  bulbs  are  paralleled 
through  a  load-dividing  transformer  on 
each  half  wave  of  the  rectifier  output. 
If  one  bulb  becomes  defective  or  op- 
erates intermittently,  it  throws  an  over- 
load on  the  remaining  bulb  on  that  half 
of  the  wave.  This  tube  will  consequently 
overheat,  and  in  addition  the  arc  voltage 
will  become  reduced  2  to  3  volts,  which 
will  cause  the  arc  gap  to  shorten  and 
occasionally  cause  the  carbons  to  run 
together. 

A  check  to  see  that  all  tubes  are 
operating  can  be  made  by  holding  a 
small  mirror  down  along  the  sides  of 
the  tubes  and  looking  at  each  tube  in 
turn  from  the  side  to  determine  whether 
there  is  a  blue  flame  between  the  anode 
and  filament  of  each  tube.  This  bluish 
flame  indicates  that  the  tube  is  rectify- 
ing. Any  tube  not  found  to  be  rectifying 
should  be  removed  and  a  replacement 
inserted. 

Incorrect  Ammeter  Reading 

A  second  possibility  is  that  the  am- 
meter may  be  reading  incorrectly.  You 
report  that  sometimes  it  reads  approxi- 
mately 25  amperes.  The  natural  inclina- 
tion of  most  projectionists  would  be  to 
accordingly  turn  up  the  rheostat  to  get 
more  current. 

This,  of  course,  would  cause  the  car- 
bons to  be  fed  faster,  and  the  current 
would  go  up,  thus  causing  the  positive 
carbon  to  burn  faster  in  relation  to  the 


negative  than  the  design  of  the  lamp 
contemplated.  As  a  result,  the  entire 
arc  gap  would  drift  forward  toward  the 
front  of  the  lamphouse  and  become 
rather  short.  Then,  if  the  carbons  ac- 
tually freeze,  the  crater  is  destroyed  and 
the  lamp  would  very  likely  go  out. 

Resetting  Motor  Feed  Rheostat 

We  would  suggest  resetting  the  motor 
feed  rheostat,  reducing  the  setting  until 
there  is  no  further  drift  of  the  arc 
toward  the  front  of  the  lamphouse,  and 
also  increase  or  decrease  the  rectifier 
setting    to    obtain    the    correct    arc    gap. 

If  the  gap  is  longer  than  the  approxi- 
mate l/4th  inch,  the  rectifier  tap  switch 
should  be  set  at  a  lower  point.  If  the 
arc  gap  is  shorter  than  l/4th  inch,  the 
rectifier  tap  switch  should  be  set  up  to 
a  higher  tap. 

Hilux  F:1.8  Lenses  Now 
In  Volume  Production 

The  ready  and  widespread  acceptance 
being  extended  to  its  new  F:1.8  Hilux 
projection  lens  is  due  to  a  variety  of 
compelling  reasons,  states  its  manufac- 
turer. Projection  Optics  Co.,  330  Lyell 
Ave.,  Rochester,  N.  Y.  This  upsurge  in 
orders  has  necessitated  additional  manu- 
facturing facilities. 

Projection  Optics  cites  the  following 
reasons  for  the  Hilux  lens  demand:  1. 
Speed — F:1.8;    a  new  anastigmat   form- 


Projection    Optics'    new    Super-Lite    Hilux    F:1.3 
wide-angle   lens 

ula;  one  piece  hermetically-sealed 
mount;  no  cement  failure — no  re-ce- 
menting; all  air-glass  surfaces  pre- 
coated;  minimum  vignetting,  and  maxi- 
mum  screen   brightness. 

The    Hilux   lens    series,    designed    es- 


pecially for  maximum  edge-to-edge  defii- 
nition  for  wide-screen  applications,  are 
at  present  available  in  focal  lengths 
from  2  to  3%  inches,  with  more  to  come. 
The  price  of  these  new  lenses  is  $270- 
and-up  per  matched  pair,  through 
theatre  supply  dealers.  National  dis- 
tributor for  the  Hilex  lens  is  Raytone 
Screen  Corp.,  105  Clermont  Ave.,  Brook- 
lyn 5,  N.  Y. 

British  Film  Tax  Reduction 

The  Chancellor  of  the  Exchequer,  in 
his  Budget  Speech  on  April  6,  1954,  in 
the  British  House  of  Commons,  an- 
nounced a  reduction  in  motion  picture 
theater  entertainments  duty.  It  is  esti- 
mated that  the  reductions  will  cost  the 
Exchequer  about  3,500,000  pounds  ster- 
ling a  year.  The  reduced  levies  go  into 
effect  from  May  30,  1954,  and  provide 
reductions  in  duty  ranging  from  a  half' 
penny  on  the  lowest  priced  tickets  to 
1^  pence  for  admissions  of  4  shillings. 
Theater  seats  up  to  and  including  9 
pence  will  be  free  of  tax,  whereas  the 
present  tax  rates  exempt  tickets  costing 
up  to  8  pence.  (One  pound  sterling 
equals  U.  S.  $2.80,  there  are  20  shilling 
to  a  pound,  12  pence  to  a  shilling.) 

The  tax  reduction  will  not  result  in 
lower  admission  prices.  In  effect  the  tax 
reduction  will  be  absorbed  by  the  film 
industry  and  will  be  shared  between 
exhibitors  and  producers.  Immediate 
trade  reaction  to  the  tax  reductions  was 
one  of  surprised  approval. 


Film   Biz  in  the  Antipodes 

During  1953  there  were  imported  into 
Australia  a  total  of  400  feature-length 
35-mm  films.  Of  these,  287,  or  about 
72%  of  the  total,  were  U.  S.  films,  68 
were  British,  and  45  were  from  other 
countries.  One  Australian  film  was  re- 
leased in  1953.  This  compares  with  a 
total  of  390  feature  films  imported  in 
1952,  of  which  290,  or  about  74%  were 
U.  S.  films,  72  British,  and  28  from 
other   countries. 

Of  the  401  feature-length  films  passed 
for  commercial  exhibition,  292  ivere 
classified  as  suitable  for  general  exhibi- 
tion, and  109  as  not  suitable  for  exhibi- 
tion before  children  under  16  years  of 
age.  Only  one  feature  film  was  rejected 
in  1953. 


Pola-Lite  for  Foreign  Use 

Negotiations  have  been  completed  for 
the  manufacture  and  distribution  of  the 
Pola-Lite  single  film  3-D  system  in  the 
United  Kingdom  and  Canada.  G.  B. 
Kalee,  Ltd.,  will  manufacture  units  for 
distribution  throughout  the  United  King- 
dom and  British  possessions,  Europe, 
Latin  and  South  America. 

In  Canada,  the  Pola-Lite  units  will  be 
distributed  by  General  Theaters,  a  divi- 
sion of  Famous  Players  Canadian  Corp. 


22 


INTERNATIONAL  PROJECTIONIST      •      MAY  1954 


LETTERS    TO    THE    EDITOR 


To  the  Editor  of  IP: 

Being  intensely  interested  in  the  topic 
of  all-purpose  screens  for  the  new 
processes,  I  should  like  to  append  a  few 
observations  thereon. 

There  is,  without  doubt,  a  trend  to  the 
installation  of  screens  with  seamless  con- 
struction or  a  construction  that  effec- 
tively makes  any  seams  invisible. 
Today's  wide-angle  photography  utilizes 
large  panoramas,  very  often  showing 
large  areas  of  sky,  desert,  snow,  etc.  In 
such  instances  seams  are  particularly 
objectionable. 

In  addition,  a  uniformity  of  surface  is 
required,  thereby  eliminating  such  light 
seams  perfect  and  therefore  any  streaks 
or  shades. 

The  question  of  light  distribution  has 
been  given  quite  a  going  over.  Once 
again  we  notice  a  trend  toward  screens 
with  higher  brightness  and  better  defini- 
tion for  the  best  parts  of  the  theatre,  the 
exhibitor  being  satisfied  in  the  majority 
of  cases  with  the  inferior  light  distribu- 
tion in  the  very  front  seats  to  the  ex- 
treme sides.  His  preference  is  a  natural 
one  since  he  does  not  want  to  sacrifice 
quality  of  projection  for  the  benefit  of 
the  only  seats  in  his  theatre  that  cannot 
always  be  filled  and  which  have  un- 
desirable viewing  angles. 

The  screen  manufacturer  is  faced  with 
the  problem  of  evaluating  the  more  im- 
portant features  of  his  all-purpose 
screen.  The  older  and  well  established 
screen  manufacturers  seem  to  prefer 
uniformity  of  surface  and  good  defini- 
tion to  features  that  would  be  detri- 
mental to  such  results. 

Leonard  Satz 
Raytone  Screen  Corp.,  N.  Y.  City 

To  the  Editor  of  IP: 

In  view  of  the  current  confusion  on 
the  subject  of  splicing  CinemaScope 
film,  I  submit  the  following: 

All  it  requires  to  make  a  good  splice 
in  any  film  is  a  good  film  cement  and 
a  little  common  sense.  I  think  it  is  a 
smear  on  the  capability  and  intelligence 
of  the  projectionist  to  suggest  that  he 
will  have  trouble  splicing  CinemaScope 
or  any  other  type  of  film.  If  he  is 
capable  of  operating  the  equipment  they 
throw  at  him  today,  he  surely  is  cap- 
able of  splicing  film,  regardless  of  type. 

I  am  enclosing  a  small  block  of  wood 
1/2-inch  square.  You  will  note  that 
it  has  a  piece  of  sandpaper  glued  to 
two  sides.  This  little  block,  which  any 
kid  could  make,  serves  as  a  dry  emulsion 


■^ 


remover  and  a  roughing  block  to  rough 
the  splice  area  on  both  the  emulsion 
and  shiny  side  of  the  film.  The  block 
is  used  with  a  light  touch  and  does  a 
good  job.  The  wire  brushes  that  some- 
one has  recently  been  trying  to  sell  pro- 
jectionists  are  not  needed. 

At  our  laboratories  we  have  tried  just 


Bmmm(D)iuht  PocirajKiEs  C(n)imp®[RA¥a®H 


To  the  Editor  of  IP: 

.  .  .  Frankly,  I  have  felt  all  along 
that  the  final  answer  would  come  in 
some  simple  presentation  of  the 
motion  picture  on  the  screen,  one  that 
would  be  adaptable  to  all  theatres 
and  one  in  which  the  cost  would  not 
be  exorbitant. 

We  here  at  Paramount  have  never 
felt  that  stereophonic  sound  solved 
the  problem  in  any  way,  and,  of 
course,  have  never  accepted  the 
principle  of  stereophonic  sound — ex- 
cept we  have  elected  to  have  one 
optical  sound  track  on  our  pictures  so 
that  those  exhibitors  desiring  to  ob- 
tain a  stereophonic  effect  may  do  so. 
As  you  know,  they  can  run  the  same 
print  with  existing  standard  equip- 
ment. 

Height  of  Utmost,  Importance 

We  have  at  all  times  stated  that 
height  was  as  important  to  a  picture 
as  width.  I  think  your  stand  has  been 
exactly  the  same  as  ours.  We  agree 
with  you  that  a  picture  can  be  pro- 
jected successfully  on  the  proper  size 
screen  2-to-l.  You,  as  a  projectionist, 
know  that  the  audience  will  hardly  be 
able  to  distinguish  between  1.8S-to-l 
and  2-to-l,  especially  on  a  large 
screen. 

It  is  our  feeling  that  we  get  a  better 
picture  in  the  VistaVision  process 
when  composing  it  in  the  ratio  of  1.85- 
fo-1.  We  certainly  believe  the  picture 
can  be  vrell  presented  and  little  dif- 
ference can  be  noticed  when  the 
same  print  is  projected  1.66-to-l. 
Is  I  stated  in  New  York,  the  Vista- 
Vision  pictures  we  are  making  may 
still  be  projected  on  the  screen  2-to-l 
and  maintain  all  the  VistaVision 
values. 

Y.  FRANK  FREEMAN 
Vice-President,  Charge  of  Production 


about  every  method  of  preparing  a  film 
for  splicing,  and  we  find  that  these  little 
blocks  really  do  the  job.  We  have  sent 
a  quantity  of  these  blocks  to  our  dealers, 
they  were  very  well  received.  Some 
manufacturers  of  raw  film  stock  tell  you 
not  to  use  sandpaper.  They  claim  that 
it  will  cause  damage  to  projector  parts 
and  get  on  the  film,  causing  scratches. 
This  we  firmly  disbelieve. 

We  believe  that  if  a  splice  is  made 
right  and  a  good  film  cement  is  used, 
there  will  be  no  problem  in  splicing 
filra  and,  I've  made  a  lot  of  splices  in 
my  day. 

As  you  probably  know,  I  own  the 
company  that  makes  Ethyloid  film 
cement.  Our  business  has  increased 
40%  in  the  past  year,  and  we  have  had 
no  complaints  about  splices  pulling 
apart.  Ethyloid  is  the  standard  cement 
in  all  Hollywood  studios  and  cutting 
rooms  as  well  as  the  Army  and  Air 
Force  motion  picture  service.  About  a 
year  ago  we  lost  a  couple  of  our  largest 
film  exchange  customers.  Today  they 
are  back  using  Ethyloid  as  before.  We 
ship  to  20  European  countries. 

R.    J.    FiSHEK 

President,  Fisher  Mfg.  Co., 
Rochester,  N.  Y. 


To  the  Editor  of  IP: 

I  assume  that  many  a  projectionist 
lost  sleep  after  reading  C.  J.  Williams' 
article  on  page  30  of  IP  for  February, 
entitled,  "Big  Future  Seen  for  New  Giant 
Magazine."  The  large  reels  were  forced 
upon  us  as  a  necessity  for  projecting 
3-D.  We  took  them  in  our  stride  and 
did  our  utmost  to  put  on  the  best  show 
we  knew  how. 

Now  comes  a  gentleman  who  doubtless 
never  struggled  with  these  "hernia  giv- 
ers" tells  us  that  they  are  practical  in 
use,  and  decrease  the  possibility  of  a 
bad  changeover  by  50  percent.  He  should 
work  on  a  shift  with  55-minute  reels 
for  a  couple  of  weeks,  and  then  make 
this  statement.  As  to  better  change- 
overs  —  what  excuse  has  a  man  for 
not  making  perfect  ones  every  time? 
That's  what  he  gets  paid  for! 

Not  only  are  tension  adjustments  more 
critical  with  oversize  reels,  but  the 
least  bend  in  a  reel  causes  uneven  pull- 
down, making  it  necessary  at  times 
to  stand  and  hold  the  reel  so  that  the 
film  won't  be  snapped.  The  heat  fac- 
tor from  continuous  running  is  very  in- 
jurious to  projector  parts.  Things  hap- 
pen that  were  unheard  of  with  2,000-foot 
reels.  As  an  example,  we  had  a  lamp- 
house  gear  bind  up  from  the  built-up 
heat. 

John  W.  Mautke 
Local  337,  Utica,  N.  Y. 


tNTERNATIONAL  PROJECTIONIST      •      MAY  1954 


23 


Re-Opening  The  Drive-ln 


This  is  the  second  and  final  installment  of  this  article  which  details 
the  requisites  for  the  proper  refurbishment  and  subsequent  efficient 
operation  of  the  drive-in  theatre,  projection-wise. 


Lamphouse  Optics 

14.  Lamp  Optics.  Mirrors  and 
condensing  lenses  must  be  taken  out 
of  the  lamphouse  for  thorough  clean- 
ing. The  very  gentlest  handling  of 
these  optical  elements  is  the  best 
protection  against  accidental  breakage. 
Approved  cleaning  methods  for  lamp- 
house  optics  have  already  appeared 
in  IP.  Damaged  and  defective  mirrors 
should  be  replaced  without  delay. 

The  projector  optical  train  may 
now  be  lined  up  by  any  of  the  usual 
methods  —  passing  an  aligning  rod 
or  stretching  a  string  through  the 
optical  centers  until  the  generator  or 
rectifier  has  been  checked. 

15.  Generator  or  Rectifiers. 
Check  the  condition  of  the  ballast 
rheostats  and  their  connections.  When 
the  current-supplying  device  is  a 
motor-generator  set,  proceed  as  fol- 
lows: 

Turn  the  generator  over  by  hand 
to  note  the  "feel"  of  the  machine. 
Carefully  blow  out  all  the  dust  from 
the  interior.  Examine  the  commuta- 
tor and  the  brushes  for  wear  and  de- 
fects. Clean  the  commutator,  scrape 
away  all  dirt  from  the  mica  spacers 
between  the  copper  bars,  and  dress 
the  commutator  by  applying  a  mere 
trace  of  petroleum  ("Vaseline")  to  its 
surface.  Correct  improper  brush  ten- 
sion. 

Grease  the  generator  per  manu- 
facturer's instructions.  Run-in  the 
generator  for  30  minutes  before  draw- 
ing current  from  it. 

If  the  current-supplying  outfit  is 
a  rectifier,  clean  the  cabinets  and 
note  the  condition  of  the  chemical 
stacks,  blower  motors,  etc.  In  the 
case  of  tungar-type  rectifiers,  test  all 
tubes  for  plate  current  and  replace  the 
weak  ones. 

Pre-Show  Light  Test 

All     switches     not    previously     ex- 
amined    should     now     be     checked. . 
Familiarize  yourself  with  the  switch- 
boards, fuse  blocks,  etc.,  and  replenish 
the  supply  of  spare  fuses. 

16.  Light   Test.    Burn-in   a   new 


trim  of  carbons  in  each  lamp.  Adjust 
the  arc-feed  mechanisms  to  maintain 
the  correct  arc  gap. 

Project  blank  light  to  the  screen. 
(Guard  against  lens  injury  by  run- 
ning the  projectors,  if  rear-shutter 
models,  and  employing  only  brief 
flashes  of  light  for  the  test.)  Adjust 
the  reflector  for  the  most  uniform 
screen  illumination,  and  adjust  arc- 
mirror  distance  to  obtain  the  brightest 
light.  Now  adjust  the  arc-indicator 
so  that  the  image  of  the  positive 
crater  coincides  with  the  line  on  the 
arcoscope  card. 

Adjustment  of  mirror-aperture  dis- 
tance may  be  necessary  in  some  cases, 
especially  when  the  light  output  of 
the  projectors  is   not  balanced. 

With  the  lens-holder  of  each  machine 
loosened  and  the  focusing  carriage  in 
midway  position,  move  the  lens  in  or 
out  by  hand  until  a  sharp  image  of 
the  aperture  edges  is  projected  on  the 


screen.  Then  carefully,  pull  the  lens 
out  toward  the  screen  until  the  aper- 
ture image  is  only  very  slightly 
blurred.  Tighten  the  nuts  of  the  lens- 
holder  with  the  lens  in  this  position. 
If  necessary,  make  pedestal  adjust- 
ments so  that  the  projected  fields  of 
both  projectors  coincide  on  the  screen. 
Mentally  note  desired  changes  in  the 
placement  of  the  screen  masking  bat- 
tens. 

Screw,  Picture  Test 

17.  Screen  and  Curtains.  Make 
the  necessary  changes  in  the  screen 
masking  and  note  the  condition  of  the 
screen.  Dust  spots  may  sometimes  be 
brushed  away  with  a  soft  brush  or 
clean  cloth. 

Check  grand-drape  and  title-curtain 
controls,  and  ascertain  the  closing 
time  of  the  title  curtain  —  information 
needed  for  "cueing"  films. 

Check  striplights,  footlights,  etc., 
for  burned-out  bulbs  and  bulbs  of 
the  wrong  size  or  color.  Make  certain 
that  all  projection  and  observation 
port  glasses  are  of  the  best  quality 
and  scrupulously  clean.  (See  "Empha- 
sis on  the  Port  Side"  by  A.  Buckley, 
IP  for  January,  1949,  p.  12.) 

18.  Picture  Test.  Use  a  good 
quality  print  for  test  purposes.  Before 
threading  up,  however,  check  the  tim- 
ing   of   the    occulting   shutter.     Bring 


The  Fair-Haired  Boy: 

Wide-Angle,  Short-Focal  Lenses 


There  is  no  question  but  that  high- 
level  policy  decisions  made  in  the  last 
month  point  dramatically  to  a  large 
screen  image  having  not  only  width 
but  height.  We  in  the  projection  field 
know  that  this  type  of  screen  image 
may  be  achieved  only  by  the  use  of  a 
wide-angle,  short  focal-length  projection 
lens. 

Comes  now  a  challenge  to  American 
optical  designers  in  the  form  of  a 
"Super  Kiptar"  lens  made  by  the  world- 
famous  Schneider  Optical  Co.  of 
Gottingen,  Germany.  These  lenses  are 
in  the  best  tradition  of  German  optical 
technology.  Significant  is  the  fact  that 
these  lenses  are  produced  in  one-fifth 
steps  from  2.0  up  to  3.80  at  a  speed  of 
F:1.9.  A  new  series  of  lenses  now  under 
development  will  extend  considerably 
this  range  of  focal  lengths.  These  Super 
Kiptar  lenses  constitute  an  interesting 
departure  from  the  time-honored  Petzval- 
type  lens  which  has   served  the  projec- 


tion   field    so   long   and    efficiently. 

The  usual  aplanatic,  or  Petzval-type 
lens  gives  superior  performance  only 
inside  a  field  of  view  not  exceeding  10 
of  15  degrees.  The  Super  Kiptar,  a 
double  anastigmatic  lens,  would  seem 
to  give  a  clear  field  of  approximately 
three  times  as  great,  namely,  30  to  45 
degrees.  This  wide  field  of  view  which 
gives  a  "flat"  field  is  ideally  suitable 
for  wide-screen  projection. 

The  chief  difference  between  the 
Super  Kiptar  and  other  widely-used 
double-anastigmats  is  that  the  front 
internal  couplet  of  the  former  does  not 
have  cemented  components  —  a  question 
which  will  continue  to  evoke  consider- 
able controversy  in  projection  circles. 

The  three  great  families  of  projection 
lenses  —  the  Petzval  aplanats,  the 
anastigmats,  and  the  double-anastigmats 
—  will  provoke  as  large  a  variety  of 
opinion  as  there  are  projectionists.  As 
always,  performance  under  actual  field 
conditions    will    provide    the    answer. 


24 


INTERNAT'ONAL  PROJECTIONIST      •      MAY  1954 


the  manual  shutter  adjustment  to  the 
midway  point.  Free  the  shutter  on 
its  shaft.  Place  a  reference  marker 
over  any  tooth  of  the  intermittent 
sprocket  when  at  rest.  Turn  the 
mechanism  by  hand,  and  when  the 
second  tooth  from  the  first  comes 
under  the  marker,  turn  the  loosened 
shutter  to  mid-occultation  position. 
Tighten  the  shutter  screws.  (See  ad- 
jacent boxed  comment  on  shutter 
blade  width.) 

Set  the  framer  midway  and  thread 
up  the  reel  of  film.  Project  the  pic- 
ture and  sharpen  focus  and  framing 
adjustments.  Note  carefully  any  de- 
fects which  require  correction  —  the 
adjustment  of  the  lateral  guide  rollers, 
for  example.  (There  is  no  need  for 
sound  during  this  test.) 

Sound  Reproduction  Check 

19.  Sound  System  and  Sound 
Test.  It  is  assumed  here  that  the 
complex  tests  and  adjustments  neces- 
sary in  connection  with  the  sound 
system  will  be  made  by  a  sound  serv- 
ice engineer.  The  projectionist  not 
having  the  benefit  of  sound  service 
ordinarily  must  rely  on  the  usual 
circuit-  and  tube-testing  methods.  The 
focus  of -soundhead  optics  may  be  set 
by  the  "flicker-test"  method.  The 
lenses  of  the  optical  tubes  must  be 
cleaned  from  time  to  time,  of  course, 
but  care  should  be  taken  not  to  dis- 
turb the  focus. 

A  final  check-up  on  the  sound  may 
be  conducted  by  running  films  in  both 
projectors  simultaneously  and  switch- 
ing the  fader  back  and  forth  to  de- 
termine whether  the  output  level  of 
both  machines  is  the  same.  The 
closeness  of  the  "match"  should  be 
within  14  db.  Sound  quality,  particu- 
larly the  clearness  of  the  higher  tones, 
should  be  checked  from  the  audi- 
torium. 

The  correlation  between  correct 
"average"  auditorium  and  projection- 
room  monitor  volume  levels  may  now 
be  established. 

All  is  now  in  readiness  for  a  com- 

(Continued  on  page  30) 


Fox    Nets    Large    1953    Profits 

Earnings  of  $4,560,887  have  been  re- 
ported by  20th  Century-Fox  for  1953. 
compared  with  $2,178,117  in  1952.  The 
company  set  a  record  in  1953  in  both 
foreign  and  domestic  film  rentals.  The 
total  for  both  was  $105,662,000,  an  in- 
crease of  13.4%  over  the  total  $93.- 
167,000  for  1952. 


Clear 

Crisp  Pictures 

with 

SUPER 
SNAPLITE 
PROJECTION 
LENSES 


Your  patrons  will 
notice  the  difference! 
Super  Snapiites  give 
you  Sharper  Pictures, 
More  Illumination, 
Greater  Contrast  and 
Definition. 

For  the  Best  in 
Projection  use  Super 
Snapiites  .  .  .  the 
only  Projection  Lenses 
to  give  you  a  true 
speed  of  f/1 .9 
in  every  focal  length 
up  to  7  inches. 

Ask  for  Bulletin  2J2 


KOLLaUOKIJEK 


Plant; 

Northampton,  Massachusetts 


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w 


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WITH    SUPER    SNAPLITE" 


INTERNATIONA!.  PROJECTIONIST      •      MAY  1954 


23 


Film  Biz  Thrives  on  Confusion  — 

or  Does  it? 


APPARENTLY  there  is  nothing  like 
turmoil  to  bring  the  motion  pic- 
ture business  out  of  a  rut.  Often  billed 
as  one  of  the  few  industries  that  can  af- 
ford the  luxury  of  one  crisis  after  an- 
other, the  film  trade  is  now  marking 
gains  on  various  financial  fronts.  (1) 
Profits  are  better  generally  than  in  the 
last  several  years.  (2)  Companies  have 
tightened  operations  and  in  many  ways 
achieved  a  more  realistic  economy. 
Official  reports  from  circuits  and  dis- 
tributors show  that  audiences  are  grow- 
ing. (4)  Achieved  tax  cuts  on  admis- 
sions represent  another  plus. 

The  film  colony's  fascination  with,  but 
uncertainty  about,  the  new  "scopes"  ap- 
pears an  example  of  where  confusion 
breeds  coin.  For  all  seem  agreed  that 
Cinerama,  CinemaScope  and,  in  certain 
instances  3-D,  have  stirred  new  public 
interest  in  the  entire  Hollywood  output. 

Following  is  a  roundup  account  of  the 
moneymaking  behavior  of  the  principal 
film  and  theatre  companies: 

Columbia — Net  earnings  jumped  to 
$1,910,000  for  the  26  weeks  ended  last 
Dec.  26,  from  $247,000  in  the  corres- 
ponding period  a  year  ago.  Studio 
embarking  on  a  substantially  more  elab- 
orate production  program  whose  cash 
requirements  likely  will  rule  out  pos- 
sibility of  an  upped  dividend  for  at  least 
the  next  six  to  nine  months.  Gross  busi- 
ness appears  rising  to  $67,000,000  for 
fiscal  1954,  or  a  gain  of  over  $6,000,000 
in  comparison  with  1953. 

LoEw's — Possibility  here  of  upped  div- 
vy within  the  next  six  months.  Companv 
in  June  of  1952  cut  its  distribution  to 
stockholders  to  20c  quarterly  per  share, 
from  37y2C.  Saving  $2,200,000  this  year 
via  trimmed  pension  plan  for  employees. 
Earnings  for  first  1954  quarter  went  up 
to  22c  per  share,  compared  with  6c  in 
first  quarter  of  1953.  Very  strong  fi- 
nancial structure.  Production  inventor- 
ies now  at  a  low  point,  influencing  de- 
cision to  step  up  rate  of  film-making  by 
eight   productions  this   year. 

National  Theatres — 1953  net  was 
$2,515,000,  or  91c  a  share,  compared 
with  $1,877,000,  or  68c  per  share  in  the 
previous  fiscal  year.  Attendance  drop- 
ped 6%  and  theatre  income  was  off 
1%  in  consequence  of  NT's  divestature 
of  31  houses,  cutting  the  total  to  385. 
Economies  accounted  for  the  earnings 
upbeat.  $1,100,000  shelled  out  for  Cine- 
maScope equipment  in  83  situations,  and 
total    expenditure    figures    to    climb    to 


"Confusion  breeds  coin"  says  the  ap- 
pended excerpt  from  a  recent  issue 
(March  31)  of  "Variety,"  the  bible  of 
show-business.  IP  agrees  with  this 
statement  only  to  the  extent  that  con- 
fusion induces  the  stimulus  for  the 
desperately-needed  technological  ad- 
vancement, particularly  in  terms  of 
industry-wide  agreement  upon  repro- 
duction standards. 


$4,000,000   for   entire   chain.    Continued 
earnings   improvement   in   prospect. 

Paramount — Wall  Street  estimates 
place  1953  earnings  at  $2.90  per  share 
on  gross  business  of  $108,000,000.  1952 
net  was  $2.52  per  share,  gross  was 
$104,800,000.  Annual  $2  divvy  rate  has 
been  maintained  since  company  formed 
in  1950  via  divorcement  reorganization. 
Appears  definite  to  continue.  Diversified 
interests  include  heavy  participation  in 
DuMont  Labs,  Telemeter  (coinbox  Tv  in 
homes).  Chromatic  Labs,  and  ownership 
of  station  KTLA  in  L.  A. 


Here  is  a  Westrex  35-mm  editing  machine 
made  available  late  in  1953,  which  won  a 
special  Academy  award  for  its  design,  con- 
struction and  performance.  Even  prior  to  this 
award,  this  film-editing  unit  won  wide  accept- 
ance by  all  the  major   Hollywood   studios. 


RKO  Pictures — Strictly  downbeat 
now,  future  plans  unknown.  Howard 
Hughes  offer  to  buy  out  entire  assets  at 
equivalent  of  $6  per  share  still  pending. 
Strongly  indicated  it  will  go  through 
(trading  price  on  the  N.  Y.  Stock  Ex- 
change has  been  $5.87^2  per  share). 
First  nine  months  of  1953  resulted  in 
deficit  of  $3,740,000,  compared  with  loss 
of  $4,777,000  in  same  period  of  1952. 
Some  stepped-up  production  is  indicated 
in  tieups  with  indie  film-makers.  Hughes, 
personally,   simply  unpredictable. 

RKO  Theatres — Total  income  for 
1953  up  to  $34,075,000,  from  $31,521,000 
in  previous  year.  Policy  of  selling  un- 
wanted (meaning  unprofitable)  proper- 
ties caused  a  net  loss  of  $296,600  for  the 
year.  Chain  took  a  loss  of  $1,205,800 
on  sale  of  two  houses,  two  real  estate 
properties.  Two  theatres  leased  to  other 
interests.  Now  has  82  theatres,  58  of 
which  have  been  equipped  for  Cinema- 
Scope.  Spent  about  $1,500,000  on  these 
installations  over  last  year. 

Stanley  Warner — First  diwy  (20c 
per  share)  was  paid  in  January.  Earn- 
ings for  first  1954  quarter  hit  21c.  No 
comparisons  available  but  all  of  1953 
brought  loss  of  17c  per  share.  Strong 
upbeat  for  balance  of  this  year  looks  for 
sure.  Tieup  with  Cinerama  shaping  as 
important  income  source.  Possible  is 
another  cash  distribution  to  stockholders 
within  next  nine  months. 

20th-Fox — Special  divvy  of  10c  per 
share  declared  along  with  regular  25c 
payoff  for  first  1954  quarter.  Strong 
cash  position  and  lessened  capital  re- 
quirements because  of  fewer  productions 
prompted  board  action  authorizing  pur- 
chase of  100,000  shares  of  company's 
own  stock  at  prevailing  prices  on  N.  Y. 
Stock  Exchange  beginning  April  15. 
Earnings  for  1953  (calendar  year) 
jumped  to  $4,560,000,  or  $1.65  per  com- 
mon share,  for  a  gain  of  over  100%. 
Has  strong  competitive  edge  in  C'Scope 
market,  but  continued  loss  of  many 
theatre  outlets  must  be  reckoned  with 
if  C'Scope  licensing  conditions  are  con- 
tinued. 

United  Artists — Indie  company 
makes  no  public  disclosures  re  finances. 
But  reliable  sources  indicate  volume  of 
business  more  than  doubled  in  last  two 
years.  Understood  all  profits  being 
poured  into  company  fund  for  financing 
production,  rather  than  split  among 
limited  partnership  group.  Heavy  coin 
coming  from  quantity  of  product  (four 
releases  a  month)  and  not  alone  a  few 
tall  money-making  pix. 

United  Paramount —  (A  m  e  r  i  c  a  n 
Broadcasting) — Despite  the  lopping  of 
39  theatres  over  the  year,  operating  in- 
come of  $114,926,000  for  1953  was  just 


26 


INTERNATIONAL  PROJECTIONIST      •      MAY  1954 


slightly  under  the  previous  year.  As  of 
start  of  1954,  chain  comprised  669  situa- 
tions. ABC  division  showing  improve- 
ment but  still  for  all  of  1953  was  a  de- 
ficit operation.  Consolidated  net  for 
19.53  amounted  to  $8,996,000,  including 
$4,480,000  from  operations  and  $4,- 
516,000  from  cap  gains,  equal  to  $2.14 
per  common  share.  No  per-share  com- 
parison available  due  to  changes  in 
capital  structure  of  circuit  as  now  amal- 
gamated with  ABC.  Program  of  C'Scope 
installations  is  listed  as  a  $6,000,000 
expenditure. 

Universal — Excess  profits  tax  nicked 
U  for  45c  per  share  last  year.  With  this 
levy  now  removed,  monetary  picture  still 
further  brightened.  Net  of  $772,979  for 
the  13  weeks  ended  last  Jan.  30  was 
highest  quarterly  report  in  eight  years. 
Extra  25c  dividend  was  voted  last  De- 
cember along  with  50c  regular.  Another 
25c  special  is  looked  for  in  not  too  dis- 
tant future.  U  has  been  steadily  on 
monetary  upbeat  for  the  last  five  years. 

Warner  Bros. — Now  appears  gaining 
ground  following  setbacks  stemming 
from  domestic  theatre  divorcement.  For 
1954  fiscal  year,  which  ends  Aug.  31, 
profit  at  $1.60  per  share  foreseen  by 
some  analysts.  1953  net  was  $1.17  per 
share,  exclusive  of  capital  gains.  Divvy 
rate  holding  at  30c  per  quarter. 

PERSONAL      NOTES 

Thomas  W.  Hope  has  been  appointed 
assistant  advisor  on  non-theatrical  film 
at  Eastman  Kodak.  Hope  is  well  known 
in  the  audio-visual  field.  Since  1945,  he 
has  been  manager  of  the  film  depart- 
ment at  General  Mills,  Inc.  In  his  new 
post  he  will  assist  John  Flory,  Kodak's 
advisor  on  non-theatrical  films. 

Adolf  R.  Schwartz,  managing  director 
of  Westrex  Australia  Pty.  Ltd.  for  the 
last  two  years,  will  leave  there  for  Bom- 
bay in  August  to  assume  a  new  post  as 
manager  for  Westrex  in  India.  William 
E.  KoUmyer,  presently  manager  in 
India,  will  return  to  New  York  early  in 


September.  He  will  be  assigned  to  the 
post  of  managing  director  in  Australia 
after  taking  his  home  leave  and  under- 
going a  period  of  special  training  at 
headquarters  in  New  York. 

Robert  J.  Carrington  has  been  ap- 
pointed advertising  manager  of  the 
Altec  Lansing  Corp.  Carrington  will 
make  his  headquarters  in  Beverly  Hills. 
Calif.,  where  the  Altec  Lansing  manu- 
facturing plants  are  located. 

Glenn  M.  Pinckney,  of  Altec  Service 
Corp.,  was  tendered  a  testimonial  signal- 
izing 25  years  of  service  with  Erpi  and 
Altec  on  April  30th.  The  affair  honoring 
Pinckney  was  held  in  the  offices  of 
Altec's  eastern  division,  Newark,  N.  J., 
where  he  served  for  several  years  as 
branch   manager. 


Kodak  Film   About  Lenses 

"Quality  in  Photographic  Lenses,"  a 
16-mm  Kodachrome  motion  picture  pro- 
duced by  the  informational  films  divi- 
sion of  Eastman  Kodak  Co.,  received  a 
"Golden  Reel"  award  in  the  first  annual 
selection  of  16-mm  "Oscars"  by  the  Film 
Council  of  America. 


A      OBITUARIES 


Abe  Lang,  60,  member  of  New  York  Local 
306,  died  suddenly  on  May  1.  For  the  past 
10  years  he  worked  as  a  projectionist  at 
Paramount  News.  In  the  early  days  of 
sound,  Lang  spent  a  great  deal  of  time 
traveling  all  over  the  country  supervising 
the  installation  of  sound  equipment  for 
Erpi.  He  was  a  member  of  Dirigo  Lodge 
No.  30,  F.  and  A.  M.  He  is  survived  by  his 
wife,   Maude,   two   brothers   and   two   sisters. 

Fred  W.  Newcomb,  71,  member  of  Local 
223,  Providence,  R.  I.,  died  last  month  after 
a  short  illness.  He  joined  the  Providence 
Local  back  in  1901  and  for  40  consecutive 
years  served  as  a  delegate  to  lA  conven- 
tions. For  the  past  20  years  he  was  secre- 
tary for  the  Third  District,  lATSE.  Many 
prominent  members  of  the  labor  movement 
attended  his  funeral.  The  honorary  bearers 
were  James  E.  Brennan,  1st  lA  vice-presi- 
dent; Herbert  Slater,  Philip  Sugarman,  and 
Fred  Coates,  members  of  Local  223,  Provi- 
dence, and  Gerald  H.  Payne,  Local  .538, 
Westerly. 

James  J.  Gorman',  64,  president  of  Local 
110,  Chicago,  111.  for  the  past  ten  years, 
died  last  month.  At  the  time  of  his  death, 
he  was  chief  projectionist  at  the  State  Lake 
Theatre  in  Chicago.  He  is  survived  by  his 
wife,   two   sons,   and   a   daughter. 


CURTAIN  CONTROLS, 
TRACKS  and  SPECIAL 
OPERATING   DEVICES 

VALLEN,lnc. 

AKRON  4,  OHIO 


INTERNATIONAL   PROJECTIONIST      •      MAY   1954 


AH  QNCOHPITWHAL  GUARANTCe  * 


The  NEW  HI-LUX  Screen 
has  reached  a  state  of  perfection 
that  will  meet  the  most  EXACT- 
ING projection  requirements! 

SEAMLESS  CONSTRUCTION 

UNIFORMITY  OF  SURFACE 

SHARP  DEFINITION 

EVEN  DISTRIBUTION  TO  ALL 
USEFUL  ANGLES . . . 
TEAR-PROOF  CONSTRUCTION 

(^tMn^uttcc  cutd  tfcu,  TfVi.  ^«^<!^e%Mr,  one  t^  ^u<C^f 


RAYTONE  SCREEH  CORP. 


165  CLERMONT  AVENUE 
BR00KLYN5.NEWY0RK 


27 


Color  'Sensation'  vs  Color  'Stimulus' 


FOR  a  proper  understanding  of  the 
anatomy  of  color  we  have  to  dis- 
tinguish between  the  conceptions  of 
"color  stimulus"  and  "color  sensation," 
reports  the  Philips  Technical  Review, 
Philips  Laboratories,  Eindhoven,  Hol- 
land. A  color  stimulus  is  the  subject  of 
technical  color  measurements.  It  is  en- 
tirely different  from  color  sensation, 
which  is  sometimes  indicated  merely  by 
the  word  "color"  as  applying  to  the  sub- 
jective sensation  of  the  observer. 

The  fact  that  a  given  color  stimulus 
may  give  rise  to  different  color  sensa- 
tions is  ascribed  to  a  change  in  the 
retina  of  the  eye  under  the  influence  of 
light.  This  phenomenon  is  termed 
"chromatic  adaptation"  and  it  greatlv 
affects  the  impressions  we  obtain  from 
our  surroundings. 

'Sensai'ion'  and  'Stimulus' 

The  color  sensation  we  get  from  an 
object  in  our  surroundings  depends  upon 
the    following    three    groups    of    causes. 

(a)  The  spectral  composition  of 
the  light  that  the  colored  object 
throws   upon   the   eye. 

(bj     The    "normal"    laws    of    addi- 


tive color  mixing  of  the  eye,  i.e.,  the 
laws  governing  the  results  of  additive 
mixing  of  colored  light  for  the  normal 
eye  under  standardized  conditions. 

(c)     All  sorts  of  incidental  circum- 
stances  affecting  the   state  of  our   or- 
gans of  sight  at  the  moment. 
The  result  of  a  technical  measurement 
of  color  is  called  "color  stimulus,"  which 
depends  only  upon  the  factors  a  and  b 
aforementioned. 

Factors  Affecting  Vision 

The  circumstances  affecting  the  color 
of  a  beam  of  light  of  given  physical 
properties  come  under  the  following 
headings: 

(1)  Characteristics  of  the  eye  of 
the  individual  observer. 

(2)  Properties  of  the  objects 
viewed  which  evoke  physical  influence, 
i.   e.,  memory. 

(3)  The  state  of  the  retina,  which 
is  affected  by  other  light  impinging 
upon  other  parts  of  the  retina  while 
the  beam  from  the  object  is  under 
view,  or  by  such  other  light  as  may 
have  just  previously  reached  it. 

It  might  be  considered  ideal  to  possess 
a  complete  set  of  specifications  for  pre- 


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More  than  25  years  of  knowledge  and 
experience  in  the  installation  and  main- 
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systems  assures  you  top  standards  of 


performance  in  Stereophonic  Sound. 

In  addition,  thoroughly  dependable, 
prompt  and  courteous  service  are  yours 
when  you  call  in  RCA  Theatre  Service. 


RCA  Service  Company,  Inc. 

A  Radio  Corporation  of  America  Subsidiary 
Camden,  N.  J. 


The  chromatic  adaptation  of  the  eye  is  very 
well  demonstrated  by  illuminating  a  trans- 
parent window  (A)  with  a  light  of  a  certain 
color  and  the  surrounding  field  (B)  first  with 
artificial  daylight,  for  instance,  and  then 
with  incandescent  light.  Shortly  after  chang- 
ing over  from  daylight  to  lamplight  the  eye 
directed  upon  (A)  sees  a  change  of  color  in 
the    window    in    the    center    of    the    diagram. 

dieting  the  nature  of  a  color  sensation 
from  the  various  physical  conditions. 
As,  however,  a  color  sensation  is  difficult 
to  express  in  numerical  terms  and,  more- 
over, depends  upon  so  many  circum- 
stances, some  of  which  are  of  a  non- 
physical  nature,  such  an  ideal  can  never 
be  fully  realized. 

Thanks  to  the  simple  normal  laws  of 
additive  color  mixing  of  the  eye,  it  has 
been  possible  to  draw  up  complete  speci- 
fications for  the  measuring  of  color 
stimuli,  so  that  now  there  are  tables 
enabling  one  to  calculate  a  color  stimu- 
lus from  the  results  of  purely  physical 
measurements,  without  any  recourse  to 
visual  judgment. 

Color  Sensation  Characteristics 

The  characteristic  features  of  a  color 
sensation  are: 

(1)  Hue:  the  property  of  color 
sensation  causing  us  to  give  the  color 
a  name  such  as  red,  green  and   blue. 

(2)  Saturation:  the  extent  to 
which  a  color  sensation  differs  from 
"white"  or  to  which  the  sensation  is 
"colored";  the  property  that  causes 
us  to  speak  of  faded  colors  or  of 
vivid   colors. 

(3)  The  impression  of  brightness: 
the  property  that  causes  us  to  speak 
of  light  and  dark  colors. 

The  great  influence  of  the  surround- 
ings upon  colors  can  be  further  demon- 
strated in  the  following  way  (Fig.  1).  A 
transparent  window  can   be  illuminated 


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28 


INTERNATIONAL  PROJECTIONIST      •      MAY  1954 


at  the  back  with  a  number  of  differently 
colored  lamps.  Around  the  window  is  a 
field  which  may  emit  incandescent 
lamp-light  or  artificial  daylight  as  de- 
sired, without  affecting  the  light  passing 
through  the  window. 

"Persistence  of  Vision" 

If  the  whole  set-up  is  viewed  from  a 
few  yards  away  and  the  light  in  the  sur- 
rounding field  is  changed  from  daylight 
to  incandescent  lamplight,  then  in  most 
cases  after  a  while  a  decided  change  oi 
color  seems  to  take  place  in  the  small 
lighted    window. 

The  fact  that  the  change  in  color  is 
not  noticed  until  some  time  after  the  sur- 
rounding light  is  changed  indicates  that 
the  eye  requires  some  time  to  adapt  it- 
self to  the  changed   surroundings. 

A  "law"  has  been  formulated  which 
for  a  number  of  years  now  has  been 
widely  adopted  by  psychologists  and 
physiologists: 

"The  color  sensations  created  by  the 
colored  objects  in  our  surroundings  are 
practically  independent  of  the  kind  of 
light  with  which  the  whole  scene  is  il- 
luminated." 


Goomhye  Curved  Screens? 

Proponents  of  the  curved  screen  re- 
ceived a  near-fatal  blow  with  the 
opening  of  the  installation  by  the  Radio 
City  Music  Hall,  N.  Y.  City,  world's 
largest  theatre,  of  a  Flat  Matte  seam- 
less screen.  This  move  by  the  Hall  is 
public  confirmation  in  a  smashing  man- 
ner of  every  objection  to  curved  screens 
ever  voiced  by  IP. 

This  signal  defeat  for  the  adherents 
of  curved  screens,  which  IP  regarded 
from  the  very  first  as  a  "joker,"  was 
all  the  more  humiliating  because  it 
happened  simuhaneously  with  the  open- 
ing at  the  Hall  of  the  CinemaScope 
production  "Rose  Marie"    (M-G-M). 

The  flat  matte  screen  was  also  used 
for  the  subsequent  highly  important 
(to  Paramount)  demonstrations  of 
VistaVision  films  before  a  highly  critical 
audience. 

As  always,  the  passing  of  time  in- 
exorably demolishes  the  fakers  and  the 
technically   ignorant. 


New  Advertising  Projector 

An  automatic  projection  unit  designed 
to  be  used  in  theatres  for  promotion  of 
coming  shows,  concession  products,  etc., 
has  been  marketed  by  Genarco,  Inc.,  of 
New  York  City.  Called  the  "Sales 
Robot,"  the  new  unit  provides  a  5-inch 
by  6-inch  rear-projection  image  for 
seven  seconds  and  then  automatically 
changes  the  slide. 


INTERNATIONAL  PROJECTIONIST      •      MAY  1954 


I 


u 


m 


Sharpest  image, 
edge-to-edge . .  • 
most  uniform  light 
distribution . . . 


m 

j'4 


on  any  screen 

•  NORMAL   2D-3D 

•  EXPANDED    2D-3D 

•  CINEMASCOPE 


I 


Recommended  by  20th  Century-Fox  for  clearest, 
sharpest,  brightest  CinemaScope  screen  images. 
Cotnplete  range  of  focal  lengths,  for  finest  image 
quality  of  any  film,  on  any  screen. 


Bausch  &  Lomb 


Projection  Lenses 


WRITE  for  new  catalog 
E-123.  Bausch  &  Lomb  Opti- 
cal Co.,  61629  St.  Paul  St., 
Eochester  2,  N.  Y. 


BAUSCH  &  LOMB 


29 


RE-OPENING  THE  DRIVE-IN 

(Continued  from   page   25) 

plete  2-  or  3-reel  picture-and-sound 
rehearsal  which  will  provide  practice 
in  opening  and  closing  the  show  and 
in  making  changeovers. 

20.  Auxiliary  Apparatus.  A  check 
of  film  rewinders,  splicers,  storage 
cabinets,  stereopticons,  spotlights,  etc., 
is  in  order.  The  non-synchronous 
phonograph  is  also  to  be  examined 
for  mechanical  and  electrical  defects. 
Frequency  response  changes  may  be 
necessary  when  disk  reproduction  is 
unsatisfactory. 

Projection  preparations  in  drive-in 
theatres  are  comparatively  simple. 
This  type  of  theatre  is  a  fairly  recent 
innovation,  hence  the  projection  equip- 
ment installed  in  such  operations  is 
comparatively  modern.  Sound  tests 
in  drive-in  theatres  include  a  check 
of  all  plug-in  boxes  and  in-car 
speakers. 

Screen  problems,  too,  are  different 
from  those  in  permanent  theatres. 
Evidences  of  weathering  on  the  screen 
surface  call  for  a  repainting  of  the 
entire  screen. 


The  suggested  procedure  for  lining 
up  the  equipment  in  the  "permanent" 
type  of  theatre  is  applicable  in  a  gen- 
eral way  to  drive-in  and  "temporary" 
theatres.  The  projectionist  assigned 
to  a  summer  theatre  can  make  certain 
of  conserving  time  and  effort  by  tak- 
ing this  copy  of  IP  along  with  him, 
or  else  jotting  down  in  his  notebook 
the  numbered  capital-letter  headings 
of  the  20  steps  present  herein. 


BACKSTAGE  AT  CINERAMA 

(Continued  from   page   16) 

tape  clipping  along  at  that  rate  with 
very  little  of  it  overlapping. 

I  did  not  get  to  see  the  console  unit 
until  several  nights  later — and  then  in 
the  company  of  Jim  Day,  veteran  pro- 
jectionist and  console  operator.  An 
audiophile  and  amateur  radio  op- 
erator with  a  background  in  theatre 
operation  and  sound  work,  Jim  is  par- 
ticularly well  qualified  for  his  job. 
While  waiting  for  the  second  half  of 
the  show  to  start,  I  asked  him  a  few 
questions  about  the  console.  "Come 
on,"  he  said,  "I'll  show  you." 


Altec's  current  installation  rate  accounts  for  75%  of  total 
stereophonic  sound  sales! 

Broadway  or  Main  Street,  theatre  owners  l<now  Altec's  engineering 
skill  and  know-how  assure  perfect  installation,  sure  service. 

That's  why  Brandt's  GLOBE,  Broadway,  New  York,  (pop,  8,000,000) 
and  the  OPERA  HOUSE,  Lebanon,  New  Hampshire,  (pop.  4,614) 
signed  Altec  stereophonic  installation  and  service  contracts! 


SPECIALISTS  IN  MOTION  PICTURE  SOUND 

161  Sixth  Avenue,  New  York  13,  N.Y. 


ALTEC 


"Turn  up  your  spotlights.  Earl," 
Jim  said  into  the  microphone  after 
we  had  settled  ourselves  before  the 
control  panel.  The  great  concave  cur- 
tain suddenly  was  bathed  in  radiance. 

"Houselights  half  way."  As  the  elec- 
trician backstage  dimmed  the  chande- 
liers, Jim  began  reciting  a  check  list 
for  the  projectionists: 

"One  'B,'  Print  Eleven.  In  frame. 
'S'  in  the  upper  left  hand  corner. 
Counter  on  zero.  Gate  in  top  side  up. 
Full  trim,  clamp  down.  Sound  is  in 
'remote':  Able,  Baker,  Charlie,  switch 
to  'remote'  when  you  are  ready." 

One  after  another,  three  orange 
lights  appeared  on  the  control  panel, 
indicating  that  the  projectionists  had 
turned  over  control  of  their  machines 
to  the  console. 

"Open  the  curtain,"  said  Jim;  and 
the  huge  drapes  rolled  apart,  revealing 
the  magenta-lighted  screen.  "Motor 
count:  one,  two,  three,  on."  He 
pushed  several  switches  to  the  right 
and  Lowell  Thomas'  voice  began 
shouting  "quiet"  from  various  parts 
of  the  auditorium  —  the  beginning  of 
the  stereophonic  sound  demonstration. 

"All  machines  are  now  in  sync," 
Jim  announced. 

"In  sync  with  what?"  I  asked. 
"There's  no  picture." 

"No,  but  all  machines  are  running," 
he  replied,  indicating  three  flashing 
green  lights  on  the  board.  "There  are 
461  feet  of  opaque  leader  before  the 
Cypress  Gardens  sequence  begins." 

Starting  the  Picture 

Just  as  the  sound  demonstration 
ended,  Jim  flipped  three  switches, 
opening  the  dousers  on  the  projectors. 
Simultaneously,  he  told  Earl  to  kill 
the  screen  lights.  Suddenly  we  were 
in  Florida,  enveloped  by  the  Cypress 
Gardens. 

"How  do  you  correct  the  sync  from 
here?"  I  wanted  to  know, 

"Here,"  motioned  Jim,  "I'll  show 
you.  The  center  projector  is  behind 
right  now." 

Sure  enough,  the  center  green  light 
was  failing  to  flash,  though  I  could 
not  detect  anything  amiss  on  the 
screen.     Holding    down    a    switch    to 


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30 


INTERNATIONAL  PROJECTIONIST      •      MAY  1954 


override  the  automatic  synchronizer, 
he  began  turning  the  center  one  of 
three  knobs  on  the  board.  When  he 
had  turned  it  to  the  right  two  gradua- 
tions, the  center  light  began  to  blink 
again. 

"Two  frames  out,"  he  said.  I  went 
on   asking   questions. 

"How  do  you  get  the  projectionists 
to  regulate  their  arcs  in  order  to 
match  the  brilliance  of  the  screen 
panels?" 

"I  don't.  I  control  them  from  here 
— watch  the  right  panel."  As  he  held 
down  a  switch,  a  slight  change  in  light 
intensity  could  be  noticed  on  one  of 
the  panels.  Reversing  the  switch 
brightened   it   again. 

Jim  explained  as  the  canoeing 
sequence  began  to  unfold,  "each  of 
the  five  channels  runs  through  its  own 
speaker  behind  the  screen.  But  we 
have  an  additional  effect  that  sounds 
even  better."  He  plugged  a  patching 
cord  into  the  console  board. 

The  effect  was  as  if  the  Everglades 
suddenly  were  all  around  us.  What  he 
had  done  was  to  put  the  bird  calls 
which  had  been  coming  down  from 
one  of  the  stage  speakers  onto  the 
auditorium  speakers  as  well.  Later 
on,  during  the  America  sequence,  he 
arranged  the  choir  so  that  the  basses 
sang  from  the  rear,  the  sopranos  from 
one  side,  and  the  altos  from  the  other. 
The  effect  was  terrific. 

The  side  and  rear  speakers  are  al- 
ways manually  controlled.  Since  the 
stage  speakers  account  for  five  of  the 
sound  tracks,  the  operator  must  manu- 
ally direct  the  sixth  track  wherever  it 
belongs  in  the  auditorium.  The 
seventh,  or  composite  track,  is  not 
used  regularly.  Playing  the  same 
track  out  of  all  the  speakers  at  once 
results  in  sound  wave  interferences 
that  cancel  each  other  out  in  some 
parts  of  the  auditorium,  reinforce 
each  other  and  distort  the  sound  in 
others. 

New  Productions 

I  asked  Ed  Miller  what  plans  there 
were  for  new  Cinerama  productions. 
"Louis  de  Rochemont  (who  made 
Martin  Luther  and  House  on  92nd 
Street)  is  working  on  one  for  us,"  he 
said.  "He  had  a  crew  in  New  Eng- 
land that  finished  up  there  recently 
and  then  went  to  Europe;  and  another 
crew  just  got  back  from  South  Amer- 
ica. It  will  obviously  be  some  kind  of 
travel  picture,  but  I  don't  know  any 
of  the  details." 


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511  Fifth  Avenue,  New  York  City,  N.  Y. 

Tel.;  MU  2-3056  Cable:  WALFUTTER  New  York 


INTERNATIONAL  PROJECTIONIST 


MAY  1954 


31 


WHO  KILLED  COCK  ROBIN? 

(Continued  from  page   10) 
the    demands    of   precision   and   tech- 
nology to  the  death. 

How  valiant  was  his  resistance  may 
be  judged  from  a  3-D  trade  premiere 
in  a  three-quarter-million  community 
where  the  projectionists  were  denied 
any  rehearsal  and  the  preparation  and 
alignment  of  equipment  was  cut  short 
with  the  exhibitorial  comment  that 
"it  wasn't  necessary".  Consequently 
the  picture  opened  with: 

1.  Projectors  out  of  plumb  and  out 
of  registry. 

2.  Projectors  out  of  synchronism. 


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Actually,  a  splice 
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3.  One  projector  1%  turns  out  of 
focus. 

4.  Polaroid  filter  on  the  other  pro- 
jector reversed. 

A  film  company  representative  view- 
ing the  premiere  stated  it  was  the  best 
of  14  he  had  seen.  The  other  13  must 
have  been  beauts. 

Another  theatre  in  the  same  city 
ran  a  3-D  picture  out  of  synchronism 
for  its  entire  engagement.  The  man- 
ager refused  to  let  it  be  corrected. 
Such  was  the  calibre  of  the  exhibs 
valiant  resistance.  Their  heroism  is 
fittingly  memorialized  in  the  mute 
fronts  of  their  dark  and  silent  theatres. 

Here  and  there  are  faintly  flicker- 
ing promises  that  sufficient  exhibitors 
have  realized  that  this  is  IT,  that  the 
dictum  now  is  precision  and  technol- 
ogy "or  else"  if  the  industry  is  to 
stay  alive.  It  is  less  likely  that  the 
engineering  and  service  companies 
one  day  will  realize  that  one  smooth 
performance  in  the  laboratory  and  a 
full  day  of  smooth  performances  in 
the  theatre  are  two  vastly  different 
matters  and  that  the  latter  absolutely 
requires  advance  delivery  of  film  and 
tape,  inspection,  constant  checking, 
adequate  pre-show  cleaning  and  ad- 
justment   and    rehearsals 

All  these  add  up  to  "booth  costs." 
If  the  exhibitor  be  unwilling  to  pay 
this  nominal  price  for  a  full  house, 
he  should  then  emulate  the  farmer  and 
the  airlines,  set  up  a  good  lobby  in 
Washington  and  get  a  government 
subsidy.  After  all,  you  can't  beat 
"free  enterprise"  —  if  someone  else 
will  pay  for  it. 


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ANATOMY  OF  C'SCOPE 

(Continued  from  page  8) 

lowed  by  20th  to  employ  such  a 
screen  for  CinemaScope,  the  produc- 
tion of  CinemaScope  films  by  other 
companies  and  the  waning  novelty- 
value  of  the  process  will  undoubtedly 
spur  efforts  toward  pictorial  improve- 
ment by  means  of  a  flat  screen. 

F\ai  tAaiie  Screen  advocated 

But  it  is  not  only  to  obtain  a  flat 
surface  for  undistorted  CinemaScope 
projection  that  the  writer  advocates 
matte  screens.  Alumirmm  screens  have 
several  serious  faults  which  must  be 
weighed  against  their  two  advantages 
— high  brilliance  and  ability  to  pre- 
serve the  polarization  of  light  in  3-D 
projection. 

Aluminum  screens,  even  in  stand- 
ard projection,  are  likely  to  impart  a 
grainy,  blotchy  appearance  to  the  pro- 
jected pictures.  The  graininess,  usu- 
ally visible  from  seats  near  the  screen, 
is  caused  by  the  physical  character- 
istics of  aluminum  pigments  and  by 
the  texture  of  the  screen  fabric  to 
which  the  metallic  paint  is  applied. 
One    of    the    approved    CinemaScope 


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"TRU-CENTER" 
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"A  FLICK  O'  THE  WRIST" 

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MODDAT    I         113  W.  42  ST. 

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CARBONS,  Inc.    boonton,  N.  J. 


32 


INTERNATIONAL  PROJECTIONIST 


MAY  1954 


screens,  for  example,  is  embosj:ecl  in 
such  a  way  that  the  pictures  look  as 
though  they  had  been  photographed 
on  coarse-grained  film.  The  blotchi- 
ness  is  due  to  wrinkles  and  "waves"  in 
the  screen. 

Wrinkles  in  matte  screens  are  in- 
visible if  not  too  severe,  and  they 
never  produce  irregularities  in  light- 
ing. Aluminum  screens,  on  the  other 
hand,  are  so  specular  or  mirror-like 
that  the  slightest  departure  from  a 
smooth  surface  shows  up  as  dark  spots 
or  streaks.  Even  the  most  careful 
stretching  is  no  guarantee  that  the 
curved  aluminum  screen  will  have  the 
smoothness  necessary  for  uniform 
brightness  when  illuminated  by  the 
virtual  point-source  of  the  projector 
lens. 

These  two  failings  of  aluminum 
screens  result  in  a  noticeable  deterio- 
ration of  pictorial  quality.  Fine  detail 
of  low  contrast  is  partially  obscured 
by  the  graininess  of  the  CinemaScope 
screen,  and  the  delicate  nuances  of 
photographic  tone,  so  perfectly  repro- 
duced on  matte  screens,  are  coarsened 
and  blurred  on  aluminum  screens.  The 
loss  of  definition  is  practically  in- 
visible from  the  back  rows  of  seats; 
but  the  blotchiness  of  illumination  is 
not  masked  by  distance. 

Deterioration  of  Image  Character 

In  wide  theatres  the  use  of  alumi- 
num screens  is  inacceptable  because  of 
the  extremely  serious  fadeaway  of 
light  at  large  viewing  angles.  While 
patrons  in  the  middle  of  the  audi- 
torium see  an  excessively  bright  pic- 
ture, observers  seated  at  the  sides  of 
the  auditorium  see  a  dim  picture.  As 
seen  from  the  side  seats  "down  front," 
the  picture  is  eye-strainingly  dark. 
Differences  in  brightness  at  different 
viewing  angles  do  not  exist  with  matte 
screens. 

Recall  the  aforementioned  effect  of 
perspective-foreshortening  with  curved 
screens.  While  the  foreshortening  ex- 
perienced by  an  observer  seated  at 
the  side  of  the  auditorium  is  uniform 


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Movie  Critique 

"Prince  Valiant"  and  "Rose  Marie" 
—  they  are  big,  booming,  Cinema- 
Scopic  broadsides  that  make  loud 
noises  and  blast  thin  air. — Bosley 
Croivther,  N.  Y.  Times. 


in  degree  in  the  case  of  flat  screens. 
the  curved  screen  gives  a  greater 
amount  of  foreshortening  on  the  side 
nearest  the  observer.  But  more  annoy- 
ing than  the  non-uniform  foreshorten- 
ing with  curved  screens  is  the  serious 
fadeaway  of  light  on  the  side  of  the 
aluminum  screen  farthest  from  an  ob- 
server in  a  sideseat.  Only  close  to  th''^ 
center-line  of  the  auditorium  does  the 
picture-illumination  appear  reasonably 
uniform  on  the  curved,  aluminum- 
surfaced  CinemaScope  screen. 

Seamless  Screens  a  "Must" 

The  specular  characteristics  which 
make  wrinkles  in  aluminum  screens 
highly  visible  also  makes  seams  dis- 
agreeably conspicuous.  CinemaScope 
screens  should  be  made  in  one  piece, 
or  else  joined  so  that  no  seam  is 
visible.  The  large  number  of  con- 
spicuous seams  in  the  Miracle  Mirror 
screen,  for  example,  produce  the  effect 
of  vertical  wires  suspended  between 
the  observer  and  the  crazily-distorted 
world  of  CinemaScope.  Yet  Miracle 
Mirror  is  an  approved  screen !  The 
miracle,  we  think,  is  that  20th-Fox 
would  approve  decorating  "The 
Robe,"  its  most  grandly  upholstered 
CinemaScoper,  with  barrier-like  ver- 
tical seams  that  resemble  the  bars  of 
a  bird-cage. 

The  "depth-effect"  of  CinemaScope 
isn't  even  an  illusion — it's  totally 
nonexistent.  The  myth  is  kept  alive 
by   the   pitchman's   slogan,    "You   see 


it  without  glasses."  The  implications 
are  fraudulent.  One  look  at  Cinema- 
Scope with  or  without  glasses  is  sufli- 
cient  to  demonstrate  the  strictly  2-D 
quality  of  the  process. 

Image  Composition   Governs 

The  illusion  of  depth  is  greater  in  a 
conventional  picture  than  in  Cinema- 
Scope because  the  exaggerated  wide- 
iiess  of  the  latter,  together  with  the 
geometrical  distortions  resulting  from 
screen  curvature  and  projection  angle, 
materially  decrease  the  psycho-visual 
effectiveness  of  photographic  perspec- 
tive. As  a  substitute  for  real  stereop- 
sis,  CinemaScope  is  a  big  disappoint- 
ment. It  has  no  more  depth  than  an 
animated  billboard. 

Anent  CinemaScope,  our  opinion  is 
that   landscapes   from    which    straigJil 


s 


9 


PUCES 

NOT 
HOLDING 

Film  breaks  are  costly. 
Play  safe  by  using 

JEFRONA 

All-purpose  CEMENT 

Has  greater  adhesive 
qualities.  Don't  take 
our  word  for  it.  Send 
for  FREE  sample  and 
judge  for  yourself. 

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INTERNATIONAL  PROJECTIONIST      •      MAY  1954 


I 


33 


lines  are  absent — scenes  of  mountain- 
ous terrain,  for  example, — are  thrill- 
ingly  realistic  on  the  wide  screen.  This 
i^  especially  true  when  such  scenes  are 
phot  from  airplanes  or  vehicles  to  im- 
part motion  to  the  camera. 

The  illusion  is,  however,  one  of 
spaciousness  and  distance,  not  of  true 
3-D.  Stereoscopy,  or  3-D,  involves 
binocular  perception  of  depth,  which 
obtains  only  in  the  case  of  nearby 
objects.  Scenery  more  than  900  or 
1000  feet  distant  is  absolutely  "flat" 
as  perceived  by  human  vision;  and 
true  stereoscopy  appears  only  when 
foreground  objects  are  present. 

Conventional  3  x  4-proportioned 
2-D  movies  are  similarly  capable  of 
effectively  reproducing  the  grandeur 
of  natural  scenery  when  the  screen  is 
Sidtably  large  (as  it  is  in  many  thea- 
tres) and  they  have  the  advantage 
over  CinemaScope  of  superior  photo- 
graphy, undistorted  pictorial  repre- 
sentation, and  a  better  suggestion  of 
depth.  True  3-D  movies,  which  must 
be  viewed  through  analyzers,  are  use- 
ful as  a  novelty  and  should  be  con- 
tinued on  that  basis. 

So,  too,  should  CinemaScope,  for 
that  matter.  But  like  CinemaScope, 
3-D  pictures  fall  far  short  of  the 
standards  of  viewing  comfort  and 
naturalness  which  have  characterized 
conventional  pictures  for  many  years. 

Presently,  CinemaScope  employs  a 
specially  performed  35-mm  film  to 
which  is  applied  three  magnetic  sound 
strips  0.063  inch  wide  and  one  which 
is  only  0.029  inch  wide.  (The  narrow 
strip,  intended  for  incidental  sound 
effects,  is  seldom  used. )  Of  the  three 
comparatively  wide  strips,  one  is  ad- 
jacent to  the  picture-area  and  occupies 
the  place  of  the  somewhat  wider  nor- 
mal photographic  soundtrack  of  stand- 
ard release  prints.  The  other  two  are 
placed   outside  the  perforations. 

hAagr\eiic-Track  Structure,  Cost 

These  strips,  applied  to  the  base- 
side  of  the  film,  contain  finely  divided 
iron  oxide  obtained  by  chemical  pre- 
cipitation and  constitute  magnetic 
soundtracks  for  stereophonic  repro- 
duction. This,  together  with  several 
otlier  factors  to  be  discussed,  makes 
CinemaScope  prints  much  more  ex- 
pensive than  standard  release  prints. 
The  CinemaScope  projector-aper- 
ture (0.912  X  0.715  inch)  is  approxi- 
mately 9.5%  wider  and  16.1%  higher 
than  the  standard  35-mm  aperture. 
The  standard   soundfilm   aperture   ac- 


cordingly has  an  aspect-ratio  of  1  to 
1.375  (which  is  exactly  reproduced 
on  the  screen  by  normal  projection 
lenses  at  a  zero-degree  projection 
angle),  while  the  CinemaScope  aper- 
ture has  an  aspect-ratio  of  only  1  to 
1.275.  But  because  the  anamorphic 
CinemaScope  lens  has  an  "extension- 
factor"  of  2,  the  projected  Cinema- 
Scope picture  has  an  aspect-ratio  of  1 
(1.275  x  2)  which  equals  1  to  2.55. 
Fig.  3  illustrates  the  relative  sizes  of 
standard  and  CinemaScope  projector 
apertures  and  screen  images. 

The  slightly  larger  size  of  the  Cine- 
maScope aperture  does  not  require  an 
increase  of  arc  current.  This  aper- 
ture merely  utilizes  more  of  the  "spot" 
a)id  passes  about  1.3  times  more  light 
to  the  lens.  The  anamorphic  lens, 
however,  cuts  screen  illumination 
(foot-candles)  in  half  because  it 
doubles  the  area  of  the  picture.  If  a 
white  screen  were  used,  twice  the  nor- 
mal amount  of  light  would  be  needed 
for  CinemaScope;  on  an  aluminum 
screen  having  twice  the  apparent 
brightness  of  a  white  screen  (foot- 
lamberts),  no  increase  in  arc  amper- 
age is  necessary. 

Inherent  Error  Magnified 

Very  important  in  CinemaScope 
projection  is  the  fact  that  the  ana- 
morphic lens  having  an  extension-fac- 
tor of  two  (2)  doubles  the  amount  of 
sidesway   of  the   picture.     The   writer 


has  observed  that  the  sidewise  weaving 
is  especially  disagreeable  with  pro- 
jectors having  studio  guide-rails  for 
edge-guiding  the  film  through  the 
gate.  The  rails  seldom  fit  the  width  of 
the  film  exactly;  and  if  adjusted  to 
accommodate  brand-new  prints,  they 
will  be  too  far  apart  to  prevent  side- 
sway  when  shrunken  film  is  run.  All 
film,  even  triacetate  safety  stock, 
shrinks  with  age  and  repeated  use. 

Sidesway  occurs  in  the  older  pro- 
jectors having  but  one  flanged  guide- 
roller  and  no  guide-rails,  of  course; 
but  the  absence  of  guide-rails  makes 
weaving  less  conspicuous.  When  the 
film  "brings  up"  against  one  guide- 
rail,  it  immediately  "bounces"  to  the 
other  rail  and  oscillates  from  side  to 
side  in  an  irregular  manner.  The 
rails  limit  the  range  of  sidesway,  but 
they  increase  its  frequency,  making  it 
very  objectionable  indeed. 

The  sidesway  problem  has  been 
completely  licked  in  projectors  em- 
ploying two  flanged  guide-rollers,  one 
at  the  top  of  the  gate  and  the  other 
just  below  the  intermittent  sprocket. 
Projectionists  who  do  not  have  ma- 
chines of  this  modern  construction 
vdll  find  that  a  pair  of  older  mechan- 
isms having  no  guide-rails  wiU  give 
excellent  CinemaScope  results  if  the 
mechanisms  can  accommodate  f:1.9 
lenses  and  are  fully  reconditioned. 

[TO  BE  CONCLUDED] 


How  Many? 


Was  this  copy  dog-eared  when  it  came  to  you? 
How  many  men  read  it  ahead  of  you? 

You  would  receive  a  clean,  fresh  copy  if  you  had 
a  personal  subscription— and  you  wouldn't  have 
to  wait— you  would  be  first  to  read  it. 

Use  coupon  below. 


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34 


INTERNATIONAL  PROJECTIONIST      •      MAY   1954 


LJnd^r    his    jaclc^t 


Are  you  proud  that  he  has  everything 
he  needs  as  he  starts  the  adventure  of 
each  day  at  school  ?  Be  prouder  still  of 
something  hidden  tinder  his  trim  jacket 
—the  stout  lieart  that  sends  him  off 
unafraid  and  eager. 

This,  too,  you  have  given  him  because 
your  love  lias  made  his  small  ivorld 
secure.  With  it,  he  will  build  his  own 
security  as  each  challenge  comes,  in 
those  days  when  he  must  stand  alone 
without  you. 

What  finer  gift  can  you  give  those  you 
love  than  the  gift  of  security?  It  is  the 
great  privilege  in  America,  where  we 
are  free  to  provide  it. 

And  think,  too— this  is  the  way  each  of 
us  helps  build  the  security  of  our 
country,  by  simply  taking  care  of  our 
own.  A  secure  America  is  the  sum 
of  its  secure  homes. 

The  security  of  your  country  begins 
in  your  home. 


Saving  for  security  is  easy!  Read  every  word  — now! 


If  you've  tried  to  save  and  failed, 
chances  are  it  was  because  you  didn't 
have  a  playi.  Well,  here's  a  savings  sys- 
tem that  really  works— the  Payroll 
Savings  Plan  for  investing  in  U.  S. 
Savings  Bonds.  This  is  all  you  do.  Go 
to  your  company's  pay  office,  choose 
the  amount  you  want  to  save— a  couple 
»f  dollars  a  payday,  or  as  much  as  you 
wish.  That  money  will  be  set  aside  for 
you  before  you  even  draw  your  pay. 


And  automatically  invested  in  Series 
"E"  U.S.  Savings  Bonds  which  are 
turned  over  to  you. 

If  you  can  save  only  $3.75  a  week  on 
the  Plan,  in  9  years  and  8  months  you 
will  have  $2,137.30. 

U.  S.  Series  "E"  Bonds  earn  interest 
at  an  average  of  3%  per  year,  com- 
pounded semiannually,  when  held  to 
maturity!  And  they  can  go  on  earning 


interest  for  as  long  as  19  years  and  8 
months  if  you  wish,  giving  you  a  re- 
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vestment ! 

Eight  million  working  men  and 
women  are  building  their  security  with 
the  Payroll  Savings  Plan.  For  your 
sake,  and  your  family's,  too,  how  about 
signing  up  today?  If  you  are  self-em- 
ployed, ask  your  banker  about  the 
Bond-A-Month  Plan. 


The  U.  S.  Government  does  not  pay  for  this  advertisement.  It  is  donated  by  this  publication  in 
cooperation  with  the  Advertising  Council  and  the  Magazine  Publishers  of  America. 


T.M.  REG.U.5.  PAT.  OFf. 


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anufacture 


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•  Durable  compact  construction!  — 
Rugged  diecast  aluminum  .  .  .  long- 
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head  case  screws  used  throughout! 

•  Floating  speaker  unit!  —  reduces 
shock  .  .  .  minimizes  magnet  shifting 
.  .  .  simplifies  replacement!  •  Four 
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JUNE 


VOLUME  29 


30c  A  COPY 


1954 


NUMBER  6 


$2.50  A  YEAR 


wu 


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For 


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fi  ]  J]  !  i)  II  fi 


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i;  J 1)  £  1)  ii  fi 


TOTAL 
LUMENS    ^ 


At  180-185  Amperes  .  .  .  With  No.  15363-Q  and  No. 
15367-P,  "Hy-Speed"  Condensers  .  .  .  With  a  .715"  x 
.912"  "CinemaScope"  aperture  .  .  .  With  a  3"  Focus, 
F-1.8  coated  projection  lens  .  .  .  On  any  kind  or  any 
size  of  screen   .... 

Using  presently  available  and  standard  carbons, 
there  is  "No  other  projection  lamp  in  the  world, 
today"  that  can  produce  so  much  light. 

(*)  Subject  to  6-10%  average  deduction  for  PEER- 
LESS  "Hy-Lumen"   Heat   Filter,   if   used. 


LLfjSjQ         LUMENS 


At  75-77  amperes  .  .  .  With  presently  available  and 
standard  8x9  m/m  copper  coated  carbons  .  .  .  With 
a  .715"  X  .912"  "CinemaScope"  aperture  .  .  .  With  a 
3"  Focus,  F-1.8  coated  projection  lens  .  .  .  With  a  14" 
diameter  No.  2012  PEERLESS  "Hy-Lumen"  glass  reflec- 
tor that  retails  at  a  list  price  of  $22.00  .  .  .  With  a 
No.  2880  PEERLESS  Tail  Flame  Flue  ...  On  any  kind 
or  any  size  screen  .... 

All  of  this,  at  the  lowest  possible  first,  and  opera- 
tional cost. 


(t)  NO  heat  filter  of  any  kind  required. 
Su^Utj,  leld.  ta  i.aMz  tnaneif,  <A  like  4io-p,pMi^  tk&  cloch  to-  iaae  ti*He 


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Your  Industry 

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TO  WIDE  SCREEN  FILMS 


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Here  is  RCA's  low-cost  solution  to  brilliant, 
BIG  presentations  of  all  the  new  wide-screen 
films  —  the  new,  aluminized  RCA  Dyna-Lite 
Screen. 

With  this  new  screen  you  show  standard- 
size  films  at  their  finest  —  you  show  wide- 
screen  films  in  their  full  beauty  without  dis- 
tracting light  loss  or  distortion. 

The  RCA  Dyna-Lite  Screen  —  through  a 
special  electronic  welding  process  —  provides 
a  single,  gleaming,  aluminized  plastic  sheet 
for  theatres  of  any  size.  Tear-proof  vinyl  plas- 


tic can  be  stretched  drum-tight  to  present  a 
smooth,  wrinkle-free  surface. 

IF  YOU  PLAN  to  show  the  new  wide-screen 
films  —  you  can't  afford  to  overlook  the  spec- 
tacular advantages  of  the  RCA  Dyna-Lite 
screen.  It's  your  low-cost  answer  to  wide -screen 
films  —  your  easiest  way  to  give  audiences  the 
splendor  of  the  new  presentations. 

FOR  INFORMATION  on  Dyna-Lite 
Screens,  contact  your  local  independent  RCA 
Theatre  Supply  Dealer  Now. 


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RA  DiO    CORPORA  TiOM  of  A  MERKCA 


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@         In  Canada:  RCA  VICTOR  Company  Limited,  Montreal 
INTERNATIONAL  PROJECTIONIST      •      JUNE  1954 


CAMDEM,N.J. 


Projeclion  of 


INemaScOPE 


Dpn  warn  ARC  LAMPS 


For  Huge  Drive-ln  Screens 

National's  new  Rerlect-O-Heat  Unit  permits 
a   ^reat  increase  in  volume   or   li^nt   at  tne 
screen   witnout    a    corresponding    increase 
in  neat  at  tne  aperture. 

For  Presenting  3-D 

Tne  Excelite  "135"  delivers  tne 
necessary    increased    volume 
oi  li^nt  and  also  tne  extended 
running  time  required  on 
a  single  trim. 


Tne  color  value  and  inten- 
sity of  tne  li^nt  at  tne  screen 
is     maintained     constant 
tnrou^nout  a  full  trim  witnout 
manual  adjustment  ny  an  auto- 
matic arc  crater  positioner. 


Distributed  by 


NATIONAL 


THEATRE   SUPPLY 


THERE'S   A   BRANCH   NEAR   YOU 


INTERNATIONAL  PROJECTIONIST      •      JUNE   1954     tL 


I 


INTERNATIONAL 

PROJECTIONIST 

With  Which   Is  Combined    PROJECTION   ENGINEERING 


JAMES  J.  FINN,  Editor 
JAMES  MORRIS,  Associate  Editor 


Volume  29 


JUNE   1954 


Number  6 


Index   and    Monthly   Chat    5 

One  Down — Much  More  to  Go  .  .       7 

James  J.  Finn 

The  Anatomy  of  CinemaScope,  II     10 
Robert  A.  Mitchell 

Variable   Anamorphic   Lens 

Principle  Explained  13 

Tips  on  Screen  Illumination   ....     14 

RCA's  Portable  16-mm  Arc 

Projector 16 

J.    J.    HOEHN 
A.  J.  Cardile 
Ralph  A.  Wood 

In  The  Spotlight    18 

lA  Obituaries    20 


Letters  to  the  Editor 21 

From  Muybridge  to  Cinema- 
Scope  22 

James  Card 

The  Marauders  Mutter   23 

The  Xenon  Gas  Lamp   for 

16-mm  Projection. 26 

Magnetic  Sound  Recording; 

How  it  was  Developed 27 

lA   Elections    32 

News  Notes 
Technical   Hints 
Miscellaneous  Items 


Published  Monthly  by 

INTERNATIONAL  PROJECTIONIST  PUBLISHING  CO.,  INC. 

19  West  44th  Street,  New  York  36,  N.  Y. 

Telephone:    MUrray  Hill  2-2948 

R.  A.  ENTRACHT,  Publisher 

SUBSCRIPTION  REPRESENTATIVES 

AUSTRALIA:     McGills,  183  Elizabeth  St.,  Melbourne 

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YEARLY  SUBSCRIPTION:  United  States  and  possessions,  $2.50  (two  years,  $4);  Canada  and 
foreign  countries,  $3;  single  copies,  30  cents.  Changes  of  address  should  be  submitted  two  weeks 
in  advance  of  publication  date  to  insure  receipt  of  current  issue.  Entered  as  second  class  matter 
February  8,  1932,  at  the  Post  Office  at  New  York,  N.  Y.,  with  additional  entry  at  Yonkers,  N.  Y., 
under  the  act  of  March  3,  1879.  Entire  contents  copyrighted  1954  by  INTERNATIONAL  PRO- 
JECTIONIST PUBLISHING  CO.,  INC.  INTERNATIONAL  PROJECTIONIST  assumes  no  responsibility 
for  personal  opinions  appearing  in  signed  articles,  or  for  unsolicited  communications. 


MONTHLY     CHAT 

MUCH  criticism  from  other  than  pro- 
jectionists has  been  leveled  at  IP 
because  of  its  consistent  opposition  to 
the  system  of  magnetic  sound  reproduc- 
tion. IP  has  and  does  now  contend  that 
from  the  moment  a  magnetic  sound  track 
is  threaded  in  the  projector,  deteriora- 
tion of  sound  quality  is  emphatically 
noticeable. 

It  is  easy  enough  to  toss  opinion  upon 
the  wind ;  but  the  results  of  an  impartial 
test  just  concluded  by  IP  sustain  our 
position  in  this  respect.  There  is  avail- 
able conclusive  evidence  that  no  magne- 
tic recording  print  will  run  more  than 
200  hours  from  birth  to  death  without 
serious  impairment  of  sound  quality. 
Moreover,  as  IP  pointed  out  recently, 
there  are  side  effects  of  this  magnetic 
film  process — the  depositing  of  the 
iron  filings  with  which  magnetic  prints 
are  treated  all  over  the  projector  mech- 
anism, with  especial  significance  to  the 
coating  deposited  on  the  back  element 
of  the  projection  lens. 

Magnetic  Reproducer  Wear 

Never  mentioned  by  the  proponents 
of  magnetic  sound  reproduction  is  the 
problem  arising  when  the  reproducer 
head  is  wider  than  the  sound  track; 
less  difficult  but  no  less  significant,  is  the 
situation  wherein  the  sound  track  is 
wider  than  the  reproducing  head.  In 
the  first  case,  the  groove  is  likely  to  be 
worn;  in  the  second  case,  the  head 
wears  fairly  evenly  all  over.  But  in 
either  event,  the  necessity  for  replace- 
ment of  the  reproducing  head  (not  to 
mention  the  short  life  of  the  print)  is 
imperative  if  acceptable  sound  repro- 
ducing quality  is  to  be  maintained.  We 
quote  from  the  laboratory  report  to  IP: 

"Laboratory  tests  on  a  commercial 
type,  four-track  magnetic  head  which 
is  widely  used  in  CinemaScope  in- 
stallations indicate  definitely  that  the 
head  is  good  for  approximately  li/4  mil- 
lion feet  of  running  film,  or  about  240 
hours.  The  life  of  magnetic  sound  re- 
producing heads  depends,  to  a  certain 
extent,  upon  the  design  of  the  film- 
pulling  mechanism,  on  the  tension  in  the 
film  as  it  passes  over  the  head,  and  on 
the  film  wrap  around  the  head.  The 
latter  is,  of  course,  a  matter  of  manu- 
facturer design. 

Proper  Film  Tension 

"It  should  be  pointed  out  here  that 
the  location  of  the  CinemaScope  tracks 
adjacent  to  the  sprocket  holes  appears 
to  call  for  a  higher  film  tension  than  is 
the  case  where  the  tracks  are  removed 
(Continued  on  page  34) 


INTERNATIONAL  PROJECTIONIST      •      JUNE  1954 


I. 


Westtex  has  a  complete  line  of 
magnetic  equipment  for  studios  and  theatres 


R9  Reproducer,  installed  between 
upper  magazine  and  projector 
mechanism,  operates  with  any 
modern  projector  or  sound  head. 


Westrex  Electrical  Printer  simultane- 
ously makes  duplicates  of  original 
four-track  magnetic  recordings  as 
required  by  individual  studios. 


Westrex  R9  Stereophonic  Reproducer 

is  a  simple,  high  quality  mech- 
anism for  reproducing  quality 
stereophonic  sound  in  theatres. 


FOR  THEATRES  OUTSIDE  U.  S.  A. 
AND  CANADA  AND  FOR 
STUDIOS  EVERYWHERE 

For  recording,  re-recording,  editing,  electrical  print- 
ing, and  reproducing  stereophonic  sound  at  its  best, 
"Westrex  offers  a  complete  line  of  multiple  track  mag- 
netic equipment  of  advanced  design.  Representative 
models  of  magnetic  equipment  shown  on  this  page 
are  in  addition  to  Westrex  photographic  equipment 
for  studios  and  theatres. 


Westrex  RA-1517B  Stereo-Recorder,  with 

its  very  low  flutter  content  and  high 
volume  range  and  signal-to-noise  ra- 
tio, is  today's  quality  portable  triple- 
track  stereo-magnetic  recorder. 


Westrex  "Pent  House"  Stereo  Magnetic  Recorder  modi- 
fies an  existing  single  track  recorder  to  provide 
both  single  track  magnetic  and  multiple  stereo- 
track  magnetic  recording. 


Westrex  1506  Type  Recorder- 
Reproducer  provides  maxi- 
mum quality  multiple 
track  magnetic  recording 
and  reproducing. 


Westrex  Editer,  designed  and  engineered  by  Westrex  Holly- 
wood Laboratories  in  cooperation  with  leading  studios, 
meets  every  film  editing  need,  photographic  or  magnetic. 


Research,  Distribution  and  Service  for  the  Motion  Picture  Industry 


WsfFe]^, 


Westrex  Corporation 

in    EIGHTH   AVENUE,   NEW   YORK  11,  N.  Y. 

HOLLYWOOD  DIVISION:  6601   ROMAINE  STREET,  HOLLYWOOD   38,  CAL 


'        fORMERir        1 

WESTERN  ELECTRIC 

EXPORT 

k    CORPORATION     > 


I 


ROJECTIONISf* 


VOLUME  XXIX 


JUNE    1954 


NUMBER  6 


One  Down  — Much  More  to  Go 


THE  LONE  voice  of  IP  pleading 
amid  a  welter  of  silence  from  all 
other  organs  of  printed  expres- 
sion in  this  industry  for  a  sane  ap- 
proach to  technological  standards 
swelled  to  a  chorus  of  approval  by 
a  large  segment  of  the  exhibition  field 
at  the  recent  round-table  forum  called 
by  Fox  under  extreme  pressure  and 
attended  by  more  than  1000  exhibitors 
from  every  section  of  the  U.  S. 

Net  result :  the  surrender  on  a  wide 
front  by  20th  Century-Fox  of  its  self- 
assumed  prerogative  to  dictate  to  the 
exhibition  field  the  manner  in  which 
20lh-Fox  productions  could  be  shown. 
Finale:  announcement  by  20th-Fox 
that  in  future  it  will  supply  Cinema- 
Scope  and  regular  release  prints  in 
four  different  versions,  as  follows: 

1.  Four-track  magnetic  stereo- 
phonic sound; 

2.  Single-track  magnetic  sound; 

3.  Single-track  optical  sound  (the 
foregoing  requiring  the  use  of 
anamorphic  lens  attachment 
and  that  which  20th-Fox  des- 
cribes as  the  "proper"  screen)  ; 

AND 

4.  Present-standard,  3  x  4-propor- 
tion  prints  with  single-track 
optical  sound. 

Break  Product  Bottleneck 

Simultaneously,  Metro  -  Goldwyn- 
Mayer  abandoned  its  requirement  for 


By  JAMES  J.  FINN 

stereophonic      reproduction      of      its 
C'Scope  releases. 

This  joint  20th  Fox-Metro  move  in- 
sures that  any  theatre  anywhere  in 
the  world  may  play  all  the  product  of 
the  major  producers  without  recourse 
to  special  and  highly  expensive  equip- 
ment; while  those  theatres  that  al- 
leady  have  the  full  complement  of 
equipment  will  continue  to  be  serviced 
with  prints  for  multi-channel  repro- 
duction. 

Single-Track  Reproduction 

This  latter  group  was  the  source  of 
some  rather  tart  comment  at  the  20th- 
Fox  exhibitor  forum  on  the  basis  that 
their  "adventurous"  spirit  in  moving 
early  to  install  multi-channel  systems 
had  been  "washed  out"  by  the  20th 
Fox-Metro  decision,  thus  destroying 
their  "competitive  advantage"  and  per- 
mitting their  more  cautious  brethern 
to  "walk  out  of  the  forum  with  the 
bacon". 

20th  Fox  met  this  sally  by  insisting 
that  the  moviegoing  public  has  now 
been  "educated"  to  "true  stereo- 
phonic" sound  reproduction  and  would 
bestow  its  patronage  on  those  houses 
equipped  for  this  medium. 

Apropos  the  single-track  magnetic 
sound  prints,  a  theatre  which  has  not 
yet  installed  any  new  equipment  may 


avail  itself  of  such  prints  by  the  ad- 
dition of  a  pickup  head  and  a  pre- 
amplifier for  reproduction  through  a 
single  speaker.  Of  course,  without 
the  addition  of  a  modern  speaker,  such 
a  theatre  might  just  as  well  settle  for 
the  single-track  optical  sound  print. 

As  between  the  single-track  mag- 
netic and  the  single-track  optical  sound 
there  exists  a  wide  variance  of  opinion 
even  among  ranking  technicians  as  to 
their  respective  merits.  The  expense 
factor  would  seem  to  be  controlling. 

Of  the  four  release  prints  previous- 
ly listed,  it  is  understood  of  course 
that  the  first  three  named  are  Cinema- 
Scope  prints  and  require  an  anamor- 
phic lens  for  their  exhibition.  As  to 
the  "proper  screen"  suggested  by  20th- 
Fox,  there  is  a  growing  tendency 
within  exhibition  circles  to  disregard 
this  recommendation  and  to  revert  to 
a  flat  matte  screen.  Curved  screens 
are  steadily  falling  into  disrepute  in 
the  exhibition  field. 

Small  Exhibitors  Relieved 

The  availability  of  20th-Fox  produc- 
tions in  standard  3x4  proportions  is 
the  best  news  received  in  many  months 
by  thousands  of  small  theatres  which 
cannot  afford  any  sizeable  money  out- 
lay and  which  have  heretofore  been 
shut  off  from  Fox  product. 

There  is  not  the  slightest  inclination 
on  the  part  of  IP  to  ballyhoo  its  single- 


INTERNATIONAL  PROJECTIONrST 


JUNE  1954 


handed  press  battle  against  the  in- 
flexible demand  by  20th-Fox  that  its 
product  be  given  the  full  stereophonic 
sound  treatment  in  theatres.  IP  re- 
ported and  discussed  the  facts  in  this 
situation  as  it  saw  them — and  the  two 
major  premises  of  its  opposition  to  the 
20th-Fox  demands  were  the  cost  fac- 
tor and  a  deep-seated  conviction  as  to 
the  advantage  conferred  upon  any  pic- 
ture by  stereophonic  reproduction,  es- 
pecially in  the  smaller  theatres  wherein 
screen  width  was  restricted  by  the  phy- 
sical characteristics  of  the  structure. 

Many  good  friends  of  IP — includ- 
ing both  professional  engineers  and 
projectionists — have  indicated  their 
preference  for  stereophonic  sound  re- 
production in  any  size  theatre,  their 
stand  being  based  on  the  "natural- 
ness" of  the  sound  reproduction,  ir- 
respective of  auditorium  size  or  struc- 
tural characteristics.  This  may  be; 
but  on  the  basis  of  a  comparative  test 
between  multiple-track  and  single- 
track  optical  reproduction,  the  latter 
employing  an  "integrator"  which 
shunts  the  sound  to  the  various  speak- 
ers, IP  was  unable  to  detect  any  pro- 
nounced difference  in  quality. 

Magnetic  Pickup  Head  Wear 

Moreover,  wear  on  the  magnetic 
pickup  head  is  continuous,  resulting 
in  rapid  deterioration  of  the  pickup 
surface  and  a  steady  decline  in  sound 
quality  during  the  process.  Then 
there  is  the  matter  of  the  filings  which 
peel  off  the  magnetic  film  striping  and 
are  deposited  all  over  the  projector 
head,  especially  on  the  back  element 
of  the  lens,  necessitating  constant 
cleaning.  A  worn  magnetic  pickup 
head,  like  an  old  shoe,  may  only  be 
thrown  away. 

Several  top-flight  engineering  organ- 
izations are  now  engaged  in  a  frantic 
search  for  the  answer  to  this  "peeling" 
problem.  IP  has  no  doubt  that  in 
time  these  fellows  will  come  up  with 
the  answer;  but  this  report  is  con- 
cerned with  the  ever-present,  not  the 
indeterminate  future. 

Relative  to  screens,  IP  realizes  that 
a  metallized  surface  was  necessary  for 
showing  3-D  releases,  but  it  has  con- 
sistently and  vigorously  opposed  the 
use  of  such  a  screen  for  other  than 
3-D  releases.  The  3-D  horizon  at  the 
moment  is  gray  indeed,  if  not  black, 
and  the  thousands  of  theatres  who  in- 
vested in  such  screens  now  have  ample 
reason  for  regretting  their  precipitate 
haste  in   this  direction.     Such   regret 


neither  recoups  their  financial  loss  nor 
removes  the  screen  from  their  theatres. 

"Curved^'  Screens  Disapproved 

As  for  "curved"  screens  of  what- 
ever character,  IP  has  always  re- 
garded them  as  the  veriest  nonsense, 
for  reasons  which  have  been  detailed 
repeatedly  herein.  Curved  screens  are 
not  only  a  perversion  of  the  basic 
principles  of  good  projection  but  they 
also  occasion  an  economic  loss  by  ren- 
dering useless  a  not  inconsiderable 
number  of  side  seats. 

IP  has  always  held  that  these  "spe- 
cial" screens  were  phony,  and  wide- 
spread realization  of  this  fact  is  now 
apparent  not  only  among  projection- 
ists but  among  those  manufacturers 
who  have  the  continuing  welfare  of 
the  industry  at  heart  as  opposed  to 
the  policy  of  putting  over  anything 
and  everything  for  the  sake  of  turning 
a  "fast  buck". 

In  the  forefront  of  those  offering 
vigorous  opposition  to  these  "special" 
screens,  the  use  of  which  was  de- 
manded "or  else"  by  CinemaScope 
proponents,  are  the  manufacturers  of 
arclamps  who  are  incensed  at  propo- 
ganda  that  the  use  of  a  "special" 
screen  obviates  the  need  for  the  power- 
ful arclamps  now  available. 

For  many  months  the  lamp  manu- 
facturers have  fought  this  battle  be- 
hind the  scenes,  but  the  matter  has 
now  exploded  into  open  war  by  forth- 
right declarations  by  the  manufac- 
turers in  the  editorial  and  advertising 
columns  of  the  trade  press,  which, 
with  the  sole  exception  of  IP,  has  been 

Exhibs  Want  Stereo  Money  Back 

A  new  twist  to  the  slightly  muddled 
technological  exhibition  picture  was  pro- 
vided recently  when  the  North  Central 
Allied  exhibitor  group,  through  its  exe- 
cutive counsel  S.  D.  Kane,  reported  a 
"sizeable  number"  of  its  exhibitor  mem- 
bers who  installed  stereophonic  sound 
now  want  20th-Fox  to  reimburse  them 
for  the  equipment  "which  has  become 
unnecessary".  Kane,  who  is  looking 
into  the  legal  aspects  of  the  situation, 
stated: 

"The  representation  was  made  that 
exhibitors  only  could  obtain  'The  Robe' 
and  other  CinemaScope  pictures  by  in- 
stalling stereophonic  sound."  This,  it 
now  develops,  was  a  misrepresentation. 
"The  exhibitors  proceeded  and  made 
substantial  investments  on  such  a  mis- 
representation. We  now  want  to  deter- 
mine if  Fox  is  legally  liable  for  the  un- 
pecessary  expenditures." 


ignorant  of   or   chose  to   "play   safe" 
on  this  vitally  important  topic. 

A  notable  example  of  aroused  manu- 
facturer ire  is  on  view  in  this  issue 
of  IP,  wherein  in  some  of  the  most 
forthright  and  refreshing  language  ever 
employed  in  technical  advertising  copy 
a  lamp  manufacturer  brands  as  "falla- 
cies" the  theories  advanced  by  the 
proponents  of  "special"  screens  and 
commiserates  with  those  exhibitors 
who  "fell"  for  such  theories  and  thus 
"found  themselves  betrayed." 

Flat  Matte  Screen  Endorsed 

The  manufacturer  cites  how  his 
lamp,  burning  at  135  amperes,  pro- 
duces 16,000  lumens  to  the  screen 
through  CinemaScope  aperture  and  an 
anamorphic  lens  with  the  shutter  run- 
ning and  achieves  15  foot-lamberts  at 
the  center  of  a  matte  white  screen  50 
feet  wide  by  19^2  feet  high!  Com- 
parison of  these  figures  with  the 
Smpte  standard  of  9  to  14  foot-lam- 
berts is  made. 

Now,  there  is  no  doubt  whatever 
that  a  flat  matte  white  screen  affords 
maximum  light  distribution  through- 
out the  theatre,  as  is  conclusively 
demonstrated  at  the  Radio  City  Music 
Hall  in  New  York,  world's  largest 
theatre,  which  recently  installed  a  flat 
matte  white  screen  for  all  film  pre- 
sentations. But  it  is  equally  true  that 
a  matte  screen  requires  more  light  to 
be  projected  thereon  in  order  to  equal 
the  output  of  other  types  of  screens. 
So  what?  There  is  no  lack  of  power- 
ful projection  light  sources  of  various 
amperage  ranges,  the  price  of  which 
is  small  indeed  when  compared  with 
the  huge  expenditures  already  made 
for  excess  equipment. 

Curious  it  is  that  when  the  pro- 
ponents of  CinemaScope  were  throw- 
ing their  weight  around  and  dictating 
what  an  exhibitor  might  or  might  not 
do,  they  were  strangely  silent  anent 
the  advantages  of  a  new  and  more 
powerful  projection  light  source. 

Still  a  most  pressing  projection 
problem  is  the  matter  of  aspect  ratios,, 
with  not  a  word  emanating  from  20th- 
Fox  to  indicate  that  it  has  any  inten- 
tion of  receding  from  its  firm  stand  in 
favor  of  the  2.55-to-l  proportion.  IP 
has  always  been  and  will  always  be 
opposed  to  this  aspect  ratio,  for  rea- 
sons set  forth  on  numerous  occasions 
in  these  pages.  The  2-to-l  ratio  is  the 
extreme  limit  we  would  favor,  while 
preferring  the  1.85-to-l  proportion. 
(Continued  on  page  33) 


INTERNATIONAL  PROJECTIONIST      •      JUNE  1954 


THE  PICTURE  IS  LIGHT... 
GIVE  IT  ALL  YOU  CAN 
with  "NATIONAL"  CARBONS 


The  term  "National"  is  aregistered  trade-mark 
of  Union  Carbide  and  Carbon  Corporation 

NATIONAL  CARBON  COMPANY 

A  Division  of 

Union  Carbide  and  Carbon  Corporation 

30  East  42nd  Street,  New  York  17,  N.  y. 

ta    Chicago    Dallas. 


District  Salea  Offic 
Kansas  City.  New  Y< 
IN  CANADA: 


Pittsburgh.  San  Fr 
Carbide  Canada  Limited.  Toronto 


WITH  THE  LATEST  impressive  developments  in  wide-screen,  3-D  and  ste- 
reophonic sound,  with  the  flurry  of  new  stars  and  really  better  movies,  ex- 
hibitors have  more  to  work  for— and  more  to  work  with  —  than  ever  before. 
In  your  efforts  to  capitalize  on  the  new  projection  techniques,  don't  overlook 
these  important  facts: 

THE  PICTURE  IS  LIGHT  —  This  is  a  fact  exhibitors  should  know  and  remem- 
ber. Every  tone  of  light  and  shadow,  every  hue  and  shade  of  color  on  the 
screen  are  contained  in  the  light  behind  the  film.  The  film  itself  cannot 
add  to  the  picture.  It  creates  the  screen-image  only  by  filtering  or  holding 
back  certain  elements  of  the  projection  light. 

LOW-COST  IMPROVEMENT  -  Your  "National"  carbons  deliver  maximum 
screen-light  at,  or  near,  maximum  recommended  operating  currents.  Only 
by  operating  at  peak  current  can  you  get  all  the  screen  light  your  present 
equipment  is  capable  of  delivering.  So,  while  you're  figuring  new  lamps 
or  awaiting  delivery,  don't  miss  this  inexpensive  means  of  improving  your 
position  in  a  highly  competitive  market.  Light  is  box  ofl&ce,  too! 


h 


INTERNATIONAL  PROJECTIONIST 


JUNE  1954 


The  Anatomy  of  CinemaScope 


By  ROBERT  A.  MITCHELL 


The  concluding  article  of  two  which  discuss  the  width,  size 
and  over-all  pictorial  composition  of  the  wide-screen  image. 


USERS  of  mechanisms  having 
rear-  and  front-shutter  combi- 
nations will  find  that  the  front- 
shutter  component  must  be  removed  to 
make  room  for  the  anamorphic-lens 
attachment.  We  have  found  that  no 
change  in  picture-quality  occurs  when 
the  front  shutter  is  discarded,  con- 
firming our  frequently  expressed 
opinion  that  the  rear-  and-  front  com- 
bination was  devised  merely  as  a  sel- 
ling-point. 

Anamorpbic  History 

The  anamorphic  lens  on  which 
CinemaScope  depends  has  an  exten- 
sive history.  "Squeezing  up"  the  pic- 
tures on  the  film  and  then  expanding 
them  on  the  screen  is  an  old  trick  of 
the  optician's  art.  Professor  Ernst 
Abbe,  one  of  the  founders  of  the  Ger- 
man optical  firm  of  Carl  Zeiss,  and 
Dr.  P.  Rudolph,  director  of  the  photo- 
graphic division  of  the  Zeiss  works, 
devoted  attention  to  anamorphic  optics 
even  before  the  turn  of  the  century. 
An  anamorphic  lens  computed  by  Dr. 
Rudolph  was  produced  in  1897.  This 
was  probably  the  first  lens  of  this 
type  ever  made. 

More  than  two  decades  ago.  Profes- 
sor Henri  Chretien  of  Paris,  basing  his 
work  on  that  of  Rudolph,  designed 
and  produced  anamorphic  objectives 
in  an  effort  to  obtain  wider  fields  in 
motion  picture  projection.  It  was  not 
until  1952,  however,  that  the  motion 
picture  industry  became  sufficiently 
interested  in  the  system  to  invest 
heavily  therein.  To  20th  Century-Fox 
go  the  laurels  for  pioneering  the  ana- 
morphic wide-screen  process  commer- 
cially. 

The  principles  involved  in  anamor- 
phic optics  were  ably  described  by 
Chretien  and  IP's  editorial  staff  in  IP 
for  June  1953   (page  14) . 

Anamorphotic  projection  lenses  may 
be  either  complete  lenses  or  merely 
"hypergonar"  attachments  which  slip 
on  over  the  barrels  of  the  regular 
lenses.  CinemaScope  utilizes  hyper- 
gonars  designed  by  Professor  Chretien 
and  first  manufactured  in  quantity  by 
Bausch  &  Lomb.    Distribution  of  these 


attachments,  like  that  of  magnetic 
"penthouse"  stereosound  reproducers, 
amplifiers,  speakers,  screens,  and  other 
CinemaScope  accessories,  was  at  the 
outset  rigidly  controlled  by  20th-Fox. 

Lens  Performance 

The  performance  of  CinemaScope 
hypergonars  is  usually  fair,  but  by  no 
means  perfect.  The  projection  hyper- 
gonars have  been  quite  uniform  in 
quality,  but  their  performance  has 
often  been  marred  by  residual  aberra- 
tions which  result  in  a  blurring  of  the 
picture  in  substantial  areas  at  each 
side  of  the  screen.  Close  inspection  of 
CinemaScope  images  reveals  that  these 
aberrations  are  largely  chromatic,  for 
purple  and  yellow-green  fringes  border 
the  vertical  edges  of  objects. 

Minor  divergencies  from  the  stand- 
ard extension-factor  of  two  have  been 
noticed  in  camera  hypergonars,  result- 
ing in  very  slight  abnormalities  in  the 
width  of  objects  reproduced  on  the 
screen.  The  quality  of  camera  hyper- 
gonars seems  to  be  somewhat  better 
than  that  of  the  projection  attach- 
ments. 

It   is   true   that   doubling  the   hori- 


So  They  Say  .  .  . 

an-d.-mQi>'phl9m,  n.  l.  A  distorted  Image  of 
any  object. 

2.  In  biology,  a  gradual  change  from  one 
type  to  another,  generally  from  lower  to 
higher. 

an-a-mpp' pho-seope,  n.  [Gr.  anamorphosis; 
ana,  a,gz.\TXj  morphe,  form,  and«ftopo«,  a  watcher, 
from  akopein,  to  see.]  A  vertical  cylindrical 
mirror,  which  destroys  anamorphosis  and  gives 
a  correct  representation  of  the  object  mir- 
rored. '' 

an-i-mor'pho-sis    {or    -mor-pho'-)     n.      fGr. 
anamorphosis,    a    forming 
anew,  from  arui,  again,  and 
morphoun,  to  form.] 

1.  In  perspective,  a  de- 
formed or  distorted  por- 
trait or  figure  which,  in  one 
point  of  view,  is  confused 
or  imlnteUigible,  and  in. 
another  is  an  exact  and 
regular  representation;  or 
which  is  confused  to  the 
naked  eye,  but,  reflected 
from  a  plain  or  curved 
mirror,  appears  regular 
and  In  right  proportion. 
„h,J°  Mology,  a  gradual 
change  of  form  to  a  higher 

an-i-itiQp'pho-sy,  n.    Same 
as  Anamorphosis. 


^^'■'■BorphMii. 


^ 


zontal  dimension  of  the  screen-image 
magnifies  the  grain  of  the  film-emul- 
sion; but  it  has  been  pretty  well  estab- 
lished that  this  effect  is  a  minor  one 
in  the  overall  problem  of  CinemaScope 
image-definition.  The  greatest  care 
has  been  taken  in  all  CinemaScope 
features  and  short  subjects  to  have  the 
images  as  sharp  as  the  resolving  power 
of  the  film  emulsion  allows.  Techni- 
color dye-imbibition  prints,  having 
comparatively  low  definition,  have 
not  been  used  until  recently. 

High  Print  Cost 

The  so-called  "Technicolor"  Cine- 
maScope prints  released  to  date  have 
actually  been  Eastman  Color  positives 
of  the  photographic,  or  multilayer  dye- 
coupler  type,  processed  in  Techni- 
color's increasingly  versatile  labora- 
tories. This  is  a  matter  of  great  con- 
cern to  the  producers  of  CinemaScope 
pictures  because,  even  though  the  re- 
solving power  of  photographic  color 
film  such  as  Eastman  Color,  Ansco 
Color,  Agfacolor,  Pathecolor,  Geva- 
color,  etc.,  is  practically  as  good  as 
that  of  black-and-white  film,  the  prints 
cost  about  1^4  cents  more  per  foot 
than  imbibition  prints  and  create  pro- 
cessing bottlenecks.  So  serious  has 
the  situation  become — a  situation  ag- 
gravated by  the  short  life  of  Cinema- 
Scope prints — that  20th  Century-Fox 
is  turning  to  Technicolor  imbibition 
prints,  presumably  for  foreign  release. 

Even  though  the  use  of  imbibition 
printing  will  reduce  the  cost  of  Cine- 
maScope color  processing  from  about 
6^2  cents  when  Eastman  Color  is 
used  to  slightly  less  than  5  cents  per 
foot,  magnetic  stereosound  makes 
CinemaScope  footage  unavoidably  ex- 
pensive. Magnetic  striping  of  the 
film  is  reported  to  cost  about  4  cents 
per  foot,  and  the  recording  of  sound 
in  each  print  plus  incidental  expenses 
comes  to  about  1%  cents.  It  all  adds 
up  to  12  cents  per  foot  for  the  com- 
pleted release  prints  on  Eastman  Color 
positive. 

The  high  mortality  rate  of  Cinema- 
Scope prints  is  due  primarily  to  two 
factors,  deterioration  of  the  magnetic 


1 


10 


INTERNATIONAL  PROJECTrONIST      •      JUNE   1954 


DON'T  BE  SOLD  A  BILL  OF  GOODS! 


The  proponents  of  CinemaScope  insist  that  the  light  distribution  at  all  viewing  angles  to  the 
screen,  and  across  the  screen,  be  uniform  throughout  the  theatre.  That  the  only  way  to  accorri- 
plish  this   result  is  with   a   "special"   high   reflective  screen  is  not  true. 


YOU  DO  NOT  NEED  TO  BUY  ONE  OF  THE 
NEW  ''SPECIAL''  SCREENS  FOR  CinemaScoPE 
IF  YOU  HAVE^^^<^  SUPER  "135"  PROJECTION 
ARC  LAMPS  AND  YOUR  INDOOR  SCREEN 
IS    UNDER    50    FEET    WIDE! 


Experience  has  proved  that  uniform  light  distribution  can  be  accomplished  by  the  use  of  a 
matte  white  screen  in  conjunction  with  a  good  "Strong"  lamp.  You  will  have  the  ultimate  in 
picture  brilliance  with  no  perceptible  fall-off  in  efficiency  at  the  sides.  It  is  a  fact  universally 
accepted  by  leading  motion  picture  engineers  that  no  screen  equals  a  matte  white  screen  for 
affording    maxinwrn    light   distribution    throughout  the  theatre. 


HERE'S  PROOF! 


A  Super  "135"  Lamp,  burning  at  135  amperes,  projects  16,000  lumens  to  the  screen  through 
a  CinemaScope  aperture  and  an  anamorphic  lens  with  the  shutter  running,  and  produces  15 
foot  lamberts  at  the  center  of  a  matte  white  screen  50  feet  wide  by  IPVa  feet  high. 
The  Society  of  Motion  Picture  and  Television  Engineers'  Standard  is  9  to  1 4  foot  lamberts 
for  35-mm  indoor  projection.  Accordingly,  if  you  have  Super  "135"  lamps,  you  can  use  an 
inexpensive   matte  screen   and   get  excellent   results. 


GET  THIS  STRAIGHT! 


Strong  does  not  manufacture  screens  of  any  type  but  does  manufacture  lamps  for  efficient  use 
with  all  types  of  screens.  As  a  service  to  the  industry  we  feel  that  we  should  explode  the 
fallacies  set  forth  in  advertising  matter  by  certain  screen  manufacturers  that  with  their  "special" 
screens  the  powerful  modern-type  projection  arc  lamps  which  are  made  by  several  dependable 
lamp  manufacturers  become  unnecessary.  The  theatre  owners  who,  unfortunately  for  them- 
selves,  fell  for  this   story,   have  found   themselves  betrayed. 


the  facts  are  that  the  most  perfect 
Cinemascope  projection  is  being 
accomplished  with  these  modern  <^^  lamps! 


WE'LL  BE  GLAD  TO  GIVE  YOU  A  LIST  OF  THEATRES,  IF  YOU  WANT  IT. 

THE  STRONG  ELECTRIC  CORPORATION 

"The    World's    Largest   Manufacturer    of    Projection    Arc    Lamps" 
31   City  Park  Avenue  Toledo  2,  Ohio 


INTERNATIONAL  PROJECTIONIST      •      JUNE  1954 


11 


Which  little  girl 

^11  make  it? 


All  else  being  equal,  she'll  be  the 
one  on  the  film  which  was  more 
carefully  selected  and  processed. 

Unless  film  and  handling  are  technically 
compatible,  skin  tones  fade  and 
features  become  wan  and  haggard  — 
dull  and  lack-luster.  Important  this  beauty 
care  in  the  days  of  black  and  white  .  .  . 
vital  now  with  color. 

To  co-operate  with  the  industry  in 
helping  solve  questions  of  film  selection, 
processing,  and  projection,  Kodak 
maintains  the  Eastman  Technical  Service 
for  Motion  Picture  Film.  Branches  at 
strategic  centers.  Inquiries  invited. 


w 


Address:  Motion  Picture  Film  Department 
EASTMAN  KODAK  COMPANY,  Rochester  4,  N.  Y. 


k*'' 


East  Coast  Division 

342  Madison  Avenue 
New  York  i  7,  N.  Y. 


Mid>vest  Division 

137  North  Wabash  Avenue 
Chicago  2,  Illinois 


West  Coast  Division 

6706  Santa  Monica  Blvd. 
Hollywood  38,  California 


sound  and  the  smaller  sprocket-holes. 
The  use  of  narrower  sprocket  teeth  on 
projectors  fitted  for  CinemaScope  also 
decreases  the  life  of  standard  prints 
by  tearing,  notching,  and  "checking" 
the  perforations. 

Wear  on  Perforations 

The  pulling  of  the  film  through 
"penthouse"  soundheads  by  16-tooth 
upper  feed  sprockets  doesn't  do  the 
perforations  any  good.  Sprockets  of 
the  24-tooth  size  are  betier,  and  32- 
tooth  sprockets  are  better  still. 

Magnetic  sound  recording  is  now 
standard  procedure  in  movie-making. 
To  prepare  standard  release  prints  the 
completed  magnetic  track  is  re-record- 
ed optically  to  obtain  the  regular 
photographic-track  negative  used  for 
release-printing.  Magnetic  sound,  when 
the  tracks  are  sufficiently  wide  and  the 
records  handled  with  greater  care  than 
can  possibly  be  accorded  CinemaScope 
prints,  has  the  advantages  of  imme- 
diate playback,  low  noise-level,  and 
high  fidelity. 

The  playing  of  CinemaScope  mag- 
netic tracks  in  theatres,  however,  is 
beset  with  difficulties  almost  impossible 
to  eradicate. 

Magnetic  soundtracks  are  suscepti- 
ble to  partial  erasure  and  the  pickup 
of  ground  noise.  Projector  parts, 
especially  sprockets,  idlers,  and  the 
magnetic  reproducing  head  itself,  must 
be  frequently  demagnetized  to  mini- 
mize these  troubles.  (See  "Hints  on 
Handling  Magnetic  Soundheads,"  IP 
for  November  1953,  page  7.) 

Stray  Magnetic  Fields 

Many  projectionists  magnetize 
screwdrivers  to  permit  easier  inser- 
tion and  removal  of  machine  screws. 
Such  screwdrivers,  as  well  as  other 
tools  which  have  been  accidentally 
magnetized  by  a  severe  blow,  power- 
ful vibration,  or  exposure  to  magnetic 
fields,  impart  undesirable  magnetism 
to  projector  components.  Magnetized 
parts  of  the  reproducer  introduce 
rumbling  noises;  while  magnetized 
sprockets  and  idlers  often  mar  the 
sound  with  clicks,  thumps,  buzzes, 
whistles,  hisses,  and  even  noises  which 
resemble  the  whirring  of  the  intermit- 
tent. 

These  noises,  frequently  accom- 
panied by  the  fadeaway  of  sound, 
make  themselves  heard  simply  be- 
cause they  have  become  indelibly  re- 
corded on  the  film,  especially  in  the 
two  outside  tracks. 

Loss  of  sound  and  extraneous  noises 


in  magnetic  tracks  are  irreparable. 
It  might  seem  that  the  tracks  could 
be  completely  erased  and  recorded 
over  again;  but  the  inevitable  splices 
in  used  prints  preclude  this  possibility. 
20th  Century-Fox  has  had  no  alterna- 
tive but  to  scrap  its  garbled  prints. 
Twentieth-Fox  may  be  sure  that  no 
one  makes  splices  in  CinemaScope  film 
for  the  hell  of  it.  With  the  magnetic 
tracks  on  the  reverse  side  of  the  film, 
it's  difficult  stuff  to  splice. 

AAognetic-Track  Faults 

CinemaScope  sound  also  suffers 
from  the  narrow  width  of  its  tracks 
(0.063  inch)  and  rapid  wear  of  the 
pickup  heads.  While  distortion  is  of 
a  low  order  when  the  pickups  are  in 
good  shape,  wear  results  in  non-linear 
distortion  and  serious  attenuation  of 
high  frequencies,  making  speech  indis- 
tinct. 

In  practice,  therefore,  it  is  quite  evi- 
dent that  CinemaScope's  method  of 
magnetic  sound  reproduction  has  vast 
potentialities  of  falling  far  below  the 
high  quality  of  normal  photographic 
sound.  The  exciting  lamp  and  photo- 
electric-cell are  far  from  becoming 
passe ! 

The  stereophony  of  CinemaScope 
not  only  leaves  much  to  be  desired, 
but,  in  the  long,  narrow  type  of  audi- 
torium, it  may  actually  be  unneces- 
sary. The  stereophony  is  admittedly 
effective  when  single-source  sounds 
(such  as  speech)  are  involved;  but 
loss  of  volume  in  one  or  two  of  the 


three  tracks  has  the  unpleasant  effect 
of  shifting  the  apparent  source  of  the 
sound  to  one  side  of  the  screen.  As 
a  result,  we  often  hear  an  actor's  dialog 
booming  from  the  wings  like  a  disem- 
bodied voice. 

Single-Channel  Adopter 

A  few  exhibitors  are  employing 
single-channel  CinemaScope  reproduc- 
tion. This  is  done  by  combining  the 
output  of  the  three  tracks  in  a  simple 
mixer  and  using  the  regular  theatre 
amplifier  to  amplify  the  combined 
signals.  The  mixers  used  for  this 
purpose  are  definitely  not  approved 
by  20th-Fox  execs,  who  maintain 
that  their  sound  is  ruined  and  that 
signals  from  the  three  tracks  may  ac- 
tually cancel  out  in  the  mixer  push- 
pull-wise. 

Be  that  as  it  may,  this  writer  feels 
that  the  expense  and  sometimes  low 
quality  of  CinemaScope's  stereosound 
invites  exhibitor  snubs  with  every  mis- 
directed chirp.  It  is  noteworthy  that 
Warners  is  issuing  its  CinemaScoper 
"The  Command"  in  both  single-track 
optical  and  multiple-track  magneto- 
graphic  editions. 

With  the  single  photographic  track, 
projector  apertures  having  the  dimen- 
sions 0.825  X  0.715  will  be  needed. 
Curiously,  this  is  the  same  as  the  old 
silent-film  aperture  masked  off  to  cover 
the  soundtrack  (standard  perforations 
assumed.) 

CinemaScope,  like  3-D,  has  been  a 
(Continued  on  page  34) 


Variable  Anamorphic  Lens  Principle  Explained 

Projectionists  who  have  been  wonder- 
ing about  the  operating  principle  of 
the  variable  anamorphic  lens  attach- 
ments recently  marketed  can  satisf)' 
their  curiousity  by  observing  the  ac- 
companying diagram  from  Ideal 
Kinema,  London,  which  shows  the 
simple  prism  arrangement  used  in  a 
variable    anamorphic    attachment. 

The  prisms  are  arranged  so  that  the 
parallel  light   from   the   regular   projec- 


Light   beam   shown   passing   through   prisms   of 
variable  anamorphic   lens. 


INTERNATIONAL  PROJECTIONIST      •      JUNE  1954 


tions  lens  strikes  the  first  prism  at  an 
angle,  and  is  refracted  in  the  manner 
shown  in  the  diagram.  The  beam  then 
becomes  wider  and  strikes  the  second 
prism,  also  at  an  angle.  It  is  again 
refracted  and  expanded.  The  beam 
that  emerges  from  the  variable  ana- 
morphic attachment  is  parallel  to  the 
entering  beam  but  wider,  as  the  dia- 
gram   shows. 

When  looking  at  the  diagram  re- 
member that  you  are  looking  down  at 
the  prism  arrangement  from  above. 
The  refracting  action  of  the  prisms 
expands  the  beam  horizontally,  or 
from  side-to-side,  not  vertically  or  up- 
and-down.  In  principle,  it  is  similar 
to  the  refracting  action  in  variable 
anamorphic  devices  such  as  the 
Tushinsky  lens  attachment  proposed 
for  use  with  VistaVision  "squeeze" 
prints  and  the  Gottschalk  Super  Pana- 
tar   attachment. 


13 


Tips  on  Screen  Illumination 


This  article  examines  the  need  for  increased  screen 
illumination  when  projecting  pictures  on  large,  wide 
screens.  It  also  warns  that  shutter  blades  cannot  be 
trimmed  to  gain  light  without  reducing  picture  quality. 


WITH  the  trend  toward  wide- 
screen  projection  still  gain- 
ing impetus  and  many 
small  and  medium-sized  theatres  con- 
verting their  equipment,  it  is  a  good 
time  to  re-examine  some  of  the  funda- 
mentals of  photometry,  the  science  of 
measuring  light,  as  they  are  applied 
to  the  motion  picture  screen.  A 
knowledge  of  these  fundamentals  will 
help  the  projectionist  to  understand 
what  can  be  done  and  what  cannot 
be  done  to  obtain  the  light  necessary 
for  illuminating  larger  screens. 

However,  let's  not  bother  with 
formulas.  Readers  who  want  the 
whole  story  in  an  article  that  is  easy 
to  understand  are  referred  to  "Photo- 
metric Units  in  Projection"  in  the 
September,  1948,  issue  of  IP.  Rather, 
let's  take  a  brief  glance  at  the  three 
light  units  that  are  most  important 
to  us  as  projectionists. 

The  lumen  :  The  strength  of  a  beam 
of  light  is  measured  in  lumens. 
Another  way  of  putting  it  is  that 
lumens  indicate  the  density  of 
luminous  flux,  or  flow  of  light.  Sup- 
pose 10,000  lumens  pour  from  your 
projection  lens  when  the  projector  is 
run  without  film.  The  beam  is  small, 
and  hot  enough  to  burn  your  hand. 
But  the  "spread-out"  beam  that  hits 
the  screen  also  has  10,000  lumens  of 
light.  It  is  less  dense,  but  much 
larger  in  cross-section,  and  no  light 
has  been  lost. 

Projection  'Throw'  Unimportant 

This  is  why  the  length  of  projec- 
tion throw  does  not  enter  into  screen- 
illumination  problems.  All  we  need 
to  know  is  how  much  light  leaves 
the  lens  and  how  big  the  screen  is. 
The  screen  can  be  50  feet  away  or 
200  —  it  doesn't  make  a  bit  of  dif- 
ference in  the  brightness  of  the  pic- 
ture if  screen  size  remains  the  same. 
Foot-candles:  The  beam  of  light 
leaving  the  projection  lens  is  small 
and  hot.    The  light  is  exceedingly  in- 


tense. At  the  screen,  illuminated  by 
the  spread-out  beam,  the  light  is 
much  less  intense.  Now,  the  intensity 
of  light  is  measured  in  foot-candles. 

Foot-lambert:  Suppose  your 
screen  is  old  and  soiled,  and  you  re- 
place it  with  a  fresh  white  screen,  or 
have  your  old  screen  refinished.  The 
new  screen  surface  gives  a  brighter 
picture  than  the  old  one,  doesn't  it? 
And  yet  the  number  of  foot-candles 
impinging  upon  the  screen  has  not 
been  changed.  The  brightness  of  a 
screen  —  or  any  extended  surface  — 
is  measured  in  foot-lamberts.  If  the 
screen  be  a  perfect  diffuser,  reflecting 
all  of  the  light  falling  upon  it  (no 
actual  screen  is  quite  that  good ! ) 
the  number  of  foot-candles  and  the 
number  of  foot-lamberts  will  be  iden- 
tical. But  actual  screens  absorb  (or 
transmit   through   the   sound   perfora- 


NO    HARD  COATING 
5D'l7o  LIGHT    TO  SCREEN 


INTERNAL  SURFACES  HARD  COATED 
61%  LIGHT   TO   SCREEN 

ALL  SURFACES  HARD  COATED 
86%  LIGHT    TO  SCREEN 


The  coating  on  the  lenses  that  you  use  en- 
ables you  to  employ  your  optical  units  with 
the  highest  degree  of  efficiency,  In  terms  of 
screen  lumens.  Light  losses  that  occur  as  a 
result  of  reflection  at  all  glass-to-air  surfaces 
inside  a  lens  are  graphically  presented  here. 
Also  shown  is  the  degree  to  which  such 
losses     can     be     offset     with     coated     lenses. 


tions)  about  20  percent  of  the  light, 
which  is  wasted  because  it  never 
reaches  the  eyes  of  the  audience.  So 
if  we  want  15  foot-lamberts  of  bright- 
ness, we  must  figure  on  a  projection- 
light  intensity  of  18.75  foot-candles 
at  the  screen  to  compensate  for  the 
20  percent  loss  of  light. 

Candlepower 

A  fourth  useful  term  is  the  expres- 
sive world  "candlepower."  If  the 
positive  crater  of  an  arc  is  specified 
as  having  a  candlepower  of  50,000, 
then  we  know  that  it  is  as  bright  as 
50,000  standard  candles  packed  into 
a  single  small  area.  The  higher 
powered  arcs  in  use  today  have 
candlepowers  even  greater  than  this! 

Here  is  an  interesting  point.  The 
smallest '  brightness-difference  percep- 
tible by  direct  side-by-side  compari- 
son of  two  screens  lies  somewhere 
between  4  and  5  percent.  If  one  pro- 
jector in  a  theatre  is  brighter  or 
dimmer  than  the  other  by  an  amount 
not  exceeding  5  percent,  not  even  a 
trained  observer  would  be  able  to 
notice  the  difference  at  changeovers! 

Even  the  most  discriminating  pat- 
rons are  unable  to  detect  on  Monday 
a  dimmer  or  brighter  screen  than 
they  saw  on  Sunday  unless  the  bright- 
ness be  decreased  or  increased  by  at 
least  15  or  20  percent.  In  fact,  pat- 
rons are  not  likely  to  comment  on  a 
brighter  picture  unless  the  brightness 
is  practically  doubled.  To  get  a 
"rise"  out  of  them,  you  must  increase 
your  present  10-foot-lambert  bright- 
ness to  20  foot-lamberts,  or  your 
present  25-foot-lambert  brightness  to 
50  foot-lamberts.  The  gain  or  loss 
of  5  or  10  foot-lamberts  is  hardly 
noticeable  when  normal  screen-bright- 
ness exceeds  40  foot-lamberts.  At 
lower  light-levels  such  a  gain  or  loss 
would  be  terrific,  naturally. 

Matching  Arcs  for  3-D 

As  for  the  matching  of  projectors 
for  equal  light-outputs,  we  must  be 
mighty  fussy  when  3-D  films  are 
shown.  The  difference  ought  to  be 
less  than  5  percent,  and  we  can't 
always  hold  the  difference  down  as 
close  as  we  might  wish.  If  the  dif- 
ference in  the  brightness  of  the  right- 
eye  and  left-eye  images  is  consider- 
able, it  causes  an  uncomfortable  sen- 
sation in  the  eyes  and  possibly  in- 
duces eyestrain. 

Suppose  your  light-output  suddenly 
drops    while    projecting    blank    light 


14 


INTERNATIONAL  PROJECTIONIST      •      JUNE  1954 


to  the  screen.  In  such  a  case  we  might 
say  that  the  "tone,"  or  color,  of  the 
illumination  has  changed  from  white 
to  gray.  Now,  here  is  the  question: 
How  much  does  the  light  have  to 
decrease  to  change  the  tone  from 
white  to  medium  gray?  About  50 
percent?  Surprising  as  it  seems,  the 
light-output  must  drop  84.1  percent 
in  order  to  produce  a  tone  which, 
relatively  speaking,  is  medium  gray. 
In  other  words,  if  we  arbitrarily 
state  that  a  "white"  surface  has  a 
brightness  of  100  percent,  a  "medium 
gray"  surface  has  a  brightness  of 
only  15.9  percent.  The  following  list 
gives  the  relative  brightnesses  of  an 
evenly  graded  series  of  grays. 

White    100.0% 

Faint    gray 63.1 

Pale   gray    39.8 

Light   gray    25.1 

Medium   gray    15.9 

Dusky    gray    10.0 

Deep    gray     6.3 

Dark    gray     4.0 

Dusky  black    2.5 

Night  black   1.6 

Absolute   black    .0 

Shutter  Blades 

This  writer  is  completely  in  favor 
of  optical  eiRciency  in  projection  and 
wishes  to  see  more  light  in  more 
theatres.  And  yet  he  knows,  both  by 
experience  and  common  sense,  that 
projectionists  who  shave  their  shutter 
blades  a  trifle  beyond  a  safe  minimum 
width  in  order  to  gain  2  or  3  or  even 
4  percent  more  light  are  doing  worse 
than  merely  wasting  their  time.  Why? 
Picture-quality  is  imperiled  by  trim- 
ming shutter  blades,  and  the  gain  in 
illumination  is  too  small  to  be  visible 
even  by  direct  comparison  on  two 
screens.  This  is  not  mere  theory  or 
opinion.  We  have  made  exhaustive 
tests  with  a  double-field  illuminometer, 
and  with  all  colors  of  light,  including 


white   of  different  color-temperatures. 

If  the  brightness-difference  is  too 
slight  to  be  seen  even  by  the  most 
perceptive  observers,  that  brightness- 
difference  does  not  exist  for  all  prac- 
tical projection  purposes.  In  a  word, 
if  it  can't  be  seen,  it  isn't  there. 

Not  only  are  shutter-shearing  pro- 
jectionists gaining  no  visible  screen- 
brightness,  they  are  also  running  the 
risk  of  introducing  24-cycle  flicker 
caused  by  slight  differences  in  the 
widths  of  the  master  and  balancing 
blades,  they  are  making  their  shutters 
unfit  for  use  if  backlash  in  the  gear- 
train  develops  for  one  reason  or 
another,  resulting  in  both  top  and 
bottom  ghost-flashing,  and  they  are 
hazarding  the  introduction  of  short 
travel-ghost  haze,  or  at  any  rate  a 
trembling  of  the  edges  of  extremely 
bright  objects  in  the  picture,  visible 
to  patrons  in  front  seats  if  the  picture 
illumination  comes  up  to  or  exceeds 
accepted  standards. 

Travel-ghost  Tests 

Every  projectionist  should  have  a 
travel-ghost  test  film.  Certain  black 
leaders  having  the  frame-lines  indi- 
cated by  a  row  of  small  holes  punched 
out  of  the  film  make  good  test  films, 
and  so  do  plain  black-and-white  titles 
with  sharply  focused  lettering.  Pro- 
jectionists who  can  get  a  few  reels  of 
old  silent  films  in  good  condition 
can  make  up  a  sizeable  roll  consisting 
of  nothing  but  dialogue  subtitles. 

Traces  of  ghost,  flare,  and  flicker- 
ing haze  due  to  imperfect  shutter 
action  cannot  usually  be  seen  from 
the  projection  room  through  the  ob- 
servation ports.  It  is  always  best 
for  the  projectionist  to  examine  the 
test-film  image  from  the  stage  while 
an  assistant  runs  the  projector.  Where 
this  cannot  be  done,  the  projectionist 
should  remove  the  glass  from  the 
observation  port,  turn  out  the  lights 
in  the  projection  room,  and  examine 


One  of  the  better 
foreign  projection 
rooms  —  the  Reposi 
Theatre  in  Turin, 
Italy.  Projectors  are 
Microtechnica,  an 

Italian   make. 


the  image  with  binoculars  of  good 
quality.  The  auditorium  should  be 
absolutely  dark  while  a  test  of  this 
nature  is  being  made. 

Shutter  blades  just  a  trifle  too 
narrow  reveal  themselves  in  a  rapid 
trembling  of  the  top  and  bottom 
edges  of  the  white  letters  in  titles.  The 
effect  is  easily  seen  from  the  front 
row  of  seats;  it  cannot  be  seen  from 
the  projection  room  unless  the  pro- 
jectionist takes  special  precautions  to 
insure  perfect  viewing  conditions.  We 
never  see  the  picture  as  clearly  as 
our   audiences   do. 

The  trembling  is  due  to  the  fact 
that  the  film  is  exposed  while  the 
intermittent  is  just  coming  to  a  stop 
and  also  just  beginning  to  pull  down 
the  next  frame.  It  sometimes  helps 
during  this  test  to  reduce  persistence 
of  vision  temporarily  by  looking  at  a 
bright  light  before  running  the  test 
film.  When  the  shutter  blades  are 
sufficiently  wide,  a  well-photographed 
title  will  be  practically  indistinguish- 
able from  a  motionless  slide. 

Trimming  Blades  Hazardous 

Now,  if  the  shutter  blades  are  a 
trifle  wider  than  is  necessary,  so  that 
2  or  3  or  even  4  percent  of  the  light 
is  unnecessarily  wasted  by  them,  the 
loss  need  not  worry  the  projectionist 
—  it  is  too  small  to  be  appreciable, 
and  the  positive  gain  in  picture- 
steadiness  and  freedom  from  flicker, 
trembling,  and  travel-ghost  flare  is 
too  great  to  sacrifice  by  shutter- 
shearing. 

Slightly  soiled  lenses  cause  a  light- 
loss  of  from  5  to  10  percent.  Add  to 
this  similar  unnecessary  losses  from 
dusty  projection-port  glasses  and 
badly  pitted  lamp  mirrors,  and  it  can 
be  appreciated  that  the  light-conscious 
projectionist  —  a  term  that  happily 
includes  most  of  us  —  will  concen- 
trate his  attention  on  optical  cleanli- 
ness and  will  waste  no  worry  on 
imperceptible  losses  caused  by  wide 
shutter  blades  which,  because  of  those 
imperceptible  light-losses,  are  con- 
tributing very  efficiently  to  perfect 
clarity  of  the  screen  image. 

Canadians  Building  59  Theatres 

Recent  reports  from  Canada  indi- 
cate that  59  theatres  are  under  coii- 
struction  north  of  the  border,  20  audi- 
torium houses  and  39  drive-ins.  In 
addition,  17  theatres  opened  since  the 
beginning  of  the  year,  three  of  them 
drive-ins. 


INTERNATIONAL  PROJECTIONIST      •      JUNE   1954 


15 


RCA's  Portable  16-niin  Arc  Projector 


By  J.  J.  HOEHN,  A.  J.  CARDILE  and 
RALPH  A.  WOOD 


Because  of  the  increasing  need  for  professional-quality 
projection  by  industry  and  by  educational,  social  and 
religious  groups,  this  article  should  be  of  interest  to 
projectionists.  They  have  the  experience  needed 
for    professional    results   with    the    equipment    described. 


THE  RCA  Porto-Arc  16-mm  pro- 
jector is  designed  to  provide 
sufficient  light  and  audio-power 
output  to  handle  larger  screen  sizes 
and  audiences  than  can  be  accommo- 
dated with  projectors  using  conventional 
incandescent-lamp  light  sources.  The 
design  was  made  possible  by  the  de- 
velopment of  a  dual  operating-range 
16-mm  arc  lamp  and  associated  recti- 
fiers small  and  light  enough  to  justify 
the  use  of  the  term  "portable." 

This  lamp  has  been  integrated  into  an 
overall  projector  design  which  allows 
the  equipment  to  be  separated  into 
readily  portable  units.  For  example, 
the  arc  lamp  is  easily  disconnected  from 
the  projector  mechanism,  and  both  units 
merely  lift  off  the  pedestal-amplifier 
assembly  to  make  sections  which  can 
be  conveniently  handled  and  trans- 
ported. 

Mechanical  Design 

Figure  1  shows  the  Porto-Arc  Pro- 
jector disassembled  for  transportation. 
First  on  the  left  is  the  pedestal-ampli- 
fier assembly,  which  is  about  the  size 
of  a  large  suitcase  of  conventional 
proportions. 

The  second  item  from  the  left  in 
Fig.  1  is  the  portable  loudspeaker 
regularly  used  with  RCA  Model  400 
16-mm  Projectors.  The  third  item  is 
the  dual-range  arc  lamp,  and  next  is 
its  associated  rectifier  for  converting 
A.C.  line  power  to  the  low-voltage  D.C. 
required  for  proper  operation  of  the 
arc  lamp.  The  fifth  and  last  item  is 
the     projector    mechanism;     reel     arms 


t  Jour,    of    SMPTE,    March,    1954. 


and  small  accessory  items  are  mounted 
within  its  housing.  The  heaviest  items 
are  the  pedestal-amplifier  and  the  recti- 
fier, which  weigh  about  60  pounds  each 
due  to  the  inevitable  weight  associated 
with  transformers  of  adequate  perform- 
ance characteristics. 

In  Operating  Position 

Figure  2  shows  the  Porto-Arc  Pro- 
jector set  up  and  operating.  The  pro- 
jector mechanism  and  the  arc  lamp 
lock  firmly  together  in  correct  optical 
alignment  by  means  of  guide  pins, 
iocating  holes,  and  an  aircraft-type 
cowl  fastener. 

The  assembled  mechanism  and  lamp 
rest  on  the  upper  surface  of  the  pedes- 
tal-amplifier case  as  shown,  supported 
by  the  rear  arc-lamp  feet  and  by  the 
movable  front  pins  of  the  tilting  device 
incorporated  in  the  case.  The  pedestal 
legs  are  splayed  a  considerable  degree 
laterally  and  longitudinally  to  provide 
excellent  mechanical  stability  for  the 
complete  projector. 

Amplifier  System 

The  pedestal-amplifier  assembly  has 
separate  compartments  to  contain  its 
demountable  legs  and  the  interconnect- 
ing cables,  and  it  also  incorporates  the 
5-degree  tilting  mechanism  in  the  front 
operated  by  a  fold-in  crank.  Adjustable 
legs  accommodate  the  projector  optical 
axis  to  existing  projection  room  port- 
holes and  "up"  or  "down"  projection 
angles.  All  interconnecting  cables  are 
provided  with  suitable  plug  connectors 
of  a  variety  of  types  to  prevent  incorrect 
connections.  In  other  words,  if  the 
plug  on  a  cable  end  fits  a  given  socket, 
it  is  the  right  plug  for  that  socket. 


FIG.    1.      The   RCA    Porto-Arc    16-mm    projector    is    complete    in    five    carrying    coses. 


FIG.  2.     RCA  Porto-Arc  in  operating  position. 

Figure  3  is  an  interior  view  of  the 
pedestal-amplifier  case  with  the  control 
panel  removed  to  show  the  amplifier 
chassis.  The  amplifier  incorporates  the 
same  type  of  high-frequency  exciter 
lamp  oscillator  and  tilt-type  tone  con- 
trol used  in  RCA  Model  400  16-mm 
projectors,  but  the  power  output  has 
been  increased  to  25  watts  for  the 
larger  audiences  which  can  be  served 
with  16-mm  arc  projectors.  There  are 
individual  mixer-type  volume  controls 
for  the  film  sound  channel,  record 
player  and  microphone. 

The  main  power  circuit  to  the  projec- 
tor enters  via  the  magnetic  circuit 
breaker  at  the  left  end  of  the  amplifier 
chassis.  Its  time  constant  allows  for  the 
arc-striking  current  surge,  but  it  opens 
before  a  thermal  line  fuse  of  equivalent 
rating  will  blow.  Accidental  overloads 
therefore  operate  a  protective  device  at 
the  projector  location,  and  not  at  some 
possibly    distant    or    inaccessible    point. 

Figure  4  is  a  back  view  of  the 
pedestal-amplifier  case  with  the  cable 
access  door  open.  The  two  shielded- 
cable  jacks  at  the  left  are  for  the  pro- 


16 


INTERNATIONAL  PROJECTIONIST      •      JUNE  1954 


FIG.   3.   Pedestal  -  ampli- 
fier    case     with     control 
panel   removed   to   show 
amplifier   chassis. 


jector  mechanism  phototube  and  exciter 
lamp  circuits,  respectively.  The  photo- 
tube circuit  is  triple-shielded  to  prevent 
interference  pickup  from  the  relatively 
strong  fields  existing  around  the  arc 
circuits.  The  phone  jack  and  pair  of 
terminals  to  the  left  of  it  are  both  the 
loudspeaker  output  circuit  from  the 
amplifier  so  that  either  temporary  or 
permanent  connections  can  be  made. 
The  multi-terminal  strip  at  the  right 
allows  the  output  impedance  to  be 
changed  to  match  the  characteristics  of 
the  loudspeaker  equipment  being  used. 
The  output  circuit  from  an  RCA  MI- 
35102     Magnetic     Reproducer     Kit     in- 


FIG.  4.      Rear     view     of      pedestal-amplifier, 
showing    various    connections. 

Stalled  in  the  projector  mechanism  may 
be  connected  to  either  the  microphone 
input  circuit,  if  both  photographic  and 
magnetic  sound  tracks  are  to  be  run,  or 
to  the  phototube  circuit  jack  in  the  rear 
if  magnetic  tracks  only  are  to  be  re- 
produced. 

Projector  Mechanism 

Figure  5  is  a  close-up  of  the  pro- 
jector mechanism.  Except  for  certain 
modifications  and  additions  required  by 
the  arc  application,  it  is  the  same  as 
has  been  used  for  some  years  in  RCA 
Model  400  16-mm  projectors.  Visible  in 
the  figure  just  above  the  picture  gate 
assembly  is  the  head  of  the  cowl-lock 
fastener  which  locks  the  mechanism  to 
the  lamp.  Below  and  to  the  left  is  the 
theatrical-type  framer  control  knob 
which  shifts  the  moving  film  with  re- 
spect to  the  aperture,  and  directly  below 
it  is  the  speed-shift  control  which 
changes  the  film  speed  from  24  frames 
per  second  to  16  frames  per  second. 
The  motor  switch  is  at  the  bottom  of  the 
control  panel. 

Since  it  is  impractical  to  interlock 
the  projector  motor  and  lamp  power 
circuits  as  is  done  in  incandescent  lamp 


projectors,  it  was  considered  essential 
that  the  RCA  Porto-Arc  Projector  in- 
corporate an  automatic  film-speed 
operated  fire  shutter  to  protect  the  film 
in  the  event  of  accidental  film  stoppage. 

'Latched'  and  'Unlatched'  Steps 

By  careful  mechanical  design,  it 
proved  possible  to  combine  this  function 
with  that  of  a  hand-operated  "dowser" 
for  keeping  the  light  off  the  screen 
until  the  start  of  picture  action.  A  cen- 
trifugal clutch  was  added  to  the  regular 
picture  shutter  hub,  and  this  clutch, 
via  suitable  linkage  details,  lifts  an 
auxiliary  shutter  or  "dowser"  blade 
whenever  the  mechanism  film  speed  ex- 
ceeds 14  frames  per  second,  and  pro- 
vided the  manual  control  lever  for  it 
is  unlatched.  This  lever  is  visible  in 
Fig.  5  just  to  the  left  of  the  framer 
control  and  may  be  identified  by  its 
horizontal    knob. 

A  simple  notch  in  the  lower  edge 
of  the  lever  provides  the  latched-shut 
feature.  Slightly  lifting  the  knob  and 
pulling  outward  on  it  opens  the  dowser/ 
fire  shutter,  but  it  will  not  stay  open 
unless  the  mechanism  film  speed  exceeds 
14  frames  per  second  as  noted.  Below 
this  speed  gravity  forces  in  the  linkage 
pull  the  blade  closed,  and  it  stays  closed 
until  the  control  lever  is  again  manually 
lifted   to   unlatch   it. 

The  housing  for  the  3450-rpm  cen- 
trifugal blower  normally  associated  with 
the    projector   mechanism's   drive   motor 


has  been  modified  to  provide  strong 
cooling  air  blasts  for  the  condenser  lens, 
heat  filter  and  picture  aperture. 

'Hard'  Arclamp  Details 

Figure  6  shows  the  arc  lamp  with  the 
operating-side  door  open  and  with  the 
cover  for  the  feed-ratio  pulleys  removed. 
The  relatively  small,  compact  housing 
design  is  made  possible  by  the  selection 
of  a  combination  reflector-condenser 
optical  system.  In  the  Porto-Arc  Pro- 
jector the  length  of  the  lamp  has  been 
further  reduced  by  mounting  the  con- 
denser lens  in  the  projector-mechanism 
housing. 

The  lamp  is  designed  to  operate  with 
either  the  standard  30-amp.,  28-volt 
Pearlex  carbon  trim,  or  with  a  new  10 


/.  n. 


FIG.    5.     The    16-mm    projector    mechanism. 

amp.,  50-volt  trim.  The  30-amp.  trim, 
without  heat  filter  in  place  and  with 
the  optical  system  adjusted  for  70  per- 
cent side-to-center  distribution,  delivers 
1600  lumens,  using  the  two-blade  80- 
degree  shutter  normally  supplied,  and 
(Continued  on  page  24) 


FIG.   6.      The   carbon-arc   lamphouse   of  the   Porto-Arc. 


INTERNATIONAL  PROJECTIONIST      •      JUNE  1954 


17 


IN    THE 


SPOTLIGHT 


IVrO  sooner  had  the  impassioned 
-'-  ^  pleas  of  high-ranking  motion  pic- 
ture executives  (in  this  case,  Adolph 
Zukor  and  Y.  Frank  Freeman)  died 
away  in  the  chill  air  of  exhibitor 
reluctance  when  the  sponsors  of 
various  crackpot  single-film  3-D  sys- 
tems blatantly  announced  that  their 
processes  would  "reduce  projection 
manpower." 

It  is  apparent  that  the  motion  picture 
exhibition  field  will  not  hesitate  to 
pay  for  expensive  projection  equip- 
ment, but  will  not  protect  its  invest- 
ment therein  to  the  extent  of  supply- 
ing adequate  manpower  to  efficiently 
operate  and  maintain  that  equipment. 

It  becomes  increasingly  obvious  that 
the  mouthings  of  the  so-called  leaders 
of  this  industry  are  but  mere  catcalls 
in  the  economic  jungle.  At  first  terri- 
fied by  the  new  technological  pro- 
cesses, then  a  mite  reassured  by 
ascending  box-offices  grosses,  these 
"great  minds"  reassumed  their  time- 
honored   arrogance. 

The  investment  that  the  exhibition 
field  has  made  in  new  equipment  with- 
in the  past  two  years  is  just  so  much 
water  over  the  dam  if  that  investment 
be  not  protected  by  adequate  operating 
and  maintenance  manpower.  One  may 
not  "mothball"  an  apparatus  that  is 
designed  to  show  a  product  intended 
to    attract    an   hour-after-hour   paying 


clientele.  There  is  nothing  static  about 
the  grim  necessity  for  the  ring  of 
silver  upon  the  box-ofiice  till — and 
nothing  that  the  mealy-mouthed  advo- 
cates of  manpower  "economy"  may 
spout  will  ever  serve  to  alter  this 
basic  fact. 

•  Local  203,  Easton,  Penna.,  cele- 
brated its  43rd  anniversary  last  month 
at  a  banquet  held  at  the  Easton  Moose 


Three  charter  members  of  Local  203,  Easton, 
Penna.,  receive  honorary  life  membership 
awards.  Shown  here,  left  to  right:  Harry 
Abbott,  lA  3rd  vice-president,  who  made  the 
presentations;  charter  members  Harry  Mcllroy, 
Edward  M.   Black,  and  James  Dowling. 

members:  James  Dowling,  chief  pro- 
jectionist at  the  State  Theatre; 
Edward  M.  Black,  projectionist  at  the 
Embassy  Theatre,  and  Harry  Mcllroy, 
assistant  carpenter  at  the  State 
Theatre.    These  men  held  membership 


In  recognition  of  many  years  of  loyal  and  untiring  services  to  Toronto  Local  173,  Jim  Sturgess 
(center),  president  of  the  Local,  is  presented  with  a  beautiful  silver  tea  set.  Pictured  here  at 
the  presentation  ceremonies  are,  left  to  right:  Roy  O'Connor,  executive  board  member;  Lome 
Clarke,  presentation  committee  member;  Lou  Lodge,  secretary-treasurer;  Gus  Demery,  chairman, 
presentation  committee;  Pat  Trovers,  business  representative;  Sturgess,  Art  Kerrin,  vice-president; 
Lou     Applebaum,     Dave     Siegel,     Roy     Wilson,    executive     board     members,     and     Bert     Higgins, 

recording-secretary. 


Home.  The  membership  turned  out 
en  masse  to  celebrate  the  event  which 
was  highlighted  by  the  presentation 
of  silver  honorary  life  membership 
cards  to  the  three  remaining  charter 


in  the  Local  when  it  received  an  lA 
charter  back  in   1911. 

Kenneth  S.  Mack,  president  of  the 
Local,  presented  copies  of  a  scrapbook 
depicting  the  history  of  the  theatre  in 


im~fm 


Members   and   guests   of   Local   332,   Clinton,   Iowa,   as  they   gathered  Clyde     Baker,    Charles     Novotny,     H.     C.     Andrews,     president;     Wm. 

around   the   festive   board   in   honor   of   the   Local's   recent  40th   anni-  Donnelly,   lA  7th  vice-president;   Don  Allison,   mayor  of  Clinton;   Paul 

versary    celebration.     Pictured    here,    seated    left    to    right,    are    Local  Nadelhoffer,  business  representative;  Charles  Snyder,  Bob  Muhs,  and 

members:  A.   E.   Hubbard,  secretary;  James  Wosoba,  Andy   Rutzbach,  Wm.   Holdbrook.    Managers  of  all   the  local  theatres  and   many  civic 

leaders   were   among  the   invited    guests. 


18 


INTERNATIONAL  PROJECTIONIST      •      JUNE  1954 


the  Easton  area  to  the  award  recipients 
and  to  Harry  Abbott,  lA  3rd  vice- 
president,  who  made  the  presentations. 

•  Charles  H.  Travis,  charter  member, 
was  presented  with  a  life  membership 
card  in  Local  314,  Schenectady,  N.  Y. 
Travis  has  projected  pictures  for  the 
past  46  years.  In  June  1953  he  retired 
as  projectionist  at  the  Plaza  Theatre, 
a  position  he  held  for  21  years. 

•  The  many  friends  of  Lawrence  J. 
Katz,  president  of  Local  488,  Harris- 
burg,  Penna.,  and  lA  representative, 
will  be  glad  to  learn  that  he  is  re- 
covering from  a  serious  indisposition 
suffered  several  weeks  ago. 

•  lA  Locals  throughout  the  country 
contributed  a  total  of  $21,750  to  the 
Will  Rogers  Memorial  Hospital  at 
Saranac  Lake,  as  a  result  of  the  lA's 
1953  Christmas  Salute  drive.  This 
tops  the  previous  year's  contribution 
by  $4,000. 

°  The  stiff  opposition  of  Chicago 
Projectionists  Local  110  to  the  show- 
ing of  the  controversial  motion  pic- 
ture film,  "Salt  of  the  Earth,"  has  re- 
sulted in  the  cancellation  of  several 
widely-advertised  bookings  of  this  film 
in  Chicago  theatres.  This  feature,  an 
independent  production,  has  been 
blasted  by  lA  Locals  and  American 
Legion  posts  throughout  the  country. 

•  A  retirement  fund,  created  jointly 
by  Milwaukee  Projectiotiists'  Local  164 
and  the  theatre  exhibitors  in  its  juris- 


Members    of    Local    676,    Hornell,    N.    Y.,    at    the    Local's    recent    25th    anniversary    celebration. 

Shown   in   the   front   row,   left   to    right:    Elliott    Hazen,   business    representative;    William    Switzer, 

secretary,    and    George    Griffing,    president.     Back    row,    left    to    right:    Archie    Tutton,    Anthony 

Galeazzo,    William    Jackson,    Jack    Whitman,    and    Lynn    Blackmer. 


diction,  has  been  announced  by  Oscar 
E.  Olsen,  the  Local's  business  repre- 
sentative. This  trust,  which  is  financed 
by  exhibitors  paying  a  percentage  of 
the  projectionists'  salaries  into  the 
fund,  is  administered  by  a  six-man 
board  of  directors,  three  representing 
the  exhibitors  and  three  the  Local. 
Harold  J.  Fitzgerald,  president  of  Fox 
Wisconsin  Amusement  Corp.,  and 
Oscar  E.  Olsen  are  the  co-chairmen. 
Glenn  C.  Kalkhoff  and  Robert  O. 
Lucht  are  the  other  two  union  mem- 
bers serving  on  the  board. 

Under  this  trust  fund  a  pension  of 
$100  per  month  is  paid  to  each  mem- 
ber of  the  Local  retiring  at  65  years 
of  age  or  older,  and  benefits  are  paid 
to  members  who  are  permanently  dis- 
abled through  illness  or  by  accident. 

At  its  first  session,  last  January, 
the  board  retired  eight  members  of  the 
Local  with  pensions  of  $100  a  month 
for  life.    These  men,   ranging  in  age 


Manuel  Ayala  and  Alfred  Pena,  members  of  San  Antonio  Local  407,  attended  the  Mexican  STIC 

convention  at  Tampico,  Mexico,  as  delegates  from  their  Local.    The   Mexican   union   is  equivalent 

to   our   lATSE.    The   white   arrow   points   to   Ayala. 


from  67  to  76,  are  William  Boden- 
stein,  Hollie  Fulmer,  Alfred  Bauman, 
George  Mace,  Arthur  Westphal, 
Joseph  Sasse,  Jr.,  Jerome  Washicheck, 
and  Fred  Lower.  In  addition,  three 
other  members — John  Black,  Her- 
man Trampe,  and  Paul  Bruder — 
were  placed  on  the  permanent  dis- 
ability list  with  payments  of  $100  per 
month. 

•  The  25th  anniversary  celebration  of 
Local  676,  Hornell,  N.  Y.,  took  place 
last  month  in  the  ballroom  of  the 
Moose  Club  in  Hornell  at  the  close  of 
'the  annual  Spring  meeting  of  the 
N.  Y.  State  Association  of  Motion 
Picture  Projectionists.  Delegates  and 
guests  of  the  Association  were  in- 
vited to  the  celebration,  which  was 
attended  by  prominent  civic  and  top 
lA  personnel.  Sound  movies  of  the 
Association's  1953  Fall  meeting  were 
shown,  wherein  President  Tuttle  stole 
the  acting  honors. 

One  of  the  features  of  the  party 
was  the  presentation  to  the  popular 
secretary  of  the  25-30  Club  of  New 
York  City,  Morris  Klapholz,  and  his 
wife  of  a  beautiful  cake  in  honor  of 
their  39th  wedding  anniversary.  This 
very  gracious  gesture  on  the  part  of 
the  Hornell  Local  is  one  that  we  are 
sure  the  Klapholz'  will  long  remem- 
ber and  cherish. 

•  Visitors  from  Out-of-Town:  James 
J.  Gebhart,  member  of  Local  515, 
Shamokin,  Penn.,  and  Mrs.  Gebhart 
visited  with  the  IP  staff  during  their 
recent  visit  to  this  city.  As  a  sideline, 
the  Gebharts  are  expert  locksmiths 
and  had  many  an  amusing  story  to 
tell  of  their  experiences  in  this  field. 

From  Toronto,  Canada,  came  "Pat" 
Travers,   the   popular   business   repre- 


INTERNATIONAL  PROJECTIONIST      •      JUNE  1954 


19 


sentative  for  Local  173,  and  B.  Crowe, 
charter  member  of  the  Local.  Harry 
Sherman,  the  late  conductor  of  these 
columns,  had  a  very  warm  spot  in  his 
heart  for  the  Toronto  boys  and  this 
regard  has  been  passed  on  to  the 
writer.  We  enjoyed  these  visits  and 
look  forward  to  more  of  them. 

•  The  Iowa  State  Association  held 
its  24th  meeting  on  May  11  at  the 
Blackhawk  Hotel  in  Davenport,  Iowa. 
Among  the  many  topics  discussed  at 
the  meeting  was  a  pension  and  retire- 
ment plan  designed  primarily  for 
labor  unions.  This  plan  was  briefly 
outlined  by  Mr.  Leo  Frenzl,  a  special- 
ist in  such  matters,  who  stated  that  lA 
President  Walsh  and  General  Secre- 
tary-Treasurer Holdmen  showed  much 
interest  in  the  plan  when  he  presented 
it  to  them. 

William  Donnelly,  lA  7th  vice- 
president  and  business  representative 
for  Minneapolis  Local  13,  addressed 
the  gathering  and  urged  that  all 
Locals  lend  their  support  to  the  LLPE 
(Labor's  League  for  Political  Educa- 
tion ) .  He  stressed  the  importance  of 
this  organization  in  Labor's  fight 
against   unfriendly  lawmakers. 

Many  of  the  delegates  present  re- 
ported that  their  Locals  receive  extra 
pay  for  preparatory  time  when  show- 
ing pictures  in  the  new  processes.  A 
number  of  them  stated  that  their 
Locals  get  preparatory  time  regard- 
less of  the  medium  in  which  pictures 
are  shown. 

When    the    meeting    adjourned,    the 


delegates  were  the  guests  of  Daven- 
port Locals  85  and  433  at  a  midnight 
banquet  held  at  the  Labor  Temple. 

*  Among  the  many  interesting  topics 
discussed  at  the  recent  semi-annual 
meeting  of  the  N.  Y.  State  Association 
of  Motion  Picture  Projectionists  was 
the  all-important  matter  of  welfare 
and  pension  plans.  It  became  ap- 
parent that  such  plans  vary  widely 
among  various  Local  Unions  in  a 
given  state,  such  ramifications  affect- 
ing adversely  the  security  of  the 
worker. 

For  example,  Morris  Klapholz,  rep- 
resenting the  25-30  Club  of  New 
York  City,  told  how  the  RKO  and 
Loew's  circuits  eliminated  their  own 
welfare  plan  when  the  Local  306 
pension  plan  became  effective.  It  was 
emphasized  that  there  now  exists 
many  so-called  welfare  plans  which 
involve  the  contribution  over  a  period 
of  years  by  a  worker  who,  upon  being 
taken  ill  and  forced  to  leave  his 
theatre  post,  is  unable  to  continue  his 
welfare  plan  payments  and  thereby 
forefits  any  interest  in  and  right  to  his 
accumulated  payments. 

Pension  Collection  Ratio 

Another  point  of  especial  signifi- 
cance was  developed  during  the  discus- 
sions, namely,  that  statistics  prove  that 
only  one  out  of  ten  men  may  expect  to 
benefit  from  the  various  pension 
plans  now  in  effect,  and  then  for  only 
a  limited  period  of  three  years. 

It  would  seem  to  be  the  part  of  wis- 


Shown  in  atfendance  at  the  recent  Iowa  State  Association  meeting  which  was  held  in 
Davenport,  Iowa.  Back  row,  left  to  right:  Ray  Jiruska,  L.  191,  Cedar  Rapids;  Richard  Murphy, 
L.  85,  Davenport;  Paul  Nadelhoffer,  L.  332,  Clinton;  Fred  Parker,  L.  433,  Davenport;  next  six 
unknown;  Theodore  Garretson,  I.  433,  and  Bruce  Watson,  L.  238,  Muscatine.  Middle  row: 
J.  R.  Marksbury,  L.  355,  Sioux  City;  A.  E.  Hubbard,  L.  332;  Harold  Weigand,  L.  450,  Mason 
City,  and  Edward  DeBorde,  I.  67,  Des  Moines.  Seated,  front  row:  James  Seese,  I.  202, 
Waterloo;  Clyde  Cooley,  L.  343,  Omaha;  George  Brayfield,  lA  trustee;  Wm.  Donnelly,  7th 
lA  vice-president;  Robert  Olson,  L.  509,  Duluth,  Minn,  (president  of  Minnesota  State  Federation 
of  Labor);  Louis  Lannon,  L.  103,  Dubuque;  George  Stoddard,  L.  433,  and  Burt  Martin,  L.  40 
and   355,   Mason   City.     Gordon   E.   Beck,   president  of   the   Association,   is   shown   in   front   center. 


Dr.  Leon  W.  Wells  (center)  who  developed 
the  Pola-Lite  3-D  system,  explains  the  details 
of  the  single-track  3-D  projection  attachment 
to  Wilfred  Dawson,  left,  and  William  Esperti, 
right,  members  of  Detroit  Local  199  and  pro- 
jectionists at  the  Roxy  Theatre  In  Detroit, 
where    this     unit    had     its    premiere    showing. 


dom  for  the  most  comprehensive  and 
intensive  exchange  of  information 
anent  such  welfare  and  pension  plans 
among  the  various  units  of  a  given 
craft.  Insurance  companies  specializ- 
ing in  this  form  of  underwriting  have 
amassed  a  great  wealth  of  data  there- 
on which  they  will  be  only  too  glad 
to  make  available  to  any  interested 
parties. 

•  The  AF  of  L  and  CIO  Peace  Com- 
mittees met  in  Washington,  D.  C.  on 
June  9  and  signed  no-raiding  pacts. 
AF  of  L  President  George  Meany  and 
CIO  President  Walter  P.  Reuther  at- 
tended the  meeting.  This  is  said  to  be 
the  first  step  in  the  long  drawn  out 
negotiations  to  bring  about  a  merger 
between  these  two  labor  organizations. 

lA     OBITUARIES 


Floyd  Woodsmall,  42,  member  of  Local 
164,  Milwaukee,  Wis.  since  1937,  died  sud- 
denly last  month  at  his  newly  completed 
home  at  Nagawicka  Lake,  to  which  he 
recently  moved  his  family.  He  was  em- 
ployed as  projectionist  at  the  Fox-Princess 
Theatre  in  downtown  Milwaukee.  He  is 
survived  by  his  wife,  two  daughters  and  a 
sister  and  a  brother. 

J.  A.  Bainbridge,  one  of  the  oldest  members 
of  San  Francisco  Local  162,  died  early  this 
month.  Although  he  retired  some  years 
ago  from  all  activities,  he  maintained  his 
interest  in  Local  162  affairs.  During  the 
early  years  of  his  career,  "Bainy,"  as  he  was 
affectionately  known  to  all  his  friends,  was 
in  the  theatre  supply  business,  in  charge 
of  the  S.  F.  agency  for  the  Powers  pro- 
jectors. 

Walugn  McDonald,  member  of  St.  Louis 
Local  143,  succumbed  to  fatal  injuries  sus- 
tained in  an  automobile  accident  last  month. 
In  addition  to  working  as  projectionist  he 
operated   a   theatrical   agency. 


20 


INTERNATIONAL  PROJECTIONIST      •      JUNE  1954 


^.yj  '>y»f=v'.r>;ia^ 


LETTERS    TO    THE    EDITORS 


Splicing  CinemaScope  Prints 

To  the  Editor  of  IP: 

I  hear  and  read  complaints  that 
CinemaScope  film  is  difficult  to  splice. 
I  have  also  heard  it  suggested  that  the 
best  way  to  insure  good  splices  on 
CinemaScope  film  is  to  bring  a  "hot" 
splicer  into   the   projection   room. 

I  believe  that  the  proper  approach  to 
splicing  CinemaScope  film  is  only  slight- 
ly different  from  methods  used  all  along. 
The  fact  that  the  sprocket-hole  dimen- 
sions of  CinemaScope  film  are  smaller 
than  standard,  and  that  the  magnetic- 
sound  striping  is  on  the  opposite  side 
of  the  film  base  from  the  emulsion,  are 
the  only  two  factors  that  make  splicing 
different.  At  Loew's  we  solved  this  prob- 
lem by  purchasing  the  recently-marketed 
Neuscope  splicer  (Neumade  Products) 
which  is  designed  especially  for  Cinema- 
Scope. 

In  my  opinion,  there  is  no  more  rea- 
son for  using  a  "hot"  splicer  on  Cinema- 
Scope than  on  any  other  film.  In  addi- 
tion, with  all  the  extra  equipment  that 
the  projectionist  has  been  required  to 
handle  during  the  past  year,  it  is  con- 
fusing and  unfair  to  suggest  that  addi- 
tional equipment  in  the  form  of  a  "hot" 
splicer  is  also  needed. 

One-Operaf/on  Procedure 

The  advantage  of  the  Neuscope  splicer 
is  that  once  the  film  is  positioned  in  the 
splicer,  it  is  not  removed  until  the  splice 
is  completed.  If  a  standard  bench  splicer 
is  used,  it  would  be  necessary  to  remove 
both  ends  of  the  CinemaScope  film  from 
the  splicer  during  the  process  so  that 
both  edges  could  be  scraped  and  the 
magnetic  striping  be  removed  from  the 
splice  area  as  well  as  the  emulsion. 
Also,  the  register  pins  of  the  Neuscope 
splicer  are  made  to  fit  CinemaScope 
sprocket  dimensions. 

The  film  is  placed  in  the  Neuscope 
splicer  in  the  same  way  as  formerly 
with  the  Griswold  bench  splicer.  Using 
the  wire-brush  and  scraper  unit  avail- 
able with  the  splicer,  scrape  the  left- 
hand  film  section.  Then  swing  the  right- 
hand  jaw  to  wide-open  position  and  re- 
move the  magnetic  tracks  from  the  base 
side  of  the  right-hand  film  section  with 
the  wire  brush,  roughening  the  base  at 
the  same  time. 

Apply  any  good  commercial  cement, 
and  clamp  the  splice,  allowing  a  setting 
time  of  approximately  20  seconds.  Open 
the  splicer  and  remove  the  film.  Result 
— a  perfect  patch. 

All   this   is   done   with   the   aid   of    a 


simple  bench  splicer  designed  especially 
for  CinemaScope  film  and  without  the 
aid  of  a  "hot"  splicer.  Although  it  may 
have  value  in  the  film  laboratory  or  in 
the  exchange,  I  feel  that  a  "hot"  splicer 
is  out  of  place  in  the  modern  projection 
room. 

M.  D.  O'Brien 
Director,  Sound  &  Visual  Projection, 
Loew's,  Inc. 

Good   Lens  Tissue  Available 

To  the  Editor  of  IP: 

We  agree  in  the  main  with  the  com- 
ments made  by  Robert  A.  Mitchell  in 
the  article  "The  Lens:  Key  to  Projec- 
tion Quality,"  which  appeared  in  your 
April  issue.  The  suggestions  made  there- 
in provide  an  excellent  basis  for  proper 
procedure  in  the  care  and  maintenance 
of  the  high-quality  lenses  we  now  use. 
and,  moreover,  emphasize  the  "don'ts" 
which,  if  employed,  would  impair  lens 
performance. 

However,  we  think  that  on  page  33 
of  the  aforementioned  article  the 
several  paragraphs  devoted  to  cleaning 
lens  surfaces  should  be  clarified:  the 
phrase  "do  not  use  'lens  paper,' " 
should  definitely  not  be  construed  to 
mean  that  there  is  not  an  effective 
lens  tissue  available.  We  have  long 
supplied  a  lens  tissue  to  the  industrv 
which  has  received  the  approval  of  all 
the  major  film  research  laboratories. 

The  cleaning  of  a  good  lens  is  a 
matter  of  paramount  importance  in 
the  projection  field,  hence  we  think 
it  inaccurate  to  leave  with  your 
readers  the  impression  that  there  does 
not  exist  a  wholly  acceptable  lens- 
cleaning  tissue  and  lens-cleaning  fluid. 
Yours    for   better   projection. 

S.     K.     ROSENSTEIN 

Rosco  Laboratories,  367  Hudson  Ave.. 
Brooklyn,    N.    Y. 

Ratios,  Balcony,  Curved  Screen 

To  the  Editor  of  IP: 

For  the  most  part  I  concur  with 
your  article  in  the  April  issue  of  IP. 
However,  I  like  the  2.55  to  1  ratio  of 
Fox.  It  is  nearer  the  natural  field  of 
vision  than  that  of  any  other  repro- 
duction system.  Also,  do  not  overlook 
a  competitive  comparison.  The  old  3 
x  4  ratio,  or  even  2  to  1,  permits  too 
close  association  in  the  viewer's  mind 
with  Tv. 

Like  any  other  new  device  or  tool, 
the  industry  must  learn  to  use  it  to 
best    advantage.      CinemaScope     should 


be  installed  with  screens  from  wall 
to  wall.  It  is  most  important  not  to 
distract  the  viewer's  attention  with 
organ  lofts,  auditorium  ornamentation 
or  other  adornments  of  no  particular 
value  in  a  movie  theatre.  The  balcony 
is  as  outmoded  as  the  Model  "T".  It 
is  both  an  economic  and  technical 
liability. 

Of  course  the  screen  should  be  flat. 
Cut  through  the  fog  of  optical  mis- 
information, and  it  is  quite  simple. 
A  projection  lens  magnifies  a  flat 
image  obtained  from  a  flat  film.  Per- 
haps more  harm  has  been  done  to 
the  industry  by  the  giant  curved 
screen  than  any  other  crackpot  idea 
ever    offered. 

Donald    E.    Ball 
809  Division  St.,  Clarks  Summit,  Pa. 

Accolade  From  the  Antipodes 

To  the  Editor  of  IP: 

Each  month  this  Union  receives 
regularly  three  copies  of  Inter- 
national Projectionist.  These  I  dis- 
tribute to  local  projectionists  and  other 
members  of  this  Union.  After  their  re- 
turn, copies  are  filed  for  reference.  The 
contents  of  your  magazine  are  always 
of  interest,  especially  to  projectionists 
in  this  part  of  the  world  who  find  the 
technical  articles  of  great  help  to  them. 

R.  Kirk, 
Honorary  Secretary 
Otago   and   Southland   Projectionists' 
Union,   Dunedin,   C.I.,  New  Zealand. 

Wire  Brush  Not  Needed 

To  the  Editor  of  IP: 

When  reading  the  "What's  Your  Prob- 
lem?" column  in  the  March  issue  of 
IP,  I  noticed  that  the  writer  practically 
demanded  that  a  wire  brush  be  standard 
projection  room  equipment  for  splicing 
CinemaScope  film.  I  find,  after  running 
seven  different  CinemaScope  pictures, 
that  the  brush  is  not  necessary.  If  you 
place  the  film  in  the  splicer  with  the 
sound  tracks  up  and  apply  a  little  film 
cement  to  the  sound  tracks  to  soften 
them  up,  the  regular  emulsion  scraper 
supplied  with  the  splicer  can  remove 
the  magnetic  striping  with  ease.  Try  it. 
It  works! 

Harold  L.  Weigand 
Mason  City,  Iowa 

[Editor's  Note:  It  would  appear  that 
Mr.  Weigand  is  talking  about  splicing 
CinemaScope  Film  with  a  standard 
splicer.  The  information  in  IP  about 
the  wire  brush  referred  to  its  use  in  con- 
nection with  the  new  Griswold  splicer 
designed  especially  for  CinemaScope. 
The  pressure  clamp  assembly  on  this 
splicer  requires  use  of  the  brush  if  best 
results  are  to  be  obtained.! 


INTERNATIONAL  PROJECTIONIST      •      JUNE  1954 


1 


21 


From  Muybridge  To  CinemaScope 


AN  EPOCH  started  on  May  4,  1880. 
Edweard  Muybridge  projected  on 
a  screen  his  moving  picture  studies  of 
animal  locomotion.  Spectators  were 
members  of  the  San  Francisco  Art  Asso- 
ciation and  gentlemen  of  the  press.  One 
reviewer  reporting  his  show  the  next 
day  in  the  San  Francisco  Alta  wrote: 
"Mr.  Muybridge  has  laid  the  founda- 
tion of  a  new  method  of  entertaining  the 
people." 

From  that  1880  date  until  the  end  of 
the  century,  motion  picture  inventions 
crowded  the  files  of  patent  offices  around 
the  world.  The  activity  reached  a  peak 
in  1896.  In  1895  the  first  film  fans  in 
France,  Germany,  Switzerland,  Great 
Britain  and  the  United  States  were  re- 
sponding to  their  earliest  chance  to  buy 
entertainment  furnished  by  motion  pic- 
tures. 

In  five  years'  time  there  was  already 
too  much  from  which  showmen  could 
choose.  By  1900  there  were  available 
sound  films,  trick  films  with  stop-motion 
effects  and  multiple  exposures,  news  fea- 
tures, story  films  and  movies  in  color. 
Fifty-four  years  ago,  they  even  had 
Cineorama  and  the  wide-screen  (69  feet 
wide,  by  the  way). 

The  Paris  Exposition 

All  this  was  displayed  in  dazzling  pro- 
fusion at  the  great  Paris  Exposition  cele- 
brating the  advent  of  the  Twentieth  Cen- 
tury. It  was  there  that  the  voices  of 
Sarah  Bernhardt  and  Coquelin  spoke 
from  motion  picture  screens.  It  was 
there  that  Cineorama,  the  patented  inven- 
tion of  Raoul  Grimoin-Sanson,  made  its 
debut. 

Today's  version,  the  Cinerama  is  less 
than  half  of  what  the  1900  spectacle 
was.  Instead  of  just  three  synchronized 
cameras  and  projectors,  Sanson  used 
ten.  Instead  of  a  screen  25  feet  high, 
the   French   inventor   used    a   screen   30 


By  JAMES  CARD 

Curator,    George  Eastman  House 

feet  in  height  that  completely  sur- 
rounded the  spectators.  In  1900  the 
watchers  stood  right  in  the  middle  of  a 
gigantic  moving  picture,  projected  in 
color  from  ten  synchronized  movie  ma- 
chines, merging  ten  separate  films  into 
a  single  vast,  encompassing  scene. 

At  the  same  exposition  there  was  a 
wide-screen  presentation  that  would  have 
impressed  today's  most  ardent  cham- 
pions of  CinemaScope:  the  brothers 
Lumiere  showed  their  films  in  color,  on 


each  remained  for  the  most  part  hid- 
den in  the  past,  each  awaiting  its 
cue  for  the  proper  time  to  be  brought 
out  and  appended  once  again  to  the  mov- 
ing image  that  is  the  heart  of  the 
cinema. 

Each  time,  it  was  to  meet  a  crisis  that 
one  of  these  old  treasures  was  brought 
out  of  the  shadows  of  the  nineteenth  cen- 
tury and  dramatically  presented  anew  to 
the  jaded  public  eye. 

Radio  Competition 

Back  in  1926,  radio  provided  the 
crisis.  From  the  time  of  Edison's  first 
film  experiments,  there  had  been  at- 
tempts at  talking  pictures.  By  1912, 
Gaumont  was  producing  elaborate  dia- 
logue films  with  sound  effects  and  musi- 


Muybridg;  photographs  like  these,  produced  by  multiple  cameras  operated  by  strings  attached 
to  electric  switches  which  controlled  the  shutters,  proved  that  a  horse  in  a  gallop  lifts  all  four 
feet  off  the  ground  at  once.  These  photos.,  made  to  settle  a  bet,  ore  a  milestone  in  motion 
picture  history. 


a    gigantic    screen    48    by    69    feet    and 
seated  25,000  viewers  at  a  single  session. 

Flood  of  Inventions 

Invention  had  come  too  fast.  The 
movies  were  too  rich  in  ideas.  The 
flood  of  brilliant  devices  given  to  the 
world  by  1900  could  not  be  absorbed 
commercially  in  a  field  so  new.  In  a 
few  years,  for  practical  purposes,  the 
movies  were  stripped  to  the  essential 
novelty:  images  in  movement. 

The  bones  of  nearly  everything  basic 
to  the  medium  today  were  then  stored 
away  in  the  closets  of  the  movies'  past — 
skeletons  of  the  wondrous  systems  des- 
tined to  delight  beholders  in  the  new 
century. 

Sound  —  dialogue  —  color  —  and     3-D 


The  Cinerama  oF 
Raoul  Grimon  -  San- 
son was  featured  at 
the  Paris  Exposition 
of  1900.  Ten  syn- 
chronized projectors 
gave  a  360  degree 
picture.  The  specta- 
tors stood  in  the 
middle  of  this  huge 
moving    picture. 


cal  accompaniment.  Sound-on-film  had 
been  developed  as  early  as  1908.  But 
the  time  was  not  at  hand  to  catch  the 
public  ear.  From  1912  to  1926  the  film 
held  its  tongue.  The  movies  kept  their 
silence  until  the  radio  forced  them  to 
speak  up. 

The  silent  film  was  threatened  by  the 
new  device.  Thousands  of  head-phoned 
Americans  were  staying  home  to  care- 
fully guide  cat's-whiskers  to  the  highest 
spot  on  the  crystals  of  bed-side  radio 
sets.  Then  came  the  loudspeakers  and 
the  whole  family  seemed  in  danger  of 
preferring  the  static  from  KDKA  to  the 
mute  allure  of  Hollywood's  most  spark- 
ling shadow  stars.  The  movies  met  this 
audio  challenge  in  1926  with  Vitaphone 
and  movietone. 

Now  a  new  challenge  has  been  hurled 
at  the  cinema.  This  time  the  attack 
came  from  television  in  an  area  where 
the  movies  seemed  most  secure  —  in  the 
field  of  sight  rather  than  sound.  The 
film  men  have  countered  with  visual  dis- 
plays of  stereo  effects  and  larger  screen 
sizes,  all  devices  a  half-century  old. 

The  movies  still  have  all  manner  of 
surprising  devices  stored  undeveloped  in 
their  past  that  await  only  contemporary 
vision  and  energy  to  adapt  them  to 
present  usefulness.  We  are  still  living 
in  the  age  of  vision. 


Governor  Leland  Stanford  of  California 
made  the  bet;  Muybridge  tackled  the  tough 
photographic  job.  After  many  trials,  the 
latter  lined  up  a  number  of  cameras  along 


22 


INTERNATIONAL  PROJECTIONIST      •      JUNE  1954 


a  track.  Eventually  he  attached  strings  to 
Mi  electric  switches  that  controlled  the  camera 
shutters.  When  a  horse  galloped  past,  it 
broke  the  strings  one  after  another.  The 
shutters  were  released  and  negatives  made 
in  a  series.  The  photographs  proved  that 
Governor  Stanford  was  right.  The  feet  were 
off  the   ground   during  the   gallop. 

Filled  Still-Mofion  Picture   Gap 

Muybridge  was  a  pioneer  in  instantane- 
ous photography.  His  work  fills  the  gap 
between  still  and  motion  picture  history. 
While  he  set  out  to  eliminate  motion  by 
stopping  it  in  pictures,  in  1880  he  also 
projected  photos  intermittently.  This  pro- 
duced motion  on  the  screen,  thus  anticipat- 
ing  motion    picture. 

His  projected  pictures  of  horses  in  motion 
amazed  audiences.  The  San  Francisco  Call 
of  May  5,  1880,  reported  that  "nothing  was 
wanting  but  the  clatter  of  the  hoofs  upon 
the  turf  and  an  occasional  breath  of  steam 
from  the  nostrils,  to  make  the  spectator  be- 
lieve that  he  had  before  him  genuine  flesh- 
and-blood    steeds." 

Battery  of  24  Cameras 

Later  Muybridge  went  to  Philadelphia 
where  he  continued  his  work  at  the  Uni- 
versity of  Pennsylvania  from  1883  to  1885. 
Here  he  perfected  his  equipment.  He  also 
turned  to  use  of  the  new  dry  plates  for 
shorter  exposures.  The  results  of  his  work 
were  published  in  a  series  of  781  illustra- 
tions on  animal  locomotion.  For  his  pictures 
he  used  horses  and  animals  of  all  kinds 
from  the  Philadelphia  Zoo  as  well  as  human 
models. 

Muybridge's  photography  at  Philadel- 
phia was  done  outdoors  against  a  black 
background.  Opposite  the  background  he 
had  a  battery  of  24  cameras.  A  camera  in 
the  collection  at  Eastman  House  is  one  of 
these.  Also  in  the  collection  are  Muy- 
bridge's notebooks,  13  albums  containing  a 
large  number  of  his  duplicate  negatives,  and 
an  album  of  albumen  prints  which  are  con- 
sidered to  be  the  best  of  his  work. 


A  Universal  lens  mount  designed  *o  permit 
quick  switching  from  CinemaScope  to  standard 
3  by  4  projection  during  a  show  is  shown 
below.  Designed  and  produced  by  Dave 
Corbett,  of  Projection  Products,  N.Y.C.,  the 
device  makes  possible  vertical  and  horizontal 
adjustments  of  the  projection  lens  to  com- 
pensate for  the  slightly  different  position  of 
the  CinemaScope  and  standard  apertures  in 
relation  to  the  projector  optical  train.  Without 
this  correction,  neither  picture  will  be  centered 
accurately   on    the   screen. 


The  Marauders  Mutter 


The  "accompanying  literature"  mentioned  in  the 
appended  communication  could  hardly  be  news 
to  IP  readers  for  the  reason  that  Mr.  Mitchell 
has  in  his  contributions  to  IP  been  both  metic- 
ulous and  far-ranging  in  his  comments  on  pro- 
jection technological  developments. 


In  Anguished  Tones 


VEB  ZEISS  IKON 


19  Weat  44th  Stn 


Elnachralbea   1 


TEP  Stil/Hfm/1562        29^  25.2.195'* 

nal  ProJoctioQiot",   Nr.    12/1953.    Selte  ?. 


In  Heft  12/53   Itirer  Zoitecbrlft  "latornatioiial  Projactlonlot" 
ver^rrentllch.ton  Sie  eiaeo  Artikal  vca  H»rra  Bobert  A.   Ultcbell 
untor  dora  Tltel 


:ioa  AdvoQces   la  f.'urope". 

I  Ar'tlkals  Uber  die  kinotachalscha  Satiilclc- 
I  (  Oatdeutochland  )  laiJate.T  r.ir  entQehmeQ, 
sero  Neueatwiclduiieeo  an  TheatGrmaschlaeD 


»U    erleuben  una   dGar.olb,    1 

una    hercoetolltan  ThuatfiitiQ 
fiune  zu  stellon.      Beljn   S'     ' 


opel'.t! 


Typ    U  1    uad   D  2   zur  Verfu- 
werdea    Sle    fas  t- 
bel    dleaon  Ucachlnen   ei^ccnilber   der    Ihncn 
bekonntoa  CracJianii  VII   D  um   srundofitzlictia  IJeukonatruktlonon  haa- 
delt,    die   elne  Koiho  voa   weoontllchen  Heuhelten   om>a ioen. 

Mitchell    nl3    laloraotlonal   Le- 
I   dco    "lateTaotioDal   Irojcc- 
.n  boldea  noucn  rCaschinon  Konntnia  cibt  ur.d   blt- 
■  So'firolben  und   di3   beicaftlEtB  ProapeKtmctorlaJ 


Anlap.oQ- 

D  1   -   Dlldorli 


VEB  ZEISS  IKON  ^^ 


(ffolchett) 


Translation : 

IN  THE  12/53  number  of  your 
periodical,  "International  Projec- 
tionist," you  published  an  article  by 
Mr.  Robert  A.  Mitchell  under  the 
title: 

"Recent    Projection   Advances 
in   Europe" 

The  absence  of  material  in  this 
article  on  motion-picture  techno- 
logical progress  in  the  People's 
Democratic  Republic  of  Germany 
(East  Germany)  forces  us  to  the 
conclusion  that  Mr.  Mitchell  is  un- 
acquainted with  our  new  develop- 
ments in  theatre  machines. 

We  take  this  opportunity,  there- 
fore, to  place  at  your  disposal 
descriptive  material  on  the  Type 
Dl  and  D2  theatre  machines  manu- 
factured by  us.  On  studying  these 
bulletins  you  will  have  to  admit  that 
these  projectors,  in  comparison  with 
the  Ernemann  VII-B  with  which 
you  are  already  familiar,  reveal  a 
basically      new     construction      and 


quite     a     number     of     substantially 
new  features. 

We  should  appreciate  it  very 
much  if  Mr.  Mitchell,  as  an  inter- 
nationally -  known  motion  -  picture 
technologist,  would  acquaint  the 
readers  of  "International  Projec- 
tionist" with  both  of  these  new  pro- 
jectors, and  we  also  ask  that  you 
send  him  our  communication  and 
the  accompanying  literature. 

Yours  very  truly, 
Veb  Zeiss  Ikon,  Dresden,  Germany 

Mitchell  Comment : 

EXAMINATION  of  the  literature 
on  the  D-1  and  D-2  projectors 
reveals  a  radical  rearrangement  of 
Ernemann-type  projector  parts,  the 
whole  enclosed  in  an  unorthodox 
housing.  I  do  not,  personally,  care 
for  this  type  of  enclosure  or  for  the 
square,  and  rather  primitive,  con- 
struction of  the  lamphouse. 

The  lower  part  of  the  mechanism 
itself,  containing  the  sound  repro- 
ducer, seems  rather  cramped,  though 
mechanically  good  design.  Having  no 
information  on  the  quality  of  the 
materials  and  workmanship  in  these 
two  projectors,  I  can  offer  no  com- 
ment on  their  performance.  On  the 
whole,  these  projectors,  while  possibly 
noteworthy,  do  not  seem  to  incorpo- 
rate significant  features  of  really  new 
conception  —  apart  from  the  housing 
and  arrangement  of  the  controls. 


Quick  Projector  Reversal 

According  to  measurements  just 
completed  by  the  Eastman  Kodak  Co., 
it  takes  less  than  one  second  to  achieve 
a  ■  complete  reversal  from  forward 
sound  speed  to  reverse  sound  speed 
with  the  Kodak  Analyst  projector.  The 
Analyst,  designed  for  use  by  athletic 
coaches  and  others  who  want  to  he 
able  to  rapidly  reverse  projection  for 
motion  study  purposes,  is  equipped 
with  a  hand-held,  push-button,  revers- 
ing switch  for  maximum  ease  in  pro- 
jection  control. 


INTERNATIONAL  PROJECTIONIST      •      JUNE  1954 


23 


NEW  RCA  PORTABLE  16-MM 
'PORTOARC  PROJECTOR 

(Continued  from  page  17) 

an  F/1.6  lens.  The  10-amp.  trim  under 
the  same  conditions  delivers  850  lumens 
which  is  in  the  order  of  twice  the  avail- 
able from  ordinary  incandescent-lamp 
16-mm  projectors. 

Burning  Times,  Controls 

One  30-amp.  trim  lasts  56  minutes, 
which  accommodates  a  2000-foot  reel  at 
16-mm  sound  speed.  By  contrast,  the 
10-amp.  trim  burns  2  hours  15  minutes, 
which  accommodates  4000-foot  reels, 
though  special  feed  and  take-up  facili- 
ties, which  are  being  designed,  are  re- 
quired. 

In  Fig.  6  the  outer  edge  of  the  ellipti- 
cal reflector  or  mirror  shows  approxi- 
mately in  line  with  the  left  edge  of  the 
heat  shield  on  the  opened  door.  It  is 
7I/2  inches  in  diameter  and  is  mounted 
on  a  vertical  baffle  within  the  arc  lamp 
by  a  three-point,  spring-seated  suspen- 
sion. The  center  of  the  mirror  is  over 
3  inches  behind  the  arc  to  reduce  fog- 
ging tendencies  from  arc   gases. 

Two  control  knobs  extending  to  the 
back  of  the  arc  lamp  from  the  reflector's 
spring-mounted  support  frame  provide 
tilt  and  training  adjustments  for  uni- 
form illumination  of  the  projector- 
mechanism  aperture.  The  working  dis- 
tance of  the  mirror  alone  is  25  inches 
but  for  the  combination  of  mirror  and 
condenser  the  working  distance  is  less 
than    17   inches.    The   optical   speed   of 


the  combination  is  approximately  F/1.6, 
which  matches  well  with  the  speed  of 
the  fastest  projection  lenses  customarily 
used. 


Condenser  Arrangement 

The  condenser  lens  is  situated  about 
13  inches  from  the  mirror  and  is  made 
of  heat-resistant  glass.  It  not  only  per- 
forms the  optical  function  noted,  but 
also  effectively  serves  as  a  barrier  to 
prevent  cooling  air  currents  from  dis- 
turbing the  arc.  The  condenser  lens  is 
mounted  in  a  pull-out  carriage  visible 
in    Fig.    6   just    above   the    RCA   mono- 


Other  items  of  interest  visible  in  Fig. 
6  are  the  positive-carbon  holder  and 
carbon-tip  guide,  which  are  designed  to 
obstruct  the  minimum  possible  light 
from  the  reflector.  To  the  rear  of  the 
mirror  supporting  bafflle  is  the  negative- 
carbon  holder,  and  just  below  it  may  be 
seen  the  mercury  interlock  switch 
actuated  by  the  lamp  door. 


Double  Feed  Screws 

When  the  lamp  is  in  operation  the 
two  carbon  holders  are  moved  slowly 
toward  each  other  within  the  lamp  base 
by  their  supporting  carriages,  which 
ride  on  two  longitudinal  feed  screws. 
The  carriages  may  be  manually  posi- 
tioned along  the  screws  for  arc  trim- 
ming and  striking  by  means  of  the 
control  knobs  operating  in  the  slots 
just  below  the  door  opening.  Stops  for 
the  carriages  cause  the  feeding  action 
to  cease  when  carbons  burn  down  to 
stubs    2    inches    long,    thus    preventing 


FIG.  7.     The   projector's   heat   filter,   a    unique   feature   of    Porto-Arc   design. 


accidental  damage  to  holders  and  tip 
guides. 

The  ends  of  the  feed  screws  protrude 
through  the  rear  of  the  lamp  housing 
as  shown  and  support  double-groove 
spring-belt  pulleys.  Moving  the  belt 
from  one  set  of  grooves  to  the  other 
changes  the  negative/positive  feed  ratios 
to  suit  the  relative  burning  rates  of  the 
two  different  carbon  trims  for  which  the 
lamp  is  designed. 

The  feed  screws  are  driven  by  a 
specially  wound  D.C.  series  motor  con- 
nected to  the  arc  circuit  via  an  arc- 
current  operated  relay  so  that  feeding 
action  does  not  begin  until  the  arc  is 
struck.  This  effectively  prevents  acci- 
dental freezing  of  the  carbons  if  power 
is  inadvertently  left  on  without  striking 
the  arc.  The  series  motor  circuit  in- 
cludes the  average  feed-rate  control 
rheostat  shown  just  to  the  left  of  the 
arc-current    ammeter. 

Arc  Stabilization 

In  addition  to  the  normal  series 
motor-type  field  windings,  the  feed 
motor  carries  an  additional  field  wind- 
ing through  which  the  arc  current 
passes.  The  combined  forces  of  the 
resultant  fields  provide  a  very  effective 
stabilization  action  for  the  burning  arc; 
for  example,  if  the  arc  current  tends  to 
rise,  say  because  the  line  voltage  has 
gone  up  a  few  volts,  the  feed  motor 
slows  down  so  the  arc  gap  lengthens 
slightly  to  bring  the  current  back  to  the 
former  value.  The  reverse  action  occurs 
if  the  current  tends  to  fall. 

Figure  7  is  another  close-up  of  the 
arc  lamp  with  the  condenser  carriage 
pulled  out  to  show  the  heat  filter.  Also 
visible  in  this  view  is  the  rigid-tip  guide 
for  the  negative  carbon.  The  filter-glass 
strips  are  carried  in  an  auxiliary  holder 
which  is  easily  slipped  in  or  out  of  mat- 
ing guides  on  the  condenser  carriage  as 
shown. 

Experience  to  date  has  shown  that 
with  the  degree  of  aperture  cooling 
provided  it  is  possible  to  run  nearly  all 
color  films  safely  at  30-amp.  operation 
without  the  heat  filter  because  they  are 
relatively  transparent  to  the  longer- 
wavelength  radiant  energy.  The  heat 
filter  is  usually  required  for  black-and- 
white  films  unless  they  happen  to  be  of 
rather  low  density.  The  filter  is  essential 
for  all  types  of  film  when  operating  at 
the  projector's  16  frames  per  second 
film  speed,  but  is  not  usually  required 
for  sound-speed  10-amp.  lamp  operation. 

Ventilation  System 

At  the  top  of  the  lamp  in  Fig.  7  the 
ventilation  chimney  shows.  It  incor- 
porates a  scoop-shaped  inner  section, 
extending  downward  just  above  the  arc 
to   the   edge   of   the   light   beam,   which 


INTERNATIONAL  PROJECTIONIST      •      JUNE  1954 


serves  as  a  collector  for  the  carbon 
electrode  combustion  products  produced 
by  the  burning  arc.  The  chimney  as- 
sembly pulls  out  for  cleaning;  the  dust 
washes  off  easily  in  cold  running  water. 
Two  openings  are  visible  in  the  heat 
shield  on  the  inner  surface  of  the 
opened  lamp  door  in  Fig.  7.  The  larger 
opening  is  provided  with  heat-resistant 
dark  glass  for  observation  of  the  burn- 
ing arc.  The  smaller  opening  is  the 
port  through  which  light  from  the  arc 
enters  the  mirror  assembly  of  the  lamp's 
"arcoscope"  on  the  outer  door  surface. 
Referring  to  Fig.  2,  which  shows  the 
door  closed,  the  mirror  assembly  is 
seen  just  above  the  observation  port, 
and  it  throws  images  of  the  brilliant 
carbon  tips  to  the  white  screen  directly 
below  it. 

Arc-fo-A/l/rror  Adjustment 

During  initial  testing  of  the  lamp  and 
projector  mechanism  the  position  of  the 
burning  arc  with  respect  to  the  mirror 
is  manually  adjusted  for  maximum  light 
output  consistent  with  approximately 
70  percent  side-to-center  light  distribu- 
tion on  the  screen.  Lines  are  then 
scribed  on  the  arcoscope  screen  marking 
the  corresponding  carbon-tip  positions, 
and  these  lines  become  the  references 
for  subsequent  lamp  operation.  As  a 
rule,  mirror  characteristics  are  within 
tolerances  which  permit  mirror  replace- 
ment without  scribing  new  reference 
lines. 

Figure  2  also  shows  the  30-amp. 
rectifier  in  place  under  the  pedestal- 
amplifier.  The  10-amp.  rectifier  is 
identical  in  exterior  appearance.  These 
rectifiers  are  used  to  convert  alternating 
current  from  the  power  line  to  direct 
current  required  for  proper  operation 
of  the  arc.  The  30-amp.  rectifier  uses 
two  standard  15-amp.  gas  rectifier  tubes ; 
the  10-amp.  rectifier  uses  two  6-amp. 
tubes.  Both  rectifiers  are  provided  with 
primary  tap  switches  to  accommodate 
varying  line  voltage  and  load  condi- 
tions. 


Box-Office  Tv  Appeal  to  FCC 

Skiatron  Tv  Corp.  will  file  a  petition 
with  the  FCC  for  Federal  approval  of 
the  various  systems  of  collecting  a  fee 
from  viewers  of  special  Tv  programs. 
Zenith  Radio  Corp.  has  already  filed  on 
behalf  of  its  PhoneVision  system.  The 
Skiatron  system  requires  no  connection 
■with  telephone  or  other  outside  carrier 
lines,  but  functions  by  means  of  a  coded 
card  which  "unscrambles"  the  special 
Tv  program  when  the  card  is  inserted 
in  an  apparatus  attached  to  the  Tv  set. 

Another  box-ofiice  Tv  system  is  Tele- 
meter which,  half-owned  by  Paramount, 
works  by  means  of  an  electronic  coin 
box  attached  to  the  set.  It  is  now  being 
tested  on  the  West  Coast. 


s 


uper  Snaplites  are  better  indoors  or  out.  Sharper 
Pictures,  Greater  Contrast,  More  Light,  Better  Defi- 
nition all  add  up  to  happy  patrons.  Make  your 
Movies  Better  Than  Ever;  use  Super  Snaplite  lenses. 
Super  Snaplite  Projection  Lenses  give  a  true  speed 
for  f/1.9  in  every  focal  length  up  to  7  inches.  Ask 
for  Bulletins  207  and  209. 

Also  Series  II  SNAPLITES  with  a  speed  of  f/2.0 


KOLLillOltip^ 


0^ 


PLANT: 


COKPOKilTIOK 


'0        NORTHAMPTON,  MASSACHUSEnS 
NEW    YORK    OFFICE:    30    CHURCH    ST.,    NEW    YORK    7,    N.   Y. 


INTERNATIONAL  PROJECTIONIST      •      JUNE  1954 


25 


The  Xenon  Gas  Lamp  for 
16-nini  Projection 

The  Xenon  lamp,  a  small  quartz 
envelope  lamp  developed  originally  for 
searchlight  work,  has  lately  been  found 
adaptable  for  use  in  16-mm  projection. 
At  the  moment  of  merely  academic 
interest  to  professional  projectionists, 
this  lamp  is  a  fruitful  source  for  specu- 
lation, since  it  is  much  brighter  than 
the    usual    tungsten    light    source. 

A  descriptive  paper  on  the  Xenon 
lamp  was  read  at  the  Spring  convention 
of  the  SMPTE  in  Washington,  D.  C, 
where  a  comparative  test  was  made  of 
the  screen  images  from  two  projectors, 
one  equipped  with  a  Xenon  arc  or  gas 
lamp  and  the  other  with  a  standard 
tungsten  lamp.  The  Xenon  lamp  was 
said  to  provide  2000  lumens  of  light  to 
the  screen  compared  with  500  from  the 
tungsten   source. 


Because  16-mm  projection  will,  in  all 
likelihood,  continue  to  use  a  tungsten 
light  source  primarily,  the  basic  prob- 
lem in  developing  a  light  source  with 
a  much  higher  output  was  to  closely 
approximate  the  characteristics  of  the 
Mazda  lamp  for  which  16-mm  prints 
are  balanced. 

Emits  Bluish  Light 

While  the  Xenon  arc  stream  inside 
the  quartz  envelop  is  of  much  higher 
color  temperature  than  Mazda  light 
source  and  the  blues  are  somewhat  ac- 
centuated in  the  projected  picture,  the 
increased  light  output  plus  the  balanc- 
ing presence  of  red  is  considered  to 
more  than  compensate  for  the  difference 
in  color  temperature  in  many  applica- 
tions. 

An  interesting  feature  of  the  Xenon 
lamp  is  that  it  has  been  designed  to 
eliminate    the    shutter    from    projection. 


Call  RCA  for  SERVICE 


on  STERBopSOT^IC  sound 


More  than  25  years  of  knowledge  and 
experience  in  the  installation  and  main- 
tenance of  all  kinds  of  theatre  sound 
systems  assures  you  top  standards  of 


performance  in  Stereophonic  Sound. 

In  addition,  thoroughly  dependable, 
prompt  and  courteous  service  are  yours 
when  you  call  in  RCA  Theatre  Service. 


RCA  Service  Company,  Inc. 

A  Radio  Corporation  of  America  Subsidiary 
Camden,  N.  J. 


This  is  done  in  the  following  way: 

When  supplied  with  alternating  cur- 
rent, the  lamp  ignites  on  each  altera- 
tion or  twice  per  cycle.  When  supplied 
by  a  60-cycle  source,  120  light  pulses 
per  second  originate  between  the  elec- 
trodes of  the  lamp.  Therefore,  since 
the  24  pictures  per  second  speed,  which 
is  standard  for  sound  film,  is  an  even 
multiple    of    the    120    light    pulses    per 


Xenon     gaslamp     (left)     as     contrasted     with 
standard    tungsten    lamp. 

second,  the  shutter  can  be  eliminated  if 
a  special  ballast  circuit  shapes  the 
alternating  current  so  that  the  film 
pulldown  is  accomplished  when  the  lamp 
is  dark. 

The  paper  on  the  Xenon  arc  presented 
at  the  SMPTE  convention  was  read  by 
E.  W.  D'Arcy,  now  with  the  Bell  & 
Howell  and  formerly  with  DeVry,  a 
company  which  has  done  development 
work  on  the  Xenon  lamp  for  motion 
picture  projection. 


JACKSON'S  Reel-End  Alarms 

Automatic,   not   Electricl      Projectionists' 
Favorite!     Patented  —  truly  Dependable! 

$21.50  per  pair 

on   money   back   guarantee 

Jest  one  at  your  dealer  or  write  to 

American    Theatre    Supply   Co.,    Inc. 

2300  First  Ave.,  Seattle  1,  Wash. 


rmrmnT 

m 

cm 

ENT 

FISHER  MANUFACTURING  CO. 

1   SALTER  PL. 

ROCHESTER  13,  N.  Y 

26 


INTERNATIONAL  PROJECTIONIST      •      JUNE  1954 


Magnetic  Sound  Recording ; 
How  It  Was  Developed 

The  discovery  of  magnetic  sound  re- 
cording and  reproduction  processes  is 
by  no  means  recent.  Although  it  went 
into  use  in  the  projection  room  only 
a  short  time  ago,  magnetic  reproduction 
was  first  introduced  at  approximately 
the  same  time  that  the  motion  picture 
itself  was  discovered. 

The  first  magnetic  recorder  was  shown 
to  the  world  in  1898,  just  10  years 
after  George  Eastman  revolutionized 
photography  with  his  development  of 
the  roll  film  and  made  the  motion  pic- 
ture possible.  It  was  at  that  time  thai 
a  Danish  scientist  named  Vlademar 
Poulsen  developed  a  wire  recorder  that 
was    designed    primarily    for    dictation. 

Sfeel  Wire  First  Medium 

This  machine  was  both  mechanically 
and  electrically  inefficient,  but  it  effec- 
tively demonstrated  the  working  prin- 
ciple of  converting  electrical  energy  into 
magnetic  fields  of  varying  intensity, 
impressing  these  magnetic  fields  upon 
a  moving  magnetizable  medium,  and 
later  reconverting  these  recorded  mag- 
netic fields  back  into  electrical   energy. 

Steel  wire  was  the  magnetizable 
medium   in    all   early   experiments   with 


What  are  the  facts  about 

CANCER 
OF  THE  LUNG...? 

JUST  20  YEARS  AGO,  in  1933,  cancer  ot  the 
lung  killed  2,252  American  men.  Last 
year,  it  killed  some  18,500. 

WHY  THIS  STARTLING  INCREASE?  Our  re- 
searchers are  finding  the  answers  as 
rapidly  as  funds  and  facilities  permit — 
but  there  isn't  enough  money. 

DOCTORS  ESTIMATE  that  50%  of  all  men 
who  develop  lung  cancer  could  be  cured 
if  treated  in  time.  But  we  are  actually 
saving  only  5  % . .  .just  one- tenth  as  many 
as  we  should. 

VfHY — ?  Many  reasons.  But  one  of  the 
most  important  is  not  enough  money  .  .  . 
for  mobile  X-ray  units,  for  diagnosis  and 
treatment  facilities,  for  training  tech- 
nicians and  physicians. 

THESE  ARE  JUST  A  FEW  of  the  reasons 
why  you  should  contribute  generously 
to  the  American  Cancer  Society.  Please 
do  it  now!  Tour  donation  is  needed 
— and  urgently  needed — for  the  fight 
against  cancer  is  everybody s  fight. 


Cancer 

MAN'S  CRUEtEST   ENEMY 

Strike  back  — Give 


I 


AMERICAN    CANCER    SOCIETY 


"//'>:,'-"' '^  , 


"  WT" 


DRIVE-INS 
THROUGHOUT 

THF  riHIMTRY 

KNOW  WHY... 


to  cfoB^^^^ 


ATIONAL 


THEATRE        SUPPLY 


Division    of   National  *  Simplex  •  Bludworth,  Inc. 

0  ^mmmmmmmmsiMm 


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Planning,  Engineering,  Blue- 
prints, Know  How! 

Convenient  payment  plans, 
pay  out  of  income! 

One  source  for  all 
your  needs! 


INTERNATIONAL  PROJECTIONIST 


JUNE  1954 


27 


magnetic  recording.  Although  patents 
for  coated  tape,  the  medium  that  has 
now  been  adapted  into  a  motion  picture 
sound  track,  were  granted  in  both  the 
United  States  and  in  Germany  in  1927, 
coated  magnetic  tape  did  not  come  into 
use  for  a  long  time  afterward. 

The  German  Broadcasting  Co.  used 
a  steel  tape  machine  in  1935  for  mobile 
pickups.  When  American  manufac- 
turers began  to  manufacture  magnetic 
recorders,  they  completely  ignored  the 
earlier  patents  on  coated  tape  and  con- 
centrated on  wire  recorders. 

It  was  only  after  World  War  II  that 
it  was  discovered  in  this  country  that 
paper  and  plastic  magnetic  tape  could 
be  developed  to  such  a  high  degree  as 
to  supercede  all  other  forms  of  record- 
ing. Manufacturers  then  leaped  on  the 
bandwagon,  and  further  development  in 
the  tape  recording  principle  during  the 
late    forties    resulted    in    the    magnetic 


sound  stripe,  a  thin  stripe  of  magnetic 
tape  which  was  applied  to  processed 
movie  film  for  use  as  a  sound  track. 

1953  saw  the  introduction  of  the 
CinemaScope  sound  system,  four  narrow 
magnetic  sound  tracks  placed  on  one 
strip  of  film  along  with  the  picture. 
Now,  more  than  50  years  after  their 
invention,  motion  pictures  and  magnetic 
recording  have  been  combined. 


Navy  Releases  Electronics  Course 

A  course  in  electricity  and  basic  elec- 
tronics, designed  to  present  the  essen- 
tials for  advanced  study  or  specializa- 
tion, will  shortly  be  published  by  John 
F.  Rider,  480  Canal  St.,  New  York.  The 
course,  originally  developed  by  the  Navy 
for  use  in  its  schools,  is  regarded  as 
being  extremely  simple  and  effective  in 
its  approach,  and  understandable  to 
those  without  previous  technological 
training. 


GREATEST  NEWS  YET 
IN  THEATRE  SOUND! 


lMS^^ 


STEREOPHONIC  SOUND 


Multi-directional  sound 
on  a  standard  optical  track 

This  is  it!  The  simple,  permanent  sound  system  that  solves  all  the 
exhibitor's  stereophonic  sound  problems  — and  it's  fully  compatible 
with  conventional  sound  systems.  Projection  procedures  remain  the 
same,  too. 

Exhibitors  with  stereophonic  sound  can  switch  to  Perspecta  Stereo- 
phonic Sound  by  installing  only  an  integrator  unit,  design-engi- 
neered by  Fairchild.  Theatres  equipped  for  conventional  sound  need 
only  that  single  miracle  tmit  plus  additional  power  amplifiers, 
loudspeakers  and  a  multiple  gang  fader. 

nrurunrp  l     MCM,  Paramount  and  Warner  Bros,   are   now 
lICnlLniDbll  •      filming  all  productions  tcilk  this  new  technique. 


See  your  theaire  supply  dealer  for  full  mformation  or  write: 

RECORDING, 
EQUIPMENT " 

MOTION  PICTURE  SOUND  DIVISION    •    WHITESTONE  57.  NEW  YORK 


NORPAT  Selenium  Rectifiers 

A  line  of  heavy-duty  selenium  recti- 
fiers has  been  marketed  by  Norpat  Sales, 
Inc.,  New  York.  M.  D.  Faige,  Norpat 
president,  states  that  "every  major  part 
of  the  rectifiers  from  the  50,000-hour 
selenium  stack  itself  to  the  line  trans- 
formers has  been  designed  to  meet  and 
surpass   Nema    specifications." 

All  models,  large  and  small,  have 
full  glass  insulated  transformers.  Ripple 
is  held  to  1%,  and  with  12-phase  full- 
wave  rectification,  giving  720  impulses 
per  second,  results  in  a  very  low  flicker, 
according  to  the  manufacturer.  By 
means  of  a  21-position,  8-point  switch, 
wired  to  each  phase  of  the  3-phase  line 
transformer,  output  current  and  voltage 
are  controlled  to  the  arc. 


Operating  Safety  Factors 

In  addition  to  a  thermal  switch,  which 
shuts  off  the  unit  in  the  event  of  fan 
blower  failure  to  prevent  damage  to  the 
transformer  and  stacks,  an  audible  sig- 
nal device  is  provided  to  warn  the 
operator  of  excess  temperatures.  This 
would  enable  him  to  install  an  auxiliary 
floor  fan  at  once  and  prevent  failure 
until  there  was  time  to  check  the  cause. 

Every  unit  is  coated  against  corrosion 
and    humidity    effects.     The    equipment 


I 


s 


PUCES    ^^ 
NOT  y 


HOLDING 

Film  breaks  are  costly. 
Play  safe  by  using 

JEFRONA 

All-purpose  CEMENT 

,  Has  greater  adhesive 
qualities.  Don't  take 
our  word  for  it.  Send 
for  FREE  sample  and 
judge  for  yourself. 

CAMERA  EQUIPMENT  CO. 

DEPT.    J-6-8 
1600  Broadway  New  York  19,  N.  Y. 


28 


INTERNATIONAL  PROJECTIONIST      •      JUNE  1954 


is  designed  for  50/60  cycle  operation, 
and  rectifier  stacks  are  rated  for  50% 
voltage  overloads  and  for  continuous 
duty  at  25%  current  overloads.  Com- 
pleted equipment  is  tested  for  prolonged 
periods  at  25%  overload.  Detailed  test 
reports,  approved  by  chief  electrical  and 
mechanical  engineers,  accompany  each 
unit. 


Projection  Tv  for  Home 

An  improved  projection-type  Tv  re- 
ceiver is  under  development  by  the 
Skiatron  Electronics  and  Television 
Corp.  The  projector,  said  to  substi- 
tute an  "ultrasonic"  cell  for  the  usual 
cathode  or  picture  tube,  is  being  de- 
signed to  provide  a  picture  3  by  4 
feet  with  a  degree  of  brightness  equal 
to  that  of  a   16-mm  home  movie. 

The  company  hopes  that  the  pro- 
jection portion  of  the  set  can  be  con- 
structed with  approximately  the  same 
pjoportions  as  a  16-mm  projector. 
Sound  equipment  would  vary  in  size 
and  complexity,  depending  on  what 
sort  of  reproduction  is  desired.  The 
company  is  aiming  at  a  selling  price 
comparable  to  a  21-inch  Tv  set  of  the 
standard  type. 


British  Technicians  Protest 

The  British  Association  of  Cinema- 
tograph Technicians  will  bring  the 
"utmost  pressure"  on  American  com- 
panies producing  films  in  England  to 
turn  out  pictures  "essentially  British 
in  character"  and  to  employ  British 
stars  and  technicians.  The  group  also 
plans  to  press  for  a  government-owned 
theatre  circuit  to  compete  with  Eng- 
land's large   private   theatre   chains. 


Surface  Wiring  for  Drive-ins 

Magnasync  Co.,  Hollywood,  is  com- 
pleting tests  on  an  inexpensive  surface- 
wiring  procedure  for  drive-ins  that 
would  involve  a  heat-and  shock-resis- 
tant cable  laid  on  the  surface  of  a 
field    and    covered    with    asphalt. 

National  Theatres'  Profit  Dips 

National  Theatre  Circuit  has  an- 
nounced a  decline  in  profits  for  the 
six-month  period  ending  March  27, 
1954.  Consolidated  net  profit  for  the 
chain  and  voting-controlled  subsidi- 
aries during  this  period  totaled  $1,307,- 
050,  or  47  cents  a  share,  compared 
with  $1,458,529,  or  53  cents  a  share, 
for    the    corresponding    period    in    1953. 

Fibreglas  Film   Cases  Ready 

Film  containers  made  of  Fibreglas 
are  .scheduled  for  production  this 
month  by  U.  S.  Fiberglass  &  Industrial 
Plastics,  N.  Y.  City.  The  cases  will 
weigh  514  pounds,  compared  with  16 
pounds  for  the  metal  containers  now 
being  used. 


Finest  Lenses 
Are  Needed  for 
New  Projection 
Techniques... 


THE  ANSWER 


Cinema  Raptars 

THE   WORLD'S  ONLY  RERFECTL.Y 
MATCHED   PROUECTION    I.ENSES 


today  with  the  new  movie  techniques— CinemaScope,  Vista-Vision,  Wide 
Screen— exhibitors  must  have  the  finest  basic  lenses  in  order  to  give 
theatre  goers  sharp,  clear  pictures  from  edge  to  edge  of  the  screen.  There 
are  no  finer  projection  lenses  made  than  Wollensak  Cinema  Raptars.  (For 
Cinemascope  these  lenses  are  used  with  anamorphic  lenses.)  Cinema 
Raptars  use  six  and  seven  element  construction.  Only  with  such  a  design 
is  it  possible  to  deliver  full  speed,  edge-to-edge  sharpness,  and  highest 
resolution.  In  addition,  Cinema  Raptars  are  the  world's  only  perfectly 
matched  lenses— focal  lengths  matched  to  within  .0025!  Marked  as  matched 
(twin)  lenses.  Speed  ranges  are  f/1.9  in  focal  lengths  from  2"  through  5" 
and  f/2.0  to  f/2.7  in  focal  lengths  to  7"  . . .  priced  from  $180  each. 

W/RITE  for  new  literature  fully  describing  these  new  Projection  Lenses. 
Wollensak  Optical  Co.,  Rochester  21.  N.  Y. 

xlUST    PURCHASED    NEW    PROUECTION    LENSES? 

|i||£eD    adjustments    for    wide    SCREEN? 

WHAT   TO   DO    WITH    NON-ANAMORPHIC    RELEASES? 


Wollensak 

VARI-FOCUS 


a  supplementary  lens  for  all  screen  sizes 


With  the  new  Vari-Focus  lens  exhibitors  can  show  all  the 
current  screen  releases  without  buying  a  complete  new  range 
of  short  focus  lenses.  The  Vari-Focus  permits  you  to  make 
adjustments  for  screen  width  .  .  .  change  the  focal  length 
of  your  standard  projection  lens  quickly  and  easily.  (See 
table.)  The  Vari-Focus  is  a  supplementary  lens  which  will 
produce  any  wide  screen  aspect  ratio  (non-anamorphic)  when 
used  in  conjunction  with  a  3"  to  6"  projection  lens.  The 
resolution  and  picture  quality  will  match  those  of  the  finest 
projection  lens.  Price  $235  each. 


<                                                                             ,       ■H^H 

^g^^^P 

1  sizes 

standard  Lens 

Variable  Focus  From 

3" 

21/4"  to  13/4" 

3 1/2" 

23/4"  to  2" 

4" 

31/4"  to  21/4" 

41/2" 

31/2"  to  2V2" 

5" 

4"  to  3" 

51/2" 

41/2"  to  31/2" 

6" 

5"  to  31/2" 

WRITE  for  new  literature  fully  describing 
this  supplementary  lens.  Wollensak  Optical  Co., 
Rochester  21,  N.  Y. 


of  Optical  Craftsmanship 
by  IMfOLLENSAK 


INTERNATIONAL  PROJECTIONIST 


JUNE  1954 


29 


C'Scope  Demonstrations 

A  series  of  trade  and  press  demonstra- 
tions shortly  of  an  important  filmed 
"progress  report"  on  CinemaScope  and 
stereophonic  sound  will  be  held  in  every 
exchange  city  in  the  United  States  and 
Canada,     20th     Century-Fox     has     an- 


nounced. Demonstrations  will  be  ar- 
ranged so  as  to  rotate  five  prints  on  a 
5-city  day-and-date  basis  covering  all  ex- 
change areas  within  a  period  of  10-days. 
Leading  exhibitors,  executives  from 
production  and  distribution  newspaper 
publishers  and  editors  will  be  invited  by 
the  company  to  see  the  advances  effected 


Altec  service  men  .  .  .  200  skilled, 
sound-wise  field  engineers  .  .  , 
Altec-trained  technicians  equipped 
with  Altec-designed  precision  tools 
and  instruments  ...  at  worl<  in 
theatres  from  coast  to  coast  .  ,  . 
installing  stereophonic  systems  .  ,  . 
servicing  .  .  .  repairing  .  .  .  replacing  .  .  . 
counseling  exhibitors  .  .  ,  solving  difficult 
problems  .  .  .  assuring  perfect 
performance  day  in  and  day  out  .  .  . 
for  6,000  Altec-serviced  theatres! 

You  can  put  an  Altec  service  man 
to  worl<  for  you  tomorrow.  Let  us  show 
you  how.  ,  .today! 


ALTE§ 


SPECIALISTS  IN  MOTION  PICTURE  SOUND 

161  SIXTH  AVENUE    NEW  YORK  13,  N,Y. 


Clayton  Ball  -  Bearing  Even  Tension  Take  -  Ups 

For  all  Projectors  and  Sound  Equipments 

ALL  TAKE-UPS  WIND  FILM  ON  2,  4  AND  5  INCH  HUB  REELS. 
SILENT  CHAIN   DRIVE 

THE    CLAYTON    REWINDER 

FOR   PERFECT  REWINDING   ON   2000-FOOT  REELS. 

CLAYTON    PRODUCTS   CO. 

31-45  Tibbett  Avenue  Nev\^  York  63,  N.  Y. 


in  the  process  in  the  past  year.  The 
subject,  completion  of  which  is  sched- 
uled for  mid-June,  will  run  for  more 
than  one  hour  and  will  be  in  color. 
Footage  will  be  narrated  and  will  point 
up  such  advances  as  new  "taking"  lenses 
perfected  by  Bausch  &  Lomb.  The  reel 
will  also  present  a  full  comparison  of 
4-track  magnetic  stereophonic  sound 
and  regular  optical  sound. 


Schedule  Next  TESMA  Show 

The  next  combined  trade  show  of  the 
Theatre  Equipment  and  Supply  Manu- 
facturers Association,  the  Theatre 
Equipment  Dealers  Association  and  the 
Theatre  Owners  of  America  is  scheduled 
to  run  from  October  31  through  No- 
vember 3,  1954,  at  the  Conrad  Hilton 
Hotel,  Chicago. 

This  next  show  will  be  extremely  im- 
portant, according  to  Walter  Reade,  Jr., 
president  of  the  Theatre  Owners  of 
America.  "The  year  1954  is  a  'year  of 
decision'  in  the  motion  picture  industry 
because  the  new  developments  in  pro- 
jection, sound  and  screens  will  come  to  a 
head  and  will  govern  our  future  invest- 
ments  and  our  future   policies". 


Film   Equipment  Exports  in  '53 

Total  exports  of  motion  picture  equip- 
ment, including  cameras,  projection  and 
sound  equipment,  and  studio  equipment, 
were  valued  at  $11,799,660,  about  20% 
higher  than  1952  exports  valued  at  $9,- 
826,921.  Exports  of  motion  picture  cam- 
eras, sound  recording  and  reproducing 
equipment,  arc  lamps,  screens,  and 
studio  equipment  registered  increases  in 
1953,  with  the  largest  gains  being  ex- 
ports of  sound  equipment  and  motion 
picture  screens. 

There  was  an  increase  in  exports  of 
motion  picture  projectors  in  all  classes 
except  16-mm  sound  projectors:  in  1953 
such  exports  totaled  7,700  units  valued 
at  $2,572,821  compared  with  10,092 
units  valued  at  $3,038,594  in  1952. 


Fairchild  Shipping  Sound  System 

Shipments  of  Fairchild  Perspecta 
stereophonic  sound  integrators  have  al- 
ready been  made  to  15  countries.  Fair- 
child  is  now  in  heavy  production  on  the 
new  stereophonic  sound  system  which 
directs  sound  to  three  speaker  channels 
from  a  single  optical  soundtrack.  The 
integrator  is  the  heart  of  the  system. 


30 


INTERNATIONAL  PROJECTIONIST 


JUNE  1954 


Fred  Waller  Succumbs ; 
Developer  of  Cinerama 

Fred  Waller,  the  man  who  brought 
on  the  new-process  revolution  in  the 
motion  picture  business  when  he  de- 
veloped Cinerama,  died  last  month  at 
hi'j  home  in  Huntington,  N.  Y. 

The  68-year-old  inventor  had  been 
ill  for  some  time  and  had  been  unable 
to  go  to  Hollywood  in  March  to  ac- 
cept an  Academy  Award  for  his  de- 
velopment of  the  Cinerama  process  of 
"engulfing"  the  viewer  and  obtaining 
a  3-D  effect  by  utilizing  the  full 
human  angle  of  vision  through  pro- 
jecting on  a  very  wide  screen  curved 
almost  to  a  half  circle. 

Inventions  Numbered  over  760 

Waller  preceded  his  motion  picture 
discovery  by  more  than  160  inventions 
in  many  fields,  including  a  gunnery 
trainer  used  in  this  country  and 
Britain  during  the  second  World  War. 
Air  Force  officials  once  estimated  that 
[the  gunnery  invention,  which  was  also 
Ian  application  of  the  Cinerama  prin- 
|ciple,    prevented    350,000    casualties. 

Born  in  Brooklyn,  N.  Y.,  Waller  was 
[attending  Brooklyn  Polytechnic  Insti- 
tute when  he  left  school  at  the  age 
of  14  and  went  to  work  in  his  father's 
I  photographic  studio.  He  was  connected 
Lwith  the  motion  picture  industry  for 
1 40  years  as  a  photographer,  research 
[technician  and  producer. 

A  fellow  of  the  SMPTE,  he  also  was 
[affiliated     with     many     other     technical 
[organizations,  including  the  lA  camera- 
?ien. 


Vectograph  Experiments 

Work  is  now  being  carried  on  at  the 
[Technicolor  laboratories  on  the  West 
[Coast  to  make  possible  the  printing  of 
[full-color  3-D  movies  using  the  Vecto- 
[graph  material  patented  by  the  Polaroid 
[Corp.  If  Vectograph  is  adapted  to  films, 
[exhibitors  will  be  able  to  show  3-D  pic- 
[tures  on  one  projector  without  making 
[any  change  or  additions  in  their  stand- 
[ard   projection-room   equipment. 

Vectograph  images  are  processed  with 

[polarizing  dyes  and  therefore  require  no 

[polarizing  filters  at  the  projection  ports. 

[The  process  makes  it  possible  to  print 

two  images  on  the  same  film  strip.   Both 


THE  ACE  CUE  MARKER 


The  World's  Best 

One  push  to  left  or  right  and 
all  cues  are  made  in  16-  and  35-, 
Standard,     Tv,      or     CinemaScope 

See  your  dealer  or  write  to 


ACE   ELECTRIC   MFG.   COMPANY 

1458    Shakespeare    Avenue 
New    York    52,    N.    Y. 


images  are  full-frame;  one  is  printed  on 
the  emulsion  side  and  the  other  on  the 
base  side.  The  Vectograph  process 
makes  it  possible  for  one  oppositely 
polarized  image  to  be  projected  through 
another.  This  has  the  added  advantage 
of  assuring  perfect  synchronization  and 
alignment. 


says  Trueman  T.  Rembusch,  former 
prexy  of  the  National  Allied  exhibitor 
group. 

Briefly,  Rembusch's  viewpoint  is  that 
frequent  changes  of  bill  and  more  pic- 
tures with  strong  box  office  pull  are 
required  to  provide  the  momentum  that 
will  keep  regular  patrons  coming  back 
to  the  theatre. 


Movie  Audience  Is  Changing 

Regular  customers,  who  formerly  ac- 
counted for  52%  of  a  theatre's  business, 
today  are  responsible  for  less  than  20%, 
and  that  situation  cannot  be  corrected 
until  Hollywood's  total  production  is  in- 
creased to  425  or  450  pictures  a  year. 


Theatre  Tv  to  Offer  Opera 

A  deal  between  the  Metropolitan 
Opera  in  New  York  City  and  Theatre 
Network  Television,  that  will  make  an 
unusual  opening  night  program  of  the 
Metropolitan       available      to       theatres 


•  •  •  f^ 


NEW 


HERTNER   POWER   UNIT 


for 

DRIVE-IN  and  LARGE 

INDOOR  THEATERS 


The  HT  135 


m 


for  135  ampere 


^ARCS 


Type  HT  135/270  TransVerter/or  115  to  135  am- 
peres, 63  to  70  volt  high-intensity  and  spot  arcs, 
and  the  new  135  lamps. 


The  new  HT  Yi5/210  TransVerter  answers  the  need  for  115  to  135 
ampere  arcs  for  all  types  of  wide  screen  and  3D  pictures  requiring 
more  light  over  a  larger  area.  This  latest  Hertner  TransVerter 
rounds  out  our  line  of  dependable  power  units  designed  espe- 
cially for  arc  lamps.  Complete  installation  includes  our  Control 
Panel  Type  G  and  the  new  Dual-type  HD  100/140  Rheostat. 

For  a\\  the  details  of  the  many  fine  features  of  the  new  HT  13S 
TransVerter  write  for  Bulletin  No.  3016. 

Distributed  by  National  Theatre  Supply 

In  Canada:  General  Theatre  Supply  Company 


THE    HERTNER   ELECTRIC    COMPANY 

12690   ELMWOOD   AVENUE  .  .  .  CLEVELAND   11,  OHIO 

A  General  Precision  Equipment  Corporation  Subsidiary 
MOTORS      •      MOTOR     GENERATORS     •      GENERATOR     SETS 


INTERNATIONAL  PROJECTIONIST      •      JUNE  1954 


31 


throughout  the  country  over  theatre  Tv, 
has  been  announced. 

Instead  of  a  single  opera,  a  four-part 
program,  "Great  Moments  from  Great 
Operas,"  will  be  presented,  including 
scenes  from  "Pagliacci,"  "La  Boheme," 
"Aida"  and  "Barber  of  Seville."  TNT 
has  signed  a  three-year  contract  with 
the  Met  for  the  opening  night  telecasts. 
which  will  take  in  not  only  the  opera 
but  the  audience,  and  the  lobby  festivi- 
ties that  usually  mark  the  event. 


trated  text  offers  data  on  the  magnetic 
head  cluster,  amplifiers,  sound  speakers, 
complete  projector  assemblies  and  the 
featured  button-on  soundhead  with  soft- 
loop  film  system.  Form  2R8932  is  avail- 
able from  the  Engineering  Products  Div., 
Camden,  N.  J. 


RCA  Stereo  Sound  Booklet 

Stereoscope  sound  systems  designed 
specifically  for  reproduction  of  four- 
track  magnetic  film  are  described  in  the 
new  multi-colored  folder  issued  by  the 
Radio  Corp.  of  America.  The  well  illus- 


Canada  Using  Fewer  U.S.  Films 

Figures  on  imports  of  films  to 
Ontario,  Canada,  during  1953  show  a 
drop  in  the  number  of  American  mo- 
tion pictures  brought  into  that  prov- 
ince and  a  rise  in  the  number  of  im- 
ports   from    other   nations. 

It  was  estimated  that  437  American 
films  were  imported  during  a  1952-53 
fiscal-year  period,  while  only  401  were 
imported  during  the  same  period  in 
1953-54.     A    total    of   59    pictures    were 


ARE  YOU  CONVERTING  TO 

CINbmaScoP^ 


ite.  a^.  nh  tit. 


It 


will    pay 

to  investigate   the 

possibilities  of  converting  your 

present   equipment  — see    your   dealer 

or  v/rite  for  list  of  kits  available  for 

converting  all  models  of  Projectors  and 

Sound  Reproducers. 


LaVezzi  Machine  Works 


4635   WEST   LAKE   ST. 


CHICAGO  44,  ILL. 


WENZEL  PROJECTOR  CO. 


LENS  MOUNTS 

Anamorphic  and  4"  Type 

Wenzel   Pro    50   and   Pro   4, 
Regular  Rear   Shutter   Simplex, 
Super   Simplex   and  E-7   type   Pro- 
jectors, 
Ballantyne   "B"   &   "BW", 
can    be    easily    converted    to    use 
the  4"  Projection  Lens. 

ALSO   AVAILABLE: 
Anamorphic   Lens   Supports,   Large 
or  Small,  for  all  above  mentioned 
Projectors    and    Century    C    &    CC 
models. 

Send  for  Illustrated  Brochure. 


2505-19    S.    State    St.,    Chicago    16, 


imported  from  countries  other  than 
the  U.  S.  in  1952,  compared  with  a 
rise  to  109  during  1953. 


Video  to  Reach  Australia 

The  Royal  Commission,  which  has 
been  studying  Tv  possibilities  for 
Australia,  recommended  recently  that 
it  be  inaugurated  as  soon  as  possible, 
with  initial  stations  proposed  for 
Sydney   and    Melbourne. 


lA     ELECTIONS 


LOCAL   182,  BOSTON,  MASS. 

Joseph  Caplan,  pres.;  Frank  Sullivan, 
vice-pres.;  James  Gibbons,  rec.-sec;  Ben- 
jamin Bearman,  fin.-sec;  Ralph  Frazier, 
bus.  rep.;  Jack  Rosenberg,  treas.;  Michael 
Keller,  trustee;  Morris  Goldman,  Frank 
Laby,  Henry  Gleken,  exec,  board;  Alex- 
ander Tradd,  Henry  Perry,  Fred  Jones, 
Albert  Goldman,  Morris  Myers,  sen.  board; 
Walter  Diehl  and  Joseph  Nuzzolo,  Sr.,  del. 
lA  Convention. 

LOCAL  3,  PITTSBURGH,   PENNA. 

Ralph  Quinn,  pres.;  Vincent  Coll,  vice 
pres.;  John  Shelton,  sec;  Julius  I.  Drobb, 
treas.;  Philip  J.  Doyle,  bus.  rep.;  Edward 
McGrath,  trustee,  and  Raymond  Steinecker, 
sgt.-at-arms. 


AH  UHCOHWmHAL  CVAM/tTCe* 


^«««» 


9i 


The  NEW  HI-LUX 

SCREEN  has  reached  a 

state  of  perfection  that  will 

meet    the    most    EXACTING 

PROJECTION  requirements 

\Ji  SEAMLESS  CONSTRUCTION 

|y|   UNIFORMITY  OF  SURFACE 
[3j   SHARP  DEFINITION 

a 


EVEN  DISTRIBUTION  TO  ALL 
USEFUL  ANGLES... 

TEAR-PROOF  CONSTRUCTION 


»  e  hnfk  Ihvsi'  rinims  irith  a 
■^  monfif-hark  tjuHrantt't>  and  iiuu, 
^   Mr.  K.xhihilur.  arv  tht-  iudut'i 


MJ^V'TAME  SCREEN  CORPORATION 

■».*»■     l^rl^fc   165  Clermont  Ave.,  B'klyn.N.Y. 

Midwest  o'fllce-L.  E.  Cooley  408  S.  Oak  Park  Ave.,  Oak  Park,  III. 


32 


INTERNATIONAL  PROJECTIONIST      •      JUNE  1954 


ONE  DOWN— MORE  TO  GO 

(Continued  from  page  8) 

Significant  as  were  the  technological 
developments  during  the  past  month, 
IP  feels  that  further  readjustment  of 
distributor  policy  and  technical  stand- 
ards is  in  the  offing,  but  these  will  be 
forthcoming  only  if  persistent  pressure 
favoring  such  changes  is  applied. 

Summing  up,  IP  hails  the  switch  in 
20th-Fox  policy  so  that  thousands  of 
additional  theatres  may  play  its  badly 
needed  product  without  going  in  hock 
for  unnecessary  equipment;  it  ques- 
tions the  necessity  for  stereophonic 
sound  reproduction  in  the  vast 
majority  of  theatres,  even  while  it  ex- 
pects great  improvement  in  the  appli- 
cation of  this  medium,  especially  with 
respect  to  the  acute  need  for  intelli- 
gent control  of  volume  in  the  theatre; 
it  still  disapproves  of  any  aspect  ratio 
higher  than  2-to-l;  it  still  is  and  will 
continue  to  be  unalterably  opposed  to 
curved  screens;  it  believes  that  the 
VistaVision  process  of  an  extended 
negative  reduced  to  a  positive  frame 
of  a  sane  aspect  ratio  that  may  be  pro- 
jected without  the  aid  of  claptrap  "at- 
tachments" and  with  standard  projec- 
tion lenses  still  is  the  best  bet  for  the 
exhibition  field. 

Overall,  IP  is  not  exultant  anent  the 
results  stemming  from  its  lone  press 
battle  against  those  policies  which  it 
considered  inimical  to  the  best  inter- 
ests of  the  exhibition  field,  in  which 
sphere  its  readers  move.  On  the  con- 
trary, it  is  a  bit  sad  that  these  develop- 
ments did  not  occur  many  months 
ago,  as  they  could  have,  and  thus 
spared  the  industry  incalculable  eco- 
nomic loss  and,  on  the  part  of  exhibi- 
tors, much  personal  grief. 

The  fight  for  technological  sanity  is 
far  from  won.  The  next,  the  inevitable 
step  must  of  necessity  be  the  establish- 
ment of  technical  standards  which  will 
enable  the  industry  as  a  whole  to  go 
on  and  to  preserve  at  the  least  its 
present  economic  status. 


ACE  REEL-END  ALARMS 


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of  colors   as   well   as  the   brightness   of 
the    picture. 


50  Drive-ins  Get  Stereosound 

About  50  drive-ins  in  various  parts  of 
the  country  had  been  equipped  with 
stereophonic  sound  as  of  last  month, 
says  20th  Century-Fox. 


Photo  of  calibrated  optical  device  which  en- 
ables the  projectionist  to  pre-focus  a  variety 
of  lenses.  As  published  on  page  10  of  the 
April,  1954  issue  of  IP,  this  device,  designed 
by  Joe  Tritsch,  of  I A  Local  150,  Los  Angeles, 
was  shown  in  an  inverted  position.  Here  is 
the     correct     view.      (Excuse     it.) 


Tv  Color  Quality  Improved 

A  "color  multiscanner,"  an  elec- 
tronic device  designed  to  perfect  the 
quality  of  television  images  transmitted 
from  16-mm  color  film,  was  demoa- 
strated  recently  by  DuMont  Labora- 
tories. 

The  device  is  said  to  achieve  in- 
creased color  brilliance  over  color  Tv 
circuits  by  means  of  electronic  mask- 
ing system  which  allows  the  broad- 
casting   studio    to    vary    the    saturation 


SELECTIFIERS 

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SELENIUM  RECTIFIERS 


"Superior"  &  "50,000  Hour"  types, 
50  to  400  Amps,  rugged,  oversized, 
selenium  stacks.  Adjustable-in-use 
glass  insulated  transformers.  Oper- 
ate continuously  in  any  climate,  at 
standard  or  heavy  overloads  at 
maximum  efficiency  on  both 
"Suprex"  and  H.l.  Arcs.  "Selecti- 
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Write: 

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N  EW 


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INTERNATIONAL  PROJECTIONIST      •      JUNE  1954 


33 


ANATOMY  OF  C'SCOPE 

(Continued  from  page  13) 
blessing  to  this  tired  old  industry  by 
reviving  public  interest  in  movie- 
going.  Continued  success  of  the  movies 
will  not  be  due  to  either  3-D  or  Cine- 
maScope,  however,  and  certainly  not 
the  20th's  policy  of  whittling  the  num- 
ber of  releases  to  the  vanishing  point. 
Other  major  producing  companies, 
notably  Paramount,  realize  that  the 
screens  of  small-town  and  neighbor- 
hood theatres  must  be  supplied  with 
pictures — standard  pictures — if  the  in- 
dustry is  to  survive.  The  absence  of 
technological  standards  for  the  new 
processes  is  an  industry  disgrace. 

Hollywood  Exaggeration 

With  the  exception  of  "The  Robe," 
a  phenomenally  successful  curiosity, 
CinemaScope  grosses  are  no  better 
than  the  "take"  of  the  many  really 
good  normal  pictures  on  the  screens  of 
American  theatres.  The  secret  of  a 
successful  motion  picture  industry  is 
good  pictures,  not  weird  aspect-ratios. 

So  while  we  gather  a  bunch  of 
posies  to  award  to  20th  for  stirring  up 
interest  in  movies,  let  us  slip  in  a 
note  of  disapproval  for  unwarrented 
monkeying  with  film  standards.  There 
is  no  valid  reason  why  CinemaScope 
should  have  been  scaled  to  require  an 
off -standard  projector  aperture  or 
smaller  perforations.  There  is  little 
justification  for  using  curved  alumi- 
num screens.  That  CinemaScope  is  it- 
self distorted  by  screen-curvature  is  a 
small  matter  in  comparison  with  the 
distortion  of  regular  pictures  shown  on 
these  screens. 

Most  exhibitors  who  have  Cinema- 
Scope screens  have  no  way  of  remov- 
ing them  for  regular  projection.  As 
a  result,  conventional  pictures,  which 
have  up  to  now  been  nearly  perfect 
from  the  pictorial  point  of  view,  have 
been  mishandled.  In  many  theatres, 
the  standard  short  subjects  on  Cinema- 
Scope programs  have  actually  been 
projected  with  the  oversized  Cinema- 
Scope aperture.  The  writer  has 
listened  to  many  patron  complaints  on 
this  score  without  asking  for  them. 

Sloppy  Technology 

Worse  still,  exaggerated  aspect-ratio 
apertures  and  excessively  short-focus 
lenses  are  being  used  for  projecting 
standard  films  on  seamy,  aluminized 
"wide  screens."  In  fact,  this  wretched 
mode  of  presentation  is  actually  being 
advertised  by  exhibitors  as  an  attrac- 


tion! Well,  the  public  just  isn't  at- 
tracted by  masked-off,  distorted,  seam- 
marred  projection.  One  or  two  ex- 
periences with  that  sort  of  thing  is 
quite  enough. 

So  for  the  first  time  in  the  history 
of  the  business,  small  theatres  in  the 
neighborhoods  actually  have  better 
projection  than  the  superdread- 
naughts.  And  people  are  beginning 
to  "shop"  for  theatres  where  stand- 
ard, undistorted  projection  of  high 
quality  prevails.  The  many  excellent 
movies  to  be  seen  nowadays  are  being 
seen  in  the  increasingly  prosperous 
smaller  theatres. 

The  standard  3:4  format  on  a  suffi- 
ciently large  screen  which  is  flat  and 
which  is  white  is  still  the  preferred 
manner  of  presenting  motion  pictures. 
While  CinemaScope  is  indeed  a  God- 
send for  the  producers  of  "spectacles" 
and  travelogues,  the  more  subtle  and 
adult  emotional  dramas  just  can't  get 
across  the  width  of  the  wide  screen. 
[THE  END] 

MONTHLY  CHAT 

(Continued  from  page  5) 

from  the  sprocket  hole  areas  and  wider 
magnetic  film  coatings  are  employed." 
The  magnetic  filings  on  the  film  are 
nothing  but  emery,  which  if  introduced 
into  the  motion  picture  reproduction 
process  only  a  few  years  ago  would  war- 
rant the  opprobrium  of  both  engineer- 
ing and  exhibitor  circles.    Today,  how- 


ever, with  magnetic  stripings  the  vogue, 
it  seems  that  Messrs.  Engineer  and  Ex- 
hibitor beam  upon  the  projectionist  for 
introducing  this  substance  which  is 
utterly  foreign  to  the  satisfactory  oper- 
ation of  a  precise  mechanism. 

We  have  seen  emery  introduced  into 
a  gear  train  for  the  sole  purpose  of  dis- 
crediting the  premiere  performance  of 
a  new  soundhead  in  a  Broadway  thea- 
tre; but  we  never  expected  to  see  the 
day  when  the  deposition  of  this  sub- 
stance over  the  entire  projector  mech- 
anism (ignoring  for  the  moment  the  fac- 
tor of  head  wear)  would  be  acclaimed  as 
a   significant  engineering   advance. 

So  far  as  IP  is  concerned,  we  state 
that  sound  reproduction  via  the  single 
optical  track,  plus  an  integrator  which 
shunts  the  sound  to  a  multiple-horn  in- 
stallation, is  wholly  acceptable  to  the 
average  auditor.  In  fact,  it  is  a  higher 
quality  sound  than  is  available  from 
even  the  finest  radio  or  Tv  set  now  on 
the  market.  When  people  talk  about 
"high-fidelity"  sound,  we  always  pose 
this  question:  "In  what  manner  is  the 
sound  recorded,  and  what  is  the  cut-off 
frequency?"  The  solution  to  many  of 
our  present  difficulties  may  be  readily 
resolved  by  an  honest  answer  to  this 
query. 


Todd  AO  Picture  Shooting  Sked 

"Oklahoma,"  the  first  picture  to  be 
filmed  in  the  70-mm  Todd  AO  process 
is  expected  to  be  photographed  at  the 
M-G-M  studios  in  Culver  City,  starting 
this    month. 


How  Many? 


\Nas  this  copy  dog-eared  when  it  came  to  you? 
How  many  men  read  it  ahead  of  you? 

You  would  receive  a  clean,  fresh  copy  if  you  had 
a  personal  subscription— and  you  wouldn't  have 
to  wait— you  would  be  first  to  read  it. 

Use  coupon  below. 

INTERNATIONAL  PROJECTIONIST, 
19  WEST  44  St.,  New  York  36,  N.  Y. 

n    1     year-12   issues-$2.50 
n    2  years— 24  issues— $4.00 


Enter  my  subscription  for 


Foreign  and  Canada:    Add  50c  per  year. 


Name 


Address 


City. 


Zone. 


State. 


m 


34 


INTERNATIONAL  PROJECTIONIST      •      JUNE  1954 


"then  the  dragon  came..." 


Saving  for  security  is  easy!  Read  every  word  — now! 


Nobody  tells  a  story  like  Daddy.  The 
everyday  world  fades  away  as  his  words 
lead  you  into  a  new  and  shining  land. 

And  what  if  the  Dragon  is  a  bit  scary  ? 
You  need  only  climb  into  Daddy's  arms 
to  be  safe  and  secure  again  before  it's 
time  to  sleep. 

To  make  those  we  love  safe  and  secure 
is  the  very  core  of  homemaking.  It  is  a 
privilege  known  only  in  a  country  such 
as  GUI'S,  where  men  and  women  are 
free  to  work  for  it. 

And  taking  care  of  our  own  is  also  the 
way  we  best  take  care  of  our  country. 
For  the  strength  of  America  is  simply 
the  strength  of  one  secure  home 
touching  that  of  another. 


If  you've  tried  to  save  and  failed, 
chances  are  it  was  because  you  didn't 
have  a  plan.  Well,  here's  a  savings  sys- 
tem that  really  works  — the  Payroll 
Savings  Plan  for  investing  in  U.S. 
Savings  Bonds.  This  is  all  you  do.  Go 
to  your  company's  pay  office,  choose 
the  amount  you  want  to  save  — a  couple 
of  dollars  a  payday,  or  as  much  as  you 
wish.  That  money  will  be  set  aside  for 
you  before  you  even  draw  your  pay. 


And  automatically  invested  in  Series 
"E"  U.S.  Savings  Bonds  which  are 
turned  over  to  you. 

If  you  can  save  only  $3.75  a  week  on 
the  Plan,  in  9  years  and  8  months  you 
will  have  $2,137.30. 

United  States  Series  "E"  Savings 
Bonds  earn  interest  at  an  average  of  3  % 
per  year,  compounded  semiannually, 
when  held  to  maturity!  And  they  can 


go  on  earning  interest  for  as  long  as  19 
years  and  8  months  if  you  wish,  giving 
you  a  return  of  80  9f  on  your  original 
investment! 

Eight  million  working  men  and 
women  are  building  their  security  with 
the  Payroll  Savings  Plan.  For  your 
sake,  and  your  family's,  too,  how  about 
signing  up  today?  If  you  are  self- 
employed,  ask  your  banker  about  the 
Bond-A-Month  Plan. 


The  U.S.  Government  does  not  pay  for  this  advertisement.  It  is  donated  by  this  publication  in 
cooperation  with  the  Advertising  Council  and  the  Magazine  Publishers  of  America. 


GIVE  YOOR  THtMM 
^PWSOMAlin 


m. 


J^e^??Jp)*;5;W'r»'^S«f/s,-r!>«:c-! 


i*?ft=i 


Now,  Mr.  Exhibitor,  you  can  give  your  theatre  all  the  "pulling 
power"  of  wide  screen  plus  high-fidelity  magnetic  sound.  You  can  give  your  patrons 
the  wide  screen  features  they've  been  flocking  elsewhere  to  see.  And  the  necessary 
starter  equipment  costs  unbelievably  little.  Whether  yours  is  an  indoor  or  drive-in, 
investigate  the  "Simplex  plan"  for  equipping  your  theatre  now.  It's  as  simple  as  this: 


1 

2 


You  can  buy  what  you  want  —  even  start  with  a  one-track 
magnetic  sound  system  ...  so  that  your  patrons  and  your 
boxoffice  will  enjoy  all  the  "extras"  of  wide  screen  showings. 

Here's  another  plus  —  without  disturbing  your  new  equipment 
in  any  way,  you  can  add  the  extra  equipment  necessary  to 
complete  your  stereophonic  sound  system,  any  time  you  want! 


So,  don't  wait  —  get  on  the  bandwagon  —  join  the  thousands  of  successful  exhibitors 
who've  given  their  houses  the  wide  screen  "magnetic  treatment!" 


LOOK  TO 


FOR  A 


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SOUND  SYSTEM 


MANUFACTURED  BY  INTERNATIONAL  PROJECTOR  CORPORATION    •    DISTRIBUTED  BY  NATIONAL  THEATRE  SUPPLY 


BBiiiDn 


IXI 


JULY 


1954 


VOLUME  29 


NUMBER  7 


30c  A  COPY 


$2.50  A  YEAR 


IN  TWO  SECTIONS      •      SECTION  ONE 


■>-Lc: 


For 


CinemaScopC 

32,000 


TOTAL 
LUMENS    * 


TRADE    MARK    REG. 


fi  J  ]]  £  i]  il  fi 


At  180-185  Amperes  .  .  .  With  No.  15363-Q  and  No. 
15367-P,  "Hy-Speed"  Condensers  .  .  .  With  a  .715"  x 
.912"  "CinemaScope"  aperture  .  .  .  With  a  3"  Focus, 
F-1.8  coated  projection  lens  .  .  .  On  any  kind  or  any 
size  of  screen  .... 

Using  presently  available  and  standard  carbons, 
there  is  "No  other  projection  lamp  in  the  world, 
today"  that  can  produce  so  much  light. 

(*)  Subject  to  6-10%  average  deduction  for  PEER- 
LESS "Hy-Lumen"   Heat   Filter,   if   used. 


•  •  • 


\       TRUTH       / 

\           "^           / 
\  ADVERIISING  / 

I 

•  •  • 


TRADE    MARK    REG 

li  J  Jl  £  i)  ii  fi 


22,000 


TOTAL 
LUMENS    t 


At  75-77  amperes  .  .  .  With  presently  available  and 
standard  8x9  m/m  copper  coated  carbons  .  .  .  With 
a  .7^5"  X  .912"  "CinemaScope"  aperture  .  .  .  With  a 
3"  Focus,  F-1.8  coated  projection  lens  .  .  .  With  a  14" 
diameter  No.  2012  PEERLESS  "Hy-Lumen"  glass  reflec- 
tor that  retails  at  a  list  price  of  $22.00  .  .  .  With  a 
No.  2880  PEERLESS  Tail  Flame  Flue  ...  On  any  kind 
or  any  size  screen  .... 

All  of  this,  at  the  lowest  possible  first,  and  opera- 
tional cost. 

(t)  NO  heat  filter  of  any  kind   required. 


Buifin^  le6A,  ta  6<ia2  *fto.njZ4f,  U.  lihe  iiiO'p/p4.t*(f.  tUe  cloch  to-  4xi4az  ti*m 


J.E.McAULEY  MFG. CD, 

552-554    WEST   ADAMS    STREET 

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v 


INTERNATIONAL 


PROJECTIONISl 

With  Which   Is   Combined    PROJECTION   ENGINEERING 


B         492549 


JAMES  J.  FINN,  Ed/for 
JAMES  MORRIS,  Assoc'iaie  Editor 


Volume  29 


JULY  1954 


Number  7 


Index  and  Monthly  Chat 3 

Evolution  of  the  Modern 

Projection  Lens  _..  5 

ROBERT  A.  MITCHELL 

Maintenance  of  Sound  Quality 
With  Magnetic  Pickup  Heads        8 
EDWARD  STANKO 

New  Light  on  the  Past  TO 

FREDERICK  GOOCH 

To  Which  Mr.  Mitchell 

Replies  .   .   .  H 

Letters  to  the  Editor 12 

New  Westrex  Sound 

Reproducing  Equipment  ___.      13 


In  the  Spotlight  14 

Eyes  and  Ears  16 

Schlanger's  "Sanity"  Projection 
Standard  16 

lA  Obituaries 22 

Personal  Notes  22 

Mid-Summer  Musings  23 

New  Lamphouse  Blower 26 

News  Notes 
Technical  Hints 
Miscellaneous  Items 


Published  Monthly  by 

INTERNATIONAL  PROJECTIONIST  PUBLISHING  CO.,  INC. 

19  West  44th  Street,  New  York  36,  N.  Y. 

Telephone:    MUrray  Hill  2-2948 

R.  A.  ENTRACHT,  Publisher 

SUBSCRIPTION  REPRESENTATIVES 

AUSTRALIA:     McGills,  183  Elizabeth  St.,  Melbourne 

NEW   ZEALAND:      Te   Aro   Book    Depot,   Ltd.,   64   Courtenay   Place,   Wellington 

ENGLAND  and  ELSEWHERE:    Wm.  Dcv/son  &  Sons,  Ltd.,  Macklin   St.,  London,  W.  C.  2 

YEARLY  SUBSCRIPTION:  United  States  end  possessions,  $2.50  (two  years,  $4);  Canada  and 
foreign  countries,  $3;  single  copies,  30  cents.  Changes  oi  address  should  be  submitted  two  weeks 
in  advance  of  publication  date  to  insure  receipt  of  curi-ent  issue.  Entered  as  second  class  matter 
February  8,  1932,  at  the  Post  Office  at  New  York,  n/y.,  with  additional  entry  at  Yonkers,  N.  Y 
Vr^r.^l.f,,'"'*  "^  '^""^  ^'  '^^'-  ^"*'"^  content^/opyrighted  1954  by  INTERNATIONAL  PRO- 
JECTIONIST PUBLISHING  CO.,  INC.  INTERNATIONAL  PROJECTIONIST  assumes  no  responsibility 
for  personal  opinions  appearing  in  signed   articles,   or  for  unsolicited   communications. 


MONTHLY  CHAT 


IT  IS  NOW  more  than  60  years  since 
a  farsighted  group  of  theatrical  work- 
ers founded  the  labor  union  that  grew 
into  the  great  International  Alliance  of 
Theatrical  Stage  Employes  and  Moving 
Picture  Machine  Operators  of  the  United 
States  and  Canada.  In  a  little  more  than 
half  a  century  this  organization  has 
risen  from  humble  beginnings  into  a 
brotherhood  which  joins  together  the 
complicated  technical  skills  that  make 
the  modern  entertainment  industry  pos- 
sible. 

Those  who  handle  film,  who  photo- 
graph dramas,  comedies  or  news  on  such 
film;  those  who  direct  photography; 
those  who  handle  the  operations  of 
studios;  those  who  record  sound;  those 
who  handle  film  in  the  exchange;  those 
who  project  it,  and  those  who  service 
equipment  are  among  the  wide  variety 
of  theatrical  employees  who  belong  to 
the  lA.  They  are  now  being  joined  in 
larger  and  larger  numbers  by  skilled 
workers  from  the  field  of  television  and 
the  allied  arts. 

At  almost  every  moment  from  the  time 
that  the  idea  for  a  motion  picture  or  a 
"live"  theatre  entertainment  is  con- 
ceived to  the  moment  when  it  is  pre- 
sented to  an  audience,  the  lA  worker 
plays  a  vital  part. 

Great  technical  skill  and  wide  experi- 
ence is  required  to  carry  out  the  diverse 
assignments  which  lA  men  undertake. 
And  as  the  fields  of  video  and  audio 
entertainment  develop  apace,  it  is  to  be 
expected  that  lA  members  will  increas- 
ingly fit  themselves  by  study  and  experi- 
mentation to  carry  out  their  part  in  the 
further  development  of  such  fields.  Tele- 
vision broadcasting  is  an  industry  des- 
tined to  be  an  ever-increasing  agency  of 
public  instruction  and  entertainment. 

lA  members  now  have  at  the  same 
time  a  great  opportunity  and  a  great 
responsibility  to  learn  all  about  their 
field  of  endeavor,  to  keep  up  to  date  and 
to  foresee  the  future  and  be  prepared 
for  it.  It  is  their  opportunity  to  be  in- 
dispensable workers  and  leaders  in  the 
existing  and  new  fields.  And  it  is  their 
opportunity  to  make  the  public  feel, 
concerning  the  lA  membership,  that 
never  have  so  many  people  owed  so 
much  entertainment  and  so  many  inter- 
esting hours  to  such  an  unsung  group  of 
skilled  workers. 

Secure  in  the  knowledge  of  the  valu- 
able services  they  perform,  the  men  of 
the  lA  who  gather  now  for  their  42nd 
convention  look  into  the  future  with 
confidence  because  they  know  that  their 
skill  and  the  valuable  experience  they 
have  acquired  is  recognized  and  re- 
spected by  everyone  in  the  entertainment 
world. 

The  foregoing  is  in  itself  not  only 
sufficient  justification  but  actually  a 
mandate  for  the  publication  of  the  Spe- 
cial lA  Convention  section  of  this  reg- 
ular monthly  issue  of  IP. 


INTERNATIONAL  PROJECTIONIST      •      JULY  1954 


National  carbons 


TRADE-MARK 


//^  7^  ^^/^<^ 


fmo^i^' 


/ 


THE  PICTURE  IS  LIGHT... 

GIVE  IT  ALL  YOU  CAN 

with  "NA  TIONAL"  CARBONS 


Whatever  projection  techniques  you  use,  the  present  line  of  "National" 
carbons  is  the  finest  ever  offered  —  by  ourselves  or  any  other  manufacturer. 

Not  only  do  they  excel  in  brilliance,  color-balance  and  uniformity,  but 
they  give  you  all  these  features  at  the  lowest  cost  per  unit  of  light  and  inch 
of  carbon  consumed! 

Such  a  small  part  of  operating  expense  . . .  such  a  big  part  of  picture  quality 
—"National"  carbons  always  do  their  part  in  giving  you  full  value  for  every 
dollar  . . .  your  patrons  full  value  for  each  admission. 

The  term  "National"  is  a  registered  trade-mark  of  Union  Carbide  and  Carbon  Corporation 

NATIONAL  CARBON  COMPANY 

A  Division  of  Union  Carbide  and  Carbon  Corporation  •  30  East  42nd  Street,  New  Yorit  17,  N.Y. 

District  Sales  Offices:  Atlanta,  Chicago,  Dallas,  Kansas  City,  New  York,  Pittsburgh,  San  Francisco 
IN  CANADA:  Union  Carbide  Canada  Limited,  Toronto 

INTERNATIONAL  PROJECTIONIST      •      JULY  1954 


"  -"':''+;7!?r^>^ 


'OTT 


NTERNATIONAL    PROJECTIONIST 


VOLUME  XXIX 


JULY   1954 


NUMBER  7 


Evolution  of  the  Modern  Projection  Lens 


A  detailed  but  easily  understood  explanation  of  the  origin  and  de- 
velopment of  the  highly-corrected,  six-element  lens  now  used  in  pro- 
jection is  given.  Problems  that  have  confronted  designers  of  lenses, 
and  the   methods  employed   in   solving   them   are   described    herein. 

By  ROBERT  A.  MITCHELL 


NOT  until  the  eleventh  century 
— the  era  of  the  Magna  Carta 
and  Genghis  Khan — were 
lenses  of  a  simple  type  readily  obtain- 
able. In  the  Thirteenth  Century 
lenses  were  used  as  spectacles,  one  of 
their  first  practical  applications.  But 
if  the  early  European  spectacle-makers 
thought  their  invention  very  modern, 
it  was  because  they  didn't  know  what 
had  been  going  on  in  China  since 
ancient  times.  Nevertheless,  even  the 
Chinese  had  to  go  without  bifocals 
until  Ben  Franklin  invented  them. 

On  the  scientific  side,  lenses  were 
brought  together  to  make  a  micro- 
scope in  1590  (Janssen)  and  a  tele- 
scope in  1609  (Galileo).  Not  many 
years  later  the  image-forming  proper- 
ties of  lenses  became  better  known, 
and  the  "magic  lantern"  was  devised. 
The  invention  of  this  picture-project- 
ing apparatus  is  usually  credited  to 
Anathasius  Kircher,  who  made  one 
having  both  condensing  and  projection 
lenses  in  1671. 

Kircher's  "Magic  Lantern" 

It's  a  far  cry  from  Kircher's  magic 
lantern  to  the  modern  motion  picture 


projector  fitted  out  for  stereophonic 
sound  and  CinemaScope.  But  Kirch- 
er's lantern  and  hand-painted  slides 
of  angels  in  nightshirts  did  start  the 
ball  rolling;  and  when  practical  photo- 
graphy came  into  being  (about  100 
years  ago),  the  magic  lantern  assumed 
the  dignified  name  of  "stereopticon" 
and  was  used  as  an  instrument  of 
show  business. 

Motiograph,  Inc.,  now  occupied 
with  the  manufacture  of  the  very 
latest  projection,  sound,  and  theatre- 
Tv  equipment,  began  its  long  and  con- 
tinuous career  in  1896  when  it  made 
an  "entertainment  outfit"  consisting 
of  a  magic  lantern,  several  sets  of 
slides,  and  a  supply  of  advertising 
posters  and  admission  tickets! 

The  Single-Element  Lens 

At  this  point  let's  direct  attention 
to  the  little  disks  of  curved  glass  that 
made  this  primitive  kind  of  show 
business  possible — the  lenses  which 
project  pictures  on  the  screen  in  highly 
magnified  form. 

A  simple  magnifying  lens  can  be 
bought  at  almost  any  dime-store  for 


a  few  cents.  Such  a  lens,  comprising 
only  one  circular  piece  of  glass  having 
bulging  (convex)  sides,  is  called  a 
positive  lens.  Positive  lenses  have  the 
power  to  converge  rays  of  light  to  a 
focus,  and  thus  are  able  to  form  an 
image  on  the  film  of  a  camera  or  the 
screen  of  a  movie  theatre. 

A  motion  picture  can  thus  be  pro- 
jected with  a  dime-store  magnifying 
glass,  but  the  screen  image  so  obtained 
will  win  no  "Oscars"  for  quality!  For 
clearer  pictures  on  the  screen  we  must 
use   a  better,   more   expensive  lens. 

When  astronomical  telescopes  first 
came  into  use,  simple  single-element 
lenses  resembling  dime-store  magni- 
fying glasses  were  employed  to  form 
the  images  of  distant  objects.  The 
images  of  the  sun  and  moon,  and  the 
planets  and  stars  definitely  lacked 
image-quality.  One  of  the  most  serious 
things  the  matter  with  them  was  the 
presence  of  rainbow-colored  fringes 
at  the  edges  of  every  object.  This 
defect  is  known  as  "chromatic  aberra- 
tion." 

Isaac  Newton's  Error 

Sir  Isaac  Newton  was  a  great 
scientist,  but  like  the  rest  of  us  he 
pulled  "boners"  occasionally.  A  fam- 
ous one  was  his  belief  that  chromatic 
aberration  was  utterly  incurable.  Feel- 
ing certain  that  nothing  could  be 
done  to  get  rid  of  the  blurry  colored 
fringes,  he  devoted  his  attention  to 
reflecting     telescopes     which,     having 


INTERNATIONAL  PROJECTIONIST      •      JULY  1954 


mirrors  instead  ot  lenses,  were  Iree 
from  chromatic  aberration. 

About  30  years  after  Newton's 
death,  however,  a  startling  discovery 
made  by  John  Dollond  revived  interest 
in  refracting,  or  lens-type  telescopes. 
If  a  plano-concave  lens  of  flint  glass 
be  placed  in  conjunction  with  a  bi- 
convex lens  of  crown  glass,  Dollond 
demonstrated,  the  different  dispersion 
characteristics  of  the  two  kinds  of 
glass  would  almost  wholly  neutralize 
chromatic  aberration. 

And  thus  in  1758  the  achromatic 
doublet  was  born,  and  the  history  of 
scientific  lens-making  began.  From 
that  time  on,  optical  designing  be- 
came a  specialized  art,  and  lens  manu- 
facturers began  the  quest  for  new 
and  better  optical  glasses  for  lens- 
making. 

The  next  great  revolution  in  the 
optical  art  came  about  in  1886  when 
the  Jena  Glass  Works  of  Germany  an- 
nounced the  discovery  of  19  new  types 
of  glass  for  lenses.  This  was  followed 
by  24  other  new  glasses  in  1888  and  8 
more  in  1892.  Modern  projection 
lenses  are  made  possible  by  the  heavy 
barium-crown  glasses  discovered  at 
Jena. 

The  Color-Corrected  Leris 

Now,  then,  we  may  discard  our 
dime-store  magnifier  and  try  a  Dol- 
lond achromat — two  single  lenses  of 
ciown  and  flint  cemented  together  with 
resin — in  a  motion-picture  projector. 
A  very  great  improvement  will  be 
noticed,  and  yet  the  screen  image 
still  leaves  much  to  be  desired.  Even 
though  free  from  color-blurring,  the 
simple  achromat  is  afflicted  with 
spherical  aberration,  field-curvature, 
coma,  and  other  distortions  such  as 
"astigmatism." 

Spherical  aberration  is  caused  by 
the  outer  zones  of  the  lens  having  a 
slightly  shorter  focal  length  than  the 
central  regions.  This  aberration  pro- 
duces a  "soft-focus"  effect  by  cover- 
ing bright  objects  in  the  image  with  a 
luminous  haze. 

Field-curvature  is  present  when 
either  the  middle  or  the  edge-areas  of 
the  projected  image  can  be  focused 
sharply,  but  not  both  areas  at  the  same 
time.  A  lens  afflicted  with  field-curva- 
ture is  unable  to  give  the  flat  field 
desired  in  projection  lenses. 

Coma  is  a  stubborn  blurriness  of 
the  edge-areas  of  the  projected  picture. 
This  defect  is  easily  distinguished 
from  field-curvature,  for  coma  makes 


it  impossible  to  obtain  a  sharp  focus 
in  the  edge-areas. 

Astigmatism  is  a  peculiar  distortion 
of  the  configuration  of  image-points. 
It  is  best  illustrated  by  the  image  of  a 
spoked  wheel.  When  astigmatism  is 
present,  one  focus-position  of  the  lens 
will  produce  sharp  images  of  the 
spokes  (radial  lines)  but  not  of  the 
circular  hub  and  rim.  When  the  lens 
is  refocused  to  image  the  hub  and 
rim  clearly,  the  spokes  go  out  of  focus. 

Some  Lens-Design  Problems 

Some  of  these  exasperating  aberra- 
tions could  be  eliminated  by  proper 
designing  of  our  simple  achromatic 
lens.  By  "figuring"  the  lens  surfaces 
to  special  curves  difficult  to  obtain  in 
practice,  spherical  aberration  could 
be  removed.  By  "bending"  the  lens  to 
a  meniscus,  or  crescent  form,  a  few 
of  the  other  aberrations  could  be  eli- 
minated. While  the  forms  of  lenses 
are  frequently  "bent"  in  commercial 
lens-manufacture,  only  spherical  cur- 
vatures are  practicable. 

It  is  obvious  that  we  shall  have  to 
find  a  better  lens  than  a  simple  achro- 
mat in  order  to  obtain  a  clearer, 
crisper  picture  on  the  screen.  And  a 
satisfactory  projection  lens,  when  we 
find  it,  will  be  a  compound  lens  con- 
sisting of  two  or  more  lens-elements 
mounted  in  a  tube,  or  lens-barrel. 
Moreover,  the  lens  should  be  large 
enough  to  intercept  and  send  to  the 
screen  all,  or  nearly  all,  of  the  light 
that  passes  through  the  film-photo- 
graph in  the  aperture.  We  therefore 
require  a  "fast"  lens,  and  since  ac- 
curate lenses  of  large  diameter  are 
difl&cult  to  manufacture,  we  must  ex- 
pect a  really  satisfactory  projection 
lens  to   cost   several  hundred  dollars. 

The  Petzval  Design 

Lenses  suitable  for  projection  did 
not  exist  before  1840.  That  was  the 
year  that  Joseph  Petzval,  an  Austrian 
scientist,  designed  the  first  practical 
compound  lens  for  photography  and 
projection — big    and    fast    and    free 


FIG.  1.  The  Petzval  aplanat  is  the  most  com- 
monly used  projection  lens.  Its  chief  failing 
is  its  small  angular  field  of  good  definition, 
making  it  unsuitable  for  short-focus  lenses, 
which    must   cover   a    wide   field. 


from  most  of  the  troublesome  aber- 
rations of  simple  lenses. 

The  "Petzval  doublet,"  or  aplanat. 
as  this  lens  is  called,  is  shown  in 
cross-section  in  Fig.  1.  Doesn't  it  look 
familiar?  If  the  lenses  in  your  pro- 
jectors are  not  of  the  very  latest  type, 
they  are  undoubtedly  Petzval  aplanats. 
As  a  matter  of  fact,  this  type  of  lens 
has  been  the  standard  for  motion  pic- 
ture projection  ever  since  the  Lumiere 
brothers  first  turned  the  crank  of  their 
Cinematographe  in  the  autumn  of 
1894.  Better  types  of  projection  lenses 
did  not  appear  until  about  15  years 
ago. 

In  most  makes  of  projection  aplan- 
ats, the  two  lenses  of  the  front  element 
are  cemented  together  with  Canada 
balsam  (the  refined  pitch  of  the  fir 
tree)  or  with  synthetic  resin,  but  the 
two  lenses  of  the  rear  element  (near- 
est the  film)  are  usually  separated  by 
a  small  air-space. 

Among  the  most  widely  used  makes 
of  Petzvals  we  find  the  Zeiss  Kinostar 
and  Kipronar,  the  Busch  Neokino,  the 
older  Ross,  and  the  older  Kollmorgen 
Snaplite  and  Bausch  &  Lomb  Cine- 
phor. 

There  are,  of  course,  many  minor 
variations  in  the  design  and  construc- 
tion of  these  different  lenses.  For 
this  reason  they  vary  widely  in  quality. 

Limitations  of  Petzval  Type 

Now,  even  though  a  well-designed, 
well-made  Petzval  performs  very  well 
indeed,  it  has  a  serious  shortcoming 
that  shows  up  in  the  shorter  focal 
lengths — particularly  when  the  E.F. 
(equivalent  focus)  is  shorter  than  4 
inches.  The  angular  field  which  Petz- 
val aplanats  cover  with  good  image- 
definition  is  only  from  12  to  15 
degrees.  Outside  of  this  small  area  of 
good  definition  the  image  suffers  from 
coma  (unfocusable  blur)  and  heavy 
field-curvature. 

Extremely  sharp  focus  in  the  edge- 
areas  of  the  picture  is  therefore  prac- 
tically impossible  with  an  aplanatic 
lens  having  a  focal  length  shorter  than 
about  41/i  inches.  But  with  focal 
lengths  of  Wl  inches  and  longer,  the 
aplanat  has  the  advantage  of  extremely 
sharp  definition  even  when  the  lens 
has  a  very  large  diameter. 

In  1890  two  German  scientists, 
Abbe  and  Schotte,  widened  the 
angular  field  with  a  new  type  of  lens 
construction     called     the     anastigmat. 

(Continued  on  page  18) 


INTERNATIONAL  PROJECTIONIST      •      JULY  1954 


Easiest  way 


box-office  films 


;«tlC  SOONDHWO 


««w«3Er^.'^«8ii3Be««iHS«l^g«SeS?^:- 


-iJP^'^S?- 


..  niSljK^ 


<*awy 


^^^^417'^fi 


Sound  boomed  box  office 
,,.in  1927,  on  discs 
..,in  1928,  on  optical  track! 


And  now  it's  time  to  build  up  box  office  at  your  drive-in 
with  all  the  cash-pulling  attraction  of  wide  screen  and  mag- 
netic sound !  Do  it  the  easy  inexpensive  way . . .  with  the 
famous  RCA  "Button-On"  Soundhead  that  handles  single 
or  multiple  magnetic  tracks. 

Thanks  to  RCA's  high  engineering  standards,  the 
"Button-On"  Soundhead  reproduces  magnetic  sound  as 


it  was  meant  to  be  heard  . . .  catching  even  on  single  track 
the  fidelity,  the  clarity,  the  naturalness  that  are  typical 
of  magnetic  sound.  RCA's  exclusive  soft-loop  system 
means  flutter-free  sound,  with  irregularities  filtered  out. 
Actual  performance  has  proved  the  MU-metal  shield 
keeps  out  extraneous  noises,  assures  exact  sound- 
track reproduction. 

Every  day  you  put  off  conversion,  your  drive-in  or  your 
house  is  missing  out  on  showing  the  biggest,  most  profit- 
able feature  attractions  you  can  book.  That's  why  it's 
just  plain  good  business  sense  to  call  your  RCA 
Theatre  Supply  Dealer  today  .  .  .  about  your  RCA 
"Button-On"  Soundhead! 


THEATRE  EQUIPMENT 

RADIO    CORPORATION    of    AMERICA 

ENGINEERING  PRODUCTS  DIVISION  CAMDEN,  N.J. 

In  Canada:  RCA  VICTOR  COM PANY^imited.  Montreal 


Maintenance  of  Sound  Quality 
With  Magnetic  Pickup  Heads 

By  EDWARD  STANKO 

Manager,  Engineering  Section,  RCA  Service  Co. 


ONE  of  the  most  important  units 
of  four-track  stereophonic 
sound  reproducing  systems  is  the 
magnetic  pick-up  cluster.  This  unit  is 
the  heart  of  the  system  and  corre- 
sponds to  the  optical  lens  and  photo- 
tube of  a  standard  35-mm  sound  re- 
producing system.  There  is,  however, 
one  main  difference  between  the  two 
pick-up  systems  in  that  the  surfaces 
of  the  magnetic  pickup  head  are  sub- 
ject to  wear  from  the  oxide  on  the 
soundtracks. 

Various  methods  of  reducing  the 
wear  of  the  pickup  surfaces  have  been 
used.  Probably  the  best  method  used 
so  far  has  been  the  use  of  a  "soft 
loop"  such  as  has  been  incorporated 
in  the  RCA  soundhead.  This  reduces 
the  friction  between  the  pickup  head 
surfaces  and  the  soundtrack  oxide  so 
that  minimum  wear  occurs. 

Firm  Contact  Imperative 

For  good  sound  reproduction,  all  of 
the  magnetic  tracks  should  make  a 
firm  contact  with  the  pickup  head  sur- 
faces. In  some  instances,  one  or  more 
of  the  pickup  surfaces  wears  more 
than  the  others,  causing  a  dropping 
off  in  sound  level.  If  the  pickup  sur- 
faces have  worn  down  unevenly,  and 
there  is  still  sufficient  metal  left,  it 
may  be  possible  to  have  the  surfaces 
relapped  at  the  factory.  Before  this 
is  done,  the  projectionist  should  con- 
sult with  his  service  engineer  to  see  if 
such  a  procedure  is  advisable. 

Occasionally,  foreign  substances  be- 
come deposited  on  the  magnetic  pick- 
up head  surfaces.  Cleaning  the  sur- 
faces is  minor,  but  very  important, 
routine  procedure  for  the  projection- 
ist. Some  heads  can  be  cleaned  with 
ordinary  carbon  tetrachloride,  while 
others  should  be  cleaned  with  alcohol, 
depending  upon  the  kind  of  potting 
compound  that  has  been  poured 
around  the  cluster  coils. 

To  be  on  the  safe  side,  ask  your 
service  engineer  for  the  proper  type 
of  cleaning  fluid  to  be  used  on  a  par- 
ticular pickup  head. 

Occasionally,  also,  some  of  the  metal 


parts  comprising  the  pickup  become 
magnetized.  Where  this  has  occurred, 
it  is  necessary  to  demagnetize  the 
parts  to  obtain  satisfactory  perform- 
ance. This  procedure  can  be  carried 
out  as  described  in  a  special  article 
on  degaussing  which  appeared  in  the 
March  1954  issue  of  IP.  * 

'Grounded'  or  Open  Co// 

If  all  of  the  amplifier  channels  are 
operating  normally  and  severe  hum  is 
being  picked  up  on  only  one  of  the 
channels,  the  trouble  will  usually  be 
caused  by  a  grounded  or  open  pick- 
up coil.  Because  the  entire  pickup 
coil  cluster  is  usually  enclosed  and 
potted,  the  quickest  way  of  correcting 
this  condition  is  to  replace  the  entire 
assembly. 

If  difficulty  has  been  experienced 
with  the  quality  of  sound  reproduc- 
tion, a  careful  inspection  should  be 
made  to  see  that  the  film  is  properly 
contacting  the  pickup  head  surfaces. 
Sometimes  the  head  surfaces  wear 
down  so  that  the  film  rides  on  one  or 
more  of  the  shield  separators  that  are 
placed  between  the  pickup  sections. 
If  one  of  these  separators,  or  the 
potting  compound  between  the  clust- 
ers, is  higher  than  the  surface  of  the 
pickup  head,  it  will  prevent  the  film 

*  "Simple  'Degaussing'   Procedure  Protects   Mag- 
netic  Trades,"    by  Edward   Stanko,    p.   10. 


from  contacting  the  pickup  surface, 
causing  loss  of  sound  level  and  pos- 
sible distortion. 

When  the  pickup  surfaces  have  been 
worn  down  to  a  point  where  the  sur- 
faces are  practically  flat  and  there  is 
insufficient  metal  left  for  relapping, 
the  entire  cluster  must  be  replaced. 

It  would  be  a  happy  circumstance  if 
sufficient  questions  anent  the  opera- 
tion and  maintenance  of  magnetic 
sound  reproducing  heads  could  be  ob- 
tained from  projectionists  to  provide 
the  basis  for  a  symposium  thereon. 


[Ed.'s  Note:  IP  enthusiastically  approves 
of  the  suggestion  advanced  in  the  para- 
graph immediately  preceding  and  would 
open  its  columns  wide  therefor,  irrespective 
of  space  demands.] 

McKenna  Upped  to  RCA 
Top  Theatre  Post 

George  L.  McKenna  has  been  ap- 
pointed Manager  of  the  Theatre  and 
Industrial  Marketing  Department,  Engi- 
neering Products  Division,  of  RCA.  He 
succeeds  Barton  Kreuzer,  who  has  been 
advanced  to  Director  of  Product  Plan- 
ning. 

Mr.  McKenna,  who  joined  RCA  in 
1945,  has  served  for  the  past  year  as 
Manager  of  Operations  Planning  for  the 
division.  Previously,  he  was  special  as- 
sistant to  the  vice-president  and  general 
manager,  and  was  sales  manager  of  in- 
dustrial products.  As  marketing  man- 
ager for  RCA  theatre  and  industrial 
equipment,  he  will  be  responsible  for 
the  product  planning,  marketing,  and 
sales  of  RCA  theatre  products,  industrial 
and  scientific  instruments,  sound  and 
visual  equipment,  film  recording  ap- 
paratus, "Tv  Eye"  closed-circuit  sys- 
tems, tape  recorders,  and  "hi-fi"  sound 
components. 


MAGNETIC 
PICKUP 
HEAD   ROUND 
AND  SMOOTH 


PROJECTIONIST 

SHOULD    WATCH   HEAD 
WEAR     SO  FILM   DOES 
NOT  CONTACT    POTTING 
COMPOUND    OR  MU- METAL 
SHIELDS   BETWEEN   CLUST- 
ERS 


HEADS    SHOULD   BE 
REPLACED    WHEN 
PICKUP    SURFACES 
WEAR      FLAT 


CABLE     LEADS 


NEW   HEAD 


WORN    HEAD 


Graphic  representations  of  new  and  old  magnetic  reproducer  heads,  directing: 
projectionist  attention  to  vital  points  of  wear  thereon. 


INTERNATIONAL  PROJECTIONIST 


JULY  1954 


INTERNATIONAL  PROJECTIONIST      •      JULY  1954 


New  Light  On  The  Past 


By  FREDERICK  GOOCH 

Member  since  1913  of  lA  Local  224,  Washington,  D.  C. 

During  a  recent  round-table  gab-fest  (inevitable  when  projection- 
ists gather)  there  arose  a  question  relative  to  the  series  of  articles 
"Heart  of  a  Projector  Mechanism,"  which  Robert  A.  Mitchell  contri- 
buted to  IP  for  July,  August,  and  September,  1952.  These  discus- 
sions induced  the  appended  commentary.  This  is  of  historical  im- 
port because  it  is  first  publication  anywhere  of  the  correspond- 
ence between  Thomas  E.  Edison  and  Thomas  Armat.  Significantly, 
both  Messrs.  Edison  and  Armat  are  on  the  Honor  Roil  of  the  SMPTE 
for  their  vital  contributions  to  the  development  of  motion  pictures. 


1  ENJOYED  reading  Robert  A.  Mit- 
chell's article,  "Heart  of  the  Pro- 
jector Mechanism,"  printed  in  the 
July,  August  and  September  issues  of 
IP  for  1952.  However,  I  take  issue 
with  him  on  several  points. 

For  many  years  I  had  known  C.  F. 
Jenkins  and  Thomas  Armat,  and  had 
often  discussed  patents  and  mechan- 
isms with  either  of  them  at  separate 
times.  To  this  writer,  C.  F.  Jenkins 
was  a  brilliant  man  but  he  could  never 
seem  to  get  out  of  the  experimental 
stage.  He  never  got  away  from  apply- 
ing the  beater-movement  to  motion 
pictures.  This  movement  was  not  of 
any  use  for  projection  purposes. 

Still,  in  1909  he  designed  a  35-mm 
camera  with  this  same  beater-move- 
ment. Several  years  later  he  designed 
a  projector  called  the  "Graphascope," 
which  had  the  Geneva  movement,  a 
very  poorly  designed  machine,  which 
had  no  commercial  success.  I  present- 
ed one  of  these  projectors  to  the 
Smithsonian  Institute,  along  with  sev- 
eral others  to  be  used  for  exhibition 
purposes.  In  no  way,  please  under- 
stand, am  I  trying  to  belittle  Mr.  Jenk- 
ins. I  valued  his  friendship. 

Armat's  Ideas  Adopted 

Thomas  A.  Edison  was  another  ex- 
perimenter who  never  produced  a 
practical  projector  until  Thomas  Ar- 
mat came  on  the  scene.  Edison  then 
admitted  defeat  and  dropped  all  of  his 
experiments  and  adopted  Armat's 
methods.  For  proof  of  this  statement 
see  the  accompanying  photo  of  a  let- 
ter sent  by  Edison  to  Armat.  When 
Mr.  Armat  gave  me  this  photographed 
letter  it  was  promised  that  I  was  never 
to  show  it  as  long  as  he  lived.  I  don't 
know  of  anyone  else  having  a  copy  of 


this  photo,  and  I  think  it  should  be 
published. 

In  February,  1937  Local  224  (Wash- 
ington, D.  C.)  of  which  I  am  and 
have  been  a  member  since  1913,  held 
an  anniversary  banquet.  Our  com- 
mittee contacted  Mr.  Armat,  asking 
for  a  brief  history  of  his  participation 
in  the  early  days  of  motion  pictures. 
His  reply  was  as  follows; 

Washington  Showing  in   1895 

"Responding  to  your  request  for  a 
brief  statement  of  my  part  in  the  in- 
vention and  development  of  the  first 
successful  moving  picture  projecting 
machine,  the  first  exhibition  of  mov- 
ing pictures  on  a  screen  that  embodied 
any    of    the    features    of    present-day 


This  letter  from  Thomas 
A.  Edison  to  Thomas  Ar- 
mat is  the  first  reproduc- 
tion ever  published  and 
as  such  is  of  historical 
import.  The  statements  in 
this  letter,  over  Edison's 
signature,  go  far  to  re- 
fute the  long  -  standing 
opinion  of  motion  picture 
people  as  to  Edison's  con- 
tribution to  the  motion 
picture    projection    art. 


movies  was  given  by  me  in  my  office 
at  1313  F  Street,  Washington,  in 
August,  1895.  This  machine  was  the 
result  of  several  months  of  experimen- 
tal work  directed  and  financed  by  me. 

"Associated  with  me  in  the  produc- 
tion of  this  machine  during  these 
months  was  the  late  C.  F.  Jenkins,  and 
on  August  28  we  applied  for  the  joint 
patent  on  the  machine  which  later  is- 
sued as  U.  S.  Patent  No.  586,953. 

"This  patent  covered  the  feature  of 
making  the  period  of  illumination  of 
each  picture  exceed  the  period  of  ob- 
struction, or  shift,  but  the  intermittent 
mechanism  for  accomplishing  this  was 
a  complete  and  incurable  failure  and 
the  machine  was  abandoned  after  a 
few  exhibitions  in  my  office. 

The  First  Practical  Projector? 

"Shortly  after  this  I  developed  a 
practical  machine  with  an  entirely  dif- 
ferent intermittent  mechanism  and 
other  improvements,  including  the  im- 
portant one  of  providing  a  pre-deter- 
mined  amount  of  slack  in  the  film. 
This  machine  I  christened  the  "Vita- 
scope",  and  is  shown  in  my  patent 
No.  673,992  filed  on  February  19, 
1896. 

With  this  machine  I  gave  the  first 
motion  picture  exhibition  ever  given 
in  a  theatre,  in  Koster  and  Dial's 
Music  Hall,  New  York  in  April,  1896. 

"Subsequent  to  this  I  developed  a 

•■.,■   '..    19S2  ■! 


,8,   and   '.'.•-'. 
,-3,    wh  !';>•.   n'is 


There   u - 

,?lth   kind    regards. 

y  0  u  r a    Tsjjjr^t  r ' ;  1 .;  . 


tM-.ns. 


10 


INTERNATIONAL  PROJECTIONIST      •      JULY  1954 


still  different,  and  a  much  better,  in- 
termittent mechanism,  which  gave  the 
film  gradually  accelerated  stop-and- 
start  movement  that  reduced  the  wear 
on  the  film  and  the  vibration  of  the 
picture  on  the  screen. 

Patents  on  File 

"Application  for  patent  covering 
this  mechanism,  known  as  the  star- 
wheel  intermittent  was  filed  on  Sept- 
ember 25,  1896,  and  later  was  issued 
as  Patent  No.  578,185.  The  mechan- 
ism of  this  intermittent  was  immedi- 
ately adopted  to  the  exclusion  of  prac- 
tically all  others  in  the  early  days,  and 
is  still  the  preferred  intermittent  for 
use  in  theatres,  so  I  am  told. 

"All  of  these  patents,  are,  of 
course,  matters  of  record  in  the  U.  S. 
Patent    Office    where   copies    may   be 


obtained.  It  may  interest  you  to  know 
that  I  never  sold  or  authorized  the  sale 
of  a  machine,  relying  instead  upon 
royalties  as  a  source  of  profit  on  my 
inventions. 

Patent  Delays,  Litigation 

"Delays  in  the  issue  of  patents  and 
subsequent  litigation  resulted  in  the 
manufacture  and  sale  of  a  flood  of  un- 
authorized machines,  all  of  them  in- 
fringing one  or  more  of  my  patents 
and  most  of  them  infringing  all  of 
them.  I  helped  to  organize  the  Mo- 
tion Picture  Patents  Co.,  composed  of 
the  Edison,  the  Biograph,  and  my  own 
company. 

"These  royalties,  while  small  in- 
dividually and  easily  met  by  the  in- 
dustry, amounted  in  aggregate  to  a 
very  substantial  and  satisfactory  net 
income." 


To  Which  Mr,  Mitchell  Replies: 


On  what  points  does  Frederick 
Gooch  take  issue  with  me?  After 
careful  study  of  the  interesting  ma- 
terial submitted  by  Mr.  Gooch,  I  am 
unable  to  discover  any  serious  dis- 
agreement with  the  brief  historical 
resume  given  in  my  article  "Heart  of 
the  Projector  Mechanism"  in  IP  for 
August  1952,  page  8. 

Perhaps  I  may  be  criticized  for 
failing  to  mention  that  Edison's  pro- 
jection Kinetoscope  was  basically  the 
third  Armat  machine. 

Armat,  Lumiere  Showings 

Also,  I  did  not  mention  Thomas  Ar- 
mat's  exhibition  of  Edison  films  on  a 
screen  in  his  office  in  August  1895. 
Neither  did  I  mention  the  private  pro- 
jections of  movies  with  the  Lumiere 
Cinematographe  early  in  the  autumn 
of  1894.  Of  the  two  showings,  the 
Lumiere  exhibition  must  surely  be 
considered  the  more  important,  since 
they  made  their  own  films,  and  their 
screen  results  were  far  superior  to 
Armat's. 

In  view  of  the  Lumiere  brothers' 
precedence  in  the  field,  I  should  take 
issue  with  Armat's  statement  that  his 
August  1895  showing  was  "the  first 
exhibition  of  moving  pictures  on  a 
screen  that  embodied  any  of  the  fea- 
tures of  present-day  movies."  It  can- 
not even  be  argued  that  Armat's  first 
projector  (built  in  collaboration  with 
Francis  Jenkins)  had  an  intermittent 
movement  similar  to  the  Geneva  move- 


ments of  the  present  time.  His  first 
machine  had  a  Geneva-type  move- 
ment, but  the  star-wheel  had  14  slots! 
The  large  mass  of  this  star-wheel, 
combined  with  that  of  the  56-tooth  in- 
termittent sprocket,  prevented  smooth, 
rock-steady   operation. 

Lumiere  Claw  Movement 

The  simple  claw  movement  of  the 
Lumiere  Cinematographe  camera-pro- 
jector (still  used  in  many  professional 
motion-picture  cameras)  functioned 
perfectly. 

Armat  himself  admits  that  his  first 
Geneva-type  intermittent  movement 
"was  a  complete  and  incurable  failure; 
and  the  machine  was  abandoned  after 
a  few  exhibitions  in  my  office."  The 
familiar  Geneva  intermittent  having  a 
star-wheel  with  4  slots  was  first  used 
in  a  projector  built  by  0.  Messter  in 
1896. 

The  Kinetoscope 

The  name  Kinetoscope  was  first  ap- 
plied by  Thomas  Edison  to  his  peep- 
hole moving-picture  machine  which 
exhibited  the  48-frames-per-second 
films  photographed  by  his  Kineto- 
graph  camera.  To  Edison  goes  the 
undisputed  honor  of  having  inven- 
ted the  motion-picture  camera  and  the 
35-mm  film  designed  with  4  perfora- 
tions per  frame  on  each  side. 

With  the  exception  of  the  speed  of 
the  film,  Edison's  film-standards  are 
still  in  use,  and  probably  always  will 
be   for   professional   movies,   notwith- 


"  1^         ro//er 
Qffolh'hack.  spr. 

FIG.  1.  The  striker  movement— it  struck  many 
a  nickel  into  the  coffers  of  the  old-time  nickel- 
odeon. Rough  on  film  and  on  the  eyes  of  the 
audience,  both  the  "dog"  striker  in  A  and 
the  "piston"  beater  in  B  jiggled  many  o  cellu- 
loid romance  to  its  happy  conclusion.  The  pull- 
down   sprockets    revolved    at    constant    speed. 

standing  Todd  A-0  and  other  wide- 
film  processes.  Most  exhibitors  have 
already  turned  thumbs  down  on  off- 
standard  film-widths. 

It  was  not  until  Edison  had  met 
Armat  and  made  a  deal  to  manufac- 
ture Armat's  Vitascope  projector  was 
the  name  "Kinetoscope"  applied  to 
anything  but  the  great  inventor's  luc- 
rative peep-show  machine. 

From  1894  to  1897  Edison  did 
everything  possible  to  discourage  the 
building  and  use  of  motion-picture 
projectors.  At  first  the  great  inventor 
claimed  that  the  projection  of  moving 
pictures  was  impractical.  Perhaps  he 
actually  believed  that,  just  as,  later, 
even  when  the  principle  of  the  va- 
cuum-tube lay  within  his  grasp,  he 
declared  radio  to  be  unfeasible  if  not 
utterly  impossible. 

It  must  be  kept  in  mind,  however, 
that  the  Wizard  of  Menlo  Park  was 
no  slouch  in  matters  of  quick  dough. 
His  peep-show  concessions  were  bring- 
ing in  floods  of  nickels.  Why  plug 
the  profitable  peep-hole  by  project- 
ing the  pictures? 

Motion  Picture  Patents  Co. 

Edison's  frequent  threats  to  sue 
everyone  who  as  much  as  thought  of 
projecting  motion  pictures  (especially 
if  they  had  it  in  mind  to  project  Kine- 
tograph  films)  gained  volume,  if  not 
force,  by  the  appearance  of  Thomas 
Armat  and  his  sale  to  Edison  of  the 
rights  to  his  second  projector.  The 
sound  and  fury  of  impending  litiga- 
tions were  not  entirely  quelled,  e  '"en 
if  ignored  by  the  courts,  until  the  de^ 
mise  of  the  old  Edison-Biograph-Ar- 
mat  equipment  monopoly  known  as 
the  Motion  Picture  Patents  Co.  Mean- 
time, internecine  strife  at  the  Edison 

(Continued  on  page  25) 


INTERNATIONAL  PROJECTIONIST      •      JULY  1954 


11 


LITTERS    TO    Tlli    IBIT 

iiMiiiiMiiiitiiliiliiiiiiii 


Ingenuity  in  the  Antipodes 

To  the  Editor  of  IP: 

I  was  particularly  interested  in  the 
question  posed  by  Lawrence  Johnson,  of 
the  Aggie  Theatre,  Stillwater,  Okla.,  in 
a  recent  "What's  Your  Problem"  column 
of  IP  (March  1954).  I  had  similar 
trouble  using  1-kilowatt  lamps,  although 
they  were  not  connected  to  the  theatre 
ventilating  system. 

Noting  the  British  Arcvent  featured 
in  IP  some  time  ago  (March  1954),  I 
made  inquiries  but  found  that  this  unit 
was  not  available  in  this  country 
(Australia).  I  then  discovered  that  war 
surplus  disposal  stores  were  selling  an 
ideal  substitute  —  a  blower  unit  taking 
26  volts  D.C.  at  IV2  amps  used  originally 
for  cooling  transmitter  power  tubes,  and 
priced  at  3  pounds,  10  shillings  (approx. 
$9). 

It  had  mounting  brackets  ready  for 
use  on  top  of  the  lamphouse.  I  wired 
it  (fused)  to  the  arclamp  circuit  so  that 
it  functioned  when  the  arc  switch  was 
closed  to  bring  the  arc  into  operation. 
This  method  has  been  quite  satisfactory, 
the  units  now  having  been  in  use  for  a 
year,  doing  a  good  job.  Similar  units 
must  be  available  at  war  disposal  stores 
in   the   U.S.A.   and   other   countries. 

Your  publication  is  "tops"  with  us, 
and  we  are  grateful  for  the  candid  and 
honest  comments  on  the  latest  trends. 
Although  every  industry  must  progress, 
the  lack  of  standardization  is  very  un- 
wise indeed. 

Reginald  A.  Stewart 
Plaza  Theatre,  Wangaratta, 
Victoria,  Australia 


Film  Scraping  Sandpaper  Block 

Letters  to  the  Editor: 

Anent  R.  J.  Fisher's  letter  in  IP  for 
May  (p.  23)  where  he  describes  the 
wooden  sandpaper  block  for  scraping 
film  in  preparation  for  splicing.  I  have 
used  for  some  little  time  a  sandpaper 
block  which  I  think  is  superior  to  the 
Fisher  unit,  as  the  sandpaper  is  re- 
placeable without  the  use  of  glue. 

The  accompanying  drawing  shows  its 
construction:  it  is  made  of  aluminum 
%  X  %  X  %  inch  thick.  On  one  of  its 
edges  a  hole  is  drilled  and  tapped  for 
a  6-32  machine  screw.  A  strip  of 
sandpaper  just  the  width  of  the  block 
is  wrapped  around  the  edges,  with  the 
end  extending  under  the  washer  as 
shown.  When  the  screw  is  tightened, 
the  sandpaper  will  stay  in  place  with- 


out glue,  thus  making  it  very  easy  to 
replace  the  abrasive  when  it  is  worn. 
The  abrasive  on  three  edges  of  the 
block  is  usable,  with  each  edge  being 
wide  enough  to  give  two  cutting  sur- 
faces, making  six  surfaces  to  be  used 
prior   to   replacement.    I    recommend    a 


jj--6-32  SCREW 
'^**^=»^  WASHER 


•^  w^ANDPAPER 


BLOCK  3/4"  X  3/4"  x  3/8" 


Diagrammatic     representation     of     Jackson 
CinemaScope  film  scraper. 

fine  grade  of  waterproof  sandpaper, 
being  much  superior  in  cutdng  quality 
and  lasting  much  longer. 

Any  projectionist  can  make  this  unit 
if  they  find  a  bit  of  the  right  aluminum 
of  the  right  dimensions.  For  those  who 
cannot  make  their  own,  I  will  gladly 
send  them  one  free  of  charge.  Simply 
drop  me  a  line  requesting  one,  but 
enclose  ten  or  fifteen  cents  to  cover 
mailing  cost.  Being  the  manufacturer 
of  Jackson  Reel  End  Signals,  thus  have 
a  goodly  supply  of  aluminum  on  hand. 

I  haven't  yet  been  confronted  with 
splicing  CinemaScope  film,  but  1 
heartily  endorse  the  comments  made 
by  Mr.   Fisher. 

J.  G.  Jackson 
8  Mar  St.,  Port  Alberni,  B.  C,  Canada 


What's  Your  Problem? 

Question.  Here's  a  problem  in  3-D 
projection  that  I  do  not  believe  has  re- 
ceived sufficient  attention.  I  have  found 
that,  for  maximum  effectiveness,  projec- 
tor port  filters  should  be  adjusted  in  a 
manner  that  guarantees  that  the  re- 
flected light  from  the  screen  is  properly 
polarized.  It  is  not  enough  to  level  the 
filter  mounts  then — and  trust  to  luck. 
Is  the  following  right  or  wrong?  I 
suspect  that  sleep  projection  angles 
cause  the  reflected  light  from  the  screen 
to  have  a  changed  polarity  from  that 
of  the  incident  light.  To  establish  this 
for  yourself  level  your  projection  filters, 
start  either  machine,  and  throw  a  re- 
duced  light   on   the   screen.     While   the 


machine  is  running,  go  over  and  look 
through  the  other  leveled  filter  toward 
the  screen  and  notice  that  the  reflected 
light  is  not  blacked  out.  Loosen  the 
filter  you  are  looking  through,  and  you 
will  be  able  to  blackout  the  light  by 
rotating  it  somewhat.  You  will  then 
notice  that  the  filter  is  not  level  with 
the  other.  For  this  test  use  only  enough 
light  to  ascertain  blackout  point  and 
have  the  filter  cooling  blower  in  opera- 
tion. 

It  is  also  true  that  there  are  slight 
manufacturing  errors  in  some  filters  so 
that  the  lines  of  polarization  are  not 
always  at  the  proper  angle  to  the  mount- 
ing frame;  result:  the  filters  cannot  be 
accurately  positioned  merely  by  level- 
ing the  frames  with  a  spirit  level. 

Earl  W.  Anderson: 
Hill  Theatre,  Hillsboro,  Oregon 

Answer.  According  to  John  A.  Norling, 
pioneer  in  the  development  of  stereo- 
scopic motion  pictures,  you  are  in- 
correct in  suspecting  that  there  is  a 
noticeable  change  in  the  lines  of  polar- 
ization of  reflected  light  when  the  pro- 
jection beam  strikes  the  screen  at  a 
sharp  angle.  It  is  more  probable  that 
the  light  you  noticed  passing  through 
the  filter,  when  there  should  have  been 
a  complete  blackout,  got  through  as  a 
result  of  a  defect  in  the  filters,  as  you 
noted  in  your  letter. 

Not  every  pair  of  filters  is  so  effi- 
cient as  to  adequately  control  the  light 
striking  them,  and  not  all  are  mounted 
so  accurately  that  the  lines  of  polariza- 
tion will  be  at  right  angles  when  the 
filters  are  leveled.  Mr.  Norling  states 
that  a  5%  deviation  will  cause  ghosting. 


New  Altec  Lansing  Speakers 

Altec  Lansing  Corp.  is  now  offering 
two  newly-designed  models  of  its  "Voice 
of  the  Theatre"  loudspeaker  units, 
bringing  the  total  number  of  models  to 
nine.  These  new  loudspeaker  systems, 
coded  A-6  and  A-7,  replace  the  Model 
800  previously  made  for  small  theatres. 

There  is  a  two-fold  reason  for  the  de- 
velopment of  these  new  systems,  ac- 
cording to  Altec:  the  higher  require- 
ments of  stereophonic  sound  reproduc- 
tion and  the  increased  need  for  lower- 
priced  sound  systems  in  smaller  theatres. 
The  new  design  is  said  to  provide  not 
only  extended  bass  and  high-frequency 
reproduction  but  a  smoother  overall 
frequency  response.  The  A-7  is  priced 
a'  $260;  the  A-6  at 


30,000,000  Tv  sets  Operating 

The  number  of  Tv  sets  installed  in  the 
U.  S.  has  passed  the  30,000,000  mark, 
according  to  the  research  department  of 
National  Broadcasling  Co.,  an  increase 
of  6,000,000  over  May  1  of  last  year. 


12 


INTERNATIONAL  PROJECTIONIST 


JULY  1954 


New  Westrex  Sound 


Reproducing  Equipment 


THE  Westrex  Corp.  complete  new 
line  of  theatre  sound  reproducing 
equipment  is  designed  to  meet  the 
present  demand  for  higher-fidelity  sound. 
The  new  systems  include  both  multi- 
channel models,  either  for  magnetic  or 
optical  reproduction.  Among  the  fea- 
tured components  of  the  new  systems 
are: 

The  Westrex  R9  stereophonic  repro- 
ducer, operable  on  any  modern  projec- 
tor to  reproduce  magnetic  sound  tracks, 
has  a  very  low  mechanical  flutter  con- 
tent, made  possible  by  its  hydro-flutter 
suppressor,  which  won  an  Academy 
Award,  plus  a  tight  film  loop  and 
double  flywheels. 

In  theatres  already  equipped  for 
multi-channel  magnetic  sound,  an  ad- 
ditional unit,  the  Perspecta  sound  inte- 
grator, is  available  for  stereophonic  re- 
production from  a  single  optical  track. 
The  integrator  senses  control  frequencies 
recorded  on  the  track  below  the  level 
of  audibility,  and  moves  the  apparent 
source  of  sound  back  and  forth  across 
the  screen  by  varying  the  volume  to 
the  three  speakers.  The  integrator 
is  connected  between  the  soundhead 
and    the    power    amplifier. 

Noteworthy  New  Features 

The  Westrex  R7  photographic  sound 
reproducer  features  for  the  first  time 
special  timing  belts,  used  in  all  high- 
quality  studio  recording  systems, 
which  do  not  slip  or  stretch  and  are 
noiseless.  The  R7  has  a  longer  optical 
path  and  the  "Equilight  Diffuser."  The 
latter  is  a  special  part  of  the  Westrex 
lens  system  which  spreads  the  light 
equally  over  all  the  sensitive  surface  of 
the  photo-electric  cell  and  provides 
a  minimum  of  distortion  from  variable 
area  recording  and  the  best  possible 
response    from   any    type    of    recording. 


All    shafts    are    mounted    on    ball    bear- 


Westrex  sound 
systems  3  6 
and  37  ampli- 
fiers cabinets 
(front  v!ew) 
provide  up  to 
four  channels 
for  magnetic 
or  photo- 
graphs  repro- 
duction. The 
full  -  length 
rear  doors 
and  remov- 
a  b  I  e  front 
panels  are 
featured  serv- 
icing  aids. 


The  T454  power  amplifier,  with  a 
new  circuit  and  specially  wound  coils 
delivers  more  output  with  less  distor- 
tion and  using  less  current  from 
standard  vacuum  tubes  than  any  pre- 
vious  50-watt   amplifier. 

Westrex  T604A  pre-amplifiers  are 
designed  to  provide  the  higher  gain 
and  greater  quietness  required  in  pre- 
amplifiers reproducing  magnetic  sound. 
The  Westrex  33  cabinet  assembly  in- 
cludes a  muting  amplifier  for  audi- 
torium speaker  control,  in  addition  to 
four     magnetic     pre-amplifiers. 

Unique  Switching  Facilities 

The  Westrex  36  and  37  cabinets, 
six  feet  high,  provide  for  3  or  4- 
channel  magnetic  and  switching  facili- 
ties. These  unique  facilities  make  it 
possible  to  reproduce  through  three 
speakers  or,  if  one  channel  fails, 
through  the  other  two  channels;  or, 
if  desired,  through  one  channel.  The 
C36  cabinet  also  provides  a  volume 
indicator  which  can  be  switched  to 
any    of    the    channels    to    assure    proper 


balance  between  channels.  Servicing 
is  done  from  in  front  of  the  cabinet; 
space  is  provided  for  possible  future 
additions. 

Completely  redesigned  for  increased 
efficiency  under  the  exacting  require- 
ments of  multi-channel  sound  are  the 
new  Westrex  high-  and  low-frequency 
speaker     units     and     associated     baffles. 

An  outstanding  feature  of  the  new 
Westrex  speaker  equipment  is  the  re- 
placement of  the  multi-cellular  horn 
formerly  used  in  connection  with  high- 
frequency  units  by  the  Westrex  "acous- 
tic lens,"  which  assures  an  even  distri- 
bution of  sound  throughout  an  audi- 
torium and  an  absolute  minimum  of 
interference  pattern.  The  principle  of 
this  lens  has  its  roots  in  the  need  for 
uniform  distribution  of  high  frequen- 
cies over  the  required  angle  of  audi- 
torium   coverage. 

This  involves  the  use  of  a  type  of 
structure  which  refracts  and  focuses 
sound  waves  and  which  is  similar  in 
function      to      certain      electromagnetic 


Westrex     R7     photographic     reproducer      (rear 
view,    cover    removed)    showing    special    noise- 
less timing   belts   that   neither   slip    nor   stretch, 
which  are  featured  for  the  first  time. 


Westrex  T502B  stage  loudspeaker  assembly  for 
larger  theatres  features  the  high-frequency 
acoustic  lens.     Shown  here  are  two  80°   lenses. 


The   Westrex   T501A   loudspeaker   assembly   for 

smaller    theatres    features    the     high-frequency 

"acoustic  lens".      Shown   here   is  a   50      lens. 

wave-lengths  in  that  it  consists  of 
arrays  of  obstacles  which  are  small 
compared  with  the  wave-lengths  in- 
volved. 


Tinted  Car  Glass  in  Drive-Ins 

Use  of  tinted  glass  for  automobile 
windshields  is  increasing  despite  pro- 
tests from  the  drive-in  industry  that 
such  glass  interferes  with  the  enjoyment 
of  outdoor  movies.  About  60%  of  new 
cars  now  coming  off  assembly  lines  have 
tinted  windshields  and  windows  com- 
pared with  50%  a  year  ago. 

The  Automobile  Manufacturers  Asso- 
ciation regards  the  fears  of  outdoor 
theatre  owners  as  groundless,  claiming 
that  the  tint  has  only  a  minor  effect  on 
visability.  However,  the  auto  industry 
is  said  to  expect  a  continued  demand 
for  clear  glass,  and  the  tinted  wind- 
shields are  expected  to  remain  an  op- 
tional   accessory    rather    than    standard. 


INTERNATIONAL  PROJECTIONIST      •      JULY  T954 


13 


IN    THE 


SPOTLIGHT 


MORE  THAN  300  members  of  the 
Association  of  Documentary  and 
Television  Film  Craftsmen  engaged  at 
independent  studios  in  the  New  York 
City  area  have  voted  to  disaffiliate 
from  the  National  Association  of 
Broadcast  Employes  and  Technicians 
(NABET),  a  CIO  unit,  and  to  dissolve 
so  that  its  members  may  join  the 
lATSE. 

Culminating  more  than  a  year  of 
strenuous  effort  by  the  East  Coast 
Motion  Picture  Studio  Council,  headed 
by  John  J.  Francavilla,  lA  representa- 
tive, this  development  constitutes  a 
signal  victory  for  the  lA  and  a  severe 
setback  to  NABET,  which  has  been 
waging  a  bitter  jurisdictional  war  with 
lA  over  radio-Tv  studio  workers. 

That  the  arrangement  will  be  final- 
ized was  obvious  when  NABET  made 
the  forlorn  gesture  of  revoking  its 
affiliate's  charter.  lA  officials  state 
that  the  acquisition  of  these  new  mem- 
bers will  go  a  long  way  toward  bring- 
ing all  film  production  employes  under 


one   union   banner   —  the    I.A.T.S.E. 

These  former  ADTFC  members  will 
be  taken  into  the  lA  Radio  and  Tele- 
vision Department  and  will  be  obli- 
gated by  the  respective  Locals  to  which 
they  will  be  assigned,  namely:  Camera- 
men's Local  644,  Studio  Mechanics 
Local  52,  Editors  and  Cutters  Local 
771,  Assistant  Directors  Local  161, 
and  Make-Up  and  Hair  Stylists  798. 

Organized  in  1952,  the  Studio 
Council,  headed  by  Francavilla,  has 
been  hard  at  work  trying  to  eliminate 
dual  unionism  in  the  studios  and  to 
sign  basic  agreements  with  all  inde- 
pendent film  producers  in  the  New 
York  area.  The  rapidly  mounting  use 
of  film  for  Tv  programs. has  increased 
this  type  of  work  manifold. 

ADD:  Just  as  this  issue  of  IP  went 
to  press  came  the  news  of  another 
sweeping  victory  for  the  lA  over 
NABET  when,  following  a  Canada 
Labor  Relations  Board  election,  won 
by  the  lA  137  to  43,  all  Tv  production 
employes    of    Canadian    Broadcasting 


Corp.  also  went  under  lA  contract. 

Result:  wage  increases  of  at  least 
8%  (much  more  in  some  cases)  for 
more  than  300  Tv  production  workers 
in  Toronto,  Montreal,  Ottawa, '  Van- 
couver, and  Winnipeg.  Ditto  for 
future  CBS  outlets  such  as  Halifax, 
which  goes  on  the  air  shortly. 

Negotiations  were  spearheaded  by 
Hugh  Sedgwick,  lA  Canadian  vice- 
president,  and  provide  for  retroactive 
raises  to  February  1  last.  Production 
group  includes  carpenters,  electricians, 
propertymen,  costumers,  make-up 
artists,  film  cameramen,  film  editors, 
cutters,  librarians,  designers,  coordi- 
nators, titling  artists,  script  assistants, 
casting  clerks,  floor  managers  (sets) 
and  others — all  now  members  of  lA 
Radio  and  Tv  Department. 

Because  so  many  different  crafts 
are  involved,  the  new  contract  is 
quite  voluminous  and  complex.  For 
CBC  "regular-establishment"  employes 
(those  eligible  for  pensions),  it  re- 
duces the  work  week  from  six  days  co 
five.  For  so-called  "casual  employes" 
(now  reconstituted  as  "Tv  crafts  estab- 
lishment") it  sets  up  a  five-day,  40- 
hour  week,  with  three  weeks  vacation 
and  18  days  sick  leave  per  year.  For 
employes  having  individual  contracts, 
it  fixes  minimum  scales,  helpful  to  set 
designers  and  cameramen  when  their 
present  agreements  expire. 

*   "Never  say  die"  is  a  motto  that  paid 
off   for    the    members    of   Local   677, 


25-30  CLUB  OF  N.  Y.  HONORS  PAUL  REISS,  NATIONAL    CARBON,    AND    CHARLEY    HOSTMAN,    OF    RKO. 


On  dias  (left  to  right)  Bill  Kunzmann,  retired  National  Carbon 
veteran;  Nat  Doragoff,  N.  Y.  State  Compensation  referee  (Local 
306);  Bob  Goldblatt,  a  founder  of  the  Club;  Paul  Reiss,  National 
Carbon  Co.;  Abe  Kessler,  president  of  Club;  Charles  Horstman, 
RKO  projection  head;  Morris  Rotker,  past  president;  Morris  Klapholz, 
secretary  of  Club;  Ben  Stern,  Club  treasurer;  Harry  Mackler,  past 
president;     Allen      Smith,     manager     of      National     Theatre      Supply 

14 


branch  in  N.  Y.,  and  Jack  Winick,  vice-president  of  the  25-30  Club. 
Present  were  representatives  of  National  Carbon  Co.,  International 
Projector  Corp.,  Altec  Service  Co.,  and  RCA.  Also,  Ernie  Lang,  sec- 
retary of  Local  306  and  president  of  Projectionist  Square  Club. 
Delegations  from  Syracuse  Local  376;  Hudson  County,  N.  J.  Locoi 
384;  Westchester  County,  N.  Y.  Local  650;  Nassau  County,  N.  Y. 
Local    640,    and    N.    Y.    City    Local    306    were    present. 


INTERNATIONAL  PROJECTIONIST 


JULY  1954 


m 


Kent  County,  R.  I.  The  owners  of  a 
partially-completed  drive-in  theatre 
refused  to  negotiate  a  contract  with 
the  Local  officials  unjess  they  got  a 
reduction  in  the  projection  room  man- 
power, and  got  a  court  order  restrain- 
ing the  Local  from  picketing  the 
tlieatre.  Harold  A.  Benson,  secretary 
and  business  representative  for  Local 
677,  lost  no  time  in  getting  another 
court  order  lifting  the  restriction,  and 
picketing  was  resumed. 

Other  union  labor  on  the  job  re- 
fused to  cross  the  picket  line,  and  com- 
pletion of  the  drive-in  was  delayed. 
Several  weeks  of  intensive  picketing 
resulted  in  the  capitulation  of  the  ex- 
hibitors, and  a  new  contract  was  signed 
with  the  Local  calling  for  the  estab- 
lished two-man  projection  shift.  Thus 
the  two-man  shift  in  drive-in  theatres 
that  has  prevailed  for  so  many  years 
in  the  state  of  Rhode  Island  still  re- 
m.ains  intact. 

•  John  A.  ShufI,  business  representa- 
tive of  Local  364,  Akron,   Ohio,  has 
been  elected  8th  vice-president  of  the 
lATSE,    succeeding 
the    late    Roger    M. 
Kennedy,  who  died 
last    March.     Shuff 
has  been  a  member 
of  the  Akron  Local 
since  1921.  In  1925 
he  was  elected  sec- 
retary of  the  Local, 
resigning  from  that 
office  in  1932  to  be- 
John  A.  Shuff  come    the    business 

representative,  a  post  he  has  held  ever 
since.  During  that  pariod  he  com- 
pleted 100%  organization  of  theatres 
within   a   30-mile   radius   of  the   city. 


The  Movie  Social  Club  of  Kings  County,  Inc.,  comprised  of  members  of  New  York  City  Local  306, 
awarded  life  membership  cards  in  the  Club  to  Dave  Rednor  and  John  Weidner  upon  their  retire- 
ment from  the  Local.  Harry  Gorfman  (front  center).  Local  306  business  representative  for 
Brooklyn  and  Queens,  is  shown  presenting  the  awards  to  Weidner  (left)  and  Rednor  (right). 
Club  officials  witnessing  the  presentation  are  (rear,  left  to  right):  Harry  Weinberg,  financial- 
secretary;  Irving  Meltzer,  president;  Dave  Steinberg,  recording-secretary,  and   I.  Sillman,  treasurer. 


Under  Shuff's  leadership.  Local  364 
has  taken  an  active  part  in  civic  af- 
fairs, contributing  generously  to 
various  organizations.  He  has  been 
personally  active  in  civic  and  political 
affairs  and  during  the  late  1930's  he 
was  Democratic  chairman  in  Akron. 

•  The  annual  season's-close  party  of 
the  25-30  Club  of  New  York  was  held 
the  latter  part  of  June  at  the  Grand 
Street  Boys  Clubhouse  in  N.  Y.  City. 
Not  even  the  foul  weather  that  evening 
(which  cut  deeply  into  the  out-of- 
town  guest  roster)  could  dampen  the 
high  good  spirits  which  prevailed  at 
the  affair. 

Most  apropos  was  the  choice  of  the 
two  men  honored  at  the  party — two 
really  -  and  -  truly  projection  men: 
Charley  Horstmann,  maintenance  and 
construction  boss  for  RKO  Theatres, 


and  Paul  Ries  of  National  Carbon  Co., 
who  probably  knows  more  projection- 
ists over  a  wider  range  of  territory  in 
the  East  than  any  other  man.  Both 
these  lads  have  given  much   of   them- 


lA  President  Walsh  greeted  at  the  Houston,  Texas  airfield  upon  his  arrival  to  participate  in 
Local  279's  celebration  of  the  burning  of  the  mortgage  on  its  headquarters  building.  Com- 
pleted only  four  years  ago,  the  building  Is  now  owned  by  the  Houston  Local  free  of  any 
indebtedness.  Shown  above  are,  left  to  right:  C.  Nelson,  L.  279,  Houston;  D.  A.  Brandon,  L. 
604,  Corpus  Christi;  Walsh;  E.  J.  Miller,  L.  279;  Harvey  Hill,  L.  249,  Dallas;  William  B.  Keeler, 
L.   407,   San   Antonio,   and   Clif   Sparks,   L.   330,   Fort   Worth. 


Bill  Reeves  (left)  and  Tom  Brown,  members  of 
Local  173,  Toronto,  Canada,  represent  a  com- 
bined age  of  154  years.  Both  men  are  pro- 
jectionists and  have  unbroken  records  of 
working  in  their  respective  theatres  without 
having  missed  a  single  day.  For  relaxation. 
Reeves  takes  an  active  part  in  Variety  Club 
affairs;  and  Brown  spends  his  leisure  time  in 
visiting  foreign  lands— a  lifetime  hobby. 

selves  to  the  art  and  craft  of  projec- 
tion and  more  than  earned  their  re- 
spective honorary  gold  life  member- 
ship cards  and  plaques. 

lA  Locals  376,  Syracuse;  Local  384, 
Hudson  County,  N.  J.;  and  Locals 
650  and  366  of  Westchester  County, 
N.  Y.,  were  represented  by  sizeable 
delegations,  as  were  many  manufac- 
turing and  theatre  supply  companies. 

President  Abe  Kessler  of  the  Club 
presented  the  honorary  cards;  while 
Bill  Kunzmann  presented  the  bronze 
plaque  to  his  old  National  Carbon  pal, 
Paul  Ries;  Morris  Rotker,  past  presi- 
dent of  the  Club,  made  the  plaque 
presentation    to    Charley    Horstmann. 

A  fine  spirit  and  good  fellowship 
pervades  this  25-30  Club  organization, 
good  for  the  art  and  the  craft. 


INTERNATIONAL  PROJECTIONIST 


JULY  1954 


15 


EYE! 
sand 

EAR! 


'Sanity'  Projection  Standard 
•  Proposed  by  Schlanger 

Ben  Schlanger,  noted  theatre  architect 
and  close  student  and  advocate  of  proper 
screen  proportions,  viewing  angles  and 
the  "illuminated  screen  surround"  (mask- 
less)  announces  several  recent  installa- 
tions of  a  new  type  of  standardized 
aspect  ratio  and  screen  size  for  all 
picture    projection    systems. 

Schlanger  asserts  that  by  projecting 
anamorphic-type  films  on  a  basis  of  a 
2  to  1  aspect '  ration  and  the  non- 
anamorphic  films  on  the  basis  of  approxi- 
mately a  1.75  to  1  aspect  ratio,  the 
width  of  the  projected  image  can  be 
the  same  for  all  picture  projection.  The 
increased  flow  of  film  product  photo- 
graphed for  the  new  aspect  ratios 
makes  this  width  standardization  feasible 
at  this  time 

Simplified  Projection  Procedure 

Because  of  projector  light  limitations 
for  non-anamorphic  film,  this  standard- 
ization applies  to  picture  widths  of  ap- 
proximately up  to  38  feet.  When  the 
new  type  of  adjustable  anamorphic  re- 
lease prints,  such  as  Paramount's  Vista- 
Vision  system,  are  available,  it  will  be 
possible  to  obtain  sufficient  light  output 
for  picture  widths  greater  than  approxi- 
mately 38  feet. 

The  anamorphic  films  can  be  shown 
with  an  aspect  ratio  of  2  to  1  by  aperture 
plate-cropping  slightly  at  the  extreme 
side  portions  of  the  film,  which  elimi- 
nates only  the  most  inconsequential 
photographic  detail. 

Moveable  Masking  Eliminafed 

This  new  screen  standardization  also 
completely  eliminates  the  cumbersome 
and  otherwise  undesirable  movable  mask- 
ings  on  the  sides  and  top  of  the  picture 
required  for  the  variable  size  picture 
projection.  It  also  again  makes  it  pos- 
sible to  introduce  fixed  luminous  picture 
surrounds  which  found  great  popularity 
just  about  the  time  that  the  industry 
changed  to  large  screens. 

Summed  up,  Schlanger's  proposal 
envisions  a  fixed  screen  area  via  stand- 
ard projection  lenses    (non-anamorphic) 


and  the  use  of  anamorphic  attachments 
only  in  the  very  largest  theatres  where 
very  wide  screen  widths  are  desirable 
and  feasible. 

Also,  the  Schlanger  proposal  may  be 
interpreted  in  terms  of  good  projection 
for  a  full  week  instead  of  for  only  one- 
half  week. 


Ampex  One-Track  Magnetic 
Reproducing  System 

A  single-track  magnetic  theatre  sound 
system  selling  for  $1625  has  been  de- 
veloped by  the  Ampex  Corp.,  Redwood 
City,  Calif.,  pioneers  in  the  magnetic 
aparatus  field.  The  system  is  specifically 
built  for  those  theaters  desiring  the 
great  increase  in  fidelity  achieved  by 
changing  from  optically-recorded  to 
magnetically-recorded  sound,  yet  do  not 
wish  to  invest  in  the  equipment  neces- 
sary for  stereophonic  sound. 

Future  Additions  Simple 

Based  on  the  Ampex  Master  stereo- 
phonic system,  the  new  Ampex  single- 
track  system  uses  identical  components 
so  that  a  theater  which  purchases  single- 
track  sound  can,  at  any  later  date,  in- 
stall stereophonic  sound  without  having 
to  discard  any  equipment  except  one 
power  supply,  costing  $55.  He  simply 
adds  to  his  single-track  master  system. 
The  single-track  system  makes  use  of 
the  theater's  present  power  amplifier  and 
speaker  system  to  hold  costs  to  a  mini- 
mum. 

The  entire  system  consists  of  two  mag- 
netic reproducers,  a  sound  transfer  box 
and  extension  rod,  pre-amplifier,  power 
supply   and   necessary   accessories. 

Mounting,  Operational  Details 

Each  of  the  reproducers  is  mounted 
on  a  projector.  Adaptor  plates  are 
available  for  fitting  the  reproducers  on 
any  modern  projection  equipment. 
Cables  lead  from  the  magnetic  heads  in 
the  reproducer  to  the  transfer  box,  used 
to  change  sound  output  from  one  pro- 
jector to  the  other.  An  extension  rod 
makes  it  possible  to  operate  the  transfer 


swich  from  either  projector  position. 
Cables  lead  from  the  transfer  box  to  the 
pre-amplifier  enclosure,  which  measures 
21  inches  by  20  inches  by  10  inches  and 
may  be  mounted  on  the  front  wall.  The 
on-off  switch  and  the  gain  control  for 
the  magnetic  system  are  included  in  the 
enclosure. 

The  output  of  the  pre-amplifier  is  fed 
into  the  phonograph  input  of  the 
theater's  existing  power  amplifier.  A 
selector  switch,  installed  by  the  theater, 
makes  it  possible  to  select  either  phono- 
graph input  or  magnetic  sound  system 
input. 

Meanwhile,  prices  on  the  Ampex 
Master  stereophonic  sound  systems  have 
been  drastically  reduced,  effective  im- 
mediately. Typical  of  the  new  prices  is 
that  for  a  20-watt,  3-channel  stereo- 
phonic system,  capable  of  handling  a 
1,000-seat  house,  which  now  sells  for 
$3,195. 

This  complete  stereophonic  sound 
system  requires  absolutely  no  extras  of 
any  kind  to  put  it  into  immediate  opera- 
tion, and  full  emergency  facilities  are 
provided. 


"May  I  respectfully  suggest,  sir, 
that  you  use  a  wide-angle  lens?" 


Fight  Theatre  Tv  Terrific  B.O. 

The  resounding  success  of  the  recent 
closed-circuit  theatre  telecast  of  the 
Rocky  Marciano-Ezzard  Charles  heavy- 
weight championship  fight  has  led 
many  observers  to  believe  that  theatre 
Tv  has  lately  been  slighted  as  a  strong 
potential  source  of  revenue  for  exhibi- 
tors  equipped   to   use   it. 

Piped  to  61  theatres  in  45  cities  by 
Theatre  Network  Television,  Inc.,  of 
New  York,  this  telecast  did  excellent 
business  in  almost  every  location, 
grossing  an  estimated  $450,000  in  ad- 
missions. 

N.Y.-N.E.  Blackout  Hurt 

A  typical  example  of  the  success  of 
the  telecast  is  the  overall  result  ob- 
tained by  10  houses  in  the  Stanley- 
Warner  theatre  chain  which  grossed 
$80,000.  Several  theatres  reported  busi- 
ness as  50%  above  previous  telecasts. 
A  limitation  that  kept  the  nation-wide 
gross  from  exceeding  $450,000  was 
the  fact  that  theatres  in  the  heavily- 
populated  New  York-New  England 
area  were  blacked  out  to  avoid  compe- 
tition with  ticket  sales  at  the  Yankee 
Stadium,  which  brought  in  approxi- 
mately    $500,000. 

However,  several  drive-ins,  although 
they  filled  their  lots  to  capacity,  only 
broke  even.  This  was  because  of  the 
high  cost  of  building  special  towers 
and  bringing  in  lines  for  the  closed- 
circuit  telecast  to  the  less  accessible 
drive-ins.  All  lines  and  relays,  pro- 
vided by  American  Telephone  & 
Telegraph  Co.,   are  rented  for  only  one 


16 


INTERNATIONAL  PROJECTIONIST     •      JULY  1954 


month.  If  it  were  possible  to  use 
them  again  during  that  period,  a 
highly  unlikely  prospect,  it  would  help 
the  drive-in  to  pay  off  the  cost  of 
wiring.  However,  even  at  the  break- 
even level,  such  telecasts  are  highly 
regarded  as  prestige  builders  and  a 
lasting  reminder  of  the  advantage  of 
outdoor    shows    of    any    kind. 

Aural,  Visual  Quality  Excellent 

Reports  from  various  installations 
indicate  that  the  picture  quality  of  this 
telecast  was  the  best  yet  obtained. 
Nate  Halpern,  president  of  Theatre 
Network  Television,  has  assembled  his 
own  crew  for  handling  these  telecasts, 
and  this  fact  is  credited  with  the  con- 
stantly improving  quality  of  the  trans- 
missions. On  the  exhibition  end,  pro- 
jectionists have  now  acquired  the 
requisite  "savvy"  in  terms  of  famili- 
arity with  the  equipment  to  provide 
clean,  smooth  transit  of  the  image  and 
sound  to  the  screen. 

Most  significant  feature  of  the  suc- 
cessful theatre  telecast  was  the  fact 
that  the  aforementioned  grosses  were 
rung  up  despite  a  blow-by-blow  des- 
cription from  the  ringside  via  a  nation- 
wide radio  hookup. 

Wollensak  Vari-Focus  Lens 

The  Wollensak  variable-focus  lens 
attachment  now  in  volume  production 
has  attracted  much  interest  in  projec- 
tion circles  because  of  the  variety  of 
screen  dimensions  that  may  be  obtained 
by  simply  adjusting  a  knob  on  the  bar- 
rel  and   by  changing   aperture   plates. 

The  Vari-Focus  lens  comes  complete 
with  adapter  to  fit  Wollensak  and  Koll- 
morgen  projection  lenses.  Bausch  & 
Lomb  lenses  can  be  fitted  by  removing 
the  adapter  ring.  The  attachment  weighs 
3%  pounds,  is  11^2  inches  long,  and 
has  a  front  diameter  of  4  1/16  inches. 

Some    of    the   different    focal    lengths 


Thank  You— 

Please  add  the  attached  list  to 
our  group  subscription  and  bill 
us  on  a  one-year  basis.  Inciden- 
tally, all  engineers  employed  by 
Northwest  are  lA  men.  We  re- 
gard IP  as  an  essential  part  of 
their  technical  reading. 

Northwest  Sound  Service,  Inc. 
Minneapolis,  Minn. 

that  may  be  produced  by  use  of  the 
Wollensak  attachment  and  a  single  ob- 
jective lens  are  as  follows:  with  a  3-inch 
objective,  focal  lengths  between  21/4  and 
1%  inches;  with  a  5-inch  lens,  any  focal 
length  from  3  to  4  inches. 

This  Wollensak  supplementary  lens, 
priced  at  $235,  provides  a  means  for 
cleaning  without  dismantling.  The 
front  element  is  moved  to  forward  posi- 
tion, and  the  exposed  knurled  edge  can 
then  be  turned  counter-clockwise  and 
removed.  Further  details  are  available 
from  Wollensak  Optical  Co.,  Rochester 
21,  N.   Y. 


Bell  Lab's  New  Battery  is 
Powered  by  Sun's  Rays 

A  solar  battery,  capable  of  converting 
useful  amounts  of  .the  sun's  energy  di- 
rectly and  efficiently  into  electricity,  has 
been  demonstrated  by  Bell  Telephone 
Laboratories.  A  small  light-absorbing 
apparatus  made  of  strips  of  silicon  was 
used  to  show  how  the  sun's  rays  could 
be  used  to  power  the  transmission  of 
voices  over  telephone  wires.  The  solar 
battery  also  used  energy  from  the  sun 
to  power  a  transistor  radio  transmitter 
carrying  both  speech  and  music. 

Bell  Labs  reports  that  it  was  able  to 
achieve  a  6%  efficiency  in  converting 
sunlight    directly    into    electricity.     This 


Film  Equipment  Exports  Up  In  1953 


1952 
Number  Dollars 


1953 
Number  Dollars 


Motion  Ploture  l*ojectorsi 
35-Bia.  Projectors 
16-iiHu  Silant  Projeotora 
16-Bia,  Sound  Ptojectors 
Shbi.  Projectors 

Total 

Other  >fctlon  Picture  Squi,vineirt» 
Sound  Reoondlng Hkjuifsaent 
Sound  Beproduciiv^  Equipoent 
Arc  lat^js,  l-Jotlon  Picturo 
Mstlon  Picture  Screena 
Matlon  Picturo  Projection  Equijwont 
Ifot  Elseutorc  Claesifisd,  &  farts 
Motion  Picture  3tudlo  Equipnemt 

Total 


Courtesy,  U.  S.  Department  of  Commerce 


9^9 

1,860 

10,092 

5,527 

497,794 

202,099 

3,038,59; 

350,319 

878 

2,127 

7,700 

10,957 

521,890 

204,665 

2,572,821 

565,683 

18,428 

4,088,806 

21,662 

3,865,059 

703 

618,978 
768,181 
200,361 
299,562 

875 

794,668 

1,120,661 

326,303 

903,649 



1,732,187 
802,306 

— 

2,077,774 
1,053,539 

4,421,575 

6,2%,  594 

§  25,692,819 

$  29,352,273 

compares  favorably  with  the  eSiciency 
of  steam  and  gasoline  engines,  in  con- 
trast with  other  p.e.  devices  which  have 
never  been  rated  higher  than  1%. 

Higher  Efficiency  Expected 

With  improved  techniques,  Bell  Labs 
expects  to  increase  this  efficiency  con- 
siderably. Since  nothing  is  consumed 
or  destroyed  in  the  solar  energy  conver- 
sion process,  the  Bell  solar  battery 
should   theoretically   last   forever. 

The  experimental  solar  battery  uses 
strips  of  wafer-thin  silicon  about  the 
size  of  common  razor  blades.  These 
strips  are  extremely  sensitive  to  light. 
When  they  are  electrically  linked  to- 
gether, they  can  deliver  power  from  the 
sun  at  the  rate  of  50  watts  per  square 
yard   of  surface. 


Tv  Station  Saturation? 

More  than  86%  of  the  approximately 
670  Tv  stations  serving  325  communities, 
envisioned  as  the  Tv  potential  for  the 
nation,  have  been  authorized.  In  less 
than  a  year  the  number  of  Tv  stations 
has  been  practically  doubled.  At  the 
beginning  of  June,  377  Tv  stations  were 
operating  in  237  communities  of  the 
U.  S.  Another  200  stations  have  been 
authorized  to   go   on  the   air. 

The  remaining  100  or  so  applications, 
in  various  stages  of  hearings,  will  be, 
for  the  most  part,  determined  within 
the  next  few  months.  This  expansion 
of  the  world's  greatest  medium  of  mass 
communications  has  been  accomplished 
within  a  year,  after  it  had  been  forecast 
that  the  liquidation  of  the  Tv  "freeze" 
would  take  years. 


Synthetic  Vision   3-D   Device 

Synthetic  Vision  Corp.,  of  Dayton, 
Ohio,  announces  that  it  is  in  production 
on  a  single-projector  3-D  device  and  an 
automatic  masking  system  for  varying 
the  aspect  ratio  of  a  screen  from  stand- 
ard size  to  the  2.55-to-l  CinemaScope 
ratio. 

The  3-D  process  is  based  on  an  attach- 
ment placed  in  front  on  the  projector, 
mounted  on  the  projection  porthole, 
which  appears  to  function  in  somewhat 
the  same  manner  as  the  Nord  and  Pola- 
lite  beam-splitting  devices  presented  not 
long  ago.  However,  R.  V.  Bernier,  who 
developed  the  3-D  device,  volunteers  no 
information  as  to  how  it  works. 


Theatre    Challenges   Tv 

Carrying  the  battle  into  the  camp  of 
the  enemy,  the  Detroit  Music  Hall  has 
been  advertising  its  film  attractions  on 
the  Tv  pages  of  the  Detroit  newspapers 
in  addition  to  its  regular  ads  on  the 
movie  pages.  The  ads  are  hard-hitting 
and  bluntly  point  out  the  advantages 
of  the   motion   picture   theatre   over   Tv. 


INTERNATIONAL  PROJECTIONIST 


JULY  1954 


17 


EVOLUTION  OF  THE  MODERN 
PROJECTION   LENS 

(Continued  from  page  6) 

This  lens  was  made  possible  by  the 
discovery  at  Jena  of  new  barium- 
crown  glasses  in  1886.  As  its  name 
suggests,  the  anastigmat  is  corrected 
for  the  distortion  called  astigmatism 
and,  simultaneously,  for  field-curva- 
ture. Fig.  2  shows  the  three  elements 
of  the  anastigmat  in  cross-section. 

The  simple  anastigmatic  "triplet" 
shown  here,  even  though  it  contains 
one  lens  less  than  the  Petzval  aplanat, 
is  moderately  expensive  on  account  of 
the  extreme  accuracy  with  which  the 
lens-surfaces  must  be  figured.  Ex- 
pertly made  with  the  highest-grade 
glasses,  the  anastigmat  is  an  excellent 
medium-  to  short-focus  lens.  Although 
it  gives  a  very  flat  field  of  fairly  wide 
angular  coverage,  center  definition 
usually  does  not  quite  come  up  to  that 
obtainable  with  the  Petzval,  and  con- 
trast is  also  inferior  to  the  brilliant 
images  which  the  aplanat  yields. 

The  triplet-type  anastigmat  is  not 
much  used  in  American  theatres.  The 
best-known  example  of  this  type  of 
projection  lens  is  the  Meyer  Trioplan 
(Goerlitz,  Germany). 

The  Improved  Anastigmat 

A  very  satisfactory  variant  of  the 
simple  anastigmat  is  the  "split-front 
triplet"  shown  in  the  lower  drawing  of 
Fig.  2.  This  was  also  originated  by 
Abbe  and  Schotte.  It  serves  the  same 
purpose  as  the  simple  triplet,  but  it  is 
ordinarily  designed  for  somewhat 
longer  focal  lengths.  The  split-front 
anastigmat  gives  excellent  definition 
over  a  wide,  flat  field  with  good  pic- 
torial contrasts.  Similar  in  type  is  the 
Zeiss  Kipro-Anastigmat. 

There  is  only  one  other  type  of  pro- 
jection lens  to  be  considered — the  very 
latest  4-element,  6-lens  Gaussian  dop- 
pelanastigmat.  A  curious  thing  about 
this  lens  is  that  it  was  the  first  true 
anastigmatic  lens  ever  made,  even 
though  it  is  the  most  advanced  in 
design.  Abbe  and  Schotte  made  their 
triplet  anastigmat  in  1890,  but  this 
superior  quadruplet-type  anastigmat 
was  invented  about  50  years  earlier. 
It  is,  in  fact,  of  about  the  same  age  as 
the  old  standard  Petzval  aplanat!  Is 
there  nothing  new  under  the  sun? 

Every  projectionist  who  keeps 
abreast  of  magentic  sound  develop- 
ments by  reading  IP  knows  what  is 


meant  by  "degaussing"  projector 
parts.  To  degauss  is  simply  to  de- 
magnetize. A  gauss  (rhymes  with 
"house")  is  a  unit  of  magnetic  field- 
strength.  Just  as  the  volt,  ampere, 
ohm,  watt,  farad,  and  henry  were 
named  after  famous  scientists,  so  also 
the  gauss. 

Gauss,  A  Versatile  Genius 

Karl  Friedrich  Gauss  was  a  mathe- 
matical wizard  who  investigated  the 
laws  of  electricity  and  magnetism  and 
dabbled  (very  competently)  in  things 
optical.  He  once  made  a  special  tele- 
scope objective  which,  in  basic  de- 
sign, was  the  same  optical  system  as 
that  employed  in  our  most  modern 
projection  lenses! 

Figure  3  shows  the  cross-section  of 
the  Gaussian  doppelanastigmat.    Note 


that  the  front  and  rear  elements  are 
single-lens  units  (as  in  the  simple 
anastigmat)  and  that  the  two  internal 
elements  are  meniscus-form  achromatic 
doublets.  The  two  lenses  of  each 
doublet  are  cemented  together  in  all 
but  a  few  makes. 

Now,  just  what  are  the  specific 
virtues,  the  superior  characteristics,  of 
the  doppelanastigmat?  First,  all  aber- 
rations have  been  reduced  almost  to 
the  vanishing  point  in  the  Gaussian 
lens.  It  has  excellent  resolving  power, 
giving  sharp,  crisp  images,  and  it  re- 
produces pictorial  contrasts  nearly  as 
well  as  a  good  Petzval  aplanat.  Most 
important,  next  to  excellent  definition, 
is  the  extremely  flat  and  wide  field 
(30  to  50  degrees)  obtainable  with 
this  magnificent  lens.  This  is  the  only 
regular  projection  lens  that  yields   a 


Lens  E.  F. 
In   Inches 


Approx. 
Angular  Field 


Type  of  Lens  Recommended 


1.00 

53° 

8' 

1.25 

43 

37 

;> 

1.50 

36 

52 

v* 

1 

1.75 

31° 

54' 

*> 

2.00 

28 

5 

2.25 

25 

2 

2.50 

22 

37 

^ 

2.75 

20 

36 

r 

3.00 

18° 

56' 

3.25 

17 

30 

3.50 

16 

16 

3.75 

15 

11 

4.00 

14 

15 

4.25 

13 

26 

J 

""^ 

4.50 

12° 

41' 

4.75 

12 

1 

5.00 

11 

25 

5.25 

10° 

52' 

5.50 

10 

23 

5.75 

9 

56 

v^ 

6.00 

9 

32 

f 

6.25 

9 

9 

6.50 

8 

48 

6.75 

8 

28 

7.00 

8 

11 

7.50 

7 

38 

8.00 

7 

10 

9.00 

6 

21 

J 

Use  special  process-projection 
wide-angle  lenses.  Focus-drift, 
flutter,  and  vignetting  severe. 


Use  Gaussian  doppelanastig- 
mats.  At  F:2  and  faster 
speeds  in  the  shorter  focal 
lengths,  film  flutter  and  drift 
may  be  conspicuous;  at  slower 
speeds,  hot-spot  effect  (vig- 
netting) may  be  pronounced. 


"Split-front"     anastigmats     of 

good  quality  may  be  used  in 

this  focal-length  range. 


Use  Petzval  aplanats.    No  un- 
due film-flutter  or  focus-drift 
effects   in   this   range   regard- 
less of  speed  of  lens. 


TABLE  I 


18 


INTERNATIONAL  PROJECTIONIST      •      JULY  1954 


picture  having  sharp  focus  from  edge 
to  edge  in  the  short  focal  lengths. 

Mosf  Advanced  Design 

When  you  read  statements  like  these 
in  the  lens  advertisements  in  IP,  you 
may    safely    believe    them    when    the 


Anastigmatic 


k 


"Split  Front"  Anastigmatic 

FIG.  2.  Af  the  top  is  shown  the  "triplet-type" 
anastigmat.  This  lens  provides  a  wider  and 
flatter  field  than  the  Petzval  aplanat,  but  usu- 
ally poorer  center  definition  and  less  brilliant 
contrasts.  An  improvement  is  the  "split-front" 
anastigmat   shown   in   the   lower   drawing. 

lenses  referred  to  are  doppelanastig- 
mats.  What  are  the  trade  names  of 
some  of  them?  The  Super-Snaplite 
made  by  Kollmorgen  is  a  Gaussian,  so 
also  the  Super  Cinephor  made  by 
Bausch  &  Lomb,  the  Super-Lite  Hilux 
made  by  Projection  Optics,  the  Alinar 
made  by  Zeiss  Ikon    (Stuttgart),  and 


FIG.  3.  This 
mat,  the  most 
It  provides  a 
able  even  for 
lengths.  The 
the  "Gaussian 
Snaplites  and 
phors   are   of 


is  the  Gaussian  doppelanastig- 
modern  type  of  projection  lens, 
wide,  flat  field,  making  it  suit- 
lenses  of  the  very  shortest  focal 
image-quality  obtainable  with 
"  is  superb.  Kollmorgen's  Super- 
Bausch  &  Lomb's  Super  Cine- 
this  type.  Highly  recommended 
the   usual   focal   lengths. 


JSCO 


the  Super  Kiptar  made  by 
(Goettingen) .  And  there  are  many 
other  makes  of  Gaussians  of  excellent 
quality. 

The  Zeiss  Alinar  merits  special  at- 
tention as  the  first  projection  lens  of 
this   type.    Like   Gaussians   of   Amer- 


Loaded  vifith 


Ci 


COME   BACK  AGAIN"  Appeal! 


Bausch  &  Lomb 


Projection  Lenses 


!  -^i. 


Scene    from    "Pnnce    Valiant,"    20th 
Century-Fox  CinemaScope  production 

Sharpest   image, 
uniform   brilliance 
.  .  .  edge-to-edge 
.  .  .  on  any  screen! 

Patrons  enjoy  yotir  movies  more 
because  they  see  them  better .  . . 
when  you  use  the  new  //l.8  Su- 
per Cinephor  lenses.  They  keep 
coming  back  to  your  theatre  for 
today's  clearest,  sharpest,  bright- 
est movie  images: 

Normal  2D-3D,  Expanded 
2D-3D,  and  CinemaScope. 


WRITE  for  new  catalog  E-123. 
Bausch  &  Lomb  Optical  Co.,  '1631 
St.  Paul  St.,  Rochester  2,  N.  Y. 


INTERNATIONAL  PROJECTIONIST 


JULY  1954 


19 


ican  manufacture,  the  Alinars  have 
optical  speeds  ranging  from  F:1.8  to 
F:1.9.  All  of  these  are  commonly  re- 
garded as  F:2  lenses. 

The  performance  of  all  modern  pro- 
jection lenses,  whether  Fetzval  aplan- 
ats  or  Gaussian  doppelanastigmats,  is 
greatly  improved  by  anti-reflection 
coatings  of  magnesium  fluoride  on  the 


glass-to-air  surfaces.  Not  only  does  a 
coated  lens  transmit  from  15  to  25% 
more  light  than  an  uncoated  one  of 
similar  construction,  but  picture  con- 
trasts are  better,  giving  lifelike  "snap" 
and  brilliant  clarity  to  the  images. 
Then,  too,  modern  lenses  are  faster 
than  the  old-timers.  For  all  except 
lenses  of  short  focus,  the  larger  lens 


HERE'S  SOUND  ADVICE! 


If  the  confusion  that  surrounds  the 
various  sound  systems  being  of- 
fered today  has  delayed  your  deci- 
sion on  just  what  you  should  install 
inyour  theatre,  consider  these  facts : 

Three  of  the  majors  —  M-G-M, 
Paramount  and  Warner  Brothers 
—  have  already  announced  that  all 
future  productions  will  have  Per- 
specta  Stereophonic  Sound.  Other 
studios  are  following  their  example. 

Why  has  Perspecta  Stereophonic 
Sound  been  chosen  as  standard  — 
a  standard  certain  to  remain  for 
.years  to  come?  For  three  very 
good  reasons : 

1.  The  movie  industry  wants  to  make 
m,oney.  To  do  this  they  know  they  must 
keep  your  box-office  busy.  Perspecta 
Stereophonic  Sound  will  do  just  that 
by  giving  the  movie-going  public  the 
dramatic  realism  they  want. 


2.  Perspecta  Stereophonic  Sound  is  a 
system  every  movie  exhibitor  can  af- 
ford to  install. 

3.  Perspecta  Stereophonic  Sound  Track 
operates  identically  with  the  optical 
sound  track  you've  been  using  for 
years  except  for  the  inclusion  of  three 
low-level,  low-frequency  tones  "heard" 
only  by  the  Integrator,  which  automat- 
ically controls  volume  and  direction 
for  true  stereophonic  effect. 

The  Perspecta  Stereophonic  Sound 
Integrator,  design-engineered  by 
Fairchild,  makes  this  system  avail- 
able to  you  at  a  price  you  can 
afford.  Only  one  Fairchild  Inte- 
grator serves  all  projectors  in  the 
booth  —  controls  Perspecta  Stereo- 
phonic Sound  through  any  3-chan- 
nel  sound  system  of  standard  make. 
And  projector  modifications  are 
not  required. 

Call,  wire  or  write  now 

for  full  information  on  your 

specific  theatre  sound  problem. 


MOTION  PICTURE  SOUND  DIVISION   •  WHITESTONE  57,  NEW  YORK 


RECORDING, 
EQUIPMENT" 


diameter  is  a  distinct  advantage,  pro- 
viding brighter,  more  evenly  illumi- 
nated pictures  without  serious  loss  of 
"depth  of  focus."  In  the  case  of  very 
short-focus  lenses,  loss  of  focus-depth 
unfortunately  exaggerates  the  defini- 
tion-ruining effects  of  film-flutter  and 
buckle.  This  can  be  minimized  by 
using  "slow"  short-focus  lenses,  al- 
though the  hot-spot  effect  of  lens- 
vignetting  is  increased  by  lenses  too 
small  in  diameter. 

Ordinary  "wide-screen"  projection 
requires  the  use  of  short-focus  lenses. 
The  wide-screen  aperture  has  the  same 
width  as  the  standard  aperture  (0.825 
in.),  but  less  height.  The  exact  height 
of  the  aperture  depends,  of  course,  on 
the  aspect-ratio  employed.  For  an 
aspect-ratio  of  2:1  the  aperture-open- 
ing will  have  a  height  of  only  0.4125 
inch  instead  of  the  standard  0.6  inch. 

In  order  to  maintain  the  same 
height  of  image  as  the  standard 
screen,  more  magnification  is  re- 
quired. This  is  supplied  by  the  short- 
focus  lens. 

Wide-Screen  Problems 

This  writer  is  a  bit  skeptical  of  the 
so-called  wide-screen  type  of  presenta- 
tion because  the  defects  of  short-focus 
projection,  together  with  emulsion 
graininess  and  inefficient  screen'  il- 
lumination due  to  the  smaller  aper- 
ture, result  in  a  comparatively  poor 
image.  Then,  too.  the  relatively  small 
vertical  dimension  of  the  wide  screen 
is  pictorially   unnatural. 

Somewhat  larger  screens  could  ad- 
vantageously be  used  in  most  theatres, 
for  the  day  of  midget-sized  screens  is 
definitely  over.  It  is  our  belief,  never- 
theless, that  the  standard  photo  aspect- 
ratio  of  3:4  (more  exactly  1:1.375) 
should  be  retained.  Height  is  as  im- 
portant as  width;  and  since  the  stand- 
ard aspect-ratio  provides  somewhat 
more  width  than  height,  pictorial  ver- 
satility is  lost  by  expanding  the  width 
of  the  screen  without  increasing  the 
height  proportionately. 

Advice  on  CinemaScope 

CinemaScope,  despite  the  generally 
poor  quality  of  the  screen  image,  holds 
the  greatest  promise  of  development 
into  a  process  of  enduring  value  for 
spectacular  feature  films,  musical  ex- 
travaganzas, and  travelogs.  Now,  the 
performance  of  the  CinemaScope  ana- 
morphotic  cylindrical  lens  (or  the 
alternative  Tushinsky  prismatic  lens 
of  adjustable  expansion-factor)  de- 
pends  in   a   great  measure   upon   the 


20 


INTERNATIONAL  PROJECTIONIST     •      JULY  1954 


performance  of  the  projection  objec- 
tive lens. 

For  the  best  CinemaScope  the  very 
best  projection  lenses  must  be  used. 
We  recommend  anti-reflection-coated 
Gaussians  of  F:2  (or  F:1.9)  speed, 
although  Petzvals  in  the  longer  focal 
lengths  are  just  as  good  if  similarly 
fast  and  anti-reflex-coated. 

Short-focus  projection  lenses  are 
not  used  for  CinemaScope!  For  this 
special  type  of  wide-screen  presenta- 
tion we  use  the  regular  projection 
lenses.  It  is  the  anamorphotic  or  pris- 
matic auxiliary  lens  that  "spreads" 
the  CinemaScope  image  over  the  wide 
screen. 

There  are,  as  we  have  seen,  four 
main  types  of  theatre  projection  lenses 
(not  counting  rear-projection  lenses 
and  special  7-lens  short-focus  jobs). 
These  are  the  Petzval  aplanatic  (the 
simplest  and  most  common)  ;  the 
anastigmatic,  the  split-front  anastig- 
matic,  and  the  Gaussian  doppelana- 
stigmatic,  which  is  the  most  modern 
type.  The  American  projectionist  need 
only  consider  the  Petzvals  and  the 
Gaussians  when  selecting  lenses,  as 
the  triplet  and  split-front  anastigmats 
are  not  widely  marketed  in  the  U.S.A. 

In  Europe  the  Petzvals  are  still 
manufactured,  as  they  are  very  desir- 
able in  the  longer  focal  lengths;  but 
the  present  tendency  of  American 
lens-manufacturers  is  to  switch  over 
completely  to  the  more  expensive 
Gaussians  in  all  focal  lengths  up  to 
7  inches. 

After  careful  comparison  of  these 
two  types  of  lenses  in  action,  this 
writer  is  of  the  opinion  that  the  regu- 
lar Petzvals  (F:2,  coated)  are  ad- 
vantageous in  all  the  longer  focal 
lengths  down  to  and  including  4.5 
inches.  For  all  shorter  focal  lengths 
(4.25  inches  down  to  about  2  inches) 
Gaussians  of  modern  construction 
offer  distinct  advantages  in  their  wider 
field  coverage.  These  recommenda- 
tions   are    summarized    in    Table    I. 


THE  ACE  CUE  MARKER 


The  World's  Best 

Ono  push  to  left  or  right  and 
all  cues  are  made  in  16-  and  35-, 
Standard,     Tv,      or     CinemaScope 

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1458    Shakespeare    Avenue 
New    York    52,    N.    Y. 


MPRC  New  Projection  Aperture 

Recommendations  stemming  from  ex- 
tensive experiments  by  the  Motion  Pic- 
lure  Research  Council  in  the  develop- 
ment of  a  single  standard  aperture  size 
for  CinemaScope  projection  have  been 
forwarded  to  principal  exhibitor  organ- 
izations throughout  the  U.  S. 

The  recommended  aperture  is  0.715 
inches  high  by  0.839  inches  wide,  cen- 
tered on  the  standard  0.600  by  0.825 
aperture,  precluding  the  necessity  of 
shifting  the  projector  in  changing  from 
CinemaScope  to  standard  projection. 

According  to  MPRC  findings,  projec- 


tionists should  use  the  greatest  film  areas 
available  to  obtain  the  "best  possible" 
quality,  and  the  recommended  aperture 
size  is  said  to  allow  better  utilization  of 
the  light  available  in  the  projector. 


Error:  Genarco  Sales  Projector 

The  Sales  Robot  advertising  projector 
manufactured  by  Genarco,  Inc.,  97-04 
Sutphin  Blvd.,  Jamaica  35,  N.  Y.,  was 
described  recently  in  IP  as  projecting  a 
picture  5  by  6  inches  on  a  rear  projec- 
tion screen,  whereas  this  advertising- 
message  projection  unit  actually  projects 
a  picture  of  5  by  6  feet. 


Realb.o.oppeo^^-^^ 


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'       BOSTON 


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For  wire  sharp  projection,  for  terrific 

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And,  the  more  difficult  the  job,  the  better: 

large  screens,  short  throws,  dusty  conditions, 

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INTERNATIONAL  PROJECTIONIST      •      JULY  1954 


21 


New  Model  Perspecta  Units 

A  new  model  of  the  Faiichild  Per- 
specta stereophonic  sound  integrator, 
designed  as  Model  315C  and  consisting 
of  the  standard  integrator  and  power 
supply  mounted  on  vertical  chassis  of 
the  recessed  type,  will  permit  mounting 


Good  Judgment  Dictates 

that  you  use  the 

CRON-O-MATiC 

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CARBON  SAVER 

on  Ashcraft  "D"  and  "E",  Brenkert-Enarc, 
Peer'ess   Magnarc,   and    Strong    Mogul    lamps. 

AVERAGE    CARBON    SAViNG 
$400  A  YEAR 

Burns  average  lengths  (31^")  down  to  %", 
saving  2V2"  or  22.2%  of  carbon  costs.  Uses 
positive  carbon  stubs  of  any  length,  without 
preparat-on.  When  entirely  consumed,  the 
new  carbon  goes  into  use  without  losing  the 
light,    or   otherwise   affecting   lamp   operation. 


Only  $42.50 

If  your  dealer  can't  supply  you,  order  direct. 
DEALER  INQUIRIES  INVITED 


PAYNE  PRODUCTS  CO. 

(Cron-O-Matic  Division) 
2454  W.  Stadium   Blvd.  Ann  Arbor,   Mich. 

(     )  Send  literature  on  the  Cron-O-Matic 
(     )   Ship  Cron-O-Matic  Carbon  Saver: 

(      )   C.    O.    D.,    including    postage. 

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Name      

Theatre     

Street    

City  &  State    

EXPORT:  Frazar  &  Hansen,  Ltd. 

San  Francisco,  New  York,  Los  Angeles 


ill  theatres  installations  where  horizontal 
space  is  at  a  premium.  The  unit  is  de- 
signed for  normal  rack  mounting  and 
features  easy  accessibility  to  all  com- 
ponents for  installation  as  well  as  serv- 
ice. All  under-chassis  wiring  may  be 
reached  by  removal  of  the  front  panel. 


Nation-Wide  Pay-See  Tv  Urged 

Big  pitch  for  subscription  pay-as-you- 
see  home  Tv  by  all  Tv  stations,  network 
and  individual,  is  being  made  by  Dr. 
Millard  Faught,  consultant  of  N.  Y. 
City.    The  Dr.'s  pitch  is  as  follows: 

1.  Subscription  Tv  would  be  com- 
patible with  and  a  supplement  to  adver- 
tising-sponsored programming  on  all 
regular  Tv  stations,  requiring  no  sepa- 
rate  channels. 

2.  It  would  provide  new  economic 
support  for  present  stations  and  new 
stations,  and  by  adding  premium  pro- 
grams not  now  sponsorable,  would  also 
greatly  expand   the   Tv   audience. 

3.  The  net  time  and  audience  avail- 
able to  advertisers  in  the  expanded  Tv 
picture  would  be  greater  than  now,  but 
their  share  of  all  Tv's  costs  (which  ad- 
vertisers now  pay  in  full)  would  be  con- 
siderably   reduced. 


lA  OBITUARIES 


HENRY  T.  NORTH,  67,  member  of 
Local  486,  Hartford,  Conn,  and  projectionist 
at  the  Allyn  Theatre,  died  last  month.  He 
joined  the  Local  back  in  January  1920  and 
at  one  time  served  as  its  business  represen- 
tative. For  many  years  he  ran  Kiddie 
shows  for  children  at  various  institutions, 
particularly  during  the  Christmas  holiday, 
devoting  much  of  his  spare  time  to  this 
worthy  cause.  His  brother,  Charles  S.,  is 
the  present  b.a.  of  the  Local. 

Romulus  Albu,  Sr.,  52,  member  of  Detroit 
Local  199,  died  suddenly  recently.  He 
had  been  resting  at  his  summer  home  at 
Port  Sanilac  when  he  was  stricken  with  a 
heart  attack.  He  is  survived  by  his  wife 
and   a   son. 


EQUIPMENT  &  SUPPLIES 

/br  f/^^y  Theatre  A/ee(ff 


NAT 


PERSONAL     NOTES 


James  M.  Cunningham  has  been  ap- 
pointed western  regional  sales  manager 
for  General  Precision  Laboratory, 
Pleasantville,  N.  Y.  A  native  Cali- 
fornian,  Mr.  Cunningham  has  a  long 
background  as  a  design  engineer  and 
system  engineer,  having  been  associated 
with  Western  Electric,  American  Broad- 
casting and  Hughes  Aircraft.  He  will 
make  his  headquarters  in  Glendale, 
Calif.,  and  will  be  in  charge  of  all  com- 
mercial sales  work  of  GPL  on  television 
transmitters,  cameras,  projectors  and 
allied  equipment. 

Jack  Robinson  has  been  named  vice 
president  of  the  GoldE  Mfg.  Co.,  which 
produces  reel-end  alarms  and  other 
items  of  projection  equipment.  Robin- 
son was  formerly  president  of  the  Acme- 
Lite  Mfg.  Co.,  another  producer  of 
products  for  the  photo  industry. 

Sam  G.  Rose,  president  of  the  Victor 
Animatograph  Corp.,  was  presented  with 
the  Pioneer  Award  of  the  Society  of 
Motion  Picture  and  Television  Engineers 
for  his  30  years  of  service  to  the  in- 
dustry. 


M  UHCOHmmu  coAMNree  • 


^nam. 


n 


The  NEW  HI-LUX 

SCREEN  has  reached  a 

state  of  perfection  that  will 

meet    the    most    EXACTING 

PROJECTION  requirements 

[Tj  SEAMIESS  CONSTRUCTION 

\2\   UNIFORiVllTY  OF  SURFACE 
\Z\   SHARP  DEFINITION 

a   EVEN  DISTRIBUTION  TO  ALL 
USEFUL  ANGLES... 

[Sj  TEAR-PROOF  CONSTRUCTION 

•  M'e  bai-k  llipsv  flaims  u-ilh  a 
inont>f-hafk  Quuranlv  antl  uuu, 
XIr.  tixhibilitr,  are  Ihf  judtiv: 


D  AYTAMB  SCREEN  CORPORATION 

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Mid-West  Offlce-L.  E.  Cooley  •  408  S.  Oak  Park  Ave.,  Oak  Park,  III. 


ETHYLOID  HLM  CEMENT 

FISHER  MANUFACTURING  CO.       nss  mt.  read  blvd.,  Rochester  6,n.  y. 


22 


INTERNATIONAL  PROJECTIONIST      •      JULY  1954 


Mrd-Summer  Musings 


JUST  about  the  most  heartening 
development  in  the  motion  pic- 
ture exhibition  field  during  the 
past  year  and  a  half  was  the  recent  de- 
cision by  20th  Century-Fox  to  revise  its 
policy  on  the  showing  of  CinemaScope 
pictures.  This  was  a  smart  and  profit- 
able move  by  Fox,  and  also  a  great 
relief  to  hard-pressed  exhibitors. 

It  lifted  from  the  exhibitor  the 
burden  of  enforced  outlay  of  capital 
for  magnetic-stereophonic  sound-re- 
producing equipment,  and  it  made 
available  to  every  theatre  anywhere  in 
the  world  the  vitally-needed  20th-Fox 
product.  Having  opposed  Fox  in  its 
previous  CinemaScope  policy,  IP  must 
now  salaam. 

All's  Well  that  Ends  Well 

Let  it  not  be  assumed  that  IP  didn't 
take  its  lumps  during  the  controversy 
over  Fox's  insistence  on  controlling 
the  method  of  CinemaScope  presenta- 
tion  and   the   requirement   of  specific 


special  equipment.  One  of  the  sorest 
spots  on  the  IP  anatomy  developed  as 
a  result  of  our  views  relative  to  the 
stereophonic  magnetic  sound  repro- 
duction— and,  of  all  things,  the  most 
savage  of  these  jabs  emanated  from 
members  of  the  organized  craft  on  the 
West  Coast. 

IP  never  opposed  stereo  magnetic 
sound  reproduction  per  se.  Its  stand 
apropos  these  20th-Fox  requirements 
was  three-pronged. 

1.  It  imposed  a  terrific  financial 
burden  upon  the  thousands  of  exhibi- 
tors who  were  struggling  to  keep  going 
even  at  the  then  normal  pace.  More- 
over, it  did  not  of  itself  insure  con- 
tinuing good  grosses  after  such  an  in- 
stallation was  made,  and  the  first  wave 
of  customer  interest  had  subsided — as 
it  has.  There  was  not  even  a  guar- 
antee to  the  point  of  paying  off  for 
the  equipment  and  installation  costs. 

2.  It  denied  to  thousands  of  exhibi- 


tors access  to  all  20th-Fox  product. 
3.  It  seemed  to  IP  that  in  thousands 
of  small  theatres  the  use  of  a  truly 
wide  screen  was  precluded  by  the  phy- 
sical characteristics  of  these  theatres. 
Also,  in  many  of  these  theatres  the 
effect  of  stereophonic  sound  was  lost. 

Best  for  Big  Houses 

Naturally,  when  Fox  started  to  mull 
over  C'Scope  presentation  they  thought 
BIG  in  terms  of  both  screen  size  and 
sound  accompaniment.  This  was  fine 
for  the  big  first-runs  and  even  for 
some  medium-size  houses.  But  it 
seemed  to  IP  that  they  thought  TOO 
BIG  in  terms  of  the  smaller  theatres 
from  both  the  architectural  and  eco- 
nomic view-points. 

Stereophonic  sound  may  seem  to 
many  people  indispensable  for  a  very 
wide  screen  in  a  large  theatre.  It 
would  prove  extremely  interesting, 
however,  to  learn  the  average  screen 
width  possible  in  80%  of  the  total 
number  of  theatres. 

Overall,  it  seems  conclusive  that 
IP's  attitude  was  based  almost  wholly 
upon   economic,   not   technical,   consi- 


r-i     s 

p-^i^'-' 


THE  PRIME^UmS 
IS$T1tiTHE 
HEART  OF  YOUR 

■  ■■■■■■■■■B-E 

PROJECTION 
SYSTEM  I 


Since  the  advent  of  CinemaScope  hundreds  of  pro--  "" 

gressive  theatre  operators  have  equipped  their  projec- 
tors with  Hilux  and  Super-Lite  projection  lenses — for  use      l)^.|j 
as  prime  lenses  with  their  anamorphic  attachments. 

Your  patrons,  too,  will  appreciate  the  superior  quality  that  over 
30  years  of  lens  craftsmanship  have  engineered  into  the  Hilux  //1.8 
and  Super-Lite  lenses. 


I       I       I       I 


I       I       I 


PROJECTION     OPTICS    CO.,    INC. 


1     I 


II     I     I     I     I     I     I 


I     I     I     I 


330  Lyell  Ave.,  Rochester,  N.  Y. 


GLenwood  3993 


HILUX  f/1.8 

mm 


SUPERLiTE   illC 

:.    *175o<»up 

Prices  are  per  motched  pair, 
fhrovgh  yo«r  T.S-0- 


INTERNATIONAL  PROJECTIONIST      •      JULY   1954 


23 


derations — the  cost  of  equipment  and 
the  enforced  lack  of  needed  product. 

Happily,  the  elimination  of  all  re- 
strictions in  the  manner  of  presenting 
C'Scope  pictures  has  resolved  these 
vexing  problems,  and  now  the  vitally 
needed  product  of  all  producers  may 
be  played  anywhere  on  available 
equipment. 

Another  reason  for  increased  in- 
terest in  CinemaScope  is  the  greatly 
improved  photographic  quality  of  the 
release  prints.  The  special  Fox  pre- 
sentation of  "Advancing  Techniques  of 
CinemaScope"  was  a  pot  pourri  of 
trailers  describing  forthcoming 
C'Scope  films  with  a  narration  by 
Fox  executives,  demonstrating  conclu- 
sively that  the  technical  quality  of 
CinemaScope  films  has  increased  tre- 
mendously since  "The  Robe."  Much 
of  the  credit  for  this  improvement  is 
given  to  the  new  Bausch  &  Lomb 
anamorphic  camera  lenses  that  re- 
cently became  available;  but  the  con- 
sensus of  informed  technical  opinion 
is  that  the  higher  quality  is  basically 
a  result  of  steadily  increasing  "know 
how"  on  the  part  of  technicians. 

What    stood    out    most    clearly    at 


s 


PUCES    ^^ 

NOT  y 


HOLDING 

Film  breaks  are  costly. 
Play  safe  by  using 

JEFRONA 

All-purpose  CEMENT 

Has  greater  adhesive 
qualities.  Don't  take 
our  word  for  it.  Send 
for  FREE  sample  and 
judge  for  yourself. 

CAMERA  EQUIPMENT  CO. 

DEPT.    J-6-8 
1600  Broadway  New  York  19,  N.  Y. 


Clayton  Ball -Bearing  Even  Tension  Take-Ups 

For  all  Projectors  and  Sound  Equipments 

ALL  TAKE-UPS  WIND  FILM  ON  2,  4  AND  5  INCH  HUB  REELS. 
SILENT  CHAIN   DRIVE 

THE   CLAYTON    REWINDER 

FOR  PERFECT  REWINDING  ON  2000-FOOT  REELS. 

CLAYTON    PRODUCTS   CO. 

31-45  Tibbett  Avenue  New  York  63,  N.  Y. 


NOTE:  All  long-time  readers  of  IP 
will  understand,  of  course,  that  IP 
does  not  now  and  never  will  lend 
acceptace  to  any  projection  aspect 
ratio   above   2:1    —  at  the   outside. 


Fox's  demonstration  of  the  improved 
CinemaScope  picture  was  the  increased 
sharpness  and  greater  depth  of  focus 
now  being  obtained.  As  mentioned 
before,  a  new  series  of  B  &  L  Lenses 
which  combine  the  camera  taking  lens 
and  the  anamorphic  attachment,  are 
chiefly  credited  with  the  improvement. 
Eventually  the  new  B  &  L  camera 
lenses  will  include  a  series  ranging 
from  13-mm  to  152-mm  in  focal 
lengths,  or  in  terms  of  horizontal 
field  angles,  from  122  degrees  to  18 
degrees,  giving  exceptional  leeway  to 
the  cameraman  and  foreshadowing 
even  finer  CinemaScope  photography. 
Until  recently,  only  35-,  40-  and 
70-mm  lenses  have  been  delivered. 

The  Todd  AO  Process 

Another  noteworthy  recent  event 
was  the  demonstration  of  the  Todd  AO 
process  in  Hollywood  after  a  year  or 
more  of  secret  development  by  the 
American  Optical  Co.  This  is  a  wide- 
angle  camera  and  projection  process 
that  utilizes  a  65-mm  film  and  attempts 
the  3-projector  Cinerama  system  with 
just  one  machine.  Many  observers 
say  it  succeeds,  but  the  process  will 
have  to  be  shown  to  the  public  on  a 
nationwide  basis  before  its  merit  can 
be  really  judged. 

The  fact  that  the  demonstration  was 


widely  praised  is  interesting  in  view 
of  the  fact  that  old  Ernemann  ma- 
chines were  used.  These  projectors, 
said  to  be  in  bad  condition,  had  been 
laying  around  Hollywood  since  the 
big-film  experiments  of  the  20's.  New 
projectors,  designed  for  Todd  AO  by 
the  Phillips  Co.,  of  Holland,  were  not 
yet  available.  The  screen  used  for 
the  demonstration  was  51  feet  wide 
and  25  feet  high,  with  a  curve  13  feet 
in  depth. 

The  shots  shown  in  the  demonstra- 
tion included  scenes  that  aimed  at 
but  most  important  was  test  footage 
from  "Oklahoma"  to  be  filmed  in  the 
Todd  AO  process. 


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24 


INTERNATIONAL  PROJECTIONIST      •      JULY  1954 


NEW  LIGHT  ON  THE  PAST 

(Continued  from  page  11) 

Laboratory  injected  added  excitement 
into  the  turbulent  picture. 

In  his  letter  to  Armat  dated  May 
25,  1922,  Edison  refers  to  a  Mr.  Dick- 
son in  harsh  language.  Laurie  Dick- 
son, together  with  other  Edison  me- 
chanics, was  instrumental  in  the  pro- 
duction of  the  Kinetograph,  Edisons 
successful  movie  camera.  But  Dick- 
son wanted  to  go  beyond  peep-hole 
viewers.  He  believed  wholeheartedly 
in  the  feasibility  of  projecting  motion 
pictures. 

Edison's  "Follow  the  Leader" 

Edison,  as  we  have  noted,  would 
have  no  part  of  projection  until  the 
successes  of  such  projection  pioneers 
as  the  Lumiere  brothers  of  France  and 
Robert  Paul  of  London  forced  him  to 
enter  the  field. 

When  Dickson  learned  that  Major 
Woodville  Latham  and  his  two  sons, 
Otway  and  Gray,  were  seriously  inter- 
ested in  projection,  he  extended  assis- 
tance in  developing  machinery  for  the 
new  art;  whereupon  Edison,  natural- 
ly, suffered  an  acute  attack  of  dis- 
gruntlement.  So,  we  learn,  Dickson 
"double-crossed"  the  Great  Inventor 
and  "sold  me  out"  to  Latham  "for  his 
own  benefit." 

The  Latham  Showings 

Now,  the  Lathams  operated  the 
world's  first  movie  theatre  two  years 
before  Armat  played  "The  Sea  Waves" 
and  selected  shorts  as  an  audience- 
chaser  at  Koster  and  Dial's  Music 
Hall.  For,  on  May  20,  1895  in  a 
vacant  store  at  153  Broadway,  New 
York  City,  the  Lathams  established  a 
"picture  parlor"  in  which  they  screen- 
ed the  Corbett-Courtney  fight.  The 
screen  results  were  nothing  to  brag 
about,  but  they  were  motion  pictures, 
and  they  were  projected  on  a  screen 
for  cash  customers. 

Edison  read  about  this  show  in  the 
New  York  papers  and  promptly  "blew 
his  top".  He  fumed.  He  called  in 
reporters.  He  threatened  to  bring  suit, 
not  only  against  the  Lathams,  but 
also  "against  all  who  use  the  Latham 
Pantoptikon." 

Woodville  Latham,  ruffled  by  Edi- 
son's peremptory  blast,  took  pen  in 
hand.  In  an  open  letter  dated  April 
22,  1895,  Latham  questioned  Edison's 
integrity  and  challenged  the  Great  In- 
ventor to  project  motion  pictures  on 


a  screen  "as  I  have  done"  and  "to 
do  so  at  once  —  if  you  can!"  Edison 
couldn't  —  he  didn't  have  a  movie 
projector. 

To  the  art  of  projection  the  Lathams 
contributed  the  film-loops  above  and 
below  the  gate  and  intermittent  in 
both  cameras  and  projectors.  Armat 
subsequently  adopted  the  "Latham 
loops." 

Associated  with  Thomas  Armat  was 
Francis  Jenkins,  also  of  Washington, 
D.  C.  Since  both  were  interested  in 
the  projection  of  movies,  they  formed 


a  partnership  which 
few  months  required 
projector  —  Armat's 
sequently  built  two 
after  the  partnership 
according  to  Edison' 
up  Jenkins  as  a  fakir 
ing).  Fakir  or  faker, 
coop  and  worked  sol 


lasted    only   the 
to  build  a  crude 
first.   Armat  sub- 
better    machines 
was  broken  and, 
s  letter,  "showed 
(Edison's  spell- 
Jenkins  flew  the 


"Dog"  or  "Beater"  Movement 

The  "dog,"  or  "beater,"  movement, 
which  Mr.  Gooch  tells  us  was  prefer- 
red by  Jenkins,  is  pictured  in  two  dis- 


ROCK  STEADY  projection 

IS  A  MUST  FOR 

3-D  OR  WIDE  SCREEN 


INTERNATIONAL  PROJECTIONIST      •      JULY  1954 


25 


tinct  varieties  on  page  5  of  the  July 
1952  issue  of  IP.  Jenkins'  preference 
is  entirely  understandable,  for  in  the 
old  days  the  beater-type  of  intermit- 
tent was  not  a  device  to  be  ignored.  It 
had  many  ardent  advocates  among 
projectionists.  It  has  been  used  in 
many  famous  machines  of  yesteryear 
including  the  Jean  LeRoy  projector, 
the  Prestwich,  and  the  Victor. 

No  less  a  personage  than  Nicholas 
Power  seriously  considered  the  dog 
intermittent  before  he  hit  upon  his 
famous  pin-cross  movement. 

The  dog-movement  was  noisy  and 
rough  on  film,  and  it  imparted  jump- 
iness  to  the  projected  pictures.  On 
the  credit  side  were  its  extreme  me- 
chanical simplicity  and  its  ability  to 
handle  film  having  torn  sprocket 
holes. 

Edison,  Dickson,  Latham,  Armat, 
and  Jenkins  —  a  felicitous  group  in- 
deed. All  members  of  this  happy 
little  family  undeniably  made  really 
significant  contributions  to  the  art 
of  projection  — •  even  the  Wizard  of 
Menlo  Park  who  invented  the  movie 
camera  and  established  35-mm  film 
having  4  perforations  to  each  frame 
on  each  side  of  the  film.  But  progress 
was  also  being  made  in  other  quar- 
ters. To  simplify  matters,  let's  list  the 
more  important  developments  in  pro- 
jection between  1894  and  1898. 

Cinematic  Bibliography 

September,  1894.  The  Lathams, 
inspired  by  Edison's  peep-show  de- 
vice, conceived  a  desire  to  project 
moving  pictures. 

March,  1895.  Successful  Lumiere 
exhibition  before  a  large  audience  at 
an  industrial  conclave  in  Paris.  35-mm 
film  having  one  circular  perforation 
per  frame,  run  a1  the  speed  of  16 
frames  per  second.  Claw  intermittent 
in  combination  camera-projector  call- 
ed the  Cinematographe.  This  was  the 
first  35-mm  projector. 

April,  1895.  Latham's  completed 
Pantoptikon  projector  used  for  publi- 
city showing. 

May,  1895.  The  Lathams'  movie 
theatre  on  Broadway  opened  —  and 
soon  closed.  The  Pantoptikon  a  dis- 
mal fizz. 

August,  1895.  All  set  up  and  ready 
to  go  was  the  Armat  &  Jenkins  pro- 
jector Number  1./  35-mm  film  with 
Edison's  perforations.  14-slotted  star 
in  Geneva-type  intermittent  that  fail- 
ed to  intermit. 

November,     18  9  5.     Wintergarten 


To  You  Old  Timers  .  .  . 

Any  of  you  fellows  who  have 
grown  up  with  the  motion  picture 
industry  and  who  have  used  the 
earlier  mechanisms  can  make  a 
distinct  contribution  to  projection 
lore  by  communicating  to  IP  for 
publication  herein  all  your  ex- 
periences with  these  early-day 
projector  mechanisms. 

(Berlin)  exhibition  of  "living  photo- 
graphs" by  Max  Skladanowsky.  Weird 
double-film  system  for  flickerless  pro- 
jection. Wide  film,  8  frames  per  sec- 
ond. 

Double-Geneva,  7-Sloi 

February,  1896.  Robert  Paul  35- 
mm  screening  at  Finsbury  Technical 
College,  London.  Bob  used  a  double 
Geneva-type  intermittent  having  7  slots 
per  star-wheel. 

February,  1896.  Armat's  second 
machine,  christened  Vitascope,  35-mm, 
beater  intermittent.    It  worked. 

April,  1896.  Tom  Armat's  Vita- 
scope  showing  of  35-mm  Edison  films 
at  Koster  &  Bial's  Music  Hall,  New 
York.  Good  results,  but  Edison's  48- 
frames-per-second  epics  slowed  the 
action  on  the  screen.  Music  Hall  audi- 
ences, instead  of  being  chased  out  of 
the  theatre  by  pix,  demanded  encore. 

Hisforic  Showing  in  Germany 

November,  1896.  Messter's  35-mm, 
16  frames-per-second  exhibition  at  the 
Apollo  Theater,  Berlin.  First  use  of 
standard  4-slotted  star-wheel  in  Ge- 
neva  intermittent.    Messter's   showing 


marked  birth  of  standard  film,  for 
Edison's  film  specifications  and  the 
Lumieres'  film-speed  were  combined. 
March,  1897.  Armat's  third  projec- 
tor, also  called  Vitascope,  patented. 
Employed  Messter's  Geneva  intermit- 
tent. 

1897.  Edison  licensed  by  Armat. 
The  Edison  projectors  called  Kineto- 
scopes,  like  the  peep-hole  viewers. 
Paul  of  London  adopts  standard  Ge- 
neva movement  and  invents  safety  de- 
vices. 

1898.  The  Motiograph  Optigraph 
projector,  the  first  practical  machine 
besides  the  Edison-Armat  Kinetoscope 
for  professional  35-mm  projection. 

1899.  Projectors  appear  by  the  doz- 
ens, most  of  them  similar  to  the  Kine- 
toscope and  the  Optigraph,  both  of 
which   had   open  Geneva   movements. 

Golden  "Nickelodeon"  Decade 

1900  -  1910.  The  era  in  which  com- 
mercial projector  manufacturing  be- 
gan in  earnest.  The  movies  grow  in- 
to a  big  industry  and  capture  public 
fancy.  "Nickelodeons"  spring  up 
everywhere,  about  50,000  in  the  Unit- 
ed States,  almost  5  times  the  number 
of  American  film  theatres  in  existence 
today. 

I  must  say  again  that  I  find  noth- 
ing in  either  Mr.  Gooch's  or  in  Ar- 
mat's letters  in  violent  disagreement 
with  what  I  wrote  in  the  articles  refer- 
red to.  Minor  divergencies  of  opinion 
as  to  the  priority  of  this  or  that  de- 
tail of  projector  construction  are 
bound  to  occur  in  a  subject  so  con- 
fused and  obscure  as  the  history  of 
motion  picture  arts  and  sciences. 


New  Lamphouse  Blower 

A  lamphouse  blower  unit  intended  to 
provide  more  complete  ventilation  to 
both  lamphouses  and  projection  room 
has  been  marketed  by  the  Drive-In 
Theatre  Mfg.  Co.  of  Kansas  City.  The 
new  blower  unit  was  designed  because 
it  was  felt  that  the  increased  heat  and 
dust  in  the  lamphouse  resulting  from 
the  use  of  higher  amperages  made  it 
advisable  to  provide  a  single-stack 
blower  in  addition  to  the  company's 
double  unit  where  each  lamphouse  "T's" 
into  one  pipe. 

Forced  Ventilation  Process 

Ventilating  action  is  accomplished  by 
a  "squirrel-cage"-blower  on  the  outside 
of  the  stack  which  forces  air  through 
the  pipe  via  a  special  tube  which  runs 
inside  the  stack  and  releases  the  air 
with  a  forced  jet  action  that  creates  the 
suction    needed. 


It  is  recommended  that  the  blower 
stack  not  be  connected  directly  with  the 
lamphouse  but  rather  entered  into  a 
"pan"  or  surrounding  collar  so  that 
some  air  may  be  drawn  from  the  out- 
side of  the  lamp  rather  than  entirely 
from  the  inside. 


The  D  IT- 
MCO  jet- 
action, 
single-stack 
blower 
which  is  de- 
signed to 
exhaust  the 
arc  lamp- 
house  of  all 
the  heat, 
dirt,  gasses 
and  carbon 
dust. 


36 


INTERNATIONAL  PROJECTIONIST 


JULY  1954 


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Exhibitors— 

DO  THIS 

FOR  rOUR  HOSPITAL... 


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Conduct  a  MIDNIGHT 
BENEFIT  SHOW  some- 
time during  July. 


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Conduct  an  EMPLOYEE 
SALUTE.  Sign  Scrolls.  Get 
Membership  Cards. 


VOLUNTEER  NOW! 

Volunteer  directly  through  your  Will 
Rogers  Hospital  National  Office,  or 
through  the  Exchange  Area  Chair- 
man who  will  contact  you.  Simply 
say,  "Sure  we'll  help",  and  we'll 
see  that  you  get  the  facts. 


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'^At  OFFrCE:  1501  BROADWAY  -  NEW  fORK  3<S,  NEW  YORK 


\Stmieac  .j/&4e^  M.Y. 


•  Motion  pictures  have  come  a  long  way 
since  October  6,  1889! 

It  was  on  that  date,  Thomas  Alva  Edison 
showed  the  world  its  first  continuous  motion  picture 

—  50  feet  of  film,  running  13  seconds.  Five  years 
later  in  April  of  1894,  Edison's  "Kinetoscope"  was 
installed  at  the  spot  which  today  is  1 155  Broadway. 
And  so  the  commercial  history  of  motion  pictures 
began. 

Things  started  to  happen... in  June  1895, 
Thomas  Armat  developed  the  "Vitascope"  which 
incorporated  the  intermittent  movement,  the  basis 
of  all  modern  projection.  The  following  April, 
Koster  and  Bials'  Music  Hall  installed  the  first 
"Vitascope"  and  showed  the  first  1000  foot  reel, 
setting  the  standard  for  "one-reelers." 

In  June  1901,  George  Melies,  a  Paris  magi- 
cian fascinated  by  the  new  medium,  introduced 
fade-outs,  dissolves,  and  double-exposures  to  his  act 

—  and  laid  a  foundation  for  modern  motion  picture 
photography. 

It  was  in  Pittsburg  in  November  1905, 
Motion  Pictures  as  we  know  it  today  "arrived,"... 
the  first  picture  story,  "The  Great  Train  Robbery" 
opened  in  the  first  "Nickelodeon." 

By  now  public  fancy  had  been  caught.  In 
1909  the  multi-reel  picture  made  its  appearance  — 
and  the  industry  was  on  the  march.  Product  im- 
proved, story  improved,  photographic  techniques 
improved,  the  star  system  was  born,  motion  picture 
houses  opened  throughout  the  land  —  throughout 
the  world  —  and  then... in  1927,  with  the  opening 
of  the  "Jazz  Singer"  at  the  Winter  Garden,  sound 
burst  forth  upon  the  screen,  followed  shortly  there- 
after by  all  the  beauty  of  color. 

Now,  let's  take  a  "flash-back"  to  1911.  That 
was  the  year  "Simplex"  introduced  its  first  projector 


and  with  it  an  improved  image  was  seen  upon  the 
screen.  With  each  new  advance  "Simplex"  was 
there,  working  with  the  pioneers  in  sound,  develop- 
ing new  techniques  for  the  improvement  of  the 
projected  image,  always  building  better  projection 
and  sound  equipment. 

In  recent  times  the  motion  picture  has  taken 
further  giant  strides  with  the  introduction  of  full 
length  features  in  3-D,  the  panoramic  magnificence 
of  Cinemascope  and  wide  screen  plus  the  true- 
fidelity  of  stereophonic  sound.  Again  it  was 
"Simplex"  which  took  the  lead  —  always  ready, 
always  prepared,  always  a  step  ahead,  with  the 
very  finest  equipment  available. 

And  so  it  will  be  for  the  future.  The  industry 
will  continue  to  experiment,  will  always  come  up 
with  something  new  and  exciting.  With  each  for- 
ward step  you  can  be  sure  "Simplex"  will  be  there 
taking  its  part  in  the  ever  increasing  growth  of  this 
entertainment  giant  —  the  finest  entertainment  of 
them  all  —  the  Motion  Picture! 


orlij-Secom 


...a\^  ±. 


^EN^ 


CINCINNATI       JULY  1954 


IN  TWO  SECTIONS     ''     SECTION  TWO 


FOR  EVERY  THEATER 


..IN      PRICE  GROUPS 


Ampex  builds  complete  stereo- 
phonic sound  systems  for  theaters 
of  every  size.  From  one  reliable 
source,  you  get  everything  you 
need  —  magnetic  soundheads, 
amplifiers,  speakers,  monitors  and 
controls— to  provide  your  Cinema- 
Scope  patrons  with  the  finest  in 
multi  directional  sound. 


THE  MASTER  SYSTEM 

A  simplified  system  that  occupies 
minimum  booth  space  and  is  priced 
for  the  smaller  theater.  It  uses  the 
three  stage  speaker  channels  of 
standard  CinemaScope  film  with  op- 

THE  DE  LUXE  SYSTEM 

A  system  primarily  for  larger  thea- 
ters. Quick  plug-in  preamplifiers  and 
dual  high  voltage  power  supplies 
provide  additional  protection  to 
maintain  sterophony  under  many 

THE  SUPER  SYSTEM 

The  finest  stereophonic  sound  system 
built.  It  gives  the  fullest  possible  pro- 
tection against  all  emergencies  plus 
the  ease  and  convenience  of  opera- 
tion essential  to  the  de  luxe  theater. 
Ultra-quiet  switching  with  an  abso- 
lute minimum  of  maintenance  is 
assured  with  a  separate  bank  of 
preamplifiers  for  each  projector. 
Electronic  change-over  from  one  pro- 
jector to  another  and  provisions  for 
a  third  projector  are  included. 


tional  use  of  the  fourth  channel  audi- 
torium speakers.  It  gives  adequate 
protection  against  loss  of  dialogue 
in  any  emergency  by  converting  to 
single-channel  operation. 


emergency  conditions.  Each  channel 
is  separately  monitored  from  an  indi- 
vidual speol'f'r  in  the  projection 
booth. 


*«a»v.«^ 


See  your  Ampex  distributor  for  prices 
and  furitier  iiiformatiort. 


Cvr/  Ampax  t/sfam  ui«(  Idanllcal 
magnmlic  pickup  htadi  lo  glvu  Ihm 
world't  fioBi'  nnri  moti  prtcitm  r»pro- 


duetion  of  sound.  Equipmtnt  1$  •atf 
lo  imiall,  •Of/  lo  maintain,  and  It 
pUatingly  fra*  of  all  "tlray"  parlt. 


REDWOOD      CITY,      CAllFORNlAi 


Greetings 


from  the  President 
of  the  A.  F.  of  L. 


I  OUR  union  has  done  an  exceptionally  good  job  both  in  organiz- 
ing and  in  raising  the  standards  of  its  members.  Today  the 
International  Alliance  of  Theatrical  Stage  Employes  and  Moving 
Picture  Operators  occupies  a  key  position  in  the  entertainment 
industry.   It  is  solid. 

But  no  single  union  — -  not  even  the  trade  union  movement  itself 
—  can  sit  back  and  consider  itself  secure  while  an  all-out  war  is 
being  conducted  against  us  on  the  political  and  legislative  fronts. 

The  powerful  interests  opposed  to  the  progress  of  the  trade 
union  movement  have  succeeded  in  Congress  and  in  many  state 
legislatures  in  bringing  about  the  enactment  of  repressive  legisla- 
tion aimed  at  destroying  the  security  and  the  effectiveness  of 
organized  labor. 

This  unhealthy  trend  must  be  resisted  and  overcome  by  labor 
at  the  local,  state  and  national  level.  There  is  only  one  way  we  can 
do  it  —  and  that  is  by  increased  activity  in  the  political  field.  That 
is  where  labor  is  weakest  at  the  moment.  To  build  up  labor's 
strength  politically,  it  is  absolutely  necessary  for  us  to  organize  just 
as  patiently  and  as  indefatigably  as  we  did  when  we  first  built  up  our 
trade-union   structure. 

We  must  get  out  the  labor  vote  —  make  sure  our  members  and 
their  families  and  friends  register  and  go  to  the  polls  on  election 
day.  We  must  inform  the  voters  —  give  them  unvarnished  facts 
on  the  voting  records  of  candidates.  We  must  impress  upon  our 
people  that  politics  is  their  business  —  that  they  can  be  hurt  just 
as  severely  by  neglecting  their  electoral  rights  and  responsibilities 
as  by  letting  their  union  go  to  pieces. 

The  American  Federation  of  Labor  has  established  a  sound 
political  organizing  structure.  It  is  called  Labor's  League  for 
Political  Education.  All  subordinate  organizations  —  including 
state  and  local  central  bodies  —  have  a  primary  responsibility  to 
cooperate  with  the  League  and  to  help  it  organize  thoroughly. 

When  we  complete  this  all-important  job,  I  am  confident  that 
we  will  win  the  critical  political  tests  that  lie  ahead  and  once 
again  set  the  nation  on  the  road  to  progress. 

GEORGE  MEANY 


I.  A.  CONVENTION  EDITION      •     July  1954 


INTERNATIONAL  ALLIANCE  OF  THEATRICAL 
STAGE   EMPLOYEES  AND  MOVING    PIC- 
TURE   MACHINE    OPERATORS    OF    THE 
UNITED  STATES  AND  CANADA 


Affiliated   with   the 
American   Federation   of   Labor 


ROOM   1900 
1270  Avenue  of  the  Americas 
New   York   20,   N.   Y. 


INTERNATIONAL  PROJECTIONIST     •     July  1954 


I.  A.  CONVENTION  EDITION      •     July  1954 


To  the  men  behind  the  picture .  .  . 


RCA     SERVICE     COMPANY,     INC. 

A  Radio  Corporation  of  America  Subsidiary 
Camden,  New  Jersey 

INTERNATIONAL  PROJECTIONIST     •     July  1954 


Prescription  for  Good  Projection 


W 


E  ALL  try  to  earn  a  living  in  the  motion  picture 
business,  but  we  shall  continue  to  do  so  only  if  the 
business  is  kept  alive  and  healthy  by  our  efforts.  Since 
you  are  the  doctor,  let  us  look  at  the  diseases  to  which 
your  patient  is  liable. 

The  whole  technical  achievement  of  telling  a  story  on 
film  must  pass  through  the  bottleneck  of  the  release 
print  which  is  delivered  into  the  projectionist's  hands. 
Then  it  is  up  to  you  to  use  all  your  endeavors  to  obtain 
the  best  results,  in  the  interest  of  the  paying  audience 
and  yourself. 

Prior  Print  Inspection  Needed 

The  first  thing  to  decide  is  whether  the  commercial 
article,  the  print  itelf,  is  a  good  one.  This  is  not  always 
easy,  even  in  a  first-run  house,  for  if  a  defect  be  noticed, 
it  may  be  only  in  this  print,  in  every  print,  or  in  your 
own  equipment. 

Physical  damage  is  easy  to  detect  by  close  inspection 
of  the  print  on  the  rewind  bench,  but  suppose  the  sound 
track  has  been  printed  too  dark,  or  the  print  was  over- 
developed in  the  laboratory?  Sometimes  the  color  bal- 
ance may  be  off  or  color  fringing  quite  apparent  in 
the  picture  on  the  screen.  Only  experience  will  tell  us 
whether  the  sound  or  picture  quality  would  be  better 
on  another  print. 

Assuming  we  have  a  good  print  beyond  suspicion,  let 
us  turn  to  the  equipment  first.  Let  us  look  at  the  screen 
image.  Is  it  in  focus?  In  these  days  of  large  pictures, 
whether  an  anamorphic  lens  is  in  use  or  not,  the  focus 
is  more  critical  than  it  was  before — and  for  three  major 
reasons: 

(1)  The  magnification  of  the  frame  in  the  projector 
gate  is  greater,  either  in  the  horizontal  direction  only 
as  in  CinemaScope,  or  in  both  directions  as  in  "wide- 
screen,"  "VistaVision,"  etc.  The  eyes  of  the  audience 
are  just  as  critical  as  they  were  before,  especially  near 
the  center  of  the  picture,  so  the  focus  must  be  held 
more  closely. 

(2)  The  focus  is  more  critical  in  that  in  a  large 
proportion  of  our  theatres  more  light  and  heat  is  now 
projected  than  formerly.  This  is  partly  due  to  a  general 
raising  of  standards  over  the  years,  and  partly  to  the 
requirements  of  the  modern  processes. 

Critical  Focusing  A  "Must" 

(3)  Many  theatres  have  fitted  to  their  modern  arc- 
lamps  fast  and  highly  corrected  lenses  for  their  big 
picture  sizes.  These  lenses  work  at  a  larger  aperture 
(this  is  the  same  as  a  smaller  "F"  number)  than  be- 
fore.   While  an  F:1.8  lens  does  give  a  brighter  picture 


By  BASIL  T.  WEDMORE 

Theatre  Systems  Engineer,  Westrex  Corp. 


than  an  F:2.2,  the  depth  of  focus  just  has  to  be  less 
and  the  control  a  little  more  critical. 

Now  ask  yourself  if  your  eyesight  is  quite  as  good 
as  it  was  ten  years  ago.  No?  So  the  doctor's  eyes  are 
not  quite  so  good  and  the  patient  requires  more  care. 
We  all  know  the  answer  to  this  one,  even  if  we  haven't 
had  to  apply  it  in  the  past.  Some  projectors  are  fitted 
with  a  little  telescope  for  focusing  purposes.  If  not, 
a  pair  of  binoculars  is  a  great  aid  to  accuracy,  even  a 
low-powered  pair  will  do. 

Big  Screen  Magnifies  Shakiness 

Now  our  focus  is  satisfactory;  but  what  about  the 
steadiness  of  the  picture?  It  has  been  rightly  said  that 
there  are  many  causes  of  unsteadiness.  A  picture  which 
was  adequately  rteady,  though  perhaps  a  little  underlit, 
when  it  was  14  feet,  6  inches  by  20  feet  may  be  visibly 
rocking  when  it  is  blown  up  to  16  feet  by  40  feet  with 
plenty  of  light  behind  it. 

The  best  tool  for  checking  these  faults  is  the  Motion 
Picture  Research  Council's  450-foot  picture  test  reel, 
"VTF",  but  any  3-D  or  CinemaScope  target  film  is  a 
great  help.  "Jump"  and  "weave"  are  easy  to  detect, 
especially  if  you  sit  in  the  front  row  of  seats  occasion- 
ally and  look  honestly  for  yourself.  Incidentally,  the 
Use  of  the  new  narrow  sprockets  will  not  cause  either 
jump  or  weave.  If  the  sprocket  or  the  shaft  be  out  of 
"true"  or  the  projector  worn,  you  will  get  "jump".  If 
the  film  guides  are  out  of  adjustment  or  the  projector 
worn  badly,  you  will  get  "weave".  This  is  where  you 
call  in  the  specialist,  to  help  the  general  practitioner. 

Projector  and  Lens  Vibration 

Another  disease  that  tends  to  get  worse  these  days 
with  the  "advance  of  science"  is  picture  movement  due 
to  vibration  of  the  projector  or  the  lens.  In  the  days 
of  the  old  universal  base,  with  small  lamp  housings  and 
small  magazines  and  len-e?,  such  trouble  was  rare;  but 
with  the  motor  raised  forward  and  up,  the  lamphouse 
backward  and  up,  and  possibly  a  penthouse  reproducer 
on  the  projector,  to  say  nothing  of  25-inch  magazines, 
the  story  is  now  different. 

Large,  slow  movements  are  easy  to  detect,  but  a  shake 
of  the  lens  due  to  the  shutter  blades  being  out  of  balance 
is  hard  to  detect.  It  looks  like  intermittent  jump,  except 
that  it  may  be  rotary  in  character  on  the  screen.  A  job 
for  the  specialist  again. 

Is  the  picture  bright  enough  and  is  it  easy  to  hold 
the  illumination  even?  Let  us  look  at  the  lamphouse. 
In  order  to  get  the  highest  efficiency,  the  makers  gen- 
erally recommend  a  specific  working  distance  between 


I.  A.  CONVENTION  EDITION 


July  1954 


the  arc  and  the  mirror  and  the  path  of  the  film.  These 
measurements  are  worked  out  to  catch  ahnost  all  the 
light  and  thread  it  evenly  on  the  screen  without  making 
the  arc  too  critical  to  operate,  and  without  wasting  light 
and  heating  the  back  of  the  picture  gate. 

It  pays  to  know  the  best  distance  between  the  mirror 
and  the  film  path,  and  to  employ  it.  If  you  need  an  extra 
light  shield,  or  to  have  part  of  the  shield  cut  away  to 
get  the  best  efficiency,  call  in  the  specialist  and  by  all 
means  have  it  done. 

Optical  Alignment  Check  Imperative 

In  the  same  way,  and  this  is  an  old  story,  it  is  a 
good  idea  to  have  the  optical  system  dead  in  line. 
Otherwise,  it  is  almost  impossible  to  get,  and  hold,  an 
even  light.  This  too  is  a  job  for  the  specialist,  although 
it  can  certainly  be  done  by  a  general  practitioner — if  he 
has  the  tools  to  do  it.  The  only  exception  to  this  rule 
is  that  a  lens,  such  as  one  of  the  adjustable  anamorphics, 
may  be  set  purposely  at  an  angle  to  reduce  the  keystone 
distortion  caused  by  a  steep  projection   angle. 

One  more  common  picture  disease,  and  then  we'll  turn 
to  the  sound.  Is  the  picture  free  from  flicker?  Now, 
some  degree  of  flicker  is  always  present,  like  the  beating 
of  a  heart,  but  like  the  heartbeat,  it  should  be  steady 
and  unnoticeable.  The  only  serious  flicker  that  you 
cannot  avoid  is  when  the  camera  is  "panned"  or  swung 
(as  in  some  shots  we  have  seen  from  the  cockpit  of  an 
airplane  or  from  a  moving  train). 

Common  Causes  of  Flicker 

When  the  projector  and  shutter  adjustments  are  right, 
noticeable  flicker  is  generally  caused  by  one  of  three 
things. 

(1)  A  single-phase  rectifier  as  an  arc  supply  always 
gives  flicker.  If  the  power  line  be  50  cycles,  this  is 
really  bad.  It  can  be  cured  or  reduced,  but  the  cure  is 
generally  quite  expensive.  Three-phase  recitifiers,  either 
vacuum-tube  or  the  dry-plate  types,  are  normally  per- 
fectly all  right  in  this  respect. 

(2)  The  arc  flame.  Here  your  practiced  eye  can 
tell  you  what  is  happening.  The  flame  must  look  steady. 
Any  variation,  whether  from  too  little  or  too  much 
draft  up  the  chimney,  will  show  on  the  picture.  Any 
cyclic  variation  or  jump  that  you  can  see  will  show  on 
the  screen.  A  job  for  the  specialist?  Perhaps;  but  first 
make  sure  that  the  draft  is  not  too  great  and  the  car- 
bons are  good  ones.  The  answer  is  generally  not  hard 
to  find.  Remember  that  a  noisy  arc  is  a  flickering  arc, 
whether  the  noise  is  hum  or  sputter. 

Effect  of  Excessive  Screen  Brightness 

(3)  Excessive  brightness  of  the  picture  on  the 
screen.  This  can  happen  easily  these  days  when  pro- 
jecting a  standard  (1.33:1  aspect  ratio)  picture  onto 
the  center  section  of  a  screen  set  up  for  CinemaScope  or 
a  wide  picture.  Unless  you  cut  your  light  intensity,  the 
picture  will  be  above  the  recommended  standards  and 
will  show  flicker. 

If  the  arc  current  cannot  be  reduced  sufficiently,  a 
quick  remedy  is  to  have  a  perforated  metal  grid  made 
up  to  fit  in  front  of  the  lamphouse  to  absorb  the  extra 

(Continued  on  page  48) 


White  Screens?  Yes- 
Within  Certain  Limits 


By  LEONARD  SATZ 
Raytone  Screen  Corp. 

I  HE  writer  has  always  advocated  an  adequate  light 
source  in  the  projection  room  for  the  job  that  must  be 
done  at  the  screen.  It  has  been  proven  by  SMPTE  sur- 
veys that  the  majority  of  theatres  in  this  country  have 
always  operated  below  the  9-  to- 14  foot-lamberts  which 
have  been  set  as  a  standard. 

If  adequate  brightness  is  to  be  maintained  at  the 
screen,  the  Motion  Picture  Research  Council  tells  us  by 
way  of  a  very  comprehensive  report  that  for  wide-screen 
projection  (not  CinemaScope)  the  light  loss  will  be  as 
great  as  48%  at  the  2:1  aspect  ratio.  While  this  light 
loss  is  reduced  to  somewhere  between  30  and  38%  with 
a  CinemaScope  system,  the  fact  remains  that  a  brightness 
gain  on  the  order  of  2  or  3  is  required. 

Huge  Brightness  Gain  Required 

This  means  that  the  brightness  gain  of  any  screen  used 
for  wide-angle  or  CinemaScope  projection  should  be 
200  to  300%  greater  than  a  standard  white  sheet.  At 
the  present  time,  this  can  only  be  accomplished  with 
metallic  surfaces  or  by  increased  light  sources — or  by  a 
combination  of  both. 

The  average  theatre  using  a  Suprex  projection  system 
at  60  or  70  amperes  will  find  that  with  a  27-  or  28-foot 
white  screen  in  new  condition,  10  foot-candles  of  inci- 
dent illumination  can  barely  be  maintained.  This  is  not 
a  particularly  desirable  result  for  a  white  screen.  With 
CinemaScope,  this  same  white  screen  would  be  sorely 
taxed  to  give  good  results  at  34  feet. 

Eastman  Kodak  Co.  and  many  Hollywood  studios 
advocate  20-  to  25  foot-lamberts  for  the  proper  presenta- 
tion of  normal  density  Technicolor  prints.  Results  will 
suffer  as  this  foot-lambert  reading  is  reduced. 

Manufacturer's  Responsibility  to  Industry 

The  writer  is  a  screen  manufacturer  who  can  furnish 
regular  white  or  seamless  white  screens  in  any  size; 
however,  since  an  obligation  exists  on  the  part  of  such 
a  manufacturer  to  market  a  product  that  will  give 
universally  acceptable  results,  he  advocates  the  use  of  a 
gQod  all-purpose  metallic  screen.  More  likely  than  not, 
exhibitors  using  white  screens  will  kick  themselves 
when  newly-developed  3-D  rystems  will  be  made  avail- 
able— as  they  .will,  the  writer  does  not  doubt,  in  the 
near  future. 

If  proper  light  studies  are  made,  and  if  the  results  are 
carefully  evaluated,  many  exhibitors  might  decide  to 
use  white  screens.  It  is  hoped,  however,  that  a  generaliza- 
tion will  not  be  made  on  the  desirability  of  white 
screens  as  against  silver  screens.  It  can  be  very  mis- 
leading to  "follow  the  leader"  because  the  leader  might 
have  had  some  very  special  problems  and  probably  ac- 
cepted a  white  screen  as  a  rather  poor  compromise. 


INTERNATIONAL  PROJECTIONIST      •     July  T954 


Greetings 

To  the  1.  A.  T.  S.  E. 

On  The  Occasion  Of  Its  42nd  Convention 

*      *      *      * 

NATIONAL    CARBON    COMPANY 

A  DIVISION  OF  UNION  CARBIDE  AND  CARBON  CORPORATION 

I.  A.  CONVENTION  EDITION      •      July  1954 


comG  I 


Finest  Lenses  Are 
Needed  for  New  Projection 
Techniques . . . 

THE  ANSIVER 

Cinema  Raptars 

THE  WORLD'S   ONL.Y   PERFECTI-Y 
MATCHED  PROJECTION    LENSES 


Today  with  the  new  movie  techniques— CinemaScope,  Vista-Vision,  Wide 
Screen— exhibitors  must  have  the  finest  basic  lenses  in  order  to  give 
theatre  goers  sharp,  clear  pictures  from  edge  to  edge  of  the  screen.  There 
are  no  finer  projection  lenses  made  than  Wollensak  Cinema  Raptars.  (For 
Cinemascope  these  lenses  are  used  with  anamorphic  lenses.)  Cinema 
Raptars  use  six  and  seven  element  construction.  Only  with  such  a  design 
is  it  possible  to  deliver  full  speed,  edge-to-edge  sharpness,  and  highest 
resolution.  In  addition.  Cinema  Raptars  are  the  world's  only  perfectly 
matched  lenses— focal  lengths  matched  to  within  .0025!  Marked  as  matched 
(twin)  lenses.  Speed  ranges  are  f/1.9  in  focal  lengths  from  2"  through  5" 
and  f/2.0  to  f/2.7  in  focal  lengths  to  7"  . . .  priced  from  $180  each. 


mm^ 


NEW  WOLLENSAK  VARIABLE  ANAMORPHIC  LENS 

1   TO  2  TIME  MAGNIFICATION  WITH  ASPECT  RATIO  FROM   1.33  TO  2.55. 


«IUST    PURCHASED    NEW    PRO«JECTION    LENSES? 

NEED    ADJUSTMENTS    FOR    WIDE    SCREEN? 

WHAT    TO    DO    WITH    NON-ANAMORPHIC    RELEASES? 


With  the  new  Vari-Focus  lens  exhibitors  can  show  all  the  current 
screen  releases  without  buying  a  complete  new  range  of  short  focus 
lenses.  The  Vari-Focus  permits  you  to  make  adjustments  for  screen 
width  .  .  .  change  the  focal  length  of  your  standard  projection  lens 
quickly  and  easily.  (See  table  below.)  The  Vari-Focus  is  a  supple- 
mentary lens  which  will  produce  any  wide  screen  aspect  ratio  (non- 
anamorphic)  when  used  in  conjunction  with  a  3"  to  6"  projection  lens. 


of  Optical  Craftsmanship 
by  VlfOLLENSAK 


The  resolution  and  picture  quality  wilh  match  those  of  the  finest 
projection  lens.  Price  $235  each. 


Standard  Lens 

Variable  Focus  From 

3" 

21/4"  to  1%" 

3'/2" 

2%"to2" 

4" 

31/4"  to  21/4" 

4V2" 

31/2"  to  2 1/2" 

5" 

4"  to  3" 

51/2" 

4V2"to3'/2" 

6" 

5"to3'/2" 

WRITE  for  new  literature. 
Wollensak  Optical  Co.,  Rochester  21,  N.  Y. 


10 


INTERNATIONAL  PROJECTIONIST     •     July  1954 


Keeping  In  Step  With  Progress 


By  W.  L.  JONES 

Vice-President,  Technical  Products  Service  Division 
RCA  Service  Company,  Inc. 


wOME  28  years  ago  sound  entered  the  motion  picture 
field.  The  new  "talkies"  were  eagerly  accepted  by  both 
patrons  and  exhibitors  alike.  Never  in  view  of  the  paying 
public,  but  always  responsible  for  the  operation  and 
performance  of  theatre  sound,  was  that  indispensable 
man  —  the  theatre  projectionist. 

As  new  developments  in  sound  and  projection  were 
adopted,  the  projectionist  kept  pace  with  the  new  tech- 
niques in  theatres  across  the  nation  and  throughout  the 
world.  And  with  him  were  the  trained  field  engineers 
of  RCA  Service  Company.  Working  together,  the  pro- 
jectionist and  the  RCA  field  service  engineer  played  a 
proud  role  in  the  success  to  which  theatre  sound  and 
projection  has  risen  through  the  years.  Exhibitors  know 
that  without  the  cooperation  of  these  two  groups  of 
theatre  folk,  a  tremendous  industry  may  have  never 
developed  to  its  present  status. 

The  small  group  that  began  making  service  calls  on 
theatres  more  than  25  years  ago  when  the  first  battery- 
operated  systems  were  used,  has  developed  into  one  of 
the  finest  service  organizations  in  the  country  —  the 
Technical  Products  Department  of  RCA  Service  Com- 
pany. The  old-time  serviceman,  armed  with  a  few 
simple  tools,  has  become  a  thing  of  the  past.  Today  his 
place  has  been  taken  by  thoroughly  trained  experts 
equipped  with  the  most  modern  test  equipment  and 
tools. 

Nation-Wide  Engineering  Service 

The  rate  of  technical  development  and  changes  in  the 
motion  picture  industry  has  been  so  rapid  that  only  an 
organization  having  properly  trained  personnel  can  keep 


abreast  of  the  developments  and  keep  the  field  engineers 
properly  informed. 

The  home  office  in  Camden,  N.  J.  forms  the  nucleus 
of  RCA's  service  organization.  Through  these  head- 
quarters, the  operation  of  the  company's  11  field  oflEces 
are  coordinated.  The  strategic  location  of  the  district 
offices  makes  possible  the  placing  of  men  and  material 
anywhere  in  the  United  States  in  as  short  a  time  as  is 
humanly  possible. 

At  the  home  office  a  technical  staff  prepares  and  dis- 
tributes technical  information  to  a  nation-wide  field 
force.  Keeping  in  touch  with  research  and  design  engi- 
neers and  other  outside  technical  organizations,  this 
group  acts  as  a  clearing  house  for  problems  submitted  by 
field  engineers.  Solutions  to  all  problems  concerning 
theatre  sound  activity  is  not  only  sent  directly  to  the 
engineer  requesting  it,  but  is  disseminated  to  everyone 
in  the  field  force. 

Fully  trained  and  experienced  field  service  engineers 
and  good  supervision  are  a  prerequisite  for  efficient 
service  operation.  Field  personnel  are  brought  into  the 
home  office  for  additional  technical  training.  Nothing 
is  left  to  chance,  and  once  a  problem  is  submitted,  it  is 
tracked  down  to  its  ultimate  successful  solution. 

Strategically  Located  Field  Offices 

Responsible  for  activity  in  the  field  are  eleven  offices 
across  the  nation.  Field  engineers  report  to  district  man- 
agers in  Boston,  New  York,  Philadelphia,  Atlanta,  Pitts- 
burgh, Cleveland,  Chicago,  Kansas  City,  Dallas,  San 
Francisco  and  Los  Angeles.  In  addition,  there  are 
supervisors  in  the  districts  and  a  staff  of  administrative 


Left:  From  this  compact  control  and 
monitoring'  rack,  occupying  a  rela- 
tively small  amount  of  space  in 
the  projection  room,  the  projec- 
tionist operates  the  instantaneous 
theatre  Tv  system,  used  to  present 
full-sized  Tv  iinag°es  on  the  theatre 
screen.  The  optical  unit  which  pro- 
jects the  Tv  program  is  mounted 
on    the    front    of    the    balcony. 


Bight:  RCA  service  techniques  keep 
pace  with  the  latest  developments. 
Shown  is  a  field  service  engineer 
degaussing  the  soundhead  used  for 
four-track  magnetic   sound. 


I.  A.  CONVENTION  EDITION      •      July  1954 


personnel  to  aid  the  district  manager  in  utilizing  the 
service  activity  of  each  district's  engineering  comple- 
ment. Self-sufficient,  each  district  maintains  its  own 
supply  of  parts,  and  emergency  replacements  are  avail- 
able at  a  moments  notice. 

Field  service  engineers  are  assigned  a  definite  terri- 
tory and  this  area  is  covered  by  a  prearranged  schedule 
of  service  calls.  Responsible  for  the  sound  equipment  in 
theatres  in  his  territory,  the  RCA  field  engineer  can 
be  located  quickly  in  event  of  emergency  requirements. 

The  close  contact  and  association  between  service 
engineer  and  projectionist  has  resulted  in  many  impor- 
tant improvements  in  theatre  equipment.  The  applica- 
tion of  practical  suggestions  submitted  by  projectionists 
plays  an  important  part  in  these  improvements.  The 
modern  sound  equipment  of  today  is  an  outgrowth  of 
some  of  these  suggestions. 

Progress  m  Theatre  Sound  Reproduction 

Since  the  inception  of  sound  in  motion  picture 
theatres,  RCA  has  been  a  pioneer  in  technical  develop- 
ments to  improve  sound  recording  and  reproduction. 
High  Fidelity  sound  introduced  a  number  of  years  ago 
was  instrumental  in  broadening  the  audio  response 
spectrum  which  resulted  in  more  life-like  sound  repro- 
duction. Similarly,  the  use  of  ultra-violet  light  in 
recording  improved  the  fidelity  so  that  a  more  faithful 
sound  was  obtained  in  the  recording  progress  as  well 
as  in  the  reproduction  process. 

In  the  drive-in  theatre  field,  RCA  has  constantly  been 
ahead  in  design  of  rugged  and  economically  priced 
equipment.  Considerable  engineering  effort  was  spent 
in  developing  equipment  that  would  be  able  to  withstand 
the  rigors  of  the  elements.  In  3-D,  the  field  installation 
and  service  personnel  worked  shoulder  to  shoulder  with 
the  projectionist  installing  synchronizing  equipment, 
filters,  and  greatly  assisted  in  the  tuning-up  of  the 
equipment. 

Stereophonic  sound  which  is  so  widely  accepted  today 
by  projectionists  and  exhibitors,  was  used  by  RCA 
customers  more  than  ten  years  ago  when  Disney's 
feature  length  production  "Fantasia"  was  shown  to  the 
public.  Music  and  movie  critics  alike  have  stated  that 
stereophonic  sound  represents  the  greatest  advancement 
in  the  motion  picture  industry  since  the  advent  of  sound. 

When   20th   Century-Fox   introduced   "CinemaScope", 


E.  Stanko  (standing)  manager,  Engineering  Section, 
and  P.  V.  Smith,  home  office  theatre  specialist,  use 
an  FM  audio  oscillator  to  calibrate  the  BCA-developed 
flutter  meter   of  the  type  used  by  service   engineers. 


again  RCA  led  the  industry  by  producing  a  4-track 
magnetic  sound  reproducing  system,  and  by  installing 
these  equipments  in  record  time.  Only  the  cooperation 
of  the  projectionist  and  sound  engineer  enabled  the 
industry  to  jneet  the  opening  dates  of  so  many  theatres 
at  one  time. 

Theatre  Television  Taken  in  Stride 

The  introduction  of  theatre  Tv  again  found  RCA 
leading  the  field  in  this  new  and  impressive  development. 
The  mantle  of  theatre  Tv  fell  naturally  on  RCA  Service 
Co.,  for  RCA  has  been  a  pioneer  in  television  since  the 
early  days  of  its  birth. 

RCA  Service  Co.  distributed  its  now  famous  "Theatre 
Television  Handbook"  and  introduced  the  art  of  big- 
screen  television  to  the  projectionist.  This  book  was 
prepared  primarily  with  the  needs  of  motion  picture 
projectionists  in  mind  and  it  also  proved  of  considerable 
interest  to  others  in  the  motion  picture  industry.  An 
impressive  volume,  it  was  dedicated  to  the  projectionists 
of  the  nation  whose  successful  struggle  with  the  intro- 
duction of  sound  motion  pictures  left  no  doubt  that  they 
could  be  relied  on  to  cope  equally  as  well  with  the  new 
art  of  theatre  television. 

Further  aiding  the  projectionists  was  the  close  co- 
operation between  RCA  Service  Co.,  and  the  I.A.T.S.E. 
in  the  conducting  of  classes  on  theatre  Tv.  A  selected 
group  of  theatre  projectionists  were  brought  into  Camden 
from  all  over  the  country  for  training  in  the  operation 
of  the  theatre  equipment.  The  men  were  instructed  by 
the  Service  Company's  home  office  specialists,  and  at 
the  end  of  the  training  were  well  qualified  to  operate 
the  theatre  Tv  equipment  in  their  respective  theatres. 

Supplementing  the  projectionists  were  the  field  mem- 
bers of  the  Service  Company  who  also  received  special 
training  on  the  equipment  and  its  maintenance.  The 
training  of  the  field  personnel  was  accomplished  on  a 
rotational  basis,  and  as  soon  as  one  group  of  men 
completed  their  course  they  were  returned  to  their  dis- 
tricts and  their  places  taken  by  another  group  of  service 
engineers.  Some  of  these  engineers  were  then  assigned 
to  special  demonstration  teams  and  were  active  through- 
out the  country  in  bringing  this  new  entertainment 
medium  to  prominence.  The  extensive  home  office 
training  plus  actual  field  experience  helped  put  RCA  in 
a  leading  position  in  aiding  exhibitors  at  the  inaugura- 
tion of  theatre  Tv. 

Service  Assistance  to  the  Projectionist 

No  one  is  more  conscious  of  the  necessity  of  proper 
maintenance  and  emergency  protection  for  sound  equip- 
ment than  the  field  service  engineer.  His  daily  routine 
not  only  centers  on  maintaining  the  sound  quality,  but 
includes  a  responsibility  for  recommending  means  for 
achieving  the  greatest  possible  insurance  against  failure. 
Still  his  job  is  not  finished  until  all  projectionists  have 
been  thoroughly  rehearsed  and  have  received  a  full 
explanation  of  the  whys  and  wherefores  of  the  added 
protective  circuits  or  equipment.  This  is  especially 
important  when  so  many  new  circuits  for  3-D  projection 
and  stereophonic  sound  have  been  added. 

The  field  service  engineers  recommendations  for  spare 

(Continued  on  page  47) 


12 


INTERNATIONAL  PROJECTIONIST     •     July  1954 


—  and  thanks  for  your  signal   contribution   to  the_ 
successful   operation   of   precision   visual   and   sound 
reproducing   equipment.    Your   expert   craftsmanship 
has  contributed   mightily  to  the  steady  progress  of 
Motiograph  since  its  founding  in  1896. 

Together  we  can  go  on  to  meet  the  increasingly 
exacting  demands  of  motion  picture  presentation. 

l\B4fl£4flAM^  •  .  .  all  projectionists  are 
invited  to  the  Mammoth  Theatre  Equipment  Shov/ 
October  31  through  November  4.  Conrad  Hilton  Hotel 

—  Chicago 

MOTIOGRAPH 

Inc. 

4431    WEST    LAKE    STREET      •      CHICAGO    24,    ILLINOIS 


A.  CONVENTION  EDITION      •     July  1954 


13 


The  Carbon  Arc: 


Vital  Twin  Factor  in 
Production  and  Projection 


A  compendium  of  engineering   and  operating   data  of  carbon 
arc  performance  on  motion  picture  studio  sets  and  in  theatres. 


tMOTIONALLY,  the  characters  and  the  story  are 
the  most  important  factors  in  motion  pictures,  but 
technically  the  entire  subject  is  based  on  means  of 
-controlling  the  intensity  and  color  of  light.  A  phrase 
often  heard  in  projection  rooms  is,  "If  the  picture  isn't 
on  the  film,  we  can't  put  it  on  the  screen."  A  corroUary 
true  statement  is,  "If  the  light  isn't  on  the  motion  picture 
set,  you  can't  put  the  picture  on  the  film." 

A  motion  picture  is  largely  an  appeal  to  the  senses 
through  vision,  which  is  the  ability  to  apprehend  light 
and  color.  The  success  of  modern  cinematography  is 
based  upon  the  ability  of  the  cinematographer  to  control 
the  intensity  and  quality  of  light  on  the  set.  If  the 
cinematographer  be  restricted  in  the  use  of  proper 
lighting  equipment,  his  finished  product  may  appear 
like  a  skeleton,  without  flesh  and  color. 

Historically,  the  use  of  artiflcal  light  in  the  motion 
picture  industry  has  followed  a  number  of  recurring 
cycles.  The  use  of  various  types  of  lighting  equipment 
has  not  always  been  a  matter  of  evolution.  On  several 
occasions  there  has  been  a  revolution  in  which  carbon 
arcs  were  moved  down  from  the  top  place  by  incandes- 
cent tungsten  lamps,  and  vice  versa. 

Major  Influences  Upon  Lighting  Technique 

The  major  influences  underlying  these  cyclic  changes, 
on  the  production  end,  were  many  and  varied,  and  high 
on  the  list  in  importance  were  the  advent  of  panchro- 
matic film,  the  arrival  of  sound-on-film,  the  application 
of  three-color  cinematography,  and  finally  an  economic 
factor  which  resulted  in  a  major  change  in  the  spectral 
sensitivity  of  all  color  films. 

On  the  projection  front  the  demand  for  more  and 
better  screen  light  has  been  what  may  be  termed  per- 
sistently insistent,  dating  from  the  time  that  the  exhibi- 
tion field,  slowly  at  first  and  then  at  an  accelerated 
pace,  became  aware  of  the  direct  effect  of  the  quality 
of  the  projected  screen  image  upon  the  box-office.  This 
awareness  became  acute  with  the  introduction  of  3-D 
pictures,  with  their  concomitant  loss  of  light  due  to  the 
requisite  use  of  accessory  projection  and  viewing 
adjuncts;  with  the  mushrooming  drive-in  theatres  with 
ever-expanding  screen  area,  and  then  the  arrival  of  the 
various  wide-screen  processes. 

In  modern  motion  picture  photography  light  from  the 


sun,  from  the  carbon  arc,  from  incandescent  tungsten 
is  directed  to  the  object  to  be  photographed.  By  reflec- 
tion this  light  is  redirected  to  the  film  where  it  provides 
a  photo-chemical  reaction.  The  film,  so  modified,  acts 
only  as  a  filter  to  control  the  intensity  and  quality  of 
light  from  a  projector.  The  modified  projected  light 
remaining  after  it  has  passed  through  the  film  is 
reflected  from  the  screen  to  the  eyes  of  the  audience, 
where  it  again  makes  an  impression  which  should  coin- 
cide dramatically  with  the  original  action. 

Confrol  of  Quality,  Quantity  of  Light  Vital 

It  would  all  be  a  simple  matter  of  floodlighting  if 
the  work  "dramatically"  did  not  carry  such  strong  im- 
plication. The  enhancement  of  dramatic  action  requires 
that  the  cinematographer  have  as  perfect  control  of  both 
quality  and  quantity  of  light  as  possible. 

The  advent  of  modern  full-color  cinematography 
brought  with  it  a  number  of  new  lighting  problems.  To 
visualize  them  it  is  only  necessary  to  consider  that  in 
black-and-white  cinematography  light  creates  film  den- 
sity which  is  merely  a  medium  to  control  the  intensity 
of  the  rays  from  the  projection  light  source.  The 
audience  gains  the  illusion  of  a  picture  by  variation  of 
light  and  shade. 

In  color,  however,  it  is  also  necessary  to  use  a  light 
source  containing  the  three  primary  colors  of  the  spec- 
trum in  order  to  produce  color,  hues  and  tints.  Because 
white  light  is  made  up  of  equal  quantities  of  the  light 
primaries  (blue,  green  and  red)  it  has  been  chosen  as 
the  source  for  professional  color  cinematography.  The 
use  of  white  light  for  interiors  also  simplifies  the 
process   because   sunlight   is   white   light   and  the  same 

Color  Cinematography  Requisites 

film  may  be  used  on  exteriors  as  on  interiors. 

If  the  projection  light  source  contained  no  blue,  there 
would  be  no  blue  on  the  screen  regardless  of  the  color 
of  the  film.  The  same  is  true  of  the  light  sources  used 
in  set  lighting.  The  color  is  in  the  light,  and  the  objects 
serve  only  to  selectively  reflect  the  various  rays  from  the 
light  source  to  the  film  in  the  camera. 

In  black-and-white  cinematography  the  absence  of 
light  results  in  a  black  image  on  the  screen  which  in 
many  cases  is  accepted  by  the  viewer  as  an  intended 


14 


INTERNATIONAL  PROJECTIONIST     •      July  1954 


shadow.  Under  adverse  conditions  a  character  in  a 
dark  suit  may  appear  only  as  a  face,  hands  and  white 
shirt,  with  no  detail  whatever  in  the  suit;  still  the  viewer 
will  accept  the  result. 

The  foregoing  is  not  true  with  color.  Here  the 
absence  of  light  is  also  black;  but  if  a  character  wear- 
ing a  dark-colored  suit  moved  into  an  area  where  the 
light  level  were  too  low,  the  suit  would  appear  black, 
which  would  not  be  acceptable  to  all.  The  same  thing 
could  happen  to  a  colored  dress  with  deep  folds  where 
the  absence  of  light  in  the  shadow  areas  might  make 
it  appear  as  having  black  stripes. 

In  the  early  days  of  color  motion  pictures  the  some- 
what lower  latitude  of  the  process  brought  forth  some 
proponents  of  "Hat"  lighting.  It  was  their  contention 
that  the  sets  should  be  illuminated  with  highly  diffused 
light  sources,  the  differences  of  intensity  reduced  to  a 
minimum,  and  that  color  itself  would  provide  the 
necessary  depth  and  contrasts.  As  a  matter  of  fact, 
modern  color  has  brought  about  demands  for  lighting 
equipment  with  much  greater  scopes  than  was  previously 
dreamed  of  with  black-and-white.  Brilliance,  volume, 
color,  penetrating  power,  and  controllability  have  all 
been  vastly  improved  in  modern  lighting  equipment. 

Inasmuch  as  white  light,  or  sunlight,  quality  is  re- 
quired for  color,  the  only  unfiltered  light  source  to  meet 
completely  the  requirement  is  embodied  in  the  carbon 
arc  "broadside"  and  the  "spotlamps,"  each  fulfilling  a 
specific  need  and  supplementing  each  other. 

Modern  Movie  Lighting  Keyed  to  "Action" 

The  old  adage  of  "Light  for  the  shadows  and  let  the 
highlights  take  care  of  themselves"  is  no  longer  apt. 
The  modern  cinematographer  lights  for  the  "action," 
which  is  most  important.  He  adjusts  the  "key  light," 
the  illumination  falling  on  the  face  of  the  principal 
character,  so  those  reflected  rays  will  make  suitable 
density  on  the  film;  then  he  accurately  balances  the 
illumination  in  the  highlight  and  shadow  areas  for  the 
artistic  effect  he  wants.  His  ability  to  create  the  desired 
dramatic  illusion  is  the  measure  of  his  worth. 

In  the  entertainment  field,  standardization  of  technique 
often  result  in  formula  without  novelty,  or  apparent 
difference.  It  is  quite  true  that  people  want  formula, 
that  they  will  not  accept  anything  which  does  not  carry 
a  familiar  connotation.  They  will  pay  money  to  see  the 
same  thing  they  saw  last  week  or  last  year.  They  want 
it  to  be  the  same — but  they  want  it  to  be  differently  the 
same! 

To  satisfy  this  requisite  the  cinematographer  must 
have  absolute  freedom  of  choice  for  the  improvement  of 
production  values  rather  than  be  restricted  by  the  demand 
for  small  economic  squeezing  which  robs  him  of  the 
initiative  it  takes  to  make  something  differently  the  same. 

Early  pictures  presented  sharp  contrast  in  light  and 
shade  with  little  intermittent  gradation  of  tone,  and  a 
relatively  low  level  of  screen  illumination  gave  satisfac- 
tory reproduction.  Improved  emulsions  permit  a  wide 
latitude  of  tone  gradation  and  the  perfection  of  model- 
ing and  detail.  This,  in  turn,  requires  a  high  level  of 
screen  illumination  for  effective  reproduction  of  this 
photographic  quality  on  the  screen.  At  dusk  one  can 
see  the  outlines  of  buildings,  trees  and  other  features  of 


the  landscape  but  few  of  the  surface  details  which  are 
clearly  visible  in  stronger  light. 

Studio,  Projection  Lighting  Blood  Brothers 

Projection  follows  the  same  rule.  A  good  intensity 
of  screen  illumination  is  needed  for  the  audience  to 
see  the  full  quality  and  beauty  of  the  photography.  A 
screen  brightness  of  9  to  14  ft.-lamberts  at  the  center 
of  the  screen  is  specified  by  the  American  Standards 
Association,  as  recommended  by  the  Society  of  Motion 
Picture  and  Television  Engineers.  At  75%  reflectivity 
this  represents  a  light  intensity  of  12  to  19  foot-candles 
at  the  center  of  the  screen,  or,  80%  side-to-center  distri- 
bution, 10  to  16  average  foot-candles  over  the  entire 
screen    area. 

Introduction  of  color  in  motion  picture  photography 
has  given  importance  to  the  color  quality  of  projection 
light.  35-mm  film  for  theatre  use  is  processed  to  give 
accurate  color  values  on  the  screen  when  projected  with 
snow-white  light,  that  is,  light  in  which  all  primary 
colors  are  present  at  essentially  equal  intensity  as  in 
daylight.  Projection  light  of  other  quality  distorts  the 
colors  on  the  screen  and  detracts  from  the  impression 
of  reality. 

The  addition  of  sound  to  the  motion  picture  film 
might  seem  to  have  no  bearing  on  projection  light 
requirements,  but  in  reality  it  does.  The  frame  dimen- 
sions of  the  picture  on  sound  film  have  been  reduced 
from  those  of  silent  film  to  provide  a  marginal  space 
for  the  sound  track  or  tracks.  As  a  result,  with  the  same 
optical  factors  used  for  silent  pictures,  a  light  source  of 
24%  greater  brilliancy  is  needed  to  project  the  same 
volume  of  light  through  the  aperture  and  film  and 
produce  a  screen  image  of  equal  area  and  brilliancy. 

Some  Recent  Advances  in  Projection  Systems 

Recent  years  have  seen  important  new  developments 
in  all  aspects  of  motion  picture  projection  systems. 
Hitex*  13.6-)mm  super  high-intensity  carbons  were 
introduced  in  1949  for  use  in  rotating-carbon, 
condenser-type  lamps  at  170-180  amperes. 

Introduced  about  a  year  and  a  half  ago  was  a  new 
13.6-mm  standard  high-intensity  carbon  to  replace  the 
former  one  used  in  condenser-type  lamps  at  125-150 
amperes.  A  new  Suprex*  9-mm  positive  carbon  has 
extended  the  range  and  output  of  the  non-rotating  car- 
bon, reflector-type  lamp  used  with  copper-coated,  non- 
rotating  carbons.  A  new  Suprex  7-mm  positive  has 
made  possible  increases  in  efficiency  and  light  output 
compared  with  Suprex  7-mm  carbons  formerly  used. 
New  high-speed,  reflector-type  lamps  employing  rotating 
9-,  10-,  and  LI -mm  positive  carbons  have  been  marketed 
and  are  finding  wide  usage. 

In  addition  to  these  combinations  already  in  com- 
mercial usage,  National  Carbon  Co.  has  developed 
several  new  carbons  specifically  to  meet  the  demands 
of  the  new  projection  systems.  These  include  the-  new 
Hitex  10-mm  carbons  for  rotating-type  reflector  lamps; 
and  the  new  Ultrex*  10-,  11-,  and  13.6-mm  carbons 
which  are  most  effective  when  used  with  adequate  water- 
cooling   in   rotating-reflector   as   well   as   condenser-type 


I  I 


*   The    terms    "Hitex,"    "Ultrex"    and    "Suprex"    are    trade-marks    of    Union 
Carbide    and    Carbon    Corp. 


I.  A.  CONVENTION  EDITION      •      July  1954 


15 


SCREEN  ILLUMINATION  WITH  CARBON- ABC  MOTION   PICTURE   FILM   PROJECTION   SYSTEMS: 
BASED   ON   THE   STANDARD   9.600  X  0.825-INCH  APERTURE 


CARBONS 

A 

I 

re 

! 

Lamp  optical 

sys. 

80%  tl 

isl. 

Max.  Iighl3 

App 
car 
cons 
'    rate, 

Pos, 

rox. 

>OII 

Positive 

Negative 

uinp. 

1   Screen 
1   lumensl 

% 
dist. 

Screen 
2    lumens' 

% 
dist. 

n./hr 

Type 

Type 

amp 

volts 

Neg. 

Non-Rotating,  Reflector-Type  Lamps— "One  Kilowatt"  d 

-c  Trim 

7-mm  X  12  or  14  in. 
Suprex 

1  6-mm  X  9  in.  Orotip  C 

40 

27.5 

ll^iin.  dia//2.5           i 
mirror 

5,900 

80 

6,500 

65 

5.8 

3.4 

Non-Rotating  High-Intensity  Trims 

7-mm  X  12  or  14  in. 
New  Suprex 

6-mm  X  9  in.  Orotip  C 

42 

36 

14  in.  dia  //2.3 
mirror 

7,250 

80 

8,650 

60 

7.6 

3.8 

7-mm  X  12  or  14  in. 
New  Suprex 

6-mm  X  9  in.  Orotip  C 

46 

38 

14  in.  dia//2.3 
mirror 

8,150 

80 

10,000 

60 

9.3 

4.0 

7-mm  X  12  or  14  in. 
New  Suprex 

6-mm  X  9  in.  Orotip  C 

50 

40 

14  in.  dia  //2.3 
mirror 

9,200 

80 

11,700 

60 

11.6 

4.3 

8-mm  X  12  or  14  in. 
Suprex 

7-mm  X  9  in.  Orotip  C 

60 

36 

14  in.  dia//2.3 
mirror 

10,300 

80 

11,000 

65 

9.0 

3.8 

8-mm  X  12  or  14  in. 
Suprex 

7-mm  X  9  in.  Orotip  C 

65 

38 

14in.  dia//2.3 
mirror 

11,800 

80 

12,700 

65 

11.8 

4.0 

8-mm  X  12  or  14  in. 
Suprex 

7-mm  X  9  in.  Orotip  C 

70 

40 

14  in.  dia//2.3 
mirror 

13,000 

80 

14,000 

65 

15.0 

4.3 

9-mm  X  14  in. 
Suprex 

8-mm  X  9  in.  Orotip  C 

65 

41 

14  in.  dia//2.3 
mirror 

12,300 

80 

13,000 

70 

10.5 

3.3 

9-mm  X  14  in. 
Suprex 

8-mm  X  9  in.  Orotip  C 

75 

45 

14in.  dia//2.3 
mirror 

13,800 

80 

15,000 

70 

15.5 

3.8 

Rotating,  Reflector-Type  Lamps 

9-mm  X  20  in.  High- 
Intensity 

^^6X9  in.  Orotip 

75 

52 

I6-I6/2  in.  dia  //1.9 
mirror 

13,000 

80 

16,000 

60 

14.0 

3.3 

9-mm  X  20  in.  High- 
Intensity 

Yie  X  9  in.  Orotip 

85 

58 

16-16>^  in.  dia //1. 9 
mirror 

15,000 

80 

19,500 

55 

22.0 

3.5 

10-mm  X  20  in.  High- 
Intensity 

'>32  X  9  in.  Orotip 

100 

60 

16-16Kin.  dia//1.9 
mirror 

16,000 

80 

20,000 

60 

20.0 

3.0 

11-mm  X  20  in.  High- 
Intensity 

^^  X  9  in.  Orotip 

120 

65 

16-16Kin.  dia//1.9 
mirror 

(20,000) 

80 

(23,000) 

65 

20.0 

2.7 

10-mm  X  20  in.  Hitex 

10-mm  X  20  in.  Hitex 

10-mm  X  20  in.  Hitex 

10-mm  Ultrex* 
Experimental 

YiB  X9  in.  Orotip 
Yie  X  9  in.  Orotip 
Yi6  X  9  in.  Orotip 
Experimental 

125 
130 
135 
165 

64 
66 
70 
80 

16-16Kin.  dia//1.9 

mirror 
16-16>^  in.  dia  //1.9 

mirror 
16-16>^  in.  dia  //1.9 

mirror 
Exper.  //2.0  mirror 

(21,000) 

80 

24,000 
25,500 
26,500 
(34,000) 

65 

65 

65 

(60) 

19.5 
25 
32 
45 

2.4 
2.6 
1.7 

11-mm  Ultrex^ 
Experimental 

Experimental 

195 

80 

Exper.  //2.0  mirror 

(28,000) 

80 

(35,000) 

(65) 

45 

i 

Rotating,  Condenser-Type  Lamps 

13.6-mm  X  22  in.  New  Yi»  X  9  in.  Orotip 
High-Intensity 

13.6-mm  X  22  in.  New  }^  X  9  in.  Orotip 
High-Intensity 

13.6-mm  X  22  in.  New  H  X  9  in.  Orotip 
High-Intensity 

13.6-mm  X  22  in.  >2  X  9  in.  Orotip 
Hitex  Super  Heavy  Duty 

13.6-mm  X  22  in.  >^  X  9  in.  Orotip 
Hitex  Super  Heavy  Duty 

13.6-mm  X  22  in.  Experimental 
Ultrex''  Experimental 

13.6-mm  X  22  in.  Experimental 
Ultrex''  Experimental 


i 


125 

68 

Condenser  lenses  at 
//2.0 

11,500 

80 

14,500 

60 

7.25 

2.4 

150 

74 

Condenser  lenses  at 

//2.0 

16,000 

80 

19,500 

60 

14.0 

1.9 

160 

77 

Condenser  lenses  at 

//2.0 

(16,500) 

80 

20,500 

60 

17.5 

2.1 

170 

70 

Condenser  lenses  at 
//2.0 

17,500 

80 

20,700 

60 

16.0 

2.3 

180 

74 

Condenser  lenses  at 
//2.0 

19,300 

80 

24,800 

60 

21.5 

2.5 

265 

Condenser  lenses  at 
//2.0 

(26,000) 

80 

(28,000) 

(60) 

290 

80 

Condenser  lenses  at 
//2.0 

(30,000) 

80 

(34,000) 

(60) 

45 

NOTE:   Values   in   parentheses   are   estimated   or  obtained   from   limited 
measurements. 

1  Screen  lumen  figure  is  for  systems  with  no  shutter,  film  or  filters  of  any 
kind;  measured  with  5-in.  E.F. //2.0  and //1. 9  projection  lenses. 

2  %  distribution  refers  to  ratio  of  light  intensity  at  side  of  screen  to  that 
at  the  center. 


3  Maximum  light  is  value  with  system  adjusted  to  produce  maximum  light 
intensity  at  the  center  of  the  screen. 

■*  Experimental    carbons   burned   with   short   protrusion   in    experimental 
water-cooled  silver  jaws. 


Copyright  1954  by  Union  Carbide  and  Carbon  Corporation. 


lamps.  While  Ultrex  carbons  have  not  been  marketed 
yet,  they  will  be  available  when  suitable  lamps  are 
announced. 

Carbon  Combinations,  Light  Levels,  Distribution 
Figure  1  shows  maximum  screen  lumens  at  different 
arc  currents  for  various  lamp  and  carbon  combinations 
with  no  film,  shutter  or  filters.  Values  of  screen  lumens 
obtained  with  the  lamps  and  optical  systems  adjusted  to 
produce  80%  side-to-center  distribution  ratio  are  not 
shown,  but  they  generally  fall  10  to  25%  below  the 
maximum  values.  Fig.  1  shows  that  the  rotating-type 
reflector  and  condenser  lamps  are  capable  of  projecting 
more  than  20,000  lumens  with  standard  carbons,  and 
more  than  30,000  lumens  with  suitable  experimental 
carbons. 

In  some  cases,  these  lamps  can  project  more  light 
and  heat  onto  the  film  than  can  be  accommodated  with- 
out some  suitable  cooling  means.  This  article  does  not 
specify  means  of  protecting  the  film  from  high  levels 
of  radiant  energy  flux;  it  points  out,  however,  that  the 
use  of  infra-red  absorbing  filters,  infra-red  reflecting 
filters,  controlled  air-blast,  and  the  use  of  a  water-cooled 
film  gate  have  all  been  asserted  to  provide  some  protec- 
tion to  the  film. 

Such  protective  means  may  require  the  sacrifice  of  a 
small  portion  of  the  screen  light  and  will  correspond- 
ingly change  the  lumen  values  of  Fig.  1. 

Screen  Widths  and  Light  Levels 

The  light  requirements  of  the  new  projection  systems 
may  be  analyzed  in  correlation  with  these  latest  develop- 
ments, beginning  with  a  restatement  of  the  American 
Standards  Association  indoor  theatre  standards,  which 
recommends  a  screen  brightness  of  9  to  14-foot  lamberts 
with  the  projector  running  and  no  film  in  the  gate. 

The  data  of  Fig.   1  have  been  used  to  calculate  the 


fflHTMfji 


saBi 


i 


m 


^M 


/ 


f  13.6  mm.    "ULTfiEX" 
CARBON 


13.6mm.    ■HITEX"  SUPER  CARBON 


13,6  mm.  HIGH  INT.  CARBON 


f     ULTREX'   CARBON 


i         11mm.    "UlTREX"   CARBON 


— J-    HITEX'  C«RBONS 


STANDARD  CARBONS 
EXPERIMENTAL   CARBONS 


i 


pi  1mm.     H.I.   CARBON 
jJlOmm.    H.\.   CARBON 


H.I.   CARSON 


"SUPREX     CARBON 


1 1 r 

8  mm.    "SUPREX"  CARBON 


7  mm.    "SUPREX"  CARBON 

;.        I         I         I 

07  mm.    "SUPREX"  "ONE   KV,'     CARBON 


NON-ROTATING,    REFLECTOR   LAMPS 


0  40  60  121)  'GO  200  240  2S0  320  iili 

ARC   CURRENT   -  AMPERES 

FIG.  1.  Maximum  screen  light  vs.  arc  current. 

A.  CONVENTION   EDITION      •      July   1954 


NON'ROJATING,  REfUCTOA  rVPE  LAMPS 


ROMTINC,  Rff UCrOff  TYPE  LAMPS 


SUPREX  ■   CARBONS 


STANDARD  CARBONS 

I 
STANDARD  CAflBONS, 

I 

EXPERIMENTAL  CARBONS 


aOTiiriNG,  CONDENSEII  Im  LAMU 

STANDARD  CARBONS 

I 
EXPERIMENTAL  CARBONS 


I.  CARBONS 

I 
.  "HITEX"  CARBONS 

I 
10  i  Ilmm.    "ULTREX" 

1  CARBONS 


&  "HITEX"  CARBON 

I 
13  6  mm.    "ULTREX" 

I  CARBON 


AMPERES 
JO -75 


75  -  L20 
L20  -  135 


125- 180 
265  ■  290 


SCREEN  WIDTH  -  FEET 


FIG.  2.  Size  of  screens  capable  of  illumination  to  indi- 
cated screen  brightness  at  the  center  of  the  screen. 
[Based  on  maximum  light,  50%  shutter  transmission, 
90%  projection  port  transmission,  75%  screen  reflection 
factor,  and  a  4  x  3  picture  aspect  ratio.  1 

widths  of  screens  which  can  be  illuminated  to  the 
aforementioned  ASA  standards,  with  a  projection  shutter 
of  50%  transmission,  a  projection  room  port  glass  of 
90%  transmission,  and  a  projection  screen  of  75%  re- 
flection factor. 

The  resultant  screen  widths  are  shown  in  Fig.  2.  The 
lower  ends  of  the  screen  width  ranges  shown  in  Fig.  2 
belong  to  the  smaller  and  lower  power  carbon  trims  and 
to  the  maximum  recommended  screen  brightness;  while 
the  larger  screen  widths  pertain  to  the  larger  and  higher 
power  combinations  and  to  the  minimum  recommended 
screen  brightness. 

No  allowance  has  been  made  for  light  losses  that 
may  occur  with  heat  filters  which  may  be  needed  under 
some  conditions  to  prevent  heat-on-film  troubles.  The 
data  on  Fig.  2  will  be  correspondingly  altered  in  case 
there  are  any  additional  light  losses  beyond  those 
assumed.  For  example,  a  10%  loss  in  light  will  reduce 
the  indicated  screen  widths  about  5%. 

Outdoor  Theatres  Pose  Difficult  Problem 

Reference  to  Fig.  2  shows  that  Suprex  carbon  trims 
are  capable  of  illuminating  screens  approximately  16  to 
30  feet  wide  at  maximum  light.  Rotating-type  reflector 
lamps  increase  these  screen  widths  from  26  to  37  feet 
with  standard  carbons.  Generally  speaking,  the  rotating- 
type  condenser  lamps  are  capable  of  illuminating  about 
the  same  width  screens  as  the  rotating-type  reflector 
lamps. 

The  foregoing  discussion  shows  that  present  difficulty 
of  lighting  screens  of  50  to  70  feet  width,  common  in 
outdoor  theatres,  to  the  standard  of  9  to  14  foot-lamberts 
applicable  to  indoor  theatres.  However,  the  screen 
brightness  requirements  of  outdoor  theatres  are  not  as 
precisely  known  as  are  those  for  indoor  theatres,  be- 
cause of  the  widely  variable  physical  conditions.  Just 
what  level  of  screen  illumination  can  be  obtained  on 
these  large  screens  depends  upon  the  maximum  amount 
of  light  obtained  from  the  projection  system. 

Increasing  the  indicated  screen  width  by  50%,  without 
changing  the  present  standard  ratio  of  height  to  width, 
corresponds  to  a  screen  area  2.25  times  greater.  Such 
a  screen  can  be  illuminated  by  the  combinations  of  Fig. 
1  to  a  center  brightness  of  4  to  6.2  foot-lamberts.  These 
screen  brightness  limits  have  been  chosen  not  because 


(Continued  on   page  47) 


T7 


GnaeiUiXfA' 


from 


GENERAL 
THEATRE 


SUPPLY 
COMPANY, 


LIMITED 


Toronto     •     Canada 


• 

BRANCHES: 

HALIFAX,  N.S. 

BRANTFORD,  ONT. 

SAINT  JOHN,  N.B. 

CHATHAM,  ONT. 

MONCTON,  N.B. 

NORTH   BAY,  ONT. 

MONTREAL,  P.O. 

WINNIPEG,  MAN. 

OTTAWA,  ONT. 

CALGARY,  ALTA. 

VANCOUVER, 

B.C. 

18 


INTERNATIONAL  PROJECTIONIST     •     July  1954 


Flexibility  Marks    Modern  Arclamps 


UeNERALLY  speaking,  if  the  historical  develop- 
ment of  a  class  of  devices  is  studied,  it  is  found  that  as 
the  flexibility  of  the  device  is  increased  a  compromise  in 
quality,  efficiency,  or  operational  ease  is  necessary  so 
that  the  flexibility  goal  can  be  achieved.  This  has  not 
been  so,  however,  in  the  instance  of  the  Strong  Mighty 
90  and  Super  135  projection  arc  lamps,  whose  range 
of  flexibility  has  been  increased  in  many  ways  without 
compromising  with  quality. 

As  an  example,  in  the  low-intensity  lamp  the  range  of 
carbon  burning  rates  from  the  highest  value  to  the 
lowest  value  was  approximately  a  1.3:1  ratio.  The 
Suprex  type  of  arc  had  a  burning  rate  range  of  1.75:1; 
while  the  1  Kw  type  of  lamp  had  no  range  whatever, 
since  it  had  to  burn  at  the  one  fixed  current  for  which 
it  was  designed. 

Wide  Flexibility  in  Light  Level 

The  Strong  Mighty  90  and  Super  135,  however,  have 
an  overall  carbon  burning  rate  range  ratio  of  2.5:1. 
Converting  this  to  inches  of  carbon  per  hour,  this  means 
that  these  new  type  lamps  are  capable  of  burning  as 
slow  as  13  inches  or  as  fast  as  32  inches  of  carbon 
per  hour.  Correspondingly,  the  arc  current  range  of 
the  Mighty  90  and  Super  135  is  1.8:1  as  compared  with 
a  1:1  ratio  in  the  instance  of  the  1  Kw. 

In  addition  to  the  flexibility  in  burning  rates,  there  is 


By  ARTHUR  J.  HATCH 

The  Strong  Electric  Corporation 


of  course  a  corresponding  flexibility  in  the  amount  of 
light  that  can  be  produced  by  the  Strong  Mighty  90 
and  the  Super  135.  From  the  lowest  to  the  highest  light 
level  there  is  a  range  of  1.7:1  ratio;  whereas  in  the 
Suprex  the  ratio  runs  1.55:1;  while  the  1  Kw,  with  its 
fixed  burning  rate,  had  a  fixed  light  output.  The  low- 
intensity  lamp,  due  to  the  fact  that  the  intensity  of  the 
crater  remains  approximately  the  same  through  quite  a 
range  of  carbon  sizes  and  currents,  has  a  light  range 
ratio  of  only  1.2:1. 

Most  low-intensity  lamps  were  capable  of  burning 
only  two  sizes  of  carbon  trims;  the  1  Kw  lamp  was 
capable  of  burning  only  one  type  of  carbon  trim;  and 
the  Suprex  permitted  the  choice  of  three  carbon  trims. 
The  Strong  Mighty  90  and  Super  135  afford  a  choice 
of  four  different  and  distinct  carbon  trims.  As  to  the 
various  modes  of  burning  the  carbons,  the  low-intensity, 
1  Kw,  and  the  Suprex  could  burn  the  various  carbons 
in  only  as  many  fashions  as  there  were  variations  in 
trim.  The  Strong  Mighty  90  and  Super  135  can  burn 
the  four  carbon  trims  in  a  total  of  seven  separate 
manners.  Three  of  these  four  trims  can  be  burned  in 
a  manner  so  as  to  be  consumed  either  in  the  range  of 
30  to  55,  or  45  to  75  minutes  per  positive  carbon.  This 
versatility  affords  the  theatre  owner  and  projectionist 
an  opportunity  to  attain  any  desired  degree  of  cost  of 
operation,    screen    illumination,    or    burning    time  —  a 


TABLE   1.      Data  relative  to  lumen  output  at  given  arc  amperage  and  voltage  for  Strong  projection  arclamps. 


RANGE  OF  TOTAL 
SCREEN  LUMEMS: 
NO  SHUTTER,  NO 

ARC  AMPERACE 
RANCX 

ARC  VOLTAGE 
RANGE 

RANGE  OF 

CONTINUOUS 

BURNING  TBE 

WITHOUT  RETRIM 

(In  minutes) 

CARBON 

(XAR 
REDUCTION 
POSITIVE 
MOTOR 

POSITIVE 

CARBON 

DRIVE  ROLira 

ASSEMBLY 

NEGATIVE 

LEAD  SCREW 

THREAD 

FILTER,  F:2 

COATED  LENS 

(See  notes  1,  2, 

and  3  below) 

POSITIVE 

NEGATIVE 

POSITIVE 
CONTACTS 

15,000—19,000 

75-85 

50-55 

75  to  45 

9  mn 

5/16 

300:1 

9 — 10  mm 

5 

9mm 

17,000—21,000 

82—90 

53-60 

55  to  30 

9  nm 

5/16 
11/32  — 
above  85  amps. 

216:1 

9 — 10  mm 

5 

9  mm 

16,000—19,500 

90—100 

55—62 

75  to  45 

10  mn 

U/32 

300:1 

9-10  ran 

5 

10  mm 

18,000—21,500 

97—105 

60-64 

55  to  30 

10  mm 

11/32 

216:1 

9 — 10  mm 

5 

10  mn 

18,500—22,500 

110—120 

60-65 

75  to  45 

11  mm 

3/8 

300:1 

11  mm 

6i 

Umm 

19,000—22,500 

115—127 

57—65 

75  to  45 

10  mm 
Hitex 

3/8 

300:1 

9 — 10  mm 

6i 

10  mm 

22,000—26,000 

124—135 

63—70 

55  to  30 

10  mm 
Hitex 

7/16 

216:1 

9 — 10  mm 

6i 

10  mn 

NOTES:  1 — Total  lumens  through  2.55:1  ratio  aperture  of  standard  width:  50%  less;  2 — through  2:1  ratio  aperture 
of  standard  width:  30%  less;  3 — through  CinemaScope  aperture:  approximately  22%  more. 


A.  CONVENTION  EDITION      •     July   1954 


19 


flexibility  which  had  long  been  desired  but  never  attained 
with  previous  types  of  lamps. 

The  accompanying  chart  (Table  I)  illustrates  the 
flexibility  of  these  modern  lamps  and  shows  the  few 
simple  changes  needed  to  cover  the  range  of  operation. 

Control  Settings  Enormously  Simplified 

As  stated  previously,  these  increases  in  flexibility  have 
not  compromised  the  ease  of  operation  of  these  new 
Strong  Lamps.  As  a  matter  of  fact,  the  control  settings 
necessary  to  attain  the  various  adjustments  through  the 
increased  range  have  been  simplified.  Only  one  control 
is  required  for  selecting  any  amperage  within  the  range 
of  the  particular  mode  of  operation.  While  the  1  Kw 
and  low-intensity  had  only  one  control,  the  burning 
range  was  strictly  limited  to  1.1  and  1.3:1  ratio.  Al- 
though the  Suprex  lamps  afforded  a  comparatively  wide 
burning  rate  ratio,  the  operation  was  complicated  by 
the  necessity  of  adjusting  two  separate  carbon  feed  rate 
controls. 

This  simplification  of  control  was  made  possible  by 
Strong's  development  of  a  bimetal  control  tube.  This 
Lightronic  tube  controls  the  carbon  feeding  rates  so  as 
to  automatically  hold  the  carbon  crater  at  the  exact 
focal  point  of  the  reflector  at  all  times.  By  this  control 
of  the  positive  and  negative  motor  feed  speeds  the  arc 
can  be  burned  without  constant  attention  by  the  operator. 

Unique  Simplification  of  Controls 

With  the  new  screen  presentation  techniques  further 
complicating  the  job  of  the  projectionist,  he  has  been 
particularly  appreciative  of  the  simplified  control  of 
these  new  Strong  lamps.  The  projectionist,  furthermore, 
is  quick  to  see  the  advantages  of  the  unitized  component 
design  which  affords  such  wide  versatility  in  these  lamps. 
He  can  in  a  matter  of  moments  and  right  in  his  projec- 
tion room  effect  the  simple  changes  necessary  to  attain 
the  correct  light  requirement  for  any  of  the  various 
screen  presentation  techniques.  It  is  even  possible  for 
him  to  quickly  and  easily  obtain  the  light  requirements 
for  two  different  types  of  techniques  on  the  same  pro- 
gram, even  though  there  is  a  60%  difference  between 
their  light  requirements. 

Simultaneously  with  the  widening  in  the  flexibility  of 
operation  of  these  new  arc  lamps.  Strong  also  designed 
rectifiers  of  correspondingly  increased  range.  For  ex- 
ample, the  new  Strong  selenium  rectifier  has  a  range  of 
from  90  to  135  amperes,  which  means  that  with  a  single 
piece  of  power  conversion  equipment  the  projectionist 
can  fulfill  the  arc  power  requirements  of  the  various 
systems  of  screen  presentation. 


The  Future  of  Theatre  Tv 

By  NATHAN  L.  HALPERN 
Theatre   Network  Television,   Inc. 


Ir  seems  strange  that  the  motion  picture  industry, 
painfully  aware  of  the  inroads  upon  its  audience,  has 
been  slow  to  seize  upon  a  simple  method  of  turning  the 
techniques  of  television  to  its  own  advantage  and  profit. 
This  could  be  accomplished  if  more  thought  were  devoted 


to  the  vast  and  unexplored  possibilities  of  theatre  Tv. 
In  the  last  five  years.  Theatre  Network  Television  has 
presented  69  closed-circuit  telecasts  of  sporting  and 
other  events,  but  even  now,  despite  the  great  success 
of  the  Rocky  Marciano-Ezzard  Charles  heavyweight 
championship  fight  telecast,  there  still  are  theatre  men 
who  do  not  understand  the  possibilities  of  closed-circuit 
television. 

Cost  Factor  Vital  for  Network  Tv 

Tv  network  executives  fret  over  the  tremendous  cost 
of  putting  on  quality  shows  without  some  method  of 
easing  the  burden  on  advertisers  by  charging  the  listener 
a  fee  or  some  kind  of  "admission"  charge.  Closed- 
circuit  theatre  Tv  can  solve  this  problem  for  many  types 
of  shows  and  also  put  the  motion  picture  exhibitor  in  a 
position  to  acquire  new  box-office  revenue.  It  may  be 
that  the  customer  must  leave  his  home  in  order  to  view 
a  theatre  Tv  event,  but  it  is  also  true  that  a  much  larger 
and  more  dramatic  picture  can  be  presented  in  the 
theatre  than  on  the  face  of  a  comparatively  small  Tv  tube. 

Furthermore,  there  is  another  use  to  which  theatre 
Tv  circuits  and  equipment  can  be  put,  offering  a  new 
and  almost  untouched  field  for  the  motion  picture 
theatre.  This  is  the  practice  of  connecting  sales  meetings, 
conventions  and  similar  gatherings  at  distant  points  by 
means  of  closed-circuit  Tv,  rather  than  by  the  customary 
but  time-consuming  and  expensive  process  of  gathering 
the  interested  parties  from  all  over  the  country.  This 
is  what  we  call  "Tele-Sessions." 

"Tele-Sessions"  in  a  Phenominal  Spurt 

An  outstanding  example  of  how  Tele-Sessions  can 
make  wide  use  of  theatre  Tv  equipment  and  motion 
picture  auditoriums  on  a  nation-wide  basis  is  the  coast- 
to-coast  sales  meeting  that  we  recently  organized  for 
the  Dodge  Division  of  the  Chrysler  Corp.  Dodge  dealers 
and  salesmen  in  29  cities  were  given  a  preview  of  the 
1954  sales  and  advertising  campaign.  This  program 
originated  from  television  studios  in  New  York  and 
featured  top  Dodge  executives  in  addition  to  Tv  and 
radio  personalities  sponsored  by  the  company. 

Another  very  successful  telecast  of  this  type  was 
sponsored  by  National  Dairy  Products  Co.  This  firm 
reasoned  that  if  Tv  was  effective  in  selling  customers  on 
its  product  in  the  home,  closed-circuit  Tv  in  the  theatre, 
aimed  solely  at  its  dealers  and  routemen,  would  be  effec- 
tive in  selling  them  on  the  company's  product. 

Produced  by  the  Tele-Sessions  division  of  TNT,  this 
program  originated  in  the  Center  Theatre  in  New  York 
City  and  was  piped  to  selected  theatres  in  all  Sealtest 
markets.  It  was  a  1%-hours  show  which  started  at 
10  A.M.,  used  12  sets  and  required  about  100  crewmen 
and  50  performers. 

Soaring  Craft  Employment  Possibility 

Tele-Sessions  is  a  fast-growing  business  that  can  pro- 
vide increased  revenue  for  the  motion  picture  theatre, 
help  keep  theatres  open  and  increase  job  hours  for  pro- 
jectionists and  other  technicians.  This  union  (the 
lATSE)  and  its  membership  has  always  shown  an  aware- 
ness of  the  potential  importance  of  theatre  Tv,  and  their 

(Continued  on  page  46) 


20 


INTERNATIONAL  PROJECTIONIST 


July  1954 


CONGRATULATIONS 


to 


THE  UNSEEN  SHOWMEN 


of  the 


INTERNATIONAL  ASSOCIATION  of  THEATRICAL  STAGE  EMPLOYEES 


and 


MOVING  PICTURE  MACHINE  OPERATORS 


of  the 


UNITED  STATES  AND  CANADA 


IVIotion  Picture  Film  Department 
EASTMAN   KODAK  COMPANY 

Rochester  4,  N.  Y, 


I.  A.  CONVENTION  EDITION      •      July  1954 


21 


Westrex  Corporation 
announces  for  flie  Stereophonic  Era 


FOR  STUDIOS  EVERYWHERE 


FOR  THEATRES  OUTSIDE  U.S.A.  AND  CANADA 


R9  Stereophonic  Reproducer  (Mag- 
netic) features  the  Academy 
Award  winning  hydro  flutter 
suppressor,  a  tight  film  loop, 
and  double  flywheels. 


The  Westrex  R9  Stereophonic  Re- 
producer (Magnetic)  and  R7 
Photographic  Reproducer. 


R7  Photographic  Reproducer  assures 

the  best  reproduction  from  variable 
area  and  density  prints.  Special  noise- 
less timing  belts  that  neither  slip  nor 
stretch  are  featured  for  the  first  time. 


This  Integrator  is  required  for  Perspecta 
Sound  multi-channel  reproduction  from 
a  standard  photographic  sound  track  on 
which  have  been  superimposed  control 
frequencies. 


THE  WESTREX  Multi-Channel 
and  Single  Channel  Sound  Systems 


Westrex  offers  a  complete  line  of  newly  de- 
signed theatre  sound  systems  for  multi-channel 
magnetic  (such  as  Cinema-Scope),  multi-channel 
photographic  (such  as  Perspecta  Sound),  and 


single  channel  reproduction  (standard  photo- 
graphic). When  installed  and  serviced  by 
Westrex  engineers,  these  systems  assure  the 
finest  performance  at  the  lowest  overall  cost. 


The  Westrex  T501A  Stage  Loud- 
speaker Assembly  features  the 
newly  designed  Acoustic  Lens. 


The  Westrex  Amplifier  Cabinets  provide 

up    to    four    channels    for    magnetic 
or  photographic  reproduction. 


The  Westrex  T502B  Stage  Loud- 
speaker Assembly  was  designed  for 
larger  motion  picture  theatres. 


Research,  Distribution  and  Service  for  the  Motion  Picture  Industry 


/^^  p  Corporation 


y^^"^^  111    EIGHTH    AVENUE,    NEW   YORK  11,   N.  Y. 

HOLLYWOOD   DIVISION:   6601    ROMAINB   STREET,   HOLLYWOOD   38,   CAL. 


/       FORMERLY      \ 
(WESTERN  ELECTRIc\ 


22 


INTERNATIONAL  PROJECTIONIST     •     July  1954 


VistaVision:  Basis  for  a 

World-Wide  Standard  of  Presentation 

By  LOREN  L.  RYDER 


Head   of  Engineering   and   Recording 
Paramount  Studios,  Hollywood 


^^NE  can  always  measure  a  projection  throw,  but 
how  far  can  one  throw  a  projectionist?  Let  a  small 
framing  error  exist,  allow  a  few  frames  to  run  out  of 
focus,  or  miss  a  changeover — and  the  projectionist  is 
a  bum.  Yet,  have  a  complete  run-through  with  every- 
thing in  perfect  balance  and  the  projectionist  hardly 
gets  a  nod.    So  it  is  behind  the  scenes. 

Actually,  projection  room  operation  is  so  important 
that  no  motion  picture  performance  could  be  completely 
successful  without  the  talent  and  experience  of  today's 
projectionist.  Beset  as  some  of  them  have  been  with  a 
multiplicity  of  new  methods,  and  having  been  confronted 
with  problems  like  3-D,  stereophonic  sound,  various 
aspect  ratios  and  the  like,  it  is  a  wonder  that  they  keep 
their  sanity. 

World-Wide  Theatre  Survey  Underway 

But  projectionists  almost  everywhere  take  particular 
pride  in  their  work,  their  equipment  and  its  performance. 
This  came  especially  to  my  notice  during  a  recent  tour 
of  theatres  in  Europe  and  Canada  where,  as  in  the 
United  States,  they  take  equal  pride.  In  theatre  areas 
in  Germany  as  well  as  Italy  and,  to  some  extent,  in 
Belgium  where  there  has  been  much  rebuilding  since 
the  war,  projection  rooms  are  most  modern  and  provide 
fine  operation  facilities.  The  greater  part  of  the  equip- 
ment has  been  patterned  after  our  own  and  it  is  well 
made  by  fine  craftsmen. 

Paramount  is  now  in  the  process  of  making  a  world- 


The  principle  of  VistaVision  is  illustrated  here.  The 
human  eye,  everyone  agrees,  is  constructed  in  such  a 
way  that  its  sharpest  resolving  power  can  be  focused 
only  on  a  relatively  small  area  of  direct  interest.  The 
eye  also  sees  with  considerable  clarity  a  surrounding 
area  of  comfortable  viewing.  Anything  outside  this 
area  is  in  the  realm  of  what  we  see  when  we  say  "seen 
out  of  the  corner  of  the  eye." 


wide  survey  of  theatres,  and  in  addition  to  my  trip 
throughout  Europe,  my  assistant  at  the  studio,  Louis 
H.  Mesenkop,  is  in  the  Orient,  while  Frank  La  Grande 
of  the  New  York  office  is  checking  the  South  American 
territory.  In  each  case  it  is  found  that  the  majority 
of  projectionists  have  great  respect  for  their  positions. 
This  is  gratifying  and  indicates  a  sincere  effort  to  pro- 
vide the  best  possible  picture  presentation. 

With  the  knowledge  that  we  are  part  of  a  world-wide 
entertainment  activity,  and  since  a  good  percentage 
of  revenue  is  derived  from  foreign  showings,  it  is  im- 
portant that  we  understand  and  assist  wherever  we  can 
to  keep  our  product  playing  well,  since  this  extra  revenue 
makes  it  possible  to  continue  making  the  high  quality 
pictures  exhibited  in  domestic  theatres. 

In  my  travels  in  the  United  States,  Canada  and 
Europe,  wherein  I  am  working  for  large-screen  pre- 
sentation, I  have  oddly  enough  found  many  theatres  in 
which  we  have  more  difficulty  getting  sufficient  width 
than  height.  There  are  a  great  many  narrow  houses 
where  proscenium  width  is  sharply  limited,  while  interior 
height  is  ample.  This  form  accommodates  the  standard 
picture  very  well.  It  does  present  some  problem  how- 
ever, in  adapting  for  a  wide-screen  showing. 

Simplification,  Standardization  the   Goal 

At  Paramount  we  are  putting  a  great  deal  of  effort 
behind  a  program  to  simplify  and  standardize  on  a 
flexible  basis  the  systems  of  picture  making  and  picture 
presentation.  To  this  end  our  VistaVision  process  is 
offered  to  meet  the  requirement  of  theatres  large  and 
small  as  well  as  those  of  limited  width  and  limited 
height. 

The  first  VistaVision-produced  picture  will  not  be  in- 
troduced until  sometime  in  October,  but  meanwhile,  as 
a  point  of  information,  I  should  like  to  leave  a  few 
impressions  as  to  the  benefits  that  may  be  expected  by 
the  exhibitor.  Of  singular  importance,  it  represents  no 
special  problem  for  the  projectionist. 

Any  standard  equipment  that  is  normal  for  usual 
runnings  can  handle  VistaVision  prints  since  regular 
35-mm  release  film  with  standard  optical  soundtrack  will 
be  supplied.  Where  a  large  screen  has  been  installed  it 
will  be  necessary  to  secure  a  different  focal  length  lens. 
Otherwise,  if  sufficient  light  output  is  available,  any 
theatre  can  present  a  clear,  sharp  image  with  such 
exceptional  depth  of  field  that  any  seat  in  the  house  will 
be  acceptable.    For  general  use,  that  about  sums  it  up. 

It  might  bear  repeating,  however,  that  the  source  of 
the  VistaVision  picture  in  this  new  form  is  from  exposing 


I.  A.   CONVENTION   EDITION      •      July   1954 


23 


an  8-sprocket  hole  negative  horizontally  along  the  film. 
This  bigger  negative  with  more  detail  than  could  be 
photographed   on  the   standard   35-mm   size  carries  the 


1J3/1 


FIG.  3.  VistaVision 
standard  release 
print,  showing  the 
various  aspect  ra- 
tios from  1 .33  to 
1    to   2   to    1. 


sociation,  said:  "VistaVision  is  the  screen  presentation 
process  best  suited  to  all  the  theatres  of  Europe,"  and 
added:  "At  the  exhibitor  conference  in  Paris  on  May 
22-24,  we  had  demonstrations  of  various  aspect  ratios 
and  the  consensus  was  heavily  in  favor  of  the  1:85  to  1 
ratio.  This  is  the  picture  shape  which  Paramount  rec- 
ommends and  is  using  on  all  productions." 

During  the  same  week,  Mr.  Norman  B.  Rydge,  head 
of  the  Greater  Union  Theatres  of  Australia,  declared, 
"VistaVision  is  the  finest  picture  I  have  ever  seen  on 
any  screen,  anytime,  anywhere." 

As  VistaVision  goes  abroad,  Paramount  feels  that 
it  is  making  a  substantial  contribution  to  better  presenta- 
tion of  the  mightiest  of  entertainment  values,  the  motion 
picture. 


same  detail  through  reduction  to  release-print  size  and 
in  doing  so  practically  eliminates  the  annoying  grain 
that  characterizes  most  large  screen  blowups. 

Incidentally,  the  surveys  being  made  by  the  writer 
in  the  United  States,  Canada  and  Europe,  as  well  as 
those  being  made  in  the  Orient  and  South  America,  tend 
to  serve  another  purpose.  In  addition  to  the  knowledge 
gained  as  to  foreign  equipment,  theatres  and  other 
problems,  we  are  setting  up  actual  demonstrations  of 
VistaVision  to  acquaint  our  world  neighbors  with  the 
practical  possibilities  of  providing  better  motion  picture 
presentation  to  audiences  everywhere.  A  number  of  show- 
ings have  already  been  made  around  the  United  States 
and  a  great  many  fine  comments  have  come  to  us, 
especially  from  projectionists  who  appreciate  the  sim- 
plicity with  which  VistaVision  films  can  be  shown. 

Good  Presentation  Equipment  a  'Must' 

Our  program  is  designed  to  give  the  exhibitor  and 
the  projectionists  all  the  knowledge  we  can  accumulate 
with  respect  to  presenting  all  picture  products  to  the 
best  advantage.  No  demands  are  made  on  any  exhibitor, 
but  we  feel  that  to  get  the  best  results,  theatres  should 
have  good  equipment  including  good  projection  lenses, 
ample  light  and  good  seamless  screens  that  are  both 
high  and  wide.  While  forthcoming  Paramount  pictures 
can  be  exhibited  in  any  aspect  ration  from  1.33  to  1 
through  2  to  1,  we  strongly  recommend  a  ratio  of  1.85 
to  1  for  the  best  viewing. 

Visiting  in  Los  Angeles  recently,  and  after  viewing 
a  demonstration  of  Vista  Vision,  Mr.  Eric  A.  Pettersson, 
president  of  the  Swedish  Motion  Picture  Exhibitors  As- 


Full-size  reproduction  of  the  35- 
mm  release  print  made  from  the 
double-frame  VistaVision  negative. 
Latter  is  turned  90  degrees  and 
printed  down  to  area  shown. 
Resultant  print  gives  greater 
resolution. 


Metal  Reflectors  Meet 
Exacting  Requirements 


By  E.  B.  HEYER 
Heyer-Shultz,  Inc. 


N 


OT  so  long  ago  the  projection  reflector  was  a  prob- 
lem only  to  the  larger  theatres  and  drive-ins,  wherein 
breakage  from  excess  heat  was  not  only  a  threat  to 
efficient  performance  but  was  uneconomical.  To-day, 
however,  more  than  half  the  theatres  and  practically  all 
the  drive-ins  are  faced  with  this  heat  breakage  of  their 
back-silvered  reflectors.  Wider  and  larger  screens  call 
for  more  light,  and  inasmuch  as  light  and  heat  travel 
pretty  much  together,  this  means  more  heat  with  the 
extra  light  produced  by  the  larger  carbon  trims. 

The  H-S  metal  reflector,  introduced  to  the  trade  in 
1934,  is  today's  answer  to  this  problem.  It  cannot  break, 
will  not  pit,  tarnish  or  peal,  and,  because  of  the  five- 
year  guarantee,  it  is  economical.  Projectionists  find 
great  satisfaction  in  its  dependability,  in  the  knowledge 
that  this  reflector  will  never  break  and  let  the  show 
down. 

Performance  Characteristics  Cited 

As  for  "delivered  screen  light,"  in  laboratory  and 
field  tests  between  the  metal  reflector  and  the  back- 
silvered  type  of  reflector,  we  found  that  the  H-S  "52" 
aluminized  metal  reflector  rates  100%,  a  "selected" 
back-silvered  reflector  97%,  and  the  H-S  rhodium  metal 
reflector  85%. 

In  addition  to  its  dependability  and  economy,  this 
metal  reflector  faithfully  reproduces  on  the  screen  the 
white  light  of  the  arc  crater  and  maintains  this  high- 
quality  light  year  in  and  year  out.  H-S  metal  reflectors 
that  have  been  in  constant  use  for  more  than  15  years 
are  still  performing  efficiently. 

Over  a  long  period  of  time  the  metal  reflective  surface 
does  become  scratched  from  constant  cleaning,  however, 
and  many  of  these  older  reflectors  have  been  returned 
to  the  manufacturer  for  rehabilitation.   In  most  instances 

(Continued  on  page  46) 


24 


INTERNATIONAL  PROJECTIONIST      •      July   1954 


We  who  have  been  priviledged  for  so  many 
years  to  serve  the  projection  craft  with  fine 
optics  extend  cordial 


Greetings 


to  the  I.  A.  T.  S.  E. 
42nd   Convention 


Fine  optics  require  fine  craftsmanship— 
in  the  making  and  using.  This  combina- 
tion of  skill  in  the  making  and  using  of 
a  precision  instrument  is  a  guarantee  of 
mutual  progress. 

*      •       • 


PROJECTION  OPTICS  COMPANY,  INC. 


330  LYELL  AVENUE 


ROCHESTER  6,  N.  Y. 


A.  CONVENTION   EDITION      •      July  1954 


25 


Does  the  work  of 


TWO 

Rectifiers 


The  new  Robin-Arc  Rectifier  gives  you  th^  performance  of  TWO  rectifiers  for  the 
price  of  ONE.  This  versatile,  low  short-circuit  current  rectifier  covers  practically 
all  present  and  future  projection  requirements.  It  delivers  40,  50,  60,  70,  75  amps 
at  32  to  40  V,  or  up  to  100  amps  at  50  to  62  v,  by  simply  changing  taps  on  the 
panel. 

Robin-Arc  Rectifiers  are  of  the  high-reactance  type,  engineered  for  wide 
screen  and  3-D  systems.  They  reduce  damage  to  carbon  craters  when  striking  the 
arc,  and  eliminate  sputtering  which  causss  pitted  mirrors.  Conservative  ratings 
assure  long  life  and  freedom  from  trouble.  Designed  by  pioneers  in  the  motion 
picture  field  to  give  you  dependable,  efficient,  uniform  D.C.  power.  Immediate 
delivery 


ROBIN-ESCO  Super-Power 

MOTOR  GENERATORS 

A  quality  product  built  especially  for  motion  picture 
wide  screen  projection  service  and  is  available  in  60 
volts— 145  amperes,  80  volts— 135  amperes.  These  units 
may  be  operated  on  a  continuous  basis  at  these  ratings. 


OFQ' 


W^rite,  wire  or  phone  for 
details 

Sold    through 
indepsndant  supp'y   dealers 


J.  E.  ROBIN,  INC 

Motion  Picture  Equipment  Specialists 

267  Rhode  Island  Avenue 

EAST  ORANGE,  N.  J. 


Manufacturers  of 
RECTIFIERS  •  MOTOR-GENERATORS 
SCREENS    •    PROJECTION    LENSES 


26 


INTERNATIONAL  PROJECTIONIST 


July  1954 


Some  Questions  Answered  About  — 


Magnetic  Sound  Reproduction 


WILLIAM   BORBERG 

Chief  Mechanical  Design   Engineer 


A.   A.   LEONARD 

Applications  Engineering  Supervisor 


General  Precision  Laboratory,  Inc.,  Pleasantville,  N.  Y. 


I  ESTS  SHOW  that  the  present  four-track  head  will 
improve  in  response,  and  therefore  in  performance,  dur- 
ing the  first  100  hours  of  use.  The  performance  will  be 
nearly  uniform  between  100  and  700  hours.  Three  and 
three  quarter  million  feet  of  film,  or  more,  or  over  700 
hours  of  life,  can  be  expected.  Head  wear  will  then  be 
observed  to  affect  one  of  the  four  tracks,  most  likely 
track  No.  2,  and  this  sound  channel  will  deteriorate  in  a 
few  hours  completely. 

Thus,  a  worn  pickup  head  does  not  cause  a  sudden 
breakdown  of  the  show,  and  since  warning  is  given, 
replacement  can  be  made  in  time.  This  circumstance  has 
been  experienced  both  in  our  laboratory  and  in  theatres 
under  actual  operating  conditions. 

It  is  true  that  improper  head  adjustment  can  result  in 
a  drastic  reduction  in  head  life.  However,  as  maintenance 
personnel  have  become  more  familiar  with  the  criteria 
for  proper  adjustment,  this  factor  has  lost  the  importance 
it  had  when  magnetic  sound  was  first  introduced  in  the 
theatre. 

Filings,  Emery  and  Abrasives 

The  sound  tracks  in  a  magnetic  system  consist  of  care- 
fully compounded,  purified,  and  oriented  oxides  of  iron, 
supported  and  cemented  to  the  film  base  by  special  ad- 
hesives.  Probably  the  compound  most  nearly  like  that  of 
the  soundtrack  is  known  to  industry  in  general  as 
"rouge."  This  is  a  material  used  to  obtain  the  excellent 
surfaces  and  high  polish  we  expect  in  our  projection 
lenses.    It  certainly  does  not  scratch. 

Emery  is  a  fine-grained  impure  variety  of  corrundum 
mixed  with  other  minerals,  chiefly  magnetite."^  No 
aluminum  oxide  or  corrundum  will  be  found  in  the 
coundtrack.  Further,  inspection  of  a  head  after  use  will 
show  that  the  pole  shoes  are  highly  polished,  usually  with 
a  better  polish  than  the  original  one. 

Dust,  always  present,  contributes  greatly  to  wear.  The 
film  moving  at  1%  feet  per  second  may  also  become 
charged  and  may  atract  dust  particles.  Certainly  dust 
causes  a  great  deal  of  wear.  E.  W.  Franck,  of  Reeves 
Soundcraft  Corp.,  makes  the  following  statement  :- 
(Journal  of  the  S.M.P.T.E.,  April  1953,  p.  506) 

"I  think  it  would  clarify  the  thinking  somewhat  if  we 
think  of  head  wear  as  not  being  caused  by  the  coating 
but  by  the  dirt,  the  abrasive  dust  which  is  picked  up. 
The  film  base  iself  does  considerable  wearing  for  this 
reason — it  picks  up  a  lot  of  dust  and  dirt.   Some  types  of 


coatings  will  pick  up  more  dust  or  dirt  than  others  and 
hance  wear  the  head  more;  but  it  is  the  dirt,  more  than 
the  film  base  and  more  than  the  coatings,  which  does 
the  damage." 

Sprocl<et   Characteristics,   Performance 

Four-track  magnetic  sound  sprockets  do  have  narrow 
teeth.  This  is  not  their  only  difference  from  the  previous 
standard.  For  a  long  time  it  was  felt  necessary  to  main- 
tain a  tooth  spacing  to  accommodate  film  shrinkage  over 
a  wide  range.  Modern  film  base  does  no  shrink  as  much 
as  the  older  types,  therefore  the  diameter  of  the  new 
sprockets  has  been  increasd  slightly  to  permit  the  pitch 
or  spacing  of  the  teeth  to  be  increased.  This  results  in 
the  teeth  entering  and  leaving  the  film  perforations  with 
less  rubbing  or  "picking." 

Tests  have  been  run,  and  proof  is  available,  that  film 
with  standard  perforations  run  on  new  narrow-tooth 
sprockets  will  outlast  standard  film  on  old  sprockets.  Of 
course,  the  old  wide-tooth  sprockets  could  be  increased 
in  diameter,  too,  but  the  change  to  the  narrow  tooth 
and  greater  diameter  gives  essentially  the  same  increase 
in  film  life.  We  refer  to  the  statement  by  Dr.  E.  K. 
Carver,  Eastman-Kodak:'^ 

"In  the  very  beginning,  I  believe  that  20th-Fox  realized 
that  any  new  sprockets  they  made  would  have  to  run  at 
least  as  well  on  film  with  standard  perforations  as  the  old 
sprockets.  It  turns  out  that  if  you  do  not  increase  the 
diameter  of  the  sprockets,  you  get  slightly  worse  results; 
but  if  you  use  an  intermittent  sprocket  with  a  diameter 
of  0.953  inches,  you  get  at  least  five  times  as  good  results 
as  far  as  wear  and  tear  on  the  film  goes  as  you  would 
with  a  0.935  sprocket.  You  also  get  better  results  than 
if  you  use  a  0.943  sprocket,  which  incidentally,  is  an 
ASA  standard.  The  0.953  sprocket  more  than  compen- 
sates for  any  decrease  in  wear  you  might  get  with  the 
narrower  teeth." 

Magnetic  Fields  Damage  Soundtracks 

A  projector  containing  magnetized  parts  will  certainly 
introduce  some  peculiar  and  most  annoying  sounds  which 
may  become  a  permanent  part  of  the  soundtrack.  It  is 
not  difficult  to  de-magnetize  a  projector,  and  once  de- 
magnetized it  will  stay  de-magnetized  unless  someone 
places  a  magnet  in  contact  with  it.  The  de-magnetizing 
technique  was  not  thoroughly  understood  when  magnetic 


I.  A.   CONVENTION   EDITION 


July   1954 


27 


sound  was  first  introduced,  and  some  fantastic  stories, 
not  founded  wholly  on  fact,  have  been  built  up. 

The  truth  is  that  a  mechanism,  sufficiently  de-mag- 
netized, will  stay  that  way.  No  magnetic  disturbances 
will  occur.  Film  may  be  handled  in  the  usual  manner, 
and  it  may  be  wound  and  stored  on  steel  reels  without 
harm.  Of  course,  it  could  be  damaged  by  draping  it  over 
magnetized  objects,  but  this  will  also  damage  it  from  a 
dirt  standpoint.  We  assume  that  no  projectionist  would 
so  mishandle  film. 

The  only  mechanical  damage  to  magnetic  soundtracks 
that  has  been  reliably  reported  to  us  has  been  caused  by 
rough  surfaces,  or  projecting  burrs,  plowing  grooves  into 
the  track.  This  would  also  have  caused  damage  to  film 
with  optical  sound  track.  Tracks  1,  2  and  3  are  0.013 
inch  wider  than  the  pole-shoes  of  the  reproducing  head; 
track  4,  however,  is  narrower  than  its  pole-shoe.  The 
type  of  grooving  that  might  conceivably  be  caused  by 
this  unequal  width  of  track  and  head  has  simply  not 
been  observed. 

Film  Stresses  Not  "Excessive" 

The  belief  that  the  film  is  under  excessive  tension  due 
to  the  penthouse  reproducer  is  not  true.  The  normal 
tension  on  the  film  between  feed  sprocket  and  upper 
magazine  varies  from  about  1  to  4  ouncs,  this  variation 
being  caused  by  the  changing  amount  of  film  on  the 
upper  reel. 

When  the  film  is  threaded  through  the  penthouse  re- 
producer, the  pulling  force  is  increased  by  1  or  2  ounces. 
The  total  tension  is  negligible  in  terms  of  film  wear  as 
compared  with  tension  up  to  20  ounces  or  more  caused 
by  some  types  of  takeup  mechanism. 

Soundtrack  Life  and  Performance 

It  is  recognized  that  the  performance  of  magnetic 
sound  on  35-mm  film  is  superior  to  photographic  sound 
in  frequency  response  as  well  as  in  dynamic  range.  After 
nine  months  of  field  experience,  it  can  now  be  stated 
that  composite  4-track  magnetic  sound  films  have  re- 
peatedly run  over  500  showings  and  still  retain  their 
sound  quality.  It  is  well  known  that  photographic  sound 
tracks  after  a  similar  number  of  projector  transits  will 
deteriorate  because  of  scratches,  oil,  and  dirt  in  the  track 
region. 


"Unwept  and  Unsung" 


By  DR.  ALFRED  N.  GOLDSMITH 


I  F  the  motion  picture  audiences  were  asked  what  the 
I.A.T.S.E.  was,  what  its  members  did,  and  what  would 
happen  if  there  were  no  I.A.T.S.E.,  probably  very  few 
correct  answers  would  be  forthcoming.  This  is  truly 
astonishing.  For  the  I.  A.  is  the  very  focus  and  center 
of  motion  pictures.  Its  members  are  involved  in  almost 
every  step  in  motion  pictures  from  production  through 
exhibition.  Their  knowledge,  skill,  and  experience  are 
the  major  factors  which  make  motion  pictures  possible. 


In  a  word:  if  there  were  no  such  organization  as  the 
I.  A.,  there  would  be  no  such  assemblages  as  theatre 
audiences! 

Consider,  for  example,  just  a  few  of  the  basic  tasks 
which  the  I.  A.  members  carry  out  steadily  and  cor- 
rectly, year  after  year,  and  often  under  unusually 
difficult  or  emergency  conditions.  In  the  studios  there  are 
endless  production  jobs  which  require  I.  A.  technicians 
and  craftsmen.  In  the  theatre  itself,  the  same  require- 
ments hold.  In  the  laboratories  and  exchanges,  as  well, 
some  of  the  tasks  could  not  be  carried  out  unless  I.  A. 
men  were  available. 

These  men  and  women  are  the  unsung  workers  of  the 
dramas  and  comedies  which  bring  entertainment,  happi- 
ness, and  relief  from  the  cares  of  everyday  life  to  so 
many  millions  of  people.  In  the  realm  of  television 
broadcasting  and  theater  Tv,  the  same  condition  exists, 
and  the  public  again  receives  its  airborne  entertainment 
through  the  cooperation  and  efforts  of  all  categories  of 
the  I.  A.  membership. 

Always  Behind,  Not  in,  the  Spotlight 

All  of  this  being  the  case,  how  does  it  come  about 
that  everyone  knows  a  movie  star  and  so  few  know 
anything  about  I.  A.  workers?  One  reason,  of  course, 
is  that  the  I.  A.  man  works  largely  behind  the  scenes. 
He  is  never  in  the  spotlight,  but  rather  behind  it. 
Others  may  supply  the  glamor  and  excitement  which 
makes  so  immediate  and  marked  an  impression  on  the 
public.  But  the  I.  A.  man  supplies  the  brain  and  brawn 
behind  the  show.  As  a  genuine  rather  than  an  artificially 
glamorized  worker,  he  is  at  a  great  disadvantage  insofar 
as  publicity  is  concerned. 

Despite  this  lack  of  public  knowledge  and  recognition, 
I.  A.  members  have  done  a  great  job.  Whenever  a 
new  and  difficult  task  has  been  unloaded  upon  them, 
they  have  responded  speedily  and  effectively.  Indeed, 
taken  by  and  large,  rarely  has  any  industry  had  such 
prompt,  complete,  and  even  enthusiastic  support  from 
its  workers  as  has  been  enjoyed  by  the  motion  picture 
field. 

i 

Industry  Attitude  Overall  Astonishing 

This  makes  it  a  bit  astonishing  that  the  industry  itself 
has  not  devoted  more  time  and  thought  to  these  quiet 
men  behind  the  scenes.  It  is  easy  enough  to  understand 
why  the  audience  does  not  know  of  them.  After  all,  the 
average  theatergoer  has  little  idea  of  what  it  takes  to 
produce  a  motion  picture  and  to  deliver  it  exquisitely 
clear,  in  brilliant  color  and  with  natural  sound,  on  the 
theater  screen.  The  methods  of  the  lA  workers  are 
fairly  technical  and  complex. 

Similarly,  it  is  natural  that  the  public  itself  knows 
little  of  the  I.  A.  and  its  place  in  the  field.  And,  in 
general,  the  legislators  have  as  incomplete  or  even  in- 
correct information  as  does  the  general  public  in  these 
matters. 

But  it  is  much  more  strange  that  the  industry  itself, 
including  its  skilled  commercial  executives,  seems  to 
have  only  the  sketchiest  information  concerning  the 
great  group  of  skilled  technicians  which  makes  the  in- 
dustry possible.  Indeed,  at  times  it  seemed  almost  as  if 
the  industry  were  not  particularly  interested  in  the 
(Continued  on  page  45j 


28 


INTERNATIONAL  PROJECTIONIST      •     Ju!y  T954 


Greetings  to 

Our  Friends 

of  the 

I  ATS  E 

from  the  boys 

at  Strong 


I'^Jt^ 


Send  today  for  full  details  on  the 
Strang  Super  "135"  and  Mighty 
"90"      projection      arc      lamps. 


ONLY  STRONG  HAS  A  LIGHTRONIC 
CRATER  -  POSITIONING  SYSTEM 

A  sincere  effort  has  been  expended  to  the  end  of  attaining  near 
perfection  in  the  presentation  of  this  new  projection  technique.  Best  possi- 
ble screen  lighting  has  been  a  major  objective  —  the  most  light,  evenly 
distributed,  of  constant   intensity   and    unchanging   color   value. 

These  exacting  high  standards  have  been  realized  with  the  develop- 
ment of  Strong's  exclusive  Lightronic  crater-positioning  system  which  auto- 
matically maintains  the  position  of  the  positive  arc  crater  at  the  EXACT 
focal  point  of  the  reflector.  Manual  adjustments,  which  at  best  lead  to 
uncertain  results,  hove  been  made  entirely  unnecessary. 

The  positive  and  negative  carbons  are  advanced  by  separate  motors, 
the  speeds  of  which  are  governed  by  the  Bi-meto!  Lightronic  Tube.  Once 
the  arc  has  been  struck,  the  crater  position  and  gap  length  are  maintained 
automatically. 


^ —        are  used  on  most 
CinemaScoPE  installations 


THE  STRONG  ELECTRIC  CORPORATION 

'The  World's  Largest  Manufacturer  of  Projection  Arc  Lamps" 
31    CITY   PARK   AVENUE  TOLEDO    2,    OH  O 

Please  send  free   literature   on   Strong   Super   "135"  and   Migh'y   "90"   projection   lamps. 
NAME 


THEATRE    

STREET     

CITY   &   STATE 


A.  CONVENTION  EDITION     •     July  1954 


29 


Evolution  of  the  Simplex  Projector 


By  EDWARD  B.  GARRISON 


I  HE  BASIC  requirements  of  machine  fitting  placed 
the  thousandth  of  an  inch  as  the  limit  of  latitude,  and 
on  important  parts  ten-thousandths  of  an  inch."  This 
was  the  credo  of  Francis  B.  Cannock,  who,  together  with 
Edwin  S.  Porter,  laid  the  foundation  for  the  design  and 
manufacture  of  the  precision  instrument  which  is  known 
throughout  the  world  as  the  Simplex  motion  picture 
projector. 

But  preceeding  the  Simplex  projector  were  a  series  of 
events  which  left  a  deep  impress  on  motion  picture  tech- 
nological development  and  contributed  substantially  to 
the  present  structure  of  International  Projection  Corp. 
These  events  stemmed  from  the  brain,  hand  and  heart 
of  Nicholas  Power.  Posessed  of  great  inventive  ability 
and  an  agile  and  far-seeing  business  talent,  Nicholas 
Power  built  his  first  projector,  the  Peerlescope,  in  1902 
in  a  little  shop  on  Nassau  St.  in  New  York  City. 

This  projector  was  equipped  with  a  gaslight  source 
and  was  belt-driven  directly  from  the  rim  of  the  crank- 
wheel.  The  film,  upon  passing  through  the  projector, 
dropped  into  a  cloth  bag  which,  however,  was  soon 
replaced  by  a  sheet  metal  box.  As  much  as  3000  feet  of 
film  was  run  into  this  box  in  a  loose  heap,  with  the  ends 
of  each  reel  left  hanging  out  of  the  opening  to  be  re- 
trieved later  for  rewinding. 

Contemporary  with  the  Powers  projector  were  the 
Edison  Kinetoscope,  the  Lubin,  the  Dressier,  and  the 
Vitascope  (built  by  Thomas  Armat  and  reputedly  the 
first  loop-forming  mechanism).  There  were  several  other 


"-graphs"  and  "-scopes"  marketed  during  the  ensuing  five 
years,   among  which  was  the  Standard  projector. 

All  this  equipment  was  extremely  crude,  by  present- 
day  standards  althought  it  was  used  with  fair  success 
in  the  "store  shows"  of  those  days.  Nicholas  Power, 
however,  with  his  great  flair  for  this  type  of  apparatus, 
quickly  replaced  model  after  model,  each  succeeding  one 
being  a  great  improvement  over  its  predecessor. 

Basis  for  Success  of  the  Powers 

From  the  beginning  Nicholas  Power  began  to  build 
up  a  strong  patent  wall  around  his  developments,  beirig 
the  first  to  invent  (1904)  a  satisfactory  device  for  cen- 
tering the  picture  in  the  aperture  while  the  projector  was 
operating,  thus  obviating  the  need  for  shutting  down  the 
equipment  and  showing  a  slide  very  common  in  those 
days:  "One  minute,  please,  to  frame  picture."  Two  years 
later  Power  obtained  two  other  valuable  patents  covering 
the  takeup  device,  or  method  of  "rolling  a  film  on  a 
lower  reel  without  tearing  the  film  during  the  operation," 
and  the  basic  patent  covering  upper  and  lower  film  mag- 
azines having  fire-prevention  film  valves. 

These  three  patents  were  the  basis  for  the  subsequent 
success  of  Nicholas  Power  and  his  successor,  Nicholas 
Power  Co.,  a  corporation  formed  in  1907.  Between  1904 
and  1922  Nicholas  Power  obtained  57  patents  covering 
the  design  and  construction  of  important  improvements 
in  Power's  projectors  Nos.  4,  5,  6,  6A,  and  6B,  the  latter 
being  the  last  one  manufactured.    These  patents  covered 


The   famous   Powers   No.   6   Cameragraph 
(1909)   having   a   solid-pin   movement  and 
employing   the   then   conventional   straight 
arc   for   illumination. 


The  6B  v/as  the  last  Pov/ers  made  (1920) 

utilizing  a   roller-pin  cross  movement.  No. 

7    Powers    was    designed    but   was    never 

manufactured. 


Old     standby     through     the     years  —  the 

Regular  Simplex  (1910).  Note  old  framing 

lever.     Light    source    shown    here    is    the 

first  McAuley  reflector  lamp. 


30- 


INTERNATIONAL  PROJECTIONIST      «      July  1954 


many  important  devices,  among  which  were  means  for: 
1.     Preventing   the   breaking   of   film   between   the 
intermittent  movement  and  take-up  sprocket.    2.  An 
automatic  fire  shutter  interposed  between  the  film  and 
he  illuminant.    3.  Further  developments  and  improve- 
ments  in   film   magazines   and   fire-prevention   means 
therefor. 
The  latter  three  patents,  along  with  many  others,  were 
issued  prior  to  1914  and  apply  to  the  Powers  Nos.  4  and 
5  projectors. 

About  1909  a  very  important  development  took  place 
in  projector  construction — the  introduction  of  the  Powers 
No.  6  Cameragraph  which  embodied  a  fundamentally 
new  principle  of  intermittent  movement  whereby  the  film 
was  moved  down  from  frame  to  frame  successively  for 
projection,  the  period  of  movement  being  obscured  from 
the  screen,  and  one  picture  at  a  time  being  exposed  to 
the  illuminant;  the  exposure  and  cut-off  were  brought 
about  by  a  revolving  shutter  synchronized  with  the  inter- 
mittent and  this  synchonism  being  maintained  regardless 
of  the  framing  position  of  the  intermittent  assembly. 

This  new  movement  was  very  much  faster  in  its  pull- 
down period  than  anything  previously  attempted,  thus 
allowing  a  longer  exposure  to  the  screen  and,  therefore, 
greater  illumination.  It  was  this  improvement  which 
forced  other  early  competitors  from  the  market. 

While  theoretically  practical,  the  first  model  of  this 
new-type  movement  was  not  altogether  successful,  due 
to  mechanical  difficulties;  but  it  was  quickly  replaced 
with  a  device  of  similar  construction  which  constituted 
the  movement  of  the  most  recent  and  wholly  successful 
Powers  projector. 

The  Powers  6A  Marked  an  Epoch 

The  Powers  6A  projector  was  marketed  in  1911,  this 
being  an  all-metal  equipment  including  stand,  lamphouse, 
magazines  and  the  No.  6  mechanism,  thus  eliminating 
the  flimsy  wooden  tableboard.  The  6A  enjoyed  tre- 
mendous success  for  many  years,  the  period  1912  to  1916 
witnessing  many  major  projector  advances  of  which  the 
following  are  especially  noteworthy: 

A  new  stand  or  pedestal  with  a  new  takeup  device  and 
means  for  making  what  had  by  this  time  become  neces- 
sary adjustments;  a  new  and  sturdier  lamphouse  to 
handle  the  increasing  demands  for  higher  currents  for 
illuminants;    motor-driving   means,    the    fire    authorities 


The    X-L 

projector 
m  e  c  h  a  n- 
ism,  latest 
in  the  Sim- 
plex -  Inter- 
na  tional 
Projector 
Corp.  series 
of  projec- 
tors. 


The  Simplex  E-7  with  soundhead  attachment. 
A.  CONVENTION  EDITION      •     July  1954 


having  then  begun  to  allow  the  use  of  such  drives;  a 
combination  of  fire-prevention  devices;  a  mechanical 
variable-speed  control  and  motor  assembly;  film  tension 
shoes  for  projector  gates  whereby  the  film  was  held 
accurately  in  the  focal  plane  for  proper  screen  focus  of 
the  image;  an  improved  method  of  framing  the  image; 
a  lamphouse  unit  for  use  with  the  highly  efiicient  incan- 
descent lamps  developed  about  that  time,  and  a  funda- 
mentally new  principle  in  automatic  speed-controlling 
mechanism  for  use  with  projector  drive  motors. 

Powers  Awarded  Basic  Patents 

Many  other  patents  were  issued  to  Nicholas  Power  Co., 
including  a  great  number  covering  a  complete  motion 
picture  projector  embodying  numerous  basic  ideas  and 
improvements.  This  new  projector  was  to  be  known  as 
the  Powers  No.  7;  but  it  was  never  put  into  production. 
The  year  1911  saw  only  two  active  projector  manufac- 
turers; but  beyond  the  horizon  was  brewing  a  storm  of 
formidable  proportions,  the  first  faint  clouds  of  which 
were  barely  visible.  The  Simplex  projector  was  on  the 
way. 

In  1909  two  new  organizations  had  entered  the  field: 
the  Precision  Machine  Co.  which  took  over  the  inventions 
of  Francis  B.  Cannock  which  were  represented  by  the 
Edengraph,  forerunner  of  the  Simplex  projector;  and  the 
American  Motion  Picture  Machine  Co.,  which  developed 
the  Standard  projector.  The  latter  company  failed  in 
1913,  however,  leaving  but  three  surviving  projector 
manufacturers:  Nicholas  Power,  Precision  Machine  Co., 
and  Enterprise  Optical  Co. 

First  Simplex  Scored  Many  Advances 

The  Precision  group  lost  no  time  in  giving  strenuous 
and  persistent  battle  to  Nicholas  Power  Co.,  and  after 
only  three  years  of  intensive  competition  the  Simplex 
projector  was  firmly  established  on  the  market.  Thus 
was  established  the  basis  for  the  famous  Power-Simplex 
feud,  with  the  proponents  of  each  projector  proving 
ready  literally  at  the  dropping  of  a  word  to  vociferously, 
and  often  militantly,  defend  the  projector  of  their  choice. 

The  Simplex  projector  was  of  entirely  different  design 

(Continued  on  page  43) 


31 


PERSPECTA-the  All-Purpose  Recording 


and  Reproducing  Sound  System 


W. 


ITH  the  introduction  of  wide-screen  techniques  and 
the  warm  acceptance  by  the  public  of  these  dramatically 
more  effective  pictures,  a  problem  was  posed  as  to  the 
enhancement  of  these  presentations  through  the  use  of 
directional  or  stereophonic  sound. 

The  first  of  these  pioneering  efforts  in  stereophonic 
sound  quickly  answered  the  question  as  to  the  distribu- 
tion of  stereophonic  sound  with  a  larger  picture  presenta- 
tion. It  was  overwhelming;  yet  it  proved  that  both 
direction  and  volume  enhancement  with  the  enlarged  pic- 
ture added  tremendously  to  the  dramatic  effectiveness  of 
the  over-all  subject  material.  Several  systems  have  been 
used,  each  of  which  possess  advantages  and  disadvan- 
tages. In  an  effort  toward  industry  standardization,  as 
well  as  minimizing  costs  for  producers  and  exhibitors, 
Perspecta  Stereophonic  Sound  was  developed. 

"Standard"  Stereophonic  Sound  the  Aim 

The  development  was  based  upon  observations  of  what 
constituted  stereophonic  sound  as  we  heard  it  in  the 
theatre  and  how  it  could  be  achieved  through  the  use  of 
standard  or  non-recording  mediums  in  such  a  way  as 
not  to  limit  the  use  of  the  product  only  to  theatres 
equipped  with  special  devices  for  reproduction. 

It  was  obvious  that  magnetic-striped  film  could  not  be 
played  in  a  theatre  without  the  proper  type  of  reproduc- 
tion heads  and  that  it  would  be  necessary  in  a  general 
run  of  a  double  feature  with  associated  short  subjects 
and  newsreels  for  the  projectionist  to  be  constantly  aware 
of  the  type  of  product  so  that  he  could  switch  between 
magnetic  reproduction  and  standard  optical  reproduc- 
tion, creating  somewhat  of  an  operational  problem. 
Also,  this  product  could  not  be  distributed  as  before 
because  of  the  need  of  special  equipment,  thus  a  theatre 
equipped  for  magnetic  reproduction  was  limited  to  fewer 
sources  of  product. 

A  Completely  Compatible  Optical  Track 

The  development  then  narrowed  itself  down  to  creat- 
ing an  optical  track  that  would  be  completely  compatible 
encompassing  some  form  of  information  so  that  if  used 
with  the  Perspecta  Stereo  Integrator  equipment  (Fig.  1) 
it  would  reproduce  with  all  the  advantages  of  stereo- 
phonic sound  both  in  quality  and  direction,  and  that  if 
the  same  track  were  run  on  a  standard  projector  in  an 
average  theatre  it  would  reproduce  as  a  standard  single- 
channel  normal  optical  track. 


By  ROBERT  FINE 

Fine  Sound,  Incorporated 


There  have  been  many  comments  and  discussions  as 
to  the  merits  of  optical  vs.  magnetic  track.  With  much 
misinformation  circulating,  there  exists  general  confu- 
sion. There  is  no  doubt  that  optical  track  can  efl&ciently 
encompass  the  frequency  range  necessary  to  create  life- 
like reproduction  of  sound  through  the  Perspecta  stereo 
system.  If  the  optical  track  be  properly  reproduced,  it 
is  generally  almost  impossible  on  an  audience  level  to 
differentiate  between  Prespecta  stereo  sound  and  any  3- 
or  4-stripe  magnetic  system.  Here  again  it  is  neces- 
sary to  keep  in  mind  that  this  same  track  is  completely 
compatible  and  can  be  played  either  as  a  single  standard 
track  or  in  conjunction  with  the  Perspecta  stereo  sound 
Integrator  as  stereo  reproduction. 

How  The  System  Works 

The  Perspecta  system  utilizes  a  single  optical  sound- 
track. In  addition  to  the  audible  sound,  three  sub- 
audible  low-frequency  control  signals  are  recorded.  The 
variance  in  amplitude  of  each  low-frequency  control 
signal  controls  the  volume  of  reproduction  through  the 
corresponding  amplifier  horn  channel. 

Initial  tests  indicated  that  it  was  possible  to  introduce 
low-frequency  controlling  signals  recorded  simultaneous- 
ly, with  the  relative  complex  wave  forms,  and  still  main- 
tain quality  audio,  and  at  the  same  time  leave  suflScient 
energy  of  the  controlling  signals  to  operate  over  a  wide 
range  of  volume  control.  It  was  then  necessary  to  as- 
certain the  maximum  low-frequency  level  that  could  be 

FIG.  1.  Front  view  of  Integrator  Unit  used  for  the  Fine 
Perspecta  sound  reproducing;  system. 


J^: 


n. 


*:• 


^^^^^^^^^^^■', 


M  ^' '  *.  ^^\^' 


t^ 


32 


INTERNATIONAL  PROJECTIONIST     •     July  1954 


used    without    sacrificing    compatibility    or    introducing 
intermodulation  distortion. 

Standards  for  Low-Frequency  Control  Track 

The  first  series  of  tests  comprised  low  frequency- 
control  signals  in  varying  amplitudes.  First,  singular 
signals,  and  then  varying  combinations  of  the  three  basic 
control  signals  for  observation  of  any  in-phase  additive 
conditions  that  might  cause  either  amplitude  modulation 
of  the  complex  waveform  or  an  undue  amount  of  har- 
monic distortion.  After  a  survey  in  a  number  of  the- 
atres, the  standards  of  control  signal  levels  were  set 
as  they  now  exist.    The  standards  are  that: 

The  maximum  amplitude  of  any  control  frequency 
shall  not  exceed  16  db  below  a  100%  constant  tone  level 
based  on  area  film  recording  with  a  76-mil  peak-to-peak 
voltage.  There  is  a  test  reel  that  incorporates  a  series 
of  test  signals  to  align  the  Integrator  equipment,  con- 
sisting of  combinations  of  control  signal  and  100%  tone 
modulation  at  a  16  db  differential.  This  calibration 
represents  the  maximum  reproduction  volume  level  con- 
trol that  would  be  apparent  in  the  theatre  when  the  con- 
trol signal  reaches  this  16  db  point. 

In  mixing  or  scoring  the  film,  to  allow  for  the  normal 
dynamic  range  of  the  film  track,  it  was  found  desirable 
to  set  the  average  mixing  control  signal  amplitude  5  db 
below  its  maximum  level  or  at  approximately  minus  21 
db  with  reference  to  100%  tone.  This  allows  leeway  for 
further  dynamic  enhancement  beyond  the  limitations  of 
the  optical  recording  for  effects  and  musical  sequences. 

"Perspecta"  Not  a  Switching  System 

It  should  be  emphasized  that  Perspecta  stereo  sound 
is  not  a  switching  system.  Continuously  varying  ampli- 
tudes of  control  govern  the  output  level  of  each  of  the 
three  horn  channels,  thus  giving  an  extremely  smooth 
directional  effect  without  jump  between  channels. 

In  the  final  release  track,  then,  the  average  amplitude 
of  any  of  the  control  signals  does  not  exceed  21  db 
below  100%  tone,  except  for  effects  or  music  sequences, 
thus  insuring  a  greater  compatability  of  the  Perspecta 
release  track.  The  generation  for  the  control  signal,  as 
installed  at  M-G-M,  Warners  and  Paramount,  consists 
of  three  master  oscillators,  the  frequency  of  which  is  set 

FIG.  2.  Rear  exposed  view  of  components  of  the  Inte- 
grator Unit  of  the  Perspecta  sound  system. 


with  the  use  of  precise  observations  on  an  oscilliscope 
against  the  60-cycle  line  frequency.  One  set  of  master 
oscillators  can  supply  all  the  re-recording  and  mixing 
channels  through  the  use  of  appropriate  bridging  ampli- 
fiers or  pad  networks. 

The  Integrator,  the  heart  of  the  system  to  which  we 
have  been  referring  (Fig.  2)   works  as  follows: 

It  incorporates  a  pre-amplifier  with  enough  gain  to 
accommodate  any  type  of  output  level  from  any  type  of 
projector.  The  output  of  this  pre-amplifier  is  fed  into 
two  filters.  On  the  audio  side,  a  63-cycle,  high-pass 
filter  system  and  booster  amplifier  feeds  a  buss  connect- 
ing to  the  inputs  of  the  three  controlled  push-pull  stages, 
so  that  the  same  audio  signal  is  available  at  the  input  of 
each  of  the  three  controlled  amplifiers. 

A  63-cycle,  low-pass  filter  system  with  another  booster 
amplifier  feeds  the  inputs  of  the  three  band-pass  filters. 
This  low-pass  filtering  removes  the  largest  component  of 
complex  audio  program,  and  primarily  the  only  intel- 
ligence at  this  point  is  a  composite  of  the  control  signals. 
Each  of  the  band-pass  filters  is  unique  in  the  following 
features : 

Physical  Size: 

A  great  deal  of  engineering  has  been  done  to  re- 
duce the  size  of  these  low-frequency  units. 

Electrical  Response: 

They  have  a  2-cycle  bandwidth,  to  allow  for  a  varia- 
tion up  to  4%  in  the  speed  of  the  projector.  At  the 
same  time,  the  filters  produce  a  20  db  rejection  at  the 
5-cycle  point  between  each  of  the  channels  to  give 
adequate  separation  between  control  channels. 

Each  of  the  low-frequency  control  signals  after  ac- 
ceptance by  its  corresponding  band-pass  filter  is  again 
amplified  and  sent  through  an  appropriate  coupling 
to  a  diode  rectifier  system.  The  amount  of  rectified 
voltage  appearing  on  the  output  of  the  diode  rectifier 
sections  is  linearly  equivalent  to  the  amplitude  of  the 
low-frequency  control  signal  that  was  introduced  to  the 
input  of  the  band  pass  filter. 

It  is  obvious,  therefore,  that  the  unit  operates  on  a 
1-to-l  ratio  through  its  controlled  range.  Simply  ex- 
pressed, this  means  a  1  db  change  in  output  level  of  the 
controlled  push-pull  amplifier  section.  This  insures  a 
smooth  change  in  volume  when  changing  directional 
characteristics  by  variance  of  control  signal  amplitude 
from  one  band  pass  section  to  another. 

Novel  Automatic  Switching  Device 

The  unit  also  incorporates  an  auto-switching  device, 
which  is  necessary  to  complete  the  pattern  of  compata- 
bility.    This  auto-switching  circuit  performs  as  follows: 

The  presence  of  any  control  signal  of  normal  ampli- 
tude for  a  period  in  excess  of  7  seconds  activates  a  relay 
system  which  connects  the  output  of  each  of  the  recti- 
fied components  of  the  low-frequency  controlling  signals, 
to  control  the  bias  of  its  corresponding  push-pull  con- 
trolled amplifier  stage. 

Absence  of  all  low-frequency  control  signal  for   1^2 

seconds  causes  the  auto-switching  unit  to  deactivate  the 

relay  system.     Under  this  condition,  a  bias  equal  to  the 

cut-off  value  of  the  push-pull  stages  is  applied  to  the  two 

(Continued  on  page  41) 


I.  A.  CONVENTION   EDITION      •      July   1954 


33 


From  Magic  Lantern  to  Giant 
Screen,  Stereo  Sound 


Ms  MOTIOGRAPH  nears  its  60th  anniversary,  this 
pioneer  motion  picture  equipment  manufacturer  can 
proudly  share  that  occasion  with  the  entire  industry, 
having  made  its  start  in  the  mid-'90s,  shortly  before  the 
first  commercial  film  showing  in  America.  It  was  in  that 
period,  too,  that  the  Optigraph,  the  first  of  a  long  series 
of  projectors,  was  introduced  by  this  company. 

In  the  years  since,  Motiograph  has  developed  a  com- 
plete line  of  sight-and-sound  projection  equipment.  Each 
new  model  produced  down  through  the  years  was  evolved 
through  efficient  engineering,  experienced  workmanship 
and  well-made  parts. 

"Entertainment  Packet"  Including  "Magic  Lantern" 

It  was  in  1896 — 58  years  ago — that  motion  pictures 
were  first  shown  in  a  regular  theatre.  The  curtain  rose 
on  the  famed  nickelodeon.  Nearly  a  hundred  years  of 
diligent  endeavor  had  made  this  nickelodeon  possible. 
In  this  setting  Motiograph  made  its  bow  by  introducing 
the  Optigraph,  first  of  a  long  series  of  projectors. 

Alvah  C.  Roebuck,  native  of  Lafayette,  Ind.,  and  the 
Roebuck  of  the  famed  mail  order  house,  conceived  the 


By  H.  T.  MATTHEWS 

Motiograph,  Incorporated 

idea  of  offering  an  "entertainment  outfit"  by  which  the 
purchaser  might  liven  up  church  social  activities  and  at 
the  same  time  earn  some  extra  money  for  himself  and 
the  church. 

In  1896  this  offer  included  a  "magic  lantern,"  several 
sets  of  slides,  a  supply  of  advertising  posters,  admission 
tickets:  and  a  book  of  instructions.  The  idea  was  a 
great  success,  orders  poured  in  from  all  parts  of  the 
country  to  Enterprise  Optical  Mfg.  Co.,  predecessor  of 
Motiograph,  Inc.  Also,  plans  were  being  made  to 
"shoot"  the  Corbett-Fitzsimmons  championship  fight  at 
Carson  City,  Nev.,  and  also  a  reenactment  of  the  Obe- 
rammergau  Passion  Play,  done  in  New  York. 

Viewing  all  this  activity.  Roebuck  envisaged  a  tre- 
mendous future  for  this  new  entertainment  medium. 
Consequently  in  1898  he  set  upon  the  production  of  what 
has  since  come  to  be  recognized  as  the  first  practical  mo- 
tion picture  projector — the  Optigraph. 

But  the  Optigraph  was  not  to  remain  long  in  the 
state  of  its  first  model.  Improvements  were  many  and 
rapid,  including  a  redesigned  mechanism,   and  efficient 


The  First  20-Year  Span  in  the  Development  of  Motiograph 


^ 


Below  (center  cut):  the 
Optigraph,  one  of  the 
first  practical  motion 
picture  projectors  and 
forerunner  of  the  Motio- 
graph series  of  pro- 
jectors. 


Model    1A   Motiograph    (1908)    had   a   strong   cast 

iron    base,    instead    of    small    tubular    legs,    and 

an   improved   shutter.    The  first  truly  commercial 

Motiograph   unit. 


Model     E     Motiograph     (1916)     with     motor     be- 
neath  the   lower   magazine   operating   the   mech- 
anism    by     belts.      Positive    speed     control,    and 
new   condenser   mount. 


34 


INTERNATIONAL  PROJECTIONIST      •      July  1954 


framing  device  and  a  takeup  reel  which  provided  more 
safety  and  greater  film  protection. 

Roebuck's  vision  was  taking  shape.  National  news 
events  were  now  being  filmed,  among  them  the  funeral 
procession  for  the  victims  of  the  U.  S.  S.  Maine,  and  the 
embarkation  of  Teddy  Roosevelt's  famous  Rough  Riders 
for  Cuba. 

lA  Mechanism  Moth's  Real  Bid  for  Prominence 

Motiograph's  real  bid  for  a  prominent  position  in  the 
theatre  equipment  field  was  made  in  1908,  when  Roe- 
buck produced  his  Motiograph  Model  lA,  well- 
engineered  and  even  today  considered  a  high-grade  pro- 
jector. The  lA  boasted  an  improved  shutter,  a  very  ac- 
curate Geneva  movement,  and  a  strong  cast-iron,  circular- 
base  pedestal,  instead  of  small,  tubular  legs.  The  crank 
and  stereoptican  arrangement  of  the  earlier  models  was 
retained. 

Roebuck's  constant  desire  to  maintain  a  margin  of 
superiority  by  means  of  improvements  and  new  inven- 
tions resulted  in  a  new  projector,  the  Model  D  Motio- 
graph. In  a  short  space  of  time,  he  received  nearly  100 
successful  patents.  One  of  the  many  changes  incor- 
porated in  the  new  models  included  the  first  double 
shutter  of  the  Model  D. 

The  next  epoch  in  Motiograph  history  was  the  Model 
E,  produced  in  1916.  Among  the  principal  new  develop- 
ments of  this  projector  were  the  positioning  of  the 
motor  beneath  the  lower  magazine.  This  operated  the 
mechanism  by  belts  and  was  provided  with  a  speed  con- 
trol that  made  speed  variation  absolutely  mechanical  and 
positive.  A  newly-designed  condenser  mount  enabled 
removal  of  the  lenses  without  touching  them.  Both  the 
stand  and  the  magazines  embodied  revolutionary  im- 
provements in  design. 

The  Model  E  appeared  at  a  time  when  theatremen 
were  becoming  more  projection-conscious.  They  were 
paying  better  prices  for  better  pictures  like  Griffith's  "In- 
tolerance" and  Charles  Chaplin's  "The  Floor  Walker." 
By  1917  there  were  17,000  theatres  in  America  devoted 
to  the  presentation  of  motion  pictures,  and  the  end  of 
World  War  I  further  accelerated  the  building  of  larger 
and  better  theatres. 

Model  F  Projector  Still  Serving  Many  Theatres 

The  year  1921  marked  two  great  achievements: 
Rudolph  Valentino's  "The  Four  Horsemen  of  the  Apo- 
calypse," which  did  a  steady  and  phenomenal  business 
for  years,  and  the  introduction  of  Motiograph's  Model  F, 
which  set  new  standards  for  steady  projection.  This  pro- 
jector still  is  giving  service  in  a  number  of  theatres 
today. 

For  the  first  time,  the  mechanism  was  enclosed,  giving 
the  projector  a  decidedly  improved  appearance.  There 
was  a  better  lens  arrangement,  removable  bearings,  and 
a  variable-speed  gripping  disk.  While  it  was  still  the 
front  type,  the  shutter  now  had  two  blades,  as  well  as  a 
timing  device  adjustable  while  the  machine  was  in  opera- 
tion. The  base  had  been  improved  for  tilting,  the  maga- 
zines provided  with  peepholes. 

When  sound  came  in,  Motiograph  was  ready  with  its 
new  Model  H.  This  projector  introduced  the  first  rear- 
shutter  and  the  first  double-shutter,  providing  a  far  more 
brilliant  picture  and  resulting  in  less  heat  at  the  aper- 


ture. It  also  introduced  Motiograph's  Mirrophonic 
sound  system,  which  reproduced  sound  on  film  and  Vita- 
phone  records.  The  projector  included  a  pinion  framer, 
operated  by  means  of  a  wheel  located  behind  the  lower 
magazine,  and  a  base  which  had  been  redesigned  to 
meet  the  requirements  of  sound  equipment. 

New  reflector  arc  lamps  which,  burning  15  amperes 
and  projecting  more  light  than  had  heretofore  been  pos- 
sible with  vertical  condenser-type  arcs  burning  50 
amperes,  were  introduced  by  a  number  of  projection 
arclamp  manufacturers.  This  better  light  source, 
together  with  Motiograph's  improved  projectors,  vastly 
improved  the  screen  image. 

Present  Management  Took  Over  in  1935 

In  1935,  Fred,  Thor  and  Doug  Matthews  took  over  the 
interests  and  active  management  of  Motiograph,  and  one 
of  their  first  accomplishments  was  the  development  of  the 
Model  HU  projector. 

In  1936,  numbering  such  productions  as  "San  Fran- 

( Continued  on  page  50) 

TESMA  and  the  Projectionist: 
a  Common  Interest 

By  FRED  C.  MATTHEWS 
President,  TESMA 

I  ESMA — Theatre  Equipment  and  Supply  Manufac- 
turers' Association — is  not  as  old  an  organization  as  the 
Iatse,  although  many  Tesma  members  have  served  the 
motion  picture  industry  quite  as  long  as  the  charter 
members  of  the  lA.  The  Tesma  membership  now  in- 
cludes virtually  every  manufacturer  of  theatre  equipment. 
Those  Tesma  members  who  manufacture  screens, 
lenses,  projectors,  sound  systems,  arc  lamps,  generators, 
rectifiers  and  projection  room  accessories  are  particularly 
conscious  of  the  contributions  of  lA  members  to  the 
motion  picture  industry.  The  latter  have  contributed 
in  many  ways  to  industry  welfare  by  making  suggestions 
and  recommendations  to  manufacturers  for  improvements 
in  their  products  and  by  properly  operating  and  main- 
taining projection  and  sound  equipment  in  tip-top  order. 

New  Picture  Processes  Pose  Challenge 

At  the  same  time,  and  particularly  in  the  last  year, 
Tesma  members  have  also  contributed  to  the  forward- 
looking  aspect  of  the  entire  motion  picture  industry  by 
making  available  equipment  to  present  the  new  picture 
processes  to  the  movie-going  public.  But  no  matter  how 
well  equipment  is  designed  and  manufactured,  it  takes 
long  experience  to  operate  that  equipment  properly. 
Manufacturers  and  theatre  owners  alike  should  be,  and 
I  think  they  are,  grateful  to  the  thousands  of  experienced 
projectionists  in  the  ranks  of  the  lA. 

This  year  Tesma  will  conduct  a  gigantic  Trade  Show 
of  motion  picture  equipment  at  the  Conrad  Hilton  Hotel 
in  Chicago  from  October  31st  through  November  4th. 
We  hope  that  the  many  lA  members  will  visit  our 
show  and  see  and  compare  the  equipment  to  be  shown. 

*  *  * 


I.  A.   CONVENTION   EDITION      •      July   1954 


35 


3-D  Movies  . . . 
Epitaph  or  Prologue? 

By  JOHN  NORLING 

Loucks  &  Norling,  Inc.,  New  York 


I  HREE-D  film  appeared  at  a  time  when  the  motion  pic- 
ture industry  needed  a  stimulus  of  some  sort.  That  3-D 
was  a  stimulus  that  brought  increased  business  is  a  well- 
established  fact.  Because  it  was  such  a  success  at  the  out- 
set should  have  been  no  assurance  that  it  would  continue 
that  way.  Certainly,  the  industry  seemed  to  have  done 
almost  everything  possible  to  make  its  success  short- 
lived. 

Producers  madly  went  ahead  with  inadequate  equip- 
ment operated  by  persons  to  whom  the  fundamental  prin- 
ciples involved  were  as  unfamiliar  as  Sanskrit  is  to  the 
average  person.  Exhibition  could  not  have  been  more 
badly  handled  than  it  was.  It  was  a  long  time  before 
projectionists,  incredulous  that  a  major  industry  in  dire 
straits  could  indulge  itself  in  further  economic  strangu- 
lation, became  aware  of  what  their  pay-giving  bosses 
thought  they  were  doing. 

The  3-D  Projection  Shambles 

Even  after  the  projectionists  had  learned  the  how  they 
were  not  provided  with  the  proper  means.  Interlock 
mechanisms  were  often  of  the  shoddiest  design  and  as- 
sembly; port-hole  filters  were  often  of  the  wrong  type  or 
of  inferior  polarizing  materials.  And  they  were  almost 
impossible  to  keep  clean. 

The  exhibitor  was  provided,  in  many  cases,  with  polar- 
izing viewers  that  were  nothing  but  junk.  Unsatisfactory 
screens  were  more  common  than  good  ones;  in  many 
cases  the  theatre  owner  was  told  that  all  he  needed  to 
do  was  to  have  his  old  screen  sprayed  with  aluminum 
paint. 

No  other  American  industry  has  ever  done  the  de- 
plorably stupid  things  that  the  great  (?)  motion  picture 
industry  was  guilty  of  when  it  latched  onto  (literally) 
3-D.    No  wonder  3-D  films  came  upon  evil  days. 

A  Long-Look  into  3-D's  Future 

What  does  the  future  hold  for  3-D?  Nothing  but 
interment  unless  the  industry  realizes  its  great  potential 
and  supports  the  research  and  development  that  will 
assure  the  perfection  and  convenience  required.  Cer- 
tainly the  attempt  to  apply  3-D  to  the  various  wide- 
screen  processes  will  be  a  complete  failure  unless  a  lot 
of  new  development  work  is  undertaken  in  advance. 

Dual  projection  must  go!  It  was  an  expedient — and 
that's  all!  Its  inconvenience  and  unreliability  were  recog- 
nized by  projectionists  from  the  very  outset.  If  3-D  has 
any  chance  for  revival,  acceptance  and  growth,  some 
single-film  system  must  be  used.  At  present,  the  Vecto- 
graph  process  invented  by  Dr.  E.  H.  Land  of  Polaroid 
Corp.,  and  Joseph  Mahler,  and  being  developed  by 
Polaroid  and  Technicolor,  offers  the  best  solution.  For 
one  thing,  it  affords  a  better  utilization  of  light  than  is 
possible  with  any  other  single-film  method. 

The  full  possibilities  of  3-D  have  not  been  explored. 


Among  all  the  developments  of  the  3-D  art,  there  is  one 
which  has  some  of  the  greatest  potentials,  and  that  is 
binaural  sound.  Binaural  sound  will  give  each  ear  its 
own  sound  signals  just  as  stereoscopic  photography  gives 
each  eye  its  own  picture  signals. 

Binaural  sound  is  quite  different  from  stereophonic 
sound.  It  provides,  the  writer  thinks,  the  ultimate  in 
sound  reproduction,  as  far  as  giving  a  sense  of  location 
of  the  sound  source  is  concerned. 

It  doesn't  merely  "tell"  whether  the  sound  source  is 
at  the  left  or  right  or  in  any  other  direction:  it  pinpoints 
the  sound  in  space,  and  in  its  exact  direction,  tells  not 
broadly  that  it's  from  left  or  right,  but  tells  exactly 
where  it  is  to  the  left  or  right  and  how  far  away  it  is. 

Binaural  sound  is  true  3-D  sound.  It  doesn't  seem  to 
emanate  directly  from  the  lips  of  an  actor,  from  the 
oboe  playing  the  obligato,  from  the  place  where  water 
drips  from  an  overflowing  gutter,  from  a  mischievous 
boy  barely  seen  behind  the  shrubbery.  It  is  as  different 
from  stereophonic  sound  as  a  big  picture  is  different 
from  a  small  picture. 

Binaural  Sound,  Plus  3-D 

Stereophonic  sound  is  exciting,  is  effective,  particularly 
for  wide-screen  presentations  of  conventional  films.  It 
is  doubtful  whether  binaural  sound  would  contribute 
much  to  a  2-D  wide-screen  movie,  but  it  certainly  would 
add  the  ne  plus  ultra  to  the  3-D  wide-screen  presenta- 
tion. And  3-D  wide  screen  movies  can  be  produced  and 
presented.  There  are  no  technical  problems  unique  to 
3-D  that  do  not  exist  for  2-D  wide-screen. 

We  may  look  forward  to  wide-screen  3-D  as  an  early 
embellishment  of  the  art,  and  to  the  eventual  wedding  of 
binaural  sound  with  wide  3-D — a  wedding  the  consum- 
mation of  which  would  undoubtedly  result  in  a  robust 
box-office. 

The  "stereoscopic  window"  is  often  touted  as  a  prime 
necessity  for  standard  3-D  presentations.  The  stereo- 
scopic window  is  something  that  has  been  contrived  to 
achieve  coincidental  image  reconstitution  and  to  avoid 
marginal  disturbances.  We  don't  have  to  have  this  win- 
dow if  certain  3-D  photographic  and  projection  pro- 
cedures are  employed. 

It  is  perfectly  possible  to  have  3-D  pictures  existing 
in  space  the  margins  of  which  are  vignetted,  gradually 
shaded  off  from  outer  darkness  to  the  full  illumination 
of  the  picture  itself.  Some  optical  problems  exist  in  the 
methods  of  doing  this,  but  they  are  not  very  difficult  to 
solve. 

•         *         * 

Philosophic  Background 
of  Labor  Unions 

By  SUMNER  H.  SCHLICHTER,   Ph.D. 

0  THE  man  in  the  street,  the  principal  function  of 
unions  is  to  raise  wages  and  reduce  the  working  day. 
But  this  conception  misses  the  main  significance  of  labor 
organizations.  Primarily  they  are  significant  because 
of  their  relationship  to  the  government  of  industry.  In 
the  early  Middle  Ages,   sovereignty  and  property  were 


36 


INTERNATIONAL  PROJECTIONIST      «>      July  1954 


separated  —  the  ownership  of  land  carried  with  it  many 
powers  that  have  since  become  functions  of  the  state. 
The  gigantic  units  of  modern  industry  appear  to  be 
bringing  about  a  revision  to  the  days  when  the 
sovereignty  was  an  attribute  of  property. 

Pre-Operating  Procedure 

With  the  ownership  of  property  went  the  power  to 
prescribe  rules  which  affected  employees  as  intimately 
as  did  the  ordinances  of  the  city  in  which  they  lived, 
rules  which  prescribed  when  work  should  begin,  how 
long  the  men  should  have  for  lunch,  when  work  should 
cease,  for  what  reasons  and  how  long  employees  might 
absent  themselves  without  losing  their  jobs,  whether 
payment  should  be  by  the  day  or  by  the  piece,  by  whom 
and  for  what  reason  a  man  might  be  discharged,  how 
promotions  and  lay-offs  should  be  made. 

Modern  business  enterprises,  unlike  feudal  lords,  do 
not  have  their  own  courts,  but  the  control  over  dis- 
charge gave  them  a  rough  equivalent. 

Decisions  Based  Upon  Rules 

Wage-earners  have  sought,  through  the  organization 
of  trade  unions,  to  resist  the  tendency  of  property  to 
acquire  sovereign  or  quasi-sovereign  powers.  Wherever 
trade  unions  have  sprung  up,  they  have  sought  to  make 
shop  rules  a  matter  of  joint  determination  and  their 
administration  a  matter  of  joint  control.  In  other  words, 
in  the  place  of  despotism  under  which  the  word  of  the 
manager  is  final,  unionism  seeks  to  introduce  the  prin- 
ciple that  decisions  should  be  based  upon  rules  and  that 
rules  should  be  based  upon  the  consent  of  the  governed. 

Management-Employee  Cooperation  Fruitful 

Quite  a  large  number  of  labor  unions  —  notably  the 
machinists,  the  electricians,  the  sheet  metal  workers, 
the  boilermakers,  the  blacksmiths,  the  carmen,  the 
printing  pressmen,  the  photo-engravers,  and  the  clothing 
workers  —  have  demonstrated  not  only  their  willingness 
to  cooperate  with  managements  in  solving  proplems 
of  operation  but  their  ability  to  make  an  important 
contribution. 

Needless  to  say,  these  organizations  are  not  willing 
to  cooperate  on  any  terms  or  conditions.  Naturally  and 
properly,  they  put  the  interests  of  their  members  ahead 
of  the  interests  of  the  stockholders  for  whom  they  work. 
The  fact  remains,  however,  that  ingenious  and  far- 
sighted  leaders  on  both  sides  who  possess  the  will  to 
cooperate  have  succeeded  in  discovering  a  basis  on  which 
management  and  labor  can  join  to  promote  the  interests 
which  they  have  in  common. 

Union-Management  Cooperation? 

Whether  or  not  the  dominant  role  in  American  in- 
dustrial relations  during  the  next  generation  will  be 
union-management  cooperation  or  bitter  class-struggle 
depends  upon  the  leaders  on  both  sides.  My  prediction 
is  that  the  policy  of  union-management  cooperation  will 
prevail,  because  I  am  confident  that  there  is  enough  in- 
dustrial statesmanship  among  American  business  men 
for  them  to  realize  that  the  policy  of  suppressing  organi- 
zation is  the  policy  of  sitting  upon  a  safety  valve. 


EASTMAN 

Synonym  for 
Photography 


George    Eastman 


n 

^J  F  all  the  fields  open  to  young  men  in  the  1870's, 
photography  was  one  of  the  most  challenging.  George 
Eastman,  founder  of  Eastman  Kodak  Co.,  discovered 
this  when  he  purchased  a  photographic  outfit  in  1877 
and  set  about  penetrating  the  mysteries  of  picture-mak- 
ing. If  they  were  not  actually  held  in  disrepute,  prac- 
titioners of  the  art  were  viewed  with  humorous  indul- 
gence, and  the  back-breaking  paraphernalia  which  they 
were  obliged  to  carry  about  with  them  did  nothing  to 
relieve  their  plight. 

The  23-year-old  George  Eastman  shouldered  his  dark- 
room tent  and  cumbersome  wet-plate  apparatus  with 
the  rest — but  unlike  them  he  was  not  content  to  carry 
the  burden  for  life.  His  inquiring  mind  explored  the 
possibilities  for  improvement,  and  he  found  the  chal- 
lenge a  heady  one.  He  proceeded  to  devour  all  the 
photographic  literature  of  the  day  and  applied  himself 
in  his  spare  time  to  experimentation  and  study. 

Eastman's  Historic  Dry  Plate 

The  result  of  his  painstaking — and  sometimes  heart- 
breaking— work  was  the  perfection  of  the  photographic 
dry  plate  in  1880  which,  in  contrast  to  the  wet  plates 
used  prior  to  that  time  in  conjunction  with  bulky  and 
complicated  equipment,  made  photography  a  relatively 
simple  process. 

Eastman  once  said:  "A  lot  of  failures  often  lead  up 
to  success."  He  spoke  out  of  his  own  experience:  ruin 
threatened  him  more  than  once.  His  energy,  applica- 
tion and  purpose  turned  those  failures  into  success — but 
it  was  his  vision  that  built  an  industry  and  brought 
photography  within  the  reach  of  almost  everyone. 

Very  early  in  his  career  that  vision  led  him  to  devise 
a  plan  of  action  for  the  conduct  of  his  business  from 
which  he  never  deviated.  The  wisdom  of  his  program 
became  more  and  more  apparent  in  the  ensuing  years: 
Kodak's  part  in  the  advancement  of  science  and  the 
betterment  of  humanity  through  photography  may  be 
directly  traced  to  the  principles  he  laid  down.  They  were 
followed  during  his  life  and  continued  after  his  death 
up  to  the  present  day: 

Eastman  Kodak  Co.  Basic  Principles 

1.  Mass  production  at  low  cost 

2.  Intensive    photographic    research 

3.  Development  of  new  products 

4.  World  distribution 

5.  Growth  of  company  facilities  and  services 

6.  Extensive  advertising 

7.  Employee  benefits 

The  history   of  Eastman   Kodak   Co.   is   the   iteration 


I.  A.  CONVENTION  EDITION      •      July  1954 


37 


and  reiteration  of  these  fundamental  founder  principles. 
"Milestones  in  photography,"  whether  in  still-picture 
or  motion-picture  form,  would  be  a  wholly  ineffectual 
title  for  the  listing  chronologically  of  the  contributions 
made  to  the  art  by  Eastman  Kodak  Co.  for  the  simple 
reason  that  the  name  "Eastman"  is  automatically  trans- 
lated in  the  minds  of  millions  of  people  the  world  over 
as  a  synonym  for  photography. 

Some  Noteworthy  Recent  Developments 

Of  particular  interest  herein,  however,  is  the  appended 
list  of  a  few  achievements  of  the  Eastman  group  in  the 
35-mm  professional  film  during  the  past  15  years: 

Fine  Grain  Sound  Recording  Films  Type  1372  (vari- 
able area)  and  5373  (variable  density)  which  improved 
motion  picture  sound  quality.  These  films  are  now 
Types  5372  and  5373,  the  first  digit  5  indicating  safety 
base. 

Color  Negative  Film  Type  5247  (daylight  balance) 
and  Color  Print  Film  Type  5381.  These  two  films  were 
supplanted  by  Color  Negative  Film  Type  5248  (tungs- 
ten balance)  and  Color  Print  Type  5382.  Companion 
products  are  Panchromatic  Separation  Film  Type  5216 
for  the  production  of  separation  positives,  and  Color 
Internegative  Film  Type  5245  for  the  making  of  duplicate 
color  negatives. 

These  films  have  found  wide  acceptance  in  the  enter- 


tainment motion  picture  industry  for  the  production  of 
high  quality  35-mm  color  release  prints  for  theater  use. 

Tri  X  Panchromatic  Negative  Type  5233.  This  product 
has  just  recently  been  introduced  and  is  destined  to  find 
wide  usage  wherever  a  very  high-speed  negative  with 
relatively  fine  grain  is  required.  It  is  especially  adapt- 
able to  various  types  of  news  work  where  pictures  must 
be  taken  under  conditions  of  low  illumination. 

Introduction  of  Acetate  Safety  Base 

Perhaps  the  most  important  development  of  all  was 
the  complete  discontinuance  of  nitrate  base  film  and 
supplanting  it  with  triacetate  safety  base  film.  This  base 
is  now  superior  to  the  former  nitrate  base  in  all  char- 
acteristics and  has  the  obvious  added  advantage  that  it 
eliminates  for  all  intents  and  purposes  the  fire  hazards 
that  existed  before  with  nitrate  base  film. 
A  great  amount  of  experimental  work  has  been  done 
by  Eastman  Kodak  toward  improving  the  projection 
life  of  film  and  the  problems  brought  about  by  the  need 
for  putting  more  light  on  theater  screens. 

Eastman  Kodak  Co.  developed  a  drying  method  for 
motion  picture  film  for  use  in  laboratories  which  enables 
film  to  be  dried  in  only  a  fraction  of  the  time  required 
heretofore.  This  system  utilizes  high-temperature  air 
which  impinges  directly  on  the  film. 

*         *         * 


New  Techniques,  Equipment 
Dominate  Movie  World 

By  WALTER  GREEN 

President,  National  Theatre  Supply  Co. 


V  lEWING  the  technological  changes  which  have  taken 
place  in  the  motion  picture  field  during  the  past  two 
years,  one  just  must  respect  the  resiliency  and  recupera- 
tive power  of  the  exhibition  end  of  the  industry. 
"Bounce"  might  be  a  more  apt  descriptive  term  for  this 
go-and-get-it-done  spirit  which  is  the  mark  of  the  many 
thousands  of  showmen — seen  and  unseen  by  the  paying 
patron — throughout  the  world,  but  it  would  be  "bounce" 
compounded  of  many  diverse  qualities. 

Witness,  for  example,  the  developments  in  the  indus- 
try during  the  past  two  years.  Decisions  as  to  the  nature, 
the  content  and,  above  all,  the  format  of  the  motion  pic- 
ture were  made  practically  overnight  in  the  production 
centers.  Assuredly,  consideration  of  the  manner  of  ex- 
hibiting these  new,  and  sometimes  radically  different, 
techniques  was  extended;  but  the  practical  application  of 
these  techniques,  the  translation  from  a  thought  process 
to  an  economic  reality  via  the  box-office  is  the  concern 
of  the  equipment  manufacturer,  the  supply  and  service 
organizations,  and  last  but  by  no  means  least  the  effective 
delivery  of  the  finished  product  by  the  theatre's  technical 
personnel — in  most  cases,  the  projectionists. 

Panoramic  View  of  Industry  Needed 

The  supply  dealer  (and  particularly  the  supplier  who 
operates  on  a  national  scale  and  still  has  to  consider  the 


purely  local  character  of  any  given  operation)  is  unique. 
He  it  is  who  has  to  be  hydra-headed  with  a  vision  broad 
enough  to  encompass  the  current  trends  in  production, 
the  availability  of  suitable  equipment  in  sufficient  quan- 
tity to  satisfy  the  demand,  the  means  for  the  quick  tran- 
sit and  efficient  installation  of  that  equipment,  and  the 
final  and  vital  requisite  that,  once  installed,  the  equip- 
ment measure  up  to  its  pre-performance  rating.  No- 
where along  this  tenuous  line  is  all-out  cooperation  more 
vital  than  at  the  link  between  the  supplier  and  the  user. 

Strenuous  as  have  been  the  past  two  years  for  all 
branches  of  the  motion  picture  industry — and  particular- 
ly for  thoEC  of  us  who  are  directly  involved  in  the  delivery 
to  the  public  of  the  finished  product — it  is  obvious  that 
the  changes  wrought  in  both  production  and  exhibition 
have  infused  new  and  richer  economic  blood  into  the 
industry. 

Opposing  Views  Stimulate  Thinking 

Honest  differences  of  opinion  as  to  the  various  new 
processes  of  production  and  exhibition  there  certainly 
have  been,  but  these  divergent  views  have  in  themselves 
been  a  blessing  because  they  stimulated  serious  thought 
as  to  the  means  employed  to  best  exhibit  the  industry's 
wares.  Producers,  distributors,  suppliers,  exhibitors  and 
projectionists  were  somehow  channeled  into  a  single 
stream  of  thought  by  reason  of  the  intense  common  con- 
cern about  techniques  and  equipment. 

The  industry  generally,  and  particularly  the  exhibi- 
tiorj  branch,  has  been  intensely  concerned  with,  and 
sometimes  apprehensive  of,  "new"  processes.  Yet  the 
"new"  approach  in  itself  is  a  mark  of  industry  vitality 
which  will  serve  all  of  us  well  in  the  struggle  out  of  the 
swamp  of  stagnation. 

It  is  evident  that  the  new  processes  employed  by  the 


38 


INTERNATIONAL  PROJECTIONIST 


July  1954 


motion  picture  industry  have  at  least  held  in  check  the 
pressures  exerted  by  other  forms  of  entertainment,  in- 
cluding television.  In  terms  of  form,  content,  color  and 
sweep  of  action  provided,  the  motion  picture  theatre 
today  need  not  give  ground  to  any  other  entertainment 
medium.  Of  course,  it  would  be  a  boon  to  our  industry 
if  the  thousands  of  free  and  therefore  untaxed  Tv  broad- 
cast tickets  were  eliminated. 

Over-All  Cooperative  Effort  Will  Prevail 

Daring  and  imaginative  in  providing  the  new  and 
novel  our  industry  has  been  during  the  past  two  years. 
Given  the  proper  application  on  both  the  production  and 
exhibition  fronts  of  those  new  techniques  which  sprung 
from  our  own  resourcefullness  and  ingenuity,  our  sector 
of  the  entertainment  world  should  and  can  continue  to 
flourish. 


The  SMPTE  Salutes 


the  lATSE 


By  HERBERT  BARNETT 
President,  SMPTE 

I  HE  past  two  years  mark  perhaps  the  second  greatest 
evolution  the  motion  picture  art  has  known.  Feverish 
development  and  exploitation  activities  have  brought 
unusual  problems  to  every  segment  of  the  industry. 
Engineers  have  been  required  to  compress  into  weeks 
and  months  programs  which  would  normally  require 
years. 

Creative  people  have  faced  the  necessity  of  adapting 
new  techniques  and  expressing  these  in  a  manner  to 
take  full  advantage  of  the  available  potentials.  Equip- 
ment manufacturers,  theatre  owners  and  managements 
everywhere  have  been  called  upon  for  decisions  of 
gravity   seldom   encountered   in   this  industry. 

In  these  matters,  it  is  recognized  by  all  that  a  great 
portion  of  the  burden  of  successful  exploitation  depended 
heavily  upon  the  various  segments  of  the  I.A.T.S.E.  Its 
membership  was  required  to  adapt  promptly  to  new 
techniques,  equipments  and  conditions.  The  degree  to 
which  they  succeeded  in  this  obligation  meant  the  dif- 
ference in  success  or  failure  of  any  new  process. 

Sixty  Years  of  Craft  Advancement 

This,  of  course,  is  no  new  role  for  the  I.A.T.S.E.,  as 
its  membership  has  quietly  accepted  various  evolutions 
in  the  art  for  more  than  60  years.  Their  part  in  making 
and  exhibiting  motion  pictures  is  so  consistently  well 
performed  that  it  is  too  often  viewed  as  routine.  This 
only  emphasizes  the  degree  to  which  they  have  mastered 
the  techniques  involved  and  the  constant  determination 
to  keep  abreast  of  change  and  progress. 

We  of  the  SMPTE  feel  especially  close  to  the  I.A.T.S.E., 


for  we  as  a  team  are  the  technicians  upon  whom  good 
product  depends  and  we  in  turn  are  quite  dependent 
upon  each  other.  The  Society  numbers  among  its 
membership  many  I.A.T.S.E.  members,  and  we  consider 
these  to  be  a  vital  part  of  the  organization. 

The  SMPTE  salutes  each  of  you  as  valued  assets  in 
the  motion  picture  art  and  for  your  continued  devotion 
to  the  unheralded  job  of  producing  and  selling  high- 
quality  entertainment  to  American   audiences. 


Seamless  Screen  Specialists 

T  HE  ACQUISITION  by  the  Bodde  Screen  Co.  of  addi- 
tional matrixes  now  enables  it  to  supply  custom-made 
seamless  projection  screens  on  a  quantity  production 
basis  without  sacrificing  quality,  or  longevity  of  the 
finished  product.  Heretofore  it  has  been  impossible  to 
fill  other  than  special  orders,  mostly  from  the  major 
studios,  preview  theatres,  experimental  installations  and 
the  like. 

The  Bodde  seamless  screen  is  cast  in  one  piece — not 
a  seam  in  any  size  ranging  up  to  35  x  90  feet.  These 
screens  are  free  from  streaks,  "clouds"  and  perforation 
blemishes.  The  basic  material  for  these  screens  is  now 
double-weight  in  thickness  for  greater  strength,  and  it 
has  been  approved  by  the  U.  S.  Army  Air  Force  for 
fungus  resistancy.  Importantly,  these  screens  are  wash- 
able with  any  soluble  soap  solution,  or  they  may  be 
cleaned  by  simply  flushing  them  with  clear  water. 

High  Sound-Transmission  Quality 

Anent  the  sound-transmission  quality  of  the  Bodde 
seamless  screen,  the  Motion  Picture  Research  Council 
reports  only  a  one-half  db  loss  overall.  This  low  figure 
is  due  mainly  to  the  fact  that  this  screen  is  manufactured 
from  ethyl  cellulose  instead  of  the  usual  spongy  vinyl-type 
material.  The  screen  is  certified  as  flame-resistant  (self- 
extinguishing)  by  the  State  of  California. 

The  only  cloth  in  the  Bodde  screen  is  the  molded  bind- 
ing on  the  edges.  The  highly  reflective  aluminum  sur- 
face retains  its  stability  because  the  aluminum  is  in- 
corporated in  the  basic  sheet  itself. 

Reflecting  Factor  Data  Essential 

Bodde  screens  are  obtainable  in  three  reflecting  fac- 
tors: Type  A  (for  a  narrow  theatre)  has  a  4:1  gain  fac- 
tor; Type  B  (for  a  medium  width  theatre)  has  a  3:1 
gain  factor;  Type  C  (for  a  wide  theatre  and/or  a  steep 
balcony)  the  gain  factor  is  21/4:1.  The  screens  are 
shipped  in  kiln-dried  wooden  boxes  on  3-inch  seamless 
alumnium  poles,  with  cotton-soft  liners  between  screen 
surfaces  for  protection  in  shipping  and  storage. 

"Gain  factor"  is  a  mighty  important  factor  in  the  selec- 
tion of  a  projection  screen  surface,  thus  it  is  imperative 
that  such  data  be  given  the  supplier.  Complete  data  on 
a  screen  surface  for  any  and  all  uses  will  be  forthcoming 
promptly  upon  request  to  Bodde  Screen  Co.,  8829  Venice 
Blvd.,  Los  Angeles  34,  Calif. 

No  matter  what  the  screen  problem,  Bodde  will  serv- 
ice  without   charge   and   inquiry   thereon. 
•        •        • 


I.  A.  CONVENTION  EDITION      •     July  1954 


39 


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Perspecta  Sound  System 

(Continued  from  page  33) 

outside  channels,  thus  desensitizing  them  by  approxi- 
mately 25  db. 

Simultaneously  a  fixed  bias  can  be  adjusted  at  the 
unit  to  insure  a  correct  level  balance  between  Perspecta 
stereo  sound  operation  and  monaural  or  normal  film 
track  operation.  The  value  of  bias  will  be  applied  to 
the  center  controlled  amplifier  section.  This  insures  the 
compatability  of  the  Perspecta  stereo  sound  Integrator 
Unit,  so  it  automatically,  presents  either  standard  optical 
track  or  Perspecta  stereo  sound  scored  optical  track, 
correctly  in  each  case,  and  the  projectionist  need  not  be 
concerned  as  to  the  type  of  optical  track  running  through 
the  soundhead. 

If,  in  a  rare  instance,  a  track  is  played  for  non- 
Perspecta  stereo  sound  reproduction  that  contains  an 
abnormal  amount  of  low-frequency  energy  for  extended 
periods  of  time  that  may  cause  the  auto-switching  cir- 
cuit to  operate,  there  is  provided,  on  the  front  panel  of 
the  unit,  a  switch  which  will  manually  deactivate  the 
auto-switching  system  so  as  to  insure  no  interruption  of 
normal  performance  during  this  abnormal  situation. 

There  is  an  indicator  light  on  the  front  panel  of  the 
Integrator  unit  that  indicates  when  the  auto-switching 
circuit  has  changed  to  Perspecta  stereo  sound  operation. 

The  installation  of  the  Integrator  in  the  theatre  is  a 
relatively  simple  procedure.  The  output  of  the  change- 
over switch  is  connected  to  the  input  of  the  Integra- 
tor, which  is  equipped  to  provide  adjustment  to  accom- 


modate the  variances  in  level  at  this  point  in  different 
types  of  systems,  i.e.,  the  RCA  low-level  system  or  the 
Westrex  high-level,  pre-amplifier  system. 

The  output  of  the  Integrator  is  connected  through  a 
ganged  fader  system  to  the  input  of  the  three  amplifier 
channels.  After  installation,  the  projectors  are  adjusted 
so  that  they  have  an  equal  output  and  equal  frequency 
response.  After  this  adjustment,  the  Perspecta  stereo 
sound  calibration  reel  is  run  through  each  of  the  pro- 
jectors and  the  Integrator  unit  is  calibrated. 

No  'Deviling'  the  Projectionist 

From  here  on,  with  the  switch  set  for  automatic  opera- 
tion, the  projectionist  need  not  be  concerned  as  to 
whether  he  is  playing  a  picture  scored  with  Perspecta 
stereo  sound  or  a  regular  soundtrack.  As  noted  pre- 
viously, if  there  is  Perspecta  stereo  sound  scoring  on  the 
soundtrack  for  7  seconds,  the  unit  will  automatically 
switch  into  Perspecta  stereo  sound  3-channel  operation 
and  remain  in  this  position  for  the  duration  of  that 
sound  track.  When  there  is  no  low-frequency  control 
present,  the  unit  will  not  be  activated  and  the  sound 
will  be  channeled  through  the  center  horn  system. 

The  30-cycle  filter  controls  the  volume  level  of  the  left 
horn  system  as  seen  facing  the  stage.  The  35-cycle 
filter  is  for  the  center  horn  system.  The  40-cycle  filter 
is  the  control  for  the  right-hand  horn  system. 

In  scoring  a  picture  for  Perspecta  stereo  sound,  a  com- 
posite soundtrack  is  most  generally  used  for  making  the 
final  recording.  The  track  is  run  synchronously  with 
the  picture  and  monitored  through  an  Integrator  Unit  so 


A    TIP    OF    THE    HAT 

TO    EVERY    PROJECTIONIST 


FROM 


NATIONAL 


THEATRE        SUPPLY 


Division   of  National  •  Simplex  •  Bludworth.lnc 


I.  A.  CONVENTION  EDITION      •     July  1954 


41 


that  all  changes  in  carrier  amplitude,  with  their  resultant 
directional  changes,  can  be  observed  by  the  mixer  simul- 
taneously with  the  combination  of  the  control  signal  and 
audio  tracks  for  the  final  release  track.  After  the  optical 
track  is  made,  incorporating  the  control  signal  informa- 
tion, it  is  interlocked  with  the  picture  again  to  check 
mix  and  direction.  When  approved,  a  final  release  com- 
posite print  is  made. 

This  technique  follows  lines  well  established  within 
the  industry.  The  Integrator  unit  with  its  corresponding 
power  amplifier  and  horn  channels,  is  the  only  addition 
necessary  in  the  theatre. 

A  general  plan  for  installation  has  been  hit  upon  that 
fulfills  completely  the  requirements  of  the  average  the- 
atre based  upon  experience  with  the  Loew's  theatre  in- 
stallations. These  houses  were  equipped  with  penthouse 
reproducers  and  stereophonic  channels  with  magnetic 
reproduction;  also,  they  were  equipped  for  standard 
optical  reproduction  through  a  separate  set  of  amplifiers 
with  the  addition  of  an  Integrator  unit  which  would 
reproduce  through  their  stereophonic  power  amplifier 
system  from  the  standard  optical  head  system. 

Altec   Service   Corp.   devised   a   very   novel   switching 


Ljreeilnad  and  ASeit    lA/ldfied 

to  all  the  delegates 
lATSE  and  MPMOU  Convention 

CLAYTON  PRODUCTS  CO. 

JOE  CLAYTON 
Member,  Local  306,  New  York  City 


arrangement  that  minimizes  confusion  for  the  projec- 
tionist. This  switching  system  is  mounted  in  the  close 
proximity  of  the  Integrator  unit  and  has  three  positions: 

The  first  position  is  labelled  "Standard  Optical": 
when  in  this  position  the  output  of  the  soundhead  is 
fed  through  the  normal  optical  channel  that  has  always 
been  in  the  theatre  to  the  center  horn  and  is  used  more 
or  less  as  an  emergency  system. 

The  second  position  is  labelled  "Magnetic":  this 
connects  the  output  of  the  penthouse  reproducers  to 
the  equivalent  stereophonic  power  amplifier  channels 
through  the  ganged  fader. 

Switching  to  Perspecta  Sound 

The  third  position  is  labelled  "Perspecta  Sound": 
this  position  connects  the  output  of  the  optical  sound- 
head to  the  input  of  the  Integrator  and  the  output  of 
the  Integrator  through  the  ganged  fader  system  to  the 
stereophonic  power  amplifier  system. 

With  the  switch  set  on  "Perspecta  Sound,"  the  pro- 
jectionist need  not  be  concerned  as  to  his  newsreel 
and  short-subject  program  reproduction  because,  as 
outlined  previously,  the  Integrator  will  switch  from 
stereophonic  reproduction  to  center  horn  reproduc- 
tion automatically  based  on  whether  the  program  is 
scored  for  Perspecta  stereo  sound  or  standard  film. 

In  the  field  tests  that  now  have  been  running  for  5^2 
months  throughout  the  world,  there  has  been  very  little 
or  no  difficulty  encountered  in  most  installations  and 
runnings.  In  theatres  having  no  regular  service  organ- 
ization, the  projectionist  need  only  run  the  Calibration 
Reel  once  a  week  or  so  just  to  check  the  over-all  opera- 
tion of  his  soundheads  from  a  sensitivity  standpoint,  and 
to  get  indication  as  to  exciter  lamp  brightness  and 
balance  between  projectors.  Under  general  operation 
there  is  no  need  for  any  particular  service  to  the  In- 
tegrator unit  itself.  It  is  a  stable,  well-engineered  de- 
vice, and  should  prove  trouble-free  for  extended  periods 
of  time. 

•        *        * 


(compliments    to 

•     •      • 

1.  A.  T.  S.  E. 

BODDE 

SCREEN    COMPANY 

8829  VENICE 

BLVD.,  LOS  ANGELES  34,  CALIFORNIA 

Manu 

facturers  of  Cast  "Truly  Seamless" 
Quality  Theatre  Screens 

42 


INTERNATIONAL  PROJECTIONIST     •     July  1954 


Evolution  of  Simplex  Projector 

(Continued  from  page  31) 

from  the  Powers  in  that  it  was  a  considerably  more  com- 
pact mechanism  completely  enclosed,  being  on  a  pedestal 
of  entirely  new  design  and  having  a  great  many  features 
which  appealed  tremendously  to  the  projectionist.  Pre- 
cision also  built  up  an  excellent  patent  structure  cover- 
ing, among  many  others,  the  following  salient  features: 

1.  The  basic  patent  covering  the  entire  equipment 
and  including  the  new  framing  device  by  means  of 
which  this  operation  was  accomplished  by  rotating 
the  intermittent  casing  about  the  intermittent  sprocket 
axis. 

2.  A  new  method  of  focusing  lenses  on  projectors. 

3.  An  entirely  new  gate  and  film-holding  structure 
to  maintain  the  film  in  the  correct  optical  plane  above 
the  intermittent  sprocket. 

4.  Complete  enclosures  for  the  mechanism,  all 
prior  mechanisms  being  of  the  open  type  with  gears 
exposed. 

5.  The  method  of  framing  the  picture  in  the 
Simplex    mechanism. 

6.  An  improved  film-gate  door  lock,  enabling  the 
projectionist  to  easily  close  and  latch  the  film-enclos- 
ing gate. 

7.  An  entirely  new  design  of  fire  valve  for  film 
magazines. 

8.  An  entirely  new  type  of  mechanically-controlled 


variable-speed    device    for    use    with    constant-speed 
motors  on  projectors. 

The  corporate  existence  of  International  Projector 
Corp.  dates  from  1925  as  a  result  of  the  merging  of  Pre- 
cision Machine  Co.,  Nicholas  Power  Co.,  and  the  Acme 
Motion  Picture  Projector  Co.,  with  all  manufacturing 
facilities  and  personnel  being  concentrated  at  90  Gold 
Street,  New  York  City. 

This  consolidation  ushered  in  a  new  era  of  develop- 
ment in  projector  manufacture,  one  of  the  early  fruits 
of  which  was  the  Super  Simplex  mechanism.  This  pro- 
jector, while  resembling  to  some  extent  the  older  regular 
Simplex  mechanish,  embodied  many  improvements  mak- 
ing for  better  visual  projection,  greater  ease  of  operation, 
and  considerably  more  efficient  handling  of  the  lens  sys- 
tem. A  great  improvement  was  made  in  the  intermittent 
movement  by  the  development  at  the  plant  of  machinery 
for  manufacuring  the  operating  parts  of  the  movement, 
that  is,  the  star  wheel  and  cam,  and  for  obtaining  far 
greater  accuracies  than  were  obtainable  previously. 

Another  major  Super  Simplex  development  was  the 
removal  of  the  revolving  cut-off  shutter  to  the  rear  of 
the  projector  so  that  it  interposed  between  the  illuminant 
and  the  aperture  plate.    Other  Super  Simplex  improve- 

INTERNATIONAL  PROJECTIONIST 

A  Technical  and  Craft  Journal 


WALKING    THE    PATH 

OF    PROGRESS   TOGETHER! 

In  company  with  his  skilled  fellow  craftsmen  of 
lATSE,  the  ALTEC  SERVICE  engineer  travels  the 
path  of  progress  toward  the  common  goal  of 
technical  perfection  in  the  field  of  entertainment. 


161    Sixth  Avenue,   New  York   13,   N.  Y. 
SPECIALISTS  IN  MOTION  PICTURE  SOUND 


I.  A.  CONVENTION  EDITION      •     July  1954 


43 


ments  involved  a  new  type  pad  roller  arm  for  accurately 
maintaining  the  film  on  the  sprockets,  a  threading  lamp 
for  quick  and  accurate  framing  before  projection,  and 
an  assembly  of  enclosures  for  the  entire  mechanism. 

Sound  Eliminated  Powers  Projector 

Now  occurred  one  of  those  entirely  unforseen  and 
wholly  unpredictable  situations  which  resulted  in  the 
virtual  elimination  of  the  Powers  projector  from  the 
theatre  field.  Sound  reproducing  equipments  made  by 
W.  E.,  and  later  by  RCA,  were  in  the  beginning  made 
for  adaptation  to  the  Simplex  projector  only,  this  being 
because  several  of  the  large-circuit  early  buyers  of  sound 
equipment  were  largely  equipped  with  Simplex  mechan- 
isms. So  heavy  was  the  first  wave  of  sound  equipment 
orders  that  neither  W.  E.  nor  RCA  paid  any  attention  to 
the  development  of  a  unit  for  the  Powers  projector. 

This  circumstance,  although  a  mortal  blow  to  the 
Powers  mechanism,  was  in  some  ways  a  blessing  to  the 
industry  because  it  resulted  in  the  replacement  of  a  tre- 
mendous number  of  Powers  units  by  new  Simplex  equip- 
ment which  was  destined  to  render  yeoman  service  to  a 
harassed  industry  in  the  dark  depression  days  that  were 
to  follow. 

This  story  would  be  meaningless  indeed  if  it  failed  to 
include  other  outstanding  developments  by  International 
Projector  Corp.:  the  Simplex  Sound  System,  the  Simplex 
E-7  projector,  and  the  current  X-L  mechanism. 

It  may  be  said  in  passing,  however,  that  the  Simplex 


ROSCO  FILM  CEMENT 

Time  Tested 

for 

Thirty- Five  Years 

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Sound  System  was  particularly  a  child  of  fortune  in  that 
it  was  designed  and  manufactured  at  a  time  when  the 
sound  reproduction  art  had  long  since  emerged  from  its 
cocoon  and  was  already  the  beneficiary  of  many  notable 
advances  which  made  for  superior  performance  by  vastly 
improved  circuits,  better  tubes  and  speakers,  greatly 
enhanced  recording,  and  other  factors  which  enabled  a 
compact  reproducing  system  that  shamed  the  early  models 
of  sound  equipment. 

Advances  Scored  by  International  Projector  Corp. 

A  detailed  description  of  the  many  technological 
advances  scored  by  International  Projector  Corp.  since 
its  inception  would  require  many  times  over  the  space 
available  herein.  Milestones  in  its  forward  progress, 
however,  are  easily  recognizable  to  those  veteran  prac- 
titioners of  the  projection  process,  such  as: 

The  Regular  Simplex  mechanism  which  first  appeared 
as  a  single-bearing  unit  and  then  gave  way  to  the 
double-bearing   alignment. 

The  Super  Simplex  into  the  manufacture  of  which  was 
introduced  to  the  trade  the  practice  of  hardened-and- 
ground  sprockets.  This  unit  also  featured  the  rear- 
shutter  mechanism. 

The  Simplex  E17  which  included  a  double  shutter  and 
a  one-shot  oiling  system  which  embraced  all  moving 
elements  except  the  intermittent  movement. 

The  Simplex  E-7  which  included  a  double  shutter  and 
and  radical  advances  as  to  constitute  probably  the  most 
important  milestone  in  projector  manufacture. 

On  the  sound  reproduction  front.  Simplex  brought 
out  in  1938  the  famous  Simplex  4-Star  sound  system 
which  was  the  first  to  utilize  permanent  magnet  speakers. 
This  was  followed  in  1950  by  the  radically  new  design 
of  X-L  loudspeakers  for  use  in  both  enclosed  and  open- 
air  theatres. 

In  1954  Simplex  scored  another  notable  advance  when 
it  made  available  to  the  sorely-pressed  motion  picture 
industry  a  4-track  magnetic  sound  reproducer  system. 

Thus  was  staked  out  the  long,  long  road  leading  from 
1896  onward  and  ever  upward  to  the  magnificant  motion 
picture  theatres  of  today  which,  by  comparison  with 
the  early  nickelodeons,  are  truly  palaces  worthy  to  house 
a  living,  vibrant  art  that  daily  endows  so  many  with  so 
much  for  so  little.   Verily,  a  promise  has  been  redeemed. 


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44 


INTERNATIONAL  PROJECTIONIST      •     July  1954 


"Unwept  and  Unsung" 

(Continued  from  page  28) 

technological  accomplishments  which  make  the  box-office 
possible. 

Producers,  directors,  and  stars  are  well-known  and 
widely  publicized.  And  they  should  be.  But  it  might 
also  be  an  excellent  device,  if  only  from  a  promotional 
viewpoint,  to  stress  the  enormous  contributions  to  the 
enjoyment  of  the  audiences  made  by  the  technicians. 
There  is  a  lot  which  could  be  said  in  such  fashion  as 
to  interest,  attract  and  please  the  audience.  Perhaps 
fewer  people  would  then  take  skilled  studio  and  theater 
operation  for  granted.  Maybe  if  the  average  theatergoer 
knew  more  of  what  goes  on  behind  the  technical  scenes, 
he  might  better  appreciate  how  much  is  offered  him 
daily  in  the  theatres  of  the  land. 

Other  Industries  Much  More  Perceptive 

Other  industries  have  done  a  somewhat  better  job 
along  these  lines  relative  to  their  skilled  employees. 
Consider,  for  example,  the  airplane  pilot.  His  skill  and 
human  value  have  been  emphasized  in  the  aviation  in- 
dustry. And  even  the  motion  picture  itself  has  gone 
to  great  lengths  to  portray  him  favorably:  the  pilot  ap- 
pears as  the  star  of  many  a  story,  play,  or  film  of  war 
in  the  skies  or  bravery  and  quick  response  to  emer- 
gencies in  peacetime.  Thus  the  pilot  has  become  a 
romantic  and  admired  figure  with  the  public.  But  who 
ever  heard  of  the  quick  response  to  emergencies,  the 
wise  handling  of  unusual  situations,  and  other  desirable 
traits  of  the  I.  A.  worker? 

Many  of  these  men  working  under  difficult,  monoto- 
nous, and  occasionally  highly  demanding  conditions 
could  well  be  made  the  subject  of  an  interesting  and 
thrilling  account.  Today  they  remain  "unwept,  un- 
honored,  and  unsung".  We  still  have  to  see  the  names 
of  any  competent,  conscientious,  and  really  unusual 
members  of  the  I.  A.  appear  in  the  bright  lights  over 
the  marquee  or  on  the  flaunting  posters  in  the  lobby. 
Indeed,  so  far  as  the  public  and  the  press  are  concerned, 
these  men,  so  essential  to  the  entertainment  world,  are 
practically  unknown. 

Yet  it  is  certain  that  authors  with  a  gift  for  ferreting 
out  the  unusual  and  newsworthy  parts  of  the  life  of 
the  I.  A.  worker,  and  with  the  talent  for  describing  them, 
could  create  great  stories  of  the  theater  and  its  life  built 
around  these  workers.  One  of  the  great  operas  was 
developed  around  a  much  lesser  and  vastly  different 
figure  —  namely,  a  wandering  clown.  So  it  is  curious 
that  the  showmen  of  the  industry  have  failed  to  see  the 
valuable  theatrical  material  which  exists  right  at  their 
very  doorsteps. 

It  is  likely  as  well  that,  if  the  public  were  more  im- 
pressed, through  widespread  publicity,  with  the  skill 
and  application  which  goes  into  making  and  showing  a 
drama  or  comedy,  they  might  like  it  all  the  more.  The 
masterly  technique  of  a  great  violinist  or  pianist  is  much 
advertised,  and  this  certainly  has  a  great  effect  upon 
music  lovers. 

All  that  has  been  said  here  should  be  regarded  only 
as  a  calm  comment  but  not  as  a  bitter  complaint.  Any- 


one who  knows  I.  A.  men  realizes  that  they  do  their 
jobs  well  and  will  continue  to  do  so,  with  or  without 
publicity.  But  we  are  all  human  —  a  pat  on  the  back 
has  never  done  anyone  harm  nor  has  it  discouraged  him. 

Joint  Industry-Craft  Action  Urged 

The  purpose  of  these  observations  is  rather  to  urge  the 
industrial  leaders  in  the  entertainment  field  not  to  forget 
those  who  bring  beauty  of  form  and  color  into  the  plays, 
who  provide  light  and  sound  to  the  studios  and  to  the 
theater  audiences,  and  who  in  a  thousand  other  ways 
contribute  so  greatly  to  modern  entertainment.  The 
public  would  be  amazed,  pleased,  and  gratified  if  it 
knew  what  these  men  were  doing.  The  industry  would 
thus  gain  further  public  respect  and  improved  public 
relations.  And  firmer  and  friendlier  coordination  of 
industrial  and  labor  efforts  would  result. 

America  —  land  of  freedom,  of  opportunity,  and  of 
fine  ideals  —  grows  in  power  as  each  worker's  stature 
is  strengthened  and  as  each  man's  talents,  efforts,  and 
accomplishments  are  recognized.  The  I.  A.  has  done 
much  and  can  do  more  to  realize  the  American  ideals 
through  the  crafts  it  represents.  To  it  and  to  its  sister 
unions  will  go  the  warm  support  and  approval  of  all 
constructive,  thoughtful,  and  equitable  efforts  they  may 
make  for  the  betterment  of  the  very  bone  and  sinews  of 
their  industry  —  the  workers. 


CONGRATULATIONS  lATSE 

on  your 

42ncl  Bi-Ennlal  Convention 

Our  Equipment  Has  Served  Your  Crafts 

For  Years— The   Items    Below   Should    Be 

Standard  In  Every  Projection  Room 

ATOMIC    JET    LAMPHOUSE    BLOWERS 
Keeps  your  lamphose  cool  .  .  .  Keeps  your  lamps — 
stacks — reflectors  clean  .  .  .  Cuts  carbon  consumption 

PORTHOLE  BLOWERS 

Protect  your  coated  lenses  and  expensive  equipment 

from    dust — rain — bugs    and    other    foreign    matter. 

Manufacturers  of  Complete  Dr/Ve-/n  Equipment 

Drive-In  Theatre  Mfg.  Co. 

Division   of  DIT-MCO,   INCORPORATED 

505   West  9  Street,    Kansas   City,   Mo. 


lATSE  42nd  CONVENTION 

Greetings  and  many  thanks  to 
the  projectionists  and  stage- 
hands who  have  contributed  so 
much  to  the  widespread  use  of 
Heyer-Shultz  Metal  Reflectors. 

HEYER  -  SHULTZ,  INC. 

Cedar  Grove  New  Jersey 


I.  A.  CONVENTION  EDITION      •     July  1954 


45 


Metal  Reflectors  —  Quality  Light 

(Continued  from  page  24) 

this  refinishing  process  returns  the  reflective  surface  to 
its  original  flawless  lustre. 

To  obtain  maximum  screen  light,  plus  efficient  per- 
formance, from  your  metal  reflector,  you  will  need  to 
check  the  optical  alignment  of  your  lamphouse  and 
projector  head. 

The  most  accurate  method  of  optical  alignment  is  by 
pinhole  aperture.  You  can  make  your  own  pinhole 
aperture  plate,  as  follows:  a  flat  piece  of  sheet  metal, 
brass  or  copper  the  approximate  size  and  thickness  of 
your  regular  aperture  plates  will  suffice.  Use  any  one 
of  your  present  aperture  plates  for  locating  the  pinhole 
dead  center  on  the  optical  axis. 

Hold  this  plate  on  your  sheet  of  metal,  and  using  an 
ice  pick  as  a  scriber,  scratch  an  outline  of  the  aperture 
plate  and  the  aperture  opening  onto  your  sheet  of  metal. 
Then,  using  a  straight-edge  or  ruler,  scribe  criss-cross 
lines  within  the  aperture  opening  outline  from  corners 
to  corners.  Where  these  scribe  lines  cross  is  center  of  the 
aperture  opening  pinhole  and  it  is  here  that  you  should 
punch,  or  drill  if  necessary,  the  smallest  possible  hole. 
If  your  sheet  of  metal  is  thin  enough,  you  will  be  able  to 
punch  this  pinhole  with  the  ice  pick. 

Pre-Operatinq  Procedure 

After  obtaining  a  properly  located  pinhole  all  that  is 
necessary  is  to  cut  around  the  scribed  outline  of  the 
aperture  plate  so  it  may  be  inserted  into  the  aperture 
plate  slot  in  the  projector  head. 

With  the  metal  reflector  securely  mounted  in  the  re- 


to   the    I  A  T  S  E 

Fine  craftsmanship  deserves  fine 
equipment.  Today  the  motion  pic- 
ture industry  is  blessed  with  both. 


CENTURY  PROJECTOR  CORP. 


729  Seventh  Avenue 


New  York,  N.  Y. 


A/ianufacfurer5     of     fine     visual     and     sound 
equipment   for  ALL   methods   of  reproduction. 


flector  holder,  and  with  a  new  carbon  trim  set  up  in 
the  regular  position,  light  up  your  lamp,  start  projector, 
throw  the  light  on  the  screen  and  make  a  preliminary 
adjustment  by  reflector  movement  forward  or  backward, 
as  well  as  up,  down  and  sideward.  Sometimes  it  is 
necessary  to  adjust  the  arc  also,  in  order  to  obtain 
proper  screen  light. 

If  this  is  required,  reset  or  remark  the  arc  indicator 
card  at  once.  Because  of  metal  expansion  from  heat,  all 
optical  alignment  adjustments,  whether  visual  or  by 
the  H-S  pinhole  method,  should  be  made  when  the  re- 
flector  is   hot. 

Caution:  do  not  clean  your  metal  reflector  until  it 
has  been  heat-treated  by  at  least  4  hours  of  running 
time  in  the  arclamp,  and  then  clean  according  to  in- 
structions in  booklet  supplied  with  every  installation. 
This  heat-treatment  is  necessary  because  it  hardens  the 
plated  surface  and  thus  makes  it  more  resistant  to 
scratching  during  the  cleaning  process. 


The  Future  of  Theatre  TV 


(Continued  from  page  20) 


cooperation  has  been  most  valuable  in  its  development. 

I  believe  that  the  Tele-Sessions  idea  has  a  great  future 
because  of  its  tremendous  economy  compared  with  the 
cost  of  bringing  personnel  long  distances  to  attend  sales 
and  similar  meetings.  Facilities  can  be  provided  for  as 
little  as  $2  per  important  viewer  attending  a  company 
session.  The  cost  of  the  program  varies  according  to 
how  elaborate  the  production  is  ranging  from  a  few 
thousand  dollars  upward. 

Tele-Sessions  shows  can  originate  anywhere — remote 
from  the  field,  or  from  the  studio,  or  the  theatre,  or  even 
from  the  White  House.  Every  type  of  meeting  place  has 
been  served — hotels,  theatres,  Tv  stations  and  sponsor- 
company  office.  Permanent  Tv  projection  installations 
and  mobile  projectors  especially  installed  at  the  meeting 
place  have  been  used.  In  the  telecast  of  the  New  York 
Dress  Institute  fashion  show,  we  utilized  closed-circuit 
large-screen  color  Tv. 

lOO-Odd  Theatres  in  54  Cities 

As  the  score  now  stands,  we  have  more  than  100 
theatres  hooked  up  in  some  50-odd  cities.  There  are  at 
present  250  cities  where  Tv  broadcast  stations  exist, 
and  in  nearly  200  of  these  cities  there  are  Bell  Telephone 
facilities,  either  coaxial  cable  or  microwave  relay  towers, 
that  can  be  used  to  transmit  special  closed-circuit  Tv 
shows  as  well  as  regular  network  programs.  In  many 
of  these  cities  there  are  theatres  that  stand  to  profit  by 
instafling  theatre  Tv  equipment. 

The  general  public  is  the  best  customer  for  closed- 
circuit  Tv  at  the  movie  box-office. 

This  year  Tnt  signed  a  three-year  contract  with  the 
Metropolitan  Opera  Co.  to  present  its  opening-night  pro- 
gram over  a  nation-wide  closed-circuit  network.  In  the 
past  we  have  presented  such  outstanding  boxing  matches 
as  Marciani  vs.  Charles,  Robinson  vs.  Turpin  and  many 
of  the  games  of  outstanding  college  football  teams,  such 
as  Notre  Dame,  Princeton,  Columbia,  Yale  and  others. 
It  is  my  firm  belief  that  theatre  Tv  can  bring  new  box- 


46 


INTERNATIONAL  PROJECTIONIST 


July  1954 


office  life  to  the  motion  picture  theatre,  which  in  turn 
means  additional  employment  for  motion  picture  and 
stage   craftsmen. 

Reception  of  these  Tv  programs  in  the  theatre  is  ac- 
complished by  either  the  RCA  direct-pickup,  direct- 
projection  system  or  by  the  instantaneous  film  recording, 
developing  and  projection  process.  Both  these  procedures 
have  been  described  in  detail  in  IP. 


Keeping  in  Step  with  Progress 

(Continued  from  page  12) 

parts  should  not  be  dismissed  lightly  because  these  are 
the  first  essentials  of  any  emergency  protective  system! 
Another  feature  of  RCA  Service  consists  of  a  plan  of 
providing  for  the  furnishing  of  required  parts  and  tubes 
at  a  flat  low-cost  yearly  charge.  This  maintenance  plan 
has  been  extremely  popular  with  projectionists  and 
exhibitors  for  many  years,  and  has  grown  steadily  each 
year.  With  this  plan  in  force,  quality  performance  is 
further  insured  by  safeguarding  equipment  parts  from 
reaching  the  point  of  excessive  wear  and  consequent 
lowering  of  sound  quality.  Exhibitors  are  protected 
against  major  expenditure  in  the  way  of  part  or  unit 
replacements. 

Long-Range  Planning  for  Future 

Exhibitors  are  aware  that  whatever  method  of  sound 
and  projection  they  choose  for  their  theatre,  now  or  in 
the  future,  an  RCA  service  expert  will  render  the  same 
skilled  service  and  attention.  The  reason  for  this  stems 
from  a  few  basic  concepts  on  which  the  service  organiza- 
tion operates,  such  as  keeping  pace  with  the  latest 
developments  in  motion  picture  presentation;  keeping 
field  personnel  constantly  informed  of  the  many  new- 
born techniques  and  methods  of  theatre  servicing,  and 
making  certain  the  field  engineer  is  continually  aware 
of  the  importance  of  changing  developments  affecting 
exhibitors  and  their  theatres. 

For  the  past  25  years,  RCA  Service  Company  has  kept 
pace  with  and  contributed  to  the  latest  developments  in 
motion  picture  presentation.  At  RCA,  theatre  service  is 
an  exact  science,  dependent  upon  thoroughly  trained 
field  engineers  with  years  of  practical  experience  and 
equipped  with  the  most  modern  test  equipment  available. 
Through  its  engineering  and  research  groups,  RCA 
Service  Company  has  greatly  aided  in  the  progress  of 
the  industry  and  the  benefit  of  the  exhibitor. 

RCA  Service  Company  has  joined  with  other  divisions 
of  Radio  Corporation  of  America,  including  the  David 
Sarnoff  Research  Laboratories  at  Princeton,  N.  J.,  in 
a  coordinated  campaign  to  place  its  theatre  service  facili- 
ties in  a  position  to  better  serve  its  exhibitor-customers 
all  over  the  country.  As  rapidly  as  new  ideas  on  sound 
and  projection  are  introduced,  field  personnel  have  this 
information  in  their  hands,  ready  to  apply  them  as  the 
situation  demands.  RCA  Service  people  have  kept  in 
close  touch  with  all  developments  in  the  theatre  industry. 
They  will  continue  to  pass  along  their  ideas  and  knowl- 
edge so  that  the  exhibitors  and  projectionists  will  re- 
ceive full  benefit  from  them. 


The  Carbon  Arc:  Vital  Factor  In 
Production  and  Projection 

(Continued  from  page  17) 

of  their  ultimate  desirability  but  rather  because  they 
are  in  the  range  being  obtained  by  some  outdoor 
theatres.  The  rotating-type  reflector  lamps  and  the 
rotating-type  condenser  lamps  can  illuminate  screens  of 
45  to  70  feet  with  to  a  screen  brightness  of  4  to  6 
foot-lamberts. 

Wide-Screen  Ratios,  Screen  Image  Areas 

Although  the  data  contained  herein  are  limited  to 
projection  from  a  standard  35-mm  motion  picture  film 
aperture  of  0.600  inches  X  0.825  inches  and  thus  are 
not  directly  applicable  to  other  film  aperture  sizes  and 
picture  aspect  ratios,  rough  estimates  can  be  made  in 
some  instances.  For  example,  the  outputs  of  the  various 
35-mm  film  projection  systems  may  be  redistributed  by 


Greetings. . . 


I.  A.  T.  S.  E 


AMERICAN    CINEMATOGRAPHER 

The  Magazine  of  Motion  Picture  Photography 
HOLLYWOOD  •  CALIFORNIA 


A.  CONVENTION  EDITION      •     July  1954 


47 


optical  means  over  various  sizes  and  shapes  of  film 
apertures  and  projection  screens.  If  this  be  accomplished 
with  minor  or  known  losses,  the  results  expected  can 
be  closely  approximated. 

The  requirements  of  CinemaScope,  which  employs  a 
standard  projection  frame  but  a  2.55  to  1  picture  aspect 
ratio,  can  be  calculated  once  the  information  on  the 
transmission  and  reflection  of  the  added  accessories 
employed  is  known. 

Except  for  the  optical  losses  in  the  added  anamorpho- 
scope  lens  which  functions  to  produce  a  two-fold  ex- 
pansion of  picture  width  during  projection,  this  expan- 
sion would  produce  a  two-fold  increase  in  picture  area 


«e*<,  VICTOR 


^we^  ANYWHERE! 


It's  so  easy  to  transport  this 
16  mm  Sound  Projector.    The 
Victor  1600  Arc  Projector 
disassembles  into  three  carrying 
units.    These  pack  easily  in  the 
back  seat  of  your  car.   Can  be 
assembled  and  set  up  in  less 
than  five  minutes.  And  built- 
in  floor  levelers  provide  a 
firm  base  for  set-up  on 
uneven  ground. 


We 


at 


GREETINGS  ^ 
CONVENTIONEERS!// 


1 


extend  to  you 
our  very  best 
wishes  for  com- 
plete success  in 
your  convention 
d  e  I  i  b  e  r  a  - 
tions.  We  are 
proud  to  serve 
such  a  fine 
group  of  crafts- 
men v/ith  visual- 
sound  reproduc- 
ing equipment 
which  has  won 
universal  recog- 
nition for  its 
fine  design,  ex- 
pert workman- 
ship, simplicity 
of  operation, 
unfailing  stabil- 
ty  — and  above 
all,  economy  in 
purchase  price 
and  operating 
cost. 

Good  Luck.' 


and  reduce  by  one-half  the  available  screen  brightness 
obtainable  with  a  normal  unexpanded  image.  Therefore, 
the  light  requirements  for  the  same  screen  brightness 
would  be  almost  double  those  of  conventional  35-mm 
pictures  on  an  unexpanded  screen  of  the  same  type — 
that  is,  if  the  CinemaScope  ratio  of  2.55  to  1  be  observed. 
The  new  carbons  which  have  been  developed  will 
produce  considerably  more  screen  light;  their  successful 
utilization,  however,  will  require  suitable  lamps  and 
other  projection  equipment. 

New   Carbons   Require   Suitable   Pro/ecfion    Units 

At  present,  acceptable  levels  of  screen  brightness  for 
all  projection  systems  are  available,  provided  the  equip- 
ment necessary  to  operate  the  higher  capacity  carbons 
is  installed;  and  provided  the  entire  projection  system, 
including  lenses,  mirrors,  condensers,  and  port  glasses, 
is  in  exact  adjustment  and  in  good  clean  optical  condi- 
tion. 

It  is  quite  true  that  "If  the  picture  isn't  on  the  film, 
you  can't  put  it  on  the  screen."  Also  true  is  that  if  the 
picture  is  on  the  film  the  responsibilities  of  the  pro- 
jectionist parallel  those  of  the  cinematographer.  He 
must  balance  his  auditorium  illumination  so  no  bright 
colored  objects  will  interefere  with  the  picture,  and  his 
projection  light  source  must  be  of  the  correct  intensity 
and  quality. 


Prescription  for  Good  Projection 

(Continued  from  page  8) 

light  when  it  is  not  required.  If  you  have  one  of  the 
new  high-power  lamps,  the  grid  can  be  slipped  into  the 
holder  for  the  heat-reflecting  glass.  It  will  be  quickly 
removable.  The  total  area  of  the  holes  in  the  metal, 
whether  round  or  square,  should  be  about  equal  to  the 
area  of  the  metal  between  them. 

The  only  way  to  be  sure  your  light  is  correct  is  to 
have  it  measured.  The  writer  was  caught  this  way  not 
so  long  ago.  The  crime  took  place  in  a  small  theatre 
right  in  the  middle  of  a  large  field  on  a  summer  day. 
The  patient  complained  bitterly  of  flicker.  AH  the 
equipment  was  the  best,  and  everything  was  in  good 
condition.  It  took  sometime  before  someone  brought  a 
meter  along  and  found  that  there  were  60  foot-candles 
on  the  little  screen!  Coming  straight  in  from  the  bright 
light  outside,  the  picture  didn't  look  too  bright  at  all. 
It  just  flickered. 

Just  How  Good  Is  Your  Sound? 

Now  as  to  the  sound.  How  is  it?  Of  course  there  are 
problems  with  an  unwilling  patient.  We  have  all  heard 
of  the  deaf  manager,  just  as  we  have  heard  of  the  one- 
eyed  theatre  owner  who  "did  not  believe  in  3-D."  But 
even  a  deaf  man  can  be  treated  with  tact.  People  with 
sensitive  ears  can  be  driven  out  of  the  theatres  just  as 
easily  as  the  deaf  ones,  so  don't  forget  the  bedside 
manner  and  the  bedside  attitude.  I  mean,  of  course, 
the  constant  watch  that  the  volume  and  quality  are  just 
as  right  as  they  can  be. 

Sound  equipment  these  days  has  improved  in  basic 
design,  but  it  is  often  true  that  stereophonic  additions 
have  been  somewhat  hastily  and  thoughtlessly  installed, 


48 


INTERNATIONAL  PROJECTIONIST     •      July  1954 


so  that  it  is  not  nearly  so  convenient  to  operate  as  are 
the  better  designs  of  old  equipment.  This  means  in- 
creased watchfullness. 

Let  us  take  flutter  as  a  first  example.  Many  of  the 
older  reproducers,  both  for  film  and  records,  had  a  high 
flutter  output.  This  distortion  was  inherent  in  the  design. 
Nowadays,  it  cannot  be  excused.  The  SMPTE  and  the 
Motion  Picture  Research  Council  have  agreed  on  stand- 
ards, and  the  better  manufacturers  produce  equipment 
which  performs  much  better  than  the  standards  if  the 
equipment  be  in  good  condition. 

If  it  be  in  good  condition!  Here  again  your  judge- 
ment and  experience  come  into  play.  Was  that  a  sour 
note  from  the  magnetic  penthouse  reproducer?  Listen 
again.  Yes  it  was,  and  at  the  same  time  perhaps  you 
heard  the  film  rub  on  the  reel  edge  in  the  upper  maga- 
zine. That's  it!  Every  time  that  bent  reel  rubs  the  film, 
the  sound  goes  just  a  little  sour.  No  specialist  needed 
for  that  one.    Let's  get  some  new  reels  at  last! 

Delicate  Flywheel  Balance 

Another  cause  of  such  trouble  could  be  anything 
touching  the  flywheels  (impedance  drums)  in  the  re- 
producer. These  flywheels  look  solid  and  heavy  and  as 
if  they  could  bulldoze  their  way  through  trouble,  but 
just  try  flicking  one  with  a  feather  and  listen  to  the 
result.  If  they  were  not  so  solid  and  heavy  and  free- 
running,  they  would  not  work  at  all. 

Non-sync  turntables  -  are  often  at  fault  these  days. 
Nobody  needs  telling  what  happens  when  the  record  is 
a  "swinger"  with  the  hole  not  in  the  center,  but  similar 
trouble  can  be  caused  when  a  cheap  turntable  motor, 
which  is  good  enough  at  78  rpm,  is  run  at  331/3  rpm 
for  IP  records.  The  flywheel  effect  is  much  less  at  low 
speeds,  and  the  services  of  a  specialist  are  often  required, 
probably  to  replace  the  turntable. 

Now  suppose  there  is  trouble  with  the  volume  of 
the  sound.  Your  unaided  eyes  and  ears  will  often  help 
you  find  the  trouble  faster  than  can  any  specialist  with 
a  meter.  Just  to  save  red  faces  you  will  see  that  the 
power  is  really  on,  and  that  a  piece  of  that  worn  ad- 
vertising film  didn't  get  stuck  half  way  across  the  light 
beam  from  the  exciter  lam.p. 

Check  Loudspeakers  Frequently 

Now  lets  go  down  to  the  stage.  Sound  goes  just  a 
little  bad  sometimes  for  very  simple  reasons.  After  any 
work  on  the  stage,  the  workers  swear  that  they  put  the 
loudspeaker  back  "just  in  the  same  place."  But  is  it 
pointing  down  the  center  of  the  theatre?  No?  They 
put  it  back  in  the  same  place  all  right,  but  the  high- 
frequency  unit  is  pointing  right  up  at  the  ceiling.  This 
is  easily  put  right;  but  it  is  often  not  realized  that,  with 
stereophonic  sound,  the  right-hand  speaker  must  be 
heard  at  the  left  side  as  well  as  at  the  right. 

The  aiming  of  loudspeaker  units  here  can  be  really 
critical.  Very  careful  listening  tests  are  necessary  and 
should  have  been  made  during  the  tryout  period  to 
determine  the  best  positions.  This  should  be  a  job  for 
the  "golden  ear  boys,"  but  if  they  had  to  skimp  it,  your 
own  ears  aren't  so  bad  either. 

Now,   as  a  good  doctor,   you'll  keep  your   operating 

I.  A.  CONVENTION  EDITION      •     July  1954 


room  clean  and  tidy,  and  essential  tools  at  hand.  You 
should  listen  to  the  stage  loudspeakers  now  and  again 
to  make  sure  nobody  has  pulled  out  a  plug  on  one  of 
them.  Try  to  insure  that  there  is  enough  space  to  operate 
comfortably.  Over  the  years,  an  inconvenient  switch  or 
an  equipment  cabinet  you  have  to  walk  around  twenty 
times  a  day,  can  wear  out  a  lot  of  patience. 

Lastly,  as  a  good  doctor  you  know  when  some  or 
all  of  your  equipment  is  dying  of  old  age.  You'll  never 
get  good  sound  out  of  old  soundheads  or  a  good  picture 
out  of  a  projector  which  still  has  a  hand-crank  extension 
on  it.  Live  with  it  if  you  must  for  a  time,  but  don't 
forget  that  the  paying  cusomers  appreciate  quality. 

*      •      * 


GREETINGS 

from 

J.  R.  CLANCY,  INC. 

Syracuse,  N.  Y. 

World's     Largest     Designers, 
Manufacturers  and  Riggers  of 
Mechanical   Stage   Equipment 

You  can  always  get  it  at  CLANCY'S 

^^^^JobbvTeTectronics 

IV   YOUR  HOBBi    ^ 
simple  . . .  easy 


TNTRODUCTION  TO  COLOR Jj  ^^^^^  ^V, 

Srs  aU  ^.trrnceTST.  and  white  and 
and  explains  dJterenc  „„,v  $2  W 

„«,  TO  SERVICE  "«  «  J°"°^Sk..  »• 

LUe  Mala^ne  raved  f  "f'  £„;  ^^eir  homes  wiU 
t,f,,^4hose  ^«J./;J°  ,y  reading  this 

JOHN  f.  «•»«  '"•"*«•'  '"'■'       L^.^^^^^ 


49 


Editorial  Index 

Greetings  from  the  President  of  the  AF  of  L 3 

GEORGE  MEANY 
Prescription   lor    Good    Projection    7 

BASIL  T.  WEDMORE 
White    Screen?    Yes — Within    Certain    Limits    8 

LEONARD  SATZ 
Keeping  in   Step  With  Progress   11 

W.   L.   JONES 
The  Carbon  Arc:  Vital  Twin  Factor  in 

Production    and    Projection     14 

Flexibility  Marks  Modern  Arclamps 19 

ARTHUR  I.  HATCH 
The  Future   of  Theatre   Tv   20 

NATHAN  L.  HALPERN 

VistaVision:    World-Wide    Standard-  .. .. 23 

LOREN  L.  RYDER 

Metal  Reflectors  Meet  Exacting  Requirements    .-24 

E.  B.  HEYER 
Magnetic    Sound    Reproduction    27 

W.  BORBERG  and  A.  A.  LEONARD 
Unwept    and    Unsung 28 

DR.   A.   N.    GOLDSMITH 
Evolution  of  the  Simplex  Projector   30 

EDWARD  B.  GARRISON 
PERSPECTA — The    All-Purpose    Sound    System    __  32 

ROBERT  FINE 
From  "Magic  Lantern"  to  Stereo   Sound 34 

H.  T.  MATTHEWS 
TESMA    and    the    Projectionist    35 

FRED  C.  MATTHEWS 
3-D  Movies  .  .  .  Epitaph  or  Prologue?  . 36 

JOHN  NORLING 
Philosophic   Background   of   Labor   Unions    36 

SUMNER  H,  SCHLICHTER 

EASTMAN— Synonym    for    Photography     37 

New  Techniques,  Equipment  Dominate 

Movie  World 38 

WALTER    GREENE 

TheSMPTE    Salutes    the    lATSE 39 

HERBERT  BARNETT 

Seamles    Screen    Specialists    .. 39 

The   Lure    of    Wide    Pictures 40 


"Magic  Lantern"  to  Stereo  Sound 

(Continued  from  page  35) 

cisco"  and  "Mutiny  on  the  Bounty,"  Motiograph  un- 
veiled its  now  famous  Model  K  projector.  It  soon  be- 
came one  of  the  best  known  projectors  of  the  time.  The 
one-piece  shutter  was  a  feature,  as  was  the  improved 
mechanism  and  base.  There  was  a  change  from  single  to 
double  bearings.  A  faster  framing  device  was  located 
in  the  front  of  the  mechanism. 

Motiograph's  present  type  of  sound  system  was  adopted 
in  1938.  Radical  improvement  became  possible  when 
the  signing  of  an  agreement  with  Erpi  permitted  full 
use  of  Western  Electric's  many  patents  on  sound-repro- 
ducing systems. 

Fortunately,  the  outbreak  of  World  War  II  found 
Motiograph  in  the  midst  of  its  greatest  expansion  pro- 
gram, and  it  required  little  effort  to  convert  the  enlarged 
facilities  to  the  war  effort.  Because  most  of  the  equip- 
ment  was    modern    and    capable    of   producing   highly- 


precisioned  parts,  it  fitted  in  unusually  well  with  the  re- 
quirements for  turning  out  essential  war  materials. 

Throughout  the  war,  the  major  portion  of  Motio- 
graph's production,  with  three  plants  on  a  three-shift 
basis,  was  for  Uncle  Sam,  although  some  projectors  con- 
tinued to  be  turned  out  for  civilian  use  as  late  as  August 
1942.  Subsequently,  Motiograph  continued  the  produc- 
tion of  projection  and  sound-reproducing  equipment  for 
training  purposes  by  the  armed  forces,  and  took  on  the 
production  of  secret  war  work. 

The  production  of  such  equipment  naturally  gave 
Motiograph  a  head  start  in  the  development  and  produc- 
tion of  the  equipment  required  by  all  the  new  processes 
of  today. 

The  new  postwar  projector,  known  as  Model  AA,  was 
formally  announced  in  November,  1946.  It  embodied 
radical  developments  and  improvements  in  performance 
and  operation  which  resulted  not  only  from  the  work 
done  by  an  experienced  staff  of  projection  engineers, 
outside  consulting  engineers  and  industrial  designers,  but 
also  suggestions  made  by  projectionists  from  coast  to 
coast  and  the  entire  organization  of  Motiograph  dealers, 
the  men  on  the  installation  and  service  firing  line.  It 
featured  simplicity  of  operation  and  exceptional  screen 
values.  It  also  afforded  ease  of  repair  and  adjustment 
in  the  field. 

Complete  Drive-in  Equipment  Ready  by  1948 

A  complete  line  of  drive-in  theatre  sound  systems  and 
in-car  speaker  equipment  for  drive-ins  of  all  sizes  was 
announced  by  Motiograph  early  in  1948.  Hi-Power 
115/230-ampere  generator  sets  were  an  addition  to  the 
Motiograph  line  that  same  year.  The  Motiograph 
75/115-ampere,  high-intensity,  reflector-type  arclamp  was 
developed  in  February  1949.  In  June  1951,  Motiograph 
announced  that  it  would  thereafter  manufacture  and 
assemble  the  famous  Victor  Animatograph  line  of  16-mm 
sound  motion  picture  apparatus. 

With  the  advent  of  3-D  and  wide-screen  presentation 
early  in  1953,  Motiograph  was  ready  with  3-D  interlock 
equipment  for  any  make  or  model  sound-reproducing 
system;  25-inch  diameter  magazines  for  3-D  projection 
to  fit  any  make  or  model  of  projector  and  sound  repro- 
ducer; 85-ampere  and  115-ampere  continuous-duty,  3-D 
generators  designed  particularly  for  interlock  projection 
systems,  and  a  full  line  of  stereophonic  sound  systems  to 
handle  all  existing  recording  techniques. 

Equipment  for  all  Advanced  Exhibition  Techniques 
In  early  1954  Motiograph  introduced  the  Motiograph 
AAA  projector  which  permits  the  presentation  of  all 
types  of  prints  without  an  interchange  of  sprockets  or 
other  components.  Coincidently  came  the  Motiograph 
AAA  Penthouse  Reproducer  designed  to  reproduce  single 
— or  4-track  magnetic  sound  prints. 

The  Motiograph  dealer  organization  is  comprised  of 
independent  theatre  supply  men  chosen  in  accordance 
with  rigid  standards.  ' 

The  industry  now  has  come  to  another  important  mile- 
stone of  development  in  screen  entertainment,  and 
Motiograph,  approaching  its  60th  anniversary,  can  look 
back  on  every  step  in  this  development  with  pride  of 
accomplishment  for  Motiograph  was  there  when  the 
whole  thing  started! 

•  *  * 


50 


INTERNATIONAL  PROJECTIONIST     •     July  1954 


Enjoy  full  profit 
from  CinemoScope 

shown  in  its  full 
appeal ! ...  use  only 

Bausch  &  Lomb  Lenses 
created  specially  for 

CinemaScope 


Greetings  •  .  • 
And  Thanks 
lATSE  Members! 


We  at  Bausch  &  Lomb  are  deeply 
grateful  to  you  for  your  splendid  help 
in  putting  across  CinemaScope.  Your 
enthusiastic  cooperation  and  expert 
craftsmanship  in  projecting  Cinema- 
Scope have  contributed  immeasurably 
to  its  great  success.  Thank  you  again 
.  .  .  and  best  wishes  for  a  successful 
convention. 


Your  screen  shows  the  difference  .  ,  .  your  boxoffice  figures 
the  difference  in  pay-off.  Proof?  Over  90%  of  the  theatres 
showing  CinemaScope  use  Bausch  &  Lomb  lenses  and 
cylindrical  anamorphic  attachments.  These  theatres  put  their 
faith  in  Bausch  &  Lomb  exclusive  know-how  .  .  .  gained 
from  creating  and  producing  the  first  practical  CinemaScope 
optical  system  .  .  .  from  Baltar  motion  picture  camera  lenses 
and  anamorphic  attachments,  to  the  new  Super  Cinephor 
f/1.8  projection  lenses.  More  proof?  Ask  your  dealer  for 
actual  lens-by-lens  comparison  proof  that  Bausch  &  Lomb 
is  best  by  far.  Bausch  &  Lomb  Optical  Co.,  72631  St.  Paul 
St.,  Rochester  2,  N.  Y. 


BAUSCH  &  LOMB 


TO    THE    MEN 
BEHIND   THE   SHO>V 

...the  Ptojeei'ion'ists 


You  are  the  men  behind  the  show.  Upon  your  capable  shoulders 
lies  the  responsibility  for  the  ultimate  success  of  every  motion  picture 
as  a  medium  of  entertainment. 

Without  your  skill  and  experience  all  the  ability  of  a  great  director 
...  all  the  technique  of  master  camera  men  ...  all  the  warm, 
living  human  drama  that  the  art  of  great  stars  and  a  superb  sup- 
porting cast  can  put  on  the  film  can  be  lost  in  the  vital  moment  that 
the  picture  is  delivered  to  the  screen. 

In  your  hands  the  finest  projection  equipment  can  either  make  or 
"break"  the  show. 

For  your  part  in  the  steady  growth  of  our  industry  .  .  .  for  your 
share  in  bringing  to  millions  the  world's  finest  motion  pictures  .  .  . 
for  your  devotion  to  duty  and  a  job  well  done  ...  we  salute  you! 


MANUFACTURED  BY  INTERNATIONAL  PROJECTOR  CORPORATION  -  DISTRIBUTED  BY  NATIONAL  THEATRE  SUPPLY 


i 


"  .4 


AUGUST 


1954 


VOLUME  29 


NUMBER  8 


30c  A  COPY 


$2.50  A  YEAR 


.j-o'  !,>^»  n3j 


For 


CinemaScopE 

32,000 


TRADE   MARK   REG. 


fi  J  Ji  £  i] ;]  fi 


•  •  • 


J 

\       TRUTH       / 
\             IN             / 
\  ADVERIISING  / 

I 

®  • 


TRADE   MARK    REG 

li  J  J)  £  1)  il  fi 


TOTAL 
LUMENS    "" 


At  180-185  Amperes  .  .  .  With  No.  15363-Q  and  No. 
15367-P,  "Hy-Speed"  Condensers  .  .  .  With  a  .715"  x 
.912"  "CinemoScope"  aperture  .  .  .  With  a  3"  Focus, 
F-1.8  coated  projection  lens  .  .  .  On  any  kind  or  any 
size  of  screen   .... 

Using  presently  available  and  standard  carbons, 
there  is  "No  other  projection  lamp  in  the  world, 
today"  that  can   produce  so  much   light. 

(*)  Subject  to  6-10%  average  deduction  for  PEER- 
LESS  "Hy-Lumen"   Heat   Filter,   if   used. 


22,000    .L°M?N^ 

At  75-77  amperes  .  .  .  With  presently  available  and 
standard  8x9  m/m  copper  coated  carbons  .  .  .  With 
a  .715"  X  .912"  "CinemoScope"  aperture  .  .  .  With  a 
3"  Focus,  F-1.8  coated  projection  lens  .  .  .  V/ith  a  14" 
diameter  No.  2012  PEERLESS  "Hy-Lumen"  glass  reflec- 
tor that  retails  at  a  list  price  of  $22.00  F.O.B.  Chicago 
.  .  .  With  a  No.  2880  PEERLESS  Tail  Flame  Flue  .  .  . 
On  any  kind  or  any  size  screen  .  .  .  No  Heat  Filter 
required. 

All  of  this,  at  the  lowest  possible  first,  and  opera- 
tional  cost.    And   with   ... 


NO  -  HIGH  -  RATE 


OF   ($60.00)    REFLECTOR   BREAKAGE 
OR   SILVERING   DETERIATION 


J.E.MeAULEY  mfe.cd, 

552-554    WEST   ADAMS    STREET 

CHICAGO  G.li.llNOIS 


SEP  -9  1954 


Why  Strong 
Rectifiers 

are  Alioaus  Preferred 


•^^ 


p*"  ,. 


:<% 


RtcrmtRS 

^       pxesentaUon. 

^o  attention  Ol 

even  m 

tot  use  ^""^ 
e0.75A-P;-,,,^ons. 

Sup*e*  ^^"^ 

beusedv^itlv 


i "^  R.Tube 


„  ,  »— 6-Tube  

4-Tube  g.pvvase  r^T;^ 

Botatxng  ^-^  coax^c^^  1  ^^ 

^       J  T  ovr  intensity             j^^nges 
^'^^  0^76-90  A«^P^'^ 
40-50  60- i"  


Efficient  operation  of  each  type  and 
rating  of  projection  arc  necessitates 
a  rectifier  specifically  engineered  to 
its  particular  requirements. 

That  is  why  Strong  manufoctures  o 
complete  line  of  rectifiers,  which 
includes  one  for  every  type  of  lamp. 
Strong  rectifiers  are  the  only  recti- 
fiers on  the  market  which  are  espe- 
cially designed,  manufactured  and 
tested  in  one  plant,  together  with  and 
for  use  with  motion  picture  projec- 
tion arc  tamps. 


Every  Strong  rectifier  assures  smooth 
output  current,  long  life,  low  operot- 
ing  temperature,  and  flexibility  in 
control.  Transformer  tops  provide 
adjustment  to  compensate  for  supply 
voltage  variotions  through  a  range  of 
10%  above  or  10%  below  the  rated 
A.C.  input  voltage  throughout  the 
output  rating  range.  Fine  taps  on  the 
primary  ore  connected  to  an  S-point 
external  manually  controlled  switch 
which  permits  output  adjustment 
while  the  arc  is  burning  and  without 
the  necessity  of  reconnecting  wires. 


INTERNATIONAL  PROJECTIONIST      •      AUGUST  1954 


National  carbons 


TRADE-MARK 


/Im  -^  ^^^^ 


-nuic^' 


/ 


THE  PICTURE  IS  LIGHT... 

GIVE  IT  ALL  YOU  CAN 

with  "NA  TIONAL"  CARBONS 


Whatever  projection  techniaues  you  use,  the  present  line  of  "National" 
carbons  is  the  finest  ever  offered  —  by  ourselves  or  any  other  manufacturer. 

Not  only  do  they  excel  in  brilliance,  color-balance  and  uniformity,  but 
they  give  you  all  these  features  at  the  lowest  cost  per  unit  of  light  and  inch 
of  carbon  consumed! 

Such  a  small  part  of  operating  expense  . . .  such  a  big  part  of  picture  quality 
—"National"  carbons  always  do  their  part  in  giving  you  full  value  for  every 
dollar  . . .  your  patrons  full  value  for  each  admission. 

The  term  "National"  is  a  registered  trade-mark  of  Union  Carbide  and  Carbon  Corporation 

NATIONAL  CARBON  COMPANY 

A  Division  of  Union  Carbide  and  Carbon  Corporation  •  30  East  42nd  Street,  NewYorlt  17,  N.  Y. 

District  Sales  Offices:  Atlanta,  Chicago,  Dallas,  Kansas  City,  New  York,  Pittsburgh,  San  Francisco 
IN  CANADA:  Union  Carbide  Canada  Limited,  Toronto 

INTERNATIONAL  PROJECTIONIST      •      AUGUST  1954 


/ 


INTERNATIONAL 


PROJECTIONISl 

With   Which   Is  Combined    PROJECTION   ENGINEERING 


JAMES  J.  FINN,  Editor 
JAMES  MORRIS,  Associate  Editor 


^    Volume  29 


AUGUST    1954 


Number  8 


Index  and  Monthly  Chat 5 

An  Evaluation  of  Optical  Sound.  .       7 
Robert  A.  Mitchell 

The  Optics  of  CinemaScope 10 

Richard  Altman 

Do  You  Remember — 

August  6,  1926? 11 

Letters  to  the  Editor 13 

(Caustic  Complaint  from  the 
West  Coast) 

Cameramen,   Grips,  Work 

Underwater 14 

Till  Gabbani 

It's  Up  to  You — and  You  Alone.  .     15 
Frank  R.  Barkey 


Dutch  Use  Mirrors  to  "Unsqueeze" 
Anamorphic  Prints 16 

Distribution — the  Great  Octipi?..     17 
Walter  Reade,  Jr. 

In  the  Spotlight 20 

lATSE  42nd  Biennial  Convention .     22 

Wartime  Uses  Spurred  Growth 

of  16-mm  Field 24 

Persona]   Notes 25 

News  Notes 
Technical  Hints 
Miscellaneous  Items 


Published  Monthly  by 

INTERNATIONAL  PROJECTIONIST  PUBLISHING  CO.,  INC. 

19  West  44th  Street,  New  York  36,  N.  Y. 

Telephone:    MUrray  HIM  2>2948 

R.  A.  ENTRACHT,   Pub//sher 

SUBSCRIPTION   REPRESENTATIVES 

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NEW   ZEALAND:      Te   Aro   Book   Depot,   Ltd.,   64   Courtenay    Place,   Wellington 

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foreign  countries,  $3;  single  copies,  30  cents.  Changes  uf  address  should  be  submitted  two  weeks 
in  advance  of  publication  date  to  insure  receipt  of  current  Issue.  Entered  as  second  class  matter 
February  8,  1932,  at  the  Post  Office  at  New  York,  ,N.  V.,  with  additional  entry  at  Yonkers,  N.  Y., 
under  the  act  of  March  3,  1879.  Entire  contents^fepyrighted  1954  by  INTERNATIONAL  PRO- 
JECTIONIST PUBLISHING  CO.,  INC.  INTERNATIONAL  PROJECTIONIST  assumes  no  responsibility 
for  personal   opinions  appearing   in   signed   articles,   or  for  unsolicited   communications. 


MONTHLY     CHAT 

IF  THERE  are  any  projectionists  who 
don't  realize  their  critical  importance 
to  the  industry  in  these  days  when  new 
processes  are  running  wild,  their  atten- 
tion is  called  to  the  following  item  which 
recently    appeared    in    Film    Daily: 

"Just  to  illustrate  how  tough  it  can 
be  for  the  average  theatre  man  to 
handle  the  new  types  of  equipment  and 
lenses  with  which  he  must  be  equipped 
to  present  the  best  in  shows,  here  is  a 
true  story  about  a  recent  test  of  various 
lenses  conducted  by  six  optical  experts. 

"These  men  are  acknowledged  to  be 
experts  in  their  field.  One  of  them 
yelled  up  to  the  booth  to  change  the 
focus  of  one  of  the  lenses  just  a  tiny 
bit.  Belore  the  expert  in  the  booth  had 
a  chance  to  touch  the  lens  and  make 
the  suggested  change,  the  man  who  had 
asked  for  it  yelled:  'That's  it!  Don't 
touch  it  again.    It's  perfect  now.'  " 

This  is  the  kind  of  situation  we  run 
into  in  the  theatre  today.  The  so-called 
"new  processes"  have  awakened  the 
industry  to  the  technical  resources  it 
possessed  for  years  but  never  bothered 
to  use  until  Tv  was  driving  the  exhibi- 
tion business  to  the  wall.  At  the  same 
time,  exhibitors  are  confronted  with  a 
situation  where  they  must  select  new  and 
often  unstandardized  lenses,  screens,  and 
sound  equipment  even  though  they  have 
little  or  no  technical  knowledge. 
Compefenf  k6^\cG  Available 

Where  can  an  exhibitor  get  competent 
advice  in  such  a  situation?  Granted,  he 
can  receive  information  and  assistance 
from  theatre  supply  dealers  and  their 
technical  men.  But  is  this  enough?  A 
man  who  sells  would  not  be  doing  his 
job  properly  if  he  didn't  push  his  own 
products. 

The  obvious  person  to  consult  is  the 
projectionist— the  only  technically-mind- 
ed person  in  and  about  the  theatre.  He 
has  had  years  of  experience  in  judging, 
for  instance,  the  performance  of  lenses, 
ar.d  he  probably  has  well-founded  knowl- 
edge of  what  size  and  shape  of  picture 
is  practical  in  a  given  house. 

Another  segment  of  the  film  industry 
that  is  beginning  to  realize  its  depend- 
ence on  the  projectionist  is  the  produc- 
tion field.  This  is  shown  by  20th  Cen- 
tury-Fox's announcement  that  it  has 
prepared  a  special  reel  of  film  which 
is  supposed  to  explain  to  projectionists 
exactly  what  should  be  done  to  obtain 
the  best  results  from  CinemaScope  film. 
This  reel  is  said  to  suggest  methods  of 
proper  handling  of  sound  levels,  keep- 
ing the  picture  in  focus,  etc. 

Since  most  of  the  difiiculties  in  hand- 
ling CinemaScope  film  are  not  the  re- 
sult of  carelessness  in  the  projection 
(Continued  on  page  34) 


INTERNATIONAL  PROJECTIONIST 


AUGUST  1954 


INTERNATrONAL  PROJECTIONIST      •      AUGUST  1954 


p 


VOLUME  XXIX 


AUGUST   1954 


NUMBER  8 


An  Evaluation  of  Optical  Sound 


By  ROBERT  A.  MITCHELL 


Despite  competition  from  magnetic  sound,  optical  reproduction 
remains  the  most  important  method  of  sound  reproduction  in 
motion  picture  theatres.  This  is  the  first  of  two  articles 
which    point   out   certain    advantages   of    optical    soundheads. 


FOLLOWING  many  months  of 
much  intense  aural  and  visual 
tests,  the  writer  is  convinced 
that  predictions  that  photographic 
(optical)  sound  is  a  "dead  duck"  are 
quite  wrong.  The  longer  he  listens  to 
magnetic  sound  reproduction  the 
greater  is  his  appreciation  for 
regular  optical-track  sound  reproduc- 
tion, which  is  comparatively  trouble- 
free  and  certainly  far  less  expensive. 
Right  at  the  outset,  let's  get  this 
magnetic  sound  business  straight. 
Studios  prefer  magnetic  recording  on 
account  of  its  low  noise-level  and 
high  fidelity  when  properly  handled. 
The  magnetographic  tracks  must  be 
at  least  7  mm  (0.276  inch)  in  width 
for  the  best  sound,  and  the  magnetic 
recording  heads,  which  wear  out 
rather  quickly,  must  be  in  tip-top 
condition.  In  addition  to  these  ad- 
vantages, magnetic  tracks  make  pos- 
sible immediate  playback  because  no 
processing  of  any  kind  is  needed. 

Delicate  Adjusfmenf  Needed 

But  we  are  talking  now  about 
recording,  not  reproduction.  If  mag- 
netic film  is  very  carefully  handled 
and     reproduced     in     carefully     con- 


structed and  operated  reproducers,  it 
will  indeed  provide  excellent  reproduc- 
tion. This  is  a  far  cry  from  the  nar- 
row CinemaScope  tracks  which  get 
banged  about  a  bit  in  theatre  use  and 
must  go  through  the  entire  film-course 
of  picture  projectors. 

From  the  re-recorded,  or  "dubbed," 
magnetic  tracks  photographic  sound 
negatives  are  made  for  standard  re- 
lease printing.  So  with  the  advent  of 
magnetic  recording,  optical  reproduc- 
tion is  better  than  ever.  A  number  of 
photographic  steps  have  been  elimi- 
nated, hence  photographic  distortions 
have  been  minimized  and  "ground 
noise"  reduced  to  the  vanishing  point. 
Thanks  to  the  vocal  magnets,  modern 
photographic  sound  reproduction 
would  be  hard  to  beat,  and  cannot 
be  excelled  for  reproduction  in 
theatres  under  NORMAL  working 
conditions. 

Unlike  the  designers  of  Cinema- 
Scope  film,  the  pioneers  of  optical 
recording  showed  exceedingly  good 
judgment  when  they  standardized  the 
width  of  the  photographic  soundtrack 
at  0.1  inch  (2.5  mm)  and  the  rate  of 
film-travel   at   fi^   feet   or   24  frames 


per  second.  These  specifications  are 
more  than  adequate  for  high-fidelity 
optical  sound.     (Fig.   1). 

Accidentol  Erasure 

Narrow  tracks  is  not  the  only  defect 
of  CinemaScope  sound.  All  magnetic 
tracks  are  subject  to  partial  erasure 
in  normal  use  and  to  the  accidental 
pickup  of  noise,  defects  much  more 
serious  than  the  noises  caused  by 
scratches  and  splices  in  optical  tracks. 
("Push-pull"  optical  recording  largely 
does  away  with  this  slight  nuisance, 
however. )  The  magnetic  multiple-unit 
reproducing  heads  get  worn  and  must 
be  replaced  frequently  at  high  cost 
(just  as  worn  phonograph  needles  re- 
quire changing)  if  attenuation  of  the 
higher  frequencies  is  not  to  result 
in  "mumbly"  speech.  There  is  no 
need  to  speak  here  of  splicing  diffi- 
culties experienced  with  picture  film 
carrying  four  magnetic  tracks  striped 
on  the  base-side  of  the  film  stock. 

Sound  prints  of  the  standard  optical- 
track  variety  are  much  less  expensive 
and  more  quickly  processed  than 
magnetic  prints.  When  the  picture  is 
plain  black-and-white  no  special 
thought  need  be   given  to  the  soind- 


INTERNATIONAL  PROJECTIONIST      •      AUGUST   1954 


track  during  machine  development. 
In  the  case  of  multilayer  dye-coupler 
color  films  it  is  only  necessary  to  re- 
develop the  soundtrack  to  a  silver 
image. 

Even  this  simple  extra  step  may  be 
eliminated  by  employing  blue-sensitive 
photoelectric  cells  in  projectors.  Ordi- 
nary photocells  are  responsive  to 
infrared  rays  transmitted  by  the 
colored  dyes,  but  blue-sensitive  cells, 
responsive  to  shorter  wave-lengths 
blocked  by  certain  combinations  of 
dyes,  give  a  satisfactory  signal  output 
with  dye  tracks. 

Technicolor  Sound  Tracks 

Technicolor  imbibition-printed  color 
films  pose  a  tough  problem  with  re- 
gard to  optical  reproduction.  Al- 
though the  blurriness  that  results  is 
too  slight  to  spoil  the  clarity  of  the 
picture-images,  a  soundtrack  printed 
by  dye-imbibition  would  give  very 
poor  sound.  This  is  why  all  Techni- 
color movies  are  printed  on  regular 
photofilm  having  a  silver  soundtrack. 

With  silent  movies.  Technicolor 
imbibition  prints  were  made  on  simple 
gelatine-coated  celluloid,  a  type  of 
stock  much  less  expensive  than  raw 
stock  coated  with  photosensitive  emul- 
sion. Even  so.  Technicolor  prints  hav- 
ing silver-image  soundtracks  are  not 
nearly  so  high  in  price  as  multilayer 
dye-coupler  color  prints. 

A  magnetic  reproducer  is  simpler 
than  an  optical  reproducing  system. 
It  needs  no  exciting  lamp  and  no  opti- 
cal tube  containing  a  slit  and  several 
lenses.  With  no  exciting  lamp,  no 
exciter  power-supply  is  needed;  and 
with  no  optical  tube,  no  photoelectric 
cell,  condensing  lenses,  mirrors,  etc., 
are  used.  Also,  no  D.C.  voltage  is 
required  for  magnetic  reproducing 
heads. 

But  in  spite  of  this  simplicity,  the 
optical  method  is  less  costly,  more 
stable  in  operation,  and  far  more 
likely  to  give  consistently  good  re- 
sults. 

Optical  Equipment  Durable 

The  optical  tube  of  the  photosound 
reproducer  is  analogous  to  the  needle 
of  a  phonograph  and  to  the  iron 
"brushes"  of  a  magnetic  reproducer. 
An  important  difference  is  that  the 
optical  tube  never  gets  dull  or  wears 
out.  Properly  cared  for,  the  optical 
tube  of  a  standard  soundhead  will 
last  a  lifetime,  only  requiring  a  check 
on  focus  every  month  or  two. 


The  optical  tube  produces  a  "scan- 
ning beam"  which  cuts  the  sound- 
track. This  is  formed  from  the  light 
emitted  by  the  exciting  lamp,  and  is 
a  very  thin  line  of  light  as  long  as  the 
the  soundtrack  is  wide.  The  thinness 
of  the  beam  is  very  important.  The 
higher  frequencies  of  recorded  sound 
assume  the  form  of  delicate,  thread- 
like lines  and  striations  in  the  sound- 
track. If  such  narrow  lines  are  to 
modulate  the  scanning  beam  passing 
through  the  film,  the  lenses  of  the 
optical  tube  must  be  of  good  quality, 
and  the  focus  must  be  very  sharp. 

Forming  the  Scanning  Beam 

There  are  different  methods  of  form- 
ing the  scanning  beam,  hence  different 
types  of  optical  tubes.  In  the  early 
days  the  filaments  of  exciting  lamps 
were  made  of  a  single  strand  of 
tungsten  wire  tensioned  at  one  end 
by  a  steel  spring  to  prevent  sagging. 
With  this  type  of  exciter,  it  was  only 
necessary  for  the  lenses  of  the  optical 
tube  to  focus  a  reduced  image  of  the 
straight,  white-hot  filament  on  the 
soundtrack. 

To  avoid  fadeaway  of  light  at  the 
ends  of  the  scanning  line,  due  to  the 
cooling  action  of  the  filament  sup- 
ports, only  the  middle  part  of  the 
filament  was  imaged  on  the  film.  The 
scanning  beam  was  0.084  inches  (2.13 
mm)  in  length  and  about  1  mil  (0.001 
inches  or  25  microns)  in  width  at 
the  point  where  it  penetrated  the 
soundtrack. 

This   method  had  two   serious   dis- 


VARIABLE 
AREA 


VARIABLE 
DENSITY 


FIGURE   1 


advantages:  the  projectionist  found  it 
necessary  to  refocus  the  optics  every 
time  a  new  exciting  lamp  was  inserted, 
and  the  vibration  of  the  running  pro- 
jector caused  the  long,  thin,  stretched 
filament  to  vibrate  like  a  rubber  band. 
As  a  result,  the  sound  was  marred  by 
"whiskers." 

Better  Exciter  Lamps 

To  overcome  these  drawbacks,  the 
glowing  exciter  filament  was  focused 
on  a  mechanical  slit,  and  a  reduced 
image  of  the  mechanical  slit  focused 
on  the  film.  This  permitted  the  use 
of  coiled-filament  exciting  lamps  and 
eliminated  the  danger  of  raspiness 
caused  by  filament  vibration.  Both 
the  condensing  lens,  which  concen- 
trated the  light  on  the  slit,  and  the 
microscope-objective,  which  focused 
the  slit  on  the  film,  were  held  in  fixed 
position  in  the  optical  tube  with  the 
mechanical  slit  between  the  two  lenses. 

This  system,  resembling  the  optical 
layout  of  a  motion  picture  projector, 
worked  perfectly  with  variable-density 
soundtracks,  but  not  with  variable- 
area  tracks.  The  coils  of  the  filament 
focused  on  the  slit  resulted  in  varia- 
tions of  brightness  along  the  length 
of  the  slit-image.  When  the  sawtooth 
patterns  of  variable-area  tracks  moved 
back  and  forth  across  these  brightness 
variations,  distortion  appeared  in  the 
reproduced  sound. 

To  eliminate  these  distortions,  RCA 
introduced  the  so-called  "stereopticon" 
type  of  optical  tube  in  which  the  slit 
is  placed  close  to  the  condensing  lens, 
and  the  image  of  the  exciter  filament 
is  concentrated  on  the  objective  which 
focuses  the  evenly  illuminated  slit  on 
the  film.  This  type  of  optical  tube  is 
in  common  use  today. 

Scanning  Beam  Dimensions 

The  slit-image  produced  by  the  older 
optical  tubes  was  1  mil  (25  microns) 
wide,  while  modern  American  optical 
tubes  produce  a  1^-mil  (32-micron) 
slit-image  for  increased  sound  output 
and  lower  ground  noise.  Attenuation, 
or  weakening,  of  the  high  frequencies 
(2,000  to  10,000  cycles  per  second) 
by  the  wider  slit  is  not  appreciable, 
and  the  25%  increase  in  "gain"  is 
very  desirable.  With  a  lower  volume- 
setting  the  projectionist  obtains  the 
same  level  of  sound,  as  he  did 
formerly  at  a  higher  setting  with  the 
narrower  slit.  Photocell  hiss  is  re- 
duced, and  very  fine  scratches  on  the 
(Continued  on  page  33) 


INTERNATIONAL  PROJECTIONIST      •      AUGUST  1954 


Naturally! 

RCA  VS^Ide-Arc  Lamps 


LIGHT  UP 


WORLD'S 
THEATRE 


THE 


N 


'JT 


"We  realized  at  the  very  beginning  that  it  would  require  real  lighting  to 
illuminate  the  world's  largest  screen  satisfactorily.  For  that  reason  we 
subjected  competitive  lamps  to  cold-blooded,  realistic  light  meter  tests. 

"Of  the  lamps  tested,  only  RCA  Wide-Arcs  were  acceptable.  We  are  proud 
of  the  Westbury  Drive -In  because  it's  the  world's  biggest.  We  think 
it's  the  world's  best  because  it's  all  RCA." 

Westbury  Drive-ln  Theatre, 
Westbury,  Long  Island 


RCA  Wide-Arc  Lamps — the  only  lamps  powerful,  rugged 
and  dependable  enough  to  satisfy  the  world's  largest 
drive-in — also  deliver  the  efficient,  economical  perform- 
ance the  Westbury  demands.  At  this  mammoth  theatre, 
or  in  any  far  smaller  house  .  .  .  they  give  more  light  per 
ampere  than  any  other  projection  lamp! 

To  wide-screen  and  3-D  presentation,  RCA  Wide-Arcs 
bring  all  the  top-performance  features  typical  of  any 
RCA  product.  For  long,  efficient  operating  life,  "Instant 
Acting"  ventilating  assembly  keeps  reflector  cool  and 
free  of  carbon  dust.  Automatic  water  circulator  keeps 
overall  operating  temperature  down. 


RCA  Wide-Arcs  mean  better-than-ever  light  distribution, 
thanks  to  the  large,  high  speed  reflector.  High-speed  posi- 
tive carbon  rotation  provides  maximum  stability.  And 
Wide-Arcs — with  either  standard  high-intensity  carbons 
or  Hitex  carbons — shave  operating  costs  with  their  low 
carbon-burning  rate — and  special  design  keeps  mainte- 
nance costs  to  an  absolute  minimum. 

Day  in,  day  out .  . .  RCA  Wide-Arc  Lamps  are  proving 
their  superiority  in  theatres  across  the  country — from 
Maine  to  Florida;  from  New  York  to  California;  in 
Illinois;  in  Nebraska;  in  Rhode  Island;  in  Texas . . .  every- 
where. Ask  your  RCA  Theatre  Supply  Dealer. 


THEATRE  EQUIPMENT 

RADIO   CORPORATION   of   AMERICA 

ENGINEERING  PRODUCTS  DIVISION  CAMDEN,  N.J. 

«ln  Canada:  RCA  VICTOR  COMPANY,  Limited,  Montreal 


The  Optics  of 
CrnemaScope 


A. 


By  RICHARD  ALTMAN 

Scientific  Bureau 
Bausch  &  Lomb  Optical  Company 


Although  many  general  articles  on  CinemaScope 
have  appeared,  relatively  few  have  concerned  themselves 
with  the  optical  principles  involved.  The  more  familiar 
type  of  lenses  such  as  those  used  in  projection  of  motion 
pictures  enlarge  the  image  on  the  film  and  transfer  it  to 
the  screen. 

The  picture  on  the  screen  is  the  same  as  that  on  the 
film  (Fig.  1)  only  the  size  has  been  changed  due  to  the 
magnification  of  the  projection  lens.  The  magnification 
is  the  number  of  images  on  the  film  needed  to  cross 
over  the  image,  and  will  be  the  same  in  all  directions  if 
the  picture  on  the  film  is  to  be  reproduced  faithfully  on 
the  screen. 

In  CinemaScope  the  picture  on  the  screen  is  different 
from  that  on  the  film  (Fig.  2).  Circles  on  the  film  are 
projected  oval,  showing  a  difference  in  magnification 
between  the  horizontal  and  vertical  directions.  The  lens 
which  accomplishes  this  is  called  an  "anamorphic"  be- 
cause it  "reshapes"  the  image. 

Alteration  of  Image  by  CinemaScope  Lens 

In  the  illustrations  the  lens  is  shown  projecting  at 
three  times  magnification.  When  a  CinemaScope  lens 
is  added  the  magnification  remains  at  three  times  in  the 
vertical  direction  but  is  now  six  times  in  the  horizontal. 
The  focal  length  of  the  projection  lens  is  thus  effectively 
halved  in  the  horizontal  direction,  while  remaining  un- 
changed in  the  vertical  direction. 

The  complete  optical  system  for  CinemaScope  includes 
a  conventional  camera  lens  plus  a  CinemaScope  attach- 
ment for  recording  a  squeezed  image  on  the  film,  and  a 


conventional  projection  lens  plus  a  CinemaScope  pro- 
jection attachment  to  expand  the  image  to  normal 
proportions  on  the  screen.  Since  all  CinemaScope  pic- 
tures are  photographed  in  a  squeeze  ratio  of  two  times, 
they  must  be  projected  by  an  anamorphic  attachment 
fixed  at  two  times  expansion  so  that  the  final  picture 
will  not  be  distorted. 

CinemaScope  attachments  must  have  a  high  degree  of 
optical  correction  in  order  that  the  quality  of  the  pro- 
jected image  will  not  suffer.  A  cylinder  lens  system 
was  chosen  by  Bausch  &  Lomb  over  a  variable-type 
prism  system  as  affording  the  best  quality  imagery  at 
any  given  squeeze  ratio.  In  addition,  the  projection  at- 
tachment must  work  well  with  lenses  of  various  focal 
lengths. 

For  instance,  the  anamorphic  attachments  must  have 
sufficient  diameter  to  maintain  the  optical  speed  of  long- 


FIG.  3.      CINEMASCOPE  OPTICAL  SYSTEM 


-f- 


OBJECT 


-^ 


^ 


CAMERA 


^ 


.^n 


SCREEN 


PROJECTOR 


focal-length  lenses  and  yet  allow  enough  light  to  get  to 
the  corners  of  the  screen  when  used  with  short-focal- 
length  lenses.  A  single  attachment,  meeting  these  mech- 
anical  specifications   would   require   a   very  bulky  lens. 

CS'-cp'^  'ens  No*  a  Correcfive  Unit 

For  this  reason  Bausch  &  Lomb  supplies  two  forms 
of  CinemaScope  projection  attachments  (Fig.  4).  Pro- 
jection attachment  I  for  lenses  of  3-  to  5-inch  focal  length 
in  2.781-inch  barrels,  and  attachment  II  for  lenses  of 
5-  to  7-inch  focal  length  in  4-inch  diameter  barrels.  The 
projectionist  is  thus  assured  of  top  quality  projection 
with  a  minimum  of  extra  bulk  to  handle. 

Furthermore,  the  attachment  will  not  correct  any  de- 
fects that  already  exist  in  his  projection  lens.  In  fact, 
those  defects  are  more  noticeable  when  the  CinemaScope 
attachment  is  added  because  of  the  extra  magnification 
introduced  in  the  horizontal  direction.  For  this  rea- 
son, lenses  that  may  appear  to  give  an  acceptable  image 
in  normal  projection  may  give  poor  imagery  in  Cinema- 


FIG.   1.  MAGNIFICATION  OF  FAMILIAR  TYPE  LENS 


DIRECTION 


Three  times  magnification   in  botli  vertical  and  hori- 
zontal directions. 


FIG.   2.     CINEMASCOPE  MAGNIFICATION 


w-- 


FILM 


LENS 


^       ,-n 


lb* 

CINEMASCOPE 
ATTACHMENT 


SCREEN 


3   TIMES 


6  TIMES 


The    CinemaScope    attachment    raises    the    horizontal 
magnification  two  times 


10 


INTERNATIONAL  PROJECTIONIST      •      AUGUST  1954 


FIG.  5.      SETTING  CINEMASCOPE  LENS  FOR  "THROW 


■^— - 


^'h- 


KEY:     O — object;    I — image;    A    &    B — focusing    tele- 
scope; C — image  on  object;  D — flat  plates  of  the  glass- 
image  on  object. 


FIG.  6  CYLINDRICAL  ANAMORPHiC   LENSES 


Cylindrical   anamorphic   lenses  are   the   natural   result 
of  combining  C  and  D  of  FIG.  5. 


Scope  projection.  It  is  essential  that  top-quality  pro- 
jection lenses  be  used  to  obtain  the  best  projected  image. 

The  CinemaScope  attachment  and  projection  lens  are 
locked  together  and  focused  as  a  unit  in  the  normal 
manner.  It  is  necessary  to  preset  the  CinemaScope  at- 
tachment for  the  projection  throw.  This  setting  is  com- 
pletely independent  of  the  focal  length  of  the  projec- 
tion lens.  It  can  be  likened  to  the  adjustment  of  a 
telescope  for  objects  at  different  distances. 

By  changing  the  spacing  between  the  elements  (Fig. 
5)  the  image  may  be  formed  either  in  front  of  Fig.  5A, 
behind  Fig.  5B,  or  on  the  object  itself,  Fig.  5C.  A 
CinemaScope  lens  forms  the  image  on  the  object.  The 
main  difference  between  a  CinemaScope  attachment 
and  a  telescope  is  that  in  the  former  the  magnification 
must  be  confined  to  the  horizontal  direction.  In  the 
vertical  direction  the  image  appears  unchanged  in  size 
and  position — like  when  the  object  is  viewed  through 
a  simple  flat  plate  of  glass  (Fig.  5D).  In  both  directions 
the  image  is  on  the  object  so  that  it  appears  sharply 
focused.  A  natural  result  of  combining  Figs.  5C  and 
5D  is  a  cylinder  lens  system  which  has  straight  sides 
vertically  and  curved  sides  horizontally. 

CScope  Lens  Acts  Like  Reversed  Telescope 

Actually  the  CinernaScope  lens  is  used  like  a  reversed 
telescope  in  that  when  the  picture  is  taken  it  gives  a 
smaller  rather  than  a  larger  image.  Because  the  image 
is  smaller,  more  of  the  object  can  be  put  on  the  same 
size  film.  In  projection  the  same  lens  expands  the 
image  because  the  direction  of  the  light  through  the 
lens  is  reversed.    The  projected  picture  contains  more  of 


I 


B.  &  L. 

CinemaScope 

anamorphic 

projection 

attachments. 


the  object,  which  means  a  larger  projection  screen  is 
needed. 

CinemaScope  gives  a  screen  size  2.55  times  as  wide 
as  it  is  high  wiht  the  anamorphic  squeeze  ratio  of  2 
times.  The  whole  film  frame  is  used  for  picking  up  the 
maximum  amount  of  light.  If  a  non-anamorphic  system 
is  used  to  give  the  same  screen  dimensions  as  Cinema- 
Scope, there  will  be  a  loss  of  light  on  the  screen.  The 
ratio  of  the  amount  of  light  on  the  screen  for  an 
anamorphic  system  as  compared  with  a  non-anamorphic 
system  giving  pictures  of  the  same  dimensions  is  the 
squeeze  ratio  of  the  anamorphic  lens.  That  is,  the 
amount  of  light  is  greater  for  larger  squeeze  ratios. 

For  small  squeeze  ratios  the  gain  in  light  may  not 
be  sufficient  to  warrant  the  added  expense  of  using 
anamorphic  lenses.  The  gain  in  screen  illumination  and 
the  reduction  of  film  grain  are  the  two  major  optical 
advantages  of  an  anamorphic  over  a  non-anamorphic 
system. 


Do  You  Remember  -  - 
August  6,  1926? 


I 


HE  death-knell  of  the  old  silent  motion  picture  in  the 
theatre  exhibition  field  was  sounded  just  28  years  ago 
when  on  August  6,  1926,  John  Barrymore  appeared  in- 
Don  Juan  at  the  Warnei  Theatre  in  New  York  City. 
Barrymore,  the  star,  and  others  of  the  cast  of  Don  Juan 
were  in£.udible,  however,  since  this  film  offered  only  a 
"fully  synchronized  and  recorded  musical  score."  But  on 
a  surrounding  program  of  short  subjects  opera  and  con- 
cert, performers  sang  and  played,  the  sound  being  played 
back  from  discs  synchronized  with  the  pictorial  imagery. 

Sponsoring  this  historical  film  exhibit  were  the  Warner 
brothers — Jack  L.,  Sam  L.,  Albert  W.  and  Harry  M. — 
whose  activity  in  the  motion  picture  business  goes  back 
to  1906,  when  they  opened  their  first  theatre  at  New 
Castle,  Penn.  Subsequently,  the  Warners  became  top- 
flight producers  of  silent  feature  pictures,  their  steady 
progress  toward  their  present  eminence  in  the  film  world 
being  marred  only  by  the  death  of  Sam  Warner. 

The  equipment  used  for  the  first  public  exhibition  of 


INTERNATIONAL  PROJECTIONIST      •      AUGUST  1954 


11 


WARNER  BROS.  PICTURES,  INC. 


THE  VITAPHONE  CORPORATION 

•Present 

VlTAPHONE 

and 

John  Barrymore  in  "'Donjuan''' 


VITAPHONE  PRELUDE 

^oti.  Will  ^.  ^ays 

Prcsidcin  of  Motion  Piflurc  Producers  and  Distributors  of  America 
welcomes  \'1TAPH0NE. 

The  ^^(^tv  Tork^  Tliilltarmonic  Orchestra 

Henry    HaJley  condufling,    Overture   from  "TANNHAUSER", 
Wagner. 

Marion  Talhy 

By   arrangement  with   the   Metropolitan   Opera  Company, 
Caro  Nome  from  "RIGOLETTO".  Verdi,  or  "Home  Sweet 
Home.*' 

Sfrem  Zimhalist  and  Harold  'Bauer 

Variations  from  -'KREUTZER  SONATA",  Beethoven. 


%oy  i§meck 


•HIS  PASTIMES" 

t^nna  (sase 

"LA  FIESTA*',  supported  by  the  Cansinos  and  Metropolitan 
Opera  chorus.  Accompanied  by  the  Vi'aphone  Symphony  Orchestra, 
Herman  Heller  conducting. 

^StGscha  Clmait 

Josef  Bonime,  actrompanist 
■■HUMORESCyjE".  Dvorak. 

Qiovanni  iJuCartinelli 

By  arrangement  with  the  Metropolitan  Opera  Company. 
Vesti  la  Giubba,  from  "I  PAGLIACCI",  Leoncavallo. 
Accompanied  by  the  NEW  YORK  PHILHARMONIC  ORCHESTRA. 

Intidtftlal  rr.uiic  It  tht  aboVe  n-jmhcrs  playd  hj  mtmbtrt  of  ihe  7'(^ra  Tork^ 
'Pbilbarmonic  Ortbeiira,  ^crman  Hel/cr  cenduiltng. 

•Pr»i<ai«  ^ftjift  It  Oimii  WiJititl  ^Cs'<" 


Here  is  a  reproduction  of  the  fateful  Vita- 
phone  program  that  revolutionized  the  mo- 
tion   picture    business    just    28    years    ago 
this  August  6  of  1954. 


"talking  pictures"  on  that  sultry  August  night  28  years 
ago  was  the  famed  "Vitaphone"  unit  which,  when  favored 
by  good  reproducing  fortune,  effectively  synchronized 
sound  and  vision  and  offered  a  realistic  audible  film 
presentation.  Vitaphone  was  the  outcome  of  supplemental 
extensive  development  work,  following  years  of  pioneer- 
ing work  by  unsung  individuals,  by  Western  Electric  Co. 
and  Bell  Telephone. 

To  say  that  Don  Juan  revolutionized  the  motion  pic- 
ture business  is  putting  it  mildly:  history  was  made  that 
August  night;  and  the  motion  picture  industry,  too,  was 
made  (and  very  nearly  unmade)  at  a  time  when  slumping 
box-office  receipts  threatened  the  movies'  theretofore  vise- 
like grip  on  the  entertainment  preference  of  the  theatre- 
going  public. 

The  First  "All-Toiklng"  Picture 

Oddly  enough,  it  wasn't  until  1928,  two  years  after 
Don  Juan,  that  the  first  "all-talking  picture"  (as  they 
were  then  termed)  was  publicly  exhibited,  also  by  the 
Warners;  although  six  months  after  Don  Juan,  William 
Fox  and  Theodore  Case  introduced  the  Movietone  News- 
reel,   a   sound-on-film  process. 

The  scientific  development  of  sound  pictures  traces 
its  ancestry  to,  among  several  other  film  pioneers, 
Dr.  Lee  De  Forest,  the  latter  by  means  of  his  develop- 


ment of  the  "audion"  (three-element)  amplifying  tube. 
In  1887  Edison  wrote: 

"The  idea  occurred  to  me  that  it  was  possible  to  devise 
an  instrument  which  should  do  for  the  eye  what  the 
phonograph  did  for  the  ear,  and  that  by  a  combination 
of  the  two  all  motion  and  sound  could  be  recorded  and 
reproduced  simultaneously."  Two  years  later,  on  October 
6,  1889,  Edison  gave  the  first  demonstration  of  a  small 
motion  picture  mechanically  synchronized  with  a  phono- 
graph record.  By  1913  Edison  has  made  nearly  twenty 
brief  motion  picture  subjects  for  the  "Kinetophone,"  as 
the  Edison  device  was  known,  and  these  were  shown  in 
a  number   of  theatres  in  various  parts  of  the  country. 

De  Forest  developed  a  sound-on-film  method  of  syn- 
chronizing sound  with  motion  pictures  which  he  called 
"Phonofilm."  Demonstrations  of  Phonofilm  were  given 
in  De  Forest's  Highbridge,  New  York,  laboratory  in 
1921;  and  in  1923  and  1924  he  gave  demonstrations  of 
Phonofilm  in  the  Rivoli  and  Rialto  Theatres,  N.  Y.  City. 

Lest  you  suspect  that  our  friends  in  distant  lands  are 
not  fully  conversant  with  technological  advances — 
visually,  aurally  and,  most  important,  patron  comfort 
— eye  this  vast  expanse  of  the  Gaumont  Palace  Theatre 
in  Paris,  France.  One  of  the  largest  in  the  world,  this 
5500-seat  theati-e  provides  a  Raytone  screen  73  feet  wide 
by  44  deep,  and  was  equipped  by  Westrex  to  show  any 
existing  aural-visual  process,  including  full  stereo  sound. 


Further  evidence  of  technological  know-how  in  distant 

lands  is  this  view  of  the  screen  in  the  Regent  Theatre, 

Sydney,  Australia.    Equipped  to  show  any  aural-visual 

process,  with  full  stereo  sound,  by  Westrex  Corp. 


12 


INTERNATIONAL  PROJECTIONIST      •      AUGUST  1954 


ITTERS    TO    THE    EDIT 


liiiiiiiiiii 


iiii 


A  Caustic  Complaint  from  the  West  Coast 

To  the  Editor  of  IP: 

After  receiving  the  June  issue  of  IP,  I  was  amazed  at  your  lack  of 
knowledge  on  stereophonic  sound  and  wide,  curved  screens.  First,  let 
us  analyze  the  situation.  You  say,  "One  down — Much  More  to  Go,"  "3-D 
is  Dead!"   Why?    Who  killed  it?    Who  helped  kill  it?    3-D  will  never  die. 

When  CinemaScope  came  along,  a  lot  of  us  projectionists  were  against 
it  for  technical  reasons  as  you  seem  to  be.  We  didn't  believe  that  this 
process  could  produce  a  picture  of  adequate  quality.  However,  I  take 
definite  issue  with  you  on  the  question  of  stereophonic  sound.  That's 
another  horse,  and  there  you  are  dead  wrong.  Where  do  you  get  your 
information?    Surely  not  from  the  West  Coast. 

You  make  a  statement  that  magnetic  sound  is  not  as  good  as  optical. 
This  is  ridiculous.  You  have  never  heard  optical  sound  go  to  the  range  that 
magnetic  sound  does.  Of  course  magnetic  sound  is  sharper  and  crisper! 
It's  bound  to  be.  When  presented  properly  it  makes  optical  reproduction 
sound  like  the  old  Edison  Gramaphone.  If  you  want  to  talk  about  stereo 
sound,  let's  get  the  facts  straight. 

Then  you  denounce  the  curved  screen.  Why?  And  the  metallic-surface 
screen!     Why? 

You  go  on  to  say  that  a  manufacturer  of  lamps  suggests  using  135 
amperes  to  obtain  15  foot-lamberts  at  the  center  of  a  white  matte  screen. 
This  also  is  ridiculous.  We  are  burning  78  amperes  using  water  jackets 
with  9-mm  black  positive  carbons  and  8-mm  negatives  in  a  Peerless 
Magnarc.  Our  results,  checked  by  the  Motion  Picture  Research  Council, 
showed  45  foot-lamberts  on  the  center  of  a  Bodde  metallic  screen,  so  you 
cannot  sell  me  on  your  test.  Who  made  it?  By  the  way,  our  screen  is  45 
feet  by  24^2  feet,  making  your  comparison  seem  even  more  foolish. 

Harold  T.  Goldstein 
Chief  Projectionist,  Phil  Isley  Theatres,  Los  Angeles 


Editor's  reply:  Thank  you  very 
much  for  giving  us  permission  to 
publish  your  interesting  letter.  As 
you  already  know,  we  have  been  pre- 
dicting the  demise  of  3-D  for  a  long 
time,  feeling  that  binocular  pix  had 
been  accorded  fatal  handling  in  pro- 
duction and  distribution.  We  also  felt 
that  most  of  the  boys  who  do  the  ex- 
perimenting took  the  day  off  when 
3-D  came  knocking  at  their  door. 

Yes,  we  were  all  set  to  crow  "we 
told  you  so"  when  your  letter  arrived 
to  inform  us  that  "3-D  will  never  die." 
Apparently,  this  process  lives  on  in 
spirit  even  though  no  significant  3-D 
features  are  in  production. 

Aluminum  Screens 

So  you  don't  care  much  for  Cinema- 
Scope?  We've  had  doubts  about  it 
ourselves,  but  the  very  things  that 
bothered  us  you  seem  to  like — mag- 
netic sound  from  narrow  tracks  and 
curved,  aluminum  screens.  We  have 
also  found  plenty  of  fault  with  ana- 
morphic  lenses  in  the  past,  though  we 


are  happy  to  report  that  the  newer 
ones  are  quite  an  improvement. 

You  say  your  optical  sound  resem- 
bles Edison's  first  attempt.  Well,  per- 
haps you  should  come  to  the  East 
Coast  to  hear  an  optical  track  played 
on  top-notch,  high-fidelity  sound  equip- 
ment which  represents  the  criterion 
of  expected  quality  back  here.  Holly- 
wood can  be  proud  of  us  Easterners 
for  having  exhibitors,  projectionists, 
and  sound  service  engineers  who  know 
tlieir  business.  Frankly,  we  are  con- 
cerned about  your  terrible  optical 
sound.  Are  you  sure  that  your  equip- 
ment is  in  good  running  order? 

Optical  sound  easily  attains  10,000 
cycles  of  undistorted  signal  with  either 
the  older  1-mil  or  the  later  1^-mil 
scanning  beams,  which  is  anywhere 
from  1,000  to  2,000  cycles  higher  than 
modern  theatre  speakers  are  designed 
to  reproduce.  Except  in  very  unusual 
cases,  nothing  over  9,000  cycles  ever 
reaches  the  ears  of  a  motion-picture 
audience  from  the  screen,  no  matter 
what  type  of  soundtrack  is  played. 


In  regard  to  your  special  questions, 
we'll  play  the  same  old  record  over 
again. 

We  condemn  curved  screens  because 
(1)  they  produce  unequal  amounts  of 
perspective  distortion  for  observers  in 
the  side  seats,  and  (2)  they  distort  the 
picture  very  badly  for  all  patrons 
except  those  in  the  highest  balcony 
seats  when  a  moderate  or  large  projec- 
tion angle  exists.  It  was  explained  by 
Robert  A.  Mitchell  on  page  8  of  the 
May  issue  of  IP  why  this  distortion, 
intolerable  from  the  ground  floor, 
cannot  be  seen  from  the  projection 
room  (where  the  audience  isn't).  On 
the  same  page  of  IP  you  will  also  find 
a  diagram  of  this  curved-screen  dis- 
tortion. 

Disapprove  Aluminum  Screens 

We  strongly  disapprove  of  alumi- 
num surface  screens  in  all  but  long, 
narrow  theatres  because :  ( 1 )  They 
produce  an  excessively  bright  picture 
for  patrons  seated  in  the  middle  of  the 
auditorium  and  an  excessively  dim 
picture  for  patrons  seated  in  the  down- 
front  side  seats;  (2)  they  reveal  every 
tiny  wrinkle  in  the  screen  by  a  blotchi- 
ness  of  the  illumination;  (3)  they  re- 
veal seams  as  dark  lines;  (4)  they  ex- 
aggerate pictorial  contrasts  in  the 
deeper  pictorial  tones  while  masking 
the  fine  detail  in  the  highlights,  and 
(5)  they  usually  impart  a  grainy  ap- 
pearance to  the  picture  for  patrons 
seated  close  to  the  screen. 

Some  of  these  defects  are  mini- 
mized in  long,  narrow  theatres,  in 
which  aluminum  screens  enable  rela- 
tively low-powered  arc-lamps  (such  as 
yours)    to  be  used. 

You  have  been  so  severe  with  us 
concerning  the  matter  of  arc  lamps 
that  we  are  forced  to  accuse  you  of 
neglecting  your  homework.  If  you  will 
turn  to  page  11  of  the  June  issue  of 
IP,  you  will  find  out  who  made  the 
tests  on  screen  illumination  that  you 
object  to.  On  that  page  is  an  adver- 
tisement of  the  Strong  Electric  Corp., 
an  ad  that  contains  the  screen-light 
data  you  seek.  You  must  have  missed 
seeing  it. 

The  Strong  test  is  quite  factual, 
and  not  in  the  least  misleading.  This 
test  proves  that  the  Strong  Super 
"135"  lamp  burning  135  amps,  gives 
almost  twice  as  much  light  as  your 
water-cooled  lamp  burning  uncoated 
positive  carbons  at  78  amps.  It  is 
possible  for  you  to  get  more  light  at 
(Continued  on  page  30) 


INTERNATIONAL  PROJECTIONIST      •      AUGUST  1954 


13 


The     heovy    tripod     is    carried     to    top     of    parallel 
where    it    is    set    up    to    take    the    Mitchell    Cinema- 
Scope   camera    mounted    in   watertight   blimp. 


Two  husky  grips  wearing  Aqua-lung  equipment 
struggle  through  rocky  coral  beds  with  cumber- 
some   tripod,    lowered    from    nearby    supply    ship. 


As  when  filming  on  land,  a  comera  parallel  in 
moved  into  position  30  ft.  underwater  for  a  new 
setup     for     "20,000     Leagues     Under     The     Sea.' 


1 


Cameraman  Gabbani  and  Director  Richard  Flei- 
scher (dark  suit)  survey  scene  through  special 
CinemaScope    viewfinder    before    camera    is    set    up. 


Heavy    hemp    mot    is   placed    on    ocean    floor   to   re 

duce  amount  of  sand  kicked  up  by  the  divers,  thus 

increasing    production    time    underwater. 


Cameramen,  Grips  Work  Underwater 


The  enormous  problems  faced  by  the  Walt  Disney  Crew 
filming  "20,000  Leagues  Under  the  Sea"  are  described 
in  this  article  abstracted  from  American  Cinetnatographer. 

By  TILL  GABBANI 

Photos   by    Lt.    Com.    Charles    Hooper,    USN 


THIRTY  FEET  underwater  in 
the  Caribbean,  off  Nassau,  Ba- 
hamas, some  eighty  motion  pic- 
ture artists  and  technicians  wearing 
safety  diving  gear  recently  completed 
what  unquestionably  was  the  most 
challenging  assignment  ever  faced  by 
a  Hollywood  motion  picture  troupe. 
Here  on  the  ocean  floor  was  filmed  in 
Eastman  Color  with  a  CinemaScope 
lens  the  fabulous  underwater  se- 
quences for  Walt  Disney's  version  of 


Jules  Verne's  "20,000  Leagues  Under 
The  Sea." 

During  this  assignment  there  was 
photographed  more  underwater  foot- 
age than  for  any  other  motion  pic- 
ture on  record.  The  scenes  for  the 
most  part  were  not  the  familiar  under- 
water swimming  shots  of  one  or  two 
people,  but  embraced  carefully-plan- 
ned and  enacted  scenes  that  required 
painstaking  rehearsals,  and  the  use  of 
pi  ops     and     set     pieces     laboriously 


brought  to  the  ocean  floor. 

Of  equal  interest  is  the  fact  that 
there  were  more  people  working  under- 
water at  one  time  in  the  filming  of 
these  scenes  than  in  any  other  pre- 
vious attempt  at  underwater  film  pro- 
duction. In  the  key  dramatic  sequence 
—  the  burial  under  sea  of  a  slain 
shipmate  of  the  Nautilus  crew — there 
was  a  total  of  forty-two  persons  work- 
ing simultaneously  before  and  behind 
the  camera. 


14 


INTERNATIONAL  PROJECTIONIST      •      AUGUST   1954 


!■■  Grips     erect     set     piece     which      serves     as     back- 
Lf  ground    for    on    underwater    action     scene.       Note 


8 


Prior      to      starting      camera,      Till      Gabboni      takes 

light     reading     with     meter,     which     is     encased     in 

protective   plastic   chamber   attached   to   cord. 


9 


Director     Fleischer     writes     last-minute     instruction: 

on    underwater    slate    to    cameraman    before    shoot' 

ing    begins    on    big    action    scene. 


0 


Biggest    underwater    scene    ever    photographed    for 

a     Hollywood    production:    the    burial     sequence     in 

Disney's  "20,000  Leagues  Under  The  Sea." 


11 


The    shooting    over,    cameraman    Gabbani    prepares 
to    surface,     carrying     his    exposure     meter,     under- 
water   slale,    and    "lily"    or    color    chart. 


12 


Closeup  of  pressurized,  watertight  blimp  bull 
by  Disney  engineers  for  Mitchell  camera  used  i 
filming    underwater    scenes    in    color    and    C-Scop( 


Because  most  of  the  undersea  action 
consisted  of  lengthy  routines  rather 
than  brief  shots  of  men  swimming,  etc., 
our  filming  operations  approximated 
those  of  the  studio  sound  stage.  We 
used  a  standard  Mitchell  camera  for 
the  stationary  shots,  heavy  metal 
tripod,  parallels,  etc.,  and  were  as- 
sisted by  the  usual  crew  of  camera 
assistants,  prop  men,  and  grips.  About 
the  only  thing  missing  was  the  big 
studio  lights.  Here,  illumination  was 
supplied  by  sunlight. 

For  most  of  the  crew,  diving  equip- 
ment consisted  of  the  well-known 
Aqua-lung  with  air-chambers  that 
strap  to  the  back  and  permit  one  to 
remain  submerged  for  60  minutes;  a 
pair  of  swim  fins;  and  a  diving  mask. 
Augmenting  the  crew  and  cast  directly 
involved  in  the  underwater  sequences 
were  a  number  of  expert  divers. 

The  Carribean  location  site  chosen 


for  this  production  is  perhaps  the 
most  ideal  for  underwater  cinemato- 
graphy. Nowhere  else  is  there  the 
wide  variety  of  picturesque  coral  for- 
mations, the  countless  different  kinds 
of  fish,  ranging  from  the  colorful 
grouper  to  barracuda,  sharks  and 
sting  rays.  The  crystal-clear  water 
afforded  visibility  to  depths  as  great 
as  50  feet.  Because  there  is  no  direct 
current  running  through  the  waters 
here,  there  was  not  the  problem  of 
mud  or  silt  clouding  the  water  to 
hamper   photography. 

The  appearance  of  fish  swimming 
through  the  water  is  an  accepted  com- 
ponent of  underwater  photography; 
but  we  found  that  this  piscatorial  prop 
was  not  always  around  when  we 
were  ready  to  start  shooting.  So  here 
again,  ingenuity  came  to  the  fore,  and 
fish  were  gathered  up  by  the  prop  men 
and  held  in  wire  mesh  pens  until  time 


came  to  release  them  for  a  "walk 
through"  in  the  scene. 

In  gathering  the  fish,  it  was  learned 
that  if  the  open  end  of  the  net  was 
pointed  at  a  coral  head  the  fish  would 
swim  into  it  rather  than  away  toward 
the  open  sea.  We  thus  had  excellent 
luck  in  always  keeping  the  fish  within 
the  camera  range.  Indeed,  some  of 
them  seemed  to  like  acting  in  pictures. 
Many  stuck  around  after  a  scene  was 
over  and  were  recaptured  and  used 
again. 

Although  I  have  had  previous  ex- 
perience as  an  underwater  camera- 
man on  20th  Century  Fox's  "The 
Frogmen"  and  "Beneath  the  12-Mile 
Reef,"  I  put  in  more  sub-surface  time 
on  this  Walt  Disney  production  than 
on  the  other  two  combined.  This  was 
certainly  a  most  interesting  and  chal- 
lenging job,  but  I'll  be  happy  to  settle 
for  one  on  a  "dull,"  dry  sound  stage. 


INTERNATIONAL  PROJECTIONIST      •      AUGUST  1954 


15 


It's  Up  to  You  -  and  You  Alone 


No  DOUBT  the  statement  about 
to  be  made  will  bring  down  the 
wrath  of  the  multitude  upon  ray  tender 
ears.  However,  before  you  get  up 
on  your  own  particular  soap  box,  read 
the  piece  through  and  then  consider 
all  the  breaks  and  stoppages  you  have 
had  over  the  past  five  years  in  the 
light  of  the  following: 

Twenty  years  ago  I  served  my 
apprenticeship  in  the  projection  room 
with  a  man  who  was  guided  by  one 
cardinal  rule:  No  matter  what  hap- 
pens, be  it  breakdown,  stoppage,  fail- 
ure, the  projectionist  has  no  excuse. 
He  is  responsible.  As  an  apprentice 
I  was  taught  to  take  that  rule  for 
granted  and  I  still  do. 

Now  before  you  throw  the  biggest 
film  can  in  the  place,  let's  see  how 
correct  such  an  attitude  is.  With  the 
exception  of  houses  where  the  equip- 
ment is  so  ancient  and  rickety  as  to 
present  a  hopeless  situation,  I  believe 
that  the  projectionist  should  be  able  to 
pievent  breakdowns  during  showtime. 

Where  Trouble  Starts 

In  the  modern  projection  room 
there  is  quite  a  bit  of  equipment  that 
can,  and  does,  develop  aches,  pains 
and  ulcers.  It  all  looks  pretty  com- 
plicated, taken  as  a  whole,  but  it  can 
be  broken  down  into  four  main  groups 
which  I  choose  to  term  the  heavy  elec- 
trical, light  electrical,  mechanical,  and 
optical  groups. 

The  heavy  electrical  group  includes 
arc  lamps,  generators,  rectifiers,  switch 
panels,  motors  and  other  gear  drawing 
heavy  currents. 

The  light-weight  electrical  group 
includes  amplifiers,  power  supplies, 
photocell  circuits,  pre-amplifiers,  ex- 
citer units  and  other  equipment  draw- 
ing relatively  light  current. 

The  mechanical  group  includes  pro- 
jector heads,  drives,  sound  heads,  film 
rewinds,    curtain    controls. 

The  optical  group  is  somewhat  mis- 
cellaneous and  includes  film,  lenses, 
screen,  lamp  mirrors,  and  condensers. 
Optical  sound  components  are  not  in- 
cluded in  this  group  but  are  included 
in    the    light    electrical    group,    being 


A  Canadian  lA  man  takes  a  Spartan  attitude  towards 
his    duty    in    maintaining    projection    room    equipment. 

By  FRANK  R.  BARKEY 

lA  Local  173,  Toronto,  Canada 


part  of  the  overall  sound  system.  Of 
course  some  of  these  items  might  be 
classed  in  more  than  one  group,  but 
for  maintenance  and  repair  purposes 
the  classifications  will  serve. 

Taking  the  heavy  electrical  group 
first,  what  can  go  wrong?  What  can 
happen  to  stop  your  show?  Well, 
fuses  can  blow;  brushes  can  wear  out; 
switches  can  fail;  tungar  bulbs  can 
quit;  bearings  can  heat  and  seize; 
electrical  connections  can  break  or 
loosen  or  oxidize;  resistances  can 
burn  out;  a  lot  of  things  can  happen. 
Except  for  blown  fuses  however,  every 
one  of  the  foregoing  troubles  NEED 
NEVER  HAVE  HAPPENED.  A  fuse 
can   blow  through  no  fault   of   yours 


but  do  you  have  a  replacement  beside 
every  fuse  holder?  If  not,  why  not? 
Worn  brushes  should  never  be  al- 
lowed to  reach  the  stage  where  they 
fail  to  make  good  contact  and  cause 
faulty  operation.  How  long  is  it  since 
you  checked  your  generator  bearings 
for  wear?  How  hot  does  it  run?  A 
general  guide  to  operating  temperature 
of  a  motor  or  generator  is  simply  to 
feel  it.  If  the  temperature  is  within 
safe  limits  you  should  be  able  to  hold 
the  palm  of  your  hand  against  the 
casing  and  keep  it  there.  It  may  be  a 
bit  uncomfortable  in  some  cases  but 
the  metal  should  not  be  hot  enough 
to  force  you  to  take  your  hand  away. 
If  it  does,  start  looking.  If  you  have 
(Continued  on  page  29) 


Dutch  Use  Mirrors  to  "Unsqueeze"  Anamorphic  Prints 


After  the  introduction  of  prismatic  as 
well  as  cylindrical  types  of  anamorphic 
lens  attachments,  most  projectionists 
probably  felt  that  the  limit  had  been 
reached  in  the  development  of  optical 
systems   for   the   "unsqueezing"   of  com- 


pressed anamorphic  prints.  That,  how- 
ever, is  not  the  case.  A  third  type  of 
anamorphic  device  has  been  developed 
in  Holland,  according  to  the  trade 
magazine,  Ideal  Kinema,  of  London. 
This  anamorphic  attachment  works  with 
mirrors  and  without  cylindrical  lenses 
or  prisms. 

As  illustrated  in  the  accompanying 
sketch,  the  anamorphic  mirrors  function 
as  follows:  The  upper  mirror  (S) 
condenses  and  reflects  the  projection 
beam  from  the  regular  projection  lens 
onto  a  curved  mirror  (C)  which  ex- 
pands the  beam  horizontally  when  it 
re-directs  the  beam  toward  the  screen. 
The  principle  of  the  action  is  simple 
to  understand  because  it  is  exactly  the 
same  as  the  action  of  the  familiar 
"crazy  mirrors"  at  an  amusement  park. 

It  has  been  claimed  for  the  mirror 
anamorphic  system  that  the  mirrors  can 
be  adjusted  in  such  a  way  as  to  counter- 
act at  least  partially  the  distortion 
caused  by  a  curved  screen.  Also,  the 
mirrors  are  surface  silvered  and,  there- 
fore, are  said  not  to  create  chromatic 
aberrations  since  the  light  beam  does 
not  pass  through  any  other  glass  sur- 
face after  leaving  the  projection  lens. 


16 


INTERNATIONAL  PROJECTIONIST      •      AUGUST  1954 


Distribution  -  the  Great  Octopi? 

Exhibition  pays  all  the  bills  of  the  motion  picture  industry,  thus  its  welfare  is  the  concern 
of  all  of  us,  not  the  least  of  whom  is  Labor.  Whether  you  agree  or  disagree  with  the 
appended  provocative  statement  by  an  exhibitor  leader  (and  IP  agrees)  it  is  "must"  read- 
ing for  all  branches  of  the  industry.    IP  presents: 

WALTER   READE,  Jr. 

President,  Theatre  Owners  of  America 


L  ITTLE  or  nothing  has  occurred  by  way  of  liaison 
between  the  two  great  creative  parts  of  our  industry — 
production  and  exhibition.  You,  working  in  production, 
certainly  make  the  lion's  contribution  to  every  motion 
picture.  You  make  the  initial  and  important  investment, 
not  only  in  a  monetary  sense,  but  in  the  writing,  direct- 
ing, cinematography,  acting,  managing — and  finally,  in 
the  editing  of  a  motion  picture. 

Distribution,  the  third  branch  of  our  industry,  con- 
stituting the  great  octopi,  has  grown  fat  on  your  creative 
genius  and  on  our  tremendous  investments  and  show- 
manship. 

It  is  true  and  unfortunate  that  the  self-perpetuating 
heads  of  distribution,  at  their  whim,  have  the  power  to 
turn  on  or  off  the  faucet  of  production,  and  that  they  are 
able  to  and  do  control  the  law  of  supply  and  demand. 
This  is  a  dangerous  power — and  it  has  been  used 
recklessly ! 

Inordinate  Disfribution  "Take" 

Distribution  has  adopted  a  policy  of  releasing  fewer 
and  fewer  films  at  higher  and  higher  rentals  so  that  our 
position  today  is  precarious.  Exhibition  is  unable  prop- 
erly to  use  its  talent  and  its  showmanship  to  exploit  and 
to  sell  the  fine  films  which  you  create.  Distribution 
exacts  30  to  35%  of  the  total  national  gross  box-office 
receipts  derived  from  these  same  fine  films. 

Distribution  as  such,  and  when  it  acts  in  its  capacity 
as  producer,  controls  when  pictures  are  to  be  released, 
how  they  are  to  be  released,  and  how  many  are  to  be 
released.  It  also  stipulates  exploitation  procedures,  adver- 
tising budgets,  types  of  bookings,  and  film  rentals. 
Finally,  it  controls  what  you  folks  are  to  earn  and  when 
you  are  to  earn  it. 

$4000  Weekly  Salary  for  an  Individual ! 

From  the  high  percentage  taken  by  distribution  most 
distribution  heads,  bureaucratic  executives,  attorneys,  and 
others,  take  excessive  and  completely  disproportionate 
salaries — in  one  instance  an  all-time  high  of  $4,000  a 
week  for  an  individual!  Many  of  these  people  know 
little  about  the  production  of  motion  pictures  and  less 
about  the  running  of  motion  picture  theatres;  yet  they 
draw  larger  and  larger  salaries  and  have  stronger  and 
stronger  retirement  plans — while  you  and  the  motion 
picture  theatre  owners  of  this  country  are  less  secure 
than  ever  before. 

And  do  you  know  that  millions  of  dollars  are  spent 
by  distribution  each  year  in  judgments,  verdicts,  settle- 


ments and  in  the  expenses  incident  thereto?  And  that 
there  are  pending  more  tha  200  anti-trust  suits  seeking 
damages  of  over  $500  millions?  And  that  the  exhibitors 
of  this  country  foot  these  bills  each  year  by  way  of  in- 
creased film  rental? 

This  is  in  great  measure  an  unwarranted  expenditure 
of  money  occasioned  by  the  archaic  and  short-view 
methods  of  doing  business  now  being  employed  by 
distribution. 

Film  Salesmen  Wraith-Like  Figures 

These  executives  might  say  that  without  distribution 
of  a  kind  the  industry  could  not  exist.  This,  of  course,  is 
partially  true.  But  is  it  really  salesmen  that  we  need? 
I  have  not  been  sold  motion  pictures  in  a  decade.  Rather, 
I  have  to  plead  to  buy  them. 

Shipping — yes!  But  it  is  available  elsewhere  for  a 
small  portion  of  the  cost  allocated  by  distribution.  Prints 
— no!  The  cost  of  prints  is  deducted  before  profits  and 
after  distribution  costs.  Advertising  and  publicity— no ! 
These  are  also  deducted  before  profits.  Executives — yes! 
And  they  have  plenty  of  those  in  plush  offices! 

These  unsatisfactory  conditions  are  undemocratic, 
economically   unsound,    and   impractical. 

The  Soundless  Halls  of  Hollywood 

Walking  through  the  long  halls  of  major  production 
plants  in  this  film  capital  (Hollywood)  we  find  little  hum 
of  activity.  In  many  instances  there  is  nothing  but  un- 
interrupted silence.  Why?  There  has  never  been  a 
greater  need  for  more  better  films  on  the  theatre  screens 
of  America.  Why  has  it  been  necessary  for  many  of 
you  to  turn  to  the  production  of  low-budgeted,  unimagi- 
native Tv  films?  Why  has  it  been  necessary  for  you  to 
raise  your  voice  and  object  to  the  production  of  films  in 
other  lands? 

This  present  system,  if  it  were  to  continue,  would  mean 
less  and  less  work  for  you  and  a  continued  shortage  of 
supply  for  theatres— a  devastating  situation!  This  is 
not  a  matter  of  the  customary  workings  of  the  laws  of 
supply  and  demand  with  completed  films  finding  their 
own  level  on  their  merits.  It  is,  rather,  the  calculated 
plan  of  a  few  companies  to  force  their  desires  and  de- 
signs on  all  of  us. 

I  have  read  on  my  own,  and  have  been  told  by  these 
few  bright,  old  men  (all  of  whom  are  economically 
secure  and  many  of  whom  have  fulfilled  their  contribu- 
tion to  this  industry  many  years  ago)  that  only  in  the 
(Continued  on  page  28) 


INTERNATIONAL  PROJECTIONIST      •      AUGUST  1954 


17 


Out  of  this  world  . . . 


New,  exciting  wide-screen  entertainment!  Thrills!  Thrills! 
Large  things  made  even  larger!  The  barely  visible  made  man- 
size  and  more!  Entertainment  that  fills  eye  and  mind.  That's 
today's  motion  picture — a  new  world  of  advanced  production, 
processing  and  projection  with  a  world  of  new  problems.  Today 
many  of  these  problems  are  being  solved  in  co-operation  with 
the  Eastman  Technical  Service  for  Motion  Picture  Film.  Branches 
located  at  strategic  centers.  Inquiries  are  invited. 


Address:  Motion  Picture  Film  Department 
EASTMAN  KODAK  COMPANY,  Rochester  4,  N  .Y. 

East  Coast  Division 

342  Madison  Avenue,  New  York  17,  N.  Y. 

Midwest  Division 

1  37  North  Wabash  Avenue,  Chicago  2,  Illinois 

West  Coast  Division 

6706  Santa  Monica  Blvd.,  Hollywood  38,  California 


1 


k->*^ 


;^r 


Out  of  this  world  . . . 


New,  exciting   wide-screen    entertainment! 

Large  things  mad"  ' '  ■^'- .   ■     .  i 


today's  motion  picture— a  new  world  of  advanced  production, 
processing  and  projection  with  a  world  of  new  problems.  Today 
many  of  these  problems  are  being  solved  in  co-operation  with 
lan  Technical  Service  for  Motion  Picture  Film.  Branches 
located  at  strategic  centers.  Inquiries  are  invited. 


Address:  Motion  Picture  Film  Department 
EASTMAN  KODAK  COMPANY,  Rocliester  4,  N  .Y. 

East  Coast  Division 

342  Madison  Avenue,  New  York  17,  N.  Y. 

Midwest  Division 

137  North  Wabash  Avenue,  Chicago  2,  Illinois 

West  Coosf  Division 

6706  Santa  Monica  Blvd.,  Hollywood  38,  California 


IN    THE 


SPOTLIGHT 


SEVERAL  changes  governing  rul- 
ings on  projection  room  person- 
nel in  motion  picture  theatres  in  the 
state  of  Massachusetts,  were  proposed 
at  a  recent  open  hearing  held  in  Bos- 
ton. For  the  past  year  New  England 
exhibitor  associations  have  been  wag- 
ing a  vigorous  campaign  against  the 
established  two-man  shift  in  projec- 
tion rooms,  basing  their  claims  for  a 
reduction  in  projection  room  man- 
power on  the  present-day  widespread 
use  of  acetate  or  so-called  "safety" 
film. 

The  proposed  changes  now  being 
considered  by  the  commissioner  of 
public  safety,  Otis  M.  Whitney,  affect 
section  48,  paragraphs  2  and  9  of  the 
Department  of  Public  Safety's  rules 
and  regulations  governing  equipment 
lised  in  the  exhibition  of  motion  pic- 
tures. Following  is  a  comparison  be- 
tween the  existing  rules  and  the  pro- 
posals : 

Present  Law 
Paragraph  2  —  When  more  than 
one  cinemotograph  or  similar  ap- 
paratus involving  the  use  of  a  com- 
bustible film  more  than  ten  inches 
in  length  is  used  for  the  continuous 
exhibition  of  motion  pictures,  there 
shall  be  two  licensed  operators  in 
attendance  in  the  booth  or  enclos- 
ure. When  only  one  licensed  op- 
erator is  in  attendance  it  will  be 
necessary  to  "black-out"  during  the 
process  of  changing  over.  While 
exhibiting  motion  pictures  the  op- 
erator shall  devote  his  entire  time 
and  attention  to  that  work,  and 
shall  not  leave  the  operating  side  of 
the   machine  while   it  is  in  motion. 

Proposal 

In  the  exhibition  of  motion  pic- 
tures no  nitrate  film  shall  be  used. 
All  film  used  shall  be  acetate  film 
known  as  safety  film.  Every  mo'.ion 
picture  machine  shall  be  equipped 
with  a  Dowser  handle  and  control 
switch  operated  from  either  side  of 
the  machine. 

While  exhibiting  motion  pictures, 
the  operator  shall  devote  his  entire 


time  and  attention  to  that  work.  In 
any  theater  where  the  equipment  in 
the  projection  booth  meets  these  re- 
quirements, and  is  approved  by  an 
inspec'or,  only  one  operator  will  be 
required,  otherwise  two  operators 
shall  be  in  attendance  during  the 
exhibition  of  motion  pictures. 

Present   Law 

Paragraph  9  —  Not  more  than 
two  thousand  feet  of  film  shall  be 
wound  on  any  one  reel.  The  over- 
loading of  reels  is  prohibited. 

Proposal 

Not  more  than  5,000  feet  of  film 
shall  be  ivound  on  any  one  reel. 
The  overloading  of  reels  is  pro- 
hibited. 

Walter  R.  Donovan,  counsel  for 
District  No.  3,  comprising  lA  Locals 
in  New  England,  spoke  in  opposition 
to  the  proposed  changes,  pointing  out 
that  the  two-man  shift  was  neces- 
sary to  prevent  panic  and  stampeding 
in   the   audience  should   a   fire   break 


so   YOU'RE    GOOD    -   EH? 

Henry    Bowyer,   I A   Local    173,   at   80   years   of 

age  still   is   on   the   job   at  the   Palace   Theatre, 

Toronto,    Canada. 


out  in  the  projection  room.  False 
alarms,  too,  are  a  great  source  of 
danger  and  can  create  serious  injury, 
said  Donovan.  Speaking  against  the 
proposed  changes  were  the  following 
lA  men:  Walter  F.  Diehl,  Boston 
Local  182;  Sidney  Le  Bow,  Lowell 
Local  546;  Jack  Kano,  Lynn  Local 
245;  R.  Lamphier,  Brockton  Local 
437,  and  L.  Normandan,  New  Bedford 
Local  334. 

An  official  ruling  on  the  proposed 
changes  is  expected  shortly. 

•  "Open  house"  at  lA  conventions 
has  become  a  tradition  with  National 
Carbon  Company  representatives,  and 


VANCOUVER   LOCAL   CELEBRATES   ITS  40TH    ANNIVERSARY 


A  record-breaking  attendance  marked  the  dinner-dance  tendered  recently  by  Local  348  at  the 
Flame  Country  Club,  Vancouver,  B.  C,  in  observance  of  the  Local's  40th  anniversary.  lA  Vice- 
President  Orin  M.  Jacobson  presented  life  membership  cards  to  charter  members  W.  E. 
McCarney,  J.  Lowdon,  J.  H.  Leslie,  and  H.  C.  Roddan.  40-year  membership  cards  were  awarded 
to  W.  Tenney,  R.  P.  Dauphinee,  and  J.  H.  Lucas.  Shown  above  are,  left  to  right:  T.  Alsbury, 
president  Trades  and  Labor  Council;  W.  Tenney,  Gordon  Wismer,  former  attorney  general; 
J.  Lowdon,  O.  M.  Jacobson,  J.  H.  Leslie,  R.  J.  Gervin,  secretary-treasurer,  Vancouver  Trades  and 
Labor   Council;   W.   E.  McCartney,   W.   A.   McCartney,   president.   Local   348,   and    R.   P.   Dauphinee. 


20 


INTERNATIONAL  PROJECTIONIST      •      AUGUST  1954 


the  recent  Cincinnati  meet  was  no  ex- 
ception. As  usual,  at  such  affairs,  the 
NCC  headquarters  was  a  beehive  of 
activity  the  entire  week  of  the  conven- 
tion. All  visitors  were  cordially  re- 
ceived by  the  NCC  men  who  outdid 
themselves  in  making  their  guests  wel- 
come. 

William  C.  Kunzmann  was  back  at 
his  old  stand  in  charge  of  arrange- 
ments, ably  assisted  by  a  crew  of  NCC 
stalwarts,  namely:  V.  J.  Nolan,  C.  J. 
Chapman,  J.  R.  ohnstone,  E.  R.  Geib, 
Dr.  W.  W.  Lozier,  Paul  Ries,  J.  C. 
Naughton,    G.    H.    Mayer,    Jr.,    F.    C. 


Stovenour.  C.  E.  Heppberger,  and  R. 
W.  Spafford. 

Incidentally,  Bill  Kunzmann  cele- 
brated his  69th  birthday  that  week  and 
was  the  recipient  of  many  congratula- 
tory messages  —  to  which  we  add  our 
own  best  wishes  for  many,  many 
happy  returns  of  the  day. 

•  The  10th  District  (New  York  State) 
presented  President  Wakh  with  a 
check  for  $3000  as  a  contribution  to 
the  Will  Rogers  Memorial  Hospital. 

•  We     should     like     to     extend     our 


HIGHLIGHTS  OF  THE  lA  42nd  BIENNIAL  CONVENTION 


Earle  W.  Wagner,  president  of  Cincinnati  Local 

327,   is   shown    opening    the    lA    Convention    in 

his   capacity   as   temporary   chairman. 


John     A.     Shuff,     business     representative     of 

Akron,  Ohio,  Local  364,  is  greeted  by  his  son,  |j 

Robert,   also   of   L.   364,  follovi^ing   the   election  I 

of    the    former    as    lA    8th    Vice-President.  I 


William  F.  Canavan,  well-remembered  ex- 
president  of  the  lA,  is  greeted  by  President 
Richard  F.  Walsh  on  the  occasion  of  the  in- 
stallation  of   newly-elected   officers   of   the   lA. 


President  Walsh  presents  the  Convention  gavel 

to    William     Nagengast,    delegate    from     Local 

640,     Nassau     County,     N.    Y.,    following     the 

traditional  "lucky-number"  procedure. 


thanks  to  Earle  Wagner,  co-chairman 
of  the  convention  committee,  and  to 
his  assistants,  for  their  very  kind  co- 
operation in  the  distribution  of  IP's 
Convention  Edition  to  the  delegates  at 
he  Music  Hall.  A  copy  of  this  special 
issue  was  placed  on  the  table  in  front 
of  each  delegate's  seat. 

•  John  C.  Pfeil,  Local  561,  Johns- 
town, Penna.,  was  re-elected  for  a 
two-year  term  as  a  trustee  of  Johns- 
town's Central  Labor  Union. 

•  St.  Louis  Local  143  recently  con- 
cluded negotiations  for  a  two-year  con- 
tract to  March  15  last,  with  the  owners 
or  eight  drive-in  theatres.  The  agree- 
ment covers  provision  for  the  two- 
man  projection  room  shift  and  pro- 
vides for  the  continuance  of  the  basic 
pay  scale  of  $2.70  per  hour,  per  man, 
for  the  first  year  of  the  contract,  and 
$2.77  per  hour,  per  man,  for  the 
second  year.  A  feature  of  the  contract 
i'<  the  employers  contribution  of  5% 
of  the  projectionists'  basic  wage  to  a 
pension  or  welfare  fund  for  the  mem- 
bers of  the  Local. 

•  An  even  split  in  the  decision  of  the 
Michigan  supreme  court  in  the  "vas- 
salage" case  brought  against  Detroit 
Local  199  by  Louis  Havens,  member 
of  Local  738,  Allegan,  Mich.,  who 
worked  for  several  years  as  a  Local 
199  permit  man,  sustained  the  deci- 
sion of  circuit  Judge  Thomas  Maher 
who  ruled  to  dismiss  the  original  bill 
of  complaint.  Haven  filed  suit  against 
the  Detroit  Local  back  in  December 
1948,  claiming  that  he  was  refused 
full  membership  although  he  paid  the 
regular  initiation  fee. 

•  In  a  report  to  the  AF  of  L  execu- 
tive council,  William  F.  Schnitzler, 
AF  of  L  secretary-treasurer,  declared 
that  the  Federation  membership 
reached  the  all-time  high  of  10,200,000 
as  of  the  end  of  June  last. 


®  Morris  Rotker,  member  of  New 
York  Local  306  and  past  president  of 
the  25-30  Club  of  New  York,  has  just 
celebrated  his  40th  wedding  anniver- 
sary. Fruition:  two  boys  and  two 
girls,  all  married,  and  seven  grand- 
children. Morris  is  presently  arm- 
weary  from  handing  out  diplomas  in 
his  capacity  as  secretary  of  Local 
School  Board  19,  Bronx,  N.  Y. 


INTERNATIONAL  PROJECTIONIST      •      AUGUST  1954 


21 


lATSE  42nd  Biennial  Convention 


AN  OVERWHELMING  majority 
of  delegates  to  the  recent  lA 
42nd  biennial  convention  voted  to  re- 
tain lA  President  Richard  F.  Walsh 
and  all  other  incumbents  in  office. 
Re-elected  by  an  almost  2  to  1  vote, 
Walsh  polled  708  votes  against  408  for 
his  opponent,  Roy  M.  Brewer,  who 
resigned  as  lA  West  Coast  Representa- 
tive about  a  year  ago.  The  same 
margin  marked  the  re-elections  of 
Harland  Holmden,  General  secretary- 
treasurer,  nine  vice-presidents,  three 
trustees,  and  two  delegates  to  the 
AF  of  L  conventions.  William  F. 
Canavan,  former  International  presi- 
dent, installed  the  officers. 

The  convention  was  held  at  the 
Music  Hall  in  Cincinnati  the  week  be- 
ginning August  9.  Earle  W.  Wagner, 
president  of  Cincinnati  Projectionists 
Local  327,  officially  opened  the  meet- 
ing, later  turning  the  gavel  over  to 
President  Walsh. 

In  his  report  to  the  convention  dele- 
gates. President  Walsh  stated  that 
there  are  now  more  lA  members  em- 
ployed in  the  television  field,  includ- 
ing the  making  of  Tv  films,  than  that 
of  any  other   union  covering  produc- 


President  Walsh   on   LLPE 

"Labor's  League  for  Political 
Education  still  suffers  from  inade- 
quate financial  support.  Although 
in  this  respect  we  of  the  Alliance 
do  better  than  most  other  unions, 
we  still  are  not  doing  enough.  Each 
year  membership  books  are  sent  to 
our  local  unions  from  LLPE  head- 
quarters in  Washington.  The  dues 
are  only  a  dollar  per  member  per 
year,  payable  through  our  General 
Office,  which  forwards  them  to 
Washington.  Once  every  so  often  a 
book  comes  back  from  a  local  sec- 
retary, who  explains,  'We  cannot 
interest  our  members  in  this  sort 
of  thing.'  Wage  increases,  yes. 
Jobs  and  job  security,  yes.  All 
members  are  interested  in  those. 
Yet  they  cannot  seem  to  grasp  the 
very  real  part  legislation  plays  in 
making  jobs  and  raises  possible.  As 
leaders  of  your  locals,  I  urge  you 
to  keep  trying  to  establish  this  con- 
nection. When  enough  of  us  suc- 
ceed in  doing  that,  our  investment 
of  time  and  energy  in  Labor's 
League  will  pay  off  for  every 
workingman's    family    in    America." 


President    Richard    F.    Walsh,    lATSE 

tion  craftsmen.  He  issued  a  warning 
to  jurisdictional  rival  unions  that  any 
raids  upon  the  lA  would  be  retaliated 
in  kind. 

Pension  —  Welfare  Progress 

Walsh  enumerated  the  progress  of 
lA  Locals  in  negotiating  pension  and 
welfare  plans.  He  reminded  the  dele- 
gates that  at  the  1946  convention  a 
study  which  might  have  lead  to  an 
over-all  plan  was  rejected,  but  he 
stated  that  he  stood  ready  to  move  in 
that  direction  if  the  delegates  so 
decided. 

"At  the  time  of  our  last  convention," 
declared  Walsh,  "only  the  largest  lA 
locals  in  New  York  and  Chicago  had 
negotiated  employer  contributions  for 
pension  plans,  while  contributions 
covering  health  and  life  insurance  had 
been  negotiated  for  members  of  our 
Hollywood  studio  locals  and  for  San 
Francisco  Projectionists  Local  162. 

"By  now  two  encouraging  addi- 
tional steps  have  been  taken.  Welfare- 
plan  contributions  for  the  first  time 
have  been  provided  in  the  contracts  of 
a  substantial  number  of  small  locals, 
and  pension-plan  contributions  have 
reached  a  significant  scale  by  being 
written  into  our  new  Hollywood 
Studio  Basic  Agreement. 

Hollywood  Arrangement 

"The  Hollywood  arrangement,  ef- 
fective Oct.  26,  1953,  calls  for  the 
employers  to  set  aside  two  cents  per 
working  hour  for  pension  purposes. 
While  this  amount  is  insufficient  to  put 
actual  pensions  into  effect,  it  does 
mark  a  substantial  beginning  and  com- 
mits management  to  a  course  from 
which  it  cannot  very  well  turn  back. 
The  agreement  expires  on  Oct.  24  of 
next  year,  and  increased  contributions 


will  be  sought  in  the  new  negotiations. 

".  .  .  Quite  recently  a  five  per  cent 
health  and  welfare  contribution  was 
obtained  by  Projectionist  Local  307, 
Philadelphia,  Penna.,  in  negotiations 
with  the  Stanley-Warner  Company  and 
several  independent  theatre  owners. 
A  similar  agreement  has  been  worked 
out  by  Projectionist  Local  154,  Seattle, 
Washington.  And  the  payments  into 
the  pension  fund  of  Projectionist  Local 
306,  New  York  City,  have  been  in- 
creased from  5%   to  7%. 

"Extension  of  welfare  plans  beyond 
the  big  cities  occurred  first  in  north- 
ern California,  where  12  locals  have 
obtained     benefits     similar     to     those 


ELECTED  lA  OFFICIALS 


President 

RICHARD   F.   WALSH 

Secretary-Treasurer 

HARLAND   HOLMDEN 

1st  Vice-President 

JAMES  J.  BRENNAN  (New  York) 

2nd  Vice-President 

CARL  G.  COOPER  (Los  Angeles) 

3rd  Vice-President 

HARRY  J.  ABBOTT  (Philadelphia) 

4th  Vice-President 

ORIN  M.  JACOBSON  (Tacoma) 

5th  Vice-President 

HUGH  J.  SEDGWICK 
(Hamilton,  Ont.) 

6th  Vice-President 

ALBERT  S.  JOHNSTONE 
(New  Orleans) 

7th  Vice-President 

WILLIAM  DONNELLY 
(Minneapolis) 

8th  Vice-President 

JOHN  A.  SHUFF  (Akron,  Ohio) 

9th  Vice-President 

MISS  LOUISE  WRIGHT  (Dallas) 

Trustees 

WILLIAM  C.  SCANLAN 

(Lynn,  Mass.) 
R.   E.  MORRIS  (Mobile,  Ala.) 
GEORGE  W.  BRAYFIELD 

(Denver,  Colo.) 

AF  of  L  Delegates 

THOMAS  V.  GREEN 

(Newark,  N.  J.) 
JAMES  McNABB  (Seattle,  Wash.) 

Delegate,  Trades  and 

Labor  Congress  (Canada) 

H.   W.   LACKEY  (Calgary,  Alta.) 


22 


INTERNATIONAL  PROJECTIONIST      •      AUGUST  1954 


lA  President  Richard  F.  Walsh,  being  sworn  in  office  by  William  F.   Canavan,  well-remembered  ex-president  of  the 
International  Alliance.   Canavan  presided  at  the   installation  ceremonies  of  the  elected  officers. 


negotiated  in  San  Francisco.  Assist- 
ance was  given  by  Special  Representa- 
tive Steve  B.  Newman,  who  encouraged 
the  locals  to  unify  their  demands, 
which  he  then  presented  at  a  number 
of  meetings.  The  settlement  calls  for 
a  contribution  of  five  cents  per  hour 
(up  to  a  limit  of  $810  per  week  for 
each  local) .  This  meets  the  insurance 
company's  premium  and  takes  care  of 
office  expenses. 

"More  recently  several  locals  in  the 
states  of  Washington  and  Oregon  have 

President    Walsh's    Remarks 
on  "Right-to-Work"  Laws 

"Man's  return  to  the  primitive 
has  reached  a  sad  extreme  in  17 
American  states  which  have  adopted 
a  law  allegedly  guaranteeing  the 
'right  to  work'.  This  means  the 
right  to  work  without  ever  joining 
a  union.  Whereas  the  Taft-Hartley 
Act  forbids  the  closed  shop,  these 
statutes  go  further  and  outlaw  the 
union  shop  as  well.  Thus,  the  em- 
ployers are  free  to  fill  up  their 
payrolls  with  non-union  people  and 
then  to  cut  wages  to  their  hearts' 
content.  The  strength  which  em- 
ployes can  gain  only  through  col- 
lective bargaining  is  seriously  jeop- 
ardized. 

"Prior  to  our  last  convention,  this 
vicious  law  was  on  the  books  in 
Arizona,  Arkansas,  Florida,  Geor- 
gia, Iowa,  Nebraska,  North  Caro- 
lina, North  Dakota,  South  Dakota, 
Tennessee,  Texas  and  Virginia. 
Since  the  last  convention,  it  has 
been  adopted  also  in  Alabama,  Mis- 
sissippi, Nevada,  South  Carolina 
and  Louisiana. 

"Fortunately,  our  good  relations 
with  most  of  the  exhibitors  in  these 
states  have  kept  them  from  using 
the  right-to-work  laws  against  us. 
But  there  have  been  some  costly 
exceptions,  and  there  undoubtedly 
will  be  more  as  time  goes  on." 


reached  similar  agreements  with  their 
employers. 

"First  welfare  contributions  re- 
ported from  Canada  were  negotiated 
this  spring  by  Projectionist  Local  348, 
Vancouver,  B.  C. 

"All  in  all,  the  Pension  and  Wel- 
fare pattern  seems  to  be  well  estab- 
lished— so  that  we  can  now  look  for- 
ward to  more  and  more  plans  as  time 
goes  on." 

President  Walsh  also  recommended 
that  the  controversy  over  foreign  film 
production  be  turned  over  to  the  Spe- 
cial Committee  for  further  study. 

The  convention  defeated  a  resolu- 
tion which  would  have  barred  mem- 
bers from  holding  office  in  an  lA  Local 
for  five  years  after  any  period  of 
employment  in  the  executive  branch 
of  management. 

A  move  to  use  voting  machines  in 
the  election  of  officers  at  the  Cincinnati 
convention  was  defeated  because  of 
the  difficulty  in  obtaining  them  in  time 
for  the  election.  However,  the  dele- 
gates went  on  record  as  favoring  the 
use  of  such  machines  in  future  lA 
elections. 

Among  the  many  prominent  civic 
and  labor  personalities  who  addressed 
the  gathering  were  James  L.  McDevitt, 
national  director  of  Labor's  League 
for  Political  Education;  Carl  Rich, 
former  mayor  of  Cincinnati;  Robert 
Sidell,  president  of  Cincinnati  Local 
1,  American  Federation  of  Musicians, 
and  Tom  O'Brien,  M.  P.  and  general 
secretary  of  the  National  Association 
of  Theatrical  and  Kine  Employees  of 
England. 

Lester  Isaac,  managing  director  of 
Cinerama,  expressed  his  gratitude  to 
the  lA  men  employed  in  the  13  Cin- 
erama theatres  throughout  the  coun- 
try for  their  fine  work  in  handling  this 
show. 

Merle  Chamberlin,  projection  super- 


visor at  the  M-G-M  Studios  on  the 
West  Coast,  in  addressing  the  dele- 
gates discussed  the  so-called  "new 
look"  in  motion  pictures  and  took 
issue  with  the  trade  press  for  much 
misinformation  on  technical  matters 
published  in  many  of  the  exhibitor 
papers.  He  also  spoke  about  the  in- 
creasing number  of  damaged  prints 
caused  by  faulty  projection  equipment, 
and  urged  the  projectionists  to  cam- 
paign against  worn-out  and  defective 
equipment.  He  recommended  that  the 
craft  keep  itself  abreast  of  the  latest 
developments  in  the  industry  by  sub- 
scribing to  such  informative  journals 
as  International  Projectionist. 

The  Cincinnati  host  Locals  were 
warmly  praised  by  the  delegates  for 
their  splendid  handling  of  the  strenu- 
ous task  of  organization  and  arrange- 
ments for  the  convention. 

Movie  Patronage  Up  5% 

A  steady  rise  in  motion  picture  at- 
tendance throughout  the  country  was 
reported  this  month  by  an  industry 
source  in  New  York  City  which  asserted 
that  film  patronage  is  now  running  about 
5%  ahead  of  the  same  time  last  year. 
The  trend  is  expected  to  continue  slowly 
upward. 

The  principal  reason  advanced  for  the 
heavier  attendance  is  the  improvement 
shown  in  the  quality  of  pictures  released 
this  year.  It  is  felt  that  these  better  pic- 
tures enticed  from  their  homes  people 
who  had  lost  the  movie  habit.  It  was 
also  noted  that  merely  average  films 
benefited  from  the  generally  increased 
interest  in  the  theatre. 


Lens-Screen  Chart  Offered 

A  pocket-size  chart  which  contains  the 
formulas  necessary  for  calculating  any 
lens  or  screen  dimension  for  Cinema- 
Scope  or  other  wide-screen  projection 
is  available  free  from  Projection  Optics, 
330  Lyell  Ave.,  Rochester  6,  N.  Y.,  or 
through    its    dealers. 


INTERNATIONAL  PROJECTIONIST      •      AUGUST  1954 


23 


Wartime  Uses  Spurred  Growth  of  16-inin  field 


While  the  theatrical  motion  picture 
exhibition  business  has  been  fighting  to 
hold  its  own  against  Tv  compe'.ition  dur- 
ing the  past  few  years,  another  branch 
of  the  film  industry  has  been  growing 
by  leaps  and  bounds.  The  record  at- 
tendance at  the  11th  annual  convention 
of  the  National  Audio-Visual  Associa- 
tion, held  this  month  in  Chicago,  indi- 
cates that  a  large  and  prosperous  sec- 
tion of  the  film  industry  is  growing  up 
around  the  production  of  16-mm  motion 
pictures,  as  well  as  film  strips,  lantern 
slides,  and  other  visual  aids.  This  is  a 
field  that  projeclionists  should  keep  an 
eye  on  because  it  is  a  potential  source 
of  part-time  and  even  full-time  employ- 
ment. 

The  recent  growth  of  the  16-mm  and 
allied  non-theatrical  film  field  is  attrib- 
uted to  many  factors  but  chiefly  to  the 
effective  use  the  armed  forces  made  of 
16-mm  films  for  training,  documentaries, 
and  for  the  entertainment  of  servicemen 
during  the  second  World  War.  Military 
use  of  motion  pictures  opened  the  eyes 
oi  educators,  and  industrial  and  re- 
ligious leaders  to  the  fact  that  films 
were  an  extremely  forceful  and  eco- 
nomical tool  for  communication,  infor- 
mation and  education. 

Non-Theotrical  Biz  Soars 

It  is  only  necessary  to  examine  the 
following  figures  on  the  16-mm  business 
to  get  an  idea  of  its  growth: 

More  than  2,300  new  educational  and 
informational  films  are  released  each 
year    for    a    wide    and    varied    audience. 

An   estimated   65,000   churches   in   the 


United  States  are  equipped  with  16-mm 
projectors  to  show  religious  films. 

More  than  80%  of  high  schools  in 
the  country  own  one  or  more  16-mm 
sound  projectors. 

An  educational  film  can  be  purchased 
and  circulated  by  a  school  system  at  a 
fraction  of  the  per-pupil  cost  of  circu- 
lating a  book.  A  10%  increase  in 
school  audio-visual  budgets  is  expected 
foi   the  1954-55   school  year. 

A  few  years  ago,  makes  and  models 
of  audio-visual  equipment  could  be 
counted  on  the  fingers.  Now  there  are 
more  than  400  models  of  audio-visual 
equipment  in  current  sale  and  manu- 
facture. A  recent  directory  lists  43 
models  of  16-mm  sound  projectors,  77 
tape  recorders,  48  opaque  and  overhead 
projectors,  44  filmstrip_  projectors  and 
a  host  of  other  items. 

Only  a  short  time  ago  non-theatrical 
films  of  any  merit  were  scarce,  and  new 
production  for  educational  and  religious 
use  amounted  to  only  a  few  dozen  sub- 
jects a  year.  Now,  in  contrast,  one 
filmstrip  producer  turns  out  a  new  title 
every  three  working  days  throughout 
the  year. 


C.  J.   Chapman   Heads   Industrial 
Products  for  National  Carbon  Co. 

C.  J.  Chapman  has  been  named  as 
General  Sales  Manager  of  Industrial 
Products  for  National  Carbon  Co. 
Headquartering  in  the  general  offices 
in  N.  Y.  City,  Chapman  will  direct  sales 
activities  on  the  company's  Carbon  and 


graphite  electrode,  projector  carbons, 
carbon  brushes,  signal  cells,  and  chem- 
ical and  metallurgical  carbon  products. 
Chapman  received  his  B.S.  civil  engi- 
neering in  1933  from  Dartmouth  College. 
He  joined  National  Carbon  Co.  in  1936 


C.   J. 
Chapman, 

General   Seles 
Manager, 
National 

Carbon    Co., 
Industrial 
Products 


as  a  salesman  in  the  Eastern  District, 
being  transferred  in  1937  to  the  Pitts- 
burgh District  as  a  salesman.  In  1944 
he  was  made  Assistant  Manager,  Atlanta 
Division,  and  in  1945  Assistant  Man- 
ager, New  York  Division.  He  returned 
to  Atlanta  as  Manager  of  that  Division 
in  1948;  and  was  made  Chicago  Dis- 
trict Sales  Manager  in  1951,  the  posi- 
tion that  he  has  held  until  his  present 
appointment. 


Drive-in  Bills  Live  Wrestlers 

An  enterprising  Cleveland  drive-in 
operator  doesn't  believe  in  giving  the 
Tv  people  any  respite.  In  addition  to 
a  double  bill,  he  presents  a  favorite 
type  of  Tv  program  as  a  live  act  every 
Thursday  evening.  Three  wrestling 
matches  take  place  on  a  platform  in 
front  of  the  screen.  An  estimated  5,000 
patrons  attended  one  recent  Thursday 
program. 


FOR   AULD    LANG    SYNE:     This   photograph,   taken    in   London,   Ont.,   Canada   in   1919,  pictures  many  old-time   lA  stalwarts— not   one  of  whom   is 
olive    today.     To   the   first   5    readers    who    identify   the    occasion    and    at   least    10   of   the   personnel,    IP   will   award    a   free    1-year   subscription. 


24 


INTERNATIONAL  PROJECTIONIST 


AUGUST  1954 


PERSONAL    NOTES 


Eugene  S.  Gregg  has  been  elected 
president  of  the  Westrex  Corp.,  suc- 
ceeding Frederick  W.  Bierwirth  who 
retires  this  month  under  the  company's 
age  retirement  rule.  Mr.  Gregg,  since 
1941,  has  been  vice  president  and 
general   manager   of   the   corporation,   a 


Eugene  S. 

Gregg, 

newly   elected 

president  of 

Westrex 

Corp. 

Western  Electric  subsidiary  which 
handles  the  distribution  and  servicing 
of  motion  picture  sound  equipment 
throughout  the  world  except  for  the 
United    States    and    Canada. 

Mr.  Gregg  was  born  in  Byran,  Texas 
and  was  graduated  from  Austin  College 
in  1913.  During  World  War  I,  he  was 
a  captain  in  the  shipping  section  of 
the  general  staff  of  the  Army.  In  1926 
he  joined  Westrex  as  a  statistician  and 
a  year  later  was  made  chief  statistician. 
In  1931  he  became  general  manager 
for  the  eastern  division  of  Electrical 
Research  Products,  Inc.,  a  former  sub- 
sidiary of   Westrex. 

William  E.  Cheesman  has  been  ap- 
pointed field  sales  representative  for 
RCA  theatre  products  in  the  Eastern 
and  Northeastern  regions,  it  was  an- 
nounced this  month  by  J.  F.  O'Brien, 
theatre  equipment  sales  manager.  Mr. 
Cheesman  succeeds  Bernard  Sholtz,  one 
of  the  industry's  pioneer  field  sales 
representatives,  who  has  retired  after 
serving  RCA  in  the  same  territory  for 
more   than    a    quarter   of   a   century. 

Product  manager  for  RCA  theatre 
carpet  and  chairs  for  the  last  three  years, 
Mr.  Cheesman  now  assumes  responsi- 
bility for  sales  of  RCA  theatre  sound 
systems,  projectors,  speakers  and  screens 
in  the  Eastern-Northeastern  region.  This 
area  includes  such  major  theatre  centers 
as  New  York,  Philadelphia,  Washington, 
Boston,  Pittsburgh,  and  Buffalo.  Prior 
to  1951,  he  was  for  six  years  supervisor 
of  order  service  for  RCA  theatre  equip- 
ment. He  has  been  with  RCA  since 
1930. 

Well  known  to  projectionists  through- 
out the  Eastern  seaboard,  Mr.  Sholtz 
joined  RCA  in  March,  1929,  as  field 
salesman  for  RCA  photophone  equip- 
ment. 


INTERNATIONAL  PROJECTIONIST      •      AUGUST  1954 


S*J*Ist» 


More  and  more  Drive-ins  are  de- 
manding these  fine  lenses.  The  Super 
Snaplites  are  guaranteed  to  give  you 
Sharper  Pictures,  More  Light  on  the  Screen,  Greater  Contrast,and  Greater 
Definition... and  this  under  the  most  trying  outdoor  operating  conditions. 
Actually  7  out  of  10  new  Drive-ins  install  Super  Snaplite  Lenses... and 
more  and  more  established  Drive-Ins  are  turning  to  Super  Snaplites.  Ask 
for  Bulletin  No.  212,  it  gives  you  complete  information  on  these  lenses. 


Plant: 

347  King  St., 

NorthamRton,  Massachusetts 


:OKPOKilTIOK 


»w 


New  York  Office:  30  Church  Street,  New  York  7,  N.  Y. 


25 


I 


Projection  Optics  Making 
Variable  Anamorphic  Lens 

A  new  variable  anamorphic  lens, 
claimed  to  embody  a  number  of  im- 
provements over  prismatic  "squeeze" 
lenses  previously  marketed,  is  now  in 
production  at  the  Projection  Optics  Co., 
Inc..  Rochester,  N.  Y.  This  lens  is 
designed  to  fit  a  4-inch  diameter  pro- 
jection objective  lens  in  addition  to  the 
smaller  size.   The  price  is  $750  per  pair. 

At  a  demonstration  in  New  York  this 
month,  Fred  Aufhauser,  president  of 
Projection  Optics,  stressed  the  following 
two  features  of  the  lens,  which  is  known 
as  the  Hilux  VAL  (variable  ana- 
morphic lens)  : 

First,  the  two  variable  prisms,  which 
perform  the  work  in  this  type  of  lens, 
are  controlled  by  separate  knobs,  per- 
mitting the  projectionist  to  adjust  the 
prisms  in  such  a  way  that  the  screen 
is  completely  filled  even  when  switch- 
ing from  CinemaScope  to  the  slightly 
offside    CinemaScope    aperture. 

Correcting  Lens  Added 

Secondly,  in  addition  to  the  two 
prisms,  the  Hilux  VAL  has  an  addi- 
tional correcting  element  mounted  in 
front  of  the  lens  to  perform  a  double 
function.     It    sharpens    the    image    and 


Hilux    prismatic    anamorphic    lens 

also  seals  the  front  of  the  lens  so  that 
dirt  will  not  lodge  on  the  surfaces  of 
the  prisms.  This  correcting  lens  is 
supplied  in  six  different  strengths  to 
accommodate  various  projection  throws. 
The  rear  of  the  lens  is  not  sealed  but 
it  is  screwed  to  the  front  of  the  regular 
projection  objective  when  in  use,  and 
a  threaded  metal  cap  is  provided  to 
seal  the  rear  when  the  lens  is  stored 
away. 

The  Hilux  "Squeeze"  lens  is  set  in 
a  cylindrical  cast  aluminum  barrel, 
which  is  said  by  the  company  to  be  the 
most  efficient  shape  for  transmitting  the 
maximum  amount  of  light  and  for  exact 
optical  adjustment  with  the  projection 
objective.  Other  prismatic  anamorphics 
usually  have  a  square  casing.    This  lens 


Altec's  current  installation  rate  accounts  for  75%  of  total 
stereophonic  sound  sales! 

Broadway  or  Main  Street,  theatre  owners  know  Altec's  engineering 
skill  and  know-how  assure  perfect  installation,  sure  service. 

That's  why  Brandt's  GLOBE,  Broadway,  New  York,  (pop.  8,000,000) 
and  the  OPERA  HOUSE,  Lebanon,  New  Hampshire,  (pop.  4,614) 
signed  Altec  stereophonic  installation  and  service  contracts! 


SPECIALISTS  IN  MOTION  PICTURE  SOUND 

161  Sixth  Avenue,  New  York  13,  N.Y. 


ALTEC 


has  a  top  magnifying  power  of  2  to  1, 
enabling  it  to  deliver  an  aspect  ratio 
anywhere  from  1.33  to  1  up  to  2.66  to  1 
when  a  print  "squeezed"  to  the  desired 
size   is   available. 

A  strong  demand  is  expected  for  the 
Hilux  prismatic  lens  because  it  can 
handle  both  CinemaScope  prints  and 
the    new    VistaVision    "squeeze"    prints. 


General  Precision  Profits  Up 

Consolidated  net  profit  of  General 
Precision  Equipment  Corp.,  parent  com- 
pany of  National  Theatre  Supply,  In- 
ternational Projector  Corp.  and  other 
theatre  equipment  manufacturers,  was 
$2,541,652  for  the  six  months  ended 
June  30.  This  compares  with  a  profit 
of  $1,469,066  for  the  same  period  last 
year. 

Net  sales  for  the  same  six  month's 
period  ending  June  30  were  $54,305,196 
compared  with  $41,102,567  for  the  year 
before. 


WILLIAM   P.   RAOUL 

William  P.  Raoul,  former  General 
secretary-treasurer  of  the  lA,  died  last 
month  at  the  Georgia  Baptist  Hospital, 
Atlanta,  Ga.,  following  surgery. 

A  native  of  Atlanta,  William  Raoul 
became  a  pioneer  projectionist  while 
still  a  student  at  Georgia  Tech,  and  in 
1909  he  was  appointed  to  the  city's  first 
board  of  examiners  of  motion  picture 
projectionists.  He  joined  Atlanta  Stage- 
hands Local  41  in  1910.  In  1911  he 
helped  establish  Projectionists  Local  225, 
serving  as  its  first  secretary  and  then 
as   its   president   for  many  years. 

In  1918  Raoul  was  appointed  an  lA 
representative,  spending  most  of  his 
time  in  building  up  the  organization 
throughout  the  South.  He  was  appointed 
assistant  lA  president  when  Richard  F. 
Walsh  took  over  the  presidency  in  1941, 
and  in  1945  he  was  elected  General 
secretary-treasurer,  a  post  he  held  until 
ill  halth  forced  his  retirement  in  August 
1953. 

He  served  as  president  of  the  Atlanta 
Federation  of  Trades,  and  as  president 
of  the  Georgia  Federation  of  Labor.  He 
was  a  charter  member  of  the  Atlanta 
Variety  Club  and  a  32nd  degree  Scottish 
Rite  Mason  and  a  Shriner. 


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26 


INTERNATIONAL  PROJECTIONIST      •      AUGUST  1954 


864  Theatres  in  N.  Y.  Area 

Theatres  situated  in  the  New  York 
City  metropolitan  territory  total  864, 
including  821  conventional  houses  and 
43  drive-ins,  according  to  a  recent  count. 
The  metropolitan  territory  includes  JNew 
York  City,  Long  Island,  New  York  State 
south  of  Kingston,  and  New  Jersey 
north  of  Trenton. 

New  York  City's  five  boroughs  have 
436  theatres  and  two  drive-ins.  Location 
of  the  theatres  can  be  broken  down  as 
follows:  Manhattan,  160;  Brooklyn, 
146;  Bronx,  68;  Queens,  79,  and  Staten 
Island,  10. 

Theatres  in  Long  Island,  outside  of 
Queens  total  72,  plus  eight  drive-ins, 
while  there  are  93  theatres  and  14 
drive-ins  in  the  southern  part  of  New 
York  State.  Northern  New  Jersey  has 
220   theatres   and    19   drive-ins. 


Color  Tv  Link  to  94  Cities 

By  the  end  of  the  year  there  will  be 
40,000  channel  miles  of  transmission 
facilities  equipped  to  bring  color  Tv 
service  to  94  cities,  American  Telephone 
&  Telegraph  Co.  announced  this  month. 
The  company  is  now  able  to  serve  47 
cities  with  color. 

Among  new  cities  to  be  placed  on 
color  circuit  in  the  next  five  months 
are  Buffalo,  Des  Moines,  Indianapolis, 
Jacksonville,  Knoxville,  Little  Rock. 
Miami,  Norfolk,  Richmond,  Seattle, 
Portland,  Ore.,  Portland,  Me.,  Wheel- 
ing, Galveston  and  Phoenix. 


C'Scope  Slow  in  Australia 

CinemaScope  installations  are  moving 
slowly  in  Australia,  with  only  four  in- 
dependent theatres  having  already  in- 
stalled the  medium,  with  six  more  slated 
for  near  future.  Hoyt's  Circuit  has  gone 
all  out,  but  it  must  be  remembered  that 
this  circuit  is  controlled  by  20th-Fox  in 


lA     OBITUARIES 


Cornelius  A.  Hitzert,  71,  member  of 
Stagehands  Local  6,  St.  Louis,  Mo.,  was 
overcome  by  the  heat  and  died  last  month 
when  the  temperature  reached  an  all-time 
high  of  115  degrees.  Hitzert  joined  the 
Local  back  in  1910  and  worked  in  many 
of  the  St.  Louis  theatres,  until  he  was 
placed   on   the   disabihty   list   in   July   1952. 

Philip  Schare,  member  of  Detroit  Local 
199  and  projectionist  for  many  years  at  the 
Film  Exchange,  died  after  a  long  illness. 
He  is  survived  by  his  wife,  two  children, 
and  three  brothers. 

Waldon  C.  McDonald,  50,  member  of  St. 
Louis  Local  143,  was  killed  in  an  automo- 
bile accident.  He  was  well  known  in  the 
en+ertainment  world  having  worked  as  a 
master  of  ceremonies  in  various  night  clubs. 
He  became  a  member  of  Local  143  in  1944 
and  was  popular  with  the  membership. 


America.  Many  Hoyt  houses  will  not 
have  stereophonic  sound,  at  least  now. 
M-G-M's  12  Aussie  houses  have  con- 
verted for  C'Scope.  but  will  use  the 
Perspecta  sound  system.  Aussie  exhi- 
bitors are  a  bit  wary  of  too  rapid  a 
conversion  job  not  only  because  of  the 
cost  factor  but  because  they  are  at- 
tracted by  the  possibilities  of  Par's 
VistaVision    process. 


Super-Fast  Film  from  Kodak 

A  new  type  of  negative  film  that  will 
considerably   increase   the   versatility   of 


the  motion  picture  camera  has  been 
marketed  by  the  Eastman  Kodak  Co. 
Known  as  Eastman  Tri-X  Panchromatic 
Negative  Film,  it  has  twice  the  speed 
(sensitivity  to  light)  as  the  standard 
Super  XX  film  but  just  about  the  same 
or    slightly   less   graininess. 

Ordinarily,  the  faster  the  film  the 
more  grainy  it  is,  making  extra  fast 
film  of  limited  value.  The  new  Tri-X 
film,  however,  will  permit  sharp  photo- 
graphy under  very  difficult  lighting  con- 
ditions. A  Tri-X  booklet  is  available 
from    Eastman    Kodak. 


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An  owner  who  recently  had  this  unit  installed,  claims  it 
gave  the  finest  sound  ever  heard  .  .  .  including  standard, 
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INTERNATIONAL  PROJECTIONIST      •      AUGUST  1954 


27 


DISTRIBUTION  -  THE  GREAT  OCTOPI? 

(Continued  from  page   17) 

so-called  epic  or  million-dollar-budget  pictures  is  there 
a  future  in  production  and  a  basis  for  substantial  profit. 
I  say  to  you  now  that  this  is  not  so.  Medium-  or  low- 
budgeted  pictures,  well  planned,  well  exploited  have  been 
and  will  continue  to  be  successful. 

Creai'ive  Ability  the  Only  Payoff 

You  may  say  to  me  that  it  is  all  very  well  for  me  to 
talk  this  way,  but  how  can  we,  as  individual  groups,  or 
as  individuals,  produce  motion  pictures  and  get  the 
finished  product  delivered  to  your  theatres?  It  has  been 
done,  it  is  being  done,  and  more  of  it  must  be  done. 
Here  in  this  very  room  is  creative  talent,  the  creative 
genius  of  our  industry.  You  may  need  financial  support. 
Bankers  and  theatre  owners  are  ready,  willing  and  able 
to  back  you  for  the  appropriate  talent,  the  proper  story 
and  the  fresh  approach. 

Pay  no  attention  to  the  malicious  and  untruthful  state- 
ments by  distribution  that  exhibition  plays  an  unimport- 
ant role  in  the  motion  picture  world.  Do  you  know  that 
exhibitors  in  the  United  States  have  an  investment  of  bil- 
lions of  dollars  in  their  plants  as  against  a  far,  far 
smaller  investment  by  all  of  the  production  and  distribu- 
tion elements  combined?  Your  contribution,  your  invest- 
ment, and  your  rewards  are  at  stake,  too.  Should  we  not 
work  together   on   a  cooperative  basis   to   the   end   that 


we  may  build  more  securiy  and  a  more  prosperous  in- 
dustry? 

"Phony''  Overhead  Means  Prohibitive   Costs 

The  phony  overhead  and  the  prohibitive  costs  of  dis- 
tribution must  be  reduced  and  changed.  Existing 
methods  are  chaotic  and  will  not  do.  You  have  given  us 
new  ideas,  new  thoughts.  We,  in  turn,  are  daily  develop- 
ing new  and  better  ways  of  theatre  management  and  of 
showmanship.  It  is  essential  that  from  this  time  on 
there  be  a  positive,  strong,  well  planned,  co-operative 
effort  between  you  and  the  theatre  owners. 

If  there  be  some  doubt  in  your  minds  as  to  the  need 
as  I  have  stated  it  concerning  our  real  desire  to  co- 
operate, you  have  but  to  leave  the  enchantment  of  your 
Hollywood  backyard  and  visit,  with  me,  as  I  have  these 
many  months,  the  small  and  the  large  cities  of  America, 
speak  with  the  theatre  owner  and  with  the  man  on  the 
street  concerning  the  place  and  the  prominence  that 
Hollywood-made  movies  have  in  the  American  way  of 
life. 

I  remind  you  that  the  only  direct  tie  you  have  with  the 
box-office  line  of  America  is  the  theatre  manager  who 
is  at  that  line  7  days  a  week,  52  weeks  a  year.  He  tells 
you  that  the  goal  of  production  and  distribution  must 
be  a  steady  flow  of  good  product  adequate  for  proper 
operation  of  the  country's  theatres. 


a     i 

s  1 

THE  PRIMi^LEHi^ 
ISSTItLTHE 
HEART  OF  YOUR 


PROJECTION 
SYSTEM ! 


Since  the  advent  of  CinemaScope  hundreds  of  pro- 
gressive theatre  operators  have  equipped  their  projec-  "" 
tors  with  Hilux  and  Super-Lite  projection  lenses — for  use    "■■■■; 
as  prime  lenses  with  their  anamorphic  attachments.-                    •', 

Your  patrons,  too,  will  appreciate  the  superior  quality  that  over  • 
30  years  of  lens  craftsmanship  have  engineered  into  the  Hilux  //1.8 
and  Super-Lite  lenses. 


PROJECTION    OPTICS    CO.,    INC. 


330  Lyell  Ave.,  Rochester,  N.  Y. 


GLenwood  3993 


28 


INTERNATIONAL  PROJECTIONIST      •      AUGUST  1954 


IT'S  UP  TO  YOU  .  .  . 

(Continued  from  page  16) 


tungar  bulb  rectifiers,  how  long  is  it 
since  you  cleaned  the  contacts?  Do 
the  filaments  have  neat,  even  coils  or 
do  they  resemble  badly  mauled  pret- 
zels? How  many  flies  do  you  suppose 
you  could  find  if  you  took  the  covers 
off  your  lamp  switches?  Your  equip- 
ment should  get  a  regular,  thorough 
check  for  warn  parts,  bad  connections, 
dirt.  Voltage  readings  should  be 
taken  regularly  and  if  possible  a  cur- 
rent reading. 

Aid  from  Serviceman 

What  we  choose  to  call  the  light 
electrical  equipment  in  most  cases  is 
serviced  by  sound  engineers.  If  they 
do  their  inspections  properly  you  will 
have  little  to  worry  about.  So  don't. 
But  do  you  have  a  complete  set  of 
spare  tubes?  Do  you  know  the  tube 
lineup   in   your   particular    amplifier? 

If  a  filter  condenser  lets  go  in  the 
amplifier  power  supply,  do  you  recog- 
nize the  resultant  effect  on  your 
sound?  Can  you  make  emergency  re- 
pairs? Do  you  know  how  to  use  a 
multimeter?  Do  you  have  a  pair  of 
earphones  in  the  projection  room? 
Do  you  know  how  to  make  a  point 
test  for  sound  right  through  the  ampli- 
fier with  these  earphones?  If  not, 
why  not? 

The  sound  engineers  may  be  re- 
sponsible for  keeping  your  equipment 
i>i  operating  condition  but  they  don't 
seem  to  be  too  helpful  when  they  are 
100  miles  away.  If  something  goes 
wrong  in  the  middle  of  a  show  you 
are  the  Joe  who  has  to  get  a  picture 
back  on  the  screen — with  sound.  The 
golden  rule  is  to  learn  your  own 
equipment,  learn  the  theory  of  that 
equipment,  and  most  important  of  all, 
get  actual  practice  in  trouble  shooting 
that  equipment  if  at  all  possible. 

Mechanical  maintenance  should  re- 
quire no  comment.  Presumably  every 
craftsman  makes  periodical  inspections 
of  his  projectors.  Proper  lubrication 
and  cleanliness  are  two  important 
points  to  watch  as  we  all  know.  But 
do  you  know  I  have  seen  cases  where 
sprocket  shafts  have  seized  solid  from 
lack  of  oil? 

On  one  memorable  occasion  I 
opened  a  projector  for  oiling  and 
couldn't  find  the  oil  vents  for  en- 
crusted dirt.  A  thick  layer  of  grease 
and  dirt  had  to  be  scraped  off  before 


the  machine  could  be  oiled.  Except 
for  the  gear  teeth,  every  gear  and  shaft 
was  caked  with  the  stuff.  And  these 
machines  were  in  daily  use.  You  can 
imagine  the  rest  of  the  equipment. 

Projectors  Wear  Slowly 

Drive  belts,  take  up  belts,  pressure 
pads  and  so  on  will  need  replacement. 
Sprocket  teeth  wear,  tension  springs 
gradually  weaken,  rollers  get  grooved, 
screws  and  bolts  loosen  up  and  fall 
out,  a  hundred  things  get  out  of  whack. 
The  insidious  part  of  it  all  is  that  these 


things  happen  so  gradually  you  don't 
notice  them  until  you  suddenly  have 
to  shut  down. 

Of  course,  the  catcalls  and  whistles 
of  the  morons  in  an  otherwise  polite 
audience  helps  a  lot  just  at  this  time. 
But  was  the  shutdown  necessary?  No. 
Are  you  responsible  for  the  shutdown? 
Probably.  If  you  had  been  making 
regular  inspection  and  adjustments 
you  would  have  foreseen  trouble  and 
prevention  might  have  been  applied 
before  it  happened. 

What   I   choose   to   call   the   optical 


•  •  •  f^ 


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The  new  HT  135/270  TransVerter  answers  the  need  for  115  to  135 
ampere  arcs  for  all  types  of  wide  screen  and  3D  pictures  requiring 
more  light  over  a  larger  area.  This  latest  Hertner  TransVerter 
rounds  out  our  line  of  dependable  power  units  designed  espe- 
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Panel  Type  G  and  the  new  Dual-type  HD  100/140  Rheostat. 

For  a\\  ffie  datail%  of  fho  many  fine  hatur»t  of  the  now  HT  135 
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MOTORS 


INTERNATIONAL  PROJECTIONIST      •      AUGUST  1954 


29 


group  includes  probably  the  worst 
offender  from  the  standpoint  of  shut- 
downs, that  is  film.  By  far  the  ma- 
jority of  shutdowns  are  caused  through 
film  breaks.  Film  breaks  should  never 
happen.  This  is  one  aspect  of  the 
projectionist's  job  where  he  cannot 
have  the  faintest  excuse  for  a  dark 
screen.  The  film  may  come  from  the 
exchange  ready  to  fall  apart  at  a 
sneeze  but  that  is  still  no  excuse.  It 
is  the  projectionist's  job  to  check  it 
and  make  sure  it  is  in  running  shape 
before  it  is  ever  placed  around  a 
sprocket. 

If  this  involves  an  unreasonable 
amount  of  time  and  work,  throw  the 
film  back  at  the  exchange  and  demand 
better  prints.  Scream  to  high  heaven 
about  your  bad  prints  and  pretty  soon 


they  will  make  sure  you  get  them  in 
pretty  fair  condition.  This  writer  on 
a  number  of  occasions  has  refused  to 
run  prints  considered  to  be  in  danger- 
ous condition.  The  exchange  had  good 
prints  in  the  theatre  before  show  time. 
After  this  happens  a  few  times  it  is 
surprising  how  few  poor  prints  you 
receive.  Believe  it  or  not,  on  several 
prints  with  unavoidable  defects,  the 
exchange  has  written  to  let  me  know 
about  it  several  days  in  advance.  You 
don't  have  to  be  close  to  the  exchange 
to  establish  this  policy.  Our  film  is 
shipped  120  miles  to  us. 

The  answer  to  the  whole  problem 
is  preventative  maintenance — not  re- 
pair. Get  the  trouble  before  it  starts. 
Equipment,  regularly  and  systematic- 
ally inspected  will  give  good  service 
and  few  breakdowns. 


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LENS  MOUNTS 

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Super   Simplex  and  E-7   type   Pro- 
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cnn    be    easily    converted    to    use 
the  4"  Projection  Lens. 

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LETTERS  TO  THE  EDITOR 

(Continued  from  page  13) 

78  amps.,  but  you  will  have  to  stop 
cooling   off  your   carbons! 

Details  of  Strong  Test 

The  Strong  Super  "135"  projects 
to  the  screen  16,000  lumens  with  the 
shutter  running  and  anamorphic  lens 
on.  Since  the  50  x  19%  foot  screen 
used  in  the  test  has  an  area  of  975 
square  feet,  the  mean  intensity  of  il- 
lumination at  the  screen  has  a  value  of 
16.4  foot-candles.  As  side-to-center 
light-distribution  is  ordinarily  a  mat- 
ter of  65%,  illumination  at  the  center 
of  the  screen  is  19.9  foot-candles. 
Now,  most  matte  white  screens  have 
an  average  reflectance  of  about  76% 
when  perforated.  The  brightness  of 
the  center  of  this  screen,  illuminated 
by  the  Strong  lamp  with  projector 
shutter  running,  is  accordingly  15.2 
footlamberts.  That's  just  what  we 
claimed. 

Your  lamp  setup  gives  very  nearly 
8,500  lumens  at  78  amps  when  the 
shutter  is  running  and  when  the  ana- 
morphic lens  is  used.  Rest  assured 
that  this  is  a  generous  estimate. 
8,500  lumens  is  just  about  the  best 
you  can  expect  to  do  with  water- 
cooled,  non-coated  carbons  in  a  sim- 
plified H.  I.  lamp  at  78  amps.  You 
are  burning  current  merely  to  heat 
water ! !  You  could  be  getting  10,000 
lumens  without  those  water-jackets! 

Screen  Light  Inadequate 

Your  45  x  24^2  foot  screen  has  an 
area  of  1,1021/2  square  feet.  With 
8,500  lumens  covering  this  surface, 
the  mean  intensity  of  illumination  is 
7.7  foot-candles.  With  side-to-center 
distribution  of  65%,  illumination  at 
the  center  of  your  screen  is  9.3  foot- 
candles — damned  little,  if  you  ask  us. 
Since  an  aluminum  screen  has  a  re- 
flective value  of  about  240%  oppo- 
site the  incident  optical  angle,  the 
brightness  at  the  center  is  22.3  foot- 
lamberts. 

At  this  point  you  will  undoubtedly 
protest  that  your  center  brightness  was 
found  to  be  45  foot-lamberts  by  actual 


For   DRIVE-INS&THEATRES  with  HUGE,  WIDE- AREA  SCREENS  •  CARBONS,  Inc. BOONTON,  N.J. 


30 


INTERNATIONAL  PROJECTIONIST      •      AUGUST  1954 


measurement.  Just  be  patient  with  us. 
The  rotating  projector  shutter  cuts  the 
light  approximately  in  half;  and  if 
you  divide  45  by  2,  the  result  is  22.5 
foot-lamberts.  That's  pretty  close  to 
our  estimate  of  22.3  foot-lamberts, 
don't  you  think? 

Your  value  of  43  foot-lamberts  was 
measured  without  the  shutter  running! 

How  Light  Is  Measured 

All  screen  light  measurements  are 
made  that  way  because  the  light-meters 
used  don't  work  accurately  with  flick- 
ering light.  But  the  Strong  people 
divide  their  direct  measurement  by  2. 

Now  suppose  that  Strong  and  you 
swapped  lamps.  Your  lamp  (with  its 
water  jacket  and  uncoated  carbons) 
would  give  only  8.0  foot-lamberts  at 
the  center  of  Strong's  white  screen. 
The  Strong  Super  "135"  lamp  would 
give  42.2  foot-lamberts  at  the  center 
of  your  aluminum  screen  when  the 
shutter  is  running,  or  84.4  foot-lamb- 
erts when  the  shutter  isn't  running. 
Satisfied  that  we  had  our  facts 
straight? 

No?  Well  then  consider  this.  At  a 
45°  viewing  angle,  the  reflectivity  of 
an  aluminum  screen  drops  to  about 
36%,  resulting  in  a  screen-center 
brightness  in  your  theatre  of  only 
3.3  foot-lamberts.  Such  an  extreme 
angle  has  little  practical  significance 
in  long,  narrow  theatres;  but  even  at 
a  35°  angle  (aluminum-screen  re- 
flectivity 60%)  center-brightness  has 
a  value  in  your  theatre  of  5.6  foot- 
lamberts,  considerably  below  East 
Coast  SMPTE  standards.  Don't  be 
dazzled  by  the  flood  of  light  that  your 
type  of  screen  throws  straight  forward 
like  a  mirror! 

For  All  Viewing  Angles 

With  a  white  screen,  however,  the 
brightness  remains  the  same  from  all 
viewing  angles;  and  this  is  why  matte 
screens  are  mandatory  in  wide  thea- 
tres. To  use  a  white  screen  in  your 
theatre,  having  the  same  size  as  your 
present  screen,  you  would  certainly 
need  more  powerful  lamps  than  your 
present  ones.  To  mention  but  two  out 
of  several  makes,  the  Strong  Super 
"135"    burning    135    amps,    and    the 


EQUIPMENT  &  SUPPLIES 

^^  /-/if/P/  Theatre /ifeecf! 


Peerless  Hy-Candescent  burning  185 
amps,  both  give  16,000  lumens  with 
the  shutter  running. 

That's  the  way  the  situation  looks 
from  here  on  the  East  Coast. 

Appreciation 

To  the  editor  of  IP: 

I  have  renewed  my  subscription  to  the 
International  Projectionist  for  a  further 
period  of  two  years.  Thank  you  very 
much  for  a  magazine  that  concentrates 
on  giving  all  the  information  on  the 
new  types  of  screen  presentation  and 
not  on  the  art  of  selling  ice  cream. 
Please  note  change  of  address. 

L.  Coulter 
22  South  Bank,  Long  Ditton 
Surrey,  England. 

Westinghouse  Sales  Film 

Varied  motion  picture  techniques  are 
being  utilized  by  Westinghouse  Corp.  in 
a  cross-country  tour  of  a  new  sales  show 
designed  to  explain  the  advantages  of 
modernizing  electrical  equipment.  A 
21-foot  translucent  screen,  backed  by 
two     motion     picture     projectors,     three 


slide  projectors  and  two  speakers  is 
being  used.  Showings  will  be  in  color, 
with  motion  picture  scenes  blending  into 
slides,  and  vice  versa,  as  the  change  in 
technique    suits    the    sales    story. 

Units  of  the  lA  are  being  urged  to 
contact  local  Westinghouse  outlets  for 
the  dates  of  showings. 


"GWTW"   Still    Breaking    Records 

Reissued  and  playing  Loew's  State 
Theatre,  N.  Y.  City,  "Gone  With  the 
Wind"  in  its  first  eight  days  outgrossed 
every  M-G-M  picture  that  has  played 
there.  Similar  terrific  grosses  are  being 
chalked  up  country-wide,  with  M-G-M 
expecting  to  net  $10,000,000  for  this 
trip  around  the  country. 


Foreign  Production  Woes  Cited 

Foreign  production  location  jaunts 
pay  off  only  when  American  crews  go 
along,  according  to  various  directors 
recently  returned  from  overseas  picture- 
making  assignments.  Major  blame  for 
the  cancellation  of  some  recent  Amer- 
ican efforts  in  foreign  climes  after  pro- 
duction was  underway  is  attributed  to 
faulty  budget  and  schedule  estimates 
which  did  not  take  into  account  the  fact 


RCA  Theatre  Service  engineers  are  on 
the  job  with  the  type  of  sound  service 
your  theatre  system  needs.  Optical  or 
stereophonic  sound  ...  there's  no 
problem  too  tough  for  these  experts 
who  are  backed  by  the  vast  technical 


resources  of  the  Radio  Corporation  of 
America.  Prompt,  dependable  RCA 
Theatre  Service  has  played  a  top  sup- 
porting role  with  exhibitors  throughout 
the   nation   for   more   than    25    years! 


RCA  Service  Company,  Inc. 

@       A  Radio  Corporation  of  America  Subsidiary 
Camden,  N.  J. 


INTERNATIONAL  PROJECTIONIST      •      AUGUST  1954 


31 


that  foreign  crews  are  not  trained  in 
American  methods  and  that  the  lan- 
guage barrier  makes  for  interminable 
delays. 

These  views  echo  precisely  the  opin- 
ions advanced  by  the  organized  studio 
crafts  for  many  years  past,  who  held 
that  the  lure  of  "cheap"  production 
abroad  was  a  mental  mirage,  quite  apart 
from  the  fact  that  such  junkets  deprived 
U.  S.  studio  workers  of  much-needed 
employment. 


TESMA   Forum   Planned 

For  the  second  year  in  succession, 
the  new  processes  forum  will  be  one 
of  the  biggest  events  at  the  TESMA-TOA 
convention  which  will  run  from  October 
31  through  November  4  at  the  Conrad 
Hilton   Hotel  in   Chicago. 

Again  this  year,  the  forum  will  pro- 
vide a  panel  of  experts  well  versed  on 
every  phase  of  theatre  equipment, 
accessories     and     new     processes.      Last 


year  this  event  attracted  more  than 
1,000  exhibitors  and  theatre  equipment 
manufacturers,  projectionists  and  deal- 
ers from  all  parts  of  the  country. 

With  interest  running  high  among 
projectionists  and  theatre  owners  con- 
cerning the  selection  of  the  proper 
lens  to  solve  the  problems  of  their  par- 
ticular theatre  and  the  projection  pro- 
cess being  used  there,  the  display  of 
lenses  will  be  the  largest  ever  seen.  In 
addition,  every  projector  manufacturer 
in  the  United  States  will  show  his 
products  along  with  a  host  of  other 
equipment  producers. 


New  Ampex  Loudspeakers 

Two  new  loudspeaker  systems,  espe- 
cially designed  to  reproduce  the  wider 
frequency  range  possible  with  magnetic 
sound,  are  now  available  from  Ampex 
Corp.,  Redwood  City,  Calif.  Future 
Ampex  inslallations  in  theatres  having  a 


Clayton  Ball -Bearing  Even  Tension  Take-Ups 

For  all  Projectors  and  Sound  Equipments 

ALL  TAKE-UPS  WIND  FILM  ON  2,  4  AND  5  INCH  HUB  REELS. 
SILENT  CHAIN   DRIVE 

THE   CLAYTON    REWINDER 

FOR  PERFECT  REWINDING  ON  2000-FOOT  REELS. 

CLAYTON    PRODUCTS   CO. 

31-45  Tibbett  Avenue  New  York  63,  N.  Y. 


seating  capacity  of  1000  to  1500  will  be 
equipped  with  the  new  Model  5050. 
This  unit  consists  of  two  low-frequency 
speakers  and  their  baffle,  a  high-fre- 
quency driver  and  horn,  and  a  cross- 
over network.  The  complete  system  is, 
in  inches,  84  high,  72  wide  and  36  deep. 
For  larger  theatres  with  a  seating 
capacity  between  1500  and  2000,  Ampex 
has  designed  the  Model  5070.  This 
speaker,  installed  with  Ampex  60-watt 
stereophonic  systems,  includes  two  low- 
frequency  speakers  in  a  larger  baffle,  a 
high-frequency  driver  and  horn,  and  a 
crossover  network.  Installed,  the  dimen- 
sions, in  inches,  are  79  high,  84  wide, 
and  48  deep. 


RCA  Antenaplex  on  West  Coast 

Three  new  offices  on  the  West  Coast 
to  handle  the  Antenaplex  Tv  systems 
business  have  been  opened  by  RCA 
Service  Co.  In  the  Pacific  Northwest 
is  an  office  at  718  Dearborn  St.,  Seattle, 
in  charge  of  Edward  Long,  who  was 
formerly  Antenaplex  rep  for  Southern 
California.  In  Hollywood  at  911  Orange 
Drive,  these  operations  will  be  directed 
by  Warren  Burr,  former  supervisor  in 
the  Hollywood  service  branch;  while 
in  Northern  California  the  rep  will  be 
Edward  Norton  at  2640  Bayshore  Blvd. 

The  offices  are  staffed  by  technical 
experts  with  distribution  systems  ex- 
perience. Antenaplex  systems  are  find- 
ing increasing  usefulness  in  multiple 
dwellings  and  motels,  and  in  providing 
multiple  outlets  to  serve  entire  com- 
munities with  television  service. 


CORRECTION 

Rosco  Laboratories,  manufacturer  of  a 
number  of  chemical  products  for  the  pro- 
jection room,  is  located  at  367  Hudson 
Avenue,  Brooklyn  1,  N.  Y.  rather  than  367 
Hudson  Street,  as  was  stated  in  error  in  an 
advertisement  that  appeared  last  month  in 
IP's  Convention   Supplement. 


THE  ACE  CUE  MARKER 


The  World's  Best 

One  push  to  left  or  right  and 
all  cues  are  made  in  16-  and  35-, 
Standard,      Tv,      or      CinemaScope 

See  your  dealer  or  write  to 


ACE   ELECTRIC   MFG.   COMPANY 

1458    Shakespeare    Avenue 
New    York    52,    N.    Y. 


32 


INTERNATIONAL  PROJECTIONIST 


AUGUST  1954 


AN  EVALUATION  OF 
OPTICAL  SOUND 

(Continued  from  page  8) 

film  produce  less  noticeable  noises. 

In  Europe,  however,  very  narrow 
slit-images  are  preferred.  Most  Euro- 
pean soundhead  manufacturers  use 
images  approximately  8  mils  (20 
microns)  in  width,  and  the  German 
firm  of  Zeiss  Ikon  employs  a  7-mil 
(18-micron)  slit-image  in  Ernemann 
equipment.  This  writer  sees  no  need 
for  such  narrow  images.  The  Ameri- 
can 1^-mil  slit-image,  adopted  as  a 
standard  by  the  Academy  of  Motion 
Picture  Arts  and  Sciences,  has  every- 
thing to  recommend  it. 

In  every  case  the  length  of  the  slit- 


SELECTIFIERSi 

AMERICAN    SELECTIFIER    DIV.              . 

SELECT-A-VOLTAGE                    ' 
SELENIUM   RECTIFIERS    { 

A  "SINGLE  "  OK   FOR  2  ARCS! 
"Superior"    &    "50,000    Hour"   types,     | 
50  to  400   Amps,   rugged,  oversized, 
selenium      stacks.      Adjustable-in-use     1 
glass    insulated    transformers.    Oper- 
ate   continuously    in    any   climate,   at     i 
standard     or     heavy     overloads     at 
maximum        efficiency        on        both     i 
"Suprex"    and    H.I.    Arcs.                          1 
SELECTIFIERS   sell 

themselves          on 
obvious       quality 
and     depend- 
ability. 

^Siii^^ 

"     i 

(Hmii^mBS 

Write: 

Doc  Faige 

\j''m-\ 

II 

NORPAT,   INC. 
113  W.  42  St. 

1         ,-'>iiiMmnV' 

N.  Y.  C.  36 

il 

image  is  0.084  inch  (2.13  millimeters), 
slightly  less  than  the  width  of  the 
printed  area  of  the  track  (0.1  in.,  or 
2.54  mm. ) .  The  width  of  the  sound 
record  in  a  completely  modulated 
variable-area  track  is  the  same  as  the 
length  of  the  scanning  beam.  Only 
the  loudest  sounds  have  a  modulation 
as  great  as  this. 

Focusing  a  Delicate  Job 

Every  projectionist  knows  that  the 
quality  of  the  sound  is  poor  when  the 
optical  tube  is  out  of  focus.  The 
focusing  procedure,  though  simple,  is 
a  delicate  job.  It  can't  be  hurried. 
By  running  a  9,000-cycle  test  loop 
and  plugging  an  output  meter  into 
the  soundhead  or  preamplifier,  the 
sound  service  engineer  lines  up  the 
rotational,  or  azimuthal,  adjustment 
of  the  tube.  ( The  thin  line  of  light 
must  cut  the  track  perpendicularly  to 
the  direction  of  film-travel.)  Then 
he  restores  the  focus  by  moving  the 
tube  nearer  or  farther  away  from  the 
film-plane.  In  each  case  the  needle  of 
the  output  meter  shows  when  the  out- 
put is  at  maximum  strength. 

The  projectionist  can  use  the 
"flicker  test"  for  focusing  the  optical 
unit,  but  he  must  guard  against  dis- 
turbing the  rotational  adjustment.  If 
the  scanning  beam  cuts  the  track  at  a 
slant,  distortion  will  be  produced. 

Procedure  for  Test 

Thread  a  short  length  of  film  having 
a  high-frequency  record  ( many  very 
fine  lines)  into  the  soundhead.  With 
the  exciter  turned  on,  and  with  a 
white  card  placed  in  front  of  the 
photocell  so  that  the  exciting  light 
forms  a  spot  on  it,  "inch"  the  film 
down  very  slowly  by  means  of  the 
projector  handwheel.    The  soundtrack 


ARE  YOU  CONVERTING  TO 

CINemaScoPC 


frequency  lines  will  throw  shadows 
on  the  card. 

If  the  shadows  move  upward,  the 
optical  tube  should  be  farther  from 
the  film:  if  the  shadows  move  down- 
ward ( in  the  same  direction  that  the 
film  moves),  the  tube  should  be 
closer  to  the  film.  When  the  unit  is 
in  perfect  focus,  the  spot  of  light  on 
the  card  will  flicker  uniformly  as  the 
film   moves   down   through   the   beam. 

Lateral    adjustment    of    the    sound- 


s 


PUCES    ^^ 

NOT  y 


HOLDING 

Film  breaks  are  costly. 
Play  safe  by  using 

JEFRONA 

All-purpose  CEMENT 

Has  greater  adhesive 
qualities.  Don't  take 
our  word  for  it.  Send 
for  FREE  sample  and 
judge  for  yourself. 

CAMERA  EQUIPMENT  CO. 

DEPT.    J-6-8 
1600  Broadway  New  York  19,  N.  Y. 


AH  UHCONmiOHAl  GUARANm  • 


^nom 


9^ 


INTERNATIONAL  PROJECTIONIST 


WtONE 

^  The  NEW  HI-LUX 

SCREEN  has  reached  a 

state  of  perfection  that  will 

meet    the    most    EXACTING 

PROJECTION  requirements 

|T|  SEAMLESS  CONSTRUCTION 

[2]   UNIFORMITY  OF  SURFACE 
[3]   SHARP  DEFINITION 

QEVEN  DISTRIBUTION  TO  ALL 
USEFUL  ANGLES... 

\S\  TEAR-PROOF  CONSTRUCTION 

We  bnfk  those  i-lainis  irith  a 
■^  ntonfu-hafk  tiuiirantft'  and  ifou, 
^   .Wf.  KxhibiHtr.  arv  Iht'  jutlt/v: 


mflTTAME  SCREEN  CORPORATION 

■»*•  ■     l^rB^K   165ClermontA»e.,B.klyn,N.r. 

Mid-West  Offlce-L.  E.  Cooley  •  408  S.  Oak  Park  Ave..  Oak  Park.  III. 


33 


track  is  accomplished  by  means  of  a 
flanged  guide-roller  on  the  older 
soundheads,  and  by  the  pressure-roller 
on  most  rotary-stabilizer  heads.  Once 
made,  this  adjustment  is  good  for 
years.  It  needs  to  be  changed  only 
when  frame-line  noise  and  sprocket- 
hole  "motor-boating"  appear  in  the 
sound. 

In  order  to  simplify  soundhead  opti- 
cal adjustments,  a  few  foreign  manu- 
facturers illuminate  the  soundtrack 
with  a  wide  beam  of  bright  light  and 
project    an    enlarged    image    of    the 


Thin  filament 


-Film 


Filament- image  system 


^Slit     __^^x 


Filament 

"  Motion-picture"    system 


K 


Slit      Film. 


"  Stereopticon"  system 


Cylindrical  lenses  v.         .Film 


CylindricaWens  system 


Projected -track    system 


FIG.  2.    Five  methods  of  optical  scanning. 

track  on  a  mechanical  slit  large 
enough  to  be  adjusted  visually  by  the 
projectionist.  The  light  emerging 
from  this  slit  is  directed  to  the  photo- 
cell by  means  of  a  condensing  lens. 
Another  simplification  of  sound- 
head optics  is  found  in  the  cylindrical- 
lens  system  which  forms  an  elongated 
image  of  the  exciter  filament  on  the 
soundtrack.  The  cylindrical  lenses 
produce  a  line  of  light  having  a 
width  only  1/lOth  that  of  the  lamp 
filament,  and  hence  no  mechanical 
slit  is  used.    This  is  a  popular  system 

NBC  Film  Division  Upsurge 

Film  division  of  National  Broadcast- 
ing Co.  is  now  supplying  Tv  stations 
with  a  total  of  736  weekly  half  hours 
of  local  programming  via  film  prints, 
as  compared  with  235  at  the  same  time 
last  year. 


for  16-mm  and  other  portable  pro- 
jectors because  of  its  high  luminous 
efficiency  and  "fixed-focus"  character- 
istics. 

All  of  these  optical  systems  are 
shown  diagrammatically  in  Fig.  2. 

Photocell  Signal  Is  Weak 

No  matter  what  kind  of  scanning 
system  is  used,  the  photosensitive 
cathode-plate  of  the  photoelectric  cell 
is  the  screen  upon  which  the  modu- 
lated scanning  beam  is  projected.  The 
cell  converts  the  flickering  light  into 
fluctuating  electric  currents  which 
waver  in  conformity  with  the  photo- 
graphic variations  of  the  soundtrack. 
The  currents  emitted  by  the  photocell 
are  very  weak,  and  must  be  amplified 
as  much  as  10,000,000,000  times  to 
gain  sufficient  power  to  actuate  the 
loudspeakers. 

Even  though  the  action  of  the  photo- 
tube still  seems  like  a  modern  elec- 
tronic miracle,  many  of  the  basic 
principles  of  photoelectricity  were  dis- 
covered as  long  ago  as  1845,  the  year 
that  Alexandre  Becquerel,  a  French 
physicist,  discovered  that  glass-en- 
closed voltaic  cells  ('Svet  batteries") 
gave  higher  voltage  when  strongly 
illuminated. 

This  early  discovery  led  directly  to 
the  Wein  and  Arcturus  batteries  which 
were  introduced  commercially  in  1929, 
almost  a  decade  after  regular  photo- 


emissive  cells  had  been  devised.  These 
miniature  voltaic  cells  were  arranged 
so  that  light  impinging  on  one  plate 
generated   considerable   current. 
[TO  BE  CONTINUED] 

MONTHLY   CHAT 

(Continued  from  page  5) 

room,  but  instead  are  caused  by  inherent 
flaws  in  the  process,  it  would  seem  that 
20th-Fox  is  trying  to  pass  the  buck  to 
the  projectionist  for  production  faults. 
As  the  process  grows  older,  these  faults 
are  being  slowly  corrected.  Witness  the 
delivery  to  Hollywood  of  greatly-im- 
proved 'Scope  taking  lenses  from  Bausch 
&  Lomb. 

However,  one  thing  is  clear.  After 
spending  millions  of  dollars  and  much 
effort  in  persuading  exhibitors  to  install 
CinemaScope,  Fox  now  realizes  that  the 
projectionist  is  also  important.  Without 
his  effort,  patience,  and  technical  savy, 
CinemaScope  might  often  drive  people 
out  of  the  theatre  rather  than  bring 
them  in;  then  this  process  would  never 
reach   a   state  of  full  development. 

It  is  interesting  to  speculate  on  what 
the  role  of  the  projectionist  may  be 
during  years  to  come.  The  complexity 
of  his  work  has  increased  tremendously 
during  the  last  25  years,  and  is  likely 
to  become  even  more  complicated.  Al- 
though jobs — in  the  theatre  at  least — 
may  be  fewer  in  the  future,  there  is  con- 
solation in  the  fact  that  the  dignity  and 
responsibility  of  the  projectionist's  posi- 
tion continues  to  increase.  J.M. 


itow  Many? 


Was  this  copy  dog-eared  when  it  came  to  you? 
How  many  men  read  it  ahead  of  you? 

You  would  receive  a  clean,  fresh  copy  if  you  had 
a  personal  subscription— and  you  wouldn't  have 
to  wait— you  would  be  first  to  read  it. 

Use  coupon  below. 

INTERNATIONAL  PROJECTIONIST, 
19  WEST  44  St.,  New  York  36,  N.  Y. 

n    1     year-12   issues-$2.50 
n    2   years— 24   issues-$4.00 


Enter  my  subscription  for 


Foreign  and  Canada:    Add  50c  per  year. 


Name  _ 
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34 


INTERNATIONAL  PROJECTIONIST      •      AUGUST  1954 


first  flight 


Without  trust  in  Daddy's  strong  arms,  fear  would 
blot  out  the  fun  of  first  flight.  But  because  Daddy's 
smiling,  loving  face  is  belotv,  life  adds  a  thrilling 
new  dimension,  founded  in  love  and  trust. 

All  our  adventures  begin  in  and  come  home  to 
the  security  we  cannot  do  without. 


To  give  and  to  get  security  is  the  main  business 
of  living.  It  is  a  privilege  and  a  responsibility. 
It  provides  us  life's  finest  rewards. 

Have  you  ever  thought  that  this  security  is 
possible  only  in  a  democracy?  And  that  this  is  the 
source  of  America's  greatest  strength?  For  we 
continue  to  grow  stronger  as  a  nation  when  more 
and  more  secure  homes  are  bulwarked  together. 

The  security  of  your  country  depends  on 
your  security. 


c 


'JX 


MMUI  ZMh*  g1!fet\' ,  "W^  ♦^'^jtl  *Z^^J  iJUJL'> 


Saving  for  security  is  easy!  Read  every  word— now! 


If  you've  tried  to  save  and  failed, 
chances  are  it  was  because  you  didn't 
have  a  plan.  Well,  here's  a  savings  sys- 
tem that  really  works— the  Payroll 
Savings  Plan  for  investing  in  U.S. 
Savings  Bonds.  This  is  all  you  do.  Go 
to  your  company's  pay  office,  choose 
the  amount  you  want  to  save— a  couple 
of  dollars  a  payday,  or  as  much  as  you 
wish.  That  money  will  be  set  aside  foi- 
you  before  you  even  draw  your  pay. 


And  automatically  invested  in  Series 
"E"  U.S.  Savings  Bonds  which  are 
turned  over  to  you. 

If  you  can  save  only  $3.75  a  week  on 
the  Plan,  in  9  years  and  8  months  you 
will  have  $2,137.30. 

United  States  Series  "E"  Savings 
Bonds  earn  interest  at  an  average  of 
3%  per  year,  compounded  semiannu- 
ally, when  held  to  maturity !  And  they 


can  go  on  earning  interest  for  as  long 
as  19  years  and  8  months  if  you  wish, 
giving  you  a  return  of  80  9o  on  your 
original  investment! 

Eight  million  working  men  and 
women  are  building  their  security  with 
the  Payroll  Savings  Plan.  For  your 
sake,  and  your  family's,  too,  how  about 
signing  up  today?  If  you  are  self- 
employed,  ask  your  banker  about  the 
Bond-A-Month  Plan. 


i| 


The  U.S.  Government  does  not  pay  for  this  advertisement.  It  is  donated  by  this  publication  in 
cooperation  with  the  Advertising  Council  and  the  Magazine  Publishers  of  Atnerica* 


NOW  —  your  drive-in  can  show  the  BIG  wide  screen  features 
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i 


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*%y^' 


SEPTEMBER 


1954 


Screen 

Illumination 

Symposium 


VOLUME  29 


30c  A  COPY 


NUMBER  9 


$2.50  A  YEAR 


wmaj.M  ttimmsjummi*  wmi.miKumM* 


For 


CinbmaScoPE 

32,000 


TRADE    MARK    REG 


fi  J 1)  £  i]  i]  fi 


•  e  • 


•  •  • 


TRADE    MARK    REG 


TOTAL 


^ 


At  1  £0-1  85  Amperes  .  .  .  With  No.  15363-Q  and  No. 
15367-P,  "Hy-Speed"  Condensers  .  .  .  With  a  .715"  x 
.912"  "CinemaScope"  aperture  .  .  .  With  a  3"  Focus, 
F-1.8  coated  projection  lens  .  .  .  On  any  kind  or  any 
size  of  screen    .... 

Using  presently  available  and  standard  carbons, 
there  is  "No  other  projection  lamp  in  the  world, 
today"  that  can   produce  so  much   light. 

(*)  Subject  to  6-10%  average  deduction  for  PEER- 
LESS  "Hy-Lumen"    Heat    Filter,    if    used. 


22,000 


TOTAL 
ENS    t 


At  75-77  amperes  .  .  .  With  presently  available  and 
standard  8x9  m/m  copper  coated  carbons  .  .  .  With 
a  .715"  X  .912"  "CinemaScope"  aperture  .  .  .  With  a 
3"  Focus,  F-1.8  coated  projection  lens  .  .  .  With  a  14" 
diameter  No.  2012  PEERLESS  "Hy-Lumen"  glass  reflec- 
tor that  retails  at  a  list  price  of  $22.00  F.O.B.  Chicago 
.  .  .  With  a  No.  2880  PEERLESS  Tail  Flame  Flue  .  .  . 
On  any  kind  or  any  size  screen  .  .  .  No  Heat  Filter 
required. 

All  of  this,  at  the  lowest  possible  first,  and  opera- 
tional  cost.     And   with    ... 


NO  -  HIGH  -  RATE 


OF   ($60.00)    REFLECTOR    BREAKAGE 
OR   SILVERING   DETERIATION 


J.E.McAULEY  MFG. CD. 

552-554    WEST    ADAMS    STREET 

CHICAGO   6.  ILLINOIS 


OCT  -7  mk 


WESTREX  CORPORATION 

is  delighted 

to  extend  its  felicitations  to 

Spyros  Skouras 

and 

Twentieth  Century-Fox 

on  the  first  anniversary  of  the  introduction  of 


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The  courage  that  introduced  CinemaScope  has  won  enthusiasm  and  box  office 
response  from  movie-goers  the  world  over. 

Westrex  is  pleased  to  have  contributed  to  the  success  of  CinemaScope  through 
the  development  of  the  stereophonic  equipment  to  record,  print,  and  reproduce 
multi-track  sound  for  the  new  screen  presentations.  In  addition  Westrex  engi- 
neers have  installed  the  new  picture  and  sound  projection  equipment  throughout 
the  world  except  the  United  States  and  Canada. 

IVestrex  Corporation 

111  Eighth  Avenue,  New  York  11,  N.  Y. 
Hollywood  Division:  6601  Romaine  Street,  Hollywood  38,  Calif. 


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ARE  USED  WITH  MOST 


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A  sincere  effort  has  been  expended  to  the  end  of  attaining  near 
perfection  in  the  presentation  of  this  new  projection  technique.  Best  possi- 
ble screen  lighting  has  been  a  major  objective  —  the  most  light,  evenly 
distributed,  of  constant  intensity  and   unchanging   color  value. 

These  exacting  high  standards  have  been  realized  v^ith  the  develop- 
ment of  Strong's  exclusive  Lightronic  crater-positioning  system  which  auto- 
matically maintains  the  position  of  the  positive  arc  crater  at  the  EXACT 
focal  point  of  the  reflector.  Manual  adjustments,  which  at  best  lead  to 
uncertain  results,  have  been  made  entirely  unnecessary. 

The  positive  and  negative  carbons  are  advanced  by  separate  motors, 
the  speeds  of  which  are  governed  by  the  Bi-metal  Lightronic  Tube.  Once 
the  arc  has  been  struck,  the  crater  position  and  gap  length  are  maintained 
automatically. 


74^V^.  ONLY  <^^  LAMPS 

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Please   send   free   literature   on   Strong   Super   "135"  and   Mighty   "90"   projection   lamps. 
NAME  


THEATRE    

STREET     

CITY   &    STATE 


INTERNATIONAL  PROJECTIONIST      •      SEPTEMBER  1954 


INTERNATIONAL 

PROjECTIONISl 

With  Which   Is   Combined    PROJECTION   ENGINEERING 


JAMES  J.  FINN,  Editor 
JAMES  MORRIS,  Associafe  Edifor 


Volume   29 


SEPTEMBER   1954 


Number  9 


Index  and  Monthly  Chat  ....        5 

SCREEN  ILLUMINATION 
SYMPOSIUM: 

Screen   Light  with   Various 

Projection  Aspect  Ratios  .  .        7 

Charles  A.  Hahn 
Carbon     Arc     Requisites     for 

the  New  Processes 9 

H.  P.  Woods 
Light  Requirements  for  Wide- 
Screen  Projection   12 

Arthur  J.  Hatch 
Your   Guide   to    Proper   Lens 

Selection    16 

M.  D.  O'Brien 
An     Evaluation     of     Optical 

Sound,  II 21 

Robert  A.  Mitchell 


Past,  Present  and  Future?    .  .      23 
Merle  Chamberlin 

In  The  Spotlight    24 

Perspecta   Sound   Operational 

Data    26 

Mark  Stephens 

Letters  to  the  Editor 28 

lA  Obituaries 29 

Personal   Notes    30 

Fewer    and    Bigger    Pictures 
Industry-Wide  Trend   31 

Test  Your  Electrical  I.  Q.  .  . .     31 

Electrical  Exam  Answers  ....      32 

News  Notes 
Technical  Hints 
Miscellaneous 


Published  Monthly  by 

INTERNATIONAL  PROJECTIONIST  PUBLISHING  CO.,  INC. 

19  West  44th  Street,   New  York  36,  N.  Y. 

Telephone:    MUrray  Hill  2-2948 

R.  A.   ENTRACHT,  Publisher 

SUBSCRIPTION  REPRESENTATIVES 

AUSTRALIA:     McGllls,  183  Elizabeth  St.,  Melbourne 

NEW   ZEALAND:      Te   Aro   Book   Depot,   Ltd.,   64   Courtenay   Place,   Wellington 

ENGLAND  and  ELSEWHERE:    Wm.  Dcv/son  &  Sons/  Ltd.,  Macklin  St.,  London,  W.  C.  2 

/ 
YEARLY  SUBSCRIPTION:  United  States  and  possessions,  $2.50  (two  years,  $4);  Canada  and 
foreign  countries,  $3;  single  copies,  30  cents.  Change^' uf  address  should  be  submitted  two  weeks 
in  advance  of  publication  date  to  insure  receipt  of  current  issue.  Entered  as  second  class  matter 
February  8,  1932,  at  the  Post  Office  at  New  Yorit  N.  Y.,  with  additional  entry  at  Yonkers,  N.  Y., 
under  the  act  of  March  3,  1879.  Entire  content^ /copyrighted  1954  by  INTERNATIONAL  PRO- 
JECTIONIST PUBLISHING  CO.,  INC.  INTERNATIONAL  PROJECTIONIST  assumes  no  responsibility 
for  personal  opinions  appearing   in   signed   articles,  or  for  unsolicited   communications. 


MONTHLY      CHAT 


ELSEWHERE  in  this  issue  there  ap- 
pear excerpts  from  the  address 
given  at  the  recent  lA  convention  in 
Cincinnati  by  Merle  Chamberlin,  direc- 
tor of  projection  for  the  M-G-M  studios 
in  Culver  City,  Calif.  This  address  was 
of  two-fold  significance: 

1.  It  marked  for  probably  the  first 
time  the  appearance  at  a  public  forum 
of  a  top-flight  production  executive  who 
openly  proclaimed  the  industry's  utter 
dependence  upon  the  technological  pro- 
cesses, and  (2),  it  served  as  an  adrena- 
lin-shot to  the  morale  of  the  projectionist 
craft  which  for  years  has  endured  the 
stigma  of  a  "dispensable"  and  "toler- 
ated" adjunct  of  the  industry. 

No  more  is  this  business  of  ours  a 
mere  welter  of  buying  and  selling  a 
product  which  depended  for  its  very 
lifeblood  upon  the  technological  pro- 
cesses —  although  the  "brass"  knew  it 
not.  This  has  been  demonstrated  in 
fulsome  measure  over  the  years  by  such 
industrial  titans  as,  for  example,  East- 
man Kodak,  General  Motors,  and 
DuPont. 

We  once  heard  David  Sarnoff,  who 
traveled  the  torturous  course  of  tech- 
nology to  his  present  eminence  as  head 
man  of  RCA,  say  that  the  word  "re- 
search" was  invariably  mispronounced; 
he  insisted  that  the  accent  should  be 
placed   upon   the   second   syllable. 

Change  in  Mental  Atmosphere 

This  constant  seeking  for  that  which 
is  not  only  new  and  novel  but  that 
which  is  better,  determines  the  lifespan 
for  industry  no  less  than  for  humans. 
This  point  of  view  which  has  for  these 
many  years  earned  for  IP  the  appelation 
of  "carping  critic",  is  now  granted  in- 
dustry-wide acceptance.  For  its  part,  IP 
welcomes  this  change  in  the  mental  at- 
mosphere; but  it  induces  no  blushing 
OP.  our  part  to  say  that  we  alone  of  the 
entire  industry  press  kept  our  sights  on 
distant    horizons. 

To  Cinerama,  to  CinemaScope,  to 
VistaVision,  and  to  all  those  hardy  souls 
who  supplemented  their  brains,  their 
hands,  and  their  hearts  with  the  mighty 
resolve  to  go  forward,  IP  makes  obeis- 
ance. 

It  is  our  purpose — and  the  only  rea- 
son for  our  existence — to  pursue  these 
distant  goals  so  that  we  and  every  other 
segment  of  this  industry  shall  go 
forward. 

The  foregoing  is  by  no  means  the 
product  of  random  thinking  but  rather 
a  coldly-calculated  approach  to  a  prob- 
lem fraught  with  the  utmost  significance 
to  the  industry  at  large.  At  the  risk  of 
being  charged  with  mouthing  the  same 
old  refrain,  IP  still  holds  to  the  view 
that  endless  benefits  would  stem  from  a 
single  afternoon  session  in  some  secluded 
nook  attended  by,  say,  five  persons  from 
the  technical  end  of  this  business.  The 
object:    standardization. 


INTERNATIONAL  PROJECTIONIST      •      SEPTEMBER  1954 


A-< 


For 
from  e 


brightest  pictures 
to  ddge . . . 


1 


'•*•*• 


When  projecting  on  the  larger  scr  .n  areas  of  the  new  wider  screens 
it  is  vital  to  have  maximum  light  efficiency.  Comparative  tests  ha^c 
demonstrated  that  with  Super  Panatar  Variable  Aspect  Lens  you  get 

1.  Greater  light  transmissions 

2.  Highest,  sharpest  definition 

3.  The  finest  color  rendition 

4.  Elimination   of   distortion   due   to   curved   screens 

These  are  a  jew  of  the  reasons  why  there  are  more  Super  Panatars 
installed  than  any  other  variable  anamorphic  lens. 

Also  available  for  use  with  4"  dia. 
f  1.8  objective  lens  for  both  out- 
per  pair     door  and  Indoor  installations. 


SUPER  PANATAR  "100 
....  only 


$ 


895 


00 


SUPER 

MANUFACTURED 

Exc/us/ 

RADIANT  MANUFACTURING  CO 

Phone:  CRawford  7-6300 


Any  aspect  ratio 
at  tlie  twist  of  a 
single  Icnob... 

The  Super  Panatar  can  be  converted  to  any  aspect  ratio 
from  standard  to  Vista  Vision  to  Cinemascope  by  a  twist 
of  a  single  knob.  This  easy  instant  switching  affords  won- 
derful opportunities  for  new  exciting  screen  showmanship. 
Super  Panatar  has  been  approved  for  use  with  all  existing 
systems — and  will  take  care  of  any  new  systems  that  may 
be  developed  in  the  future. 


NATAR 

NAVISION,      INC. 


209  S.  Talman  Ave.,  Chicago  8,  111. 

Cable   Address:      RADMAFCO 


INTERNATIONAL  PROJECTIONIST      •      SEPTEMBER  1954 


Vol.  29 


No.  9 


We  Invite  Your  Attention  to  .  .  , 

the  pages  immediately  following:  three  articles  by  internationally- 
recognized  authorities  on  the  art  of  visual  and  sound  reproduction. 
Whatever  their  divergencies  in  points  of  view,  these  data  provide, 
at  the  very  least,  a  sound  basis  for  serious  discussion. 


Sept.  1954 


Screen  Light  With  Various 
Projection  Aspect  Ratios 

By  CHARLES  A.  HAHN 
J.  E.  McAuley  Mfg.  Co. 

I  HE  APPENDED  data  compares  the  aperture  opening 
areas  of  the  various  aspect  ratio  apertures  (Table  A). 
The  listed  comparison  of  percentages  may  be  taken  as  a 
rough  indication  of  their  light-passage  rating  from  a 
given  light  source.  Just  as  it  is  the  size  or  area  of  a 
window  that  determines  how  much  daylight  can  enter 
to  illuminate  a  room,  so  it  is  that  the  size  of  the  aperture 
opening  determines  how  much  light  will  pass  to  and 
through  the  projection  lens   and  thence   to   the  screen. 

The  writer  has  elected  herein  the  standard  0.600  by 
0.825-inch  sound  aperture  as  representative  of  100%  in 
light-passage  rating. 

By  way  of  further  explanation:  suppose  that  a  theatre 
has  been  regularly  operating  with  a  standard  sound 
1.37:1  aspect  ratio  aperture,  with  a  3-inch,  F:1.8  pro- 
jection lens,  and  has  been  obtaining  therewith  19,000 
total  screen  lumens,  and  a  picture  size  of  15  by  20.5 
feet,  which  would  be  307.5  square  feet  in  area. 

Height-to-Width  Ratio  Vital 

It  is  then  decided  to  use  a  1.85:1  (No.  4)  aspect  ratio 
aperture  with  the  same  size  screen  and  the  same  pro- 
jection lens.  The  picture  size  will  then  be  the  same  width, 
namely  20.5  feet — but  only  11  feet  high  (Fig.  1). 

Now,  because  the  light-passing  rate  of  the  1.85:1  (No. 
4)  aspect  ratio  is  74%  of  the  1.37:1  (No.  1)  ratio  pic- 
ture, the  total  screen  lumens  will  be  reduced  from  19,000 
to  approximately  14,000 — but  each  square  foot  of  the 
1.85:1  (No.  4)  picture  will,  in  foot-candles,  be  as  bright 
as  the  1.37:1  (No.  1)  picture. 

This  result  ensues  because  the  1.85:1  (No.  4)  aperture 


1.37:1 

.  15  Peot  Hl£ji 

19,000     Lumans 

507.5  Sq.  Feet 

of     Plotrire 


yy-Wii^t.VokiJtxa'i  'h 


.^//rU^VLoV/  'to9a<^ 


^— Both  20.5'  Wide  -^ 

FIGURE  1 


1.85  rf 

11  Feet  Ei^ 

14,000     LTimont 

225.5  Sq.  Feet 

of     Plctxnre 

is  only  smaller  in  height,  hence  blocks  out  a  part  of  the 
light  that  would  pass  through  the  larger  1.37:1  (No.  1) 
aperture. 

Presuming  that  it  is  decided  that  the  resultant  picture 
(3-inch  lens)  of  11  feet  high,  at  the  same  20.5-feet 
width,  is  lacking  in  height  and  should  be  enlarged  to  the 
15-foot  height  of  the  former  1.37:1  (No.  1)  aperture 
picture.  After  this  has  been  done,  the  width  of  a  15-foot 
high,  1.85:1  (No.  4)  aspect  ratio  picture  becomes  27.75 
feet  wide,  and  the  total  area  of  the  picture  becomes  416.2 
square  feet  instead  of  225.5  square  feet — an  increase  in 
picture  area  of  85%    (Fig.  2). 

Since  it  is  now  necessary  to  illuminate  the  increased 
picture  area  with  only  14,000  total  screen  lumens,  let's 
hypothetically  assume  that  the  required  shorter  214-inch 
focus  projection  lens  will  pass  the  same  amount  of  light 
that  the  former  3-inch  focus  lens  did,  in  which  case  the 
foot-candle   illumination   of  the  picture   field   will   drop 


FIGURE  2 

Top  arrows:  1.37:1 

picture  of  15  x  20.5 

— •-  feet;     total     area 

'  307.5  square  feet, 

I  62  foot-candles,  or 

■  100%. 

Bottom  arrows: 


/» 


U- 


I 

'  1.85:1 


picture    of 

15    X    27.75    feet; 

total     area    416.2 

square     feet,     22 

foot  -  candles,     or 

36% — -9}  h  i  eh    is 

64%    less   than   that   obtained   with   the    1.37:1   ratio. 

(NOTE:    all  figrures  in  "total  light,"  with  no  allowance 

for  shutter  or  other  losses.) 

from  62  foot-candles  formerly  possible  on  the  15  by 
20.5-foot  picture  field  to  34  foot-candles,  or  approxi- 
mately 54%  on  the  larger  15  by  27.75-foot  picture. 

6as/c  Essentials  Still  Prevail 

However,  our  hypothetical  assmnption  now  must  be 
made  factual  because  the  shorter  2^-inch  focus  pro- 
jection lens  does  not  pass  the  same  volume  of  light  (foot- 
candles)  as  did  the  longer  3-inch  focus  lens,  even  though 
they  both  bear  the  same  F:1.8  light-speed  marking. 

In  consequence,  to  get  a  true  picture  of  the  final  re- 
sults, we  must  make  another  deduction  of  34%  from  the 
already  reduced  average  foot-candle  figure  of  54%.  So 
in  the  end  we  find  that,  after  making  aU  of  the  projec- 


INTERNATIONAL  PROJECTIONIST      •      SEPTEMBER  1954 


tion  changes  necessary,  to  use  an  1.85:1  (No.  4)  aspect 
ratio  aperture  and  enlarging  its  picture  to  27.75  feet 
wide,  we  end  up  with  an  average  screen  illumination  of 
22  foot-candles. 

Our  larger  picture  with  the  same  light  source  under 
these  conditions  is  reduced  to  only  36%  of  the  level  we 
originally  had,  when  using  1.37:1  (No.  1)  aspect  ratio 
aperture  and  a  15  x  20.5  picture  field. 

This  same  formula  is  applicable  to  determine  the  ap- 
proximate results  that  will  follow  the  changes  from  a 
standard  sound  1.37:1  aspect  ratio  aperture  to  the  aper- 
tures designated  as  Nos.  2,  3,  4,  5  and  10. 

2.55/1  (No.  6)  CinemaScope  vs. 

1.37/1  (No.   1)  Standard  Sound 

In  order  that  we  keep  our  evaluations  on  an  even 
basis,  we  will  retain  the  same  light  values,  the  same  pic- 
ture field  size,  the  same  3-inch,  F:1.8  projection  lens 
and  light  source  which  we  used  in  the  foregoing  material 
covering  the  aspect  ratios  Nos.  1,  2,  3,  4,  5,  and  10. 
Consequently,  we  will  start  out  with  a  15  x  20.5-feet 
picture  field  obtained  from  the  use  of  a  1.37:1  standard 


FIGURE  3 

sound  aperture  designated  A  in  Fig.  3,  and  then  com- 
pare it  with  a  17.9  x  45.6-feet  picture  field  obtained  with 
the  2.55:1  CinemaScope  aperture  designated  as  B. 

To  begin  with,  because  the  2.55:1  CinemaScope  uses 
an  aperture  opening  of  0.715  inches  by  0.912  inches  in 
size,  the  aperture  opening  area  is  32%  larger  than  the 
standard   1.37:1   sound  aperture,  hence  its  total  lumen 


FIG.  4.  Top  arrows:  original  1.37:1  picture  of  15  x  20.5 
feet;  total  area  307.5  square  feet,  62  foot-candles,  or 
100%. 

Bottom  arrows:   final  2.55:1  picture  of   17.9  x  45.6 
feet;   total  area  816.2  square  feet,  27  foot-candles,  or 
44%.  (NOTE:  all  figures  in  "total  light,"  with  no  allow- 
ance for  shutter  or  other  losses.) 


light-passage  rating  will  rise  from  19,000  to  25,000  total 
screen  lumens. 

However,  because  it  is  necessary  in  this  (No.  6)  pro- 
jection system  (also  systems  No.  7,  8,  and  9)  to  add  a 
prismatic  expansion  lens  to  the  3-inch,  F:1.8,  projection 
lens,  there  will  follow  a  loss  in  the  total  screen  lumen 
figure  (25,000)  that  will  reduce  it  to  22,000  total  screen 
lumens,  or  12%. 

This  figure  of  22,000  now  becomes  the  basis  to  deter- 
mine the  illumination  of  the  2.55:1  aspect  ratio  (17.9  by 
45.6-feet)   CinemaScope  picture  field. 

Just  as  a  refresher,  we  restate  that  the  area  of  our 
original  A  1.37:1  ratio,  15  by  20.5-feet  picture  was 
307.5  square  feet  and  that  it  was  illuminated  to  62  foot- 
candles  by  19,000  total  screen  lumens. 

For  our  new  CinemaScope  2.55:1  (No.  6)  aspect  ratio, 
17.9  by  45.6-feet  B  picture,  its  area  will  be  816.2  square 
feet,  or  165%  larger!  However,  to  illuminate  this  larger 
area,  we  have  22,000  total  screen  lumens,  therefore  the 
total  foot-candle  figure  will  become  27 — which  is  56% 
below  the  foot-candle  illumination  of  the  1.37:1  (No.  1) 
15-feet  by  20.5  feet  A  picture  field  (Fig.  4). 

Evaluaiion  of  Possible  Illumination  With 
Expanded  Projection  System  No.  9 

To  have  a  constant  basis  for  comparison,  we  will  con- 
tinue to  keep  all  projection  details  as  heretofore,  thus  in 


1 

2 
3 

5 
6 
7 
8 
9 
10 


SYSTEM 


Regular 
n 


Cinemascope  (Magnetic) 

Cineaascope  (Optical  ) 

VistaVision  (Squeezed) 

"  (Standard) 


ASPECT      \ 
RATIO        1 

i 

APERTURE 
OPENING 

^  INCH 
AREA 

LIGHT- 
PASSINO 
RATING 

137-1       I 

.600"  X  .825" 

.495" 

100 

166-1 

,iV97"  X  .825" 

.410" 

83 

175-1 

.471"  X  825" 

.389" 

79 

185-1 

.446"  X  .825" 

.368" 

74 

2-1 

.412"  X  .825" 

.340" 

69 

2.55-1 

.715"  X  .912" 

.652" 

132 

2-1 

.715"  X  .715" 

.511" 

103 

2.35-1 

.715"  X  .839" 

,600" 

121 

2-1 

.600"  X  .825" 

.495" 

100 

137-1 

.600"  X  .825" 

.495" 

100 

TABLE 
A 


INTERNATIONAL  PROJECTIONIST 


SEPTEMBER  1954 


Carbon  Arc  Requisites 
For  the  New  Processes 


tional  to  its  projected  area  in  that 
direction.  Because  of  this,  the  surface 
will  look  just  as  bright  from  all  angles 
of  viewing,  and  as  the  surface  is 
100%  efl&cient,  we  would  by  definition 


THE  projection  of  wide  screen 
and  3-D  films  has  presented 
problems  in  all  spheres  of  pro- 
jection. An  obvious  problem  has  been 
that  of  providing  a  picture  of  ade- 
quate size  and  brightness  within  the 
scope  of  present-day  equipment  avail- 
able for  these  new  techniques.  The 
projector,  carbon  arc  and  screen  are 
a  group  producing  a  sensation  of 
brightness  to  the  eye  of  the  viewer, 
and  it  is  not  possible  to  divorce  these 
three  items  when  discussing  the  new 
methods  of  film  presentation. 

Let  us  first  of  all  examine  the 
properties  of  the  reflecting  surfaces 
used  for  theatre  screens  today.  It  is 
necessary  to  refer  to  a  hypothetical 
surface    which    we    can    call    a    white 


By  H.  P.  WOODS 

The  relationship  between  projector,  carbon  arc  and  screen 
is  discussed  herein  in  authoritative  fashion  by  one  of  Eng- 
land's outstanding  technicians.  IP  is  privileged  to  present 
these  data  through  the  courtesy  of  its  esteemed  contem- 
porary,  British   Kinematography  —  ior   which,    many   thanks. 


matte  diffusing  surface  of  100% 
efficiency,  from  which  all  the  incident 
light  is  reflected. 

Screen  "Reflection  Factor" 

If  this  type  of  surface  is  given  an 
illumination  of,  say,  10  foot-candles, 
all  the  light  received  will  be  uniformly 
diffused,  so  that  the  light  emitted  in 
any  direction  by  the  surface  is  propor- 


term  this  brightness  as  10  foot-lam- 
berts. 

This  relation  between  illumination 
(foot-candles)  and  brightness  (foot- 
lamberts)  has  a  factor  of  1.0  in  the 
case  considered,  which  is  usually 
termed  the  "reflection  factor"  of  the 
surface. 

In  the  practical  case  of  a  normal 
matte  theatre  screen,  some  of  the 
(Continued  on  next  page) 


(No.  1)   15  X  20.5-feet  screen  which,  we  will  recall,  was 
62  foot-candles. 

Fig.  5  we  again  use  as  a  basis  the  1.37:1,  15  x  20.5-feet 
picture  field. 

To  begin  with,  because  the  No.  9  "squeezed"  system  of 
VistaVision  uses  a  projector  aperture  of  identical  size 
and  area  as  the  standard  1.37:1  (No.  1)  sound- 
picture  aperture,  its  total  Hght-passage  rating  is  likewise 
100%.  Thus,  it  will  permit  19,000  lumens  to  enter  our 
3-inch  focus  F:1.8  projection  lens. 

But  again  we  must  add  a  prismatic  expansion  lens,  as 
is  the  case  with  the  2.55:1  CinemaScope  system,  and 
therefore  we  must  again  deduct  12%  from  the  19,000 
total  lumens  for  its  added  light  loss. 

"Working  Total"  Lumen  Figure 

Our  working  total  lumen  figure  now  becomes  16,700, 
which  will  determine  the  foot-candles  of  light  we  will 


I 


B 


have  available  to  illuminate  the  15  x  30-feet  VistaVision 
2:1  (No.  9)   picture  field. 

As  in  the  foregoing  case  cited,   our  original  picture 
field  A  had  an  area  of  307.5  square  feet;   whereas  the 


FIGURE  5 

INTERNATrONAL  PROJECTIONIST      •      SEPTEMBER  1954 


FIG.  6,  Top  arrows:  original  1.37:1  picture  of  15  x  20.5 
feet;  total  area  307.5  square  feet,  62  foot-candles,  or 
100%. 

Bottom  arrows:    2:1  ratio  picture  of  15  x  30  feet; 
total  area  450  square  feet,  37  foot-candles,  or  approx. 
60%.  (NOTE:  all  figures  in  "total  light,"  with  no  allow- 
ance for  shutter  or  other  losses.) 


new  2:1   (No.  6)   VistaVision  picture  field  B  will  have 
an  area  of  450  square  feet  —  which  is  46%  larger! 

We  have  16,700  total  screen  lumens  to  illuminate  our 
46%  larger  picture  area  (Fig.  6)  thus  its  level  of  illumi- 
nation will  be  37  foot-candles,  or  40%  less,  than  1.37:1 


yT/ 

!/, 

/  /A 

Azoo 
^.o» 

X 

-Jro 

/  20         / 

*    ho" 

\^\ 

p^^^^^AL 

7'»' 

MATT  \ 

\\  \ 

N\  / 

'^30" 

FIG.    1.     Horizontal    distribution    of    reflectivity. 
Normal  incidence  of  light. 

incident  light  is  lost  to  the  patron, 
some  having  passed  both  through  the 
screen,  and  some  being  absorbed  by 
it.  This  gives  us  a  reflection  factor 
less  than  1.0  in  all  directions,  and  it 
is  generally  found  that  a  reflection 
factor  (R.F.)  of  the  order  of  0.8  is 
obtained  for  a  new  screen  when  in- 
stalled. In  this  case  the  observed 
brightness  of  the  screen  for  an  illumi- 
nation of  10  foot-candles  would  be  8 
foot-lamberts  in  any  direction.  The 
general  formula  connecting  brightness 
and  illumination  is: 

Brightness  =  Illumination  X  R-F. 
(foot-lamberts)  (foot-candles) 

Metallized  Screen  Data 

If  we  examine  a  typical  metallized 
screen  we  find  that,  due  to  the  nature 
of  the  surface,  the  distribution  of 
reflection  factor  with  angle  of  view- 
ing is  quite  different  from  that  of  a 
matte  screen.  Figs.  1  and  2  show  the 
variation  of  R.F.  for  normal  inci- 
dence of  light,  and  for  oblique  inci- 
dence of  the  light. 

On  the  same  diagrams  are  shown 
the  reflection  factor  of  a  typical  matte 
screen.  It  is  observed  that  at  certain 
angles  the  R.F.  of  the  metallized 
screen  is  considerably  in  excess  of 
that  of  a  normal  matte  screen,  al- 
though it  must  be  realized  that  the 
R.F.  no  longer  remains  constant  at 
all  angles  of  viewing,  so  that  to  some 
extent  the  patrons  in  the  side  seats  will 
not  observe  as  bright  a  picture  as 
those  in  the  center.  For  the  same 
incident  illumination  a  metallized 
screen  will  appear  twice  as  bright  as 
a  matte  screen. 

Due  to  its  specular  character,  the 
metallized    screen    surface    obeys    the 


normal  law  of  reflection,  i.e.,  angle 
of  incidence  =  angle  of  reflection, 
so  that  for  light  incident  on  the  screen 
at  an  angle  to  the  normal  the  screen 
looks  brightest  in  the  direction  of  the 
path  of  the  reflected  ray.  In  other 
words,  for  steep  projection  angles  of 
the  projector,  the  patrons  in  the 
orchestra  will  have  a  brighter  picture 
than  does  the  projectionist. 

Illumination  of  the  Screen 

As  is  well  known,  the  illumination 
of  the  screen  by  the  straight  coppered 
carbon  arc  increases  progressively 
with  current  and  carbon  size  over  the 
positive-size  range  of  6-mm  to  9-mm. 
The  total  illumination  on  the  screen 
(the  product  of  the  screen  area  and 
the  mean  foot-candles  over  the 
screen)  is  conveniently  expressed  in 
"lumens." 

A  typical  family  of  curves  showing 
screen  lumens  plotted  against  arc  cur- 
rent is  shown  in  Fig.  3.  It  illustrates 
that,    depending    upon    the    grade    of 


/, 

/  / 

X 

A"^ 

// 

/> 

^l^  ^ 

^A"" 

//^ 

J^'o' 

10 

:n" 

3  0* 

1 

\\ 

^"y2o<> 

FIG.     2.      Vertical     distribution     of     reflectivity. 
Light   incident  at    15°   to   normal. 

carbon  used,  more  light  may  be  ob- 
tained from  one  type  than  another 
even  at  the  same  current,  so  that  a 
wide  choice  of  carbon  size  and  grade 
is  available  for  particular  conditions 
in  any  theatre. 

The  British  Standard  of  screen 
brightness  refers  to  the  center  picture 
brightness,  which  in  turn  is  derived 
from  the  foot-candles  at  the  center  of 
the  screen.  For  simplicity,  a  typical 
distribution  of  screen  illumination 
can  be  taken  as  follows. 


Left 

Center 

Right 

50. 

80 

50 

70 

100 

70 

50 

80 

50 

U^UUU 

9mm. 

/ 
/ 
/ 

/ 

''-;'/ 

/ 

/ 

/ 

/ 

9oim. 

/    ' 

/ 

5,000 

1, 

'11 

8mm. 

11 

// 
1 
'7mm. 

1 
'6mm. 

CEREX-- 

CERI 

1 ITF  _ 

n 

30        40 


50         60        70 
AMPERES 


80         90 


FIG.  3.    Screen  light  curves;  1.33:1  aspect  ratio; 

f/1.9  bloomed  lens;  50  per  cent  flicker  shutter 

cut  off. 

in  which  the  average  illumination  on 
the  screen  is  75%  of  the  center 
illumination.  Thus,  screen  lumens  ^ 
screen  area  X  0.75  center  illumina- 
tion; therefore,  center  illumination  = 

lumens 


0.75  X  screen  area 

From  this  simple  formula  it  is  pos- 
sible to  predict  the  centre  foot- 
candles  from  a  trim  of  carbons  if  the 
available  lumens  and  screen  size  are 
known.  Carrying  this  reasoning  a 
little  further,  if  the  width  of  the 
screen  is  W  feet,  for  normal  aspect 
ratio  the  height  is: 
0.6 

r=0.73  W 

0.82 

Hence  the  screen  area  is  JF  X  0-73  JF 
=  0.73^,  from  which  we  obtain: 
illumination  at  centre  =  1.82  lumens 


M 


The  British  Standard  of  screen 
brightness  at  the  center  of  the  screen 
is  8  to  16  foot-lamberts  so  that  if  we 
accept  a  value  of  the  order  of  10  foot- 
lamberts  as  a  satisfactory  brightness 
(which  allows  for  some  deterioration 
in  screen  reflectivity  and  potential 
light  absorption  due  to  atmospheric 
conditions)  the  following  center  foot- 
candles  are  required  to  obtain  this 
brightness  on  the  two  types  of  screens 
already  mentioned. 

In   the    case    of   the   standard   new 


10 


INTERNATIONAL  PROJECTIONIST      •      SEPTEMBER  1954 


matte   screen,   the   center   illumination 
should  be: 
10 

=:   12.5  foot-candles 

0.8 

and  with  a  typical  metallized  screen: 
10 

=:  6.7  foot-candles. 

1.5 

Substituting  these  values  in  the 
last  equation,  curves  have  been 
drawn  (Fig.  4)  to  show  the  lumens 
required  to  produce  a  nominal  bright- 
ness of  10  foot-lamberts  for  two 
typical  materials  for  screens  of  vary- 
ing widths.  These  curves  apply  to 
a  normal  brightness  and  allow  for 
some  deterioration  in  the  reflective 
properties  of  the  screens  with  age  and 
at  different  angles  of  viewing. 

Where  aspect  ratios  are  changed 
by  top-and-bottom  masking  of  the 
gate  aperture,  the  curves  still  apply, 
since  some  of  the  available  light  is 
obviously  lost  by  the  introduction  of 
the  masking  and  this  light  is  not  re- 
distributed over  the  wide-aspect-ratio 
screen. 

This  does  not  apply  to  a  projection 
system  such  as  CinemaScope,  where 
the  available  light  is  redistributed 
over  the  screen.  From  the  light 
efficiency  standpoint,  such  systems 
have  a  distinct  advantage  over  top- 
and-bottom  masking,  and  a  better  pic- 
ture illumination  is  obtained  for 
similar  screen  widths. 

From  the  light  output  given  by  the 
carbon  trims  available,  it  may  be 
seen  that  screens  up  to  50  feet  wide 
can  be  illuminated  to  a  very  satis- 
factory level  of  brightness  with  the 
metallized-type  of  screen. 

The  normal  system  of  projection  of 
three-dimensional  films  requires  that 
two  images  corresponding  to  right- 
eye  and  left-eye  views  be  projected 
simultaneously    onto    the    screen    by 


FIG. 


4.      Screen    width    vs.    lumens;     10    foot- 
lamberts  at  center. 


.--- 

^ 

METAL 

^ 

MAH 



-— 

3-D 

4,000 


6.000 


LUMENS 


8.000 


plane-polarized  light,  the  planes  of 
polarization  of  the  two  pictures  being 
at  right  angles.  By  viewing  through 
analyzing  spectacles,  the  right  eye  can 
only  accept  the  right-eye  picture  and 
the  left  eye  the  left-eye  picture. 

We  need  only  consider  the  system 
for  one  projected  image  and  eye,  as 
the  two  eyes  viewing  two  separate 
pictures  do  not  make  the  picture 
look  twice  as  bright. 

The  light  from  the  projector  passes 
through  a  polarizing  filter,  only 
about  38%  of  the  light  emerging  as 
plane-polarized  light.  The  picture  pro- 
duced by  this  light  is  viewed  through 
the  approximate  spectacle  filter  which 
transmits  about  80%  of  the  plane- 
polarized  light.  This  means  that  as 
far  as  the  viewer  is  concerned  the 
light  is  reduced  by  some  70%.  Be- 
cause a  matte  screen  to  some  extent 
depolarizes  the  plane-polarized  light, 
so  that  a  double  image  would  be 
seen,  only  the  metallized  screen  is 
suitable,  and  as  it  has  the  added 
advantage  of  a  higher  reflection  fac- 
tor it,  to  a  large  extent,  offsets  the 
losses  due  to  polarization. 

Using  the  formula  previously  de- 
veloped and  allowing  for  the  filter 
factors  of  the  polarizer  and  viewer, 
it  is  possible  to  calculate  the  lumens 
required  to  illuminate  screens  of 
various  widths.  This  is  shown  in  Fig. 
4,  in  which  it  must  be  appreciated  that 
some  8000  lumens  are  required  to 
give  a  10  foot-lambert  picture  25  feet 
wide.  With  lower  output  from  the  arc- 
lamp,  either  smaller  pictures  must  be 
projected  or  a  lower  brightness 
tolerated.  It  is  evident  that  3-D  pre- 
sents a  greater  light-problem  than  wide 
screen   or   CinemaScope. 

Film  Damage  a  Vital  Factor 

The  demand  for  more  light  for 
3-D  and  wide  screen  means  that  the 
film  itself  is  subjected  to  a  greater 
intensity  of  light.  Already  with  our 
normal  arclamps  we  are  at  the  point 
where  film  buckle  or  embossing,  with 
its  attendant  out-of-focus  effects,  can 
be  seen  during  projection.  This  ef- 
fect is  more  noticeable  with  black- 
and-white  films  than  with  color,  as 
the  latter  transmits  more  infra-red 
radiation. 

When  using  carbon  trims  designed 
for  the  higher  light  values,  it  will  be 
necessary  to  reduce  film  heating  by 
using  infra-red  filters,  which  have  the 
effect   of  reducing  the  infra-red  rays 


CANDLES/mm.' 

1 

/ 

1,000' 

k 

/ 

X 

^ 

N, 

\ 

/ 

/ 

/ 

-soo 

\ 

\ 

\ 

- 

8mm. 

lOmm. 

3 
LEFT 


2 


I 


I 


2  3  4 

RIGHT 

FIG.  5.    Distribution  of  crater  brilliancy. 


0 
CENTRE 


more  than  the  visible  rays  so  that  the 
film  is  kept  cooler.  There  is  some 
loss  of  visible  light  too,  but  this  may 
be  offset  by  a  small  increase  in  arc 
current. 

As  the  filter  absorbs  a  large  amount 
of  heat  energy,  suitable  cooling  of  the 
filter  by  air  blast  is  indicated  to  pre- 
vent fracture. 

Arc-Trim  Running  Time 

In  the  case  of  wide  screen  or 
CinemaScope  projection  using  stand- 
ard reels  with  running  times  of  the 
order  of  20  minutes,  all  the  carbon 
trims  discussed  have  burning  rates 
which  allow  for  adequate  projection 
time  in  the  average  arclamp.  How- 
ever, where  only  two  projectors  are 
available  for  3-D  presentation,  and 
longer  running  time  without  re- 
trimming  is  required,  some  compro- 
mise must  be  made. 

Running  time  is  a  function  of  car- 
bon-burning rate,  and  feed  travel  of 
the  carbon  holders.  The  latter  varies 
considerably  from  lamp  to  lamp,  and 
it  is  necessary  to  consider  each  lamp 
and  choose  a  trim  to  allow  the  time 
to  be  achieved. 

For  burning  times  of  the  order  of 
50  minutes,  the  burning  rate  of  the 
positive  carbon  is  usually  the  limit- 
ing factor.  In  this  case,  the  use  of 
9-mm  positive  carbons  gives  an  advan- 
tage, as  by  a  suitable  choice  of  current 
a  low  burning  rate  may  be  obtained 
with  an  advantage  in  light  output 
over  that  of  the  smaller  sizes  of  car- 
bons. This  is  illustrated  in  the  follow- 
ing table. 


INTERNATIONAL  PROJECTIONIST      •      SEPTEMBER  1954 


Positive 

Burnin 

»      Current 

Light 

Size 

Rate 
in./hr 

9-mm 

10.5 

65 

100 

8-mm 

10.5 

59 

92 

7-mm 

10.5 

48 

78 

The    sizes 

and 

types    of 

carbons 
11 

available  today  enable  us  to  choose 
the  best  trim  for  all  conditions  of 
operation,  but  it  niust  be  realized  that 
more  light  output  and  longer  running 
time  are  diametrically  opposed,  and 
with  conventional  arclamps  some 
compromise  has  to  be  made  which 
must  influence  the  size  of  screen  used. 

Larger  Carbon  Trim  Requisites 

The  introduction  of  10-mm  and 
larger  coppered  positives  in  the  con- 
ventional straight-arc  lamps  may  re- 
quire some  modifications  of  the  lamp 
to  give  satisfactory  performance.  To 
achieve  any  worthwhile  increase  in 
screen  light  over  that  of  the  9-mm 
positives  requires  current  values  of 
more  than  100  amperes.  To  obtain  a 
satisfactory  steadiness  under  these 
conditions  of  burning,  a  very  care- 
fully-adjusted magnetic  control  is 
required,  otherwise  the  handling  of 
the  trim  during  burning  is  very 
sensitive.  In  lamps  with  the  negative 
inclined  at  an  angle,  the  arc  is  some- 
what easier  to  regulate. 

At  the  same  time  the  lamp  optics 
should  be  designed  to  use  the  larger 
crater  to  its  best  advantage.  A  mir- 
ror designed  to  give  adequate  gate 
coverage  with  7-mm  and  8-mm  posi- 
tives would  have  a  relatively  greater 
wastage  of  light  at  the  gate  when 
used  with  the  larger  craters  produced 
on  10-mm  carbons. 

Lamps  with  Rotating  Positives 

10-mm  and  larger  positives  are  now 
burned  in  rotating-positive  lamps 
which  are  modified  versions  of  the 
prewar  lamps  involving  in  some 
cases  the  use  of  water-cooled  jaws  and 
reduced  protrusion  of  positive  beyond 
the  jaws.  Special  carbons  designed 
for  these  lamps  are  burned  at  much 
higher  current  densities  than  before, 
producing  high  crater  brilliancies 
and  high  burning  rates. 

In  some  cases  "fast"  16-inch  mirror 
systems  are  used  to  collect  the  crater 
light,  while  others,  particularly  the 
larger  positives,  have  condenser  sys- 
tems. The  high  crater  brilliancy  and 
large  crater  of  these  arcs  produce 
higher  light  values,  which  are  most 
suitable  for  the  illumination  of  large 
screens. 

Figure  5  shows  the  distribution  of 
crater  brilliancy  of  a  trim  of  10-mm 
rotating  positives  with  9-mm  nega- 
tives burning  at  120  amperes  as  com- 
pared with  that  of  a  standard  8-mm 


copper-coated  carbon  at  the  nominal 
current  of  65  amperes. 

The  10-mm  carbon  produces  a 
maximum  crater  brilliancy  of  the 
order  of  1150  as  against  790  candle- 
power  per  square  mm.  by  the  con- 
ventional trim.  A  high  intrinsic  bril- 
liancy is  maintained  with  the  larger 
carbon  over  a  much  larger  area  than 
on  the  8-mm  positive.  This  enables 
a  high  level  of  luminous  flux  to  be 
produced  with  a  suitable  optical-col- 
lecting system. 

It  is  essential,  of  course,  that  with 
this  source  of  high-intensity  light, 
suitable  heat-absorbing  filters  are 
used  between  the  film  and  the  lamp- 
house. 

Recapitulation  of  Data 

If  the  conventional  arclamps  avail- 
able today  are  combined  with  the 
new  types  of  metallized  screen,  ade- 
quate screen  brightnesses  are  obtain- 
able on  screens  exceeding  50  feet  in 
width. 

In  the  case  of  3-D  presentation,  due 
to  the  light  losses  in  the  polarizing 
and  viewing  filters,  smaller  screens 
up  to  28  feet  wide  have  been  accepted, 
unless    a    lower    standard    of    screen 


luminance  is  tolerated.  In  most  cases 
the  use  of  9-mm  positives  is  recom- 
mended on  the  score  of  light  output 
vs.  burning  rate. 

Where  longer  burning  time  is  re- 
quired for  3-D  using  only  two  pro- 
jectors, some  reduction  in  screen  size 
is  necessary  if  screen  luminance  is 
to  be  maintained,  as  the  carbon  trims 
have  generally  to  be  run  below  their 
maximum  ratings  to  accommodate 
the  available  feed-travel. 

Larger  trims  of  carbons  of  the 
rotating  type  are  available  for  suit- 
able lamps  to  produce  higher  lumi- 
nous output  where  required.  This  type 
of  arc,  due  to  its  higher  light  output, 
makes  the  use  of  infra-red  filters 
essential  in  order  that  film  damage 
due  to  heating  at  the  gate  may  be 
eliminated. 

The  performance  figures  indicated 
are  not  the  maximum  possible  but  are 
those  of  established  and  tried  arcs 
giving  practical  results  in  theatres. 

Researches  show  that  higher  values 
of  light  output  are  possible  when  they 
are  required  but  their  use  may  be 
limited  by  the  potential  damage  to 
film  despite  the  use  of  heat-absorbing 
filters. 


Light  Requirements  for 
Wide-Screen  Projection 


THAT  the  wide  screen  is  here  to 
stay  is  confirmed  by  the  policies 
and  commitments  of  major  film  pro- 
ducers to  release  their  future  better 
pictures  either  in  the  CinemaScope  or 
VistaVision  processes.  With  a  blessing 
on  these  two  systems  given  by  most 
film  producers,  the  exhibitor  can 
proceed  to  equip  his  theatre  secure  in 
the  knowledge  that  the  equipment  he 
purchases  will  be  suitable  for  the  pro- 
jection of  whatever  wide-screen  sys- 
tem may  eventually  prevail. 

Those  theatres  already  equipped 
for  CinemaScope  have  learned  whether 
or  not  they  have  ample  screen  il- 
lumination on  the  basis  of  their  screen 
size.  Theatres  that  have  not  as  yet 
installed  a  large  screen  and  may  or 
may  not  have  suitable  projection  lamps 


By  ARTHUR  J.  HATCH 
Strong  Electric  Corporation 

can  approach  the  problem  of  solving 
their  light  requirements  from  two 
angles:  first,  that  of  determining  how 
much  light  they  will  need  to  project 
a  picture  of  the  size  which  they  intend 
to  install;  or  second,  determining  how 
large  a  picture  they  can  present  with 
their  present  projection  arclamps. 

With  both  wide-screen  systems  of 
projection  with  their  vastly  increased 
screen  area,  there  is  a  general  require- 
ment for  more  screen  illumination 
than  has  been  necessary  heretofore. 

Aperture  Area  Control  Factor 

As  the  matter  of  film  apertures  and 
aspect  ratios  has  been  pretty  well 
established  for  these  systems,  it  is  pos- 
sible to  present  a  few  facts  and  com- 
parisons from  which  conclusions  can 


12 


INTERNATIONAL  PROJECTIONIST 


SEPTEMBER  1954 


On  the  first  anniversary  of 

CinemaScopE 


the  sponsors  of  this  revolutionary  form  of  motion  picture 
presentation  which  has  revitalized  and  strengthened  immeas- 
urably the  standing  of  our  industry  throughout  the  world, 
salute  the  technicians  who  contributed  so  abundantly  of  their 
talents  to  the  overwhelming  success  of  CinemaScope. 


A  special  nod  of  appreciation  is  due  theatre  projectionists, 
whose  craftsmanship  was  a  vital  factor  in  the  widespread 
public  acceptance  of  this  new  form  of  entertainment. 

It  is  within  our  power,  pulling  together,  to  make  an  enduring 
contribution  to  the  exacting  art  of  showmanship. 


20th   CENTURY-FOX 


INTERNATIONAL  PROJECTIONIST      •      SEPTEMBER  1954  13 


THE  PICTURE  IS  LIGHT... 

GIVE  IT  ALL  YOU  CAN 

with  "NA  TIONAL"  CARBONS 


•  Given  the  best  projector  carbons  made,  the  "rest"  of  perfect  projection 
lies  in  the  projectionist's  skill  and  the  service  rendered  by  his  supplier. 

National  Carbon's  nationwide  advisory  service  has  featured  promi- 
nently in  every  phase  of  projector-lighting  progress  from  the  discovery 
and  development  of  new  and  better  carbon-arc  materials  right  down  to 
their  firing-line  application  in  theatres. 

Not  only  do  "National"  carbons  excel  in  brilliance,  color-balance  and 
uniformity,  but  they  give  you  all  these  features  at  the  lowest  cost  per  unit 
of  light  and  per  inch  of  carbon  consumed. 

Call  on  "National"  carbons  and  National  Carbon  service  for  the 
ultimate  in  picture  quality,  at  least  overall  cost. 

TAe  term  "NaVonal"  is  a  registered  trade.mark  of  Union  Carbide  and  Carbon  Corporation 

NATIONAL  CARBON  COMPANY 

A  Division  of  Union  Carbide  and  Carbon  Corporation  •  30  East  42nd  Street,  New  York  17,  N.Y. 

District  Salts  Offices:  Atlanta,  Chicago,  Dallas,  Kansas  City,  New  York,  Pittsburgh,  San  Francisco 

IN  CANADA:  Union  Carbide  Canada  Limited,  Toronto 


14 


INTERNATIONAL  PROJECTIONIST      •      SEPTEMBER  1954 


be  drawn  that  will  obviate  a  period  of 
expensive   experimentation. 

It  is  generally  recognized  that  the 
maximum  amount  of  light  that  can 
be  put  through  present  projection  sys- 
tems using  existing  designs  of  power- 
ful arclamps  and  optical  systems  de- 
pends principally  upon  one  factor,  the 
area  of  the  aperture.  For  instance, 
using  the  most  powerful  lamps,  it  is 
usually  possible  to  put  about  6500 
lumens  through  a  16-mm  aperture. 
Using  the  same  lamp  it  is  possible  to 
project  approximately  23,500  lumens 
through  a  35-mm  aperture,  which  has 
about  4  times  the  area  of  the  16-mm 
aperture. 

Since  the  amount  of  light  which  is 
available  to  the  screen  depends  pri- 
marily upon  the  area  of  the  picture 
aperture,  to  compare  the  requirements 
of  the  various  projection  systems  it 
becomes  necessary  to  examine  them 
on  the  basis  of  aperture  area. 

Comparison  of  Aperture  Areas 

Most  of  the  wide-screen  systems 
proposed  use  either  an  anamorphic 
type  lens  to  expand  the  size  of  the 
picture,  or  a  cut-down  aperture  to 
accomplish  the  extended  picture  ratio. 
For  instance,  the  non-anamorphic 
VistaVision  system  makes  use  of  an 
aperture  which  is  0.825  inch  wide 
(the  same  as  the  standard  motion 
picture  aperture  which  has  been  in 
use  since  the  advent  of  sound)  by 
0.446  inch  high.  These  dimensions 
give  an  aspect  ratio  of  1.85  to  1  to 
the  picture  when  projected  with  a  non- 
anamorphic  lens.  This  aperture  ha? 
an  area  of  0.368  square  inch. 


The  system  whereby  VistaVision 
employs  anamorphic  prints  uses  the 
present  standard  aperture  0.825  in.  by 
0.600  in.  and  obtains  the  wide-screen 
effect  with  an  anamorphic  lens  that  has 
a  magnification  of  1%  to  1.  As  the 
ratio  of  the  standard  aperture  is  1.33 
to  1  and  is  anamorphized  with  a  11/2 
to  1  ratio,  the  total  aspect  ratio  of 
the  final  projected  picture  is  2  to  1. 
This  standard  aperture  has  an  open- 
ing area  of  0.495  square  inch. 

Values  of  Various  Systems 

The  CinemaScope  projection  sys- 
tem makes  uce  of  a  still  larger  aper- 
ture, one  that  is  0.912  x  0.715  inch. 
The  extending  of  the  width  of  this 
aperture  was  made  possible  by  re- 
locating the  sound  tracks,  as  was  done 
with  the  stereophonic  magnetic  sound 
on  the  CinemaScope  print.  The  area 
of  this  aperture  is  0.652  square  inch, 
the  largest  of  the  systems  used  for 
general  release  and  consequently  it 
will  pass  the  most  illumination.  The 
CinemaScope  aperture  has  an  aspect 
ratio  of  1.27  to  1,  and  is  used  in 
connection  with  a  2  to  1  magnifica- 
tion anamorphic  lens  to  give  the  pro- 
jected picture  a  resultant  ratio  of 
2.55  to  1 — if  elected. 

The  recent  decision  to  release  opti- 
cal prints  in  CinemaScope  necessi- 
tates the  uses  of  an  0.839  by  0.715  inch 
aperture,  or  a  ratio  of  1.17  to  1,  which 
when  projected  by  the  regular  2:1 
anamorphic  lens  results  in  a  picture 
aspect  ratio  of  2.35:1.  Area  of  this 
aperture   is   0.600   square   inch. 

Comparing  the  light  that  can  be  put 
through  these  four  apertures,  we  have 


SUMMARY  OF  WIDE-SCREEN  PROJECTION  SYSTEMS 

NOTE:    THE  VALUE  OF  4-FT.  LAMBERTS  APPLIES  ONLY  TO  DRIVE-IN  THEATRES. 


Screen 

Lumens 

Size: 

Widtli 

Thru 

4-ft. 

Ratio 

Aperture 

Aperture 

Aper- 

Type of 

Aspect 

Lamberts 

Fac- 

System 

Size 

in  Sq.  In. 

ture 

Screen 

Ratio 

at  Center 

tor 

Standard 

0.825  X  0.600 

0.495 

23,500 

matte  white 

1.33:1 

66x50 

1.00 

VistaVision 

non-anamorphic 

0.825  X  0.446 

0.368 

17,500 

matte  white 

1.85:1 

66x36 

1.00 

VistaVision 

anamorphic 

0.825  X  0.600 

0.495 

23,500 

matte  white 

2:1 

78x39 

1.18 

VistaVision 

non-anamorphic 

0.825  X  0.446 

0.368 

17,500 

aluminized 

1.85:1 

89x48 

1.35 

CinemaScope 

anamorphic 

optical  sound 

0.839  X  0.715 

0.600 

28,500 

matte  white 

2.35:1 

92x39 

1.40 

CinemaScope 

anamorphic 

magnetic  sound 

0.912x0.715 

0.652 

31,000 

matte  white 

2.55:1 

100  x  39 

1.52 

VistaVision 

anamorphic 

0.825  x  0.600 

0.495 

23,500 

aluminized 

2:1 

102  X  51 

1.55 

CinemaScope 

anamorphic 

optical  sound 

0.839  x  0.715 

0.600 

28,500 

aluminized 

2.35:1 

122  X  52 

1.85 

CinemaScope 

anamorphic 

magnetic  sound 

0.912  X  0.715 

0.652 

31,000 

aluminized 

2.55:1 

133  X  5;'. 

2.00 

INTERNATIONAL  PROJECTIONIST 

•      SEPTEMBER  1954 

the  old  standard-width,  cut-down 
VistaVision  aperture  with  a  1.85  to  1 
ratio  to  which  we  will  assign  a  value 
of  100  units,  based  on  the  area  of 
0.368  square  inch.  Accordingly,  to 
the  0.825  x  0.600  aperture  used  with 
the  ll/2-to-l  ratio  anamorphic  lens, 
and  which  has  an  area  of  0.495 
square  inch,  we  must  assign  a  value  of 
135  units,  since  this  size  aperture 
passes  35%  more  light  than  the  first- 
described  aperture.  It  follows  then 
that  the  CinemaScope  optical  track 
aperture,  with  an  area  of  0.600  square 
inch  rates  163  units,  since  it  projects 
63%  more  light  than  the  first- 
described  aperture. 

The  CinemaScope  magnetic  print 
aperture  with  an  area  of  0.652  square 
inch  projects  77%  more  light  than 
the  first-described  aperture,  or  177 
units. 

Since  the  powerful  lamp  referred  to 
previously,  without  projector  shutter 
running,  puts  17,500  lumens  through 
the  non-anamorphic  VistaVision  aper- 
ture, it  follows  that  23,500  lumens 
can  be  put  through  the  anamorphic 
VistaVision  aperture;  28,500  through 
the  optical  CinemaScope  aperture, 
and  31,000  lumens  through  the 
CinemaScope  magnetic  print  aperture. 

Screen  V/idths  Possible 

Taking  the  example  of  a  drive-in 
theatre  which  has  been  equipped  with 
the  most  powerful  arclamps  projecting 
to  a  66  x  50  foot  white  screen  with 
the  standard  1.33:1  aspect  ratio,  it  is 
interesting  to  compare  the  size  of 
pictures  that  can  be  obtained  with 
each  of  these  new  wide  screen  pro- 
jection systems  to  obtain  the  identical 
unit  brightness  on  the  screen  in  all 
cases. 

Taking  the  case  of  the  non- 
anamorphic  VistaVision  system  and 
assuming  that  the  picture  will  be  pro- 
jected to  a  matte  white  painted  screen, 
the  width  of  the  screen  that  can  be 
utilized  would  be  66  feet.  In  the  case 
of  anamorphic-type  VistaVision,  the 
width  of  the  screen  that  can  be 
accommodated  would  be  78  feet  wide; 
optical  -  print  CinemaScope  screen 
width  could  be  92  feet,  and  in  the 
instance  of  magnetic-track  Cinema- 
Scope the  screen  width  could  be  100 
feet.  All  figures  given  for  systems 
using  anamorphic  lenses  have  recog- 
nized the  existence  of  a  light  loss  of 
about  8%  introduced  by  the  anamor- 
phic lens  attachment. 

If  the  screen,  instead  of  having  a 


15 


matte  white  surface,  is  an  aluminized 
paint  surface  with  a  reflection  factor 
of  approximately  1.4,  the  non- 
anamorphic  VistaVision  picture  width 
could  be  89  feet;  the  anamorphic 
VistaVistion  102  feet,  the  Cinema- 
Scope  optical  picture  122  feet,  and 
the  CinemaScope  magnetic  track  pic- 
ture 133  feet  in  width,  which  inci- 
dentally, is  about  the  maximum  size 
that  is  being  used  in  present  day 
drive-ins. 

The  accompanying  chart  shows 
these  various  figures  for  the  different 
types  of  projection  systems  and  dif- 
ferent types  of  screens.  All  the  figures 
shown  are  based  on  the  use  of  the 
most  powerful  projection  arclamp 
available  today,  and  the  sizes  of  the 
screen  are  calculated  so  that  a  bright- 
ness of  4  foot-lamberts  will  be  ob- 
tained in  the  center  of  the  screen  when 
the  shutter  is  running.  This  figure 
of  4  foot-lamberts  is  a  little  bit  above 
the  average  brightness  we  find  in  most 
drive-in  theatres  today. 

Screen  Brightness  Levels 

To  explain  how  these  screen  widths 
have  been  arrived  at,  take,  for  ex- 
ample, the  magnetic-track  Cinema- 
Scope  system  which  is  calculated  to 
have  a  133-foot  width  for  4  foot- 
lamberts  center  brightness. 

When   the   center   brightness    on    a 


screen  is  4  foot-lamberts,  and  with 
the  typical  distribution  pattern,  the 
average  brightness  over  the  whole 
surface  of  the  screen  is  found  by  test 
to  be  2.9  foot-lamberts. 

With  the  screen  having  a  reflective 
factor  of  1.4,  it  is  only  necessary  to 
project  2.05  foot-candles  to  the  screen 
to  realize  that  2.9  foot-lamberts  bright- 
ness. The  31,000  lumens  which  this 
powerful  lamp  can  deliver  through  a 
CinemaScope  aperture  and  standard 
//2.0  optics  is  reduced  by  the  50% 
shutter  loss  and  the  8%  anamorphic 
lens  loss,  so  that  the  incident  light  on 
the  screen  is  14,350  lumens. 

Width-Ratio  Factor 

Therefore,  since  lumens  are  the 
product  of  average  foot-candles  x 
screen  area,  we  obtain  the  area  that 
we  can  illuminate  to  this  2.05  foot- 
candles  intensity  by  dividing  14,350 
by  2.05  for  a  resulting  screen  area 
of  7000  square  feet.  The  picture 
width  can  be  computed  by  taking  the 
square  root  of  the  product  of  screen 
area  times  screen  aspect  ratio,  which 
in  the  example  cited  calculates  to  133 
feet  wide.  The  other  calculations  in 
the  chart  were  made  in  a  similar  man- 
ner for  the  other  projection  systems 
and  screens. 

Assuming  any  particular  theatre  to 
have  ample  screen  illumination  on  a 


matte  screen  using  standard-size 
aperture,  the  screen  width  that  can  be 
illuminated  to  the  same  brightness 
for  any  of  the  wide-screen  systems  can 
be  calculated  by  multiplying  the 
present  screen  width  by  the  "width 
ratio  factor"  given  in  the  last  column 
of  the  accompanying  chart. 

For  example,  if  your  own  theatre 
presently  has  a  50-foot  wide  picture 
with  standard  projection  on  a  white 
screen,  and  you  wish  to  determine 
the  width  of  matte  white  screen  that 
can  be  illuminated  to  the  present  level 
of  brightness  with  the  VistaVision 
anamorphic  system,  simply  take  the 
present  standard  picture  width  and 
multiply  it  by  the  "width-factor 
ratio"  of  1.18  from  the  chart.  The 
resultant  width  in  this  example  would 
be  59  feet. 

The  illusion  of  living  presence,  the 
sole  advantage  of  all  the  new  screen 
techniques,  can  only  be  realized  with 
an  increase  of  screen  width  of  from 
1.75  to  2  times  over  that  heretofore 
employed  for  standard  projection. 

Accordingly,  it  is  readily  evident 
that  most  theatres  will  require  the 
most  modern  and  powerful  projection 
arcs  in  order  to  meet  the  require- 
ments of  a  sufficiently  increased  screen 
width  for  proper  presentation  of  all 
wide  screen  techniques. 


Your  Guide  to 
Proper  Lens  Selection 


By  M.  D.  O'BRIEN 

Director     of     Sound     and 
Projection,  Loew's  Theatres 


WITH  VistaVision  and  other  wide- 
screen  processes  looming  large  on 
the  technological  horizon,  the  selection 
of  the  proper  projection  optics  is  of 
vital  importance — not  tomorrow,  not 
next  week,  not  next  month  but  now! 
We  projectionists  understand  that  these 
optics  are  in  the  wide-angle,  short- 
focal  length  category. 

As  the  only  technically-minded  per- 
sonnel in  and  about  the  theatre,  the  pro- 
jectionist craft  is  now  called  upon  to 
discarge  a  very  serious  obligation.  The 
charts  and  accompanying  text  presented 
here  afford  precise  information  as  to  the 
proper  lens  for  a  given  screen  width  at 
a  given  projection  "throw." 

Constantly  possed  are  such  questions 
as:  What  focal-length  lens  is  needed  to 
get,  for  example,  a  40-foot  picture  in  a 
theatre  where  the  throw  is  125  feet  and 


the  proscenium  arch  is  20  feet  high? 
The  catch  here  is  that  with  a  40-foot 
wide  picture  in  such  a  theatre,  all  pic- 
tures would  have  to  be  shown  in  an  as- 
pect ratio  of  at  least  2  to  1.  Therefore 
a  compromise  must  be  made. 

To  answer  questions  of  this  kind 
quickly  and,  at  the  same  time,  accu- 
rately, the  writer  prepared  the  charts 
shown  herein.  Let  us  consider  the  first 
chart.  If,  for  instance,  a  projectionist 
wants  to  know  what  focal-length  lens 
would  be  required  to  obtain  a  picture 
40-feet  wide  in  his  theatre  if  the  throw 
is  125  feet,  he  can  find  out  by  reading 
down  the  left-hand  column  to  125  feet 
and  then  reading  across  to  the  column 
listing  lenses  for  a  40-foot  screen. 

There  he  will  find  that  a  2.6-inch  lens 
would  be  needed  to  get  exactly  this  size 
picture  in  this  particular  situation.   How- 


ever, since  projection  lenses  are  general- 
ly available  only  in  quarter-inch  sizes, 
exactly  this  size  picture  cannot  be  ob- 
tained. It  would  be  necessary  to  com- 
promise on  a  slightly  large  picture  using 
a  2.5-inch  lens,  or  a  slightly  smaller  pic- 
ture using  a  2.75-inch  lens. 

Height-to-Width  Relationship 

The  second  chart  determines  the 
height  of  a  picture  of  a  specified  width 
when  various  aspect  ratios  are  used. 
It  is  useful  in  coping  with  situations 
such  as  the  following:  As  mentioned 
previously,  a  picture  40-feet  wide  in  a 
theatre  where  the  proscenium  arch  is 
only  about  20  feet  high,  would  result 
in  a  situation  where  all  pictures  would 
have  to  be  shown  in  an  aspect  ratio  of 
at  least  2  to  1,  and  few  pictures  are  now 
available  that  can  be  masked  that  much 


16 


INTERNATIONAL  PROJECTIONIST 


SEPTEMBER  1954 


INTERNATIONAL  PROJECTIONIST      •      SEPTEMBER  1954 


17 


at     the     aperture     without    cutting     off 
action. 

In  the  upper  righthand  corner  of  the 
first  chart  is  a  box  listing  the  aperture 
sizes  required  to  project  various  aspect 
ratios.  Extreme  ratios  such  as  2.66  to 
1  or  2.5  to  1  are  included,  although  at 


present  they  probably  are  not  feasible. 
The  light  loss  and,  of  course,  the  fact 
that  large  sections  of  the  picture  would 
be  cut  off  would  make  such  projection 
impractical. 

Height-to-width   ratios  as   extreme    as 
this   are    obtained   in   the   CinemaScope 


process    through    using   a   full    aperture 
and  an  anamorphic  lens. 

Setting  up  a  high-quality  wide-screen 
system  can  be  a  tricky  process.  Other 
important  factors  are  the  sight  lines 
from  the  rear  of  the  auditorium,  the 
balcony  and  other  parts  of  the  theatre. 


■  II 

S  C  R  X  B  I 


WIDTHS 


T»UW 


»• 


22' 


25  • 


27« 


30»       32» 


35' 


37« 


tfit 


U< 


45' 


kV 


50« 


52« 


55* 


57' 


60* 


62* 


65' 


^ 


70 


31 


.20. 


-21 


100 


JQL. 


no 


JiL 


120 


.121 


J20_ 


J21. 


.lA 


2al 


1.9 


Jil 


.2.2 


i 


in 


LXII3         SIZXS 


TTT 


-2il 


-ls2 


Jbl 


Tiff 

315 


TT 


T7 


-Lt2 


^ 


TTT 


Jul 


jta 


All 


79 


IT 


Jul 


JL*o 


S3 


Axl 


Jill. 


-iA 


_L^ 


Jul 


279 


M 


± 


SI 


.^1° 


i3 


T75 


2;^ 


T3 


-2r2 


177 


TTT 


2.2 


2. 


2  J 


2.( 


27 


2.1 


Tg 


-2a 


.^2 


271 


2.2 


:m 


TIT 


"577 


TIT 


2^ 


2.1 


2.' 


XI 


2.< 


Jia 


2.2 


d 


T3 


t;c 


"23 


2.2 


2.( 


2.< 


2.9 


-!:£ 


13 


2.i 


2.; 


2.< 


2.' 


2.1 


TT 


13 


-2.2 


2.i 


2.! 


2.( 


2. 


tJ 


"O 


270 


"23 


2.2 


13 


2. 


2. 


X7 


"2:7 


"TT 


2.2 


27. 


2J 


T3 


270 


"23 


13 


APBRTURE       SIZES 


2.66 

2.5 

2.25 

2.00 

1.85 

1.78 

1.75 

1.66 

1.5 

1.37 


to 
to 
to 
to 
to 
to 
to 
to 
to 
to 


.310 

.330 
.366 
.412 
.446 
.463 
.471 
.497 
.550 
.600 


.825 
.825 
.825 
.825 
.825 
.825 
.825 
.825 
.825 
.825 


H 


s 


2.1 


14 


12 


M. 


2.0 
13 


S 


2.C 


T? 


s 


140 


.ijS. 


-L2 


-M 


2. 


2.5 


13 


22 


2.0 


r 


U5 


6.0 


32 


"4fb 


JliO— 2 


.Ilk 


-L2 


j:ia 


2.8 


-2s2 


2.! 


.2^ 


2.1 


« 


■o 


250. 


.4^ 


5.0 


53— L2 


-M 


Jil 


JA 


-2^2 


2.8 


2.< 


2T 


.2^ 


.2;^ 


2.2 


2.0 


JtA 


5.1 


Jii2 


■iuO 


-2iZ 


-2^2 


3.0 


278 


2.7 


.hi. 


.2^ 


2^ 


13 


27T 


271 


2.0 


m: 


6^ 


>.0 


Jill 


Jtll 


Jill 


JH 


Jzi 


2.9 


278 


.2^ 


27? 


2.1 


2.0 


6.8 


X2 


i^ 


.1^0 


Jul 


-2i2 


-2i2 


JL:^ 


.2±2 


JiO 


.2^ 


.2j2 


2.< 


« 


.Ilk 


2J. 


2.2 


2.1 


170 


JhS. 


i 


m 


4.4 


4.0 


-22 


-2^ 


-Li 


-2^ 


2.8 


M 


13 


.2ii 


JU 


2.3 


.111 


«■ 


_I^ 


Tl 


-Lil 


4.8 


4.1 


3.9 


-2£k 


JUi 


:m 


.2i2. 


2.! 


.M 


2ll_2i2 


It 


TTs 


*l 


-Lii 


5.0 


Jill 


4.0 


-2J 


3. 


il 


-id 


-2i2 


3.0 


2.9 


52 


_2ii 


.2^ 


.1a2 


.iii. 


679 


-^ 


3n 


jt2 


Jl^ 


4.1       3.8 


-2lit 


-2s2 


2.9 


2.8 


2.7 


2. 


;! 


.2.1 


-LI 


.120. 


7. a     7. 


13 


.8 


Jll 


Jill 


i 


Jtl2 


3.9 


Ls2 


23 


-2il 


-2si 


JLO 


2.9 


J?  .8 


ff^ 


III? 


JiL 


e.o     7.3 


^ 


>.o 


Ul        ?-0-Jt 


JlJ 


4.0 


3.8 


-2tit 


3.2 


3.1 


2.9 


m 


-2*2 


200 


8.3i      7.5i 


TTi 


5.5 


5.2|     4.7I 


Jul 


3.9 


3.7 


3.5 


-bl 


-lii 


-2*0 


2.9 


Ijf 


-2x2 


2.S 


This  table  shows  the  size  of  the  lens  required  in  order 
to  obtain  a  screen  size  of  the  desired  width  at  any 


projection  throw.    The  box  in  the  upper  right  corner 
shows  the  exact  dimensions  of  wide-screen  operatures. 


Hidth 

■mm 

1.30 

1.66 

1.73 

1.78 

1.85 

2.00 

2.23 

2.50 

2.66 

STARDARi; 

20 

13.3 

12 

U.4 

U.2 

10.8 

10.0 

8.9 

8.0 

7.6 

14.5 

£2 

14.6 

13.2 

12.6 

12.4 

11.9 

U.O 

9.8 

8.8 

8.3 

16.0 

25 

16.6 

15. 

14,3 

14.0 

13.3 

12.5 

U.l 

10.0 

9.4 

18.1 

27 

le.o 

16.2 

15.4 

15.2 

14.6 

13.6 

12.0 

10.8 

10.1 

19.6 

SP 

20.0 

16. 

17.1 

16.9 

15.2 

15.0 

13.3 

12.0 

11.3 

21.8 

32 

21.3 

19.2 

IB.3 

18.0 

17.3 

16.0 

14.2 

12.8 

12.0 

13.2 

33 

23.3 

21. 

20.0 

19.7 

18.9 

17.5 

15.6 

14.0 

13.2 

28.4 

37 

24.6 

22.2 

21.1 

20.8 

20.0 

18.5 

16.4 

14.8 

13.9 

26.ft 

40 

26.6 

24. 

22.6 

22.  5 

21.6 

20.0 

17.8 

16.0 

16.0 

29.0 

42 

2a.o 

25.3 

24.0 

23.6 

22.7 

21.0 

18.7 

16.8 

15.7 

30.0 

43 

30.0 

27.1 

25.7 

25.3 

24.3 

22.5 

20.0 

18.0 

16.9 

32.6 

47 

31.3 

28.3 

26.9 

26.4 

23.4 

23.5 

20.9 

16.6 

17.7 

34. 0 

30 

33.3 

30. 

28.6 

28.1 

27.0 

25.0 

22.2 

20.0 

18.8 

36.1 

32 

34.6 

31.3 

29.7 

29.2 

28.1 

26.0 

23.1 

20.6 

19. 3 

37.8 

S3 

36.6 

33.1 

31.4 

30.9 

29.7 

27.5 

24.4 

22.0 

20.8 

40.0 

57 

as.o 

34.3 

32.6 

32.0 

30.8 

28.5 

25.3 

22.6 

21.4 

41.4 

60 

40.0 

36.1 

34.2 

33.7 

32.4 

30.0 

26.7 

24.0 

22.6 

43.6 

62 

41.3 

37.3 

35.4 

34.8 

33.5 

31.0 

27.6 

24.8 

23.3 

43.0 

^ 

43.3 

39.1 

37.1 

36.5 

35.1 

32.5 

26.9 

26.0 

24.4 

47.2 

This  table  shows  the  hei 
of  the  screen  in  relation 


ght  to  within  1/1 0th  of  a  foot 
to  its  width  and  to  the  aspect 


ratio  of  the  projected  image.    Figures  on  top  line  of 
each  column  relate  to  the  specific  aspect  ratio. 


18 


INTERNATIONAL  PROJECTIONIST      •      SEPTEMBER  1954 


FAIRCHILD 
ANSWERS 


6 

Pointed 
Questions  About 

mspm 

smimom 

mm 


A  FRANK  DISCUSSION  OF  THE  FACTS.' 

Q,  Is  Perspecta  Stereophonic  Sound  really 
here? 

A.  It  sure  is!  M-G-M,  Paramount  and  War- 
ners are  releasing  all  future  productions  with 
Perspecta  Sound.  Other  studios  are  following. 

Q,  Will  it  be  the  industry  standard  for  years 
to  come? 


INTERNATIONAL  PROJECTIONIST      •      SEPTEMBER  1954 


A.  Yes,  it  will  —  because,  from  the  producers' 
viewpoint,  it's  the  compatible  system  —  yet 
offers  exhibitors  the  finest  stereophonic  sound 
at  the  lowest  installation  and  operating  cost. 

Q,  How  soon  should  theatre  owners  install  it? 
A.  The  sooner,  the  better.  All  Loew's  theatres 
are  being  equipped  now  and  hundreds  of 
others  here  and  abroad  have  ordered!  Be  first 
in  your  community.  Order  now ! 

Q,  How  many  Fairchild  Perspecta  Integra- 
tors  does  a  theatre  need? 
A.  Only  one!  A  single  Fairchild  Perspecta 
Integrator  serves  all  projectors  in  a  booth  and 
controls  the  sound  through  any  three-channel 
sound  system  of  standard-make. 

Q,  What  about  costs  and  installation  time? 
A.  The  Fairchild  Perspecta  Integrator  costs 
$990.  A  complete  installation  can  be  made  in 
less  than  a  day  —  without  loss  of  showing  time 
and,  incidentally,  without  continued  mainte- 
nance and  replacement  of  magnetic  heads! 

Q,   Where  do  I  go  to  find  out  more? 
A.  See  your  dealer  or  —  call  —  write  —  or  wire 
Fairchild.  We  understand  exhibitors'  prob- 
lems—can answer  your  questions  immediately. 

RECORDING, 
EQUIPMENT" 

WHITESTONE  57,  NEW  YORK 


19 


"^They  like         "* 

RCA  DYNA-LITE  SCREENS 
™:.. and  no  wonder 


...the  new  all-purpose  silver  screen 

the  choice  of  thousands  of  theatres 


Take  it  from  the  sales  figures  .  . .  RCA  Dyna-Lite 
Screens  are  now  bringing  out  the  best  in  good  pictures 
for  theatre  patrons  by  the  million.  You'll  find  the 
reasons  right  in  Dyna-Lite's  construction  .  .  .  with  fea- 
ture after  feature  to  make  Dyna-Lite  ideal  for  any  2-D, 
3-D  or  wide-screen  film. 

With  an  RCA  Dyna-Lite  Screen,  there's  no  light  loss 
...  for  its  entire  surface  is  uniformly  aluminized  to  add 
extra  brightness.  Rugged  seams  are  invisible  to  the 
audience,  thanks  to  special  electronic  welding.  And  your 
Dyna-Lite  Screen  need  never  show  wrinkles.  Its  tear- 


proof  vinyl  plastic  can  be  stretched  drum-tight,  and 

seams  are  extra  strong,  too. 

An  RCA  Dyna-Lite  Screen  is  flame  proof  ...  as  well  as 

highly  moisture  resistant.  It  cleans  quickly  and  easily 

.  .  .  with  only  a  duster  on  the  front  surface,  plus  a 

vacuum  on  the  rear  for  thorough  dust  removal. 

At  a  far  lower  cost  than  you'd  imagine,  you  can  give 

your  patrons  all  these  Dyna-Lite  benefits  that  add  up 

to  a  better  view  of  better  pictures.  Small  or  large,  your 

house  can  have  a  made-to-order  RCA  Dyna-Lite  Screen 

now!  Call  your  RCA  Theatre  Supply  Dealer. 

\ 
THEATRE  EQUIPMENT 

RADIO    CORPORATIOH   o§   AMERICA 

ENGINEERING  PRODUCTS  DIVISION  CAMDEN,  N.  J. 

In  Canada:  RCA  VICTOR  Company  Limited,  Montreal 


The  construction  and  components  of  various  types  of  photocells 
are  discussed  in  this  the  second  of  a  series  of  three  articles. 


An  Evaluation  of  Optical  Sound 


IN  1873,  Willoughby  Smith,  an 
Englishman,  discovered  the  in- 
teresting fact  that  crystalline  selenium, 
a  semi-metallic  element  resembling 
sulfur  in  its  chemical  properties, 
changed  its  resistance  to  the  flow  of 
current  with  changing  illumination. 
Selenium  is  a  rather  poor  conductor, 
but  it  conducts  current  about  eight 
times  better  when  light  shines  on  it. 

Lead  oxysulfide,  cadmium  sulfide, 
thallium  oxysulfide,  and  molybdenum 
sulfide  are  other  substances  which 
display  lower  electrical  resistance 
when  illuminated.  Of  these,  only  lead 
oxysulfide  is  sufficiently  responsive  to 
rapid  variations  of  illumination  to  be 
of  any  use  in  sound  reproducing  sys- 
tems. Selenium  "photoconductive"  cells 
are  widely  used  in  relay  circuits 
actuated  by  light,  but  are  useless  for 
sound  reproduction. 

Another  type  of  photocell,  called 
the  "barrier"  or  "photovoltaic"  cell, 
consists  of  two  dissimilar  substances 
in  close  contact.  In  1883,  Charles 
Fritts  of  England  constructed  such  a 
cell  by  coating  selenium  with  a  film 
of  metal  so  thin  as  to  be  semi-trans- 
parent. In  improved  form  this  cell  is 
the  familiar  photronioi  cell  used  in 
projection  for  controUilig  the  feeding 
of  carbons  in  modern  high-intensity 
reflector  arc-lamps. 

A  copper-oxide  photovoltaic  cell, 
known  commercially  as  the  Photox 
cell,  is  similar.  Both  of  these  cells 
actually  generate  large  currents  under 
the  influence  of  light.  They  are  very 
useful  for  control  applications  and 
photometry  —  photographers'  light 
meters  utilize  them  —  but,  like  the 
selenium  photoconductive  cell,  they 
do  not  respond  to  rapid  changes  in 
illumination. 

The  Modern  Photocell 

Now  we  come  to  the  "photoemis- 
sive"  type  of  photocell,  the  kind  used 
in  soundheads.  This  kind  of  cell  de- 
pends for  its  operation  on  the  emis- 
sion of  electrons  (the  fundamental 
units   of  electricity)    from  substances 


By  ROBERT  A.  MITCHELL 

"excited"  by  light.  The  history  of 
this  cell  began  in  1887  when  Heinrich 
Hertz,  the  German  physicist  who  dis- 
covered radio  waves,  found  that  ultra- 
violet light  falling  on  a  high-voltage 
spark-gap  enabled  the  spark  to  pass 
more  easily  than  when  the  gap  was 
not  illuminated.  And  in  1888  the  ob- 
servation was  made  by  other  scientists 
that  ultraviolet  radiation  increased 
the  rate  of  discharge  of  a  negatively- 
charged  body. 

It  was  conclusively  proved  in  1899 
by  Philip  Lenard  of  Germany  and 
J.  J.  Thompson  of  England,  working 
independently,  that  light  causes  the 
emission  of  electrons  from  substances. 
A  knowledge  of  this  important  prin- 
ciple made  possible  the  invention  of 
the  modern  photocell. 

Lenard  continued  his  investigations 
of  the  "photoelectric  effect;"  and  in 
the  course  of  his  researches  he  con- 
struced  the  first  photoemissive  cell 
having  a  resemblance  to  the  photo- 
tubes familiar  to  projectionists. 

Lenard's  Photocell 

Lenard's  photocell  consisted  of  an 
evacuated  quartz-glass  bulb  in  which 
was  placed  a  freshly-polished  zinc 
plate  and  a  platinum  wire  to  capture 
electrons  emitted  from  the  plate. 
When  the  zinc  plate  was  connected  to 
the  negative  terminal  of  a  high-voltage 
battery,  and  the  platinum  wire  to  the 
positive  terminal,  a  sensitive  galvano- 
meter in  the  circuit  showed  that  a 
small  current  passed  through  the 
vacuum  between  the  zinc  plate 
(cathode)  and  the  wire  (anode)  when, 
and  only  when,  the  zinc  was  illumi- 
nated by  ultraviolet  light. 

Then  the  discovery  was  made  by 
Lenard  that  the  ultraviolet-illuminated 
zinc  plate  acquired  a  small  positive 
charge  when  the  cell  was  not  con- 
nected to  the  battery.  This  he  cor- 
rectly interpreted  as  a  release  of  elec- 


trons from  the  zinc  under  the  influ- 
ence of  radiation.  The  leakage  of 
electrons  continued  only  until  the 
residual  positive  charge  left  on  the 
plate  prevented  any  more  electrons 
from  leaving.  The  high-voltage  bat- 
tery merely  replaced  the  electrons  lost 
from  the  plate  and  prevented  a  posi- 
tive charge  from  forming. 

The  swarms  of  electrons  flying 
from  the  cathode  (plate)  to  the  anode 
(wire)  could  be  swerved  from  their 
course  by  magnetic  and  electric  fields. 
This  phenomenon  enabled  Lenard  to 
discover  the  interesting  fact  that  the 
velocity  of  the  emitted  electrons  is 
not  affected  by  the  intensity  of  the 
radiation  illuminating  the  plate  but 
is  dependent  only  on  the  wavelength 
of  radiation.  The  shorter  the  wave- 
length of  the  light,  the  higher  the 
speed   of   the   electrons. 

The  Nature  of  Light 

These  facts  suggested  to  Albert  Ein- 
stein his  special  theory  of  relativity 
in  which  he  postulated  that  light  is 
composed  of  separate  little  bundles 
of  radiant  energy  called  quanta  which 
spread  farther  and  farther  apart  with 
increasing  distance  from  the  source 
of  the  light. 

One  of  the  offshoots  of  this  far- 
reaching  theory  was  the  Einstein 
photoelectric  equation  which  contains 
two  terms  from  which  the  photoelec- 
tric "threshold-frequency"  may  be  cal- 
culated. This  function  represents  the 
longest  wavelength  capable  of  causing 
the  emission  of  electrons  from  an  elec- 
tric conductor.  One  of  its  factors,  the 
photoelectric  "work-function,"  is  so 
great  for  most  metals  that  only  radia- 
tion of  the  shorter  wavelengths  (such 
as  ultraviolet  light)  produces  emission. 

Very  few  metals  are  capable  of 
emitting  electrons  under  the  influence 
of  visible  radiation,  and  all  of  these 
happen  to  be  the  rather  weird  metals 
of  the  alkali  and  alkaline-earth 
families,  namely:  Lithium,  Sodium, 
Potassium,   Rubidium,    Caesium,   Vir- 


INTERNATIONAL  PROJECTIONIST      •      SEPTEMBER  1954 


21 


ginium*,  Calcium,  Strontium,  Barium 
and  Radium*. 

Chemical  compounds  of  a  few  of 
these  strange  metals  are  quite  com- 
mon. The  chloride  of  sodium  is 
ordinary  salt.  Caustic  potash  is  potas- 
sium hydroxide.  Calcium  oxide  is 
quicklime.  Salts  of  strontium  and 
barium  are  used  in  colored  fireworks. 
Caesium,  the  metal  used  in  modern 
photocells,  is  rather  rare.  Important 
deposits  of  minerals  containing  cae- 
sium compounds  are  found  in  Maine. 

Potassium  Used  First 

Potassium  was  used  in  the  first 
sound-movie  photocells.  Pure  metallic 
potassium  is  a  soft,  silvery  metal  that 
floats  on  water.  To  throw  a  piece  of 
potassium  into  water  is,  however,  a 
dangerous  experiment  because  it 
sometimes  explodes.  Ordinarily  it 
merely  sputters  and  dances  over  the 
surface  of  water,  combining  with  it 
so  vigorously  that  the  hydrogen  gas 
liberated  often  catches  on  lire,  burn- 
ing with  a  flame  colored  purple  by 
potassium  vapor. 

Sodium  is  also  lighter  than  water, 
but  not  quite  so  active  chemically  as 
potassium.  It  seethes  and  hisses  in 
water  to  form  a  solution  of  lye,  but 
not  enough  heat  is  generated  to  ignite 
the  hydrogen  evolved.  Rubidium  is 
even  more  active  than  potassium,  and 
caesium  is  the  most  hot-tempered. 

Caesium  is  a  beautiful,  silvery  metal, 
almost  twice  as  heavy  as  water,  and  as 
soft  as  lead.  Like  sodium  and  potas- 
sium, caesium  must  be  stored  in  con- 
tainers filled  with  kerosene  to  protect 
the  active  metal  from  the  air.  Potas- 
sium rusts  very  quickly  in  the  air,  but 
caesium  ignites  spontaneously  when  ex- 
posed to  air,  burning  with  a  bright 
blue  flame  and  giving  off  a  dense, 
corrosive  smoke  of  white  dust.  On  a 
warm  day  caesium  melts  to  a  silvery 
liquid  resembling  mercury. 
"Noble"  Gas  Required 

In  order  to  use  these  active  metals 
we  must  work  with  them  either  in  a 
vacuum  or  in  an  artificially  created 
atmosphere  of  some  totally  inert  gas 
such  as  helium,  neon,  or  argon.  The 
fierce  chemical  activity  of  these  metals 
also  prevents  their  extraction  by  ordi- 
nary metallurgical  methods.  They  are 
obtained  commercially  by  electrolysis 
of  their  melted  salts  in  special  high- 


•  Vlrglnium  is  extremely  rare.  No  one  has  yet 
obtained  a  sufficient  quantity  of  its  compounds 
to  isolate  the  pure  metal.  Radium  is  radio- 
active, and  hence  unfit  for  use  in  photocells. 


temperature  apparatus  which  permits 
collection  of  the  liberated  globules  of 
metal  in  the  absence  of  air. 

The  curious  metals  used  in  pro- 
ducing the  light-sensitive  surfaces  in 
photocells  were  described  in  last 
month's  installment.  Let  us  now  ex- 
amine the  old  potassium  cell  and 
then  some  of  the  modern  types  of 
photocells.  The  potassium  cell,  re- 
membered by  projectionists  as  a 
silvered  bulb-shaped  affair  requiring 
an  "anode  potential"  of  about  250 
volts,  is  shown  in  Fig.  3.  Devised  by 
the  German  scientists  Elster  and 
Geitel,  the  bulbous  potassium  cell  was 
the  first  ever  used  for  commercial 
sound-on-film    movies. 

The  empty  glass  bulb  was  first 
silvered  internally,  and  a  circular  area 
of  silver  was  removed  to  provide  a 
window  for  the  admission  of  light. 
A  very  thin  layer  of  potassium  was 
then  coated  on  the  silver  by  vaporiza- 
tion. The  finished  cell  was  entirely 
empty  except  for  a  ring,  or  loop,  of 
wire  to  serve  as  the  anode  to  which 
the  electrons  stream. 

Vacuum-Type  Photocells 

The  earliest  photocells  were  com- 
pletely evacuated.  The  response- 
characteristics  of  vacuum-type  photo- 
tubes are  remarkably  "flat,"  the  cur- 
rent output  being  directly  proportional 
to  the  intensity  of  illumination  fall- 
ing upon  the  cathode  of  photosensi- 
tive metal.  Vacuum-type  cells  of  a 
more  modern  construction  still  are 
manufactured,  finding  a  wide  applica- 
tion for  wirephoto  service,  photo- 
metric and  colorimetric  measure- 
ments, and  relay  control.  RCA's  934 
vacuum  phototube  is  suitable  for 
sound-on-film    reproduction. 

To  increase  the  sensitivity  of  the 
old-style  potassium  cell,  a  little  oxygen 
was  admitted  and  a  carefully  con- 
trolled high-voltage  glow-discharge 
produced  inside  the  cell.  This  treat- 
ment left  the  potassium  in  a  highly 
sensitive  colloidal,  or  finely  divided, 
state.  After  pumping  out  the  excess 
oxygen,  a  small  amount  of  helium  (a 
chemically  inert  gas)  was  introduced 
into  the  bulb.  This  later  type  of 
potassium  cell,  the  first  of  a  large 
family  of  gas-filled  phototubes,  was 
from  five  to  eight  times  more  sensi- 
tive  than    the   vacuum   cell. 

Gas-Filled  Cell  Action 

How  does  gas  at  very  low  pressure 
make  photocells  more  sensitive?  In 
the   vacuum   cell   all   of   the   electrons 


FIG.  3.  Types  of  photocells. 


/0~\ 


/ 


Modern  gas-filled 
cesium-  silver-aiygen 
photoelectric  cell 


Old-style  vacuvun  potassium  cell 


v/hich  reach  the  anode  and  flow  off 
through  the  wire  as  a  current  must 
come  from  the  photosensitive  cathode. 
When  light  strikes  the  cathode,  elec- 
trons leave  the  metal  and  form  a  cloud 
in  front  of  it.  The  voltage-impressed 
source  applies  a  force  to  the  free 
electrons,  impelling  them  to  travel  to 
the  positively-charged  anode.  The 
stream  of  electrons  continues  to  flow 
as  long  as  light  shines  on  the  cathode 
and  the  cell  is  connected  to  a  source 
of  D.  C. 

The  gas-filled  cell  works  just  like 
the  vacuum  cell,  but  the  atoms  of  gas 
floating  about  in  the  tube  quite  fre- 
quently get  smacked  by  electrons  fly- 
ing from  cathode  to  anode.  Because 
gas  atoms  also  contain  electrons,  these 
collisions  knock  out  electrons  which 
join  the  stream  of  photoelectrons 
travelling  to  the  anode.  The  current 
is  thereby  greatly  increased. 

But  that  is  not  all  that  happens. 
When  an  atom  of  gas  loses  one  or 
more  of  its  electrons,  it  becomes  a 
positively-charged  atom  called  an  ion. 
The  charge  is  necessarily  positive  be- 
cause the  loss  of  an  electron  means 
the  loss  of  a  negative  charge  from  a 
neutral  atom. 

Interaction  of  Forces 

Being  positive,  the  gas  ions  mi- 
grate toward  the  negatively-charged 
cathode,  for  it's  a  rule  that  dissimilar 
charges  attract  one  another.  The  bom- 
bardment of  the  photosensitive  ca- 
thode by  the  gas  ions  shakes  loose 
still  greater  numbers  of  electrons  from 
the  cathode.  The  moment  these  elec- 
trons get  free,  they  join  the  crowd 
and  hustle  across  the  tube  to  the 
anode.  So  while  the  vacuum-type  cell 
produces  only  electrons  loosened  from 
the  cathode  by  the  direct  action  of 
light,  the  gas-filled  cell  has  not  only 
(Continued  on  page  38) 


I 


22 


INTERNATtONAL  PROJECTIONIST      •      SEPTEMBER  1954 


Excerpts  from  an  address  by  a  noted  exponent  of  only  the 
very  best  in  projection  quality,  as  originally  given  before 
the     recent     lA     42nd     Biennial     Convention     in     Cincinnati. 


Past,  Present -and  Future  (?) 

By  MERLE  CHAMBERLIN 

Director  of  Projection,  Metro-Goldwyn-Mayer  Studios 


MY  TOPIC  is  the  so-called  "new 
look"  in  motion  pictures,  Hol- 
lywood angle.  My  preparations  for 
this  talk  consisted  mainly  of  a  concen- 
trated session  with  my  crystal  ball. 
We  are  still  in  what  I  estimate  as  a 
state  of  flux,  as  far  as  some  portions 
of  the  technical  end  of  the  industry 
are  concerned. 

For  about  15  years  ...  we  sailed 
along  .  .  .  and  then  Cinerama  opened 
up,  which  didn't  affect  too  many  of  us 
but  shot  the  gun  that  gave  a  terrific 
boost  to  the  box-office.  That  boost  is 
continuing.  Not  quite  two  years  ago 
"Bwana  Devil"  in  3-D  opened  in  Los 
Angeles.  The  Alliance  was  called  upon 
to  do  a  terrific  job,  technically  speak- 
ing .  .  .  and  you  have  been  told  many 
times  how  well  you  responded. 

''Experts"  vs.  Actual  Achievement 

I  do  not  feel  that  Hollywood  did 
too  badly.  Bear  in  mind  the  fact 
that  a  major  industry,  a  multi-billion- 
dollar  industry,  did  a  retooling  job 
in  a  very  short  time. 

One  thing  that  gave  us  trouble  all 
over  the  country  was  the  plague  of 
"experts"  we  ran  into.  Everybody  who 
was  selling  sun  glasses  in  a  drug 
store  became  an  optical  expert  as  far 
as  motion  pictures  were  concerned. 
Anybody  who  had  anything  to  do 
with  exhibition  started  making  reels 
that  wouldn't  work  .  .  .  and  most  of 
these  people  obtained  enough  backing 
to  print  lurid  ads  in  the  trade  papers 
which  our  exhibitor  friends  read  and 
believed. 

Most  of  our  "executives"  in  the  in- 
dustry became  "experts."  .  .  .  Not 
10%  of  the  people  in  this  auditorium 
were  consulted  on  these  technical 
changes.  We  had  the  spectacle 
of  people  "inventing"  all-purpose 
lenses  and  telling  exhibitors  that  they 


wouldn't  have  to  spend  any  more 
money. 

General  Trade  Press  Failed 

Certain  portions  of  the  trade  press 
let  us  down.  They  printed  all  those 
stories  and  .  .  .  did  not  label  them 
as  press  releases  from  the  manufac- 
turers' standpoint,  making  everyone's 
job  in  the  lA  that  much  tougher. 

Here  is  one  sentence  from  the  July 
22nd  issue  of  Daily  Variety,  which  is 
read  by  everyone  in  Hollywood,  the 
only  question  being  whether  they 
read  that  first   or  the  Racing  Form: 

"Vox  pop:  many  complaints 
about  the  focus  on  wide  screen 
and  'Scope  pix  can  be  directly 
traced  to  sloppy  projectionists 
and    not    to    the    film    processes.' 

Many  phone  calls  on  that  forced 
them  to  take  it  back  the  next  day,  but 
in  a  left-handed  way.  These  are  things 
we  have  to  watch  .  .  .  and  if  any  of  us 
read  anything  wrong  in  the  papers  we 
should  start  calling  them  on  it. 

Double-Film  3-D  is  Dead 

I  think  that  double-film  3-D  is 
dead — a  gone  pigeon.  I  do  not  be- 
lieve that  single-film  3-D  is  dead: 
there  are  now  three  or  four  single- 
film  systems,  double  printing  and  pro- 
jecting through  a  prism.  Polaroid  is 
working  on  a  Vectograph  system  in 
which  the  polarization  is  printed  on 
both  sides  of  the  celluloid,  with  filters 
eliminated.  There  is  very  little  loss 
of  light. 

Wide  screen:  the  various  aspect 
ratios  started  out  in  quite  a  jumble — 
1.5/1,  1.66/1,  1.85/1  and  2/1— even 
prior  to  CinemaScope.  There  was  no 
agreement  on  standards  because  the 
product  on  the  shelf  could  not  be 
adopted  to  a  specific  standard — an 
economic  reason  and  a  good  one. 

On  Stage  16  at  M-G-M  Studios  we 


have  an  experimental  projection  set- 
up, including  everything  we  could 
think  of  with  which  to  project  a 
picture — but  nothing  that  can't  be 
purchased  on  the  open  market.  We  at 
M-G-M  don't  believe  in  technical  ad- 
juncts not  readily  available  to  exhibi- 
tors or  projectionists  in  the  field. 

Yet,  despite  this  view,  we  have  14 
sets  of  apertures  for  each  projection 
machine!  so  as  to  run  anything  and 
everything  that  has  been  made.  We 
project  a  61-foot  picture  on  that 
stage  at  125  amps. 

Aspect  Ratio  Situation  Jelling 

Aspect  ratios:  excepting  newsreels, 
the  aspect  ratio  craze  has  seemingly 
settled  down  to  1.75/  or  1.85/1.  I 
know  that  many  of  you  are  projecting 
pictures  at  1.66/1,  because  that  is  the 
easiest,  but  everything  being  photo- 
graphed in  Hollywood  today,  in 
what  they  call  "wide  screen,"  is  being 
composed  for  1.75/  or  1.85/1,  al- 
though still  being  printed  for  the  3/4 
aperture  for  those  theatres  not  yet 
equipped  for   anything  else. 

M-G-M  is  today  shooting  every- 
thing in  1.75/1,  in  addition  to 
CinemaScope  or  whatever  else  they 
are  using  in  the  special  deals.  All  of 
the  studios  are  convinced  that  the 
old  3/4  picture  is  gone  and  that  the 
wider  aspect  ratio  is  here  to  stay. 

Present  CinemaScope  Projection 

Now,  varying  aspect  ratios  call  for 
various  lenses.  At  M-G-M  we  have 
adopted  what  we  call  the  "rubber" 
(variable  focal  length)  lens,  a  take- 
off of  the  old  stereopticon  lenses 
which,  attached  to  the  regular  lens, 
enables  you  to  fill  just  about  any 
screen  size  you  desire.  We  have  found 
this  to  be  very  successful. 

CinemaScope  has  scored  terrific 
gains  since  its  introduction;  but  I 
(Continued  on  page  36) 


INTERNATIONAL  PROJECTIONIST      •      SEPTEMBER  1954 


23 


In    The 

SPOTLIGHT 


The  function   of  this   department  is  to   provide   a   forum  for   the   exchange 
of  new  and  views  relative  to  individual  and  group  activities  by  members 
of  the   organized  projectionist   craft   and  its   affiliates.    Contributions  rela- 
tive to  technical  and  social  phases  of  craft  activity  are  invited. 


THE  production  of  motion  pictures 
abroad  has  been  for  years  a 
major  preoccupation  of  lA  studio 
workers  and  a  serious  problem  for 
the  International.  One  can  hardly 
blame  a  producer  who  travels  to  Italy, 
to  Austria,  to  Germany,  or  to  England 
to  shoot  a  feature-length  production. 
On  the  other  hand,  one  must  not  at 
his  peril  admit  the  technological  know- 
how  of  Hollywood  to  be  atrophied. 

This  is  the  extremely  difficult  situa- 
tion confronting  the  lA  on  the  occasion 
of  the  recent  visit  to  this  country 
(and  to  the  recent  lA  Convention  in 
Cincinnati)  of  Tom  O'Brien,  who  di- 
rects the  destinies  of  the  organized 
craft  in  the  British  Isles.  O'Brien's 
problem  is  no  less  acute  than  that  of 
lA  President  Walsh,  and  they  both 
have  the  primary  objective  of  main- 
taining a  high  level  of  employment. 
Every  foot  of  film  shot  on  foreign 
shores  represents  an  economic  loss 
to  our  American  technicians. 

Nationalism  as  such  may  not  be 
expressed  in  terms  of  visual-audio 
components,  which  know  no  bound- 
aries. One  may  not  look  askance,  how- 
ever, at  our  Hollywood  brethern  seek- 
ing added  employment.  We  have  wel- 
comed to  these  shores  through  many 
years  the  best  technological  brains 
that  Europe  has  to  offer,  and  it  would 
be  a  pity  if  the  artistic  and  technologi- 
cal talents  of  this  industry  were  to  be 
washed  ashore  on  a  tidal  wave  of  mis- 
understanding. 

Admittedly  a  very  difficult  problem 
to  solve,  it  would  seem  that  the  sug- 
gestion by  lA  President  Walsh  that 
Labor  be  represented  in  all  future 
international  conferences  relative  to 
the  production  of  motion  pictures  here 
and  abroad  represents  a  sound  ap- 
proach to  this  vexing  question. 

The   fundamentals   of   this  problem 


were  explored  by  President  Walsh  at 
a  recent  press  conference,  a  summary 
of  which  is  appended. 

If  Labor  were  represented  at  all  con- 
ferences on  foreign-film  agreements, 
even  though  it  be  in  the  role  of  an 
observer  or  advisor,  it  might  serve  to 
"overcome  pitfalls"  that  are  likely  to 
present  themselves  in  negotiations  on 
foreign   agreements. 

Press  reports  indicated  that  Walsh  was 
thinking    along    the    following    lines: 

Eric  A.  Johnston,  head  of  the  MPAA, 
thought  the  idea  of  having  Labor  sit  in 
at  conferences  on  foreign  pacts  vras  a 
good  one  if  it  could  be  "worked  out." 
However,  "it  has  not  been  worked  out 
yet." 

In  commenting  on  his  talks  with  Tom 
O'Brien,  general  secretary  of  NATEE 
(National  Association  of  Theatrical  and 
Cinematograph  Employes)  on  the  Bri- 
tish labor  leader's  complaints  on  the 
stand  on  U.  S.  production  in  England, 
Walsh  reported  that  the  two  had 
"reached  an  understanding"  looking  to 
the  solution  of  the  problems  involved 
by  talking  them  over  before  they  "be- 
come  aggravated." 

According  to  Walsh,  the  understand- 
ing provides  that  in  any  case  where  a 
British  or  American  producer  mode  a 
picture  abroad  for  no  other  reason  than 
that  it  was  cheaper  would  be  submitted 
to  discussion. 

Walsh  said  that  the  lA  was  "wonder- 
ing" how  it  could  work  out  a  similar 
arrangement  with  unions,  or,  failing  in 
that,  with  government  agencies  in  other 
countries.  The  lA  will  shun  such  an 
arrangement  with  any  foreign  film 
unions    that    are    Communist-dominated. 

Walsh  said  he  especially  was  opposed 
to  the  production  abroad  by  Americans 
of  Tv  pictures  that  are  used  to  promote 
the  buying  of  American  products.  It 
was  held  inconsistent  to  ask  Americans 
to  purchase  American  products  through 
the  medium  of  pictures  made  abroad 
by  U.  S.  video-film  producers. 

Walsh  said  that  "runaway"  production 
—  that    is,    the    production     of    pictures 


abroad  merely  to  save  money — would 
be  resisted  by  the  lA. 

•  M.  D.  O'Brien,  director  of  sound 
and  projection  for  Loew's  Theatres 
who  is  now  convalescing  from  an 
extended  ilness,  has  asked  this  depart- 
ment to  express  his  gratitude  for  the 
numerous  messages  of  good  cheer 
which  he  received  from  members  of 
the  craft  throughout  the  country. 
These  messages  reached  such  an  im- 
posing total  as  to  preclude  the  pos- 
sibility of  personal  reply,  thus  Obie's 
desire  to  reach  the  very  much  larger 
audience  provided  by  IP. 

Here's  hoping  Obie's  recuperative 
powers  match  the  high  standard  of 
his  projection  work  during  the  past 
years. 

•  Mention  of  Obie  automatically 
brings  to  mind  his  life-long  friend 
(and  our  constant  critic)  P.  A.  Mc- 
Guire.  Our  thoughts  of  Mac  were  all 
on  the  sunshiny  side  until  we  received 
from  him  a  flippant  postcard  from  the 
cooled  vales  of  New  Hampshire  (it 
was  96°  that  day  in  New  York)  tell- 
ing us  how  very,  very  much  he  was 
enjoying  the  verdant  New  England 
dells. 

You  know,  of  course,  that  Mac 
added  thereto  the  snide  remark  that 
"Better  Projection  Pays,"  a  remark 
calculated  to  give  us  no  surcease  after 
just  having  typed  an  item  anent  the 
heat-on-film  problem.  That's  Mac  for 
you — always  needling  from  afar,  the 
while  he  coos  pious  platitudes  within 
arm's  reach. 

•  The  annual  Fall  meeting  of  the 
New  York  State  Association  of  Motion 
Picture  Projectionists  will  be  held  at 
the  American  Legion  Home  in  Ithaca, 
N.  Y.  on  Monday,  October  4  at  2  p.m. 
Business  of  the  day  will  include  the 
election  of  officers  for  the  next  two 
years. 

Ithaca  Local  377  will  be  host  for 
the  event,  and  extensive  plans  have 
been  made  to  insure  for  all  the  dele- 
gates a  pleasant  time.  The  day  will 
end  with  a  banquet  to  which  the  dele- 
gates and  guests  are  invited.  The 
Ladies  Auxiliary  will  have  all  the 
facilities  of  the  Legion  Home  at  their 
disposal  during  the  day. 

•  The  recent  death  of  Harry  Head- 
land, business  representative  for  Local 
287,    Rochester,    Penn.,    broke    up    a 


24 


INTERNATIONAL  PROJECTIONIST 


SEPTEMBER  1954 


working  partnership  of  almost  25 
years.  Back  in  August  1923,  William 
H.  Howe,  present  secretary  of  the 
Local,  served  his  apprenticeship  under 
the  auspices  of  Headland,  who  was 
then  in  charge  of  the  projection  room 
at  the  old  Majestic  Theatre  in 
Rochester.  When  the  Oriental  Theatre 
opened  in  1931,  both  men  were  trans- 
ferred there  and  worked  together  for 
almost  25  years. 

•  New  two-year  contracts,  retroactive 
to  September  1,  1953,  have  been  con- 
cluded between  Toronto  Local  173 
and  the  circuit  and  independent 
theatres  in  its  jurisdiction.  Under 
the  terms  of  the  new  pact,  the  mem- 
bers will  receive  a  5%  increase  in 
wages,  plus  a  raise  of  25c  per  hour 
on  overtime.  Manpower — two  men 
per  shift — remains  unchanged.  Pay 
for  midnight  shows,  to  be  held  only 
between  the  hours  of  12:05  a.m.  and 
3  a.m.  is  increased  to  $17.50.  Provi- 
sion is  also  made  for  a  two-week  vaca- 
tion per  man,  with  pay. 

Representing  Local  173  at  the 
negotiations  were  A.  L.  (Pat)  Travers, 
business  representative,  and  executive 
board  members  J.  Sturgess,  L.  Lodge, 
R.  Higgins,  A.  Kerrin,  D.  Siegel,  R. 
Wilson,  L.  Applebaum,  and  R. 
O'Connor. 

•  Both  higher  wages  and  shorter 
hours  have  been  won  by  the  sound 
service  engineers  employed  by  RCA 
and  Altec,  under  the  terms  of  a  new 
contract  recently  concluded  between 
the  lA  and  the  service  companies. 

The  new  agreement,  which  ended 
talks  extending  over  a  period  of 
several  months,  is  retroactive  to 
August  22  last  and  calls  for  a  5% 
wage  increase,  bringing  the  basic 
weekly  scale  to  $136.50.  The  basic 
weekly  scale  for  soundmen  covering 
more  than  one  geographical  area  is 
raised  to  $159.43.  The  work  week 
will  be  cut  from  48  to  44  hours  for 
a  two-year  period,  after  which  it  will 
be  further  reduced  to  40  hours. 

The  contract  also  calls  for  the  com- 
panies to  furnish  automobiles  for  the 
men  when  needed.  However,  in  an 
emergency,  not  to  exceed  30  days, 
a  soundman  will  be  paid  7c  per  mile 
for  the  use  of  his  car. 

Representing  the  lA  at  the  negotia- 
tions were  General  Secretary- Treasurer 
Harland  Holmden,  International  Vice- 
President  Harry  J.  Abbott,  and  lA 
representative  Joseph  D.  Basson.  W. 
L.  Jones,  vice-president  of  RCA  Service 


SAN  FRANCISCO  LOCAL  OBSERVES  ITS  50TH  ANNIVERSARY 


Shown  in  this  group  of  photos  are  members  and  guests  of  San  Francisco  Local  162  as  they 
gathered  to  celebrate  the  Local's  recent  50th  anniversary.  !n  photo  at  top  left  are  officers  of 
Local  162  group  behind  the  anniversary  cake:  back  row  (left  to  right)  are  Herman  J.  Lehrbach, 
secretary-treasurer  and  Lawrence  H.  Weaverling,  business  representative;  center  row:  Oscar 
Brostrom  and  James  T.  Luther  Sr.,  executive  board  members,  and  William  Van  Ornum,  vice- 
president;  front  row:  Norman  E.  Moynahan,  president;  Paul  G.  Zern  and  Antone  Salemi, 
executive   board   members. 

In  the  photo  at  bottom  left  are  shown  (standing)  President  Moynahan,  who  presented  a  50- 
years  membership  pin  to  (standing  at  his  left)  William  W.  Lewis;  (seated)  Albert  "Duke"  Murray 
and  Charles  Zielinski,  members  of  the  Local. 

Pictured  at  top  right  are  business  representative  Weaverling  and  Helmar  Erickson,  life  member 
of  the  Local;  middle  right:  Robert  Bemis,  honorary  member  of  the  Local  and  manager  of 
Walter  G.  Preddy  Theatre  Supply  Co.,  and  H.  J.  Lehrbach;  bottom  right:  John  Turturici,  secretary 
of  District  Council  1  and  business  representative  of  Local  409,  San  Mateo,  Calif.,  and  W.  Van 
Ornum,  president  of  District  Council   1   and  vice-president  of  Local   162. 


Co.,  in  charge  of  the  Technical  Prod- 
ucts Division,  and  H.  M.  Bessey,  ex- 
ecutive vice-president  of  Altec  Service 
Corp.,  represented  the  employers. 


•  The  lA  scored  another  advance  in 
the  Tv  field  recently  via  a  ruling  by 
the  National  Labor  Relations  Board 
which  invalidated  an  election  held  by 
the  employes  of  station  KFSD-Tv  of 
San  Diago,  Calif.,  which  was  won  by 
the  lA's  arch  Tv  rival,  NABET.  De- 
tails in  the  case  are  supplied  by  the 
following  excerpt  from  the  report  by 
the  NLRB  trial  examiner: 

"Recommends  that  company  cease  and 
desist  from  restricting  its  employes  by 
rule  or  otherwise  from  engaging  in 
union    activities    on    company    property 


during  non-working  time;  from  unla^v- 
fully  assisting  NABET  by  permitting 
only  that  labor  organization  to  meet 
wtih  its  employes  on  company  property; 
from  making  pre-election  speeches  to 
employes  on  company  time  and  prop- 
erty so  long  as  it  maintains  a  rule  pro- 
hibiting union  access  to  company  prop- 
erty on  non- working  time;  or  from  in  any 
other  manner  interfering  with,  restrain- 
ing or  coercing  employes  in  the  exer- 
cise of  the  right  to  self-organization,  to 
form  labor  organizations,  to  join  or  resist 
lATSE  or  any  other  labor  organization; 
and  post  compliance  notices  for  60  days. 

"At  the  same  time,  the  trial  examiner 
recommends  that  the  election  held  on 
April  13,  1354,  be  set  aside,  finding  thai 
company's  conduct  improperly  inter- 
ferred   with  the    election." 


INTERNATIONAL  PROJECTIONIST      •      SEPTEMBER  1954 


25 


Perspecta  Sound 

Operational  Data 


By  MARK  STEPHENS 


WHEN  3-D  bowed  in  we  were 
burdened  with  stereophonic 
sound  recorded  on  a  separate  sound 
film.  This  system,  requiring  a  syn- 
chronized magnetic  reproducer,  went 
out  when  CinemaScope  came  in.  And 
now  the  new  multi-directional  Per- 
specta process  threatens  to  overlay 
magnetic  reproducers  with  cobwebs. 
Note  we  said  multi-directional,  not 
stereophonic. 

True  stereophonic  sound  involves  a 
special  recording  technique  as  well 
as  a  reproducing  system  consisting 
of  several  amplifiers  and  stage 
speakers.  The  sound  which  is  to  be 
reproduced  from  two  or  more  speaker 
units  must  be  picked  up  by  the  same 
number  of  microphones  in  the  studio, 
the  electrical  output  of  each  being 
recorded  in  a  separate  sound-track. 

Synthetic  Stereo  Sound 

Much  of  the  so-called  "stereo- 
phonic" sound  heard  in  theatres  is 
a  purely  synthetic  product.  It  is 
"faked"  during  the  re-recording  pro- 
cedure to  produce  only  the  effect  of 
natural  stereophonic.  The  reproduced 
sound  is  directional,  but  it  is  not 
truly  stereophonic. 

The  writer  has  heard  both  types 
of  sound  in  CinemaScope  pictures: 
true  stereoiound  derived  from  three 
separate  microphones  on  the  movie 
set,  and  the  merely  directional  type 
of  sound  concocted  in  the  re-record- 
ing room.  Be  that  as  it  may,  the 
CinemaScope  magnetic  sound  process 
is  capable  of  true  stereosound  because 
it  makes  use  of  three  (sometimes 
four)    independent  sound   records. 

Sound  quality  is  something  else 
again,  and  in  this  regard  magnetic 
sound  has  been  the  target  of  numer- 
ous industry  brickbats.  Projectionists 
soon  noted  the  noise-pickup  and  par- 
tial erasure  of  the  magnetic  tracks, 
the  "fuzzy"  sound  resulting  from 
magnetic-head  wear,  and  the  sharp 
clicks  and  pops  produced  by  splices. 

Theatregoers,     no     less     than     film 


critics,  while  sharply  divided  over 
the  merits  and  faults  of  wide-screen 
projection,  manifcGted  an  almost  com- 
plete lack  of  enthusiasm  for  "stereo- 
phonic" sound. 

Magnetic  recording  is  expensive 
and  troublesome,  and  the  magnetic- 
striped  prints  cost  almost  twice  as 
much  as  similar  color  prints  carrying 
standard  optical  soundtracks.  When 
Metro  broke  through  the  magnetic- 
sound  barrier  stranglehold  by  releas- 
ing its  CinemaScopers  in  an  optional 
standard-track  version,  it  came  as  no 
surprise  to  anybody. 

Perspecta  "Directional"  Sound 

At  this  juncture  there  arrived  on 
the  scene  a  simplified  directional- 
sound  process  which,  armed  with 
modest  equipment  requirements  and 
conventional  film  and  sound-track 
standards,  is  called  Perspecta. 

Invented  by  C.  Robert  Fine,  engi- 
neered  by   Fairchild,   and   backed   by 


M-G-M  and  Loew's,  Perspecta  is  not 
true  stereophonic  sound  but  merely 
directional  sound.  It  provides  a 
means  for  channelling  the  sound  from 
a  single  optical  track  to  one  or  more 
of  the  three  speaker  units  installed 
behind  the  screen.  Perspecta  sound  is 
recorded  in  the  usual  single-channel 
manner,  and  it  does  not  require  a 
directional  quality  until  the  single 
soundtrack  is  "doctored"  during  re- 
recording. 

In  Perspecta  sound  three  inaudible, 
or  subsonic,  low-frequency  tones  are 
mixed  with  the  audible  sound  record 
during  the  final  preparation  of  the 
soundtrack.  The  continuously  vary- 
ing signal-strength  of  these  three 
tones,  inaudible  to  the  audience,  act 
as  controls  to  vary  the  volume  of 
each  of  the  three  speakers — this  for 
directional  sound  effects. 

Function  of  the  Integrator 

The  subsonic  tones,  called  carriers, 
can  be  "heard"  only  by  the  Perspecta 
"integrator"  which  receives  the  total 
output  of  the  soundhead  photocells. 
The  integrator  unit  is  nothing  more 
than  an  electronic  switching  device 
which  directs  the  single-track  sound 
output  to  the  proper  amplifiers,  and 
thence  to  the  proper  speakers  behind 
the  screen. 

The  frequencies  of  the  subsonic 
carrier  tones  used  in  Perspecta  sound 
are  30,  35,  and  40  cycles.    These  are 


CONTROL  CHANNELS 
RIGHT  /  CENTER  |     LEFT 


BAND-PASS  ^f 

FILTERS  ^1 

CONTROL  \v; 
AMPURERSV    ',   ^^ 

ccwTROL  Nllr  ^ 

RECTIFIERS  "VH: 

CONTROL  FREQ. 
AMPLIFIERS  ■*• 


fi.UTO-SWITCHlNG-. 
DISCRIMINATOR 


t  — PREAMPLIFIER 


INPUT 
TRANSFORMER 


—  HI -PASS 
FILTER 

INPUT 


SUPPLIES 


LO-PASS 
FILTER 


OUTPUTS       PHASE  INVERTOR 


Components  of  the  Perspecta  integrator  unit  showing  the  hi-pass  and  the  iow-pass  filters,  the 
voltage-supply  and  the  output  terminals.  This  stripped-down  view  (in  reverse)  of  the  integrator 
shows  all  the  important  components  of  the  unit,  which  should  always  be  rack-mounted  so  as 
to  provide  for  speedy  and  efficient  servicing.  NOTE:  The  extreme  simplicity  of  this  unit  make 
unnecessary  any  extensive  servicing,  but  what  little  service  work  is  necessary  may  be  safely 
entrusted  to  the  national  service  companies'  staffs  which  are  intimately  acquainted  with  the 
circuitry   and   operation   of   the   assembly. 


26 


INTERNATIONAL  PROJECTIONIST      •      SEPTEMBER  1954 


added  to  the  track  in  the  studio 
after  the  sound  has  been  recorded. 
When  the  30-cycle  tone  is  super- 
imposed on  the  sound  record,  the  in- 
tegrator will  send  the  sound  to  the 
speaker  behind  the  left-hand  side  of 
the  screen.  The  35-cycle  tone  acti- 
vates the  center  channel;  the  40-cycle 
tone  the  right-hand  channel.  If  two 
or  three  carrier-tones  are  used 
simultaneously,  sound  will  issue  from 
two  or  all  three  of  the  stage  speakers. 
Perspecta  sound  has  been  hailed 
enthusiastically  even  by  exhibitors 
who  have  had  their  fill  of  stereo- 
phonic sound  and  prefer  regular 
single-channel  sound  emanating  from 
the  center  of  the  screen.  The  reason 
for  their  enthusiasm  is  found  in  the 
fact  that  the  three  subsonic  carrier- 
tones  do  not  interfere  with  normal 
single-horn  reproduction  from  the 
optical  track.  It  is  thus  possible  to 
use  the  same  track  for  either  regular 
or  directional  reproduction;  and  un- 
less you  want  directional  sound,  there 
is  nothing  to  buy. 

Only  One  Integrator  Required 

Only  one  integrator  is  needed  for 
Perspecta  sound  reproduction,  regard- 
less of  the  number  of  projectors. 
Also  required  are  three  amplifiers  and 
three  speaker  units.  Theatres  equipped 
for  CinemaScope  already  have  the 
necessary    amplifiers   and   speakers. 

The  Perspecta  integrator  may  be 
obtained  with  or  without  a  built-in 
preamplifier  and  impedance-matching 
transformers.  If  the  projector  sound- 
heads are  already  equipped  with 
photocell  amplifiers,  the  "zero-gain" 
integrator  may  be  used. 

The  output  terminals  of  })oth 
soundheads  (or  preamplifiers)  are 
connected    to   the   input   terminals    of 


rr 


?? 


Excellent  Projection  Equipment  ... 

•         •         •         • 

A  Personal  Message  from  Adolph  Zukor 

It  has  always  been  our  policy  that  pictures  should  be  capable  of  being 
played  in  any  theater  in  the  world.  Therefore,  we  recommend  standard 
sprocket-hole  film  and  standard  position,  single,  optical  sound  track.  To 
improve  the  exhibition  of  pictures,  we  do  feel  that  screens  should  be  as 
high  and  as  wide  as  the  theater  can  install. 

A  year  ago  last  May  we  released  SHANE  as  the  first  of  the  wide- 
screen  pictures  from  Paramount  and  have  since  perfected  the  VistaVision 
process  to  still  further  improve  the  definition  and  quality  of  picture.  The 
first  of  the  VistaVision  pictures  to  go  into  release  will  be  WHITE 
CHRISTMAS,  to  be  released  in  October.  Perspecta  sound  has  been  added 
to  VistaVision  prints  and  may  be  used,  if  desired,  by  any  theater  which 
has  the  proper  equipment. 

With  regard  to  the  shape  of  pictures  on  the  screen,  we  are  con- 
vinced that  the  most  artistic  shape  is  in  a  ratio  of  approximately  1.85:1, 
and  we  also  find  that  this  shape  best  fits  the  great  majority  of  theatres. 
In  the  future  we  are  confident  that  the  best  in  the  presentation  of  motion 
pictures  will  be  obtained  with  VisaVision  prints  shown  on  a  high,  wide, 
seamless  screen  of  this  shape,  and  using  excellent  projection  equipment. 

ADOLPH  ZUKOR 

Chairman  of  the  Board,  Paramount  Pictures  Corp. 


the  integrator.  Each  of  the  three  sets 
of  integrator  output  terminals  is  con- 
nected to  the  proper  main  amplifier 
of  the  sound  system. 

The  three  main,  or  power,  ampli- 
fiers are  fitted  with  a  "ganged" 
potentiometer  to  permit  the  projec- 
tionist to  adjust  the  sound  volume  of 
the  entire  3-channel  system  by  means 
of  a  single  volume  control.  A  switch 
on  the  integrator  enables  a  choice  be- 
tween directional  and  center-horn, 
non-directional    reproduction. 

The  Perspecta  sound  integrator  also 
embodies  an  automatic  switch  that 
directs    sound    output    to    the    center 


Front  panel  view  of 
the  Perspecta  integ- 
rator unit  as  it  looks 
when  installed  in  the 
projection  room. 


speaker  alone  when  all  carriers  read 
less  than  "20"  on  the  three  subsonic 
signal-strength  meters  on  the  front 
panel  of  the  integrator.  A  steady 
carrier-reading  of  "50"  on  any  one 
or  more  of  the  meters  automatically 
returns  the  unit  to  directional-sound 
operation    (see  illustrations). 

The  simplicity  of  the  automatic 
switch  will  be  appreciated  by  all 
projectionists.  It  is  not  necessary  to 
"ride"  the  integrator  controls  when 
non-directional  films  are  spliced  into 
a  reel  of  Perspecta  film:  the  integra- 
tor, activated  by  the  strength  of  the 
carrier  signals,  takes  over  the  switch- 
ing chore. 

The  integrator  is  essentially  an  in- 
genious combination  of  band-pass 
filters.  The  main  filter  separates  the 
three  subsonic  frequencies  (below  60 
cycles)  from  the  audible  sound  fre- 
quencies  (70  to  10,000  cycles). 

The  subsonic  signals  next  encounter 
a  set  of  three  narrow-band  filters 
which  separate  them  (30,  35,  and  40 
cycles)  and  cause  them  to  flow  in 
separate  circuits.  Each  of  these 
filters  is  designed  with  a  band-width 
of  about  2  cycles  to  permit  proper 
operation  of  the  device,  with  projector 
speed  variations  of  4%  above  or 
below  normal. 

The  A.C.  from  each  of  the  three 
(Continued  on  page  34) 


INTERNATIONAL  PROJECTIONIST 


SEPTEMBER  1954 


27 


ETTERS    TO    THE    EDIT 


To  the  Editor  of  IP: 

We  have  installed  CinemaScope  here,  using  a  flat  screen  with  a 
picture  26  feet  wide.  We  have  a  90-foot  throw  from  the  film  aperture 
to  screen  and  no  stereophonic  sound — just  a  single  optical  track.  This 
CinemaScope  installation  has  created  a  puzzling  problem,  as  follows: 
When  the  picture  hits  the  screen  it  appears  to  be  all  off  balance.  The 
vertical  lines  of  walls,  buildings,  etc.,  seem  to  be  curved  in  at  the  top 
and  bottom,  and  background  scenery  appears  to  move  in  waves  across  the 
screen.  It  is  a  situation  which  I  have  never  encountered  before,  and  I've 
seen  CinemaScope  in  other  theatres,  but  never  anything  like  the  distor- 
tion that  occurs  in  this  theatre.  The  installing  engineer,  however,  seems 
to  think  that  everything  is  0.  K. 

The  anamorphic  lenses  are  set  for  90  feet  to  meet  the  manufacturer's 
requirements  and  are  attached  to  an  old  set  of  6-inch  lenses.  These 
lenses  are  badly  scratched  and  also  balsam-blemished,  but  the  focus 
seems  sharp  enough.  The  anamorphic  lenses  are  made  by  Bausch  and 
Lomb.  Do  you  think  the  trouble  is  caused  by  the  old  objective  lenses 
or  by  the  anamorphics? 

We  have  checked  the  keystone  in  the  theatre  and  corrected  it.  We 
have  also  turned  the  anamorphics  completely  around  so  that  the  picture 
made  a  complete  circle  around  the  screen,  but  no  matter  what  the  position 
the  vertical  lines  still  had  a  curve  in  them.  Maybe  you  could  shed  some 
light  on  this  situation  for  us. 

Many  of  us  are  shifting  about,  and  I  would  not  want  to  miss  any 
issue  of  IP,  as  the  information  in  these  books  sometimes  proves  many  an 
argument. 

Arnold  Humphrey 
Bathurst,  New  Brunswick,  Canada 


Long-Range  Forecasting 


WITHOUT  having  seen  or  tested 
Mr.  Humphrey's  CinemaScope 
setup,  IP  can  only  hazard  an  off-the-cuff 
opinion,  i.e.,  that  the  distortion-trouble 
will  be  found  in  the  opticatl  system  con- 
sisting of  projection  lens  and  anamorphic 
attachment. 

One  naturally  thinks  first  of  the  screen 
when  a  case  of  distorted  CinemaScope 
arises.  The  problem  submitted  by  Mr. 
Humphrey  has  a  number  of  unusual 
aspects,  however.  These  rule  out  his 
flat  26-foot  screen  as  the  cause  of  the 
trouble. 

A  steep  projection  angle  is  ordinarily 
at  fault  when  the  vertical  lines  of  walls, 
buildings,  etc.,  seem  to  slant  in  toward 
the  top  of  the  picture;  but  a  downward 
tilt  of  the  projectors  cannot  possibly  re- 
sult in  a  "slanting  in"  at  the  bottom. 
I  assume  that  vertical  lines  in  this  case 
actually  follow  more  or  less  smooth 
curves. 

In  any  case,  the  position  and  flatness 
of  the  screen  should  be  checked,  and 
the  keystone  effect  of  an  excessively 
steep    projection    angle    partially    miti- 


gated by  slanting  the  screen  backward 
at  the  top  by  not  more  than  5  degrees. 
From  what  Mr.  Humphrey  says,  we 
assume  that  the  screen  is  perfectly 
stretched  and  lined-up. 

What  we  ought  to  know  is  this: 
are  the  distortions  described  by  Mr. 
Humphrey  visible  from  the  projection 
room? 

As  is  commonly  known,  purely  geo- 
metric distortions  caused  by  projection 
angle  and  by  screen  wrinkles  and  an  in- 
correct positioning  of  the  screen  are 
practically  invisible  to  projectionists. 
Their  viewing  angle  so  nearly  coincides 
with  the  optical  axis  of  the  projection 
set-up,  that  the  picture  looks  fairly  good 
from  the  projection  room  even  when 
severe  geometric  distortions  all  but  ruin 
the  picture  for  persons  seated  in  the 
auditorium. 

Optical  Mismatch  Indicated 

Let's  suppose  that  the  distortions  men- 
tioned— including  the  wavy  appearance 
of  the  background  detail — are  clearly 
visible  from  the  projection  room.     The 


trouble  then  boils  down  to  the  lenses. 

There  is  evidently  a  peculiar  optical 
mismatch  between  the  old  6-inch  lenses 
and  the  CinemaScope  anamorphic  at- 
tachments. But  no  matter  which  is  at 
fault — projection  lens  or  anamorphic 
attachment — the  difficulty  seems  defi- 
nitely to  reside  in  the  combination  of 
the  old  lenses  and  the  new  anamorphic 
attachments. 

Unless  the  anamorphics  are  of  the 
wrong  type,  it  would  seem  that  the  old 
6-inch  lenses  are  based  on  an  optical 
design  which  is  incompatible  with  the 
characteristics  of  the  anamorphic  at- 
tachments. Suspicion  centers  upon  the 
lenses,  rather  than  the  anamorphics, 
because  the  anamorphics  give  the  same 
unsatisfactory  performance  when  turned 
around  180  degrees. 

If  a  perceptible  change  takes  place  in 
the  distortions  when  the  distance  be- 
tween lens  and  anamorphic  unit  is  radi- 
cally changed,  then  it  is  all  the  more 
likely  that  the  old  projection  lenses  and 
the  anamorphics  cannot  be  optically  re- 
conciled. And,  in  such  a  case,  the  lenses 
and  anamorphics  should  be  rigorously  j 
investigated.  \ 

One  cannot  be  absolutely  sure,  of 
course,  that  the  anamorphics  are  of  the 
right  type.  The  manufacturer  of  these 
units  should  be  supplied  with  as  much 
data  as  possible  —  projection  throw  and 
angle;  serial  and  model  numbers  of  the 
anamorphics;  make  and  serial  number 
of  the  old  projection  lenses,  their  focal 
length  and  barrel  diameter;  your  sus- 
picions as  to  whether  the  projection 
lenses  have  ever  been  rebuilt  or  other- 
wise tampered  with,  and  an  exact  des- 
cription of  the  appearance  of  the 
CinemaScope  pitcure  from  various  view- 
ing angles.  It  would  be  well,  also,  to 
give  detailed  information  about  the 
screen,  including  its  size,  type  of  sur- 
face, whether  flat  or  curved,  the  make, 
and  who  installed  it. 

Lens  Test  Imperative 

Even  though  we  feel  that  the  trouble 
is  caused  by  a  serious  optical  mis- 
match it  might  be  advisable  to  get  a 
modern  6-inch  lens  on  loan  in  order  to 
make  a  test.  If  the  picture  looks  good 
with  the  loaned  lens,  then  a  pair  of 
similar  lenses  should  be  purchased  and 
installed  at  the  earliest  possible  moment. 
If,  however,  the  distortion  persists,  some- 
thing is  radically  wrong  with  the  ana- 
morphics. That's  the  only  way  you  can 
be  absolutely  certain  as  to  which  unit 
is  causing  the  trouble. 

The  engineer  responsible  for  the  in- 
stalation  of  CinemaScope  is  responsible 
for  the  projection  results,  and  he  has  no 
right  to  question  your  judgment.  In 
no  case  should  an  installing  engineer 
leave  a  theatre  with  projection  condi- 
tions which  are  manifestly  unsatisfactory. 


28 


INTERNATIONAL  PROJECTIONIST      •      SEPTEMBER  1954 


1A      OBITUARIES 


Harry  E.  Headland,  Sr.,  business  repre- 
sentative for  Local  287,  Rochester,  Penna., 
died  suddenly  on  August  25.  Although 
under  the  doctor's  care  for  the  past  several 
years,  he  continued  his  work  as  projectionist 
at  the  Oriental  Theatre  in  Rochester  until 
the  day  of  his  death.  He  took  an  active 
interest  in  union  affairs  since  he  was  in- 
itiated into  the  Local  in  October,  1913.  He 
served  as  recording-corresponding  secretary 
for  many  years,  and  for  the  past  eight  years 
held  the  office  of  busines  representative.  For 
34  years  he  was  employed  by  the  Rochester 
Amusement  Co.,  23  years  of  which  he 
worked  in  the  projection  room  of  the 
Oriental  Theatre.  Prior  to  that  he  worked 
at  the  old  Majestic  Theatre.  Surviving  him 
are  his  wife,  two   daughters  and  two   sons. 

Frank  J.  Dillon,  57,  member  of  Local 
521,  Long  Beach,  Calif.,  succumbed  to  a 
heart  attack  recently.  He  began  his  career 
as  projectionist  in  South  Dakota  in  the 
early  1900's,  moving  to  California  in  1937. 
He  became  a  member  of  Local  521  on 
March  6,  1947  and  worked  in  a  number  of 
theatres  in  and  around  Downey,  Calif, 
until  about  four  years  ago,  when  ill  health 
forced  him  to  retire.  He  is  survived  by  his 
wife,  a  son  and  a   daughter. 

Everett  L.  Covington,  63,  member  of 
Long  Beach,  Calif.  Local  521,  died  suddenly 
several  months  ago.  He  worked  at  the  Fox 
West  Coast  Theatre  in  Long  Beach  for 
about  25  years,  and  at  the  time  of  his  death 


The  late 

Everett    L. 

Covington, 

member  of 

lA   Local  52T, 

Long  Beach, 

Calif. 


he  was  chief  projectionist  at  the  Crest 
Theatre.  Everett  Covington  was  initiated 
into  Local  521  on  April  20,  1922,  only  two 
months  after  the  Local  was  chartered.  He 
was  a  member  of  the  executive  board  and 
served  as  a  permanent  member  of  the  sick 
benefit  committee.  Surviving  are  his  wife, 
a  daughter,  a  son,  two  sisters,  and  two 
grandchildren.  His  son,  Russell,  is  also  a 
member  of  Local  521. 


Ethyloid  Into  Larger  Quarters 

Vastly  increased  demand  for  Ethyloid 
film  cement  has  forced  its  manufacturer, 
the  Fisher  Mfg.  Co.,  to  move  into  greatly 
expanded  production  space  at  1185  Mt. 
Read  Blvd.,  Rochester  6,  N.  Y.  Peak 
production  of  Ethyloid  in  the  nevf 
quarters  will  be  attained  within  a  brief 
period  thus  insuring  a  constant  flow  of 
product  to  all  accounts. 


SMASH 
HIT 

with 
Your  Patrons 


Clear 

Crisp  Pictures 

with 

SUPER 

SNAPLITE 

PROJECTION 

LENSES 


Your  patrons  will 
notice  the  difference! 
Super  Snaplites  give 
you  Sharper  Pictures, 
More  Illumination, 
Greater  Contrast  and 
Definition. 

For  the  Best  in 
Projection  use  Super 
Snaplites  ...  the 
only  Projection  Lenses 
to  give  you  a  true 
speed  of  f/1 .9 
in  every  focal  length 
up  to  7  inches. 

Ask  for  Bulletin  212 


YOU    GET    MORE    LIGHT    WITH    SUPER    SNAPLITE 


s 


KOLLaWOKIpBK 


Plant: 

Northampton,  Massachusetts 


9r. 


® 

Nev/  York  Office:  30  Church  St.,  New  York  7,  N.  Y. 


INTERNATIONAL  PROJECTIONIST      •      SEPTEMBER  1954 


29 


PERSONAL      NOTES 


Dr.  Frederick  E.  Terman,  dean  of  the 
school  of  engineering,  Stanford  Uni- 
versi.y,  has  been  elected  to  the  board 
of  directors  of  the  Ampex  Corp.,  Red- 
wood City,  Calif.,  manufacturer  of  mag- 
netic sound  reproduction  equipment  for 
theatres.  He  replaces  Charles  McSharry, 
who  relinquished  his  directorship  to  be- 
come secretary  of  the  board. 

Elmer    0.    Wilschke    has    resigned    as 


operating  manager  of  Altec  Service 
Corp.  to  become  vice-president  in  charge 
of  operations  for  Fine  Sound,  Inc., 
which  operates  one  of  the  largest  and 
most  complete  commercial  recording 
studios  in  the  East.  Fine  developed  the 
Perspecta  stereophonic  sound  method  of 
recording  now  being  used  by  a  number 
of  major  Hollywood  studios. 

Wilschke,  pioneer  in  the  field  of 
sound,  joined  Erpi  (Electrical  Research 
Products,  Inc.)  in  1928,  following  an 
association  with  Western  Electric.  Dur- 
ing the  early  days  of  sound  motion  pic- 
tures he  served  in  various  capacities  in 


ROCK  STEADY  projection 

IS  A  MUST  FOR 

3-D  OR  WIDE  SCREEN 


E.   O.  Wilschke, 

vice-persident 

in    chareg    of 

operations  for 

Fine  Sound,  Inc. 


this  country  and  abroad.  Upon  forma- 
tion of  Altec  Service  Corp.  in  1937,  he 
became  manager  of  the  company's  divi- 
sion office  located  in  Philadelphia.  From 
1941  to  1946  he  was  Plants  Manager 
of  Altec  Lansing  Corp.  in  Los  Angeles. 
He  returned  to  Altec  Service  in  1946, 
and  since  1948  he  has  been  operating 
manager. 

Wilschke  has  served  on  many  techni- 
cal committees  in  the  industry  and  has 
made  a  number  of  worth  while  contribu- 
tions to  the  sound  equipment  manufac- 
turing and  servicing  field.  Announcement 
of  Wilschke's  successor  as  Altec  operat- 
ing manager  will  be  made  shortly.        ri^fti 

Henry  S.  Herschman  has  been  ap- 
pointed advertising  manager  of  the 
Radiant  Mfg.  Corp.,  Chicago,  which 
produces  a  wide  line  of  projection 
screens  for  both  theatrical  and  amateur 


Harry   S. 

Herschman, 

advertising 

manager  for 

Radiant  Mfg. 

Corp. 
of  Chicago 


use.  Radiant  also  distributes  the  re- 
cently introduced  Gottschalk  Super 
Panatar  variable  anamorphic  lens.  Mr. 
Herschman,  who  served  as  an  aerial 
photography  instructor  during  World 
War  II,  is  a  graduate  of  the  University 
of  Illinois. 


4 


Are  You  Moving? 

Are  you  planning  to  change  your 
address?  If  so,  please  notify  our 
circulation  department  one  month  in 
advance.  The  Post  Office  does  not 
forward  magazines  mailed  to  a  wrong 
address.  To  avoid  confusion  and 
delay,  please  cooperate  by  sending 
us  both  your  new  and  your  old 
address. 


30 


INTERNATIONAL  PROJECTIONIST 


SEPTEMBER  1954 


I 

I 


Fewer   and    Bigger    Pictures 
Industry— Wide  Trend 

Hollywood  may  be  making  fewer  pic- 
tures these  days  but  those  now  being 
released  are  more  likely  to  become  box- 
office  hits  than  at  any  other  time  in 
the  history  of  the  industry.  This  fact 
is  established  by  estimates  that  at  least 
74  and  possibly  as  many  as  82  pictures 
will  gross  $2,000,000  or  more  in  1954. 
In  1949,  for  example,  only  47  films 
earned   that  much. 

This  trend  has  been  steadily  develop- 
ing despite  anguished  howls  from 
owners  of  smaller  neighborhood  theatres 
who  claim  that  this  new  approach  to 
motion  picture  production — fewer  but 
bigger  pictures — is  ruining  them  because 
there  just  aren't  enough  new  films 
available  to  frequently  change  double- 
feature  bills.  It  has  been  claimed  that 
these  neighborhood  houses  are  patron- 
ized to  a  large  extent  by  a  hard  core 
of  habitual  moviegoers  who  will  attend 
frequently  provided  new  pictures  are 
being  shown. 

During  this  period  of  concentrating 
on  better  and  fewer  pictures,  the  pro- 
ducing companies  have  forgotten  the 
old   "B"   picture  which  was  the   staple 


of  these  neighborhood  houses.  In 
general  they  are  satisfied  that  the  policy 
of  concentrating  on  the  big  ones  is 
going  to  pay  off — at  least  for  them  and 
for  the  big-time  exhibitor. 

General  Trend  to  Bigger,  Better 

20:h  Century-Fox,  for  instance,  will 
have  at  least  14  and  possibly  more  pic- 
tures in  the  $2,000,000  and  over  cate- 
gory this  year;  Metro  will  also  have  14 
and  possibly  as  many  as  17  pictures  in 
this  class,  while  Paramount  expects  to 
have  about  13  pictures  making  over 
$2,000,000.  Other  studios  have  also  pro- 
duced a  proporlionate  number  of  hits. 
It  would  appear  that  Hollywood  execu- 
tives have  finally  realized  that  better 
stories,  better  directed  and  produced, 
in  combination  with  sensible  use  of  the 
new  technical  processes,  is  the  only 
way  to  compete  with  Tv.  How  much 
the  small  neighborhood  house  will  be 
aided  by  this  approach  still  is  in  doubt. 


Test  Your  Electrical  I.Q. 

If  you  were  required  to  pass  an 
electrical  licensing  examination  today, 
how    well    do    you    think    you'd    do? 


Starting  this  month,  IP  is  presenting 
a  group  of  questions  asked  at  electri- 
cal licensing  examinations  given  in 
New  York  City.  Answer  these  ques- 
tions yourself  and  then  see  how  they 
compare  with  the  answers  given  on 
page  32. 

(1)  What  is  a  transformer  and 
why  is  it  used? 

(2)  Describe  three  ways  in  which 
A.C.  current  may  be  changed  to  D.C. 

(3)  How  much  current  does  a  110- 
volt,  500-watt  lamp  draw?  What  is 
the  lamp's  resistance? 

(4)  How  would  you  recognize  the 
series  from  the   shunt- wound  motor? 

(5)  What  is  a  current  transformer 
and  what  is  it  used  for? 

(6)  (a)  Why  does  the  New  York 
City  Building  Code  require  switch- 
boards to  be  moisture-proof?  (b) 
Why  a  space  at  the  back  of  the  board? 
(c)  Why  lamps,  where  protective  re- 
sistance are  necessary  with  automatic 
rheostats?  (d)  Why  enclosed -type 
motor  in  dusty  places? 


3  i 

s  I 


THE  PklNiE^LEHi 
ISSTIlLTHE 
HEART  OF  YOUR 

■■■■■■■■■■■a 

PROJECTION 
SYSTEM! 

-;.->■.,-.,' n-;i.. I  ■■■■■>■  \  <     '   '  ''  '  (•.,■•   ^ 

.'  ■■■.    •  '■  •<        ^.tlft 

Since  the  advent  of  CinemaScope  hundreds  of  pro- '  •.,  ,.,,„ 
gressive  theatre  operators  have  equipped  their  projec-  '■■"■'■  ,.,j,,^ 
tors  with  Hilux  and  Super- Lite  projection  lenses — for  use  ""^ 
as  prime  lenses  with  their  anamorphic  attachments 

Your  patrons,  too,  will  appreciate  the  superior  quality  that  over 
30  years  of  lens  craftsmanship  have  engineered  into  the  Hilux  //1.8 
and  Super- Lite  lenses. 


PROJECTION    OPTICS    CO.,    INC. 

I     I     I     I     I     I     I    I     I     I     I     I     I     I     I     I    I     I 


.V 


330  Lyell  Ave.,  Rochester,  N.  Y. 


GLenwood  3993 


S^PERLiTE   iiic 

'■-    MZSOOuo 

Pricef  arft  p«r  ma^hvcj  pair, 

•..4.V 


INTERNATIONAL  PROJECTIONIST      •      SEPTEMBER  1954 


31 


Electrical  Exam  Answers 

The  electrical  licensing  examination 
questions  asked  on  page  31  are 
answered  herin: 

(1)  A  transformer  is  a  device  by 
which  the  voltage  of  an  alternating 
current  system  may  be  changed.  It 
consists  of  an  iron  core  surrounded  by 
coils  of  insulated  copper  wire.  Usually 
both  core  and  coils  are  immersed  in 
oil  which  serves  as  an  insulator  and 
helps  cool  the  transformer.  The  volt- 
age  is   changed   in   exact   proportion   to 


the  number  cf  turns  connected  in  series 
in  each  winding.  For  instance,  if  the 
high-voltage  winding  has  1,000  turns 
arid  is  connected  to  a  2200-volt  circuit, 
a  low-voltage  winding  of  100  turns  will 
give  220  volts.  Transformers  are  usually 
wound  for  single-phase  circuits  and 
m  groups  of  three,  used  for  three-phase 
transformation,  although  three-phase 
transformers  can  be  built  and  are  often 
used.  In  either  kind  of  transformer, 
the  high-voltage  and  low-voltage  wind- 
ings are  completely  insulated  from  each 
other. 

(2)     A.C.    current    may    be    changed 


To  add 


RCA  Theatre  Service  engineers  are  on 
the  job  with  the  type  of  sound  service 
your  theatre  system  needs.  Optical  or 
stereophonic  sound  ...  there's  no 
problem  too  tough  for  these  experts 
who  are  backed  by  the  vast  technical 


resources  of  the  Radio  Corporation  of 
America.  Prompt,  dependable  RCA 
Theatre  Service  has  played  a  top  sup- 
porting role  with  exhibitors  throughout 
the   nation   for   more   than   25   years! 


RCA  Service  Company,  Inc. 

@       A  Radio  Corporation  of  America  Subsidiary 
Camden,  N.  J. 


Clayton  Ball -Bearing  Even  Tension  Take-Ups 

For  all  Projectors  and  Sound  Equipments 

ALL  TAKE-UPS  WIND  FILM  ON  2,  4  AND  5  INCH  HUB  REELS. 
SILENT  CHAIN   DRIVE 

THE   CLAYTON    REWINDER 

FOR  PERFECT  REWINDING  ON  2000-FOOT  REELS. 

CLAYTON    PRODUCTS   CO. 

New  York  63,  N.  Y. 


31-45  Tibbett  Avenue 


to  D.C.  first,  by  means  of  a  motor- 
generator;  second,  by  means  of  a 
rotary  convertor;  third  by  means  of  a 
rectifier.  In  a  motor- generator  set,  the 
generator  is  driven  by  an  A.C.  motor, 
and  is  connected  on  the  same  shaft  with 
a  D.C.  motor.  A  rotary  convector 
changes  A.C.  to  D.C.  by  means  of  one 
armature  having  one  winding.  A.C.  is 
fed  in  one  side  through  slip  rings  and 
D.C.  is  delivered  on  the  other  side 
through    a    commutator    and    brushes. 

(3)     The  current  taken  by  the  lamp 
may  be  obtained  if  you  remember  that 
watts 

I    =    =    500/110    =   4.545 

volts 

The  lamp's  resistance: 


R  = 


voltage 


current 


110 


or  24.2  ohms 


4.545 


(4)  To  recognize  the  difference  be- 
tween series  or  shunt-wound  motor,  the 
internal  connections  of  the  motors 
could  easily  be  followed  out.  Series 
motors  would  have  one  side  of  line  to 
series  field,  other  side  of  line  to  arm- 
ature, and  a  shunt  motor  differs  only 
in  respect  to  shunt  lead  connecting  field 
and   armature  together. 

(5)  A  current  transformer  is  a 
transformer  used  to  connect  measuring 
instruments  which  measure  current  or 
its  function  and  for  relays  which  de- 
pend upon  the  current  value  for  their 
operation  to  the  power  mains.  The 
primary  is  connected  to  the  mains  and 
the  secondary  to  the  instruments  or 
relays. 

(6)  (a)  As  practically  all  current- 
carrying  parts  are  insulated,  with  ex- 
ception of  the  insulating  material  on 
which  they  are  mounted  or  supported, 
and  as  moisture  has  a  deteriorating  ef- 
fect on  brass  and  copper,  and  also 
causes  the  current  to  leak  across  be- 
tween points  of  opposite  polarity,  there- 
by  making   grounds  and   short  circuits. 

(b)  So  as  to  make  the  switchboard 
connections  and  devices  accessible  for 
workmen  and  provide  a  free  circulation 
of  air. 

(c)  The  lamps  when  used  in  con- 
junction with  automatic  rheostats  are 
arranged  so  as  to  absorb  the  inductive 
"kick"  of  the  field  coils  when  the  motor 
is  disconnected  from  the  source  of 
supply. 

(d)  To  prevent  dust,  light  or  com- 
bustible material  from  lodging  in  places 
where  it  is  apt  to  be  ignited  by  sparking 
from  the  brushes  or  leakage  of  current. 


^Questions    and    answers    are    presented    through 
the    courtesy    of    Theo.    Audel    &    Co.,    publisher 

of    Audel' s    Questions    and    Answers    for   Electri- 
cians Examinations.        I.nll'l  M 1  I  I  I    .1     i  I     I     I    i 


32 


INTERNATIONAL  PROJECTIONIST      •      SEPTEMBER  1954 


Futter  Anent  Lens  Situation 

Citing  production  schedules  which  list 
many  VistaVision  and  other  wide-screen 
film  releases  during  the  first  half  of  the 
forthcoming  new  season,  Walter  Futter, 
distributor  of  Vidoscope  projection 
lenses,  urges  the  exhibition  industry  not 
to  overlook  the  necessity  for  good  wide- 
angle,  short-focus  lenses  necessary  for 
the  proper  presentation  of  pictures  which 
have  height  as  well  as  width. 

This  comment  by  Futter,  a  veteran 
film  producer  and  distributor,  would 
seem  particularly  apropos  at  present 
when  the  bulk  of  discussion  anent  pro- 
jection technique  is  centered  upon 
anamorphic-type  lenses.  The  Futter 
declaration  may  not  properly  be  charged 
to  self-interest,  since  he  distributes  both 
the  cylindrical  anamorphic  and  standard 
projection  objective  lenses. 

"Flai  Field"  is  Pronounced 

Vidoscope  lenses  are  made  in  Ger- 
many by  the  world-famous  house  of 
Schneider  and  are  distributed  through 
theatre  supply  dealers  in  America  with 
standard  U.  S.  mountings  and  fittings. 
They  come  in  steps  of  1/5-inch  at  a 
speed  of  F:1.9  in  a  complete  range  of 
focal  lengths.  Designated  as  the  Super 
Kiptar  series,  they  constitute  an  inter- 
esting departure  from  the  time-honored 
Petzval-type  lens  which  has  served  the 
projection  field  so  long  and  efficiently. 

The  usual  aplanatic,  or  Petzval-type 
lens  gives  superior  performance  only 
inside  a  field  of  view  not  exceeding  10  or 
15  degrees.  The  Super  Kiptar,  a  double 
anastigmat  lens,  would  seem  to  give  a 
clear  field  of  approximately  three  times 
as  great,  namely,  30  to  45  degrees.  This 
wide  field  of  view  which  gives  a  "flat" 
field  is  ideally  suitable  for  wide-screen 
projection.  The  chief  difference  between 
the  Super  Kiptar  and  other  widely-used 
double-anastigmats  is  that  the  front  in- 
ternal couplet  of  the  former  does  not 
have  cemented  components. 

Futter  has  just  opened  new  and  larger 
headquarters  at  625  Madison  Ave.,  New 
York  22,  N.  Y. 


Non-Toxic  Film  Cleaner 

A  non-toxic  film-cleaning  solution  that 
can  be  sold  at  a  price  comparable  to 
the  cost  of  conventional  solutions  has 
been  marketed  by  Neumade  Products 
Corp.,  330  West  42nd  St.,  New  York. 

Called  "Renovex,"  the  new  solution 
can  be  used  without  the  usual  precau- 
tions regarding  ventilation  or  exhaust 
equipment,  since  the  fumes  are  harm- 
less and  is  non-inflammable,  the  Neu- 
made company  stated.  An  important 
secondary  feature  of  the  solution  is 
that  it  is  said  to  render  film  anti-static 
so  that  the  film  will  actually  repel  dust 
particles  or  lint  rather  than  attract 
them. 


^      WIDE     SCREE 


N 


IN     YOUR 


DRIVE 


-  IN  / 


Drive-In  Exhibitors  everywhere  are 
getting  on  the  "Big  Screen"  bandwagon  —  for 
big  features  and  bigger  boxofTice! 

CaH  your  National  Man  now  —  he's  got  the 
^'dope"  on  what  you  need  and  how  much  it 
will  cost.  Don't  delay,  you  can  still  show  the 
big  ones  this  season! 


ATIONAL 


THEATRE        SUPPLY 


Diviilon   ef  Nolionql  •  Simpio  •  Bludwerlh.lnc. 

^iiiRiiiMKiiiilpiiiPnn 


INTERNATIONAL  PROJECTIONIST      •      SEPTEMBER  1954 


33 


Simplex  Drive-in  Speaker 
Highly  Shock-Resistant 

The  new  Simplex  drive-in  speaker, 
now  being  marketed  by  National 
Theatre  Supi)ly,  contains  a  number  of 
design  refinements  to  make  it  more 
resistant  to  rough  treatment  and  easier 
for  the  theatre  patron  to  use. 

The  unit  includes  a  4-inch  Alnico-V 
aluminum  voice  coil  speaker,  spring- 
mounted  into  the  two  halves  of  the 
die-cast  aluminum  housing.  This  mount- 
ing method  assures  a  floating  suspension 
which  reduces  shock,  minimizes  magnet 
shifting   and    simplifies   replacement. 

The  housing  is  finished  in  a  durable 
silver    hammertone    enamel    baked    over 


SATISFACTI 


RAYTONE  Screens,  Hilux  Lenses,  Thomp- 
son Screen  Frames,  Raytone  Screen 
Paints  and  Screen  Brushes  will  meet  all 
of  the  manufacturer's  claims. 


RAYTONE 


SCREEN  CORP 


165  Clermont  Ave.,  Brooklyn  5,  N.  Y 

MIDWEST:  I.  E.  Cooley, 
408  S.Oak  Pork  Ave.,  Ook  Pork,  III 


CURTAIN  CONTROLS, 
TRACKS  and  SPECIAL 
OPERATING   DEVICES 

VALLEN,lnc. 

AKRON  4,  OHIO 


Three   views   of   the   new   Simplex   speaker   for 
drive-in  theatres. 

a  zinc  chromate  base,  and  has  a  two-step 
window  bracket  to  aid  in  positioning. 
The  handle  is  an  oval-shaped  plastic 
tube,  providing  space  inside  for  a 
phorescent  theatre  name  or  slogan  card 
which  glows  in  the  dark.  The  speaker 
is  said  to  be  w^eatherproof,  and  con- 
tains tamper-proof  Phillips-Head  screws 
throughout. 

Hi-Fi  Show  in  New  York 

The  largest  assembly  of  high-fidelity 
enthusiasts  ever  to  gather  for  a  single 
event  are  expected  to  attend  the  1954 
Audio  Fair,  to  be  held  for  four  days 
beginning  October  14  at  the  Hotel  New 
Yorker,  New  York  City.  A  development 
of  the  last  few  years,  the  Fair  is  of 
interest  to  music  lovers,  hi-fi  hobbyists 
and  professional  audio  engineers.  In- 
terest in  high-quality  sound  reproduc- 
tion in  the  home  has  paralleled  the 
development  of  new  sound  recording 
and  reproduction  processes  in  the 
motion    picture    theatre. 


THE  ACE  CUE  MARKER 


The  World's  Best 

One  push  to  left  or  right  and 
all  cues  are  made  in  16-  and  35-, 
Standard,     Tv,      or     CinemaScope 

See  your  dealer  or  write  to 


ACE   ELECTRIC   MFG.   COMPANY 

1458    Shakespeare   Avenue 
New    York    52,    N.    Y. 


for  VistaVision 


PERSPECTA  SOUND 
OPERATIONAL  DATA 

(Continued  from  page  27) 

"subsonic"  band-pass  filters  is  then 
rectified  and  smoothed  out  by  capaci- 
tors and  reactances.  It  is  easy  to  see 
that  these  three  D.C.'s  vary  in 
strength  according  to  the  amplitude 
of  the  30-,  35-,  and  40-cycle  carrier 
tones  in  the  soundtrack.  Now,  each 
D.C.  is  applied  to  the  grid  of  a  vacuum 
tube  as  a  positive  charge,  or  "bias." 
The  positive  bias  on  the  grids  of 
these  three  tubes  will  vary  as  does  the 
strength  of  the  carrier  tones  in  the 
soundtrack  vary. 

The  sound  signal,  or  audible  com- 
ponent, is  conducted  to  the  cathodes 
of  the  three  "carrier-biased"  vacuum 
tubes.  Since  a  steady  negative  bias  is 
also  applied  to  these  grids,  the  sound 
current  can  flow  through  the  vacuum 
tubes  only  when  the  positive  "car- 
rier bias"  is  strong  enough  to 
neutralize  the  constant  negative  bias. 

The  intensity  of  the  sound  current 


5 


PUCES    ^^ 
NOT  Y 


HOLDING 

Film  breaks  are  costly. 
Play  safe  by  using 

JEFRONA 

All-purpose  CEMENT 

Has  greater  adhesive 
qualities.  Don't  take 
our  word  for  it.  Send 
for  FREE  sample  and 
judge  for  yourself. 

CAMERA  EQUIPMENT  CO. 

DEPT.    J-6-8 
1600  Broadway  New  York  19,  N.  Y. 


For   DRIVE-INS&THEATRESwith  HUGE,  WIDE- AREA  SCREENS  •  CARBONS  Inc.BOONTON,  N.J. 


for  CinemaScope 


34 


INTERNATIONAl,  PROJECTIONIST      •      SEPTEMBER  1954 


flowing  through  any  one  of  these 
three  tubes  from  cathode  to  plate  is 
therefore  roughly  proportional  to  the 
amount  of  carrier  bias  placed  on  the 
grid  of  that  tube.  And,  as  the  ampli- 
tudes of  the  30-,  35-,  and  40-cycle 
tones  are  changing,  the  strength  of  the 
sound  current  flowing  through  the 
three  tubes  is  always  changing  and 
varying. 

Sound-to-Speaker  Distribution 

The  sound-signal  plate  current 
from  the  tube  controlled  by  the  30- 
cycle  carrier  is  sent  to  the  amplifier 
for  the  left-hand  speaker.  The  plate 
current  from  the  35-cycle  tube  is  sent 
to  the  center  speaker,  and  that  from 
the  40-cycle  tube  is  sent  to  the  right- 
hand  speaker.  In  this  way  the  sound 
output  is  divided  between  any  two  or 
three  speakers,  or  directed  to  any  one 
of  them. 

CinemaScope,  employing  several 
sound-tracks,  can  produce  true  stereo- 
phonic sound;  but  Perspecta,  direct- 
ing only  one  channel  of  sound  to  dif- 
ferent speakers,  cannot.  If  a  soprano 
performs  on  one  side  of  the  screen 
while  a  guitarist  accompanies  her 
singing  on  the  other  side,  it  is  clearly 
necessary  to  reproduce  two  separate 
sound  signals  simultaneously  at  dif- 
ferent sides  of  the  screen.  Perspecta 
fails  in  this  type  of  scene.  The  most 
it  can  do  is  compromise  by  channel- 
ing the  combined  sound  to  the  center 
speaker  —  which  is  just  the  type  of 
sound  reproduction  we  started  in  with 
in   1928. 

Quality  Rating  of  Perspecta 

In  actual  practice,  however,  Per- 
specta can  seldom  be  distinguished 
from  CinemaScope  stereophonic  sound. 
It  has  the  advantage  of  a  permanent 
optical  sound  record  and  standard 
film  and  soundhead  specifications. 
Perspecta  equipment  is  less  expensive 
than  CinemaScope,  upkeep  costs  are 
very  much  lower,  the  prints  cost  no 
more  than  standard  prints,  the  optical 
tracks  can  be  reproduced  monaurally 
without  the  need  for  special  equip- 
ment, and  the  quality  of  the  sound  is 
consistently  good. 

The  saving  to  the  studios  is  even 
more  impressive,  as  the  cost  of  "doc- 
toring" the  sound-track  with  super- 
imposed subsonic  tones  is  stifling — 
but  will  the  studios  pass  on  these 
savings  to  the  theatres? 

The  quality  of  modern  optical 
sound  is  at  least  as  good  as  that  of 


Finest  Lenses 
Are  Needed  for 
New  Projection 
Teciiniques... 


THE  ANSWER 


Cinema  Raptars 


5'iii^ 


THE   WORLD'S  ONLY   PERFECTLY 
MATCHED   PROUECTION    LENSES 


Today  with  the  new  movie  techniques— CinemaScope,  Vista-Vision,  Wide 
Screen— exhibitors  must  have  the  finest  basic  lenses  in  order  to  give 
theatre  goers  sharp,  clear  pictures  from  edge  to  edge  of  the  screen.  There 
are  no  finer  projection  lenses  made  than  Wollensak  Cinema  Raptars.  (For 
CinemaScope  these  lenses  are  used  with  anamorphic  lenses.)  Cinema 
Raptars  use  six  and  seven  element  construction.  Only  with  such  a  design 
is  it  possible  to  deliver  full  speed,  edge-to-edge  sharpness,  and  highest 
resolution.  In  addition,  Cinema  Raptars  are  the  world's  only  perfectly 
matched  lenses— focal  lengths  matched  to  within  .0025!  Marked  as  matched 
(twin)  lenses.  Speed  ranges  are  f/1.9  in  focal  lengths  from  2"  through  5" 
and  f/2.0  to  f/2.7  in  focal  lengths  to  7"  . . .  priced  from  $180  each. 

V\/RITE  for  new  literature  fully  describing  these  new  Projection  Lenses. 


»|UST    PURCHASED    NEW    PROJECTION    LENSES? 

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a  supplementary  lens  for  al 


With  the  new  Vari-Focus  lens  exhibitors  can  show  all  the 
current  screen  releases  without  buying  a  complete  new  range 
of  short  focus  lenses.  The  Vari-Focus  permits  you  to  make 
adjustments  for  screen  width  .  .  .  change  the  focal  length 
of  your  standard  projection  lens  quickly  and  easily.  (See 
table.)  The  Vari-Focus  is  a  supplementary  lens  which  will 
produce  any  wide  screen  aspect  ratio  (non-anamorphic)  when 
used  in  conjunction  with  a  3"  to  6"  projection  lens.  The 
resolution  and  picture  quality  will  match  those  of  the  finest 
projection  lens.  Price  $235  each. 


-   -     ,...- 

^m 

c 

Mm 

^^^^HJ 

1  sizes 

standard  Lens 

Variable 

Focus  From 

3" 

21/4' 

to  13/4" 

31/2" 

23/4' 

to  2" 

4" 

31/4' 

to  21/4" 

41/2" 

31/2' 

to  2V2" 

5" 

4' 

to  3" 

51/2" 

4V2' 

to  3V2" 

6" 

5' 

to  3V2" 

WRITE  for  new  literature  fully  describing 
this  supplementary  lens.  Wollensak  Optical  Co., 
Rochester  21,  N.  Y. 


of  Optical  Craftsmanship 
by  WOLLENSAK 


INTERNATIONAL  PROJECTIONIST      •      SEPTEMBER  1954 


35 


magnetic  sound  when  the  prints  are 
new,  and  very  much  better  after  the 
latter  have  had  considerable  use. 
We  foresee  a  slight  amount  of  sound 
deterioration  due  to  accidental  inter- 
modulation  of  the  subsonic  and 
audible  signals,  resulting  in  a  low 
"gargle,"  but  careful  re-recording 
technique  should  eliminate  this  single 
possible  source  of  danger  to  sound 
quality.    At  present,  a  maximum  car- 


rier amplitude  of  16  decibels  below  a 
fully  modulated  soundtrack  is  em- 
ployed. 

Producer  Confidence  Evident 

Perspecta  has  performed  so  satis- 
factorily in  test  runs  in  this  country 
and  in  Loew's  European  theatres 
(where  it  is  now  being  used  for  all 
M-G-M  CinemaScope  presentations), 
that  it  has  now  been  adopted  as  the 


20th  CENTURY-FOX 

and  to 

PROJECTIONISTS  and  TECHNICIANS 

for 

the  superb  CinemaScope  presentation 
job    during    the    past   year     .     .     . 

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The  original  variable- 
focus  lens-attachment. 

Projects  non-anamorphic 
prints  to  full  screen  height 
regardless  of  aspect  ratio. 

Provides  perfect  matching 
for  dual  strip  3-D 
projection. 

Saves  the  price  of  numer- 
ous lenses  of  different 
focal  length. 

Write  for  free  illustrated 
literature  and  name  of 
nearest  distributor. 


standard  "stereophonic"  process  by 
Metro,  Warners,  Paramount  (Vista- 
Vision) — in  fact,  by  practically  all 
producers  except  20th-Fox.  Perspecta 
has  forced  Fox  to  do  something  it 
swore  it  would  never  do — release  its 
CinemaScopers  in  optional  single- 
track  versions. 

Public  Acceptance  Held  Assured 

Public  acceptance  of  Perspecta 
sound  may  be  expected  to  follow  the 
pattern  of  audience-reaction  to  Cine- 
maScope sound.  Directional  sound, 
whether  truly  stereophonic  or  merely 
souped-up  in  the  recording  room,  has 
never  been  a  significant  factor  in 
movie  attendance.  With  few  excep- 
tions, informed  technicians  feel  that 
stereosound  has  been  "tremendously 
overrated,"  that  it  "adds  little,  if  any- 
thing, to  the  boxoffice  value  of  a 
picture,"  and  that  4th-channel  repro- 
duction of  off-screen  noises  is  "un- 
natural   and    distracting." 

The  chief  value  of  Perspecta  sound 
appears  to  be  that  it  has  restored  the 
standard  optical  track  to  its  rightful 
and  well-deserved  place  as  the  only 
completely  satisfactory  medium  of 
motion-picture  sound  accompaniment. 

PAST,  PRESENT -AND  FUTURE? 

(Continued  from  page  23) 

don't  believe  that  even  5%  of  the 
theatres  are  actually  projecting  Cine- 
maScope at  2.55/  or  2.66/1,  for 
which  it  was  originally  designed. 
Every  theatre  I  have  been  in  is  using 
somewhere  between  2.25/  and  2.4/1. 
Many  in  the  industry  feel  that  it 
would  be  eminently  more  desirable  to 
get  an  anamorphic  screen  image  that 
more  closely  fitted  2./1,  in  order  to 
obtain  better  grain  concentration  and 
overall  superior   definition. 

Paramount  is,  to  my  knowledge, 
the  only  studio  that  is  shooting  in 
the  VistaVision  process  (first  up  is 
"White  Christmas,"  due  for  late  No- 
vember release),  and  Par  is  the  only 
studio  not  shooting  in  CinemaScope. 
At  M-G-M,  every  foot  of  Cinema- 
Scope film  is  also  shot  in  the  1.75/1 


36 


INTERNATIONAL  PROJECTIONIST 


SEPTEMBER  1954 


wide    screen    ratio    in    order    to    get 
the  widest  general  release  possible. 

Anent  anamorphic  lenses,  it  seems 
that  we  are  already  collecting  an- 
other group  of  "inventors."  Con- 
sidered more  or  less  standard  are  the 
cylindrical  jobs  of  Bausch  &.  Lomb, 
Bell  &  Howell  and  Vidoscope;  while 
on  the  variable  anamorphic  side 
there  are  the  Tushinsky,  the  Gott- 
schalk,  and  the  Hilux,  the  last  a  re- 
cent entry  by  Projection  Optics  Co. — 
quite  a  wide  range  of  choice. 

Type  of  Soundtrack  Now  Elective 

CinemaScope  releases,  fortuitously, 
are  now  available  in  4-track  magnetic, 
3-track  magnetic,  1-track  magnetic, 
1-track  optical,  and  in  the  Perspecta 
system.  The  magnetic  tracks  utilize 
the  penthouse  reproducer;  while  the 
optical  track  is  normal  procedure. 
There  is  a  very  good  description  of 
the  Perspecta  system  in  Interna- 
tional Projectionist  for  July  (2nd 
section) . 

Simply  expressed,  Perspecta  con- 
sists of  an  amplifier  system  and  sound 
power  supply  system  that  directs  30-, 
35-,  and  40-cycle  tones,  which  is 
superimposed  upon  the  regular  sound 
track  below  the  level  of  audibility,  to 
the  respective  horn  positions  desired 
in  back  of  the  screen. 

The  screens  available  today  are 
beautiful.  I  never  accepted  those 
screens  with  seams.  Our  craft  had 
advanced  far  enough  that  we  did  not 
have  to  ask  the  public  to  look  at  pic- 
tures either  through  horizontal  or 
vertical  Venetian  blinds.  Two  or  three 
manufacturers  have  large  seamless, 
one-piece  screens,  while  one  has  a  90- 
foot,  seamless,  one-piece  screen. 

Now  as  to  film  damage,  a  subject 
very  close  to  my  heart.  Film  damage 
with  the  new  equipment  was  very 
heavy,  but  is  now  tapering  off.  If 
your  equipment  does  not  damage  film, 
you  are  sitting  pretty;  but  if  it  is 
damaging  film,  get  after  your  em- 
ployer fast  and  strenuously. 

Inform  your  employer  that  the   in- 


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1458    Shakespeare    Avenue 
New    York    52,    N.    Y. 


dustry  is  definitely  ready  to  again 
start  charging  for  mutilated  prints! 
We  receive  every  day  damaged  prints 
that  are  definitely  the  result  of  sub- 
standard or  worn-out  equipment. 

I  have  tested  four  different  types  of 
film-coolers  which  will  be  marketed. 
Three  of  them  are  basically  room 
coolers,  converted  into  projection 
coolers.  The  fourth  is  a  very  simple 
double  cooler  that  not  only  cools  the 
heat  filters  on  your  lamps  but  also  has 
an  auxiliary  one  which  goes  into  the 
projector.  This  does  a  very  good  job 
of  knocking  the  temperature  down  at 
the  aperture. 

New  Developments  on  the  Fire 

Several  new  developments  are  on 
the  fire,  among  them  the  Todd-AO 
process  in  which  "Oklahoma"  is  now 
being  shot  at  M-G-M  and  on  location 
in  Arizona.  The  regular  Todd-AO 
projectors,  not  yet  available,  are  sup- 
posed to  project  both  65:  and  35-mm 
film.  Presently  the  daily  rushes  are 
being  projected  on  Ernemanns  con- 
verted for  70-mm  operation.  The 
steadiness  and  amount  of  light  leave 
much  to  be  desired,  but  this  problem 


seems  not  to  be  insurmountable. 

Fox  has  started  experimenting  with 
lenticular  color.  Black-and-white  film 
is  projected  through  filters  to  obtain  a 
colored  screen  image — still  very  much 
in  the  experimental  stage,  in  my  opin- 
ion, despite  the  various  announce- 
ments that  have  gone  out. 

Another  item  is  a  3-track  optical 
stereophonic  sound,  now  the  subject 
of  experiment  with  a  CinemaScope 
picture  and  35-mm  tracks.  In  other 
words,  instead  of  the  track  being  100 
mils  wide  as  at  present,  it  will  be  150 
mils  wide.  The  adaptor  used  to  re- 
produce this  triple  optical  track  is  a 
very  simple  prismatic  affair  that  is 
slipped  into  the  present  soundhead. 
Nothing  definite  on  results  as  yet. 

In  closing,  I  believe  that  it  behooves 
all  of  us  projectionists  to  keep  on  our 
toes  on  all  fronts.  Very  good  sources 
of  informative  material  are  readily 
available  in  the  form  of  our  lA  Bul- 
letin and  International  Projec- 
tionist. Every  delegate  here  should 
return  to  his  respective  Local  Union 
and  do  everything  possible  to  spread 
the  gospel  of  keeping  abreast  of  all 
technical  developments. 


Altec  service  men  ...  200  skilled, 
sound-wise  field  engineers  .  .  . 
Altec-trained  technicians  equipped 
with  Altec-designed  precision  tools 
and  instruments  ...  at  work  in 
theatres  from  coast  to  coast  .  .  . 
installing  stereophonic  systems  .  .  . 
servicing  .  .  .  repairing  .  .  .  replacing  .  .  . 
counseling  exhibitors  .  .  .  solving  difficult 
problems  .  .  .  assuring  perfect 
performance  day  in  and  day  out  .  .  . 
for  6,000  Altec-serviced  theatres! 

You  can  put  an  Altec  service  man 
to  work  for  you  tomorrow.  Let  us  show 
you  how.  .  .  today! 


t 


^>. 


Aum 


K 


SPECIALISTS  IN  MOTION  PICTURE  SOUND 

161  SIXTH  AVENUE    NEW  YORK  13,  N.Y. 


INTERNATIONAL  PROJECTIONIST 


SEPTEMBER  1954 


37 


AN   EVALUATION   OF 
OPTICAL   SOUND 

(Continued  from  page  22) 

these  but  also  electrons  from  bom- 
barded gas  atoms,  and  electrons  from 
the  ion-bombarded   cathode. 

As  soon  as  a  positive  gas  ion  hits 
the  cathode,  it  gets  its  electrons  back 


illumination  of  the  photosensitive 
cathode.  Violent  bombardment  of 
the  cathode  by  the  gas  ions  quickly 
ruins  the  cell. 

In  every  case  the  positive  terminal 
of  the  current  supply  must  be  con- 
nected to  the  anode  wire  of  the  cell, 
and  the  negative  terminal  to  the  photo- 
emissive   cathode.     If  the  polarity  be 


Sound -head 

output 
— — O 


AmpliRer  tube 
Pre-amplifier  — .^^  ^ 

inpu ' 


>ut 


0.5  meg.    (Shielded  cable) 


90  volts 


0.5  to  10  me^. 

► 


90  volts 


from  the  external  source  of  "anode 
voltage."  When  this  happens,  the  ion 
turns  back  into  a  neutral  atom  and 
wanders  back  into  the  free  space  of 
the  cell — only  to  get  hit  again  by 
electrons,  whence  the  process  is  re- 
peated. 

Millions  of  electrons,  gas  atoms, 
and  ions  interact  all  the  time  that 
light  shines  on  the  photosensitive 
cathode.  A  process  as  complicated  as 
this  cannot  be  started  and  stopped  in- 
stantly. So  while  a  vacuum-type 
photocell  responds  perfectly  even  to 
billions  of  variations  of  light  per 
second,  the  response-lag  of  gas-filled 
photocells  results  in  a  loss  of  sensi- 
tivity of  about  25%  when  the  in- 
tensity of  illumination  changes  10,000 
times  per  second  (as  when  a  10,000- 
cycle  test  film  is  run). 

Voltage,  Hook-up  Requisites 

Vacuum  phototubes  require  a  D.  C. 
voltage  (anode  potential)  of  250 
volts  or  more,  but  gas-filled  cells 
would  be  injured  by  so  high  a  volt- 
age. In  practice,  a  potential  of  about 
90  volts  is  applied  to  the  terminals 
of  modern,  gas-filled  phototubes  of 
the  types  used  in  soundheads.  Exces- 
sive voltage  ionizes  the  gas  to  such 
an   extent   that   the   cell   glows   and   a 


FIGURE  4 
Top:  resistance- 
covipled   photo- 
cell circuit. 


Bottom:  trans- 
form er-coiipled 
photocell  cir- 
cuit. 


strong  current  passes  even  without 
reversed,  the  cell  will  not  work  at  all. 
Fig.  4  shows  how  photocells  are 
hooked  up  to  amplifiers. 

The  photosensitivity  of  the  caesium 
used  as  the  cathode  of  modern  photo- 


cells is  increased  by  mixing  it  with 
certain  substances  which  react  chem- 
ically with  it.  In  the  conventional 
red-sensitive  cells  used  in  most  sound- 
heads, the  caesium  is  mixed  with 
silver  and  oxygen  atoms;  in  the  blue- 
sensitive  cells  intended  for  use  with 
dye  soundtracks,  the  caesium  is  al- 
loyed with  anitomy. 

Europeans  still  make  their  photo- 
cells with  the  light-sensitive  cathode 
materials  coated  directly  on  the  inner 
surface  of  the  glass  envelope.  Amer- 
ican manufacturers  coat  the  photo- 
electric substances  on  a  metal  plate, 
usually  semi-cylindrical  in  shape. 
The  American  method  results  in 
greater  mechanical  stability  with  less 
chance  of  severance  of  the  connec- 
tion to  the  cathode. 

[TO  BE  CONCLUDED] 

Triple-Header  Trade  Show 

The  continuing  and  widespread  in- 
novations being  made  in  motion  picture 
projection  equipment  have  created  much 
interest  in  the  annual  trade  show  of  the 
Theatre  Equipment  &  Supply  Manufac- 
turers Association  scheduled  to  run  from 
October  31  to  November  4  at  the  Con- 
rad Hilton  Hotel  in  Chicago. 

The  Tesma  show  is  held  in  conjunc- 
tion with  the  annual  conventions  of  the 
Theatre  Owners  of  America  and  the 
Theatre  Equipment  Dealers  Association. 
A  large  proportion  of  the  exhibition 
space  has  already  been  reserved. 


How  Many? 


Was  this  copy  dog-eared  when  it  came  to  you? 
How  many  men  read  it  ahead  of  you? 

You  would  receive  a  clean,  fresh  copy  if  you  had 
a  personal  subscription— and  you  wouldn't  have 
to  wait— you  would  be  first  to  read  it. 

Use  coupon  below. 

INTERNATIONAL  PROJECTIONIST, 
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n    1      year— 12   issues— $2.50 
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Enter  my  subscription  for 


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33 


INTERNATIONAL  PROJECTIONIST 


SEPTEMBER  7954 


Over  90%  of  oii 

theatres  and  drive-ins 

sliowing  CinemaScope.. 

use  Bauscli  &  Lomb 

cylindrical  anamorphic 


attachments 


Here's  why: 


•  Highest  light  transmission  of  all  anamorphic  attachments  — 
for  clearest,  most  enjoyable  screen  picture. 

•  No  blur,  no  distortion!  Detail  is  sharp,  magnification  is  uniform,  picture 
is  pleasing  throughout  screen  area. 

•  Matched  lens  design,  for  perfect  pairing  with  B&L 
//1. 8  Super  Cinephor,  world's  fastest  projection  lenses. 

•  Complete  line,  including  the  only  anamorphic  lens 
specially  made  to  match  4"  projection  lenses 
without  vignetting. 

•  Easier  to  install — lenses  screw  right  into  perfect  alignment 

•  Minimum  maintenance — completely  sealed  unit. 

•  Dependable  factory  service  for  full  life  of  lens. 

•  Recommended  by  CinemaScope  producers. 


Ask  your  dealer  for  a  private  demonstration  on 
your  own  CinemaScope  screen.  (In  Canada: 
General  Theatre  Supply — Main  Office,  Toronto.) 


BAUSCH  &  LOMB 


Every  day  more  and  more  medium  and  small  houses 
are  making  the  switch  to  wide  screen  with  stereophonic  sound 
.  .  .  and  there's  a  good  reason!  BOXOFFICE!  This  combination  is 
now  a  must  for  complete  motion  picture  enjoyment! 

If  you're  "thinking"  about  stereophonic  sound,  don't  put  off  any 
longer  —  act  today  —  bring  your  house  up-to-date  —  play  the 
big  pictures  with  the  big  draw!  .  .  .  and  to  be  sure  of  the  best, 
place  your  order  for 


II  >  t «»    t  J« 


OCTOBER 


1954 


VOLUME  29 


NUMBER  10 


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$2.50  A  YEAR 


For 


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WRITE   FOR   DATA 


32,000        LUMENS 


At  180-185  Amperes  .  .  .  With  No.  15363-Q  and  No. 
15367-P,  "Hy-Speed"  Condensers  .  .  .  With  a  .715"  x 
.912"  "CinemoScope"  aperture  .  .  .  With  a  3"  Focus, 
F-1.8  coated  projection  lens  ...  On  any  kind  or  any 
size  of  screen   .... 

Using  presently  available  and  standard  carbons, 
there  is  "No  other  projection  lamp  in  the  world, 
today"  that  can  produce  so  much  light. 

NOT  A  REFLECTOR  ARC  i 


22,000 


TOTAL 


At  75-77  amperes  .  .  .  With  presently  available  and 
standard  8x9  m/m  copper  coated  carbons  .  .  .  With 
a  .715"  X  .912"  "CinemoScope"  aperture  .  .  .  With  a 
3"  Focus,  F-1.8  coated  projection  lens  .  .  .  With  a  14" 
diameter  No.  2012  PEERLESS  "Hy-Lumen"  glass  reflec- 
tor that  retails  at  a  list  price  of  $22.00  F.O.B.  Chicago 
.  .  .  With  a  No.  2880  PEERLESS  Tail  Flame  Flue  .  .  . 
On  any  kind  or  any  size  screen  .  .  .  No  Heat  Filter 
required. 

All  of  this,  at  the  lowest  possible  first,  and  opera- 
tional  cost.    And  


NO  -  HIGH  -  RATE 


OF    ($60.00)    REFLECTOR    BREAKAGE 
OR  SILVERING  DETERIORATION  — 


J.E.McAULEY  MFG. CD. 

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CORPORATION 


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THE  PICTURE  IS  LIGHT... 

GIVE  IT  ALL  YOU  CAN 

with  "NATIONAL"  CARBONS 

INTERNATIONAL   PROJECTIONIST      « 


•  Given  the  best  projector  carbons  made,  the  "rest"  of  perfect  projection 
lies  in  the  projectionist's  skill  and  the  service  rendered  by  his  supplier. 

National  Carbon's  nationwide  advisory  service  has  featured  promi- 
nently in  every  phase  of  projector-lighting  progress  from  the  discovery 
and  development  of  new  and  better  carbon-arc  materials  right  down  to 
their  firing-line  application  in  theatres. 

Not  only  do  "National"  carbons  excel  in  brilliance,  color-balance  and 
uniformity,  but  they  give  you  all  these  features  at  the  lowest  cost  per  unit 
of  light  and  per  inch  of  carbon  consumed. 

Call  on  "National"  carbons  and  National  Carbon  service  for  the 
ultimate  in  picture  quality,  at  least  overall  cost. 

The  term  "National"  is  a  registered  trade-mark  ot  Union  Carbide  and  Carbon  Corporation 

NATIONAL  CARBON  COMPANY 

A  Division  of  Union  Carbide  and  Carbon  Corporation  •  30  East  42nd  Street,  New  York  17,  N.  V. 

District  Sales  Offices:  Atlanta,  Chicago,  Dallas,  Kansas  City,  New  York,  Pittsburgh,  San  Francisco 
IN  CANADA:  Union  Carbide  Canada  Limited,  Toronto 


OCTOBER    1954 


'A 


PROJECTION    ARC    LAMP 


NATIONAL^ 

"xc  elite' 


Be  sure  to  get  the  lamp  that  is  readily  adaptable  to  all  types  of  modern  screen  presentation. 

National's  Reflect-O-Heat  unit  permits  the  great  increase  in  volume  of  light  at  the  mammoth 
new  screens,  without  a  corresponding  increase  in  heat  at  the  aperture. 

The  Automatic  Crater  Positioning  Control  System  insures  that  both  carbons  are  so  fed  as  to 
maintain  a  correct  arc  gap  length  and  to  keep  the  position  of  the  positive  crater  at  the  exact 
focal  point  of  the  reflector.  Thus,  throughout  the  presentation,  the  screen  light  is  always  of 
the  same  color,  without  variations  from  white  to  either  blue  or  brown.  The  projectionist  is 
accordingly  freed  from  the  necessity  of  constantly  supervising  the  arc  so  that  he  can  devote 
himself  to  the  care  of  other  technical  features  of  projection  which  are  not  on  an  automatic 
basis  and  which  require  continual  attention. 

The  arc  is  stabilized  by  a  stream  of  air  which  maintains  a  prescribed  system  of  ventilation 
of  the  area  surrounding  the  arc.  This  air  jet  prevents  the  hot  tail  flame  of  the  arc  from  reaching 
the  reflector,  supplies  enough  oxygen  so  that  no  black  soot  is  produced,  and  keeps  white  soot 
from  collecting  on  the  reflector  in  such  quantity  as  to  absorb  heat  which  would  cause  breakage. 

Unit  construction  permits  easy  removal  of  the  elements  for  inspection  in  servicing. 


GENERAL 


A   SUBSIDIARY    OF 


•THERE'S  A  BRANCH   NEAR  YOU" 


m 


PRECISION 
EQUIPMENT 


CORPORATION 


INTERNATIONAL    PROJECTIONIST      •      OCTOBER    1954 


y 


INTERNATIONAL 

PROJECTIONISl 

With   Which    Is   Combined    PROJECTION   ENGINEERING 


JAMES  J.  FINN,  Ed/7or 
JAMES  MORRIS,  k$soc\a\e  Editor 


Volume  29 


OCTOBER  1954 


Number  10 


Index   and   Monthly   Chat    .  .        5 

A  SYMPOSIUM: 

Top-Notch   Projection  Demands 
Top-Notch  Equipment  .....        7 

IP— Charles  E.  Hahn,  F.  W. 
Keilhack,  Fred  Matthews, 
Leonard   Satz 

The   New  KoUmorgep   F/1.7 

Lens    12 

Mark  Stevens 

Lamp  Manufacturer  Assays 

Screen  Surfaces    14 

Charles  E.  Hahn 

This  Matter  of  Balanced 

Lenses 15 


The   VistaVision   Horizontal 

Projector 16 

James  Morris 

In    the    Spotlight    20 

An  Evaluation  of  Optical 

Sound,   III    22 

Robert  A.  Mitchell 

lA   Obituaries    26 

SMPTE    Convention   in   Los 
Angeles    28 

Statement  of  Ownership  and 
Management   of   IP    34 

News   Notes 
Technical  Hints 
Miscellaneous  Items 


Published  Monthly  by 

INTERNATIONAL  PROJECTIONIST  PUBLISHING  CO.,  INC. 

19  West  44th  Street,  New  York  36,  N.  Y. 

Telephone:    MUrray  Hill  2-2948 

R.  A.   ENTRACHT,  Publisher 

SUBSCRIPTION  REPRESENTATIVES 

AUSTRALIA:     McGills,  183  Elizabeth  St.,  Melbourne 

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YEARLY  SUBSCRIPTION:  United  States  and  possessions,  $2.50  (two  years,  $4);  Canada  and 
foreign  countries,  $3;  single  copies,  30  cents.  Changes  of  address  should  be  submitted  two  weeks 
in  advance  of  publication  date  to  insure  receipt  of  c6rrent  issue.  Entered  as  second  class  matter 
February  8,  1932,  at  the  Post  Office  at  New  York,  ti.  Y.,  with  additional  entry  at  Yonkers,  N.  Y., 
under  the  act  of  March  3,  1879.  Entire  content^  copyrighted  1954  by  INTERNATIONAL  PRO- 
JECTIONIST PUBLISHING  CO.,  INC.  INTERNATIONAL  PROJECTIONIST  assumes  no  responsibility 
for  personal  opinions  appearing  in  signed  articles,  or  for  unsolicited  communications. 


MONTHLY      CHAT 


1"^HE  premiere  showing  of  the  Vista- 
.  Vision  film  "White  Christmas"  at  the 
Radio  City  Music  Hall  in  New  York 
City  utilized  a  novel  unit  of  projection 
equipment  —  a  mechanism  which 
employs  a  turned  projector  head  and 
thereby  permits  the  horizontal  pro- 
jection of  a  film  image  equal  in  size 
to  two  of  the  presently  standard  pro- 
jection  film   frames. 

There  is  no  question  but  that  this 
projection  technique  represents  a  major 
advance  in  the  art,  as  detailed  else- 
where in  this  issue.  However,  in  view 
of  the  wide  publicity  given  this  mech- 
anism in  the  general  industry  trade 
press,  IP  stresses  the  point  that  this 
custom-made  job  was  planned  and  exe- 
cuted for  the  specific  Music  Hall  situa- 
tion, which  is  widely  recognized  as  the 
foremost  exhibition  auditorium  in  the 
world. 

The  present  screen  image  of  the  Music 
Hall  is  59  feet  wide  and  is  most  im- 
pressive in  terms  of  visual  clarity  and 
sharpness.  Some  two  months  ago,  how- 
ever, we  witnessed  the  presentation  of 
the  very  same  film  via  standard  vertical 
projection  means  which,  to  our  mind, 
gave  an  equally  satisfactory  image.  The 
issue  being  discussed  here  is  whether 
under  the  present  fluid  state  of  tech- 
nological developments  we  shall  have  to 
awake  each  morning  only  to  be  con- 
fronted by  a  new  principle  for  the  rela- 
tively simple  process  of  projecting  a 
motion  picture.  There  is  no  question  but 
that  this  new  horizontal  projection  me- 
thod has  certain  definite  advantages; 
but  it  is  a  moot  question  whether  a 
special  installation  of  this  sort  is  war- 
ranted for  95%  of  theatres  on  either  a 
technical  or  economic  basis. 

If  we  continue  to  course  the  path  of 
additional  equipment  and  expense  every 
time  a  producer  of  motion  pictures  has 
a  new  fancy,  we  can  only  anticipate 
economic  disaster.  We  must  remember, 
also,  that  at  the  present  time  there  are 
two  major  efforts  being  expended  to 
utilize  70-mm  film  which  will  employ 
the  present  standard  vertical  projection 
method.  To  our  mind,  there  is  little 
if  any  justification  for  applying  Music 
Hall  standards  to  the  vast  majority  of 
smaller  theatres  throughout  the  world. 

IP's  view  is  that  a  proper  regard  for 
the  economic  welfare  of  the  industry  at 
large  dictates  that  a  considerable  de- 
gree of  caution  be  exercised  at  the 
moment  —  particularly  in  view  of  the 
lack  of  any  agreement  on  standard  pro- 
cedure. Once  a  given  process  has  proven 
itself,  we  may  then  move  to  utilize  its 
advantages  on  a  sound  technical  and 
economic  basis. 


INTERNATIONAL    PROJECTIONIST      •      OCTOBER    1954 


Zhe  Most  Migkly  Kegarded 
Sight  and  Sound  Squipment 

For  exhibitors  and  projectionists  who  are  satisfied  only 
with  a  perfect  performance.  ^         — 


jiiflfiosafip}] 


The    Only    Projector    that 

and    Conventional    Prints 
Sprockets^    Shoes 


Run    CiNemaScOPE 

Without    Changing 
and    Tracks 


'/^e  Aeo.  MOTIOGRAPH  AAA 

*  Instantaneous  interchange  of  apertures. 

*  Lens  barrel,  with  no  modifications,  accepts 
lenses  of  all  focal  iengtlis  with  a  small  or  large 
diameter.  Anamorphic  lenses  quickly  installed 
without  adiustment. 

*  Double-duty  tension  shoes,  tracks,  guide  rollers  and  sprockets 
need  not  be  changed  to  run  conventional  or  CinemaScope 
prints. 

*  Rollers  at  top  and  bottom  of  aperture  prevent  side  sway. 

*  Intermittent  movement  removable  from  operation  side  on  a  matter  of  seconds. 

*  A  rock-steady,  clearly-defined   picture. 

*  Maximum  screen  illumination  without  flicker  or  travel  ghost. 

*  Gears  run  on  lubricated-for-life,  double-row  ball  bearings.    Smooth,  silent,  cool  oper- 
ation.   Unbelievable  resistance  to  wear. 

*  Blower,  available  for  use  with  high  amperage  arcs,  cools  aperture  and  film. 

No  other  projector  affords  so  many  exclusive  features.    Motiograph  proiectors 
have  a  reputation  for  lasting  practically  forever,  assuring  lowest  maintenance 
cost.    For  perfection  in  projection  you  m  ust  have  Motiograph  —  the  finest  pro- 
jector in  history. 
Your  AioHograp/i  6ea\er  will  arrange  a  demon  strafior)    and   explain    a    liberal   financing   plan. 


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INTERNATIONAL    PROJECTIONIST      •      OCTOBER    1954 


Vol.  29,  No.  TO 


^  summary  of  opinion  which,  while  relating  to  a  specific  situation, 
applies  with  equal  force  to  the  fundamental  requisites  of  the  art  of 
«/isual  and  sound  projection.  The  appended  expressions  of  various 
viewpoints  reflect  IP's  policy  of  providing  a  forum  for  anybody  who 
has  anything  interesting  to  say  anent  the  projection  process. 


A  Case  In  Point: 


Top-Notch  Projection  Demands 

Top-Notch  Equipment 


To  the  Editor  of  IP: 

Our  efforts  to  increase  our  screen  light 
embraced,  among  other  things,  the  idea  of  using 
water-cooling  for  our  lamphouse.  Is  is  a  fact 
that  through  the  use  of  water-cooling  jackets 
we  will  actually  lose  light?  This  seems  to  be  a 
very  controversial  subject  in  projection  circles, 
thus  our  appeal  to  IP  for  factual  information. 
The  basic  problem  is  simple:  how  can  we  in- 
crease the  light  on  our  screen? 

Our  equipment  set-up  is  as  follows:  a 
pair  of  Gardner  heads  with  barrel-type  shutters, 
with  the  shutters  trimmed  down  to  the  point 
where  we  get  a  slight  travel-ghost;  Kollmorgen 
4-inch,  //2  coated  lenses;  Strong  Mogul  lamps; 
metal  reflectors;  carbon  trim  of  8  x  9  Orotip 
Suprex,   pulling   75-80    amps;    RCA  tube  recti- 


fiers  for   40-volt,   80   amp,   3-phase;    projection 
throw  250  feet. 

Formerly  our  screen  was  35  x  48  feet,  sur- 
faced with  white  asbestos  siding  (Johns-Man- 
ville) .  Now  that  we  are  converting  for  Cinema- 
Scope,  we  plan  upon  a  screen  35  x  78  feet,  with 
the  same  J-M  siding.  Light  is  our  chief  concern, 
as  you  will  understand.  Any  assistance  you  axe 
able  to  render  will  be  greatly  appreciated. 

I  think  that  you  have  a  wonderful  maga- 
zine. Other  publications  give  me  this  "canned" 
information,  but  I  have  learned  through  the 
years  to  rely  upon  the  integrity  of  IP. 

John  "Pat"  Elzey 
Pat  Drive-In  Theatre,  Vidalia,  Louisiana. 


IP's  Viewpoint: 


IT  IS  our  impression  that  the  light 
on  your  present  screen  is  some- 
what less  than  you  would  like  it  to 
be.  And,  as  you  are  aware,  the  light 
will  drop  to  about  half  its  present 
level  when  you  change  to  Cinema- 
Scope — unless  something  is  done  to 
increase  it. 

The  obvious  and  most  effective 
remedy  is,  of  course,  the  purchase  of 
more  powerful  lamps  together  with 
appropriate  rectifiers.  This,  as  you 
say,   is   out  for   the   present,   so   we'll 


see  what  can  be  done  for  a  smaller 
outlay  of  cash. 

First  thing,  we'll  advise  you  not  to 
spend  money  for  something  you  don't 
need  just  now,  and  which  will  de- 
crease, not  increase,  the  brightness 
of  your  picture.  We  are  talking  about 
carbon-cooling  water  jackets.  These 
devices  improve  the  quality  of  the 
light,  and  they  also  make  satisfactory 
operation  of  the  lamps  much  easier; 
but  they  always  decrease  light-output 
by  about  15%  unless  the  carbons  are 
already  overloaded. 

Carbon  coolers  increase  light  with 
an     overloaded    trim    by    preventing 


spindling,  thus  enabling  a  larger, 
somewhat  shallower  crater  to  be 
formed  in  the  end  of  the  overloaded 
positive  carbon.  This  holds  the  lumin- 
ous ball  of  ionized  gas  at  the  tip  of  the 
carbon  and  prevents  it  from  stream- 
ing out  as  an  oversize  tail-flame.  The 
tail-flame  adds  little  or  nothing  to 
screen  illumination. 

Your  9-8  mm  trim,  however,  seems 
to  be  a  trifle  underloaded;  and  the 
use  of  carbon  coolers  in  your  lamps 
with  your  present  rectifiers  will  de- 
crease your  screen  illumination  by  at 
least  15%,  and  possibly  more.  The 
water-cooled   crater   is   slightly  larger 


INTERNATIONAL   PROJECTIONIST      •      OCTOBER    1954 


than  an  uncooled  crater,  it  is  true, 
but  crater  brightness  in  the  cooled 
carbon  is  approximately  30%  under 
that  of  an  uncooled  carbon  when  the 
amperage   lemains   the   same. 

Waler-cooled  carbons  burn  some- 
what more  slowly  than  uncooled  car- 
bons, and  this  means  just  one  thing — 
less  light  at  the  same  power-consump- 
tion. Charles  A.  Hahn  of  J.  E. 
McAuley  Mfg.  Co.,  stressed  this  fact 
in  the  July  1953  issue  of  IP  (page  21) . 

"As  Simple  as  That" 

In  the  case  of  carbon  arcs,"  he 
wrote,  "the  main  product  we  seek 
through  their  consumption  is  light, 
and  its  quality  or  volume  is  deter- 
mined by  the  amount  of  carbon  that 
is  consumed.  .  .  .  All  things  being 
equal,  we  doubt  if  anybody  can  re- 
duce the  consumption-rate  of  a  fuel 
and  still  come  up  with  a  gain  in  the 
output  of  the  product  you  burn  it 
for.  It's  as  simple  as  that." 

Purely  fanciful  claims  won't  in- 
crease your  light.  If  your  screen  were 
smaller,  and  if  you  could  feed  100 
amps  to  your  arcs,  then  carbon-coolers 
would  be  advantageous  to  you.  Your 
lamphouses  would  be  less  hot,  your 
screen  would  be  more  evenly  lighted, 
and  color  changes  would  not  be  so 
apt  to  occur  during  changeovers. 
Under  these  conditions  you  would 
use  carbon  cooling.  But  under  the 
actual  existing  conditions  in  your 
theatre,  carbon  coolers  won't  do  you 
a  bit  of  good,  and,  in  fact,  will  rob 
you  of  light  you  can't  afford  to  lose. 

For  comprehensive  technical  studies 
of  the  effects  of  water-cooling  on  arc 
operation,  we  refer  you  to  The  Effect 
of  Carbon  Cooling  on  High  Current 
Arcs  by  Wolfgang  Finkelnburg,  Re- 
search and  Development  Laboratories, 
Fort  Belvoi'-,  Virginia  (IP  for  June 
1949,  p.  14),  and  to  High-Brightness 
Carbon  Arcs  by  M.  T.  Jones  and  F.  T. 


Bowditch,  National  Carbon  Co.  (IP 
for  July  1949,  p.  12). 

Now  let's  take  a  look  at  your  pro- 
jection setup  and  see  if  anything  can 
be  changed  to  give  you  more  light. 

Your  metal  arclamp  reflectors  are 
doing  your  business  as  much  harm  as 
anything.  This  is  something  else  you 
can  get  away  with  if  you  have  plenty 
of  light  to  begin  with.  The  type  of 
metal  mirrors  you  are  using  are  made 
of  steel  plated  with  rhodium,  a  shiny 
metal  of  the  platinum  family;  These 
mirrors  reflect  only  about  75%  as 
much  visible  light  as  silvered  glass 
mirrors,  but  just  as  much  heat  (infra- 
red). So  gst  glass  mirrors  for  your 
lamps,  and  you  will  gain  25%  more 
light.  Two  new  mirrors  will  be  suffi- 
cient, as  you  can  save  your  metal 
mirrors  for  spares  in  case  of  breakage. 

Optical  Set-up  Vital 

When  changing  mirrors,  don't  fail 
to  line  up  your  lamps  for  maximum 
light  production.  The  focal  lengths 
of  commercial  mirrors  often  differ 
slighdy,  so  if  it's  possible  to  readjust 
the  mirror-to-aperture  distance,  try 
different  distances  until  you  get  the 
brightest  light.  And,  of  course,  all 
the  optical  components — mirror,  car- 
bons, aperture,  and  projection  lens — 
must  be  in  a  straight  line  to  get  good 
light.  Even  a  slight  deviation  can 
ruin   your   screen   illumination. 

The  writer  has  often  used  metal 
mirrors,  and  while  he  appreciates  mir- 
rors that  can't  pit  or  break,  he  is  not 
too  happy  about  a  25%  loss  of  light. 
The  light  from  metal  mirrors  is  yel- 
lower, or  "softer,"  than  that  from 
silvered-glass  mirrors,  so  you  can  ex- 
pect color  films  to  look  better  on  your 
screen  after  you  have  made  the  change 
to  glass  mirrors.  Protect  your  glass 
mirrors  from  sudden  drafts  and  de- 
posits of  soot  to  insure  against  break- 
age.     Sooty    spots,     which    may     be 


Screen  used  for  »he 
first  CinemaScope 
drive-in  presentation 
at  the  Motor  Vu 
Drive- In  Theatre, 
Salt  Lake  City. 
Enormity  of  screen, 
102  by  48  feet,  may 
be  gauged  by  com- 
paring its  range  with 
human  figures 
shown   at  lower  left. 


formed  when  the  arc  is  struck  too 
slowly,  often  crack  mirrors  because 
they  absorb  a  great  deal  of  heat. 

Carbon  Trim,  Power  Supply 

You  are  burning  the  proper  amper- 
age in  your  lamps,  but  the  voltage 
supplied  by  your  rectifiers  is  a  trifle 
too  low  for  the  best  light.  The  recti- 
fiers you  are  using  are  better  suited 
to  8/7  mm  trims.  Your  present  9/8 
mm  trim  requires  at  least  45  volts 
to  produce  a  crater  of  proper  diameter 
and  depth.  You  will  probably  find  that 
the  craters  in  your  positive  carbons 
are  too  small  in  diameter  and  too 
deep.  Just  as  an  experiment,  you 
might  try  the  smaller  trim  (8  mm 
positive  with  7  mm  negative,  both 
copper-coated)  just  to  see  what  hap- 
pens to  the  light.  Better  still,  change 
to    rectifiers   supplying   50   volts. 

Travel-ghost  isn't  a  good  thing; 
and  if  you  were  getting  plenty  of 
light,  you  wouldn't  want  a  trace  of  it 
in  your  pictures.  But  it  would  seem 
that  you  were  justified  in  trimming 
your  shutters  a  little  beyond  the  limit 
to  get  every  bit  of  light  posible.  Every 
lumen  helps  when  the  light  is  in- 
adequate. 

And  this  brings  up  the  subject  of 
your  screen.  The  white  asbestos 
siding  with  which  your  screen  is  sur- 
faced has  a  reflective  power  of  ap- 
proximately 65%.  A  regular  white 
movie  screen  reflects  from  75%  to 
80%  even  when  perforated.  We  real- 
ize that  asbestos  siding  is  a  common 
screen  surface  in  drive-ins,  but  by 
coating  this  siding  with  a  weather- 
proof flat  white  paint  of  good  quality 
the  reflectivity  can  be  stepped  up  to 
at  least  80%,  and  may  even  go  up  to 
90%.  It  is  best  to  obtain  a  paint 
made  for  this  purpose  and,  at  any 
rate,  paints  containing  white  lead 
should  be  avoided.  White  lead  turns 
yellowish  in  the  course  of  time  due 
to  the  formation  of  brownish-black 
lead  sulfide. 

Proper  Screen  Surface 

It  may  be  best  to  use  such  a  white 
surface  on  your  new  CinemaScope 
screen.  The  use  of  an  aluminized  sur- 
face is  ruled  out  if  your  projectors 
tilt  upwards  toward  the  screen.  With 
an  upward  projection  angle,  an 
aluminum  screen  would  merely  throw 
most  of  the  light  into  the  sky  where 
it  would  do  no  good. 

It  is  unfortunate  that  no  one  has 
yet    devised    a    weatherproof    beaded 


INTERNATIONAL   PROJECTIONIST 


OCTOBER    1954 


/ 


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'K-^ 


k 


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..iv0St^8% 


f^'^'M 


K: 


^: 


What's  a  lily 
to  a  lady? 

I  his  particular  lily  may  not 
"toil"— but  it  certainly  does 
"spin"  an  important  yarn  for  the 
processor.  fSIK^Sr'^M 

Are  the  colors  in  balance? 
Are  the  flesh  tints  correct? 
How  about  gray  scale  values? 

These  together  with  many  . 
other  questions,  "the  lily" 
answers  quickly,  authoritatively. 
For  it  is  the  test  standard  for  tone 
values  in  release  prints,  a  step 
wedge  with  color  patchesadded. 

In  areas  like  this — how  best  to 
use  various  devices  and  tests, 
how  to  set  up  systems  and 
controls,  the  Eastman  Technical 
Service  for  Motion  Picture  Film 
is  working  with  the  industry- 
helping  make  today's  motion 
picture  production  increasingly 

efficient — adding  thus  to  the  .    

effectiveness  of  both  black-  W~ 
and-white  and  color.  m 

Address: 
Motion  Picture  Film  Department 

EASTMAM  KODAK  COMPANY, 
Rochester  4,  N.Y. 

East  Coast  Division 

342  Madison  Avenue 
New  York  17,  N.  Y. 

Midwest  Division 

137  North  Wabash  Avenue 
i  Chicago  2,  Illinois 

K         West  Coast  Division 
■      6706  Santa  Monica  Blvd. 
Hollywood  38,  California 


surface  for  drive-in  screens.  Beaded 
screens  are  "specular,"  but  unlike 
aluininized  screens,  they  throw  the 
light  back  in  the  same  direction  from 
which  it  came.  The  so-called  Scotch- 
lite  surfacing  used  for  making  road- 
signs  more  visible  when  illuminated 
by  auto  headlights,  has  the  same 
reflecting  characteristics.  Scotchlite 
screens  would  be  ideal  for  drive-ins 
having  a  comparatively  narrow  view- 
ing area. 

To  conclude,  we  believe  that  you 
can  increase  vour  screen  illumination 
substantially  by  (1)  using  glass  mir- 
rors, (2)  painting  your  screen,  with 
white  paint  made  for  drive-in  screens, 
and  (3)  making  a  slight  increase  in 
your  arc  voltage,  if  this  can  be  done. 
The  use  of  an  8/7  mm  carbon  trim 
is  an  alternative  which  might  possibly 
give  a  slight  increase  in  screen  light. 

By  CHARLES  E.  HAHN 

J.  E.  McAULEY  Mfg.  Company 

ANALYZING  the  projection  situa- 
tion at  the  Pat  Drive-In  Theatre, 
strange  as  it  might  seem,  I  believe 
that  their  present  light  source  (if  they 
eliminate  their  existing  light  losses) 
will  result  in  sufficient  light  gain  to 
give  them  a  very  well-illuminated 
CinemaScope  picture  of  the  size  they 
intend  to  use — 35  x  78  feet. 

First  of  all,  they  are  using  a  metal 
reflector,  and  this  means  an  immediate 
loss  of  20  to  25%.  This  reduced 
volume  of  reflected  light  is  then  pro- 
jected through  a  barrel-type  shutter 
which,  in  the  writer's  opinion,  passes 
38.7%  of  the  already  reduced  total 
light.  From  the  aperture,  it  passes 
through  an  F/2  projection  lens,  which 
at  the  focus  he  uses  (4-inch)  passes 
approximately  12  to  15%  less  light 
than  would  the  same  focus  lens  having 
a  speed  of  7^/1.8. 

Now,    let's    see    what    all    of    these 


losses  add  up  to.  To  begin  with,  the 
metal  reflector-arc  Mr.  Elzey  is  now 
using  would,  if  he  had  used  a  glass 
reflector,  produce  15,000  screen 
lumens,  according  to  the  manufac- 
turer's statenaents.  The  20-to-25% 
loss  that  immediately,  takes  place  with 
the  use  of  a-metal  reflector  brings  this 
total  screen  lumen  count  down  to 
11,625. 

Now,  since  his  barrel- type  shutter 
passes  only  approximately  38.7%  of 
this  amount  of  light,  he  is  now  passing 
through  the  aperture  only  4,500 
lumens.  Finally,  because  he  is  using 
an  f/2  projection  lens,  accounting  for 
another  12%  loss,  his  total  screen 
lumen  figure  is  further  reduced  to 
3,960.  Thus,  in  his  present  set-up  he 
is  getting  a  loss  of  11,040  lumens 
from  a  possible  total  of  15,000. 

In  changing  to  CinemaScope,  the 
writer  suggests  that  Mr.  Elzey  put  in 
a  new  projector  mechanism  having 
an  efficient  revolving-shutter  arrange- 
ment, an  F/1.8  projection  lens,  and 
use  a  silvered  reflector.  He  will  then 
probably  find  that  he  has  made  a 
sufficient  "for  free"  gain  in  illumina- 
tion to  produce  a  CinemaScope  pic- 
ture of  the  size  he  mentions.  Possibly, 
this  picture  will  be  better  illuminated 
than  the  level  he  is  now  obtaining  with 
his  present  set-up  and  a  1.37/1  aspect 
ratio  picture  field. 

By  FRED  C.  MAHHEWS 
Motiograph,  Inc. 

DRIVE-IN  theatre  owners  who 
have  increased  the  width  of 
their  screens  to  100  feet  or  more 
should  make  immediate  plans  to 
whiten  and  resurface  their  present 
screens. 

To  best  present  CinemaScope  pro- 
ductions and  other  wide-screen  pic- 
tures, it  is  suggested  that  screens  be 
increased   in   both  height  and   width. 


NEW  RADIANT  WIDE  SCREEN  FOR  16-MM  PROJECTION  AVAILABLE 


I  <^  I  iw 


LLA..4y^.^,i.^L.-.fa.LiJi,J>,iiii,iALiiii LI 1 ii.j,  1 1:1. 


Signalizing  the  posi- 
tive entry  ot  wide- 
screen  images  into  the 
16-mm  field  is  this 
new  semi  -  portable 
aluminum  frame  and 
screen  for  16-mm  pro- 
jection recently  de- 
veloped by  the  Radi- 
ant Mfg.  Co.  of  Chi- 
cago. It  is  available 
in  two  sizes  —  6  x 
16    and    8    x    21     feet 


For  example,  a  present  30  x  40-foot 
screen  should;  be  increased  in  the 
proportion  of  50  x  102-feet,  if  the 
theatre  is  to  show  a  2/1  image  just 
as  wide  as  a  CinemaScope  picture.  If, 
however,  it  is  wished  to  show  only 
CinemaScope  pictures  to  the  full 
width  of  the  screen,  the  height  of  the 
screen  need  not  be  increased  in 
proportion  mentioned  above.  The  size 
of  the  screen  and  its  proportion  is  a 
matter  of  individual  taste. 

Having  arrived  at  the  desired  size 
and  proportion  of  your  screen,  thg 
next  problem  is  to  determine  what 
is  required  in  screen  surfacing 
materials  and  finish.  Most  new  screens 
have  been  resurfaced  in  "Transite" 
or  plywood  and  finished  with  3  coats 
of  white  paint  similar  to  that  made 
by  Raytone  Screen  Co.  There  have 
been  also  a  few  screens  refinished 
with  an  undercoat  of  aluminum  paint 
and  a  second  coat  of  white  paint.  The 
writer  has  seen  screens  finished  with 
both  types  of  paint,  and  screen  results 
were  quite  satisfactory. 

Some  companies  are  offering  both 
fibre  glass  and  aluminum  screen 
materials  for  resurfacing  screens. 
Opinion  on  the  respective  merits  of 
these  materials  is  divided. 

The  change  in  the  size  of  the  picture 
will  require  a  new  set  of  projection 
lenses,  and  if  pictures  with  varied 
aspect  ratios  are  to  be  shown,  more 
than  one  set  will  be  required.  It  is 
recommended  that  fast  anti-reflection 
coated  lenses  be  purchased,  as  the 
use  of  cheap  "slow"'  lenses  could 
nullify  some  of  the  light  gained  from 
the  use  of  higher-amperage  arclamps. 
CinemaScope  pictures  require  anamor- 
phic  lenses.  There  are  at  least  6  brands 
of  such  lenses  available  (fixed  con- 
denser-type and  variable) . 

The  most  important  item  of  equip- 
ment needed  is  new  arclamps.  Regard- 
less of  all  claims  of  screen  reflectivity, 
it  is  absolutely  essential  to  have  high- 
powered  arclamps.  There  are  only 
two  types  of  arclamps  that  offer  any- 
where near  sufficient  screen  illumina- 
tion for  screens  in  excess  of  30  feet 
wide: 

1.  Reflector-type  arclamps  with 
rotating,  positive-carbon  mech- 
anisms operating  at  85  to  135 
amperes. 

2.  Condenser-type  arclamps  op- 
erating at  160  to  180  amperes. 

The  reflector-type  lamps,  while  vary- 
(Continued  on  page  30) 


10 


INTERNATIONAL   PROJECTIONIST     •     OCTOBER    1954 


YOUR     PICTURE     BRILLIANCE 


IS  in  direct  proportion  to  the 
efficiency  of  your  mirror! 


No  arc  can  give  you  a  bright  picture  if  the  mirror  in  your 
lamp  has  deteriorated  in  efficiency,  for  THE  ONLY  LIGHT 
WHICH  CAN  REACH  YOUR  SCREEN  MUST  BE  REFLECTED  BY 
THE  MIRROR! 


INTERNATIONAL   PROJECTIONIST     •      OCTOBER    1954 


11 


The  New  KoUmorgen  F/1.7  Lens 


By  MARK  STEVENS 


B 


ECAUSE  OF  THE  well-established  trend  toward  larger  and  wider  screens, 
projectionists  and  exhibitors  are  devoting  more  attention  to  the  projection  lens 
than  ever  before.  The  demands  made  on  the  lens  by  wide-screen  processes  and 
drive-in  projection  are  becoming  increasingly  severe.  To  meet  today's  exacting 
projection  needs,  KoUmorgen  has  designed  a  new  //1. 7  Super  Snaplite  lens. 


The  advent  of  a  lens  as  big,  as  "fast" 
as  //1.7  is  indeed  exciting  news.  The 
availability  of  this  new  ultra-speed 
lens  in  two  forms  that  successfully 
overcome  the  optical  difficulties  pre- 
viously experienced  with  extra-power- 
ful lenses  is  an  important  advance  in 
projection  technology. 

Projection  lenses  of  //1. 7  speed  are 
an  indispensable  ally  of  the  newer, 
more  efficient  arclamps  and  of  such 
resolution-improving  photographic 
processes  as  Paramount's  VistaVision. 
Lenses  faster  than  //1. 7  are  not  feasi- 
ble in  the  focal  lengths  most  frequen- 
tly used  because  of  the  mechanical 
restrictions  of  theatre  projectors. 

New  lamps,  alone,  are  not  enough 
to  provide  adequate  illumination  on 
today's  large  screens.  Even  //1.9  and 
//2.0  lenses,  although  representing  a 
tremendous  improvement  over  the  old- 
style  uncoated  "slow"  lenses,  do  not 
utilize  all  of  the  light  that  passes 
through    the    aperture.    Modern    lamp 


The  "regular"  new  KoUmorgen   F:1.7  projection 
lens.    Applicable   data   elsewhere   in    this   issue. 


mirrors  are  so  fast  (//2.0  in  the  case 
of  a  16-inch  mirror  32  inches  from 
the  film  plane)  that  the  light  emerg- 
ing from  the  aperture  "spreads  out," 
or  diverges,  to  such  a  degree  that 
even  an  //2.0  lens  fails  to  intercept 
all  of  it. 

Light  Now  Wasted 

Contrary  to  general  opinion,  an  //2 
projection  lens  does  not  "match"  an 
f/2  mirror.*  When  the  lens  has  an 
equivalent  focal  length  (E.F.)  of  3% 
inches,  it  must  have  a  "speed"  of  ap- 
proximately //1. 2  in  order  to  match 
perfectly  the  f/2,  16-inch  mirror.  Mech- 
anical limitations  prevent  us  from 
using  a  lens  as  big  as  this;  but  the 
new  KoUmorgen  //1. 7  lenses  approach 
the  theoretical  matching  speed  so 
closely  that  they  may  be  regarded  as 
effectively  establishing  the  desired 
condition  of  perfect  optical  match. 

This  statement  is  valid  because  the 
outermost  zones  of  illumination  which 
would  be  picked  up  by  the  rear  ele- 
ment of  a  perfectly-matched  lens  are 
comparatively  dim  and  discolored. 
In  nearly  every  case,  therefore,  the 
new  KoUmorgen  //1.7  lens  utilizes  and 
transmits  to  the  screen  practically  the 
same  amount  of  light  that  would  be 
transmitted  by  a  theoretically  perfect 
lens. 

Not  only  is  light  wasted  when  mod- 
ern lamps  are  used  in  conjunction 
with  old,  "slow"  lenses,  but  a  "vignet- 
ting" occurs  which  results  in  a  notice- 
able decrease  of  light  at  the  sides  of 
the  screen.  This  hot-spot  effect,  caused 
by  failure  of  a  small-diameter  lens 
to  intercept  the  rays  of  light  thrown 
forward  from  the  marginal  zones  of 
the   mirror,   was  first  brought  to   the 

*  The  formula  for  lens  matching  is  given  on 
page   16   of    IP    for  April    1954. 


attention  of  the  craft  by  Dr.  Maul- 
betsch  of  the  KoUmorgen  organiza- 
tion.** 

It  is  obvious  that  lenses  of  sufficient 
speed  are  absolutely  necessary  for 
bright,  uniformly-illuminated  pictures. 
But  this  is  not  all.  The  pictures  on 
our  new,  wider  screens  are  magnified 
more  highly  than  ever  before.  And 
to  make  matters  more  difficult,  the 
tiny  film-photographs  are  smaller  than 
ever  before,  their  height  having  been 
reduced  by  the  new  apertures  em- 
ployed for  non-anamorphic,  wide- 
screen   projection. 

Emulsion-grain,  poor  photographic 
focus,  and  unsteadiness  of  the  image 
are  among  the  defects  which  are  un- 
fortunately magnified  along  with  the 
desirable  pictorial  detail. 

Finer-Grained  Prints 

Faulty  photographic  focus  of  the 
images  in  the  film  print  is  gradually 
being  eliminated  by  greater  care  in 
photographing  the  negative  and  print- 
ing the  positive.  Graininess  of  the 
image,  due  to  the  comparatively 
coarse  grain  of  the  negative  emulsion, 

•*  "Uniform  Screen  Illumination  as  Related  to 
High   Speed   Lenses,"   IP  for  September  1947,   p.  5. 


V^^'S 


The   X-tended   new   KoUmorgen    F:1.7   lens.   Ap- 
plicable   data    elsewhere    in    this    issue. 


12 


INTERNATIONAL    PROJECTIONIST 


OCTOBER    1954 


FIGURE  1 
(A)  The  excessively  long  lens-holders  of  many 
modern  projectors  cut  into  the  light  beam 
thrown  forword  by  "fast"  lenses  of  short 
focal  length,  wasting  light.  (B)  The  new 
"extended"  f/1.7X  Super  Snaplite  lenses 
eliminate  vignetting  and  loss  of  light  due  to 
shading.  The  secret — a  long  lens-assembly 
which  "pipes"  the  light  to  the  opening  in 
the    front    of    the    mechanism. 


is  reduced  by  the  VistaVision  process, 
which  employs  a  negative  frame  ap- 
proximately 1.7  times  the  width  of 
the    standard    35-mm    positive   frame. 

Picture  at  Mercy  of  Lens 

The  pictorial  record  impressed  on 
the  film,  however,  is  at  the  mercy  of 
the  projection  lens,  the  "neck  of  the 
bottle." 

Many  of  the  older  lenses,  even 
though  of  inadequate  size  and  un- 
coated,  produced  screen  images  of 
an  acceptable  degree  of  clarity.  This 
was  often  the  case  with  lenses  having 
long  focal  lengths  —  4%  inches  and 
longer  —  but  in  the  shorter  focal 
lengths  the  old-style  lenses  failed  to 
give  a  satisfactorily  sharp  image  near 
the  edges  of  the  picture  (flatness  of 
field). 

The  older  lenses  were  of  the  type 
known  as  "Petzval  aplanats,"  and  con- 
sisted of  two  elements  —  4  lenses 
arranged  in  the  form  of  two  achro- 
matic doublets.  Aplanatic  projection 
lenses  in  improved  form,  and  with  the 
surfaces  of  the  lenses  anti-reflection- 
coated,  still  are  made  and  give  ex- 
cellent performance  in  the  longer  focal 
lengths.  The  Snaplite  Series  II  is  a 
family  of  excellent  aplanats  of  modern 
construction.  These  are  rated  as  f/2.0 
from  3I/2  to  5  inches  E.F.,  and  slightly 
slower  in  the  longer  focal  lengths 
to   9  inches. 

While  wide-screen  projection  does 
not    necessarily    require    the    use    of 


"wide-angle,"  short-focus  lenses,  it 
does  in  most  cases.  It  all  depends 
on  what  E.F.  (equivalent  focal  length) 
is  used  for  standard  %-proportioned 
pictures.  If,  for  example,  6-inch 
lenses  were  used  for  regular  projec- 
tion, the  change  to  an  aspect  ratio 
of  1/1.85  will  necessitate  the  use  of 
41/2-inch  lenses,  the  height  of  the  pic- 
ture remaining  approximately  the 
same.  A  4V2-inch  lens  is  not  a  short- 
focus  lens,  a  term  usually  applied  to 
lenses  of  3%  inches  E.F.  or  less. 


1      Wide-Screen  Requirements 


In  most  theatres,  however,  conven- 
tional projection  requires  the  use  of 
lenses  from  4  to  5  inches  E.F.  To 
change  to  wide-screen  projection  in 
such  theatres,  especially  if  the  more 
extreme  aspect  ratios  are  desired, 
lenses  of  short  focal  length  are  needed. 

Lenses  are  much  too  important  a 
part  of  the  projection  installation  to 
be  selected  haphazardly  and  without 
consideration  of  anything  except  the 
focal  length  required.  As  a  matter  of 
fact,  a  change  of  lenses  provides  an 
excellent  opportunity  to  effect  a  sub- 
stantial improvement  in  projection  — 
in  picture  clarity,  brightness,  and  uni- 
formity of  illumination. 


Lens  Coating  Important 

The  optical  design  of  the  new  lenses 
to  be  purchased,  the  presence  of  an 
adequate  anti-reflection  coating  on  all 
glass-to-air  surfaces,  and  the  speed  of 
the  lenses  are  factors  which  should  be 
considered,  together  with  quality  and 
mechanical  construction.  The  sharp- 
ness of  the  projected  picture  depends 
on  optical  design,  the  "crispness"  and 
brightness  of  the  images  are  assisted 
by  the  anti-reflection  coatings,  while 
picture  brilliance  and  evenness  of  il- 
lumination are  dependent  on  the 
speed,  or  diameter,  of  the  lens. 

Most  modern  lenses  are  4-element 
(6-lens)  "Gaussian  doppelanastig- 
mats,"  a  type  exemplified  by  the  Super 
Snaplite  families  of  //1.9  lenses. 
These  are  highly  recommended  in  the 
short  and  medium  focal-length  ranges, 
from  2  to  4I/2  inches  E.F.  Their 
superiority  over  the  simpler  aplanats 
lies  in  their  wide,  flat  field  which  in- 
sures an  extremely  sharp  picture  over 
the  entire  surface  of  the  screen. 

The  "hot-spot"  effect  of  vignetting, 
due  to  insufficient  lens  diameter,  is  at 
a  low  level  with  //1.9  lenses.  But 
with  the  new  //1.7  KoUmorgen  lens 
it  is  at  an  irreducible  minimum!    The 


use  of  the  very  fastest  lenses  —  those 
of  //1. 7  speed  —  is  the  easiest,  least 
expensive  way  to  inject  a  new  brilli- 
ance and  lifelike  clarity  into  the 
screen  image. 
"Smoothing  Effect"  Noted 

Because  of  their  greater  diameter 
and  unusual  optical  design,  these  ultra- 
speed  lenses  not  only  make  the  pic- 
ture brighter  and  clearer,  but  they 
also  exert  a  "smoothing  effect"  on  the 
light  which  results  in  a  uniform  field 
of  brilliant  illumination  even  on  the 
largest  screens.  And  the  new  //1.7 
KoUmorgen  lens  is  available  in  focal 
lengths  even  as  short  as  2  inches! 

The  remarkable  performance  of  the 
//1. 7  lens  in  the  later  projector  mech- 
anisms is  not  due  to  their  high  speed 
alone.  For  use  in  the  older  projectors 
having  lens-holders  extending  about 
6y2  inches  from  the  film-plane  (Sim- 
plex Regular,  Gardiner,  Century  K, 
Motiograph  F  and  H,  Wenzel,  etc.) 
the  BX-290  series  of  the  //1.7  lens  is 
available.  This  series  includes  focal 
lengths  from  2^/2  to  4  inches  in  ^- 
inch  steps.  In  optical  design,  these 
lenses  are  improved  Gaussian  doppel- 
anastigmats,  larger  in  diameter  and 
more  light-transmitting  than  any  other 
lenses  available  for  theatre  pro- 
jection. 

With  most  other  projectors,  includ- 
ing the  Super  Simplex,  Simplex  E-7 
and  X-L,  Superior  A  and  U,  Bren- 
kert  BX-40,  BX-60,  and  BX80,  Cen- 
tury C  and  CC,  DeVry,  Motiograph 
K  and  AA,  and  the  later  Wenzel  mod- 
els, it  is  necessary,  when  ordinary 
short-focus  lenses   are   used,   to   place 

FIGURE  2 
The  action  of  a  "regular"  projection  lens  on 
the  rays  of  light  emerging  from  the  aperture 
is  shown  in  the  upper  diagram.  A  single 
convex  lens  is  used  to  illustrate  the  principle 
involved.  The  action  of  an  "extended"  f/1.7X 
Super  Snaplite  is  illustrated  in  the  lower 
diagram  by  two  simple  lenses,  an  optical 
system  resembling  a  Galilean  telescope  pointed 
toward  the  aperture.  Note  that  the  rays  be- 
tween the  two  components  are  essentially 
parcilel,  effectively  "piping"  the  light  through 
a   long   lens-holder. 


INTERNATIONAL    PROJECTIONIST      •      OCTOBER    1954 


13 


Basis  for  High-Speed  Optics 

The  larger  picture  area  requires 
additional  light.  This  being  so,  an 
f/1.7  lens,  as  compared  with 
lenses  of  slower  speed,  is  a  distinct 
advantage,  because  it  delivers  to 
the  screen  an  eye-filling  23%  in- 
crease in  light. 

It  is  understood,  of  course,  that 
unless  the  entire  optical  train 
from  reflector  or  condenser  set-up 
be  in  proper  alignment,  the  ad- 
vantages accruing  from  any  fine 
optics  will  be  dissipated.  "High 
speed,"  optically  speaking,  is  of 
no  value  whatsoever  unless  the 
other  elements  in  the  projection 
train  (particularly  the  working- 
distance  from  either  the  reflector 
or  the  condenser  combination)  are 
in  proper  order. 

Unless  the  entire  optical  train 
be  in  proper  alignment,  the  best 
lens  in  the  world  will  deliver 
unsatisfactory  projection  screen 
results. 


"shade  tubes"  on  the  front  of  the 
lenses.  The  purpose  of  a  shade  tube 
is  merely  to  extend  the  lens  barrel 
sufficiently  to  meet  the  projector  lens- 
holder  which  clamps  the  lens  firmly 
in   place. 

Mechanical  Limitafions 

The  use  of  shade  tubes  on  "fast" 
(large-diameter)  short-focus  lenses, 
although  necessary  to  hold  the  lenses 
in  place  in  these  machines,  creates  a 
special  difficulty,  as  does  the  relatively 
great  distance  between  film-plane  and 
the  front  of  the  mechanism.  This  dis- 
tance is  about  IOV2  inches  in  most 
modern  projectors.  Both  the  shade 
tube  and  the  opening  in  the  front  of 
the  mechanism  actually  cut  into  the 
light-beam  issuing  from  the  front 
element  of  the  lens,  reduce  the  illum- 
ination drastically,  and  produce  a 
vignetting  similar  to  that  caused  by 
too  small  a  lens. 

The  obvious  remedy  consists  of 
modifying  the  lens-holder  and  en- 
larging the  hole  in  the  front  of  the 
mechanism  to  accommodate  lenses  4 
inches  in  diameter,  but  this  expedi- 
ent is  not  always  feasible.  An  alter- 
native solution  of  the  problem  lies  in 
a  special  lens  design  which  "pipes" 
the  light  through  the  narrow  opening, 
keeping  the  rays  essentially  parallel 
until  they  emerge  from  the  front  ele- 
ment of  the  long  lens-assembly.  This 
is  what  KoUmorgen  optical  designers 
have  done  in  the  294X  series  of  //1. 7 
"extended"  Snaplite  in  the  focal  range 


of   2    to    3    inches,    inclusive,    in    ^- 
inch  steps. 

The  production  of  the  ultra-fast 
f/1.7  extended  Super  Snaplite  pro- 
jection lenses  ranks  with  VistaVision 
and  the  improved  high-intensity  arc 
as  a  contribution  to  projection  qual- 
ity. The  replacement  of  outmoded 
short-focus  lenses  with  //1.7X  Super 
Snaplites  in  modern  projector  mech- 
anisms results  in  an  improvement  im- 
mediately apparent. 

Immediate  Improvement 

The  f/1.7  Super  Snaplites,  then,  are 
ultra-rapid,  high-quality  projection 
lenses  of  relatively  short  focus  avail- 
able in  two  forms  —  the  "regular" 
BX-290    short-barrel    series    for    the 


older  mechanisms,  and  the  "extended" 
BX-294  long-barrel  series  for  the 
newer  mechanisms.  Shade  tubes  are 
not  needed  for  the  "extended"  lens. 

Large  screens  are  here  to  stay,  no 
matter  whether  wide-screen  aspect 
ratios  are  employed  for  extending  the 
horizontal  angle  of  vision,  or  whether 
the  normal  1/1.375  aspect  ratio  is 
retained  for  a  more  spacious  pictorial 
format.  Either  way,  short-focus  lenses 
are  needed  in  most  theatres  to  give 
the  required  size  to  the  projected 
pictures. 

The  lens-holder  and  associated  foc- 
using carriage  must  be  regarded  as 
extremely  important  parts  of  the  pro- 
jector mechanism,  despite  the  fact 
that  their  construction  is  quite  simple. 
No  lens  can  function  properly  unless 


Lamp  Manufacturer  Assays  Screen  Surfaces 


By  CHARLES   E.   HAHN 
J.  E.  McAuley  Mfg.  Co. 

WE  want  to  make  it  perfectly 
clear  that  we  take  no  arbitrary 
stand  on  the  question  of  the  superior- 
ity of  flat,  curved,  non-reflective  or  re- 
flective surface  screens.  Nor  do  we 
agree  that  it  is  sound  reasoning,  es- 
pecially from  the  exhibitor's  view- 
point, to  take  a  position  that  under 
all  and  every  projection  situation, 
only  one  particular  type  of  screen  is 
preferable  to  all  others. 

Unbiased  Outlook  Needed 

When  an  unequivocal  position  of 
this  kind  is  assumed,  one  would  be 
justified  to  enquire  to  determine  if 
there  was  not  a  special  reason  or 
motive  behind  it,  because  the  motive 
might  actually  turn  out  to  be  some- 
thing other  than  the  claimed  superi- 
ority of  a  picture  projected  upon  that 
particular  type  of  screen. 

An  attitude  of  universal  and  un- 
questioned acceptance  of  such  counsel 
could  enforce  the  purchase  of  new 
arclamps,  rectifiers,  or  generator 
equipment,  (with  higher  operating 
costs  thereafter)  which  in  dollars 
represents  an  investment  far  above 
and  beyond  that  of  simply  installing 
a  different  type  screen  to  obtain  a 
picture  of  equal  quality  and  possibly 
higher  brilliance. 

In  analyzing  a  polar  curve  indicat- 
ing  the   reflectance   of   a   flat   and/or 


matte  white  surface,  it  must  be  ac- 
knowledged that  at  least  75%  of  its 
reflected  light  actually  reaches  areas 
within  a  theatre  where  it  is  physically 
impossible  to  seat  spectators,  hence  is 
totally  wasted.  We  mean,  of  course, 
directly  downward  toward  the  floor, 
directly  upward  toward  the  ceiling, 
and  directly  sidewise  away  from  both 
sides  of  the  screen. 

As  this  characteristic  of  flat,  matte 
surfaces,  is  an  established  fact, 
doesn't  it  then  seem  completely 
illogical  to  categorically  claim  that 
such  a  screen  is  the  only  one  that 
should  be  used  in  all  and  every  type 
of  projection  situation?  Further, 
doesn't  this  line  of  reasoning  infer  a 
defeatist  attitude  by  creating  the  im- 
pression that  nothing  can  be  done 
about  it,  especially  in  the  face  of  the 
endless  variety  of  polar  curves  which 
it  is  possible  to  obtain  from  various 
types  of  reflective  screen  surfaces? 

Many  Types  Available 

To  our  knowledge,  there  are  many 
very  fine  and  distinctly  different  types 
of  screens  available  today,  and  it  is 
only  a  matter  of  selecting  the  right 
one  to  suit  a  given  projection  condi- 
tion. We  refuse  to  accept  the  hidden 
assumption  that  reputable  manufac- 
turers of  these  screens,  and  their  sales 
agencies,  would  purposly  recommend 
to  an  exhibitor  a  type  of  screen  that 
would  be  totally  unsuitable  for  the 
theatre  in  which  it  was  to  be  installed. 


14 


INTERNATIONAL    PROJECTIONIST 


OCTOBER    1954 


it  is  held  solidly  and  square  to  the 
aperture,  the  optical  axis  of  the  lens 
coinciding  with  that  of  the  mechanism 
and  lamp.  And  what  better  time  is 
there  to  check  up  on  the  condition  of 
the  lens-holder  and  focusing  arrange- 
ment than  when  changing  to  new 
lenses? 

Watch  Optical-Train  Alignment 

The  lens-holding  components  of  the 
older  mechanisms,  especially  if  re- 
built or  modified  to  take  larger  lenses, 
may  be  seriously  out  of  alignment, 
ruining  the  performance  of  sensitive, 
fast  lenses.  The  use  of  cardboard  or 
odd  scraps  of  sheet  metal  to  shim  the 
lens-barrel  in  off-size  holders  may 
throw  the  lens  out  of  line,  making  it 
impossible  to  get  a  good  focus.  The 
"haywire"  shims  should  be  replaced 
with  adapters  or  other  fittings  recom- 
mended by  the  manufacturer  of  the 
lens. 

The  faster  a  lens  and  the  shorter 
its  focal  length,  the  smaller  its  "depth 
of  focus."  This  means  that  the  focus- 
ing of  the  picture  on  the  screen  is  a 
more  critical  operation  than  it  was 
in  the  days  of  slow,  long-focus  lenses. 
Then,  too,  focusing  is  always  more 
critical  with  lenses  of  the  best  quality 
and  requires  more  exacting  projection 
technique.  Poor  lenses  fail  to  bring 
the  projected  image  to  knife-edge 
sharpness,  and  the  best  focus  obtain- 
able with  them  is  fuzzy  at  best.  Such 
a  lens  may  be  moved  through  a  con- 
siderable distance  without  any  per- 
ceptible change  in  the  clearness  of  the 
image. 

The  new  series  of  KoUmorgen  //1. 7 
Super  Snaplites  (the  "regular"  for 
older  mechanisms  and  the  "extended" 
for  the  Super  Simplex  and  most  later 
machines)  gives  so  much  evenly  dis- 
tributed light  at  the  screen,  as  well 
as  a  flatter  field  of  crystal-clear  de- 
finition, that  a  thorough  checkup  of 
the  projectors  and  the  installation  of 
heat  filters  when  necessary  will  in- 
sure screen  results  unsurpassed  for 
radiant,  lifelike  quality. 


Par's  Electronics  Splurge 

Paramount  as  of  Jan.  2  this  year  had 
investments  in  and  advances  to  afi&liates 
engaged  in  research  and  development  of 
Tv  and  electronic  facilities  and  equip- 
ment amounting  to  $4,223,250.  The  in- 
vestment in  560,000  shares  of  Allen  B. 
Du  Mont  Laboratories  Class  B  and 
43,200  shares  of  Class  A  common,  is  car- 
ried at  $164,000. 


This  Matter  of  '^Balanced  Lenses 


99 


Word  comes  from  Berlin  that  Eric 
Palmer,  noted  cinematographer  and 
director,  has  completed  a  feature 
picture  using  the  Garutso  lens.  This 
news  occasioned  some  eyebrow- 
lifting   in    technological   circles   with 

GARUTSO  "balanced  lenses," 
credited  by  their  sponsor  with 
the  ability  to  impart  depth  to  photo- 
graphic images,  have  received  wide- 
spread and,  on  the  whole,  rather  glow- 
ing sendofis  from  the  photographic 
trade  press.  The  virtues  of  these 
patented  lenses  are  described  in  the 
appended  verbatim  copy  of  a  state- 
ment by  their  sponsor: 

"A  commercial  set  of  Garutso  lenses 
is  comprised  of  25,  30,  35,  40,  50  and 
75-mm  focal  lengths.  Inherent  to  all 
of  them  are  unusual  characteristics 
that  set  them  far  apart  from  conven- 
tional lenses  of  similar  focal  lengths. 

"Variable  Deep  Field  of  Focus" 

"First,  instead  of  a  single  plane  of 
focus,  Garutso  lenses  have  a  variable 
and  tremendously  deep  field  of  focus. 
This  depth  of  field  results  from  Mr. 
Garutso's  discovery  of  new  principles 
and  is  in  no  wise  produced  by  special 
diaphragm  apertures  or  tricks  of  any 
kind.  The  variability  of  the  field  is 
controlled  by  focus  adjustment 
entirely. 

"A  number  of  different  Garutso  lens 
formulae  have  been  developed  for  the 
modification  of  conventional  photo- 
graphic objectives  of  different  types 
and  focal  lengths.  While  these 
formulae  differ  among  themselves, 
they  all  embody  the  same  optical- 
balance   principles. 

Assert  Two  Major  Improvements 

"In  general,  the  Garutso  modifica- 
tion accomplishes  two  major  improve- 
ments: (1)  the  focal  depth  of  the 
modified  objective  is  increased,  and 
(2)  the  definition  and  contrast  of  the 
image  is  greatly  enhanced  by  a  sub- 
stantial reduction  in  the  vestigial 
spherical  aberration  of  the  conven- 
tional lens.  Previous  attempts  to  ac- 
complish the  increase  in  depth  of 
focus,  first  above-mentioned,  have  had 
no  success  because  the  modifying  ele- 
ments used  have  introduced  other  un- 
desirable aberrations. 

"The  diaphragm,  instead  of  being 
used  to  create  an  illusion  of  increased 
focal  depth  by  means  of  small  aper- 


many  observers  being  at  a  loss  to 
classify  properly  the  Garutso  lens. 
To  clear  the  atmosphere,  IP  appends 
hereto  a  report  on  this  process  which 
it  published  some  years  ago  when  the 
principle  was  first  proposed. 

tures  as  in  a  conventional  lens,  is 
employed  in  the  Garutso  lens  to  in- 
crease the  plasticity  of  the  photo- 
graph, thereby  intensifying  the  three- 
dimensional  effect.  The  Garutso  bal- 
anced lens  provides  a  negative  of 
uniform  density  throughout  the  en- 
tire field  at  all  apertures." 

Following  careful  consideration  of 
the  foregoing,  as  well  as  of  other  data 
relating  to  the  Garutso  lens,  IP  is  con- 
strained to  make  the  following  obser- 
vations: 

Optical  Limitations 

For  a  given  sharpness  of  image  at 
a  given  focal  length  of  the  lens  and 
a  given  aperture,  all  lenses  have  and 
always  will  have  a  given  depth  of 
focus. 

There  are  three  methods  by  which 
one  may  achieve  depth  of  focus:  (1) 
reduce  the  focal  length  of  the  lens; 
(2)  diminish  the  size  of  the  aperture, 
or  (3)  reduce  the  sharpness  of  the 
image.  This  last-named  condition 
would  seem  to  be  a  major  function 
of  the  Garutso  lens,  with  results  that 
were  strikingly  apparent  in  the  motion 
picture  "Citizen  Kane,"  produced  by 
Orson  Welles  many  years  ago  (1938). 

The  foregoing  is  as  much  a  natural 
law  as  is  the  fact  that  if  one  stepped 
out  of  a  ten-story  window  the  chances 
would  be  excellent  that  one  would 
break  his  neck.  We  need  not  confuse 
this  issue  with  considerations  of  aper- 
ture opening,  lens  speed,  or  the 
amount  of  light  on  a  given  set.  These 
fundamental  laws  prevail  and  are  at 
once  controlling  and  incontrovertible. 
— even  in  Hollywood. 

It  is  an  astonishing  thing  that  no- 
body in  Hollywood  has  yet  lent  ac- 
ceptance to  the  principle  that  we  shall 
reduce  the  sharpness  of  the  foreground 
images. 

New  DuMont  Tv  Color  Tubes 

DuMont  has  announced  that  large 
screen,  color  Tv  receiver  tubes  will  be 
available  for  use  by  the  Fall  of  the  year. 
The  tubes  will  produce  a  picture  185 
square  inches,  according  to  DuMont, 
which  would  make  them  roughly  equiva- 
lent to  a  16-inch  tube  in  picture-  size. 


INTERNATIONAL    PROJECTIONIST     •      OCTOBER    1954 


15 


The  VistaVision 
Horizontal  Projector 

To  improve  VistaVision  screen  image  in  large  theatres 
and  drive-ins.  Paramount  and  Century  design  equipment 
to   project  film   image  more  than  twice  standard   size. 

By  JAMES  MORRIS 


THE  LATEST  of  the  new  pro- 
cesses is  a  projection  method 
designed  to  pull  motion  picture 
film  from  side  to  side  so  that  a  film 
image  equal  in  size  to  more  than  two 
standard  film  frames  can  be  utilized. 
Designed  to  complement  Paramount's 
VistaVision  camera  system,  this  new 
projector  has  been  installed  in  New 
York's  Radio  City  Music  Hall  where 
it  is  being  used  to  present  the  picture 
"White   Christmas." 

Right  at  the  start,  however,  it  should 
be  stated  that  the  new  projector, 
which  is  to  be  manufactured  by  Cen- 
tury Projector  Corp.,  is  not  designed 
to  fill  the  needs  of  all  theatres.  Ac- 
cording to  Paramount,  only  100  in- 
door theatres  in  the  United  States  are 
large  enough  to  make  profitable  use 
of  the  new  projector  —  and  these 
have  screens  over  50  feet  wide.  In 
addition,  horizontal  projection  may 
also  become  important  to  the  larger 
drive-in  theatres. 

Aperture  Much  Enlarged 

The  way  the  VistaVision  horizontal 
projector  works  is  shown  in  the  ac- 
companying illustrations.  The  pro- 
jector head  designed  by  Century  is 
layed  on  its  side  so  that  the  film  is 
pulled  horizontally  instead  of  down, 
and  a  film  area  eight  sprocket  holes 
in  length  instead  of  four  is  pulled 
with  each  movement  of  the  film.  Film 
speed  is  180  feet  per  minute,  and 
4000-foot   reels   are   used. 

A  special  projector  gate  with  an 
enlarged  opening  and  a  much  larger 
aperture  plate  made  it  possible  to 
project  a  film  image  of  1.418  by  .722 
at  the  Music  Hall  instead  of  the  con- 
ventional aperture  of  .600  by  .825. 
The  result  is  a  sharper  and  brighter 
screen  image,  since  the  magnification 
of  the  image  on  the  screen  is  less  than 


half  as  much  and  more  light  is  able 
to  reach  screen. 

The  VistaVision  horizontal  pro- 
jector was  developed  in  order  to  more 
fully  utilize  the  potentialities  of  the 
VistaVision  camera  process  developed 
by  Paramount.  This  camera  process 
also  involves  pulling  the  film  side- 
ways through  the  camera  and  expos- 
ing a  negative  roughly  equivalent  in 
size  and  position  to  that  of  the  fami- 
liar 35-mm  miniature  still  camera. 
This  larger  negative  is  then  reduced 
in  size  and  placed  in  the  standard 
position  on  35-mm  film  stock  by  an 
optical  printer.  That's  the  standard 
VistaVision  process  which  will  con- 
tinue to  be  used  in  making  the  Vista- 
Vision prints  for  most  theatres. 

Since  the  graininess  of  the  negative 
had  been  the  principal  barrier  to 
achieving  sharper  motion  picture 
prints  for  large-screen  projection,  it 
is  possible  to  get  a  sharper  print  by 
using  the  VistaVision  camera  and 
large  negative.  Negative  films  have 
to  be  faster  (more  sensitive  to  light) 
than  the  positive  print  films  which 
are  exposed  only  under  the  highly 
controlled  conditions  of  the  film  labo- 
ratory. The  slower  but  more  fine- 
grained positive  print  film  used  in  the 
laboratory  is  capable  of  retaining  most 
of  the  sharpness  of  the  large  negative 
even  when  the  film  image  is  reduced 
in  size  to  fit  the  standard  projection 
aperture. 

Not  Enough  Light 

There  is  an  important  objection, 
however,  to  the  use  of  this  standard 
VistaVision  print  in  some  theatres. 
When  projected  with  the  further  re- 
duced aperture  used  in  wide-screen 
projection,  the  resulting  screen  image 
retains  considerable  sharpness,  but  it 


Showing  the  horizontal  projector  In  use  at 
the  Radio  City  Music  Hall.  The  white  arrow 
points  to  the  projector  head  outlined  in  white. 
The  heed  is  repositioned  so  as  to  lie  on  its 
side.  Note  that  the  magazines  are  in  a 
vertical  position  but  not  directly  above  and 
below    the    projector    as    in    standard    models. 

is  not  bright  enough  to  give  really 
first-class  results  on  a  giant  screen. 
Also,  less  magnification  of  the  film 
image  would  further  sharpen  the  giant- 
screen  picture. 

Sharp  Image  Obtained 

For  this  reason  Paramount  resorted 
to  the  idea  of  making  contact  (same 
size)  prints  from  the  big  VistaVision 
negative  and  projecting  them  in  the 
same  way  that  the  picture  was  taken 
— by  pulling  the  film  from  side  to 
side.  In  addition  to  producing  an  ex- 
tremely sharp  screen  image,  this 
method  permits  considerably  more 
light  to  reach  the  screen. 

Those  who  witnessed  the  Music  Hall 
showing  —  the  first  time  since  the 
early  thirties  that  a  much  enlarged 
film  image  was  used  to  improve  theatre 
projection  —  were  much  impressed 
by  the  results.  On  a  screen  approxi- 
mately 60  feet  wide  and  32  feet  high, 
the  Music  Hall  projectors  placed  a 
sharp,  bright  image  that  was  consider- 
ably better  overall  than  what  could 
be  achieved  by  using  a  conventional 


16 


INTERNATIONAL    PROJECTIONIST      •      OCTOBER    1954 


film  image  which  is  less  than  one-half 
as  large. 

Sharpness  Greaily  Increased 

The  clarity  of  the  picture  presented 
at  the  Music  Hall  was  extremely  good, 
but  it  also  had  some  questionable 
characteristics  due,  most  probably,  to 
the  fact  that  the  projectors  used  were 
really  experimental  hand-tooled  models 
put  together  in  a  very  short  time  to 
meet  the  deadline  for  the  opening  of 
"White  Christmas"  which  is,  inci- 
dentally, the  first  picture  made  in  the 
Vista  Vision  process.  There  was  a  side- 
wise  "jiggle"  or  unsteadiness  on  the 
morning  of  the  opening  that  was 
particularly  noticeable  in  the  titles. 
Also,  the  screen  did  not  seem  as 
brightly  lighted  as  one  might  expect 
since  it  was  predicted  that  the  en- 
larged aperture  would  permit  the  pas- 
sage of  as  much  as  100%  more  light. 

The  unsteadiness  of  the  picture 
seemed  to  pass  later  in  the  showing. 
Loren  Ryder,  technical  head  of  Para- 
mount, who  was  present,  said  that  the 
condition  was  corrected  by  an  adjust- 
ment of  the  gate  tension  and  the  inter- 
mittent. The  brightness  of  the  picture 
was  less  than  one  might  expect,  it  was 
said,  because  technicians  at  the  Music 
Hall  had  deliberately  reduced  the  light 
because  they  felt  that  the  color  bal- 
ance of  the  arclight  resulted  in  the  best 


rendition  of  color  on  the  screen  at 
about  150  amperes.  It  was  also  felt 
that  the  picture  was  too  bright  when 
170  amperes  of  current  was  used  to 
project  the  larger  film  on  the  screen 
used  at  the  Music  Hall.  Since  the  first 
showing  the  amperage  has  been 
stepped  up  somewhat. 

There  is  no  doubt,  however,  that 
enlarging  the  film-image  area  is  the 
most  logical  method  of  improving  the 
quality  of  giant-screen  pictures.  Ac- 
cording to  Larry  Davee,  sales  man- 
ager and  engineer  for  the  Century 
Projector  Corp.,  the  two  hand-tooled 
projectors  used  in  the  Music  Hall  were 
designed  and  built  within  2^/2  weeks 
to  meet  the  deadline.  There  just 
wasn't  time  for  perfect  results. 

In  constructing  the  projector  a  num- 
ber of  mechanical  problems  came  up. 
One  involved  the  intermittent  mechan- 
ism which  could  not  stand  the  strain 
imposed  by  a  heavy  32-tooth  sprocket 
at  a  film  speed  of  180  feet  per  minute. 
A  new  star  cam  and  sprocket  had  to 
be  engineered  before  the  projector 
could  be  relied  on  to  stand  up  under 
operating  conditions. 

Big  Reels  a  Problem 

Another  problem  concerned  the 
4000-foot  reels  used  in  this  high-speed 
horizontal  projection.  Ordinary  take- 
up  reels  tended  to  develop   so  much 


OtMP  Hovse  UDE 


DvftMty  tie/If 
Fee/)  sfi/ioairr 


H£/tO 


fiEa>  M'fS^ziMM 


INreKMITTENT  SP/fOCt(er 


~F/t,»T>fffMl>/f>/&    ff\/sr /AUCTION  - 
P/^CJECTOR 


Here  is  the  drawing  which  provided  the  guide  for  the  Music  Hall  projectionists  for  threading 
the  VistaVision  horizontal  projector.  IMPORTANT:  on  the  actual  projector  the  feed  and  takeup 
magazines  and  the  extra  sprockets  (32-Tooth)  are  positioned  differently.  The  film  magazines 
are  positioned  vertically  as  in  a  standard  projector  but  they  are  offset  to  the  side.  The  extra 
feed  and  take-up  sprockets  redirect  the  path  of  the  film.  The  points  at  which  the  film  twists 
are  shown.  The  soundtrack  for  the  Music  Hall  showing  was  carried  on  a  separate  film  which 
was  run  on  a  standard  35-mm  vertical-pull  projector  interlocked  with  the  VistaVision  hori- 
zontal-run   projector.      This    is    a    temporary   expedient. 


momentum  at  this  speed  that  they 
snapped  the  film.  The  requirement 
was  for  a  free  wheeling  reel  in  per- 
fect condition.  The  problem  was 
resolved  by  designing  a  type  of  free- 
wheeling reel  in  which  the  movement 
of  the  flanges  was  completely  free  of 
the  movement  of  the  hub. 

Davee  went  on  to  say  that  the  faster 
film  speed  of  horizontal  projection 
would  be  a  boon  to  sound  reproduc- 
tion, suggesting  that  an  optical  track 
running  at  this  speed  was  capable  of 
attaining  a  response  of  16,000  cycles 
per  second.  There  was  no  doubt  in  his 
mind  that  such  a  fast-traveling  optical 
track  was  superior  to  present-day  op- 
tical and  magnetic  sound-on-film 
methods,  and  capable  of  providing  a 
wider  sound  range  response  than  any 
presently  available  theater  reproduc- 
tion equipment  is  capable  of  respond- 
ing to.  For  the  Music  Hall  showing 
sound  was  on  a  separate  film  and  run 
through  a  separate  synchronized  pro- 
jector at  90  feet  per  minute. 

For  some  reason  the  Paramount 
people  who  have  publicized  the  hori- 
zontal projector  have  not  stressed  its 
value  as  a  means  of  increasing  light 
at  drive-in  theatres.  It  was  primarily 
in  response  to  questions  by  reporters 
that  Loren  Ryder  discussed  the  ques- 
tion after  the  opening.  However,  he 
stated  that  he  felt  it  would  be  possible 
for  a  drive-in  to  increase  its  light  as 
much  as  100%  by  means  of  the  new 
projection  system.  Larry  Davee  was 
not  quite  as  optimistic  when  inter- 
viewed by  IP.  He  estimated  that  the 
new  system  might  be  capable  of  in- 
creasing light  transmission  by  about 
40%  using  present  arclamp  equip- 
ment. With  specially  designed  arc- 
lamps  an  improvement  as  great  as 
100%   should  certainly  be  possible. 

?'\\m  Buckle  Increases 

The  crucial  question  concerning 
the  design  of  projection  systems  using 
a  larger  film  image  and  a  more  power- 
ful light  source  is  the  problem  of  film 
buckle,  according  to  Ryder.  He  states 
that  the  amount  of  buckle  increases 
with  the  square  of  the  width  of  the 
film.  For  instance:  a  70-mm  film 
would  be  likely  to  buckle  four  times 
as  much  as  35-mm  film — not  twice  as 
much.  This  characteristic  tends  to 
counteract  the  benefits  obtained  by 
spreading  the  light  over  a  wider  film 
area. 

Ryder  and  Davee  both  state  that 
(Continued    on    page    27 


INTERNATIONAL    PROJECTIONIST 


OCTOBER    1954 


17 


ANNOUNCING 
TWO  GREAT  NEW 


LENSES 


Hie  SIIPIilK  KKAPLI1 E 


^=2^%^ 

^^."V.,,,-^,    c"*"*' 


wmmsL  ^^ 


^  SIIPEK  SKAPLI TK  F/I.7X 


Now  Finer  Lenses  for  Finer  Mof/on  Pic- 
tures yti^h  a  True  Speed  of  f/1.7  in  all 
sizes  where  fast  lenses  are  needed. 

From  Kollmorgen  ...the  newest,  fastest  pro- 
jection lenses  you  can  buy.  To  give  you  the 
brightest,  clearest,  sharpest,  nnost  uniform 
picture  you  have  ever  seen  on  your  screen. 
For  better  Boxoffice,  better  patron  satisfac- 


tion, better  all  around  filming,  try  the  new 
SUPER  SNAPLITE  f/1 .7  today.  When  vignet- 
ting  is  a  problem  investigate  the  SUPER 
SNAPLITE  f/1. 7X. 

True  speed  of  f/1 .7  in  focal  lengths  from  2 
inches  through  4  inches  in  Va  inch  steps. 
Ask  your  Theatre  Supply  Dealer  about  these 
fine  lenses.  For  more  information  ask  your 
dealer  or  write  for  Bulletin  222. 

BOOTH  95 
1954  TESMA  SHOW 


KOLLAlOltlilLm      / 

O^^^h^  COKPOKATIOK 

Plant:  347  King  Street,  Northampton,  Massachusetts      Nev/  York  Office:  30  Church  Street,  New  York  7,  N.  Y, 


18 


INTERNATIONAL    PROJECTIONIST 


OCTOBER    1954 


ORDERING  DATA  FOR  THE 
KOLLMORGEN  F:1.7  LENS 

The  new  Kollmorgen  F/1.7  lens  is  adaptable 
to  any  make  or  model  of  projector.  The 
regular  is  for  use  with  projectors  having  a 
4-inch  diaphragm  opening;  the  F/1.7X  (ex- 
tended) may  be  used  on  any  type  of  pro- 
jector. Reference  to  the  chart  at  the  right 
will  provide  an  accurate  guide  for  the  use 
of  this  new  high-speed  lens.  When  order- 
ing from  your  supply  dealer  please  specify: 

1.  Lens-fitting  numbers  as  given  in  the 
table  at  the  right. 

2.  Make  and  model  of  projectors. 

IMPORTANT:  The  F/1.7  regular  lens  is 
available  in  sizes  from  2  72  to  4  inches 
inclusive  in  Yt-inch  focal  length  steps. 
The  F/1.7X  (extended)  is  available  in 
sizes  from  2  to  3  inches  in  Va  -inch  steps. 
BE  SURE  TO  SPECIFY  THE  FOCAL  LENGTH 


BX  1 63      BX  241 


LOCATING  RING 
SHADE  TUBE  A"-'™ 

■.i—V 


-L'-i; 


ADAPTER  SHADE  TUBE 

LEXS  AX-166  AX196 


\. 


BUSHING 
AX -155 


\ 

/ 

\ 

X 


I 


^ 


^AXI96  SHADE  TL 


-AXI96  SHADE  TUBE 
-B(I63  OR  9(241    LENS 




a 

o 

"8 

i 

BX265 


I— 
1_ 

— 



< 
a 

1 

BX265 


BX290 


10 


BX294 


PROJECTOR 

SUPER  SNAPUTE  r/l.9(BX241l 

SUPER  SNAPLITE  f/1.7  IBX390I 

SNAPLITE  SERIES  II  IBX163I 

STANDARD  BARREL 

Make 

Model 

Fittings 

Fig.  No. 

Notes 

Recommended 

f/1.7 
Lens  Number 

Ballantyne 

•■W" 

None 

290 

Ballantyne 

"W" 

Lorge  lens  mount 

AX-155 

5 

290 

Bollantyne 

"G" 

(Gardiner  wilh 
reg.  lens  mount) 

None 

290 

Ballantyne 

"G" 

(Gordiner  with 
lorge  tens  mount) 

AX-155 

5 

290 

Ballontyne 

4"  dia.  mount 

AX-196 

6 

290 

Brenkert 

BX-40,  BX-80 
BX-60,  BX-62 

AX196 
AX-170" 

3 

294 

Brenkert 

RCA  100 

AX196 

6 

290 

Century 

C,  CC,  K  Super 

AX-t96 
AX-166 

4 

290 

Century 

C,  CC,  K  Super 
(Using  2  clamp 
rings) 

AX-196 
AX-166 

4 

294 

Century 

K  (or  Kaplan) 

None 

1 

290 

Century 

K  with  C-62 
modification 

AX-155 

5 

290 

Century 

4"  dia.  mount 

AX-196 

6 

290 

Holmes 

Type  8, 
Educator 

AX-196 

2 

Will  take  lenses  5- 
E.F.  and  longer  only 

290 

Holmes 

Type  G. P. 

AX-196 

2 

290 

Holmes 

Type  D 

AX-196 

2 

Will  take  lenses  5" 
E.F.  and  longer  only 

290 

International 
Projector  Corp. 

Simplex  £-7 

AX-196 
AX-170* 

3 

294 

International 
Projector  Corp. 

Simplex, 
Regular 

Nonet 

1 

290 

International 
Projector  Corp. 

Simplex,  with 
C-62  modifications 

AX-155 

5 

290 

International 
Protector  Corp. 

Simplex 
Internotional 

None 

1 

Will  toke  lenses  4" 
E.F.  and  longer  only 

290 

Inte-national 
Projector  Corp. 

Simplex  Semi- 
professional 

AX-196 
AX-170' 

3 

Will  toke  lenses  4" 
E.F.  ond  longer  only 

294 

International 
Projector  Corp. 

Super  Simplex 

AX-196 
AX-170' 

3 

294 

International 
Projector  Corp. 

XL 

AX-196 

6 

290 

Motiograph 

AA 

AX-196 

2 

294 

Motiograph 

F 

None 

1 

290 

Motiograph 

HU,  HK, 
K  Deluxe 

AX-155 

5 

290 

Motiograph 

4"  dio.  mount 

AX-196 

6 

290 

Powers 

AX-196 

2 

Will  take  lenses  5" 
E.F.  and  longer  only 

290 

Powers 

With  heavy  duty 
focusing  front 

AX-196 

2 

Will  take  lerisesS" 
E-F.  orrd  loMger  only 

294 

Wenzel 

Pro-4,  Pro-6 

Nonet 

I 

290 

Wenzel 

Pro-4  with   targe 
lens  mount 

AX-155 

5 

290 

Wenzel 

4"  dia.  mount 

AX-196 

6 

290 

*  Not  regularly  furnished,  but  can  be  supplied  if  desired. 

t.0065"  shims  furnished  at  no  cost  when  this  projector  is  specified. 


I^^B 

PROJECTOR 

SUPER    SNAPLITE  (BX265) 
4"  Diameter  Borrel 

Make 

Model 

Fig.  No. 

Note 

Recommended 

f/1.7 
Lens  Number 

Ballantyne 

4"  dia.  mount 

8 

Shade  — Tube 
AX-196  required 
if  BX-163,  BX-290 
or  BX-241   lenses 
ore  used. 
See  Fig.  No.  6 

290 

Brenkert 

RCA  100 

8 

290 

Century 

4"  dia.  mount 

7 

290 

International 

XL 

7 

290 

Motiogroph 

4"  dia.   mount 

8 

290 

Weniel 

4"  dio.   mount 

8 

290 

1 

5 



t 

T 


w 


In    The 

SPOTLIGHT 


The  function  of  this  department  is  to  provide  a  forum  for  the  exchange 
of  news  and  views  relative  to  individual  and  group  activities  by  mem- 
bers of  the  organized  projectionist  craft  and  its  affiliates.  Contribu- 
tions relative  to  technical  and  social  phases  of  craft  activity  are  invited. 


AFTER  a  year  of  negotiation, 
labor-management  recently  an- 
nounced agreement  on  an  industry 
pension  plan  covering  18,000  studio 
workers  on  the  West  Coast.  This  plan, 
involving  40  unions  and  guilds  and 
200  employers,  becomes  effective  the 
24th  of  this  month.  The  agreement 
specifically  includes  member  com- 
panies of  the  Ass'n  of  Motion  Picture 
Producers,  Society  of  Independent 
Motion  Picture  Producers,  Indepen- 
dent Motion  Picture  Producers  Ass'n, 
and  the  Alliance  of  Television  Film 
Producers. 

Payments  to  this  pension  fund  will 
be  made  by  both  labor  and  manage- 
ment, each  contributing  two  cents  for 
every  "straight  time"  hour  worked. 
However,  employer  contributions  are 
retroactive  to  October  26,  1953,  when 
negotiations  first  began,  while  em- 
jjloyee  contiibutions  will  start  October 
24,  1954. 

In  order  to  allow  sufficient  time  in 
which  to  build  up  an  adequate  fund, 
the  first  possible  pension  payment  of 
$20  per  jnonth  will  be  January  1, 
1960.  A  worker  eligible  for  a  pension 
must  be  65  years  old  and  have  worked 
a  minimum  of  20,000  hours  and  20 
"qualified"  years  in  the  industry.  A 
"qualified"  year  is  one  in  which  the 
employee  has  worked  at  least  400 
straight-time  hours. 

Employees  eligible  for  individual 
company  retirement  plans  at  Loew's, 
20th  Century-Fox,  and  RKO  may 
choose  between  the  company  and  in- 
dustry pensions,  but  they  cannot  parti- 
cipate in  both. 

A  board  of  16  directors,  equally  di- 
vided between  labor  and  management, 
will  administer  the  plan.  George  J. 
Flaherty,  lA  West  Coast  representative 


20 


and  business  representative  for  Holly- 
wood Projectionist  Local  165,  was  ap- 
pointed chairman  of  the  first  board. 
Other  lA  board  members  are  James 
D.  Tante,  Local  728;  Herbert  Aller, 
Local  659;  Alan  Jackson,  Local  633; 
John  Lehners,  Local  727.  Repre-ent- 
ing  AF  of  L  unions  other  thanas  lA 
are  board  members  Ralph  H.  Clare, 
Henry  C.  Wadsworth,  and  Norman 
Lowenstein. 

•  Charles  Vonesh,  member  of  Chi- 
cago Local  110,  has  been  appointed 
head  of  the  Motiograph  field  service 
department.  He  succeeds  J.  W.  Huck- 
leberry of  Local  281,  Paducah,  Ky., 
who  has  joined  Motiograph's  engineer- 
ing department. 

•  The  recent  smpte  convention  con- 
tained so  very  little  practical  projec- 
tion material  and  so  very  much  of 
the  other  ari^,3  —  notably  Tv,  color, 
radio  —  that  the  importance  of  lA 
technicians  keeping  abreast  of  techni- 
cal developments  must  be  emphasized 


^  anew  (see  the  article  by  Merle  Cham- 
berlain —  "Past,  Present  —  and 
Future?"  in  last  month's  IP). 


•  Benefits  paid  by  national  and  in- 
ternational unions  affiliated  with  the 
AF  of  L  for  the  year  1953  totaled 
$107,346,178.79,  according  to  the  re- 
port issued  by  the  Federation's  execu- 
tive council  at  the  recent  73rd  con- 
vention. 

•  Clifford  Vericker,  member  of  De- 
troit Local  199,  was  installed  as  com- 
mander of  the  Russell  Johnson 
Theatrical  Post  No.  371  of  the  Ameri- 
can Legion.  This  post  meets  at  mid- 
night the  first  Tuesday  of  each  month. 

•  Speaking  of  Rochester  Local  287, 
two  of  its  members,  Thomas  Moore 
and  Raymond  Hansen,  were  injured 
while  installing  a  wide  screen  at  the 
State  Theatre  in  Aliquippa,  Penna. 
Moore  lost  his  balance  and  fell  from 
the  top  of  the  scarffold,  sustaining 
six  broken  ribs,  a  broken  pelvis  bone, 
and  a  fractured  spine.  He  will  be  hos- 
pitalized for  at  least  five  months.  Han- 
sen was  injured  when  one  of  the 
falling  speakers  hit  his  foot  and  in- 
flicted  severe   bruises. 

©  Recent  out-of-town  visitors  to  the 
offices  of  IP:  Bob  Milligen,  member 
of  Toronto  Local  173,  and  his  attrac- 
tive wife,  visiled  with  us  for  a  while 
and  we  cut  up  a  few  touches  discuss- 
ing friends.  From  Detroit  came 
George  Hickox  who  was  driving  up 
to  Canada  for  a  short  vacation.  Al- 
though Hickox  is  a  member  of  Local 
291,  Grand  Rapids,  Mich.,  he  has  been 
working  out  of  Local  199  jurisdiction 
for  a  number  of  years.    Another  vis- 


TORONTO  LOCAL  173  FOURSOME  WINS  COVETED  GOLF  TROPHY 


The  highly-prized  N.  A. 
Taylor  trophy  was  won 
by  the  Projectionists' 
Recreation  Club,  com- 
prised of  members  of 
Toronto  Local  173,  in  the 
recent  annual  Canadian 
Picture  Pioneers  golf 
tournament.  Mr.  Taylor, 
president  of  CPP,  is 
shown  here  (center)  pre- 
senting the  trophy  to 
the  lA  men,  left  to 
right:  Andrew  R.  Pura, 
Frank  Cox,  A.  Byford, 
and  Frank  Cross,  captain 
of     the     team. 


I 


INTERNATIONAL    PROJECTIONIST 


OCTOBER    1954 


itor  was  Morris  Thacker,  member  of 
Chicago  Local  110,  who  dropped  in 
to  say  hello  and  to  get  the  answer  to 
a  technical  problem.  We  were  glad 
to  be  of  service  and  hope  our  solu- 
tion put  him  on  the  right  track. 

•  The  annual  Fall  meeting  of  the 
New  York  State  Association  of  Motion 
Picture  Projectionists  was  held  on 
October  4  at  Ithaca,  N.  Y.,  with  Local 
377  acting  as  host.  The  meeting  was 
high-lighted  by  discussions  of  new 
equipment  and  processes  by  repre- 
sentatives of  several  leading  equipment 
manufacturers. 

Larry  Davee,  sales  manager  and 
engineer  for  Century  Projector  Corp., 
detailed  the  fundamentals  of  the  new 
horizontal  projection  method  em- 
ployed for  the  current  presentation  of 
the  VistaVision  picture,  "White  Christ- 
mas," at  Radio  City  Music  Hall,  New 
York  City.  Messrs.  Neumer  and  Mul- 
roy  of  the  Bausch  &  Lomb  Optical  Co, 
discussed  wide-screen  processes,  which 
was  followed  by  a  question-and-answer 
forum.  Arthur  Meyer,  vice-president 
and  general  manager  of  International 
Projector  Corp.,  who  is  always  a  most 
welcome  guest  at  projectionist  gather- 
ings, expressed  his  appreciation  for 
the  fine  job  projectionists  are  doing 
with  the  new  processes.  Bill  Ingram 
(Rochester  Local  253)  displayed  and 
explained  the  new  variable  anamorphic 
lens  now  available  from  Projection 
Optics  Co.  of  Rochester,  N.  Y. 

Election  of  officers  closed  the  busi- 
ness sessions.  The  newly  elected  Asso- 
ciation officers  for  the  next  two  years 


Dr.  A.  N.  Goldsmith  Honored  by  the  NTFC 


Dr.  Alfred  N.  Goldsmith,  now  at 
the  height  of  an  extraordinary  career 
which  embraced  teaching,  inventive 
ability  and  splendid  engineering  tal- 
ent in  practically  all  phases  of  the 
technical  arts  (with  particular  em- 
phasis upon  the  motion  picture  and 
television  fields)  was  tendered  a 
testimonial  dinner  recently  by  the 
National   Television   Film   Council. 

One  of  Dr.  Goldsmith's  most  note- 
worthy achievements  was  the  inven- 
tion of  the  chromatic  television  sys- 
tem which  has  gained  practically 
unanimous  acceptance  by  the  Tv  in- 
dustry. Dr.  Goldsmith's  activities 
are  much  too  long  to  be  recounted 
in  detail  here,  but  among  other 
things  he  has  been  a  special  consul- 
tant to  RCA,  Eastman  Kodak,  Co., 
the  Rockefeller  Center  realty  de- 
velopment, and  RKO  Theatres. 

Not  the  least  interesting  facet  of 
Dr.  Goldsmith's  career  is  the  whole- 
hearted acceptance  accorded  him  by 
the  projection  craft.  When  president 
of  the  SMPTE   (and  as  a  past  presi- 


dent of  the  IRE)  Dr.  Goldsmith 
gave  unstintingly  of  his  time  and 
talents  to  the  advancement  of  the 
projectionist  craft.  Recognition  of 
this  fact  will  be  readily  apparent  by 


Dr.    Alfred    N. 
Goldsmith 


reason  of  his  being  a  gold-card  life 
member  of  lA  Local  306,  New  York 
City,  and  being  accorded  the  same 
status  in  the  25-30  Club  of  Greater 
New  York,  Inc.,  an  organization  of 
veteran  projectionists. 


are  George  Raaflaub  (Syracuse  L. 
376),  president;  Earl  Tuttle  (B.ng- 
hamton  L.  396,),  Harry  Lackey  (Utica 
L.  337),  Henry  Jeffrey  (Cortland  L. 
272),  vice-presidents;  Charles  F. 
Wheeler  (Geneva  L.  103),  secretary- 
treasurer;  E.  Francis  Larham  (Geneva 
L.  108),  George  Robinson  (Niagara 
Falls  L.  121),  Walter  Scarfe  (Syra- 
cuse L.  376),  Charles  Johnson  (Bing- 
hamton  L.  395),  Robert  King  (Ithaca 


N. 


Y.  STATE  ASS'N  HONORS  MEMORY  OF  WILLIAM  CONNOLLY 


A  gold  honorary  membership  card  in  the  New  York  State  Association  of  Motion  Picture 
Projectionists  was  awarded  to  the  widow  of  the  late  William  Connolly,  Local  535,  Johnstown, 
N.  Y.,  at  the  recent  Fall  meeting  in  Ithaca.  Mrs.  Connolly  is  shown  at  the  extreme  left  of 
the  photo  above,  standing  between  Charles  F.  Wheeler,  secretary-treasurer,  and  Earl  Tuttle, 
president   of   the   Association.     At   the    right   are   members   of   the   Association's   Ladies   Auxiliary. 


L.  377),  members  of  the  executive 
board,  and  Louis  B.  Goler  (Rochester 
L.  253),  sergeant-at-arms. 

A  feature  of  the  midnight  banquet, 
sponsored  by  host  Local  377,  Ithaca, 
was  the  presentation  of  a  gold  life- 
membership  card  to  Cedric  Carpenter 
for  43  years  of  devoted  service  to  the 
Local.  James  J.  Brennan,  lA  vice- 
president,  made  the  award.  Among 
the  out-of-town  guests  were  Morris  I. 
Klapholz,  secretary  of  the  25-30  Club, 
and  Edward  Dougherty,  past  presi- 
dent of  the  Club. 

25  Years  Ago  -  October  1929 
®  The  lA  General  Executive  Board 
convened  at  the  Royal  York  Hotel  in 
Toronto  during  the  convention  week 
of  the  AF  of  L  ...  A  20-acre  public 
park  in  Chicago  was  named  in  honor 
of  the  late  Samuel  Gompers.  ...  At 
the  AF  of  L  convention  in  Toronto, 
Tom  Maloy,  business  representative 
for  Chicago  Local  110  and  delegate 
to  the  convention,  was  chosen  to  rep- 
resent the  American  trade  movement 
at  the  British  Trade  Union  Congress 
annual  meeting.  .  .  .  lA  Gensral  Office 
issued  a  warning  to  its  projectionist 
Locals  again-t  a  number  of  so-called 
"Projection  Schools,"  which  came  in- 
to   bein?:    with    the    advent    of    sound. 


INTERNATIONAL    PROJECTIONIST 


OCTOBER    1954 


21 


An  Evaluation  of  Optical  Sound 


This    is   tiie    last   of   a    series    of   three    articles    on    the    history 
and  present  uses  of  the  photocell  in  theatre  sound  reproduction. 


THE  PROCESS  of  manufacture 
for  the  conventional  red-sensi- 
tive caesium-silver-oxygen  cells 
is  interesting.  The  semi-cylindrical 
cathode  support  is  silver-plated  and 
the  surface  of  the  silver  oxidized  by 
moist  ozone  (a  chemically  active  form 
of  oxygen)  to  a  silver-oxygen  com- 
pound known  as  silver  peroxide. 

Upon  the  silver  peroxide  is  coated  a 
very  thin  layer  of  caesium.  This  work 
must  be  done  in  a  vacuum,  the  active 
caesium  applied  by  vaporizing  it  and 
letting  the  vapor  condense.  When  the 
caesium  comes  in  contact  with  this 
surface,  it  takes  part  of  the  oxygen 
away  from  the  silver  peroxide  to  form 
caesium  oxide. 

With  less  oxygen,  the  silver  perox- 
ide becomes  normal  silver  oxide, 
which  gives  the  cathode  its  dull  yel- 
lowish-brown color.  A  small  amount 
of  metallic  caesium  and  silver  remain 
in  the  coating,  and  it  is  believed  that 
this  trace  of  free  metal  increases  the 
electrical  conductivity  of  the  surface. 
Now,  this  particular  type  of  photo- 
sensitive surface  readily  emits  elec- 
trons when  exposed  to  red  and  infra- 
red light. 

Blue-Sensiiive  Cells 

The  cathode  of  the  blue-sensitive 
cell  is  made  by  coating  the  metal  plate 
with  a  very  thin  layer  of  antimony  by 
the  vacuum-evaporation  process.  Next, 
this  antimony  film  is  exposed  to 
caesium  vapor  at  a  temperature 
slightly  above  the  boiling  temperature 
of  water.  A  compound,  caesium  anti- 
monide,  is  formed.  This  substance  is 
a  semi-conductor  of  electricity.  Ex- 
posure of  this  surface  to  oxygen  at 
low  pressure  for  a  short  time  increases 
the  sensitivity  of  the  cell,  presumably 
by  forming  a  trace  of  an  active  form 
of  caesium  oxide.  The  color  of  the 
surface  thus  prepared  is  bluish-gray. 

Being  sensitive  only  to  blue  and 
violet  light,  the  caesium-antimony  cell 
is  reserved  for  use  with  natural-color 
prints  having  the  soundtrack  printed 
in  colored  dyes  which  transmit  low 
red  and  infrared  rays  too  readily  to 


By  ROBERT  A.  MITCHELL 


give  good  results  with  red-sensitive 
cells.  Color  films  having  such  sound- 
tracks are  not,  however,  used  in 
American  theatres  at  the  present  time. 

Soundtrack  Dyes 

The  most  satisfactory  dye  tracks  are 
those  printed  in  just  one  color.  The 
blue-sensitive  cell,  however,  requires 
a  red  soundtrack,  which  simply  means 
a  combination  of  two  dye-colors, 
namely,  lemon-yellow  and  magenta. 
Magenta  alone  cannot  be  used  with 
blue-sensitive  cells  because  magenta 
dye  transmits  both  red  and  blue-violet 
light,  screening  off  only  the  green  of 
the  spectrum.  And  yet  a  magenta 
track  would  be  desirable  due  to  the 
fact  that  the  magenta  layer  of  dye- 
coupler  films  (Eastman  Color,  Ansco 
Color,  Agfacolor,  and  others)  con- 
stitutes the  "green  record"  and  has 
excellent  image-definition.  Maximum 
response  cannot  be  obtained  from 
magenta  tracks  unless  photocells  sensi- 
tive only  to  green  light  are  used. 

Green-sensitive  photocells  have  been 
devised.  Examples  are  the  strontium 
and  caesium-bismuth  cells.    For  maxi- 


< 
300 

400 

500 

600 

700 

800 

900 

1000 

HOC 

1200 

1300 

Relative   sensitivity 
3O00000000C 

\ 

r-' 

~^ 

Y 

--'- 

~< 

Ultraviolet 

I 

^. 

\-. 

...< 

-447-Bluevio 

< 

r- 

r' 

K 

k 

'^ 

■■•- 

-522-Green 
-578-Lenion 

/ 

■x 

\ 

^>^ 

-630-Red              7 

\ 

\ 

'^ 

N 

Infrared 

y 

/ 

!     1      1     1 

Mi! 

:    1     i    1 
3:  r  0  r>  f 

3  2   ^  ?.  i 

■0 

1 

"     m 

^ 

^ 

-^ 

\ 

/ 

/ 

"  c  -J  J.  ?■■  n 
S  I?   0    n 

1 

\ 

\ 

1       \ 

T 

>.    r 
f. 

FIG.    5.    Color-sensifivity    of    photoelectric    cells. 


mum  response  from  a  magenta  dye 
track  a  green  filter,  such  as  the  East- 
m.an  Wratten  No.  61,  is  placed  in  front 
of  the  cell  to  mask  off  any  red  or  blue- 
violet  rays  that  might  produce  a 
higher  levd  of  ground  noise. 

The  caesium-silver-oxygen  (red-sen- 
sitive) and  caesium-antimony  (blue- 
sensitive)  phototubes  for  sound 
motion-picture  projectors  are  gas- 
filled,  containing  a  trace  of  argon  to 
step  up  the  sensitivity  five  to  eight 
times.  For  this  reason  the  anode  po- 
tential supplied  to  these  cells  should 
not  exceed  90  volts. 

Response  Characteristics 

The  commonly  used  red-sensitive 
cells  have  what  is  called  a  Type  S-1 
response,  the  sensitivity-peak  occur- 
ring in  the  infrared  region  of  the 
spectrum.  RCA  phototubes  IP40,  868, 
918,  and  930  are  S-1  cells  familiar  to 
projectionists.  RCA  photocell  927  is 
a  "little  fellow"  about  two  inches  high 
used  in  16-mm  equipment. 

Among  the  blue-sensitive  cells  in- 
tended for  dye-track  reproduction  we 
find  RCA  cells  IP37  and  5581.  RCA 
cell  5583  is  for  16-mm  projectors. 
These  cells  have  a  Type  S-4  response 
with  the  peak  occurring  in  the  far 
violet  region. 

The  lead  bxysulfide  cell,  most  sensi- 
tive to  the  deep  infrared,  is  the  only 
photoconductive  cell  suitable  for 
sound-on-film  reproduction.  Its  fre- 
quency-response characteristics  are 
quite  similar  to  those  of  gas-filled 
photoemissive  cells.  The  cadmium  sul- 
fide photoconductive  cell,  on  the  other 
hand,  is  "blind"  to  variations  of  light 
more  rapid  than   1000  cycles/second. 

The  light-sensitive  plate  of  the  leaa 
oxysulfide  cell  consists  of  lead  sulfide 
oxidized  on  its  surface  to  lead  oxy- 
sulfide. Metal  electrodes  contact  this 
surface  in  such  a  way  that  current 
is  forced  to  flow  through  the  lead 
oxysulfide.  When  light  falls  on  this 
surface,  resistance  of  the  cell  to  the 
flow  of  current  decreases  about  five 
times. 

The   lead   oxysulfide   cell   has   been 


22 


INTERNATIONAL    PROJECTIONIST      •      OCTOBER    1954 


advocated  because  of  its  large  signal- 
output  and  extreme  quietness  —  it 
produces  no  "photocell  hiss"  when  il- 
luminated by  unmodulated  light.  Use 
of  this  cell  requires  a  scanning-beam 
optical  system  corrected  for  the  deep 
infrared. 

Cause  of  Photocell  "Hiss" 

Photocell  hiss,  a  phenomenon  com- 
mon to  all  photoemissive  cells,  posed 
a  serious  problem  to  sound  techni- 
cians in  the  early  days  of  sound-on- 
film  recording.  The  first  soundtracks, 
both  variable-area  and  variable- 
density,  allowed  approximately  half 
of  the  full  intensity  of  the  scanning 
beam  to  fall  on  the  photocell  during 
moments  of  silence.  In  the  case  of 
variable-area  recording,  the  unmodu- 
lated track  was  half  black  and  half 
clear;  while  with  variable-density  re- 
cording, the  track,  when  unmodulated, 
was  a  light  gray  of  roughly  50%  light- 
er transmission.  This  intensity  of 
photocell  illumination  was  enough  to 
mar  the  intended  silences  with  a  hiss- 
ing noise,  and  it  also  had  the  disad- 
vantage of  allowing  the  scanning 
beam  to  be  strongly  modulated  by 
scratches  and  specks  of  dust  on  the 
film. 

To  overcome  these  annoyances,  me- 
thods of  "noiseless"  recording  were 
introduced.  All  of  them  depend  on 
darkening  the  soundtrack  during  mo- 
ments of  silence.  In  variable-area 
tracks  the  width  of  the  clear  areas 
diminish  with  diminishing  volume;  in 
variable-density  tracks  the  entire 
track  darkens  with  decreasing  volume. 
The  apparatus  for  "biasing"  the  tracks 
is  very  simple. 

Even  though  the  use  of  noiseless  re- 
cording is  universal  at  the  present 
time,  the  projectionist  working  with 
equipment  in  which  sound  change- 
overs  are  made  by  switching  the  ex- 
citing-lamp current  from  one  machine 
to  the  other  must  guard  against  leav- 
ing sound  volume  on  at  normal  levels 
before  and  after  shows  and  during 
intermissions  when  no  film  is  threaded 
up  to  prevent  the  full  scanning  beam 
from  reaching  the  photocells.  The  hiss 
is  annoying,  and  when  50-  or  60-cycle 
A.C.  is  used  for  supplying  the  ex- 
citers, moderately  loud  hum  will  also 
be  heard  in  the  auditorium. 

Checking  Photocell  Circuit 

The  current  flowing  in  the  photo- 
cell circuit  of  a  sound-film  reproducer 
is  only  about  one  millionth  of  an  am- 
pere at  most.    So  tiny  is  this  current 


FIG.   6.    Push-pull    tracks. 

that  corroded  or  loose  connections 
anywhere  in  the  circuit  will  generate 
clicking  or  raspy  noises,  or  even  total 
loss  of  sound.  It  is  always  a  good  idea 
to  check  all  soundhead  connections  at 
least  once  a  year  and  to  make  sure 
that  the  prongs  of  the  photocell  are 
clean  and  make  firm  contact  in  the 
socket. 

Varying  magnetic  and  electrostatic 
fields  induce  currents  in  conductors. 
Induced  currents  in  the  photocell  cir- 
cuit do  not  have  to  be  very  great  to 
cause  hums  and  other  noises  in  the 
sound.  This  is  why  all  photocell  leads 
are  carefully  shielded  and,  if  very 
long,  run  in  coaxial  cable  to  prevent 
attenuation  of  high  frequencies  by 
capacitance-effects.  In  some  equip- 
ments the  photocell  output  is  "stepped 
down"  by  a  transformer  to  minimize 
the  pickup  of  noise  in  the  wires  that 
connect  the  photocells  to  the  amplifier. 
Other  equipments  use  preamplifiers 
either  in  the  soundheads  or  very  close 
to  them  to  make  the  circuits  as  short 
as  possible. 

Contrary  to  opinion  in  some  quar- 
ters, even  modern  photocells  of  good 
quality  will  eventually  wear  out.  Con- 
tinual bombardment  of  the  photo-elec- 
tric cathode  by  gas  ions  results  in  a 
gradual  decrease  of  sensitivity.  Some 
cells  give  satisfactory  service  for 
years;  others,  for  reasons  unknown, 
"die"  in  a  few  months.  The  life  of 
any  gas-filled  cell  is  shortened  by  ex- 


cessive anode  voltage,  of  course;  and 
if  voltage  is  so  high  that  the  cell  glows, 
the  photosensitive  surface  is  destroyed 
almost  at  once. 

Discard  Imperfect  Cells 

Photocells  having  loose  glass  en- 
velopes should  be  discarded  because 
the  entire  cell,  including  the  cathode, 
may  vibrate  when  the  projector  is 
running,  introducing  machine  noises 
into  the  sound. 

Loose  connections  in  the  exciting- 
lamp  circuit  usually  do  not  products 
noises — the  filament  heats  and  cools 
too  slowly — but  they  often  cause  tem- 
porary loss  of  volume  or  even  sound 
outages.  Careful  visual  inspection  of 
the  exciter  while  it  is  burning  will 
reveal  any  flickering,  and  tapping  the 
bulb  and  tugging  at  the.  wires  ordi- 
narily turns  up  the  source  of  the 
trouble. 

Sound  troubles  caused  by  flickering 
exciters  occur  fairly  often  because  the 
heavy  current  consumed  by  the  bulb 
(from  5  to  10  or  12  amperes)  heats 
and  burns  corroded  contacts  and  other 
weak  points  that  offer  resistance  to 
the  flow  of  current. 

Exciting  lamps  do  not  last  as  long 
as  photocells.  Like  any  lamp  bulb, 
they  are  always  in  danger  of  burning 
out.  Slight  over-volting  seriously 
shortens  the  life  of  the  bulb.  Exciters 
with  sagging  filaments  and  heavily 
blackened  glass  envelopes  should  al- 
ways be  replaced  to  avoid  burnouts 
during  a  show. 

Dirt  in  the  "sound  aperture"  of  old- 
style  soundheads  cuts  down  volume  by 
cutting  off  part  of  the  scanning  beam. 
If  a  variable-area  track  is  being 
played,  "second-harmonic  distortion" 
will  result  if  the  tops  of  the  sound- 
track variations  are  concealed  by  the 
dirt.  Then,  too,  if  a  piece  of  dust  in 
the  sound  aperture  vibrates,  a  noise 
will  be  generated. 

Dirt,  Oil  Effect  Sound 

All  film  has  more  or  less  dirt  ad- 
hering to  it.  Even  negatives  which 
are  treated  with  the  utmost  care  pick 
up  dust  by  electrostatic  action.  And 
when  a  print  gets  oily,  the  dirt  and 
grime  really  stick  fast.  So  to  avoid 
loss  of  volume  and  "husky"  sound, 
clean  those  old-fashioned  "sound 
gates"  after  every  reel  or  two. 

Sound  volume,  especially  in  tlie 
higher  frequencies,  is  lost  whenever 
oil  gets  on  the  lenses  of  the  optical 
tube.  If  a  droplet  of  oil  forms  on 
the     condensing    lens     of    the     usual 


INTERNATIONAL    PROJECTIONIST      •      OCTOBER    1954 


23 


"stereopticon"  type  of  optical  tube, 
the  resulting  concentration  of  light  on 
the  slit  may  actually  cause  a  marked 
increase  in  sound  volume  with  more 
or  less  distortion.  In  such  a  case  the 
oil  droplet  acts  just  like  a  small  lens 
of  very  short  focal  length.  When  the 
heat  of  the  exciting  lamp  vaporizes 
the  oil  droplet,  the  volume  will  fall 
off  to  normal. 

No  oil  should  ever  get  into  or  even 
on  the  optical  unit.  Naturally,  if  the 
projection  mechanism  leaks  oil,  some 
of  it  is  bound  to  find  its  way  into  the 
sound-head  where  it  isn't  needed  or 
wanted.  When  the  oil  exists  In  the 
form  of  vapor,  volatilized  by  the  lioL 
exciter,  it  may  eventually  seep  inside 
the  optical  unit  where  it  will  cause  all 
kinds  of  trouble. 

Modern  optical  tubes  are  supposed 
to  be  hermetically  sealed,  but  manu- 
facturers have  found  that  it  is  almost 
impossible  to  keep  the  seals  intact  in- 
definitely. 

Heai  Strains  Optical  Unit 

"The  optical  unit  is  exposed  to  a  con- 
tinuous heat-cycle  due  to  the  fact  that  it 
is  located  so  close  to  the  exciter  lamp.* 
As  the  unit  heats  up,  different  parts, 
such  as  the  glass  lenses  and  their  retain- 
ing rings,  expand  to  different  degrees. 
This  strains  the  sealing  cement  which 
eventually  allows  minute  air  leaks  to 
form.  From  then  on,  whenever  the  op- 
tical unit  heats  up,  the  air  inside  ex- 
pands and  escapes  through  these  air 
leaks. 

"When  the  exciter  lamp  is  turned  off, 
the  air  inside  the  unit  contracts,  creat- 
ing a  partial  vacuum  which  draws  air  in 
from  outside.  If  this  air  is  laden  with 
oil  vapor,  the  oil  is  drawn  into  the  unit 
and  finally  condenses  inside. 

"This  continual  'breathing'  of  the 
optical  unit  eventually  causes  enough  oil 
to  collect  inside  to  seriously  impair  the 
quality  of  sound  reproduction.  This 
trouble  can  hz  largely  overcome  if  the 
sound-head  and  projector  are  kept  clean 
and  free  of  excess  oil  at  all  times.  The 
air  in  the  vicinity  of  the  optical  system 
will  then  contain  no  oil  vapor,  and  hence 
the  'breathing'  action  will  not  be  harm- 
ful, if  it  take  place." 

Leaky  automatically-lubricated  pro- 
jectors and  old,  worn-out  mechanisuiS 
which  have  to  be  over-oiled  to  run 
properly  are  the  chief  culprits.  In 
both  ca:e3  the  mischief  can  be  elimi- 
nated by  repairing  the  projectors  and 
replacing  worn  and  defective  parts. 

In    the    dear,    dead    days    of    silent 


•  Quoted  from  the  "RCA-Photophone  Hand- 
book for  Projectionists."  Second  Edition,  1941, 
pp.    59-60. 


movies,  many  projectionists  periodic- 
ally gave  their  mechanisms  "kerosene 
baths"  to  wash  away  old,  grimy  oil 
from  the  gears  and  bearings,  fhis 
may  have  been  dandy  treatment  for 
the  Powers  projector,  which  has  ex- 
posed gear-work;  but  coal-oil  ablu- 
tions have  no  place  in  these  days  of 
sound  pictures.  Kerosene  carrie?  oil 
into  the  soundhead. 

Deposits  of  emulsion,  dirt,  and  film- 
wax  on  the  runners  of  the  soundgate 
(in  the  older  equipment)  and  on  the 
polished  rotary  scanning  drum  (in 
modern  equipment)  may  displace  the 
film  out  of  the  true  focal  plane  of  the 
optical  unit.  This  focus  is  rather 
critical,  and  cleanliness  of  the  sound- 
head helps  it  to  "stay  put."  Dirt  is 
removed  from  the  polished  metal  parts 
with  an  orangewood  stick  or  a  copper 
coin.   These  won't  scratch. 

Demagnetizing  Not  Needed 

What  about  demagnetizing  the  pro- 
jector mechanism  and  soundhead? 
It's  necessary  only  if  you  have  a  mag- 
netic reproducer  for  CinemaScope 
tracks.  Magnetic  tracks  are  likely  to 
pick  up  weird  noises  and  suffer  loss 
of  sound  if  magnetic  fields  exist  in 
the  projector  parts.  Photographic 
tracks  and  optical  reproducers  lo  tally 
ignore  magnetism  in  the  sprockets, 
film  runners,  tension  pads,  idlers,  etc., 
so  why  waste  time  demagnetizing 
things  that  don't  need  to  be  demag- 
netized? 

Exciter  focus  and  cleanliness  of  the 
optical-tube  lenses  are  other  important 
points  to  keep  in  mind.  (We  men- 
tioned previously  the  focus  of  the 
optical  tube  itself.)  In  practice,  the 
position  of  the  exciter  is  adjusted  until 

Air   Pilots   Want   Drive-in   Info 

Projectionists  at  drive-ins  may  not 
realize  it,  but  their  theatres  are  a  source 
of  considerable  interest  to  the  pilots 
of  planes  flying  overhead  because  the 
drive-in  makes  a  dis.inctive  landmark. 
The  Aircraft  Owners  and  Pilots  Assn. 
has  requested  drive-ins  throughout  the 
coun  ry  to  furnish  their  exact  latitude 
and  longitude,  declaring  that  such  infor- 
mation could  "be  the  difference  between 
life  and  death  to  some  pilots  and  their 
passengers." 

Information  on  latitude  and  longitude 
can  be  obtained  at  local  or  counLy  en- 
gineers offices.  The  information  can 
then  be  sent  to  the  New  York  City 
offices  of  the  Theatre  Owners  of  Amer- 
ica, 1501  Broadway,  from  where  it  will 
be   forwarded  to   the   aircraft   group. 


the  spot  of  light  on  the  photocell 
cathode  (the  yellowish-brown  photo- 
sensitive plate)  has  maximum  bright- 
ness. This  adjustment  should  always 
be  made  when  a  new  exciting  lamp 
is  installed.  As  the  exciter  ages,  how- 
ever, the  filament  may  sag  sufficiently 
to  destroy  the  adjustment;  in  such  a 
case  the  position  of  the  bulb  should 
be  altered  to  restore  the  full,  bright 
spot  of   light   on   the   photocell   plate. 

Equalizing  Sound  Output 

If  exciter  focus  is  not  up  to  par, 
sound  output  will  be  below  normal. 
And  if  there's  anything  a  projectionist 
dislikes,  it's  a  difference  in  the  sound 
output  of  the  two  projectors.  Change- 
overs  should  not  require  the  projec- 
tionist to  boost  the  gain-setting  of  the 
volume  control  to  compensate  for  a 
"low"   machine. 

The  better  sound  equipments  pro- 
vide a  means  whereby  the  outputs  of 
the  two  soundheads  may  easily  be 
equalized.  Before  equalization  is  at- 
tempted, however,  the  optics  of  both 
soundheads  should  be  adjusted  for 
maximum  output.  After  this  has  been 
done,  identical  frequency  test  loops 
are  run  in  both  machines  simultane- 
ously, and  the  output  of  the  "louder" 
machine  reduced  until  it  exactly 
matches   that   of  the   other   projector. 

When  a  precise  match  has  been 
attained,  rapid  changeovers  on  the 
fader  will  reveal  no  difference  in  the 
loudness  of  the  test  tones  playing  in 
both  machines.  Careful  work  will  re- 
sult in  matching  to  within  ^2  db,  the 
smallest  volume-difference  detectable 
by  a  trained  ear  under  the  most  favor- 
able conditions.  The  use  of  output 
meters  makes  possible  even  closer 
matching. 

The  means  provided  for  balancing 
outputs  differs  in  different  makes  and 
models  of  sound  equipment.  One 
method  involves  the  use  of  a  small 
potentiometer  for  the  photocell  "load 
resistance."  Adjusting  this  potentio- 
meter, which  is  usually  located  in  the 
soundhead  or  preamplifier,  varies  the 
output  without  affecting  the  frequency- 
response  of  the  system. 

Another  way  is  to  insert  a  heavy 
rheostat  in  series  with  the  exciting 
lamp.  Adjusting  the  rheostat  bright- 
ens or  dims  the  exciter,  thus  changing 
the  sound  output  without  affecting 
quality.  Now,  a  rheostat  rugged 
enough  to  absorb  the  heavy  exciter 
current  costs  much  more  than  a  light 
potentiometer    (similar  to  the  volume 


24 


INTERNATIONAL    PROJECTIONIST      •      OCTOBER    1954 


control  of  a  small  radio-set) ,  but  it 
furnishes  excellent  control.  Some  of 
the  older  sound  equipments  had  such 
rheostats  as  well  as  voltmeters  to  show 
how  much  voltage  was  being  sup- 
plied to  the  exciters. 

Emergency  Adjustment 

In  no  case  should  an  exciter  be 
deliberately  thrown  out  of  focus  to  re- 
duce sound  output.  Doing  this  may 
result  in  uneven  slit  illumination  and 
hence  distort  the  sound.  A  popular 
"emergency"  method  of  reducing  the 
output  of  a  soundhead  without  af- 
fecting sound  quality  is  to  wrap  one 
or  more  turns  of  clear,  blank  film 
around  the  photocell,  holding  it  in 
place  with  rubber  bands.  Another 
method  is  to  mask  off  a  small  portion 
of  the  cathode  with  rubber  bands 
alone.  These  methods  are  strictly 
"haywire,"  but  they  are  useful  for 
equalizing  outputs  until  the  service 
engineer  arrives  to  make  the  adjust- 
ment in  the  proper  way. 

Push-pull  optical  recording  has 
been  more  or  less  of  a  plaything  in 
the  industry  for  many  years.  Fig.  6 
shows  what  variable-area  and  variable- 
density  push-pull  tracks  look  like. 
Note  that  each  track  is  split  into  two 
corresponding  tracks  having  sound 
records  180  degrees  out  of  phase.  At 
any  point  of  full  modulation  one  "half- 
track" is  dark  while  the  other  is  light. 

To  reproduce  these  tracks  a  double- 
wedge  prismatic  lens  is  placed  behind 
the  scanning  point  to  direct  the  modu- 
lated light  from  one  half-track  to  one 
photocell  and  the  light  from  the  other 
half-track  to  a  second  photocell.  In- 
stead of  two  separate  phototubes,  a 
special  double  photocell,  such  as  the 
PiCA  920  with  twin  cathodes  and 
anodes,  may  be  used.  The  outputs  of 
the  two  cells  are  combined  in  the  pre- 
amplifier 180  degrees  out  of  phase, 
exactly  cancelling  the  180-degree  phas- 
ing of  the  two  half-tracks.  The  com- 
bined output  is  then  amplified  in  the 
usual  way. 

Push-Pull  Advantages 

The  advantage  of  push-pull  repro- 
duction lies  partly  in  its  greater  free- 
dom from  optical-distortion  effects 
and  in  its  perfect  freedom  from  noise 
caused  by  lateral  scratches  and  film 
splices.  There  is  no  need  for  "bloop- 
ing"  soundtrack  splices  when  push- 
pull  tracks  are  used,  for  no  matter  how 
carelessly  the  emulsion  is  scraped  off, 
no  thumps  or  clicks  are  heard. 

Why  do  splices  glide  silently  by  in 


You'll  win 


GOIM  OliE  STEP  AT  1  TIME! 

The  tortoise  took  it  step  by  step — 

and  won  going  away! 

This  strategy  of  moving  "slow  but  steady"  is 
not  restricted  solely  to  foot  races.  Ifs  a  sound, 
profitable  approach  for  every  motion  picture 
exhibitor! 

The  Cinemascope,  wide  screen  and  Vista- 
vision  product  is  winning  greater  favor  every  day. 
Knowing  the  multiple  equipment  improvements  it 
requires.  National  Theatre  Supply  has  devised  a 
program  whereby  even  the  smallest  theatre  can 
progress  "Step  by  Step"  along  the  road  to  com- 
plete wide  screen  projection.  The  exhibitor  may 
begin  simply  with  the  basic  wide  screen  installa- 
tion and  then  gradually  continue  —  right  through 
to  a  complete  stereophonic  sound  system. 


OEFERREO    PAVrAENT 
PLAN 

u^\n  in   equiPP'"9   ^ 


Your  National  expert  will 
be  glad  to  advise  you  on 
this  "Step  by  Step"  pro- 
gram. Being  familiar  with 
theatres  of  every  size,  he 
knows  how  many  steps  you 
need  to  win  the  race 
towards  profitable  theatre 
improvement! 


NATIONAL 


THE  AIRE        SUPPLY 


of  National  •  Simple.  •  BludwoMk.Inc 


INTERNATIONAL   PROJECTIONIST     •     OCTOBER   1954 


25 


NO  MATTER  THE 

POWER 
REQUIREMENTS 

HERTNER 

HAS  A 


(7\ 


m 


Vi 


D. 


to  fit  EVERY 
THEATRE    NEED 


NEW  HT135  TransVerter 

(90  volts)  for  115  to 
135  ampere  arcs  to  ac- 
commodate all  types  of 
wide  screen  projection. 


Regardless  of  whether 
your  demands  for  DC  arc  \     '■' 

current  for  projection  are  small  or  large,  there  is  a  TransVerter 
particularly  well-suited  for  your  installation.  The  latest  meth- 
ods of  manufacture,  and  new  design  features  in  Hertner  Trans- 
Verters  give  users  a  source  of  DC  power  that  is  remarkable 
for  its  extreme  steadiness,  responsiveness,  quietness  and  free- 
dom from  excessive  maintenance.  Write  today,  so  that  we  may 
send  you  the  interesting  details  of  the  TransVerter  that  will 
do  the  job  for  you— dependably  and  economically. 
Mention  Bulletin  No.  301 B 

Distributed  by  National  Theatre  Supply. 

In  Canada:  General  Theatre  Supply  Company 


THE    HERTNER    ELECTRIC   COMPANY 

12690    ELMWOOD    AVE.     •      CLEVELAND    11,    OHIO 


MOTORS     •    MOTOR    GENERATORS     •     GENERATOR    SETS 


A     SUBSIDIARY     OF     GENERAL     PRECISION     EQUIPMENT     CORPORATION 


Clayton  Ball -Bearing  Even  Tension  Take-Ups 

For  all  Projectors  and  Sound  Equipments 

ALL  TAKE-UPS  WIND  FILM  ON  2,  4  AND  5  INCH  HUB  REELS. 
SILENT  CHAIN    DRIVE 

THE    CLAYTON    REWINDER 

FOR    PERFECT   REWINDING   ON   2000-FOOT   REELS. 

CLAYTON    PRODUCTS   CO. 


31-45  Tibbett  Avenue 


New  York  63,  N.  Y. 


push-pull  reproduction  ?  Splice-lines 
cross  both  half-tracks,  of  course.  But 
the  two  photocells  are  180  degrees  out 
of  phase.  When  the  splice-line  gen- 
erates a  strong  "positive"  signal  in  the 
output  of  one  cell,  it  generates  a 
strong  "negative"  signal  in  the  output 
of  the  other.  The  two  signals,  being 
opposed,  simply  cancel. 

An  ordinary  track  played  through  a 
push-pull  soundhead  produces  no 
sound.  It  is  necessary,  in  such  a  case, 
to  reverse  the  electrical  phasing  by  a 
switching  arrangement  to  play  ordi- 
nary tracks.  Conversely,  a  push-pull 
track  gives  no  sound  if  played  in  an 
ordinary  soundhead  —  the  two  half- 
tracks exactly  cancel  one  another  op- 
tically. 

Almost  any  modern  soundhead  can 
be  fitted  for  push-pull  reproduction. 
In  fact,  many  manufacturers  supply 
conversion  kits  and  special  output- 
transformers  or  preamplifiers  for  this 
purpose.  Push-pull  recording  was 
often  used  in  studios  before  the  intro- 
duction of  magnetic  recording  to 
maintain  the  highest  sound  quality. 
The  completed  push-pull  tracks  were 
re-recorded  as  normal  tracks  for  re- 
lease  printing. 

Ordinary  optical,  or  photographic 
sound  reproduction  is  definitely  not  a 
dead  duck.  It  has  many  points  in  its 
favor.  And  push-pull  photographic  re- 
production is  even  better  than  the 
ordinary  kind. 


lA       OBITUARIES 


Everett  Baty,  Sr.,  62,  member  of  Local 
447,  Springfield,  Mo.,  succumbed  to  a  fatal 
heart  attack  last  month.  He  complained 
of  feeling  ill  while  visiting  Ralph  Foster, 
manager  of  Station  KWTO,  in  his  cabin 
near  Kissee  Mills,  but  died  before  he 
could  be  taken  to  a  hospital.  Baty  was 
president  of  Local  447  for  more  than  20 
years  and  was  one  of  its  charter  members. 
He  was  a  member  of  Gate  of  the  Temple 
Masonic  Lodge  in  Springfield,  and  of  the 
Abou  Ben  Adhem  Temple  of  the  Shrine. 
Besides  his  wife,  survivors  include  a  son, 
two    daughters,    and   a   stepson. 

Leo  a.  Cortesy,  71,  charter  member  of 
Local  93,  Spokane,  Wash.,  died  following 
surgery.  A  native  of  Belgium,  Cortesy 
worked  in  motion  picture  theatres  in  and 
around  Spokane  for  the  last  45  years.  Sev- 
eral years  ago  the  Local  honored  him  as 
one  of  the  two  remaining  charter  members. 


BUY  U.  S.  SAVINGS  BONDS 


26 


INTERNATIONAL    PROJECTIONIST      •      OCTOBER    1954 


HORIZONTAL  PROJECTOR 

(Continued  from   page    17)     _ 

the  use  of  standard  35-mm  film  stock 
turned  on  its  side  makes  possible  the 
equivalent  of  a  70-mm  image  on  nar- 
rower film,  thereby  increasing  the  film 
size  without  increasing  the  tendency 
to  buckle  the  film  and  throw  the  pic- 
ture out  of  focus.  The  tension  pads 
on  the  horizontal  projector  are  no 
farther  apart  than  on  a  standard 
model,  it  was  said  in  explanation. 

However,  it  was  noted  by  others 
that  film  buckle  is  caused  basically  by 
an  expansion  of  the  emulsion  of  the 
picture  area  from  the  heat  of  the  arc, 
and  that  the  picture  area  presented  by 
the  horizontal  projector  is  approxi- 
mately as  great  as  the  area  presented 
by  wider  65-  or  70-mm  film  used  in 
the  Todd  AO  system  and  in  a  pro- 
jector under  development  at  20th  Cen- 
tury-Fox. 

Just  how  important  a  part  the  larger 
film  will  play  in  the  future  of  the 
motion  picture  business  is  still  most 
indefinite.  It  was  rejected  before  in 
the  late  twenties  and  early  thirties  as 
being  too  expensive  and  impractical. 
Barney  Balaban  says  that  its  use  is 
warranted  only  where  "Tiffany"  pro- 
jection is  desired  and  a  screen  over 
50  feet  wide  is  used.  He  placed  the 
number  of  such  theatres  in  the  United 
States  at  about  100.  Other  estimates 
place  them  as  low  as  50.  These  figures 
presumably  do  not  include   drive-ins. 

It  is  difficult  to  say  just  what  will 
happen  next  in  these  days  of  violent 
competition  with  the  Tv  interests,  but 
the  big  film  could  be  the  tool  required 
to  present  a  really  spectacular  show — 
something  that  a  Tv  set  couldn't  pos- 
sibly compete  with.  In  any  case  it 
stands  a  good  chance  of  finding  im- 
portant use  in  large  first-class  houses 
and  drive-ins. 

Technicolor  Hires  150 

As  a  result  of  a  25%  increase  in 
orders  for  color  release  prints,  Techni- 
color has  added  about  150  people  to 
its  staff  since  July  1.  Improving  condi- 
tions at  the  boxoffice  and  an  industry- 
wide demand  for  more  prints  were 
responsible  for  the  increased  business, 
Dr.  Herbert  T.  Kalmus,  president  of 
Technicolor,    announced    in    Hollywood. 


To  build  profitable  [ep^at  patronage... 


Chicago   C'Scope   Installations 

About  33%  of  Chicago-area  theatres 
have  been  equipped  for  CinemaScope, 
according  to  a  recent  estimate  by  20th 
Century-Fox.  The  figure  includes  197 
theatres  out  of  a  total  of  594. 


Scene  from  "The  EGYPTIAN," 
20th  Century-Fox  CinemaScope  Epic 

sharpest  image,  edge-to-edge  .  .  . 
most  uniform  light  distribution... 

z::csvs:i:..:ji£^^^^^^^^  on  any  screen! 


Bausch  &  Lomb 


Normal  2D-3D 
Expanded  2D-3D 
CinemaScope 


Projection  Lenses 


for  new  catalog  E-123. 
Bausch  &  Lomb  Optical  Co., 
61634  St.  Paul  Street, 
Rochester  2,  New  York. 


BAUSCH  &  LOMB 


Visit  Bausch  &  Lomb  Booth  73 
TESMA  Exhibit,  Oct.  31  -  Nov.  4, 
Conrad        Hilton        Hotel,       Chicago 


INTERNATIONAL    PROJECTIONIST      •      OCTOBER    1954 


27 


Behind 
this 


The  facilities  of  RCA  Service  Com- 
pany make  available  to  thousands 
of  theatres  throughout  the  country 
the  vast  technical  resources  of  the 
Radio  Corporation  of  America. 

Problems  posed  by  optical  or  mag- 
netic sound,  single  or  multiple 
track,  2-D,  3-D  or  wide  screen  tech- 
niques are  minimized  when  RCA 
Service  Company  is  behind  the  vital, 
operating  heart  oiyour  house. 


RCA  SERVICE  COMPANY,  Inc. 

A  Radio  Corporation  of  America  Subsidiary 

Camden,  N.J. 


Giant  Drive-in  Opens  In 
Detroit  Suburb 

A  giant  1500-car  drive-in,  designed 
for  all  the  latest  picture  and  sound 
reproduction  techniques,  was  recently 
opened  on  the  outskirts  of  Detroit  near 
U.  S.  Route  24.  Known  as  the  Jolly 
Roger,  this  outdoor  theatre  has  a 
screen  tower  measuring  122  by  82  feet. 
The  tower  is  curved  and  leans  slightly 
forward  so  as  to  direct  the  largest 
possible  amount  of  light  at  the  audience 
in  the  parked  vehicles. 

Owned  by  Nicholas  George  Theatres, 
an  independent  circuit  operating  in 
metropolitan  Detroit,  the  Jolly  Roger 
has  a  projection  throw  of  540  feet, 
one  of  the  longest  on  record. 


Installation  of  projection,  sound  and 
field  equipment  was  supervised  by  Al 
Boudouris,  Theatre  Equipment  Co., 
Toledo.  This  equipment  included  Cen- 
tury water-cooled  projectors.  Strong 
"Super  135"  arclamps,  Strong  rectifiers, 
KoUmorgen  objective  lenses  and  Bausch 
&  Lomb  anamorphics  for  CinemaScope. 
1800  watts  of  undistorted  sound  is  avail- 
able to  the  Eprad  3-speaker,  in-car 
sound  units. 

The  screen  tower  consists  of  8  steel 
frames  with  16  bases  supported  on 
anchor  bolts  embedded  in  40  cubic 
yards  of  concrete,  credited  with  being 
able  to  withstand  a  wind  stress  of  180 
miles  per  hour.  Completely  finished  in 
Johns  Manville  Transite,  the  tower  pre- 
sents a  picture  area  of  7,500  square  feet. 


SMPTE  Convention  in  Los  Angeles 

CONTINUING  improvements  in  the  field  of  magnetic  reproduction  and 
recording,  and  the  problem  of  obtaining  more  light  for  large  indoor  and 
outdoor  theatre  screens  were  important  topics  at  the  76th  Annual  Convention 
of  the  Society  of  Motion  Picture  and  Television  Engineers,  held  Ocober  18  to 
22  at  the  Ambassador  Hotel  in  Los  Angeles. 

Some  of  the  technical  papers  read  at  the  convention  that  are  of  particular 
interest  to  projectionists  are  described  briefly  below.  Where  a  description  of 
the  paper  was  not  available  at  press  time,  only  the  title  and  authors  are  given. 


IMPROVEMENTS  IN  CONDENSING 
SYSTEMS  FOR  35-mm   PROJECTION 

R.  M.  ALTMAN,  A.  E.  NEUMER 

and   H.   H.  SCHROEDER 

Bausch   &   Lomb  Optical   Co. 

In  order  to  take  full  advantage  of  the 
new  //1.8  high-speed  projection  lenses, 
faster  condensing  systems  than  those 
now  available  are  required.  The  design 
considerations  of  such  systems  are  dis- 
cussed and  experimental  data  is  given. 
The  increase  in  screen  illumination  af- 
forded by  these  new  condensers  is  ac- 
companied by  greater  energy  at  the  film 
gate,    necessitating    more    efficient    heat 


control  techniques.    Optical  devices  for 
achieving  this  are  described. 

NEW  STUDIO  ZOOMAR  FOR  35-mm 
MOTION  PICTURES 

FRANK  G.  BACK 
Zoomar,   Inc.,  Glen   Cove,   L.   I. 

A  new  Zoomar  lens,  especially  de- 
signed for  35-mm  motion  picture  work, 
will  be  demonstrated.  It  has  a  focal 
range  from  40-mm  to  120-mm  and  a 
speed  of  //4.  Compared  to  the  old 
Zoomar-35  it  is  light  (6  lb.)  and  only 
7I/2  in.  long  including  a  coupled,  wide- 
vision    viewfinder.     This    viewfinder    is 


FRONT  LENS  FOCUSING 
ATTACHMENT 

For  use  with  Wenzel  Pro  4,  Ballantyne 

"W",   Regular    Rear   Shutter   Simplex 

and  similar  types  of  Projectors. 

A  focusing  attachment  on  the  FRONT  of  the 
projector,  where  the  PROJECTIONIST  wants  it. 
Strong  enough  to  act  also  as  a  small  Anamor- 
phic  Lens  support  and  placed  low  enough 
to  allow  free  use  of  any  type  of  Anamorphic 
Lens.  Ask  for  descriptive  circular  from  your 
Theatre  Supply  Dealer  or  write  direct  to: 

WENZEL  PROJECTOR  CO. 

2509-19    S.    State    St.,    Chicago    16,    III. 

(SEE   YOU   AT   BOOTH    88   AT   THE   TESMA   CONVENTION) 


1 


28 


INTERNATIONAL    PROJECTIONIST 


OCTOBER    1954 


without  eyepiece  or  peephole  and  there- 
fore does  not  restrict  the  head  move- 
ments of  the  cameraman.  Performance 
ol  the  new  lens  is  so  much  better  than 
that  of  the  old  Zoomar-35  that,  even 
when  wide  open,  its  image  quality  comes 
very  close  to  that  of  a  good  standard 
35-mm  motion  picture  lens. 

CINEMASCOPE   CAMERA   LENSES 

JOHN  D.   HAYES 
Bausch   &  Lomb   Optical   Co. 

The  wide  acceptance  by  the  motion 
picture  industry  of  the  CinemaScope 
process  of  motion  picture  presentation 
cieated  a  pressing  need  for  camera  tak- 
ing lenses  of  a  variety  of  focal  lengths. 
Described  are  the  optical  and  mechan- 
ical aspects  of  the  development  of  a 
series  of  lenses  designed  specifically  to 
provide   this   needed  choice. 

AN  ELECTRONIC  COMPARATOR  FOR 

AUTOMATIC   INSPECTION   OF 

MAGNETIC  SOUND  PRINTS 

JEROME  W.  STAFFORD 
Sound    Dept.,    M-G-M    Studios 

This  paper  describes  an  electronic 
system  for  comparing  magnetic  sound 
prints  with  the  master  track  during  the 
printing  operation.  In  the  release  print- 
ing of  CinemaScope  pictures  the  com- 
parator is  a  useful  tool  for  the  automatic 
inspection  of  the   product. 

MAGNETIC   HEAD  WEAR 
INVESTIGATION 

M.  RETTINGER 
Radio  Corporation  of  America 
For  a  given  film  and  film  wrap  angle, 
magnetic  head  life  is  proportional  to  the 
film  pressure  on  the  head  produced  by 
the  film  tension,  the  square  root  of  the 
core  radius,  the  3/2  power  of  the  pole 
face  depth,  the  core  width,  and,  in  some 
undetermined  manner,  the  core  hard- 
ness. More  briefly,  one  may  say  that 
(for  a  constant  film  and  film  wrap 
angle)  head  life  is  proportional  to  the 
film  pressure,  volume  of  removable  core 
material,  and  core  hardness. 

CINEMASCOPE   IN    DRIVE-IN 
THEATRES 

RALPH  H.  HEACOCK 
Radio  Corp.  of  America 
CinemaScope  (or  any  of  the  other 
wide-screen,  multiple-channel  sound, 
new  techniques)  presents  three  import- 
ant problems  to  the  drive-in  theater. 
The  first  is  a  very  wide  screen.  The 
second  is  a  suitable  light  source  which 
can  provide  enough  light  to  illuminate 
the  wide  screen  acceptably.  The  third 
is  the  possible  use  of  multiple-channel 
sound.    These  problems  and  their  prac- 


fg^^^VA^^i^iiiSi 


for  maximum 

screen 

brightness     ^  4^i;<sp^ 


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:  ,^^:y?:^0{^^^^^iy^^ 


/. V  ■;r.;;^:::^^2^;k^i55ij^^ 


WIDE 
SCREEN 


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m 


■■::.i^<,:^!f-:\ 


■.  .  ..-^'.  >■';  •ll.'l'.vC^'^^fiK^."':.*; 


/ 


< 


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HILUX 
VAL 


VARIABLE  kmmplm  Lm 


\ 


\ 


PROJECTION    LENSES 


Since  the  advent  of  Wide  Screen  and  CinemaScope  thousands 
of  progressive  theatre  operators  have  equipped  their 
projectors  with  Hilux  and  Super-Lite  projection  lenses — 
for  use  as  prime  lenses  with  their  anamorphic  attachments. 

Your  patrons,  too,  will  appreciate  the  superior  quality  that  over 
30  years  of  lens  craftsmanship  have  engineered  into  the  Hilux  //l.8. 
$270  up  per  pair  at  your  Theatre  Supply  Dealer. 


PROJECTION     OPTICS     COMPANY,    INC. 

330      LYELL      AVENUE      •      ROCHESTER      6,     NEW     YORK 


INTERNATIONAL   PROJECTIONIST     •     OCTOBER   1954 


29 


tical   application   to   currently   operating 
drive-in  theaters  are  briefly  discussed. 

SHRINKAGE  BEHAVIOR  OF  MOTION 
PICTURE  FILM 

C.  R.  FORDYCE,  J.  M.  CALHOUN 
and    E.    E.   MOVER 
Eastman   Kodak  Co. 

Shrinkage  characteristics  of  both  35- 
mm  and  16-mm  films  manufaciiured  by 
the  Eastman  Kodak  Co.  have  been  evalu- 
ated by  laboratory  measurements  and  by 


examination  of  film  in  commercial  use. 
Results  of  these  investigations  were  pre- 
sented. 

MEASURING  MAGNETIC  STRENGTH 

OF  16-mm  MAGNETIC 

SOUNDTRACKS 

ROBERT  SCHWARTZ,  SHELDON  I.  WILPON 

and   ROBERT  A.  COMERCI 

Bureau    of    Ships,    U.    S.    Navy 

The  Material  Laboratory  at  the  Navy 
Yard  is  in  the  process  of  developing  a 
method     for     measuring    the     magnetic 


yo44.  Qan  Saae  $400  a  yea/i 


if  you  have  Ashcraft  "D"  or  "E",  Brenkert- 
Enarc,  Peerless  Magnarc,  or  Strong 
Mogul      projection      lamps,      by      using      the 

CRON-O-MATIC 

Fu///  Aufomatfc 

CARBON  SAVER 

Uses  positive  carbon  stubs  of  any  length, 
without  preparation.  When  entirely  con- 
sumed, the  new  carbon  goes  into  use 
without  losing  the  light,  or  otherwise 
affecting  lamp  operation.  Burns  average 
lengths  (S^A")  down  to  %",  saving  21/2" 
or  22.2%  of  carbon  costs.  Average  sav- 
ing $400.00  annually. 

Only  %^2M 

If  yojr  dea!er  can't  supply,  ycu,  order  direct. 

EXPORT: 

Frazar    &    Hansen,   ltd. 

San  Francisco,   New  York,  Los  Angeles 


PAYNE  PRODUCTS  CO. 

(CRON-O-MATIC   DIVISION) 
2454  W.  Stadium  Blvd.       Ann  Arbor,  Michigan 

I    I   Send   litsrature   on  the  Cron-O-Malic. 

n    Ship   Cron-O-Matic     □   C.O.D.  inc.   postage 

I    I   Remittance  herewith. 

NAME 

THEATRE   ^ 

STREET 

CITY  &  STATE 


ARE  YOU  CONVERTING  TO 

CinemaScoPIC 


sepvicf 

it(.  ti,  PIT.  OFF. 


It  will    pay 

to   investrgate   the 

possibilities  of  converting  your 

present   equipment— see   your    dealer 

or  write  for  list  of  kits  available  for 

converting  all  models  of  Projectors  and 

Sound  Reproducers. 


LaVezzi  Machine  Works 


4635   WEST   LAKE   ST. 


CHICAGO  44,  ILL. 


strength  existing  on  16-mm  magnetic 
soundtrack  by  utilizing  a  nonmagnetic 
loop  for  the  determination  of  the  abso- 
lute surface  induction  at  400  cycles/sec 
for  "pegging"  the  relative  surface  in- 
duction vs.  frequency  characteristic  ob- 
tained by  the  "short  gap"  or  other  ap- 
pioved  method. 

This  paper  shows  that  this  method 
was  found  to  be  a  practical  method  for 
determining  the  surface  induction  re- 
corded on  presently  available  commer- 
cial 1^/4-in.  magnetic  tapes,  independent 
of  the  tape  characteristics  and  the  depth 
of  penetration  of  the  recorded  signal. 


Abstracts 
available. 


of     the     following     not 


I 


NEW  METHODS  OF  SPLICING  FILM 

D.  C.   CHAMBERS  AND  W.   R.   HOLM 
E.   I.  Du  Pont  de  Nemours  &  Co. 

IMPROVED  HIGH-BRIGHTNESS 
SCREEN  FOR  DRIVE-IN  THEATRES 

RETRO  VLAHOS 
Motion    Picture    Research   Council 

CHROMATICITY  CHARACTERISTICS 
OF  THEATRE  SCREENS 

PAUL  ZEFF  and  JOHN   P.   LIVADARY 
Columbia  Pictures  Corp. 


TOP-NOTCH    PROJECTION 

(Continued  from  page   10) 

ing  in  particular  features,  components 
and  operations,  are  designed  to 
operate  as  follows: 

1.  Using  9-mm  black  positive  car- 
bons at  85  amperes  and  58  arc 
volts. 

2.  Using  10-mm  black  positive  car- 
bons at  100  amperes  and  60  arc 
volts. 

3.  Using  11-mm  black  positive  car- 
bons at  115  amperes  and  55  arc 
volts. 

4.  Using  10-mm  Hitex  black  posi- 
tive carbons  at  135  amperes  and 
66  arc  volts. 

Each  successive  current  increase  in 
the  operation  of  these  lamps  gives 
more  screen  illumination.  It  is  abso- 
lutely necessary,  of  course,  that  the 
generators  or  rectifiers  in  use  deliver 
not  only  sufficient  amperage  but  also 
have  proper  voltage  rating.  It  is  under- 
stood, of  course,  that  the  most  satis- 


I 


U 


UNION    MADE 


FISHER  MANUFACTURING  CO.       i  iss  mt.  read  blvd.,  Rochester  6,  n.  y. 


_  _   ■■ 

■ 

ENT 

UNION    MADE  ^B 

30 


INTERNATIONAL    PROJECTIONIST      •      OCTOBER    1954 


factory  results  from  the  use  of  a 
10-mm  Hitex  carbon  arc  pulling  135 
amperes  is  dependent  upon  the  correct 
source  of  power  supply,  either  recti- 
fiers or  generators  having  the  proper 
voltage  characteristics. 

If  the  theatre  already  has  lamps 
designed  to  operate  with  9-mm  black 
positive  carbons,  they  may  be  modi- 
fied to  burn  10-  or  11-mm  carbons. 
This  ,  of  course,  entails  the  change  of 
a  portion  of  the  lamp  mechanisms, 
and  usually  the  addition  of  blowers 
for  the  lamphouse  or  some  satisfactory 
cooling  adjunct,  depending  upon  the 
type  of  lamp  used. 

The  Peerless  HyCandescent  conden- 
ser-type arclamp,  which  operates  at 
160  amperes  and  77  arc  voltage  using 
13.6-mm  H.  I.  carbons,  and  at  180 
amperes  and  74  arc  voltage  using 
13.6-mm  Hitex  Super  positive  carbons 
is   quite    satisfactory   in   this   respect. 

It  appears  from  National  Carbon 
Co.  figures  that  the  total  screen  lumens 
delivered  by  reflector-type  arclamps  at 
115  and  135  amperes  are  not  widely 
different  from  the  light  delivered  by 
condenser- type  arclamps  at  peak 
operation. 

The  choice  of  which  type  of  arc- 
lamp  to  buy  must  be  guided  by  both 
the  original  and  the  operating  cost  of 
lamps  and  their  attendant  power 
sources.  Our  opinion  is  that  the  over- 
all cost  of  reflector-type  arclamps  and 
attendant  power  source  is  far  lower 
than  the  combination  of  condenser- 
type  arclamps  and  generator. 

If  a  filter  be  placed  between  the 
arclamp  and  the  projector,  there 
naturally  will  be  a  drop  in  screen 
illumination.  Thus,  an  arclamp 
operating   at   115   amperes   without   a 


BUY  AND  USE 


CHRISTMAS  SEALS 


TUBERCULOSIS 


Finest  Lenses 
Are  Needed  for 
New  Projection 
Techniques... 


THE  ANSWER 


Cinema  Raptars 

THE   WORLD'S   ONLY   PERFECTLY 
MATCHED   PROJECTION    LENSES 


today  with  the  new  movie  techniques— CinemaScope,  Vista-Vision,  Wide 
Screen— exhibitors  must  have  the  finest  basic  lenses  in  order  to  give 
theatre  goers  sharp,  clear  pictures  from  edge  to  edge  of  the  screen.  There 
are  no  finer  projection  lenses  made  than  Wollensak  Cinema  Raptars.  (For 
Cinemascope  these  lenses  are  used  with  anamorphic  lenses.)  Cinema 
Raptars  use  six  and  seven  element  construction.  Only  with  such  a  design 
is  it  possible  to  deliver  full  speed,  edge-to-edge  sharpness,  and  highest 
resolution.  In  addition,  Cinema  Raptars  are  the  world's  only  perfectly 
matched  lenses-focal  lengths  matched  to  within  .0025!  Marked  as  matched 
(twin)  lenses.  Speed  ranges  are  f/1.9  in  focal  lengths  from  2"  through  5" 
and  f/2.0  to  f/2.7  in  focal  lengths  to  7" . . .  priced  from  $180  each. 

WRITE  for  new  literature  fully  describing  these  new  Projection  Lenses. 


>JUST    PURCHASED    NEW    PROJECTION    LENSES? 

WI^ED    ADJUSTMENTS    FOR    WIDE    SCREEN? 

WHAT   TO    DO    WITH    NON-ANAMORPHIC    RELEASES? 


Wollensak 


VARI-FOCUS 

a  supplementary  lens  for  all  screen  sizes 


With  the  new  Vari-Focus  lens  exhibitors  can  show  all  the 
current  screen  releases  without  buying  a  complete  new  range 
of  short  focus  lenses.  The  Vari-Focus  permits  you  to  make 
adjustments  for  screen  width  .  .  .  change  the  focal  length 
of  your  standard  projection  lens  quickly  and  easily.  (See 
table.)  The  Vari-Focus  is  a  supplementary  lens  which  will 
•produce  any  wide  screen  aspect  ratio  (non-anamorphic)  when 
used  In  conjunction  with  a  3"  to  6"  projection  lens.  The 
resolution  and  picture  quality  will  match  those  of  the  finest 
projection  lens.  Price  $235  each. 


Standard  Lens 

Variable  Focus  From 

3" 

21/4"  to  13/4" 

31/2" 

23/4"  to  2" 

4" 

31/4"  to  21/4" 

41/2" 

3V2"  to  2V2" 

5" 

4"  to  3" 

51/2" 

41/2"  to  3V2" 

6" 

5"  to  3V2" 

WRITE  for  new  literature  fully  describing 
this  supplementary  lens.  Wollensak  Optical  Co., 
Rochester  21,  N.  Y. 


of  Optical  Craftsmanship 
by  VlfOLLENSAK 


INTERNATIONAL   PROJECTIONIST     •     OCTOBER   1954 


31 


filter  will  produce  as  much  net  screen 
illumination  as  is  obtainable  at  135- 
ampere  operation  while  using  a  filter. 
This  fact  should  be  considered  in 
determining  the  type  of  equipment  and 
the  carbon  trim  to  be  used. 

If  the  projectors  in  use  are  equipped 
with  adequate  aperture-cooling 
blowers,  and  the  arclamps  are 
equipped  with  blowers  to  help  dissi- 
pate the  heat,  no  filters  are  necessary 
at  85-  100-  or  115-ampere  operation. 
At  135-ampere  operation,  the  use  of 
a  filter  begins  to  be  desirable;  at  high 
amperages  they  are  definitely  neces- 
sary. 

Power  Supply  Sources 

When  a  power  source  is  being  con- 
sidered, a  generator  capable  of  deliver- 


ing sufiicient  amperage  at  the  proper 
voltage  is  widely  regarded  as  being 
a  better  purt;hase  than  rectifiers,  from 
the  standpoint  of  initial  and  operating- 
cost.  From  a  long-term  wear  stand- 
point, the  generator  is  certain  to 
outlast  rectifiers  by  many,  many  years. 
If  your  theatre  is  served  with  single- 
phase  current,  you  must  obtain  3-phase 
current  if  you  wish  to  operate  high- 
amperage  generators,  as  all  except 
special-order  and  high-cost  generators 
operate  at  3  phase  current. 

Projectors 

Projectors  should  be  equipped  with 
aperture-cooling  blowers  to  help  dis- 
sipate the  heat  from  arclamps.  The 
heat  must  be  dissipated  to  insure  a 
picture    without    an   in-and-out    focus 


EXPERIENCE 


A  PRICELESS  ASSET 


OF  ALTEC  STEREOPHONIC  SERVICE! 


The  finest  service 
experience  in  stereophonic 
sound  is  yours  when  you  sign 
an  Altec  contract.  Experience 
bought  and  paid  for  in 
countless  hours  of  pioneering 
effort  and  research ... 
experience  in  supervising 
critical  CinemaScope  industry 
showings  and  first  run 
premieres,  experience  with  an 
unceasing  flow  of  stereophonic 
installation  and  service  orders, 
experience  innplennented  by 
Altec-devised  precision  tools. 

YOUR  experience  with  an 
Altec  stereopfionic  service  contract 
will  prove  pleasant  and  profitable! 


„.  ALTEC  SW'^)-  _^  .^,„, 


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161  Sixth  Avenue 
New  York  13,  N.  Y. 


SPECIALISTS  IN  MOTION  PICTURE  SOUND 


for  VistaVision 


condition.  If  the  projectors  are  not 
now  equipped  with  shutter  blades  cut 
down  as  far  as  possible,  consistent 
with  travel-ghost  conditions,  the  blades 
should    be   changed. 


By  F.  W.  KEILHACK 
Drive-ln  Theatre  Mfg.  Co. 

While  I  do  not  feel  that  I  have  the 
complete  answer  to  Mr.  Elzey's  ques- 
tion, I  should  like  to  describe  a  recent 
experience  we  had  with  a  drive-in 
theatre  near  Kansas  City.  I  believe 
the  procedure  used  in  this  case  will  be 
of  considerable  help  in  solving  Mr. 
Elzey's  problem. 

In  the  early  part  of  the  season,  we 
were  called  ?o  this  drive-in  where  the 
arclamps  were  pulling  130  amperes. 
Their  complaint  was  that  they  had  a 
very  poor  light;  also  that  they  were 
breaking  reflectors  excessively.  They 
did  not  have  water-cooled  jackets,  but 
they  did  use  filters  in  their  lamp- 
houses.  We  discovered  a  very  poor 
ventilating  system  which  was  allowing 
the  heat  from  the  carbons  to  build  up 
inside  the  lamp,  thus  permitting  car- 
bon dirt  and  gasses  to  fog  the  reflec- 
tors and  generally  mess  up  the  lamp 
interior  and  the  stacks. 

We  put  in  a  pair  of  our  single-stack 
"Atomic  Jet"  lamphouse  blowers,  and 
requested  the  projectionist  to  remove 
the  heat  filters  from  the  lamp,  reduce 
his  ampera>;;e  to  100,  and  install  a 
pair  of  180  -  cubic  -  feet  -  per  -  minute 
blowers  at  each  mechanism,  directing 
the  air  to  the  trap  and  aperture  plate. 

The    result    of    this    change,    even 


THE  ACE  CUE  AflARKER 


T/ie  World's  Best 

One  push  to  left  or  right  and 
all  cues  are  made  in  16-  and  35-, 
Standard,     Tv,      or     CinemaScope 

See  your  dealer  or  write  to 


ACE   ELECTRIC   MFG.   COMPANY 

1458    Shakespeare    Avenue 
New    York    52,    N.    Y. 


For   DRIVE-INS  &  THEATRES  with  HUGE,  WIDE- AREA  SCREENS  •  CARBONS  Inc.BOONTON,  N.J. 


4l 


for  CinemaScope 


32 


INTERNATIONAL    PROJECTIONIST 


OCTOBER    1954 


though  the  amperage  was  reduced  by 
30,  was  a  considerably  brighter  pic- 
ture on  the  screen,  the  mechanisms 
are  now  running  much  cooler,  the 
excessive  heat  is  being  exhausted  from 
the  lamp,  and  they  are  no  longer  ex- 
periencing reflector  trouble. 

So,  as  you  can  see,  the  overall  net 
saving  to  this  situation  by  the  instal- 
lation of  these  lamphouse  blowers — 
no  more  reflector  breakage,  less  car- 
bon consumption,  cooler  mechanisms, 
and  a  brighter  picture  at  the  tower — 
offset  the  cost  of  the  installation  many 
times. 

There  is  another  important  feature  of 
our  lamphousie  blower:  since  it  is  on 
the  outside  of  the  pipe  at  the  first 
joint  above  the  lamphouse,  it  picks 
up  radiated  heat  from  the  lamp  and 
exhausts  it  rather  than  leaving  this 
heat  in  the  projection  room. 


By  E.  B.  HEYER 

Heyer-Shultz,  Inc. 

13  AT  ELZEY  has  done  about  every- 
-*-  thing  possible  to  obtain  maximum 
screen  light  with  his  present  equip- 
ment. As  we  see  it,  he  will  have  a 
screen  brightness  of  approximately  4 
or  5  foot-lamberts  on  his  78-foot 
wide  screen,  provided  he  is  using  our 
aluminized  metal  reflector.  Should  he 
be   operating   with    our   rhodium-type 


s 


PUCES    ^^ 

NOT  y 


HOLDING 

Film  breaks  are  costly. 
Play  safe  by  using 

JEFRONA 

All-purpose  CEMENT 

Has  greater  adhesive 
qualities.  Don't  take 
our  word  for  it.  Send 
for  FREE  sample  and 
judge  for  yourself. 
CAMERA  EQUIPMENT  CO. 

DEPT.  J-10-8 
1600  Broadway  New  York  19,  N.  Y. 


reflector,  his  screen  brightness  would 
be  15%  less  than  this. 

If  Mr.  Elzey  wishes  to  obtain  a 
screen  brightness  of  better  than  4  or 
5  foot-lamberts,  he  will  have  to  install 
new  lamps  that  are  properly  designed 
for  the  larger  carbon  trims  and  higher 
amperage.  We  would  venture  to  say 
that  for  what  he  is  attempting  to 
achieve  in  screen  brightness  it  will 
be  necessary  that  he  burn  up  to  130 
amps,  but  such  information  should  be 


obtained    from    the    manufacturer    of 
whatever  lamp  he  might  decide  to  use. 

By  LEONARD  SATZ 

Raytone  Screen  Corp. 

VW/"  fflLE  1  am  not  familiar  with  the 
''  Gardiner  projector,  I  do  not 
care  especially  for  the  barrel-type 
shutter.  However,  this  cannot  matter 
too  much  in  this  instance.    The  lenses 


L 

■ 

ONE  Projection 
^^     Lens  For  ALL 
jp^     Aspect  Ratios 

PACIFIC   OPTICAL 


CORPORATION 

5965  West  98th  Street 
Los  Angeles  45,  California 


•  The  original  variable- 
focus  lens-attachment. 

•  Projects  non-anamorphic 
prints  to  full  screen  height 
regardless  of  aspect  ratio. 

•  Provides  perfect  matching 
for  dual  strip  3-D 
projection. 

•  Saves  the  price  of  numer- 
ous lenses  of  different 
focal  length. 

•  Write  for  free  illustrated 
literature  and  name  of 
nearest  distributor. 


HEYER-SHULTZ 
METAL  REFLECTORS 

Top  Screen  Illumination 

Will  Not  Break,  Pit  or  Tarnish 

No  Replacement  or  Spare  Reflectors  Required 

See  your  dealer  or  write  for  full  particulars 
Manufactured  By  HEYER-SHULTZ,  Inc.,  Cedar  Grove,  N.  J. 


INTERNATIONAL  PROJECTIONIST     •     OCTOBER   1954 


33 


being  used  are  certainly  adequate. 
The  projection  throw  doesn't  matter 
too  much,  but  the  size  of  the  screen 
image  does. 

Arclamps  now  available  are  recom- 
mended by  the  manufacturer  as  suit- 
able for  projection  on  a  matte  white 
screen  up  to  45  feet  wide.  Person- 
ally, I  don't  agree  with  this  and  would 
prefer  to  limit  the  screen  size  to  35 
feet  in  order  to  conform  with  SMPTE 
standards.  I  understand  that  the  amp- 
erage has  been  increased  with  9-mm 
carbons  to  75-80  amps. 

Also,  my  preference  is  regular  glass 
reflectors  for  higher  efficiency,  and 
these  should  be  changed  every  12 
months,  not  because  the  silvering 
thereon  might  go  but  because  the 
color  of  the  glass  changes  to  yellowish 
because  of  the  heat. 

The  old  screen  is  described  as  being 
Johns  Manville  white  asbestos  siding. 
It  is  a  rather  common  practice  in  the 
South  to  use  this  siding  —  or  white 
asbestos  shingling  —  without  screen 
paint.  This  material  works  out  with 
small  screens  that  are  adequately  light- 
ed, but  large  screen  areas  should  defi- 
nitely use  a  good  quality  outdoor 
screen  paint,  thus  providing  a  brighter 
picture  because  it  is  a  brighter  sur- 
face than  asbestos  siding  with  some 
white  coloring  incorporated  therein. 

I  recommend  the  use  of  white  screen 
paint  of  proven  quality.  Also,  if  the 
arcs     are    not    burning    smoothly     I 


would  use  water-cooled  jackets,  des- 
pite the  opinion  of  some  people  who 
have  not  had  sufficient  experience  with 
them.  They  are  in  wide  use  on  the 
West  Coast  and  in  the  Southwest,  but 
for  some  reason  have  not  won  wide 
acceptance  in  the  East. 

The  most  important  factor  in  this 
instance,  of  course,  is  the  size  of  the 
resultant  screen  image.  The  writer 
is  a  strong  exponent  of  maintaining 
SMPTE  standards,  but  so  very  many 
theatres  are  sub-par  in  this  respect. 

Data  Available 

Strong  Electric  Corp.  published  a 
chart  (IP  for  Sept.,  1954)  which  rec- 
ommended the  use  of  their  lamps  at 
certain  screen  sizes  and  with  various 
types  of  screens.  They  stated  that 
the  Mogul  lamp  can  be  used  on  a 
matte  white  screen,  with  good  results, 
on  the  basis  of  a  45-foot  screen;  also, 
with  an  aluminized  screen  on  a  50- 
foot  image;  also,  with  the  Cinema- 
Scope  process  with  a  60-foot  image. 
Just  what  constitutes  a  "CinemaScope 
screen"  I  would  not  hazard  an  opin- 
ion, but  it  must  be  the  same  type  of 
surface  as  an  aluminized  or  other 
metallic  surface.  True,  the  C'Scope 
anamorphic  system  loses  less  light  in 
the  transmission  process,  and  this  was 
probably  the  reason  for  the  different 
values  referred  to. 

I  will  venture  the  opinion  that  none 
of   the    aforementioned    combinations 


How  Many? 


Was  this  copy  dog-eared  when  it  came  to  you? 
How  many  men  read  it  ahead  of  you? 

You  would  receive  a  clean,  fresh  copy  if  you  had 
a  personal  subscription— and  you  wouldn't  have 
to  wait— you  would  be  first  to  read  it. 

Use  coupon  below. 


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will  give  an  acceptable  light-level  as 
campared  to  the  minimum  SMPTE 
standard  of  9  foot-lamberts.  Light  is 
like  a  rubber  band  —  stretch  it  too 
far  and  it  breaks! 

Mr.  Elzey  has  a  tough  decision  to 
make.  Either  replace  his  lamps  with 
top-amperage  jobs  or  their  equiva- 
lent; or  aluminize  his  78-foot  screen 
and  put  up  with  all  the  resulting 
imperfections   of   the   screen  tower. 

In  the  latter  instance,  most  of  the 
arena  will  get  better  light  at  least. 
The  really  desirable  situation  would 
be  a  flat  white  painted  screen  at  78- 
feet  with  an  operating  amperage  of 
125  amps. 


STATEMENT  REQUIRED  BY  THE  ACT 

OF  AUGUST  24,  1912,  AS  AMENDED  BY 
THE  ACTS  OF  MARCH  3,  1933,  AND 
JULY  2,  1946  (Title  39,  United  States 
Code,  Section  233)  SHOWING  THE  OWN- 
ERSHIP, MANAGEMENT,  AND  CIRCU- 
LATION OF 

International  Projectionist,  publish- 
ed monthly  at  New  York,  N.  Y.  for  Octo- 
ber 1,  1954. 

1.  The  names  and  addresses  of  the 
publisher,  editor,  managing  editor,  and 
business   managers   are: 

Publisher:  International  Projection- 
ist Publishing  Co.,  Inc.,  19  West  44 
Street,  New  York  36,  N.  Y. 

Editor:  James  J.  Finn,  19  West  44 
Street,  New  York  36,  N.  Y. 

Managing  Editor:  R.  A.  Entracht,  19 
West  44  Street,  New  York  36,  N.  Y. 

Business  Manager:  R.  A.  Entracht, 
19  West  44  Street,  New  York  36,  N.  Y. 

2.  The  owner  is: 

International  Projectionist  Publish- 
ing Co.,  Inc.,  19  West  44  Street,  New  York 
36,  N.  Y. 

R.  A.  Entracht,  19  West  44  Street,  New 
York  36,  N.  Y. 

3.  The  known  bondholders  mortgagees, 
and  other  security  holders  owning  or  hold- 
ing 1  percent  or  more  of  total  amount  of 
bonds,  mortgages,  or  other  securities  are: 
None. 

4.  Paragraphs  2  and  3  include,  in  cases 
where  the  stockholder  or  security  holder 
appears  upon  the  books  of  the  company, 
as  trustee  or  in  any  other  fiduciary  rela- 
tion, the  name  of  the  person  or  corpora- 
tion for  whom  such  trustee  is  acting;  also 
the  statements  in  the  two  paragraphs  show 
the  affiant's  full  knowledge  and  belief  as 
to  the  circumstances  and  conditions  under 
which  stockholders  and  security  holders 
who  do  not  appear  upon  the  books  of  the 
company  as  trustees,  hold  stock  and 
securities  in  a  capacity  other  than  that  of 
a  bona  fide  owner. 

R.  A.  Entracht,  Business  Manager 
Sworn  to  and  subscribed  before  me  this 
14th  day  of  September,  1954. 

(Seal)  Anne  Corrigan 
Notary  Public,  State  of  New  York  No.  03- 
5824300,  Qualified  in  Bronx  County.  Cer- 
tificate filed  in  New  York  County,  Com- 
mission  expires    March   30,   1956. 


34 


INTERNATIONAL    PROJECTIONIST 


OCTOBER    1954 


in  his  hand 


W/rap  the  big  hand  around  the  little  hand  . . .  for  now 
begins  a  little  heart's  journey  into  prayer  .  .  .  the  guide 
is  Dad,  the  goal  is  a  security  not  even  he  can  provide. 

But  the  pattern  is  security,  and  it  is  Dad's  privilege 
to  supply  his  part  of  it  for  the  little  hearts  in  his  care. 

In  this  binding,  enclosing  love  life  finds  its 
finest  answer. 


The  security  of  our  homes  is  our  worthiest 
goal.  And  providing  it  is  a  privilege  unique  in  a 
country  like  ours,  where  each  of  us  is  free  to 
choose  his  way. 

And,  think;  The  security  that  begins  in  your 
home,  joined  to  that  of  other  homes,  builds  the 
strength  of  America. 


W?w 


Saving  for  security  is  easy! 
Read  every  word  — now! 

If  you've  tried  to  save  and  failed, 
chances  are  it  was  because  you  didn't 
have  a  pla7i.  Well,  here's  a  savings  sys- 
tem that  really  works— the  Payroll 
Savings  Plan  for  investing  in  U.S. 
Savings  Bonds.  This  is  all  you  do.  Go 
to  your  company's  pay  office,  choose 
the  amount  you  want  to  save— a  couple 
of  dollars  a  payday,  or  as  much  as  you 
wish.  That  money  will  be  set  aside  for 
you  before  you  even  draw  your  pay. 
And  automatically  invested  in  Series 
"E"  U.S.  Savings  Bonds  which  are 
turned  over  to  you. 

If  you  can  save  only  $3.75  a  week  on 
the  Plan,  in  9  years  and  8  months  you 
will  have  $2,137.30. 

United  States  Series  "E"  Savings 
Bonds  earn  interest  at  an  average  of 
3%  per  year,  compounded  semiannu- 
ally, when  held  to  maturity !  And  they 
can  go  on  earning  interest  for  as  long 
as  19  years  and  8  months  if  you  wish, 
giving  you  a  return  of  809c  on  your 
original  investment! 

Eight  million  working  men  and 
women  are  building  their  security  with 
the  Payroll  Savings  Plan.  For  your 
sake,  and  your  family's,  too,  how  about 
signing  up  today?  If  you  are  self- 
employed,  ask  your  banker  about  the 
Bond-A-Month  Plan. 


The  U.S.  Government  does  not  pay  for  this  advertisement.  It  is  donated  by  this  publication  in 
cooperation  with  the  Advertising  Council  and  the  Magazine  Publishers  of  America, 


For  EVERY  Aspect  Ratio 


#♦• 


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M 


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PROJECTION  and 
SOUND  SYSTEMS 


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. . .  RATE  NO.  1  WITH  EXHIBITORS 
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for  wide  screen  and  directional 
sound,  exhibitors  must  have  the  very 
Inest  equipment .  .  .  equipment  that 
will  show  these  films  at  their  very 
best!  And  for  the  finest  in  projection 
and  sound  they  choos 


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WANUfACTMID  lY  INTERNATIONAL  MOIICTM  CORPORATION  .  DISTRIBUTED   BY   NATIONAL  THUTK  SUPPLY 

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VOLUME  29 


NUMBER  11 


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WRITE   FOR   DATA 


3  Z,UUU         LUMENS 


At  180-185  Amperes  .  .  .  With  No.  15363-Q  and  No. 
15367-P,  "Hy-Speed"  Condensers  .  .  .  With  a  .715"  x 
.912"  "Cinemascope"  aperture  .  .  .  With  a  3"  Focus, 
F-1.8  coated  projection  lens  ...  On  any  kind  or  any 
size  of  screen   .... 

Using  presently  available  and  standard  carbons, 
there  is  "No  other  projection  lamp  in  the  world, 
today"  that  can  produce  so  much  light. 

HOT  A  REFLECTOR  ARC! 


22,000 


TOTAL 
LUMENS 


At  75-77  amperes  .  .  .  With  presently  available  and 
standard  8x9  m/m  copper  coated  carbons  .  .  .  With 
a  .715"  X  .912"  "CinemaScope"  aperture  .  .  .  With  o 
3"  Focus,  F-1.8  coated  projection  lens  .  .  .  With  a  14" 
diameter  No.  2012  PEERLESS  "Hy-Lumen"  glass  reflec- 
tor that  retails  at  a  list  price  of  $22.00  F.O.B.  Chicago 
.  .  .  With  a  No.  2880  PEERLESS  Tail  Flame  Flue  .  .  . 
On  any  kind  or  any  size  screen  .  .  .  No  Heat  Filter 
required. 

All  of  this,  at  the  lowest  possible  first,  and  opera- 
tional  cost.    And  .^^^^^^^^___^^^_ 


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NO  -  HIGH  -  RATE 


OF    ($60.00)    REFLECTOR    BREAKAGE 
OR  SILVERING  DETERIORATiON  — 


J.E.McAULEY  MFC. CD. 

SS2-5S4    WEST   ADAMS    STREET 

CHICAGO  6,  IlLINOIS 


A  SUtSfDIART  OF 


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EQUIPMENT 


NOV  29  \%k 


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An  Efficient 9  Dependable  Power  Supply 

for  Your  Projection  Arcs 


\jilrl 


There's  a  National  Reclifter  designed  to  match 
the  requirements  of  every  type  and  rating  of 
angle  trim  or  coaxial  trim  projection  arc 
lamp.  All  are  built  in  single  lamp  units  for 
flexibility  of  electrical  connection. 

Power  output  adjustment  to  the  arc,  over  a 
wide  range  of  values  while  the  arc  is  burning,  is 
by  means  of  an  external,  manually  operated 
hand  wheel  on  the  front.  Transformer  taps  are 
provided  to  compensate  for  changes  in  line 
voltages  from  200  to  250  volts  and  the  complete 
amperage  range. 


SELENIUM  PLATE  TYPE... 

A  full  metallic,  heavy  duty  equipment  for  converting 
three-phase  A.C.  to  D.C.  for  operating  arcs  of  from  60  to  1  35 
amperes.  Models  in  four  capacities,  adjustable  from 
60  to  75  amperes,  70  to  90  amperes,  80  to  110  amperes,  and 
90  to  1  35  amperes.  Reliable  operation  in  damp  climates.  Fan 
ventilated.  No  warm-up  period  required. 


TUBE  TYPE... 

Six  models,  for  use  with  high  intensity  arcs  for 
either  three-phase  or  single-phase  opera- 
tion on  230-volt,  60-cycle  power  service.  Amperage 
ratings:  40,  50,  60-70,  70-85,  75-90. 
The  housing  assures  ample  draft  through  the  transformer  assembly  and 

past  the  rectifier  tubes  to  maintain  low 
operating  temperatures. 


Distributed  by 


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THEATRE        SUPPLY 


Divilion   of  National  •  SimpU<  >  Bludworth.lni. 

'^'THERE'S  A  BRANCH  NEAR  YOU' 


INTERNATIONAL  PROJECTIONIST   •    NOVEMBER  1954 


ANNOUNCING 
TWO  GREAT  NEW 


LENSES 

Hte  SIIPIHK  SKAPLITE 


wd  8IIPEK  SNAPIilTE  F/I.7X 


Now  Finer  Lenses  for  Finer  Mofion  Pic- 
fares  with  a  True  Speed  of  f/1.7  in  all 
sizes  where  fast  lenses  are  needed. 

From  Kollmorgen...the  newest,  fastest  pro- 
jection lenses  you  can  buy.  To  give  you  the 
brightest,  clearest,  sharpest,  most  uniform 
picture  you  have  ever  seen  on  your  screen. 
For  better  Boxoffice,  better  patron  satisfac- 


tion, better  all  around  filming,  try  the  nev/ 
SUPER  SNAPLITE  f/1 .7  today.  When  vignet- 
ting is  a  problem  investigate  the  SUPER 
SNAPLITE  f/1. 7X. 

True  speed  of  f/1 .7  in  focal  lengths  from  2 
inches  through  4  inches  in  Va  inch  steps. 
Ask  your  Theatre  Supply  Dealer  about  these 
fine  lenses.  For  more  information  ask  your 
dealer  or  write  for  Bulletin  222. 

BOOTH  95 
1954  TESMA  SHOW 


K^^^J^tM  COKPOKATIOaf 

Plant:  347  King  Street,  Northampton,  Massachusetts      New  York  Office:  30  Church  Street,  New  York  7,  N.  Y. 


INTERNATIONAL  PROJECTIONIST   •    NOVEMBER  1954 


INTERNATIONAL 


PROJECl 


With   Which    Is   Combined    PROJECTION   ENGINEERING 


JAMES  J.  FINN,  Editor 
JAMES  MORRIS,  Associate  Editor 


Volume  29 


NOVEMBER   1954 


Number  11 


Index   and   Monthly   Chat    .  .        5 

Wide-Screen  Presentation 
Magnifies  Inherent  Pro- 
ject-ion   Defects    7 

Robert  A.  Mitchell 

Elements  of  Optical  Condens- 
ing Systems 13 

A.  E.  Murray 

From  Toy  to  a  Great  Industry     15 
Jack  E.  Gieck 

Preparing  a  Theatre  for  Vista- 
Vision  16 

F.  W.  MacDonald 

TransverteR :    Source    of 

Flickerless  Arc  Power   ....      17 
William  Smart 


The  Origin  of  Photography   .      17 

In  The  Spotlight    20 

Giant  Picture  from   16-mm 

Film    22 

Letters  to  the  Editor   23 

Judging  a  Pension  Plan    ....      24 

Personal   Notes    25 

Giant  Intra-Industry  Conclave 
in   Chicago    26 

Correct  Ufe  of  Variable 

Anamorphics     26 

DuPont  'Cronar'  Film  Base   .     31 

News  Notes 

Technical  Hints 

Miscellaneous  Items 


Published  Monthly  by 

INTERNATIONAL  PROJECTIONIST  PUBLISHING  CO.,  INC. 

19  West  44th  Street,  New  York  36,  N.  Y. 

Telephone:    MUrray  Hill  2-2948 

R.  A.  ENTRACHT,   Publisher 

SUBSCRIPTION  REPRESENTATIVES 

AUSTRALIA:     McGills,  183  Elizabeth  St.,  Melbourne 

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in  advance  of  publication  date  to  insure  receipt  of  eurrgfit  issue.  Entered  as  second  class  matter 
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under  the  act  of  March  3,  1879.  Entire  contents  copyrighted  1954  by  INTERNATIONAL  PRO- 
JECTIONIST PUBLISHING  CO.,  INC.  INTERNATIONAL  PROJECTIONIST  assumes  no  responsibility 
for  personal   opinions  appearing   in  signed   articles,   or  for  unsolicited   communications. 


MONTHLY     CHAT 


WELCOME  indeed  was  the  an- 
nouncement by  Earl  Sponable,  re- 
search director  for  20th  Century-Fox, 
at  the  recent  joint  TOA-TESMA-TEDA 
meeting  in  Chicago,  that  his  company, 
acting  in  concert  with  U.  S.  Navy  re- 
search personnel,  had  come  up  with  a 
new  alloy  for  use  with  magnetic  sound 
reproducing  heads. 

The  rapid  wear  of  these  reproducing 
heads,  necessitating  replacement  parts 
within  a  span  of  six  months,  has  long 
been  a  major  concern  of  IP  on  both  the 
technological  and  economic  fronts,  and 
it  was  a  compelling  reason  for  IP's  luke- 
warm reception  of  this  type  of  sound 
reproduction.  No  ofiScial  transcript  of 
Mr.  Sponable's  remarks  was  made  avail- 
able, but  this  IP  reporter  gained  the 
distinct  impression  that  this  new  alloy 
will  increase  the  life  of  magnetic  repro- 
ducing heads  by  three  times. 

Magnetic  head  wear,  of  course,  is  in 
direct  proportion  to  the  amount  of  filqi 
passing  through  the  head,  which  fact 
accounts  for  the  wide  variance  in  head 
v,eaT.  IP  applauds  this  successful  on- 
slaught on  a  difficult  problem  which 
threatened  to  impede  the  retention  of 
this  form  of  sound  reproduction. 

•  •  • 

It  was  really  something  to  see  and  to 
participate  in  the  numerous  joint  "bull" 
sessions  between  projectionists  and  ex- 
hibitors at  the  aforementioned  Chicago 
conclave.  Practically  every  day  several 
such  informal  sessions  were  held  to  the 
great  benefit  of  all  participants.  No 
clash  of  forces,  except  on  technological 
grounds,  was  apparent,  this  being  trace- 
able directly  to  the  extreme  informality 
of  the  discussions  no  less  than  to  the 
recognition  on  both  sides  of  their  com- 
mon inter-dependence. 

As  a  matter  of  fact,  this  tacit  appre- 
ciation by  both  exhibitors  and  projec- 
tionists of  common  problems  —  the 
former  in  terms  of  keeping  their  thea- 
tres open  and  the  latter  on  the  basis  of 
the  certain  knowledge  that  they  must 
have  a  place  in  which  to  work  —  has 
been  gaining  force  gradually  since  the 
inception  of  the  new  projection  processes. 
Today  exhibitors  are  frank  to  state  that 
they  are  dependent  in  large  measure  for 
the  success  of  a  given  operation  upon 
the  basic  knowledge  and  procedural 
know-how  of  the  projectionist  — •  the 
only  technically-minded  person  in  and 
about  the  theatre. 

IP  has  long  advocated  this  rapport 
between  employer  and  employee;  and 
the  salutary  effects  of  these  discussions 
indicate  the  need  for  holding  such 
sessions  at  least  several  times  a  year  on 
a  regional  or  even  local  basis. 


INTERNATIONAL  PROJECTIONIST    •    NOVEMBER  1954 


THE  PICTURE  IS  LIGHT... 

GIVE  IT  ALL  YOU  CAN 

with  "NA  TIONAL"  CARBONS 


•  Given  the  best  projector  carbons  made,  the  "rest"  of  perfect  projection 
lies  in  the  projectionist's  skill  and  the  service  rendered  by  his  supplier. 

National  Carbon's  nationwide  advisory  service  has  featured  promi- 
nently in  every  phase  of  projector-lighting  progress  from  the  discovery 
and  development  of  new  and  better  carbon-arc  materials  right  down  to 
their  firing-line  application  in  theatres. 

Not  only  do  "National"  carbons  excel  in  brilliance,  color -balance  and 
uniformity,  but  they  give  you  all  these  features  at  the  lowest  cost  per  unit 
of  light  and  per  inch  of  carbon  consumed. 

Call  on  "National"  carbons  and  National  Carbon  service  for  the 
ultimate  in  picture  quality,  at  least  overall  cost. 

The  term  "National"  is  a  registered  trade-mark  of  Union  Carbide  and  Carbon  Corporation 

NATIONAL  CARBON  COMPANY 

A  Division  of  Union  Carbide  and  Carbon  Corporation  •  30  East  42nd  Street,  New  York  17,  N.V. 

District  Saies  Offices:  Atlanta,  Chicago,  Dallas,  Kansas  City,  New  York,  Pittsburgh,  San  Francisco 

IN  CANADA:  Union  Carbide  Canada  Limited,  Toronto 


INTERNATIONAL  PROJECTIONIST    •    NOVEMBER  1954 


ISSRSi 


NTERNATIONAL    PROJECTIONIST 


VOLUME  XXIX 


NOVEMBER    1954 


NUMBER   11 


The  blessings  of  the  new  wide-screen  projection  processes 
are  intertwined  with  the  necessity,  in  terms  of  equipment 
and  procedure,  for  minimizing  the  exaggeration  of  in- 
herent projection  defeats.  Herewith  a  few  appropriate 
suggestions  as  to  how  best  this  problem  may  be  overcome. 


Wide-Screen  Presentation  Magnifies 
Inherent  Projection  Defects 


THE  "wide-screen"  process  of 
motion-picture  projection  magni- 
fies two  things  —  the  picture, 
itself,  and  all  its  defects  inherent  in 
the  projection  process.  The  reasons 
for  the  poorer  quality  of  modern  wide- 
screen  pictures  are  manifold.  You 
can't  mask  off  large  areas  from  the 
top  and  bottom  of  the  tiny  film- 
photographs,  magnify  what's  left,  and 
get  the  excellent  picture  quality  com- 
parable with  conventional  projection 
on  3/4-proportioned,  flat  white  screens 
to  which  we  are  accustomed. 

For  the  past  three  decades  theatre 
movies  were  sharp,  crisp,  brilliant, 
rock-steady  and  pleasingly  lifelike. 
Not  so  today.  Exaggerated  aspect 
ratios  have  banished  pictorial  quality 
from  the  screen.  Only  a  few  theatres 
have  resisted  the  lure  and  escaped 
the  bUght. 

Grain'mess  Increased 

Excessive  magnification  of  emulsion 
grain  is  one  of  the  most  obvious 
defects  of  wide-screen  projection. 
Fortunately,  the  grain  problem  has 
been  partially  overcome  by  the  Vista- 


By  ROBERT  A.  MITCHELL 

Vision  process  of  photography  and 
release-printing.  Applied  to  black- 
and-white  prints,  the  improvement 
effected  by  the  large-size  Vista  Vision 
negative  frame  is  startling.  The  im- 
provement in  color  films,  however,  is 
only  slight,  because  even  the  finest- 
grain  color  positive  and  the  most 
carefully  prepared  imbibition  color 
prints  have  comparatively  low  "re- 
solving power." 

Then,  too,  the  lighting  efficiency  of 
the  projector  optical  system  is  greatly 
decreased  by  wide-screen  apertures, 
necessitating  the  use  of  more  powerful 
lamps  or  aluminum  screens,  both  ex- 
pedients affecting  image  quality  ad- 
versely in  different  ways.  And  the 
use  of  wide-angle,  or  short-focus,  pro- 
jection lenses  decreases  depth  of  focus, 
hence  exaggerates  film  flutter,  buck- 
ling, focus  drift,  etc. 

We  projectionists  notice  also  an- 
other defect  of  wide-screen  projection, 
which  may  not  be  immediately  ap- 
parent. Just  as  the  tiny  film-photo- 
graphs   are    greatly    enlarged    by   the 


short-focus  lens  to  fill  the  width  of 
the  wide  screen,  so  also  are  side-sway 
and  accidental  vertical  jumping  or 
dancing  of  the  picture  highly  magni- 
fied. With  the  advent  of  the  wide 
screen,  rock-steady  pictures  have  all 
but  vanished  from  the  theatre! 

Jumpiness  an  Old  Problem 

"Jumpy"  pictures  have  always  been 
the  bane  of  the  projectionist.  A  worn 
or  lop-sided  intermittent  sprocket  will 
cause  jumpy  pictures  even  when  the 
movement  itself  functions  perfectly. 
And  a  maladjusted  or  worn  film  gate 
can  also  cause  serious  unsteadiness 
of  the  picture. 

Transient  spells  of  picture- jumping 
are  usually  the  fault  of  the  print.  The 
camera  or  the  printer  may  be  the 
culprit.  Print  unsteadiness  is  usually 
"spotted"  at  once  by  experienced 
projectionists;  and  it  isn't  too  diffi- 
cult to  distinguish  over-shooting  of 
the  film  (due  to  insufficient  gate  ten- 
sion or  to  "sticking"  of  a  new  print) 
from  jumpiness  which  has  actually 
been  printed  on  the  film. 

But   no   matter   what   the   cause   of 


INTERNATIONAL  PROJECTIONIST   •    NOVEMBER  1954 


picture- jumping,  wide-screen  techni- 
ques make  the  unsteadiness  worse. 
Only  CinemaScope,  which  utilizes  an 
aperture  having  slightly  more  height 
than  the  standard  aperture,  is  blame- 
less on  this  score.  CinemaScope  and 
the  anamorphic  type  of  VistaVision 
are  plagued  not  by  vertical  jumping 
of  the  picture  but  by  excessive  side- 
sway  or  weaving.  For  the  present  we 
shall  direct  attention  to  the  vertical 
kin'l  of  picture-unsteadiness,  because 
its  causes  are  more  numerous  and  its 
corrections  more  troublesome. 

The  standara  sound-film  aperture 
is  a  rectangle  0.825  wide  by  0.600 
inch  high.  These  dimen-;ions  result 
in  an  aspect  ratio  of  1.375/1  In  level 
projection,  and  an  aspect  ratio  of 
1.333/1  (picture-proportion  3/4) 
when  the  projection  angle  is  about 
10  degrees. 

Years  of  experience  have  demon- 
strated conclusively  that  the  3/4 
picture-proportion  (standard  aper- 
ture) is  the  most  serviceable  for  pic- 
torial presentation.  It  is  best  for 
motion  pictures  because  it  is  ideally 
suited  to  intimate  scenes  which  occur 
with  great  frequency  in  dramatic 
films. 

The  Panoramic  Effect 

Higher  aspect  ratios  have  neverthe- 
less come  into  use  in  an  attempt  to 
"open  up"  the  screen  in  the  horizontal 
dimension,  even  though  visual  dis- 
traction from  the  "center  of  interest" 
is  increased  in  wide-screen  photo- 
graphy and  the  dramatic  effectiveness 
of  "rapid  cutting"  and  closeups  is 
substantially  reduced.  High  aspect 
ratios  are  best  suited  to  panoramic 
and  group  scenes,  hence  their  de- 
sirability for  musicals  and  other 
"spectacular"   productions. 

It  is  incorrectly  supposed  by  many 
that  the  newer  aspect  ratios  more 
nearly  conform  to  the  visual  area  of 
the  eye.  The  human  eye  actually  has 
several  different  kinds  of  viewing 
areas,  the  outer  areas  being  very 
blurred  and  almost  color-blind.  Now, 
the  clearest  area,  the  area  of  direct 
visual  interest,  has  exactly  the  same 
proportions  as  the  standard  motion 
picture  frame,  namely  3/4.  Beyond 
this  is  an  intermediate  area  known  as 
the  "comfortable  viewing  area"  which, 
is  not  so  "comfortable"  but  that  it 
requires  us  to  move  our  eyes  slightly 
to  perceive  clearly  all  the  details  it 
contains.  The  proportions  of  this  area 
are   approximately  represented   by  an 


aspect  ratio  of  approximately  1.85/1. 

The  outermost,  or  peripheral,  view- 
ing area  is  very  useful  in  daily  life, 
but  visually  too  indistinct  for  viewing 
motion  pictures  with  enjoyment.  This 
total  area  roughly  corresponds  to  such 
extreme  aspect  ratios  as  2/1  and 
2.55/1. 

Motion-picture  screens  are  viewed 
by  direct  vision  regardless  of  their 
aspect  ratios,  hence  the  absurdity  of 
using  extended  aspect  ratios.  The 
conclusion  is  inescapable  that  the 
most  pleasing  aspect  ratio  is  the  one 
that  corresponds  to  the  area  of  direct 
visual  interest  —  the  standard  aspect 
ratio   of  1.37/1! 

Infermittenf  Defecis 

Now,  because  the  height  of  a  wide- 
screen  aperture  is  less  than  that  of 
the  standard  aperture,  greater  image- 
magnification  is  needed  to  give  the 
same  picture-height  at  the  screen  when 
the  change  is  made  from  normal  to 
wide-screen  projection.  And  all  in- 
termittent and  other  film-registration 
faults  are  magnified  by  the  same 
amount  as  the  picture  size  is 
increased ! 

Intermittent  defects  which  produce 
a  certain  range  of  picture- jump  in 
normal  projection  (aspect  ratio  1.37 
/I)  give  a  jump-range  21%  greater 
with  an  aspect  ratio  of  1.66/1;  35% 
greater  with  the  Paramount-sponsored 
1.85/1  ratio;  and  46%  greater  with 
a  2/1  ratio,  the  height  of  the  picture 
on  the  screen  being  the  same  in  all 
cases. 

In  some  theatres  a  2.35/1  wide- 
screen  aspect  ratio  is  used  to  corres- 


Water  and  Air  Cooling 
For  New  Simplex  X-L 

Because  of  continuing  increased  de- 
mands for  more  light  on  large  indoor 
and  outdoor  theatre  screens,  the  In- 
ternational Projector  Corp.  has  an- 
liounced  a  new  modified  model  of  the 
Simplex  X-L  projector  which  utilizes 
both  water  cooling  and  compressed 
air  jets  to  reduce  heat  at  the  aper- 
ture. 

An  air  compressor  is  required  to 
provide  the  necessary  jet  air  stream, 
and  a  water  circulator  with  tank  will 
be  available  for  those  projection 
rooms  where  plumbing  is  not  con- 
veniently available.  Complete  data 
on  this  new  development,  including  a 
graphic  presentation  of  just  how  it 
functions,  will  be  carried  in  a  forth- 
coming issue  of  IP. 


pond  with  the  "optical-sound"  Cinema- 
Scope aspect  ratio.  In  this  case  the 
range  of  picture- jump  is  increased  fully 
71%  when  a  picture-height  on  the 
screen  identical  with  the  usual  stand- 
ard picture-height  is  used.  Sidewise 
weaving  is  increased  by  exactly  the 
same  percentages  in  all  cases  of  non- 
anamorphic  wide-screen  projection. 

These  figures  emphasize  the  neces- 
sity for  exceptionally  accurate  inter- 
mittent action  and  film  registration 
in  wide-screen  projection.  There  are 
several  test  films  available  for  check- 
ing the  steadiness  of  theatre  projec- 
tors, and  one  of  these  should  be  used 
to  obtain  an  exact  measurement  of 
the  "jump  factor"  of  each  projector. 

But  this  measurement,  although 
simple  in  theory,  is  difficult  to  carry 
out  because  even  the  jumpiest  picture 
likely  to  be  encountered  in  any 
theatre  "wiggles"  only  through  a  frac- 
tion of  an  inch  on  the  screen.  So  we 
shall  leave  the  matter  of  exact 
measurements  to  the  professional 
technoligists. 

Use  of  Binoculars 

Because  a  picture  on  a  theatre 
screen  looks  jumpy  even  when  the 
picture  wavers  a  distance  of  only  ^ 
inch  or  even  less,  the  projectionist 
can  get  a  good  idea  of  the  steadiness 
of  his  picture  by  closely  examining  the 
screen  through  binoculars  or  the 
Simplex  X-L  Screenscope.  Techni- 
color prints  are  especially  good  for 
this  purpose  as  these  are  usually  per- 
fectly rock-steady  when  in  good  con- 
dition. It  is  best  to  direct  attention 
to  the  top  and  bottom  edges  of  the 
picture  when  looking  for  evidence  of 
image-unsteadiness. 

It  is  entirely  possible  for  a  theatre 
projector  to  function  so  perfectly  that 
no  picture-jump  can  be  detected  even 
by  the  most  careful  measurements  by 
an  observer  at  the  screen.  The  com- 
plete absence  of  unsteadiness  occurs 
only  when  the  slight,  but  unavoidable, 
discrepancies  in  the  intermittent  star- 
wheel,  shaft,  and  sprocket  accidentally 
cancel  one  another.  The  greatest  pos- 
sible range  of  unsteadiness  in  modern 
projectors  of  good  manufacture,  how- 
ever, is  so  small  that  it  cannot  be  seen 
by  the  audience. 

Six-Cycle  Tremble 

One  of  the  most  annoying  types  of 
picture  unsteadniess  is  the  6-cycle 
"tremble"  or  "dancing"  which  im- 
mediately suggests  a  bent  starwheel 
shaft     or     a     lop-sided     intermittent 


INTERNATIONAL  PROJECTIONIST    •    NOVEMBER   1954 


AIL  YOU  DO 
IS  STRIKE  THE  ARC 


The  positive  and  negative  carbons  are  advanced  by 
separate  motors,  the  speeds  of  which  are  governed  by 
the  Bi-metal  Lightronic  Tube.  Once  the  arc  has  been 
struck,  the  crater  position  and  gap  length  are  main- 
tained automatically,  and  without  constont  attention 
by  the  projectionist. 

With  the  new  presentation  techniques  complicating 
his  job,  the  projectionist  is  particularly  appreciative  of 
this  simplified  control.  Furthermore,  he  is  quick  to  see 
the  advantages  of  the  unitized  component  design  which 
affords  such  wide  versatility  in  these  lamps.  He  can, 
in  a  matter  of  moments  ond  right  in  his  projection 
room,  effect  the  simple  changes  necessary  to  attain 
the  correct  light  requirement  for  any  of  the  various 
techniques.  It  is  even  possible  for  him  to  get  the  light 
requirements  of  two  different  types  of  techniques  on 
the   same   piogram. 


TRUE    VERSATILITY 


A  choice  of  four  different  ccrbon  trims  can  be  burned 
in  a  total  of  seven  separate  manners  to  attain  any 
desired  degree  of  cost  of  operation,  screen  illumina- 
tion, or  burning  time. 


SIMPLIFIED    CONTROL 


Only  one  control  is  required  for  selecting  any  amp- 
erage within  the  range  of  a  particular  mode  of 
operation. 


THE  MOST  POWERFUL  LAMPS 


Burning    10-mm  "Hitex"  carbons  at   135   amperes,   or 

11-mm   regular  carbons  at   120  amperes,  impartial  foot 

candle   meter   tests   prove   the   Strong   "Super    135"   the 

most    powerful    projection    arc    lamp,    and    you    can't 

argue   with    a    light   meter. 

The   Infra-Ban   Beam-Cooler   unit  diverts  the   heat   rays   away  from 

the  aperture,  making   possible  a   tremendous   increase   in   usable   light 

without   a   corresponding    increase   in   heat   at   the   aperture. 

A  stream  of  air  directed  just  above  the  arc  stabilizes  its  burning 
and   prevents   the   deposit   of   soot   on  the   reflector. 

Strong  has  also  designed  new  rectifiers  with  a  range  of  from 
ro  to  135  amperes  to  fill  the  power  requirements  of  all  the  systems 
cf   screen   presentation. 


(     (&ke»-i^  iiif$tft(i  OM  STRONG  -Me/atOiits  it  ^^/    J ' 


As  the  only  lamps  produced 
complete  wlth'n  ona  factory. 
Strong  lamps  can  be  screen- 
engineered  for  maximum  efficien- 
cies. That's  why  more  dealers  sell 
and  more  thaatres  buy  Strong- 
mad:  projection  arc  lamps  than 
any   other   make. 

Send  today  for  full  de- 
tails on  the  Strong  Super 
"135"  and  Mighty  "90" 
projection  arc  lamps. 


THE  STRONG  ELECTRIC  CORPORATION 

"The   World's  Largest  Manufacturer   of  Projection  Arc  Lamps" 
31    CITY  PARK  AVENUE  TOLEDO  2,  OHIO     ~ 

Please   send   free   literature   on   Strong   Super   "135"   and 
Mighty   "90"   projection   lamps. 


NAME     

THEATRE     

STREET    

CITY    &    STATE 


INTERNATIONAL  PROJECTIONIST   •    NOVEMBER  1954 


sprocket.  This  projection  defect  is 
much  more  noticeable  than  it  used  to 
be  because  the  tremendous  magnifica- 
tions employed  in  wide-screen  pro- 
jection readily  reveal  it. 

In  6-cycle  tremble  the  entire  picture 
moves  up  and  down  once  during  each 
revolution  of  the  intermittent  sprocket. 
Since  this  movement  of  the  image 
involves  4  frames  of  film,  and  because 
24  frames  pass  over  the  sprocket  every 
second,  the  entire  cycle  is  completed 
24/4,  or  6,  times  each  second. 

Regardless  of  the  great  mechanical 
precision  with  which  intermittent 
movements  and  sprockets  are  made, 
the  accuracy  of  film  registration  over 
the  aperture  is  always  at  the  mercy 
of  the  method  used  by  the  projector 
manufacturer  to  fasten  the  intermittent 
sprocket  to  the  starwheel  shaft.  If 
the  method  selected  is  a  poor  one,  the 
wobble  of  the  sprocket  may  be  from 
20  to  40  times  greater  than  the  maxi- 
mum permissible  deviation  from  per- 
fect form  in  the  working  parts  of  the 
intermittent. 


^utand  bolt 


XsOcU]r\^  balls 
and  Tapcr-scrcW 


FIG.  2.  Later  methods  of  fixing  the  intermittent  sprocket.  The  "nut-and-bolt  method,"  simple 
and  satisfactory,  is  used  by  Simplex  and  Philips.  The  excellent  "locking  balls  and  taper-screw 
method"    is    employed    by    Motiograph.    (Not    shown    is    the    Motiograph    lateral    adjustment    or 

double-bearing    construction.) 

close  to  60  microns  (2.36  mils),  most  shaft.  This  method,  of  course,  is 
of  the  wobble  undoubtedly  being  due  suitable  only  for  intermittents  having 
to  the  unsatisfactory  method  of  fasten-  no  outboard  bearing  beyond  the 
ing  the  sprocket  to  the  shaft.  In  a  sprocket.  In  one  modification,  the 
picture  measuring  131/2  x  18  feet  head  of  the  screw  is  flat,  the  under- 
projected  with  this  machine  (standard  surface  bringing  up  against  the  lateral 
sound-film    aperture),    the    sprocket-  face  of  the  sprocket.    In  another  mod- 


wobble  would  show  up  as  a  6-cycle 
up-and-down  movement  of  0.618  inch, 
enough  to  be  very  objectionable. 


Taper  Pin  Connection 

The  classical  method  of  fixing  the 
The  simplest  method  of  fastening  a      intermittent  sprocket  to  its  shaft  made 


sprocket  to  a  shaft  is  the  use  of  a 
screw  inserted  in  a  threaded  hole  in 
the  hub  of  the  sprocket.  When 
tightened,  the  screw  "brings  up" 
against  a  flat  machined  in  the  shaft. 
Feed  (upper)  and  holdback  (lower) 
sprockets  are  held  to  their  shafts  in 
this  manner. 

This  simple  "screw-against-shaft" 
method  is  unsatisfactory  for  use  with 
intermittent  sprockets.  Tightening  the 
screw  forces  the  sprocket  away  from 
the  shaft  on  the  screw  side,  and  the 
resulting  radial  displacement  of  the 
sprocket  creates  a  wobble  as  the 
sprocket  revolves. 

A  certain  3.5-mm  portable  projector, 
now  obsolete,  utilized  the  screw- 
against-shaft  method  for  fixing  the 
intermittent  sprocket.  Measurements 
made  on  this  machine  reveal  a  wobble 


use  of  taper  pins.  There  are  usually 
two,  and  each  is  driven  through  holes 
drilled  in  sprocket  hub  and  starwheel 
shaft.  This  is  an  effective  method,  as 
it  does  not  create  undue  strain  at  any 
one  point  on  the  shaft  or  in  the 
sprocket  bore. 

Taper  pins  nevertheless  have  a 
serious  drawback.  They  must  be 
forced  into  their  holes  rather  tightly 
to  prevent  their  falling  out,  and  the 
forcing  operation  may  accidentally 
"spring"  the  star  shaft  and  introduce 
serious  wobble.  Projectionists  are 
rightly  apprehensive  of  the  damage 
which  might  be  inflicted  on  the  delicate 
intermittent  parts  when  the  pins  are 
driven  into  place  with  a  hammer. 

Another  method,  one  popular  in 
Europe,  employs  a  screw  inserted  into 
a  threaded  hole  in  the  end  of  the  star 


Tapcr-pirvs 


■i)nvJng  pin" 


FIG.  1.  Two  older  methods  of  fastening  the  intermittent  sprocket  to  the  starwheel 
shaft.  Shown  in  the  left  drawing  Is  the  familiar  "taper-pin  method"— good,  but  a  nuisance 
to  sprocket-changing  projectionists.  On  the  right  is  shown  the  more  convenient  "end-screw 
method"  which,  however,  induces  sprocket  wobble  unless  screw-head  and  lateral  face  of 
the    sprocket    are    very    accurately    machined. 


ification,  the  screw-head  is  conical 
and  brings  up  snugly  in  a  corres- 
pondingly tapered  hole. 

Obviously,  both  the  lateral  face  of 
the  sprocket  and  the  under-surface  of 
the  flat-headed  screw  must  be  very 
accurately  machined  if  the  first  modi- 
fication of  the  end-screw  method  is  to 
be  successful.  Such  precision  greatly 
increases  the  price  of  both  screw  and 
intermittent  sprocket.  Any  deviation 
from  true,  parallel  planes  in  the  sur- 
face of  these  two  items  will  cause  the 
starwheel  shaft  to  become  warped 
slightly  when  the  end-screw  is 
tightened. 

In  the  taper-headed  screw  method, 
both  the  thread  of  the  bore  in  the 
shaft  and  that  of  the  conical  screw 
must  be  exactly  concentric  and  ac- 
curately fitted.  The  tinest  discrepancy 
causes  the  tapered  head  of  the  screw 
to  pinch  the  bore  of  the  shaft  and 
thus  to  force  the  center  line  of  the 
sprocket  to  one  side,  with  consequent 
wobbling  of  the  sprocket  and  6-cycle 
picture- jump. 

Both  modifications  of  the  end-screw 
method,  when  properly  executed,  work 
equally  well  and  represent  a  decided 
improvement  over  the  taper-pin 
method.  Maximum  wobble  is  reduced 
to  30  microns  (1.18  mils),  resulting 
in  a  0.309-inch  picture-jump  on  a 
13^2  X  18-foot  screen  when  a  standard 
sound-film  aperture  is  used. 

Now  let's  look  at  the  most  modern 
methods  of  fastening  the  intermittent 
sprocket  to  its  shaft. 

Both  the  Simplex  X-L  and  the 
Dutch    Philips    (Models    FP-5,    FP-6, 

(Continued   on   page   34) 


10 


INTERNATIONAL  PROJECTIONIST    •    NOVEMBER  1954 


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INTERNATIONAL  PROJECTIONIST  •   NOVEMBER  1954 


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4"  and  the  l^^hi'  diameter  projection  lenses  .  .  .  for 
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11 


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This  space 
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(INTERNATIONAL    PROJECTIONIST) 


12 


INTERNATIONAL  PROJECTIONIST   •    NOVEMBER  1954 


THE  PRIMARY  function  of  a 
condensing  system  is  to  provide 
maximum  illumination  on  the 
screen;  that  there  is  usually  more  light 
on  the  film  gate  is  secondary.  Box- 
office  receipts  are  a  function  of  screen 
brightness  and  not  of  film  aperture 
illumination.  Of  course,  the  film  gate 
is  the  limiting  field  aperture  in  the 
projection  system,  and  since  all  the 
light  must  funnel  through  the  gate,  it 
participates  in  any  increase  and  thus 
its  image  on  the  screen  becomes 
brighter.  The  first  consideration,  how- 
ever, is  to  get  more  light  flux  to  pass 
through  the  whole  optical  train. 

The  basic  physical  considerations 
dictating  the  present  forms  of  condens- 
ing systems  are  simple.  They  rest 
on  nothing  more  difficult  than  every- 
day geometry — the  kind  everyone  uses 
when  he  looks  at  a  clock  or  draws 
straight  lines — plus  a  necessary  and 
very  convenient  convention  regarding 
the  way  light  is  propagated. 

With  greater  demands  on  condensers 
to  perform  more  diverse  functions 
ever  more  efficiently,  greater  com- 
plexity has  crept  into  their  design  and 
the  primitive  principles  have  been  in- 
corporated with  more  advanced  con- 
siderations, without,  however,  losing 
their  cogency.  Our  principal  concern 
will  be  with  the  fundamentals  of  con- 
denser design,  both  of  lens  condensers 
and  mirrors. 

The  Nature  of  Light 

The  ultimate  nature  of  light  is  un- 
known. Perhaps  it  will  always  be  so 
and  remain  one  of  the  experiences  we 
cannot  reduce  to  something  more  pri- 


FIG.  1.  The  light  flux  within  the  solid  angles 
"wi"  and  "w2"  is  constant;  but  the  flux  per 
unit  area  (illumination)  Is  less  on  areas  "Ai" 
and  "A2"  by  just  the  square  of  their  relative 
distances  from  the  point  source. 


mitive,  along  with  life  and  the  spiri- 
tual verities.  Nevertheless,  its  behavior 
has  been  reduced  to  a  few  rules-of- 
thumb  which  are  sufficient  to  give 
some  control. 

An  ideal  point  source   of  light  ra- 
diates equally  in  all  directions  through- 


Elements  ol 
Optical 

Condensing 
Systems 


By  A.  E.  MURRAY 

Scientific  Bureau 
Bausch  &  Lomb  Optical  Co. 

out  space,  so  that  if  it  were  placed  at 
the  center  of  a  sphere,  the  interior 
would  be  uniformly  illuminated,  with 
no  part  of  the  wall  receiving  more 
light  energy  or  flux  than  any  other. 
It  is  perfectly  clear  that  the  larger 
areas  receive  greater  flux  in  direct 
proportion  to  their  sizes. 

Now,  it  is  inconvenient  to  circum- 
scribe a  sphere  about  a  source  each 
time  a  measurement  of  light  flow  or 
flux  is  to  be  made  and  to  express  the 
flux  in  terms  of  areas  on  this  sphere, 
so  the  area  relative  to  the  total  area 
of  a  unit  sphere  is  used  and  given  a 
special  name.  By  analogy  with  plane 
angles,  the  area  in  question  is  said  to 
subtend  a  solid  angle  at  the  center  of 
the  sphere.  Thus  we  can  say  in  more 
technical  language  that  from  a  point 
source  the  greater  the  solid  angle  sub- 
tended by  a  surface,  the  greater  the 
light  flux  intercepted;  in  fact,  the  two 
are  strictly  proportional. 

It  is  worth  while  to  note  that  these 
considerations  are  direct  consequences 
of  the  convention  referred  to  previous- 
ly, that  is,  the  rectilinear  propagation 
of  light.  If  light  did  not  travel  in 
straight  lines  in  free  space,  we  could 
not  expect  the  inner  wall  of  the  sphere 
to  be  uniformly  illuminated,  and  we 


should    be    forced    to    more    complex 
descriptions. 

System  as  a  Pipe  Line 

But  it  is  inconvenient  to  represent 
the  true  state  of  affairs  in  three  dimen- 
sions on  two-dimensional  paper,  so  a 
compromise  is  made.  In  the  plane  of 
the  paper,  technically  the  meridonional 
section,  the  solid  angle  subtended  by 
a  surface  or  a  lens  at  point  source  is 
replaced  by  the  plane  angle,  and  for 
that  infinitely  thin  fan  of  rays  the  flux 
is  proportional  to  the  angle  itself. 

In  the  case  of  a  lens  system,  ideally 
all  the  flux  collected  by  the  first  sur- 
face of  the  system  is  transmitted 
through  the  succeeding  surfaces  to 
appear  in  the  image.  In  the  image 
space  exactly  the  same  sort  of  con- 
siderations apply  as  at  the  source:  the 
greater  solid  angles  are  associated  with 
the  brighter  images.  Thus  the  larger 
the  area  of  the  last  surface  of  the  sys- 
tem as  seen  from  a  point  image,  the 
more  flux  flowing  through  the  point 
and  the  brighter  it  is. 

It's  a  curious  fact,  readily  under- 
stood when  an  optical  system  is  con- 
ceived of  as  a  sort  of  pipe  line  for 
light  flux,  that  it  does  not  matter  what 
the  illumination  or  flux  density  is  at 
any  particular  point  inside  the  system, 
the  illumination  in  the  final  image  is 
fixed  by  the  flux  collected  by  the  first 
surface  and  the  area  of  the  last  illumi- 
nated surface  seen  from  the  image, 
i.e.,  the  solid  angle  subtended  by  the 
exit  pupil. 

Basic  Illumination  Factors 

In  more  technical  language,  the  il- 
lumination at  a  point  on  the  axis  of  a 
system,  more  particularly  at  the  image, 
will  depend  upon  three  factors:  (1) 
the  brightness  of  the  source,  (2)  the 
light  lost  in  passing  through  the  sys- 
tem, and  (3)  the  solid  angle  subtended 
by  the  exit  pupil  (loosely,  the  last  lens 
surface)   at  the  point. 

In  any  actual  optical  system  a  cer- 
tain amount  of  light  is  lost  to  the  beam 
through  reflection  at  the  various  sur- 


FIG.   2.      "h"    is   equal    to   the    product    of    the 
equivalent   focal    length    and    the    sine    of    U^. 


-/-- Us 


^PRKCIPAL     FLAME 
V, 4-E.F.- >j 


INTERNATIONAL  PROJECTIONIST   •    NOVEMBER  1954 


13 


faces,  and  a  further  amount  is  lost 
through  absorption  in  the  glass.  This 
is  all  taken  into  account  in  calculating 
the  percentage  of  useful  light  passing 
out. 

It  may  seem  strange  at  first  sight 
that  in  this  relation  there  is  no  men- 
tion of  the  solid  angle  of  the  cone  of 
light  incident  on  the  first  or  collective 
surface  of  the  system,  whereas  it  is 
obvious  to  the  intuition  that  the  flux 
through  an  image  must  depend  direct- 
ly upon  the  amount  collected. 

Extended  Light  Sources 

For  all  well-corrected,  image-form- 
ing systems  (and  condenser  systems  on 
the  whole  fall  into  this  category)  there 
is  a  proportionality  between  the  half 
angles  on  the  two  sides  of  the  system, 
the  ratio  being  the  magnification.  The 
situation  at  any  other  point  on  the 
axis  is  slightly  more  complicated,  but 
in  essence  the  same  physical  considera- 
tions apply. 

In  practice,  we  have  not  to  deal  with 
point  sources  but  with  actual  extended 
sources,  which  act  somewhat  different- 
ly from  the  commonly  considered 
point  origins.  The  extended  source 
has  area,  i.e.,  is  an  assembly  of  point 
sources  of  finite  luminosity  and  must 
be  treated  as  such. 

Considering  more  specifically  con- 
densing systems,  fundamentally  their 
function  is  to  image  the  light  source 
at  the  most  convenient  point  in  the 
projection  system  for  optimum  per- 
formance of  the  whole  system.  It  is 
clear  that  the  instance  when  a  source 
can  be  placed  at  the  gate  of  a  pro- 
jector are  very  few,  and  as  yet  those 
sources  amendable  to  this  treatment 
are  quite  feeble. 

Screen  Light  Determinatives 

The  condensing  system,  then,  has 
the  duty  of  placing  the  next  best  sub- 
stitute for  the  source,  its  image,  at  that 
point  in  the  system  where  it  will  do 


FIGURE  3. 
From  top  to  bottom: 
If  the   /   number   of  the 
condensers  is  too   large, 
light    is    spilled    around 
the       lens       and       thus 

wasted. 
When  the  condenser  and 
lens  are  matched,  all 
the  light  is  used  and 
none  is  was5ed — a  per- 
fect economy. 
If  the  lens  is  too  fast 
for  the  condensers,  the 
former  is  effectively 
stopped  down  optically. 


the  most  good.  By  principles  pre- 
viously established,  it  does  not  matter 
where  with  respect  to  the  projection 
objective  the  source  image  is  placed: 
the  illumination  on  the  screen  will  de- 
pend only  upon  the  source  brightness, 
the  transmissivity  of  the  system,  and 
the  overall  /  number. 

It  is  clear  from  this  illustration  that 
when  a  point  source  is  imaged  at  the 
film  gate  for  maximum  utilization  of 


FIGURE  4. 
It  is  necessary  to  match 
the  /  numbers  of  the 
condenser  and  the  pro- 
jection objective  even 
though  the  source  be 
imaged  in  the  latter. 
Note  that  the  marke:! 
angles  at  the  film  gat3 
are  approximately  equa!. 


the  flux  through  the  system,  the  cone 
of  light  from  the  condensers  must  just 
fill  the  projection  objective,  i.e.,  the  / 
number  of  the  condensing  system  at 
the  film  gate  must  match  the  /  number 
of  the  objective. 

If  the  solid  angle  of  flux  from  the 
condensers  is  smaller  at  the  gate  than 
the  objective  will  accept,  the  latter  is 
stopped  down  optically,  the  overall  / 
number  is  smaller  than  the  condensers 
are  capable  of,  and  they  are  not  work- 
ing at  full  efiiciency. 


On  the  other  hand,  if  the  condensers 
deliver  a  solid  angle  greater  than  the 
objective  can  accept,  light  is  spilled 
around  the  objective  and  fails  to  get  to 
the  screen.  In  this  case,  the  con- 
densers are  optically  stopped  to  the  / 
number  of  the  projection  system. 

Essentially  the  same  considerations 
apply  in  the  second  type  of  source 
imaging — when  the  source  is  imaged 
inside  the  projection  lens,  or,  more 
accurately,  in  the  entrance  pupil  of 
the  objective.  In  this  arrangement  the 
basic  conditions  are  somewhat  less 
clear,  but  a  moment's  thought  will 
show  why  here,  too,  the  /  number  of 
the  condensers  must  match  that  of  the 
projection  lens  or  the  smaller  stop  be- 
comes the  limiting  factor. 

Arc  vs.  Tungsten  Light  Sources 

In  practice,  with  extended  real 
sources  the  first  arrangement,  that  of 
imaging  the  source  at  the  film  gate, 
can  be  used  only  with  those  sources 


FIG.  5.     The  common  procedure  in  35-mm  arc 

projectors.     Above:    the    arc    crater    is    imaged 

on  the  film  gate.    Below:  The  arc  image   most 

be  larger  than  the  film  gate. 


which  are  uniformly  bright  over  their 
area,  which  means  that  it  is  confined 
to  arcs.  The  second  method  is  gen- 
erally employed  with  tungsten  sources, 
which  are  used  most  generally  outside 
the  field  of  35-mm  motion  picture 
projection. 

[Such  diverse  applications  as  sub- 
standard motion  picture  projection, 
slide  projection,  and  photo  enlargers 
employ  this  arrangement,  which  in- 
deed is  the  only  one  which  can  be  used 
to  assure  screen  uniformity  with  a 
source  as  non-uniform  as  the  incan- 
descent filament.  In  this  case,  the 
film  gate,  or  field  limiting  aperture 
(the  conjugate  to  the  screen)  is  neces- 
sarily illuminated  evenly  because  it 
falls  well  within  the  convergent  cone.] 

As  a  sidelight,  it  is  clear  that  the 
last  surface  of  the  condenser  lens  ap- 
pears uniformly  illuminated.  It  is  this 
uniformly  illuminated  surface  which 
serves  as  the  virtual  source  for  the 
gate,  wherever  it  may  be,  from  within 
(Continued  on  page  32) 


14 


INTERNATIONAL  PROJECTIONIST   •    NOVEMBER  1954 


From  Toy 
to  a 
Great 

Industry 


FIG.  1.    The  Phenakistoscope,  or  "mogic  disc,"  designed  by  Jos- 
eph  Plateau   in   1832,  first  demonstrated   persistence   of  vision. 


By  JACK  E.  GIECK 

The  terms  "discovery"  and  "invention"  are  often  loosely  applied 
to  the  development  of  motion  pictures.  Actually,  many  minds, 
many  hands  contributed  greatly  thereto,  as  is  made  clear  by  this 
first  of  a  series  of  articles  which  appeared  originally  ira  "Movie 
Makers"  magazine,  to  which  we  are  indebted  for  many  favors. 


DID  YOU  know  that  the  first  mo- 
tion pictures  ever  taken  were  in 
3-D?  Or  that  stereophonic  sound 
dates  back  to  1922?  lip-synchronized 
sound  having  been  demonstrated 
before  the  turn  of  the  century?  or 
that  color  movies  were  shown  as 
early  in   1894? 

Although  these  facts  may  be  sur- 
prising to  some  of  us  recently  ex- 
posed to  various  motion  picture  "in- 
novations," they  point  up  the  maxim 
that  movies,  like  most  great  inven- 
tions, were  not  created  in  a  "Hash  of 
genius"  by  any  one  man.  Rather 
are  they  the  product  of  a  techno- 
logical evolution  extending  over  more 
than  a  century. 

This  process  involved  the  gradual 
improvement  of  a  number  of  crude 
but  novel  devices — often  mere  toys 
— by  several  generations  of  gadge- 
teers  and  tinkerers  (even  as  you  and 
I)  many  of  whom  worked  on  these 
hobbies  in  their  spare  time. 

A  wide  variety  of  early  projection 
devices  have  been  collected  by  the 
Henry  Ford  Museum,  Greenfield  Vil- 
lage, Dearborn,  Michigan,  source  of 
most    of    the    accompanying    illustra- 


tions. (Projectionists  visiting  Wash- 
ington, D.  C,  can  see  another  fine 
collection  of  early  cameras  and  pro- 
jectors at  the  Smithsonian  Institute.) 
But  before  examining  these  antiques 
in  greater  detail,  let  us  trace  some  of 
the  fascinating  history  of  "living 
pictures,"  as  they  were  called  until 
the  beginning  of  the  20th  century. 

Roget's  Persistence  of  Vision 

The  magic  lantern  was  already  160 
years  old  when  Dr.  Peter  Roget  hap- 
pened to  notice  the  peculiar  distor- 
tion of  carriage  wheels  when  viewed 
through  a  slatted  fence.   Based  on  this 


discovery,  he  presented  a  paper  on 
the  persistence  of  vision  before  the 
British  Royal  Academy  in  1825.  How- 
ever, nothing  very  practical  came  im- 
mediately out  of  Roget's  observa- 
tions. To  be  sure,  for  the  next  few 
years  a  number  of  physicists  spent 
their  leisure  hours  staring  at  the 
world  through  whirling  discs  with 
holes  punched  in  them. 

Then,  in  1832,  a  Belgian  optical 
scientist,  Joseph  Plateau,  whimsically 
drew  some  figures  on  the  back  of  one 
of  these  slotted  shutters  to  dramatize 
an  effect  he  had  obtained.  Plateau 
called  the  result  a  "Phenakistoscope," 
thereby  establishing  a  precedent  fol- 
lowed by  the  next  several  generations 
of  living-picture  experimenters  of 
assigning  ridiculous  names  to  their 
contraptions. 

Prove  It  To  Yourself 

Plateau's  "magic  disc,"  as  the 
public  called  it,  is   shown  in   Fig.   1. 


FIG.  2.  The  Zoetrope,  a  cyl- 
indrical version  of  the  magic 
disc  first  shown  in  1833,  was 
another  step  forward  in  cry- 
stalizing  the  idea  of  commer- 
cial  motion   pictures. 


INTERNATIONAL  PROJECTIONIST   •    NOVEMBER  1954 


.15 


The  reader  may  operate  it  by  cutting 
it  out  from  the  page  and  pasting  it  on 
thin  cardboard  and  then  punching  out 
the  black  slots  around  the  periphery. 
Next,  stick  a  pin  through  the  center, 
hold  it  up  before  a  well-lighted  mirror, 
and  peer  through  the  back  of  the 
slots  while  spinning  the  disc  on  the 
pin.  The  figures  in  the  mirror  will 
appear  to  dance,  for  reasons  which 
will  be  obvious  to  most  motion  pic- 
ture technicians. 

Although  the  individual  images  are 
not  stopped  while  they  are  being 
viewed,  as  is  the  case  with  a  modern 
projector,  the  slots  in  the  "shutter" 
are  so  narrow  that  each  "frame"  is 
glimpsed  for  a  very  short  "exposure" 
time,  thus  minimizing  sidewise  blur. 
And  persistence  of  vision  hangs  onto 
the  image  until  a  new  one  appears 
through  the  next  slot. 

A  year  after  Plateau's  Phenakisto- 
scope,  William  G.  Horner  (England) 
introduced  his  "Wheel  of  Life".  Two 
of  these  "Zoetropes,"  as  they  were 
christened,  are  shown  in  Fig.  2.  This 
device  is  essentially  a  cylindrical  ver- 
sion of  Plateau's  device.  The  figure 
drawings  depicting  successive  stages 
of  motion  are  printed  side-by-side  on 
a  band  of  paper  which  is  bent  around 
the  inside  of  the  cylinder.  Several 
of  these  cards  may  be  seen  behind  the 
Zoetropes  in  the  illustration.  When 
the  drum  is  rotated  on  its  axis,  the 
observer  watches  the  figures  perform 
through  the  vertical  slots  in  the  side. 

The  pictures  in  the  hooded  model 
on  the  right  were  illuminated  by  a 
candle  in  the  center  of  the  cylinder. 
These    two    machines    were    manufac- 


FIG.    3.     The    Becker   Stereoscope    of    1857    led 

to    Coleman    Sellers'    Kinematoscope    In     1861, 

the  first  peep-show  movie   unit. 


tured  in  1867  by  Milton  Bradley  Co., 
Springfield,  Mass. 

This  sort  of  thing  was  not  exactly 
suited  to  mass  audiences.  An  Aus- 
trian army  lieutenant,  Franz  von 
Uchatius,  hit  upon  the  idea  of  pro- 
jecting living  pictures.  His  technique 
was  to  combine  Plateau's  idea  with 
the  magic  lantern,  or  rather  with  12 
magic  lanterns.  What  he  did  was  to 
make  a  series  of  12  drawings  upon  a 
glass  disc  which  he  mounted  on  a 
stationary  frame.  In  front  of  each 
transparency  he  then  mounted  a  pro- 
jection lens,  aiming  all  12  lenses  at 
exactly  the  same  point  on  the  screen. 

Behind  the  glass  disc  he  fastened 
his  single  light  source,  a  limelight,  on 
the  rim  of  a  wheel.  (The  limelight 
predated  the  carbon  arc  in  magic 
lanterns  and  theatre  spotlights.  It 
consisted  of  a  small  cylinder  of  un- 
slaked lime,  one  end  of  which  was 
heated  white-hot  by  an  oxyacetylene 
gas  jet.)  When  he  turned  the  wheel, 
the  light  source  moved  from  one  pic- 


ture to  the  next,  changing  the  pic- 
ture on  the  screen  through  the  12 
positions  of  the  action  as  each  trans- 
parency was  illuminated  in  turn.  Thus, 
in  1853,  Uchatius  projected  the  first 
movie — actually,  an  animated  cartoon. 

Photography  was  unable  to  con- 
tribute much  to  motion  picture  tech- 
nology at  this  stage  because  of  the 
extreme  slowness  of  the  wet  plates 
which  served  as  film  at  that  time.  Ex- 
posures were  often  reckoned  in  min- 
utes, and  portrait  subjects  generally 
had  their  head  clamped  in  metal  jigs 
to   hold  them  still  long  enough. 

Nevertheless,  Dr.  Coleman  Sellers, 
a  Philadelphia  physician,  began  ex- 
perimenting with  series-pictures  of 
posed  motion  in  1861.  These  he  took 
with  one  of  the  popular  twin-lens 
cameras  of  the  day,  and  he  mounted 
his  stereo-pair  prints  on  the  endless 
belt  of  a  viewer  which  was  similar  to 
the  Becker  Stereoscope  (vintage  1857) 
Fig.    3,    except   that   he   replaced   the 

(Continued  on  page  30) 


Preparing  a  Theatre  For  Vista  Vision 


SETTING  up  a  wide-screen  projec- 
tion system  to  provide  a  1.85/1 
aspect  ratio,  such  as  is  prescribed 
for  VistaVision  pictures,  can  be  quite 
a  chore  when  the  projection  angle  is 
steep,  as  it  is  in  most  balcony 
theatres.  The  accompanying  keystone 
presents  two  serious  problems — (a) 
proper  screen  masking  of  the  distorted 
image,  and  (b)  aperture  registration 
with  respect  to  the  film  frame.  Out- 
lined herein  is  what  I  consider  a 
positive  method  of  achieving  these 
results : 

(1)  Insert  the  proper  projection 
lens  to  be  used  for  the  wide  picture. 

(2)  Make  up  a  15-foot  loop  of 
standard  VistaVision  stock  and  run 
it  on  the  unmasked  screen  without  an 
aperture  plate  in  the  projector.  The 
exact  picture  width  is  now  defined 
on  the  screen  fo"-  a  lens  of  this  focal 
length,  part  of  which  is  unusable. 

(3)  Hold  a  plumb  line  at  the 
upper  left  corner  of  the  screen  image 
six  inches  inside  the  sound  track, 
and  chalk -mark  the  center  of  the  bob 
on  the  stage  floor.  This  mark  estab- 
lishes  the   left   side   vertical   masking 


by  F.  W.  MacDONALD 

Member,     lA     Local      199,     Detroit,     Mich. 

boundary.  Mark  the  stage  floor  for 
the  right  side  vertical  masking 
boundary  by  dropping  a  plumb  line 
from  6  inches  inside  the  upper  right 
corner  of  the  screen  image. 

(4)  Using  plumb  lines  centered  on 
the  two  chalk  marks,  install  the  right 
and  left  vertical  masking. 

(5)  For  an  aspect  ratio  of  1.85/1, 
measure  the  distance  between  the  two 
reference  marks  and  multiply  by  0.54 
to  obtain  the  height  of  the  picture. 
Then  install  the  top  horizontal  mask- 
ing. 

(7)  Starting  with  a  blank  aper- 
ture plate,  drill  a  small  hole  and  with 
a  wide  screen  carefully  file  out  to  the 
screen  masking. 

It  should  be  borne  in  mind  that 
direct  proportion  between  aperture 
film  frame  and  picture  exists  only 
when  the  projection  slope  is  zero.  As 
the  projection  slope  increases,  this 
relationship  is  upset  progressively.  A 
slope  greater  than  18  degrees  will 
therefore  require  excessive  vertical 
cropping  if  the  185/1  ratio  is  to  be 
maintained.  With  this  condition,  it 
is  advisable  to  increase  the  screen 
height  beyond   0.54  times  the  width. 


16 


INTERNATIONAL  PROJECTIONIST   •    NOVEMBER  1954 


Trans VerteR:  Source  of 
Flickerless  Arc  Power 


By  WILLIAM  SMART 
The  Hertner  Electric  Co. 


I  HE  word  "TransVerteR"  has  long  been  synonymous 
with  a  source  of  steady  flickerless  power  for  motion 
picture  projection.  For  nearly  50  years  thousands  of 
theatre  owners  have  depended  on  the  TransVerteR  as 
their  power  source  for  dependable  arc  lighting.  There 
are  now  seven  types  of  TransVerteRs  that  meet  prac- 
tically all  requirements  of  the  theatre  projection  lamps 
offered  today. 

The  types  of  TransVerteRs  manufactured  are  as  fol- 
lows: LV  40/80  at  33  volts  D.  C.  for  1  lew  projection; 
the  HI  type  at  48  volts  D.  C.  is  manufactured  in  two 
sizes:  50/100  with  capacity  of  50  amps  per  lamp 
standard  projection  cycle,  and  the  HI  70/140  with  capa- 
city of  70  amps  per  lamp  standard  projection  cycle.  The 
HIH  type  TransVerteR  is  also  manufactured  in  two 
sizes  with  the  same  capacities  as  the  HI  but  at  60  volts 
D.  C.  This  allows  for  the  use  of  a  spotlamp  where 
required. 

The  HS  115/230  TransVerteR  is  manufactured  with 
capacity  of  115  amps  per  lamp  standard  projection  cycle 
at  75  volts  D.  C.  The  MA  80/160  TransVerteR  at  85 
volts  D.  C.  is  supplied  where  a  little  higher  voltage  is 
required  than  the  HS  can  supply,  but  at  a  lower  ampere 
capacity. 

The  type  HT  135/270  TransVerteR  is  the  newest  ad- 


dition to  the  TransVerteR  family.  This  gives  a  burning 
rate  of  75  to  135  amps  with  a  generator  voltage  of  90 
volts  D.  C. 

The  type  CP  TransVerteR  is  manufactured  in  two 
sizes:  200  and  250  amps  with  a  generator  voltage  of 
100  volts.  The  rating  on  the  CP  TransVerteRs  is  con- 
tinuous, with  an  overload  rating  of  50%  for  one-half 
hour.  This  is  different  from  the  other  types  of  Trans- 
VerteR which  have  a  continuous  rating  with  a  five- 
minute  overload  period. 

Manufacturing  Processes,  Materials  Pay  Off 

All  TransVerteRs  are  equipped  with  pre-lubricated  ball 
bearings  that  require  no  lubrication  for  the  life  of  the 
bearing.  In  the  manufacture  of  TransVerteRs,  aluminum 
has  been  used  very  generously,  which  means  that  weight 
has  been  reduced  to  a  minimum.  In  nearly  all  types 
the  split-field  design  has  been  incorporated,  assuring 
the  same  uniformity  of  screen  light  during  changeover. 

For  all  types,  the  motor  rotors  are  centrifugally-cast 
with  virgin  aluminum,  assuring  a  one-piece,  no-joint, 
low-resistance,  lightweight,  long-life,  high-torque  motor. 
This  type  of  rotor  will  give  top  speed  regulation,  mini- 
mizing any  fluctuations  of  motor  speed  resulting  from 
variations  of  A.  C.  line  voltage. 

All  TransVerteRs  are  now  supplied  with  the  dual 
type  of  ballast  rheostats.  This  is  a  double  ballast 
rheostat  in  one  frame,  eliminating  the  necessity  for  two 
mountings  and  installations,  as  would  be  necessary  with 
single  ballast  rheostats. 

The  TransVerteR  control  panel  is  simplicity  in  itself. 
A  voltmeter  and  field  control  regulator  are  mounted 
in  a  small  compact  box  that  can  be  installed  at  any 
convenient  location  within  easy  reach  of  the  projectionist. 


The  Origin  of  Photography 

Long  before  photography  made  the  camera  a  com- 
mon, everyday  object,  it  was  a  thing  of  wonder — a  magic 
room  where  a  living  picture  appeared  upon  the  wall. 
"Camera"  means  a  room,  and  the  first  cameras  were  just 
that — rooms  big  enough  to  enter.  On  one  wall,  there  was 
a  very  small  aperture,  a  pinhole,  which  formed  an  image 
on  the  opposite  wall  of  what  lay  outside. 

In  the  middle  of  the  16th  century,  a  lens  was  substi- 
tuted for  the  pinhole  and  the  image  became  more  bril- 
liant. Buildings  were  constructed  with  a  lens  on  the  roof 
which  threw  its  image  onto  a  table. 

People  paid  admission  to  gaze  in  awe  as  the  world 
outside  reappeared  in  all  its  color  and  movement.  Street 
traffic  could  be  seen  hurrying  by,  and  pedestrians  strolled 
along  unaware  that  they  were  being  observed.  Life  cast 
its  shadow  on  the  wall  of  the  camera  obscura,  but  it  was 
a  living,  moving  shadow,  replete  with  all  its  color, 
and  lacking  only  a  voice  to  make  it  mimic  itself. 

There  were  practical  uses  for  the  camera  obscura 
beyond  amusement.  Astronomers  found  they  could  better 
study  the  sun  in  eclipse  by  its  image  than  by  direct  ob- 
servation. Artists  found  the  optical  picture  helpful  in 
solving  problems  of  perspective,  and  those  who  could 
not  draw  merely  traced  the  image. 

Later,  the  camera  was  made  smaller,  a  little  room  that 


could  be  carried  around  on  poles  like  a  sedan  chair.  It 
was  discovered  that  the  observer  did  not  need  to  get 
inside  the  camera  but  could  see  the  image  plainly  enough 
from  the  outside  on  a  ground  glass  screen.  Small  cameras, 
resembling  the  viewer  section  of  modern  reflex  cameras, 
became  popular  in  the  18th  century.  The  desire  to  re- 
produce the  image  of  the  camera  by  some  means  more 
accurate  and  quick  than  tracing  it  with  a  pen,  led  to  the 
invention  of  photography  in  the  early  19th  century. 


Image  was  traced  by  artist  standing:  inside  one  of  the 
first  cameras,  which  could  be  moved  from  place  to 
place  like  a  sedan  chair.  Earliest  known  illustration  of 
a  "camera  obscura."  From  the  book  "Ars  Magna 
Lucis    et    Umbrae"    (Amsterdam,    Holland,    in    1671). 


INTERNATIONAL  PROJECTIONIST    •    NOVEMBER  1954 


17 


y 


*■«■■ 


1  ■-. ' ' 


¥\  i^ 


y  X.  *i 


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VK.' 


Hearts  are  always  young 

'Idsters  come  —  and  recall,  tearfully,  the  days  of  their  youth. 
Youngsters  come  and  find  themselves  heart  and  soul  in  the  good  old 
days  when  bicycles  were  built  for  two — and  more.  That's  today's 
wide-screen  entertainment  as  it  thrills  the  audience — entertainment 
based  on  new  technics  in  production,  processing,  projection.  The  Eastman 
Technical  Service  for  Motion  Picture  Film  is  helping  the  industry  master 
these  technics.  Branches  at  strategic  centers.  Inquiries  invited. 


;v 


7 


1  /  /^ 

w  i/il 


nd   9€iy — on  ffie  new,  wide,  wide  screen 

Address:  Motion  Picture  Film  Department 
EASTMAN  KODAK  COMPANY,  Rochester  4,  N.  Y. 


East  Coast  Division 

342  Madison  Avenue 

New  York  17,  N.  Y. 


Midwest  Division  West  Coast  Division 

137  North  Wabash  Avenue         6706  Santa  Monica  Blvd. 
Chicago  2,  Illinois  Hollywood  38,  California 


^ 


'/¥^ 


i 


Hearts  are  always  young       md  gay— on  f he  new,  w/t/e,  wide  screen 


Uldsters  come  — and  recall,  tearfully,  the  days  of  their  youth. 
Youngsters  come  and  find  themselves  heart  and  soul  in  the  good  old 
days  when  bicycles  were  built  for  two— and  more.  That's  today's 
wide-screen  entertainment  as  it  thrills  the  audience— entertainment 
based  on  new  technics  in  production,  processing,  projection.  The  Eastman 
Technical  Service  for  Motion  Picture  Film  is  helping  the  industry  master 
these  technics.  Branches  at  strategic  centers.  Inquiries  invited. 


Address:  Motion  Picture  Film  Department 
EASTMAN  KODAK  COMPANY,  Rochester  4,  N.  Y. 


losl  Coast  Division 
342  (Aadison  Avenue 
New  York  17,  N.  Y. 


Midwest  Division 
137  North  Wabash  Av. 
Chicago  2,  Illinois 


West  Coast  Division 
6706  Santa  Monica  Blvd. 
Hollywood  38,  California 


In    The 

SPOTLIGHT 


The  function  of  this  department  is  to  provide  a  forum  for  the  exchange 
of  news  and  views  relative  to  individual  and  group  activities  by  mem- 
bers of  the  organized  projectionist  craft  and  its  affiliates.  Contribu- 
tions relative  to  technical  and  social  phases  of  craft  activity  are  invited. 


'W  1^  is  justifiably  proud  of  two 
1  1  major  efforts  which  contribute 
substantially  to  the  advancement  of 
the  projection  craft  on  both  the  tech- 
nological and  the  economic  fronts. 
IP's  intimate  contact  with  those 
people  who  have  the  ultimate  responsi- 
bility for  the  projection  of  motion  pic- 
tures in  the  theatre  —  the  life-blood 
of  the  industry  at  large — provides 
the  close  touch  for  a  rational  discus- 
sion of  such  matters. 

I.  After  frequent  and  prolonged 
discussions  with  officials  of  Theatre 
Network  Television,  the  organization 
which  sponsors  the  closed-circuit  Tv 
presentations  of  such  diverse  attrac- 
tions as  boxing  and  performances  of 
the  Metropolitan  Opera  Company,  IP 
is  firmly  convinced  that  this  medium 
offers  the  finest  opportunity  in  years 
for  increased  job-hours  employment 
for  projectionists  and  the  allied  crafts. 

This  is  a  double-barrelled  shotgun: 
the  regularly  scheduled  closed-circuit 
showings  of  entertainment  programs, 
but,  vastly  more  important  to  our  way 
of  thinking,  is  the  presentation  in  off- 
hours  (mornings)  of  sales  and  demon- 
stration conferences  of  representatives 
of  nation-wide  commercial  organiza- 
tions. 

A  case  in  point  is  the  following 
excerpt  from  the  IP-IA  Convention 
issue  for  July  of  this  year: 

An  outstanding  example  of  how  Tele- 
Sessions  con  moke  wide  use  of  theatre  Tv 
equipment  and  motion  picture  auditoriums  on 
a  nation-wide  bosis  is  the  coast-to-coast  sales 
meeting  that  was  recently  organized  for  the 
Dodge  Division  of  the  Chrysler  Corp.  Dodge 
dealers  and  salesmen  in  29  cities  were  given 
a  preview  of  the  1955  sales  and  advertising 
campaign. 

This  program  originated  from  television 
studios   in   New   York   and   featured   top   Dodge 


executives    in    addition    to    Tv    and    radio    per- 
sonalities   sponsored    by    the    company. 

Another  very  successful  telecast  of  this  type 
was  sponsored  by  National  Dairy  Products 
Co.  This  firm  reasoned  that  if  Tv  was  effec- 
tive in  selling  customers  on  its  product  in 
the  home,  closed-circuit  Tv  in  the  theatre, 
aimed  solely  at  its  dealers  and  routemen, 
would  be  effective  in  selling  them  on  the 
company's   product. 

Produced  by  the  Tele-Sessions  division  of 
TNT,  this  program  originated  in  the  Center 
Theatre  in  New  York  ond  was  piped  to 
selected  theatres  in  all  Sealtest  markets.  It 
was  a  1%-hours  show  which  started  at  10 
a.m.,  used  12  sets  and  required  about  100 
crewmen    and    50    performers. 

The  foregoing  is  concerned  with 
manpower  and  technical  facilities 
ONLY  at  the  originating  point  in  New 
York.  Simple  multiplication  of  the 
manpower  requirements  in  the  larger 


cities  to  which  such  programs  are 
piped  will  convey  an  accurate  indica- 
tion of  the  tremendous  potentialities 
for  additional  employment  provided 
by  this  medium.  Enuf  said. 

II.  Persistent  and  insistent  de- 
mands from  our  people  in  the  field 
that  some  definite  program  be  adopted 
which  would  enable  the  ready  indenti- 
fication  of  the  TYPE  of  print  delivered 
to  theatres  led  IP  to  renew  its  demand 
upon  the  producers  and  the  exchanges 
to  effectuate  such  a  plan. 

We  are  both  proud  and  happy  to 
report  that  IP's  efforts  in  this  direc- 
tion are  on  the  threshold  of  realiza- 
tion to  the  extent  that  in  the  very  near 
future  such  print  identification  should 
be  a  routine  matter  for  the  now  har- 
rassed  and  slightly  bewildered  pro- 
jectionists. 

Since  IP  not  only  initiated  this 
program  but  will  also  be  consulted  as 
to  the  final  form  of  this  print  identifi- 
cation, projectionists  may  be  assured 
that  in  future  their  problems  in  this 
direction  will  be  minimized. 

O  Baltimore  Local  181  scored  a  signal 
victory  when  the  management  of  the 
Ritz  Theatres  in  the  Baltimore  area 
signed  a  contract  with  the  lA  Local. 
This  agreement  renewed  friendly  re- 
lations between  Local  181  and  the 
Ritz  management  after  a  lapse  of 
many  years,  during  which  time  the 
theatre  chain  employed  members  of 
the  Independent  Motion  Picture  Pro- 
jectionists' Union.   Two  years  ago  the 


PROJECTION   GROUP   AT   RECENT  TOA-TESMA    EQUIPMENT    FORUM 


Shown    here    is    a    representative    group    of    projection    men    who    attended    the    equipment    forum 

u-./-  J*"",  "^''/°'^""^'^*  '°"^^""°"'  ^'''''^  *°^  ''«'''  «°''y  this  month  at  the  Conrad 
Hilfon  Hotel  m  Chicago.  Seated,  left  to  right,  are:  Armand  Basse,  Local  262,  Montreal.  Can.; 
Char  es  Mueller  chief  projectionist  at  the  Radio  City  Music  Hall  in  N.  Y.  C.  and  member  of 
Local  306;  H.  McLachlan,  Local  145,  Gary,  Ind.;  and  A.  L.  Greer,  Local  173,  Toronto,  Can. 
Standing,  left  to  r.ght:  James  J.  Finn,  editor  of  IP;  August  Patterson,  Local  364,  Akron,  Ohio; 
Identity   of   "«xt  man   to   right  unknown;   Joseph    Bernheimer,    Local   224,   Washington,   D.   C;    Iri 

PrnJul'   n"    •  ;    ^     ,?''r**°'    *^°'''^"'    '"'"•°''    Scientific,    Motion    Picture    and    Photographic 

Products  Division  of  the  U.  S.  Dept.  of  Commerce,  and  honorary  life  member  of  Cleveland   Local 

160;  W.  H.  Ingram,  Local  253,  Rochester,  N.  Y.;  James  Morris,  associate  editor,  IP,  and   Ralph  A. 

Peterson,  Local  219,  Minneapolis,   Minn. 


20 


INTERNATIONAL  PROJECTIONIST   •    NOVEMBER  1954 


National  Labor  Relations  Board  ruled 
the  Independent  as  company-domi- 
nated and  ordered  it  disbanded.  Sub- 
sequent to  this  ruling,  Local  181  of- 
ficials were  successful  in  organizing 
the  projectionists  employed  by  the 
Ritz  Theatres,  and  when  the  contracts 
with  the  Independent  expired,  the 
theatre  management  entered  into 
negotiations  with  Local  181.  Under 
the  terms  of  the  new  contract  all  lA 
projectionists  employed  by  this  chain 
will  be  paid  time  and  one-half  for 
overtime  instead  of  straight  time  pay. 
Representing  the  lA  Local  at  the 
negotiations  were  Louis  P.  Sieber, 
president;  Carroll  G.  Bayne,  business 
representative,  and  Charles  Grauling, 
trustee  chairman.  J.  Lewis  Gautner, 
managing  director  for  the  Ritz  chain, 
acted  for  the  theatre  interests. 

•  The  membership  of  Local  332, 
Clinton,  Iowa,  rejected  a  5c  an  hour 
increase  in  pay  offered  by  the  Central 
States  Theatre  Corp.,  and  at  the  time 
of  writing  were  considering  strike 
action.  However,  Local  322  officials 
are  scheduled  to  meet  with  the  theatre 
people  before  any  strike  goes  into 
effect  and  it  is  expected  that  the  matter 
will  be  satisfactorily  settled. 

•  Forestalling  the  possibility  of  en- 
croachment upon  its  jurisdiction  by 
rival  labor  organizations  (particularly 
District  50  of  the  United  Mine 
Workers),  who  have  been  actively 
engaged    in    trying    to    organize    the 


drive-in  theatres  in  the  surrounding 
territory,  James  V.  Sipe,  business 
representative  of  Pittsburgh  Local  171, 
filed  a  petition  last  summer  with  the 
Penna.  Labor  Relations  Board  for  an 
election  of  certification  as  bargaining 
agent  for  the  projectionists  employed 
in  the  65  independent  theatres  in  the 
Local's  jurisdiction.  The  projectionists 
concerned  turned  out  100%  and  voted 
unanimously  for  Local  171  represen- 
tation, thus  making  it  the  first  and 
only  lA  Local  in  the  state  of  Pennsyl- 
vania to  be  certified  by  the  Penna. 
Labor   Relations   Board. 

•  Clyde  Cooley  was  re-elected  secre- 
tary of  the  Nebraska  State  Association 
at  the  recent  annual  meeting  which 
was  held  in  Omaha,  Nebr.  Cooley  is 
also  secretary  of  Omaha  Local  343, 
a  post  he  has  held  for  many  years. 

•  Sound  Technicians  Local  695  and 
Cameramens'  Local  659,  both  of  Holly- 
wood, Calif.,  are  making  a  joint  ef- 
fort to  persuade  the  Association  of 
Motion  Picture  Producers  to  put  into 
effect  a  6  p.m.  shutdown  at  the  West 
Coast  studios.  The  plan  was  originally 
proposed  at  a  meeting  of  the  Second 
District,  prior  to  the  lA  Convention 
in  Cincinnati  last  summer,  and  was 
coldly  received  when  presented  re- 
cently before  the  Hollywood  Film 
Council. 

•  The  accompanying  picture  (left 
to  right)    shows  Harry  Strong,  presi- 


dent of  Strong  Electric  Corp.,  Toledo, 
Ohio;  C.  E.  Heppberger,  lighting  car- 
bon supervisor  for  National  Carbon 
Co.,   headquartering   in   Chicago,   and 


CEDRIC  CARPENTER  HONORED  BY  LOCAL  377,  ITHACA,  N.  Y. 


Acting  on  behalf  of  Ithaca  Local  377,  James  J.  Brennan,  lA  first  vice-president  (fourth  from 
left),  presents  a  gold  life  membership  card  to  its  president,  Cedric  Carpenter,  in  apprecia- 
tion for  43  devoted  years  to  the  Local.  The  presentation  took  place  at  the  recent  N.  Y. 
State  Association  meeting,  which  was  held  in  Ithaca.  Witnessing  the  award  are,  front  row, 
left  to  right:  Charles  Wheeler  (L.  108,  Geneva),  secretary  of  the  N.  Y.  State  Association;  Earl 
Tuttle  (L.  396,  Binghamton),  past  president  of  the  Association;  Brennan;  Carpenter;  Robert  King, 
Local  377  business  representative,  and  George  R.  Hoener,  member.  Shown  in  the  back  row 
are   Gerald    C.   Cowan,   John    Grooms,   and    John   Dietrick,   members    of   the    Ithaca    Local. 


Jimmy  Strong,  grandson  of  Harry. 
The  picture  was  taken  at  the  Strong 
summer  home  at  Glen  Arbor,  Mich. 
"Hepp"  states  that  when  he  arrived 
Harry  Strong  was  explaining  Ohm's 
Law  to  Jimmy,  using  several  flash- 
light batteries,  wires  and  meters.  The 
teacher  advised  that  after  a  few  more 
lessons,  plus  a  few  years  supported 
by  lots  of  mashed  potatoes,  etc., 
Jimmy  will  be  introduced  to  arclamps 
and  rectifiers. 

•  In  the  limited  time  at  our  disposal 
it  was  physically  impossible  for  us 
to  visit  the  quarters  of  all  the  com- 
panies that  held  "open  house"  and 
dispensed  such  magnificent  hospitality 
at  the  recent  TOA-TESMA-TEDA  con- 
vention in  Chicago.  However,  in  the 
short  time  available  we  visited  the 
National  Carbon  Co.  headquarters 
(where  the  welcome  mat  was  rolled 
out  until  the  wee  hours  every  morn- 
ing), and  the  Motiograph  quarters, 
where  charming  Mrs.  Thor  Matthews 
presided  and  graciously  welcomed  all 
guests.  We  also  spent  some  time  with 
the  National  Theatre  Supply  Co.  per- 
sonnel, the  International  Projector 
Corp.  representatives,  and  with  the 
Ampex  people. 


Tv-Radio  as  Film  Theatre  Aids 

Tv  and  radio  are  "ideal"  media  and 
have  proved  conclusively  their  worth  in 
bringing  people  into  motion  picture 
theatres.  They  are  most  effective  when 
used  on  a  "saturation  basis"  that  is, 
aiound  the  clock.  So  says  Earl  Hudson, 
V.  p.  of  American  Broadcasting-Para- 
mount  Theatres. 

Maybe  so,  say  theatremen,  but  proof 
should  come  from  strictly  theatre  people 
and  not  from  Tv-radio  interests. 


INTERNATIONAL  PROJECTIONIST   •    NOVEMBER  1954 


21 


General  view  of  Madison  Square  Garden  before  projection   began  with  the   Eastman  Arc  Model 
25    ("hard"   carbon   arc   lighting)    16-mm    projector,   showing   the    250-foot   distance    between    the 

projector   and   the   screen. 


Giant  Picture  from   16-iiiin  Film 

Kodak's  projection  of  16-mm  pictures  to  a  Madison 
Square  Garden  audience  is  another  milestone  in  this 
fast-growing    section    of   the    motion    picture    field. 


THE  urge  to  project  "big"  pic- 
tures is  no  longer  restricted  to 
the  35-mm  theatre  field.  That  the 
trend  has  spread  to  16-mm  circles 
is  indicated  by  the  recent  premiere 
of  a  new  educational  film,  "Freedom 
to  Learn,"  in  Madison  Square  Garden, 
New  York  City.  This  27V2-™inute, 
full-color  16-mm  film  was  proejected 
for  more  than  2.50  feet  onto  a  screen 
32  feet  wide  in  the  main  arena  of  the 
Garden  during  the  recent  annual  con- 
vention of  the  National  Educational 
As.=ociation. 

A  new  record  was  believed  set  when 
the  tiny  16-mm  frame  was  magnified 
more  than  1000  diameters,  making 
the  total  screen  area  covered  by  the 
picture  more  than  1  million  times 
greater  than  that  of  the  projector  aper- 
ture. The  showing  was  doubly  im- 
pressive when  it  is  considered  that 
the  screen  used  was  not  a  highly  re- 
flective metallic  type,  but  merely  a 
muslin  backdrop  for  a  temporary 
stage  erected  in  the  Garden  for  the 
convention. 

Standard  Kodak  Projector 

The  print,  on  commercial  Koda- 
chrome   film,   was   projected   from    an 


Ea£tman  Arc  Model  25  sound  projec- 
tor. The  sound  output  of  the  projector 
was  connected  with  the  regular 
Madioon  Square  Garden  sound  system. 
The  arclamp  with  which  the  East- 
man Model  25  is  equipped  is  a  46- 
ampere  arc  designed  and  manufactured 
by  the  Strong  Electric  Corp.,  Toledo, 
Ohio.  It  provides  an  80-minute  trim 
when  operated  as  specified.  This  is 
sufficient  to  project  2003  feet  of  16- 
mm  film  (56  minutes  at  sound  speed), 
the  largest  reel  size,  with  an  ample 
margin  for  trimming  the  arc  in  ad- 
vance of  the  show.  The  film  "Free- 
dom to  Learn"  runs  only  27  minutes, 
so  there  was  plenty  of  margin  so  far 
as  7-  and  6-mm  carbon  trim  was  con- 
cerned. Mirror  diameter  of  the  lamp 
is   11%  inches. 


Joe  Coco,  mem- 
ber of  lA  Local 
306,  N.  Y.  City, 
handled  the 
projection  chore 
for  the  East- 
man Arc  Model 
25  16-mm  pro- 
jector at  Madi- 
son  Square 
Garden. 


In  addition  to  the  arclamp.  Strong 
Electric  also  furnishes  the  rectifier 
for  the  Eastman  Model  25  projector. 
This  rectifier  is  a  compact  single- 
phase,  45-46  ampere,  32-volt,  con- 
tinuous 4-tube  unit.  The  speaker  and 
amplifier  for  the  sound  equipment 
are  produced  by  the  Altec  Lansing 
Corp.  The  projector  is  available  with 
any  one  of  a  series  of  five  Kodak  pro- 
jection Ektar  lenses,  all  //1.5  aper- 
ture. The  particular  lens  used  in  the 
Garden  showing  was  a  3-inch  //1.5 
Ektar,  projecting  a  measured  32-foot 
wide  image  at  an  estimated  throw  of 
253  feet. 

The  projectionist  at  this  show  was 
Joe  Coco  of  lA  Local  306.  He  was 
personally  commended  by  Kodak  ex- 
ecutives for  doing  an  excellent  job  in 
a  situation  that  was  "obviously  both 
unusual  and  difficult."  Coco  himself 
declared  after  the  show  that  "I  still 
can't  believe  the  size  and  quality  of 
the  picture  that  we  got.  When  I  tell 
different  people  who  weren't  there 
about  the  show,  they  don't  believe  me, 
especially  when  I  say  it  was  a  32-foot 
picture  at  about  250  feet." 

Vast  Viewing  Area 

Madison  Square  Garden,  an  oval 
auditorium  seating  18,000,  is  not 
equipped  for  large-screen  motion  pic- 
ture projection.  Exhibition  of  35-mm 
pictures  has  been  arranged  at  least 
once  before,  but  no  one  has  ever  made 
an  attempt  to  project  a  16-mm  film  on 
a  theatre-size  screen  for  the  audience 
in  this  arena. 

Biggest  problem  facing  those  pre- 
paring for  the  presentation  was  the 
screen  itself,  a  temporary  muslin 
stage  background  used  for  a  pageant 
put  on  by  New  York  City  school  stu- 
dents as  another  part  of  the  program. 
Despite  the  fact  that  this  was  con- 
siderably less  efficient  than  standard 
theatre  screens,  the  quality  of  the 
results  was  so  high  that  the  NEA 
commended  Eastman  Kodak  Co.  for 
the  excellent  results  obtained. 


Technicolor  Profits  Rise 

A  sharp  rise  in  profits  for  the  third 
quarter  of  this  year  was  reported  by 
Technicolor,  Inc.,  at  a  recent  board 
meeting  in  New  York.  Consolidated 
net  profits  after  taxes  are  estimated  at 
$767,560  compared  with  $495,500  for 
the  corresponding  period  in  1953. 


22 


INTERNATIONAL  PROJECTIONIST    •    NOVEMBER  1954 


»*sj«i.'.-   •"! 


LETTERS    TO    THEEDITO 


I 


Projecting  "Green"  Prints 

To  the  Editor  of  IP: 

I  wonder  if  your  esteemed  publication 
could  help  solve  a  problem  that  has 
troubled  us  here  lately.  Sometimes  we 
have  to  project  a  film  in  the  local 
cinema  just  a  few  hours  after  the  de- 
livery of  the  film  from  the  process 
laboratory.  Later  we  find  that  some  of 
it  has  been  damaged  by  the  sprockets. 
Little  nicks  appear  in  the  sprocket  hole 
edges.  The  projectors  are  all  new  and 
have  smooth  gates  and  sprockets.  Will 
you  please  mention  some  precautions 
which  a  projectionist  might  take  to 
minimize  this  type  of  damage. 

YousAF   Omar 

Ambaji  Villa  Road,  Karachi,  Pakistan 

Editor's  Reply:  If  your  projector  and 
particularly  the  sprockets  are  relative- 
ly new  and  in  good  condition,  the 
cause  of  damage  to  new  or  "green" 
film  is  due  to  too  much  pressure  from 
the  film  gate  tension  pads.  The  emul- 
sion on  new  film  tends  to  become 
sticky  under  the  heat  of  the  projector 
arclamp,  and  increases  friction  at  the 
film  gate  to  a  point  where  the  inter- 
mittent sprocket  nicks  or  tears  the 
film  when  it  pulls  it  down.  The  emul- 
sion on  older  prints  is  harder  and 
does  not  have  this  tendency  to  become 
sticky.  According  to  Eastman  Kodak 
Co.,  film  gate  tension  in  excess  of  16 
ounces  is  unnecessary,  and  settings 
as  low  as  six  ounces  will  give  a  steady 
screen  image  in  some  cases. 

P.  E.  Cell  Nomenclature 

To  the  Editor  of  IP: 

May  I  point  out  three  errors  in  the 
text  by  Robert  A.  Mitchell,  page  21 
third  and  fourth  paragraphs  of  his  ms. 
in  your  September  issue. 

(1)  The  cells  accredited  to  C.  E. 
Fritts  are  commonly  accepted  as  a 
barrier-type  of  light-sensitive  cell, 
whereas  the  photo-voltaic  cell  deals 
with  those  types  of  cells  in  which  two 
or  more  metals  (similar  or  dissimilar) 
with  prepared  surfaces  are  in  the  pres- 
ence  of   an   electrolyte    (liquid). 

(2)  C.  E.  Fritts  was  a  native  of  New 
York  City.  It  is  interesting  to  add  for 
record  purposes  that  Mr.  Fritts  prior 
to  1900  actually  applied  for  a  U.  S. 
Patent  for  recording  sound  photographi- 
cally and  reproducing  it  by  means  of 
light-sensitive    cells.     The     patent    was 


abandoned  because  of  financial  reasons; 
but  32  years  thereafter  the  patent  was 
reapplied  for  and  subsequently  granted, 
an  unheard-of  record  in  U.  S.  Patent 
Office   practice. 

(3)  The  Pliotox  cell  referred  to  by 
Mr.  Mitchell  likewise  belongs  to  the 
barrier-type  of  light-sensitive   cells. 

Samuel  Wein 
Quincy,  Massachusetts 
[Note:  Long-time  readers  of  IP  will 
recall  the  numerous  contributions  of 
Mr.  Wein  to  these  columns  and,  prob- 
ably, his  cognomen  of  "Selenium- 
Sam"  which  stemmed  from  his  pioneer 
activity  in  the  light-sensitive  cell  field.] 

The  Answer  is  NO ! 

To  the  Editor  of  IP: 

I  am  anxious  to  gain  information 
anent  the  "Super  Panatar"  prism  ana- 
morphic  lens.  From  the  articles  I  have 
read,  it  appears  that  various  aspect 
ratios  can  be  obtained  merely  by  turn- 
ing the  scale  to  the  desired  ratios, 
ranging  from  1/33  to  2/66  to  1.  This 
is  also  claimed  by  the  "Superscope" 
lens. 

Should  this  be  the  correct  interpre- 
tation, all  that  is  necessary  to  show  film 
on  1/33,  1/75,  1/85,  2/3  or  2/55  would 
be  to  set  the  pointer  to  the  correct 
setting  and  the  correct-size  picture 
would  be  obtained.  Could  you  advise  if 
the  projection  lens  would  have  to  be 
altered  for  each  ratio  desired?  Also,  is 
it    necessary    to    change    the    aperture 

Radio-Projection  Engineer 
Considers  IP  "Invaluable" 

Enclosed  is  my  subscription  re- 
newal. As  an  IP  reader  for  the  past 
10  or  12  years,  I  say  that  your  publi- 
cation is  certainly  a  great  aid  to  me. 
In  my  dual  role  as  an  engineer  at  a 
broadcast  station  and  as  a  part-time 
projectionist,   I  find  IP  invaluable. 

In  the  mess  that  exists  today  in  the 
projection  field,  you  are  really  the 
only  help  we  fellows  have  to  explain 
in  our  terms  just  what  the  score  is. 
Your  stand  for  or  against  various  sys- 
tems is  most  commendable.  Many 
thanks  for  all  the  past  information  in 
your  magazine  and  keep  up  the  good 
work. 

Joseph  M.  Williams 
Station  WPOR  (Local  458), 
Portland,  Maine 


plates  for  each  ratio  or  does  the  "Super 
Panatar"  lens  make  all  the  necessary 
adjustments? 

I  would  appreciate  your  assistance, 
as  the  theatre  where  I  am  a  projection- 
ist is  arranging  to  purchase  the  equip- 
ment necessary  to  show  CinemaScope 
and  wide  screen,  as  well  as  standard 
pictures.  Limited  projection  room  space 
has  to  be  considered  together  with  ob- 
taining the  most  suitable  equipment. 
It  is  sometimes  difficult  to  obtain  the 
necessary    information    in    Australia. 

Norman    G.   Campbell 
Campbelltowi),    NSW,    Australia 

Editor's  Reply:  When  variable  ana- 
morphic  lens  attachments  were  first 
marketed,  IP  stressed  the  point  that 
no  anamorphic  print  can  be  projected 
except  in  the  aspect  ratio  for  which 
it  was  "squeezed."  The  projection 
lens  need  not  be  altered  for  each 
ratio  desired,  nor  the  aperture  plate 
either.  The  controlling  factor  is  the 
print  itself.  As  explained  above,  you 
can  only  project  a  print  in  the  aspect 
ratio  for  which  it  was  processed  in 
the    laboratory. 


Pacific  Optical  Vari-Focus  Lens 

An  optical  attachment  that  makes  it 
possible  to  vary  the  focal  length  of  a 
projection  lens  has  been  marketed  by 
the  Pacific  Optical  Corp.,  Los  Angeles. 
Called  the  "Xpansa,"  this  lens  attach- 
ment is  designed  to  permit  a  theatre 
to  project  a  standard  (non-anamorphic) 
print  to  full  screen  width  at  any  aspect 
ratio  while  using  the  same  projection 
objective  lens. 

The  Xpansa  lens  attachment  is  cali- 
brated so  that  various  focal-length  set- 
tings for  different  aspect  ratios  can 
be  repeated  easily.  All  optical  elements 
are  hard  coated.  The  Xpansa  also  ex- 
tends a  lens  system  so  as  to  make  un- 
necessary enlargement  of  the  projection 
ports  as  is  sometimes  required  for  wide- 
screen   projection. 


Pacific's  vari-focus  attachment  shown  mounteci 
on  objective  lens. 


INTERNATIONAL  PROJECTIONIST   •    NOVEMBER  1954 


23 


Judging  a  Pension  Plan 


Money  set  aside  for  a  worker  under  a  pension  plan  is  real  wages 
and  not  a  gift  even  if  the  employer  is  the  sole  contributor.  Appended 
are  some  tips  on  evaluating  the  various  pension   programs. 


P 

1  ERHAPS  the  most  conspicuous  development  in  re- 
cent collective  bargaining  history  has  been  the  rapid 
spread  of  negotiated  retirement  plans.  As  of  mid-1950, 
about  5,000,000  organized  workers  were  covered  by 
contractual  pension  plans  —  a  threefold  increase  since 
1948.  The  number  has  continued  to  grow  since  then. 

On  the  surface,  this  seems  to  represent  a  very  sub- 
stantial amount  of  progress  toward  overcoming  the 
economic  hazards  of  old  age.  Unfortunately,  the  figures 
are  misleading.  The  restrictions  and  limitations  of  most 
of  these  plans  are  such  that,  out  of  the  more  than 
5,000,000  workers  described  as  being  "covered,"  very 
few  have  any  real  assurance  of  ever  actually  receiving  a 
pension. 

Soc/o/  Securliy  Not  Enough  in  Itself 

The  figures  are,  nevertheless,  an  indication  of  the 
manner  in  which  unions  are  trying  to  meet  the  very  real 
and  human  problems  faced  by  their  older  members.  Few 
union  men  can  see  their  fellow-workers  tossed  out  of  the 
shop  on  their  Social  Security  —  with  poverty  and  de- 
pendence awaiting  them  as  the  end-reward  of  a  long, 
productive  and  dues-paying  work  life  —  without  feeling 
that  something  should  be  done  about  it. 

The  Social  Security  system,  even  after  recent  improve- 
ments, still  remains  pitifully  inadequate.  A  private  pen- 
sion plan  will,  therefore,  seem  to  many  to  provide  a 
sound  and  logical  solution  to  the  financial  problems  of 
the  aged.  Older  members  will  naturally  favor  the  idea. 
Younger  members  who  can  see  far  enough  ahead  to  con- 
sider the  time  when  they  will  be  in  the  same  boat,  will 
also  be  inclined  to  approve. 

The  subject  of  pension  plans  is  not  a  simple  one.  The 
union  official  must  rely  to  a  large  extent  upon  the  "ex- 
perts" who  do  that  sort  of  work  for  a  living.  Up  to  a 
point,  he  will  have  to  take  their  findings  at  face  value. 

The  paternalistic  type  of  employer  usually  regards  a 
pension  as  a  gift  or  gratuity  granted  as  an  act  of  benevo- 
lence, or  moral  duty,  to  his  "old  and  faithful"  em- 
ployees —  in  other  words,  as  a  bone  for  Old  Dog  Tray. 
This  is  a  view  which  labor  cannot  accept,  for  it  runs 
directly  counter  to  the  basic  principles  of  trade  unionism. 

Remember— No  Pension  Is  Free 

When  a  pension  plan  is  brought  within  the  scope  of 
the  agreement,  both  parties  thereby  acknowledge  that  it 
is  in  fact  a  part  of  the  hire  which  the  workers  are  to 
receive  in  exchange  for  their  labor.  It  is  not  "free"  and 
they  do  not  get  "something  for  nothing"  as  an  act  of 
grace  on  the  part  of  the  employer.  They  earn  it  and  pay 
the  employer  for  it  by  doing  the  work  which  constitutes 
their  end  of  the  contract. 

The  performance  of  that  work  is  all  the  employer  has 
a  right  to  expect  in  return  for  his  contributions  to  the 


pension  fund.  The  amounts  contributed  by  the  employer 
to  the  fund,  to  finance  the  pension  credits  accumulated 
by  the  group  during  the  term  of  the  contract,  should 
therefore  be  an  irrevocable  payment  which  the  employer 
cannot  withhold  or  recapture,  just  as  he  cannot  withhold 
or  recapture  cash  wage  payments. 

The  workers'  interest  in  the  negotiated  plan  is  equally 
strong  regardless  of  whether  the  fund  is  set  up  formally 
on  a  so-called  "contributory"  or  on  a  "non-contribu- 
tory" basis.  In  the  sense  that  the  contributions  paid  in 
by  the  employer  have  been  earned  by  the  workers,  they 
actually  pay  the  full  amount  of  the  cost  in  either  case. 

Management's  Viewpoint  Anent  ''Costs" 

Pensions  are  a  labor  cost  item,  like  all  of  the  other 
economic  terms  of  the  working  agreement.  Viewed  solely 
from  this  standpoint,  it  should  make  little  real  difference 
to  the  employer  whether  that  cost  is  incurred  in  the  form 
of  contributions  to  a  pension  fund,  or  in  the  form  of 
higher  wages,  paid  vacations,  a  health  insurance  plan,  or 
a  reduction  in  standard  working  hours. 

Under  normal  conditions  most  unions  must  eventually 
decide  whether  the  interests  of  the  members  would  be 
better  served  by  going  after  a  pension  or  by  concentrating 
on  the  task  of  improving  the  wage  scale.  This  is  a  de- 
cision which  each  union  must  make  for  itself,  in  the 
light  of  its  own  particular  circumstances. 

Pension  Funds  are  Limited  in  Use 

In  considering  this  issue,  certain  facts  should  be  borne 
in  mind.  Pension  funds  are  designed  to  serve  but  a  single 
major  purpose:  to  help  meet  the  need  for  an  assured  in- 
come after  a  person's  working  life  is  over.  Depending 
upon  the  person's  present  age,  that  particular  contingency 
may  be  relatively  remote  as  compared  with  other  more 
pressing  ones. 

In  contrast,  a  wage  increase  can  be  used  for  any  num- 
ber of  purposes.  It  may  be  added  to  savings  or  used  to 
provide  an  immediate  higher  standard  of  living.  As 
liquid  savings  it  will  be  available  for  other  urgent  needs 
as  well  as  that  of  old  age — the  education  of  one's  chil- 
dren, medical  expenses,  living  expenses  during  unemploy- 
ment, payments  on  a  house,  or  anything  else  that  chance 
or  choice  might  require. 

These  are  economic  problems  which  most  workers 
must  face  long  before  they  reach  old  age.  A  pension 
fund  in  which  their  equity  is  frozen  until  retirement 
will  not  help  to  meet  them.   Only  cash  wages  can  do  that. 

Economic  Ability  to  Finance  Plan 

This  being  the  case,  the  priority  which  a  union  will 
assign  to  a  pension  plan  in  its  negotiations  may  depend 
upon  the  extent  of  its  present  old  age  problem  in  relation 


24 


INTERNATIONAL  PROJECTIONIST   •    NOVEMBER  1954 


to  the  extent  to  which  its  members  are  presently  able  to 
meet  other  pressing  economic  needs. 

In  extreme  cases,  the  answer  should  be  fairly  obvious. 
Where  the  wage  scale  of  a  particular  group  of  workers 
is  at  or  near  the  bare  subsistence  level — or  too  low  to 
provide  decent  food,  clothing,  housing  or  medical  care — 
wage  increases  should  be  the  first  order  of  business. 

Even  though  the  problems  of  the  aging  in  such  a  group 


are  very  serious,  to  sacrifice  a  possible  wage  increase  in 
order  to  set  up  an  expensive  private  pension  plan  would 
leave  that  group  "insurance  poor".  This  is  one  of  the 
many  reasons  why  private  retirement  plans  can  never 
meet  the  broad  national  problem  of  old  age  isecurity. 
The  Federal  Social  Security  system  is  the  only  practical 
means  of  solving  that  larger  problem. 


PERSONAL      NOTES 


C.  J.  Bachman  has  joined  the  Fairchild 
Equipment  Co.,  of  Whitestone,  N.  Y.  as 
theatre  equipment  products  manager. 
Bachman  comes  from  the  Stanley- 
Warner  theatre  chain  where  he  served 
as  chief  engineer.  His  intimate  knowl- 
edge of  theatre  equipment  installations 
over  a  period  of  more  than  20  years  will 
be  of  great  value  in  his  new  position. 
He  recently  supervised  32  complete 
CinemaScope  installations  and,  in  addi- 
tion, was  responsible  for  the  complete 
physical  plant  of  52  chain  theatres. 

R.  Edward  Warn,  vice  president  of 
Westrex,  has  arrived  in  New  York,  where 
he  will  take  up  new  duties  as  director 
in  charge  of  Westrex  foreign  operations. 
He  has  been  manager  of  the  Westrex 
Hollywood  division  since  1949. 

C.  S.  Perkins  is  now  operating  manager 
of  Altec  Service  Corp.,  succeeding 
Elmer  0.  Wilschke,  who  recently  re- 
signed to  become  vice-president  of  Fine 
Sound,  Inc.  Perkins  has  been  division 
manager  of  Altec's  Northeastern  divi- 
sion since  1947,  after  being  manager  of 
the  company's  commercial  engineering 
department. 

Perkins  has  an  extensive  technical 
background.  He  was  at  one  time  a 
member  of  the  laboratory  department 
of  General  Radio  Co.,  and  an  instructor 
at  the  Massachusetts  Radio  and  Tele- 
graph School.  He  entered  the  film  in- 
dustry in  1929  with  erpi,  serving  in 
various  executive  capacities. 

Among  his  earlier  assignments  was 
the  technical  supervision  of  installations 
and  service  operations  in  Ohio,  and  also 
as  the  field  engineer  in  the  Detroit  area. 
He  was  later  advanced  to  other  super- 


C.  S.  Perkins, 
newly  a  p- 
pointed  operal- 
i  n  g  manager 
for  Altec  Serv- 
ice    Corp. 


visory  posts  in  St.  Louis,  Providence 
and  Boston.  During  World  War  II  he 
managed  essential  war  activities  at 
Altec's  electronics  division  at  Lexing- 
ton, Mass. 

Lyman  Suiter  has  been  promoted  to 
general  plant  manager  of  the  Fairchild 
Recording  Equipment  Co.,  Whitestone, 
N.  Y.,  manufacturer  of  Perspecta  Sound 
integrator  units. 

Roy  Boomer,  secretary-treasurer  of 
TESMA,  announced  his  retirement  re- 
cently after  serving  in  that  capacity 
since  the  group  was  reorganized  nine 
years  ago.  However,  Boomer  and  his 
wife  Charlotte  attended  the  recently 
concluded  TESMA-TOA  convention  in 
Chicago. 

Ralph  Kautzky  has  been  appointed 
acting  manager  of  Altec  Service  Corp.'s 
northeastern  division,  succeeding  C.  S. 
Perkins,  who  has  been  advanced  to 
operating  manager  of  the  organization. 
Kautzky  will  direct  operational  activities 
of  Altec's  northeastern  engineering  field 
force  from  the  division  offices,  254  West 
54th  St.,  New  York  City.  He  joined 
Erpi,  predecessor  of  Altec,  in  1928. 

Succeeding  Kautzky  as  branch  manager 
of  Altec's  northeastern  division  is  Shell 
Trent,  a  veteran  in  the  field  of  theatre 
sound  service,  who  was  a  member  of 
the  technical  field  staff  of  Erpi.  His 
headquarters  will  be  at  254  West  54th 
St.,  N.  Y.  City. 


"C  &  C"  Rectifier  Data 

Arclamp  rectifiers  designed  for  big- 
screen  requirements  are  discussed  in 
Bulletin  AL-54  just  published  by  the 
McColpin-Christie  Corp.,  designers  and 
manufacturers  of  theatre  rectifiers. 

The  booklet  points  out  that  the 
McColpin-Christie  "C  &  C"  line  of  rec- 
tifiers includes  a  unit  to  provide  con- 
tinuous D.C.  power  for  any  type  of 
standard,  wide-screen  or  3-D  projection, 
for  1  kilowatt  to  Hy-Candescent. 

Designed  with  a  12-phase  output  cir- 
cuit, the  3-phase  units  takes  3-phase 
alternating  current  from  the  power  line 


and  rectify  it  into  a  flickerless  light 
source,  the  company  states.  This 
feature,  plus  the  special  "C  &  C"  trans- 
former designed  for  safet  short-circuit 
vurrent  surely  provides  maximum  arc 
stability.  Single-phase  units,  filtered  to 
give  low  ripple,  are  available  for  loca- 
tions where  3-phase  power  can  not  be 
obtained. 

Dr.  John  Frayne,  Westrex, 
Named  President  of  SMPTE 

Dr.  John  G.  Frayne,  engineering 
manager  for  Westrex  Corp.,  Holly- 
wood, has  been  elected  to  the  presi- 
dency of  the  Society  of  Motion  Pic- 
tures and  Television  Engineers  for 
the   1955-56  term. 

Dr.  Frayne  is  a  recognized  technical 
authority  on  sound  recording  and  re- 
producing equipment,  his  name  being 
known  in  sound  recording  studios 
throughout  the  world.   He  is  co-author 


Dr.    John    G. 

Frayne, 

recently 

elected 
president     of 
the     SMPTE 

of  the  widely  accepted  book  on  studio 
recording,  "Elements  of  Sound  Re- 
cording." He  either  wrote  or  col- 
laborated with  others  in  writing  more 
than  twenty  technical  papers,  most 
of  which  were  published  in  the 
JourTial  of  the  SMPTE.  He  also  has 
had  ten  U.  S.  patents  granted  in  his 
name. 

Dr.  Frayne  is  in  charge  of  all 
development  work  for  the  Westrex 
Corp.  on  both  magnetic  and  photo- 
graphic recording.  It  is  under  his 
direction  that  the  new  Westrex  equip- 
ment for  both  single-  and  multi-track 
magnetic  recording  has  been  brought 
into  being  and  is  now  in  use  in  many 
studios  throughout  the  world,  includ- 
ing the  majority  of  studios  in  Holly- 
wood. 


INTERNATIONAL  PROJECTIONIST   •    NOVEMBER  1954 


25 


Giant  Intra-Industry  Conclave  in  Chicago 


ONE  of  the  most  inspiring  and 
heartening  events  in  intra- 
industry  relations  —  and 
still  one  which  did  not,  in  the 
writer's  opinion,  realize  its  maximum 
possible  potentialities  —  occured  in 
Chicago  during  the  early  part  of 
this  month.  This  event  was  the 
Equipment  and  New  Processes  Forum 
at  the  combined  conventions  of  the 
Theatre  Owners  of  America  (TOA)  ; 
Theatre  Equipment  Supply  Manufac- 
turer's Association  (TESMA),  and  the 
Theatre  Equipment  Dealers  Associa- 
tion (TEDA). 

Because  projection  processes  and 
equipment  are  the  primary  concern  of 
IP,  complete  candor  compels  the  state- 
ment that  the  much-ballyhooed  Equip- 
ment and  New  Processes  Forum,  which 
was  expected  to  provide  solid,  down-to- 
earth  practical  information,  was  a  dud. 
This  deficiency  in  what  could  easily 
have  been  the  most  informative  of  all 
sessions  from  a  technical  point  of  view 
is  traceable  directly  to  its  agenda.  The 
program  and  format  of  this  forum  re- 
quired from  the  speakers  time-consum- 
ifig  expository  statements  of  data  which 
had  already  been  profusely  circulated 
in  the  industry  trade  press. 

What  would  have  been  vastly  more 
interesting  would  have  been  explana- 
tory comment  and  practical  sugges- 
tions on  how  to  best  use  the  variety  of 
radically  different  new  equipment  now 
being  introduced  in  the  theatre  field. 
The  kind  of  comment  we  are  talking 
about  would  be  informal  and  directly 
to  the  point.  It  would  be  most  suc- 
cessful during  the  give-and-take  of  a 
hot  question-and-answer  bull  session 
between  manufacturers,  exhibitors  and 
projectionists. 

Many  projectionists  attended  the 
forum  and  took  the  trouble  to  travel 
long  distances  to  get  there.  They,  as 
well  as  exhibitors  and  manufacturer 
participants,  would  have  jumped  at 
the  opportunity  to  present  interesting 
questions  to  the  forum  had  not  the 
time  been  whittled  away  by  the  long 
expository    statements    of    the    forum. 

It  is  our  opinion  that  very  brief 
statements  by  each  panel  member  — 
to  introduce  him  and  start  the  ball 
rolling,  followed  by  a  longer  period  of 
informal  questions  and  answers,  might 
have  clarified  many  of  the  troublesome 


technological  problems  that  now  beset 
the  film  exhibition  industry.  Some 
feelings  might  have  been  rufHed,  but 
tlie  results  might  have  been  of  enorm- 
ous value. 

Loren  Ryder  and  Earl  Sponable, 
technical  heads  of  Paramount  and 
Fox,  were  featured  speakers  at  the 
forum.  Ryder  discussed  the  three 
types  of  prints  which  will  be  available 
to  theatres  for  projecting  pictures 
made  in  the  Vista  Vision  process — the 
standard,  the  anamorphic,  and  the 
new  double-frame  print  which  runs  on 
a  horizontal  film  path  through  a  spe- 
cial projector  as  described  in  IP 
last  month. 

Earl  Sponable  stated  that  Fox  is 
now  at  work  on  improvements  in  the 
CinemaScope  process  which  will  give 
better  screen  results  without  any  fur- 
ther changes  in  equipment. 

Other  speakers  included  Jack 
O'Brien,  manager  of  RCA's  theatre 
equipment  sales,  Leonard  Satz,  Ray- 
tone  Screen  Corp.;  A.  E.  Neumer, 
Pausch  &  Lomb  Optical  Co.,  and  A.  J. 
Hatch  of  the  Strong  Electric  Corp. 

Panel  members  were:  Fred  C.  Mat- 
thews, TESMA;  Nash  Weil,  TEDA; 
A.  E.  Meyer,  International  Projector 
Corp.;  Louis  E.  Pope,  Fox  Midwest; 
Edwin  Gage,  Walter  Reade  Theaters; 
Joseph  Zaro,  Bijou  Amusement  Co.; 
E.  J.  Nelson,  Ballantyne  Co.;  John 
R.  Miles,  Projection  Optics;  F.  C. 
Dickely,  Altec  Service  Corp.,  and 
Robert  Gottschalk,  Panavision. 

Alex  Harrison,  Western  sales  man- 


Correct  Use  of  Variable  Anamorphies 

IP  emphasizes  anew  the  perfectly  obvious  but  never-mentioned  FACT 
that  a  variable  anamorphic  lens  may  be  used  to  project  a  screen 
image  ONLY  in  that  aspect  ratio  in  v/hich  the  picture  v/as  originally 
shot  in  the  studio— ailov/ing  for  a  maximum  ratio  tolerance  of  between 
5  and   10%,  preferably  the  former. 

All  pronouncements,  advertising  and  editorial,  relating  to  the 
variable  anamorphic  lenses  which  have  come  to  the  attention  of  IP- 
no  less  than  private  conversations  with  the  makers  of  such  lenses- 
convey  the  impression  that  ANY  picture  may  be  shown  in  ANY 
aspect  ratio.    This  is  definitely  not  so. 

IP  reiterates  its  oft-stated  advice  that  extreme  caution  must  be 
exercised  when  using  any  variable  anamorphic  lens  so  that  the  aspect 
ratio  of  the  projected  image  will  conform,  within  the  aforementioned 
tolerance  range,  with  the  aspect  ratio  in  which  the  picture  was  shot. 


These  three  beaming  gentlemen  represented 
Raytone  Screen  Corp.,  at  the  recent  TOA- 
TESMA  convention  in  Chicago.  Standing  left 
to  right  in  front  of  the  Raytone  display  are 
Leonard  Satz,  secretary-treasurer;  Wes  Thomp- 
son of  Raytone-Thompson  Frames,  Sun  Valley, 
Calif.,  and   Sol  Shurpin,  president  of  Raytone. 

ager  of  20th-Fox,  served  as  moderator. 

There  is  no  doubt  at  all,  however, 
that  one  phase  of  the  convention  was 
a  smashing  success.  The  wide  variety 
of  displays  of  the  latest  in  projection, 
sound  and  electric  power  equipment 
by  members  of  TESMA  in  the  Conrad 
Hilton  Hotel  exhibit  hall  was  un- 
doubtedly the  most  interesting  and 
elaborate  ever  assembled.  It  drew  ^^ 
compliments  from  all  sections  of  the  ^^ 
film  industry  —  from  Hollywood  pro- 
duction executives  to  practical  pro- 
jectionists. 

A  significant  point  was  the  large 
amount  of  display  space  alloted  to 
exhibits  of  power  supply  units.  This, 
the  writer  believes,  shows  a  growing 
awareness  of  the  need  for  completely 
re-equipping  many  theatres  if  sufficient 
light  is  to  be  had  for  presenting  high- 
quality  pictures  on  wide  screens. 


26 


INTERNATIONAL  PROJECTIONIST    •    NOVEMBER  1954 


Definitions  of  Major  Terms 
In  Stereography 

Aspect:  Either  right  or  left  view  taken 
as  a  whole.  Also  known  as  a  "field." 

Composite  Image:  The  resultant  sensa- 
tion experienced  by  a  spectator  by 
the  proper  viewing  of  disparate 
images. 

Diplopia:  The  conscious  sensation  of 
seeing  a   single  object   as  double. 

Discriminating  Device:  Any  contrivance 
which  allows  each  aspect  to  reach 
only  the  eye  for  which  it  is  intended. 

Disparate  Images:  Two  slightly  dif- 
ferent views  of  the  same  subject,  one 
view  being  intended  only  for  the 
left  eye;  the  other  only  for  the  right. 

Fixate:  To  direct  one's  eye  upon  a 
point. 

Point  Pairs:  Right  and  left  image  points 
on  the  screen  which,  when  fused  by 
the  spectator,  appear  as  a  single 
point  in   space. 

Snellen  Acuity:  A  measure  of  the  spec- 
tator's ability  to  see  the  separation 
between    two    points    close    together. 

Stereography:  The  application  of 
stereoscopy    to    photography. 

Stereopsis:  Perception  of  depth  by  the 
fusion  of  disparate  images. 

Stereoscopic  Cinematography:  Motion- 
picture  photography  which  allows  the 
spectator  to  perceive  depth. 

Vernier  Acuity:  A  measure  of  the 
spectator's  ability  to  see  the  offset 
from  a  line  of  a  portion  of  that  line. 

Vertical  Divergence:  The  vertical  angle 
between  the  optic  paths  to  each  eye. 

Visual  Perception:  The  mental  result 
of  the  influence  of  the  psychological 
condition  of  the  spectator  upon  a 
visual    sensation. 

Visual  Sensation:  A  primitive  mental 
reaction  to  a  stimulation  of  the  retina 
by  light  waves. 


Compound  for   Drive-in   Screens 

RCA  announces  that  "Cinemaplastic," 
a  vinyl  plastic  compound  for  brighten- 
ing and  weatherproofing  drive-in  theatre 
screens,  has  been  added  to  its  line  of 
theatre  products.  Manufactured  by  Pro- 
tective Coatings,  Inc.,  the  compound  is 
asserted  to  have  high  reflective  power 
and  to  provide  an  economical  means  of 
increasing  light  in  many  drive-in  situa- 
tions. 


Altec  Perspecta  Sound  Unit 

Altec  Service  Co.  has  announced  that 
its  manufacturing  subsidiary,  Newpaths, 
Inc.,  will  begin  deliveries  this  month  of 
Perspecta  Sound  integrator  units  for 
obtaining  stereosound  from  a  single  cued 
optical  track. 


To  build  profitable  repeat  patronage... 


Scene  from  "The  Egyptian," 
20th  Century-Fox  CinemaScope  Epic 

sharpest  image,  edge-to-edge  .  .  . 
most  uniform  iiglit  distribution  .  .  . 

•  -        on  any  screen 


Bausch  &  Lomb 


•  Normal  2D-3D 

•  Expanded  2D-3D 

•  CinemaScope 


Projection  Lenses 


VV  r  I  Ic  for  new  catalog  E-123. 
Bausch  &  Lomb  Optical  Co., 
61635  St.  Paul  Street, 
Rochester  2,  New  York. 


BAUSCH  &  LOMB 


INTERNATIONAL  PROJECTIONIST    •    NOVEMBER  1954 


27 


Behind 
this 
man  ■  ■  ■ 


The  facilities  of  RCA  Service  Com- 
pany make  available  to  thousands 
of  theatres  throughout  the  country 
the  vast  technical  resources  of  the 
Radio  Corporation  of  America. 

Problems  posed  by  optical  or  mag- 
netic sound,  single  or  multiple 
track,  2-D,  3-D  or  wide  screen  tech- 
niques are  minimized  when  RCA 
Service  Company  is  behind  the  vital, 
operating  heart  oi your  house. 


iks.  ® 

RCA  SERVICE  COMPANY,  Inc. 

A  Radio  Cortioration  of  America  Subsidiary 

Camden,  N.J. 


Exhibitors  at  Chicago  Trade  Show 


ALTEC    LANSING   CORP. 
Beverly    Hills,   Calif. 

ALTEC   SERVICE  CORP. 
New  York,  N.  Y. 

AMPEX   CORPORATION 
Redwood  City,  Calif. 

C.   S.  ASHCRAFT  MFG.   CO.,   INC. 
Long   Island  City  1,  N.  Y. 

AUTOMATIC    DEVICES    CO. 
Allentown,   Penna. 

THE  BALLANTYNE  COMPANY 
Omaha,   Nebraska 

BAUSCH  &  LOMB  OPTICAL  CO. 
Rochester,  N.  Y. 

BELL  &   HOWELL  COMPANY 
Chicago,    Illinois 

CAPITOL  STAGE  LIGHTING  CO.,  INC. 
New  York,   N.  Y. 

CENTURY    PROJECTOR    CORP. 
New   York,    N.   Y. 

CONTINENTAL    ELECTRIC    CO. 
Geneva,   Illinois 

DAWO   CORPORATION 
Toledo,   Ohio 

DIECAST   ALUMINUM    SPEAKERS,    INC. 
St.    Louis,   Missouri 

DRIVE-IN   THEATRE   MFG.   CO. 
Kansas    City,    Mo. 

EPRAD    COMPANY 
Toledo,   Ohio 

FAIRCHILD  RECORDING  EQUIPMENT  CO. 
Whitestone,    N.    Y. 

WALTER    FUTTER 
New   York,    N.   Y. 

GOLDBERG   BROTHERS 
Denver,  Colorado 

GORDOS   CORPORATION 
Bloomfield,    N.   J. 

INTERNATIONAL    PROJECTOR    CORP. 
Bloomfield,   N.  J. 

THE    KNEISLEY    ELECTRIC    CO. 
Toledo,  Ohio 

KOLLMORGEN  OPTICAL  CORP. 
Northampton,   Mass. 

LaVEZZI    MACHINE   WORKS 
Chicago,   Illinois 

LORRAINE  CARBONS,  INC. 
Boonton,    N.   J. 

MAGNASYNC    MFG.    CO.,    LTD. 
North    Hollywood,   Calif. 

MOTIOGRAPH,    INC. 
Chicago,    Illinois 

NATIONAL    CARBON    COMPANY 
New  York,   N.  Y. 

NATIONAL-SIMPLEX-BLUDWORTH,    INC. 
New    York,    N.    Y. 

NEUMADE    PRODUCTS    CORP. 
New    York,    N.    Y. 

NORPAT  SALES,  INC. 
New  York,  N.  Y. 


PAROMEL  ELECTRONICS  CORP. 
Chicago,   Illinois 

PROJECTION    OPTICS   CO.,   INC. 
Rochester,  N.  Y. 

RADIANT   MANUFACTURING    CORP. 
Chicago,   Illinois 

RADIO   CORP.   OF   AMERICA 
Camden,    N.    J. 

RAYTONE  SCREEN  CORP. 
Brooklyn,  N.  Y. 

J.  E.  ROBIN,  INC. 
East  Orange,   N.  J. 

STELMA,  INC. 
Stamford,    Conn. 

THE  STRONG   ELECTRIC  CORP. 
Toledo,  Ohio 

SUPERIOR  ELECTRIC  CO. 
Bristol,    Conn. 

WENZEL    PROJECTOR    CO. 
Chicago,    Illinois 

EDW.  H.  WOLK  COMPANY 
Chicago,    Illinois 

WOLLENSAK   OPTICAL  COMPANY 
Rochester,   N.  Y. 

Brain   Wave   Travel   by   Phone 

University  of  Nebraska  scientists,  work- 
ing with  Bell  Telephone  engineers,  have 
worked  out  a  system  for  sending  electro- 
encephalograms (brain  waves)  over  a  long 
distance  telephone  line.  This  makes  it  pos- 
sible for  a  medical  specialist  to  make  a 
diagnosis  involving  a  patient  in  a  distant 
city  without  leaving  his  office. 


The    word    "electronic"    was    coined    by 
Michael   Faraday   in    1832. 


5 


PUCES    ^^ 
NOT  ^ 


HOLDING 

Film  breaks  are  costly. 
Play  safe  by  using 

JEFRONA 

All-purpose  CEMENT 

Has  greater  adhesive 
qualities.  Don't  take 
our  v/ord  for  it.  Send 
for  FREE  sample  and 
judge  for  yourself. 
CAMERA  EQUIPMENT  CO. 

DEPT.  j-n-s 
1600  Broadway  New  York  19,  N.  Y. 


28 


INTERNATIONAL  PROJECTIONIST    •    NOVEMBER  1954 


LENS  CLEANING  PROCEDURE 

The  vital  importance  of  proper 
handling  of  projection  lenses  with 
any  and  all  reproduction  -  processes 
induced  the  appended  communication 
from  Kollmorgen  Optical  Co.  relative 
to  the  proper  method  of  cleaning  pro- 
jection lenses.  These  pointers  are 
offered  as  a  help  to  projectionists. 

Since  anti-reflection  coating  is  hard, 
the  same  procedure  should  be  used 
for  coated  or  uncoated  lenses. 

1.  Remove  lens  from  projector  at 
least  twice  a  day  for  cleaning. 

2.  Remove  all  particles  of  dust  or 
lint  with  a  clean  camel's  hair  brush, 
which  should  be  used  only  for  this 
purpose. 

3.  Wet  sheet  of  clean  "Lens  Tissue" 
in  any  good  liquid  lens  cleaner  similar 
to  the  "Guild  Craft"  lens  cleaner, 
grain  alcohol  or  acetone,  and  wipe 
the  surfaces  gently  but  thoroughly. 

4.  Cloths  of  any  character  are  not 
recommended  for  cleaning.  Use  LENS 
TISSUE. 

5.  Dry  the  surface  with  a  clean  dry 
piece  of  Lens  Tissue. 

6.  Never  use  cloth  of  any  type  or 
treated  lens  tissue.  Never  use  soap, 
water,    glass    cleaners    or    powders. 

7.  Never  attempt  to  open  Super  or 
Series  II  Snaplite  lenses,  since  they 
are  factory-sealed  to  eliminate  oil 
seepage. 

Altec  Lansing— Perspecta  Deal 

Altec  Lansing  Corp.  completed  a 
licensing  deal  to  manufacture  Perspecta 
stereo  sound  integrator  units,  and  im- 
mediately swung  into  production  there- 
on. This  unit  is  the  only  piece  of  special 
equipment  required  to  for  standard 
optical-track  stereo  sound  reproduction, 
which  system  has  been  adopted  by  Para- 
mount, Metro  and  Warner  Bros.  The 
Altec  integrators  will  be  ready  by  Fall. 

RCA  Service  Co.  Awards 

Following  members  of  RCA  Service 
Co.  have  been  honored  as  a  result  of  a 
three-month  campaign  directed  at  main- 
taining a  high  degree  of  efficiency  in  the 
field.  Leading  in  160  RCA  Service 
branches  were  Orval  Bowers,  Flushing. 
N.  Y. ;  William  Davis,  Indianapolis; 
James  K.  Stewart,  Salt  Lake  City; 
Lawrence  Traeger,  Spokane,  and  Acie 
Criss,  Monlgomery,  Ala. 

BUY  U.  S.  SAVINGS  BONDS 


...$n(ltioii'teonfioutw$g! 


The  CINEMASCOPE,  WIDE  SCREEN 
and  VISTA  VISION  product  is  winning 
greater  favor  every  day.  Knowing  the  mul- 
tiple equipment  improvements  they  require, 
National  Theatre  Supply  has  devised  a  sim- 
ple "5  Step"  program  whereby  even  the 
smallest  theatre  can  gradually  progress  along 
the  road  to  complete  wide  screen  projection. 

Your  National  man  will  be  glad  to  advise 
you  on  this  new  "5  Step"  program.  Being 
familiar  with  theatres  of  every  size,  his  judge- 
ment will  prove  invaluable  in  guiding  you 
towards  modern  theatre  improvement. 

NATIONAL'S  DEFERRED  PAYMENT  PLAN 

.  .  .  makes  it  easy-stepping,  too!  For  if  it's 
terms  you  want  to  help  in  equipping  your 
theatre.  National  has  a  time-tested  plan  that 
will  meet  your  every  need. 

For  details  —  contact  your  nearest 

NATIONAI.  THEATRE   SUPPLY   Branch   today! 


ATIONAL 


THEATRE        SUPPLY 


Division   of  National  •  Simplex  •  Bludwerth,  Inc 


INTERNATIONAL  PROJECTIONIST    9    NOVEMBER   ^':Z^ 


29 


FROM     A     TOY     TO     A 
GREAT   INDUSTRY 

(Continued  from   page   16) 

knob  on  the  side  with  a  crank. 

This  first  peep-show  movie  ma- 
chine he  called  a  "Kinematozcope." 
As  the  pictures  revolved  into  view 
from  back  to  front,  they  did  produce 
the  illusion  of  movement.  But  they 
were  not  actually  pictures  of  motion, 
for  the  individual  poses  depended 
upon  the  models'  and  photographer's 
often  inaccurate  concepts  of  the  phases 
of  a  given  action. 
S 

First  "True"  Motion  Pictures 

The  first  true  motion  pictures  were 
taken  by  Eadweard  Muybridge  in  a 
series  of  experiments  begun  at  the 
Sacramento,  Calif.,  race  track  in  May, 
1872.  Muybridge's  now-famous  tech- 
nique involved  lining  up  some  20-odd 
stereo  cameras  along  the  edge  of  the 
track,  each  equipped  with  an  electro- 
magnetic shutter.  These  shutters  were 
set  off  by  means  of  switches  attached 
to  a  series  of  parallel  threads  stretched 
across  the  track.  As  a  horse  gal- 
loped   by,    the    threads    were    succes- 


sively broken,  tripping  the  switches 
and  setting  off  each  camera  just  as 
the  horse  passed  in  front  of  it. 

We  have  all  heard  of  the  famous 
controversy  over  whether  horses  ever 
had  all  four  feet  off  the  ground  at  the 
same  time.  Well,  Muybridge's  pic- 
tures proved  that  they  did,  but  never 
when  the  legs  were  outstretched,  as 
some  artists  had  drawn  them.  Some 
critics  charged  that  they  were  a 
mechanical  fraud. 

To  prove  that  his  pictures  were 
authentic,  Muybridge  determined  to 
synthesize  them  into  the  original 
action.  To  achieve  this,  he  mounted 
some  of  his  pictures  on  Zoetrope 
cards,  putting  the  left  half  of  each 
stereo  pair  on  one  card,  the  right 
half  on  another.  These  he  placed  in 
two  Zoetropes,  making  the  stereo 
pairs  simultaneously  visible  to  the 
observer  by  means  of  mirrors.  When 
the  cylinders  were  rotated  in  synch- 
rony, doubters  could  watch  a  movie 
of  a  race  horse  galloping  in  3-D 
right   before   their   eyes. 

Later,  to  demonstrate  his  pictures 
to  groups,  Muybridge  built  a  varia- 
tion of  Uchatius'  projection  Phena- 
kistoscope    which   he    called    a    "Zoo- 


PSKS^.    I' 


EXPERIENCE 


A  PRICELESS  A 


OF  ALTEC  STEREOPHONIC  SERVICE! 


The  finest  service 
.   experience  in  stereophonic 
sound  is  yours  when  you  sign 
an  Altec  contract.  Experience 
bought  and  paid  for  in 
countless  hours  of  pioneering 
effort  and  research. .. 
experience  in  supervising 
critical  CinemaScope  industry 
showings  and  first  run 
premieres,  experience  with  an 
unceasing  flow  of  stereophonic 
installation  and  service  orders, 
'  experience  impiemented  by 
Aitec-devised  precision  tools. 

YOUR  experience  with  an 
Altec  stereoptionic  service  contract 
win  prove  pleasant  and  profitable! 


■;j  ?,&•  ■"' 


_-  '  TERMS  WD  •■>■ 


r  SERVICE, ^„ 


161  Sixth  Avenue 
New  York  13,  N.  Y. 


ALTEC^ 


SPECIALISTS  IN  MOTION  PICTURE  SOUND 


FIG.  4.  Actually  designed  by  Thomas  Edison, 
the   unit  above   resembled   Muybridge's   device. 

praxiscope!"  It  consisted  of  a  rotat- 
ing glass  disc  on  which  he  carefully 
mounted  17  to  21  glass  transparencies 
of  his  animals  in  various  stages  of  an 
action.  In  front  of  the  disc  was  a 
metal  shutter  with  a  single  radial 
slot.  By  means  of  a  gear  train,  the 
shutter  made  one  revolution  while  the 
disc  moved  only  one  frame. 

The  result  must  have  looked  some- 
thing like  the  device  shown  in  Fig. 
4  (an  early  experimental  apparatus 
built  by  Edison).  A  magic  lantern 
lamphouse  illuminated  the  picture 
from  the  rear,  and  an  objective  lens 
in  front  projected  the  picture  on  a 
screen.  Thus  Muybridge  projected  in 
1861  the  first  true  motion  pictures. 
As  he  pointed  out,  "these  apparent 
movements  could  be  continued  for  a 
period  limited  only  by  the  patience  of 
the  audience" — he  was  continuously 
projecting  the  same  21  frames.) 

[TO  BE  CONTINUED] 


CURTAIN  CONTROLS, 
TRACKS  and  SPECIAL 
OPERATING   DEVICES 

VALLEN,  Inc. 

AKRON  4,  OHIO 


30 


INTERNATIONAL  PROJECTIONIST    •    NOVEMBER  1954 


Du  Pont  Xronar'  Film  Base 

Extraordinary  structural  and  operat- 
ing characteris.ics  are  attributed  to  the 
new  polyester  photographic  safely  film 
base  developed  by  Du  Pont.  Produced 
only  in  small  quantities  as  yet,  this 
film  base,  which  is  trade-marked  "Cro- 
nar,"  is  asserted  to  be  several  times 
tougher  than  present  types  of  safety 
film  base,  to  have  less  tendency  to 
shrink,  and  to  be  equally  flame-resis.ant. 

Limited  quantities  of  the  "Cronar" 
base  are  now  available  commercially 
for  use  as  leader  material  for  motion 
picture  processing.  It  has  been  pro- 
duced in  experimental  quantities  since 
1952  in  a  pilot  plant  at  Parlin,  N.  J. 
where  a  large-scale  commercial  plant, 
scheduled  to  be  ready  in  1955,  is  under 
construction. 

A  condensation  polymer-technically 
known  as  polyethylene  terephthalate, 
Cronar  polyester  film  base  is  chemically 
related  to  two  other  recently  introduced 
Du  Pont  products  —  Dacron  textile 
fibre  and  Mylar  polyester  film  which 
has  many  electrical  and  other  applica- 
tions. 

Du  Pont  Test  Results  Cited 

In  tests  of  folding-resistance,  Cronar 
film  base  is  credited  by  Du  Pont  to 
have  withstood  an  average  of  17,000 
flexings.  Motion  picture  film  on  Cronar 
base  showed  virtually  no  signs  of  per- 
foration damage  after  3,900  runs  through 
a  motion  picture  projector,  it  was  as- 
serted, while  regular  safety  film  per- 
forations wore  out  after  1,400  projec- 
tions. 

Greater  toughness  of  Cronar  base  is 
said  to  permit  the  reduction  in  thick- 
ness of  motion  picture  film  from  the 
standard  5.5  mils  to  4  mils  (0.0055 
inches  to  0.004  inches),  making  it  pos- 
sible to  considerably  reduce  shipping 
weight  and  storage  volume.  The  stand- 
ard 2000-foot  reel  can  accommodate 
2700  feet  of  Cronar-base  film. 

The  new  film  base  will  be  edge- 
marked  as  Du  Pont  "Cronar,"  Safety 
for  the  guidance  of  projectionists  and 
others. 

Film  industry  observers  are  awaiting 
some  indication  as  to  the  cost  of  this 
Cronar  film,  because  this  would  seem 
to  be  the  most  vital  factor  despile  any 
o-her  advantages  credited  to  this  new 
base.  Also,  it  was  pointed  out  that 
prints  are  seldom  discarded  because  of 
rip  or  tear  damage  but  rather  because 
of  emulsion  deterioration  due  to  exces- 
sive heat,  scratches,  etc.  Buckling 
characteristics,  the  result  of  exposure 
to  high-intensity  arcs,  is  another  very 
important   factor. 


BUY  U.  S.  SAVINGS  BONDS 


Finest  Lenses 
Are  Needed  for 
New  Projection 
Techniques... 


THE  ANSWER 


Cinema  Raptars 

THE   WORLD'S   ONLY    PERFECTLY 
MATCHED   PROUECTION    LENSES 


today  with  the  new  movie  techniques— CinemaScope,  Vista-Vision,  V^ide 
Screen— exhibitors  must  have  the  finest  basic  lenses  in  order  to  give 
theatre  goers  sharp,  clear  pictures  from  edge  to  edge  of  the  screen.  There 
are  no  finer  projection  lenses  made  than  Wollensak  Cinema  Raptars.  (For 
CinemaScope  these  lenses  are  used  with  anamorphic  lenses.)  Cinema 
Raptars  use  six  and  seven  element  construction.  Only  with  such  a  design 
is  it  possible  to  deliver  full  speed,  edge-to-edge  sharpness,  and  highest 
resolution.  In  addition,  Cinema  Raptars  are  the  world's  only  perfectly 
matched  lenses— focal  lengths  matched  to  within  .0025!  Marked  as  matched 
(twin)  lenses.  Speed  ranges  are  f/1.9  in  focal  lengths  from  2"  through  5" 
and  f/2.0  to  f/2.7  in  focal  lengths  to  7"  . . .  priced  from  $180  each. 

WRITE  for  new  literature  fully  describing  these  new  Projection  Lenses. 


^UST    PURCHASED    NEW    PROJECTiON    LENSES? 

WI£ED    ADJUSTMENTS    FOR    WIDE    SCREEN? 

WHAT   TO    DO    WITH    »JO^'A?«AEVieRPHIC    RELEASES? 


Wollensak 


VARI-FOCUS 

a  supplementary  lens  for  all  screen  sizes 


With  the  new  Vari-Focus  lens  exhibitors  can  show  all  the 
current  screen  releases  without  buying  a  complete  new  range 
of  short  focus  lenses.  The  Vari-Focus  permits  you  to  make 
adjustments  for  screen  width  .  .  .  change  the  focal  length 
of  your  standard  projection  lens  quickly  and  easily.  (See 
table.)  The  Varl-Focus  is  a  supplementary  lens  which  will 
produce  any  wide  screen  aspect  ratio  (non-anamorphic)  when 
used  in  conjunction  with  a  3"  to  6"  projection  lens.  The 
resolution  and  picture  quality  will  match  those  of  the  finest 
projection  lens.  Price  $235  each. 


Standard 

Lens 

Va 

riable  Focus  From 

3" 

21/4"  to  13/4" 

31/2" 

23/4"  to  2" 

4" 

31/4"  to  21/4" 

41/2" 

31/2"  to  2V2" 

5" 

4"  to  3" 

51/2" 

41/2"  to  3V2" 

6" 

5"  to  3V2" 

WRITE  for  new  literature  fully  describing 
this  supplementary  lens.  Wollensak  Optical  Co., 
Rochester  21,  N.  Y. 


of  Optical  Craftsmanship 
by  WOLLENSAK 


INTERNATIONAL  PROJECTIONIST   •    NOVEMBER  1954 


31 


CONDENSING  SYSTEMS 

(Continued  from  page  14) 

a  few  mm  of  the  condenser  in  en- 
largers  and  Balopticon  projections  to 
a  considerable  distance  as  in  motion 
pitcure  projection. 

The  second  arrangement  obviously 
provides  a  more  compact  system  at  a 
given  /  number  and  focal  length  pro 
jection  objective. 

Relay  Condenser  System 

A  third  arrangement  has  found 
some  application  in  special  problems. 
This  arrangement  is  essentially  the 
second  in  that  an  image  of  the  source 
is  placed  in  the  entrance  pupil  of  the 
projection  lens,  but  by  aid  of  two  extra 
lenses  in  the  train  the  gate  illumina- 
tion is  increased  and  made  much  more 
uniform.  The  two  extra  lenses  relay 
the  images  of  one  of  the  condensers 


FIG.   6.     A    typical    condenser    relcy   system.     Conjugate    images    are    bracketed    together. 


and  the  filament  to  their  appropriate 
places,  thus  the  name  "relay  system". 
In  a  conventional  aspheric  con- 
denser system  (Fig.  6)  Ci  is  used  to 
image  the  light  source  in  the  lens  Ca, 
which  images  the  last  surface  of  the 
condenser  Ci  on  the  gate.  We  have 
already  seen  that  this  surface  is  uni- 
formly  illuminated.      At   the    gate    is 


DIRECT-O-LITE    FLASHLIGHT   EXTENSIONS 

Designed  to  fit  the  Standard  2-Cell  Eveready  Flashlight  Molded  in  \ 
one  piece  of  strong  Tenite  — will  not  crack,  chip,  or  peel -will  \^^ 
withstand  long,  hard  usage  in  any  kind  of  weather.  ■^^^^^^^' 

Primarily  designed  for  Theatre  and  Drive-ln  Ushers  — 

the  Direct-O-Lite  also  makes  an  ideal  accessory  ~Z^i 

for  the  Flashlight  in  the  glove  com- 
partment of  your  car.  ^  -~^ 


Available  from  your  Theatre  Equipment  Dealer 

Manufactured  by 

LaVezzi  Machine  Works 


-nd  in  lengths  of  S'/a"  or 


nently  molded-in. 


463S  WEST   LAKE   ST. 


CHICAGO   44,  ILL. 


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H^     Lens  For  ALL 

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5965  West  98th  Street 
Los  Angeles  45,  Calijornia 


The  original  variable- 
focus  lens-attachment. 

Projects  non-anamorphic 
prints  to  full  screen  height 
regardless  of  aspect  ratio. 

Provides  perfect  matching 
for  dual  strip  3-D 
projection. 

Saves  the  price  of  numer- 
ous lenses  of  different 
focal  length. 

Write  for  free  illustrated 
literature  and  name  of 
nearest  distributor. 


placed  a  third  condenser  lens,  Ca, 
which  images  lens  C2  and  the  filament 
image  in  the  projection  lens. 

To  cut  down  the  spill  of  light  at  the 
gate,  the  condensers  Ci  may  be  masked 
as  shown  in  the  illustration.  This  ar- 
rangement has  the  advantage  of 
greater  illumination  and  potentially 
greater  uniformity,  but  these  ad- 
vantages are  purchased  at  the  cost  of 
complications  in  added  lenses  and  light 
lost  through  reflection  and  absorption. 
Of  course,  lens  Cs  which  receives  the 
filament  image  must  be  of  highly  heat- 
resistant  glass. 

Image  Magnification  Set-up 

In  order  to  collect  as  much  flux  as 
possible,  the  light  sources  are  placed 
as  close  as  practicable  to  the  first  lens 
of  the  condensing  system.  This  has 
the  effect  of  producing  a  magnified 
image  of  the  source. 

In  the  first  arrangement,  the  arc  is 
imaged  at  the  film  gate  at  a  magnifica- 
tion just  sufficient  to  give  an  illu- 
minated area  covering  the  corners  of 
the  gate.  This  generally  suffices  to 
give  an  evenly  illuminated  gate,  if  the 
arc  itself  is  uniform,  but  because  the 
gate  is  not  square  a  certain  amount  of 
useful  light  is  lost  in  illuminating  the 
long  sides  of  the  aperture. 

In  the  second  type  of  condensing 
system,  due  regard  must  be  paid  to  the 
size  of  the  image  of  the  filament  as 
well  as  to  the  /  number  of  the  system, 
for  if  the  image  is  too  large  for  the 
projection  lens,  light  will  be  wasted, 
while  if  it  is  too  small,  the  lens  may  be 
stepped  down  optically  and  thus  not 
deliver  the  maximum  light. 

[TO    BE    CONCLUDED] 


FISHER  MANUFACTURING  CO.       nss  mt.  read  blvd.,  Rochester  «,  n.  y.    limMW.'.M.^ 


32 


INTERNATIONAL  PROJECTIONIST   •    NOVEMBER  1954 


WESTREX  FOREIGN  MANAGERS  AT  N.  Y.  TECHNICAL  MEET 

Westrex   president   E.   S.   Gregg    is   shown   describing   for   foreign    representatives   the    new    multi- 
channel  amplifier   system.     Pictured   here   (left   to   right)   are: 

J.  A.  Todd,  recording  manager  in  England;  J.  Cuevas,  manager  in  Brazil;  J.  Y.  Abe, 
director  and  assistant  manager  in  Japan;  P.  Amourgis,  manager  in  Egypt;  R.  Senechal,  recording 
director  for  France  and  Belgium;  AA.  Storms,  Venezuela,  manager  in  the  Caribbean  area;  to 
the  rear,  R.  J.  Hortis,  manager  in  Argentina;  W.  E.  Kollmyer,-  manager  in  Australia;  to  the 
rear,  K.  Kagara,  recording  engineer  In  Japan;  O.  J.  Forest,  Trinidad,  manager  in  the  Caribbean 
area;  W.  De  Mello,  Cuba,  manager  in  the  Caribbean  area;  E.  S.  Gregg,  president  of  Westrex, 
and   C.   Alderstrahle,   manager   in   Scandanavia. 


Managers  and  heads  of  recording  de- 
partments from  some  of  Westrex  Corp. 
subsidiaries  in  Europe,  Africa,  Australia, 
and  Latin  America  attended  a  confer- 
ence in  New  York,  from  November  8 
through  19.  The  conferees  discussed 
new  equipment  operational  techniques 
and  surveyed  Westrex  sales  and  servic- 
ing activities  in  the  motion  picture 
studio  and  theatre  equipment  fields,  as 
well  as  teletype,  teletypesetter,  com- 
munications, and  other  electronic  ap- 
paratus. 

The  featured  displays  of  new  equip- 


THE  ACE  CUE  MARKER 


The  World's  Best 

One  push  to  left  or  right  and 
all  cues  are  made  in  16-  and  35-, 
Standard,     Tv,      or     CinemaScope 

See  your  dealer  or  write  to 


ACE   ELECTRIC   MFG.   COMPANY 

1458    Shakespeare    Avenue 
New    York    52,    N.    Y. 


ment  included  Westrex's  latest  develop- 
ments: single  and  multi-channel  sound 
systems  for  theatres,  the  film  editing 
machine,  multi-channel  magnetic  record- 
ing systems,  the  type  RA1524  six- 
position  mixer  console,  the  35-mm  news- 
reel  recording  system,  the  new  re- 
recorders,  electrical  printing  equipment, 
the  new  hot-stylus  lateral  feedback  disc 
cutter,  and  the  new  black-and-white  and 
color  densitometers  for  studios. 


Theatre  Tv  Hookup  for  Queen 

Large-screen,  closed-circuit  Tv  was 
used  last  month  to  bring  the  address 
of  Queen  Mother  Elizabeth  of  England 
to  guests  attending  a  dinner  given  for 
her  at  the  Waldorf-Astoria  Hotel  in 
New  York  City.  Her  words  were 
carried  from  the  grand  ballroom  to 
1,000  guests  in  other  areas  of  the  hotel 
through  arrangements  made  by  Theatre 
Network  Television.  General  Precision 
Laboratory  equipment  was  used  for  this 
novel  and  inspiring  inter-building  tele- 
cast. 


ANTEED 


SATISFACTION 


RAYTONE  Screens,  Hilux  Lenses,  Thomp- 
son Screen  Frames,  Raytone  Screen 
Paints  and  Screen  Brushes  will  meet  all 
of  the  manufacturer's  claims. 


RAYTONE 


SCREEN  CORP. 


165  Clermont  Ave.,  Brooklyn  S,  N.  Y. 

MIDWEST:  L.  E.  Cooley, 
408  S.  Oak  Park  Ave.,  Oak  Park,  III. 


Clayton  Ball -Bearing  Even  Tension  Take-Ups 

For  all  Projectors  and  Sound  Equipments 

ALL  TAKE-UPS  WIND  FILM  ON  2,  4  AND  5  INCH  HUB  REELS. 
SILENT  CHAIN   DRIVE 

THE   CLAYTON    REWINDER 

FOR  PERFECT  REWINDING  ON  2000-FOOT  REELS. 

CLAYTON    PRODUCTS   CO. 

31-45  Tibbett  Avenue  New  York  63,  N.  Y. 


for  VistaVisson 


For   DRIVE-INS&THEATRES  with  HUGE,  WIDE- AREA  SCREENS  •  CARBONS,  Inc. BOONTON,  N.J. 


for  CinemaScope 


INTERNATIONAL  PROJECTIONIST    •    NOVEMBER  1954 


33 


WIDE-SCREEN    PROCESS 
UPS  INHERENT  DEFECTS 

(Continued  from  page  10) 

and  FP-7)  employ  the  "nut-and-bolt" 
method.  This  method  should  not  be 
confused  with  the  screw-against-shaft 
method  used  for  fastening  feed  and 
holdback  sprockets.  They  resemble 
each  other  externally,  but  there  is  an 
important  difference. 

In  the  nut-and-bolt  method  a  plain, 
unthreaded  hole  is  bored  all  the  way 
through  sprocket  hub  and  shaft.  Into 
this  hole  is  dropped  a  bolt,  which  is 
held  in  place  by  a  nut  on  the  threaded 
end  which  protrudes  from  the  opposite 
side  of  the  sprocket  hub. 

When  the  nut  is  tightened,  the 
sprocket  flanges  will  not  be  strained 
out  of  shape  because  the  sprocket  hub 
is  thin  and  reinforced  at  both  ends 
by  the  flanges.  Moreover,  the  shaft  is 
not  bent  by  this  method  of  fastening. 
Even  after  the  sprocket  has  been  re- 
peatedly removed  and  mounted  again, 
either  in  its  original  position  or  re- 
versed, the  wobble  will  not  exceed  7 
microns  (0.23  mil).  This  represents 
a  picture- jump  of  only  0.073  of  an 
inch  on  a  13%  x  18-foot  screen. 
Jumpiness  does  not  always  attain  this 
maximum  degree  when  the  nut-and- 
bolt  method  of  fastening  the  sprocket 
is  used,  of  course;  but  even  when  it 
does,  the  unsteadiness  is  too  small 
even  to  be  seen  by  filmgoers  in  the 
seats  closest  to  the  screen! 

The  Mot'iograph  Design 

The  second  modern  method  of 
sprocket-fastening  is  truly  a  marvel, 
and  although  it  is  a  bit  more  compli- 
cated than  the  nut-and-bolt  method, 
it  reduces  possible  6-cycle  dancing  of 
the  picture  almost  to  the  vanishing 
point.  This  second  method,  which  we 
shall  call  the  "ball  and  taper-screw" 
method,  is  a  unique  feature  of  the 
Motiograph  AA  mechanism. 

The  starwheel  shaft  is  hollow  as  far 
back  as  the  sprocket,  and  is  provided 
with  a  threaded,  tapered  screw  con- 
tacting two  steel  balls  which  it  thrusts 
outward  through  holes  in  the  wall  of 
the  hollow  star-shaft.  The  balls,  thus 
puehed  outward,  lock  into  matching, 
but  smaller,  holes  in  the  walls  of  the 
sprocket  hub. 

The  actual  construction  of  this 
sprocket-fastening  device  in  the  Motio- 
graph AA  has  more  mechanical  detail 
than  is  indicated  by  the  accompanying 


diagram.  Not  shown,  for  example,  is 
the  Motiograph  AA  outboard  bearing, 
or  the  lateral  sprocket-positioning 
screw,  or  the  tubular,  threaded  insert 
which  prevents  the  tapered  screw  from 
being  backed  out  so  far  as  to  drop 
the  two  locking  balls  from  their 
sockets. 

Maximum  wobble  of  the  inter- 
mittent sprocket  with  the  ball  and 
taper-screw  method  of  fastening  is 
only  5  microns  (0.20  mill,  and  this 
results  in  a  maximum  picture- jump  of 
only  0.052  inch  in  a  131/2  x  18-foot 
picture  (standard  aperture).  This  de- 
gree of  mechanical  perfection  is 
desperately  needed  in  these  days  of 
wide-screen  projection. 

Manufacruring  Process 

There  are  other  factors  besides  the 
methods  of  fastening  the  intermittent 
sprocket  to  be  considered  in  relation 
to  sprocket-wobbling,  and  many  of 
these  involve  manufacturing  processes 
and  the  materials  selected  for  making 
the  intermittent  parts.  If  the  starwheel 
shaft  were  made  of  brass,  for  example, 
the  intermittent  would  function 
properly  only  for  a  very  short  time, 
no  matter  how  careful  the  workman- 
ship. Inferior  steels  would  likewise  be 
unsuitable  for  the  shaft. 

Manufacturers  of  the  better  pro- 
jectors use  special  chrome-nickel  steels 
for  starwheel  shafts  because  such  al- 
loys do  not  shrink,  hence  are  not  sub- 


ject to  internal  stresses  during  the 
hardening  process.  When  the  shafts 
are  finally  ground  to  the  correct 
diameter,  therefore,  they  do  not  show 
the  slightest  tendency  to  warp.  The 
starwheel  shafts  of  good  projectors, 
are  ground  to  a  maximum  tolerance 
of  0.04  mil  (1  micron). 

Admissible  Tolerance 

The  sprocket  will  wobble  if  the  hole 
is  eccentric  with  respect  to  the  toothed 
face,  or  if  it  is  not  perfectly  straight. 
Philips  finishes  the  bore  of  the 
sprocket  by  a  grinding  process  which 
insures  that  the  diameter  of  the  bore 
is  not  larger  at  the  ends  than  it  is  in 
the  middle.  The  bore  is  thus  perfectly 
straight,  and  the  diameter-tolerance  is 
kept  within  0.08  mil  (2  microns). 

Only  after  the  bore  is  finished  and 
carefully  checked  in  every  respect 
are  the  teeth  milled  and  the  running 
surfaces  which  contact  the  edges  of 
the  film  ground.  According  to  pro- 
jector technologists,  the  admissible 
wobble  with  respect  to  the  bore  is 
under  0.16  mil  (4  microns). 
[TO  BE  CONTINUED] 

Prefers  Stories  to  "Gimmicks" 

The  motion  piclure  industry  can  suc- 
cessfully meet  the  challenge  of  Tv  if 
better  stories  and  fewer  "gimmicks" 
are  used,  according  to  Ross  Hunter, 
producer  of  "'Magnificent  Obsession." 
A  good  story,  "even  if  it  fits  on  the  face 
of  a  postage  stamp,"  will  draw  cus- 
tomers to  the  boxoffice.  he  asserts. 


How  Many? 


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INTERNATIONAL  PROJECTIONIST    •    NOVEMBER  1954 


23%  brighter 
CinemaScope  pictures 

with  Bausch  &  Lomb 
cylindrical  anamorphic 

attachments 

. . .  than  with  prism-type  attachments ! 


Tests  prove  it  • . .  here  are  the  facts: 

•  Higher  light  transmission  (92%)  ...  no  vignetting 

. . .  for  today's  easiest-to-see,  surest-to-please  pictures  on  theatre 
or  drive-in  CinemaScope  screen. 

•  Uniform  light — every  inch  of  the  full  wide  screen  is  part  of  the  perfect 
CinemaScope  picture  your  patrons  will  enjoy. 

•  Exclusive  matched  lens  design  for  perfect  pairing  with  B&L  //1. 8 
Super  Cinephor,  world's  fastest  projection  lenses. 

•  Exclusive  complete  line,  including  the  only  anamorphic  lens 
specially  made  to  match  4"  projection  lenses 

without  vignetting. 


Ask  your  dealer  for  actual  lens-by-lens  compari- 
son proof  that  Bausch  &  Lomb  is  your  best  bet 
for  big  CinemaScope  profits.  Bausch  &  Lomb 
Optical  Co.,  72635  St.  Paul  St.,  Rochester  2, 
New  York.  (In  Canada:  General  Theatre  Supply, 
Main  Office,  Toronto.) 


BAUSCH  &  LOMB 


AMERICA'S   ONLY  COMPLETE  OPTICAL  SOURCE   .   .   .  FROM    GLASS   TO   FINISHED   PRODUCT 


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Mariana  may  be  soon  enough  for  some  people  — 
but  not  for  motion  picture  exhibitors! 

With  more  and  more  of  the  filmgoer's  dollar  going 
toward  the  new  wide  screen  and  directional  sound 

product,  motion  picture  exhibitors  must  act  today 

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show  these  box  office  attractions  at  their  very  best. 

Don't  you  put  off  these  important  equipment 
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NUMBER  12 


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THIS  INTEGRATOR  is  essential 
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THE  WESTREX  R9  Stereophonic  Repro- 
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R6  PHOTOGRAPHIC   REPRODUCER 

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INTERNATIONAL  PROJECTIONIST 


DECEMBER  1954 


ALL  YOU  DO 
IS  STRIKE  THE  ARC 


The  positive  and  negative  carbons  are  advanced  by 
separate  motors,  the  speeds  of  which  are  governed  by 
the  Bi-metal  Lightronic  Tube.  Once  the  arc  has  been 
struck,  the  crater  position  and  gap  length  are  main- 
tained automatically,  and  without  constant  attention 
by  the  projectionist. 

With  the  new  presentation  techniques  complicating 
his  job,  the  projectionist  is  particularly  appreciative  of 
this  simplified  control.  Furthermore,  he  is  quick  to  see 
the  advantages  of  the  unitized  component  design  which 
affords  such  wide  versatility  in  these  lamps.  He  can, 
in  a  matter  of  moments  and  right  in  his  projection 
room,  effect  the  simple  changes  necessary  to  attain 
the  correct  light  requirement  for  any  of  the  various 
techniques.  It  is  even  possible  for  him  to  get  the  light 
requirements  of  two  different  types  of  techniques  on 
the   same   program. 


TRUE    VERSATILITY 


A  choice  of  four  different  carbon  trims  can  be  burned 
in  a  total  of  seven  separate  manners  to  attain  any 
desired  degree  of  cost  of  operation,  screen  illumina- 
tion,  or   burning   time. 


SIMPLIFIED   CONTROL 


Only  one  control  is  required  for  selecting  any  amp- 
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THE  MOST  POWERFUL  LAMPS 


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argue   with    a    light    meter. 

The   Infra-Ban   Beam-Cooler   unit  diverts  the   heat   rays   away  from 

the  aperture,  making   possible  a   tremendous  increase   in   usable   light 

without   a   corresponding    increase   in    heat   at   the   aperture. 

A  stream  of  air  directed  just  above  the  arc  stabilizes  its  burning 
end    prevents   the   deposit   of   soot   on  the   reflector. 

Strong  has  also  designed  new  rectifiers  with  a  range  of  from 
?0  to  135  amperes  to  fill  the  power  requirements  of  all  the  systems 
cf    screen    presentation. 


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NAME     

THEATRE     

STREET    

"-iTY    &    STATE 


INTERNATIONAL  PROJECTIONIST      •      DECEMBER  1954 


INTERNATIONAL 

PROJECTIONISl 

With   Which    Is   Combined    PROJECTION    ENGINEERING 


JAMES  J.  FINN,  Editor 
JAMES  MORRIS,  Associate  Editor 


Volume  29 


DECEMBER   1954 


Number   12 


Index  and  Monthly  Chat  ....        5 

Wide-Screen     Presentation 
Magnifies     Inherent     Pro- 
jection Defects,  II 7 

Robert  A.  Mitchell 

VistaVision  Process  on 

the  Move 12 

LoREN  Ryder 

"The  Play"  is  Still  the  Thing     12 
Don  Hartman 

Air-Blast,  Water-Cooling 
Joined  in  New  Conversion 
Unit  for  Simplex  X-L   ....      13 
William  Borberg 

History  of  Studio  Lighting   .  .      15 
Charles  W.  Handley 

This  Matter  of  Screen 

Surfaces 19 

Leonard  Satz 


Kit   Modernizes   Simplex  E-7, 
Super  Heads 20 

Elements  of  Optical  Condensing 
Systems    (Conclusion)     ....      23 
A.  E.  Murray 

In  The  Spotlight 28 

From  Toy  to  a  Great 

Industry,  II 30 

Jack  Gieck 

Industry  Interdependence   ...      33 
Pat  McGee 

Century  Projector  Corp.'s 
Horizontal-Type  Projector  .      36 

Projectionist  Problems:    from 
the  Viewpoint  of  the 
Lens  Maker 37 

Letters  to  the  Editor 39 

lA  Obituaries 39 

lA  Elections   45 


Published  Monthly  by 

INTERNATIONAL  PROJECTIONIST  PUBLISHING  CO.,  INC. 

19  West  44th  Street,  New  York  36,  N.  Y. 

Telephone:    MUrray  Hill  2-2948 

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for  personal   opinions  appearing   in   signed   articles,  or  for  unsolicited   communications. 

<i^^feB9E 


MONTHLY      CHAT 


1  TECHNOLOGY  has  finally  come  into 
its  own — but  does  anybody  in  a  re- 
sponsible executive  position  in  the 
motion  picture  industry  render  it  any- 
thing but  tux-and-black-tie  lip  service? 
These  seem  very  inappropriate  words, 
indeed,  at  this  season  of  the  year,  but 
how  much  more  inappropriate  is  it  that 
those  who  are  counting  their  blessings 
(financially)  under  the  Yuletide  tree 
forget  completely  those  members  of  the 
technological  branch  of  the  industry 
(and  their  families)  who  have  not 
worked  for  the  past  six  months  because 
of  the  unending  avarice  of  those  whose 
primary  concerns  are  bank  balances  and 
earnings  statements  so  proudly  an- 
nounced at  directors'  meetings. 

The  exacting  demands  of  the  various 
new  projection  processes  was  the  topic 
of  a  recent  gabfast  by  the  writer  with 
one  of  the  top  executives  in  the  industry. 
Said  he: 

"Ours  is  a  touch-and-go  business  which 
today  is  dependent  in  great  measure  up- 
on the  technological  skills  of  our  work- 
ers. True,  no  product  is  worth  a  nickel 
until  it  is  sold;  but  the  major  emphasis 
in  this  business  always  has  been  and, 
I  am  afraid,  will  continue  to  be  placed 
upon  the  purely  'selling'  angle  of  a 
product  which  would  not  exist  were  it 
not  the  beneficiary  of  expert  technologi- 
cal attention  on  both  the  production  and 
exhibition  fronts. 

"The  technological  revolution  began 
when  sound  movies  bowed  in  25  or  more 
years  ago;  but  then,  resplendent  in  our 
isolated  eerie  as  the  purveyors  of  the 
world's  best  and  least  expensive  form 
of  entertainment  to  the  masses,  we  trans- 
lated this  financial  triumph  not  into 
technological  research,  the  lifeblood  of 
any  industry  from  the  look-ahead  view- 
point, but  rather  into  the  ever  more 
gaudy  front  for  the  showing  of  wares 
that  even  then,  had  we  known  it,  were 
feasting  upon  their  own  vitals. 

"As  far  as  your  fellows  (projection- 
ists) are  concerned,  I  am  constantly 
amazed  at  the  unending  war  being 
waged  by  exhibitors  to  reduce  projection 
room  manpower — this  in  the  face  of 
the  new  and  more  exacting  processes. 
I  receive  many  letters  each  month  which 
ask  my  opinion  on  this,  that  and  the 
other  aspect  of  motion  picture  showings. 

"Most  of  these  questions  may  be 
answered  by  the  simple  statement  that 
the  projectionist  should  stay  continually 
at  the  operating  side  of  his  projector. 
Why? 

"Because  in  my  opinion  the  correct 
presentation  process  is  the  payofi  in  the 
industry  today — and,  also,  because  I  am 
afraid  that  in  this  particular  area  we 
have  used  up  all  our  margin  for  error!" 

Let  those  who  indulge  in  one-man 
shift  forays  stick  the  foregoing 
words  against  their  ribs  to  provide 
warmth  and  comfort  against  the  drab 
days  which  must  inevitably  follow  this 
festive  season. 


INTERNATIONAL  PROJECTIONIST      •      DECEMBER   1954 


^efi^'l  <?4««^9* 


International  Alliance  of  Theatrical  Stage 
Employes  and  Moving  Picture  Machine 
Operators  of  the  United  States  and  Canada 


Affiliated  with  the  A.  F.  of  L. 


RICHARD  F.  WALSH 

international 

President 


HARLAND  HOLMDEN 

General 
Secreta  ry-Treasu  re  r 


INTERNATIONAL  PROJECTIONIST      •      DECEMBER  1954 


INTERNATIONAL    PROJECTIONIST 


extends  to  all  its  friends 


Seasons  Greetings 


VOLUME  XXiX 


DECEMBER   1954 


NUMBER   12 


Wide-Screen  Presentation  Magnifies 
Inherent  Projection  Defects 


By  ROBERT  A.  MITCHELL 


The  concluding  article  of  hvo  in  which  are  discussed  the 
problems  incident  to  minimizing  the  exaggeration  of  in- 
herent   projection    defects    in    wide-screen    presentations. 


PLAY  between  the  star  shaft  and  sprocket  will  also  cause  the  sprocket 
to  wobble  and  the  picture  to  jump,  hence  the  warning  to  projectionists 
never  to  use  sandpaper  or  other  abrasives  on  the  starwheel  shaft  if  a 
new  sprocket  seems  to  be  too  tight  a  fit.  Oil  on  the  shaft  and  patience  in- 
variably turn  the  trick. 


The  6-cycle  type  of  picture-dancing 
will  occur  if  the  four  curved  faces  of 
the  starwheel  are  not  symmetrical. 
This  slotted  wheel,  shaped  like  a 
Maltese  cross,  is  the  most  delicate 
part  of  a  projection  mechanism.  It 
is  made  of  hardened  chrome-nickel 
steel  and  finished  to  a  maximum  tol- 
erance of  only  0.04  or  0.05  mil  in 
high-quality  projectors,  and  to  a 
somewhat  greater  tolerance  (from  0.1 
to  0.2  mil)   in  less  precise  machines. 

But  one  of  the  most  common  causes 
of  6-cycle  jump  in  projectors  utiliz- 
ing rotation  of  the  whole  intermittent 
movement  for  framing  is  uneven  wear 
of  the   sprocket  teeth.     This  particu- 


lar cause   of  the  troublesome   6-cycle 
dancing  of  the  image  is  surprisingly 


common. 


Varying  Sprocket  Tooth  Wear 

The  wear  and  tear  inflicted  by  the 
film  on  the  teeth  of  the  intermittent 
sprocket  varies  greatly  from  tooth  to 
tooth.  The  teeth  that  engage  the  film 
perforations  during  acceleration  of 
the  sprocket  are  undercut,  or  notched, 
the  most  rapidly,  while  the  teeth  that 
pull  the  film  during  deceleration  of 
the    sprocket   wear    the    most    slowly. 

And  because  of  obscure  factors, 
which  may  include  slight  differences 
in    hardness    over    the    body    of    the 


sprocket  and  accidental  initial  differ- 
ences in  the  spacing  of  the  teeth,  the 
teeth  on  one  side  of  the  sprocket 
circumference  wear  faster  than  those 
on  the  other. 

The  worst  effects  of  these  unknown 
factors  are  usually  seen  only  when 
the  framer  is  changed  from  its  cus- 
tomary position,  as  when  the  picture 
accidentally  goes  out  of  frame  during 
projection,  and  has  to  be  framed  up 
or  down  to   a  different  position. 

Most  projectionists  keep  the  fram- 
ing knob  in  its  midway  position  to 
allow  equal  latitude  in  framing  the 
picture  up  or  down  on  the  screen  in 
case  of  misframe.  When  projectors 
having  the  rotational  framing  con- 
struction are  operated  for  months  or 
years  with  the  framer  remaining  in 
this  one  position,  unequal  wear  of 
the    intermittent-sprocket    teeth    may 


INTERNATIONAL  PROJECTIONIST 


DECEMBER  1954 


.    ^  1 

16- tooth 
Sprocket 

The  Powers  pin-cross  intermittent  movement. 
The  diamond  portion  of  the  cam-ring  imparts 
a  quarter-turn  to  the  pin-cross,  after  which  the 
roller  pins  are  again  engaged  and  locked  in 
an  "at  rest"  position  by  the  circular  portion 
of  the  cam-ring.  The  three  small  holes  in  the 
cam-ring  have  nothing  to  do  with  the  action, 
but  they  serve  as  the  means  by  which  the 
ring   is   strictly   and   dynamically   balanced. 


result    in    6-cycle    picture- jump    when 
the  framing  position  is  changed. 

Framer  Interference 

The  writer  has  found  that  6-cycle 
dancing  of  the  picture  may  appear 
when  the  picture  is  framed  either 
all  the  way  up  or  all  the  way  down. 
The  unsteadiness  disappears  when  the 
framer  is  returned  to  its  usual  mid- 
way position  —  a  fact  that  rules  out 
such  other  causes  of  6-cycle  jump  as 
a  warped  starshaft,  a  damaged  star- 
wheel,  and  a  lopsided  or  wobbling 
sprocket.  If  these  other  causes  were 
present,  changing  the  position  of  the 
framer  would  make  no  difference  in 
the  image-dancing.  The  cure  is  a 
new  intermittent  sprocket;  and  we  do 
not  recommend  reversing  a  sprocket 
which  gives  evidence  of  this  peculiar 
wearing  of  the  teeth.  Such  a  sprocket 
impresses   us   as   a   defective  product. 

This  trouble  is  not  known  to  occur 
in  projectors  such  as  the  Motiograph 
AA  in  which  rotational  relation  of 
the  intermittent  sprocket  to  film  pull- 
down is  preserved  at  all  times  by  a 
framing  device  which  moves  the  en- 
tire intermittent  up  and  down,  rather 
than  around  an  axis,  when  the  fram- 
ing knob  is  turned. 

The  "up-and-down"  type  of  framer 
requires  an  intermittent-sprocket  shoe 
separate    from    the    gate-door,    while 


the  "rotational"  type  of  framer  per- 
mits the  sprocket-shoe  to  be  attached 
to  an  apron  at  the  bottom  of  the 
gate-door,  a  simpler  and  more  con- 
venient construction. 

Unequal  Sprocket  Tooth  Wear 

Anent  unequal  wear  of  the  inter- 
mittent-sprocket teeth  on  opposite 
sides  of  the  sprocket  circumference, 
W.  Hecht  of  the  International  Pro- 
jector Corp.,  manufacturer  of  Simplex 
projectors,  \varns  against  the  use  of 
sprockets   of  questionable   quality. 

"Assuming  that  intermittent  sprock- 
ets are  replaced,  difficulty  could  easily 
occur  if  the  parts  were  hardened  after 
grinding.  Any  warping  that  may  re- 
sult from  the  hardening  could  alter 
the  distance  between  teeth  and  intro- 
duce unsteadiness.  On  the  other  hand. 
Simplex  sprockets  are  hardened  prior 
to  grinding  to  make  certain  that  any 
errors  caused  by  warping  are  cor- 
rected,"  stated  Mr.    Hecht. 

Certain  other  American  manufac- 
turers of  high-quality  projection  equip- 
ment harden  their  intermittent  sprock- 
ets after  grinding,  however,  and  main- 
tain that  the  steels  from  which  their 
sprockets  are  made  do  not  warp  during 
the  case-hardening  process.  This  is 
a  question  best  decided  by  experts  in 
the  metallurgical  and  manufacturing 
fields. 

Admissible  Picture  Jump 

According  to  generally  accepted 
opinion  among  projection  technolo- 
gists, 6-cycle  picture- jump  interferes 
with  projection  quality  to  a  noticeable 
extent  when  sprocket  wobble  or  film 
mis-registration  at  the  aperture  ex- 
ceeds 0.39  mil  (10  microns).  This 
limit  represents  a  picture-movement 
of  about  0.1  inch  on  a  screen  13^2 
X  18  feet,  the  aperture  being  the 
standard   aspect   ratio   of   1.37/1. 

The  stated  limit  of  admissible  6- 
cycle  unsteadiness  is  materially  de- 
creased by  the  wide-screen  aspect 
ratios,  as  might  be  expected.  To  keep 
picture-jump  under  the  0.1-inch  range 
on  wide  screens  having  a  height  of 
13%  feet,  mis-registration  of  the  film 
must  not  exceed  0.33  mil  (8.28  mi- 
crons) when  the  aspect  ratio  is  1.66/1; 
0.30  mil  (7.62  microns)  when  the 
ratio  is  1.85/1;  0.27  mil  (6.88  mi- 
crons) when  the  ratio  is  2/1,  or  0.22 
mil  (5.50  microns)  when  the  ratio 
is  2.5/1. 


It  is  to  be  noted  that  only  inter- 
mittent units  of  the  highest  grade  can 
be  depended  on  to  give  jiictures  suffi- 
ciently rocksteady  for  non-anamor- 
phic  projection  with  1.85/1,  2/1,  and 
2.5/1  aspect  ratios — just  one  of 
several  reasons  why  aspect  ratios 
more  extreme  than  1.66/1  or  1.7/1 
should  be  avoided  in  non-anamorphic 
35-mm  projection. 

Projectionist's  Maintenance  Job 

Even  though  the  main  responsibil- 
ity for  the  proper  functioning  of  the 
intermittent  movement  clearly  rests 
upon  the  shoulders  of  the  projector 
manufacturer,  the  projectionist  is  obli- 
gated   to    maintain   this    critical    unit 

How  the  pin-cross  intermittent  works.  One  of 
the  four  pins  is  shown  in  solid  black  for 
identification.  Follow  its  action  to  see  how 
the  diamond  rotates  the  cross  and  attached 
sprocket  which,  of  course,  moves  clockwise. 


INTERNATIONAL  PROJECTIONIST      •      DECEMBER  1954 


for  Tomorrow's  F^lexibility... 

there  is  only  V/ne  anamorphic... 


th 


GG  □  Lb  CD 


XZ7 


ariable  anamorphic  lens 


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fit  both  2^y32    and  4"  lenses  .  . . 
at  the  same  Xow  price! 

.  .  .  plus  the  exclusive  iPual  Mmnob 
controls  for  perfect  screen  coverage 


Price  includes  .  .  . 
support  brackets,  storage 
case,  corrector  lenses  and 
cleaning  brush  .  .  .  truly  a 
complete  package. 

See  Your  Theatre   Supply  Dealer  NOW 


YEARS  OF  SKILLED  OPTICAL  CRAFTSMANSHIP 


PROJECTION  OPTICS  CO. 

Wherever  Fine  Opfics  are  Important 
330  Lyell  Avenue  Rochester  6,  N.  Y. 


in  the  best  possible  condition.  The 
most  accurately  made  intermittent  is 
subject  to  maladjustment,  and  the 
very  hardest  sprocket  will  wear  out 
in   the  couise   of  time. 

Most  projectionists  dislike  the  job 
of  changing  intermittent  sprockets 
when  the  intermittent  unit  is  of  the 
type  which  requires  drastic  dismant- 
ling for  the  completion  of  this  other- 
wise simple  task.  The  danger  of 
misadjustment  is  feared,  and  unex- 
pected delays  in  getting  the  projector 
in  working  order  again  are  not  too 
pleasant  to  contemplate.  It  is  only 
natural  to  want  to  hurry  the  job;  but 
haste  is  the  chief  cause  of  faulty  star- 
and-cam  adjustments. 

European  projector  designers  have 
made  sprocket-changing  so  easy  that 
many  projectionists  overseas  remove 
the  intermittent  sprocket  daily  for 
routine  cleaning  of  the  mechanism. 
By  the  use  of  long  starwheel  shafts 
and  sturdy  inner  bearings,  the  need 
for  clumsy  outboard  bearings  is  elim- 
inated; and  by  fixing  the  sprocket  to 
its  shaft  by  means  of  the  end-screw 
and  nut-and-bolt  methods  previously 
described,  troublesome  taper  pins  are 
also   done   away   with. 


With  few  exceptions,  the  latest 
American  projectors  also  utilize  con- 
structions which  enable  the  projec- 
tionist to  remove  and  replace  inter- 
mittent sprockets  without  the  need  of 
taking  the  entire  machine  apart.  But 
many  of  the  older  projectors  are  still 
in  use,  and,  accordingly,  thousands 
of  projectionists  who  prefer  to  do 
their  own  sprocket-changing  must  still 
go  through  the  complicated  ritual 
required  by  these  old-time  projectors. 

Sprocket-Changing  Procedure 

The  double-bearing  movement  used 
in  the  Simplex  Regular  and  Super 
Simplex  mechanisms  is  representative; 
and  since  it  is  necessary  to  remove 
the  whole  intermittent  movement  from 
the  mechanism,  and  also  to  take  the 
movement  apart,  a  definite  procedure 
is  to  be  followed  when  changing 
sprockets. 

At  every  stage  of  the  operation  the 
projectionist  should  have  but  one 
thought  uppermost  in  his  mind,  name- 
ly, to  guard  against  damaging  the 
delicate  and  accurately  made  parts 
of  the  intermittent.  And  the  sprocket, 
itself,  is  one  of  these  parts. 

The   very   first  thing  to   do   in   the 


The  two>fold  advantage  in  shutters  which  can  be  used  with  5-to-1 '  Intermittent  movements.  The 
"BriMiant"  shutter  has  the  same  periodicity  as  the  conventional  shutter— 48  cycles  per  second- 
but  transmits  much  more  light  to  the  screen,  making  the  picture  brighter.  The  "Flickerless" 
shutter  transmits  the  same  amount  of  light  as  the  conventional  one,  but  its  high  frequency— 72 
cycles  per  second— frees  pictures  projected  at  high  light  levels  from  annoying  $hutter-flicl<er 
evident  with   intense  light  at  48  cycles   per  second. 


120 


C  onventional 

3:1     Intermittent 
48  cycles/ sec. 
Transmlss'ion:         /'^ll^ 
50%  .  CJ 


\ 


5:1   "intermittent 
48   cycles/sec. 
Transmission:    66.67% 


eo-- 


off  "-> 

5:1    intermittent 

72  cycles/sec. 

Transmission:  50% 


case  of  "Regular,"  "Super,"  and 
similar  mechanisms  is  to  open  the 
film  gate  and  remove  the  "spot"  sight- 
box  on  the  back  of  the  mechanism. 
Next,  the  main  drive-gear  is  taken 
out  in  order  to  disengage  the  machine 
mechanically  from  the  sound-head. 
Finally,  the  mechanism  is  turned  by 
the  shutter-shaft  knob  to  note  the 
"feel"  of  the  mechanism  as  the  inter- 
mittent sprocket  starts  to  move.  This 
test  should  be  repeated  after  the  new 
sprocket  has  been  installed  and  be- 
fore the  drive-gear  is  replaced,  thus 
ascertaining  whether  the  movement  is 
properly  adjusted  for  smooth  running. 

Step-by-Step  Plan 

Now  to  get  the  movement  out  of 
the  mechanism. 

1.  Remove  intermediate  gear-shaft  re- 
taining collar.  This  item  is  under  the  lens 
shield,  in  line  with  the  upper  sprocket  and 
crank-shaft.  Turn  the  mechanism  by  hand 
until  the  set-screw  in  the  collar  faces  the 
front  of  the  machine,  then  loosen  this  set- 
screw  by  inserting  a  long  screwdriver 
through  the  hole  in  the  front  of  the  mechan- 


2.  Loosen  the  two  intermittent-movement 
clamps  (operating  side)  and  push  both 
clamps  out  of  the  way  toward  sprocket- 
shaft  so  that  they  no  longer  engage  the 
framing  cam-ring.  Tighten  screws  lightly 
to  hold  clamps  in  this  position. 

3.  Rotate  the  movement  by  means  of  the 
framing  knob  until  the  intermittent  oil- 
tube  (gear  side)  is  in  a  position  to  allow 
the  movement  to  be  withdrawn  from  the 
gear  side. 

4.  Grasp  the  intermediate  gear  in  the 
left  hand  and  the  intermittent  flywheel  in 
the  right  hand,  and  withdraw  both  from 
the  mechanism. 

The  movement  may  now  be  taken 
to  the  workbench  for  removing  the 
sprocket.  Remember  that  the  inter- 
mittent casing  contains  oil,  and  that 
this  should  be  drained  out  by  re- 
moving the  oil-drain  screw.  To  change 
sprockets : 

1.  Remove  film-stripper  from  sprocket 
bearing-bar. 

2.  Remove  the  2  clamping  screws  and  the 
3  or  4  retaining  screws  which  hold  the 
cover  to  the  intermittent  case.  Pull  the 
cover  and  associated  star  and  sprocket  as- 
sembly from  the  case  very  carefully  to  avoid 
scratching  the  surfaces  of  the  delicate  star- 
wheel.  Lay  the  cover-gasket  aside  where  it 
will  stay  clean.  Then  pour  out  remaining 
oil  from  case. 

Note  the  location  of  the  locating-pin  on 
the  case  and  the  corresponding  hole  in  the 
cover. 

3.  Remove    the    collar    of    the    outboard 

(Continued  on  page  47) 


10 


INTERNATIONAL  PROJECTIONIST      •      DECEMBER  1954 


L.onsider  the  star.  The  color  negative 
captures  her  at  her  brilliant  loveliest. 
Here,  time  for  processing  the  film  is  a 
minor  consideration.  But  in  release  prints 
she  must  be  "re-born"  in  all  her  original 
beauty,  again  and  again,  at 
money-making  speed. 

To  do  this— faster— calls  for  meticulous 
attention  to  printing  and  processing  .  .  . 
for  color  printing  control  systems,  for 
example,  that  not  only  provide  exposures 
at  rates  up  to  200  fpm,  but  take  care  of 
scene-to-scene  variations  in  negative 
density  and  in  color  balance. 

Problems  such  as  this  ore  being  solved 
by  the  industry.  As  a  means  of  co-operating 
in  all  areas— especially  in  film  selection, 
film  processing  and  projection— Kodak 
maintains  the  Eastman  Technical  Service 
for  Motion  Picture  Film.  Branches  at 
strategic  centers.  Inquiries  invited. 
Address:  Motion  Picture  Film  Department 

EASTMAN  KODAK  COMPANY 
Rochester  4,  N.  Y. 

East  Coast  Division 

342  Madison  Avenue,  New  York  1  7,  N.  Y. 

West  Coast  Division 

6706  Sonto  Monica  Blvd.,  Hollywood  38,  Calif. 

Midwest  Division 

1  37  North  Wabash  Avenue,  Chicago  2,  Illinois 


INTERNATIONAL  PROJECTIONIST 


DECEMBER   1954 


n 


Vista  Vision  Process  on  the  Move 

By  LOREN  L.  RYDER 
Research   Director,   Paramount  Pictures  Corporation 

Another  of  the  more  interesting  commentaries  at  the  technological  open 
forum  held  at  the  recent  joint  industry  trade  show  in  Chicago  is  the  appended 
discussion  of  Paramount's  Vista  Vision  process  of  taking  and  showing  motion 
pictures.    Comment  upon  and  inquiries  about  this  process  are  invited. 

VISTAVISIOJN  is  a  method  of  improving  photographic  quality  by  using 
larger  negative  images.  We  gain  these  larger  images  by  running  35-mm  film 
through  the  camera  horizontally.  The  exposed  area  consumes  8  sprocket  holes 
of  film  and  provides   an  image  2%   times  the   area   of   a   standard  negative. 

At   the   Paramount   studios,    it  has 


Many  types  of  prints  can  be  made 
from  these  large  VistaVision  negatives. 
Paramount  contemplates  making  only 
three  types  of  prints: 

1.  Standard  Release  Prints 

These  prints  will  play  with  im- 
proved quality  on  existing  equipment 
in  any  theatre  anywhere  in  the  world 
without  spending  a  penny  on  new 
equipment. 

A  further  improvement  will  be 
available  in  theatres  that  are  equip- 
ped with  large  screens — and  the 
best  results  will  be  obtained  with  good 
large  screens  and  good  standard  pro- 
jection   equipment. 

2.  Anamorphic  Squeezed  Prints 
These   prints  will   be   available   for 

those  theatres  that  desire  anamorphic 
prints  and  have  variable  anamorphic 
projection  lenses. 

3.  2-Frame  Horizontal  Release  Prints 
These  are  the  types  of  prints  now 

being  used  in  the  presentation  of 
"White  Christmas"  at  the  New  York 
Music  Hall  and  the  Los  Angeles  War- 
ners Beverly  Hills  Theatre.  This  type 
of  print  is  only  recommended  for 
theatres  with  screens  ranging  from 
50  to  150  feet  in  width. 

We  can  also  make  prints  for  curved 
screens  such  as  Cinerama,  or  TODD- 
AO — and  we  can  make  anamorphic 
prints  of  different  ratios.  This  is  a 
part  of  the  flexibility  of  the  Vista- 
Vision  system. 

SmaW-Screen  Quality  the  Goal 

In  our  VistaVision  work,  our  No. 
1  objective  has  been  to  gain  the  best 
possible  quality  for  the  greatest  pos- 
sible number  of  theatres  from  35-mm 
film  run  through  standard  projection 
equipment!  This  we  feel  we  have  ac- 
complished. It  means  hundreds  of 
thousands — possibly  millions  of  dol- 
lars— savings  to  the  theatres  through- 
out the  world. 


been  apparent  that  the  picture  quality 
in  very  large  theatres,  and  on  very 
large  screens,  is  suffering  by  com- 
parison with  the  picture  quality  in 
smaller  theatres  on  smaller  screens. 
I  believe  this  applies  to  all  processes. 
I  know  that  the  comparison  becomes 
more  apparent  as  the  film  quality 
is  improved. 

Our  No.  2  objective  is  to  provide 
the  same  high  quality  for  large 
theatres  as  we  supply  to  the  smaller 
theatres.  This  is  the  reason  for  the 
double-frame  film  and  double-frame 
projection  for  those  theatres  that  de- 
sire it.  It  is  also  our  opinion  that 
double-frame  projection  can  be  of 
real  help  to  drive-ins. 

Choice  of  Film  Size 

We  shall  make  tests  of  double-frame 
projection  in  drive-ins  and  will  report 
our  findings  to  the  industry  at  large. 
Data  indicates  that  by  using  the 
double-frame  projector  and  project- 
ing the  first  show  on  a  smaller  screen, 
it  should  be  possible  to  open  a  drive-in 
theatre  %  hour  to  one  hour  earlier. 
Early    patrons    would    be    advised   to 


locate  close  to  the  screen  for  best 
viewing  of  the   smaller  picture. 

I  have  also  been  asked:  "Why  35- 
mm  film?  Why  not  70-mm,  65-mm, 
50-mm  film?"  "Why  did  we  at  Para- 
mount sell  the  65-mm  camera  and 
projection  equipment  that  we  owned?" 

The  answer  is  simple  and  straight- 
forward: we  can  project  a  better  pic- 
ture by  the  horizontal  method. 

The  bottleneck  of  motion  picture 
quality,  and  the  greatest  shortcoming 
in  motion  picture  presentation  is  in 
projection.  This  applies  to  all  pro- 
cesses: Cinerama,  CinemaScope,  the 
so-called  standard  projection,  and 
VistaVision.  I  should  also  expect  that 
it  will  apply  to  the  Todd-AO  process. 
This  is  not  a  condemnation  of  projec- 
ection  equipment,  or  the  operation  of 
this  equipment,  it  is  a  statement  of 
fact.  We  are  now  asking  old-style 
equipment  to  do  a  bigger  and  more 
precise  job. 

Film  Buckle  Serious  Problem 

Most  trouble  is  in  film  buckle,  or 
pin-cushioning  of  the  film  in  the  pro- 
jection gate.  This  buckle  and  pin- 
cushioning  is  caused  by  the  rapid 
heating  of  the  film  by  the  projection 
arc.  It  is  a  progressive  effect  that  is 
changing  throughout  the  cycle  of 
screen  illumination  making  it  such 
that  film  focusing  is  at  present  only 
a  compromise.  It  is  interesting  to 
know  that  this  effect  does  not  exist 
on  8-mm  film.  It  is  just  apparent  in 
the  projection  of  16-mm  film;  it  is 
bad  on  35-mm  film,  and  it  is  terrible 
on  65-mm  film. 

In  standard  35-mm  projection,  the 
distance  between  the  film  supports  is 
one  inch.  In  the  case  of  65-mm  film, 
this  distance  is  increased  to  two  inches. 
In  the  VistaVision  process  with  hori- 


The  Story,  "the  Play'  Is  Still  the  Thing 

It  would  seem  that  the  proper  time  to  take  care  of  one's  health  is 
while  healthy.  By  the  same  token,  when  we  are  prosperous,  it  is  the  time 
for  prudence.  There  is  no  question  but  that  the  wide-screen  in  all  its 
aspects  is  theatrical  and  dramatic  and  has  stimulated  the  box-office. 
However,  if  we  are  not  careful  we  will  start  making  pictures  merely  to 
fit  the  frame. 

Audiences  will  quickly  tire  of  seeing  the  same  picture  over  and  over 
again  under  another  title.  We  can  very  readily  decide  that  unless  we 
have  thousands  of  extras  and  sets  20  mile  long,  we  are  not  making  today's 
movies.  We  need  to  get  back  to  the  fundamental  principle  of  letting  the 
story  and  the  story  alone  predominate.  Variety  has  always  been  an 
important  word  in  entertainment. 

DON  HARTMAN 
Production  Department,  Paramount  Pictures  Corp. 


12 


INTERNATIONAL  PROJECTIONIST      •      DECEMBER  1954 


zontal  projection,  we  retain  the  ad- 
vantage of  the  one-inch  support  and, 
at  the  same  time,  gain  the  desired 
increase   in  picture   area. 

We  at  Paramount  often  hear  this 
saying:  that  if  the  larger  picture 
image  of  VistaVision  is  better  than 
the  standard  image  size,  wouldn't  a 
still  larger  image  be  even  better? 

Film  Image,  Depth  of  Focus 

The  answer  is:  No!  As  we  increase 
the  size  of  the  picture  image,  we  in- 
crease the  picture  sharpness  in  the 
plane  of  lens  focus — but  the  incre- 
ment of  advantage  from  this  increase 
diminishes  very  rapidly  after  the 
image  size  has  arrived  at  the  point 
where  the  picture  quality  is  better  than 
that  which  can  be  seen  by  the  eye.  As 
the  picture  size  increases,  the  visible 
grain  diminishes,  but  here,  too,  the 
increment  of  improvement  diminishes 
very  rapidly,  after  the  grain  size  has 
been  reduced  to  smaller  than  that 
which  can  be  seen  by  the  eye. 

As  the  size  of  the  image  increases, 
the  depth  of  the  field  of  the  lenses 
(depth  of  focus)  diminishes.  There- 
fore, the  larger  the  negative  image, 
the  greater  the  tendency  for  the  fore- 
ground and  background  to  be  out  of 
focus. 

In  the  VistaVision  process  we  have 
increased  the  size  of  the  negative 
image  to  the  optimum  point  of  picture 
improvement.  If  our  computations 
are  correct,  all  other  systems  will 
trend  toward  the  Paramount  image 
size. 

Projection  the  Bottle-Neck? 

Earlier  in  this  discussion  we  men- 
tioned the  projection  bottle-neck.  Now 
we  say,  what  are  the  reasons  for  this 
bottle-neck,  and  what  can  be  done 
to  improve  this  situation?  We  must 
first  keep  in  mind  that  the  old  pro- 
jectors were  pretty  adequate  for  the 
old  photography,  on  the  old  postage- 
stamp  screens.  As  the  quality  im- 
proves, especially  as  demonstrated  by 
the  VistaVision  process,  and  as  the 
screen  size  increases,  new  thinking 
and  greater  precision  must  be  incorp- 
orated in  these  equipments. 

The  projection  optics  are  mechan- 
ically lined  up  with  the  projection 
gate.  This  alignment  does  not  comply 
with  the  offset  picture  image  on  the 
curved  screen.  This  is  the  reason  why 
(Continued  on  page  46) 


Air  Blast,  Water-Cooling  Joined    in  New 
Conversion  Unit  for  Simplex  X-L 


^  I  ^  HE  use  of  bigger  screens  in  in- 
-*-  door  and  drive-in  theatres  pre- 
sents in  larger  or  more  visible  form 
any  defects  that  may  exist  in  the 
picture  or  the  projection  technique. 
One  of  the  defects  which  has  been 
known  to  exist  is  the  slight  loss  in 
sharpness,  caused  by  variations  in  the 
position  of  the  film  plane  in  the  pic- 
ture gate  as  the  film  buckles  under  the 
heating  effect  of  the  light  passing 
through  it. 

Because  of  the  larger  screen,  the 
actual  light  values  have  been  increased 
thus  causing  the  magnitude  of  the 
buckling  effect  to  increase.  Short- 
focal-length  lenses,  sometimes  used  to 
obtain  the  larger  pictures,  place  even 
more  stringent  requirements  on  film 
positioning. 

Conversion  Unit  for  Simplex  X-L 

All  these  factors  make  it  more  im- 
portant to  use  every  technique  known 
which  will  improve  the  stability  of 
the  film  in  the  gate.  One  very  promis- 
ing technique,  which  the  writer  dis- 
cussed in  a  previous  issue  of  IP,t  in- 
volves the  use  of  air  blown  against  the 
two  sides  of  the  film  to  accomplish 
the  dual  purpose  of  carrying  the  heat 
away  from  the  film  and  constraining 
the   film   to   remain   in   an   essentially 


■y  "Modulated  Air  Blast  for  Reducing  Film  Buckle;" 
IP  for  October,   1952,  p.   14. 


constant  position  during  the  projection 
cycle. 

The  work  reported  on  earlier  has 
been  carried  further,  and  there  is 
now  a  conversion  design  for  Simplex 
X-L  projectors.  In  this  conversion  de- 
sign we  have  three  principal  features: 

First,  is  a  continuous  stream  of  air 
that  blows  against  the  film  on  the  arc- 
lamp  side.  This  air  stream  carries 
away  the  majority  of  the  heat,  and  it 
also  exerts  a  force  on  the  film  towards 
the  lens  in  opposition  to  the  usual 
direction  of  buckle.  This  would  re- 
sult in  a  reduction  of  the  magnitude 
of  the  buckle  observed,  but  it  would 
not  prevent  a  considerable  variation  in 
the  instantaneous  buckle  during  the 
exposure  period. 

Second,  a  modulated  blast  of  air, 
directed  against  the  lens  side  of  the 
film,  which  minimizes  this  variation 
in   instantaneous  buckle. 

Third,  a  water-cooled  film  trap 
which  carries  heat  away  from  all  the 
metal  parts  surrounding  the  aperture. 
Modern  arclamps  with  high  light  out- 
puts and  high-speed  optical  systems 
have  a  light-cone  angle  which  makes 
the  shielding  of  stray  light  by  means 
of  heat  baffles  very  difficult.  The 
water  jacket  absorbs  the  stray  light 
and  also  shields  and  cools  the  rear 
air  nozzle. — William  Borberg,  Chief 
Mechanical  Design  Engineer,  General 
Precision  Laboratory,  Inc. 


Graphical  representation  of 
the  new  air-blast,  water- 
cooling  attachment  for  the 
Simplex  X-L  projector, 
which  was  designed  follow, 
ing  exhaustive  tests  to 
alleviate  in  great  measure 
the  enervating  effects  of 
high-intensity  arc  heat  upon 
the  film. 


Front 
Aiie 


DISTEIBUTION 

BLoctc 


W/'TEie—  Cooled 
Trap 


W^TER 

Feed  4  Return 


INTERNATIONAL  PROJECTIONIST      •      DECEMBER  1954 


13 


New  film  processes  demand 

the  "Rock-Steady"  projection 

of  an  RCA  "100" 


AUTOMATIC  LUBRICATION,  famed  long-life  feature  of 
the  RCA  "100"  Projector,  assures  dependable,  high-quality 
performance  in  drive-ins  and  indoor  houses  alike.  Gears, 
shafts,  bearings — all  moving  ports  are  showered  con- 
tinuously with  oil  for  cool,  frictionless  operation.  Dustproof 
gear  cover  keeps  oil  inside,  dirt  outside. 


Screen  images  hold  steady  as  a  rock  when  any  new-process 
film  runs  through  an  RCA  "100"  Projector.  RCA,  the  name 
that's  outstanding  in  projection  and  sound,  engineers  this 
superb  projector  with  special  three-way  close  tolerances. 
In  the  precision  gear  train,  in  all  moving  parts,  in  heavy 
intermittent  movements  .  .  .  these  close  tolerances  mean 
steady  projection  that's  always  dependable. 

Of  course  there  are  more — lots  more — big  RCA  "100" 
efficiency  features  .  .  .  like  automatic  lubrication  .  .  .  wide 
mesh  gear  train  to  reduce  mechanical  load  and  wear  in 
both  starting  and  running  .  .  .  nylon  pad  rollers  to  eliminate 
all    need    for   lubrication    in    the    operating    compartment. 


THEATRE  EQUIPMENT 


These  and  other  RCA  "100"  exclusives  keep  maintenance 
costs  right  down  to  the  barest  minimum. 

Flood-lighting  in  the  film  compartment  of  the  RCA  "100" 
assures  fast,  accurate  film  threading.  Full  view  glass  doors 
on  both  film  and  gear  compartments  allow  an  easy  check 
on  vital  mechanism  while  projector  is  in  action.  And  the 
extra  light  delivered  by  an  RCA  "100"  gives  all  the  sharp 
picture  definition  called  for  by  larger,  wider  screens. 

Across  the  country,  drive-in  and  indoor  exhibitors  already 
know  the  advantages  of  RCA  "100"  Projectors  for  every 
film  they  show.  RCA  "100"  performance,  economy  and 
long  life  can  be  yours  now!  See  your  independent  RCA 
Theatre  Supply  Dealer  for  all  the  facts. 


RADIO  CORPORATION  of  AMERICA 


ENGINEERING  PRODUCTS  DIVISION 


CAMDEN^  N.J. 


On  the  Production  Front 


The  History  of  Studio  Lighting 


The  use  of  artificial  light  in  motion  picture  production  has 
followed  a  number  of  recurring  cycles.  Usually  the  carbon 
arc  has  been  king.  However,  it  sometimes  has  been  re- 
placed in  dominance  by  tungsten.  The  following  article 
traces    the    story    of    studio    lighting    from    its    inception. 


THE  ENERGY  with  which  some 
people  have  attempted  to  reduce 
motion-picture  set  lighting  to  a 
strictly  mechanical  function  indicates 
that  the  importance  of  light  in  motion- 
picture  photography  was  probably 
not  fully  appreciated  even  by  some  of 
the  people  who  depended  upon  the 
control  of  light  for  their  livelihood. 

A  natural  desire  on  the  part  of 
production  units  to  simplify  lighting 
to  the  extent  of  a  pushbutton  formula 
and  to  arrive  at  a  Utopian  position 
where  pictures  are  made  on  a  pro- 
duction-line basis  has  influenced  his- 
torical trends  in  motion-picture  set 
lighting.  Some  of  these  shifts  have 
been  responsible  for  major  improve- 
ments in  picture  quality,  while  others, 
which  were  based  on  supposed  econ- 
omic gains  alone,  have  often  forced 
compromises  with  dramatic  effect  to 
the  serious  detriment  of  the  finished 
product. 

Dramatic  Lighting 

The  film  technician  may  desire  a 
negative  showing  some  detail  in  all 
shadow  and  highlight  areas  with  most 
of  the  density  range  on  the  straight- 
line  portion  of  the  gamma  curve.  It 
is  this  desire  for  his  own  limited  goal 
that  has  often  encouraged  him  to  extol 
the  merits  of  flat  light.  The  art  direc- 
tor may  desire  sufficient  overall  den- 
sity to  insure  an  appreciation  of  the 
beauty  of  his  set.  But  the  director 
and  cinematographer  may  be  striving 
for  a  dramatic  effect  that  fails  to  meet 
the  desired  requirements  of  either 
film  technician  or  art  director,  yet 
does  achieve  the  end  result  in  that 
particular  shot  of  affecting  the  senses 
of   the    theater   patron    in    a    manner 

t  Journal    of    the    SMPTE,    October,    1954. 


By  CHARLES  W.  HANDLEY 

National  Carbon  Co. 

which  will  forward  the  total   desired 
effect  of  the  story. 

In  the  beginning,  little  thought  was 
given  to  anything  except  a  sufficient 
amount  of  light  to  provide  exposure. 
Novelty  effect  took  the  place  of  dram- 
atic effect.  The  motion  picture  was 
a  magic  lantern  with  movement,  "just 
a  passing  fancy." 

It  is  true  that  as  early  as  the  turn 
of  the  century,  Thomas  Edison  built 
an  experimental  motion-picture  stage 
which  was  mounted  on  a  turntable  so 


it  could  be  rotated  to  foflow  the 
changing  relative  location  of  the  sun. 
The  infant  industry,  however,  was 
in  no  position  to  try  any  costly  ex- 
periments. As  a  matter  of  fact,  where 
the  cameraman  helped  to  write  the 
script,  build  the  sets  and  even  double 
in  brass  for  all  types  of  production 
work,  there  was  little  time  for  artistic 
expression. 

Fortunately,  as  the  motion-picture 
industry  began  to  expand,  there  was 
a  considerable  number  of  people  who 
saw  the  possibilities  of  the  medium 
as  a  means  for  dramatic  effect  and 
the  cameraman  was  one  of  the  major 
leaders  toward  creating  dramatic  re- 
sults that  would  entertain  people  by 
affecting  them  emotionally. 

Only  Sunlight  Available 

At  that  time  in  motion-picture  pro- 
duction, sunlight  was  the  only  avail- 
able light  source  and  sets  were  photo- 
graphed on  open  stages  with  muslin 
diffusers    mounted    on    wires   so   they 


FIG.  1.  A  Paramount  picture  photographed  in  1939.  Sunlight  is  the  light  source.  Note  the 
use  of  reflectors  and  circular  scrim  protecting  some  of  the  principals  from  overly  strong 
shadow  effects.  Street  set  is  rigged  with  canvas  roof  that  may  be  pulled  over  to  make  closed 
set,   if   artificial    light   is   used. 


INTERNATIONAL  PROJECTIONIST      •      DECEMBER   1954 


15 


FIG.    2.     An    early   type    of   solenoid   feed 
carbon-arc    floodlomp. 

could  be  adjusted  to  control  the  light. 
Various  types  of  reflectors  were  also 
used  to  redirect  the  rays  from  the 
sun  and  avoid  heavy  shadows  on  the 
faces  of  the  characters  and  throughout 
the  set.  A  wide  ascortment  of  trans- 
lucent and  opaque  objects  are  still 
in  general  use  to  diffuse  and  control 
light    (Fig.    1). 

Co/or  Quality  To  Fore 

Because  pictures  were  made  in 
black-and-white,  the  question  of  color 
quality  was  not  so  important  as  it  is 
today.  However,  the  cameraman  was 
handicapped  by  wide  variations  in  in- 
tensity and  position  of  his  sunlight 
source  throughout  the  day,  and  during 
inclement  weather  he  was  unable  to 
work   at  all. 

As  a  natural  outgrowth  of  this  situa- 
tion, glass  stages  similar  to  large 
greenhouses  were  constructed  and  dif- 
fusers  were  installed  as  on  the  open 
stages.  The  reason  for  the  glass  stage 
was  to  permit  the  picture  companies 
to  operate  during  inclement  weather; 
however,  the  advent  of  artificial  light- 
ing at  about  the  same  period  made 
them  obsolete  and  they  were  seldom 
used  in  the  manner  for  which  they 
were  originally  designed. 


16 


The  advantages  of  working  under 
artificial  light  were  so  great  that  most 
of  the  sets  built  inside  of  the  glass 
stages  were  covered  over  with  canvas, 
or  other  means  were  employed  to 
exclude  the  natural  light.  Later,  the 
glass  panels  were  painted  black  so 
the  natural  light  could  not  interfere 
with  the  controllable  artificial  illum- 
ination being  used. 

In  the  earlier  serious  attempts  at 
set  lighting  the  cameraman  worked 
with  old-type,  street-lighting  carbon 
arcs  and  banks  of  Cooper-Hewitt 
mercury  tubes  placed  directly  over- 
head and  at  angles  in  an  attempt  to 
obtain  a  flat,  diffused  light  all  over 
the  set.  Cooper-Hewitt  mercury  lamps 
were  installed  in  the  Biograph  Studios, 
New  York,  as  early  as  1905.  Overall 
exposure  requirements,  lack  of  ade- 
quate equipment  and  economics  made 
anything  but  flat  lighting  difficult,  if 
not  impossible,  to  attain. 

Powerful  Lights  Required 

It  was  known  by  the  cameramen 
that  added  interest,  improved  per- 
spective, increased  illusion  of  depth 
and  much  greater  dramatic  effect 
would  be  obtained  if  they  could  skill- 
fully utilize  powerful  light  sources 
that  would  give  them  the  effect  of  a 
one-source  lighting  such  as  could  be 
obtained  from  the  sun  under  ideal 
conditions,  but  the  industry  had  not 
yet  attained  the  position  where  such 
specialized  equipment  could  be  prop- 
erly designed  and  made. 

The  time  finally  arrived  when  the 
public  had  accepted  the  silent  pictures 
and  fortunes  were  being  made  in 
production.  This  brought  competi- 
tion, which  in  turn  opened  the  door 
for     the     cameraman     to     take     some 


chances,  to  try  anything  he  could  get 
his  hands  on,  to  use  his  creative 
ability  without  fear  of  sudden  re- 
placement by  a  penny-wise  manage- 
ment. In  1912,  white  flame  carbon 
arcs  replaced  the  low-intensity  en- 
closed arcs  at  Biograph. 

One  of  the  cameraman's  first  de- 
mands was  for  a  controllable  light 
source  that  would  give  him  twice  the 
power  and  twice  the  penetration  ca- 
pacity of  anything  he  had.  His  only 
source  of  equipment  was  to  follow 
precedent  and  adapt  from  other  fields 
as  had  been  done  with  the  street- 
lighting  carbon  arcs  and  the  Cooper- 
Hewitt  mercury  banks. 

Origin  of  Term  "Klieg  Light" 

Carbon-arc  floodlamps,  better 
adapted  to  floor  lighting  than  the 
other  equipment,  were  obtained  from 
the  graphic-arts  and  still-photographic 
fields  (Fig.  2).  Carbon-arc  spotlamps 
were  purchased  from  the  theater- 
projection  and  stage-lighting  fields. 
Such  lighting  equipment  companies  as 
M.  J.  Wohl'  &  Co.  and  Kliegl  Bros., 
of  New  York,  turned  their  attention 
to  motion-picture  studio  lighting 
equipment.  It  was  from  the  name 
Kliegl  that  the  "Klieg-light"  origin- 
ated. Even  the  military  searchlight 
was  adapted  for  use  where  a  greater 
amount  of  light  was  needed  (Fig.  3). 

The  status  of  the  cameraman  im- 
proved with  his  increased  ability, 
from  both  the  equipment  and  econ- 
omic angle,  to  show  what  could  be 
done  with  light  and  his  title  was 
changed  to  Cinematographer,  or  Di- 
rector of  Photography. 

Because  they  could  be  placed  where 
the  carbon  arc  could  not,  and  because 
(Continued  on  page  40) 


FIG.  3.  "Sunlight"  arc 
lamps  —  24-  and  36- 
inch  —  popular  during 
the  1920's  and  early 
1930's.  This  equip- 
ment was  adapted 
from  the  military 
searchlight. 


INTERNATIONAL  PROJECTIONIST 


DECEMBER  1954 


\ 


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THE  VIDOSCOPE  COMPANY 

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is  happy  to  solute  the  thousands  of  projectionists 
whose  talents  have  contributed  so  substantioiiy  to  the 
overwhelming  success  of  CihemoScope  present0tionis 
through  the  world  and  thus  increased  the  stature 
of  our  industry  everywhere.  Our  thanks  and  very 
best  wishes  for  continuing  success  of  our  joint   : 
efforts,  which,  as  we  all  know,  is  dependent  upon 
the  vital  ingredient    of  showmanship. 


With  grateful  ackno 
friends  and  co-worl 


Oi':*     f 


¥^v\r%   A//i»ii|F' 


Leonard 
Satz 


follows,  therefore,  that  such  reflected 
light  is  totally  wasted. 

Varying  Conditions  Requisites 

I  do  not  mean  to  infer  that  nothing 
can  be  done  about  it.  The  equipment 
manufacturers  are  constantly  striving 
to  improve  every  facet  of  motion  pic- 
ture theatre  projection  and  sound. 
There  is  a  correct  screen  and  correct 
equipment  for  every  theatre.  Situa- 
tions will  vary,  of  course,  but  most  of 
the  answers  are  available.    All  factors 


This    Matter    of    Correct    Screen    Surfaces 

One  of  the  more  interesting  expositions  at  the  recent  giant 
trade  show  in  Chicago  was  the  offering  by  Leonard  Satz,  Raytone 
Screen  Corp.,  excerpts  from  which  are  appended  hereto. 


THE  problems  of  the  screen  manu- 
facturers are  closely  interlaced 
with  those  of  the  lamp  and  optical 
manufacturers.  More  and  more  light 
is  the  cry  today.  Wide  screens  and 
various  wide-screen  techniques  require 
more  light  because  the  available  il- 
lumination is  spread  over  a  large 
area,  thus  the  screen  tends  to  have 
less  brightness.  The  ways  in  which 
we  can  make  more  light  available  are: 

1.  To  increase  the  output  of  the 
light  source. 

2.  Increase  the  brightness  of  the 
screen. 

3.  A  combination  of  both  1  and  2. 

4.  Improved  optical  designs  — 
not  only  in  the  lens  or  the  method  of 
presentation  —  but  also  in  the  arclamp 
and  projector. 

Theory— Practicality  Clash 

We  all  know  that,  theoretically, 
faster  lenses  can  help  this  problem, 
but  if  the  light  from  the  arc  is  not 
correctly  directed  through  the  projec- 
tor aperture,  the  faster  lens  cannot 
be  used  to  best  advantage.  Another 
thing  to  remember  is  that  all  things 
are  not  obtainable  in  optics.  The 
faster  the  lens,  the  more  likely  there 
will  be  poor  definition  at  the  extreme 
sides  when  short  focal  lenses  are  used. 

The  past  year  has  proven  one  thing 
in  particular  to  me  as  a  screen  manu- 
facturer: the  great  majority  of  ex- 
hibitors demand  a  metallic  screen  that 
has  perfect  uniformity  of  surface 
above  all  else.  Brightness  and  light 
distribution  must  also  be  provided  in 
good  balance. 

Lately  it  has  been  suggested  by 
some  that  white  screens  are  good 
enough  for  wide  screen  techniques, 
that  they  give  better  distribution  of 
light  to  the  sides.  Certainly,  they 
diffuse  light  efficiently  —  not  only  to 
the  sides,  but  to  the  ceiling  and  floor 
as  well.  To  assert  that  such  a  screen 
should  be  used  for  every  type  of  pro- 
jection is  illogical. 

Such  a  surface  puts  a  very  large 
percentage  of  its  reflected  light  where 
it  is  either  difficult  to  seat  patrons, 
such  as  the  extreme  front  sides,  or 
impossible  to  seat  them,  such  as  on 
the   ceiling   or   on   the   stage  floor.    It 


applicable  to  a  given  situation  must 
be  weighed  carefully  before  the  pur- 
chase and  installation  of  the  equip- 
ment. 

The  writer  suggests  the  use  as  a 
guide  of  the  recommendations  and  re- 
ports of  the  SMPTE  and  the  Motion 
Picture  Research  Council.  A  few 
years  back,  a  survey  conducted  by 
the  SMPTE  indicated  that  the 
majority  of  theatres  in  this  country 
were  sub-standard  and  did  not  have 
9  to  14  foot-lamberts  of  reflected  light 
on  their  screens  (mostly  white 
screens) . 

The  average  theatre  today  can 
meet  those  standards  if  it  uses  a  high- 
gain  metallic  screen  and  an  adequate 
light  source  with  wide-angle  tech- 
niques. It  does  not  meet  these  stand- 
ards on  a  white  sheet  unless  the  light 
output  has  been  greatly  increased  in 
the  projection   room. 

Another  point  worth  remembering: 
assuming  we  have  an  adequate  given 
amount  of  light  at  the  arc,  say,  70 
amperes,  a  40-foot-wide  metallic  screen 
can  reflect  9  to  14  foot-lamberts  back 
to  the  largest  seating  area  of  the 
theatre,  represented  by  a  quadrant  of 


Reflection  vs.  Refraction 

While  with  spherical  mirrors  light, 
is  reflected  according  to  the  laws  of 
reflection  to  an  approximate  focus  (we 
shall  see  later  why  the  focus  is  never 
exactly  a  point)  lenses  make  use  of  a 
different  property  of  glass,  called  re- 
fr  action. 

Refraction  simply  means  bending. 
Whenever  a  ray  of  light  passes  at  an 
angle  from  one  material  into  another 
of  different  d  e  n  s  i  t  y — air  to  glass, 
glass  to  air,  water  to  air  are  the  three 
most  common  examples — it  is  bent 
or  refracted. 

Here  is  a  simple  way  of  understand- 
ing what  happens.  Suppose  a  number 
of  soldiers  are  marching  in  line  abreast, 
and  they  step  off  a  hard  smooth  sur- 
face the  edge  of  which  is  at  an  angle 
lo  the  line  of  march,  on  to  some  sticky 
muddy  ground  (Fig.  1).  As  each  man 
steps  off  into  the  mud  he  will  be  slowed 
down,  and  gradually  the  right-hand 
men  will  get  more  and  more  behind 
(sketch  b).  Eventually  the  line  of 
soldiers  will  be  marching  at  a  different 
angle. 

Passage  of  Light  Depicted 

The  same  thing  happens  with  light. 
A  ray  of  light  which  has  been  passing 
freely  through  air  suddenly  comes  to 
the  surface  of  a  block  of  glass  through 
which  it  cannot  move  so  easily.    If  this 


glass  surface  is  at  an  angle  to  the 
direction  of  the  ray  (Fig.  2),  then  the 
ray  will  be  bent.  If  our  piece  of  glass 
is  flat  (a  in  Fig.  2)  it  will  straighten 
out  again  after  it  has  left  the  glass. 
But   if   the   glass   is   in   the    form   of   a 


FIGURE   2 

prism,  there  will  be  a  second  bending 
or  refraction  when  the  light  reaches 
the  farther  side  of  the  glass,  just  as 
there  would  be  if  our  line  of  soldiers 
came  to  the  end  of  the  patch  of  mud. 
When  the  light  emerges  from  the  prism 
it  will  be  travelling  in  a  different 
direction   (b  in  Fig.  2). 

R.  H.  Cricks,  Ideal  Kinema. 


INTERNATIONAL  PROJECTIONIST      C      DECEMBER   1954 


19 


60°  from  the  center  of  the  screen. 
True,  beyond  this  60°  quadrant  —  on 
either  side  —  the  reflectance  will  fall 
below  the  9-foot-lambert  minimum; 
but  the  same  arclamps  could  not  re- 
turn any  more  than  7  foot-lamberts 
(probobly  less)  from  the  center  of  a 
40-foot-wide  white  screen,  and  less  at 
the  sides. 

Thus,  the  comparison  at  the  sides 
of  the  theatre  is  equal  and  unsatis- 
factory with  either  type  —  but  far 
superior  with  the  metallic  screen  for 
the  greatest  number  of  desirable  seats. 

Curvaiure  of  the  Screen 

Npw,  a  word  about  curving  the 
creen.  Knowing  the  reflectance  char- 
acteristics of  our  screen  .  .  .  which 
are  typical  of  certain  others  ...  we 
recommend  a  curvature  equal  to  the 
radius  of  the  throw.  It  improves  the 
light  distribution  at  the  sides  of  the 
average  auditorium.  We  also  recom- 
mend,  in    balcony    houses    especially, 


tilting  the  screen  backward  slightly. 
This  will  balance  the  reflection  of 
light  between  the  balcony  and 
orchestra. 

The  drive-in  theatre  problem  is  es- 
sentially the  same  as  the  indoor 
theatre.  Results,  however,  are  mostly 
sub-standard — something  on  the  order 
of  4  foot-lamberts  of  reflected  light 
because  of  the  very  large  screen  size. 
But  because  the  screen  area  is  so  very 
large,  we  accept  the  results.  The  human 
eye  is  a  remarkable  optical  instru- 
ment: visual  acuity,  or  the  ability  of 
the  eye  to  perceive  details,  improves 
as  the  size  of  the  image  increases. 

More  light  is  needed.  More  light 
will  be  made  available  as  the  equip- 
ment industry  progresses.  Another 
year  I  am  certain,  will  bring  about 
definite  improvement  in  equipment 
and  procedure. 

Herewith   an   interesting   question   from 


the    floor,    and    the    answer    thereto    by 
Mr.  Satz. 

QUESTION:  Do  you  recommend  that 

I  curve   my   drive-in   screen   tower? 

ANSWER:  Yes,  I  do.  For  the  reason 
that  both  indoors  and  out  a  specular 
or  semi-specular  type  of  surface  will 
give  better  distribution  of  light  at  the 
sides  of  the  arena  or  auditorium. 

Curving  is  not  for  the  purpose  of 
creating  an  illusion  of  depth.  It  is 
possible  that  one  of  our  optical  experts 
might  give  us  an  opinion  on  curving 
a  screen  as  far  as  optics  are  concerned. 

II  is   possible   that   they   may    disagree 
with  the  theory  of  curving  a  screen. 

It  is  my  opinion,  and  in  this  regard 
1  agree  with  the  remarks  just  made 
by  Mr.  Sponable,  (research  director 
for  20th  Century-Fox  j,  that  screens 
should  be  curved  indoors  and  out  on  a 
radius  equal  to  that  of  the  projection 
distance.  Improved  screen  surfaces  of 
the  future  will  probably  require  a  slight 
curvature. 


Kit  Modernizes   Simplex  E-7,   Super   Heads 


A  reasonably-priced  conversion  kit  to 
better  adapt  the  Simplex  E-7  and  Super 
projector  heads  only  to  the  new  processes 
has  been  marketed  by  the  Bizzelle 
Cinema  Supply  Co.,  420  West  45th  St., 
New  York  City.  The  combination  face 
plate  and  lens  carriage  provided  in  the 
kit  makes  it  possible  for  these  mech- 
anisms to  take  4-inch  lenses,  and  also 
provides  for  horizontal  and  vertical  ad- 
justments of  the  lens  carriage  so  that 
the  procedure  for  switching  from 
CinemaScope  to  non-anamorphic  pro- 
jection is  greatly  simplified. 

According  to  C.  P.  O'Grady,  vice-presi- 
dent of  Bizzelle  Cinema  Supply,  the 
modification  device,  known  as  the  Cine- 
center,  which  is  contained  in  the  kit. 
can  be  installed  either  by  a  serviceman 
or  by  the  projecdonist  himself.  It  is 
only  necessary  to  follow  simple  directions 
for  removing  the  front  cover  and  the 
standard  2  25/.32-inch  lens  carriage 
from  the  mechanism.  Then  the  new  at- 
tachment can  be  installed  with  a  screw- 
driver. 

Simple   Installation  Operation 

The  accompanying  illustration  shows 
the  attachment  mounted  on  an  E-7  pro- 
jector head.  Arrow  A  points  to  the 
entire  Cinecenter  attachment.  Arrows 
B  and  C  point  to  the  vertical  and  hori- 
zontal adjustment  locks  for  changing 
the  position  of  the  lens.  Arrow  D  shows 
the  focusing  knob  and  lock  of  the  new 
lens  carriage.    Arrow   E   at   the  bottom 


points  to  an  extra  adapter  that  permits 
the  projectionist  to  use  a  small  diameter 
lens  in  the  larger  carriage  whenever 
necessary. 

While  all  makes  and  focal  lengths  of 


The  Cinecenter  attachment  is  shown  above 
enciosed  within  the  black-and-white  rectangle 
and  installed  on  a  Simplex  E-7  mechanism. 
A  four-inch  Kollmorgen  lens  is  mounted  in 
the  Cinecenter  carriage.  Features  indicated  by 
arrows   are   explained    in   accompanying   story. 


2  25/32-inch  diameter  lens  can  be  used 
with  the  extra  adapter  provided,  not  all 
four-inch  diameter  lenses  can  be  used 
because  of  the  limitation  in  the  distance 
between  the  optical  center  and  center 
frame  of  the  E-7  and  Super.  The  Koll- 
morgen four-inch  lens  will  fit  because 
the  rear  of  this  lens  narrows  in  a  series 
of  steps  allowing  it  to  pass  the  obstruc- 
tion. In  addi;ion  to  its  other  features, 
the  Cinecenter  is  said  to  prevent  vig- 
netting which  sometimes  occurs  when 
extremely  short  focus  lenses  are  mounted 
in  older  projector  heads  and  part  of  the 
beam  is  blocked  by  the  mechanism. 


2,010-Car  Drive-!n  Planned 

Despite  efforts  by  the  Hartford,  Conn., 
city  council  to  halt  plans  for  the  con- 
struction of  what  is  described  as  the 
world's  largest  drive-in  (2,010  cars)  in 
that  area,  a  green  light  has  been  given. 

Both  a  majority  of  the  council  and 
the  city's  planning  commissioner  were 
unable  to  find  any  legal  basis  for  halt- 
ing the  venture  so  that  the  area  could 
be  used  for  a  more  tax-productive  in- 
dustrial development.  The  prospective 
builder  of  the  giant  drive-in  is  A.  J. 
Bronstein,  who  operates  other  drive-ins 
in  Connecticut. 


Local  Taxes  Hurt  Theatres 

Local  taxes  imposed  on  the  nation's 
theatres  are  draining  off  a  minimum  of 
?36,000,000  annually,  according  to  a 
leport  from  the  Committee  of  Motion 
Picture   Organizations. 


20 


INTERNATIONAL  PROJECTIONIST 


DECEMBER  1954 


Vi»'|V 


'A 


PROJECTION    ARC    LAMP 


NATIONAL^ 

pxc  elite' 


Be  sure  to  get  the  lamp  that  is  readily  adaptable  to  all  types  of  modern  screen  presentation. 

National's  Reflect-O-Heat  unit  permits  the  great  increase  in  volume  of  light  at  the  mammoth 
new  screens,  without  a  corresponding  increase  in  heat  at  the  aperture. 

The  Automatic  Crater  Positioning  Control  System  insures  that  both  carbons  are  so  fed  as  to 
maintain  a  correct  arc  gap  length  and  to  keep  the  position  of  the  positive  crater  at  the  exact 
focal  point  of  the  reflector.  Thus,  throughout  the  presentation,  the  screen  light  is  always  of 
the  same  color,  without  variations  from  white  to  either  blue  or  brown.  The  projectionist  is 
accordingly  freed  from  the  necessity  of  constantly  supervising  the  arc  so  that  he  can  devote 
himself  to  the  care  of  other  technical  features  of  projection  which  are  not  on  an  automatic 
basis  and  which  require  continual  attention. 

The  arc  is  stabilized  by  a  stream  of  air  which  maintains  a  prescribed  system  of  ventilation 
of  the  area  surrounding  the  arc.  This  air  jet  prevents  the  hot  tail  flame  of  the  arc  from  reaching 
the  reflector,  supplies  enough  oxygen  so  that  no  black  soot  is  produced,  and  keeps  white  soot 
from  collecting  on  the  reflector  in  such  quantity  as  to  absorb  heat  which  would  cause  breakage. 

Unit  construction  permits  easy  removal  of  the  elements  for  inspection  in  servicing. 


GENERAL 


A   SUBSIDIARY   OF 


•THERE'S  A  BRANCH    NEAR  YOU" 


m 


PRECISION 
EQUIPMENT 


CORPORATION 


INTERNATIONAL  PROJECTIONIST 


DECEMBER  1954 


il 


r 


G^ftatest  S(/stem  B^r*  FVojected! 


Paramount  thanks  America's  projectionists  for  their 
enthusiastic  cooperation  in  the  successful  introduction 
of  VistaVision  with  Irving  Berlin's  WHITE  CHRISTMAS. 
From  our  studio,  now  completely  converted  to  VistaVision 
production,  w^ill  come  many  theatre -filling  attractions 
throughout  1955. 

The  marked  increase  in  theatre  attendance  which 
VistaVision  has  already  contributed  to  the  economic  wel- 
fare of  our  industry  can  be  extended  only  thru  the  best 
efforts  of  producers,  exhibitors  and  projectionists  w^ork- 
ing  together  toward  its  perfect  presentation  to  the  public. 


22 


INTERNATIONAL  PROJECTIONIST     •      DECEMBER  1954 


This  concluding  article  of  two  sets  forth  in  down-to-earth  fashion  the  prob- 
lems confronting  the  optical  designer  i  n  computing,  making  and  delivering  a 
product  which,  hemmed  in  by  all  the  normal  restrictions  of  the  projection  pro- 
cess, will  deliver  to  the  screen  the  sum  total  of  entertainment  value  contain- 
ed  in  the  print  which   is  delivered  to  the    theatre    for    ultimate    consumption. 


AN  attempt  is  often  made  in 
motion  picture  projectors  to 
reduce  the  amount  of  "spill 
light"  at  the  long  sides  of  the  gate  by 
using  a  cyclindrical  surface  with  hor- 
izontal axis  on  one  of  the  condensers. 

With  the  proper  distribution  of 
power  in  the  condensing  system,  this 
will  produce  an  elliptical  spot  with  the 
minimum  spill  of  light.  With  a  diffus- 
ing medium  such  as  film  in  the  gate, 
this  technique  leads  to  greater  uni- 
formity as  well  as  more  useful  Hux 
flowing  through  the  gate.  Optically, 
the  round  arc  image  is  flattened  the 
better  to  fit  the  gate,  and  two  real 
images  are  produced  of  the  arc 
(images  elliptical  in  shape)  at  right 
angles  to  one  another  and  differently 
situated  on  the  axis. 

Theoretically,  with  point  sources 
and  with  perfect  condensers,  this 
would  mean  that  since  only  one  source 
image  could  be  placed  at  the  gate,  the 
other  image  falling  either  before  or  be- 
hind the  gate  could  not  match  the  / 
number  of  the  objective,  thus  light 
would  be  either  wasted  or  the  full 
potentialities  of  the  objective  would 
not  be  used.  The  condensers  obvious- 
ly have  two  different  /  numbers  in  the 
two  meridians. 

Condenser  Design  Requisites 

In  practice,  however,  arc  craters  are 
of  finite  size,  and  because  the  film  is 
diffusing  and  thus  can  even  out  the 
/  number  discrepancy — and  more  co- 
gently, because  no  system  is  perfect — 
spherical  aberration  introduces  enough 
complication  that  a  real  gain  seems  to 
be  found. 

The  imagery  demanded  of  con- 
densers is  not  of  the  same  order  of 
magnitude  as  that  required  of  photo- 
graphic or  projection  objectives,  but 
still  the  requirement  that  they  deliver 
the  maximum  flux  in  use  calls  for  care- 
ful design.  Condensers  are  not  re- 
quired to  image  very  large  angular 
fields,  i.e.,  they  must  work  close  to  the 
axis,  so  it  is  possible  to  achieve  satis- 
factory   performance    with    relatively 


Elements  of 
(>ptical 

Condensing 
Systems 


By  A.  E.  MURRAY 

Scientific  Bureau 
Bausch  &  Lomb  Optical  Co. 


few  surfaces,  and  the  aberrations  of 
the  oblique  pencils  have  relatively 
little  weight  in  their  design. 

Spherical  Aberration  Effects 

It  is  clear  that  in  the  case  of  a  point 
source,  with  either  arrangement  of 
source  image,  in  the  gate  or  in  the  pro- 
jection lens,  spherical  aberration  in 
the  condensers  leads  to  impaired  efii- 
ciency.  Spherical  aberration  is  that 
behavior  of  centered  systems,  not 
necessarily  consisting  of  spherical  sur- 
faces, characterized  by  differing  focal 
points  for  the  various  zones  of  the 
system.  Those  rays  traveling  close  to 
the  axis  will  find  their  focal  point  at  a 
different  position  on  the  axis  in  the 
image  space  than  the  rays  which  are 


incident  near  the  margin   of  the  sys- 
tem, or  points  between. 

If  the  paraxial  (region  near  the 
axis)  focus  of  the  condensers  is  placed 
in  the  gate  or  in  the  lens,  it  is  easy  to 
see  that  the  rays  from  the  margin  are 
likely  to  miss  the  projection  lens,  thus 
wasting  in  severe  cases  some  of  the 
periphery  of  the  condensers.  On  the 
other  hand,  if  the  primary  thought  is 
given  to  the  placement  of  the  peri- 
pheral marginal  or  zonal  image,  the 
paraxial  image  may  fall  too  far  out  of 
line  to  be  effective  and  cause  intoler- 
able lack  of  uniformity. 

How  Light  Is  Wasted 

At  its  worst,  spherical  aberration 
»with  point  sources  produces  an  inde- 
terminate region  along  the  axis 
through  which  the  source  is  imaged  by 
the  various  zones  of  the  system, 
together  with  unevenness  of  illumina- 
tion and  waste  of  useful  light. 

The  same  objections  apply  even 
more  cogently  to  sources  of  finite  size. 
Each  point  of  the  image  is  afflicted, 
and  instead  of  a  clear-cut,  well-defined 
image  it  is  either  sharp  with  a  large 
amount  of  general  haze  spread  far 
outside  the  boundaries,  or  very  fuzzy 
and  ill-defined  with  poor  evenness  of 
illumination.  In  either  case,  a  limit  of 
utility  is  soon  reached. 

Spherical  aberration  is  a  function 
of  the  aperture  of  a  system,  increasing 
rapidly  as  it  becomes  greater.  It  is 
this  spherical  aberration  which  sets  a 
limit  to  the  solid  angle  of  the  collected 
cone  of  flux  in  a  condenser,  for  always 
the  system  must  be  usable. 

Spherical  surfaces  cannot  deliver 
efficiently  the  quality  and  quantity  of 
flux  required  by  modern  objectives,  so 
resort  is  had  to  those  surfaces  which 


FIGURE  7. 
Spherical  correction.  This 
illustrates  simple  under- 
correction  wherein  the 
marginal  and  zonal  foci 
are  closer  to  the  lens 
than  the  paraxial. 


'—  PA«/\XIAl. 
-  MARGINAL 


INTERNATIONAL  PROJECTIONIST      •      DECEMBER  1954 


23 


will  permit  higher  solid  angles  and 
better  definition  of  the  source  in  mo- 
tion picture  projection  with  fast  lenses. 

A  single  spherical  surface,  and  in 
general  a  simple  system  of  such  sur- 
faces, acts  as  though  it  possessed  too 
much  refractive  power  toward  its  mar- 
gins, or  too  little  close  to  the  axis. 
This  might  be  remedied  by  the  expe- 
dient of  diminishing  the  curvature  of 
the  zones  in  just  sufficient  amounts  to 
compensate  the  excess  power.  Mathe- 
matically, this  is  easy  to  do,  the  sur- 
faces required  in  the  general  case  hav- 
ing been  worked  out  by  Rene  Des- 
cartes some  350  years  ago. 

These  surfaces  are  in  general  not 
practical  or  economical,  and  as  far  as 
the  practicing  optical  engineer  is  con- 
cerned are  but  curiosities,  with  the  ex- 
ception of  the  elliptical  mirror  to  be 
considered  in  its  place. 

Combatting  Spherical  Aberration 
In  general,  each  pair  of  conjugates, 
or  object  and  image  distances  from  a 
given  surface,  requires  a  different  Car- 
tesian surface,  both  in  reflection  and 
refraction.  Fortunately,  there  is  an 
approximation  in  refraction  which  in 


FIG.  8.  Illustrating  the  focal  property  of  the 
ellipse.  Any  fan  of  rays,  of  arbitrary  solid 
angle  with  apex  at  one  focus,  is  imaged  at  the 
other  focus  with  no  spherical  aberration.  This 
is  true  only  for  point  sources. 

combination  with  spherical  surfaces 
will  provide  a  greatly  diminished  sphe- 
rical aberration.  These  parabolic  sur- 
faces find  wide  application  in  con- 
densers. 

The  techniques  for  producing  para- 
bolic surfaces  in  the  shop  are  compara- 
tively simple,  and  they  can  be  pro- 
duced in  large  numbers.  While  such 
surfaces  are  not  always  the  answer  to 
condenser  problems,  from  practical 
considerations  their  properties  are 
used  in  answer  to  specifications  where 
spherical  surfaces  could  not  perform. 

Because  of  the  loss  of  curvature 
toward  the  periphery,  and  thus  dimin- 


ished power,  the  spherical  aberration 
in  refraction  of  parabolic  surfaces  is 
considerably  improved  over  spherical 
surfaces  of  equivalent  power,  even  at 
finite  conjugates.  For  this  reason, 
considerably  better  light  -  gathering 
power  is  possible  with  such  surfaces. 

If  we  were  confined  to  spherical  sur- 
faces exclusively,  condensing  systems 
would  be  as  complex  as  projection  ob- 
jectives, and  many  more  surfaces 
would  have  to  be  used,  with  the  conse- 
quent loss  in  transmission. 

Aspheric  Condensers  Promising 

Aspheric  condensers  have  been  ex- 
clusively parabolic  for  the  aforemen- 
tioned practical  reasons,  but  there  is 
nothing  to  prevent  the  use  of  other 
aspheric  forms,  if  required  by  phy- 
sical considerations.  Indeed,  with  the 
skills  gained  in  the  production  of  such 
outlandish  surfaces  as  Schmidt  correc- 
tor plates,  it  is  not  at  all  unlikely  that 
the  next  direction  of  advance  in  con- 
denser design  may  be  toward  aspheric 
surfaces  designed  specifically  for  a 
given  application.  Before  this  can 
happen,  however,  there  will  have  to  be 
a  sufficiently  large  demand  to  justify 


^J^oiiclau    L^reeti 


TeetinaA 


^ 


It  has  been  our  privilege  throughout  many  years  to  be  intimately 
associated  with  a  group  of  craftsmen  who  through  their  inclusive 
knowledge  of  the  exacting  demands  of  showmanship  have  realized 
the  full  potentialities  of  the  fine  projection  equipment  we  have 
provided.  The  phrase  "Better  Projection  Pays"  was  never  better 
demonstrated  than  in  the  close  technical  and  fraternal  relationship 
which  has  existed  between  our  groups  these  many  years. 

The  best  of  everything  for  this  Holiday  Season  and  in  the  days  to 
come— and  our  best  wishes  for  the  continued  progress  of  our  industry 
and  the  advancement  of  our  mutual  interests. 


INTERNATIONAL    PROJECTOR   CORPORATION 

tAonuiatturers    of    the    \Nor\d-famo\is    SIMPLEX    Projectors 
55   La   France  Avenue  Bloomfield,  New  Jersey 


24 


INTERNATIONAL  PROJECTIONIST     •      DECEMBER  1954 


GIVE  IT  ALL  YOU  CAN  with 


TRADE-MARK 


PROJECTOR  CARBONS 

■  Bigger  screens,  faster  optics,  the  latest  in  sound  systems 
—  all  these  are  important,  audience-building  additions.  But 
no  one  can  reasonably  expect  them  to  do  more  than  em- 
bellish and  support  the  picture  —  which  is  light. 

Make  sure  your  presentations  give  the  full  value  that's 
on  the  film  by  using  a  "National"  carbon  trim  best  suited 
to  your  screen  requirements. 

See  your  supply-house  representative  or  write  to  National 
Carbon  Ccmpciny  for  advice.  Either  one  will  be  more  than 
glad  to  help. 


THE  PICTURE  IS  LIGHT... 

GIVE  IT  ALL  YOU  CAN 

with  "NA  TIONAL"  CARBONS 


The  term  ''National'^  is  a  registered  trade-mark  of  Union  Carbide  and  Carbon  Corporation 

NATIONAL  CARBON  COMPANY 

A  Division  of  Union  Carbide  and  Carbon  Corporation  •  30  East  42nd  Street,  New  Yorl<  17,  N.V. 

Sales  Offices:  Atlanta.  Chicago,  Dallas,  Kansas  City,  New  York.  Pittsburgh,  San  Francisco 
IN  CANADA:  Union  Carbide  Canada  Limited,  Toronto 


INTERNATIONAL  PROJECTIONIST      •      DECEMBER   1954 


25 


both  development  and  production 
costs,  for  such  surfaces  will  have 
limited  use. 

So  far  our  discussion  has  been 
limited  implicitly  to  condensing  sys- 
tems comprised  of  lenses — refractive 
systems.  Reflective  systems  comprise 
one  of  the  largest  and  most  important 
groups  of  condensers  in  use  today. 
Mirror  systems  have  a  great  advantage 
in  weight  and  in  the  fact  that  poten- 
tially, at  least,  the  reflective  and  ab- 
sorptive losses  are  less,  though  this 
factor  is  minimized  by  the  fact  that  in 
arc  lamps  and  single  mirror  surface  is 
apt  to  tarnish  and  to  need  replacement 
rather  frequently. 

Elliptical  Mirror  Properties 

A  very  curious  property  of  an  ellip- 
soid of  revolution  (the  solid  figure 
created  by  the  rotation  of  an  ellipse 
about  one  of  its  axes)  is  its  ability  to 
bring  to  a  focus  all  the  rays  emanating 
from  a  point  at  one  of  foci  of  the 
ellipse.  The  two  geometric  foci  of  an 
ellipse  in  reflection  are  optically  con- 
jugate, and  a  point  source  at  one  is 
imaged  at  the  other  by  arbitrarily  wide 


cones  of  light,  and  without  spherical 
aberration. 

This  property  of  elliptical  mirrors  is 
very  useful,  for  they  can  be  made  to 
collect  solid  angles  much  greater  than 


FIGURE  9. 

The  elliptical  mirror  used 

as  a  condenser. 


possible  with  lenses,  and  to  image  the 
source,  which  must  be  comparatively 
small,  without  loss  of  light  accurately 
where  needed.  This  useful  char- 
acteristic of  elliptical  mirrors  applies 
only  to  the  geometric  foci  and  to  small 
regions  about  the  axis,  so  they  are  em- 
ployed only  with  arc  sources,  where 
they  collect  more  flux,  but  are  less 
flexible  than  lens  condensers. 

In  many  incandescent  filament  con- 
densing systems  a  spherical  mirror  is 
used  to  collect  light  which  otherwise 
would  be  lost.  The  mirror  is  placed 
with  its  center  of  curvature  in  the 
plane  of  the  filament,  at  which  place 


the  filament  image  will  occur  inverted. 
The  filament  is  thus  imaged  on  it- 
self with  two  effects:  (1)  the  image 
can  be  shifted  slightly  so  that  the  coil 
images    fall    between    the    coils,    thus 


presenting  a  more  uniform  source  to 
the  rest  of  the  system,  and  (2)  by  ab- 
sorption the  temperature  of  the  fila- 
ment is  raised,  making  it  brighter. 
This  two-fold  gain  is  possible  only 
with  sources  possessing  no  dark  region 
at  the  back  as  do  arcs. 

Light-Governing  Factors 

There  are  just  three  factors  fixing 
the  illumination  on  the  screen  and  a 
change  in  illumination  is  possible  only 
through  these  factors.  An  increase  in 
any  of  the  three  factors — (1)  the 
brightness  of  the  source,  (2)  the  qua- 
lity and  number  of  surfaces  and  glass 
transparency  reflected  in  the  factor  of 


UURING  the  many  years  that  we  have  been  privileged  to  supply  fine  projection 
lenses,  we  have  never  experienced  a  greater  degree  of  cooperation  than  that 
afforded  us  by  projectionists.  We  welcome  this  opportunity  to  extend  Holiday 
Greetings  to  you  craftsmen  whose  knowledge  of  and  appreciation  for  the  exact- 
ing demands  of  the  projection  process  have  earned  world-wide  acceptance  for  the 
best  that  optical  design  and  practical  application   have  to  offer. 

We  are  confident  that  this  happy  relationship  between  the  maker  and 
users  of  a  precision  product  will  contribute  substantially  to  the  future  growth  and 
economic   security   of   our   great   industry. 


|[OLLA\OIMfBK 


y^^Aji^ca/  is 


® 


Plan,  ^^y^.^.^^        ^\K\\\Vi\\\KV\im 

Northampton,  Massachusetts  /  Mew  York  Office:  30  Church  St.,  New  York  7,  N.  Y. 

Designers  and  producers  of  the  new  and  revoJw- 
tionary  F/1.7  projection  lens  —  the  culmination  of 
more  than  30  years  of  expert  optical  craftsmanship. 


26 


INTERNATIONAL  PROJECTIONIST      •      DECEMBER  1954 


reflection  and  absorption,  and  (3)  the 
slope  angle  of  the  extreme  marginal 
rays  to  the  axial  point,  or,  in  more 
familiar  language,  the  /  number  at  the 


FIG.   10.      Perspective  representation   of  an  are 

reflector.      The    magnified    image    of    the    arc 

crater     at     "Fi     focuses     at     the     conjugate 

focus  "F2". 

point — will  mean  an  increase  in  illu- 
mination. But  there  are  natural  limits 
set  on  all  three. 

The  brightness  of  sources  is  fixed 
by  the  materials  available  and  does 
not  seem  likely  to  be  increased  by 
large  factors  over  current  practice  so 
long  as  we  are  dependent  upon  incan- 
descent surfaces,  either  of  tungsten  in 
the  familiar  lamp  or  of  carbon  and 
gas  in  the  carbon  arc.  Of  course,  it  is 
entirely  possible  that  radically  new 
sources  will  be  developed  eventually. 
The  carbon  manufacturers  are  work- 
ing vigorously  to  provide  greater 
brightness. 

Radiant  Heat  a  Vital  Factor 

However,  the  greatest  handicap  to 
further  progress  in  increasing  the  arc 
source  brightness  seems  to  be  not  so 
much  in  the  carbon  itself  as  in  the 
concomitant  heat  transmitted  to  the 
image.  The  limiting  factor  seems  to 
be  the  absorption  of  the  film,  so  that 
visible  energy  alone  (no  infra  red)  in 
concentrations  at  present  possible  and 
achieved  experimentally  is  damaging 
to  film. 

The  second  factor  of  reflection  and 
absorption  is  a  serious  limitation  to 
the  illumination  possible  through  a 
system.  Each  air-glass  surface  reflects 
approximately  4%  of  incident  light 
(and  even  if  filmed  about  1%)  which 
is  lost  to  the  direct  beam  as  useful 
light.  The  demands  made  upon  pro- 
jection systems  compel  the  addition  of 
more  surfaces,  thus  increasing  the  loss 
from  this  factor.  Widespread  use  of 
coated  optics,  particularly  in  projec- 
tion objectives,  has  tended  to  alleviate 
this  factor. 

Obstacles  to  Advancement 

The  absolute  maximum  /  number 
possible  in  air  is  0.5,  for  then  tha 
marginal  rays  make  an  angle  of  90° 


with  the  axis.  We  are  not  likely  to 
see  such  a  ridiculous  case,  but  serious 
and  weighty  obstacles  lie  athwart  the 
path  to  any  substantial  increase  in  the 
speed  of  projection  systems. 

In  the  first  place,  because  of  the 
high  quality  of  imagery  required  of 
projection  lenses,  the  designers  are 
only  an  insecure  step  ahead  of  de- 
mand even  at  present  speeds.  An  in- 
crease in  speed  also  means  new  con- 
densing systems,  very  likely  much 
more  complex.  Secondly,  greater 
speeds  would  mean  a  redesign  mech- 
anically of  much  of  the  present  pro- 
jection equipment. 

Any  substantial  increase  in  speed  of 
present  projection  systems  would  pre- 
sent some  of  the  aspects  of  a  revolu- 
tion and  would  further  aggravate  the 
problem  of  heat  in  the  film  gate. 
[THE  END] 

Hilux  Variable  Anamorphic 

The  new  Hilux  variable  anamorphic 
lens,  manufactured  by  Projection  Optics 
Co.,  Rochester,  N.  Y.,  is  now  ready  for 
immediate    delivery    on     a    "substantial 


basis."  This  variable  lens  unit  has  a 
complete  anamorphic  magnification 
spread  ranging  from  the  old  standard 
Academy  ratio  up  to  the  full  Cinema- 
Scope  ratio. 

Recently  compleLed  tests  prove  that 
quality  of  image,  chromatic  and  linear 
correction,  and  light  transmission  are  of 
a  high  order.  The  list  price  per  pair  of 
these  lenses  is  $750,  with  Raytone  Screen 
Co.,  Brooklyn,  N.  Y.,  acting  as  the  pri- 
mary distributor. 


Eidophor  Demonstration  Planned 

A  demonstration  of  the  Eidophor 
Theatre  Tv  system  will  be  held  within 
the  next  few  months,  it  was  announced 
lecently  by  20th  Century-Fox.  Eidophor 
is  a  theatre  Tv  system  developed  in 
Switzerland,  which  is  believed  capable 
of  providing  a  picture  much  larger  and 
brighter  than  is  now  possible.  It  also 
shows  pictures  in  color. 


Court  OK's  City  Theatre  Tax 

The  Alabama  Supreme  Court  has  up- 
held the  constitutionality  of  municipal 
theatre  taxes.  The  tax  had  been  chal- 
lenged   by    Bessemer   Theatres,    of   Bes- 


<^i*«^*i^*c^*«^*<i®tt^*effi*«^*«sss^isi^effi* 


{^ompllmenti   oh   the   ^eadon 

PROJECTIONISTS  LOCAL  NO.   150 
I.   A.   T.   S.    E.    and    M.    P.   M.    O. 

LOS  ANGELES,   CALIFORNIA 


HAL     I.     HUFF 

Manufacturer  of  the  Patented 

HYDRO  POSITIVE  CARBON  COOLER 

HAL  I.  HUFF  MANUFACTURING  COMPANY 
3774  Selby  Ave.  Los  Angeles  34,  Calif. 


INTERNATIONAL  PROJECTIONIST      •      DECEMBER   1954 


27 


In    The 

SPOTLIGHT 


This  department  expresses  its  gratitude  for  the  gracious  cooper- 
ation of  all  those  Alliance  members  who  through  the  past  year 
have  given  so  generously  of  their  time  and  effort  to  keep  their 
fellow  members  informed  of  the  progress  of  the  craft  on  all 
fronts,  socially  and  economically.     For  you,  for  all   of  us  — 


a    uefi 


^ 


^y^appu    ^J^olldau    S^^ 


xppi^ 


f 


yeudon 


•  John  Baker,  member  of  Local  735, 
Mt.  Clemens,  Mich.,  was  awarded  a 
gold  life  membership  card  at  the 
Local's  recent  15th  anniversary  din- 
ner. Baker,  now  71  years  old,  is  the 
oldest  active  member  in  the  Local. 
For  the  past  42  years  he  has  worked 
in  various  theatres  in  Marine  City 
(Local  735  jurisdiction),  and  at  pres- 
ent he  is  employed  in  the  projection 
room  of  the  Mariner  Theatre  there. 

Among  the  out-of-town  guests  pres- 
ent at  the  affair  were  John  A.  Shuff, 
lA  vice-president  and  member  of 
Local  388,  Akron,  Ohio;  Frank  Kin- 
sora,  business  representative,  Detroit 
Local  199;  Jack  Cassin,  business 
representative.  Port  Huron  Local  622; 
Earl  Ross,  business  representative, 
Pontiac  Local  620,  and  E.  Clyde 
Adler,  business  representative,  Detroit 
Local  38. 

•  Jacob  S.  Winick,  newly  elected 
president  of  the  25-30  Club,  and  Harry 
Garfman,  Brooklyn  and  Queens  busi- 
ness representative  for  New  York 
Local  306,  were  presented  with  gold 
life  membership  cards  in  the  Movie 
Social  Club  of  Brooklyn,  which  is 
comprised  of  members  of  Local  306. 
The  awards  were  made  in  recognition 
of  their  continuing  and  unselfish 
efforts  in  helping  the  Club  bring  a 
little  happiness  into  the  lives  of  un- 
fortunate shut-ins  in  various  Brooklyn 
hospitals  by  providing  them  with  free 
movies  and  other  forms  of  enter- 
tainment. 

•  Sam  Pinanski,  for  many  years  a 
partner  in  M  &  P  Theatres,  headquar- 
tering in  Boston,  was  honored  recent- 


ly at  a  surprise  luncheon  gathering  of 
more  than  100  New  England  film  men 
at  the  Hotel  Statler  in  Boston.  Dur- 
ing his  tenure  of  office  with  the  M  &  P 
Theatres,  Mr.  Pinanski  displayed 
many  courtesies  to  members  of  the  or- 
ganized projectionist  and  stagehand 
crafts,  and  many  old-timers  in  the 
crafts  remember  him  as  a  good  and 
valued  friend.  Now  president  of 
American  Theatres  Corp.,  Mr. 
Pinanski  has  won  national  recognition 
for  his  many  valued  services  to  the 
industry  at  large. 

•  Richard  (Dick)  Nolan,  star  half- 
back of  the  N.  Y.  Giants  professional 
football  team,  has  a  rather  intimate  re- 
lationship with  the  projection  field  by 
reason  of  his  father.  Jack  Nolan,  being 
a  field  sales  engineer  for  National 
Carbon  Co.  Junior  Nolan,  now  only 
22,  who  has  starred  with  the  Giants 
throughout    the    1954    season    in    the 


John    Shuff    (left)    presents    John    Baker    with 

gold    life    membership    card    in    Local    735,   Mt. 

Clemens,    Mich. 

tough  pro  ranks,  has  an  interesting 
background. 

He  attended  White  Plains  (N.  Y.) 
High  School,  where  his  football  ex- 
ploits earned  him  Westchester  County's 
most  valuable  player  award;  this  in 
addition  to  starring  in  basketball  and 
track,  on  the  latter  team  running  the 
100-  and  220-yard  hurdles.  Sub- 
sequently he  attended  the  University 
of  Maryland,  where  he  starred  on  the 
powerhouse  collegiate  football  squads. 

*  In  protest  against  a  cut  in  theatre 
personnel  and  in  salaries,  Locals  23 
(Stagehands)  and  223  (Projection- 
ists), Providence,  R.  I.,  have  joined 
forces  and  are  picketing  the  Paw- 
tucket  Strand,  a  "dark"  theatre  owned 
by  New  England  Theatres,  Inc.  The 
theatre  chain  demanded  that  the  pro- 
jectionists take  a  $23  weekly  cut  in 
salary  and  also  wanted  to  eliminate 
the  maintenance  man.  Three  years  of 
negotiations  failed  to  produce  a  settle- 
ment,   and    on    July    28    last   the    lA 


This  happy  group  is  port  of  the  assembly  of  members,  friends,  and  guests  (including  several 
exhibitors)  who  helped  celebrate  the  recent  25th  anniversary  of  local  680,  Halifax-Dartmouth, 
N.  S.  Guest  of  honor  at  the  celebration  was  5fh  lA  Vice  President  Hugh  J.  Sedgwick,  shown 
seated  front  row  centre  amid  the  ladies.  A  banquet  and  stage  entertainment  In  celebration  of 
the  event  was   held   in  the   ballroom   of  the   Nova  Scotian   Hotel. 


28 


INTERNATIONAL  PROJECTIONIST      •      DECEMBER  1954 


Members  of  Providence  lA  Locals  picketing  the 

struck    Pawtucket    Strand    Theatre.    Charles    L. 

McKenna,    Sr.,    (left),    projectionist,    and    Ralph 

Fields,    stagehand,    on    picket   duty. 

Locals  notified  the  theatre  manage- 
ment that  the  house  would  be  struck 
unless  an  agreement  was  reached 
without  further  delay.  Although  the 
theatre  was  closed  several  months  ago, 
supposedly  for  lack  of  licensed  projec- 
tionists, it  is  being  picketed  daily  by 
members  of  both  Locals.  This  par- 
ticular strike  has  aroused  a  great  deal 
of  interest,  as  it  is  believed  to  be  a 
"test"  case  and  the  basis  for  settle- 
ment with  other  theatres  in  the  New 
England  area.  The  Providence  Locals 
are  determined  to  fight  the  proposed 
reductions  to  the  bitter  end,  even  if  it 
means  indefinite  and  continuous 
picketing  of  the  theatre. 

•  San  Francisco  Local  162  recently 
honored  its  retiring  president,  Norman 
E.  Moynahan,  with  a  gold  life  mem- 
bership card  in  appreciation  of  faith- 
ful service  to  the  Local  for  the  years 
since  its  inception.  John  A.  Forde, 
International  representative  for  Local 
162,  made  the  award  on  behalf  of 
the  Local. 

•  James  J.  Brown,  member  of  Local 
440,  St.  John,  N.  B.,  Canada,  recently 


completed  43  years  working  as  a  pro- 
jectionist in  various  theatres  in  and 
around  Halifax  and  Moncton.  He 
began  his  career  back  in  the  days  of 
hand-cranked  machines  when  such 
screen  luminaries  as  Maurice  Costello, 
Florence  Turner,  Mary  Pickford, 
Francis  X.  Bushman,  and  Bronco 
Billy  Anderson  dominated  the  motion 
picture  screens.  Brown  has  spent  the 
last  27  years  working  in  Moncton — 22 
years  at  the  Imperial  Theatre,  until  it 
was  torn  down  several  years  ago  to 
make  way  for  a  department  store,  and 
for  the  past  five  years  he  has  been 
with  the  Paramount  Theatre,  where  he 
is  presently  employed. 

The  modern  equipment  Brown  now 
works  with  at  the  Paramount  Theatre 
is  a  far  cry  from  the  hand-cranked 
projectors  used  in  the  early  days  of 
motion  pictures.  He  recalls  that  in  the 
old  days,  when  45  feet  from  projec- 
tion room  to  the  screen  was  considered 
a  "long  throw,"  the  choice  seats  were 
in  the  gallery  (the  throw  in  the  Para- 
mount is  125  feet). 

In  a  rather  nostalgic  vein.  Brown 
also  recalls  that  comedies  were  the  top 
movie  fare  in  the  old  days.  He  re- 
members when  slides  were  flashed  on 
the  screen  asking  the  ladies  to  re- 
move their  hats,  and  when  by  faster 
or  slower  turning  of  the  hand-cranked 
machines  the  playing  time  of  a  picture 
could  be  either  speeded  up  or  stretched 
— all  depending  upon  the  number  of 


Norman  E.  Moynahan  (center),  retiring  presi- 
dent and  charter  member  of  San  Francisco 
Local  162,  is  shown  being  presented  with  a 
gold  life  membership  card  by  lA  Representa- 
tive John  Forde.  Seated  at  the  extreme  right 
is    Albert    B.     Cohn,    president    of    the    Local. 

patrons  in  the  theatre.  He  remembers, 
too,  the  first  "talking  pictures"  when 
the  talking  was  done  by  actors  stand- 
ing behind  the  screen  and  who  cued 
their  lines  to  the  action  seen  through 
the  screen.  Did  we  hear  anybody  say 
something  about  the  "good  old  days?" 
That  is  precisely  what  the  youngsters 
of  today  will  be  saying  years  hence. 

•  We  are  happy  to  report  that  a  satis- 
factory agreement  was  finally  reached 
between  Local  332,  Clinton,  Iowa,  and 
Central  Theatres  Corp.  A  new  four- 
year  contract  providing  for  a  5%  in- 
crease was  signed,  and  the  strike  vote 
taken  by  the  Local  was  recalled.  lA 
Representative  LeRoy  Upton  assisted 
the  union  officials  in  the  negotiations. 


Jim     Brown,     lA     Local     440,     St.     John,     N.B., 
Canada,  a   practical   projectionist  for  43  years. 


L^reetlnad    and   d^eii     vVisneS 

THE  NEW  YORK  STATE  ASSOCIATION 

of 

MOTION   PICTURE  PROJECTIONISTS 

"kn  Educational  and  Technical  Society" 


Ljreetlnad    ana    (Oedt      uUlshed 

to  my  brother  craftsmen  throughout  the  Alliance 

MERLE     H.     CHAMBERLIN 

Chief  Projectionist,  M-G-M  Studios 
Culver  City,   California 


INTERNATIONAL  PROJECTIONIST     •      DECEMBER  1954 


29 


II.  THE  LIVING  PICTURE.  The  concluding  article  of  two  in  which 
are  detailed  the  development  of  the  motion  picture  from  its 
inception  down  to  the  present.  Originally  appearing  in  "Movie 
Makers"  magazine,  these  articles  attracted  widesprad  industry 
interest  and  acclaim. 


By  JACK  E.  GIECK 


From  Toy  to  a  Great  Industry 


FOR  action  lasting  more  than  a  few  seconds  some  means  of  continuously 
replacing  the  pictures  had  to  be  found.  One  solution  was  a  camera 
invented  in  1876  by  Wordsworth  Donisthorpe  in  London.  His  machine, 
shown  schematically  in  Fig.  5,  consisted  of  a  deck  of  glass  plates  coated  with 
a  new  dry  gelatin  emulsion  which  was  much  faster  than  the  wet  coUodian  or 
albumen  in  use  at  that  time.  After  each  plate  was  exposed,  it  dropped  onto 
the  stack  below,  permitting  the  next  one  to  move  into  place.  The  camera  took 
pictures  at  8  frames  per  second  (Fig.  5). 

With    this    apparatus,    Donisthorpe  Finally,     in     1889,     he     built     his 

not    only    took    conventional    movies,      "Theatraxinoscope."    In  this  machine, 


but  he  also  made  the  first  time-lapse 
studies  of  such  subjects  as  growing 
grass,  opening  buds  and  frog  meta- 
morphosis. To"  view  his  work,  how- 
ever, he  had  to  resort  to  the  Zoetrope. 

First  Flexible   Transparent  Film 

To  make  motion  pictures  practi- 
cable, some  sort  of  flexible  transpar- 
ent material  was  needed  to  transport 
the  pictures.  The  invention  of  cellu- 
loid by  Rev.  Hannibal  Goodwin  in 
1887  provided  the  ultimate  solution. 
Within  two  years  a  commercial  movie 
house,  Le  Theatre  Optique,  was  oper- 
ating in  Paris.  Though  the  pictures 
were  strictly  animated  cartoons,  they 
were  the  first  movies  to  tell  a  story. 

The  Frenchman  who  devised  the 
equipment  was  Emile  Reynaud.  In 
1887  he  had  patented  his  "Praxino- 
scope,"  a  Zoetrope  whose  pictures 
were  viewed  through  a  set  of  revolv- 
ing mirrors  in  the  center  of  the 
cylinder  instead  of  through  slots  in 
the  side.  This  device  eliminated  the 
vertical  distortion  associated  with  slot- 
shutter  viewing. 

Hand-Drawn  Pictures 

Several  years  later  he  built  a  pro- 
jection model  which  had  glass  sides 
bearing  hand-drawn  transparencies. 
A  beam  of  light  from  a  magic  lantern 
was  bounced  off  the  mirrors  through 
each  transparency  successively,  and 
the  result  was  picked  up  and  projected 
through  a  lens. 


a  continuous  band  of  celluloid  bear- 
ing the  transparencies  wound  in  and 
out  of  his  skeletonized  projection 
Praxinoscope.  Interestingly,  only  the 
moving  figures  appeared  on  the  film. 
All   the    backgrounds    were   projected 


FIG.  5.  By  1876,  Donis- 
thorpe had  built  the 
camera  diagramed  here 
which  toolc  still  pictures 
sequentially  at  8  per 
second. 


separately  by  means  of  a  magic  lan- 
tern slide.  Reynaud's  programs  ap- 
parently lasted  10  or  15  minutes. 

First  Film  Strips 

The  first  photographic  experiments 
using  the  new  strip  film  were  also 
performed  in  Paris  by  a  Dr.  Jules- 
Etienne  Marey,  who  corresponded 
with  Eadweard  Muybridge  in  Ameri- 
ca. Like  Muybridge,  he  was  primarily 
interested  in  the  analysis  of  animal 
movement.  In  his  letters,  he  com- 
plained that  strips  of  film  longer  than 
four  meters   were   unobtainable — and 


FIG.  6.  At  right  the  au- 
thor has  diagramed  a 
camera  designed  i  n 
1888  by  L.  LePrince 
which  trained  16  lenses 
on  2  strips  of  film. 


^         ^ 


FIG.  7.  Owen  Eames  adapt- 
ed LePrince's  idea  to  his 
Animascope,  which  involved 
mounting  two  moving 
lenses  on   crank-shaft. 


30 


INTERNATIONAL  PROJECTIONIST      •      DECEMBER  1954 


with  his  prodigious  frame  size  {SY2 
square  inches)  he  got  only  40  frames 
per  film. 

Many  ingenious  and  complex  gad- 
gets to  handle  the  new  flexible  film 
made  their  appearance,  one  of  them, 
a  camera  invented  by  Louis  LePrince 
in  1888,  employed  16  lenses  which 
were   arranged   as   shown   in    Fig.   6. 

This  camera  used  two  film  strips, 
behind  each  bank  of  lenses.  When  the 
camera  was  operated,  the  left  bank 
of  lenses  v/ould  function  first,  each 
shutter  (beginning  at  the  top)  being 
tripped  successively  to  make  a  single 
exposure  on  the  stationary  film  behind 
it.  When  all  the  shutters  on  the  left 
bank  had  been  fired,  the  right  bank 
would  begin  to  operate;  and  while  the 
right  film  was  being  exposed,  the  left 
film  would  be  pulled  down  8  frames 
and  the  left  shutters  recocked. 

Owen  Eames'  "Animascope" 

A  variation  of  this  same  theme  was 
Owen  Eames'  "Animascope"  (Fig.  7) 
in  which  both  films  moved  continu- 
ously and  only  two  lenses  were  used. 
These  lenses  moved  on  vertical  slides 
and   were   actuated   by   a   crankshaft, 


FIG. 


8.      Early  Kinetograph   strip-film   cameras   designed   by   Thomas   Edison,   as  well   as   several 
Pathe  and  Ollkos  models,  are  seen  In  this  collection  at  the  Henry  Ford  Museum. 


so  that  each  lens  was  moving  down- 
ward with  the  film  while  its  shutter 
was  open.  The  frame  sequence  alter- 
nated between  the  two  films  as  shown. 
It  will  be  noted  that  both  of  these 
machines  were  actually  stereo  cameras, 
but  no  attempt  was  made  during  view- 
ing to  separate  the  left  and  right  eye 
images.  As  a  result,  foreground  ob- 
jects vibrated  on  the  screen  as  the 
viewpoint  shifted  back  and  forth. 


The  next  highlights  in  motion  pic- 
ture history  are  Edison's  development 
of  perforated  film;  Luiniere's  design 
of  the  Cinematographe,  the  first  pro- 
jector to  employ  a  practical  inter- 
mittent movement,  and  the  advent  in 
1898    of   synchronized    sound-on-disc. 

All  of  the  early  ribbon-film  cameras 
suffered  from  the  same  complaint: 
poor  film  registry — that  is  getting  the 
film  to  move  exactly  the  same  amount 


-S 


eadon  d 


Q- 


tu 


Teeiin 


9^ 


We  welcome  this  opportunity  to  extend  Holiday  Greetings  to  our 
many  friends  in  the  projection  craft  who,  working  together  with 
us  through  the  years,  have  enabled  us  to  install  and  operate  at 
peak  efficiency  the  finest  projection  equipment  in  the  world.  Our 
congratulations  to  you  craftsmen  who  have  made  our  joint  endeavor 
a  very  happy  association  throughout  the  many  years. 

Fine  Equipment,  Prompt  Service  on  a  National-Wide  Basis 


NATIONAL 


THEATRE        SUPPLY 


Division   e<  National  •  Simpio  •  Biudwerth,  Inc 


INTERNATIONAL  PROJECTIONIST      •      DECEMBER   1954  31 


FIGS.     9-10.     Edison  KInetoscope,  a  peep 

show     machine     activated     by     a     coin, 

brought  movies  to  the  people.     Film  path 

is    plotted    below. 


vertically  between  frames  without  any 
lateral  shift.  It  was  Thomas  A.  Edi- 
son who  provided  the  solution  to  this 
problem  with  his  invention  of  per- 
forated film. 

7  893— Edison's  Kinetoscope 

Edison  had  begun  experimenting 
with  movies  during  the  1880's.  His 
first  camera  was  built  much  like  a 
Zoetrope.  It  took  pictures  in  a  spiral 
on  the  inside  of  a  cylindrical  drum 
lined  with  film.  A  number  of  his 
later  "Kinetograph"  strip-film  cam- 
eras (as  well  as  several  early  Pathe 
and  Olikos  models)  may  be  seen  in 
Fig.  8. 

It   was   Edison's  viewing  apparatus 


32 


which  made  the  motion  picture  a  com- 
mercial success  in  America.  One  of 
the  original  models  of  his  "Kineto- 
scope," patented  in  1893,  is  shown 
in  Fig.  9.  A  coin-operated,  peep  show 
machine,  it  employed  a  continuous 
film  which  was  viewed  directly  by  the 
observer  (see  Fig.  10).  The  frames 
were  printed  side-by-side  on  the  film, 
which  sped  by  at  the  rate  of  46 
frames  per  second. 

The  quality  of  the  image  was  not 
good,  since  the  film  moved  continu- 
ously while  the  observer  watched  it 
through  a  revolving  shutter,  and  a 
certain  amount  of  blurring  was  in- 
evitable. But  the  public  loved  it  any- 
way, and  penny  arcades  made  lots  of 
money  until  projection  techniques  were 
perfected. 

I  TO  BE  CONTINUED] 


Color  Tv  Now  Available 
In  65  Major  Cities 

Color  television  can  now  be  trans- 
mitted to  65  cities  across  the  nation. 
Already  145  Tv  stations  in  these  cities 
are  receiving  network  television  service 
and  95  of  them  are  receiving  it  in 
color,  as  well  as  in  black-and-white. 
Most  principal  Tv  routes  are  now  equip- 
ped for  color  and  will  be  able  to  trans- 
mit color  programs  to  about  95  cities 
by  the  end  of  the  year,  A.  T.  &  T.  Co. 
announced    recently. 

Of  the  187  stations  presently  located 
in  these  cities  and  receiving  network 
service,  a  total  of  about  125  are  ex- 
pected to  be  ready  to  broadcast  in 
color  by  late  December.  The  announce- 
ment pointed  out  that  about  31,000  of 
the  59,000  channel  miles  of  Tv  facilities 
now  in  service  had  been  re-engineered 
and    re-equipped   to   carry   color. 

Color  Compatibility  Vital 

Bell  System  facilities  had  been  used 
for  experimental  color  transmission  for 
several  years,  but  it  was  not  until  the 
approval  of  the  compatible  system  by 
the  F.C.C.  on  December  17,  1953,  that 
color  Tv  got  underway  on  a  regular 
basis.     Use    of    the    compatible    system 


Reason's  Cir^ettti^g 
CLAYTON  PRODUCTS  CO. 

New  York  63,   N.  Y. 


makes  it  possible  for  owners  of  con- 
ventional black-and-white  Tv  sets  to 
receive  color  broadcasts  in  black-and- 
white.  Owners  of  color  sets  can  receive 
both  black-and-white,  and  color  programs 
as  broadcast. 

On  January  1,  1954,  the  first  public 
colorcast  was  carried  from  coast-to- 
coast  when  the  Tournament  of  Roses 
Parade  in  Pasadena,  California,  was 
fed  to  stations  in  18  cities  in  the  U.  S. 
By  May  1,  the  first  coaxial  cable  route, 
between  Dallas  and  Houston,  Texas,  had 
been  readied  to  carry  color.  Long  Lines 
also  noted  that  1954  marks  the  25th 
anniversary  of  the  first  public  demon- 
stration of  color  Tv.  On  June  27,  1929, 
a  group  of  newspaper  reporters  gather- 
ed at  Bell  in  New  York  to  see  a  color- 
cast of  an  American  flag  rippling  in 
the  breeze. 


RCA   Employes   Honored 

Radio  Corp.  of  America  has  an- 
nounced that  265  employes  of  its  pro- 
duct manufacturing  and  service  division, 
who  in  1954  completed  a  quarter  cen- 
tury of  service,  have  been  inducted  into 
the  RCA  Victor  25-year  club.  Nearly 
1,800  men  and  women  have  become 
eligible  since  the  group  was  formed  in 
1948.  The  new  members  were  presented 
with  gold  watches  in  a  series  of  banquets. 


LOCAL  NO.  162 

LA.T.S.E.  and  M.P.M.O: 

San   Francisco^  Calif. 


Cfreetin^d    and   vJeit     lAJiihed 


PROJECTIONISTS  LOCAL  NO.  407 

I.  A.   T.   S.    E.    and    M.    P.   M.   O: 

San  Antonio,  Texas 

tNTERNATIONAL  PROJECTIONIST     •      DECEMBER  1954 


Industry  Interdependence  Cited 


Bv  PAT  McGEE 


Keynote  Speaker,  TOA-TESMA-TEDA-IPA  Convention 

The  interdependence  of  every  branch  of  the  motion  picture  industry 
was  never  more  forcibly  demonstrated  than  at  the  recent  joint 
industry  conclave  in  Chicago  where  exhibitors,  the  employers,  and 
projectionists,  the  employees,  met  frequently  in  informal  gab-fests 
to  discuss  not  projection  exclusively  but  industry  problems  overall. 
As  in  other  ma  jot  industries  where  clear  thinking  and  foresight 
prevail,  the  day  has  long  since  passed  when  the  common  interest  is 
subordinated  to  short-sighted  self-interest — which  has  only  a  brief 
life  span. 

For  this  reason,  IP  believes  that  the  appended  excerpts  from  the 
convention  keynote  address  by  Pat  McGee  is  of  extreme  interest  in 
that  it  points  up  the  fact  that  financial  security  for  both  exhibitor 
and  projectionist  is  dependent  upon  a  mutual  understanding  of  and 
the  desire  to  solve  common  industl-y  problems. 


THIS  convention  will  deal  with  our 
most  pressing  problems.  Consider, 
first,  the  effort  to  have  the  Federal 
Communications  Commission  approve  a 
type  of  home  box-office  Tv,  a  project 
which  presents  many  immediate  dangers. 
Another  problem  of  great  importance  is 
to  maintain  the  gains  won  through  the 
reduction  of  the  Federal  excise  tax, 
which  is  threatened  in  many  states  and 
cities  by  the  imposition  of  local  taxes. 

Just  think  where  you  would  be  today 
if  you  still  were  paying  the  full  20% 
excise  tax,  instead  of  which  more  than 
8000  theatres  in  the  country  are  paying 
no  tax  at  all! 

Overshadowing  all  problems  is  the 
very  basic  need  for  our  theatres  to  have 
sufficient  pictures  to  provide  the  change 
of  diet  necessary  for  our  patrons,  and 
the  necessary  prints  to  make  this  pos- 
sible. Unless  we  have  good  pictures  at 
reasonable  terms  and  in  ample  supply, 
we  need  not  concern  ours'elves  with  any 
other  problems! 

Industry  Leadership  Lacking 

One  of  the  by-products  of  the  tax 
campaign's  research  and  probing  was 
the  startling  realization  that  nowhere  in 
this  industry  could  you  find  leadership 
or  statesmanship  in  the  true  sense  of 
the  word.  Instead  of  statesmanship,  we 
found  in  all  branches  of  the  industry 
people  working  for  their  own  interests 
to   the   exclusion   of  all   other  interests. 

Because  the  producers  and  distributors 
are  few  in  number  and  deal  in  millions, 
we  have  expected  them  to  be  looking  out 
for  the  interests  of  the  industry  rather 
than  confining  themselves  exclusively  to 
their    own    interests.     In    short,    we    ex- 


pected them  to  exercise  enlightened 
self-interest.  I  am  sorry  to  say  that  this 
is  lacking  in  a  major  degree. 

What   must   claim   our   immediate   at- 
tention is  the  fact  that  we  are  not  out 


of  the  woods  as  an  industry.  From  1946 
to  the  present,  we  have  had  a  steady 
decline  in  attendance  in  our  theatres. 
This  decline  has  never  been  checked 
and  continues  today.  In  the  face  of  in- 
creased results  in  major  cities,  80%  of 
the  theatres  today  are  showing  7%  less 
attendance  than  we  had  last  year!  and 
the  dollar  volume,  including  $12.3,000,000 
provided  by  tax  relief,  has  not  increased 
materially. 

In  our  own  circuit,  attendance  is 
7%%  below  a  year  ago,  while  our 
dollar  volume  has  increased  6%,  which 
should  have  been  a  12%7o  increase, 
based  on  the  fact  that  we  have  a  net 
savings  of  12%%  on  the  excise  tax. 
With  increased  film  rentals  of  5  to  10%, 
you  can  see  what  happens  to  the  profits. 

Even  in  the  days  when  we  boasted 
of  selling  80  to  90  million  tickets  a 
week,  we  never  had  that  many  individual 
theatregoers.  We  had  about  45  million 
frequent  attenders.  People  did  go  two 
and  three  times  weekly;  but  with  the 
declining  number  of  pictures  there  is 
also  a  proportionate  decline  in  the  op- 
portunity to  attend,  which  is  one  ex- 
planation for  lowered  attendance  in 
total. 

Moviegoing  Habit  Broken 

Of  course,  Tv  has  accounted  for  some 
of   this,   too,   but   between  both   factors 


g>^aaan  0  ffir^^ltngs 


NATIONAL  CARBON  COMPANY 

A  Division  of  Union  Carbide  and  Carbon  Corporation 


NEW  YORK 


*         •         * 


«;B-(S!^«?!Br!^Sir!^STS??&i^^B?i*i^sri^^ 


INTERNATIONAL  PROJECTIONIST      •      DECEMBER  1954 


33 


the  public  got  out  of  the  habit  of  going 
to  the  movies,  a  habit  on  which  was 
founded  a  major  part  of  the  industry's 
success. 

Our  job  will  not  be  done  by  relying 
on  a  jew  big  pictures  at  increased  ad- 
mission prices! 

In  a  few  big  cities  the  fine  new  pic- 
tures at  greatly  increased  admission 
prices  show  vastly  improved  grosses, 
but  these  results  have  not  reached,  and 
are  not  likely  to  reach,  80%  of  the 
theatres  in  the  nation.  There  has  always 
been,  on  the  part  of  production  and 
distribution,  an  inclination  to  repeat 
what  the  other  guy  has  said — thus, 
you  hear  the  cry  that  fewer  but  better 
pictures  are  the  answer  to  the  industry; 
while  we  exhibitors,  with  our  fingers 
closer  to  the  facts,  say  that  such  a 
policy  will   eventually   kill   us! 

We  say,  always  try  for  better  pictures, 
but  more  of  them,  to  keep  up  interest 
in  the  thousands  of  theatres  in  smaller 
communities  of  the  country  which  can- 
not live  in  a  market  of  short  supply. 

Playing  Time,  Prini  Shortage 

I  now  mention  extended  playing  time 
and  print  shortages.  As  the  number  of 
pictures  available  decreases,  those 
theatres  in  the  key  cities  find  their  film 


Short  Sub'iect  V-V  Prints'. 

Projectionists  should  be  on  the  alert  for  the 
forthcoming  VistaVision  shorts  which  are  now 
in  production  by  Paramount.  Proper  identi- 
fication of  prints  is  the  frst  requisite  for  a 
satisfactory  screen  image.  A  V-V  short  sub- 
jects production  program  that  will  yield  from 
six  to  eight  pictures  a  year  at  the  outset  has 
been  announced  by  Par. 

The  one-  and  two-reel  subjects  in  the  new 
production  and  screen  presentation  process  will 
be  in  addition  to  the  regular  one-reel  Techni- 
coior  cartoons  and  black-and-white  subjects 
the  company  has  been  turning  out  in  1.66  to 
1  aspect  ratio.  During  the  1954-55  short 
subjects  year,  which  began  Oct.  1,  Par.  will 
release    60    such    one-reelers. 

Par's  first  short  in  V-V,  titled  "Vista-Vision 
Visits  Norway,"  currently  is  being  readied  for 
general  release,  thus  enabling  theatres  book- 
ing "White  Christmas"  to  present  their  first 
V-V,  perfectly-balanced  program.  Both  are  in 
Technicolor  as  well  as  V-V. 


terms  and  the  length  of  runs  increasing, 
and  their  admission  prices  increasing. 
The  too-high  film  rental  reduces  or 
eliminates   your   profit  to   start  with. 

The  too-long  run  causes  you  to  reach 
the  point  where  the  declining  gross 
brings  you  to  the  break-even  point,  and 
the  lack  of  a  picture  to  follow  compels 


even  further  extending  the  run,  and  this 
throws  you  into  a  loss. 

In  the  neighborhood,  or  sub-run  field, 
the  high  terms  have  reduced  the  profit, 
and  the  long  run  downtown  has  milked 
your  potential,  so  that  between  the  two 
factors  this  group,  too,  shows  a  loss. 
Fewer  features  mean  fewer  pictures 
clearing  to  the  sub-runs,  which  cannot 
extend  playtime  to  offset  the  lack  of 
product,  since  their  customers  have  al- 
ready bought  tickets  downtown. 

The  same  thing  exists  in  the  smaller 
towns.  Theatres  which  changed  three 
and  four  times  a  week  now  change  twice 
a  week,  or  play  weekends  only.  If  they 
change  oftener,  they  are  picking  up  old 
pictures  which  have  played  many  times 
already,  merely  to  fill  out  the  playtime 
and  with  no  hope  of  profit. 

Estimate  of  Possible  Closings 

These  problems  could  be  cured 
quickly  with  a  larger  supply  of  good 
pictures.  Producers  say  that  this  is 
impossible.  If  it  really  is  impossible, 
then  we  must  face  the  fact  that  from 
5-  to  8000  theatres  in  this  country 
must  close!  Friends  of  mine  in  distri- 
bution have  actually  said  that  they  are 
reconciled  to  the  loss  of  5000  additional 
theatres. 

This    is     a     heart-breaking    thing    to 


(f^eetUt^d  . 


We  at  Century  Projector  Corporation  are  happy  and  proud  to 
extend  Holiday  Greetings  to  the  projectionist  croft  v/hich  has  con- 
tributed so  much  to  the  progress  of  the  motion   picture  industry. 

As  the  designers  and  manufacturers  of  the  first  professional 
horizontal-type  projector,  v/e  knov/  that  the  fine  spirit  and  technical 
knov/-hov/  displayed  by  the  projectionists  at  the  Radio  City  Music 
Hall  in  Nev/  York  City  on  the  occasion  of  the  first  showing  before 
a  critical  audience  of  VistaVision's  "White  Christmas"  is  reflected 
in  the  painstaking  efforts  of  the  craft  throughout  the  v/orld. 

This  community  of  technological  interest  and  effort  can  only 
redound   to  the   greater  success  of  our   industry. 

—  tAarty  Thanks 

CENTURY  PROJECTOR  CORPORATION 

729  Seventh  Avenue  New  York,   N.  Y. 

34  INTERNATIONAL  PROJECTIONIST      •      DECEMBER  1954 


^^ 


those  exhibitors  numbered  among  the 
5000.  The  disparagement  of  the  small- 
town and  the  neighborhood  theatres 
shocks  me,  perhaps,  most  of  all.  The 
dollars-and-cents  value  of  these  theatres 
may  not  be  great.  The  social  value  of 
these  theatres  and  their  value  as  de- 
velopers of  "feeder-business"  is  beyond 
estimate. 

Wise  sales  analysts  have  demonstrated 
that  while  a  smash  picture  can  recover 
its  investment  in  the  larger  situations, 
the  widest  possible  playing  time  is 
needed  to  rescue  the  run-of-the-mill  pic- 
ture and  the  nervous  "A"  pictures  from 
the  loss  columns.  We  say  that  if  a 
third  of  the  theatres  close,  the  industry, 
as  constituted  today,  cannot  survive.  Also' 
it  would  inevitably  lead  to  still  fewer 
and  more  expensive  pictures,  and  it  is 
hard  to  say  where  this  would  end. 

Admission  Price  Level 

There  is  no  doubt  that  the  declining 
attendance  is  coupled  with  ever  increas- 
ing admission  prices.  There  is  danger 
that  we  are  over-pricing  ourselves  at 
the  box-office.  Remember  the  book  pub- 
lishers who  were  in  the  doldrums.  As 
an  experiment,  a  number  of  stories  were 
issued  in  a  25-cent,  paper-back  edition, 
which  caught  on  like  wildfire,  rejuvenat- 
ing the  entire  business.  There  is  a  les- 
son here  for  us. 

Distributors  have  watched  the  key 
center  grosses  and  have  assumed  that 
they  can  get  40%  and  50%  film  rentals 
without  question,  when  we  know  that 
80%  of  the  theatres,  by  paying  such 
terms  have  reduced  their  profit  margins 
to  the  point  where  they  cannot  maintain 
their  properties. 

Giant  Research  Program  Urged 

Instead  of  guessing  at  things,  the 
whole  industry  should  join  in  a  giant 
engineering  research  and  analysis,  un- 
der neutral  direction,  such  as  COMPO. 
Our  entire  machinery  is  outmoded  and 
archaic.  There  is  an  appalling  amount 
of  waste  in  distribution  and  some  re- 
mains in  production,  although  many 
economies  have  been  effected  in  the 
studios.  Where  there  is  waste,  no  mat- 
ter where  found,  it  ought  to  be  elimi- 
nated. Industries,  such  as  oil  and  steel 
have  found  ways  to  streamline  their  dis- 
tribution methods,  and  ours  cries  for 
surgery. 

Let's  boil  all  of  this  into  a  few  words. 
Producers  and  distributors  have  failed 
to  exercise  "enlightened  self-interest"  in 
dealing  with  exhibitors.  Their  belief  in 
fewer  but  better  pictures  is  being  fol- 
lowed blindly  without  regard  to  the  end 
of  the  road  several  years  hence.  Their 
policy  of  fewer  but  better  pictures, 
coupled  with  unreasonable  terms,  has 
deprived    the    American    theatre    of    its 


rightful  share  of  the  boxoffice  returns 
and  of  the  tax  saving  which  we  pro- 
vided. The  pendulum  has  swung  too 
far  in  favor  of  the  seller.  The  market 
must  be  brought  into  balance  through 
economies  which  will  enable  the  dis- 
tributor to  allow  easier  film  terms;  and 
the  market  must  be  brought  into  balance 
by  providing  additional  pictures  from 
whatever  sources  are  available  in  order 
to  revive  competition  on  a  healthy  basis. 

Progress  Requirements 

We  can  go  about  this  by  following  a 
planned  program  of: 

(1)  Encourage  present  producers  to 
make  additional  pictures  as  good  as 
they  know  how. 

(2)  Encourage  foreign  producers  to 
analyze  our  needs  in  the  United  States 
and  make  pictures  that  will  interest 
American  audiences.  This  can  be  done 
by  using  American  stars  in  foreign  pro- 
ductions coupled  with  foreign  person- 
alities. Mr.  J.  Arthur  Rank  wants  a 
larger  share  of  the  American  market. 
Our  screens  are  open  to  him  but  he  must 
find  a  way  of  appealing  to  the  American 
theatregoer  who  so  far  has  shown  little 
interest  in  most  English  pictures. 

(3)  We  must  have  a  distribution 
channel  more  sympathetic  to  our  needs 


for  product  during  April  and  May, 
November  and  December,  when  we 
really  must  tighten  our  belts  for  lack 
of  film. 


New  B.  &  L.  C'Scope  Lenses 

Bausch  &  Lomb's  new  CinemaScope 
camera  lenses  have  been  delivered  to 
five  studios  as  well  as  to  20th-Fox.  Other 
studios  are  Warners,  M-G-M,  Columbia, 
RKO  Radio  and  Walt  Disney  Prods. 
Deliveries  to  additional  studios  are  to 
be  made  soon. 

While  the  full  Bausch  &  Lomb  series 
OE  CinemaScope  taking  lenses  will  total 
seven,  ranging  from  13  to  152  mm  in 
focal  length,  thus  far  only  the  35,  40 
and  50  mm  lenses  have  been  delivered. 
Anxiously  awaited  is  the  13  mm  lens, 
capable  of  covering  a  122°  horizontal 
field  angle,  seen  able  to  dwarf  anything 
presently  available  to  photograph  films 
for  35  mm  projection.  The  lens  series 
eventually  will  cover  from  122°  to  18°. 


City   Theatre   Tax   Repealed 

The  city  of  Springfield,  Ohio,  has 
repealed  its  three  percent  admissions 
tax,  effective  January  1  next.  It  is  the 
largest  city  in  Ohio  to  do  so  in  many 

years. 


;^Sjrfi^«?s*«^sir<^SrS?s6ir<^*«¥Jr(^^^ 


G 


tu 


reeiin 


•^ 


As  power  supply-specialists  we  pride  ourselves  on 
having  provided  for  many  years  the  most  de- 
pendable equipment  for  projector  arc  current. 
For  all  types  of  operation,  and  for  all  current 
ranges,  we  have  supplied  the  craft  with  both 
rectifiers  and  motor  generators  to  meet  your  every 
requirement. 

With  great  pleasure,  therefore,  we  at  this  time 
acknowledge  our  indebtedness  to  the  projectionist 
craft  and  extend  our  thanks  and  heartfelt  best 
wishes  for  a  Happy  Holiday  Season. 


OFQ 


J.     E.     ROBIN,     INC. 

267   Rhode   Island   Avenue,   East   Orange,    N.   J. 


INTERNATIONAL  PROJECTIONIST 


DECEMBER  1954 


35 


Century  Projector  Corp.'s  Fabulous  Feat 
in  Producing  Horizontal-Type  Projector 


ONE  of  the  most  glowing  tributes 
to  the  ingenuity  and  resource- 
fulness of  the  technical  group  within 
the  industry — which  today  is  acutely 
technologically  -  conscious  —  was  the 
achievement  by  Century  Projector 
Corp.  in  designing  and  producing 
within  a  whisper  of  time  the  double- 
frame,  horizontal-type  projector  which 
was  used  at  the  world  premier  of  the 
Vista  Vision  print  of  Paramount's 
"White  Christmas"  at  Radio  City 
Music  Hall  in  New  York  City,  shown 
on  a  giant-sized  screen. 

This  projector  was  described  in  de- 
tail in  the  October  last  issue   of   IP. 

The  accompanying  line  illustration 
offers  graphical  evidence  of  the  all  too 
brief  period  in  which  was  translated 
an  idea  into  a  mechanical  reality — but 
this  in  no  wise  conveys  the  near-heart- 
break, the  bated  breaths  and  the  back- 
breaking  feverish  activity  which  was 
poured  into  the  production  within 
an  incredibly  short  span  of  time  this 
revolutionary  projector  mechanism. 

Near-Incredible  Time  Schedule 

A  blow-by-blow,  transcontinental 
phone-calling,  drafting-board  and 
machine-working  schedule  (omitting 
the  near-hearthbreak  attendant  upon 
a  full  crew  of  technicians  which  was 
"ready  to  go"  only  minutes  before  the 
scheduled  opening  time)  would  run 
something  like  this,  according  to  Larry 
Davee,  engineer  and  sales  manager  for 
Century: 

Sept.  22.  Regular  review  of  experi- 
mental work  by  Paramount  studios  in 
Hollywood  and  decision  to  "go  ahead." 

Sept.  23.  Phone  call  from  Holly- 
wood to  New  York  during  which  Cen- 
tury accepted  order  to  design  and 
produce  the  radical  new  projector  in- 
tended to  show  film  that  runs  hori- 
zontally through  the  mechanism,  with 
each  frame  eight  sprocket  holes  in 
width. 

Sept.  24.  Development  begun  at  the 
Century  plant  in  Long  Island  City. 
Problems  included  designing  a  heavier 
intermittent  movement  to  absorb  the 
shock  of  an  eight-sprocket  hole  pull- 
down (or,  rightly,  pull-to-the-side) ; 
design  of  extra  sprockets  to  redirect 
path  of  the  film  from  the  horizontal 
path  in  the  head  to  the  vertical  posi- 
tion of  the  magazines;   and  reversing 


the  film  path  in  the  projector  because 
the  camera  and  printing  processes 
for  the  special  prints  could  only  pro- 
duce them  in  reverse. 

Oct.   6.   First   mechanism  inspected 


Charlie 
Muller,  direc. 
tor  of  projec. 
tion  at  the 
world-famous 
Radio  City 
Music  Hall  in 
N.    Y.    City 


by  CharUe  Muller,  chief  projectionist 
at  Radio  City  Music  Hall,  in  the  Cen- 
tury factory. 

Heads  Delivered  to  Music  Hall 

Oct.  8.  Two  mechanisms  delivered 
to  the  Music  Hall. 

Oct.  13.  Screen  at  the  Music  Hall 
was  available  for  one  hour  for  lining- 
up  projectors  and  other  tests. 

Oct.  14.  Preview  for  press,  followed 
by  continuous  public  showings  there- 
after. 

Mr.  Davee  estimates  that  the  first 
horizontal  projector,  which  was  com- 
pleted in  12  days  would  ordinarily 
have  taken  from  four  to   six  months 


s 

M 

T 

W 

T 

F 

S 

Sept. 

(22) 

(23) 

(24) 

25 

26 

27 

28 

29 

30 

Cot. 

1 

2 

3 

u 

5 

© 

7 

(D 

9 

10 

n 

12 

® 

© 

15 

Graphical  representation  of  extremely  tight 
time  schedule  for  conception,  design  and 
production  of  the  Century-VistaVision,  hori- 
zontal-type projector  used  for  world-premier 
showing  of  "White  Christmas"  at  Radio  City 
Music  Hall  in  New  York  City.  Significant 
dates,  as  explained  in  accompanying  article, 
are  encircled. 

to  design  and  produce.  Century  is 
now  in  the  process  of  building  stand- 
ard production  models  of  the  horizon- 
tal projector,  which  will  be  ready  for 
delivery  in  January  next,  and  will 
have  optical  soundheads.  The  first 
models  did  not  have  sound  pick-up  but 
were  synchronized  in  the  projection 
room  with  a  separate  soundtrack  run 
through  another  standard  35-mm  pro- 
jector. 

Not  discounting  in  the  least  the 
travail  of  the  Century  factory  tech- 
nicians, Mr.  Davee  is  on  record  as 
stating  that  "without  the  magnificent 
cooperation  of  Charlie  Muller,  direc- 
tor of  projection  at  the  Music  Hall, 
and  his  swell  gang  of  craftsmen  in  both 
the  projection  room  and  on  stage,  this 
accomplishment  would  have  been  im- 
possible." 

Take  a  bow,  Charlie,  and  gang.  IP 
is  proud  to  have  you  aboard. 


i/fffP  House   3tDE 


DvMHr  He/*i> 
Fee/)  sfi/ioarrr 


T/f^e-up  s^/ioc^er 


fiUD  M'tStfz/ne 


iNreRM/rref/r  spfioctcer 


Rough  sketch  which  provided  the  film-threading  guide  for  the  use  by  the  projection  crew  of 
Radio  City  Music  Hall  of  the  horizontal-type  projector  as  used  for  the  first  time.  This  drawing 
does  not  necessarily  represent  the  ultimate  form  of  this  new  and  novel  film-threading  procedure. 


36 


INTERNATIONAL  PROJECTIONIST     •      DECEMBER  1954 


Projectionist    Problems    as    Seen    From 
the    Viewpoint    of    the    Lens    Maker 


C  OME  projectionist  problems  arise 
from  the  diflferent  languages 
spoken  by  projectionists  and  the  lens 
people.  For  instance,  "This  lens  gives 
a  flat  picture."  To  the  lens  designer 
"flatness"  means  that  the  image  is  pro- 
jected to  a  flat  surface  with  very  little 
loss  in  definition  from  the  center  to 
the  edges.  To  the  motion  picture  trade 
people,  it  usually  means  that  the  illu- 
mination is  uniform  across  the  screen. 

The  biggest  problem  is  caused,  how- 
ever, by  the  fact  that  lenses  are  care- 
fully designed  for  certain  standard 
conditions  of  operation,  but  that  in  ac- 
tual practice  these  conditions  are  often 
not  met.  Few  people  would  want  to 
take  a  1954  automobile  engine  and  put 
it  in  a  chassis  built  in  the  1920's. 
What  is  built  in  1954  should  be  used 
and  associated  with  equipment  mod- 
ernized to  take  full  advantage  of  re- 
cent developments. 

The  results  of  the  toil  and  effort  of 


countless  individuals  are  recorded  on 
an  area  not  much  larger  than  the  size 
of  a  25c  coin,  and  this  area  has  to  be 
magnified  many  thousand  times  by  a 
lens  so  that  millions  of  people  may 
appreciate  and  enjoy  these  records. 
Good  lenses  are  made  to  be  equal  to 
that  task  and  they  should  be  treated 
as  one  of  the  most  important  com- 
ponents of  the  projection  technique. 

Vifal  Projection  Requisites 

Getting  into  the  technical  aspects  of 
conditions  for  good  projection,  we 
must  list  the  following: 

1.  The  lens  must  be  held  rigidly  and 
be  properly  centered  and  squared  to 
ihe  aperture. 

2.  The  front  of  the  lens  and  asso- 
ciated apparatus  should  be  large 
enough  so  as  not  to  interfere  with  the 
light  passing  through  the  lens. 

3.  The  film,  aperture  plate  and  other 
equipment   near   it   must   be   properly 


cooled  and  designed  so  as  to  eliminate 
flutter  and  excessive  buckling  of  the 
film. 

Enlarging  upon  these  points,  it  hap- 
pens quite  often  that  a  good  lens  is 
blamed  for  uneven  focus  when  the 
holding  mechanism  is  obsolete  and  at 
fault.  Sometimes  the  clamp  is  too 
loose  and  the  lens  shifts  during  opera- 
tion; sometimes  the  clamp  is  too  tight 
and  introduces  strain  in  the  lens;  and 
sometimes  the  lens  holder  has  been 
thrown  out  of  alignment  and  the  lens 
is  therefore  cocked  in  the  projector. 
For  good  projection,  the  carbons,  cen- 
ter of  the  aperture  and  the  lens  axis 
should  be  lined  up  as  carefully  as  pos- 
sible, especially  with  modern  high- 
speed lenses. 

Factor  2  aforementioned  was  not 
much  of  a  problem  until  recently  when 
the  use  of  short  focal  length  lenses  was 
greatly  increased.  Because  of  the  short 
focal  length,  the  lens  is  located  close 
to  the  film,  and  the  distance  from  the 
front  surface  of  the  lens  to  the  face  of 
the  projector  may  be  as  much  as  5  or 
6  inches. 

For  the  purpose  of  reaching  the 
lens,    shade    tubes    are    added   to    the 


*  *  * 

^J^oiidau    Ljfeetinad 

and 

Eeit     WisLs    for    1955    to    ^ii    Our    3rLenJ6 

ir       i^       ir 

THE    BODDE    SCREEN    COMPANY 

8829  VENICE  BOULEVARD  LOS  ANGELES  34,  CALIF. 


INTERNATIONAL  PROJECTIONIST      •      DECEMBER  1954 


37 


front  of  the  lens  to  extend  in  front 
of  the  projector.  Manufacturers  con- 
stantly remind  the  trade  that  shade 
tubes  should  be  used  only  with  care 
with  short  focal  lenses.  Many  installa- 
tions are  destroying  their  picture 
quality  by  misusing  these  tubes.  The 
light  beam  is  cut,  and  instead  of  get- 
ting the  amount  of  illumination  at  the 
edges  that  passes  through  the  lens,  this 
illumination  is  reduced  to  a  very  low 
value  by  the  front  of  the  projector  or 
by  shade  tube  interference. 

Most  of  the  projector  heads  manu- 
factured since  the  war  extend  quite 
far  in  front  of  the  film,  and  cause  a 
problem  with  the  use  of  short  focal 
length  lenses.  To  remedy  the  situation, 
a  projector  can  either  be  modified  to 
give  a  larger  opening  such  as  the 
modification  for  use  of  4-inch  diameter 
lenses,  or  by  using  lenses  designed  to 
pipe  the  light  through  the  small  open- 
ing of  the  projector  head. 

Modern  lenses,  which  mean  high 
speed  and  also  mostly  short  focal 
length,  are  designed  to  transmit  a 
tremendous  amount  of  light.  As  every- 
body knows,  a  lot  of  light  means  a  lot 
of  heat.  With  heat  we  encounter  prob- 
lems of  expansion  and  distortion  which 
are  all  concentrated  near  the  aperture, 
but  as  many  carefully  planned  in- 
stallations have  proved,  this  problem 
can  be  overcome  not  in  the  lens  but  in 
the  provision  for  proper  cooling  of  the 
projector. 

Expediency  and  false  economies  can 
also  do  a  great  deal  to  reduce  the  efii- 
ciency  of  properly  designed  projection 
equipment.  Lenses  are  designed  for  a 
specific  purpose  and,  in  particular,  a 
definite  focal  length.  For  an  amateur 
where  quality  of  projection  might  be 
secondary  to  convenience,  elastic  mag- 
nifications might  be  advantageous. 
Professional  projection  requires  a 
good  quality  ahead  of  convenience, 
and  lenses  can  be  made  to  do  various 
tricks  only  at  the  expense  of  the  end 
results. 


Mobile  Cinerama  Equipment 

Mobile  equipment,  capable  of  hand- 
ling showings  of  "This  is  Cinerama," 
in  smaller  theatres  was  demonstrated 
recently  on  the  West  Coast  by  the 
National  Theatres  chain,  which  plans 
to  use  the  equipment.  A  basic  feature 
IS  a  system  of  mirrors  which  makes  it 
possible  to  use  only  one  projection  room 
instead  of  the  three  heretofore  required 
in  Cinerama  installations. 


Selenium  'Selectifier'  with 
Fine-Control  Features 

Modern  projection  requisites  have 
dictated  the  final  form  of  the  "Selecti- 
fier"  line  of  selenium  rectifiers  in  order 
to  provide  easier  regulation  and  overall 
better  adaptation  to  the  high-power  arc- 
lamps  needed  for  wide-screen  projec- 
tion. Selectifier  ranges  for  all  indoor 
and  drive-in  requirements  include  rat- 
ings, in  amperes,  of  50-70;  70-90;  90- 
115;  150-200;  200-250,  and  260-300— 
all  these  being  for  3-phase  power  supply. 

Where  only  single-phase  current  is 
available,  there  is  a  Selectifier  model  to 
which  have  been  added  choke  filters  to 
produce  the  best  possible  supply  under 
the   circumstances. 

Salient  Design  Feafures 

The  various  Selectifier  units,  in  what- 
ever range,  were  so  designed  as  to  pro- 
vide maximum  and  minimum  amps-and- 
voltage  supply  for  each  specific 
application.  That  is,  once  the  rectifier 
is  installed,  the  amp-voltage  output  to 
the  arc  may  be  adjusted  to  the  proper 
level  for  continuous,  trouble-free  opera- 
tion. By  adjustment  of  each  of  the 
three  primary  rotating  switch  contacts, 
and  by  raising  each  switch  one  tap  at 
a  time,  it  is  possible  to  increase  the 
output  current  by  approximately  1  volt 
and  2  amps  per  step.  This  is  fine- 
control  protection. 

Among  the  noteworthy  features  of 
Selectifiers  are: 

1.  Downdraft  ventilation  with  clean 
air  intake  high  on  the  sides  of  the  cab- 
inet. A  14-inch,  1/6-h.p.  fan  ("A"  in 
photo),  with  ^/4-h.p.  frame,  permanently 
lubricated,  to  force  the  cool  air  down 
over  the  50,000-hour  selenium  stacks 
("B"  in  photo),  and  the  oversized  trans- 
former coils,  dissipating  any  possible 
excess  warmth  over  the  floor  instead  of 
picking  up  dust-laden  air  from  the  floor 
and  blowing  it  onto  the  equipment. 

2.  Stacks  may  be  relied  upon  as  long 
as  a  motor  generator,  without  brush  or 
commutator  troubles. 

3.  Transformers  large  enough  for  con- 
tinuous   operation,    with    all    glass-insu- 


Norpat's    "Selectifier"    selenium    recfifier,    let- 

tered   designations  of  which   are  explained  m 

the  accompanying  story. 

lated,  heavy  square  magnet-wire-wound 
coils,  big  enough  to  carry  the  second 
arc,  too,  in  an  emergency. 

Trouble-Free  Operation 

4.  Heavy  oversized,  110  volt-actuated, 
magnetic  3-pole  contactors  instead  of 
a  small  relay,  to  prevent  contact  troubles 
and  replacements. 

5.  Independent  rotator  switches  on 
each  phase  to  select  exactly  the  voltage 
and  current  required,  even  when  the 
evening's  Tv  and  marquee  loads  come  on 
and  drop  the  line  voltage. 

6.  A  means  for  changing  the  low- 
voltage  A.C.  from  "low"  to  "high" 
voltage  ranges  in  the  event  arcs  are 
changed. 

7.  An  alarm  bell  ("E"  in  photo), 
controlled  by  a  thermostatic  switch,  to 
warn  the  projectionist  of  overheating,  so 
he  can  use  a  floor  fan  temporarily,  in 
the  event  all  other  built-in  precautions 
are  not  enough. 

Complete  details  from  Norpart  Sales, 
113  West  42  Street,  New  York  36,  N.  Y. 


L^reetinai   and   v^eit     l/i/ldked 

MOTION    PICTURE   PROJECTIONISTS 
LOCAL    NO.    303,     I.    A.    T.    S.    E. 

HAMILTON,  ONT.,  CANADA 


H.   H.   THORNBERRY 
President 


H.   W.   USHER 
Business  Manager 


38 


INTERNATIONAL  PROJECTIONIST      •      DECEMBER  1954 


ETTERS 


To  Err  Is  Human 

To  the  Editor  of  IP: 

In  reference  to  my  letter  which  ap- 
peared in  the  September  issue  of  IP, 
(page  28)  I  now  believe  some  of  the 
statements  contained  in  it  to  be  mis- 
leading. The  statements  I  refer  to  were 
concerned  with  the  CinemaScope  pic- 
ture we  obtained  here  on  a  26-foot  flat 
screen.  Our  problem  was  caused,  I 
believe,  by  the  six-inch  focal  length 
objective  lenses  we  were  using  at  the 
time  in  combination  with  the  anamor- 
phics. 

One  of  these  lenses  was  excellent  in 
focus  and  sharpness.  The  other  lens 
had  been  blemished  and  was  giving  a 
hazy  and  cloudy  picture.  These  lenses 
were  installed  temporarily  because  mod- 
ern six-inch  lenses  were  unobtainable 
at  the  time.  The  distortion  I  mentioned 
in  the  letter,  which  caused  straight  lines 
to  appear  as  curves  on  the  screen,  was 
due  to  defects  in  the  early  wide-screen 
pictures,  I  am  now  told. 

I  also  spoke  of  keystone  distortion, 
but  at  this  theatre  we  actually  have  a 
very  low  angle  of  projection,  not  exactly 
screen  center,  but  not  enough  to  cause 
any  noticeable  distortion.  I  was  too 
hasty  in  my  previous  letter  and  certainly 
should  have  stopped  to  think  before 
jumping  to  conclusions.  Our  service 
engineer  here  is  a  man  of  very  high 
standards  and  long  experience.  I  should 
have  consulted  him  further  before  stat- 
ing facts  which  were  exaggerated.  Now 
that  new  six-inch  lenses  have  been 
mounted  on  the  projectors,  we  are  get- 
ting an  excellent  CinemaScope  picture, 
and  have  received  many  favorable  com- 
ments. 

Arnold  Humphreys 
Bathurst,  New  Brunswick,  Canada 


Editor's  Reply  :  It  happens  every 
now  and  then  that  a  number  of  "blind 
alleys"  must  be  investigated  before 
the  solution  of  a  technical  problem 
finally  turns  up.  Even  though  we  have 
never  personally  encountered  the  parti- 
cular type  of  trouble  described  in 
Mr.  Humphreys'  first  letter  (IP  for 
September  1954,  page  28),  we  are 
more  than  glad  to  have  had  the  op- 
portunity to  ponder  the  problem  from 
a  theoretical  point  of  view. 

The  difficulty  described  could  hap- 
pen in  unusual  cases  of  mismatched 
optics.    But  the  main  thing  is  that  the 


cause  of  the  trouble  has  been  dis- 
covered, and  that  the  CinemaScope 
projection  in  Mr.  Humphreys'  theatre 
is  now  entirely  satisfactory.  All's 
well  that  ends  well.  We  are  also  happy 
to  be  assured  that  Mr.  Humphreys' 
service  engineer  is  among  the  great 
majority  of  engineers  who,  we  know 
by  experience,  are  highly  competent 
and  unfailingly  helpful. 

Proper  Lens-Cleaning  Procedure 

To  the  Editor  of  IP: 

I  have  read  with  great  interest  the 
numerous  articles  IP  has  published  on 
the  proper  method  of  cleaning  lenses. 
We  seem  to  be  in  agreement  on  the 
method  of  cleaning;  but  we  disagree  on 
the  use  of  water  and  soap  or  detergents 
vs.   volatile   solvents. 

Kollmorgen  Optical  Co.  instructions 
for  the  cleaning  of  lenses  have  been 
practiced  since  1948,  and  we  have  had 
very  few,  if  any,  negative  comments. 
We  do  get  lenses  in  for  reconditioning 
which  evidence  that  powders  have  been 
used  in  the  cleaning  process,  with  the 
result  that  the  lens  coating,  especially 
on  the  outside  of  the  rear  element,  has 
practically  been  removed. 

We  feel  that  solvents  are  more  ad- 
vantageous as  a  cleaning  agent  than 
water,  soap  and  water,  or  detergents 
and  water,  because  they  dissolve  oily 
lesidue  more  readily.  Also,  solvents 
evaporate,  while  water  must  be  dried  off. 

We  try  to  make  our  instructions  both 
simple  and  effective.  We  specify  lens 
tissue  because  it  was  found  impossible 
to  accurately  describe  just  what  consti- 
tuted "clean  cotton  cloth"  or  "well- 
washed"  linen. 

Another  problem  in  recommending 
soap  as  a  cleaning  agent  was  to  specify 
exactly  what  was  meant  by  "a  weak 
soap  solution."  In  some  areas,  because 
of  "hard"  water,  considerably  more 
soap  would  have  to  be  used  than  in 
"soft"  water  areas.  The  soap  must  be 
removed  with  distilled  water,  or  layers 
will  form  and  become  baked  by  the  heat 
of  the  arclamp.  The  only  possible  way 
to  remove  such  a  deposit  would  be  by 
volatile  solvents. 

In  repairs,  we  have  found  that  the 
rear  gasket  seldom  shows  any  dis- 
integration, regardless  of  what  method 
of  cleaning  was  employed. 

No  matter  what  the  method  of  clean- 
ing, the  lens  coating,  especially  on  the 
rear   element,  will   eventually  wear  off. 


Kollmorgen  has  a  standard  recondition- 
ing job  that  consists  of  repolishing  and 
recoating  this  element;  cleaning,  ad- 
justment and  resealing.  Such  a  job,  if 
it  is  done  every  two  or  three  years,  will, 
we  believe,  maintain  the  lenses  in  ex- 
cellent  condition. 

J.  A.   Fetherston 
Kollmorgen  Optical  Corp., 
30  Church  St.,  N.  Y.  City. 


I.  A.  OBITUARIES 

William  J.  Gundlach,  62,  president  of 
Local  106,  Marion,  Ind.,  died  suddenly  on 
November  21.  A  member  of  Mixed  Local 
106  since  1923,  he  spent  his  early  years 
traveling  around  the  country  v^ith  road 
shows.  In  later  years  he  worked  as  pro- 
jectionist in  local  theatres  and  at  the  time 
of  his  death  was  employed  at  the  Para- 
mount Theatre  in  Marion. 

Frank  Miller,  member  of  Local  171,  Pitts- 
burgh, Penna.,  died  recently  after  a  linger- 
ing iUness.  He  held  membership  in  the 
Pittsburgh  Local  for  many  years  and  w^orked 
as  projectionist  at  the  Plaza  Theatre  until 
ill  health  forced  him  to  retire  from  all 
activities. 

John  Featherson,  52,  member  of  Detroit 
Local  199,  succumbed  recently  to  a  heart 
attack.  For  the  past  26  years  he  worked  in 
the  projection  room  of  the  Washington 
Tlieatre  in  Royal  Oak,  and  his  sudden  death 
came  as  a  shock  to  his  co-workers. 

T.  C.  Clark,  member  of  Local  547,  Shef- 
field, Ala.,  for  the  past  30  years,  died  in  his 
sleep  from  a  heart  attack  on  November  16. 
Known  locally  as  "Picto"  or  "Big  Alabama," 
he  was  popular  in  projection  circles  in  and 
around   Sheffield. 

Karle  Waters,  52,  member  of  Local  680, 
Halifax-Dartmouth,  N.  S.,  died  suddenly  last 
month.  For  many  years  he  had  been  em- 
ployed at  the  Garrick  Theatre,  known  in  the 
days  of  vaudeville  as  the  Strand  Theatre. 

James  C.  Chambers,  Sr.,  75,  member  of 
Local  143,  St.  Louis,  Mo.,  died  last  month 
after  an  illness  of  several  years.  He  was 
very  well  known  in  projection  circles  in  the 
St.  Louis  area,  having  worked  in  many  of 
the  theatres  there  since  he  joined  the  Local 
back  in  1909.  His  son,  James,  Jr.,  is  also  a 
member  of  the  Local. 

Louis  J.  Boudreaux,  58,  member  of  Local 
293,  New  Orleans,  La.,  and  projectionist  at 
the  Saenger  Theatre  there  since  it  opened 
27  years  ago,  died  suddenly  last  month. 
His  untimely  death  was  a  shock  to  his 
many  friends  in  the  industry. 


Theatre  Tv  in  Germany 

German  theatre  owners  in  Bavaria  are 
planning  a  theatre  Tv  network  to  pro- 
vide special  news  programs  via  closed 
circuits  to  some  300  situations.  The 
owners  expressed  dissatisfaction  with 
German  newsreels.  Regular  Tv  service 
in   Bavaria  was   started   only  this  Fall. 


INTERNATIONAL  PROJECTIONIST 


DECEMBER  1954 


39 


STUDIO  LIGHT  HISTORY 

(Continued  from  page  16) 

they  provided  a  soft,  more  or  less 
non-directional  source  of  light,  the 
cinematographer  also  often  tried  to 
use  incandescent  tungsten  bulbs  for 
certain  effects.  His  efforts  in  this  di- 
rection were  largely  frustrated  at  the 
time  because  of  the  low  speed  and 
limited  color  sensitivity  of  the  film 
then  used.  The  preponderance  of  light 
from  the  tungsten  bulb  is  in  the  red 
end  of  the  spectrum  and  his  film  was 
blind  to  red. 

Pancbromotic  Film 

Color  motion  pictures  were  not  a 
major  factor  in  those  days,  but  color 
rendition  in  shades  of  gray  of  the 
same  saturation  as  seen  by  the  eye 
when  looking  at  the  original  was 
something  the  cinematographers  need- 
ed badly.  Even  a  reasonably  light-red 
object  would  photograph  black.  The 
advent  of  panchromatic  film  gave  the 
cinematographer  a  better  control  of 
his  gray  scale  and  also  made  it  pos- 
sible for  him  to  start  experimenting 
with  incandescent  tungsten  bulbs. 

In  spite  of  equipment  that  was  ill- 
adapted    and    inefficient,    the    cinema- 


tographer was  beginning  to  achieve 
an  art  form  when  the  advent  of  sound 
in  1927  imprisoned  his  cameras  in 
static,  awkward,  soundproofed  booths. 
The  importance  of  the  new  sound 
medium  transcended  all  demands  for 
photographic  quality  and  the  cinema- 
tographer was  forced  to  reduce  his 
art  to  a  mechanical  function  in  order 
that  acceptable  sound  might  be  ob- 
tained. 

Restrictive   Lighting 

Restricted   to    small   sets    and   with 
his  camera  static,  the  cinematographer 


;i^i^)^i^iiri^j!fi^Sri^sriS^«?^i^*^*iS?*K?^i^!%-i^^ 


to  the  thousands  of  craftsmen  whom 
we  have  been  privileged  to  serve 
with      fine      cinematic      equipment. 


C  S.  ASHCRAFT  MFG.  CO.,  INC. 


36-32  THIRTY-EIGHTH  ST. 


LONG  ISLAND  CITY  1,  N.  Y. 


Arc  Lamp  Specialists  for  More  Than  a  Quarter  Century 


FIG.  4.  Grouping  of 
incandescent  tungsten 
lamp  equipment  of 
the  types  more  popu- 
lar in  the  late  1920's 
and  early  1930's  with 
some    still    in    use. 


began  to  experiment  with  fresh  ap- 
proaches to  his  goal  of  photographic 
dramatic  effect.  Soon  a  number  of 
cameras  were  running  on  the  same  set 
in  order  to  achieve  the  effect  of 
movement,  and  the  cinematographer 
began  casting  about  for  light  sources 
that  would  not  be  restricted,  as  were 
his  cameras,  by  the  noise  they  created. 

He  had  been  experimenting  with 
panchromatic  film  which  was  not 
blind  to  the  red  light,  and  in  the 
incandescent  tungsten  bulb  he  saw  a 
lighting  medium  with  which  he  could 
obtain  soft  effects  and  which  he 
could  use  for  base  lighting. 

Some  people  in  studio  management 
saw  in  the  incandescent  bulb  a  means 
of  economic  gain  whereby  set  lighting 
would  be  accomplished  by  a  push  of 
a  button.  They  put  all  of  their  pub- 
licity efforts  behind  an  incandescent- 
bulb  campaign  and  for  a  time  the 
carbon  arc  was  virtually  discarded, 
with  orders  in  some  places  that  it 
could  be  used  only  by  special  per- 
mission from  the  management. 

False  Economy  in  Production 

Fortunately  the  novelty  and  value 
of  added  sound  helped  to  overcome 
the  photographic  deficiencies  of  the 
period  which  followed.  Camera  lenses 
were  not  corrected  for  the  red  end 
of  the  spectrum  and  focus  problems 
were  legion.  Sufficient  incandescent- 
bulb  equipment  was  not  immediately 
available  and  certain  motion  pictures 
took  on  a  dark,  soft-focus  appearance 
that  was  highly  touted  as  the  "new 
look'  of  the  day. 

The  pressure  against  the  use  of  the 
supplementary  carbon-arc  lamps  for 
sunlight,  streak-light  and  other  of  the 
depth-    and    drama-producing    effects 


40 


INTERNATIONAL  PROJECTIONIST 


DECEMBER  1954 


was  not  only  unfair  to  the  efforts  of 
the  cinematographer,  but  to  the  value 
of  the  incandescent  bulb  itself.  Partly 
as  a  result  of  this,  many  pictures  were 
made  where  scope  was  limited  to  the 
techniques  of  the  legitimate  stage. 

But  as  sound  was  absorbed  into  the 
industry,  the  cinematographer  was 
again  recognized  as  a  creative  artist. 
His  immediate  demands  were  for  a 
lamp  with  twice  the  light  and  twice 
the  penetrating  power  of  anything 
available  from  the  existing  incande- 
scent tungsten  bulbs. 

Flexibilify  the  Keynote 

A  rifled  glass  reflector,  which  had 
been  used  for  incandescent  tungsten 
flood-lighting  at  a  distance  from  the 
source,  was  used  as  a  basis  for  this 
demand  for  twice  the  light  and  twice 
the  penetrating  power.  From  a  light 
collecting  and  distribution  standpoint 
it  was  particularly  well  engineered; 
from  a  utilization  standpoint  it  was 
not  flexible  (Fig.  4).  What  the  cine- 
matographer wanted  was  a  light  with 
twice  the  intensity,  twice  the  pene- 
trating power  and  one  that  could  be 
used  at  varying  distance  with  control 
of  beam  spread  and  light  distribution. 

Of  course  the  demand  was  fantastic! 
In  order  to  give  the  cinematographer 
what  he  wanted,  it  would  be  necessary 
to  sacrifice  engineering  efficiency  all 
the  way  along  the  line.  It  would 
mean  more  powerful  incandescent 
bulbs,  bulkier  equipment  and  higher 
operating  costs.  What  had  to  be 
learned  was  that  the  efficiency  of 
utilization  was  the  all-important  fac- 
tor and  that  strictly  engineering  or 
tight-drawn  economic  factors  must  be 
made  to  compromise. 

Compromises  were  made.  Ten-kw 
bulbs  were  produced  and  even  a  50-kw 
bulb  was  tried.  The  equipment  became 
more  flexible.  Compromises  were 
also  made  by  the  sound  departments. 
Carbon-arc  lamps,  now  filtered  with 
electrolytic  capacitors  to  reduce  gen- 
erator ripple,  again  appeared  on  sets 
where  the  effects  of  sunlight,  streak- 
light  and  back-light  would  allow  the 
cinematographer  to  express  his  indi- 
viduality and  to  produce  the  illusion 
for  which  he  was  striving. 

Constructive  Outlook 

It  was  this  era  that  marked  the 
first  of  the  major  changes  made  by 
manufacturers  of  studio-lighting  equip- 
ment to  provide  units  with  maximum 
power  and  maximum  utilization.    Spe- 


i>. 


snnm  skaplitk 

f/1.7 

and 
SUPER  SKAI>LITE 

f/1.7X 


(True  speed  of  f/1 .7  in  all  sizes 
where  fast  lenses  are  needed) 

NOW  .  .  .  FINER  LENSES  FOR 
FINER    MOTION    PICTURES 


From  Kollmorgen  .  .  .  the  newest,  fastest  projection 
lenses  you  can  buy.  To  give  you  the  brightest,  clearest, 
sharpest,  most  uniform  picture  you  have  ever  seen 
on  your  screen.  For  better  Boxoffice,  better  patron 
satisfaction,  better  all  around  filming,  try  the  SUPER 
SNAPLITE  f/1.7.  Where  lens  mount  interferes  and 
vignetting  is  a  problem,  try  the  SUPER  SNAPLITE  f/1 .7X. 

True  speed  of  f/1 .7  in  focal  lengths  from  2  inches 
through  4  inches  in  1/4  inch  steps.  Ask  your  Theatre 
Supply  Dealer  about  these  fine  lenses.  For  more 
information  ask  your  dealer  or  write  for  Bulletin  222. 


Plant:  347  King  Street 
Northampton,  Massachusetts 


COKPOKATIOM 


NEW  YORK  OFFICE: 


30  CHURCH  STREET,  NEW  YORK  7,  N.  Y. 


INTERNATIONAL  PROJECTIONIST 


DECEMBER  1954 


41 


cialized  incandescent  bulbs  were  pro- 
duced to  replace  those  which  had 
been  adapted  from  other  fields.  In 
1934,  lamps  with  large-diameter, 
mirror-type  optical  systems  were  re- 
placed with  stepped-prism  condensers 
made  along  the  lines  of  the  well- 
known  Fresnel  lens  system  (Fig.  5, 
6  and  7).  It  appeared  as  though  the 
industry  was  settling  down  to  a 
lighting  technique  in  which  the 
incandescent  bulb  and  the  carbon 
arc  were  lighting  tools  available  to 
the  cinematographer  depending  upon 
his  own  interpretation  of  his  artistic 
needs.  The  one  exception  was  the 
clarion  cry,  "I  want  a  lamp  with 
twice  the  light  and  twice  the  pene- 
trating power." 

The  first  major  revolution  was  in 
the  advent  of  sound.  Now  color 
stepped  in  for  a  go  at  it! 

Carbon  Arcs  to  the  Fore 

Technicolor,  who  had  been  strug- 
ling  with  a  two-color  process,  an- 
nounced that  they  were  ready  to 
launch  motion  pictures  in  the  full 
color  scale  and  that  the  white  light 
of  the  carbon-arc  lamp  would  be 
needed  for  the  process.  The  an- 
nouncement by  Technicolor  did  not 
produce  chaos  in  the  industry  as  had 
the  arrival  of  sound,  because  the 
studio  people  believed  that  color  was 
something  they  could  take  or  leave 
alone. 

Tec/in/co/or's  ''Becky  Sharp" 

The  advent  of  Becky  Sharp,  Tech- 
nicolor's first  major  three-color  re- 
lease in  1935,  did  cause  a  revolution 
in  the  studio-lighting  field.  The  car- 
bon-arc lamp  was  again  to  be  the 
predominant    studio-light    source    and 


FIG.  5.  Stepped-prism,  Fresnel-type  lens  in- 
rroduced  in  1934.  Controllable  beam  spread 
of  from  8  to  48  degrees.  Introduced  to  the 
industry  by  Mole-Richardson  Co.,  Hollywood. 


the  unbalanced  spectrum  and  com- 
paratively low  light  output  from  a 
single  unit  of  the  incandescent  bulb 
made  its  future  appear  quite  bleak  to 
many  observers. 

The  New  Arclamps 

Some  work  had  been  done  on  the 
design  of  a  new  type  of  carbon-arc 
spotlamp  and  these  were  hurried  into 
production.  For  floodlighting,  an 
adaptation  of  the  older  carbon-arc 
floodlamps  was  made  and  later  a  com- 
pletely new  design  was  manufactured 
and  replaced  the  earlier  units.  It  was 
the  heyday  for  the  carbon  arc.  It 
would  be  necessary  to  throw  away 
more  than  half  of  the  energy  from 
the  incandescent  lamp  to  make  it 
match  white  light,  so  to  all  intents 
and  purposes  it  was  through  insofar 
as  use  on  color  sets  was  concerned. 

But  the  cinematographer  missed  the 
soft  diffusion,  the  small  overall  equip- 


ment size  and  the  fill-light  quality  he 
obtained  from  the  incandescent  lamp 
almost  as  much  as  he  had  missed  the 
small  source  size  and  great  power 
from  one  unit  of  the  carbon  arc  in 
the  early  days  of  sound;  so  color 
filters  were  made  and  incandescent 
lamps  found  their  proper  niche  in 
Technicolor  photography  even  though 
the  film  sensitivity  did  not  indicate 
their  use  as  an  economic  value. 

The  more  restricted  latitude  [Ed. 
Note:  Latitude  is  leeway  in  lightening 
or  darkening  the  film  during  devel- 
opment, thereby  compensating  for 
errors  in  photography]  and  even  the 
handling  of  color  itself,  made  it  nec- 
essary to  apply  greater  engineering 
efficiency  to  motion-picture  photogra- 
phy in  order  to  obtain  added  dramatic 
effect  which  color  itself  could  provide. 
For  the  successful  introduction  of 
three-color,  motion-picture  photo- 
graphy. Technicolor  found  it  neces- 
sary to  demand  certain  engineering 
requirements  so  that  the  finished 
product  would  provide  this  dramatic 
effect. 

Light  Balance  Extremely  Imporfant 

In  order  to  accomplish  this  result 
they  supplied  their  own  technicians 
to  operate  the  three-strip  cameras  and 
contracted  with  a  number  of  success- 
ful cinematographers  to  supervise  the 
set  lighting.  As  soon  as  possible,  all 
cinematographers  were  made  familiar 
with  color  requirements,  one  of  which 
was  the  accurate  control  of  light.  The 
cinematographer  still  does  much  of 
his  light  balancing  by  visual  means, 
but  he  also  reads  (Ed.  Note:  With  an 
exposure  meter.)  the  incident  light 
in  various  areas  and  when  he  goes 
beyond    the    latitude    of    the    system 


FIG.   6.     Modern   carbon-arc   lamp   equipment. 


FIG.   7.    Modern    incandescent   tungsten    lamp   equipment. 


42 


INTERNATIONAL  PROJECTIONIST 


DECEMBER  1954 


in  order  to  obtain  a  certain  dramatic 
effect  he  has  been  forewarned. 

A  Major  Technicolor  Advance 

One  of  the  major  advances  made  by 
Technicolor  was  the  announcement 
that  they  had  doubled  the  photo- 
graphic speed  of  the  system.  When 
the  cinematographer  was  asked  if 
this  would  bring  about  the  use  of 
smaller  units,  the  response  was  that 
much  of  it  would  be  used  for  increas- 
ed depth  of  focus  and  greater  latitude 
of  operation.  What  was  wanted  was 
a  light  source  with  twice  the  pene- 
trating power  of  existing  lamps.  A 
new  super  high-intensity,  carbon-arc 
lamp  was  designed  to  fill  this  demand. 

It  should  be  noted  that  the  first 
change  from  a  preponderance  of  car- 
bon arcs  to  a  preponderance  of  in- 
candescent bulbs  was  made  possible 
through  a  change  in  film  sensitivity. 
The  next  revolution  in  lighting  was 
the  result  of  the  film  sensitivity  of 
the  new  Technicolor  process.  In  each 
case  one  type  of  light  source  was 
almost  superseded  by  the  other,  until 
management  pressure  was  relaxed 
giving  the  cinematographer  a  chance 
to  fit  the  units  in  where  they  could 
be  used  for  the  greatest  dramatic 
effect. 

"Economics"  the  Watchword 

The  next  revolution  came  during 
1950  when,  due  to  loss  of  revenue, 
the  carbon  arc,  because  of  manpower 
requirements,  was  singled  out  as  the 
"heavy"  in  the  melodrama  of  econ- 
omics  versus  production   values. 

Higher-powered  incandescent  lamps 
were  demanded,  a  lamp  that  would 
produce  twice  the  light  and  twice  the 
penetrating  power.  The  result  was  a 
revival  of  10-kw  lamps  adapted  to 
optics  improved  beyond  ones  that  had 
been  tried  before,  plus  the  wide  usage 
of  the  highest-powered,  carbon-arc 
lamps  filtered  to  the  spectrum  of  the 
incandescent  lamp. 

Penetrating  Power,  Light  Output 

An  occasional  cinematographer  ven- 
tured color  production  on  a  white- 
light  basis,  but  on  the  whole  he  re- 
mained with  the  tungsten  balance 
because  of  so-called  economics.  He 
now  wanted  a  lamp  with  the  pene- 
trating power  and  light  output  of 
twice  that  of  the  highest-powered, 
carbon-arc  lamp,  but  with  the  color 
temperature  of  the  incandescent  lamp 
so  he  could  use  it  on  his  sets  freely 


EASY    STEPS 

...0nd  yod'teon  yoatfu/^y! 


The  CINEMASCOPE,  WIDE  SCREEN 
and  VISTA  VISION  product  is  winning 
greater  favor  every  day.  Knowing  the  mul- 
tiple equipment  improvements  tliey  require, 
National  Theatre  Supply  has  devised  a  sim- 
ple "5  Step"  program  whereby  even  the 
smallest  theatre  can  gradually  progress  along 
the  road  to  complete  wide  screen  projection. 

Your  National  man  will  be  glad  to  advise 
you  on  this  new  "5  Step"  program.  Being 
familiar  with  theatres  of  every  size,  his  judge- 
ment will  prove  invaluable  in  guiding  you 
towards  modern  theatre  improvement. 

NATIONAL'S  DEFERRED  PAYMENT  PLAN 

. .  .  makes  it  easy-stepping,  too!  For  if  it's 
terms  you  want  to  help  in  equipping  your 
theatre,  National  has  a  time-tested  plan  that 
will  meet  your  every  need. 

For  details  —  contact  your  nearest 

NATIONAL  THEATRE   SUPPLY   Branch  todayl 


ATIONAL 


THEATRE        SUPPLY 


Division   of  National  •  Simplci  •  Bludworth.lnc 


INT^ViNATIONAL  PROJECTIONIST 


DECEMBER  1954 


43 


mixed  with  incandescents  and  without 
the   necessity  of  a  lamp  filter. 

"Freedom  of  Choice"  Vital 

What  he  actually  needs  is  more  free- 
dom of  choice  for  the  improvement 
of  production  values  rather  than  for 
small  economic  squeezing  which  robs 
him  of  the  initiative  it  takes  to  make 
something  differently  the  same. 

Now  comes  the  revolution  of  3-D 
and  wide  screen  with  requirements 
of  smaller  lens  apertures,  much  larger 
sets  and  the  extreme  in  production 
values.  As  always,  more  light,  the 
maximum    of    latitude    of    operation, 


and  the  extreme  in  creative  ability 
will  be  needed.  If  history  repeats 
itself,  as  the  pendulum  swings  toward 
fewer  and  better  pictures,  the  choice 
of  set-lighting  equipment  will  again 
revert  to  the  man  who  directs  the 
use  of  it  and  he  will  be  casting  about 
for  a  controllable  light  source  with 
twice  the  light  output  and  twice  the 
penetrating  power  of  any  existing 
equipment,  whether  it  be  incandescent 
tungsten,  carbon  arcs,  or  some  other 
form   of  radiant  energy. 


RAYTONE  Screens,  Thompson  Screen 
Frames,  Raytone  Screen  Paints  and 
Screen  Brushes  will  meet  a\\  of  the 
manufacturer's  claims. 


RAYTONE 


SCREEN  CORP. 


New   Victor    16-mm   Amplifier 

Victor  Animatograph  Corp.  has  in- 
troduced a  new  high-quality  10-watt 
amplifier  to  be  used  with  its  16-mm 
sound-film  projector  (Assembly  10). 
The  amplifier  is  a  50-60  cycle,  A.C., 
Class  0  Al.  push-pull  unit,  using  a 
five-tube   compliment,    plus   receiver. 

With  less  than  2%%  harmonic  dis- 
tortion throughout  the  full  film  range, 
the  frequency  scale  is  said  to  be  within 
.i=  2db  from  100  to  6000  cycles. 
Signal-to-noise  ratio  is  a  minimum  of 
4  db.  A  special  feature  of  the  amplifier 
is  a  built-in  compensating  gain  designed 
for  proper  sound  reproduction  of  old 
film  with  opaque  soundtracks.  By  turn- 
ing the  volume  control  past  "Hi,"  this 
extra  gain  is  realized. 


165  Clermont  Ave.,  Brooklyn  5,  N.  Y. 

MIDWEST:  L.  E.  Cooley, 
408  S.  Oak  Park  Ave.,  Oak  Park,  III, 


Closed-Circuit  Tv  Hookup   Is 
Expanded  by  TNT  Firm 

Large  -  screen  television  projection 
equipment,  specially  designed  for  use  in 
closed-circuit  big-screen  Tv  presentations 
at  hotels,  has  been  purchased  by  Theatre 


— jeadon  6    K^reetinai 


PROJECTIONISTS  LOCAL  NO.  173 
I.  A.  T.  S.  E: 


TORONTO,  ONT. 


CANADA 


Network  Television  from  General  Pre- 
cision Laboratory.  The  transaction  in- 
cludes 50  units  which  will  be  used  to 
link  meetings  taking  place  in  the  same 
number  of  cities.  This  new  network  will 
augment  the  hookup  to  100  theatres 
throughout  the  country  which  are  now 
used  by  tnt  to  present  sports  events  and 
other  attractions  over  theatre  Tv. 

Closed-circuit  Tv  has  up  to  now  been 
handicapped  by  the  absence  of  good 
equipment  in  sufficient  quantity  for  use 
in  hotels  which  accommodate  medium- 
size  audiences  and  are  available  at  hours 
not  practical  for  large  film  theatres. 


Cinerama  As  U.S.  Ambassador 

Cinerama  has  had  such  a  universal 
appeal  wherever  it  has  been  shown  in 
this  country  that  the  U.  S.  State  Depart- 
ment is  considering  it  as  an  ideal  propa- 
ganda medium  for  use  abroad.  Plans 
are  underway  to  present  "This  Is 
Cinerama"  in  Bangkok,  Siam,  regarded 
as  a  critical  area  so  far  as  the  mainte- 
nance of  American  prestige  is  con- 
cerned. 


j;sgs^i^;a9,%iaJ^i»J^ia^;a9'^;is^iiaJ^K!^ 


5 


NOT  ^ 


HOLDING 

Film  breaks  are  costly. 
Play  safe  by  using 

JEFRONA 

All-purpose  CEMENT 

Has  greater  adhesive 
qualities.  Don't  take 
our  word  for  it.  Send 
for  FREE  sample  and 
judge  for  yourself. 
CAMERA  EQUIPMENT  CO. 

DEPT.  J-12-8 
1600  Broadviray  New  York  19,  N.  Y. 


Best  Wishes  for  Happy  Holidays 

from 

PROJECTIONISTS  LOCAL  253 

Rochester,   New  York 


44 


INTERNATIONAL  PROJECTIONIST 


DECEMBER  1954 


1A      ELECTIONS 


LOCAL  173,  TORONTO,  ONT. 

Jimmy  Sturgees.  pres.;  Roy  O'Connor, 
vice-pres.;  Lou  Lodge,  sec-treas.;  Bert 
Higgins,  rec.-sec;  Pat  Travers,  bus.  rep.; 
Lou  Applebaum,  Douglas  Cameron,  Dave 
Siegel,  Roy  Wilson,  exec,  board;  Ted  Co- 
vert, Loren  Clark,  Jack  Harris,  trustees; 
Jim  Farrah,  sgt.-at-arms ;  George  Robinson, 
tyler. 

25-30  CLUB,  NEW  YORK  CITY 

Jacob  S.  Winick,  pres.;  Anthony  Bos- 
corelli.  vice-pres.;  Benjamen  Stern,  fin.- 
sec;  Morris  L  Klapholz,  rec.-sec;  Joseph 
Perlman,  Edgar  T.  Stewart,  Julius  Wetz- 
ler,    trustees;    Sidney    Wein,    sgt.-at-arms. 

Downward  Trend  Reversed 

National  figures  on  both  gross  box- 
office  revenue  and  individual  attendance 
indicate  that  the  motion  picture  busi- 
ness is  reversing  the  downward  trend 
which  began  in  1946.  Gross  income  for 
this  year,  1954,  is  expected  to  reach 
$1,191,200,000,  which  would  be  a  jump 
of  $183,700,000,  or  18%,  over  1953. 

The  total  number  of  admissions  to 
theatres  is  also  rising.  Ticket  purchases 
during  the  second  quarter  of  1954  ex- 
ceeded the  same  period  in  1953  by 
42,900,000,  indicating  a  rise  of  71/2%- 
This  same  rate  of  improvement  con- 
tinued in  the  third  quarter.  Attendance 
had  been  dropping  steadily  for  years. 
After  hitting  a  all-time  record  weekly 
average  of  82,400,000  in  1946,  it  steadily 
fell  off  until  it  reached  a  low  of  45,900,- 
000  weekly  average  in  1953.  This  year's 
figures   reversed   the   trend. 

The  improvement  in  attendance,  al- 
though smaller  than  the  gain  in  gross 
box-office  revenue,  is  probably  more 
significant  because  the  gain  is  in  part 
the  result  of  increased  admission  prices. 

According  to  the  Committee  of  Mo- 
tion Picture  Organization,  which  com- 
piled   these    figures,    only    44%    of    the 


estimated  gain  in  box-office  revenue 
during  this  year  can  be  attributed  to 
higher  attendance;  56%  is  said  to  result 
from  that  part  of  the  reduced  Federal 
admissions  tax  which  exhibitors  have 
retained   as  part  of   admission   prices. 


Aperture  Plate  by  LaVezzi 

A  new  spring-loaded  aperture  plate, 
designated  as  the  SP-672-E  series  and 
for  use  with  either  the  standard  or 
Super  Simplex  projector  mechanisms 
has  just  been  introduced  by  LaVezzi 
Machine  Works.  This  new  device,  which 
replaces  both  the  regular  P-672-E  aper- 


The     new    spring-loaded     aperture     plate 
available    from    LaVezzi. 


ture  plate  and  the  P-445-E  sliding  piece, 
is  an  assembly  of  the  aperture  plate  and 
a  blue  tempered  spring  steel  wedge 
which  holds  the  plate  firmly  in  place  in 
the  film  trap. 

Purpose  of  the  new  part  is  to  eli- 
minate the  need  for  handling  two  plates 
each  time  the  aperture  is  removed  and 
to  make  changes  from  one  aspect  ratio 
to  another  faster  and  easier.  Also  added 
is  a  new  finger-grip  bend  on  the  plate  to 
facilitate  rapid  removal.  The  aperture 
plate  is  available  in  all  aspect  ratios  for 
regular  and  CinemaScope  projection, 
and  are  on  display  at  theatre  equipment 
dealers  everywhere. 

Further  details  are  available  from  La- 
Vezzi  at  4635  West   Lake  St.,   Chicago. 


Modernize  SIMPLEX  E-7  or  SUPER 
with  CINECENTER 

You  can  use  4"  diamefer  lenses  .  .  . 
Allows  you  to  adjust  picture  vertically 
and  horizontally  on  screen  .  .  .  You 
can  use  short  focal  length  lenses  with- 
out vignetting  .  .  .  Easily  installed  in 
projection  room  with  just  a  screwdriver. 

ASK   YOUR    DEALER   OR   WRITE    DIRECT   TO 

BiZZELLE  CINEMA  SUPPLY  CORP. 
420  West  45  St.,  N.  Y.  36,  N.  Y. 


Beliind! 
this 
nrian  ■  ■  ■ 


The  facilities  of  RCA  Service  Com- 
pany make  available  to  thousands 
of  theatres  throughout  the  country 
the  vast  technical  resources  of  the 
Radio  Corporation  of  America. 

Problems  posed  by  optical  or  mag- 
netic sound,  single  or  multiple 
track,  2-D,  3-D  or  wide  screen  tech- 
niques are  minimized  when  RCA 
Service  Company  is  behind  the  vital, 
operating  heart  of  your  house. 


Tmks.  (§) 

RCA  SERVICE  COMPANY,  Inc. 

A  Radio  Corporation  of  America  Subsidiary 

Camden,  N.J. 


INTERNATIONAL  PROJECTIONIST      •      DECEMBER  1954 


45 


VISTAVISION  ON  THE  MOVE 

(Continued  from  page  12) 

many  projectors  are  either  in  focus 
on  right  screen,  or  on  left  screen,  but 
never  in  focus  on  both. 

In  the  writer's  opinion,  all  pro- 
jectors for  large-theatre  and  drive-in 
presentation  should  have  water-cooled 
gates,  preferably  water-cooling  in  the 
lamphouse  air-cooling  of  the  film,  and 
a  high-velocity  jetted  air  stream  to 
minimize  film  buckle  in  the  gate. 

This  jet  of  air  is  a  must  if  we  are 
to  get  sharp  pictures  on  screens  of 
45  feet  and  wider — and  with  stand- 
ard lenses  with  a  focal  length  of  3 
inches  or  under;  or,  in  the  case  of 
anamorphics,  if  the  accompanying  lens 
is  6  inches  or  under. 


We  at  Paramount  find  that  the  old 
tolerances,  regarding  weave,  picture 
jump  and  flicker,  are  inadequate  for 
real  good  quality  on  very  large 
screens.  Much  work  should  be  done 
on  flicker,  which  is  probably  one  of 
the  most  annoying  things  now  exist- 
ent in  motion  picture  projection. 

Paramount  recognizes  the  problem 
of  the  projectionist.  He  is  further 
from  the  screen  than  any  of  the  audi- 
ence. His  is  the  worst  place  in  the 
theatre  in  which  to  do  the  focusing. 
Focus  indicators  and  automatic  focus- 
ing devices  are  being  worked  on  by 
Paramount.  We  hope  that  these  units 
will  assist  and  simplify  the  job  of 
the  projectionist. 

Much  has  been  said  and  written 
about  aspect  ratios.    The  fact  is  there 


RfPMCf  APERTURES  QUICKLY 
with  the  NEW^^ 


r 


spring  loaded 
aperture 
plate/ 


FINGER 
GRIP       w 

THE  SPRING 
IS  THE  THING 


For  Standard  and  Super  Pro- 
jectors. Remove  one  aspect  ratio 
plate    and    replace    with    another  — 

zip-zip— that  quickj  The  blue  tempered  spring  steel  wedge  holds 
plate  firmly  in  place  and  the  new  finger  grip  facilitates  rapid  removal. 
Eliminates  the  P-445-E  Sliding  Piece. 

Af  your  T/ieotre  Equipment  Dea/ers  Now 
MANUFACTURED    BY 


LaVezzi  Machine  Works 


4535   WEST   LAKE   ST. 


CHICAGO   4  4, 


is  much  more  latitude  in  aspect  ratios 
than  most  people  realize.  The  Para- 
mount product  is  photographed  to 
play  best  at  an  aspect  ratio  of  1.85/1 
and  1.66/1.  It  will  also  play  to  good 
advantage  at  2/1,  or  down  to  the 
old  1.33/1  (4/3).  These  are  positive 
and  fixed  figures,  and  it  probably 
would  be  better  if  we  would  stop 
talking  "aspect  ratios"  and  fill  the 
proscenium  with  picture.  We  should 
determine  the  best  screen  shape  for 
the  theatre  and  in  so  far  as  possible 
mold  the  product  into  this  plan. 

The  writer  has  recently  visited 
theatres  in  most  important  cities  in 
the  United  States,  and  along  with  his 
assistants  has  visited  theatres  in 
all  principal  cities  around  the  world. 
We  find  that  if  the  theatre  has  ade- 
quate screen  lighting  for  other  pro- 
ducts, it  also  has  adequate  lighting 
for  the  presentation  of  Vista  Vision 
pictures. 

The  Vista  Vision  demonstration,  re- 
cently held  in  the  Music  Hall,  on  a 
screen  70  feet  wide  by  38  feet  high, 
used  standard  projection  equipment 
with  standard  lighting  equipment, 
projecting  on  a  flat,  wide  screen. 

Adequate  Screen  Illumination 

In  most  theatres,  the  writer  has 
reduced  rather  than  increased  the 
lamp  current.  This  is  especially  true 
with  the  double-frame  projectors  such 
as  are  now  being  used  in  The  Music 
Hall,  New  York,  and  the  Warner's 
Beverly  Theatre  in  Hollywood,  where 
we  are  presenting  "White  Christmas" 
by  the  double-frame  projection  system. 

Data  that  has  recently  been  pub- 
lished would  indicate  that  the  Para- 
mount system  will  not  work  and  that 
with  Vista  Vision  there  will  be  a  great 
shortage  of  screen  illumination.  This 
data  is  incorrect,  as  related  to  Vista- 
Vision.  I  am  sure  the  writers  of 
these  articles  have  never  worked  with 
VistaVision,  or  the  data  that  is  pub- 
lished would  be  different. 

Paramount  is  not  anti-any  system. 
At    all    our    demonstrations    we    have 


for  VistaVision 


For   DRIVE-INS&THEATRES  with  HUGE,  WIDE- AREA  SCREENS  •  CARBONS   Inc.BOONTON,  N.J. 


for  Cinemascope 


46 


INTERNATIONAL  PROJECTIONIST      •      DECEMBER  1954 


paid  tribute  to  the  good  that  has  been 
done  by  Cinerama,  Cinemascope — 
and  even  3-D.  We  have  not  neces- 
sarily agreed  with  the  techniques  used, 
but  we  are  most  emphatic  in  our 
feeling  that  each  has  contributed  to 
the  general  advancement  of  motion 
pictures. 

With  respect  to  sound,  there  have 
been  many  techniques  proposed.  Para- 
mount joins  with  those  who  have 
questioned  the  doUar-rate-per-dollar 
investment  in  the  case  of  elaborate 
stereophonic  installations.  All  Para- 
mount Vista  Vision  pictures  will  carry 
Perspecta  stereophonic  sound  for  those 
theatres  that  wish  stereophonic  sound. 
These  same  prints  will  play  on  any 
standard  optical  sound  reproducer  any 
place   in  the  world. 

In  the  writer's  opinion,  if  as  much 
money  would  be  spent  in  improving 
optical  sound  as  has  been  spent  on 
magnetics,  we  would  have  a  far  bet- 
ter product  today.  We  anticipate 
making  the  same  quality  improvement 
in  our  optical  sound  that  we  have 
made  in   our  picture  quality. 

Optical  Sound  Quality  Lauded 

Paramount  will  use  optical  sound 
on  all  double-frame  prints.  The  film 
speed  will  be  180  feet  per  minute  and 
tests  indicate  that  the  sound  quality 
will  be  equal  or  superior  to  that  which 
can  be  obtained  by  magnetic.  Mag- 
netic sound  can  of  course  be  used 
with  the  Vista  Vision  process,  if  any 
other  company  should  so  elect. 

Looking  to  the  future,  the  Para- 
mount program  is  well  formulated.  We 
see  no  reason  to  make  any  major 
changes  and  we  contemplate  a  long 
continuance  of  this  program.  Most 
theatres  have  installed  large  screens 
and  many  theatres  have  good  projec- 
tion equipment.  This  makes  our  Para- 
mount group  very  happy,  since  these 
theatres  can  join  the  VistaVision  fami- 
ly without  spending  a  cent.  We  are 
preparing  a  booklet  on  VistaVision 
presentation  and  theatre  standardiza- 
tion. Our  aim  is  to  help  you  to  do  a 
beter  and  simpler  job  in  the  presenta- 
tion of  all  types  of  motion  pictures. 


WIDE-SCREEN  PROCESSES 
UP  INHERENT  DEFECTS 

(Continued   from   page   10) 

bearing  by  loosening  the  2  set-screws  (but 
do  not  disturb  the  screws  that  hold  the 
bearing,   itself,    in    place) . 

4.  Place  the  sprocket-cover-star  assembly 
on  a  V-block,  the  V-indentation  contacting 
the  sprocket-hub  midway  between  the  two 
taper  pins.  Make  sure  that  the  large  ends 
of  the  pins  point  downward,  and  that  the 
sprocket  and  shaft  are  firmly  and  evenly 
supported. 

5.  Drive  the  pins  out  either  with  a  pin- 
ejector  or  with  a  small  drive-punch  and  a 
light  peen-hanimer,  using  light  blows  to 
avoid  damaging  the  parts.  The  starwheel 
shaft  is  then  pulled  out  of  the  sprocket  and 
out  of  the  cover  bearing. 

Reassembly  a  Delicate  Job 

6.  Clean  the  starwheel  shaft  and  the  bore 
of  the  new  sprocket,  and  lightly  oil  each 
surface.  Run  the  star  shaft  back  and  forth 
in  the  bore  of  the  new  sprocket  several 
times  to  make  certain  that  the  fit  is  not  too 
tight  for  final  assembly.  If  the  fit  is  some- 
what tight,  use  a  twisting  motion,  but  never 


apply  force  obliquely  to  the  star  shaft.  And 
never  pound  the  shaft  into  the  sprocket!  A 
sprung  star  shaft  makes  the  sprocket  wobble 
and  the  picture  dance  6  times  each  second. 

7.  Reassemble  the  parts,  and  line  up  the 
taper-pin  holes  with  a  taper-pin  reamer. 
After  each  of  the  two  pins  is  inserted,  place 
the  assembly  on  the  V-block  and  tap  the  pin 
securely  into  place  with  light  blows — but 
avoid  violent  pounding!  Cut  off  any  excess 
length  of  pins  that  may  interfere  with  the 
film-stripper. 

8.  Restore  the  outboard-bearing  collar, 
and  check  the  end-play  of  the  starwheel 
shaft.  The  shaft  should  have  only  enough 
end-play   for   running   clearance — no   more. 

9.  Replace  film-stripper. 

10.  Replace  gasket  on  the  rim  of  the  case. 


PROJECTIONISTS  LOCAL  414 
Wichita  Kansas 


Projectionist  Local   No.  486 
I.  A.  T.  S.  E. 

Hartford,    Conn. 

^y^olldau     Ljreetlnai 

Projectionists  Local  No.   182 
I.  A.  T.  S.  E. 

Boston,   Mass. 


FRONT  LENS  FOCUSING 
ATTACHMENT 

For  use  with  Wenzel  Pro  4,  Ballantyne 

"W",   Regular    Rear   Shutter   Simplex 

and  similar  types  of  Projectors. 

A  focusing  attachment  on  the  FRONT  of  the 
projector,  where  the  PROJECTIONIST  wants  it. 
Strong  enough  to  act  also  as  a  small  Anamor- 
phic  Lens  support  and  placed  low  enough 
to  allow  free  use  of  any  type  of  Anamorphic 
Lens.  Ask  for  descriptive  circular  from  your 
Theatre  Supply  Dealer  or  write  direct  to: 

WENZEL  PROJECTOR  CO. 

2509-19    S.    State    St.,    Chicago    16,    III. 


INTERNATIONAL  PROJECTIONIST      •      DECEMBER  1954 


47 


aligning  all  holes.  Prepare  to  replace  cover, 
making  sure  that  the  locating  pin  and  cor- 
responding hole  are  in  line,  and  then  very 
gently  engage  one  of  the  curved  sides  of 
the  starwheel  with  the  curved  surface  of  the 
cam,  at  the  same  time  entering  the  cover- 
pin  into  the  hole  in  the  cover.  Replace  re- 
taining, oil-drain,  and  clamp  screws,  with 
clamps,  and  tighten  evenly  all  around. 

11.  Turn  the  flywheel  with  the  fingers  to 
test  the  "feel"  of  the  movement.  If  (a)  the 
movement  clicks  when  the  sprocket  starts 
to  move,  if  fb)  the  movement  binds  when 
the  sprocket  is  in  the  locked  position,  or 
if  (c)  there  is  backlash  in  the  sprocket 
when  in  the  locked  position,  the  cover- 
screws  must  be  loosened  and  the  movement 
adjusted  as  follows: 

12.  Turn  the  flywheel  until  the  star  is  in 
the  locked  position.  Then  hold  the  move- 
ment horizontally  so  that  the  ring  of  the 
cam  rests  upon  a  curved  side  of  the  star- 
wheel,  and  allow  the  cover  to  settle  by  its 
own  weight,  causing  better  contact  between 
star  and  cam.  The  cover  retaining-screws 
are  then  tightened  securely. 

The    intermittent    movement    is    put 


back  into  the  projector  by  reversing 
the  procedure  given  for  taking  it  out. 
To  preserve  the  timing  of  the  shutter, 
however,  the  gears  must  be  meshed 
in  their  original  relationship.  This 
will  automatically  occur  if  the  pro- 
jector is  not  disturbed  while  the  inter- 
mittent was  out;  otherwise  reference 
to  "dot"  punchmarks  and  "0"  marks 
on  gears  and  flywheel  murt  be  made. 
This  expedient  is  less  trouble  than 
readjusting  the   shutter. 

1.  Mesh  the  intermediate  gear  with  the 
flywheel  gear  so  that  the  white  dot  (or 
punchmark)  on  the  intermediate  gear  is 
adjacent  to  the  little  "0"  mark  on  the  in- 
termittent flywheel. 

2.  Swing  the  body  of  the  intermittent 
movement  so  that  the  oil-tube  assumes  the 
same  position  it  had  when  the  movement 
was  removed. 

3.  While  holding  the  intermediate  and 
flywheel  gears  in  mesh,  insert  intermittent 
into  mechanism.  At  the  same  time,  insert 
the  intermediate-gear  shaft  into  its  bearing. 


^y^oiidau   Kureetinai  and  V^edt    l/i/ldned 


To  Our  Many  Friends  Everywhere 


Clayton  Ball -Bearing  Even  Tension  Take-Ups 

For  all  Projectors  and  Sound  Equipments 

ALL  TAKE-UPS  WIND  FILM  ON  2,  4  AND  5  INCH  HUB  REELS. 
SILENT  CHAIN   DRIVE 

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New  York  63,  N.  Y. 


aligning  the  hole  in  the  rim  of  the  inter- 
mittent case  with  the  pin  in  the  framing 
ring,  pushing  the  intermittent  movement  in, 
but  not  so  far  as  to  mesh  the  intermediate 
gear  with  the  vertical-shaft  gear. 

4.  Now  turn  the  vertical-shaft  gear  by 
means  of  the  shutter  shaft  so  that  the  "0" 
mark  on  the  vertical-shaft  gear-collar  faces 
you.  Then  turn  the  intermediate  gear, 
keeping  the  mesh  with  the  intermittent,  so 
that  the  white  dot  (or  punchmark)  on  the 
intermediate  gear  (which  has  been  adjacent 
to  the  "0"  on  the  flywheel)  is  now  aligned 
with  the  "0"  on  the  vertical-shaft  gear. 

5.  When  in  this  position,  mesh  the  gears 
by  pushing  both  intermediate  gear  and  in- 
termittent movement  all  the  way  in. 

6.  Set  the  two  intermittent-movement 
clamps  on  the  operating  side  and  tighten  the 
clamp-screws,  and  replace  intermediate- 
shaft  retaining  collar,  allowing  only  a  very 
slight  amount  of  end-play  in  the  inter- 
mediate-gear shaft. 

7.  Turn  the  mechanism  by  means  of  the 
shutter-shaft  knob  to  note  the  "feel"  when 
the  intermittent  sprocket  stops  and  starts. 
There  should  be  no  clicking  when  the 
sprocket  starts  to  move,  and  the  mechanism 
should  not  bind  when  sprocket  is  in  the 
locked  position. 

8.  The  head  is  still  disconnected  mechan- 
ically from  the  sound  reproducer  and 
motor,  so  return  main  drive  gear.  Also  re- 
place "spot"  sight-box  and  fill  the  inter- 
mittent with  the  required  quantity  of  fresh 
oil. 

Don't  forget  the  oil,  because  without  it 
the  movement  will  bind  after  just  a  few 
hours  or  days  of  running  and  be  utterly 
ruined.  A  dry  intermittent  binds  with 
startling  suddenness.  All  seems  to  be  well 
one  moment,  and  the  next  moment  the  in- 
termittent emits  an  ear-splitting  scream  and 
stops  dead.  The  main  drive-gear  usually 
strips,  and  sometimes  the  spiral  shutter-gear, 
also.  Failure  of  the  drive  gear  to  strip  may 
result  in  serious  damage  to  sound-head  gears 
and  motor.  And  all  because  somebody  for- 
got to  oil  the  intermittent! 

9.  As  an  added  precaution,  turn  the  pro- 
jector over  by  hand  a  few  times  to  make  ab- 


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48 


INTERNATIONAL  PROJECTIONIST      •      DECEMBER   1954 


A  Geneva  type  5-to-1  movement.  This  inter- 
mittent is  workable,  but  has  two  disadvan- 
tages—terrific leverage  during  pull-down,  and 
the  necessity  for  using  a  small  12-tooth 
sprocket    which    might    damage    sproket-holes. 

solutely  certain  that  everything  is  free  be- 
fore turning  the  motor  on.  This  is  a  good 
time  to  check  the  timing  of  the  shutter,  cor- 
recting any  minor  misadjustment  by  means 
of  the  shutter-timing  knob.  Then  "run  in" 
the  projector  several  minutes,  listening  care- 
fully to  make  sure  that  the  intermittent 
runs  quietly  with  the  gate  door  open.  The 
movement  should  barely  whisper — if  it  clicks 
or  whirs  loudly,  then  it  must  be  taken  out 
again  and  readjusted.  Naturally,  it  will 
make  a  slight  whirring  sound  when  the  gate 
door  is  closed,  and  a  louder  noise  when  film 
is  run.  Finally,  project  a  reel  of  film.  If 
the  picture  looks  good,  then  the  machine  is 
in  perfect  condition  for  the  next  show. 

Lafer-Mode/  Projectors 

To  change  sprockets  in  the  Simplex 
E-7,  the  gear  side  of  the  mechanism 
need  not  be  touched  except  to  remove 
the  sound  drive-gear  for  the  purpose 
of  turning  over  the  freed  mechanism 
by  hand  to  get  the  "feel."  The  cover 
of  the  intermittent-movement  case  may 
be  removed  from  the  operating  side, 
after  taking  the  film-gate  out,  but  the 
oil  has  to  be  drained  from  the  move- 
ment while  it  is  in  the  machine,  and 
this  is  admittedly  a  messy  job.  The 
oil  must  not  be  permitted  to  seep  into 
the  sound-head. 

Any  construction  which  requires 
disturbance  of  the  fussy  star-and-cam 
adjustment  merely  to  change  the 
sprocket  must  be  considered  obsolete 
today.  Such  excellent  modern  pro- 
jectors as  the  Simplex  X-L  and  the 
Motiograph  A  A  enable  the  projec- 
tionist to  change  intermittent  sprock- 
ets in  a  matter  of  a  couple  of  minutes 


by  merely  removing  the  outboard  bear- 
ing from  the  operating  side  of  the 
projector.  The  RCA  Brenkert  Models 
40,  60,  and  80  come  closest  to  such 
standard  European  machines  as  the 
Ernemann,  Bauer,  Askania,  Aga  Bal- 
tic, Mikrotechnika,  etc.,  in  regard  to 
ease  of  sprocket-changing.  In  the 
Brenkert  projectors  it  is  only  neces- 
sary to  swing  the  film-stripper  out  of 
the  way,  remove  the  "locking  plate" 
at  the  end  of  the  sprocket,  take  out 
the  end-fastening  screw,  and  slide  the 
sprocket  off  the  shaft  with  the  fingers. 
The  long  end  complicated  directions 
given  above  for  sprocket-changing  on 
the  older  Simplex-type  mechanisms 
will  undoubtedly  astonish  projection- 
ists overseas  who  are  unacquainted 
with  these  machines,  and  who  are 
accustomed  to  removing  the  inter- 
mittent sprockets  even  for  routine 
cleaning. 

Loyalty  to  Old  Mach'mes 

But  many  American  projectionists 
regard  these  old-style  machines  with 
tender  attachment,  the  result  of  many 
years  of  experience  with  them.  And 
if  ever  the  starwheel  or  cam  should 
get  badly  worn  in  one  of  these  old 
projectors,  the  projectionist  who  knows 
how  to  change  intermittent  sprockets 
would  encounter  nothing  new  in  the 
task  of  replacing  the  inner  parts.  He 
already  knows  how  to  take  the  intei- 
mittent  movement  apart  and  put  it 
together   again. 

It  is  not  always  necessary  to  replace 
a  worn  intermittent  sprocket  with  a 
brand-new  sprocket.  If  only  one  side 
of  the  teeth  shows  the  characteristic 
notching  caused  by  wear,  the  sprocket 
may  be  reversed  to  make  use  of  the 
other  side  of  the  teeth.  Only  when 
both  sides  of  the  teeth  have  been  used 
is  it  necessary  to  install  a  new  sprock- 
et. Many  projector  manufacturers 
encourage  this  economy. 

Sprocket-Tooth  Noise 

Worn  sprocket  teeth  may  be  de- 
tected by  passing  a  sharp  knife-blade 
over  the  underside  of  a  tooth — a 
"click"  indicates  a  notch  worn  into 
the  base  of  the  tooth.  Several  con- 
secutive teeth  should  thus  be  tested, 
for  different  teeth  of  intermittent 
sprockets  wear  by  different  amounts. 
It  is  ordinarily  found  that  every  fourth 
tooth  shows  approximately  the  same 
amount  of  wear,  while  the  teeth  in 
between  show  either  less  or  more 
wear. 


Notched  sprocket  teeth  tend  to 
make  the  film  adhere  to  the  sprocket, 
hence  the  tearing  noise  as  the  film 
pulls  away.  Not  only  are  the  film 
perforations  "checked"  and  otherwise 
damaged,  but  the  projected  picture 
will  very  likely  have  an  unsteadiness 
greater  than  the  maximum  "jump 
tolerances"  previously  give  n — 10 
microns  for  the  standard  1.37/1  aspect 
ratio,  8.28  microns  for  the  wide- 
screen  1.66/1  ratio,  7.62  microns  for 
the  wide-screen  1.85/1  ratio,  etc. 

While  picture-unsteadiness  may  in 
some  cases  be  due  to  mechanical  vi- 
bration of  the  projector,  a  loose  lens, 
or  other  causes  external  to  the  inter- 
mittent movement,   all  jumpiness  due 


INTERNATIONAL  PROJECTIONIST 


DECEMBER  1954 


Operational      principle      of      the      conventional 

Geneva     intermittent     movement,     standard     in 

35-mm     projection    today. 


49 


m 


to  a  faulty  intermittent  or  other  causes 
of  film  mis-registration  at  the  aperture 
(such  as  insufficient  or  uneven  gate 
tension)  may  be  measured  percentage- 
wise. 

Each  pull-down  of  the  film  over  the 
aperture  amounts  to  1  frame.  The 
length  of  1  frame  of  film  is  %  of  an 
inch  (19  mm.).  If  each  pull-down 
is  exactly  0.75  inch,  the  picture  on 
the  screen  will  be  perfectly  rock-steady 
if  the  film  is  properly  photographed 
and  printed;  but  if  the  succeeding 
pull-down  distances  vary  slightly  from 
frame  to  frame,  the  picture  will  be 
unsteady.  We  have  already  seen  that 
the  maximum  registration-variation 
permissible  in  standard  projection  is 
10  microns  (0.39  mil.).  This  is  a 
variation  of  0.052%  of  the  total  0.75- 
inch  pull-down  distance. 

The  European  Outlook 

Many  European  projector  manufac- 
turers furnish  pull-down  variation 
figures  for  their  machines,  thus  per- 
mitting prospective  purchasers  to 
judge  the  quality  of  the  various  makes 
of  projector.  This  practice  also  sparks 
competition,  which  goes  to  increase 
the  quality  of  all  European  machines. 
American  manufacturers  might  well 
follow  their  example,  even  though 
practically  all  American  projectors  are 
made  by  only  three  companies,  one 
of  which  is  a  combine  producing 
several  makes. 

Just  as  the  intermittent  pull-down 
variations  must  not  exceed  0.052% 
when  the  standard  aspect  ratio  of 
1.37/1  is  used,  the  permissible  varia- 
tions are  even  smaller  in  non-ana- 
morphic  wide-screen  projection — 
0.044%  for  the  1.66/1  ratio,  0.040% 
for  the  1.85/1  ratio,  0.036%  for  the 
2/1  ratio.  End  0.029%  for  the  2.5/1 
ratio. 

The  dimensions  of  the  starwheel 
and  cam  have  a  great  deal  to  do  with 
the  accuracy  of  an  intermittent  move- 
ment. The  wider  the  running  surfaces, 
the  longer  these  parts  will  last,  as- 
suming that  they  are  properly  made 
of  the  best  metals  and  given  good  care 
by  the  projectionist.  And  when  the 
diameters  of  star  and  cam  are  over- 
size, unusually  high  accuracy  of  per- 
formance is  attained  even  when  these 
parts  are  finished  to  ordinary  manu- 
facturing tolerances. 

The  Brenkert  Method 

The  American  Brenkert  projector 
resembles  many  European  machines  in 


BUY  AND  USB 


CHRISTMAS  SEALS 


TUBERCULOSIS 


the  large  size  of  the  star  and  cam. 
(The  steel  roller  pin  of  the  cam  is 
another  excellent  European  feature  of 
the  Brenkert.)  The  tolerances  held 
in  Brenkert  intermittent  parts  are 
under  0.05  mil  (1.27  microns)  — 
often  only  0.04  mil  (1.02  microns). 
This  close  tolerance  is  equivalent  to 
about  0.035  mil  (0.89  micron)  in  the 
usual  smaller-size  stars  and  cams. 

The  life  of  the  projectionist  is  filled 
with  surprises.  Among  the  different 
projectors  tested  by  the  writer  in 
gathering  data  for  this  article  was  one 
(not  old-fashioned,  but  nevertheless 
no  longer  in  wide  use)  which  has  an 
intermittent  manufactured  to  the  rather 


large  tolerance  of  0.2  mil  (5.08  mi- 
crons) .  This  tolerance  seems  almost 
too  great  for  satisfactory  intermittent 
action.  It  is  conceivable  that  the 
errors  in  starwheel,  shaft,  and  sprocket 
could  "add"  to  produce  registration- 
variations  as  great  as  0.6  mil  (about 
15  microns).  This  is  1/3  greater 
than  the  permissible  misregistration 
of  the  film  in  standard  projection. 

A  Surprising  Circumstance 

Strangely,  that  make  of  projector, 
though  not  so  accurately  made  as 
most  others,  projected  a  picture  as 
rock-steady  as  any  that  the  writer 
has  ever  seen.  Picture-steadiness  was 
measured  on  a  50-foot  drive-in  screen, 
and  no  unsteadiness — not  even  a 
trace — could  be  detected  in  the 
picture  produced  by  either  of  the  two 
projectors  of  the  installation! 

A  machine  which  gives  a  steadier 
picture  than  might  seem  possible 
from  a  consideration  of  its  construc- 
tional details  is  infinitely  less  damag- 
ing to  the  welfare  of  the  exhibition 
industry,  however,  than  a  "good" 
projector  which,  through  carelessness, 
mishandling,  or  neglect,  fails  to  de- 
liver the  rock-steady,  lifelike  images 
which  present-day  audiences  have  come 
to  expect  of  the  theatre  screen  re- 
gardless of  the  aspect  ratio.  It's  time 
to  check — and  to  correct,  if  neces- 
sary. 

[THE  ENDl 


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INTERNATIONAL  PROJECTIONIST      •      DECEMBER  1954 


ocm 


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RESEARCH  w  HEALING 


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AMUSEMENT 

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