V j>
V- < %
w
■
cS <>,
^ %
' ^ 1
V ,N° ^
</• ,\
^V _
%> #
**V\
oox
°A '■
' J~ y-
vOO,
**o
o-
,\>
o.
s\v
^ cV
Op ^
-
■J .
.%
f% V
<- rt
-A
-y
^ -n*.
'./- ^
- A- </>
- .^'"
>0o.
A .o-
-
>
^ -8.
G°\"
0^
■7*.
°SV ,-^>.
o cy
.V </>
'-^ -■> fi s ,
^ ^
^ '^
^ v*
c5 "C>
.^'%
'<& AxN
o 0s
^
V"^
*+ &
-
v^X
^ v*1
'/,'*«-.
OCT
'>- SL
^,. v^
7*,
Scanned from the collections of
The Library of Congress
AUDIO-VISUAL CONSERVATION
at The LIBRARY of CONGRESS
Packard Campus
for Audio Visual Conservation
www. loc.gov/avconservation
/■ '' N
Y~
**\-
;'V ^
'>• V
'J- V
,0
^ v'>
*-
* .^
A'
•y- " '
^ ~a
'/ .
6 ++.
>*&
\\'
v*v
,-0'
,V
,0'
^ -
/
\
o»*
V
x0^
A'
*,- V?
:^
^ ^,
., V 8 * *b.
o \ -I
X *
A
^ *>.
\ , V I A '« r/-
vO e>
O 0
.«5 •**
.0 o
x -0
•/•
</»<^
v^ * -
' "P.
- %.^
>A '<*>
o
N
^
*"
\
o
a>
'Ct,
-
V
'<* ■>■
■>
C,'
<° ...... V ,AA ,v..
**'
Y ■
:A
AV "^
V- y-
,0o.
.0-
0
^ K
q5 -n*. - n0^ .;
\
'+*.
^
Oo.
j> .A
,^V
^ : ' %.
A*' v 5> ' " *
°0
AV ' A^ ,'v
'</■'.
^'
O0%
A ^
•-a>. ,c^
\Yl p <
■s- ,<\
<\
o ox
'y. v^
0
\v
A
,Y-
"or.X
-^ 0
^>
---
/ -^
^ %
A^ O.
\A x ■
s S ,\
■ A° N
^ V^V'
0N
o o
jAJ> 24 I
7i
JANUARY
1957
VOLUME 32 • NUMBER 1
30c A COPY • S2.50 A YEAR
7Lo Lamp in, tkn U)ohhL !
CAN PRODUCE SO MUCH LIGHT.
DE MARK REG
£ J 1) £ i) ii fi
NOT A REFLECTOR ARC!
WRITE FOR DATA
/ ^ MAGNA
MAGNARr
TRADE MARK REG
fi J II I i) i) £
A 75-77 AMP. REFLECTOR ARC!
22,000
TOTAL LUMENS
ON SCREEN
NO -HIGH -RATE
PROOF
Hy-Candescents were selected for all important
"CINERAMA" installations. (Chicago, New York, Los
Angeles, San Francisco, Philadelphia, and Washing-
ton, D. C.)
Hy-Candescents were chosen by Paramount for all
installations of Horizontal "VISTA-VISION".
Hy-Candescents were again selected by TODD-AO
for "OKLAHOMA".
You have to do the same if you want all the light
there is for big pictures.
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-
fiond cost. And
OF ($60.00) REFLECTOR BREAKAGE AND SILVER- I
ING DETERIORATION OR HEAT FILTER UPKEEP
J.E.McAULEY MFG. CD.
552-554 WEST ADAMS STREET
CHICAGO 6. ILLINOIS
« SUBSIDIARY OF
GiNEBM
PRECISION
EQUIPMENT
CORPORATION
.
OJlDY l
SPECIAL
pre-publication ofM
631577
LIMITED TIME!
Robert A. Mitchell's 500-Page
MANUAL OF PRACTICAL PROJECTION
the most complete and practical handbook for projectionists ever compiled!
These chapter headings indicate
the completeness of the book's
contents:
PART I: FILM
Inspection and Repair of Prints
Prevention of Damage to Prints
Film and the Heat Problem
PART II: THE PROJECTOR
Notes on Projector Maintenance
Film-Guiding in the Projector
The Intermittent Movement
Functions of the Projector Shutter
PART III: PROJECTION OPTICS; SCREENS
Optical Efficiency in Projection
The Projection Lens
Lens-Matching; Care of Lenses
Screen Types and Picture Brightness
Screens, Apertures, Aspect Ratios
PART IV: THE ARC LAMP
The Carbon Arc
Operating Characteristics of Arc Lamps
PART V: GENERAL PROJECTION
PRACTICE
The Projectionist's Role as a Showman
Projection Preparations for the Seasonal
Theatre
More Light for Drive-In Screens
PART VI: MOTORS, GENERATORS, AND
RECTIFIERS
Types of Motors
Maintenance and Servicing of Motors
Types of Generators
Maintenance and Servicing of Generators
Rectifiers for Projection Arcs
PART VII: SOUND REPRODUCTION
SYSTEMS
Photocells and Optical Sound
Testing Amplifier Parts
The Sound-on-Disk Reproducer
The Sound-on-Film Reproducer
Acoustics in Projection
PART VIII: PROJECTION OF COLOR AND
3-D FILMS; FORMULAS
The Projection of Color Films
Stereoscopic Projection
Useful Projection Formulas
at a money saving
pre-publication
price of only
$4-50
regular i
regular price $6.00
• Hundreds of requests have been received for a permanent
record of the Robert Mitchell articles that have appeared in
INTERNATIONAL PROJECTIONIST. A handsomely bound com-
pilation of the BEST of these articles, revised and brought up to
date, is now on the press. By placing your order now . . . you'll
save money and be one of the first to get a copy.
• This manual is divided in 8 sections and contains 30
chapters (see listing). A practicing projectionist as well as a
recognized authority in this field, author Mitchell covers clearly
and thoroughly every aspect of motion picture projection . . . from
adjusting an arc lamp to the splicing of film.
• Profusely illustrated and crammed full of practical
projection knowledge, Mitchell's MANUAL OF PRACTICAL
PROJECTION differs from every other projection work in at
least 3 ways:
1. Its contents have received the enthusiastic
approval of experienced projectionists.
2. It does not contain elementary principles of
physics taken from school textbooks.
3. It does not contain manufacturers' pamphlets
available to any projectionist for the asking.
INTERNATIONAL PROJECTIONIST
19 West 44 St., N. Y. 36, N. Y.
Gentlemen: Please send me copies of R. A. Mitchell's MANUAL OF PRACTICAL
PROJECTION at the special pre-publication price of only $4.50 per copy, postage prepaid.
Enclosed is check 'or money order) for $
NAME
ADDRESS
CITY
ZONE STATE
INTERNATIONAL PROJECTIONIST • JANUARY 1957
The automatic crater = positioning
system which controls the burning of
both carbons is nothing short of
amazing in its maintenance of the
positive arc crater at the EXACT
focal point of the reflector. In fact/ it
even defies you if you try to keep it
at any other position.
In these days of involved projection
techniques andmore exacting demands
on screen light sources/ you can't
afford to have less than an arc which
projects an intensely brilliant light/
evenly distributed and ol unchanging
color value.
And that s exactly what you get
with the Excelite 'W WITHOUT
MANUAL ADJUSTMENTS. No
wonder exhibitors and projectionists
alike prefer them regardless of screen
size or projection process.
NATIONAL
Hiit.mii
A SUBSIDIARY OF
.1. s.~Bif, . |lHd...th.l«r.
INTERNATIONAL PROJECTIONIST • JANUARY 1957
International
PROJECTIONIST
R. A. ENTRACHT, Publisher
JAMES MORRIS, Editor
ROBERT C. MacLEOD, Associate Editor
R. A. MITCHELL, Contributing Editor
Volume 32
JANUARY 1957
Number 1
Index and Monthly Chat 5
Transmitting Power to Arc Lamps 7
Robert A. Mitchell
The Syosset: A Completely Modern
Indoor Theatre 11
Tom Prendergast
Faster Pulldown Geneva Movements, II 13
Jose M. Ruiz
Planetarium Projection 15
Robert C. MacLeod
Is Magnetic Reproduction Worthwhile? 17
A. S. Pratt and R. A. Mitchell
In The Spotlight 20
Projection Clinic 22
Increasing Efficiency of Motor Generators .... 24
Joseph F. Holt
Personal Notes 25
IA Elections 30
Index — January to December 1956 32
Miscellaneous Items, News Notes, Technical Hints
INTERNATIONAL PROJECTIONIST, published monthly by the Inter-
national Projectionist Publishing Co., Inc., 19 West 44 Street, New
York 36, R. A. Entracht, President. Telephone: MUrray Hill 2-2948.
Subscription Representatives: AUSTRALIA— McGills, 183 Elizabeth
St., Melbourne; NEW ZEALAND— Te Aro Book Depot, Ltd., 64 Court-
nay Place, Wellington; ENGLAND and ELSEWHERE— Wm. Dawson &
Sons, Ltd., Macklin St., London, W. C. 2. Subscription Rates: United
States and U. S. Possessions, $2.50 per year (12 issues) and $4.00 for
two years (24 issues). Canada and Foreign countries: $3.00 per year
and $5.00 for two years. Changes of address should be submitted four
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., under the act of March 3, 1879. INTERNATIONAL
PROJECTIONIST assumes no responsibility for personal opinions ap-
pearing in signed articles, or for unsolicited articles. Entire contents
copyrighted 1957 by INTERNATIONAL PROJECTIONIST PUBLISHING
CO., INC.
d420
monthly CJwd
Thoughts about the Past Year
ANOTHER year has passed and the motion picture
exhibition industry is still very much with us, alive and
kicking despite predictions of doom. It might in fact be
said that 1956 was a year in which the industry gained
slightly in the struggle with TV and the other forces
fighting for the public's entertainment dollar. There is
particular cause to rejoice in the accomplishment of the
drive-in section of the industry. At the height of last
summer, when the drive-in season was busiest, the total
movie audience in both indoor and outdoor theatres was
almost equal to that of the happy, pre-TV days when
exhibitors didn't have to worry about competition.
But, despite the achievement with drive-in theatres, the
year 1956 was still an indecisive and unsettled one. There
were, for instance, the predictions by certain highly placed
circuit executives that thousands of additional indoor
theatres may be forced to close within the next few years.
At year's end these predictions were generally considered
to be exaggerated, but in support of the pessimistic view
there remains the fact that many theatres are not making
money and are often kept open by real estate interests
which realize that the closing of these theatres would
seriously injure the commercial value of shopping districts
where they are located. This is testimony to the great
value of a local theatre as a community service, but it
also puts such theatres in a depressing position similar
to that of a poor relation dependent on reluctant kin for
support.
Such theatres are typically broken-down old opera
houses or surviving nickelodeons where projectionists
struggle with weird projection angles and outmoded equip-
ment while trying to obtain an acceptable wide-screen,
"new-process" picture. The results just don't come off
and patrons complain about poor projection, just as they
complain about dirt, rowdy teen-agers and the general
lack of service in theatres where a management without
hope in the future devotes itself almost exclusively to
uncovering new ways of scrimping and cutting manpower.
Such defeatism is no solution to present problems.
Starting with the projection room, which is the very heart
of any theatre, changes must be made in these houses.
At least the minimum of new equipment necessary for a
pleasing wide-screen picture should be purchased. In the
long run it is likely to be far more costly to continue
doing business at a loss than to make an investment that
will result in a finer projected picture. This investment
could give a new lease on life to neighborhood houses
that are now slowly dying.
Although they cannot, of course, duplicate the perfect
projection conditions, exhibitors and projectionists in
theatres that are in trouble can take heart from the
success of the newly built theatre in Syosset, Long Island,
which is described elsewhere in this issue. The twro circuits
that cooperated in the building of this theatre spared no
expense in construction or in projection and sound equip-
ment. The investment is paying off even though other
theatres are failing because this theatre provides its cus-
tomers with an experience that can never be duplicated
on a home TV set.
INTERNATIONAL PROJECTIONIST • JANUARY 1957
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 6orporation • 30 East 42nd Street, New York 17, N. V.
Sales Offices: Atlanta, Chicago, Dallas, Kansas City, Los Angeles, New York, Pittsburgh, San Francisco
IN CANADA: Union Carbide Canada Limited, Toronto
INTERNATIONAL PROJECTIONIST • JANUARY 1957
^— — ^^— ■— MHH— «WU111«11
OOMCKSBBBBTi
NTERNATIONAL PROJECTIONIST
Volume 32
JANUARY 1957
Number 1
Transmitting Power to Arc Lamps
By ROBERT A. MITCHELL
This practical guide to evaluating an arc-lamp power supply
and maintaining it at peak efficiency examines every aspect
of current transmission from the power plant to the carbon.
THE BEST projection lamp in the
world is almost useless if not prop-
erly powered. The high intensity
carbon arc refuses to tolerate improper
voltage characteristics or variations in
the current supplied to it. In lamps
not having automatic control of the
crater position and feeding of the car-
bons, a fluctuating power supply may
also seriously interfere with proper
functioning of the feed mechanism.
In certain sections of the country,
projection arcs in theatres unfortunate-
ly labor under the disadvantage of an
unsatisfactory power supply and faulty
transmission of the power from the
source to the lamps. Aside from the
fire hazard created by overheated
cables, DC arc-circuit wiring of inade-
quate size, while not detrimental to
arc-lamp operation when motor-gen-
erators are used, waste electrical energy
and fail to deliver the maximum avail-
able current to the arcs when rectifiers
supply the DC. (When generators
supply the power, voltage drop in the
transmission line can be compensated
by reducing the amount of voltage
drop in the ballast resistors. Ballast
rheostats are not used with rectifiers.)
Erratic arc power due to corroded
and loose contacts is not uncommon;
and when a faulty connection is located
inside the lamphouse, the heat of the
lamp conceals the identity of the "burn-
ing" contact.
Uneven Current Supply
Even perfect rectifiers cannot cope
with the unfavorable characteristics of
AC input current supplied by some
commercial power companies. To pre-
vent flickering of the screen illumina-
tion, only motor-generator sets should
be used in localities where the AC
input current fluctuates in voltage or
exhibits different and varying degrees
of power factor between the several
phases of polyphase current.
AC VOLTMETERS (200-300 V.)
Normal range, 220-240 volts
\\
i
«
1
'
3-phase
To generator
input line
or rectifier — *-
i
FIG. 1. How AC voltmeters are connected to
a 3-phase power line.
The power factor of current from
AC mains is extremely important to the
users of rectifiers operated on 3-phase
current. Differences in power factor
will make the projected light flicker,
and a low power factor will seriously
reduce arc current and give a dim light
on the screen. And yet the AC input
ammeters and voltmeters may indicate
maximum power consumption.
The power factor of alternating cur-
rent is 1 only when the current (am-
peres) and pressure (volts) are in
step with one another as the current
undergoes its rapid alterations.
If the current leads or lags behind
the voltage, the power factor decreases ;
that is, the number of watts consumed
in a circuit (measured by a wattmeter)
is less than the mathematical product
of volts times amperes. This is why
the terms "volt-amperes" and "kilovolt-
amperes" are often used in place of
"watts" and "kilowatts" in discussions
of power consumption in AC circuits.
When the power factor is 0 (current
and voltage 90 degreees out of phase),
the current is called "wattless," and is
incapable of operating electrical de-
vices. Power factors of 0.8 to 0.9 are
usual in 3-phase lines; and a power
factor less than 0.7 in one or more of
the three phases will occasional}7 occur.
The disparity usually arises through
INTERNATIONAL PROJECTIONIST
JANUARY 1957
the operation of streetlights from one
phase and the operation of inductive
devices, such as motors, from one of
the remaining phases.
Voltage disparities in 3-phase lines
are equally troublesome to the users
of arc rectifiers. These may be checked
by three identical AC voltmeters of
suitable voltage range, each one con-
nected across one phase (Fig. 1). An
enclosed 3-pole switch should be used
in lieu of a relay for turning the volt-
meters on and off. Voltages as high
as 220 are extremely dangerous!
Voltmeters, Ammeters
More useful to the projectionist,
however, are the meters in the DC arc
circuit. Every arc circuit should have
a DC voltmeter to indicate the output
voltage at the generator or rectifier
terminals, and also a DC ammeter to
indicate the amount of current flowing
through the arc and all other com-
ponents of the circuit. It is preferable
to have two ammeters, one for each
lamp, although it is possible to get by
with only one ammeter if the shunt
be inserted into the circuit between
one of the generator output terminals
and the ballast resistors. See Figs. 2A
and 2B. (Use of one ammeter elim-
inates the possibility of any differences
in meter accuracy.)
An extra DC voltmeter connected
across the lamphouse carbon-holder
terminals, while not absolutely re-
quired, is useful for keeping the pro-
jectionist posted on the prevailing arc
drop (voltage difference between the
positive and negative carbons). This
voltage is always less than the DC-
supply output voltage when the arc
is burning, and varies according to the
length of the arc gap. The closer the
carbons are brought together, the lower
the voltage reading.
A few theatres are entirely without
meters of any kind in the arc-lamp
circuits. It's rather surprising that the
projectionists are willing to get along
without them. With no meters to keep
them informed as to the output of the
DC conversion apparatus and the cur-
rent consumed in the lamps, they can
only guess that everything is working
efficiently. They often guess wrong.
All projection-room circuits should
be adequately metered, for that matter.
An AC voltmeter reading from 100 to
150 volts should be installed in every
projection room to indicate the pre-
vailing line voltage. And the absence
of a generator or rectifier DC output
voltmeter is unthinkable.
In many cases the original arc-lamp
ammeters are never replaced when they
break down. There is no good reason
why an electric meter should ever
break down, of course; but many are
injured by excessive heat and strong
magnetic fields in the lamphouse. A
grossly inaccurate meter is little better
than none at all.
The arc ammeters should be placed
either in the control cabinet or on the
projection-room wall where they can
be seen by the projectionist as he ad-
justs the arc gap or the positioning of
the carbons of each lamp. If two am-
meters are used, one for each lamp,
they should be conspicuously labelled
"Projector 1" and "Projector 2," with
corresponding numerals neatly and
legibly painted on the lamphouses.
Before discussing the possible weak
points in a projection-arc circuit —
points represented by electrical appara-
tus and by wiring, switches, fuse blocks,
and connections — let's remind our-
selves of a simple fact of physics,
namely, that all wasted electrical power
is converted into heat at the piont where
it is wasted.
An inefficient AC-to-DC converting
apparatus or a loose connection offers
resistance to the flow of current; and
as long as the current flows, the re-
sistance develops heat. The heat may
do a great deal of harm by damaging
costly units or by starting fires.
Spotting Inefficiency
Because all forms of energy — light,
sound, electricity, and kinetic energy —
all eventually end up as heat, the
quantity of energy originally present
may be ascertained by measuring the
amount of heat it produces. The heat
produced anywhere in an arc-lamp
circuit thus represents electrical energy
which is totally lost so far as screen
illumination is concerned.
As a matter of fact the power-trans-
mitting efficiency of a motor-generator
set or a rectifier can also be found by
measuring the amount of heat produced
by its operation. Accurate measure-
ment of heat is so difficult, however,
that the efficiency of electrical appara-
tus is usually determined by dividing
the output power by the input power
in watts. Nevertheless, the heat-meas-
urement method is scientifically valid.
There is not much difference between
the efficiencies of rectifiers and motor-
generator sets. Stack (selenium) and
tube-type rectifiers including their
transformers, reactances, and other in-
tegral arc-current components have
power-handling efficiencies of 70-90%,
while motor-generator sets have overall
No. 1 Ballast
) Ammeter for both lamps
FIG. 2. Diagram showing the placement of meters in an arc-lamp circuit. (A) illustrates circuit having two ammeters, one for each lamp; (B)
shows the alternative hookup employing one ammeter for both lamps.
INTERNATIONAL PROJECTIONIST • JANUARY 1957
TO MEET YOUR
«jjr?i
' ,"- ,-
MOST FLEXIBLE OF
PROJECTION ARC LAMP
* X
Provides for the burning of a choice
of 9mm, lOmm, 11mm or 13.6mm
regular and lOmm Hitex Trim.
When requirements shift due to increased
screen size, increased projection lens optical
efficiency, or change to wide film, easily
applied change parts allow increased re-
flector diameter, or the use of larger or more
powerful carbons.
THE
STRONG
ELECTRIC
CORPORATION
31 City Park Avenue • Toledo 1, Ohio
INTERNATIONAL PROJECTIONIST • JANUARY 1957
"te;
TVl6« **• p,es.n«
..
efficiencies of 80-85%. Motor-gen-
erators, however, require the use of
a ballast resistor for each arc lamp.
Use of ballast rheostats cuts the effici-
ency of the motor-generator down to
60-70%.
The Ballast Rheostat
An arc-lamp ballast rheostat closely
resembles an ordinary electric heater.
In fact, the rheostat generates heat by
impeding the flow of current. The
heat represents wasted power; but in
this case the waste is absolutely neces-
sary. The voltage characteristics of
multiple-arc generators are such that
some means of limiting the amount
of current (amperes) is mandatory.
The carbon arc offers less resistance
to the flow of current as its temperature
rises; and if there were no ballast
resistance in the circuit to keep the
resistance of the arc, itself, in check,
more and more current would flow
until the generator became virtually
short-circuited. An overloaded gen-
erator demagnetizes itself and stops
generating current.
Too great a ballast resistance results
in an unnecessarily great waste of
power. Insufficient ballast results in an
erratic unstable arc and a flickering
light on the screen.
Arc circuits supplied with DC by
rectifiers need no ballast resistance.
The inductive reactance of the AC
transformer functions as a ballast
which, happily, consumes no power and
produces no heat. So while rectifiers
and generator sets have about the same
intrinsic efficiency, the use of gen-
erators requires power-wasting ballast
rheostats not necessary with rectifiers.
Electrical efficiency, however, is not
the only factor to be considered when
choosing an AC-to-DC current-convert-
ing device for powering projection
arcs. Stability and reliability are just
as important. The loss of power in the
ballast rheostat is smaller than the
losses occurrring in those stack recti-
fiers which have deteriorated through
age, and is admittedly a small price
to pay for satisfactory performance.
Popularity of Rectifiers
Rectifiers are popular because of
their low initial cost and silent opera-
tion. Moreover, selenium rectifiers are
now made with sufficient power-han-
dling capacity to operate even the most
powerful arcs. But as every projection-
ist learns by experience, the power
requirements of high-intensity arcs are
very exacting. The carbon arc is a
device that tolerates no irregularities
in the current supplied to it.
By rectifying the alternating current
furnished by an inefficient power com-
pany a rectifier passes on to the arc
the ups and downs of the supplied AC
and, in the case of polyphase current,
fails to compensate for phase im-
balance. The rectification may be
3-phase, 6-phase, or even 12-phase. but
the ripple in the DC output is nearly
always a 60-cycle ripple.
A 60-cycle ripple in the current fed
to the arcs interacts with the 48-cycle
projector-shutter frequency to produce
a 12-cycle "beat frequency" clearly
visible as flicker when the ripple factor
exceds 3 or 4% of the total output
voltage (Fig. 3). Since the ripple
originating in the rectifier itself may
amount to as much as 5%, and because
phase imbalance of the AC input may
be as great as 10%, flicker of the
projected pictures when rectifiers are
used is often extremely annoying.
Tungar-tube and selenium-stack rec-
tifiers are favored at the present time,
the latter for arc currents exceeding
60 or 70 amperes. The advantage of
J\
/\
.
/\ /\ /\
/\
r
/
60-cycle current
Single-phase rectified current (DC) without 60-cycle ripple
3-phase rectified current without 60-cycle ripple
1 I ffff I 'Mill Hffli IIM|H UM i
3-phase rectified current WITH 60-cycle ripple
FIG. 3. The pro-
duction of 12-cycle
flicker by 60-cycle
ripple in rectifier
output current.
the selenium type is its long life (esti-
mated to be more than 50,000 hours)
and consequent elimination of the need
for tube replacements. Selenium recti-
fiers also have a lower inherent ripple
factor.
Motor-generator sets, in spite of
their lower power-conversion efficiency
when used with the necessary ballast
resistors, have a long life with little
or no deterioration of output. They
require only infrequent repairs (re-
placement or brushes, smoothing of
the commutator in a lathe, etc.) and
are tolerant of abuse and neglect. The
initial cost of a good motor-generator
set is nevertheless higher than that of
a rectifier, and all except the models
having sealed bearings require lubri-
cation about once a year in the case
of those having grease-lubricated ball
or roller bearings, once a month if
oil-lubricated sleeve bearings are used.
The outstanding advantages of
motor-generator sets consist of their
ruggedness and unsurpassed ability to
deliver a ripple-free direct current of
constant voltage at all loads. Even
large mains-voltage fluctuations and
phase disparities do not affect the DC
output when the generator drive motor
is of the 3-phase induction type. Such
fluctuations, if very large, temporarily
reduce the power-converting efficiency
of the set (by heating the drive motor) ,
but do not disturb the constancy of
the generated DC.
Other Links in Chain
Regardless of whether generators or
rectifiers are used, there are other links
in the power-transmission chain which,
if weak, will adversely affect the quality
of the screen illumination.
If a motor-generator set is used, the
condition of the field rheostats (usual-
ly in the control cabinet) should be
checked. While these rheostats and
their connecting wires carry only a
weak current, it should not be assumed
that they are unimportant. If the gen-
erator shunt-field circuit is broken,
generation of current will stop.
The conducting wires which carry
the DC from the generator or rectifier
output terminals to the arcs are im-
portant from the standpoint of safety
as well as of electrical efficiency. If
these wires (two leading to each lamp)
are too small in size, they will offer
sufficient resistance to the current to
produce heat as well as a loss of power.
The fire hazard is a very important
(Continued on page 26)
10
INTERNATIONAL PROJECTIONIST • JANUARY 1957
An auditorium designed for the wide screen, dual-purpose
Todd-AO projectors and high-quality stereosound are fea-
tures of a new indoor theatre located near New York City.
The Syosset — A Completely
Modern Indoor Theatre
By TOM PRENDERGAST
Projection and Sound Engineering Depart., Skouras Theatres
ANEW theatre built around a pro-
jection sound system that may
well be the start of a new trend in
motion picture equipment recently
opened in Syosset, Long Island, near
New York City. One of the few in-
door theatres built in this area in re-
cent years, the Syosset, which is joint-
ly owned by the Skouras and Pruden-
tial circuits, has a great advantage
over most indoor theatres in that it
was specifically designed for the pleas-
ing presentation of wide-screen pic-
tures with stereophonic sound.
Most important of all, the Syosset,
is the first theatre in the world to use
both regular 35-mm film and 70-mm
Todd-AO prints in the same machines
with dual-purpose Todd-AO projectors.
When the theatre opened last fall, the
70-mm version of Oklahoma was pre-
sented at a gala premiere. Then, for
some weeks the theatre made use of
three different bills all on 35-mm
prints, before going into a two-week
run with the 70-mm version of Ok-
lahoma.
I think our success with dual-pur-
pose projectors will be of interest to
everyone in the motion picture indus-
try. Here is a situation where a rel-
atively small theatre is able to capi-
talize on the great projection improve-
ment that comes from the use of wide-
gauge film without the need for
additional projectors to handle 35-mm
prints.
Screen Dominates
As mentioned earlier, the Syosset is
an unusual theatre — one built for mod-
ern projection techniques. All distrac-
tion is avoided in the simple modern
decorations of the auditorium and all
audience attention is focused on the
60-foot screen that covers the entire
front of the theatre. No proscenium
The 60-foot adjustable curved screen as seen
from the projection room. Projection throw is
145 feet at an angle of 6 degrees.
arch interferes with the screen which
is mounted on a special adjustable
frame that allows for changes in curva-
ture whenever desired.
The screen is the new high-gain
white type manufactured by Raytone
Screen Co. which is known as the
Wondertone. This screen provides a
considerably higher light gain than
is possible with the standard white
screen while at the same time remain-
ing sufficiently diffusive for good side-
seat viewing. The gain is accomplished
through a metallic component added
to the regular white pigments during
a special compounding process.
Viewed from the center, the new
Raytone screen provides a gain of
1.30 compared with 0.85 for the stand-
ard matte screen. At viewing angles
of 35 to 40 degrees this screen pro-
vides a light return of about 0.35,
approximately the same as standard
white screens. The figures used here
are determined by comparing screens
to an ideal white reflective surface
which is taken to equal 1.
The adjustable frame for the 60-foot
screen is constructed of angled alumi-
num which is highly elastic. It is
permanently anchored at two locations
near the center of the stage. Both ends
of the frame can be adjusted forward
or backward for altering the screen's
curvature. This frame is manufactured
by the Joe Malone organization of
Cheswick, Penna.
Another interesting technical fea-
ture of the Syosset is the sound repro-
ducing system. We make use of 27
surround speakers, all of which are
located in the ceiling. By mounting
the speakers in this way, we insure that,
no matter where a patron sits in the
theatre, he will never be in such close
proximity to the surround horns as to
receive an undesirable directional ef-
fect. By this I mean that directional
sound from behind the screen is good,
but that surround sound should be dif-
fused throughout the theatre and
should not appear to come from a
particular spot on a side wall.
The 27 surround horns are 12-inch
Philips Norelco cone speakers contain-
ing built-in line-matching transformers
designed for use in surround installa-
tions. They are positioned in the ceil-
ing over both balcony and orchestra,
and also in the ceiling under the bal-
cony.
Volume Adjustment
We compensate for the difference
in volume required in the ceiling
speakers compared with those mount-
ed under the balcony, where they are
in closer proximity to the audience,
:
• . v^*S(fi,
Exterior of the new theatre at Syosett, Long Island, showing the modern, functional decor.
INTERNATIONAL PROJECTIONIST
JANUARY 1957
11
by the use of two power amplifiers
with the surround channel. One ampli-
fier feeds the ceiling speaker while the
other, differently adjusted, feeds the
under-balcony speakers. That is why
our sound system contains 7 amplifiers
even though the complete Todd-AO
sound system has only 6 sound tracks.
The ceiling location for the sur-
round speakers was possible at the
Syosset because of the modern design
of the theatre and would not be feasible
in many theatres of older design.
The entire sound reproduction sys-
tem is the most modern possible. Any
known system of motion picture sound
recording can be accommodated,
whether it be standard optical, 4-track
CinemaScope stereosound or 6-track
stereophonic sound. A simple switch-
ing device mounted on the projector
head feeds the signal from either the
magnetic or optical pickups to the am-
plifying system.
The magnetic soundhead is unusual
in that it contains 10 magnetic-track
pickups in a single cluster. When
70-mm film is in the projector, 6 of
the pickups are registered against the
striping on the Tv>dd-AO print. The
other 4 pickups register against the
soundtracks when the 35-mm Cinema-
Scope film is being run.
35- to 70-mm Conversion
Both magnetic and optical sound-
heads are integral with the projector
head and are manufactured by Philips
of Eindhoven in Holland. The ampli-
fiers are manufactured by the Ampex
Corp., Redwood City, Calif.
The method by which certain com-
ponents on the Todd-AO projector are
Interior of the spacious
projection room at the
Syosset Theatre where
both 35- and 70-mm
film is projected. The
two Todd-AO projectors
and Ashcraft Super Cin-
ex lamps can be seen at
the left. In the fore-
ground are large film
cases used for carrying
70-mm prints of "Ok-
lahoma." The author
adjusts the 7-channel
Ampex power amplifier
shown in the background.
The arc lamps burn
13.6 - mm carbons at
about 150 amperes.
switched to convert from 70-mm to
35-mm projection have been described
before, but since this is the first regu-
lar installation where such a pro-
cedure has been followed by the regu-
lar projection crew, 1 will describe
our routine. It takes one of our two-
man crews less than one-half hour to
prepare for a switch.
The actual steps necessary in con-
verting the projector to a different
gauge film are as follows:
1 ) Change the top pad roller assem-
bly.
2) Change gate assembly.
3) Change aperture plate.
4) Change lower hold-back pad
roller assembly.
5) Change projector lens.
6) Change magnetic reproducer
idler roller.
7) Change film tension bands.
Also, depending on the type of arc
lamp used, certain lamp adjustments
K» V
%,*=~«r
Projectionist Herb But-
terworth, member of Lo-
cal 640, examining dual-
purpose Todd-AO pro-
jector. Magnetic and
optical soundheads are
integral with the pro-
jector head.
may be necessary to obtain a large
or smaller aperture spot. With the new
Ashcraft Super Cinex lamps employed
at the Syosset, different mirrors are
used for 35-mm and 70-mm projection.
Theatres like the Syosset may well
be the answer to many questions with
regard the future of the indoor theatre.
Complaints about poor projection are
widespread and most of these com-
plaints can be traced to inadequate,
outmoded auditoriums where first-class
wide-screen projection is difficult or
even impossible. Complaints of this
kind need never occur about a modern
auditorium such as the Syosset. Tn
addition, we are able to obtain the
quality screen image possible with
70-mm prints whenever these prints
are available.
Electronics Boom Predicted
In ten years, electronics will be an
$18,000,000,000 business, according to
RCA president Frank M. Folsom. Fol-
som, speaking at the opening of the new
$1,400,000 center of the RCA Distribut-
ing Corp. in Los Angeles, asserted that in
a decade electronics will have a 60%
rise over its present business level, and
would be well up among the five top
manufacturing industries in this country.
In the last ten years RCA has tripled
the size of its facilities.
New Paromel Distributor
Theatrical Equipment Co., of Hono-
lulu, has been appointed exclusive dis-
tributor of Paromel-DeVry sound pro-
jection equipment in the Hawaiian Is-
lands. Theatrical Equipment Co. is head-
ed by R. H. Jackson. The firm will carry
a complete line of Paromel-DeVry equip-
ment together with repair parts for all
models of DeVry projectors.
12
INTERNATIONAL PROJECTIONIST • JANUARY 1957
Faster Pulldown Geneva Movements
By JOSE M. RUIZ
In this second installment, designer Ruir considers
three basic ways to speed up the geneva intermittent,
and suggests the best solution for present problems.
BACK IN 1926, Publix Theatres
in New York City tried a projection
system called "Magnascope." The
Magnascope was first used at the Rivoli
Theatre in New York in showing cer-
tain scenes of the historical film "Old
Ironsides." These scenes were magni-
fied to almost four times the conven-
tional aspect ratio. The Simplex pro-
jector was of special design and fitted
with a fast intermittent movement of
only 72-degrees cam action. The re-
volving shutter blades were trimmed
down as close as possible, or near
78-degree angle of coverage.
The practice followed by Publix
engineers was intelligent and rationa
If the enlarged picture had an area
approximately four times that of small
est one (old aspect ratio of 1.33 to 1)
it was essential that a maximum amount
of light be projected on the screen
Speeding up the intermittent move
ment for a longer exposure cycle gave
an efficient level of screen illumination
without increasing the light source.
The question of pulldown reduction
time may be attacked in another way.
It can be achieved by means of an
additional acceleration mechanism act-
FIG. 11. Diagram of method for accelerating
the pulldown phase of the standard-size
geneva star and cam. This is regarded as the
most promising method of obtaining a faster
pulldown speed in modern projectors.
S/&U/A4>*/
4ti4/s> of Jsy>
£///>£*'-- £/ocf'
FIG. 13. Three positions in the pulldown cycle of the Radion II, a 35-mm projector manufac-
tured in France that uses the acceleration system diagrammed in Figs. 11 and 12. The offset
driving shafts and "slipper block" described in the accompanying article make it possible to
accelerate the pulldown action of a standard-size geneva star wheel and cam.
ing upon the pulldown cycle of stand-
ard-size geneva star and cam and
taking advantage of the well-known
mechanical principle of "offset" drive
— two displaced shafts linked by means
of one universal joint. This gives a
periodic acceleration to the cam pin
at the instant of the pulldown cycle.
Accelerated Geneva Action
In 16-mm work, the offset drive has
been successfully employed in many
excellent professional machines. How-
ever, in 16-mm work this method was
chosen due to some inconvenience in
the geometric cam action which would
occur if a geneva with more than four
slots were employed. One of the first
to use this idea was Thomas Edison
who designed a sort of "offset" system
to achieve an accelerated motion in
the pulldown cycle of the star wheel.
The components tried by Edison were
combined stages of accelerator ele-
ments. Two lever accelerators achieved
a very short pulldown of only 32 de-
grees of cam action, leaving the re-
mainder for projection or exposure
time. However, this achievement was
impractical.
Incidentally another mechanical ex-
pedient to accelerate the intermittent
cam is to employ elliptical gears, but
for many technical reasons, elliptical
gears are not practical when interposed
between the cam-pin shaft and constant
velocity flywheel drive shaft. The off-
set mass of gears in motion with pre-
cipitous changes from positive to nega-
tive accelerations and the forces created
by masses in high sjseed motion, intro-
duced terrific vibration and shock
incompatible with good projection
operation.
It is an important fact that when
gears are interposed between natural
intermitent mechanical elements, a high
degree of precision is required in
machining the components. Any inac-
curacy in the tooth shape creates
oscillating hums due to the angular
velocity change between gears. There-
fore the gears must be cut with a high
degree of precision to attain correct
angular velocity.
However, in the case of accelerated
mechanisms the film acceleration is
perhaps the most important thing to
DRIVING SHAFT
ACCELERATOR— £
CATCH PLATE— C
FIG. 12. Another view of the acceleration sys-
tem shown in Fig. 1 1 .
INTERNATIONAL PROJECTIONIST
JANUARY 1957
13
bear in mind. The amount of film to
be accelerated is approximately 8" in
length with a weight of about .004
pound. It is very important to know
the maximum film acceleration rating
and the pull in pounds in order to
determine safety limits. The film ac-
celeration and the sprocket traction
upon the film perforations should be
studied with great care. This applies
with equal importance to the sprocket-
base diameter, tooth design, etc. The
film gate and tension pads are also
important factors in calculating safe
pulldown reduction. The pull in pounds
should be limited to no more than one
pound for a normal pulldown. In
accelerated mechanisms, this safety
limit may be overstepped with possible
film damage.
Figures 11 and 12 show the basic
elements for geneva accelerated move-
ments. A represents the normal geneva
star actuated by the cam pin B. This
cam pin is attached to the slotted disk
D, in which slides the metal block E
actuated by the pin F in the offset disk
G. O and O' are the axis of the cam
pin and offset accelerator disk G, re-
spectively, and illustrate in the diagram
the amount of displacement between
the driving shafts to achieve a 60-
degree pulldown time.
Reducing Pulldown Time
The result gives a final accelerated
motion on the intermittent sprocket
but with the advantage that the film
is not pulled with instantaneous veloc-
ity. In 16-mm projection, double-
stage accelerated mechanisms are often
employed with an effective pulldown
of less than 60 degrees without any
perceptible damage to the film perfora-
tions. This accelerated geneva mechan-
ism I consider an ideal method for
reducing pulldown time in 35-mm
FIG. 15. Actual photograph of the Radion accelerated-pulldown projector movement. The
slipper block is clearly visible at right. Offset position of the star wheel can be noted at left.
professional projectors even though
the mechanism is complex in mechan-
ical design and fairly critical in
dynamic balance.
The French projector, Radion II,
employs this accelerated geneva move-
ment with compensated acceleration in
the retardation phase of pulldown.
Figure 13 shows three positions of the
Radion II mechanism. The first posi-
tion in the diagram shows the acceler-
ated cam pin at the point of pulldown
shift when it is at a relatively low ve-
locity. In the second stage, the star
wheel velocity has increased a little
with relation to the accelerator speed
rate, and in the third position the cam
pin is at the maximum of acceleration
phase with a retarded velocity in the
film travel near the rest cycle.
The general arrangement of the
accelerated Radion II mechanism is
illustrated in Fig. 14. The conven-
tional geneva star wheel (1) is actu-
ated by the cam pin (8) which carries
the disk (4) with an extended engag-
ing pin (3). The pin (3) actuates the
geneva star wheel and at the same time
serves as a driven link between the
cam pin (8-4-3) and the slide (6)
which moves freely in the flywheel
FIG. 14. Components of the Ra-
dion accelerated-pulldown 35-mm
projector movement. The numeral
3 indicates the offset star-wheel.
The sliding "slipper block" is indi-
cated by number 6. Other num-
bered components are identified in
the accompanying article.
channel (7). The remaining mechan-
ical components are numbered 2, 5, 9,
and 10, and are, respectively, the
intermittent sprocket, the cam-pin shaft
collar, the flywheel integral with the
driving shaft, and the driving pinion
of the movement, etc. The entire
mechanism is surrounded by the ac-
celerator flywheel element where shocks
and vibrations are neutralized.
Radion II Mechanism
Figure 15 shows an accelerated
movement and projector mechanism
with guards removed showing the neat
and compact design of this French
projector movement. The manufac-
turer of the Radion II projector offers
a true 70-degree accelerated mechanism
that is not dangerous to film perfora-
tions and makes possible the very high
light transmission of about 61.2%. At
present, this is the only commercial
35-mm projector employing an acceler-
ated movement with reduced pulldown
time which the writer considers to be
the only rational solution to increased
light on the screen.
Summary
To summarize this article so far, it
can be said that there are three basic
ways to speed up the geneva-star-wheel
type of intermittent movement. They
are:
(1) Increase the cam-disk diameter
to get a 60-degree pulldown, following
the old Cotinsouza design as employed
by Pathe Freres, especially in their
Model No. 3.
(2) The eccentric-star intermittent.
This system has the advantage of de-
sign simplicity of the first solution.
Also, it can be adapted to fit present
35-mm projector heads.
(3) The geneva movement with ac-
(Continued on page 34)
14
INTERNATIONAL PROJECTIONIST • JANUARY 1957
IP makes a visit to check on an interesting sidelight:
projection techniques and equipment in an astral dome.
USfC REPRODUCERS
Cross-sectional view of the theatre in the Hayden Planetarium, New York City. Seating 750, the
theatre contains special seating, with chairs specially designed to allow comfortable viewing upward.
Planetarium Projection
By ROBERT C. MacLEOD
NOT ALL of the projection profes-
sion is confined to showing Holly-
wood product, and if you're bothered
by aspect ratios, etc., these days, con-
sider operating fourteen projectors si-
multaneously, throwing an image on an
elliptical dome 75 feet in diameter and
48 feet high — that's just one of the
tasks of planetarian projection. Mind-
ful of this little-publicized but impor-
tant phase of the craft, IP went over
to the Hayden Planetarium in New
\ork City to look into what has some-
times been called one of the most dra-
matic of theatre productions.
There are seven major planetariums
in the United States — Chicago. Phila-
delphia, Los Angeles, Pittsburgh, the
University of North Carolina, San
Francisco, and the Hayden Planetarium
in New York City — all projecting sky-
shows. A production at the Hayden
requires the services of a lecturer and
four technicians — projection techniques
and special equipment all developed in
the Planetarium's shop by Local 306
men under chief John Tuma.
The Dome "Screen"
The diagram above shows the projec-
tion set-up at the Planetarium. The
dome "screen," 48 feet up and 75 feet
across, is constructed of stainless steel
plates one-sixteenth of an inch thick,
painted with standard white screen
paint. The Planetarium utilizes a high
fidelity multiple speaker sound sys-
tem, and besides a rock cork lining in
the structural dome, echoes and rever-
berations are kept to a minimum by
the dome-screen itself: perforated over
its entire surface with holes one-six-
teenth of an inch in diameter and three-
sixteenths of an inch apart.
The focal point of the projection
system — practically the trade-mark of
the Planetarium — is shown in Fig. 1.
If you want to buy one, just ask for a
Zeiss Optical Multiple Stereopticon
Planetarium Projector. Actually a sys-
tem of individual projectors, the 12-
foot long apparatus can throw on the
artificial sky any number of patterns
of stars, sun, moon, planets, and the
Milky Way for any place or time. Oper-
ated by small 3-phase AC motors, the
device can turn about independently
on any one of three axes at different
speeds.
Inside each globe is a 1,000-watt
bulb, and sixteen lens systems, each
consisting of a condensing unit, a dia-
positive (a copper plate with accurate-
ly machined holes to represent the stars
in a particular part of the sky), and
a projector lens.
A feature of the Zeiss projector is a
light cut-off: a cup-shaped, gravity-
operated shield that slowly swings into
the projection beam as the projector
is tilted downward, keeping any direct
light from the eyes of the audience.
Altec Console
All of this is operated from a large
electronic console designed and in-
stalled by Altec Service Corp., who also
installed the electronic system in the
theatre. A year in the making, the
elliptically shaped instrument is 9 feet
wide, and contains four control panels
with four additional panels for future
installations I Fig. 2) . Containing about
a mile of wire and a multiplicity of
knobs, switches, and dials, the board
is synchronized electronically to work
in perfect coordination with the Zeiss
projector and the sound system.
Operated by a lecturer-technician,
the board controls: permanent special
effects — comets, meteors, etc.; effects
specifically designed for a particular
performance: appearance and motions
of sun, moon, stars and planets; ce-
lestial navigation effects; sky illumina-
tions (sunset, sunrise, twilight, dawn) ;
an electronic interval timer; alarm and
emergency signals and lighting; pub-
lic address controls: lecturer-to-booth
com system . . . ad infinitum.
There are about two thousand pos-
sible combinations — or, as astron-
omer-technician-chief publicist James
Pickering, one of the lecturers who
have to cope with the console, main-
tains: "Two thousand possible mis-
takes, and I've probably made them
all."
Although the Zeiss projector has
been installed since the Planetarium's
establishment in 1935, the Altec con-
sole is only two years old, having re-
FIG. 1. The Zeiss Planetarium projector.
INTERNATIONAL PROJECTIONIST • JANUARY 1957
15
placed the previous overburdened con-
trol board to provide more and better
presentation effects.
But the console-projector system is
but one phase of a Planetarium pro-
duction. Slides, motion pictures, trans-
parencies, a skyline silhouette all go to
enhance a performance. In the pro-
jection room, projectionists Barney
Kreps and Tom Smith handle the Am-
pex magnetic sound system, two Am-
pro 16-mm projectors, two turntables,
a 7 x 7 slide outfit, the new Tuma-de-
signed projection system, and whatever
special effects are needed for each in-
dividual show.
Multiple Speaker System
Music, and any special sound need-
ed, is played on the turntable and
taken on the Ampex 400 recorder (see
Fig. 3). Note that, in this case, the
capstan is on the left, instead of the
right-hand set-up prevalent these days.
The system is by manual control, with
the lecturer-technician cooperating in
watching sync among projection,
sound and dialogue. A multiple-speak-
er system behind the dome carries the
sound from around and directly over
the audience. (Not shown in diagram.)
When needed, two Ampro 16-mm
projectors handle the motion picture
assignment, and 7x7 slides and Koda-
chrome transparencies projected on the
dome provide still effects. For example,
the Christmas show at the Planetarium
(shows change every month or two)
used projections of Santa Claus, Christ-
mas trees, a Biblical landscape, a city
street panorama, music scores of carols,
a Roman festival scene, constellation
figure outlines, etc. The hour-long
presentation is a busy time for both
.lecturer and projectionists.
A feature this year is the multiple
FIG. 3. Sound set-up in the Planetarium pro-
jection room, showing the two turntables and
the Ampex 400 tape recorder.
FIG. 2. The Altec
console, showing the
p roj ector control
panel.
projection system developed by chief
John Tuma, and his assistant Stephen
Ryan. This device, the first of its kind
in any planetarium, employs fourteen
color transparency projectors arranged
around the 360-degree arc of the dome,
and makes possible a wider range of
colorful horizon scenes. The projectors
are operated simultaneously from the
projection room by a control panel.
Previously, horizon scenes were pre-
sented by use of slide projectors locat-
ed on the superstructure of the Zeiss
projector, and each show was limited
to one — or at the most — two horizon
scenes. With the Tuma device, at least
six are possible.
In each projector is an aluminum
wheel containing holders for six color
slides, each slide constituting one four-
teenth of a panoramic view. Blowers
both in front of and behind the wheel
are coolers. The projectionist can
rotate the fourteen wheels in unison
by pressing a button on his control
panel, and bring any of six horizons
into view. With this horizon illusion,
the technician can provide the audience
with the sense that they are watching
the sky from whatever vantage point
is wished, whether from a square in
ancient Rome or from the surface of
the moon. The projectors are housed
in black light-proof boxes sound-proof-
ed with fiberglass insulation. Six
colored button-lights on the control
panel inform the projectionist of scene-
identity and sync.
Improving Techniques
With the exception of the standard
lamphouse assembly, the entire mech-
anism was constructed by Tuma and
Ryan in the workshop in the basement
of the Planetarium. The Planetarium
projection staff maintains full facilities
for development of projection tech-
niques for their presentations, and work
in the shop goes on full time. Right
now the staff is going ahead improving
the projectors to the point where six-
teen horizon scenes will be possible.
This constant improvement of pro-
jection techniques has deservedly earn-
ed the Planetarium a reputation for
colorful, informative and dramatic
presentations. To projectionists who
live in or near those cities that have
major planetariums, IP suggests that
a trip to one would be a more than
interesting way to study an off-beat
part of the projection craft.
Suspend Historical Project
Operations on a project to reclaim
more than 1,000,000 feet of early motion
pictures printed on paper (IP, Aug.
1955) have been suspended due to lack
of funds, the Academy of Motion Pic-
ture Arts and Sciences has announced.
Over a period of eight years the Academy
has invested $125,000 in the project, un-
dertaken originally at the request of the
copyright division of the Library of
Congress. An additional $250,000, pre-
sumably having to come from private
sources, is needed to complete the work.
The film, printed on paper in accord-
ance with early copyright practise and
not meant to be screened, is considered
to be a "fantastic collection of Ameri-
cana." It is expected to deteriorate with-
in the next two or three years.
Dividend Voted By Eastman
A wage dividend of $35,700,000 has
been voted by directors of Eastman
Kodak. The dividend, based on cash divi-
dends declared on common stock during
the year and individual earnings over the
past five years, will be shared among
51,000 Kodak employees. To be paid
next March, the dividend is the highest
amount authorized since the plan was
begun by the company 44 years ago. It
will be paid in addition to regular wages
and has no effect on wage rates.
16
INTERNATIONAL PROJECTIONIST
JANUARY 1957
Is Magnetic Reproduction Worthwhile?
A British engineer takes issue with some of the statements about
magnetic sound made by Robert A. Mitchell in recent IP articles.
To the Editor of IP:
I have read with interest Robert Mitch-
ell's second article on magnetic tracks pub-
lished in the September issue of IP, but
I cannot agree with all the statements he
makes, nor with all his opinions. He
claims that the frequency range offered
by magnetic tracks is no greater than with
all-optical tracks. This is entirely con-
trary to normal experience. Most of the
major film producing companies employ
low pass filters in their photographic re-
cording channels and cut off at 8000 cy-
cles per second or lower. Furthermore,
the standard reproducer characteristic nor-
mally used on photographic sound repro-
duction equipment has a high frequency
roll-off leading to an attenuation of the
order of 18dB at 8000 cycles.
This attenuation of high frequencies in
both recording and reproduction is abso-
lutely essential if the distortions, etc., in-
herent in the photographic recording proc-
ess are to be maintained at an acceptable
low value. This applies when good release
prints are involved. If the release prints
are poor, as they commonly are, then even
with this poor high frequency response,
the distortions are at an intolerably high
level.
Magnetic recording, on the other hand,
can, and does, generally maintain a reason-
ably flat frequency characteristic up to
about 10,000 cycles. Also, contrary to Mr.
Mitchell's statements, the signal-to-noise
ratio obtained with magnetic recording is
greater than that normally obtained with
photographic recording.
He is also quite wrong in saying that at
lower frequencies the CinemaScope meth-
od excels optical sound as regards signal-
to-noise ratio. If anything, quite the re-
verse is true, because at low frequencies
the output from magnetic tracks is low,
and at the lower frequencies, the signal-
to-noise ratio is poorest.
A good signal-to-noise ratio is only ob-
tainable with photographic recording when
the print is new and the track completely
free from scratches, dust and other imper-
fections which it seems naturally to collect
during its life. The signal-to-noise ratio of
magnetic tracks, on the other hand, does
not normally deteriorate with use.
There can be no doubt that, as judged
by the experience over the last few years,
the quality of the sound in the theatre
from magnetic tracks is appreciably better
than that from optical tracks, but whether
this improvement in quality is in fact suf-
ficient to justify the extra expense is an-
other question entirely.
I must support Mr. Mitchell's condem-
nation of the proposed combination print.
The results from this would be very poor
indeed. The narrow optical track would
be most unsatisfactory.
A. S. Pratt
Chief Engineer
Rank Precision Industries, Ltd.
London, England
Robert Mitchell's Reply:
MY SINCERE thanks to Mr. Pratt
of the Rank Organization for
calling attention to my error in stating
that the lower frequencies in the
CinemaScope magnetic method are
freer from distortion and noise than
in optical sound. This statement arose
through a consideration of the output
characteristics of the magnetic head,
and did not include frequencies below
the 50 — 60 cycle range. However, if
nothing below 40, or even 30, cycles
is considered, there is not too much
difference in reproduction between
CinemaScope magnetic and standard
optical sound.
High-frequency noise and distortion
in optical tracks seems to be largely
dependent upon the method of record-
ing used, the variable-density method
suffering the most. It is a fairly simple
matter to keep an optical soundhead
functioning efficiently, however, and
in actual theatre practice high-fre-
quency response from modern optical
tracks of the best quality is often
superior to that obtained from Cinema-
Scope tracks.
To clarify the data employed, a
number of frequency-response charts
are reproduced herewith. If anything,
these represent CinemaScope magnetic
sound at its best. The first chart is in-
cluded to disabuse readers of the
mistaken notion that any slight superi-
ority of one system over the other
(each at its best, of course) can be
detected by listening to the reproduc-
tion. All is at the mercy of the loud-
speakers.
Loudspeaker Limitations
As is shown in Fig. 1, any sound-
reproducing system is at the mercy of
the loudspeakers used with it, for all
speakers produce more or less distor-
tion of the linear type known as
"speaker coloration." The curve
marked "A" illustrates the overall fre-
quency response of a modern "woofer-
tweeter" system having a crossover
range of 300 to 800 cycles. This
speaker combination gives an accept-
ably level response between 50 and
10,000 cycles.
The curve labeled "B" shows, by
way of comparison, the average re-
sponse characteristics of a single dy-
namic speaker commonly used for
theatre sound reproduction in the
1930's. Note the restricted range (200
— 6,000 cycles) and the "peaky" re-
sponse which results in unnatural
sound. The peaks in the 3,000 — 6,000
cycle range are caused by cone reso-
(Continued on page 28)
•
w
0Q
O
a
>
FIGURE 1
h
<
60
50
40
30
ff
"Cros
soyqr"
, '
\ il '
, i
^\fvJWl
\L
:L_aW^
—-£-+?-
Hi
3J3U
A
r-l^+ JO
i h
U-F
^rrni.
-J4W-
— > ft
i
~-W-t 4
I
'\ \
1
\
J. — LL.
ii
\ *
IO 20 50 IOO 200 500 I000 2000 5000 10,000
•Frequency in Cycles per_ Second
INTERNATIONAL PROJECTIONIST • JANUARY 1957
17
■■'iWPr.
18
INTERNATIONAL PROJECTIONIST • JANUARY 1957
Motion Picture Film Department
EASTMAN KODAK COMPANY
Rochester 4, N. Y.
Branches af strategic centers. Inquiries invited.
East Coast Division
342 Madison Avenue
New York 1 7, N. Y.
M/dwesf Division
1 30 East Randolph Drive
Chicago 1 , III.
West Coast Division
6706 Santa Monica Blvd.
Hollywood 38, Calif.
INTERNATIONAL PROJECTIONIST • JANUARY 1957
19
ss
SB
o
II
X
x .
f
\
/
Romance never dies
on the wide, wide-screen
Audiences truly live the lives and loves of their favo-
rites as they see them on the wide, wide-screen. For
here, as they sit in the theatre, is escape . . . freedom
from the humdrum. New technics in production, proc-
essing and projection are responsible ... new horizons
achieved by an ever-searching industry working in
co-operation with the Eastman Technical Service for
Motion Picture Film.
Motion Picture Film Department
EASTMAN KODAK COMPANY
Rochester 4, N. Y.
Branches at strategic centers. Inquiries invited.
lost Coast Division
342 Madison Avenue
New York 1 7, N. Y.
Midwest Division
130 East Randolph Dri
Chicago 1 , III.
6706 Santa Monica Blvd.
Hollywood 38, Calif.
INTERNATIONAL PROJECTIONIST • JANUARY 19
INTERNATIONAL PROJECTIONIST • JANUARY 1957
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.
Qtc Jhs,
SPOTLIGHT
THE IATSE recently concluded a two-
year pact with 13 major distributing
companies which provides for a pension
fund for more than 6,000 film exchange
employees in 34 key cities throughout
the United States. Blanket wage increases
of $3.75 per week, retroactive to Decem-
ber 1 last, severance and seniority pro-
visions, and extra vacation benefits are
included in the new agreement.
The employers will contribute to the
pension fund established by this agree-
ment six cents for each hour worked, up
to straight-time maximum of 37% hours
per week. These payments will augment
the weekly wage increases by $2.25 per
full-time employe. The fund will be ad-
ministered jointly by the IATSE and the
employers. Parties to the agreement are
Warner Bros., National Film Service,
RKO, Paramount, United Artists, Colum-
bia, Republic, 20th Century-Fox, Uni-
versal, National Screen Service, Loew's,
Allied Artists, and Buena Vista.
Special provisions still remain to be
worked out with three of the companies
—Loew's, RKO, and 20th Century-Fox—
who had pension plans of their own prior
to the new industry-wide agreement.
In addition to financial benefits, the
new contracts provide for an increase in
the maximum annual paid vacations, pre-
viously two weeks, to three weeks for
employes who have worked 15 years or
more for one company.
Previously, the top severance allowance
was the equivalent of seven weeks' pay.
This has been upped to eight weeks'
pay after 16 years of employment, nine
weeks' pay after 18 years, and 10 weeks
after 20 years.
The new seniority clause provides that
"all layoffs and all rehiring following
layoffs shall be made according to seni-
ority within each of the respective ex-
changes covered by the agreement,
provided that the senior employes shall,
in the judgment of the employer and the
union, have the necessary qualifications,
experience, and ability to perform the
available work. In the event of a dispute,
the matter shall be referred to the Gen-
eral Office of the IA or the home office
of the distributor involved."
Alliance negotiations were conducted
by a committee appointed by President
Richard F. Walsh, consisting of Harland
Holmden, General secretary-treasurer;
Louise Wright, IA ninth vice-president;
Walter F. Diehl, IA representative; and
Richard Scott, special IA representative.
Since it would be rather difficult to
personally acknowledge all the Holiday
messages we received from our many
friends from all parts of the world, we
take this means to say "thank you" to
our readers for their good wishes.
• The award of a gold life membership
card to Earl E. Ross, business repre-
sentative, was one of the high spots at
the recent anniversary celebration of
Local 620, Pontiac, Mich. The presenta-
tion was made by John Shuff, IA 8th
vice-president, one of the guests of honor.
Ross has been active in union affairs
for many years and has held important
posts in various labor organizations. He
served as vice-president of the Michigan
State Alliance for 20 years, and for many
years held the office of president of Pon-
tiac and Oakland (Mich.) County AF
of L. He has been employed by Butter-
field Theatres, Inc. for the past 27 years
and presently is projectionist at the Oak-
land Theatre in Pontiac.
• A new contract ended the six-month
strike by Local 430, Eureka, Calif.,
against a number of theatres in its juris-
diction. The contract covers the Midway
Drive-In, Eureka, and Rialto Theatres in
Eureka; the Minor Theatre in Areata,
and the Bel-Air and Humboldt Drive-Ins
in Fortuna. One of the provisions in-
cluded in the new agreement calls for
seven days sick leave with pay. John
Forde, IA representative, negotiated the
contract for the Local.
• The Theatrical Federation of San
Francisco, AF of L, which is composed
of 15 unions in the entertainment field,
sponsored a mammoth show on New
Year's day for the prisoners at San Quen-
tin. Top talent from San Francisco Bay
area amusement spots, and craftsmen
from the various Local Unions all took
part in this presentation. William Van
Ornum, member of San Francisco Local
162, producer of this year's show at San
Quentin, has devoted much of his free
time during the past 15 years to setting
up these presentations. Assisting Van
Ornum were Charles H. Kennedy. Musi-
cians Local 6; Frank O'Leary. IA Local
16 ; Phil Downing of Variety Artists, and
William P. Sutherland, secretary of the
Theatrical Federation, members of the
arrangements committee.
25-30 Club Notes
• Morris J. Rotker, senior past president,
was the mysterious "Mr. X" in whose
honor the Club tendered a dinner last
month at the famous Lobster Restaurant
in New York City. Invitations stated that
John A. Shuff (second from left), IA vice-president, presents gold life membership card to
Earl E. Ross, business representative for Local 620, Pontiac, Mich. William Spencer (extreme left),
and Charles H. Bonham (right) are interested spectators.
20
INTERNATIONAL PROJECTIONIST
JANUARY 1957
the party was to be given in honor of
a Mr. X, whose identity was jealously
guarded until the end of the evening.
When Morris Rotker was finally identified
as Mr. X, he was completely over-
whelmed. There had been much guess-
Morris J.
Rotker
ing and kidding during the evening about
who this Mr. X might be and when the
veil was finally lifted all agreed that no
member of the Club was more worthy
of the honor than Rotker.
Allen G. Smith, honorary member of
the Club and New York City branch
manager for National Theatre Supply,
presided at the dinner in his usual master-
ly fashion. There were about 70 guests
at the affair including the following New
York Local 306 officials : Herman Gelber,
president; Ernie Lang, recording-secre-
tary; Izzy Schwartz, financial-secretary;
Harry Garfman. Brooklyn business rep-
resentative; and several members of the
executive board. Honorary members
Paul Reis, National Carbon Co., and
Johnny Kohler, projection supervisor for
Loew's, were also present.
• Another feather in the cap of George
Schaffer. business representative for Los
Angeles Local 150 is the recently signed
contract covering the Todd-AO presenta-
tion "Around the World in 80 Days,"
scheduled to be shown at the Cathay
Circle Theatre in LA. The contract calls
for 4 regular projectionists to cover two
performances per day, with two projec-
tionists working each performance. Each
man will receive $28.70 per performance,
with a minimum pay of $172.20 per week.
It is interesting to note that this contract
is based on a "reserved seat policy,"
eliminating shift hours. Also, the hourly
pay has been increased an additional 40
cents over the previous agreement cover-
ing the showing of "Oklahoma" on Todd-
AO equipment. One hour preparatory
time is included in the regular perform-
ance time. Overtime will be paid at the
rate of $6.15 per hour. The agreement
also provides that the chief projectionist
will receive $25 per week above the basic
weekly scale.
• For the first time in its history. Local
415, Tucson, Ariz., tendered a breakfast
in honor of a theatre manager. The
recipient of this honor is Fred McSpad-
den, manager of the Fox Tucson Theatre,
who was presented with a desk clock by
Fred McSpadden (center), manager of the
Fox-Tucson Theatre, holding the desk clock
presented to him by the members of Tucson
Local 415. Shown here with him are Al
Runkle (left), president of the Local, and
Tom Doherty, business representative.
the Local in appreciation of "15 years
of pleasant association." The breakfast
was held at Paulos Restaurant in Tucson
and was attended by members of the
Local and other theatre managers. Al
Runkle, president of 415, and Tom
Doherty, business representative, were
among the union officials lauding Mc-
Spadden. Runkle pointed out that the
theatre manager was not honored "for
having contributed any one big thing
but for having performed countless small
services for the industry and the com-
munity."
3fcmtlxj
Album
The gallery at
the left is a sad
saga from Ed
McCormack, Local
582, Brantford,
Ont., Canada,
who, we trust,
is also going down
fighting.
LEFT: 1896 — Great Grandpappy. Lanternist to the crowned heads. Asphyxiated 1898. CENTER: 1910 — Grandpappy.
Bioscope booth 1912. Cremated in full dress. RIGHT: 1929 — Poppa. Removed in straitjacket, 37th week of Jazz Singer.
/
M
-'V \See L.
\
>^s>
LEFT: 1945— Brother Louis. Soft number with U. S. O. RIGHT— 1956— Junior (still wet behind the ears). You
think YOU got troubles????
INTERNATIONAL PROJECTIONIST • JANUARY 1957
21
Projection
Readers' questions are invited.
CLINIC
Care of Old Lenses
OLD-STYLE uncoated projection
lenses are inferior in performance to
coated lenses, which provide more bril-
liant pictorial contrasts and better light
transmission. Nevertheless, a few theatres
have retained their old lenses, using them
for either normal-format projection or
as CinemaScope prime lenses.
These older lenses do not have sealed
mounts, and therefore may be completely
disassembled for the removal of dust and
oil which may have seeped inside the
barrel and between uncemented lens
elements.
Now, many projectionists are aware
that achromatic telescope objectives of
large diameter should not be screwed
up tightly in their threaded "cells," but
held with just sufficient play for a slight
rattle to be heard when gently shaken.
By this expedient, mechanical strains
in the lenses which would distort or blur
the image are prevented. Loose mounting
also allows for the natural expansion of
the glass components under the influence
of heat.
Should the lens elements of old-style
projection lenses also be held just per-
ceptibly loose in their mounts? The
answer is a definite no: they should not
be so loosely mounted that they rattle.
On the other hand, the threaded lens-
retaining rings should never be screwed
up so tightly that the two lenses of an
PATIENCE, PLEASE . . .
Robert A. Mitchell's Manual of Prac-
tical Projection will be off the press
about mid-March. IP has been offer-
ing this must-reading at a special pre-
publication price of $4.50 per copy —
but note that word pre-publication. That
means that the offer applies only to
cash orders received before the book
is off the press. To those of you vho
have already sent in your < hecks, many
thanks, and you'll get your copy di-
rectly the book is out. For those who
haven't ordered as yet, please remem-
ber that on publication date the cost
of the book reverts to its original pub-
lication price of S6.00 per copy.
achromatic doublet (cemented or un-
cemented) are "squeezed" and distorted
out of true shape.
Screw the retaining rings only to the
point where they just begin to "bring up"
against the lenses — no more.
Inspection of Prints
FILM may be damaged in many ways.
Most of the causes of print damage are
beyond the projectionist's control; but
we must face the fact that injuries, some
of them irreparable, can be inflicted by
improper handling in the projection
room. And the term "improper handling"
may be extended to include the use of
worn and maladjusted projection equip-
ment.
It is unusually easy to distinguish the
effects of normal wear from the inevi-
table results of injudicious and careless
treatment of film. The present lack of
adequate inspection of prints in so many
film exchanges, defective splices made
by inexperienced examiners, and the
continued use of bent reels and damaged
shipping cases all contribute to film
mutilation.
The projectionist has learned from ex-
perience to look for broken and torn
edges on prints that arrive at the theatre
in shipping cases so badly crushed that
they have to be opened with the aid of
a hammer, and the reels extracted with
pliers. Boxes of film are often handled
roughly in railway stations, so it isn't
surprising that the reels and cases get
battered up after years of use. What
really embitters the projectionist, how-
ever, is the refusal of many film ex-
changes to repair or replace "dished"
shipping cases and "sprung" reels.
Exchange "inspectresses" wear cotton
gloves while inspecting prints, which may
may be one of the reasons so many de-
fective splices apparently escape their
attention. Most projectionists use their
bare hands to locate defects which
might cause film breaks and stripped
gears in the projectors.
There are many defects to look for.
Torn perforations and small nicks in the
edges of the film demand attention.
Rough and nicked edges may be cor-
rected by trimming the edge of the
film with scissors, and tears extending
from a sprocket hole to the edge of the
film are sometimes remedied by "notch-
ing." Perforation breaks involving only
one or two sprocket holes may be
"Notched," or smoothly cut out with
scissors. When three or more perforations
are damaged, it is best to cut the film
and make a splice.
The secret of notching film success-
fully is to make a smooth rounded cutout.
Poorly made notches may catch and tear
on the upper guide roller, on the sprock-
ets, or on the flanges of a reel. Certain
n n n\/n o
T7- -"i":1;, ;,■'. ■■;■■'■■ -—
"Notching" a perforation, as shown at the top
of drawing, is an emergency method of re-
pairing the type of torn perforation shown
at bottom.
competent authorities, in fact, condemn
the practice of notching torn sprocket
holes. The writer speaks only as a pro-
jectionist who occasionally notches film
and has never had a film break from the
Splicing Procedure
SPLICES found in theatre-release prints
are a frequent source of annoyance to
the projectionist. Exchange-made splices
are very good as a rule, but they are
sometimes too weak to be safely pro-
jected. The problem of weak splices
may be traced to a fear of using an ade-
quate quantity of film cement. Film ex-
perts have often cautioned against apply-
ing too much film cement, and this
advice has frightened inexperienced ex-
change inspectresses into using too little.
Too much cement may weaken the film
at the edges of the splice, but too little
results in a splice which comes apart at
the slightest strain. The strength of a
splice in the perforation-margin area is
the most important factor of all, yet
many exchange-made splices have a ten-
dency to lift at their ends. Too little
cement applied to this one region is one
cause of the trouble; inadequate scrap-
ing of the film stub is another.
The first and most important step in
making a satisfactory film splice is the
scraping of the stub. Not only must all
emulsion be removed from the area of
the contact, but also the thin binder layer
22
INTERNATIONAL PROJECTIONIST • JANUARY 1957
of clear gelatine. It is best to roughen
slightly both contact areas — the scraped
stub and the base side of the butt stub.
Most projectionists employ "wet scrap-
ing." The gelatine-emulsion coating is
first moistened to facilitate removal, and
the actual removing accomplished by
scraping the stub with a razor blade.
The trouble with this method is that it is
difficult to get all the emulsion off in the
perforation margins without tearing the
film. Dry scraping with a medium grade
of sandpaper gives better results if care
is exercised not to scrape the stub too
thin. It takes practice to know just when
to stop scraping.
The dry-scraping method works best
when the sandpaper is backed by a small
wooden block to hold it flat and insure
even scraping. Small scraping blocks
with the sandpaper glued to them are
readily available. There is no discernible
basis for the criticism that the use of
sandpaper for dry-scraping film stubs
leaves gritty particles which will injure
projectors. Splices made by this method
are wiped with a clean cloth like other
splices, at once removing any dirt which
may accidentally adhere to the film.
"1-Hole" Splices
Every projectionist should make
"1-hole" spbces with the stubs cut
straight across. The ends of the stubs
should never be mitered, for the greater
the contact-area in the perforating mar-
gins, the better the splice will hold.
"Hairline," or negative-type splices
should not be made in release prints un-
less a "hot-weld" splicing machine is
used. Curved splices are tabu. The base
side of the butt stub (cut on the frame-
line) should be wiped free from oil or,
preferably, slightly roughened to insure
good solvent action of the film cement.
No time should be lost between appli-
cation of the cement and joining the
stubs under firm, even pressure. The
splice is permitted at least 10 seconds,
and not more than 15 seconds, for the
splice to set. Then the pressure clamps
of the splicing block are opened and
the finished splice wiped laterally (across
the film) with a clean cloth to remove
excess cement.
A film splice is actually a weld, and
a film cement is accordingly a solvent
for the film base, rather than a mere
glue. The two film surfaces dissolve to
some extent and melt into each other.
A soUdly made splice should last for the
life of the print, provided, of course,
that the perforations are exactly regis-
tered and the edge of the film smoothed,
if necessary, to prevent catching and
tearing in the projector. It often happens
that the width of new film is greater
than that of old film; and the joining
of dissimilar film widths leaves a small
protrusion at the edge of the splice.
. . . the SUPER SNAPLITE
LENS for the clearest, sharp-
est, brightest pictures you
have ever seen on your
screen!
Your patrons will notice the
difference — Super Snaplite
gives greater contrast, bet-
ter definition, more light on
the screen where it really
counts.
Ask your
dealer for
Bulletin 222.
iloim,a\oim;i:n
\yDZiCCU/ «: o ir ■• «» is asw ■ *• x
/ NORTHAMPTON, MASSACHUSETTS
INTERNATIONAL PROJECTIONIST • JANUARY 1957
23
Very often the oldest equipment in the projection room, the
motor generator, may require adjustment for best performance.
Increasing Efficiency of
Motor Generators
By JOSEPH F. HOLT
Member, IA Local 428, Stockton, Calif.
IN A PREVIOUS article certain spe-
' cine steps were suggested to deter-
mine the overall performance of the
associated cabling in projector lamp
circuits. Another important link in the
chain is the DC source, which is al-
most sure to be a motor-generator
set, a dry-disc rectifier, or a high-
vacuum tube unit.
The motor-generator is far and away
the most popular with projectionists
and perhaps such installations outnum-
ber the other types. Regardless of the
number of motor-generator sets, it is
beyond doubt that large numbers of
these machines are being called upon
to deliver increased amperages for
large screen projection.
Brick-and-mortar theatres built in
the twenties were frequently opened
with lamps utilizing a rotating un-
coated "projector" positive. As the
faster projector lenses were introduced
and the Suprex lamps were introduced
and improved, many theatres con-
verted to the more economical lamps,
at the same time retaining the motor-
generator sets with output voltages far
in excess of the requirements of the
Suprex lamps. This presented no real
problem, for additional grid resistance
was used to provide the required volt-
age reduction.
Extending Usefulness
All of this is somewhat historical,
and in view of the current needs for
greater efficiency, the generator should
be viewed in the light of present de-
mands. We propose to indicate some
checks and adjustments which can go
far toward extending the usefulness
of motor generator sets.
Figure 1 shows in cross-section the
field coils, brush rigging, and commu-
tator bars necessary for our discussion.
The reader must bear in mind that the
drawing is incomplete and general in
order to be applicable to most types
and manufacture of motor-generator
set.
When larger trims and general
equipment overhaul were sought after,
numerous commutators were removed
and lathe-turned. This procedure is
not open to adverse criticism in it-
of commutation.
In connecting the brush shift with
the effects upon output voltage, let
the reader refer again to Fig. 1. Here
we have drawn the plane of commuta-
tion as a dotted line under the single
brush selected for special study. We
have also termed the commutated point
as a "field neutral," for the point re-
ferred to is actually a "no-man's land"
in which the magnetic fluxes produced
by the North-South shunt fields, the
commutating field (or interpole), and
armature currents have minimum in-
teraction.
Generators used for projection
lamps offer unusual load situations,
for they may be considered as run-
ning at 100% load constantly, with
200% load occurring at each change-
over. The design of the compounding
of the generator is naturally a concern
Output Lead
self, but certain intolerable end effects
can be introduced. Consider the rela-
tion of intersectors drawn in Fig. 2,
which shows the departure from the
"field neutral" line, drawn dotted in
the figure. So long as brushes are
mounted obliquely with respect to the
commutator, a change in commutator
diameter must result in an effective
shifting of the brushes from the plane
Brush
Center Line
Plane of Commutation
(field Neutral,)-
of the generator manufacturer, and
most of them have done creditable
jobs of producing load versus volt-
age curves which exhibit a flat or
slightly overcompounded characteris-
tic.
But what if, after the commutator
has been reduced considerably in size
of diameter, the generator exhibits
{Continued on page 31)
Intersectors
original commutator
diameter and brush
_. center line.
Intersectors
of turned commutator
diameter and brush
center line
FIGURE 2.
24
INTERNATIONAL PROJECTIONIST • JANUARY 1957
PERSONAL NOTES
J. F. "Jack" O'Brien, formerly manager
of the theatre and sound products depart-
ment of RCA commercial electronics
products, has been appointed manager
of RCA's northeastern region by R. W.
Saxon, director of regional operations.
O'Brien, well-known throughout the in-
dustry with 25 years' sales association
with RCA, will make his headquarters
in Boston to work closely with customers,
distributors, and RCA field representa-
tives.
In 1954 Mr. O'Brien received the high-
est honor for salaried employees, the
RCA Victor Award of Merit. A member
of the Variety Clubs, he is also active in
the Society of Motion Picture and Tele-
vision Engineers, Theatre Equipment and
Supply Manufacturers Ass'n, and Thea-
tre Owners of America.
* * #
Ed Lachman, American distributor of
Lorraine carbons, has just returned from
a European trip during which he visited
the laboratories and manufacturing plant
of Lorraine in Pagney, France. While in
Ed Lachman
France, Lachman addressed the annual
meeting of French, Italian and German
Lorraine Carbon representatives on the
latest arc-lamp developments and drive-in
theatre equipment trends in the United
States. A feature of the meeting was the
introduction of new projector carbons
designed for the high-powered arcs
needed in wide-screen projection.
# * *
Bernard Sholtz, known to the industry
as "Barnie," has joined Altec Service
Company as special sales representative.
This marks Sholtz's re-entrance into the
field he retired from in 1954, having been
district manager of theatre equipment
sales for RCA for many years. Accorded
a roving commission to represent Altec
throughout the United States, Sholtz
brings a wealth of experience garnered
since he first entered the industry in the
distribution department of Selznick. As-
sociated for a time with Warners and
Fox, in 1929 he was appointed sales man-
ager of the first sound-on-film device,
RCA's Photophone. With RCA until his
retirement in 1954, in 1955 he toured
Latin America to get a first-hand study of
sound service and equipment in South
American theatres.
Scene from "Anastasia," 20th Century-Fox CinemaScope production.
Make your theatre
HABIT-FORMING with the
PERFECT-PICTURE PAIR
SEE THE BIG DIFFERENCE
. . . FREE DEMONSTRATION
Write today for demonstra-
tion, and for Catalogs E-123
and E-141. Bausch & Lomb
Optical Co., 61613 St. Paul
St., Rochester 2, N. Y. (In
Canada: General Theatre
Supply, Toronto.)
PERFECT-PICTURE PRIME LENS
Sure, a good feature will bring pa-
trons in . . . but it's how well they
see it that helps decide whether
they'll pick your theatre to come
back to. Build repeat patronage
with B&L Super Cinephor Projec-
tion Lenses — full detail, brilliant
contrast — the quality standard
prime lens for all theatre and drive-
in projectors.
PERFECT-PICTURE CINEMASCOPE LENS
Clearest, brightest, distortion-free
projection of all anamorphic proc-
ess films. Highest light transmission
— 92%! No vignetting! Uniform
light and uniform magnification
throughout entire screen area! Com-
plete line — neighborhood
theatres to longest-throw
drive-ins.
Academy of Motion Picture Arts and Sciences
Honorary Award for Optical Service to the Industr
I
© A. M. P. A. S.
INTERNATIONAL PROJECTIONIST • JANUARY 1957
25
TRANSMITTING POWER TO ARC LAMPS
(Continued from page 10)
consideration when the cables are
located inside combustible wooden
walls, as is likely the case in most of
the older theatres having a generator
room in the cellar.
Capacity of Wiring
The power-conducting capacities of
cables having different types of in-
sulation are rated differently by the
National Board of Fire Underwriters.
The differences are small, however;
and the following wire sizes for source-
to-arc conductors are representative of
the recommendations of electrical
authorities:
UP TO:
100 amps.
125 amps.
150 amps.
175 amps.
200 amps.
B & S GAUGE
WIRE SIZE
No. 3
No. 2
No. 1
No. 0
No. 00
It must be repeated that one 2-wire
cable serves only one arc lamp, hence
no matter whether one motor-generator
set or two separate rectifiers are em-
ployed, there must be two such 2-wire
cables for the usual 2-projector instal-
lation. Similarly, two ballast rheostats
are needed for a 2-projector installa-
tion when the arc-power source is a
generator, each being connected in
series with the arc it serves.
The exact position of the ballast in
the line (near the generator, near the
lamp, or midway between them) does
not matter. It is customary, however,
to locate the ballasts in the generator
room. (Certain motor-generator ap-
paratus, such as the Motiograph 70/-
140-ampere "Hi-Power," has built-in
ballasts resistors in the base of the
machine where they are effectively
cooled.)
Voltage drop in the source-to-arc
transmission line is not too important
when generators are used, but wastes
power when rectifiers are used. As
stated before, line drop may be com-
pensated by reducing the amount of
ballast drop, but this expedient is nec-
essary only where the transmission line
is very long.
The transmission wires should al-
ways be checked for heating whenever
the arc current is increased for wide-
screen projection. This may seem like
unnecessary advice; but we have ob-
served cables so hot that they were
dangerous. Wiring of inadequate size
means trouble if overloaded! Grasp
the wires with the hand after a 20-
minute run. They may normally be-
come just perceptibly warm: if hotter
than this, the insulation may be ex-
pected to char and break down com-
pletely in a matter of days or weeks.
Included in the transmission line
are the flexible asbestos-covered strand-
ed wires which connect the arc lamp to
the cable outlet. This connection should
be made by joining the wires, not by
means of a plug! If, however, the
wires are twisted together carelessly,
sufficient heat may develop to melt the
solder and oxidize the copper. The
projectionist should assure himself that
this and all other connections are suf-
ficiently solid to remain cool at all
times.
If the connections have to be remade,
use the standard American wire joint
(Fig. 4) and cover each joint heavily
with a good grade of solder. Plain
solder with "Nokorrode Paste" as the
flux is recommended: acid-core solder
should not be used. The soldered joints
should be insulated with a glass-cloth
tape such as "Scotch" Electrical Tape
No. 27.
Careful attention should also be
given the generator or rectifier con-
nections and those at the ballast rheo-
stats, the arc-lamp table switches, and
the lamp terminal blocks. As a rule,
these connections are made with bind-
ing posts and lugs. If made tightly
when the equipment was installed, they
will remain electrically satisfactory for
many years. This is true even of con-
nections so old that it is difficult to
loosen the binding-post nuts. Loose
connections, on the other hand, de-
velop heat, transmit the current in an
erratic manner, and gradually become
worse through increasing corrosion.
Electrical Connections
To make a good connection, wipe
the lug with crocus cloth to remove
tarnish and tighten the nut very firmly.
Severely burned lugs should be re-
FIG. 4. American wire joint recommended for
arc-lamp cables.
placed with new ones. Be sure that
the insulation on the wires is in good
condition, and that no bare places
expose the copper wire where it may
accidentally cause short-circuits or
grounds.
The same advice holds good for the
connections inside the lamphouse. Look
them over very carefully, examining
them for evidences of corrosion and
tightening them when necessary. All
of the internal connections carrying
arc current should be remade every
time the carbon jaws or contacts are
replaced, or whenever it is discovered
that the heat of the arc has harmed the
insulation or oxidized the copper
strands of flexible wires. The writer
has found lamphouse wiring so badly
oxidized that the copper strands crum-
bled when rubbed between thumb and
forefinger.
In an effort to avoid a variable volt-
age drop along the length of "Suprex"
copper-coated positive carbons, many
projectionists have added a shunt to
connect the positive carbon holder with
the positive V-guide. This expedient
is of somewhat doubtful value except
when thinly plated positives are burned
slightly above their maximum current
rating. Even so, simplified-HI positive
guides "burn" rather rapidly when a
shunt wire is used. The corrosion may
be due either to electrolytic action or
to the heat generated by the passage
of current from the guide to the carbon.
Cleaning Carbon Jaws
It is seldom necessary to file the
carbon-gripping surfaces of the carbon
jaws or holders. Careless filing of these
surfaces will do more harm than good
by destroying their flatness and by
roughening them with multitudinous
fine scratches. Roughening metal oxi-
dizes or "burns" much more rapidly
than smooth, polished metal. A dull
brownish film on the carbon-contacting
surfaces of low-intensity and simplified
high-intensity carbon jaws is normal,
and should not be removed.
If ever it becomes necessary to
burnish the carbon-holder surfaces in
lamps of these types, wrap crocus cloth
around a narrow file or straight, square
rod of steel and polish carefully. If
these surfaces have become corroded
and pitted, smooth them with a fine
file, then burnish, first, with 00 sand-
paper wrapped around a file, then with
crocus cloth. Avoid the use of emery,
particles of which may fall upon the
26
INTERNATIONAL PROJECTIONIST • JANUARY 1957
mica insulation and cause short-circuits, i
The positive contacts of rotating-
carbon HI lamps seldom need burnish-
ing. The rotating, slowly advancing
carbon, itself, has a polishing action.
It is rarely necessary to do more than
clean the contacts with a dry rag or
a small stiff-bristled brush. If polish-
ing ever becomes necessary, wrap cro-
cus cloth around a length of slightly
undersize carbon (such as a negative
carbon) .
Just as LI and simplified-HI
("Suprex") lamps require cleaning and
lubrication of the carbon-feeding
screws, so do regular HI lamps require
cleaning and lubrication of the carbon-
rotating and feeding mechanism. All
parts of the burner mechanism should
be periodically examined for corrosion
and replaced when necessary.
Maintaining Switches
Switches are another important link
in the power-transmission chain. Heavy
lamp-table arc switches seldom give
trouble. It is always a good idea to
keep them clean, of course, and the
contact jaws must be kept tight enough
to prevent heating and burning when
the switch is closed.
Relay-type switches, commonly used
for switching on rectifiers as well
as motor-generator sets, are usually
built for years of dependable action
without attention. At long intervals,
however, all 220-volt relay, or solenoid-
type switches should be examined for
burned contacts due to "arcing." Ac-
cumulations of dust should be carefullv
brushed out. and a drop of oil placed
upon the switch-blade pivots.
When working on 220-volt switches,
be absolutely certain that the power
input is shut off at the service
switchboard I usually positioned near
Yon Guarantee
of Consistent Quality
and Outstanding Service
For Every Theatre Need!
IATIONAI
the electric company's kilowatt-hour
meters). To make doubly sure that
the switch is "dead," apply the prods
of a neon test light to the switch con-
tacts. Even 110 volts may be fatal in
cellars having damp floors!
Faulty action of a 3-phase switch
usually involves only one of the phases.
But if one wire of the 3-phase circuit
is dead, two of the three phases are cut
off! A rectifier or motor-generator
designed for 3-phase operation works
very poorly, or not at all, on single-
phase current. If the light output of
the arcs drops very sharply and begins
to flicker badly, shut the apparatus off
to avoid serious damage.
When you know for sure that all
the components of your arc-power
transmission line from the AC input
to the arc lamps are in perfect electrical
condition, you will have less need to
worry about the quality of your screen
light. Most important, a careful check
of your power system with adequate
correction of minor faults may actually
make your screen illumination notice-
ably brighter and steadier!
The only light which can reach your screen must be reflected by the
mirror. The brilliance of your projected picture accordingly is in
direct proportion to its efficiency.
All mirrors gradually deteriorate. Endeavoring to make
up light loss through the use of more current is pure
waste, costs much more in power bills than
periodic replacement of reflectors.
PRECISION REFLECTORS, y
long recognized for their superiority, are available in types ^^
and sizes for use in all standard projection arc lamps. Order
from your dealer now.
THE STRONG ELECTRIC CORPORATION
31 CITY PARK AVENUE
TOLEDO 1, OHIO
Clayton Bail-Bearing Even Tension Take-lips
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 • JANUARY 1957
27
IS MAGNETIC REPRODUCTION WORTHWHILE?
(Continued from page 17)
nance, and impart a characteristically
"tinny" tone to the reproduced sound.
In Fig. 2 the shaded portion of the
chart represents the available sound-
current output of a modern theatre
amplifier. Note that sufficient leeway
is provided in both the low- and high-
frequency regions of the sound spec-
trum for considerable latitude in
adjusting the response in these regions
quires special correction of the fre-
quency response.
Figure 3 shows that the "signal"
recordable on uncompensated optical
soundtracks (curve A) is fairly level
from 0 to about 2,000 cycles, the point
where progressive high-frequency at-
tenuation, due to the width of the
0.5-mil recording slit, results in a loss
of about 5 decibels at 5,000 cycles,
the "peak region" of 4,000 cycles. This
peak is produced by the recording
characteristics of the magnetic stripe
and by the width of the magnetic gap.
Obtaining Level Response
A fairly level signal strength in the
main 100-8,000 cycle band is obtained
in both types of track by special pre-
amplifiers which raise the weak regions
and flatten the peaks. Different types
of optical recording require different
frequency corrections; and if it is de-
50 IOO 200 500 1000 2000 5000 10,000 1
FREQUENCY IN CYCLES PER. SECOND 15,000*
FIGURE 2
20 50 100 200 500 1000 2000 5000 10,000
"FRECtUENCY IN CYCLES PER, SECOND
FIGURE 3
to suit the characteristics of the sound-
head (optical or magnetic), the peculi-
arities of the speakers, and the
acoustics of the auditorium.
Although this amplifier permits a
level output from 30 to 15,000 cycles
(see the horizontal line marked "0 db"
on the right-hand margin), a perfectly
level output is seldom desirable in
practice. A slight "boost" of the bass
tones with attentuation of the high fre-
quencies beyond the 5,000 — 8,000
cycle range gives more pleasing, if
actually less natural, sound. Then too,
the acoustics of each auditorium re-
10 db at 8,000 cycles, 12 db at 10,000
cycles, and 20 db at 15,000 cycles.
Such tracks, however, are usually
played with wider scanning slits (1
and l1/^ mils), producing even greater
high-frequency attenuation in repro-
duction, so far as photocell output is
concerned.
The CinemaScope magnetic track
(curve B) is extremely irregular when
uncompensated by the recording am-
plifier. It is relatively only half "nor-
mal signal strength" at 60 cycles, and
again slightly above 20,000 cycles; but
it is nearly twice normal strength in
sired to print the track in all three
emulsion layers of dye-coupler film,
the high-frequencies are given an extra
boost to make up for the slight loss
of scanning-beam focus. Note, how-
ever, that track noises and various
types of sound distortion are increased
by boosting a weak signal too much.
In Fig. 4 we can examine the level
response obtainable from optical
tracks, as recorded with modern high-
fidelity, wide-range apparatus. From
the practical point of view, optical
sound may be considered level (if we
want it that way) from 30 to 10,000
FIGURE 4
FIGURE 5
\
(,0
{
\
50
1
40
■ 1
30
/
"
\
/
\ w
/
\
1
Mj».
10
4
*
( s
O
#
'--',
.:
%
at '""»""»i
""""'
ma
a
tfa
it ■(awuuk
.,..._
w.
y
£
!■§
to
/
'A
B
so
/
40
\ .
30
'
/
\\i
f
\ \i
20
B
hi
10
m>.
'%
A
ijjfll
O
^
i
i
%'>/,'<
;«f
flB
20 50 100 200 500 1000 2000 5000 10,000
Trequency in Cycles per Second
10 20 50 IOO 200 J00 1000 2000 5000 10,000
"Frequency in Cycles per. Second
28
INTERNATIONAL PROJECTIONIST • JANUARY 1957
cycles. As a matter of fact, advanced
theatre optical-sound systems are fully
capable of giving such response; but
the average "good" system provides
uniform response only from about 100
to 8,000 cycles.
The shaded regions indicate the rel-
ative intensity of combined track
noise, and photographic and other
distortions. (Distortion is even greater
than shown in the case of old-style
variable-density recordings made from
optical originals and duplicates. The
high quality and greater signal strength
of modern optical tracks in the high-
frequency region are due to the use
of wide magnetic original and re-
recorded tracks.
Noise and Distortion
The noise-plus-distortion in the low-
frequency range is due largely to over-
amplification ; in the high-frequency
range, to the same factor as well as
to imperfect action of the "noiseless"
biasing. The constant level of noise-
plus-distortion all along the main
frequency band in optical sound is the
natural result of biasing deficiencies,
5 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., INC.
DEPT. J
315 West 43rd Street New York 36, N. Y.
JUdson 6-1420
emulsion graininess, etc. To this noise
level must be added the hiss of the
illuminated photocell, of course.
In Fig. 5 the heavy line represents
the level response which CinemaScope
magnetic sound is capable of when the
tracks are new and the soundhead re-
producer unworn. CinemaScope mag-
netic sound is thus under the most
favorable conditions only slightly
superior to the standard optical-sound
curve shown in Fig. 4. Noise with new
magnetic tracks is less than with opti-
cal tracks along the main range, but
greater at the low-frequency end, and
about the same at the usable high-
frequency end.
Distortion in the low- and high-
frequency regions of the CinemaScope
magnetic-track curve is due to the
natural track noise and inherent har-
monic distortion magnified by over-
compensating the weak parts of the
signal (curve B) by non-linear ampli-
fication during recording (curve A).
While CinemaScope magnetic sound
gives an appreciably strong signal even
above 15,000 cycles, optical sound fails
utterly at this point. We can expect
nothing usable in optical sound over
12,000 cycles; and the practicable
limit seems to be 10,000 cycles. We
must not consider making the scanning
beam much narrower because, if that
be done, the ground-noise level is
raised.
This does not mean that Cinema-
Scope sound is superior to optical.
Magnetic tracks on release prints have
fatal weaknesses, as does the reproduc-
tion process. In practice, deterioration
CURTAIN CONTROLS^
TRACKS and SPECIAl]
OPERATING DEVICES
VALLEN, Inc.
AKRON 4, OHIO* ■
of tracks and apparatus produces
serious attenuation above 5,000 — 6,000
cycles; and this is nearly always ac-
companied by distortion more severe
than the worst ever encountered in
optical sound.
Excellent Performance
Optical sound performs excellently
above 5,000 — 6,000 cycles no matter
how old the tracks may be. Only
scratches on the film hurt the sound
by introducing noise. Modern optical
tracks have the advantage of high-
grade magnetic recording which makes
possible level track characteristics up
to 10,000 cycles. Older standards for
optical tracks (such as previous recom-
mendations of the Academy of Motion
Picture Arts and Sciences) are no
longer applicable.
A GREAT NEW
SPOTLIGHT
designed byGENARCOINC.
is now in production with
these outstanding features:
• NEW PRINCIPLE CARBON ARC LAMPL THE
RESULT OF YEARS OF RESEARCH FOR THE
U.S. GOVERNMENT GIVES TWO TIMES
MORE LIGHT THAN CONVENTIONAL ARC
LAMPS, BECAUSE IT USES THE LIGHT OF
BOTH CARBONS.
• COMPLETELY AUTOMATIC AND SELF-
FOCUSING ARC LAMP.
• 2 HOURS OR 2 '/j HOURS OPERATION
WITHOUT RECARBONING, FROM A
CONVENIENT 115 VOLTS AC OUTLET.
• LARGE 16" DIAMETER REFLECTOR FOR
HIGH LIGHT OUTPUT.
• 14,000 LUMENS TO FLOOD THE STAGE
OR THE ARENA.
• LAMPHOUSE, REFLECTOR AND MECHANISM
KEPT COOL AND CLEAN BY A BLOWER.
• ONE-LEVER SPOT SIZE CONTROL WITH MAX-
IMUM LIGHT OUTPUT FOR EVERY SPOT SIZE.
• USE OF MIRACLE MATERIALS: SILICONE
BASE PRODUCTS, ULTRA INSULATORS,
SPECIAL ALUMINUM ALLOYS, ETC. . . .
• AND TWELVE OTHER EXCLUSIVE FEATURES
FOR DESCRIPTIVE PAMPHLET ON
THIS SUPER ACE SPOTLIGHT WRITE
GENARCO INC.
97-00 B SUTPHIN BLVD. JAMAICA 35, N. Y.
Manufacturers of the METROLITE,
the world's most powerful spotlight
£<wtaiae "flE^E- cored Ccutwm^
For DRIVE-INS & THEATRES with HUGE, WIDE- AREA SCREENS • CARBONS, BOONTON, N.J.
INTERNATIONAL PROJECTIONIST • JANUARY 1957
29
IA ELECTIONS
LOCAL 150, LOS ANGELES, CALIF.
Wallace G. Crowley, pres.; J. H. McDon-
ald, vice-pres.; Charles Y. Crowe, sec.-treas.;
George J. Schaffer, bus. rep.; Paul Mahoney,
assistant bus. rep.; Ben Rubin, sgt.-at-arms;
Al Adams, Harold Angel, Clem Marchand.
Clay Blanchett, Leo Stockwell, exec, board.
LOCAL 154, SEATTLE, WASH.
Fred Jiencke, pres.; Harold Simpson, vice-
pres.; Frank McClellan, rec.-sec; Ash Bridg-
ham, fin.-sec; Frank Myers, treas.; James
McNabb, bus. rep.; Fred Hawkins, sgt.-at-
arms; F. Hawkins, A. Bridgham, F. Myers,
Bill Freeman, F. McClellan, exec, board;
William Freeman, Jack High, Harvey Lorenz,
trustees.
LOCAL 159, PORTLAND, ORE.
L. R. Smith, pres.; R. L. Dunn, vice-pres.;
C. W. Christenson, rec.-sec; L. K. Brisbin,
fin.-sec; J. W. Hickey, bus. -rep.; C. D.
Barnhart, sgt.-at-arms; Herb Kurasch, J. W.
Hickey, Hollis Ballew, C. W. Christenson,
exec, board; J. Hickey, Walter Wessling,
Austin Haughey, del. Central Labor Council;
Hickey, Wessling, M. A. Cramer, del. The-
atrical Federation ; Christenson, del. Oregon
State Federation of Labor; A. Haughey and
J. Hickey, del. Label Trades.
LOCAL 173, TORONTO, ONT., CANADA
Art Milligan, pres.; Sam Wells, vice-pres.;
George Jones, sec.-treas. ; Graydon Hulse,
rec.-sec; Lou Lodge, bus. rep.; Roy Wilson,
Dave Siegel, Bill Hills, Gus Demery, exec,
board; Jack Harris, Hilliard Gray, Bill Mc-
Caul, trustees.
LOCAL 186, SPRINGFIELD, MASS.
Edward Whittle, pres.; Lewis Lambert,
vice-pres.; Arthur J. Payette, fin. sec; John
P. Croke, rec.-sec. ; Edward O'Connor, bus.
rep.; Guy Best, Edward Corbin, Owen
Holmes, exec, board.
LOCAL 253, ROCHESTER, N. Y.
Louis Levine, pres.; Burt Blackford, vice-
pres.; Frank Placerine, fin. sec.-treas.; Wal-
ter A. Knopf, rec.-sec; Fredrick J. Closser,
bus. rep.; John B. Copple, sgt.-at-arms;
Charles Tibbetts, Frank Coniglo, Harry Levy,
Fred Hart, exec, board; H. Levy, Louis Goler.
Abe Orden, trustees; C. Tibbetts, Charles
Mason, F. Hart, trustees, retirement fund;
Joseph Vecchio, Sr., A. Orden, del. Central
Trades.
LOCAL 254, YAKIMA, WASH.
Terry M. Smith, pres.; George L. Hill,
vice-pres.; George W. Homan, sec.-treas.;
L. B. Hinds, bus. rep. (also elected del. to all
conventions) .
LOCAL 257, OTTAWA, ONT., CANADA
James P. McGuire, pres.; A. B. Zumar,
vice-pres.; W. Murray Hall, sec.-treas.; J.
Macauley, bus. rep.; S. Ventura, sgt.-at-arms;
J. H. Hewson, D. M. Ritchie, W. J. Cleack-
ley, trustees.
HUFF'S PACKAGE COOLING SYSTEM
Consisting of
(1) The Positive Carbon Cooler, (2) The Film Track
Cooler, and (3) The Automatic Film Humidifier
will give you an advantage of from 10 to 25 per cent
more screen light than is now available from your 16-
or 18-inch mirror lamps used with Brenkert or X-L heads,
plus a saving of 50 per cent lamp maintenance cost.
PROVE THE ABOVE IN YOUR OWN THEATRE.
See your dealer or write direct to
HAL I. HUFF MFG. CO. . SPSZSTF&u,.
• • • • •
• • • • •
LOCAL 332, CLINTON, IOWA
C. H. Andrews, pres.; Charles Tintey, vice-
pres.; A. E. Hubbard, sec.-treas.; Paul Nadel-
hoffer, bus. rep.; Ronald Dierks, sgt.-at-arms ;
P. Nadelhoffer, A. Hubbard, del. Clinton
Labor Congress.
LOCAL 343, OMAHA, NEBR.
R. L. Mclntyre, pres.; C. E. Jones, 1st
vice-pres. ; Art Krake, 2nd vice-pres. ; J. I.
Kelly, fin.-sec; H. Crossland, treas.; Clyde
Cooley, bus. rep.
LOCAL 348, VANCOUVER, CANADA
L. E. McManus, pres.; William D. Graham,
vice-pres.; Don. G. Foli, sec; Frank Smith,
treas.; Les Walker, bus. rep.; Gordon Suther-
land, member-at-large.
LOCAL 865, ODESSA, TEXAS
Thomas Bentley, pres.; Glenn Gillette,
vice-pres.; S. Furlow, sec. ; Harry Smith,
treas.; Barney T. Holt, bus. rep.; Richard
Neal, sgt.-at-arms.
NEBRASKA STATE ASS'N, IATSE
Conrad Kreiger (L. 586, Grand Island),
pres.; Hugh C. McMullen (L. 151, Lincoln),
Winifred Miller (L. 831, TWA, Omaha),
vice-pres.; Clyde Cooley (L. 343, Omaha),
sec.-treas.
25-30 CLUB, INC. (NEW YORK CITY)
Nathaniel Doragoff, pres.; William Ander-
son, vice-pres.; Morris I. Klapholz rec.-sec;
Benjamin F. Stern, fin.-sec; Nat Strauss,
sgt.-at-arms; Julius Wetzler, Joe Perlman,
trustees.
New Orleans Theatres Cited
In a recent article, the newspaper, New
Orleans States, saluted the neighborhood
theatres in that area for bringing "enter-
tainment within walking distance of most
of their customers." According to the
newspaper, the local theatres have reno-
vated and installed the finest equipment
available to bring the best possible enter-
tainment. Added feature is parking space
adjacent to the theatres.
ETHYLOID FILM CEMENT IS
RAPIDLY BECOMING THE AC-
CEPTED STANDARD IN THE
MOTION PICTURE INDUSTRY-
FROM STUDIO LABORATORIES
TO THE PROJECTION ROOM.
AVAILABLE AT ALL
THEATRE SUPPLY DEALERS
USHER
MANUFACTURING CO.
1185 Mt. Read Blvd.
Rochester 6, N. Y.
30
INTERNATIONAL PROJECTIONIST • JANUARY 1957
MOTOR GENERATORS
(Continued from page 24)
a drooping voltage output with an in-
crease in load? This difficulty has been
viewed by the writer in numerous
instances, and a little attention to the
theory of commutation indicates why
it happens.
First, let it be remembered that the
purpose of the commutating field is to
vary with the load current and there-
by erase distortion of the field patterns
of the shunt windings caused by in-
creased armature flux resulting from
increased load currents. This provides
for sparkless commutation at all loads.
Old timers perhaps recall that pre-
interpole machines require constant
commutator resurfacing and careful
setting of brushes for spark-free op-
eration under the service conditions.
Factory Markings
The proper place for brush settings
is marked at the factory by a chisel or
center-punch or paint dot. This mark
is traditionally set on the brush rotat-
ing yoke in such a place as furnishes
ready orientation with its mate on the
generator end-bell. Projectionists wish-
ing to attempt improvement of the volt-
age curve of any generator should lo-
cate this mark, or failing to locate it,
place temporary marks which will per-
mit a return to original setting if nec-
essary.
After the generator and grid re-
sistors have been brought to the ap-
proximate temperature of mid-day op-
eration, the terminal voltage of the
generator should be measured with
each lamp singly, and with any two
lamps burning simultaneously. If the
generator voltage drops at all with the
application of the second arc, and if
the output rating is not exceeded, it is
possible that slight brush shifting can
obtain a more uniform output.
Use good judgment here in selecting
the final point for brush setting. If con-
stant output can be obtained without
sparking at the brushes, by all means
operate the generator in this manner,
and the screen efficiency will improve
from the elimination of that annoying
dip when the second arc is struck.
A few words are in order as to the
best loading for a motor generator set.
The writer has heard otherwise in-
formed projectionists boast of the fact
that the generator was "just loafing"
with the arc load. In some fashion,
this misconception has become deeply
rooted, and it is time it be pinned
for the fallacy it actually is.
Peak Efficiency
The reader may write as an inviol-
able rule the statement that every gen-
erator operates at its best efficiency
when operated at 100% of its rated
output. A measurement of the watts
input against watts output of a gener-
ator does not tell all the story, for
induction motors which drive gener-
ator sets operate at rapidly dropping
power factors as their load is de-
creased.
In typical figures, this means that
depending upon the size of the drive
motor, a generator may run at an in-
put power factor of 0.8 to 0.87, where-
as at small loads the same motor may
drop to 0.2 to 0.3 power factor.
(Students of AC theory will recall
that power factor is equal to the cosine
of the angle included between voltage
and current waves, or to watts meas-
ured by a wattmeter divided by ap-
parent watts obtained by voltage and
current readings.)
Discussion of the effects of reactive
power is perhaps beyond the proper
scope of this article, but it is appropri-
ate to observe that this component of
current at quadrature (90°) with the
voltage results in lowered power-line
efficiencies. Many utility companies
insert a penalty clause in power con-
tracts providing for a rate increase
if the total load factor falls below
some point agreed upon. If arc gener-
ators are operated somewhat below
100% load rating, the theatre may be
paying extravagant amounts for all
power used. The obvious solution is
to operate equipment at what is its
measurable best efficiency, or to re-
place it with adequate units which will
bring increased day-long efficiency to
the arc power system.
Less Color for Drive-ins?
The recent Hollywood tendency to
make more black-and-white films is put-
ting drive-ins at a disadvantage, accord-
ing to Reno Wilk, Triangle Outdoor
Theatres' circuit general manager. Noting
that of 269 films issued, only 116 were
in color, Wilk pointed out that color is
the drive-in's "bread and butter." Pre-
ferred by the patrons because they show
on the outdoor screens better than black
and white, color pictures invariably do
better business for the drive-ins.
On the other hand, Alan E. Freedman,
head of DeLuxe Laboratories, predicts
a swing back to color this year. Noting
that black-and-whites had "hurt" the
20th-Fox subsidiary, he reported that
color orders for the first six months of
1957 are equal to those of a comparable
period in 1955.
Qh When is a mistake a blunder?
A When a projectionist is not a regular subscriber
• to IP — MUST reading for the projectionist craft.
Use the handy order form below
INTERNATIONAL PROJECTIONIST
19 West 44 St., New York 36, N. Y.
Enter my subscription for ° \ Vear {") issues— g.50
7 □ 2 years (24) issues — $400
Foreign and Canada: Add 50c per year
Name
Address
City
Zone
State
INTERNATIONAL PROJECTIONIST
JANUARY 1957
31
INTERNATIONAL PROJECTIONIST
Index — January to December, 1956
Noise from License Patches, Letters to the
Editor, March, p. 19
Refrigerated Film, Letters to the Editor,
March, p. 32
Watch Out for Film Scratches, Letters to
the Editor, March, p. 19
INDEX BY CLASSIFICATION
ARC LAMPS, CARBONS, LIGHT
Arc Lamp, Projector Optics Must Match
Each Other, Jan., p. 13
Arcoscope Cards: Technician s Viewpoint,
Aug., p. 13
Better Light from HI Reflector Arcs,
Robert A. Mitchell, Nov., p. 14
Conematic Arc Has Photocell Control,
Jan., p. 23
Development of the Super Cinex Lamp,
Clarence Ashcroft, Sept., p. 7
Evaluating Efficiency of the Arc-Lamp
Power Circuit, Joseph F. Holt,
Dec, p. 12
Genarco's New AC Arc Spotlight,
Nov., p. 23
Gretener Ventarc for Todd-AO, Joseph
Tritsch, Nov., p. 7
How to Get More Out of Your Arc Lamp,
Arthur J. Hatch, April, p. 14
Improved Effect Lighting in Theatres,
Robert A. Mitchell, Dec, p. 7
Metal vs. Glass Reflectors, E. B. Heyer,
April, p. 19
More Light for Drive-In Screens, Robert
A. Mitchell, April, p. 7
New 8-mm Copper-Coated Carbon Designed
for 60-70 Ampere Arc Lamp Operation,
F. P. Holloway and R. B. Dull, Jan., p. 26
New GE Lamp for Low-Contour Projectors,
Oct., p. 23
16-mm Field Awaits Xenon, Cronar,
Sept., p. 22
What Do You Know About Carbons?
March, p. 24
BOOK REVIEW
The Cinema Today, D. A. Spencer and H.
D. Waley, Dec, p. 35
The Cinematograph Regulations, Leslie
Knopp, May, p. 28
Electronic Engineering, Samuel Seely,
June, p. 31
Electronic Motion Pictures, Albert Abram-
son, Aug., p. 27
Know Your Camera, Alfred Wagg,
Aug., p. 27
Manual of Audio Visual Technique, Rob-
ert de Kieffer and Lee W. Cochran,
May, p. 28
The Master Guide to Theatre Maintenance,
Aaron Nadell, March, p. 28
Radio Electronics, Samuel Seely, Oct., p. 31
Transistors I, RCA Laboratories,
June, p. 31
TV Factbook No. 22, Television Digest,
Dec, p. 35
CINEMASCOPE
(See Lenses, Projectors, Sound, and Wide
Screen)
CINERAMA
Four Years of Cinerama, Norman Wasser-
man, May, p. 16
Mobile Cinerama Installation for Atlanta,
March, p. 30
COLOR FILM, COLOR
Color and Its Reproduction on Film, Rob-
ert A. Mitchell, Jan., p. 14; Feb., p. 16
Improved Effect Lighting in Theatres, Rob-
ert A. Mitchell, Dec, p. 7
Muted Colors in "Moby Dick," Norman
Wasserman, Aug., p. 15
Technicolor Improves Color Printing Proc-
ess, May, p. 14
DRIVE-IN THEATRES
Big Hardtop Chains Shy of Drive-Ins,
Aug., p. 13
Careful Maintenance Is Key to Quality
Drive-In Projection, E. J. Nelson,
June, p. 28
Drive-Ins No Longer Fear Tinted Wind-
shields, June, p. 13
Drive-In Projection Lenses, Joseph Feth-
erston, April, p. 22
Fire Safety for Drive-In Theatres,
April, p. 30
Is the Drive-In Here to Stay? James Morris,
April, p. 18
More Efficient Drive-In Projection, F. W.
Keilhack, May, p. 26
More Light for Drive-In Screens, Robert
A. Mitchell, April, p. 7
Painting the Drive-In Screen, Leonard Satz,
April, p. 24
Projection and Sound Requirements of the
Drive-In Theatre, Barry Passman,
April, p. 16
Reverse CinemaScope Lens for Drive-Ins,
Bob Deneen, April, p. 26
Selection and Maintenance of Sound Equip-
ment in Drive-In Theatres, A. J. Piatt,
May, p. 22
Speaker Control for Drive-Ins, Sept., p. 15
Unique Indoor-Outdoor Theatre
July, p. 14
FILM— DAMAGE, SPLICING
Columbia Issues Lighter-Density Prints,
Oct., p. 29
Curved Splice Theory, Letters to the Editor,
Oct. p. 24
Dielectric Heat Splices Cronar, Acetate
Film, Dec, p. 16
Evaluating Film Base Materials, Robert A.
Mitchell, May, p. 7
Exchange Splicing Methods, Letters to the
Editor, Aug., p. 21
Film and the Heat Problem, Robert A.
Mitchell, March, p. 7
Film Lubrication Facts, Letters to the Edi-
tor, Oct., p. 24
How Superscope Prints Are Made,
Feb., p. 14
Magnetic Tracks on Release Prints, Rob-
ert A. Mitchell, Aug., p. 7; Sept., p. 10
GENERAL
Any Chance for a 3-D Resurrection?
May, p. 24
Boxoffice Patterns Traced Over the Past
10 Years, June, p. 27
Brushup on Fundamentals, May, p. 15;
June, p. 26; July, p. 24; Aug., p. 22
Elaborate New Hardtop Theatres Going
Up, Oct. p. 14
Eliminating Fire Hazards in the Motion
Picture Theatre, Norman Wasserman,
Feb., p. 12
Harry Strong and Karl Brenkert Die,
May, p. 24
Modernizing Equipment at Military Thea-
tres in the Far East, Robert A. Haines,
June, p. 18
More About Pictures on Tape, Ross Snyder,
Aug., p. 10
New Trends in Hollywood Film Making,
Nov., p. 9
Number of Operating Theatres Remains
Stable Despite Boxoffice Decline,
June, p. 25
Shape of Things to Come, Joseph Holt,
Oct., p. 18
SMPTE Convention Stresses Standards,
James Morris, May, p. 13
SMPTE President Advises Caution on Ad-
ditional New Processes, James Morris,
Nov., p. 10
SMPTE to Stress Theatre Projection,
Sept., p. 28
SMPTE Training Program for the Pro-
jection Craft, Feb., p. 15
TESMA Maps Plans for Changing Times,
Robert Shumann, Oct., p. 17
Theatre Grosses, Production Increased for
Year, Dec, p. 17
A Tour of the Photokina, R. Howard
Cricks, Nov., p. 17
HISTORICAL
How Old Is the Wide-Screen Idea? James
L. Limbacher, July, p. 26
The Life of an Early Projectionist, Fran-
cois Doublier, Dec, p. 30
Memories of a Crazy Nickelodeon, Paul
Gormley, Oct., p. 27
Motion Pictures and TV Grew Up To-
gether, Albert Abramson, Oct., p. 10
"Movieana" Archives, Ray Brian,
Feb., p. 18; March, p. 23; May, p. 17;
July, p. 23; Sept., p. 26; Oct., p. 28
1945 to 1955: Ten Years of Projection Ad-
vances, Jan., p. 17
LABOR
IATSE Convention Keynote Is Unity on
Industry Problems, Sept., p. 16
Modern Hardtop Theatre Added to Unity
House, July, p. 19
Projection Work in VA Hospitals,
Oct., p. 21
LENSES, OPTICS
Arc Lamp, Projector Optics Must Match
32
INTERNATIONAL PROJECTIONIST
JANUARY 1957
Each Other, Jan., p. 13
Drive-In Projection Lenses, Joseph Feth-
erston, Apr., p. 22
Extra-fast Lenses, Technician s Viewpoint,
July, p. 15
Inferior Projector Port Glass, Projection
Clinic, Nov., p. 22
Mirror Anamorphots, Letters to the Editor,
Aug., p. 21
A New Method of Designing Lenses, Dr.
Max Herzberger, Jan., p. 7
Reverse CinemaScope Lens for Drive-Ins,
Bob Deneen, April, p. 26
MONTHLY CHATS
Any Fire Can Be Deadly, Jan., p. 5
Cheerful Prediction, Dec, p. 5
The Circus Is in Trouble, Aug., p. 5
Dangerous Statistics, March, p. 5
Drive-Ins Move to the Front, July, p. 5
The Drive-In Projectionist, March, p. 5
Forward-Looking Exhibitors, Dec, p. 5
Fox Policy on Sound, June, p. 5
Government Aid, Sept., p. 5
Importance of the Drive-In, April, p. 5
Management Cooperation, Sept., p. 5
New Fields to Conquer, July, p. 5
One Man's Contribution, June, p. 5
Projecting Foreign Films, Oct., p. 5
SMPTE Concentrates on TV, May, p. 5
Source of Projection Troubles, Aug., p. 5
Technical Assistance from Hollywood,
Jan., p. 5
Technical Experts Collide, Oct., p. 5
Technical Showmanship, Nov., p. 5
2,300 Theatres Need Equipment, May, p. 5
TV Premiere of "Richard III," Feb., p. 5
Victor and Still Champ. April, p. 5
Wide-Screen Projection Problems,
Feb., p. 5
POWER SUPPLY
Evaluating Efficiency of the Arc-Lamp
Power Circuit, Joseph F. Holt,
Dec, p. 12
Generator vs. Rectifier, Technician's View-
point, Sept., p. 21
PROJECTORS, PROJECTION
Aligning the Picture: The Ole Crank-
twister, Frank W. MacDonald, Dec, p. 23
Are Your Switchboards Confusing? Ritz
Miller, June? p 12
Changeover Switches: The Ole Crank-
twister, Frank W. MacDonald, July, p. 20
Columbia Asks Projectionists for Help,
Aug., p. 20
A Commmon Sense Approach to Screens,
Apertures and Aspect Ratios, Robert A.
Mitchell, June, p. 7; July, p. 7
Cropped Titles Create Problems for Wide-
Screen Art Houses, Jan., p. 12
Curved Gate for Simplex Projectors, Her-
bert Barnett, July, p. 13
Faster Pulldown Geneva Movements, Jose
M. Ruiz, Dec, p. 18
Faulty Projection Charge Refuted by In-
dustry, Aug., p. 24
Lubrication of Projector Mechanisms, Rob-
ert A. Mitchell, Oct., p. 7
Maintenance of Older Projector Models,
Tecnician's Viewpoint, Oct., p. 22
Merle Chamberlin's Talk to IATSE on Cur-
rent Projection Problems Sept., p. 17
Projection Advances on the Way, Herbert
Barnett, May, p. 12
16-mm Field Awaits Xenon, Cronar,
Sept., p. 22
Special Projection Process Gives "Fan-
tasia" New Look, Norman Wasserman.
March, p. 14
Sprocket Noise, Technician's Viewpoint,
Aug., p. 13
Two Methods of Improving Projection
Technique, Joseph Holt, Nov., p. 13
The Versatile Claw Intermittent, Jose M.
Ruiz, March, p. 16
What Causes Poor Projection? James Mor-
ris, Sept., p. 14
SCREENS, SCREEN BRIGHTNESS
A Common Sense Approach to Screens,
Apertures and Aspect Ratios, Robert A.
Mitchell. June, p. 7; July, p. 7
Damaged Matte Screens, Technician's View-
point. July, p. 15
Lenticulated Screens, Technician's View-
point, July, p. 15
More Light for Drive-In Screens, Robert
A. Mitchell, April, p. 7
Painting the Drive-In Screen, Leonard
Satz. April, p. 24
SOUND REPRODUCTION,
RECORDING
Acoustics in Projection, Mark Stevens,
Feb., p. 7
Cinemiracle to Use Transistorized Ampli-
fiers, March, p. 12
Don't Reduce Ballast, Projection Clinic,
Nov., p. 22
Exciter Supply, Technician's Viewpoint,
Aug., p. 13
Magnetic Pickup Heads, Technician's View-
point. July, p. 15
Magnetic Sound: The Ole Cranktwister,
Frank W. MacDonald, April, p. 23
Musical Tones and Acoustics, Feb., p. 11
New Stereosound Idea, R. Howard Cricks,
Dec, p. 20
Non-Sync Sound Reproduction Through
Surround Speakers, Joseph F. Holt,
Jan., p. 10
A Pre-Selector Device for Sound Change-
over, Joseph F. Holt, Aug., p. 12
Pros and Cons on Magnetic Sound, James
Toler and Robert A. Mitchell,
Nov., p. 12
Roadshow Sound System for "Carousel",
Lorin D. Grignon, June, p. 22
Selection and Maintenance of Sound
Equipment in Drive-In Theatres, A. J.
Piatt, May, p. 22
Speaker Control for Drive-ins, Sept. p. 15
Tone Control Circuits, Technician's View-
point, Sept., p. 21
Westrex Marketing New Sound Equip-
ment, June, p. 30
TELEVISION
Ampex Records TV Picture on Magnetic
Tape, May, p. 29
Cheaper Color TV Receivers Planned,
Feb., p. 19
Eidophor System, Technician's Viewpoint.
Aug., p. 13
Eidophor May Revive Lagging Theatre-
TV Operations, Norman Wasserman,
June, p. 14
Schools Utilize Closed-Circuit TV, Philip
Lewis, Dec, p. 14
Simplified Methods of Color Kinescope
Recording, Charles H. Evans, July, p. 21
TV Film Projection, Projection Clinic,
Dec, p. 24
Witnesses at Senate Hearings Denounce
Toll TV, June, p. 29
WIDE SCREEN
(See Cinerama, Lenses and Projectors)
Cinemiracle to Use Transistorized Ampli-
fiers, March, p. 12
A Common Sense Approach to Screens,
Apertures and Aspect Ratios, Robert A.
Mitchell, June, p. 7; July, p. 7
Cropped Titles Create Problems for Wide-
Screen Art Houses, Jan., p. 12
How Old Is the Wide-Screen Idea? James
L. Limbacher, July, p. 26
Little Known Facts About VistaVision,
Feb., p. 19
"Thrillarama" Joins Lists of New Proc-
esses, May, p. 23
"Thrillarama" Show Opens in Houston,
Texas, Sept., p. 9
Wide-Angle Photography and Projection,
Gayne Rescher, July, p. 16
INDEX BY AUTHOR
ABRAMSON, ALBERT
Motion Pictures and TV Grew Up To-
gether. Oct., p. 10
ASHCRAFT, CLARENCE
Development of the Super Cinex Lamp.
Sept., p. 7
BARNETT, HERBERT
Curved Gate for Simplex Projectors.
July, p. 13
Projection Advances on the Way. May p. 12
BRIAN, RAY
"Movieana" Archives. Feb., p. 18; March,
p. 23; May, p. 17; July, p. 23; Sept.,
p. 26; Oct., p. 28
CHAMBERLIN, MERLE
Merle Chamberlin's Talk to IATSE on Cur-
rent Projection Problems. Sept., p. 17
CRICKS, R. HOWARD
New Stereosound Idea. Dec, p. 20
A Tour of the Photokina. Nov., p. 17
DENEEN, BOB
Reverse CinemaScope Lens for Drive-Ins.
April, p. 26
DOUBLIER, FRANCOIS
Life of Early Projectionist. Dec, p. 30
DULL, R. B. (with F. P. HOLLOWAY)
New 8-mni Copper-Coated Carbon Designed
INTERNATIONAL PROJECTIONIST
JANUARY 1957
33
for 60-70 Ampere Arc Lamp Operation.
Jan., p. 26
EVANS, CHARLES H.
Simplified Method of Color Kinescope
Recording. July, p. 21
FETHERSTON, JOSEPH
Drive-In Projection Lenses. April, p. 22
GORMLEY, PAUL
Memories of a Crazy Nickelodeon.
Oct. p. 27
GRIGNON, LORIN D.
Roadshow Sound System for "Carousel".
June, p. 22
HAINES, ROBERT A.
Modernizing Equipment at Military Thea-
tres in the Far East. June, p. 18
HATCH, ARTHUR J.
How to Get More Out of Your Arc Lamp.
April, p. 14
HERZBERGER, DR. MAX
A New Method of Designing Lenses.
Jan., p. 7
HEYER, E. B.
Metal vs. Glass Reflectors. April, p. 19
HOLLOWAY, F. P. (with R. B. DULL)
New 8-mm Copper-Coated Carbon Designed
for 60-70 Ampere Arc Lamp Operation.
Jan., p. 26
HOLT, JOSEPH F.
Evaluating Efficiency of the Arc-Lamp
Power Circuit. Dec, p. 12
Non-Sync Sound Reproduction Through
Surround Speakers. Jan., p. 10
A Pre-Selector Device for Sound Change-
over. Aug., p. 12
Shape of Things to Come. Oct., p. 18
Two Methods of Improving Projection
Technique. Nov., p. 13
KEILHACK, F. W.
More Efficient Drive-In Projection.
May, p. 26
LEWIS, PHILIP
Schools Utilize Closed-Circuit TV.
Dec, p. 14
LIMBACHER, JAMES L.
How Old Is the Wide-Screen Idea?
July, p. 26
MAC DONALD, FRANK W.
The Ole Cranktwister.
April, p. 23; July, p. 20; Dec, p. 23
MITCHELL, ROBERT A.
Better Light from HI Reflector Arcs.
Nov., p. 14
Color and Its Reproduction on Film.
Jan., p. 14; Feb., p. 16
A Common Sense Approach to Screens,
Apertures and Aspect Ratios.
June, p. 7; July, p. 7
Evaluating Film Base Materials. May, p. 7
Film and the Heat Problem. March, p. 7
Improved Effect Lighting in Theatres.
Dec, p. 7
Lubrication of Projector Mechanisms.
Oct., p. 7
Magnetic Tracks on Release Prints.
Aug., p. 7; Sept., p. 10
More Light for Drive-In Screens.
April, p. 7
Pros and Cons on Magnetic Sound.
Nov., p. 12
MILLER, RITZ
Are Your Switchboards Confusing?
June, p. 12
MORRIS, JAMES
Is the Drive-In Here to Stay? April, p. 18
SMPTE Convention Stresses Standards.
May, p. 13
SMPTE President Advises Caution on
Additional New Processes. Nov., p. 10
What Causes Poor Projection? Sept., p. 14
NELSON, E. J.
Careful Maintenance is Key to Quality
Drive-In Projection. June, p. 28
PLATT, A. J.
Selection and Maintenance of Sound
Equipment in Drive-In Theatres.
May, p. 22
PASSMAN, BARRY
Projection and Sound Requirements of
the Drive-In Theatre. April, p. 16
RESCHER, GAYNE
Wide-Angle Photography and Projection.
July, p. 16
RUIZ, JOSE
Faster Pulldown Geneva Movements.
Dec, p. 18
The Versatile Claw Intermittent.
March, p. 16
SATZ, LEONARD
Painting the Drive-In Screen. April, p. 24
SHUMANN, ROBERT
TESMA Maps Plans for Changing Times.
Oct., p. 17
SNYDER, ROSS
More About Pictures on Tape. Aug., p. 10
STEVENS, MARK
Acoustics in Projection. Feb., p. 7
TOLER, JAMES
Pros and Cons on Magnetic Sound.
Nov., p. 12
TRITSCH, JOSEPH
Gretener Ventarc for Todd-AO. Nov., p. 7
WASSERMAN, NORMAN
Eidophor May Revive Lagging Theatre-TV
Operations. June, p. 14
Eliminating Fire Hazards in the Motion
Picture Theatre. Feb., p. 12
Four Years of Cinerama. May, p. 16
Muted Colors in "Moby Dick". Aug., p. 15
Special Projection Process Gives "Fantasia"
New Look. March, p. 14
Viewing Angles Studied
Horizontal and vertical viewing an-
gles in modern British theatres were the
subjects of a recent study conducted by
a committee on eye-strain of the Illumi-
nating Engineering Society of Britain.
Ideal Kinema, London
Maximum vertical viewing angles recommended
by British group.
The Society holds a unique position in
Britain's theatre industry as its recom-
mendations are very often incorporated
into the laws of the land.
Prior to the advent of wide screens,
definite restrictions were established in
regard to the horizontal viewing angles
from seats in motion picture theatres.
The widespread use of wide screens,
however, necessitated a reappraisal of
the situation, and following the recent
investigation by the IEE, it was sug-
gested that the former requirements be
relaxed until the wide-screen idea is
more thoroughly understood.
The Society found the vertical view-
ing angle to be another matter, for the
report reaffirmed former limitations. As
the accompanying diagram indicates, it
is recommended that the spectators in the
front rows should not have to look up-
wards more than 35 degrees to the top
of the screen.
Recommendation is also made for
theatres in which this is not structurally
or economically feasible. When excep-
tions are made, the vertical viewing an-
gle can go as high as 45 degrees to the
top of the screen provided the angle
to the mid-point of the picture does not
exceed 30 degrees.
GENEVA MOVEMENTS
(Continued from page 14)
celerated action in the pulldown cycle
accomplished by means of slipper block
and offset driving shafts. This I con-
sider the ideal solution in future
designs, and actual trends in projector
design show preference for this solu-
tion.
A concluding installment of this
article will discuss other fast inter-
mittent movements with particular
reference to some, such as the famous
Powers movement, which is not of
the geneva type.
[TO BE CONCLUDED]
34
INTERNATIONAL PROJECTIONIST
JANUARY 1957
/
PICTURE OF A MAN INSURING HIS LIFE
Yes, this man . . . like hundreds of thousands of Americans
... is taking out a different kind of life insurance. He has an
intelligent concern about cancer and knows that early detec-
tion may mean the difference between life and death.
That's why, once every year, he goes to his doctor for a
thorough medical checkup. This way, cancer . . . the "silent
enemy".. . can be detected in its earliest stages, when chances
for cure are most favorable.
Last year, 245,000 people lost their lives to cancer. . . many
of them needlessly, because they went to their doctors too late.
That's why we urge all men to make an annual checkup,
including a chest x-ray, a habit for life . . . your life.
AMERICAN CANCER SOCIETY
if
Our HM
/' s
/ S
\
Simplex x.l is here!"
. . . and what projectionist wouldn't do flips to see a new Simplex X'L
projector installed in his booth! No more breakdowns or blackouts. No
more tough change-overs or film slippage. In fact, no more of all the
other projection problems caused by weary, out-dated equipment! With
a Simplex X'L you can be sure you'll get the clearest picture and truest
sound obtainable. But unless you operate a Simplex X'L... you won't
know what we mean!
PROJECTIO
and SOUND SYSTEMS
Manufactured by
INTERNATIONAL PROJECTOR
DIVISION OF SIMPLEX EQUIPMENT CORPORATION
Distributed by
NATIONAL THE AT RE SUPPLY COMPANY
SUBSIDIARIES OF GENERAL PRECISION EQUIPMENT CORPORATION
1
B 636804
MAR 5-11957
FEBRUARY
1957
VOLUME 32
NUMBER 2
30c A COPY • S2.50 A YEAR
7lo lamp ul JttvL (jJohld, i
I
CAN PRODUCE SO MUCH LIGHT.
TRADE MARK REG
fi J I) £ i) i) £
NOT A REFLECTOR ARC!
WRITE FOR DATA
' kiAGNARf
TRADE MARK REG
£ J 1] £ f) A 15
4 75-77 4MP. REFLECTOR ARC!
PROOF
Hy-Candescents were selected for all important
"CINERAMA" installations. (Chicago, New York, Los
Angeles, San Francisco, Philadelphia, and Washing-
ton, D. C.)
Hy-Candescents were chosen by Paramount for all
installations of Horizontal "VISTA-VISION".
Hy-Candescents were again selected by TODD-AO
for "OKLAHOMA".
You have to do the same if you want all the light
there is for big pictures.
This lamp at 75-80 amperes produces as much and more
light as any so called large reflector lamps, using 85-95
amperes, employing expensive heat filters and water
cooling systems.
By comparison its cost of operation, in carbons, reflector
maintenance, current and parts upkeep is far lower than
others.
Also, its selling price is hundreds of dollars lower and
they may now be purchased from most all supply dealers.
These circumstances have made the PEERLESS MAGN-
ARC Cinearc the most widely used lamp in the world!
OOO flfl Ca F.O.B. Chicago, is still the retail price of our
OZZ.UU La. PEERLESS 14" Hy-Lumen silvered glass reflectors.
J.E.McAULEY MFG. CD
552-554 WEST ADAMS STREET
CHICAGO 6. ILLINOIS
» SUBSIDIARY OF
GINIRM
PRECISION
[OUIPMINT
CORPORATION
B 636804
B 63 680 4
[^yjATioNAi. High-Intensity Projector Carbons
lO mm. x 20'
11 mm. x 20'
11% more light
20% slower burning
10% more light
25% slower burning
Look to NATIONAL CARBON for leadership
in the basic research and practical
development of better projector 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 York 17, N. Y.
SALES OFFICES: Atlanta, Chicago, Dallas, Kansas City, Los Angeles, New York, Pittsburgh, San Francisco • IN CANADA: Union Carbide Canada Limited, Toronto
INTERNATIONAL PROJECTIONIST
FEBRUARY 1957
NOW-A NEW PROJECTION ARC WITH MORE NEW FEATURES
-EXCLUSIVE FEATURES-THAN ANY LAMP EVER MADE!
NEW STRONG U-H-l
ULTRA HIGH INTENSITY
ARC LAMP
EXCLUSIVE NO. 1
ACCOMMODATES 20-INCH CARBON
TRIM IN ALL SIZES 9 mm through
13.6 mm inclusive.
EXCLUSIVE NO. 2
BEAM SHAPER LENS PROVIDED
FOR USE WITH THE 13.6 MM TRIM
LAMPS PATTERNS THE SPOT TO
THE PARTICULAR SIZE AND SHAPE
OF THE APERTURE SO AS TO EFFI-
CIENTLY UTILIZE ALL USEFUL
LIGHT. All other lamps, projecting a
round spot, waste much light, particularly
above and below the aperture. Using a
13.6 mm carbon trim, the optical speed or
mark of efficiency is equivalent to f 1.5
when f 1.5/1.6 projection lenses are used
and projectors are cleared for f 1.5.
EXCLUSIVE NO. 3
THE ONLY LAMP WITH AN AUTO-
MATIC CRATER POSITIONING SYS-
TEM that maintains the tip of the burn-
ing carbon at the focal point of the re-
flector. Change of light color at the screen,
caused by variation in carbon burning
rates, is absolutely eliminated.
EXCLUSIVE NO. 4
NEW, EXCLUSIVE DESIGN minimizes
light loss due to shadowing by feed mech-
anism.
EXCLUSIVE NO. 5
THE ONLY LAMP WITH MIRROR
INTEGRATED WITH A REAR LAMP-
HOUSE DOOR which swings completely
out of the way to facilitate retrimming,
permit easy cleaning and keep the reflector
in efficient condition.
EXCLUSIVE NO. 6
SPOT FOCUSING— A BOON TO PRO-
JECTIONISTS AVAILABLE IN THIS
LAMP ONLY! The ENTIRE burner
assembly is movable so that the position
of the arc can be shifted for the best- screen
light without disturbing the relative car-
bon positions or the equilibrium of the arc.
EXCLUSIVE NO. 7
EXPELLO BUILT-IN EXHAUST SYS-
TEM cools the rear of the reflector so as
to permit the use of the newly developed
"cold" reflectors which allow unwanted
heat energy to pass through the mirror in-
stead of being reflected to the aperture.
EXCLUSIVE NO. 8
QUICKLY ADAPTABLE TO THE
VARIOUS PROJECTION SYSTEMS.
The optical system can be changed in
one-fifth the time required by other
lamps. Choice of high or low magnifica-
tion is obtained for wide film or 35 mm
projection in less than a minute.
EXCLUSIVE NO. 9
A SINGLE ADJUSTMENT CON-
TROLS THE FEEDS OF BOTH CAR-
BONS. Other lamps have two feed adjust-
ments and guesswork must be resorted to
when attempting to match them.
EXCLUSIVE NO. 10
A BRILLIANT, TWICE-MAGNIFIED
IMAGE OF THE BURNING ARC IS
PROJECTED ON LARGE IMAGER
SCREEN FOR EASY OBSERVATION
BY THE PROJECTIONIST.
EXCLUSIVE NO. 11
EXCLUSIVE ARC STABILIZER. A jet
directed stream of high velocity air up
and over the arc directs, stabilizes and
conforms the flame away from the re-
flector, effects better combustion and
prevents the formation of black soot.
EXCLUSIVE NO. 12
ONE BODINE GEAR HEAD MOTOR
FOR POSITIVE CARBON DRIVE
OND ONE FOR NEGATIVE DRIVE.
Gear reduction is self-inclosed with the
motors to provide constant lubrication
and protection from dirt damage.
EXCLUSIVE NO. 13
PICTURES PROJECTED BY THIS
LAMP ARE MORE PLEASING, not
subject to the high degree of in-and-out
of focus that distinguishes projection by
most lamps operated at high currents.
The exclusive high quality heat filter
greatly reduces heat at the aperture. This
heat filter is air cooled by a powerful
blower and is instantly removable during
actual projection as desired, such as when
going from black and white to color film
on the same reel.
EXCLUSIVE NO. 14
"PLUG IN" COMPONENTS. Positive
feed head, feed cluster, negative feed
head, positive and negative motors are
all quickly removable so as to enable
the projectionist to make inspection or
interchange between reels.
PLUS NO. 1
A HIGHER TRUE LUMEN OUTPUT
THAN ANY OTHER LAMP AND
BETTER DISTRIBUTION CON-
SISTENT WITH THIS HIGH LEVEL
OF ILLUMINATION obtained by new
design optical parts and feed mechanism.
PLUS NO. 2
.... GIVES THE MOST LIGHT PER
CARBON DOLLAR.
PLUS NO. 3
The carbon feed control can be set to burn
any desired number of inches of carbon
per hour. Adjustable to the length of reels
being projected. 9 mm through 11 mm
sizes can be burned between 14 and 30
inches per hour, 13.6 mm size can be
burned from 7 to 20 inches per hour.
PLUS NO. 4
Heat radiation to the projection booth is
held to a minimum by the heavy duty,
quiet running centrifugal exhaust fan
driven by a ball bearing type motor. Heat
and smoke are exhausted into a large,
8-inch, smoke pipe connection.
PLUS NO. 5
Air screen directs a thin layer of fast mov-
ing air upward over the surface of the
reflector so as to cool it and keep soot and
smoke from depositing thereon.
PLUS NO. 6
Heavy duty, long life, solid silver, water
cooled positive carbon contacts on 13.6
mm lamps. Air cooled or water cooled
contacts are available for smaller carbons.
Send coupon now for even more details.
THE STRONG ELECTRIC CORPORATION
31 City Park Ave. Toledo 1, Ohio
Please send free literature on the sensa-
tional new Strong U-H-l Projection Arc Lamp.
Name
Theatre
Street
City & State .
INTERNATIONAL PROJECTIONIST • FEBRUARY 1957
International
PROJECTIONIST
R. A. ENTRACHT, Publisher
ROBERT C. MacLEOD, Editor
R. A. MITCHELL, Contributing Editor
Volume 32
FEBRUARY 1957
Number 2
Index and Monthly Chat 5
That Important Optical Train 7
Robert A. Mitchell
Screen Illumination: Some
Pertinent Facts 10
Arthur J. Hatch
An Old Lamphouse Headache:
Those Cracked Carbons 13
Joseph Holt
Strong's New U-H-I Projection Arc 17
Letters to the Editor 18
Pioneer Parallels: TV and
Motion Picture Growth 19
Albert Abramson
The Historical Controversy of
Molteni's Choreutoscope 22
James Card
"Domerama" — Theatre of the Future 23
J. G. Jackson
In the Spotlight 24
IA Elections 25
The Faster Pulldown Geneva Movements, III .... 26
Jose M. Ruiz
Telecasts 28
Science Notes 29
Projection Clinic 31
New Products for the Industry 34
Personal Notes 35
Obituaries 37
INTERNATIONAL PROJECTIONIST, published monthly by the Inter-
national Projectionist Publishing Co., Inc., 19 West 44 Street, New
York 36, R. A. Entracht, President. Telephone: MUrray Hill 2-2948.
Subscription Representatives: AUSTRALIA— McGiils, 183 Elizabeth
St., Melbourne; NEW ZEALAND— Te Aro Book Depot, Ltd., 64 Court-
nay Place, Wellington; ENGLAND and ELSEWHERE— Wm. Dawson &
Sons, Ltd., Macklin St., London, W. C. 2. Subscription Rates: United
States and U. S. Possessions, $2.50 per year (12 issues) and $4.00 for
two years (24 issues). Canada and Foreign countries: $3.00 per year
and $5.00 for two years. Changes of address should be submitted four
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., under the act of March 3, 1879. INTERNATIONAL
PROJECTIONIST assumes no responsibility for personal opinions ap-
pearing in signed articles, or for unsolicited articles. Entire contents
copyrighted 1957 by INTERNATIONAL PROJECTIONIST PUBLISHING
CO., INC.
420
moniHi} Chdt
Good News Tonight
BACK IN the days of radio, there was a commentator
who used to come on with: "There's good news tonight!"
Usually there wasn't, but somehow that phrase perked
up the day a little. IP has never looked at the industry
with rose-or-any-other-tinted-glasses, but there's no deny-
ing movie biz has taken a fairly sharp upswing the last
couple of months.
Item One: 20th-Fox, in their own survey, came up with
a report of 22.8% increase in patronage. Considering
the overall picture of late, that may be on the conservative
side. More about 20th-Fox below.
Item Two: National Allied held its biggest drive-in
convention ever last month, a solid indication of the
growth that section of the industry has taken.
Item Three: Good pictures — repeat, loud and clear- —
good pictures are packing 'em in. In some cases, flics
like "Anastasia," "Giant," "Friendly Persuasion," and
"Teahouse of the August Moon," have over-stayed their
scheduled runs by as much as three-four weeks. Exhibitors
have been asking for increased production. Fine. But let
us keep in mind that even if you released 100 turkeys a
year, they remain turkeys, and our enlightened patrons
are going to stay home with the quiz shows.
Item Four: Theatre seating has more than doubled in
the past ten years. Drive-in expansion (and they're build-
ing about 250 a year) has helped, so that now about
27,000,000 people can be accommodated. And there are
no signs of the pace slackening.
And it's only space limitations that prevent us from
mentioning a half-dozen more such items. The first week
in January the Stanley Warner chain grossed more than
it ever did in its history, and . . . well, as we said: space
limitations.
Minor Item
PEOPLE can be wrong. A captain once told the young
Napoleon that Nap didn't know anything about handling
artillery. When TV was in its pioneer days and just
being demonstrated around on postage-stamp screens, the
trade papers were complacently assuring the motion picture
industry it had nothing to worry about. But every now
and then we run across an item that may be a harbinger
of something. Just may.
So for what it's worth: the Garrick Theatre was a
Balaban & Katz house in Boston. In 1950 it was shuttered,
and in 1952 converted to a TV studio. This April the
Garrick is going back to being a movie theatre.
Small Theatre Help
CONGRATULATIONS to general sales manager Alex
Harrison and everyone else over at 20th-Fox for their
policy to reopen closed theatres and revive business in the
small and subsequent-run houses. Although percentage-
wise the small thealres do not make up an overwhelming
part of Fox's business, they nevertheless are an important
and necessary part of the arrangement, and any boost
they can get is well deserved. We wish this campaign the
best of success.
INTERNATIONAL PROJECTIONIST • FEBRUARY 1957
r | ■"
THE LOWEST PRICED,
;,v mmmk wmwiwhhi
SELENIUM TYPE
1% IE V I 1! W I C lm
-for efficient use with angle or coaxial trim
high intensity projection arc lamps.
Full sized, damp-proofed stocks assure trouble-free
operation in damp climates.
Amperage output easily controlled while lamp is operating.
Adjustment to compensate for line phase unbalance.
Glass-type transformer insulation withstands much higher operating
temperatures and permits emergency operation of
two lamps on one rectifier.
Heavy duty fan. Line control relay.
FOUR MODELS:
65 to 1 00 Ampere,
90 to 1 35 Ampere and
1 20 to 1 80 Ampere three-phase, and
70 to 90 Ampere and
90 to 1 35 Ampere single phase.
DISTRIBUTED BY NATIONAL THEATRE SUPPLY COMPANY
A SUBSIDIARY OF
INTERNATIONAL PROJECTIONIST • FEBRUARY 1957
CPE
INTERNATIONAL PROJECTIONIST
- \ :
^
Volume 32
FEBRUARY 1957
Number 2
That Important Optical Train
By ROBERT A. MITCHELL
Part one of a two-part article: an evaluation of one of the
essentials of the projectionist craft, starting from the elemen-
tary optical systems to the complex requirements of today.
EVEN IN ITS most elementary-
form, the projection process in-
volves a number of optical com-
ponents which must be "in line."
These are the photographs to be pro-
jected and the objective lens which
projects the photograph upon a screen.
"Object" and "lens" thereby form the
fundamental optical train of the pro-
jection apparatus: and an imaginary
line constructed to intersect their exact
centers constitutes the optical axis of
the projection instrument.
The above remarks apply to cameras
as well as to projectors. In fact, a
camera may be considered to be a
projector "in reverse." Instead of
throwing light out — projecting it, —
a camera admits light and focuses it
upon a sensitized emulsion. And this
brings us to a consideration of the
component which cameras never have,
but which is a necessity for projectors,
viz. a source of optically controlled,
very bright light. All projectors must
be equipped with specially designed
lamps to furnish illumination for the
picture.
The various elements of the pro-
jector lamp are not necessarily in line
with the "object" (photograph) and
the lens, even though all these com-
ponents are always located on the self-
same optical axis in theatre motion
picture projectors.
The "reflectoscope" projector made
for showing opaque postcards, draw-
ings, charts, etc. needs little more than
bare incandescent bulbs, usuallv one
on each side, to illuminate by reflected
light the opaque object to be projected.
And many 16-mm and other portable
movie projectors utilize a diagonal
mirror behind the aperture to permit
placement of the lamphouse on the
gear side of the mechanism for greater
compactness. This is a very good ar-
rangement.
"Straight-line" Set-Up
In the present article, however, we
shall consider only the "straight-line"
arrangement of the lamp components
used in professional lantern slide and
cinema film projectors — the types of
picture projecting apparatus used daily
by theatre projectionists all over the
world. The optical trains of such pro-
jectors accordingly include the optical-
ly functioning parts of the lamp on
the "object-and-lens" axis of the pic-
ture mechanism. And because the
"object" is a transparency — a photo-
graph on an emulsion-support of glass
or film — the lamphouse is located
behind the picture aperture in which
the transparency is "framed."
It is not enough to place a bare
light source — bulb or carbon arc — be-
hind the picture aperture. Even though
the aperture, itself, may be uniformly
illuminated by this expedient, the
source will necessarily be imaged on
the screen as an out-of-focus "object,"
and a fuzzy spot of light will be ob-
tained on the screen instead of a clear,
uniformly bright rectangular "field"
bounded by the edges of the slide or
film aperture. This state of affairs is
represented diagrammaticallv by Fig.
1. as shown below.
The bare-light method does not give
a completely illuminated field unless
"Point"
light
Objective
lens
'^Bottom of picture
Dark
Illumi-
nated
A t
Aperture
"Aerial ima£e'r~~~,^
of 5
light source
'Top of picture
Dark
Screen
FIG. 1. Why a bare light source cannot be used for projection. Without a diffuser or condenser
system, the cone of light intercepted by the objective lens may not include all of the area of the
film or slide aperture, hence only a spot at the center of the projected picture is illuminated.
But whatever method of illumination is used, note that the projection lens inverts the image of
the object, requiring the picture to be placed in the aperture upside down.
INTERNATIONAL PROJECTIONIST
FEBRUARY 1957
the lens be larger than the picture
aperture, in the case of a "point
source" of light. Even then, the method
is so inefficient that the projected pic-
ture is exceedingly dim.
Efficiency Evaluation
The efficiency of any projector il-
lumination system depends on ( 1 )
how much of the light emitted by the
source is collected and converged up-
on the aperture, and (2) how much
of the light passing through the aper-
ture is intercepted and focused upon
the screen by the projection objective
lens. The bare-source method permits
utilization of only a very small frac-
tion of the total light. Modern motion
picture systems, with lamphouse light-
collecting angles ranging from 90° to
150°, and with high speed lenses ca-
pable of intercepting from 75% to
100% of the light passing through
the aperture, are thousands of times
more efficient lightwise.
Suppose, now, a "light-diffusing"
screen of ground glass is placed be-
hind the aperture of our bare-source
projector, as in Fig. 2. The frosted
glass effectively scatters the light over
the entire area of the picture aperture,
illuminating the projected picture
more or less uniformly from corner
to corner. No improvement in the
brightness of the picture will be noted;
but the diffuser allows the light source
to be brought closer to the aperture
for greater brightness of the image on
the screen.
While hardly efficient enough to be
used for projection in theatres, the
light-diffusing system nevertheless is
widely used in low priced photograph
enlargers. In fact, the diffusing method
constitutes the very simplest practic-
able illumination system for projection
purposes. Of its two elements (light
source and ground-glass plate), only
the source need be considered in the
optical lineup procedure, it being suf-
ficient merely to have the ground glass
cover the aperture area. And the posi-
,-. . j . Scattered and
l( i-ff o»T _ Wasted, raus
Condenser
source
Aerial image
of source on
or near lens
Aperture
FIG. 3. "Stereopticon" condensing-lens system of illumination. The aperture is placed close to
the condensers, and the light source is imaged upon the objective lens. There is thus no loss of
light between the aperture and the lens. The "aerial image" of the condensers and the image
of the slide coincide on the screen.
Aperture
TJUasted raus
tioning of the source on the optical
axis is not at all critical in this system.
The diffusing system of projection
illumination may be demonstrated by
placing a clip of safety motion picture
film close to a frosted incandescent
bulb and focusing the picture on a
nearby wall by means of a magnify-
ing glass. Here you have the principal
elements of a rudimentary optical sys-
tem: Source — Object — Lens.
Let's go a bit farther and add the
elements necessary for a really efficient
picture-illuminating system, namely,
the so-called "stereopticon" system as
used in most lantern slide ("dia")
projectors. These are employed in a
large number of theatres, often com-
bined with spotlight and effect-lighting
apparatus, for showing standard 3"
x 4" glass announcement and adver-
tising slides.
A large-diameter condensing lens,
usually consisting of two plano-convex
lenses mounted together to minimize
spherical aberration, is required to col-
lect as much light from the source as
possible and converge it, through the
slide aperture, upon the objective lens
which projects the picture upon the
screen.
The distinctive features of the stere-
opticon system are (1) placement of
the slide aperture very close to the
FIG. 2. The simple "diffus-
ing" system of illumination
which employs a ground-
glass diffuser of the light
emitted by the source. The
diffuser must be at least as
large as the film or slide
aperture. This system, used
in certain photographic en-
largers, is too inefficient
lightwise for projection in
theatres.
surface of the condenser and (2) for-
mation of an image of the light source
(arc crater or bulb filament) upon the
objective lens. These features, shown
in Fig. 3, result in smooth illumina-
tion of the projected aperture field and
efficient channeling of the light
through the projection objective. It is
to be noted that the objective lens may
be rather small, forasmuch as the
image of the source thrown upon it is
very concentrated and smaller than the
slide aperture.
Stereopticon Disadvantages
The only disadvantage of the stere-
opticon system is that cracks and fin-
germarks on the condensing lenses are
visible as smudges on the screen. The
reason for this is the closeness of the
aperture to the condensers — when one
is in focus, the other is very nearly
in focus.
Because the aperture, or mat open-
ing, for standard slides is 2^4" x 3"
for a standard aspect ratio of 1/1.33,
1 5/64" x 3" for an aspect ratio of
1/1.66, 1%" x 3" for an aspect ratio
of 1/1.85, and iy2" x 3" for an as-
pect ratio of 2/1, the diagonal of these
openings ranging from about 3%
inches to 4 inches, the diameter of the
condensing lenses need not exceed 5
inches.
In recent years smaller slides hav-
ing outside dimensions of 2" x 2"
have been standardized for home, edu-
cational, and TV use. A few theatres
have installed projectors for showing
these. Most home apparatus for pro-
jecting two-by-two's also utilizes the
stereopticon illumination system, but
for theatre use the small diameter con-
densers (scarcely 2 inches in diam-
eter ) do not pick up a sufficiently large
angle of light from powerful sources
INTERNATIONAL PROJECTIONIST
FEBRUARY 1957
J0 Image of source
on aperture
^# Aerial image of
condenser
Ct —
Light
source"
FIG. 4. "Motion-picture" condensing-lens system used for projection when the slides or film-
photographs are relatively small in size. In this system the source is imaged by the condensers
upon the film aperture, hence the need for a small, uniformly bright light source. As a rule,
the stereopticon system gives a more uniformly illuminated "field."
to give a bright picture. Accordingly,
a different type of optical system, one
which is essentially the same as that
used for motion-picture projection, is
employed.
The "motion picture" illumination
system is required when the "object"
— film or slide — has a relatively small
area. Instead of the aperture being
placed close to the condenser, and the
light source being imaged upon the
projection lens, the source is imaged
by condensers of large, very efficient
diameter upon the "object," itself. In
other words, the light is concentrated
by the condenser upon the relatively
small aperture.
Preferred llluminants
This kind of optical system demands
a light source of uniform brightness and
small size for even, efficient illumination
of the field. Incandescent ("mazda")
bulbs give a somewhat streaked field
with this system because a more or
less in-focus image of the tungsten fila-
ment is produced upon the aperture
where the film or slide is located, and
this is relayed to the screen by the pro-
jection objective. The carbon arc is
the preferred illuminant for motion-
picture optical systems, the low-inten-
sity arc having ideal light distribution
characteristics, though inferior to the
high-intensity arc in brightness.
Fig. 4 illustrates the motion-picture
optical system employing condensing
lenses. One of the most powerful pro-
jection lamps available, the Peerless
Hy-Candescent HI arc lamp, utilizes
condensing lenses of high optical
"speed" (/: 2.0) and fully corrected
for spherical aberration. As stated be-
fore, the motion-picture system may
be used for small sized lantern slides
as well as for motion picture films.
The motion-picture system of optics
requires the use of larger ("faster")
projection lenses than does the stere-
opticon system. Instead of continuing
to converge after passing through the
picture aperture, the light rays begin
to diverge, spreading out after having
formed an image of the source on the
aperture.
The angle of divergence depends on
the size of the aperture and, particu-
larly, on the diameter and distance
from the aperture of the lamphouse
condensing lens (or mirror in the case
of mirror lamps). In fact, no simple
relationship exists between the "speed"
of the lamp optics and that of the pro-
jection lens. The idea that an /:2 lamp
condenser or mirror is "matched" by
an /:2 projection objective is one of
the favorite fictions of motion picture
technology. It has no basis whatever in
fact.
It can be demonstrated by geometry
that lamp condensers and projection
lenses of the same speed rating are
optically matched only ivhen the pic-
ture aperture is a mere pinpoint. When
the aperture is an area of appreciable
size, such factors as the diameter and
distance of the lamp condenser and the
focal length of the projection objec-
tive enter into the matter. In general,
projection lenses substantially faster
than those in present-day use must be
employed to establish a condition of
true optical match.
Fortunately, it is not necessary to
use lenses which are perfectly matched
to the lamp optics: modern fast lenses
are so efficient that little would be
gained by making them any larger.
Besides, there are more satisfactory
methods of obviating the loss of light
occasioned by slight optical mismatch,
as we shall see in the next installment
of this article.
Mirror Systems
Fig. 5 shows two motion-picture op-
tical systems utilizing mirrors, which
take the place of the condensing lenses
of Fig. 4. The system employing a
mirror alone is the usual one for pres-
ent-day reflector arcs: the one employ-
ing a large converging lens in addi-
tion to a mirror was first used more
than 25 years ago in Motiograph low-
intensity reflector arcs and in a few
lamps of European manufacture.
When a mirror is used without a
converging lens, the curvature of the
mirror is elliptical. This kind of curva-
ture has two focuses ( Latin plural.
foci), the light source I crater of the
positive carbon) occupying one focus
and an image of the source being
formed at the other focus. Since the
image of the luminous crater is formed
{Continued on page 41)
Image of crater
Aerial image
of mirror.
FIG. 5. Reflector systems
for motion picture projec-
tion. Each of these, like the
motion picture condensing-
lens system, images the light
source upon the film aper-
ture. The system without the
converging lens is the more
commonly used, the elliptical
mirror functioning as a con-
verger as well as a collector
of the light. The parabolic
m i rror-an d-lens system
avoids loss of light occa-
sioned by the positive car-
bon holder at a point where
the beam is more or less
concentrated.
V Elliptical
mirror
Image of crater
on aperture
Aerial image
of converger
PaVabolic KlU]Zf "*
mirror
INTERNATIONAL PROJECTIONIST • FEBRUARY 1957
In keeping with IP's policy as an open impartial forum,
herein are one manufacturer's views on the ever-contro-
versial light output problem with present-day equipment.
SCREEN ILLUMINATION
Some
Pertinent Facts
By ARTHUR J. HATCH
President, Strong Electric Corporation
A RECENT article in IP indicated
that it was possible to realize up
to 50,000 lumens through a
"standard" 35-mm aperture burning
regular 13.6-mm carbons with /:1.7 or
/:1.8 projection lenses. Other articles
in the trade press have indicated sim-
ilar high lumen values for projection
with regular carbons without mention-
ing the size aperture these values were
obtained through. It is entirely pos-
sible to obtain illumination approach-
ing these values through certain film
apertures when using these regular car-
bons with reflector type lamps, but
considerable confusion has been caused
in the minds of projectionists and ex-
hibitors by the assumption that illumi-
nation of this order can be presently
obtained through all aperture sizes.
It is in an effort to keep the lumen
"honest" in the eyes of projectionists
and exhibitors that we direct this
article.
Test Results
Table I sets forth the various total
lumen figures without shutter or heat
filter that can be projected through
various apertures with newest reflector
lamps presently available, using regu-
lar 13.6-mm carbons and with pro-
jection lenses that are suitable for use
with the particular projection system.
These tests point up that under no
circumstances are figures of 49,000 —
50,000 lumens even approached with
standard (.825 X .600) apertures, only
with CinemaScope or a proposed 55-
mm projection system utilizing a more
nearly large square aperture is a fig-
ure of over 40,000 lumens realized. If
such a figure of illumination could be
reached with a conventional carbon arc
burning regular carbons, Strong Elec-
tric would certainly not be expending
time and money in the development
of new arc burning techniques that
promise in the future to reach this
elusive figure of 50,000 lumens through
a standard (.825" x .600") aperture.
An Amperage Fallacy
A fallacy that continues to receive
support, both in popular fancy and oc-
casionally in print, is one which sug-
gests that the amount of light which
can be projected with any given sys-
tem is solely a function of arc amper-
age and, consequently, a large increase
in light can be obtained simply by use
of larger carbons and/or a higher
current.
The record should be cleared on
this matter as often increase of current
will only slightly increase the total
light with greatly increased cost of
operation.
Generally speaking, use of a larger
carbon size will increase slightly the
light at the edge of the screen, the light
at the center of the screen will remain
about the same, and the cost of opera-
tion will increase. Beyond a certain
point increase of carbon size is un-
economical, as the spot produced at
the plane of the aperture is so large
that a high percentage of the total light
never goes through the aperture.
Change to such sizes as 13.6-mm or
larger in reflector type lamps for 35-
mm projection should not be made
unless some means to reduce the magni-
fication of the spot on the aperture
are undertaken at the same time. Also
it usually is necessary to use higher
speed projection lenses. Recommenda-
tions as to magnification reduction
means of lamphouse manufacturers
should be followed in these instances.
Table II presents values of illumination
that are obtained with various size
carbons and arc currents. All light
and heat values are taken without
shutter running and without heat filter.
Similar Optics
As will be noted, Systems 1, 2,
3,
and 4 are all with the same optical
elements both as to lamphouse and
objective lens. Note that the illumina-
tion in the center of the screen is
approximately the same for the first
four systems even though the arc cur-
rents range from 90 to 150 amperes.
However, although the edge of the
screen is better illuminated by the
larger carbons, the total screen lumens
are only increased approximately 5%
for each jump in carbon size or a
total of 14% from 9-mm to 13.6-mm
carbon size, while the cost of operation
goes from $2040 per year for 9-mm
to $2800 per year for 13.6-mm positive
TABLE I
Aperture
Total Lumens 13.6-mm
carbon at 160 ampere
Remarks
35-mm standard
(.825X.600)
35,000
/:1.5 lens and lamphouse
optics /:1.5
35-mm CinemaScope
(.912 X. 715)
44,000
/:1.5 lens and lamphouse
optics /:1.5
70-mm wide film
( 1.968 X. 788)
25.000
Projection lens designed
for wide film
55-mm wide film
(1.360X1.065)
42,000
Projection lens designed
for wide film
10
INTERNATIONAL PROJECTIONIST • FEBRUARY 1957
carbons. These carbon costs are
based on 4000 hours operation per
year.
Measurements in Systems Nos. 5 and
6 were made under conditions where
the size of spot was reduced by de-
creasing the magnification of the lamp-
house optical system. This results in
a higher speed lamphouse optical sys-
tem which in turn requires a higher
speed projection lens. Indeed, as the
results on System No. 5 show there is
no gain over System No. 4 when using
the relatively slow /:1. 7/1.8 lens.
However, with the use of a /: 1.5/1.6
lens as in System No. 6 the screen
lumens are increased to 30,000 or a
gain of 2000 over System No. 4.
Spot-Shaping Lenses
System No. 7, Table II, shows results
obtained by burning 13.6-mm carbons
to 165 amperes and at the same time
still further reducing the spot size by
a decrease of magnification and in-
crease of lamphouse optical speed to
/:1.5, and projecting with a /: 1.5/1.6
projection lens. The resulting screen
light as shown by the table is 36,200
lumens which should represent the
highest amount that will be realized
in the near future through standard
(.825 x .6001 35-mm projection sys-
tems using conventional arc burning
methods and regular carbons.
A reflector center-to-aperture dis-
tance of 31 inches would be necesary
to obtain this speed and magnification
with an 18-inch diameter reflector
alone. However, with the new auxil-
iary spot shaping lenses now available
in the new Strong "U.H.I." and Na-
tional Theatre Supply Co. "Constella-
tion 170" lamps, an efficiency factor
equal to /:1.5 is obtained without
the necessity for this close and usually
impractical close coupling of lamp and
projector.
Robert Mitchell's article in the
November 1956 issue of IP presents
a table wherein a total of 50,000 screen
lumens is shown to have been obtained
by use of 13.6-mm regular carbon
through a 35-mm standard aperture
using a /:1. 7/1.8 lens. In the light
of these tests and tests run by others
independently it appears that the lumen
figures in this article should be revised
to show 36,000 lumens and then only
with /:1.5 projection lenses. Exhibitors
should check carefully before erecting
screens to take advantage of light of
this 50,000 lumen value through 35-
mm standard apertures with presently
available equipment.
Mr. Mitchell's article implies that the
energy at the center of the film is
greater with a 9-mm carbon at its
highest current than with larger car-
bons. This is not borne out by the
actual tests shown in Table II, and a
comparison shows very little difference
in watts/sq. mm total energy at the
center of the aperture for systems 1 to
4 for various size carbons. The tend-
ency to blister film will be proportion-
ate to this energy factor. The total
energy at the center of the aperture
will, however, be proportional to the
visible or useful amount of light at
the center of the screen as shown by
the energy figures in Table II for
Systems 5 through 7.
TABLE II
It is agreed that there is enough
energy at the aperture with 18-inch
reflectors using any carbon trim from
9-mm to 13.6-mm to require the use
of heat filters or "cold" mirrors at
least with black-and-white film, but
the same filter or "cold" mirror will
protect the film when used with any
carbon, size 9 through 13.6-mm.
Correct Positioning
Good practice calls for positioning
of the lamphouse reflector in such a
relationship to the aperture that the
resulting spot of light at the aperture
is sufficiently large to give a maximum
of total illumination consistent with a
reasonable uniformity but with absence
of color differences across the screen.
If the lamphouse reflector is positioned
nearer the aperture than at this op-
timum point, poor uniformity with
color differences across the screen are
apparent. If the reflector is positioned
further away than this optimum point,
the color uniformity is not improved —
the measured intensity uniformity is
bettered, but there is realized a lower
intensity of light at all points of the
screen. Lamp manufacturers' recom-
mendations in this respect can serve
as a general guide, to be tempered by
local conditions, such as arc amperage,
type of screen, projection lens, etc.
The writer has personally experi-
enced dozens of cases and has read
field engineer reports of several hun-
dred cases where poor screen light
uniformity, both in color and intensity,
were corrected without any change of
lamp-to-aperture distance, change of
carbon size, or arc amperage. The
System
No.
Positive
Carbon
Size
Arc
Current
La
Opt
Mac
mphouse
ical Speed
and
nification
Projection
Lens
Optical
Speed
Watts
per sq.
mm. center
of aperture
Ft. Candles
Incident on
Screen (40'x30')
Center Side
Total
Screen
Lumens
Side to
Center
Uniformity
Pos. Carbon
Cost per
Year
1
9-mm
90
/:1.7
5.45
/:1.7/1.8
.93
29.6
15.4
24,500
52%
$2040
2
10-mm
105
/:1.7
5.45
/-.1.7/1.8
.93
29.6
16.0
25,000
54%
$2080
3
11-mm
120
/:1.7
5.45
/:1.7/1.8
.96
30.0
17.4
26,400
58%
$2360
4
13.6-mm
150
/:1.7
5.45
/:1.7/1.8
.95
29.8
19.4
28,000
65%
$2800
5
13.6-mm
150
/:1.6
5.1
/:1.7/1.8
.96
29.8
19.4
28,000
65%
$2800
6
13.6-mm
150
/:1.6
5.1
/rl.5/1.6
.98
30.6
21.4
30,000
70%
$2800
7
13.6-mm
165
/:1.5
4.75
/:1.5/1.6
1.05
40.0
24
36,200
60%
$4160
INTERNATIONAL PROJECTIONIST • FEBRUARY 1957
11
only thing that was necessary was the
simple operation of clearing away
obstructions between lamphouse and
aperture.
Heat baffles, safety dousers and
structural parts were filed away until
a clear path from edge of reflector
to corresponding edge or corner of
aperture was obtained. This path can
be defined easily by stretching a string
between edge of reflector and corre-
sponding point on aperture. The string
should have a slight clearance with
all projector parts to insure that dis-
coloration on the screen from this
cause is not present.
The aperture, contrary to authorita-
tive statements, is never illuminated
solely by "core" light from the carbon
core in an efficient light gathering
system. The matter of correct magni-
fication is not a simple thing as implied,
because the magnification of a given
reflector is not constant for all zones.
The maximum magnification is at the
center of the reflector and the minimum
magnification is given to those rays
reflected from the edge of the reflector.
Table III shows how the magnification
varies over the reflector's various zone
angles for a popular type of 18-inch
reflector.
If the constants of a lamphouse
optical system were set up so that the
"core" light as magnified by the edge
of the reflector filled the aperture, there
would be an enormous waste of light
from sections of the reflector nearer
the center. Consequently as in most
similar situations a compromise is
made for optimum results.
40 Ampere Test
As a means of illustrating how the
speed (or pickup angle) of a reflector
can vary the uniformity of light on
the screen, tests were run on a Strong
1 Kilowatt lamp burning at 40 am-
peres and projecting through an /:2.0
coated lens. Tests were made using
the regular 11%-inch diameter reflector
with a speed rating of /:2.35 and also
through a 6%-inch diameter reflector
TABLE III
Zone Angle
Off
Axis from Focal
Point.
Mag
nification
(center)
0°
40°
80°
120°
5.45
5.28
4.80
4.08
(edge)
152°
3.37
of the same focal length and working
distance with a speed rating of /:4.2.
The projection lens center axis was
moved sideways across the aperture
as corresponding readings across the
screen were taken in order to eliminate
all lens vignetting effects in a manner
in Table V.
These measurements were made with
standard /:1.7/1.8 coated projection
lens using a 10-mm positive at 100
amperes, and projecting through a
standard 35-mm aperture with the front
of the lamphouse opened up with a
TABLE
IV
Reflector
Diameter
Foot Candles
on Screen
Center Edge
Lumens
% Edge
to Center
Uniformity
11%"
6%"
24.6
7.3
13.5
5.6
6750
2450
55
77
described later in this article. Inci-
dentally, vignetting on the edge of the
screen without moving the lens would
have been zero with the 6%-inch re-
flector and only 4% loss with the
11%-inch reflector. Table IV gives the
results of these tests.
These results showing a 77% screen
uniformity with a 6%-inch diameter
reflector as compared to 55% with an
11%-inch reflector both having an
axis magnification of 7.5 illustrates the
fact that the outside zones of a reflector
have a smaller magnification and con-
sequently add more light to the center
of the screen than to the edge. This
effect is further accentuated by the
fact that the outside zones of the
reflector "see" a foreshortened or
compressed source due to the off axis
angle of view.
hole large enough to permit the full
beam size to pass to the 40-inch work-
ing distance. There is a complete lack
of evidence that any areas of the screen
will be brighter at 40 inches than at
the 34-inch distance. Total illumina-
tion is down to 73% of the value ob-
tained at 34 inches.
Anyone who goes to the trouble o£
making this experiment will soon
return to the 34 (or 361/2-hich) work-
ing distance, as the loss in total lumens
will produce a much poorer quality
picture than is gained by the slight
increase in uniformity.
Optical Speed Assured
The point has often been made that
the optical speed of the objective lens
must at least be equal to that of the
reflector so that light collected by the
TABLE V
Working
Distance
Ft. Candles
Center
Ft.
Candles
Side
Total
Lumens
% Side
/Center
34
40
825
568
427
356
23,200
17.800
52%
62y2%
In Mr. Mitchell's article, the case
is cited of the 10-mm positive being
burned at 90-105 amperes in a lamp
having a 16- or 18-inch diameter
reflector and working with a 34-inch
reflector center-to-aperture distance.
Although this distance of 34 inches is
rather close, giving only an axis mag-
nification of about 5.2 (our instruction
book for the combination suggests a
working distance of 36% inches or a
magnification of about 5.6), a com-
parative measurement was made be-
tween this setting and the recommended
remedy — that of pulling the lamphouse
back so that the reflector center to
aperture distance was 40 inches. The
results of this comparison are shown
reflector will not be subject to excessive
loss through vignetting in the lens.
The projectionist can rest assured that
the lens designers know that their
lenses are to be used for 35-mm pro-
jection and, accordingly, a lens of a
given speed will generally pass most
of the bundle of light rays passing
through the 35-mm aperture at the
lamphouse with an optical speed corre-
sponding to the lens rating.
Certain practical considerations are
of course always necessary, such as
the law of "diminishing returns," and
therefore even in the focal length range
where zero vignetting might be ex-
(Continued on page 30)
12
INTERNATIONAL PROJECTIONIST • FEBRUARY 1957
A small thing — yet, undetected, the cause of
plenty of projection trouble and light waste.
An Old Lamphouse Headache
"hose Cracked Carbons
By JOSEPH HOLT
Member, IA Local 428, Stockton, Calif.
THE SIMPLE THINGS are often the
' source of troubles which are the
most difficult to solve. This statement
holds true, we are told, in the fields of
medicine, mechanics, and electronics:
certainly it applies to the projection
problem recently encountered by the
writer.
The room being visited was of ex-
cellent design and equipage. The at-
tractive and neat condition of the en-
tire premises bespoke the pride of craft-
manship taken by the projection crew.
The theatre was using a 70-ampere
Suprex arc with good results, since the
wide-screen image had been held to a
total of 420 sq. ft. and the Cinema-
Scope picture had been established
with an area of 555 sq. ft. With the
reflective type screen in use, normal
light was quite pleasing.
Unpredicted Trouble
But as the visitor watched, the
screen assumed a blue cast and a de-
focussed picture was evident. Exami-
nation of the arc showed that the gas-
ses normally present in front of the
positive crater were dispersed; a
double tail flame was noted, and arc
amperage had risen to the 85-90 range.
The projectionist on duty gave vent
to appropriate language, and moved
the negative carbon back a trifle until
normal amperage had been restored.
'"That's the way it goes sometimes,"
he explained. "At times we will go an
entire shift and never have one mo-
mm
1
^
SIDE VIEW
AXIAL /
CRACK V—
\^_5 CARBON CORE
END VIEW
FIGURE 1.
ment's trouble, and then night after
day we have three or four carbons per
shift which do just what you have
seen. Now, what causes it?"
The confession should be made that
the writer was fairly certain of the
cause of the trouble, having seen simi-
lar instances in 1941 and succeeding
years when the Victory Suprex carbon
was used. But in order not to get out
on a limb, no opinion was voiced at
once, for the reel had almost finished
and the erratic arc operation continued
until the end.
Questioning of the crew members
gained the information that the trouble
was not confined to any particular
lamp: that it could occur at any point
in the reel; that it usually persisted
for from two to four minutes. After
that length of time, normal operation
would continue unless the negative car-
bon had tapered or "pencilled" during
the high-current period.
After the offending lamp had been
shut down, the carbon in use was
examined. A magnifying glass told
what was suspected: a pronounced
split or crack was observed on each
side of the positive crater. The "burn-
back" area was covered by the crack,
and further peeling of the copper coat-
ing revealed that it continued for a
quarter inch or so, as depicted in
Fig. 1.
One can imagine the astonishment
of the crew, who were experienced and
conscientious projectionists. They had
tried moving the field magnets of the
lamps, replacing them, low draft, high
draft, and no draft.
Thev were shown that the split can
actually be detected on the arc posi-
tion indicator card. This can usually
be seen as an exceptionally bright
line running along the length of the
carbon somewhere about the circum-
ference of the positive crater.
"Okay, so the carbon is cracked un-
der the copper," spoke one of the
crew, "how is it that case after case
contains cracked carbons?" Diplomacy
is in order at this point, for the length
and frequency of experience for the
cracks indicate that the fault lies with
one or more members of the crew.
Some one has been clamping the posi-
tive carbon with more force than wis-
dom. The cracking process has taken
place even before the carbon is heated,
so it is only necessary to wait until the
carbon is burned to the point of that
previous excessive clamping, and
trouble occurs.
Why Carbons Crack
We suspected the trouble might con-
tinue, so a revision of the positive car-
bon clamping lever was suggested.
Figure 2 indicates the simple steps to
be taken. The serrations which now
interlock to provide adjustment of the
clamping lever are carefully ground off
INSTALL SECOND
KNURLED NUT
SERRATIONS
ARE REMOVED "
(SEE TEXT)
INSTALL SPRING
BETWEEN NUT AND
/CLAMP LEVER
FIGURE 2.
in order that they constitute a "one-
way stop." The clamping lever is now
free to move in the direction which
will close on the carbon, and is "spring-
loaded" much in the manner of a
torque wrench to provide only a safe
and uniform tension on the carbon
clamping screw. We have not heard
as to the effectiveness of this modifi-
cation, but it should provide relief
from the too-loose-too-tight carbon
problem.
Incidentally, we also left the re-
minder with our friends that the nega-
tive carbon can be cracked if the spring
on the negative clamp is allowed to
snap the clamp on the carbon. If it
happens, the safest thing is to discard
the carbon entirely. It is foolish econ-
omy indeed to risk performance inter-
ruption.
INTERNATIONAL PROJECTIONIST
FEBRUARY 1957
13
AT LAST L
A PROJECTIO
RC LAMP.
Tie New
NATIONAL CONSTELLATION
PROJECTION ARC LAM
,;••.
PATRONS
will like this because your
pictures will be brighter!
PATRONS
will like this because the entire
picture will be more evenly
lighted.
PATRONS
will like this because your
pictures will stay in focus.
PROJECTIONISTS
like this because they can keep
their equipment in better
condition.
%~i — — - "J
The Light Booster lens provided with 13.6 mm trim lamps patterns the
spot to the size and shape of the aperture so as to efficiently utilize all use-
ful light from the carbon. All other lamps, projecting a round spot, waste
much light, particularly above and below the aperture. Using a 13.6 mm
carbon trim, the optical speed or mark of efficiency is equivalent to f 1.5
when f 1.5/1.6 projection lenses and X-L projectors are used.
Newly designed optical parts and feed mechanism afford a higher true
lumen output than any other lamp and better distribution consistent with
this high level of illumination.
Since the distribution of heat at the aperture is more even and the use
of a very efficient heat filter reduces heat at the aperture, pictures pro-
jected by this lamp are not subject to the high degree of in-and-out of
focus that distinguishes projection by some lamps operated at high cur-
rents. This filter, air cooled by a powerful blower, is instantly removable
during actual projection as desired, such as when going from black and white
to color film on the same reel.
The rear lamphouse door swings completely out of the way to facilitate
retrimming and lamphouse and reflector cleaning.
PROJECTIONISTS
like this because good
projection becomes more
automatic.
PROJECTIONISTS
like this because it saves
important time when needed.
PROJECTIONISTS
like this because it makes the
booth and equipment
more tolerable.
PROJECTIONISTS
like this because it takes the
guesswork out of their job.
The automatic crater positioning system maintains the tip of the burn-
ing carbon at the exact focal point of the reflector. Change of light color at
the screen, caused by variation in carbon burning rates, is absolutely
eliminated.
The optical system can be changed in one-fifth the time required by
other lamps. Choice of high or low magnification is obtained for wide film
or 35 mm projection in less than a minute.
Heat radiation to the projection booth is held to an absolute minimum
by the Heat Purger, a heavy duty, quiet running centrifugal exhaust fan
driven by a permanently lubricated motor which removes products of
combustion and heat from the housing.
A single adjustment controls the feeds of both carbons. Other lamps have
at least two independent feed adjustments and guesswork must be resorted
to when attempting to match them.
14
INTERNATIONAL PROJECTIONIST • FEBRUARY 1957
PROJECTIONISTS
like this because they no longer
need extra hands and a spare
eye above their right ear.
PROJECTIONISTS
like this because it enables them
to do a better job.
PROJECTIONISTS
tike this because it keeps
reflectors clean.
PROJECTIONISTS
like this because it helps
prevent running out of carbon
before the end of the reel.
MANAGEMENT
likes this because it means more
light per dollar.
MANAGEMENT
likes this because it makes
operation more flexible.
MANAGEMENT
likes this because it saves money
in reflectors.
MANAGEMENT
likes this because
it eliminates waste.
MANAGEMENT
likes this because it insures
against equipment being
"down".
MANAGEMENT
likes this because it prevents
film damage and prolongs
mirror life.
MANAGEMENT
likes this because it protects his
equipment from damage.
MANAGEMENT
likes this because it's standard,
not an "extra".
^PATRON
% ^PROJECTIONIST
fo /rti/td/ ^MANAGEMENT
Simplified Spot Focusing — Available in this lamp only! The ENTIRE
burner assembly is movable so that the position of the arc can be shifted for
the best screen light without disturbing the relative carbon positions or the
equilibrium of the arc. The projectionist needs no longer — as with all other
lamps — attempt to coordinate the movements of each carbon by its inde-
pendent control while watching the screen and at the same time trying to
keep the gap constant.
A brilliant, twice-magnified image of the burning arc is projected on
large imager screen. An exclusive feature.
An air screen directs a thin layer of fast moving air upward over the sur»
face of the reflector so as to cool it and keep soot and smoke from deposit-
ing thereon.
The carbon feed control can be set to burn any desired number of inches of
carbon per hour to accommodate the length of reels being projected. Sizes
9 mm through 11 mm can be burned between 14 and 30 inches per hour,
13.6 mm size can be burned from at 7 to 20 inches per hour.
Costs less to operate, gives the most light per carbon dollar, because of the
effective patterning of the spot at the aperture and elimination of waste oc-
casioned by shadowing.
Accommodates 20-inch carbon trim in all sizes 9 mm through 13.6 mm
inclusive. It is the only lamp to afford such complete flexibility within such
a wide range.
A jet directed stream of high velocity air up and over the arc directs,
stabilizes and conforms the flame away from the reflector, effects better
combustion and prevents the formation of black soot. An exclusive feature.
Light loss due to shadowing by feed mechanism has for the first time been
minimized by new design.
Positive feed head, feed cluster, negative feed head, positive and nega-
tive motor assemblies are all quickly removable so as to permit inspection
or interchange of these "plug-in" components between reels.
Built-in Heat Purger exhaust system cools the rear of the mirror so as
to permit optional use of the newly developed "cold" reflectors which
pass unwanted heat energy instead of reflecting it to the aperture.
One famous Bodine Gear Head Motor drives the positive carbon and one
the negative. Gear reduction is self-inclosed with the motors to provide
constant lubrication and protection from dirt damage. An exclusive feature.
Heavy duty, long life, solid silver, water cooled positive carbon contacts
are standard equipment on all 13.6 mm lamps. Air cooled or water cooled
contacts are available for smaller carbons.
f I'm ,JT -
DISTRIBUTED BY NATIONAL THEATRE SUPPLY COMPANY
A SU BSI DIARY OF
INTERNATIONAL PROJECTIONIST • FEBRUARY 1957
^sm?
15
SPBCtAL i
pre-publication offm
LIMITED TIME!
Robert A. Mitchell's 500-Page
MANUAL OF PRACTICAL PROJECTION
the most complete and practical handbook for projectionists ever compiled!
These chapter headings indicate
the completeness of the book's
contents:
PART I: FILM
Inspection and Repair of Prints
Prevention of Damage to Prints
Film and the Heat Problem
PART II: THE PROJECTOR
Notes on Projector Maintenance
Film-Guiding in the Projector
The Intermittent Movement
Functions of the Projector Shutter
PART III: PROJECTION OPTICS; SCREENS
Optical Efficiency in Projection
The Projection Lens
Lens-Matching; Care of Lenses
Screen Types and Picture Brightness
Screens, Apertures, Aspect Ratios
PART IV: THE ARC LAMP
The Carbon Arc
Operating Characteristics of Arc Lamps
PART V: GENERAL PROJECTION
PRACTICE
The Projectionist's Role as a Showman
Projection Preparations for the Seasonal
Theatre
More Light for Drive-In Screens
PART VI: MOTORS, GENERATORS, AND
RECTIFIERS
Types of Motors
Maintenance and Servicing of Motors
Types of Generators
Maintenance and Servicing of Generators
Rectifiers for Projection Arcs
PART VII: SOUND REPRODUCTION
SYSTEMS
Photocells and Optical Sound
Testing Amplifier Parts
The Sound-on-Disk Reproducer
The Sound-on-Film Reproducer
Acoustics in Projection
PART VIII: PROJECTION OF COLOR AND
3-D FILMS; FORMULAS
The Projection of Color Films
Stereoscopic Projection
Useful Projection Formulas
at a money saving
pre-publication
price of only
$4-50
regular ,
egular price $6.00
• Hundreds of requests have been received for a permanent
record of the Robert Mitchell articles that have appeared in
INTERNATIONAL PROJECTIONIST. A handsomely bound com-
pilation of the BEST of these articles, revised and brought up to
date, is now on the press. By placing your order now . . . you'll
save money and be one of the first to get a copy.
• This manual is divided in 8 sections and contains 30
chapters (see listing). A practicing projectionist as well as a
recognized authority in this field, author Mitchell covers clearly
and thoroughly every aspect of motion picture projection . . . from
adjusting an arc lamp to the splicing of film.
• Profusely illustrated and crammed full of practical
projection knowledge, Mitchell's MANUAL OF PRACTICAL
PROJECTION differs from every other projection work in at
least 3 ways:
1. Its contents have received the enthusiastic
approval of experienced projectionists.
2. It does not contain elementary principles of
physics taken from school textbooks.
3. It nfoes not contain manufacturers' pamphlets
available to any projectionist for the asking.
INTERNATIONAL PROJECTIONIST
19 West 44 St., N. Y. 36, N. Y.
Gentlemen: Please send me copies of R. A. Mitchell's MANUAL OF PRACTICAL
PROJECTION at the special pre-publication price of only $4.50 per copy, postage prepaid.
Enclosed is check (or money order) for $
NAME
ADDRESS
CITY.
ZONE STATE
16
INTERNATIONAL PROJECTIONIST
FEBRUARY 1957
Strong's New U-H-l Projection Arc
The Strong Electric Corporation intro-
duced its new U-H-I projection arc at the
recent Allied Drive-in Theatre Conven-
tion in Cincinnati. The company lists
over 20 important features for the lamp,
14 said to be exclusive with the arc,
among these an accommodation of a 20-
inch carbon trim in all sizes. 9-mm
through 13.6-mm inclusive. A single ad-
justment controls the feed of both car-
bons, allowing 9-mm through 11-mm sizes
to be burned between 14 and 30 inches
per hour, and 13.6-mm size from 7 to 20
inches per hour.
Instead of projecting a round spot, to
prevent wasting light above and below
the aperture, the new U-H-I patterns the
spot to the particular size and shape of
the aperture by means of a special "Beam
Shaper" lens which is provided for the
13.6 trim lamps, thus utilizing all useful
light, the designers state. The efficiency,
using 13.6 carbon trim, is equivalent to
/:1.5 when /: 1.5/1.6 projection lenses
are used, and projectors are cleared for
/:1.5.
New Feed Design
A new design has been incorporated
to minimize light loss due to shadowing
by the feed mechanism, and an automatic
crater positioning system maintains the
tip of the burning carbon at the exact
focal point of the reflector to stabilize
illumination and to eliminate change of
light color at the screen caused by carbon
burning rates.
New Strong U-H-I arc lamp.
To facilitate retrimming. quick clean-
ing of the lamphouse, and to keep the
reflector in efficient condition, the pro-
jectionist is expected to particularly ap-
preciate the mirror integrated with a
rear lamphouse door that swings com-
pletely out of the way.
Another feature of the lamp asserted
to be of special help to the projectionist
is spot focusing, stated to be exclusive
with this lamp. The entire burner as-
sembly is movable so that the position
of the arc can be shifted to "feel" for
the best screen light without disturbing
the relative carbon positions or arc equi-
librium, eliminating the necessity of mov-
ing each carbon by its independent con-
trol, and trying to keep the gap constant
while watching the screen.
A built-in Expello exhaust system.
20th-Fox Outlines Aid For Small Theatres
Considering the upswing of theatre
patronage that has been prevalent the
past few months, 20th-Fox is launching
a drive to aid small town theatres and
those in subsequent run areas. This was
announced by Alex Harrison, general
sales manager of the company.
Besides aiding theatres now operating,
the drive is aimed to open theatres closed
at present. U. S. and Canadian managers
have been instructed to meet with their
personnel to study the small town and
subsequent run theatre situation in their
respective areas.
20th-Fox salesmen will be meeting with
theatre operators to learn how the com-
pany can assist in hypoing public interest
in pictures. To aid this operation, spe-
cial campaigns have been drawn up,
emphasizing that the best entertainment
today can be found in movies.
Although small town and subsequent
run theatres comprise only 15% of 20th-
Fox's business, Harrison pointed out that
they are a very important part of film
distribution, and any aid possible should
be extended to them. A dramatic ex-
ample of the company's support of ex-
hibitors, the general sales manager
stated, was that Fox plans to release over
50 pictures this year.
A Fox survey has shown a 22.8% in-
crease in attendance in a month over a
corresponding period last year, bearing
out a report by S. H. Fabian, Stanley
Warner chain president, that the first
week in January saw the largest theatre
income for any one week since the in-
ception of Stanley Warner.
Altec Wins Suit
A complaint brought against Altec
Companies, Inc. and National-Simplex-
Bludworth, Inc. by Image and Sound
Service Corporation and Image and
Sound Service of New England, Inc. has
been dismissed. An alleged violation of
the anti-trust laws and damages asked
complaint was dismissed by the U.S.
District Court for the District of Massa-
chusetts after the defendants moved for
a summary judgment against the two
plaintiffs.
cooling the rear of the reflector, permits
usage of the new ''cold" reflectors that
allow unwanted heat energy to pass
through the mirror instead of being re-
flected to the aperture. Also a jet stream
of air stabilizes and directs the flame
away from the reflector to effect better
combustion and to prevent soot forma-
tion. A centrifugal exhaust fan driven
by a ball bearing type motor minimizes
radiation to the control booth, and heat
and smoke are passed off through a large
8-inch smoke pipe.
Fast Optics System
The new U-H-I claims an optical sys-
tem that can be changed in one-fifth of
the time formerly necessary, choice of
high or low magnification for wide or
35-mm film being obtainable in less than
a minute.
For quick interchanging between reels
or for inspection, removable assemblies
include the aperture filter, positive feed
head, feed cluster, negative feed head,
positive and negative Bodine Gear Head
motors.
Heavy duty, long-life silver water-
cooled positive contacts are standard for
all 13.6 lamps, and air cooled or water
cooled contacts are available for smaller
carbons.
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
are of the new design
that minimizes shadowing by
the feed mechanism.
^ This is Another
EXCLUSIVE FEATURE
of the New Strong
U-H-I
PROJECTION
ARC LAMP
INTERNATIONAL PROJECTIONIST • FEBRUARY 1957
17
Focus Troubles
To the Editor of IP:
I always enjoy reading Robert Mitchell's
interesting articles and the useful informa-
tion they contain, and I would like to ask
a question. Every now and then we run
into a black-and-white print that is in focus
on one side of the screen and out of focus
on the other. We also, at times, get a black-
and-white trailer in this condition, but I
have never run into a color print in this
condition.
Although these were not new prints, they
weren't too old, either, and were in good
condition. Any information you can give
me will be greatly appreciated.
Oliver G. Brewer, Sr.
Starkville, Miss.
Comment: This is not uncommon, and
the first impulse is to blame the lenses.
But lenses are easy to check. Merely
loosen them in their holders and rotate
the barrel while the picture is running.
If the blurry area remains on the same
side of the screen while the lenses are
being turned, you can be pretty sure that
they aren't at fault. In your case, they
very probably aren't: you say that only
some black-and-white prints, not all of
them, give you this trouble.
Is the out-of-focus effect usually on the
right-hand side of the screen? It usually
is. The shorter the focal length of the
lens, the worse the blurry effect.
There's a good reason why color film
doesn't give that kind of focus trouble.
In the first place, color film absorbs less
heat from the arc beam, and hence doesn't
get as hot as black-and-white. Then, too,
color film is 0.0005 of an inch thicker
than black-and-white; and the slight
extra thickness of color film helps resist
deformation of the film base by heat and
mechanical stress.
Heat and mechanical stress — these two
factors go hand in hand to create focus
troubles. By itself, heat produces a nearly
symmetrical buckling or "pincushioning"
of the film at the aperture; but when un-
even mechanical stresses are present, the
film is warped or twisted out of the focal
plane of the lens. If only one side of the
film is deformed, then that side will be
blurred on the screen. But what can do
this to the film? Humps and hollows in
the gate film runners. In fact, even very
small deviations from perfect flatness
have a disproportionately great effect on
the shape assumed by the film over the
aperture, and hence on the focus.
The effect of worn gate runners on the
focus is simply terrific with triacetate
safety film, especially the black-and-white
kind. You can check the flatness of the
runners with a steel straightedge, direct-
ing a flashlight beam on the casting be-
hind them to make the humps and hollows
show up better. The slightest departure
from perfect flatness calls for immediate
replacement of the runners. It's a good
idea to replace the gate-door tension pads
at the same time — they may have humps
where the runners had hollows, and vice
versa.
The runners of the new Simplex XL
curved gate aren't so critical as flat-gate
runners. Curved gates keep the film
steadier, and thus give consistently clear
pictures on the screen. (The degree of
curvature, as you know, is just about
what the focal plane of the average pro-
jection lens requires.)
But perhaps your film-gate runners, or
rails, aren't worn at all. Nevertheless,
if they are unevenly worn — even if only
slightly — they are very likely to produce
the kind of focus trouble you described
in your letter, especially if the film has
been previously warped or buckled by
previous projection via arc lamps or ex-
tremely high power.
Intermission Records
To the Editor of IP:
Please tell me where I can buy the rec-
ords which are mentioned in Mr. Toler's
article on page 26 of the November issue.
("Pros And Cons On Magnetic Sound.")
We find your magazine very instructive
and interesting, and it keeps us posted on
important trends. Many thanks.
E. B. Wacaster
Ozark, Ark.
Comment: Mr. Toler referred specifically
to George Wright's performances on the
organs of the NY Paramount and San
Francisco Fox Theatres. These, and other
Wright recordings, are available on 12"
LP high fidelity discs, and should be ob-
tainable at any well-equipped record store
or mail order house. The Paramount
record is on Regent 6022. Wright is also
on two other labels — on King, numbers
504 and 509, and on HiFi series 701, 702,
707 and 708. Music is the relaxing, light
standard type aimed at theatre audiences.
More on Magnetic Sound
To the Editor of IP:
Besides my duties as full-time projection-
ist here at the Hill Theatre, and as a part-
time radio and TV serviceman, I have for
the past several years made a study of high-
fidelity sound, both from a listener's and
technician's standpoint. So it is with much
interest that I have read the various articles
concerning magnetic and optical sound on
film appearing in IP from time to time.
We have run many magnetic sound prints
here at the Hill. Although the sound on
these films was very distorted on many of
the loud passages due to overmodulation
and other causes, and the fourth track vir-
tually unusable at times, they did exhibit
a quality that has been lacking in optical
recording much too long. That quality was
due to the extended high-frequency response,
so necessary to lend brilliance and presence
to fine sound reproduction.
There is no doubt in my mind that op-
tical recording is just as capable of render-
ing this extended high frequency response
as is magnetic, as Mr. Mitchell pointed out.
But up to now, use hasn't been made of the
full capabilities of optical recording. The
magnetic sound tracks gave us some of the
extended range sound that people have
been wanting to hear, and they immediately
recognized it as something better. I think
it's time we stopped kidding ourselves
about what people can hear and want to
hear. Sound that is attentuated above 8000
c. p. s. is dead and wanting for quality to
the appreciative ear.
While it is true that response to 8000
c. p. s. does reproduce the fundamental fre
quencies of nearly all musical instruments
it must be remembered that the overtones
and harmonies contain frequencies to over
20,000 c. p. s. These highs must not be dis
torted or suppressed, during amplification
(Continued on page 38)
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
provide spot focusing. The entire
burner assembly should be
movable so that the position of
the arc can be shifted to "feel"
for the best screen light without
disturbing the relative carbon
positions or the equilibrium of
the arc.
^ This is Another
EXCLUSIVE FEATURE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
18
INTERNATIONAL PROJECTIONIST
FEBRUARY 1957
More than fifty years ago successful attempts at
recording sound-on-film were made the same time
cathode-ray tube potentials were being developed.
Pioneer Parallels: TV and
Motion Picture Growth1
By ALBERT ABRAMSON
THE DAWN of the new century gave
the world a new word, coined by
the Frenchman Perskyi, "televi-
sion," meaning "seeing at a distance."
Until this time the familiar names were
Nipkow's "Electrical Telescope," Dus-
saud's "Teleoscope," or Szczepanik's
"Telectroscope." Now the new art of
television had a proper name.
Karl Braun had perfected his cath-
ode-ray oscillograph, and by 1902 was
using it to study various electrical
effects. In the United States, Harris J.
Ryan of Cornell University likewise
made a practical oscillograph tube and
used it in his research on high tension
current. Ryan found that a magnetic
coil surrounding the neck of the cath-
ode-beam tube had a focusing action
on the electron beam, and that by
varying both the position of the coil
and the value of the current through
it, an exceedingly sharp spot could be
obtained upon the fluorescent screen.
Other improvements were made in
the cathode-ray tube. In 1904-1905
Arthur R. B. Wehnelt developed the
Wehnelt cylinder, a concentrating elec-
trode that could be used to focus the
electron beam. It permitted control of
emission from the cathode and con-
centrated the electron beam to a small
sharp beam. It also increased the num-
ber of electrons reaching the screen.
Thus the cathode-ray tube was ready
to be incorporated into a crude tele-
vision system developed in 1907.
Fleming's Detector
But first, *wo very important events
were to take place to give electrical
apparatus power and a means of am-
plification. In 1905 J. Ambrose Flem-
ing took Edison's electric light bulb
and added a metal plate to it. In look-
t This article originally appeared 'as a chapter in
Electronic Motion Pictures, by Albert Abramson,
University of California Press, Berkeley and Los
Angeles, Calif., 1955.
ing for a better way of detecting the
feeble radio waves of that time, he
put a plate inside the glass bulb and
used it as detector (Fig. 1).
When radio (Hertzian) waves were
led to a plate, the negative charge
tended to stop the flow of electrons
from the filament to the plate. Which
had the effect of cutting the radio fre-
quency in half. This was necessary
because the ether waves were sent out
at two high a frequency to be audible
in a head phone. The two-element tube,
or diode, was known as Fleming's
valve, and could be used successfully
to operate headphones at audio fre-
quency.
The DeForest Audion Tube
One year later Lee DeForest im-
proved upon Fleming's valve by adding
a third element called a control grid
(Fig. 2). Till this time the flow of
electrons went freely from the cathode
to the plate. The grid was then put
in the path of the electrons and when
voltage was applied to the grid, it had
a tendency to stop the flow. The
stronger the grid current, the fewer
electrons could get by. No matter how
strong the tube current, the sensitive
grid could control it. It was also very
sensitive to any changes in current.
This new tube, called the Audion,
could do three important things. It
could amplify signals to any volume
required, hundreds of times if neces-
sary. It could change alternating cur-
rent to direct current. These properties
were developed throughout a period of
time, and even DeForest did not know
what a miracle he had performed; he
knew only that he had a better detec-
tor. He left a certain amount of gas in
the tube in the mistaken idea that gas
was necessary to make it function prop-
erly. Today the gas or air is removed,
and the tubes are vacuum tubes.
During this period the infant mo-
tion picture industry was growing by
leaps and bounds. Improvements had
been made in the equipment used. The
motion picture camera of this period
(1900-1923) was a very versatile in-
strument. It could be used for stop
motion, double exposures, dissolves,
moving camera effects, and masks and
iris effects — almost every effect that
can be filmed today. In addition it
could record either fast or slow mo-
tion, reverse action or make ordinary
fades.
Improvements in the techniques of
film making had also taken place. The
art of editing had been discovered as
well as the facility of making the screen
FIG. 1. Fleming's valve.
tell a story. The use of cutting widened
the scope of the motion picture and
gave the screen life and vitality. It
distinguished the motion picture from
any other theatrical form and made the
FIG. 2. DeForest's audion.
cinema a true art. The silent picture
was to rise to great heights during the
next decade.
There were many attempts to add
sound to the silent film. Edison had
INTERNATIONAL PROJECTIONIST
FEBRUARY 1957
19
worked on his Kinetophone as early as
1895. In 1900 Leon Gaumont, a
Frenchman, presented a phonograph
and motion picture projector that were
mechanically synchronized.
In 1901. Ernst Ruhmer, in Germany,
acually succeeded in recording sound
on film by means of a "speaking car-
bon arc." He passed film before a
narrow slot through which the light
of the flame could strike it, thus pro-
ducing lines on the film which repre-
sented the sound vibrations. To play
it back, an arc light was projected
through the film onto a selenium cell,
converting the vibrations back into
electrical impulses which activated a
disk to create the original sound again.
Also in 1904. E. Gehricke used a glow
discharge tube for the same purpose.
Photocinematophone
In 1906, Eugene Augustin Lauste, a
former employe of Edison's, procured
a patent for a "new and improved
method and means for simultaneously
recording and reproducing movements
and sounds." He converted his sound
waves into electrical vibrations by
means of a slotted diaphragm which
moved between a fixed light and a
fixed slotted diaphragm. This produced
variations in the light falling on the
film. He recorded the sound continu-
ously ahead of the picture.
To play the film back, the varying
light from the film was played onto
a selenium cell, just as in Ruhmer 's
reproducing process. It was claimed
that Lauste recorded both picture and
sound on the same film and in perfect
synchronization. His machine was
called the Photocinematophone and
was demonstrated several times in Lon-
don. His patent seems to be the fore-
runner of the sound-recording appa-
ratus used almost universally today.
With the progress in the motion
picture industry, advancements were
being made also on the television
camera and receiver. In 1907 Boris
Rosing, a professor at the St. Peters-
burg Technological Institute, invented
a rather remarkable television machine.
Figure 3 shows how it utilized me-
chanical scanning at the transmitter
but employed a cathode-ray tube for
the picture screen.
Rosing's television apparatus used
two mirror drums in the scanner,
mounted at right angles to each other.
The first mirror drum scanned the
scene horizontally, and the other drum
scanned the image from the first drum
for vertical scanning. The scanned light
was directed to a photocell where it
was converted into electrical impulses.
The modulated electrical current was
then sent by wire to a cathode-ray
oscillograph which was being used as
a receiver.
The electron beam was controlled
by two magnetic fields which deflected
the beam to bring about scanning in
the cathode-ray tube. Coils placed on
both drums induced currents in the
deflecting coils on the cathode-ray tube
and thus controlled the scanning rate
in both directions.
The electrical impulses from the
photocell were made to modulate the
electron beam in the cathode-ray tube
so that the scanning beam moved at a
constant rate. This became known as
the "intensity modulation" scanning
method. Rosing was supposed to have
given a successful demonstration of
this apparatus in 1907 — the first known
television machine to use a cathode-ray
tube as a receiver.
Flying Spot Scanning
In 1908 Rignoux and Fournier in
France patented a method of television
which introduced the "flying spot" or
inverted method of scanning. This was
in contrast to Nipkow's direct scan-
ning method. They suggested scanning
an opaque flat object by a flying spot
of light and proposed using a selenium
cell together with a lens to convert
part of the varying light into electrical
impulses.
This machine used the same scan-
ning disk that Nipkow had invented
RECEIVER
FIG. 3. Rosing's 1907 television machine.
but differed in the position of the light
source and the light-sensitive element.
In the flying spot method, an intense
source of light was placed behind the
scanning disk. The light went through
the holes in the disk, forming a nar-
row moving beam which focused on
the subject to be televised. As the disk
revolved, the beam of light scanned
the surface of the subject, and the light
was reflected from the object to the
light-sensitive medium.
Since the reflected light was more
or less bright depending on the area
being scanned, the light-sensitive ele-
ment picked up a varying reflected-
light input. Its output became the
television signal. This system had an
advantage of greater light-collecting
properties but a decided disadvantage
in being limited to the area that could
TRANSMITTER
RECEIVER
'HP
r£SESJ
H^
□
□
FIG. 4. Diagram of the electronic television system proposed by Campbell-Swinron.
20
INTERNATIONAL PROJECTIONIST • FEBRUARY 1957
be covered by the flying spot of light.
Rignoux and Founder had experi-
mented earlier (1906) with another
form of elementary television trans-
mission. They had put into operation
a mosaic similar to that proposed by
Carey to transmit simple patterns and
letters. Also in 1906 Dieckman and
Glage in Germany had proposed an
early cathode-ray system using a Nip-
kow disk for a transmitter and a cath-
ode-ray tube for a receiver.
Cathode-Ray Oscillograph
During this same period in England,
Allan A. Campbell Swinton was theoriz-
ing about a television system. He, too,
saw the television value of the cathode-
ray oscillograph and in 1908 gave some
definite suggestions for the use of the
cathode-ray tube as both scanner and
receiver. He explained the full, im-
proved details of his all-electrical
system in a presidential address to the
Roentgen Society, November 7, 1911,
but he never built the apparatus de-
scribed below. However, a working
model was constructed by the Marconi-
E.M.I. Company in 1937 for an Eng-
lish radio exhibition.
Campbell Swinton proposed to use
a cathode-ray tube in the transmitter.
The picture to be televised would be
focused upon a light-sensitive plate in-
side the tube (Fig. 4). This plate was
to be made up of some light-sensitive
metal (rubidium in this case) in the
form of small cubes, each cube to be
separate and insulated from all other
cubes. In front of the rubidium plate
was to be a wire-mesh screen, con-
nected to the transmitter.
As an electron beam scanned the
back of the rubidium plate, the scan-
ning spot discharged a certain amount
of electricity depending upon how
much light had struck the rubidium
cube. This charge or impulse was to
be transferred to the mesh screen and
was thus the electrical equivalent of
the light values of the picture element
being scanned.
The signal was to be conveyed to
another cathode-ray tube which was
to be used as a receiver. In this tube
there was no mesh screen or plate,
but instead, a fluorescent surface on
the inner side of the flared end of the
tube. The incoming signal was to de-
termine the strength of the electron
beam leaving the cathode, while two
magnetic fields moved the electron
beam in a scanning sequence over the
(Continued on page 40)
SAAPTE Pledges Broader Services
The recently established Projectionists'
Information Committee of SMPTE is
broadening its program to educate in-
dustry technicians, Barton Kreuzer,
president of the Society, announced at
the year's first meeting of the board of
governors in New York City.
A report by Ralph H. Heacock, theatre
equipment product manager of RCA Vic-
tor division and the committee's chairman,
outlined the general method by which
the committee would keep projectionists
informed of new developments and in-
crease their knowledge of motion picture
projection techniques. The report stated
that '"leading industry engineers will be
invited to submit articles which deal
with specific problems which projection-
ists must face with the new techniques.
These articles will be carefully reviewed
by the committee in order to insure
factual, impartial information."
Pre-Release Info
These articles will be printed in the
IATSE Bulletin and in industry publica-
tions. It is possible that more detailed
reprints might also be made available.
In continuous contact with Hollywood
studios and with the Motion Picture
Research Council, the committee will
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
have one gear head motor for
the positive carbon drive and
one for the negative drive, and
that the gear reduction is
self-enclosed.
^ This is Another
EXCLUSIVE fEATURE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
supply pre-release information on new
techniques to projectionists even before
prints are available for projection.
The committee will have two vice-
chairmen: Merle H. Chamberlin, chief
projectionist at MGM. and Gio Gagliardi,
director of Sound and Projection depart-
ment of Stanley Warner Management
Corporation.
Committee members are: lohn W.
Bantau. chief engineer of Fox West Coast
Agency Corporation; Willy Borberg.
head of the mechanical engineering
department of General Precision Labora-
tory, Inc.; Robert P. Burns, sound
director of Balaban & Katz Corporation;
Lawrence W. Davee, sales manager and
engineer of Century Projector Corpora-
tion; John Forde, IATSE representative.
Palo Alto; Charles F. Horstman. chief
projectionist of RKO Theatres; and
William F. Kelley, manager of the Motion
Picture Research Council.
Also, John J. Kohler. supervisor of
projection for Loew's Theatres: Hugh
McLachlan. theatre circuit supervisor.
Y & W Management Corp.: Richard
Orear. purchasing agent for Common-
wealth Theatres; Lucian E. Pope, pur-
chasing agent for Fox Midwest Amuse-
ment Corp.; Frank H. Riffle, theatre
sound engineer, Motiograph. Inc.; and
James C. Skinner, sound and projection
engineer of Interstate Circuit, Inc.
In line with the stepped-up campaign
are plans for giving added impetus to
the standards activities of the engineering
committees, a long-time project to effect
standardization in the industry. Also,
information on the Society's test film
program is being disseminated for wider
understanding, and designed to be more-
useful to the motion picture field.
A preliminary meeting of the Projec-
tionists' Information Committee will be
held in New York City in the near future,
and' an agenda will be prepared for a
full committee meeting at the SMPTE
convention in Washington. D.C. this
April.
RCA Honors 20 Employes
Twenty employes of RCA received the
RCA Victor Award of Merit at a dinner
ceremony last month at the Warwick Ho-
tel in Philadelphia. The citation is the
company's highest for salaried employees.
About 25,000 salaried members of the
firm are eligible for the award, compris-
ing those engaged in manufacturing, ser-
vice, and related activities at RCA.
With the award citations, the winners-
received gold money clip watches. James
M. Toney, vice president and general
manager of RCA Victor Radio and Vic-
trola division, presided as award com-
mittee chairman.
INTERNATIONAL PROJECTIONIST
FEBRUARY 1957
21
The Molteni mechanism mystery, or who got
there first with shutters and intermittents?
The Historical Controversy of
AAolteni's Choreutoscope
By JAMES CARD
THE RECENT acquisition by East-
man House of a Molteni Choreuto-
scope, fascinating precursor of the
motion picture projector, once more
points up the vast confusion surround-
ing the origins of so comparatively
recent a medium.
This early apparatus made it pos-
sible to project moving images in a
standard magic lantern. It is of the
utmost importance in the history of
motion pictures in that its construction
embodies a Maltese Cross type of in-
termittent movement and a shutter
geared to cut off the light source at
the instant one image is being replaced
by the next.
The device illustrated is that of
Molteni, the French constructor of
magic lanterns and innumerable trick
attachments to simulate movement in
projection. Martin Quigley, Jr. in his
Magic Shadows attributes to Molteni
the invention of the "Choreutoscope
Tournant" and dates it 1865.
But writing in 1893, H. Fourtier in
his Les Tableaux de Projections Mouv-
ententes, states that the origin of the
Choreutoscope was British. Since Four-
tier collaborated with Molteni himself
in his writing, it is doubtful that he
would have been unfamiliar with the
origin of the device had Molteni actu-
ally been its inventor.
In discussing the projection of move-
ment, Fourtier sums up the problem
in such a way that should have made
future inventors of motion picture
apparatus much more clever about
their work than they were: "We have
attempted to indicate the various
transitional movement necessary for
them to be changed. Finally, the im-
ages of each one of the phases must
be separated by the more or less pro-
longed shutting off of the illuminating
light, an eclipse during which the im-
ages may be changed.
"We shall see that these diverse
conditions have been most perfectly
satisfied in an English apparatus called
the choreutoscope. The choreutoscope,
the barbaric name of which comes
from the Greek and signifies 'that
which shows dances' was invented, or
at least constructed in England by
Hughe." (sic.)
Fourtier then describes a "choreuto-
scope tournant qui est particuliere-
ment construit par M. Molteni." Both
the description and an illustration fur-
nished by Fourtier are identical to the
t From Image, Dec. 1956.
Covering plate removed
and shutter (cardboard)
laid on it. In operation
the shutter is attached to
the small drive wheel with
a pin. An arm on far side
(not visible) of the drive
wheel connects with the
"Maltese Cross" type gear,
two teeth of which appear
over skeleton. This gives
the stop and go movement
to the metal disc with the
skeletons.
methods of construction employed for
achieving the reconstitution of move-
ment : these different devices have been
successively applied to the projecting
lantern; but in this case the problem
is more complex; it is necessary, be-
fore all else, to avoid the loss of il-
lumination; the images must form
themselves on the screen during an
observable length of time, substituting
one for the other exactly without the
spectator being able to perceive the
The Molteni Choreuto-
scope. The slide proper is
of wood, a metal plate
covers the mechanism. The
wheel at the right per-
mitted hand operation.
The white segment in the
circle around the skeleton
is part of the shutter.
apparatus in the possession of East-
man House.
Whodunit?
But the British inventor to whom
Fourtier attributes the device must
have been W. C. Hughes. And Hughes
did not patent the Choreutoscope until
1884 — four years after Muybridge had
already projected photographically-ob-
tained images in his own zoopraxi-
scope.
The matter is further confused by
the account of Henry Hopwood in
Living Pictures, 1899. Hopwood at-
tributes the "Rotary Choreutoscope"
to "Mr. Beale of Greenwich." He de-
scribes Beale's "Dancing Skeleton" as
follows:
"A disc was used, rotating in front
of a lantern condenser; but this disc,
instead of being formed of glass, was
of thin sheet metal, the figures of a
skeleton in various attitudes being cut
22
INTERNATIONAL PROJECTIONIST
FEBRUARY 1957
out. stencil fashion, round the mar-
gin." The Beale device, similar though
it was to Molteni's (which also used
a thin metal disc rather than glass to
support the images) did not use the
Maltese Cross intermittent. Unfortun-
ately for the solution of the Choreuto-
scope's mysterious origin, it does not
appear that Beale patented his device
nor does Hopwood attempt to date it.
Here the trail leads to the United
States. In 1869 Patent No. 93,594 was
awarded to an American inventor,
Brown, for a chorteutoscope device.
Hopwood points out "This specifica-
tion is mainly of interest by reason
of the construction employed in the
intermittent mechanism. It forms a
very close approach indeed to the mod-
ern cinematograph with Maltese Cross
motion: a star-wheel and pin being
used to drive the design wheel periodi-
cally, while a two-sector shutter is
shown geared to eclipse the light dur-
ing the change of picture."
In 1925, Michael Coissac published
his Histoire du Cinematographe, a
work which goes to extreme lengths
to give all possible credit to French
originators of motion picture devices.
He, too, describes the Molteni appar-
atus but claims only that the French
inventor "perfected the chore utoscope.''
American Claim
Unless it can be established that Mol-
teni did in fact invent the Choreuto-
scope in 1865 as Quigley has indicated,
it would appear that priority in this
significant device belongs to Brown of
the United States with his 1869 patent.
It is a point that should be cleared
up for the Choreutoscope with its
Maltese Cross intermittent is the direct
ancestor of the first successful motion
picture projectors which did not ap-
pear until many years later.
Domerama '— Theatre of the Future
Possibly inspired by Joseph. Holt's
dream-theatre in the October issue of IP,
a Canadian contributor has come up with
this one for the future.
By J. G. JACKSON
THE "Domerama" is a theatre of the
future in the form of a dome similar
to that of a planetarium, with multiple
projectors covering the entire dome. The
audience will sit on swivel stools in the
central section of the dome, able to turn
at will to view any part of the screen.
Figure 1 shows a cross section of the
theatre. Projection room is in the center,
number 7 projector shooting straight up
to cover the ceiling section. (For illustra-
tion purposes, seven projectors are shown,
although no doubt a greater number will
be required.) The other six projectors
cover the wall, just clearing the heads of
the audience, which surrounds the pro-
jection room. A worm's-eye view of the
dome indicating the areas covered by
ELLIPTICAL DOME
\
AUDIENCE AREA
FROJECTIOH ROOH
FIGURE 1
each projector is shown in Fig. 2.
A highly directional screen will be re-
quired for Domerama since light from
one section of the screen cannot be al-
lowed to reflect onto another, tending to
wash out the picture. The screen should
be so designed to reflect most of the light
directly into the audience area, a diffusive
screen being of no use in this case.
The author has designed a total-reflec-
tion lenticular screen for use in drive-in
iheatres (U. S. Patent # 2.763.184) that
is adaptable to the elliptical dome. With
this screen there is no stray-light prob-
lem, and reflectively, light is confined to
the audience area as required.
The audience area of Domerama would
be small compared to the building size,
but the effect of the complete surround
would be most impressive. Although
Domerama would not be used for the
usual dramatic, story-telling pictures, for
travelogues, and adventure features, the
audience would get the benefit of being
right in the scene.
To cite only one instance of a perfectly
natural illusion:
Imagine for a moment that you are on
the deck of a boat about to go under a
bridge — the bridge appears in the fore-
ground, scenery surrounding you, the sky
overhead. As you proceed under the
bridge it will appear overhead and you
will look up to see its understructure.
You proceed and the bridge fades into
the background behind you. With, say, a
flock of sea gulls overhead, the illusion
would be perfectly natural — a type that
FIGURE 2
cannot be obtained by any system of pro-
jection in use at the present time.
The possibilities of Domerama are un-
limited and it will become a reality only
when men of vision can get together with
men of finance to promote its develop-
ment.
Are You Moving?
If so, please notify us one month in
advance. The Post Office does not
forward magazines. To avoid delay,
please cooperate by sending us both
your new and old address.
*********
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
have single adjustment
control of the feeds of both
carbons.
^ This is Another
EXCLUSIVE FEATURE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
INTERNATIONAL PROJECTIONIST • FEBRUARY 1957
23
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.
9n, JJul
SPOTLIGHT
THE recent establishment of the Pro-
jectionist Information Committee by
SMPTE points out, among many things,
that the projectionist is finally coming
into his own. He is now being recognized
by the industry as the craftsman and
experienced technician that he is. Why
he should not have had this recognition
in the first place is beyond us, but it
is, at any rate, here now.
Some of our colleagues in the publish-
ing world have found it necessary to
suggest editorially that exhibitors should
consult their projectionists on questions
of equipment. The gesture is appre-
ciated, but just why it should be
necessary is a source of wonderment.
Considering the amount of technical
experience the projectionist has to have,
especially these hectic days, anyone who
still clings to the notion that projection
is a push-button job is back there with
Stanley Steamers. And yet it is just
this kind of antiquated thinking that has
hurt the motion picture business.
The projectionist has had quite a
number of new processes thrown at him,
and has weathered them, even if he did
get a litle gray over aspect ratios. Rest
assured there are more new processes
coming up, but perhaps this time it
won't be a case of hold-your-hats-here-
we-go-again. The Projectionist Informa-
tion Committee has pledged that pre-
release information will get to the
projectionist before the prints, which
procedure should have been established
before this, considering that it is vitally
necessary.
The fact that more recognition and
stature has been added to the craft is
the important thing, but sometimes it's
slow in coming.
• Seven New York City movie theatres
were recently struck by Local 306 when
the exhibitors failed to meet their obli-
gations to the Local's pension and wel-
fare funds. The strike was lifted when
the payments were made, according to a
statement made to the trade press by
Steve DTnzillo, business representative
for the Local.
• As a bit of good public relations, we
applaud the example set by Local 576.
Mansfield, Ohio. In an advertisement
in a local newspaper, the members of
the Local extended to the readers best
wishes for the coming year and expressed
their appreciation for past patronage at
the theatres where they are employed.
Assurance of "continued efficient service"
was the closing line of the ad copy —
evidently with the intent to induce in
the reader a feeling of confidence in the
technical know-how of the projectionist,
plus a desire to visit a local theatre where
movies are shown at their best.
• Our good friend, Bill Kunzmann, for
many years traveling representative for
National Carbon Company until his re-
tirement in 1948, has a way of popping
up every once in a while and letting his
many friends know that although no long-
er active in the field, he still takes a keen
interest in matters concerning the motion
picture industry. Bill will be 72 on his
next birthday and, as he puts it, is
"enjoying excellent health and as spry as
a man half my age."
A charter member of the Society of
Motion Picture and Television Engineers,
Bill Kunzmann
he has attended more than 70 semi-
annual Society conventions. He was
recently presented with a gold life mem-
bership card in the Society, an honor
accorded to very few.
25 Years Ago — February 1932
° Harland Holmden, business representa-
tive for Cleveland Local 160, was unani-
mously chosen by the General executive
board to the office of IA 7th vice-pres-
ident. . . . Warning issued against Ralph
Tagg, prohibition agent, who was using
his withdrawal card from Local 591.
Hagerstown, Md. as a means to gain
entrance to theatres in search of evidence.
. . . IA Representative William A. Dillon
injured in an automobile accident. . . .
Columbus, Ohio was finally chosen as
the convention city for the forthcoming —
31st — IA convention the week beginning
June 6, 1932. . . . Two members of the
Social Security Disability Gains
Increased benefits, wider coverage and a new disability plan to aid totally
disabled workers went into effect Jan. 1 under amendments to the social security
law voted in the last Congress.
To help meet the cost of these improvements, social security taxes paid by
both employers and workers will be % of one percent higher in the future.
The tax is applied only to the first $4,200 of income. The maximum increase
will amount to $10.50 a year.
The new rate of deduction is 214 percent against the 2 percent paid last year,
bringing the maximum social security cost for wage earners and employers
alike to $94.50 per year. Self-employed persons, whose payments are higher
because there is no matching contribution, must increase their payments from
3 percent to 3% percent.
All of the increased contributions will go into a special fund established to
finance disability payments. Workers who are, or become, totally disabled, now
are eligible to receive their social security benefits beginning at the age of 50.
Children of deceased or retiring workers who have been totally disabled will
continue to receive dependent's benefits after they reach 18.
Last year 60,000,000 workers and 4,000,000 employers contributed $6.5 billion
to the social security fund. This year 2,800,000 members of the armed forces
are being brought under the program at the new rates, and their payments will
make up much of the expected $1.3 billion increase in revenue during 1957.
AFL-CIO
24
INTERNATIONAL PROJECTIONIST
FEBRUARY 1957
Sound Projectionists' Association, a rump
union, received life sentences for bomb-
ing the Midland Theatre in Kansas City,
Mo., in which one person was killed.
• New contracts negotiated by the IA
provide for a wage hike of $3.50 per
week for RCA and Altec sound service
engineers. The agreement, which became
effective January 2 last, also cuts the
work week from 44 to approximately
40 hours.
♦ B. N. Burke. Local 328, Pine Bluff,
Ark., has stacked up an enviable record
as a long-term official of a Local Union.
Recently re-elected to office, he is serv-
ing his 27th consecutive year as secre-
tary-treasurer. The president of the Local,
V. V. Vaught. boasts of holding office
for 15 consecutive years, plus serving 11
years as secretary-treasurer of the Central
Trades and Labor Council.
* The IA general executive board held its
regular mid-winter meeting at the Belle-
vue-Stratford Hotel in Philadelphia dur-
ing the week of February 11. Harry
Abbott, president of Philadelphia Local
307 and IA 3rd vice-president, was in
charge of arrangements.
IA ELECTIONS
LOCAL 105, LONDON, ONT., CANADA
William Hewitt, pres.; Jack Shaw, vice-
pres.; Cliff Mills, sec-treas.; William Shaw,
rec-sec; Walt Drennan, bus. rep.; Russ
Courtney, sgt.-at arms; Jack McLeish, Wil-
liam Hewitt, J. Shaw, trustees; W. Shaw,
J. McLeish, auditors; Harold Allaster, J.
McLeish, exec, board; C. Mills, H. Allaster,
J. Shaw, exam, board.
LOCAL 108, GENEVA, N. Y.
E. Francis Larham, pres.; Arthur Gardner,
vice-pres.; Arthur O'Neill, sec-treas.; E. F.
Larham, bus. rep.
LOCAL 248, DAYTON, OHIO
Stanley Howell, pres.; James Monroe,
1st vice-pres.; Robert Kennedy, 2nd vice-
pres. ; Carrol Hathorn, fin.-sec ; James Catter-
man, rec-sec; Wilmer Roush, bus. rep.;
Everett Espy, sgt.-at-arms ; Henry Woodward,
Frank Braun, John Holokan, trustees.
LOCAL 249, DALLAS, TEX.
Guy L. Luther, pres.; W. R. Estes, Jr.,
vice-pres.; Harvey D. Hill, Jr., rec sec;
Charles I. Cross, fin.-sec; Austin E. Ballard,
treas.; Harvey D. Hill, Sr., bus. rep.; Jasper
Barron, Sam Hoffman, Luther Clark, trustees.
LOCAL 324, ALBANY, N. Y.
Edward Wendt, pres.; Charles Hill, sec-
treas.; Rocco Memole, rec-sec; Alfred J.
Antoinette, bus. rep.; Arthur Deitz, George
Seeley, Frank Mathews, Claude Watkins,
trustees.
LOCAL 328, PINE BLUFF, ARK.
V. V. Vaught, pres.; Lewis O. Hill, vice-
pres.; B. N. Burke, sec-treas.; V. V. Vaught,
bus. rep.; Everett Stanley, ass't bus. rep.;
George B. Finley, sgt.-at-arms ; Warner O.
Hunter, Loy D. Gardner, E. Stanley, trustees.
LOCAL 376, SYRACUSE, N. Y.
Louis R. Boyd, Sr., pres.; Melvin A.
Denny, vice-pres.; George F. Raaflaub, sec ;
Lionel B. Wilcox, fin. sec-treas.; Walter M.
Scarf e, bus. rep.; Robert J. Haven, sgt.-at-
arms; Charles R. Nelson, Leonard H. Ton-
deur, George E. Doss, trustees; Warren E.
yoMA (ptefa/uwai }
What would you like most to see covered in future issues of IP? We
aim to please, and what YOU want to appear in the pages of this
magazine is the most important thing to us. So, if there's a particular
subject (or subjects — any number) on your mind, just fill in the lines
below and return to us. We'll do the rest.
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
have the new jet arc stabilizer
that keeps the flame from
the reflector and prevents
black soot formation.
^ This is Another
EXCLUSIVE FEATURE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
Williams, Lawrence F. Sherman, exec, board;
Philip T. Rossomando, del. to Central Body.
LOCAL 407, SAN ANTONIO, TEX.
Gordon H. Dyer, pres.; W. R. Tinney, Jr.,
vice-pres.; Henry Villapadierna, sec-treas.;
Jerry Kusenberger, rec-sec; John D. Dennis,
bus. rep.; Manuel Ayala, Benno Kusenberger,
members at large; Alfred Pena, Manuel
Perales, Phillip N. Wehrmann, trustees.
LOCAL 735, MT. CLEMENS, MICH.
Fritz Devantier, pres.; Dan Defenbaugh,
vice-pres.; Earl Natzel, cor. -sec; Norman
Pingel, fin.-sec; Ralph Brough, treas.; Roy
Suckling, bus. rep.; Shorty Bushart, sgt.-at-
arms.
INTERNATIONAL PROJECTIONIST, 19 West 44 St., New York 36, N. Y.
Gentlemen: I would like to see published in IP articles (and drawings) relating to the
following subjects:
Now It's Cinemiracle
"Cinemiracle Adventure," the first
full-length feature to be filmed in the
new Cinemiracle process, has gone into
production, partnered by Louis de Roch-
emont and National Theatres, sponsors
of the process.
Cinemiracle is similar to Cinerama,
employing a big screen and the use of
three separate negatives in filming —
but it differs in that it is projected from
a single projection room. Now out of
NAME ADDRESS the experimental stage, the process was
^ -^ __ «__ nrst demonstrated over a year ago.
INTERNATIONAL PROJECTIONIST • FEBRUARY 1957
25
The concluding installment of a comprehensive study of present-
day and pioneer attempts to increase screen illumination.
The Faster Pulldown
Geneva Movements
By JOSE M. RUIZ
THE GENEVA MOVEMENT should,
at this time, be a 5-to-l movement,
and there are good reasons for this
change. And some projector manufac-
turers are contemplating new trends
in design.
In Herbert Barnett's recent IP ar-
ticle, "Projection Advances On the
Way" (IP, May 1956), there is this
interesting statement: "Much consider-
ation is being given, therefore, to the
practicability of a faster intermittent
which will permit widespread adoption
of the three-blade shutter where flicker
is a problem. . . ." Solutions are pos-
sible, and projection manufacturers as
well as projection technologists are
considering the matter seriously.
In the February 1955 issue of IP,
J. G. Jackson described in detail his
oscillating - cam geneva intermittent
mechanism, a system now employed
in the new RCA color television pro-
jector to accommodate the 24-frame/
sec. film rate to the 30-frame television
system. This versatile movement is also
feasible for cinema work. Figure 16
shows the Jackson movement as de-
veloped for RCA model TP35CC color
television projector.
The Hortson System
Another attempt to speed up the
geneva movement is the new Hortson
system employed in 16-mm projectors.
This movement also falls in the Jack-
son category, as shown in Figure 17.
The Hortson projector employs an
oscillating cam and an 8-slot geneva
star wheel, two gears and a drunk cam
used to control the cam pin engaging
action every alternating cycle. This
type of geneva movement is an ex-
cellent solution to the proposed new
35-mm film with three perforations per
frame. In fact, a 6-slot geneva star with
an oscillating cam and an 18-tooth in-
termittent sprocket would make an ex-
cellent mechanism for three-perfora-
tion film.
One of the most simple and efficient
intermittent movements was the Powers
pin cross and cam ring mechanism.
The Powers movement, as the geneva,
had only two parts in motion to achieve
ment are shown in Figure 18, which
demonstrates the gentle action of the
mechanism due to the creeping action
of the roller pins upon the diamond
ring faces. In position A of Figure 18,
the pin cross had been only displaced
about 15 degrees to overcome film
tension. As the pin cross proceeds, the
film gets an accelerated motion until
the half cycle of pulldown is reached
— or 30 degrees cam action as shown
in position B. The cam profile is very
similar in shape to the theoretical
curve if plotted mathematically. Fric-
tion is minimized by the action of
the rollers against the cam face, and
this latter condition is an important
factor in high speed intermittent
mechanisms.
The smooth action of the roller pin
is also recommended for geneva inter-
mittent mechanisms, and has been
widely employed by European pro-
^^ m J^ ^^
e(/W7S^5§^L7 ^A^l
Vj^ —
FIG. 16.
Diagram of the Jackson intermittent movement developed for RCA model TP35CC color
television projector.
the desired intermittent pulldown with
good acceleration and deceleration
characteristics. Actually, a variable
pulldown action can be obtained from
a drunk cam movement just by alter-
jector manufacturers. Many European
projector mechanisms employ a roller
cam pin instead of the conventional
simple or solid pin standard in all
American machines, with the exception
FIG. 17. The new Hortson system employed in 16-mm projectors.
ing the grooved shape of the cam with-
in the desired angular action. The later
type of Power's movement was design-
ed with an effective pulldown action
of 5-to-l ratio.
of the Brenkert mechanism, which em-
ploys a roller pin.
Some years ago, the writer operated
a Powers Cameragraph, and in his
opinion there was nothing to beat it for
Two positions of the Powers move- steadiness and efficiency, at least with
26
INTERNATIONAL PROJECTIONIST
FEBRUARY 1957
smaller screens. He is also of the
opinion that the Powers movement can
be redesigned and employed in future
equipment.
A very interesting arrangement of
the Powers motion is suggested by
coupling it to a suitable accelerator
mechanism — as it is employed in the
Radion machines — possibly making a
good accelerated movement of less
than 60 degree pulldown action. A
Powers accelerated mechanism with a
50 degree pulldown and a flickerless
type shutter of three equal blades will
give us a light transmission of about
58%. In another way, if the shutter
employed were of two blades, the the-
oretical light transmission should be
near 73% ; however, the use of the
two-blade shutter — the "brilliant"
type — gives us a light transmission
of very high levels which may intro-
duce a strong flicker . . . especially
if the house is of short projection
distance.
Pioneer Developments
To get back to the drunk cam mech-
anism— it has the advantage that the
number of pins can be increased with-
out altering the pulldown angle as in
the geneva star case. These mechani-
cal movements for cinematographic-
apparatus were tried in the past by
several experimenters and inventors in
the field. As early as 1896, Ademor
Petit patented "A new and useful im-
provement on intermittent feeding de-
vices for series photographic cameras."
The Petit intermittent is shown in
Figure 19.
In 1915, C. E. Wright patented a
mechanical device to improve the con-
struction of moving picture machines.
The Wright movement is shown in
Figure 20, and it appears that this is
another pure drunk cam movement of
the pin cross type.
At the present time, a very interest-
ing 16-mm projector, the Philips EL
FIG. 18. Two positions of the Powers movement. Diagram A shows the angle at which the pin
cross has been displaced to overcome film tension; B illustrates the 30 degree cam action.
FIG. 19. The Petit intermittent movement.
5000. employs a clever 12-pin move-
ment, as shown in Figure 21. The ar-
row gives the action motion of the
mechanism. The cam Si moves with
constant speed acting upon the pins P
placed in the hollow drum So. The
shaft M2 carries the intermittent
sprocket not shown in the drawing.
The intermittent sprocket has 12
teeth, and the hollow drum has
24 alternated pins. These pins are
hollow to reduce the mass of the
mechanism, and there are 12 short
pins to 12 long. They are held in po-
sition by a clamping ring placed with-
in the hollow drum (not shown in the
drawing), in intimate contact with
each other and the inside of the flange,
pin spacing being accurate to within 1
to 2 millimicrons.
A feature of this mechanism is that
the grooved cam is made of Nylon,
very durable and resilient: so much so,
in fact, that it is possible to make the
width of the grooves about 10 milli-
microns less than the diameter of the
pins, and so preclude all possibility
of play between pins. Continuous lu-
brication is ensured by housing the
cam and pin-drum mechanism in an
oil bath.
The number of pins can be in-
creased without altering the cam action
angle, or vice versa; the angular ac-
tion of the grooved cam may also be
altered from 90 degrees to as short as
50 degrees.
16-mm Improvements
A great deal of research and ex-
perimental work has been done by 16-
mm projector manufacturers on the
intermittent movement of geneva and
drunk cam types. In 16-mm work, the
geneva star must fulfill an important,
necessary requirement: the star wheel
must be more than five slots — at least
six. The star must be accelerated in
its pulldown cycle to bring the shift
period under 90 degrees cam action
for efficient projection. This require-
ment has been solved in two ways: the
employment of accelerators or oscil-
(Continued on page 36)
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
accommodate a 20-inch carbon
trim in all sizes 9 mm through
13.6 mm inclusive.
^ This is Another
EXCLUSIVE f EAT ORE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
INTERNATIONAL PROJECTIONIST
FEBRUARY 1957
27
GPL Announces New Portable TV Projector
HEEDING the increased usage of closed-ciicuit and theatre TV, General
Precision Laboratories have developed a new portable TV projection system
designed to throw a large picture on a wall-sized screen that may be easily
viewed by groups of 100 or more. The designers of the new model PB-611A.
state that a specially designed optical system provides sharp, clear picture
detail and greatly increased light output over earlier designs, approximately
four times as bright as previous GPL models. Pictures can be projected on any
size screen suitable for the premises from 6 feet wide up to 16 feet wide, or
even more, it is asserted.
The added brightness of the new
611A is due to a new reflector and an
advanced corrector plate design. Optical
elements 12 inches in diameter provid-
ing an aperture of 0.6 are used in the
projection barrel, believed to be the
largest aperture with good resolution in
this type of system. Redesigned to
simplify adjustment, a new tube support
provides easier, more accurate alignment
and focusing of the projection tube,
which may be positioned in any of three
axes without interaction with the others.
The optical barrel is equipped with
simple catches to facilitate removal of
the covers for cleaning and adjustment,
and can be tilted as required to allow
for centering of the picture on the screen.
Wheeled Mobility
The compact equipment is wheel
mounted for mobility. The projection
tube is protected by a special sweep
failure protection circuit, and roll-out
tracks provide for the sweep and control.
TV receiver and low voltage power sup-
ply chassis which may be pivoted up-
ward for access to all circuit components.
The manufacturers believe that the
simplicity and dependability of the
PB-611A make it eminently suitable for
projection in industrial, educational, and
theatre circles, as well as being able to
be used directly with studio or industrial
TV cameras.
Exclusive distribution of the projec-
tion system and allied closed-circuit
system has been assigned to the Tele-
Prompter Corporation in what, accord-
ing to H. G. Place, president of the
parent General Pecision Equipment
Corporation, is the largest single order
ever placed for closed circuit projection
systems. It is stated that over §1,000.000
is involved in the deal.
One of the first purchasers of the new
projection system is the pharmaceutical
manufacturers, Upjohn Company, who
have recently acquired 33 of the new
systems. The firm plans to use the
systems to broadcast simultaneously clin-
ical staff meetings, diagnostic procedures,
surgery, and case problems to physicians
in more than 50 cities throughout the
country. The broadcasts will also be
recorded on kinescope films for dis-
semination to medical societies and other
professional groups both here and abroad.
Taped TV Comes of Age
TAPE-RECORDED TV broadcasts were
given a special plug during the recent
Presidential Inauguration when the na-
tionwide TV audience was presented with
a demonstration of that process. Five
minutes after the President had taken
the oath of office, the ceremony, which
had been recorded on tape, was played
back over the air.
The tape system of reproducing TV
programs has been in development for
some time, but it has been only recently
that the method has come into public
use. Last November, Ampex, which has
two of its Videotape recorders installed
in Television City in Hollywood, taped
the "Douglas Edwards With the News"
New Model
PB-611A
TV projection
system
developed
by GPL.
The portable
unit incorporates
a newly
designed
optical system
which greatly
increases light
output over
earlier designs.
program which originates in New York,
and played it back to Pacific Coast
audiences two hours later. This was the
first taped telecast of a regularly sched-
uled TV program.
The advantages of tape in this con-
nection is that time difference between
New York and the West Coast makes it
awkward program-wise, since many of
the major programs originating in the
East play the West much too early for
any appreciable audience. The previous
method to correct this was to take the
programs off the air by "hot kinny" —
fast kinescoping process — and play it
back later in the evening. But reproduc-
tion is not of the best in this process.
If the Inaugural broadcast is any
indication, reproduction by tape has
reached an advanced state of develop-
ment in clarity and definition. What its
primary use in TV is going to be is not
certain yet, but taped TV is definitely
here.
Warners Plan TV Plant
CONSTRUCTION of a $600,000 ultra-
modern building designed for TV activi-
ties will begin next month at the Warner
Studios in Burbank, California. The
structure is part of a major building
program instituted by the studio.
To be in the northeast section of the
Warner plant, the two-story structure
will occupy a space 135 by 240 feet,
and will contain 26 office suites with 130
offices, 26 fully equipped film editing
rooms, and four complete projection
rooms. Built on steel piers above a
100-car parking area, the building will
be completely air conditioned and acous-
tically treated and insulated.
The TV construction will house both
independent producers of filmed product
for ABC-TV and Warner's own video
division, which has announced an ex-
panded program for this year.
Additional plans call for enlargement
of the sudiors present TV and laboratory
plant across from the main studio prop-
erty. The constantly growing needs of
Warner's television division has neces-
sitated expediting the building program.
RCA Policy on Service
A FIVE-POINT policy with regard to
TV servicing has been announced by
Frank M. Folsom, president of RCA.
Basically the policy is aimed at the
independent servicing industry and con-
tains the following points: support of
independent service industry with full
dissemination of information acquired;
free competition in the operation of
RCA's factory service business, allowing
independents equal opportunity to com-
pete with RCA factory service; the
program for procuring replacement parts
and other material to be on a fair
competitive basis with independents;
28
INTERNATIONAL PROJECTIONIST • FEBRUARY 1957
broad distribution of replacement parts,
available to all the service industry;
recognition of independent services in
RCA advertising and printed literature.
Considering that servicing was a
primary factor in the phenomenal growth
of the radio-television-electronics in-
dustry, Folsom stated that last year the
industry contributed more than eleven
billion dollars to the national economy,
lifting it to fifth place in American
manufacturing.
The bulk of the electronics industry's
servicing requirements are handled by
independent service technicians. In
RCA's case. 90% of all RCA Victor TV
sets are maintained by independents.
East- West TV Expands
EAST-WEST TV Network. Toledo inde-
pendent suppliers of closed circuit
projection equipment, has announced
appointment of nine associate offices
throughout the country. The current
rise in use of the closed circuit medium
necessitates having liaison, pricing and
equipment service available in key mar-
kets, the company states.
Offices are: Trident Films, Inc., New
York City ; Professional Electronic
Products. Inc.. Pittsburgh. Penna. ;
Robert F. Blair. Cleveland, Ohio; Mike
Bowdon, Cincinnati. Ohio: James F.
Mulqueeny. Chicago. 111.; Northwest
Sound Service, Inc., Minneapolis. Minn.;
Ivo Distributors, Los Angeles, Calif.;
Commercial Electronics, Inc.. Dallas
Texas; and Mutual Electronic Supply.
Inc.. at Seattle. Wash, and Portland.
Oregon.
The firm also announces that it ha?
added new projection equipment which
it designed and had built under its own
supervising engineers.
TV Enters Pix Deal
NTA Pictures, Inc.. organized by Na-
tional Telefilm Associates. Inc., has been
assigned to release and distribute films
to motion picture theatres in the U.S.
and possessions. Headed by Erwin
Lesser, vet theatre man. the firm will
tee off with release of "The Bells of
St. Mary's." the Ingrid Bergman-Bing
Crosby film of a while back, now re-
released for the first time.
The distributor's schedule for this year
calls for a minimum of 12 pictures.
Headquartering in New York City, the
corporation has set up offices in Boston.
Chicago. Los Angeles. Memphis. Dallas.
Minneapolis, and Atlanta. The company
states that its policy is to operate inde-
pendently from the parent company, to
handle only top-quality pictures, and not
to be a reissue company.
NTA pictures guarantees extended
clearance for theatrically released fea-
tures before making them available to
SCIENCE NOTES
A Lightweight Ladder, utilizing sand-
wich construction of glass fiber and an
American Cyanamid polyester resin, has
been developed by the Putnam Rolling
Ladder Co. Since the ladders are non-
conductive and non-corrosive, they are
ideal for power and electrical work in
all weather and extremely durable.
* * #
A TV Receiver designed for ultimate
simplicity has been engineered by Motor-
ola by combining a completed circuit
chassis with packaged electronic circuits
originated by Centralab Co. The result
is a decrease of chassis area by 20%,
the combining of 97 separate parts into
17 group units, and reduction of con-
ventional wiring by 90%.
A Novel Transistor-like Photocell
no larger than a pencil eraser has been
developed by RCA. It is capable of
sensing with a high degree of accuracy
both direction and intensity of a light
source. It performs with improved ac-
curacy and efficiency many functions
which have been handled previously with
as many as four separate conventional
photocells.
* * #
Transformer Design Method, simpli-
fying the designing of electric power
transformers for engineers not normally
associated with the transformer industry,
has been prepared in report form by
Armour Research Foundation. The re-
port, which is the result of a project
sponsored by Signal Corps Engineering
Laboratories and the Wright Air Develop-
ment Center, is available for $10.
A Timing Component for lighting sys-
tems, outdoor advertising, heating plants,
and certain laboratory uses, keeps run-
ning when power fails or circuits short
TV, theatre bookings being offered at
least one-year protection from TV. The
films will be in wide-screen ratio.
TV Film Ratio 5:1
Five hours of film are being used for
each hour of live programming on TV.
This is the estimate of the Broadcast In-
formation Bureau in the new issue of
the TV Film- Program Directory, based
on reports from all stations on the air.
Not including Westerns, the number of
features scheduled for telecasting has
increased to 5,385. Available also are
6.172 shorts, 103 serials, 2,737 cartoons,
and 611 films especially made for TV.
out. Accurate to the split-second, the
Duplex Time Component, developed by
Industrial Timer Instruments Co., runs
electrically or mechanically and does not
stop upon power failures like ordinary
synchronous electric motors.
A Low Toxic Solvent, called "Vythene,"
should increase the safety of laboratory
personnel, according to the Chicago Ap-
paratus Co. It is a non-inflammable
trichloroethane with solvent properties
similar to carbon tetrachloride, but of far
lower toxicity. Maximum allowable con-
centration in air is 500 parts per million
— 20 times better than carbon tet.
Safer X-ray Pictures can now be taken
with aid of a mirror which reduces
patient-exposure of X-rays by 70 to 75%.
The mirror applies the same principle
used by astronomers to photograph light
from the stars. Reduction in exposure
is made possible by the mirror's optical
speed, which is between four and five
times greater than that of refractive lens-
type photo-roentgen cameras. GE and
Fairchild Camera & Instrument Corp. are
responsible for the development of mirror
and camera, respectively.
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
have the mirror integrated with
a rear lamphouse door that
swings out of the way for easy
retrimming, lamphouse cleaning
and reflector cleaning.
^ This is Another
EXCLUSIVE FEATURE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
INTERNATIONAL PROJECTIONIST
FEBRUARY 1957
29
SCREEN ILLUMINATION: SOME PERTINENT FACTS
(Continued from page 12)
pected from 5-10% may be encountered
on the sides of the screen when lamp
speed equals lens speed. This generally
represents a compromise between zero
vignetting with its attendant higher
manufacturing cost, plus factors of
space, criticalness of focus, etc.
were
made
Optical Bench Set- Up
From a practical standpoint, an
evaluation of the effects of vignetting
and other factors in a lens that tend
to reduce the illumination on the edge
of the screen can be made by a simple
arrangement. This involves the use of
an optical bench arrangement whereby
the lens under examination is placed
in a special mount so that it can be
shifted sideways to center at any given
point on a horizontal line through the
center of the aperture. Readings of
incident foot candles at the sides of
the screen are then made with the lens
centered on the aperture, and another
reading is made at each side of the
screen with the projection lens moved
sideways off axis to center at a point
on the aperture corresponding to the
point on the screen at the side light
meter location. Table VI shows several
such comparisons that
using different systems.
Test No. 1 shows only about 4%
loss of light at side of screen in the
case of lens being a little faster than
lamphouse optical system.
Test No. 2 uses same components as
No. 1 test except that lamphouse speed
was reduced to that considerably under
lens speed by reducing diameter of
reflector. There is no loss at the side
of the screen due to the factors under
study.
Test No. 3 indicates about 11% loss
in light at side of screen with lamp-
house and projection lens of same
numerical rating.
Large Light Loss
Test No. 4 is with a lens speed rat-
ing greater than the lamphouse optics,
but was made using an aperture size
larger than that for which the lens
was designed to cover. A 16-mm
projection lens is used in conjunction
with a 35-mm aperture, and the results
indicate that the light loss at the edge
of the screen is about 57% due to the
smaller size field that the lens was
designed to cover. The amount of
TABLE VI
Incident Ft. Candles on
Sides of Screen.
Lens at
Test
System
Center of
Nos.
Description
Aperture
% Loss at Sides
Lens Shifted of Screen Due to
to Center at Lens Vignetting,
Side of Aper. etc.
1 Kilowatt lamp — 40
amps, standard 35-mm
aperture, /:2.35 lamp-
house optics, /:1.9/2.0
projection lens.
13.0
13.5
3.7
1 Kilowatt lamp — 40
amps, standard 35-mm
aperture, /:4.2 lamp-
house optics. /:1.9/2.0
projection lens.
5.6
5.6
Rotating high-intensity
100 amps., standard 35-
mm aperture, /:1.7 lamp-
house optics, /:1.7//:1.8
projection lens.
42.7
47.8
10.7
Rotating high-intensity
100 amps., standard 35-
mm aperture, /:1.7 lamp-
house optics, /:1.6 pro-
jection lens for 16-mm
projection use.
22.5
52.1
56.8
illumination at the side of the screen
with this lens centered on the side of
the aperture is greater than in the same
setup in Test No. 3 because of the
fact that the 16-mm lens employs a
different design formula and in addi-
tion has less elements.
Thrillarama Opens
Having apparently solved the problems
that delayed its distribution, "Thriller-
ama Adventure" opens this month in San
Diego, Milwaukee, and Philadelphia. The
Cinerama-similar process is scheduled for
the National-Fox circuit which has over
300 houses, and Albert H. Reynolds, pres-
ident of Thrillerama, states that the pic-
ture will eventually play every theatre
in the chain. It is also slated for the
Texas Interstate Circuit, first city being
San Antonio, but no date has been set.
Thrillerama premiered last August in
Houston to mixed reviews. Consensus
of critical opinion was that scenically the
process was excellent, but mechanically
left something to be desired. It uses a
deep-curved screen, 3% to 1 aspect ratio,
and two projectors showing simultane-
ously in sync. At the premiere this sync
was not of the best, and half the screen
jumped at times. There was also diffi-
culty lining up the two halves, and the
joining or seam where the two scenes
met was quite visible. These and other
problems, such as color-matching, which
formerly caused some differentiation be-
tween the two panels of the screen, have
all been corrected, president Reynolds
claims. He adds that the show has been
cut from its original two-hour length to
an hour and three-quarters.
Thrillarama's main advantage over
other spectacular processes, the company
asserts, is that its equipment is easily
portable, and can be set up in a theatre
overnight. Design changes have purport-
ably made the process effective in thea-
tres with projection angles up to 20 de-
grees. A 380-pound aluminum screen
frame is used, in contrast to the more
than 2.000-pound steel frame used at the
premiere.
5,000,000,000 Feet of Color
If there were a projector that could
run 105 years without stopping, it would
take it that long to show the five billion
feet of Technicolor film that has been
processed and manufactured to date. Dr.
Herbert T. Kalmus, president of the com-
pany, recently announced that Techni-
color release prints have passed that ten-
figure mark. Most color prints for any
one film were for — no surprise — "Gone
With The Wind": 2,000 Technicolor dye
prints totaling approximately 41,000,000
feet of film.
30
INTERNATIONAL PROJECTIONIST
FEBRUARY 1957
GRIPES? PROBLEMS? SEND 'EM IN.
Projection
CLINIC
Removing and Replacing Heads
MOST projector mechanisms of American manufacture are secured to the
sound reproducer by means of two bolts or cap screws. In the case of modern
soundheads, the screws are installed from the sound reproducer up into the
mechanism base; certain older soundheads employ screws inserted through
the base of the mechanism into the soundhead.
In the former case — the bolts being
inserted up into the mechanism from
the soundhead — it is sometimes difficult
to reach the square or hexagonal heads
of the bolts by means of an ordinary
wrench. Special wrenches are supplied
for this purpose. When no suitable
wrench is available, however, long-han-
dled gas pliers with inclined gripping
jaws may be used (Fig. 1).
Long-handled pliers are always handy
things to have in the projection room,
as the long handles provide great lever-
FIGURE 1.
age and make it easy to reach out-of-
the-way nuts and bolts on the heavier
pieces of equipment.
When replacing projector mechanisms,
mesh the soundhead driving pinion with
the main drive gear of the mechanism
before tightening the two bolts or screws
that hold it in place. Move the mecha-
nism about if the screw holes are over-
size, finding the position where the gears
mesh perfectly and the mechanism is in
line with the lamphouse. Then tighten
the screws.
Certain older sound reproducers re-
quire the use of shims between the top
of the soundhead and the bottom of the
picture mechanism. If such are used,
note their placement when removing the
head and replace them exactly as they
were. To eliminate the shims may throw
the mechanism out of perfect optical and
mechanical alignment when the screws
are tightened. This is particularly true
of the old Western Electric soundheads
on "universal" projector bases.
Carbon Arc Still Supreme
THE HIGH-INTENSITY carbon arc is
still the best illuminant for theatre pro-
jection. The bght source (positive crater)
is very small in size, thus permitting the
highest degree of optical efficiency. It
is extremely bright and not too expensive
to operate. Moreover, the color of the
light may assume any desired tint, de-
pending upon the chemical composition
of the flaming core of the positive carbon.
Positives giving a sunlight-white light
are used for 35-mm projection.
The carbon arc nevertheless has a few
disadvantages. The carbons burn up
rather rapidly, necessitating frequent
trimming of the HI arc lamp. Special
mechanisms are required for feeding the
carbons exactly as fast as they burn away
and for maintaining a constant position
of the positive crater. To do away with
these nuisances of arc-lamp operation,
attempts have been made to replace car-
bon arcs with incandescent lamps, metal-
lic arcs, and gas-discharge tubes. The
xenon bulb comes within the last-named
category.
The xenon bulb is made of quartz and
contains the rare gas xenon (atomic num-
ber 54) under a pressure of about 10 at-
mospheres when the bulb is cold, 30
atmospheres when heated by operation.
When lighted, a small fan-shaped blue-
white arc is instantly established between
two massive tungsten electrodes. The
electrodes cannot be brought together,
so a "striking voltage" of 25,000 volts
is required. This high voltage is auto-
matically switched off as soon as the bulb
begins to burn normally at an operating
voltage of from 20 to 30 volts.
Xenon bulbs for projection consume
from 25 to 70 amperes, depending on
their size, and are rated from 500 to
2,000 watts. The 40-amp., 1,000-watt
bulb has been widely used in the smaller
theatres of northern and central Europe.
Only a small theatre could make use of
the xenon bulb, for that matter, as the
light output is no greater than that from
a medium-sized low-intensity carbon-arc
lamp !
Xenon Light-Output
Specifically, the light-output from a
running projector having coated /:1.9
lenses, standard aperture, is only 1,800
lumens with a xenon bulb in a regular
mirror-arc lamphouse. This assumes a
current of 35 amps, for a new bulb, 43
amps, for one near the end of its 800-
hour life. Xenon bulbs are blackened by
evaporated tungsten from the electrodes
as they grow old, hence the recommen-
dations of manufacturers to operate them
at decreased current when new and maxi-
mum current when old for equalized
light output.
The cost of operation, including bulb
replacements, is greater than that of LI
carbon arcs and about equal to that of
the smallest HI arcs including the cost
of carbons. Moreover, even the smallest
"simplified" HI carbon arcs using 7-mm
positives has greater light-producing
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
are QUICKLY adjustable to the
various projection systems, that
a choice of high or low
magnification can be obtained
for wide film or 35 mm
projection in less than a minute.
^ This is Another
EXCLUSIVE FEATURE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
INTERNATIONAL PROJECTIONIST • FEBRUARY 1957
31
power! LI arc lamps produce from
1,000 to 2,500 screen lumens; simplified
HI arc lamps from 3.000 to 6,000 screen
lumens. Regular HI carbon-arc lamps
give from 12,000 to 48,000 screen lumens,
and even more than 50.000 lumens have
been obtained with the most powerful
lamps (experimental) combined with
/:1.5 optics!
The light of the xenon bulb is decid-
edly bluish, resembling that of an equal-
energy source such as a B-type star. The
spectrum of the xenon lamp reveals that
its radiation extends into the near ultra-
violet, and is flat through the visible
region (from the highest visible violet
to the lowest visible red ) . There are
sharp peaks of great intensity in the near
infrared. These might introduce film-heat-
ing difficulties if only the xenon bulb
had greater luminous power. Fig. 2 shows
the xenon spectrum superimposed over
the spectrum of the HI carbon arc.
It is obvious that the xenon bulb, good
as it may be for very diminutive theatres
and previewing rooms, cannot compete
with the HI carbon arc for the illumina-
tion of gigantic wide screens.
Projecting "Green" Prints
FRESH laboratory copies — "green"
prints — require greater care in projection
than is sometimes accorded them. Over-
oiling of prints is harmful in some ways,
uncorrected "sticking" in other ways.
Prints are often badly soiled by applying
oil to their perforation margins as they
run through the projector. Then too,
oiling first one edge and then the other
induces sidesway of the projected pic-
ture.
The troublesome phenomenon of stick-
ing is due to the melting of soft, moist
emulsion in the hot projector gate. The
melted gelatine collects upon the steel
film runners or tension shoes and bakes
to form hard, shell-like deposits which
usually leave a broad longitudinal scratch
along the middle of each row of per-
forations.
As the gelatine softens and melts, the
film slips so readily that it overcomes
the gate tension and overshoots on the
intermittent sprocket, producing violent
jumping of the picture on the screen. But
the moment each fresh deposit of gelatine
begins to harden, the moving film is held
back, severely straining the perforations.
To avoid excessive film damage, a
jumpy picture, and noisy operation, a few
projectionists even go so far as to squirt
large quantities of oil all over the film,
hit or miss, the moment it beings to
chatter. The new print is thereby soiled
and often scratched by the grit it picks
up. In addition, the oil is vaporized by
the heat of the gate and condenses upon
the back surface of the projection lens,
fogging it. The picture on the screen
then looks very misty indeed!
Film laboratories usually wax or other-
wise lubricate the perforation margins
of freshly processed prints on the emul-
sion side. Methods of film lubrication
have improved in recent years, greatly
minimizing sticking during the "break-
ing-in" period — the first six projections.
Silicone waxes mixed with carnauba wax
are especially efficacious; and the use of
a thin lacquer coating on the emulsion
surface gives good results and eliminates
the need for sticky film waxes.
Velvet Runners
Users of Ernemann projectors have
velvet gate runners at their disposal.
These are intended for use when brand-
new unlubricated prints are run, though
many projectionists keep them on all the
time to minimize the conduction of heat
from the gate runners to the margins of
the film.. Velvet runners are a godsend
when special prints are run for preview-
ing purposes. Such prints may subse-
quently be used by film editors for "work
prints" or master copies ; and they don't
200
***********
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
have a large imager screen
and a brilliant, twice-magnified
image of the burning arc.
^ This is Another
EXCLUSIVE FEATURE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
I Blue
. . i iDiue —
■-Ultraviolet-^] q 485"
Violet Cyan
Orange
Infrared-
FIGURE 2.
want them messed up with either oil
or wax.
But when sticking does occur, it must
not be allowed to continue. The sprocket
holes may become chipped or torn, short-
ening the life of the print and making
the picture unsteady. If sticking is ex-
perienced frequently, the projector gate
tension may be too high. Reduce it to
a total of eight or ten ounces. To elimi-
nate sticking entirely, lay each reel of
the new print on the rewind bench, apply
oil to the edges of the roll through the
openings in the reel flange, then turn the
reel over and oil the other edge of the
film. Only a mere trace of oil is needed
— just a dab on the tips of the fingers.
Enough of it will work into the perfor-
ation margins to prevent sticking, yet
leave the soundtrack and picture areas
unsoiled.
Do not oil film in the projection room
unless sticking has been experienced with
the first reel during the first showing!
The remaining reels of the photoplay can
be lubricated while the first reel is run-
ning; the first reel after it has come from
the projector. Then you can be sure of
having a smooth-running show during
the next performance, and be confident
that you have not oiled the print un-
necessarily.
The projector gate must be cleaned
32
INTERNATIONAL PROJECTIONIST
FEBRUARY 1957
after running each reel of a green print.
Use an orangewood stick (sold in drug
and department stores for cleaning fin-
gernails ) or a small "chisel"' of soft cop-
per for scraping off deposits of hardened
emulsion. Never use steel: it scratches
the smooth surfaces of the gate runners
and aggravates sticking. Remove depos-
its of wax and emulsion from the teeth
of the intermittent and sound sprockets
with a stiff-bristled toothbrush lightly
moistened with kerosene.
Film-Cement Stains
IT OCCASIONALLY happens that film
cement gets spilled upon clothing. Now,
film cement contains dissolved film base
(cellulose triacetate), and hence dries
to a stiff mass. Solvents for film base
such as acetone, chloroform, and dioxane
may be used successfully to remove film-
cement stains from shirts, pants, neck-
ties, and dresses (in the case of exchange
inspectresses) , but only if these items
of apparel are made wholly of natural
textile fibers. However, when rayon or
nylon ( artificial ) fibers are present in
the cloth, the applicaiton of film-base
solvents produces a much worse, and
absolutely irremediable, stain.
TOA, TESMA Agree
After a good deal of discussion and
a near-collapse of plans. Theatre Owners
of America and Theatre Equipment and
Supply Manufacturers Association have
come to terms regarding their proposed
joint convention in Florida next Novem-
ber.
Settling certain issues about profit-
sharing, the two organizations have made
what was a tentative agreement perma-
nent, although papers have not been
signed, and exact details have not been
disclosed.
The double convention is slated for
late November in the new $17,000,000
Americana Hotel in Miami Beach.
RCA's Light Amplifier
An electronic amplifier of light which
amplifies by up to 1,000 times the bright-
ness of projected light has been devel-
oped by RCA. A present application of
it is in the form of an amplifying fluoro-
scope for industrial x-ray use.
This is one of the research develop-
ments done in the past year. RCA an-
nounces. Others include a magnetic tape
recorder for both color and black-and-
white TV for broadcast use, a home mag-
netic tape player which plays TV pro-
grams through standard TV receivers,
and an electronic cooling-heating system
that works in silence and has no moving
parts.
WHEN YOU BUY...
7m "KG. U.S. PAT. Off-
rS:
m:
Your SIMPLEX Projector Mechanism repre-
sents a priceless investment. You bought il
after long, careful study because you rec-
ognized it as the finest projector on the
market.
Don't take chances with such an investment
— the very success of your theatre depends
upon its performance! When spare parts are
necessary, insist on the best — insist on
SIMPLEX parts!
From the smallest stud pin to the largest gear
cover, every part is made with the same
precision and skill as the mechanism itself.
By using only SIMPLEX parts, you can be
certain of maintaining the high quality of
performance that has made SIMPLEX the
world's foremost projector mechanism!
Genuine SIMPLEX parts are available only
through
VJWJfV
Vow GmmM
of Consistent Quality and Outstanding Service
NATIONAL THEATRE SUPPLY • 29 BRANCHES COAST-TO-COAST
INTERNATIONAL PROJECTIONIST
FEBRUARY 1957
33
New Products for the Industry
without the use of gears or clutches.
Individual slides can be projected with-
out using the magazine or accessories.
A Brighter Tungsten Lamp, designed
to fit existing 1000-watt 16-mm projec-
tors, has been announced by the Lamp
Division of Westinghouse Electric. Rated
at 1200 watts, the new lamp was origi'
nally designed for use by the armed
forces where difficulty is frequently »,.
perienced in illuminating portable screens
big enough to be viewed by large groups.
According to Westinghouse engineers,
tests indicate 25 to 30 per cent more
screen lumens to be obtained due to im-
proved optical fill and increased effici-
ency. Nearly two inches shorter than
other 1200-watt lamps, the new product,
which is known as Model T-12. has the
same filament size as 1000-watt lamps.
Some of the important advantages of
the lamp, according to Westinghouse, are
that it permits the efficient use of wide
screens in 16-mm projection of Cinema-
Scope and Vistascope films. In other
applications, such as diylighted school
rooms, the lamp will have a distinct
advantage.
The compact filament used in the T-12
was made possible by the development of
*********
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
are unitized in construction with
"plug-in" components
that afford easy inspection
and quick servicing.
^ This is Another
EXCLUSIVE FEATURE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
New Westinghouse 1200-watt projection lamp
(right) is compared with bulkier predecessor.
new methods of drawing tungsten wire
and a "floating-bridge" filament construc-
tion developed by Westinghouse. This
design allows the placing of the coils
close together without danger of short-
ing when the filament expands upon heat-
ing.
The 1200-watt lamps will be available
this Fall, and will be made with the
medium pre-focus base, the Bell and
Howell base, and the DC medium ring
for base-up burning.
A NEW 500-WATT SLIDE PROJECTOR,
equipped for remote control use in audi-
toriums, is available from the GoldE
Mfg. Co., Chicago, manufacturer of many
products for projection-room use. Fea-
ture of the projector is its newly de-
signed changer which handles all types
of mounts and which operates by means
of a push button at the end of a 15-foot
remote-control cord. Unlike other remote-
control changers, this projector, known
as the Auto-Mark, instantly operates as
a manual automatic projector as well,
An RCA "honeycomb screen," known
as a directional viewing device, has been
developed by Dr. George L. Beers, an
executive of RCA. The screen is claimed
to make possible "increases of up to 20-
to-1 in picture contrast under adverse
ambient light conditions." This would
allow good picture presentation in ar-
tificially or naturally lighted theatres or
auditoriums. The device is similar to hon-
ey-comb structure, made up of a network
of tiny interconnecting cells. It is fabri-
cated with aluminum foil, and a wide
range of viewing angles can be obtained
by varying the cell width, length and
depth. It is believed that this new idea
is more appbcable to portable 16-mm use
than to theatres.
"STIP-TEx", A STIPPLE-TEXTURED PAINT
developed by the Spatz Paint Industries,
has been introduced on the market, and
is now in use in some drive-ins. The
paint, when applied with a heavy lambs-
wool roller, simulates the texture of
rough cement. Features claimed for the
new product are that it requires only
one coat, doesn't collect dirt, and gives
a clearer picture from any angle in the
drive-in.
New Ace Film Splicer. The Ace Elec-
tric Mfg. Co., New York, announces that
it has completely redesigned its "Clear-
Vision" splicer which handles both ace-
tate and the new "Cronar" polyester-
base film. The Ace Clear-Vision Splicer
operates by means of "Mylar" splicing
tape instead of cement.
A clear non-warping lucite pressure
plate has been incorporated in the new
model to permit unobstructed visibility
during the splicing operation. Cutting
blades are of a special heat-treated stain-
less steel. Piano hinges run the full
length of the splicer and are securely
fastened to insure permanent alignment.
Splicing-blade carriers, set in the pres-
Consistent
Maximum
Light
at
Greater
Economy
DIAMOND
-w-
PROJECTION
U=I«]i?L?
70 PINE STREET • NEW YORK 5, N.Y
34
INTERNATIONAL PROJECTIONIST • FEBRUARY 1957
sure plate, are free running and return
to safe rest position automatically when
the plate is raised.
Register pins are located to conform
with ASA/SMPTE standards. Both
straight cut and diagonal splices are
possible. Also, the pins will handle the
perforation dimensions of both standard
and CinemaScope film. By means of a
thumb screw, one or both rows of regis-
ter pins can recede into the base of the
splicer, making it possible to handle
any film width from 16- to 70-mm.
Hinged arms on both sides of the
working plate are an additional feature
of the new model. This improvement
holds the film down so that work is
uninterrupted during the splicing oper-
ation. Retail price of the splicer is
S69.50.
A new catalogue of its entire line of
professional magnetic tape recorders
is being offered free by Magnecord. Inc.,
of Chicago, a division of Midwestern In-
struments, Inc.. Tulsa. Okla. It contains
15 pages of complete specifications and
information on all models, illustrated
with photographs, plus data on accesso-
ries and modification kits. It may be
obtained by writing the factory at 1101
South Kilbourn Ave.. Chicago 24. Illinois.
PERSONAL NOTES
Edward M. Warnecke, former SMPTE
eastern regional membership chairman,
has been appointed the Society's national
membership chairman for 1957-58. Not-
ing that SMPTE membership has in-
creased 20^ in the past two years, War-
necke stated that the committee will be
ETHYLOID IS THE ONLY QUAL-
ITY FILM CEMENT SOLD ON
THE BASIS OF ITS PHYSICAL
PROPERTIES AND ACTUAL FILM
SPLICING PERFORMANCE.
AVAILABLE AT ALL
THEATRE SUPPLY DEALERS
FISHER
MANUFACTURING CO.
1185 Mt. Read Blvd
Rochester 6, N. Y.
devoted to explaining the activities of
SMPTE and the advantages of member-
ship. Warnecke is assistant chief engineer
of the East Coast Division, Motion Pic-
ture Film Department, Eastman Kodak
Company.
W. Donald Clayton, formerly motion
picture technical representative for the
Du Pont Company in the Boston district,
has been transferred to the New York
district where he will serve trade and
industrial customers. A graduate of Syra-
cuse University where he majored in
business administration. Mr. Clayton has
been with Du Pont since 1948.
Dr. Raymond L. Garman, formerly a
vice-president of General Precision Lab-
oratory Inc., has been elected to the new
position of executive vice-president and
technical director of that organization.
Another former vice-president, James W.
Murray", has been elected executive vice-
president and general manager, also a
newly created post. Promotions are in
line with general expansion of facilities
for research, development and production
at GPL.
Dr. Garman. associated with GPL since
1945. will be in charge of technical ad-
ministration of the company, and Murray,
former vice-president and general man-
ager of the RCA Victor record division,
will be responsible for all phases of
manufacturing and administration.
John I. Crabtree, after 43 years with
Kodak Research Laboratories, is retiring.
The well-known authority on photo-
graphic chemistry was feted with a din-
ner in his honor. Founder of the applied
photography division of Kodak. Crabtree
has garnered many honors, among them
the Gold Progress Medal of the SMPTE,
fur which he also served as president in
1930-31. He has published 160 papers
mi photographic subjects, and just re-
cently he received the Progress Medal
of the Photographic Society of America,
the society's highest award.
Harry" B. Ruble. Du Pont X-ray products
technical representative in Seattle, has
been named sales supervisor for all
Du Pont photographic products in the
Dalla- district. Ruble has been with the
Du Pont Photo Products Department
since 1947. and is a member of the So-
ciety for Nondestructive Testing and the
American Societv of X-rav Technicians.
Harold M. Emlein has been appointed
the manager of the theatre and industrial
products department of RCA, succeeding
J. F. "Jack"' O'Brien, who has advanced
to manager of RCA's Northeastern Re-
gion. With RCA since 1930, and for
the past ten years manager of RCA's
Indianapolis plant, Emlein will be re-
sponsible for the planning, engineering,
marketing and sales of various broad
RCA product lines, which includes sound,
projection, and accessory equipment for
indoor and drive-in theatres. In 1949.
Emlein was awarded the RCA Victor
Award of Merit, the corporation's highest
award for salaried employes.
E. Z. Walters, comptroller of Altec since
its formation in 1937, has been elected
that corporation's financial vice-presi-
dent. He will also continue in the post
of supervising vice-president of the sub-
sidiary Altec Lansing Corp. in Beverly
Hills. California. His successor as comp-
troller is C. R. Rininsland, former head
(if the tax department for both parent
corporation and subsidiaries.
Gordon D. Hiatt has been appointed
assistant superintendent of the cellulose
acetate development division at Kodak.
With Kodak since 1936. Hiatt has done
extensive work in the cellulose acetate
development field, including various pa-
pers and patents on the subject.
A GREAT NEW
SPOTLIGHT
designed byGENARCOINC.
is now in production with
these outstanding features:
• NEW PRINCIPLE CARBON ARC LAMP._ THE
RESULT OF YEARS OF RESEARCH FOR THE
U.S. GOVERNMENT GIVES TWO TIMES
MORE LIGHT THAN CONVENTIONAL ARC
LAMPS, BECAUSE IT USES THE LIGHT OF
BOTH CARBONS.
• COMPLETELY AUTOMATIC AND SELF-
FOCUSING ARC LAMP.
• 2 HOURS OR 2'2 HOURS OPERATION
WITHOUT RECARBONING, FROM A
CONVENIENT 115 VOLTS AC OUTLET.
• LARGE 16" DIAMETER REFLECTOR FOR
HIGH LIGHT OUTPUT.
• 14,000 LUMENS TO FLOOD THE STAGE
OR THE ARENA.
• LAMPHOUSE, REFLECTOR AND MECHANISM
KEPT COOL AND CLEAN BY A BLOWER.
• ONE-LEVERSPOT SIZECONTROL WITH MAX-
IMUM LIGHT OUTPUT FOR EVERYSPOTSIZE.
• USE OF MIRACLE MATERIALS: SILICONE
BASE PRODUCTS, ULTRA INSULATORS,
SPECIAL ALUMINUM ALLOYS, ETC. . . .
• AND TWELVE OTHER EXCLUSIVE FEATURES
FOR DESCRIPTIVE PAMPHLET ON
THIS SUPER ACE SPOTLIGHT WRITE
GENARCO INC.
97-00 B SUTPHIN BLVD. JAMAICA 35, N. Y.
Manufacturers of the METROLITE,
the world's most powerful spotlight
INTERNATIONAL PROJECTIONIST • FEBRUARY 1957
35
GENEVA MOVEMENTS
{Continued from page 27)
lating cam movements. The first so-
lution has been demonstrated in the
preceeding article (IP, December
1956), and the second expedient is the
Jackson oscillating cam movement.
There is a third variant, the Hortson
system, with an 8-slot geneva star ac-
tuated by a common cam in turn
actuated by a drunk cam, as shown
above. It may be adjusted from the
lowest pulldown time to one as rapid
as a 30 degree cam action.
For 35-mm, all the above described
are practical with minor alterations in
design and construction requirements.
The accelerated geneva star such as the
Radion II mechanism, the simple 60
degree eccentric star wheel, and the
old and efficient Powers movement
seem to this writer at least to be the
most practicable intermittent devices
to be employed in present equipment.
On the other hand, the drunk cam
family such as the Philips, the GPL.
and the Holmes projector movements
could be adapted to 25-mm operation.
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
have an automatic crater
positioning system that
maintains a brilliant WHITE light
at the screen at all times.
^ This is Another
EXCLUSIVE FEATURE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
FIG. 20. The Wright drunk
cam movement of the pin
cross type.
And, while the Jackson and Hortson
systems are somewhat complex from
the mechanical point of view, they are
adaptable for 35-or 16-mm work.
FIG. 21. The 12-pin movement employed
the Philips EL 5000 16-mm projector.
To conclude — faster pulldown in-
termittent conversion movements in
conjunction with narrower shutter
blades, simplified stereophonic systems,
correctly chosen arc lamp mirrors as
well as modern anamorphic projection
lenses — all these point the way to
efficient film projection. That is, after
all, one of the major factors in the
existence and preservation of the mo-
tion picture industry.
[THE END]
Cinerama Quits Oklahoma
The Warner Theatre in Oklahoma City
will revert to a regular motion picture
house this month as Cinerama bows out
of the city. The Stanley Warner chain,
apparently feeling that the operation had
reached the saturation point, removed it.
The slight pickup in business when "Cin-
erama Holiday" succeeded the original
"This Is Cinerama" did not justify con-
tinued operation of the process which
has been installed there since last May.
The equipment will go to Havana, Cuba.
Stanley Warner has assured its stock-
holders that it will continue expansion
of Cinerama, but principally in theatres
outside the United States. It is possible
that there will be expansion here when a
mobile unit, designed to be set up and
disassembled inexpensively to present
short runs, can be developed.
Clayton Bail-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 Tibberr Avenue New York 63, N. Y.
36
INTERNATIONAL PROJECTIONIST • FEBRUARY 1957
OBITUARI ES
Wills, Cecil, 62, member of Local 380,
Oklahoma City, Okla., died early last month
after a brief illness. A charter member of
the Local, he had been employed for many
years as projectionist at the 20th-century
Fox screening room in Oklahoma City. His
widow and two sons survive.
Biskirk, Ceylon Clark, 49, charter mem-
ber of Local 744, Cadillac, Mich., died
recently at the Community Hospital in Big
Rapids, Mich. In addition to his projection
work at the Big Rapids Theatre where he
had been employed since 1921, he also owned
and operated Buskirk's Print Shop in Big
Rapids for the last 20 years. Buskirk served
with the U. S. armed forces in Italy during
World War II. He was a member of the
American Legion, 40 et 8. held membership
in the Fraternal Order of the Eagles, and
in Veterans of Foreign Wars.
Akins, Otto, 56, member of Local 249,
Dallas, Texas, succumbed to a heart attack.
For the past eight years he worked as chief
engineer for the Hardin Theatre Supply Co.
of Dallas, and prior to that was associated
for about 17 years with the Interstate Circuit.
He was buried with Masonic services.
Quinn, T. M.. 38, member of Local 400,
Alexandria, La., died December 26. He suf-
fered a heart attack in Jackson, Miss., where
he worked for five years as field engineer
for RCA Service Company. A graduate of
the University of Houston, he served with
the U.S. Navy during World War II. He be-
came a member of Local 400 on August 5,
151. He is survived by his wife, a son and
a daughter.
• • •
Douglas, Roland C, 56, member of Detroit
Local 199, died recently from injuries sus-
tained in an accident. He was very popular
in Detroit projection circles and had a varied
and colorful career in show business, — from
working as vaudeville performer to advance
man for the old Barnum and Bailey circus.
Survivors are his wife and a son.
• • •
Gavin, Robert J., 62, member of Local 511,
Jacksonville, Fla., died after a brief illness.
A member of the Local since 1919, he worked
for many years as projectionist at the Capitol
Theatre in Jacksonville. He is survived by
his wife and son, Robert, also a member of
the Local.
Attack Road Towers
Because of alleged distractions to pass-
ing motorists, roadside drive-in screens
are once again the object of highway
authorities' attention. U.S. Commissioner
of Public Roads, Charles D. Curtiss, in
reporting to the executive committee of
the American Association of State High-
way Officials, proposed strict state licens-
ing of drive-ins to control placement of
screens. Curtiss stated that he had re-
cently taken a tour as "just another
motorist." and had noticed that an in-
creasing number of drive-in screens were
visible enough from the road to divert
a driver's attention.
In the past few years some states have
PATIENCE, PLEASE . . .
Robert A. Mitchell's Manual of Prac-
tical Projection will be off the press
about mid-March. IP has been offer-
ing this must-reading at a special pre-
publication price of $4.50 per copy —
but note that word pre-publication. That
means that the offer applies only to
cash orders received before the book
is off the press. To those of you who
have already sent in your checks, many
thanks, and you'll get your copy di-
rectly the book is out. For those who
haven't ordered as yet, please remem-
ber that on publication date the cost
of the book reverts to its original pub-
lication price of S6.00 per copy.
HUFF'S PACKAGE COOLING SYSTEM
Consisting of
(1) The Positive Carbon Cooler, (2) The Film Track
Cooler, and (3) The Automatic Film Humidifier
will give you an advantage of from 10 to 25 per cent
more screen light than is now available from your 16-
or 18-inch mirror lamps used with Brenkert or X-L heads,
plus a saving of 50 per cent lamp maintenance cost.
PROVE THE ABOVE IN YOUR OWN THEATRE.
See your dealer or write direct to
HAL I. HUFF MFG. CO. •
3774 SELBY AVENUE
LOS ANGELES 34, CALIF.
threatened legislation on screen place-
ment. In those areas where such legisla-
tion was agreed to be confined to just
future outdoor installations, exhibitors
offered little opposition. But certain
states insisted upon removal and replace-
ment of existing offending screens, and
outdoor operators opposed vigorously,
pointing out that the cost of removal
and realigning of screens would be
ruinous.
In conclusion, Commissioner Curtiss
proposed that the drive-in industry be
given a chance to "police itself" before
legislative action is taken.
A CRON-O-MATIC Fully Automatic Car-
bon Saver will cut it an average of $400
a year. Use up positive carbon stubs of
any length, without preparation. When
the stub is entirely consumed the new
carbon goes into use without affecting
the lamp operation in any way. Burning
stubs of average lengths (3V4") down to
3A", saves you 22.2% on your carbon bill.
Designed for use with Ashcraft "D" or
"E", Brenkert-Enarc, Peerless Magnarc,
or Strong Mogul projection lamps. If your
dealer can't supply you, order direct.
Only $42.50
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 ( ) CO.D. inc. postage.
( ) Remittance herewith
NAME
THEATRE
STREET
CITY & STATE
Export: Frazar & Hansen, Ltd.
San Francicco, New York, Los Angeles
INTERNATIONAL PROJECTIONIST • FEBRUARY 1957
37
LETTERS TO THE EDITOR
(Continued from page 18)
except for purposes of equalization, and
should be reproduced by special high fre-
quency "tweeters." If noise in the high
frequency region must be suppressed, some
means other than killing the high should
be employed.
I believe that for practical purposes, if
theatre sound systems were built to have
flat response from 40 to 15,000 c. p. s., a
considerable improvement would be made
over the present sound quality. Most peo-
ple, including myself, hear to well over
15,000 c. p. s.
As to the comparison between optical
and magnetic sound, I believe there should
be little difference in the reproduced sound
quality of the two, though for many reasons
the optical method is far more practical
for theatre use.
E. W. Anderson
Hillsboro, Oregon
Comment: Mr. Anderson's analysis of
the optical-versus-magnetic question is
valuable and, in many respects, typical
of the reactions of those engineers who
look skeptically upon the use of mag-
netic tracks on release prints. The dis-
tortion mentioned by Mr. Anderson is
quite common, but is more often due to
such factors as track deterioration, worn
magnetic clusters, etc., than to actual
overmodulation (a factor difficult to
measure except in the case of variable-
area optical tracks and phonograph
records) .
True, CinemaScope magnetic sound is
theoretically capable of slightly superior
results when the tracks are new and the
reproducers are in perfect condition, but
the advantage over optical sound is not
great enough, in my opinion, to be heard
by even the most sensitive ear and, more-
over, rapidly vanishes as the tracks (and
the reproducers) undergo use.
The use of revised standards for op-
tical-sound recording slits and scanning
beams is under consideration, with ^-mil
recording and V^-mil reproducer scan-
ning beams being favored. At the pres-
ent time, V^-mil recording slits and 1 and
1^-mil reproducer scanning beams are
generally used. With the adoption of
the narrower slits, modern fine-grain re-
cording stock and release positive will
make possible optical frequency response
up to and including 20,000 cycles.
Optical sound played via 1-mil scan-
ning beams (an older standard which is
being restored) is fully capable of level
response from about 40 to 8,000 cycles.
Attenuation is only 1 db at 9,000 cycles,
2 db at 10,000, 15 db at 15,000. There
is no response beyond 18,000 cycles.
CinemaScope magnetic sound, on the
other hand, is capable of level output
from 30 to 9,000 cycles with 1 db atten-
uation at 10,000 cycles, 15 db at 15,000.
and 22 db at 20,000 cycles. Noise be-
comes rather bad at 15,000 cycles with
only 15 db attenuation in a system having
an overall dynamic range of 60 or 70 db.
Noise level is an important considera-
tion. The noise level of CinemaScope
sound (at its very best) is only slightly
less than that of optical sound in the
7,000 — 10,000 cycle range. At very low
frequencies (30 — 60 cycles), optical
sound is definitely superior. The noise
level of perfect CinemaScope tracks in
the main frequency range (100 — 5,000
cycles) is slightly less than is the case
with optical tracks, even when these are
unscratched.
It is truly deplorable that optical
tracks are not reproduced at full wide
range in most theatres. For that matter,
CinemaScope tracks aren't, either! We
spoke above of frequencies as low as 30
to 60 cycles. Very few theatres repro-
duce this low from any type of track.
Furthermore, some high-frequency atten-
tuation is usually necessary to reduce
shrillness and to prevent echoes — an
acoustical problem.
Modern optical tracks made from mag-
netic originals are capable of reproduc-
ing from 30 or 40 cycles to 10.000 cycles,
as stated above; but most theatres — even
38
INTERNATIONAL PROJECTIONIST • FEBRUARY 1957
those boasting "wide-range" sound sys-
tems— reproduce only from 60 or 70
cycles to 8,000 or 9,000 cycles. Old-style
tracks made from optical originals and
dubbed duplicates demanded a somewhat
restricted range to "squelch" distortion
and noise in the higher frequencies.
The admittedly slight advantages of
CinemaScope-type magnetic tracks are
quite unavailable to the average user be-
cause of track deterioration and other
factors pointed out in the August and
September issues of IP. In actual prac-
tice it is found that attenuation begins in
the 5,000 — 6,000 cycle range (even lower
when the sound magnets are worn!) and
becomes serious at 9,000 cycles even
though some response at higher frequen-
cies is retained. Response in the 10.000 —
12,000 cycle range is often very feeble —
so feeble as to be unheard by the audi-
ence.— R. A. M.
Report from Down Under
To the Editor of IP:
Just a few lines from down under in
Australia to let you know what's been hap-
pening in this part of the world. Around
Melbourne, drive-ins are everywhere but
here in Sydney they have just made a start.
However, we expect six drive-ins to open in
this region in about two months. Most of
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
have a built-in exhaust system
that cools the rear of the
reflector so as to permit the use
of the newly developed "cold"
reflector.
^ This is Another
EXCLUSIVE FEATURE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
these are being built through a joint effort
by the two largest exhibitor chains, and
there is considerable controversy as a result
because independent exhibitors are finding
it difficult to obtain licenses to operate
drive-ins. Some changes in government
policy may be coming.
Drive-ins here follow almost the same
operation plan as in the States. It gets dark
here quite early in the evening, even dur-
ing the summer season which we are now
enjoying, making it possible to put on two
shows a night, starting at 7:30.
After the recent Olympic games, the big-
gest thing to happen in Australia this year
was the introduction of TV. There are
three stations operating in Sydney and the
same number in Melbourne. Since hotel
bars in Sydney are allowed to remain open
until 10 p.m. instead of the usual 6 p.m.
closing time general in this country, a num-
ber of people sit around these bars watch-
ing TV and drinking until closing time.
The price of home TV sets is very high —
varying from $400 to $600 — but people are
buying them on time, paying about $60
down and §4 a week. The effect of home
TV on theatres is not noticeable at present,
but we know that the situation will change.
By next winter it is believed that theatres
will feel the pinch, particularly in the
suburbs.
By the way, I hear that they are not put-
ting in any more four-track CinemaScope
sound systems. The public doesn't appre-
ciate the difference between magnetic and
optical reproduction. We also find that
some of the novelty associated with the big
screen has worn off and that the houses that
get the business are the ones that play good
pictures.
In closing, let me wish you and the IP
staff a Merry Christmas and a Happy
New Year.
Ivan Bailue
Sydney, Australia
Projection Porthole Glass
To the Editor of IP:
I very much desire to follow the sugges-
tion made in IP's November Projection
Clinic column and use optically flat pro-
jection porthole glass. I am lucky enough
to be working in a year-round air-condi-
tioned projection room at the 31 Drive-in
Theatre here, but I still need port glasses to
keep out excessive dust and east wind.
I have contacted B & L and American
Optical, but I have not been able to locate
optically flat glass of 9" x 11" dimensions.
Can you give me the name of a company
that can supply me with this size glass?
Harry P. Smith
Cullman, Ala.
Comment: Optically flat glass of the
high quality required for projector ports
may be obtained in any desired size, and
either uncoated or coated, from National
Theatre Supply, which has branches in
all principal cities. The branch nearest
Cullman, Alabama, is at 187 Walton
Street, N.W., Atlanta 3, Georgia.
We are advised by NTS that optical
HILUX
ANAMORPHIC
PROJECVOV lE/VQEQf
Comparison tests in famous theaters through-
out the world have proven Hilux Anamorphic
Projection Lenses vastly superior. Precision
designed and built, they have optimum op-
tical correction for color, definition and dis-
tortion. You owe it to your audiences to use
Hilux Anamorphics for ALL prints.
An amazingly precise variable anamorphic that gives
non-vignetting performance with both 4" (101.6mm)
and 22%2" (70.6mm) diameter prime lenses. Complete
control up to 2X without shifting lens or projector.
A high quality 2X fixed anamorphic for all projection
lenses up to 22%2" (70.6mm) with a 64mm free rear
aperture for maximum non-vignetting light trans-
mission.
A 1.5X to 2.0X variable anamorphic for all standard
2%" (70.6mm) projection lenses. 64mm free rear
aperture assures maximum light with no vignetting.
Hilux 264 and 152 are available with either fixed or
variable corrector len$es. For catalog sheets and focal
length computer, write Dept. P-66.
PROJECTION
OPTICS
PROJECTION OPTICS CO., INC.
Rochester, N~. V. • London, England
INTERNATIONAL PROJECTIONIST • FEBRUARY 1957
39
glass of the 9" x 11" size, uncoated, is
priced at $14 per plate. If the anti-reflec-
tion coatings are desired, $25 should be
added for each coated surface, that is, a
total of $50 for both sides in addition to
the price of the glass alone.
High-quality optical glass, such as that
sold by NTS, transmits approximately
92% of the visible projection light. When
anti-reflection coatings are present on
both sides, the transmission is increased
to 97 or 98% — a greater increase than
can be obtained by trimming the blades
of the projector shutter down to the irre-
ducible minimum. Moreover, pictorial
contrasts are increased to give a brilliant,
sparkling picture when coated projector-
port glasses are used. These glasses
should be kept clean at all times, dirt and
dust being removed by the same methods
employed for cleaning fine projection
lenses.
PIONEER PARALLELS
[Continued from page 21)
fluorescent surface. Thus an image
would be reproduced on the surface
of the receiving cathode-ray tube as a
result of the fast-moving electron beam
activating spots on the fluorescent sur-
face.
Iconoscope Beginnings
Campbell Swinton's disclosure was
most important because it revealed for
the first time a camera tube with a
form of storage action. Some twenty-
two years later Zworykin was able to
demonstrate a camera tube which uti-
lized this storage principle, the intro-
duction of the Iconoscope.
In 1911 Boris Rosing was continuing
his work with the cathode-ray tube.
your sound is bad!
It's tough enough to keep 'em coming
today with a good attraction . . .
and perfect sound.
An altec service contract will bring those
dissatisfied "ear-cuppers" back, along
with plenty of new faces.
Think it over!
ALTEC
161 Sixth Ave. New York 13, N. Y.
Specialists iv! Motion Picture Sound
i 1
YOUR BEST BUY — U. S. SAVINGS BONDS
He discovered that the speed of the
electron beam had an effect on the
brightness of the spot it produced.
Whenever the spot on the screen was
moving fast, the line it produced ap-
peared dim; whenever it was moving
slowly, the line appeared bright. Thus
the apparent brightness would be in-
versely proportional to the speed of
the beam as it swept the face of the
tube. He therefore proposed a new
principle of scanning of "velocity
modulation" for varying the intensities
of a picture tube instead of the earlier
system of intensity modulation. How-
ever, because of many difficulties, most
present-day methods use the intensity
modulation method rather than Ros-
ing's velocity modulation. A notable
exception is the Eidophor Projector
which uses velocity modulation for
scanning.
In 1910, A. Ekstrom in Sweden pat-
ented a method of television which
used the flying spot principle of scan-
ning. This was done independently of
the earlier work of Rignoux and Four-
nier in France.
During this period the sound picture
had a flurry of activity. In 1909 some
two hundred theatres in England were
featuring some form of talking pic-
ture. Edison had continued his work
on his talking picture apparatus, and
by 1912 his Kinetophone had nearly
perfect electrical synchronization.
The Institute of Radio Engineers
was formed May 13, 1912, by a merger
of the Wireless Institute and the
Society of Wireless Telegraph Engi-
neers.
In 1914 some of the first vacuum
tube direct current amplifiers were de-
veloped by Irving Langmuir in the
United States.
"The Birth of A Nation"
The motion picture industry was
growing in stature with the work of
D. W. Griffith. In 1915 and 1916 he
released two of his greatest master-
pieces, The Birth of A Nation and
Intolerance. These films were a monu-
ment to the "young art of the motion
picture and showed what could be
done by a master craftsman. Griffith's
For DRIVE-INS & THEATRES with HUGE, WIDE -AREA SCREENS • CARBONS, BOONTON, NJ.
40
INTERNATIONAL PROJECTIONIST
FEBRUARY 1957
contributions to the cinema cannot be
overestimated. He used every device
at his command — the closeup, the
"switch-back." sustained suspense, the
fade-out, and restraint in expression.
He was a master at cutting and editing
and raised the motion picture to one of
its highest peaks.
In July, 1916, C. Francis Jenkins
founded the Society of Motion Picture
Engineers. The purpose of this organ-
ization was "the advancement in the
theory and practice of motion picture
engineering and the allied arts and
sciences, the standardization of me-
chanism and practices employed
therein."
The United States entered World
War I in 1917. and the motion picture
industry continued its growth. The
radio industry expanded rapidly and
was improved immensely. But the in-
fant art of "seeing at a distance" was
in a period of dormancy.
RCA's Inception
Radio became very important during
the war. and the United States govern-
ment realized that much of the control
of wireless communication was in for-
eign hands. As a result, the Radio
Corp. of America was formed October
17, 1919, when General Electric bought
out the American branch of the Mar-
coni Co. Then Westinghouse Electric
of Pittsburgh bought out all the wire-
less patents that were still available
X PUCES _
NOT }
HOLDING i
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., INC.
DEPT. J
315 West 43rd Street New York 36, N. Y.
JUdson 6-1420
and set up its own subsidiary to engage
in wireless communication. However,
Westinghouse joined the RCA cross-
licensing setup in June, 1921.
The start of the 1920's found only
one radio station in the broadcast field,
station KDKA, Pittsburgh. But growth
in radio broadcasting came rapidly and
by the end of 1922 there were some
217 licensed stations on the air.
In 1923 Lee De Forest was working
on a method of recording sound on
film. He was using methods similar to
that employed by Lauste for recording
sound. However, he had the advantage
of being able to use vacuum tubes for
amplification. He also used loud speak-
ers in conjunction with the screen
image. His system was called the
Phonofilm and was first demonstrated
publicly at the Rivoli Theatre in New
York City. April 12. 1923.
In spite of the demonstrations, De
Forest was unable to interest any of
the major film producers in his system.
The motion picture was a success with-
out it. Sound must wait for a more
opportune moment.
THAT OPTICAL TRAIN
{Continued from page 9)
on the film aperture, it can be under-
stood that the elliptical lamp mirror
functions exactly like the condensing
lens of the condenser-type optical sys-
tem.
When a large, thin converging lens
is used in conjunction with the lamp
mirror, the mirror must have a para-
bolic, not an elliptical, type of curva-
ture. This is the curvature required for
searchlight and auto headlight reflec-
tors. It has the unique property of col-
lecting the light from the source and
reflecting it in essentially parallel rays.
The parabolic mirror system mini-
mizes the light loss caused bv the
NO "SIDE SEAT SQUINT
WITH THIS
"ALL-THERE" SCREEN
VICRA4LITE
shadowing effect of the positive carbon
holder. In the elliptical mirror system,
the light beam becomes smaller and
more concentrated as it travels from
the surface of the mirror to the image
of the source at the aperture. It is con-
siderably constricted at the place oc-
cupied by the positive carbon holder,
and hence is rather seriously obstruct-
ed by that unit. A beam of greater
diameter, as, for example, the beam
of parallel rays produced by a para-
bolic mirror, suffers far less loss of
light by shadowing.
Parabolic "Spread"
The parabolic mirror system, how-
ever, has two disadvantages. The large
converging lens wastes about 10% of
the light by reflection and absorption.
The closeness of the large lens to the
picture aperture results in a greater
"spreading" of the light rays which
emerge from the aperture, requiring
a somewhat faster (more expensive
and optically less satisfactory) projec-
tion lens to intercept and utilize them.
Whereas in the parabolic system the
mirror collects the light and the large
SCREEN
"the screen of optical precision"
Write today for booklet
L. E. CARPENTER & COMPANY
VICRA-LITE SCREEN DIVISION
Empire Slal* Building NewYork 1. N.Y.
In Canada: General Theater Supply Co., Ltd. Toronto
************
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
have the new type air cooled
heat filter that is instantly
removable during actual
projection.
^ This is Another
EXCLUSIVE FEATURE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
INTERNATIONAL PROJECTIONIST
FEBRUARY 1957
41
lens converges it, the mirror of the
elliptical system performs the twofold
function of collecting and converging.
A similar distinction of functions is
made in condensing-lens systems: the
lens nearest the arc is the "collector,"
and the lens nearest the aperture is
the "converger."
Illumination Efficiency
What about the relative illumination
efficiencies of mirror and condenser
arc lamps for motion picture projec-
tors? Reflector lamps having /:2.0 or
/:1.9 16-inch mirrors and /:1.7 18-inch
mirrors are extremely efficient with
rotating positive carbon trims burning
up to 135 amperes. The total light
output from a projector using these
elliptical mirror lamps (projector
shutter not running) ranges from 15,-
000 to about 30,000 lumens, depending
on the current used, the optical ad-
justment of the arc lamp, and the speed
of the projection lens. (Lenses of
/:2.0 or /:1.9 are standard, faster
lenses having unsatisfactory focus
characteristics.)
The highest powered mirror lamps,
represented by the Strong Super "135"
and the National Excelite "135," have
photoelectric crater-positioning sys-
terns which experience has shown to [$
be absolutely necessary for steady*
white light and consistently high op ||
tical efficiency in rotating-positive mir-
ror lamps.
Light outputs higher than 30,000
lumens from mirror lamps have been
reported by manufacturers; and at
least one of these newer lamps, the
Gretener "Ventarc," has substantiated
the claims made for it. This lamp
burns 12-mm Ultrex positives with a
revolving graphite disk negative at 230
amps., and requires special and very
elaborate cooling means. The light
output is more than 65,000 lumens.1
A light output of 50,000 lumens
claimed for an ordinary 18-inch mirror
lamp burning 13.6-mm regular posi-
tives at 160 amps, (described in IP
with appropriate "words of caution"2)
has not yet been confirmed by any in-
dependent authority. Indeed, one of
the larger lamp manufacturers feels
very strongly that the use of 13.6-mm
carbons with ordinary lamp mirrors
does not result in more light unless
wide-film projector apertures are used.
Durable Heat Filters
Modern condenser lamps are ably
exemplified by the Peerless Hy-Can-
descent lamp having /:2.0 aspheric
condensers and an efficient absorption-
type heat filter. This type of heat
! filter has been found bv test to be more
adurable and, in the long run, more
|effective for projection purposes than
Q* When is a mistake a blunder?
A
Use the handy order form below
When a projectionist is not a regular subscriber
• to IP — MUST reading for the projectionist craft.
INTERNATIONAL PROJECTIONIST
19 West 44 St., New York 36, N. Y.
Enter my subscription for ° \ year <™ issues-$2.50
7 v □ 2 years (24) issues— $4.00
Foreign and Canada: Add 50c per year
Name
Address
City
Zone
State
*********
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
pattern the spot to the aperture
so as to efficiently utilize all
useful light from the carbon.
^ This is Another
EXCLUSIVE FEATURE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
the unstable dichroic type. Burning
13.6-mm regular positives at currents
ranging from 125 to 180 amps., the
Hy-Candescent furnishes from 12,000
to 25,000 lumens of steady, uniformly
distributed white light. Automatic
crater positioning devices are not ne-
cessary in condenser lamps because
condensing-lens systems are optically
much less critical than reflector sys-
tems, and operate satisfactorily with
a minimum of attention from the pro-
jectionist. Condenser lamps are used
whenever the highest quality of bril-
liant picture illumination is desired.
"Simplified" HI mirror lamps burn-
ing copper-plated non-rotating posi-
tives at currents ranging from 40 to 75
amps, supply from 5,000 to about 15,-
000 lumens, and are suitable for small
and medium size indoor theatres. They
are more difficult to operate than ro-
tating positive HI lamps because the
positioning of the negative carbon
must be adjusted frequently to insure
even burning of the positive crater.
^'Gretener Ventarc for Todd-AO" by Joseph
Tritsch, IP for November 1956, p. 7 ef seq.
2"Better Light from HI Reflector Arcs" by R. A
Mitchell, IP for November 1956, p. 14, et seq.
[TO BE CONCLUDED]
42
INTERNATIONAL PROJECTIONIST • FEBRUARY 1957
• • •
...and what a sweetheart it is! So easy to live with. Never gives me
problems ... just keeps on performing day-in and day-out ... year after
year without any fuss or bother. As far as I'm concerned the sweetest
song a projectionist can hear is the smooth, dependable hum of a Simplex
X • L. So take the advice every experienced projectionist will give you
...if you want the best companion you can get for those long, lonely
hours up there in your booth... tell the boss to get a Simplex X«L!"
Manufactured by
INTERNATIONAL PROJECTOR
DIVISION OF SIMPLEX EQUIPMENT CORPORATION
Distributed by
NATIONAL THEATRE SUPPLY COMPANY
SUBSIDIARIES OF GENERAL PRECISION EQUIPMENT CORPORATION
1
MARCH
1957
VOLUME 32 • NUMBER 3
30c A COPY • $2.50 A YEAR
7Lo lamp w, Misl Ub/dcL i
I
CAN PRODUCE SO MUCH LIGHT.
ADC MARK REG
fi J ft £ ft ft fi
NOT A REFLECTOR ARC!
WRITE FOR DATA
/ ** MAGMA
MagnMC
TRADE MARK REG
fi J J) I ft ft fi
A 75-77 AMP. REFLECTOR ARC!
PROOF
Hy-Candescents were selected for all important
"CINERAMA" installations. (Chicago, New York, Los
Angeles, San Francisco, Philadelphia, and Washing-
ton, D. C.)
Hy-Candescents were chosen by Paramount for all
installations of Horizontal "VISTA-VISION".
Hy-Candescents were again selected by TODD-AO
for "OKLAHOMA".
You have to do the same if you want all the light
there is for big pictures.
This lamp at 75-80 amperes produces as much and more
light as any so called large reflector lamps, using 85-95
amperes, employing expensive heat filters and water
cooling systems.
By comparison its cost of operation, in carbons, reflector
maintenance, current and parts upkeep is far lower than
others.
Also, its selling price is hundreds of dollars lower and
they may now be purchased from most all supply dealers.
These circumstances have made the PEERLESS MAGN-
ARC Cinearc the most widely used lamp in the world!
010 ftfi Ca f-O.B. Chicago, is s
OZZ.UU Cd. PEERLESS 14" Hy-Lu
F.O.B. Chicago, is still the retail price of our
men silvered glass reflectors.
■I.E.McAULEY MFC. CD.
552-554 WEST ADAMS STREET
CHICAGO 6. I1LINOIS
A •SUBSIDIARY OF
GENERAL
PRECISION
EQUIPMENT
CORPORATION
B 641632
flAR 25 mt
B 641632
LAST CALL!
SPECIAL ;
pre-publication offer/
Robert A. Mitchell's 500-Page
MANUAL OF PRACTICAL PROJECTION
These chapter headings indicate
the completeness of the book's
contents:
PART I: FILM
Inspection and Repair of Prints
Prevention of Damage to Prints
Film and the Heat Problem
PART II: THE PROJECTOR
Notes on Projector Maintenance
Film-Guiding in the Projector
The Intermittent Movement
Functions of the Projector Shutter
PART III: PROJECTION OPTICS; SCREENS
Optical Efficiency in Projection
The Projection Lens
Lens-Matching; Care of Lenses
Screen Types and Picture Brightness
Screens, Apertures, Aspect Ratios
PART IV: THE ARC LAMP
The Carbon Arc
Operating Characteristics of Arc Lamps
PART V: GENERAL PROJECTION
PRACTICE
The Projectionist's Role as a Showman
Projection Preparations for the Seasonal
Theatre
More Light for Drive-In Screens
PART VI: MOTORS, GENERATORS, AND
RECTIFIERS
Types of Motors
Maintenance and Servicing of Motors
Types of Generators
Maintenance and Servicing of Generators
Rectifiers for Projection Arcs
PART VII: SOUND REPRODUCTION
SYSTEMS
Photocells and Optical Sound
Testing Amplifier Parts
The Sound-on-Disk Reproducer
The Sound-on-Film Reproducer
Acoustics in Projection
PART VIII: PROJECTION OF COLOR AND
3-D FILMS; FORMULAS
The Projection of Color Films
Stereoscopic Projection
Useful Projection Formulas
NOW on the Press
In order to bring you the most completely up-to-date Manual pos-
sible, the author has made last-minute revisions in the text to
bring the information in this book right up to yesterday. The
revisions have been completed, and the Manual is now on the press.
This is definitely your last chance to get a copy of the most com-
plete and practical handbook for projectionists ever compiled
at a money saving
pre-publication
price of only
$4-50
regular ,
(NET-
NO DISCOUNT)
gular price $6.00
Remember . . .
Once the Mitchell Manual is off the press, the special pre-publi-
cation offer will be withdrawn and the regular list price of $6.00
per copy will prevail. For a very limited time, IP's files are still
open to the special order blank below.
But— LAST CALL!
INTERNATIONAL PROJECTIONIST
19 West 44 St., N. Y. 36, N. Y.
Gentlemen: Please send me copies of R. A. Mitchell's MANUAL OF PRACTICAL
PROJECTION at the special pre-publication price of only $4.50 per copy, postage prepaid.
Enclosed is check for money order) for $
NAME
ADDRESS
CITY
ZONE STATE
INTERNATIONAL PROJECTIONIST
MARCH 1957
Prof it from RCA's bright ideas
■—- about lighting any screen
T*»:
v%*
^iAjy1
M
MPlam
WE&
m I
} '
Whether you count receipts from a 1000-
car drive-in or from a neighborhood
hard-top, RCA's complete line of arc
lamps lets you choose exactly the power
and performance your size screen re-
quires. There's every chance you'll put
those receipts on the rise with the natural-
looking brightness of a picture perfectly
lighted by RCA.
RCA's new Super Cinex Light Projecting
System puts as much as 3^ more light on
screens of largest drive-ins and indoor
theatres. Included in the system are the
Super Cinex Arc Lamp, a 12-phase 165-
ampere selenium rectifier and an AC
9-gallon water re-circulator. The fast
RCA Super Cinex has an optical speed
off/1.6, uses a 13.6mm carbon, has an
air-cooled 18" reflector.
RCA Dyn-Arc's advance-engineered fea-
tures have boosted it into top popularity
across the nation. It's perfectly adapted
for the f/1.7 lens, uses 11mm carbons,
has an 18" reflector. Along with Dyn-
Arcs, RCA's Wide-Arc Lamps lead their
field in light per ampere. Powerful, rug-
ged Wide-Arcs are standard favorites for
economical and efficient performance
with f/1.9 lens and 10 or 11mm carbons.
To get the most light for the least cost,
the Line that builds Lines
at Your Box-Office
get the right RCA lamp. It's easy to do!
Simply call your RCA Theatre Supply
Dealer for expert advice. And be sure to
ask about RCA's very low-cost Budget-
Ease terms . . . the wise and businesslike
way to stretch your RCA projection lamp
cost over a comfortable period. With
RCA, there's money in light ... on
your screen !
THEATRE :
EQUIPMENT
UMUhMM
RADIO CORPORATION of AMERICA
Theatre Equipment Safes Camden, N.J.
Tmk(s)® In Canada: RCA VICTOR Company Limited, Montreal
International
PROJECTIONIST
R. A. ENTRACHT, Publisher
ROBERT C. MacLEOD, Editor
R. A. MITCHELL, Contributing Editor
Volume 32
MARCH 1957
Number 3
Index and Monthly Chat 5
That Important Optical Train, II 7
Robert A. Mitchell
New Italian Projector for Widescreen Presentation. 12
Rafaello Fedi
Cinemiracle Process Bows In 16
Joseph Henry
Telecasts 18
From The British Point of View 19
R. Howard Cricks
Equipment News from Allied Drive-In Conclave. . 20
20th-Fox Adopts Small-Sprocket Magoptical 21
A Defense of Magnetic Reproduction 22
Dr. John G. Frayne
In the Spotlight 24
IA Elections 25
A Practical Simplified Dowser System 26
Joseph Holt
A History of Anamorphic Lenses 27
Rudolph Kingslake
Projection Clinic 28
Nitrate versus Acetate Film Safety 30
Allen L. Cobb
Personal Notes 32
Book Review 35
The Ole Crank Twister 36
Frank MacDonald
Obituaries 37
Miscellaneous Items, News Notes, Technical Hints
INTERNATIONAL PROJECTIONIST, published monthly by the Inter-
national Projectionist Publishing Co., Inc., 19 West 44 Street, New
York 36, R. A. Entrachr, President. Telephone: MUrray Hill 2-2948.
Subscription Representatives: AUSTRALIA— McGills, 183 Elizabeth
St., Melbourne; NEW ZEALAND— Te Aro Book Depot, Ltd., 64 Court-
nay Place, Wellington; ENGLAND and ELSEWHERE— Wm. Dawson &
Sons, Ltd., Macklin St., London, W. C. 2. Subscription Rates: United
States and U. S. Possessions, $2.50 per year (12 issues) and $4.00 for
two years (24 issues). Canada and Foreign countries: $3.00 per year
and $5.00 for two years. Changes of address should be submitted four
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., under the act of March 3, 1879. INTERNATIONAL
PROJECTIONIST assumes no responsibility for personal opinions ap-
pearing in signed articles, or for unsolicited articles. Entire contents
copyrighted 1957 by INTERNATIONAL PROJECTIONIST PUBLISHING
CO., INC.
»420
monthly Oh**
This Side of the Curtain
WE HAVE always considered that the name of this maga-
zine is a pretty good example of straightforward, informa-
tive simplicity — an entity in itself, like a finely-machined
tool: there it is, and there isn't anything more you can
do to it to improve it. That, we think, is pardonable
pride, because those publications that name themselves
Bee, Mountain Echo, Nugget, etc., though they be excel-
lent, are not publications concerned with Bees, Mountain
Echoes, Nuggets, etc.
But the sign out front says International Projectionist,
and it means what it says: our concern is the projec-
tionist, and we consider him internationally. Granted the
globe on the cover shows the Western Hemisphere, and
granted that the bulk of the material that appears in this
publication is from American sources, still the material
is not aimed solely at an American audience, and IP's
pages have always been open to any competent contribu-
tion from any nation.
There is a certain international cooperation among
technicians that is far more tranquil than what goes on
in the UN headquarters a few blocks from this office.
That is, most of the time.
All this is by way of pointing out that a good deal of
the articles coming in here lately have been from across
the waters, and we will pass them on to you on this side,
as, we hope, in the past we have passed on our informa-
tion overseas. Let's encourage hands-across-the-seas swap-
ping of ideas.
But, funny . . . although we hear so much about the
marvelous technical developments going on behind the
Curtain, we have yet to hear a smidgin of cinematic news
from the Enlightened Ones.
How about that?
No More Donnybrooks?
SOME FAMILIES just can't get along without scrapping
among themselves. Everybody's all of the same interest,
but there's a clash of temperament and/or money, and
the ball opens. What is known among our shamrock-wear-
ing brethren as a Donnybrook.
But — let an outside danger threaten that same family,
and it turns a united front to face that danger. Consider
the overnight unification of this country after Pearl Harbor.
Well, the motion picture industry had its Pearl Har-
bor some time ago, but the inter-family squabbles just
went right on. just as if it were the good old times when
every day was Saturday, and every Saturday New Year's
Eve. So the competition moved right in and stole the
family silverware.
"... guilty by default by not organizing the remedy."
We quote S. H. Fabian. Stanley Warner chain president,
who should know.
But at this writing there is encouraging news. MPAA
president Eric Johnston has set up a steering committee
on arbitration among TOA, National Allied, and repre-
sentatives of exhibition.
The next time we're filling up space in this column,
let's, hope we have even better news. Cross your fingers.
INTERNATIONAL PROJECTIONIST • MARCH 1957
High-Intensity Projector Carbons
11% more light
20% slower burning
10% more light
25% slower burning
Look to National Carbon for leadership
in the basic research and practical
development of better projector 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 York 17, N. Y.
SALES OFFICES: Atlanta, Chicago, Dallas, Kansas City, Los Angeles, New York, Pittsburgh, San Francisco • IN CANADA: Union Carbide Canada Limited, Toronto
INTERNATIONAL PROJECTIONIST
MARCH, 1957
Volume 32
MARCH 1957
Number 3
That Important Optical Train
By ROBERT A. MITCHELL
Descriptions of various optical systems coupled with
some practical advice on the care and maintenance of
lamphouse-to-lens installations conclude this series.
MAZDA incandescent lamps are
ideally suited to small pro-
jectors when the projected pic-
ture does not exceed 4 or 5 feet in
width; but the shape of the glowing
tungsten filament is a source of annoy-
ance in conventional motion-picture
systems.
As it was explained in the preced-
ing installment, the light source is im-
aged upon the film aperture in these
systems. Even though the filament im-
age is somewhat blurry, the glowing
filament wires nevertheless show up on
the screen as discolored streaks with
projector systems, and (2) by placing
a concave spherical mirror behind the
bulb to form an image of the filament
in the plane of the actual bulb filament.
Carefully adjusted, the spherical re-
flector "fills in" the spaces between
the filament wires with the filament
image. This expedient also increases
the light on the screen from 20% to
60%, depending upon the reflectance
of the mirror and the transmittance of
the glass bulb envelope (which is
rather low in bulbs that have become
perceptibly blackened by evaporated
tungsten) .
CONDENSER
RELA5T-LENS
r\
\ Image of 7
T fi lament X
Image of
condenser
L,ens
t^J" K Rim aperture
Non- uniform light source
(suck as an incandescent filament)
FIG. 1. The Koehler "relay-
condenser" system designed
to avoid irregular screen
illumination for film projec-
tion when the light source
is large or irregular in
shape, as is the case with
mazda bulbs and xenon
tubes. The source is imaged
by the condenser upon an
intermediate relay lens
which, in turn, images the
evenly illuminated con-
denser upon the aperture.
vertical shadow-bands in between
them.
This defect of mazda projection is
partially overcome in ordinary pro-
jectors (1) by utilizing a "seaii-stere-
opticon" system with the film aper-
ture closer to the condenser than is
the case in the more efficient theatre-
But even the spherical mirror fails
to eliminate the irregularities of the
light source entirely in true motion-
picture optical systems. Consequently,
a different type of optical system is
necessary for perfectly smooth and
uniform screen illumination when
mazda lamps are used for motion-pic-
ture projection. The Koehler "relay-
condenser" optical train, illustrated by
Fig. 1, is such a system.
In the Koehler system, the lamp
and condenser are moved farther back
from the picture aperture, and an in-
termediate "relay" lens of appropri-
ate diameter and focal length inter-
posed between them. The lamp filament
is imaged by the condensing lenses
upon the relay lens, and the relay lens,
in turn, images the uniformly illumi-
nated condenser upon the aperture.
The extra lens normally wastes about
10% of the light (only 2%— 4% if
antireflection-coated) , but this is a low
price to pay for a smoothly lighted
screen with mazda lamps.
Hot-Spot Problems
Relay-lens systems are, of course,
unnecessary when the light source is
uniformly brilliant, bike the positive
crater of the low-intensity carbon arc.
The crater of the high-intensity arc,
on the other hand, is brightest at its
center, the brilliancy falling off rather
severely toward its edges. Unsatisfac-
tory light distribution across the face
of the HI positive crater is the chief
reason why the corners and sides of
Hi-illuminated screens are often notice-
ably less bright and somewhat more
reddish or brownish than the middle
area — the "hot spot." This trouble is
most prominent when HI positive car-
bons of small diameter are burned.
The hot-spot effect of HI illumina-
INTERNATIONAL PROJECTIONIST
MARCH 1957
tion can be overcome by forming a
highly magnified image of the crater
upon the aperture, utilizing only the
central portion of the light-emitting
crater; but this expedient is wasteful
of light. It has been tried with fair
success, however, by burning 13.6-mm
positive carbons in 18-inch mirror
lamps having the usual magnification
ratio employed for 9-, 10-, and 11-mm
positives. Even so, the oversize "spot"
of wasted light on the aperture plate
heats the back of the picture mechan-
ism unduly, making water cooling of
the film gate a necessity.
Application of the Koehler relay
system to HI carbon arcs at once sug-
gests itself as the logical remedy for
the troublesome hot spot with dim,
discolored corners and sides. But seri-
ous difficulties are encountered when
the Koehler system is applied to re-
flector arcs. The positive carbon hold-
er and the hole in the middle of the
mirror are imaged by the relay lens
upon the aperture!
To solve this problem, the German
firm of Zeiss Ikon devised an in-
genious optical system which effective-
ly eliminates shadowing while retain-
ing the obvious advantages of the
Koehler principle. This is a method
worthy of study because it has been
successfully applied to lamps of Zeiss
manufacture and widely used in Euro-
pean theatres.
Instead of a single intermediate
lens, there are two "lens plates" in
the lamphouse cone, the one nearest
the arc mirror having a "raster" of
about 150 rectangular-shaped convex
lenses embossed in it, and the one near-
est the aperture the same number of
hexagonal convex lenses. Known by
the German word for "honeycomb con-
denser" {W abenkondensor) on ac-
count of the appearance of the hex-
agonal-lens plate, this interesting sys-
tem is illustrated by Fig. 2.
W 'abenkondensor Operation
Here is how the Wabenkondensor
works. The elliptical arc-lamp mirror
throws a light forward in the usual
way, but the beam is intercepted in
the lamphouse cone by the rectangular-
lens plate (A in Fig. 2). Now, each of
the 150 rectangular lenses focuses a
tiny image of the arc mirror upon the
corresponding hexagonal lens of the
hexagonal-lens plate (B in Fig. 2).
Each hexagonal lens, in turn, images
one of the evenly illuminated rectan-
gular lenses upon the picture aperture,
the image ("spot") having the same
shape as the conventional 3:4 or Cine-
maScope aperture, and only a trifle
larger. The overall effect is the super-
position of approximately 150 rec-
tanglar "spots" upon the film
aperture, each uniformly illuminated.
Partial shading of a portion of the
FIG. 2. The Zeiss Ikon Wabendondensor ("honeycomb condenser"), an ingenious modification of
the Koehler relay system for mirror arcs. The simple relay system cannot be used because the
positive carbon holder and the hole in the middle of the mirror would be imaged upon the
aperture.
The hexagonal-lens plate B images the numerous rectangular lenses of the rectangular-lens
raster A upon the aperture, superimposing the 150 separate images for even illumination. The
slight loss of light occasioned by the two lens plates is more than compensated by the light-
saving rectangular "spot."
rectangular-lens plate by the positive
carbon holder thus has no effect upon
the uniformity of aperture illumination.
The Wabenkondensor is well suited
to "simplified" HI arcs burning the
smaller carbons, as these lamps can
give uneven and discolored screen il-
lumination. Moreover, the Wabenkon-
densor renders focal positioning of
the positive crater less critical, mini-
mizing uneven, discolored screen light
even when the positive crater has wan-
dered from its optimum focus. Only
the distance separating the two lens-
array plates is critical, but this is
fixed by their mounting arrangement,
and is never changed.
The Wabenkondensor is also suited
to light sources of irregular area, such
as the xenon lamp, used in mirror
lamphouses. When the xenon-discharge
bulb is used in condenser-type lamps,
the simple Koehler relay-lens arrange-
ment should be employed.
Light Spreading
As stated in Part I, motion-picture
optical systems occasion a more or less
serious loss of light due to "spreading"
of the light rays passing through the
film aperture and emerging from the
other side. (The rays passing through
the slide aperture of a stereopticon do
just the opposite: they keep on con-
verging until they come to the pro-
jection lens.) This troublesome diver-
gence of the outermost rays was shown
in the drawings accompanying last
month's installment. Unless projection
objectives of high speed (large diam-
eter) are used, light is lost by failure
of the lens to intercept and send to the
screen the rays which come from one
edge of the lamp mirror (or conden-
ser) and pass close by the opposite
edge of the picture aperture.
To overcome this optical defect of
conventional motion-picture systems
without using excessively large pro-
jection objectives (expensive and hand-
icapped by small "depth of focus"),
Zeiss Ikon introduced another inno-
vation, the "picture-aperture lens"
(Bildfensterlinse) for use in Erne-
mann projectors. This is a small con-
vex lens made of heat-resistant quartz
positioned directly behind the film ap-
erture, as shown in Fig. 3.
The success of the Bildfensterlinse
is due to its bending of the light rays
into an essentially parallel beam be-
tween the aperture and the projection
objective. It performs this feat by fo-
8
INTERNATIONAL PROJECTIONIST • MARCH, 1957
MIKE and IKE
—they look alike!
BUT . . . they're birds j
different feather!
Mike, reproduced here in black-and-
white, was printed direct from Color
Negative: while Ike, black-and-white
also, came from Eastman Color
Internegative with black-and-white
color separations on Eastman
Panchromatic Separation Film.
Which method is better ?
Actually, Ike's way is 3 ways better.
It permits correction of original negative
results through work on the color
separations; allows insertion of opticals;
assures preservation of original picture.
Here again is proof of Kodak's ability
to supply a motion picture film for every
purpose . . . example of Kodak's policy
of complete co-operation through the
Eastman Technical Service for Motion
Picture Film. Inquiries invited.
Motion Picture Film Deparfme
EASTMAN KODAK COMPANY
Rochester 4, N. Y.
Branches at strategic centers
East Coast Division Midwest Division West Coast Division
342 Madison Avenue 1 30 E. Randolph Drive 6706 Santa Monica Blvd.
New York 1 7, N. Y. Chicago 1; Illinois Hollywobd;38, Calif.
or W. J, GERMAN, Inc.
Agents for the sale and distribution of Eastman Professional
Motion Picture Films, Fort Lee, N. J.; Chicago, 111.; Hollywood, Calif.
INTERNATIONAL PROJECTIONIST • MARCH 1957
cusing upon, or in, the projection lens
a small, reduced image of the bright
arc-lamp mirror, thus producing an
optical effect somewhat similar to that
of a stereopticon system. (The pro-
jector optical train is "motion-picture"
from the arc mirror to the aperture
lens; "stereopticon" from the aperture
lens to the prejection lens.)
A Light "Funnel"
The projection objective lens,
therefore, need be no larger than the
mirror image formed by the Bildfen-
sterlinse. All light is "funneled"
through this reduced image of the arc
mirror. It is to be noted that no
"aerial image" of the arc mirror is
formed in front of the projection lens
when the Bildfensterlinse is used. This
is another point of resemblance to the
standard stereopticon system.
The aerial image is a natural oc-
currence in almost all motion-picture
optical systems, including the Koehler
relay and the Wabenkondensor sys-
tems. The projection objective not only
projects a magnified image of the film
upon the distant screen, but also func-
tions secondarily in the manner of a
camera lens, forming from 1 to 4 or
5 inches in front of itself a reduced
image of the lamphouse mirror or
condenser.
The exact size of the aerial image
depends upon the focal length of the
lens and the diameter and distance
of the lamp mirror. The diameter of
the projection lens has nothing what-
ever to do with the diameter of the
aerial image!
As a rule, the aerial image is a
trifle smaller than the cross section
of the lens, particularly in the case of
short-focus lenses. When this is the
case in projectors having front shut-
ters, the shutter should be positioned
on its shaft at the point where the
light beam is intercepted in the plane
of the aerial image. Light cutoff is the
most rapid at that point, permitting
the shutter blades to be trimmed to
minimum width (from 90° to 95° in
drive-ins; from 95° to 100° in in-
door theatres).
Determining Image Plane
To determine whether the aerial im-
age is substantially smaller than the
lens, blow cigarette smoke into the
light beam issuing from the projec-
tion lens. An hourglass-like constric-
tion of the issuing beam means that
the aerial image is smaller than the
lens. To find the exact plane of the
aerial image, hold a small blackened
square of sheet metal an inch or two
in front of the projection lens, moving
it in or out until a sharp image of the
arc mirror or condenser is formed
upon it. (If the reflector lamp is used,
the hole in the mirror will be seen,
and an image of the positive carbon
holder will extend down from the top
of the brilliant disk because the image
is inverted.)
If the lamps and projector lenses
were purchased at different times,
there may be a substantial difference
in the optical speed ratings of the two.
If the projection objective be "faster"
than the lamp mirror (e.g. an /:1.9
Wasted light^
Wasted 1
Aerial image
of mirror
Bildfensterlinse
Image of mirror
on projection lens
FIG. 3. A common mir-
ror-arc system with and
without the Zeiss Ikon
Bildfensterlinse ("pic-
ture - aperture lens")
which enables the pro-
jection lens, even if
small in size, to inter-
cept all of the light
thrown upon the film
aperture by large lamp-
house mirrors. The Bild-
fensterlinse, inserted di-
rectly behind the aper-
ture of the Ernemann
projector, is made of
heat-resistant quartz. It
"funnels" the light to
the projection lens, upon
which it forms a re-
duced, intensity bright
image of the arc-lamp
mirror.
lens with an /:2.5 lamp), well and
good. The efficiency of the projector
optical train will then be near its maxi-
mum, so far as light pickup by the
lens is concerned. If, however, the
lamp system be faster than the lens
(an /:2.5 lens with an /:1.7 lamp),
light is certainly being wasted by fail-
ure of the too-small lens to intercept
the entire beam of light which
emerges from the film aperture.
A Speed Fallacy
Now, then, consider the case of
equal speed ratings — an /:1.9 lens with
an /:1.9 lamp mirror, for example.
Are the two components optically
"matched"? The answer is a definite
no! even though it is commonly as-
sumed that they are.
As we have said many times before,
a lamp having the same speed rating
(f number) as the lens is really faster
than the lens! And when the lamp is
optically more rapid, light is always
wasted and the film needlessly heated
by oblique rays which the lens, being
too small, cannot use. Moreover, a
lamp of greater optical speed than the
lens increases the hot-spot effect — a
bright center in the projected "field"
with falloff of light toward the sides
of the screen.
It is indeed true that equal /-speed
ratings would represent a condition
of optical match in orthodox motion-
picture systems if the aperture were a
mere pinhole, which, of course, it is
not. With an aperture of appreciable
area (the diagonal of the usual 35-mm
film aperture is approximately 1 inch
in length), true matching requires a
lens of greater speed rating than the
lamp — a lower / number. There is a
mathematical formula for this; but in-
stead of reproducing it again, we shall
explain the matter so that the basic
principle involved will be easily under-
stood.
The Pinhole Aperture
Consider, first, the simple pinhole
aperture. If the lamp has a speed rating
of /:1.9, an /:1.9 lens will match it
exactly, intercepting all of the light
issuing in diverging rays from this pin-
hole aperture.
Assume that the pinhole happens to
be located at one corner of a real
(Continued on page 39)
10
INTERNATIONAL PROJECTIONIST • MARCH, 1957
NOW-A NEW PROJECTION ARC WITH MORE NEW FEATURES
-EXCLUSIVE FEATURES-THAN ANY LAMP EVER MADE!
NEW STRONG U-H-l
ULTRA HIGH INTENSITY
ARC LAMP
EXCLUSIVE NO. 1
ACCOMMODATES 20-INCH CARBON
TRIM IN ALL SIZES 9 mm through
13.6 mm inclusive.
EXCLUSIVE NO. 2
BEAM SHAPER LENS PROVIDED
FOR USE WITH THE 13.6 MM TRIM
LAMPS PATTERNS THE SPOT TO
THE PARTICULAR SIZE AND SHAPE
OF THE APERTURE SO AS TO EFFI-
CIENTLY UTILIZE ALL USEFUL
LIGHT. All other lamps, projecting a
round spot, waste much light, particularly
above and below the aperture. Using a
13.6 mm carbon trim, the optical speed or
mark of efficiency is equivalent to f 1.5
when f 1.5/1.6 projection lenses are used
and projectors are cleared for f 1.5.
EXCLUSIVE NO. 3
THE ONLY LAMP WITH AN AUTO-
MATIC CRATER POSITIONING SYS-
TEM that maintains the tip of the burn-
ing carbon at the focal point of the re-
flector. Change of light color at the screen,
caused by variation in carbon burning
rates, is absolutely eliminated.
EXCLUSIVE NO. 4
NEW, EXCLUSIVE DESIGN minimizes
light loss due to shadowing by feed mech-
anism.
EXCLUSIVE NO. 5
THE ONLY LAMP WITH MIRROR
INTEGRATED WITH A REAR LAMP-
HOUSE DOOR which 9wings completely
out of the way to facilitate retrimming,
permit easy cleaning and keep the reflector
in efficient condition.
EXCLUSIVE NO. 6
SPOT FOCUSING— A BOON TO PRO-
JECTIONISTS AVAILABLE IN THIS
LAMP ONLY! The ENTIRE burner
assembly is movable so that the position
of the arc can be shifted for the best screen
light without disturbing the relative car-
bon positions or the equilibrium of the arc.
EXCLUSIVE NO. 7
EXPELLO BUILT-IN EXHAUST SYS-
TEM cools the rear of the reflector so as
to permit the use of the newly developed
"cold" reflectors which allow unwanted
heat energy to pass through the mirror in-
stead of being reflected to the aperture.
EXCLUSIVE NO. 8
QUICKLY ADAPTABLE TO THE
VARIOUS PROJECTION SYSTEMS.
The optical system can be changed in
one-fifth the time required by other
lamps. Choice of high or low magnifica-
tion is obtained for wide film or 35 mm
projection in less than a minute.
EXCLUSIVE NO. 9
A SINGLE ADJUSTMENT CON-
TROLS THE FEEDS OF BOTH CAR-
BONS. Other lamps have two feed adjust-
ments and guesswork must be resorted to
when attempting to match them.
EXCLUSIVE NO. 10
A BRILLIANT, TWICE-MAGNIFIED
IMAGE OF THE BURNING ARC IS
PROJECTED ON LARGE IMAGER
SCREEN FOR EASY OBSERVATION
BY THE PROJECTIONIST.
EXCLUSIVE NO. 11
EXCLUSIVE ARC STABILIZER. A jet
directed stream of high velocity air up
and over the arc directs, stabilizes and
conforms the flame away from the re-
flector, effects better combustion and
prevents the formation of black soot.
EXCLUSIVE NO. 12
ONE BODINE GEAR HEAD MOTOR
FOR POSITIVE CARBON DRIVE
OND ONE FOR NEGATIVE DRIVE.
Gear reduction is self-inclosed with the
motors to provide constant lubrication
and protection from dirt damage.
EXCLUSIVE NO. 13
PICTURES PROJECTED BY THIS
LAMP ARE MORE PLEASING, not
subject to the high degree of in-and-out
of focus that distinguishes projection by
most lamps operated at high currents.
The exclusive high quality heat filter
greatly reduces heat at the aperture. This
heat filter is air cooled by a powerful
blower and is instantly removable during
actual projection as desired, such as when
going from black and white to color film
on the same reel.
EXCLUSIVE NO. 14
"PLUG IN" COMPONENTS. Positive
feed head, feed cluster, negative feed
head, positive and negative motors are
all quickly removable so as to enable
the projectionist to make inspection or
interchange between reels.
PLUS NO. 1
A HIGHER TRUE LUMEN OUTPUT
THAN ANY OTHER LAMP AND
BETTER DISTRIBUTION CON-
SISTENT WITH THIS HIGH LEVEL
OF ILLUMINATION obtained by new
design optical parts and feed mechanism.
PLUS NO. 2
GIVES THE MOST LIGHT PER
CARBON DOLLAR.
PLUS NO. 3
The carbon feed control can be set to burn
any desired number of inches of carbon
per hour. Adjustable to the length of reels
being projected. 9 mm through 11 mm
sizes can be burned between 14 and 30
inches per hour, 13.6 mm size can be
burned from 7 to 20 inches per hour.
PLUS NO. 4
Heat radiation to the projection booth is
held to a minimum by the heavy duty,
quiet running centrifugal exhaust fan
driven by a ball bearing type motor. Heat
and smoke are exhausted into a large,
8-inch, smoke pipe connection.
PLUS NO. 5
Air screen directs a thin layer of fast mov-
ing air upward over the surface of the
reflector so as to cool it and keep soot and
smoke from depositing thereon.
PLUS NO. 6
Heavy duty, long life, solid silver, water
cooled positive carbon contacts on 13.6
mm lamps. Air cooled or water cooled
contacts are available for smaller carbons.
Send coupon now for even more details.
THE STRONG ELECTRIC CORPORATION
31 City Park Ave. Toledo 1, Ohio
Please send free literature on the sensa-
tional new Strong U-H-l Projection Arc Lamp.
Name
Theatre
Street
City & State
INTERNATIONAL PROJECTIONIST • MARCH 1957
11
New Italian Projector
for
Widescreen Presentation
From Italy comes this description of a new projector
designed to handle the problems of widescreen viewing,
with some design features that may be new to the States.
By RAFAELLO G. FEDI
EVER SINCE the inception of
CinemaScope in the late summer
of 1953, motion-picture presenta-
tion has increasingly favored aspect
ratios greater than the normal 1/1.375
ratio. But good panoramic photog-
raphy and projection, with brighter,
clearer pictures of vast pictorial scope,
have encountered numerous technical
obstacles during the past five years
of gradual, step-by-step introduction
to the trade. Rather than discard all
existing studio and projection-room
equipment, producers have obtained
the panoramic aspect ratios by exploit-
ing extant equipments by means of
minor adaptations and modifications
entailing only small investments on
the part of theatre owners.
Two processes are in use which do
not require replacement of standard
35-mm camera and projector appar-
atus. They are (1) "widescreen" shots
taken and projected via short-focus
lenses with reduced frame height and
(2) CinemaScope and SuperScope
shots employing anamorphic lenses
which "squeeze" the images on the
film during photography and expand
them again to normal height-width
relationship during projection.
Design Requirements
The extra responsibility placed up-
on projection designers by these new
35-mm processes may be summed up
as follows:
1. Higher precision of the mechan-
ical working parts to avoid any small
weaving of the film which, on the
screen, would result in unsteady pic-
tures because of the tremendous image
magnification.
2. More powerful light sources to
illuminate the larger screens. Intensity
of the screen light should not be below
90 lux (8.3 footcandles)* for a bril-
FIG. 1. The Fedi XII T film gate (threading
position): A is the gate opening push-button;
B, knob for vertical regulation of aperture;
C, knob for horizontal regulation of aperture
(right); D, knob for horizontal regulation of
aperture (left); E, film loop former; F, pres-
sure shoes regulation, and G and H show
the water-cooling pipes.
liant picture with readily visible pic-
torial detail in low-level regions.
3. Addition of a magnetic sound-
head for reproduction of the magnetic
tracks used in the Fox CinemaScope
* The American minimum standard is 9 foot-
candles. An incident light level of from 15 to 20
footcandles (161.5 to 215.3 lux), approximately
twice the European standard, is favored here be-
cause the public is accustomed to bright television
images in the home. — ED.
stereophonic system.
4. A projector occulting-shutter of
maximum light-transmission efficiency
(50%) and conjoined with filtering
means to remove invisible calorific
(infrared) rays from the light output
of the projection lamp.
Calorific rays, useless because in-
visible, are undesirable inasmuch as
they do nothing but overheat the film.
It has been demonstrated that the
temperature developed in a projector
aperture attains 550° C. (1022° F.)
when an efficient 100-ampere arc is
used without heat filters. Exposure of
the film to so high a temperature for
only 1/32 of a second** buckles the
film out of shape.
5. Provision of means which allow
the projectionist to change aperture
dimensions and lenses, including ana-
morphic attachments, without the nec-
essity of stopping the machine or
re-establishing the focus.
Unenclosed Mechanisms
European designers have always
aimed for the production of projectors
built for heavy-duty operation and
long life. It is a matter of interest to
American projectionists that most
European machines have unenclosed
mechanisms. It has been found through
long experience that open mechanisms
permit closer control during projection
and make the job of cleaning the
film-contacting parts much easier.
The present-day practice of using
anamorphic and non-anamorphic wide-
screen films interchangeably, together
with changes from optical to magnetic
soundtracks, has made mechanism en-
closures cumbersome and hindrance
to the busy projectionist. It is there-
fore our considered opinion, supported
by that of European projectionists,
that mechanism enclosures should not
be used.
For as much as great attention is
devoted to the mechanical parts of
the projector in European practice,
particular care is given to lubrication
to insure minimum wear and long life
of the mechanism. Our machines are
accordingly provided with an auto-
matic pump which forces oil under
pressure to the various moving parts —
particularly to the intermittent move-
ment, which is literally subjected to
continuous washing.
The salvaged oil is passed through
** More exactly, each frame remains exposed
for two 1/96-second intervals, a total of 1/48
second with a 2-cutoff shutter of 50% transmis-
sion.— ED.
12
INTERNATIONAL PROJECTIONIST • MARCH, 1957
special filters and recovered. Adequate
lubrication of high-precision mechan-
ics accounts for the long life and
noiseless operation of projectors of
European manufacture. Many Eur-
opean theatres have only one machine
installed in the projection booth; and
not a few of these are still making use
of projectors that have been in opera-
tion for more than ten years.""'**
The Fedi XII T projector was de-
signed after having reviewed all the
motion-picture machines made the
world over, and after an intensive
examination of rational solutions to all
the various problems brought to the
forefront by widescreen processes.
Parallel-Axis Gears
The mechanism of the Fedi XII T
has as its basis a gear train consisting
of parallel-axis gears. The use of or-
thogonal-axis**** helical gears was
avoided as far as possible, inasmuch
as their excessive axial thrust facili-
FIG. 2. The FEDI XII T sound-projector
mechanism with 3-lens turret and anamorphic
lens mounted on a rod which permits it to be
swung into position. The cover has been re-
moved from the magnetic soundhead to re-
veal the film path.
tates wear and results in consequent
noisy operation. Lubrication is ef-
fected by means of a high-pressure
pump (approx. one-half atmosphere)
which, by means of a continuous jet,
washes the gears and intermittent
movement and forces a film of oil be-
*** It is customary, with only one projector in
a European projection room, to make use of 1500-
meter magazines. The use of reels containing up
to 5000 feet of film is unknown to American
projectionists except for 2-strip 3-D presentations.
All American theatres have at least two ma-
chines; and some installations are still giving
excellent service after a quarter century, with pic-
ture mechanisms more than 30 years old! — ED.
**** An orthogonal axis is oriented at a right
angle to the general axial direction of the otrier
shafts of a mechanical system, as in the case
of a vertically-positioned main drive shaft fitted
with bevel gears to drive horizontal shafts. — ED.
tween the bushings and their respec-
tive shafts.
The motor, which has a speed of
1440 RPM when connected to a 50-
cycle line, is directly coupled to the
shutter shaft, i.e. to the mechanical
center of the mechanism, insuring uni-
form distribution of the driving torque
to the moving parts above and below
this center. Where currents other than
50 cycles are involved, a small reduc-
tion-gear unit is used between the mo-
tor and the projector shaft to obtain
the required driving speed.
Center Drive
It will be perceived that this type
of drive is much more rational when
compared with the old system having
the drive originate from the axis of
the lower sprocket. All the impulse
needed to start the machine was con-
centrated at the gripping point of the
first driving gear. By placing the drive
at the center, we have two "derived
lines" of torsional stress: and if these
two lines are alike, the pressure de-
veloped at the gripping point of the
drive-gear teeth amounts to one-half
the torque developed in the case of
the older "one-end" drive.
The film gate has been dimensioned
to obtain the long guided film path
necessary to avoid sidesway, and a set
of three hinged pressure shoes was
adopted in the trap door to obtain
sufficient total pressure to obviate film
jump with only slight individual-unit
pressure. This construction insures a
rocksteady picture both laterally and
longitudinally.
An especially valuable innovation
is the adjustable film-gate aperture
with four movable sides to obtain any
size of aperture desired without the
necessity of changing aperture plates
(Fig. 1). The light-cutting edges are
positioned very close to the film to
obtain a sharp aperture image. Accu-
rate adjustment of aperture size is
particularly important to avoid shad-
ows at the boundaries of the picture
when projecting upon maskless
screens, an innovation intended to
eliminate funereal black borders. The
Fedi system allows the projectionist
to alter the size of the aperture with
great rapidity even while the film is
running (Fig. 2).
Three-Lens Turret
The Fedi XII T projector is pro-
vided with a special rotating turret
carrying three lenses, each focused
independently of the others (Fig. 3).
A simple turn of the turret will cause
any one of the three lenses to fall in
place before the aperture. By install-
ing lenses of different focal lengths, the
picture size can be changed even while
the machine is running. A special ro-
tating rod supports the anamorphic
lens which is brought before the pro-
jection objective or swung out of the
light beam by a simple movement.
Cooling of the film received par-
ticular attention. First of all, water
is circulated through a radiator at-
tached to the aperture-plate assembly
for removing the heat generated by
light falling outside the aperture. While
this expedient keeps the mechanical
parts cool, other means are employed
for cooling the film, each individual
FIG. 3. The FEDI mechanism "opened up" for
threading. The lens-carrying turret is swung
out of the way, as is also the anamorphic
attachment. Note the set of three separate
tension pads in the gate door.
frame of which remains steadily ex-
posed to the light for a 1/32-second
interval. [See the previous footnote
dealing with this. — ED.] Neither a
fan nor a cooled air blast would serve
the purpose because the film, being a
poor conductor of heat, would not im-
mediately cool under the air blar"
Other complications to be considered
include elimination of the noise of
the blowers and the difficulty of ob-
taining strong blasts of air which
have been made to pass through a
filtering arrangement to remove dust,
oil, and other foreign matter which
would soil the film.
Removing Infrared Rays
A more practical and scientifically
feasible method involves the removal
of calorific (infrared) rays from the
luminous flux. This is accomplished
in the Fedi by mounting the heat filters
in the open sectors of the revolving
{Continued on page 38)
INTERNATIONAL PROJECTIONIST • MARCH 1957
13
ATIA&L
*k TkNw
NATIONAL CONSTELLATION "170'
PROJECTION ARC LAMP
PROJE
ARC LA
IO
P
■ ■
PATRONS
will like this because your
pictures will be brighter!
PATRONS
will like this because the entire
picture will be more evenly
lighted.
PATRONS
will like this because your
pictures will stay in focus.
PROJECTIONISTS
like this because they can keep
their equipment in better
condition.
PROJECTIONISTS
like this because good
projection becomes more
automatic.
PROJECTIONISTS
like this because it saves
important time when needed.
PROJECTIONISTS
like this because it makes the
booth and equipment
more tolerable.
PROJECTIONISTS
like this because it takes the
guesswork out of their job.
The Light Booster lens provided with 13.6 mm trim lamps patterns the
spot to the size and shape of the aperture so as to efficiently utilize all use-
ful light from the carbon. All other lamps, projecting a round spot, waste
much light, particularly above and below the aperture. Using a 13.6 mm
carbon trim, the optical speed or mark of efficiency is equivalent to f 1.5
when f 1.5/1.6 projection lenses and X-L projectors are used.
Newly designed optical parts and feed mechanism afford a higher true
lumen output than any other lamp and better distribution consistent with
this high level of illumination.
Since the distribution of heat at the aperture is more even and the use
of a very efficient heat filter reduces heat at the aperture, pictures pro-
jected by this lamp are not subject to the high degree of in-and-out of
focus that distinguishes projection by some lamps operated at high cur-
rents. This filter, air cooled by a powerful blower, is instantly removable
during actual projection as desired, such as when going from black and white
to color film on the same reel.
The rear lamphouse door swings completely out of the way to facilitate
retrimming and lamphouse and reflector cleaning.
The automatic crater positioning system maintains the tip of the burn-
ing carbon at the exact focal point of the reflector. Change of light color at
the screen, caused by variation in carbon burning rates, is absolutely
eliminated.
The optical system can be changed in one-fifth the time required by
other lamps. Choice of high or low magnification is obtained for wide film
or 35 mm projection in less than a minute.
Heat radiation to the projection booth is held to an absolute minimum
by the Heat Purger, a heavy duty, quiet running centrifugal exhaust fan
driven by a permanently lubricated motor which removes products of
combustion and heat from the housing.
A single adjustment controls the feeds of both carbons. Other lamps have
at least two independent feed adjustments and guesswork must be resorted
to when attempting to match them.
14
INTERNATIONAL PROJECTIONIST • MARCH, 1957
PROJECTIONISTS
like this because they no longer
need extra hands and a spare
eye above their right ear.
PROJECTIONISTS
like this because it enables them
to do a better job.
PROJECTIONISTS
like this because it keeps
reflectors clean.
PROJECTIONISTS
like this because it helps
prevent running out of carbon
before the end of the reel.
MANAGEMENT
likes this because it means more
light per dollar.
MANAGEMENT
likes this because it makes
operation more flexible.
MANAGEMENT
likes this because it saves money
in reflectors.
MANAGEMENT
likes this because
it eliminates waste.
MANAGEMENT
likes this because it insures
against equipment being
"down".
i
-.
Pi
^PATRON
^PROJECTIONIST
fo //ti/td/ ^MANAGEMENT
Simplified Spot Focusing — Available in this lamp only! The ENTIRE
burner assembly is movable so that the position of the arc can be shifted for
the best screen light without disturbing the relative carbon positions or the
equilibrium of the arc. The projectionist needs no longer — as with all other
lamps — attempt to coordinate the movements of each carbon by its inde-
pendent control while watching the screen and at the same time trying to
keep the gap constant.
A brilliant, twice-magnified image of the burning arc is projected on
large imager screen. An exclusive feature.
An air screen directs a thin layer of fast moving air upward over the sur-
face of the reflector so as to cool it and keep soot and smoke from deposit-
ing thereon.
The carbon feed control can be set to burn any desired number of inches of
carbon per hour to accommodate the length of reels being projected. Sizes
9 mm through 11 mm can be burned between 14 and 30 inches per hour,
13.6 mm size can be burned from at 7 to 20 inches per hour.
Costs less to operate, gives the most light per carbon dollar, because of the
effective patterning of the spot at the aperture and elimination of waste oc-
casioned by shadowing.
Accommodates 20-inch carbon trim in all sizes 9 mm through 13.6 mm
inclusive. It is the only lamp to afford such complete flexibility within such
a wide range.
A jet directed stream of high velocity air up and over the arc directs,
stabilizes and conforms the flame away from the reflector, effects better
combustion and prevents the formation of black soot. An exclusive feature.
Light loss due to shadowing by feed mechanism has for the first time been
minimized by new design.
Positive feed head, feed cluster, negative feed head, positive and nega-
tive motor assemblies are all quickly removable so as to permit inspection
or interchange of these "plug-in" components between reels.
MANAGEMENT
likes this because it prevents
film damage and prolongs
mirror life.
MANAGEMENT
likes this because it protects his
equipment from damage.
MANAGEMENT
likes this because it's standard,
not an "extra".
.:
Built-in Heat Purger exhaust system cools the rear of the mirror so as
to permit optional use of the newly developed "cold" reflectors which
pass unwanted heat energy instead of reflecting it to the aperture.
One famous Bodine Gear Head Motor drives the positive carbon and one
the negative. Gear reduction is self-inclosed with the motors to provide
constant lubrication and protection from dirt damage. An exclusive feature.
Heavy duty, long life, solid silver, water cooled positive carbon contacts
are standard equipment on all 13.6 mm lamps. Air cooled or water cooled
contacts are available for smaller carbons.
/
DISTRIBUTED BY NATIONAL THEATRE SUPPLY COMPANY
A SU BSI DIARY OF
INTERNATIONAL PROJECTIONIST • MARCH 1957
15
A new wide-screen process covering 146° of the horizon
makes its debut, utilizing three interlocked projectors.
Cinemiracle projector setup is similar to that for cameras. Machine in center projects straight
on while machines at either side, set at right angles, project picture on angular mirrors (arrows),
which reflect images to screen for left- and right-hand panels of the wide-screen picture.
Cinemiracle Process Bows lnf
By JOSEPH HENRY
CINEMIRACLE is the newest of
wide-screen motion picture systems
that have been developed in recent
years to meet the exhibitor's need for
a "new look" in film presentations. Re-
duced to simple terms, Cinemiracle
employs a three-cameras-in-one photo-
graphic unit, and three projectors in-
terlocked in a single projection booth.
Each projector covers one-third of the
huge screen area, with three panels
(picture segments) smoothly vignetted
at the margins to create one elongated
picture that covers a full 146° of the
horizon.
No Demarcation Lines
Nearest thing to Cinemiracle is
Cinerama, which preceded it. Unlike
Cinerama, only one projection room
instead of three is required, and the
blending of the lines of demarcation
between the picture segments is pretty
near perfect, so that you see a single
super-wide picture on a large, slightly
curved screen. Jiggle between the three
picture segments is non-existent. At
least it was in the demonstration screen-
ings held in Hollywood last month.
As early as 1952, National Theatres
commenced development of this new
process, when it placed the company's
chief engineer, R. H. McCullough, in
charge of a research program aimed
at creating an entirely new principle of
camera and projection technique.
Shortly after he became president of
National Theatres in November, 1954,
Mr. Elmer C. Rhoden stepped-up and
expanded the research program, not
only on the projection phase, but also
in the development of a multi-panel,
three-lensed camera.
Within a few months' time, National
Theatres acquired world wide exclusive
rights to the Smith-Dietrich patents
covering a new electronic lens system
developed by the Smith-Dietrich Cor-
poration. The combined projection and
camera systems were then named "Cine-
miracle." Orders were placed for two
camera units with the Mitchell Camera
Company. The cameras were equipped
with the electronic control systems de-
veloped by National Theatres, and the
Smith-Dietrich lens systems.
No Joining Lines
The Cinemiracle engineers have
achieved further perfection of picture
quality through the use of mirrors, both
on the camera unit and in projection.
Electronic lenses on the three record-
ing units of the Cinemiracle camera,
mounted as a single mobile unit and
meshing as one, are so synchronized
and perfectly adjusted that each scene
is photographed on three individual
strips of 35-mm film and partially
blended at the margins to eliminate the
line of demarcation. Further vignetting
in the printing completes the blending,
so that the picture appears on the screen
without joining lines at any point.
But more important, because of the
unique system of shooting with mirrors,
there is no bending of horizontal or
angular lines at the panel margins, as
with other three-film systems. The cen-
ter camera records the center picture
panel directly through the lens of the
camera. The two side cameras, each set
at an angle, photograph the left and
right hand sides of the scene which
t From American Cinemotographer, Feb. 1957.
The Cinemiracle camera —
actually three cameras in
one. Built by Mitchell
Camera Corp., center
camera records the middle
segment of the picture.
Vertical mirrors at either
side of center camera lens
pick up the left- and right-
hand sections of the pic-
ture, which are recorded
by the left- and right-
hand cameras.
16
INTERNATIONAL PROJECTIONIST • MARCH, 1957
are reflected in the mirrors.
The camera lenses provide a depth
of field from 3 feet to infinity at the
average working aperture. Some excep-
tional underwater shots made with the
camera, using Eastman Color negative
exposed at /:2.8, were screened during
the recent Hollywood demonstration.
But it was the edge-to-edge sharpness
that marked all types of shots made
with this camera that was impressive.
Whether it was their aim or not, Cine-
miracle's engineers have finally evolved
a three-film wide-screen process that is
admirably suited to the photography
Clip of Cinemiracle film, showing 6 sprocket
picture area. Three films such as this are
required to produce the widescreen Cine-
miracle picture. Arrow points to edge which
receives special vignetting in the photography
and printing.
of dramatic stories in addition to the
travel and trick stuff which marks the
usual three-film presentations.
As with any three-camera filming
system the consumption of film for any
type of production is high. In addition
to the three cameras, each requiring a
separate load of film, the film travels
through each camera, which has a six-
sprocket pulldown, at the rate of 146
feet per minute.
For panning and tilting, the three-
camera unit has been carefully bal-
anced so that it may be used on almost
any of the conventional heavy-duty
tripod heads or mobile camera mounts.
Because of the interlocked electronic
control of the lenses, follow focus shots
are simple to make, the three individual
lenses responding to the remote control
with infinite accuracy.
Single-Booth Projection
Just as the three Cinemiracle cam-
eras for the photographic process are
mounted on a single standard as an
integrated filming unit, the three pro-
jectors necessary for showing the films
are housed in a single booth. As with
the cameras, the center projector
screens the center panel of the three-
section picture. The left- and right-
hand panels are projected with the ma-
chines set at right angles to the center
projector and project the image into
adjustable angular mirrors. The fine
micrometer adjustment on these mir-
rors is an important factor in achiev-
ing the fine blend of margins of the
three projected images so that they
join smoothly into one large wide-
screen picture.
All three projectors are equipped
with giant 8,000-foot reels and, as in
the cameras, the film travels at the rate
of 146 feet per minute. The sound
track is on a separate magnetic film
and is played in sync with the picture
on equipment interlocked with the pro-
jectors. To eliminate keystoning, the
projectors are so mounted that they
project the images on a straight line
toward the screen.
The slightly curved Cinemiracle
screen (the 26-ft. by 63-ft. demonstra-
tion screen had a maximum curve of
13 feet at the center) covers a field 146
degrees wide and 55 degrees high —
approximately that of human vision of
160-60 degrees. The picture can be
viewed comfortably from every angle
without eye-strain.
That old time-worn bromide, "It's
done with mirrors," takes on new mean-
ing today with the advent of one of the
most interesting new wide-screen de-
velopments.
Trade Show Pact Signed
Theatre Equipment and Supply Manu-
facturers Association, National Associa-
tion of Concessionaires, and Theatre
Owners of America have signed a three-
way contract to stage the Motion Picture
Industry 2nd International Trade Show
at Miami Beach, Florida, November 20-
23. The pact was finalized after many
weeks of negotiations and disagreements.
The trade show is expected to surpass
in scope and size the one staged last
year at the Coliseum in New York. TOA
officials indicate that registrations for
this year's show will surpass in numbers
any recorded to date.
NAC plans educational clinics to out-
line the latest experiences of all types
of concessions operations in theatres, and
allied fields. Question and answer forums
will be a feature.
TESMA will meet with Theatre Equip-
ment Dealers Association a few days be-
fore the trade show to allow the manu-
facturers and dealers to attain closer
relationship than has been possible in
the past, due to the time necessary to
prepare the show.
Site of the show will be the new $17
million Hotel Americana in Miami
Beach.
zation will include all 180 SMPTE
members in Canada, and as soon as
arrangements are made, the section will
hold its first technical meeting.
SMPTE Forms Canadian Section
The Board of Governors of SMPTE
has authorized a Canadian section of
that society with headquarters in Toronto.
The move was brought about by a peti-
tion received from a sizable group of
Canadian SMPTE members. The organi-
*********
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
are QUICKLY adjustable to the
various projection systems, that
a choice of high or low
magnification can be obtained
for wide film or 35 mm
projection in less than a minute.
^ This is Another
EXCLUSIVE FEATURE
or* the New Strong
U-H-l
PROJECTION
ARC LAMP
INTERNATIONAL PROJECTIONIST • MARCH 1957
17
Cable Theatre-TV System Set for May
THE FIRST of May is the scheduled date for the inauguration of the world's
first Tele-Movies cable theatre in Bartlesville, Oklahoma. The system, devel-
oped by Jerrold Electronics Mfg. Corp. of Philadelphia, provides that a picture
originating in a theatre is sent by means of cable simultaneously to subscribers'
home TV sets. The Oklahoma experiment is to test subscriber and connection
rates, and the general consumer pattern.
Originating from regular 35-mm mo-
tion picture film, the image is sent out
on special sending equipment, then on
a coaxial cable strung on telephone and
light poles. The picture reaches the
home TV set by a lead-in from the cable,
connected to an off channel that is not
being used by a regular TV station. An
aerial is not required for this system.
Installation of equipment and mate-
rials begins this month, and negotiations
between Tele-Movies, Public Service Co.
of Oklahoma, and Southwestern Bell
Telephone Co. on lease contracts for
pole usage are in their final stages.
Plans are also being made for erection
of a new building on the site of the
present theatre to house the new system.
An intensive advertising campaign has
been instituted to acquaint the public
with the new system. According to Jer-
rold, security is guaranteed the sub-
scriber (who pays $9.50 a month for
the service ) , security because the picture
is available only to those homes with
the lead-in. No service charge is ex-
pected for connecting or disconnecting
the system to the resident's TV set.
Equipment can be modified for color
movies whenever the number of color
TV sets warrant it.
Tele-Movies will begin showing at noon
each day, and continue until midnight.
If there is public demand, a late show
will be played on Saturday nights. There
will be three program changes a week,
consisting of feature films and short
subjects. No commercial advertising will
be on the program.
GPL's TV Classes
A COURSE in the familiarization of
General Precision Laboratory's new
screen projection TV system has been
established by that firm in its Pleasant-
ville, N.Y. headquarters. Over 40 rep-
resentatives of TelePrompTer and West-
ern Union Telegraph Co. have already
taken a three-day introductory session.
The training program is designed to
give purchasers an acquaintance with
the operation, application and mainte-
nance of the PB-611A TV projector, to-
gether with a familiarization of new
equipment. The portable 611 A models
are said to produce a high quality tele-
vised picture up to 15 by 20 feet in size
in sharp brightness.
The visiting group was headed by
H. J. Schlafly, executive vice-president
in charge of Engineering at TelePromp-
Ter. That firm has purchased 100 of the
advanced GPL projection systems for its
Group Communications Division, which
will operate them nationally for all
types of closed-circuit TV sessions.
Videotape Improvements
SIX REFINEMENTS will be incorpo-
rated in the Videotape recorder, Ampex
Corporation's magnetic TV program re-
corder. The improvements are the result
of network use of the prototype machines
by both NBC and CBS. Ampex engineers
have been working closely with NBC
and CBS engineering personnel since last
April.
Cuing facilities, switching devices,
synchronization with other studio ap-
paratus, tape interchangeability among
recorders, tape splicing, and ease in mak-
ing duplicate copies of taped programs
will be the improvements made in the
Ampex VR-1000 Videotape.
Six of the prototype recorder models
have been installed for work under actual
programming conditions: four in Holly-
wood and two in New York. One of the
Videotape models was used in the re-
broadcast of President Eisenhower's in-
auguration. (See Telecasts, IP, February
1957.) Ampex is now concentrating on
tooling for the production model, for
Are You Moving?
If so, please notify us one month in
advance. The Post Office does not
forward magazines. To avoid delay,
please cooperate by sending us both
your new and old address.
which there is a $4,000,000 backlog of
orders.
Philip L. Gundy, vice-president of
Ampex predicts Videotape's future will
evolve in three steps: (1) strictly delayed
broadcasts; (2) the pre-recording of
shows; and, (3) with editing, the syn-
dication and multiple release of programs
for TV.
"Unsqueezing" Problem
A PROBLEM that the arrival of Tele-
Movies has brought up is now being
considered by 20th-Fox, and that is the
feasibility of adapting CinemaScope to
that medium. Video Theatres, owners of
the process, have already queried 20th-
Fox on the question.
In order to turn CinemaScope into a
regular 2-D image, an "unsqueezing"
process must be worked out, not a sim-
ple procedure. A duplicate negative must
be made, on which the action on every
frame has to be centered with an optical
printer. The process is expensive and
time-consuming, although it is understood
that no loss of quality is involved.
Anticipating future sales of Cinema-
Scope to TV, 20th-Fox has been con-
sidering unsqueezing all its CinemaScope
features. Some companies who made
cover versions of their CinemaScope
product do not face this problem.
**********
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
have one gear head motor for
the positive carbon drive and
one for the negative drive, and
that the gear reduction is
self-enclosed.
^ This is Another
EXCLUSIVE FEATURE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
18
INTERNATIONAL PROJECTIONIST • MARCH, 1957
Our overseas expert on projection and accompanying product
herewith presents what is the latest from the foggy Isles.
From the British Viewpoint
By R. HOWARD CRICKS
T 0 BEGIN WITH, it is with a feel-
' ing of some pride that I can con-
tribute to IP's pages, since I think
I can claim to have seen practically
every issue since its early days.
What an exciting period was covered
by those early numbers! News was
just arriving from across the Atlantic
of the phenomenal interest in talking
pictures, and before long Western Elec-
tric and RCA were over here, com-
peting with innumerable systems of
British and Continental origin. Every
month for years I was able to write
up a new system in the IK, and once
there were 16 competing manufac-
turers advertising in one issue.
It is generally known that sound-on-
film was first invented in London by
Eugene Lauste; the British patent No.
18,057 is dated 1906. [Ed. Note:
While Lauste's Photocinematophone
system is generally accepted as the
forerunner of today's optical sound, it
was the outcome of even earlier de-
velopments. For a more detailed dis-
cussion of this see the "Pioneer Paral-
lels" article in last month's IP.] But
the contribution of a leading Amer-
ican inventor should not go unnoticed.
Lee De Forest — who by putting the
third electrode into the diode invented
the amplifier — was making talking pic-
tures in England quite early. It was
in 1925 that he gave his first public
performances, using variable-density
recordings differing from present-day
systems chiefly in that the soundhead
was above, instead of below, the pic-
ture gate.
EARLY BRITISH DEVELOPMENTS
Before American talkies reached this
country, British Acoustic Films had
demonstrated sound-on-film reproduc-
tion, using a variable area track ex-
tending the full width of a separate
sound film, run in sync with the pic-
ture film.
To record these facts is not to deny
that it was American equipment which
set the pace, and it was American
films, from "The Singing Fool" on-
wards, that brought in the patrons.
Although I had run a number of shorts,
the first full-length sound film that
I showed was "Broadway Melody,"
with its sound on 16-inch discs.
American sound equipment has been
built around the Simplex- type projec-
tor, and one of the first results of the
talkie boom was that nearly every
cinema in London's West End, and
many in Provincial centers, installed
Simplex projectors. The pre-eminence
of the Simplex remained unchallenged
until in war-time conditions dollar
purchases were prohibited — a ban that
is still not relaxed.
The former Simplex agents, J. Frank
Brockliss Ltd., are today agents for
the Dutch-made Philips projectors,
which are gradually becoming popu-
lar— in particular, both the 35-mm and
16-mm models are used almost ex-
clusively by the commercial television
stations for film projection and telecine
(kinescoping) .
G.B.-KALEE MODELS
However, the majority of our cine-
mas are equipped with one or other
of the three principal British-made
projectors. The G.B.-Kalee (G.B. for
Gaumont-British) is made by two
pioneer companies who are members
of Rank Precision Industries — Ker-
shaw of Leeds, and British Acoustic
Films. It is made in three models,
of which the largest, the G.K. 21, is
a massively built machine with a single-
bladed shutter running at double speed,
which gives an extra fraction of light
output.
While Gaumont theatres are mostly
equipped with G.B.-Kalee projectors,
Odeons (also part of the Rank Or-
ganization) are generally equipped
with the SUPA, made by British Thom-
son-Houston of Rugby. This is a ma-
chine of unorthodox design, originally
conceived as a totally self-contained
unit, but the coming of 4-way sound
rather upset this idea. Two attractive
features are its curved gate, which
prevents film buckle, and its eddy-
current governor controlling film speed
in the soundhead. The junior model,
the SUPA Mark II, is of more orthodox
appearance.
The principal competitors of the
Rank theatres are those of Associated
British Cinemas Ltd., most of which
are fitted with Ross projectors. Made
by the world-famous optical firm, the
machine is noted for its long trouble-
free life.
TODD-AO IN ENGLAND
In my report on Photokina in the
November IP issue, I remarked that
it seemed we should not be seeing
Todd-AO in this country, because of
the crippling levels of entertainment
tax. It seems that about the time this
article appeared, representatives of the
Rank Organization were in the States,
saw "Around the World in 80 Days,"
and decided that it must be shown
in London in its original form.
After many rumors and denials, it
is expected that Todd-AO projectors
will be installed in the Astoria Theatre
here, which has the advantages of a
FIGURE 1.
A simultaneous color TV
projector developed by
Pye, Ltd. This equipment
was primarily built as a
research tool with which
to investigate some of the
basic problems of large
screen color TV. The pic-
ture size is 8 feet by 6
feet.
INTERNATIONAL PROJECTIONIST
MARCH 1957
19
level throw and adequate seating ca-
pacity.
The need for a level throw is, of
course, due to the deeply curved screen
which is part of the system. In the
early days of CinemaScope, patrons
found cause for amusement in the
spectacle of skycrapers leaning toward
one another, and ships climbing up
a curved sea. The fault will not be
repeated with the new system.
I hope the question of the screen
will receive closer attention here than
was the case at Cologne, where its deep
curvature plus a white ceiling caused
re-reflection of the light and some
washing out of colors.
NEW PERLUX SCREEN
It is understood that the screen
that will be installed at the Astoria is
the Harkness Perlux. a new develop-
ment. To look at, the material is little
different from the ordinary matte
screen, except for a slight pearly iri-
descence. Demonstrated here, its ef-
ficiency was impressive.
The Perlux coating consists of two
metallic salts, which in the bottle have
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
have single adjustment
control of the feeds of both
carbons.
^ This is Another
EXCLUSIVE FEATURE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
a silvery gleam, suspended in plastic.
The new screen is made, in all sizes
and large quantities, in a former film
studio at Elstree, just outside London.
The equipment is specially built, the
only one of its type in the world,
therefore worth describing.
First, the strips of plastic material
are perforated, and are invisibly welded
together to the necessary size. Edges
and eyelets are attached, and then the
screen is stretched in an immense
frame. While this frame travels slowly
on rails across the studio floor, a spray
gun moves up and down, painting the
screen in vertical strips: in four trav-
ersal of the frame, every part of the
screen receives 16 coats of the special
surface.
After drying, the screen is examined
by throwing a light upon it from an
arc high up on the opposite wall.
COLOR TV PROJECTOR
Although regular transmissions are
now being put out after hours by
the British Broadcasting Corporation,
color TV is still in its experimental
stage in England, and color receivers
are not yet on general sale.
Which makes it all the more in-
teresting to learn that a British com-
pany, Pye Research Laboratories has
produced a large-screen color TV pro-
jector (Fig. 1). It employs the prin-
ciple of three separate color projectors,
providing respectively the red, green,
and blue components. By means of
a half-silvered mirror and a dichroic
mirror (which reflects light of one
color and transmits light of another
color) the three images are superim-
posed on the screen.
At a throw of 16 feet, this projector
produces an 8 x 6 foot picture, of
brightness comparable with that of a
cinema picture. Kodachrome trans-
parencies of the projected picture
showed an excellent color range and
very good definition.
The fourth housing shown in the
illustration is the EHT unit, providing
50 KV. The equipment is controlled
from a console which may be placed
at some distance from the projector.
There is a new type of television set
which is under development at the
Imperial College of Science in London.
Instead of the familiar shape of the
CRT, it looks (or will look) just like
a picture hanging on the wall. A 12-
inch screen will have a depth of only
3^2 inches, and a 21-inch screen only
4% inches.
The electron gun at the top of the
screen sends the electron beam down-
wards to the botom of the screen,
where it is reflected upwards, and by
some piece of electronic magic each
electron is made to hit its appropriate
point on the screen. I should em-
phasize that the system is only in the
experimental stage.
Equipment News from Allied Drive-in Conclave
If conventions are barometers, then the
recent Fourth Annual National Allied
Drive-In Theatres conclave in Cincinnati
would indicate that drive-ins are going
into an even bigger expansion than last
year, when about 250 ozoners were built.
The reasons for this seem to be four-fold:
(1) we are a nation on wheels; (2) espe-
cially in the summer do we like to dress
easy; (3) no need for a baby-sitter, and
(4) amusements and concessions — it is
no idle jest that drive-in operators have
developed into restaurateurs and amuse-
ment park men.
But amusements and concessions are
only component parts of drive-in opera-
tion, and what was of most interest to
technicians at the Allied convention were
the new advances in equipment. ,
Prominent among the new equipment
at the show was the Strong U-H-I arc
lamp. The Strong lamp is a completely
new apparatus that includes an exclusive
feature of focusing the light to fit the
aperture. (This was described in more
detail in February's IP.)
Small Sprockets Due
Standardization of small sprockets was
another topic of great interest at the con-
vention. With both MGM and 20th-Fox
adopting the small-sprocket Magoptical
print, it looks fairly certain that other
companies producing in CinemaScope will
follow suit. But to date, out of 17,591
theatres only 15% have installed small
sprockets. Hugh McLachlan, chairman
of the Allied equipment committee,
warned exhibitors at the convention that
they were liable to get caught in the rush
when the small sprockets became re-
quired equipment.
The exhibitors and equipment manufac-
turers at the convention voiced the opin-
ion that the future of large film, either
65-mm or 55, rests largely with the drive-
in theatres. The consensus of opinion was
that large film had the greatest potential
20
INTERNATIONAL PROJECTIONIST • MARCH, 1957
value for the drive-ins.
But Hollywood producers and equip-
ment manufacturers are said to require
some assurance that from 4,000 to 5,000
theatres would go along with large film
before equipment manufacturers would
set up provisions for large scale manufac-
ture, or before Hollywood would consider
general release.
The new Bausch & Lomb "cold" reflec-
The recently introduced National Theatre Sup-
ply Constellation 170 arc lamp. The new
lamp features many exclusives, among them
a special lens to pattern the spot to the
aperture, an automatic crater positioning sys-
tem, and spot focusing available with the
entire burner assembly being movable.
tors came in for some praise from the
delegates. Under impartial observation,
at 150 amperes there was a 50% reduc-
tion in heat, no film damage, and no fil-
ters. It was warned, however, projection-
ists should be sure that their lamps can
carry off the heat passed to the rear of
the lamphouse.
Along with wide-gauge film, stereo-
phonic sound was considered to be a
valuable aid to a prosperous drive-in
future. At this time there are only 3,662
theatres equipped to reproduce stereo-
phonic sound.
The Allied equipment standardization
committee will meet with 20th-Fox to dis-
cuss means of making wide-gauge film
available in the most efficient and least
expensive way. Delegates were urged to
write in to their state Allied associations
and indicate whether they were willing to
convert to wide-gauge. From the re-
sponse, producing companies could make
some estimate of interest in big film.
Of non-technical nature, but of interest
to drive-in technicians was the softening
of the exhibitor organization's policy to-
ward distribution. The newly-elected Al-
lied president, Julius Gordon, has indi-
cated a conciliatory policy toward ending
internal industry conflict.
20th- Fox Adopts Small-Sprocket Magoptical
Twentieth Century-Fox has announced
that, effective with its current release,
"The True Story of Jesse James," all its
CinemaScope prints will be the small-
sprocket Magoptical developed by the
Motion Picture Research Council. Ex-
hibitors are being cautioned that small-
tooth sprockets are essential projection
equipment for any theatre showing Fox
CinemaScope prints. Heretofore, two
types of CinemaScope prints were issued:
magnetic with small perforations, and
optical with larger perforations. It is
expected that other companies producing
CinemaScope will follow in Fox's steps.
MGM has had the Magoptical print in
use for a year.
Magoptical sound consists of the reg-
OPTICAL
TRACK "
MAGNETIC
TRACKS
H F
-¥-
-^h-
VLS
PROJECTOR
APERTURE
H^
^t
\r
d!
D
1
MAGNETIC
TRACKS
APERTURE
FILM
ular four-track magnetic sound used in
the CinemaScope process, plus an optical
sound track having half the width of the
normal optical track. The prints can play
either:
(a) Four-track magnetic stereophonic,
requiring magnetic soundheads, four
pre-amplifiers, four main amplifiers,
three stage speakers and surround
speakers.
(b) Optical, requiring an optical
soundhead, one pre-amplifier, one main
amplifier, and one stage speaker.
(c) Optical sound-directional, requir-
ing an optical soundhead, one inte-
grator, three pre-amplifiers, three main
amplifiers, and three stage speakers.
The projector aperture is identical
to that used with CinemaScope optical
sound. Dimensions, as shown in the dia-
gram, are:
Dimensions
Inches
A
0.839" Max.
B
0.715" Max.
E
0.738" ±0.002"
F
0.038" Max.
G
0.262" ±0.002"
J
0.049"
The natural advantage of the Mag-
optical print is that it represents con-
siderable savings in distribution and
speeds booking, since no matter what
sound system a theatre may have, the
same print will be available to all. Cost
of converting two projectors and sound-
heads, based on parts and labor, range
from about $90 to $160, dependent on
make and equipment.
From certain quarters of the industry
there have come some objections to the
print, because it was considered that
since the optical track is narrower than
normal, there would be a reduction in
theatre sound reproduction. This prob-
lem is said to have been reduced through
continued development. All studies be-
longing to the Motion Picture Research
Council have aided in Magoptical de-
velopment.
Radiant's 41 Distributors
The complete line of projection screens
of Radiant Manufacturing Corporation
is now being carried in 41 distributor
warehouses throughout the country. Four
new locations have been established, in
addition to which the Chicago firm has
expanded service facilities in Hawaii and
Canada.
Motion Picture Research Council's official diagram of the magoptical print.
Increase Tint Footage
Criterion Film Laboratories, Inc., seven
months in operation, has found it neces-
sary to increase its color facilities by
50%. Originally engaged mainly in
16-mm work, the New York firm has now
installed new equipment to insure rapid
delivery of 35-mm black-and-white rushes.
INTERNATIONAL PROJECTIONIST • MARCH 1957
21
The present optical vs. magnetic reproduction controversy
invokes still another correspondent to voice his opinion.
A Defense of Magnetic Reproduction
YOUR ARTICLE "Is Magnetic Re-
production Worthwhile," with
Mr. Robert Mitchell's reply in
the January issue of your valuable
journal has interested me very much.
I do not wish to challenge the general
conclusions at which he arrives, since
the subject under discussion is highly
controversial, and there are many
arguments on both sides of the ques-
tion.
Let me deal first with some of the
statements relative to optical tracks.
The author states, for example, that
"high frequency noise and distortion
. . . seems to be . largely dependent
upon the method of recording used,
the variable density method suffering
the most." The matter of relative noise
levels of variable density and variable
area tracks is debatable, and I agree
that on a new, carefully processed
print, noise from a variable area track
is considerably (6 db) lower than on
a comparable variable density print.
With repeated runnings, the variable
area track becomes successively noisier
due to accumulation of dirt and
scratches on the clear areas of the
variable area track. The variable den-
sity track with an average density of
0.5 — 0.7 is not nearly so susceptible
to this type of deterioration.
The second statement that variable
density suffers most from high fre-
quency distortion is completely at
variance with both theory and practice.
In modern variable density and vari-
able area recording systems, and with
good laboratory control, excellent
sound tracks can be produced with
either system. The variable area track
has the advantage of a somewhat higher
volume level and a slight edge in signal-
to-noise ratio.
Harmonic Distortion
However, in the reproducing system
the variable area track is subjected to
severe harmonic distortion from two
soundhead defects, whereas the vari-
able density system is unaffected. I
Tefer to the effects of non-uniform
scanning slit illumination and of
azimuth deviation.
By DR. JOHN G. FRAYNE
Engineering Manager, Westrex Corp.,
Hollywood
It is shown in numerous articles
in technical literature that uneven
illumination and/or azimuthal error
will introduce harmonic distortion in
variable area tracks, the effects being
greatest at the high frequencies. On
the other hand, the only effect of
Referee's Note
At this point, since there have been
so many adherents to both sides of the
optical-magnetic debate in the pages of
this magazine, IP feels that the most
impartial introduction to this article is
to quote Dr. Frayne:
"... I have greatly enjoyed reading
over the years the various articles by
Mr. Mitchell in your valuable journal,
and I trust that these comments will
not be considered as a criticism of Mr.
Mitchell, but rather an honest attempt
to clear the air on the important sub-
ject of magnetic recording, and put the
public discussion of this very important
field on a solid foundation."
azimuthal error on variable density
is attenuation of output at the high
frequencies. Both of these effects on
variable area are reduced by reducing
the slope of the wave-form; hence, the
recent adoption of two double bilateral
tracks which are preferable to a single
bilateral of amplitude equal to the
two component tracks.
Now we come to the author's com-
ments on CinemaScope magnetic track.
He states that the latter is "extremely
irregular when uncompensated by the
recording amplifier." He then shows
a curve (B of Fig. 3, IP, Jan. 57, p.
28) which is claimed to be the record-
ing characteristic of the magnetic
stripe. In actual fact, the recording
characteristic for CinemaScope is
essentially flat except for a boost of
about 7 db at 50 cycles and about 2
to 4 db at 8000 cycles, and neither of
these are dictated by the recording
process.
The pre-emphasis at the low end is
compensated by the complementary
post-emphasis in the pre-amplifier in
the reproducer, and its only purpose
is to reduce 60 or 50 cycle hum on
reproduction. In studio production
recording, a flat low end is generally
used in recording. The slight amount
of pre-emphasis at the high frequency
end is put there to offset magnetic
gap scanning losses in reproduction
and to insure an overall flat response
to 8 k.c.
CinemaScope Characteristics
A typical CinemaScope recording
characteristic is shown in Fig. 1. A typ-
ical CinemaScope reproducing curve
is shown in the same figure. The
FIGURE 1
II 1 1 1 1 1 1 1 1 1 1
CINEMASCOPE CHARACTERISTICS
i iii
+ 20
m
a
Z +15
UJ
Z +10
o
Q.
UJ +5
UJ
> 0
tt
u 5
or °
A- RECORDING PRE- EQUALIZATION
B-REPRODUCING CHARACTERISTIC
—
B
A
-— ^
-10
2
0
IC
0
i
X)0
10,
000
FREQUENCY IN CYCLES PER SECOND
22
INTERNATIONAL PROJECTIONIST
MARCH, 1957
iii i i i i i i i M i i ■ i
MAGNETIC REPRODUCING CHARACTERISTIC
i i i i
F
LAT
REP
HO
3U
CI
N
I
1
SYSTEM
+ 5
o 0
Z
z
o
9; 10
LJ
/
>
< 20
LxJ
cr
'
100 1000
FREQUENCY IN CYCLES PER SECOND
10,000 20,000
FIGURE 2
peculiar shape of this curve is not,
as Mr. Mitchell says, to compensate
for the magnetic recording character-
istic but for the magnetic reproducing
characteristic. This is best explained
by reference to Fig. 2. Here is a play-
back over a flat reproducing system
of a magnetic frequency film recorded
flat into the magnetic head. Ignoring
the "bumps" at the external low end,
the curve rises with a slope of 6 db
per octave from about 60 cycles to
2 k.c. It then flattens out and finally
drops as shown in the figure. The
6 db per octave rise is inherent in the
method of scanning magnetic tracks.
The emf (voltage) generated in the
coils surrounding the head core is
proportional to the rate of cutting of
the magnetic flux recorded on the film,
not to the flux itself.
Now since the elementary magnets
in the track become shorter inversely
with the frequency the rate of cutting
the lines of flux increases directly with
the frequency. Thus, a 2 k.c. tone
will produce twice as much voltage as
a 1 k.c. tone, or as engineers say:
"It increases 6 db per octave." Now
why does the reproduce characteristic
flatten out and finally decline?
First, there are the well-known scan-
ning losses exactly analogous to those
met in optical scanning, except the
magnetic slit (gap) is not so well de-
fined. Then there is self-demagnetiza-
tion within the tape which increases
progressively as the elementary mag-
nets become shorter and shorter with
increasing frequency. The bumps at
the low end are caused by the presence
of shields and/or coil forms which
set up alternate magnetic flux paths
which do not thread the pick-up coils.
Reproducing Equation
The reproducing characteristic de-
scribed above is elegantly described
by the equation:*
12 3
e = K
-t/x
sin (vrf/fo)
vrf/fo
where K = a constant
t = the demagnetization con-
stant of the medium
A = the physical wavelength
of the recorded signal
f = frequency of the signal
f0 = cut-off frequency
region 1 of the above equation ac-
counts for the 6 db/octave
slope
2 accounts for the demagnet-
ization losses
3 accounts for scanning losses
As I stated in the beginning, I do
not wish to argue with Mr. Mitchell's
conclusions. However, I do wish to
emphasize that if these conclusions
were arrived at on the basis of false
presumptions of the physical process,
then they should be suspected as being
colored by the injection of incorrect
hypothesis. If they are based on ob-
servations over an extended period of
time under a wide variety of operating
conditions, the conclusions may be
valid regardless of basic misunder-
standings of the magnetic recording
method.
Simplex Joins GPL
Simplex, formerly International Pro-
jector Corporation, is now a subsidiary
of General Precision Laboratory, re-
moved from its status as subsidiary of
General Precision Equipment Corpora-
tion. John L. Alden will continue as
president and chief executive officer.
The move, according to Hermann G.
Place, president of GPE, was made "to
bring about the dual advantage of plac-
ing greater manufacturing facilities un-
der direct GPL control and of making
GPL's extensive research facilities more
readily available for work with Simplex's
many projects in improving motion pic-
ture theatre projection equipment."
Simplex also will handle current and
future orders for airborne Doppler navi-
gation equipment. GPL has recently re-
ceived an Air Force contract for an ad-
ditional $17,000,000 worth of Doppler
equipment.
RCA Nets $40,031,000
RCA has announced a net profit of
$40,031,000 for last year, equal to $2.65
per common share. Also noted was that
the corporation did the largest volume
of business in its history in 1956. Sales
amounted to $1,127,744,000, an increase
of 7% over 1955.
* Elements of Sound Recording, by Frayne & Wolfe,
John Wiley & Sons, 1949.
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
provide spot focusing. The entire
burner assembly should be
movable so that the position of
the arc can be shifted to "feel"
for the best screen light without
disturbing the relative carbon
positions or the equilibrium of
the arc.
^ This is Another
EXCLUSIVE FEATURE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
INTERNATIONAL PROJECTIONIST • MARCH 1957
23
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.
SPOTLIGHT
ALTHOUGH nothing definite has
been decided, there is a possibility
that this year will see, at long last, New
York City under one projectionist union.
Tentative negotiations to have IA Local
306 absorb the membership of the Inde-
pendent Motion Picture Machine Oper-
ators and Television Employees Inc. are
under way. The situation appears hope-
ful, and Local officials are cautiously
optimistic.
The small independent organization
has been a nuisance value in the metro-
politan area since 1940. Since Local
306 has the representation in Broadway,
circuit, and the better neighborhood
houses, the independent outfit has con-
fined its representation to fringe and
secondary theatres, and it is the fringe
theatres that are usually the first casual-
ties when theatres start to close.
Dependent on the state of theatre
business this year, if negotiations are
realized, they probably will be signed
around the end of the year. It is ex-
pected that a deal of this sort will be
beneficial to all. The past 17 years of
jurisdictional clashes here and there
has not helped anybody, including the
exhibitor, and it is an advantage to him
to have one source, one union, and cer-
tainly the Independent's members have
been working at a lower wage scale
and below-standards conditions.
Since it is the welfare of the pro-
jectionist that is the heart of this mat-
ter, IP for one hopes it all can be con-
summated with amity and cooperation.
• Among the many door prizes presented
to holders of lucky tickets at the Feb-
ruary meeting of the Los Angeles Union
Label Council meeting were two tickets
to a special showing of "Around the
World in 80 Days," donated by IA Local
150 and presented tj the winners by the
Local's business representative, George
J. Schaffer. The awards were part of a
campaign sponsored by the affiliated
Local Unions of the Council to promote
and popularize union made products and
services. Other members of the Council
also donated door prizes, all of which
were union made products.
In fftntuiruun
HARRY SHERMAN
March 3, 1952
• With the recent establishment by the
IA of a new department for the enroll-
ment of members of the Colosseum of
Motion Picture Salesmen, all classes of
employes connected with the film ex-
changes are now under the jurisdiction
of the Alliance. Application of the
Colosseum to join the Alliance was ap-
proved by the IA general executive board
at its recent midwinter meeting. New
contract negotiations between the Colos-
seum and the major distributors are
now under way, and the IA general
office has promised to assist the salesmen
in their demands.
• Local 386, Columbus, Ohio recently
observed its 38th anniversary at a cele-
bration neld at Lincoln Lodge in Co-
lumbus.
• The Credit Union established March
1956 by members of Winnipeg Local
299 reported at the end of its fiscal year,
December 31, 1956, sufficient profits on
hand to declare a dividend of 2%%.
The first annual meeting is scheduled
to take place some time this month,
when the rate of dividends will be set
and approved by the Credit Union's
board of directors.
• At the recent mid-term election held
by St. Louis Local 143 Ralph Robertson,
Emil Werner, Sr., and George H. Oonk
were re-elected to the executive board,
and Harry Lang was elected trustee.
• A proposed pension plan for Local
299, Winnipeg, Man., was approved by
the membership at a special meeting held
on January 20. A representative of an
organization specializing in setting up
such plans addressed the gathering and
explained the various types of welfare
plans now in existence. After his talk,
a bull session was held in which many
points raised by the members were
cleared. The final decision was approval
of a plan based on equal contributions
by employers and employes. Once such
a plan has been worked out and agreed
to by all parties concerned, it will then
have to be submitted to the Canadian
government for final approval. J. Cooper,
president of the Local, is a staunch
advocate of pension plans and has spent
considerable time in careful research and
investigation of their benefits.
25-30 Club Notes
• Our apologies to Messrs. Jack Winick
and Abe Kessler for failing to credit
them, as chairman and co-chairman, re-
spectively, of the arrangements committee
for the huge success of the party given
in honor of Mr. X, mentioned in IP's
"Spotlight" columns for January. They
did a grand job and certainly deserve
a round of applause for their efforts.
The January meeting had a record
PRIZE WINNERS AT LOS ANGELES UNION LABEL COUNCIL MEET
George J. Schaffer (cen-
ter), business representa-
tive for Los Angeles Local
150, presents prize win-
ners Amos Hurley (Elec-
trical Workers Union), and
Leonard Helker (Beer
Bottlers Union) with in-
vitations to "Around the
World in 80 Days."
Tickets were donated by
Local 150.
24
INTERNATIONAL PROJECTIONIST
MARCH, 1957
turnout with many industry notables in
attendance. On behalf of the Club, Mor-
ris Rotker presented IA President Walsh
with a check (proceeds from carbon
copper drippings collected by the mem-
bers) for the Will Rogers Memorial
Hospital.
Allen G. Smith, New York City branch
manager for National Theatre Supply Co.
was presented with a beautiful set of
gold cuff links as a token of esteem in
which he is held by the Club member-
ship. The presentation was made by
Jack Winick, past president of the Club.
Club President Nat Doragoff presented
Anthony Boscorelli, past president, with
a set of silver service. Silver retirement
cards were distributed by Abe Kessler,
also a past president.
Among those present were John Alden
and Arthur Meyer, International Pro-
jector; Paul Reis, National Carbon; Ed
Lachman, Lorraine Carbons; and Irving
Merkur, Ace Electric Mfg.
• Rounding out a half century as a
projectionist, Ernest Young, secretary-
treasurer of Local 432, Peterboro, Ont.,
Canada, has a wealth of memories about
the early days of the motion picture in-
dustry. After 50 years of active work in
the theatre, he is still a movie fan and
enjoys his work as much today as he
did when he projected his first picture
as a lad of 18.
Born in Swansea, South Wales, Young
went to work at the age of 15 as an
apprentice electrician, and three years
later took a job with Poole's Myrioramas,
a type of entertainment popular in Eng-
land many years ago and which has since
faded from the scone. This was a travel-
ing show in which about 60 large still
pictures (each one approximately 25
feet wide by 15 feet high) depicting
topical events were shown one at a time
and were described by a lecturer. In
addition to the pictures, Poole's Myrio-
ramas also presented several vaudeville
acts. Movies of the type known as "slap-
stick" were shown between the acts and
Walter F. Diehl, Appointed
I A Assistant President
Walter F. Diehl, IA representative since
1954, has been appointed to the office
of assistant International president. The
appointment, made by IA President
Richard F. Walsh, was unanimously ap-
proved by the general executive board
at the recent mid-winter meeting in
Philadelphia.
A member of Local 182, Boston, Mass.,
Walter Diehl held the office of business
representative for the Local for eight
years prior to his appointment as IA
representative. He has served on the
minimum wage commission for the
amusement industry in Massachusetts;
he was a member of the executive
board of the Boston Central Labor
Union, and has served as labor repre-
sentative for the Suffolk County March
of Dimes.
Ernest E. Young,
secretary, Local
432, Peter-
borough, Ont.,
Canada.
it was Young's job to run them off dur-
ing the three-minute wait for the next
act. After a number of seasons with
the Myrioramas, he settled in Bolton,
England, where he worked as a theatre
projectionist for 19 years. Young served
with the British Army during World
War I and was in charge of mobile
movies shown to the troops at various
army camps. In 1924 he moved to
Georgetown, Ont., later going on to Peter-
boro, where he has remained for the
past 16 years. He is presently employed
as projectionist at the Odeon Theatre
in Peterboro, a position he has held since
the theatre opened nine years ago.
IA ELECTIONS
LOCAL 181, BALTIMORE, MD.
George Dusman, pres.; Chas. Grauling, 1st
vice-pres.; Chas. Dotson, 2nd vice-pres.; Hal
Braswell, 3rd vice-pres.; Thomas P. Finn,
Sr., fin. sec.-treas.; Thurman L. Durst, rec-
sec; Maurice Rushworth, bus. rep.; Elmer
Kastner, sgt.-at-arms ; Ralph W. Rushworth,
John H. Gentile, John W. Hawkins, trustees;
Roland L. Tankersley, Louis Sieber, wage
scale committee.
LOCAL 273, NEW HAVEN, CONN.
Anthony Basilicato, pres.; A. Nelson
Frazier, vice-pres.; Benjamin Estra, sec;
Edwin Boppert, treas.; Ernest De Gross,
bus. rep.; Isadore Stein, Louis LaVorgna,
exec, board.
LOCAL 304, WATERBURY, CONN.
Thomas Gandy, pres.; Joseph Mazieka.
vice-pres.; Frank Carey, fin.-sec; Francis
LaFlamme, rec.-sec; Ralph DiPietro, bus.
rep.; Jack Rabbott, R. DiPietro, T. Gandy,
J. Mazieka, F. Carey, trustees; Abe Fandil-
ler, DiPietro, Gandy, Rabbott, Carey, exec,
board.
LOCAL 330, FT. WORTH, TEXAS
W. C. Austin, pres.; Henry Woods, Jr.,
vice-pres.; V. 0. Huffines, fin.-sec; B. Y.
Coffman, corr.-sec; R. R. Thompson, Sr.,
treas.; R. C. Sparks, bus. rep.; James Dodd,
sgt.-at-arms; W. E. Gilbert, O. W. Sandidge,
exec, board; E. L. Young, C. E. Head, John
Steele, exam, board.
LOCAL 439, NEW LONDON, CONN.
Winslow W. Lucas, pres.; Eric Crawshaw,
vice-pres.; Benjamin Rose, rec.-sec.; John
S. Kane, fin.-treas.; Fred Nowell, bus. rep.;
Leslie Nowell, Thomas Kenure, Anthony
Osowski, trustees and exec, board members.
Seating Doubled in 10 Years
Theatre seating capacity in both in-
door and drive-in houses has more than
doubled in the past 10 years, according
to Albert Sindlinger, industry analyst.
Nearly 27,000,000 patrons can be seated
at any one time. Expansion of the
drive-in industry is given credit, but the
statistician also noted that there has been
an increase in indoor capacity as well.
French Take Increases
A 4% increase of patronage over 1955
is reported by the French motion picture
industry. 410,000,000 moviegoers paid a
total of 28,500,000,000 francs in France
and foreign countries for French issues.
48.2% of the films were French-made,
the U. S. product accounting for 34%.
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
have the mirror integrated with
a rear lamphouse door that
swings out of the way for easy
retrimming, lamphouse cleaning
and reflector cleaning.
^ This is Another
EXCLUSIVE FEATURE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
INTERNATIONAL PROJECTIONIST
MARCH 1957
25
A multiple choice pushbutton arrangement for open
and close coils can be a problem; here's a solution.
A Practical, Simplified
Dowser System
By JOSEPH HOLT
Member, IA Local 428, Stockton, Calif.
IN ROOMS equipped with more than
one pair of projectors, stereo and ef-
fect projectors, it is common to see a
rather cumbersome panel brought out
at each station containing multiple
choice pushbuttons in order to select
the proper close and open coils in the
affected projectors.
The author has been impressed on
several occasions with the inconven-
ience and chance for error which exists
as a result of the conventional arrange-
ment which has been described. In
order to bring the operation of a dow-
ser system down to its best and
simplest form, it would be the final
and most desirable result if one push-
button at each station would take care
of the entire job, regardless of the
operation sequence.
Figure 1 illustrates the connection
pattern for a three-projector installa-
tion with effect and/or stereo projec-
tor, or alternately four projectors.
Analysis of the diagram will show that
the two-pole normally open relays Kl,
K2, K3, and K4 are operated by coil
connections to a momentary switch
corresponding to the projector station
number. The use of relays at this point
in the circuit will permit the duplica-
tion of the individual controls for each
station at a master console.
Step-by-Step Analysis
Of greater importance is the fact
that if relay 4 is the one assigned to
the effect projector, this control but-
ton on relay K4 may be paralleled and
duplicated throughout the room as an
emergency button to close any of the
three projector dowsers. This feature
will provide remote closing of any pro-
jector dowser without the time-con-
suming check as to which projector
is operating at the moment. This "ail-
off" button is an invaluable ally in the
case of film breaks.
Step-by-step analysis of the relay
operation indicates the following ef-
fects: If the momentary switch which
closes the circuit in the coil of KI is
depressed, both contacts of KI
are
which in a de-energized condition fur-
nishes a continuous path through its
upper contacts to the closing coil of
projectors 2, 3, and 4. Thus is the
provision made for an incoming reel
to projector 1, while any of the other
units which may be in use are closed.
The circuit is symmetrical when re-
lay K3 is energized, except that a cir-
cuit trace shows that the closure of
K3 furnishes voltage to the opening
coil of projector 3, and energy to the
closing coils of 1, 2, and 4 through
the closed contacts of K6.
In the case of projector 2, K2 fur-
nishes voltage to the opening coil of
projector 2, and from the same contact
the coil of K5 is energized. Upon the
closure of K5, the voltage furnished
|11S V.A.C.
OPED 1
f —
OPEH 2
OPEN 3
, CLOSE 2
0SE 3
~1 CLOS
CLOSE 4
0PEK 4
CLOSE 1
T~t
[ CLOSE 1
-i_r
"I CLOSE 2
CLOSE 4
CLOSE 3
FIGURE 1
closed, and the 115 v., AC supply is
furnished to the opening coil of pro-
jector 1 through the lower contact of
Kl. The upper contact furnishes supply
voltage to the center contact of K5,
Somebody Goofed
We don't know how often this goes
on, but 5 will get you 10 that the in-
stance we came across the other day has
been repeated. And it's just another
example of the unforunate projection-
ist getting the cat-calls for something
entirely out of his province.
This happened in a small theatre in
a small town out West, but it could
have been anywhere. We quote the
manager: "Terrific show that did well
at the boxoffice, but somebody goofed.
The fifth reel was in CinemaScope,
while the others were not. Our pro-
jectionist wasn't very happy."
We can imagine. We also think it's
about time the boom was lowered on
this.
from the upper contact of K2 is ap-
plied to the closing coils of 1, 3, and
4. It is understood that the supply is
the "hot" side of the line, while each
relay coil and dowser coil, when con-
nected to the switching network is able
to complete the circuit through a com-
mon ground connected to the appro-
priate side of the line.
Circuit Expansion
Expansion of the basic circuit is
possible, but additional contacts and
relays will be required. For the pres-
ent requirements, it is noted that Kl,
K2, K3, and K4 require only about
a five ampere inductive rating. On the
other hand, about ten amperes induc-
tive will be the make-break current of
each upper contact of the relays speci-
fied. K5 and K6 need break only three
amperes inductive per pole.
Due to the normal inductance to be
encountered in the normal relay coil,
26
INTERNATIONAL PROJECTIONIST
MARCH, 1957
A History of Anamorphic Lenses*
By RUDOLPH KINGSLAKE
Sm David Brewster (1781-1868) Is
generally credited with the discovery
that a refracting prism when tilted
away from the minimum-deviation posi-
tion has the effect of compressing or
stretching an image in one direction while
leaving it unchanged in the perpendicu-
lar direction.
In practice a single prism is never
used for this purpose because of 'ts
chromatic dispersion and because it de-
viates the beam through an angle, but
by the use of two prisms, preferably
achromatized, the latter objections can
be removed and a direct-vision anamor-
phoser can be readily constructed (Fig.
1). The degree of compression can be
varied by rotating the prisms in opposite
FIG. 1. A pair of achromatized Brewster prisms
used to expand a projected image anamor-
phically.
directions through approximately equal
angles.
The use of a pair of Brewster prisms
as "an instrument or toy" to vary the
height or breadth of an image was pat-
ented in 1889 (Br. 8409) by John Ander-
ton of Birmingham, England. In 1905
W. E. Phillips of Colorado patented
t Originally published in "Image," magazine of the
George Eastman House, November 1956.
(U. S. 818,553) an arrangement by
which the prisms could be conveniently
mounted in front of a camera lens, with
a linkage to ensure that both prisms
would rotate through equal angles. Many
other patents followed covering mechani-
cal details and also describing means for
removing the small residuals of color and
distortion exhibited by the pair of simple
prisms ordinarily employed.
Prisms are, however, not the only way
by which an image compression in one
meridian can be obtained. A suitable pair
of cylindrical lenses can also be used,
which may be either a positive and nega-
tive pair with parallel cylindrical axes,
combined with an ordinary spherical
lens, or a pair of positive lenses with the
cylindrical axes perpendicular to each
other (Fig. 2).
A device of this latter kind was pat-
ented as early as 1862 (Brit. 1453) by
Leon Farrenc of Paris, and both ar-
rangements were patented in 1898 (Brit.
8512) by Paul Rudolph of Jena. A cylin-
drical-lens anamorphoser has a fixed
compression ratio depending on the
powers of the lenses.
First Applications
Anamorphic compression has found
little application in still photography, but
it has been very successfully used in
motion pictures. The first application to
this field was that proposed in 1910 by
Ernesto Zollinger of Turin, Italy (U.S.
Patent 1,032.172). Zollinger's first claim
reads, "The art of producing moving pic-
tures, which comprises deforming the
picture on the film by reducing one of its
it will be necessary to provide adequate
filtering at the point of origination of
transient pulses or inductive voltage
"kicks." These will be damped under
practically all service conditions by the
shunting of a 1 mfd. 600-volt paper
condenser across each relay coil. The
reader will perhaps wish to reduce the
remaining paths of the circuit to tabu-
lated form, and for comparison pur-
poses, the tabulation shown in Fig. 2
is recommended.
FIGURE 2
RELAY NO.
OPENING DOWSER COILS
CLOSING DOWSER COILS
K5
K6
Kl
1
2
3
4
1
2
3
4
EL
X
X
X
X
K2
X
X
X
X
X
K3
X
X
X
X
E4
X
X
X
X
X
X: SIGNIFIES ENERGIZED CONDITION
dimensions to a fraction thereof and pro-
jecting the deformed picture through a
deformer to reconstruct the projection
to normal proportions."
Actually, Zollinger's principal aim in
this invention was to save film by com-
FIG. 2. Two arrangements of cylindrical-lens
anamorphosers.
pressing the picture vertically to half its
normal height and then restoring its
size and shape in projection.
Chretien's Patent
The French scientist Henri Chretien
patented an identical proposal in 1928
(U.S. 1,829,633 and 4), but with the aim
of photographing an object having an
exceptionally broad or exceptionally high
format onto the normal % x 1-inch film
frame. He later (U.S. 1,962,892, Sept.
1929) described an afocal cylindrical at-
(Continued on page 35)
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
have a large imager screen
and a brilliant, twice-magnified
image of the burning arc.
«"> This is Another
EXCLUSIVE FEATURE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
INTERNATIONAL FROJECTIONIST • MARCH 1957
27
Proje
GRIPES? PROBLEMS?
cfion
CLINIC
SEND
'EM
IN.
The Effectiveness of "Studio Guide Rails"
ARE THE "studio guide rails" of such mechanisms as the Simplex E-7 and
XL and the Motiograph K effective means for guiding the film laterally
through the projector gate?
The purpose of "studio guides" in such studio and laboratory apparatus as
cameras, sound recorders, and printers is to maintain correct lateral positioning
of the moving film and to prevent excessive sidewise movements. This demands
a distance between the inner surfaces of the film-edge guiding rails exactly
equal to the width of fresh film. The width of freshly manufactured 35-mm
raw stock is 1.378 inches, which equals 35.0 millimeters.
Almost from the very moment of its ments of the traveling film. It was found,
manufacture and processing, however,
motion-picture film loses moisture and
base solvents and begins to shrink. A
loss of 0.5% in width, which results
in a film width of 1.371" = 34.8 mm,
is not uncommon in used projection
prints and in camera negatives and labo-
ratory dupes and masters which have
been stored in warm, dry air for long
periods of time. Nitrate films shrank
even as much as 1.5% !
It is therefore evident that projector
edge-guiding rails adjusted to the width
of fresh triacetate film are a trifle too
far apart for effective lateral guiding
when "seasoned" prints are run. On the
other hand, guide rails set for shrunken
film will "pinch" and buckle fresh, un-
shrunken prints.
Too Wide Spacing
In practice, therefore, studio guide
rails in projectors are set a little farther
apart than is necessary for the great
majority of prints shown in theatres.
Either fresh 35-mm raw stock or a gauge
block of the same width should be used
for setting them when of the adjustable-
width type. But too wide a spacing
causes jerky sidesway of the picture
when the film "brings up" against the
rails, and their effectiveness in guiding
the film is all but lost!
As a result, the flanged lateral-guide
roller at the top of the gate must assume
the main job of edge-guiding the film, as
in older projectors having no studio
guides. What, then, is the good of studio
guides in projectors?
The studio guides of the Simplex E-7
and the Motiograph K were originally
intended to function as in studio ap-
paratus, i.e. to reduce sidewise move-
however, that different film widths due
to varying degrees of shrinkage reduced
the effectiveness of the guides very se-
riously and made sidesway more conspic-
uous than ever by imparting sudden
movements to it.
Motiograph's answer to the problem
was complete abandonment of studio
guides and the adoption, in the Models
AA and AAA, of an extra flanged guide
roller located between the picture aper-
ture and the intermittent sprocket. The
use of two flanged guide rollers is the
best preventative of sidesway yet devised
for projectors.
Curved Gate Use
Now that the Simplex Equipment Corp.
(formerly the International Projector
Corp.) has made available an alterna-
tive curved film gate for the Simplex
XL, the studio guides of the "flat-gate"
XL mechanism are regarded in a new
light. They serve primarily as a refer-
ence surface to simplify accurate setting
(lateral position) of the guide roller
and the intermittent sprocket. The guides
also function as a positive stop when
the gate is closed. In the new XL curved
gate there are no studio guides; and
the flanged guide roller and sprocket are
adjusted with the aid of special gauges.
Projectionists operating on mechanisms
having studio guides should therefore not
neglect adjusting the flanged lateral
guide roller correctly. The rails, them-
selves, may be ignored so long as they
are in good condition and far enough
apart to accommodate fresh film. If they
are too close together, prints having
maximum 35-mm film width will buckle
over the aperture, interfering with the
focus of the picture. Guide rails which
have become grooved by film must be
replaced without delay.
Mirror Differences
WHAT IS the difference between ellipti-
cal and parabolic arc-lamp mirrors?
The difference, optically important
though physically slight, is in the curva-
ture of the concave reflecting surfaces
of the lamp mirrors. The simplest con-
cave mirror is, of course, the "spherical"
reflector. In this, the circle forms the
basis of the curvature. A spherical mir-
ror has but one focus, namely, the center
of the sphere "generated" by a circle
rotating around a line drawn as its
diameter.
Spherical mirrors are used in mazda
lamphouses to focus an image of the
glowing tungsten filament upon the ac-
tual filament of the bulb, thus increasing
the brightness of the light and the
smoothness of the screen illumination.
The "object" (filament) and "image"
(image of filament) thus occupy the
same focus — the one and only focus of
a spherical mirror.
Ellipses and parabolas, like circles,
are conic sections, i.e. they are produced
whenever a cone is "sliced" in various
directions. An ellipse is an oval-shaped
figure, or elongated circle, having two
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
have the new jet arc stabilizer
that keeps the flame from
the reflector and prevents
black soot formation.
^ This is Another
EXCLUSIVE FEATURE
or" the New Strong
U-H-l
PROJECTION
ARC LAMP
28
INTERNATIONAL PROJECTIONIST • MARCH, 1957
Announce New Lorraine Carbon Pairings
Designed especially for the new lamps
requiring 13.6-mm positives and 7/16"
or y<£' negatives ranging from 135 to
165 amperes, two newly developed Lor-
raine Orlux carbon pairings have been
released by Carbons, Inc., distributors
of Lorraine carbons. Specifications for
the new products:
Lorraine Orlux 13.6-mm X 18" Grade
552-09 Positives
Lorraine Orlux 7/16" X 9" Grade
555C Negatives
and
Lorraine Orlux 13.6-mm X 20" Grade
553-01 Positives
Lorraine Orlux V2" X 9" Grade 555C
Negatives
Recognizing the onset of larger screens
and 55- 65- 70-mm film, the carbons have
been on test with certain large circuits
and lamp manufacturers for over a year.
Claimed for the new pairings are:
larger crater diameter, greater arc sta-
bility, increased distribution of light, and
an absence of bombardment of particles
onto the reflector's surface. The distrib-
utors assert that it is possible to have
95% to 100% distribution of improved
bght over entire screen area.
The new features are incorporated in
the shell and core of the high intensity,
inner-serrated-shell 13.6-mm carbons, and
the intermediate high intensity products,
specifically the star-cored 9-, 10-. and
11-mm grade 552-09 black carbons.
(Grade 552-09 is similar to the grade of
the new star-cored 13.6-mm X 18" car-
bons.)
The manufacturer emphasizes that the
7/16" X 9" grade 555C negative be used
only with the Lorraine Orlux 13.6-mm
X 18" grade 552-09 positive at 135 to 165
amperes, or with the Lorraine Orlux
11-mm X 20" grade 552-09 positive when
used at amperages around 130 amperes.
Thrillarama Lukewarm
Thrillarama, the new widescreen proc-
ess that has been having trouble, opened
to a somewhat lukewarm reception in
Philadelphia. "Thrillarama Adventure,"
foci (denoted by F t and F2 in the ac-
companying drawing) .
The elliptical type of mirror surface
is generated by rotating an ellipse around
its longest axis, called the "major axis."
An elliptical mirror forms a distinct
image of the light source at one focus
when the source, itself, is placed in
the other focus. This is why elliptical
mirrors are used in conventional arc-lamp
optical systems: the source (crater of the
positive carbon) at Ft is sharply imaged
as a "spot" upon the picture-mechanism
aperture at F2.
Parabolic Mirror
A parabola, unlike a circle or ellipse,
Sides of AyperAo/a
never meet!
Sides of parabola
neHer meet, 6u.t
become parallel
a.t infinity distance!
\
Parabola. I
Hyperbola
focus
Spherical Elliptical Parabolic
mirror mirror mirror
FIGURE 1
is an open curve. The two open sides
tend to become more and more nearly
parallel as they are extended, but they
never meet. The mirror curvature gen-
erated by a rotating parabola is used
for reflecting light from a concentrated
source in a beam of essentially parallel
rays. Searchlights and auto headlights
accordingly employ parabolic mirrors. A
certain old-style low-intensity reflector
lamp also used a parabolic mirror: the
mirror reflected a parallel beam of light
upon a large thin lens which converged
it as a spot upon the aperture.
The remaining conic section shown in
the diagram is the hyperbola. The sides
of this open curve, extended, keep get-
ting farther and farther apart. Except
for special optical instruments used in
scientific research, hyperbolic mirrors
point (or, more exactly, the focus of
an hyperbola lies beyond infinity).
The conic sections are fundamental in
Nature's scheme of things. The curved
paths, or orbits, of moons, planets, stars,
and other celestial bodies are sections
of the cone. A celestial body rushing
toward the earth from space will revolve
around our world in a circular or ellip-
tical orbit, like the moon, unless its speed
exceed a certain "critical velocity." If
the intruder break the celestial speed
limit, then it perforce must swing back
into the depths of outer space in a para-
bolic or hyperbolic path, never to return.
There is thus a striking similarity be-
tween the curvatures of our arc-lamp
mirrors and the "timeless orbits" of the
stars !
the initial venture, did not impress as
much as the rival Cinerama, nor provide
as much a sense of audience partici-
pation.
One of the main distractions was that
the picture joining seam running down the
center of the adjustable 70-by-20-foot
screen was readily visible — a problem that
has plagued the process since its experi-
mental debut last year. The process em-
ploys two projectors, and there was a
noticeable color difference between the
two picture halves. The alignment of
the two halves was poor at the first per-
formance, but it is said this is to be cor-
rected by a device which arrived too late
for the opening. Binaural magnetic sound
and the music score were satisfactory.
"Thrillarama Adventure" is a 90-min-
ute average travelogue shown on a special
screen placed in front of the theatre's
regular one. It is claimed that the proc-
ess, because it is mobile, will be able to
play many places that Cinerama cannot.
More subjects are planned, depending on
initial reception.
BUY U. S. SAVINGS
BONDS
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
pattern the spot to the aperture
so as to efficiently utilize all
useful light from the carbon.
^ This is Another
EXCLUSIVE FEATURE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
INTERNATIONAL PROJECTIONIST
MARCH 1957
29
CINCE 1950 all motion-picture film
** produced by the major U.S. and
Canadian manufacturers for profes-
sional and amateur use has had a
"safety" base of cellulose acetate or
other material which burns slowly.
Formerly, most film was made with a
film base of cellulose nitrate. There
still seems to be some confusion over
the differences between these two types
of film. Where "safety" film is used
or stored exclusively, no special fire
protection precautions are necessary.
While the change to acetate base
film has been an accomplished fact
domestically for about six years, some
cellulose film is still in circulation
and some nitrate film will be in storage
for years for archival purposes. The
NFPA Standards for the Storage and
Handling of Cellulose Nitrate Motion
Picture Film (NFPA No. 40) should
be followed to safeguard life and prop-
erty where this nitrate base film is
being stored or handled.
This article illustrates the difference
in the ignition and burning charac-
teristics of the two types of film. It
FIG. 1. Nitrate film 15 sec after ignition.
should be understood that cellulose
nitrate contains chemically combined
oxygen, sufficient in amount so that
this material can partially burn or
decompose without the presence of air.
The gases formed by such decomposi-
tion are both toxic and flammable and
may be produced so rapidly as to
jReprinted from the October 1956 Quarterly of the
National Fire Protection Association, Vol 50, No. 2.
NITRATE
versus
ACETATE
FILM SAFETY
A series of tests conducted by
NFPA emphatically illustrates
the combustion differences be-
tween the old and the new film.
By ALLEN L. COBB
Fire Protection & Safety Dept.
Eastman Kodak Company
create a hazard to life and dangerous
pressures in enclosed spaces. While
the actual heat of combustion of nitrate
film measured in British Thermal Units
per pound is 6,000 to 8,000 compared
with 8,000 to 9,000 for wood, the rate
of combustion is about fifteen times
that of wood in the same form.
Cellulose acetate film, in contrast,
burns relatively slowly- — about the
same speed as paper — and the com-
bustion products of burning safety film
are much less toxic than the gases of
cellulose nitrate.
Loose-Film Burning Tests
At a series of tests, comparisons
were made of the burning character-
istics of nitrate and acetate films.
Figure 1 shows the extent of a fire
15 sec after ignition of a pile of
1,000 ft of 35-mm nitrate motion-
picture film which had been placed in
a loose pile on the ground and ignited.
The burning time was checked with a
stop-watch at 38 sec. The nitrate film
was completely consumed. Flames
reached a height of approximately 12 ft
and gave off no visible fumes but did
show some fly ash.
In a comparative test, 1,000 ft of
35-mm acetate motion-picture film was
placed in a loose pile on the ground
and ignited using a small wad of wood
excelsior. Figure 2 shows the result-
ing fire at its height. The burning
time was recorded at 218 sec. The
safety film was not completely con-
sumed and showed evidence around
the edges of melting and curling. The
flames of the safety film did not exceed
two feet in height and gave off a black
smoke.
About 1,000 ft of heavy craft paper,
35-mm wide, was placed in a loose pile
under similar conditions. In this case,
the burning time was checked as 124
sec. The flames were approximately
two feet in height and considerable
blue smoke and fly ash were observed.
About 1,000 ft of cotton fabric, 35-
mm wide, was similarly ignited. Burn-
ing time was 155 sec; flames did not
exceed two feet in height; very little
fly ash was observed although there
was some blue smoke.
Simulated Projector Fires
Two Simplex projector magazines
were mounted on a frame in a such a
way as to simulate the mounting dis-
tance which could be found on a thea-
ter projector. Acetate "safety" film, a
full 1,000-ft roll) was placed in the
top magazine with a strip of film lead-
FIG. 2. Acetate film at height of fire.
ing down to the lower magazine which
contained part of a roll of acetate film.
The lower magazine door was left
open and film was placed in a dis-
orderly pile beneath as might be found
in a theater following a film break.
This small pile of film was ignited
with a wad of excelsior and it was
observed from Fig. 3 that while much
30
INTERNATIONAL PROJECTIONIST • MARCH, 1957
FIG. 3. Simulated fire at
acetate film.
projection on
Nitrate film during same
situation as in Fig. 3.
simulated
of the safety film on the ground was
consumed, the flames did not carry
up the streamers from the bottom mag-
azine.
Figure 4 is the same test repeated
but this time nitrate film was used in
both the top and bottom magazines
with the film streamers in approxi-
mately the same location. The loose
nitrate film on the ground was set on
fire and immediately the film in the
lower magazine ignited and burned
with considerable intensity. The
streamers from the top magazine
burned to the opening in the bottom
of the magazine, setting off the roll in
the top magazine which burned com-
pletely and with considerable intensity.
It was observed that the intensity of
the flames in both top and bottom
magazines was sufficient to melt the
white metal holders for the film rolls
and to warp and bend the magazines.
Using a mock 35-mm process ma-
chine dryer section constructed of two-
by-fours with Transite sides, top, bot-
tom, and back with center partitions
and doors made of acetate sheeting for
visibility, acetate film was threaded
throughout the machine to a windup
roll on the outside. Film was looped
from the windup roll down to the
ground as could occur from a nonat-
tended windup. This material was ig-
nited with a wad of excelsior and the
film on the ground burned without
carrying up to the windup roll. The
burnout time was 170 sec.
Nitrate Goes in 55 Sec.
After the acetate was removed from
the machine dryer section, the machine
was threaded with 35-mm nitrate film
in the same manner as the previous
test. The nitrate film was ignited and
in 55 sec the entire quantity of nitrate
film was consumed. The fire burned
from the loose pile on the ground up
to and ignited the windup roll follow-
ing the film strip from the machine
to the roll and igniting the material
looped inside the first section of the
machine. It burned rapidly inside car-
rying through to the second section
which burned almost immediately, and
after the pressure built up inside the
machine, the doors blew open and the
heat was sufficient to melt some of
the acetate on the doors. It was in-
teresting to note that the acetate ma-
terial on the doors did not ignite and
burn.
Approximately 40 lb. of acetate film
was placed in a loose pile inside an
enclosure approximately eight feet
wide with an open face. The acetate
film was ignited and the fire allowed
to burn for about two minutes. A fire
fighter using a dry chemical extin-
guisher readily extinguished the burn-
ing film.
Another test fire was ignited with
40 lb. of nitrate film substituted for
the acetate. Here the fireman used a
water spray nozzle to attempt extin-
guishment. The flames did not appear
to diminish in intensity despite the
application of water fog, and when the
fire was finally extinguished practically
all the nitrate film in the center of the
pile had been consumed.
Film Overheating Report
Set for issuance this fall, a report on
the various factors affecting film over-
heating is being prepared by the Film
Projection Practices Committee of the
SMPTE. Due to the increasing require-
ments for higher light intensity, all
operating personnel should be acquainted
with these factors. The report group,
under the chairmanship of Herb Behrens
of DuPont intends the report to be in
shape by June.
*********
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
have an automatic crater
positioning system that
maintains a brilliant WHITE light
at the screen at all times.
^ This is Another
EXCLUSIVE FEATURE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
INTERNATIONAL PROJECTIONIST • MARCH 1957
31
PERSONAL NOTES
Eight Managers for RCA service regions
have been appointed, it was announced
by the technical products service depart-
ment of RCA Service Co. They will be
responsible for all field service and in-
stallation activities of the technical prod-
ucts department, which includes installa-
tion supervision and maintenance of RCA
equipment used in theatres, industrial
plants, etc.
Managers and their headquarters are:
B. D. Bachin, Eastern Region, New York;
M. E. Wheaton, Mideast Region, Phila-
delphia; C. L. Swinney, Southeast Re-
gion, Atlanta; W. W. Gilreath, South-
west Region, Dallas; E. D. Van Duyne,
Westcentral Region, Kansas City; F. W.
Hamre, Central Region, Chicago; H. M.
Madison, Western Region, Hollywood;
H. E. Frisbie, Eastcentral Region, Cleve-
land.
* * *
Robert Sackman, a vice president of the
Ampex Corporation in California, has
been named general manager of that
firm. Joining Ampex in 1953 to establish
V Jy Robert Sackman
and manage its Washington District
office, Sackman previously had headed a
department of defense research and de-
velopment branch devoted to recorders
and data-processing systems. He is a
member of the Institute of Radio En-
gineers, American Management Associ-
ation, and the Instrument Society of
America.
* * *
Paul P. Porter, Jr., advertising assistant
in charge of x-ray and motion picture
products for Du Pont Photo Products
department, has advanced to advertising
manager of that section. He has been with
Du Pont since 1948 as an x-ray technical
representative in the Cleveland and Phila-
delphia districts. His former post will be
filled by R. L. Snowberger, x-ray techni-
cal reperesentative for New England ter-
ritories.
* * *
Dr. Douglas H. Ewing, vice-president of
RCA Laboratories, has been appointed
vice-president of RCA's research and en-
gineering department. This was one of
several appointments announced for the
research and engineering organizations.
Also in the Laboratories, Dr. James
Hillier, who has been chief engineer,
is named general manager; Humboldt
W. Leverenz, former director of the
physical and chemical research labora-
tory, is now assistant director of research.
Elsewhere, Dr. George H. Brown was
appointed chief engineer of RCA's com-
mercial electronics products.
* * *
Richard B. DeMallie, assistant general
manager of the international division of
the Eastman Kodak Company, has been
appointed general manager of that divi-
Richard B.
DeMallie
sion. With Kodak since 1924, DeMallie
has been Kodak's sales manager in Cuba,
the Phillippine Islands, and Japan, re-
turning to the Rochester office in 1939.
He is a member of the Export Managers
Club of New York, National Foreign
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
are unitized in construction with
"plug-in" components
that afford easy inspection
and quick servicing.
^ This is Another
EXCLUSIVE FEATURE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
Trade Council of New York, and the
Rochester Chamber of Commerce.
New presidents of two RCA associated
companies in South America have been
elected. Richard T. Scott has been
promoted to president of RCA Victor
Radio, S.A., of Brazil, and John P.
Cougnenc has assumed the head post at
RCA Victor Argentina, S.A.I.C. With
RCA since 1953, Scott was associated
with distribution in the RCA Eastern
and Western sales regions. Cougnenc,
who joined the firm in 1942, was pre-
viously vice-president and operations
manager of RCA Victor Argentina.
Noble C. Ferguson, manager of the
editorial service bureau of Eastman
Kodak Company's advertising depart-
ment since 1936, will retire this spring.
Having had long experience as writer
and editor on various wid-West newspa-
pers, Ferguson is a specialist in news-
paper promotion and publicity. In 1941
he was awarded he Silver Medal of
the U.S. Treasury for his publicity serv-
ices in connection with promotion of
war bond sales. Among others, Fergu-
son is a member of the Photographic
Society of America, the National News-
paper Promotion Association, and the
National Geographic Society.
J. W. "Bill" Cosby is the new manager
of arc carbon sales for National Carbon
Company, succeeding E. R. Geib, well-
known throughout the industry through
nearly 50 years association with that
* «*'!
1 S '
A
■A C
' ~X.-- ' \
■t:
J. W. Cosby
firm. Geib will stay on as arc carbon
sales consultant.
Cosby, who joined National Carbon
in 1950 as a production engineer, will
be responsible for national sales of arc
carbons for motion picture projection,
motion picture and television studio light-
ing, photoengraving, searchlights, and
other industrial lighting applications of
the carbon arc. He will also direct sales
of spectroscopic electrodes and powders
used in analytical work.
* * *
Robert N. Emerson, of RCA's Theatre
and Industrial Products department, has
32
INTERNATIONAL PROJECTIONIST
MARCH, 1957
been named that section's field sales rep-
resentative for RCA 16-mm sound motion
picture film projectors in the West and
Southwest regions. Emerson, seven years
with the department's commercial service
activity, will represent RCA audi-visual
equipment in Colorado, Iowa, Kansas,
Missouri, Nebraska. Oklahoma, South
Dakota, and Texas. The audio-visual
line includes Senior and Junior models
of 16-mm sound projectors, a magnetic
recorder projector, and a "Porto-Arc"
arc-type 16-mm projector.
* * *
Marcel Ruot, an assistant manager of
the international division of Eastman
Kodak Company, has announced his re-
tirement after 30 vears with the organiza-
Marcel Ruot
tion. Ruot, born in France, joined Pathe
Cinema in London in 1909. and in 1923
was managing director of the distribut-
ing company for Pathe. He became
managing director for Kodak-Pathe of
France when Kodak took over the Pathe
interests in 1927. After spending several
years overseas, he came to the United
States in 1950.
Ruot is a member of the Rochester
Chamber of Commerce, and has been
chairman of the Chamber's world trade
committee and second vice-president of
the group's council on world affairs.
Giant Kodak Exhibit
Eastman Kodak Company is preparing
a series of 13 giant photomurals for the
International Photographic Exposition to
be held in Washington, D.C., March 22-
April 1. The huge photographs, which
range from 44 to 75 square feet in size,
will be suspended 18 feet above a 7-foot
revolving globe. The globe will be sur-
rounded by 25 color transparencies show-
ing representative retail outlets. Eleven
of the photo-murals will be in full color,
produced on Kodak Color material, Type
C from 8 x 10 Ektacolor negatives, said
to be the largest group of color prints
ever assembled to this time.
Exports Hit New Peak
A record $44,456,788 w-orth of motion
picture film and equipment was exported
last year. The Department of Commerce
census noted a special increase in raw
stock and 8-mm cameras and projectors.
s*$U*
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 1 0 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.
KOLLAKMEf^EN,
\^&&CM COKPOKATIOK
NORTHAMPTON, MASSACHUSETTS
INTERNATIONAL PROJECTIONIST
MARCH 1957
33
SMPTE Sound Recording Classes Begin at NYU
The SMPTE educational program,
particularly the courses in Sound Record-
ing and Laboratory Practice, is well
under way. Starting in February, the
classes have enjoyed complete attendance
with many late applications being re-
jected. Enthusiasm for the courses, which
are being co-sponsored by Motion Picture
Studio Mechanics Local 52, IATSE, have
encouraged the Society to consider more
extensive plans for their educational pro-
gram on both the East and West Coasts.
The Society maintains that "there is a
distinct possibility that advanced courses
will be approved in the near future."
Applications that arrived too late will be
kept on file.
Conducted in cooperation with New
York University, each course is coordi-
N. B. Cook, second from
right, instructor at the
first Sound Recording ses-
sion of the courses inaugu-
rated by the New York
section of the SMPTE
committee on education,
confers with committee
members after the open-
ing session at New York
University last month.
Left to right, Edgar Schul-
ler (DeLuxe Labs.); Vince
Matthews, IA Local 52;
Cook and Burton Perry
(Westrex Co.), moderator.
nated by a moderator, and the various
instructors have been chosen from among
the leading men in the industry.
Moderator for the Sound Recording
course is Burton Perry, recording engi-
neer of Westrex Corp. R. D. Whitmore
of 20th-Fox is moderator for the Labo-
The only light which con reach your screen must be reflected by the
mirror. The brilliance of your projected picture accordingly is in
direct proportion to its efficiency.
All mirrors gradually deteriorate. Endeavoring to make
up light loss through the use of more current is pure
waste, costs much more in power bills than
periodic replacement of reflectors
PRECISION REFLECTORS,
long recognized for their superiority, are available in types ^k
and sizes for use in all standard projection arc lamps. Order
from your dealer now.
THE STRONG ELECTRIC CORPORATION
31 CITY PARK AVENUE
TOLEDO 1, OHIO
ratory sessions.
Before the opening session of the
Sound Recording course, N. B. Cook,
chief engineer of Meter Service, Public
Service Electric and Gas Co., New Jersey,
lectured. He is scheduled for other
courses later.
Other instructors will be: Cyril Har-
ris, supervisor of the Acoustics Labo-
ratory, Columbia University; Ray Gris-
wold and Edward P. Ancona of RCA;
Homer Elder, Dichter Sound Studios;
Robert J. Engler, Westrex; Edward
Schmidt and Ernest Franck of Reeves
Sound Studio; John Maurer, consultant,
and others.
John G. Frayne, engineering manager
of Westrex heads the SMPTE Education
Committee, vice-chairman being Herbert
Barnett, assistant to the president of
General Precision Equipment Corp.
Chairman of the subcommittee on the
Education of Sound Technicians of the
New York section is Edgar Schuller.
James Kaylor heads the subcommittee on
Laboratory Practice.
Fair Features New Equipment
The latest foreign developments in
motion picture equipment will be a fea-
ture at the United States World Trade
Fair to be held at the New York Coliseum
in April. With representations from 42
countries, each nation will maintain a
special information center to give cus-
tomers the necessary facts concerning
product deliveries, import license require-
ments, currency restrictions, and invest-
ment opportunities. Considering the scope
of the exposition, if a buyer were to cover
the markets represented at the fair, it
would require traveling around the world
for a period of approximately two years.
Electroluminescence Tests
Further development in electrolumi-
nescence has been made by the Lighting
Division of Sylvania. The fluorescent en-
gineers have developed a high-intensity
4-in.-sq. self-contained lamp of porce-
lainized steel and ceramic coating. Trade
name of lamp still in experimental stage
is Panelescent.
CURTAIN CONTROLS,
TRACKS and SPECIAL
OPERATING DEVICES
VALLEN,lnc.
AKRON 4, OHIO
34
INTERNATIONAL PROJECTIONIST • MARCH, 1957
BOOK REVIEW
Film And The Director, by Don Liv-
ingston, Macmillan, 1957, 209 pp., $4.50.
While of doubtful value to the pro-
jectionist craft, this volume is a fine
achievement for what it sets out to do.
As the title implies, the book is a fairly
detailed account of the director's tech-
niques and problems from the inception
of a film to its canning. It is also in-
tended to give associated technicians an
idea of what goes on in the direction
of a film.
The author, an experienced pro who
has directed more than sixty films, has
a good, straightforward writing style,
and he makes his point clearly in a
minimum of words. Besides a competent
handling of the artistic and creative tech-
niques, there is a comprehensive dis-
cussion of the more technical aspects:
the camera, sound, lighting, set design,
etc.
Of special interest, and one we don't
often see in texts these days, is a prac-
tical evaluation of how to keep the
budget down, and time-and-money short-
mmmmmmm
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
accommodate a 20-inch carbon
trim in all sizes 9 mm through
13.6 mm inclusive.
^ This is Another
EXCLUSIVE FEATURE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
BUY U. S. SAVINGS BONDS
cuts in production. Fully illustrated,
this book is heartily recommended to
anyone who wants to find out how mo-
vies are made and be entertained in
the process.
Drive-ins Get Manco Screen
The Manco Vision luminous screen
is planned for installation in the Apache
Drive-in, Farmington, N.M., and the
Sunset Drive-In, Canon City, Colo., and
results will be studied by drive-in op-
erators. The screen, developed by the
Motion Picture Research Council, is
made of six-inch aluminum squares which
interlock, the squares being covered with
ridges and grooves sprayed with fine
crystals. New towers are being erected
for the screens, which will be installed
by engineers from the Research Council.
Kodak Sales Up
Last year the sales and earnings of
Eastman Kodak Company increased 7%
over the previous year. A gross total of
$761,689,559 sales business was done,
with pre-tax earnings coming to $200,-
162,004. Measured in dollars and cents,
1956 is considered by the company to
be its best year.
ANAMORPHIC LENSES
(Continued from page 27)
tachment lens called the Hypergonar
(Fig. 3) by which this could be accom-
plished. He also proposed using a small
lateral compression of the image to make
room for a sound track on normal silent
film.
Samples of Chretien's lens were made
at the time and publicly exhibited in
Europe and in this country, but for vari-
ous reasons the idea aroused no enthusi-
asm among those working in the motion-
picture industry. Indeed, the device was
Si
Y>
FIG. 3. The "Hypergonar" lens (from Chre-
tien's patent).
completely forgotten until Twentieth
Century-Fox adopted it in 1952 with tre-
mendous success under the name of
CinemaScope.
More recently Albert Bouwers of the
Netherlands has devised a prismatic sys-
tem (called Vistascope) in which two
cylindrical reflecting surfaces (mirrors)
are used to perform the roles of the
usual two cylindrical lenses.
DRIVE-INS!
GET MORE
LIGHT
ON YOUR
SCREEN
WITH
HILUX
Prime Projection
Lenses
^m^yajKjmmsUii
P ROJECTION
lOIPTICS
PROJECTION OPTICS CO., INC.
Rochester, N. Y. • London, England
INTERNATIONAL PROJECTIONIST • MARCH 1957
35
®hj> (§te (ftrauk ©roister
. . . On ScMJtchin'
AT OUR Local Union meetings
Bro. Coots Bugsby sits all alone
by his self because nobody will sit
closer than 6 rows away from him.
And it ain't because anybody is mad
at Coots, because nobody is. Coots
is just considered non grata persona
which is Latin, and means that the
person referred to is host to certain
predatory insects.
You might say that Coots got that
way as a result of a bright idear by
his Boss on how to get the Cozy
Theatre outa the red. Instead of
operating regular theatre hours, the
Boss figgered that he could do a lot
more business by operating from mid-
night to 8:00 a.m. In keeping with
these unusual hours of operation he
changed the name to the Cozy Nap
Theatre. And, in perfect harmony
with the new name, the Boss comes
up with the startling innovation of
featuring silent sound.
The Cozy(?) Nap
It's astonishing how a change in
policy will change the complex of the
existing patronage of a theatre. The
nocturnal patrons of the Cozy Nap
now consists of people that prefers
padded theatre seats, and silent sound,
to the hard cots of a Front Street
flophouse. It was shortly after the
new and highly successful policy went
into effect that the Boys began givin
Bugsby the "go-bye" because he was
alius scratchin, account of he was
alius itchin.
As a gold card (senior grade) mem-
ber, your narrator has to sit next to
the Chairman at the metins, where he
can impart advice and counsel in order
that the Chairman won't go wrong on
any of his rulins. From the safe
vantage point of the rostrum, it was
sure pathetic to see that pore lone-
some boy sittin in the back row,
shunned like he has the leprosy, and
all because somebody has to work
the Cozy Nap, and that somebody
happins to be him.
The injustice of it all riles the
Ole Twister to such a pitch that he
starts swingin the crank handle
around by informin the Assembly
for just what they are — "intloerant
hippocritters." That, and a lots more
too, such as: they oughter be ashamed
of themselves for persecuting a feller
Brother, just because he is the victim
of a occupational disorder. Further-
more, only a darn fool would act
on their snide hints, and risk the
perils of ketchin newmonia by bathing
in the dead of the winter time, just
to avoid a little itchin which is re-
lieved by scratchin with no risks
involved.
Some of these same sanitary Phara-
sees is themselves guilty of scratchin;
and not the kind of scratchin that's
considered vulgar when done in the
parlor before company either, but the
kind that makes a print look like a
differential grating when they get
through with a run. And this is just
what provided Ole Twister with the
opportunity to orate at length on the
much needed subject of film scratchin,
and its prevention.
Locating the Cause
The whole problem in eliminating
scratchin lies in determining where
the stock is being scratched. Once the
offending point is found, the remedy
is so obvious that detailing the meth-
ods of elimination would amount to
*********
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
have the new type air cooled
heat filter that is instantly
removable during actual
projection.
f This is Another
EXCLUSIVE FEATURE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
questioning the intelligence of mov-
ing picture operators — not to mention
projectionists. There is nothing new
about the system of finding the
offending point in the projector, but
judging from the number of scratched
prints in circulation, a rehash seems
to be in order.
With new opaque film stock make
up a number of closed loops, three,
six, and nine feet long. After making
up the loops, store them in a film
can with a damp cloth for several
hours. This treatment will soften up
the emulsion and make scratches
readily detectable. If the scratchin
is on the base side of the stock, the
emulsion side goes IN on the loops.
The reverse is true in searching for
emulsion scratches.
Testing the Trap
Test the trap first with a small
loop. Twenty clicks as the patch goes
through is sufficient. Then, with a
larger loop, test the feed sprocket
and upper valve, making sure that
the loop rubs nothing as it revolves.
The same procedure applies to the
lower sprocket and sound head, along
with the take-up valve. It may be
necessary to test the valves by driving
the loop with the idler open, thus
eliminating the idler roller. In stub-
born cases, an individual search loop
on each individual member, where
the stock can possibly rub, will
eventually reveal the source of scratch-
ing.
Bugsby's Boss also has been havin
his troubles, too, besides scratchin.
Every night, and way into the small
hours of the morning, a picket line
goes millin around in front of the
Cozy Nap. The signs the pickets is
carryin claims the Cozy Nap is "Un-
fair to the Flophouse Owners Perfec-
tive League, Incorporated. Please do
not Patronize."
Frank MacDonald
Local 199, Detroit, Mich.
OBITUARIES
Shemack, John J., 60, president for the past
15 years of Local 410, Manitowoc, Wis., died
recently at the Veterans' Hospital in Wood,
Wis., a victim of leukemia. A member of the
Local since 1924, he had worked as projec-
tionist at the Mikado Theatre in Manitowoc
for the last 30 years. He was a combat
veteran of World War I and served for
several years with the Army of Occupation
in Germany. His wife and daughter survive
him.
• • •
Robinson, George E., 66, charter member
of Toronto Local 173, died suddenly on
February 6. He was a projectionist at the
old Pantages Theatre from August, 1920,
36
INTERNATIONAL PROJECTIONIST • MARCH, 1957
to the time of his death. He served as
Tyler for Local 173 for more than 30 years,
and was a member of the Famous Players
25-Year Club. He was a veteran of World
War I serving with the 116th Signal Bat-
talion.
Galloway, Jack, 57, member of Local 165,
Hollywood, Calif., died recently following
a brief illness. A charter member of the
Local, he worked as projectionist for M-G-M
on the West Coast for 24 years. His wife
survives him.
Nix, Clarence S., member of Local 249,
Dallas, Texas, died last month following
a lingering illness. He had worked for a
number of years as projectionist at the
Majestic screening room in Dallas, and was
extremely popular with his fellow-workers.
99% Safety Stock Used
There is only about 1% inflammable
stock in this country's vaults at the pres-
ent time, and it is believed that the per-
centage of nitrate film in actual circu-
lation is even lower. Industry experts
indicate that nitrate will be out of cir-
culation completely in a short while,
which would be of importance in regard
to insurance rates, building regulations,
and personnel.
It has been the general opinion that no
changes can be made until all releases
are safety film, and while no major com-
panies are releasing nitrate any more,
there are still some small independent
exchanges using it. With the exception
of a few communities, distributors and
theatres are not required to handle safety
film only. It is being suggested that the
industry, by joint action, replace all ni-
trate stock as soon as possible.
SMPTE Standards Service
Five new proposed standards for 8-mm
and 16-mm projector apertures, 32-mm
film dimensions, and 16-mm sound pro-
jector test films will be made available
to subscribers soon, SMPTE has an-
nounced. The standards service was
initiated last year by the Society, which
issue# copies four times a year to sub-
scribers. The service costs $7.50 an-
nually.
Art Circuit Disappearing?
One possible effect on the battle of
the ratios is that the so-called Art House
Circuit is gradually disappearing. At
present, many quality pictures, foreign
films, and those films labeled "art house
product" are playing the bigger first-run
theatres. The art house itself is no longer
set apart from the main run of theatres,
according to some distributors.
Scene from "Boy on a Dolphin," 20th Century-Fox Cinemascope Production
GROSS MORE in '57
WITH THE
PERFECT-PICTURE
PAIR
Today's pick-and-choose audiences must
be satisfied — or lost! Build steady patron-
age— steady repeat business — by equip-
ping now with the B&L Perfect-Picture
Pair. Clearest, brightest images, distor-
tion-free over the entire screen area. Com-
plete line for all projectors — neighbor-
hood theatres to longest-throw drive-ins.
Don't take chances — keep your patrons
coming back by showing them the best
screen images they've ever seen!
SEE THE BIG DIFFERENCE
FREE DEMONSTRATION
Write today for free demonstration, and for
Catalogs E-123 and E-141. Or see your local
theatre supply dealer. Bausch & Lomb Optical
Co., 61615 St. Paul St., Rochester 2, New York.
(In Canada: General Theatre Supply, Toronto ) .
Academy of Motion Picture Arts and Sciences
Honorary Award for Optical Service to the Industry
Bausch
& Lomb
CinemaScope
Projection
Lenses
INTERNATIONAL PROJECTIONIST • MARCH 1957
37
ITALIAN PROJECTOR FOR WIDESCREEN
(Continued from page 13)
shutter between the large blades (Fig. vided with the means for both mag-
. Either heat-absorbing glass filters netic- and optical-track scanning. The
XII T is now being unit-constructed |
up to 100 amperes. Horizontal feeding
of the carbons is achieved by means
of a differential mechanism which
insures regular consumption and even
or dichroic heat-reflecting filters hav>
ing interference layers on the surface
may be used. The former type was
given preference in the XII T because
of its lower absorption of visible
light.
Absorption Filters
Absorption-type filters have an in-
definitely long life, as their perform-
ance is not contingent on a special
£600
FIG. 4. The self-cooling shutter of the Fedi
II T mechanism. Dotted lines represent the
heat absorbing glass filters.
antireflection coating deposited upon
the glass, but depends on the nature
of the glass itself. The fact that these
glasses tend to accumulate absorbed
heat has not prevented their use. This
trouble was overcome by ingeniously
exploiting the high speed of rotation
of the shutter and by providing the
shutter blades with air-circulating fins
to effect immediate cooling of the
glasses as they leave the light beam.
This ingenious utilization of the
shutter is worthy of serious consider-
ation. By itself it removes heat from
the light beam, and by itself it gives
off the absorbed heat to the surround-
ing atmosphere. Thu same glass sector
is brought thoroughly cooled into the
light beam on each complete revolu-
tion.
Figure 5 suffices to reveal the effi-
ciency of this cooling system. During
projection via a 100-ampere arc, the
film flows from the gate at about the
same temperature it would have if
are current were only 50 amperes with-
out the heat filters.
A modern projector should be pro-
with a magnetic head. Through unit
construction of the picture mechanism
and sound-reproducing components, it
is possible to draw the film from the
upper magazine and conduct it down
through the magnetic scanner by
means of two driven sprockets. The
loops are large, and the film driven
without vibration or undue stress.
It is evident that the magnetic tracks
are scanned completely free from ir-
regularities of movement. High- and
low-frequency modulations due to ir-
regularities in film travel are thus
completely absent.
In accordance with European de-
sign, the optical soundhead is an in-
tegral component of the projector it-
self, but may be easily removed and
replaced by another with extreme pre-
cision. The assembly of the optical
reproducer is corrected to avoid all
mechanical vibration of the photocell;
and the entire film course is simple
and free from sharp curves to obtain
silent travel of the film without wear.
Lighting Arrangement
The XII T projection apparatus is
equipped with a large lamphouse able
to accommodate carbon trims burning
100
Correnre all'arco
OIAGRAMMA TERMIC0 CENTR0 0UA0RUCCI0
FIG. 5. Temperature in projector aperture at
various current values.
burning. The corrected-curve mirror
420-mm (16.548 inches) in diameter
insures optimum concentration of the
light beam upon the aperture.
Under normal projection conditions,
the Fedi XII T projector permits good
results to be obtained on screens of
approximately 126 square meters
(1,356.264 sq. ft.), corresponding to
an 18-m X 7-m (59.054' X 22.966')
CinemaScope screen. A light flux of
30,000 lumens at a current of 95 am-
peres can be obtained from this arc
lamp when provided with an adequate
trim of carbons and powered by a good
rectifier.*****
***** We are unable, from the data provided,
to offer verification of the claim of 30,000 lumens
at 95 amps. The normal light flux at this current
without the projector shutter running, with heat
filters and with i:l optics throughout, is 16,000
screen lumens. — ED.
yOKA (pAA#&UWJC£?
What would you like most to see covered in future issues of IP? We
aim to please, and what YOU want to appear in the pages of this
magazine is the most important thing to us. So, if there's a particular
subject (or subjects— any number) on your mind, just fill in the lines
below and return to us. We'll do the rest.
INTERNATIONAL PROJECTIONIST, 19 West 44 St., New York 36, N. Y.
Gentlemen: I would like to see published in IP articles (and drawings) relating to the
following subjects:
NAME ADDRESS.
38
INTERNATIONAL PROJECTIONIST • MARCH, 1957
THAT IMPORTANT OPTICAL TRAIN
[Continued from page 10)
rectangular aperture, if one were pres-
ent. At least one corner of the real
picture will be optically matched —
this much we may be sure about. Now
assume another pinhole to be placed
at the opposite corner of the real aper-
ture. There are now two pinholes sep-
arated by the length of the diagonal
of a real aperture — about 1 inch.
The lens, positioned to just intercept
the cone of rays from the first pinhole,
is obviously displaced in relation to
the second pinhole. It intercepts some
of the rays from pinhole no. 2, but not
all of them. To intercept all of them,
the /:1.9 lens will have to be shifted
laterally about 1 inch. But then it wdl
be out of line for pinhole no. 1.
Lens Mismatching
To pick up all of the light from both
pinholes at the same time, the lens
will have to be increased in size. In
other words, the /:1.9 lens will have to
be replaced by a faster one — /:1.7,
/:1.5, or even /:1.0. I We cannot tell,
exactly, without knowing its focal
**********
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
are of the new design
that minimizes shadowing by
the feed mechanism.
^ This is Another
EXCLUSIVE FEATURE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
length, the size and distance of the
lamp mirror, etc., etc.)
Suppose we find that an /:1.5 lens
just intercepts all of the light from
both pinholes. We may now replace
the pinholes with a real 35-mm film
aperture; and the /:1.9 lamp optics
will be exactly matched by the lens —
in this illustrative case, by an /:1.5
lens. An /:1.9 lens thus does not match
an /:1.9 lamp!
The foregoing is the gist of this
very important matter. If it isn't en-
tirely clear to you, please go over it
once again, trying to visualize the
stated conditions. If special questions
arise, send them along to IP: we'll
do our best to answer them.
On the basis of the foregoing dis-
cussion, we would caution against us-
ing lamps of greater speed rating than
the projector lenses. Why "manufac-
ture" light by burning up power and
carbons only to waste it in the picture
mechanism? If your lamps and lenses
have the same speed rating, you may
be reasonably sure of satisfactory
screen results despite a slight optical
mismatch, and even though the film
receives somewhat more light than can
be utilized by the slightly undersize
lens. The most efficient setup employs
lamps of moderate speed rating with
the most rapid projection lenses
(/:2.5 lamps with /:2.0 or /:1.9 lenses,
for example, or /:2.0 or /:1.9 lamps
with /:1.7 or /:1.5 lenses).
Increased Speed Results
The sharpest screen images are ob-
tained with lenses not exceeding a
speed of /:2.0, though even faster
lenses (/:1.7 and /:1.5) may be used
in drive-ins and other large theatres
where screen light is inadequate. (By
actual measurement, an /:1.9 lens or
lamp mirror gives 10% more light
than an /:2.0 lens or mirror.)
There is an appreciable increase in
screen light when /:1.9 lamp optics
are substituted for /:2.5 optics pro-
viding that the projection lens is cor-
respondingly increased in speed. If an
/:1.9 lens is used with an /:2.5 lamp,
and the lamp subsequently increased
in speed to /:1.9, the increase in screen
light is only slight, and occurs prin-
cipally in the middle of the screen.
It is absolutely inadvisable to use
/:1.7 or /:1.5 lamp systems without
also using lenses of similar speed rat-
ings. From the physical point of view,
the change from a speed of /:1.9 to
/:1.7 in certain modern mirror lamps
involves a substitution of 18-inch for
16-inch mirrors.
The actual luminous efficiency of
J 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., INC.
DEPT. J
315 West 43rd Street New York 36, N. Y.
JUdson 6-1420
Clayton Bail-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 • MARCH 1957
39
the projector optical train having a
specified lamp-and-lens setup is of in-
tense interest to practising projection-
ists. We always like to know how
much light we are projecting — and
how much we are losing en route from
the positive crater to the projection
lens.
The actual efficiency of even the
most efficient projector optical train
is not great. On the average, from
96% to 97% of the light emitted by
the crater of the positive carbon adds
nothing to the brightness of the pro-
jected picture. When blank light is
projected without the shutter running,
the optical efficiency of a theatre pro-
jector is 6% to 7%; with the shutter
running, only 3% to 31/2%- When film
of average density is being projected,
only a few tenths of one per cent of
the light appears on the screen!
Utilization Percentage
An /:2.5 lamp mirror or condensing
lens picks up and projects to the aper-
ture only about 35%, of the total light
emitted by the crater, or about 40% if
the lamp speed is /:2.0. An /:2.0 coated
projection lens utilizes only about 75%
of the light emerging from me film
aperture when the lamp has the same
speed as the lens (/:2.0), or about
80% when the speed of the lamp is
/:2.5. Since the mathematical prod-
ucts of 35 X 80% and 40 X 75%
are close in value (28 and 30, re-
spectively ) , there is only a very slight
gain in light when changing from
/:2.5 mirrors to the faster /:2.0 mir-
rors if the projection lens remains at
1:2.0.
This statement will be questioned by
many engineers, and yet it may be
verified by experiment. It explains ivhy
such good light is obtained in many
theatres still using old-style "slow"
lamps in conjunction with new "fast"
projection lenses, pictures very nearly
as bright as those in other theatres
having the same size and type of screen
and burning the same arc current, but
using faster lamps. The greatly in-
creased optical efficiency of a lens
having a faster speed rating than the
lamp is definitely a factor of greater
importance than the increased light-
gathering power of a slightly larger
lamp mirror.
From our average total mirror-and-
HUFF'S PACKAGE COOLING SYSTEM
Consisting of
(1) The Positive Carbon Cooler, (2) The Film Track
Cooler, and (3) The Automatic Film Humidifier
will give you an advantage of from 10 to 25 per cent
more screen light than is now available from your 16-
or 18-inch mirror lamps used with Brenkert or X-L heads,
plus a saving of 50 per cent lamp maintenance cost.
PROVE THE ABOVE IN YOUR OWN THEATRE.
See your dealer or write direct to
HAL I. HUFF MFG. CO. •
3774 SELBY AVENUE
LOS ANGELES 34, CALIF.
• • • • •
• • • • •
lens transmission of about 29% we
must subtract additional losses. The
standard film aperture, for instance,
transmits, on the average, about 25%
of the light of the "spot," 75% being
wasted on the aperture plate. And the
revolving shutter has a transmission
of only 50% or somewhat less. The
aperture-shutter transmission is thus
only 12.5% ; and the total transmission
of light by the projector optical sys-
tem comes out to be 29 X 12.5%
= 3.6%. Heat filters will remove
another 8% or 10% of the light,
and the port glass an additional 10%,
bringing the total optical efficiency
down to about 3%. (In the discussion
to follow, we shall ignore filters and
port glasses, as their losses may be
compensated, in practice, by increased
arc current, higher screen gain, and
certain other adjustable factors.)
Rating Screen Lumens
Because shutter transmissions vary
somewhat in different projectors, 45%
being the norm for fast-cutoff shutters
and 40% for the older, less efficient
types, it has been found advisable to
ignore the shutter entirely in light
measurements. "Screen lumens" (light
flux issuing from the projection lens)
are thus usually rated without the shut-
ter running. We shall adhere to this
custom for the sake of convenience,
and begin by considering the luminous
efficiency of the average well-adjusted
theatre projector to be twice the values
given above, viz. from 6% to 7%.
It is not necessary, however, to
measure the light losses occasioned by
CONTROLLED UNIFORMITY OF
QUALITY. DISPERSES FREELY
ON SPLICE. CLEAN TO WORK
WITH. INCREASES PRODUC-
TION EFFICIENCY. IS ADAPT-
ABLE TO ALL FILM SPLICES.
AVAILABLE AT ALL
THEATRE SUPPLY DEALERS
fISHER
MANUFACTURING CO.
1185 Ml. Read Blvd.
Rochester 6, N. Y.
40
INTERNATIONAL PROJECTIONIST • MARCH, 1957
all the separate components of the op-
tical train to find the luminous effi-
ciency of a projector. We need only
divide the number of lumens emerging
from the projection lens (no shutter! )
by the total number of lumens emitted
by the light source — the glowing-
crater of the positive carbon.
The candlepower of carbon-arc cra-
ters may be accurately estimated; and
from such data the total luminous flux
in lumens may be found by multiply-
ing the candlepower by a factor of
approximated 5. I One half the factor
4-7T given in illumination formulas for
a "uniform point source" is somewhat
too great for the carbon-arc crater.)
A projection arc rated at 57,000 can-
dles thus emits 57.000 X 5 = 285,000
lumens.
Three examples, including a "sim-
ITS A. HIT !
in Chicago
BUT... will it be
a hit in your house?
It went over big in the Windy City . . .
but before any show can be a success in
your house, your equipment must be in
condition to roll it perfectly. Any show
can be a better show when equipment
performs properly. That's where RCA
Theatre Service comes in.
Protect your equipment and picture in-
vestment with RCA Theatre Service.
It will pay you to write now for com-
plete information!
Technical Products Department
RCA SERVICE COMPANY, INC.
i^Kfk. A Radio Corporation of America
(I?ff5ij Subsidiary, Camden 8, New Jersey
Tmk(s) ®
plified"' HI mirror lamp, a rotating-
positve mirror lamp, and a rotating-
positive condenser lamp, follow. The
results (between 6', and 7% effi-
ciency for the average projector op-
tical system ) agree with the results
obtained by combining all the separate
light losses.
( 1 I An /:2.5 "simplified"' HI mir-
ror lamp burns 8-mm Suprex positives
at 60 amperes. Candlepower = 34.000:
total crater lumens = 170,000. Pro-
jector output = 11.000 screen lumens
with /:2.0 lens. Overall optical effi-
ciency = 11,000/170,000 = 0.0647
= 6.47%.
(2 I An /:2.0 lotating-positive mir-
ror lamp burns 11-mm regular posi-
tives at 120 amps. Candlepower = 61,-
000: total crater lumens — 305,000.
Projector output = 21,500 screen
lumens with /:2.0 lens. Overall optical
efficiency = 21.500/305,000 = 0.0703
= 7.03%.
(3) An /:2.0 rotating-positive con-
denser lamp burns 13.6-mm Hitex posi-
tives at 180 amps. Candlepower =
71,000: total crater lumens = 355,000.
Projector output = 25,000 screen
lumens with /:2.0 lens. Overall optical
efficiency = 25,000/355.000 = 0.0704
Luminous Efficiencies
The luminous efficiency of a com-
plex optical system is one thing, that
of the entire system considered as a
simple producer of light is another.
PROJECTION and
SOUND SYSTEMS
Manufactured by
INTERNATIONAL PROJECTOR
DIVISION OF SIMPLEX EQUIPMENT CORPORATION
Distributed by
NATIONAL THEATRE SUPPLY COMPANY
The Finest
Ever Made
The latter concerns the relative amount
of energy fed to the system reappear-
ing as useful light, and is expressed
as lumens per watt. Many common
illuminants. such as incandescent light
bulbs, have efficiencies of from 5 to
30 lumens/watt. Fluorescent lamps
sometimes attain efficiencies of several
hundred lumens/watt, the theoretical
maximum being nearly 700 L/W. The
high-intensity carbon arc ranges from
about 30 to more than 80 L/W, and
hence must be regarded as one of the
more efficient light producers.
But what of the luminous efficiency
of the entire system consisting of arc-
light source and projector optical
train ? When the shutter isn't running,
the efficiency of a theatre projector
ranges from slightly more than 2 to
about 5% L/W. (These values are
BE SURE
YOUR NEW
PROJECTION
ARC LAMPS
have a built-in exhaust system
that cools the rear of the
reflector so as to permit the use
of the newly developed "cold"
reflector.
^ This is Another
EXCLUSIVE FEATURE
of the New Strong
U-H-l
PROJECTION
ARC LAMP
For DRIVE-INS & THEATRES with HUGE, WIDE- AREA SCREENS • CARBONS, BOONTON„N.J.
INTERNATIONAL PROJECTIONIST • MARCH 1957
41
cut approximately in naif by the shut-
ter.) The arc-projector system, there-
fore, is more efficient than gas and
candle flames (y2 to 1 L/W) in spite
of the 96% -97% light loss in the
optical train!
The accompanying two tables reveal
a wealth of information on the produc-
tion of light by a number of popular
high-intensity arc lamps used in con-
junction with /:2.0 (or /:1.9) coated
projection lenses. Table A lists the
screen-lumen outputs for both /:2.5
and /:2.0 "simplified" HI mirror lamps
used with /:2.0 coated lenses only.
Table B gives similar data for /:2.0
and /:1.7 rotating-positive HI lamps
including condenser lamps burning
13.6-mm carbons. A difference to be
kept in mind is the use of /:1.7 pro-
jection lenses with /:1.7 lamps.
"Off-Standard" Ratios
The screen -lumen values given for
13.6-mm carbons at a lamp speed of
/:1.7 apply to 18-inch mirror lamps
only. These are not yet commercially
available, although two mirror lamps
burning 13.6-mm positives at "off-
standard" current-and-voltage ratios
have been placed on the market. The
data in Table B do not apply to either
of these new lamps, however, but as-
sume normal currents and arc voltages
and mirrors of lower magnification
than the 18-inch mirrors used for 9-,
10-, and 11-mm carbons.
An examination of the lumen-per-
watt values in these two tables shows
that "simplified" HI mirror arcs have,
on the average, about 1.5 times the
luminous efficiency of rotating-positive
mirror lamps, 2.4 times the efficiency
of condenser lamps, and about 2.1
TABLE B. Rotating-Posirive HI Arc-Lamp Data
APPROX.
TOTAL SCREEN LUMENS
TRIM
Pos. Neg.
ARC ARC
AMPS. VOLTS
POSITIVE
CONSUMP.
(Inches/Hr.)
CRATER
CANDLE-
POWER
LUMENS
PER
WATT
(Standard aperture, no shutter)
/:Z.0 lens ,/w /:l-7 lens ,/w
/: 2.0 lamp L'w /: 1.7 lamp L/w
9 mm
*/*"
75
50
15
42,500
62
15,000
4.O
17,000
4-5
9
*Ah
85
55
22
51,000
60
18,000
3-8
20,500
4-4
10
%
90
55
18
45,500
5'
16,000
3-2
18,500
3-7
10
•32
100
60
20
57,000
52
20,000
3-3
23,000
3.«
HiUx
10 mm
%"
120
60
18
54,000
40
19,000
2.6
22, OOO
3-1
10
3/fl
125
65
20
62,500
42
22,000
2-7
26,500
3-3
IO
%
130
70
£5
68,000
4'
24,000
2.6
27,50O
3.0
IO
3A
'35
70
32
74,000
43
26,000
2.8
30,000
3-2
Reg.
II mm
%"
120
65
20
6l,000
43
21,500
2.6
243500
3.2
12
V,6
125
65
'5
62,O00
42
22,000
2.7
26,500
3-3
lf^mn.%/'
I20
65
5
41,000
29
14,500
1-9
(16,500)
2.1
1V6
7A*
130
70
7
48,500
29
17,000
••9
(19,500)
2.1
IV6
y?
140
70
10
54,000
3°
19,000
2.1
(22,000)
2-4
IV6
v,
150
75
14
59,500
30
21,000
1-9
(24,000)
2.1
13.6
'/a
160
80
18
64,000
28
22,500
1.8
(27,00O)
2.1
13.6mm Vf
170
75
16
65,500
28
23,000
1.8
(26,500)
2.1
13.6 1 vz
160
75
22
71,000
29
25,000
«-9
(29,000)
2.1
times the efficiency of 18-inch mirror
lamps burning 13.6-mm rotating posi-
tives. The obvious inference is that
smaller carbons have a higher lumi-
nous efficiency than the larger sizes,
and that carbons burn most efficiently
near their maximum rated current.
Also, increase of voltage wastes power
by requiring a longer arc gap. the re-
sistance of which dissipates electrical
energy. The lamphouse is made hotter,
but no more light is produced.
A Final Word
As a final word, we must strongly
warn against faulty alignment of the
various elements of the arc-lamp and
projector optical train. Light output
falls off very seriously when the posi-
tive crater is more than a small fraction
of an inch away from its optimum
focus, or when the lamp mirror is
TABLE A. "Simplified" HI Mirror-Lamp Data
TRIM
Pos. Neg.
ARC
AMPS.
ARC
VOLTS
POSITIVE
CONSUMP.
(Inches/Hr.)
APPROXIMATE
CRATER
CANDLEPOWER
LUMENS
PER
WATT
TOTAL SCREEN LUMENS
(Standard aperture, no shutter
or filters, /":2.0 coated lens)
/:2.S lamp
L/W
f: 2.0 lamp L/W
Suprtx
7 ">m
6 mm
40
35
8
18,500
73
6,000
4-. 3
6,500
4-6
7
6
45
40
10
25,5O0
78
8,000
4.5
9,000
5.0
7
6
50
40
12
31,000
86
10,000
5-o
11,000
5-5
Suprtx
8 mm
7 Tnm
50
40
6
30,000
80
9,500
4.8
\Q,500
5-3
8
7
55
40
7
31,000
7«
to, 000
4.5
11,000
J.O
8
7
60
40
9
34,000
78
11,000
4.6
12,000
5-0
8
7
65
40
12
37,000
79
12,000
4.6
13,000
5.0
8
7
70
45
15
44>ooo
77
14,000
4.4
15,500
4-9
Suprtx
9 mm
8 mm
65
40
10
32,500
69
10,500
4.0
11,500
4-4
9
8
70
45
'3
38,500
67
12,500
3-9
13,500
4-3
9
8
75
45
16
42,500
68
13,500
4.0
15,000
4-4
9
8
tto
45
20
47,5oo
72
15,000
4-2
16,500
4.8
9
8
«5
45
25
51,500
74
17,000
4-4
18,000
4.8
off the optical axis. A lamphouse that
sits askew upon the lamp table cannot
force its maximum output through the
film aperture to hit the lens squarely.
It isn't difficult to check the align-
ment of the mirror, the positive carbon
guide, the center of the lamphouse
cone, the film aperture, and the pro-
jection lens. If the lamphouse opens
at the back, have an assistant shine
a flashlight into the projection lens
while you sight along the optical axis.
If the lamphouse doesn't open up in
the back, hold a pocket mirror di-
agonally in the lamphouse somewhere
between the positive burner assembly
and the mirror.
The "string test" with a dummy
lens inserted into the mechanism lens-
holder is indicated when simple sight-
ing reveals one or more out-of-line
components. Use of a long steel rod
in place of a tightly stretched length
of fishline is more difficult, but recom-
mended by a few lamp manufacturers.
If the lamphouse is crooked, loosen
the bolts holding it to the table and
move it so that its axis coincides with
the optical axis of the picture mecha-
nism. The job will become bother-
some only if the lamphouse needs to be
raised or lowered. The proper lamp
supports or adaptors should be ob-
tained beforehand; and at least two
men are needed to do the job of mov-
ing heavy lamp equipment. Guard
against accidents, particularly if the
lamphouse is large enough to project
over the end of the lamp table.
[THE END]
42
INTERNATIONAL PROJECTIONIST
MARCH, 1957
The man who
wouldn't give up
500 MASSED ROCKETS shook the brand-new
Brooklyn Bridge, screamed up into the May eve-
ning and showered the city with red and gold.
While behind a darkened window, a big, gaunt
man sat and watched, too crippled and pain-
wracked to attend the opening day festivities for
the bridge.
This was a pity, for he had built it.
Which means that when money gave out, Chief
Engineer Roebling pleaded for more. When dis-
turbing changes of plan had to be made, Roebling
fought them through. And when a hundred pan-
icked men were trapped under the East River in a
flooded caisson, Roebling saved them.
Spinning the giant steel spiderweb not only
exacted 13 years of Roebling's life, from 1870 to
1883, but very early in the game it crippled him
forever with the caisson disease.
But he never gave up, saw the job through to
the end. His were the courage, skill and vision
that make Americans a nation of great builders —
a strong, growing nation. And a nation whose
Savings Bonds rank with the world's finest in-
vestments.
For the constructive strength of 168 million
Americans stands behind these Bonds. This is why,
when you buy U.S. Savings Bonds, our Govern-
ment can absolutely guarantee the safety of your
principal — up to any amount — and the rate of in-
terest you receive.
You cannot get a better guarantee than that.
Why not invest in U. S. Savings Bonds regularly
—where you bank or through the Payroll Savings
Plan where you work? And hold the Savings
Bonds you have.
Safe as America— U.S. Savings Bonds
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.
"What Clarity! What Brilliance!
... It's our New Simplex X • L !
"Have you ever been so enthusiastic about the per-
formance of your equipment? If not... then you've
never experienced the difference a new Simplex
X-L makes! Wow! You actually feel like shouting
to the audience! And not only is the picture so
much better... but the all around ease of operating
a Simplex X-L makes you wonder how you ever
got along without it before!"
PROJECTORS and SOUND SYSTEMS
Manufactured by
INTERNATIONAL PROJECTOR
DIVISION OF SIMPLEX EQUIPMENT CORPORATION
Distributed by
NATIONAL THEATRE SUPPLY COMPANY
SUBSIDIARIES OF GENERAL PRECISION EQUIPMENT CORPORATION
ffi
APRIL
1957
VOLUME 32
NUMBER 4
30c A COPY • S2.50 A YEA
7bo lamp ire Uul Wahid, !
CAN PRODUCE SO MUCH LIGHT.
TRADE MARK REG
£ J fl I i) i) fi
NOT A REFLECTOR ARC!
WRITE FOR DATA
/ ^ MAGNA
MAGNARC
TRADE MARK REG
£ J J] £ J) i) C
A 75-77 AMP. REFLECTOR ARC!
PROOF
Hy-Candescents were selected for all important
"CINERAMA" installations. (Chicago, New York, Los
Angeles, San Francisco, Philadelphia, and Washing-
ton, D. C.)
Hy-Candescents were chosen by Paramount for all
installations of Horizontal "VISTA-VISION".
Hy-Candescents were again selected by TODD-AO
for "OKLAHOMA".
You have to do the same if you want all the light
there is for big pictures.
This lamp at 75-80 amperes produces as much and more
light as any so called large reflector lamps, using 85-95
amperes, employing expensive heat filters and water
cooling systems.
By comparison its cost of operation, in carbons, reflector
maintenance, current and parts upkeep is far lower than
others.
Also, its selling price is hundreds of dollars lower and
they may now be purchased from most all supply dealers.
These circumstances have made the PEERLESS MAGN-
ARC Cinearc the most widely used lamp in the world!
$22.00 L3. peerless 1
F.O.B. Chicago, is still the retail price of our
4" Hy-Lumen silvered glass reflectors.
J.E.MeAULEY MFG. CD.
SS2-554 WEST ADAMS STREET
CHICAGO 6. ILLINOIS
« SUBSIDIARY OF
GENERAL
PRECISION
EQUIPMENT
CORPORATION
ONLY
SELENIUM RECTIFIERS
...Yet They're Low Priced
and GUARANTEED!
Engineered and manufactured by Arc Lamp Specialists specifically for dependable
efficient use with angle or coaxial trim high intensity projection lamps.
Not just general purpose rectifiers.
FULL SIZE selenium stocks . . . DAMP PROOFED to withstand
wet climates and winter storage.
TYPE H (glass-type) INSULATED TRANSFORMERS.
Withstand up to 150° F. higher temperatures than Type A cotton.
AMPERAGE OUTPUT READILY CHANGED DURING LAMP OPERATION by means
of 3 rugged 8-point dial switches. Also adjustable for compensation of line
phase unbalance
HEAVY DUTY FAN.
Line control relay. 65
Ampere, 90 to 135 Ampere and 120 *
to 180 Ampere 3-phase;
70 to 90 Ampere and 90 to 135
Ampere single phase models
,0,00 r-— ^"^ RIC co.fO.AT.OH ,
THE STRONG ELc
., ClW Park Avenue
31 -J free literature on
please send tree
Toledo 1,Ohio
Strong Rectifiers.
INTERNATIONAL PROJECTIONIST • APRIL 1957
AT LAST!
the
SPECIAL
pre-publication ortw
Robert A. Mitchell
MANUAL OF PRACTICAL PROJECTION
These chapter headings indicate
the completeness of the book's
contents:
PART I: FILM
Inspection and Repair of Prints
Prevention of Damage to Prints
Film and the Heat Problem
PART II: THE PROJECTOR
Notes on Projector Maintenance
Film-Guiding in the Projector
The Intermittent Movement
Functions of the Projector Shutter
PART III: PROJECTION OPTICS; SCREENS
Optical Efficiency in Projection
The Projection Lens
Lens-Matching; Care of Lenses
Screen Types and Picture Brightness
Screens, Apertures, Aspect Ratios
PART IV: THE ARC LAMP
The Carbon Arc
Operating Characteristics of Arc Lamps
PART V: GENERAL PROJECTION
PRACTICE
The Projectionist's Role as a Showman
Projection Preparations for the Seasonal
Theatre
Mere Light for Drive-In Screens
PART VI: MOTORS, GENERATORS, AND
RECTIFIERS
Types of Motors
Maintenance and Servicing of Motors
Types of Generators
Maintenance and Servicing of Generators
Rectifiers for Projection Arcs
PART VII: SOUND REPRODUCTION
SYSTEMS
Photocells and Optical Sound
Testing Amplifier Parts
The Sound-on-Disk Reproducer
The Sound-on-Film Reproducer
Acoustics in Projection
PART VIM: PROJECTION OF COLOR AND
3-D FILMS; FORMULAS
The Projection of Color Films
Stereoscopic Projection
Useful Projection Formulas
NOW on the Press
In order to bring you the most completely up-to-date Manual pos-
sible, the author has made last-minute revisions in the text to
bring the information in this book right up to yesterday. The
revisions have been completed, and the Manual is now on the press.
This is definitely your last chance to get a copy of the most com-
plete and practical handbook for projectionists ever compiled
at a money saving
pre-publication
price of only
$4.50
■ reaular
(NET-
NO DISCOUNT)
regular price $6.00
Remember . . .
Once the Mitchell Manual is off the press, the special pre-publi-
cation offer will be withdrawn and the regular list price of $6.00
per copy will prevail. For a very limited time, IP's files are still
open to the special order blank below.
But— LAST CALL!
INTERNATIONAL PROJECTIONIST
19 West 44 St., N. Y. 36, N. Y.
Gentlemen: Please tend me copies of R. A. Mitchell'. MANUAL OF PRACTICAL
PROJECTION at the special pre-publication price of only S4.50 per copy, postage prepaid.
Enclosed is check (or money order) for $ •
NAME
ADDRESS
CITY
ZONE STATE
INTERNATIONAL PROJECTIONIST • APRIL 1957
International
PROJECTIONIST
R. A. ENTRACHT, Publisher
ROBERT C. MacLEOD, Editor
R. A. MITCHELL, Contributing Editor
Volume 32
APRIL 1957
Number 4
Index and Monthly Chat 5
Drive-In Projection: A Challenge 7
Robert A. Mitchell
A Conversion Method for Db and Volume Units . . 12
Joseph Holt
Is It Going To Be Cable Theatre? 13
(For and Against)
NTS's Telemovies Projection Equipment 14
Robert MacLeod
In The Spotlight 16
News and Views from District No. 2 17
Hank Boldizsar
Projectionist License Exam Questions 18
SMPTE Convention April 29-May 3 19
(Papers Abstracts)
Projection Clinic 20
New Products for the Industry 21
Personal Notes 25
Answers to Projectionist Exam 25
IA Elections 26
Miscellaneous Items, News Notes, Technical Hints
INTERNATIONAL PROJECTIONIST, published monthly by the Inter-
national Projectionist Publishing Co., Inc , 19 West 44 Street, New
York 36, R. A. Entracht, President. Telephone: MUrray Hill 2-2948.
Subscription Representatives: AUSTRALIA — McGills, 183 Elizabeth
St., Melbourne; NEW ZEALAND— Te Aro Book Depot, Ltd., 64 Court-
nay Place, Wellington; ENGLAND and ELSEWHERE— Wm. Dawson &
Sons, Ltd., Macklin St., London, W. C. 2. Subscription Rates: United
States and U. S. Possessions, $2.50 per year (12 issues) and $4.00 for
two years (24 issues). Canada and Foreign countries: $3.00 per year
and $5.00 for two years. Changes of address should be submitted four
weeks in advance of publication date to insure receipt of current issue.
Entered as second-class matter February 8, 1932, at the Post Office ot
New York, N. Y., under the act of March 3, 1879. INTERNATIONAL
PROJECTIONIST assumes no responsibility for personal opinions ap-
pearing in signed articles, or for unsolicited articles. Entire contents
copyrighted 1957 by INTERNATIONAL PROJECTIONIST PUBLISHING
CO., INC.
O420
monihh} Choi
This Is Getting Tiresome
"IF IT ISN'T on the film, we can't show it."
IP ran a story under that title back in July. 1946.
Eleven years later and we must still reiterate it. The
no-talent fringe is still with us . . . whenever the equip-
ment is outmoded, the film bad, the light source pre-
Edison, the throw excessively steep, the sound coming
over like early Vitaphone — whose fault is it? Guess.
This passing-the-buck-to-the-projectionists routine has
always been with us, and with the new processes has in-
tensified. (We except those members of the industry who
have been giving recognition to the projectionist as an
experienced technician, and have taken steps to assist
him with new problems.)
The major complaints, of course, are light and sound.
Some dark screens are due to those black-and-white non-
anamorphic projections where the aperture has to be
considerably masked to get the wide-screen ratio that is
demanded. And the result is not only a dark screen de-
spite high amperages, but cropped heads and feet, titles
gone from foreign films. And a good many of the so-
called genre pictures ("Marty" comes to mind), excel-
lent as they may be artistically, seemed to have been
filmed with the shades drawn. On the other hand, some
of the larger color productions have been filmed so light
in sections as to make it impossible to keep a balance
between intensities. That doesn't stop the complaints to
the projectionist to hey, keep some light on the screen,
will ya?
"Giant's" Giant Sound Reproduction Headache
When a picture like "Giant" is filmed in magnetic and
released in optical, what are you going to do? Stay on
the fader every minute? Projectionists in large first-run
houses where such pictures will play for some weeks
obtain a familiarity with scenes as they come up to de-
velop a routine on the fader, but what about the house
that plays the picture perhaps two — three times only?
And, as in one theatre we know of, not a thing has been
done in the penthouse heads since they were installed
four years ago, and the magnetic clusters are worn so flat
you don't even have to take them out of the reproducers
to see the wear. No wonder sometimes in quiet moments
the audience can hear some choice language issuing from
the projection room.
Some houses have a throw of around 30 degrees, usually
converted vaudes — or those that have deep stages (what-
ever happened to Bank Night?). This means a steep-
angle balcony, and a consequent steep-angle throw, and
good-bye sharp focus on top and bottom of the screen.
We borrow a phrase from one of the experts in the
craft: "We licked 3D, CinemaScope, VistaVision, Todd-
AO, and all the other new fangled ideas — and no time to
learn. 'Here it is — now you show it.' And the projectionist
made good."
For every crackpot or legit complaint, we could double
with instances that showed that not only was the projec-
tionist nol at fault, but that he had suggested the correct
solution. One thing for sure — when the exhibitor has an
important technical problem on his mind, he isn't going
to ask the popcorn machine.
INTERNATIONAL PROJECTIONIST • APRIL 1957
Profit from RCA's bright ideas
_ about lighting any screen
_j
,' ;*, ^^
f- ...\ "*™~
--■ --- *
f.f, •/*>"*' **'?■'■ ■
<*
Whether you count receipts from a 1000-
car drive-in or from a neighborhood
hard-top, RCA's complete line of arc
lamps lets you choose exactly the power
and performance your size screen re-
quires. There's every chance you'll put
those receipts on the rise with the natural-
looking brightness of a picture perfectly
lighted by RCA.
RCA's new Super Cinex Light Projecting
System puts as much as % more light on
screens of largest drive-ins and indoor
theatres. Included in the system are the
Super Cinex Arc Lamp, a 12-phase 165-
ampere selenium rectifier and an AC
9-gallon water re-circulator. The fast
RCA Super Cinex has an optical speed
off/1.6, uses a 13.6mm carbon, has an
air-cooled 18" reflector.
RCA Dyn-Arc's advance-engineered fea-
tures have boosted it into top popularity
across the nation. It's perfectly adapted
for the f/1.7 lens, uses 11mm carbons,
has an 18" reflector. Along with Dyn-
Arcs, RCA's Wide-Arc Lamps lead their
field in light per ampere. Powerful, rug-
ged Wide-Arcs are standard favorites for
economical and efficient performance
with f/ 1.9 lens and 10 or 11mm carbons.
To get the most light for the least cost,
the Line that builds Lines
at Your Box-Office
get the right RCA lamp. It's easy to do!
Simply call your RCA Theatre Supply
Dealer for expert advice. And be sure to
ask about RCA's very low-cost Budget-
Ease terms . . . the wise and businesslike
way to stretch your RCA projection lamp
cost over a comfortable period. With
RCA, there's money in light ... on
your screen !
THEATRE
EQUIPMENT
mmmuum
Tmk(s)
RADIO CORPORATION of AMERICA
Theatre Equipment Safes Camden, N.J.
In Canada : RCA VICTOR Company Limited, Montreal
Volume 32
APRIL 1957
Number 4
Drive-In Projection: A Challenge
By ROBERT A. MITCHELL
More and more drive-in theatres are being built, and it appears
that the ozoner business is booming; but, technically speaking,
there are still a number of problematic conditions to be faced.
THE DRIVE-IN theatre testifies to
the predominant role played by
the automobile in modern civil-
ization. We drive for recreation as
well as from necessity ; and now, thanks
to the drive-in. we may enjoy movies
without having to get out of our cars.
And because drive-in theatres are de-
signed for the admission and place-
ment of automobiles, they are exclu-
sively open-air theatres.
There is nothing new about open-air
theatres, per se. The Greeks had them
25 centuries ago. And the presentation
of motion pictures out of doors in the
evening was not unusual even in the
earliest days of the art. The movies
didn't talk in those days, and open-air
showings were perfumed, so to speak,
by the subtle fragrance of new-mown
grass, French cologne, and Havana
cigars. The age of gasoline fumes
had yet to arrive. And instead of
comfortable auto seats, patrons en-
dured hard wooden chairs to watch
the galloping tintypes — and no neck-
ing!
Always New Problems
The movies have come a long way
since the films of Edison, the Lumieres,
and the immortal David Wark Griffith.
But in many European towns, even
today, motion pictures are shown out
of doors in a similar atmosphere (i.e.
no automobiles admitted). The sound-
track takes the place of "genuine
marimba music played by native
Hawaiians," of course, and action
photographed in natural color and
CinemaScope is uninterrupted by dia-
logue captions. Only in North Amer-
ica has the drive-in open-air theatre
assumed the status of a major in-
dustry.
Practically non-existent before World
War II, the drive-in theatre created
a host of technical problems new to
projectionists. The enormous size of
drive-in screens makes demands upon
the projector lamp equipment seldom
encountered in indoor theatres: and
stray light from various sources often
erases the gigantic, but dim, picture
from the screen. Then too, the use
of extra-powerful arc lamps frequently
subjects the film to more heat than
it can withstand. Even when the photo-
graphic emulsion escapes destruction,
the delicate ribbon of "frames" march-
ing in single file past the blazing
aperture "spot" flutters like a leaf in
a gale. As we all know, sharp focus
is then impossible.
These and other difficulties of drive-
in projection are mitigated by the use
of projection equipment built to work
under high-heat conditions without
wasting light or destroying the film.
The job is too tough for archaic equip-
ment. Old-style projectors, lenses, and
lamps should never be used in a drive-
in theatre.
The first requirement for a drive-in
projection setup, therefore, is a pair
of sturdy, dependable projectors fitted
with modern optical soundheads and
the most powerful high-intensity arc
lamps that money can buy. (We must
emphasize the word high-intensity, for
in many parts of the world low-inten-
sity arc lamps retain tremendous
popularity for indoor theatres.) Heat-
reducing accessories are also manda-
tory, as neither the picture mechanisms
nor the film can escape damage without
them when arc amperage climbs be-
yond 85 or 90 amperes.
Is there any sense in generating a
lot of light only to waste it with old-
fashioned lenses? Absolutely not!
Optically rapid lenses and anamorphic
attachments having cemented couplets
and antireflection-coated glass-to-air
surfaces are a "must." Optical speed
should not be slower than /:1.7 for
lenses or /:2.0 for lamps (an excellent
combination which minimizes side
fadeaway or "vignetting").
Sound System Complexities
The drive-in sound system, more
powerful and complex than an in-
door system, requires careful thought.
Power amplifiers should supply at
INTERNATIONAL PROJECTIONIST • APRIL 1957
least x/± watt of audio power per in-car
speaker — a total of 250 watts for a
1,000-car theatre. Emergency ampli-
fiers capable of powering at least one
ramp should be provided, as well as
a switching arrangement to permit the
projectionist to check the sound in any
ramp without having to step outside
the projection building. And the
speakers must be free from rattles at
full volume, able to reproduce sound
at medium volume without distortion,
and built to withstand inclement
weather and rough handling by the
customers.
The reflective surface of the screen
works hand in hand with the lamps
and lenses to produce a projected pic-
ture of sufficient brightness to be
viewed from all positions in the park-
ing area without undue eyestrain. It
is admittedly impossible to attain
indoor-theatre brightness levels in any
but the very smallest drive-ins, hence
the use of any but the whitest screens
and the biggest lamps is false economy.
Let's see just how much light we can
reasonably expect on a drive-in screen.
Required Screen Brightness
The accompanying table reveals the
number of screen lumens, measured
with the projector shutter not running,
required to illuminate white drive-in
screens of about 0.8 reflectance. The
values given assume the use of a
standard Academy aperture without
an anamorphic attachment, or an
optical-track CinemaScope aperture
with an anamorphic lens. It will be
noted that, even with the most power-
ful arc lamps readily available today,
it is impossible to obtain 4 footlam-
berts of luminance on matte screens
wider than 70 feet, or 8 footlamberts
on screens wider than 50 feet, or 10
footlamberts (the "quality" standard)
on matte screens exceeding 45 feet in
width.
Use of screens 100 or more feet in
width necessarily results in a dim,
dull-looking picture. As a matter of
fact, light levels of only about 1 foot-
lambert are obtained on 100-foot
screens even with the most powerful
of projection lamps. To obtain the
indoor minimum of 10 footlamberts
on a 150-foot white screen requires
fully 420,000 lumens, or approximately
12 times more light than the most
powerful 18-inch mirror lamp (13.6-
mm positives burned at 165 amps.,
/:1.5 optics) is capable of producing!
One of the methods by which picture
brightness is increased is the use of
"aluminized" screens. Directional
screens of this type are sometimes
necessary, especially when the width
of the picture exceeds 60 feet. Cor-
rugated-plate aluminum screens are
available to insure satisfactory light
distribution throughout the parking
area, but special aluminum screen
paints having semi-diffusive properties
do the same job. A forward tilt of
the screen is practically mandatory
with aluminized screens to avoid re-
flection of most of the light up into
WIDTH OF
PICTURE
IN FEET
PROJECTOR OUTPUT LUMENS FOR MATTE SCREEN OF 0.8 REFLECTANCE
For 4 footlamberts
For 8 footlamberts
For 10 footlamberts
(5 footcandles)
(10 footcandles)
(12£ footcandles)
30
6,800 lumens
14,000 lumens
17,000 lumens
8
9,000
18,000
23,000
12,000
24.000
30,000
45
15,000
30,000
38,000
47,000
50
19,000
38,000
55
23,000
45,000
54,000
57,000
68,000
60
27,000
65
32,000
63,000
7h-,000
79,000
70
37,000
42,000
92,000
75
84,000
110,000
80
48,ooo
96,000
120,000
85
54,000
110,000
140,000
90
61 ,000
120,000
150.000
95
68.000
140,000
170,000
100
75^000
150,000
190,000
110
91 ,000
180,000
230,000
120
110,000
220,000
270,000
140
130,000
250,000
320,000
1 50 . 000
290,000
340,000
370,000
420,000
150
170,000
The lumen values given in this table obtain when blank light is projected without the shutter
running and when either a standard aperture (0.825" x 0.600") is used, or a CinemaScope
aperture (0.839" x 0.715") with an anamorphic attachment. An anamorphic light loss of
15%— 20% is assumed.
the sky. Neglect of this precaution
may result in a dimmer picture with
an aluminum screen than with a matte
white screen!
White screens should always be used
when the viewing area is so wide that
the sight-line angle exceeds 25 degrees
at the extreme ends of the ramps. Most
drive-ins have a maximum viewing
angle of 40 degrees.
The poor side-to-center distribution
of screen illumination supplied by the
more powerful reflector lamps burning
positive carbons up to and including
the 10-mm size is unfortunate. A
distribution ratio of only 55% is not
satisfactory. "Hot-spot" projection
usually results in discolorations at the
sides of the screen as well as in poor
light. While a distribution of 100%
is the desideratum, the indoor "quality
standard" of 80% gives a pleasingly
illuminated picture — a very important
consideration in widescreen projec-
tion.
13.6-mm Carbon Advantages
Use of 13.6-mm carbons in reflector
lamps at currents up to 165 amperes
produces whiter, more evenly distrib-
uted light provided that the magnifying
power of the mirror is not decreased
by auxiliary lenses. The main advan-
tage of the 13.6-mm carbon is its larger
core area and resulting aperture spot
of brighter, whiter, more evenly dis-
tributed light. A lens that decreases
the magnifying power of the mirror,
although giving about 10% more total
light, counteracts the quality of illu-
mination to be expected of a larger
source.
The highest quality of brilliant
screen light still requires the use of
13.6-mm condenser lamps burning up
to 180 amperes. This type of lamp,
when used with /:1.9 aspheric con-
densers and /:1.7 coated projection
lenses, furnishes up to 25,000 screen
lumens at a side-to-center distribution
of 80%. Moreover, condenser lamps
are entirely free from the vagaries of
arc focus that plague all mirror-type
lamps.
The performance of any arc lamp
is at the mercy of its power supply,
of course. When first costs, alone, are
considered, rectifiers are the logical
choice. In fact, modern selenium recti-
fier units are characterized by high
electrical efficiency and dependability.
But unless the power supplied by the
AC mains is unusually free from volt-
age and power-factor variations, an
8
INTERNATIONAL PROJECTIONIST
APRIL 1957
ATIONAL
TRADEMARK
PROJECTOR CARBONS
meet the demand for more and more light!
Screen Size 1946
Screen Size 1957
Screens have doubled in width
over the past eleven years. These larger screens
impose stringent demands on projector carbons for
increased light at minimum cost. This challenge
has been met by "National" carbons.
Here's How:
• The New "Suprex" 7mm Carbon
• The New "Suprex" 8mm Carbon
• The New 10mm High Intensity Carbon
• The New 11mm High Intensity Carbon
These Carbons Provide :
• Up to 20% more light.
• Up to 25% slower burn.
This all adds up to a cost per unit of light that's
the lowest obtainable anywhere.
THE PICTURE IS LIGHT...
GIVE IT ALL YOU CAN
WITH "NATIONAL" CARBONS
The terms "National", "Suprex" and "Union Carbide" 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, N. Y.
SALES OFFICES: Atlanta, Chicago, Dallas, Kansas City, Los Angeles, New York, Pittsburgh, San Francisco • IN CANADA: Union Carbide Canada Limited, Toronto
INTERNATIONAL PROJECTIONIST
APRIL 1957
unwavering, flicker-free screen light
can be obtained only by the use of
motor-generator sets.
But whatever lamp is used, and
whether it is powered by a rectifier
or a motor-generator, the threefold
heat problem demands the closest at-
tention in drive-in projection.
The heat developed inside the lamp-
house, itself, becomes increasingly
serious as arc amperage is increased.
Internal ventilation and ample exhaust
facilities are required for the comfort
of the projection crew and to minimize
the breakage of glass mirrors. (Metal
mirrors should not be used in drive-ins
because they waste light and overheat
the film.) Lamps not having internal
ventilating systems require the most
efficient gas-exhaust ventilation com-
patible with undisturbed burning of
the arc.
The second effect of heat to be
considered involves the projection
mechanism. Not all of the radiation
concentrated in the "spot" passes
through the film aperture. A large
amount of it — particularly when large-
diameter positives are burned — is
wasted upon the "cooling" and aper-
ture plates and upon the blades of the
rotating shutter. All absorbed radia-
tion (visible, infrared, and ultraviolet)
is converted into heat. If the amount
of heat generated in the projector head
is excessive, the film gate may be
warped and the shutter bearings dried
out.
Excessive heating of the mechanism
is prevented by water-cooled baffles
behind the aperture plate and by
forced-draft ventilation provided by
the rapidly revolving shutter.
Film Heat Absorption
Heating of the film, itself, is the
third and most important aspect of
the heat problem. Calorie absorption
by the film is minimized by water-
cooled gates, inasmuch as film is
heated largely by the conduction of
thermal energy from the gate runners
to the perforation margins. At worst,
however, conducted heat only buckles
the film and makes it brittle. The
greatest film damage is caused, not
by the "black heat" of conduction, but
by the quite different process of direct
irradiation.
The resistance of motion-picture
film to the effects of intense arc ir-
radiation is always a source of wonder.
Nevertheless, there are limits beyond
which the heat generated in the darker
areas of the tiny photographic images
unavoidably blisters the gelatine emul-
sion and destroys the print. Film is
ordinarily spared complete destruction
by the rapidity with which it moves
and by the light-reducing effect of the
rear shutter. We say "light" instead
of "heat" because no heat appears
until the radiation is absorbed. The
emulsion may then be literally cooked
by the energy-transfer process taking
place inside it.
Film moves intermittently past the
aperture at the rate of 24 frames per
second. The rear shutter cuts off half
the radiation and "flashes" each frame
twice. There are thus two 1/96-second
exposures to a beam of radiation so
strong that it can ignite wood in less
than a second. It is amazing, perhaps,
that the film escapes serious damage
until arc current is increased beyond
the 80 — 90 ampere range.
Even somewhat below 80 or 90
amoeres. buckling and rapid flutter
of the radiation-bombarded film bring
about difficulties in focusing. It is
impossible to get a sharp picture on
the screen when each frame moves in
and out several times during its brief
exposure. Above this current range,
the emulsion of dense black-and-white
prints blisters unless something is done
to prevent it. Heat-reducing filters
must be used.
Infrared Radiation
About half the heat generated by
the beam of a mirror arc comes from
OZARK OZONER
Ed McCormack, IA Local 582, Brantford, Ont.
"Doin' all I can — I'm prayin' fer either rain
or a miracle, Boss!!"
visible light, the other half from in-
visible, and therefore useless, infrared
radiation. A heat filter removes the
infrared without affecting the visible
wavelengths. Actually, however, minus-
infrared filters waste from 8% to
12% of the visible light and fail to
remove all of the infrared rays. Tests
demonstrate that the average good
absorption-type filter removes 65% of
the infrared — a 38% reduction in the
total heat — and wastes 10% of the
light. Use of such filters is optional
at about 75 or 80 amperes (depending
on the severity of film flutter) and
mandatory at 85 or 90 amperes and
above.
Experience has shown that mirror-
type lamps burning 9-mm and 10-mm
positives at their maximum rated cur-
rents actually produce more heat at
the center of the film frames than
do 12-mm and 13.6-mm carbons emit-
ting even more total light. The smaller
carbons give a markedly "peaked"
light output at capacity current; and
because of this fact, center-frame emul-
sion blistering and hot-spot screen
illumination will be obtained with
9-mm and 10-mm positives in "fast"
mirror lamps unless mirrors are used
which permit an increase in working
distance and greater magnification of
the luminous crater. Heat filters can
do nothing to improve a side-to-center
light distribution of 50%, but they will
protect the film and save the manage-
ment from a staggering print-replace-
ment bill.
Absorption-Dichroic Filters
There are two distinctly different
types of minus-infrared heat filter, the
absorption type and the dichroic. Ab-
sorption filters absorb the infrared
rays, while dichroic, or interference,
filters reflect them. Both types of filter
should be kept cool during use, but
absorption filters require a forced-air
draft to prevent their cracking. An
"open" filter holder which allows the
air to circulate freely over both sides
of the filter is thereby desirable.
Minus-infrared heat filters should
be cleaned before each performance.
If kept free from dust and washed in
mild soapy water when soiled, absorp-
tion filters will last indefinitely. Dich-
roic filters, on the other hand, have
been known to deteriorate in a pro-
gressive manner, passing more of the
infrared rays and blocking off more
of the visible light. They should be
(Continued on page 29)
10
INTERNATIONAL PROJECTIONIST • APRIL 1957
Bali'' < /ISSk^P
when you hm the new
»*• ft ft;
POWERFUL ^^ U-H-l
ULTRA HIGH INTENSITY PROJECTION ARC LAMPS
BEAM SHAPER LENS PROVIDED FOR USE
WITH THE 13.6-MM TRIM LAMPS PAT-
TERNS THE SPOT TO THE PARTICULAR
SIZE AND SHAPE OF THE APERTURE SO
AS TO EFFICIENTLY UTILIZE ALL USEFUL
LIGHT. All other lamps, projecting a round
spot, waste much light, particularly above
and below the aperture. Using a 13.6-mm
carbon trim, the overall optical speed is
equivalent to f:1.5 when f:l. 5/1.6 projection
lenses are used and projectors are cleared
for /:1.5.
EXPELLO BUILT-IN EXHAUST SYSTEM cools
the rear of the reflector so as to permit the
use of the newly developed "cold" reflectors
which allow unwanted heat energy to pass
through the mirror instead of being reflected
to the aperture. The projected picture, ac-
cordingly, is not subject to the high degree
of in-and-out of focus that distinguishes
projection by most lamps operated at high
currents. An air screen directs a thin layer
of fast moving air upward over the surface
of the reflector so as to cool it and keep
soot and smoke from depositing thereon and
a jet directed stream of high velocity air up
and over the arc directs, stabilizes and con-
forms the flame away from the reflector,
effect better combustion and prevents the
formation of black soot. Heat radiation to
the projection booth is held to a minimum
by the heavy duty, quiet centrifugal exhaust
fan which is driven by a separate motor.
Heat and smoke are exhausted into a large,
8-inch, smoke pipe connection.
ACCOMMODATES NEWLY AVAILABLE
FULL 20-INCH CARBON TRIM for maximum
carbon economy. The carbon feed control
can be set to burn 13.6-mm size from 7 to 20
inches per hour. Carbon Feed readily adjust-
able to length of reels being projected.
GIVES THE MOST LIGHT PER CARBON
DOLLAR ... A HIGHER TRUE LUMEN
OUTPUT THAN ANY OTHER LAMP AND
BETTER DISTRIBUTION CONSISTENT WITH
THIS HIGH LEVEL OF ILLUMINATION.
EXCLUSIVE AUTOMATIC CRATER POSI-
TIONING SYSTEM maintains the tip of the
burning carbon at the focal point of the
reflector. Eliminates change of light color at
the screen, caused by variation in carbon
burning rates.
MIRROR INTEGRATED WITH A REAR
LAMPHOUSE DOOR which swings completely
out of the way to facilitate retrimming and
permit easy cleaning of the lamphouse and
reflector.
SPOT FOCUSING. The entire burner assem-
bly is movable so that the position of the
arc can be shifted for the best screen light
without disturbing the relative carbon posi-
tions or the equilibrium of the arc.
OPTICAL SYSTEM ADAPTABLE TO THE
VARIOUS PROJECTION SYSTEMS in one-
fifth the time. Choice of high or low mag-
nification is obtained for wide film or 35-mm
projection in less than a minute.
ONLY ONE ADJUSTMENT FOR CONTROL-
LING THE FEEDS OF BOTH CARBONS.
Eliminates guesswork.
Send coupon now for even more details.
THE STRONG ELECTRIC CORPORATION
31 City Park Ave. Toledo 1, Ohio
Please send free literature on the sensa-
tional new Strong U-H-l Projection Arc Lamp.
Name
Theatre
Street ."
City & State
INTERNATIONAL PROJECTIONIST • APRIL 1957
11
The inter-relationship of motion picture and TV work
has brought a companion measurement to the decibel.
A Conversion Method for
Db and Volume Units
By JOSEPH HOLT
Member, IA Local 428, Stockton, Calif.
SINCE the advent of sound to the
accompaniment of motion pictures,
projectionists have become familiar
with the term "db" as a unit for the
measurement of acoustical energy or
potential. The expression db is a
notation form for decibel, or one-tenth
of a bel, so named in honor of the
inventor of the telephone.
But in the fields of radio and tele-
vision, another unit has come into
general use. The shortened form of
"VU" refers to Volume Units. VU
and db co-exist with good reason for
the continued use of each, and with
the intertwining of motion picture
work and telecasting, projectionists
should be conversant with both, and
able to handle simple problems of
conversion.
The reader is urged to remain calm
during the ensuing text, for a dis-
cussion of decibels of volume units
must by definition deal with logarithms.
Many projectionists shy away from
"logs," and this is a pity in view of
the ease with which problems may be
handled.
Decibel Definition
Let us then proceed to review the
definition for decibels, and state verbal-
ly that the gain or loss in decibels is
equal to ten times the logarithm of
the number resulting from the division
of one power level by the other where
reference is to input and output powers.
Stated in equation, this becomes:
db = 10 log P2
PI
If voltages or currents are being
dealt with, db difference equals twenty
times the same quantity as the power
equation; that is to say, with the
voltage readings being substituted for
power values.
Now the step from db to VU : merely
erase db and write VU. The same
equation applies without change.
The person newly introduced to this
identical condition is apt to conclude
there is no difference at all, since the
same expression applies both to db
and VU values.
The difference lies in the primary
definition of what must prevail at
zero level. The concept of zero db
includes a measurable power level. This
must be distinguished from zero signal,
which actually should be termed minus
infinity db. This means that signal
attenuation is to the infinite or maxi-
mum quantity.
But with the understanding that
0 db is set by standard at that condi-
tion in which a power of .006 watt
(6 milliwatts) is present across a load
impedance of 500 ohms, we may ex-
amine the definition for O VU and
note it provides for .001 watt ( 1 milli-
watt) in 600 ohms.
O db Power Level
Using Ohm's equation, E2 = RP,
we substitute 500 ohms and .006 watt,
and find that E2 = 3.0 volts. The root
of 3 is 1.732 volts, and we now know
that if we measure 1.732 volts in a
load of 500 ohms, a power level of
O db exists. Using the same procedure
and the appropriate values, we learn
that O VU produces 0.775 volt in 600
ohms.
But what, the reader is sure to ask,
if the load impedance does not equal
exactly 500 or 600 ohms? The obvious
answer is that the db or VU reading
cannot be the value which is indicated
by the meter. Correction factors are
computed by use of the equation.
+ db = 10 log 500
Z line
when Z line is less than 500 ohms.
This sinvply means that in the case
of a 16 ohm load, we apply the relation
as stated:
+ db = 10 log 500
"~ 16
The log of the quotient of 500
divided by 16 is 1.49, and when it
is multiplied by 10, we obtain a cor-
rection factor of 14.9 db which must
be added to a db meter connected
across 16 ohms in order to read abso-
lute power level.
Given a power level, we may make
use of the power equation to determine
the Units difference.
Diff. = 10 log db
VU
and Diff = 10 log .006
.001
Solving, 10 times log of 6 is equal
to 10 times .778, which tells us that
we add 7.78 units to a db power level
in order to learn VU power level, and
subtract from VU readings the same
amount in order to convert to decibels.
Correction Factors
For convenience, we may now com-
pute selected values for correction
factors both db and VU. (See Table
below.)
Further usefulness of the informa-
tion we have covered in this article
is indicated by a reference to a com-
mon problem. Let it be assumed that
a device with output impedance of
500 ohms is coupled to a line of 250
(Continued on page 28)
Line Impedance
Db Correction
(Ohms)
VI
Correction
+ 16.99
10
+ 17.78
+ 14.94
16
+ 15.74
+ 8.53
70
+ 9.33
+ 5.22
150
+ 6.02
+ 2.22
300
+ 3.01
0.
500
+ .78
— 1.76
750
— .90
— 3.01
1000
— 2.22
— 4.77
1500
— 3.98
12
INTERNATIONAL PROJECTIONIST • APRIL 1957
This spring in Bartlesville, Oklahoma, an experiment in
piping motion pictures into private homes via TV cable
will be tried — and so far it has caused a small furor.
Is It Going To Be Cable Theatre?
FOR
LAST FALL, almost unobtrusively, a proposed solu-
tion to the exhibitor's Problem Number One put a
hesitant foot through the door. In a town most
theatremen had never heard of. Bartlesville, Oklahoma, a
cable theatre was being erected. And what, those inter-
ested asked, was a cable theatre?
In principle, it is simple. Originating from a regu-
larly projected 35-mm film, an image is sent out on spe-
cial sending equipment, then on a coaxial cable strung
on telephone and light poles, then off the cable by special
lead-in wires to private home TV sets, through an off
channel that is not in use by a regular TV station. The
pictures would be first-run features, shown continuously
through the day. affording the viewer the best in motion
picture entertainment in the comfort of his home. and.
it might be added, without the irritating interruptions of
commercials. For this service the subscriber paid a
monthly rate — in the Bartlesville experiment. S9.50 a
month.
This pilot project is called Tele-Movies, and was under-
written by a hustling southwest theatre chain. Video In-
dependent Theatres. Inc.. which also owns other houses
and drive-ins in the area. The cable system was developed
by Jerrold Electronics Mfg. Corp. of Philadelphia, and
the Public Service Co. of Oklahoma, along with South-
western Bell Telephone Co. were negotiated with to sup-
ply communications. When preliminary installations were
made. National Theatre Supply furnished the projection
equipment which was developed by General Precision
Laboratory.
Intensive Advertising
That was the background, if anyone cared to read
about it. and it has become obvious that quite a few
people in the industrv have cared. Video Independent
Theatres, under the guidance of its very able president.
Henry Griffing. embarked on an intensive advertising
campaign. Takeoff point was the convention of the
United Theatre Owners of Oklahoma, where Griffing in-
vited exhibitors everywhere to take part in the develop-
ment of telemovies, "the hope for the future of the mo-
tion picture business."
Griffing cleared up some misconceptions: "The biggest
mistaken idea is that we're involved in some kind of
subscription television. We are still in the motion picture
business. This is not toll TV but TM-telemovies. made
by motion picture producers and shown by motion picture
exhibitors.
"As a matter of fact. TM is the best weapon the ex-
hibitor has to fight toll TV and restore the audience we
(Continued on page 22)
AGAINST
THERE ARE certain members of the motion picture
industry that refuse to subscribe to the if-you-can't-
fight-'eni-join-'em philosophy, and that, they consider,
is what telemovies is out to do. There is a strong feeling
among TM's opponents that it is a foolish and wasteful
move to clasp hands with TV at this particular point —
this particular point being that movies, more or less be-
cause of increased excellence of quality, have enjoyed an
upswing of business in the last six months, and TV, ad-
mittedly, has had a dull year. Why quit when you"re win-
ning?
Many opponents of telemovies are sitting by waiting
to see the outcome of the Federal Communications Com-
mission's decision on toll-TV. One of the jaundiced-eye
viewers is Matty Fox, president of Skiatron-TV, who has
warned exhibitors thusly: ". . . they're going to find out
what huge kind of investment is required to do this
thing properlv. The way the theatres are talking, wire
systems are going to be had for a dime not long after
they get started. It's no good to look at this whole proposi-
tion as just an extension of the theatre seat."
Skiatron is one of the originals in the toll-TV field,
and has also taken test flights into the cable theatre sys-
tem, where as yet there is no monopoly on who uses
whose cable. Fox also thinks that competitors of Para-
mount would be most unlikely to supply product for the
Paramount-owned Telemeter coin-box system that was
initiated last month in Los Angeles.
Small Theatre Casualties
One strong point that Fox stressed was that telemovies
would not be a profitable venture except in "closed" situa-
tions where all the theatres in an area were owned by one
individual or firm. In a situation where there are a num-
ber of competing houses it would be. as one distributor
sales executive put it, a "nightmare." And the margin
theatres would be sure to go down.
Even among those distributors who have an open mind
about cable theatre, the by-word is caution. Most large
outfits are waiting to see the outcome of the Bartlesville
operation, and in more than one quarter there is pessimism
about that outcome. Among those on the nay side, the
feeling is that the exhibitor who embraces cable theatre
is slitting his own throat, not to mention the competitor
down the block who might not have a TM installation.
In a metropolis the size of New York City, there is some
opinion that cable theatre is not possible because in areas
where there is a good deal of competition — which is the
case for the majority of the metropolitan area — there
could be no feasible breaking down of zones.
(Continued on page 22)
INTERNATIONAL PROJECTIONIST • APRIL 1957
13
NTS s Telemovies Projection Equipment
By ROBERT MacLEOD
Projectionists may find themselves in somewhat strange
surroundings in the future if the telemovie experiment
proves itself; NTS provides a description of equipment.
PROJECTIONISTS who have won-
dered just what their part would
be in the recent trend to wire home
movies via TV cable have, at least, an
equipment answer in the present in-
stallations at Bartlesville, Oklahoma,
where the initial experiment in tele-
movies is being conducted. National
Theatre Supply Co. has announced
that it has just completed negotiations
to furnish the projection equipment
for that operation ; the technical set-up
being developed by General Precision
Laboratory is now in its final stages
preparatory to installation.
The projection installation is much
the same type that is now being used
by those TV networks operating on
35-mm film. Video Independent Thea-
tres, backers and instigators of tele-
movies, "are insisting that the quality
of their signal on the cable be the best
that can be obtained," as well it might,
considering that the equipment instal-
led is of the newest type.
Change In Plans
A change in plans for the telemovie
experiment has been made, in that now
arrangements have been made to sup-
ply the viewer with a choice of two
motion pictures, instead of the afore-
planned one-shot. There will also be a
third channel to furnish subscribers
with continuous news and weather re-
ports.
An innovation on this third channel
will be that the weather and news re-
ports will be in a visual form with the
patrons being able to watch the mes-
sages which are typed out on a moving
tape. The sound on this third channel
will be in the form of continuous back-
ground music. The one coaxial cable
that is being installed will take several
channels of programs on different fre-
quencies.
Interviewed by IP, John Servies,
vice-president of NTS, stated that the
GPL plant is now manufacturing and
assembling the equipment, which
should be ready for installation around
the first of May. That equipment will
include the following:
2 PA200 Telecast Projectors
1 PA505 Vidicon Film Chain
1 PA606 Master Monitor and
Console
1 PA604C Sync Generator
1 PA510 and 511 Special
Multiplexing System with
two-way camera mount
1 Telejector Slide Projector
and Pedestal
1 PD150 Standby Camera
Chain
1 200 Bar and Dot Generator
1 Film Variable Gain Con-
trol
1 lot of cables, lenses, racks,
etc.
Modified Simplex XL's
As explained to IP by Servies, the
projectors are very special modified
Simplex XL's. Admittedly more ex-
pensive, noisier, and less efficient from
a light transmission standpoint than
theatre projectors, these special pro-
jectors employ a 2-3 movement.
These detractions, however, are con-
sidered absolutely necessary, because
for TV the 24 frame/48 image show
must be adapted to the TV requirement
of 30 frame/60 image. The GPL spe-
cial movement exposes the first frame
two times, the second frame three
times, the third two, the fourth three,
and on down the pike. In other words,
in 24 frames there are 60 exposures
necessary for TV.
Separate Shutter Motor
The specialized projectors also have
a number of other features including
a separate motor for the shutter in sync
with the drive motor which allows
threading up by the projectionist, and
actual control by the man at the moni-
tor. NTS notes that this is the same
kind used by major TV networks.
Quoting Servies' announcement:
"The PA505 Camera Chain is of studio
quality. The emergency standby chain
is furnished for low cost standby use,
and will only function when service is
needed on the DeLuxe System. (The
DeLuxe System features accessories
such as camera cable, multiplexing
mirror system with pedestal, field lens
\
PD150 STANDBY CAMERA
V
-PA505 CAMERA
□ f- VARIABLE ANAMORPHIC FOR
CINEMASCOPE
35-MM k
PROJ. J
\/
35-MM
PROJ.
JZL
\
<-
MULTIPLEXER
SLIDE
PROJECTOR
FIGURE 1.
MONITOR
THIS IS VIDEO
SIGNAL FOR
CONNECTION TO
EQUIPMENT SUP-
PLIED BY OTHERS
FOR ADDING RF
CARRIER.
14
INTERNATIONAL PROJECTIONIST
APRIL 1957
and pedestal assembly, a master moni-
tor, telejector, selectroslide projector,
etc.— ED.)
"Installation supervision by GPL en-
gineers is included. All wiring should
be done in trenches in the floor 4 to 8
inches deep. These are usually covered
with steel plates, and make for much
easier servicing than the use of con-
duit."
The PA200 projector is designed for
use with 3-vidicon color or black-and-
white studio film chains, embodying
the well-known Simplex projector
mechanism and soundhead. General
Precision Lab has claimed these fea-
tures for it:
1. Resolution in excess of 600 lines
throughout field. Corner illumination
not less than 90% of that at center.
2. Jump and weave less than 0.15%
of picture width.
3. 2-3 intermittent with 40% ap-
plication time for three-vidicon or
single vidicon operation.
4. Relay condensing system for
field lens or direct-in operation. Pro-
vision is made for filters.
5. Separate shutter motor permits
still-frame operation.
6. Sturdy Geneva-type intermittent
movement operating in oil bath.
7. Magazine film capacity up to
5400 feet. Film path totally enclosed.
Sighting windows for viewing during
operation.
8. Built-in provision for local or re-
mote operation and changeover. Ex-
ternal relay control voltage is 24 v.
DC.
9. Elapsed time meter to show lamp
running time.
10. Reduced standby lamp voltage,
calculated to eliminate thermal shock
and provide longer lamp life. Built-in
voltmeter and Variac to permit varying
lamp voltage +10 v. to -15 v. from line
voltage.
11. Projection lamp 750 or 1000
watts that burns base up and designed
to remain correctly aligned. Dual lamp
system, and provisions for quick
change.
12. Film gate trap and optical com-
ponents easily removed for cleaning.
13. Tension of film trap is adjust-
able. Trap is spring-loaded and lo-
cated at aperture.
14. Projector levelling screws.
15. Standard Simplex sound system
meeting standard motion picture sound
specifications.
(a) Frequency response 50 to 8000
cycles.
(b) Flutter is stated less than
0.15%
(c) Sound stabilized within 3 sec-
onds after start.
(d) Output level is 60 mw. into
500 ohms, balanced output.
Impedance may be set for
600/500, 333, 250/200, 150/
125, and 50 ohms.
(2/1), and when the image appears
on the TV screen, it will have a 1.66/1
ratio. Technicians involved consider
that the lost information is negligible
— more of the shape of a standard
movie. See Fig. 2.
Although VIT feels that operations
in a town of less than 15,000 popula-
tion would be unprofitable, the firm
FIGURE 2.
CAMERA
TUBE
NE
. BLACK ON TV RECEIVER
LOST
INFORMATION
£
1.66
PICTURE ON TV RECEIVER
"^
v_ PROJECTED
PICTURE
LOST
INFORMATION
crrniri <•
(e) Gain of preamp adjustable for
equalization — 5 db.
if) Two exciter lamps in sound-
head for quick change.
(g) Exciter lamp voltage (DC)
stabilized to compensate for
line variations.
The equipment layout can best be
explained by the accompanying dia-
gram (Fig. 1).
CinemaScope Problem
A projectionist's natural question
would be: what about CinemaScope?
Since this service has proclaimed that
it will highlight first-run features, the
factor that CinemaScope product will
constitute a large portion of the dis-
tribution would naturally concern
technicians. GPL is ready to admit
that converting a 2.35/1 aspect ratio
to the TV receiver (which is the stand-
ard 1.33/1) is "quite a problem."
But it is also assuring telemovie ad-
herents that they have come up with
a satisfactory solution. This is ac-
complished by squeezing slightly with
a variable anamorphic lens, and crop-
ping slightly by the way the picture
is placed on the TV camera tube.
A standard 2.35/1 (.715 x .839
inches) aperture plate gets that ratio
if the variable anamorphic is set at
a 2 to 1 expansion ratio. In the tele-
movie case, the variable anamorphic
is set to squeeze the image slightly
K '
BLACK ON TV RECEIVER
considers that in small towns that have
an adequate community antenna set
up (providing also the necessary avail-
ability of facilities), the system might
be practical. Not blocking any regu-
lar-channel TV signals, the telemovie
signal would be placed on the same
cable and channelled only into the
homes of TM's subscribers. This could
be accomplished by putting a filter
outside the home of a non-subscriber,
not interfering with his regular TV.
Whatever the pros and cons (and
that is discussed elsewhere on IP's
pages), the Bartlesville experiment —
although still in the future — has
already made its inroads into the
technical know-how of major equip-
ment manufacturers. What inroads it
will make into the technical know-how
of projectionists remains to be seen.
To quote Servies: "Our company is
anxious, at any time, to help promote
any idea that might help increase mo-
tion picture theatre box office. We are
dedicated to do as much as we can to
make this test at Bartlesville a suc-
cess."
Kodaks $35,500,000 Dividend
Some 50,800 employees of Eastman
Kodak shared a $35,500,000 wage divi-
dend last month. The sum is the largest
in the history of the wage dividend plan
which was initiated in 1912. Eligible
persons will receive §31.75 for each $1000
earned during the five years 1952-56.
INTERNATIONAL PROJECTIONIST
APRIL 1957
15
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.
§n, Jhe,
SPOTLIGHT
AN INTERNATIONAL secretariat,
"International Entertainment Work-
ers," made up of global theatre labor
unions, has been tentatively set up in
Geneva, Switzerland. The IEW will
come under the International Confedera-
tion of Free Trade Unions, a Belgium-
based organization.
Goal of the International is (1) to set
up world-wide exchange of union data,
and (2) a cooperative exchange of
favors, unfair lists, etc. IEW will operate
on its own money, but it will be repre-
senting the craft workers.
To quote the group's credo, the pur-
pose is "to protect performers' economic
and social interests, and promote the
anti-totalitarian principles of the Con-
federation." Said principles have been
given a boost since the European thea-
trical unions soured on the Reds after
the Hungarian debacle. The IEW is not
having any of the right wing, either, as
dictatorships of Spain. Portugal, Domini-
can Republic, etc., are not eligible for
membership.
IATSE Support Sought
The secretariat's immediate step seems
to be an active wooing of union support
in this country, and according to a recent
trade paper report the IATSE is already
"pretty well committed." After the unions
are in (and right now on paper member-
ship numbers 750.000 workers in 10 coun-
tries), the next step is a "founding con-
gress" to be convened in about six
months. If all goes well the International
Entertainment Workers will emerge from
the constitutional convention a reality.
The anti-Commie emphasis is, of
course, based on the fact that in the
theatrical world pro-Soviets can get to
be thick as thieves — if thieves is not too
soft a designation. Up until the Hun-
garian rebel became Man of the Year,
the studio crews abroad — particularly in
France and Italy — were overrun with
Soviet sympathizers. But the great dis-
illusionment has set in since the Rus-
sians made the mistake of shooting up
some craft workers. But mere disillusion-
ment is not going to stop the Reds from
trying to recruit members from the thea-
trical worker ranks — and there are
always the easily swayed. Americans, by
and large, are not too readily sold, since
— let's face it — we all want to make a
dollar. But a sick and tired Europe has
at times been somewhat easy prey. The
IEW wants to stop that.
But. like every other initial venture,
it will be no bed of roses. Variety, indus-
try trade-paper, asked some pertinent
questions last month (although it is not
to be misconstrued that the publication
is anywhere near being against the idea) :
Which craft unions are anxious to or-
ganize internationally? What would be
the currency takeout in various frozen
countries? How would the occasional
problem of international stranding of
talent and technicians be solved? Diffi-
culties in negotiating work permits in
some countries? How to solve the prob-
lem of non-uniformity of practice from
country to country as regards income tax,
severance pay, and social security?
At this writing. AFL-CIO travelling
envoy Irving Brown has become a mem-
ber of the International Entertainment
Workers, and it will be interesting to see
the outcome.
• The New York State Association of
Motion Picture Projectionists will hold
its 1957 Spring meeting May 6 at the
American Legion Home in Geneva, N. Y.
The conference will open at 1:30 p. m.
A buffet dinner will be served at 6 p. m.
to be followed by a midnight banquet
and entertainment. Host Local 108.
Geneva, promises a gala evening for the
delegates and guests.
• We extend our sympathy to Stanley
Creech, member of Vancouver Local 348,
on the recent death of his father. During
World War II while serving as an officer
of the Canadian Navy, Stanley Creech
visited the offices of IP whenever his
ship docked in New York, and the late
conductor of these columns, Harry Sher-
man, and yours truly spent many a pleas-
ant hour in his company.
0 The Winnipeg (Canada) Labor Insti-
tute recently sponsored a two-day course
on labor educational affairs. Labor groups
in that city were invited to send repre-
sentatives to attend the classes. E. L.
VANCOUVER LOCAL 348 PAYS TRIBUTE TO VETERAN MEMBERS
Gold life membership cards were recently presented to 40-year members in Vancouver Local 348.
The presentations were made by Orin M. Jacobson, IA 4th vice-president, acting on behalf of
the Local. Shown here are the recipients of the awards, front row, left to right: W. Woolridge,
F. G. Graham, S. B. Ellerington, and E. B. Marshall. Center, left to right: R. Hansom, A. Cor-
riveau, R. G. Pollock, Jacobson, and J. R. Foster. Back row: E. G. McMillan, J. W. Roberts,
and W. A. Crute. Also honored but not shown in the above picture were M. H. Thoreau and
C. L. Kerr.
16
INTERNATIONAL PROJECTIONIST
APRIL 1957
Barr and Lawrence Hackie. who were
chosen to represent IA Local 299, were
very much impressed with the project
and in their report to the Local strongly
urged that it be represented at these
classes whenever they are held.
• More than 330 union delegates and
guests attended the recent installation
ceremonies of the Westchester Federation
of Labor. Lawrence A. Sabatino. charter
member of IA Local 650. Westchester
County, N. Y.. was re-elected financial-
secretary of the Federation for a third
term; and Michael J. Nugent, recording
and corresponding secretary for Local
650. was also re-elected for a third term
as trustee.
Michael J. Nugent Lawrence Sabatino
Nugent, incidentally, is active not only
in labor circles but in civic affairs. He
was recently elected vice-mayor of Yon-
kers (N. Y. ). and has served as council-
man for eight years. Although Nugent
was designated about a year ago for the
office of vice-mayor by the Democratic
City Committee, the election was held
up until February of this year by a so-
called "insurgent" group within the
party. However, the deadlock was broken
several months ago and Nugent was
chosen for the office. In addition to his
union and civic duties, he has been act-
ing president of the Yonkers Community
Chest for the past year.
• The Midland Salon of Photography
will hold its 27th annual exhibition in
the Art Gallery at Dudley, Worcester-
shire. England, from June 15 to July 13.
1957. Photographers everywhere are in-
vited to take part in this exhibition. All
entries must be in by May 17; applica-
tions for entry forms may be obtained by
writing to: George Vernon Billson. "Grey
Gables." 27. Thurnview Rd.. Leicester,
England.
• The sunny skies of Florida lured an-
other Northerner to its balmy shores.
Maurice Moriarity. longtime member of
Local 273, New Haven. Conn., retired
and he and Mrs. Moriarity are now mak-
ing their home in Florida. A projection-
ist for more than 40 years, Moriarity
worked at the Paramount Theatre in New-
Haven for the past 30 years.
News and Views from District No. 2
By HANK BOLDIZSAR
Member, IA Local 150, Los Angeles, Calif.
With this issue ice welcome to our "Spotlight" department a new feature
contributed by a well-known West Coast projectionist and columnist.
Upon acceptance of IP's invitation to
conduct a monthly "chatty" column deal-
ing with various West Coast personal-
ities in the projection craft and with craft
activities. I appeared before the members
of my Local's Executive Board and dis-
cussed the venture with them. After
"kicking the ball" around a bit. George
Schaffer. our business representative, sug-
gested that I broaden my sphere of activ-
ity and instead of confining my comments
to California Locals, that I cover all the
Locals in District No. 2 which comprises
the states of Nevada, Arizona, and Cali-
fornia. The suggestion was accepted and
in a moment of weakness I came up with
the title that heads this department. This
piece of business settled. I quickly took
my leave of the Board before anybody
could protest.
Brother craftsmen, members of Locals
in District No. 2 (and elsewhere, too,
for that matter) are invited to drop me
a line and let me know what's percolat-
ing in their neck of the woods. I hang
my shingle at 404 Holger Drive. Monte-
bello. Calif.
I'll tee off with a report on the recent
District No. 2 Council meeting, w-hich
was held at the Melody Lane Restaurant
in Beverly Hills. The Council, incidental-
ly, consists of 24 theatrical Locals affil-
iated with the IA. Council President
Billy Wise (San Diego Local 297) pre-
sided at the meeting, and was assisted
bv Lon Bennett I Long Beach Local 521),
Council secretary. Steve Newman, re-
tired IA representative and gold card
member of Los Angeles Local 33, planed
in from San Francisco and addressed the
delegates on the progress made by Dis-
trict Locals on health, welfare and pen-
sion plans. Other speakers followed, all
of whom received a warm welcome.
At the close of the business sessions,
host Local 150 tendered a dinner to the
entire assembly. Brother George Schaf-
fer arranged for special showings for the
delegates and guests of the Todd AO
feature "Around the World in 80 Days."
Through the courtesy of Michael Todd
and his director of theatres. Michael J.
Kavanagh. Brother Schaffer arranged
for two showings on the day of the meet-
ing— one was held at noon and the other
at 1 a.m.. following the evening's fes-
tivities.
Local 150 Member Honored
A highlight of the evening was the
award of a gold life membership card
to Brother Joe Pylet. an active member
of Local 150 for the past 45 years. Joe
has held practically every office in the
Local, serving at various times as presi-
dent, secretary, business representative,
and as member of the Executive Board.
He has helped guide the growth of the
Local from a membership of 22 in 1912
to its present roster of more than 625.
Joe Pylet began his career as a mo-
tion picture projectionist back in 1904.
LOS ANGELES LOCAL 150 HONORS VETERAN PROJECTIONIST
Wallace G. Crowley (second from right), president of Local 150, presents honorary gold life
membership card to Joe Pylet, active member for the past 45 years. Shown here are Local 150
officials beaming approval of the award — left to right: Al Adams, executive board; George
Schaeffer, business representative; Pylet; Ted Pylet (son of recipient); Crowley, and Charles
Crowe, secretary-treasurer.
INTERNATIONAL PROJECTIONIST
APRIL 1957
17
when, at the age of 17, he operated "ma-
gic lanterns" at the Old Grand Theatre
in Milwaukee, Wis. Two years later he
toured the eastern states with the Royal
Vaudeville Troupe, working as a projec-
tionist. In 1908 he went to Chicago,
where he joined the Chicago Moving Pic-
ture and Projecting Machine Operators
Protective Union Branch No. 8, an IA
affiliate, which later became known as
the Chicago Moving Picture Machine
Operators Local 145 — today identified as
Local 110. He moved to California in
1911, transferring his membership to the
Los Angeles Local in 1912.
After 53 years devotion to the craft
he enjoyed and helped build, Joe is re-
tiring and he and Mrs. Pylet, married
47 years, plan to spend some time in
traveling — a long cherished dream. Joe
also looks forward to enjoying his favor-
ite sport — golf — with his favorite partner,
son Ted, a member of Local 150 since
1940.
Stop, Look and Listen
Now that summer is in the offing and
vacations will soon be due, I suppose
there are many projectionists through-
out the country who are thinking of get-
ting out the old family flivver for the
long haul to sunny California. A word
of advice to my brother-projectionists —
if you are contemplating pulling up roots
and transplanting yourselves out here on
the Coast, you had better give the matter
very serious thought. Getting started out
here in our particular field of endeavor
is a very discouraging task these days.
Studio gates are NOT wide open and
there is no shortage of theatre projection-
ists. Our waiting list of job hopefuls
would reach from here to where you are.
Before making the move, I would sug-
gest that you investigate all the possibili-
ties for failure as well as success, and
take stock of your financial reserves.
Our worthy brother craftsman, W. R.
"Slim" Hermance this month celebrates
40 years of active membership in Local
150. April seems to be the month of
celebrations for Slim since it marks 29
years with the Fox West Coast Theatres,
15 years at the Fox Beverly, and 20 years
as a member of the Los Angeles County
Examining Board for motion picture
projectionist licenses. A fine record of
service to his Local and his community.
To Boris Medove goes the credit for
initiating the copper drippings saving
program in the Local for the benefit of
the Will Rogers Memorial Hospital at
Saranac Lake, N. Y. The project was
greeted with enthusiasm by the mem-
bers. Art Minjares, our "Chihuahua
Keed" and Nels Matheson made an im-
mediate donation of more than 100
pounds of copper drippings. With the
program off to a flying start, we hope that
(Continued on page 28)
Projectionist License Exam Questions
A BRUSH-UP is always good policy
for any projectionist, whether he
be vet or apprentice. Since IP has re-
ceived a number of queries on the sub-
ject, we present below some typical
questions from various official motion
picture projectionist license examina-
tions. A passing mark is 75%, and to
check yourself, you will find the correct
answers on Page 25.
1. Arc lamp houses may be constructed
of sheet metal of at least:
(a) 20 U. S. gauge; (b) 22 U. S.
gauge; (c) 24 U. S. gauge; (d) 26
U. S. gauge.
2. The smallest size of wire which may
be used to supply electricity to the projec-
tor outlet is:
(a) #2 B & S; (b) #4 B & S; (c)
#6 B & S, (d) #8 B & S.
3. In connecting the electric leads to the
terminals of the arc, you should use:
(a) solderless connectors; (b) bake-
8. In the schematic wiring diagram of
a tungar charger [Fig. 1 ) , "A" represents
the:
(a) transformer; (b) tungar tube;
(c) pilot light, (d) choke.
9. The area of the vent pipes in the
projection room shall not be less than:
(a) 100 sq. in.; (b) 20 sq. in.; (c)
50 sq. in., (d) 78 sq. in.
10. The purpose of the "free" loops in
the soundhead is:
(a) to keep the film from binding;
(b) to prevent the jerking of the inter-
mittent from breaking the film; (c) to
prevent vibrations from the intermittent
from being transmitted through the film
to the point where the exciter lamp
illuminates the soundtrack; (d) to pre-
vent vibrations of the picture on the
screen.
11. The draft in the vent pipe shall be
maintained by an exhaust fan having a
capacity of at least:
1<(>AC 125v. o k
TO LOAD
FIGURE 1.
lite binding posts; (c) solder lugs; (d)
no lugs at all, just twist the wire.
4. The appropriate volt drop across the
arc is:
(a) 20 to 100 volts; (b) 100 to 200
volts; (c) 200 to 500 volts, (d) above
500 volts.
5. Testing for a positive wire on a single-
phase line:
(a) can be done by a voltmeter; (b)
can be done by a polarity indicator; (c)
can be done by litmus paper, (d) cannot
be done.
6. In the construction of magazines, you
are not permitted to use:
(a) solder; (b) lock-washers; (c)
Parker-Kalon screws, (d) machine
screws and nuts.
7. In the schematic wiring diagram of
a tungar charger (Fig. 1 ) , "5" represents
the:
(a) transformer; (b) tungar tube;
(c) pilot light, (d) choke.
(a) 50 cu. ft. per minute; (b) 25 cu.
ft. per minute; (c) 50 cu. ft. per hour,
(d) 25 cu. ft. per hour.
12. Sometimes during a showing the film
sticks in the projector, and may occasion-
ally bind and even break. Which of the
following should be done:
(a) the gate and other parts of the
machine should be cleaned of emulsion
and dirt; (b) the surface of the film
should be lubricated; (c) the gate ten-
sion should be increased, (d) the mech-
anism should be adjusted to run slower.
13. If the film still binds and breaks,
where else would you look for the cause?
(a) in the photoelectric cell; (b) in
the operation of the arc; (c) in worn
sprocket teeth, (d) in the amplifier.
14. The electric motor drives for the
exhaust fan which pulls the air out of
the projection room shall be connected
to:
(a) "house lights" circuit; (b) arc
18
INTERNATIONAL PROJECTIONIST • APRIL 1957
light circuit; (c) stage light circuit,
(d) emergency service.
15. Which of the following liquids gives
off toxic vapors under ordinary conditions
of use?
(a) collodion or acetone; (b) cellulose
acetate; (c) cellulose nitrate, (d) carbon
tetrachloride.
16. The longest length of film which
may be exposed while rewinding is:
(a) 2 ft.; (b) 3 ft.; (c) 5 ft., (d) 6 ft.
17. The process to determine the circular
mil area of a piece of stranded ivire
would be to:
(a) find the area of each strand, divide
it by 1,000 and multiply the answer by
the number of strands; (b) find the cir-
cular mil area of one strand and multiply
by the number of strands; (c) multiply
the circular mil foot resistance by the
number of strands, (d) square the area
of the whole wire and divide by the
number of strands.
18. When the loop is "lost":
(a) the picture is blurred; (b) the
sound and picture go out of synchro-
nism; (c) the sound is indistinct, (d)
the film breaks.
19. If your monitor speaker is reproduc-
ing the sound on the film properly, and
yet the loudspeakers on the stage are
dead, the trouble would be located:
(a) between the soundhead and the
amplifier; (b) in the soundhead; (c) be-
tween the monitor and the stage speak-
ers; (d) between the amplifier and the
monitor.
20. If flutter develops in the sound re-
production, it is necessary to:
(a) adjust the rotary stabilizer or
scanner drum; (b) tighten the takeup
sprocket; (c) call the sound service man,
(d) refocus the sound optical system.
21. If the sound becomes weak, which
of the following steps might be necessary:
(a) replace the exciter lamp; (b)
change the positions of the horns; (c)
increase the current through the exciter
lamp; (d) increase the voltage of the
amplifier.
22. What are the proper dimensions of
a triangular "blooping patch":
(a) about x/2 in. long x V2 in. high;
(b) x/4 in. long x % in. high; (c) about
% in. long x 1/10 in. high; (d) about
% in. long x % in. high.
23. If new projection equipment is in-
stalled in an old house, and the equip-
ment manufacturer is a well-known
reliable company that guarantees its
products and yet the picture is not bright,
what would you be likely to suspect first?
(a) that the equipment is faulty; (b)
that the screen is dirty; (c) that the
power-supply voltage is low; (d) that
you are not operating the equipment
properly.
24. The tests you made on the switch-
board show the following: there are four
bus bars marked A, B, C, and D. The
voltage from A to B was 208 volts; from
B to C 208 volts; from C to A was 208
volts, while the voltage from A or B or C
to D was 120 volts. The service to the
switchboard is:
(a) 2-phase. 4-wire AC; (b) 3-phase,
4-wire AC; (c) 3-phase, 120 volt AC,
(d) two 2-wire DC.
(Correct answers on page 25)
SAAPTE Convention April 29 -May 3
VISITORS to the 81st convention
of the Society of Motion Picture and
Television Engineers in Washington,
D.C., April 29— May 3, will have an
opportunity to hear an unprecedented
number of papers read this year, includ-
ing discussions on such new and inter-
esting developments as Videotape record-
ing, Magoptical sound prints, closed-cir-
cuit color TV, and missile photography
— optical techniques for determining
locket flight characteristics. Members
will be given a practical demonstration
of closed-circuit color TV at the Walter
Reed Hospital.
In line with the fairly recent increased
recognition of the projectionist as an
important technician in the motion pic-
ture industry, there will be meetings of
the newly-formed Projectionist Informa-
tion Committee, a forum on Film Pro-
jection Practice, and a discussion of the
all-important screen brightness.
Running Monday through Friday, a
visitor will be hard put to attend all
the sessions of primary importance to
him, plus trying to take in the present-
day and historical points of interest in
the capitol city. This would include the
industry exhibitions which will have
products on display in an area set aside
in the Shoreham Hotel, convention head-
quarters. One exhibit specifically im-
portant to the motion picture industry
will be SMPTE's standards display,
which will include late standards,
and test films illustrated by color trans-
parencies. This is the first time that the
Society has had such an exhibit.
Welcome news at the convention is that
last month seven of the eight Academy
Awards for scientific or technical achieve-
ment went to members of the Society.
Dr. C. R. Daily, a Fellow of the So-
ciety, won an award for engineering and
development of the Paramount light-
weight horizontal-movement VistaVision
camera. Roy C. Stewart & Sons and the
transparency department of Paramount
Pictures also were cited on the project.
Richard H. Ranger, president of Ranger-
tone, Inc., of Newark, New Jersey, gar-
nered an Oscar for development of a
synchronous recording and reproducing
system for quarter-inch magnetic tape.
Ted Hirsch, Carl Hauge, and Edward
Reichard, a Fellow, of Consolidated Film
Industries, Hollywood, received their
awards for perfecting an automatic scene
counter for laboratory projection rooms.
Daniel J. Bloomberg, sound director, and
William J. Wade, camera department,
both of Republic Studios, were cited for
the Naturama adaptation to the Mitchell
camera. Consolidated Film Industries,
Paramount, and Republic are all sustain-
ing members of SMPTE.
A glance at some of the papers to be
read that should be of special interest
to projectionists is a fair indication of
the trends and rapid developments the
past year has brought, and a harbinger
of future innovations to come.
Although among so many papers there
are undoubtedly a number of general
interest, below are some that should be
of pertinent interest to the projection-
ist, with a short abstract of the contents:
THE SOCIETY'S TEST-FILM STANDARDS
BOYCE NEMEC
Management Consultant, New York
Uniqueness of content sets one motion pic-
ture apart from any other. Yet to reach its
audience at all, that same motion picture
must be precisely standardized, a rigorous
condition not imposed upon any other cre-
ative product. One of SMPTE's jobs is to
determine "how standard." How this is
done through test films is the subject of this
paper.
ANAMORPHIC LENS SYSTEM
SEYMOUR ROSIN
Scanoptic Co., New York
An anamorphic lens known as "Scano-
scope" has been developed for use in motion
pictures and television. The optical design
is described, showing how the aberrations are
controlled over a field angle of 80° or more.
A unique coupling arrangement allows this
lens to be used interchangeably with camera
lenses of different focal length in a unit focus
arrangement. Application of this system to
the Mitchell NC and BNC cameras is de-
scribed.
ERASING MAGNETIC FILM FOR
POP-FREE SPLICES
CARL SHIPMAN and CARL HITTLE
RCA Film Recording Section, Hollywood
When magnetic soundtracks are edited and
then reproduced for motion-picture re-record-
ing or other purposes, the splices in the track
{Continued on page 24)
INTERNATIONAL PROJECTIONIST • APRIL 1957
19
SEND YOUR
PROBLEMS
HERE
p
rojection
CLINIC
Stilbs, Apostilbs, and Other Odd Ones
PROJECTION LITERATURE is truly international both in origin and dis-
semination. And because of its diverse origins, it is peppered by a wide variety
of photometric terms — phot, millilambert, lux, footcandle, stilb, etc. which
do not have meaning for all projectionists everywhere. It's the old, old story
of different technical languages, different units to specify the same thing. And
photometric specifications, affecting as they do the brightness and ease of
viewing of our screens, are mighty important.
No one expects conformity of usage.
The common American system of meas-
urement appears as hideous and unwieldy
to metric-using Europeans as the English
monetary system appears to Americans.
But few indeed wish to make the change
from an old familiar system. Reform,
then, is not advocated. Only understand-
ing is advocated — American comprehen-
sion of. for example, the German screen-
hrightness standard of 100 to 130 apos-
tilbs. or a Continental comprehension
of the British standard of 8 to 16 foot-
lamberts.
The footcandle and the footlambert
are photometric units familiar to all
American and British projectionists —
while all regard the lux and the apostilb
as unfamiliar creatures of foreign breed.
But some such units are the same.
Candlepower, expressed by the new
term "candela." and the "lumen" are
among the photometric terms of univer-
sal acceptance. The brightness of the
carbon arc. for instance, is known by
nearly all projectionists to amount to
many thousands of candelas, while the
quantity of light flowing from a theatre-
projector lens is measured in thousands
of lumens. Only when we encounter the
candela and the lumen in European
literature do we find ourselves on familiar
ground.
A STILB IS RESPECTABLE
A "stilb" is neither an illegal still nor
a cold in the head. It is, in fact, merely
the big brother of the "candles per
square millimeter" used by most Ameri-
can carbon manufacturers for designating
the number of candelas (candlepower)
emitted by each unit area of the positive-
carbon crater (see Fig. 1).
The peak brightness in the diagram
is given as 950 candelas per square milli-
meter.
The stilb (sb) is a bigger fellow than
candelas per square millimeter (cd/
mm2). The stilb specifies brightness in
candelas per square centimeter (cd/
cm2). Because a square centimeter con-
tains 100 square millimeters, the 13.6-mm
crater mentioned above has a peak bril-
liancy of 95.000 stilbs. What could be
simpler?
sb = 100(cd/mm2)
Conversely :
(cd/mm2) = 0.01 (sb)
We've taken a liking to the stilb.
Disdaining circumlocution, it doesn't
drag in other terms to express itself.
ACCESSION OF LUMEN
Photometric history was made on New
Year's Day 1940. As the climax of a
brilliant scientific coup, Queen Candela
deposed Hefnerkerze, the banana-oil
candle, and literally rocked the little
kingdom of Candlepower.
The term "candlepower" is deceptively
simple. One does not necessarily produce
1
1
!
1
i
T
1
!
\
/
!
\
■•■•R
1
EGULAR-I50AM
>S.
1
Li_
i
l
I
1
1000
900
?
800
700
a.
600
500
400
in
UJ
J
a
X
a
O
I
300
UJ
z
200
100
I
0
a candlepower by burning a candle!
Like people, some candles aren't quite
so bright as others. The Hefner candle,
for example. Only 0.86 as bright as the
international standard candle, old Hef-
nerkerze abdicated, reeking of banana
oil, in favor of radiant Candela, the
undisputed Candle Queen.
Conversely, a candela equals 1.16 Hef-
nerkerze (now in permanent exile for
want of a lumen). And so Queen Can-
dela, brought to the photometric throne
by Prince Meter, bore three famous sons,
Lumen, Lux, and Apostilb.
Europeans define the lumen (1m) as
the luminous flux impinging upon 1
square meter of surface 1 meter away
from a 1-candela source — a standard
candle. Americans and Englishmen say:
"A lumen is the luminous flux impinging
upon 1 square foot of surface 1 foot
away from a 1-candela source." But it's
the same lumen — the luminous flux emit-
ted in a unit solid angle (steradian), or
1/(4tt) = 0.0796 candela.
cd = 0.0796 (lm)
lm = 12.566 (cd)
The size of a beam of light has nothing
to do with the amount of light flowing
in it. The same number of lumens are
present in the broad beam of light fall-
ing upon a screen as were present in the
small, concentrated beam issuing from
the projector lens.
The number of lumens in a beam may
be calculated by multiplying the intensity
of illumination — lux (Ix) or footcandles
(fc) — by the area of the illuminated
surface — square meters (m2) or square
feet (ft2).
lm = (lx) (Area in m2)
lm = (fc) (Area in ft2)
LUX, BUT NOT SOAP
European projectionists bathe their
movie screens in lux while we in English-
speaking countries throw footcandles at
the silver sheet. Of course, footcandles
aren't candles on your feet, and lux
doesn't always produce soapsuds. In
projection practice, both terms refer to
the intensity of illumination falling upon
a surface (any area) placed at a specified
distance from a 1-candela source.
Europeans place the illuminated sur-
face 1 meter away from the standard
candle and get 1 lux of light intensity;
we place the surface 1 foot away from
the same standard candle and get 1
footcandle of light intensity.
cd
lx =
(Distance in meters)2
cd
fc
8642024 68
RADIUS OF CRATER. IN MILLIMETERS
Brightness distribution across crater of
13.6-mm HI carbons.
(Distance in feet)2
Lux and footcandles may also be cal-
culated by dividing the number of lumens
in the beam by the area of the illuminated
20
INTERNATIONAL PROJECTIONIST
APRIL 1957
New Products for the Industry
"Focus-Lok," a new type of projection
lamp developed to permit new design
concepts in motion picture and slide pro-
jectors, has been introduced by Westing-
house. According to the manufacturers,
one of the chief advantages of the lamp
"Fokus-Lok" projection lamp, showing the new
base and socket for precise alignment.
is a precise locked-in prefocused align-
ment resulting from a new base and
socket construction. A simplified locking
device on the base is claimed to provide
perfect alignment with a projector opti-
cal system.
The "Focus-Lok" is constructed com-
pactly, measuring as little as four inches
in length as compared to the previous
seven inches. Because of this compact-
ness and the fact that the lamp will burn
base down or horizontal, it is expected
to encourage construction of smaller,
more compact, and streamlined projec-
tors.
The exclusive positive-locking device
permits easy insertion and removal, and
base and socket construction provides
positive-pressure electrical contacts
which make the lamp applicable for
higher wattages, Westinghouse states.
The lamp, developed by Westinghouse
and Bryant Electric Company engineers
in conjunction with projection manufac-
turers, also includes a grid screen to
prevent the glass from blistering, and
to collect a large portion of the black
deposits that normally form when a pro-
jection lamp burns. Another feature is
a strong non-twist type tungsten to pre-
vent filament sagging. There are also
special bridge supports and a visible
built-in fuse.
SOLDER-MATIC ATTACHMENT, to be
mounted on all popular models of elec-
tric soldering guns, is now being offered
surface (such as a movie screen) :
lm
lx =
Area in m2
lm
fc =
Area in ft2
The footcandle is nearly 11 times more
intense than the lux. To convert from
one unit to the other, use the following
formulas :
lx = 10.764 (fc)
fc = 0.0929 (lx)
THE SHINING APOSTILB
Project a beam of light upon any
extended surface. The surface then be-
comes luminous by virtue of reflected
light, doesn't it? Well, units have been
devised to express the brightness, or
luminance, of illuminated surfaces. The
"apostilb" (asb) is the European unit;
the "footlambert" (fl), the American-
British unit.
The "lambert" is still another such
unit; but whereas even 1 lambert of
brightness is far too bright to be viewed
comfortably, the millilambert (0.001 lam-
bert = 0.929 footlambert) has been
created. Neither lamberts nor milli-
lamberts or their associated intensity
units, phots and milliphots, are much
used in projection. (Lambert = 1 lumen
emitted per cm2; phot = 1 lumen inci-
dent per cm2 — but why say more? Upon
the phot we do not dote, which is how
it is pronounced.)
Back to apostilbs and footlamberts,
then. The apostilb is the brightness of
an extended surface emitting 1 lumen
per square meter. The footlambert is
the brightness of an extended surface
emitting 1 lumen per square foot. Motion-
picture screens (unless of the translu-
cent, back-projection variety) emit light
only by reflecting it; and since they
reflect only from 0.6 to 0.9 of it (about
0.8 in the case of a matte screen),
apostilbs and footcandles may be calcu-
lated by multiplying the intensity of the
incident light (lux or footcandles) by
the screen reflectance (r).
asb = (lx)r
fl = (fc)r
The apostilb, however, is not nearly
so bright and shining as the footlambert.
In fact, it is only about 0.09 as bright!
So, you see (by using the following con-
version formulas), the 100 — 130 apos-
tilb German screen-brightness standard
amounts to only 9.29 — 12.08 footlamberts,
which is about the same as the American
standard (9 — 14 footlamberts).
asb = 10.764(A)
fl = 0.0929 (asb)
by Atlas Manufacturing Company of
Alabama. Function of the tool is to trig-
ger solder from a spool in the attach-
ment through a guide tube to the tip of
the soldering gun.
The manufacturers claim that the new
tool greatly speeds up soldering opera-
New Solder-Matic attachment, illustrating
freedom given to one hand during soldering.
tions, as solder is always at the tip of
the gun. Being designed for one-hand
operation, it leaves operator's other hand
free to hold the work. The attachment
will be distributed through electronic,
automotive, and hardware jobbers, as
well as industrial suppliers.
An Interferometric Comparator that
makes routine comparisons of length to
the nearest ten-millionth of an inch has
been developed at the National Bureau
of Standards. This extremely precise
instrument will be used to check lengths
of industry's master gage blocks which
control tolerances of mass-produced
machine parts.
An improved unidyne microphone is
now on the market, manufacturers
Shure Brothers claiming a 41% higher
output. The unidirectional mike is recom-
Shure Unidyne microphone
mended for installations where feedback
is a problem, low-gain public address
systems' and tape recorders.
INTERNATIONAL PROJECTIONIST • APRIL 1957
21
FOR CABLE THEATRE
(Continued from page 13)
have lost in the last ten years."
In essence, TM's backers believe that
telemovies are nothing more than a
new method of merchandising the in-
dustry's product — projecting pictures
from a local theatre onto home screens
is merely a "third type of theatre."
Enthusiasts were recalling that first
there had been the four-walled house,
then the drive-in. This was the logical
extension of the business — taking
movies into the home.
"It's time for us to step out boldly
and put an end to the era of decline
in our business. In the past decade
we've seen too many elements of mo-
tion picture entertainment go down-
hill— attendance, employment, profits,
and the number of pictures. We be-
lieve TM will stop the decline and put
this industry on the rise again." Quote,
again, Mr. Griffing, who seems to have
emerged as the spokesman for tele-
movies.
No Corner on Market
But although right now the south-
west, particularly Oklahoma, seems the
hottest on TM, there is no corner on
telemovie control, no franchises, no
patents. On the contrary, telemovie
sponsors are eager to have as many
people in as possible, feeling that if op-
erations snowball throughout the coun-
try, it will create a demand for more
product, something that the exhibitor
has been asking for some time now. In
addition to the non-exclusive-deal pol-
icy, no single supply firm will be
singled out to furnish equipment.
To start this snowballing, Video In-
dependent Theatres have taken the lead.
A small storm of publicity releases and
speeches has preceded a number of
deals. Enid, Oklahoma, is next in line
to receive TM, and permits to show
first-run closed-circuit motion pictures
are being acquired in most of the towns
of over 15,000 population where the
chain owns theatres — and it owns more
than 100.
In Oklahoma City, virtually all in-
dividual theatre owners and firms —
about 20, representing nearly 50 thea-
tres, have responded favorably to
Griffmg's offer to come in as partners
in telemovie operations for that city,
which has a population of 300,000.
Exhibitors will be offered a financial
interest in proportion to their present
business. The way the deal will work
is this: Vumore Co., which is Video's
TM subsidiary, will manage the opera-
tion, and will get a 25 per cent reserve.
The other 75 per cent will go to the
exhibitor-partners, Video receiving 5
per cent of the gross revenue as a buy-
ing-booking-administration fee. Out-
lay for equipment and installation will
cost between $2 million and $3 mil-
lion. Permit to install coaxial cable
and other necessary facilities has
already been granted by the city coun-
cil.
Competition Already
Further south in Texas, two firms
are competing for permission to install
telemovies. The Interstate Circuit,
Inc., an affiliate of ABC-Paramount,
has been seeking permission of the city
council of Austin to file application for
permits to build transmitting facilities
to serve more than twenty cities
throughout the state, including Austin,
Fort Worth, Houston, and Amarillo.
Preliminary surveys by engineers to
determine the problems for installing
point-to-point television have already
been made.
Interstate has taken these prelimi-
nary precautions to meet the threat of
outside competition from Capital Cable
Corp., a subsidiary of Midwest Video
Corp., in which Winthrop Rockefeller
is said to be the major investor. That
firm proposes to set up a home-toll
TV system, on a closed circuit. Strictly
speaking, TM is not a toll system, but
on a subscription basis — but both sys-
tems are cable theatre, and even though
the Bartlesville experiment has not
been made, and even though the whole
idea is still in the first experimental
stages, the power fights seem to have
started.
There has been a rash of similar
applications in such places as Little
Rock, Arkansas (two firms compet-
ing there also) ; Carlsbad, New Mexico
and in Meridian, Mississippi, a local
theatre owner has already put in a
purchase order for TM equipment.
The population of Meridian is 42,000.
The population of Bartlesville is 28,-
000. There is some feeling abroad
that cable theatres can only be profit-
able in communities having a popula-
tion of 15,000 or more. According
to latest census figures, there are 915
such communities in the country.
Los Angeles has already gotten a
look at closed-circuit TV. Last month
Telemeter ("box office in the home"),
(Continued on page 26)
AGAINST CABLE THEATRE
(Continued from page 13)
One who is well acquainted with the
problems of handling houses in the
metropolitan area is Edwin Gage of
Walter Reade Theatres, and he has
large doubts about the benefit of tele-
movies to theatres. It is, he con-
siders, "a foot in the door for toll
TV. You'd just need a booth in a
store or a vacant lot. And while they
talk now about 35-mm, it's sure to be
cut later to 16-mm." Gage further
pointed out the loss to the equipment
business and concession revenues.
One circuit head opposed to TM
speaks from experience. That is Ger-
ald Shea, head of the Shea circuit
which operates in Massachusetts, New
Hampshire, Ohio, Pennsylvania, and
New York. The Shea chain was the
first to try closed-circuit TV. It lost
$60,000, and Shea is understandably
reluctant to try again.
Chaos Predicted
Ernest G. Stellings, head of Theatre
Owners of America, has gone on rec-
ord as an opponent of telemovies, be-
lieving that the innovation would only
lead to closing of theatres, plus creat-
ing chaos in the clearance and avail-
ability department. Although no offi-
cial action has been taken by TOA,
it is keeping a wary eye on the outcome
of the Bartlesville test.
Some companies have closed the
door on issuing any product for cable
theatre use, among them Universal,
which has indicated that it will not
provide. And Spyros Skouras, 20th-
Fox leader, has clearly outlined that
his company would offer no coopera-
tion to those seeking aid in setting up
wired pictures. 20th-Fox has embarked
on a program that is dedicated to
keeping theatres open, with a special
aside to helping small theatres, and it
is of the opinion that any cable thea-
tre program is harmful to theatres,
and a deteriorating influence. Skouras
has stated, with some justification, that
films-for-a-fee on TV have a fairly
dismal outlook as long as the viewer
can get others gratis.
What is giving a good number of
industry members confidence is the
apparent upsurge of movie attendance,
coupled with a general indication that
the movie business is up off the canvas,
and still swinging. The trade paper
Variety, has taken a fairly close and
careful look, and has come up with
22
INTERNATIONAL PROJECTIONIST
APRIL 1957
some pertinent points:
Surveys and polls, particularly those
of Sindlinger & Co., have shown a
steady upward trend of attendance.
Although winter is a time for high-
pressure TV entertainment, the movies
have weathered the cold spell well with
rising patronage.
Trade editors have noted a perked-
up interest in movies akin to the
halcyon days before TV.
Over the last ten years seating ca-
pacity has greatly increased, and the
impetus of stepped-up drive-in con-
struction has tipped the scales so that
there are more theatres opening now
than closing.
The removal of the Federal ticket
tax has allowed owners to remodel,
modernize, and refurnish their houses,
always an important step to bring in
business.
Not only the quality, but the quan-
tity of pictures has been upped, and
the public — if, for example. "Giant"
is any indication — has shown that it
will go out for quality pictures.
The studios have shown a willing-
ness to take full advantage of their
facilities and to broaden their produc-
tion horizons.
Old A movies on TV have not hurt
theatre attendance as feared, and some
exhibitors feel that the old movies have
stimulated an interest in present-day
product.
Production, distribution, and exhibi-
tion have been making strong attempts
to cut extravagances and unprofitable
operations.
The overall picture seems to be one
of confidence and optimism. Why then,
some exhibitors are asking, go over
into the enemy's camp now that we've
gotten a little of our own back? They
feel that any compromise with TV will
lead to the closing of theatres. And,
they are also asking, where's the money
coming from? It is estimated that it
will take a minimum of $300,000 to in-
stall a telemovie set-up, and opponents
are somewhat cynical as to where the
$300,000 is coming from. They also
consider that $9.50 a month toll to sub-
scribers fairly steep.
But whether the Bartlesville experi-
ment will be a success or not, one thing
is certain: the eyes of the industry will
be on the Oklahoma town for some
time.
BUY U. S. SAVINGS BONDS
. . . the SUPER SNAPLITE
LENS for the clearest, sharp-
est, brightest pictures you
have ever seen on your
screen!
Your patrons will notice the
difference — Super Snaplite
gives greater contrast, bet-
ter definition, more light on
the screen where it really
counts.
Ask your
dealer for
Bulletin 222.
ILOUiA\IIIMrl2N
UptiCol
/ NORTH
NORTHAMPTON, MASSACHUSETTS
INTERNATIONAL PROJECTIONIST • APRIL 1957
23
SMPTE PAPERS ABSTRACTS
(Continued from page 19)
frequently cause audible pops to be heard
in the reproduced program material. Among
the causes of pops is improperly erased mag-
netic film or tape. Pop elimination from
this cause is achieved by use of eraser which
does not produce "spokes."
BALCOLD REFLECTOR
H. H. SCHROEDER and A. F. TURNER
Bausch & Lomb Optical Co., Rochester, N. Y.
An infrared transmitting elliptical reflector
for use in motion-picture arc lamps has been
developed. The evolution of this optical de-
vice, which reduces total radiation by 40%
without appreciable light loss, is traced. En-
gineering aspects of the development of this
reflector are discussed. A demonstration
emphasizing the properties of the mirror
will be given.
COMMENTS ON PROCEDURES USED TO
COMPARE THEATRE SCREENS
YORICK G. HURD
20th Century-Fox Film Corp., N. Y. C.
The paper describes ways of comparing
the reflecting and light-distribution proper-
ties of several theater screen surfaces. Com-
ments are made on instruments (integrating
THE ONLY SPEAK
WITH A FULL 5" Ul
'■^■'ihe. Monograph Deluxe Flastie
■:,"::-. :,"■- .■■■■:■ ■ . ■ . :, , ■ ■ , :■■ : - ' , : ' ' '. ■
THE ONLY SP
era a
• the Mot
spheres, goniophotometers, spectrophotome-
ters and brightness meters) used in compar-
ing screen surfaces. Lenticular screen design
and "gain" formulas are presented with ex-
amples of their use in estimating a screen's
performance. Data on white, "silver" or alu-
minum, beaded, pearl, and lenticular screens
are included. A screen composed of several
screen surfaces will be demonstrated.
MODERN THEATRE SERVICE
PROCEDURES
EDWARD STANKO
RCA Service Co., Camden, N. J.
With the development of improved theater
sound and projection equipment, the profes-
sional theater sound service engineer must
keep pace with the technical and engineering
developments by constantly improving and,
when necessary, revising service procedures.
The subject paper deals with the require-
ments of modern theater service procedures,
the methods and equipment used and their
overall results.
TRANSPARENT MAGNETIC TRACKS
GEORGE LEWIN
Army Pictorial Center, Long Island
City, N. Y.
Most of the problems which arise when
magnetic and optical tracks are combined
on the same film would vanish if the mag-
netic track could be made" transparent, so
that both could be superimposed for either
simultaneous or independent reproduction.
Full-width tracks could be used and head
wear would be uniform. The author shows
that this goal can be substantially achieved
under certain conditions, and will demon-
strate several recordings.
A "60 — NO GO" GAUGING METHOD
FOR VISUAL INSPECTION OF
RELEASE PRINTS
MAXWELL A. KERR
Melpar, Inc., Falls Church, Va.
A method will be explained and demon-
strated for using a 16-mm projector with a
special picture aperture plate as a "Go — No
Go" projection gauge for checking several
print characteristics while viewing the pro-
jected film. This includes checking sound-
track center ring; modulation of variable-
area tracks; width of variable-density tracks;
variations in width of film stock; blackness
and freedom from scratches of soundtrack
septum strips; placement and blackness of
printed frame around pictures; percentage
jump and weave in the projected picture;
percent shrinkage of the film stock.
Nostalgia on Microfilm
Recordak 35-mm microfilm continues
on its way in preserving Americana. Lat-
est historical document to be recorded
on microfilm is a complete set of Sears
Roebuck catalogues from 1892 to the
present. The project took about a mile
of film on 100-foot spools. Film will be
kept in various public and university
libraries.
24
INTERNATIONAL PROJECTIONIST • APRIL 1957
PERSONAL NOTES
Robert W. Brown has been appointed
manager of the editorial service bureau
of Eastman Kodak Company's advertis-
ing department. The bureau supplies
editorial material on photography and
Kodak products to newspapers, maga-
zines, radio, and TV.
Brown was camera editor of the New
York Times before joining Kodak in
YOU BUY..
Robert W.
Brown
1941. During World War II he served
in the Navy as a photographic specialist,
earning a letter of commendation for
his work in the V-mail service. He js
active in the Photographic Society of
America and the National Press Photog-
raphers Association, as well as being an
associate of the Oval Table Society of
New York City, a photographic group.
Bkrnie M. Bodde, of the Bodde Screen
Company, has been appointed executive
vice president and general manager of
that firm. The appointment by the board
of directors and stockholders came as
a result of Bodde's contributions in the
development of the Bodde White Plati-
num and Wide- Angle Translucent
screens.
Edmotjr F. Giguere will hold the newly
created position of manager of the New
Market Coordination section of the Mar-
keting department of RCA Components
division. He will be responsible for the
introduction of new products to both
equipment and renewal parts distributor
customers.
Answers to Projectionist Exam
1. C 9. D 17. B
2. B 10. C 18. D
3. A 11. A 19.
4. A 12. A 20.
5. D 13. C 21.
6. A 14. D 22.
7. A 15. D 23.
8. B
16. A
24. B
Your SIMPLEX Projector Mechanism repre-
sents a priceless investment. You bought il
after long, careful study because you rec-
ognized it as the finest projector on the
market.
Don't take chances with such an investmenl
— the very success of your theatre depends
upon its performance! When spare parts are
necessary, insist on the best — insist on
SIMPLEX parts!
From the smallest stud pin to the largest gear
cover, every part is made with the same
precision and skill as the mechanism itself.
By using only SIMPLEX parts, you can be
certain of maintaining the high quality of
performance that has made SIMPLEX the
world's foremost projector mechanism!
Genuine SIMPLEX parts are available only
Yout 6uMato
of Consistent Quality and Outstanding Service
NATIONAL THEATRE SUPPLY • 29 BRANCHES COAST-TO-COAST
INTERNATIONAL PROJECTIONIST • APRIL 1957
25
IA ELECTIONS
INTERNATIONAL PROJECTION SOCIETY,
TORONTO CHAPTER
H. N. "Doc" Elliott, pres.; Bill Hills,
vice-pres.; John Jeffrey, sec; Bob Milligan.
treas.; Lou Lodge, A. Milligan, technical
advisers ; P. Cox, film ; G. Hulse, G. Rands,
mechanism, and H. Brooks, sound.
LOCAL 401, CENTRALIA, S.W. WASH.
Harry A. Kirkpatrick, pres.; John J. Cun-
lisk, vice-pres. ; Charles W. Wheeler, sec.
treas.; Lowell L. Wheeler, rec.-sec. H. A
Kirkpatrick, bus. rep. for Longview-Kelso
N. D. Stark, for Vancouver-Camas; W. A
Kirkpatrick, for Centralia-Chehalis; C. L
Leach, sgt.-at-arms; H. A. Kirkpatrick, C. W
Wheeler, Mike Greenleaf, N. D. Stark, W. W
Kirkpatrick, exec, board; Robert C. Ellis,
J. R. Spiker, C. E. Staples, trustees; R. C.
Ellis, del. State Convention.
LOCAL 433, DAVENPORT, IOWA; ROCK
ISLAND AND MOLINE, ILLINOIS
Edward A. Short, pres.; Richard T. Mur-
phy, vice-pres.; George A. Stoddard, rec-
Scene from "The True Story of Jesse James", 20th Century-Fox Production
ARE YOU PREPARED FOR MAGOPTICAL FILMS?
CinemaScope prints of this popular new picture are
on Magoptical film, having narrow perforations. Many future
CinemaScope pictures will be available
only on Magoptical films, which makes it
necessary to have narrow tooth sprockets
throughout your projectors and sound
heads.
REG. U.S. PUT. OFF.
Your theatre equipment dealer has complete Magoptical
Conversion Kits, manufactured and guaranteed by LaVezzi,
available now. Install these fine parts now, and be ready for all
film releases, regular, CinemaScope, or Magoptical!
LaVezzi Machine Works
4635 WEST LAKE ST. C H IC AGO 44, I L L.
sec; Frederick R. Mauck, fin.-sec; Lloyd
Burrs, treas.; Fred R. Parker, 6ms. rep. ;
Ervin J. Potter, sgt.-at-arms, E >ln;rt, K. T.
Murphy, G. A. Stoddard, F. R. Parker, and
F. R. Mauck, exam, board; Paul E. Short,
Peter M. Jezewski, Roy L. Blubaugh, trus-
tees; G. A. Stoddard, del. Illinois State
Conference; F. Parker, G. Stoddard, R. Blu-
baugh, del. to Tri-City Federation of Labor.
Theatre Blast in St. Louis
With "Away All Boats" bobbing dra-
matically on the screen, a compressor
pump from the air conditioning system
suddenly exploded in the 5000-seat Fox
Theatre in St. Louis, Mo., recently.
Some 900 patrons were immediately noti-
fied and all filed out unhurt under the
expert direction of the theatre's person-
nel. Ten firemen and two theatre em-
ployees were overcome in the battle
against the gas fumes.
FOR CABLE THEATRE
(Continued from page 22)
a coin-box-attached-to-the-set outfit
that is a subsidiary of Paramount Pic-
tures, gave a public demonstration and
revealed some ambitious plans for its
future. One of these plans includes
installation of special equipment into
present community antenna systems,
with a special "On-Channel System"
for those sections not equipped to
handle the low frequencies required
by the Telemeter system.
In on the Ground Floor
There seems to be little doubt that
there is a growing enthusiasm for
cable theatre, and the mounting tide
to get on the band wagon would
seem to indicate that there is a good
deal of confidence in the outcome of
the Bartlesville experiment.
Even the most rabid of enthusiasts
for cable theatre have admitted that
there were, and are, solid problems to
cope with. The cost, for one thing.
$2 million to $3 million for a me-
tropolis the size of Oklahoma City
(pop. c. 300,000) , at least $350,000 for
Bartlesville. But it is estimated that
TM needs but 1500 subscribers in a
town the size of Bartlesville to break
even on operating costs; 30,000 in the
oil country capital for a successful
operation. Concerted thinking has it
that the cost would be roughly the same
as a deluxe conventional theatre of 1200
to 1500 seats, but the effect would be
to give the exhibitor several times that
many seats. And the $9.50 a month
price (which will fluctuate according
to community size) is expected to be
26
INTERNATIONAL PROJECTIONIST
APRIL 1957
lowered once the number of subscribers
goes over 10,000. Overall, the aver-
age cost for TM installation is expected
to come to around $300,000.
And, of course, there are always the
technical problems. Chief among these
is the difficulty of projecting Cinema-
Scope product. General Precision
Laboratory has come up with what it
considers an adequate answer to that.
The method involves use of a variable
anamorphic attachment, instead of the
usual fixed type, and a slight squeeze,
expanding the image only to a 2 to 1
ratio instead of the full 2.35 to 1. After
some cropping on both sides of the
picture, the final aspect ratio is some-
where around 1.66 to 1, which, the
technical firm considers, will retain all
necessary viewage.
Majors Will Distribute
When a large manufacturer of thea-
tre equipment goes to the time and
trouble of coping with the specialized
problems of a not-yet established phase
r f the motion picture industry's pro-
CONTROLLED UNIFORMITY OF
QUALITY. DISPERSES FREELY
ON SPLICE. CLEAN TO WORK
WITH. INCREASES PRODUC-
TION EFFICIENCY. IS ADAPT-
ABLE TO ALL FILM SPLICES.
AVAILABLE AT ALL
THEATRE SUPPLY DEALERS
HSHER
MANUFACTURING CO.
1185 M». Read Blvd
Rochester 6, N. Y.
gram to bring the "lost audience" ( i ±
it ever were) back, it is cause for
reckoning. Add to this the fact that at
least three major distributors have
agreed to supply product to TM —
United Artists, Allied Artists, and Co-
lumbia— and it would seem that cer-
tain focal members of the industry are
definitely interested. Supporters of
telemovies believe that other companies
will follow suit once the fever has
caught — and they are in no doubt as
to whether the fever will catch.
And what will the subscriber get for
his money? 13 first-run pictures a
month, a day's program running con-
tinously for eight or ten hours . . . "to
get away from the disadvantage of TV
movies — that you have to be in front
of your set at a given hour."
Proponents of TM are quite firm in
insisting that a swing to cable theatre
is not a grasping-at-straws move by a
troubled industry. President Griffing
strongly urges that all concerned with
the motion picture industry stop look-
ing for a "whipping boy." "The ex-
hibitor can't exist unless he regains his
lost audience. The producer can't make
more pictures until we are able to pay
him more money. Instead of criticizing
each other, we all ought to use our
energy and talents to bring back that
audience — and we believe telemovies
will do it."
Whatever its future. TM has created
enough of a stir in movie circles to in-
sure at least an interested curiosity
about the outcome of what is now be-
coming to be known as the "Bartles-
ville Experiment." A strong point in
TM's favor is that cable transmission
does not come under the jurisdiction
of the Federal Communications Com-
mission. And however concerned mem-
bers may view this latest hypo to the
trade, it must be considered that its
backers are ambitious, energetic, and
confident.
Consistent
Maximum
Light
at
Greater
Economy
DIAMOND
PROJECTION
=EI
Eastman Kodak Expands
This year Eastman Kodak expects to
spend around sixty million dollars for
additions and improvements to its plants,
processes, and equipment, the company
has announced. Its largest annual cap-
ital expenditure budget will go to the
various units of the firm throughout the
United States, $32y2 million of the fund
being expended on the Rochester facili-
ties alone. Last year the company budg-
eted fifty-seven million for expansion.
Preliminary indications are that Ko-
dak's fourth quarter business is above
that of a year ago, mainly attributed to
sales gains in the firm's photographic,
plastic, and chemicals departments. The
introduction of new products such as
the Signet Verifax Office Copier, Type
S Ektacolor Sheet Film, and various dyes
and plastics has helped the expansion
program.
In the film field, Kodak has been devel-
oping a new high-speed black-and-white
film for sports and news photography
ihat is claimed to be four times as fast
as present Kodak high-speed film, and
in the x-fay field, a new processor for
medical X-ray films which purportedly
reduces from one hour to six minutes the
time required to process those films.
70 PINE STREET • NEW YORK 5, N.Y
IT'S A HIT I
in Boston
BUT... will it be
a hit in your house?
It went over big in the Hub . . . but
before any show can be a success in
your house, your equipment must be in
condition to roll it perfectly. Any show
can be a better show when equipment
performs properly. That's where RCA
Theatre Service comes in.
Protect your equipment and picture in-
vestment with RCA Theatre Service.
It will pay you to write now for com-
plete information!
Technical Products Department
RCA SERVICE COMPANY, INC.
//iSfekA A Radio Corporation oj America
(fjTtJlj Subsidiary, Camden 8, New Jersey
Tmk(s) ®
INTERNATIONAL PROJECTIONIST • APRIL 1957
27
CONVERSION METHOD
(Continued from page 12)
ohms. The predicted loss may be de-
termined by:
db 10 log Z out
Z line
and db 10 log 500
250-
then db 10 log (2)
and loss in db 3.01
Impedance Must Be Equal
In using the logarithm equation for
voltage or current values, the reader
must bear in mind that readings taken
with db or VU meters at input and
output points must be at equal impe-
dance values, or their relation is de-
stroyed in accord with the correction
tables listed in this article.
Power values may be used without
correction, since the amount of power
dissipated in the load impedance must
take into account the value of that
impedance.
Another point which needs to be
mentioned before closing is the com-
mon statement encountered pricipally
in connection with the output rating
of a microphone or a pickup. Data
sheets may contain the information
that a certain device has an output
level of 60 dbm. This dbm abbre-
viation has caused much confusion,
and there is no reason for the con-
fusion to continue. Dbm is tranlated
as meaning that O db is at a reference
level of 1 milliwatt.
At this point we are back again
to a value which is based upon the
same zero reference as the Volume
Unit insofar as power is concerned.
Thus we have established that dbm
is equivalent to VU, and we have dis-
cussed the relationship between db
and VU in which power, voltage, or
current ratios may be expressed over
an extremely wide range with a small
change in numbers. For instance, 1
db is just about the same ratio as 5
is to 4, while 60 db describes a ratio
of 1,000,000 to 1.
NEWS AND VIEWS
(Continued from page 18)
other IA Locals along the Coast will join
us in the drive to help this worthy cause.
1
THROW AWAY
THAT
ASPIRIN!
ALTEC
If your sound problem is
giving you (and your
patrons) a headache, try
altec service instead. It's
sure cure for poor sound.
Thousands of altec service
customers have learned
it's "just what the doctor
ordered!"
I
161 Sixth Ave. New York 13, N. Y.
Specialists in Motion Picture Sound
Boris, incidentally, is a transplant here
in Southern California and hails from
New York City where he worked for 18
years at the Rivoli Theatre on Broad-
way.
Among the many newcomers to this
part of the country is Brother George
Hiam, member of Local 299, Winnipeg,
Canada. George is no longer working at
the craft — he feels that the 25 years he
spent cooped up in a stuffy projection
room is quite enough. He is presently
employed as a sales representative for
the Sears Pasadena store and is very
happy in his new job.
Things to Come
In future issues of IP I will tell you
about several very interesting visits I
made recently to Allied Artists and Met-
ro-Goldwyn-Mayer studios. I'll also tell
you about my visits to the studios of 20th
Century-Fox and to the CBS Television
station (local and national transmission)
in Hollywood. The interesting and un-
usual projection room installations at
the Screen Directors' Guild and the
Century Drive-In will also be discussed
in these columns.
A Pioneer Passes
Enoch Rector, one of the pioneers of
motion pictures and an early associate
of Thomas Edison, has died at the age
of 94. Rector, who also worked with
Edison on the phonograph, designed a
shutter which improved the early pro-
jectors. He and the late William Brady
showed the first film on Broadway, that
of the Corbett-Sullivan fight in 1897.
Anyone for 49Vi-mm?
MGM's "Raintree County" (running
time: 3 hours; cost: $5,000,000) may
be issued in 65-mm film, although even
the company has postponed thinking
about it at this stage. It is understood
that theatres equipped for Todd-AO
would be able to handle 65-mm, but
exhibitors and a few others in the in-
dustry are hoping for 35-mm. No decision
as yet.
NO "SIDE SEAT SQUINT"
WITH THIS
"ALL-THERE" SCREEN
VICRA-
SCREEN
"the screen of optical precision"
Write today for booklet
L. E. CARPENTER A COMPANY
VICRA-LITE SCREEN DIVISION
Empire State Building New York 1. N.V.
In Canada: General Theater Supply Co., ltd. Toronto
28
INTERNATIONAL PROJECTIONIST
APRIL 1957
DRIVE-IN PROJECTION
(Continued from page 10)
replaced when discolored or whenever
the surface has a slightly frosty appear-
ance. The treated surface of a dichroic
filter must be wiped very gently to
avoid damage.
Forced-air cooling of the film, itself,
must never be regarded as a substitute
for either water-cooled gates or heat
filters. Filters are absolutely necessary
at high arc currents; air cooling is
not. Cooling of the film by means of
air blasts only slightly decreases the
likelihood of film damage by the arc
currents necessary for successful drive-
in projection.
Dust Dilemma
Glass in the projection ports wastes
about 10% of the light if uncoated,
only 2% — 3% if antireflection-coated.
Unfortunately, coated panes of optical
plate glass are very costly. No glass
at all gives the best results, but only
if there is no dust problem. Projec-
tion-room ventilation tends to draw
dust inside to settle upon the projec-
tion lenses, in mechanism bearings,
and in the soundheads. The gritty dust
stirred up by automobiles entering
and leaving the parking area is far
more ruinous to film than the softer
dust particles found in the air of indoor
theatres.
Projection buildings constructed so
that the floor is on or slightly below
ground level are seriously bedeviled
by the dust-and-dirt problem. Sandy
dust is heavy: it tends to settle to the
ground very quickly unless high winds
prevail. The subterranean projection
room gets more than its just share.
Only when the projection room is con-
siderably elevated above ground level
does the problem of minor dust storms
assume minuscule proportions.
The use of an unpainted cement
floor in the projection room is as bad
in a drive-in as it is in a conventional
theatre. Cement is exceptionally gritty.
The dust scuffed up from an ordinary
cement floor scratches the lenses and
wears out mechanism and soundhead
bearings. There are chemical treat-
ments for cement floors; and these
should be used when winter dampness
precludes the use of paint or battleship
linoleum.
Being at the "business end" of the
optical setup, the screen is the chief
object of the projectionist's interest
outside of the projection building.
Important as is the sound, the success
Are You Moving?
If so, please notify us one month in
advance. The Post Office does not
forward magazines. To avoid delay,
please cooperate by sending us both
your new and old address.
LARGE THEATRES AND ARENAS
THE MOST POWERFUL HIGH INTENSITY
CARBON ARC SPOTLIGHTS
THE 3000 WATT GENARCO SLIDE
PROJECTOR FOR FRONT OR REAR
PROJECTION
THE METROLITE
125 amperes D.C.
THE SUPERACE
which operates
on 20 amperes A.C.
MODEL SM.2 with the electric 70
slide changer for 3%" x 4" slide
GET DESCRIPTIVE
UTE -Y RETURN MAIL
from GENARCO INC
97- IN BLVD.
JAMAICA 3$, N. Y.
of the presentation is made or broken
by the screen. A picture too dim to
see clearly, or marred by visible seams,
will not induce any audience to return.
Unpainted composition panels are light
gray, not white, and accordingly waste
too much of the projection light. And
projection light is exceedingly feeble
when spread out over several thousand
square feet of screen surface!
Screen Luminosity
The reflectance of a good matte
(white) drive-in screen should be on
the order of 0.8; and with special
white screen paints now available, a
reflectance approaching 0.9 is within
reach. Drive-in screens have the ad-
vantage over indoor screens that they
are not perforated for the transmission
of sound. This represents a light gain
of nearly 10% over indoor screens
surfaced with similar pigments. Alu-
minized screens, as we said, are too
"tricky" to use unless screen area is
extremely large and the top of the
screen is tilted forward to reflect light
down into the parking area.
The size, shape, and orientation of
a drive-in screen is largely determined
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., INC.
DEPT. J
315 West 43rd Street New York 36, N. Y.
JUdson 6-1420
For DRIVE-INS & THEATRES with HUGE, WIDE -AREA SCREENS • CARBONS, BOONTON, N.J.
INTERNATIONAL PROJECTIONIST • APRIL 1957
29
by the specific structure of the screen
tower, and therefore beyond the pro-
jectionist's control. It is only when
the screen and portions of the tower
are modified for widescreen presenta-
tion that the projectionist can in-
fluence the final result. It should be
kept in mind, for example, that merely
cropping the height of a conventional
4:3-proportioned screen for Cinema-
Scope is a poor expedient. A wide
screen should have a greater area than
the old screen it replaces.
Use of a false stage or "shadow
box" is helpful for preventing skylight
from shining onto the screen and
"washing out" the picture during the
early hours of the evening. The roof
of the box may extend considerably
beyond the wings at the sides. The
wings must be angled and kept short
enough to let the patrons at the ends
of the ramps see the entire screen sur-
face.
Parking-Area Lighting
The parking-area lighting facilities
required for the convenience of patrons
frequently militate against good pro-
jection. Cars must enter and depart,
and the projectionist also knows that
the concession counters contribute a
large share of a drive-in's profits. He
may nevertheless also reasonably ex-
pect cooperation lightwise : the picture,
itself, is the chief commodity.
So-called "moonlight towers" and
other forms of ramp lighting should
be constructed to illuminate the ground,
not the screen. Floodlights on the
screen tower, itself, should always be
turned off while pictures are being
shown, and lights on billboards, ticket
offices, etc. must be shaded from the
eyes of the audience.
Shaded post lights are the preferred
means of ramp illumination during
projection. These should be just strong
enough to indicate empty car positions
and to reveal the whereabouts of the
in-car speakers, electric heaters for
cold weather, and their associated con-
necting cables. No patron should be
forced to fumble in the dark for the
accessories he needs for enjoying the
show.
The occasional flare of auto head-
lights on the screen cannot always be
prevented in spite of large signs re-
questing the use of parking lights
only. (Diplomacy is required of at-
tendants.) Far more serious is the
summer twilight in northern latitudes
when the screen faces the northwest.
As it never gets completely dark at
night in June and July above North
Latitude 45°, a west-facing screen
necessitates a long delay in show-
starting time during the months of
perpetual twilight.
The moon is troublesome only when
it shines into the eyes of patrons. Even
at its brightest, moonlight is rather
feeble in the northern hemisphere in
the summertime, for during the season
of drive-in operation, the full moon
swings low in the southern sky, rising
in the southeast after sunset and set-
ting in the southwest before dawn.
The intensity of full moonlight incident
upon a perpendicular surface ranges
from 0.02 to 0.03 of a footcandle,
which is not enough to affect a picture
projected at a blank-light level of at
least iy<2, footcandles measured with
the shutter running. (This corresponds
to a matte-screen brightness of about
4 footlamberts measured without the
shutter.)
Aside from the use of a shadow-
box and having the screen face the
east, nothing can be done to combat
the long, late twilight of the northern
summer. The earth revolves on a tilted
axis, and the sun is bigger than we
are. The Australians are annoyed by
similar problems during their warm
months of December and January.
If a drive-in show starts too early,
the first few reels will lose much of
their entertainment value, and particu-
larly if they be color prints. A light-
struck screen robs the movies of their
illusion of reality. It is thus a good
idea to begin a drive-in program with
black-and-white shorts and save the
color cartoons and novelty reels to
precede the feature.
Use Smaller Picture
If, for any reason, it becomes abso-
lutely necessary to begin the show
when bright twililght all but drowns
out the picture, use lenses of longer
focal length for a smaller, but brighter,
picture. We suggest the standard
1/1.375 aspect ratio for non-anamor-
phic films, with a picture height equal
to the CinemaScope screen height. The
public will not object. The switch to
widescreen apertures and lenses should
be made only after it becomes dark
enough for comfortable viewing at
lower light levels.
Fog and mist, unfortunately, are
meteorological conditions we can do
nothing about. The writer once
thought of using blue-absorbing yellow
or amber filters over the projection
lenses ; but the prevalence of color films
and the difficulty of adequately illu-
minating gigantic screens rules out a
deliberate loss of projection light —
even the loss of fog-scattered blue
and violet rays.
[TO BE CONCLUDED]
Q» When is a mistake a blunder?
A When a projectionist is not a regular subscriber
• to IP — MUST reading for the projectionist craft.
Use the handy order form below
INTERNATIONAL PROJECTIONIST
19 West 44 St., New York 36, N. Y.
Enter my subscription for ° J year {") issues— $2.50
' □ 2 years (24) issues — $4.00
Foreign and Canada: Add 50c per year
Name
Address
City
Zone
State
30
INTERNATIONAL PROJECTIONIST
APRIL 1957
Picture of John Wise from AMERICAN HERITAGE
PART OF EVERY AMERICAN S SAVINGS
BELONGS IN U. S. SAVINGS BONDS
The U.S. Government does not pay for this advertisement. It is donated
by tkis publication in cooperation with the Advertising Council and the
Magazine Publishers oj America.
The old lady
Save him what for
An OLD LADY living near
Henderson. N. Y. in 1859
was shocked at the way
the four men had arrived
— and said so. Such sensi-
ble-looking men in such
an outlandish vehicle!
But John Wise and his
crew, perched up in a
tree, were far too happy
to listen. Caught by a
storm, their aerial balloon had almost plunged
beneath the angry waves of Lake Ontario. Then.
after bouncing ashore, they had crashed wildly
through a mile of tree-tops before stopping in
one.
Now. his poise regained, Wise stood up to
proclaim: "Thus ends the greatest balloon
voyage ever made." He had come 1200 miles
from St. Louis in 19 hours, setting a record un-
broken for 60 years.
He had also proved his long-held theory of
an earth-circling, west-east air current — and
that was far more important to him. For Wise
was no carnival balloonist. He was a pioneer
scientist of the air, a man whose inquiring
mind and courageous spirit helped start the
vast forward march of American aviation.
In America's ability to produce such men as
John Wise lies the secret of her real wealth.
For it is a wealth of human ability that makes
our country so strong. And it is this same
wealth that makes her Savings Bonds so safe.
168 million Americans back U. S. Savings
Bonds — back them with the best guarantee you
could possibly have. Your principal guaranteed
safe to any amount — your interest guaranteed
sure — by the greatest nation on earth. If you
want real security, buy U. S. Savings Bonds
at your bank or through the Payroll Savings
Plan where you work. And hold on to them.
"WISH THE BOSS
WOULD TAKE THE HINT!'
These weary, old projectors I'm work-
ing with now just can't take it any-
more! Gee, I wish we had Simplex
XL's! Now, that's equipment!...
sharp . . . steady . . . dependable. Abso-
lutely the finest! If it's top projection
you're looking for, you ought to start
making suggestions about Simplex
to your boss!
PROJECTION and SOUND SYSTEMS
Manufactured by
INTERNATIONAL PROJECTOR
DIVISION OF SIMPLEX EQUIPMENT CORPORATION
Distributed by
NATIONAL THEATRE SUPPLY COMPANY
/
/
SUBSIDIARIES OF GENERAL PRECISION EQUIPMENT CORPORATION
BbiBBh
MAY
1957
VOLUME 32 • NUMBER 5
30c A COPY • S2.50 A YEAR
CAN PRODUCE SO MUCH LIGHT.
Hy-Candescents were selected for all important
"CINERAMA" installations. (Chicago, New York, Los
Angeles, San Francisco, Philadelphia, and Washing-
ton, D. C.)
Hy-Candescents were chosen by Paramount for all
installations of Horizontal "VISTA-VISION".
Hy-Candescents were again selected by TODD-AO
for "OKLAHOMA".
You have to do the same if you want all the light
there is for big pictures.
TRADE MARK REG
£ J J] £ i) 1] £
/ ^ MAGNAI
MAGNARC
TRADE MARK REG
£ J I) Zi) i\ £
WRITE FOR DATA
_ix
This lamp at 75-80 amperes produces as much and more
light as any so called large reflector lamps, using 85-95
amperes, employing expensive heat filters and water
cooling systems.
By comparison its cost of operation, in carbons, reflector
maintenance, current and parts upkeep is far lower than
others.
$22.00 Ea.
Also, its selling price is hundreds of dollars lower and
they may now be purchased from most all supply dealers.
These circumstances have made the PEERLESS MAGN-
ARC Cinearc the most widely used lamp in the world!
F.O.B. Chicago, is still the retail price of our
PEERLESS 14" Hy-Lumen silvered glass reflectors.
H
•J.E.McAULEY MFG. CD,
552-554 WEST ADAMS STREET
CHICAGO 6. ILLINOIS
« MJBSIDKO Y OF
l
GINERil
PRECISION
tOUIRMINT
CORPORATION
tf 653232
4V. -. ~ _
I
. . . decidedly right for in-car speakers !
!
No wonder IMP AC Speakers by RCA are creating
new standards of value in drive-in equipment. The
record-low price of IMPAC Speakers is only part of
the value story. IMPAC's spectacular performance
qualities make the new RCA In-Car Speaker the best
speaker buy ever offered.
Take impact strength . . . RCA IMPAC has unheard-
of resistance to breaking, denting, chipping. Appear-
ance and color . . . RCA IMPAC color goes straight
through, never has to be repainted. Weather? Zero or
blazing sun . . . RCA IMPAC keeps its original shape.
Inside, of course, is the same RCA high-quality
mechanism that has made RCA the leader in the in-
car speaker field. Yet RCA IMPAC Speakers sell for
less than any drive-in speaker in RCA's history.
Learn how RCA's famed Budget-Ease Plan may
make your installation of IMPAC Speakers, and
other outstanding RCA Drive-In Equipment, possi-
ble tomorrow . . . without any large capital outlay.
Your RCA Theatre Supply Dealer fits Budget-Ease
terms right into your books. Call him now . . . for a
profitable RCA IMPAC installation that's going to
last, and last!
R
c
\ B THEATRE
H EQUIPMENT ;
the tine that builds lines
at Your Box- Office _
Theatre Equipment Sales
RADIO CORPORATION of AMERICA
Camden, N. J.
Tmk(s) ®
In Canada: RCA VICTOR Company Limited, Montreal
%B
ASHCRAFT
PROJECTION
LAMP
INCORPORATING THE NEW
CINE-STEREO LIGHT PROJECTION SYSTEM
50,000 LUMENS
80-100% LIGHT DISTRIBUTION
OVER ENTIRE SCREEN AREA
f/1.4
RATED OPTICAL
SPEED
means more screen
light with greater
economy. More reels
per carbon, more
light per ampere.
With CINE-STEREO
either 35 or 70mm film
can be projected
with equal perfection.
9imi»mi': m"*^^'
Instantaneous change to
any aperture width.
No change in reflector-
No change in lamphouse
position— Does not
require auxilliary lenses.
THIS IS THE PROJECTION LIGHT SOURCE THAT IS
SO SUPERIOR THAT IT HAS BEEN SELECTED BY
EVERY NATION-WIDE THEATRE CIRCUIT AS
THE STANDARD OF EXCELLENCE
13.6 CARBON-130-160 AMPS-WATER COOLED CON-
TACTS-COMPLETE AIR CONDITIONING OF LAMPHOUSE
AND REFLECTOR. SUPER-CINEX HAS EVERYTHING
THAT THE BEST LAMP SHOULD HAVE. PROJECTION EXCEL-
LENCE WITH OPTICAL AND MECHANICAL PERFECTION.
U.S. Distribution through INDEPENDENT THEATRE SUPPLY DEALERS • Foreign: WESTREX CORPORATION • Canada: DOMINION SOUND EQUIPMEMTS, LTD.
C. S. ASHCRAFT MANUFACTURING CO., INC,
36-32 THIRTY-EIGHTH STREET, LONG ISLAND CITY I, NEW YORK
Volume 32
MAY 1957
Number 5
An IP interview with Motion Picture Research Council chief William
Kelley, and a look at past accomplishments and future plans.
Motion Picture Research Council:
By ROBERT MacLEOD
An Industry Technical Aid
CLOSER technical cooperation be-
tween Hollywood studios, exhibit-
ors, and research organizations is con-
tinually being achieved by the Motion
Picture Research Council, William
Kelley, executive director of the organ-
ization, reports. Kelley, visiting the
East prior to the SMPTE convention
last month, in an interview with IP
described the purpose of the new
special representatives of the Council
who are touring the country providing
technical assistance to exhibitors and
projectionists.
Special representative Kenneth Win-
go, for example, is on a year's tour of
the country's theatres, and by the year's
end will have compiled a list of the
common, major technical problems en-
countered in projection. This will en-
able the Research Council to achieve
a better understanding of the problems
of both exhibitor and studio, and to
advise accordingly. The Council is
supported by all major Hollywood
studios.
Kelley, a Fellow of SMPTE, flew to
New York to confer with Frank Cahill
FROJECTCR
SCREEN
FIG. 1. Screen vertical.
of Warner Brothers, who is chairman
of the local Council Committee which
was formed a year ago. Some of the
problems still occupying the Council
are standardization of release prints,
proper screens to conform to the par-
ticular theatre shape, steep projection
angles, and the best degree of density
for prints to be shown on wide screens.
In the latter case, the Research Council
has made some gains in influencing the
studios to avoid filming scenes in a
darker mood than is good for efficient,
bright wide-screen presentation.
Steep Throw Angles
The matter of steep projection angles
has been called attention to by the
special representatives in the field, who
have been encountering an inordinate
number of theatres with excessively
steep throws. Besides the serious prob-
lem of keeping the picture in focus,
it is usually the case that the projec-
tionist, viewing the picture from a
different angle than the spectators, can-
not be sure that his picture is in the
best possible focus. (A somewhat off-
beat solution to this problem has been
offered in Great Britain: remote con-
trol focus — have someone on the floor
near the screen who, by means of re-
mote control apparatus, adjusts the
lens up in the projection room. Other
INTERNATIONAL PROJECTIONIST • MAY 1957
sources have suggested supplying the
projectionist with binoculars.)
Tilting the screen is one solution of-
fered by the Research Council, and the
problem has been considered in one of
the group's Informational Bulletins.
Ideally, curving the directional
screen vertically as well as horizontally
(away from the audience) would be
desirable, but installation-wise, this is
impracticable.
Illustrating effects of screen-tilting,
in Fig. 1, line A represents the ray of
light to the center of the screen, and
line A', the direction of specular re-
flection. It can be seen that the front
rows of the orchestra will receive the
most light, and the balcony the least.
Figure 2 shows the results of tilting
the screen, giving a fairly normal dif-
fusion of light. In tilting the screen,
the direction of the specular reflection
should be toward the preferred seating
area, about one-half the projection
angle.
The recent development of the len-
ticular screen, where the small de-
pressions are themselves tilted has
given in some cases an optimum tilt
of the brightness pattern, while the
screen itself remained vertical.
Magoptical Prints
Probably the most widely publicized
development of the Research Council
lately has been the Magoptical print.
This came in answer to complaints of
those exhibitors (mainly the small
houses) who could not, or would not
install magnetic sound equipment for
CinemaScope presentations. The Mag-
PROJECTQR
SCREEN
FIG. 2. Screen tilted.
optical print has now been adopted
by most studios. (See IP for March,
p. 21.) An offshoot of the Magoptical
development has been the insistence
of the major companies that small-
tooth sprockets are essential projec-
tion equipment.
Under the aegis of Kelley, the Coun-
cil has developed a number of test
films, including those checking sound,
flutter, scanning beam illumination. 3-
track balancing, and fairly recently,
an all-purpose projector alignment
film.
The APAL, as the all-purpose test
film is known, enables the projection-
ist to use it for CinemaScope in both
2.55 to 1 and 2.35 to 1 ratios, as well
as standard ratios from 1.375 to 1
down to 2 to 1. Special targets pro-
vide for checking height steadiness,
side weaving, squeeze ratio and focus-
OPTICAL
TRACK "
MAGNETIC
TRACKS
IdI
FP
1 Cm
H»
-V*-
FROJECTOR
APERTURE
J^-
-Wt
4| 1.3
■
D
of
ni
.J
MAGNETIC
TRACES
APERTURE
PIIM
ing, and travel ghost — with or without
anamorphic attachments.
Problems Present a Challenge
The influx of new processes, the
growth of drive-in theatres with its con-
sequent problem of increased lighting,
the question of various aspect ratios,
various screen sizes — in short, the
problems that the motion picture in-
dustry has inherited with its state of
flux these past years, has provided
the Research Council with its problems
and its challenge.
The installation of special field rep-
resentatives, the creation of local com-
mittees, and the general policy of go-
ing out into the field is enabling the
Council to achieve that important goal
of effecting a cooperative liaison be-
tween technician, exhibitor, and pro-
duction. Realizing that it is no easy
task to achieve, the Council feels that
adoption of its recommendations are
in the best interests of the industry.
RCA's Quarterly Dividend
25 cents per share on common stock
is the quarterly dividend for holders of
RCA stock, the firm has announced. The
board of directors has also announced a
dividend of 87Vk cents per share declared
on first preferred stock for the period of
April 1 to June 30, payable to holders
of record on July 1.
Motion Picture Research Council's official diagram of the magoptical print.
Allied Convenes October
The Concord Hotel at Kiamesha Lake,
New York, has been selected as the site
for Allied's national convention this year,
which will take place the week of Oc-
tober 27. The selection of the Catskill
Mountain resort puts a definite end to
any prospect of a joint Allied-TESMA
trade show this fall, although there had
been discussions toward that end.
INTERNATIONAL PROJECTIONIST
MAY 1957
ATIONAL
TRADEMARK
PROJECTOR CARBONS
meet the demand for more and more light!
Screen Size 1946
Screen Size 1957
Screens have doubled in width
over the past eleven years. These larger screens
impose stringent demands on projector carbons for
increased light at minimum cost. This challenge
has been met by "National" carbons.
Here's How:
• The New "Suprex" 7mm Carbon
• The New "Suprex" 8mm Carbon
• The New 10mm High Intensity Carbon
• The New 11mm High Intensity Carbon
These Carbons Provide :
• Up to 20% more light.
• Up to 25% slower burn.
This all adds up to a cost per unit of light that's
the lowest obtainable anywhere.
THE PICTURE IS LIGHT...
GIVE IT ALL YOU CAN
WITH "NATIONAL" CARBONS
• 'LbJJ^b-l ■'•'
The terms "National", "Suprex" and "Union Carbide" are trade-marks of Union Carbide Corporation '"' -■
NATIONAL CARBON COMPANY* Division of Union Carbide Corporation • 30 East 42nd Street, New York 17, N. Y.
SALES OFFICES: Atlanta, Chicago, Dallas, Kansas City, Los Angeles, New York, Pittsburgh, San Francisco • IN CANADA: Union Carbide Canada Limited, Toronto
INTERNATIONAL PROJECTIONIST
MAY 1957
Drive- In Projection: A Challenge
By ROBERT A. MITCHELL
The second installment in this series includes a comprehensive
list of instructions on preparation for the opening performance,
with some pertinent warnings that will prevent future trouble.
THE FIRST SHOW of the season
is tremendously important to the
projectionist working in a seasonal
theatre, indoor or drive-in. All causes
of breakdown must be eliminated, so
far as possible, before the opening per-
formance. Most seasonal indoor houses
in the north open in the latter half of
June; most drive-ins, on the other
hand, are already in operation. But
even if your own seasonal theatre is
now open for business, it isn't too
late to note minor projection and
sound defects and to correct them to
forestall serious trouble later on.
The drive-in projectionist's job is
frequently complicated by the extra
task of installing and adjusting the
projection equipment a day or two be-
fore the opening. Mistakes made in
this initial phase of the projection
preparations may seriously impair that
all-important first show. And the instal-
lation of new and more satisfactory
equipment has been known to occur in
seasonal theatres even in mid-season:
exhibitors sometimes wake up to the
fact that old, outmoded equipment is
inadequate for presenting pictures and
sound to modern, discriminating au-
diences.
In any case, it is always a good
idea to get the film ready for show-
ing even before the final adjustments
are made in the projection and sound
apparatus. Never run prints directly
off the shipping reels without prior in-
spection! Take no chances with "black-
outs" caused by film breaks! The film
rewinder and splicing block will there-
fore be put in working order very
early; and the reel of preview trailers
will be assembled immediately after
the shorts and feature film have been
inspected and repaired.
Electrical Failure Precautions
The first item to be checked is the
AC power input and associated switch-
es and fuse boxes. Especially note the
location of the 3-phase fuse box which
supplies power to the motor-gener-
ator set or rectifier. The fuse boxes are
sometimes considerably scattered in
indoor theatres, some being located in
the cellar, some in closets on the
ground floor, and others in a generator
room or in the projection room.
As a precaution, place several spare
fuses of the proper type and current-
carrying capacity in or near each fuse
box. If any unit suddenly goes dead
during a show (i.e. if the projector
motor stops, or the generator or recti-
fier goes dead, or the sound system
fails), check the proper fuse box for
blown fuses before examining the
equipment in detail for electrical de-
fects.
There are many other causes of
electrical failure besides blown fuses,
of course, as indicated by the follow-
ing:
Arc lamps dead. (1) If the gener-
ator stops when the DC supply to the
arcs fails, suspect blown fuses in the 3-
phase line. (2) If the fuses are okay,
check the relay switch, closing it man-
ually, if necessary. (Caution! Voltages
of 220-240 are dangerous! Because 3-
phase AC seeks a ground return, avoid
touching a current-carrying conduc-
tor.)
(3) If the generator continues to
run when the DC line to the arcs is
dead, check the generator output volt-
age. If the DC voltmeter reads "0,"
check the small cartridge fuses in the
control cabinet. (4) If these are okay,
Beware Spontaneous
Combustion
The recent fire at the Allied Artists
exchange in Omaha has been attrib-
uted to spontaneous combustion in the
film storage room. After investigation,
fire officials estimate that the film de-
composed in storage, generated heat,
and released gases. The resultant ac-
tion activated the sprinkler system
throughout the entire exchange, and
some film that escaped destruction by
fire was ruined by water damage. A
request may be made from all ex-
change branches for a report on the
type of film stored, where it is stored,
and dates of inspection.
check the field rheostat. The gener-
ator will not generate current when
the field-rlieostat circuit is broken. Re-
store generator output by short-circuit
ing the rheostat terminals if the rheo-
stat is broken. (5) If the generator
voltmeter indicates normal output, ex-
amine the ballast resistors for broken
wires and loose connections. Make cer-
tain that all lamphouse connections are
secure.
Arc-feed motor stops. (1) If the
carbon-feed motor stops, examine the
fuse in the lamphouse fuse block. (2)
If this is okay, examine the connec-
tions to the motor. (3) If feed motor
merely binds, ascertain whether the
entire carbon-feeding mechanism is
binding. Lubrication of feed mechan-
ism or motor may restore proper func-
tioning of the lamp.
Projector motor fails to run. (1)
If completely dead (i.e. does not even
make a humming noise), check pro-
jector-motor circuit and switch. (2)
If motor makes a humming sound,
check projector mechanism for bind-
ups and soundhead for film wrapped
several times around a sprocket.
(3) Also check for open starting
resistor or short-circuited capacitor.
In such a case, if simple measures fail,
try starting the motor by hand at the
same moment the current is turned on.
( Turn motor in correct direction ! ) To
correct more serious motor troubles,
refer to Chapter 19 of "Robert A.
Mitchell's Manual of Practical Projec-
tion," the only projection textbook
that gives complete motor-servicing
data.
Optical-soundhead exciter goes out.
The sound goes dead when the sound-
head exciting lamp stops burning. (1)
Check for burned-out filament. (2)
Check fuse in exciter current supply.
(3) Check bulb socket, switches, rhe-
ostat, and all electrical connections.
(4) If exciter supply to one machine
fails, connect by means of a 2-wire
lamp cord to the connection block of
the "live" soundhead. (5) If exciter
supply to both machines fails, prepare
to operate the exciters on AC, cutting
10
INTERNATIONAL PROJECTIONIST
MAY 1957
down the voltage by means of a toy
electric-train transformer. (See p. 13
of the August 1956 issue of IP.)
Sound system goes dead. (1) If tube
filaments and exciters are lighted, but
sound goes off suddenly, check all
switches and the fader to see whether
anything has been switched off acci-
dentally. This has happened so fre-
quently, we suggest a quick check of
these points as a first step. (2) Check
projection-room monitor by observing
whether stage or ramp speakers are
also dead. (3) Check soundheads by
switching to non-sync. If "sound-on-
disk" is obtained, replace photocells
or check preamplifier connections.
(4) If tubes and exciters are light-
ed, and sound dies out gradually, re-
place tubes in the power amplifier
(output stage), making sure that you
have replaced them in their sockets
correctly. (Haste makes waste.)
(5) If tubes are unlighted, check
main amplifier fuses; and if these and
all connections are okay, (6) replace
rectifier tubes.
(7) If the sound system is operative,
but no sound issues from the stage
speakers, look for a broken speaker
cable or a pulled plug backstage. (8)
A dead ramp in a drive-in indicates
a short circuit or broken cable. If a
speaker fuse block is used, examine
carefully for one or more blown fuses.
As a rule, extensive testing is required
to locate the cause of sound outage
in one ramp, so disconnect that ramp
from the power amplifier and shut
down the show while the patrons, ad-
vised by an attendant, move their cars
to a "live" ramp.
Cool, Clear Head an Asset
The foregoing "emergency sugges-
tions" represent minimum measures to
be taken without undue loss of show
time to restore units which have been
rendered inoperative by electrical fail-
ure. More serious causes of trouble
(such as a burned out arc rectifier)
may require an emergency call to the
service engineer and possible loss of
box-office receipts. Records prove that
most emergency calls result from am-
plifier trouble, however.
In any event, unnecessary trouble
can be avoided if the projectionist re-
sists the urge to panic when a break-
down occurs. We personally know of
a case where the service engineer was
summoned nearly 100 miles to restore
sound in a system inadvertently
switched from "film" to "disk."
Had the projectionist remained
calm and alert, he would have restored
the sound within seconds by making
a systematic and intelligent check of
all fuses, switches, and other com-
ponents affecting sound output. The
same trouble could conceivably have
happened by an accidental switch to
the magnetic-sound voltage amplifiers;
but magnetic reproduction is not near-
ly as prevalent as sound-on-disk used
for playing phonograph records be-
fore the shows and during intermis-
sions.
Installation Procedure
The projection equipment in most
indoor seasonal theatres remains per-
manently installed. In many drive-ins,
however, the equipment is removed
at the end of one operating season
and replaced at the beginning of the
next season. This practice is sometimes
necessary to protect the projectors,
arc rectifiers, and sound amplifiers
against the inevitable dampness of
long, cold winters and raw, rainy
springs.
The work of installing projection
and sound equipment is simplified
when the projector bases and amplfier
racks are left in place. It might be a
good idea to keep the following gen-
eral instructions in mind for the next
time you may be called upon to install
theatre-projection equipment!
Every manufacturer furnishes in-
structions for the unpacking and in-
stallation of his own projectors, sound-
heads, and lamps. These should be
followed as closely as possible when
installing new equipment. The simple
replacement, or re-installation, of pre-
viously used projectors, on the other
hand, involves the following general
steps :
A. Soundhead and Motor.
1. Attach the soundhead to the
"main bearing bearing bracket" of the
projector pedestal.
2. Attach the drive-gear bracket and
motor to the soundhead.
3. Align the motor and gearing per
manufacturer's instructions.
B. Lower Magazine.
1. Bolt the lower magazine to the
bottom of the soundhead. (Attach a
cable-clamp bracket to the bottom of
the soundhead, if required.)
2. If the film takeup is driven from
a pulley in the soundhead, place take-
up belt on machine, making sure it is
strong, free from oil, and as tight as
you can get it. (This step will have to
be deferred until C3 is completed when
the takeup is driven from a pulley in
the picture mechanism.)
C. Projector Mechanism
1. If an oil pan and mounting bar
are used, fasten both to the bottom
of the projector head.
2. Place mechanism on top of the
soundhead, slipping the bolts in place
and meshing the projector drive gear
with the soundhead gear (unless the
drive-gear assembly is to be installed
afterward as a unit).
3. Tighten the 2 (or 3) mounting
bolts, but avoid excessive tightness,
which may warp the mechanism base.
Warning! Whenever the design of
the soundhead requires that the mech-
anism be shimmed, place the shims
as close to the projector mounting
holes as possible. This will avoid
slight warping of the mechanism base
plate.
4. Attach electric changeover device
to back of mechanism.
D. Magnetic Reproducer and
Upper Magazine.
1. Install the CinemaScope mag-
netic soundhead, if such is used, on
top of the projector mechanism.
2. Install the fire-valve box on the
top of the projector head (unless a
magnetic soundhead be used).
3. Attach the upper film magazine
either to the top of the projector mech-
anism or to the top of the magnetic
reproducer.
E. Electrical Connections.
1. Projector drive motor.
2. Optical soundhead, (a) Photocell
to preamplifier, (b) Exciter to exciter
supply.
3. Magnetic soundhead to 3 pre-
amplifiers and sound-effects control,
if used.
4. Projector head, (a) Framing
light, (b) Automatic changeover.
5. Amplifiers, (a) To power supply.
(b) To mixers and fader, (c) To pow-
er amplifiers, (d) To monitor speaker
and to stage- or ramp-speaker distrib-
uting board.
F. Water Connections.
Connect intake and outlet tubing to
INTERNATIONAL PROJECTIONIST
MAY 1957
11
water-cooled projector gate.
G. Arc Lamp
1. Install any necessary adapter
brackets on the lamphouse table of the
projector pedestal.
2. Place the lamp upon the adapter
or directly upon the pedestal lamp
table. Lightly bolt into place before
opening any lamphouse doors which
may cause the lamp to unbalance and
fall off the table!
3. Move lamp toward or from the
projector aperture to obtain recom-
mended working distance. (An inch
or so nearer the aperture gives more,
but less uniformly distributed, light.
An inch or so farther from the aper-
ture gives slightly less, but whiter,
more evenly distributed, light.)
4. Align the lamp optically in ac-
cordance with the manufacturer's in-
structions.
5. Install lamp mirror and condens-
ing lenses. (To prevent accidental mir-
ror breakage, it is recommended that
this be deferred until after normal arc-
burning conditions have been set.)
6. Electrical and water connections.
Make necessary connections on the
terminal block. Connect to 110-volt
supply for blower motor and work
light. Connect asbestos-covered arc
cables to table switch (or if relay is
used, connect relay switch to rectifier).
Connect intake and outlet tubing to
positive water jacket.
7. Ventilation. Connect the lamp-
house vent pipes to the ventilating sys-
tem, first making certain that the ex-
haust fan is in good working order.
H. Generator or Rectifier.
1. Install motor-generator set or
rectifiers and connect to AC mains per
manufacturer's instruction manual.
2. Connect generator or rectifier
output terminals with arc lamps, using
insulated cable of adequate wire size
(at least B & S size 0 for drive-ins),
and interposing a ballast rheostat in
one leg of each circuit (two rheostats
in all) when a motor-generator set is
used.
3. Connect the motor-generator re-
lay switch and field-control cabinet.
The correct electrical hookup for a
2-lamp installation supplied by a mul-
tiple-arc generator is shown in Fig. 1.
Guard against shortening or length-
ening ammeter leads.
I. Miscellaneous Sound
Equipment.
1. Speakers. Stage speakers in in-
door theatres must be correctly phased,
and medium- and high-frequency units
positioned for maximum sound dis-
tribution without echoes and "wall
slap." Drive-in post speakers should
be individually tested for defects be-
fore being installed on the speaker
posts. Stereophonic-sound speaker sets
for Perspecta Sound and CinemaScope
magnetic sound are best installed by
installation engineers equipped to do
the job in a minimum of time.
2. Non-sync phonographs. Install
new needles of the correct type and
test for reproduction quality.
3. Microphones. Announcement
mikes should be tested for quality and
replaced if incapable of natural voice
reproduction.
J. Screen.
1. Inspect the screen surface visu-
ally for discolorations, streaks, etc.
2. Brush indoor screens.
3. Repaint drive-in screens, if nec-
essary.
Projection Make-Ready
The projectors in a seasonal the-
atre are not ready for the opening
show until they have been cleaned,
mechanically adjusted, lubricated, and
lined up optically. Although there are
many details to command the projec-
tionist's attention during the make-
ready operation, the entire procedure
may be outlined rather simply.
1. Carefully clean all lenses and ana-
morphic attachments, and note which
aperture is to be used with each lens
combination.
2. Clean the projector and sound
mechanisms, wiping off any anti-rust
or packing grease which may have been
applied to exposed steel parts. Remove
old oil from the gear side of the mech-
anism, using a medicine dropper and
clean cotton rags (not cotton waste!)
in the case of mechanisms not auto-
matically lubricated. If gears are
grimy, clean them with a stiff-bristled
toothbrush dipped in kerosene.
To avoid serious accidents, guard
against oiling or cleaning a projector
while it is running.
3. Check all screws and taper pins,
and note whether there are any worn
or broken parts to be replaced.
4. Drain the old oil from the inter-
mittent movement and replace the
sprocket if the teeth are notched or
otherwise worn. (A knife-blade passed
along the underside of a tooth will
click if a notch be present.) Readjust
the movement if it runs noisily with-
( Continued on page 28)
no. 1 Ballast
Field rheostat
No. I Fuses
Generator voltage ( A
( w ) No. 1 Ammeter
No. 2
Lamp
No. 2 Ammeter
Field Rheostat
No. 1 Ballast
:tdfcj
No. 1 Lamp
Ammeter for both lamps
FIG. 1. Diagram showing the placement of meters in an arc-lamp circuit. (A) illustrates circuit having two ammeters, one for each lamp; (B)
shows the alternative hookup employing one ammeter for both lamps.
12
INTERNATIONAL PROJECTIONIST • MAY 1957
A considered suggestion that significant improvement
can be made without a complete technological change.
Improvements Needed Other
"han Standardization
By JOSEPH HOLT
Member, IA Local 428, Stockton, Calif.
FROM VARIOUS industry leaders
■ there has been some talk concern-
ing the need for standardization of
technology. Talk is all to the good,
but one of our crying needs today is
for intelligent action toward the tech-
nical growth of motion pictures and
less concern about uniformity.
For instance, it appears that some
of the troubles which beset the ex-
hibitor today are the result of a quar-
ter-century of standardization, and it
is significant that innovations in aspect
ratio and sound presentation seem to
have earned public approval largely
on the basis of difference.
We would be the last to say that
mere change is desirable in itself; it is
our thesis that certain stories may
lend themselves to huge all-engulfing
screens while others require the more
intimate and correspondingly smaller
picture size.
But whatever the merits of a par-
ticular aspect ratio, it should be be-
yond argument that the adoption of
one standard screen size for all prod-
uct shown in the theatre is degrading
to everything shown. A specific ex-
ample will illustrate what we mean:
the writer has seen several instances
wherein all non-anamorphic prints
are shown at a 2:1 ratio by using an
aperture .412" x .824". Conversely,
all squeezed product has been edge-
cropped by the use of an aperture
.715" x .715". The results, while meet-
ing the first principle of standardiza-
tion by picture dimension, are some-
thing which should bring shame upon
all who allow such a condition to exist.
Severe Cropping
The worst feature of the 2:1 aspect
ratio on normal film is the severe
head and toe cropping, and titles for
the most part are either missed in
part, or the projectionists must resort
to a type of "roller-coaster roll" by
framing up and down constantly.
Side picture loss on anamorphic
prints is most serious, titles are also
partly lost, and the standard visual
cues are not visible due to excessive
masking by the reduced aperture. This
fault explains the presence of punched
holes, scratches, pencil marks, and
the like adjacent to perfectly clear
standard cue marks. Thus a vicious
and entirely unwarranted condition
exists in the furtherance of uniform
presentation.
The development of large-film proc-
esses seems to offer a reasonable
basis for bringing order out of the
existing situation. In the use of larger
film in the camera, one such method
provides greater resolution in the re-
lease 35-mm print, and allows the very
largest theatre to use a picture aper-
ture sufficiently large to provide re-
markably improved screen illumina-
tion.
A second large-film scheme provides
for the horizontal compression of the
anamorphic scene in two steps. Half
the squeeze will take place at the cam-
era, and the other half will be ac-
complished at the time of printing.
The foregoing proposals indicate a
sound grasp of the needs of the indus-
try. The very large theatre and the
drive-in must find means of raising
the light on the screen without the
extensive film damage which has been
the result of previous efforts. At the
same time, the subsequent-run and
suburban theatre must have standard
35-mm prints which are sharp-focus
and distortion-free.
Industry leaders need to take the
time and study required to establish
the point at which a shift to a higher
scanning speed may be an advantage
to most of the industry. We raise this
question in view of the shift by one
system to a 30-frame-per-second rate.
Otherwise well-informed projectionists
have made the statement to the writer
that this shift has been made merely
to render the product filmed at that
speed directly compatible with tele-
vision.
A Case for 30-Frame Speed
Let the reader consider briefly the
compelling reasons which would make
a complete shift to the 30-frame speed
advisable. In the first place, as the in-
trinsic light level of pulsed light is
raised, there is a threshhold of visible
flicker at some frequency. Beyond this
level of illumination, the best way to
reduce flicker is to raise the repetition
frequency.
The reader will recall that present
24-frame practice is to scan each frame
twice, thus producing a repetition rate
of 48 cycles per second. The adoption
of a 30-frame rate would raise this
to 60 cycles, and would reduce in-
herent flicker as well as flicker caused
by three-phase 60-cycle rectifiers.
The next advantage would be in
the raising of the upper limit of sound
recording, whether optical or mag-
netic, due to the increased lineal speed
of the film.
There is no reason that a gear-trans-
fer arrangement would be difficult to
provide for most projectors in use.
in order that 24-frame product could
be used merely by the operation of
a control lever.
In the brief space of this article
we have demonstrated, we hope, that
significant improvement can be made
in the projection of motion pictures
without a complete technological rev-
olution. Efforts dedicated to the attain-
ment of this general goal would be
in the interests of the betterment of
projectionists and all others in the
motion picture field.
New Cinerama Production Unit
A new production and distribution
company is planned by Cinerama, with
an eye to utilizing the process in indus-
trial, advertising, public relations, and
government agency fields. First produc-
tion on the agenda is "The Eighth Day,"
in cooperation with the Atomic Energy
Commission. Background research has
already been made. Operations will be-
gin "when the Stanley Warner Cinerama
Corp.'s exclusivity terminates," accord-
ing to Cinerama president, Hazard E.
Reeves.
INTERNATIONAL PROJECTIONIST • MAY 1957
13
Two new anamorphic processes and a stereosound forum
is the late news from our expert English contributor.
From the British Viewpoint
By R. HOWARD CRICKS
WITHIN THE LAST few days be-
fore these notes were written, two
new methods of producing anamor-
phic prints have been announced. One
has already been advertised in the
trade press: it is Technirama. The
other, developed by the Rank Organi-
zation, is known as Anamorphic Vista-
Vision. (For further information on
Technirama, see page 24 of this issue.
—ED.)
The first system was devised by the
Technicolor technicians over here,
with the object first of producing a
negative that could easily be adapted
to the production of either anamor-
phic or wide-screen prints; second, to
give a negative of increased sharpness
by combining the principles of Cinema-
Scope and VistaVision; and third
(and perhaps even more importantly
to Technicolor) to revive the inhibi-
tion process.
The principle is one that Dr. Leslie
Knopp, technical advisor to the Cine-
matograph Exhibitors' Association,
proved mathematically correct some
time ago. First, the negative covers
two frames; it runs horizontally in
the camera, but the image is squeezed
to a ratio of 1.5 to 1, instead of the
CinemaScope 2 to 1. Then in printing,
this half-squeezed negative can either
be further squeezed to produce a
standard anamorphic print, or un-
squeezed to produce an Academy
print.
The optical system used on the
camera is a modification of the Del-
rama mirror anamorphic system which
is widely used throughout Europe for
projection, and is, I gather, not un-
known in the States. (Delrama is de-
signed, patented, and manufactured
by the Old Delft Optical Co. in Delft,
Holland. Delrama IV is marketed in
this country under the name of Vista-
scope — ED.) A special model has been
devised giving the 1.5 to 1 compres-
sion, and large enough to handle the
wide angle of the VistaVision lens.
Frank Durban, of J. Frank Brockliss
Ltd., was one of the principal perfec-
tors of this system.
Basically the Delrama consists of a
couple of reflecting surfaces arranged
like a periscope, but instead of being
flat they are curved to produce the
squeeze effect. Adjustment between
them is needed to allow for focusing.
Actually, in the model used for Tech-
nirama, reflecting prisms are used in-
stead of mirrors, bat the principle is
the same. (See Fig. 1.)
Fine Technirama Definition
The first film to be made in Tech-
nirama is "Monte Carlo Holiday,"
photographed in Italy and released in
this country by United Artists. At the
trade show I was very impressed by
the fine definition — better in fact than
that of the black-and-white material
in the same program. But ten days
earlier, I had, by courtesy of Sir
Michael Balcon, seen color pilots of
a new Ealing film, "Davy," also made
in Technirama, and found the defini-
tion even better.
Anamorphic VistaVision has been
developed chiefly in the Rank Labora-
tories. The camera is standard Vista-
Vision, producing an unsqueezed neg-
ative. From this negative a 35-mm
print is made, standard except that it
is squeezed to a ratio of 1.5 to 1. It
projects at an aspect ratio of 1.75 to
1, and the frame is the same size as
CinemaScope optical, the prints having
an optical track. The printing process
involves no cropping of the frame in
either direction, so that everything
the cameraman photographs can be
projected.
Non-standard — so it is. But back in
the days when most people were work-
ing on cylindrical lens anamorphs,
Taylor, Taylor & Hobson, now a Rank
subsidiary, produced a prismatic sys-
tem, the Varamorph, which, as its
name implies, permits the squeeze ra-
tio to be varied. (The difference be-
tween this and the Delrama is illus-
trated in Figs. 1 and 2.)
Standard Academy prints will con-
tinue to be available for all Rank
films, but the obvious advantages of
anamorphic projection — chiefly the in-
creased amount of light on the screen
— will ensure the owners of Vara-
morphs preferring the new system.
Just at this writing I am informed
that Technirama is to be officially un-
veiled to the trade on or about May
20, by the showing of a specially com-
piled demonstration film. ("Monte
Carlo Holiday," the first Technirama
production, was supposed to bow in
this country in January, but no Tech-
nirama production will be released
here until somewhere between Ma>'
and August, according to Technicolor,
which is backing the process — ED.)
ACOUSTICS FOR STEREO SOUND
CinemaScope sound has brought
about a direct conflict of opinion on
the subject of acoustics: does stereo-
sound need more or less acoustic
FIGURE 1.
— ' " \
l\
\^ —
\ ~~- -^ _
< I^T^^
r 1 ! A
____
i!
1 ! i ! w
vC *
n
/ 1 \\
\\ \
i i
^-L '< \xi
, i
\\ '
,
\V
— ■ ; .
~~ ~- ~-^^\ """■> ,
^ \
1 1
A/ l
w
~~"~~-~ ^^s*^*^
^?^^^^ ~ ~~ - .
14
INTERNATIONAL PROJECTIONIST • MAY 1957
treatment in the auditorium than
single-channel sound?
As far back as 1946, a committee of
the British Kinematograph Society re-
ported that "The installation of more
modern reproducer equipment, or the
introduction of stereophonic sound,
will not of itself materially alter fun-
damental requirements, but rather
make their satisfaction more impera-
tive."
A few months ago, the BKS had a
paper by John Carson, sound engineer
for Rank cinemas, who described the
practical task of providing acoustic
treatment — a task necessitating in the
case of one theatre no less than 12,000
square feet of Paxtiles. Said Mr. Car-
son: "The gradual introduction of mul-
ti-loudspeaker systems will make
acoustic requirements more exacting."
Let me interpolate an explanation:
a major factor is that most of our
larger cinemas were built in the years
just before the coming of sound, when
nobody knew or cared about acoustics.
In Carson's paper a number of ref-
erences were made to the work of J.
Moir and his colleagues, of the Brit-
ish Thomson-Houston Co. In the next
issue of British Kinematography, fol-
lowing the report of Carson's paper,
appeared a letter from Mr. Moir, who
expressed the opinion that with stereo
reproduction, "The acoustic condi-
tions of the auditorium should be less
critical . . . The main enemies of
stereophonic sound are the studios
themselves, for they turn out too many
films which are stereophonic only in
the ad-writer's imagination."
BKS Open Forum
Aware of this conflict of opinion,
the editor of IP asked me to comment
on it. It so happened that an Open
Forum of the BKS was held recently,
and I took the opportunity of raising
the question. I expressed the opinion
that to produce a stereophonic effect
it is essential that the listener should
be able to detect from which direction
the sound originates, which means
that he must be able to hear a con-
siderable proportion of direct sound
from the speakers, not masked by re-
peated reflections.
It was fortunate that among those
present was Mr. Loren F. Rider, now
of 20th Century-Fox, a former West-
ern Electric engineer, who played an
important part in introducing Cinema-
Scope in this country. He was inclined
FIGURE 2.
to agree with Moir's view; binaural
hearing, he said, enabled one to dis-
tinguish better between different sound
sources, and the same applied to
to stereophonic reproduction; the use
of several speakers also overcame
standing-wave patterns.
He further pointed out that if in a
large auditorium absorption were ex-
cessive, there would would be a dif-
ficulty in sound distribution, the vol-
ume needing to be kept high so that
those in the front seats would be
deafened.
Among other speakers was Mr. N.
Mole, of Associated British Cinemas,
who, while generally agreeing with
Mr. Rider, suggested that such prob-
lems could be largely overcome by
correct positioning of the high-fre-
quency speakers.
When experts fall out, who shall
decide? Personally. I find that in a
large portion of cinemas, stereosound
is ineffective in a small part of the
seating area. When I can hear direc-
tional sound in a reasonable propor-
tion of theatre seats, without excessive
acoustic treatment, I will be willing
to admit my error.
PROJECTION ANGLE
Alongside this problem of acoustics,
modern projection techniques with
their enormous curved screens have
accentuated the problems of projec-
tion rake (angle). It is pretty obvious
from their voluminous instructions on
cutting aperture plates that 20th Cen-
tury-Fox found the same difficulties
in American cinemas when Cinema-
Scope was introduced.
We still have a number of cinemas
where this problem is serious — largely,
of course, former music-halls or legi-
timate theatres; keystone mask-plates
have always been needed in such cine-
mas. A ■nerit of the projection type
Delrama is that it can be so adjusted
as to correct picture distortion —
curved horizons, converging verticals
— when a picture is projected with a
steep angle upon a curved screen.
I would not like to say whether or
not it is coincidence that one hall in
London built as a cinema, but never-
theless having the projection room
situated way up in the dome, is now
in course of demolition — the Tivoli,
successor to a world-famed music hall.
Altec Completes Outstanding
Sound Installation
The unveiling of the ultra-modern twin
motion picture theatres in historic Wil-
liamsburg, Va., recently marked the
first use of a complete Altec sound system
designed to special specifications. David
L. Demarest, Altec engineer, was the
technical supervisor of the operation,
which was conceived and fabricated in
the New York laboratory and workshop
of the technical firm.
Under Demarest's direction, field en-
gineers Frank Evans and Harry Horn-
beck installed a multi-channel magnetic
sound system, in conjunction with spe-
cially designed VistaVision screen and
projection equipment. The process is
said to envelop the audience in sight
and sound. Principle of the twin-theatre
construction is to furnish both theatres
with one projection room, eliminate all
possible distractions, and have every seat
in the house as near a perfect seat as
possible. The screen is almost semi-
surround.
An invitational premiere was held on
March 30, attended by a number of no-
tables from all parts of the U. S.
Are You Moving?
If so, please notify us one month in
advance. The Post Office does not
forward magazines. To avoid delay,
please cooperate by sending us both
your new and old address.
INTERNATIONAL PROJECTIONIST • MAY 1957
15
Love me . . . love my dog 1
Romance for everyone on the wide wide-screen
Dreams come true for everyone . . . when
the neighborhood show goes on! There
free from the cares of home— dad's a hero;
mother's everything she'd like to be. Big
screens, new technics, help do this to people.
With all this has come new problems o
production, processing and projection-
problems which the Eastman .Technics
Service for Motion Pictures is daily he P"
ing the industry to solve. Inquiries invite ■
Motion Picture Film Department | I
EASTMAN KODAK COMPANY, Rochester 4, kY.
Branches at strategic centers'
E«' Coosl Division
■"2 Madison Avenue
NcwYorkl7, N Y
Midwest Division
130 E. Randolph Dri
Chicago 1, Illinois
6706 Santa Monica Blvd.
Hollywood 38, Calif.
INTERNATIONAL PROJECTIONIST
'NTERNATIONAL PROJECTIONIST
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.
9n. IhiL
TLIGHT
THE FORTHCOMING — June 13 —
meeting of the famed 25-30 Club
promises to be one of the Club's most
outstanding gatherings of the season.
Scheduled for this meeting is a practical
demonstration of the new water-cooled
curved film gate designed for the Sim-
plex XL, to be followed by an open
question and answer forum. The forum
will be presided by several top techni-
cians from International Projector, man-
ufacturer of the Simplex XL.
Representing the company at this
meeting will be Arthur Meyer, vice-presi-
dent in charge of sales; Barney Passman,
vice-president in charge of engineering,
and Willy Borberg, designer of the
Simplex XL projector. National Theatre
Supply Co. will be represented by Walter
Green, president; William Turnbull,
vice-president in charge of sales, and
Allen Smith, New York City branch
manager.
• With a membership of only 39, IA
Local 744, Cadillac, Mich., has jurisdic-
tion over an area having a radius of
150 miles. It seems like of lot of ter-
ritory for a single Local to cover, but
most of it extends to outlying country
where motion picture theatres are few
and far between. The officers of Local
744 are very proud of this coverage and
they claim to hold the record for cover
ing a larger area than any other IA
Local in this country.
• Donald F. Lutton, secretary of Local
266, Jamestown, N. Y., takes exception
to a statement appearing in the exhibitor
trade press attributed to Gerald Shea,
president and manager of the M. A.
Shea Enterprises. The Shea circuit is
comprised of 42 theatres located in Ohio,
Pennsylvania, New York, Massachusetts,
and New Hampshire.
In an article featuring new economies
of theatre operation uncovered by the
circuit's managers, Mr. Shea was quoted
as stating that no employee salary cuts
were made in the new economies — "I
don't bebeve in them." The following
excerpt from a letter to IP from Donald
Lutton is somewhat at variance with the
aforementioned statement:
"This Local was asked to take a 25%
pay cut at Shea's Pic 17 Drive-in, and
after negotiations the Shea representa-
tive offered us an ultimatum of a 15%
cut or be replaced by a non-union pro-
jectionist. In view of the fact that our
men work in this business to make a
living wage and not for extra money, we
had to turn this offer down. The Drive-In
then hired a scab projectionist who is
an expelled member of our Local."
• The IA has issued a Local-Union
charter, No. 867, to the Society of Lan-
guage Specialists, a group composed of
translators, dubbers, narrators, commen-
tators, program directors, and news edi-
tors in the foreign language field. They
are employed chiefly by the export sub-
sidiaries of the major film distributors,
as well as radio stations.
• Cinema workers in Northern Ireland
rejected a 5% wage hike offered by
exhibitors. William McCullough, officer
of the National Association of Theatre
and Kine Workers, is asking for a 10%
raise for workers earning more than $21
a week and 15% for those earning less.
The case is now before the Northern
Ireland Ministry of Labour.
• Harry H. Abert, member of Local 486,
Hartford, Conn., and projectionist for
the last 27 years at Loew's Palace m
that city, has retired.
• Harold C. Graffius, secretary for Local
718, Philipsburg. Penna., is the new
owner of the Rowland Theatre where he
ALEXANDRIA (LA.) LOCAL 400 OBSERVES 41st ANNIVERSARY
A banquet at the famous Herbie K's Oyster
House in Alexandria marked the recent cele-
bration of the Local's 41st anniversary. High-
light of the evening was the award of a gold
life membership card to Stewart E. Wilson in
appreciation of 35 years service as Local secre-
tary. Photo on right shows Albert S. Johnstone
(left), IA vice-president, presenting the card
to Wilson.
^r
Pictured above are officers of the local flanked on the left by Johnstone and on the extreme
right by R. E. Morris, IA trustee. They are, left to right: Wilson; W. Martin Lipscomb, business
representative; J. Earle Dupree, president, and M. J. Angorola, vice-president.
li
INTERNATIONAL PROJECTIONIST
MAY 1957
News and Views from District No. 2
By HANK BOLDIZSAR
Member, I A Local 150, Los Angeles, Calif.
Among other things, the author tells of a behind
the scenes tour of the fabulous Disneyland Park
WALT DISNEY brought to the world
a new name and with it a new
form of entertainment that has thrilled
and delighted the young at heart since
it first opened about two years ago. "Dis-
neyland," a fabulous dream come true,
is not only a land of fun and fantasy but
is also an electronics technician's para-
dise, containing some of the most in-
teresting and unusual sound, stage, and
projection assignments. Located in the
rapidly growing city of Anaheim, just
off the Santa Ana Freeway, Disneyland
is in the jurisdiction of IA Local 504.
Santa Ana, Calif.
Brother Ralph Adams, business rep-
resentative for Local 504. took me on
a personally conducted tour of the park.
I met him at 10 o'clock one fine morn-
ing and we began our long trek down
Main Street of this fabulous dreamland
— the Main Street of the colorful years
after the turn of the century. The park
personnel are dressed in the style of that
period.
In the shops and restaurants along the
street one can listen in on the neighbors'
phone conversations with "ye olde" ring-
it-yourself party line telephones. Speech
for these phones is produced by Mack-
ensie repeaters running continuous
(loop) tape; 78 of these repeaters are
has worked as projectionist for the past
30 years. Graffius is one of the or-
ganizers of Local 718.
• A new booklet on the merged labor
movement, "American Labor's New Unity
—AFL-CIO," has been distributed to
workers in 80 countries overseas. This
pamphlet, which describes trade union-
ism in the U.S. up to the present time,
with emphasis on the merger and the
events leading up to it, was published
and distributed by the U.S. Information
Service.
• The license fees for drive-in theatres
in the province of Alberta. Canada, have
been reduced by 50%. Drive-ins having
a 500-car capacity now pay an annual
fee of $125, or a monthly fee of $25,
whichever is cheapest for the theatre.
The fees decrease according to the car
capacity of the drive-in. A. W. Shackle-
ford, president of the Alberta Theatres
Association, expressed gratitude to the
Provincial Government for "recognizing
the inequity between fees for drive-ins
and those for indoor theatres."
• Edward L. Turner, secretary of Local
299, Winnipeg, Canada, was recently hos-
pitalized for surgery. Although he had
a rough time of it for a while, we are
happy to report he is now on the mend.
• The AFL-CIO Union Industries Show
will be held at the Municipal Auditorium
at Kansas City, Mo., May 16 through
May 21. This show, as in past years,
will be sponsored by the Union Label
and Service Trades Dept., and it is pre-
dicted that this year's exposition will
top all others.
• The Nth North American Interna-
tional Photographic Exhibit, under the
direction of the California State Fair
and Exposition and the Sierra Camera
Club of Sacramento, will be held August
28 through September 8 of this year.
For further particulars write to the Cali-
fornia State Fair and Exposition, P. O.
Box 2036, Sacramento, Calif.
CRAFTSMEN ABROAD
In keeping with the international
policy of IP, from time to time we like
to introduce some of our fellow-mem-
bers from across the waters. This month
meet R.R.E. Pulman, projection engi-
neer of Circuits Management Associa-
R. R. Pulman,
projection en-
gineer, Cir-
cuits Manage-
ment Ass'n.
tion, which operates the theatres of the
Rank Organization in the British Isles.
Originally a projectionist in the other
branch of the organizations which com-
bined to form the CMA, Provincial
Cinematograph Theatres, he is a for-
mer vice-president of the BKS. The son
of a theatre manager, his chief regret
is that his duties keep him occupied
with paper work when he would much
sooner be handling a projector.
located throughout the park and provide
the sound effects for the many rides and
tours. A control room on Main Street
houses the Mackensie repeaters and Am-
pex tape reproducers which pro-
duce the street music for the area. The
Ampex units are self-reversing and op-
erate 12 hours daily.
Disneyland's "Nickelodeon"
Main Street is not without its cine-
ma, but in keeping with the era it is a
"Nickelodeon." Here, in a circular audi-
torium, the visitor may see six different
motion pictures running simultaneously
and featuring such stars of yesteryear
as Valentino, Pickford, Fatty Arbuckle
and others popular in the early days of
motion pictures. Six separate screens are
employed, each one recessed in its own
miniature stage with curtains, drapes
and brass rail. Each feature runs 15
minutes and is loop-wound for continu-
ous run.
We entered the projection room via
the roof and met projectionist Bill Jo-
hannsen. member of Local 503, Mitchell.
S. Dak. This most unusual projection
room features a projection bay in the
floor (center) with the floor of the bay
about three feet below the level of the
projection room floor and one foot below
the ceiling of the theatre. The six East-
man Pageant 16-mm projectors are
mounted in this bay and project through
ports located a few inches below the ceil-
ing. Throw is approximately 12 feet for
a 4-foot picture. These Eastmans run con-
tinuously twelve hours per day and, ex-
cept for the motors, require no lubrica-
tion since the gears are made of nylon.
The 8 Pageants (including 2 spares)
installed when the park opened in July
1955 are still in operation.
Life of a print is about three months
with 48 runs per day. The film has a
plastic base and is removed every two
weeks to be cleaned and waxed. Since
plastic film is very sensitive to tempera-
ture and humidity changes a humidifier
was installed in the bay to cool the area
with moist air. When the film runs hot
and dry the loop begins to take-up square,
gets noisy and cannot track properly over
the guides.
Projection Installations
Next on the agenda were visits to the
very interesting installations for "Circa-
rama" (American Motors), "The World
Beneath Us" (Richfield Oil Co.), and the
"Trip to the Moon."* Many of the pro-
jectionists working these shows are out
of town IA men. Brothers Justin Gilbert,
Hollywood Local 683, and Lou Thomas,
'Described in IP for Sept. 1955: "Circaramo:
Spectacular 16-mm Presentation at Disneyland."
(Continued on page 27)
INTERNATIONAL PROJECTIONIST
MAY 1957
19
TELECASTS
Telemural Projector — RCA's Newest Advance
PROJECTIONWISE, the news in TV is the recent announcement of RCA's
Telemural Projector. Equipped to show either black-and-white or color, the
compact, portable mechanism is designed for simple operation. With a recom-
mended projection angle of 20 degrees from optical axis to floor line, it can
show color TV pictures up to 4% x 6 feet, black-and-white to 6 x 8 feet with
commendable definition.
The Telemural apparatus utilizes
three side-by-side Schmidt optical sys-
tems with three 2x/2-inch projection kine-
scopes. A set of three kinescopes (yellow
with red filter, blue, and green) take care
of color operation. Three black-and-white
kinescopes are used for monochrome
operation.
Designed to operate from a standard
NTSC video input signal, the Telemural
projector is claimed to be easy manipu-
lation for the projectionist. Once the pro-
jector is set up optically and electrical-
ly, only minor touchup adjustments have
to be made. Controls and adjustments are
readily accessible to the operator. For
setup adjustments, a protective hood on
the unit opens forward on hinges, reveal-
ing the optical assembly.
Accommodating audiences up to 400
for color TV, 800 for black-and-white,
the recommended maximum throw dis-
tance is 17 feet. There is a self-contained
2V2-watt two 8-inch-speaker sound sys-
tem, with provision made to supply
audio signal to an external amplifier
and speaker layout, such as a common
p.a. system.
From a light output standpoint, with
maximum throw, effective highlight
The RCA Telemural Projector, Type TLS-50/51.
Visible are the three side-by-side Schmidt
optical systems.
brightness for color projection is 1 foot
lambert, 2.5 foot lamberts for mono-
chrome.
The recommended screen size is 4%
x 6 feet for color, 6x8 feet for black-
and-white. Power input requirements are
550 watts at 115 volts ±5 volts, 60 cps.
The RCA projector is groomed for
educational, medical, industrial, and
military information usage. For larger
audiences, a number of Telemurals oper-
ating from closed circuit may be utilized
to permit simultaneous viewing at dif-
ferent locations.
Closed Circuit Boom
ASIDE FROM cable theatres, the re-
cently demonstrated Telemeter — Para-
mount-backed home movies — and various
other schemes, devices, and brainstorms,
closed circuit TV in the industrial, educa-
tional, and medical fields has been grow-
ing and growing until now it almost
dominates the visual instruction field.
(Although the 16-mm audio-visual people
say they aren't worried.)
Probably one of the most important
uses of closed circuit TV is its use to
provide immediate comparative data of
chemical activity within live normal and
cancer cells. The developmental RCA
ultra-violet-sensitive TV camera tube is
being used with a microscope and oscillo-
scope to obtain direct observations and
measurements of the metabolism of liv-
ing cells. This makes possible micro-
scopic study and analysis of hundreds of
living cells in only a fraction of time
formerly required.
In a newsworthy sense, the installation
of the new $400,000 closed circuit TV
system in Pennsylvania Station in New
York City has prompted other member
RR companies to take notice. Once
again, the Dage TV division of Thompson
Products (see above) did the installation.
The system allows a ticket clerk to see
at a glance a train availability schedule.
It utilizes 105 Dage cameras, 101 moni-
tors, and projection equipment.
RCA, ever mindful of keeping its sales
staff alert, has installed closed circuit
equipment for a sales education pro-
gram. "Tele-Sell," by which the pro-
gram is known, is being produced by
the TelePrompter Corporation and Jam
Handy. It enables an illustrative sales-
talk to reach RCA points as far south
as Jacksonville and as far west as Dallas.
The Society of Motion Picture and
Television Engineers has taken cogni-
zance of the importance of closed circuit
TV, and at their recent convention in
Washington considered plans on a closed
circuit committee. Purpose of the com-
mittee would be to define terms, make
recommendations and prepare specifica-
tions in the areas of operation, maintain
and service TV receiving equipment for
large screen projection systems, study
screen characteristics, screen dimensions,
seating arrangements and viewing re-
quirements, and technical considerations
in program origination for group viewing.
Probably the added fillip is the follow-
ing item from the NY Daily News, April
10. In its entirety:
" 'Strictly as an experiment,' a five-
pound midget TV camera, its eye focused
on the pass gate, has been installed on
the southbound platform of the 42nd St.
station of the Eighth Ave. IND subway
line, the Transit Authority admitted re-
luctantly yesterday. The camera is hooked
up to a receiver in the change booth so
that the station master can look over
everyone who uses the gate. The camera
was installed without charge by the Gen-
eral Precision Laboratory of Pleasant-
ville as a demonstration of the possibili-
ties of TV in combating crime."
Closed circuit TV has arrived, but it's
still suspicious.
Telephone-TV Pairing
BELL TELEPHONE, which is usually
somewhere in the background whenever
new advancements in electronics are
made, recently announced the result of
experiments in transmission of narrow
band TV pictures with motion over
C. Raymond Kraus of Bell adjusts the TV
camera for transmission over narrow band,
telephone cable facilities.
20
INTERNATIONAL PROJECTIONIST
MAY 1957
ordinary telephone cable pairs. Results,
according to C. Raymond Kraus, general
staff transmission engineer for Bell, were
satisfactory.
Developed in cooperation with General
Precision Laboratory and Dage TV divi-
sion of Thompson Products, Inc., the
narrow-band frequency admittedly re-
sults in pictures of "somewhat less reso-
lution" than a regular broadcast trans-
mission, but since the application of the
system does not require picture quality
(traffic control, etc.), this is deemed
negligible. Or, as Mr. Kraus somewhat
wryly puts it: "Obviously, in the remote
viewing of the output of a steel rolling
mill it is not necessary to be able to
distinguish the ripple in the workman's
overalls. And in viewing street traffic
flow, it is necessary to see only the
vehicles, not the ripples in their fenders."
Narrow band TV employs a frequency
bandwidth of only 250,000 cycles, as
compared with the 4,000,000 cycle band-
width presently employed in standard
broadcast. Main point of the narrow
band system is economy: current require-
ments for video cable, microwave equip-
ment, or coaxial cable — all expensive —
is avoided. And current video pairs in-
stallation requires pulling special under-
ground cables, whereas for narrow band
TV, existing cable pairs already in place
can be utilized with but minor changes;
although in the designing and develop-
ment phase it was necessary to produce
special attenuation and phase equalizer
circuits and amplifiers for the new
system.
Thus far, using standard telephone
cable facilities for transmission the new
system operates successfully up to 10-15
miles, but further development work is
expected to extend this range.
Technirama Process Debuts In Italy
IN ORDER to reduce negative grain
and provide perfect definition both
horizontally and vertically without distor-
tion, the Technicolor Corporation has
devised the new Technirama system for
its color prints. Expressly designed for
the projection of Technirama prints is
the new Micronlambda projector manu-
factured in Turin by the makers of the
well-known Microtecnica line of cinema
apparatus.
Interesting to projectionists is the
combination of Paramount's "lazy-8" 35-
mm wide-frame system of photography
(VistaVision) and the 20th Century-Fox
anamorphic process (CinemaScope) in-
herent in Technirama. The film not only
passes horizontally through camera and
projector in the Technirama process,
but is also compressed in photography
and expanded in projection by anamor-
phic lenses. Instead of an expansion
factor of 2, however, as in CinemaScope
and SuperScope, a factor of l1^ is em-
ployed for better image definition and
reduced distortion.
The new Micronlambda projector for
Technirama employs a projection aper-
ture having the dimensions 36.11 mm X
22.38 mm (1.421" X 0.818"), providing
nearly 800 square millimeters of area.
This is the same as the VistaVision "lazy-
8" aperture, except for the decreased
picture height of Technirama to accom-
modate the sound track. It amounts to
twice the area of the standard 35-mm
soundfilm aperture, with a corresponding
decrease of negative grain or dye blur
in imbibition prints. With an anamorphic
expansion factor of 1%, this aperture
gives an aspect ratio of 1.614 X 1-5 =
2.4, very nearly.
Videotape to the Rescue? New Intermittent Mechanism
THE TV INDUSTRY, admittedly having
had a mediocre year, has found itself
embarrassingly in the same position as
its competitor, motion pictures, in that
it, too, is seeking and developing new
processes to hypo a lagging public inter-
est. (One of the bigger shocks was the
blase acceptance of color TV by the
viewers, despite almost frenetic adver-
tising.)
Of interest to technicians is the recent
onslaught of tape recorded TV, which has
pyramided since its nationwide debut at
the presidential inauguration. (See tele-
casts, IP, February, 1957.) At the mo-
ment some twenty major programs are
taped, and more to come. Since it is
all but impossible to distinguish between
a taped show and a live performance,
tape may very well be the end of kine-
scope, which is unsatisfactory at best.
Now that the transistor has made the
small portable TV camera possible, and
Unlike the modified Century projector
for horizontal VistaVision prints, the
Micronlambda mechanism has been com-
pletely redesigned to eliminate all flaws
Technirama soundhead
that might conceivably be caused by
35-mm film running horizontally with an
8-hole pulldown by the intermittent
sprocket. This included a whole new
geneva intermittent mechanism, shutter
system, and film path with specially de-
signed sprockets and idlers.
The optical system, also, has been
designed with the requirements of the
large Technirama film frame in mind.
Special "fast" lenses having wide-field
characteristics for sharp corner-to-corner
focus are used in conjuction with mirror
anamorphics of the Delrama type. It is
claimed that definition with mirror ana-
morphics is superior to that obtained
with lens-type anamorphics. Obviously,
mirror anamorphics are free from chro-
matic and certain other aberrations
afflicting cybndrical lenses.
The first Technirama film production,
"Monte Carlo," stars Marlene Dietrich
and Vittorio de Sica. It had its world
premiere at one of the largest Italian
cinemas, the 3000-seat Reposi Theatre
in Turin. It is reported that technicians
attending this showing were favorably
impressed by the clarity and brilliance
of the picture projected upon the 21
meters X 8.75 m (68.9 feet X 28.7 ft.)
Technirama screen.
tape is prepared to transmit color TV,
tape is definitely in. Significant is the
fact that Ampex received the Emmy
award for development of the Ampex
Videotape Recorder, named the most
outstanding technical achievement in the
TV industry during 1956.
34,831,000 Drive-In Attendance
34,831,000 persons attended outdoor
theatres in the year extending from No-
vember of 1955 through October 1956,
according to statistics compiled by Sind-
linger & Co., business analysts. This fig-
ure comprises 30,919,000 adults, and 3,-
912,000 children. Compared to a
000 outlay by the public in 1946, last
year paid admissions totaled $273,416,-
000, and drive-ins are now claiming 21
per cent of box-office revenue for the in-
dustry.
Maintaining a continuous census of
theatre operations, the Sindlinger firm
noted the predominance of males over
females in attendance.
An optimistic future for drive-in opera-
tion is held by the analysts. In 1946
there were 300 ozoners; as of the begin-
ning of this year, there is an estimated
4,384 in operation. Considering presently
known construction plans, by mid-sum-
mer of 1957 there will be 4,800 outdoor
houses in operation.
INTERNATIONAL PROJECTIONIST
MAY 1957
21
What Is YOUR
Problem?
Projection
CLINIC
A & B Roll Method
What is meant by the "A & B
roll method**?
HOME-MOVIE enthusiasts often add a
professional touch to their films by using
"'fade attachments" on their cameras.
At the press of a button, an iris-shutter
slowly closes over the lens, fading the
scene out; and at another touch, the fol-
lowing scene fades in. By winding the
film back to the beginning of a fadeout
while the lens is kept covered, the effect
of a "lap dissolve" is produced.
Fades and dissolves are not produced
on the camera in professional movie-
making, Uowever. Because the scene
photographed by one camera is frequently
dissolved into a scene photographed by
a different camera, this work is done in
the processing laboratory.
Fadeouts and fadeins are made by
slowly closing and opening an iris-type
shutter on the printing machine when
the internegatives are printed from the
master positives. Since a fadeout is rep-
resented by clear (white) film on the
internegative, a fadeout and fadein may
be spliced together in overlap to produce
a lap dissolve. This was the old way — ■
still used, but largely superseded by the
A & B roll method.
The master positive is made up into
two corresponding rolls, certain scenes
being in the "A" roll, and alternate
scenes, or groups of scenes, in the "B"
roll. Accurately measured lengths of
opaque (black) film are inserted between
scenes so that a foot-to-foot correspond-
ence is maintained throughout.
Automatic Cuing
The printer is automatically cued for
fadeouts and fadeins by means of notches
cut into the edge of the film. By timing
a fadeout on roll A to start at the point
where a fadein in roll B begins, a dis-
solve is obtained. Roll A is printed first,
the internegative raw stock is then re-
wound and threaded up again on the
starting frame, and roll B is printed on
the same stock. The scenes which were
printed from roll A are represented by
black film in roll B, and vice versa, hence
there are no "double exposures" except
during dissolves, "wipes," and in super-
positions (as when a scene of which an
actor is thinking is superimposed over
his closeup).
One of the advantages of the A & B
roll method is that it gives dissolves with-
out splices or noticeable contrast-change
effects. It works excellently in color-film
production.
Cleaning Lenses
What is the best way to clean
projection lenses?
PROJECTION objectives and anamor-
phic attachments "wear out" only
through cleaning which is too frequent
and too careless. This is particularly true
of coated lenses because the antireflec-
tion surface film of magnetism fluoride
is exceedingly thin. Since the thickness
of the coating is adjusted for a minimum
of reflection losses at the wavelength of
maximum visibility (yellow- green) ,
coated lenses have a violet-purple sheen.
Violet purple is complementary to yel-
low-green.
There are a large number of things
to avoid when cleaning lenses of all types.
Avoid vigorous scrubbing if you don't
want to "frost" the surfaces! Don't use
cloths of wool or silk — they are scratchy
and greasy. Avoid commercial soap pow-
ders, as they often contain gritty parti-
cles and glass-etching alkalies. Avoid
silicone-impregnated cloths and papers
— the silicones are image-fogging greases
which seriously impair the functioning
of antireflection coatings. Avoid as much
as possible the use of such organic sol-
vents as alcohol, acetone, naphtha, and
carbon tetrachloride. Not only do some
of them contain dissolved greasy and
waxy substances, but they may "eat"
through lens gaskets and blister lens-
cementing compounds.
To quote from "Coated Lenses: Nature
and Care" by A. E. Murray of the Bausch
& Lomb Optical Co. (IP for February
1949, p. 7 et seq.) :
"Even such a bland substance as face
powder is capable of producing scratches
sufficient to destroy the fine polish labori-
ously applied at the factory. Individual
scratches exert a negligible effect, but
multiplied many times over so as to
cover the entire lens surface, they can
be disastrous to good imagery and con-
trast on the screen. . . .
"The use of alcohol is the most drastic
treatment to which lenses can be sub-
jected, and is always attended by con-
siderable danger. A manufacturer just
cannot recommend solvents for the
cleaning of his lenses, even in the most
skillful hands, and he is fully justified
in refusing responsibility for any dam-
age resulting therefrom. . . .
Mild Soap and Water
"If water does not do the trick . . .
the next strongest agent, and the last
that can be recommended, is copious
(Continued on page 26)
Nathan Golden Receives French Legion of Honor
Nathan D. Golden, director of the Scientific, Mo-
tion Picture, and Photographic Products division
of the Department of Commerce, has been awarded
the Cross of Chevalier in the French Order of the
Legion of Honor. The high decoration was given
Golden for his outstanding services in promoting
cultural relations between France and this coun-
try through the promotion of the principle of two-
way trade between the American and French mo-
tion picture industry.
A member of Local 160, Cleveland, Ohio, before
entering government service in 1926, Golden was
associated with the General Film Co., Mutual
Film Co., Loew's Inc., Miles Amusement Co., and
other theatrical enterprises in Cleveland. He is also a member of the Bar of the
District of Columbia and the United States Supreme Court, a veteran of World
War I, in which he was wounded at Verdun.
In his extensive travels overseas, Golden has promoted the idea that the ex-
change of films between two nations was the best means of effecting an under-
standing between those two nations. He has always believed that international
trade in motion pictures was a "two-way street," and to that end he has encouraged
international film exchange.
22
INTERNATIONAL PROJECTIONIST
MAY 1957
Projectionist License Exam Questions
THE PRACTICE of most licensing
examination groups is to make the
examination progressively harder. Since
we assume that all who assailed this test
last month have passed with 100%, here
is a new conglomeration to nettle you.
Correct answers on page 24.
1. The length of film remaining on a reel
being run off should be determined by:
fa) opening the upper magazine door:
(b) looking at the footage counter or
through the glass door of a magazine;
fc) opening the lower magazine door.
fd) timing the run-off with a stop-watch
or second hand of a clock or watch.
2. How would you determine after striking
the arc whether it operated on direct
current:
fa) see if both carbons cool off at
the same rate after the current is switched
off; (b) see if one carbon cools off
quicker than the other after the current
is switched off; (c) see if a brown spot
appears on the screen, (d) listen if the
arc "sings."
3. In a projection machine running at a
speed of 90 feet of film per minute, how
many times does the intermittent sprocket
operate during this minute:
(a) 600: fb) 900; (c) 1200. fd)
1440.
4. If the arc is burning steadily, and the
optical system, reflector and focus are all
adjusted properly, and yet there appears
a hot spot on the screen, with a correspond-
ing lack of illumination at other parts of
the screen, what may be the cause:
fa) the picture is out of frame; fb)
the arc is out of alignment; fc) the
current is too great, fd) the arc voltage
is too high.
5. // a howl or squeal develops in the
sound reproduction the most likely place
to find the cause is:
fa) in the photocell: fb) in the loud
speakers; fc) in the exciter lamp, (d)
in the amplifier.
6. Weak reproduction might be caused by:
fa) the low voltage on the arc, and
misalignment; fb) the weakness of the
photocell or amplifier tubes; (c) the
picture being out of focus, or travel-
ghost, (d) the wrong carbons in arc.
7. In threading film in a sound motion pic-
ture projector, the length of film between
the picture aperture and the sound aperture
is:
(a) 30 frames; (b) 28 frames; (c)
26 frames, fd) 20 frames.
8. As the theatre fills up with patrons:
(a) the sound increases and the fader
must be turned down; (b) the sound
increases and the fader must be turned
up; fc) the sound decreases and the
fader must be turned down, (d) the
sound decreases and the fader must be
turned up.
9. Permanent motion picture booths in
uhich more than one professional type ma-
chine is to be operated must have at least
the following dimensions:
fa) 7 ft. high by 7% ft. by 10 ft;
(b) 7 ft. high by any size you desire;
(c) 7 ft. high by 7V2 ft. by 10 ft. for
the first machine plus 24 additional
square feet for each additional machine,
fd) any height by any width by any
length as long as the projectionist can
get about in it.
10. In order to measure the current taken
by a load, the meter should be connected:
(a) in series with the load; (b)
across the load; fc) across the line, (d)
in multiple with the load.
11. When booths are in use, a current of
air must be maintained through the booth
to the outer air, ivhich shall be sufficient to
furnish a complete change of air every:
(a) 5 minutes; (b) 10 minutes; (c)
15 minutes, fd) 20 minutes.
the vent pipe required to ventilate the
booth shall be:
(a) 58 square inches; fb) 68 square
inches; (c) 78 square inches, fd) 88
square inches.
13. The amount of film which must be
threaded in a professional projector be-
tween the center of the aperture plate and
the sound slit should be for excellent re-
sults :
fa) 15 one-third frames; fb) 17 one-
third frames; fc) 19 one-third frames,
(d) 21 one-third frames.
14. When a professional projector is driven
by a synchronous motor and runs at a
speed so that 90 feet of film pass through
the film gate per minute the intermittent
sprocket rotates at:
(a) 60 r. p. m.; (b) 120 r. p. m.; (c)
240 r. p. m., fd) 360 r. p. m.
15. The allowable current carrying capa-
city of a #4; B. & S., R.C. wire is:
fa) 100 amperes; (b) 90 amperes;
(c) 80 amperes, (d) 70 amperes.
16. When the picture suddenly goes out
of frame after the projector has been run-
ning for a short time, the reason for it is
that:
fa) the machine is running too fast;
(b) the machine is running too slow;
(c) the film has torn sprocket holes,
fd) the film has no upper loop.
12. The minimum cross-sectional area of 17. When timing a revolving shutter, the
WESTREX OVERSEAS BRANCH MANAGERS AT RECENT NEW YORK MEET
Managers of eight Westrex Corp. subsidiaries in South America, Asia, Panama, North Africa,
Australia, and the Caribbean area attended a series of conferences last month at the home
office in New York City. Pictured here, left to right, are E. S. Gregg, president of Westrex;
Miles Storms, II, Venezuela; William E. Kollmyer, Australia; Jesus Cuevas, Brazil; Jan J. DeBoer,
Panama; Andre C. Leonoel, Algeria; Dennis L Smith, Colombia, and Harro V. Zeppelin, Philip-
pines. Also attending the conferences but not shown with the group above was Orest J. Forest,
manager of the Cuba branch.
.Managers from eight of Westrex Corp.'s subsidiaries in South America, Asia,
Panama, North Africa, Australia, and the Caribbean area attended a conference in
New York City March 18-29. They studied the latest technical equipment developed
at Westrex's testing laoratories in New York and Hollywood. Besides individual
discussions, the conferees also inspected the facilities of Northern Electric Com-
pany's plant in Belleville. Canada, and the motion picture studio equipment and
operations at the Canadian National Film Board Studios in Montreal.
INTERNATIONAL PROJECTIONIST
MAY 1957
23
"Oil Leaks?"— Maybe Not, Says An Expert
By LOU WALTERS
(Lou Walters, full working member of
Dallas Local 249, gold card holder in
St. Louis Local 143, active projectionist,
repair and serviceman, former district
manager for National Theatre Supply,
RCA, and Ampro, has been in the tech-
nical side of the motion picture business
for 48 years. He was responsible for the
first large screen projection in the Cleve-
land Stadium — and IP carried that story
— in July 1940. Enough said.)
Since I am in the projector repair
business, I get a lot of first-hand com-
plaints, and the one that seems outstand-
ing is "oil leaks" on the projector mech-
anism. I have had the same movements
returned several times with the complaint
that it "leaks oil." Upon examination,
I found that the movement was filled
above the oil site level, and did not leak
if properly oiled. To properly oil, one
should rotate the movement until the
oil site glasses are level, then carefully
pump oil from a force feed oilcan into
the movement until the oil shows in the
center of both glasses.
This is the required amount of oil
as determined by the manufacturer. If
more oil is put into the movement, it will
find its way out either by leaking through
the cam bearing or flywheel bearing until
it has reached the level intended for the
movement to operate satisfactorily.
The above comment covers the stand-
ard and Super Simplex projectors. In the
case of the Simplex E-7 movement, the
manner of oiling is the same, but the
chance of apparent leakage is more sud-
den, because of a series of short tubes
shutter running adjustment should be
placed in:
(a) the extreme top position; (b) the
extreme lower position; (c) the center
position, (d) any position at all.
18. You have a single-phase service in your
booth and wish to get DC for your arc.
You would use a:
(a) single-phase rotary converter; (b)
DC generator driven by a polyphase
motor; (c) single-phase transformer, (d)
mercury arc rectifier.
Answers to Exam Questions
1. B 7. D 13. C
2. B 8. D 14. D
3. D 9. C 15. D
4. B 10. A 16. C
5. D 11. B 17. C
6. B 12. C 18. D
inside the movement which acts as a
siphon. If one were to pump a gallon
of oil into the movement, it would all
come out the escape holes, except ap-
proximately four ounces that would re-
main in the movement and would be
sufficient for safe operation.
Watch the Angle, Level
Another case of so-called oil leaks
happens with the Brenkert and Simplex
XL projectors which use the splash sys-
tem. There are several things to watch
and take into consideration to determine
proper oiling, prevent so-called leaks,
and yet keep the oil level safe for oper-
ation. The angle of the projector neces-
sarily changes standard oil level marks
on the Brenkert — they were molded into
the oil indicator for level operation. Bear
in mind this is only an indicator, and
the projectionist must determine the oil
level of the projector at the degree of
angle, either tilted down or reverse,
which is the case in many drive-in
theatres.
The left-hand door of both projectors
is equipped with an oil seal made of neo-
prene rubber, and care should be taken
when these doors are put back on, if
they have to be removed for any reason.
I find it best to fit the door in its place
and then tighten each screw or knurled
nut evenly. Do not tighten any one screw
or nut as far as it will go, causing a
bind on the door and resulting in an
oil leak.
Before closing on this subject I would
like to remind the E-7 users that a spe-
cial shutter gear lubricant is available
at Simplex dealers. This is a lead base
oil, and is used only on the shutter shaft
where the horizontal gear slides. This
oil prevents a rust condition which very
often forms on the shaft inside the
horizontal gear.
If you are experiencing difficulty in
framing other than one position, and
should you introduce lost motion and
travel ghost when the framing mechan-
ism is moved, then your gear is rusted
to the shutter shaft.
A good suggestion for all is to refer
to the instruction books on the equip-
ment you are using. If these books have
been lost or misplaced, get in contact
with your closest supply dealer for an-
other copy.
Forthcoming subjects will deal with
care, adjustment, and operation of gen-
erator and rectifier equipment.
Genarco's New Slide Projector
Genarco, Inc., of Jamaica, New York,
is now producing a new 3000 watt slide
projector with a 70 slide changer, Model
SM.2. Light source is a 300 watt tung-
sten lamp that the firm expects will have
a life of 100 hours.
The slides and the entire mechanism
are cooled by electric blowers of 280
cubic feet per minute capacity. Slides
are also protected by a modern dichroid
heat-reflecting filter. As many as 70 slides
can be placed in one tray and transfer-
room, or from the rear of an auditorium.
Employing standard 3%-inch by 4-
inch slides, the projector is said to be
suitable for large meetings of 75 to sev-
eral thousand people.
OB ITU AR I ES
red to another tray by pushbutton re-
mote control. This change takes less
than half a second.
The Model SM.2 projector comes with
either the standard wide-angle lens suit-
able for rear projection on a translucent
screen, or with all dimensions of lenses
for operation from a theatre projection
Flask, Sr., Daniel V., 59, member of Pitts-
burgh Local 171, succumbed to a heart attack
March 1. A member of the Local since 1917,
he held the office of president at the time of
his death. Flask worked as projectionist at
the Senator, Stanley, and Loew's Penn Thea-
tres in Pittsburgh. He was a veteran of
World War I.
Altvater, Edward J., 68, and Charles Tay-
lor, 82, veteran members of Cincinnati Local
327, died recently. Edward Altvater was
initiated into the Local February 11, 1921
and had worked as projectionist at the Em-
pire Theatre in Cincinnati until he was
stricken with a heart and kidney ailment
about four months ago. Charles Taylor, a
member since July 28, 1925, retired about
10 years ago.
• • •
Sasse, Leo, 55, member of Milwaukee Local
164 since 1927, succumbed to a heart and
asthmatic condition from which he suffered
for quite some time. At the time of his
death he was employed at the Fox Bay Thea-
tre, one of the newer suburban theatres in
the Milwaukee area. His wife survives him.
24
INTERNATIONAL PROJECTIONIST
MAY 1957
PERSONAL NOTES
William B. Stapleton, former picture
editor of Collier's magazine, has joined
the editorial service bureau of Eastman
Kodak Company. He will direct the
Newspaper National Snapshot Awards
and will handle special contacts with
magazines. Collier's picture editor from
1949 up to that magazine's recent disso-
lution. Stapleton is well known for his
articles, photographs, and cover photos
there. He has also served as foreign
correspondent for the late publication,
covering the Korean war, Japan, Paris,
and South and Central America.
R. A. Moe is slated as manager of the
^ est Coast facilities, systems engineer-
ing operations, government service de-
partment of RCA Service Co. Joining
RCA in 1951 as a field engineer at the
San Diego Naval Base, Moe recently has
served as manager of Systems Engineer-
ing for the West Coast area. He will
be in charge of all government service
department activity on the West Coast,
including contract proposal preparation,
estimates, engineering planning, and ad-
ministration.
Clarence M. Leeds has been named,
as of March 18 last, vice-president in
charge of all manufacturing for the Sim-
plex Equipment Corp. (formerly Interna-
tional Projector Corp. ) in Bloomfield.
N. J. Mr. Leeds has had an extensive
background in the financial manage-
ment, manufacturing, and labor relations
branches of the aircraft and electronic
communications industries. An alumnus
of Lafayette College and New York Uni-
versity, he joins this important member
of the General Precision Corp. on the
eve of one of its most vital periods of
expansion in the audio-visual field.
Simplex Equipment Corp. enjoys a
world-wide reputation of fine profes-
sional motion picture projectors and as-
sociated audio-visual units, including
stereophonic sound reproducing systems
for theatres, precision electro-mechanical
components, and the widely-publicized
GPL self-contained airborne navigation
systems.
C. S. Perkins, now operating manager
of Altec Service Co. has been appointed
general manager. Marty Wolf, in addi-
tion to his present function as sales
manager, will become assistant general
manager. Both appointments are effective
immediately.
Messrs. Perkins and ^ olf are veteran
members of Altec since 1937. when the
Less Heat !
Full light on screen,
less heat at aperture
.._ ::^
Now optical engineering helps
you beat heat for better projec-
tion. Selective coatings of new
dual purpose unit ( 1 ) reflect
full usable light back to film
gate, (2) pass heat through to
the back of the lamphouse for
easy dissipation. Film remains
cool enough to permit increased
carbon arc amperage within
rated lamp capacity. You can
get more light on the screen
. . . better picture . . . less dam-
age to film.
Here's the finest reflector money can
buy, with today's most efficient heat-
dissipator built right into it. You get
more light, less heat, better operat-
ing conditions, and maintenance . . .
at less than the cost of standard re-
flector-and-heat-filter combinations.
Costs less to buy,
less to maintain
...with NEW
REFLECTORS
WRITE FOR DATA BROCHURE E-35
Get the facts on cooler, trouble-
free, economical operation. Write
to Bausch & Lomb Optical Co.,
86017 St. Paul St., Rochester 2,
New York. Free demonstration
on request. (In Canada, General
Theatre Supply, Toronto.)
Academy of Motion Picture Arts and Sciences
Honorary Award for Optical Service to the Indu
© A. M. P. A. S.
INTERNATIONAL PROJECTIONIST
MAY 1957
25
company took over the activities of ERPI
in the field of motion picture exhibition,
and are nationally known in the field.
In announcing these changes, execu-
tive vice-president H. M. Bessey pointed
out that Altec's long-time activities in the
motion picture industry are being aug-
mented through the design, installation,
and maintenance of a large volume of
sound systems in the non-theatrical field,
including industry, commerce, education,
recreation, etc.
* * #
J. Howard Schumacher, Jr., has been
They're Making
Carbons
Longer
These Days
Designed for use with Ashcraft "D" or
"E", Brenkert-Enarc, Peerless Magnarc,
or Strong Mogul projection lamps. If
your dealer can't supply you, order direct.
i — ^— — — —
PAYNE PRODUCTS COMPANY
(Cron-O-Matic Division)
2454 W. Stadium Blvd., Ann Arbor, Mich.
( ) Send literature on the Cron-O-Matic.
( ) Ship Cron-O-Matic C.O.D. including
postage.
( ) Remittance herewith.
NAME
THEATRE
STREET
CITY & STATE ..:
Export: Frazer & Hansen, Ltd.
San Francisco, New York, Los Angeles
appointed to the post of staff engineer
for the Society of Motion Picture and
Television Engineers. The appointment
becomes effective June 10.
Mr. Schumacher is presently employed
as laboratory technician for NBC Devel-
opment. He has been associated with
NBC for 12 years. His education includes
extensive courses in engineering and man-
agement at RCA Institutes, Hofstra
College, and Polytechnic Institute of
Brooklyn.
1A ELECTIONS
LOCAL 162, SAN FRANCISCO, CALIF.
Rexford Elder, pres.; Carlo J. Colombo,
vice-pres.; James R. Dixon, Jr., sec.-treas.;
Paul G. Zern, bus. rep.; Neal J. Salemi, sgt.-
at-arms; C. J. Colombo, William H. Lingle,
Harold Diederichsen, Everett W. Holladay,
Samuel L. Johnson, exec, board.
LOCAL 277, BRIDGEPORT, CONN.
John S. Benard, pres.; Leslie C. Blakeslee,
vice-pres.; Merrick Parrell, fin.-sec; Thom-
as E. Colwell, rec.-sec; Fred Lewis, treas.;
John A. Martin, bus. rep.; John Lynch, sgt.-
at-arms; L. C. Blakeslee, Joseph Kaplan,
Francis J. Gorman, J. Lynch, Joseph C.
Cossette, trustees; Harold W. Ryckman, F.
J. Gorman, J. Kaplan, Roland J. McLeod,
exec, board; J. A. Martin, del. to conven-
tions, and J. S. Benard, alternate del.
PROJECTION CLINIC
(Continued from page 22)
suds of a gentle soap . . . followed by
a thorough rinse with clean water . . .
on a nearly dry cloth. . . .
"No commercial cleaning fluid is rec-
ommended by Bausch & Lomb for the
cleaning of high-grade lenses because
they are all in essence the same solution
[of detergent or soap]. There is no point
in paying for a product which is 99%
water. One can make his own lens-clean-
ing solution which, while it may not bear
a fancy label and a specious guarantee,
will be no less effective in removing
dirt."
A lens-cleaning kit, serviceable for
both coated and uncoated lenses, consists
of the following:
A. Round camel's-hair brush of the
soft-bristled type used by water-color
artists.
B. A plentiful supply of small squares
of well-washed, soft cotton cloth. (Lens
paper may be substituted.)
C. A supply of toothpicks. (Store in
a glass pill bottle.)
D. A 1-ounce bottle of carbon tetra-
chloride (or "Carbona") for removing
accidental oil and paint spots from len-
ses. Label: "SPOT-REMOVER SOL-
VENT. Use with caution!"
E. A 2-ounce bottle of water, "soft'
or distilled, in which a very small frag
ment of "Ivory" soap has been dissolved
Label: "MILD SOAP SOLUTION."
F. A 4-ounce bottle of distilled water
Label: "PURE WATER. Discard if con
laminated."
G. A tightly covered dust-free box for
storing the above items.
Cleaning Procedure
Old-style objectives may have to be
taken apart at long intervals to remove
dust and oil stains from the inner sur-
faces of the lenses. New-style lenses hav-
ing hermetically sealed barrels should
never be dismantled by the projectionist.
To clean projection lenses:
1. Carefully brush dust from the lens
surfaces with the camel's-hair brush. If
still soiled, as by fingermarks:
2. Breathe on the lenses and gently
wipe with a wad of cotton cloth or lens
paper, using a circular motion. If oil-
smear still remains:
3. Barely moisten a cotton pad with
the mild soap solution and rub the lens
as lightly as possible. Moisten another
pad in pure water and rinse. (Avoid
wetting the edges of the glass.) Wipe
with a dry pad of cotton, using a cir-
cular motion. (This procedure is often
necessary when the rear-lens surface
directly facing the aperture becomes
oil-fogged.)
4. Paint, tar, and spots of heavy grease
require cautious applications of a Car-
bona-moistened cloth wrapped around
the thick end of a toothpick. (Do not
Consistenf
Maximum
Light
at
Greater
Economy
DIAMOND
PROJECTION
70 PINE STREET • NEW YORK 5
26
INTERNATIONAL PROJECTIONIST
MAY 1957
use a matchstick. which is necessarily
waxy.) Follow with the soap solution,
as above, then' with plain water and
wipe dry after breathing on the lens,
if necessary.
Remember never to wipe a dry lens
with a dry cloth. Cover the surface of
the glass with a film of moisture by
breathing on the glass before wiping.
Depend on the camel's-hair brush as
much as possible, using the more drastic
steps only when absolutely required.
Conscientious lens care will preserve
the lenses almost indefinitely.
DISTRICT NO. 2
{Continued from page 19)
Seattle Local 154, keep sound and 11 pro-
jectors interlocked for *'Circarama" (360
degrees Cinerama in 16-mm) ; Rex Kin-
sey, Vancouver (Wash.) Local 401, and
Walt "Babe" Coleman, assistant chief at
Disneyland and secretary of the Santa
Ana Local, blast you off for the "Trip to
the Moon," and Brother Jim Harman of
Local 707, Hemet, Calif., holds the fort
in the Richfield projection room.
A single Peerless Magnarc lamp and
Simplex X-L head with Super Panatar
lens mounted on a Simplex base is used
in the Richfield show. "The World Be-
neath Us," for projection of a Cinema-
Scope cartooned short. Throw is approxi-
mately 30 feet for a 26-foot picture. Two
16-mm Eastmans, located below the stage
floor, are also used in conjunction with
the 35-mm for this show. The entire
system is automatically controlled — Jim
strikes his arc, starts the control system,
and then stands by while the busy little
electrons take over the complete show.
We were crowding show time for Ralph,
so we hustled over to Pepsi-Cola's
"Golden Horseshoe" where all the galoots
had gathered to see the very lovely Slu
Foot Sue knock 'em dead, with co-star
Donald Novis, plus an excellent cast of
dancers and comics. You young old-
timers will recall Novis. the silver-voiced
tenor, for his popular coast-to-coast radio
program of some years back. When not
in character the lovely Sue is known as
Betty Taylor and is the niece of our
highly esteemed IA 2nd vice-president,
Carl Cooper. From his back stage control
panel, Ralph handles all the lights (spot
and effects), backgrounds, and curtains
for this show. This one is a "must see"
when you visit Disneyland.
Luncheon was a junior sized District 2
Council meeting since we were joined
by Art Narath, president, and "Babe"
Coleman, secretary, Local 504; Stanley
Wedell, business representative, and Jack
Ward, secretary, Long Beach Local 521;
and Frank Smith, president of Hemet
Local 707. Main topic of discussion was
the successful negotiations by Wallace
Crowley and George Schaffer. president
and business representative, respectively,
of Los Angeles Local 150. More about
that later.
We continued with our tour after lunch
and I got a close look at the operation of
the electronic gear in the park. Every-
thing that moves has a p. a. system with
speakers in every car in the multiple
units. The various jungle inhabitants
(man and beast) are electronically con-
trolled, given voice by the Mackensie
repeaters running continuous tape, and
triggered to action by river boats equipped
with photocell control mechanisms and
located at key positions along the route
of travel.
Maintenance of Equipment
Servicing and maintenance of elec-
tronic and projection equipment is super-
vised by Brother Dean Narath assisted
by Art Narath (his Pop). Gerald Bates,
George Short, and John Gerlach handle
the operation, repair, and installation of
sound and electronic equipment; Dominic
Conte specializes in the repair of the
projectors. All of these gents are mem-
bers of Santa Ana Local 504. The per-
manent maintenance crew consists of 20
IA men, with another 6 IA men added
during the summer season.
"Babe" Coleman and "Robbie" Robin-
son (the latter is a member of Long
Beach Local 521), operate the projection
room in the attractive 450-seat Mickey
Mouse Theatre in Fantasyland. This pro-
jection room. Simplex X-L and Peerless
Magnarc equipped, is the only complete
35-mm installation in the park (plus one
35-mm unit in the Richfield show). The
presentation here features a half hour
3-D showT consisting of cartoons and the
very popular Jimmy Dodd and Mouseke-
teers of TV fame.
At this point, time demanded we call
"finis" to this wonderful tour. My sincere
thanks to Brother Ralph Adams, my most
genial and gracious host, his very swell
DRIVE-INS!
GET MORE
LIGHT
ON YOUR
SCREEN
WITH
HlLUX
Prime Projection
Lenses
OPTICS
PROJECTION OPTICS CO., INC.
Rochester, N. Y. • London, England
INTERNATIONAL PROJECTIONIST
MAY 1957
27
crew, and Uncle Walt Disney and his
staff for making it possible for me to
visit the "inner workings" of Disneyland.
Local 150 Contracts
Meanwhile back at the ranch (not
Frontierland but Local 150), the nego-
tiating committee consisting of W. G.
Crowley, George Schaffer, Charles Y.
Crowe, Paul Mahoney, Earl Hamilton, L.
W. Neville, and E. L. "Blondie" Robbins
successfully concluded negotiations for
new contracts with exhibitors in the Los
Angeles area. A special midnight meeting
was called and the membership voted
acceptance of the contracts which are
retroactive to the expiration date of the
previous pacts and will run until June
30, 1962.
Among the benefits included in the
new agreements is a 10 cents per hour
increase retroactive to the expiration
ITS A HIT!
in Philly
BUT . . . will it be
a hit in your house?
It went over big in the Quaker City
. . . but before any show can be a suc-
cess in your house, your equipment must
be in condition to roll it perfectly. Any
show can be a better show when equip-
ment performs properly. That's where
RCA Theatre Service comes in.
Protect your equipment and picture in-
' vestment with RCA Theatre Service.
It will pay you to write now for com-
plete information !
Technical Products Department
RCA SERVICE COMPANY, INC.
/^p^\ A Radii' Corporal ion of America
(tJTwTl} Subsidiary, Camden 8, New Jersey
Tmk(s) ®
date of the expired contracts (Feb. 1,
1956 for the independents, July 1, 1956
for the major theatres, and Oct. 1, 1956
for drive-ins), until June 30, 1958. On
July 1, 1958 an additional 10 cents per
hour wage increase will become effective
and continue until January 2, 1960.
Ninety days prior to this date and upon
notice by the Local the contracts may be
reopened for the purpose of negotiating
increases in wages and employers' Wel-
fare Fund contributions only. This privi-
lege is the Local's option and not that of
the employers. The employers will con-
tribute to Local 150's Welfare Fund an
amount equal to 6 cents per hour for
each regular straight-time contracted
hour commencing July 1, 1958.
Minimum call periods have been in-
creased from 2 to 4 hours, and the con-
tinuous run houses (both first-run and
subsequent-run) having two 6-hour shifts
cannot reduce shift time for the duration
of this new contract. An important fea-
ture of the new pact is the retention of
the two-man projection shifts, which is
guaranteed for five years.
Film Cooling a la Nature
I received a letter recently from Gene
Daltorio, co-owner of the Gala Drive-In
Theatre in Akron, Ohio, in reply to my
recommendation of Harry Cole's (Local
150) projection mechanism and film
cooler (Cinemair). Gene advised me that
the Gala Drive-in opened on March 28
last with no heat problems. As a matter
of fact, there was such an abundance of
snow and rain and cold weather that cool-
ing was accomplished simply by opening
the door of the projection room. Back in
1942, Gene, Joe Constantino (Paterson,
N. J.), and I worked the projection room
at General Depot G-25 in Ashchurch,
England. When we Southern California
projectionists read of such reports we
don't mind our nice warm smog so much.
DRIVE-IN PROJECTION
(Continued from page 12)
out film and with the gate door open.
5. Fill the intermittent oilwell with
the type of fresh oil recommended by
the manufacturer of the machine. Then
lubricate the remainder of the projec-
tor, including soundhead, motor, and
drive-gear bearings. Remember the
minor parts which require the appli-
cation of a small droplet of oil once
in a great while.
6. Check condition of the upper
magazine. Replace worn or damaged
jacks and reel keys. Establish proper
holdback tension, tightening the lock-
nut securely. Oil the spindle-shaft
bearing. Make certain that the fire-
valve rollers are clean and revolve
properly so as not to scratch film.
7. Check tension of takeup and re-
place lower-magazine reel key, if nec-
essary. There should be sufficient take-
up tension to turn a fully loaded 2,000-
foot reel, yet not enough to prevent
the revolving reel from being held
back by the touch of a finger. Clean
dirty clutch friction disks and oil the
spindle-shaft bearings. Replace worn
take-up belt to insure smooth takeup
action. Check the condition of the
lower fire-valve rollers.
8. Check sprockets, lateral position-
ing of pad rollers, and check for prop-
er film clearance. (Two thicknesses of
J PUCES _
NOT J
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., INC.
DEPT. J
315 West 43rd Street New York 36, N. Y.
JUdson 6-1420
BUY U. S. SAVINGS BONDS
For DRIVE-INS & THEATRES with HUGE, WIDE- AREA SCREENS • CARBONS, BOONTON, N X
28
INTERNATIONAL PROJECTIONIST
MAY 1957
safety film threaded over a sprocket
should be only very slightly loose when
the pad roller is closed.)
9. Examine the film gSt£ lor worn
runners and pressure pad*. Adjust
pads for average tension, equal on both
sides, and with the set of pads at the
aperture having the greatest tension.
Check the flanged lateral guide rollers
for cleanliness and free turning. Re-
place bent or scored flanges. (Do not
attempt lateral adjustment of the guide
rollers unless projection tests reveal
incorrect positioning.)
10. Observe the action of the auto-
matic fire shutter and readjust this
component if it does not lift and drop
properly when the motor is switched
on and off. {Warning! Never switch
a projector motor on before the ma-
chine has come to rest. If the momen-
tum of the projection machine is
added to the starting torque of the
motor, gears may be stripped.)
11. Correct any defects of the sound-
heads and sharpen the scanning-beam
focus in optical soundheads according
to instructions or by the "flicker test"
given in "R. A. Mitchell's Manual of
Practical Projection."
Arc Lamp Adjustment
12. Thread up a reel of film in each
projector and run, but do not project
upon the screen until the arc lamps
have been properly adjusted. Observe
the action of the film loops, the inter-
mittent sprocket, and the takeup. Play
sound to check volume balance be-
tween the two projectors as well as
reproduction quality.
13. Examine the rectifiers or motor-
generator set. Blow dust from the
generator, clean the commutator, and
"dress" it with the merest trace of
vaseline to establish the desired choco-
late-brown oxide coating. Replace all
worn brushes, seating new brushes
properly, and check brush tension. Lu-
bricate the generator set.
14. Remove the mirrors or conden-
sers from the arc lamps, clean the
lamphouses thoroughly, and supply
lubrication where required. Replace
worn or burned V-guides in simplified
HI lamps, positive burners in rotating-
positive HI lamps, and tighten all elec-
trical connections.
Be sure that the ventilating system
works properly, then burn a trim of
carbons and adjust feeding rate to es-
tablish a steady arc that maintains an
unvarying crater position. (Mirror
lamps not having a separately ad-
justed negative feed are not recom-
mended.)
15. Replace the cleaned lenses in the
projectors and clean the port glasses.
16. Line up the arc lamps with the
projector heads, if this has not al-
ready been done. Replace mirrors and
condensing lenses, insert heat filters,
switch the projector motors on, and
project blank light to the screen. (If
dampness in the air causes the pro-
jection lenses to fog, cut off the light
to avoid breakage.) Adjust mirrors
for maximum, evenly distributed
light without color or light changes
when changeovers are made. The "aim"
of the projectors may now be touched
up so that the two projected fields of
light superimpose on the screen.
Side-to-center distribution of screen
illumination should not be less than
80% in indoor theatres. Lamps unable
to meet this minimum standard of
light quality may require elliptical
mirrors which the manufacturer is un-
able to supply. A different make of
lamp should eventually be purchased,
and then only after a trial period.
17. Time the projector shutters,
first making sure that the shutter
blades are of equal width to prevent
24-cycle flicker. (Turn the projector
by hand, and when 2 teeth of the inter-
The only light which can reach your screen must be reflected by the
mirror. The brilliance of your projected picture accordingly is in
direct proportion to its efficiency.
All mirrors gradually deteriorate. Endeavoring to make
up light loss through the use of more current is pure
waste, costs much more in power bills than
periodic replacement of reflectors.
PRECISION REFLECTORS, 1
long recognized for their superiority, are available in types
and sizes for use in all standard proiection arc lamps. Order
from your dealer now.
THE STRONG ELECTRIC CORPORATION
3 I CITY PARK AVENUE
TOLEDO 1, OHIO
in [73 I'll >J i
1 lu 1
lM 3u 1
rrn
FISHER MANUFACTURING CO.
1 SALTER PL.
ROCHESTER 13, N. 1
INTERNATIONAL PROJECTIONIST • MAY 1957
29
mittent sprocket have passed a fixed
reference point, the shutter, freed on
its shaft, should be turned until a shut-
ter blade is in mid-cutoff position.
Tighten the shutter set screws.)
18. Run a reel of film in each pro-
jector to establish picture focus and
to check for image quality. Correct
any defects which may be noticed. If
a slight amount of travel ghost is vis-
ible, remove with the shutter timing
knob while a picture, preferably con-
taining dark-background titles, is be-
ing projected.
The substitution of a "fast" (/:1.8
or /:1.7) mirror lamp for an older
model requires wider shutter blades
to avoid travel ghost. In many in-
stances it has been found that the
lower degree of shutter transmission
almost exactly counteracts the extra
light produced by the faster lamp. Re-
sult: higher carbon and current bills,
but no more light on the screen.
Lamps faster than /:2.0 should there-
fore be reserved for drive-in theatres,
where picture quality is not as impor-
tant as it is in indoor theatres.
The projection installation is then
ready for presenting the first show of
the season with possibility of break-
down reduced to the absolute mini-
mum and with a high quality of pic-
ture and sound presentation assured.
Operating Hints
A high quality of uninterrupted pro-
jection can be maintained in drive-
ins and other summer theatres through
the entire operating season by daily
attention to cleanliness, mechanism ad-
justment, and the use of proper car-
bons.
If the lamps are correctly aligned
at the first of the season, chances are
that they will remain so. It is never-
theless necessary to check lamp adjust-
ment each time the projector heads
are removed and replaced.
There are several excellent brands
of projector carbons available (Na-
tional, Lorraine, Ship, and Diamond,
among others) ; but unless the proper
trim is used for the current burned,
screen light will be unsatisfactory.
Burn carbons at their maximum rated
amperage for maximum light output
per ampere. The use of larger carbons
will decrease both light and carbon
consumption: never burn carbons at
currents greater than the rated maxi-
mum!
Image definition of the projected
picture is ruined by projector-port
CURTAIN CONTROLS,
TRACKS and SPECIAL
OPERATING DEVICES
VALLEN, Inc.
AKRON 4, OHIO
glasses which are not of the highest
quality. Optical glass is expensive,
but no other kind should be used.
If adequate picture brightness is a
serious problem, narrow the shutter
blades down until travel ghost just be-
gins to appear on both the tops and
bottoms of bright areas in the pro-
jected picture — then widen the blades
a trifle. Never, under any conditions,
narrow one blade more than the
other! A self-styled expert in drive-in
projection recently publicized the
light-saving method of "one inch cut
off each side of the 'flicker blade' {sic) ,
or a total of two inches." Light may
indeed be increased, but unavoidably
by generating a 24-cycle flicker strong
enough to give your eyeballs rheu-
matism! Our advice: dont try it!
Occasionally check the screen sur-
face against a fresh sample to assure
yourself that the screen is not wasting
too much of the light.
Keep your lenses clean, but avoid
overcleaning them. Remove dust de-
posits from lamp mirrors and heat fil-
ters before each performance. Any
soot deposits found on arc mirrors
should be removed immediately to pre-
vent breakage of the glass.
Cleaning Hints
Wipe dirt from the film gate every
day and use an orange-wood stick or
piece of heavy copper wire chisel-
shaped at the end to remove hard
emulsion deposits from the film run-
ners. A small, lint-free rag is suitable
for wiping dirt from the flanged guide
roller.
Remove film chips from the fire-
valve rollers and polish them every day.
A length of film cut lengthwise along
the sprocket holes to provide a saw-
tooth edge is effective for removing
dirt which has accumulated in the fire
valves.
A small paint brush and a liberal
supply of cotton rags are indispensable
for the daily cleaning routine. As for
sprocket teeth, nothing works better
than a stiff-bristled toothbrush dipped
in kerosene.
Oil the projectors sparingly, but reg-
ularly. An ejector oilcan is suitable for
filling the intermittent well; a medi-
cine dropper is best for most of the
bearing oil holes; while a toothpick
can't be beat for applying small drops
of oil to idler and pad-roller oil holes.
1/oWi (pM@QMncQ}
What would you like most to see covered in future issues of IP? We
aim to please, and what YOU want to appear in the pages of this
magazine is the most important thing to us. So, if there's a particular
subject (or subjects — any number) on your mind, just fill in the lines
below and return to us. We'll do the rest.
INTERNATIONAL PROJECTIONIST, 19 West 44 St., New York 36, N. Y.
Gentlemen: I would like to see published in IP articles (and drawings) relating to the
following subjects:
NAME ADDRESS
30
INTERNATIONAL PROJECTIONIST
MAY 1957
Her home was in a part
oj the city where anything
could happen
WAKING ONE MIDNIGHT, she surprised
a burglar in her room. As he leapt
for the window, she stopped him. "You'll
be hurt. Go down by the stairs and let
yourself out."
Calm. kind, and acutely intelligent, she
had long ago learned to stay human in emergencies—
by living where emergencies were routine, in the heart
of one of Chicago's poorest immigrant neighborhoods.
Here she had settled down to her life work — helping
people. No sociologist or social worker, she left it for
others to make this a science. To her, it was an art. An
art she practiced so beautifully that, eventually, while
she was loved around Halsted Street, she was admired
around the world.
When, in 1935, Jane Addams of Hull
House died, her little grandniece. seeing
hundreds of children among the mourners,
asked, ''Are we all Aunt Jane's children?"
In a sense, we all are. For the work Jane
Addams did and the lessons she taught still
help us all. And they prove magnificently
the fact that America's greatest wealth lies
in Americans.
It is the character and abilities of her
people that make this country strong. And it is these
selfsame people who make our nation's Savings Bonds
one of the world's finest investments. For in U. S. Sav-
ings Bonds your principal is guaranteed safe to any
amount — and your interest guaranteed sure — by the
government that represents the united strength of 168
million Americans. So for your family's security, buy
Savings Bonds. Buy them at your bank or through the
Payroll Savings Plan at work. And hold on to them.
PART OF EVERY AMERICANS SAVINGS BELONGS IN U.S. SAVINGS BONDS
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,
GOING CRAZY?
Impossible to keep a sharp picture on the screen? Getting more than
your share of breakdowns? Changeovers becoming tougher?
Then it's time to have a talk with your boss about replacing
equipment. In other words . . . it's time to tell him about
Simplex X.L. — the finest, most dependable and easiest-to-operate
projection and sound equipment on the market!
PROJECTION and SOUND SYSTEMS
Manufactured by
INTERNATIONAL PROJECTOR
DIVISION OF SIMPLEX EQUIPMENT CORPORATION
Distributed by
NATIONAL THE AT RE SUPPLY COMPANY
SUBSIDIARIES OF GENERAL PRECISION EQUIPMENT CORPORATION
GPl
JUL -2 195
5? B 658848
JUNE
1957
VOLUME 32 • NUMBER 6
30c A COPY • S2.50 A YEAR
yio lamp **- msL
CAN PRODUCE SO MUCH LIGHT.
Hy-Candescents were selected for all important
"CINERAMA" installations. (Chicago, New York, Los
Angeles, San Francisco, Philadelphia, and Washing-
ton, D. C.)
Hy-Candescents were chosen by Paramount for all
installations of Horizontal "VISTA-VISION".
Hy-Candescents were again selected by TODD-AO
for "OKLAHOMA".
You have to do the same if you want all the light
there is for big pictures.
TRADE MARK REG
£ J fl £ i) i\ fi
f M&S.tiMC
TRADE MARK REG
£ I J] *}) i\ fi
WRITE FOR DATA
This lamp at 75-80 amperes produces as much and more
light as any so called large reflector lamps, using 85-95
amperes, employing expensive heat filters and water
cooling systems.
By comparison its cost of operation, in carbons, reflector
maintenance, current and parts upkeep is far lower than
others.
$22.00 Ea.
Also, its selling price is hundreds of dollars lower and
they may now be purchased from most all supply dealers.
These circumstances have made the PEERLESS MAGN-
ARC Cinearc the most widely used lamp in the world!
F.O.B. Chicago, is still the retail price of our
PEERLESS 14" Hy-Lumen silvered glass reflectors.
t
J.E.McAULEY MFG. CD,
552-554 WEST ADAMS STREET
CHICAGO 6. ILLINOIS
1 SUBSIDIARY 01
■
GENERAL
PRECISION
EQUIPMENT
COBPOIUIION
B
658848
JUL ~'i 1957
%>*> Oil Jh* fiteu!
B
658848
ROBERT A. MITCHELL'S
MANUAL OF
PRACTICAL PROJECTION
(The Outstanding Achievement in Projection Literature)
is now off the press. Our thanks to both early- and
late-comers for your patience. Demand has gone far
beyond our anticipation, but each order will be filled
as rapidly as possible, in the order of its receipt.
Actual size S'/i" x 8V2",
approximately 450 pages,
profusely illustrated
$6.00
per copy (including postage)
Here is one of the most helpful works ever published for the motion picture projec-
tionist. ROBERT A. MITCHELL'S MANUAL OF PRACTICAL PROJECTION comprises
the best of the Mitchell articles that have appeared in "International Projectionist,"
revised and brought up to date. It provides the reader with a handy permanent record
of sound practical coverage of every aspect of motion picture projection. Its contents
have received the enthusiastic approval of experienced craftsmen everywhere, and it
differs from every other projection work in that it does not contain manufacturers'
pamphlets available to any projectionist for the asking.
A practicing projectionist as well as a recognized authority in this field, the
author presents his material in easily understood language — not too technical, yet
technically accurate. Handsomely bound and cross-indexed for easy reference, this
MANUAL is divided in 8 sections and contains 30 chapters — a valuable reference
work no progressive projectionist should be without.
SECTION HEADINGS
(I) Film; (II) The Projector; (III) Projection-Optics, Screens; (IV) The Arc Lamp;
(V) General Projection Practice; (VI) Motors, Generators, and Rectifiers; (VII)
Sound Reproduction Systems; (VIII) Projection of Color and 3-D Films, Formulas.
ORDER YOUR COPY TODAY
USE THIS HANDY FORM
INTERNATIONAL PROJECTIONIST
19 West 44 St., New York 36, N. Y.
Gentlemen:
■ Hprp i« frtr
copy (or copies) of ROBERT A. MITCHELL MANUAL OF PRACTICAL PROJECTION.
■ Klnmp
Address
City
Znnp Sfol-p I
INTERNATIONAL PROJECTIONIST • JUNE 1957
I M Iational. High-Intensity Projector Carbons
^-^^^ ^ TRADE MARK ** * ■
11% more light
20% slower burning
10% more light
25% slower burning
Look to NATIONAL CARBON for leadership
in the basic research and practical
development of better projector carbons.
The term "National" is a registered trade-mark of Union Carbide Corporation
NATIONAL CARBON COMPANY • Division of Union Carbide Corporation • 30 East 42nd Street, New York 77, N. Y.
SALES OFFICES: Atlanta, Chicago, Dallas, Kansas City, Los Angeles, New York, Pittsburgh, San Francisco • IN CANADA: Union Carbide Canada Limited, Toronto
INTERNATIONAL PROJECTIONIST • JUNE 1957
International
PROJECTIONIST
R. A. ENTRACHT, Publisher
ROBERT C. MacLEOD, Editor
R. A. MITCHELL, Contributing Editor
Volume 32
JUNE 1957
Number 6
Index and Monthly Chat 5
Film Standards for Picture and Sound 7
Robert A. Mitchell
Film Damage: Its Causes and Preventive Measure 11
Joseph Holt
Clusters With Replaceable Pole Caps 12
Edward Stanko
Motion Pictures and Color TV 13
Smpte
Optical? Magnetic? Now Compatible 14
From the British Viewpoint 15
R. Howard Cricks
Letters to the Editor 17
In The Spotlight 18
News and Views from District 2 19
Hank Boldizsar
Projection Clinic 20
Arc Lamp for Alternating Current? 22
Herbert Tuemmel
Personal Notes 22
Book Review 23
New Products for the Industry 24
Obituaries 24
Miscellaneous Items — News Notes — Technical Hints
INTERNATIONAL PROJECTIONIST, published monthly by the Inter-
national Projectionist Publishing Co., Inc., 19 West 44 Street, New
York 36, R. A. Entracht, President. Telephone: MUrray Hill 2-2948.
Subscription Representatives: AUSTRALIA— McGills, 183 Elizabeth
St., Melbourne; NEW ZEALAND— Te Aro Book Depot, Ltd., 64 Court-
nay Place, Wellington; ENGLAND and ELSEWHERE— Wm. Dawson &
Sons, Ltd., Macklin St., London, W. C. 2. Subscription Rates: United
States and U. S. Possessions, $2.50 per year (12 issues) and $4.00 for
two years (24 issues). Canada and Foreign countries: $3.00 per year
and $5.00 for two years. Changes of address should be submitted four
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., under the act of March 3, 1879. INTERNATIONAL
PROJECTIONIST assumes no responsibility for personal opinions ap-
pearing in signed articles, or for unsolicited articles. Entire contents
copyrighted 1957 by INTERNATIONAL PROJECTIONIST PUBLISHING
CO., INC. v
monthly CI™*
Pay TV Inevitable, Says Par's President
THAT THE AMERICAN public's "motion picture dollar,"
now cut two ways between theatre entertainment and
sponsored TV, will soon be cut three ways is clearly
indicated in a statement issued this month (June) by
Paramount's president, Barney Balaban. The new, three-
way, cut will be into (a) theatre entertainment, (b) spon-
sored TV and (c) "home boxoffice" pay TV.
However, this does NOT mean that the theatre will get
still less patronage than at present, but clearly indicates
that theatre grosses are in for an increase.
"The developing pattern of television economics now
confirms the view that pay TV is inevitable," the statement
reveals. ". . . production costs have risen 'astronomically'
in TV, set saturation is being approached, and the problem
of reconciling TV ratings with higher costs to the sponsor
is becoming more discouraging to advertisers. Pay TV is
the answer," Mr. Balaban indicated.
To the extent that advertisers withdraw from TV presen-
tations as being too expensive, paid TV entertainment will
fill the gap. To see the more desirable (and therefore more
expensive) productions it will become increasingly neces-
sary to pay the home "box office." How much the home
viewer will have to pay is the next question. Possibly a
higher admission rate than at the theatre.
What theatre people can do about this is very plain —
cash in on it by making the theatre more attractive, more
comfortable, and the screen and sound presentation more
nearly perfect than ever before. As the turn of the economic
wheel again sends more instead of fewer patrons into the
theatre, surely it will be the duty and the pleasure of all
concerned to make the theatre so desirable a place to
attend that customers will do some serious reflecting on
the differences of picture and sound quality (not to
mention dramatic standards) between the motion picture
and the canned claptrap currently representing TV.
Projectionists will do their part. The keen interest
shown by IP's readers in every tiny detail that will help
them deliver even slightly better presentations is proof
enough of that. But perhaps, in some situations, the pro-
jectionist could do even more. The theatre is his livelihood
too; and when he has done his own job superbly well
perhaps it would not be entirely impermissible to drop
a courteous hint about those chairs with the springs stick-
ing up through the upholstery, or that shabby carpet.
Take to the Hills, Seriously
AMERICANS HAVE ALWAYS been on the move, and the
not-so-current trend to the suburbs is merely a Cadillac
outgrowth of the covered wagon. Drive-in operators
have recognized that this is a nation on wheels. Recently,
it has been encouraging to see that four-wall owners have
also recognized that we are suburbanites. Thus, a pattern
of building the big houses in the outlying communities is
forming. That is where they should be; that is where they
shall be in the future; that is where they should have been
a good while back.
INTERNATIONAL PROJECTIONIST • JUNE 1957
WITCHERY! de luxe
ir. yVant a witch ? Make-up and costume
take care of. that, of course! Want
to swoop your 'witch low over Park
Avenue? Cameras, optical departments,
New York or Hollywood, together
create the illusion.
The* big factor— final reality— comes/ '
from Jhe complete finesse of each /^
*, Individual factor plus the .closest ' '
co-ordination. Co-operation in situations
such as "this is implicit in the Eastman
Technical Service for Motion Picture
i* Film. Offices at strategic points.
Inquiries invited.
•
■■•■ il * in ' *"" ** ,s. «■.-.
mmmmmm
!».—.',,
f Motion Picture Fflm Department :
EASTMAN KODAK COMPANY
Rochester 4, N. Y.
East Coast Division
342 Madison Avenue
New York 17, N. Y.
Midwest Division
130 E. Randolph Drive
Chicago 1, Illinois
Wesf Coasf Division
6706 Santa Monica Blvd.
Hollywood 38, Calif.
•wmMMA*
■MM !
*1W1 "l**WttW*ll
INTERNATIONAL PROJECTIONIST • JUNE 1957
Volume 32
JUNE 1957
Number 6
Film Standards for Picture and Sound
By ROBERT A. MITCHELL
In this admittedly controversial article, Mr. Mitchell
reiterates his views concerning the relative merits of
optical and magnetic sound, with an excursion into magop.
DESPITE the appearance of several
new film sizes designed primarily
for wide and curved screens of
the "audience-enveloping" variety, the
gradual return to standard non-ana-
morphic release prints with high-grade
optical sound, often subsonically cued
for stereophonic reproduction, would
appear to indicate that the battle of film
standards is subsiding. Such, how-
ever, is not the case.
The latest manifestation of Holly-
wood is the magoptical release print.
Now, this attempt upon the exhibi-
tion industry constitutes a vigorous
reaction on the part of magnetic-sound
adherents to the resurgence of regular
optical tracks for theatre sound re-
production. But when all aspects of
the problem are examined, it can be
seen that the magoptical print consti-
tutes an invasion of the undersized
sprocket hole introduced by 20th Cen-
tury-Fox in 1953.
Ironically, magnetic-sound houses
have often been forced to resort to the
optical track of the combination print
because of poor magnetic quality
caused by inferior magnetic tracks and
worn, broken-down penthouse repro-
ducers.
The matter of sound furnishes an
excellent starting point for a review
of all film standards affecting the rank
and file of motion-picture theatres.
And closely allied to the topic of sound-
tracks standards is the coexistence of
two different standards for perforating
release positives.
If it had not been for the selection
of magnetic tracks for CinemaScope
stereophonic sound, film perforations
would have remained standard for all
35-mm prints. In 1953, however, the
Perspecta optical-track stereophonic
method had not been fully developed:
and the choice of multiple magnetic
tracks for CinemaScope release prints
was a logical, if not a technologically
prudent, one.
Shark-Toothed Sprockets
Use of undersized sprocket holes is
questionable from a purely mechanical
point of view, particularly as long as
"straight optical'" prints with stand-
ard perforations continue to be used.
EXCEPTIONS INVITED
The reader is warned, usually, by the
time-honored ( ?) phrase: "The writer's
opinions do not necessarily reflect those
of this magazine." Certainly there is as
much diversity of opinion in the mag-
netic vs. optical dispute as the prob-
lems it has occasioned. Considering that,
readers' comments on Mr. Mitchell's
contentions are encouraged.
While the life of "Foxhole" Cinema-
Scope prints is only slightly shorter
than that of standard prints, the effect
of narrow sprocket teeth upon the
larger standard perforations of con-
ventional prints is a growing evil. The
smaller teeth tend to notch standard
perforations on their sensitive pull-
down edges instead of at their corners.
The result is a small, but measurable,
increase in picture unsteadiness.
Narrow-tooth intermittent sprockets
are especially dangerous to prints. Feed
and holdback sprockets having small
teeth increase perforation damage in
the first and last hundred feet or so
of every reel. Increase in leader dam-
age is reaching alarming proportions;
and even the most careful projection-
ist can only mitigate, not prevent, it.
Many exhibitors, following releases
about "The True Story of Jesse James"
being released only in magoptical
form, have put in calls to service engi-
neers to install the narrow-tooth
sprockets on the double-quick. This
product has been making the rounds
in standard, as well as magnetic, form.
Other exhibitors, soured by the ulti-
matum to buy sprockets for no reason
other than to obtain lower sound qual-
ity, have made the replacement piece-
meal. And the thought of being cut
off from the CinemaScope output is no
more pleasant than the alternative pros-
INTERNATIONAL PROJECTIONIST • JUNE 1957
pect of having to play the anamorphic
lensings second-run after the prints
have been worn out by the magnetic
houses. It is hardly conceivable that
distributors will rent magoptical prints
to optical houses first, even though a
tremendous number of first-run thea-
tres are included in this category. So,
you see, economic problems affecting
the welfare of the entire exhibition
industry are created by the magoptical
print along with the technical prob-
lems more in evidence to projection-
ists.
Projectionists operating in magnetic-
sound theatres are required by the
magoptical print to reduce the full
CinemaScope aspect ratio of 2.55/1
down to 2.35/1, popularly called the
"optical-track ratio." On the other
hand, the magoptical print brings to
optical-sound projectionists an optical
track which is slightly less than half
as wide as the standard soundtrack.
The volume control must go up to ob-
tain the same loudness of sound: sys-
tem and surface noises are correspond-
ingly increased; and sound quality de-
teriorates at a time when the public,
P I
I
O
D
O
CinemaScope
"magoptical"
fil
m
%< — 0.038
I
D
D
a
a
o
^-Total ar*ea scanned
FIG. 1. A comparison of perforation size and
optical-sound-track width on normal and "mag-
optical" print. Magoptical prints, favored by
producer-distributor interests to eliminate the
need for separate magnetic- and optical-track
prints of CinemaScope pictures, are disap-
proved by a number of projectionists, sound
technicians, and exhibitors.
hi-fi conscious, wants better, not worse,
sound.
Standard optictal soundtracks (Fig.
1) are 0.1 inch wide, the effective
scanned width being 0.084 inch. The
optical tracks on magoptical prints
are only 0.038 inch wide, the entire
area being scanned. Magoptical tracks,
accordingly, have only 0.038/0.084, or
about 45%, the effective width of nor-
mal tracks. There are no high-fre-
quency losses in magoptical tracks, nor
is there any increase in distortion. The
loss occasioned by them is simply a
loss of dynamic range — the range be-
tween surface noise and the loudest
recordible sound.
Variable-Density Tracks
The optical component of magoptical
soundtracks is of the variable-density
type on MGM and Fox issues. Even
though variable-area optical tracks
have long been recognized as more
versatile and superior to variable-dens-
ity in both quality and dynamic range,
variable-area tracks definitely lose
quality when reduced in width, while
variable-density tracks do not. In fact,
experimental variable-density tracks
only 0.002 inch wide give acceptable
results under carefully supervised con-
ditions.
The success of variable-area tracks
depends upon the sharpness of the
"sawtooth" images. If the bilateral
multifold system is used, and the scan-
ning beam in the projector soundhead
is evenly illuminated across its length,
minute errors in optical-tube azimuth
do not produce distortion. Azimuthal
errors result only in a high-frequency
loss, which also occurs with variable-
density tracks.
Variable-area tracks have a dynamic
range from 10% to 20% greater than
that of variable-density tracks, and are
more readily "noise-proofed" by a bias-
ing valve. Moreover, they are not sub-
ject to photographic emulsion or proc-
essing distortions as are variable-
density tracks for which contrast con-
trol is always critical, no matter which
specific variable-density recording
process is used. (There are several.)
Also, high-frequency distortion is
serious at high modulation levels in the
Western Electric ribbon-valve method
of variable-density recording. The dis-
tortion is caused by the relative mo-
tions of the ribbon-valve and the film.
This method depends upon the image
of a constantly illuminated slit which
varies in thickness; and the resulting
distortion is very similar to severe azi-
muthal error in the reproduction of
old-style, single-edge variable-area
tracks !
The modulated-beam method of
variable-density recording is free from
this serious defect of the Western Elec-
tric system. However, both are sub-
ject to minor photographic distortions
and low volume when the highest sound
quality possible is desired.
The original Fox Movietone aeolight
system is plagued by a spurious signal
lag analogous to magnetic hysteresis;
and because this and the original West-
ern Electric ribbon-valve processes
were the only variable-density record-
ing systems in use in the United States
in the earliest days of "talking pic-
tures," it is no wonder that Germany
was first in the field with superb modu-
lated-beam variable-density tracks. The
writer vividly recalls the excellence of
these early German sound films ex-
hibited in Mexico at the time when
American exhibitors were still strug-
gling with worn, cracked, and out-of-
sync Vitaphone records.
When variable-density recording is
o
a
D
a
a
a
□
a
a
a
a
FIG. 2. A variable-density optical-track nega-
tive. Good results are obtainable from variable-
density tracks when recorded by the modu-
lated-beam method, but the Western Electric
ribbon-valve method causes harmonic distortion
which becomes appreciable at the higher fre-
quencies, and the Movietone aeolight method
suffers from a light lag, analogous to magnetic
hysteresis, which also introduces distortion at
the higher frequencies. Variable-area optical
recording, on the other hand, is free from these
defects as well as from the minor photographic
distortions which afflict variable-density tracks.
8
INTERNATIONAL PROJECTIONIST
JUNE 1957
used in the ha If- width magoptical
tracks, the dynamic range (power out-
put between surface-noise level and
overmodulation) is reduced by about
10% to begin with; and the reduction
of track-width occasions an additional
loss of 55%. Up and up must go the
volume potentiometer, and with it the
system noise, the noise of scratches,
splices, etc.
There is no need to linger with the
characteristics of CinemaScope mag-
netic tracks, as worn prints and repro-
ducing equipment have too often been
responsible for bad sound. Optical
reproduction is the only system that
tolerates film wear and neglect of the
equipment. We certainly do not ad-
vocate neglecting any component of
the sound projection equipment; but
the projectionist feels better when he
is sure that the sound issuing from
the stage speakers is always passably
good no matter how bad the prints,
or how long since the soundheads were
overhauled.
Deterioration Factor
Unlike magnetic sound, optical
sound is not dependent upon actual
physical contact of the "record" with
the "reproducer." Disk reproduction
is, and so is magnetic reproduction.
// the film doesn't actually rub upon
the pole pieces of the magnet clusters
in magnetic reproduction, frequency
response and quality deteriorate alarm-
ingly.
Even if the magoptical type of print
does nothing else, it permits a direct
comparison of magnetic and optical
sound. A switchover from one me-
dium to the other will instantly reveal
the greater clarity of optical sound in
all theatres except those playing new
prints on new magnetic reproducers.
In those theatres no difference will be
noted aside from the stereophonic
effect perceptible to observers "down
front" — the very seats which the wall-
to-wall CinemaScope screen has emp-
tied of cash customers.
It is the opinion of most sound ex-
perts that 35-mm optical recording
practice has yet to utilize the full
capabilities of the photographic emul-
sion. The use of highly refined meth-
ods in TV 16-mm optical recording has
made it fairly easy to obtain the stand-
ards of performance customary with
commercial (that is, Hollywood) 35-
mm recording. In support of this con-
tention. John A. Maurer states in the
February 1957 issue of the Journal of
5.O8
FIG. 3. Magnetic-coated
film used for sound re-
cording in most motion-
picture studios. The 35-
mm film usually carries
three magnetic stripes,
each about 5-mm in width.
The ly^-mm "split film"
has a 7-mm striping. The
sound recorded in these
stripes is later re-recorded
optically for the release-
print optical tracks.
the SMPTE (p. 50) that if these 16-
mm methods were applied to 35-mm
film, they would produce records "flat"
in response up to at least 20,000 cycles,
with a signal-to-noise ratio of at least
60 db.
Mr. Maurer also declares that quality
in 16-mm kinescope soundtracks is lim-
ited as much by the magnetic master
records as by the photographic re-
recording process. "It was proved re-
peatedly that if the photographic
release print and the magnetic record
from which it was recorded were run
simultaneously in synchronism on the
best available reproducers, it was im-
possible to distinguish between them
when switching back and forth."
10,000 Cycles
Modern 35-mm recording from push-
pull optical or magnetic masters can
easily attain an output level to 10,000
cycles with present-day optical record-
ing-and reproducing-slit dimensions.
In present-day practice, however, out-
put is level to about 8,000 cycles with
both variable-density and variable-area
tracks, falling off rather sharply to 0
output above this region in the inter-
ests of noise reduction and "pleasing"
sound reproduction. (Frequency-re-
sponse adjustments are made in the
amplifiers, not the soundheads, to con-
form to the acoustics of the individual
auditorium. These adjustments are
the same for CinemaScope magnetic
sound and standard optical sound; and
audible reproduction of a 10,000-cycle
signal occurs principally in theatres
having the most antiquated optical-
sound systems ! )
We have stated time and again
that there is no need for reproduction
beyond the 8,000-10,000 cycle band in
theatre sound, and that to go one
octave higher to the highest pitch
audible to the average adult listener
is quite unnecessary and involves tech-
7 mm->j
nical disadvantages. Even a 9,000-
cycle tone is an indeterminately high-
pitched hiss; and this frequency is
well reproduced by optical sound and
by CinemaScope magnetic sound when
the tracks are undamaged and the re-
producers unworn.
The dynamic range of optical sound-
tracks is tremendously in excess of that
reproducible on even the most care-
fully made "hi-fi" disk records. When
commercial disk records are made
from magnetic-tape originals, the dy-
namic range is purposely reduced from
about 50 db on the original to not more
than 30 db on the wide-range disk rec-
ord offered for sale in music shops.
Even with a dynamic range of 40 db
on the record, the pianissimo passages
of the music would become so soft as
to be completely dominated by all
kinds of interfering sounds such as are
normally present in a house: street
noises, sounds from neighboring apart-
ments, and even the faint hum of the
phonograph amplifier and motor.
Listener's Dilemma
The Philips Technical Review (Octo-
ber 1955, p. 103) reports: "Were the
dynamic range of a gramophone rec-
ord any greater, the listener would tend
to increase the volume of reproduction
somewhat during soft passages, with
the result that the sound would be
much too strong and, moreover, dis-
torted during the loud passages. The
listener would then reduce the vol-
ume. This undesirable situation can be
avoided by doing what the listener
would otherwise have to do, during
the actual recording, but in an expert
manner with due consideration for the
music. Only when the dynamic range
of the reproduction has thus been re-
duced can it afford the listener undis-
turbed enjoyment."
These remarks apply in lesser degree
(Continued on page 28)
INTERNATIONAL PROJECTIONIST • JUNE 1957
PROJECTION
LAMP
INCORPORATING THE NEW
CINE-STEREO LIGHT PROJECTION SYSTEM
50,000 LUMENS
80-100% LIGHT DISTRIBUTION
OVER ENTIRE SCREEN AREA
With CINE-STEREO
either 35 or 70mm film
can be projected
with equal perfection.
Instantaneous change to
any aperture width.
No change in reflector-
No change in lamphouse
position — Does not
require auxilliary lenses.
f/1.4
RATED OPTICAL
SPEED
means more screen
light with greater
economy. More reels
per carbon, more
light per ampere.
THIS IS THE PROJECTION LIGHT SOURCE THAT IS
SO SUPERIOR THAT IT HAS BEEN SELECTED BY
EVERY NATION-WIDE THEATRE CIRCUIT AS
THE STANDARD OF EXCELLENCE
13.6 CARBON-130-160 AMPS-WATER COOLED CON-
TACTS-COMPLETE AIR CONDITIONING OF LAMPHOUSE
AND REFLECTOR. SUPER-CINEX HAS EVERYTHING
THAT THE BEST LAMP SHOULD HAVE. PROJECTION EXCEL-
LENCE WITH OPTICAL AND MECHANICAL PERFECTION.
U.S. Distribution through INDEPENDENT THEATRE SUPPLY DEALERS • Foreign: WESTREX CORPORATION • Canada: DOMINION SOUND EQUIPMEMTS, LTD.
C. S. ASHCRAFT MANUFACTURING CO., INC.
36-32 THIRTY-EIGHTH STREET, LONG ISLAND CITY 1, NEW YORK
No matter what aspect ratio, print, or what-have-you
the projectionist is apt to get, he can expect this.
Film Damage: Its Causes and
Preventive Measures
By JOSEPH HOLT
Member, IA Local 428, Stockton, Calif.
A READER writes to inquire about
"film damage, its causes and pre-
ventive measures." Since the ques-
tioner indicates by his address that he
is a projectionist in military service,
the writer's sympathy is at once ex-
tended to him. Inasmuch as the points
related to film damage apply with equal
force to the service or commercial
theatre, there is no reason why all
readers may not obtain benefit from a
review of the most common causes of
film damage.
Today the commercial theatre is us-
ing hotter light sources, and it is likely
that the damage caused by excessive
aperture heat will head the list. The
remedy has been discussed in numer-
ous articles in IP, and it appears that
we may be forced to revise some of our
ideas about the point at which damage
begins to occur.
Recent Remedies
For some time remedies have been
confined to water and/or air cooling
of the film itself, the tracks, shoes, and
aperture assembly. Recent work indi-
cates that certain heat filters and in-
fra-red transmitting reflectors will put
an end to damage from this one im-
portant source, without light loss. Since
the reader who asks about film damage
is in a service theatre, he will not or-
dinarily encounter a heat problem, but
he is almost sure to encounter severe
problems in film scratching, edge dam-
age, "rain," and print sticking. ■
Film scratches arise, as all who have
spent any time at all in projection work
know, from a multitude of causes. In
this day and time when apertures are
more often than not filed to fit each
picture size, aperture edges may often
be rough and film scratching does re-
sult. Film magazine rollers must be
replaced before the shoulders which
ride film edges wear sufficiently to al-
low the picture and sound portions to
bear against the roller center ; reel ten-
sions should be checked often in order
to provide only sufficient tension for
proper operation; and as has been
stressed so many times, all parts of the
projector, rewind tables, and projec-
tion rooms themselves must be kept
free of all grit and dirt which could
find its way to a point of film contact.
Case in Point
The writer recalls one unusual case
of film damage which may be described
as a deep emulsion scratch running
diagonally across about one frame of
film. The scratches were uniform in
spacing at adjacent footages, but would
vary in distance from about four feet
to two feet apart between opening and
closing portions of the reel.
The problem had serious implica-
tions in that at least one exchange
had threatened to withhold service un-
less the damage was halted. Suffice it
to say that the damage was traced to
You Never Can Tell . . .
. . . just how much you're going
to be influenced by a movie. There
are hazards in this business. Note:
It seems that the visiting dentists
at the Greater New York Dental
meeting at the Statler Hotel in New
York City were watching a movie on
hypnotism. The commentator droned
on in a soft-voiced monotone while
a dentist in the picture was lulling
his woman patient into a hypnotic
trance.
Then there was a dull thud. When
the audience turned around, there
was a young projectionist, Salvatore
Arini, flat on the floor. They revived
him by splashing water in his face.
But he still couldn't explain what
had happened to him, except that:
"I was watching that picture pretty
closely."
the rewinding operation. A certain
type of welded-wire reel was in use
by the theatre, and the points at which
the spokes met the outer rim were not
always smooth. Crew members had
been holding the film in an upright
position as it passed through the hand,
and guiding it against the edge of the
reel in order to obtain smooth rewind-
ing. Obviously the remedy in this
case was the smoothing of all reel sur-
faces, and the training of all projec-
tionists to rewind smoothly without re-
sorting to the extreme method de-
scribed above.
Another cause of scratching on the
obverse or "slick" side of the film is
traced to the improper threading of the
lower loop in certain older projectors
which allows the film to drag inter-
mittently on the bearing which sup-
ports the former hand-crank shaft. It
is hoped that most of this type pro-
jector have been given honorable re-
tirement along with other devices long
ago outmoded.
But certain very popular types of op-
tical soundhead will also produce
severe scratching of the back side of
film. It will be recognized that cer-
tain models of optical soundheads pro-
vide for a mounting bracket for a pris-
matic lens to bend the exciter beam
toward the photocell. This mounting
bracket will rub the back side of the
film if more than four sprocket holes
of slack is allowed between the lower
projector feed sprocket and the sound-
head constant speed sprocket. The
writer has knowledge of scratching
from this source, and has seen the
bracket in question worn away over a
period of years to a surprising degree.
It follows that correct threading of the
soundhead and, in fact, at all points
in the projector will minimize scratch-
ing from this cause and others similar
to it.
Edge Damage
In regard to edge damage, it is re-
markable to consider how much im-
provement has taken place in the last
twenty years, principally due to the
appreciation in the exchange and pro-
jection room that smooth and even reel-
ing of film will eliminate edge dam-
age during shipment. Yet we do find
some damage resulting from the ship-
ment of film which has been rewound
"zigzag."
Everyone knows that the idea of the
four-inch hub, 2000-ft. shipping reel
was to allow the projectionist to take
INTERNATIONAL PROJECTIONIST
JUNE 1957
11
up on the shipping reel during his
last screening. This condition does not
exist everywhere, for the simple rea-
son that in some cases exchanges use
bent reels which cautious projection-
ists will not use in a lower magazine.
When exchanges receive an edge-dam-
aged print due to this cause, they have
themselves to blame for the foolish
economy of using a faulty reel.
But projectionists offend also when
by necessity or choice they hand re-
wind the film to be shipped. Cer-
tainly it behooves everyone worthy of
his salt to be sure that each reel
leaves his theatre smoothly wound,
securely and properly banded, and
gently lowered into the shipping con-
tainer.
"Rain," and Causes
The condition known as "rain" is
caused by shifting of adjacent film
surfaces between which some foreign
substance is located. It can be noted
near splices, and can result from
splices left gritty with stub scrapings,
silica particles from sandpaper used
to clean the stub or scraped end of a
splice, or any foreign matter on the
bench with which the film might have
come in contact. This is tied up with
cleanliness and proper rewinding at all
times.
Projection personnel often drop the
footage located between the motor start
and cut cue on the floor or bench in
order to measure the length present.
This may be done by reference marks
on the bench or by the "king's yard-
stick" of three feet equals nose-to-fin-
gertip distance, more or less. One
method comes to mind wherein the user
held one cue mark in the right hand
adjacent to his nose. Draping the film
downward to the floor, he would stand
on it, and bring a running end back
to his nose. Total distance, a reliable
eleven feet.
Smile if one will, it remains a fact
that only two methods of verification
avoid any dirt on the film. The first
is to make use of a footage counter,
and the second is to ascertain how
many turns of the rewind handle move
the desired length of film on a given
hub.
For instance, many year ratios will
move eleven feet of film on a five-inch
hub in exactly two turns of the rewind
handle; others will require three and
one-half turns of the handle, and so
forth. The important thing, appar-
( Continued on page 27 )
MI-9019-A magnetic re-
producing head with re-
movable pole cap in
place.
MI-9019-A magnetic re-
producing head with
pole cap removed.
Clusters With Replaceable Pole Caps
By EDWARD STANKO
Manager, Engineering Section, Technical Products Division
RCA Service Company, Inc.
(For those projectionists using the new replaceables, here
are the recommended procedures for replacing and cleaning.)
WHEN SOUND was first recorded
on magnetic tape or film, the ex-
hibitor was confronted with still another
expense problem, that of replacing mag-
netic clusters after they had become
worn to the point where sound distortion
was taking place, or the film was rubbing
on the pole piece frame.
In the production of sound from mag-
netic tape or film, the recording and re-
producing heads are contacted by the
tape or film on which has been deposited
a fine ferrous oxide. When the film is
running, 'his oxide acts like an abrasive
and even though the particles are very
small, considerable wear usually takes
place when thousands of feet of film are
run over the heads.
As with all devices that must be ac-
curately machined and the overall adjust-
ments maintained to very close toler-
ances, the CinemaScope reproducing head
was a fairly expensive item, particularly
since it was required to reproduce sound
simultaneously from four sound tracks.
This is equivalent to adjusting four
optical tracks simultaneously and then
locking them into place, once the proper
position of adjustment was obtained.
In order to reduce the cost of replac-
ing entire clusters, RCA developed the
MI-9019A magnetic cluster with the re-
movable cap. This was the first practical
approach to lower the maintenance cost
on magnetic cluster replacement and at
the same time retain the high quality
precision design. The new cluster looks
like the original one except that the pole
cap is fastened to the cluster body by
dowel pins and two machine screws.
To Replace and Clean
Replacing Pole Caps: Remove the en-
tire cluster from the soundhead. Remove
the two screws that hold the pole cap to
the cluster. Carefully remove the pole
cap from the cluster by sliding the edge
of a knife or screwdriver under the pole
cap. Replace the worn cap with a new
one.
Cleaning of Clusters: Purchase a skein
of white rug yarn. Cut it into 8-inch
lengths. Use white yarn so that the
amount and type of dirt can be de-
termined.
Wet the center section of a length with
carbon-tetrachloride and clean between
reproducer heads using a "shoe-shine"
motion. Study the type of dirt removed.
If it is oxide, use another length of yarn
and repeat until the oxide no longer
appears on the yarn.
Use a similar length of 2-inch wide
gauze and polish top of reproducers,
using the "shoe-shine" motion, until the
heads are polished and free of all debris.
12
INTERNATIONAL PROJECTIONIST • JUNE 1957
THE CONTRAST range of the tele-
' vision system is severely limited as
compared to that of a color motion
picture on a theatre screen. The color
film can reproduce a contrast range
of about 100 to 1, whereas a color
television picture on a home receiver
is limited to about 20 to 1. Color film
produced for television use must be
made with this limitation firmly in
mind, or the quality of the reproduc-
tion we finally see on the color TV re-
ceiver is a far cry, indeed, from the
quality which the color television sys-
tem is capable of reproducing.
It is for this reason that the subject
lighting contrast must be kept lower
for color motion pictures made for
TV than for those made for theatrical
presentation. Unless this is done, a
severe tonal compression results,
which eliminates shadow detail in the
televised reproduction and seriously
degrades picture quality. Ideally, light-
ing ratios of 1% to 1, or 2 to 1 at
most, should be maintained unless
special lighting effects are desired.
The color television system, pre-
senting a smaller picture and posses-
sing considerably lower resolution
capabilities than the theatre screen,
requires that long shots, busy back-
grounds and small detail be used spar-
ingly. Close-ups are emphasized and
"tightened" in films for TV use, in
order to obtain sufficiently fine detail.
Illumination levels must be kept high
enough to allow stopping down the
camera lens for adequate depth of
field.
Color Limitations
The color television system is an
additive system, not a subtractive sys-
tem. Thus, instead of generating col-
or by means of dyes which subtract
varying amounts of red, green and
blue from the white light, it generates
red, green and blue light by means of
phosphors on the face of the color
picture tube, combining these primary
colors in the proper amounts to re-
produce a scene. The green and blue
phosphors are quite good for color
quality. The red phosphor, however, is
far from ideal; it emits red light which
is too orange in hue, and lacking in
saturation. This makes for weak reds,
and distortion of hue and saturation
of colors containing reds. Also, the
light sources used for projecting mo-
tion-picture film for television trans-
Motion Pictures
an
Color TV
Color film, which is apparently the
answer to TV's current problem,
has long been the acquaintance
of the projectionist; here, a dis-
cussion of its application.
mission, known as film "scanners,''
use phosphors which suffer from simi-
lar deficiencies.
We are not trying to say here that
color television is bad color, or that
color film is good color. As we have
already noted, color distortions are
inherent in all color films and proc-
esses. But the distortions inherent in
color television and those inherent
in color film are different, and affect
the final color reproduction of a scene
in a different manner.
Color television is limited in bright-
ness, and can reproduce saturated col-
ors only at relatively high brightness
levels. Conversely, color film has a
much greater brightness range, but
can reproduce saturated colors only
at low brightness levels. Thus
color film and color television are in a
sense incompatible, for their color
gamuts only partially overlap. This
situation can be improved greatly by
an electronic masking technique. Nev-
tFrom "Elements of Color," SMPTE, NYC.
The Southern Gesture
In spite of certain comments lately
about Confederacy conduct at Gettys-
burg, The South Shall Rise Again. Latest
example of cotton-belt ingenuity was the
action taken by 41 owner-exhibitors in
Memphis. A local ordinance permits li-
censed projectionists and theatre man-
agers in projection rooms during show
times, but not owners. Rather than ask
a change of law, the valiant 41 took the
written and practical tests for licensed
projectionists. As new license-holder M.
A. Lightman, Jr., Malco executive, puts
it: "We owners thought it a good idea
to be able to go into the booth legally."
To the Memphis owners IP extends a
rousing chorus of "Dixie."
ertheless, if a color film is properly
planned and photographed for tele-
vision presentation, a much better re-
production will be brought to the TV
screen.
High-key lighting results in the most
consistently pure color reproduction.
Low-key lighting is far less predictable
for color, and tends to give a muddy
reproduction. Uniformity of lighting
in the "playing area" of a screen is
essential for television, for small vari-
ations in illumination can result in
exaggerated deviations in the fidelity
of color reproduction. Colored light-
ing effects must be used carefully, as
they often make a black-and-white TV
picture from the color film very con-
fusing.
Kinescope Recording
Motion-picture film is used by the
television industry not only as a
source of original program material,
but also as a means of recording tele-
vision programs for later transmission.
In the first instance, live action has
been photographed and reproduced on
film for television transmission, just
as it is photographed and reproduced
on film for theatrical presentation. In
the second instance, film is used to
photograph a television reproduction
of live action by photographing the
images on the "face" of a TV picture
tube. This yields a photographic copy
which can be used for later TV broad-
casts. Such photographic copies are
known by various names such as kin-
escope recordings, television transcrip-
tions, telecine recordings, etc.
The use of kinescope recordings has
had a tremendous impact on black-
and-white television programming. It
has enabled small, non-interconnected
stations to transmit big network pro-
grams at time periods most suitable
to their own operation; and it has
permitted sponsors and agencies to
enjoy a certain amount of freedom
in scheduling their shows throughout
various sections of the country, as re-
quired by time-zone differences or the
needs of regional advertising cam-
paigns.
Kinescope recordings are also vital
to the operation of network programs
which must be broadcast at a specific
time in each time zone. Let us suppose
that a program must be "on the air"
at 7:00 p.m. across the country, and
that the program originates in Holly-
wood. It is broadcast live at 4:00 p.m.
Pacific time for New York reception
INTERNATIONAL PROJECTIONIST • JUNE 1957
13
at 7:00 p.m. Eastern time. It will have
to be kinescope recorded in Chicago
(6:00 p.m. Central time) for trans-
mission 1 hour later; in Denver (5:00
p.m. Mountain time) for transmission
2 hours later, and in Los Angeles for
rebroadcast 3 hours later. These and
many other uses of kinescope record-
ings make them an integral part of
any large television operation today,
and it is conceivable that the value of
color television recordings will be of
even greater significance.
Color Kinescope Recordings
One of the easiest ways to make a
color kinescope recording is to photo-
graph a color TV picture using a mul-
tilayer color film. The film can be
either a color reversal film, which will
produce a color positive kinescope re-
cording, or a non-reversal color film,
which will produce a color negative
kinescope recording. Interestingly
enough, it makes little difference to
the television system whether it "sees"
a negative or a positive image, for by
the simple flick of a switch, TV can
make a positive image out of a nega-
tive image electronically. Good, high-
quality kinescope recordings of color
television programs have been made
on both 16-mm and 35-mm multilayer
color motion picture films. These re-
cordings are then reproduced by
means of color film scanners.
We mentioned earlier that the tele-
vision industry was experimenting
with additive color processes for color
reproduction. These processes are es-
pecially interesting for kinescope re-
cording not only because they use in-
expensive black-and-white film which
is quickly and simply processed, but
also because additive processes are
fundamentally more compatible with
the color television system, which, as
we have seen, is itself an additive col-
or system.
Briefly, an additive motion-picture
color process involves photographing
through red, green and blue filters to
produce three black-and-white sepa-
ration positives. These positives can
be obtained by photographing three
strips of film simultaneously, as in the
three-strip camera. Or, by means of a
special optical device, a red, a green
and a blue image may be reduced in
size and fitted into the approximate
area of a single 35-mm frame. This
latter system, of course, requires only
one strip of film. In either case, sep-
aration positives may be made by ex-
A fortuitous accident(?) has developed what may be
a large boon to exhibitors and projectionists; an
optical track completely covered by a magnetic line
may be played through with good quality and volume.
Optical? Magnetic? Now Compatible
MAGNETIC and optical soundtracks
can be combined on one print
and either track played at will through
a revolutionary new procedure discovered
by accident by George Lewin of the
Army Signal Corps. It will no longer
be necessary to use half-width tracks
when optical and magnetic recordings
are to be combined. Half-width tracks
give poorer quality, and impose uneven
head wear on magnetic reproducers.
With this discovery, the same print
can be circulated to theatres that are
equipped and are not equipped for
magnetic reproduction; and played in
any theatre according to that theatre's
equipment or the preference of its man-
agement or its projectionists. In non-
theatrical applications the new process
has obvious advantages in multi-lingual
work, for example.
The accidental discovery was made on
a 16-mm print carrying a half-width
optical recording and a half-width mag-
netic recording side by side. Through
a fault in the striping machine the half-
width magnetic track was misplaced
and completely covered the optical re-
cording. None the less, when the film
was played on a projector equipped for
optical sound only, the optical track,
covered and hidden by the overlying
magnetic material, sounded fine!
Lead-Sulfide Unit Used
The projector used was a military
model, embodying a lead-sulfide photo-
conductive cell in place of the more
common, commercial caesium photo-
electric cell. The lead sulfide unit is
more sensitive to infra-red fight. The
iron oxide magnetic stripe, which is
perfectly opaque to the human eye and
also opaque to a caesium cell, was found
to be transparent to some frequencies
of infra-red, and the lead sulfide cell
was found to be highly sensitive to those
same infra-red frequencies. The cell
looks right through the iron oxide and
sees the optical modulations.
To adapt this procedure to theatre
use the only projection room change,
apparently, will be to substitute a photo-
conductive lead sulfide cell for the
photoelectric caesium cell.
posing onto black-and-white reversal
film which yields the separation posi-
tives directly, or by exposing onto
black-and-white negative film and
printing separation positives.
To reproduce the original color
scene, these black-and-white positives
are projected with red, green and blue
light, and the light which passes
through the three images is combined
to yield an additive color reproduction.
If the three-strip system is used, some
means must be provided for register-
ing the three strips exactly.
With the single-strip system, the im-
ages are recombined by a spe-
cial optical device similar to the one
used during photography. The single-
strip system requires a dimensionally
stable film, and produces on 35-mm
film a picture which is less sharp than a
35-mm three-strip system. The funda-
mental reason for the difference in
sharpness lies in the fact that, since
all three records are reduced in size
to fit into the approximate area of a
35-mm frame, we have in effect a 16-
mm rather than a 35-mm print. But
because the television picture is small
compared to a theatre picture, this dif-
ference in sharpness may not be sig-
nificant.
Lenticular Film
A method of producing color mo-
tion pictures by means of a single
strip of black-and-white film is the use
of lenticular film.
Novel, but by no means new, len-
ticular film is a single black-and-white
emulsion coated on a base which has
been embossed on the non-emulsion
side with a structure of tiny half-cyl-
inder-shaped lenses or "lenticules."
These are placed across the film and
have a radius of curvature of about
1/500 of an inch. This structure of
lenticules presents an appearance
much like a washboard with each in-
dividual lenticule acting as a miniature
cylindrical supplementary lens.
Lenticular film is exposed "back-
wards"— that is, through the base. The
camera lens images a scene onto the
lenticular structure of the base rather
than directly onto the emulsion, as is
usually the case. Each of the tiny len-
(Continued on page 27)
14
INTERNATIONAL PROJECTIONIST • JUNE 1957
This month's discourse by our overseas projection expert telis
how British technicians beat the problem of film mutilation,
plus a description of the introduction of Technirama.
From the British Viewpoint
By R. Howard Cricks, FBKS, FRPS
IN EVERY country in the world
where there are cinemas, print con-
dition has always been a source of
worry to the conscientious projec-
tionist. You may be interested to know
how we have combated the trouble
in Britain.
In the years before the war the posi-
tion was really serious. The projec-
tionist who wanted to put over a first-
class show had to reckon on spending
several hours at the rewind bench be-
fore the films were fit to show. I can
claim to have made some contribution
towards improving things by a cam-
paign which I ran month in and month
out in the Ideal Kinema.
But in general, the trade was rather
indifferent towards it. During the war,
both the patriotic aspect and the high
cost of replacing damaged prints ef-
fected some improvement In projec-
tion for the Army, which was my
chief wartime interest, we were able
to give effective training, and print
damage was a matter of military dis-
cipline.
There are three aspects to this ques-
tion of print condition. First is the
care which a renter takes of his prints.
Second, the damage caused in the
cinema by faulty equipment. Third
and most vital, is the efficiency of the
projectionist.
Print Damage Committee
Practically every cinema has in-
stalled new projection equipment since
the war, and the quality of modern
machines rules out faulty equipment
as a cause of film damage. Biggest
factor in improving matters has per-
haps been the formation by the Kine-
matograph Renters' Society (the all-
powerful association of the film ex-
changes) of the Print Damage Ad-
visory Committee. Under the chair-
manship of the former assistant secre-
tary of the KRS, this committee in-
cluded representatives of every in-
terested section of the trade: the ex-
hibitors' association, the circuits, the
projectionists' union, the manufac-
turers, the laboratories, with myself
included as a representative of the
Ideal Kinema.
Our object was education, not coer-
cion. However, first one or two of the
exchanges had to mend their ways. It
was established, for instance, that some
print managers refused (generally on
higher orders) to have their first-run
copies waxed; it was laid down by
the committee that, no matter what
other processes might mave been used
such as the Peerless process, waxing
was still necessary, and today it is
universal. The only argument now-
adays is how much wax is needed.
We also brought about some im-
provement in the matter of print ex-
amination between bookings. Unfor-
tunately, the direct cross-over (when
a print travels from one cinema to
another, without being returned to the
exchange) is still an obvious difficulty.
Another problem is shortage of time;
many prints arrive at the depot and
are shipped out again within a matter
of an hour or so. The answer is of
course more copies — but copies cost
money.
The cooperation of other organiza-
CRAFTSMEN ABROAD
This month our personality from
England is Sydney Swingler, chief en-
gineer of Circuits Management Asso-
ciation, a member of the Rank coterie.
Swingler started his career as a pro-
jectionist with the late Oscar Deutsch,
Sydney Swingler
founder of the Odeon circuit. Nowadays
Swingler has over 500 theatres in his
charge, and it is said that his memory
is so prodigious that he can remember
every detail of each.
tions in the industry was sought. The
Film Laboratory Association disci-
plined some of their members who
were rather lax in regard to change-
over cues on prints; with a big-hearted
gesture they acceded to the request
of the projectionists that all splices
should have a %-inch overlap, although
this entailed the alteration of most of
their splicers, and notwithstanding the
fact that they themselves were not con-
vinced that the narrow splice was un-
satisfactory.
In spite of the improvement in the
standard of cue dots, there were many
projectionists who preferred their own
private form of cues. I have seen il-
lustrations of identical cue marks in
IP, indicating the one-track minds of
such offenders. The British Kinema-
tograph Society (our SMPTE) and the
Cinematograph Exhibitors' Association
cooperated in arranging a number of
lectures to projectionists, at which they
were given technical information on
many subjects, notably cue dots and
safety base.
The Kinematograph Manufacturers'
Association followed up one or two
complaints ( in fairness it must be said
of a very trivial nature ) relating to
projection equipment.
In those days the exchanges sent out
films in 1000-ft. reels, which practically
every projectionist doubled up in order
to project them as 20-minute reels.
When a pair of reels was spliced to-
gether a couple of frames were lost,
and again when they were broken
down for return to the exchange — and
not every splice was perfect.
The British Standards Institution
prepared standard specifications (Nos.
1492:1948 and 1587:1949) for a
2000-ft. film reel and a corresponding
spool, 15 inches in diameter. Notwith-
standing the heavy cost of scrapping
all their 1000-ft. cans and transit cases,
exchanges cooperated in doing so, and
today only a few old films distributed
by the smaller exchanges are still
despatched in small reels. This fact
alone has resulted in a very consider-
able reduction in mutilation.
Major Causes of Print Damage
In studying the question of print
damage in the cinema, the Print Dam-
age Advisory Committee first studied
the matter statistically. A form was
prepared on which the print manager
of each exchange reported on any dam-
age. These forms were summarized,
INTERNATIONAL PROJECTIONIST
JUNE 1957
15
and a number of interesting facts came
to light. One fact still unexplained was
that year after year, print damage rose
to two strong peaks during the sum-
mer months.
By far the most costly form of dam-
age was scratching, which accounted
for half the total number of reports.
Next came torn or strained perfora-
tions, about one-third of the total. Of
all the causes to which damage was
attributed, the most frequent was a
dirty gate. Innumerable other factors
were included: splicing safety base,
problems of magnetic prints, change-
over cues, transport, etc.
As a result of these meetings, a series
of leaflets was prepared for the educa-
tion of the projectionist. They were
printed on bright yellow paper, and
were slipped into films cans by the
exchanges.
It would not be fair to say that print
damage is a thing of the past, but the
position has enormously improved.
The Print Damage Advisory Commit-
tee has not met for 18 months, which
presumably indicates that the ex-
changes are satisfied with the manner
in which films are being handled. The
stream of correspondence I formerly
received, each letter enclosing a bundle
of film clippings as horrible examples,
is a thing of the past.
In this imperfect world one would
not expect print condition to attain
perfection. But at least we are all print-
conscious.
TECHNIRAMA DEBUTS
The world premiere of Technirama
— whose principles were described in
my former article — was held on Satur-
day June 1, at the Leicester Square
Odeon, in London's West End. The
big theatre was filled with 2500 repre-
sentatives of every section of the in-
dustry, and — surely unique for a trade
audience — one of the sequences was
greeted with applause in recognition of
its superb photography.
Dr. and Natalie Kalmus received
their guests at a party after the show.
Present too were Dr. Bouwers, of Oude
Delft, inventor of the Delrama camera
anamorph, many studio people who
have worked on the process, and a col-
lection of stars.
First the system was explained in a
short film by ace cameraman Jack
Cardiff, who filmed "Legend of the
Lost" in the new process, and is now
The GB-Kalee double-frame Technirama pro-
jector. Compare with the Micronlambda sound-
head (IP, May, p. 21).
working on "The Viking". In the
camera a standard 35-mm. film runs
horizontally, exposing a double frame
just like VistaVision. By means of
the Delrama anamorph the image is
given a compression ratio not of the
orthodox 2 to 1, but 1.5 to 1. From
this negative prints can be made by
contact, for road shows and drive-ins;
additional anamorphosis can be in-
serted in printing to provide a print
compatible with CinemaScope; or the
picture can be un-squeezed to give a
print compatible with VistaVision.
We saw a brief shot of the standard
G. B.-Kalee projector fitted with the
Varamorph, and a number of film
sequences were shown in standard
CinemaScope format. First film in the
world to be released in Technirama
was "Monte Carlo Story", and the first
British film in it is "Davy"; sequences
from these films and many others were
included.
The screen masking closed in to a
1.75-to-l ratio, and we saw unsqueezed
prints projected; there was surprisingly
little loss of quality. Came another
shot of the projection room, this time
showing the G. B.-Kalee double-frame
projector with the unique Taylor-Hob-
son optics; this system differs from
normal in that, instead of expanding
the picture laterally the anamorph
compresses it vertically. The backing
lens needs to be of shorter focal length,
and this has been taken care of by the
development of a special series of
short-focus lenses, known as Vistatal.
Among the sequences shown in dou-
ble-frame were some remarkable stage
scenes from "Escapade in Japan," in
which the Japanese chorus girls, in
brightly coloured costumes, were lined
up across a huge stage, from one side
of the picture to the other. Also shown
double-frame was the sequence that
drew applause: only a test shot in the
early days of Technirama, of ski-ing
in the Swiss Alps, but a superb piece
of photography, with the dazzling
gleam of the snow and breath-taking
views of distant mountains.
The whole audience was in agree-
ment that Technirama represents the
finest wide-screen process yet devel-
oped. It brings us back to the quality
of five years ago which we lost when
the screen became larger. In America
the drive-in owner will, I am sure,
especially welcome it, because double-
frame Technirama should solve his pro-
jection problems.
Obviously in theory the double-
frame print should be capable of even
finer definition than CinemaScope
style prints; but the 45ft. screen of
the Odean was not large enough for
us to see the difference. It will take the
screen of a drive-in to justify the
larger format.
Warning to Projectionists
But there is one warning I must give
to the projectionist: Technirama, be-
cause of the almost unbelievably fine
sharpness of the print, places a heavy
burden upon the projectionist in trans-
lating this sharpness to the screen. At
all demonstrations I have so far seen
— even on comparatively small screens
in studios — a remote control device
(similar to that used on a Technicolor
camera) has been operated by some-
body in the audience to keep the pic-
ture always sharp.
It would need a man with an eagle
eye to keep a picture in such sharp
focus from the projection room. I
visualise a focusing telescope, such as
that fitted to the Simplex XL, becoming
a necessary adjunct to the projection
New Mag Sound Stripers
Magnetic Sound Striping Co. has been
appointed by the Minnesota Mining and
Mfg. Co. as its representative laboratory
in New York City for both amateur and
professional movie film striping. The
company, located at 1472 Broadway, New
York 36, N.Y., promises magnetic sound
striping added to films within 48 hours
of receipt. Tape used is the newly im-
proved Scotch brand.
16
INTERNATIONAL PROJECTIONIST • JUNE 1957
ETTERS TO THE EDITOR
Tracing the American and foreign origins of a once
popular system of arc lamp optics no longer in vogue here.
To the Editor of IP:
May I correct the following misstatement on page 9 in the February issue
of IP:
"Mirror Systems . . . the one employing a large converging lens in addition
to a mirror was first used more than 25 years ago in Motiograph low-intensity
reflector arcs and in a few lamps of European manufacture."
The facts of the matter are that the original Peerless low amperage reflector
arc lamp (15-30 amperes) was in design in October 1923; it was in production
and being shipped in September 1924.
The writer personally knows that the Motiograph lamp referred to by
Mr. Mitchell was in design in the early part of 1925. Now 25 years ago, accord-
ing to Mr. Mitchell, would place the Motiograph lamp as being developed in
1932. I believe that you should publish a note of correction as at the time the
original Peerless low amperage reflector-condenser lamp was on sale here in
the States as a domestic product. The only foreign lamp which also used the
same optical system was the original German Hahn-Goerz "Aristol."
Charles A. Hahn
J. E. McAuley Mfg. Co.
Robert Mitchell's Reply:
Grateful as I am for the dates sup-
plied by Mr. Hahn, I feel that the time
signified by "more than 25 years ago"
includes both 1924 and 1925. I did not
have these specific dates at the time I
wrote the article; and with several makes
of still-used European mirror-condenser
lamps of the early nineteen-thirties in
mind, I preferred not to be specific or
to make claims of priority for anyone.
Be that as it may, the Germans were
far and away the first in the field (as
in most other cine technical develop-
ments, including the anamorphic lens).
The combination mirror-condenser lamp
was first used by Emil Mechau of Ger-
many in 1910.
My first operating acquaintance with
this type of lamp was with the Motio-
graph mirror-condenser lamp. This low-
intensity lamp was also furnished with-
out a condenser, in which instance an
elliptical mirror replaced the parabolic
mirror. I have also had experience with
the Peerless LI reflector lamp, but with-
out the condenser; and I am interested
to learn that this lamp was also made
as a combination model (as the Zeiss
Ikon "Magnasol" models for both high-
and low-intensity carbons still are) .
Artisol for Ernemann
The original Hahn-Goerz "Artisol"
which Mr. Hahn refers to was made
primarily for Ernemann projectors, and
was the forerunner of the present-day
Magnasols. The firm of Hahn in Kassel,
a subsidiary of the C. P. Goerz AG.,
Berlin, developed the Artisollampe, a
mirror arc with condenser, in 1920. This
German firm also made the first high-
intensity arc lamp for motion-picture
projection, the "Artisol 75," in 1923.
In regards to the use of strongly para-
bolized mirrors with large condensing
lenses, such lenses are still supplied by
the German firms of Bauer and Zeiss
Ikon, the latter furnishing condensers
of 500-, 700-, and 1000-mm focus for the
Magnasol, which may also be used with-
out lenses.
ANTICIPATION
"By adding a condenser lens," says
Zeiss Ikon, "the Magnasol mirror will
acquire all the characteristics of a 'rub-
ber mirror,' that is to say, it can readily
be adapted to all practical projection
conditions. This successful Zeiss Ikon
mirror design assures an adaptability and
luminous efficiency which cannot be sur-
passed by any mirror newly designed in
the meantime. This is very clearly
demonstrated by use of this mirror in
a great many lamps of German and
foreign origin."
Balcony Smoking Problem
To the Editor of IP:
I have read your Projection Clinic article
in the November issue of IP: "Beware of
Inferior Projector-Port Glass." It is quite
true that low quality port glass reduces
and/or absorbs light output. The only
remedy is good grade optical glass, as you
mention.
Another big factor is balcony smoking,
which impairs the quality of the picture.
I notice this when the theatre begins to fill
up, and be damned if we can clarify this.
We have an exhaust system which gives a
complete change of air every three to five
minutes, but it is not sufficient to pump
smoke out as fast as it forms in the balcony.
Result: "foggy reproduction."
Any drive-in projectionist knows that
when fog starts, the picture image is hor-
rible. The same applies to indoor houses
where smoking is allowed.
I strongly believe that observation port
and lens port glass should be removed un-
less a good grade optical glass is used, and
port hole blowers installed on each lens
port. Try it. The result will be amazing.
I have been reading IP with a great deal
of interest for the past three years, particu-
larly the technical questions on present-day
mediums.
J. F. Rodcers
Renfrew, Ontario
Kudo For Miller
To the Editor of IP:
Will you please find room in your valu-
able magazine for this well-deserved pat on
the back for Ritz Miller, whose fine article
on panel marking appeared in IP.
This is an answer to those very few pro-
jectionists who blow their tops because
switch panels are cleaned up. The only ray
of sunshine in many of the dimly-lit,
dingy, smelly booths one walks into is that
the artistry shows that not Kilroy, but Ritz
Miller was here.
The work that he is doing, giving his
time and material, deserved real commen-
dation. It is not only a hobby, but an im-
portant, essential task he has undertaken,
reducing chances of error, making it easier
for the projectionist, and consequently
making for better projection.
Nels Matheson
Los Angeles, Calif.
INTERNATIONAL PROJECTIONIST • JUNE 1957
17
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.
9n, J/ul
SPOTLIGHT
LOCAL 162 MEMBER HONORED
THE recent annual spring meeting of
the New York State Association of
Motion Picture Projectionists was one
of the most outstanding events sponsored
by this group. Attended by delegates
from many of the projectionist Locals
in the state and by representatives of
leading projection equipment manufac-
turers, the meeting opened with a brief
address by Association President George
F. Raaflaub who introduced E. Francis
Larham, president of host Local 108.
Geneva. Larham welcomed the delegates
and guests and invited the gathering
to the buffet lunch and midnight banquet
tendered by the Geneva Local.
The afternoon session was devoted to
a series of educational talks and exhibits
arranged by William H. Ingram, member
of Rochester Local 253 and chairman
of the Association's Educational Com-
mittee.
Technical Discussions
Thomas Mulroy, sales manager and
engineer for the Vicra-Lite Screen Divi-
sion of the L. E. Carpenter Co., delivered
a lecture on projection screen surfaces,
illustrating his talk with a series of
slides.
Willy Borberg, chief engineer for Gen-
eral Precision Labs., discussed the curved
gate and its effect upon projection — the
improvement of the screen image when
projected with the curved gate at high
light levels. Slides were used to demon-
state comparative moments showing film
behavior in both flat and curved gates.
Bausch & Lomb Optical Co. was repre-
sented by H. H. Schroeder and Don
Peterson, who discussed and demon-
strated the Balcold reflectors. William
Spooner of Lorraine Carbons, Boonton,
N. J., offered his services free of charge
to any theatre or projectionist experi-
encing difficulty in getting the maximum
light from his arc lamps. All that is
necessary is to drop a note to the com-
pany and Spooner will call at the theatre
at the earliest possible moment and make
suitable suggestions.
International Projector ran a film de-
picting the history of a motion picture
projectors — from the days of the early
Powers (forerunner of the Simplex), the
Lubin, the Edison Kinetoscope, Dressier,
Vitascope, Motioscope (later known as
the Motiograph), etc., to the present day
Simplex X-L. This film, incidentally,
created much favorable comment and
plans are being made to show it to other
projectionist groups.
The Association held its business ses-
Back Issues of IP Available
Back issues of IP, dating from 1939 to
1951, may be obtained by contacting
Dr. J. C. Burnett, Alpine, New Jersey.
Dr. Burnett has advised us that these
issues include complete files for the
years 1940 to 1944, with one or two
numbers missing for the other years.
W. E. Butler (center), retiring charter member
of San Francisco Local 162, being congratu-
lated by Local President Rexford Elder on the
award of a gold life membership card. The
presentation was made last month at the
Local's regular meeting.
sion in the evening with a general dis-
cussion on ways and means for improving
its financial position. It was decided to
hold the forthcoming fall meeting in
Syracuse, and the Educational Committee
is planning many surprises for the
delegates.
• During their recent visit to New York,
Charles K. Peters, Local 393, Corsicana,
Texas and Mrs. Peters were the guests
of Mr. and Mrs. Morris Klapholz (of
25-30 Club fame). This foursome had
quite a time making the rounds and all
parties concerned enjoyed the all too-
brief visit.
• The motion picture industry in Mexico
is threatened with an industry strike
unless an agreement is reached between
producers and film workers. A 50%
boost in pay is sought by the Union of
Film Industry Workers, the union claim-
N. Y. STATE ASSOCIATION HOLDS SPRING MEETING AT GENEVA
Group photo of delegates and guests at the recent meeting of the N. Y. State Association of
Motion Picture Projectionists. Seated, left to right: Walter Scarfe, L. 376, Syracuse; Earl Tuttle,
L. 396, Binghamton; William Ingram, L. 253, Rochester; Charles F. Wheeler, L. 108, Geneva;
George F. Raaflaub, L. 376, Syracuse; James Brennan, IA 1st vice-president, and H. Paul Shay,
secretary-treasurer, 10th District. Standing, left to right: William Spooner, Lorraine Carbons;
Thomas Mulroy, Vicra-Lite Screens; Willy Borberg, General Precision Labs.; Arthur E. Meyer,
International Projector; E. Francis Larham, L. 108, Geneva, and Roy Fisher, Ethyloid Film Cement.
18
INTERNATIONAL PROJECTIONIST
JUNE 1957
News and Views from District No. 2
By HANK BOLDIZSAR
Member, I A Local 150, Los Angeles, Calif.
Our West Coast columnist describes several inter-
esting and unusual projection room installations.
ONE OF the most desirable projec-
tion assignments out here on the
West Coast is that enjoyed by Jimmy
Phillips, member of Locals 150 (Los
Angeles) and 165 (Hollywood), and
projectionist at the Screen Directors'
Guild in Hollywood.
The Guild projection room, which
covers an area of 20 feet by 40 feet, is
beautifully designed and equipment-wise
leaves very little to be desired. The room
is completely sound-proofed and is
equipped with Simplex XL heads and
Peerless Hy Candescent lamps operated
at 160 to 200 amps. Two of these units
are permanent stations, while the third
is very flexible. The third unit is actually
an experimental station ; when a new
process is to be viewed this unit under-
goes a change of projector head or some
associate part. (I understand that some
new and exciting projection news is in
the making — will let you in on that as
soon as we get the green light.)
An Eastman Model 25, the neatest 16-
mm projector package I have ever come
across, is also part of the projection
room equipment. This particular unit
consists of an Eastman carbon arc lamp,
rectifier, and an amplifier — all in one
package, with the projector head com-
pletely enclosed. It projects a beautiful
picture in both wide screen and Cinema-
Scope.
Novel Installations
The projection room at the Screen
Directors' Guild is equipped to handle
optical and four-track stereo sound, and
is completely wired for the addition of
Philips projectors and the six-track
Todd AO system. A future installation of
a TV projector will make it possible to
show any process of film entertainment
from this projection room — even "ye
olde silent movin' pitchers" for which
the XL heads have a second drive motor
for 72 feet-per-minute running speed.
ing that the current contract which ex-
pires in July is due for a "normal" re-
vision. It is expected that a compromise
will be effected in time to avert a pos-
sible strike.
• Toronto IA Locals Nos. 173 (Projec-
tionists) and 58 (Stagehands) will hold
their annual picnic on June 16 at Low-
ville Park, located 33 miles west of To-
ronto on the No. 5 Highway.
• An agreement reached between San
Antonio Local 407 and the management
of the San Antonio Twin Drive-in located
on East Loop No. 13 ended the several
months old strike against the theatre.
Gordon Dyer, president, was in charge
of negotiations for the Local.
• The Theatrical Employees Association
of Australia (TEA) is up in arms over
American and British production units
coming to that country to shoot pictures
with a 100% technical crew brought over
from their respective countries. TEA
has ruled that its projectionist members
will refuse to run pictures unless native
technicians are employed in the produc-
tion units. The union is seeking a quota
of 75% for local workers and 25% for
imported technicians.
It is said that the ruling was aimed
particularly at certain British producers
who made it a practice to import a tech-
nical crew from England to shoot ex-
teriors called for in a script and then
complete the interiors in their home
studios.
• Syd Thomas, member of Toronto Local
173. has been working as a projectionist
for a total of 42 years, 32 of them with
the Famous Players of Canada. Thomas
is chief projectionist at the Tivoli The-
atre in Toronto where "Oklahoma" has
been running for the past year.
• Francis Miller and Charles Nelson,
members of Local 376, Syracuse, N. Y.,
are in charge of the Todd-AO projection
room in the recently opened Kallet Cir-
cuit Shoppingtown Theatre in Shopping-
town, which is located three miles out-
side Syracuse.
Seating capacity of the new theatre is
1,010. Technical installation made un-
der the supervision of Altec field engi-
neer Murray Goldberg, incorporates a
curved screen measuring 49x/2 ft. x 21
ft. The 70-mm film is projected at an
angle of 128 degrees. Amplifiers are
Simplex, the control rack is Altec. Five
Altec Voice of the Theatre speakers are
located behind the screen; 12 Altec 12-
inch surround speakers are concealed,
in six pairs, in bass-reflex concealments
on ledges in the auditorium ceiling.
Unique lower magazine installed in projection
room of the Screen Directors' Guild.
Two items of equipment that I found
to be particularly interesting were the
"focuset" and the take-up. The focuset
is a gauge installed on the lens mount
and facilitates pre-focusing of the lens
before the picture is projected, thus in-
suring a clear and sharp picture with
each changeover. A chart mounted on
the front wall near each projector gives
the proper gauge-setting for each lens.
With heat filters installed between lamp-
houses and projectors, and a blower sys-
tem cooling the projector mechanism,
there is no drift (changes in alignment
and distances of projector and optical
parts due to excessive heat of the light
source) problem to contend with.
The lower magazine and take-up as-
sembly is quite unlike anything we
theatre projectionists are accustomed to.
This part of the equipment was designed
by Jim Phillips and Jim Brigham, and
was built in Brigham's electronic shop,
The Sound Equipment and Accessory
Co. of Hollywood. A roomy 25 inches
high and 29 inches wide, this lower
magazine easily accommodates the pic-
ture take-up and track feed and take-up
reels for studio preview projection, and
also the 3000-foot reel for television half-
hour shows. This system is free of take-
up belts or chains, and uses instead
Bodine torque motors which provide
perfect tension under all conditions.
These torque motors are energized
by both the arc and projector motor
circuit. When the rectifiers are turned
on the water valves automatically open
for the water cooling system, and the
torque motors are slightly energized to
take up the slack in the film. With
the start of the projectors the little
Bodines really get with it and take-up
as nicely as you please. When the heads
are shut off the arc circuit still maintains
enough tension on the motors to take
up the remaining tail and prevent a
(Continued on page 25)
INTERNATIONAL PROJECTIONIST
JUNE 1957
19
What Is YOUR
Problem?
Projection
CLINIC
Mirror Magnification
at Constant
Is the magnifying power of an arc-
lamp mirror different in the central
and edge zones?
AN ARC-LAMP manufacturing firm
published a table to prove that different
magnifications prevail over the surface of
an arc-lamp mirror; optical firms manu-
facturing such mirrors disagree. So the
answer to the above question is nega-
tive.
An arc mirror has an "elliptical" form;
and one of the properties of an ellipse
is that the sum of the two distances
from any point on its circumference to
the two foci (F1 and F2 in Fig. 1) is
always constant.
Conventional reflector-arc optics are
based upon the ellipse and its two foci,
Fx and F2. Because the sum of the
lengths of the two bnes drawn from the
foci to any point on the circumference is
constant, the sum of the two dotted lines
in the drawing is equal to the sum of the
two unbroken lines.
A center cross-section of an arc mir-
ror is a portion of an ellipse having one
focus at the crater of the positive carbon
and the other focus at the film aperture,
as shown. These correspond to the two
foci of an image-forming lens. Imaging
of the crater as a "spot" is nearly per-
fect ; and the properties of the system
require definitely located foci and a con-
stant degree of magnification by central
and edge zones of the elliptical mirror.
In terms of projection, the distance
from the positive crater to the surface
of the mirror and thence to the film ap-
erture is always the same, no matter
whether we select a point at the center
of the mirror or at its edge. This means
constant magnifying power and nearly
perfect (anastigmatic) imaging of the
positive crater upon the film aperture
of the projector.
Power-Finding Methods
Different magnifications in different
zones are a physical impossibility, for-
asmuch as one specific elliptical form
produces two fixed foci, one focus being
the place where the crater of the positive
carbon is located, and the other focus
being at the plane of the film aperture.
The magnifiying power of a mirror
may be found by two methods. We may
either divide the diameter of the aper-
ture spot by the diameter of the light
source, or we may divide the working
distance (mirror-aperture distance) by
the "geometric focus" (mirror-crater
distance). The latter method is easier
to use and gives more accurate results
because of the ease of measuring the
working distance and geometric focus.
Now, here is an interesting fact. It will
be found, by measuring the magnifica-
tions of a large number of arc mirrors,
that the magnifying powers of most mod-
ern American mirrors intended for use
with 9-, 10-, and 11-mm carbons ranges
from 5 to 6, while most German mirrors
intended for use with the same size car-
bons have magnifications of from 6 to 7.
Lower magnifications are found only in
mirrors such as the Weule 540/180 in-
tended for use with 13.6- or 14-mm posi-
tives. This special German mirror has a
magnification of only 4.5 and a diameter
of 21.26 inches, making it larger than
any American mirror.
The reason for the higher magni-
fications of German mirrors is simply the
use of correct optical principles, thus
assuring more uniform screen illumina-
tion— about 75% side-to-center as com-
Mirror
FIG. 1. A cross-section of the lamphouse as
an ellipse.
pared with only 55% in the case of the
newer American mirrors for 9-, 10-, and
11-mm positives.
Magnification Under 5?
How great should the magnifying
power of an arc mirror be?
THE GREATER the magnifying power
of an arc-lamp mirror, the less deep its
curvature, and the less strongly it bends
the light rays it receives from the lumi-
nous positive crater. And because an
elliptical arc mirror functions like an
anastigmatic optical system, its focal
properties and magnifying power cannot
be changed (unless auxiliary lenses are
used) without disturbing its anastigmatic
characteristics.
As Fig. 2 shows, too small a working
distance for a given mirror creates a
.condition of "over-parabohzation" while
also decreasing the magnifying power,
and too great a working distance creates
spherical aberration while simultaneous-
ly increasing magnification. There is,
however, a slight leeway in working dis-
tance permitted by most manufacturers,
a longer-than-normal working distance
giving a more uniformly lighted screen,
but occasioning a small loss of total
light.
Working Distance
A properly positioned arc mirror will
have one of its two foci at the positive
crater and the other at the film aperture,
as the top diagram shows. Shortening
the "working distance," as in the middle
diagram, necessitates moving the crater
farther from the mirror, and produces
a smaller aperture spot. The lower dia-
gram illustrates the reverse effect of
lengthening the working distance: the
crater must be moved closer to the
mirror, giving a larger spot.
Working distance may be varied with-
in a range of from 2 to 4 inches (de-
pending upon the characteristics of the
mirror) to give the precise amount of
crater magnification desired; but beyond
these limits, the elliptical curvature of
the mirror will no longer be correct,
and light will be wasted.
Too short a working distance (middle
diagram in Fig. 2) has the effect of in-
creasing the "eccentricity" of mirror
curvature in excess of the required de-
gree. In addition to being too small,
therefore, the spot may become brighter
at its edge than at its center and have
the appearance of a ring of light.
Too long a working distance (lower
diagram in Fig. 2) has the opposite
effect, decreasing mirror eccentricity be-
low the amount required. This produces
spherical aberration, a serious defect;
and the resulting spot, in addition to be-
ing large, is diffuse with an extended
20
INTERNATIONAL PROJECTIONIST • JUNE 1957
outer zone of "fadeaway." The manu-
facturer's recommendations should be
heeded when establishing working dis-
tance, although experimentation is not
amiss in the case of inaccurate pressed-
glass mirrors which are not subsequently
ground to the correct form.
The magnification provided by any
arc mirror should obviously be just
great enough to cover the entire rectang-
ular opening of the film aperture with
the comparatively uniformly brilliant
central portion of the HI crater image
— the "spot." Too high a magnification
(too large a spot) wastes light and overly
heats the projector mechanism: too low
a magnification increases total light
transmission, but gives "hot-spot" pro-
jection— a bright spot of light at the
center of the screen with dim, discolored
edges and sides.
Best LI Light: 3A Carbon Diameter
It has been found that the average
effective light source in low-intensity arcs
is about 3/4 the diameter of the largest
positive carbon intended to be used in
the lamp. (Increasing the current in LI
projection merely increases the diameter
of the positive crater until it is about
4/5 the diameter of the carbon, when
"spindling" occurs.) In high-intensity
projection, however, strikingly different
brilliancy-distribution characteristics of
the crater require us to regard only the
central part of the luminous gas ball
held inside the crater by magnetic forces
to be the effective light source. The dim,
reddish light emanating from the incan-
descent shell of hard carbon surrounding
the core is useless for projection, but
very hot.
Some designers base their mirror-cur-
vature calculations upon the entire di-
ameter of the positive carbon, a cause of
unpleasing, film-blistering hot-spot screen
illumination. Other designers regard the
diagonal of the effective 35-mm film ap-
erture as close to 30-mm (it is actu-
ally 25.4-mm = 1 inch) and take 1/2
the diameter of the HI positive as the
diameter of the light source. For 9-mm
carbons, therefore, mirror magnification
should be 30/4.5 = 6.7; for 10-mm car-
bons, 30/5 = 6.0; and for 11-mm car-
bons, 30/5.5 = 5.5. Only when the
carbon diameter exceeds 12-mm do we
find magnifications of less than 5 re-
quired.
Focus the Emulsion Layer
A few of the fellows seem to think
that either the background or the
foreground of the picture can be
focused sharply on the screen but
not both. It seems to me that when
one area of the picture is focused,
all other areas will automatically be
in the sharpest possible focus.
YOU ARE RIGHT: the fellows who
think that either background or fore-
ground can be sharply focused, but not
both at the same time, must be camera-
men in disguise! The cameraman, unless
the foreground object be beyond the
Properly imaged
- c aperture "spot"
■Fz
Mirror of "correct
elliptical form";-- —
Working- distance
too short. Dotted
line indicates cur-
vature of mirror
required for good
*spot" imaging'
\/
i — __
False
focus
Dotted curve indicates mirror
curvature required for good
"spot" imaging at this exces-
sively long working distance.
FIG. 2. True and false
foci dependent on work-
ing distance.
"infinity focus" of the lens he is using,
can focus sharply only one or the other,
and must make a choice. This is because
foreground and background are at differ-
ent distances from the camera. As a
rule (as in a closeup), the foreground
object is focused clearly, making the
unimportant background more or less
fuzzy on the finished film.
In projection, however, both back-
ground and foreground are at the same
distance from the lens because both lie
in the same emulsion layer of the film.
All that we projectionists really do,
when we focus the picture, is bring
the microscopic silver grains of the film
emulsion into the sharpest possible focus.
If the background is blurred, it's sim-
ply because it is out of focus on the
film. You can't make the picture on the
screen clearer than the picture on the
film! The blurry background will be at
its clearest when the sharply delineated
foreground is in focus, but you can't
sharpen a blurry picture when it has
been photographed that way.
The Necessary Blur
Special camera lenses, as well as or-
dinary lenses "stopped down" to a small
diameter, are used by the cameraman
to bring both foreground and background
into sharp focus simultaneously. Some-
times, however, it is considered desir-
able to blur the background detail in
closeups by means of long-focus lenses
used "wide open" to make the actor's
head stand out more clearly from the
relatively unimportant detail behind
him.
It is also interesting to note that long-
focus lenses have a smaller depth of
focus than short-focus lenses; and large-
frame negative processes require the
cameraman to use lenses of longer focal
length. Backgrounds in pictures made
from VistaVision, CinemaScope 55, and
Technirama negatives are sometimes apt
to be more blurry than in normally
photographed 35-mm films. The desired
extra sharpness of big-frame negatives
is nullified by the camera lens! We have
yet to see a picture made from a big-
frame negative that the moviegoing pub-
lic can distinguish from standard 35-mm
photography. (And we also have yet to
see the consistent knife-edge sharpness
of image that characterized the early
silent films, fhckery as they were. )
New Diffusing Screen
A new projection screen, tradenamed
"Uniglow," has been announced by
Radiant Mfg. Corp. of Chicago. Al-
though its reflective power is claimed
to equal that of a glass-beaded surface
its diffusing effect and wide-angle reflec-
tion permit use of a 40 per cent wider-
viewing angle.
INTERNATIONAL PROJECTIONIST • JUNE 1957
21
Arc Lamp for Alternating Current?
By H. TUEMMEL
(For those querying IP of late on the pos-
sibility of another introduction of an AC
arc lamp, the following article from an
overseas colleague should prove of inter-
est. For a further word on Herr Tuemmel
refer to the box on this page.)
EVERY now and then the arc lamp
fed by alternating current emerges
from oblivion or is said to have been in-
vented, although the problem of the AC
arc lamp is as old as the arc lamp itself.
As there is hardly any DC mains sup-
ply left which has not been replaced by
AC or three-phase current, it is without
doubt a wonderful idea to use an AC fed
arc lamp which needs no rectifier but
only a transformer or a resistor. The ini-
tial costs are also much lower than those
of a DC arc lamp. However, this appears
to be the only advantage, in contrast to
which there is quite a long range of dis-
advantages which derive from the nature
of the AC arc.
As is well-known, the positive carbon
of a DC arc lamp forms a strong crater
the radiation of which is used for the
production of light. On the other hand,
the radiation of the negative carbon is
negligible and is not used for the produc-
tion of light. With the DC arc lamp the
positive crater in itself is a powerful
source of light no matter whether solid
carbons or Hi-carbons are used.
Such a crater cannot be formed in an
AC arc lamp simply because the direc-
tion of the current changes 50 times per
second. The load of both carbons is,
therefore, equal and for this reason car-
bons of different diameter, as used with
DC arc lamps, cannot be employed. A
powerful crater cannot be formed and
for this reason the incandescent points of
the carbons cannot be utilized to produce
light, which leaves only the light-arc it-
self as a source of light. To increase the
light intensity of the arc special carbons
are used containing luminous salts, which
are known by the name of "effect car-
bons."
Both carbon points are heated uni-
formly by the current but, as this energy
cannot be utilized to produce bght, as
with the DC arc lamp, the effectiveness
of the AC arc lamp is much less than
that of a DC arc lamp. In other words:
a DC arc lamp fed by 50 amps will sup-
ply more light than an AC 50-amp arc
lamp. According to the local conditions,
up to 50 per cent or more additional
electric power must be fed into the AC
arc lamp to yield the same light inten-
sity as a DC lamp.
Apart from its considerably lower out-
put the AC arc lamp has still another
inconvenient disadvantage. Its light will
pulsate with the rhythm of the AC fre-
quency.
With a mains supply of 50 cycles the
light will change 100 times per second,
since the negative half-cycle of the alter-
nating current produces the same light
impulse as the positive half-cycle, so
that the 50-cycle full wave of the mains
will produce 100 light pulsations per
second.
This changing light of 100 cycles,
however, beats with the rotary shutter of
the projector and these vibrations will
be disturbingly noticeable on the screen
as relatively slow light-dark fluctuations
on the screen. These beats can be re-
duced or even eliminated when the AC
arc lamp is operated by a frequency
other than 50 cycles, which, on the other
hand, should have quite definite relations
to the projection frequency of 24 frames
per second. This means the acquisition
of a frequency converter, the Initial cost
Tuemmel With Zeiss 25 Years
Herbert Tuemmel, technical manager
of Zeiss Ikon, is celebrating his twenty-
fifth anniversary with that firm. Tuemmel
is well-known internationally through his
various publications, lectures, and
articles in technical periodicals. He is
also editor of the Zeiss Ikon publication
"Bild und Ton" (Picture and Sound).
Comparatively young (48), Tuemmel
has crowded many activities into his
t From "Bild und Ton," Zeizz-lkon, April 1957.
Herbert
Tuemmel,
Zeiss Ikon
career. Besides his technical writings,
he has contributed a number of improve-
ments to the motion picture industry
through research works and develop-
ments in the Zeiss cinetechnical labora-
tories. He is also a member of the Pro-
fessional Cinematographic Committee,
and the German Cinetechnical Society.
With the managing staff of the Ernemann
works in Dresden until 1946, Tuemmel
then went to the Zeiss plant at Kiel
where, after controlling the whole tech-
nical outdoor service, he was given pro-
curation.
of which is considerable and the effec-
tiveness of which will reduce still further
the insufficient output of the AC arc
lamp. It has also been suggested that
a projection speed of 25 frames per
second should be used in order to avoid
the beat frequencies.
During the period of the silent film
this was done occasionally, but nowadays
it is impossible to do so, since the speed
of the sound film has been internationally
agreed upon as being 24 frames per
second; at other speeds the sound repro-
duction would be impaired.
All these disadvantages of the AC arc
lamp have so far prevented its introduc-
tion into the equipment of the cinema.
PERSONAL NOTES
Gerald R. Sauer, field engineer with
RCA since 1950, has been appointed
Project "SAGE" Engineer for the firm
at Topsham, Maine. SAGE stands for
Semi-Automatic Ground Environment,
the Maine facility being one of many
forming a chain of radar defense sys-
tems across North America. Each site
contains electronic computors handling
data reported by Texas towers, picket
ships and aircraft of the Air Defense
Command. Mr. Sauer will direct staffing
of the Topsham site, and formulate
training programs for civil service and
Air Force personnel assigned to the
project.
* * *
H. M. Bessey, executive vice-president
of Altec Companies, Inc., has retired ef-
fective June 30, remaining as a member
of the board of directors. This announce-
ment follows on the recent appointments
of C. S. Perkins and Marty Wolf to the
respective posts of general manager and
assistant general manager of Altec Serv-
ice Company. A testimonial dinner was
tendered Bessey June 5 in New York,
Altec executives and personnel from
coast to coast honoring the retiring top
executive.
Joining Altec in 1937, following a suc-
cessful career in the banking and ac-
counting field, Bessey occupied several
posts of importance until his appoint-
ment as executive vice-president in 1943.
His responsibilities in that post included
supervision of sales, operations, engi-
neering, accounting, personnel, publicity
and advertising departments, together
with representation of the company's in-
terests in numerous union negotiations.
* * *
A. C. Lindquist will fill a newly created
post as manager of the Distributed Prod-
ucts Merchandising, Theatre and Indus-
trial Products department of RCA Com-
22
INTERNATIONAL PROJECTIONIST • JUNE 1957
mercial Electronic Products. Formerly
manager of New Business Coordination,
Lindquist will be responsible for plan-
ning, pricing, and merchandising of a
broad range of equipment which the
RCA Theatre and Industrial Products
department markets through distributors.
This includes RCA sound, projection, and
furnishings equipment for indoor and
drive-in theatres: industrial and school
sound systems: 16-mm sound-film pro-
jectors; electronic hi-fi components; in-
dustrial and business intercom systems;
and RCA "Antenaplex" community TV
equipment.
Joseph L. Langevin succeeds H. A.
Baldwin as facility manager of RCA
Service Co.. Tucson. Ariz. In his new
post he will be responsible for coordina-
tion of work performed under combat
surveillance and technical writing con-
tracts. A West Point graduate. Mr.
Langevin retired with the rank of colonel
after 34 years of service, joining RCA
as a systems engineer in 1955. He served
in World War II and in Korea; and his
decorations include the Legion of Merit.
Bronze Star. French Croix de Guerre and
Italian Medal of Valor. His predecessor,
H. A. Baldwin, becomes administrator,
Atomic Energy Services. Government
Service Department of RCA.
BOOK REVIEW
Elements of Color in Professional
Motion Pictures, SMPTE, 1957, 104
pp., $3.50.
Prepared by a Special Committee of
the SMPTE under the chairmanship of
Wilton R. Holm, this volume is the best
and most up-to-date source for the sub-
ject of color in motion pictures. What
impresses the reader first is the makeup,
a clear, clean text, and approximately 100
brilliant color photographs for the book's
104 pages.
Under 12 chapter headings, ranging
from color fundamentals to actual proc-
essing and printing, and including a
chapter on color TV. this small book is
amazingly complete. Born of a request
about two years ago for a basic treatise
on color in motion pictures, the 21 com-
mittee members have, by means of re-
casting here and there, kept a unity of
style that should be helpful to the lay-
man.
Illustrations have been supplied by
DuPont. Kodak, MGM. Paramount, and
Technicolor. Although originally in-
tended especially for the non-engineering
personnel who work in color movies,
this book is highly recommended to any-
one who wishes a basic text on a compli-
cated subject.
7
When you buy. .
Your SIMPLEX Projector Mechanism represents a price-
less investment. You bought it after long, careful study
because you recognized it as the finest projector on the
market.
Don't take chances with such an investment — -
the very success of your theatre depends upon its perform-
ance! When spare parts are necessary, insist on the best —
insist on SIMPLEX parts!
From the smallest stud pin to the largest gear
cover, every part is made with the same precision and
skill as the mechanism itself. By using only SIMPLEX
parts, you can be certain of maintaining the high quality
of performance that has made SIMPLEX the world's fore-
most projector mechanism!
Genuine SIMPLEX parts are available only through
Yoilt 6u3t$ntee of Consistent Quality and Outstanding Service
NATIONAL THEATRE SUPPLY COMPANY • BRANCHES COAST TO COAST
INTERNATIONAL PROJECTIONIST
JUNE 1957
23
New Products for the Industry
A New Bulletin describing the Vicra-
Lite Screen made by L. E. Carpenter
Company has just been issued. It may
be obtained from the company's head-
quarters in the Empire State Building in
New York City.
The bulletin describes in detail the
vinyl plastic, lenticular screen that was
originally produced for CinemaScope. A
"Nichro-Weld" process of seaming is
said to assure uniform aligning across
screen. The screen comes in two types —
for theatres with head-on projection, and
for houses with a 10-degree angle or
more.
Wall Chart of Conversion Factors is
now available from Precision Instrument
Company, 3714 No. Milwaukee Ave., Chi-
cago 41, 111. The chart, designed for
use by engineers, technicians, and shop
men includes all common conversions
such as inches to centimeters, or watts
to H.P., as well as some conversions dif-
ficult to locate in reference manuals.
(An example would be atmospheres to
Kgs/sq. cm.)
Conversions are listed in alphabetical
order rather than by measurement sub-
ject.
Carbons, Inc., of Boonton, N. J. offer
free test samples of their newly develop-
ed spotlight carbons. These carbons
have been adopted by most producers
on Broadway, New York City and by
all leading Las Vegas night clubs, ac-
cording to Carbons, Inc. Trims are
available for all spotlights of the Strong
Trouper and Super Trouper lines, for
all four models of Genarco's high in-
tensity Metro-lite spot lamps, and for
Peerless Hy-Candescent lamps. Ed Lach-
man, president of Carbons, Inc., says
these carbons were developed for use
where the highest possible quality of
pure white, steady non-flickering arc
illumination is indispensable.
Suited to lobby or marquee displays,
a new still projector just announced by
Projection Optics Co. of Rochester, N. Y.,
can be placed directly on the object to
be projected, such as the photograph of
a star or a still display picture, and any
selected 11 x 11 portion thereof can
then be displayed on any size screen at
any distance. Designated Transpaque
II, the device can project 10 x 10 trans-
parencies as well as 11 x 11 opaques.
It serves as a rear projector for displays
to be shown on the translucent facade
of a marquee. Available lenses come in
focal lengths from 4 inches to 40 inches.
Autotransformer type lighting dim-
mers and controls, in the 6,000 to 15,000
watt range, are described in an illus-
trated 28-page brochure issued by Supe-
rior Electric Co. of 83 Laurel Street,
Bristol, Conn. The control units described
in the brochure are self-contained, pack-
aged assemblies, recommended by the
manufacturer as ideal for theatre pur-
poses. Special features are explained,
and ratings and data fully set forth.
OBITUARI ES
Barkhaus, Otto 63, member of Local 486,
Hartford, Conn., died several weeks ago.
He worked as projectionist for the Stanley
Warner Theatres for the past 30 years.
• • •
Ester William, 86, and George B.
Leavens, 65, members of Local 253,
Rochester, N. Y., died recently. Mr. Ester
was a charter member of the Local and had
24
INTERNATIONAL PROJECTIONIST • JUNE 1957
been retired for a number of years. He is
survived by three sons and three daughters.
Mr. Leavens suffered a heart attack while
preparing to cover his job at the Waring
Theatre in Rochester. A son and daughter
DISTRICT NO. 2
(Continued from page 19)
build-up of spilled film in the magazine.
These little gems also double as rewinds.
Incidentally, fellow aperture changers,
it might surprise you to learn that Jim
Phillips uses 10 different apertures in
his projection work — he handles aspect
ratios we haven't heard of yet.
Another innovation developed and
installed in the Guild projection room
by Phillips is a very ingenious screen
masking control circuit that permits pre-
selecting any desired screen size. A
selector box is mounted on the booth
panel with the dial calibrated to the
several screen sizes and the degree of
curve used. The required screen size
can then be pre-selected and on change-
over all one has to do is to hit the control
switch and the masking automatically
moves to the correct spot.
The control circuit also has a vernier
adjustment for odd screen sizes not
available on the selector. The maximum
screen size is 52 feet by 28 feet, although
picture size with standard conditions
(what's standard these days?) is 34^
feet by 18 feet, using a 1.85 aperture.
A sound control station with master
gain control and an individual control
for each of the four mag tracks with
a plus or minus 10 range is located
in the auditorium of the Guild building.
Every station in this building, which
is an architect's dream, can be reached
by intercom.
With the introduction of the powerful
arc lamps, so necessary for drive-in
projection in particular, the old problem
of buckling and blistering caused by heat
on film has been aggravated. Inter-
national Projectionist has carried
many fine articles dealing with this
industry problem.
"Cinemair" Film-Cooling Unit
However, as far as this writer is con-
cerned heat on film ceased to be a prob-
lem back in 1953 when Harry Cole,
member of Los Angeles Local 150. de-
veloped his film-cooling unit — the Cine-
mair. He installed this unit in the
projection room of the Century Drive-In
Theatre in Inglewood, Calif., where he
is employed, and maintenance during
the four years of operation has amounted
to nothing more than periodic lubrication
of the motors.
For his experimental model Harry
l!e*r sil
with
smnur sxmutus
To make that super
exploitation pay off you
have to produce a sparkling
picture "down-in-front" . . .
and SUPER SNAPLITES will
give you the clearest,
sharpest, most brilliant picture
ever. You get more light
with SUPER SNAPLITE. Ask
your equipment dealerfor
a copy of Bulletin'222.
ILOL.liA\Olt<;i2N
UptcCol
COBLI
O M
Northampton, Massachusetts
INTERNATIONAL PROJECTIONIST
JUNE 1957
25
used the refrigerator unit from a Servel
window cooler. His present model, which
he designed and developed with the aid
of a refrigeration engineer, is a highly
efficient unit neatly packaged and de-
livering 1500 cubic feet of refrigerated
air per minute into the projector head.
Harry Cole points to his film and projector
cooler, Cinemair, which he installed four years
ago at the Century Drive-ln Theatre in Ingle-
wood, Calif. Thermometer on the Brenkert pro-
jector head reads the temperature two and
one-half inches from the aperture. The four-
inch vent pipe, behind the magnetic sound-
head, is for air intake from the cooling unit.
J PUCES _
NOT }
HOLDING i
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., INC.
DEPT. J
315 West 43rd Street New York 36, N. Y.
JUdson 6-1420
The air stream is directed on the projec-
tor back plate, the aperture, and on the
film at the lower loop.
Measured 2^2 inches from the aper-
ture, the temperature in the head never
rises above 90 degrees for a full 20-
minute reel, and drops to 50 degrees a
few minutes after shutdown of the lamp
and head. The cooled mechanism elimi-
nates film damage and the picture is
always kept in focus. The intermission
trailer Harry has been using every night
for the past two years is still in perfect
condition without a trace of film buckle.
With all my gallivanting around visit-
ing theatres and studios I thought I was
pretty well up on all the top-flight projec-
tion rooms in this area. However, I
was in for quite a pleasant surprise when
I called on Bert Moody, chief projec-
tionist at the RCA laboratory in Holly-
wood. Here I saw one of the most
interesting and versatile projection rooms
I have ever visited thus far. Bert's pro-
jection assignments here are as varied
as was our Southern California weather
this past winter.
Projection at RCA Lab
The projection room, like milady's
unmentionables, is a two-way stretch
job and is equipped with four projec-
tion units, each consisting of a BX-80
Brenkert (RCA) projector and a Bren-
kert ENARC lamp mounted on Brenkert
bases. One pair projects into a record-
ing stage with a 105-foot throw, and the
other pair on the opposite side of the
projection room projects into a preview
room with a 50-foot throw. All units,
including a 16-mm projector, are de-
signed to run forward or in reverse and
can be interlocked in any desired com-
bination. The 16-mm head can also be
interlocked with a 35-mm track.
In addition to general studio assign-
ments such as daily rushes, recording
and dubbing, music scoring, etc., Bert
Bert Moody at the power distribution panel in
the projection room of RCA's lab in Hollywood.
also runs theatre features for previews,
and audience reaction shows for half-
hour TV productions during which laugh
tracks are recorded for the program.
These laugh tracks are tape recorded,
feeding two recorders with mikes strate-
gically placed in the auditorium. Among
the many TV shows processed here are
the Bob Cummings, Burns and Allen,
Broken Arrow, and the Groucho Marx
shows.
In the dubbing and mixing operation
it is possible to run a total of 24 separate
r\Ji€ LAwCyjt IrliZAiKCd /\NU /n£Ctr/Y,M*>
THE MOST POWERFUL HIGH INTENSITY
CARBON ARC SPOTLIGHTS
THE 3000 WATT GENARCO SLIDE
PROJECTOR FOR FRONT OR REAR
PROJECTION
THE METROLITE
125 amperes D.C.
THE SUPERACE
which operates
on 20 amperes A.C.
MODEL SM.2 with the electric 70
slide changer for 3%" x 4" slide
GET DESCRiRTiVi
LITERATURE BY RETURN MAtl
?«om GENARCO INC
97-00 B SVTPrttN W.VD.
JAMAICA 3$, :M. Y,
For DRIVE-INS & THEATRES with HUGE, WIDE -AREA SCREENS • CARBONS, BOONTON, N.J.
26
INTERNATIONAL PROJECTIONIST • JUNE 1957
tracks with a single feature. The four
units in the projection room can be
interlocked with a bank of 20 sound-
heads located in the downstairs lab, with
the technician at the mixer panel operat-
ing the entire assembly by remote con-
trol.
The control panels in the projection
room have a combined maximum voltage
on the many circuits of only 17 volts,
thus permitting emergency maintenance
work without the danger of high voltage.
With the selector switch, located top
left on the panel, any unit can be op-
erated from any of four panels, or all
four units can be interlocked and op-
erated from only one panel.
In addition to projector and light
controls, the panel houses the multi-
station intercom for the entire building.
Power for the projection room is dis-
tributed from a floating panel mounting
120 relays and associated circuit com-
ponents. There are no fuses in the pro-
jection room to contend with since all
circuits are on breakers, and every
circuit has a pilot light.
An adjustable rack accommodating a
loop of 100 feet of film for continuous
run during recording and sound dubbing
is also part of the RCA lab projection
room equipment. Marshall Moody, Bert's
son and frequent co-worker, has improved
this rack by designing and building
what he calls his Ouigi (Wee-Gee) board.
This unusual "Gismo" mounts in the
lower magazine and accommodates loops
up to 500 feet in length. Marshall gave
me a rundown on some of his experiences
as a projectionist in TV stations, but
we'll have to hold up on that for the
present and cover it in a later column.
Space limitations, you know.
PICTURES AND COLOR TV
{Continued from page 14)
ticules then images through the base
and onto the emulsion only that por-
tion of the scene which has been im-
aged upon it. The entire picture, then,
consists of a series of minute, juxta-
positioned dots of varying density, just
as in the case of a newspaper or a
magazine illustration. Since the dots
are too small to be resolved by the
eye, they are not seen as individual
dots, but rather as a smooth blend of
densities.
To produce color with lenticular
film, each of the minute lenticules
must be caused to image a dot, one
third of which represents each of the
three primary colors. In other words,
one third of each dot must represent
red densities, one third must repre-
sent green densities and one third must
represent blue densities. This is
achieved by using a special filter be-
fore the camera lens, a filter which
consists of three side-by-side bands,
one band being red, one being green
and one being blue.
Technical Problems
If this film is projected through a
similar filter the original scene can
be reproduced in color. As was the
case with the other single-strip addi-
tive system just described, there are
technical problems associated with the
lenticular system which have prevent-
ed its successful commercialization for
theatre use. As before, however, it is
likely that these problems may be less
severe for television, because the pic-
ture is smaller.
The foregoing discussion assumes
that one photographs a color kine-
scope image and that a tricolor filter
is used over the camera lens to sepa-
rate the color information as it is
recorded on the lenticular film. It is
also possible to effect the separation
by geometric means. In this instance,
the red, the green and blue aspects of
the television signal are presented on
three black-and-white monitor tubes.
By means of a special optical system
and appropriate masks, the three im-
ages are recorded in proper juxta-
position behind the lenticules without
the aid of a tricolor filter. Thus, the
entire operation can be carried out
without the necessity of employing col-
or phosphors or filters.
CAUSES OF FILM DAMAGE
( Continued from page 12)
ently. is to work out some method
which does not require film to be
placed in contact with surfaces which
may mar its finish or introduce dirt.
In the matter of print sticking, here
we go again on our cry of the sin of
obsolescence. No theatre should be
equipped with a projector wdiich does
not provide for film gate tension ad-
justment. Let us hasten to add, how-
ever, that adjustable tension carries
responsibility.
Responsibility lies with the projec-
tionist to maintain onlv enough ten-
7 "Service'
REG. U.S. PftT. OFF.
.W9hes ^
ParH V,on and
LaVezzi Machine Works
4635 WEST LAKE ST.
CHICAGO 44, ILL.
INTERNATIONAL PROJECTIONIST • JUNE 1957
27
sion to provide a steady picture. Sub-
stantial observation by the writer in
both military and commercial theatres
leads to the conclusion that almost all
print sticking is the result of excessive
tension.
Excess Tension Causes
Two factors lead to excessive ten-
sion: the first is certain thin news-
reel stocks or prints which may be oily,
require more tension. But once this
special condition is past, the tension
must be lowered to the minimum point
for standard print projection. A sec-
ond condition which may require ex-
cessive tension on all prints is pro-
nounced hooking of the teeth of the
intermittent sprocket. Early wear of
intermittent sprocket teeth is the re-
sult of heavy tension, but once the
rapidly progressive wear begins, heav-
ier and heavier tension will be re-
quired to maintain steady images.
The question is asked: How long a
period of service may be expected from
the intermittent sprocket? A fair an-
swer might be that after 4000 hours of
actual use, a sprocket has served its
best days.
The writer would suggest a check
that is more reliable in the service effi-
ciency. In this test, if normal film re-
quires increasing amounts of tension,
sound
foolish!
Cheap sound service will save
a few dollars— and lose plenty of
ticket buyers !
Ask any altec service
customer — thousands of them!
They'll tell you ALTEC pays off
in peak performance,
equipment protection, and
peace of mind.
161 Sixth Ave. New York 13, N. Y.
Specialists in Motion Picture Sound
YOUR BEST BET— BUY U. S. SAVINGS BONDS
the sprocket is probably due for re-
tirement. The intermittent movement
itself will require rebuilding for each
two sprocket surfaces which are worn
out. Some projectionists and repair
shops reverse intermittent sprockets in
order to use both tooth sides. But let
it be borne in mind that picture steadi-
ness should never be accomplished at
the cost of print damage.
For complete and reliable informa-
tion as to film damage, the reader is
referred to Robert A. Mitchell's
"Manual of Practical Projection." A
partial bibliography of recent articles
in IP is below, and of course a broader
coverage is listed in the cumulative in-
dex published each year in the January
issue of IP.
Partial Bibliography
Film Damage on the Increase, Henry B.
Sellwood, January 1955, p. 14
Prevention of Damage to Prints, Robert
A. Mitchell, June 1955, p. 7; July
1955, p. 9; August 1955, p. 15
That Hardy Perennial: Damaged Film,
James Morris, February 1954, p. 9
That Ole Crank Twister on Scratchin',
Frank MacDonald, March 1957, p. 36
Watch Out for Film Scratches, Letters to
the Editor, March 1956, p. 19
FILM STANDARDS
(Continued from page 9)
to motion-picture sound. The dynamic
ranges of variable-area and modern
variable-density "noiseless" recording,
60 and 50 db, respectively, is more than
great enough for motion pictures even
though the full dynamic range of a
"live" symphony orchestra is about 70
db.
Under the most favorable condi-
tions, CinemaScope magnetic sound
attains 60 db, but 30 db is a fair aver-
age when the reproducing equipment is
below par. Wide-track magnetic orig-
inals, now used by many studios, vary
from 50 to 70 db in dynamic range,
the latter figure obtaining when the
recording equipment is in first-class
condition.
A study of a number of 35-mm opti-
cal tracks on release prints strongly
suggests that the full dynamic range of
28
INTERNATIONAL PROJECTIONIST
JUNE 1957
optical recording is not being utilized.
Nor is it necessary to utilize it.
A "whisper" to "thunder" range of
40 or 45 db seems quite satisfactory
for run-of-the-mill movie recording;
and both types of optical tracks can
handle it. But considering the theoreti-
cal 16-mm TV range of 45-55 db, at
least 50 db should be employed for
the more dramatic pictures. But un-
less the "full capabilities" of optical
sound be employed, it may be neces-
sary, when the tracks are of the vari-
able-density type, to make use of vari-
able-area inserts for the "wide-range"
scenes. This has actually been done
when the recordist deliberately reduced
the range of his variable-density tracks
to eliminate distortion.
Too great a dynamic range, as in
the optical version of the absorbing
Warner Brothers' film "Giant," is a
nuisance unless the theatre be very
quiet. The variable-area track of
"Giant" may have had a range in the
neighborhood of 55 or 60 db, result-
ing in an apparent exaggeration of
softness and loudness.
When dialogue alternates from a
half-audible whisper to an ear-splitting
shout, nerves fray — particularly the
projectionist's. Dynamic range, how-
ever wide for a more natural repro-
IT'S NO BULL!
%XM FILM
m™ CEMENT
will splice
permanently
1 oz. 40C
Vi pt. 1.50
1 pt. 2.50
Please inrludc Pontage with order.
Write for frte sample.
Dealer Inquiries Invited
FLORMAN & BABB
68 WEST 45tm ST.. N. T. C.
duction of music and sound effects,
should be restricted for dialogue pas-
sages. Projectionists have a tendency
to "ride the gain" for a more uniform
dialogue level, and thus may sometimes
work at cross purposes with the in-
tention of the director. Directors
should bear in mind that there is
always a certain amount of noise in
motion-picture theatres.
Adjust During Dialogue
With properly recorded soundtracks,
the projectionist should adjust the vol-
ume control for proper sound level
during dialogue sequences. Music and
sound effects will then come in at levels
which are correct even though they
may momentarily seem to be too loud.
I They were intended to be loud! I It
should also be kept in mind that title
music is normally about 6 db louder
than average dialogue — quite the re-
verse of the radio-station practice of
faint music and blaring commercials.
The optical tracks on magoptical
prints have about half the average
level of a standard track, hence the
necessity of advancing the volume con-
trol 6 or 7 db when reproducing the
optical tracks on magoptical prints.
As for the CinemaScope magnetic
tracks — well, they are exactly the same
as those on "straight-magnetic" prints,
and subject to the same vagaries of
volume level. Random variations
amounting to 5 or 6 db are common
in these magnetic tracks. They are
caused by variations in the thickness
of the striping, differences in chemical
composition, and other factors of an
obscure nature. Stray magnetic influ-
ences may cause additional variations
in signal strength, and the net result
may demand frequent adjustments of
the volume control. The stereophonic
effect is disturbed when the several
tracks vary widely in output.
It is interesting to realize that the
Consistent
Maximum
Light
at
Greater
Economy
DIAMOND
PROJECTION
70 PINE STREET • NEW YORK 5, NY.
optical soundtrack is the only truly
"passive" medium in commercial
sound reproduction. By this we mean
that it acts upon a source of energy
(the scanning beam), modulating it,
without itself being affected. The disk
record is actually a spiral "cam" which
mechanically imparts minute irregu-
larities in the spiral groove to the
needle of the reproducer. The energy
which makes the needle vibrate is
actually the turntable motor.
The magnetic soundtrack must phy-
sically rub across the pole pieces with
their scanning gaps in order to gener-
ate minute currents in the electromag-
nets. Here, also, the energy generated
is derived from the drive motor via
the "record." And just as a disk record
eventually wears out by repeatedly
"driving" the pickup needle, a mag-
netic track may wear out through
"magnetic friction."
Optical sound requires no mechani-
cal pickup or translation of the re-
corded signal from the track. The
scanning beam, being a mere slit of
feeble light, does not wear it out. An
optical track which has been played a
thousand times will sound like new
IT'S A HIT!
in Dallas
BUT... will it be
a hit in your house?
It went over big in Big D . . . but
before any show can be a success in
your house, your equipment must be in
condition to roll it perfectly. Any show-
can be a better show when equipment
performs properly. That's where RCA
Theatre Service comes in.
Protect your equipment and picture in-
vestment with RCA Theatre Service.
It will pay you to write now for com-
plete information!
Technical Products Department
RCA SERVICE COMPANY, INC.
/.^■fe. A Radio Corporation of America
[j 'Jfl I) Subsidiary, Camden 8, New Jersey
rmk(s) ®
INTERNATIONAL PROJECTIONIST
JUNE 1957
29
if protected from scratches and dirt.
Disks and magnetic tracks are rela-
tively impermanent. A magnetic video
tape of the kind used in TV loses image
quality after only a dozen playings.
Sound tapes and CinemaScope mag-
netic tracks can be played many hun-
dreds of times; but each playing pro-
duces just a little loss of signal strength
and adds just a little noise. Optical
tracks are thus the most scientific of
all sound records!
Sound Slipping?
Complaints anent poor sound quality
in theatrical films are becoming more
numerous, thanks to slipshod work and
CinemaScope magnetic recording. The
magoptical print has dealt still another
blow to good theatre sound. The
writer was recently surprised, and
somewhat disconcerted, to find certain
purely amateur film recordings far
superior in sound quality to Holly-
wood's expensive efforts.
"My impression is that sound has
not been so good recently as it was
some few years ago," write an exhibi-
tor in Kinematograph Weekly. "I find
the trouble so often in various cinemas.
Producers are not giving enough at-
tention to the matter. Some inquiry
should be made to find out what is at
fault." Could it be that Kinemato-
graph's correspondent does not read
IP?
But what of magnetic film for re-
cording in the studios? It has its
faults, but there is much to recommend
this comparatively modern medium.
Tape is economical, requires no proc-
essing, permits immediate playbacks,
and has so low a ground-noise level
that a large number of original rec-
ords may be "mixed" to produce a
composite record. The principal dis-
advantages are equipment upkeep, in-
visibility of the record (annoying to
the film cutter), possible accidental
loss or contamination of the record,
and liability to distortion when the
recording and reproducing equipment
is not up to par. The last-named factor
is far more prevalent than many people
suspect, and imparts to magnetic sound
a harsh, "metallic" quality.
The advantages of good magnetic
recording in the studios accrue to the
theatre field via carefully made release-
print optical tracks. Paramount, for
example, records in magnetic and re-
leases in optical. Even CinemaScope
magnetic tracks are usually re-record-
ings from wider and better single-chan-
nel magnetic originals, the pseudo-
stereophonic effect having been arti-
ficially added during the re-recording
process by the familiar pan-pot method.
Pan-pot switching is similarly used
for "cueing" Perspecta pseudo-stereo-
phonic optical tracks. Genuine stereo-
phonic recording on the set is not em-
ployed in commercial motion-picture
production. We have no real stereo-
Q* When is a mistake a blunder?
« When a projectionist is not a regular subscriber
^^» to IP — MUST reading for the projectionist craft.
Use the handy order form below
INTERNATIONAL PROJECTIONIST
19 West 44 St., New York 36, N. Y.
Enter my subscription for ° \ year <") issues— $2.50
D 2 years (24) issues — $4.00
Foreign and Canada: Add 50c per year
Name
Address
City
Zone
State
phonic sound for motion pictures.
Several independent studios, how-
ever, still employ the old standard opti-
cal recording for production because
of the ease of editing optical tracks.
When these tracks are well made, there
is probably no perceptible difference
in sound quality between the two
methods; and when push-pull optical
originals are employed, sound quality
may even be superior to that from
run-of-the-mill magnetic originals.
Push-Pull Tracks
It is certainly true that optical tracks
are more dependable and uniform in
quality; and a few recording techni-
cians with experience in all processes
insist that push-pull optical tracks pro-
vide the best motion-picture sound.
Had it not been for the introduction
of CinemaScope magnetic tracks in
1953, push-pull optical tracks might
be used in the theatres. Push-pull tracks
have the advantage of an extremely
low noise level even transverse
splice lines are silenced by them. But
instead of going up, as might be
expected, sound quality in theatre re-
production has definitely gone down
in recent years. The charts, tables, and
formulas of the experts mean little or
nothing as far as the moviegoing pub-
lic is concerned. The sound is either
good or bad; and people can tell the
difference between good and bad sound
even if they cannot perceive any dif-
ference between optical sound and the
very best magnetic sound.*
Projectionists are mainly concerned
with the nature of the sound record
on the release print, not with that of
the original recordings. Sound-on-disk
may be used by the stuidos, and the
projectionist need not particularly care.
What he does care about is the stand-
ardization of the release-print sound-
track and the quality of the reproduc-
tion.
CinemaScope magnetic tracks have
been standardized, but they are non-
standard in relation to the more fre-
quently used optical track. Moreover,
the non-standard type of film perfora-
tion introduced by CinemaScope will
remain non-standard until it is uni-
versally adopted by producers for the
majority of their releases. We do not
foresee this eventuality.
* The audience attending the premiere performance
of Paramount's "White Christmas" in the fall of
1954 could perceive no difference between Cinema-
Scope magnetic stereophonic sound and standard
1-track optical sound reproduced stereophonically
by the Perspecta integrator.
[TO BE CONCLUDED]
30
INTERNATIONAL PROJECTIONIST • JUNE 1957
I Iwe had lots of trouble/
A fter YEARS OF work, the doorway to literary success
jfi. finally opened. She managed to get her novel,
Moods, published.
It promptly flopped.
Undaunted, she wrote a second novel, which in-
stantly turned out to be the rage of 1869. Businessmen,
lawyers, housewives, everybody read and talked about
Little Women.
Fortune had finally smiled on Louisa May Alcott.
Twenty years had passed between her first writings and
Little Women — years of privation, struggle, pain. She
had worked as a maid, as a paid companion, had nearly
lost her life as a Civil War nurse, had once come close
to suicide.
Now world-famous, her family secure, she would
write many more books. And people would love them.
For, as she said, "I have had lots of troubles; so I write
jolly tales."
In those words, spoke the kind of unvarnished cour-
age Avithout which this country would be a far poorer
place. Poorer not only by Louisa May Alcott's stories,
but by the accomplishments of millions. For it is human
courage and character that have made America wealthy
and strong. And have made America's Savings Bonds
one of the world's finest investments.
170 million Americans back U.S. Savings Bonds —
back them with a guarantee unmatched by any other
form of saving. Your principal guaranteed safe to any
amount — your interest guaranteed sure — by the great-
est nation on earth. If you want real security, buy
Bonds. Get them at your bank or through the Payroll
SaArings Plan where you work. And hold on to them.
PART OF EVERY AMERICAN'S SAVINGS BELONGS IN U. S. SAVINGS BONDS
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.
Because you know your equipment so well, the very sound of
a projector mechanism in operation is usually enough
to tell you if there's trouble ahead.
That's why a soft, steady hum — like you get with a
Simplex X.L — is so reassuring. -It gives you confidence.
It tells you all is going smooth.
Through the long, lonely hours you spend on the job . . . it's
the sweetest sound there is.
PROJECTION and SOUND SYSTEMS
Manufactured by
INTERNATIONAL PROJECTOR
DIVISION OF SIMPLEX EQUIPMENT CORPORATION
Distributed by
NATIONAL TH EAT RE SUPPLY COMPANY
SUBSIDIARIES OF GENERAL PRECISION EQUIPMENT CORPORATION
CP(
29 ^57
B 662818
HOMHliH
*M UMl
JULY
1957
VOLUME 32 • NUMBER 7
30c A COPY • S2.50 A YEAR
(yio tamp ^ msL w
CAN PRODUCE SO MUCH LIGHT.
Hy-Candescents were selected for all important
"CINERAMA" installations. (Chicago, New York, Los
Angeles, San Francisco, Philadelphia, and Washing-
ton, D. C.)
Hy-Candescents were chosen by Paramount for all
installations of Horizontal "VISTA-VISION".
Hy-Candescents were again selected by TODD-AO
for "OKLAHOMA" and by the vast majority of "80
Days" installations.
You have to do the same if you want all the light
there is for big pictures.
TRAOE MARK REG
£ ■ 1 ]] i i) }] £
/ ^ MAGNA!
MAGNA&C
TRADE MARK REG
fi J II I i) li . £
WRITE FOR DATA
This lamp at 75-80 amperes produces as much and more
light as any so called large reflector lamps, using 85-95
amperes, employing expensive heat filters and water
cooling systems.
By comparison its cost of operation, in carbons, reflector
maintenance, current and parts upkeep is far lower than
others.
Also, its selling price is hundreds of dollars lower and
they may now be purchased from most all supply dealers.
These circumstances have made the PEERLESS MAGN-
ARC Cinearc the most widely used lamp in the world!
£11 Afl ETa F,aB* Ch,ca9°' ,s s
dZZ.UU Cd. PEERLESS 14" Hy-Lu
F.O.B. Chicago, is still the retail price of our
men silvered glass reflectors.
J.E.MeAULEY MFG. CD,
552-554 WEST ADAMS STREET
CHICAGO 6. ILLINOIS
1 SUBSIDIARY OF
■
C.INSHAl
PRECISION
(Oillpr.uNi
(ORPORtTIOK
z
B 662818
MR. EXHIBITOR:
Whether you know it or not he's
judging the light on your screen
Today's movie-goer is light-conscious. Without
realizing it he compares your picture with what
he sees on other screens— with what he's heard
about advances in color, wide screens and life-like
projection. Your customers expect the best.
"National" Projector Carbons meet today's
demand for bright light at minimum cost to ex-
hibitors. Here, for example, are four "National"
carbons offered in the past few years that provide
as much as 20% more light with up to 25%
slower burning:
• "Suprex" 7mm Carbon
• "Suprex" 8mm Carbon
• 10mm High Intensity Carbon
• 11mm High Intensity Carbon
ATIONAL PROJECTOR CARBONS
TRADEMARK
meet the demand for more and more light
UNION
CARBIDE
The terms "National", "Suprex" and "Union Carbide" are trade-marks of Union Carbide Corporation
NATIONAL CARBON COMPANY • Division of Union Carbide Corporation • 30 East 42nd Street, Sew York 17, S.Y.
SALES OFFICES: Atlanta, Chicago, Dallas, Kansas City, Los Angeles, New York, Pittsburgh, San Francisco . IN CANADA: Union Carbide Canada Limited, Toronto
INTERNATIONAL PROJECTIONIST • JULY 1957
Mm OU Oh* Paw!
ROBERT A. MITCHELL'S
MANUAL OF
PRACTICAL PROJECTION
(The Outstanding Achievement in Projection Literature)
is now off the press. Our thanks to both early- and
late-comers for your patience. Demand has gone far
beyond our anticipation, but each order will be filled
as rapidly as possible, in the order of its receipt.
Actual size 5'/2" x 8V2",
approximately 450 pages,
profusely illustrated
$6.00
per copy (including postage)
Here is one of the most helpful works ever published for the motion picture projec-
tionist. ROBERT A. MITCHELL'S MANUAL OF PRACTICAL PROJECTION comprises
the best of the Mitchell articles that have appeared in "International Projectionist,"
revised and brought up to date. It provides the reader with a handy permanent record
of sound practical coverage of every aspect of motion picture projection. Its contents
have received the enthusiastic approval of experienced craftsmen everywhere, and it
differs from every other projection work in that it does not contain manufacturers'
pamphlets available to any projectionist for the asking.
A practicing projectionist as well as a recognized authority in this field, the
author presents his material in easily understood language — not too technical, yet
technically accurate. Handsomely bound and cross-indexed for easy reference, this
MANUAL is divided in 8 sections and contains 30 chapters — a valuable reference
work no progressive projectionist should be without.
SECTION HEADINGS
(I) Film; (II) The Projector; (III) Projection-Optics, Screens; (IV) The Arc Lamp;
(V) General Projection Practice; (VI) Motors, Generators, and Rectifiers; (VII)
Sound Reproduction Systems; (VIII) Projection of Color and 3-D Films, Formulas.
ORDER YOUR COPY TODAY
i— — — — — — — — —
■
■
INTERNATIONAL PROJECTIONIST
19 West 44 St., New York 36, N. Y.
USE THIS HANDY FORM
....................... ..^
Gentlemen:
I
I Here is
for
copy (or copies) of ROBERT A. MITCHELL MANUAL OF PRACTICAL PROJECTION.
I Name.
I Address
I
I
■ City
.Zone.
-State.
INTERNATIONAL PROJECTIONIST • JULY 1957
International
PROJECTIONIST
R. A. ENTRACHT, Publisher
ROBERT C. MacLEOD, Editor
R. A. MITCHELL, Contributing Editor
Volume 32
JULY 1957
Number 7
Index and Monthly Chat 5
"Around the World" in 35-mm 7
Carl E. Warner
"Cineoptic"- — New Dimensional Convex Screen . . 8
Film Standards for Picture and Sound 11
Robert A. Mitchell
Filming the First Hollywood Technirama
Production 14
Arthur Rowan
Research Council Announces New Developments. . 15
Methods for Ventilating the Projection Room .... 16
Joseph Holt
A New Concept on the Physiological Aspect of
Stereophonic Sound 17
Howard F. Hume
Telecasts 19
In The Spotlight 20
Projection Clinic 22
News and Views from District No. 2 24
Hank Boldizsar
Projection License Exam Questions 25
Do You Really Know Your Arc Operation? 26
Lou Walters
Letters to the Editor 26
Obituaries 27
Miscellaneous Items — News Notes — Technical Hints
INTERNATIONAL PROJECTIONIST, published monthly by the Inter-
national Projectionist Publishing Co., Inc., 19 West 44 Street, New
York 36, R. A. Entracht, President. Telephone: MUrray Hill 2-2948.
Subscription Representatives: AUSTRALIA— McGills, 183 Elizabeth
St., Melbourne; NEW ZEALAND— Te Aro Book Depot, Ltd., 64 Court-
nay Place, Wellington; ENGLAND and ELSEWHERE— Wm. Dawson &
Sons, Ltd., Macklin St., London, W. C. 2. Subscription Rates: United
States and U. S. Possessions, $2.50 per year (12 issues) and $4.00 for
two years (24 issues). Canada and Foreign countries: $3.00 per year
and $5.00 for two years. Changes of address should be submitted four
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., under the act of March 3, 1879. INTERNATIONAL
PROJECTIONIST assumes no responsibility for personal opinions ap-
pearing in signed articles, or for unsolicited articles. Entire contents
copyrighted 1957 by INTERNATIONAL PROJECTIONIST PUBLISHING
CO., INC.
»420
monthly ghat
Background, Foreground, and No Ground
WE CAN BEST begin by quoting part of a letter we re-
ceived a while back from a Canadian brother, Al Mulcahy,
IA Local 348, out in Kamloops, B.C. He writes:
". . . there are many discussions by projectionists re-
garding the ability to focus pictures on the screen, some-
times with remarks to the effect that the projection lens
can tell the difference between the foreground and the
background in the projected image.
"Many projectionists believe that you can sometimes
focus either the foreground, or the background, but not
always both. What they do not realize (and some won't
agree to) is that focus in the theatre is a function of con-
jugate foci, and the lens cannot care whether the image on
the film depicts foreground or background of the scene. . .
". . . It has been heard from some that at times Vista-
Vision is not very good, for the reasons mentioned above,
that is: T can focus the actress sharp, but look at the
background . . . way out of focus.'
"If the actor is shown head and shoulders in sharp
focus, and the background is fuzzy, the cameraman was
either using selective focus or else was using process rear
projection."
Thank you, Al. We have never run into that particular
complaint in this bailiwick, but we have heard of it from
other sources. Time and time again IP has reiterated: "If
it isn't on the film, we can't show it." Let's change that
around: "If it is on the film, you can show it." (Providing
of course, that you have decent equipment — the major
factor.)
No Better Than on Film
Cameramen, if they can help it, are going to get all the
information of a shot in focus. Recently, such processes as
Technirama have made it possible to get very good defini-
tion with a coupled close-up-and-background shot. And the
distance from your projection lens to the film is going to
be the same whether you are projecting a vista shot of
Grand Canyon or a closeup of Elvis Presley's crockery.
No matter how large they make the negative to reduce the
grain in the positive, all it can do is improve the reso-
lution in the positive. It isn't going to bring into focus any-
thing that did not originally lie within the depth of field
of the camera.
Conversely, if, by some odd chance, someone behind
the taking-camera bollixes up the focus, there isn't any-
thing the poor projectionist can do about it, let the audi-
ence whistle as it may. Nothing can ever be sharper on
the screen than it is on the film.
In some cases where the foreground is sharp and the
background fuzzy, it may be that — say in the case of a W
print — that the fore image is shot in VV, and the rear
information from a "stock" taken previously on non-VV
film. This is usually noticeable in the difference in grain.
But never believe that you have a choice of focusing
either the background or the foreground. Can't be done.
It's on the film, and it's on there to stay.
INTERNATIONAL PROJECTIONIST
JULY 1957
1
*»
QTRONG U-H-I
75 feet wide. . screens up to
For drive-in ">g gain screens up
120 feet wide and hign B
Uoi»un^chp^6cfbonSwith
fS^sffelr- and pro"
jection cleared for f 1-5-
i feet wide. screens up to 50
J^wfdrandhiTiain screens up
'^/^ector.
STRONG UTILITY 1 KW
| trim of carbon^ «
for 35 mm Projection)
tor w . . de. 65/«
For screens up to ^ leei
dia f 3 'e7fl5^rnegatives and 10 mm
\ Burns 7 mm "^ amperes.
positive carbons at *■ *^
isrSttPSS"—!
1 feet wide. . tte screens up to
\ For drive-in matte a screens
liOO feet wide and nign b
lip to 120 feet wide use jth
' {>96,1 f ""ob ectWe ^rf.T
to reflector for use with J l&UverB
| approximately io*„ flector.
?ion than the 1W*1, or 10 mm!
Models for burmng iQ5 amperes,
positive carbons at <o 2 amperes
'l ?1 mm positives at 110 to ^4 to 135
kand 10 mm Hitex at ^
■amperes.
,v,
,*
(46 Ampere Model) .
I wide and hign B
l^oTdrive-inscreensupto^feel
^Projects 9400 lumens burnm| a ^ |
to 46 amperes ll.-.« ^^
! flector.
rf^l
STRONG ^OKH^^
(40 Ampere 28 vo^ prQ. tlon)
Arc for 35 mm
de.
or ou >"■■■ - - 8 feet wlQ
iFor indoor screens up to We and
|F°Bunrns .6^ ^aled po^ve- ,
1 mm ?..12f0CQTeflector. ^^^^
ilOH
dia f 2.3 rejig
.♦"*
«, You'K
PROJECTION
ARC LAMPS!
■
BEFORE YOU BUY
Consider that there are many models
and types — ONE of which is ideal for
your theatre.
Don't be misled by claims based on
laboratory tests which were made under
ideal conditions. See for yourself just how r
your new lamps will perform in YOUR ^
theatre. IBS W&
Remember that Strong manufactures
the only complete line of projection arcs
....lamps which are particularly suited to?
every condition.
SEE FOR YOURSELF
iiS^
We will, without any obligation on your
part to buy, install the lamps we believe
to be best for YOU . . . .you can actually
run shows with these and be the judge.
If you buy, your Strong dealer will give
you TOP MONEY FOR YOUR OLD LAMPS.
fa*
i\ cm
p.tk McnUC
tf\o**
C0R?0R
-r0\edo »» w
?\ease
se
nd^ec
\Wc»oW*e
on
Suonfl
Prov
etVioo
Ntc
lo«»Ps-
strong aumoR high
(16 mm Project ity arc
This 30 ampere high ™™ ^^
5KfUmm native copper coated Pear
lex carbons. reflector.
] Aft*1*1"
^4 // screen width
values are for CinemaScope
maximum width of screen for
regular projection 90% of given value..
INTERNATIONAL PROJECTIONIST
JULY 1957
•■ ..' ' ■
mmm SEsme^s
wmlmmiz&
I NTE R N AT I 0 N A L P R 0 J E C T I 0 N I S T
Volume 32
JULY 1957
NUMBER 7
For a wider roadshow coverage, "Around the World in 80 Days"
is also being shown in 35-mm, necessitating new developments.
Since this announcement, there has been a good deal of specu-
lation throughout the industry concerning the technical story.
In the interest of getting the straight facts, IP has consulted
the Todd Co. technical supervisor for the following information.
U
Around the World" in 35-mm
By CARL E. WARNER
Technical Supervisor, Michael Todd Company, Inc.
/XDAYS," Mike Todd's produc-
tion of Jules Verne's travel romance, is
about to do some more extensive trav-
eling. Realizing that increasing play-
dates of the show would require diver-
sion from the standard policy of ex-
clusive 70-mm roadshowing, "80 Days"
has been prepared to convert to 35-mm
from its very inception. Expansion of
bookings both here and abroad has
been a primary reason for the develop-
ment of a 35-mm version; the excel-
lent results obtained from premier
35-mm showings has bolstered that de-
cision. However, these 35-mm releases
will not divert from our standard
road-show policy: reserved-seat, two-a
day.
Unlike the shooting of "Oklahoma!"
where a simultaneous 35-mm Cinema-
Scope print was made, both the 35-
and 70-mm versions were made in the
Todd-AO process on 65-mm camera
film. Each scene in the motion picture
was photographed twice by the same
camera: first for the 30-frame/sec
print, then for the standard 24-frame/
sec. The identifying cameraslate at the
beginning of each scene chalked up the
information as to which speed was be-
ing used. A gear-reduction motor in
the camera allows the
change speed at will.
operator to
Todd-AO in 35- and 70-mm
"Around the World in 80 Days" will
be released on 35-mm stock for ex-
panded projection as well as on 70-mm
stock for projection via the Todd-AO
system. This procedure, already in use
for "Around the World" showings
abroad, will materially increase the
number of theatres in which the picture
can be seen.
A specially built optical unit con-
sisting of a prime lens and anamorphic
lens in combination is to be used. Screen
aspect ratio will be 2/1. Houses pro-
jecting the 35-mm release will be re-
quired to follow the two-a-day roadshow
policy; to provide four-track, Cinama-
Scope, stereophonic, magnetic sound,
and to project to a wide, curved screen
similar to those used in other Todd
installations.
Todd-AO is projected in a 2/1 ratio,
as opposed to the CinemaScope 2.35/1,
and the 35-mm version will be pro-
jected at 2/1. Concerning the ratio
problem, the Todd Co. has been ob-
taining excellent results from the 35-
mm projection lens designed exclu-
sively for the process by Panavision
of California. This combination com-
prises a prime lens and a cylindrical
anamorphic lens in one unit, pre-fixed
at the factory to insure an exact 2/1
aspect ratio.
35-mm Results Excellent
Results of the first 35-mm showing
in this country at the Esquire Theatre
in St. Louis have confirmed that these
releases will convert readily to those
houses not equipped for 70-mm, al-
lowing utilization of existing facilities
such as magnetic stereophonic sound
reproduction, and the special wide,
curved screen.
Considering the fact that each house
desiring to show "80 Days" in 35-mm
will present its own special problems,
INTERNATIONAL PROJECTIONIST
JULY 1957
the initial domestic installation in St.
Louis cannot be specifically termed
"typical," but it provides an illustra-
tive example of how one house adapted
to conversion requirements. For the
best presentation (and the resultant
best box-office), these requirements
must be met. These are not excessive,
nor in most cases are they difficult to
install.
The Todd sound set-up calls for
splitting the surround speakers. Since
most houses do not have this type of
installation, it becomes necessary for
our engineers to construct proper
installations. Aside from the five Altec
behind-the-screen speakers, the Es-
quire theatre employs sixteen sur-
rounds. There is provision on the
fourth magnetic track for controlling
the surround speakers which requires
the use of a Perspecta integrator.
For maximum light efficiency, a
high gain white screen over 40 feet in
width is also recommended. Projec-
tion standards should consist of at
least 14,000 lumens of light overall,
propelled by a minimum of 115 am-
peres. (Considering that specification,
it might be interesting to note that, for
a time, the initial showing of "80 Days"
at the Rivoli Theatre in New York
City was being projected at 262 am-
peres.) The Esquire Theatre utilizes
two Simplex XL projectors with water-
cooled curved gates and Ashcraft Su-
per Cinex lamps. The throw is 120 feet.
25 Fee* from Screen
The St. Louis theatre now seats 980,
removal of some seating being neces-
sary since a minimum of 25 feet from
the center of the screen to the viewer
is required.
Whatever equipment is used, we
nevertheless consider only the best
possible projection, screen brightness
and definition.
8
Interior of the Esquire
Theatre in St. Louis during
installation work to accom-
modate the 35-mm version
of Todd AO's "Around the
World in 80 Days." Visible
are the five Altec behind-
the-screen speakers. Sys-
tem also utilizes 16 sur-
round speakers.
The use of 35-mm prints for "80
Days" is expected to increase road-
shows to at least 70 openings, and
while very good results are expected
from those releases, it is contemplated
that the majority of playdates will
still be in the 70-mm.
At present some fourteen more open-
ings are scheduled soon in this country,
the most recent being at the Virginia
Theatre in Atlantic City, and at Loew's
in Cleveland — both in 70-mm — and at
this writing the following have been
designated :
35-mm openings now scheduled will
be in Fort Wayne, Indiana; Asbury
Park, New Jersey; Salt Lake City,
Utah; New Haven and Hartford, Con-
necticut; Albany, New York; and
Tampa, Florida.
70-mm versions are to be installed
in Jacksonville, Florida; Columbus,
Ohio; San Diego, California; Beau-
mont, Texas; Providence, Rhode Is-
land; and in two others planned for
Rochester, New York, and Youngs-
town, Ohio, particular versions have
not been decided upon as yet.
At present, 35-mm prints are being
shown overseas in London, Paris, and
Caracas. Others are planned for Syd-
ney, Tokyo, Singapore, Paraguay,
Lima, Johannesburg, Munich, Brus-
sels, Zurich, Rome, Stockholm, Teher-
an, Montevideo, Bombay, Manila, Os-
lo, and other European and Asiatic
cities.
"Around the World" playdates will
be just that — global.
'Cineoptic"— New Dimensional Convex Screen
American Commercial Exchange of
Charlotte, North Carolina, has come up
with what it hopes to be the answer to
dimensional viewing — a convex screen
that curves both vertically and hori-
zontally. According to the inventor, the
screen system (commercial name: "Cine-
optic") is based on a formula propounded
by Professor Hemholtz in 1887 in Berlin.
It is based on the concept that the hu-
man eye sees a curve as a straight line
and a straight line as a curve, thus giving
the conception of dimension.
Thirty-nine years in development, the
screen depicts the design of the human
eye, with semi-oval projections over its
entire surface. Walter H. Shapiro, presi-
dent of American Commercial Exchange,
points out that the system requires no
additional cameras or projectors, the
screen being dimensional itself. Present
widescreen processes are claimed to be
complimentary to "Cineoptic," with im-
proved feeling of depth and dimension.
Also touted for the new screen is that
an audience seated well to the side of
the screen will receive the image without
the usual distortion.
Designed for both indoor and outdoor
theatres, the convex screen also features
polarized light, caused by uneven reflec-
tion of fight waves, thus tending to give
even distribution over the entire surface.
The breaking up of light waves is cal-
culated to concentrate a greater per-
centage of projection light on the sur-
face of the screen, creating a brighter
image and enhancing color photography.
Primary tests have been claimed to
reveal no hot spots on the screen, even
when using high frequency materials
such as fiberglass, beaded glass, vinyl
plastics, mirror screens, etc.
Basic principle of the convex screen
is that since the eye (or the camera
lens) sees in horizontal convex curves —
thus giving the illusion of three dimen-
sions— a projected image should be re-
ceived in the same manner. Thus, the
horizontal convex curves provide three-
dimensional effect, and the vertical con-
vex curve of the screen is intended to
eliminate distortion.
American Commercial Exchange, which
holds the patent rights, wishes to extend
full cooperation to any and all producing
companies that want to test the system,
as well as to TV picture tube manufac-
turers. It is claimed that construction is
no more difficult nor costly than any
existing screen.
BIS Closes Service
For reasons of economy, British In-
formation Services are ending distribu-
tion of theatrical and non-theatrical films
here. Films cleared for TV are still avail-
able, but no applications for rental or
sale of 16-mm prints are being accepted.
The service was instituted in 1940 to ac-
quaint the American public with the
British war effort.
INTERNATIONAL PROJECTIONIST • JULY 1957
PROJECTION
LAMP
INCORPORATING THE NEW
CINE-STEREO LIGHT PROJECTION SYSTEM
50,000 LUMENS
80-100% LIGHT DISTRIBUTION
OVER ENTIRE SCREEN AREA
RATED OPTICAL
SPEED
means more screen
light with greater
economy. More reels
per carbon, more
light per ampere.
With CINE-STEREO
either 35 or 70mm film
can be projected
with equal perfection.
Instantaneous change to
any aperture width.
No change in reflector-
No change in lamphouse
position— Does not
require auxiliary lenses.
THIS IS THE PROJECTION LIGHT SOURCE THAT IS
SO SUPERIOR THAT IT HAS BEEN SELECTED BY
EVERY NATION-WIDE THEATRE CIRCUIT AS
THE STANDARD OF EXCELLENCE
13.6 CARBON-130-160 AMPS-WATER COOLED CON-
TACTS-COMPLETE AIR CONDITIONING OF LAMPHOUSE
AND REFLECTOR. SUPER-CINEX HAS EVERYTHING
THAT THE BEST LAMP SHOULD HAVE. PROJECTION EXCEL-
LENCE WITH OPTICAL AND MECHANICAL PERFECTION.
U.S. Distribution through INDEPENDENT THEATRE SUPPLY DEALERS • Foreign: WESTREX CORPORATION • Canada: DOMINION SOUND EQUIPMEMTS. LTD.
C. S. ASHCRAFT MANUFACTURING CO., INC
36-32 THIRTY-EIGHTH STREET, LONG ISLAND CITY 1, NEW YORK
BEING DISTRIBUTED
TO ALL PAID SUBSCRIBERS
TO THE FILM DAILY
1957
YEAR BOOK
of
MOTION PICTURES
NOW
being
distributed
to all PAID subscribers
• • • •
THE YEAR BOOK CONTAINS:
Revised list of all U. S. theatres, arranged by states
and cities and towns . . . Roster of theatre cir-
cuits, with home office addresses and executives
personnel . . . Up-to-date separate lists of drive-in
theatres, art theatres . . . Personnel of companies
and studios, associations, guilds and unions in the
motion picture field . . . Complete credits on 1956
releases . . . Financial statements of principal in-
dustry companies . . . Complete television section,
including stations, personnel, telepix producing
and distributing companies . . , Equipment and
concessions companies with addresses, executive
personnel and product manufactured . . . Theatre
supply dealers arranged alphabetically by cities,
with addresses, telephone numbers and executive
personnel . . . List of all film exchanges, arranged
by cities, with addresses and names of managers
. . . Full rosters of film companies, laboratories,
projection rooms, trailer companies, insurance
brokers . . . Books on motion pictures and tele-
vision . . . Publications in the motion picture field
. . . Television-radio publications . . . Motion pic-
ture editors and radio-TV commentators on films
. . . Alphabetical title list of more than 28,000
feature pictures distributed in the U. S. since 1915,
with the FILM DAILY Review and release dates
. . . Serials released since 1920 . . . Expanded
Foreign Film Section . . . Legislative restrictions in
foreign film markets . . . Revised film industry
statistics covering production, distribution and
exhibition . . . Credits of players, producers,
directors, cinematographers, film editors, writers, art directors . . .
New York and Hollywood industry telephone directories . . . Agents and
managers in Los Angeles and New York . . . Play and story brokers . . .
Business administrators . . . Leading Los Angeles publicists and public
relations counselors ... an authoritative history of the industry year.
AND 1,001 OTHER IMPORTANT FEATURES
Over 1200 Pages
Beauti
— Covers Everything —
fully Bound
Film Daily
Year Books
Are given without extra charge to all paid
subscribers to THE FILM DAILY, the In-
dustry's Oldest and Most Widely Read Daily
Newspaper.
For 39 Years
THE FILM DAILY
and
YEAR BOOK
of
MOTION PICTURES
Have been the most comprehensive sources of
information in the Motion Picture Industry.
Complete news
coverage daily . . .
THE FILM DAILY
The Industry's oldest daily NEWS paper, pub-
lished five days each week. Vital news of the
industry that is essential to everyone in this
industry, Production, Distribution, Exhibition,
Equipment, Concessions and Television. Con-
structive editorials. Analytical, showmanship
feature reviews. Hearings and decisions of
exceptional spot value. News presented in
the same brief, readable, interpretive, inter-
esting style which THE FILM DAILY has
maintained during these past thirty-nine years
of serving the industry.
WEALTH OF INFORMATION
IS yours when you become a subscriber to
THE FILM DAILY
Get Your Copy NOW-AAail This Coupon Today
The Film Daily Year Book covers — in One Vol-
ume— all statistical and informative data on
the motion picture industry and related fields
at the fingertips of executives, producers, dis-
tributors, exhibitors and all those in any way
interested in the film industry — a wealth of valu-
able information.
A subscription to THE FILM DAILY will keep
you informed on industry spot news, equipment,
concessions and reviews and will answer your
every question on motion pictures throughout
the year.
10
THE FILM DAILY — .^-— T.n-^tfg-W-S3g^~B^^=S • Hollywood Office .
1501 Broadway ™^^j3|jfl""M^AUTlKinS 642S H°"Ywood Blvd-
New York 36, N. Y. CSSSSHa^^5S^P|MJ|ySSS^S Hollywood 28f Calif.
Gentlemen:
Please enter my subscription to THE FILM DAILY, and lend me my copy of THE 1957 FILM DAILY
Year Book. I enclose $15.00 (Foreign $20.00).
Name:
Street:
City: Stat*
INTERNATIONAL PROJECTIONIST • JULY 1957
Film Standards for Picture and Sound
By ROBERTA. MITCHELL
A review of the many types and sizes of release print
issued at the present time, with some argument for a
return to the standard 35-mm release-print format.
WHEN SOUND PICTURES
were commercially introduced
in 1928, two distinctly differ-
ent systems of sound reproduction en-
tered the motion-picture theatre. One
was termed "sound-on-film," and the
other "sound-on-disk." The latter was
used in the first commercially success-
ful attempts to bring both music and
spoken dialogue to the screen.
Disregarding technically successful
early European efforts in the audible
cinema, the commercial American
sound picture began its history on
the sultry New York evening of August
6, 1926 when Warner Brothers pres-
ented John Barrymore and Mary Astor
in "Don Juan" with a stirring or-
chestral accompaniment — but no or-
chestra! Electrically recorded and
amplified disk records were played
on turntables mechanically interlocked
with the projectors.
Sound Arrives
This synchronized-record process,
subsequently called "Vitaphone," was
used a year later to reproduce the
singing and speaking voice in Al Jol-
son's famous film "The Jazz Singer."
So enthusiastic was the moviegoing
public over the October 1927 showing
of this "talking picture" that sound
stages at once began to rise on Holly-
wood studio lots. And by 1928, the
Vitaphone sound-on-disk process, the
Fox Movietone and Western Electric
variable-density sound-on-film proc-
esses, and the RCA Photophone vari-
able-area sound-on-film process ban-
ished the silent screen forever.
As far as sound quality went, the
earliest sound-on-disk was somewhat
better than early sound-on-film. But
as the years went by, sound-on-film
was improved to the point where the
best optical tracks were far superior
to the best plastic disks. One of the
most noteworthy achievements was
the use of optical and electrical biasing
to render the soundtracks practically
noiseless during periods of silence. The
push-pull system was another great
advance; and, although used in stu-
dios, was forestalled by the magnetic
method from gaining wide use in the
theatres where it could have done much
to improve sound quality even beyond
present-day levels.
Release prints underwent a series of
simple modifications in 1928 — 1929
when the sound-on-film method became
the most widely used process. Film
travel was increased from 16 to 24
frames per second in the interest of
frequency range; and a strip 0.1 inch
wide was appropriated from the left-
hand side of the picture area to accom-
modate the soundtrack. Perforation
dimensions were left untouched.
Not until 1931 was a radically dif-
ferent camera aperture adopted; and
prior to that year many projectors
employed a standard silent aperture
(0.91" x 0.68") with a sliding edge
to mask the soundtrack from the screen
when sound-on-film subjects were
shown.
The demise of sound-on-disk induced
the industry to restore the 4:3 pro-
portionality of the screen for all show-
ings by means of "proportional"
camera and projector apertures, the
latter measuring 0.800" x 0.600" and
soon afterward increased in width to
0.825 inch to give the 4:3 propor-
tionality when the picture is pro-
jected at a small angle.
FIG. 1. 35-mm normal soundfilm. Standard
perforations (0.110" x 0.078"); running speed
90 ft. per min., 24 frames per sec. Camera
aperture, 0.87" x 0.64"; projector aperture,
0.825" x 0.600" (aspect ratio 1.375/1). Op-
tical soundtrack, 0.1" wide (scanned width,
0.084")
The standard proportional camera
aperture, often called the Academy
aperture, measures 0.868" x 0.610",
and still remains the standard for non-
anamorphic 35-mm soundfilm photog-
raphy. Its use, reaffirmed by British
Standard 2784, results in a frameline
appreciably thicker than that on either
silent or CinemaScope prints (Fig. 1).
Off-Standard Films
Off-standard films for special pres-
entations have come and gone ever
since the invention of movies; but the
standard optical-sound release print
having the Academy frame remained
substantially unchanged from 1931 to
1953, when CinemaScope presented
the projectionist with a smaller size
of sprocket perforation, magnetic
soundtracks, and a new size of frame
in which scenes were anamorphically
compressed for the wider-than-normal
screen.
The wide screen has now almost
completely displaced the 4:3 screen
proportionality employed since the be-
ginning of commercial movies. Wide-
screen projection of non-anamorphic
films requires severe "cropping" of
the picture, a practice at first con-
demned by many technologists, but
now accepted as standard operational
procedure. But until cameramen con-
formed picture "composition" to the
widescreen format, actors frequently
roamed the vast new screens in a more
or less headless condition, and the
superposed subtitles on foreign films
were often hidden from view.
When theatres movies became big-
ger, if not always better, they also
became dimmer and fuzzier. The
emulsion grain of the camera negative
was blamed; but faulty color regis-
tration, unsharp photography, and
slipshod printing of masters and inter-
negatives added to the blurriness of
the overblown images. (Bad printing
of release positives was a flaw recog-
nized even before the advent of the
wide screen.) But as these factors
were improved, one producing com-
INTERNATIONAL PROJECTIONIST • JULY 1957
11
FIG. 2. 35-mm "vertical" VistaVision print.
Standard perforations. Camera (printer) ap-
erture, 0.87" x 0.55"; projector aperture,
0.825" x 0.497" for aspect ratio 1.66/1,
0.825" x 0.471" for 1.75/1, 0.825" x 0.446"
for 1.85/1, and 0.825" x 0.412" for 2/1. Op-
tical soundtrack cued for Perspecta stereo-
phonic sound.
pany, Paramount, went a step farther
by using a large-frame negative to
reduce the effect of emulsion graini-
ness. Called VistaVision, the Para-
mount process utilizes a regular 35-mm
film running horizontally through the
camera with 8-hole frame shifts.
VistaVision Releases
VistaVision negative frames have an
aspect ratio of 1.48/1 when the full
area of the film is utilized, or 1.7/1
when 0.1 inch is masked off the top
of the picture to accommodate the
soundtrack in contact prints which,
of course, must run horizontally
through projectors of special con-
struction.
Standard 35-mm release prints are
made from VistaVision negatives by
a special process of reduction printing.
And just as the picture, itself, is re-
duced in size, so also are the tiny
clumps of silver grains which com-
pose the image on the negative.
It was the original intention of Par-
amount to utilize the conventional
1.33/1 aspect ratio on "vertical Vista-
Vision" release prints for unobstructed
projection in the normal 1.375/1 pro-
jector aspect ratio when desired. What
actually developed, however, was a
cropped printed frame on the film!
A frame of this type on the print has
been very severely condemned abroad
where there are more 1.375/1 theatres
than in North America.
Fig. 2 illustrates the usual type of
"vertical VistaVision" release print in
circulation at the present time. It
does not have a standard frame, and
hence cannot be used for standard
projection (aspect ratio 1.375/1) with-
out showing the framelines. The
VistaVision release print can accom-
modate the 1.66/1 projector aperture,
however, as well as the 1.85/1 aper-
ture commonly used in the United
States and the 1.75/1 aperture pre-
ferred abroad.
Cropped Frame
The full height of the horizontal
VistaVision negative frame is utilized
in the cropped frame reduction-printed
on the vertical release positive. To
give a standard frame on the release
print, additional small areas along the
sides of the negative frame must be
lopped off, but the loss of pictorial
detail resulting therefrom is quite in-
significant.
Our conclusion is that cropped Vis-
taVision printing has only a nuisance
value the industry could well do with-
out. Whatever aspect ratio is em-
ployed for projection, all non-anamor-
phic prints should allow full latitude
as to the choice of ratio. Theatres
using the standard 1.375/1 ratio
should be allowed to project at this
ratio without the appearance of frame-
line areas along the top and bottom
of the screen.
Horizontal VistaVision prints (Fig.
3) are as off -standard as the Corbett-
Fitzsimmons fight films of 1897. They
require special projectors; and unlike
Todd-AO combination 70 — 35-mm
projectors, horizontal VistaVision
mechanisms cannot be used for stand-
ard showings. And what is the use
to the general field of any projector
unable to play the releases of all pro-
ducers?
Horizontal VistaVision, which made
its debut with the Radio City Music
Hall showing of Paramount's "White
Christmas" in October 1954 at an as-
pect ratio of 1.96/1 on a 60-foot
screen, gives somewhat improved illu-
If You Disagree . . .
... go ahead and let us know. Honest
and thoughtful disputation is one of the
factors that keeps any industry from
becoming stagnant. Mr. Mitchell pre-
sents a documented dissertation for his
point of view, but we do not expect
everybody to agree with the argument.
Particularly in the past few experi-
mental years, sides have been taken on
a wide variety of motion-picture de-
velopments— and this publication is al-
ways interested to hear from all sides.
FIG. 3. 35-mm "horizontal" VistaVision print.
Standard perforations. Regular camera aper-
ture (not shown), 1.47" x 0.99"; camera aper-
ture with soundtrack masked off, 1.47" x
0.87"; projector aperture 1.418" x 0.723" (as-
pect ratio 1.96/1). 24 frames per second.
Normal optical track playing at 180 ft. per min.
mination and picture definition; but
it cannot be said that the improvement
over regular 35-mm projection was by
any means striking. In fact, certain
defects were noticed. Sidewise un-
steadiness of the image was one of
these — a common complaint when
35-mm film is pulled through 8-hole
shifts by sprocket movements. This
defect can be, and in fact was, reme-
died.
Freedom from Buckle
The great advantage of "horizontal"
35-mm large-frame film over "ver-
tical" wide film for projection pur-
poses resides in the relative freedom
of the former from buckle and in-and-
out flutter. Like VistaVision, the new
Technirama process also uses 35-mm
film running horizontally and shifted
eight sprocket holes 24 times each
second.
The use of curved film gates, desir-
able but not an absolute requirement
in horizontal VistaVision projection,
are mandatory as a buckle-reducing
expedient in the projection of films
wider than 35 millimeters. In fact,
curved gates in standard 35-mm pro-
jectors has made modern standard-
film projection equal to, if not supe-
rior, to any other type of motion-pic-
ture system. Edison's choice of 35
millimeters for the width of motion-
picture film seems almost inspired.
VistaVision, both in the form of
"horizontal" contact prints and "ver-
tical" reduction prints of standard-
release format, is capable of consider-
ably better resolution than an anamor-
phic process (CinemaScope, Super-
Scope) is able to attain.
The anamorphic process of image-
compression in photography and ex-
pansion in projection is even older
12
INTERNATIONAL PROJECTIONIST • JULY 1957
3
3
O
z=y
FIG. 4. 35-mm magnetic-track CinemaScope
print. Undersized perforations (0.078" x
0.073"). Camera aperture, 0.94" x 0.74", pro-
jector aperture, 0.910" x 0.715" (aspect ratio
2.55/1 at anamorphic factor 2). Three 0.063"
magnetic tracks and one 0.041" sound-effects
magnetic track.
than the movies. It gained commercial
acceptance only as late as 1953 when
20th Century-Fox replied to the inep-
titudes of 2-strip 3-D with Cinema-
Scope, a process which employs a
slightly off-standard frame and an ana-
morphic factor of two (which means
that the horizontal dimension of the
film image is magnified twice as much
as the vertical dimension on the
screen). CinemaScope, SuperScope
and all their sisters are strictly "2-D"
— as "flat" as conventional movies.
True 3-D stereoscopy absolutely re-
quires binocular (2-eye) "analysis."
Four-Track Sound
As originally designed, CinemaScope
employed a small-perforation 35-mm
print which carried four narrow mag-
netic tracks. The three 0.063-inch
stripes supplied the left, center, and
right stereophonic channels, while the
fourth track, only 0.041 inch in width,
contained "surround-speaker" sound
effects and a 10,000-cycle control tone
which served to operate the fourth-
track amplifier, suppressing its output
during moments of no sound signal.
This system is in use on present Cin-
emaScope prints in spite of the fact
that weak tracks and worn pickup
clusters often fail to reproduce the
10,000-cycle control. Sound quality
from the fourth track is less than sat-
isfactory, and has a limited frequency
range.
Fig. 4 illustrates the configuration
of the "regular" CinemaScope print,
now all but discontinued. An alter-
native optical-track CinemaScope print
was issued to theatres not having mag-
netic sound equipment — the great ma-
jority. The optical print had standard
perforations (Fig. 5).
In order to eliminate the need for
two different types of prints, several
producers have now combined the
magnetic and optical versions of their
CinemaScope pictures into the "mag-
optical" hybrid print (Fig. 6) dis-
cussed last month from the standpoint
of physical durability and sound qual-
ity. The magoptical print is some-
what inferior to standard optical re-
lease prints in both particulars, and
bodes no good for either projectionists
or exhibitors.
The aspect ratios at which Cinema-
Scope is projected depends upon the
type of print used and the width-height
relativity of the theatre screen. While
all three forms of CinemaScope print
may be shown at an aspect ratio of
2/1, the maximum ratios are 2.55/1
for the old magnetic print and 2.35/1
for both the optical and magoptical
prints.
® l
Merits Debated
The merits of the CinemaScope proc-
ess are debated. It certainly succeeds
in providing a widescreen image hav-
ing a large aspect ratio with a mini-
mum loss of light. (The anamorphic
attachment absorbs nearly as much
light as is gained by the slightly
larger-than-standard CinemaScope ap-
erture). Image quality, however, is
spotty — sometimes good, but more of-
ten very bad, especially when the im-
bibition dye-transfer process is used
for making the color prints.
Disregarding the effects of mis-
matched or inferior projection ana-
morphots, the trouble with Cinema-
FIG. 5. 35-mm optical-track CinemaScope
print. Standard perforations (0.110" x 0.078").
Camera aperture, 0.87" x 0.74"; projector
aperture, 0.839" x 0.715" (aspect ratio 2.35/1
at anamorphic factor 2). Optical soundtrack
0.1" wide.
FIG. 6. 35-mm magoptical, or combination
magnetic-optical CinemaScope print. Perfor-
ations same as on magnetic print, camera and
projector apertures same as for optical Cin-
emaScope print, and magnetic soundtracks
same as on magnetic print. The optical track,
however, is only 0.038" wide, with the full area
being scanned — 45% of the scanned width of
standard optical tracks!
Scope lies in the small field provided
by cylindrical and prismatic lenses.
The central region of the projected
picture may be clear, but the side
areas, lying outside the field of sharp
imagery, are often blurred. Unsharp
side areas in photography contribute
to this intolerable defect.
In addition, small errors in the
amount of anamorphic expansion are
common. The bad practice of using
an anamorphic factor of somewhat less
than two on the camera in a misguided
attempt to counteract the image-elon-
gating effects of steep projection an-
gles results in gross distortion when
projection angle is moderate. This
distortion always results in fat-headed
actors and pregnant-looking actresses,
and resembles excessive horizontal
sweep on a TV set.
Spatial Distortions
The use of curved screens for Cin-
emaScope (or any other single-pro-
jector system) combines with projec-
tion angle to create weird spatial dis-
tortions— curved horizons and bowed
buildings — and has been strongly con-
demned by IP for many years. And
yet the practice continues, 1953 curved
screens never having been replaced by
modern flat screens!
In an effort to improve the quality
of 35-mm CinemaScope release prints,
20th Century-Fox has begun to utilize
a 55-mm negative with reduction print-
ing. There is a slight reduction of
negative grain in the CinemaScope-55
process, but the old anamorphic limi-
tations remain.
(Continued on page 30)
INTERNATIONAL PROJECTIONIST • JULY 1957
13
"Night Passage," U-l production, is the initial picture
in the Technicolor system that is being claimed on both
sides of the Atlantic as achieving superior definition.
Filming the First Hollywood
Technirama Production1
By ARTHUR ROWAN
TECHNIRAMA is Technicolor Mo-
tion Picture Corporation's contribu-
tion to the ever-widening search for
the ideal large-screen system of motion
picture photography and exhibition.
In the photographic process it in-
volves the same eight-sprocket (double
frame) picture area and horizontal film
travel in the camera that earlier was
adopted by Paramount studio in the
development of VistaVision. But it
goes a step further in that anamor-
phosis is employed in the optical
system.
Focal distortion is practically elimi-
nated by a technique that adds a
squeeze (anamorphic) lens to the sys-
tem that produces partial scene com-
pression in the camera, with the re-
mainder being effected in the printing
process. The result is a picture of
CinemaScope proportions but having
greater sharpness, definition and depth
and an absence of distortion.
William Daniels, ASC, who directed
the photography of the first produc-
tion to be made in the Technirama
process by a Hollywood studio —
"Night Passage," starring James Stew-
art and produced by Universal-Inter-
national— claims many advantages are
inherent in the system. "In the days
when we shot nothing but the old '3
by 4' aspect ratio, cinematographers
achieved a great deal of photographic
perfection and established a number
of standards," he points out. "Then,
with the advent of wide-screen and
large-screen systems, many of these
advantages had to be sacrificed in
favor of sheer screen size. The devel-
opment of Technirama marks the first
time since the development of 2 to 1
and 2.55 to 1 aspect ratios that we
have been able to re-capture much of
the fine quality we obtained photo-
graphically with the old '3 by 4'
methods."
The trend of big-screen exhibition
practice is toward an aspect ratio
greater than 1.66 to 1, according to
Daniels, who pointed out that Tech-
nirama retains and fully utilizes the
large-area double-frame and obtains
the desirable high aspect ratio by com-
pressing the image horizontally 1.5
times in the camera. A further com-
pression in the horizontal direction is
made in the printing process so that
the combined camera and printing
compression amounts to 2 to 1. Stand-
ard "unsqueezed" 1.85 to 1 prints can
also be made from the same Techni-
rama negative. Technirama prints in
the 2 to 1 format are compatible with
CinemaScope and may be projected
in the C-Scope format in either the
2.55 to 1 or 2.31 to 1 ratios.
Wider Lens Scope
The Technirama lens for photogra-
phy is an attachment or auxiliary lens,
anamorphic in type, not the usual bar-
rel lens but prismatic. It is designed
to be used with the normal 50-mm,
75-mm and 100-mm lenses, and is so
coupled with these lenses that it is
focused simultaneously and in sync
with them.
The scope of the Technirama lens
is said to be greater than the lenses
used in other wide-and large-screen
systems. Technicolor engineers made
the following comparison: With the
camera, mounting a 50-mm lens, fo-
cused on a scene 100 feet distant, the
picture area taken in with the Tech-
nirama lens is 105-ft. by 42-ft., com-
pared with 93-ft. by 36-ft. for Cinema-
Scope, 68-ft. by 37-ft. for VistaVision,
and 42-ft. by 23-ft. for the old Movie-
tone aspect ratio.
It is the fine calibration of Techni-
rama lenses which enabled him to ob-
tain consistent sharpness in the pho-
tography of "Night Passage," accord-
ing to Daniels. "One can always de-
pend upon the calibration marks on
Technirama lenses and rely on the
standard slide-rule depth of field tables
established for these lenses," he said.
"The inherent sharpness, clarity and
definition of Technirama offers oppor-
tunities both for director and cinema-
tographer. For the director, these fac-
tors enable him to stage his action
over the whole width of the picture
area, knowing that everything will be
equally sharp.
In photographing 'Night Passage,'
I found that I could have an actor
within six feet of the lens with com-
plete freedom of distortion. Because
of this, we used combination closeup
longshots frequently — shots in which
both the background and foreground
objects were equally vivid in clarity.
Because the Technirama lens carries
to such great depth, it was possible to
move in less frequently for straight
closeups, and play the action from one
setup without impairing dramatic
emphasis.
"The unique shutter of the Tech-
nirama camera makes it possible to
t American Cinemarographer, March 1957
Although James Stewart
here is in a medium close-
up, (Technirama camera
en boom), the pertinent
details in the background
were also included, due to
the depth ability of the
Technirama process.
14
INTERNATIONAL PROJECTIONIST • JULY 1957
produce pan shots without creating
strobe effects. The same is true when
making diagonal or lateral tracking
shots. All these factors afford
the cinematographer advantages for
achieving more artistic photography.
The system's great clarity and depth
opens new opportunities in pictorial
composition; the consistency of its
lens system leaves nothing to chance
and assures, from a purely photo-
graphic standpoint, an acceptable take
every time."
Not only is Technirama a great step
forward, photographically, Daniels
said, but its development marks one
of the great advances made by the
Technicolor. Technirama combines
many of Technicolor's improved tech-
niques such as new blank film stock,
new printing techniques that overcome
effect of grain, and, of course, greatly
improved optics.
One of the engineering aims in de-
veloping Technirama was to permit
large-screen closeups to be freely used
and intercut with medium and long
shots for a screen result that is rela-
tively free of picture depth distortion.
2,000-Foot Magazines
The standard Technicolor camera
and blimp lent itself ideally to con-
version to Technirama. Because the
8-sprocket (double-frame) film move-
ment doubles the rate of film consump-
tion, Technicolor is now providing
2,000-foot magazines for its Techni-
rama cameras, thus reducing the fre-
quency of film re-loading to that of
standard single-frame cinematography.
The larger film magazines are powT-
ered by individual motors thus reliev-
ing the camera motor of undue strain.
By design, these motors start turning
a second or two before the camera
motor starts, after being switched on,
and continue turning for a like frac-
tion of time after the camera motor
is turned off. This takes up any slack
in the film and reduces the danger of
film breakage or buckle.
Many directors of photography feel
that, aesthetically, a great deal often
is sacrificed by shooting a picture in
wide-screen format. "But," says Dan-
iels, "it looks like big-screen is here
to stay and Technirama unquestion-
ably is the answer to all the ills that,
until now, have confronted cameramen
undertaking wide-screen photography.
With Technirama, we are able now to
achieve in wide-screen the fine quality
photography that marked the better
cinematographic accomplishments of
pre-CinemaScope days."
Research Council Announces New Developments
The two-camera set-up shooting a fast-action
scene. Reflectors are used to throw light into
shadowed areas.
William F. Kelley, executive director
of the Motion Picture Research Council,
has recently announced two new aids
for projectionists: an inexpensive screen
brightness meter, and a 50-page folio of
technical information bulletins.
The meter may be operated by any
theatre personnel without previous ex-
perience, and is able to read screen
brightness from any section of the the-
atre— projection room included. Besides
the meter's economy and ease in manipu-
lating, another feature is its significance
to the industry in the matter of print
density for release prints. Accurate in-
formation can be supplied the studios
by regular and numerous checks of
screen light. The meter requires no warm-
up or zero adjusting, and a pair of or-
dinary flashlight batteries will keep it
operating approximately two years.
The technical information booklet is
a compilation of various projection-prob-
lem bulletins issued in the past. Supple-
mental bulletins, after clearing, will be
forwarded to those on the mailing list.
The folio contains a variety of sug-
gestions and technical aids from de-
scriptions of various test films to meth-
ods for checking screen brightness, and
instructions for aligning the arc lamp
optical chain. Also included is a de-
scription of the MPRC all-purpose align-
ment film. (See IP, May 1957, p. 7.)
The folio may be obtained from the
Council at 6660 Santa Monica Blvd.,
Hollywood 38, Calif.
Fred Beard, field representative for
the Research Council, has recently re-
turned from a six-week tour of Texas
and Louisiana, where he visited approxi-
mately 100 theatres. The two major prob-
lems he encountered in the field were
screen brightness and focus drift, both
in hard-top and drive-ins.
In the four-wall theatres, Beard found
that high-gain screens suffered serious
picture fall-off when viewed from the side
or from high angles. Proposed remedy
is proper curving and tilting of the
screen.
The extruded aluminum screen used in
drive-ins, according to Beard, was giving
about twice the amount of light than the
painted surface screens.
Beard reported that focus-drift is
caused by a projector starting in a cold
condition, and, as the lens heats up, focus
changes, necessitating refocusing the hot
lens. On the next changeover, if the lens
is still in its hot focus position, result
is a fuzzy picture. Beard suggests that
projectionists mark the focusing nob to
indicate cold focus position, and change
when the lens heats up.
The field representative, who stated
that he has been receiving excellent co-
operation from both exhibitors and
IATSE Locals, has started on another
field tour.
New 3-D Effect
A new three-dimensional process which
claims for itself 3-D effect without the
use of glasses is being developed by
Alvin and Mortimer Marks of White-
stone, Long Island, New York. To secure
backing, the process is now being dem-
onstrated to various groups of motion
picture executives.
This latest attempt at 3-D uses two
screens and two 16-mm projectors. One
screen, semi-transparent, is placed a few
feet in front of the other. The set-up re-
quires one projector throwing on the
front screen in the usual manner, and
the other projector — set at an angle —
shows on a mirror which throws the
background portion of the picture to the
rear screen.
The Marks brothers claim that a the-
atrical adaptation can be developed, car-
rying both background and foreground
images on the same film strip, using only
one projector. This, presumably, would
require a beam-splitting device to angle
one of the images to the rear screen.
Photographic process of this new sys-
tem is believed to involve two cameras.
Envisioning a packaged deal that would
include the special multiple screen unit,
the Marks brothers are now awaiting
backing.
INTERNATIONAL PROJECTIONIST
JULY 1957
15
A vital factor which directly affects projection
operation and also the health of the projectionist.
Methods for Ventilating
The Projection Room
By JOSEPH HOLT
Member, IA Local 428, Stockton, Calif.
VENTILATION of the projection
room is one factor which vitally
affects the operation of the projection
equipment. At the same time the phys-
ical comfort, alertness, and health of
the projectionist suffer from improper
ventilation. For these compelling
reasons it is necessary to take frequent
surveys of the ventilating requirements
of rooms in which equipment changes
are made or the efficiency of the ven-
tilating devices may be impaired.
The standards for projection room
ventilation are frequently fixed by city
and State codes, many of which were
drafted during the years when suffi-
cient knowledge did not exist to design
proper ventilating set-ups; at the most,
the standards adopted were in most
cases at minimum levels.
Let us look at some of the circum-
stances which may render almost
worthless a system which may meet
the standards of antiquated codes ....
The first requirement of ventilation
equipment is that it must be capable
of moving a sufficient volume of air
to provide a complete change of air
within a certain time limit. The usual
figure given is one change of air each
ten minutes for projection rooms. One
midwestern State code provides a dif-
ferent approach to the problem by pre-
scribing a factor related to the floor
area of the projection room.
Eight Minute Change
In this method, let it be assumed
that a room is 12' x 24'. With these
dimensions, the floor area will be 288
square feet. The factor given for pro-
jection rooms is two, and our calcu-
lated capacity of the room ventilating
fan would be 476 cubic feet per min-
ute.
Comparing the figure we have ob-
tained under this method, we assume
the room to be 12' x 24' x 9', and ar-
rive at a content of 4,284 eft. If we
use a fan of 500 cfm. size, we would
obtain a theoretical air change in
eight minutes, which checks with our
figure of ten minutes given in so
many codes.
So much for the requirements of the
room air space; but what of the ashes,
gas, and heat arising from the oper-
ation of the arc lamp? So many vari-
ables enter into the operation of lamps
that most manufacturers have found it
better to specify that "sufficient" draft
be maintained at all times. One manu-
facturer suggests that the draft be
Look, Ma — No Carbons!
Ideal Kinema reports on a new car-
bonless, European projection lamp:
The color of light from a xenon dis-
charge is practically the same as day-
light, and slightly superior to that of an
HI arc. The xenon lamp needs no re-
carboning, no adjusting, and has no
mirror to deteriorate. The light is
perfectly constant, and there are no
fumes or dust. The lamphouse has no
moving parts.
The lamp is made in two models.
The 1000 W model runs at 22 volts
and has a light output of 2400 lumens.
The larger model consumes 1800 W,
runs at 26 volts, and has a light output
of 4000 lumens, enough for the screen
of the average cinema. Maximums of
26 ft. wide for the 1.75:1 ratio, and
38 ft. for the CinemaScope ratio have
been mentioned.
On the face of it, this is an ideal
illuminant; but it has certain disad-
vantages. First is the fact that the low
voltage means a correspondingly high
current, and heavy cables are needed.
There is a slight risk attached to it
since the xenon operates at a pressure
of several atmospheres. The risk of
explosion is very slight, but it should
be guarded against.
maintained at the maximum amount
which does not adversely affect arc
operation, and we could hardly do bet-
ter for a standard.
One of the best systems the writer
has ever had a hand in using or de-
signing provided a 600 cfm. fan on
the lamps and a 300 cfm. fan on the
room proper. The lamp fan was by-
passed by suitable duct-and-damper ar-
rangements in order to allow for the
proper amount of draft through the
lamps during operation.
During cleaning periods, the by-pass
openings could be readily closed and
sufficient draft obtained through the
lamp to pull a rag out of the projec-
tionist's hand. This provided a sure
means of exhausting all ash as it was
dislodged during cleanup.
The factor not to be overlooked is
the relative ability of the lamp fan to
preserve a positive flow upward
through the lamp stacks under all
conditions.
The writer has observed in rooms
from coast to coast the same sort of
thinking which has been traced thus
far. Attention has been given to the
installation of adequate fans to meet
the requirements of both lamps and
the room proper, yet there are few in-
stances indeed in which the next im-
portant step is taken.
The Intake Problem
It should go without prolonged ar-
gument that if the ventilating equip-
ment is to operate at a point commen-
surate with its rated capacity, there
must be provided a means of intake to
the room. Codes almost uniformly
provide little or no guide as to intake
air in a form which will be usable the
year round.
Many codes prescribe openings of
certain dimension, and content them-
selves with reference to "outside air",
which is indeed plain enough, but
hardly the type intake air which will
best serve the projection room equip-
ment and occupants.
As a demonstration of what is meant,
let it be considered that we have our
room equipped with proper fans, and
that ducts be brought in directly from
outside air. The large volume of air
brought in will carry in most areas a
quantity of dust, and in altogether too
many cities corrosive fumes and of-
fensive odors.
The practical result of this situation
(Continued on page 34)
16
INTERNATIONAL PROJECTIONIST
JULY 1957
A New Concept on the Physiological
Aspect of Stereophonic Sound
By HOWARD F. HUME
The author describes a series of experiments designed
to establish the factors that provide the stereophonic
effect and to analyze their results in practical terms.
Stereophonic sound has, in recent
years, become an important consid-
eration in the reproduction of sound
for entertainment. Motion pictures, tape,
and disc recordings in stereo sound are
now widely used and more recently the
poor relation in the sound field — the
public address system — has changed to
stereo.
The word "stereophonic" is derived
from the Greek word "stereo" meaning
"firm" or "solid," and "phonic" meaning
"sound.' This word should not be con-
fused with "binaural" which simply
means "two-eared." The stereophonic
effect may be produced to some degree
with one ear only though more exact
when produced binaurally.
The common denominator in any pres-
ent day stereo sound system is a pair
of independent sound pick-up and re-
producing systems wherein one system
gathers and reproduces the sound ema-
nating from the left side of the source
and carries that signal to the left ear
while the other system gathers the right-
side sounds and transmits them to the
right ear. This basic scheme has, of
course, been modified in several ways.
Sometimes a third or fourth channel is
added to fill in the void between the
extreme left and extreme right posi-
tions. In some cases, an amplifier bridges
the two primary channels and a signal
which is a combination of the two pri-
mary signals is reproduced in the center
position in front of the listener.
Any of these arrangements produces
only a near-stereo effect in the listener's
mind and tests show that not every lis-
tener is convinced he is hearing true solid
sound. The sensation more often experi-
enced is that of an awareness of sound
being louder on one side than the other.
Multi-track motion pictures produced the
latter effect, and not convincing stereo-
phony.
Source Orientation
Much has been written on the theory
and practice of the stereo effect, but
many of the writers disagree. This au-
thor submits that the reason the writers
disagree is that there is a misconception
on which a good deal of thinking has
been based and which has seriously re-
tarded the development of the tech-
niques. The question, "Why are crea-
tures able to orient a sound source?"
must be answered satisfactorily before
any successful attempt can be made to
reconstruct the perception of direction
at a distance from the source.
Let us take a quick look at the human
being again and review one or two basic
principles. He has two ears, one on each
side of the head, but except for a narrow
band running vertically from the ground
up and over his head, the path of the
sound to one ear or the other is always
obstructed by the head. The part of the
ear which is stimulated by airborne
sound waves is called the "inner ear"
while the part that projects from the
head's the "extenal ear." The exterrnal
ear projects from the side of the head
at an angle to a line normal to the side
of the head.
It has been believed that a creature
can isolate a sound source in space be-
cause of one or more of the following
reasons :
(1) The distance between the ears
t Reprinted by permission from AUDIO Magazine,
March, 1957
STEREO CAN COST
MUCH LESS!
IP believes the experiments described
in Mr. Hume's article are worth the
utmost attention, not only of projec-
tionists but of the entire industry. If
Mr. Hume's conclusions are confirmed
by other investigators sterophonic sound
should become commonplace, both in
the theatre and everywhere, for he finds
that the expensive Zoic-frequency ampli-
fiers and speakers are not necessary and
add nothing at all to the stereo illusion.
Only the relatively very cheap high-
frequency speakers and amplifiers need
be added to the conventional single-
channel speaker. "Only the high notes
and harmonics should be reproduced
by a dual channel system." His cross-
over point (above which dual equip-
ment becomes desirable) is 800 cps.
creates a time delay in a transient or
any change from a steady state sound
and this time difference provides the in-
formation to the brain.
(2) The distance between the ears
creates a phase difference and this differ-
ence provides the information.
(3) The amplitude of the signals
reaching the inner ears differs and that
difference is used by the brain.
It has been further decided that each
condition contributes some information
and one effect confirms another, increas-
ing the chances of a correct conclusion.
All writers agree that the stereo effect
is produced by some differences in signal
received by the two inner ears and the
preceding three theories have been of-
fered to explain what the difference is.
It is at this point that this author dis-
agrees with the others.
We do agree there is a difference in
signal, else why two ears. Also, we do
agree that these three phenomena
(namely, time delay in transients, phase
shift, and amplitude difference) can,
under certain circumstances, produec
some differences in the left ear and right
ear signals as received. This author be-
lieves that such differences in signal are
not used in the perception of direction.
We believe that the total value of these
three conditions is, at best, in confirming
a conclusion already reached by the
brain .The difference in signals as re-
ceived that does produce the stereo
effect is a difference in wave shape.
Physical Reasons
The head and external ear, because of
their size and shape shadow or filter out
certain frequencies. In the head, for ex-
ample, the frequency is approximately
800 cps and above. The external ear
shadow higher frequencies and because
of its angle, from a different direction.
It is this shadowing process that pro-
duces a difference in waveform in the
signals received by the two inner ears
and which is used by the brain to make
the perception of direction possible.
Stated in another way, the stereophonic
effect is produced by a difference in high-
frequency or harmonic content, created
INTERNATIONAL PROJECTIONIST • JULY 1957
17
by head and external ear shadowing, of
the sound signals reaching the inner ears.
According to Oliver Read,1 "Sounds
having very low frequencies possess the
most power and result in naturalness
and apparent loudness. High-frequency
sounds provide intelligibility." We add
to this statement that the lower fre-
quencies also convey the mood or emo-
tion of the sender. The high frequencies
contain the message and provide intelli-
gibility, and the higher the frequencies
that are passed in the transmission, the
greater the intelligibility of the message
and the more complete the description
of the source.
The fundamental frequency of the
human voice in speaking rarely exceeds
1000 cps. The note "C" two octaves above
middle "C" is 1024 cps. The frequencies
above 1000 cps are usually harmonics
and are necessary for exchange of mes-
sages but have no effect on apparent
loudness.
The head shadows the components
above 800 cps while the external ear
shadows the components beyond 5000
cps approximately. The exact values of
these thresholds are vague because of
the wide range of shapes and sizes found
in nature, as well as the difference in
angle at which each may obstruct the
path of the sound. But for all practical
purposes, these two figures seem accept-
able.
The region in which the maximum
stereo sensitivity exists is a narrow band
directly in front of the face, extending
from below horizontal to about 45 deg.
above horizontal. The point of maximum
stereo sensitivity is straight ahead. The
reason for this is simple. It is in this
direction that the two external ears
gather, in total, a maximum measure of
high frequencies and it is from this posi-
tion that a unit amount of movement of
the listener's head produces a maximum
amount of change in difference in wave
shapes of the signals reaching the two
inner ears.
If it ever becomes possible to measure
human sensations more exactly it will
be possible to plot the degree of stereo
sensitivity throughout the full circle
about the human head. It is obvious that
the reason creatures turn their heads to
face a sound source is twofold: first,
■to obtain maximum intelligibility (high-
est readability of the message) ; and
second, to obtain maximum accuracy of
orientation (maximum stereo sensitivity).
Experimental Results
Several experiments were conducted on
the stereophonic effect and the more
significant results are shown.
Experiment 1, Four subjects were
asked to orient a sound source in a 360
deg. circle about the subject. The sound
was 100 cps "pure" sine wave. The result
was that in several tests subjects were
unable to agree, unable to isolate source
with any accuracy.
Experiment 2. Same as 1 except fre-
quency was 1000 cps. This resulted in
an average accuracy of 25 per cent.
Experiment 3. Same as 1 except fre-
quency was 8000 cps, and this resulted
in an average accuracy of 75 percent.
Thus we conclude that subjects orient
"pure" sine wave tones with a low de-
gree of accuracy.
To support this evidence, Dr. K. de
Boer, working in the Philips Labora-
tories, Eindhoven, Netherlands, found
that "for steady sounds and especially
for pure tones, the perception of direc-
tion in a room is not only difficult but
often even false." As a result, Dr. de
Boer used mostly speech for his experi-
ments. It will be remembered that speech
is rich in harmonics. We believe the
principal reason a source of "pure"
sound can be isolated at all is that all
oscillator-amplifier-reproducer combina-
tions generate some harmonic distortion,
even though that distortion may be low
is terms of percentage. We feel that it
is because of these spurious frequencies
plus random amplifier noise that it is
possible to orient a so-called pure sine
wave at all. Then, again, pure sine waves
rarely occur in nature, so creatures are
not required to cope with the problem.
The next series of experiments shows
the effects of phase difference and am-
plitude difference.
Experiment 4. Two identical repro-
ducers emitting a sine wave, in phase,
were held opposite the ears of the sub-
ject. With one held stationary, the other
was moved toward and away from the
subject so that with the frequencies used,
the phase difference ranged from 0 deg.
to 360 deg. As a result the subjects re-
ported no stereo effect.
The phase shift theory has some not-
able weakness that may be shown simply:
(1) For phase shift to occur at all in
the two ears there must be some measure
of periodicity. Yet creatures are able to
orient sources of random or non-periodic
sound with accuracy; (2) The phase
shift for a sound of a certain frequency
could be the same for at least two dif-
ferent positions of the head. For example,
let us say that a source is at 45 deg. left
of front center, The time difference be-
tween the left and right ear received
signals is the same as if the source were
45 deg. left of rear center.
This argument also holds for the time
of arrival of transients. Note too, that
in this case the difference in amplitude
of the signals would be the same. Present
theories have all ignored the fact that
creatures can isolate a sound source be-
hind them with some accuracy.
We feel that this reasoning, plus the
results of Experiment 4, shows that
phase shift with or without amplitude
difference, is not the difference in signals
required by the brain to orient.
Blindfold Test
(It should be noted that in all the
experiments the subjects were blind-
folded and not told what form the ex-
periment would take. They were simply
told to describe the sensation or illusion
experienced.)
Experiment 5. The construction of the
experiment was the same as in 4 except
that a variable dividing network was
used to increase or decrease the ampH-
tude at the reproducers in equal and
opposite directions. The results were the
same as in 4; there was no illusion of
the source moving, merely the sound was
louder on one side than the other.
It was decided next to investigate the
effects of shadowing. In the Experiments
6 and 7, an audio oscillator provided
a sine or square wave source which was
amplified and then reproduced in air
with a wide-frequency-range loudspeaker.
Five feet in front of the reproducer, a
microphone picked up the signal which
was amplified and supplied to an oscillo-
( Continued on page 28)
1 Oliver B. Read, The Recording and Reproduction
of Sound 2nd Edition. Indianapolis. Howard W.
Sams & Co.
STRONG U-H-l LAMPS IN KENWOOD DRIVE-IN, LOUISVILLE, KY.
Burning 13.6 carbons at
150 amperes, the Strong
U-H-l arc lamps project
a brilliant picture to the
122 feet x 63 feet flat
screen, one of the larg-
est in the Louisville
area. Shown here are the
projectionists at the
drive-in, members of
Louisville Local 163:
William Kelly, Jesse
Hopewell (business rep-
resentative for the Lo-
cal) and James E. Bolus.
18
INTERNATIONAL PROJECTIONIST
JULY 1957
Toll TV: Headache, Saviour, or Bust?
PROJECTIONISTS should be well acquainted with the phrase "Quo Vadis?"
since they last showed Robert Taylor charioting down the Via Appia. Lately
they may have had cause to reflect on the meaning of those two loaded Latin
words ("Whither art thou going?" or "What gives?") An experiment in Bartles-
ville Oklahoma, which has been followed with some interest by this department
(see Telecasts, IP, March 1957), has touched off what has been smoldering
in the TV industry for lo these many: pay-as-you-see-TV.
Toll TV has recently invaded even operator out of the exhibitor.
the I-only-read-the-sports-page audience.
Baseball and TV, for good or bad,
have been more or less shotgun-wedded
since they first took the cameras up to
Yankee Stadium. For some time now the
Dodgers and Giants have had itchy feet
for a number of reasons, and this year
the faithful have been grieved to note
that both teams have seriously considered
moving to the West Coast. One of the
persuading arguments for the move has
been the tentatively promised lucre from
paid video. (Interesting to note that the
nucleus of the toll TV hassle has been
in the West and Southwest; the East
Coast is pennant country, and there
are many subways.)
Within its own ranks, pay TV has its
own competitive dissension. There are
two camps : wired pay-TV, and scrambled
pay-TV. Scrambled pay-TV was on the
scene first with Zenith, Skiatron, and
Telemeter each offering its own version.
Basically, wired toll provides program-
ming by coaxial cable or similar lines
to subscribers; scrambled toll broadcasts
an unintelligible picture over a regular
channel unless the subscriber attaches
a decoder to his set. Methods of pay-
ment vary in each system — either a coin
box attached to the home set, or a
monthly bill submitted — most probably
through the telephone companies — to
the subscriber. Considering the collection
problem, at the moment the monthly
rate has the edge.
Wired Pay -TV Edge
As, also at the moment, wired pay-TV
has the edge. A number of recent devel-
ments point to this: the telephone com-
panies are interested, objectively; both
Skiatron and Telemeter, former advo-
cates of the scrambled system, have made
excursions into the wired field — Skiatron
recently applying for a closed-circuit
franchise in Los Angeles, and Telemeter
offering free daytime operation up to
7 p.m. before charging. Either operation
tends to make a commercial TV station
The FCC, in the middle, is doing some
watchful waiting. For one thing, it is in
the realm of possibility that subscription
TV would have to stand the test of con-
stitutionality. Some constituents in Con-
gress have questioned the legal authority
of the FCC to sanction toll TV at all.
Heretofore, the networks have always
been a free service for the public with
the advertisers picking up the tab. But
let it be noted that many sponsors are
beginning to feel the pinch of increased
program costs.
Even among allies . there is conflict.
Paramount holds controlling interest in
Telemeter, yet Leonard H. Goldenson,
president of American-Broadcasting-Par-
amount Theatres has gone on record very
definitely against tollvision. The Commit-
tee Against Pay-TV while agitating
against any form of "slot-machine TV,"
is not opposed to cable transmission,
such as being prepared in Bartlesville.
The Hollywood AFL Film Council has
passed a resolution asking the FCC to
authorize public tests of subscription TV,
feeling that tollvision would hypo pro-
duction of pictures, yet Barney Balaban,
president of Paramount Pictures and a
major proponent of Telemeter, feels that
a flat monthly payment "would destroy
the incentive to produce better quality
pictures." Also the Hollywood Council
proposal is to be introduced at the Sep-
tember convention of the California State
Theatrical Federation, and the Federation
has already said nix. (See Spotlight this
issue.)
Confusion, Confusion
Are you still with us?
John L. Burns, president of RCA, feels
that if paid TV is successful, "all vested
interests will get into it with both feet."
Yet he doesn't believe it will be success-
ful. The telephone companies, who will
do the line-stringing or the cable-laying,
are wondering whether to rent out the
system, or rent out pole space, whether
the system will fit in other public services,
and what the rate structure should be.
Still, they are interested. Pertinent to
this, while the largest potential market
for toll TV is New York City, it offers
the most difficult and expensive problems
to the prospective tollvision operator.
You pay your money and you take
your choice — and there's the rub. Will
the viewer be willing to pay for what he
sees? Is there any guarantee of quality
for what he's going to see? Are the rates
going to rise as time goes by, as some
Congressmen seem certain they will?
Will the viewer find himself planking
down $9.50 for a 21-inch view of a 400-
foot ball park he can see completely for
as little as 75 cents?
It would seem that there are problems
to be ironed out. Toll TV may be the
panacea that both the TV and motion
picture industry have been looking for.
It also. may be like the fabled fat queen
who tried to sit on two chairs at once
and found herself making a sizeable
dent in the floor.
Still, someone has to project all that
product. And projectionists have worked
successfully from some pretty weird situ-
ations before.
Scanoptic — Anamorphic TV
WIDESCREEN TV will be available, at
least to closed-circuit systems, due to a
process developed by Seymour Rosin of
Scanoptic, Inc., New York. Operating on
the basic principle of squeezing and
unsqueezing, an anamorphic lens at-
tached to the TV camera squeezes the
image, and at the receiving end a special
receiver unsqueezes, giving an aspect ra-
tio of 2.66/1 (inches). This method is
used because the designer considers that
a pick-up of an unsqueezed wide-angle
picture would not be efficient electron-
ically.
Although there is a special flat picture
tube now in development at Kaiser Air-
craft and Electronics Corp. in California,
at present Scanoptic is using the average
home TV receiver, modified, masked in
at top and bottom to eliminate blank
spaces, another anamorphic lens being
placed in front of the projector. This
process also permits prints of the regu-
lar CinemaScope type to be kinescoped
directly.
However, while using the regular 525
lines scanning rate of commercial TV,
Scanoptic carries more picture informa-
tion, and therefore requires a wider tele-
cast band. The FCC has designated that
broadcasting bandwidths for TV be 4.5
megocycles; Scanoptic needs 9 mego-
cycles, which would require a change in
telecasting equipment and authorization
of the FCC. No such change is expected,
but the developers believe that the wide-
( Continued on page 33)
INTERNATIONAL PROJECTIONIST
JULY 1957
19
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.
SPOTLIGHT
THE forthcoming — September — con-
vention of the California State Thea-
trical Federation should provide a warm
forum on toll TV. Recently, the Holly-
wood AFL Film Council, representing
over 24,000 employees in the industry,
called on the FCC to authorize wide-
spread public tests of subscription TV
at the earliest possible moment.
The Council foresees "additional em-
ployment for tens of thousands of Amer-
ican workers," and in a unanimously
adopted resolution stated that subscrip-
tion TV probably would greatly increase
the number of motion pictures produced
in this country. The resolution, which
will be presented to the California State
Theatrical Federation at the September
convention, and to all international la-
bor unions and councils, also considers
that TV programming would be of a
better quality than the present sponsored
product.
However, the Federation, representing
70,000 workers, has come out square
against the proposal, asserting, through
William P. Sutherland, secretary-treas-
urer, that "Public interest demands that
toll TV — or any tests of toll TV — should
not be permitted."
Previously, AFL-CIO President George
Meany had reminded the FCC of labor's
unanimous stand at the 1956 convention
against toll TV, declaring that paid
video ". . . would be against the public
interest."
There seems to be Httle or no dissen-
sion on the East Coast. Through Tom
Murtha, chairman of the 10th District,
which is comprised of IA Locals in the
state of New York, that body has come
out solidly against toll TV. Murtha told
the FCC that the unions are not going
to stand by and let paid video grab the
airwaves. It is Murtha's contention that
tollvision is an "infringement on the
property right now enjoyed by the gen-
eral public on a no-fee basis." He is in
direct opposition to the Hollywood Film
Council idea that toll TV would increase
employment. "It would have the opposite
effect if this vicious system was ever
permitted," he stated.
• IA President Richard F. Walsh, no
stranger to travel, was a delegate to the
Fifth World Congress of the Interna-
tional Confederation of Free Trade Un-
ions which met in Tunis, capital city of
Tunisia, North Africa, July 5-13. If
we remember correctly, Tunisia is not
the most comfortable place to be in July,
but international good will and coopera-
tion take precedence over weather dis-
comforts.
• The Frank J. Keilhacks of Kansas
City, Kans., celebrated their golden wed-
ding anniversary June 30 by holding
open house for all their friends. Frank
Keilhack has been a member of Kansas
City Local 498 since 1911, and has served
as Local president for the past 20 years.
Born in Waterloo, 111., 70 years ago, he
has been a resident of Kansas City for
68 years, 49 of which have been devoted
to the motion picture industry. He re-
tired June, 1956. The Keilhacks have
one son and three grandchildren, one
of whom, Donald, recently returned from
Germany where he was a student at the
University of Hamburg. Donald is also
an accomplished pianist, playing with
the Star Light Theatre Orchestra in
Kansas City.
• "A honey of a party," is the apt phrase
describing the June 13 meeting of the
25-30 Club which was held at the Cadil-
lac Restaurant in New York City. The
phrase, incidentally, is John L. Alden's,
president of International Projector, Di-
vision of Simplex Equipment Corp., in
whose honor the dinner was given. And
a honey of a party it was — with a record
turnout of Club members, including past
and present officials, and top Simplex
and National Theatre Supply executives.
After the opening remarks by Nathan-
iel Doragoff, Club president, toastmaster
Morris Rotker, past president, intro-
duced the visiting dignitaries among
whom were representatives from a num-
ber of upstate IA Locals: Larry Sher-
man and Lionel Wilcox, from Syracuse
Local 376; Ed Harris, Westchester
County Local 650; Charles Perez and
Albert Tins, Monticello and Port Jervis
Local 353; Ed Dougherty, Anthony Bos-
carelli, and William Anderson, Local
384, Hudson County, N. J.
Among the International Projector
luminaries hosted by the Club were
C. M. Leeds, vice-president of manu-
facturing; Arthur Meyer, vice-president
and sales manager; Willy Borberg, de-
sign engineer (GPL) ; Barry Passman,
vice-president of engineering, and John
P. Russell, comptroller.
The major Broadway houses were well
represented by Charles Talley, chief
projectionist at the Roxy Theatre;
Charles Hortsman, chief of maintenance
ONE OF THE TABLES AT THE RECENT 25-30 CLUB PARTY
Shown here is a group of 25-30 Club members, left to right (clockwise): Nat Strauss, Anthony
Boscarelli, Joseph Pearlman, John Krulish, Abraham Kessler, Edward J. Dougherty, Harry
Mackler, Jacob S. Winick, Morris J. Rotker, Allen G. Smith (honorary member), Charles Perez,
Albert Tins, Larry Sherman, Lionel Wilcox, Joe Abrams, Robert Saunders, and Julius Wetzler.
20
INTERNATIONAL PROJECTIONIST • JULY 1957
and sound for RKO; Milton Berkowitz,
chief projectionist, Capitol Theatre; Ben
Olevsky, Radio City Music Hall; John
Rollman of the Rivoli Theatre, and Gio
Gagliardi, from Stanley Warner. Clar-
ence Ashcraft, manufacturer of the Ash-
craft Super Cinex projection lamp, Les
Davies of Altec Service, and IP's Robert
MacLeod were invited guests.
After the mundane business of bills
was dispensed with by Club treasurer
Benjamin Stern, Morris Klapholz, secre-
tary, motioned that a telegram be sent
to ailing P. A. (Better Projection Pays)
McGuire, which was passed unanimously
and acted upon immediately.
A slide-illustrated talk by Willy Bor-
berg on the development and accom-
plishments of the water-cooled curved
gate for the Simplex XL was a highlight
of the evening. The demonstration was
followed by a lively question-and-answer
forum, which was finally interrupted
only for time's sake.
Marty Bahn of National Theatre Sup-
ply Co. projected a 16-mm short depict-
ing the historical projector collection of
Don Malkames, member of IA Local
644. Don's museum, previously described
in IP, holds one of the largest and most
interesting projector collections in the
country.
It is hardly necessary to mention that
this was one of the Club's most out-
standing meetings. Wined, dined,
speeched, and entertained, with the tab
picked up by International Projector and
National Theatre Supply jointly, the
Club members adjourned to plan and
await the next gathering.
• John F. Brownsell, member of Toronto
Local 173, recently joined the ranks of
projectionists inducted into the Famous
Players 25-Year Club. Other Canadian
IA men who became eligible this year
for membership in the Club include Ron-
ald P. Marchant, R. W. Crabbe, J. H.
Johnson, members of Local 300, Saska-
toon; J. R. Foster, Local 348, Van-
couver; F. E. Hoffman, Local 262, Mon-
treal; James P. Whitebone, Local 440,
St. John, N. B.; Dale Leach, Local 302,
Calgary; and F. Nash, Local 299, Winni-
peg.
• Northwest Sound Service, Inc., of
Minneapolis, Minn., supervised the Todd
AO installation of "Around the World
in 80 Days" which opened recently at
the Academy Theatre in Minneapolis.
This service organization will observe its
7th birthday next October and boasts
that it employs only IA sound engineers.
• Hugh Usher, secretary and business
representative for Local 303, Hamilton,
Ont., has joined the editorial staff of the
Hamilton Labor Digest, conducting a
monthly department titled "Movie
25-30 CLUB HONORS INTERNATIONAL PROJECTOR'S JOHN ALDEN
Left to right: John Alden,
president, International
Projector; Not Doragoff,
25-30 Club president; Al-
len G. Smith, National
Theatre Supply; Gio Gag-
liardi, Stanley Warner,
Clarence Ashcraft, Ash-
craft Mfg.; and Charles
Horstman, RKO supervisor
of maintenance and sound.
Left to right: Barry Passman, vice-president in charge of engineering, International Projector;
Willy Borberg, design engineer. General Precision Lab.; Marty Bahn, National Theatre Supply;
John P. Russell, comptroller, International Projector; Bill Nafash, engineer, National Theatre
Supply; C. M. Leeds, vice-president in charge of manufacturing, International Projector, and
Harry DeFura, technician, International Projector.
Left to right: Charles Tailey, projection supervisor, Roxy Theatre; William Anderson, vice-
president, 25-30 Club; John Alden, president, International Projector; Nat Doragoff, Club presi-
dent; Allen G. Smith, NYC branch manager, National Theatre Supply Co.; Morris J. Rotker,
past president, 25-30 Club; Arthur Meyer, vice-president and sales manager, International
Projector (honorary member of the Club); and Morris Klapholz, recording-secretary of the Club.
Standing, rear, unidentified.
News." The Digest is a prominent labor
periodical in Canada with a monthly cir-
culation of 35,000.
Unions Nix Toll TV
Union papers throughout the country
will be carrying the AFL-CIO animus
against subscription TV this and follow-
ing months. A signed declaration of pol-
icy by President George Meany has gone
out to the union publications, which have
an aggregate circulation of around 15
million readers.
Text of Meany's declaration is: "We
believe the granting of licenses for this
purpose (toll TV) would be against the
public interest and greatly curtail the
use of this valuable medium of TV. We
urge the FCC deny the applications now
pending."
To date, the FCC has tabled any de-
cisions on toll TV, and is not expected
to act on the issue until "sometime in
the near future." This hesitance, how-
ever, has caused some disgruntled com-
ments.
INTERNATIONAL PROJECTIONIST
JULY 1957
21
What Is YOUR Problem?
Ptojection
CLINIC
"Vignetting" (Fadeaway) Means Inefficiency
"^LOW" LENSES can give good screen results only with "slow" arc lamps;
"fast" lenses with either "slow" or "fast" lamps. But the important thing
to remember is that modern optically rapid arc lamps require modern "fast"
lenses for maximum screen light without vignetting — a fadeaway of light at
the sides and corners of the projected picture.
The first practical data on lens vignet- between the two sides of the picture,
ting was prepared by the Strong Electric
Corporation of Toledo, Ohio, and pub-
lished in a comprehensive article by
Arthur J. Hatch ("Screen Illumination:
Some Pertinent Facts," IP for February
1957, p. 10 ff. with the lens-vignetting
table on p. 30). Neither the makers of
lenses nor a leading arc-lamp manufac-
turer, such as Strong, wish to see their
products handicapped by optical ineffi-
ciency in the projection room.
From the theoretical point of view, a
slight optical mismatch prevails when
lamp and lens have the same /-number.
However, the mismatch in such a case
is too slight to produce visible effects
on the screen. You may thus be assured
that your patrons are getting maximum
picture brilliance and sharpness when
you project with "fast" (/:1.9 — /:1.5)
coated lenses working in conjunction with
a pair of the amazingly efficient new
lamps burning 13.6-mm positives and
having mirror speeds up to /:1.6.
Aside from the increased overall
brightness, elimination of the vignetting
effect by means of the new lamps and
lenses has such favorable results as re-
gards lifelike brilliance and clarity of
projection that the exhibitor who wants
to stay in business during these competi-
tive times will certainly avail himself
of the equipment now being offered. The
difference on the screen may mean the
difference between loss and profit. It is
a difference that the public appreciates
and the projectionist welcomes.
Angles and Focus
THERE'S ANOTHER matter we'd like
to get off our chest, too. Don't let anyone
tell you that steep projection angles
play havoc with the focus of the picture!
They don't — they can't. No matter
whether your screen is tilted or not, and
no matter whether your projection angle
is a steep one or not, any difference in
lens setting between top and bottom, or
indicates assymetrical positioning of the
film. In other words, the film-gate runners
and tension pads are worn. If the film
runners are in perfect condition, you car,
project from seventh heaven down into the
orchestra pit, and your picture will be
sharp all over!
Yes, this can be explained. Projection
lenses have a very small depth of focus
(showing up film-flutter and buckle
readily) , but a rather great depth of field
(allowing the screen to be moved toward
or away from the projector over a wide
range of distances without requiring
changes in the focus-setting).
We don't always appreciate the great
depth of field of projection lenses be-
cause the "throw" remains a fixed dis-
tance. Only in those theatres having two
screens, the front one "flown" to permit
projection upon the back one, will it
be seen that the lens is surprisingly in-
different to changes in the throw.
Short-focus lenses have the smallest
depth of focus (revealing film buckle
very readily) , but the greatest depth of
field. As Fig. 1 shows, a 2-inch lens
focused for the sharpest possible image
on a screen 80 feet away will also give
a clear picture, without "touching up"
"THROW" IN FEET
10 20 30 40 50 60 70 80 90 100 120 140
V)
a
x
z
h
z
w
%
w
£—
< —
• 100
3-\
le
ncK
ns ,
.030
4-inc
h""*
J
020
V 5c-incn
o
|"MLj
o J-
I
* — Infinity focus position
FIGURE 1.
the focus, on a screen 150 feet away.
Considering that the depth of focus of a
2-inch projection lens is about 0.002 inch,
such a lens will give a clear picture from
"infinity" down to a distance between
100 and 140 feet without resetting the
focus. This distance is what photog-
raphers call the "hyperfocal distance."
Lenses of longer focus — say 4 and 6
inches E.F. — have a smaller field depth,
but nevertheless readily tolerate changes
in the throw from 10 to 20 feet at the
usual projection distances without the
necessity of altering the focus. The
depth of focus of a 4-inch lens, however,
is about 0.003 inch, while that of a 6-inch
lens is about 0.004 inch.
Film and screen occupy the "con-
jugate foci" of the projection lens. These
two foci are related to the focal length
(E.F.) of the lens in the following way,
dt and d2 being the distances of the
conjugate foci from the lens:
dxdz
f = ■
di + d2
Turning this equation about to solve for
one or the other of the conjugate foci,
we get:
d%f
dt =
. d2 — f
which was the formula used for calculat-
ing the data from which Fig. 1 was con-
structed.
Fig. 2 shows the actual conditions
prevailing with a 24-degree projection
angle when 3%-inch lenses are used
with 1.85/1 wide-screen apertures meas-
uring 0.825" x 0.446". At a throw of 82
feet (984 inches), the height of the pic-
ture projected at a O-degree angle would
be calculated by:
dh 984 X 0.446
H = =
/ 3.5
which equals 125.390 inches, or 10.449
feet. On a vertical screen when a 24-
degree angle prevails, however, the pic-
ture is higher than 10.449 feet on account
of the effect of "image elongation." This,
of course, is the case we are interested
in; and the simple formula does not
help us to calculate the true picture
height. We must use a formula involving
a trigonometric function, namely:
H
dh / 6h \
seel +6 \
f \ P )
984 X 0.446 /24 X 0.446 \
H = - - secj +24 |=
3.5 \ 12.25 /
H = 125.390 X sec 24.874 =
H = 125.390 X 1.092 = 136.926 inches,
which equals a picture-height of 11.411
feet. The projection angle of 24 degrees
has thus made the picture 11.411 —
10.499 = 0.962, or approximately 1 foot
22
INTERNATIONAL PROJECTIONIST • JULY 1957
greater than normal in the vertical
dimension.
As shown in Fig. 2, the bottom of the
vertical screen is about 2% feet farther
away, and the top 2V2 feet nearer, than
would be the case if the screen were
perpendicular to the projection axis.
Does this 5-foot focal difference affect
the focus of the picture? Not in the
least!
Referring back to Fig. 1, it is seen
that a 2-inch lens focused for 82 feet
will give a clear picture as close as 60
feet or as far away as 150 feet. A 4-inch
lens focused for 82 feet gives a sharp
image from about 70 to 90 feet, while
a 6-inch lens focused sharply at 82 feet
provides a clear image from 75 feet to
more than 85 feet. In all these cases,
the depth of field is greater than the 5
feet required in this instance!
The inescapable conclusion : unless the
film-gate runners be worn or misaligned,
steep projection angles do not affect the
focus of the picture.
Some End-Play Necessary
Is end-play allowable in the shafts
of projector mechanisms?
A CERTAIN AMOUNT of end-play is
not only allowable, but absolutely neces-
sary to prevent hard starting, bindups,
and undue wear of washers, bushings,
bearing collars, etc. Except when ball
bearings are employed, the shafts of drive
and intermediate gears, feed and hold-
back sprockets, and the like, require
sufficient end-play to allow a perceptible
in-and-out movement of the shaft when
tested with the fingers.
Shutter shafts should also have end-
play, although too much "looseness" may
result fin certain mechanisms) in "hunt-
ing" of the shutter with flicker, travel
ghost, and clicking noises.
Modern automatically lubricated mech-
anisms need less end-play than do old
machines having worn sleeve bearings.
The intermittent movement is an excep-
tion to this general rule, however, for
even old-style heads should have inter-
mittents in brand-new condition. While
there must be enough end-play in the
sprocket-and-star shaft to provide run-
ning clearance, the amount required is
almost too small to be detected with the
fingers. Sufficient end-play is provided
when the sprocket of the disassembled
movement turns freely without percept-
ible "drag."
Guard against mistaking wear in the
gear-shaft bearings for end-play. A
sleeve bearing so badly worn that the
shaft wobbles results in noisy operation
and rapid wear of the gears. Replace-
ment shafts of slightly oversize diameter
are available for most of the older pro-
jectors. The intermediate shaft for Sim-
A,evel line
\ r~
of reference
Projector
having" lens
of 3i"E.F.
.825"X.446//
(1.85/1)
o
Focal depth of
field required
for sharp focus
on vertical screen
IO2 hi^h perpendicular screen
11 2 high vertical screen
/"^
~^r
FIGURE 2.
plex Regular and Super Simplex heads,
for example, is available in five oversize
diameters as well as in the standard
diameter. A set of cylindrical male feeler
gauges is useful for determining the
exact diameter of shaft needed for a
worn bearing.
Occasionally check the tightness of the
set-screws in bearing collars to make
sure that they have not loosened. The
screws in the shutter-shaft collars of
old-style mechanisms are especially liable
to work loose.
Tilted Screens?
REGARDLESS of recommendations is-
sued by the Motion-Picture Research
Council (IP for May 1957, p. 7 #.), the
tilting of screens in theatres having steep
projection angles — angles greater than
15 degrees — is an expedient which should
be considered with caution. The "cure"
is sometimes worse than the "disease."
The effects of projection angle, as every
projectionist knows, is an elongation of
the vertical dimension of the image (tall,
thin actors) together with "keystoning."
The keystone, or trapezoidal, shape of the
picture results from an increase in pic-
ture-width toward the bottom of the
screen with a characteristic convergence
of vertical lines toward the top.
Tilting the screen so that it faces
the projection beam more squarely does
indeed minimize the distortions of image-
elongation and keystoning, but it unfor-
tunately creates "viewing distortions"
which are especially annoying to patrons
in the side seats.
"The effects of steep projection angles
can be reduced somewhat," wrote E. 0.
Kollmorgen in Motiograph's Sound
Track Book of the Theatre, "by tipping
the screen backward, but the effect any-
where but in the center of the house
is usually so grotesque that elongation
and keystoning are preferable."
This point of view was expressed by
IP as long ago as October 1947 (p. 9)
when we cautioned against a screen tilt
much in excess of 5 degrees. Now that
quarters are advising us projectionists
to tilt our screens, we find it refreshing
to turn back to the standards and prac-
tices of former years.
New 16-mm Editing Design
A new 16-mm editing machine using a
new type of intermittent sprocket move-
ment which gives an unusually quick pull-
down has been introduced by John A.
Maurer, president of JM Developments,
Inc. Shown to members of the SMPTE,
the machine projects a bright high
quality 6x8 inch image of the picture.
The image includes the top and bottom
frame lines, inner edges of the sprocket
holes and the sound track. If only the
normal picture area is desired, a mask is
provided for that.
The apparatus can operate in speeds
from very slow to twice normal projec-
tion speed. Quick stopping is provided
for, as well as stopping, reversal of direc-
tion and manual frame by frame oper-
ation.
Sound is reproduced from a separate
film with either a photographic or mag-
netic record, provision being made for
reproducing in sync, a sound track on
the same film with the picture so that the
machine may be used for the inspection
of prints, as well as for editing.
INTERNATIONAL PROJECTIONIST
JULY 1957
23
DISTRICT No. 2, which is comprised
of 24 theatrical Locals in Calif.,
Ariz., and Nev., held its second meeting
of the year on May 21 at Kit's Palomino
restaurant in Oxnard. On hand to wel-
come the delegates and guests were
Brothers McCabe and Venema of Local
709, Ventura County. Council President
Billy Wise (business representative for
San Diego Local 297), assisted by Coun-
cil Secretary Lon Bennett (Long Beach
Local 521), presided at the meeting.
Following roll call, during which the
answering delegates introduced their
guests, President Wise obligated two
new members to the Council ■ — Leo
Moore and Don V. Kloepfel, newly
elected officials of Hollywood Local 165.
George Schaffer, business representative
for Los Angeles Local 150, introduced
his guests — Wallace G. Crowley, Charles
Y. Crowe, Joe Pylet, Guy A. Bride, and,
of course, your truly. Our sister Local,
Hollywood 165, was well represented by
Al Pullen, George Flaherty, Leo Moore,
Don Kloepfel, and Freddy Beard. Carl
Cooper, IA second vice-president, was
among the invited guests.
Among the several interesting letters
from absentee members read at the meet-
ing was one from Johnny Gotchel, sec-
retary of Santa Barbara Local 442, who
has been hospitalized for quite a spell.
Johnny's wonderful sense of humor
hasn't in the least been dimmed by his
illness nor has his regard for the
"ladies."
Copper Drippings Program
A letter from yours truly telling about
Local 150's Memorial Copper Fund was
also read, whereupon I was invited to
address the assembly. I gave the dele-
gates a brief outline of the Local's ac-
tivities on this project, and informed them
that since its inception last January we
have netted approximately $125 each
month from the sale of copper drippings
News and Views from District No. 2
By HANK BOLDIZSAR
Member, I A Local 150, Los Angeles, Calif.
This month our West Coast columnist reports on the
highlights of a recent California District meeting.
collected by the members, the proceeds
of which have been donated to the Will
Rogers Memorial Hospital.
Incidentally, this copper drippings
program originated with the New York
25-30 Club and was brought to our at-
tention by Boris Medove, member of
the Club. Nels Matheson, coordinator
of the Local 150 Memorial Copper Fund,
has prepared a leaflet explaining the pur-
pose of this Fund and the methods em-
ployed by our Local members in collect-
ing the drippings. Copies of this leaflet
may be obtained from Local 150, 1800
South Vermont St., Los Angeles 6. Calif.
Report on New Contracts
Many of the delegates reported on
current activities of their Locals. Ralph
Adams, business representative for Local
504, Santa Ana, reported the acceptance
of new contracts at Disneyland calling
for a wage scale of $3.56 per hour for
a seven-hour shift, with the employer
(Wm. Ralke Co.) contributing 6$ per
hour to the Local's welfare fund. New
two-year contracts providing for a 10$
per hour wage increase the first year
and an additional 15$ per hour increase
the second year was announced by Harry
Reynolds of San Bernardino Local 577.
In addition to the wage hike the em-
ployers agreed to a contribution of 50$
per shift to the Local's welfare fund.
George Flaherty, IA representative and
president of Hollywood Local 165, in-
formed the delegates that TV station
OH, THE IGNOMINY OF IT ALL!!
Ed McCormack.
"Why Son!— You
know I'm strictly
a 'Todd AO'
specialist."
Local 582, Brantford
KTIA, Hollywood, now has complete
IA representation, with the exception of
its office workers, and is part of our
Radio and Television Department.
Mobile Projection Room
Harry Reynolds (Local 577) informed
the delegates of an unusual situation
involving a newly-constructed drive-in
theatre in the Big Bear Lake area —
a Southern California mountain resort.
Although the drive-in was completed
without a projection room, this did not
stump the exhibitor. He had the projec-
tion equipment removed from one of his
"hard tops" and installed it on a war
surplus truck he had purchased for con-
version to a mobile projection room. His
plan was to use this unique projection
room in Big Bear during the summer
season and in the valley the remainder
of the year. This would completely dis-
regard the health and sanitary provisions
under the existing local and state laws
with regard to motion picture theatre
projection rooms.
The Council requested Clem Mar-
chand, who was appointed by California
Governor Goodwin Knight to represent
Labor on the Governor's Committee for
Industrial Safety, to investigate the mat-
ter. A member of Local 150, Clem's work
on the Industrial Hygiene Sub-Commit-
tee has been of inestimable value to many
Locals in Southern California that had
to contend with bad sanitary and ven-
tilation conditions in projection rooms
within their jurisdiction. It is a foregone
conclusion that with Clem on the inves-
tigating end the Big Bear situation will
soon be corrected.
Those "genial gents" from Disneyland,
Brothers Ralph Adams, Council veep and
business representative for Santa Ana
Local 504, and Frank Smith, Hemet
Local 707 president, were very much
in evidence at the meeting adding to the
friendly atmosphere that marks each
District Council gathering. Ralph was
scheduled to enter the hospital for sur-
gery the day after the meeting— he told
me that he was planning a vacation in
Las Vegas and wanted to make sure
he would be in tip-top shape. I heard
of Las Vegas vacations but never re-
alized that such extensive preparations
were required. For myself — I think I'll
take Hamtramyck.
Brother Flaherty announced that the
24
INTERNATIONAL PROJECTIONIST • JULY 1957
Projectionist License Exam Questions
NO $64,000 for correct answers to the
following questions, but if you hadn't
answered them correctly when they ap-
peared on a recent official projectionist
license examination, you'd have gone
home empty-handed also. House rules
require 75 per cent correct for passing,
and no peeking at the correct answers on
page 27.
1. The speed of the synchronous motor
drive on your machine may be increased
by:
(a) connecting resistance in series
with the rotor; (b) connecting resist-
ance in series with the stator; (c) re-
ducing the line voltage, (d) changing
the frequency of the supply if possible.
2. The rating of a link fuse as stamped
upon it, should be:
(a) 70 per cent of its true rating;
(b) 80 per cent of its true rating; (c)
90 per cent of its true rating; (d)
100 per cent of its true rating.
3. In using the water test for determining
the positive leg of a 2-wire DC system,
the positive leg will be the one where:
(a) most bubbles of gas are formed;
(b) least bubbles of gas are formed;
(c) nothing happens at all; (d) the
solution changes color.
4. The motors of the ventilation fans in
the ladies' and men's lounge must be con-
nected to:
(a) the emergency service; (b)
the booth vent motor circuit; (c) any
appropriate circuit; (d) the manager's
office circuit only.
5. The maximum number of feet of film
which may be kept, stored and handled in
a projection room at any one time is:
(a) 100,000; (b) 75,000 (c) 65,-
000, (d) 50,000.
6. The maximum number of feet of film
which may be kept in a fire-proof rewind
room is:
(a) 5,000; (b) 10,000; (c) 15,000,
(d) 20,000.
7. The maximum number of feet of film
which may be stored in an approved film
cabinet at any one time is:
(a) 15,000; (b) 25,000; (c) 10,-
000; (d) 50,000.
8. A plug fuse may be used on:
(a) a 120-volt circuit; (b) a 220-
volt circuit; (c) any DC circuit only,
(d) any AC circuit only.
9. When the electrical feed for a motion
picture theatre originates at the low side
of a transformer mounted on a pole and
then continues to the building and down
through a standpipe into the building to
the meter cabinet, we would say that the
lighting company is supplying current to
the theatre with:
(a) DC; (b) AC; (c) an overhead
service, (d) an underground service.
10. In order to correct a lens for chromatic
District 2 convention will be held in
Oakland, Calif., September 14-15.
Foreign-Made Films
Foreign-made films seem to be a thorn
in the side of Hollywood production.
Albert K. Erickson, Local 727 (Motion
Picture Crafts Services) reported that
foreign-made films were a contributing
factor to Hollywood's present unemploy-
ment situation. He denounced the tactics
of a certain popular columnist and TV
star who consistently advertises these
films, and voiced the opinion that this
video gent should be induced to save
his plaudits for the products of our own
industry.
In a recent "toss-away" publication, I
noticed an item by a gentleman who en-
joys a considerable amount of popular-
ity on both radio and TV as a predictor
of "things to come," in which he states
that no pictures will be made abroad by
American producers after January, 1958.
The new trend, according to his pre-
diction, is for each foreign country to
impose a 5 to 25 per cent tax on the
gross of a picture, figured on a world
wide basis. If this doesn't drive U. S.
runaway production back home then
nothing will.
I was recently visited at the theatre
where I work by a lad from Missouri
who claimed to have worked as a motion
picture projectionist for the past 13 years
in Missouri, Texas, and Florida. He is
not an IA man but is a member in good
standing in a UAW Local in Missouri.
Like many visitors to this part of the
country he declared himself to be ready,
willing, and able (?) to take a per-
manent job as a projectionist, prefer-
ably, if you please, in one of the Holly-
wood studios (a real corn-ball, this lad).
In relating his experiences as a non-
IA projectionist, he told me that his last
job was in Florida where he worked in
a theatre seven days a week from 2 p. m.
until midnight for $50 per week. In ad-
dition to his work in the projection room,
he was also required to do the janitor
work in the theatre auditorium.
Somehow I had been under the im-
pression that such conditions ceased to
exist about the time the Stanley Steamer
conceded defeat to the gasoline buggy.
This month when I pay my dues to our
Local secretary, I think I'll toss in an
extra 10% with a prayer of thanks for
the IATSE and for what it represents to
those of us who seek our livelihood in the
entertainment industry. Units that are
not yet organized might do well to re-
view the benefits that organized labor
has to offer.
and spherical aberration, the lens should
be:
(a) made of colored glass; (b)
made up of several lenses which have
negative and positive curvatures and
are composed of different types of
glass; (c) made larger in diameter
and only the center area used, (d)
mounted in a barrel which contains
suitable filters.
11. After a gas becomes ionized it:
(a) liquefies; (b) evaporates; (c)
becomes a conductor of electricity,
(d) becomes a non-conductor of elec-
tricity.
12. The fuse blows every time you strike
the arc. The lamphouse is wired up cor-
rectly. The trouble will most probably be
found in the:
(a) lamphouse; (b) table switch;
(c) mains, (d) rheostat.
13. A certain vacuum tube has a heater, a
cathode, a grid and a plate. This tube is:
(a) a photo-electric cell; (b) an
exciter lamp; (c) an amplifier tube,
(d) a rectifier tube.
14. Slow fluctuations in motor drive speed
will create the condition called:
(a) wows; (b) flutter; (c) vari-
ability, (d) flicker.
15. The resistance in ohms of a circular
mil foot of copper wire is:
(a) 5.4; (b) 10.8; (c) 15.0; (d)
21.5.
16. Of the following currents, the one
which will cause a #6 B and S asbestos
insulated wire to become most heated is:
(a) 1 ampere at 1000 volts; (b) 10
amperes at 100 volts; (c) 25 amperes
at 40 volts; (d) 50 amperes at 20 volts.
17. In good operating practice, certain
parts of the machine should be oiled daily
while the intermittent oil well should be
drained and filled with fresh oil at the end
of each:
(a) 24 hours; (b) 100 hours;; (c)
500 hours, (d) 1000 hours.
18. After running the projector all day,
your manager gives you a brand new reel.
This new film breaks several times while
you are projecting it. The cause for this
most probably is:
(a) emulsion coming off and ad-
hering to tension shoes; (b) too thick
film; (c) careless operation of the
projector, (d) too fast operation of
the projector.
Bodde Three In A Row
This year marks the third consecutive
time that Academy Award entries have
been viewed on a Bodde Seamless Screen,
the company announces. All award-seek-
ers were judged on the white platinum
seamless installation. Measuring 21 feet
by 58 feet, 6 inches, the screen is the
same type used at the Cathay Circle
for "80 Days."
INTERNATIONAL PROJECTIONIST • JULY 1957
25
Do You Really Know Your Arc Operation?
By LOU WALTERS
IA Local 249, Dallas, Texas
(The question is not idly put. Our service-
man-projectionist veteran puts forth some
timely points on a subject ordinarily con-
sidered left-hand knowledge. But things
are seldom what they seem.)
This month we would like to discuss
what is not necessarily an overly familiar
subject: the arc and its related equip-
ment— generator or rectifier, and car-
bons.
Perhaps not so strange is that fact
that the bulk of reports from factory
representatives of lamp and carbon man-
ufacturers indicate a projectionist lack
of knowledge with respect to proper arc
voltage and matched carbon sets. The
special problems brought on by today's
wide screen demand that each projec-
tionist do his utmost in keeping equip-
ment properly adjusted, following, of
course, company recommendations for
carbon sizes and necessary voltage at the
arc.
Those recommendations are the most
abused and least thought of requirements
for a smooth burning arc. When the arc
is not properly adjusted, both voltage-
wise and mechanically, obviously the
economy of the carbon suffers.
Follow Recommended Sizes
It should be the number one charge
of the projectionist to check into the
available information from his supply
house, or inquire from his equipment
manufacturer the maximum and mini-
mum voltage— subject to carbon size —
necessary for the most economical set-
ting. Sometimes the difference of a couple
of volts can amount to considerable sav-
ing of carbon, resulting in better light
and a smoother burning arc, not to
mention saving the projectionist the
task of constantly watching the arc.
There is always the chance of some-
thing causing a sudden change in oper-
ations. For example, everything may be
working properly, and still the ammeter
will show an unsteady arc, with the amps
jumping to double the normal amper-
age. In this case, you can readily as-
sume a poor contact with the carbon.
This happens often with the rotating
type of lamphouse set-up where the con-
tacts have been damaged, or have not
been replaced or cleaned recently. It is
good practice to use a brass spiral brush
on these contacts each day before start-
ing the show. Such a brush serves two
purposes: (1) to clean, and (2) to keep
the bearing surfaces of the nickel con-
tacts polished. These contacts are quite
expensive and should have careful atten-
tion to prolong their life and remain
trouble-free.
Another point I would like to com-
ment on is that carbon manufacturers
have gone through exhaustive tests to
determine the best size combinations,
and recommended combinations should
not be deviated from. If — as I have found
in many projection rooms — larger neg-
ative carbons are used, other than the
recommended size, then it is apparent
that the equipment is not propertly ad-
justed. Or the individual doing this as-
sumes that he knows more than a group
of eng.neers that have put in countless
hours studying and experimenting with
all phases and possibilities to better their
product.
One important working tool is the DC
voltmeter. This does not have to be an
expensive test set, but a small meter
of good quality should be used occasion-
ally to check the lamp voltage. Several
things can change this voltage — dirty
and worn commutators on the gener-
ator, poor tube contact on the rectifiers,
bad wire connections, or corroded ter-
minals. And do not overlook the possi-
bility of poor contacts on both positive
and negative holders in the lamphouse.
Also, the knife switch should be cleaned,
and a light coat of grease put on the
blade contacts.
Do not hesitate to demand of your
supply house or equipment manufac-
turers any instruction books you might
have misplaced. Once you have them,
refer to the contents often. It will assist
you in doing a better job and being a
better projectionist. After all, your job
is to project the picture on the screen
at its best, and you are expected to do
this without exception.
My old friend P. A. McGuire origi-
nated the phrase: "Better projection
pays." Mac should know, having spent an
active lifetime as good-will ambassador
for International Projector Corp. If he
could help the projectionists with their
problems, he would, acting on the sound
theory that by improving the projection
craft, it follows that the box office
should also improve.
LETTERS
[ED. NOTE: We have received a num-
ber of film samples in the mail lately,
either by way of complaint or suggestion.
We'd like to pass these prints around,
but since we can't, we feel that the fol-
lowing letters are self-explanatory
enough.]
Negative Patch
To the Editor of IP:
You are so right about curved patches.
We find a negative patch, not a hair-
line, goes through with less noise and
less jump on the screen, and holds better
than a hole-over-hole.
Also note the CinemaScope sample that
is printed out of frame. We get them every
once in a while, and must frame when
these patches go through.
Herman Polies
Dover, Del.
Scotched Perforation Holes
To the Editor of IP:
Enclosed is a short piece of film which
I find quite effective in relation to your
recent article on notching perforation holes.
I recently received this print in a
dished can, and from which the reels had
to be extracted with pliers. Upon exami-
nation of this print, the perforation holes
were broken, some very close together.
Instead of splicing too close together, I
used Scotch tape on the side of the per-
foration margins and I find this quite ef-
fective. This will not loosen even under
severe arc temperatures.
However, if these broken perforations
had been spliced, portions of musical con-
tinuity would have been eliminated from
the subject.
I feel that I should like to pass this
information along to your magazine in
the hope it may act as an aid to other
projectionists experiencing the same dif-
ficulty.
John F. Rodcers
O'Brien Theatre
Renfrew, Ont., Canada
Dark Leaders
To the Editor of IP:
The enclosed leader is from an RKO
picture, "Bundle of Joy," which I ran
recently. All reels had the same dark
identification leaders. If this were the first
instance, I would not think too much of
it. But as a projectionist who works 30
or 40 different houses a year, I run into
this type of thing too much. In this par-
ticular instance I relieved the regular man
at 6:30 and ran this picture twice during
the evening. At no time was I ever sure
that I had the right reel in the incoming
projector. If they had been misplaced in
the bins, I would have had a very embar-
rassing shutdown.
I am addressing this complaint to you
because I feel that your voice would carry
sufficient weight to have this condition
corrected. I don't like having to play
guessing games when it comes to placing
the proper reel in the machine.
I know the obvious thing would be for
26
INTERNATIONAL PROJECTIONIST
JULY 1957
the regular man to clearly label or paint
the leaders the reel number, but a lot
of them don't, and my position as guest
projectionist for the night does not permit
me or give me the time to do so. Often
there is nothing in the booth to accomplish
this with.
Thank you for listening to me. I hope
you will be able to do so-nething to cor-
rect this condition which is handicapping
the already over-burdened projectionist
in his efforts to do a creditable job.
Ray Grsen
San Francisco, Calif.
A Note of Appreciation
To the Editor of IP:
Many thanks for the continued excellence
of International Projectionist — the Bible to
us humble projectionists. The articles by
Robert A. Mitchell are indeed grand, and
I look forward to receiving his MANUAL
OF PRACTICAL PROJECTION which I
have ordered through your Australian agent
(McGill's). Projectionists' problems seem
to be the same the world over and your
publication is truly international in every
sense of the world.
Keep up the good work and my sincere
thanks to you for the valued information
always coming to hand.
Reg. A. Stewart
Wangaratta, Australia
OBITUARIES
Castrucci, Augustine, 65, member of Toron-
to Local 173, died suddenly on June 12. He
was a member of the Famous Players 25-
Year Club and was highly esteemed by his
fellow workers.
• • •
Ricord, Sr., Willard C, 68, member of
Hollwood Local 165, died of a heart attack
on June 18. He was chief projectionist at
the Fox West Coast screening room. He is
survived by his wife, son, and two grand-
children.
• • •
Moriarity, Maurice, veteran member and
former official of Local 273, New Haven,
Conn., died recently in Tampa, Fla., where
he had been living following his retirement
early this year. He was buried from his home
town, West Haven, Conn., on Saturday May
25. Survivors are his wife and foster son.
• • •
Foster, R. J. 65, member of Vancouver Lo-
cal 348, died several weeks ago. Born in
England, he moved to Vancouver in 1912,
becoming a member of Local 348 several
years later. He was a staunch unionist and
served the Local in various official capacities.
His wife survives him.
Answers to Projectionist Exam
1. D
7. B
13. C
2. B
8. A
14. A
3. B
9. C
15. B
4. C
10. B
16. D
5. D
11. C
17. B
6. B
12. D
18. A
ILOI,liA\OIMi
IPOHiVriON
Northampton, Massachusetts
INTERNATIONAL PROJECTIONIST • JULY 1957
27
STEREOPHONIC SOUND
{Continued from page 18)
scope and a wide frequency range meter.
Experiment 6a. A set of readings was
recorded on the meter for various sine
wave frequencies.
Experiment 6b. A block of sound-
absorbing material approximately the
same size as a human head, was sus-
pended directly in front of the micro-
phone. The results are shown in Table I.
TABLE 1
Consistent
Maximum
Light
of
Greater
Economy
DIAMOND
PROJECTION
zTn+TTh?
70 PINE STREET • NEW YORK 5, N. Y
Difference
Frequency,
cps
in readings, db
100
- 3
200
- 3
300
- 3
500
3%
1000
- 7
3000
- 8
5000
- 10
8000
- 7
It must be noted that this experiment
included as error the acoustics of the
room and the acoustic relationship be-
tween the shadowing device distance to
microphone and others. The result
showed that shadowing occurs in higher
frequency (function of size of shadow-
ing device).
Experiment 7. The same apparatus
was used as in 6, but the signal used
was a square wave, rich in harmonics.
The signal picked up by the microphone
was viewed on the oscilloscope. When
the artificial head was suspended in
front of the microphone, the wave form
approached sine wave shape, the fun-
damental frequency. If the fundamental
were below 800 cps the amplitude of the
fundamental was relatively unattenuated
but the wave form was almost completely
stripped of harmonics. Again, the room
reflections introduce error.
Experiment 8. This experiment con-
stituted the ultimate test of the theory.
Two identical reproducers were mounted
fixed and equidistant from the subjects'
ears and in a line normal to the side of
the head. The loudspeakers were in phase
and connected to the same signal source,
and in this case the signal was music.
The signal reaching the subjects' inner
ears was exactly the same for each side
except that a frequency discriminating
network was introduced in the circuits
so that at 800 cps attenuation began and
continued at approximately 4 db per
octave.
The control was flexible and the at-
tenuation could be smoothly decreased
in one and increased in the other. The
reproduction of frequencies below 800
cps remained equal for both speakers.
Q/ojua (pA&feA&nxx?
What would you like most to see covered in future issues of IP? We
aim to please, and what YOU want to appear in the pages of this
magazine is the most important thing to us. So, if there's a particular
subject (or subjects — any number) on your mind, just fill in the lines
below and return to us. We'll do the rest.
INTERNATIONAL PROJECTIONIST, 19 West 44 St., New York 36, N. Y.
Gentlemen: I would like to see published in IP articles (and drawings) relating to the
following subjects:
NAME ADDRESS
With the control at the mid-point the
frequency response of the two speakers
was the same. This result was noted:
when the control was moved from one
extreme to the other the subjects re-
ported an illusion of the artist moving
from one side of the stage to the other.
There was no effect of the sound being
"louder on one side than the other."
Accuracy Maintained
The subjects were able to indicate
precisely where the artist stood in an arc
of 180 deg. in front. Settings of the
control were recorded and related to the
imagined location of the artist. On re-
peated tests the subjects maintained a
high degree of accuracy in orienting the
imagined performer with respect to the
control settings. Further, the subject
noticed no blank space in between the
extremes of left and right. The same
degree of accuracy in orienting was
maintained with this artificial head
shadowing experiment as was found when
an actual sound source of complex wave
form moved about the subject.
Probably the simplest and most dra-
matic experiments that disprove the cur-
rent theories (phase and transient the-
ories) is that a person with one deaf
ear or one ear completely closed off can
orient to a surprisingly high degree. In-
formation about the position of the source
can be obtained by moving the head
slightly.
A person is able to remember a tone
quality or wave shape of a sound for
a certain period. By moving his head he
can compare the wave shapes received
at different times and from different
angles and from these samples, decide
on the position of the source, even though
he is using only one ear to gather the
information.
If, on the other hand, phase or tran-
sient timing were measured by the brain,
the subject would need to take his tests
of the signal from two points simultane-
ously. One can not store information
about time in a way that would permit
comparison of phase shift or arrival time.
The conclusions that may be drawn
28
INTERNATIONAL PROJECTIONIST
JULY 1957
separate themselves into two categories.
First, in order to orient accurately, the
brain must be supplied with information
concerning the amount by which the left
and right ear signals deviate from a
sine wave or pure tone for fundamental
frequencies below 800 cps. The ear
receiving the more nearly sine-wave
signal is farther from the source. Since
most of the power in a sound signal is
found in the fundamental, for funda-
mentals under 800 cps no appreciable
drop in effective volume is experienced
through shadowing.
In the main, left-and-right orientation
is provided by head shadowing while
front-and-rear orientation by external ear
shadowing. Every angle of the full 360
deg. about the head produces a slight
difference in amount of these two filter-
ing effects with maximum sensitivity
occurring at 0 deg.
Conversely, to produce the effect of
a difference in volume from one ear to
another, the amplitude of the frequencies
below 800 cps must be increased or
decreased. It is this which has produced
the unrealistic effects found in present
day stereophonic techniques.
Practical Conclusion
The second and more practical conclu-
sion that may be drawn is that to im-
prove realism only the upper frequen-
cies should be picked up and delivered
through different channels. In a stereo-
phonic sound reinforcing system for ex-
ample, there need be only one pickup,
amplifying, and reproducing system for
the frequencies below 800 cps and since
most of the power requirements are in
that range costly equipment need only
be single channel. Only the high notes
and harmonics should be reproduced by
a dual channel system. Amplifiers and
loudspeakers become less costly and
easier to install when required to handle
high frequencies only.
Important, too, is the fact that many
of the noise components of electrome-
chanically reproduced sounds such as
emission noise, tape hiss, needle scratch,
and so on, are at the high end of the
frequency spectrum. When high fre-
quencies are increased or decreased in
the ear from time to time, the listener's
attention is drawn to these noises. There-
fore, care must be taken to achieve
stereo realism, to use apparatus which
is as near noiseless as possible. It is a
problem which becomes more important
with stereophonic reproduction than with
dimensionless sound.
Average U. S. Company dependent upon
technological developments should spend
about 5% of its sales for research if it
is to keep up with competition, according
to Dr. Haldon A. Leedy, director of Ar-
mour Research Foundation.
They "go out" to your theatre for
ENCHANTMENT
Only B&L lenses show
EVERY ENCHANTING DETAIL
Only your theatre screen is big enough to
hold the magic of movies seen at their
best. Only B&L Super Cinephor lenses fill
your screen with edge-to-edge brilliance,
for today's clearest, sharpest, most thrill-
ingly detailed pictures. Make your thea-
tre a habit by making your movies easiest
to see, easiest to enjoy. Complete line of
prime and CinemaScope lenses for all
projectors, for 4-wall theatres and drive-
ins, for top image quality on your screen.
SEE THE BIG DIFFERENCE!
FREE DEMONSTRATION!
MAIL COUPON TODAY!
Academy of Motion Picture Arts and Sciences
ary Award for Optical Service to the Industry
BAUSCH & LOMB OPTICAL CO.
61619 St. Paul Street, Rochester 2, N. Y.
"1 I'd like a free demonstration of B&L
' — ' Super Cinephor Projection Lenses
] Send me Data Brochure E-123
Name..
Theatre, Address
City -. Zone State..
My Dealer is
INTERNATIONAL PROJECTIONIST • JULY 1957
29
FILM STANDARDS FOR PICTURE AND SOUND
(Continued from page 13)
The answer to anamorphic troubles
is to be found, not in optical reduction
of fine-grain negative images, but in
the characteristics of color processing
and anamorphic optical systems. The
lens, not the film, is the limiting fac-
tor. And while fully corrected ana-
morphots of the cylindrical-lens type
are available, it is interesting to note
that Technicolor, in collaboration with
the Italian projector firm of Microtec-
nica, chose the simpler mirror ana-
morphots of the Delrama type when
devising the Technirama wide-frame
system.
The Technirama process evidences
a recognition of the true state of af-
fairs in regard to anamorphic image
definition. A horizontally running
35-mm film with an 8-hole pulldown is
utilized in Technirama. But unlike
Vista Vision, the image is compressed
by an anamorphic factor of 1^2- The
positive horizontal print has the sound-
track at the top of the picture area, and
employs a projector aperture measur-
ing 1.421" x 0.818" for an aspect ratio
on the screen of 2.55/1. Standard
vertical 35-mm "unsqueezed" prints
can be made from Technirama nega-
tives.
Technirama Premiere
Technirama had its premiere at the
Reposi Theatre in Turin last year with
the showing of Marlene Dietrich's
"Monte Carlo." Image definition was
excellent, being sharp from edge to
edge. Although it is difficult to see
any advantages in Technirama when
conventional 35-mm imbibition color
prints are made from the anamorphic
large-frame negatives, several Euro-
pean producers were sufficiently im-
pressed by it to select it for future
production work.
[Ed. Note: There are also a number
of American Technirama features now
in production. Such studios as Batjac,
U-I, RKO, and Walt Disney are util-
izing the process. ,]
The imbibition dye-transfer process
of printing release positives in full
color suffers from registration troubles
and "bleeding" of the dye images, par-
ticularly the image printed in ma-
genta. The magenta image, unfortun-
ately, is the visually critical one, as
FIG. 8. 70-mm Todd-AO
film with normal perfor-
ations, but wider-than-nor-
mal perforation margins.
5 perforations per frame;
running speed 140 ft. per
min., 30 frames per sec.
Camera aperture, 2.07" x
0.91"; projector aperture,
1.913" x 0.866" (aspect
ratio 2.2/1.). six 0.059"
magnetic soundtracks, 2
outside and 1 inside the
perforations on each side.
it represents the green primary record
photographed by the camera.
This process, the heart and soul of
Technicolor, has been improved in re-
cent years, and is undergoing contin-
ued improvement for sharper dye im-
ages. It is therefore entirely possible
that this comparatively inexpensive
process for commercial motion pic-
tures in color will resume its former
role as the chief method of color re-
lease printing in the near future. Tech-
FIG. 7. 70-mm Grandeur
film with normal perfor-
ations, but one frame per
5 sprocket holes instead
of 4. Running speed 90 ft.
per min., 19'/2 frames per
sec. Camera aperture,
2.15" x 0.90"; projector
aperture, 2.00" x 0.87"
(aspect ratio 2.3/1). Op-
tical track 0.225" wide.
nicolor imbibition prints, when made
from Technicolor separation negatives,
have always been characterized by
excellent, well-balanced color rendi-
tion.
The use of wide film for projection
has always had its advocates. The most
important pre- Todd attempts were
Paramount's 56-mm and 65-mm Mag-
nifilm (1929), the Spoor-Fox 70-mm
Grandeur process (1929 — 1930), and
the 65-mm films used in 1930 by
Warner Brothers and MGM. A few
pictures were released in all these
sizes; and all except "Happy Days"
were also released in standard 35-mm
form to the rank and file of theatres.
Fox Grandeur Film
Fox Grandeur film (Fig. 7) was is-
sued with one rather wide optical
soundtrack and "5-hole" frames meas-
uring 2.15" x 0.90" (about the size of
present-day Todd-AO frames). This
film ran at 90 feet per minute, result-
ing in 19V2 frames per second, for
the "Happy Days" presentation in
1929. Other film sizes used during
the early sound period had widths of
46 mm, 52 mm, and 63 mm.
Todd-AO film (Fig. 8) resembles
Grandeur except in the matter of
soundtracks and film speed. Todd-AO
employs six magnetic tracks for full
stereophonic sound and 2.07" x 0.91"
frames on 70-mm film which runs at
the rate of 30 frames per second to
decrease peripheral ("corner-of-the-
eye" vision) flicker, which is apt to be
troublesome on wide screens when the
frame rate is only 24 per second.
CinemaScope versions of Todd-AO
productions are made by dual filming
with a standard 24-frame/second cam-
eras, hence reduction prints are not
made from the 65- or 70-mm originals.
Image definition in non-anamorphic
Todd-AO projection is superb, yet cer-
tain intrinsic defects of the process
were noted during the premiere screen-
ing of "Oklahoma!" in October 1955.
These included geometric distortions
caused by the combination of deep
screen curvature and steep projection
angle. (This defect was later mini-
mized by building a special projection
booth on a lower balcony.) The rug-
30
INTERNATIONAL PROJECTIONIST • JULY 1957
gedly constructed projectors built by
Philips of Eindhoven provided a rock-
steady image on the 54-foot curved
screen of 2.2/1 aspect ratio.
Questionable Practice
The use of screens wider than 30 or
40 feet in indoor theatres for "everyday
movies" is questionable practice, al-
though doubtless a powerful attraction
in the case of special presentations of
roadshow caliber, such as "Around
the World in Eighty Days." Unless
exceedingly large "audience-envelop-
ing" screens are used, requiring wider-
than-standard images on the film, the
use of 55-, 65-, and 70-mm projection
prints offers no advantage of striking
importance.
The reason for this conclusion is
simply the fact that the photographic
possibilities of the conventional 35-mm
print frame have seldom been fully
utilized. To repeat: the limitations of
the standard 35-mm projection process
on screens under 40 feet wide are the
limitations of lenses and photographic
processing.
Modern projection lenses are mar-
vels of optical technology, yet few
measure up to the standards of the
finest camera lenses, and none reach
the actual physical limitations of emul-
sion graininess in release-print posi-
tive stock. And only the better pro-
jection lenses are limited in their
image-producing performance by the
grain of fine-grain negative emulsion
which has been given fine-grain de-
velopment.
The resolving power of most pro-
jection lenses is appreciably greater
in the center of the field than it is at
the extreme side or edges. Off-center
resolution has been greatly improved
by modern lens design, which repre-
sents a distinct advance over the older
Petzval design. True, there are vast
differences in resolving power even
among modern lenses when different
makes and focal lengths are tested;
and if resolution at a point halfway
between the center of the aperture and
one of its corners is considered, we
find that some lenses can resolve (proj-
ect clearly upon the screen) as many
as 100 lines per millimeter on the film,
while others can do no better than 20
or 25 lines per mm.
Resolving Power
But what is the resolving power of
film? To phrase the question another
way, how many clearly defined lines
per millimeter can be developed in
the different color and black-and-white
emulsions?
Black-and-white positive stock and
the similar type of film used for sound
recording have the highest degree of
photographic resolution — from 200 to
1,000 lines per mm. Multilayer dye-
coupler positive-print film ranges from
about 60 lines/mm to 100 lines/mm,
depending largely upon the fineness
of the red-sensitive emulsion. Nega-
tive emulsions, on the other hand, vary
from 50 to 60 lines/mm in the case
of multilayer color stock to approxi-
mately 100 lines/mm for fast fine-
grain panchromatic emulsion.
There are coarser and finer nega-
tive emulsions, of course; but those
mentioned are the ones most frequently
used in professional moviemaking.
The final composite resolving power
of a 35-mm motion-picture print de-
pends upon the performance of the
camera lenses and the quality of the
INTERNATIONAL PROJECTIONIST • JULY 1957
31
duplication work as well as upon the
individual resolutions of the films em-
ployed. Image definition is lost with
each printing; and when this work is
done carelessly, resolution 071 the
print may be equivalent to as little as
15 lines/mm for black-and-white or
10 lines/mm for imbibition color.
Images as fuzzy as this are fortunately
very rare, but the highest possible
resolutions are nevertheless infrequent.
A degree of photographic resolution
approaching 60 — -70 lines/mm for
black-and-white second-generation con-
tact prints, and 35 — 45 lines/mm for
final color prints, is not only possible,
but actually quite feasible, thus mak-
ing standard 35-mm projection suffi-
ciently sharp to be indistinguishable
from wide-film projection on screens
up to about 40 feet in width. It has
IT'S AM!
in Frisco
BUT... will it be
a hit in your house?
It went over big in the Golden Gate . . .
but before any show can be a success in
your house, your equipment must be in
condition to roll it perfectly. Any show
can be a better show when equipment
performs properly. That's where RCA
Theatre Service comes in.
Protect your equipment and picture in-
vestment with RCA Theatre Service.
It will pay you to write now for com-
plete information !
Technical Products Department
RCA SERVICE COMPANY, INC
^■k\ A Radio Corporation of America
(fjTtTV) Subsidiary, Camden 8, New Jersey
Tmk(s) ®
been determined that a resolution of
30 lines/mm on 35-mm film gives a
picture that appears sharp even when
viewed from the front row of seats in
the average theatre.
But suppose we aim at a minimum
of 40 lines/mm in the interest of ex-
cessively wide screens, such as those
in drive-in theatres? This goal is not
impractical. It is advantageous to the
industry from every sane point of view.
It can be tested — checked and double-
checked on every reel of film, if
necessary.
Biggest Problem
The biggest problem in 35-mm pro-
jection when the screen exceeds 40 feet
in width would then be solely an il-
lumination and heat problem; but
there is a simple remedy for that, too.
Prints intended for the larger drive-ins
should be "repeat-frame" printed (that
is, each frame should be printed twice
in succession) and the film played at
180 feet per second, which is double
the regular speed. Sound reproduc-
tion would also benefit, for a level out-
put from optical tracks up to 16,000
cycles would automatically obtain.
There is no point whatever in em-
ploying a large-frame negative only
to lose its advantages by sloppy proc-
essing or an inherently blurry color-
printing process for making the re-
duction prints. Nor is it reasonable
to employ large^frame photography
when the final result on the theatre
screen is a mere doubtful improvement.
A method of photography such as
VistaVision or Technirama has a
smaller field depth than standard
movie photography, hence gives blur-
rier backgrounds in closeups and me-
dium shots. These processes require
more careful handling on the 35-mm
printing end to make all their advan-
tages visible on screen and the price
of their disadvantages worth paying.
Having examined the tremendous
and practically untapped possibilities
of normal motion-picture photogra-
phy, optical sound recording, film du-
plication, and positive printing, this
writer is completely convinced that
the standard 35-mm release print may
justifiably remain the standard me-
dium for theatre motion pictures.
There should be no more tampering
with the dimensions of the perforations
and image frames. Instead, effort
should be applied to increasing the
quality of optical soundtracks and im-
proving image definition, both in color
and black-and-white. And technical
innovations, such as new methods of
3-D and stereophonic sound, should
be tailored to conform to the specifi-
cations of the standard release print.
It will be with us for a long, long time.
[THE END]
GPE's Net Sales Up for 1957
General Precision Equipment Corpora-
tion's net sales for the first quarter of
1957 were about 33 per cent higher than
for the first quarter of 1956, according
to President Hermann G. Place. How-
ever, theatre equipment sales now ac-
count for less than 10 per cent of the
company's total business, whereas in
1936 theatre equipment sales were its
only business. National Theatre Supply
and International Projector are among
the GPE's subsidiaries.
Loew's Nets $2,729,248
Loew's Inc. has announced a net profit
of $2,729,248 for the 28 weeks ended
March 14. This works out to 51 cents
a share, as compared to the $1,889,843
net profit/36 cents a share take last
year.
guaranf
I
of Consistent Quality
For Every Theatre Need!
NATIONAL THEATRE SUPPLY COMPANY
BRANCHES COAST -TO -COAST
For DRIVE-INS & THEATRES with HUGE, WIDE -AREA SCREENS • CARBONS, BOONTON, N.J.
32
INTERNATIONAL PROJECTIONIST
JULY 1957
TELECASTS
(Continued from page 19)
screen system has immediate application
to closed-circuits.
The anamorphic lens designed by Ro-
sin is also adaptable to motion picture
camera use for coupling with prime
lenses of 40-, 50-, 75-, and 100-mm focal
lengths. By the insertion of two pins
projecting from the camera lens mount
into slots on the driving member of the
Scanoptic lens, simultaneous focusing
of both anamorphic and prime lens is
accomplished by a single rotating motion.
Magnetic Sound for TV
WIDESPREAD USE of magnetic sound
for newsreel and feature films is expected
in the TV industry. Announcements by
the two major companies in TV indicate
a trend to exclusive use of magnetic.
RCA has now made available magnetic
sound conversion kits for TV projection,
particularly for their TP6 and TP16
projectors. CBS has adopted pre-striped
magnetic sound on 16-mm film for its
news programs.
Since news events happen anywhere
and at any time, speed of processing is
therefore of paramount importance. This
previously influenced CBS in its choice
of 16-mm film, and a single, rather than
double, photographic sound system. But
it is admitted that the quality of the
product was nowhere near that of live
programming.
In 1955, CBS began an engineering
program to investigate the possibilities
of pre-striped magnetic sound — applica-
tion of magnetic material to the film be-
5 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., INC.
DEPT. J
315 West 43rd Street New York 36, N. Y.
JUdson 6-1420
fore its exposure and development. Qual-
ity improvements and operational advan-
tages were sufficient enough to cause the
change to pre-striped magnetic.
Although complete use of magnetic
sound is not yet a fact, the availability
of equipment, and the improved repro-
duction would indicate that a major swing
to magnetic is now in process.
New GPL Monitors
GENERAL PRECISION Laboratory has
announced a new line of video monitors
that incorporate a number of advanced
features. The units are designed to pro-
vide high definition pictures for both
broadcast and closed-circuit systems.
Horizontal resolution of all models is
in excess of 600 lines, video bandwidth
is flat to 8 mc ±2 db. Aluminized
kinescope tubes in the 14-, 17-, and 21-
inch units have 70° deflection systems,
and the 24-and 27-inch, 90° systems.
Designed for continuous duty opera-
tion with minimum maintenance, the
monitors are constructed in both cabi-
net and rack mounted versions. Covers
or front panels of each unit are easily
removable for cleaning picture tube
face and servicing.
A lightweight, wrap-around aluminum
housing, and a 5° front panel tilt to re-
duce glare and reflection are features of
the 17-inch model. The kinescope tube
may be removed without disturbing the
chassis, and operating controls are re-
cessed for protection behind a hinged
panel located below the screen.
Basement Pay-TV?
METROPOLITAN LIFE Insurance Co.
is reported interested in a basement-to-
living-room closed circuit system for its
35,000 apartment buildings in seven cit-
ies. Initial demonstration was at the St.
Regis Hotel in New York.
Hallmore Electronics division of Sie-
gler Corp. set up the compact, self-con-
tained studio which is equipped to han-
dle 35-mm film, and modest live shows.
Reportedly costing less than $15,000,
CURTAIN CONTROLS,
TRACKS and SPECIAL
OPERATING DEVICES
VALLEN, Inc.
AKRON 4, OHIO
the studio can be made ready to operate
in one day. Installation of special re-
ceivers is estimated at $50 a set.
Although denying that any extensive
preliminary engineering has been done
in their housing projects, Metropolitan
Life is reported to be conferring with
International Telemeter Corp.
Services Theatre by Radio
Altec service engineer James C. Hager,
who is also a radio amateur ("ham")
with a station in his own home, serviced
the Morgan Theatre, Grundy, W. Va., by
"ham" radio during a recent flood. In
a triangular short-wave communication
between Hager, another "ham" in the
flooded community, and the manager of
the theatre, symptoms of sound trouble
were described and instructions trans-
mitted, resulting in repair of the difficulty
at long distance.
New Technicolor Plant
Technicolor Companies have complet-
ed final plans and arrangements for their
new plant which is to be built near their
present Hollywood headquarters. Cost-
ing around $2,000,000, the establishment
will house some 400 employees.
OF PROJECTION LENSES
Prime Lenses
F1:0 Light Collecting Speed
INTERNATIONAL PROJECTIONIST • JULY 1957
33
VENTILATION METHODS
(Continued from page 16)
becomes that the projection staff will
close off much or perhaps all of the
"outside" air. What becomes of our
ten-minute air change is somewhat ob-
vious. Most buildings are not so filled
with crevices that the required volume
of air will infiltrate.
If we have proposed this oft-recur-
ring problem, we must suggest a means
to correct it. If the dirt is injurious
to equipment, why not reduce its in-
troduction to the projection room?
It follows that sufficient filtered air
should be brought to the intake open-
ings of the projection room. This
air should be cooled or heated as the
season may require, and should be
independent of the auditorium system,
where requirements are quite different.
Let Exhibitors Note
If this seems to be an extreme meas-
ure, let the exhibitor consider the cost
of lassitude caused by high projection
room temperatures. Let him look at
the lowered screen efficiency caused
by the discomfort of the projection
staff. And if he is the type exhibitor
it has been the writer's good fortune
to know, he will give thought to the
"good business" practice of making the
projectionist's cleaning task simpler,
his working conditions more comfort-
*$
"Tailor -
Made"
FILM SPLICES I
g with
v ^^\jb
r f&b i
SiSlr Iff
film ;
CEMENT !
v 1 oz. 40C
| % pt. 1.50
' Dealer
* 1 Pt. 2.50 |
nquiries Invited '
■ [S;
FLORMAN & BABB
J 68 WEST 4STH ST.. N. Y. C. 36 j
able, and his health unimpaired by
pulmonary congestion.
Granted then, that adequate and re-
liable ventilation fans have been pro-
vided; assumed further that the re-
quired amount of filtered and temper-
ature-conditioned air has been pro-
vided for the room. If we obtain these
rarely-encountered conditions, there
remains one more step to be taken in
order to keep a condition of steady-
state equilibrium.
The exhaust point of the lamp ex-
haust fan must be so constructed as
to provide for free rotation of the
outlet in order that the fan will always
have the help of any prevailing wind.
Turning this statement around, the
reader will recognize the futility of
attempting to obtain a positive updraft
if the fan may be "bucked" by a wind
^J* When is a mistake a blunder?
A When a projectionist is not a regular subscriber
• to IP — MUST reading for the projectionist craft.
Use the handy order form below
INTERNATIONAL PROJECTIONIST
19 West 44 St., New York 36, N. Y.
Enter my subscription for ° \ W ["> !SSues-g.50
7 r □ 2 years (24) issues — $4.00
Foreign and Canada: Add 50c per year
Name
Address
City
Zone
State
which may cancel the impetus which
the fan provides up the lamp exhaust
stack.
The writer has referred in several
places to the existence of State and
municipal Codes which provide guides
to basic and minimum ventilating
requirements. Projectionists and union
officials as individuals have a great
stake in taking the message to persons
in the proper places that the job is not
even half done merely by providing
fans of the capacity stipulated by
codes. The writer can think of no
one condition which offers so much
opportunity for improvement in the
projection field.
Motiograph Sales Increase
As a result of greater demand for mo-
tion picture sound and projection equip-
ment, sales of Motiograph in May were
the largest for any month since 1953.
Greatest increase shown was in sales
of the Motiograph AAA projector, double
of those in any month of 1955 or 1956.
Marking its 61st anniversary of manu-
facturing 35-mm projectors, Motiograph
has just purchased the COG Corp., which
will operate as a division of the parent
company manufacturing comminuting
and spray blending equipment for in-
dustries.
The COG comminutor uses refinements
of the hammermill principle. Made in
stainless steel and utilizing exclusive
"snap-apart" features, it is available to
pharmaceutical, food, chemical, meat,
plastic and all processing industries for
dustless grinding or pulverizing of wet
and dry materials. The easy-to-clean unit
has variations to permit using it for con-
tinuous proportioning and thorough
blending while maintaining accurate
formula ratios of all ingredients, even on
combinations of liquids and powders.
B & L's New Division
Bausch & Lomb Optical Co. has an-
nounced creation of a new contract and
defense products division, to be headed
by Kenneth R. Reynolds, B & L engineer
and current president of the American
Society of Photogrammetry. The new
division will handle specially-designed
guided missile components and fire con-
trol systems for military and prime
contractors; optical glass products for
the motion picture producing and ex-
hibiting industry including Cinema-
Scope, Super-Cinephor and Baltar lenses;
aerial and other photographic lenses,
and photogrammetric equipment.
34
INTERNATIONAL PROJECTIONIST • JULY 1957
How about treating your family to
a better chance against cancer ?
You give your family the best of everything . . .
all-day outings in the car, maybe a movie after, and
then a soda to top it all off. There's really nothing
you wouldn't do to make your family happy.
And if you could help make them safe . . . safe
against cancer, you'd do that too, wouldn't you?
And fast. Well, you can help. The American Cancer
Society needs your dollars right now. It needs them
for research, which is making important gains
against the killer. For education, which gives every-
one life-saving facts about cancer. For service, which
aids and comforts the stricken.
Don't skip the treats that make life pleasant for
the family. But don't skip the chance to strike back
at a disease that threatens them. Match the cost of
that next outing with a check to the American
Cancer Society. That's the most worth-while treat
you could give! Send your check to "Cancer" in
BL care of your local Post Office today.
AMERICAN CANCER SOCIETY
j::
well
• • •
With a Simplex X«L, your job can seem
"almost nice." That's because the X«L is engineered
to be obedient ... it doesn't "fight" you.
Threading is simple, quick . . . plenty of finger room.
Changeovers go smoothly. Focusing is easy,
steady. You know your X«L gets the best picture
possible. And you can always depend on it to
carry you through one show after another without
getting temperamental. The Simplex X«L is
the finest projection mechanism being built . . . the
greatest working partner a projectionist can have.
PROJECTION and
SOUND SYSTEMS
Manufactured by
INTERNATIONAL PROJECTOR
DIVISION OF SIMPLEX EQUIPMENT CORPORATION
Distributed by
NATIONAL THE AT RE SUPPLY COMPANY
SUBSIDIARIES OF GENERAL PRECISION EQUIPMENT CORPORATION
H
:S ■■
THE LIBRARY Of
CONGRESS
SERIAL REGORJK"
SEP P5 1957
cw — J
AUGUST
1957
VOLUME 32 • NUMBER 8
30c A COPY • S2.50 A YEAR
(yUflampi^
Ifa U)otdtil
CAN PRODUCE SO MUCH LIGHT.
Hy-Candeseents were selected for all important
"CINERAMA" installations. (Chicago, New York, Los
Angeles, San Francisco, Philadelphia, and Washing-
ton, D. C.)
Hy-Candescents were chosen by Paramount for all
installations of Horizontal "VISTA-VISION".
Hy-Candescents were again selected by TODD-AO
for "OKLAHOMA" and by the vast majority of "80
Days" installations.
You have to do the same if you want all the light
there is for big pictures.
TRADE MARK REG
fi J IH J) fl £
' lytAGNARr
TRADE MARK REG
£ J \\ I i) i) £
WRITE FOR DATA
This lamp at 75-80 amperes produces as much and more
light as any so called large reflector lamps, using 85-95
amperes, employing expensive heat filters and water
cooling systems.
By comparison its cost of operation, in carbons, reflector
maintenance, current and parts upkeep is far lower than
others.
$22.00 Ea.
Also, its selling price is hundreds of dollars lower and
they may now be purchased from most all supply dealers.
These circumstances have made the PEERLESS MAGN-
ARC Cinearc the most widely used lamp in the world!
F.O.B. Chicago, is still the retail price of our
PEERLESS 14" Hy-Lumen silvered glass reflectors.
t
J.E.McAULEY MFG. CD.
552-554 WEST ADAMS STREET
CHICAGO 6, ILLINOIS
A SUBSIDIARY OF
■
GiNSSM
PRECISION
EQUIPMENT
CORPORATION
ipvy-ui ■** %j;
SSu**
An Outstanding Achievement in Projection Literature!
Robert A. Mitchell's
MANUAL OF PRACTICAL PROJECTION
THE MOST COMPLETE AND PRACTICAL HANDBOOK FOR PROJECTIONISTS EVER COMPILED
$000
per copy including postage
• Here is one of the most helpful works ever pub-
lished for the motion picture projectionist. ROBERT
A. MITCHELL'S MANUAL OF PRACTICAL PRO-
JECTION comprises the BEST of the Mitchell ar-
ticles that have appeared in "International Projec-
tionist," revised and brought up to date. It provides
the reader with a handy permanent record of sound
practical coverage of every aspect of motion picture
projection.
• This Manual differs from every other projection
work in that the author does not refer to manufac-
turers' pamphlets, available to any projectionist for
the asking, but has prepared original material based
upon his own personal experiences in the field. A
practicing projectionist as well as a recognized
authority on the subject of motion picture projec-
tion, Mr. Mitchell presents his material in easily
understood language — not too technical, yet tech-
nically accurate.
• Handsomely bound and cross-indexed for easy
reference, the Mitchell Manual is divided in 8
sections and contains 30 chapters — a valuable
reference work no progressive projectionist should
be without.
SECTION HEADINGS
(I) Film; (II) The Projector; (III) Projection-Optics, Screens; (IV) The Arc Lamp;
(V) General Projection Practice; (VI) Motors, Generators, and Rectifiers; (VII)
Sound Reproduction Systems; (VIM) Projection of Color and 3-D Films, Formulas.
ORDER YOUR COPY TODAY
USE THIS HANDY FORM
Actual size 5Vi" x ZVi"
450 pages, profusely illustrated
INTERNATIONAL PROJECTIONIST
19 West 44 St., New York 36, N. Y.
Gentlemen: please send me copy (copies) of ROBERT A. MITCHELL'S MANUAL OF PRACTICAL
PROJECTION. Enc'osed is my check (or money-order) for $
NAME
ADDRESS
CITY
ZONE
STATE
INTERNATIONAL PROJECTIONIST
AUGUST 1957
PROJECTION
LAMP
THE WORLDS FINEST and MOST POWERFUL
PREPARE YOURSELF NOW
FOR THE FUTURE
Do not make the mistake of buying Projection Lamps which may not
be adequate for your future requirements.
There are no standards now. Film widths vary from 35mm to 70mm. The
equipment you buy should be capable of projecting both of these and
anything in between, with equal perfection — with no further expense.
There is only one lamp that will do this—
THE ASHCRAFT SUPER CINEX
1. The only projection lamp using one reflector for
all film widths 35-55-65-70mm. (No relay lenses
whatever are necessary).
*2. The only lamp using a heat transmitting reflector
for both 35mm and 70mm.
*3. The only lamp producing maximum light and
maximum screen light coverage simultaneously
— no hot spot under any circumstances. Maxi-
mum light and Distribution are obtained regard-
less of film width or height.
These are the four principal aperture sizes now being used and contemplated for the near future. By the simple, instantaneous process
of moving the positive carbon crater toward or away from the reflector a fraction of an inch the aperture spot size will be enlarged
from the smallest spot shown (1-1/16" diameter) to the largest (2-1/4" dia.) and the selected position will be constantly maintained.
Isn't this much better than changing reflectors and relay lenses every time the aperture spot size is varied?
These are the possible aperture sizes your lamps should cover and
the sizes of the aperture light spot SUPER CINEX will give you. ^""
This is the approximate screen light with excellent distribution you will ' y *" ~~* N NN
obtain* with all four aperture sizes:
Lumens
~**mm*«*-
.825 x .600 Small Aperture 35mm
35,700 <-
.839
.912
.715
.715
I CinemaScope 35mm 42,000 •<-
1.340 x 1.06 Fox CinemaScope 55mm 49,572 <-
M.G.M. 65mm
Todd-AO 70mm
45,200 <-
*The quality and f value of the projection
lens may increase or decrease these values.
U. S. Distribution through INDEPENDENT THEATRE SUPPLY DEALERS • Foreign: WESTREX CORPORATION • Canada: DOMINION SOUND EQUIPMENTS, LTD.
C. S. ASHCRAFT MANUFACTURING CO., INC.
36-32 THIRTY-EIGHTH STREET, LONG ISLAND CITY 1, NEW YORK
INTERNATIONAL PROJECTIONIST
AUGUST 1957
International
PROJECTIONIST
R. A. ENTRACHT, Publisher
ROBERT C. MacLEOD, Editor
R. A. MITCHELL, Contributing Editor
Volume 32
AUGUST 1957
Number 8
Index and Monthly Chat 5
For a Brighter, Flickerless Picture 7
Robert A. Mitchell
Television and Motion Pictures 10
Allan Lytel
New Non-Magnetic Sandpaper Holder for Splices. . 12
Some Methods for Solving Focus Drift Problems. . 13
Joseph Holt
Super Cinex Improvements 14
Clarence Ashcraft
Telecasts 16
Ernernann "Anterior Gates" 17
In The Spotlight 20
News and Views from District 2 22
Hank Boldizsar
Projectionist License Exam Questions 23
Floating Screen Considered for All Todd-AO
70-mm Shows? 24
Personal Notes 25
Projection Clinic 26
Letters to the Editor 27
New Products for the Industry 28
Obituaries 28
Book Review 29
Miscellaneous Items — News Notes — Technical Hints
INTERNATIONAL PROJECTIONIST, published monthly by the Inter-
national Projectionist Publishing Co., Inc., 19 West 44 Street, New
York 36, R. A. Entracht, President. Telephone: MUrray Hill 2-2948.
Subscription Representatives: AUSTRALIA— McGills, 183 Elizabeth
St., Melbourne; NEW ZEALAND— Te Aro Book Depot, Ltd., 64 Court-
nay Place, Wellington; ENGLAND and ELSEWHERE— Wm. Dawson &
Sons, Ltd., Macklin St., London, W. C. 2. Subscription Rates: United
States and U. S. Possessions, $2.50 per year (12 issues) and $4.00 for
two years (24 issues). Canada and Foreign countries: $3.00 per year
and $5.00 for two years. Changes of address should be submitted four
weeks in advance of publication date to insure receipt of current issue.
Entered as second-class matter February 8, 1932, at the Post Office ot
New York, N. Y., under the act of March 3, 1879. INTERNATIONAL
PROJECTIONIST assumes no responsibility for personal opinions ap-
pearing in signed articles, or for unsolicited articles. Entire contents
copyrighted 1957 by INTERNATIONAL PROJECTIONIST PUBLISHING
CO., INC.
D420
Wlonihhj Ch**
The Lost Audience
Albert Sidlinger, the researcher, has made an honorable
reputation as a compiler of statistics concerning the motion
picture industry. These statistics, by and large, have
tended to lean to the bright side, but that is Mr. Sidlinger's
business — and it must be admitted that all those neat
compilations of figures looked formidably solid enough
to convince even the most skeptic. You can't argue with
figures.
Or can you? Recently the Sidlinger office clashed with
the Alfred Politz media studies (being surrounded by
researchers is just a facet of this era) with regard to
motion picture theatre attendance. Unbiased Politz main-
tains that during a certain week in February 23,600,000
patrons attended a motion picture. Unbiased Sidlinger
just as stoutly maintains that Politz did not take into
account: multiple admissions: children's admissions;
drive-in admissions; free admissions. (And people like
us who are authentic, inveterate movie-goers but who just
happened to be sick that week.) His figure is 34,396,000.
These figures are impressively and carefully based on a
breakdown of age, sex, annual household income, metro-
politan versus non-metropolitan areas, and geographic re-
gions. All very complete, or so it would seem.
But we would like to propose a task for Mr. Sidlinger's
well-equipped organization. We take no sides, except that
of being in the technical country of this industry. But
being there, we have seen the advent — or the onslaught —
of technical innovation after technical innovation tumbling
in on top of each other. Some of these have become
casualties, happily so. Some have stayed on through
novelty value, but inevitably are doomed. Some probably
are here to stay because of excellent technological re-
search and development. And some have been foisted upon
us by a small group of dictatorial no-talents who decide
what the movie-going public wants sheerly on the basis
that they want it that Avay.
Now these new processes have been born out of many
things ranging from an honest attempt to improve the
industry to hysterical desperation. But between the intro-
duction of sound and the arrival of TV, this was perhaps
the only major industry in the world that turned its back
on research and development. Imagine what your auto-
mobile would be like today if Detroit had felt the same
way in 1929!
And so here we are looking for the lost audience. But
it seems to us that the researchers have missed one im-
portant survey: has anyone bothered to ask the movie-
going public just what it wants? Being fairly close to
projectionists, we know that there is as much diversity
about new processes versus old, sound, projection tech-
niques, etc., as there are personalities. But nobody took
a survey of projectionists, who for a time looked danger-
ously like the whipping boys in the new deals.
It isn't a lost audience. It's just unasked. So let us
put aside for the time being age, sex, annual household
income, geographic regions, et al. and ask the public what
it thinks of the new processes.
The answer might turn out to be something simple, like
good pictures.
INTERNATIONAL PROJECTIONIST
AUGUST 1957
MR. EXHIBITOR:
Whether you know it or not he's
judging the light on your screen
Today's movie-goer is light-conscious. Without
realizing it he compares your picture with what
he sees on other screens— with what he's heard
about advances in color, wide screens and life-like
projection. Your customers expect the best.
"National" Projector Carbons meet today's
demand for bright light at minimum cost to ex-
hibitors. Here, for example, are four "National"
carbons offered in the past few years that provide
as much as 20% more light with up to 25%
slower burning:
• "Suprex" 7mm Carbon
• "Suprex" 8mm Carbon
• 10mm High Intensity Carbon
• 11mm High Intensity Carbon
ATIONAL PROJECTOR CARBONS
KARK
meet the demand for more and more light.
TRADE MARK
The terms "National", "Suprex" and ' Union Carbide" are trade-marks of Union Carbide Corporation ^m^f^ff^^
NATIONAL CARBON COMPANY • Division of Union Carbide Corporation • 30 East 42nd Street, New York 17, N.Y.
SALES OFFICES: Atlanta, Chicago, Dallas, Kansas City, Los Angeles, New York, Pittsburgh, San Francisco • IN CANADA: Union Carbide Canada Limited, Toronto
INTERNATIONAL PROJECTIONIST
AUGUST 1957
IN TERN ATI
Volume 32
AUGUST 1957
Number 8
For a Brighter, Flickerless Picture
By ROBERT A. MITCHELL
Recent developments in more efficient intermittents have
pointed up the fact that the present-day 3-to-l movement
will eventually have to give place to the faster 5-to-l.
AN UPSWING in the prosperity
of the motion-picture exhibition
industry depends upon improve-
ments to come — improvements in cine-
matography, sound recording, sound
and picture projection, and patron
comfort in the theatre. Above all, the
screen, having nearly split its seams
in physical expansion, must begin to
expand emotionally. Dramatic intimacy
must be restored to the photoplay, for
the success of commercial movies de-
pends largely upon their power to in-
volve the emotions and feelings of the
audience.
Theatre movies should be made for
entertainment only. People go to the
movies for emotional refreshment — to
experience vicarious thrills, to "iden-
tify" themselves with the depicted char-
acters, to become immersed in the new
worlds of emotional experience and
"atmosphere," to laugh, and even to
cry. They do not go to be educated or
edified, or to receive a "message."
For a message (as a wise film producer
once remarked), one may go to West-
ern Union.
Now, in order to do a good job of
entertaining the world, the motion-
picture film — fragile ribbon of cel-
luloid— must be "translated" by the
projectionist into sight and sound. His
powers are limited only by the capaci-
ties of the picture-projection, and
sound-reproducing apparatus.
Let's concentrate upon the picture
itself, and some of its common imper-
fections: the deficient brightness of
the picture in many large theatres and
drive-ins, for example, and the flicker
noticed in the highlight areas of ex-
cessively bright pictures on smaller
screens. Both defects of present-day
film presentation are interrelated, for
both can be "cured" by making a
single change in the projector mecha-
nism.
50 Per Cent Light Waste
The projector shutter, we know, cuts
off and wastes at least half the light
^V96-^ y9t>-*
2- blade shutter, 48 cps-, transmission = 50%
^4_ sec.
5:1
\r
\r
XT
120
^£2sec.*^
2-blade shutter, 48 cps-, transmission = 66/£0<%
^W
3- blade shutter; J2. cpsv transmission3- 50 ^£
FIG. 1. Diagram illustrating the relative periods of exposure and occultation by three types
of shutters used on motion picture projectors. The two shutters having 60-degree blades are
suitable for use only with intermittents having a 5:1 ratio of "dwell" to "pulldown" time. The
standard 3:1 geneva movement requires 90-degree shutter blades.
INTERNATIONAL PROJECTIONIST • AUGUST 1957
thrown forward by the projection
light-source. No matter how powerful
the arc lamp, at least half of its out-
put falls upon the blades of the ra-
pidly revolving shutter, and hence
never reaches the screen.
In actual practice, the transmission
of light by the shutter is somewhat
less than 50 per cent in the interest
of picture quality. The edge of a
shutter blade must cut through the
light beam with great rapidity to allow
the maximum transmission of 50 per
cent to be attained. If the blades of a
slow-acting shutter are trimmed for a
50 per cent transmission, film move-
ment may be revealed on the screen
as flickery streaks of light emanating
FIG. 2. How the pin-cross intermittent works.
One of the four pins is shown in black for
identification. Follow its action to see how
the diamond rotates the cross and attached
sprocket which, of course, moves clockwise.
from the tops or bottoms of bright
objects in the picture — "travel ghost."
What about flicker in the highlight
areas of bright pictures? Television
has the advantage of a very rapid
field rate, equivalent to 60 shutter cut-
offs per second, but the theatre movie
still employs the 48-per-second cutoff
rate introduced when sound pictures
became standardized. As a result, the
bright areas in theatre pictures — snow,
clouds, etc. — are marred by "shutter
flicker," while the highlight areas on
TV screens, no matter how bright,
flicker scarcely at all!
Note, however, that the "field rate"
has a frequency higher than the "frame
rate" in both TV and movies. TV
employs 30 "frames" (interlaced
fields) per second for line telecasts
and for video tape, while standard
film productions both on TV and in
the motion-picture theatre run at 24
frames per second. (In order to con-
form 24 frames per second with the
TV field rate of 30 per second, suc-
cessive film frames are scanned 2 times,
3 times, 2 times, 3 times, etc., while
in the theatre, each film-frame is
flashed on the screen 2 times.)
Shutter Flicker Problem
It is obvious, therefore, that the
theatre-projector shutter does not re-
volve rapidly enough to eliminate the
effect of shutter flicker. Only at the
lowest light levels is this type of flicker
invisible. "Persistence of vision," the
characteristic of human sight that tends
to carry over one screen image to the
next, masking the intervening periods
of darkness, becomes less effective at
high light levels.
Todd-AO 70-mm film is photo-
graphed and projected at 30 frames
per second to give 60 alternations of
light and dark with a conventional
2-cutoff shutter; and it has been sug-
gested by several writers that the same
be done with standard 35-mm film.
The result on the screen would be
virtually flickerless projection.
A particular advantage mentioned
by Joseph Holt on page 13 of the May
1957 issue of IP is the elimination of
12-cycle "beat flicker" caused by arc
rectifiers operated on 60-cycle AC. But
50-cycle AC is used in most countries;
and foreign projectionists might not
appreciate the 10-cycle beat flicker re-
sulting from a 60-cycle field rate in
projection. There is a better solution
to the problem — a solution now being
FIG. 3. Standard 3-to-l geneva movement.
realized in projector manufacturers'
engineering laboratories, and one
which requires no change from the
universally adopted film frame-rate of
24 per second. The cutoffs produced
by the projector shutter are increased
in frequency from 48 to 72 each sec-
ond!
It is not enough, however, merely
to speed up the rotation of the shutter,
FIG. 4. Eccentric-star intermittent which uses
enlarged cam but avoids off-tangent relation-
ship between cam pin and star wheel by alter-
ing position of star-wheel slots.
or to provide a 3-blade shutter to re-
place the conventional variety having
2 blades. The operation of the stand-
ard geneva intermittent movement does
not permit this to be done.
The geneva movement has what is
called a 3-to-l pulldown ratio. When
the action of this movement is ana-
lyzed, it is found that the intermittent
sprocket is "at rest" 3 times longer
than the time-interval consumed by
the film-pulldown. It may accordingly
appear that the shutter would require
only one blade to cut off the light only
during the actual pulldown, and thus
have a light-transmission of 75 per
cent. A 1-blade shutter, however, would
result in a 24-cycle cutoff frequency,
and the flicker would be intolerable.
By adding a second light-cutoff in
the middle of the "dwell period" when
a
INTERNATIONAL PROJECTIONIST
SEPTEMBER 1957
the film and the intermittent sprocket
are at rest, the shutter frequency is
increased to 48 cycles, but transmis-
sion falls to only 50 per cent (or
slightly less, depending upon the ra-
pidity of shutter action). But a 48-
cycle cutoff frequency, we have seen.
is not high enough to eliminate flicker
when illumination levels are high.
Suppose the shutter is made with
FIG. 5. The Wright drunk
cam movement' of the pin
cross type.
wide to hide the film during the in-
tervals of travel in the gate.
A wide variety of sprocket-type in-
termittent movement faster than the
conventional 3-to-l, or 90-degree gen-
eva movement has been described in
detail by Jose Ruiz in a series of
articles published by IP (November
1955, p. 13 et seq.; December 1956,
p. 18. et seq.: January 1957, p. 13
FIG. 6. Diagram of the Jackson intermittent movement developed for RCA model TP35CC color
television projector.
three blades and openings of equal
widths to give a cutoff frequency of
72 per second. Instead of 90 degrees,
the width of conventional shutter
blades, blade-width in 3-blade shut-
ters is only 60 degrees. This, however,
is not enough to conceal the film dur-
ing the entire pulldown interval; and
severe travel ghost would flare from
the upper and lower edges of all bright
objects in the projected pictures.
A Needed Replacement
To employ a 3-blade shutter, there-
fore, the 3-to-l geneva unit must be
replaced by a 5-to-l movement — an
intermittent which remains at rest 5
times longer than it is in motion. As
Fig. 1 shows, the ordinary 3-to-l in-
termittent is too sluggish. When the
pulldown of the film is as rapid as that
provided by a 5-to-l intermittent, a
60-degree shutter blade is sufficiently
et seq.; and February 1957, p. 26
et seq. I . They include pin-cross, eccen-
tric-star, drunk-cam, oscillating cam,
and accelerated-geneva movements, all
adaptable to 35-mm theatre projectors.
MVff/V of AfysrvTrrir^
^fi^-i/o^
The Powers movement is undoubt-
edly the most familiar of the pincross
family; for the crude, but smooth-
running, Powers projector was used
in thousands of theatres. Fig. 2 illu-
strates the action of this excellent
5-to-l intermittent, a film-shifting de-
vice so rapid and accurate that many
projectionists preferred it to the
geneva-type movement.
Figures 3 and 4 show a comparison
of the construction and characteristics
of standard 3-to-l and eccentric-star
5-to-l geneva movements. Because the
rate of acceleration of the eccentric-
star movement is slower than its rate
of deceleration, this intermittent should
be operated in one direction only. This
is not a disadvantage, however, as
theatre projectors are never run in
reverse.
Eccentric-Star Movement
There is no well-known theatre pro-
jector in which the eccentric-star move-
ment is used at the present time. It
was introduced in a 28-mm Pathescope
projector as early as 1920, and worked
excellently. The acceleration-decelera-
tion characteristics of this 5-to-l gen-
eva-type intermittent may be modified
by slightly curving the non-radial
slats; but it commends itself, even in
its straight-slot form, as a simple and
effective device for replacing conven-
tional geneva intermittents in 35-mm
theatre projectors.
Drunk-cam movements exist in many
variations, the one shown in Fig. 5
being one of the simplest. They have
the advantage of perfect control of
acceleration and deceleration of the
pin-star — the groove of the drunk-cam
may be designed according to any de-
(Continued on page 34)
FIG. 7. Three positions in the pulldown cycle of the Radion II, a 35-mm projector manufac-
tured in France that uses the acceleration system now successfully used in 16-mm. The offset
driving shafts and "slipper block" described in the accompanying article make it possible to
accelerate the pulldown action of a standard-size geneva star wheel and cam.
INTERNATIONAL PROJECTIONIST
AUGUST 1957
Television and Motion Pictures
By ALLAN LYTEL
TV and motion picture projection have their obvious
similarities, but the differences are not so readily
apparent; this excerpt discusses them in some detail.
A COMPARISON of projection
television with motion pictures
reveals that the similarity be-
tween the two mediums is obvious; the
differences, though more significant,
are not so readily noticed.
The motion-picture projector has a
light source which has no relation to
the film. The light source may be made
as bright as required irrespective of
the method of projection. In televi-
sion the light which is projected from
the picture tube comes from the tele-
vision image itself. The cathode-ray
tube provides its own light, and there
are many limitations to the amount
of it available. The cathode-ray pic-
ture tube screen can withstand only
a certain degree of electronic bombard-
ment; excessive agitation of the atoms
of the screen material by electronic
bombardment, in the attempt to pro-
duce an exceptionally bright picture,
may burn the screen, thus rendering
the tube useless.
No cathode ray picture tube can
provide a light source as bright as
the electric arc used in the motion pic-
ture projector. This is one important
limitation placed on projection tele-
vision.
Another great difference between
motion pictures and projection televi-
sion is the type of viewing; motion
pictures are always viewed in a dark-
ened room. On the other hand, televi-
sion must provide an image bright
enough for a normally lighted room.
Large Picture Problem
But perhaps the most important
point of difference between motion
pictures and television may be seen in
the scanning process. This means that
only a very small section of the entire
picture is presented at any one time
by the electronic beam. In the motion
picture projector, the entire picture is
presented at the same time so that
there is a still greater cause for the
motion picture to appear brighter than
the television picture, when observed
under identical conditions.
For all of the above reasons, pro-
jection television still has quite a num-
ber of difficulties to overcome before
presentation can be made that com-
pares favorably with motion pictures.
One is size. The television industry
long ago saw that large pictures were
needed and a number of systems to
obtain them have been developed; sev-
eral of these systems produce excellent
pictures which are bright and large
enough for theatre applications.
Two general systems of projection
television have been utilized commer-
cially. The first, and most popular
system, uses a curved mirror to pro-
ject and enlarge the image to be pre-
sented on the theatre screen. The sec-
ond method utilizes a lens to collect
the light from the picture tube and
project an enlarged image to the screen.
A third basic system, using a light-
controlling system, or relay tube, with
an independent light source, has been
tried experimentally in several forms,
and will be considered later in this
article.
Large screen television, whether it
be direct view or projection, is among
the ultimate aims of the industry since
the television user would like a picture
large enough to be viewed without
eyestrain. For TV pictures viewed di-
rect without projection, 15 x 20 inches
has proved to be approximately the
maximum size. We may use it as a di-
viding line between large screen and
small screen television.
Projection television will undoubted-
ly continue to grow in the direction
already indicated by commercial the-
atre equipments. The refractive, or
lens, system and the reflective, or
curved mirror system will be improved,
with better projection tubes and view-
ing screens. Brighter and more well-
defined pictures may be expected. The
definition of the picture, that is, the
number of lines which it is capable of
reproducing, is in fact better in the
projection systems than in the radio
receivers which accompany them. The
optical systems have resolutions well
beyond the present 525 lines.
There have been several other ap-
proaches made to the problem of large
screen television which are quite dif-
ferent from the two systems mentioned
above. Several of these systems do not
even use cathode-ray tubes for the tele-
vision receiver picture. One highly de-
veloped, although not commercially
produced, television projection sys-
tem uses an entirely different type of
cathode-ray tube in order to form the
image.
Dark Trace Projection
In the ordinary cathode-ray tube,
the electron beam scans across the
fluorescent screen causing the screen
to become bright where electrons strike
and leaving the screen dark where
there are no electrons. These alternate
tCondensed by permission from Chapter 6 of Mr.
Lytel's book: "TV Picture Projection ond Enlarge-
ment," John F. Rider Publisher. Inc.
PROJECTION
SCREEN
SKIATRON
TUBE
CRYSTAL
SCREEN
CONDENSER
ELECTRON GUN
LIGHT SOURCE
CATHODE RAY BEAM
FIG. 1. Projection system using a Skiatron tube, which produces a dark trace picture.
10
INTERNATIONAL PROJECTIONIST • AUGUST 1957
spots of light and dark produce the
television picture on the fluorescent
screen.
Motion picture projectors use an out-
side light source in order to shine
light through the film, which is made
up of alternate light and dark portions.
The light which forms the image on the
motion picture screen comes from a
source outside and totally separate
from the film itself.
In projection television, as with any
cathode ray tube television system, the
picture is obtained from a fluorescent
screen and the light comes from and
forms the image at the same time.
There is no outside light source and
the picture brightness is totally de-
termined by the amount of light which
can be produced by the fluorescent
screen.
If a system could be devised where
the electron beam forms an image,
and a separate outside light source
could be used to project this image
on a screen, the television system would
be free from the very important limi-
tation of image brightness. Several
such systems have been designed and
proved quite capable of producing
large well-defined projected images.
The Scophony Corporation of Ameri-
ca perfected a projection system using
a different type of tube which is known
as the Skiatron. "Skia" comes from
the Greek, and means "shadow"; the
Skiatron is a cathode ray tube which
produces a dark-trace picture, as fol-
lows :
Skiatron Operation
Certain crystals have the property
of transmitting light normally, and of
becoming opaque when struck by a
beam of electrons. The electron beam
is emitted from the bent neck of a
specially shaped CR tube. The beam
scans a special screen of such crystals.
Light rays from a powerful light source
are reflected by a concave mirror and
gathered by a condenser lens. These
light rays are then projected through
the crystal screen, gathered by a pro-
jection lens, and projected to a view-
screen.
With no electron beam scanning the
crystal screen, the projected picture
will be all light, just as would the pic-
ture from a motion picture projector if
no film were present. However, the
crystal screen has, as said, the unusual
property of becoming dark or opaque
wherever electrons strike. A great num-
ber of electrons falling on any given
LOW SPEED
SCANNER
LIGHT CONTROL
HIGH SPEED
SCANNER
f CRYSTAL
PLANE l^T
'PLANE 2
LIGHT SOURCE
FIG. 2. The complete Supersonic television system. The very small scanner is the horizontal
scanner, and the very large scanner is the vertical.
point will mean a completely dark por-
tion of the screen, and no electrons
falling on the screen will allow all of
the light to pass. If a few electrons
fall on a particular point, the bright-
ness of the screen will be somewhere
between white and black, or a shade of
gray. Thus, this special crystal screen
will have a dark-trace image produced
upon it wherever electrons strike. This
picture will be the reverse of the nor-
mal television picture and it is pro-
duced in exactly the opposite manner
to the normal television image.
This system of projection operates in
a manner quite like motion pictures,
when a complete image is placed in
front of the light source and thrown
upon the screen. One very important
feature of the Skiatron tube is the
"memory" which the crystal screen
possesses. In exactly the same manner
as a fluorescent screen retains the light
image for a short period of time this
crystal screen remembers the dark im-
age for a short period of time. It re-
tains the sweep of the electron beam,
an effect which is known as light stor-
age. Since the crystal screen retains or
remembers the image for one complete
field, a full image is projected at one
time. This television image must be
projected; it cannot be seen by direct
view. The shadow image on the crystal
screen is not in itself visible unless an
outside light source is shining through
the tube; therefore, a projection sys-
tem must be used.
There is one further difference be-
tween this projection system and the
conventional systems. Since this elec-
tron beam creates a dark image, it is
the opposite of the normal image pre-
sented on the normal cathode ray tube.
On the ordinary tube more electrons
in the beam correspond to a brighter
signal and fewer electrons to a darker
signal. With the Skiatron the process
is reversed, for a greater number of
electrons in the beam means a darker
picture and a fewer number of elec-
trons in the beam a lighter picture.
All that is required to convert an or-
dinary receiver to a dark-beam is a
simple method of changing the signal
applied to the cathode ray tube — a
method of inversion is needed. This
may be very easily accomplished elec-
tronically and is often done commer-
cially and in experimentation.
Inverted Signal
As is explained in texts on television
practice,* the normal carrier modula-
tion is such that high amplitude cor-
responds to dark portions of the pic-
ture. A phase-inverting circuit, in ei-
ther transmitter or receiver, will in-
vert the signal so that modulation peaks
correspond to light portions, and val-
leys to dark. Such a process in the re-
ceiver is used to supply information to
the Skiatron tube. Since the greater the
number of electrons which reach the
crystal screen, the darker the picture,
all that is necessary is to reverse the
information supplied to this cathode
* For example: "Television — How It Works," John
F. Rider Publisher, Inc.
INTERNATIONAL PROJECTIONIST • AUGUST 1957
11
ray tube. By this process, a positive
or normal image is presented by the
crystal screen.
Any system of projection must have
some method of optical storage in or-
der to produce a bright image. Since
the electron beam in the ordinary cath-
ode ray tube scans 525 lines for each
image, it is important that the greatest
amount of light be retained from one
sweep until the next. This same prob-
lem was encountered and solved in
television camera tubes. Here the orig-
inal picture must be scanned by an
electron beam, and the information
supplied for the use of the television
transmitter.
Doctor Zworykin originally solved
this problem with his brilliant in-
vention of the Iconoscope. This tele-
vision camera tube actually retains the
picture image from one scan until the
next, and although only one picture
element is scanned at any one time the
camera tube remembers the picture
from one time to the next. It is as if the
entire picture were scanned at once,
although this quite impossible. Ex-
actly the same type of system may be
used for projecting the picture image.
Where the image is presented on a
device having light storage qualities,
many lines in this picture may give
off light at the same time and thus
vastly increase the picture brightness.
"Supersonic" Television Projection
The Scophony Corporation of
America has also developed a "Super-
sonic" television system which is quite
different from both the conventional
television picture tube and the dark-
trace television tube. It is designed
around a device known as the super-
sonic light modulator cell, which con-
sists of a piezoelectric quartz crystal
mounted at one end, a glass window
mounted at either side, and a layer of
vibration-absorbing material, such as
cork lining, at the end of the cell op-
posite the quartz crystal. The entire
body of the cell is hollow and is filled
with a liquid. The piezoelectric crys-
tal is caused to oscillate at any fre-
quency between 10 and 20 megacycles.
These oscillations are amplitude-modu-
lated by the television signals from
the receiver.
The entire action of this system is
based upon the liquid-filled cell. When
the pieozoelectric crystal is caused to
vibrate, waves travel down the liquid
to the opposite end of the cell where
they are absorbed. Since 'these waves
have the character of compression and
rarefaction, exactly like sound waves,
but are of higher frequency, they are
called supersonic.
A compression is the bunching to-
gether of particles in the wave and
rarefaction is the moving apart of par-
ticles in the wave. Light from an out-
side source is passed through a slit,
then through a special long thin lens
into the cell and through the cell. The
waves traveling through the liquid
have a peculiar effect upon the light
passing through the cell. The light is
broken up into a series of vertical lines
which are light and dark depending
upon the wave and its amplitude. These
light and dark bands are caused by
diffraction of light, or bending of light
rays. Ordinary diffraction of light rays
occurs whenever these light rays are
bent out of their normal path because
of an obstruction.
Diffraction is not to be confused
with refraction. Refraction is the
bending of a light ray because of
change in the velocity of light as it
passes from one material to another;
diffraction is the spreading of light
around a corner in the manner of
water-waves.
The supersonic waves in the liquid
act to form an obstruction, and cause
diffraction of light passing through the
cell. In order that no light may be
received from the cell when there is
no signal present, a bar or stop is
mounted to obscure light rays coming
from the cell. Thus, only signal vari-
ations in the liquid of the cell permit
light to reach the screen. When no
signal is present, light is stopped by
this bar but when a signal is applied
to the crystal, the light rays are dif-
fracted from their normal path and
appear on the viewing screen. A lens
is used between the bar and the screen
to focus the light rays and project a
total image.
Cell "Memory"
Since the light-controlling signals
pass from one end of the cell to the
other by means of wave motion in the
liquid, this cell may be said to have
a memory or light-storage action
which permits many different signal
variations to be present at one time,
one right after the other. For the
ordinary 525-line television picture a
2-inch-long liquid cell is able to show
250 picture elements at one time. Thus
a substantial portion of a picture line
may be shown at one time. This means
that the system is capable of illumin-
ating much more than one picture
element at any one time and therefore
is capable, with a bright light source,
of producing a very bright picture on
the screen.
Supersonic television, therefore,
uses the light storage principle as well
as a type of projection. The light
(Continued on page 32)
New Non-Magnetic Sandpaper Holder for Splices
For a strong, satisfactory splice, com-
plete removal of emulsion and binder
coatings from the film base must be
effected. On certain types of color film,
there are coatings on both sides of the
film, and both surfaces must be scraped,
and thoroughly cleaned. Even a slight
film of oil may result in an unsatisfactory
joint.
Recognizing that sometimes this factor
is overlooked, Floyd W. Ringer, mem-
The Ringer non-magnetic splicing block.
ber of IA Local 261, Salina. Kansas, has
developed a non-magnetic aluminum
sandpaper block as an aid to better
splicing. The basic principle is that
if the film base is roughened on both
back and front surface after removal of
emulsion and binder, the adhesive qual-
ities of the cement will be materially im-
proved, and the finished joint stronger.
The aluminum % X %-inch block
produced by Ringer features a thumb-
screw that clamps on the sandpaper
strip. Being aluminum and non-mag-
netic, it will not cause any unwanted
sound on the track. There are six useable
sides before replacing sandpaper, 4 on
the base, and 2 on the sides. Sandpaper
is simply replaced by unscrewing thumb-
nut.
The block, which retails for $1.00 post-
age paid, may be used on 8-, 16-, and
35-mm film. It may be obtained from
Floyd W. Ringer, 230 South Third St.,
Salina, Kansas. The kit includes 2 feet
of % inch sandpaper, and replacements
of 5 yards lengths are available.
12
INTERNATIONAL PROJECTIONIST • AUGUST 1957
Several systems have been introduced for pre-setting the lens
rack, but most have not been applicable to every situation.
Some Methods for Solving
Focus Drift Problems
By JOSEPH HOLT
Member, IA Local 428, Stockton, Calif.
TAKING PROJECTIONISTS' con-
' versations and letters as an indica-
tion, it seems sure that out-of-focus
and drifting focus conditions rank high
as a projection room problem.
Several methods have been pro-
posed for pre-setting the lens rack to
secure a sharp picture from the very
first frame; we should like to discuss
some of them here. The first step for
better beginning focus will seem ele-
mentary, but few projectionists in-
deed seem to take the time to rehearse
each reel for the proper setting of the
lens rings.
To indicate the folly of this failure,
let it be considered that a usual pro-
gram consists of two features in color,
one of them in the anamorphic proc-
ess. Both lenses should be set for the
best focus of each feature obtained
under actual projection; the lens stop
collars should be readjusted for these
positions.
The remaining units of the program
— newsreel. shorts, etc., will usually
deviate from these settings. One of
IP's projectionist readers has sug-
gested the use of a focusing cue-sheet,
and the use of numbered strips mount-
ed adjacent to the lens rack knob.
Others have approached this matter
of pre-setting the lens by the use of
a mechanically coupled dial indicator
which will read in the area of three
decimal fractions of an inch. This is
better than nothing, but good dial
indicators are expensive. And there
may be considerable error under the
conditions in which thev are to be
used.
MGM projection supervisor Merle
Chamberlain.* in association with Hall
Huff of Los Angeles, has produced a
device which, it is claimed, will replace
the moisture baked out of the film
during projection. The device atom-
izes water and introduces the vapor
into the automatic rewind while the
film is being rewound.
This method can help in some areas,
but there are states and cities where
enclosed motor-driven rewinds are not
used. In those locations the projec-
tionist must see to it that the film
storage areas and bins are kept humid.
Different Curl Radius
One important cause of focus drift
at the reel end, as compared to open-
ing footages. is the different radius
of curl introduced by storage of the
film with the head out, emulsion side
facing up on the reel. A number of
exchanges and laboratories have adopt-
ed the practice of storing film wound
tail out and emulsion up. Projection-
ists may find it advantageous to leave
film wound in this fashion overnight.
It is advisable to leave a prominent
notice to the effect that the film has
been stored tail out. The writer has
found some focus trouble to be lessened
by such overnight storage.
It is not enough merely to allude
to the problem on in-and-out condi-
tions of focus, and by implication dis-
miss it as something beyond the con-
trol of the projectionist. True, the
introduction of lenses of wider effective
aperture has decreased the depth of
field of critical focus. This improve-
ment in lenses has placed extra respon-
sibility upon the projectionist to pay
close atention to the screen throughout
the entire reel; but it follows that even
close supervision cannot always result
in the sharpest images. Even as the
careful projectionist probes for a posi-
tion of better focus, he will usually
run over the optimum point, then back
up for a recheck — and the picture has
gone from slightly out to sharp focus,
slightly out again, and finally back to
the point the projectionist may ulti-
mately select.
Therefore, it is not mere idle curi-
osity on the part of those who have
suggested some of the stratagems we
have reviewed here. It is a very real
and present problem which deserves
greater attention. We have suggested
the rehearsal of those parts of the
program which may differ in lens set-
tings from previous film run in the
theatre, but it is our opinion that
management has a responsibility to
take an active part in this setting-up
procedure.
Monitoring the Screen
A responsible person should be
available to monitor the screen as to
sharp focus, and some staff member
should be present in order to call im-
mediate attention to any lapses. Those
of us throwing a picture from distances
over 100 feet must recognize that we
cannot be certain of good focus merely
by checking with the naked eye. Good
[Continued on page 34)
* Mr. Chamberlain has since
editorial administrator of MGM.
been promoted
NTS INSTALLS NEW H-l CONSTELLATIONS IN FOX FLAGSHIP
Three new high-intensity
National Constellation 170
arc lamps have been in-
stalled in the Fox Wilshire
Theatre, Beverly Hills,
Calif., for the world pre-
miere of "The Pride and
the Passion." Shown, left
to right, are projectionists
Ed Slocombe and E. C. Bar-
den, members of Local 150,
and John Denny, service
manager for NTS in Los
Angeles, who did the instal-
lation. Lamp's task is to
light a 26- by 50-foot
screen.
INTERNATIONAL PROJECTIONIST
AUGUST 1957
13
Since the advent of the Cinex projection lamp,
developments and experiments have not ceased,
as indicated by the emergence of Super Cinex.
Super Cinex Improvements
By CLARENCE ASHCRAFT
C. S. Ashcraft Mfg. Company, Inc.
MANY MAJOR ADVANCES have
been made in projection light
sources within the past few years.
These, of course, were essential for
the production of increased illumina-
tion necessary for the larger drive-in
theatre screens and greater screen bril-
liancy for indoor theatres — particular-
ly those projecting wide film. Lamps
previously on the market are gradually
being replaced with the newer and
more powerful types, capable of pro-
jecting up to 36,000 lumens through
the old standard .825-inch x .600-inch
apertures, and up to almost 50,000 lu-
mens when the wide film apertures are
used.
Only a few years ago (1953) the
highest light values were in the 25,000
lumen range. I refer to practical op-
eration, it not being considered prac-
tical for carbon consumption to be in
excess of 22 inches per hour, particu-
larly when special high priced carbons
are used. The newer modern lamps
produce far more light with better dis-
tribution at a much lower operating
cost. When higher illumination is made
possible with lower carbon consump-
tion rates, using cheaper carbons with
less electrical energy, it can only be
considered an achievement; but you
may be assured it is a hard won
achievement.
Since this is a special article written
for the International Projectionist and
Shown here ore two Ashcraft Super Cinex's
flanked by Super Powers recently installed in
the Gaumont-Palace Theatre, Paris, France.
directed to the projectionists through-
out the world, many of whom spend
a considerable part of their lives op-
erating Ashcraft projection lamps, it
has occurred to me that it might be
interesting as well as informative to
know how the new high powered lamps
were developed, designed, improved
and perfected to the high degree of
the Ashcraft Super Cinex. It is ca-
pable of projecting the most possible
volume of light through any size of
aperture from .825 inches x .600
inches, to 2.010 inches x .788 inches
with better distribution of light over
the entire screen surface.
What the Cinex Is
The name "Cinex," which is a reg-
istered trade mark of the C. S. Ash-
craft Mfg. Co., denotes a projection
lamp using an 18-inch reflector, an
air circulating system which injects
and exhausts air over the glass re-
flector surfaces. The blowers are lo-
cated in the lamphouse top. The Cinex
lamp is equipped with two water-
cooled carbon contacts for the 11-mm
carbon used in that lamp. This lamp
was first exhibited in November 1954
at the TESMA Convention in Chicago,
111.
The New Super Cinex has all the
highly developed features of the Cinex
including the 18-inch air-cooled re-
flector— the air circulating system
with blowers mounted in the lamp-
house top — the intensely water-cooled
contacts; but the Super Cinex em-
ploys a 13.6 carbon — a more power-
ful magnetic arc stabilizer, and has
been modified for Cine-Stereo opera-
tion. The terms Cine-Stereo and Pre-
Angle are not merely names but desig-
nate a new and more highly efficient
optical system for motion picture pro-
jection.
Let us begin the story of the devel-
opment of the Super Cinex in August
1953. Prior to that time there were
no such things as 18-inch reflectors
Interior view of the newly improved Ashcraft
Super Power lamp, showing the water-cooled
contact heads initiated in the Super Cinex. At
left, the reflector ring that is designed to
eliminate heat pockets.
used in projection lamps — no air cool-
ing of reflectors — no direct water cool-
ing of both carbon contacts — no high-
er speed lenses than //2.0 and //1.9.
Lamp optical speeds were f/2.2. Arcs
of all makes were equipped only with
16-and 16.5-inch reflectors with a rec-
ommended working distance of 36 to
37% inches. The largest diameter car-
bons were 10-mm operating at 90-100
amps with standard carbons and 120-
135 amps with Hitex. The 11-mm car-
bon was just being adopted by lamp
manufacturers.
Manufacturers of projection equip-
ment are faced with the same prob-
lems as, let us say, manufacturers of
automobiles. There must be continual
progress entailing research and devel-
opment or you just don't stay in busi-
ness. If the automobile industry had
refused to progress we would still be
driving Model T Fords and Max-
wells instead of the Lincolns, Mer-
curys and Chryslers of today. Likewise,
if the projection lamp manufacturer
had insisted his 1945 model was good
enough there would be no large drive-
ins, no wide screen pictures, and no
wide-film road shows, and the lamp
manufacturer would be out of busi-
ness. The progressive lamp manufac-
turer will stay in business as long as
there are motion pictures. Every new
process is a challenge which must be
met with an improved product.
Initial Challenge
Our first challenge was the demand
for more light in drive-in theatres
when screen sizes increased in width
14
INTERNATIONAL PROJECTIONIST • AUGUST 1957
from 100 to 120 feet for CinemaScope.
The 10-inni carbon with a 16-inch re-
flector was entirely inadequate with
/ 2.0 or f/1.9 lenses. Fortunately, in
anticipation of the necessity for more
screen illumination, the Kollmorgen
Optical Co. in the latter part of 1953
was about to introduce their new
//1.7 and //1.7X lenses. These were
submitted to our company and to
other lamp manufacturers. These new
high speed lenses were of little value
when used with an //2.0 lamp. We
therefore took the initiative and pro-
duced the first 18-inch reflector, high
speed projection lamp.
In order to coordinate with maxi-
mum efficiency with the //1.7 lenses
the lamphouse was shortened 1 inch —
thereby reducing the working distance
to 34 inches — giving the lamp optics
a speed of 1.64. Just how well this
new arrangement proved to be is illus-
trated by the fact that we went
into actual competitive demonstra-
tions against our own 11-mm 16-inch
reflector lamps, sold a year before, and
improved the screen light 25 per cent,
using the same carbon at the same cur-
rent in both lamps. It also proved that
the drive-ins would buy new lamps, if
the illumination could be increased by
25 per cent with no increase in operat-
ing cost.
No sooner had we solved the in-
creased optical speed problem of our
lamp, which we designated by the
name Cinex, than we were faced with
another challenge — 70-mm film projec-
tion with a reflector lamp. In Sep-
tember 1954 the American Optical Co.
approached our company relative to
the development of a lamp suitable
for wide film projection.
Overheating Problems
Realizing that the 11-mm carbon
even with the 18-inch reflector could
not possibly cover the much greater
aperture width, we adapted the 13.6
standard grade carbon to the Cinex
Lamp. Simply using a larger carbon
by no means solved the problem but
it did involve us in several more prob-
lems. The arc became unstable, the
reflectors broke, the lamphouse over-
heated and the contacts as designed at
that time burned up. All this was the
result of trying to increase the arc
amperage from 125 to 165 amperes.
All of those problems had to be solved
before we could even make a wide
film test.
To correct the heat problem we de-
signed a complete air circulating sys-
tem through ducts on the lamphouse
front and lamphouse floor forcing the
injected air through these ducts and
over the surface of the reflector. The
hot air and smoke of the arc was
drawn from the lamphouse through
an exhaust tube placed directly over
the arc. A ball-bearing (totally en-
closed) motor with a shaft extending
from each end of the motor with
blower wheels mounted on both shafts
and enclosed in suitable housings pro-
vided the injection and exhaust means
when connected to the duct system in
the lamphousing.
Approximately 2,000 linear feet of
air per minute was forced through the
ducts, over the dichroic heat filter, over
the surface of the reflector, and ex-
pelled out the lamphouse stack. This
was the answer to the heat problem, the
reflector breakage, and when properly
directed the air assisted in stabilizing
the arc. For completely satisfactory
arc stabilization, a long powerful series
electro-magnet was mounted in the
rear of the lamphouse, the flux from
which regulated the arc flames in such
a manner as to cause the arc to burn
very steadily with no perceptible move-
ment.
Water-Circulation Method
To protect the contacts from the in-
tense heat of the 165-170 ampere arc
a completely new method of circulat-
Panavision 3-Strip Print-
A three-strip release print of Ciner-
ama and CineMiracle type, from a
Panavision 65 negative (also known
as MGM Camera 65), has been devel-
oped by the Panavision organization of
California. Cooperating in the develop-
ment was the MGM Research and De-
velopment department, with tests con-
ducted in the MGM studio laboratory.
To demonstrate, a scene from the forth-
coming MGM production of "Raintree
County" was shown at the CineMiracle
Theatre in Hollywood.
No image distortion — a usual bug in
multi-camera operation — is claimed for
the CineMiracle demonstration, which
utilizes three projectors. (See IP, March
1957, p. 16) . Designers of the system
are aiming at the technical and eco-
nomic advantages of the standard single-
camera system. The Cinerama and/or
CineMiracle extraction is reported to
allow production of any type of release
print in present use from negatives
taken in the 65-mm process.
ing the cooling water directly through
the contacts was designed. Formerly
the contacts were inserts in water-
cooled blocks. So efficient was this new
method that the high temperature arc
had no deteriorating effect upon the
contacts. In fact, after long periods of
burning at high currents the white hot
positive carbon could be withdrawn
from the contacts and the finger in-
serted in the front end of the contacts.
Heat dissipation was immediate and
complete.
The new lamp which we had pro-
duced was most unusual, being the
first American-built reflector lamp ca-
pable of using high arc currents (165
amps) with 13.6 carbon, and with less
deterioration heat than the ordinary
reflector arcs of that time ( 1954 1 . using
the 10- or 11-mm carbon at 120 am-
peres. The larger 18-inch reflector was
protected from breakage by air cool-
ing and the intensely water-cooled con-
tacts gave every promise of extremely
long life.
We would be justified in claiming
that the combination of ideas which
produced higher illumination and bet-
ter light distribution were new and
novel, but we knew that each new im-
provement had been used at sometime
by others, but never incorporated in
successful projection lamps. We made
no effort to obtain a patent, but we
did establish prior use for our protec-
tion by publishing articles describing
the New Ashcraft Cinex 170 lamp in
trade journals (March 1955). We
were satisfied to clarify our brain-beat-
ing as development rather than in-
vention.
Drive-In Light Demands
While the new Super Cinex was a
distinct advance in the projection of
35-mm film it did not have what it
takes for the perfect projection of the
Todd-AO 70-mm film. The solution of
this problem consumed another two
years of intensive work. We were com-
pelled at that time to hold in abey-
ance the development of the wide film
lamp due to the immediate demands
by drive-in theatres for more light.
The Cinex 11-mm in combination with
high speed lenses proved to be the
answer. All our time was consumed in
production of this lamp and the RCA
Dynarc.
From then on I required assistance
in proving the value of the 18-inch re-
(Continued on page 31)
INTERNATIONAL PROJECTIONIST • AUGUST 1957
15
GPL to Install NYC Educational TV
A CLOSED-CIRCUIT TV system that
will bring educational training into
the homes of 608 families living in the
public housing area of the Chelsea dis-
trict of Manhattan is planned by General
Precision Laboratory. The cooperative
project — linking the John Lovejoy Elliott
Houses with Public School 33, the Hud-
son Guild Neighborhood House, and the
Lower West Side Health Center — is be-
lieved to be the first of its kind in the
nation. Sponsored by the New York City
Board of Education, the Hudson Guild,
and Language Research, Inc., it will be
financed by a $200,000 grant from the
Fund for the Advancement of Education.
Programs will originate at the elemen-
tary school, the health center, and the
neighborhood house. A vidicon film chain
installed in a central TV control room
at P.S. 33 will provide filmed informa-
tion directly to the houses at any hour
of day. Another classroom in the school
will contain a static, four-camera TV
system with switching equipment that
will permit either teacher or control
room operator to select any one camera
for a particular subject to be covered
by merely pushing a button.
Lectures will be received in each of
the school's 40 classrooms by a TV set
in each room, plus a GPL projection
system in the auditorium that will throw
a 9 by 12-foot picture for large groups
of students.
Telecasts emanating from the Hudson
Guild will be provided by four GPL vidi-
con cameras which may be individually
selected for desired subject. There will
be one camera at the health center. The
system requires no cameraman. Channel
6 will carry the programs from all three
sources, piping into each family's TV
receiver.
Large Program Coverage
Program coverage will include langu-
age courses, health, nutrition, music, art,
science, meetings, children's perform-
ances, and other aspects of adult edu-
cation and community activities. The
project will also serve as an experimental
studio for development of educational
TV, and as a pilot program for a special
audience TV system appropriate to a
small community or a chain of public
housing buildings. A close evaluation will
be made of the system's effectiveness on
both adults and children, and its ability
to effect a closer relationship between
school and community. The problem will
be to provide programs of mutual in-
terest for diversified nationality groups
on community problems, citizenship, and
school programming.
Tentatively, the production staff plan-
ned will consist of a director, assistant
director, technician, secretary, and a
group of part-time consultants and eval-
uators. The project has the cooperation
of the New York City Department of
Health and Welfare, the New York City
Housing Authority, New York City li-
braries, the Harvard Graduate School
of Education, and the New York Univer-
sity Division of General Education.
TelePrompTer Booms
TELEPROMPTER CORP., which started
six years ago with the well-known
prompting device which causes the per-
former to look everywhere but at the
camera, now manufactures and services
18 different devices for the industry.
Newest among these is a 55 lb. slide
(Continued on page 33)
HEALTH CENTER
PUBLIC SCHOOL NO. 33
->fflMPTKl)
FORTY
CLASS ROOM
RECEIVERS
"1 I 1 I 1 I 1
I I II 'I I
I I II l| I
r
COMPOSITE R.F.
1 1 — r~i
, | ANTENNA
■ *-4heao END f*
EQUIPMENT
Diagram of closed-
circuit television in-
stallation for New
York City's Chelsea
District. Engineered
by GPL, the network
links the John Lovejoy
Elliott Houses with
Public School 33, the
Hudson Guild Neigh-
borhood House, and
the Lower West Side
Health Center.
16
INTERNATIONAL PROJECTIONIST • AUGUST 1957
One attempt to solve the continual problem of film
heat is this European idea involving special masks.
Ernemann 'Anterior Gates
fft
UNSATISFACTORY DEFINITION
of the screen image is frequently
caused by the film being warped in the
film gate. It must always be borne in
mind that it is the emulsion which
absorbs the light and heat rays of the
projection lamp and transforms them
into heat, while the film base of cellu-
lose acetate or nitrate is heated to a
much smaller degree. Consequently the
hot emulsion expands more than the
cooler base and so the film is warped
(Fig. 1). An interesting fact is that
cellulose acetate film has a greater
tendency to warping that nitrate film.
Film track
Projection light
Pressure guide
Film base
Emulsion
FIG. 1. Diagram showing warped film in the
film gate.
There are two different causes of heat-
ing up of film: the absorption of light
and heat rays transmitting the image
on the film to the screen, and the un-
avoidable heating of all metal parts
near the film strip.
The heating of film in the film gate
can be reduced effectively by air cool-
ing. When the light output is very
high, glass and water filters (in cuvettes
or shallow troughs) are interpolated
in the path of rays between arc lamp
and projector in addition to air cool-
ing. These filters absorb almost com-
pletely the fairly large amount of in-
visible heat rays, but reduce only
slightly the visible radiation.
Heated Film Track
Apart from the direct radiation, the
influence of the considerably heated
metal parts near the film track should
not be underestimated. While, for in-
stance, the individual film image is ex-
posed to the projection light only dur-
ing the two short 1/48 second bright-
ness intervals, the metal parts of the
film track are exposed to heat during
the entire period in which the film is
running through the track. It is there-
fore of the greatest importance to keep
as low as possible the temperature of
the film track and all metal parts which
are apt to increase heat radiation to the
film. This will also facilitate the work
of the projectionist who would other-
wise have to touch the very hot metal
parts when threading the film.
One effective means of reducing the
temperature of the film track has been
the water cooling in the Ernemann V,
VI lb, and X "cold" projectors.
This water cooling, however, neces-
sitates a considerable amount of me-
chanical fittings and components,
which are expensive and can only be
employed therefore in projectors of the
highest order.
Projectors of the lightweight type
such as the Ernemann IV and IX,
which are used by small or medium-
sized cinemas and with amperages of
not more than 50 or 60 amps., are now
equipped with heat protection masks,
usually called "anterior gates," which
keep the film temperature within per-
missible limits.
The anterior gate of the Ernemann
IX consists of two metal plates lying at
a distance of a few millimetres in
t From ZEISS IKON
1957.
'Bild und Ton," February,
Spontaneous Combustion Again
Spontaneous combustion in the film
storage room, which seems to have
been having a field day lately, has
been the cause for destruction of a
library of priceless films stored by
major motion picture companies in
a vault at the United Storage Corp.,
Middlesex, New Jersey. Both positive
and negative prints were ruined, dam-
age running into thousands of dollars,
actual loss estimate not immediately
available.
Four volunteer fire companies fought
the blaze for over an hour. The vaults
occupied property formerly housing
Pathe Film Laboratories. Spontaneous
combustion has also recently been the
cause of serious damage at the Allied
Artists exchange in Omaha. (See IP,
May 1957, p. 10).
front of the film track. They are cut
out so that they shield as effectively as
possible radiation which heats up the
parts of the film track adjacent to the
film gate (Fig. 2). Since the crater
image of the arc lamp, or the light
spot emitted by the honeycomb con-
denser must always be larger than the
film gate, a considerable amount of
heat rays will be prevented from reach-
ing the film track. However, it is essen-
tial that the film image is not framed
Anterior gate
Film track
FIG. 2. The anterior gate in the Ernemann IX.
directly by the anterior gate, as it
would transfer its considerable heat to
the film if it were mounted too near
the film track.
Versaf/7e Design
This design has now been further
developed so that it can be used also
for the new projection formats. The
anterior gate is made of sturdy cast-
ing which conducts the absorbed heat
to the lamphouse. This casting heats
up considerably less than the former
heat masks made of copper or iron.
The anterior gate contains a trans-
verse slot into which a slide can be in-
serted which penetrates into the hous-
ing of the drum shutter. These slides
are supplied with various cut-outs or
turn-outs either to accept a film gate
lens or to fit the different projection
formats. They are easily exchange-
able. This is of special advantage when
normal or CinemaScope films are pro-
jected alternately either without a film
gate lens or for short-focus wide
screen projection with a film gate lens.
The new type has already been sup-
plied for projectors with film gate lens.
It is now made in mass production
and can also be supplied for projectors
with old supporting plates. The an-
terior gate, in conjunction with air
cooling of the film, has the effect of
keeping the temperature of the film
track and the film low, another at-
tempt at an optimum standard of per-
formance.
INTERNATIONAL PROJECTIONIST • AUGUST 1957
17
■ ■■,■■
18
INTERNATIONAL PROJECTIONIST • AUGUST 1957
Motion Picture Film Department
EASTMAN KODAK COMPANY
Rochester 4, N. Y.
East Coast Division Midwest Division West Coast Division
342 Madison Avenue 1 30 E. Randolph Drive 6706 Santa Monica Blvd.
New York 17, N.Y. Chicago 1, III. Hollywood 38, Calif.
INTERNATIONAL PROJECTIONIST • AUGUST 1957
19
' «**»
Idyl hOUrS... where
anticipation and memory spell box
New technics help give old tales new
twists . . . raise new technical questions
in production, processing, distribution
and projection. In matters such as these.
the Eastman Technical Servii
Picture Film stands ready, wi|
to help. Offices are located:
Inquiries invited.
INTERNATIONAL PROJECTIONIST
. UGUST
1957
Motion Picture Film Department
EASTMAN KODAK COMPANY
Rochester 4, N. Y.
Coast Division Midwest Division
tadison Avenue 1 30 E. Randolph Dri
New York 1 7, N. Y. Chicago 1,111.
West Coast Division
6706 Sonta Monica Blvd.
Hollywood 38, Calif.
INTERNATIONAL PROJECTIONIST • AUGUST 1957
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.
Sn. Jhs.
SPOTLIGHT
THE WILL ROGERS Memorial Hos-
pital Fund is understandably a highly
worthy cause, and just as understandably
gets good and plentiful notice in the
trade press. But — and we think this
complaint, too, is understandable — fund-
raisers galore from all sections of the
motion picture industry get due credit
for their contributions ... all except the
projectionists. Now, in comparison with
exhibitor contributions, the efforts of the
projectionist craft may seem humble, but
projectionists have cooperated cheerfully
— we might say enthusiastically. And we
think it unmindful of the trade press
to so lightly brush aside these efforts.
This is no gripe against a "small men-
tion." There has been none at all.
Many projectionist groups throughout
the country have inaugurated "copper
drippings" campaigns in which their
members devote much of their time after
work to collecting these drippings from
various theatres and converting them
into cash. This cash is donated (note,
please, without any publicity blasts) to
the Will Rogers Memorial Hospital Fund.
It is a method of fund-raising that is in-
genious and particular to this craft, and
it should be given some note.
The Will Rogers Memorial Hospital
and Research Laboratories are now en-
gaged in a program to study all chest
diseases — that includes heart, lung, and
cancer. It takes money. At this writing,
an Audience Collections drive is being
instituted for the Fund which is ex-
pected to be the biggest ever. All well
and good, and we wish it every success.
But in the meantime, IP sends its salute
to those projectionist groups everywhere
that are contributing quietly and effec-
tively. And we hope that every now and
then other members of the trade press
will give due recognition to another
worthy effort on the part of this craft.
• The annual mid-summer meeting of
the IA general executive board will be
held at the Sheraton-Mayflower Hotel,
Akron, Ohio the week beginning Monday,
August 26.
• Nineteen members of Kansas City Lo-
cal 170 received 40-year membership
pins at the Local's recent anniversary
banquet. Also honored at the celebration
were industry members who were award-
ed gold honorary membership cards.
Representing the IA official family were
President Richard F. Walsh, 8th Vice-
President John A. Shuff, and Represen-
tative LeRoy Upton.
• New Haven Local 273 is very proud
of its sponsorship of a group of handi-
capped Boy Scouts operating in the
Greater New Haven area, known as Post-
Pack Troop 3. Under the leadership of
their late president, Maurice Moriarity,
who endorsed this sponsorship back in
1954, the members have been very active
in annual fund-raising campaigns for
the Scout's Register Fresh Air Fund.
Not only the members themselves but
many of the wives are active supporters
of this group.
• James V. Sipe, business representative
for Pittsburgh Local 171, was unanimous-
ly re-elected secretary of the Tri-State
Association, comprising IA Locals in
Pennsylvania, Ohio, and West Virginia.
• Sorry, wrong name. Our attention was
called to an error in a caption under a
photo appearing on page 18 of our last —
July — issue, in which we named one of
PRESENTATION OF AWARDS AT KANSAS CITY LOCAL 170 PARTY
Recipients of honorary gold
cards in Kansas City Local
170, left to right: Lou
Pope, purchasing agent for
Fox Midwest Theatres;
Samuel Victor, Local 31
(stagehands); George B.
Barrett, Local 170 business
representative; IA Presi-
dent Walsh, and Lester B.
Isaac, director of exhibi-
tion for Cinerama Corp.
Veteran members of Kansas City Local 170 who were awarded 40-year pins. Seated, left to right:
C. M. Summers; J. O. Bradley; B. F. Townsley, and George Denniston. Standing, left to right:
H. H. Dunavan; E. F. Spies; E. F. Dougherty; F. H. Burkert, and E. H. Francis.
20
INTERNATIONAL PROJECTIONIST • AUGUST 1957
the projectionists in the photo as the
business representative for Louisville Lo-
cal 163. Our apologies to Chester Dema-
ree, who has held the office of business
representative for the past five years.
• The IA has opened Canadian head-
quarters at 515 Jarvis Street, Toronto,
IA OFFICIALS AT RECENT DISTRICT NO. 8 CONVENTION
with Hugh J. Sedgwick,
president, in charge.
IA 5th vice-
• District No. 7, comprising the states
of Alabama, Florida, Georgia, Louisiana,
Mississippi, North Carolina, and South
Carolina, held its 29th annual conven-
tion June 17-18 in the Dixie Ballroom of
the Henry Grady Hotel in Atlanta, Ga.
Main speakers of the evening included
IA President Walsh, Governor Marvin
Griffin of Georgia, and President Wm.
A. Cetti of the Georgia Federation of
Labor. A. S. Johnstone, 6th IA vice-
president, presided at the convention.
Other invited guests included IA Rep-
resentatives E. J. Miller of Houston Lo-
cal 279; John N. Spearing of Jackson-
ville Local 511, and Maynard Baird of
Knoxville Local 405. Frank (Bumps)
Coogler, member of Local 279 was also
present.
Among the important business trans-
acted at the meeting was the adoption
of a resolution in which it was proposed
that the IA per capita tax be increased
25 cents per quarter; this increase to be
placed in a separate fund and its use re-
stricted to the purchase and operation
of property in a warm climate for retired
or disabled IA members.
IA Trustee R. E. Morris, secretary of
Locals 142 and 519, Mobile, Ala., was
unanimously re-elected District No. 7
secretary -treasurer.
The Atlanta host Locals provided the
John A. Shuff (second from left), IA 8th vice-president, presiding at the recent 8th District annual
meeting at the Durant Hotel, Flint, Mich. Left to right: LeRoy Upton, IA representative; Shuff;
John B. Fitzgerald, IA representative, and Harland Holmden, IA general secretary-treasurer.
entertainment for the delegates and their
wives, which included a luncheon and
fashion show and a dinner-dance in the
evening.
• Durant Hotel, Flint, Mich, was the
scene of District No. 8's recent meeting.
Delegates from member IA Locals in the
states of Indiana, Kentucky, Ohio, and
Michigan were addressed by General
Secretary-Treasurer Harland Holdmen
and other members of the IA official
family.
• A panic in the auditorium of the
Lincoln, Theatre, Lincoln, Nebr., was
averted by the quick thinking of projec-
tionist C. M. Woodhead, who kept the
film on the screen when the stage cur-
tain caught fire during a matinee showing
DISTRICT NO. 7 HOLDS ANNUAL MEETING AT ATLANTA, GA.
55>g^
HflRRf ^ - I 1
^m. - ^K """ ^k -"'^' ^8i * JBiBpiH
t * • •
]
ttl
Speakers' table at the recent District No. 7 convention held at the Henry Grady Hotel in Atlanta,
Ga. Seated, left to right: R. E. Morris, District secretary-treasurer; W. M. Crim, Charles C. Mathias,
secretary and treasurer, respectively, Georgia State Federation of Labor; J. 0. Moore, president,
Atlanta Federation of Trades; William A. Cetti, president, Georgia State Federation of Labor;
Albert S. Johnstone, IA 6th vice-president; John N. Spearing, IA special representative, and
IA President Richard F. Walsh. Standing in rear: E. B. Kinard, Atlanta Local 225, and temporary
chairman of the convention, and Lee Evans, representative mayor of Atlanta.
of a feature picture. Woodhead, a mem-
ber of Lincoln Local 151. remained at
his post until the theatre was cleared of
all patrons but by that time the intense
heat of the flames blocked his own escape
by the staircase, and the firemen had to
rescue him from a ledge outside the
projection room.
• Present among the many distinguished
guests at a recent 25-30 Club dinner was
Bob Sanders, member of New York Lo-
cal 306, now retired. This veteran pro-
jectionist claims the distinction of being
the first man in the country to work with
mechanical talking pictures. The time
was "around 1910," and the place, the
old People's Theatre on the Bowery in
New York City. Exhib was an owner
of an Italian restaurant, and the prod-
uct was a one-reeler of Caruso singing
an aria from "Pagliacci" . . . naturally.
The phonograph ran off compressed air,
and at times sync was not all that it
should have been. And rear projection,
too.
Sanders' long and varied career began
circa 1906 when, without any experience,
he talked his way into a job with the
old Vitagraph company, which was show-
ing in vaude houses at the time. Experi-
ence came rapidly and he took out his
first road show — six reels of Sarah Bern-
hardt doing "Camille."
One of his biggest challenges was pro-
jecting in the old Madison Square Gar-
den— a 38- foot square picture at what
was then the longest throw going: 296
feet. 8 inches. This was done with 3/4-
inch carbons at 70 amperes.
Touring the Midwest with the old Ren-
fax system, Bob had to cope with, to say
the least, some interesting projection
set-ups. One mechanism had a clock-
(Continued on following page)
INTERNATIONAL PROJECTIONIST • AUGUST 1957
21
News and Views from District No. 2
By HANK BOLDIZSAR
Member, IA Local 150, Los Angeles, Calif.
Among other things, our West Coast contributor discusses
herein several ingenious ideas developed by projectionists.
THE average theatre goer seems to
have a rather dim view of his neigh-
borhood theatre projectionist. We gentle-
men of the projectionist craft have earned
for ourselves a reputation as "goofoffs"
too busy reading or too lazy to care
about the quality of the picture on the
theatre screen. As a craft. I believe that
we are sorely in need of good public
relations to correct this popular fallacy.
I, for one, have always believed that
projection rooms should be kept in tip-
top shape and open for inspection by
theatre patrons who might be interested
in seeing how pictures are projected
from films to screen. Projectionists
should be neatly dressed on the job,
wearing a uniform similar to that of a
lab technician's, instead of looking like
foundry workers. A friendly exchange
of pleasantries between projectionist,
manager, and the cash customer can do
much to help business at the box office
by stimulating the theatre-going habit.
Projectionist Contributions
However, we do have among us pro-
jectionists who have contributed im-
measurably to the craft with their in-
ventions and improved methods of op-
eration. As an example, consider Nels
Matheson, member of Los Angeles Local
150, who for the past 27 years has made
a study of carbon arc lamphouses and
economy in carbon consumption.
Nels has been gainfully employed as
a projectionist since 1923. He received
his basic training back in 1918 while
confined to a T. B. hospital in Banff,
Canada, where he assisted the regular
projectionist. In 1930, after the advent
of sound pictures, Nels developed the
{Continued from preceding page)
works shaft to the projector feed. An-
other had two heads, but only one lamp
house.
Sanders worked the early Edison sound
and film system, also. The disk-record
set-up had the phonograph under the
theatre stage steps, with a seemingly
endless cord connecting back to the pro-
jection room.
This pioneer projectionist, now a
grandfather, . pleasantly commutes be-
tween Florida and New York. We'd call
it a well-earned rest, although he re-
mains a busy man, actively interested
in projection and its problems.
idea of the electrical brush contact near
the arc in the low intensity lamphouse.
This was in line with the search for
greater illumination of the then new
porous screen required by sound picture
projection.
Eventually, Nels improved on his own
idea and introduced the first copper-
coated positive carbon. Theatres in the
Los Angeles area had been using his
lamp modifications and tank-coated car-
bons for many months when representa-
tives of a carbon company came, saw,
and listened. This resulted in the world-
wide use of "Suprex" carbons and "Sup-
rex" lamps.
Continued research through the years
in the all important quest for economy
in projection operation brought about
the development in 1955 of the first of
a series of carbon savers developed by
Nels — the Ejector Economizer. His latest
effort, the Pin-Core, is presently being
used in a number of West Coast theatres.
Another phase of carbon consumption
is very close to the heart of Nels Mathe-
sen. It is the Local 150 Memorial Cop-
per Fund which, under Nels' guidance,
has made substantial contributions to the
Will Rogers Memorial Hospital. The
exceptional success of the Local's copper
drippings saving program is due largely
to his determination to help victims of
the illness that hospitalized him for more
than a year and which nearly took the
life of his own son several years ago.
My co-worker, Murray Price, has also
come up with some ingenious ideas.
Several years ago he was faced with the
problem of replacing the completely
worn out spot and flood lights in the
New Follies Theatre, where we are em-
ployed. Both units were sorely needed
Photo shows spotlight with cover removed from
lens assembly and cable control for Weaver
gelatine slide holder.
for twenty-four 90-minute stage shows
per week, and replacement had to be
made at an absolute minimum of cost.
Such restrictions called for considerable
ingenuity and together with George
Ghormley, his co-worker at that time,
he met the challenge head on, and de-
cided to build their replacement spot
and flood with such used equipment as
the theatre circuit had available.
With the assistance of Dave Chew,
chief projectionist, they obtained two
Ashcraft Model E lamphouses with 14"
mirrors which they used as their light
source. This make and model lamphouse
was chosen because of the arrangement
of the hand feed and alignment controls
for the carbons. A lens assembly and
housing was built and attached to the
lamphouse. The forward unit of this
assembly was a 6-inch diameter x 16-
inch focal length lens, and the rear unit
was a 6-inch diameter x 9-inch focal
length lens.
Rigid Assembly Tests
The assembly was subjected to end-
less tests during which no less than 16
lenses were tried until a perfectly match-
ed pair was selected. An asbestos shield
with a 1%-inch diameter aperture was
located immediately behind the rear lens
and about 27 inches from the mirror.
A gear arrangement was installed en-
abling the front lens unit to keep the
light in focus from a tiny pin spot to
a 50-foot flood, with both a 5-inch iris
and double choppers to cut off the light
beam.
The units measure 55 inches long over-
all, are mounted on a three-point base
and are adjustable from 4V2- to 6 feet
in height. The spot light, which is
mounted on ball bearings, has a hori-
zontal sweep of 360 degrees and a vertical
sweep of 70 degrees. The unique feature
of this spot assembly is the conversion
of the carbon controls from the right to
the left side of the lamphouse so as to
make possible operation of the units from
a center position. This was the only
change made in the Model E Ashcrafts
in converting them to the spot and flood
light requirements of the New Follies
Theatre. (The maintenance-minded pro-
jectionist will be interested to learn that
both the spot and flood have been in
operation for almost 10,000 hours with-
out a single breakdown.)
Both flood and spot are equipped with
a mounting for a 16-inch color wheel
driven by a 2 rpm motor, hinge-mounted
in order to permit the operator to swing
the wheel alongside the lens housing
when not in use. Each unit is furnished
with a 6-section Weaver gelatin slide
holder controlled by a cable arrange-
ment with selectors at the operator's
fingertips. These holders are also bracket-
ed to accommodate such effect accessories
22
INTERNATIONAL PROJECTIONIST
AUGUST 1957
Projectionist License Exam Questions
BELIEVE it or not, there were some
who took this section of a recent
projectionist license exam and missed
a question or two. This seldom happens,
but the board has kindly allowed only
75 per cent as a passing mark. You
should know all the answers, but if you
want to check yourself, turn to page 28.
1. The "master blade" of the revolving
shutter:
(a) keeps the film cool; (b) intercepts
the lights as the picture moves; (c)
blows the dust from the film, and (d)
cools the pressure shoes.
2. As the film passes through the picture
gate:
(a) it moves steadily and uniformly;
(b) it stops at every frame; (c) it
slows down and speeds up in time with
the frames, and (d) it stops and starts
at every other frame.
3. A ventilator hood is attached to the top
of every projector lamp house, or at least
should be in order to:
(a I keep the arc from getting too hot;
(b) keep the film from warping; (c)
carry off dangerous fumes and excess
heat in the lamphouse, and (d) make
operating conditions comfortable for
the projectionist.
4. The pictures are projected to the screen
by a:
(a) steady and continuous beam of
light; (b) a beam of light moving with
the picture; (c) beam of light from a
source that is extinguished and turned
on as the picture images pass before
it. and (d) steady and continuous beam
of light that is intermittently inter-
cepted by an opaque shutter in time
with the picture images on the film.
5. A fuzzy appearance at the top or bottom
of the screen picture is due to:
(a) scratches on the film; (b) dirt on
the film (c) lint and dust on the picture
aperture, and (d) lint and dust on the
sound aperture.
6. Travel-ghost is:
(a) the double appearance of an image
on the screen; (b) the picture being
out of frame; (c) the fight streamers
on the screen, extending up or down
from highlight points of the picture,
and (d) light streamers on the screen,
extending up or down from dark points
on the picture.
7. Travel-ghost is corrected by:
(a) adjusting the framer; (b) correct-
ing the adjustment of the shutter blades
with respect to the intermittent; (c)
increasing the gate tension, and (d)
decreasing the gate tension.
8. A "Hooping" patch is:
(a) a patch of film cemented across a
splice to make the splice stronger; (b)
a square patch of dark opaque material
or black opaque lacquer across the
film; (c) triangular patch of dark opa-
que material or black opaque lacquer
placed lengthwise along the soundtrack
as cloud, rain, and lobsterscope.
There lamphouses. incidentally, using
7- and 8-mm trims and operating at 55
amps for a 90-foot throw, develop an
excellent light output and are very ver-
satile.
News from San Diego Local
From down San Diego way we have
news from Lou Alberts, press secretary
for Local 297. telling us of the retire-
ment of Doc Jonas. A native of Nebraska,
Doc, or Clarence Charles Jonas, if you
prefer the full handle, came to Los An-
geles back in 1910, working at the Old
Butler Theatre. L. A. had just initiated
a licensing program for motion picture
projectionists and Doc received the
tenth license issued by the City of Angels.
The following year, 1911, he moved south
to San Diego and was the first projec-
tionist to be licensed there.
In 1912, after working at the Pastime
Theatre he left San Diego for a brief
sojourn in El Centro, and it was during
that time that Local 297 received its
charter. Doc missed by a hair being a
charter member of the Local he served
faithfully for so many years.
Continuing with the saga of Doc Jonas
— he returned to San Diego and was
employed at the Cabrillo Theatre until
1917 when he enlisted in the U. S. Army.
He was sent to the university of Arizona
where he completed a course in electrical
engineering with such an excellent rec-
ord that he was retained there as an
instructor until the signing of the Armis-
tice in 1918. With the return to peace-
time living, Doc returned to his old job
at the Cabrillo Theatre in San Diego,
transferring in 1929 to the Fox Theatre
where he remained until his retirement
in June of this year.
Doc's record through the years has
been marked by loyal devotion to duty
and personal good will to his employers,
a determining factor in the pleasant
labor-management relations that have al-
ways existed between the Local and the
theatres where he worked. We join the
membership of Local 297 in wishing him
and his lovely wife, Bessie, much happi-
ness and many years of pleasant relaxa-
tion.
at splices, and (d) a similar patch to
fasten the leader to the film.
9. The purpose of the "blooping" patch is:
(a) to make the splice stronger; (b)
to prevent a "click" in the sound when
the splice passes the sound aperture;
(c) to preserve continuity of the pic-
ture images, and (d) to make sure the
splice rides properly over the sprockets.
10. The speed of motion picture sound-
film in the projector is:
(a) 90 feet a minute; (b) 60 feet a
minute; (c) 120 feet a minute, and
(d) 100 feet a minute.
11. The speed of film in a projector, in
number of frames a second is:
(a) 24 frames a second; (b) 16 frames
a second; (c) 40 frames a second, and
(d) 60 frames a second.
12. One side of motion picture film is shiny
— that is called the "base" side. The other
side is more or less dull and is called the
"emulsion" side. When threading film
through the projector:
(a) the base side should face the arc;
(b) the emulsion side should face the
arc; (c) the emulsion side should face
the projecting lens, and (d) the base
side should face the reflector.
13. The ohm is the electrical unit of:
(a) power; (b) energy; (c) resistance,
and (d) current.
14. The number of sprocket pins on the
intermittent sprocket of a 35-mm projector
is:
(a) 12; (b) 14; (c) 16, and (d) 18.
15. The number of frames which pass by
the aperture every revolution of the inter-
mittent sprocket on a 35-mm projector is:
(a) 4; (b) 6; (c) 8, and (d) 10.
16. The intermittent sprockets should be-
gin to move when:
(a) the master blade just starts to
cover the opening; (b) the master
blade covers the opening; (c) the cut-
off or secondary blade just starts to
cover the opening, and (d) the second-
ary blade covers the opening.
17. The keystone effect is caused by:
(a) the projector being too near the
screen; (b) the projector being too
far from the screen; (c) the projector
being above or below the center of the
screen, and (d) the projection lens not
in focus.
18. When threading up, the framing handle
or device should always be placed in:
(a) the extreme bottom position; (b)
the extreme top position : (c) the center
position, and (d) any position at all.
ROBERT A. MITCHELL'S
MANUAL OF
PRACTICAL PROJECTION
INTERNATIONAL PROJECTIONIST • AUGUST 1957
23
With "floating screen" installations already set in two
locations, there has been some consideration of having
the same in future Todd-operated theatres using 70-mm.
The new Raytone Wondertone floating screen as featured in the renovated Selwyn Theatre.
Floating Screen Considered for
All Todd 70-mm Shows?
THE FLOATING SCREEN idea is
not new. The audio-visual fields in
education and industry have been us-
ing it for a quite a while. The cele-
brated showman Roxy essayed it 40
years ago at the old Astor Theatre in
New York City. But recently it has
come back into prominence due to an-
other enterprising showman who is
willing to try the tried as well as the
untried: Michael Todd. On the first
week of April this year, the old Sel-
wyn Theatre in Chicago, with a new
name and a new interior, opened to
sell "Around The World in 80 Days"
as best it could — -if that show needs
selling. New name: Cinestage; new
interior: the "floating screen." Hard
on this opening, another was made
at the Astoria Theatre in London,
England. Now Todd technical execs
are pondering whether floating screen
installations are to be used in all forth-
coming Todd-operated houses where
a 70-mm version is to be used.
Screen Masking Eliminated
The floating screen (the new Ray-
tone "Wondertone") eliminates all
masking, and is situated without no-
ticeable support. Accompanying this
innovation is, in both theatres, prob-
ably the most elaborate and compli-
cated stereophonic sound set-ups
known. While the installations in Eng-
land were primarily the work of one
organization, Rank Precision Indus-
tries, Ltd. (as what is not in Eng-
gland?), constructions in Chicago
were a cooperative affair. Extensive
renovations, reportedly costing nearly
$500,000, required almost a complete
reconstruction of the theatre interior.
Architectural design is credited to
the Bertrand Goldberg Associates
firm, which does away with the pros-
cenium, stage and fly galleries. What
backlighting there is for the screen is
provided with subdued light on black
and gray surround drapes. Entirely
new are the curtain tracks and electrical
curtain control units supplied by Val-
len, Inc., of Akron, Ohio. Clever facet
of the new theatre design permits the
patron to approach the interior of the
theatre proper by way of two lobbies,
each with "decompression chambers"
of light, gradually accustoming the
eye to the light on the screen.
The screen itself is a 26-by-52-feet
Raytone "Wondertone," situated five
feet from the back wall, five feet off
the floor, and as mentioned, without
visible means of support. The Wonder-
tone is said to achieve the same side-
lighting as a matte white screen, but
affording 50 per cent greater light
gain. It is seamless, washable, and
tear-proof. A reported 23-foot lambert
brightness level is attained with the
Ashcraft Super Cinex lamps installed
in the Cinestage projection room, these
lamps utilizing about 150 amperes
with Ashcraft 165-ampere multi-phase
rectifiers. The initial problem of hid-
ing the screen lacings was solved by
bending the screen around the frame
and lacing it in the rear, providing
an all-round smooth surface for the
5-feet deep screen. The newly-built
projection room provides a throwing
angle of 3 degrees to aid in presenting
a distortionless picture.
Altec Sound System
The sound sytem is an outstand-
ing feature. This includes a special
control rack made especially by Altec
(which handled all sound installation)
for Todd-AO, and 55 speakers: 5 Al-
tec Lansing stage speaker systems, and
50 Altec Lansing auditorium speakers.
Sound equipment was provided in six-
channel magnetic form (five channels
for stage speakers) and in four-track
magnetic or optical form for any re-
quired 35-mm projection. The control
rack offers manual selection of six- or
four-track recording. Machine outputs
are fed to the appropriate preamplifier
(mounted in the control rack) by
means of relays on the rack, and push-
buttton changeover switches mounted
on the front wall.
Included is a panel permitting ad-
View of the Altec power amplifiers installed
in the Cinestage Theatre by Altec field en-
gineers J. Pesek and H. Smith. At the right
is the complex changeover system.
24
INTERNATIONAL PROJECTIONIST • AUGUST 1957
PERSONAL NOTES
W. J. Turnbull has been elected execu-
tive vice-president and member of the
board of directors of National Theatre
Willard J.
Turnbull
Supply Co., the General Precision
Equipment Corp. subsidiary. Turnbull
joined NTS in 1933, and became man-
ager of the Detroit branch in 1936. After
serving in the Navy in World War II, he
was appointed sales promotion manager.
Since 1951 Turnbull has been vice-presi-
dent in charge of eastern district sales
for the company.
* * *
Eugene S. Gregg, president of Westrex
Corporation, has announced his resigna-
tion from that organization effective the
end of August. He first joined Western
Electric Company, Inc., parent company
of Westrex in 1926 as statistician, and
a year later was made chief statistician.
From 1928 to 1941 he was associated
with the former Western Electric subsid-
iary. Electrical Research Products, Inc.,
as European manager. In 1941 he was
elected vice president and general man-
ager of Westrex, and became president
of the corporation in 1954. He has also
been president and director of thirteen
subsidiaries of Westrex, director in five
others, and a director in seven other
companies outside the motion picture
industry.
Among other activities, Gregg is a
vice-chairman of the United States Coun-
cil of the International Chamber of Com-
merce, a member of the Board of Trus-
tees of the Executive Committee, and
chairman of the Committee on Commer-
cial Policy. A member of the Travel
Committee of the National Foreign Trade
justment of volume of each magnetic
track, and equalization to insure op-
timum response, so that all tracks of
both machines may be balanced in out-
put and quality. Master volume con-
trols for stage and auditorium speak-
ers, and monitor control for channel
selection and monitor volume adjust-
ment, permitting reproduction check
of any or all channels, are part of the
rack equipment. A power amplifier
switching panel is available for selec-
tion of power amplifiers to insure
freedom from loss of reproduction in
case one of the units has temporary
difficulty. Rack-contained power sup-
Projection room equipment at the new Todd
Cinesrage: Ashcraft Super Cinex lamps, and
the Todd-AO Phillips projector heads.
plies (in duplicate) provide high and
low voltage for preamplifiers, switch-
ing relays, and signal equipment.
Amplifier response is flat, within 1
db. from 20 to 20,000 cycles. Noise
level is 91.5 db. below rated power
output.
Of the 50 surround speakers, 29
408A's are flush-mounted in the bal-
cony; 20 601 A's and one 604 C are
recessed in the ceiling. Distribution of
sound is by a 70-volt line with trans-
formers at speakers for proper volume
balance.
English Installation
In the English installation, projec-
tion equipment is linked to 6 individual
Gaumont-Kalee "21" amplifier chan-
nels, with sound from the screen com-
ing from five large "Duosonic" speak-
er assemblies. There are more than 40
surround speakers located to the rear,
above, and to the sides of the audience.
The screen employed is the new Per-
lux.
With the amount of money and
technical talent involved, the question
of whether the "floating screen" is go-
ing to be worth it all is one that should,
at least, be perplexing tech heads at
Todd. The expense factor of new in-
stallations is something that will con-
cern exhibitors also, albeit Michael
Todd has never been known to be
parsimonious where showmanship is
concerned.
Eugene L.
Gregg
Council, Gregg has also devoted con-
siderable time to the International Rela-
tions Committee and Advisory Group
of the National Association of Manu-
facturers. Well-known throughout the
industry, he has written numerous articles
for general magazines, financial journals,
and the daily press.
* * *
John C. Milligan has been appointed
vice-president in charge of sales for
Kollmorgen Optical Corporation. He will
J. C.
Milligan
direct sales of all the company's products,
which include many precision optical
components for the motion picture in-
dustry. Previously, Milligan had been
in charge of engineering administration
for Kollmorgen.
Meade Brunet of RCA is now an officer
of the Southern Cross (Officer Cruzeiro
do Sul) by act of the Brazilian govern-
ment. It is the highest civilian honor
that government can bestow. The accom-
panying citation reads: "For your im-
portant contribution to the mutual under-
standing of our two countries."
Mr. Brunet is a director of RCA Victor
Radio, S. A., the Brazilian affiliate which
has contributed extensively to the coun-
try's economy by manufacturing and
distributing electronic products. He is
also a vice president and managing
director of RCA International Division,
Radio Corporation of America. He has
been with RCA 35 years.
INTERNATIONAL PROJECTIONIST • SEPTEMBER 1957
25
What Is YOUR Problem?
Projection
CLINIC
Print Turkish Bath?
We use a vaporizer on the rewind
bench to steam prints after projec-
tion in the drive-in where I work.
I have been told that a length of
film, unrolled from the reel, will lie
flat on the rewind bench ivhen the
correct amount of moisture has been
absorbed by the film base. However,
one steaming isn't enough to make
some prints lie flat. Should I steam
the film more than once?
(1) PRINTS are not supposed to lie
flat. (2) Steaming the film will do more
harm than good.
Triacetate film base is incapable of
absorbing moisture by the treatment de-
scribed in your letter. The increasing
brittleness of safety base is due mainly
to the loss of volatile solvents which,
once gone, cannot be replaced. As these
special solvents escape, the film not only
becomes brittle but undergoes shrink-
age and warping.
It requires many days of storage in a
cool, humid atmosphere to effect the re-
turn of even a small amount of moisture
to film base. Momentary steaming ac-
complishes nothing but dampening the
gelatine emulsion, which is hundreds of
times more hygroscopic than the tri-
acetate support. If the emulsion absorbs
a sufficiently large quantity of moisture,
it will swell and thus counteract the
negative curl developed by repeated pro-
jections and by being wound emulsion-
side-out. When this happens, the film will
lie flat — but only for only a few minutes.
Because of the sensitivity of gelatine
to water, any treatment of film with
moisture is extremely hazardous. If the
emulsion swells too much, the film may
become curly, the emulsion will scratch
easily, and the print may "stick" in the
projectors, leaving troublesome deposits
upon film runners, tension pads, and
other film-contacting parts.
Even in long-term storage, an exces-
sively high humidity may cause "spot-
ting" by condensed moisture droplets and
also favor the growth of fungus molds
that make the emulsion sticky and
gummy.
Emulsion which is thoroughly dry and
hard has the greatest resistance to
scratching, so we can't recommend any
treatment that softens it. And not even
all the teakettles in China can restore
moisture to the base of the film!
"Fybrglass" Scraper
/ am still getting that age-old
trouble of tearing the film margins
when scraping. Using either a wet
or dry method, blades nick, and
sandpaper leaves grit. Are there any
other recommended methods?
ADMITTEDLY it is difficult to avoid
tearing the perforation margins at times
when using moistened film and a razor,
but perhaps you're bearing down too
hard. Ease up a little, but make sure
that all the emulsion is removed. It's an
art. As far as sandpaper leaving grit,
this shouldn't be a problem if the film
is wiped carefully with a clean cloth.
There's another method around, if you
want to take a tip from Sam Talarico,
Local 529, Long Branch, New Jersey.
He uses a Rush Fybrglass Eraser, and
says it is just the thing for scraping
film stubs. This eraser, complete with a
supply of refills, is obtainable at most
office supply houses. It's reported that
the action of the spun glass on the film
doesn't seem to nick the film base or
tear the sprocket holes — and it can be
Research Council Tip
During the recent field trips by the
Motion Picture Research Council rep-
resentatives, it was noted that a number
of cases of film damage during projec-
tion were caused by insufficient clear-
ance between the film and aperture
plate.
Blistering of the emulsion can be
caused by an aperture that is even
slightly warped, and when caused by a
below-standard-height plate, this dam-
age is readily noted when the film is
later projected through larger apertures.
The Council recommends as the best
practice to use un-anodized brass aper-
tures. Those that have been anodized
should be dipped in hydrochloric acid
and polished to remove the black finish.
Checks should be made on all apertures
to detect heat warpage.
used on either dry or wet film stubs.
One recommendation is that it's espe-
cially good for roughing up the shiny
side of the film to insure a good splice.
The eraser feeds like a mechanical pen-
cil: as the spun glass tip wears away,
a turn of the top feeds more down. It
might he helpful when you're in a hurry.
Grit Blowers
Working a drive-in, we find that
a great deal more grit and dust than
we care for accumulates on the front
lens element. Attempting to re-
move this with tissue is very liable
to scratch not only the lens coating,
but the glass itself. Is there an
efficient method?
SOME PROJECTIONISTS blow it off.
This does not mean using your breath,
which, of course, will moisten the glass.
Any small producer of compressed air
will do: atomizers, syringes, etc. The
atomizers that commercial artists use to
spray "fix" on pastels is usable. Joe Wil-
liams, Local 458 in Portland, Maine,
where there is enough sand — says a small
ear syringe is of great help. It gets all
dust and grit off prior to cleaning with a
lens tissue. Besides getting around the
moisture problem, the syringe can also
be used to remove any dust present in
the lens barrel. Incidentally, this method
has been used by still photographers with
good results."
Cement Decomposition
We have been getting small spots
on our lens which on examination
turned out to be cement blisters.
We have not been using alcohol,
acetone, carbon tetrachloride or
liquids that are ordinarily harmful
to lens cement, and we have little
discoloration that would indicate
excessive heat.
ALTHOUGH Canadian balsam, a natural
resin, will discolor, the new synthetic
resins resist high heat better. But they
are sensitive to sudden temperature
changes, and it is possible for them to
decompose. This will cause streaks or
small spots that look like dust particles.
The film, of course, will absorb a certain
amount of heat, but when making light
tests, the shutter must be running. Any
dirt or moisture on the lens may cause
such a rapid absorption of heat as to
even crack the lens under this concentra-
tion. Discoloration is not a complete
indicator of over-heating of lenses.
It might be well to give whatever cool-
ing system you are using a thorough
check.
26
INTERNATIONAL PROJECTIONIST
AUGUST 1957
ETTERS TO THE EDITOR
The Sound and the Furor Dept.
(ED. NOTE: In order that anybody who wished might have his innings,
IP invited comment on Robert Mitchell's recent series of articles,
"Film Standards for Picture and Sound." We can only say we asked
for it. One of the first on our scene is projectionist James McGurran,
Local 173, Toronto, Canada.)
To the Editor of IP:
Robert Mitchell would have us believe that optical sound is out of this
world. I would say in some cases it is. I have had plenty of trouble and
complaints with optical sound with new film and good equipment, not to
mention old prints.
Mr. Mitchell states that "if" the print is protected it will give good sound
after a thousand runs. I agree . . . if the print is protected from scratches,
dirt, oil, sprocket marks, aging of the film, and what-not.
The article maintains that each run of magnetic track produces loss of
signal strength, and adds a little more noise. Well, we are now in our sixth
month on one print of "Oklahoma!" (Todd-AO), it having had a few runs
before we received it, and the volume control hasn't changed, nor can we
hear any noise. The soundheads are still in good condition after 63 weeks of use.
For my part, I will take good, clean, magnetic sound. Why condemn it
because the tracks wear? What doesn't wear out? Can't someone produce a
coating to protect it from wearing out "overnight"?
I wonder if the audience knows the difference. I wonder if "Oklahoma!"
wouldn't still be here in its 63rd week with no end in sight if it were single-track,
perhaps piped through 3 or 4 channels. A gallon ef water divided into 4
quarts is still a gallon of water to me.
Dramatic and Western motion pictures being the chief output today, the
single track is okay, if we can guard against cracks, bangs, motor-boats, and
a few other noises — as well as defects in printing. For a musical . . . you
might as well put a Model T engine in a '57 convertible.
James McGurran
Robert Mitchell's Reply:
Mr. McGurran's observations are in-
telligent and correct, but he does not
take into account the conditions which
prevail in the average small theatre or
the "punishment" which many of the
prints received by such theatres undergo.
Without small-town theatres, neighbor-
hood and subsequent-run theatres, the
motion-picture exhibition industry would
collapse. The present unstable state of
the business is, in fact, due to conditions
which have forced many of the smaller
theatres to curtail their operations.
I did not wish to give the impression
that the optical tracks on present-day
commercial prints are always satisfac-
tory. They are sometimes very poor, but
needlessly so. These prints cannot ap-
proach the quality of 6-track Todd-AO
sound ( the best sound ever in the writer's
opinion), but that is a different matter.
The majority of theatres will never use
70-mm film or six sound-tracks for high-
fidelity stereophonic reproduction. Eco-
nomic exigencies force the average thea-
tre to employ 35-mm film and only one
soundtrack. We should therefore like to
see the single soundtrack improved as
much as it could be and should be.
As I said in the article, I have heard
purely amateur optical recordings on
16-mm film which are definitely superior
to some of Hollywood's efforts on 35-mm
release prints, optical and magnetic. I
might also have given additional em-
phasis to the observation that European
projectionists and exhibitors are com-
plaining as never before about the poor
quality of the sound in many of the films
released by major American studios.
Title music as recorded by one of the
largest American studios is considered
especially poor, and CinemaScope stere-
ophonic orchestral recordings are re-
garded as "thin" and peculiarly unim-
pressive.
Worn Reproducers
My thesis in the June article was
simply that the full capabilities of op-
tical sound are not being utilized, and
that, if they were, optical tracks would
noticeably surpass CinemaScope mag-
netic tracks in sound quality. An im-
portant factor is the worn and maladjust-
ed condition of the penthouse magnetic
reproducers in many of the theatres
using them. Even with present-day print
quality, optical sound is frequently much
better than magnetic in such houses.
Magnetic reproducers do not tolerate
neglect; and when in poor condition, give
terrible sound — sometimes muffled, due
to serious high-frequency attenuation,
and often harsh and metallic because of
severe harmonic distortion. It is a fact
that neglected optical soundheads per-
form much better. I do not, of course,
advocate the use of "any old print in
any old machine," for sound cannot pos-
sibly be good under such conditions. But
I should prefer an old optical-track print
played on a neglected optical soundhead
than an old magnetic-track print played
on a neglected magnetic soundhead. Re-
sults from the former may not be good,
but the sound produced by the latter
combination is atrocious.
The Todd-AO Difference
Let me say once again that by "mag-
netic tracks on release prints" I refer
exclusively to CinemaScope tracks.
Todd-AO presents an entirely different
state of affairs in regard to track quality,
the rate of film travel, and the extremely
high quality of the sound-reproducing
equipment used. Todd-AO magnetic
sound is fully capable of level response
from about 40 to 12,000 cycles; and the
fact that the prints are not frequently
shipped around from theatre to theatre,
and are not carelessly handled or used
on obsolete or wornout equipment, per-
mits a long life without noticeable de-
terioration of the sound. But subject the
Todd-AO prints to the same conditions
which murder regular prints, and it
would be quickly evident that 70-mm film
is not a suitable medium for mass dis-
tribution of motion-picture entertain-
ment.
In Todd-AO you have a special process
— a "showcase" process which gives
spectacularly wonderful results in pic-
ture and sound so long as it is given
special (meticulously careful) handling.
It nevertheless remains a fact, however,
that the rank and file of movie theatres
the world over use 35-mm prints exclu-
sively, with optical sound, and will un-
doubtedly continue to do so.
The commercial facts of life in the
exhibition business positively preclude
a radical change in film or soundtrack
standards. And one day, if the industry
wakes up soon enough to save itself,
it will be realized that "the play's the
thing" and that the 35-mm medium is
more than adequate to capture and con-
vey the dramatic and emotional content
of the better stories the screen so des-
perately needs. If the widescreen-stere-
ophonic-sound trend toward complete
depersonalization of the movies con-
tinues, more theatres will close, and
studio cameras will soon grind exclu-
sively for the picture tubes of home TV
receivers.
INTERNATIONAL PROJECTIONIST • AUGUST 1957
27
New Products for the Industry
Fotomatic Corp. of Indianapolis, Ind.,
has announced production of a new light
measuring instrument, the Elwood Densi-
tometer and Light Meter, model MA-1.
The firm states that the instrument is
ultra-sensitive for measuring light quali-
ties and quantities. The self-contained
unit houses a light sensitive crystal and a
meter mounted in a cast aluminum
housing. The crystal, attached to the
meter by a cord and plug arrangement,
The Elwood Densitometer and light meter,
manufactured by Fotomatic Corp. of Indian-
apolis, Ind.
is contained in a transparent plastic
holder. Sensitive area of the crystal is
Ys x ^4 inches, rectangular.
An extra attachment is a lens tube,
into which the crystal probe may be
inserted, allowing the unit to be used
as a light meter for measuring small
areas of light from a distance. Controls
consist of an off-on switch and a sensi-
tivity range switch.
Features claimed for the new meter
include high sensitivity; stability to tem-
perature and humidity changes; self-
contained power supply; portable; un-
affected by line voltage variations or
electric fields; high color response; no
amplifier tubes, transistors, resistors, con-
densors, or other electronic components
requiring maintenance; requires no
warm-up; inexpensive; and rugged.
The Catalogue for 1957 Spring-Summer
publications of John F. Rider Publishers
is now available, listing new titles in the
Rider "Basic" series — illustrative vol-
umes dealing with basic subjects perti-
nent to power electricity, electronics,
physics, TV, computers, and general
electronics technology. With the cata-
logue, which may be obtained by writ-
ing the publishing firm at 116 W. 14 St.,
New York 11, New York, comes a leather
book-mark stamped in gold.
Skokie, 111., comprises a projector carry-
ing two closed loops, one of pictures,
the other a sound tape. The sound tape
in turn carries two recordings, one of
the sound to be heard and one consisting
of inaudible automation signals The
inaudible signals advance the picture
tape to the next picture at suitable inter-
vals. Operation and repetition can be set
completely automatic. Picture bril-
liance permits effective use of the equip-
ment in the most brightly lit lobby.
The picture film carries up to 110 pic-
tures; the sound tape can carry up to
one hour of sound.
A new illuminated 35-mm film cutter
is announced by Richard Mfg. Co., 5914
Noble Ave., Van Nuys, Calif. The unit
automatically advances film by 8 per-
forations when the self-sharpening knife
handle is raised; film may also be ad-
vanced manually to any desired distance.
Film is fully illuminated; three frame
lines are always visible; frame line is
adjustable. The new device, designated
Model IT for "Illuminated Track," is
intended primarily for cutting frames
from 35-mm film for making 2x2
transparencies.
J. W. Cosby, arc carbon sales man-
ager for National Carbon Co., announces
two new 13.6-mm high intensity "Na-
tional" carbons for use in the latest
reflector type lamps. Where the previ-
ously available 13.6-mm carbon was 22
inches long, the line has now been ex-
tended to include 18-inch and 20-inch
lengths also. A new 7/16- x 9-inch
"Orotip" cored negative carbon has also
been developed for use with the two
new positive carbons. "We . . . will
continue to attempt to anticipate the
demands created by new and improved
projection equipment," Mr. Cosby de-
clares.
"Froil," a corrosion-protective oil, has
been developed by Octagon Process, Inc.
to provide a moisture and vapor-proof
obstacle to corrosion, water displacing
Recommended for lobby exploitation
and similar uses, Robovision, manufac-
tured by Oakton Engineering Corp. of
Answers to
Projection
ist
Exam
1. B
7. B
13. C
2. B
8. C
14. C
3. C
9. B
15. A
4. D
10. A
16. B
5. C
11. A
17. C
6. C
12. B
18. C
properties, and fingerprint removal, it
is claimed that polished metal parts
treated with Froil under humidity box
testing have withstood 1005 humidity at
120 °F. for more than two months with-
out rusting.
Technicolor, Inc., has put on the mar-
ket a new combination viewer and life-
time storage box for 35-mm color slide
at no extra cost to customers. Koda-
chrome, Anschrome, and Ektachrome
color slides are being returned in the
unique viewer slide box. With each 36
exposure roll processed by Technicolor,
two viewer boxes are being provided free.
Enlarging a slide six times its actual
size, the box contains a convex magnify-
ing lens in the base, recessed for protec-
tion. The package has a self-locking lid
to keep slides free from dust and mois-
ture, and to prevent light leaks. Molded
from a new plastic formula developed
for Technicolor, the viewer box has a
specially finished area on the lid for
writing pertinent data.
OB ITU AR I ES
Katz, Lawrence J., 60, IA representative,
died July 21 following a heart attack at his
home in Harrisburg, Penna. He had been
hospitalized for several weeks and had re-
covered sufficiently to resume his duties when
he was stricken a second time.
A native of Harrisburg, Katz helped form
the first projectionists' Local in that city
in 1912, serving as secretary and business
representative when it became IA Local 318
the following year. Since 1929 he served as
president of Harrisburg Projectionists' Local
488, which came into being after a brief
period of amalgamation with the stage em-
ployes' Local. In 1930 he was appointed a
special representative of the Alliance, and
a full-time IA representative in 1934.
For 10 years beginning in 1944, Katz
served as secretary-treasurer of IA District
No. 4. He held a number of offices in the
Harrisburg Central Labor Union, and for
10 years was vice-president of the Pennsyl-
vania Federation of Labor. During the de-
pression, he was labor representative on the
Harrisburg NRA Wage Board, and was later
appointed to the Pennsylvania Rehabilitation
Board.
Shale, Rex, member of Toronto Local 173
for the past 10 years, died suddenly while
at work on July 15. He was a member of
the Famous Players 25-Year Club and of
the Canadian Pioneers. He was also man-
ager for 12 years for Perkins Electric &
Theatre Supply Company.
Thompson, Joseph M., 53, member of Local
285, Troy, N. Y. died recently. For the
past 25 years he worked as projectionist at
Proctor's Theatre in Troy.
28
INTERNATIONAL PROJECTIONIST
AUGUST 1957
BOOK REVIEW
Handbook of Sound Reproduction, by
Edgar M. Villchur. Radio Magazines,
Inc.. 1957, 217 pp.. $6.50.
This comprehensive volume is a revised
compilation of articles originally printed
in Audio Magazine. The author, currently
president of Acoustic Research, has put
together eighteen readable chapters that
cover sound from its basic principles to
complexities of today's sound reproduc-
tion. (One entertaining chapter with ap-
propriate early illustrations deals with
the history of the phonograph.)
Although not "written down," this
book, if read completely and carefully,
should provide the layman with a good
working knowledge of sound reproduc-
tion, always resting soundly on basic
principles. For the enthusiast, practical
instructions on selection of equipment,
assembling, testing and measuring run
throughout the book. Theory, of course,
is treated in a fairly complete manner.
The text is fully illustrated, and each
chapter contains a partial bibliography.
Theatre, Local Biz Dependent
That the theatre is a community en-
terprise, and sales of local business es-
tablishments are dependent upon the
local theatre is the theme of an illus-
trated talk being given to various busi-
ness clubs by Larry Davee, sales man-
ager and engineer of the Century
Projector Corp. The lecture stresses the
point that local businessmen should and
must get behind the neighborhood the-
atre to promote attendance, thereby cre-
ating more sales for themselves through
"window shipping" items, and making
the theatre the hub of creating selling.
Davee plans to extend his talk, "The
Value of a Motion Picture Theatre to
"iour Communitv."
GPL Opens New Lab
General Precision Laboratory has
opened a new testing laboratory building
on its property at Pleasantville, N. Y.
It houses equipment that creates extreme
conditions of temperature, altitude, hu-
midity, acceleration, vibration and shock.
Purpose is to subject GPL products to
the most trying conditions to see how
well they stand up and where further
improvement may be desirable. The new
laboratory cost almost half a million
dollars and took more than a year to
build. GPL is a subsidiary of General
Precision Equipment Corp.; other GPE
subsidiaries include Hertner Electric
Co.. International Projector, National
Theatre Supply and Strong Electric Corp.
S~\
When you buy. . .
Your SIMPLEX Projector Mechanism represents a price-
less investment. You bought it after long, careful study
because you recognized it as the finest projector on the
market.
Don't take chances with such an investment —
the very success of your theatre depends upon its perform-
ance! When spare parts are necessary, insist on the best —
insist on SIMPLEX parts!
From the smallest stud pin to the largest gear
cover, every part is made with the same precision and
skill as the mechanism itself. By using only SIMPLEX
parts, you can be certain of maintaining the high quality
of performance that has made SIMPLEX the world's fore-
most projector mechanism!
Genuine SIMPLEX parts are available only through
Yotlt GllQtQntee of Consistent Quality and Outstanding Service
NATIONAL THEATRE SUPPLY COMPANY -BRANCHES COAST TO COAST
INTERNATIONAL PROJECTIONIST • AUGUST 1957
29
Hi-Fi Sets Standards That
Theatres Must Meet
With high fidelity home equipment
increasing the public's recognition of
good sound reproduction, a competent
theatre sound service organization is
essential to assure finest quality repro-
duction in theatres, Edward Stanko,
RCA Service Co. engineering manager,
told the Washington convention of the
SMPTE. Reduction of exhibitor expense,
better patron satisfaction and efficiently
planned service procedures high-lighted
a ten-point servicing program which he
recommended to the assembled engineers.
RCA'i own procedure, the speaker
said, included comprehensive technical
examinations for the would-be servicing
trainee, rigorous on-the-job training
once assigned to the field, technical
information channels between the na-
tional office and field personnel, and
adequate refresher courses. The field
force is on call 365 days a year, Stanko
noted; every field engineer is equipped
with an automobile, and every one is
ROBERT A. MITCHELL'S
MANUAL OF
PRACTICAL PROJECTION
abundantly supplied with such special
equipment as test films, degaussing ap-
paratus, standby amplifiers, meters,
switches and replacement parts.
'P°rU' 0ro\U»sneed
. ip replacement t
parts *"' . and a
LaVezzi Machine Works
4635 WEST LAKE ST.
CHICAGO 44, ILL.
C'Scope Newsreel Delay
Since the announcement that the 20th-
Fox Movietone newsreel would be hence-
forth issued in CinemaScope black-and-
white, some major problems, both techni-
cal and commercial, have arisen. Crux
of the impasse is the fact that 20th
has various commitments that preclude
the possibility of CinemaScope prints.
Important among these commitments is
the United Press TV contract, and various
foreign markets that must necessarily be
supplied with regular process product.
Then too. freelance material that is
bought by Movietone invariably is in
2-D.
An immediate solution would be to
have events shot in the two versions,
CinemaScope and standard, but the ex-
pense encountered just as immediately
rules this out.
Squeezing a normal shooting into
CinemaScope proportions is not con-
sidered much of a problem, nor is un-
squeezing, but the time factor is para-
mount. Unsqueezing procedure involves
scanning the CinemaScope negative
frame-by-frame, eliminating all but the
central important information.
Putting the expense factor aside for
the moment in favor of promotion pur-
poses, 20th-Fox has unsqueezed a siz-
able amount of footage for TV presenta-
tion, with an eye to the forthcoming
tollvision projects.
New Film Cleaner
A cleaner, better show is said to result
from use of a new film-cleaning and film-
conditioning solution. The solution per-
forms three separate functions. First, it
is a cleanser, said to remove from the
film grit, dust, lint, grease pencil marks,
grease cue marks, masking tape residue,
fingerprints and oil. Second, it condi-
tions the print. Green, sticky prints are
instantly seasoned and prepared for im-
mediate projection without chattering,
sticking, damage to perforations or emul-
sion pile-up. By periodic application of
this solution, all prints are kept in flex-
ible and relaxed condition, protected
against becoming dry and brittle, it is
claimed. Finally, the solution embodies
non-static ingredients that repel dust or
dirt particles.
The solution dries immediately without
streaking, clouding or leaving visible
residue. Its fumes are harmless and
non-flammable. No special ventilation is
needed where it is used. Trade name is
Sosolvex; vendor is S.O.S. Cinema Sup-
ply Corp. of New York and Hollywood.
30
INTERNATIONAL PROJECTIONIST
AUGUST 1957
SUPER CINEX LAMP
(Continued from page 15)
flector, 13.6 carbon Super Cinex. I
had every reason to believe that it
was the ideal light source for large
theatres and drive-ins with oversize
screens, but the proof depended upon
actual installation where the value
could be determined, and any mechani-
cal electrical defects corrected.
I am exceedingly grateful to those
men in the projection field who rec-
ognized the possibilities of this new
lamp and cooperated to the limit in
assisting me in making the Super Cinex
lamp and the new 12-phase selenium
rectifier, which we later designed, what
they are today.
Prior to 1933 our company de-
pended upon the manufacture of con-
denser-type lamps for the major part
of our business, gradually discontin-
uing its manufacture in favor of the
elliptical reflector type. It is true that
until recent years it has been the
standard in large theatres and motion
picture studios. It had many good fea-
tures— particularly better light distri-
bution giving a more perfect field than
our earlier reflector lamp using small
carbons. It also, due to its compara-
tively low and limited optical speed
I//2.0) and use of larger carbons, was
less critical than our older reflector
lamps.
Large Screen Advent
With the advent of large screens it
became recognized that its light output
even at hign currents with special and
expensive carbons left much to be de-
sired. Mechanically it was excellent
and did a good job as long as screen
widths were limited to 24 x 26 feet.
The first to recognize the possibil-
ities of Super Cinex as a means for
the increased illumination of larger
screens with better distributed light
and with the same or better stabiliza-
tion was John Kohler of Loew's Inc.
Being dissatisfied with his light at the
Capitol Theatre in New York City,
he approached me as to the possibili-
ties of Super Cinex. As a result, we
worked together for many weeks in our
laboratory, making comparative tests
Now Available . . .
MITCHELL'S MANUAL OF
PRACTICAL PROJECTION
and modifying the lamp and rectifier
in order that it would operate long
hours at high currents without mechani-
cal or electrical failures.
In October 1956 a complete installa-
tion of three Super Cinex lamps and
three 12-phase 165 ampere rectifiers
was made. The result — the screen light
was doubled and the operating expense
cut in half. Since that time, and before
the lamp was placed on the market,
several minor mechanical improve-
ments were made. We felt that since a
long hard field test should be made,
the Capitol was an ideal theatre for
proving the ruggedness and depend-
ability of this new lamp. This has paid
dividends for both the many theatres
using Super Cinex and our company.
All bugs -.vere discovered and cor-
rected, resulting in a minimum of an-
noyance and maintenance expense.
Photo Research Corp. Contracts
A patent license has been granted
to Photo Research Corp., Hollywood, in
an agreement between the electronics and
instrument firm and RCA. Karl Freund,
Yotit Pmont Indoor
ot Outdoor Equipment
em be miebei with Mothgtaph
Single track optical.
Single track magnetic.
Three and four channel
Stereophonic Systems.
titotioyiopk S
^ for best balanced,
most complete tonal range
INTERNATIONAL PROJECTIONIST
AUGUST 1957
31
well-known inventor in the light-measure-
ment field and president of Photo Re-
search announced that the license agree-
ment covers certain aspects of Electrofax,
a new improved process of magnetic
printing.
Altec-VA Tie-in
Altec Service Co. has announced clos-
ing of a contract with the Veterans
Administration. The agreement provides
that Altec field engineering personnel
throughout the United States will service
VA motion picture sound equipment,
and centralized radio equipment.
"Look!
No
Stubs!
Just
Easy
Money!"
Absolutely the biggest bargain any thea-
treman can invest in today is a CRON-
O-MATIC Fully Automatic Carbon Saver.
It costs only $42.50 and will save you an
average of $400 a year. It permits you
to use up positive carbon stubs of any
length, without preparation. When the
stub is entirely consumed the new carbon
goes into use without affecting the lamp
operation in any way. Burning stubs of
average lengths (314") down to 3A", saves
you 22.2% on your carbon bill.
Designed for use with Ashcraft "D" or
"E", Brenkert-Enarc, Peerless Magnarc,
or Strong Mogul projection lamps, if your
dealer can't supply you, order direct.
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 COD inc. postage.
( ) Remittance herewith.
NAME
THEATRE
STREET
CITY & STATE
Export: Frazer & Hansen, Ltd.
San Francisco, New York, Los Angeles
TV & MOTION PICTURES
{Continued from page 12)
storage itself means that this system
is capable of producing brighter im-
ages than may be obtained with CR
tube systems of image production. Use
of an outside light source removes
the brightness limitation that is found
in the ordinary cathode ray tube pro-
jection system and allows any bright-
ness to be used.
Future Modifications
Several modifications must still be
made to this basic system before a
workable system is evolved, since the
light projected to the screen in the
example just described is only a por-
tion of one line and there is no vertical
scanning present as yet. The modula-
tions caused by the television signal
travel down the light cell as they come
from the crystal plate.
This motion of the lines of light
caused by the vibrations in the liquid
must be stopped by introducing some
type of equal and opposite motion. It
is necessary to stop this motion in
order that the picture will remain sta-
tionary on the screen. A many-sided
mirror made of stainless steel is so
rotated that its faces act like tiny plane
mirrors moving one after the other.
This arrangement is called the high
speed scanner. It is rotated by a
motor. The speed of the scanner is
dependent upon the number of small
faces or individual mirrors it con-
tains. The light coming from the pro-
jection lens (after having passed
through the light cell) passes to this
Now Available . . .
MITCHELL'S MANUAL OF
PRACTICAL PROJECTION
1
ESI
FILM
CEMENT
&
I^JIfV
FOR
ALL FILM
^u%.
A FABULOUS NEW
v-^CEMENT THAT WILL
XJpl^
GUARANTEE
YOUR SPLICES
TO HOLD
k PERMANENTLY
\ 1 oz. 40C
PL Vi pt. 1.50
Please
include Postage uitl
Write for free sample.
^^ 1 pt. 2.50
i order. r
Dealer
Inquiries
Invited
F LOR MAN
& B ABB, INC. |
68 W
45th St,
N.Y. 36,
N.Y. MU 2-2921
high speed scanner and then to the
theatre screen. Since the motion of
the scanner is made equal and opposite
to the motion of the waves in the light
cell, there appears to be no motion of
the waves as they appear on the screen.
All that appears on the screen is se-
ries of vertical lines, some dark and
some light, which are used to form
part of a picture line.
The action of the high speed scanner
does the same thing for the supersonic
system as Horizontal Hold does for a
conventional TV system. If the scan-
ner is not adjusted properly the picture
will have a tendency to move either
to the right or to the left just as an
ordinary receiver would do if the Hori-
zontal Hold were misad justed.
Vertical Scanning
Finally, to produce the complete tel-
evision picture a method of vertical
scanning is also needed. Proper ver-
tical scanning will arrange the sepa-
rate light pictures on the screen as a
series of individual lines. The vertical
scanner (also known as the low speed
scanner) is likewise a rotating cylinder
madeup of many flat sides. Each of
these flat sides acts as a plane mirror
which will move the individual lines
vertically on the theatre screen. Just
as the high speed scanner acts like
the conventional Horizontal Hold con-
trol, the low speed scanner acts like
the conventional Verical Hold control.
If the low speed scanner is operating
J PUCES _
NOT J
HOLDING •
Film breaks are costly.
Play safe by using
JEFR0NA
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., INC.
DEPT. J
315 West 43rd Street New York 36, N. Y.
JUdson 6-1420
32
INTERNATIONAL PROJECTIONIST • AUGUST 1957
at the wrong speed, the picture will
move up or down the screen, just as
in the case of improper Vertical Hold
adjustment in the conventional system.
The high speed scanner has been
operated at about 45,000 revolutions
per minute and the low speed scanner
at approximately 340 revolutions per
minute. Both of these figures, how-
ever, depend upon the number of mir-
rors contained in each scanner, as
well as the number of lines and frames
in the television systems. Both scan-
ner motors must be kept in synchron-
ism with the rest of the television sys-
tem. This presents some difficulty in
design since unusual procedures must
be followed in order that the normal
sync signal may have sufficient apli-
tude to synchronize an electric motor.
[TO BE CONTINUED]
This man
is looking into
your future
How does it look? Rosy? Free of
cancer? You hope! But hoping isn't
enough. Of every 6 Americans who
get cancer this year, 3 will die because
science still has no cure for them. It
will take research . . . lots of research
... to find that cure. And research,
let's face it, takes money. Pitch in and
help. Send a generous check . . . right
now ... to "Cancer" in care of your
local Post Office.
American Cancer Society
20th-Fox Policy Takes
61 small town and subsequent-run
theatres have reopened due to the re-
cently inaugurated aid-to-small-theatres
policy of 20th Century-Fox, according
to initial reports from Alex Harrison,
general sales manager of the firm. Re-
opened houses have been shuttered from
one to more than two years.
Harrison's report also indicated that
a number of sub-runs, mostly in Can-
ada, have successfully converted to first
run. This is hoped to provide additional
outlets for absorption of 20th's expanded
55-picture release schedule this year, cur-
rently getting a strong publicity barrage.
Included in the reopenings are 17
U.S. exchange areas, Minneapolis ter-
ritory setting the pace with 10 unveilings.
TELECASTS
[Continued from page 16)
projector with a 3000-watt bulb running
on 110-120-volt AC which claims to give
as much light as the carbon arc projec-
tors now in TV use — around 6000 lumens.
The light is projected through a series of
lenses to dissipate heat and increase
brightness. The projector is run by re-
mote control, and will feed 60 slides in
as many seconds.
The company also employs the new
GPL projectors (see Telecasts, IP, Feb-
ruary 1957) in its closed-circuit group
communications systems.
The latest innovation in the Tele-
PromTer device itself is a wireless con-
trol, that allows the operator to control
the speed of the 'prompter from any lo-
cation in the studio. Previously this was
accomplished by a cable between switch
and prompting device.
Projectors may now be started elec-
tronically by a speaker's voice, due to a
TelePrompTer development called Tele-
mation. Wired to the 'prompter, the de-
vice closes a circuit when a speaker
reaches a cue word, and speaker and pro-
jector are in synchronization. The com-
pany claims no possibility of error or
mis-timing.
New RCA TV Service
THREE new closed-circuit TV producers
are being provided with supervisory en-
gineering services by RCA Service Co.
Inc. They are Medical Radio and TV
Institute, Inc., Closed-Circuit Telecasting
System, Inc., and the TelePrompTer
Corp. Contracts call for the assignment
of RCA Service Co. field engineers at
many closed-circuit telecast reception
sites.
Telecasts for Closed-Circuit Telecast-
ing System, Inc., will initiate use of
RCA's newest full color TV projector,
the TLS50 (see Telecasts, IP, May 1957),
and associated closed-circuit equipment.
RCA has also announced development
of four new horizontal-deflection sys-
tems to be used with 110-degree type TV
picture tubes, considering that 110-degree
deflection makes possible a reduction in
both tube length and weight. The hori-
zontal-deflection systems have high volt-
ages of about 14, 15, 16.5, and 18KV at
zero beam current.
The systems claim sufficient scan re-
serve, good raster geometry, minimum
spot distortion, and sufficient "shadow"
clearance.
IT'S A HIT!
in Atlanta
BUT... will it be
a hit in your house?
It went over big in Atlanta . . . but
before any show can be a success in
your house, your equipment must be in
condition to roll it perfectly. Any show
can be a better show when equipment
performs properly. That's where RCA
Theatre Service comes in.
Protect your equipment and picture in-
vestment with RCA Theatre Service.
It will pay you to write now for com-
plete information!
Technical Products Department
RCA SERVICE COMPANY, INC
A Radio Corporation of America
Subsidiary, Camden 8, New Jersey
Tmk(s) ®
JLonnaUc **&** cored Can&ottA
For DRIVE-INS & THEATRES with HUGE, WIDE- AREA SCREENS • CARBONS, BOONTON, N.J.
INTERNATIONAL PROJECTIONIST • AUGUST 1957
33
A BRIGHTER PICTURE
(Continued from page 9)
sired requirements of sprocket mo-
tion. Although used principally in
16-mm apparatus, there is no reason
why they should not also be employed
in 35-mm machines for more rapid
film pulldowns.
Attention must be paid to the oscil-
lating-cam geneva movement, of which
the system employed in the Hortson
projector is a good example. This
utilizes an oscillating cam with an
8-slot geneva star wheel and a drunk
cam. One version of the oscillating-
cam movement is now in TV use — the
mechanism developed by J. G. Jackson
and incorporated in the new RCA color
TV projector to answer the problem
of accommodating the standard cine-
matic film rate of 24-frame/sec. to the
TV 30-frame/sec. This is shown in
Fig. 6. (See also, IP, February 1955,
p. 7 et seq.)
What is probably considered the
most promising method for increasing
the pulldown rate is an accelerated
geneva movement that employs an off-
set drive shaft and a "slipper block,"
as shown in Fig. 7. Here, the metal
slipper block, which is actuated by the
cam pin, is allowed to slide in the
slotted disk. The principal of offset
drive lends itself especially well to
pulldown acceleration, and has al-
ready been successfully used in 16-mm
operation. One large advantage to this
system is that the velocity of the pull-
down is not instantaneous.
Developments now in progress would
seem to indicate that designers pre-
fer the offset drive accelerated system.
But whatever method holds the key to
the problem of brighter, flickerless pic-
tures, it is certain that the geneva as
we have it today is no longer satis-
factory, and the time to change is now.
FOCUS DRIFT PROBLEMS
(Continued from page 13)
projection rooms must be equipped
with some type of visual aid, such as
binoculars of a magnification factor
of at least 4. A wall or projector-
mounted telescope may be more con-
venient, but at least something must
be provided to bring the screen as
visually near to the projectionist as
it is to the nearest member of the
audience.
An item which seems to have been
overlooked is the setting of the astig-
matism adjusting ferrule provided by
cylindrical anamorphic attachments.
The optical manufacturer furnishes
precise instructions for the initial set-
ting-up of this adjustment, but it is
entirely possible for the locking ring
to work loose, and the ferrule to move
from its previously determined posi-
tion.
Then too, it is possible that a better
setting may be found. Users should
bear in mind that the preferred dis-
tance setting will be that figure which
results in both vertical and horizontal
lines going in and out of focus at the
same rate and time. The writer has
observed several projectionists attempt-
ing to make this setting by moving
the astigmatism ferrule while observ-
ing the effect on the screen. It is much
better to follow the manufacturer's
suggestion : to set in the nearest figure
coinciding with the projection dis-
tance from lens to screen center. After
this initial setting, slight deviation may
result in better stability of focus
throughout the reel.
The reader may wonder if the above
Are You Moving?
If so, please notify us one month in
advance. The Post Office does not
forward magazines. To avoid delay,
please cooperate by sending us both
your new and old address.
statement can be proven. Unfortunate-
ly, the writer has no data which will
make a case that focus drift can be
more noticeable when the anamorphic
attachment is not properly adjusted;
yet in several instances where severe
focus troubles have been encountered,
definite improvement has been ob-
tained by the application of several
of the measures we have mentioned
here.
SMPTE Sound Course Ends
The Sound Recording Course jointly
sponsored by SMPTE and IATSE Local
52 NYC which began in February closed
with a panel meeting June 12. A dinner
preceded the meeting, presided over by
Edgar Schuller, chairman of the SMPTE
New York Education Subcommittee on
Sound Recording.
Panel members included: Robert Eng-
ler of Westrex; Raymond Griswold of
RCA Film Recording; Edwin Dicken-
son of Westrex; David Blumgart of In-
formation Productions; James Shields
of CBS; Nicholas Cook of Public Gas &
Electric; Richard Pietschmann of Louis
de Rochemont-Cinemiracle; Jack Leahy
of RCA Film Recording; George Lewin
of Army Pictorial Center; Theodore
Lawrence, consultant; Homer Elder of
Metropolitan Sound; Christopher Lan-
kester. United Nations; John Maurer of
JM Developments; Burt Perry of Wes-
trex; William Jordan of Movietone, and
Emil Neroda of Reeves Sound Studios.
}• When is a mistake a blunder?
A When a projectionist is not a regular subscriber
• to IP — MUST reading for the projectionist craft.
Use the handy order form below
INTERNATIONAL PROJECTIONIST
19 West 44 St., New York 36, N. Y.
Enter my subscription for ° \ Vear {Jg !ssues-g-5
7 D 2 years (24) issues — $4.00
Foreign and Canada: Add 50c per year
Name
Address
City
Zone
State
34
INTERNATIONAL PROJECTIONIST
AUGUST 1957
sg: :■ S";':::
'■"
Abraham Simmons couldn't feel the frost that lined his tiny stone cage,
or taste the swill they fed him, or chafe at his iron chains — so his keepers
said. He was a madman.
But then, when his visitor, little Miss Dix, spoke softly, kindly, to him,
why did he weep?
Dorothea Lynde Dix knew why. And her knowledge kept her fighting
all her life to get the mentally ill away from pits and cages, whips and
chains, and into hospitals.
In nearly 40 years, she paused only once — to render heroic service as
superintendent of nurses in the Civil War. Then again she began inves-
tigating, writing, fund-raising, politicking, until this frail ex-school teacher
had pushed a whole country into one of the finest reforms in its history:
the sane treatment of the insane.
Dorothea Dix was fortunate in having one powerful ally: the American
people. For as history will show, Americans are seldom self-satisfied; they
long to do right. That urge has helped them build a strong, stable nation
in a troubled world — and it has helped make their country's Savings Bonds
a rock-ribbed assurance of security.
The will and purpose of 168 million Americans back U.S. Savings Bonds,
back them with the best guarantee you could possibly have. Your principal
guaranteed safe to any amount — your interest guaranteed sure — by the
greatest nation on earth. If you want real security, buy U.S. Savings Bonds.
Get them at your bank or through the Payroll Savings Plan where you
work. And hold on to them.
Safe as America— U. S. Savings Bonds
The U. S. i
' pay jor this advert
tent* It is donated by this publication in cooperation with the Advertising Ci
he Ma
0} America,
THE HaPP*eSt PROJECTIONISTS
have
PROJECTION and SOUND SYSTEMS
What keeps a projectionist smiling? Smooth running dependable equipment. And
that's the Simplex X*L to a "T"! In designing the X-L, Simplex engineers put
themselves in the projectionist's shoes. Result is a projector that's easier to load, simpler
to maintain, has more finger room and is unparalleled for reliability . . .
the projectionist's projector!
The Simplex X-L is the finest mechanism ever built. Just ask the happy projectionists
in the overwhelming majority of top theatres throughout the nation.
Manufactured by
INTERNATIONAL PROJECTOR
DIVISION OF SIMPLEX EQUIPMENT CORPORATION
Distributed by
NATIONAL THEATRE SUPPLY COMPANY
SUBSIDIARIES OF GENERAL PRECISION EQUIPMENT CORPORATION
ffl
B 671519
<fr.
SEPTEMBER
1957
VOLUME 32 • NUMBER 9
30c A COPY • S2.50 A YEAR
PROJECTION
LAMP
THE WORLD'S FINEST and MOST POWERFUL
PREPARE YOURSELF NOW
FOR THE FUTURE
Do not make the mistake of buying Projection Lamps which may not
be adequate for your future requirements.
There are no standards now. Film widths vary from 35mm to 70mm. The
equipment you buy should be capable of projecting both of these and
anything in between, with equal perfection — with no further expense.
There is only one lamp that will do this—
THE ASHCRAFT SUPER CINEX
*1. The only projection lamp using one reflector for
all film widths 35-55-65-70mm. (No relay lenses
whatever are necessary).
*2. The only lamp using a heat transmitting reflector
for both 35mm and 70mm.
3. The only lamp producing maximum light and
maximum screen light coverage simultaneously
— no hot spot under any circumstances. Maxi-
mum light and Distribution are obtained regard-
less of film width or height.
These are the four principal aperture sizes now being used and contemplated for the near future. By the simple, instantaneous process
of moving the positive carbon crater toward or away from the reflector a fraction of an inch the aperture spot size will be enlarged
from the smallest spot shown (1-1/16" diameter) to the largest (2-1/4" dia.) and the selected position will be constantly maintained.
Isn't this much better than changing reflectors and relay lenses every time the aperture spot size is varied?
These are the possible aperture sizes your lamps should cover and ^
the sizes of the aperture light spot SUPER CINEX will give you. ^ - '
s ^ — • — ~- — ^
This is the approximate screen light with excellent distribution you will / ^ *■* N Ns
obtain* with all four aperture sizes:
Lumens
.825 x .600 Small Aperture 35mm
35,700<-
.839 x
.912 x
.715
.715
CinemaScope 35mm 42,000-<-
1.340 x 1.06 Fox CinemaScope 55mm 49,572-<-
M.G.M. 65mm
Todd-AO 70mm
45,200-*-
*The quality and f value of the projection
lens may increase or decrease these values.
(Cinex is the registered trademark of C. S. Ashcraft Mfg. Co.)
U.S. Distribution through INDEPENDENT THEATRE SUPPLY DEALERS ■ Foreign: WESTREX CORPORATION • Canada: DOMINION SOUND EQUIPMENTS, LTD.
C. S. ASHCRAFT MANUFACTURING CO., INC.
36-32 THIRTY-EIGHTH STREET, LONG ISLAND CITY 1, NEW YORK
SEP 25 1957
International
PROJECTIONIST
R. A. ENTRACHT, Publisher
ROBERT C. MacLEOD, Editor
R. A. MITCHELL, Contributing Editor
Volume 32 SEPTEMBER 1957 Number 9
Index and Monthly Chat 3
TV Projection and the Schmidt System 5
Robert MacLeod
National Carbon Realigns Sales 7
The Release Print Problem of
Standard Markings 8
Joseph Holt
Variable-Area vs. Variable Density 11
John G. Frayne — Robert A. Mitchell
Paramount 's Telemeter Drive 12
New HI Rotating Positive Carbons for
Motion Picture Projection 14
R. R. Dull, J. G. Kemp, Jr., E. A. Neel. Jr.
16-mm Projections 16
From the Rritish Viewpoint 18
R. Howard Cricks
Television and Motion Pictures, II 19
Allan Lytel
In the Spotlight 20
News and Views from District No. 2 21
Hank Roldizsar
New Liner's Seagoing Theatre Equipped
for VistaVision, C'Scope, Stereo 22
New Look for "80-Days" Equipment 24
MagOptical Manual Now Available 24
Obituaries 25
Personal Notes 26
Projectionist License Exam Questions 28
Science Notes 28
INTERNATIONAL PROJECTIONIST published monthly by the Inter-
national Projectionist Publishing Co., Inc., 19 West 44 Street, New
York 36, R. A. Entracht, President. Telephone: MUrray Hill 2-2948.
Subscription Representatives: AUSTRALIA — McGills, 183 Elizabeth
St., Melbourne; NEW ZEALAND— Te Aro Book Depot, Ltd., 64 Court-
nay Place, Wellington; ENGLAND and ELSEWHERE— Wm. Dawson &
Sons, Ltd., Macklin St., London, W. C. 2. Subscription Rates: United
States and U. S. Possessions, $2.50 per year (12 issues) and $4.00 for
two years (24 issues). Canada and Foreign countries: $3.00 per year
and $5.00 for two years. Changes of address should be submitted four
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., under the act of March 3, 1879. INTERNATIONAL
PROJECTIONIST assumes no responsibility for personal opinions ap-
pearing in signed articles, or for unsolicited articles. Entire contents
copyrighted 1957 by INTERNATIONAL PROJECTIONIST PUBLISHING
CO., INC.
■>420
VrbnthhiCha*
The Uses of Adversity
If, as they say, some controversy is healthy, we have
been enjoying excellent health these days. Among this
month's pages you will find some disagreement with Rob-
ert A. Mitchell's recent series of articles, "Film Stand-
ards for Picture and Sound." This — all respect to Mr.
Mitchell — we encourage, because it gives us an oppor-
tunity to show that technicians in this craft are thinking
about it. And. we hope, doing something about it. The
palmy days have long been over, and it only by the
give-and-take of informed and experienced minds that we
can contribute to the advance of an industry that sorely
needs it. There are still too many lethargic members of
this business who are willing to let George do it. Well.
George doesn't live here any more. Granted that if a pro-
jectionist has a third-rate picture to show, he's got a
third-rate picture to show, and we're all hung. Rut tech-
nically speaking — and that is what we're here for — the
dissemination of information is the most valuable thing
we have to give to each other. So any time you're in the
mood, drop us a line.
Care of Screens
Our mail seems to run in patterns. A while back we re-
ceived a number of letters on the care and cursing of re-
lease prints. Now as summer wanes the topic in the mail-
bag is screens — accent on cleaning. We plan to publish
something on this in the future, but whether he is re-
sponsible for it or not, we feel that the efficient projection-
ist should have what data necessary on screen maintenance
as a matter of course. This is obtainable from the manu-
facturer. Even if you have licked the problem of better
light, smoke, fog. discolored lenses, etc., there is always
the chance that some mother's darling is going to use
your hi-gain as a target for his candy bar. And it's hap-
pened too often that subsequent cleaning has made matters
even messier. For his own peace of mind, we urge the
projectionist to have information concerning recommended
procedures on screen care at hand.
Pay-TV and All That
What HAS come to be known as the Bartlesville Experi-
ment went into operation early this month. The Oklahoma
town was the first to receive subscription TV through
cables from a central studio. Now that pay-TV has brought
first-run product into the home, whither the established
motion picture theatre? No one knows whether the public
is going to go for pay-TV (Bartlesville teed off with a
modest 300 subscribers, with more to come ) , but it seems
to bode no good for the neighborhood theatre — and, what
is more to the point, the personnel employed in the house.
It has been stated that pay-TV will stimulate production;
it has been stated that the exhibitor will get his share from
subscription; but it has not been stated just where the pro-
jectionist fits into all this.
We'd like to have some information on that point.
INTERNATIONAL PROJECTIONIST • SEPTEMBER 1957
$U-f
An Outstanding Achievement in Projection Literature!
Robert A. Mitchell's
MANUAL OF PRACTICAL PROJECTION
THE MOST COMPLETE AND PRACTICAL HANDBOOK FOR PROJECTIONISTS EVER COMPILED
$000
per copy including postage
• Here is one of the most helpful works ever pub-
lished for the motion picture projectionist. ROBERT
A. MITCHELL'S MANUAL OF PRACTICAL PRO-
JECTION comprises the BEST of the Mitchell ar-
ticles that have appeared in "International Projec-
tionist," revised and brought up to date. It provides
the reader with a handy permanent record of sound
practical coverage of every aspect of motion picture
projection.
• This Manual differs from every other projection
work in that the author does not refer to manufac-
turers' pamphlets, available to any projectionist for
the asking, but has prepared original material based
upon his own personal experiences in the field. A
practicing projectionist as well as a recognized
authority on the subject of motion picture projec-
tion, Mr. Mitchell presents his material in easily
understood language — not too technical, yet tech-
nically accurate.
* Handsomely bound and cross-indexed for easy
reference, the Mitchell Manual is divided in 8
sections and contains 30 chapters — a valuable
reference work no progressive projectionist should
be without.
SECTION HEADINGS
(I) Film; (II) The Projector; (III) Projection-Optics, Screens; (IV) The Arc Lamn;
(V) General Projection Practice; (VI) Motors, Generators, and Rectifiers; (VII)
Sound Reproduction Systems; (VIM) Projection of Color and 3-D Films, Formulas.
ORDER YOUR COPY TODAY
USE THIS HANDY FORM
Actual size 5Vz" x 8'/z"
450 pages, profusely illustrated
INTERNATIONAL PROJECTIONIST
19 West 44 St., New York 36, N. Y.
Gentlemen: please send me
copy (copies) of ROBERT A. MITCHELL'S MANUAL OF PRACTICAL
PROJECTION. Enclosed is my check (or money-order) for S_
NAME
ADDRESS
CITY
ZONE.
STATE
INTERNATIONAL PROJECTIONIST • SEPTEMBER 1957
NTERNATIONAL PROJECTIONIST
Volume 32
SEPTEMBER 1957
Number 9
TV Projection and the Schmidt System
By ROBERT MocLEOD
Among the TV projection systems that have been utilized in the
rapid growth of that technique, the Schmidt system is perhaps
employed more often than any other, and it has performed well.
THE RECENT rash of publicity con-
cerning toll TV has brought some
prominence, in the technical world, to
the role of the TV projectionist and
projection equipment. Prior to the ad-
vent of tollvision, closed circuit TV
has been in wide use in the industrial
and educational worlds, and its growth
in a variety of fields shows no sign
of slackening. A number of manufac-
turers have produced TV projectors,
and a number of projection systems
have been tried. Prominent among
these have been modifications of the
Schmidt optical system — a system de-
signed to correct aberrations as much
as possible, yet still retain a large field
of vision and high luminosity. It is
a system projectionists should be
familiar with, if they have not already
encountered it.
Optical Aberrations
There are six major optical aberra-
tions that must be considered in TV
projection: chromatic and spherical
aberration, curvature of field, coma,
astigmatism, and distortion.
Chromatic aberration is mostly of
concern to the projection of color TV.
This defect splits up white light into
its component colors, so that violet
will be brought to focus before red,
etc. This creates the situation where
the image will be in focus in many
positions, not just one. It can be cor-
rected by use of achromatic lenses —
one concave and one convex, creating
an equal and opposite effect.
Spherical aberration is an important
defect, one that is intrinsically part
of projection. It produces a blurred
picture, because light rays passing
through the edge of a lens bend more
sharply and their focal point is closer
to the lens than that of light rays com-
ing through the center. This can be
corrected by using lenses with non-
spherical surfaces, called aplanats.
Curvature of field produces blur-
ring at the edges of the picture. It
occurs when a flat subject is imaged
on a curved surface. The distances be-
tween a lens and film are not the same
at all points, since the lens is curved
and the film is flat. It can be cured
by having the object curved toward
the lens. The curved surface of a TV
tube is an illustration of this corrective
principle.
Coma produces a comet-shaped
image, hence the name. It is caused
by light rays hitting a lens obliquelv,
and is a form of spherical aberration,
except that the blur is not symmetrical.
Astigmatism reproduces a point
source of light as crossed lines, at
right angles to each other, and sep-
arated at different distances from the
lens. This defect in the human eye is
noticed when distance lights appear
not as dots but crossed lines. It can
be corrected by a number of ways with
an astigmatic lenses.
Distortion, basically, occurs when
the image is not given uniform mag-
nification. Consider the trick mirrors
in an amusement park. If they make
you appear short and bloated, that is
a form of "'barrel" distortion. If they
make you appear tall and emaciated,
that is a form of "pincushion" dis-
tortion.
Compound Lens Problem
Because of the presence of these
aberrations and distortions, projection
requires not just a simple lens, but a
series in combination. And while it is
true that the more lenses used will
result in a better picture free of aber-
rations, it is also true that there is
greater light loss. And, in correcting
one aberration, another may be mag-
nified. It is impossible to correct all
aberrations at once just by combining
INTERNATIONAL PROJECTIONIST • SEPTEMBER 1957
lens of various shapes and types of
glass. The problem, then, is to elimi-
nate as much aberration as possible,
but retain a high light intensity. The
Schmidt system has come close to
achieving that end.
Diaphragm and Spherical Mirror
In 1931, B. Schmidt, an instrument-
maker for the Hamburg Observatory
in Germany, invented the optical sys-
tem that bears his name. His first step
was to employ a hollow spherical
mirror, which has two major advan-
tages: a mirror does not have any
chromatic aberrations, and — all things
being equal — has a spherical aberra-
tion eight times smaller than that of
a simple lens.
A diaphragm was placed before the
mirror, in a plane passing through the
center of curvature, as shown in Fig. 1.
This arrangement is such that, since
each incident ray has the same rela-
tion to the diaphragm, the direction
of each ray is the optical axis. Thus
FIG. 1. The spherical hollow mirror, with the
center of curvature at O. The parallel rays
A and 6 produce the image field section of
sphere indicated by the broken line The
radius here is one-half that of the radius of
the curvature.
FIG. 2. The effect of the correction plate.
The top half of the illustration indicates ray
direction without the plate, producing spherical
aberration. The bottom half shows parallelism
of the rays caused by the corrective elements.
FIG. 3. (A) Schmidt correction plate. (B) Flat-
spherical lens. (C) The plate and lens com-
bined. The thickness of the combination has
been exaggerated for schematic purposes.
coma and astigmatism as related to
the diaphragm plane are eliminated.
The image field formed by beams
of parallel rays is spherical, with a
radius one-half that of the radius of
the curvature. Although the image field
is curved, curvature of field is neg-
ligible, since the face of the cathode-
ray tube in the TV projector is spheri-
cal.
The Correction Plate
But spherical aberration remains.
To correct this, Schmidt designed a
correction plate, to be used in the
diaphragm. I See Fig. 2.) The source
of light is placed in the focus of the
mirror, and. as shown in the top half
of Fig. 2, without the plate the greater
the angle between the incident ray and
the main axis, the more the divergence
from the parallel to the main axis.
But with the correction plate — a
thin, continuous surface of small glass
prisms — this spherical aberration is
eliminated, as shown in the bottom
half of Fig. 2. (For schematic pur-
poses, the thickness of the corrective
element is greatly exaggerated.) To
maintain the aberration-eliminating
advantages, the plate is placed in the
center of the mirror, as in the previous
diaphragm application. While the plate
is not perpendicular to the edge inci-
dent rays, refraction of a ray in a
prism is very little dependent upon the
angle of incidence. It must be borne
in mind that the optical strength of
this system is supplied by the mirror,
and the plate is only to correct the
image.
One distinct advantage of the
Schmidt system is that it can be used
with a much larger aperture in rela-
tion to the focal length than that of
a lens system. This is because the
boundary rays striking a lens system
pass through a different thickness of
glass, causing a change in the image.
Some chromatic aberration is found
with the correction plate. While the
mirror produces none, the corrective
element is refractive, thereby causing
different deviations of rays of different
wavelengths. However, the differences
in thickness of the plate are very
small, so the amount of aberration is
also small.
Plate Construction
The cross-section of the corrective
plate as shown in Fig. 2 is not de-
sirable, as the value of deviation must
be kept as small as possible to avoid
chromatic aberration. Since the edge
slope must be countered with a middle
slope in the opposite direction, a flat-
spherical lens is combined with the
original correction plate, as indicated
in Fig. 3. It is to be noted that now
the slope at the edge has been reduced,
and the flat minimum previously in
the center of the Flate is near the edge.
Rays passing through this area are not
refracted. The focal effect of this
combination corrective element is dia-
FIG. 4. (A) spherical abberation with a num-
ber of focal points. (B) The effect of the
correction plate: a common focal point, P.
INTERNATIONAL PROJECTIONIST • SEPTEMBER 1957
FIG. 5. Straightaway Schmidt projection sys-
tem employed in the RCA Models 648PTK and
8PCS41.
grammed in Fig. 4, showing a common
focal point.
TV Applications
There have been several modifica-
tions of the Schmidt system for TV
projection on the market, one being
shown in Fig. 5. This straightaway
set-up was used in the early RCA
Models 648PTK and 8PCS41. It con-
sists of the spherical mirror, with the
center painted black to avoid any light
reflecting back onto the face of the
cathode-ray tube, which would reduce
picture contrast. In other modifications,
the center portion of the mirror is cut
out.
The tube is mounted face downward
to reflect on the mirror. Held by a
deflection yoke, it is surrounded by a
correction plate made of plastic. Rays
passing through the plate strike a plane
mirror, which deflects the rays out-
ward. The barrel-type projector used
in theatre presentations utilizes a
direct projection, eliminating use of
the plane mirror. Focus is obtained by
moving the cathode-ray tube closer or
farther away from the mirror; the
closer the distance, the larger the pic-
ture. A tilt adjustment provides for
throwing angle.
One of the newest products employ-
ing the Schmidt system is the recently
developed RCA color TV projector,
I
which has three of the optical systems
side by side. (See Fig. 6.) This pro-
jector was described in more detail in
the Telecasts department of IP, May,
1957. Considering the effectiveness of
the Schmidt system, this projector is
warranted to show color TV with good
definition on screens up to 4*/& x 6
feet, at a maximum throw distance of
17 feet.
The Schmidt system has long been
an aid to astronomical photography;
with the rapid strides being made in
TV projection, it would be a reason-
able assumption that it will be an even
more effective aid to that phase of pro-
jection which is comparatively new.
National Carbon Realigns Industrial Sales
FIG. 6. RCA Telemural Projector, type TLS-
50 51 with three side-by-side Schmidt optical
systems.
In order to provide better technical
service to industrial customers, National
Carbon Company has initiated a program
to reorganize its carbon products sale
department.
J. R. Johnstone, carbon products mar-
keting manager, outlined reasons for re-
alignment: "The increasing complexity
of the industrial uses of carbon and
graphite demands even greater skills in
the proper application of these products.
By assigning our industrial salesmen spe-
cific responsibilities for a limited number
of products, they will be even better able
to provide customers with the technical
assistance they require in selecting the
right products for their particular ap-
plication."
The new program calls for field sales-
men specializing in one of the three prod-
uct groups that comprise the carbon
products marketing organization: indus-
trial carbon; brush railroad, and spec-
troscopic products; and arc carbons.
As differentiated, industrial carbon in-
cludes carbon and graphite products such
as nuclear graphite for atomic energy
installations, graphite reference forms for
aircraft assembly brazing, guided missile
components, metallurgical molds, graph-
ite crucibles, machined shapes, and mis-
cellaneous rod and plate stock.
Carbon brushes are employed in mo-
tors and generators, rotating electrical
equipment in both home appliances and
in industrial equipment. The railroad
products include carbon brushes for die-
sel-electric and electric locomotives, and
signal cells — primary batteries used in
railroad signalling systems. Spectro-
scopic products include both electrodes
and powders of extremely high purity
for spectrochemical analysis.
Needless to say that arc carbons com-
prise projection carbons, and stage and
TV studio carbons for high intensity
light.
District managers located at key cities
throughout the country will report to the
sales managers of these three groups.
Sales managers, who will be responsible
for field selling organizations in their
respective areas, are: A. W. Wolff, indus-
trial carbon : W. C. McCosh, brush rail-
road, and spectroscopic products; and
J. W. Cosby, arc carbons.
McAuley Merges with Strong
Charles A. Hahn, president of J. E.
McAuley Mfg. Co., for many years one
of the major manufacturers of projection
equipment, is retiring. Simultaneous
with this announcement is the consoli-
dation of the McAuley firm with Strong
Electric Corp. which will place all arc
lamp manufacturing facilities of Gen-
eral Precision Equipment Corp. under
one direct management.
At present, this will mean, that the
Strong company, also one of the pioneer
manufacturers of theatre equipment, will
supply McAuley products, including the
well-known Hy-Candescent and Peerless
Magnarc projection arc lamps. Replace-
ment parts for these lamps will also be
supplied by Strong, although orders for
both equipment and replacements will
continue to be received at the McAuley
plant in Chicago.
Strong Electric will continue in their
own line of supplying arc lamps, recti-
fiers and reflectors, arc lighting equip-
ment for the graphic arts industry, the-
atre and arena type carbon arc spotlights,
carbon arc slide projectors, transformers,
and searchlights for the armed forces.
The McAuley Hy-Candescent lamp is
a condenser-type high-intensity lamp us-
ing 13.6-mm carbons burning at high
amperage; the Magnarc is a simplified
high-intensity lamp employing non-ro-
tating carbons at lower amperages.
INTERNATIONAL PROJECTIONIST • SEPTEMBER 1957
Wide variations in the provision of title and part number
frames, changeover cues, etc., would justify criticism.
The Release Print Problem
Of Standard Markings
By JOSEPH HOLT
Member, IA Local 428, Stockton, Calif.
CURRENT PRACTICE of the pro-
ducers leads to wide variation in
the character of release prints, and
projectionists are justified in continued
criticism of these variations. Cer-
tainly good projection practice would
call for a complete understanding
throughout the industry of what should
be expected in the matter of title
frames, part number designations, foot
numbers, changeover cues, and run-
out footages.
Very few release prints provide
legible title and part number frames.
Either the lettering is tiny or the con-
trast is so small in range as to make
it extremely difficult to read. This con-
dition explains why so many projec-
tionists find it necessary to paint on
individual part numbers or to attach
various types of tapes with the perti-
nent information.
It need hardly be said that the re-
lease print should require no mark of
any kind from the projectionist. Dark
part numbers increase the chance of
improper reel sequence, and illegible
titles have in fact contributed to the
transposition of a reel of one feature
showing up on the screen for the same
part number of another feature.
Standards Suggestion
Industry standards for this particu-
lar part of the release print are good,
and if adhered to would leave little in-
deed to cause difficulty. However, the
writer would suggest that considera-
tion should be given to the substitution
of a standard which would provide
for part numbers to be full frame size
on alternate frames, while title only
would occur on each blank frame re-
maining.
Contrast should be adequate to as-
sure ready legibility, and color prints
made by the imbibition process should
not be hopelessly smeared so as to
degenerate contrast. The run-in leader
itself is usually provided with the
proper number of feet preceding the
picture footage, but there the ad-
herence to an acceptable standard is at
an end. Foot numbers may be on dark
backgrounds, and frame lines may be
effectively non-existent. What is much
more serious, frame lines should in-
variably be the same width as the
projected picture requires.
Reference is to the fault encountered
in release prints with narrow frame
lines resulting from a .715-inch pic-
A Booker Does Not Take Bets
In every specialized field, there are
certain terminologies and bits of jar-
gon which tend to throw the uniniti-
ated into pitiful fits of confusion. For
example, in this highly-precisioned
motion picture industry of ours, a
"trailer" is not that long towable
house on wheels that the world out-
side filmdom understands it to be.
Nor is an "indie" a member of the
earliest group of American citizens
that we know.
Now comes the strange story that
tells of a worthy booker in our noble
trade being outrageously misconstrued
as, of all things, a "bookie," and by
all people, an income tax investigator.
The booker in the case is Dorothie
Warneke, currently booking for Co-
lumbia in Kansas City; the income tax
man has judiciously chosen to remain
anonymous.
The confusion didn't last too long,
but it was discomforting as long as
it did last. "When I explained my
work to that income tax man," quoth
Dorothie, "he said he thought mine
would be classed as a high precision
job." High precision it is, as is every-
thing else about the motion picture
business, and let's not have any more
horsing around.
ture height. Often the leader will be
printed with frame lines which provide
for .620-inch frame height.
Initial framing accuracy may be
affected by this inconsistency, and on
fade-out to fade-in changeovers can
produce annoying white bars on screen
top and bottom.
In discussing the deviations of
motor and douser cues, it is only fair
to point out that it is rare indeed to
encounter an American-made film
which does not bear some type of cue
placed accurately enough in the posi-
tion specified by industry standard
and custom. The big trouble with most
such cues lies in the fact that they
occur in areas of extreme density or
are accompanied by fast action which
mask the presence of the cue dot.
Producers for a long time adhered
to the idea of keeping significant
sound at least five feet away from reel
ends. Perhaps the standard asks too
much, but on the other hand every
projectionist of any experience at all
can call to mind dozens of instances
of changeover occurring during dia-
logue, with little time for operation
of the sound changeover device.
Homemade Cue Marks
But cues have been the subject of
more projection room nervousness
than other controllable print factors.
Many projectionists are so unsure of
the cue provided by the producer that
circles, punch marks, pencil or ink
marks, scratches are placed on all cues
regardless of their prominence in the
picture.
Some producers have tried to pre-
vent the film damage resulting from
this condition of "do-it-yourself" cue
marks, and have run foul of a condi-
tion almost as bad.
In certain releases, the cues have
been surrounded with a huge white
circle which loom up on today's larger
screens as rather formidable and dis-
tracting marks.
The need here is for the reduction
in size of the cue itself. In view of the
fact that the cue is actually magnified
approximately one-third more than the
old picture size had established, it is
merely common sense to look at the
cue itself with the new standards in
mind. To the writer's knowledge, only
one company has made any effort to
bring the cue down to reasonable size.
Studies should be made to determine
(Continued on page 33)
S
INTERNATIONAL PROJECTIONIST • SEPTEMBER 1957
MR. EXHIBITOR:
Whether you know it or not he's
judging the light on your screen
Today's movie-goer is light-conscious. Without
realizing it he compares your picture with what
he sees on other screens— with what he's heard
about advances in color, wide screens and life-like
projection. Your customers expect the best.
"National" Projector Carbons meet today's
demand for bright light at minimum cost to ex-
hibitors. Here, for example, are four "National';
carbons offered in the past few years that provide
as much as 20% more light with up to 25%
slower burning:
• "Suprex" 7mm Carbon
• "Suprex" 8mm Carbon
• 10mm High Intensity Carbon
• 11mm High Intensity Carbon
ATIONAL PROJECTOR CARBONS
TRADEMARK
meet the demand for more and more light.
The terms "National", "Suprex" and "Union Carbide" are trade-marks of Union Carbide Corporation
NATIONAL CARBON COMPANY • Division of Union Carbide Corporation • 30 East 42nd Street, New York 17, N.Y.
SALES OFFICES: Atlanta, Chicago, Dallas, Kansas City, Los Angeles, New York, Pittsburgh, San Francisco • IN CANADA: Union Carbide Canada Limited, Toronto
INTERNATIONAL PROJECTIONIST • SEPTEMBER 1957 9
first,
I'P BETTER
TAKE CARE OF
WILL ROGERS
HOSPITAL . . .
mPmmm M"ilT — ■ -
Nothing Like An Early Start. . .
The Christmas Salute comes early this year, and it's combined with the Audience Collec-
tion. This will make it easier for Industry Employees to bring greater healing to more
patients at Will Rogers for the Drive is well ahead of the crush of other holiday appeals.
Early gifts, and bigger gifts, are needed because your hospital is . . .
Now Treating All Chest Diseases
2 BIG JOBS TO DO AT ONCE
Get them done — before the rush!
AND
THE
Sa^e-
FROM THEATRE-PUBLIC FROM INDUSTRY EMPLOYEES
Exhibitors are urged to get behind the Au-
dience Collection. It's vital to the support
of your hospital's healing and research
work. Show the Deborah Kerr trailer and
take up Audience Collection.
Employees are asked only once a year for this
help. Make this year a better one! Every employee
signs the Scrolls and gets membership card. Send
tangible holiday greetings to fellow employees.
Help your hospital, and yourself!
WILL ROGERS MEMORIAL HOSPITAL
AND RESEARCH LABORATORIES
NATIONAL OFFICE: 1501 BROADWAY, NEW YORK 36. NY. • SOtQtlQC LCKCf If, X*
Experts will fall out, and here at odds are two such propo-
nents of variable-area and variable-density film tracks.
Variable-Area vs. Variable Density
Variable-Density
By JOHN G. FRAYNE
ENGINEERING MANAGER, WESTREX CORP.
Variable-Area
By ROBERT A. MITCHELL
CONTRIBUTING EDITOR, IP
THE CONTROVERSIAL article by Robert A. Mitchell
in the June 1957 issue of your valued magazine en-
titled "Film Standards for Picture and Sound" calls
for some comment and corrections of what appear to this
writer to be erroneous statements. For example, Mr. Mit-
chell makes the statement "Even though variable-area
optical tracks have long been recognized as more versatile
and superior to variable-density ..." I do not know on
what grounds this sweeping statement is based. From the
theoretical standpoint, which is well covered in the technical
literature, variable-density exhibits considerable superior-
ity over variable-area. In the practical field of sound re-
cording, variable-area suffers in many respects in com-
parison to the variable-density type of recording.
At this point, I would like to call attention to the errone-
ous conclusion in Mr. Mitchell's article in which he states
that "minute errors in optical-tube azimuth do not produce
distortion." Theoretical and experimental consideration
shows that when the azimuth error is such as to produce
a high-frequency loss, it simultaneously produces distor-
tion in variable area tracks1.
"Noise-proofed" VA Tracks
Mr. Mitchell states that variable-area tracks are more
readily "noise-proofed." I do not know on what grounds
this statement is made. From the theory of noise reduc-
tion as applied to both types of tracks, it can be shown
that for the same linear movement of the biasing element.
the noise reduction expressed in decibels is twice as great
for variable-density as for variable-area2.
The statement that variable-area tracks are not subject
to "processing distortions" must appear very unrealistic
to laboratory film control engineers who struggle daily
with cross-modulation and other types of tests to insure
proper density values on both negative and positive tracks.
The old myth that variable area is immune from processing
deviation in contrast to the recognized necessity for con-
trols on variable-density is no longer given any credence
by either sound recording or film processing experts3.
Mr. Mitchell's comment that really hit was the statement
that the Western Electric light valve introduces harmonic
distortion especially in the higher frequencies, whereas
other variable-density systems were free from this effect.
Mr. Mitchell apparently has not kept up with the literature
(Continued on page 32)
MY STATEMENT that "variable-area optical tracks
have long been recognized as more versatile and
superior to variable-density" was based upon the
following considerations :
(1) Variable-area tracks are unaffected by the small-
to-moderate errors in exposure and development which
introduce troublesome distortion in variable-density tracks.
(2) The dynamic range of v-a tracks is appreciably greater
than that of v-d tracks. (3) Bilateral-record equipment is
readily converted to the production of "multiform" v-a
tracks which practically eliminate the effects of uneven slit
illumination and possess the advantages of both v-a and
v-d tracks. (4) The shape of the recording vibrator-valve
may be modified to counteract electrical and acoustic dis-
tortions which can be eliminated only electrically, and with
difficulty, in v-d recording. (5) V-a tracks are better
adapted to printing on multilayer color stock in which the
closest gamma control of the soundtrack is not always
economically feasible. (6) V-a recorders of good per-
formance quality can be manufactured at less cost than
v-d recorders of comparable characteristics.
The word "minute" in reference to azimuthal errors
should be emphasized; but in the passage mentioned by
Doctor Frayne the writer is guilty of an inaccuracy no
greater than that in the statement: "On the other hand,
the only effect of azimuthal error on variable density is
attenuation of output at the high frequencies." This er-
roneous statement occurs in Doctor Frayne's earlier article.
"A Defense of Magnetic Reproduction" I IP for March
1957, p. 22 et seq.).
Small Azimuthal Error
When azimuthal error is small enough to produce (so
far as aural perception is concerned) nothing more than
high-frequency attenuation with v-d tracks, no audible
distortion will be apparent with either type of track. This
statement does not hold good for the old single type of
v-a track, but it is true for all bilateral and multiform v-a
tracks.
It should not be assumed that azimuthal error in a
sharply defined scanning beam produces the same effect
as a correctly oriented, but out-of-focus, scanning beam.
It can be shown that sine-wave curves in both v-d and v-a
tracks generate more or less of a square-wave component
{Continued on page 32)
INTERNATIONAL PROJECTIONIST • SEPTEMBER 1957
11
THE SAVOY PLAZA Hotel in New
York City was a busy place the
last weeks of August. Motion picture
executives and exhibitors, representa-
tives from other entertainment fields
from the legitimate theatre to sports,
TV executives, technicians and en-
gineers, labor groups and talent guilds,
financiers, educators, public officials,
and of course the press, came by in-
vitation to get a look at International
Telemeter Corp.'s closed circuit pay
TV system. It was the first Eastern
public demonstration, although there
have been previous showings in Los
Angeles. The demonstration included
a slide lecture, stressing salient finan-
cial points, a fairly comprehensive ex-
planation of the technical side with an
exhibition of the control room, and a
demonstration of the coin-box proper,
with an accompanying discussion by
Paul MacNamara, vice-president of
Telemeter — a subsidiary of Paramount
Pictures — and Carl Lesserman, origi-
nator of the system.
The Background of Telemeter
Most exhibitors attending the de-
monstrations, although they had read
enough about Telemeter in the trade
papers the past few months, were still
hazy as to details. By the time they
left, they had been pretty well briefed
on practically all phases.
Initial development of Telemeter
began back in 1949. Paramount ac-
quired its first interest in the corpo-
ration in 1951, and now holds about
90 per cent of the stock. In 1953, the
closed circuit system was tried on an
experimental basis in Palm Springs,
California, over a wired system with
the public as the actual customers. The
pictures shown were the same playing
Paramount's
Telemeter
Drive
Paramount Pictures tees off on
an intensive publicity campaign
to sell its tollvision system,
offering public demonstrations.
in the local Palm Springs theatre, but
both releases were booked by the local
exhibitor. Interesting to note that
initial installations were in homes be-
longing to the "upper social bracket."
The results of the Palm Springs
experiment instigated an accelerated
program of research and development
for the next four years, while improve-
ments were made and bugs eliminated.
The corporation now announces that
Telemeter is ready for mass produc-
tion both for wire — which does not
require FCC approval, and for air —
which does. At present, the FCC is con-
sidering this. Production-wise, Teleme-
ter now operates four plants in West
Los Angeles.
The Telemeter is a coin-box-speaker
attachment about the size of a small
table radio which can be installed in
any TV set — color or black-and-white
— in a matter of minutes. The attach-
ment does not require making any
changes in the TV set. Total cost to
the exhibitor, which includes the de-
vice, wiring, installation, plus a pro-
rated share of the studio cost, adds up
to approximately $100 per home, at
no cost to the consumer.
The device has six important parts:
the program selector; the barker; the
coin mechanism; the price indicator;
the credit storage indicator; and the
program identifier.
How It Works
The program selector allows selec-
tion of three closed circuit channels
over an unused broadcast channel
which are scrambled until payment is
made. In the New York demonstra-
tion, unused broadcast channel 6 was
used, receiving three Telemeter chan-
nels designated 6A, 6B, and 6C. The
selector is turned to anyone desired.
The free broadcast channels are, of
course, still available.
The barker is a speaker independent
of the regular one in the set which
continually provides information con-
cerning Telemeter programs — which
channel is showing what, price, start-
ing time, etc.
The coin mechanism is the slot-type
that will accept nickels, dimes, quarters,
and half dollars up to $2.50.
The price indicator, once the chan-
nel has been selected, will immediately
display the price of that particular pro-
gram. As coins are deposited, the in-
dicator automatically shows the amount
of unpaid balance after each coin has
been inserted.
The credit storage indicator serves
two functions. In case of over-payment,
it displays the amount of such over-
payment which is then mechanically
credited to any subsequent program
you may buy. It also serves as a bank
in which any amount up to $2.50 may
TELEMETERS
ELECTRONIC THEATRE
BROADCASTING-
STUDIO PROVIDES
ADDITIONAL
POINT OF INTEREST
FOR LOBBY
DURING EVENING
PRO&RAM
SEEN HERE CAN
SELL FUTURE SHOWS
AT THEATRE
12
INTERNATIONAL PROJECTIONIST
SEPTEMBER 1957
PRICE DISPLAY
CREDIT DISPLAY
SPEAKER FOR BARKER FOR
ANNOUNCING PROGRAMS
ON PAY CHANNELS
NICKELS, DIMES .
QUARTERS, HALF DOLLARS,
INSERTED HERE
BARKER VOLUME CONTROL
AND PAY CHANNEL SELECTOR
DOOR TO COIN
DRAWER ANO
RECOROING
The telemeter box,
which includes the
information "bark-
er," coin box, and
installment record.
Its size is about
that of a small
table radio.
be deposited at any time to be drawn
upon in the future for any Telemeter
shows.
The program identifier is a magnetic
tape in the coin box which keeps a
complete record of every program that
has been bought. The coin box. re-
placed every 30 to 60 days, is taken to
a central auditing office where the in-
formation on the tape will give each
individual producer an accurate record
of the number of sets that purchased
his particular show, and will make pos-
sible an accurate division of income
from each box among the different
producers.
The Studio
The central studio equipment con-
sists essentially of standard TV camera
chains, plus special Telemeter equip-
ment designed to send pricing informa-
tion to subscribers, program-identifi-
cation signals, and barker information.
As demonstrated in New York by
Telemeter technicians Jack Doze and
Sam Margolin, with IA Local 306
projectionist Lou Pellitier. the small
studio employed Hallamare TV equip-
ment, three Bell & Howell 614 16-mm
PROGRAM IDENTIFICATION
ifaffc
Interior view of the coin box, showing the mag-
netic taoe installation that keeps an accurate
record of payment and program selection.
projectors (although there have been
indications that film will go to 35-mm) ,
and three DuMont power racks, one
for each Telemeter channel. Included
in these racks are special tab-disks that
integrate the amount of payment to be
made to unscramble the picture. Thus,
the Telemeter device may use variable
price: for example, 85 cents for a ball
game. SI. 00 for a special event, etc.
I Prices have not been set.) By de-
pressing certain key tabs on the disk,
any number of price variations may
be sent over the closed circuit.
The Telemeter corporation main-
tains that the entire studio is not only
comparatively inexpensive to construct,
but also easy and economical to
operate. Also, the closed circuit wire
system is completely compatible with
the conventional broadcast over the
air. If the FCC authorizes broadcast
pay TV, the closed circuit system will
be integrated into the broadcast faci-
lities.
Theatre Applications
For those exhibitors whose theatres
open only in the evening, Telemeter in-
terests reason that an installation of
an electronic theatre would mean that
income would start at 9 :00 in the morn-
ing rather than 7:00 at night. An elec-
tronic theatre installed in the lobby of
such a theatre, it is maintained, would
make it possible to be doing business
all day. This is dependent on having
patrons come in all day watching a
telecast originate — newscasts, etc. This
could mean extra all-day business at
the concession department.
A possible source of income could
be selling advertising time on daytime
free programming, aimed at local and
neighborhood advertisers. And bad
weather and like conditions that negate
theatre attendance might be sur-
mounted by the prospective customer
still paying for a motion picture with-
out leaving his living room.
A modern facet, the large shopping
center, has come in for consideration
as a spot to originate programming for
a neighborhood TV system. Telemeter
would intend that a small audience
seating section could be installed sur-
rounding the studio layout, where
shoppers would be invited to rest for
a few moments and watch the system
in operation.
National manufacturers would be in-
vited to put on demonstrations of their
products — those products aimed at the
woman shopper — in the fringe area of
the studio, which would be designed
to be a central exhibition area for
neighborhood and national advertisers.
Both the studio in the neighborhood
theatre and in the shopping area would
be glass enclosed. This set-up is some-
what similar to the RCA Exhibition
DISTRIBUTION SYSTEM
STUDIO
MS
W>0INT Of PROGRAM
" ORIGINATION
P
f
•PROGRAM IS SENT 0Vf.ll
V MAIN LINE CABLE
CONNECTION BETWEEN MAIN I
LINE AND HOUSE !
_^o_
CONNECTION BETWEEN TELEMETER AND TV. SET
The distribution system as planned by Tele-
meter is much the same as other versions of
pay-TV; main variance is in the method of
payment.
Hall in Radio City, New York, where
the Dave Garroway "Today" show
originates in a glass-enclosed studio
that affords observation to sidewalk
crowds. So far, it has not deterred
technicians.
The Expense Element
An income point to be considered is
that one payment to the device would
furnish entertainment to an audience
as big as a living-room would hold.
Telemeter answers this by figuring that
building a new motion picture theatre
today would cost approximately $400
a seat, as opposed to the SlOO-per-
home tab for Telemeter installation.
The system is to be licensed to
franchise holders on a percentage-lease
basis. Franchises are available to ex-
(Continued on page 34)
INTERNATIONAL PROJECTIONIST • SEPTEMBER 1957
13
New carbons designed for 95-110 and 110-120 amp
give substantial increases in light, efficiency, stability.
New HI Rotating Positive Carbons
For Motion Picture Projection1
By R. B. DULL, J. G. KEMP, Jr. and E. A. NEEL, Jr.
National Carbon Co., A Division of Union Carbide Corp.
THE UNIVERSAL adoption of wide
screens by large indoor theatres
and the trend toward larger screens
in outdoor theatres have created a
need for more light. To meet this de-
mand, two new carbons for reflector
lamps of the rotating positive-carbon
type have been developed, one a 10-mm
X 20-inch and the other an 11-mm X
20-inch High Intensity Projector Posi-
tive carbon.
NEW 10-mm CARBON
In an effort to obtain the maximum
possible light from the old 10-mm High
Intensity Projector carbon it was often
burned at 105 amp, or 5 amp above
its recommended maximum current.
The new carbon has a maximum rec-
ommended current of 110 amp, i.z.,
10 amp higher than that of the carbon
it has replaced. At 105 and 110 amp,
New
Old
100 105
Arc current, amperes
FIG. 1. 10-mm High Intensity Projector car-
bon — relative screen light vs. arc current, at
maximum screen light.
in a projection lamp adjusted to give
maximum light at the center of the
screen, the new and improved carbon
produces approximately 8 per cent and
1
!
1
(Mew
1
110
/-*110A
-
^^05 A
-
5? 105
£
£
-
1 100
/100A
Old
/
100A
95
195/1
/
/
i
hi A
1
1
i
iJourn. SMPTE, Mav 1957
80 100 120 140
Relative carbon consumption
FIG. 2. 10-mm High Intensity Projector car-
bon — relative screen light vs. relative carbon
consumption.
12 per cent more light, respectively,
than the old 10-mm carbon at 100
amp.
Although the recommended maxi-
mum current for the improved 10-mm
carbon is 10 amp higher, its recom-
mended minimum current of 95 amp
remains the same as that of the old
10-mm carbon. At 95 amp in a lamp
adjusted for maximum light at the
center of the screen, it produces about
3 per cent more light than the old
10-mm carbon at the same current.
Relative maximum screen light as a
function of arc current is shown in
Fig. 1, where the screen light from
the old 10-mm carbon at 100 amp is
used as a basis for the comparison.
The results are appro vimately the
same when the projection lamp is ad-
justed to give 80 per cent side-to-center
light distribution on the screen. At 105
and 110 amp, the new 10-mm carbon
gives 5 per cent and 10 per cent more
light, respectively, than the old carbon
at 10U amp.
The efficiency of the new 10-mm
carbon is considerably greater than
that of the old carbon as illustrated in
Fig. 2, where relative maximum screen
light is shown as a function of rela-
tive carbon consumption with light
and consumption of the old carbon at
100 amp taken as the base.
At any current in the 95- to 100-amp
range, the new carbon burns approxi-
mately 15 per cent slower than the old
one, at a corresponding current, while
producing slightly more light regard-
less of whether the projection lamp is
adjusted for maximum screen light or
for 80 per cent side-to-center light dis-
tribution. At a given light level the
increase in efficiency is even greater
than at a given current. In the 95- to
100-amp range, at corresponding light
levels, the new carbon burns 20 per
cent to 25 per cent slower.
In addition to the advantages de-
scribed above, the crater of the im-
proved carbon is deeper, larger in
diameter and remains straighter than
that of the older 10-mm High Inten-
sity Projector carbons. These features
contribute to a steadier and more uni-
form screen light.
NEW 11-mm CARBON
The improved 11-mm High Inten-
sity Projector carbon is particularly
suited for drive-in theatres, especially
those having very large screens. The
% 100
1
1
I
i
-
New
-
Old
-
-
-
/
-
115
Arc current amperes
FIG. 3. 11-mm High Intensity Projector carbon
— relative screen light vs. arc current, ct
maximum screen light.
14
INTERNATIONAL PROJECTIONIST
SEPTEMBER 1957
Carbon
Amps
Approx.
Carbon
80% Distribution Maximum Light Consumption
Volt
10-mm X 20-in. new H. I. Projector 95 51-57
10-mm X 20-in. new H. I. Projector 100 54-59
10-mm X 20-in. new H. I. Projector 105 56-61
10-mm X 20-in. new H. I. Projector 110 59-65
11-mm X 20-in. new H. I. Projector 110 57-62
11-mm X 20-in. new H. I. Projector 115 58-64
11-mm X 20-in. new H. I. Projector 120 59-68
Screen
Lumens
%
Dist.
Screen
Lumens
%
Dist.
Rate,
in./hr.
22.200
80
27,100
60
15.0
23.800
80
29,100
60
16.5
25.000
80
30,500
60
21.5
25.900
80
31.600
60
24.5
25.200
80
31.200
60
12.5
26,600
80
33,200
60
16.0
28.000
80
34.700
60
20.5
TABLE I. Screen Illumination
With New 10-mm Hi Projector
Carbons in f/1.7 Motion-Pic-
ture Projection Systems —
0.715-in. X 0.839-in. Cinema-
Scope Aperture for Optical
Sound.
old 11-mm carbon had a recommended
current range of 110 to 115 amp, but
like the old 10-mm High Intensity Pro-
jector carbon, it was often burned
above its recommended maximum cur-
rent in order to obtain the maximum
possible light, in spite of the fact that
some unsteadiness was encountered.
The improved 11-mm carbon has a rec-
ommended current range of 110 to 120
amp. or 5 amp higher than the carbon
it has replaced.
A comparison of relative light for
the old and new carbons, as a function
of current, when the projection lamp
is adjusted to produce maximum light
at the center of the screen, is shown
in Fig. 3.
The light output of the old 11-mm
carbon at 115 amp has been selected
as the basis for the comparison. At
115 and 120 amp. the improved car-
bon produces approximately 5 per
cent and 10 per cent more light, re-
spectively, than the old 11-mm carbon
at 115 am;). This also holds true when
the projection lamp is adjusted for 80
per cent side-to-center light distribu-
-
.
-
-
115 A
120A
New
-
-
Old
-
no;
• /
115A
-
'
'110 A
'
-
100 120 140
Relative carbon consumption
FIG. 4. 11-mm High Intensity Projector carbon
— relative screen light vs. relative carbon
consumption.
tion. Figure 3 shows that identical
light levels can be obtained by reduc-
ing the current for the improved car-
bon by 3 to 4 amp.
As in the case of the improved
10-mm carbon, the new7 11-mm carbon
is more efficient than the old one. At
comparable light levels the new carbon
burns 10 per cent to 15 per cent slower
than the old one. as illustrated in
Fig. 4.
A larger and deeper crater combined
with an ability to hold a straighter
crater are features of the improved
11-mm carbon contributing to a more
uniform and steadier light on the
screen.
SUMMARY OF PERFORMANCE
The development of new 10-mm and
11-mm High Intensity Projector car-
bons has contributed to the advance-
ment of wide-screen motion-picture
projection by (1) making more light
available through the extension of the
upper limits of their current ranges,
and (2) producing a steadier and more
uniform screen light through a deeper
and wider crater, and a crater which
has less tendency to become crooked
during the projection of a film. The
latter feature means that less attention
need be given to the carbons to insure
optimum projection conditions.
SCREEN ILLUMINATION AND
CARBON-CONSUMPTION RATES
In 1953, the 16%-in. diameter, //1.9
lamp reflector, //2.0 and //1.9 projec-
tion lenses, and standard 0.600-inch X
0.825-inch aperture were widely used.
Since 1953. 18-inch diameter, //1.7
reflectors and f/1.7 projection lenses
have become available, and the use
of larger apertures has become almost
universal.
Table I gives the screen light in
lumens, distribution of light on the
screen, and carbon consumption at
various operating conditions, for the
new 10-mm and 11-mm carbons, when
used in a typical projection lamp hav-
ing an f/1.7 optical system, and
when the light is projected through
a CinemaScope aperture for optical
sound (0.715 inch X 0.839 inch), onto
the motion-picture screen by means of
a 4.0-inch E.F. / 1.7 projection lens.
The screen lumen figures are for
systems wdth no shutter, film or filters
of any kind. Since arc voltage is a
function of lamp design, as well as a
number of other factors, a range of
arc voltages has been given for each
current, rather than a single voltage.
Although the improved 10-mm and
11-mm High Intensity Projector car-
bons are capable of producing as much
light as the old carbons at a lower
current and consumption rate, it is
recommended that they be used at their
maximum rated current in order to
take full advantage of the increase in
light which is so badly needed on the
large screens.
Cameramen and D-l Owners Meet
William Kelley. head of the Motion
Picture Research Council, moderated a
recent meeting of the American Society
of Cinematographers and drive-in owners
convened for the purpose of eliminating
major problems in outdoor projection.
Initial steps were taken to obtain more
satisfactory release prints, and the reduc-
tion or elimination of low-key scenes. The
discussions also included suggestions for
relieving the present unfortunate print
problem.
INTERNATIONAL PROJECTIONIST
SEPTEMBER 1957
15:
-mm PROJECTIONS
Audio-Visual is a conservative term for an exciting
enterprise. One and one half billion dollars (even in
these days) is an amount easily read, but not readily
comprehended. But the impact that 16-mm has made
on the educational, industrial, and allied fields, and
the fact that one and one half billion dollars has been
spent for audio-visual equipment since World War
II — excluding mention that the annual expenditure
is now exceeding 180 million dollars — must give any-
one connected with the motion picture industry con-
siderable pause. It is to be noted that professional
projectionists are now employed in every branch of
the 16-mm field: TV, all phases of non-theatrical show-
ings, and personal ventures. Tt is indicative that many
more will be needed. Consider the scope: in the
United States alone industry owns and operates more
than 150,000 16-mm sound motion picture projectors —
representing an investment of 156 million dollars. And
that, according to John Flory, Eastman Kodak advisor
on non-theatrical films, is a conservative estimate.
Taking into account the enormous expenditures in
the main routes of the audio-visual area, Flory points
out that: "nobody on earth knows exactly how many
films a year are being turned out for the theatres, for
television programs, as kinescope recordings, for prop-
aganda, for information, for education, for documen-
tation, for instrumentation, for medicine, and for a
host of other scientific, industrial, and cultural pur-
poses. There are comparatively few accurate statistics
about many of the new and more dynamic aspects
of the use of film." It is with this in mind that IP
turns, for the moment, from the world of professional
theatre 35-mm for a look-see at what unostentatiously
has become a major industry. The 16-mm field is not
strange country to the theatre projectionist: he knows
what the present situation is. Perhaps, from time to
time, we can show him what the future will be.
16-mm Operations to Get Added Boost
THE RECENT convention of the Na-
tional Audio-Visual Association in
Chicago put an emphasis on providing
a national and local-level public rela-
tions program designed to "aid the
"audio-visual communications industry
to achieve its real potential in American
life." Various PR experts in the indus-
try outlined efficient public relations
techniques to dealers and suppliers, em-
phasizing the need for a strong "grass
roots" campaign to acquaint the public
with the importance and scope of audio-
visual methods of training.
The Association adopted a "Resolu-
tion on Public Policy," citing these
points: there is a crisis in education,
overcrowded schools, a teacher shortage,
expanding curriculum; educational re-
search and experience has proven that
audio-visual use has resulted in greater,
deeper, and faster learning "saving at
least one hour per day learning time";
endorsement for AV has come from
leaders in the fields of education, re-
ligious, government, industry, labor, and
community affairs. The resolution
stressed greater use be made of AV
techniques in church, school, and indus-
try, informing and training personnel
in these fields through advertising, lead-
ership, and use of equipment and ma-
terials.
In line with this policy two confer-
ences were held at the convention by the
U.S. Office of Education under the di-
rection of Dr. Seerly Reid, Visual Edu-
cation Service chief.
State AV Survey
A report on the first state-level survey
since 1922 by the Office of Education
revealed that 46 states reported 1956-57
expenditures by their departments of
$1,100,000, and 96 per cent provide
audio-visual services to local schools
through general and special supervisors,
also making fiscal grants to local school
districts which may be used for the pur-
chase and use of audio-visual materials.
There are now plans for a large-city-
level survey underway, to be con-
ducted in school systems in cities of
200,000 or more population. Problems to
be studied will include design of class-
rooms for the use of instructional ma-
terials, including light and acoustical
control; equipment formulas in relation
to pupil enrollments; and the use of AV
materials in both large group instruction
and individual and small group instruc-
tion.
Closed-circuit TV, which has been
quite an object of study for professional
entertainment circles, was also given
close consideration by the various AV
dealers at the convention. Educational
circles have long been evaluating the
systems as a teaching means, but so far
there are a good number of questions to
be answered before closed-circuit will be
given the educators' complete approval.
One salient fact that the recent NAVA
convention revealed was that equipment
other than film and projectors is now
being provided in greater numbers than
ever before. For example, there was a
definite increase in the manufacturers
of screens, two firms coming forth with
flat instead of beaded surfaces. The con-
vention featured the world's largest ex-
hibition of projection, sound, and associ-
ated audio-visual equipment.
The convene also marked the instal-
lation of the new NAVA president, Wil-
liam Birchfield of Montgomery, Ala-
bama. He succeeds Ainslie Davis of Den-
ver, Colorado, who becomes chairman
of the board of directors.
SMPTE Participates
The Society of Motion Picture and
Television Engineers took part in the
convention, the first time in recent years.
They featured a special display, high-
lighting the special services of the So-
ciety that would be of interest to audio-
visual specialists: the four classes of
membership offered; development of
standards for film and equipment; test
films planned by technical committees
of the Society for measuring equipment
16
INTERNATIONAL PROJECTIONIST
SEPTEMBER 1957
performance; the dissemination of tech-
nical knowledge by publication of a
monthly journal and reprints of journal
papers of highly specialized interest and
importance; and the two national con-
ventions held each year bringing mem-
bers up to date on new processes and
equipment. There are many audio-visual
specialists in the SMPTE ranks.
A feature of the exhibit was a demon-
stration of the designing, planning, and
usefulness of 16-mm test films in motion
picture and TV fields. This included in-
formation on the 16-mm Sound Service
Test Film, a special type of print for
both picture and sound developed for
users of projectors, films, TV stations,
and projector service shops. Available
also were facts about the short, inex-
pensive 16-mm test film, "Jiffy," devel-
oped in cooperation with the U.S. Navy,
as a rapid checker and demonstrator of
projector system of performance. Data
was supplied on the 16-mm Registration
Test Film, developed to provide in a
single test film of high accuracy several
quantitative visual tests that have always
been difficult to perform.
Kodak's New Projector
EASTMAN KODAK has announced
an improved model of their top 16-mm
projector that is said to offer 20 per
cent more illumination, and which may
be adapted for magnetic as well as
optical sound. The new Model 25B is
warranted to provide so much greater
shutter-light transmission than the pre-
vious model that it now makes pro-
fessional theatre-quality brightness pos-
sible on screens 25 to 35 feet wide.
The newly-developed Eastman Op-
tical-Magnetic Pre-amplifier, which will
The new Eastman Kodak 16-mm projector,
Model 25B, operated for a special Cinema-
Scope program at the recent NAVA conven-
tion in Chicago. This heavy-duty 16-mm East-
man projector gives a light increase of 20 per
cent and may be adapted for magnetic as
well as optical sound reproduction.
accommodate the signal output of a mag-
netic soundhead as well as the standard
optical systems, is included as standard
equipment. Field installation of another
new device, the Eastman Magnetic
Sound Playback Kit provides for repro-
duction of magnetic sound. It is in-
stalled in an adjustable mount on the
projector, converting the Model 25B for
interchangeable or simultaneously mixed
handling of either magnetic or optical
tracks.
The Altec-Lansing main amplifier pow-
er output has been increased from 15 to
30 watts, stated to yield a substantial
reduction in harmonic distortion.
Illumination may be supplied by either
tungsten or arc lamp. Minimum illu-
mination for the tungsten version ]s
550 lumens; the arc model has a mini-
mum illumination of 3000 lumens for
color film (without heat glass), and
2400 lumens for black-and-white (with
heat glass).
Previous features of Eastman 16-mm
projectors are retained, such as: Kodak
Projection Ektar Lens, 46 ampere Strong
arc lamp, microphone or photograph
input, and Altec-Lansing "Voice of the
Theatre" Speaker.
Field conversion of the previous Model
25 projector may also be made by ob-
taining the Eastman Optical Magnetic
Pre-amplifier and Magnetic Sound Play-
back Kit. Prices and additional informa-
tion may be obtained from audio-visual
dealers.
New Westinghouse Lamps
ONE OF the features at the recent
NAVA convention in Chicago was the
Westinghouse exhibit of their new prod-
ucts, with the emphasis on projection
lamps.
Featured was the xenon short arc pro-
jection lamp which promises to be com-
parable to the carbon arc for 16-mm
projectors. The company warrants that
the daylight quality of the lamp is most
adaptable to color photography.
Exhibited also was the new "Focus-
Lok" projection lamp which has as its
main feature the precise locked-in pre-
focused alignment constructed on a new
base with a unique socket construction.
Readers of IP may find a more detailed
description on page 21 of our April is-
sue this year.
A Westinghouse innovation is their
recently developed 1200-watt projection
lamp which is interchangeable in most
projectors with present 1000-watt lamps.
The T-12 design is claimed to produce
anywhere from 25 to 30 per cent more
screen lumens, due to improved optical
fill and increased efficiency.
A full line of the popular Blue Top
projection lamps with the floating bridge
filament construction was also on dis-
play.
New Bell & Howell Filmosound 302 magnetic-
recording 16-mm sound projector has 15-watt
amplifier, dual recording-level indicator lamps,
and separate tone controls for treble and bass.
Projector is typical of large strides being made
in today's 16-mm manufacture.
4-in-l Projector
PROJECTION OPTICS CO. of Roches-
ter has developed a jack-of-all-trades
projector in their new "Transpaque II,"
which uses a single projection head and
lens for opaque, transparency, table,
and rear projection.
This unit is capable of projecting 10
by 11-inch transparencies, or 11 by 11-
inch opaques, can be moved and set
directly on large objects, maps, drawing
boards, display cases, and any 11 by 11-
inch portion therefrom can be projected.
There is a complete selection of lenses
in focal lengths from 4 to 40 inches,
which is claimed to afford the right
size image for any screen at any com-
parable distance.
The projector may be purchased for
opaque, transparency, table, or for rear
projection only. Components for any
of the other applications may be added
as needed.
16-mm Magnetic Film
A new method for producing 16-mm
educational sound films in remote parts
of the world, where facilities for develop-
ing optical soundtracks do not exist, has
been revealed by UNESCO. It consists
of covering the photographic soundtrack
area with a stripe of magnetic material,
and recording magnetically. This gives
better quality, it is said; unsatisfactory
recordings can be erased and new ones
made; a commentary in one language
can be replaced by one in a different
language, and lipsynchronization can be
improved. Inexpensive educational sound
films can thus be produced on the spot
where they are most urgently needed.
INTERNATIONAL PROJECTIONIST • SEPTEMBER 1957
17
A complaint about print importations and a description of
a projectionist-apprentice school are our overseas topics.
From the British Viewpoint
By R. HOWARD CRICKS
WHEN BRITISH films are shown
in your country, there is often
some criticism on the score of print
quality. We over here have always had
the same complaint with a certain
proportion of American films, and
during recent months the Leeds
branch of the Cinematograph Ex-
hibitors" Association has become vocal
on the subject. From Louis Mannix,
a prominent member, I recently re-
ceived a letter on the subject, which I
passed on to the president of the
British Kinematograph Society, who
promises some action.
I discussed the matter with the man-
ager of a leading laboratory which
prints a number of American films.
First, he explained, he never receives
a dupe negative, but a positive; the
reason is that the rate of customs
duty on a negative is five times that
on a positive — any positive — a totally
illogical position, due no doubt to the
fact that the customs cannot differen-
tiate between a release print and a
master.
This would not be so bad if the copy
were made direct from the original
negative; but in my friend's opinion,
more often this print is made from
the dupe negative, so that it is a third-
generation print, and the copy which
the English exhibitor receives is a
fifth-generation print. In addition,
there is rarely any information pro-
vided on such matters as special treat-
ment needed for individual scenes, or
a gamma strip which would be a
guide to the processing of the dupe
negative.
Who's to Blame?
It seems to me that the complaint
rests squarely upon the shoulders of
certain American producers, who if
they knew the rude remarks made
about their product, would surely take
steps in the matter, such as providing
our laboratories with a first-genera-
tion master. In the 16-mm field of
course, the problem is often solved
by the use of .he reversal process,
which, besides cutting out one print-
ing operation for each positive stage,
gives a cleaner print. Possibly reversal
processing might be useful in the
35-mm field.
I wonder if some similar difficulty
is the cause of complaints in your
country on the quality of British
films?
A CINEMA IN PACKING-CASES
A few months ago I mentioned the
name of Tom Harkness, manufacturer
of the Perlux screen, which in the
States is marketed as the "Uniglow."
At his Elstree factory I recently saw
a complete cinema structure loaded on
to a truck for shipment abroad.
This, his latest achievement, was a
750-seater which can be shipped for
erection in a few days. The skeleton
of the building is of welded steel tube ;
CRAFTSMEN ABROAD
Dr. Leslie Knopp, one of the group
who formed the present program in Eng-
land to recruit and train projectionist
apprentices, is a former president of the
British Kinematograph Society. With a
Dr. Leslie
Knopp
background of naval engineering and
many degrees, he is at present technical
consultant to the Cinematograph Exhib-
itors' Association, providing technical
advice on any subject to exhibitors.
Serving many government depart-
ments, Dr. Knopp was instrumental in
drafting the present theatre safety regu-
lations in England.
only 1^2 inches in diameter, it is suf-
ficiently sturdy for the erectors to
clamber about it to fix the covering.
The height to the ridge is 22 feet, and
to the eaves 13% ieet.
The covering consists of opaque
plastic, .02 inches in thickness; it over-
laps at the eaves in order to provide
ventilation without admitting daylight.
The bottom edge is strained by power-
ful springs, keeping the material taut
over the ribs, and allowing for shrink-
age and expansion. The building can,
if desired, be fitted with a sunshine
roof: by means of winches, sections
of the roof can be drawn back.
At one end of the covering is a
transparent panel, through which the
projectors shoot, the projection room
being built outside the main structure.
An entrance vestibule is built on to
the cover. A number of such theatres
have been supplied to the Army Kine-
matograph Corporation, to which an
important feature is that when a unit
moves, the cinema can move with it.
The largest to date, measuring 120 ft.
x 40 ft., has recently been installed in
Gibraltar.
TRAINING PROJECTIONISTS
Throughout the history of the
cinema, the projectionist has had to
pick up the rudiments of his job sim-
ply by doing it. Rarely has any pro-
vision been made for training him,
even though today he may be in tech-
nical charge of equipment worth many
thousands of dollars, and responsible
for the entertainment of vast audi-
ences.
Nearly fifty years ago, our trade
union, today known as the National
Association of Theatrical and Kine.
Employees, actually inaugurated train-
ing classes, and I have seen the
diploma that was awarded. At various
times other schemes have been pro-
posed; our two major circuits run
efficient training schemes. During the
war I was in charge of the training
of projectionists for the Army; in six
weeks of intensive training we were
supposed to equip a man to undertake
the duties of a second projectionist in
either 35-mm or 16-mm.
However, apprenticeship has always
been the foundation of British crafts-
manship. Since the war, the Cinema-
tograph Exhibitors' Association and
the NATKE have jointly initiated a
national apprenticeship scheme, which
(Continued on page 31)
18
INTERNATIONAL PROJECTIONIST
SEPTEMBER 1957
Television and Motion Pictures
By ALLAN LYTEL
Continuing this series, the author discusses certain
problems that are still plaguing the TV industry in
the matter of translating motion pictures to a tube.
PART II
THE PROBLEM of projection tele-
vision has been approached from
many angles. Two successful pro-
jection tubes have held out considera-
ble promise. One is a bent-neck tube.
An electron gun is mounted in its
neck, so arranged that this gun will
sweep a cell which acts as the tube
screen. The cell contains many very
fine flakes of graphite suspended in a
liquid medium and is made of trans-
parent material to allow passage of
light. With no potential applied to
this cell, the individual graphite flakes
will have a random motion which ob-
scures all of the light, hence there is no
picture projected upon the screen by
the lens. When a potential is applied
across this cell the graphite flakes will
line up so they are at right angles to
its face.
Graphite Flakes Motion
Since the individual particles are
thin flakes, light will pass whenever
they are at right angles to the face of
the cell. Where a slight difference
in potential exists between the two
faces of the cell at any one point, some
of the graphite flakes will be at right
angles to the face of the cell but others
will be in random motion. Thus this
point of slight potential will corres-
pond to gray on the viewing screen.
When the individual flakes of graphite
have no applied potential, they move
about in the liquid and no light can
pass through the cell.
The electron beam is so arranged
that it sweeps across the tube screen,
which is one of the faces of the graph-
ite cell. This cell itself must be made
of a material which is not only trans-
parent but also insulating. A trans-
parent cell is needed in order that light
may pass through ; the insulating prop-
erty is important in order that the
various points of the cell at different
potentials may not affect one another
by leakage.
In fundamental optical principle,
though certainly not electrically, this
tube resembles the Skiatron in that the
electron beam controls the passage of
light. Where the Skiatron gave a dark
trace image, this tube gives a light
trace image. That is, this tube will
allow light to pass wherever the elec-
tron beam causes a difference in poten-
tial between the cell faces.
Relay Projection
The same general principle of on
outside light source projected through
a television tube has been used in yet
another type of development. A bent
neck cathode ray tube has a crystal
plate mountedinside the tube. This
plate has a transparent conducting
coating on its rear face and a fine mesh
metal screen mounted in front. Light
is passed through this tube screen from
an outside source, after which it is
collected by a projector lens and
thrown upon a viewing screen. The
-Condensed by permission from Chapter 6 of Mr.
Lytel's book: "TV Picture Projection and Enlarge-
ment," John F. Rider Publisher, Inc.
Oscar F. Neu Dies
Oscar F. Neu, owner and president
of Neumade Products Corp., manufac-
turers of equipment for motion pictures,
radio and TV, died at his home in Crest-
wood, N. Y. on August 26. He was 71.
Neu had always been active in motion
picture industry affairs. He was co-
founder of Theatre Equipment and Sup-
ply Manufacturers Association, and
served as its president from 1946 to 1951.
In 1955 he was elected President Emer-
itus, the only member of that organiza-
tion to be so honored.
In a long and varied career in the
theatre, motion picture, and TV indus-
tries, Neu was at times a merchandiser,
a vaudeville performer, a screen actor
and director, a broker of motion-picture
by-products, and finally a manufacturer
and distributor.
He was a member of the Motion Pic-
ture Pioneers and Variety Clubs Inter-
national, a fellow and governor of
SMPTE, and a 32nd degree Mason.
crystal is a material like zincblende,
an insulator that can develop points
of varying potential on its surface due
to secondary emmission. This second-
ary emission is caused by the electrons
coming from the gun mounted in the
neck of the tube.
As electrons from the gun arrive at
the crystal, they cause secondary emis-
sion because of their high speed. The
secondary electrons pass to the fine
mesh screen, leaving the crystal with
points having differences in potential.
The number of electrons knocked from
the crystal screen depends upon the
video information which varies the
intensity of the electron base. Thus
the crystal plate has a fluctuating dif-
ference in potential between its front
face an drear coating, and there are
many individual spots on the screen
that have different potentials with re-
spect to the rear coating. This con-
dition may be compared to that on the
Iconoscope mosaic, which produces a
similar effect although through an
entirely different mechanism. This
crystal screen produces no visible pic-
ture image whatsoever.
Polarizing Action
When two polarizing plates, A and
B, are so mounted that their axes are
at right angles no light passes through
such a system. Light may go from
the original source through screen A
and through the crystal plate, but this
light is stopped by polaroid screen B.
However, a potential difference be-
tween the front and back surfaces of
the crystal screen has a remarkable
effect on the light. If light traveling
from screen A to screen B passes
through a charged area of the crystal
screen its polarization will be so ro-
tated that some light can pass through
polaroid screen B. Thus when this
screen has no potential difference ap-
plied at all — that is, when there is no
video information supplied and no
electron beam is present — no light will
be passed through to the projection
(Continued on page 30)
INTERNATIONAL PROJECTIONIST
SEPTEMBER 1957
19
RESOURCEFULNESS
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.
§n, JhsL
SPOTLIGHT
Ed McCormack, IA Local 582, Brantford, Ont
-and it is upon this jovial note that we bid
farewell to El-Salvador."
THE TELEMETER story in this issue
(see page 12) raises, once again, that
old question: What About Us? Discern-
ing readers will note in that account —
conspicuous by its absence — no detailed
information concerning the role of the
projectionist in this latest lifebuoy for a
harassed industry. The reason is that,
frankly, we do not have any information
as yet. That one or more projectionists
will be used in the new systems, we have
no doubt. An IA man was on hand at
the recent New York demonstration.
But what effect tollvision will have
on the projectionist craft eventually —
drought or the horn of plenty — has given
us pause for thought. We would suggest
that those members in the craft who are
in the immediate neighborhood of pay-as-
you-see give it some thought also.
• The New York State Association of
Motion Picture Projectionists will hold
its 1957 Fall meeting on Monday, Octo-
ber 21, at Ed Martin's Restaurant in
Liverpool, N. Y. (Liverpool is four miles
north of Syracuse.) The meeting is
scheduled to open at 2 o'clock in the
afternoon and Bill Ingram, chairman of
the Educational Committee, promises a
program of timely interest. Syracuse
Local 376 will be host at a buffet lunch-
eon at 6 p. m., which will be followed by
a gala midnight banquet, plus entertain-
ment and dancing.
• Strong Electric Corp. recently con-
tributed a pair of Strong low-intensity
arclamps to the Dallas (Texas) Scottish
Rite Hospital for Crippled Children. The
company also sent one of its factory rep-
resentatives to supervise the installation.
• District No. 2 Council convened in
San Diego, Calif., August 20, holding one
of its four annual meetings. The Council
comprises 24 IA Locals in Southern Cali-
fornia, Arizona, and Nevada.
Social Security Benefits
Recent changes in the Social Security
Law give more benefits to a greater
number of people. The Law now pro-
vides :
1. Monthly old-age pensions for men
over 65 years of age, and for women
over 62 years of age, and for their de-
pendents.
2. Monthly disability insurance after
50 years of age.
3. Benefits to survivors of deceased
workers.
No old-age, disability, or other type
of benefit is paid by the government
unless application is made at the nearest
Social Security office. The address can
be found either in the telephone di-
rectory under "U. S. Government, De-
partment of Health, Education, and
Welfare" or at your local Post Office.
Important: apply promptly or you
may lose benefits.
• William Marvin Sweeney, member of
the 25-30 Club of New York, was recently
the recipient of a service pin marking
40 years membership in the BPO Elks
Lodge. Sweeney, who now makes his
home in Austin, Texas, has a withdrawal
card from New York Locals 1 and 306.
He holds a life membership in Keystone
Lodge 235, F&AM of New York after 35
years, and is also a member of the T. Neal
Porter Masonic Lodge in Austin, serving
as its chaplain.
• Toronto Projectionists' Recreation Club
of Local 173 closed its 1957 bowling sea-
son with a dinner-dance attended by 80
members and their wives. Among the
highlight of the evening's festivities was
the presentation of awards to the season's
prize winning team.
• A difference of opinion between the
management of the Strand Theatre in
Middletown, Ohio, and the officials of
Local 282 as to what constitutes a road
showing of a film was the reason for the
recent cancellation of the scheduled pre-
sentation of "The Ten Commandments."
F. L. Francis, business representative for
Local 282, contended that since the ad-
mission price for this showing was in-
TORONTO LOCAL 173 TROPHY-WINNING BOWLING TEAM
Members of the Toronto Projectionists' Recreation Club of Local 173 prize-winning bowling team
for the 1957 season are shown here with their awards. Left to right: Harry Jamain; Lou Lodge;
Andrew Pura, captain of the team, holding the Local 173 Trophy; Charlie Hallett, and Bert
Measures. The other member of the team, Charlie White, was absent when this photo was taken.
20
INTERNATIONAL PROJECTIONIST
SEPTEMBER 1957
News and Views from District No. 2
By HANK BOLDIZSAR
Member, I A Local 150, Los Angeles, Calif.
SOUTHERN California has long been
regarded a mecca for those contem-
plating retirement from gainful employ-
ment and this part of the country has,
therefore, gained immeasurably by rol-
ling out the welcome mat to all who
seek to spend their retirement in the
quiet and restful atmosphere of our
rural areas and the wonders and beauties
of our scenery and climate. (California
Chamber of Commerce please note.)
This month I shall devote these columns
to two "retirees/' former New York City
Local 306 projectionists, who pulled up
roots and moved their homes and fam-
ilies to our part of the country.
In a recent letter from Brother Morris
Klapholz. secretary of the 25-30 Club
Bert
Salisch
of New York, with whom I have long
enjoyed a bvely correspondence, I
learned of two Club members with with-
drawal cards from Local 306 who have
settled in California — Bert Salisch and
Dave Narcey. He wrote in such glowing
terms about these two gentlemen that I
made it a point to make their acquaint-
ance, and without too much ado I made
my first call on Bert Salisch.
I was quite surprised upon meeting
Bert to find a brisk, alert business man
very much on the beam, so to speak.
Although he retired from the projection-
ist craft a number of years ago, he is as
busy as the proverbial beaver as head
of a thriving photostat business he es-
tablished in Los Angeles. (There is a
possibility that he may call it quits at
the end of this year and retire from all
business activities.)
Bert and his charming wife, Marion,
have made Burbank. Calif, their home
since 1946. Soon after their arrival there
they became actively interested in com-
munity affairs and helped organize the
Burbank Democratic Club, of which Bert
served as president and Marion as a
State committeewoman. In 1952 Bert
was appointed commissioner of Animal
Regulations for his adopted city of Bur-
bank.
Such a record of business and com-
munity service can hardly be considered
retirement for a man who began his pro-
jection career soon after the turn of the
century. Bert was one of the organizers
of the New York City Spotlight Oper-
ators' Union, Auxiliary No. 35, which
was formed in 1908. The following year,
1909. the projectionist members of Aux-
iliary No. 35 affiliated themselves with
the newly chartered Motion Picture Pro-
jectionists Local No. 306, IATSE.
The next scene of operations was
Westchester County, N. Y., where Bert
played a leading role in organizing a
mixed Local, which consisted of pro-
jectionists and stagehands. He served
as president and business representative
for this group. The two crafts later
separated and the projectionists were
chartered as Local 650. Westchester
County, N. Y.
Although a number of years have
passed since Bert took a withdrawal card
from Local 306 so that he could devote
all of his time to his fast growing photo-
creased to $1.50 the Local was justified
in'demanding that an extra projectionist
be hired. Management declared that
boosting the admission price to $1.50 did
not make this film a roadshow since seats
were not reserved.
• Gordon H. Dyer, president of San An-
tonio Local 407, recently announced a
new three-year pact with the Town Twin
Drive-In Theatre, the first contract to be
signed between the Local and drive-in
theatres in its jurisdiction.
• Congratulations to Mr. and Mrs.
Charles H. Travis, Schenectady Local
314, who recently celebrated their 60th
wedding anniversary.
• D. R. Barneclo was unanimously re-
elected secretary-treasurer of District No.
8, which comprises the states of Michi-
gan. Ohio. Indiana, and Kentucky. He is
also chairman and secretary of the Indi-
ana State Association of Theatrical Stage
Employes and Projectionists.
• As their contribution to the Will
Rogers Memorial hospital fund drive,
New York Local 306 members waived all
overtime pay for working shows running
after midnight due to audience collec-
tions. This is in addition to the copper
drippings drive inaugurated by Local
306 and many other Locals throughout
the Alliance for the benefit of this fund.
stat business on the West Coast, he ha-
remained close to the craft through his
affiliation with the 25-30 Club and his
continued interest in the IATSE. His
three brothers — Lou, Moe, and Al — and
two nephews — Joe Salisch and Jack Voll-
berg — are members of the Alliance. You
might call the Salisch clan an IA family.
A visit with Dave Narcey was next
on the agenda. The meeting was ar-
David
Narcey
ranged and one fine afternoon I drove
out to the beautiful city of Inglewood,
where Dave and Mrs. Narcey make their
home. Dave held me spellbound as he
related the many exciting events that
took place during the early days of mo-
tion pictures, and of his many and varied
experiences as a projectionist. I had a
grand time browsing through the photos
and bulletins in his scrapbook of mem-
ories, and I can easily understand why
Brothers Klapholz and Salisch regard
him so highly.
For about 13 years prior to his retire-
ment in 1953, Dave Narcey was projec-
tionist in the private preview room at
Radio City Music Hall in New York
City. One of Dave's proudest possessions
is the beautiful gold wristwatch which
his co-workers at the Music Hall pre-
sented to him upon his retirement.
Dave's projection career began back
in 1907. and as an old-timer in the busi-
ness he is familiar with all the processes
and gimmicks, from Grandeur film and
magnascope screens to today's "eenie-
meenie-minee-moe" aperture selection
routines. His versatility at the craft soon
brought him to the attention of projec-
tion equipment manufacturers, and in
1915 he became field representative and
trouble shooter for the Precision Ma-
chine Co. of New York City, manufac-
turers of Simplex projectors. He was
later promoted to the post of supervisor
of sales and service.
In 1920 he became associated with the
New York City branch of National The-
atre Supply, working in the sales and
engineering department until 1925 when
he left that organization to take the
position of sales manager for the Cap-
itol Motion Picture Supply Co. Two
years later he became affiHated with
RCA Photophone Co. as projectionist,
(Continued on page 29)
INTERNATIONAL PROJECTIONIST
SEPTEMBER 1957
21
New Liner's Seagoing Theatre Equipped
For VistaVision, C'Scope, Stereo
PROJECTION EQUIPMENT con-
structed to meet the requirements of
modern motion picture developments —
including stereoscopic projection, high
aspect ratio, VistaVision, and Cinema-
Scope — has been installed in the theatre
aboard the "Empress of England," Ca-
nadian Pacific's newest luxury liner. The
"Empress" made her maiden voyage this
April from Liverpool to Montreal.
Basic projection equipment consists of
two 35-mm Gaumont-Kalee "20" projec-
tors fitted with 5000-foot-reel magazines,
and mechanical interlink for stereoscopic
projection.
A composite starter and changeover
box is provided to allow the projectors
to either be coupled for stereoscopic pro-
jection, or to be used independently for
normal projection. As optical sound only
is required, the soundheads are of the
Gaumont-Kalee type 83 with the enlarged
projected image of the soundtrack. A
Gaumont-Kalee "18" amplifier feeds a
small theatre-type dual channel assembly
with the necessary crossovers and filters.
Light is provided by "Universal" 12
mirror lamps with a high intensity trim
adopted at 30 amps, supplied from indi-
vidual Gaumont-Kalee type 609 rectifiers
for each projector.
16-mm Also Installed
Also installed is a single G. B.-Bell &
Howell model 609 16-mm projector which
takes an arc of standard type burning
at the same trim as the 35-mm lamps.
The 16-mm equipment is fitted with its
own individual rectifier. Since the color
grading in 16-mm release prints is ad-
justed for Tungsten lighting (2750 K)
color correction of the arc, lighting is
accomplished by using Wratten type 85
filters. Arrangements are made to feed
the sound output of the 16-mm equipment
to the theatre loudspeaker backstage.
The 16-mm system is used for the show-
ing of educational, industrial, and other
similar films.
In addition to the main projection
equipment, there are the necessary aux-
iliaries: regulation projection parts, film
storage cabinets, rewinding and splicing
gear, storage racks for tools, spare acces-
sories, and carbons.
The electric supply available on board
the "Empress of England" is three-phase,
230 volts, 50 cycles — star connected with-
out any neutral, so that neither side of
any phase is grounded. To ensure that
a reasonably balanced phase loading is
obtained, one projector is placed on each
phase.
The Auditorium
In the theatre proper — in addition to
special screen frames with automatic var-
iable screen masking — a motorized cur-
tain control, and a system of stage and
interior of the seagoing projection room. At
the left are the two Gaumont-Kalee 35-mm
projectors with "Universal" 12-mirror lamps.
Nearest the camera is the 16-mm installation.
pletely fireproof. A special automatic
switch will bring into operation a curtain
to protect the audience in case of a pro-
jection room fire.
At the moment. CinemaScope is not be-
A view of the new liner's
theatre facing the projec-
tion room and (cinemati-
cally speaking) portholes.
screen decorative lighting in color (all
controlled from the projection room) was
installed, together with the main house
dimmers.
The auditorium seats 180, and meas-
ures approximately 60 by 20 feet. Lit by
cold cathode bghting, it compares favor-
ably with any modern onshore theatre.
Installations by the maritime division
of Rank Precision Industries of London
also provide for an air-conditioned pro-
jection room that is all steel and com-
The "Empress of England"
shipboard theatre vari-
dimensional screen. Motor-
driven, it can be mechani-
cally opened for wide-
screen presentations.
ing shown, but all the basic mechanism
is ready as soon as the necessary optical
equipment is installed.
Projection facibties on commercial
transportation has long been noted by
IP, and despite the fact that it is an
ad-worn phrase. "Half the fun is getting
there" would still appear to be accurate.
The passengers of the "Empress of Eng-
land" are treated to first-run product in
a first-rate theatre.
Todd-AO In Cincinnati
Lou Wiethe, owner of the new Valley
Theatre in Cincinnati, has installed
Todd-AO projection and sound equip-
ment for the opening of "Around the
World in 80 Days." The Valley is an
up-to-the-minute 1,500-seat house with
parking for 1,000 cars, located in a
large modern shopping center. Width
of the new picture is 47 feet on the
chord, 50 feet on the curve. Doug Netter,
vice-president of Todd-AO, initialed the
agreement with Mr. Wiethe, and Todd-
AO chief engineer Fred Pfeiff super-
vised the installation.
22
INTERNATIONAL PROJECTIONIST • SEPTEMBER 1957
EARNINGS
(This department is devoted to non-tech-
nical items that have a direct bearing on
the welfare of the industry.)
20th-Fox's consolidated earnings in the
26 weeks ended June 29 totaled $4,069,-
865 — $1.54 per share — nearly double the
$2,156,670 for the comparable period
last year; income this year was $64,276.-
712 compared to $56,779,826 last year.
. . . Warner Bros.' nine-month net is
$3,174,000, representing a 46 per cent
increase over last year's $2,165,000 for
a nine months' period; income was $57.-
981.000 as compared to $54,225,000 in
1956. . . . Eastman Kodak Co. has a net
record earnings after taxes of $40,221,346
—$2.08 a share— for the 1957 initial 24
weeks, comparing with $38,753,316 for
24 weeks ending June 10. 1956; consoli-
dated sales amounted to $347,977,709, a
7 per cent increase over 1956's $325.-
110.431. . . . Stanley Warner Corp. an-
nounces a net profit of $2,699,600. a 33
per cent increase over the $2,029,200
take last year for a comparable 39-week
period; income was $83,808,700 against
$70,780,400 in 1956. . . . AB-PT's net
profit for the first half of this year is
$2.700.000 — 61 cents per common share
— a drop from last year's six-month net
of $4,202,000—97 cents per share. . . .
Consolidated net earnings after taxes of
Technicolor. Inc. for the first six months
of 1957 amount to $710,000—35 cents a
share — comparing with $980.692 — 49
cents a share — for the corresponding pe-
riod of 1956. . . . RCA net earnings
amount to $20,311,000 for this year's first
half, as compared with $20,037,000 for
the same period last year; first-half sales
of $564,990,000 exceed by 7 per cent the
mark set in the first half of 1956.
Show Biz Improves In
Greece and Japan
According to Nathan D. Golden, direc-
tor of the Motion Picture and Photo-
graphic Products Division of the U. S.
Department of Commerce, movie busi-
ness improved last year in Greece and
Japan. In Japan, admissions increased
to 994.000.000 as against only 885,000.000
the year before. Admissions in Greece
totalled 54,500.000 as against 47,400,000
the previous year.
Experimental at Brussels
The Brussels International Exhibition
next year will feature an international
experimental film competition open to
all types of production: 16- and 35-mm,
silent or sound, color or B-and-W. Grand
prize will be 500.000 Belgian francs
($10,000).
for the PRIME LENS
#►
n*
^
0V
8 out of 1 0 Exhibitors today choose
a Kollmorgen Super Snaplite for
their prime lens. Perhaps this
is because for more than
thirty years Snaplites have
been the standard by
which all other lenses
have been judged.
For speed, for contrast, for
definition and for terrific brilliance on
the screen, your 1 st Choice is a Super Snaplite.
Write for Bulletin 222.
r\
ihmja\%oim;kn
' NORTHAMPTON, MASSACHUSETTS
INTERNATIONAL PROJECTIONIST • SEPTEMBER 1957
23
New Look for "80 Days" Equipment
THAT MIKE TODD is definitely go-
ing to concentrate on the 35-mm
rather than the Todd-AO 70-mm version
of "Around the World in Eighty Days"
was forcibly demonstrated in Asbury
Park, New Jersey last month, at the
Walter Reade Paramount Theatre. At
this writing, the Todd-AO firm and Mi-
chael Todd Productions have been some-
what at odds, Todd-AO feeling that Todd
the man should not go around decry-
ing Todd the process, now that Todd
the man has embraced 35-mm and feels
that Todd-AO projectors and 70-mm
prints are no longer necessary.
Mike Todd personally attended the
demonstration in Asbury Park, to which
over 100 exhibitors were invited, along
with other industryites. His purpose was
to stress the ability of the 35-mm ver-
sion to present a good picture, its eco-
nomical advantages, and the fact that
35-mm could reach many more "typical"
theatres much more quickly than 70-mm.
The Paramount Theatre is considered
typical of the architecture that was be-
ing produced in the 20's and 30's.
Head-On Projection
An improvement that Todd would like
to get wherever possible is head-on pro-
jection. Such an installation was made
in Asbury Park, where a special "plat-
form" was erected. The Walker Hi-Gain
white screen is 20 by 40 feet, has only
a 3-foot curve, and a brightness gain of
1.5 with only a 15 per cent fall-off.
Installation was hurried, being done
in less than a week — horns were flown
in from Los Angeles, and the screen
from St. Louis. Supervising were Allen
Smith and William Nafash of National
Theatre Supply, New York; Walter
Compton of Altec, and Rocco Dillione,
chief projection engineer for Walter
Reade Theatres.
Equipment-wise, the set-up in New
Jersey is more simplified than the re-
quirements at the Esquire Theatre in
St. Louis, the initial installation for the
35-mm version. Basically, the New Jer-
sey house has put in thj Walker screen,
2 National Excelite 135 lamps with 18-
inch cold reflectors (11-mm carbons)
operating at 110-120 amperes, Simplex
X-L projectors with water-cooled gates,
3 Strong selenium rectifiers, a complete
4-channel Simplex X-L 546-322 mag-
netic sound system, 8 Simplex auditor-
ium surround speakers, 20 Altec Lan-
sing auditorium speakers, plus the usu-
al accessories, including the heavy duty
Simplex bases with X-L soundhead arms
for level throw.
Considering that each theatre presents
its own installation problems, this equip-
ment is not necessarily typical. Those
theatres that are already equipped with
large screens, an efficient magnetic
sound system, and what the Todd firm
would consider reasonably level projec-
tion can measurably reduce installation
expense.
Relaxed Requirements
Relaxation of previous Todd require-
ments concerning 35-mm showings in-
dicates that the Perspecta integrator
for the sound system and the special
Panavision-developed anamorphic unit
need not be used, provided a comparable
set-up may be acquired. However, Todd
is insistent on his reserved-seat road-
show policy. A comprehensive manual
concerning this policy is now being pre-
pared by the Todd staff, to be given ex-
hibitors. Also, those theatres that have
inadequate or bad seating will have to
alter that situation. Popcorn is still per-
sona non grata. In short, theatres show-
ing "80 Days" will operate in much the
same way as the legitimate stage houses
do. It is not expected that "80 Days"
will ever go into general release.
At the moment, Todd is involved with
the production of his next feature, "Don
Quixote," which is being shot in 65-mm,
but which will be printed down for dis-
tribution. Whether or not there will be
large release prints is still in question.
Exhibitors attending the presentation
were impressed by both the picture and
Todd's sales talk. Included was a dem-
onstration of distortion caused by high
projection angles — the former projec-
tion booth in the Walter Reade Para-
mount Theatre had an angle of about 23
degrees. The throw is around 80 feet.
There are still many exhibitors who
prefer the 70-mm version, despite the
additional cost. In a public statement,
Douglas Netter, vice-president of Todd-
AO, agreed that the 35-mm print-down
of "80 Days" was "probably better than
any other 35-mm film around," but
added: "it's foolish to pretend that it
can compare with the results from a big
area negative projected direct to the
wide screen." To date, the 70-mm equip-
ment is in 49 houses in this country, and
in 6 overseas. Complete equipment costs
$13,500.
AAagOptical Manual Now Available
AN INSTRUCTIVE manual, designed
to clarify the alterations necessary
for, and the use of MagOptical prints
has been prepared by the 20th-Fox re-
search and development department,
and is now being mailed to exhibitors.
20th-Fox has announced that all of their
CinemaScope product will be available
on MagOptical. which carries both four
stereophonic magnetic tracks and single
optical soundtrack. The booklet, written
primarily to acquaint the exhibitor with
the characteristics and necessities of
MagOptical, also suggests that he pass
it on to the projectionist.
The following instructions are outlined
in the manual:
In a theatre equipped for magnetic
sound, aperture plates of 0.839 inches
by 0.715 inches are to be installed for
head-on projection. For high projection
angles, under-sized apertures are re-
quired, filed to fit the individual theatre
screen. The adjustment of the projector
should be checked so that the center of
the picture is on the center of the screen,
and, if necessary, the screen side mask-
ing should be readjusted.
Small Sprockets a Must
In a theatre now equipped only for
optical sound reproduction, it is first
necessary to change all projector and
soundhead sprockets to the smaller
CinemaScope type, including intermit-
tent sprocket pressure shoes and keeper
rollers. Aperture plates should be
changed as required. Pins on splicers
must be changed to fit small perforations.
And all metal parts of projectors, tools
and film equipment that come in contact
with magnetic tracks, including splicers,
rewinds and the like must be demag-
netized. This is, of course, necessary,
since magnetized equipment that comes
too close to the magnetic sound tracks
will introduce noise into the tracks, al-
though it may not be heard on the
running when the damage is done.
The manual points out that it is not
necessary to demagnetize at frequent
intervals. If degaussing is done properly,
equipment need not be again completely
demagnetized for long periods, unless
critical parts are replaced, or strongly
magnetized tools are used — these would
include pliers, screwdrivers, or wrenches
that have been used in the lamphouse
near the magnets. Critical parts to be
demagnetized are the intermittent and
other sprockets, intermittent shoes, gate
rails, and sound reproducer drums.
The booklet cautions against using old
sprockets which have been modified to
fit CinemaScope sprocket holes, except
in emergency, since it is reported that
reworked sprockets shorten film life by
reason that they are too small in diam-
eter, and the teeth have incorrect
spacing across the film. A base diameter
of 0.950 inches and 0.953 inches is given
24
INTERNATIONAL PROJECTIONIST
SEPTEMBER 1957
for intermittent sixteen-tooth sprockets.
It is also noted that, while all service
companies have installed CinemaScope
sprockets on machines which have been
repaired, sprockets in the soundhead
have not always been changed.
Alteration Cost
Prices quoted for a complete kit of
sprockets, intermittent shoes, keeper
rollers, and new aperture plates range
between $50 and 165 per projector. If
some of the necessary parts have already
been installed, the cost, of course, will
be less.
Since the optical track on MagOptical
prints is not as wide as that previously
supplied, steps in recording have been
taken to compensate as nearly as possible
for any level loss. Although it is sug-
gested that in some theatres a slightly
higher fader setting may be required.
MagOptical tracks are claimed not to
be susceptible to trouble any more than
standard optical, and all that is required
is ordinary good maintenance of projec-
tion equipment.
20th-Fox believes that MagOptical
prints will be a valuable aid in eliminat-
ing the booking problem, since these
prints are interchangeable.
The manual also notes: "Some oi the
public may not know the difference be-
tween good and bad sound, but a sur-
prisingly large number of people do."
OBITUARIES
Siegel, David, 59. member and former
official of Toronto Local 173, was killed in
an automobile accident on July 30. He was
projectionist at the Casino Theatre in To-
ronto since it opened, and chief supervisor
of theatre projection equipment for Premier
Theatres. A member of the Local for 41
years, Dave Siegel served as president, mem-
ber of the executive board, and as chairman
of welfare fund. For many years he rep-
resented the Local at IA conventions. He
was a member of the Variety Club and of
the Canadian Picture Pioneers.
Survivors are his wife, Mary, his son and
three grandchildren.
• • •
Miller, Robert E.. 65, member of St.
Louis Local 143, died last month of a heart
attack. He worked as a projectionist at
Loew's Orpheum there. He is survived by his
wife, Emma, and his son, Robert W., also
a member of the Local.
• • •
McDonald, John, veteran member of De-
troit Local 199, died recently. For the past
30 years he was projectionist at the Fisher
Theatre there, and was commander-elect of
the theatrical post of the American Legion.
• • •
Kalushe, Paul Frederick, member of Local
154, Seattle, Wash., and projectionist at the
Music Hall Theatre in Seattle, died early
this month.
When you buy. . .
Your SIMPLEX Projector Mechanism represents a price-
less investment. You bought it after long, careful study
because you recognized it as the finest projector on the
market.
Don't take chances with such an investment —
the very success of your theatre depends upon its perform-
ance! When spare parts are necessary, insist on the best —
insist on SIMPLEX parts !
From the smallest stud pin to the largest gear
cover, every part is made with the same precision and
skill as the mechanism itself. By using only SIMPLEX
parts, you can be certain of maintaining the high quality
of performance that has made SIMPLEX the world's fore-
most projector mechanism!
Genuine SIMPLEX parts are available only through
Yoilt @U$t$fltee of Consistent Quality and Outstanding Service
NATIONAL THEATRE SUPPLY COMPANY • BRANCHES COAST TO COAST
INTERNATIONAL PROJECTIONIST • SEPTEMBER 1957
25
PERSONAL NOTES
Dr. Max Herzberger of Kodak Research
Laboratories, head of optical research
in the physics division of the labora-
tories, has been honored for his studies
in geometrical optics and related science
by election to the Bavarian Academy of
Science. The Society, founded in 1759, is
one of the old limited-membership acad-
emies that were the centers of cultural
and scientific life prior to World War I.
Before joining Eastman Kodak in 1935,
Dr. Herzberger worked for Leitz and
Zeiss in Germany, and lectured on op-
tics at various universities in Holland.
At Berlin University he studied un-
der Albert Einstein, and later renewed
this association when a member of the
Institute for Advanced Study at Prince-
ton University in 1946. Author of a vol-
ume, "Ray Optics," Dr. Herzberger has
been working on a new book for some
years which is to be published this
spring.
* * *
General Precision Laboratory has an-
ounced two new executive promotions.
Dr. Raymond L. Garman, formerly ex-
ecutive vice president of the firm, has
Dr. Raymond L. Gorman James W. Murray
been named chairman of the board, but
will continue on as technical director in
charge of research and development.
James W. Murray has been elected pres-
ident and chief executive officer, continu-
ing as general manager.
* # *
Charles G. Rose has been appointed
manager of the Memphis district, RCA
Service Co., Inc. For the past three
years New Orleans branch manager,
Rose joined RCA in 1948 as a tele-
vision installation and service technician
at the Memphis factory service branch.
He succeeds P. H. Brune, was was re-
cently appointed service manager of Con-
sumer Products, Southwestern region.
# * *
Dr. James A. Krumhansl, formerly as-
sistant director of the Parma Research
Laboratories of National Carbon Co.,
has been appointed its associate director.
Before joining National Carbon in 1955,
Dr. Krumhansl taught physics at Cornell
and Brown, and worked on microwave
and pulse communications for Strom-
berg-Carlson.
# * *
Frank A. Ungro, treasurer of West-
rex Corporation, has been elected to the
post of executive vice-president. He has
been associated with the motion picture
Frank A.
Ungro
equipment industry since 1928, and has
done extensive traveling abroad in con-
nection with his duties with Westrex.
He was succeeded in the post of treas-
urer by R. A. Colistram, who will also
remain as comptroller of the corporation.
* * *
Vernon I. Weihe, formerly assistant to
the vice president in charge of engi-
neering at Melpar, Inc., has joined the
Avionic division of General Precision
Laboratory. He will direct the Avionic
Systems planning activities from Wash-
ington, D.C. Weihe has been chief en-
gineer of the Communications and Navi-
gation laboratory at Wright-Patterson
Air Force Base in Ohio, as well as serv-
ing for many years as air navigation
and traffic control planning engineer for
electronic systems with the Air Trans-
port Association.
* * *
Edwin L. Grauel takes over the post of
assistant advertising manager of Eastman
Kodak Company. Joining the company's
advertising department in 1930. Grauel
Edwin L.
Grauel
was later made business manager of the
department, with duties in budget plan-
ning, accounting and cost control, media
buying, and other business operations.
In 1952 he was appointed assistant di-
rector of advertising.
* * *
D. L. "Danny" O'Brien has been made
division manager of Altec Service Com-
pany's western division, with headquar-
ters in Beverly Hills. With Altec since
its formation in 1937, O'Brien was for-
merly branch manager of the western
division. Altec also announces the ap-
pointment of M. L. Scott and H. J.
Nelson as field managers of the Los
Angeles and San Francisco areas, re-
spectively.
# * *
John P. Taylor has been appointed to
the new post of manager of Marketing
Plans and Services of RCA Industrial
Electronic Products. His previous po-
sition as manager of Advertising and
Sales Promotion will be filled by Her-
man R. Henken. Taylor will be respon-
sible primarily for the formulation of
broad marketing and service plans to
meet the electronic needs of business
and industry. He has been with RCA
since 1930, and in 1952 received the RCA
Victor Award of Merit, the company's
highest award to salaried employes.
* * *
A. Dexter Johnson has been ap-
pointed advertising manager of Eastman
Kodak Company, assuming the respon-
sibilities of the general working opera-
A. Dexter
Johnson
tions of the department. With Kodak
since 1934, Johnson was named assistant
director of advertising in 1952, and acting
general manager of Kodak's Pacific
Northern Sales Division in San Fran-
cisco last year.
# * *
Frederick R. Lack, associated with
Western Electric since 1911, will succeed
Eugene S. Gregg as president of Westrex
Corporation. He will continue on as
vice-president of the radio division of
Western Electric. He has been a member
of the board of directors of Western
Electric since 1945, and a director of
Westrex since 1947.
* * *
Eastman Kodak Company has announced
seven new appointments in the Inter-
national Division. Anthony Frothing-
ham has been appointed assistant man-
ager for Europe; Thomas F. Can-
non succeeds Frothingham as manager
of the European Office (Paris) ; Robert
F. Edgerton is transferring to the Euro-
pean Office from the Division's Rochester
headquarters; Hugh J. Knapp has been
appointed assistant manager of the Ex-
port Sales department in Rochester;
26
INTERNATIONAL PROJECTIONIST • SEPTEMBER 1957
W. David Thompson is transferring to
the Export Sales department from Kodak
Philippines, Ltd.; Malcolm R. Maguire
is transferring to the International Divi-
sion from Kodak Hawaii, Ltd.; Merwin
Wall succeeds Maguire as manager of
cine processing at Kodak Hawaii, Ltd.
* * *
Francis J. Ford has been named man-
ager of amateur cine advertising for East-
man Kodak Company. Prior to joining
Kodak, Ford was associated with a num-
ber of New York firms in the advertising
field, and was sales promotion director
for National Distillers.
# * *
Wadsworth E. Pohl, technical director
of the motion picture division of Tech-
nicolor Corp., is this year's recipient of
SMPTE's Herbert T. Kalmus Gold Medal
Award. The award, instituted in 1955,
is presented each year to "an individual
who has made an outstanding contribu-
tion in the development of color films,
processes, techniques, or equipment use-
ful in making color motion pictures for
theatre or television use." Pohl has
made several contributions to improved
methods of manufacturing color motion
pictures. He holds patents in fields such
as camera optics, film processing, and
traveling mattes.
* # *
C. E. Ford has been appointed to the
newly-created post of new products mar-
keting manager of National Carbon Com-
C. E. Ford
pany. That organization will be respon-
sible for developing industrial markets
and keeping in close touch with industry
to anticipate demand. Ford has been
with National Carbon since 1937, and
was formerly the manager of chemical
product sales.
Ace Lab Closes
Ace Film Laboratories, a Warner
Bros.' subsidiary and fourth largest
processing depot in the east has shut-
tered. Warner processing is to be moved
to its West Coast laboratory.
Now Available . . .
MITCHELL'S MANUAL OF
PRACTICAL PROJECTION
I
Full light on screen,
less heat at aperture
Now optical engineering helps
you beat heat for better projec-
tion. Selective coatings of new
dual purpose unit ( 1 ) reflect
full usable light back to film
gate, (2) pass heat through to
the back of the lamphouse for
easy dissipation. Film remains
cool enough to permit increased
carbon arc amperage within
rated lamp capacity. You can
get more light on the screen
. . . better picture . . . less dam-
age to film.
Here's the finest reflector money can
buy, with today's most efficient heat-
dissipator built right into it. You get
more light, less heat, better operat-
ing conditions, and maintenance . . .
at less than the cost of standard re-
nector-and-heat-filter combinations.
Costs less to buy,
less to maintain
...with NEW
WRITE FOR DATA BROCHURE E-35
Get the facts on cooler, trouble-
free, economical operation. Write
to Bausch & Lomb Optical Co.,
86021 St. Paul St., Rochester 2,
New York. Free demonstration
on request. (In Canada, General
Theatre Supply, Toronto.)
Academy of Motion Picture Arts and Sciences
Honorary Award for Optical Service to the Industry
A. M. P A. S.
INTERNATIONAL PROJECTIONIST
SEPTEMBER 1957
27
Proiectionist License Exam Questions
CONTINUING with this quiz show,
here are a few posers that should
offer you no trouble at all. Even if one
stumps you, 75 per cent remains passing,
just as in the official exam. Peek later at
page 29 for correct answers.
1. The douser of a projector is:
(a) a device for putting out the arc;
(b) a shutter for causing the film pic-
tures to be projected individually and
successively to the screen; (c) an
opaque iron plate for shutting off the
light from the arc to the film when the
machine stops or the film runs out, and
(d) a gadget for keeping the arc cool.
2. How many frames are there to one foot
of 35-mm film?
(a) 12; (b) 16; (c) 18; and (d) 24.
3. If the picture on the screen is "out of
frame" it may be brought into frame by:
(a) shifting the borders of the screen;
(b) adjusting the speed of the motor;
(c) adjusting the picture gate up and
Cplices _
•* NOT 1
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., INC.
DEPT. J
315 West 43rd Street New York 36, N. Y.
JUdson 6-1420
down, and (d) increasing the tension
of the pressure pado.
4. The sound-track of a film is:
(a) a track near one edge of the film
carrying an engraved record of the
actor's voice, similar to the phonograph
record; (b) a track near one edge of
the film carrying a photographic image
of a light-beam that has been caused to
vary in accordance with the actor's
words; (c) the photographic images of
sound waves superimposed on the pic-
tures of the actors, and (d) the photo-
graphic images of sound waves across
the film between frames.
5. Sound is reproduced from sound-film by:
(a) a stylus, or needle, running in
grooves in the soundtrack; (b) a mic-
rophone in contact with the sound track
and falling upon a photoelectric cell;
(c) a photoelectric cell causing light
to shine upon the sound track, and fd)
none of the foregoing.
6. The sound corresponding to each pic-
ture frame is:
(a) exactly adjacent to the frame; (b)
16 frames behind the corresponding pic-
ture image; (c) 20 frames ahead of the
picture image, and (d) 4 frames ahead
of the picture image.
7. As the film passes the sound aperture:
(a) it moves steadily and uniformly;
(b) it stops at every frame; (c) it
slows down and speeds up in time with
the frame, and (d) it stops and starts
at every other frame.
8. In threading a projector a free loop is
allowed in the film ahead of the picture
gate, known as the "film-loop" or "Lathan
loop." Its purpose is:
(a) to keep the film from binding; (b)
to prevent vibration of the film; (c) to
prevent the jerking motion of the inter-
mittent from breaking the film, and (d)
to keep the picture on the screen steady.
9. Cellulose acetate motion picture film is:
(a) slow burning; (b) highly inflam-
mable; (c) non-inflammable, and (d)
non-poisonous.
Consisteni
Maximum
Light
at
Greater
Economy
DIAMOND
PROJECTION
=M
7 0 PINE STREET • NEW YORK 5, N.Y
10. Whenever the film is not running
through the gate at the operating speed:
(a) the arc should "go out" automati-
cally; (b) an automatic shutter should
shield the film from the light of the
arc; (c) the sound system should be
disconnected automatically, and (d)
the entire machine should stop auto-
matically.
11. The exciter lamp is used in a projection
machine to:
(a) excite the condensers in the ampli-
fier; (b) excite the photoelectric cell
in the soundhead; (c) to increase the
illumination of the screen, and (d) to
illuminate the condenser lens.
12. The purpose of the threading or fram-
ing light is:
(a) to keep the picture in frame on the
screen; (b) to provide light inside the
picture head; (c) to check the align-
ment of the arc, and (d) to check the
focus of the lenses.
SCIENCE NOTES
"Refractasil," a unique silicon liquid
designed to produce scratchless photo-
graphs is now being offered by General
Electric. The silicone, according to GE,
completely fills scratches made on the
non-emulsion side of the negative. A
special 35-mm negative holder to allow
complete immersion of the negative is
also provided.
# * *
A Duplex Microfilm Camera that pho-
tographs both sides of a doccment simul-
taneously at any of three reduction ratios
has been developed by Remington Rand.
This compact camera doubles 16-mm film
capacity by filming up one side and down
the other. Readily interchangeable lenses
are available for 25 to 1, 35 to 1, and 42
to 1 reduction ratios.
# * *
Foggy Reproduction? The Armour
Research Foundation has established that
there are approximately 15 billion par-
ticles in cigarette smoke. Puffs of smoke
averaged from two to six milligrams, and
a puff from a filter-tip cigarette was
found to contain half as many particles
as a plain cigarette, with corresponding
weight being down about 40%.
# * *
A Rewinding and cleaning machine that
automatically does both in a single oper-
ation is now in use at General Film Lab-
oratories in Hollywood. A new type of
combination air and vacuum squeegee
permits cleaning of 3,000-foot rolls at
360 feet a minute.
# * *
New Plastics tough enough for automo-
bile bodies, aircraft, and structural mem-
bers for buildings will come from treat-
28
INTERNATIONAL PROJECTIONIST • SEPTEMBER 1957
ment of ordinary plastics with high-en-
ergy atomic beams, according to Shell
Development Company. Nuclear bom-
bardment was predicted to do for plas-
tics what forging did for iron and vul-
canizing for rubber.
# * *
A Daylight TV Screen that will permit
good viewing even under bright room
lighting has been developed at the Naval
Research Laboratory. Instead of the
opaque powders now in use, phosphor
is deposited on the TV as a thin trans-
parent film. This causes sunlight to go
through the film and be absorbed in the
tube's darkened interior, instead of be-
ing reflected as is done by conventional
powder phosphors.
* * *
Hot Solder, composed of 95 per cent
zinc and 5 per cent aluminum, and
special flux can be used to join all
aluminum alloys, and make joints be-
tween aluminum and other metals such
as copper, brass, steel, or nickel, accord-
ing to Alcoa. Solder melts at 715 to
725°F., thus reducing joining costs by
making high temperature joints that
heretofore had to be brazed or welded.
* * *
A Leak Detector — a new paint that lo-
cates holes, cracks, and fissures causing
leaks — has been developed by Boeing
Airplane Co. Any hole or flaw in an
assembly or container through which a
gas can pass can be detected immediately
by this paint. The leak is marked by the
paint for a long period of time, and then
easily removed by flushing with water,
cloth wiping, or by air streams.
# # #
New Microscope for machinists and
toolmakers has been announced by
Bausch & Lomb. The principal feature
is a unique illuminating system that
permits true vertical illumination — a
light source that is built in, the beam
directed down through the microscope
objective. A collective mirror under
the stage plate reflects light back into
the body tube. This allows both surface
and contour of parts to be viewed simul-
taneously.
# * #
An Atomic-Powered Battery no bigger
than a cough drop may be commercially
available in about three years, Elgin
National Watch Co. and Walter Kidde
Nuclear Laboratories, Inc. report. The
battery is said to be completely safe and
Answers to Projectionist Exam
1. c
5. D
9. A
2. B
6. C
10. B
3. C
7. A
11. B
4. B
8. C
12. B
capable of delivering usable electricity
for at least five years. Physical reaction
between tiny silicon photo-cells and phos-
phor materials convert Beta rays to light,
and light to electricity.
# * *
Geneverters, two new series of con-
verters, have been introduced by the
Carter Motor Co. The series consists of
12 small size, light weight Geneverters,
and 40 heavier Mark II super converters.
The DC to AC Geneverter is designed for
control circuits and industrial applica-
tions not requiring a larger converter,
but still needing a reliable rotary power
source. The 12 models operate from 12,
24, 32, and 115 volts DC innut, with 20,
40, or 60 watt capacity. The Mark II con-
verters, used in controls and tape re-
corders, incorporate long life brushes,
lifetime lubricated ball bearings, and
improved commutation. They operate on
6, 12, 24, 32, 38, 48, 64, 115, and 230
volts DC input, with output capacities
of 40, 60. 80, 100, and 150 watts.
NEWS FROM DISTRICT 2
(Continued from page 21)
demonstrator, and supervisor of theatre
projection equipment installations.
During the early 1930's New York
Local 306 organized a new service com-
mittee— The Inspection Department. The
members of this committee were Dave
Narcey, Frank Lechman. Tom Lloyd,
Robert Reiner. Tom Mele, Morris Du-
broff. and Paul Hirsch. Narcey was ap-
pointed supervisor of this group. The
function of the Inspection Department
was to collect practical and technical
data on projection and sound equipment
and to make it available to projectionists
having difficulty in converting to what
was then a new medium of theatre en-
tertainment.
Also, about that time Narcey, with
the cooperation of a close friend, took
over the Motorized Talking Picture Serv-
ice Co., distributor of portable RCA
equipment.
Along about 1933 Dave felt the need
to slow down the hectic pace he had
been pursuing for 20 years and he be-
gan to restrict his activities. He even-
tually confined himself to projection
work in theatres and studios in Local
306 jurisdiction. In 1941 he was assigned
to the preview room at the Music Hall
where he remained until failing health
forced his retirement in 1953.
My interviews with Bert Salisch and
Dave Narcey were experiences I shall
never forget. Their combined knowledge
of the craft and experiences in the
early days of motion picture, plus the
devotion and service to their fellow
craftsmen are unbeatable.
C O B FILM REPAIR AND
F « D SPLICING BLOCK
SAVES DAMAGED FILMS
Used with NEW MAGIC MYLAR 19.95
Sprocketed Transparent Splicing Tape
ECONOMICAL-Repairs torn 35mm
and 16mm films without loss of a
single slide.
EFFICIENT— Replaces torn or miss-
ing perforations without loss of a
single frame.
SAFE — Prevents regular lap splices
from opening.
INGENIOUS-Makes butt splices in
16mm or 35mm film.
VERSATILE — Includes a complete
14" magnetic tape splicing block.
ACCURATE-Provides 100% regis-
tration of sprocket holes.
NON-MAGNETIC-Aluminum con-
struction insures perfect safety
for handling magnetic or magna-
striped ftlm.
INVISIBLE - Optical transmission
of spliced or repaired frames un-
affected.
DURABLE — Tear strength greater
than film.
DURABLE — Tear strength greater
required— no adhesive bleed.
• SUPER-THIN-Only 1.5 mils thick
—passes thru projectors easily.
• SOLVENT RESISTANT - Commonly
used film cleaners will not loosen
tape.
• UNIVERSAL-Can be used on all
types film base.
MAGIC
MYLAR
TRANSPARENT
SPROCKETED
SPLICING
TAPE
16mm— Single or double perf.
66 foot roll $ 5.00
35mm-66 foot roll 9.00
Boxes of 100 pre-cut strips
16mm— Single perf 3.00
35mm-Double perf 4.00
For magnetic tape— 66 foot roll
16mm— White or Colored 6.60
35mm-White or Colored 11.00
ORDER NOW FOR IMMEDIATE DELIVERY
Dealer inquiries invited
For more information and catalogs
WRITE
FLORMAN & BABB, INC.
68 W. 45th St., N. Y. • MU 2-2928
F & B carries a complete stock of motion
picture and audio-visual equipment.
INTERNATIONAL PROJECTIONIST • SEPTEMBER 1957
29
TV & MOTION PICTURES
{Continued from page 19)
screen. As electrons fall upon the
crystal screen, the difference of po-
tential caused by secondary emission
will rotate the light beam at such
points and allow some light to pass
through. Thus, in effect, light will
pass through this system only where
electrons fall upon the crystal screen.
The more electrons the greater the
amount of light; the fewer the elec-
trons, the smaller the amount of light.
An ordinary scanning raster using in-
tensity modulation is applied to the
crystal screen. This arrangement to-
gether with suitable optical compo-
nents, is capable of providing a large
size projected image.
Some means must be found to pre-
vent the picture information on the
crystal screen from remaining there
too long. Several methods have been
used successfully to erase the screen in
time for the next trace.
EDITOR'S NOTE. Interesting and even
fascinating as Mr. Lytel's text is, it does
not exhaust his subject. Two additional
methods of projecting large-size television
pictures exist and have been demon-
strated; one of them has been used com-
mercially in routine theatre operation.
These are the film-intermediate system,
and Twentieth Century-Fox's Eidophore
system. Both have been described in
these pages but to save readers searching
through back files both systems will be
reviewed with extreme brevity here as a
supplement and conclusion to Mr. Lytel's
review.
In the film-intermediate system, the
cathode ray tube image is reversed, nega-
tive for positive, so that the picture is in
fact a negative and when photographed
comes out positive. A continuous strip
of unexposed film runs without interrup-
tion from the camera feed magazine,
through the camera, through a light-
proof channel to the developing machine
(from which it emerges developed, print-
ed and dried), through a motion picture
projector, and finally to the motion pic-
ture projector's lower magazine. The
latter may be over-size to enable it to
take up an hour's entertainment or more.
Both 16-mm and 35-mm film intermediate
systems of this kind have been used suc-
cessfully. The same arrangement also
has been extensively used in TV studios
THROW AWAY
THAT
ASPIRIN!
ALTEC-
If your sound problem is
giving you (and your
patrons) a headache, try
altec service instead. It's a
sure cure for poor sound.
Thousands of altec service
customers have learned
it's "just what the doctor
ordered!"
I
161 Sixth Ave. New York 13, N. Y.
Specialists in Motion Picture Sound
to make a record of the program; al-
though at this moment of writing studios
seem to be turning to "taping" the pro-
gram on magnetic tape rather than pho-
tographing it.
The time lag in film-intermediate TV
projection is quite small — a minute or
so. This time is partly used up in the
channels which the film must traverse
during its progress from camera to de-
veloper and from developer to printer.
Where the geography of the theatre adds
substantially to this travel time the inter-
val between receiving the program and
projecting it to the theatre screen has
been as long as two minutes.
Hot Developers
Aside from travel time, there is ap-
proximately one minute of time needed
inside the developing machine. Here the
film loops through or around a series of
rollers. It is sprayed with hot develop-
ers which evoke the image in less than
normal time because of their elevated
temperature; then the film is sprayed
with hot water to wash way the chem-
icals, and died with hot air.
Film-intermediate TV projection
equipments are entirely practical in
technology and economically they are
not excessively expensive. Basically
they consist only of a motion picture
camera and a developing machine, plus
a few minor extras like an oversize
lower magazine. They can take any TV
program from any receiver and place it
before a theatre audience with all the
brilliance and power of the theatre's
regular arc lamps. The only reason the
system is not in commercial use today
is that no one has ever succeeded in
making commercially satisfactory ar-
rangements for program material.
The same essentially is true of Twen-
tieth Century-Fox's remarkable and
fascinating Eidophor system of theatre
TV. The system seems to be practical
enough; it works, it produces a full-size,
arc-lamp lit, color TV image; — but its
owners cannot seem to find images to
put through it. Thus, although this sys-
tem has been demonstrated successfully,
it has not been commercially used.
Eidophor is complex: it includes an
arc lamp, a television receiver, a cathode
ray tube without the fluorescent screen,
a rotating table carrying a viscous liquid
which is part of the CR tube, a vacuum
pump, and a refrigerator! There is also
a grating which is part of the optical
system, and a projection lens.
Dimpling
The cathode ray tube contains the
usual electron gun but the electrons do
not bombard a screen. They bombard
the thick, transparent liquid, causing
it to dimple or ripple in spots. The more
30
INTERNATIONAL PROJECTIONIST
SEPTEMBER 1957
intense the electron bombardment, the
greater will be the dimpling.
Light from the arc lamp is focused
on the same liquid. Wherever the liquid
is dimpled more or less of the light is
deflected away from the bars of the
grating, passes between the bars, and
goes on to the projection lens and the
screen. Where there is no bombardment
— no ruffling of the thick liquid — the
light of the arc lamp is intercepted by
the grating bars and does not get
through to the projection lens and the
screen.
The unavoidable requirements of such
a system are what make it complicated.
First of all, an electron gun functions
only in a vacuum, so this whole arrange-
ment— a thick liquid bombarded both by
an electron beam and by the light of an
arc — must reside inside a vacuum. Next,
liquids evaporate, and even though the
one chosen for Eidophor has an excep-
tionally low vapor pressure, some of it
still evaporates, especially since it is
so heavily bombarded with energy. There-
fore the vacuum will not stay a vacuum
unless kept continually on the pump. So
Eidophor includes a vacuum pump.
Further, even a pump is not enough to
keep the enclosure free from fumes of
that liquid unless evaporation is retarded
by cooling: 90 Eidophor includes a
refrigerator!
Smoothing the Surface
Finally, the liquid, once dimpled, does
not un-dimple very readily: and since
a smooth, unruffled surface must be pro-
vided every l/30th of a second to ac-
comodate the next frame the liquid is
arranged in the form of a film or layer
on a rotating table. A fresh liquid sur-
face is thus provided for each fresh
frame. The dimpled liquid rotates under
a knife-edge that helps smooth it again;
by the time it has rotated around to the
starting point it is entirely smooth and
ready for re-use.
Add to the above assemblage a rotat-
ing color wheel which filters the arc
light so that successive frames are proj-
ected in the three primary colors and —
this is Eidophor! — a television-receiver-
cum-arc-lamp-cum-vacuum-pump-cum- re-
frigerator - cum - color - wheel - cum - a - few -
other-things. But it works. It puts out a
beautiful image. It is more compact than
might seem possible at first thought —
approximately the same size as a large
modern theatre projector with lamp-
house and pedestal. No doubt it would
need a good deal of servicing, there
being so many things about it that could
go wrong or (what is even worse) go
partly wrong. But this is not the basic
obstacle to the commercial use of
Eidophor. The finest record-player im-
aginable is no use if there aren't any
records.]
[THE END]
BRITISH VIEWPOINT
[Continued from page 18)
it must be admitted has not so far
attained the importance it deserves,
due partly to the apathy of exhibitors,
but more to the shortage of projec-
tionists.
Chairman of the apprenticeship
council is Mr. E. J. Hinge, a former
president of the CEA. Active in its
deliberations are Dr. Leslie Knopp,
technical consultant to the CEA, Mr.
S. B. Swingler of the CMA group, and
Mr. G. E. Fielding of Associated
British Cinemas. The scheme is ad-
mirably conceived, and it may be of
interest if I describe it.
First, apprentices are indentured to
individual exhibitors, but under the
supervision of the apprenticeship coun-
cil; this means that if for any reason
an apprentice wishes to move to an-
other theatre, he can do so by
agreement with his employer, without
losing any of his rights under the in-
denture.
Four Years Training
A youth 16 years of age first serves
for six months as a junior, to give him
a taste of the job. He can then enter
into indentures for a period of four
years, which period includes this six
months. At the end of this time, he
is reckoned to be qualified to take
a job as third, or as second in a small
theatre.
It is the intention of the appren-
ticeship council that the apprentices
shall receive one day's tuition a week
at an approved training center: but
unfortunately nowhere except in the
London area, and in Leeds (center
of the Yorkshire industrial area) do
such training centers so far exist. Two
technical colleges in South London run
these courses, and both are equipped
for practical as well as theoretical in-
struction.
The syllabus of instruction — which
it is intended shall be standardized
throughout the country — starts with
the assumption that the youth will
have forgotten most of the mathema-
tics he learned at school, and from
elementary principles brings him up
to the level of logs, vectors and sine
curve. Electricity covers AC calcula-
tions and apparatus, and sound, acous-
tics, and general science are included,
as well, of course, as all aspects of
projection, including regulations.
The syllabus is perhaps a little
biased on the theoretical side, but this
is due to the insistence of the Minis-
try of Labour, who will not support a
scheme providing only practical in-
struction— in the long run a verv good
thing.
The provision of training centers in
ether towns is envisaged. Unfortuna-
tely there will always be a majority
of apprentices in the country theatres,
remote from any training center, and
for them it is proposed to organize a
correspondence course. With the hope
of attracting more youths to the
scheme, a leaflet has been prepared
which is to be distributed through
youth employment officers and through
branches of the CEA and NATKE.
Wm* FILM CEMENT
^\ •* JST F0R ALL FILM
k\ eS a fabulous new
^^^n^wCEMENT THAT WILL
^^^^^^^^S-
^Of fli^fc, Y°UR SPLICES
/ V, V Ife TO HOLD
L^> x^H^3^PfRMANfNTI.y
f H"^^^^ 1 °z- 4°i'
^^ x^f^c^5^1/2 pt 19°
Please include Postage nith order.
Writ* lor Irte tomp/e.
Dealer Inquiries Invited
FLORMAN & BABB.INC.
68 W 45th St. N.Y. 36, N. Y- MU 2-2928
For DRIVE-INS & THEATRES with HUGE, WIDE- AREA SCREENS • CARBONS, BOONTON, N.J.
INTERNATIONAL PROJECTIONIST • SEPTEMBER 1957
31
VARIABLE-DENSITY
[Continued from page 11)
which shows that while his remarks
are true in reference to Western Elec-
tric type light valves of the 1928
period, they certainly do not apply to
the more modern type of light valve
modulators used in the Western Elec-
tric (Westrex) sound recording sys-
tems4.
The introduction of the so-called
Wente cyclindrical lens close to the
film plane in present-day variable-
density modulators makes the record-
ing essentially variable intensity rather
than variable time. This is due to the
fact that the image height never ex-
ceeds the circle of confusion of the
modulator optical system. Coincident
with improvement in optics, there has
been a vast improvement in light valve
design. With Alnico V permanent
magnets, the new sealed light valve
has an insignificant resonance peak,
and is linear over approximately a
60 db range.
Variable-Density Awards
Apart from these technical consider-
ations, critics of variable-density re-
cording will have a difficult time ex-
plaining away the fact that during the
period extending from 1930 to 1946,
the Academy sound awards were given
to only three pictures recorded with
variable-area, the rest going to West-
ern Electric recorded pictures. Since
that date the issue has become con-
fused by the introduction of variable-
area by Westrex, and also by the
use of magnetic tracks for both
original and theatre reproduction.
Surely the overall evaluation by the
industry over a period of many years
cannot be ignored.
Anybody defending the virtues of
variable-density recording must face
the fact that there has been a noted
swing to variable-area in recent years.
In my opinion this swing has little,
if anything, to do with the relative
merits of the two recording systems,
but can be traced to technical innova-
tions which are favorable to the use of
variable-area. For example, the use of
negative-positive color films has re-
sulted in an increase in the use of
variable-area since it was felt that the
variable-area would be somewhat easier
to handle.
This opinion, however, is not held
by all experts in the field, and the
movement to variable-area might con-
ceivably be reversed at any time. The
proposed use of magoptical recording
has favored variable-area largely be-
cause the reduction of variable-density
track to one-half its width would be
undesirable in many theatres with in-
sufficient amplifier gain. The growing
popularity of direct-positive recording
in intra-studio operations also favors
the use of variable-area.
In summary, it may be said that
both variable-area and variable-density
are capable of giving excellent sound
quality. There have been vast improve-
ments in recent years in both systems,
and in the sound emulsions available
for these recordings. Both systems re-
quire precise laboratory control, and
in the opinion of this writer, anybody
suggesting either one is immune to
such control is doing a disservice to
the motion picture industry.
1. "Elements of Sound Recording," Frayne rnd
Wolfe, p. 350 et seq., John Wiley & Sons, Inc., 1949.
2. "Elements of Sound Recordinq," Frayne and
Wolfe, p. 386, John Wiley & Sons, Inc., 1949.
3. "Modulated High-Frequency Recording as a
Means of Determining Conditions for Optimal Proc-
essing," J. V. Baker and D. H. Robinson, Journal
SMPE, vol. 30, p. 3, January 1938.
4. "An Improved 200-mil Push-Pull Light Valve
Modulator," J. G. Frayne, T. B. Cunningham, and
V. Pagliarulo, Journal SMPE, vol. 47, p. 494, De-
cember 1946.
VARIABLE-AREA
(Continued from page 11)
when the scanning slit departs from
correct azimuth. Spurious harmonics
are thus generated; but azimuthal er-
rors so gross as to make these har-
monics audible as distorted sound
simply do not occur in the field. Speak-
ing from practical experience, the
writer has never once encountered
azimuthal maladjustment of the sound-
head optical tube in any theatre.
My reference to the ease of noise-
proofing v-a tracks was concerned
mainly with the ease of visually check-
ing the effectiveness of v-a biasing.
Visual inspection of v-d tracks yields
less definite information.
Modulate-Beam Restrictions
It is true that conscientious lab en-
gineers daily strive for optimal den-
sitometric control with both types of
soundtrack, and in negative and posi-
tive records. But the fact remains,
Doctor Frayne's statement to the con-
trary, that the densitometric require-
ments of v-d tracks are relatively criti-
cal. If this were not true, so many
studios would not have switched to v-a
tracks for multilayer color prints.
"The density of variable-area tracks
may vary over considerable limits with
remarkably small sound-output vari-
ations. This, of course, permits con-
siderable latitude in laboratory work
without sacrifice of quality or volume
output." (Balph H. Townsend, RCA.)
It is only necessary to avoid a track
density so great that the finer striations
of the high-frequency waveforms are
attenuated in reproduction by fog.
Such great exposure and processing
latitude is not allowable in any system
of v-d track production, for the modu-
lated-beam method does not tolerate
use of the low-exposure '"toe" nor the
high-exposure "shoulder" of the emul-
sion scale, and the glow-tube method
employs only the toe, and fails in the
straight-line portion of the exposure
curve.
From the standpoint of actual prac-
tice, we encounter much larger vari-
ations in v-a track densities every day
than are permissible in v-d tracks.
These do not appear to affect reproduc-
tion in any way. We even find obvious
errors in v-a tracks which, however,
produce no detrimental effects in the
sound. The existence of such errors as
incorrect lateral adjustment of biasing
valves reveals that perfection in com-
mercial practice is the exception, not
the rule. V-a tracks are remarkably
tolerant of many kinds of errors and,
furthermore, make such errors readily
visible.
Variable-density recorders of truly
variable-intensity characteristics were
referred to by the writer as instruments
of the "modulated-beam" type. The
practical functioning of improved
Western Electric recorders as devices
of this class is assuredly acknowledged,
as is also the well-known excellence of
Westrex sound-recording apparatus.
No deprecation of Westrex sound
equipment was intended.
Need for Careful Control
While the writer is admittedly less
than overawed by Academy awards
in any department of movie produc-
tion, the recognized need for careful
control in recording and film proces-
sing when the v-d method is used may
well be a contributing factor to the
general excellence of commercial v-d
feature-film tracks. Simpler methods
invite carelessness. But on the other
hand, and in spite of back-slapping in
Hollywood mutual-admiration socie-
ties, the sound quality of v-d tracks
32
INTERNATIONAL PROJECTIONIST • SEPTEMBER 1957
from one of the major American stu-
dios has been severely criticized by
European projectionists. It would ap-
pear that the widespread preference
for variable-area tracks has solid
scientific and economic reasons.
PRINT PROBLEM
{Continued from page 8)
if it would be better to provide a color
cue of proper color contrast with the
scene and to adopt a figure capable
of greater resolution — such as the
asterisk * — rather than the round dot.
By the way, in anamorphic prints this
figure becomes an ellipsoid and this
should be corrected at the same time.
Framing Index Marks
Other cues for which credit is due
are those provided in 35-mm prints
obtained from the wide-film processes.
These framing index marks are in-
valuable to the projectionist since they
provide a sure means of providing
correct head-room for the scene
whether it is projected in 1.66 to 1,
1.85 to 1, or 2 to 1 aspect ratio. In
previous product bearing these marks
at the beginning of the reels, some re-
straint has been noted and the pro-
jectionist is very likely the only person
who noticed the marks. This is as it
should be.
The writer dislikes to point the
finger of direct criticism at anyone.
This is especially true when the act
complained of is intended to make the
projectionist's job easier and more
compatible with the director's intent.
CURTAIN CONTROLS,
TRACKS and SPECIAL
OPERATING DEVICES
VALLEN, Inc.
AKRON 4, OHIO
However, it must be said that in the
case of "The Ten Commandments," the
frame reference marks were so intense
and so obvious that laymen were heard
to wonder why a roadshow presenta-
tion used "a print that was full of
scratch-marks." Unfair as such re-
marks might be, they do point up the
necessity for the attention of the in-
dustry to such things as we have been
discussing in this article. Increased
admission prices do make the public
more critical, and we in the industry
should be the leaders in the march of
progress.
FilMcigic's New Automatic
Silicone Lubricator
A new device for automatic silicone
lubrication of recording tapes and mo-
tion picture film has been marketed by
FilMagic Silicone Products, producers of
FilMagic cloth and tape. The product,
named FilMagic Pylon, is claimed to be
the first practical application of the prin-
ciple that silicone lubrication is most
effective when applied close to the point
of use.
The Pylon kit ($2.95. F. 0. B.. Dis-
tributor's Group. Inc., 204 14th St.,
N. W., Atlanta 13. Georgia) contains a
pylon — supplied either with suction-cup
or a flange-type mount which can be
permanently installed on most equipment
— a plastic squeeze-bottle of FilMagic
silicone re-loader, and six sleeves of Fil-
Magic cloth, plus complete instructions
for installation.
Operation of the automatic lubricant
requires activating the filler with the sili-
cone fluid, which is then fed in controlled
amounts through a sleeve of cloth onto
the tape or film. The pylon is mounted
between feed reel and reproducing parts
of the equipment for continuous perform-
ance while the machine is operating.
The company claims that point-of-use
lubrication should insure better sound
Are You Moving?
If so, please notify us one month in
advance. The Post Office does not
forward magazines. To avoid delay,
please cooperate by sending us both
your new and old address.
reproduction, reduction of "wows," less
head wear, and smoother, cooler op-
eration.
A number of tape manufacturers em-
ploy the use of silicone lubricants dur-
ing the manufacturing process.
A New Edition of "The Kodak Movie
Photoguide," which Eastman Kodak
Company describes as a pocket encyclo-
pedia of movie-making, is now off the
press. The 32-page booklet has been
revised to include recent developments
in equipment and techniques for both
amateur and advanced movie-makers. It
also contains a section of all 16-mm
Kodak black-and-white films, exposure
information for different movie-making
situations, and special effects that can
be obtained through the use of inter-
changeable lenses. Fingertip information
of exposures and running time of 8 and
16-mm film is provided by a computer
dial in the book.
ITS A HIT!
in K. C
BUT... will it be
a hit in your house?
It went over big in Kansas City . . . but
before any show can be a success in
your house, your equipment must be in
condition to roll it perfectly. Any show
can be a better show when equipment
performs properly. That's where RCA
Theatre Service comes in.
Protect your equipment and picture in-
vestment with RCA Theatre Service.
It will pay you to write now for com-
plete information!
Technical Products Department
RCA SERVICE COMPANY, INC.
A Radio Corporation of America
Subsidiary, Camden 8, New Jersey
Tmk(s) ®
AT ALL THEATRE
SUPPLY DEALERS
UNION MADE
THE GREATEST NAME
IN FILM CEMENT
Registered U.S. Patent Office
FISHER MANUFACTURING CO. 1 iss mt. read blvd., Rochester *, n. t.
UNION MADE
INTERNATIONAL PROJECTIONIST • SEPTEMBER 1957
33
PAR'S TELEMETER
(Continued from page 13)
hibitors, local broadcasters, publishers,
sports promoters, and others in the
entertainment field. Franchise holders
would be responsible for leasing, in-
stalling, screening, and collecting in
his locality, operating as a separate
entity, but coordinating both locally
and nationally. Program booking
would be done locally.
Emphasizing the fact that the spir-
alling costs of TV productions has
caused the single advertiser to balk at
taking on whole expense, Telemeter
maintains that not only will the sys-
tem bring on a new source of revenue,
but enable producers to increase the
volume and quality of their product.
For live national events, such as the
World Series, which would bring up
the problem of negotiating tollvision
rights, it has been indicated that a
non-profit booking organization might
be set up.
At present, International Telemeter
is planning on the use of coaxial ca-
bles for the more heavily populated
sections, although it is possible that
in sparsely settled areas an open wire
would be used. Concerning the lesser
inhabited spots, it has been estimated
that Telemeter could operate profitably
with 2,000 or less installations.
Telemeter stresses three main points :
it is on a cash basis, it allows a vari-
able price, and definite information
concerning popularity of programs are
available to exhibitors, producers, etc.
The closed circuit operation is ex-
pected to be available to consumers by
the end of the year. Initial commer-
cial deal has been made with Fox West
Coast Theatres, but they are not ex-
pected to join in until after the turn
of the year. Other deals are said to
be in the signing stages.
Some Pertinent Problems
At a recent guided missile exhibit
in New York City, guides were some-
what chagrined to find that youngsters
between the ages of 6 and 15 asked
more complicated, informed questions
than adults. What then, ask some ex-
hibitors, is to prevent hi-fi-hep stud-
ents— not to mention many trained
engineers — from unscrambling the TV
picture on their own, without paying?
Telemeter maintains that its particular
system is fool-proof, and if any boot-
legging did occur, the coin box would
reveal it.
Another problem is collection. What-
ever the means, it may well be that
the salaries of collectors would ex-
ceed the individual take, plus the man-
power problem.
These, and a good many more ob-
stacles must still be dealt with. But
it must be noted that not only Para-
mount, but Skiatron, Telemovies, and
other systems have gone all-out to pro-
mote their systems, and have spent too
much money in development to turn
back.
Bureau Films Set Record
Last year more than 14 million per-
sons viewed motion pictures produced by
American industries in cooperation with
the Bureau of Mines, an all-time high
for the Bureau's 37-year-old industry-
Government film program. In addition,
about 28V2 million others saw noncom-
mercial telecasts of the films, the Bureau
said.
The films are produced by private
firms or industrial organizations which
pay all the costs, and the Bureau of
Mines distributes them on a free-loan
basis to universities and other educa-
tional institutions, industrial firms, busi-
ness and civic clubs, scientific societies
and other organizations.
The pictures — all in 16-mm sound, and
most of them in color — contain no ad-
vertising. To date there are more than
6,400 prints of 61 film subjects dealing
with the nation's various mineral re-
sources. They are distributed from the
Bureau's Central Experiment Station at
Pittsburgh, Pa., and through voluntary
subdistributing centers in 38 states,
Alaska, and Hawaii.
Hardtops Strike Back
To counter the crepe-hanging "bunk"
that the hardtop theatre is "doomed."
irritated and impatient exhibitors have
taken it upon themselves to correct the
latest trickle of erroneous information
disseminated about theatre operation.
Plans afoot by both TOA and Allied
States Assn. provide for a vigorous and
aggressive public relations program to
stress the four-wall houses' importance
to the community as a social force and
a business aid, as well as an entertain-
ment outlet. Cooperation with local res-
taurants and other businesses is one of
the aims of the drive.
Projection Art Work Pamphlet
How to make art work which is in-
tended for 35-mm movies, slides, film-
strips or TV conform to camera aper-
tures is explained in a six-page pamphlet
issued by Eastman Kodak under the
title "Art Work Size Standards for
Projected Visuals." Art prepared ac-
cording to these standards will be easier
to prepare, more certain to be legible,
uniform and convenient to file. Single
copies of the pamphlet are available
without charge from Sales Service Divi-
sion, Eastman Kodak Co., Rochester 4.
N. Y.
$Q; When is a mistake a blunder?
£k * When a projectionist is not a regular subscriber
to IP — MUST reading for the projectionist craft.
Use the handy order form below
INTERNATIONAL PROJECTIONIST
19 West 44 St., New York 36, N. Y.
Enter my subscription for ° \ year <"> |«ues-$2 .50
7 □ 2 years (24) issues — $4.00
Foreign and Canada: Add 50c per year
Name
Address
City
Zone
State
34
INTERNATIONAL PROJECTIONIST • SEPTEMBER 1957
in Mr. ( ooDer's kildim
\j
.
Many a New Yorker shook his head, and
not a few snickered, when they saw the
"hole" in Peter Cooper's new building.
But to the benign gentleman with the ruff
of graying whiskers it was all so simple: Some
day someone would perfect tbe passenger
elevator.
The mere fact that there wasn't one in
1853 would mean little to a man who, with
his own hands, had built and driven the first
American locomotive. Whose money, and
faith, were to help see the Atlantic Cable
through all its disasters to final success. And
who would "scheme out" a Panama Canal
plan fourteen years before DeLesseps.
But Peter Cooper's belief in the future ran
in a vein far deeper than simply the material.
For his "building with a hole" was Cooper
Union, the first privately-endowed tuition-
free college in America. A place where young
men and women of any race, faith, or political
opinion could enjoy the education which he,
himself, had been denied. Peter Cooper's
dearest dream — which has continued to grow
dynamically for nearly a century and today
enriches America with thousands of creative
thinkers, artists, and engineers.
There is plenty of Peter Cooper's confi-
dence and foresight alive among Americans
today. It is behind the wisdom with which
more than 40,000,000 of us are making one
of the soundest investments of our lives — in
United States Savings Bonds. Through our
banks and the Payroll Savings Plan where
we work, we own and hold more than
$41,000,000,000 worth of Series E and H
Bonds. With our rate of interest — and the
safety of our principal — guaranteed by the
greatest nation on earth. You're welcome to
share in this security. Why not begin today?
Now Savings Bonds are better than ever!
Every Series E Bond bought since February 1,
1957, pays 3M% interest when held to matur-
ity. It earns higher interest in the early years
than ever before, and matures in only 8 years
and 11 months. Hold your old E Bonds, too.
They earn more as they get older.
PART OF EVERY AMERICAN'S SAVINGS BELONGS IN U. S. SAVINGS BONDS
The V. S. Government does not pay for this advertisement. It is donated by this publication
in cooperation with the Advertising Council and thb Magazine Publishers of America.
YOU HAVEN'T
LIVED . . .
UNTIL
YOU'VE WORKED
with
X«1L
PROJECTION and
SOUND SYSTEMS
^^m
^^^B
Manufactured by
INTERNATIONAL PROJECTOR
DIVISION OF SIMPLEX EQUIPMENT CORPORATION
Distributed by
NATIONAL THEATRE SUPPLY COMPANY
SUBSIDIARIES OF GENERAL PRECISION EQUIPMENT CORPORATION
OCT 22 «» K
tl
OCTOBER
1957
VOLUME 32
NUMBER 10
30c A COPY • S2.50 A YEAR
THE BRIGHTEST SPOTS
ARENA
fmmff^^^]
*i .- - r^s . .
STADIUIM
^MHIs^BB*5^7lce Shows
SUPER
TROUPER
The first D.C. high intensity automatic arc
spotlight with built-in power conversion unit.
Far surpasses in brilliancy of spot any vertical
arc type and equals or exceeds many
of the large theatre type operating at
much higher amperages. Available in
220 or 110-volt A.C. models
1 0 Strong Super Trouper Spotlights
are used at the new Kentucky Fair
& Exposition Center, Louisville, Ky.,
the largest multi-purpose affairs
facility in the world.
• %
TROUPE
SPOTLIGHT
Adjustable self-regu-
lating transformer in
base. Fully automatic
arc control. Plugs into
110-volt outlet.
TH E^^Ttffctf^T R OU PE R ETTE
'^CX INCANDESCENT
SPOTLIGHT
THE ONLY SPOTLIGHTS
WITH ALL THESE ADVANTAGES
You get all the light you are paying for. To reduce the
size of the spot of the ordinary spotlight, you must
mask out or iris down, part of the light beam thus
wasting much of the available light. But when you have
a spotlight with a single control two-element variable
focal length objective lens system — an exclusive feature
of Strong Spotlights — the brilliance of the spot actually
increases as it is reduced in size.
A quiet, flickerless light, sharp edged from head spot to flood.
Requires no heavy rotating equipment.
Horizontal masking control can be angled 45° in each direction
from horizontal.
Fast-operating 6-slide color boomerang.
Portable. Mounted on casters.
THE STRONG ELECTRIC CORPORATION
31 City Park Avenue • Toledo 1, Ohio
] Please arrange a demonstration.
Please send free literature and prices on the Q Super-Trouper,
I | Trouper, Q Trouperette.
NAME
STREET
CITY & STATE
m t2 B35?
676153
B G7G153
/
THE WESTREX 16MM MAGNETIC
RECORDER-REPRODUCER (Type RA-
1552-G) is easy to control and op-
erate. It records, re-records and
reproduces. Fast rewind, minimum
maintenance and full 2400-foot reel
capacity are only a few of the
features that make this equipment
so valuable for high-quality 16mm
production.
Today's expanding 16mm pro-
duction requires precise and
dependable equipment such as
the new Westrex Recorder-
Reproducer and the Academy
Award-winning Westrex Editer
to match Hollywood standards
and to keep costs down.
THE WESTREX 16MM EDITER (Type RA-1527)
is a versatile editing machine. Every
feature to simplify viewing and synchro-
nization is incorporated. Projection-
viewing which requires no adjustment of
the normal optical system is provided. It
was designed in co-operation with lead-
ing Hollywood studios. It won an Academy
Award for scientific and technical
achievement.
Write today for further information about the
complete Westrex line of 16mm studio equipment.
Westrex Corporation
111 Eighth Avenue, New York 11, N. Y.
Hollywood Division: 6601 Romaine Street, Hollywood 38, Calif.
STUDIO
RECORDING
SYSTEMS
•
THEATRE
SOUND
SYSTEMS
SU**
An Outstanding Achievement in Projection Literature!
Robert A. Mitchell's
MANUAL OF PRACTICAL PROJECTION
THE MOST COMPLETE AND PRACTICAL HANDBOOK FOR PROJECTIONISTS EVER COMPILED
$6
oo
per copy including postage
• Here is one of the most helpful works ever pub-
lished for the motion picture projectionist. ROBERT
A. MITCHELL'S MANUAL OF PRACTICAL PRO-
JECTION comprises the BEST of the Mitchell ar-
ticles that have appeared in "International Projec-
tionist," revised and brought up to date. It provides
the reader with a handy permanent record of sound
practical coverage of every aspect of motion picture
projection.
• This Manual differs from every other projection
work in that the author does not refer to manufac-
turers' pamphlets, available to any projectionist for
the asking, but has prepared original material based
upon his own personal experiences in the field. A
practicing projectionist as well as a recognized
authority on the subject of motion picture projec-
tion, Mr. Mitchell presents his material in easily
understood language — not too technical, yet tech-
nically accurate.
* Handsomely bound and cross-indexed for easy
reference, the Mitchell Manual is divided in 8
sections and contains 30 chapters — a valuable
reference work no progressive projectionist should
be without.
Actual size SVi" x 8Vz"
450 pages, profusely illustrated
SECTION HEADINGS
(I) Film; (II) The Projector; (III) Projection-Optics, Screens; (IV) The Arc Lamp;
(V) General Projection Practice; (VI) Motors, Generators, and Rectifiers; (VII)
Sound Reproduction Systems; (VIM) Projection of Color and 3-D Films, Formulas.
ORDER YOUR COPY TODAY
USE THIS HANDY FORM
INTERNATIONAL PROJECTIONIST
19 West 44 St., New York 36, N. Y.
Gentlemen: please send me
copy (copies) of ROBERT A. MITCHELL'S MANUAL OF PRACTICAL
PROJECTION. Enclosed is my check (or money-order) for $_
NAME
ADDRESS
CITY
ZONE_
STATE
INTERNATIONAL PROJECTIONIST • OCTOBER 1957
International
PROJECTIONIST
R. A. ENTRACHT, Publisher
ROBERT C. MacLEOD, Editor
R. A. MITCHELL, Contributing Editor
Volume 32 OCTOBER 1957
Number 10
Index and Monthly Chat 5
The Care and Cleaning of Lenses 7
Robert A. Mitchell
Factors in Choice of Proper
Lamp and Carbon Trim 12
Joseph Holt
Letters to the Editor 15
Selection of Replacement Equipment
In Army and Air Force Theatres 16
W. D. Shepard
Projection Mirrors Duplicate Suns Heat 17
In The Spotlight 18
News and Views from District No. 2 20
Hank Boldizsar
Projection Clinic 21
Telecasts: Cable Theatre Makes Its Debut 22
From the British Viewpoint 24
R. Howard Cricks
Closed-Circuit TV Takes Precedence
at SMPTE Convention; Papers Abstracts 29
Obituaries 31
Personal Notes 32
Science Notes 33
Miscellaneous Items — News Notes — Technical Hints
INTERNATIONAL PROJECTIONIST, published monthly by the Inter-
national Projectionist Publishing Co., Inc., 19 West 44 Street, New
York 36, R. A. Entracht, President. Telephone: MUrray Hill 2-2948.
Subscription Representatives: AUSTRALIA — McGills, 183 Elizabeth
St., Melbourne; NEW ZEALAND— Te Aro Book Depot, Ltd., 64 Court-
nay Place, Wellington; ENGLAND and ELSEWHERE— Wm. Dawson &
Sons, Ltd., Macklin St., London, W. C. 2. Subscription Rates: United
States and U. S. Possessions, $2.50 per year (12 issues) and $4.00 for
two years (24 issues). Canada and Foreign countries: $3.00 per year
and $5.00 for two years. Changes of address should be submitted four
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., under the act of March 3, 1879. INTERNATIONAL
ROJECTIONIST assumes no responsibility for personal opinions ap-
pearing in signed articles, or for unsolicited articles. Entire contents
copyrighted 1957 by INTERNATIONAL PROJECTIONIST PUBLISHING
CO., INC.
420
Vriardhhf £fW
/
/i
The Professional Projectionist
PROFESSIONAL PROJECTION is more than a skilled
craft or a mechanical art. Operating an installation of
sound-projection equipment in a modern motion-picture
theatre is quite different from operating a spinning ma-
chine or a punch-press. There is no machine in existence
as "personalized" as the motion picture machine, no
other process which affects human emotions so profoundly
as the projection process. Projection, like medicine or
music, is no mere "trade," but a profession.
A few exhibitors, however, resemble the five foolish vir-
gins of biblical lore. They refuse to supply the "lamp''
of highly complex projection equipment with the "oil"
of expert supervision by competent professional projec-
tionists. Any boy with spare time on his hands and a
desire to pick up extra cash is too often placed in charge
of equipment which demands experience and specialized
knowledge on the part of its operators. And no matter
how cheaply the boy-projectionist works, it's costly.
We deplore the poor sound and projection results usually
inflicted upon longsuffering audiences by dilettante "pro-
jectionists" who are not only helpless when the simplest
emergency arises, but are incapable of putting on a well-
run show. The practice of projection demands consider-
ably more than knowing how to trim a lamp, thread a reel
of film, and make a changeover! Prints require intelli-
gent inspection by trained eyes and handling by trained
fingers: projection and accessory equipment demands con-
scientious maintenance and the skilful adjustment and re-
pair of precision parts — and all this over and above
running the actual show!
The bad effect upon the motion-picture industry of the
part-time dabblers in projection is obvious. The movie-
going public no longer tolerates dim, out-of-focus pictures,
poor sound, misframes, ghosts, sloppy changeovers. and
breakdowns. Film entertainment is degraded by bad pro-
jection, and the entire industry suffers.
The professional projectionist, in many cases a man
who has devoted the greater part of a lifetime to the
cultivation of his profession, is harmed the most by the
low-paid dilettantes. He gets blamed for the sins of the
incompetent, his profession is lowered in public estima-
tion, his working conditions and living standards are un-
dermined, and he exists in perpetual danger of dismissal
and replacement by unqualified eager-beavers who look
upon a projector as a pin-money machine which gives
them the right to underprice the professionals.
Our attitude toward sincere aspirants to a position of
responsibility in the projection profession has always been
one of helpfulness and friendly encouragement; but we
realize all too well that gifted young men with celluloid
and arc dust in their blood are exceedingly rare. We
older projectionists, successful and well established in
our profession, should therefore examine long and
critically, the native abilities, qualifications, motives, and
intentions of instruction applicants. The theatre which
is shuttered by the sloppy work of an unsuitable man in
the projection room may be the one in which we used
to operate. R. A. M.
INTERNATIONAL PROJECTIONIST • OCTOBER 1957
&*-
v^v
New "cold" reflector removes approximately 50% of the
heat from the beam before reaching the aperture.
Light Booster lens, patterns the spot to the size and shape
of the aperture so as to efficiently utilize all useful light. As
a result, lamphouse optical speed is equivalent to f 1 .5, and
when used with f 1.5/1.6 projection lenses and X-L pro-
jectors on 35 mm projection, highest screen brightness is
assured.
Heat radiation to the projection booth is held to a minimum
by the Heat Purger, a heavy duty, quiet centrifugal exhaust
fan which removes products of combustion and heat.
Outstanding and exclusive features built into both
the Constellation "1 70" and Excelite "1 35" include: Si
* Accommodation of the newly available full 20-inch carbon trim.
Automatic crater positioning system which maintains the tip of the
burning carbon at the exact focal point of the reflector. Change of
ight color at the screen, caused by variation in carbon burning rates,
is absolutely eliminated. Rear lamphouse door which swings com-
pletely out of the way to facilitate retrimming and lamphouse and
reflector cleaning. *Single adjustment controls the feeds of both car-
bons. Simplified spot focusing. The entire burner assembly is mov-
able so that the position of the arc can be shifted for the best screen
light without disturbing the relative carbon positions or equilibrium
/ff7f^M>f the arc.
^M?
DISTRIBUTED BY NATIONAL THEATRE SUPPLY COMPANY
SUBSIDIARY OF
Volume 32
OCTOBER 1957
Number 10
The Care and Cleaning of Screens
By ROBERT A. MITCHELL
With the recent emphasis on light and sound, the important
factor of good screening may have been neglected; discussed
here are some valuable pointers on proper screen maintenance.
THE FUNCTION of motion-picture
screens is twofold. (1) A screen
provides a flat blank surface upon
which the picture is projected, highly
magnified and in sharp focus. (2) It
transmits or reflects the light it re-
ceives into the viewing area occupied
by the audience. The surface must be
fine-grain and uniform, and it must
reflect i or transmit ) the maximum
amount of light, distributing it evenly
over the viewing area.
The overall, or integrated, reflective
power of good screens is high. A matte
or pearlized screen, for example, is
dazzling white in color. Ordinary
white paper reflects 50 or 60 per cent
of the light falling upon it. but a per-
forated matte ( white ) screen of mini-
mum acceptable quality reflects 70 per
cent! In fact, a reflective power of
from 80 to 85 per cent is usual for
modern perforated matte screens,
while solid, or non-perforated, screens
reflect 90 per cent of the light or even
a little more!
There are several distinctly different
types of screens, as all projectionists
know. The two main classes of screens
are the reflective and the transmissive.
Because transmissive screens require
the projectors to be placed behind
them, forming the projected picture by
the transmission of light through the
thin, translucent, semi-diffusing ma-
terial of which they are made, such
screens are used principally for rear-
projection purposes in motion-picture
and television studios. Transmissive
screens are only seldom used in
theatres, and appear unsuited to the
wide-angle requirements of Cinema-
Scope.
Conventional reflective screens, as
their name implies, reflect the pro-
jected light to the eyes of the audience.
They must do this with an absolute
minimum of light-loss and distortion,
and without altering the relative
photographic densities of the light and
dark areas constituting the picture.
And in the case of color-film projec-
t:on, the screen must not introduce
color of its own by absorbing some
colors more than others. In other
words, a serviceable screen must be
colorless or snow-white.
Diffusive and Specular Screens
The class of reflective screens mav
be divided into two large groups, de-
pending upon surface and light-reflect-
ing characteristics. These are the
diffusive and the specular tvpes. with
gradations between them. Diffusive re-
flective screens are known in the trade
as "white." or "matte," screens: and
because these screens have the best
light-distributing properties and the
finest, detail-revealing surfaces with
the most uniform light-reflecting char-
acteristics, they remain the universal
standard for theatre projection. Only
in the most recent times has a better
type of screen appeared.
Specular, or directional, screens are
represented by the "metalized" (alu-
minum-painted ) and "beaded" types.
Each of these, when correctly used,
reflects most of the light directly into
the audience area, but the reflection
characteristics of the two are quite
different.
A theatre screen subtends a large
viewing angle, hence different parts
of a screen are observed at different
angles by each patron. If the screen
is of the metalized type, some areas
will look considerably brighter than
other parts.
For observers in the middle of the
auditorium, fadeawav at the sides of
a flat high-gain aluminum screen will
be excessive. Patrons in the balcony
will see a picture brighter at the top
than at the bottom. For patrons seated
INTERNATIONAL PROJECTIONIST • OCTOBER 1957
at one side, as shown in Fig. 1, the
picture will look annoyingly dark on
the opposite side.
Aluminized screens should not be
used in wide theatres or for wide-
screen projection in any theatre.
Aluminized screens reflect mirror-
wise, that is, at an angle equal to, but
opposite, the angle of projection. Such
screens work best where there is a
moderate downward projection angle.
They are unsuited to drive-ins where
the projectors tilt upward. If used in
drive-ins having steep upward projec-
tion angles, aluminum screens throw
most of the light up into the sky!
FIG. 3. Reflectance char-
acteristics of perforated
low- and high-gain alu-
minum screens contrasted
with the performance of
a good quality perforated
white matte screen.
M
u
Z3
<
h
U2
u
_i
^ 1
u
cC
0
(
REFLECTANCES
OF:
///- gain A/, screens
~~v
\
\
\
N
\
""
*'"*» >
*
V**
-._
)° 10° 20° 30° 40° 50° 60° 70°
ANGLES OF OBSERVATION
Beaded Screen Faults
Beaded screens have reflection char-
acteristics too "peaky" to make them
satisfactory in theatres. Patrons in the
middle of the auditorium see an ex-
cessively bright picture, while those
Flat alurmmzed screen
0<
Viewing
angles
RIGHT-HAND SIDE
OF THIS SCREEN
LOOKS 4 TO 16
TIMES DIMMER TO
OBSERVER THAN
LEFT-HAND SIDE /
<*£$
\,'
Observer
FIG. 1. Light deficiencies of the flat aluminized
screen for the observer seated well to the side.
in the side seats are literally robbed
of projection light. And unlike metal-
ized screens, giass-bead and resin-
grain screens reflect most of the light
back toward the source — the projec-
tors. This peculiar characteristic
makes beaded screens unfit for use
in theatres having steep projection
angles.
Attempts to compensate for the di-
rectional errors of specular screens by
physically tilting the screen are not
approved. With the possible exception
of specular screens in certain drive-
ins, all theatre screens should be posi-
tioned plumb and parallel to the rows
of seats (or to the chords of the rows
when the rows are slightly curved).
Aluminum and beaded specular
screens are often called "high-gain"
screens because of the apparent reflec-
tivity of these screens, when viewed
from the center of the auditorium, is
from l1/-? to 5 times the maximum
100% reflectivity of a theoretically
perfect diffusive screen.
Figure 2 illustrates the light-reflect-
ing characteristics of non-perforated
theoretically perfect screens. As
shown, a perfectly reflecting and dif-
fusing matte screen (dotted line) has
at all viewing angles a reflectance of
1 (a reflectivity of 100%). The per-
fect specular or lenticular screen hav-
ing a complete light-cutoff beyond 60
degrees ( solid line ) has a reflectance
*Per/e
w4
U
Z3
<
h
U2
id
_i
Lu 1
LU
a:
0
(
ct'
RE
SCI
FL
-ee-n
E(
s :-
:t
Ar
Mat
EI
-&■
O
F:
cnt
icut
<ar.
—
)° 10° 20° 30° 40° 50° 60° 70°
ANGLES OF OBSERVATION
FIG. 2. The light-reflect-
ing characteristics of
theoretically perfect non-
perforated screens.
of 1.57 through a 120-degree viewing
angle. The perfect directional screen
cutting off beyond 40 degrees, funnel-
ing all light into an 80-degree reflec-
tance angle, has a uniform reflectance
of 2.2 ( broken, or "dot-and-dashed,"
line) .
Although perfect screens having
these marvelous characteristics exist
only in the imagination, modern
screens of the matte, pearlized, and
lenticular types approach these opti-
mum performance characteristics and
give brighter, clearer, more evenly
lighted pictures than old-style screens.
Apparent reflectivities of 150% —
500% are produced by directional
properties which necessarily rob the
side viewing areas of light. Light can-
not be created by a screen; and the
overall, or integrated, reflectivity of
any screen never exceeds 100% (a
reflectance of 1). Whereas a perfor-
ated matte screen furnishes an ap-
parent reflectance of 0.80 to 0.85 at a
viewing angle of 50 degrees, perfor-
ated aluminum screens have reflec-
tances of only 0.2 to 0.4 at this angle.
Now, the severely directional char-
acteristics of specular screens of ex-
tremely high gain absolutely preclude
their use in wide theatres or in those
having balconies or steep projection
angles. Nevertheless, the polarized-
light 3-D process works only with
metal-surface screens, hence the wide-
spread use of such screens in all
shapes and sizes of theatre during
1953 and one or two subsequent years.
But now that stereoscopic filming has
fallen into the discard, obsolete alu-
minized screens should be used no
longer.
Figure 3 diagrams the reflectance of
perforated low- and high-gain alu-
minum screens contrasted with that of
INTERNATIONAL PROJECTIONIST
OCTOBER 1957
a perforated white matte screen of
good quality.
The "peaky" characteristics of the
high-gain screen (3.9 reflectance at
center. 0.2 at 50 degrees) precludes its
use in any but the longest, narrowest
theatres. The low-gain screen has a
reflectance of 2.1 at the center and
0.4 at 50 degrees. Even this screen
is too directional for widescreen
projection.
Pictures projected upon aluminized
screens sometimes look mottled, and
they nearly always look grainy in
highlight areas. This undesirable spec-
ular property of metalized screens, to-
gether with their low overall reflec-
tance, induces quality-conscious thea-
tre owners to select screens of other
types for efficient and pictorially per-
fect projection.
Semi-Directional Screens
Due to the technical ingenuity and
deep appreciation of theatre-projec-
tion conditions by American screen
manufacturers, however, new types of
aluminized screens having improved
light-distributing characteristics are
now available. These more diffusive
specular screens reflect light more uni-
formly over larger angles, and are
suitable for use in theatres too wide
for the old-style "peaky" aluminum
screens. A distinction is thus made be-
tween high-gain and low gain metal-
ized screens.
The new semi-directional aluminum
screens lie midway in light-reflecting
properties between the old strongly
directional metalized screen and the
white matte surfaces which are un-
deniably superior as regards the pro-
jection results they are. capable of
giving. Matte screens provide the high-
est degree of light distribution, a
minimum of fadeaway, the best photo-
FIG. 5. Performances of
perforated lenticular
screens as compared with
that of a perforated matte
screen. The pearl stays
brighter than the matte
until after viewing angles
of over 60 degrees.
graphic resolution, and the truest
color rendition. To find a better screen
than a plain white screen, we must
look to those marvels of modern screen
engineering — the pearlized and lentic-
ular types of screen.
Smooth pearlized screens are only
slightly directional (center reflectance
1.5), and the reflection peak is broad.
Even at the most extreme viewing
angles, plain pearl screens are practic-
ally as bright as the best matte screens.
So satisfactory are pearl screens in
nearly every type of theatre, that we
can confidently state that pearlized
screen surfaces, both smooth and "len-
ticular," are the very best obtainable.
Presented in Fig. 4 are the reflec-
tance curves of one unsatisfactory and
two satisfactory types of screens. The
beaded screen is much too "peaky" to
be useful ( 4.3 reflectance at center,
0.45 at 50 degrees). This is shown by
the "dot-dashed" line. Moreover,
beaded screens often fog fine pictorial
detail and may be irreparably dam-
aged by cleaning.
The pearlized and matte perforated
screens, on the other hand, have some-
what higher overall reflectances and
M
u
Z3
<
h
U2
Id
_l
li- 1
Id
QL
0
(
REFLECTANCES OF:
'atte.ja.nd Lenticular :( Pearl,
Aluminum)
"" —
•--
**. ,
'»-.
■^
■v
)° 10° 20° 30° 40° 50° 60° 70°
ANGLES OF OBSERVATION
4
Id
U
Z3
<
h-
U2
Id
-1
u. i
Id
0
(
RE
Matte
FL
>
EC
:t
-Pe
Ah
arl
4C
E<
id-
O
F:
Be.a
ded
sc
ree
ns
\
\
\
i
!
\
.
**-
^
i^>-
--_
)° 10° 20° 30° 40° 50° 60° 70°
ANGLES OF OBSERVATION
FIG. 4. Reflectance char-
acteristics of one unsatis-
factory and two satisfac-
tory screens. Note that
the beaded screen (dot-
dash) is too "peaky."
more uniform surfaces which can
stand repeated cleanings. The white
matte screen, being almost perfectly
diffusive, has practically the same ap-
parent brightness at all viewing angles
( 0.85 reflectance shown by the solid
line ) . The pearl screen, indicated by
the dotted line, is only slightly direc-
tional. It has a reflectance of 1.5 at the
center and 0.8 at 50 degrees. Pearl
screens are somewhat superior to
matte screens.
Both matte and pearlized screens
give superb projection results and are
highly recommended. Beaded screens,
never satisfactory, are tabu in theatres
having steep projection angles because
they throw most of the light back in
the direction from which it came.
Lenticular Screens
The so-called lenticular screen is a
newcomer to the group of screens in-
termediate between the specular and
matte types. The light-distributing
characteristics of lenticular screens are
modified by tiny cuplike depressions,
or lenticules, embossed into the plastic
material of which these screens are
commonly made. They are available
in both pearl and aluminum surfaces;
and. of the two, the pearl has the
higher overall reflectance and the
most uniform degree of reflection over
wide viewing angles. The aluminum-
surfaced lenticular screen, while def-
initely superior to plain aluminum
screens, exhibits a reflection "peak"
with a side-viewing fadeaway which
becomes excessive beyond 55 degrees.
The light-distributing characteristics
of pearl-lenticular screens, together
with the high degree of definition and
contrast imparted by them to the pro-
jected pictures, make them extremely
desirable for projection of the highest
quality in theatres of every type. They
INTERNATIONAL PROJECTIONIST • OCTOBER 1957
combine all the good characteristics
of matte screens with the exceptionally
high and uniform reflection of light
obtained by scientific screen engineer-
ing. It has been adequately demon-
strated, by test and by actual theatre
use, that pearl-lenticular screens are
superior to all other types of screen.
Perforated pearl-lenticular screens
have a center reflectance of about 1.6
with no appreciable falloff up to 30
degrees. Reflectance is 1.1 at a 50-
degree viewing angle, 1.0 at 55 de-
grees, and 0.8 at 60 degrees. Good
modern matte screens have a center
reflectance of 1 with a falloff to 0.9
at 30 degrees, and to 0.8 at 70 degrees.
Reflectances at various viewing
angles of perforated lenticular screens
are shown in Figure 5, the dotted line
indicating the pearlized, and the dot-
dashed line, the aluminized, screen.
The reflectance curve of a perforated
matte screen ( solid line ) is included
for comparison.
These curves indicate that both
types of lenticular screen give a
brighter picture than the matte screen
over the main angles of viewing. The
pearl-lenticular screen, however, pro-
vides uniform brightness from the
center to an angle of 30 or 35 degrees
I reflectance of 1.6), whereas the alu-
minum-lenticular screen, having a
center reflectance of nearly 2, de-
creases in brightness to the level of
the pearl-lenticular screen (1.6) at 12
degrees, and to the level of the matte
screen (0.85) at 48 degrees. The
pearl-lenticular screen does not be-
come less bright than the matte except
at angles greater than 60 degrees.
In the opinion of this writer, the
pearlized lenticular screen, a com-
paratively recent development, repre-
sents the best type of screen surface
available for theatre use. It gives a
beautiful picture and is unexcelled for
widescreen projection in auditoriums
of all shapes and sizes, and regardless
of the prevailing projection angle.
Curved Screens Tabu
A good screen suited to the shape
and size of the auditorium and to the
prevailing projection angle is a prime
consideration in any theatre. The
screen should be regarded as a prin-
cipal component of the projection
system, and not as a mere incidental.
"Any old sheet" will not do, for even
the best projectors, lamps, and lenses
are wasted upon an unsuitable or im-
perfect screen !
Our recommendations have been
made clear. Beaded screens are not
favored at the present time; neither
are the old coarse-textured, extremely
high-gain aluminum screens which
look spotty and grainy, and produce
fadeaway at the bottom of the picture
when viewed from the balcony, or
fadeaway at one side when viewed
from the opposite side. The use of
low- and medium-gain aluminum
screens of modern manufacture should
be confined to long, narrow theatres.
The lenticulated aluminum screen is
perhaps the most satisfactory metal-
ized screen.
Which screens, because of their ex-
cellent performance, are favored? The
white matte screen is standard and
gives results which, for color rendition
and for clarity and contrast of image,
can be equalled only by more modern
screens of special types, notably the
pearl and lenticulated pearl. The pearl-
ized screens give the same beautiful
picture that a matte screen does, but
provide greater brilliance to make the
picture more vivid, more lifelike. The
plain pearlized screen, therefore, is
somewhat superior to the matte screen,
while the pearl-lenticular screen is by
far the best screen of all.
Curved screens should not be used
because they distort the geometry of
A Boost from the Swiss
Dear Sirs:
I got the July and August issues of
IP. Thank you very much. It's really
a very interesting magazine, much bet-
ter and more interesting than the
German magazine I had before. Un-
fortunately, we don't have something
like that here in Switzerland, and
one has to read the German magazine
if one cannot understand a foreign lan-
guage. But since I have the intention
of emigrating to the United States,
"International Projectionist" can give
me some helpful information about
conditions in the USA.
I would be very grateful if you could
send me IP in a better wrapping, since
I'll bind the copies. The last two copies
I got in a bad state. I hope I have not
caused you too much trouble in this
connection, and send you my best re-
gards.
Yours faithfully,
Hans P. Verzeri
Lucerne, Switzerland
(ED. NOTE: We are appreciative,
and we always try to oblige. But to
all its readers both here and abroad,
IP may only say that if your copy ar-
rives somewhat mauled, it went from
here in good shape.)
the picture, especially where moderate
to steep projection angles exist. Special
processes such as Cinerama, Todd-AO
( 70-mm film), Thrillarama. Cinemir-
acle, etc. employ curved screens to
suggest a "surrounding" of the audi-
ence by a panoramic field of view and
to maintain the same projection dis-
tance at all points on the extra-wide
screens. Screen curvature is justified
in these special processes because, as
a rule, steep projection angles are
avoided and because of the "novelty"
quality of the projection. Standard
projection even at the higher aspect
ratios does not, and should not, dupli-
cate special conditions which, however
spectacular and interesting, are clearly
unsuited to the main function of the
theatrical motion picture, i.e. the tell-
ing of a story. Projection invariably
seems below par in theatres having
curved screens.
Causes of Screen Deterioration
If the selection and correct installa-
tion of a suitable screen is the first
step in insuring good results from the
projectors, lenses, and lamps, then
proper maintenance of the screen is
the next most important expedient.
Screens are certain to become dirty
with the passage of time: and the
screens in some theatres get dirtier
faster than those in other theatres. The
air in industrial and downtown loca-
tions is very much smokier and dustier
than the air in suburban areas. Smok-
ing in the theatre, although a neces-
sary comfort to patrons, causes screens
to become yellowish very quickly. Air-
borne grime and tar particles unavoid-
ably settle upon the surfaces of
screens, darkening and discoloring
them. The use of screen paints con-
taining white lead is another factor
in the deterioration of screens. Lead-
containing pigments are not used in
modern screen paints, for they grad-
ually turn brown when exposed to the
volatile sulfur compounds unavoid-
ably present in town air.
Screens should be replaced when
they become extremely dirty, although
modern plastic screens may be washed
repeatedly and certain older screens
may be repainted. It is truly astonish-
ing how many theatre owners tolerate
old tar-yellowed, dirt-streaked screens
which reflect scarcely more than 50%
of the light projected upon them!
Old-style matte screens were ordin-
arily made of canvas coated with a
{Continued on page 26)
10
INTERNATIONAL PROJECTIONIST
OCTOBER 1957
s.
This scene is 10% brighter!
NEW "SUPREX" 9mm PROJECTOR CARBON
makes screens up to 10% brighter!
Brighter pictures cost less with the new "National" "Suprex" 9mm x 14 inch
projector carbon. It's up to 30% slower burning.
Your screen grows brighter every
year. It's almost four times
brighter now than in 1938. Yet
the cost of "National" carbon arc
projection is still one of the best
buys in your theatre.
The reason: continued carbon arc
development by "National" re-
search scientists. Every year,
"National" carbon arcs burn more
brightly, last longer than ever.
Newest addition to the "Supreoc"
carbon family is the 9mm x 14
inch positive carbon, operating in
the 65 — 80 ampere range.
Your "National" projector carbon
representative can show you how
our carbon arc research pays off
in quality and savings. He is at
your service at all times.
ATIONAL PROJECTOR CARBONS
TRADEMARK
The terms "National", "Suprex" and "Union Carbide" are trade-marks of Union Carbide Corporation
NATIONAL CARBON COMPANY • Division of Union Carbide Corporation • 30 East 42nd Street, New York 17, N.Y.
SALES OFFICES: Atlanta, Chicago, Dallas, Kansas City, Los Angeles, New York, Pittsburgh, San Francisco • IN CANADA: Union Carbide Canada Limited, Toronto
INTERNATIONAL PROJECTIONIST • OCTOBER 1957
II
Increased demands for more and more light, and inefficient
operation indicate a necessity for some kind of work-guide.
Factors in Choice of Proper
Lamp and Carbon Trim
By JOSEPH HOLT
Member, IA LocgI 428, Stockton, Calif.
CHANGES HAVE COME so fast
during the past few years that few
practitioners in the field of projection
have had the time to pause for a delib-
erate look at current practice. This is
particularly true in the matter of the
choice of lamp and carbon trim used
by the theatre with its spiraling de-
mands for more and more light on the
screen.
It is probably true that some
theatres are spending money uselessly
for light which could be obtained at
less cost and greater stability of opera-
tion. It is more likely, however, that
most theatres are suffering from in-
adequate lighting and have not dis-
covered that the light needed can be
obtained by close attention to the prin-
ciples we propose to discuss herein.
Lamp and Carbon Trim Efficiencies
One of the first items of knowledge
which will be of value is to explore the
efficiencies of various trims and lamps.
Reference is to Fig. 1, which depicts
the graphical relation of lumens output
versus electrical watts input. The num-
bers under each bar identify each trim
and optical aperture as follows: Bar
1 indicates the lumens-to-watt factor
for a 6-mm by 9-inch negative and 7-
mm by 14-inch positive burning at iO
amperes in a lamp with a speed of
/:2.5.
Bar 2 is for a 7-mm at 50 amperes
operating at /:2.3; Bar 3 is an 8-mm
carbon at 70 amperes through /:2.3;
Bar 4 is a 9-mm carbon at 75 amperes
through /:2.3. All the foregoing con-
cern copper-coated carbons of the
"Suprex" type.
Bar 5 illustrates the luminant effic-
iency of the 9-mm carbon operating at
85 amperes through an optical system
of /:1.9 speed; Bar 6 is a 10-mm at
100 amperes and /:1.9; Bar 7 is a
13. 6-mm at 160 amperes and /:2.0,
and Bar 8 sets forth the efficiency of a
trim such as the National Hitex 13.6
at 170 amperes in a lamp designed for
/:1.4.
Necessary Fast Lenses
The efficiencies given in Fig. 1 are
computed on the basis of the use of
/:2.0 projection lenses throughout, for
the simple reason that comparison fig-
ures must not deviate if they are to be
truly impartial. The reader will rec-
ognize that figures given may be in-
creased significantly in the case of the
/:1.9 and /:1.4 lamps by the use of the
new /:1.7 lenses. In fact, use of the
faster lenses is an absolute necessity in
order to raise the higher-power lamps
to impressive efficiency figures.
The reader's attention is directed to
the close contest between the 8-mm
trim at 70 amperes and the 9-mm trim
at 75 amperes. The 8-mm trim will
produce almost 95 per cent as much
light as the 9-mm, with 17 per cent
input power. For the intermediate size
theatre, this saving is important and
8.9
2.5
« 1.33— -
I
7-mm 7-mm 8-mm 9-mm 9-mm 10-mm 13.5 13.6
AMPERES 40 50 70 75 85 100 160 170
f SPEED 2.5 2.3 2.3 2.3 1.9 1.9 2.0 1.4
FIGURE 1.
should be considered, especially since
the most popular lamp in which this
trim is burned will waste large
amounts of light due to the larger spot
available at the aperture from the use
of the 9-mm carbon.
Another point which should receive
attention is the fact that HI trims of
the uncoated variety require tremend-
ously larger power inputs over the
"Suprex" trims, and in lamps of the
older design with the /:1.9 mirror
speeds, do not equal the output of the
"Suprex" trim until power inputs are
increased by about 15 per cent.
In terms of screen light, then, we
have seen that higher-powered arcs do
not attain the astounding efficiency of
the tiny "one-kilowatt" arc, and this
finding alone would seem to dictate
that if relative efficiency is all we are
interested in, we should at once re-
place all lamps with the one-kilowatt
sources.
Unfortunately, the projectionist is
faced with exacting demands for more
total light, and for this reason must
look at the light-delivering ability of
each lamp and carbon before adopting
it.
Need for a Guide
It would be useful if we could derive
some guide as to what might be ex-
pected of the various trims. Projec-
tionists know all too well that the wide-
screen apertures with a vertical dimen-
sion less than .600 inches reduce total
light drastically, while apertures with
vertical dimensions up to 1.06 inches
will permit significant increases in
transmitted light.
On the basis of the old 1.33 aspect
ratio aperture (.825 inches . by .600
inches), we should choose a lamp and
trim which will produce acceptable
light on the screen we plan to use.
The reader is referred to other ma-
terial in print in which the factors
governing the type of screen to be used
are explained. For the present discus-
sion, however, it should be enough to
say that except in the very widest
theatres where lateral viewing angles
exceed 30 degrees from the screen
center line, the high reflectivity or gain
type screen is indubitably the pre-
ferred type, if mounted on a radius
equal to projection distance.
The gain figure selected for use in
these computations is the median of
2.4, which may vary from one screen
manufacturer to another.
We proceed by taking into account
12
INTERNATIONAL PROJECTIONIST
OCTOBER 1957
m
$«
m\
In
t 4-
■
Because beauty is skin-deep...
.
Okin tones must be precise — from original
negative through final release prints. This
means care in the selection of film, care
with processing, rigid controls— keyed to
each specific problem. In this area, as in
all phases of production, distribution and
exhibition — representatives^of the Eastman
Technical Service for Motion Picture Film
are proud to serve the industry. Offices^ at *
itrategic centers.
Motion Picture Film Department
EASTMAN KODAK COMPANY
Rochester^ N. Y.
East Coast Division
342 Madison Avenue
New York 1 7, N. Y.
Midwest Division
1 30 E. Randolph drive
Chicago 1, III.
West Coast Division
6706 Santa Monica Blvd.
Los Angeles 38, Calif.
INTERNATIONAL PROJECTIONIST • OCTOBER 1957
13
Christmas
lives in the joy
and satisfaction
of the giver...
...and in the
delight and
thankfulness
of those
who receive
Almost everybody remembers
to make Christmas Seals a part of his giving...
because they give the greatest gift of all,
health, life itself, to so many.
How about you?
14
INTERNATIONAL PROJECTIONIST • OCTOBER 1957
the reduction in total light on the
screen due to the shutter and other
losses. We propose to use the figure
of 55 per cent loss in this area. Begin-
ning with the total lumen figure of
5900, we multiply by .45, and obtain
the product of 2660. If we now divide
the product number by 12, our own
arbitrary level for foot-lambert (with-
in the standard of 9 to 14 foot-Iam-
berts). we come up with the size of
222 if the screen surface has a reflec-
tance of unity. Since we may use a
gain screen with a reflectivity of 2.4,
we can state that 530 feet can be
adequately lighted. But if we must use
a matte screen with an assumed reflec-
tance of .7, then we can light only 155
square feet! Using the same sort of
thumb rule, we may now examine some
of our other trims and lamp speeds.
Applications of Formula
For the 7-mm at 50 amperes with a
lamp speed of /:2.3. we may expect
good results with a reflective screen of
830 square feet, or a matte screen of
242 square feet.
With an 8-mm at 70 amperes and
/:2.3, we can light 1170 square feet
of gain screen, or 342 square feet of
non-directional surface.
The 9-mm trim operating at 75 am-
peres and /:2.3 will enable us to cover
only 1248 square feet of reflective
screen and 374 square feet of matte
screen.
4.03
3.70
2.96
2.70
Increasing amperage to 85 amperes
u ith the uncoated trim such as the
National HI on a 9-mm at /:1.9 will
make it possible for us to light 1320
square feet of gain surface or 382
square feet of matte screen.
100 amperes with a 10-mm at /:1.9
will do a good job on 1395 square feet
of gain screen, but only 406 square feet
of non-directional screen. Big differ-
ences show, however, in the perform-
ance of the 13.6-mm trim in the newer
lamps. At /:2.0, such a trim at 160
amperes will light 1485 square feet
of gain screen ; with a lamp speed of
/:1.4 and a projection lens of /:2.0,
the acceptable area rises to 1890
square feet; but with a projection lens
ol 1.6, it becomes possible to cover
3205 square feet! For non-directional
screens, the comparable areas are re-
spectively 434, 550, and 935 square
feet. Thus we forcibly have demon-
strated the value of the faster optics
available in lamps and projection
lenses.
Figure 2 indicates the relation of
input watts to square feet of screen
area lighted at the value we have set.
It also depicts the overall efficiency
of lamp, arc itself, and effective aper-
ture of the entire system. In conjunc-
tion with Fig. 1, the data given will
aid in the choice of the proper lamp
and trim for each particular theatre.
LETTERS TO THE EDITOR
m
SIZE P03. 7-iisi 7-mm 8-ara 9-mm 9-ora 10-mm 13. S 13.5
AMPERES 40 50 70 75 BS 100 160 170
r SPEED 2.5 2.3 2.3 2.3 1.9 1.9 2.0 1.4
FIGURE 2.
More on "Film Standards"
To the Editor of IP:
\our article, "'Film Standards for Picture
and Sound," by Robert A. Mitchell was
good reading; I would not question Mr.
Mitchell's expertness in his field.
However, I feel that in this article Mr.
Mitchell has pre-judged without seeing. He
makes the statement that Technirama has
no depth of field, and gives blurrier back-
grounds in closeups and medium shots. I
saw "Night Passage" in New York City,
and for my money, Technirama has the
greatest depth and clearness of any system
I have ever viewed — with the exception
of 3-D. I note that Mr. Howard Cricks in
"From the British Viewpoint" also feels
the same as I.
I fail to understand why Mr. Mitchell,
with his vast experience in this field, should
come out with such a statement. Surely
the picture "Night Passage" contradicts
his findings.
Thomas F. Lyons
Brooklyn, N. Y.
Mitchell's Reply: This writer is as im-
pressed with the excellence of the Tech-
nirama process, used in the photography
of "Night Passage." as Mr. Lyons seems
to be. Simultaneous sharpness of fore-
ground and background detail in Techni-
rama is produced by the old. old trick
of reduced lens speed, an expedient fre-
quently used for many years in conven-
tional cinematography. In order to par-
tially compensate for the reduced nega-
tive exposure which would otherwise
result, the shutter openings in the Tech-
nirama camera are unusually wide. It
may be presumed that the resulting blur
of objects in rapid motion would render
stills from Technirama negatives less
usable than those obtained from standard
movie cameras.
Highly refined anamorphic attach-
ments, one to provide partial compression
of the image in the camera, and another
to complete the compression during print-
ing, are responsible for the high degree
of clarity across the entire width of the
picture. Overall resolution noticeably
exceeds that of CinemaScope. but target
tests reveal no improvement over hori-
zontal VistaVision.
The optical principles involved in
depth-of-field problems are well known;
and with camera lenses of corresponding
focal lengths and similar optical speeds,
it is found that normal-frame 35-mm
photography has appreciably better
depth-of-field characteristics than Cin-
emaScope. VistaVision, or Technirama.
But Technirama. we have seen, is tailored
for stopped-down lenses (which may also
be used with any other type of camera) .
The depth and clearness of 3-D, men-
tioned by Mr. Lyons, is precisely iden-
tical with that of the conventional movies
which the public has viewed over a 50-
year period. No special film, no special
lenses, and no particular extra care in
camera focusing were used. If anything.
Hollywood geniuses violated every prin-
ciple of stereoscopic photography and
produced 3-D films which looked better
when shown in the usual 2-D way.
Mr. Lyons should bear in mind that
the Technirama method is an attempt to
approach, and not necessarily to surpass,
the same high degree of image definition
which characterized the best standard
35-mm cinematography in the days before
wide screens. That the Technirama films
made to date actually do surpass the
clarity of the average standard-frame
film bespeaks the consummate skill and
infinite pains exercised by the Techni-
color Corporation in the development
and application of their new process.
INTERNATIONAL PROJECTIONIST • OCTOBER 1957
15
Recent industry innovations have necessitated a major
replacement program for the U.S. Motion Picture Service.
Selection of Replacement Equipment
In Army and Air Force Theatres
By W. D. SHEPARD
THE ARMY AND AIR FORCE Mo-
tion Picture Service is an agency
of the Department of Defense, su-
pervising the operation of entertain-
ment motion-picture theaters on Army
and Air Force installations and pro-
curing motion picture programs and
motion picture equipment and supplies
required in connection with the opera-
tion of those theaters. The AAFMPS
is administered under generally ac-
cepted business principles. It provides
entertainment and facilities of suffici-
ently good quality to encourage the
soldiers and airmen to remain on the
installation rather than seek less whole-
some entertainment elsewhere. It is
therefore imperative that the AAFMPS
maintain its equipment to assure high-
quality picture exhibition and sound
reproduction.
The equipment - replacement policy
is not based on any fixed depreciation
rate. It is determined by the actual
rate of physical deterioration or its ob-
solescence in the light of new develop-
ments of sufficient importance to render
a change either necessary or very de-
sirable in the interest of better service
to the military personnel. Basically,
every replacement must pay for itself
either in dollars or in definitely im-
proved results. Such a policy is flexible
and can be described in terms of past
replacements and existing future plans;
but it cannot be reduced to any simple
formula.
The equipment - replacement pro-
gram that will now be described be-
gan as soon as it became apparent
that at least some of the new techniques
were permanent additions to the art
and had box-office value. The pro-
gram was planned as early and as care-
fully as the changing standards per-
mitted, and in such a manner that no
future development would be likely to
t SMPTE Journal, May 1957
render obsolete or inadvisable any
previous step. It was necessarily spread
over a sufficiently long period of time
to permit its accomplishment with no
increase in personnel. As a result, no
reversal of policy was necessary at any
time and no investment has failed to
achieve its potential value.
It is appropriate to point out here
that in the opinion of the Engineering
Depot of the Service there is no best
product or best type of product for all
purposes. What is chosen for use in
Army and Air Force theatres is that
which is deemed best or fully satisfac-
tory and most economical for the spe-
cific set of conditions under which it
is to be used. The conditions of mili-
tary operation may differ in many
ways from those in most civilian
houses. Actually, a considerable vari-
ety of type of equipment and the prod-
ucts of many manufacturers are in use.
Service Criterions
Before buying any product, sam-
ples are inspected from the standpoint
of construction and probable service
problems, after which they may be sub-
jected to appropriate tests. Screens are
measured for gain, the polar diagram
of light distribution is determined, and
the surface is checked for durability.
Lenses are tested for resolving power
and aberration by means of targets,
as well as by direct observation of pro-
jection. Amplifiers are tested for fre-
quency response, output and distortion.
Soundheads are subjected to flutter
measurement.
With the appearance of the new
wide-screen techniques, it became ap-
parent that drastic changes would have
to be made in the method of presen-
tation. Image size had been based on
existing industry practice, generally
from one-fifth to one-sixth of the maxi-
mum viewing distance. Civilian theatres
were installing larger and larger
screens, the size often limited only by
the proscenium arch. But it appeared
that images could be made too large.
In some theatres, at least, the audi-
ence seemed to prefer the back rows.
Perhaps there is no fixed maximum,
but there undoubtedly is a degree of
magnification that is too great for the
quality of average film or lenses, or
the steadiness of ordinary projectors,
and it may well be that too large an
image may at times appear inappropri-
ate for some subject matter.
After some study, it was decided
that a CinemaScope image of a width
approximately one-third of the maxi-
mum viewing distance would generally
be a satisfactory compromise. Smaller
images would not be strikingly larger
than those previously in use, and much
larger ones seemed to present as many
disadvantages as advantages. As it hap-
pened, architectural factors also were
favorable to this proportion in most
of the standard buildings. This deci-
sion with regard to image meant that
there would be little change in image
height. Obviously, any reduction would
have had an unfavorable effect.
It was decided at this time that Cine-
maScope images would not be cropped
or squeezed. It appeared not unreason-
able that the specialists at the studios
would have a better idea of what was
to be portrayed and of requirements of
composition than a projectionist or
manager armed with an array of aper-
ture plates.
In rare cases, where screen width
was severely limited by building con-
struction and where a 2.35/1 aspect
ratio would have resulted in a marked
reduction in height, the image was
cropped laterally by 5 per cent and a
5 per cent squeeze was introduced by
means of a variable anamorphic lens.
Although these small amounts are
16
INTERNATIONAL PROJECTIONIST
OCTOBER 1957
hardly detectable, this procedure was
considered only the lesser of two evils
and definitely to be avoided whenever
possible.
It next became necessary to deter-
mine the image size and proportions
for non-anamorphic projection. Differ-
ent aspect ratios were recommended by
different studios. It was realized that
frequent changes in picture size, as
dictated by the quality and photo-
graphic composition of each individual
film, would lend interests or have pub-
licity value in the civilian fields, but
this was not considered either neces-
sary or desirable for military theatres.
7.66 Aspect Ratio
A survey of the product originally
available showed that most of it had
been photographed for the standard
1.37/1 aspect ratio, that it would usu-
ally be projected satisfactorily at 1.66,
but that it frequently suffered at higher
ratios.
If experienced civilian projectionists
sometimes had difficulty in framing up
and down for satisfactory projection
of close-UDS, there seemed little likeli-
hood that the enlisted projectionist
would do better. The 1.66 aspect ratio
was chosen, therefore, and the height
was matched to that of the Cinema-
Scope image. Early plans provided for
a possible change to larger images for
some pictures, but this has not proved
to be either necessary or, in view of
the operating complications, desirable.
Probably as much misinformation
has been circulated on the subject of
screen curvature as on any other re-
cent development. The problem, of
course, is to determine what radius of
curvature will provide the most uni-
form brightness over the greatest pos-
sible part of the seating area, or to de-
cide whether the disadvantages of
curvature might be seriously objec-
tionable in any particular case.
Because vertical viewing angles were
small and very few of the theatres in-
volved had projection angles exceeding
about 5°, the problem of the apparent
curvature of horizontal lines was vir-
tually nonexistent. Since it was not
necessary to fly the screens in crowded
fly lofts, there was no other pressing
reason for using a flat frame. Finally,
because of the small projection and
viewing angles, tilting of the screen
to direct maximum reflection into the
seating area proved to be unnecessary.
All that was necessary was a rela-
tively simple drawing-board study of
a few representative types of auditori-
ums. For this purpose, a few viewing
positions were chosen: at the sides at
front, center and back. The angle be-
tween the line of sight and a specularly
reflected ray provides the means of
reading, from the polar diagram of
screen reflection, the relative bright-
ness of that point of the image. By
proper choice of curvature, the bright-
ness of the near and far sides can be
equalized. In practice, this calls for
compromise in the interest of the best
overall condition in the preferred seat-
ing areas.
As a consequence of this study,
curved frames were installed in by far
the greater number of theatres. Where
very small images were used, flat while
screens could be illuminated satisfac-
torily, and were provided. In those
cases where curved screens were not
desirable and where the images were
large, lenticulated screens were in-
stalled. Their more uniform light dis-
I Continued on page 34)
Projection Mirrors Duplicate Sun's Heat
Scientists probing the mysteries of
intense heat have produced temperatures
approching that of the sun's surface with
ordinary motion picture projection equip-
ment, it was recently disclosed. Highly-
polished curved mirrors concentrate rays
from a carbon arc into a small but ex-
tremely high-energy beam that can pro-
duce temperatures above 7,000 degrees
Fahrenheit. The technique is actually a
scientific version of the use of a magnify-
ing glass to set fire to a piece of paper,
and was developed in connection with
high-temperature studies at the research
laboratories of National Carbon Com-
pany, Division of Union Carbide Cor-
poration.
"The arc image furnace, as this ver-
satile research tool is known, is not new,"
explained Dr. R. G. Breckenridge, direc-
tor of the laboratories, '"but an entirely
new twist has been introduced that adds
immensely to its usefulness and makes
practical the high temperatures required
in modern-day research. Previous fur-
naces have used specially-designed para-
bolic mirrors to focus the arc's energy
onto the substance to be heated.
"Our new design uses two elliptical
mirrors of the standard type found in
motion picture projection equipment.
One mirror directs the energy of the
arc at the other, which in turn concen-
Shown here is a technician using a high-
temperature microscope to see what is hap-
pening as a material under study is heated to
extremely high temperatures by the arc image
furnace, which is an extremely versatile
research tool.
trates the radiation on the specimen
being heated, forming a life-size image
of the actual arc."
The new equipment is highly compact
and portable and can be operated prac-
tically anywhere, at any time. It is said
to produce results comparable to that
of a solar furnace with a 60-inch diameter
reflector, which depends on the sun's
rays for its energy and can be operated
only under favorable climatic conditions.
Uses Half-Inch Carbons
The arc image furnace now in use
here uses arc carbons less than one-half
inch in diameter, focused by mirrors
approximately 18 inches in diameter and
placed about 6 feet apart. The arc draws
a current of 200 amperes, which is ap-
proximately twice the electrical require-
ment of a modern home. Normal operat-
ing voltage is 80 volts. There is no
reason why the arc image furnace cannot
be extended to larger arcs with higher
power to heat larger samples, and work
along these lines is already underway.
In addition to its use of standard
equipment, the new system has the ad-
vantages of providing a narrow beam
midway between the two mirrors where
a shutter can be placed to turn the
energy on and off very quickly without
disturbing the arc. A tilted mirror can
be placed at the same point to tip the
beam at any desired angle if it is to be
used in melting a specimen.
"As an extremely 'clean' source of high
temperatures, the arc image furnace is
ideally suited to metallurgical research
where purity is particularly important,"
Dr. Breckenridge explained. "The beam
can be projected through a transparent
window into an enclosed vessel in which
the atmosphere can be controlled, and
which can even be raised to high pres-
sures if a combination of high tempera-
ture and pressure is desired. Because
of these features, it is a very valuable
research tool, and might well become
a useful production tool in the future
as high temperature operations become
more common in industry."
INTERNATIONAL PROJECTIONIST • OCTOBER 1957
17
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.
9il. JhlL
SPOTLIGHT
THE 25-30 Club of Greater New York
opened its first seasonal meeting on
September 12 with a testimonial dinner
in honor of Clarence and Mary Ashcraft
of the C. S. Ashcraft Mfg. Co. The affair
was held at the famous Cavanaugh Res-
taurant in New York City, and by unani-
mous agreement it was one of the Club's
most successful testimonial dinners.
On hand to greet the lamp manufac-
turer were a host of dignitaries including
Eugene Picker, vice-president of Loew's,
Inc.; Arthur Meyer, vice-president of
International Projector; Allan G. Smith,
manager, N. Y. C. branch. National
Theatre Supply Co.; Lester Isaac, na-
tional director of exhibition for Cine-
rama; John Kohler. supervisor of pro-
jection for Loew's, Inc. ; Willy Borberg.
design engineer for General Precision
Laboratory; Paul Ries, National Carbon;
Robert Solomon, manager, N. Y.'s Vic-
toria Theatre, Edward Lachman, Lorraine
Carbons, and Bart Greene, supervising
chief inspector for the N. Y. C. Depart-
ment of Water Supply. Gas and Elec-
tricity. As usual, Nat Doragoff, the Club
president, presided, and Morris J. Rotker
did the m. c. chores.
A series of testimonial speeches went
well through the evening and many a
visiting celeb was introduced. Space
doesn't permit us to mention all of them
but among the many were tribute
speeches from Lester Isaac, Bart Greene.
and Jack Rollman, chief projectionist
at the Rivoli Theatre in New York, where
Ashcraft lamps are currently lighting
up Mike Todd's "Around the World in
80 Days."
One bit of information that piqued
the interest of the diners was the state-
ment by Bart Greene that in his 45 years
of experience with the department of ^^ ^ |eft ^ right. Ju|ius Wetz|ef/ trustee 25-30 Club; Wm. Anderson, Club vice-president;
water supply, gas, and electricity, there John R0||maiv cnief projectionist, Rivoli Theatre; Clarence Ashcraft; Mary Ashcraft; Nat
had never been a fatal accident in a Doragoff, 25-30 Club president; Morris J. Rotker, past president, 25-30 Club; Dave Garden, and
motion picture theatre projection room. Alex Borgman. Rear, left to right: Tony Rugino; William Saulkey; John Kohler, projection
An amusing off-the-cuff personal ac- supervisor, Loew's, Inc.; Harry Mackler; and Phil Glazier.
count was given by guest of honor Ash-
craft, who understandably was apprecia-
tive of the splendid turnout for him.
Also representing the Ashcraft organi-
zation were Albert Johns, Lawrence
Ortlmer. and William Turnbull — plus a
brand-new Super Cinex lamp mounted
on the stage.
Many chief projectionists were on
hand to honor the Ashcrafts — Ben Olev-
sky, Radio City Music Hall; Charles
Talley, Roxy Theatre; Gio Gagliardi,
Stanley Warner Theatres; and Milton
Berkowitz of the Capitol Theatre. Also
present were Ralph Kautzky. regional
manager for Altec Service Co.; and
Barry Passman and Harry DeFura, of
International Projector. Among those
representing New Jersey IA Locals were
Ralph DeMea, Tony Boscarelli, Arthur
Mebbs, and Jim Mullen, of Local 384,
Hudson County; Harry Shockett and
John Lawson, Local 244, Essex County.
The end of this column is coming up
rapidly, so our conglomerate salutation
to all the other 25-30 Club luminaries.
including Morris J. Rotker, past presi-
dent of the Club, and Morris I. Klapholz.
Club secretary, who was recently elected
iin honorary member of England's
NATKE.
This department extends its felicita-
tions to the Ashcrafts and the 25-30 Club
. . . the roast beef and trimmings were
excellent, thank you.
• Speaking of office-holding records, one
must look far and wide to beat that held
by that perennial office-holder. James
A. Whitebone, secretary and business
representative for the past 35 years
of Local 440, St. John, N. B. His recent
re-election to the presidency of the New
Brunswick Federation of Labor, a post
he has held since 1930. and his long
term of office in the St. John Trades
and Labor Council (almost consistently
since 1926). plus his varied interests
in world wide labor movements, spel1
a lifetime of devotion to promoting the
welfare of the working man and his
family.
• Of special interest to photographic
hobbyists is the 22nd annual show of
the Rochester International Salon of
Photography which will open on March
1. 1958 at the Memorial Art Gallery
in Rochester, N. Y. Entries will be
classified in five sections: Pictorial Color
Slides, Pictorial Prints, Nature Prints.
Nature Color Slides, and Stereo Color
Slides. All photographs must be submit-
ted no later than February 9. 1958. The
Salon will award 18 medals for the best
entries. Data and entry forms are avail-
able from Mr. Norton Brownell. 298
Lettington Drive. Rochester 11. N. Y.
• An agreement reached between Local
225, Atlanta, Ga.. and the management
of the Madison and Kirkwood Theatres
ended a one-day walkout by the projec-
ASHCRAFT SUPER CINEX IN SPOTLIGHT AT 25-30 CLUB PARTY
18
INTERNATIONAL PROJECTIONIST
OCTOBER 1957
tionists. Jacob Pries, business represen-
tative for the Local, stated that the pro-
jectionists had been getting $1.70 per
hour, per man. plus a few fringe benefits,
and at the regular monthly meeting the
men voted to strike unless they got an
increase of $5.00 per week. Pries said
that a "very satisfactory" agreement had
been reached with Earl Hathcock. owner
of these two neighborhood houses.
The projectionists returned to work in
five other struck houses pending new
contract negotiations.
• Lou Walters, member of Dallas Local
249 and occasional contributor to the
editorial pages of IP. operates a pro-
jector repair shop in addition to holding
down a job as projectionist at one of
the local drive-in theatres. In connec-
tion with his repair shop. Walters recent-
ly senl notices to projectionists and ex-
hibitors stressing the importance of
using narrow-tooth sprockets with the
new mag-optical prints. He claims that
his method of grinding wide-tooth
sprockets to narrow-tooth size will not
damage the film.
° A new contract calling for two stage-
hands ended the two-month strike of
Stagehands Local 138, Springfield, III.,
against the management of the Orpheum
Theatre there. The theatre was struck
several months ago when the manage-
ment demanded that the Local reduce
the number of stagehands from two 1o
one. With the signing of the two-year
pact, the theatre re-opened with the fea-
ture "The Ten Commandments." Sam
Bonansinga. business representative, was
MEMBERS AND GUESTS AT 25-30 CLUB TESTIMONIAL DINNER
Seated around the table,
clockwise: Tony Boscarelli,
past president, 25-30
Club; J. Werzler, Joe
Perlman, and Nat Strauss,
Club trustees; Chas. F.
Eichhorn; Edgar Stewart;
Joe Abrams, and H.
Mackler. Far right: Chief
projectionists Chas. Talley,
Roxy Theatre; Milton
Berkowitz, Capitol Theatre.
Seated, left to right: Dion
De Tita; Ralph DeMea,
Arthur Mobbs, Jim Mullen
(latter three members of
Local 384, Hudson Co.,
N. J.); IP's Robert Mac-
Leod; and Lester B. Isaac,
Nat'l Director of Exhibi-
tion, Cinerama.
Left to right: Eugene
Picker, vice-president,
Loew's, Inc.; Abe Kessler,
past president, 25-30
Club; Robert Solomon,
manager, Loew's 125th St.
Theatre, N. Y. C; Morris
Rotker, master of cere-
monies; Allan G. Smith,
manager, National Theatre
Supply branch, N. Y. C.
Standing: Mackler, Morris
I. Klapholz, Club secre-
tary; Robert Goldblatt,
president of the first pro-
jectionists'union in greater
in charge of negotiations for the Local.
• Although Pittsburgh Local 171 was
rendered a favorable decision in its suit
last year against the owner of the Grant
Theatre in Millvale. Penna. (which is
in the Local's jurisdiction) for non-
payment of health and welfare benefits
as stipulated in a three-year contract,
the judgment has not yet been paid. The
exhibitor's recent petition before the ref-
eree in bankruptcy in which he proposed
a plan whereby he could meet the claims
of his creditors was found unsatisfactory,
and he was adjudicated bankrupt. A trus-
tee will be named by the referee and all
assets belonging to the bankrupt will be
liquidated to meet the justified claims of
Local 171 and other creditors.
SMPTE Sponsors Courses
for Technicians
SMPTE has again sponsored courses
for technicians, two in New York, and
one in Los Angeles. At New York Uni-
versity, the subcommittee for Education
of Sound Technicians along with Mo-
tion Picture Studio Mechanics Local 52.
IATSE, has established a Laboratory
Practice course moderated by Ralph D.
Whitmore. There is also a course, the
only one of its kind, in basic electronics
designed especially for sound techni-
cians: "Electrical Principles for Motion
Picture Sound Recording," conducted
by George Christ, supervision engineer
of the New York Telephone Co.
At UCLA. Edward E. Benham. chief
engineer of Station KTTV. Los Angeles,
heads a subcommittee sponsoring an ex-
tracurricular course in the use and han-
dling of film in TV. Ralph Westfall. mo-
tion picture engineer of the West Coast
division of motion picture film distribu-
tion for Eastman Kodak, is coordinator.
The course has been developed to as-
sist those in the TV industry who are
responsible for the general handling and
maintenance of film, and the procedural
techniques involved in the use of films
in TV stations. Experts from the motion-
picture and TV industries will discuss
everything the station film user needs to
know about picture and sound on film,
recording and projection and the related
equipment, in order to do a better job.
These courses are not opened to the
general public, but only to applicants
actively engaged in motion pictures or
TV.
N. Y. C.
BIS Back in Business
British Information Services has an-
nounced that their theatrical and non-
theatrical film services which were with-
drawn last June for reasons of economy
have been replaced. Contemporary
Films, Inc.. of New York City has been
appointed official distributor for all 16-
mm prints of BIS films.
INTERNATIONAL PROJECTIONIST
OCTOBER 1957
19
News and Views from District No. 2
By HANK BOLDIZSAR
Member, I A Local 150, Los Angeles, Calif.
THIS MONTH'S report on West
Coast activities is being written by
yours truly from the family campsite
along the shores of beautiful Clear Lake,
situated about 150 miles north of San
Francisco. Just before taking off for this
ideal vacation spot for a week of swim-
ming and fishing with the family, I at-
tended the District No. 2 Council meet-
ing, which was held at the Flame Res-
taurant in San Diego, Calif. This was a
perfect situation since our Council presi-
dent is the very genial Billy Wise, busi-
ness representative for San Diego Local
297, the host Local. During the pre-
meeting social hour Lou Alberts, press
secretary for 297, introduced yours truly
to the officers and delegates representing
the various IA Locals of that area.
With the seating of the delegates.
President Wise called the meeting to or-
der and then proceeded with the roll
call and the introduction of guests.
Among the invited guests were Carl
Cooper, IA 2nd vice-president, and
George Flaherty, special IA representa-
tive.
Locals Report on Activities
Business of the day opened with a re-
port by Council secretary Lon Bennett
of Long Beach Local 521 regarding the
confinement of Tom Doherty, Local 415,
Tucson. Ariz., to the Veterans Hospital
in Los Angeles. The delegates voted to
send Doherty the usual items of good
cheer to help brighten his stay at the
hospital.
George Schaffer, business representa-
tive for Los Angeles Local 150, reported
that contract negotiations with the Fox
West Coast Theatres were still pending.
The stumbling block seemed to be the
new equipment clauses with scale in-
creases for the suburban houses equal to
the override now being received in the
first-run houses. The assistance of IA
President Walsh has been requested.
(The override for first-run houses run-
ning special process film is 66 cents per
hour over basic scale for the house.)
Schaeffer also informed the delegates
that the world-famous Grauman's Chi-
nese Theatre is being considered for the
first Los Angeles installation of Cine-
miracle.
A more cheerful note was struck in
the report by Leo Moore, business rep-
resentative for Hollywood Local 165.
Moore stated that conditions in his Local
have been ideal since mid-July with all
members in full employment. As a mat-
ter of fact, an additional 19 men, mem-
bers of other projectionist Locals, were
hired to take care of the overflow of
summertime jobs.
Next heard from was Don Marshall,
business representative for Bakersfield
Local 215, who reported that Fox is ask-
ing for a reduction in projection person-
nel, but offers the same conditions now
enjoyed by Local 150. Marshall said
that his Local is countering this offer
with a request for a 50<f increase over
a four-year period. He also reported
that two houses in the Local's jurisdic-
tion are presently being surveyed for
possible Todd-AO presentations.
(Local 150's new five-year contract
calls for a wage increase of 10 cents per
hour, plus 6 cents per hour for health
and welfare. The existing manpower sit-
uation remains unchanged.)
At this point Harry Reynolds, dele-
gate for San Bernardino Local 577,
joined Marshall in requesting informa-
tion on Local 150's contracts for both
Todd-AO and "Ten Commandments."
George Schaffer then reported that for
the Todd-AO showings at the Carthay
Circle Theatre, a 1136-seat house in
Beverly Hills, the projectionists receive
$28.70 per man. per performance, with
the chief projectionist getting an addi-
tional $25 per week. There are two per-
formances a day with two projectionists
for each showing; no split shifts in this
reserved seat house.
Two-Man Shift Maintained
The two-man situation also prevails at
Warner's Beverly Theatre in Beverly
Hills, where the "Ten Commandments"
Social Security Contributions
Social Security benefits are financed by
worker and employer contributions.
From 1957 through 1959 you will con-
tribute 21/4 per cent of your earnings
as a Social Security tax, and your
employer will contribute an equal
amount. Once you have paid taxes on
$4,200 of wages from one employer
in a year, you don't have to pay any
more tax while you are with that em-
ployer during that year.
However, if you work for more than
one employer in a year, and taxes are
deducted on more than $4,200 in the
year, you may claim the excess tax
as a credit on your federal income tax
return. Social Security taxes will be
raised in 1965, and every fifth year
thereafter.
ILGWU Research Dept.
continues its engagement. Each man re-
ceives one hour extra preparatory time
per day on opening and closing shifts.
Each crew runs one show per day, and
the weekly pay averages $127 per man.
Weekly average for Todd-AO is $172.20.
Reporting for San Diego Local 297,
Leonard Hall stated that his Local was
in the process of negotiations with an
association of managers, and that agree-
ment had been reached on health and
welfare contributions of 6 cents per
hour. Drive-in theatres in the Local's
jurisdiction requested a reduction in pro-
jection personnel, but agreed to a re-
newal of the present contracts plus 6
cents per hour for health and welfare.
Hall also reported that the Local had
signed up the Fox houses with a 10
cent-per-hour increase in scale, plus an
immediate 5 cents-per-hour for the
health and welfare fund. The latter will
be increased to 10 cents-per-hour after
one year. He also informed the delegates
that Todd-AO has been installed in the
Capri Theatre — a 750-seat suburban
house, the contract caling for two men
per shift, at $3.65 per hour, per man.
Santa Barbara Local 442 was repre-
sented by Johnny Gotchel who reported
that with the assistance of Carl Cooper,
IA 2nd vice-president, his Local finally
leached an agreement and signed con-
tracts with the Fox West Coast Theatres.
Projectionists at World Fair
Ralph F. Adams, Council vice-presi-
dent and business representative for
Santa Ana Local 504, informed the dele-
gates that he was in the midst of con-
tract negotiations. The Local was asking
for an increase of 20 cents-per-hour.
plus 6 cents-per-hour for health and wel-
fare. He also reported the construction
of an electronics shop by the Wm.
Raulke Company, where displays will be
built for next year's Worlds Fair in Bel-
gium. The Santa Ana Local plans to
send two projection crews to the Fair-
one consisting of six men who will re-
main there for 40 days, and the other
of three men for 180 days.
Representing San Bernardino Local
577, Harry Reynolds reported as follows:
Signed up three drive-ins, increasing the
guaranteed shift time from 5% to 6
hours, with a ten cents-per-hour increase
the first year, plus an additional 5 cents
per-hour hike for each of the following
four years. Agreement with the drive-ins
also calls for health and welfare con-
tributions of 35 cents per shift the first
year, 40 cents per shift the second year,
45 cents the third year, and 50 cents the
fourth and fifth years. Average scale for
the drive-in projection room is $158.00
for a six-day week. Contracts for Fox
Theatres and the Pacific Drive-In are
still pending.
Continuing with the report by Locals,
{Continued on page 34)
20
INTERNATIONAL PROJECTIONIST
OCTOBER 1957
What Is YOUR Problem?
Projection
CLINIC
A Solution for Switch Clicks in Sound Systems
"MANY of the theatres in Pakistan are troubled by switch clicks coming over
the sound systems," writes Mr. Yusaf Umar of Karachi. "Every switch which
is not in a sound circuit gives a click noise which is heard in the sound-system
speakers when the volume is turned up.
"In tracing out the trouble. I deter-
mined that these clicks are picked up
by the PEC circuit which runs from the
photocells to the main amplifier. I have
checked the ground to all the equipment
and found it perfect. To be on the safe
side. I even made fresh grounds to the
equipment, but I could not eliminate the
switch clicks.
"We are using 930 photoelectric cells
connected by coaxial cables to the main
amplifier. According to the instructions
of the American manufacturer, it is not
advisable to change this hookup in any
way. How do you suggest that I eliminate
the switch clicks from the sound?"
IT MUST be admitted that "long-dis-
tance experting" is not always satisfac-
tory in the case of obscure troubles. By
"obscure" we mean that the real cause of
the trouble may be any one of a number
of things — or even more than one!
Clicks heard in the sound when light
and power switches are operated, for
example, immediately suggest faulty
shielding or imperfect grounding of the
photocell-to-amplifier cables, but these
possibilities have been ruled out. We
must, therefore, assume static pickup
through the power lines and the ampli-
fier into the photocell circuit.
High-Impedance Line
The use of a high-impedance connect-
ing line from each soundhead to the main
amplifier is not the best designing prac-
tice; but we, ourselves, have often oper-
ated on such equipments, and we have
had to make the best of them, correcting
their defects whenever hum or other noise
pickup made itself apparent. Sound-
equipment manufacturers eliminate the
long high-impedance photocell cables
either by using a step-down transformer
in each soundhead to give a low-imped-
ance circuit or. better, by placing a
preamplifier in or near each soundhead
for the same purpose.
Because the various light and power
switches in your projection room produce
the clicks, it would seem advisable to
"damp" the main power line by means
of small capacitors. These are best con-
nected across the 120-volt power-input
line to your main amplifier. They will
then be automatically disconnected from
the AC power line when the amplifier
is turned off.
Connect two 1-microfarad capacitors
rated at about 250 volts in series, and
bridge these across the AC power line to
the amplifier as shown in the diagram.
Connect a wire to the lead between the
two capacitors, and attach this wire to
the ground — the main frame of the am-
plifier (if already grounded), a water
pipe, or similar grounded object. This
expedient may or may not stop the clicks
— we have no way of knowing. But if
it only reduces the interference without
eliminating it altogether, try larger ca-
pacitors (up to about 10 mfd).
Aligning Film Magazines
MANY PROJECTIONISTS have formed
the good habit of removing the upper
film magazines from their projectors
every few months in order to inspect and
thoroughly clean the upper fire-valve rol-
lers. It is' also necessary to remove the
upper magazine, and the fire-roller box
as well, when installing an upper feed
sprocket in Simplex Regular and Super
Simplex projectors.
When replacing the magazine and fire-
roller box, make certain that these com-
ponents are in line with the upper feed
sprocket. This is extremely important.
The film should pass from the upper
reel through the fire rollers and onto
the upper sprocket without any twist or
sidewise misalignment.
If any of these components be out of
line laterally, the feed-sprocket teeth will
pull the film by only one row of sprocket
holes instead of evening up the load on
both rows of perforations. The film may
thus suffer damage, particularly in the
last hundred feet or so of film in each
reel, when film tension between the feed
sprocket and the upper reel is greatest.
Methyl Chloroform
7 have to do some film cleaning, but
I don't want to use carbon let. A
commercial methyl chloroform
product has been recommended as
a good cleaner, but isn't that as toxic
as carbon tet?
METHYL CHLOROFORM is less toxic
than carbon tetrachloride, but dangerous
enough. It should never be inhaled for
any length of time nor used where there
is not adequate ventilation.
Although it is recommended for clean-
ing film, it has some disadvantages. If
it has not thoroughly evaporated before
the film is wound, it will cause a good
increase in curl. It will soften Tenite
plastic cores, and unless it has an in-
hibitor, it has a damaging chemical re-
action with aluminum, zinc, and their
alloys. It can also dissolve certain film
lacquers.
Albeit a bit expensive, DuPont's Freon-
113 is non-toxic, and a satisfactory clean-
ing agent.
120-volt AC
power input
« ^-"Main amplifier switch
F
^=1 t
u^n
10 mfd
Hill- GROUND
o 10 mfd
To
amplifier
Capacitors rated at 225" 250 volts
Method of connecting capacitors across AC or DC power lines to eliminate the electrical inter-
ference which sometimes enters radios and sound amplifiers through utility lines. This hookup
may serve to prevent the clicking noises generated by light and motor switches from coming
over theatre sound systems. Note that the capacitor "bridge" is placed across the line behind
the amplifier switch. This disconnects the capacitors from the line when the amplifier is turned
off. The ground connection indicated in the drawing is essential to effective noise suppression.
INTERNATIONAL PROJECTIONIST
OCTOBER 1957
21
c
*i
Cable Theatre Makes Its Debut
//P A.TAMA GAME" was the initial movie offered subscribers when the Tele-
' movie cable theatre began operations last month in Bartlesville, Oklahoma.
Approximately 300 subscribers were prepared to receive the product, but more
were coming in fairly fast order. There was a sizable backlog of orders, and
on opening day six two-man crews worked around the clock to make instal-
lations. Hook-up work is still continuing at a rapid rate. This is the first use
of the cable theatre closed circuit system; engineered and manufactured by
Jerrold Electronics Corp., the control room also features equipment manu-
factured by General Precision Laboratory, and installed by National Theatre
Supply. Details of this were described in IP for April 1957, page 14.
Set up on the ground floor of the Tele- move the regular Vidicon film chains
from operation for servicing.
The successful adapting of Cinema-
Scope and Vista-Vision film product to
the aspect ratio of home TV screens has
been accomplished without lens changes
or the use of an anamorphic lens. Rather,
the sweep of the camera is altered elec-
tronically and is controlled simply by
pushing a series of buttons on the mon-
itor console.
Other buttons on the control console
start, stop, and provide selection of tele-
cast projectors, advance the slide pro-
jector mechanism, and vary the aspect
ratio according to the type of film shown.
The studio floor plan (see Fig. 1)
shows the layout of duplicate projection
equipment, and the locations of 6-inch
movies Building, the studio — measuring
21 by 26 feet — is in full view of the pub-
lic. A large plate glass window enables
passers-by to watch the program-origi-
nating equipment in operation, and to
see the picture being run on monitor
screens.
Since Video Independent Theatres
plans to present a different motion pic-
ture simultaneously over two separate
channels, duplicate installation of pro-
jection and control equipment has been
made. Each of these channels utilizes
two GPL 35-mm Telecast Projectors, a
Vidicon film chain, a standby Vidicon
camera, a Multiplexer, and a master
monitor and control console. A third
channel carrying news, weather, time,
and music, is operated at a third control
console. These units, plus other pulse
generation and distribution equipment,
make up the bulk of the necessary gear.
Modified Simplex Projectors
The film projectors are the Simplex
35-mm XL theatre type specially modi-
fied for TV with a 3-2 shutter intermit-
tent movement to synchronize the stand-
ard film projection speed of 24 frames
per second with the TV transmission
rate of 30 frames. The units are similar
to those in use by a number of TV sta-
tions in major cities throughout the
country. The projectors are also
equipped with a separate shutter motor
which remains in sync with the drive
motor and allows still frame operation.
The machines can be controlled at both
their own and the console-monitor po-
sitions.
The standby GPL Vidicon Cameras,
similar to those used in industrial and
institutional closed-circuit TV installa-
tions, are ready for emergency service
at any time it may be necessary to
deep conduit trenches in the concrete
floor. Carrying the electrical wiring and
power supply, these are covered with re-
movable steel plates for easy access to
all cable.
Reception of the new system was gen-
erally favorable, but it is conceded from
all sides that it is much too early to
make any predictions of any kind con-
cerning the future of cable theatre.
20rh's Squeeze Problem
20TH CENTURY FOX contemplates
that it will take about two years to un-
squeeze its whole crop of CinemaScope
product to make it available for TV. It
has been working with a single optical
unit.
A faster method has been suggested:
the process now being used in the cable
theatre in Bartlesville, Oklahoma, de-
veloped by General Precision Labora-
tories. This particular method allows
for squeezing slightly with a variable
anamorphic lens, and cropping slightly
to a 1.66/1 ratio. Technicians consider
that the lost information is negligible,
and reports indicate that the GPL system
is perfectly good.
However. 20th-Fox prefers to do its
unsqueezing by an optional printer, a
much lengthier process than the GPL
TERMINAL EQUIPMENT RACKS
DISTRIBUTION EQPT, RACKS
FIG. 1. Floor plan of the
Telemovies studio show-
ing equipment and trench
locations. OCL — Optical
Center Line; MM — Mas-
ter Monitor; CC — Con-
trol Console.
CHANNEL
1
CHANNEL
2
CHANNEL
3
LOCATION - MOUNT 6-1/2 IO 7
FFET OF F FLOOfi (CLEAR).
SLIGHTLY.
- EXISTING TRENCHES
^T/';|'''"t'"i ' :— -~:^ :
CONTROL CONSOLE
CHANNEL 3 APPSOX. LOCATION
22
INTERNATIONAL PROJECTIONIST • OCTOBER 1957
version. The studio maintains it is no1
in a hurry, since the sale of Cinema-
Scope product to TV is still well in the
offing. It, nevertheless, is going ahead
with plans to unsqueeze the entire back-
log of CinemaScope pictures.
3-D on TV
A THREE-DIMENSIONAL closed-cir-
cuit color TV system has been developed
by the General Electric Company. It
will be used for remote servicing of re-
actors used in the development of a
nuclear aircraft propulsion system.
Primary reason for development of
the 3-D TV was to permit use of color-
coded parts in reactor components, and
to provide the degree of depth percep-
tion required for their correct position-
ing. Its first use will be at the GE
aircraft nuclear propulsion department
at the Atomic Energy Commission's test
site at Idaho Falls, Idaho.
The system will also be adapted to
use in other closed-circuit applications,
including sales conferences, shareowner
meetings, switching operations in rail-
road yards, process controls in auto-
matic factories and inspection and main-
tenance of work.
How the System Works
The system works like this:
The observer's viewpoint is trans-
ferred to that of a camera equipped
with a dual-optical system having a per-
spective similar to that of the eyes of
the observer. However, instead of pre-
senting the pictorial image of two sensi-
tive surfaces, as the human eyes do, the
stereo-TV system presents two images to
a single sensitive surface, a television
tube, on a time-sharing basis.
The frequency of the time sharing is
at the picture rate of the TV system —
90 pictures a second. Any objectionable
flicker has been eliminated by alternat-
ing 45 pictures a second for each eye.
The special color-TV camera has a
rotating shutter which alternately trans-
mits the scene as viewed from two points
to the camera's tube. The distance be-
tween the two points corresponds ap-
proximately to twice the distance be-
tween a person's eyes.
In the viewing console, light from the
TV image formed on the cathode ray
tube passes through a drum composed
of alternate segments of polarizing fil-
ters with axes of polarization at right
angles to each other. The drum re-
volves in sync with the TV frame rate of
the camera, and polarizes alternate
frames vertically and horizontally. All
left-eye pictures are polarized in one
direction, arid all right-eye pictures are
polarized in the other direction.
The observer views the screen with
polarized spectacles, seeing the left op-
FIG. 2. Interior view of the Telemovie studio with projection equipment. Shown are Ted Asplund,
project engineer for General Precision Laboratory, and Robert Clark, executive of Video
Independent Theatres, Inc.
tical path with his left eye, and the right
optical path with the right. The 45-
frame-per-second rate gives him a
stereo-vision without an objectionable
flicker.
Laboratory tests were conducted on
a closed-circuit system using 250 feet of
cable, but engineers say the cable can be
lengthened to any required distance, or
replaced by a radio link without losing
clarity, color, or three-dimensional effect.
Colorcast for B & W
BLACK-AND-WHITE film may soon be
telecast in color using a new process
unde--- development by Bryg, Inc., of
Pennsylvania. The all-electronic TV
system would provide color reproduc-
tion, while permitting the advantages
of black-and-white filming and fast proc-
essing. It would also provide more ac-
curate reproduction of color and color
film now in use.
There is also a mechanical system be-
ing developed. This requires the use of
color filters in the camera taking the
pictures, as well as in the projector by
which they are shown. The filters reg-
ister a color value on the film when the
pictures are taken. In turn, when the
pictures are shown through a similar
set of filters, the color is restored.
The Bryg firm's electronic system will
employ a different technique of filtering
to achieve the same result. Officials of
the company state that mathematical
and electronic design problems have
been solved.
TNT's Bout
174 THEATRES in 130 cities through-
out the United States and Canada car-
ried the Ray Robinson-Carmen Basilio
middleweight championship fight on
closed circuit TV. Operated by Theatre
Network Television, it was the largest
closed circuit ever put on, requiring a
total of 150,000 pounds of electronic
equipment valued at more than $1,000.-
000. shipped thousands of miles
throughout the U. S. and Canada. The
action was projected on to screens rang-
ing up to 50 to 65 feet.
The telecast was the 140th such oper-
ation for Theatre Network Television,
and it is interesting to note that while
a 500.000 patron potential was consid-
ered, and attendance records expected
to be broken, actually returns "fell be-
low expectations." However. TNT was
satisfied that both the presentation and
the fight were of top order.
Color Video Tape
COLOR VIDEO TAPE is not yet a fact,
but, according to Ross Snyder of the
Ampex Corporation, there is no reason
why it should not be in the next five
years. Although at a recent video tape
symposium Snyder declined to say
whether a video tape color image has
already been produced, he indicated
that "A lot can happen in this direction."
Indications are that color recorders will
be of the same basic design as present
black-and-white models, convertible for
use with color. This would probably
mean replacing a magnetic head or some
components on present units.
The life of audio tape is about 100
times greater than that of video tape,
although video tape has been improved
to the point of use in excess of 100
plays. The life of the rotary head in
the Ampex machines is far greater
than the video tape.
Get Your Copy of . . .
MITCHELL'S MANUAL OF
PRACTICAL PROJECTION
VViUv Per C0Py> including postage
INTERNATIONAL PROJECTIONIST • OCTOBER 1957
23
Of especial interest is this month's contribution from
England: an expert appraisal of Robert Mitchell's new
"Manual of Practical Projection," with a comparative
discussion of parallel British methods and material.
From the British Viewpoint
By R. HOWARD CRICKS
I HAVE BEEN reading Robert A.
Mitchell's new book with great in-
terest: first, because it is a really
valuable treatise on the art and science
of projection, containing a vast
amount of really practical informa-
tion; secondly, because in a number
of respects it demonstrates interesting
differences in practice between our
two countries.
Film Care
To start with Chapter 1 : I have in-
dicated in a previous article that our
exchanges are today thoroughly print-
conscious, and it is only the projec-
tionist in the umpteenth-run show who
often has cause for complaint of the
condition of his programme.
I am a little surprised that the old
idea of a sandpaper block should be
still recommended for cleaning the
film before splicing, because of the
risk of sand remaining on the film
and causing abrasion. Here the dry
scraper, which forms part of the Pre-
mier splicer and is made in the form
of a file, accurately mounted to slide
in contact with the film, is increasingly-
popular. With the minimum of skill,
and no risk of cutting through the
film, it makes a clean scrape with a
rough surface for the emulsion to bite
upon.
I suspect we have Mr. Mitchell to
thank for the recent adoption in this
country of the system of lubricating
film by wiping an oily cloth on the
edge of the reel. At a recent meeting
of the Theatre Division of the British
Kinematograph Society, the system
was unofficially approved by several
exchange representatives present.
Projector Types
Coming to the subject of projectors,
the Simplex style projector is appar-
ently almost universal in American
theatres. Here there are four main
types of projectors which have no
similarity in design, except for the use
in all of them of a Maltese cross very
much larger than that of the Simplex.
All post-war projectors have pump
lubrication, so that the tragic events
which followed "Because somebody
forgot to oil the intermittent!" are
practically unknown.
I heartily agree with Mr. Mitchell's
endorsement of the Powers pin-cross.
I have often advocated its re-introduc-
tion, but no manufacturer seems to be
prepared to tool up for making it.
Perhaps, too, the tin-can mechanism
which surrounded it has created preju-
dice against it.
One not unimportant point of de-
sign which in this country is regulated
by law is the take-up drive, which is
required to have either a gear or chain
drive to the friction — originally to
prevent the risk of fire in case of a
belt breaking.
The qualifications needed in your
country to obtain a projectionist's li-
cense are certainly impressive. Our
sole legal requirement in this country
is that the projection room shall be in
charge of a "competent operator" —
what this term means nobody knows!
Arc Lamp Development
Mr. Mitchell seems to have a poor
opinion of the "simplified" HI arc,
with non-rotating positive. It may
need a little more skill to obtain con-
sistent results on the screen, but it is
certainly more efficient in terms of
lumens per watt, and before the days
of wide-screen and CinemaScope was
used in many of our largest theatres.
However, to an increasing extent the
Peerless Magnarc (made in this coun-
try by J. Frank Brockliss, Ltd.) is be-
ing installed in the larger theatres,
while Mole-Richardson (of London,
not Hollywood) has recently produced
a high-efficiency arc with water-cooled
jaws and rotating positive, which is
being installed in a small number of
theatres. It is handled by Rank Pre-
cision Industries.
Drive-in theatres have of course not
reached this country, and probably
never will, because during the summer
months it would not be dark enough
until 9 or 10 p.m. British summertime,
and we English people are not late
birds. The chapter on drive-in theatres
indicates the appalling problem that
has to be faced to obtain a reasonably
well-lit picture.
The article on this subject was of
course written before the Harkness or
"Uniglow" screen had made its ap-
pearance. I learn that this screen is
already being tried out in drive-ins,
and should represent a very big ad-
vance over the previous types, since
it provides maximum reflectivity over
a considerable viewing angle.
Generators and Rectifiers
I do not recall having seen in any
projection text-book so complete a
description of the motor and genera-
tor. I am afraid I have been guilty t>f
taking them for granted, notwithstand-
ing the important part they play in the
running of the show.
The section on arc conversion gear
would have been quite a surprise to
me if I had not been already aware of
the different tendencies in our two
countries. Over here the motor-gen-
erator and rotary convertor are quite
obsolete (many years ago the gener-
ators taken out of cinemas were cou-
pled up with the engines from old
cars, and sold to fair-ground show-
men ! ) .
The most widely used conversion
gear is the mercury rectifier, with the
metal rectifier ( formerly copper oxide,
now selenium ) some way behind it,
but catching up. Before the war a few
thermionic rectifiers similar to the
Tungar were installed, but during the
war it was impossible to obtain re-
placement bulbs, and they were mostly
converted to mercury.
The suggestion that the mercury rec-
tifier is unreliable certainly does not
apply to this country. The pioneer
mercury rectifier was the Cooper-
Hewitt, which developed out of the
mercury discharge tube once used for
lighting in the film studio. Some of
the earliest equipments were still in
use not many years ago; it is probably
safe to say that no mercury rectifier
of modern type has yet worn out, al-
though rarely the bulbs have to be
replaced for various reasons.
Rectifiers are of two main types: the
unit type, often installed alongside the
projectors, and the heavier type in-
tended to be put in a special rectifier
room.
24
INTERNATIONAL PROJECTIONIST
OCTOBER 1957
Mr. Mitchell makes only the briefest
reference to a very important function
of conversion gear — the control of arc
current in relation to arc voltage. All
modern mercury rectifiers provide
choke control, which gives a volts/
amps characteristic equalled by a bal-
last resistance only with quite a high
line volts. Of particular interest is the
circuit of the Westinghouse metal rec-
tifier, which makes use of a resonant
circuit, with chokes and condensers, to
provide a volts/amps curve such that
when the carbons are touched for
striking, a very small current flows; it
is in fact becoming increasingly pop-
ular to strike the arc at the full-load
setting of the controls.
Sound and 3-D
The synchronous disk is — heaven be
praised, as Mr. Mitchell remarks — a
thing of the past. But there are still
many Western Electric universal bases
in use, of course with the turntable
removed. They seem to last for ever!
One aspect of sound which, if I may
suggest it, might have been more fully
dealt with is magnetic reproduction; I
find many projectionists are not at all
clear as to how this works. I fully
agree with the views expressed on au-
ditorium speakers; the majority of
stereo installations in our theatres
have no auditorium speakers installed,
and those that have them often use
them only for interval and play-out
music.
Finally, does Mr. Mitchell consider
that the 3-D picture will return? Per-
sonally I hope so, for, properly" pre-
sented (as it rarely was) stereoscopy
added enormously to the realism of the
picture. Over here we rather pride our-
selves on the belief that it was the 3-D
films at the Telekinema. during the
Festival of Britain in 1951, that
aroused public interest and led to the
adoption of the system.
No doubt the author's knowledge of
the Vectograph principle is more up-
to-date than mine, but the serious
drawbacks which he cites seem to me
to pale into insignificance before the
immense difficulties of producing Vec-
tograph films. Some years ago I
studied the patents, which are quite
frightening.
To summarise: "'The Manual of
Practical Projection" is an immensely
valuable book, which will undoubtedly
find wide favour everywhere that Eng-
lish is spoken and films are shown.
. . . the SUPER SNAPLITE
LENS for the clearest, sharp-
est, brightest pictures you
have ever seen on your
screen!
Your patrons will notice the
difference — Super Snaplite
gives greater contrast, bet-
ter definition, more light on
the screen where it really
counts.
Ask your
dealer for
Bulletin 222.
I LO I, I i a\o it i;i^y
\y/?ZcCCCO «: o it ■» o ir **'■' son
/ NORTHAMPTON, MASSACHUSETTS
TESMA Shew — Miami . . . Booth 212
INTERNATIONAL PROJECTIONIST • OCTOBER 1957
25
THE CARE AND CLEANING OF SCREENS
( Continued from page 10)
rough-textured white paint to elimin-
ate sheen and thus insure perfect dif-
fusion of the light. When modern
titanium-white and magnesium-car-
bonate pigments are used for surfac-
ing, this older type of screen gives ex-
cellent projection results. The rough
painted surface readily captures dust,
however, and provides a large surface-
area for the condensation of tars and
other volatile impurities in the air
which constantly circulates through
the sound perforations. These screens
may be advantageously cleaned only
when slightly soiled. Resurfacing is
indicated when they become yellowish
or visibly streaked.
Clean Back of Screen First
The sound perforations of theatre
screens necessitate the most cautious
screen-cleaning methods. Dust, often
of a sooty nature, lodges in the per-
forations and must be removed before
the front surface is cleaned. Failure
to heed this precaution may result in
streaking the screen. ,
When cleaning any perforated
screen, new or old, first vacuum the
back surface to draw out the dust
which is present in the sound holes.
The front light-reflecting surface may
then be brushed, washed, or repainted
without danger of smearing the screen.
Use the extension or brush attach-
ment when vacuuming a screen, and
vacuum only the rear of the screen,
NEVER the front surface! A vacuum
cleaner in good working order will
insure against putting dust upon the
light-reflecting face of the screen.
It will be necessary, in most theatres,
to move the speaker units back out of
the way before vacuuming the rear
of the screen. But before doing this,
mark the positions of the speaker
cabinets and baffles upon the stage
floor in yellow crayon or blue marking
chalk. The speaker units may then be
returned to their former positions after
the screen has been cleaned. Guard
against damaging or wrongly connect-
ing the speaker cables.
Brush Front of Screen
After the back of the screen has
been vacuumed, brush the front sur-
face in downward strokes with a wide
soft, brush which is known to be scrup-
ulously clean. Never apply to a screen
a brush which has been used for other
purposes. Never use a brush having
stiff bristles, as these may imbed gritty
particles in the screen surface.
Begin at the top of the screen,
brushing downward, and work your
way across its entire width. Then go
all the way across the bottom half with
the same vertical strokes. When you
have finished, clean the brush and
wrap it in a clean cloth to protect it.
Screen brushes are best kept under
lock and key, preferably in the pro-
jection room.
Many old-style screen surfaces can-
not be washed without removing some
of the screen paint and streaking the
screen. We reserve the washing opera-
tion only for new-style plastic screens
having the light-reflecting pigment
suspended in the plastic surfacing.
The original reflecting powers of
old-style matte and aluminum screens
can be restored only by resurfacing
with high-quality screen paints. In
fact, screen reflectance, after resurfac-
ing, may even slightly exceed that
which the screen had when it was new !
This may be attributed to two factors,
namely, the superiority of present-day
screen paints and reduction in the size
of the sound perforations with each
repainting. The latter factor is not
appreciable so far as apparent bright-
ness of the picture is concerned, but
it may have pronounced effect upon
the quality of the sound reproduction.
Effect of Plugged Perforations
It may be thought that partial plug-
ging of the screen perforations would
cause nothing more than an inconse-
Red Face Department
Well — anyway, we got this letter:
"Your article, 'From the British View-
point,' in the May issue refers to me as
'Mr. Loren F. Rider of 20th Century-
Fox.' I have apparently been confused
with your esteemed countryman, Mr.
Loren L. Ryder, of Ryder Sound Serv-
ices, so I would take this opportunity
of signing myself as . . .
Leonard F. Rider, Chief Engineer
20th Century-Fox Co., Ltd.,
London, England."
Our apologies to Messrs. Loren and
Leonard. Sometimes we don't know
our own name.
quential loss of sound volume. True,
the total attenuation of sound energy
by holes of reduced size is very slight,
but this attenuation unfortunately oc-
curs in the higher frequencies. The
result, when the effect of plugged holes
is pronounced, is "muffled" sound. Al-
though this trouble may be remedied
by overamplifying the high frequen-
cies relative to the low frequencies, the
installation of a new screen of better
transmission characteristics is pre-
ferable.
The sound perforations occupy
from 8% to 10% of the total area of
the screen surface. This means that a
perforated screen has from 92% to
90% the brightness of a solid (non-
perforated) screen of the same type
and condition.
No noticeable effect on sound re-
production is produced, however, until
the holes of a canvas screen have been
reduced to about a quarter of their
original size by the repeated applica-
tion of screen paint. (Thin plastic
screens can stand an even greater re-
duction of perforation size before the
sound is affected.)
But if the perforations occasioned a
light loss of 9% when the screen was
new, the resurfaced screen having
holes paint-filled to the extent of 75%
of the original perforation area will
show a brightness gain of (9% X
1/0.75)
= 2«
very nearly.
This light increase is too small to be
perceived; and the attendant risk to
good sound quality is too great to be
tolerated. Therefore avoid plugging
the sound holes when resurfacing an
old screen.
Resurfacing Old-Type Screens
To repaint an old-style perforated
screen, apply two thin coats of the
best-quality screen paint by means of
a spray-gun. Let the first coat dry
thoroughly before applying the sec-
ond. Do not use a brush to paint a
perforated screen, as this will clog the
sound holes. Be extra careful to apply
a number of very thin coats when re-
painting aluminum screens, as un-
avoidable runs in thick coats are visi-
ble in the picture as spots and streaks.
For matte screens use lead-free flat
white screen paints of the titanium-
magnesium type having reflectances of
from 0.90 to 0.95 when applied to a
solid surface. For metalized screens
employ medium-gain bright aluminum
paints made especially for screens.
Theatres of moderate width may bene-
26
INTERNATIONAL PROJECTIONIST
OCTOBER 1957
fit if a thin coat of white screen paint
is applied over two coats of the bright-
est aluminum paint. This will brighten
the picture over the main viewing
area.
Most modern screens consist of a
plastic material, with or without cloth
backing; and only this type of screen,
as we have said, may be safely and ad-
vantageous!) washed. These screens
have the light-reflecting pigments sus-
pended in the plastic layer where
surface-washing cannot possibly7 re-
move or otherwise affect them. Such
screens should not be painted. Their
original brightness is restored by
washing.
Before washing your plastic screen,
vacuum the rear surface and brush the
face according to the procedures pre-
viously given. The more dust yrou can
remove before applying moisture, the
more satisfactory the washing opera-
tion will be. But be very careful, when
working on a thin plastic screen, not
to dent it. This requires constant vigil-
ance while using the vacuum cleaner
on the back of the screen.
Washing Plastic Screens
Use a large sponge dipped in a
weak solution of pure soap in pure
water, and squeezed out so that the
sponge is damp, not dripping wet. A
mild detergent may be used instead of
soap, if desired: but the solution must
be weak! Never apply such solvents
as alcohol, acetone, carbon tetrach-
loride, naphtha, gasoline, etc. to a
plastic screen. Certain plastics are
softened, frilled, blistered, or even
dissolved by organic solvents.
Wash the front of the screen only,
and with vertical strokes from the very
top of the screen to the very bottom.
Apply the wet sponge gently, so as
not to dent the screen or damage its
IS!
FILM CEMENT
FOR ALL FILM
A FABULOUS NEW
CEMENT THAT WILL
GUARANTEE
YOUR SPLICES
TO HOLD
PERMANENTLY
1 oz. 40(5
Vi pt. 1.30
1 pt. 2.50
Please include Postage uith order.
Write tor free sample.
Dealer Inquiries Invited
FLORMAN & BABB.INC.
68 W 45th St, N.Y. 36. N. Y. MU 2-2928
surface. Don't wash too large an area
at a time, for it is essential to wipe off
the dirt-polluted wash-water with a
clean, nearly dry sponge wrung out
in clean water from time to time.
When one small vertical section has
been washed and dry-sponged, ad-
vance horizontally to a new vertical
section, repeating the operation until
the entire surface has been washed
and dried. Your screen will then per-
form like new7, giving daylight-bright
images having maximum clarity and
contrast.
Washing the plastic screen is man-
datory whenever soft candy or fruit
has been thrown upon it. Projectionist
Jean Neimoyer of Eureka, California
tells us about a screen soiled by choco-
late candy which front-row delinquents
had hurled at movie villains. The
manager succeeded in removing the
sticky mess and in restoring the screen
to a state of clean brightness with
warm water to which was added a
small quantity of a liquid household
cleanser. A certain element of risk is
involved in this procedure, however.
Because warmth softens and de-
forms certain plastic screen materials.
we hesitate to advise the use of warm
water. Stay on the safe side, therefore,
by washing screens in water no
warmer than the prevailing room tem-
perature. This means lukewarm, not
cold, water.
The use of commercial liquid
cleansers is also fraught with danger.
Many such household cleansers are
comparatively harmless aqueous solu-
t ons cf mild detergents, but others
are either organic solvents or solutions
of corrosive alkalies. Stick to Ivory
soap or Lux soap-flakes, and your
screen will be safe from destruction by
chemicals.
We recommend the removal of
candy and similar foreign matter from
screens in the following way:
1. Gently scrape off the bulk of the
foreign matter w ith a wooden spoon
of the kind used for eating ice-cream.
Take care not to scrape down to the
actual screen surface. Unplug sound
perforations with a toothpick.
2. Sponge off the remaining matter
with a swab of clean cotton cloth
moistened w'th lukewarm soapy water.
Keep the wetted areas on the screen as
small as possible, and press a dry
INTERNATIONAL PROJECTIONIST • OCTOBER 1957
27
cotton cloth against the screen very
lightly underneath the soiled area to
prevent water from running down the
screen.
3. Swab off the remaining stain
with a clean cloth dampened with pure
water.
4. ff it seems necessary, wash the
entire screen by the previously given
routine unless the screen is of the old
surface-painted canvas type.
Screen Maintenance Tips
An ounce of prevention is worth a
pound of cure, they say. To prevent a
screen from becoming excessively
dirty is good common sense, for soiled
screens waste enormous amounts of
light (which represent high carbon
and current expenditures ) and re-
quire frequent laborious cleanings or
repaintings. Visible streaks and iso-
lated spots of dirt are very annoying
to patrons.
A perforated sound screen is unfor-
tunately a natural dirt-catcher. Air
circulates through the sound holes con-
tinually, carrying dirt particles which
lodge in the holes and settle upon
the light-reflecting surface. We can't
stop the circulation of air, but we can
take simple precautions to minimize
if your patrons are doing this
?
o
u
C /=^
%
p
\x
your sound is bad!
It's tough enough to keep 'em coming
today with a good attraction . . .
and perfect sound.
An altec service contract will bring those
dissatisfied "ear-cuppers" back, along
with plenty of new faces.
Think it over!
ALTEC-
161 Sixth Ave. New York 13, N. Y.
Specialists in[ Motion Picture Sound
I
•••••■
Consistent
Maximum
Light
of
Greater
Economy
• • • • •
DIAMOND
PROJECTION
70 PINE STREET • NEW YORK 5, N. Y
the amount of dust passing through
the sound perforations.
Keep the backstage area clean! Re-
move the clutter of old shipping crates,
packing materials, cardboard and pa-
per waste, unused vaudeville props,
etc. upon which thick layers of grimy
dust accumulate. Store stage furniture
neatly at one end of the backstage
area and carefully sweep the floor with
a damp broom. Remove dust from
the speakers and baffles, and, if sound
drapes are used for killing back-wall
echoes, give them a thorough cleaning.
Janitor work on so large a scale is
not normally a part of a projectionist's
duties: but because the responsibility
for a clean and orderly backstage area
is shared by the projectionist, he has
every right to request the management
to have this work done.
Be sure that the curtain is kept
closed in front of the screen after the
last show at night and in the morning
when the janitors are cleaning the au-
ditorium. The screen will thus be pro-
tected against some of the dust un-
avoidably raised by the daily audi-
torium sweep-down. And if your the-
atre has a grand drape (front curtain)
in addition to the title curtain, close
both while the janitors are at work.
The cleaner your screen, the brighter,
clearer, and more uniformly illumi-
nated will be the picture. The picture
projected upon the screen, be it re-
membered, is what our patrons pay
to see.
fTHE END]
Social Effects of Motion
Pictures and TV
Because of motion pictures and TV
the people of the United States no longer
have to depend on second-hand accounts
of world events that shape their lives
but. in a visual sense, are present at
those events and see and hear for them-
selves what takes place, stated Jack
Woolley, special assistant for Public
Affairs to the Secretary of the Navy, at
the recent SMPTE Washington meeting.
The whole picture of the world that
people have in their minds has been
changed, Mr. Woolley asserted, as a result
of these technical advances.
Are You Moving?
If so, please notify us one month in
advance. The Post Office does not
forward magazines. To avoid delay,
please cooperate by sending us both
your new and old address.
28
INTERNATIONAL PROJECTIONIST
OCTOBER 1957
Closed-Circuit TV Takes Precedence
at SAAPTE Convention
THE 82nd semi-annual SMPTE con-
vention held early this month at the
Sheraton Hotel in Philadelphia was high-
lighted by the varied program of tech-
nical sessions relating to closed-circuit
TV. motion picture projection, video
tape recording, motion-picture labora-
tory practice, and color and large-screen
TV. Abstracts of some of the technical
papers read at these sessions that should
be of particular interest to projection-
ists are described following this report.
Presentation of awards was a feature
of the convention's activities. The Prog-
ress Medal of the SMPTE was awarded
to Dr. Ralph M. Evans, director of the
color technology division at Eastman
Kodak Co. The gold medal, represent-
ing the Society's highest award, is pre-
sented each year in recognition of any
research. invention, or development
which, in the opinion of the Society, re-
sults in a significant advance in the de-
velopment of motion-picture technology.
The award was presented this year to
Dr. Evans for his outstanding achieve-
ments in the development of motion-
picture color films and in the art of
color photography generally.
Col. Richard H. Ranger, president,
Rangertone. Inc.. received the Samuel
L. Warner Memorial Award which is
presented each year for outstanding
work in the field of sound motion-picture
engineering. Col. Ranger received the
award for "the invention, development,
and application of a method of elec-
tronically synchronizing sound recorded
on magnetic tape to the motion picture
camera." The Herbert T. Kalmus Gold
Medal Award for the development of
color processes, films, techniques, or
equipment useful in making color motion
pictures for the theatre or TV was pre-
sented to Wadsworth E. Pohl. technical
director of Technicolor Corporation's
motion picture division. Earl M. Lowry
Earl W. Lowry (left) and J. Gordon Jarvis,
co-authors of the paper, "The Luminance of
Subjective Black," for which they received the
Society's Journal Award.
Dr. Ralph
M. Evans
and J. Gordon Jarvis of Eastman Kodak
Company received the Journal Award
for the most outstanding paper published
in the SMPTE Journal during the pre-
ceding year. Charles P. Ginsburg. Am-
pex Corporation, received the David
Sarnoff Gold Medal Award for the de-
velopment of a practical videotape re-
corder.
Two distinguished members of the So-
ciety were enrolled as Honorary Mem-
bers: Kenneth C. E. Mees, formerly
with Eastman Kodak Company, and
Earl I. Sponable. of Twentieth Century-
Fox Film Corporation. The distinction
of Honorary Membership in the Society
is awarded to living pioneers of the mo-
tion-picture art whose basic contribu-
tions represent a substantial forward
step.
Papers Abstracts
THE OPTICS OF THE LENTICULAR
COLOR-FILM PROCESS
R. KINGSLAKE
Eastman Kodak Co., Rochester, N. Y.
In spite of the fact that the lenticular
color-film process has been known for fifty
years, very little commercial use has been
made of it largely because of the lack of
suitable lenses. The requirements of the
various optical components used in cameras,
printers and projectors are discussed, and
it is shown that every optical requirement
can be met. However, this will often require
specially designed lenses, which are likely
to be unusually large and consequently
expensive.
TELEVISION FILM STANDARDS
K. B. BENSON and J. R. WHITTAKER
CBS-Television, New York
The TV system requirement and audience
environment conditions differ materially from
those common to motion-picture theater
practice; thus, it is necessary that the
standards followed for the production and
processing of films for TV take into account
these differences. In addition, the increased
complexity of the combined motion-picture
and TV system over the direct-projection
system limits the clcgn-e of freedom permis-
sible in any phase of the operation. The
standards for control of the combined motion-
picture and TV system are developed by an
examination and correlation of the relation-
ships between the two component processes
and the effects upon the end product.
THE PROJECTION OPTICAL ASSEMBLY
CONSIDERED AS AN INTEGRAL SYSTEM
HAROLD E. ROSENBERGER
Bausch & Lomb Optical Co, Rochester, N. Y.
The function of each of the optical com-
ponents of the projection assembly and the
interrelationship between these components
are discussed. The true f-number of the
system is contrasted with the f-number of
the projection lens, considering the effects
of going to higher speed systems. The com-
ponents of an up-to-date optical projection
system including the new multilayer light-
reflecting, heat-transmitting reflectors are
described.
AVERAGING SCREEN-ILLUMINATION
READINGS
ARMIN J. HILL
Motion Picture Research Council, Hollywood
In obtaining the total output of a pro-
jector, or the total illumination which falls
on a projection screen, it is customary to
read the incident intensity at selected points
in the illuminated area. These readings are
then averaged by a suitable weighting
formula to give the average over the face
of the screen. This paper discusses some
of the more commonly used formulae, con-
siders their relative accuracy and the effects
of various screen aspect ratios on the results
obtained with them. It also analyzes various
types of errors on the basis of an idealized
distribution pattern which experience has
shown checks closely with practical results.
CAN XENON ARC LAMPS REPLACE
CARBON ARC LAMPS?
WARREN B. REESE
Prepared Jointly by Macbeth Corp., Newburgh,
N. Y., and OSRAM, Munich, Germany
Xenon arc lamps have inherent properties
as to spectral energy characteristics, lumin-
ous efficiency, electrical operating character-
istics, and geometrical characteristics which
make them attractive, from both a technical
and an economical point of view, as the
first new light source which is feasible as
a replacement for the traditionally used
carbon arc lamps in motion-picture film
projectors. Technical data on xenon lamp
operating characteristics, projector optical
design, and screen brightness measurements
will be discussed fully. Practical experience
as a result of xenon lamps already being
used in film projectors will also be covered.
RESEARCH COUNCIL BRIGHTNESS
METER
PETRO VLAHOS
Motion Picture Research Council, Hollywood
The measurement of theater screen bright-
ness could be determined with reasonable
certainty with simple illumination-type in-
INTERNATIONAL PROJECTIONIST • OCTOBER 1957
29
truments before the advent of the gain-type
screen. Because the brightness of a gain
screen is greater than unity, it became nec-
essary to utilize a brightness reading instru-
ment for determining motion-picture screen
brightness. At the request of the Research
Council's Theater Projection Committee, a
low-cost, simple, and reliable screen-bright-
ness meter has been developed. This instru-
ment is unique in that it is of the comparison
type but whose comparison target is auto-
matically color matched to the color of the
viewed object. The instrument uses a stand-
ard flashlight battery but accuracy is inde-
pendent of battery age. The brightness
meter does not require nor does it contain
a zero or reference adjustment. The paper
describes the theory of operation and the
principle upon which this design is based.
PHOTOGRAPHIC DUPLICATING OF
VARIABLE-SOUND RECORDINGS
J. F. FINKLE
Eastman Kodak Co., Rochester, N. Y.
A sound recording quality comparison is
made between prints made directly from
V,,s' or0-.ec»„tS «<**
u**"* ■■■? &-**■"?
LaVezzi Machine Works
4635 WEST LAKE ST.
CHICAGO 44, ILL.
i \^w% kf^n.
THE MOST POWERFUL HIGH INTENSITY
CARBON ARC SPOTLIGHTS
THE 3000 WATT GENARCO SLIDE
PROJECTOR FOR FRONT OR REAR
PROJECTION
THE METROLITE
1 25 amperes D.C
THE SUPERACE
which operates
on 20 amperes A.C.
MODEL SM.2 with the electric 70
slide changer for 3^" x 4" slide
GIFT DESCRIPTIVE
LITERATURE BY RETURN MAIL
r*o*iGENARCO INC.
97-00 B SUTPHIN BLVD.
JAMAICA 35, N. Y.
original variable-area negatives and prints
made from photograpic duplicate negatives.
The relationship of the densities of master
positive and dupe negative to cross-modula-
tion distortion, signal-to-noise ratio, and
frequency response of final print is dis-
cussed.
THE AMPEX VIDEOTAPE RECORDER:
AN EVOLUTION
CHARLES P. GINSBURG
Ampex Corp., Redwood City, Calif.
The Ampex Videotape Recorder came as a
considerable surprise to the TV industry,
when it was demonstrated in April, 1956.
Behind the machine was a long development
project whose story has never previously
been told. The approaches which failed,
the unexpected solutions which turned up
while searching for others, the experiments
that succeeded, and the interplay of technical
contributions by the staff's creative person-
alities are described by the head of the
project.
MAGNETIC TAPE FOR VIDEO
RECORDING
R. A. von BEHREN
Minnesota Mining & Mfg. Co., St. Paul, Minn.
The new video tape recording systems
now in commercial and experimental use
require special magnetic tapes differing in
design from standard types, and manufac-
tured to a standard of perfection which a
short time ago was believed impossible to
achieve. This paper discusses some of the
unique features of video recording tapes
and the problems encountered in their
development.
SURVEY OF LARGE-SCREEN TV
PROJECTION EQUIPMENT
FRANK N. GILLETTE
General Precision Lab., Pleasantville, N. Y.
The large-screen equipment available to
the industry in the period around 1950 was
described to the Society in a number of
different papers. Since that period certain
changes have taken place in the equipment,
but these changes have passed generally
unnoticed because of the relatively dormant
state of the closed-circuit field. A survey
of the equipment now used in this very
active field is presented.
TYKOCINER'S SOUND PICTURE
CONTRIBUTIONS
JOHN B. McCULLOUGH
Chairman, Historical and Museum Committee
Professor Joseph T. Tykociner, now 90
years old, in 1922 demonstrated his system
of recording sound optically by means of a
variable-density soundtrack with a single-
system camera as a result of many years of
experimentation. During that year, he made
one of the earliest public demonstrations
of talking motion pictures. Professor Tyko-
ciner's other contributions to the field of
electronics will also be described. The paper
will be followed by a showing of his first
film and attempted reproduction of its re-
corded sound. Acknowledgment is made to
30
INTERNATIONAL PROJECTIONIST
OCTOBER 1957
Edward W. Kellogg, Glenn E. Matthews-,
Joseph E. Aiken and Arthur Wildhagen
for their counsel in preparing this mile-
stone tribute to one of our early motion-
picture pioneers.
ADVANTAGES OF USING A CON-
TROLLED PROJECTION SCREEN
WITH PROJECTION TELEVISION
W. T. SNYDER and E. F. JOHNSON
Universal Screen Co., Clinton, Mass.
This paper discusses brilliance compari-
sons and methods of obtaining brilliance
results. Comparisons are made using the
matte-surface magnesium-carbonate block as
the criterion. Brilliance ratings and their
ratio to horizontal and vertical controls are
discussed. The paper also covers light output
of projection TV units and its ratio to screen
brilliance and considers light resistance,
color rendition, tone graduation and resolving
power of lenticular screen material.
PROGRESS REPORT ON INFRARED
TRANSPARENCY OF MAGNETIC
TRACKS
GEORGE LEWIN
Army Pictorial Center, Long Island City, N. Y.
A report on further test of the infrared
transparency effect, including some prelimi-
nary work on 35-mm reproducers and addi-
tional 16-mm demonstration material. The
first report appears in the September issue
of the Journal.
A HIGH-BRIGHTNESS TV
PROJECTION SYSTEM
G. W. ELLIS and C. L. ELLIS
General Electric Co., Syracuse, N. Y.
Of all the types of TV projection systems
used today, the Eidophor is unique. Being
Cplices _
•* NOT 1
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., INC.
DEPT. J
315 West 43rd Street New York 36, N. Y.
JUdson 6-1420
of the '"light-valve" type, it is capable of
brightness comparable to film projectors. The
principles of operation are reviewed with
a description of the methods used to achieve
almost completely automatic operation. Some
interesting applications are discussed.
MEDIUM-SIZED SCREEN COLOR
TV PROJECTION
S. L. BENDELL and W. J. NEELY
Radio Corp. of America, Camden, N. J.
Closed circuit television has created a
need for picture display equipment suitable
for large groups. Basic engineering and
economic factors influencing the design and
use of such equipment are discussed. The
wide variety of applications for such a unit
dictates that special emphasis be put on
compactness, mobility and easy operation.
These requirements have resulted in the
design of a small inexpensive TV projector
suitable for color or monochrome. Its op-
erational features are described.
OBITUARIES
Long, Frank, 67, member of Local 143, St.
Louis, Mo., died of pneumonia on August
21. He was a member of the Local for the
past 45 years, and prior to his retirement
last year he had worked as projectionist
in several top theatres in St. Louis. His
wife and a daughter survive him.
• • •
Zern, Paul G., business representative for
San Francisco Local 162. died suddenly
on September 17 last, while attending the
joint California State Federation of Labor
and Theatrical Federation Conventions in
Oakland. Calif.
Dagenais, Charles, member of Local 257,
Ottawa. Ont.. Canada, died September 13.
A member of the Local for the past 11 years,
he was very popular with the membership.
At the time of his death he was a projec-
tionist at the Rideau Theatre in Ottawa.
• • •
Weaver, John H., veteran member of Pitts-
burgh Local 171, died last month after a
lingering illness. He had worked in the
of Consistent Quality
and Outstanding Service
For Every Theatre Need!
projection room at the Garden Theatre
there for a number of years prior to his
illness.
• • •
Owen, Harry, 57, member of Detroit Local
199, died following a heart attack. A pro-
jectionist for many years, he worked in a
number of theatres in and around Detroit.
Serious injuries suffered in an accident about
a year ago kept him confined to his home.
• • •
Amreihn, Joseph W., 65, member of Local
388. Youngstown, Ohio died last month.
For many years he served the Local as
secretary-treasurer and as business repre-
sentative. Prior to his death he worked
as projectionist at the Warner Theatre in
\oungstown.
Universal Profit is $1,887,498
Universal Pictures Co. and subsidiar-
ies report a profit of $1,887,498 for the
39-week period. This compares with
$2,227,933 for the 39-week 1956 period
— not including non-recurring capital
profit of Sl.021.000.
UA Nets $1,196,000
The initial half of 1957 saw the net
earnings of United Artists reach $1,-
196.000. compared with $989,000 last
year. Gross income was $32,498,000, in
contrast to $27,342,000 last year.
COR FILM REPAIR AND
r OK D SPLICING BLOCK
REPAIRS DAMAGED FILMS
For
35mm and
16mm Film
19.95
Used with NEW MAGIC MYLAR
Sprocketed Transparent Splicing Tape
Magic Mylar Sprocketed Transparent Splicing
Tape repairs torn, gouged films as good as new
. . . without the loss of a single frame.
Applied directly on both sides of the dam-
aged film. Magic Mylar (only 1 1000 of an inch
thick) repairs, reinforces and holds the broken
film together . . . WITH THE STRENGTH OF
MORE THAN 3 TIMES THE ORIGINAL FILM.
REPAIR TEARS
REPLACE BROKEN SPROCKET HOLES
REPLACE GOUGES
STRENGTHEN LAP SPLICES
MAKE BUTT SPLICES
MAGIC
"MYLAR"
TRANSPARENT
SPROCKETED
SPLICING
TAPE
16mm— Single or double perf.
66 foot roll $ 5.00
35mm-66 foot roll 9.00
FLORMAN & BABB, INC.
68 W. 45th St., N. Y. • MU 2-2928
F & B carries a complete stock of motion
picture and audio-visual equipment.
INTERNATIONAL PROJECTIONIST
OCTOBER 1957
31
PERSONAL NOTES
Walter E. Green, president of National
Theatre Supply Co. for 29 years, has
announced his retirement effective De-
cember 31. Green has been in the mo-
Walter E.
Green
tion picture equipment field for 48
years, starting his career with the Kin-
etoscope division of the Thomas A. Edi-
When You Specify
ASHCRAFT
You may be
sure you are
obtaining
The BEST!
Recognized
the world over as
The LEADER
in
motion picture
projection !
C. S. ASHCRAFT
MANUFACTURING CO.
36-32 THIRTY-EIGHTH STREET
LONG ISLAND CITY I, NEW YORK
son Co. He is a vice president and mem-
ber of the board of directors of General
Precision Equipment Corp., and serves
as an officer and director in various other
GPE subsidiaries.
# * *
Barry Passman, formerly vice presi-
dent in charge of engineering for Sim-
plex Equipment Corp., has accepted an
appointment as director of engineering
for Graflex, Inc., of Rochester, New
York. Harry DeFuria succeeds as chief
engineer of Simplex, in charge of all
activities in the engineering and inspec-
tion departments.
* * *
Albion Edgell is the new manager of
industrial products sales for Ansco. The
position requires formulating plans and
policies concerning the marketing of
Ansco professional products for the in-
dustrial field. Edgell was a member of
the Ansco graphic arts field force.
* * *
Gerry Rich will be the general sales
manager for Florman & Babb, Inc., New
York City, motion picture and TV equip-
ment suppliers. Formerly with Camera
Equipment Co.. Inc.. Rich has been in
motion picture equipment sales for ten
years, equipping and installing motion
picture production units in many indus-
trial plants, colleges, and TV stations.
He will be joined on the sales staff by
Leonard W. Hollander, formerly of
DeLuxe Laboratories in New York, who
will specialize in non-theatrical and
audio-visual services.
•X- * -X-
Richard Rachals was named vice-presi-
dent in charge of engineering for Koll-
morgen Optical Corp. A native of Pitts-
burgh. Penna., Rachals received his
Richard
Rachals
degrees of mechanical engineer and mas-
ter of science from Stevens Institute of
Technology. During World War II he
was technical assistant to the president
of Gibbs & Cox, Inc., naval architects.
Prior to joining the Kollmorgen organi-
zation, he was executive engineer of the
Edo Corp., College Point, N. Y.
* *
Philip M. Mikoda has been appointed
manager of sales publicity for Ansco,
the photographic manufacturing division
of General Aniline and Film Corp. With
Philip M.
Mikoda
Ansco for 15 years. Mikoda tok an ac-
tive part in the introduction of Ansco
color film. He will be responsible for
OF PROJECTION LENSES
Prime Lenses
F1:0 Light Collecting Speed
f hiluxh
Anamorphic Lenses
World's Finest!
PROJECTION
OPTICS
PROJECTION OPTICS CO., INC.
330 Lyell Ave., Rochester 6, N. Y.
BRIGHTER LIGHT
LONGER BURNING
SHARPER PICTURE
Free Test Samples
Hlfff»""'"TT?»»M»l»»»
<nnauteWk(^in^oHd
CARBONS INC., BOONTON, N. J.
ItM m ummmti mtaiil
STEADIER LIGHT
LESS ATTENTION
PERFECT COLOR BALANCE
Free Carbon Chart
32
INTERNATIONAL PROJECTIONIST • OCTOBER 1957
planning, scheduling, and handling all
sales publicity activities.
* * *
Roland A. Colistra has been promoted
to treasurer-comptroller of Westrex Corp.
Joining Westrex in 1928 as a tax account-
ant. Colistra rose in the ranks to comp-
i
Roland A.
Colistra
trailer in 1952. He is a director of three
Westrex subsidiary companies — Westrex
Asia. Westrex East, and Westrex Iberica,
and is treasurer and secretary of Westrex
Orient and twelve other subsidiary com-
panies.
Cancer can't strike me,
I'm hiding.
Cancer?
The American Cancer
Society says that too
many people die of it,
xeedlessly : That's why
I have an annual medical
checkup however well I
feel. I know the seven
danger signals. And
when I want sound
information, I get it
from my Unit of the
AMERICAN CANCER SOCIETY
Sound Pioneer Honored by
Electrical Engineers
Arthur P. Hill, one of the pioneers
in the technical developments that
brought about sound pictures, has been
honored as a Fellow of the American
Institute of Electrical Engineers. AIEE
is the world's largest engineering so-
ciety, with a membership exceeding 50.-
000. The grade of Fellow is the insti-
tute's highest award. Citation for Hill
is "for contributions to the development
of wire and radio communications,
sound motion pictures, and acoustical
technology."
A native of England. Hill came to
this country in 1922 to become trans-
mission engineer in the plant depart-
ment of the Southern California Tele-
phone Company, where he made major
contributions to radio communication,
broadcasting, program facilities, and
public address system design and appli-
cation.
This led him to work on sound mov-
ies as a recording engineer with Elec-
trical Research Products. Inc.. a sub-
sidiary of Western Electric. In 1936 he
was appointed transmission engineer in
the chief engineer's department of the
Southern California Telephone Com-
pany (now the Pacific Telephone and
Telegraph Co.)
Presently retired. Hill is a member
of the Academy of Motion Picture Arts
and Sciences, and has long been active
in the AIEE Los Angeles section, serv-
ing as a member of the executive com-
mittee, secretary, vice-chairman, and
chairman.
SCIENCE MOTES
Metal Finishers that will have maxi-
mum hardness, much greater impact and
chemical resistance than conventional fin-
ishes will be obtained from two fast-
curing surface coating resins, Cyzac 1006
and 1007. American Cynamid Co. an-
nounces.
* * *
A Better Battery with 63 times greater
potential voltage and 10 times longer
storage life has been developed by Gen-
eral Electric. A '"solid electrolyte" type,
the battery is expected to be useful both
in a one-shot device where energy is
stored in a capacitator. or where long
periods of disuse require a source hav-
ing a long storage life. At 70° F. it can
be stored 20 years, and at 165° F. it will
last 720 hours.
* * *
Remote Speaker Controls may now
have more compact housings or outlet
boxes, due to production of three new
constant impedance attentuators devel-
oped by Clarostat Manufacturing Com-
pany. Instead of the larger units in pres-
ent use, the new CIT43 controls are based
on the 1%-inch diameter potentiometers.
Rated at 2 w DC, the controls handle
up to 4 w of audio.
Arc resistance of phenolic insulation
materials has been improved by as much
as 1,000%, according to Westinghouse.
Resistance is achieved by separating
molecules of the resin with particles of
inert oxides such as silica and alumina.
The oxides keep the resins from breaking
down into conduction compounds under
strong electrical discharge.
ITS A HIT !
in New York
BUT... will it be
a hit in your house?
It went over big in Manhattan . . . but
before any show can be a success in
your house, your equipment must be in
condition to roll it perfectly. Any show
can be a better show when equipment
performs properly. That's where RCA
Theatre Service comes in.
Protect your equipment and picture in-
vestment with RCA Theatre Service.
It will pay you to write now for com-
plete information!
Technical Products Department
RCA SERVICE COMPANY, INC
A Radio Corporation of America
Subsidiary, Camden 8, New Jersey
Tmk(s) ®
AT ALL THEATRE
SUPPLY DEALERS
UNION MADE
THE GREATEST NAME
IN FILM CEMENT
Registered U.S. Patent Office
FISHER MANUFACTURING CO. 1 iss mt. read blvd., Rochester *, n. t.
UNION MADE
INTERNATIONAL PROJECTIONIST • OCTOBER 1957
33
NEWS FROM DISTRICT 2
(Continued from page 20)
Frank Smith, president of Hemet Local
707, reported that Warner Brothers had
purchased 3000 acres of land between
the cities of Beaumont and Banning, and
that there were rumors of plans for a
new drive-in theatre. The Local hopes
to sign up the Desi-Lou shows in Palm
Springs, and is still dickering with
Charles Farrell there.
Representing Barstow Local 730.
Charles Hall reported a three-year agree-
ment with the Lancaster Drive-in calling
for increases of 15 cents, 10 cents, and
10 cents-per-hour. bringing the wage
scale the third year up to $3.15 per
hour.
Marvin Barker, business representa-
tive for Local 761, Chula Vista reported
new two-year contracts with wage in-
creases of 15 cents and 10 cents per
hour, plus health and welfare plan bene-
fits.
The Council's health and welfare
committee took up the problem of in-
creased hospital charges and discussed
ways and means of giving the members
full protection without increasing the
premiums.
Before the close of the meeting. Lo-
cal 150's George Schaffer called the
delegates' attention to the endorsement
of paid TV by the Studio Council. Speak-
ing for his Local, Schaffer strenuously
objected to this endorsement and he re-
quested that all IA Projectionist Locals
get together and block the resolution at
the forthcoming California State AF of
L Convention.
Adding a note of humor to the meet-
ing, Lon Bennett, Council secretary, re-
quested permission to discard the 16-
year-old briefcase he was using and
purchase a new one. Permission was
unanimously granted and IA represen-
tative George Flaherty urged the secre-
tary to make every effort to obtain the
maximum trade-in value of the old brief-
case.
And so ended the District No. 2 Coun-
cil meeting — and today ends my vaca-
tion here at Clear Lake. Tonight we
break camp and head for home where
yours truly is looking forward to
warmer nights and inner-spring mat-
tresses. Sleeping bags are fine — BUT!
EQUIPMENT IN ARMY
AND AIR FORCE THEATRES
{Continued from page 17)
tribution rendered curvature unneces-
sary though, generally, it was advan-
tageous.
While wood frames could be used, it
was found from experience that they
were heavy, subject to gradual changes
in form and generally less desirable
than metal, except in the smaller sizes.
Almost all the frames were constructed
of metal tubing.
Image brightness was another factor
that required investigation in connec-
tion with screens and lamps. It was
Q* When is a mistake a blunder?
J^. When a projectionist is not a regular subscriber
to IP — MUST reading for the projectionist craft.
Use the handy order form below
INTERNATIONAL PROJECTIONIST
19 West 44 St., New York 36, N. Y.
Enter my subscription for ° \ Vear J") issues-$2.50
1 v D 2 years (24) issues— $4.00
Foreign and Canada: Add 50c per year
Name
Address
City . . .
Zone
State
desired to operate within the recog-
nized 9 to 14 foot-lamberts limits. With
white screens this represents no very
great problem, since proper choice of
lamps and arc current usually suffices,
but it is far less simple with silver
screens. Regardless of how the frame
may be curved or tilted, it is impos-
sible to achieve uniform brightness
throughout the auditorium. The image
will be brighter when viewed from the
center of the seating area than from
the sides, and it very likely to be above
the desired value at one point and be-
low at another. This condition can be
alleviated by the use of lenticulated
or semi-diffusive surfaces, but the
greater cost may not always be justi-
fied.
For economic reasons, use of white
screens with larger lamps was not fa-
vored, although technically this is an
excellent solution. For the same reason,
although a considerable number of
lenticulated screens were purchased,
general use of this type could not be
considered.
Fortunately, close adherence to the
9 to 14 foot-lambert recommendation
is not essential. A brightness of 20
foot-lamberts has been recommended
by some, and even somewhat higher
brightnesses can be used without intro-
ducing really excessive flicker and
without serious degradation of con-
trast. Consequently, it was decided to
accept higher values at the auditorium
center in order to avoid undesirably
low levels elsewhere. This had the ad-
vantage that lower-gain screens, with
broader light-distribution characteris-
tics, could be substituted as they be-
came available, with an overall im-
provement in viewing conditions.
The lamps already in use were of
two types: 1-kw lamps in the smaller
theatres, and simplified high-intensity
(using 7-mm and 8-mm Suprex car-
bons) in the larger. These were ade-
quate since the largest screens were
under 40 feet in width and could be il-
luminated within the desired limits
without difficulty.
Had the theatres required larger
images, larger lamps would have been
procured. This was done for some over-
seas theatres, whose great size required
larger images, and larger lamps are
planned for a theatre now being de-
signed. As it was, except for some
transfers of existing lamps and power
supplies or a change in carbon size,
little new equipment proved necessary.
[TO BE CONTINUED]
34
INTERNATIONAL PROJECTIONIST
OCTOBER 1957
The Unladylike Behavior
of Maria Mitchell
In a quiet house in Lynn, Massachusetts, in 1889, an old woman
lay waiting for death. "Well," she said in amused wonder, "if
this is dying, there is nothing very unpleasant about it." And
the book closed for one of the most remarkable of the many
remarkable women America has produced.
Her story began on a night very long ago when, as a Quaker
girl in Nantucket, Maria Mitchell discovered a comet — and got
a gold medal worth 20 ducats from the Danish King.
Overnight she became a celebrity. But many people, wedded
to the popular notion of woman as a "household ornament,"
regarded Maria as an unwelcome phenomenon and her discovery
as only an acciden!.
That was because they didn't know Maria Mitchell. At 12 she
could regulate a ship's chronometer; at 17 she understood
Bowditch's "Practical Navigator" and was studying science in
self-taught French, German and Latin. In time she would
become the first woman member of the American Academy of
Arts and Sciences, the first woman astronomy professor — in
Matthew Vassar's Female College — and a member forever of
New York University's Hall of Fame.
Moreover, all her adult life she was to work with growing
success in the crusade to make American women free.
No one these days would question the rewards of Maria
Mitchell's crusade. Women today enrich every level of public
life. And, in family life, they guard financial security two times
out of three. One reason, probably, why their families have more
than .$40,000,000,000 saved— in guaranteed-safe United States
Savings Bonds.
Women know there is no safer way to save. Trust them.
Through Payroll Savings or at your bank, start your Bond pro-
gram, too. Today.
Now Savings Bonds are better than ever! Every Series E Bond
purchased since February 1, 1957, pays 3'-t% interest when held to
maturity. It earns higher interest in the early years than ever before,
and matures in only 8 years and 11 months. Hold your old E Bonds,
too. They earn more as they get older.
PART OF EVERY AMERICANS SAVINGS BELONGS IN U.S. SAVINGS BONDS
The U. S. Government ilties not pay J 'or this advertisement. It is donated by this publication in cooperation Kith the Advertising Council and the Magazine I'uhlishers of America
YOU HAVEN'T
LIVED
UNTIL
YOU'VE WORKED
with
PROJECTION and
SOUND SYSTEMS
Manufactured by
INTERNATIONAL PROJECTOR
DIVISION OF SIMPLEX EQUIPMENT CORPORATION
Distributed by
NATIONAL THE AT RE SUPPLY COMPANY
SUBSIDIARIES OF GENERAL PRECISION EQUIPMENT CORPORATION
. .
68084
COffGRlSS
NOVEMBER
1957
DEC 4 -1957
a " ~~
VOLUME 32 •
NUMBER 11
30c A COPY •
S2.50 A YEAR
PROJECTION
LAMP
THE WORLD'S FINEST and MOST POWERFUL
PREPARE YOURSELF NOW
FOR THE FUTURE
Do not make the mistake of buying Projection Lamps which may not
be adequate for your future requirements.
There are no standards now. Film widths vary from 35mm to 70mm. The
equipment you buy should be capable of projecting both of these and
anything in between, with equal perfection — with no further expense.
There is only one lamp that will do this—
THE ASHCRAFT SUPER CINEX
*1. The only projection lamp using one reflector for
all film widths 35-55-65-70mm. (No relay lenses
whatever are necessary).
*2. The only lamp using a heat transmitting reflector
for both 35mm and 70mm.
*3. The only lamp producing maximum light and
maximum screen light coverage simultaneously
— no hot spot under any circumstances. Maxi-
mum light and distribution are obtained regard-
less of film width or height.
These are the four principal aperture sizes now being used and contemplated for the near future. By the simple, instantaneous process
of moving the positive carbon crater toward or away from the reflector a fraction of an inch the aperture spot size will be enlarged
from the smallest spot shown (1-1/16" diameter) to the largest (2-1/4" dia.) and the selected position will be constantly maintained.
Isn't this much better than changing reflectors and relay lenses every time the aperture spot size is varied?
These are the possible aperture sizes your lamps should cover and
the sizes of the aperture light spot SUPER CINEX will give you. ^ ^ " ~" ^
This is the approximate screen light with excellent distribution you will / ^ ~~- x
obtain* with all tour aperture sizes:
Lumens
.825 x .600 Small Aperture 35mm
35,700*-
839 v 715 I
912 x 715 \ CinemaScope 35mm 42,000<-
1.340 x 1.06 Fox CinemaScope 55mm 49,572*-
M.G.M. 65mm
Todd-AO 70mm
45,200*-
*The quality and i value of the projection
lens may increase or decrease these values.
(Cinex is the registered trademark of C. S. Ashcraft Mfg. Co.)
U.S. Distribution through INDEPENDENT THEATRE SUPPLY DEALERS • Foreign: WESTREX CORPORATION
Canada: DOMINION SOUND EQUIPMENTS, LTD.
C. S. ASHCRAFT MANUFACTURING CO., INC.
36-32 THIRTY-EIGHTH STREET, LONG ISLAND CITY 1, NEW YORK
B
680848
NOV 21 1957
This scene is 10% brighter!
NEW "SUPREX" 9mm PROJECTOR CARBON
makes screens up to 10% brighter!
Brighter pictures cost less with the new "National" "Suprex" 9mm x 14 inch
projector carbon. It's up to 30% slower burning.
Your screen grows brighter every
year. It's almost four times
brighter now than in 1938. Yet
the cost of "National" carbon arc
projection is still one of the best
buys in your theatre.
The reason: continued carbon arc
development by "National" re-
search scientists. Every year,
"National' 'carbon arcs burn more
brightly, last longer than ever.
Newest addition to the "Suprex"
carbon family is the 9mm x 14
inch positive carbon, operating in
the 65 — 80 ampere range.
Your "National" projector carbon
representative can show you how
our carbon arc research pays off
in quality and savings. He is at
your service at all times.
UNION
CARBIDE
ATIONAL PROJECTOR CARBONS
TRADE MARK
The terms "National", "Suprex" and "Union Carbide" are trade-marks of Union Carbide Corporation
NATIONAL CARBON COMPANY • Division of Union Carbide Corporation • 30 East 42nd Street, New York 17, N.Y.
SALES OFFICES: Atlanta, Chicago, Dallas, Kansas City, Los Angeles, New York, Pittsburgh, San Francisco • IN CANADA: Union Carbide Canada Limited, Toronto
INTERNATIONAL PROJECTIONIST • NOVEMBER 1957
AUTHORITATIVE
COMPREHENSIVE
PRACTICAL
Acclaimed by leading technicians in the
industry as the most comprehensive and
down-to-earth handbook published to
date on the subject of motion picture
projection.
ROBERT A. MITCHELL S
MANUAL OF PRACTICAL PROJECTION
IN HANDY 5</2" x 8V2" SIZE - 450 PAGES - ILLUSTRATED - CROSS INDEXED FOR EASY REFERENCE
* Here is one of the most helpful works
ever published for the motion picture pro-
jectionist. A handsomely bound and pro-
fusely illustrated compilation of the BEST
of the Robert A. Mitchell articles that
have appeared in "International Projec-
tionist/' revised and brought up to date.
• The author covers clearly and thor-
oughly every aspect of motion picture
projection, presenting his material in
easily understood language — not too tech-
nical, yet technically accurate. The
Manual is divided in 8 sections and con-
tains 30 chapters — a valuable reference
work no progressive projectionist should
be without.
(1)
SfcCriON HEADINGS .
Film; (2) The Projector; (3) Projection-Optics, Screens; (4) The Arc Lamp,
(5)
General Projection Practice; (6) Motors, Generators, and Rectifiers;
(7)
Sound Reproduction Systems; (8) Projection of Color and 3-D Films, Formulas.
ORDER YOUR COPY TODAY
INTERNATIONAL PROJECTIONIST
19 West 44 St., New York 36, N. Y.
USE THIS HANDY FORM
Gentlemen: please send me
copy (copies) of ROBERT A. MITCHELL'S MANUAL OF PRACTICAL
PROJECTION. Enclosed is my check (or money-order) for $_
$600
per copy including postage
NAME
ADDRESS
CITY
.ZONE-
STATE-
INTERNATIONAL PROJECTIONIST • NOVEMBER 1957
International
PROJECTIONIST
R. A. ENTRACHT, Publisher
ROBERT C. MacLEOD, Editor
R. A. MITCHELL, Contributing Editor
Volume 32 NOVEMBER 1957 Number 11
Index and Monthly Chat 5
Projection With Hi-Speed Intermittents 7
Robert A. Mitchell
Panavision Enters Independent Production 11
From the British Viewpoint 12
R. Howard Cricks
Projectionist License Exam Questions 13
Planning Modern Projection Rooms 14
Herbert Tuemmel
A Few Aspects on Obtaining the Best Screen Image 16
Joseph Holt
Basic Differences Between Movie and TV Color . . 17
In The Spotlight 20
Obituaries 21
16-mm Projections 22
Personal Notes 23
Telecasts 24
Projection Clinic 26
Book Review 27
Britain's National Theatre 28
Xmas Drive Starts for Will Rogers Hospital 30
Positive Alarm System for Water-Cooled Jaws .... 31
Miscellaneous Items — News Notes — Technical Hints
INTERNATIONAL PROJECTIONIST, published monthly by the Inter-
national Projectionist Publishing Co., Inc., 19 West 44 Street, New
York 36, R. A. Entracht, President. Telephone: MUrray Hill 2-2948.
Subscription Representatives: AUSTRALIA— McGills, 183 Elizabeth
St., Melbourne; NEW ZEALAND— Te Aro Book Depot, Ltd., 64 Court-
nay Place, Wellington; ENGLAND and ELSEWHERE— Wm. Dawson &
Sons, Ltd., Macklin St., London, W. C. 2. Subscription Rates: United
States and U. S. Possessions, $2.50 per year (12 issues) and $4.00 for
two years (24 issues). Canada and Foreign countries: $3.00 per year
and $5.00 for two years. Changes of address should be submitted four
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., under the act of March 3, 1879. INTERNATIONAL
PROJECTIONIST assumes no responsibility for personal opinions ap-
pearing in signed articles, or for unsolicited articles. Entire contents
. copyrighted 1957 by INTERNATIONAL PROJECTIONIST PUBLISHING
CO., INC.
<*qgfe.420
Wlanihk} £/W
"Now We Are Engaged
In A Great Civil War . . ."
WE TRUST that our readers will recognize that title as
an excerpt from Lincoln's Getty tDctg Address; it was
delivered 94 years ago this month. The Civil War was
probably the bloodiest in history for its size, and probably
for two reasons: it was brother against brother, and it
marked the change from the antique to the modern.
And now we are engaged in an industrial civil war,
brother against brother, throwing off the old and trying
anything new. Ever since the motion-picture industry's
little brother TV grew up and started throwing his weight
around, motion pictures have gone from picnic to panic.
And, we regret to say, much of it has been motion pic-
ture's own fault. TV isn't that good; it's just that con-
venient.
We are a civilization of moochers — we will stay up
until 2 in the morning to look at a black-and-white post-
age-stamp reproduction of some off-the-cuff product that
was grade C even back in the 30's rather than go out
and shell out for something that features good actiiig,
good story, and stunning photography. Because TV is
free (so far) ; because we don't have to drag ourselves
out of the armchair (except for a beer).
We have no particular animus against TV. At times it
has had great moments. We do not think this magazine
has been unfair to it. But we very definitely think that
all this intramural hassling, the desperate clutching at
anything new, the back-stabbing, and particularly the
outrageous lies, have lowered the standards of taste, with
a consequent lowering of income — both in TV and motion
pictures. And since this is a publication for technicians
in that most fragile world, entertainment, we must recog-
nize that if that world collapses, we go with it.
Now that, in publication parlance, is what is known
as "scare copy." If a theatre shutters, if a chain folds, if
a studio loses money, that's scare copy. Sometimes we
print it, sometimes we don't depending on its pertinence
and importance. But theatres do shutter, chains do fold,
and studios do lose money, and sometimes we have to
take our lumps like little gentlemen. And the sad part
of it all is that it is unnecessary. The public is fickle, but
it never stopped wanting to be entertained. And we have
the finest equipment in our history to do it.
But we keep horsing around. We can't blame an exhibi-
tor for booking "The Son of the Rock 'n Roll Vampire
Returns" if that is what is going to bring them in, but
we can't help thinking there is a better answer. Just what
that answer may be is not in our province to conjecture.
This is a technical magazine for projectionists, and they
have been busy enough in the past few years coping with
each new "answer" that came along. (You count the
processes, we've lost track.) But the projectionist is a
hardy soul, and has to be. He probably gets that way from
constant exposure. If you see, say, "The Pride and the
Passion" once, it's an entertaining adventure. If you have
to look at it every day, it's just two hours of lugging a
{Continued on page 34)
INTERNATIONAL PROJECTIONIST • NOVEMBER 1957
ONLY
"Red
■tp^Anow"
SELENIUM RECTIFIERS
...Yet They're Low Priced
and GUARANTEED!
Engineered and manufactured by Arc Lamp Specialists specifically for dependable
efficient use with angle or coaxial trim high intensity projection lamps.
Not just general purpose rectifiers.
FULL SIZE selenium stocks . . . DAMP PROOFED to withstand
wet climates and winter storage.
TYPE H (glass-type) INSULATED TRANSFORMERS.
Withstand up to 150° F. higher temperatures than Type A cotton.
AMPERAGE OUTPUT READILY CHANGED DURING LAMP OPERATION by means
of 3 rugged 8-point dial switches. Also adjustable for compensation of line
phase unbalance.
-— — ■ """ *1
HEAVY DUTY FAN.
Line control relay. 65
Ampere, 90 to 135 Ampere
to 180 Ampere 3-phase;
70 to 90 Ampere and 90 to 135
Ampere single phase models.
to 100 V ~ crTRic CORPORATION
and 120 I THE STRONG ELECTRIC ^^
31 C«V P-* avenue nS,rongReetlfiers.
Please send free
I
\
\
i
\
\
\
U.
\
\
\
\
INTERNATIONAL PROJECTIONIST • NOVEMBER 1957
■ . ■ . ' 1,1... - . ..'>., •,';/??.•*
INTERNATIONAL PROJECTION IS
..'":'v ' -'■■', ' ' ■ -
■ ■ . ■ ■ . ■..'■-'■■'
Volume 32
NOVEMBER 1957
Number 11
AN IP EXCLUSIVE:
Projection With Hi-Speed Intermittents
By ROBERT A. MITCHELL
The 5-to-l movement has long been touted as an answer to the
problem of increased screen light; now the Simplex Equipment
Corp. announces a successful, field-tested 5-ro-l intermittent.
Robert A. Mitchell presents his own on-the-spot observations.
THE THEORETICAL advantages
of the "five - to - one" intermit-
tent movements for professional
35-mm projectors are well known to
the readers of IP. A brief resume of
the various types of high-speed move-
ment discussed by Jose Ruiz and other
writers was published in the August
1957 issue of IP (p. 7 et seq.) .
Conventional intermittent move-
ments for theatre projectors have a
3-to-l dwell-to-pulldown ratio; that
is, they allow the film to remain sta-
tionary over the aperture 3 times as
long as the interval of film pulldown
from one frame to the next. This
type of movement requires a 90-de-
gree shutter blade to "occult" the
film during the actual pulldown to
prevent the picture from being marred
by flickering streaks of light known
as "travel ghost." But because a shut-
ter cutoff-frequency of only 24 cycles
per second would cause the projected
picture to flicker violently, a second
90-degree blade is required for the
purpose of increasing the cutoff rate
to 48 each second.
It is absolutely necessary, in any
projector shutter, to have equal angu-
lar widths of blades and openings.
A projector shutter having two 90°
blades cuts off and wastes 50% of the
light and transmits 50%, the total
maximum light transmission without
travel ghost or image trembling when
ordinary 3-to-l intermittents are used.
Why not make the film pulldowns
more rapid therefore, in order to pro-
vide longer dwell periods and permit
narrower shutter blades to be used
for increased screen light? This has
actually been done with more or less
success in several makes of projector,
the dwell- to -pulldown ratio usually be-
ing 5-to-l.
Commercial 5-to-l Intermittents
Use of 5-to-l intermittents in 16-
mm projectors is practically univer-
sal. The old Powers 35-mm theatre
projector employed a 5-to-l movement
of ingenious design. A modern French
projector, the Radion II, has a stand-
ard geneva movement which is accel-
erated to a ratio of about 4-to-l. While
this ratio is not quite great enough
to offer all the possible advantages of
a faster -than-standard intermittent,
the mechanical principles of the ac-
cellerator are very satisfactory, and
have been extensively investigated
with a view to commercial adaptation
by two American projector manufac-
turers, Motiograph, Inc., and the
Simplex Equipment Corporation. To
Simplex goes the honor of being the
first to improve and introduce for
theatre use an accelerated geneva
movement having a full 5-to-l oper-
ating ratio.
The new Simplex "Hi-Speed" inter-
mittent, designed and manufactured
for use in Simplex X-L projectors, has
been thoroughly tested in the labora-
tory and in the field under actual pro-
jection-room conditions. The Hi-Speed
movement is a sturdy precision unit
which has proved itself to be as de-
pendable, smooth-running, and rock-
steady in operation as the standard
3-to-l X-L geneva intermittent. In fact,
the new 5-to-l Hi-Speed movement
resembles the standard X-L movement,
with which it is interchangeable, ex-
cept for the addition of a compact
pinwheel accelerator located inside the
intermittent housing.
Before discussing its performance
characteristics and the benefits accru-
ing from its use, let's see how the
Simplex X-L Hi-Speed movement
works.
As shown in Fig. 1, the Hi-Speed
intermittent is essentially a convention-
al geneva movement with the same
type of pinwheel ("cam") and star-
wheel familiar to all projectionists.
These two components, by themselves,
INTERNATIONAL PROJECTIONIST • NOVEMBER 1957
V
jljtt:' *
fe
niBs&H wSB
.
j^^H
w'"ml%?'' '■'■::'^s^HPSi
' 'U^'''''' V ' i ,:! , ^ ',, W SK
Rif' if J 19
Cross-section views of the regular 3-to-l (top) and the new 5-to-l (bottom) Hi-Speed Simplex
X-L intermittent movements. The slipper-block which drives and periodically accelerates and
decelerates the pinwheel ("cam") via the "outer pin" is clearly visible (arrow) in the photo-
graph of the Hi-Speed movement. (Pins on the pinwheel at their greatest distance from the
drivewheel shaft when the geneva star is being driven.) Note that these two geneva movements
are interchangeable so that all users of Simplex X-L projectors may have the advantages of
Hi-Speed intermittent*
work in exactly the same way as the
pinwheel and star of the standard 3-
to-1 X-L movement.
The pinwheel, however, has a pin
that protrudes from both sides of the
pinwheel flange. The pin on the star-
wheel side functions in the usual way,
entering a starwheel slot and turning
the starwheel and sprocket one-quar-
ter of the way around at each revo-
lution of the pinwheel. The protrusion
of pin on the side of the flange op-
posite the starwheel serves to drive
the pinwheel, itself, in a very special
way.
The outer pin fits into a hole near
the end of a "slipper-block"; and the
slipper-block lies in a wide groove in
a revolving "driver-wheel." The slip-
per-block is free to slide back and
forth in this groove when the move-
ment is in operation.
We have now made the acquaint-
ance of three unusual components,
outer pin, slipper-block, and driver-
wheel having a recess in which the
slipper-block may slide.
Note in Fig. 1, that the pinwheel
shaft and driver-wheel shaft do not
lie on the same line, but are displaced
by a certain distance. This displace-
ment forces the slipper-block to slide
back and forth in its groove at each
revolution of the driver-wheel.
Reference to the drawing will show
that the pins of the pinwheel are at
their greatest distance from the driver-
wheel shaft when the geneva star is
being driven. The pinwheel is thus
speeded up during the pulldown inter-
vals. Conversely, the pins are at their
least distance from the driver-wheel
shaft during the dwell periods when
starwheel and sprocket are "at rest."
The pinwheel is then turning at its
slowest rate, prolonging the dwell in-
terval.
Successive acceleration and decel-
eration of the pinwheel is repeated at
each revolution; and inasmuch as the
displacement of the driver-wheel and
pinwheel shafts is such that the dwell
intervals last 5 times longer than the
pulldown intervals, the Simplex Hi-
Speed intermittent is a 5-to-l move-
ment.
The Powers projector, now obsolete,
also employed a 5-to-l intermittent
movement, and one which was popu-
lar with projectionists. But the Pow-
ers intermittent was not of the geneva
type, but a pin-cross movement hav-
ing a cam-ring which effected a quar-
ter turn in a 4-pin "cross" at each
revolution. This serviceable device was
very difficult to manufacture to close
tolerances, however; and wear of the
pins often introduced the same 6-cycle
"dancing" of the picture which is seen
when a lop-sided sprocket is used with
any intermittent. Good as it was in its
day, the Powers pin-cross intermittent
was seldom as rocksteady as a well-
made geneva movement.
Other High-Speed Movements
Another interesting high-speed in-
termittent is the "eccentric-star" ge-
neva movement having non-radial
starwheel slots. This movement has
the gradual sprocket-acceleration
characteristics of a conventional ge-
neva movement, but the deceleration
is so rapid that the sprocket virtually
comes to a sudden dead stop instead
of decelerating gradually. This causes
the film to overshoot on the sprocket
and give extremely jumpy pictures on
the screen.
Two other types of high-speed
sprocket movement are entirely feas-
ible, however. These are the oscillat-
ing-pin wheel geneva movement (which
effects a pulldown at every other revo-
lution of the in-and-out oscillating pin-
wheel) and the drunk-cam movements
which exist in wide variety. These
interesting movements have been suc-
cessfully used in 16-mm and tele-
vision projectors; and there are no
serious engineering objections to their
use in professional 35-mm machines.
Choice of the accelerated geneva
intermittent for the Simplex X-L was
dictated largely by its silent, rock-
steady, trouble-free operating charac-
teristics and the need for interchange-
ability.
So great and various are the advan-
tages provided by the Simplex Hi-Speed
movement, that commercial introduc-
tion of the new unit may well be
hailed as a milestone in projection
technology. It makes possible brighter
pictures without increasing shutter-
flicker. It improves the definition of the
8
INTERNATIONAL PROJECTIONIST • NOVEMBER 1957
projected image in nearly all cases —
an important consideration in wide-
screen projection — and it may effect
substantial savings in carbons, current,
and arc-lamp replacement parts. Each
of these benefits merits detailed ex-
planation.
Relative Shutter Efficiencies
The increased picture brightness
made possible by 5-to-l intermittents
is the direct result of higher light trans-
mission of the narrow-blade shutters
which may, and should, be used with
them.
Conventional 3-to-l intermittents, as
we pointed out, require shutters hav-
ing 90° blades and 90° openings.
These waste one-half of the light, or
even more, depending upon the lo-
cation, diameter, and rotational speed
of the shutter. High-speed 5-to-l in-
termittents. on the other hand, require
shutter blades only about 60° in angu-
lar width. Shutters having 60° blades
and 120° openings transmit 1.333+
times more light to the screen than the
maximum amount of light possible
without travel ghost when ordinary
intermittents and shutters are em-
ployed.
Stated another way, 3-to-l inter-
mittent-and-shutter systems have, at
most, only about 75% of the illumi-
nation efficiency of 5-to-l systems. But
these values were calculated from the-
ory. What do actual tests reveal about
the increased illumination efficiency
of the new Simplex X-L Hi-Speed in-
termittent?
The standard 3-to-l X-L cone shut-
ter has two 90° blades (90° open-
ings). The 2-blade cone shutter sup-
plied with the new 5-to-l Hi-Speed
19,500 lumens when the projector is
run without film — an increase of 4,500
lumens!
Certain of the smaller theatres al-
ready have a sufficiently high level of
screen light. If the prevailing light
Same light-source 63°
output __
[19.500 LUMENS |
HI-SPEED
Reduced light- f
source output
FIG. 2. Advantages of the
Simplex Hi-Speed movement
used with a 63-degree 2-
blade shutter. As indicated
diagrammatically, the new
intermittent gives a picture
1.3 times brighter than the
picture obtained with a con-
ventional movement used
with a 90-degree shutter,
lamp lumen output remain-
ing the same.
movement has two 63° blades (117°
openings). As light-meter tests show,
the narrow-blade shutter gives 130%
the light transmitted by the conven-
tional wide-blade shutter.
Fig. 2 illustrates the light-increase
of the Simplex Hi-Speed 5-to-l sys-
tem diagrammatically. An arc lamp
capable of providing 30,000 screen lu-
mens without the shutter running
gives only 15,000 screen lumens when
the projector, fitted with a 3-to-l 90°
2-blade shutter, is run without film.
The light is cut exactly in half.
With a 5-to-l Hi-Speed intermittent
and a 63° 2-blade shutter, on the
other hand, screen light amounts to
Increased
C screen light
15,000 LUMENS I
STANDARD f
Same
screen light
«-l frames
111 1 115.000 LUMENS
HI-SPEED
>er- block
Slippef-block
Pinwheel (cam) shaft
Flywheel shaft
FIG. 1. How the Simplex X-L Hi-Speed accelerated geneva 5-to-l intermittent works. By
displacing the driver-wheel and pinwheel shafts, the slipper-block slides at each revolution
of the driver-wheel and the pinwheel undergoes the desired periodic accelerations and de-
celerations, the amount of displacement effecting a 5-to-l ratio. Driver-wheel shaft is con-
stant-speed.
flux is 15,000 lumens with a lamp rated
at 30,000 lumens, installation of Hi-
Speed movements permits the light-
source output to be reduced to 23,100
lumens, 77% of the former output,
to obtain the same 15,000-lumen light
flux!
Maintaining a previous satisfactory
screen-light level by using Hi-Speed
intermittents and reducing the light-
source output by 33% not only slash-
es carbon and current bills, but pro-
longs the life of the arc lamps with
less frequent mirror and carbon-hold-
er replacements. From the point of
view of the projectionist, less heat in
the lamp makes for easier, more con-
sistent operation, and less heat on the
film reduces in-and-out of focus flutter
to give a sharper focus on the screen.
Audiences appreciate the clearer pic-
tures.
This writer recommends taking ad-
vantage of increased screen light with
5-to-l intermittents in theatres where
the present screen brightness is below
15 or 20 footlamberts, however. Most
medium-size and large theatres, as
well as all drive-ins, are in serious
need of the extra light made possible
by the new Simplex X-L Hi-Speed
movement and 63° shutter.
Solution of Flicker Problem
Conventional projection is troubled
by a flickering perceptible in the bright
highlight areas of the picture — bright
clouds, buildings, snow, etc. — and the
flickering becomes worse when it is
viewed out of the "corner of the eye"
(peripheral vision). This projection
defect is caused by the standard shut-
INTERNATIONAL PROJECTIONIST
NOVEMBER 1957
ter cutoff-frequency of 48 cycles per
second, a frequency which is too low
to permit absolutely flickerless pro-
jection when light levels are suffici-
ently high and when wide screens
involve peripheral vision. It is a well-
known fact that flicker does not cease
until the shutter cutoff-frequency ap-
proaches 60 cycles per second.
Use with the Simplex Hi-Speed in-
termittent of a shutter having three
equidistant 60° blades increases the
cutoff frequency to 72 cycles/second,
a rate which is well above the limit
of flicker perception. Screen illumina-
tion appears constant with a 3-blade
shutter, no matter how bright the
light.
Film Behavior in Gate
The peculiar behavior of film in
the projector gate nevertheless pre-
cludes the use of 3-blade rear shutters
at arc currents much over 80 amperes
(15,000 lumens measured without the
shutter). The reason why 3-blade rear
shutters give trouble at high arc cur-
rents can best be understood by con-
sidering the complex changes in
position which each film-frame under-
goes when it comes over the aperture
NO SHUTTER
POSITIVE
BUCKLE
0
NEGATIVE
BUCKLE
POSITIVE
BUCKLE
0
NEGATIVE
BUCKLE
and receives 2 or 3 rapid blasts of in-
tensely hot radiation.
Film normally enters the projector
gate with a slight "positive buckle,"
bulging toward the lens. When no rear
shutter is used, as shown in the top
panel of Fig. 3, the heat-absorbing
emulsion begins to expand relative to
the film base the moment arc radia-
tion strikes it. Buckle then changes
from positive to negative, with the
center of the film-frame moving to-
ward the lamp.
Taking 0.003 of an inch as the
depth of focus of the average lens,
the length of time during which each
film-frame remains in focus in old-
style front-shutter mechanisms is com-
paratively long.
Projectors having conventional 90°
2-blade rear shutters on the other hand,
are troubled at high arc currents by
the flutter induced by the mid-dwell
"balancing" cutoff. When this cutoff
occurs, the emulsion loses some of the
heat it previously absorbed, and the
film-frame begins to recede toward
the zero plane of flatness. But when
the second flashing interval begins,
the film again buckles toward the
lamp, making focus difficult to sharpen
2-BLADE 90° SHUTTER
2-BLADE 60° SHUTT
POSITIVE
BUCKLE
0
NEGAT(VEL
BUCKLE
FIG. 3. Film behavior in
the gate. Film normally
enters the projector gate
with a slight "positive
buckle" bulging toward
the lens. Emulsion be-
gins to expand relative
to the film base the mo-
ment arc radiation im-
pinges upon the film,
buckling negatively to-
ward the lamp.
satisfactorily. The projectionist can
do no more than select a "best average
focus" for a minimum of blurring
under these difficult conditions.
This in-and-out fluttering of film in
the projector gate has been intensive-
ly studied by Willy Borberg of the
General Precision Laboratory. (See
"Modulated Air Blast for Reducing
Film Buckle" in IP for October 1952,
p. 14 et seq.)
A 60° 2-blade shutter produces a
film-flutter effect somewhat similar to
that produced by a conventional shut-
ter, but the narrower blades prolong
the intervals of irradiation and allow
the film to approach more closely an
equilibrium value of negative buckle.
The film accordingly moves only a
very little during the second flashing
interval, facilitating a sharp focus on
the screen.
The 3-blade shutter, unfortunately,
produces several in-and-out of focus
movements of the film, as shown in
the bottom panel of Fig. 3. These
movements exceed the depth-of-focus
range of the average lens at high arc
currents and prevent a sharp focus
from being obtained. For this reason
the use of 3-blade shutters with arc
currents greater than about 80 am-
peres (according to the writer's de-
termination) is not recommended,
even though 3-blade cone shutters are
available for the Simplex X-L.
Below 80 amperes (90 amps, with
heat filters), and in theatres having
small, brightly illuminated screens, the
60° 3-blade shutter and the 5-to-l Hi-
Speed intermittent make possible the*
complete elimination of shutter-flicker
from motion pictures. Screen bright-
ness with 60° 3-blade shutters and
5-to-l intermittents is the same as with
90° 2-blade shutters and 3-to-l inter-
mittents.
Narrow Blades Decrease Flicker
Fortunately, no increase in flicker
results from the use of 63° 2-blade
shutters with Simplex X-L Hi-Speed
intermittents. It has been determined
experimentally that the wider the shut-
ter openings relative to the width of
the blades, the less is the perception
of flicker. This remarkable fact indi-
cates that the extra screen light ob-
tained with high-speed intermittents
and narrow-blade shutters does not
necessarily increase flicker.
With 90° shutter blades and a cut-
off frequency of 48 cycles per second,
(Continued on page 33)
10
INTERNATIONAL PROJECTIONIST
NOVEMBER 1957
Panavision
Enters
Independent
Production
The manufacturers of anamorphic
camera lenses now turn to films
that can be shown 35-, 65-, or
70-mm employing a 3-to-l ratio.
PANAVISION, INC., makers of ana-
morphic camera lenses, printing
lenses for various widefilm processes,
variable anamorphic projection lenses,
the Panavision-Simplex projector con-
version for 70-mm, and various other
products in the industry, has announced
the formation of Panavision Films, a
new independent production company.
In a press interview, Robert E.
Gottschalk, president of Panavision,
Inc., and vice-president in charge of
production for the new firm, said that
the features will be roadshown on
Panavision's 65-70-mm process. The
first production will be "The Magnifi-
cent Matriarch," based on the Kathleen
Mellen novel dealing with Hawaiian
history. Producer will be David Lewis,
who did "Raintree County" (which was
shot in Panavision's 65-mm process,
but released in 35-mm). The budget
on the picture, which is set to roll next
May, will be $2,000,000.
Besides producing the picture, Pana-
vision will offer a package deal to ex-
hibitors which will include projector,
lamps, lenses, screens, etc., on a rental
or lease purchase basis, determined by
revenue and seating capacity.
Package Equipment
The equipment in the package will
consist of Ashcraft Super Cinex lamps,
modified Simplex projectors, the Pana-
vision slight-squeeze lens, and a screen
especially developed for the process by
Radiant Manufacturing Corp. — non-
metallic, smooth, a newly-developed
surfacing, modified gains of 2, 2V<>5
and 3-to-l, and, most important, a
3-to-l aspect ratio.
It was this 3-to-l ratio that caused
the most discussion in Gottschalk's
New York interview. He is adamant
that 60 feet is the minimum width for
the screen. "Otherwise, we won't in-
stall our process," he said.
Gottschalk is certain that the 3-to-l
ratio will not disconcert an audience,
but rather will enhance the picture —
which will include location shots in
Hawaii, a volcano eruption, and au-
thentic underwater scenes shot with a
special 20-pound hand camera.
Definitely Not Cinerama
"This is definitely not Cinerama,"
he said. "We're only going to use a
very slightly curved screen, and prob-
ably in some cases none at all." This,
Gottschalk believes, will get away from
the 'bent' look that images tend to on
curved screens. "And contrary to popu-
lar belief, there are many theatres
capable of handling very large screens,"
he added. Those theatres already
equipped to handle 70-mm (like Todd-
AO houses) will only have to install
the Panavision wide screen and projec-
tion lenses. As it stands, minus the
Todd circuit, there is a potential of
some 20 theatres. In some cases, the
screen can be set up in front of the
proscenium.
The Ultra Panatar 35-mm variable
anamorphic projection lens used in
conjunction with the Panavision-
Simplex Conversion. Available also
is the Panatar 16, designed for 16-mm
variable anamorphic projection.
Panavision-Simplex Conversion which allows
projection in 35-, 65-, or 70-mm. Included in
this conversion of standard Simplex XL projec-
tors are a 3-wing shutter, double duty drive
and intermittent sprockets, 65- and 70-mm
film gates, and a specially-designed magnetic
sound reproducer by Magnasyne of Burbank,
Calif., that will reproduce 6-channel magnetic
sound on 70-mm prints, and 4-channel or
single-channel magnetic sound on 35-mm.
Changing in the projection room is said to
take from 3 to 5 minutes.
"The Magnificent Matriarch," which
will be three hours long and in East-
man Color, will be roadshown for one
year in 70-mm in key cities throughout
the world, and then will be put into
general 35-mm release. The Pana-
vision-Simplex projector conversion is
capable of showing 35-, 65-, or 70-mm
film. With the package deal of screen,
etc., they are expected to cost around
$6000. Gottschalk believes that many
exhibitors will elect to keep the equip-
ment.
The production, of course, will be
shot in the Panavision 65-mm process,
also known as MGM Camera 65. Pana-
vision developed the process in co-
operation with the MGM Research and
Development department. It now has
6 modified Mitchell 65-mm cameras in
production. MGM has 13. A three-
strip release print of the Cinerama type
has also been developed.
The 70-mm release print of the
initial picture will probably carry six
sound tracks.
INTERNATIONAL PROJECTIONIST
NOVEMBER 1957
11
Some comment's this month on varied attempts at projection
lamps other than carbon arcs, and a view of TV projection.
From the British Viewpoint
By R. HOWARD CRICKS
FOR MANY YEARS attempts have
been made to supersede the carbon
arc by some form of enclosed dis-
charge lamp. Before the war Philips
went so far as to build a projector
around their tiny water-cooled mer-
cury lamp. This lamp, with a discharge
only 12.5-mm in length and 1.8-mm
in diameter, consumed 1000 watts at
500 volts, and in use built up an inter-
nal pressure of 100 atmospheres (al-
though since its bulk was so small
this pressure constituted no danger).
The lamp was built inside a water-
jacket.
The light output was 60,000 lu-
mens. The source consisted of a thin
line of light, and in order to cover
the picture aperture, an ingenious re-
flector consisting of several cylindri-
cally curved faces reflected the light
to the desired angle.
The twin projector built around
this lamp was a fine piece of engineer-
ing. One projector head was mounted
above the other; the lamphouses were,
of course, so small that they were
simply built on behind the gates; spool
boxes came where one would expect
to see the lamphouses, and the sound
amplifiers were built into the stand.
The projector had only one fault:
it was quite unsuitable for showing
colored films. Although the high work-
ing pressure added a small amount of
red to the light, the cold light of the
mercury discharge killed any red in
the film, and London's buses and pil-
lar-boxes appeared a dingy brown.
Attempts to overcome this fault were
evidently unsuccessful, for we saw no
more of this fine effort.
COMPACT SOURCE LAMPS
Then came the compact source
mercury lamp, in which the discharge
took place between electrodes enclosed
in a quartz bulb. The discharge was
pear-shaped, and if not optically ideal
for projection was quite acceptable.
The compact source lamp was made
by the British Thomson-Houston Co.
in various sizes up to several kilowatts,
for both studio lighting and projec-
tion. The vapor pressure when burn-
ing was 40 to 80 atmospheres; due to
this high pressure, the lamp once ex-
tinguished would not re-strike until
it had cooled down. A circuit was
therefore provided for "simmering" it
between takes or between reels. A
miniature version of this lamp, rated
at 250 watts, is occasionally used for
16-mm projection.
Unfortunately the light still has the
typical color of the mercury discharge.
Even the admixture of cadmium to
mercury filling does not altogether
correct the color of the light, and while
it is perfectly acceptable for black-
and-white projection — better in fact
than the filament lamp — it is not good
enough for showing colored films.
THE XENON LAMP
Mercury is a liquid, and its vapor
is not a true gas. Experiments have
been made with numerous gases, of
which argon and xenon have been
found most suitable.
So far as Europe was concerned, I
believe the first successful results were
demonstrated by the British Siemens
Company. But the first commercial
application of the xenon lamp to mo-
tion picture projection must be cred-
ited to the German firms of Osram and
Zeiss-Ikon.
Zeiss-lkon Ikosol II lamphouse with 1800-wart
xenon lamp. The high-tension striking gear is
located behind the mirror.
From Ted Driscoll, of the Waltur-
daw Company, British agents for the
latter firm, I have received latest de-
tails of this lamp, several of which
have been experimentally installed
by the Army Kinematograph Cor-
poration. It is made in two sizes,
1000 watts and 1800 watts, the former
with a screw cap and the latter with
a bipost mounting. Because light is
radiated in all directions, a small mir-
ror in front of the lamp reflects light
back into the main mirror, which re-
reflects it to the gate.
The characteristics of the two types
are shown in the table. On a matte
screen the light outputs are reckoned
to be adequate for screen widths of 14
feet and 19 feet, respectively, on a
normal screen, or 19 feet and 27 feet
for CinemaScope.
A high-voltage discharge is neces-
sary to ignite the lamp. If this dis-
charge were operated while the sound
equipment was in action, it would make
an audible noise in the speakers. When
I saw the lamp a year ago at the Photo-
kina, Cologne, the idea was that it
should be under-run on a so-called
closed-circuit system between reels;
but in the new model the circuit is so
arranged that the sound is short-cir-
XENON BULBS
XBO 1001
XBO 2001
Max. lamp current
Arc voltage
Consumption
45 amps,
approx. 22 v.
1000 watts
approx.
70 amps.
26 v.
1800 watts
Luminous flux:
at full load
Useful flux
Initial amperage
approx. 3000 lm.
2400 "
38 amps.
approx.
5000 lm.
4000 "
60 amps.
Mean useful life:
Without closed-circuit
With
1200 hours
1000 "
1000 hours
800 "
12
INTERNATIONAL PROJECTIONIST
NOVEMBER J 957
cuited for the l/10th second necessary
to ignite the lamp — too brief an inter-
ruption to be noticeable.
As with the compact source lamp,
the major objection to the xenon lamp
is its very high working pressure, of
20 to 30 atmospheres.
WILL CARBONS BE OBSOLETE?
What advantages would the dis-
charge lamp, if and when it is per-
fected, offer over the carbon arc?
First in my opinion is that once set
the lamp needs no further adjustment;
unlike the arc, the light output or
color cannot be affected by unskilled
operation. There are no noxious fumes
and no dirt. A much more compact
lamphouse can be used provided ven-
tilation is adequate.
A suggestion has been made that
the discharge lamp might be pulsed
twice for every picture frame, its ex-
tinction periods thus obviating the
need for a shutter. This would almost
halve the current consumption, but
would presumably shorten the life of
the lamp.
As against these advantages can at
present be set first the risk of danger
due to the high gas pressure; if the
bulb should be dropped on a hard
surface it might well explode with
lethal results. The efficiency of the
lamp drops as it ages, due to burning
of the electrodes and blackening of
the bulb. So far it shows no advantage
over the carbon arc in the matter of
running costs.
SHOWING FILMS ON TV
How do you show a modern film on
the tiny screen of a TV set? This is
the problem that is agitating many peo-
ple over here, who fear the effect of
showing mutilated versions of films
as TV trailers.
So far as I am aware, none of our
transmitters are equipped with ana-
morphic systems to unsqueeze a Cine-
macope picture, and anyway only part
of the picture frame could be used.
Improvements in picture quality mean
nothing (the modern 17-in. and 21-in.
screens actually degrade picture qual-
ity because the British 405-line picture
is not fine enough.) So far as color
is concerned, all we have seen is a
color chart which the BBC transmits
after the regular programs have shut
down at night.
Twentieth Century-Fox have gone
so far as to forbid sequences from
"'Island in the Sun" to be shown on
TV. This is a decision with which I
have a lot of sympathy. CinemaScope
— VistaVision — Technirama ■ — col-
or — four-track sound: all these
achievements of our industry are
thrown away if the picture has to be
reduced to the TV screen.
Associated with this problem is pay-
as-you-view TV. Over here we are
watching with keen interest your ex-
periments in piped viewing from the
local motion picture theatre into the
home. Our cinemas have, of course,
not been so badly hit by TV as yours,
but there must be 300 or more that
have closed down during the past two
years: will piped viewing provide the
neighborhood exhibitor's salvation?
Ultimately the answer is a matter of
the psychology of the buyer — a subject
on which I would not dare prophesy.
Unquestionably he will get far better
program material than at present. But
on technical grounds I should be sorry
if the customer should prefer to see
the latest offerings of Hollywood and
London on his own tiny screen, in-
stead of the cinema, where he will
see films as they are meant to be seen.
On the other hand, there is one class
of film producer who prefers to view
his epics as they will be seen later on
TV. All our advertising agencies who
cannot afford the expense of closed-
circuit viewing for their commercials
are putting in simulated-TV projection,
in which the picture is projected on
a tiny screen decked up to look like
a TV receiver.
Projectionist License Exam Questions
WE RECENTLY received a letter
from a projectionist who said he
missed on one of these questions. We
promise not to reveal his name, and we
trust it won't happen again. The official
exam says 75 per cent is passing, but if
you want to make sure you got all of
them right, look on page 31.
1. That quality or property of a lens which
causes differently colored lights to come to
a focus at varying distances from the opti-
cal center of lens is called:
(a) spherical aberration: (b) chro-
matic aberration; (c) lens action;
(d) refraction.
2. That property of a lens which separates
white light into its primary components is
called:
(a) spherical aberration: (b) chro-
matic abberation: (c) lens action; (d)
refraction.
3. An enclosed cartridge type fuse may be
used on:
(a) a power circuit only; (b) a 125-
volt circuit only; (c) a 250-volt cir-
cuit only; (d) any circuit of 250 volts
or less.
4. The polarity of the neutral of an Edison
3-wire DC system may be:
(a) either positive or negative; (b)
neither positive nor negative; (c) posi-
tive only; (d) negative only.
5. Ballast resistors are required when the
arc operates on:
(a) polyphase; (b) pulsating current;
(c) a 120-volt DC motor generator set;
( d ) a lamphouse using an incandescent
lamp.
6. The speed of a synchronous motor de-
pends on the:
la I increase or decrease of the load:
(bl frequency of the supply line; (c)
voltage fluctuations of the line; (d)
voltage of the DC excitation.
7. The function of the filament in a 3-
element vacuum tube is to :
(a) cut down on amount of electricity
used; (b) cause the tube to give heat;
(c) register amount of electricity used;
(d) give off or cause to give off elec-
trons.
8. The head amplifier amplifies the cur-
rents coming from the:
(a) main amplifier; (b) sound track;
(c) exciter lamp; (d) photo electric
cell.
9. The number of inches of film that there
should be between the center of the pro-
jector and the center of the sound gate
aperture is:
(a) 10y2; (b) 12%; (c) 14%; (d)
24y2.
10. If you take 15 amperes from a 220-volt
DC circuit, the number of kilowatts you
will be using is:
(a) 0.33; (b) 3.3; (c) 33; (d) 330.
11. In good operating practice, the volume
of sound should always be controlled
through:
(a) monitor horns; (b) a connecting
telephone line from the manager's
office; (c) listening to the projector
in action; (d) signals from an ob-
server located in the audience.
12. The fader should be turned to the
proper operating number or level when
the projector is:
(a) started; (b) running at half speed;
(c) up to full running speed; (d)
shut down.
INTERNATIONAL PROJECTIONIST • NOVEMBER 1957
13
Planning Modern Projection Rooms
By HERBERT TUEMMEL
From an acknowledged expert overseas comes this interesting
discussion on just what and how a projection room should be.
THE QUALITY of cinema perform-
ances is determined on the archi-
tect's drawing board. It is at this
stage that the eventual efficiency of the
projection room is decided, and only
too frequently the architect falls short
of the desired ideal through lack of
should, therefore, not be unduly off-
centre in either the vertical or hori-
zontal plane (Fig. 1). Oblique pro-
jection, from whatever angle, will re-
sult in distortion of the screen image,
the rectangle becoming an irregular
trapezium ("Keystone effect").
Optical axis
max 6
Cl2
7\
FIG. 1. Deflection effects of projection angle,
even that is not
knowledge of the specialized problems
involved. In this article I have at-
tempted to outline the principal re-
quirements which the well- designed
projection room should satisfy. Al-
though these remarks are based upon
the relevant safety laws applying in
Germany, I feel sure that they will be
found to be of general application in
most parts of the world.
Before going into details concerning
the equipment of projection rooms, the
first consideration should be their ac-
tual location. A great deal can be
achieved if from the very beginning
the planning of the projection room
is undertaken with due regard to its
proper importance. After all, the pro-
jection of films is the only true func-
tion of a cinema, so surely the greatest
amount of care should be devoted to
the actual conditions of projection.
The best projection will be obtained
when the optical axis of the projector
beam is at right angles to the centre
of the screen. The projection room
f Bild und Ton, Zeiss Ikon, April T957
The toleration angle is about 20 degrees, but
always obtainble.
In order to prevent the spectator
from noticing these distortions, the
side curtains are normally drawn
close together, resulting in a decrease
tional distortions will appear with
oblique projection.
However, while lateral off-set is com-
paratively easy to avoid, inclination
of the projector beam in the vertical
plane is fairly common, since unfor-
tunately the projection room cannot
always be located so that the optical
axis is absolutely horizontal. The
ideal solution is to place the projection
room under the balcony, from which
position ideal projection will be ob-
tained. If this is not possible, the maxi-
mum deviation from the horizontal
should be no more than 10°. Another
way of overcoming this problem (al-
though at the cost of the angle of view
of the spectator) is to tilt the screen
backwards at an angle equal to *4 to
y% of the projection angle (Fig. 1)
Floor Area Requirements
Metallized screens, however, cannot
be inclined except under special con-
ditions, since this interferes with the
distribution of light in the auditorium.
To conform with the current German
regulations, the minimum floor area
for a single-projector cabin should be
6 sq. m (square meters), with a mini-
mum length of 2 m. The height of
Centre of screen
z>^zm77z^///////)/////////^////m v///////////////////////////m77^m^A
FIG. 2. A plan for a projection that might, with minor alterations, apply to a good many
small houses.
in screen image size. For showing
panoramic and 3-D films, it has be-
come more than necessary to employ
horizontal projection exclusively.
Moreover, with curved screens addi-
the ceiling at the spot where the pro-
jectionist stands should not be less
than 2 m. For each additional pro-
jector the floor area should be in-
creased by at least 3 sq. m, so that a
14
INTERNATIONAL PROJECTIONIST
NOVEMBER 1957
projector room containing 2 projec-
tors should be at least 9 sq. m in area ;
it should be borne in mind that these
figures are only minimum require-
ments. If perfect projection is de-
sired, perfect projection conditions
must be obtained; niggardliness with
regard to space will certainly not
achieve this end. Instead of 9 sq. m.,
20 sq. m would be a more desirable
figure, since many new installations,
such as CinemaScope equipment, have
been introduced since this particular
regulation was laid down.
Total Area Requirements
The front wall of the cabin, contain-
ing the projection ports, should be at
least 4 m long, while the projection
room itself should have a minimum
width of 3 m. The total volume of the
projection room should be at least 37.5
cu. m. These dimensions apply to pro-
jection rooms with two film projectors
and one slide projector. For each
additional piece of apparatus (film
projector, spotlight or slide projector),
the floor area should be increased by
5 sq. m. Figure 2 shows a suitable
layout for a projection room contain-
ing two film projectors and one slide
projector. The re-winding table is also
located in this room, and therefore
sufficient floor space should be allo-
cated to it.
An economy in width can be effected
by replacing the separate slide pro-
jector by a slide attachment. The
front wall of the projection room must
be 25 cm thick if built of brick or 10
cm if reinforced concrete is used. Un-
der no circumstances should there be
any direct communication with the
auditorium. The sunken channels
through which all wiring runs should
prevent smoke from seeping through.
All ports and windows should also
be smoke-proofed with 5 mm thick
plate glass and also provided with a
2 mm thick iron shutter. The port
openings should be no larger than is
needed for the uninterrupted passage
of the projection beam. The win-
dows facing the auditorium should
not exceed 250 sq. cm area each. The
position of the ports should be directly
related to the height of the optical
axis of the projector and also to the
projection angle. Nowadays the ports
and windows are no longer arranged
at different heights, but in a straight
line.
A further complication may arise
when showing CinemaScope films; at
Projector socket
Bolts must not touch the socket
FIG. 3. Two most important items: Reducing projector machine noise (left); and projection
room ventilation (right). Interesting to note in the right-hand diagram is the sidewise carryout,
which would indicate a higher ceiling is usual.
present the normal projection beam
occupies almost the entire area of the
port, and with CinemaScope some ob-
struction of the beam may be experi-
enced. On the other hand, the Cin-
emaScope projection beam immedi-
ately in front of the anamorphic at-
tachment is only imperceptibly wider
than the normal beam and if the pro-
jector is not too far from the port
glass and fitted with a lens of normal
focal length the conical section of the
projection port will generally allow
the beam to pass.
The required width (B) of the port
can be computed approximately as
follows :
d X5
B = — + 10
f
where
B = width of projection port (in centi-
metres )
d = distance from front surface of lens
to auditorium side of wall (in
centimetres )
f = focal length of projection lens (in
centimetres).
Thus;
if f = 10 cm and d = 50 cm,
50X5
therefore B = + 10 = 35 cm
10
The room adjoining the projection
room should contain all the apparatus
which does not require constant at-
tention during the performance. These
include, first of all, the rectifiers for
the arc lamps and also the switch-
board. In addition, it will be neces-
sary to have a battery room, which
should also if possible contain a small
workshop for the projectionist.
As the operation of all the various
pieces of apparatus necessitates a large
number of electrical cables, it is good
policy to provide appropriate cable
channels going right up to the projec-
tor pedestals. In this way facilities
are provided for changing the circuits
at any time and the location of faults
is made much easier. The cable chan-
nels can also be utilized for carrying
the in-and out-flowing water pipes for
water-cooled projectors and may also
contain air-pipes for air-cooled pro-
jectors.
Quiet Operating Procedure
When installing projectors, one
should ensure that their operating
noise does not penetrate into the audi-
torium. Generally, the front wall of
the projection cabin is sufficiently
thick to prevent this happening, pro-
vided that the aforementioned struc-
tural conditions have been complied
with. To avoid the conduction of
sound, the projectors should never be
placed on top of the steel girders form-
ing the frame of the building. A very
good method is to place the projectors
on a concrete platform resting on
sound-absorbing material. If this is
not possible, they should be placed
directly on to the sound-absorbing
material (cork, rubber, felt, etc.), and
care must also be taken to insulate the
bolts anchoring the projector to the
floor (Fig. 3).
The arc lamps require adequate
vents to permit the escape of hot air
{Continued on page 32)
INTERNATIONAL PROJECTIONIST • NOVEMBER 1957
15
Too often, in the course of other projection problems,
we are apt to forget an important element: the screen.
A Few Aspects on Obtaining
The Best Screen Image
By JOSEPH HOLT
Member, IA Local 428, Stockton, Calif.
BEGINNING some three years ago
and continuing even to the pres-
ent time, exhibitors began to install
screens for the new film processes and
aspect ratios. The replacement of
screens went at a pace which was un-
precedented since the advent of syn-
chronized sound.
The point of this observation lies
in the fact known to all projectionists
that screens and lenses were all too
frequently put in service without too
much regard as to obtaining the best
possible results. Rather more compell-
ing was the need for change at the
earliest possible time, and it was rare
indeed for first-quality optics and
screen surfaces to be installed with
due regard to the consequences.
Wide-screen images were allowed to
assume ridiculous proportions; sharp
focus throughout the picture was un-
obtainable; and poor light distribution
was tolerated.
But the panic is over, and there is
no excuse for continuing to present
degraded images to a critical public.
The first CinemaScope screens were
installed with rather deep curves in
simulation of the Cinerama screen,
but later experience and practice
proved that the radius of curvature
should approximate the projector-to-
screen distance. There are still nu-
merous installations which distort the
horizontal lines of the picture due to
excessive screen curvature.
Problematic Fall-Off
On the other hand, some theatres
-wished to conserve stage space or to
simplify the construction of screen
frames. In such cases, gain screens
were improperly set without any curva-
ture at all.
The first result of using a gain
screen without curvature is the seri-
ous falling off of screen illumination
at the sides of the picture. In actual
field tests, it has been shown that inci-
dent light measured at a ratio of .8
side-to-center will be reflected from a
gain screen mounted fiat at something
like a .45 ratio.
Projectionists with sound grasp of
the problems involved have long en-
deavored to reduce the effects of "the
hot spot," but this single blunder has
undone all the good work of the past.
Proper screen mounting does not
merely enhance the side-to-center light
distribution ratio. From a purely the-
oretical view, it would be perfection
itself to obtain a projection surface
all points of which would be equidis-
tant from the projector lens. With the
throw distance equal on horizontal
lines, it should follow that uniform
focus all the way across the picture
should be more readily obtainable.
In most instances, focus improve-
ment will be noted with any screen
mounted with radius equal to projec-
tion throw, and remaining out-of-focus
troubles can be corrected by careful
attention to film tracks, shoes, tension
and heat. This last factor has received
a great boost recently with the intro-
duction of mirrors which pass the
infra-red radiation of the arc to the
rear of the lamp rather than to the
aperture.
It is money well spent for exhibitors
to rebuild screen frames in conformity
with the principles which have been
established since the advent of Cinema-
cope. Perhaps it is not true to state
that the principles have been estab-
lished; it would be more correct to
say that substantial field experience
has proved their validity.
Once attention to the replacement of
improper screen frames has been
given, it is time to consider if the
screen in use is the best for the audi-
torium in which it is to be used. This
will depend principally upon the width
of the seating area, with matte screens
being used in houses with extremely
large viewing angles from the per-
pendicular.
The Importance of Lenses
The matter of lenses is another step
in correcting screen ills. The writer
hears too many groans from projec-
tionists to believe that modern good
quality lenses have been purchased in
even a majority of theatres. As pre-
viously observed, there may have been
some slight excuse for using slow
speed uncorrected lenses when the sud-
den shift to new screen sizes took
place. Such is not the case today, for
on shelf stock or short delay most
supply houses can furnish lenses of
the best quality and proper focal
AUTHOR'S CORRECTION
In the preparation of last month's article, "Factors in Choice of Proper Lamp
and Carbon Trim," in the comparison tables and text for various trims and lamp
speeds, I made use of figures which did not include the new 9-mm, 10- and 11-mm
carbons manufactured by National Carbon Company.
Although the captions on the graphs indicated that the current used is scaled
to lower current values than are possible with the new trims, it is possible that
some error may creep into interpretation of these figures.
In the course of the text, I referred to the relatively higher efficiency of the
8-mm positive at 70 amperes, as opposed to the 9-mm at 75 amperes. While this
statement is quite true, the introduction of the new 9-mm for 80 amperes makes
the statement less important.
Personal observation of the new carbon indicates that the claims made for it
are factual. Taking the case of the 9-mm trim alone, by increasing the watts input
from 3375 to 3680, or 9.1 per cent, we may obtain a light increase of something
in the order of 12 per cent. The lumens per watt figure is thus substantially
enhanced.
Additional efficiency is realized by reason of the lowered rate of consumption
of the new carbon.
" ■■■'■ Joseph Holt
16
.INTERNATIONAL PROJECTIONIST • NOVEMBER 1957
length for most applications.
The insidious thing about so much
of the lens trouble today is the fact
that everyone concerned is apt to be-
come reconciled to poor screen results.
Every projectionist has heard the re-
mark that "We've given up trying to
get a sharp focus," and when the men
directly involved with the screen pres-
entation resign to unacceptable stand-
ards, then all suffer, especially the
box-office.
Independent exhibitors all tou fre-
quently today are inclined to "make
do with what we have," and circuit
purchasing departments are often im-
bued with a spirit of "out of sight,
out of mind," or even "if we ignore it,
perhaps it will go away."
Projectionists faced with the task
of obtaining the best on the screen
must accept the responsibility of call-
ing these deficiencies to the proper
persons' attention. In some cases it
may be necessary to arrange a visual
demonstration of the improvemnet
which can be obtained by the utiliza-
tion of the best modern fully-corrected
lens. Most theatre supply houses will
gladly co-operate with such demon-
strations.
While we are .at the job of render-
ing our screen presentation as effective
as may be possible, let us not overlook
projection port glass. Articles in pre-
vious issues of IP have explored the
matter thoroughly, and improvement
here is usually quite spectacular.
The remaining step is now within
reach. It would appear that like it or
not, the Magoptical print will be with
us. If so, this means that base-shifting
will not be required. What better op-
portunity than to lock the bases prop-
erly and make certain that all aper-
tures used fit the screen precisely when
the optical center-line is established.
This means that the aperture edge does
not produce a shadow diffusion next to
the screen masking; it also means there
is not substantial "over-scan" which
spills large quantities of light on the
mask.
It is a continuing fight to keep up
with the best. Informed projection-
ists need to be reminded to use their
information to the best advantage and
their skill to the preservation of the
industry.
Basic Differences Between Movie and TV Color
FROM a purely theoretical point of
view, an additive color-reproduction sys-
tem, such as that employed in television,
is superior to the subtractive systems
utilized for the production of motion-
picture film prints in full color.
Additive methods make use of blue-
violet, green, and red primary-color il-
luminants, and are thus free from the
spectral imperfections of the lemon,
magenta, and cyan reciprocal-color dyes
required for color printing. The recipro-
cal colors are the complementaries of
the primaries.
In actual practice, however, color TV
suffers from many defects which are com-
pletely absent from color-film projection.
In the first place, there is the problem
of providing primary-color lights of pure
saturated hue. These should consist of
very narrow spectral bands "peaking" at
the wavelengths which careful experi-
ment has assigned to blueviolet, green,
and red lights of maximum visual purity.
Ghosts and Noise
Not only has the matter of determining
the rather critical primary wavelengths
been neglected, but the difficulty of find-
ing picture-tube phosphors which emit
these "dominant" wavelengths, and which
have identical decay or glow-persistence
times, still remains to bedevil technol-
ogists. The blueviolet and green phos-
phors used in present-day color tubes
are close enough to true primary stand-
ards for practical purposes, but the red
is too orange (green contamination) for
good reproduction of the carmines, ma-
gentas, and purples.
In addition to more or less faulty pri-
mary-color generation, color-TV picture
tubes are handicapped by insufficient
uniformity of the tricolor phosphorescent
surface, giving rise to tinted, streaky
whites which are especially noticeable
during black-and-white transmissions.
Inherent electrical and registration de-
A PERTINENT QUESTION
(Educational Screen & AV Guide)
'May I ask where you learned to clean
film . . . ?"
fects combine to degrade the color in
various ways, often producing colored
"ghosts" and "noise," and sometimes
completely altering the color values.
Commercial color TV is far from satis-
factory in its present state of develop-
ment.
Color motion pictures, on the other
hand, have advanced to so high a state
of refinement that truly natural color
on the theatre screen is now accepted as
a commonplace. Not only do the spectral
characteristics of the color negative
closely duplicate the blueviolet, green,
and red response of the human eye, but
improvements in the reciprocal-color im-
age-forming dyes of color-film stock, to-
gether with "integral masking" tech-
niques and ease of color balancing, make
the finished prints consistently faithful
reproductions of the original colored
scenes.
Not only are color movies now as
bright and clear as black-and-white pic-
tures, but the control which the producer
may exercise over the final color result
is truly amazing. The color may be
deliberately toned or tinted to establish
a desired dramatic mood: it may be
weakened to the point of pastel delicacy,
intensified into eye-dazzling brilliance, or
left au naturelle.
Additive color reproduction as used in
TV suffers in one or more of the mixture-
color regions — the region of the purples,
amaranths, and magentas, that of the
blues, cyans, and aquamarines, and that
of the celadons,* yellows, and oranges —
when one or more of the primary-color
components are either resaturated or not
of the precisely correct hue.
Intermediate Color Rendition
Color movies, being subtractive, give
excellent rendition of these intermediate
color groups as well as of white (clear
film) and the hueless grays. Brilliant
blues and yellows, and clear, unblemished
whites, must lie within the capabilities
of any color process.
Moreover* a rather wide latitude in
the hue of each reciprocal-color print
dye is permissible; and any hue shifts
may be corrected in processing. Only
when the print dyes depart very widely
from true lemon, magenta, and cyan do
color defects become evident, and these
take the form of darkened purples, blue-
violets, greens, celadons, oranges, and
reds in the finished pictures. Even so,
integral masking may still effect correct
reproduction of dominant hue.
To see color reproduction at its most
natural best, therefore, we shall have to
go to the movies. This, many persons will
agree, is a good idea, inasmuch as color-
TV sets are usually out of order most of
the time.
* Celadon is the name given to standard yellowish
green. Celadon is perceptibly greener than char-
treuse, which is standard greenish yellow.
INTERNATIONAL PROJECTIONIST
NOVEMBER 1957
17
East Coast Division Midwest Division
342 Madison Avenue 1 30 East Randolph Drive
New York 17, N. Y. Chicago 1, Illinois
West Coast Division
6706 Santa Monica Blvd.
Hollywood 38, Calif.
18
INTERNATIONAL PROJECTIONIST • NOVEMBER 1957
Close harmony . . .
lo achieve desired effects on the wide,
wide screen requires many talents — working
in close harmony! Often, entirely new ideas
must be explored. In fact, many of today's
most effective technics were developed just
this way— through close co-operation with
groups such as the Eastman Technical
Service for Motion Picture Film. Offices
located at strategic centers. Inquiries invited.
Motion Picture Film Department
EASTMAN KODAK COMPANY
Rochester 4, N. Y.
INTERNATIONAL PROJECTIONIST • NOVEMBER 1957
19
East Coast Division Midwe
342 Madison Avenue 1 30 East
New York 17, N. Y. Chicas
West Coast DMshr
6706 Santa Monica 61
Hollywood 38, Cali
harmony . . .
lo achieve desired effects on the wide,
6 screen requires many talents— working
m cl°se harmony! Often, entirely new ideas
mu*t be explored. In fact, many of today's
"lost effective technics were developed just
us way—through close co-operation with
groups such as the Eastman Technical
Service for Motion Picture Film. Offices
located at strategic centers. Inquiries invited.
Motion Picture Film Department
EASTMAN KODAK COMPANY
Rochester 4, N. Y.
INTERNATIONAL PROJECTIONIST • NOVEMBER 1«7 """NATIONAL PROJECTIONIST
NOVEMBER 1957
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.
SPOTLIGHT
A UNION'S RIGHT to choose its
own members and its contention
that members are not justified in resort-
ing to the courts without first prosecut-
ing their complaints within the frame-
work of the union was upheld in a recent
ruling by the Tennessee Supreme Court.
The Supreme Court's decision sustained
the State Court of Appeals in its reversal
of a ruling in the suit instituted last year
by 19 projectionists against Chattanooga
Local 259. The complainants, all mem-
bers of out-of-town IA Locals, charged
that they were refused membership in
the Chattanooga Local.
In the original ruling the presiding
judge, Chancellor Curry, ordered Local
259 to open its membership rolls to the
complainants with the charge that it had
violated the Tennessee Open Shop Law.
Although the Local had not had a writ-
ten contract with theatre owners in its
jurisdiction since the passage of the
open shop law, Chancellor Curry claimed
that "a closed-shop oral agreement ex-
isted."
The Court of Appeals held, and the
Supreme Court upheld, that there was
no evidence to support the conclusions
by the chancellor on the "closed-shop
oral agreement," and declared that the
Local had the right to give preference
to applicants who were sons of members.
Furthermore, The Court of Appeals
ruled that the suit should have been dis-
missed because the complainants did not
exhaust the remedies provided under the
constitution and by-laws of the IATSE
before bringing action against the Local.
Union members are obliged to uphold
their pledge to abide by the rules and
regulations of the Parent and Local
Union, ruled the court.
• The New York State Association of
Motion Picture Projectionists held its
annual fall meeting October 21 at Mar-
tin's Restaurant, Liverpool, N. Y., as the
guests of Syracuse Local 376. Wm. In-
gram, chairman of the educational com-
mittee, presided at the afternoon session
in the absence of George Raaflaub, Asso-
ciation president, who was home ill. The
afternoon session was given over to a
technical forum highlighted by illus-
trated talks on the following subjects:
"Better Light from Carbons," by William
Spooner, Lorraine Carbons; "Theatre
Equipment Service Problems," by Ed-
ward Stanko, RCA Engineering Section;
and "A Report on Survey of Screen
Brightness," by Fred J. Kolb, Jr., of
Eastman Kodak Co.
The evening session was in charge of
Harry Lackey of Utica Local 337, and
was devoted to the reading of reports
and other Association business. A mid-
night banquet, with an attendance of
130, followed the close of the meeting.
Two former presidents were honored
with gold cards — Earl Tuttle of Bing-
hamton Local 396, whose card was
mailed to him as he was unable to be
present ; and Fred Boekhout of Rochester
Local 253.
Among the invited guests were James
J. Brennan, IA first vice-president; Fred
J. Kolb, Jr., Paul H. Preo and Robert
S. Battey of Eastman Kodak Co.; Wm.
B. Spooner, Lorraine Carbons; J. C.
Naughton, Paul D. Ries, and A. B. West
of National Carbon Co. ; Edward Stanko,
RCA; George R. Potter, National The-
atre Supply, and Roy J. Fisher, Fisher
Mfg. Co.
• James A. Sipe has succeeded Paul
P. Mach as president of Pittsburgh Lo-
cal 171. Mach resigned to tour with
a roadshow.
• Jamestown, N. Y. Local 266 has filed
unfair labor practice charges with the
National Labor Relations Board against
the management of Shea's Theatre^ there.
The Local charges that the management
proposed a drastic cut in pay for its
members and is presently employing-non-
union projectionists.
• We were pleasantly surprised last
month to receive visits from two of our
overseas subscribers: Eric Darby from
Haurski Plains, New Zealand, and Al-
bert Buckley from Batley, England. It
N. Y. STATE ASS'N OF M. P. PROJECTIONISTS HOLDS FALL MEET
Charles Wheeler, secretary-treasurer, presents
a gold life membership card to former Asso-
ciation president, Fred Boekhout (Rochester
Local 253), in recognition of his many years
of fine service to the organization.
Pictured below are guests and officers of
the Association. Front row, left to right:
Paul Preo and Fred Kolb, Jr., Eastman Kodak Co.; James J. Brennan, IA first vice-president;
Edward Stanko, RCA Engineering; Robert Battey, Eastman Kodak; and William B. Spooner,
Lorraine Carbons. Rear, left to right: H. Paul Shay, 10th District secretary; Charles Wheeler;
Harry Lackey, Association vice-president; Wm. Ingram, chairman of Educational Program; and
Roy Fisher, Fisher Mfg. Co.
20
INTERNATIONAL PROJECTIONIST • NOVEMBER 1957
Was our first meeting with both gentle-
men, although we have corresponded
with them for a number of years.
We made arrangements for Darby to
visit the projection rooms of several
of the top motion picture theatres in
New York City, and he was deeply im-
pressed not only with the performance
of the American equipment but also with
its expert handling by the projectionists.
He was very appreciative of the cour-
tesies shown him by the projection room
personnel and for their patience in an-
swering the many questions he asked
them.
Albert and Mrs. Buckley realized the
fulfillment of a long cherished dream
with their visit to the States. While in
New York City, the Buckleys were the
guests of the 25-30 Clubs, and Morris
Klapholz, secretary of the Club, acted
as their official guide. The following
letter we received from Buckley upon
his return to England speaks for itself:
With reference to my recent visit to
your wonderful and fabulous city, I wish
to tender my grateful thanks to all who
helped to make this visit a memorable
one. During my stay in New York I found
my friend, Morris Klapholz, a very fine
host — with a very thorough knowledge
of the whole area and the people therein.
Nothing was too much trouble — I saw
everything that I could in the time avail-
able, and thus satisfied a life's ambition.
I was glad »f the opportunity to meet
Clarence Ashcraft and to visit his factory.
I enjoyed meeting John Alden and Harry
Du Furia at the Simplex plant in Bloom-
field, the projection staffs at the Rivoli and
Radio City Music Hall and Ed Lachman
of Lorraine Carbons. The hospitality ex-
tended to Mrs. Buckley and myself by the
members of the 25-30 Club was indeed of
HOSPITAL FUND INCREASED
ANOTHER PRIZE-WINNING TEAM FOR TORONTO LOCAL 173
Local 173 trophy-winning foursome in the sixth annual Canadian Picture Pioneers golf tourna-
ment, held recently at St. Andrew's Golf and Country Club, Toronto. For the fourth consecutive
year the Toronto Local-sponsored team carried off the N. A. Taylor trophy, top prize in the
tournament. Shown above, left to right: Fred Cross, Jr.; Jim Georgas; Raoul Auerbach, who made
the presentation in behalf of N. A. Taylor; Fred Cox, team captain; and Andy Pura. Each
member of the team was awarded a miniature trophy and an imported chafing dish.
The Will Rogers Memorial Hospital Fund was
increased more than $1000 this year as a result
of the save copper drippings campaign by the
members of Los Angeles Local 150. Shown
above is Nels Matheson (left), coordinator of
the drive, presenting a check for the Fund to
George Schaffer, Local business representative.
high order and we shall always treasure
happy memories of our visit.
• The many friends of Morris J. Rotker,
popular past president of the 25-30 Club,
were grieved to learn of the sudden
death last month of Mrs. Rotker. The
Rotkers recently celebrated their 40th
wedding anniversary.
• Wilbur F. Wepner, secretary of Local
323, Springfield, 111., was re-elected pres-
ident of the Illinois State Conference.
• Local 259, Chattanooga, Tenn., ob-
served its 47th anniversary last month
at a midnight banquet held at the Hotel
Patten. IA Assistant President Walter
Diehl was the special guest of honor.
Representatives from nearby IA Locals
joined in the celebration.
• Projectionists and other workers at
motion picture theatres in Scotland are
protesting through their trade union a
proposed cut by exhibitors of the present
double-pay for Sunday work. Union
leaders contend that this proposed cut
would work a hardship upon their mem-
bers and they plan. to fight the move.
• Conrad Krieger (Local 586, Grand
Island) was re-elected president of the
Nebraska State Association at its an-
nual convention, which was held last
month at Fremont, Nebr. Other re-
elected officials are H. C. McMullan
(Local 151, Lincoln), vice-president;
and Clyde Cooley (Local 343, Omaha),
secretary-treasurer.
• News from Local 299, Winnipeg,
Man., Canada: Lloyd BiggerstafI was
appointed projectionist at the Board of
Censors (Manitoba), a position left va-
cant with the death of former projec-
tionist, Gary Rushworth, who was killed
in an automobile accident. . . . Ed
Haugen, former sound service man for
J. M. Rice Co.. is now working as pro-
jectionist and sound technician for the
Fox chain of theatres in Excelsior
Springs, Mo. . . . Joe Minneault is now
at home recuperating from a serious
operation. . . . Jim BiggerstafI repre-
sented the Local at the recent Manitoba
Federation Convention. . . . Ray Reaney,
the Local's star golfer, won the major
prize at last summer's 4th annual golf
tournament, sponsored by the Canadian
Motion Picture Pioneers. . . . Cecil
Parker has returned to his job as pro-
jectionist at the Rialto Theatre after a
three-month layoff due to ill health.
OBITUARIES
Thornberry, William N., 47, member of
Local 303, Hamilton, Ont., Canada, died
several months ago. A former president of
the Local, he was an ardent unionist. He
was the Local's representative at the Work-
er's Education Society.
• • •
McCall, Edward, 68, member of Philadel-
phia Local 307 for 38 years, succumbed to
a heart attack suffered while working in the
projection room of the Goldman Theatre in
Philadelphia. He is survived by his widow
and nine children.
Reed, Jack L., 55, charter member of Local
612, Abilene, Texas, was stricked with a
heart attack last month while visiting his
brother in Brownwood. He has served the
Local as secretary-treasurer and as business
representative for many years, and for the
past 8 years had been a gold card lifetime
member. He was a 32nd degree Mason, a
Shriner, and a member of the Woodmen of
the World. His widow, two sisters, and a
brother survive him.
INTERNATIONAL PROJECTIONIST • NOVEMBER 1957
21
This department is mainly devoted to what is known
as the audio-visual field. IP considers this section of
the motion-picture industry of extreme importance,
as do leaders in education, industry, medicine, the
armed forces, etc., who have spent billions (we mean
billions) of dollars on this medium. The influence it
has had and will have is immeasurable, and the tech-
nical advances in what used to be considered an ama-
teur hobby have been outstanding. To be sure, 16-
and 8-mm is still an amateur hobby, but it has also
penetrated the professional entertainment field in both
TV and motion-picture theatres — including drive-ins.
But its main function remains in the world of in-
struction.
Progress, of late, seems to be increasing speed. And,
as the world changes, so must its chronicles — includ-
ing this magazine. Considering the amount of in-
quiry IP has received concerning 16- and 8-mm, we
feel that the medium deserves notice here. This maga-
zine is by nature technical, but, as in other depart-
ments of IP, this will not prevent the inclusion of note-
worthy news of a general nature.
B & H's Electric-Eye 16-mm Camera
A UNIQUE 16-mm movie camera has
been developed by Bell & Howell
in their new spool-loading electric eye
camera, which joins the magazine-load
model introduced by the company last
year. In both cameras an electric eye or
photoelectric cell automatically turns the
lens to the proper exposure setting for
the light available.
Designated the model 240EE, the ama-
teur camera embodies the features of
Bell & Howell's regular 240 line. Those
would include a long 32-foot spring run,
and completely automatic threading.
Threading procedure merely consists of
slipping the film end into the threading
mechanism, pressing the starting button,
and speeding the film along its path.
Opening or closing the film gate, sprock-
ets, or loop formers occurs automatically.
The camera has 100-foot film capacity,
single-frame, continuous-run lock, and
camera speeds from 8 to 48 frames per
second. The spring run gives approxi-
mately 80 seconds of continuous filming
at 16-frame speed.
Operating in the same principle as the
human eye, the photoelectric cell opens
and closes the lens iris automatically to
adjust to varying light conditions. The
purpose behind this is to enable the
camera operator to shoot a scene with-
out having to attend to / stops. However,
the lens barrel is graduated in / stops
for those who wish to disconnect the
electric eye for special effects.
Electric-eye Advantages
Bell & Howell makes claim that the
electric eye is useful when a scene in-
cludes both brightly-lit and deeply-
shaded areas. Their example: "As the
camera is turned from one such area
22
to another — perhaps in following a mov-
ing subject — the lens iris automatically
opens or closes to adjust to the chang-
ing light as needed. Typical conditions
of this kind might occur at a picnic site
where a sunny field is surrounded by
woods; in a back yard partly shaded by
an adjacent building; or on a bright day
at the beach, where a swimmer may go
back and forth between water and sand,
and the shelter of a beach umbrella."
A provision for those frequent times
when light is inadequate for good taking
is a tiny built-in electric lamp that il-
luminates a red warning mask in the 240-
EE's viewfinder.
A Bell & Howell 20-mm /:1.9 lens in
a focusing mount is fitted permanently.
Auxiliary wide-angle and telephoto at-
tachments screw directly into the lens
barrel. The company states that the
wide-angle attachment permits the in-
clusions of a greater area in the picture
from a given camera position, and is use-
ful for filming at close quarters. The
telephoto attachment is, of course, used
to bring distant objects closer. The cam-
era lens continues to set itself automati-
cally with either attachment in place.
Positive Viewfinder
The viewfinder is of the positive type,
and takes interchangeable objectives to
match the fields obtained with the cam-
era lens alone, or in combination with
the wide-angle or telephoto attachments.
An easy-winding crank which folds
back out of the way winds the motor. To
afford constant speed throughout the 32-
foot run, a "negator-type" spring is in-
stalled. A positive stop halts the mechan-
ism with the shutter closed, avoiding
flash frames.
The camera housing is die-cast alumi-
num, side panels are black grain leather,
and the rest of the housing is durable
Tyrolean gray wrinkle finish with satin
chrome trim.
On the side of the camera is a control
panel containing the camera speed dial,
an indicator showing how fully the mo-
tor is wound, and a dial indicating how
many feet of film remain to be exposed.
An accessory cowhide leather combi-
nation case is available. List price for
the camera at this time is $329.95.
Free Slide Rule
A self-computing slide rule that deter-
mines screen size, projection distance,
and focal length of lens required for
any type of overhead or opaque projec-
tor is being made available to dealers
and users free of charge.
This slide rule makes it easy for those
using visual aid projectors to compute
the individual specifications required to
meet specific projection problems. Write:
Projection Optics Co., 330 Lyell Ave.,
Rochester 6, N. Y.
Kodak's Three Booklets
Eastman Kodak Co. has recently pub-
lished three booklets of pertinent interest
to the audio-visual field. Perhaps most
important of all is the "Movie Photo-
guide" ($1.50) which includes, as com-
pactly and completely as possible, what
both the professional and amateur 16-
and 8-mm movie-maker should know.
The handy pocket volume includes all
facets of making a motion picture from
exposures and lenses to story material.
One particular feature of the booklet is
a number of dial computers on organiza-
tion, depth of field, effective aperture,
INTERNATIONAL PROJECTIONIST • NOVEMBER 1957
etc. For its price, it is this magazine's
opinion that it is the finest manual avail-
able.
There is also a pamphlet "Foundation
for Effective Audio-Visual Projection"
available at no cost. This deals with the
effective showing of movies, slides, and
slide films, and although especially de-
signed for the person who utilizes audio-
visual equipment professionally, the book
has many helpful suggestions for any-
one who puts on slide or film presenta-
tions.
Included in the book are sections >n
how room facilities, seating plan, screen
size and type, loudspeaker location, pro-
jector location, image brightness, and
projector distance contribute to the ef-
fective use of A-V equipment. There is
a table on the lumen output of Kodak
projectors.
For 50 cents the A-V professional or
enthusiast may obtain the Kodak booklet
"Industrial Motion Pictures." an op-
tional addition to the recently revised
Kodak Industrial Handbook. The com-
pany asserts that: "Although primarily
designed to assist the industrial motion
picture photographer the publication al-
so provides the serious amateur motion-
picture photographer with many an-
swers to problems concerning proce-
dures and materials in film production."
The booklet, like most Kodak publica-
tions of this medium is able to be bound.
A Pertinent Note
For those in the A-V field that haven't
already done so, it might be noted that
the National Audio-Visual Association's
new directory — which contains informa-
tion on the specific services offered by
some 400 audio-visual dealers through-
out the United States and Canada — is
now available. NAVA dealers are listed
by geographical location and particular
VICTOR 16-mm PROJECTOR COLOR-CODED THREADING PROCEDURE
> Oreo
Victor Animatograph Corp. has developed a new color-coded threading procedure for its line
of 16-mm sound projectors. Red, white, and blue guide lines — indicating the three basic steps
in threading— are painted directly on the housing. Stepwise: (1) red for sound, the film being
threaded along the thread path over the sound drum; (2) white, the film is threaded along the
white path under the single-drive sprocket; and (3) the blue path is followed through the film
gate and over the single-drive sprocket.
service and facilities. Single copies of
the Membership List and Trade Direc-
tory are available free to audio-visual
users from: National Audio-Visual Asso-
ciation, Box 337, Fairfax, Virginia.
PERSONAL NOTES
George C. Noble has been appointed a
district sales manager for Radiant
Screens of Chicago. He will represent
the projection screen manufacturer in
George C.
Noble
seven western states. Before joining
Radiant, Noble was a retailer, film sales-
man, distributor's representative, and
photo finisher. Based in Seattle, Wash-
ington, he is now traveling extensively
within his territory.
* * *
E. I. du Pont de Nemours, Inc. has
announced three new appointments in
sales activities. Wilton R. Holm, tech-
nical associate at du Pont's Parlin, New
Jersey, Photo Products Research Lab-
oratories, has been named sales service
representative for motion picture prod-
ucts.
* * *
W. C. Michel, executive vice-president
of 20th Century-Fox, has been cited by
the United Epilepsy Association for his
work in behalf of the organization. Mi-
chel is chairman of the fund-raising drive
for the motion picture industry. Dr.
Houston Merritt, chairman of the med-
ical advisory board of the Association,
and Carl Marks, its president, made the
presentation.
Three appointments in the apparatus
and optical division of Eastman Kodak
Co. have been announced. Douglass C.
Harvey has been appointed assistant
manager of the development and engi-
neering departments of the division,
which is located in Rochester, N. Y.
Donald L. Wood has been named assist-
ant to the manager of these departments,
and will also continue in his present
position of engineering on still picture
products. Emil C. Steinle has been ap-
pointed assistant superintendent of op-
tics manufacturing for the division.
INTERNATIONAL PROJECTIONIST
NOVEMBER 1957
23
An Open Letter from Bartlesville
To the Editor of IP:
I've just read your comment in the September issue of IP, Monthly Chat
column, on pay-TV. You said: ". . . it has not been stated just where the projec-
tionist fits into all this."
I would like to take this opportunity to express my opinion on this, for I am
one of the four projectionists who is working on the Bartlesville Telemovie experi-
ment. I say that the projectionist fits into the picture of pay-TV perfectly. An
experienced projectionist is necessary for smooth operation of Telemovies.
Here in Bartlesville the studio is run by four projectionists and one TV engi-
neer. Four projectionists were selected from the Video Theatres circuit to work
on the Telemovie project: Lee Findley and Jay Spears, two Bartlesville projec-
tionists, Don Turley of Ada, Oklahoma, and myself from Stillwater, Oklahoma.
It takes two men to run Telemovies. Two men work one shift from 12 noon
to 6 p.m., and the other two men work 6 p.m. to midnight. One man works on the
console while the other works as projectionist. The projectionist keeps the four
projectors loaded, film rewound, etc., while the man on the console controls the
video and audio signals, and makes necessary changeovers by remote control.
Stan Socia, the TV engineer, is necessary in the operation to keep the TV
equipment functioning properly. All of us have worked with Telemovies from the
start. We helped install and wire the studio equipment, and have learned a lot by
doing so. Working with Telemovies we are, of course broadening our skills by
learning to work with TV. The projectionist is the ideal man to work on Tele-
movies. His skills and experience are half the battle of making Telemovies a
success.
Since Telemovies has gone into operation here, we have come across problems
which needed solving, and we have worked out the problems. Now that Tele-
movies are a reality, it is up to the public as to whether it will be a success or not.
I have read the recent articles in IP about Telemovies and have found them
quite interesting; I realize that much of this information was released before
Telemovies was completed. There have been many changes made in Telemovies
even up to the very last minute of installation.
If there is anything I can do to help in bringing Telemovie information to
fellow projectionists, please let me know. Phil Hays, Video Theatres manager,
and Milton J. Sharp of Jerrold Electronics have invited everyone in the industry
to visit the Bartlesville experiment. I hope that all of you at IP will have the
opportunity of seeing this new experiment.
Lawrence E. Johnson
Bartlesville, Oklahoma
Editor's Comment:
We'd like to accept the invitation. An
affable Oklahoman named Griffing, who
just happens to be the president of
Video Independent Theatres and Tele-
movies, was in town a while back, and
we went over and had coffee with him
to ask a few questions. We, of course,
asked about the projectionist set-up, and
that has been clarified by the above let-
ter. In the main, Griffing was optimistic
about proceedings in Bartlesville. "I am
personally amazed," he said, "that more
than 500 families would invite Tele-
movies into their homes almost sight un-
seen. When we planned this test, we
projected we would have 200 by this
date." The wired area of Bartlesville
includes 5200 homes, of which 4500 have
TV sets. This would mean that Tele-
movies is getting one out of nine poten-
tial customers.
A few weeks later, Griffing keynoted
the experiment as a test to prove Tele-
movies desirable, feasible, and saleable.
"We are confident the public will find
them desirable," he said. "We believe
they are financially feasible, and it's our
job to prove they are saleable. Video
is more interested in making cable con-
nections than in making history. Video
does not consider Telemovies as pay-TV,
but as an extension of local motion-pic-
ture exhibition." He noted, rightly so,
that the success of Telemovies is bound
to depend to a large extent on the qual-
ity of motion pictures.
To that end, Video Independent Thea-
tres has begun its "hard sell" campaign
with a Telemovie Fall Festival program.
The initial hoorah has quieted, and now
the real selling must begin. Just how
that will be accomplished is still nebu-
lous, as no specific plans have been an-
nounced by the company.
But all is not roses riotously with the
throng. There have been two major ob-
jections to Telemovies: (1) there is no
freedom of choice of product. At pres-
ent the set owner gets 13 new films on
one channel, 18 reissues on another, and
no matter the amount of films seen by
the viewer, his bill is the same. Which
brings us to (2) : the price is fixed and
too high.
Some Pertinent Resistance
Then, too, competition is looming fast
on the tollvision horizon. Even though
such research organization execs like
Sydney Roslow of Pulse, Inc. said re-
cently, "I think more people will go
broke trying to get it off the ground than
will ever make a mint out of it," com-
panies by the score are jumping into
toll-TV with both feet and closed eyes.
However, tollvision is, as Roslow pointed
out, "a logical service." But it is a some-
what skewed logic. Pay-TV will put the
burden of cost on the consumer rather
than on the advertiser as heretofore. The
better the product, the more expensive
it's going to be, something that has
always been true in most commercial
fields, with the exception of free TV.
Well, let the buyer beware.
There is no doubt that closed-circuit,
wired, and air-toll TV have been hogging
industry headlines of late. At the recent
SMPTE convention, closed-circuit TV
was pretty much the topic of conversa-
tion and formal meetings. At this writ-
ing, the TOA-TESMA convention in
Miami is highlighting a full day set
aside for a joint session on cable TV:
"Is Cable TV Good or Bad for the Ex-
hibitor?"
The FCC has agreed to give the na-
tion's TV stations a chance to try sub-
scription TV in a cautious and limited
statement that applications would be con-
sidered "subject to the furnishing of
pertinent information and controlled con-
ditions under which the pay-TV tests
would be conducted." And out in Los
Angeles, the City Council okayed fran-
chise bids for Skiatron, International
Telemeter, and Harriscope. The fran-
chises go for 21 years.
There are, at present, five pay-TV
24
INTERNATIONAL PROJECTIONIST • NOVEMBER 1957
systems. It used to be that you paid
your money and took your choice. It
may be that you just pay your money. Or
it may be, as Ernest G. Stellings, presi-
dent of TO A, believes: "I would not be
surprised if home-toll over the airwaves
will be completely outlawed at the next
session of Congress."
Well, as the song goes: "You might
have been a headache, but you never
were a bore."
Technically speaking, we are most
grateful to Lawrence Johnson for his
informative and, we hope, reassuring
letter.
RCA-Ampex Tape Swap
RCA AND AMPEX CORP. have entered
into an agreement to exchange patents
on video tape recording. It is under-
stood that the exchange involved the
Ampex patent on its monochrome re-
cording process and the RCA patent on
its color tape developments.
Ampex was the forerunner of black-
and-white tape recording, entering the
field a year and a half ago. Since Am-
pex was already in production, RCA
decided to concentrate on color record-
ing, and it is believed has advanced
further along that line than Ampex,
therefore the trade of patents.
Ampex has a laboratory model of a
color tape recorder, but the company
concedes that its output is still fairly
far off. RCA, on the other hand, is aim-
ing for an early 1958 delivery of color
tape recorders to the major networks.
The practicability of making color tape
recorders on a commercial basis is still
somewhat of a question, considering that
even usual color TV process has not
been an overwhelming success. Mean-
while, Ampex has stepped up develop-
ments, research, and production on their
black-and-white video tape.
New Kinescope Film
DuPONT has developed a new fine-grain,
low-contrast photographic film for TV
use said to be 2% times faster than that
for DuPont Type 824. The new Type
834 TV Recording film is designed for
photographing either negative or positive
images on TV monitor tubes.
The high speed of the film will allow
either a reduction in the "drive" on the
kinescope tube to reduce image flare, or
use of a smaller /-stop to improve depth
of focus, it is stated.
Type 834 TV Recording film is avail-
able in both 16-mm and 35-mm sizes.
ROBERT A. MITCHELL'S
MANUAL OF
PRACTICAL PROJECTION
TESMA show booth 212
now showing...
TheSIII'Elt
SNAI'LITE
projection lens
Come to Booth 212 for a
look at the design sample of America's
fastest projection lens . . . the
Super Snaplite f/1.4.
/ « . iiOLiiii&oir<;i2N
\J_^^ 347 KING STREET
ir ■• o is at a o iv
NORTHAMPTON, MASS.
INTERNATIONAL PROJECTIONIST • NOVEMBER 1957
25
What Is YOUR Problem?
Projection
CLINIC
Elimination of Machine Noise in Sound
THE WHIR OF PROJECTOR motors and gears is sometimes faintly heard
over the stage speakers when the optical sound system is turned on and the
projectors run without film. The cause of this "machine noise" is usually a
defective exciter or photocell, or socket for either of these components.
While a trace of very faint machine
noise, when the sound-system gain is
turned all the way up, is nothing to
worry about in the case of systems hav-
ing preamplifiers on the front of the
projectors, noise loud enough to be heard
by the audience during moments of in-
tended silence requires investigation.
Only one projector produces the noise,
as a rule. Turn on the offending machine
with the optical-sound amplifiers opera-
tive and at maximum volume setting.
Place a card in the scanning beam to
prevent exciting light from reaching the
photocell. If this stops the machine
noise, the trouble is definitely a vibrat-
ing element in the soundhead optical
train.
Test the exciter first. Examine the
socket and tighten, if necessary. Re-
place the exciter with a new one. If the
900 1000 2000 3000 4000 5000
Wavelength in millimicrons (m^i)
This is a graph of the infrared region of the
spectrum between 900 and 5,000 millimicrons.
(Human vision perceives only the region be-
tween 380 m/j. in the extreme violet and 740
m/M in the extreme red.) Shown here are curves
indicating the lower end of tungsten exciting-
lamp radiation, the response of the lead oxy-
sulfide photocell, and the transmittance of
magnetic soundtrack striping on motion-pic-
ture film.
The light portion of the graph indicates
the comparatively narrow wavelength band in
which the lead oxysulfide cell responds to an
optical track covered by a magnetic track.
Because the conventional cesium-silver-oxygen
photocell is not excited by infrared wavelengths
below 1,150 m/x, lead oxysulfide cells are neces-
sary to obtain optical response through mag-
netic striping.
machine noise then continues when the
card is removed, the offender is probably
the photocell itself.
Like amplifier tubes, photoelectric
cells are sometimes "microphonic," the
slightest jar or vibration producing loud
thumping or ringing sounds. If the cell
makes a loud noise in the sound when
lightly tapped with a pencil, the cathode
support or the entire glass envelope may
be loose. Try a new photocell. Continua-
tion of the machine noise may then
indicate a loose photocell socket, faulty
contacts, or a wrongly positioned socket
which allows the photocell to touch the
photocell condensing lens, the photocell
light shield, or some other rigid part
of the soundhead.
Consistent machine noise in systems
using preamplifiers mounted on the pro-
jectors indicates a microphonic vacuum
tube. Such a tube will generate machine
noise when the projectors are turned
on regardless of whether the photocells
are illuminated.
"Transparent" Tracks
THE NEW "TRANSPARENT" mag-
netic soundtracks are not transparent
in the ordinary sense of the word. You
can't see through them. In fact, "trans-
parent" magnetic tracks and ordinary
opaque magnetic tracks are one and the
same thing!
The opaque chocolate-brown magnetic
tracks with which nearly all projection-
ists are familiar are actually transparent
to certain types of photocell. An in-
frared-sensitive photocell, such as the
lead oxysulfide photoconductive cell used
in Army JAN projectors, readily "sees"
through the striping used for magnetic
tracks.
Magnetic tracks "look" gray to the
lead oxysulfide cell. A superposed optical
track, therefore, can be "read" by this
type of photocell, permitting reproduc-
tion of an optical track which is com-
pletely hidden to human vision by the
magnetic striping!
The remarkable discovery that mag-
netic tracks weakly transmit infrared
radiation between 1,500 and 5,000 milli-
microns was made by accident.
Tungsten exciting-lamp radiation, how-
ever, falls off sharply below 3,500 m^,
and the lead oxysulfide cell does not
respond to infrared beyond 3,000 m^.
The useful wavelength band for optical
reproduction through magnetic striping
accordingly lies between 1,800 and 2,800
mfj., as the accompanying graph reveals.
Optical reproduction through magnetic
striping, moreover, is attended by several
faults, and attenuates the sound to a
degree which is about double the 6 db
attenuation resulting from the use of
half-width "magoptical" tracks with con-
ventional photocells.
Optical tracks overlaid with magnetic
striping do not reproduce at all with
conventional red-sensitive cesium-silver-
oxygen photoemissive cells, which are
as blind as bats below 1,150 m^. (Human
vision ceases at about 740 niju., according
to the most recent investigations.) For
the overstriped optical tracks to be used,
therefore, the standard red-sensitive
photocell must be replaced by a lead
oxysulfide cell. It is not likely that the
theatre field is willing to make this
change, which requires refocusing the
optical tubes of soundheads for infrared
radiation.
Cesium-Antimony Photocells
Manufacturers and processers of color
film, for example, have long advocated
the use of blue-sensitive cesium-anti-
mony photocells to allow the use of
soundtracks printed in colored dyes,
which transmit low red and high infra-
red; but the theatre field would not
countenance such a change. In this re-
spect the field exercised commendable
wisdom, for blue-sensitive photocells in-
crease hum in equipments employing
60-cycle AC-powered exciters, and they
exaggerate the adverse effects of line-
voltage variations in all types of sound
systems. The reason is that small varia-
tions in line voltage make the light
emitted by exciter filaments redder or
whiter — and blue-sensitive cells are ex-
tremely sensitive to color changes in the
exciting light.
Projectionists, already plagued by
half -width optical tracks, need not worry
about an immediate inundation of so-
called "transparent" magnetic tracks
striped over optical tracks. Rather, there
may soon be a return to standard optical
tracks unmarred by magnetic tracks.
The Inscrutable Orient
The first three VistaVision products
from Daiei Studios in Japan are:
"Bloom in Hell," "Escape From Temp-
tation," and "Murder In The Lotus Bed."
26
INTERNATIONAL PROJECTIONIST
NOVEMBER 1957
BOOK REVIEW
Closed Circuit TV, Morris A. Mayers
and Rodney D. Chipp, Rider Publica-
tions, 1957, 250 pp., $10.00
This is the definitive work on closed-
circuit TV. Profusely illustrated (there
is at least one illustration on every
page), this volume has been put together
with care, intelligence, and a nice clarity
of style.
Closed-circuit TV is now a major fac-
tor in industry and education, and the
timeliness of this book is undeniable.
It is not an engineering or technician's
manual — it was written to give manage-
ment the facts. And that it does, to a
complete degree. Just about every ques-
tion pertaining to closed circuits is an-
swered— with an impartial discussion of
some of the disadvantages and limitations
of that medium.
The volume is in two parts: "Applica-
tions of Closed Circuit Television," and
"How Closed Circuit Television Works."
The first part contains descriptions of
closed-circuit operations in sales, medi-
cine, advertising, military, and human
relations, to name a few. The second
part is a detailed, yet admirably clear
description of just how the system oper-
ates, why it operates, and the most prof-
itable way to operate it. Significant of
the authors' coverage is the inclusion of
a discussion of costs, etc.
Messrs. Mayers and Chipp, both pro-
fessional experts in their field, are to
be lauded for a comprehensive work.
The printing and reproduction is excel-
lent, and we have only the highest rec-
ommendation.
RCA's New Service Program
A new RCA Planned Theatre Service
Program has been launched by that firm.
Information of it will be outlined in a
special brochure that is being mailed to
all exhibitors in the country. Introduc-
tion of the broadened program was made
at a series of regional meetings through-
out the nation. The meetings covered
new service techniques, improved test
films, new test equipment used in the
program, and special training films de-
tailing the program's operation.
New Production Code Review
Board
In a move to combat outmoded cen-
sorship, Eric Johnston, president of Mo-
tion Picture Association of America has
announced official establishment of a
new Production Code Review Board
which he will head. The 20-man board
consists of 6 exhibitors, 4 producers,
and 10 members of MPAA.
When you buy. . .
Your SIMPLEX Projector Mechanism represents a price-
less investment. You bought it after long, careful study
because you recognized it as the finest projector on the
market.
Don't take chances with such an investment —
the very success of your theatre depends upon its perform-
ance! When spare parts are necessary, insist on the best —
insist on SIMPLEX parts!
From gears to sprockets, every part is made with
the same precision and skill as the mechanism itself. By
using only SIMPLEX parts, you can be certain of main-
taining the high quality of performance that has made
SIMPLEX the world's foremost projector mechanism!
Genuine SIMPLEX parts are available only through
Yoilt GtlQtQOteB of Consistent Quality and Outstanding Service
NATIONAL THEATRE SUPPLY COMPANY • BRANCHES COAST TO C0ASL
INTERNATIONAL PROJECTIONIST • NOVEMBER 1957
27
This new and versatile overseas construction features
a central projection room equipped for two theatres.
This model shows the main auditorium, to screen end with projection room —
which contains equipment for both the main and small preview theatres. The
smaller theatre overhangs the entrance at the lower end of the photograph.
Britain's National "heatre
LAST MONTH Princess Margaret
formally opened the British Na-
tional Film Theatre to an internation-
ally representative premier audience
that included such stellars as Sir Law-
rence Olivier, Gina Lollobrigida, Rene
Clair, and Vittoria de Sica. The the-
atre is situated under the vaults of
London's Waterloo Bridge — a site
which specifically dictated the archi-
tectural planning limitations.
Constructed to the design of the
Architects' Department of the London
City Council, the building is actually
two theatres — a public auditorium
seating 500, and a private preview
viewing room that will accommodate
25 people. A central projection room
contains necessary equipment for
both. Projection, sound reproducing,
and screen equipment for both thea-
tres was supplied by Rank Precision
Industries, Ltd.
Viewing Problems
The height of the screen being dic-
tated by the underside of the bridge
and a sharply inclined floor under the
screen, the possible height of the pic-
ture was 12 feet, 6 inches, the width
of the widest ratio CinemaScope at 32
feet, 6 inches. The best viewing dis-
tance arrived at for a screen of these
dimensions is between two and five
times the height, making the front
row 24 feet, and the rear row 64 feet.
The extreme sides of the seating area
were determined to be a maximum
angle of 115 degrees. The floor of the
auditorium has a 1 in 8 slope on curv-
ed steppings covered with a specially
designed carpet — the largest one-piece
carpet on a curved-step auditorium
(1,250 yards).
Considering all known film systems
and those still in the process of de-
velopment, screen provisions had to
be made for at least 10 ratios. For
greater flexibility, the screen has been
placed inside the auditorium, elimi-
nating a proscenium.
The Harkness stereo screen is sus-
pended on a space frame of tubular
construction standing on four 3-inch
diameter tubes. The widely diffusive
screen incorporates an electrically op-
erated magnascopic masking for vary-
ing the width of the picture — height
being common for all ratios — thereby
giving an inner ratio balance.
Another feature is a specially-de-
signed panel of abstract shapes made
into a two-leafed shutter as part of
the screen space frame. The shutter,
curtain-like, parts in the center and
moves on special tracks to the rear
of the screen during film presentation.
432 panels of 9-mm ply surfaced with
plastic paint treated to give a broken
stucco effect with a gilt finish comprise
this shutter. Panels are separately
hinged and suspended on steel rods.
The screen equipment (new name:
Gaumont-Kalee "Monovistal") is sur-
rounded by black masking. In front
of it, for live lecture purposes, a sec-
tional staging consisting of 15 sec-
tions on lightweight tubular beams is
supported in floor sockets. Lighting
and microphone wiring is housed in
a sectional box along the front. The
staging is easily erected or dismantled.
The Preview Theatre
The small preview room is situated
over the theatre entrance, and includes
not only facilities for 10 ratios, but
also a rear projection screen to the
front of the theatre. Since the building
is under the Waterloo Bridge, the
plate glass facia is continually in sha-
dow, an aid for advertising purposes.
The designing of this gave rise to
an architectural problem — in order to
Bank of equipment for the main
President arcs, and two G.
theatre: two Gaumont-Kalee "20" 35-mm projectors with
B.-Bell & Howell Model 609 16-mm arc projectors.
28
INTERNATIONAL PROJECTIONIST • NOVEMBER 1957
project onto the special Harkness rear
projection screen, the inner, normal
screen had to be removable. This was
solved by designing a special tubular
steel open-type frame with side elec-
trically-operated magnascopic mask-
ing. There is a Harkness pull-up roller
screen operated by winch gear, with
black plastic masking at top and bot-
tom. The framework also carries a
velour curtain and dress legs.
A centrally-located projection room
serves both theatres, but with entirely
separate installations. The main theatre
is equipped with two Gaumont-Kalee
"20" 35-mm projectors that run at 16
and 20 frames per second for silent
films, and 24 frames per second for
sound films. They have series 'S'
lenses and Varamorph variable ana-
morphic lens for all ratios.
The sound system is Gaumont-Kalee
"21" dual 30w optical reproducer
equipment. In addition, there is a
four-track magnetic stereophonic sys-
tem, with 10 auditorium effects speak-
ers, and three main speakers behind
the screen. Provision has been made
for future installations of multi-mag-
netic/optical track follower heads and
interlocks. Along with this, projectors
are interlocked for 3-D and unmarried
prints, with allowance for any future
developments in processes — as far as is
foreseeable.
The arclamps are Gaumont-Kalee
Presidents.
The projection room also contains,
next to the 35-mm projectors, two
G. B.-Bell & Howell Model 609 arc
16-mm projectors equipped to run at
sound or silent speeds, and either
optical or magnetic track sound repro-
duction.
Preview Theatre Equipment
For the smaller theatre, two Gau-
mont-Kalee "18" 35-mm projectors
serve, with Dual 18w sound film repro-
ducer with Universal arcs. One ma-
chine is equipped for rear projection.
16-mm facilities are provided by a
G. B.-Bell & Howell Model 630 projec-
tor specially adapted for long running
with either optical or magnetic sound
systems. Recording facilities on mag-
netic track is installed.
To allow lenses of the most advan-
tageous focal length, the length of
throw and angle to the main screen
was the major factor in determining
the position of the projection room.
There is no distortion of the projected
(Continued on page 30)
They "go out" to the movies for the
BIG THRILL,
Only B&L lenses show
EVERY THRILLING DETAIL
Today's audiences want escape — the over-
powering impact of larger-than-life real-
ism on your screen. They'll keep coming
back for more, if you satisfy them! Make
sure with B&L Super Cinephor Lenses —
quality standard for clearest, sharpest,
true-color images. Maximum useful trans-
mission of carbon arc, uniform from edge
to edge, for today's most thrillingly vivid
screen image of all 35mm releases. Com-
plete line for all projectors, from neigh-
borhood theatre to longest-throw drive-in.
SEE THE BIG DIFFERENCE!
FREE DEMONSTRATION!
MAIL COUPON TODAY!
BAUSCH & LOMB OPTICAL CO. .
61623 St. Paul Street, Rochester 2, N. Y. ■
I I I'd like a free demonstration of B&L
1 — ' Super Cinephor Projection Lenses
] Send me Data Brochure E-123
Name _
6
Theatre, Address I
City Zone State. |
My Dealer is _ - _ ■
_-, - I
INTERNATIONAL PROJECTIONIST
NOVEMBER 1957
29
Xmas Drive Starts for Will Rogers Hospital
Theatre equipment manufacturers,
dealers, and their employes have begun
to formulate plans for the annual Christ-
mas drive to raise funds for the Will
Rogers Hospital and Research Labora-
tories by appointing committees with
representatives in various parts of the
country.
Although efforts had been made yearly
to effect the cooperation of manufactur-
ers and dealers for company contribu-
tions (and fairly successfully), commit-
tee members now believe that contribu-
tions from employes themselves will
serve a dual purpose: it will educate
the employes that the Will Rogers Hos-
pital belongs to them (and will treat
them and their families free for almost
all chest diseases), and at the same time
solicit the employes for contributions.
Members of the manufacturers com-
mittee are: Bernard M. Bodde, Jr.,
Bodde Screen Co.; William A. Gedris,
Ideal Seating Co.; J. Robert Hoff, the
Ballantyne Co. (past president of TES-
MA and a member of the hospital's
board of directors) ; Edward Lachman,
Lorraine Carbons, Inc.; and Fred C.
Matthews, Motiograph, Inc.
The theatre equipment dealers com-
mittee consists of: W. E. Carrell, Falls
City Theatre Equipment Co.; C. C.
Creamer, Minneapolis Theatre Supply;
J. Eldon Peek, chairman of the board
of directors of Theatre Equipment Deal-
ers Association, and president of Okla-
homa Theatre Supply; W. A. Turnbull,
executive vice president, National The-
atre Supply; and L. M. Wutke, Pembrix
Theatre Supply Co.
Coordinator of the combined drive is
Merlin Lewis, executive secretary of
TESMA. Contributions of the manufac-
turers and dealers are expected to clear
through Lewis' office for recording, and
thence turned over to the Hospital's New
York office.
Harold Hornstein of Joe Hornstein,
Inc. has been named chairman of the
local arrangements committee. He will
J PUCES ^
NOT 1
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., INC.
DEPT. J
315 West 43rd Street New York 36, N. Y.
JUdson 6-1420
be responsible for details in connection
with what is expected to be a highlight
of the combined drive — the appearance
of the Healthmobile on the floor of the
NAC-TESMA-TOA Second International
Trade Show, and at the joint meetings
of TESMA and TEDA preceding the
Trade Show this month at the Americana
Hotel, Bal Harbour, Florida.
The Healthmobile, which is completely
equipped with X-ray equipment, will of-
fer its facilities to chest X-ray every per-
son in the area connected with the motion
picture and theatre business. Services
are free of cost.
X-rays will continue throughout the
convention, with Hospital maintaining a
booth near the registration area of the
Trade Show to register those who wish
to avail themselves of the free chest X-ray
services, and to explain the services and
facilities of the Hospital.
NATIONAL THEATRE
(Continued from page 29)
picture since the angle of projection is
slightly positive.
It has been considered that some
form of TV projection may be required
sometime in the future.
The following projection data covers
the main theatre:
35-mm Projection and Sound
1.33/1 Silent 16 frames per second.
1.33/1 Silent 20 " " " .
1.38/1 Sound 24 " " " .
1.66/1 ' Widescreen.
1.75/1 " " Metroscope.
1.85/1 " " VistaVision.
1.75/1 " " VistaVision.
2.00/1 " " RKOScope.
2.35/1 " CinemaScope.
2.55/1 " ' CinemaScope.
3-D Projection.
Unmarried Prints.
Optical Track.
Magoptical.
Four-track Magnetic Stereophonic.
Single, double, or triple magnetic
tracks to CinemaScope track positions.
16-mm Projection and Sound
1.34/1 Silent 16 frames per second.
1.34/1 Sound 24 " " " .
2.68/1 " " " " " .
Optical Track.
x/2 Stripe Magoptical.
Full Stripe Magnetic Track.
Edge Stripe Magnetic Track.
Projection data for the preview
theatre:
35-mm as for main theatre, plus rear
projection at 1.38/1 on one projector
without stereophonic sound.
16-mm as for main theatre, plus re-
cording facilities for all magnetic
tracks.
Well-equipped club rooms, offices,
and general service rooms surround
the auditorium.
What future is in store for this
unique type of theatre has possibly
been best summed up by R. F. Scott,
Planning and Design department, Rank
Precision Industries, Ltd., who had a
large hand in the designing of the
building and installations: "We must
wait and see whether the National Film
Theatre will create a new tradition in
design. It will, I am certain, form a
basis for realistic thought, and not a
little argument. However, from a tech-
nical point of view it will certainly
fulfil all the many requirements laid
down by the British Film Institute."
BRIGHTER LIGHT °
LONGER BURNING
SHARPER PICTURE
Free Test Samples
iMTf^*»'T,'"T^r"»"»"
onnautl^^m^n^<mA
CARBONS INC., BOONTON, N. j.
liiiOiMitililUIll IUU •»<
STEADIER LIGHT
LESS ATTENTION
PERFECT COLOR BALANCE
Free Carbon Chart
30
INTERNATIONAL PROJECTIONIST
NOVEMBER 1957
POSITIVE ALARM SYSTEM FOR WATER-COOLED JAWS
LIVE SIDE
LAMPHOUSE
SWITCH
I
BUZZER
6V
HUFF
WATER
SIGNAL
SWITCH .
RELAY
110 VDC
'
i
S
110
AC
TRANS .
<5V
WATER LINE TO LAMP-
Schematic for a positive alarm for water-cooled jaws submitted by Harvey H. Freed, projec-
tionist at Loew's State Theatre in Newark, N. J., and a member of IA Local 244. The whole
assembly is mounted in a 6 x 6 electrical box, or smaller if a 6-volt supply is used from the
projection framing light transformer — or a separate 6-volt bell transformer can be used. The
relay is a Guardian Series —200-110 D (Universal). It works from 30 volts to 110 volts DC.
Freed states that he has found this system to be very satisfactory.
Lachman on Overseas Jaunt
Ed Lachman, president of Carbons,
Inc., has been on a three-week tour of
Europe in connection with his primary
purpose of attending the annual reunion
of Lorraine Carbon representatives of
the Societe le Carbons Lorraine — of
which Carbons, Inc. is the sole distribu-
tor for the Lorraine Orlux Super-Charged
Carbons. His itinerary included Berlin,
Frankfort, Rome, and Paris.
Lachman addressed the entire body in
Paris, the focal point of the activities,
and observed the newest developments
at the France Lorraine laboratory in
Pagny. Highlights included visits to
Bert Ennis Resigns
From Altec Service
Bert Ennis, director of all publicity
and promotional activities for Altec
Service Co. and Altec Lansing Corp.
has resigned that post to devote his
time to finishing his contracted volume
on the late Samuel L. Rothapel, Her-
bert Lubin, and Arthur H. Sawyer, who
created and built the Roxy Theatre.
Ennis' efforts are credited to a con-
siderable degree with obtaining recog-
nition of stereophonic sound. He also
created the Altec Promotional Caravan,
a mobile unit that toured the United
States exploiting stereophonic.
The former public relations expert
had an extensive career in that field as
a publicity executive for Columbia,
Paramount, Roxy Theatre, and numer-
ous stage and screen stars.
every theatre in available cities, includ-
ing a side trip to the first bi-lingual drive-
in outside of Rome.
On his return trip, Lachman was ac-
companied by a group of Lorraine labor-
atory technicians who serve as consult-
ants to European exhibitors. Purpose
of the U. S. trip is to exchange with
American lamp manufacturers the latest
information on the projection set-ups
and requirements of theatres on the con-
tinent as they relate to the increasing
use of American-made products.
Lachman is appearing at the TESMA-
TOA convention in Miami to give dele-
gates a first-hand report on the most
recent developments in applications and
methods of obtaining maximum projec-
tion light wfith the use of Lorraine
arc carbons.
Films Make 18-Mil
The film industry netted $18,077,000
for its stockholders in the last eight
months, higher than the $17,761,000 take
for the same period last year. Most
companies reported dividends identical
with those of the comparable period in
1956.
Answers to Projectionist Exam
1. (A)
5. (C)
9. (C)
2. (B)
6. (B)
10. (B)
3. (D)
7. (D)
11. (D)
4. (A)
8. (D)
12. (C)
You'll want to know
All the facts about
RCA's all-new
Planned Theatre
Service Program . . .
This new brochure
shows you how
RCA Service takes
eight major steps
to protect
your equipment.
Experienced Engineers,
Special Test Equipment
and Teamwork
help keep your System
in top condition !
Write for your brochure today
Tmk(s) ®
Theatre Service
RCA SERVICE COMPANY, INC.
A Radio Corporation of America Subsidiary
Camden 8, N.J.
INTERNATIONAL PROJECTIONIST • NOVEMBER 1957
31
PROJECTION ROOMS
{Continued from page 15)
and mistakes are frequently made in
then design, resulting in a restricted
air-flow or an uneven distribution of
draught between the two projectors.
If it is not possible to have a separate
vent for each arc lamp, the main vent
pipe serving both lamps should not
be horizontal in any part of its course,
but run obliquely upwards towards the
outlet. It should not be necessary to
Are You Moving?
If so, please notify us one month in
advance. The Post Office does not
forward magazines. To avoid delay,
please cooperate by sending us both
your new and old address.
OF PROJECTION LENSES
Prime Lenses
F1:0 Light Collecting Speed
f hilux®)
Anamorphic Lenses
World's Finest!
P ROJECTION
olPTICS
PROJECTION OPTICS CO., INC.
330 Lyell Ave., Rochester 6, N. Y.
point out that a common vent must
have a larger diameter than two
branching flues.
Variations in the draught caused
by changing wind conditions can be
regulated by a damper, which is built
into the housing of all good arc lamps.
If this is not the case, a regulator
should be provided in each of the two
outlet flues; otherwise the arc will
burn erratically. If for structural rea-
sons the main outlet flue is of consid-
erable length but possesses little ele-
vation, it will be necessary to provide
a small exhaust fan within the pipe
to ensure the removal of the exhaust
gases.
The projection room should be dec-
orated in colors which are fairly light,
without being so bright as to cause
noticeable reflections. A medium hue,
with an absorption factor of approxi-
mately 50 per cent should prove suit-
able. Great care should be taken to
ensure that neither the decorations nor
the equipment itself harbors dust,
which is not only detrimental to the
valuable apparatus but even more so
to the delicate film.
Since the projectionist requires ex-
ceptionally well-illuminated working
conditions, some adjustable form of
lighting should be installed near each
projector. This will enable him to
inspect any part of the machine and
the lamp can easily be swung out of
the way when not required. For the
general illumination of the projector
room only incandescent bulbs should
be used, which should all be enclosed
in either wire baskets or glass globes.
It is advisable to provide the projec-
tion room and especially the workshop
with mains plugs, as these will always
Get Your Copy of . . .
MITCHELL'S MANUAL OF
PRACTICAL PROJECTION
$6.00
be in demand.
Fire precautions are an essential
consideration in the planning of a pro-
jection room and its equipment. The
door and window openings should be
fitted with fireproof canopies consist-
ing of non-inflammable material. This
canopy should overhang 50 cm into
the room, with a 30 cm overlap on
either side of the door or window.
This precaution is only necessary
where there are window openings in
the immediate vicinity or the adjoin-
ing structural material is inflammable.
In the event of a fire, excess internal
pressure builds up rapidly and must
be released. For this purpose a lightly
built and automatically-opening excess-
pressure window should be installed;
this may be situated in any other room
so long as it is directly connected with
the projection room. This window
should be made of ordinary window
glass and must be at least 0.25 sq. m
in area. As locks and bolts on this
type of window are forbidden by law,
wire mesh or a steel grille can be used
as a precaution against burglary.
Note: Water Supply
If at all possible, the projection
room should be provided with an ade-
quate water supply. This is a neces-
sity when water-cooled projectors are
employed, and is also of great assist-
ance in ensuring clean working con-
ditions.
Of course, the electrical installation
must conform to the requirements of
the local authorities. Apparatus not
requiring constant attention, such as
per copy, including postage
CURTAIN CONTROLS,
TRACKS and SPECIAL
OPERATING DEVICES
VALLEN, Inc.
AKRON 4, OHIO
AT ALL THEATRE
SUPPLY DEALERS
WmBMSSa fisher manufacturing co.
Registered U.S. Patent Office
THE GREATEST NAME
IN FILM CEMENT
1185 MT. READ BLVD., ROCHESTER 6, N. Y.
UNION MADE
32
INTERNATIONAL PROJECTIONIST • NOVEMBER 1957
the gramophone, curtain control,
switchboard for house lights, dimmers,
etc., should be situated so that the min-
imum movement is necessary for their
operation; if possible, they should all
be operable from one place.
Moreover, the control loudspeaker
should also be reasonably close to the
projectionist, so that he can keep a
constant check on the tone, without the
distraction of extraneous projection
room noises. Furthest away from the
projectors should be those items of
apparatus which are only used at the
beginning and end of a performance.
The arc lamp rectifiers, amplifiers and
ventilation plant are best placed in an
adjoining room.
Of particular importance is the re-
winding equipment, and although this
is in constant use it should be placed
at some distance from the arc lamps,
as a protection against fire. The film
storage cabinet is best situated near
the rewinding bench; if possible di-
rectly over it.
The modern projection room should
be spacious and airy; the apparatus,
both that in the actual projection room
and that in the adjoining rooms,
should be so arranged as to be fully
effective. A rational layout will be of
immense assistance in helping the pro-
jectionist to attend to his task without
hindrance, so that he can give his full
attention to ensuring impeccable sound
and image quality.
HI-SPEED INTERMITTENTS
[Continued from page 10)
flicker begins to be perceived at a
brightness level betwee.i 5% and 61/4
footlamberts according to a number of
authorities including Marbe, Arndt,
Nickerson, and Kellogg. Reducing the
width of the blades to 60° raises the
flicker-perception level to 7% — 9^/2
footlamberts for the same cutoff fre-
quency. Because these values reveal
that 60° or 63° shutters passing 1.3
times more light produce exactly the
same flicker effect as 90° shutters, use
of 5-to-l intermittents raise picture
brightness 1.3 times without increas-
ing flicker!
Hi-Speed Performance
Projectionists who have not yet op-
erated with 5-to-l intermittents want
to know whether high-speed move-
ments are noisier in operation than
conventional 3-to-l movements, or pro-
duce any degree of picture unsteadi-
ness. What about the life of the prints,
and what about the matter of gate
tension?
The Simplex X-L Hi-Speed inter-
mittent is quiet in operation; that is,
the movement itself cannot be heard
when the projector is run without
film and with the gate door open. This
is because the pinwheel-and-star por-
tion of the movement is identical with
the standard X-L movement. For the
same reason the Hi-Speed intermittent
gives the same rocksteady projection
to be expected of any high-precision
geneva movement. The Hi-Speed slip-
per-block accelerator mechanism pro-
duces no noise, no vibration, and does
not affect the star-and-pinwheel re-
lationship.
There is. understandably, a small
increase in noise when film is run in
a projector having a Hi-Speed inter-
mittent. This noise originates in the
film loops which alternately increase
and decrease in size 24 times each
second. Every projector produces more
or less loop noise; and with the more
rapid film pulldowms effected by a
5-to-l movement, the correspondingly
more rapid changes in the upper
and lower loops generate more sound
than is heard with conventional
intermittents. This increase in loop
Consistent
Maximum
Light
at
Greater
Economy
DIAMOND
-w-
PROJECTION
70 PINE STREET • NEW YORK 5, N. Y
noise is nevertheless so slight that it
is hardly noticed.
The more rapid film pulldowns re-
quire a slightly greater gate tension
for both old and new prints. If 9
ounces is the standard tension for av-
erage prints in Simplex X-L mechan-
isms having conventional intermit-
tents, the change to Hi-Speed move-
ments normally requires the tension
to be increased to 12 ounces, or 1.3
times the former gate tension. There
is no need to employ excessive gate
tension.
Long-continued film-wear tests con-
ducted by the Simplex Equipment
Corporation in Bloomfield, N.J. have
failed to show any appreciable in-
crease in sprocket-tooth or film-perfo-
ration wear with Hi-Speed intermit-
tents. The projectionist need have no
worries on this score. In fact, the pro-
jectionist who operates Simplex X-L
mechanisms fitted with curved film
gates and Hi-Speed intermittent move-
ments may be confident that he is ob-
taining the very best quality of image
on the screen — a quality noticeably
higher than is possible with conven-
tional "slow" intermittents in any pro-
jector, no matter how well constructed.
COB FILM REPAIR AND
F OC D SPLICING BLOCK
REPAIRS DAMAGED FILMS
For
35mm and
16mm Film
Used with NEW MAGIC MYLAR 1 Q QR
Sprocketed Transparent Splicing Tape ' W«wU
Magic Mylar Sprocketed Transparent Splicing
Tape repairs torn, gouged films as good as new
. . . without the loss of a single frame.
Applied directly on both sides of the dam-
aged film, Magic Mylar (only 1/1000 of an inch
thick) repairs, reinforces and holds the broken
film together . . . WITH THE STRENGTH OF
MORE THAN 3 TIMES THE ORIGINAL FILM.
REPAIR TEARS
REPLACE BROKEN SPROCKET HOLES
REPLACE GOUGES
STRENGTHEN LAP SPLICES
MAKE BUTT SPLICES
MAGIC
"MYLAR"
TRANSPARENT
SPROCKETED
SPLICING
TAPE
16mm— Single or double perf.
66 foot roll $ 5.00
35mm-66 foot roll 9.00
FLORMAN & BABB, INC.
68 W. 45th St., N. Y. • MU 2-2928
F & B carries a complete stock of motion
picture and audio-visual equipment.
INTERNATIONAL PROJECTIONIST • NOVEMBER 1957
33
MONTHLY CHAT
(Continued from page 5)
cannon across Spain.
Now there is a new weapon being
brought into this civil war against TV
which should interest the projectionist:
the road show policy. In short, the fea-
tures will get longer (if that is pos-
sible) and go legit (if that is possible).
The two-a-day, reserved-seat policy is
evidently based on the idea that Joe
Doaks will stick by his TV receiver in
Shickshinny, Pennsylvania, but when he
comes to New York he will go into bank-
ruptcy just to get two tickets to "My
Fair Lady."
There's a catch in this policy: "My
Fair Lady" happens to be a good show.
"They don't want good shows," says
the exhibitor. "They want sex, they want
rock 'n roll, they want science-fiction,
they want gore." We say it's spinach,
and we say the hell with it. The newly-
adopted slogan for the motion-picture
industry is "Get More Out of Life — Go
Out to a Movie," a phrase that deliber-
ately avoids the nauseous superlatives
that generally come down the pike.
We agree with the idea that a movie
can give you a lift, even sometimes, so
help us, A Message. But our idea of get-
ting more out of life is not an hour and
a half of werewolves or Elvis Presley.
(Sorry, girls.) The quick answer to that
is that it's the teen-agers who comprise
the majority of movie-goers, and the ex-
hibitor must cater to them if he wants
to eat. That may be true; but if all
you're going to do is concentrate on one
age group, you're missing a large seg-
ment of potential audience.
This sounds more like a harangue than
a chat, and somewhat afield from pro-
jection. But we must of necessity recog-
nize the fact that what is good for one
part of this industry is good for all.
Somewhere along the line motion pic-
tures and TV are going to have to live
side by side amicably. Certainly techni-
cally both industries have advanced
greatly. Certainly there will always be
a need for the technician, although his
job may not exactly look like the one he
has now. As we have said, we do not
know the answer. If it is a process, fine.
If it is a pobcy like roadshow, fine. But
to date we are drifting.
There is a legend that Chopin was in-
spired te write his "Minute Waltz" after
watching a puppy chase its tail around
the parlor. The motion-picture industry
has been chasing its tail, caught it, and
bitten it off.
But no inspiration; no music.
MPRC Chooses Officers
Officers and directors for the coming
year were chosen at the tenth annual
member company meeting of the Motion
Picture Research Council in Hollywood.
Renamed chairman of the board is Frank
Now Available . . .
MITCHELL'S MANUAL OF
PRACTICAL PROJECTION
\Jl When is a mistake a blunder?
A When a projectionist is not a regular subscriber
• to IP — MUST reading for the projectionist craft.
Use the handy order form below
INTERNATIONAL PROJECTIONIST
19 West 44 St., New York 36, N. Y.
Enter my subscription for ° ] year {") !ssues~g-50
7 □ 2 years (24) issues — 5400
years
Foreign and Canada: Add 50c per year
Name
Address
City
Zone
State
Freeman, as was his vice-chairman, Wil-
liam Mueller. Farciot Edouart succeeds
William Kelley as secretary. Kelley has
been named treasurer and executive di-
rector.
Directors appointed are: Les Sansom,
Allied Artists; Gerald Rackett, Colum-
bia; Ub Iwerks, Walt Disney; Douglas
Shearer, MGM; Farciot Edouart, Para-
mount; Dan J. Bloomberg, Republic;
William Englington. RKO; Sol Halprin,
Fox; Alexander Golitzen, Universal-In-
ternational; William Mueller, Warner
Bros.
Frank Freeman and Morris Weiner
were named additional board members
to represent producing companies.
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, published
monthly at New York, N. Y. for October
1, 1957.
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: Robert C. MacLeod, 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 mortagagees,
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.
Business Manager R. A. Entracht
Sworn to and subscribed before me this
23rd day of October, 1957
(Seal) Ann Corrican Turato
Notary Public, State of New York
No. 03-9394725, Qualified in Bronx County
Certified in New York County
Commission Expires March 30, 1958
34
INTERNATIONAL PROJECTIONIST • NOVEMBER 1957
It's actually easy to save — when you buy Series E
Savings Bonds through the Payroll Savings Plan.
Once you've signed up at your pay office, your
saving is done for you. The Bonds you receive pay
good interest — 3% a year, compounded half-yearly
when held to maturity. And the longer you hold
them, the better your return. Even after maturity,
they go on earning 10 years more. So hold on to
your Bonds! Join Payroll Savings today— or buy
Bonds where you bank.
"Don't worry,
Fin not going to sing"
Ihe old lady had lost her voice. That rich,
vibrant contralto which had rung through
opera's golden age was long gone. And she
made no bones about it.
Standing at the network microphones,
shed loudl) promise her audience: "Don t
worry, I'm not going to sing."
\et. every Christmas Eve. she did sing.
And millions of homes hushed to listen. For
Stille .Xacht. Heilise ^acht does not demand
a big voice. Rather, a big heart.
And Ernestine Schumann-Heink had
alwavs had that. From the beginning, •when
she threw awav her budding career for love,
only to wind up deserted with her four chil-
dren. Through World \^ ar I. when she sang
to sell Liberty Bonds while she had sons
fighting— on both sides. Right up to the end
of her turbulent life, she stayed warm, gen-
erous and brave.
Xaturallv. her adopted country loved her.
Because Americans admire heart, and as the
little stories in everv dailv paper show, thev
have plenty of it. That's one of the vital rea-
sons why America is strong and why her
Savings Bonds are a tremendous guarantee
of securitv.
The heart and strength of 165 million
Americans stand behind these Bonds.
There could be no better guarantee. So,
for yourself, and for your country, invest in
L . S. Savings Bonds regularly. And hold on
to them.
Safe as America — U.S. Savings Bonds
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.
5 THE
Projectionists
PROJECTOR!
Every feature that makes a projector great is
incorporated in the SIMPLEX XL . . . it's years
ahead of anything on the market!
If your present projection equipment is reaching
a point of no return ... if you want a brilliant-clear,
flicker-free, sharp-to-the-corners picture on your screen,
look into a SIMPLEX XL, now!
Manufactured by
INTERNATIONAL PROJECTOR
DIVISION OF SIMPLEX EQUIPMENT CORPORATION
Distributed by
NATIONAL THEATRE SUPPLY COMPANY
SUBSIDIARIES OF GENERAL PRECISION EQUIPMENT CORPORATION
m
HllliMHH
JAN 1 - P*
686699
*w
5*M
raff
DECEMBER
1957
VOLUME 32
NUMBER 12
30c A COPY • S2.50 A YEAR
PROJECTION
LAMP
THE WORLD'S FINEST and MOST POWERFUL
PREPARE YOURSELF NOW
FOR THE FUTURE
Do not make the mistake of buying Projection Lamps which may not
be adequate for your future requirements.
There are no standards now. Film widths vary from 35mm to 70mm. The
equipment you buy should be capable of projecting both of these and
anything in between, with equal perfection — with no further expense.
There is only one lamp that will do this—
THE ASHCRAFT SUPER CINEX
*1. The only projection lamp using one reflector for
all film widths 35-55-65-70mm. (No relay lenses
whatever are necessary).
*2. The only lamp using a heat transmitting reflector
for both 35mm and 70mm.
*3. The only lamp producing maximum light and
maximum screen light coverage simultaneously
— no hot spot under any circumstances. Maxi-
mum light and distribution are obtained regard-
less of film width or height.
These are the four principal aperture sizes now being used and contemplated for the near future. By the simple, instantaneous process
of moving the positive carbon crater toward or away from the reflector a fraction of an inch the aperture spot size will be enlarged
from the smallest spot shown (1-1/16" diameter) to the largest (2-1/4" dia.) and the selected position will be constantly maintained.
Isn't this much better than changing reflectors and relay lenses every time the aperture spot size is varied?
These are the possible aperture sires your lamps should cover and ^ _^
the sizes of the aperture light spot SUPER CINEX will give you. ^"" ~~~-^
This is the approximate screen light with excellent distribution you will / s ~-» ^ NN
obtain* with all four aperture sizes:
Lumens
.825 x .600 Small Aperture 35mm
35,700<-
.839 x .715
.912 x .715
' CinemaScope 35mm 42,000<#-
1.340 x 1.06 Fox CinemaScope 55mm 49,572-^-
M.G.M. 65mm
Todd-AO 70mm
45,200^-
*The quality and f value of the projection
lens way increase or decrease these values.
(Cinex is the registered trademark of C. S. Ashcratt Mfg. Co.)
U.S. Distribution through INDEPENDENT THEATRE SUPPLY DEALERS • Foreign: WESTREX CORPORATION
Canada: DOMINION SOUND EQUIPMENTS, LTD.
C. S. ASHCRAFT MANUFACTURING CO., INC.
36-32 THIRTY-EIGHTH STREET, LONG. ISLAND CITY 1, NEW YORK
B 686699
Wcstrex
SOUND
SYSTEMS
THE FINEST STEREOPHONIC AND SINGLE
TRACK SOUND REPRODUCTION FOR ALL
THEATRES
SOME WESTREX FEATURES:
~k Finest quality from multi-channel mag-
netic, multi-channel photographic, or single
channel photographic films.
~k Constructed on building block principle,
adaptable to your individual theatre re-
quirements.
~k Installed and maintained by the Westrex
Service Organization with offices and service
centers in 40 countries throughout the world.
WESTREX TYPE 14 BACK-
STAGE SPEAKERS feature the
Westrex 713B High Frequency
Unit for superior performance.
WESTREX STANDARD
TRANSMISSION EQUIP-
MENT CABINETS provide
up to four channels for
magnetic or photographic
reproduction.
Research, Distribution and Service
for the
Motion Picture Industry
Westrex Corporation
111 EIGHTH AVENUE, NEW YORK 11, N. Y.
HOLLYWOOD DIVISION: 6601 ROMAINE STREET
HOLLYWOOD 38, CALIF.
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
SeaxmL 3M*tiW^
International Alliance of Theatrical Stage
Employes and Moving Picture Machine
Operators of the United States and Canada
Affiliated with the A.F.L. - C.I.O.
RICHARD F. WALSH
International
President
HARLAND HOLMDEN
General
Secretary-Treasurer
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
y
International
PROJECTIONIST
J
R. A. ENTRACHT, Publisher
ROBERT C. MacLEOD, Editor
R. A. MITCHELL, Contributing Editor
Volume 32 DECEMBER 1957 Number 12
Index and Monthly Chat 5
Side-Weaving: A Common Defect of Projection. . 7
Robert A. Mitchell
Using Non-Synchronous Music as Good
Showmanship 12
Joseph Holt
Electrical Changeovers for English Projectors. ... 14
Albert Buckley
What is Electronics? 17
Part I. Some Atomic Theories
John Sears
Closed-Circuit TV System and its Practical
Applications 19
Morris A. Mayers and Rodney D. Chipp
In The Spotlight . , 22
Obituaries 23
Telecasts 24
Letters to the Editor 25
Projection Clinic 26
16-mm Projections 27
Pay TV Takes a Beating from TOA-TESMA 28
International Exhibition to Choose Best ( ? I Films 29
Selection of Replacement Equipment in Army and
Air Force Theatres, II 30
New Products for the Industry 32
Personal Notes 33
Miscellaneous Items — News Notes — Technical Hints
INTERNATIONAL PROJECTIONIST, published monthly by the Inter-
national Projectionist Publishing Co., Inc., 19 West 44 Street, New
York 36, R. A. Entracht, President. Telephone: MUrray Hill 2-2948.
Subscription Representatives: AUSTRALIA— McGills, 183 Elizabeth
St., Melbourne; NEW ZEALAND— Te Aro Book Depot, Ltd., 64 Court-
nay Place, Wellington; ENGLAND and ELSEWHERE— Wm. Dawson &
Sons, Ltd., Macklin St., London, W. C. 2. Subscription Rates: United
States and U. S. Possessions, $2.50 per year (12 issues) and $4.00 for
two years (24 issues). Canada and Foreign countries: $3.00 per year
and $5.00 for two years. Changes of address should be submitted four
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., under the act of March 3, 1879. INTERNATIONAL
PROJECTIONIST assumes no responsibility for personal opinions ap-
pearing in signed articles, or for unsolicited articles. Entire contents
copyrighted 1957 by INTERNATIONAL PROJECTIONIST PUBLISHING
CO., INC.
420
Trbnihhf Chat
Variations on a Holiday Theme
A. I THIS TIME of year, you can bet your depreciated
•» dollar that practically every editorial column is going
to reflect the pipe-in-mouth editor leaning back and mus-
ing . . . "Well, what kind of a year has it been?"
We're darned if we know.
It's been a year that has, through the trumpet-sounding
of thousands of publicity releases, seen the advent of pay
TV. And much more quietly, it was found that a good
many weren't buying it. Particularly in the upper brack-
ets where they can afford it. They, undoubtedly, are
doing other things with their money, but this industry
is still wondering what.
It's been a year when an inexperienced amateur (fe-
male) projectionist at one of those specialized artsy-
craftsy houses ran an abstract avantgarde movie upside
down and backwards — and the audience never knew the
difference. Considering some of the legitimate product
lately, there may be something in that.
A dog, with more publicity than Rin-Tin-Tin and Lassie
put together, got sent into an endless orbit. Consequently,
you may expect an endless orbit of programmers about
dogs off into the wild ionosphere yonder. The dog was
painlessly done away with. Would that would happen to
those types of programmers.
It was a year of beguiling teenagers into theatres, then
calling the cops to beguile them out again.
And a Happy New Year to You
The real accomplishments of the year, like most real
accomplishments, are going through a stage of mature
development. There has been an increasing pattern of
roadshow policy. And, from the gross records, it has
worked so far. But the pictures that have been making
it hand over fist by roadshow have been ultra-quality
product. By the law of averages, there has got to be a
turkey come along sometime that's going to ask for high
prices and reserved seats, and the patrons are going to
ask for someone's head.
There has been the usual dark brown pessimism with
the accompanying witch-burning, and also the false hearty
optimism. Both are as tinny and hollow as the majority
of movie ads. TV has been in trouble, and it has been
admitting it. There is an honest opportunity for the
motion-picture industry to pick up a good deal of lost
ground — if all the various factions of it manage to get
together and bury the hatchet. And not in each other's
heads.
To coin a phrase, projectionists are projectionists. They
are, by and large, an experienced lot. And like experi-
enced lots, they have a tendency to express their opinions
in blunt terms.
And so it is that the main interesting thing about this
year is that it leads into the next, when we shall hear
some blunt opinions about what has been developed in
these past fast-flying twelve months.
God rest you merry, gentlemen; let nothing you dismay.
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
THESE
AMERICANS
AND
800,000
OTHERS
ARE
CURED
OF
CANCER
Alive today . . . because they went to their doctors in time!
Every year more and more Americans are being cured of
cancer. But the tragic fact, our doctors tell us, is that every
sixth cancer death is a needless death. So many people just
don't consult their doctors when the disease is in its early . . .
and therefore more curable . . . stage.
Let's give our doctors a chance to head off cancer in time!
Form the life-saving habit of a head-to-toe health checkup
once a year. For men, this should include a chest x-ray; for
women, a pelvic examination.
Make it a habit . . . for life.
AMERICAN CANCER SOCIETY
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
■MMM
I NTE R..N ATI ON A L P R 0 J E C T I 0 N I S T
Volume 32
DECEMBER 1957
Number 12
By ROBERT A. MITCHELL
No matter what advances manufacturers make in the field of
projection, there is always the fact that a new problem lies
just around the corner; here is an old problem dissected.
SIDE-WEAVING:
A Common Defect of Projection
MANUFACTURERS of theatre
motion-picture projectors exert
every possible effort to eliminate
up-and-down picture jumping by con-
structing their intermittent movements
of accurately made parts. In fact, the
intermittent movement receives the
lion's share of attention in the con-
struction of any theatre projector.
Two particular parts of the geneva-
type movement, the starwheel and pin-
wheel (cam), are commonly made to
tolerances slightly smaller than
1/10,000 of an inch' (0.1 mil=2.54
microns). Tolerances as close as this
are extended by the more conscientious
manufacturers to the starwheel shaft
and the intermittent sprocket which is
affixed to it.
Notwithstanding the fact that the
sprocket, itself, is much too often the
weak link in the "chain" of parts ef-
fecting intermittent film transport
through the projector gate, vertical un-
steadiness of theatre movies has been
reduced almost to the vanishing point.
We repeat our opinion that intermit-
tent sprockets should be made of noth-
ing but tool steel, and ground after
hardening.
There is thus little excuse for an up-
and-down jumping and dancing pic-
ture. Professional camera negatives
are usually perfectly rocksteady, for-
asmuch as the widely used Mitchell
camera employs a high-precision claw
movement with registration pins. Pic-
ture jump, when it occurs, is usually
the fault of either the release-copy
printer or the theatre projector.
On the whole, however, present-day
theatre movies are so rocksteady in
the vertical direction that horizontal
weaving of the image from side to
side on the screen becomes very
noticeable. Now, sidewise weaving is
very different from vertical jump from
the mechanical point of view. No com-
plicated gearing is involved, and hence
no relationship between manufacturing
tolerances and sidesway can be estab-
lished.
Neglect of Sidesway Problem?
For these reasons many manufactur-
ers of motion-picture projectors have
largely neglected the problem of side-
sway, and have provided little more
than a flanged guide roller which per-
mits the picture to be centered later-
ally. The action of a single guide
roller at the top of the gate casting is
not nearly so effective a preventative
of side-weave as is sometimes thought.
The present state of affairs in regard
to side-weave is admittedly unfortu-
nate. Modern color films are so very
often photographed and processed with
such great care that their presentation
is ruined by image unsteadiness in any
direction. The use of CinemaScope
films actually doubles the amount of
sidesway present, as anamorphic lenses
having an expansion factor of 2 double
the horizontal magnification of the
image. The advent of CinemaScope
has, in fact, made the presence of side-
sway painfully evident.
Side-weave has always been a com-
mon projection defect, of course, but
it was easily ignored in the early days
of the art. Jumpy pictures were the
rule before the 1920's, hence slight
horizontal weaving of the projected
images could not always be perceived.
But with the use of more accurately
made intermittent movements, side-
wise weaving of the picture exceeded
vertical jump in range of movement,
and accordingly became quite a
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
nuisance. Sidesway was a source of
complaint even before the commercial
introduction of CinemaScope!
Old-Style Flat Gates
A rather large range of horizontal
image movement can be expected of
projector mechanisms having old-style
flat gates with only a single lateral
guide roller at the top of the gate. This
does not mean that only old-style pro-
jectors produce annoying sidesway.
however, for several modern projec-
tors, particularly those made in Eur-
ope, have similar primitive film gates
without additional means for insuring
weave-free lateral guiding of the film
at the aperture. Even the old Simplex
Regular and Super Simplex gates, fa-
miliar to all American projectionists,
and essentially unchanged since 1910,
have the advantages of an effective and
easily adjusted lateral guide roller
with flanges of large diameter.
Lateral film guiding in cameras,
printers, sound recorders, and pro-
jectors involves the maintenance of a
fixed lateral position of one edge of
the film — the so-called "guided edge,"
which is the edge nearest the sound-
track. Standard film may vary in
width from 35.01 mm to 34.95 mm.
depending upon manufacturers' film-
slitting tolerances, while a maximum
degree of shrinkage in triacetate safe-
ty film of good quality (0.2%) results
in a possible minimum film width of
34.88 mm. It is therefore easy to see
that the edge opposite the guided
edge changes its lateral positioning
within an overall range of 35.01 —
34.88 = 0.13 mm when constant place-
ment of the guided edge is success-
fully maintained.
Correct Guiding
Failure of lateral film guiding in
cameras, printers, and projectors in-
evitably results in picture sidesway.
The guided edge of film threaded
in a projector is the edge nearest the
projectionist as he stands at the "op-
erating side" of the machine. It will
be noticed that the guide-roller flange
on the operating side is fixed, i.e. it
cannot move in and out on the guide-
roller shaft. The opposite flange, on
the other hand, is able to slide on this
shaft, and is made to press in upon
the non-guided edge of the film by a
small coil spring. The gentle pressure
afforded by this spring is sufficient to
hold the guided edge of the film
INTERNATIONAL PROJECTIONIST
txtmbz to all ttfi friettha
tfp>
&twwn a (Smttngfi
against the inner surface of the later-
ally immovable guiding flange of the
lateral guide roller.
The film at the guide roller, it may
be assumed, is laterally very steady
and exhibits little or no sidesway. Un-
fortunately, however, this desirable
fixity of the film's lateral positioning
does not extend down to the aperture,
which is placed several inches below
the guide roller. Why does the film
fail to maintain lateral steadiness dur-
ing its passage through the gate?
The film is able to move from side
to side upon the face of the revolving
intermittent sprocket. In fact, there is
more film sidesway at the sprocket
than at the aperture, which is located
between the intermittent sprocket and
the lateral guide roller.
The range of sidesway upon the in-
termittent sprocket is limited by the
sprocket shoe whose sides contact the
edges of the film during its sidewise
oscillations. The flanged guide roller
at the top of the gate is thereby forced
to act as the "fulcrum" of sidesway,
the flexible upper loop permitting the
rapidly travelling film to oscillate
back and forth above the guide roller.
Guide Roller "Pivot"
The guide roller, then, acts as a
sort of "pivot" which allows the film
in the gate to swing from side to side
on the face of the revolving intermit-
tent sprocket. Because the aperture is
fairly close to the sprocket, the side-
weaving movements of the film show
up rather prominently on the screen.
Increasing the tension of the mov-
able guide-roller flange does not re-
duce sidesway. Indeed, such an in-
crease of pressure on the edges of the
film may make matters much worse
by buckling the film and causing the
upper loop to flop. The film always
has a tendency to "pinch out" at the
guide roller when flange tension is too
great. Flange tension should therefore
be very gentle to steady the motion of
the film as much as possible. Projec-
tionists should not hesitate to reduce
flange tension when the film is seen
to flutter violently between the two
flanges of the guide roller.
This is an especially important mat-
ter in the successful operation of Sim-
plex Regular, Super Simplex, and
Century mechanisms. It may not be
possible to eliminate sidesway com-
pletely from these machines, but very
much can be done to reduce it to the
point where it is not too troublesome
even during the projection of Cine-
maScope prints with anamorphic
lenses.
European Projectors
Certain European projectors are
frequently criticized on the score of
side-weave. As we pointed out, the film
gates of many of these machines are
rather primitive and do not permit
the full advantages of superb Euro-
pean intermittent movements to be
realized.
Even the most carefully constructed
European mechanisms imported into
the United States for special wide-
film processes exhibit an astonishing
absence of engineering judgment as
regards the length and general design
of the film gate. A gate having run-
ners scarcely 3 inches long, and with-
out large-flanged edge-guiding rollers,
is obviously inadequate for the pro-
jection of 70-mm film. Wide-film
Todd-AO showings are marred by a
degree of sidesway far in excess of
the amount which we are willing to
accept in 35-mm projection.
Even though the projectionist him-
self, can minimize sidesway by care-
ful adjustment of gate and guide-rol-
ler parts, the complete elimination of
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
Th
have it...
In the world of make-believe, appearances are everything !
A star, a whole picture, is what each seat holder sees with
his own eyes. Colors must set the right mood . . . blacks and
whites must be truly interpretive. This means choosing the
right photographic materials .o. . following the latest preci-
sion practices from first shot to final release print. This is
the reason for the Eastman Technical Service for Motion
Picture film . ... the reason why there is an Eastman Motion
Picture Film available for every purpose. Offices at strategic
points. Inquiries invited.
Motion Picture Film Department
EASTMAN KODAK COMPANY, Rochester 4, N. Y.
East Coast Division
342 Madison Ave.
New York 1 7, New York
Midwest Division
1 30 E. Randolph Drive
Chicago 1, Illinois
West Coast Division
6706 Santa Monica Blvd.
Hollywood 38, California
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
AUTHORITATIVE
COMPREHENSIVE
PRACTICAL
Acclaimed by leading technicians in the
industry as the most comprehensive and
down-to-earth handbook published to
date on the subject of motion picture
projection.
ROBERT A. MITCHELL S
MANUAL OF PRACTICAL PROJECTION
IN HANDY SV2" x 8V2" SIZE - 450 PAGES - ILLUSTRATED - CROSS INDEXED FOR EASY REFERENCE
* Here is one of the most helpful works
ever published for the motion picture pro-
jectionist. A handsomely bound and pro-
fusely illustrated compilation of the BEST
of the Robert A. Mitchell articles that
have appeared in "International Projec-
tionist," revised and brought up to date.
• The author covers clearly and thor-
oughly every aspect of motion picture
projection, presenting his material in
easily understood language — not too tech-
nical, yet technically accurate. The
Manual is divided in 8 sections and con-
tains 30 chapters — a valuable reference
work no progressive projectionist should
be without.
(1)
(5)
(7)
SbCTION HEADINGS
Film; (2) The Projector; (3) Projection-Optics, Screens;
General Projection Practice; (6) Motors, Generate
Sound Reproduction Systems; (8) Projection of Color and
(4)
>rs,
3-D
The
and
Films
Arc Lamp;
Rectifiers;
, Formulas.
ORDER YOUR COPY TODAY
INTERNATIONAL PROJECTIONIST
19 West 44 St., New York 34, N. Y.
USE THIS HANDY FORM
Gentlemen: please send me
copy (copies) of ROBERT A. MITCHELL'S MANUAL OF PRACTICAL
PROJECTION. Enclosed is my check (or money-order) for S
$600
per copy including postage
NAME
ADDRESS
CITY
ZONE-
STATE.
10
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
this defect can be brought about only
by the intelligent efforts of projector
designers.
At least one English and two Ameri-
can manufacturers have attained the
desired freedom from sidesway in
their latest machines. The B.T.H.
SUPA and Simplex X-L accomplish
lateral steadiness of the picture with
curved gates of correct mechanical de-
sign, while the Motiograph AA and
AAA attain the same end with flat
gates and sets of two flanged guide
rollers, one above and the other below
the aperture.
Previous to the introduction of
these mechanisms, the use of "studio"
guide rails represented a misguided
attempt to solve the sidesway prob-
lem.
Studio Guides
Studio guides, so called because of
their employment in studio cameras,
sound recorders, and other film-han-
dling apparatus to insure constant lat-
eral alignment of raw stock and fresh-
ly processed negatives and master cop-
ies, consist of two long rails which
contact the edges of the film. In order
to function as intended in spite of
minor variations in film-stock width,
the rail opposite the guided edge must
be movable and spring loaded. The
constant film-clearance width between
the fixed guide rails of certain pro-
jectors cannot accommodate both un-
shrunken and seasoned prints.
First used in the Motiograph K of
1938, studio guide rails were super-
seded in the postwar Motiograph AA
by the completely satisfactory double
guide roller construction. Likewise,
both the Simplex E-7 and the original
flat-gate model of the Simplex X-L have
guide rails, while the new curved gate
for the X-L does not have them. Curva-
ture of the gate mechanically isolates
sidesway stresses in such a way that
their effect is greatly minimized, hence
little or no sidesway can be seen in
pictures projected with Simplex X-L
mechanisms having curved gates. Film
buckle over the aperture is also re-
duced by the new curved X-L gates.
It has always been a mystery to us
that studio guides should even have
been considered for use in projec-
tors! When they function properly,
they automatically render the flanged
guide roller at the top of the gate
quite superfluous. And yet the guide
roller is retained; and the projection-
ist must adjust it laterally so that the
inner surface of the fixed flanged co-
incides longitudinally with the inner
surface of the guide rail on the oper-
ating side.
The slightest departure from cor-
rect positioning forces guide roller
and guide rails to work at cross pur-
poses with the result that the film is
positioned laterally by a condition of
misalignment which can easily pinch
the film and force it out of shape.
Motiograph's Lateral Rollers
While Motiograph's two lateral
guide rollers, one above and the other
below the aperture, represents the most
scientific solution of the sidesway
problem by wholly obviating the
lever-like oscillations of the film on
the face of the intermittent sprocket,
a similar and equally sound expedient
involves a slightly underwidth sprock-
et and a sprocket shoe designed to
guide the film laterally in the manner
of a lateral guide roller. This particu-
lar construction has not yet been util-
ized in a projector even though its
simplicity and obvious maximum ef-
fectiveness recommends it.
The longer the gate, the less the
sidesway - - a fact recognized many
years ago by all projector manufac-
turers in the United States. The Pow-
ers was the only American projector
having a short gate. A curved gate of
nonnal length is equivalent to a flat
gate many times longer, so far as side-
weave is concerned. Pendulum-like
sidewise oscillations of the film are
greatly "damped" by a curved gate,
which is the principal reason why the
curved-gate Simplex X-L is free from
sidesway.
During a recent visit to the Simplex
factory in Bloomfield, New Jersey, the
writer was shown a projected image
of film perforations obtained by re-
moving the aperture plate from the
X-L projector. Not the slightest trace
of sidesway could be detected.
"Green" Print Problems
What sidesway-reducing precau-
tions may be used to good advantage
by projectionists operating on such
older machines as the Simplex Reg-
ular and Super mechanisms? We rec-
ommend a simple, yet thorough, pro-
cedure beginning with the handling
(Continued on page 37)
SfrWgfrMSS'WJSfrWJ^^
Mason's (SmtutgB
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 and Rectifier Specialists for Over 35 Years
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
11
A neglected facet of good theatre practice has been the
application of non-sync music in matching a film's mood.
Using Non-Synchronous Music
As Good Showmanship
By JOSEPH HOLT
Member, IA Local 428, Stockton, Calif.
GOOD THEATRICAL practice de-
mands new and varied methods of
doing a job of entertaining the public.
Perhaps in no category does the aver-
age film theatre fail so utterly to apply
showmanship and ingenuity as in the
field of non-synchronous music.
Whether used for overture, intermis-
sion, or playout music, it is common
to find the same approach that "any-
thing goes."
It is our contention that actually
little if any thought or preparation
goes into the selection of accompany-
ing music, but most often the selection
is left up to the projectionist, and it
is to him that we attune our comments
in this article.
It is a sad fact that many projection
rooms have the same turntable which
was in use a quarter-century ago. Gen-
erally speaking, this means that the re-
sponse and mechanical flutter and rum-
ble are far from acceptable today.
In many cases, the purchase of a
good quality table capable of a num-
ber of record speeds will prove to be
a wise investment. Modern trends seem
to lean toward 45 and 33 1/3 speeds,
but certain discs are obtainable only in
the older 78 speed, and will sound bet-
ter if played back on the best modern
equipment, which has been equalized
in response to suit the theatre equip-
ment and auditorium.
Matching the Mood
Granted then that we may have
available the proper playback turn-
table: should the responsibility of the
projectionist there cease? The argu-
ment is often presented that if manage-
ment does not look to the matter of
supplying guidance in the choice of
records to be used, then the field of
choice is wide open by default. But a
better view, it would seem, to promote
better audience satisfaction, would be
one in which an attempt would be
made to select a record matching in
mood the atmosphere of the film.
To illustrate, it would hardly be ap-
propriate to follow a film which ends
upon a dramatic or highly emotional
note with a hearty rendition of "Jail-
house Rock," just to pick one at
random.
But is it not just as ridiculous to
precede or follow a comedy or a light
musical with a choice Bach fugue?
The reader may think the examples
cited are extreme, and so they are;
yet day in and day out the principle
of compatible non-sync music is
trampled by careless or indifferent
practice.
Often the matter can be helped
merely by calling the attention of man-
agement to the deterioration of the
intermission music. Quite often, how-
ever, friend manager has other things
on his mind and will delegate some
member of the staff or a teen-age off-
A Musical Note
As author Holt admits, his examples
of what music not lo use are a bit ex-
treme, but there is no denying that non-
sync music has not always been too
appropriate. In this connection, it might
be pertinent to note that there are a
number of albums on the market that
are specifically designed for just pleas-
ing, non-prepossessing music — nothing
more. Any one of the selections would
not, at least, detract from the picture's
mood. There is not space here to give
a list, but Mantovani, Morton Gould,
Jackie Gleason, and Andre Kostelanitz
come immediately to mind. There are,
of course, many fine albums of organ
intermission music. One of the best of
these is the high fidelity recording of
George Wright.
spring to purchase a few new records.
This results in some weird combina-
tions and in extreme cases have caused
the circulation of staff petitions for the
projection room to manage somehow
to break or lose records.
Our point still is simple: one must
be careful to select the music which
will complement the film program.
Let it be supposed, then, that man-
agement has asked our advice in the
matter of the selection of replacement
records. Some of us may have very
good ideas or at least most definite
likes and dislikes in the matter of mu-
sic, but it is possible that most pro-
jectionists will want to bow out as
musical supervisor.
Billboard, an amusement weekly, de-
votes considerable space to popular
music. Rating charts on albums and
single discs indicate general suitability
for various purposes. Armed with a
list such as "Albums Most Played by
Disc Jockeys," the prospective theatre
music buyer is prepared to approach
the record store. Careful auditions of
the records will indicate which are
worth further consideration or pur-
chase.
Use of Pre-recorded Tapes
Tape playback devices have not
been accorded the use in theatres
which they have in broadcast work.
This in itself is surprising, for tapes
will provide perhaps two or three times
as many good playbacks as the best
disc equipment. Pre-recorded tapes
are available, and many of them are
eminently suitable for theatre work.
Many areas provide frequency mod-
ulation stations which play long inter-
vals of high-quality music without the
interruption of commercials or station
identification. The theatre may choose
to make off-the-air recordings on tape
for its own use. We do not propose
to discuss the matter of copyright and
performance rights in these off-the-air
tapes. We intend merely to indicate
the manner in which tape recorders
may be used to great advantage.
Another type of recording which
has been little used is the binaural tape
or disc. Each of these may be intro-
duced into extreme stage left and stage
right speakers to provide astonishingly
improved reproduction.
Binaural records are not so reliable
as the two-track tapes, and the writer
cannot view without alarm the troubles
which may result from improper track-
( Continued on page 38)
12
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
This scene is 10% brighter!
NEW "SUPREX" 9mm PROJECTOR CARBON
makes screens up to 10% brighter!
Brighter pictures cost less with the new "National" "Suprex" 9mm x 14 inch
projector carbon. It's up to 30% slower burning.
Your screen grows brighter every
year. It's almost four times
brighter now than in 1938. Yet
the cost of "National" carbon arc
projection is still one of the best
buys in your theatre.
The reason: continued carbon arc
development by "National" re-
search scientists. Every year,
"National" carbon arcs burn more
brightly, last longer than ever.
Newest addition to the "Suprex"
carbon family is the 9mm x 14
inch positive carbon, operating in
the 65 — 80 ampere range.
Your "National" projector carbon
representative can show you how
our carbon arc research pays off
in quality and savings. He is at
your service at all times.
UNION
CARBIDE
ATIONAL PROJECTOR CARBONS
TRADE MARK
The terms "National", "Suprex" and "Union Carbide" are trade-marks of Union Carbide Corporation
NATIONAL CARBON COMPANY • Division of Union Carbide Corporation • SO East 42r.d Street. Nc.v York 17, N.Y.
SALES OFFICES: Atlanta, Chicago, Dallas, Kansas City, Los Angeles, New York, Pittsburgh, San Francisco • IN CANADA: Union Carbide Canada Limited, Toronto
INTERNATIONAL PROJECTIONIST
DECEMBER 1957
13
American projectionists, long used to electrical changeovers,
will find of interest this account of the development of such
a system overseas, where mechanical changeovers are prevalent.
Electrical Changeovers
For English Projectors
TO A BRITISHER, well versed in
technical happenings at both sides
of the Atlantic, it would teem that
over here we have not had that
stability in changeover systems that
has been the case in the United States.
Up to the post-war era British projec-
tor manufacturers had not at any time
in their long history allowed provision
in their designs for some standard
electrical or mechanical changeover,
assuming that such accessory could
have been available. As a result,
some difficulty has always been present
in certain projectors relative to the
fitting of electrical or mechanical
changeovers.
With the possible exception of a
number of London cinemas, and the
key Paramount Theatres in principal
British cities, no electrical change-
overs were in use prior to the war
period. The Thide changeover, made
by the Dowser Mfg. Co. in the United
States was the only one available, and
that type was only suited to the Sim-
plex projector. Today, the prohibitive
cost of the British-made Thide has
almost ruled it off the market.
Manual C'Scope Changeover
Prior to 1931 no standard change-
over device was available on the Brit-
ish market. In that year a very clever
mechanical job was introduced under
the name Easifit. This device employed
small, thin, spring-controlled fly-out
shutters, coupled together by Bowden
cable system*. Practically every cin-
ema over here used that type. In the
same year a very simple and efficient
device was produced by the writer;
this cost about three dollars and func-
tioned for several years without trou-
ble. As time went on other equally
simple mechanical devices were used,
but no attempt was made to market
the ideas.
* Bowden cable, named after the maker in England,
consists of a stranded steel inner wire and an outer
sheath of spiral formation, covered by a plastic face.
Used mainly for cycle brakes.
By ALBERT BUCKLEY
The introduction of CinemaScope
demanded a new type of shutter in
most instances. As the immediate
answer to this problem one rather
unwieldy type made its appearance
on the market. This job fits on the
front wall of the projection booth and
is operated by a large handle in con-
junction with twin piano wires. Al-
though many of these changeovers are
in use over here they can hardly be
considered as efficient as a small shut-
ter operating close to the film aperture,
or even a larger shutter, say up to 5
inches x 4 inches, operating between
the arclamp and projector.
CinemaScope problems present no
difficulty in the post-war models made
by BTH and Gaumont-Kalee, for most
of these models have integral electric,
or electro-mechanical change-overs. In
the BTH job, small twin fly-out shut-
ters are used; these are extremely effi-
cient but will not fit any other make
of projector. Incidentally, picture
and sound changeovers are interlocked
and one press button does the trick.
In the Gaumont-Kalee models a
novel principle is used. The fire shut-
ter acts as both fire shutter and change-
over shutter. The shutter is opened by
mechanical means and closed electric-
ally; an AC solenoid pulls against the
mechanical pull, and thus one solenoid
is always energized. (The system
(Ed. Note: Mr. Buckley, English mo-
tion picture engineer, designer, and
manufacturer, recently visited the
United States to observe American
equipment ivhich is difficult to obtain
in Great Britain. In exchange, we
have here his description of the trial-
and-error process that brought about
his changeover system, the only stand-
ard electrical changeover in the Brit-
ish Isles.)
works all right, but in the writer's
opinion it is far better to have a mo-
mentary current through the solenoids
and operate the shutter both ways by
electrical means. There are no heating
losses, and the wire gauge can be much
smaller.) Both these ideas whilst quite
efficient in manufacture and operation
present a narrow-minded viewpoint far
removed from any attempt at stand-
ardization.
Trial and Error Experiments
Three years ago a casual enquiry
from the projection department of a
large Yorkshire cinema interested the
writer so much that he decided to de-
sign and make up at least one set of
electrically operated changeovers to
suit the [Century] Westar projectors
at that cinema. Since no elaborate tool-
room or other manufacturing facilities
were available, it was most essential
to use only parts that were readily
available.
Much experimenting was done to
find coils of suitable dimension and
capacity to operate on 110 volts AC,
and to give a maximum movement of
21/4 inches to the plunger. Text books
do not often offer much in the way of
formulae, and many writers advise
trial and error in respect to solenoid
operation. Finally^ it was found that
a plunger made of %-inch round soft
iron or mild steel, and Q-/± inches long
was ideal in combination with two
adjacent coils, each 50 ohms in resist-
ance and 2 inches long. The plunger
gave the maximum movement that
would ever be required.
In order to use standard materials
as far as possible it was decided to
employ a %-inch o. d. brass tube for
the plunger to operate within, and
since the only available coil formers
had bores of % inches, the opening
and closing coils were cemented to-
gether and fitted to the brass tube by
phospher-bronze rings. (Later models
14
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
use a long cooper sleeve to which the
two coils are cemented. This fits over
the brass tube containing the plunger.)
Subsequently, it was found that these
coils and plunger would give an ef-
fective movement down to 1 inch.
In the units fitted to the Westars,
the plunger movement was restricted
to 1% inches, the connection between
the plunger and shutter being by Bow-
den cable. The early solenoid units
were mounted within standard 2-inch
electrical conduit — cut to length and
fitted with solid, machined end pieces.
Thanks to American planning, the
fitting of the Westar projector proved
very easy for here was a projector
with provision for a changeover shut-
ter, and there was no resort to "trick-
ery" to produce a successful mecha-
nism. In the first few weeks of making
these rather primitive but effective
units, no thought was ever given to
the idea of making up changeovers for
projectors other than Westar; it was
merely decided to make one model and
sell it under the name of Zippa. How-
ever, necessity is the mother of in-
vention and, since certain orders were
available if Zippa units could be modi-
fied to suit other projectors, the writer
decided to go ahead with plans on
these lines.
First, the Kalee 12
The first machine to be so dealt with
was the Kalee 12 which bears some
prominent resemblance to the Ger-
man Ernemann-drum shutter — totally
enclosed mechanism, etc. Happily, and
luckily too, a suitable recess exists im-
mediately behind the long aperture
plate. This plate carries two apertures:
one for projection and the other for
framing up the film. In order to per-
mit the use of any shutter in this posi-
tion, it is essential to cut a circular
hole in the shutter to permit framing
the film when threading. Also, in order
Ljreetinai and (Oeit {JViikeS
We welcome this opportunity to extend the Season's greetings to our
many friends in the projection craft who, working together with us thru
the years, have enabled us to progress in the drive-in theatre industry.
F. W. Keilhack • L. E. Higginbotham
DRIVE-IN THEATRE MANUFACTURING COMPANY
505 West Ninth Street Kansas City 5, Missouri
to clear magnetic soundheads — if
fitted — and the upper film loop, it is
necessary to make up a rather weird
shutter adjustable in every possible di-
rection to prevent binding in the slot,
and to permit free operation.
On the Kalee 12 the solenoid unit is
mounted vertically at the non-operat-
ing side of the projector, and a cable
length of 24 inches is used. Since in
the above machine a total shutter
movement of one inch is necessary, a
short brass limit tube is placed at each
end of the plunger, one on the brass
handleshaft and one on the cable. Sim-
ilar brass tubes are used in all the
units except for the wide aperture
sometimes found in Westar.
Inspired by the success of the Kalee
12 conversion it was decided to go all
the way and fit other projectors.
The Ross projectors were the next
to receive the "treatment" and one
change-over unit suits both models.
Ross have made two popular models
in recent years; the "F.C.", and the
"G.C.". The former uses a rising and
falling mechanism to secure a fixed
optical centre, and the latter employs
a rotating intermittent box like in the
Simplex.
On both these machines the only
possible place to fit a changeover shut-
ter is the existing fire shutter slot. The
Ss-«S5r«?SW3^^
s<
eadon 5
Qr
>tL
reetinad
a
from the makers of
HEYER-SHULTZ
PRECISION METAL REFLECTORS
fire shutter is of heavy construction
and is operated by governors similar
to the Simplex. It was decided to take
out this shutter and replace it with a
thinner fire shutter and a changeover
shutter, both operating in the same
slot. These shutters are of pickled
metal 18 s.w.g. (British standard wire
gauge) thick.
Changeover-Fire Shutter
As the fire shutter operating arm
normally projects right through the
slot, this arm has to be cut so that it
does not even enter the slot — to leave
a clear path for the changeover shut-
ter. The solenoid unit is mounted by
two arms to the rear shutter casing
and does not interfere with the re-
moval of the shutter casing cover; it is
mounted at an angle of 30 degrees
to the horizontal. This device has
worked very well — indeed the famous
Granada Theatres have already fitted
a number of their Ross projectors
with it.
No special difficulty was experi-
enced in fitting the Simplex projector
although the removable light spot box
does not help in designing something
of this nature. Early models of the
Zippa employed Bowden cable operat-
ing within a rigid steel bent tube,
but later models were modified to use
a bell crank lever similar to the Thide.
Incidentally, it was found that one
could .not improve the design of the
Thide at least where Simplex projec-
tors are concerned.
The Kalee 8 and 11 projectors—
both models obviously inspired by the
German Ernemann design in the first
instances, although considered obso-
lete even in 1939 — are still running
in many cinemas. Many of these pro-
jectors have been running well over
twenty years with no overhaul, and
no replacements apart from the super-
ficial items: sprockets, film trap parts,
rollers, etc. These machines have heavy
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
15
cast film trap units with a deep cir-
cular aperture 1% = inch diameter,
and many different specimens of these
two models exist. ( The degree of
FIG. 1. Westor
shutter.
standardization so thoroughly ex-
ploited in the Simplex range up to the
E-7 has always been completely lack-
ing over here). Consequently it was
necessary to use some standard shut-
ter capable of being fitted to each
FIG. 2. Shutter for
Kalee 8 and 11 pro-
jectors.
distinct version. That type proved to
be an egg-shaped shutter, pivotted at
one corner and operated by an ordi-
nary cycle wheel spoke!
Fitting the Kalee 11
The problem of fitting Thide
changeovers to a Kalee 11 confronted
the writer some ten years or more
ago. An important client wanted elec-
trical changeover fittings, and Thides
were the only ones to be purchased.
Egg-shaped shutters were employed,
FIG. 3. Simplex
shutter.
as now with the Zippa job, and the
Thide units were mounted at the top
of the projector at right angles to the
optical axis!
Figures 1 to 6 show typical shutters.
In order that these solenoid units
may be used with any likely voltage to
be met in practice, the British 200-250
single-phase lighting voltage (being
slowly replaced by a standard 240-volt
system) or the 110 volts often used in
-
FIG. 4. Ross
fire shutter.
connection with American sound
equipment which is obtained through
a static transformer in every case, spe-
cial pre- wired 12-way connector strips
are used. Thus the installation en-
4
FIG. 5. Ross
changeover
shutter.
gineer needs only to carry one of each
terminal strip to cater for any likely-
voltage. The strips are wired in red
ing coil on one projector is connected
in series with the closing coil on the
other one. The coils on the lc
lower
ft
o
FIG. 6. Shutter
for Kalee 12.
range are connected in parallel. Thus
each coil receives between 100 and
125 volts across it; the wire gauge
Open
Close
Push
Open
10
11
12
•
t
e
t
*
#
FIG. 7 (left). 110-volt connector. Mains to
terminals 2 and 12. FIG. 8 (right). 200-250
volt connector. Mains to terminals 1 and 12.
will easily stand a momentary current
of more than twice the normal amount.
See Figs. 7 and 8.
Three Forms of Control
Since the requirements of theatres
vary, three forms of control are used:
(1) Twin finger pushes to each
projector (this enables the
FLEXIBLE CABLE
\\ HANDLE
ALLEN SCREW
y
FIG. 9. Plunger
sleeving for the higher range of volt-
ages, and in black for the lower range.
On the 200-250 volt strip the open-
projectionist to effect change-
over right to left, or left to
{Continued on page 34)
16
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
Electricity is no stranger to the projectionist —
his craft depends upon it. But electronics — a
more important facet — sometimes is. Yet not only
does the projectionist depend upon electronics, but,
in a technical sense, so does it depend upon him.
Acknowledging that some concepts of electronics
change almost with each morning's headlines, this
series is based on the premise that the projectionist's
future will be affected a great deal by the changes.
Although there does not seem any particular need
for a "basic refresher," a knowledge of the funda-
mentals behind recent developments in electronics
would seem necessary — but their practical appli-
cations are considered to be more important here.
What Is ELECTRONICS?
By JOHN SEARS
I. Some Atomic Theories
A KNOWLEDGE of the funda-
mentals of electronics is not
necessary to use electronic
materials: 11-year-olds are putting to-
gether complicated hi-fi set-ups with
do-it-yourself kits. But for the pro-
fessional or amateur technicians, fun-
damentals are mandatory.
Although this series is not intended
to dwell on primer physics, and it is
downright discouraging to think of
steak, champagne, and your favorite
girl as just another conglomeration of
atoms, a beginning must be made some-
where. And that beginning — in line
with modern theory that all matter is
electrical in nature — is with the atom.
The ancient Greeks were highly ad-
vanced in the arts, but they were some-
what shaky on electronics, because,
ironically enough, the word "atom" is
derived from the Greek atomos, mean-
ing something that cannot be divided.
"Electronics" also has its origin in
Greek — from elektron. meaning amber,
because the Greeks noted the magnetic
effect produced in that substance by
friction. Later on, all matter with
magnetic properties came to be known
as "electrics," and so on. Still, the
Greeks had a primitive sort of atomic
theorv that matter was composed of
infinitesimal specks — but they thought
the specks were solid.
Even before the A-bomb made the
atom a household word, The Cele-
brated Man In The Street had at least
a vague idea about the atom. Although
there is still much to learn about its
interior, we do know that the atom is
a sub-microscopic solar system. Its
center is a nucleus, which consists of
positively-charged particles called pro-
tons, held together by neutrons, which
have no charge.
Whizzing around this nucleus with
tremendous force are negatively-charg-
ed particles called electrons. Somewhat
like the gravitational give-and-take
that holds a Sputnik in an orbit around
this planet, so the electrons are held
in their orbits — sometimes. The paths
of electrons vary, some may occupy
the same orbit, and some have minds
of their own to wander off. These
"free" electrons may be attracted into
the system of another atom, which in
turn releases an electron to another
atom, and so on. The negative-to-
positive movement of free electrons
produces electric current. (See Fig. 1).
The Three "I's"
Basically, the atom is neutral: that
is, the amount of positive charges in
the nucleus is equal to the amount of
negative charges whizzing around out-
side. But the action of radioactivity,
heat and light energy, electric charges,
collision with other atoms, and other
means may knock out or add one or
more electrons. If there are more elec-
trons than protons, naturally the atom
is going to have a negative charge, and
vice versa.
These negatively- or positively
charged atoms are called ions; the
negative atoms being termed anions,
the positive, cations. Some chemicals
become ionized when immersed in
water. Salt, for example, dissolved in
water will separate into positive sod-
ium ions, and negative chlorine ions.
This process of ionization has its
practical value in electronics, particu-
larly in various applications of the
cathode-ray tube, as we shall see.
Two other "I's" which have been
having quite an impressive practical
workout lately are isotopes and isobars.
Naturally, different atoms of differ-
ent elements have different qualities,
and different amounts of protons and
electrons. An atom of hydrogen has
one proton and one electron. An atom
of uranium has 92. So, with this in
mind, we can classify elements by
weight and number into a periodic
table. (You can find a periodic table
in most modern dictionaries.)
Elements, then, are classified accord-
ing to their atomic number and atomic
D
FIG. 1. Theoretical construction of electric current: (A) positively-charged nuclei; (B and C)
inner and outer orbits of negatively-charged electrons; (D) "free" electron movement to orbit
of other atom; (E) compensating reaction releasing a "free" electron.
INTERNATIONAL PROJECTIONIST
DECEMBER 1957
17
weight. The lightest element is hydro-
gen with one proton, so its number is
1. Uranium, a heavy metal, has 92
protons, so its number is 92.
Atomic weight is another matter.
Using an arbitrarily fixed number for
one element's weight (usually 16 for
oxygen — but keep in mind that oxy-
gen's atomic number is 8), atoms are
"weighted" in comparison with that
number. So hydrogen's atomic weight
is 1.0080, and uranium's weight is
238.07.
But it is possible for two or more
forms of an element to have the same
atomic number, but not the same
weight. These are called isotopes. For
example, U 235, the force of the A-
bomb, is an isotope of uranium; and
tritium (heavy hydrogen), the force
of the H-bomb, is an isotope of hydro-
gen.
Conversely, different chemical ele-
ments with different atomic numbers
may have the same weight, and these
are called isobars.
Then there is the family matter
called isobaric isotope. To put it sim-
ply ( ? ) , these are forms of radioactive
atoms which have the same weight
and same number, but they represent
different chemical elements because in
their radioactive distintegration they
present different characteristics.
How to Build an H-Bomb
At the moment, the energies pro-
duced by nuclear fission and nuclear
fusion haven't had much peaceful prac-
tical application, but something should
be said here, just on the off chance
that their belligerent application won't
make the study of electronics quite
unnecessary — or anything else for that
matter.
Some nuclei of certain elements can
be split more readily than others. The
nucleus of U 235 for example. Nuclear
fission means just that: splitting the
nuclei of atoms, which, in turn, re-
leases tremendous energy — as we all
know.
When that lone group of scientists
got ready to blow the first A-bomb,
they were still nervous about a chain
reaction. In other words, once a
nucleus is split and releases energy,
that energy in turn splits another
nucleus, and that in turn reacts upon
another — with the resultant possibility
that there could be no stopping it,
and everything would go.
To better visualize this, imagine a
number of set mousetraps packed into
FIG. 2. Simplified diagram of a cyclotron; (A)
incandescent filament; (B and C) dees; (D)
path of deuteron particles; (E) deflector; (F)
target; (G) enclosure wall.
a closed area. One mousetrap is trig-
gered, flies into the air, comes down
on another and sets it off, and it in
turn does the same thing. But chances
are that not all the mousetraps are go-
ing to be hit and set off in this uncon-
trolled fashion. Not yet, anyway.
The action of nuclear fusion is the
opposite of nuclear fission, but it takes
fission to start fusion, which is the
principle of the H-bomb. Tritium, an
isotope of hydrogen with a weight of
3, can fuse its nuclei into a nucleus of
heavier mass, such as helium (next in
weight with 4.003). This is going to
leave some mass left over, which is
converted into energy. But it takes
a great deal of energy to accomplish
this fusion, so that energy is supplied
by nuclear fission. In a simplified
sense, an A-bomb sets off an H-bomb,
and that is why that island in the
Pacific disappeared.
The Cyclotron
To get back to more practical — and
more pleasant — applications, man has
developed controlled methods of
"smashing" atoms, thus changing their
structure, and consequently changing
their characteristics so that they may
emerge as different elements. Even
new elements have been created — go-
ing beyond the aspirations of the anci-
ent alchemists who wanted to change
lead into gold.
Perhaps the most familiar form of
atom smasher is the cyclotron, shown
simplified in Fig. 2. The two semi-
circular metal boxes are called dees,
and contain deuterium, an isotope of
hydrogen. In the center is an incandes-
cent filament. By means of a powerful
outside magnetic force, a strong mag-
netic field is set up between the two
dees, and high voltage of reversible
polarity is applied.
Deuterium is composed of one pro-
ton, one neutron, and one electron.
The hot filament ionizes this into a
positively-charged deuteron consisting
of one proton and one neutron, and
one negatively-charged electron.
When the high voltage makes the
left dee negative, the positively-charged
deuteron is attracted to it, then the
voltage changes polarity and makes
the right dee negative and the same
action occurs. The magnetic force,
passing vertically between the dees,
causes the deuteron to circle faster and
faster until the particles have reached
an enormous speed.
Once this spiralling action has reach-
ed that enormous speed, the particles,
attracted by the negatively-charged de-
flector, are bombarded with terrific
impact against some material on the
target. This impact "smashes" the
atoms to be bombarded. Somewhat
of an electronic David's sling.
At present, one of the main uses of
atom smashers is to make radioactive
certain materials that are not ordinar-
ly so — for example, the various radio-
active materials used in the treatment
of cancer.
This is of necessity a simplified treat-
ment of the atom, yet its properties,
actions, and perversities are all-impor-
tant in the application of practical
electronics to be discussed in forth-
coming installments.
[TO BE CONTINUEDl
Paramount Buys A Theatre
Paramount Pictures has returned, at
least in a single instance, to theatre ex-
hibition with the purchase of the Es-
quire Theatre on Chicago's North Side.
The house, formerly one of eleven con-
trolled by the Balaban Corp., seats 1400,
is 15 years old, and has been showing
foreign and art product. Estimated
purchase price is around $1,000,000.
George Weltner, vice-president of Par-
amount, has stated that the Esquire will
be utilized as an additional outlet for
first-run Paramount pictures, as an eli-
mination of certain marketing and book-
ing problems. He added, however, that
the move represented no policy change
on the part of Paramount insofar as the
divorcement of its theatre interests sev-
en years ago was concerned. Other Par-
amount spokesmen declined comment,
except to say that they would stand on
Weltner's statement.
18
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
Two established authorities have produced — in IP's considered
opinion — what may be the best deliniation of closed-circuit TV.
Closed-Circuit TV System
an
d its
Practical Applications
By MORRIS A. MAYERS and RODNEY D. CHIPP
TO UNDERSTAND the operation of
■ closed circuit or wired TV, one must
have a working knowledge of the un-
derlying principles on which all mod-
ern TV is based. Imagine, if you will,
that you have just settled down in your
favorite easy chair with a new best-
seller which you have been wanting to
read. As you open to the first page
you have a momentary impression of
a sheet full of printed symbols. Your
eyes then start to scan the page, begin-
ning at the upper left-hand corner
moving from left to right and, as each
line is completed, dropping down from
line to line and reading each succeed-
ing line from left to right. Only by
this scanning process does the printed
page convey intelligence to your mind.
If you wished to communicate that
intelligence to someone who could not
read, you might read aloud, word by
word and line by line to one or more
people who might be in the same room,
or at the end of a telephone line, or
listening to you at their radio sets.
If you wished your listeners to dupli-
cate on paper the layout of the text
which you were reading to them, you
could do so by telling them where each
line begins and ends.
In the circumstances described
above, you and your listeners would be
performing functions similar to those
of TV cameras and receivers when
a scene is televised at one point and
viewed at another. When a TV camera
is trained on a scene, light reflected
from that scene is focused on the face
of a special type of vacuum tube in the
camera in the same proportions as it
appears on the scene.
This light pattern on the fact of the
camera tube does not, by itself, convey
information any more than does the
print on the page of your book until
your eye starts to scan it. The face
of the camera pickup tube is sensitive
to light in one of a number of differ-
ent ways, which we shall discuss later,
with the result that its electrical char-
acteristics at any given moment will
vary from point to point in relation
to the amount of light that is striking
each point on its surface. For the time
being we shall consider the operation
oi one popular type known as the
image orthicon.
In this tube (Fig. 1), at the opposite
end from the face, is an element called
the electron gun which shoots a beam
of electrons towards a glass disc adja-
cent to the face, which is known as
the target. This beam of electrons is
bent or deflected in such a manner as
to make it scan the image of the scene
as it appears on the target from left
to right, and from top to bottom, in
very much the same manner as your
eyes are scanning this page.
Just as the light reflected from the
print on this paper conveys informa-
tion to your brain through your eyes
as they scan the page, so in a similar
manner, the beam of electrons imping-
ing on the target in the camera tube
is modified by the electrical pattern
which it scans on the target, and which
was created by the light pattern mak-
ing up the image of the televised scene.
This modification of the beam of elec-
trons may be considered as "infor-
mation" in the form of electrical pulses
of varying voltage which can be con-
ducted through electrical circuits, just
as visual information is transmitted to
the brain via nerve paths.
VIDEO WAVEFORMS
To make the modification process
clear, let us visualize the voltage flue-
SCENE
TELEV1
u
TO BE
SED
CAMERA
LENS i
E
C
lEFLECTIC
OILS /
)N
\ A L \ \
mmB&BBm
m
"-"-----
— - -
IB;
IMAGE OF SCENE
ON PHOTOSENSITIVE
SURFACE
ELECTRON
GUN
FIG. 1. Diagram of pickup tube showing beam scanning image of checkerboard.
t "Closed Circuit TV," John F. Rider Publications,
New York, 250 pp., $10.00.
Lrxnj-
WHITE LEVEL
BLACK LEVEL
njn_m"
HITE LEVEL
BLACK LEVEL
FIG. 2. Pictorial presentation of checkerboard scanning and resulting video waveform.
[INTERNATIONAL PROJECTIONIST • DECEMBER 1957
19
tuations which take place in the elec-
tron beam when televising a checker
board (Fig. 2). We shall do this: by
means of waveforms, a recognized
method of presenting voltage and cur-
rent fluctuations which is part of the
language of electronics, and should
therefore be understood by anyone in-
terested in the subject.
In waveform presentations, as they
may be seen on a cathode-ray oscillo-
scope, a line rising vertically from a
reference point represents a voltage
rising almost instantaneously to a value
indicated by the height of the line
above the reference point; a slanting
line rising from the reference point
indicates a more slowly rising voltage;
a horizontal line at any given level
represents a steady voltage of the in-
dicated value, while lines declining
toward the reference point indicate a
decreasing voltage with the degree of
slope representing the rapidity of the
decrease. In the case of alternating
currents, in which fluctuations occur
on both sides of the reference point,
the lines below the reference point
represent a negative voltage with a
declining line indicating an increase
in the negative value.
When we televise the checkerboard
referred to above, its image is focused,
by the camera lens, on the face of the
pickup tube. The electrical character-
istics of the target are altered by this
image so that the voltage of the elec-
tron beam will drop as it passes over
the dark squares, and will rise when
it passes over the light ones. Figure
2 represents the waveform of the volt-
age fluctuations which would occur as
two successive lines of squares in the
checkerboard are scanned.
It is obvious that a simple subject
like a checkerboard can be reproduced
by a small number of voltage fluctua-
tions. If, on the other hand, the
board had twice as many squares,
twice as many fluctuations would be
required to reproduce it in a television
picture. It follows that the finer the
detail we wish to reproduce, the more
the voltage must fluctuate. We will
see later, that a television picture in-
volving fine detail may require as
many as four million (or more) volt-
age pulses per second.
Pulses which contribute to the de-
tailed construction of a television pic-
ture fluctuate at a rate which has been
designated as "video frequency."
Audio, of course, refers to that band of
frequencies up to about 16,000 cycles
per second which, if converted to me-
chanical vibration can be heard by
the average human ear. Radio fre-
quency, which we will usually refer
to as rf, is the term applied to alter-
nations of electromagnetic radiation
which serve as the carrier waves for
video information in television, and
audio information in radio.
The waveform in Fig. 2 represents
the voltage changes which occur in
going from solid black to pure white.
If the subject included intermediate
shades of grey the rise in voltage from
the reference point would be propor-
tionate to the lightness or shade of
grey. In the case of a colored object
the rise in voltage would indicate the
amount of light reflected by the color
at a given point.
SYNCHRONIZATION
Since it is necessary for the electronic
information discussed above to appear
at the reception point in exactly the
same sequence as it was picked up at
the point of origin, it is necessary to
add further data which performs the
same function that you would perform
if you read the page aloud, telling your
listener where each line started, where
it ended, and when to move to the next
line below. These additional elements
of information are called synchroniz-
ing pulses and they fell into three cate-
gories, i. e. :
(a) The horizontal "sync" pulse
which causes the scanning beam
to start tracing a new horizontal
line.
—WHITE LEVEL
— BLACK LEVEL
SYNCHRONIZING PULSE
HORIZONTAL
BLANKING PULSE
FIG. 3. Pictorial presentation of video, sync and blanking waveforms.
FIG. 4. Solid lines are scanning lines of first
field. Dashed lines are scanning lines of sec-
ond field, and dotted lines indicate retrace
path.
( b ) The vertical "sync" pulses which
cause the scanning beam to start
tracing a new field. (A field is
one complete scan of the subject
from top to bottom, which re-
quires 262.5 lines.)
(c) The "blanking" pulses which
cause the scanning beam to go
dark and retrace its path so as
to be in a position to start new
lines and new fields.
Figure 3 shows, in simplified form,
the sequence and general shape of the
voltage waveforms of the sync, blank-
ing and video pulses as they might be
seen on the screen of an oscilloscope.
If the subject to be televised were
a static one with relatively little detail,
such as a page of print, it might be
sufficient to scan the page once or
twice a second to produce a television
picture on what is known as a long
persistence tube. In a picture involv-
ing motion, however, the scene must
be scanned repeatedly in a rapid se-
quence so as to break the motion down
into its component parts.
In commercial television in the
United States, the picture (or "frame,"
which is equal to two fields) is made
up of 525 lines, which are scanned in
l/30th of a second so that the eye
sees 30 complete pictures per second.
If the reader will recall that the illusion
of motion is successfully created in
commercial motion pictures by pro-
jecting only 24 complete pictures per
second, he will see that television
makes use of the same principle of
persistence of vision which makes mo-
tion pictures possible.
INTERLACED SCANNING
Figure 4 illustrates the path of the
scanning beam. Note that the con-
tinuous line starts at the upper left-
hand corner of the picture and moves
in a downward slanting motion to
the right. On reaching the right side,
the blanking pulse takes effect and the
20
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
now invisible beam snaps back to the
left side of the picture, as indicated
b\ the dotted line. The point at which
it reaches the left side of the picture
is separated from the starting point
of the previous line by a space equal
to at least the width of a line. At
this point blanking ends and the hori-
zontal sync pulse causes a new line to
start. This cycle is repeated until the
bottom of the picture is reached.
It will be noted that the last line
never reaches the right side of the pic-
ture but slants to the bottom of the
picture midway between the two sides.
This is the end of the first field. At
this point vertical blanking is applied
and the beam zigzags back to the top
of the picture where, midway between
the two sides, blanking terminates and
a new line starts.
This new line, represented by dashes
in the illustration, is the first line of
the second field. As a result of start-
ing at the midpoint at the top of the
picture, this line ends at a higher point
on the right side of the picture than
did the first line of the first field, and
consequently, the retrace of this line
will arrive at the left side midway be-
tween the first and second line of the
first field.
The line which starts from this
point will be the second line of the
complete picture. Throughout the
scanning of the second field the scan-
ning beam should continue to fall pre-
cisely between the lines of the first
field.'
RECEPTION
The electronic information dis-
cussed, consisting of video pulses from
the camera, mixed with sync and
blanking pulses, is transmitted as a
composite signal to the reception point.
or points. Let us see what happens
when our electronic information ar-
rives at the reception point. There
«^ft'«^««^6-«!§r«s^S'«^«ffl«ffl«^t^
(J-test ^rroiidau UUiinei
'/
to projectionists throughout the
world whose effort and skill have
helped so much in the task of
modernizing projection methods.
CENTURY PROJECTOR CORPORATION
729 Seventh Avenue, New York, N. Y.
»«&»J^-s&»%^^
we find a receiver or monitor in which
the most prominent feature is the so-
called picture tube.
In certain respects it is similar to
the pickup tube in the camera. It has
an electron gun which shoots a stream
of electrons towards the face of the
tube which is coated with a phosphor
which will give off light when struck
by the electrons from the gun. This
beam of electrons, too, is deflected so
as to scan the face of the picture tube
at exactly the same rate as the electron
beam in the camera scans the target.
The receiver or monitor also con-
tains circuits to generate horizontal,
and vertical driving and blanking
pulses which will "lock in" with those
being received from the camera, with
the result that the video pulses received
from the camera are applied to the
electron beam in such a manner as to
strike the fluourescent coating of the
picture tube at exactly the same rela-
REPRODUCED
IMAGE
ELECTRON GUNS
VIDEO VOLTAGES FROM
PICKUP TUBE VARY THE
INTENSITY OF BEAM IN
PICTURE TUBE
SYNCHRONIZING VOLTAGES KEEP
ELFCTRON BFAMS "IN STEP'
FIG. 5. Simplified presentation of picture reproduction.
tive points as they appeared on the
target of the camera pickup tube. Elec-
trons striking the fluorescent coating
cause it to glow more or less brightly
from point to point in direct propor-
tion to the amount of light that ap-
peared at the same relative points in
the televised scene ( Fig. 5 ) , thereby
creating a picture which duplicates
the scene on which the camera was
focused.
SCIENCE NOTES
Small, Hard Particles a few millionths
of an inch in diameter are now being
dispersed in alloys to gain new high
strength materials that will hold up at
very high temperatures. Acting some-
what like gravel reinforcement in an
asphalt road, the particles strengthen
materials that ordinarily would become
pliable at extremely high temperatures.
Dispersion is also considered to increase
resistance to abrasive wear.
A "Submarine" Method for faster
printing of motion picture films has been
developed by Eastman Kodak. A portion
of the film is dipped into a colorless li-
quid and kept there briefly during ex-
posures, thereby eliminating need for a
diffuser used to soften scratches on neg-
atives. Color film printing can be stepped
up from 90 feet a minute with a 1000-
watt lamp to 200 feet a minute with a
500-watt lamp.
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
21
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.
Sn. JfuL
SPOTLIGHT
I 0 OUR many friends whose gracious cooperation during the past
year have made this department possible we extend our best wishes for
A Ijappij atti dlngmts ijnltimij S^aBon
• Although "Around the World in 80
Days" recently concluded a 13-week en-
gagement at Famous Players' Gaiety
Theatre in Winnipeg, Man., Canada.
wages and work conditions for this fea-
ture are still in the process of negotia-
tion. The standard contract between
Winnipeg Local 299 and exhibitors in
its jurisdiction stipulates that a change
of pobcy in any theatre or the road-
showing of any picture, calls for a re-
negotiation of existing contracts. Fail-
ing to reach an agreement with Famous
Players' on the interpretation of this
clause, Local 299 requested a hearing
before an arbitration board. The board
agreed with the Local in its contention
that "'Around the World" was a road-
show picture, but declared that the
matter of wages and working condi-
tions should be settled between the dis-
putants.
A new board of arbitration comprised
of the following personnel has been set
up and it is hoped that a settlement will
be forthcoming shortly: Harold Stubbs.
well known attorney in Winnipeg, chair-
man of the board; Les Butterworth, busi-
ness manager of the Civic Employees
Union, representing Local 299; and
Harry Hurwitz, general manager of
Winnipeg Odeon Theatres, representing
Famous Players.
• George Schaffer. business representa-
tive for Los Angeles Local 150. recently
concluded negotiations with the Egyp-
tian Theatre in Hollywood for the road-
show presentation of the new Columbia
feature "Bridge on the River Kwai." On
a reserved seat policy, the contract pro-
vides for two shifts per day, each one
calling for one performance, with two
men on each shift. Each projectionist
is guaranteed a weekly basic wage of
$131.88, based on 6 days per week and
6 hours per day, plus prep time.
(There will be only 10 performances
per week. Each shift will work five
shows and receive pay for 6.)
For the children's shows starting at
9:30 in the morning at reduced admission
prices with no reserved seats, perform-
ances will be paid for at the rate of
2V2 hours at the overtime rate of $4.71
per hour. The basic scale of $3.14 per
hour applies only to the standard projec-
tion machines running 35-mm film.
(The run time on the "kid" shows is
2% hours, but ^4 hour will be per
mitted to overlap into regular per-
formance time.)
• The role of Santa Claus is not a new
one to Harry Garfman, Brooklyn busi-
ness representative for New York Local
306. Each year, with the cooperation of
members of the Movie Social Club of
Kings County (Brooklyn), Garfman or-
ganizes Christmas parties for the under-
privileged and sick youngsters of various
local hospitals and institutions. This
year the inmates of the House of St.
MEMBERS AND GUESTS CELEBRATE 47th ANNIVERSARY FOR LOCAL 259, CHATTANOOGA, TENN.
j J i
Grouped here ore members and representatives from sister Locals. Front row, left to right: R. L. Arnold, Atlanta Local 225; Geo. Hamill, L. 259
J. Price, Chattanooga L. 140; C. W. McCurdy, O. A. Ayres, L. 259; W. Lee, L. 140; R. B. Lowry, L. 259. Center row, left to right: A. S. John
stone; Jake Pries, Atlanta L. 225; J. J. McDowell, L. 259; F. Gillespie, L. 140; F. F. Hamill, J. K. Smith, A. C. Kamin, L. 259; Frank Murdock,
Jim Edwards, theatre manager; Bill Miller, L. 140; L. L. McCurdy, L. 259; Leo Nation, Birmingham L. 236; Geo. D. Overend, Jr., L. 259
Thompson, guest; L. N. Vick, W. W. Williams, Sr., O. W. Aymers, J. B. Lowry, L. 259. Back row, left to right: J. Buens, Nashville L. 626; M. E
Studt, Denver L. 230; A. W. Kamin, W. W. Williams, Jr., B. N. Vick, T. D. Ayers, P. R. Neligan, L. 259; W. R. Handley, Baltimore L. 181;
J. Walker, L. 140; Walter Diehl, H. G. B. King.
22
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
Giles for Crippled Children, the Beth-
El, and Jewish Hospitals, will be the
recipients of the Club's activities. The
distribution of toys and candies plus a
program of entertainment will highlight
these parties.
Garfman has been commended by his
community for his interest in the care
and welfare of handicapped children. His
recent election to the presidency of the
Brooklyn Chapter of the National Cystic
Fibrosis Research Foundation is another
indication of his deep compassion for
the less fortunate.
• The 25-30 Club will hold its annual
installation of officers on January 9,
1958. at the Empire Hotel. Broadway &
63rd Street, New York City. A
dinner-dance, plus entertainment, prom-
ises to make this a gala evening. Out-of-
town members are urged to send in their
reservations at the earliest possible mo-
ment.
• Cecil Beesley. member of Local 440.
St. John, N. B., is now working at the
new Base Theatre at Camp Gagetown.
Canada, as projectionist-manager. His
status is that of a civilian employee of
the Canadian army.
• Picketing at four drive-in theatres by
members of Providence Local 223 will
continue into 1958. if necessary, declared
H. F. Slater, business representative for
the Local, according to a trade press re-
port. Non-union projectionists have been
working in the picketed ozoners. The
chief bone of contention between Local
223 and the theatres lies in the man-
power situation, with the Local insist-
ing upon a two-man projection shift, and
management holding firm for one man.
• Working 40 years in the same theatre
is the record stacked up by Bernard
McGaffigan. projectionist at the Fenway
Theatre and member of Boston Local 182.
CELEBRANTS AT LOCAL 259 ANNIVERSARY BANQUET
A midnight banquet marked the recent 47th
anniversary for Chattanooga Local 259. Cele-
brants pictured in the photo above are,
seated: Mrs. Brownie Cuthbert, editor of local
labor paper; Assistant IA President, Walter
F. Diehl; J. B. Lowry, president, and A. C.
He is a charter member and former offi-
cial of the Local. Running him a close
second is Howard W. Carter. Sr., mem-
ber of Houston Local 279, who recently
rounded out 50 years of projection work.
The stamina and enthusiasm for their
work belie the age of many of these old-
timers.
• Charles Dentelbeck, for many years
supervisor of projection for Canadian
Famous Players, will retire on January
1. 1958. Born in Fort Wayne, Ind. in
1884. Dentelbeck moved to Toronto in
1909 where he helped organize Local 173.
He was elected president of Toronto Lo-
cal 173 in 1917 and served in that office
for many years thereafter. His plans
for the future are indefinite.
OB ITUARI ES
Ripley, Charles L., 61, member of Local
228, Toledo, Ohio, died November 15. Born
Season's
Greetings
to our
Many Friends
Everywhere
Kamin, business representative, Local 259; and
A. S. Johnstone, IA 6th vice-president. Stand-
ing, left to right: L. N. Vick, treasurer, Local
259; Frank Murdock, IA legal counsel; W. W.
Williams, Sr., Local 259 president, and H. G.
B. King, attorney for the Local.
in Wauseon, Ohio, he made his home in
Toledo for the past 45 years. He worked as
a projectionist at the Rivoli Theatre there
for about 30 years, during which time he
also served several terms as business repre-
sentative for the Local. He was a veteran
of World War I. having served with the
Motor Transport Corps. Survivors are his
wife, daughter, and a brother.
• • •
Knott, Thomas, member of Toronto Local
173. died last month of the Asiatic flu. An
esteemed member of the Local for the past
38 years, his death was a shock to his many
friends.
• • •
Indo, Louis, 63, member of Pittsburgh Lo-
cal 171, died recently at the Pittsburgh Hos-
pital. He was one of the organizers of the
Local and served in various official capaci-
ties. He is survived by his wife and two
daughters.
• • •
Vaichis, George. 57. died recently follow-
ing a short illness. A charter member of
Local 145, Gary, Ind., he held the office of
business representative and worked at the
State Theatre for many years. He represented
Local 145 for the past several years as dele-
gate to IA and other labor conventions.
• • •
Storch, Nathan, 57, president for many
years of Local 366, Westchester County.
N.Y., died November 28 at his home in Mt.
Vernon, N. Y. At the time of his death he
was employed as stage electrician at the Cort
Theatre in New York. He is survived by
his wife, mother, brother, and a sister.
• • •
Jose, Wilbur, 63, charter member of Detroit
Local 199, died last month of a heart attack.
He worked as a projectionist at the United
Artists Theatre since it opened back in 1928.
Survivors are his wife and son.
• • •
Filderman, Irving, member of Toronto Lo-
cal 173 for the past ten years, died Novem-
ber 21. He was also a member of the Musi-
cians Union for 28 years.
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
23
Videotape Saturation for TV?
BARELY OVER a year in operation, videotape has made such network strides
that RCA has announced its intention to begin recording color TV pro-
grams on tape by April. These will be beamed from a new $15,000,000 "Tape
Central" to be constructed in Burbank, Calif. The company expects delivery
of six new RCA color tape recorders by that time, and these, together with the
Ampex black-and-white recorders it has on hand, will constitute some eleven
recorders and associated equipment that RCA considers will eliminate the need
for kinescope and lenticular film processes. A similar "Central" will probably
be installed in Radio City, New York.
RCA has also announced that delivery
for both color and black-and-white re-
corders to the commercial market will be
around next December. The tint video-
taper is compatible, reproducing both
color and black-and-white.
Meanwhile, videotape manufacturers
are designing their equipment to assure
complete interchangeability of recorded
material among all users.
Speaking before the eighth national
conference on standards last month, Ross
H. Snyder, manager of special products
for Ampex, said: "In setting up stand-
ards for the interchange of tapes among
approximately 100 recorders, it has been
necessary to design the machines in such
a way that certain dimensions, velocities,
currents, and other factors are common
to all machines." He also asserted that
by next April nearly 100 of the new re-
corders should be in use.
Ampex and RCA have recently nego-
tiated a patent exchange, with Ampex
The Eastman 16-mm TV projector, Model 275,
for use only with a vidicon-rype camera in the
projection of 16-mm film info a TV system.
swapping its black-and-white patents for
RCA's color. (See IP, Telecasts. Novem-
ber 1957, p. 25.)
Tele-Studio's Kinescope
Another entrant into the videotape field
recently has been Tele-Studios, producers
of commercial kinescopes for the past 15
months. The firm has announced de-
velopment of a camera system used in
producing kinescopes that can also be
used in making taped programs.
Claiming that the system is a major
advance in the difficult technique of edit-
ing tape. George Gould, president of the
kinnie firm, said that regular videotape
equipment will be installed beside the
kinescope machine, which was built by
General Precision Laboratory. The abil-
ity to do wipes, dissolves, matting, and
other effects on the spot in the control
room is the key improvement to editing.
These effects are usually done in the
laboratory after shooting. The Telefilm-
ing process makes claim to being able to
produce product in a quarter-hour at half
the price of a comparable film commer-
cial.
Tele-Studios figures that since its light-
ing and camera techniques are specifically
designed for kinescope and not live
programming, a higher fidelity can be
achieved.
Installation of the videotape-kinescope-
camera system is expected by next
summer.
Kodak's TV Projector
EASTMAN KODAK CO. has announced
a new heavy-duty 16-mm projector for
use with the' Vidicon-type camera in TV
projection. Designated Model 275, it
uses two 60-cycle, AC synchronous mo-
tors to provide the necessary constant
24 frames-per-second film speed, and a
uniform application of light to each TV
field.
There are two additional 60-cycle AC
motors to cool the tungsten lamp light-
source and drive the take-up mechanism.
The sound system terminates in a trans-
former with taps to match standard im-
pedance values.
Provision for Magnetic Soundhead
Provision has been made for future
addition of a magnetic soundhead for
playback of 16-mm film with a magnetic
sound track. The projector is also
equipped with a Kodak 4-inch /:1.5
projection Ektar lens, corrected for 12:1
magnification. The lens focuses the film
image to the relay lens located on an
optical bench.
Other features that Kodak announces
for the projector include: a focusing
adjustment which gives peak responses
regardless of the emulsion position of the
film at the sound pickup, and a stand-by
projection lamp.
GPL Closed-Circuit Camera
GENERAL PRECISION LABORA-
TORY has developed a new single-unit
closed-circuit TV camera with associated
remote control accessories. Designated
GPL Model PD-500, the camera weighs
12 pounds, and is completely self-con-
tained within the camera housing. Price
quoted is $1250, including the camera
tube and a three-lens, manually operated
turret for quick variation of lens focal
length. A remote control box permits
camera operation from distances up to a
mile away.
To allow for remote operation of lens
New GPL closed-circuit TV camera, model
PD-500. The vidicon camera, weighing 12
pounds, is completely self-contained.
24
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
iris, focus, and turret, remote control
kits are available. Switches for each of
these functions are in the remote control
box, and intercom provision is built-in
for convenience in remote operation. Re-
mote camera pan and tilt and zoom lens
adjustments may be added without modi-
fication to the basic camera.
PD-500 Package Equipment
The PD-500 package includes camera,
camera circuitry, and camera controls
within a housing 5 inches wide, by l1^
inches high, by 12 inches long, eliminat-
ing the need for a separate control unit,
or external power supply.
Controls for electronic focus, beam
and target, horizontal and vertical cen-
tering, horizontal frequency, and both
horizontal and vertical drives are promi-
nently displayed on the back of the
housing. Both RF and video signals are
distributed directly and simultaneously
from separate connectors supplying a 525
line picture to video monitors or stand-
ard TV receivers. Horizontal resolution
is 400 lines or better, and only 5 foot-
candles illumination is said to be re-
quired for adequate pictures.
Eidophor Demonstration
20th-CENTURY-FOX officials and mem-
bers of SMPTE saw a closed demon-
stration of Eidophor on a full-size Cine-
maScope screen in New York City re-
cently. A specially arranged half-hour
live show by Roxy Theatre talent was
piped across town on an experimental
wave length 12 megacycles wide. This
wider band is said to obtain better defini-
tion than the narrower commercial TV
band, upon which previous experiments
have been tried.
This demonstration was considered to
be the best since the experiments were
inaugurated in 1952. Consensus of
opinion was that the image obtained was
not equal to a standard 35-mm color
print, but a real achievement for color
TV.
Magnasync Enters Videotape
Magnasync Manufacturing Co. of
North Hollywood, makers of automation
and magnetic recording systems, has en-
tered the videotape equipment market.
The firm has recently acquired world
rights to the patents of Dr. Lee de For-
est, "father of the electronic age." Plans
include early introduction of economical
videotape recording equipment into the
smaller independent TV stations, as well
as the home market. It is the opinion
of company president D. J. White that:
"Within ten years video home recording
will be as popular as tape recording is
today."
LETTERS TO
From the Coffee Country
To the Editor of IP:
Although an amateur in 16-mm projec-
tion, I have been a subscriber of IP for
the past three years, and look forward to
Robert A. Mitchell's articles with great
pleasure — especially the controversial sub-
ject of magnetic and optical sound. I must
say that up to now, as far as Sao Paulo
is concerned, I agree that optical seems
to give as good, if not better, results than
CinemaScope magnetic sound. The best
here, in the opinion of myself and most
of my friends, is that Perspecta sound, as
used in the Metro cinemas, is by far the
superior.
As I have missed reading in IP any
article on Perspecta sound, I would like
to know in what previous issue or issues
the subject was dealt with. Also, is there
any way of adapting this system for a
16-mm projector? I often give shows at
clubs, etc.
The films I use are 16-mm standard opti-
cal sound prints, and I use a DeVry pro-
jector with a 750 or 1000 watt lamp. Screen
size is about 7 by 5 feet, 3 inches; throw
about 40 feet; size of hall being about 18
by 45 feet.
In your opinion, would a curved gate
give any improvement to 16-mm projec-
tion?
In Mr. Mitchell's article for the Decem-
ber 1956 issue of IP, he mentions for
single optical tracks a 'pseudo' stereophonic
system : one center high- and low-fre-
quency speaker, and two side high-fre-
quency speakers. Do you think this ap-
plicable to 16-mm work? Or is the screen
size too small?
Sao Paulo, Brazil
Hugh S. Cam
Robert Mitchell's Reply:
Although magnetic soundtracks are
capable of giving excellent results, the
design of the reproducing equipment,
the conditions under which the prints
are handled, and lack of adequate care
of magnetic reproducers in theatres gen-
erally makes magnetic reproduction no-
ticeably inferior to optical, which is not
at all exacting as regards print handling
and equipment upkeep. These are the
principle reasons why I repeatedly call
attention to the superiority of standard
optical sound for theatre use.
I, too, have been favorably impressed
by the Perspecta method of reproducing
stereophonic effects from single-channel
optical tracks which have been '"cued"
by three subsonic tones. As you probably
know, lack of interest on the part of
exhibitors has forced the discontinuance
of this interesting system. There were
only 150 Perspecta installations in the
whole of the United States. Because the
system was a failure commercially, Per-
specta Sound Integrators are no longer
manufactured.
An interesting and informative ar-
ticle on Perspecta Sound, written by
Rohert Fine, its inventor, was published
in the special Convention Edition of IP
for July 1954, p. 32 et seq. An article on
Perspecta Sound appeared in the Sep-
tember 1954 issue of IP, p. 26 et seq.
While curved gates are used with
good results in at least two makes of
35-mm theatre projectors to minimize
film buckling (the Gaumont-Kalee and
the Simplex X-Ll. it appears doubtful
that any noticeable benefits could be ex-
pected of curved gates in 16-mm pro-
jectors. The amount of buckling and
"film flutter" prevailing in 16-mm pro-
jection is very slight compared with that
in 35-mm projection.
Use of Multiple Speakers
The use of multiple speakers for 16-
mm work should give excellent results,
particularly in large salons, or in situ-
ations where the audience area is wide
in comparison to its length. The purpose
of the multiple speakers is, of course,
to provide a more natural sound '"pres-
ence" and avoid the usual center-of-the-
screen effect. Properly placed, the three
speaker systems will bring the sound
closer to each spectator and overcome
the effect of distance between the spec-
tator and the sound source. In fact, by
crossing the projected-sound beams
from the two side speakers, it is pos-
sible to create a false sound source
which is only a few feet in front of the
spectator.
One may use three combination low-
and high-frequency units at center and
left and right sides of the screen, of
course. It has been found, however, that
the low frequencies of sound are prac-
tically non-directional; hence, to save
trouble and expense, it is only necessary
to have one low frequency unit. This
should be balanced in relation to the
high-frequency units, i.e., placed at or
near the middle of the stage. The center
high-frequency unit should be positioned
near the low-frequency unit, while the
side high-frequency units should be a
little beyond the sides of the screen if
the screen has the conventional 4:3 for-
mat. If care is taken to phase these
speakers correctly, the results are quite
gratifying, and completely eliminate the
effect of uni-directional point source of
sound.
INTERNATIONAL PROJECTIONIST
DECEMBER 1957
25
What Is YOUR Problem?
Projection
CLINIC
Strong Film Splices
A STANDARD film splice should be as
strong as the film itself. If the sprocket
holes are properly registered, and the
join is otherwise well made, the splice
should last for the life of the print.
Skeptics should consider laboratory-
made midreel splices in 2.000-ft. rolls
of film. These seldom trouble the projec-
tionist by coming apart.
Projectionists sometimes complain
that their splices, particularly in reels
of trailers, have a tendency to pull
apart after many runs. Even so. proj-
ectionist-made splices behave mighty
well in comparison with exchange-made
splices. (The exchange ladies don't have
to run their own patches.)
If the emulsion and underlying trans-
parent gelatine binder are completely
scraped from the overlap stub, and the
butt stub (cut along the middle of the
frameline) is thoroughly cleaned to re-
move traces of oil from the celluloid
side of the film, the use of a good grade
of film cement with uniform pressure
while "setting" will insure a solid join.
Present-day prints are made on tri-
acetate safety-film base, a material
which cannot be satisfactorily joined
with the old nitrate splicing fluids such
as acetone, amyl acetate, and a half-and-
half mixture of alcohol and ether. Tri-
acetate cements must contain liberal
proportions of dioxane, although glacial
acetic acid containing small amounts of
acetone and chloroform will work in an
emergency.
The projectionist owes it to himself,
therefore, to try out the different avail-
Economical Projectionist'
Economy in projection practice is, of
course, a highly commended virtue —
but like most virtues, it can be carried
too far. Moderation in all things. Con-
sider this query recently published in
the German publication, Bild und Ton:
Question from a correspondent: The
teeth on the sprocket of my Maltese
cross were worn out completely, so I
turned it the other way round. Now
that side is worn out, too. What shall
I do?
Answer: Throw it away.
able brands of safety and all-purpose
film cements to find the one which works
best for him. Among the favorite brands
are Ethyloid, Rosco, Eastman Kodak,
and Bulldog. Each of these cements re-
quires from 10 to 15 seconds setting
time in the splicing block. (A longer
time in the block may weaken the splice
along the edges of the join.)
To recap, make sure that the trans-
parent binder layer is completely
scraped off and that the celluloid side
of the butt stub is clean and, preferably,
slightly roughened. Apply film cement
liberally in not more than two brush
strokes. Then join the two ends of the
film quickly.
Exchange inspectresses seldom apply
enough film cement to the scraped stub.
For this reason we recommend for ex-
change use a film cement as thick as
honey. A high cement viscosity would
help insure the application of a suffi-
cient quantity. Most projectionists, on
the other hand, have a magic touch in
film splicing, and do not need to be
tricked into adequate cement applica-
tion. Projectionists should use cements
which are not too thick.
Water-Cooled Carbon Jaws
WATER-COOLED JAWS for the posi-
tive carbon in lamps of modern design
are usually made of solid silver or of
gold — or of platinum-plated brass. The
use of a "noble" metal to contact the
positive carbon prevents an electrolytic
reaction which corrodes copper-alloy
positive contacts.
To insure long life of the expensive
silver jaws do not operate these lamps
without water cooling when the arc cur-
rent exceeds 85 amperes. No great
damage will normally result, however,
if water circulation fails during projec-
tion. Only the plating on chromium-
plated jaws may be damaged by the
heat: gold or platinum platings, on
the other hand, will not "burn" or peel
off like chromium.
Inspect the positive contact-head as-
sembly daily, making sure that sufficient
contacting pressure is maintained for
conduction of the arc current. Insuffi-
cient pressure will generate heat in the
contacting surfaces and burn them.
The "noble" metals do not form
oxides by direct combination with the
oxygen of the air, as do copper, iron,
and many other active metals. Silver,
however, combines directly with sulfur,
extracting it from the sulfurous fumes
usually present in trace quantities. The
brownish coating sometimes found on
silver carbon contacts is silver sulfide.
This may be removed with silver polish
(e.g. "Cando" paste or "Noxon" liquid).
Badly pitted or excessively dirty con-
tact surfaces in the positive jaws of all
rotating-positive arc lamps may be
smoothed with No. 00 sandpaper or with
crocus cloth wrapped around a negative
carbon. Brush out all grit and dust after
the smoothing operation.
35 Millimeter Favored
THE LIMITATIONS of wider-than-
standard motion-picture prints are pain-
fully apparent to all who have critically
observed such 70-mm projections as the
old Fox Grandeur production of "Happy
Days" or the current Todd-AO epics
("Oklahoma!" and "Around the World
in Eighty Days"). Buckle is so pro-
nounced that either the middle or the
sides of the picture may be brought into
sharp focus, but not both at the same
time.
The use of wide-film negative without
stopping down the camera lens, more-
over, reduces depth of field to such a
degree that the background even in
medium-length shots is a confusing
jumble of blurred detail. This defect of
wide film was especially annoying to
this observer in Todd's "Around the
World". The 35-mm CinemaScope ver-
sion, which the writer has not yet seen,
may possibly be better photographed.
These considerations, though quite
naturally unmentioned by Showman
Todd, may have played an important
part in his recent decision to concentrate
upon the 35-mm CinemaScope version
for future exhibitions. (See IP for Sep-
tember 1957, p. 24.)
Laundromats Yet!
Australia, which is pretty hep on drive-
ins, has a new one in Pretoria that offers
laundry service. Arriving patrons leave
their unwasheds at the entrance, and
after the show is over, pick them up
Rinso-white. The only thing that both-
ers us is: supposing there is an overload
of untidy garments? Does that mean
you have to stay through a double-dou-
ble feature? Considering the length of
some features these days we might as
well ask for ironing to boot. Will this
replace pizza?
26
INTERNATIONAL PROJECTIONIST
DECEMBER 1957
VA?#M??&*Mi?tl
6-mm PROJECTIONS
m&L>-
This department is mainly devoted to what is known
as the audio-visual field. IP considers this section of
the motion-picture industry of extreme importance,
as do leaders in education, industry, medicine, the
armed forces, etc., who have spent billions (we mean
billions) of dollars on this medium. The influence it
has had and will have is immeasurable, and the tech-
nical advances in what used to be considered an ama-
teur hobby have been outstanding. To be sure, 16-
and 8-mm is still an amateur hobby, but it has also
penetrated the professional entertainment field in both
TV and motion-picture theatres — including drive-ins.
But its main function remains in the world of in-
struction.
Progress, of late, seems to be increasing speed. And,
as the world changes, so must its chronicles — includ-
ing this magazine. Considering the amount of in-
quiry IP has received concerning 16- and 8-mm, we
feel that the medium deserves notice here. This maga-
zine is by nature technical, but, as in other depart-
ments of IP, this will not prevent the inclusion of note-
worthy news of a general nature.
First Annual Industrial A-V Exhibition Held
NEW YORK CITY was host last month to sales executives, training directors,
advertising managers, production managers, film producers, audio-visual
directors, and other lesser and higher lights in the A-V world at the First
Annual Industrial Audio-Visual Exhibition held in the Trade Show Building.
Besides some 35 firms exhibiting their latest equipment, there were a number
of guest speakers, and an historical exhibit of pioneer motion-picture and
photographic equipment. To highlight the exhibition New York's Mayor Robert
F. Wagner proclaimed the week of November 10-16 as "Audio-Visual Week.""
"A-V, from a small beginning in the educational field," he said, "has, as young
as it is, made tremendous strides in the last years. It has revolutionized sales
promotion, public relations and training, even TV has become part of this
industry."
Significant to note that New York
City is making a strong bid to become
the A-V center. It is a fact, as Wagner
pointed out, that 80 per cent of the
national sales offices of the largest
corporations and organizations are lo-
cated in the metropolis. It is also a fact
that the city has pretty well lost the
commercial TV initiative to Hollywood,
wheje there are the better facilities.
For TV, that is. But A-V is a different,
and in this department's opinion, a more
organized medium. And it should not
be forgotten that the advertising world
is primarily centered in a few fabulous
blocks of Manhattan.
"Sound and Vision as a Tool"
Theme of the industrial A-V exhibit
was "Sound and Vision as a Tool." En-
larging on this, Herbert Rosen, presi-
dent of Industrial Exhibitions. Inc., has
stated that: "The tremendous progress
A-V has made in the industrial field in
the last few years has been the result
of three major influences: first, the de-
velopment of new devices; second, the
improvement of equipment; and third,
the influence of better and more effec-
tive presentations. . . . Production fig-
ures in the industrial A-V field, not only
in the manufacturing of equipment, but
also in its correlated services, now run
not only into millions of dollars, but
into hundreds of millions. Yet this is
only the beginning. Besides, the bigger
corporations, most of the smaller manu-
facturers or dealers have not even begun
to recognize the great value of A-V,
and are not aware of how they can use
it to their best advantage."
To some extent, the activity and diver-
sity of the recent exhibition would tend
to refute that last observation.
New Equipment Lineup
By and large, projectors and accom-
panying equipment were in the majority
at the exhibition. However, a diversity of
manufacturers were represented: closed-
circuit TV. spotlights. A-V window blinds,
sales presentation methods, industry peri-
odicals, titles and captions, film recondi-
tioning methods, transparency printers,
easels and binders, consultant and engi-
neering services, and battery-operated
record players, to name a few.
Space here does not permit a com-
plete cataloguing by product of the
many exhibits, but at objective random:
Calnatron. developed by NBC and
RCA research, features an A-V system
employing the use of two or more TV
cameras in production, which record
what is later to be printed on 16-mm
film. The advantages claimed are time
factor, live editing which eliminates
the need for later cutting, and mobility.
And. of course, economy was stressed.
Polacoat. Inc.. of Ohio, makers of
Lenscreen — a treated plastic or glass
lens-hke rear projection screen — have
announced intentions of entering the
drive-in field. Advantages of using Len-
screen. the makers claim, is twofold:
first, rear-projection economy, and sec-
ondly, the screen's main selling point
is that it is able to accurately reproduce
image contrast in almost any level of
illumination, including deep color tones.
Also claimed is 70 lumens per square
feet in any weather.
General Electric had a closed-circuit
demonstration on hand, utilizing the
small, compact Intra-Tel camera and
a control unit that measures only 8V2 x
15tV x 20 inches, and weighs only 66
pounds.
The TSI new MovieMatic. a 16-mm
repeater sound projector with a built-
in. self-contained projector-sound-screen
system, demonstrated very good defini-
tion of an exhibition color film. The
MovieMatic may be used on a desk,
counter, etc.
Genarco exhibited their new Model
sm.2. a 3000-watt slide changer with a
70-slide changer, described in IP for
May 1957. p. 24.
Polaroid Corporation unveiled its new
film — Polaroid Land Projection Film — ■
which enables the user to snap any
picture and project it on a screen a few
minutes later. Claims for the film in-
clude a speed of 1000 (ASA equiva-
lent ) . the fastest available film on the
market, and a virtually grainless image
which permits sharp projection up to
[Continued on page 36)
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
27
Convention Report:
Pay TV Takes a
Beating from
TOA-TESMA
THE KEYNOTE address by Elmer
■ Rhoden, president of National
Theatres, at the combined TOA-
TESMA-NAC convention in Miami
Beach last month outlined four points
for militant action, and those four
points dominated discussion wherever
exhibitors and manufacturers met.
Addressing the delegates gathered
in the Americana Hotel, Rhoden cited
the impact of TV as the Number One
problem, and maintained that only by
demanding proper clearance of prod-
uct could the industry co-exist with
free TV. What was wanted was any-
where from two to seven years' ex-
clusive run over free TV with the
right to advertise that such pictures
would not be shown on TV for that
period, combatting the I'11-wait-and-
see-it-on-TV attitude of present-day po-
tential customers.
A steady supply of quality pictures
properly spaced was listed as the sec-
ond problem. "We starve in the fall
and spring," Rhoden said. "We are
forced to hold pictures for longer runs
than they are entitled to, and in the
two seasons when they are grouped,
we have more pictures than we can
properly handle."
The third problem was moderniza-
tion of theatres. Noting that 90 per
cent of the indoor theatres are old,
and that 4,000 or 5,000 obsolete the-
atres will be shuttered, Rhoden called
for preparation for a new era. He
predicted that theatres will be fewer,
but better, more comfortable, more
convenient and more modern in con-
cept. He also advised the exhibitors
to get ready for wall-to-wall projec-
tion, pointing out that more pictures
will be made in the widescreen me-
dium, and more roadshow attractions
seem to be the pattern for the future.
The final basic point to achieve,
Rhoden asserted, was unity and organ-
ization. Urging his audience to put
aside petty bickering because too much
was at stake, the keynoter emphasized
that unity must be attained among
exhibitors at both the local and na-
tional level, "and once that is accom-
plished, exhibition can prove to the
industry that it is capable of organ-
ization."
Stellings and Johnston Concur
Backing up Rhoden, Eric Johnston,
president of MPAA, asked for an end
of controversy between exhibitors and
distributors, maintaining that "the
noisiest issues within our industry are
mostly fancied and cooked-up. What's
more, they are beside the point. They
distract and divide us. They lower our
sense of judgment as fast as they raise
our blood pressure."
Johnston belittled anti- exhibitor
charges that present-day exhibitors
have ceased being showmen as "a mess
of buckshot" and "grossly exagger-
ated." He also decried the blanket
charge that most theatres are falling
apart. Defending the distributor, he
dismissed "this astonishing theory that
the distributor is hell-bent to destroy
the boxoffice," as nonsensical as the
blanket charges made against exhib-
itors.
Equally ridiculous, he felt, was the
idea that Hollywood was holding down
production to create a shortage and
a seller's market, maintaining that the
figures simply did not back this up.
Citing the bookings of four unidenti-
fied companies in the past twenty
years, he said the figures demonstrated
that thousands of theatres had not
played pictures available to them.
Johnston promised to press "with
all the persuasiveness I can" on pro-
ducing and distributing companies for
release dates fixed on a 52-week year,
but felt that the wise and proper ap-
proach to the problem of spacing
product was separate meetings between
exhibitor and distributor heads.
Ernest G. Stellings, re-elected presi-
dent of TOA, emphasized that three
prime problems faced the industry:
the quantity, the quality, and the time
schedule on which product is released.
In line with this, four distributors
have pledged an orderly release of
* • *
^as0ti 0 dSmttwjfi
NATIONAL CARBON COMPANY
A Division of Union Carbide and Carbon Corporation
NEW YORK
* * *
28
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
their product: 20th Century-Fox, Uni-
versal, United Artists, and Columbia.
These companies are also willing to
"work out whatever they legally can
to provide all possible waiting time
between the end of theatrical showings
and the release of such pictures to
TV." TOA expects other producers
to fall in line with the four companies.
TOA Nixes Tollvision
In spite of the presence of top repre-
sentatives from both cable theatre and
International Telemeter systems, TOA
went on record unanimously as against
any and all forms of pay TV. The
decision was made after an all-day
session: "Is Pay TV Good for Exhi-
bition?" Definitely, the exhibitors
thought not. The official resolution
is being sent to both houses of Con-
gress, the trade press of the motion-
picture and broadcasting industries, all
regional units of TOA, other exhibitor
organizations, and the presidents and
sales managers of production compa-
nies in this country and Great Britain,
and to anyone else TOA feels should
know.
The resolution, which charges that
pay TV would reduce the theatre audi-
ence to the point of doing away with
exhibition, and also reduce the quality
of product, came as somewhat of a
surprise to the fee-V proponents.
Another surprise was the introduc-
tion of yret another outfit preparing
to enter the fee-V picture: Selectivi-
sion, a cable TV company that claims
it is prepared to wire 15,000 homes
in the Forest Hills, Queens, N. Y.
section. Two other surprise elements
were that this is in the New York City
area that president of the City Council
Abe Stark has declared strictly off
limits, and that Selectivism will foot
all costs of installing between the
homes and the theatre, as well as main-
taining the special theatre projection
equipment.
Both Louis A. Novins, president of
International Telemeter Corp., and
Milton Shapp, president of Jerrold
Electronics Corp. which has installed
the Bartlesville. Oklahoma, cable the-
atre, maintained that a great deal of
interest in pay-TV was expressed by
the visiting manufacturers and exhib-
itors, and the paying public would
have the final decision as to the suc-
cess of pay TV. It is interesting to
note, along these lines, that a TV Guide
poll of some 45,000 of its readers
turned up a 96.6 per cent turndown
on any form of pay TV.
TESMA visitors were mainly con-
cerned with selling their products and
getting a look at their competitors'
wares. But there was the overall feel-
ing that the manufacturers were arriv-
ing at a more stable view of things;
no one was going off half-cocked over
every new product or process that
came along, there was a lessening ten-
dency to go overboard on fantastic
claims, or accepting them. With some
of the manufacturers, at least, there
was a growing understanding of the
needs of the smaller exhibitor, the
regular bread-and-butter man who
makes the profit for this industry,
which is a healthy sign.
The election returns:
Thomas E. La Vezzi, La Vezzi Ma-
chine Works, president; Larry Davee,
Century Projector Corp., vice presi-
dent; Lee Jones, Neumade Corp.,
chairman of the board; Merlin Lewis
remained as TESMA executive secre-
tary. Directors are: Ben Adler, Ad-
ler Silhouette Letter Co.; Clarence
Ashcraft, C. S. Ashcraft Corp.; Fred
Aufhauser, Projection Optics Co.;
William Cedris, Ideal Seating Co.: j.
Robert Hoff, Ballantyne Co.; Arthur
Hatch, Strong Electric Corp.; Arthur
Meyer, Simplex Equipment Corp.:
Fred Matthews, Motiograph Corp. :
V. J. Nolan, National Carbon Corp.;
(Continued on page 37 I
International Exhibition to Choose Best(?) Films
The Universal and International Ex-
hibition to be held in Brussels, Belgium
next year will plan to present a World
Film Festival, a complete as possible
panorama of film art. The principle fea-
ture of this will be a judging of the
twelve best films of all time — limited,
of course, to those existing films that
are still in projectionable condition.
Films will be selected from all product
issued between 1895 and 1955. Eligible
are all films, long or short, allowing for
all projection systems known at present,
and all sound reproducing systems in
DRESSING ROOMS
Al'DITOKIUM
U \ I ,' u
Diagram of the main auditorium of the 1958
Universal and International Exhibition to be
held in Brussels, Belgium next year. It is
equipped to present all known projection and
sound systems to an audience of 2000.
use at present.
This monumental task will be assumed
by two juries. The first will be made
up of fifty specially-chosen film histor-
ians throughout the world. Each mem-
ber will choose the thirty films he con-
siders most important, and from these
fifty lists a single list will be compiled
in which the films will be arranged in
order according to the number of votes
given each.
From this list the twelve available and
most often cited films will be chosen.
These twelve films will then be submit-
ted to a second jury consisting of seven
individuals of international repute in the
arts (novelists, dramatists, painters, mu-
sicians, etc.) whose task will be to clas-
sify them in order. A gold medal will
be awarded the top film, and silver med-
als will be offered the remaining eleven.
Silver medals will also be awarded to
those films of merit that are out of the
competition, i.e.. prints unavailable from
any source.
The twelve films will be shown in Oc-
tober 1958 in the main auditorium of
the Exhibition in October. This theatre,
equipped for all the various projection
systems, and sound reproducing sys-
tems, will house 2000 people.
The Belgian Film Library, member
of the International Federation of Film
Archives, is responsible for the organi-
zation of the presentation. They recog-
nize that the decision will of necessity
be an arbitrary one, but they feel that
the chosen films will be, if not of the ab-
solute best, at least among the best. The
stated aim of the competition is "to
draw world attention to the great film
productions of the past, and to combat
the prejudice which causes the cinema
to be regarded as a fugitive and perish-
able art, justified only by its present
achievements."
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
29
Selection of Replacement
Equipment In Army and
Air Force Theatres1
By W. D. SHEPARD
PART II
IN THE MATTER of lenses the prob-
lem of early delivery no longer
exists. In a general way, projection
lenses fell into 4- and 6-element cate-
gories. On the theory that the larger
and better houses could afford the best
lenses, and that in this manner limited
funds could provide the greatest num-
ber of patrons with the best possible
pictures, purchases were made from
among a variety of makes and types.
In the few instances where very
long focal-length lenses were required
with the larger screens and where light
consequently was a problem, 4-inch
diameter lenses were used. The alter-
native purchase of larger lamps, with
their higher maintenance and oper-
ating cost, would have represented
not only a greater original investment
but a continuing expense. Anamorphic
lenses, too, were purchased in differ-
ent types and from several sources.
As in the case of most other products,
each design had its advantages and dis-
advantages, but all gave very satisfac-
tory results. Both prismatic and cylin-
drical types are in use.
Obsolete Installations
The CinemaScope process required a
reorientation of thinking with regard
to sound as well as picture. Because
five changes of programs are needed
each week, the product of all compan-
ies is required. Because some product
was available only in magnetic form,
it would not have been possible to dis-
regard stereophonic sound even had it
been desired to do so. Since this would
constitute an expensive conversion con-
cerning which controversy existed in
the industry, it was decided to proceed
slowly and with considerable caution.
The greater part of the existing
tSMPTE Journal, May 1957
sound equipment, although not new,
was of excellent quality, but there were
a fair number of installations that
were becoming obsolete. It was there-
fore decided to procure a reasonable
quantity of stereophonic equipment and
install it in the more important the-
atres. The equipment thus released
could be reconditioned and used to re-
place older or less desirable types. By
this means, too, an appreciable re-
duction in spare sparts stocked for
emergency or routine repair purposes
would be possible.
Well in advance of making any de-
cision as to purchase, all available
products were investigated. At this
time, 3- or 4-channel magnetic equip-
ment was simply being added to the
optical sound systems already installed,
which were sometimes utilized for the
fourth channel. This appeared to be a
rather poor engineering approach.
If newer and better equipment was
to be installed, it seemed that it would
be preferable to use it with optical as
Bolex Movie Contest
A contest for home movie cameramen
who own Bolex movie cameras has
been announced by Paillard Inc., the
American branch of the manufacturers
of the Bolex movie cameras.
The contest will include categories
for 8- and 16-mm movies, as well as
special categories for 8- and 16-mm
titling, and the use of sound in home
movies with the Bolex Synchromat.
Deadline for entries in the current
contest, which will be an annual event,
is August 30, 1958.
Prizes will amount to $800.00 in Bo-
lex merchandise. Also, winners will be
recognized with the award of Bolex
medals for "achievement in motion pic-
ture photography." Complete rules for
the contest may be obtained from Pail-
lard, Inc., 100 Sixth Ave., NY 13, NY.
Winners will be announced in De-
cember, 1958.
well as magnetic sound, and to remove
the older equipment entirely. By so do-
ing, the number of controls could be
reduced and operation generally sim-
plified. This was an important factor,
for in the Armed Forces men are fre-
quently transferred and retention of
the more experienced projectionists is
not always possible. Manufacturers
were approached with this in mind.
Several were considering such designs,
and they were available by the time
the equipment was required.
In making the choice of equipment,
consideration had to be given to a
number of other factors, some of which
might have been of somewhat less
importance in theatres where fairly
permanent and fully experienced pro-
jectionists would always be available.
Simplicity of controls, easy replace-
ment of individual units, ease of assem-
bly and wiring, presence of complete
standby channels with simple emer-
gency switching, availability for
prompt delivery and, of course, a sat-
isfactorily low price combined with
the best possible quality were desired.
Needless to say, no one product
could be expected to be superior in all
of these respects. The choice, there-
fore, represented the best compromise
possible at the time from this par-
ticular point of view and for the con-
templated condition of operation.
25 Per Cent Magnetic
Altogether, about 25 per cent of the
Army and Air Force theatres in this
country have been converted to mag-
netic stereophonic sound, which is
comparable to the percentage in civil-
ian theatres. Inasmuch as magnetic
prints are not as readily available as
might be desired, no conversions are
being made at present, although all
new theatre designs are being so made
that such equipment can be installed
at any time.
The projector program has been en-
tirely different. The new processes have
necessitated no changes other than rel-
atively simple field modifications. The
existing policy of gradual replacement
of older machines remained un-
changed. Projectors take a very long
time to wear out and by proper main-
tenance can be continued in service
almost indefinitely.
However, new models appear from
time to time and frequently have dis-
tinctly superior features. It would,
therefore, appear to be uneconomical
30
INTERNATIONAL PROJECTIONIST
DECEMBER 1957
to replace projectors after too short a
period of service, and technologically
unwise not to replace them as definite
improvements reach the market.
At the same time, utilization of too
many types at any one time has disad-
vantages, for repair and emergency
parts stocks must be maintained for
each model, or as an alternative, pur-
chases would have to be made where
and as needed. The established policy,
therefore, is to maintain a gradual
replacement program, with the older
machines being retired at a rate par-
tially determined by the desirability
of currently available models. Cus-
tomarily, the latest model is utilized
in the larger and better theatres, and
older types are transferred to the less
important situations as convenience
permits.
Directly connected with the new
processes is the modernization of stage
equipment. The new screens often had
to be in new locations because of
dimensional changes. Screen curtains
required replacement, and other dra-
peries frequently could not be con-
tinued in use or could no longer serve
their purposes effectively. The replace-
ment of curtains and stage settings has
been gradual and is still under way.
All materials must be flameproof, and
to eliminate the cost of periodic flame-
proofing, durable processing is used.
At the present time, this is difficult to
apply to velours, but several flat fab-
rics present an excellent appearance.
Screen for Stage Shows
It is important that at least one
theatre on each large military installa-
tion be suitable for the presentation
of stage shows. Very few have fly
lofts sufficiently high to accommodate
the screen. Screens had to be retracted
by hanging them on arms pivoted at
the back wall so that they could be
lifted and drawn back in one operation.
It was found that reasonably strong
metal frames could be retracted in this
manner without great difficulty. In
other cases, the frames were mounted
on rollers.
It was decided to mask to the largest
(Continued on page 35)
Now Available . . .
MITCHELL'S MANUAL OF
PRACTICAL PROJECTION
When you buy. . .
Your SIMPLEX Projector Mechanism represents a price-
less investment. You bought it after long, careful study
because you recognized it as the finest projector on the
market.
Don't take chances with such an investment —
the very success of your theatre depends upon its perform-
ance! When spare parts are necessary, insist on the best —
insist on SIMPLEX parts!
From gears to sprockets, every part is made with
the same precision and skill as the mechanism itself. By
using only SIMPLEX parts, you can be certain of main-
taining the high quality of performance that has made
SIMPLEX the world's foremost projector mechanism!,
Genuine SIMPLEX parts are available only through
YOUI" 6il$t$flf66 of Consistent Quality and Outstanding Service
NATIONAL THEATRE SUPPLY COMPANY • BRANCHES COAST TO COAST
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
31
New Products for the Industry
A High-speed /:1.4 lens capable of
projecting all film widths up to 70-mm
was introduced at the recent TOA-TESMA
convention by Projection Optics Co. of
Rochester, N. Y. The lens can handle the
wide film in focal lengths from 2.75-inch
E. F. up.
According to Fred Aufhauser, presi-
dent of Projection Optics, the lens was
"designed to give the maximum light
with special emphasis on the elimination
of the so-called hot-spot."
Genarco, Inc., has announced a new
slide changer for S1/^ x 4-inch slides,
the only slide changer for those dimen-
sions in this country. The changer will
take as many as 70 slides in a compact
magazine, slides being changed by push-
button remote control in less than a
half-second. The Genarco Model 6800
can be mounted on most existing S1/^ x 4-
New Genarco 70-slide changer Model 6800.
inch slide projectors. The company asks
that prospective customers indicate the
model of their slide projector on which
the changer will be mounted. For in-
formation: Genarco. Inc., 97-00B Sut-
phin Blvd., Jamaica 35, N. Y.
Nine new unitary loudspeakers have
been added to the line of coaxial and
TRIAXIAL high-fidelity loudspeakers
produced by Jensen Manufacturing Co.
of Chicago. The new speakers include
a three-way 15 inch TRIAX loudspeaker
Model G-600. This TRIAX, with the
firm's G-610 TRIAXIAL (introduced
originally in 1950), is said to provide
the only two unitary three-way speaker
systems having three independent elec-
trical and acoustical channels. Four new
Type CX coaxial three-element speak-
ers in both 12- and 15-inch sizes have
also been added to the Jensen line. In
these units, a dual diaphragm provides a
claimed outstanding low-fidelity and mid-
range performance, while a compression
driver "supertweeter" covers the higher
frequency range.
Also included are the two new DUAX
two-element loudspeakers in 12- and 15-
inch sizes which use dual diaphragms
and two new UNAX deluxe extended
range speakers in 8- and 12-inch sizes.
The sharps color chart and gray scale
is now being distributed by Camera
Equipment Co., Inc. of New York City.
The color chart will aid TV and photo-
graphic technicians in determining in
advance just how colors will reproduce
in monochrome. The chart is simple to
use and will cover all the known require-
ments of day to day operation. The pre-
cision reference chart is applicable to
TV, cinematography, photography, and
the graphic arts.
A new 9-mm positive projector carbon
is now being released by National Car-
bon Co. Designated the Suprex 9-mm by
14-inch positive carbon, it is recommend-
ed for operation in a 65- to 85-ampere
current range.
The company claims that the new 9-
mm carbon is designed to produce up
to 10 per cent more light, and burn up
to 30 per cent slower than previous type
carbons in its current range.
The new carbon is the most recent
addition to the 7-mm. 8-mm copper-
coated carbons previously developed, and
the new 10-mm, 11-mm. and 13.6-mm
high-intensity positive carbons recently
developed to meet the light requirements
of widescreen processes and drive-in
theatres.
Picto-scope, a special lens system that
will work on 35-mm cameras and pro-
jectors for widescreen pictures compat-
ible with CinemaScope. has been devel-
oped by Apex Specialties Co., which also
provides anamorphic lenses for 8- and
16-mm cameras and projectors. The sys-
tem squeezes 2.66 to 1 ratio onto the
regular camera film, and unsqueezes it
for projection. With full standard frame,
Picto-Scope is compatible to Cinema-
Scope aspect ratio 2.66 to 1 ; with op-
tical sound on 35-mm. to aspect ratio
2.35 to 1 ; with magnetic sound on 35-
mm. to aspect ratio 2.55 to 1. The ana-
morphic Picto-Scope lenses are in mi-
crometer focusing mounts, and are said
to be equally suited for color or black-
and-white film.
The Roberts recorder model 90. which
Roberts Electronics, Inc. of Los Angeles
has recently developed, is claimed to be
the first medium-priced magnetic tape
recorder with a hysteresis synchronous
drive motor. This drive motor and a
precision-balanced flywheel are said to
hold wow and flutter to 0.18 per cent
at 7V2 inches per second. Designed with
greater power than it is required to put
out, the motor is maintained to remain
cool over hours of continuous recording.
The portable unit is styled in a hard-
wood carrying case covered with sheer
Roberts tape recorder.
gray pyroxalin. and weighs 28 pounds.
The complete package including me-
chanism, amplifier, preamplifier, speak-
er, and microphone, has high and low
level input and output, either through
the 7-inch extended range self-contained
loudspeaker, or an external output to
other equipment.
The new amplifier features profes-
sional terminal board wiring, and has
an illuminated VU meter for precise con-
trol of recording levels. Frequency re-
sponse is quoted at 40 to 15,000 cps at
7% inches per second, and 50 to 7000
cps at the 3%-inch speed. Signal to
noise ratio is 50 db. A resetable index
mounted on the front panel allows in-
stant location selections on the tape.
Negastat 107r is a new anti-static lubri-
cant for phonograph records and tran-
scriptions. Besides cleaning and render-
ing records free from static, the lubri-
cant is claimed to add life to the needle
and record. It can be safely used on all
types of records and is non-flammable
and non-toxic. For details: Jack's Crea-
tions, P.O. Box 426. Chicago 90. Illinois.
Film Festival Opens
The International Film Festival opened
in San Francisco on December 4 with
entries from a dozen countries. The San
Francisco Art Commission has appointed
Irving M. Levin, of San Francisco Thea-
tres as coordinator.
32
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
PERSONAL NOTES
Robert W. Redecker has been appoint-
ed manager of RCA's sales and mer-
chandising. Consumer Products Service,
RCA Service Co. He will be responsible
for all sales and advertising for that or-
ganization. Redecker joined RCA Serv-
ice Co. in 1951. and has served as dis-
trict manager for the St. Louis depart-
ment.
* * *
Alan Cook is a new sales service super-
visor, Professional Motion Picture Prod-
ucts, Ansco, Binghamton. N.Y. 15 years
with Ansco, Cook has held positions in
Quality Control and Technical Sales. In
his new position lie will supervise the
sales and service of professional motion
picture products in the Los Angeles and
San Francisco sales districts.
^ . D. Hausler, former vice president
and general manager of Century Projec-
tor Corp., has been elected president of
that organization to succeed the late H.
E. Hammons. Hausler. prior to his post
as vice president, served as the company
comptroller from 1941 to 1945.
* * *
Eugene F. Richner has been named
manager of technical and scientific infor-
mation in the public relations depart-
ment of Eastman Kodak Co. Previously
manager of the Kodak Park Works sec-
tion of the public relations department.
Richner has been associated with Kodak
since 1942. His former position will be
taken over by Charles E. Lyons, who
has been with the public relations de-
partment since 1954.
William G. Fockler has been named
manager of technical products engineer-
ing at DuMont Laboratories. Inc. Prior
to the new appointment. Fockler was
assistant engineering manager of the
technical products division. With Du
Mont twelve years, he has been part of
the engineering team for instruments
and technical products.
* * *
Milt Sherman has been appointed
merchandising manager of Radiant
Manufacturing Corp. of Chicago. In his
new position, Sherman will handle all
special campaigns and promotions, con-
ventions, store displays, special presen-
tations, contests and sales aids. The
new- department was created to directly
assist dealers at the point of sale. Sher-
man is a veteran of more than 6 years
in advertising and sales promotion of
photographic products, and has spent
many years in the advertising agencv
field.
EXPLOITATION
DIVIDENDS
with
SlWVAl SNAI'IJT1
JH
To make that super
exploitation pay off you
have to produce a sparkling
picture "down-in-front" . . .
and SUPER SNAPLITES will
give you the clearest,
sharpest, most brilliant picture
ever. You get more light
with SUPER SNAPLITE. Ask
your equipment dealerfor
a copy of Bulletin'222.
ILOLJiA\Olt<;KN
UptiCai
*: «» it ■» «» ic jv'i' ■ o &s
Northampton, Massachusetts
£s*"
-■**- cot^t*.
ff/U
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
33
ELECL CHANGEOVERS
(Continued from page 16)
right — from each projecting
position) .
(2) Single finger push to each
projector.
(3) Single foot push to each
projector.
All these controls are regular in-
dustrial ironclad pushes.
The effective wiring diagram is
shown in Fig. 11, and it will be seen
FIG. 10. Diagram of the Zippa unit.
that the whole system is based on
simplicity. Table 1 shows all the details
of plunger movement, cable lengths,
etc. (See also Fig. 10).
After making up quite a number of
changeover units in 2-inch conduit,
it was decided to employ standard
steel boxes 6 inches x 3 inches x 2
F&B
FILM REPAIR AND
SPLICING BLOCK
REPAIRS DAMAGED FILMS
19.95
Used with NEW MAGIC MYLAR
Sprocketed Transparent Splicing Tape
Magic Mylar Sprocketed Transparent Splicing
Tape repairs torn, gouged films as good as new
. . . without the loss of a single frame.
Applied directly on both sides of the dam-
aged film, Magic Mylar (only 1/1000 of an inch
thick) repairs, reinforces and holds the broken
film together . . . WITH THE STRENGTH OF
MORE THAN 3 TIMES THE ORIGINAL FILM.
REPAIR TEARS
REPLACE BROKEN SPROCKET HOLES
REPLACE GOUGES
STRENGTHEN LAP SPLICES
MAKE BUTT SPLICES
MAGIC
"MYLAR"
TRANSPARENT
SPROCKETED
SPLICING
TAPE
16mm— Single or double perf.
66 foot roll $ 5.00
35mm-66 foot roll 9.00
FLORMAN & BABB, INC.
68 W. 45th St., N. Y. • MU 2-2928
F&B carries a complete stock of motion
picture and audio-visual equipment.
inches instead. This economizes in
labor charges and is easier to assem-
ble and fit. The unit boxes are jig-
drilled standard, except for the ver-
tically mounted units which have the
%-inch hole at one end of the box.
At the other side of the case a %-inch
hole receives the brass tube into which
the end nosing fits. Two bolts hold
the whole assembly quite rigid. The
TABLE 1.
Projector
Piston Travel
Bowden
Cable Length
Limit Stops Mounting
Westar
1%"
6y2"
y4"
Hor.
Simplex
1 and 7/16"
Bell
crank.
13/32"
Hor.
Kalee 8.
1 and 3/16"
24"
17/32"
Vert.
Kalee 11.
1 and 3/16"
24"
17/32"
Vert.
Kalee 12.
1"
24"
%"
Vert.
Ross both
types
1 and 5/16"
8%"
15/32"
30 deg.
Greenfield flexible tube entry at the
bottom of the box near and parallel to
the handle shaft. The Bowden casing
is in each clamped within a mild steel
FIG. 11. Connections to 12-way terminal strips.
nose by means of an Allen recessed
screw.
The brass tube carrying the sole-
noids has a small steel collar with re-
duced endpiece which fits into a
two pairs of wires from the solenoids
are taken to a four-way terminal strip
and soldered. The strip is paxolin, and
it is bolted to the box, using %-inch
tube spacers. The outgoing polyvinyl-
chloride four-core cable is soldered to
this strip, and is 4 feet, 9 inches long.
In several instances some pickup
from the pushes has occurred on the
sound system; a certain cure for this
trouble has been the inclusion of one
0.1 mfd capacitor across each push.
It is not claimed that these units
are ideal from a technical and me-
chanical viewpoint. Indeed, they could
possibly be made more efficient from
such observation, and with more
elaborate tooling; but as far as actual
operation goes, these changeovers are
imperceptible — which surely is the
criterion.
All-Europe Tech Conference
The fourth congress of the European
Union of Film and TV Technicians, re-
cently meeting in Versailles, France, has
asked for an All-European film conference
on a technical level to integrate Euro-
pean film industries. Problems of both
motion pictures and TV would be con-
sidered, and the conference would be
attended by major delegates from both
mediums, from producers on down.
•••••'
Consistent
Maximum
Light
of
Greater
Economy
DIAMOND
ma
PROJECTION
^m
70 PINE STREET • NEW YORK 5, N.Y
34
INTERNATIONAL PROJECTIONIST
DECEMBER 1957
EQUIPMENT IN ARMY AND
AIR FORCE THEATRES
{Continued from page 31)
image size. Movable masking, while
undoubtedly presenting the best ap-
pearance, leaves something to be de-
sired unless experienced personnel are
always at hand to keep it in proper
trim, for any imperfection will be
painfully apparent.
For some years, this Service has
been using gray instead of black mask-
ing. This does not contrast strongly
with aluminum screen surfaces, which
also have some advantage in that they
do not reflect house lighting in the di-
rection of the seating areas and they
appear darker than white screens un-
der diffuse lighting. Under these con-
ditions unmasked screen areas are
hardly noticeable and have no ill ef-
fects. Large unused areas, of course,
are concealed by the screen curtains,
which can be stopped just outside the
picture area by means of stop-start-
reverse curtain controls.
It will be recalled that for some
years the subject of masking has been
under discussion. Studies, made by
agencies independent of the motion-pic-
ture industry, have shown that a bright
working area surrounded by darkness
leads to poor viewing or even eye
fatigue.
Aesthetically it has been argued with
good reason that a greater feeling of
participation in screen action exists if
the attention is not diverted from the
picture by extreme brightness contrasts
at the edge, for any strong contrast
will tend to force itself on the con-
sciousness. Ideally, it would appear
that the edges of the image should sim-
ply fade from view. The choice of gray
masking (and screen surrounds of
fairly neutral color) was made to min-
imize these contrasts. If the favorable
reception accorded it in the theatres
has validity, it has accomplished its
purpose.
About five years ago it was decided
to institute 16-mm service for small
military installations where 35-mm
service was not feasible.
New 16-mm Projectors
At first, surplus 16-mm projectors
were made available provided mainten-
ance was taken care of by the AAF-
MPS. The machines were old and re-
pair costs proved to be excessive.
They have gradually been replaced by
new projectors and at present only a
few old ones remain in use. These will
probably be replaced within the next
year or so, for some parts are no longer
in production. Following this, replace-
ment will be relatively slow until ag-
ing and normal wear and tear begin
to take effect. No attempt can be made
to forecast this date until the repair
experience begins to indicate its ap-
proach.
Although 16-mm projectors cannot
compare in durability with 35-mm ma-
chines, the life in other than portable
service is expected to be a considerable
number of years. About all that can be
said on average life is that it is ex-
tremely variable, depending on condi-
tions of use.
Finally, there is the question of
planning for the future. The replace-
ment program is again approaching
what might be called a condition of
stability, for the requirements of the
new processes have been largely met.
But this does not mean that the pro-
gram is at an end. Improvements are
always being put into effect, and equip-
ment continues to become obsolete.
No industry can stand still if it is
to remain healthy in the face of new
forms of competition. While we may
hope for a reasonable period of stand-
ardization, we must expect new devel-
opments at some future time. The
Army and Air Force Motion Picture
Service is prepared to keep abreast
of the industry, but it will be the re-
sponsibility of private enterprise to
pioneer the development.
[THE END]
RCA Distribution Program
Effective January 1. 1958. a new prod-
uct-distribution program to enable RCA
theatre supply dealers to become dis-
tributors of a broader theatre sound
equipment line will be instituted. Under
the program. RCA will convert its the-
atre supply dealers organization to thea-
tre sound equipment distributorships
embracing RCA's theatre sound equip-
ment line, and new types of packaged
sound equipment. These are lines of mi-
crophones, loud speakers, and ampli-
fiers for wide application. The new dis-
tributorships will be offered to RCA's
twenty-seven theatre supply dealers lo-
cated in key film centers throughout the
country.
•^'•:^-r,i.
LaVezzi Machine Works
4635 WEST LAKE ST.
CHICAGO 44, ILL.
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
35
You'll want to know
All the facts about
RCA's all-new
Planned Theatre
Service Program . . .
This new brochure
shows you how
RCA Service takes
eight major steps
to protect
your equipment.
Experienced Engineers,
Special Test Equipment
and Teamwork
help keep your System
in top condition !
Write for your brochure today
Tmk(s) ®
Theatre Service
RCA SERVICE COMPANY, INC.
A Radio Corporation of America Subsidiary
Camden 8, N.J.
Nat'l Theatres, Warner Bros.
Sign for Cinemiracle
Warner Bros, and National Theatres,
Inc., have signed a deal with Cinemira-
cle process to co-produce an as yet un-
specified number of films in that system.
The multi-million-dollar productions are
slated for long-term roadshowing. First
on the schedule will be "The Miracle,"
the play usually associated with the great
German director, Max Reinhardt. It is
scheduled to role early in 1958.
Cinemiracle (see IP, March 1957, p.
16, et seq.) is the new widescreen proc-
ess utilizing three interlocked projectors,
employing mirrors. This is designed to
eliminate the dividing lines between
screen panels.
At a recent demonstration in Holly-
wood, the Cinemiracle process was rated
as being at least equal to, if not better
than present widescreen processes. The
demonstration was shown at a ratio
slightly more than 2V2 to 1. It is ex-
pected that the average screen used will
be about 35 by 80 feet, with a field of
146 degrees wide and 55 degrees high,
which approximates that of human vi-
sion. The projection machines will be
housed in one room, but installed on the
orchestra floor, and some removal of
seats will be necessary to accommodate
the large screen which will be placed
in front of the proscenium.
The process, in which National Thea-
tres originally invested $1,500,000, has
been two years in development. At the
moment, Louis de Rochemont is pro-
ducing "Cinemiracle Adventure," an ad-
venture-travelogue, as the initial feature
in the process.
20th Drops Optical Prints
20th Century-Fox has discontinued use
of optical prints, concentrating on re-
leasing only magoptical. This however,
does not indicate a drop in production
of prints, since 20th maintains that it is
still putting out as many as 450 prints
on top releases, just slightly below the
print total when both optical and mag-
optical were being put out.
16-MM PROJECTION
{Continued from page 27)
12 by 12 feet. The company expects
the in-a-minute transparency to greatly
broaden the use of visual communica-
tion.
Historical Collection
The Irving Browning Collection of
early motion picture apparatus was ex-
hibited by the Society of Cinema Collec-
tors and Historians, of which Browning
is president. Entitled "Beginnings of
the Visual by Photography," the collec-
tion included:
Daguerre camera, circa 1845; early
Eastman roll film camera, circa 1888:
an early table model stereo apparatus
for viewing, circa 1860; early experi-
mental motion-picture mechanisms vari-
ous sizes, 91/2-mm, llt^-mm, 28-mm;
early brass lenses, twin stereo lenses,
four lens units used to make four tin-
types at one time; a Zoetrope 1865, a
Praxinoscope 1872, and a table model
paper movie viewer, 1910; large repro-
ductions of early experimental theatres,
showing methods of projection; pro-
fessional Magic Lantern, with a three-
wick kerosene light, and a group of
Natural History cards, circa 1866; a col-
lection of kerosene-burning Magic Lan-
terns, circa 1910: miniature cameras
1910-1950; a "detective" camera 1904.
early studio cameras, daguerrotypes.
photos, movie projectors, the first East-
man 16-mm. and many other exhibits.
Guest Speakers
A number of guest speakers covered
a wide variety of industrial A-V topics
at the exhibition, with John Flory, ad-
visor on non-theatrical films for Eastman
Kodak, key-noting the event: "The
Economic Impact of the Audio-Visual
Field on Industry." George Huntington,
director of sales development, Television
Bureau of Advertising, Inc., discussed
the "Whys and Hows of Major Presen-
tation." "The Industrial Film Sponsor
and His Problems" was analyzed by
Willis H. Pratt, Jr.. film manager for
American Telephone and Telegraph
Corp.
The military view was taken by Lt.
Col. R. A. Bassler, USAF, assistant sec-
retary of the Audio-Visual Services of
the North American Air Defense Com-
mand: "The Practical Application of
Audio-Visual Techniques in High Level
Military Headquarters." J. B. O'Con-
nor, manager of the Eastern division of
TNT's Tele-Sessions, Inc., discussed
that medium in "Closed Circuit TV for
Industry — Down-to-Earth Facts, Case
Histories, and Results."
The final day of the exhibition was
Gef Your Copy of . . .
MITCHELL'S MANUAL OF
PRACTICAL PROJECTION
S6.00
per copy, including postage
36
INTERNATIONAL PROJECTIONIST
DECEMBER 1957
devoted entirely to lectures and film
presentations on Training, under the
supervision of Dr. Robert Lloyd Cantor,
director of Training for the Ronson
Corp., and a member of the board of
directors of the American Society of
Training Directors and National Visual
Presentation Association.
Taking the recent exhibition as a
barometer, industrial A-V should be due
for a sharp upswing in its already
ascending business curve. Considering
that some small confusion existed at the
exhibition because it was the initial con-
clave, there seemed to be little doubt
that the importance of A-V techniques
to the industrial world will be given
increased consideration. What is signi-
ficant is the fact that the exhibition
denoted a concerted effort on the part
of manufacturers, managers, directors
and others. Particular credit should go
to the National Visual Presentation As-
sociation, under whose auspices the ex-
hibition was held.
TOA-TESMA REPORT
[Continued from page 29)
A. J. Piatt, RCA; Edwin Wagner,
Wagner Sign Service Co.; Fred Wen-
zel, Wenzel Projector Corp.; and
Marty Wolf, Altec Service Corp.
Equipment-wise, the year's new de-
velopments were featured, which have
been duly detailed in this magazine
throughout the past twelve months.
A few significant touches were evi-
mm as
dent: National Theatre Supply exhib-
ited North American Phillips (Todd-
AO) equipment; Century Projector is
manufacturing the equipment for the
Cinemiracle process which received
quite an accolade at its trade showings
in Los Angeles and New York; Sim-
plex Equipment Corp. exhibited its
new 5-to-l intermittent movement
which was the feature of last month's
IP; and the new "WISP" wireless
sound speaker for drive-ins was being
plugged by Vido-Sound Corp.
There is, obviously, not room here
to detail all the new and fine equip-
ment that has appeared in the last year.
But, since it has not been mentioned
publicly yet, IP should like to inform
the California Chamber of Commerce
... it rained.
SIDE-WEAVING: COMMON
PROJECTION DEFECT
(Continued from page 11)
of whatever "green" (brand-new)
prints that may be received at the
theatre. Unless treated with very spe-
cial care, green prints show up side-
weave very prominently, especially
if they be CinemaScope films requir-
ing anamorphic lensing with a doub-
ling of the horizontal dimension.
When projected at even moderate
arc currents, fresh prints are likely
to "stick" as they pass through the
hot projector gate. A sticking prints
chatters loudly in the projector and
has fits of jumping violently on the
screen. (The jumping is caused by
slippage and overshooting on the in-
termittent sprocket.) Severe sticking
may injure the sprocket holes of the
film.
Sticking is caused by the melting
of fresh, moisture-laden gelatine emul-
sion and its deposition upon the gate
runners where it hardens and inter-
feres with smooth passage of the film.
Hardened gelatine deposits often cause
a line to be scratched longitudinally
along the middle of the perforation
area on each side of the film — telltale
evidence of sticking. Adequate wax-
ing of the film by the exchange or the
processing laboratory largely obviates
sticking and consequent film damage.
Waxing is frequently inadequate, how-
ever, forcing the projectionist to oil
the film for smooth running.
Squirting oil all over the surface
of a green print, or even applying
lubricant to the margins of the film
as it runs through the projector, is
not good practice. The print becomes
soiled, picks up dust easily, and pro-
duces a flickering, mottled appearance
on the screen. Moreover, the heat of
the arc lamp vaporizes the excess oil
and causes it to condense as a fog
of oil droplets upon the rear surface
of the lens. The picture then becomes
dim and hazy, and the heat absorbed
by the film of oil may crack the lens.
Whenever it becomes necessary to
lubricate a print in the projection
room, wipe both sides of each roll of
film with an oily cloth, following the
curvature of the convolutions. (This
may be done through the openings in
the sides of aluminum and welded-
wire reels.) Enough oil will seep into
the perforation margins to prevent
sticking without making the print
messy; and because the oil is applied
to both edges of the film, the severe
side-weaving caused by oil on alter-
J PUCES _
NOT }
HOLDING i
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., INC.
DEPT. J
315 West 43rd Street New York 36, N. Y.
JUdson 6-1420
BRIGHTER LIGHT
LONGER BURNING
SHARPER PICTURE
Free Test Samples
m*^
avtacne
TT?»»M»»f»l
&Vl6<M4,
CARBONS INC., BOONTON, N. J.
1 tl^i*li Mltllllllll I JtlM • * I
STEADIER LIGHT
LESS ATTENTION
PERFECT COLOR BALANCE
Free Carbon Chart
INTERNATIONAL PROJECTIONIST • DECEMBER 1957
37
nate edges is prevented.
The total amount of pad pressure
applied to the film in the gate does
not have much influence on sidesway,
hence an excessively high pad tension
should be avoided. Employ the normal
amount of pad pressure (12 to 16
ounces for average "broken-in" prints,
8 to 10 ounces for "green" prints),
and have the same amount of pressure
on each side (e.g. 7 ounces on each
side for a total of 14 ounces of ten-
sion).
It is strongly recommended, how-
ever, that the set of tension pads in
the vicinity of the aperture have great-
er pressure than the set or sets above
the aperture. If the film encounters
increasing pad tension as it travels
down through the gate, the pendulum-
like oscillations of the film, "pivoted"
by the upper guide roller, will be more
effectively damped.
Attention to Signs of Wear
The usual close attention should be
given to the condition of the gate
film runners and tension pads and all
such components replaced when they
show signs of wear. A short steel
straight edge is useful for detecting
humps and hollows in the film run-
ners. (Place the straight-edge on each
runner and shine a flashlight on the
casting behind the runner.)
The flanged guide roller at the top
of the gate should press against the
edge of the film very gently, so ex-
amine the bahavior of the film at this
point while the machine is running.
Fluttering or "pinching out" of the
film indicates excessive flange pres-
sure. It is sometimes necessary to cut
out and discard a few turns of the
small coil spring to decrease flange
tension. The guide roller should turn
freely in its pivot bearings, and the
flanges should slowly revolve while
film is running. A flange that fails to
turn will become scored by the edge
of the film.
Studio-guide rails present a diffi-
cult problem and their effectiveness is
difficult to assay. The manufacturer's
instructions anent their placement and
spacing should be followed; but, in
any case, the two rails must be far
enough apart to permit unimpeded
passage through the gate of unshrunk-
en film and slightly misaligned splices.
Especially avoid making excessive-
ly large upper loops when threading
the projectors! This is very important.
Because the film loop lengthens and
shortens 24 times every second, an
upper loop which is too large flops
violently and, besides being noisy,
increases the tendency of the film to
undergo sidewise movements in the
gate. Make the upper loop large
enough to permit framing all the way
up on the screen, should this neces-
sity arise, but guard against an un-
necessarily large loop.
Observance of these few precau-
tions is certain to bring about a no-
ticeable steadying effect in the pro-
jected pictures in those cases where
projector-caused sidesway has been
troublesome.
NON-SYNC MUSIC
{Continued from page 12)
ing of the double-stylus arm of the
binaural disc. Let the interested reader
arrange for a demonstration of the
twin-track tape playback equipment
and make his own decision.
Twin-track Tape
A word is in order at this point re-
garding our use of the term "twin-
track." Actually this is a description of
a type of recorder which uses both
sides of the tape, reversing at the end
to provide twice the playing time. We
are referring to tapes which have two
channels recorded to provide stereo-
sound. A large selection of pre-re-
corded tapes in such stereo recording
is available and can prove useful to
the theatre. Whatever means of repro-
duction may be used, each selection
should be carefully classified in order
that proper selection may be made for
each type of film program.
There is more involved in wide-
awake use of non-synchronous equip-
ment than mere esthetic values. Con-
sider if you will the promotional op-
portunity for special introductions of
sound track selections from forthcom-
ing productions. "This theatre proudly
presents selections from such and so
film which opens here on blank
date—".
One last thought on the dissemina-
tion of non-sync music. All music of
whatever type, whether overture, in-
termission, or exit music should be
bridged to distribution amplifiers and
associated speakers which will take the
incidental music and message through-
out the theatre. In this way, the patron
will be escorted musically throughout
his stay within the theatre walls. Is
all this worth it? We think it is, and
we hope the projectionist can serve as
the intermediary which can bring
about revision in the practice of the
vast majority of our theatres. Certain-
ly in this matter we can do well to give
of our best, even as we strive to keep
abreast of the best of showmanlike
projection.
Q* When is a mistake a blunder?
A When a projectionist is not a regular subscriber
• to IP — MUST reading for the projectionist craft.
Use the handy order form below
INTERNATIONAL PROJECTIONIST
19 West 44 St., New York 36, N. Y.
Enter my subscription for 9 \ Vear £2) jssues-$2.50
7 K □ 2 years (24) issues— $4.00
Foreign and Canada: Add 50c per year
Name
Address
City
Zone
State
38
'NTERNATIONAL PROJECTIONIST • DECEMBER 1957
"Christmas! Bah! Humbug '.<
/»
The man in the wheel chair leaned into the
microphone. "Christmas!" he snarled. "Bah!
Humbug!" And, as they had in Christmases past,
millions of young listeners chilled at the mental
picture of the baleful Scrooge.
It was a Christmas institution, back in the
Forties, this annual reading of Charles Dickens'
classic. Its reader was something of an institution
himself. In his turbulent lifetime he had been an
unsuccessful painter but a good amateur second-
baseman, a composer whose music was played by
the New York Philharmonic, and a model for
Frederick Remington.
To most people, though, he was Lionel Barrymore,
the actor, and they loved him.
He was both crusty and kindly (he loved
reading "A Christmas Carol"), adventurous, stub-
bornly independent in thought and outlook. And
game as they come. Although an accident in
1936 imprisoned him in a wheel chair, he went
resolutely on — working in motion pictures and
making public appearances for nearly twenty
years more.
No question but that Lionel Barrymore was
one-of-a-kind. Yet the qualities so richly com-
bined in him exist in a large measure among all the
170 million of us who call ourselves Americans.
They're why we are what we are, why our
country is one of the strongest on earth. And
why there is no wiser investment than an invest-
ment in America — through U. S. Savings Bonds,
which guarantee the safety of your savings, up to
any amount, and the rate of your return. Start
buying Bonds today, through Payroll Savings or
where you bank. And hold on to them!
Now Savings Bonds are better than ever! Every
Series E Bond purchased since February 1, 1957. pays
3-H% interest when held to maturity. It earns higher
interest in the early years than ever before, and
matures in only 8 years and 11 months. Hold your old
E Bonds, too. They earn more as they get older.
PART OF EVERY AMERICAN'S SAVINGS BELONGS IN U.S. SAVINGS BONDS
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,
THE ONLY GIFT
FOR A
PROJECTIONIST
~o O O O O OOOOOOOOOOOO
o
oo o o o o oooooooooo I ^S
PROJECTION and
SOUND SYSTEMS
PRECISION m
an
HE
■ :- ■ - .;:■ '■ ■ ■■■ ■ ■ ■ .■ , ■
Manufactured by
INTERNATIONAL PROJECTOR
DIVISION OF SIMPLEX EQUIPMENT CORPORATION
ry
■1'* '
V „ s
%-,^ -\
■V- .AN
■J<,
7 ^
- * '<- AX
-
m
bo
O0'
\
ry
** V*
v -<:>
S'
1> </>,
A
V
\V
, %
-> v.'
-0 , "
bo1
*-v *>.
-/■
^
,0o.
©0*
VV
,0
-* i. ;
\> ^
*+<?
~* <& * : ^J'V AxV
oV
<-> .V-
s ■ X
ft ■< ^ V o ox
*/. VX
,0o.
-\-
0
-V. ' '• N 0 ~>
w
,<*>' v
K.-
-A
if
> , 0
•/-
^ -<• v.
" ■' C'
* \V °/ ^ , , B
o 0'
s0 o.
\0 C'
s o
N_
c,
<>
V
«
;■>
■pf
r> ' • ' ^-
-' V
, 'O01
,0o
O <3
xV •/-.
CL '- ^'^ x A-' r-*i.
O 0
,0 o.
'■ o.f
^ ,^
^ v°
V>, -\NV
\°°,
,v
•'-,'-
,0 o
0
,0o.
-a
^^
f* ..v
■\L
■'"*&
^ -,-
•o_. ',
.*
O0x
V
1 "^
.0 o
o o
'a V
/>
A'
0s .. !%* "
^^
V -. » »
/ ^
P 0
-/-
- 1 ( \*
v°
. '-h- ' -^ .MB
3° X°
,A V
0 ^'
'A V
v0 o
ri-
'
"
A-V
o
■s.
r0
\
^c
0^
x0 o^
A <p
o
0 *
;AV
Otf
* ,^' '
A\X'
o i »~ .A
^ V^ „'
---,/' ^0^
t b.
-•y«i
<p
■^
-.%? %.
^ ^
Av v.
>:
%?*
'*j. v*
l^ • *V
-0'
o o
A
^ "^
^ ^
v. <$
,^%
_> Cc
-V
■0" V
/-<
.#■
o \
%
V
P
,-H X±
,0 o.
' <V
cP
o.
*/- V*
cv"
.-V -
^ ^
xv \'
s> -^
5*%
. V-
,,\
o> C>
\V </».
^ ^
■#'%
w
^^
-^ v
-<*<* .V*
o5 ■»*
**v
* ^ \ '
A
D,
• U
#N
^ ^ =
CO
x0^.
/%
^ V*?
Live Music Archive
Librivox Free Audio
Metropolitan Museum
Cleveland Museum of Art
Internet Arcade
Console Living Room
Books to Borrow
Open Library
TV News
Understanding 9/11