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03

i 83

JANUARY
VOLUME 38

40c A COPY

1963
NUMBER 1

$3.00 A YEAR

Investment Opportunity

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ing the Treasury's Payroll Savings Plan for U.S. Savings

Bonds. When you bring the Payroll Savings Plan into your
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the chemists who will develop your new products. In the
weavers, puddlers, drillers, assemblers who will make the
products. You are investing in America's human resources.
In America's future. In freedom itself.

Don't pass this investment opportunity by. Call your
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fS&

Ve b**

in your plant... promote the PAYROLL SAVINGS PLAN for U.S. SAVINGS BONDS

The U. S. Government does not pay for this advertisement. The Treasury Department thanks, for their patriotism, The Advertising Council and this magazine.

International Projectionist

INTERNATIONAL

PROJECTIONIST

Including a special Audio-Visual section relat-
ing to the operation and maintenance of A-V
equipment in the educational and industrial
fields.

Volume 38 January, 1963 No. 1

FRANK W. COOLEY, JR.
Editor and Publisher

MIDWEST OFFICE

1645 Hennepin Avenue

Minneapolis 3, Minnesota

AL BLOOM
Managing Editor

RAY GALLO

General Manager

Associate Publisher

EAST COAST OFFICE

545 Fifth Avenue
New York 17, N. Y.
Murray Hill 7-7746

TOM KENNEDY
Equipment Editor

IN THIS ISSUE

Projectionist News 4

Improvement of Theatres 5

By D. E. HYNDMAN

Up-Dating the Disc Reproducer 6

By ROBERT A. MITCHELL

Arc-Lamp Demonstrations 8

Automatic Projection1 14

News Notes — Technical Hints — Miscellaneous Notes

INTERNATIONAL PROJECTIONIST, published monthly by the
International Projectionist Publishing Co. division of The
Northern Publishing Co., Post Office Box 6174, Minneapolis
24, Minnesota. Editorial offices, 1645 Hennepin Avenue,
Minneapolis 3, Minn. Subscription Representatives: AUS-
TRALIA—McGills, 183 Elizabeth St., Melbourne; NEW
ZEALAND — Wixon's, Ltd., 64 Courtnay Place, Wellington;
ENGLAND and ELSEWHERE — Wm. Dawson & Sons, Ltd.,
Macklin St., London, W. C. 2. Subscription Rates: United States,
Canada, and U. S. Possessions, $3.00 per year (12 issues) and
$5.00 for two years (24 issues). Foreign countries: $4.00
per year and $7.00 for two years. Changes of address should
be submitted four weeks in advance of publication date to
insure receipt of current issue. Second-class postage paid at
Minneapolis, Minn. INTERNATIONAL PROJECTIONIST as-
sumes no responsibility for personal opinions appearing in
signed articles, or for unsolicited articles. Entire contents
copyrighted 1963 by INTERNATIONAL PROJECTIONIST
PUBLISHING CO.

1

MONTHLY CHAT

Lip Service to Good Projection

The late Harold B. Franklin, when he was president
of the West Coast Theatres, published a book on motion
picture theatre management, which had this to say about
projection.

"Good projection is the heart of a motion picture the-
atre. Without a clear picture, with proper intensity of
light, all the management's efforts are in vain."

In other words, no matter if the theatre owner picks
and chooses from the available product supply those
attractions suited to his patrons; the clean, attractive and
comfortable surroundings; courteous service by the
theatre personnel; effective exploitation and advertising
in the city or community, all those efficient showman-
ship things go out the window if the theatre does not
have good projection, with up-to-date equipment for the
craftsmen in the theatre's booth.

Many progressive circuit heads and individual theatre
owners have long agreed that without good projection
the management, no matter how sufficient, is useless.
And the reason we quoted Franklin about good pro-
jection is because he rose through the ranks — usher to
theatre manager to general manager of Shea's Theatres
in Buffalo, to general manager of Publix Theatres and
finally to president of West Coast Theatres.

Still, many exhibitors who have out-dated equipment
think they can go along buying expensive pictures — in
these days theatres can't book low cost attractions — and
the patrons are cheated out of the modern techniques
the film maker puts in his picture at great cost.

There's now a rising trend to build new theatres and
do major remodeling of existing theatres, so that the
old and neglected theatres with worn-out booth equip-
ment will have to get new projectors, arc lamps, and
sound systems or face dwindling patronage.

So maybe the day will come for projectionists to
have modern projectors, arc lamps, sound systems and
all the necessary accessories — and the sooner the better.

Of course the projectionist who works with old
equipment will have to be on his toes, with the know-
how about the up-to-date projectors, lamps and sound
systems.

The theatre owner, having spent thousands of dollars
for new booth machines, has the right to demand that his
projectionists operate the new equipment efficiently.

The manufacturer or the dealer says the new equip-
ment will get all the details out of the print, with a rock-
steady picture, more light on the screen and with quality
sound. So the theatre owner won't be satisfied unless
it's the best picture he has ever seen, and will blame the
projectionist if it isn't perfect. (Tlie projectionist crew
should insist the installation man get things right, and
give a demonstration to the exhibitor on screen. )

The theatre owner also has the right to ask the pro-
jectionists to keep machines oiled, cleaned, with the
proper maintenance for all the equipment in the booth.
Rightly, the exhibitor expects the new equipment to last
for years, otherwise he has a bad investment, for pro-
jectors, lamps and sound systems are costly to buy.

This is a challenge the top craftsman will relish. After
all, the projectionist has great respect for his machines,
because he well knows that without the efficient tools

(Continued on Page 8)

International Projectionist

January, 1963

INTERNATIONAL PROJECTIONIST

Volume 38

January, 1963

Number 1

Albert S. Johnstone Dies;
Was IATSE Vice President

NEW ORLEANS— Albert S. John-
stone, fourth vicepresident of the
IATSE, died Jan. 2 following surgery
here. Although in poor health for
several years, he had continued to
handle a full schedule of union as-
signments prior to entering a hospital
several days before.

A native and lifelong resident of
New Orleans, Johnstone was edu-
cated at a private high school there
and at Tulane University. While still
in school, he became a rewind
boy at a movie house and later a
projectionist. For two years begin-
ning in 1928, he traveled for ERPI.
the predecessor of Altec Service
Corp., installing sound equipment
and instructing in the use of it.

A member of New Orleans Opera-
tors Local 293 since 1914, he be-
came secretary two years later and
served as president almost continu-
ously from 1919 until the time of his
death. In the course of his career,
which began when only two of the
city's theatres were organized, agree-

ments were reached with virtually all
of them.

Johnstone was appointed an IA
international representative in 1943
and was elected a vicepresident in
1954. Survivors include his wife,
Mary, and two daughters. iP

Loew's Building Theatre
in Suburb of Washington

NEW YORK— Arthur M. Tolchin,
assistant to the president of Loew's
Theatres, announced here that his
company is building an 800-seat sta-
dium type theatre in Springfield, Va.
( a suburb of Washington, D. C. I .

The new theatre will be erected in
the Towers Plaza Shopping Center,
located at Shirley Highway and
Edsal Road.

The theatre will be known as
Loew's Springfield, with the latest
developments in screen projection,
sound reproduction and modern
automatic air-conditioning. In addi-
tion there will be substantial park-
ing facilities.

Loew's Springfield is expected to
be ready for operation in early 1963.

iP

Projectionists Club Plays Santa
For III Kiddies in N.Y Hospitals

NEW YORK— Harry Garfman, the
Brooklyn and Queens business repre-
sentative of the M. P. Operator's
Local No. 306, and members of the
Movie Social Club of Kings County,
spent their Christmas week visiting
children's wards in Brooklyn pub-
lic hospitals distributing toys and
other gifts with presentations of
movies and live entertainment to sick
and needy youngsters.

Harry Garfman of MPO 306 and
youngsters in Brooklyn hospital wards.

Garfman and the Club — made up
of about 300 projectionists of Local
306 — have played Santa Claus for
the 20th consecutive year to under-
privileged children confined to hos-
pitals.

The Club, a humanitarian organiza-
tion, in addition to their yearly
Christmas effort, has conducted many
fund-raising campaigns for juvenile
illnesses.

Its current effort is on behalf of
Dr. Joseph B. Pincus, the director
of the Department of Pediatrics of
the Jewish Hospital. Dr. Pincus has
recently established a clinic for the
treatment of cystic fibrosis, diabetes,
epilepsy and other dreaded child-
hood diseases.

Harry Garfman. who is executive
director of the Movie Social Club,
and the members of the Club, have
a fund-raising campaign for the sup-
port and enlargement of the clinic.

iP

Camera Mart Sets Up
Film Editors Seminar

NEW YORK — The first annual
film editing workshop-seminar of the
Camera Mart, a New York company
specializing on sales, service and
rentals of motion picture and televi-
sion equipment, is set for Oct. 7-11,
1963, it was announced by Samuel
"Chick" Hyman, president of the
company.

The workshop-seminar for film
editors will concentrate on the spe-
cialized film editing practices and
problems encountered by industrial
in-plant, university and government
agency film editors.

All aspects of film editing will be
covered during the five-day pro-
gram, through technical demonstra-
tions, general lectures, workshop ses-
sions on practice editing projects.
In addition, participants will visit
well known New York film editing
facilities.

Browning Memorial Award

Mr. Hyman also announced the
Camera Mart's sponsorship of the
"Irving and Sam Browning Mem-
orial Award" to promising univer-
sity film production students. Par-
ticipating in this award are the mo-
tion picture departments of New
York University, the City College of
New York, and Columbia Univer-
sity.

The motion picture departments
heads at each of these three uni-
versities will designate the student
they believe has shown the most
promise. Each of the students chosen
will be given an award by The
Camera Mart worth $150 towards the
rental of professional motion picture
equipment. The first series of three
awards will be granted in June. 1963.
The award is a memorial for the two
founders of The Camera Mart. Irving
and Sam Browning. iP

ELECTED FOR 26TH TIME

NEW YORK— Morris J. Rotker. a
projectionist for 51 years and now
secretary to Judge Sidney H. Asch
in the Bronx Municipal Court, has
been reelected treasurer of his Mas-
onic Lodge for the 26th time.

iP

International Projectionist

January, 1963

HOW CAN MOTION PICTURE
THEATERS BE IMPROVED?

D. E. Hyndman, Assistant Vice President
Eastman Kodak Co.

In making suggestions to theater
owners, I have the great advantage
of not owning or operating a theater.
This permits me to suggest almost
anything that seems worthwhile
without any financial penalties in
case I am wrong. I hope you will
keep my privileged position in mind
throughout this article.

Perhaps we might just pause for a
moment and philosophize on the
things that, I think, motivate atten-
dance in motion-picture theatres.

One of the great characteristics the
motion picture has is its ability to
transform one — in the twinkling of
an eye — to another world. The min-
ute you walk in off the street and sit
down, you can forget what city you
are in, what problems you have,
what problems the world has, by
identifying yourself with the activity
on the screen. TV with its smaller
screen and generally more distracting
ambient atmosphere will never be
able to do it. The very good mind
can approach this with TV or by
reading a good book but no medium
can so engage the participant as
the motion picture shown in a good
theater.

We might consider the advance of
the motion-picture industry during
the great 1932 depression. People
flocked to see Dick Powell and Ruby
Keeler in "42nd Street." They flock-
ed in to achieve 90 minutes of relax-
ing participation in someone else's
escapades. The minute they walked
off the streets they were in another
world and the silver screen took them
into this other world.

People Want to be Absorbed

During World War II the millions
of men on duty around the world
achieved a few minutes "Change of
Pace" through the films that were
shown to them — and they stood in
line for a good long time to get into
the over-crowded base theaters to do
it.

What I'm trying to say is that

Ed. Note: Mr. Hyndman echoes the
pleas of projectionists for lo these many
years as he goes directly to the exhibi-
tors at the National Allied convention
in Cleveland. His remarks emphasize
the need for updated theatres to per-
mit the technicians to do the job re-
quired of today's patron.

International Projectionist

people want to become completely
absorbed with what is going on
before them on the screen. Regard-
less of their mental capabilities, the
motion picture is capable of achiev-
ing a sense of participation far
greater than any other medium I am
aware of.

Theater owners must nuture this
capability by presenting the film in
its optimum manner. They must
not place any roadblocks in the way
of the theater goer that will impede
his transformation from the harassed
businessman, housewife, student,
teen-ager or whatever he was when he
walked in.

If owners do throw these road-
blocks in my way, they are going to
lose me as a customer.

I like movies and manage to see
about a hundred or more every year.
But I am selective as to the theater I
attend. I don't like roadblocks — I
don't like to break my bones finding
a seat; I don't like to sit in a broken-
down seat: I don't like to smell ran-
cid butter and the like — nor does
anyone else when he has paid for
comfort. A theater must be a plea-
sant place to congregate with others,
with people who really want to go
to the movies.
Location is Important

Sometimes the best way to improve
a theater is a very radical one. It
consists in moving it from an un-
desirable location to a more suitable
and promising location. Any owner
who does this should carefully sur-
vey possible theater locations in his
town or city getting the best real-
estate advice which is available. The
theater should be placed near a
modern and growing center of popu-
lation. There are some strategic
neighborhoods where large numbers
of important apartments or housing
developments are being erected.
Being as close to these as possible is
a good idea. Furthermore, shopping
centers are often attractive locations
for a new theater. A great many
people are drawn to a shopping
center. Many of them find that they
have some time to spare and will
drop into a theater to enjoy the
show and rest their aching feet. A
big plus in a shopping center is the
large available parking area.

January, 1963

But a successful theater requires
more than a good location. It needs
modern, efficient, and properly main-
tained equipment. The best available
projectors are excellent devices and
capable of throwing a large, bright,
and sharp, steady picture on a good-
size screen. Economy in picture
brightness or sharpness is indeed
foolish since the picture is the major
part of what the exhibitor has to sell
his audience. The screen and its
surroundings are also of major im-
portance. Modern and capable
theater architects surround the screen
by framing, luminous or otherwise,
in such fashion as to make the pic-
ture blend into its surroundings thus
increasing naturalness. This is also
a good idea since the theater condi-
tions are quite different from those
in regular television viewing in the
home. And theater exhibition should
not resemble home entertainment if
it is to attract a maximum audience.

It is very important that the
quality of sound in all parts of the
house be excellent. This means that
the theater, possibly with some new
acoustic treatment, must have the
right amount and type of reverbera-
tion. Sound levels must not be too
high — a common failing in many
theaters. Speech and musical repro-
duction must be of the highest quality
even for people with somewhat im-
paired hearing, so that they can
understand all the dialogue and en-
joy musical accompaniment.

General Environment Should be Pleasant

Needless to say, the refreshment
section of the theater lobby should
be attractive but not garish. And it
'should not give the theater an
amusement-park atmosphere, but
rather emphasize the comfort and
convenience aspects. That is, it
should be readily accessible, but not
obstrusive.

Particular care is required for the
marquee, and lobby displays. Often
these are "busy," fussy, and confus-
ing. One main theme should be em-
phasized and everything kept sub-
ordinate in these displays so as to
avoid confusing the prospective
customer.

The general environment in the

(Continued on Page 18)

Theatre Sound • • •

Updating the
Disc Reproducer

By ROBERT A. MITCHELL

Projectionists are no strangers to the use of phono-
graph records for overture and intermission music
in the theatre. The projectionist not only plays the
records on a turntable in the projection room, but is
usually responsible for selecting the appropriate musical

Single groove of
constant depth.

MONAURAL

Doubly modulated.
ne signal on
each side)

STEREOPHONIC

FIG. 1 — An ordinary phonograph record (monaural) has
a constant-depth groove that varies from side to side in ac-
cordance with the recorded sound vibrations. There is thus
only one sound signal in the groove. A stereophonic record,
on the other hand, carries one signal on one wall, of the
groove and the other signal on the other wall, the two
sets of variations being separated by an angle of 90 degrees.
The combination of two channels of sound causes the depth
as well as the lateral position of the groove to vary.

6

numbers to use with each film program that comes
along.

Recorded music is admittedly "canned," and hence
lacking in the "immediacy" of live musicians per-
forming in the orchestra pit, but it should be remem-
bered that the motion-picture is itself canned entertain-
ment in the sense that it has been pre-recorded and
worked up into a finished product before being pre-
sented to the public. There is thus no disparity in char-
acter between the recorded music played before the
motion-picture presentations, or during intermissions,
and the audiovisual entertainment on the screen.

The advantages of recorded music are its ready
availability in the widest possible variety, its offerings
of music played by accomplished artists employing the
finest instrumental means, and its technical excellence
when reproduced by suitable equipment through modern
theatre sound systems. And compared with the cost of
live talent, records are inexpensive.

Incidental Music Indispensable

Only the very largest theatres can afford an orches-
tra in the pit or an organist to evoke musical magic
from the pipes of the "Mighty Wurlitzer." Other the-
atres must have recourse to recorded music for the
pleasure of the audience and to establish the appropriate
moods for maximum enjoyment of the pictures. A the-
atre without music during the pre-show and intermis-
sion invervals seems rather "barren" — an atmosphere
too cold to encourage frequent attendance. Incidental
music cannot be neglected by any theatre management
that aims to please its patrons and remain in business.

Phonograph records have been used in movie the-
atres ever since the inception of the electrical process
of recording and amplifying sound ( about 1925 ) . Silent
movies reigned supreme in the '20's, but some of the
very smallest theatres found it advantageous to substi-
tute electrically amplified phonograph records and
special musical transcriptions for the tinkling nickelo-
deon piano. More prosperous theatres nevertheless re-
tained "live" music because it could be perfectly keyed
in mood and tempo to the action on the screen. This
was particularly true of theatres having wondrous or-
chestral pipe organs which ordinarily cost much more
than the most expensive projection equipment. Indeed,
the organ was so popular that it continued to be played
during intermissions in many theatres long after talking

International Projectionist

January, 1963

oictures had banished the glamorous poetry of silent
pantomime from the screen forever.

Speech came to the screen with astonishing sudden-
ness, and in two distinctly different media of sound re-
cording. One form of the screen's new-found voice was
the 33V3-RPM Vitaphone disc record which ran in
synchronism with the film on a turntable geared to the
projector motor. The other was, of course, the photo-
graphic soundtrack printed on the film alongside of
the picture.

Projectionists thus spoke of "sound on disc" and
"sound on film" in the early days of talkies — the
days when critics of the new sound movies grumbled
that Hollywood lost its brains when it found its voice.
And to distinguish the reproduction of synchronous
sound on disc for the audio accompaniment of a movie
from the ordinary non- synchronous musical recordings
played before the show, the ordinary phonograph for
commercial 78-RPM discs was called a "non-sync."
This obsolete term is still used to some extent.
33!/3-RPM Discs Now Preferred

78-RPM phonograph records held the field for musi-
cal recordings in spite of the fact that 33%-RPM discs
had been used for the Vitaphone talkie records and for
radio transcriptions. The old Victor Talking Machine
Co. made a valiant attempt to introduce musical 33's
for home use, but without much success. Incidentally,
all these early SS^-RPM discs were made with the
same 3-mil grooves used for 78's, not the finer 1-mil
"microgrooves" now used for long-play records, and
they started playing at the inside groove and ended at
the outside rim.

Because 78's are no longer manufactured, and be-
cause a somewhat limited choice of music is available
on the doughnut-shaped 45's, the emphasis for theatre
music, as well as for music to be played in the home,
is definitely focused upon the SS^-RPM long-play
records. The theatre that has only a 45-RPM record
player is cheating itself of good music.

The record player used in the theatre should be of
the 4-speed type with a stereo cartridge in the 33%-
45 side of the pickup in order that all kinds, speeds,
and sizes of records may be played. Aside from the
retention of excellent 78's which are still present in
long-established collections of fine music, it is best
to add only hi-fi 33's to a record collection.

With the exception of a somewhat higher noise level
and a more restricted dynamic range, the later 78-RPM
discs made of plastic are the equals of any. Plastic 78's
are more resistant to wear than the soft and powdery
shellac records made for many years, but the hardest
and most wear-resistant records we know of were the
78's made for use with heavy acoustic reproducers in
the days before electric pickups. These ancient discs,
surprisingly, were also pressed from a material having a
shellac base!
Needle Wear Problem

Modern 33I/3-RPM long-play records are extraordi-
narily sensitive to needle wear. This is due to the finer
stylus point required to fit the fine 1-mil microgrooves,
and to the finer sound variations in the grooves oc-
casioned by extension of the high-frequency end of
the sound spectrum to 12,000-18,000 cycles and by an
(Continued on Page 12)

'here is a FIRST BEST in Anything!

In ARC LAMPS
IT IS THE OPTICALLY INTEGRATED

C S. ASHCRAFT'S

HHHnnn^HHHHH (f

®

JfariiW,,,

" ■ *rh

V ' "•

(If ■• ." mBF

.'• \'

t - Jp

(Patent Pending)

It does unheard of things in screen lighting. Such as ... up to
100% increase in screen side-lighting.

It works on any current from 78 to 115 amperes. It does it
on a single size positive carbon, 11mm in diameter.

It will exceed accepted industry standards in lighting an out-
door screen 52 feet wide. It is the answer to the ill-lighted
Drive-In screen up to 95 feet in width.

It is a miserly brute in its operating expenses. Saves you up
to 50% in carbon costs.

Want proof? Call your National Theatre Supply Co. man. He
will prove the CORE-LITE worth in indoor or drive-in theatres
with existing screens and lenses.

Trademark registered and copyrighted. Patent applied for.
The C. S. Ashcraft Mfg. Co., Inc.
36-32 Thirty Eighth Street, Long Island City, N. Y.

International Projectionist

January, 1963

Theatre Demonstrations Set Up
To Show Core-Lite's Effectiveness

NEW YORK — The new Ashcraft
Core-Lite projection arc lamp, spe-
cially designed and marketed to re-
place lamps burning 9mm copper
coated positive carbons and lamps
burning 9mm and 10mm black ro-
tating positive carbons in indoor the-
atres, now has a greatly increased
sales probability for drive-in the-
atres, according to the results of
tests recently completed and just
released by Clarence Ashcraft, in-
ventor and manufacturer of the new
lamp.

All previous tests on the new lamp,
before it was introduced to the the-
atre market, were conducted by us-
ing currents confined to ranges be-
tween 78 and 95 amperes. Within
these limitations, the lamp increased
screen lighting and light distribution
(side-lighting) up to 100%, and
saving in carbon costs were as much
as 50%.

Under the new tests, at current
ranges between 95 and 115 am-
peres, the discovery was made of
the even greater increased center
and side lighting which makes the
Core-Lite now particularly useful in
small to medium size drive-ins, the
inventor states. These higher cur-
rent tests followed tests made in
early December by Merle Chamber-

lain, technical supervisor for Metro-
Goldwyn-Mayer Pictures, at the com-
pany's studio in California. Remarks
made by Chamberlain, following the
coast tests were highly laudatory.

It has been stated by carbon com-
pany technicians and by field repre-
sentatives of the now defunct Motion
Picture Research Council that among
the thousands of drive-ins in the 350
to 800 car capacity range screen
light has been woefully inadequate.
The owners of these theatres have
been so informed and are well
aware of the poor light on their
screens. It has not been possible,
however, up to now to produce
greater screen light at costs these
smaller drive-in theatres could af-
ford. With Core-Lite, it is estimated
that carbon savings would more than
pay for additional Core-Lite equip-
ment expense in about 4Vk years.
This benefit would be in addition
to the resulting increase in screen
light, both center and at the sides,
where the drive-ins are most defi-
cient. Up to 20% in center lighting
and up to 100% increase in side
lighting will result by using the
Core-Lite, Ashcraft has stated.

National Theatre Supply Co., dis-
tributors of the lamp, has stated that
it will demonstrate the new Core-

There's Plenty for You At

CENTURY!

. . and from CENTURY only

dramatic. New ALL TRANSISTOR
sound systems

True high-fidelity,

distortion free.
*Low installation cost,

minimum space needs.

Increased reliability,
less maintenance.
No vacuum tubes, no
photoelectric cells.

*and the only American-made 70 mm 35
theatre projection systems

SEE

YOUR CENTURY

DEALER

. . . for bigger, brighter projection.

PROJECTOR CORP.

New York 19, N. Y.

Lite in theatre booths, using the the-
atre's now existing lenses and
screens, to support its claim for the
Core-Lite's efficiency, as contrasted
with the arc lamp equipment now in
the theatre. There will be a proven
greatly increased light, greater dis-
tribution of light, combined with
proven decreased carbon costs, ac-
cording to both the inventor and
the distributors.

In relation to its offered no-cost
demonstration in theatres, National
Theatre Supply Co.'s President, W.
J. Turnbull, has stated, "The Core-
Lite arc lamp is a piece of equip-
ment that most indoor and drive-in
theatres simply cannot afford to be
without. Any of our branch mana-
gers will arrange a demonstration to
prove the remarkable capabilities of
the new lamp." iP

25-30 Club Installs New
Officers at Dinner-Dance

NEW YORK— The 25-30 Club's
Annual Installation Dinner-Dance
were held in the grand ballroom of
the Hotel Empire here. Formal in-
stallation of the new slate of officers
occured at this festive occasion.

The club elected William C.
Anderson as president and Morris I.
Klapholz as vice president.

Reelected were Morris J. Rotker as
recording secretary, Jack Krimon as
financial secretary, and Nathan
Strauss as sergeant-at-arms. Harry
Bergoffen, trustee 1963, Charles
Sherman, trustee 1964, Robert Saun-
ders, trustee 1965 were in the in-
stallation ceremonies. iP

MONTHLY CHAT

(Continued from Page 3)

he can't get the results he is ambi-
tious to achieve.

If the theatre owner has confidence
in his projectionists, and the expert
communicates his knowlege of pro-
jection, he will consult the projec-
tionist on the new equipment he is
buying. Of course, the projection-
ist has a responsibility in that case.
But the good projectionist willingly
shoulders the responsibility, being
assured by his knowledge about the
modern theatre equipment, and is
in a way complemented by the ex-
hibitor's regard for his know-how
about projection and sound repro-
duction.

Meanwhile some exhibitors have
museum pieces in their booths and
advertise "wide screen" just like the
showcases; thus they pay lip service
to good projection. IP

International Projectionist

January, 1963

Requirements of a Proficient
Motion Picture Projectionist

Training of the young projectionist should start
with a mastering of the basic principles of his
craft — the working projectionist is his mentor.

By James A. Wagoner

This survey will review four basic
qualifications of a motion picture
projectionist. Since the inception of
television it has become increasingly
important that the theatre patron
benefit from the finest projection and
sound available because a superior
picture with good quality sound is
the one real asset of the motion
picture theatre.

The theatre customer becomes a
part of another world. Anytime this
illusion of "make-believe" breaks, the
basic goal of the motion picture
theatre suffers. In order to acquire
the skill of a good projectionist, one
must keep this thought uppermost

in his mind, for without it as a
goal, the other qualifications lose
their meaning through lack of pur-
pose. In order for a projectionist to
perform his duties well, he must be
come proficient in the following four
areas :

1. Electronics

2. Mechanics

3. Light and Lenses

4. Other requirements

Projectionist Should Know Electronics

Today's projection room is a
maze of electronic marvels, and the
industry provides more complex
equipment as time goes on. Conse-

( Continued on Page 15)

ORLOVE OFFERS ANTIQUES — Anybody want a collection of early motion
picture projection equipment suitable for display in a cinematic museum? Louis
donate to any museum which will give it careful attention and a proper display.
W. Orlove, veteran film exploiteer now handling 20th Century -Fox campaigns
in the Minneapolis-Milwaukee area, has a number of unique items which he'll
Orlove's hobby began in 1925 when he acquired a Kinedrome projector from the
Old Theatorium in Milwaukee. He has gathered many other interesting items
since but lacks the room to display them. Interested curators can reach Orlove
at 1618 N. 54th St., Milwaukee.

A Rectifier
That Is
Truly Different

BI-POWR

A new type silicon diode stack
transformer rectifier designed
as a power source

FOR THE OPERATION
OF TWO ARC LAMPS

No flicker or other change in projected
light at the time of striking the second
arc.

DUAL OUTPUT RATING OF

60-85/60-85 AMPS/35-45 VOLTS

90-135/90-135 AMPS/56-70 VOLTS

120-160/120-160 AMPS/58-75 VOLTS

•k Designed for operation on 208/
220V 50/60 cycle, three phase A.C.

-k Two independent stack assemblies,
one for each output.

ic "Lo-Strike"* feature associated
with each output protects stacks
from overload and prevents destruc-
tion of carbon crater upon striking
the arc.

•A- Exclusive automatic reset* permits
immediate restriking if arc is not
established the first time.

ic A choke in the D.C. output circuit
makes for quiet operation and holds
ripple to less than 3%.

-k Down-draft fan cooled. No foreign
matter can be drawn into the equip-
ment.

+ Class H glass insulated trans-
formers.

Send for literature.

THE STRONG ELECTRIC CORP.

31 City Pork Avenue

Toledo 1, Ohio

"Not supplied as regular equipment

on 60-85 ampere model.

International Projectionist

January, 1963

FACT IS a crisp, sparkling negative must have top-quality prints. Otherwise, it can't do its job, and
your message falls flat on its face, wasting production time and money— station time, too, if your
film's on TV. Moral: Go Eastman all the way— negative and print-stock. And in the case of ques-
tions—production, processing, projection— always get in touch with Eastman Technical Service.

Nobody

likes

flat

prints

either..

For further information, please write or phone: Motion Picture Film Department,

EASTMAN KODAK COMPANY, Rochester 4, N. Y. Or-for the purchase of film:
W.J. German, Inc. Agents for the sale and distribution of Eastman Professional
Film for Motion Pictures and TV, Fort Lee, N.J., Chicago, III., Hollywood, Calif.

EASTMAN FUL

fl

(Lateral

movement
only

; Costal

QAAon autczL-^

crystal

^sStet^e ogh on i

o^

FIG. 2 — The piezoelectric crystal of a monaural pickup
is "twisted" in only one direction, the lateral direction paral-
lel to the variations of the constant-depth groove. The crystal
thus generates fluctuating sound currents. A stereo pickup
works the same way, but it has two crystals positioned in
planes 90 degrees apart. One crystal responds only to the
variations in one wall of the record groove, and the other
crystal responds only to the variations recorded in the other
wall. Each crystal, accordingly, reproduces one of two
separate channels of sound.

DISC REPRODUCERS

from page 7
average linear groove speed only 42.7% that of 78's.
A slightly worn needle will distort the sound more badly
on 33's than on 78's, while a severely worn needle may
skip grooves, repeat grooves on overmodulated pas-
sages, and damage the record.

Oscilloscopic tests which reveal distortion in high-
frequency waveforms lead us to the conclusion that
standard-groove 78-RPM records are best limited to
8000 cycles, while microgroove 33's cannot go much
beyond 10,000 cycles without distortion.

As a matter of fact, nothing in the way of audible
"realism" is provided by frequencies higher than 10,-
000 cycles, which is more than twice as high-pitched as
the highest note on a piano keyboard. Statements by re-
cording companies (attempting 24,000 cycles) to the
effect that excessively high frequencies add realism
"even though they are not heard" are pure balderdash.
Commercial amplifiers and speakers cannot reproduce
24,000 cycles; and few go up as high as 15,000 cycles.

It has been said that only "bulldogs and babies"
can hear up to 30,000 cycles. The average young adult

12

can probably hear sounds as high as 15,000 cycles, and
in some cases up to 20,000. Sounds higher than 10,000
cycles are scarcely audible to anyone over 60 years of
age.

To a person who can easily hear 10,000 cycles,
this extremely high-pitched tone sounds like a harsh
whistling hiss totally devoid of timbre, or "tone color."
It has no timbre because its harmonic (20,000 cycles,
30,000 cycles, and 40,000 cycles for the first three har-
monics) are too high to be audible, even if really
present. (The first three or four harmonics establish
the general character of any tone — fluty, reedy, dull,
piquant, etc.)

A worn needle used on 33V3-RPM discs will distort
the lower as well as the higher frequencies, and ac-
centuate certain frequencies. Such a needle may skip
grooves and damage the record. Sapphire and ruby
needles have a relatively short life and, in general,
are rather a nuisance with long-play records. Diamond
needles have a useful life of 20 to 100 times the
life of sapphire needles, and should be installed at the
outset. Diamond needles cost only 4 or 5 times as much
as the sapphire ones, and hence represent a real
economy.

Use Only All-Speed Stereo Players!

This writer very strongly recommends the use of a
combination-speed record player (16, 45, S3Ys, and 78
RPM) fitted with a flip-over cartridge, each side of
which has its own needle. One side of the pickup
plays 45 and 33% microgroove records, while the
other side is for standard 78's. Be sure that the micro-
groove side of the cartridge is "stereo" no matter
whether the noiv common stereo discs are reproduced
monaurally or stereophonically!

On account of the musical limitations of 45-RPM
records, and the likelihood that this speed may be dis-
continued in favor of 33's for popular "singles," it
seems best to concentrate exclusively on regular 12-
inch 33%-RPM long-play discs, both high-fidelity mon-
aural and stereophonic.

An ordinary monaural "lateral-cut" record has only
sidewise variations of grooves of constant depth, but a
dual-channel stereophonic record has two completely in-
dependent sets of variations in its grooves. One chan-
nel of sound is carried by lateral variations tilted 45°
from the surface plane of the disc, while the other
set of variations for the second channel is tilted 45° in
the opposite direction. The two sets thus have a maxi-
mum angular separation of 90°.

When the same sound is present in both channels,
the angular difference of the plane of needle movement
from the surface plane of the record is less than 45°,
that is, 45° — n°, in which n is the angle of needle
movement on the side of the groove (right or left
sound channel) having the weaker signal. In the case of
a regular monaural record played with a stereo pickup
( which improves the sound, by the way ) , the sidewise
needle movement in the plane of the record surface is
exactly the same as in a stereo record having identical
signals of equal strength in both channels. (45° — 45°
=0°.) The result is the same sound from the left and
right speakers.

To repeat: Stereophonic records are now so com-
monplace that the record player used in the theatre
should be equipped with a stereo pickup cartridge no
matter whether the sound is played monaurally through
just one channel or stereophonically through two or
three amplifier and speaker channels.

International Projectionist

January, 1963

Voltage
gain

Power tubes

Ton*

Volume

P^d

T~p

<i-s-

Stereo
pickup

T hUh

/■wi-

il1

Balance

r

FIG 3 — A simple stereophonic
phonograph amplifier circuit by 120v. AC
Telefunken, Germany. Note the
common "floating ground"
(heavy wire) shared by the two
sound channels.

All monaural records can be played with a stereo-
phonic pickup, but stereophonic records CANNOT be
played with a monaural pickup! Attempts to play
stereo records with ordinary monaural reproducers will
result in severe needle chattering, distorted sound, and
damage to the record.
Connecting Stereo Cartridges

The prevalence of stereo records should be reason
enough for replacing all regular 33%-RPM pickup
cartridges with stereo cartridges. (Yes, these play 45's,
too.) Just make sure that the correct type and style
of replacement cartridge is installed. There are no
problems with crystal-type cartridges. If the theatre
amplifier system is single channel, only the two out-
side leads from the crystals are used, and these are
connected to the high-impedance phono input of the
amplifier in the same way as a monaural pickup. The
"common-ground" wire which connects the crystals
of a flip-over stereo cartridge is not connected to the
amplifier for single-channel reproduction.

The two back-to-back units of a flip-over cartridge
having a stereo unit on one side for all 33's and 45's,
and a monaurel unit on the other side for 78's, are
sometimes interconnected internally, but a common-
ground terminal or wire is brought out. If there are four
terminals, two are connected to each other (the so-
called common ground), and the remaining two go to
the amplifier input. If a stereo sound system is avail-
able, the common ground (left connected) is tapped
and connected to the "neutral" or "floating-
ground" terminal, while the right — and left — channel
leads are connected to the proper input terminals.

Most commercial stereo phonographs for the home
have a double preamplifier sharing a common floating
ground. Indeed, amplification in the voltage-gain stage
is usually accomplished by a single tube having a double
cathode-grid-plate construction, such as the 12AX7. This
functions as two separate tubes. In the power-gain stage,
however, two separate power tubes are the rule.

Because a stereo record player has only two chan-
nels, right and left, it is necessary to obtain a mixed
signal for the center channel of a 3-channel theatre
sound system. This is absolutely mandatory when there
is only one set of "woofers" for the non-directional
bass tones. If the sound system has internal connections

Tube filaments

Rectifier

-WAN M

2

International Projectionist

January, 1963

for reproducing the low frequencies in all three Cinema-
Scope channels through the single woofer, no problem
arises. Otherwise the bass tones of the records would
be totally lost. It is best to consult the theatre's sound
service engineer about this matter.

Compensation for the frequency-response character-
istics of a record reproducer must be provided unless
the stereophonic amplifiers have phono input termi-
nals. A CinemaScope magnetic soundtrack amplifier has
a rather strong treble boost; and the low-impedance
inputs of the film preamplifiers are unsuitable for
crystal pickups. The following amplifier stage may or
may not provide sufficient amplification for a fre-
quency-compensated crystal-cartridge signal. If not,
the output of the preamplifier ol a commercial phono-
graph may be used.

All of these difficulties may be avoided, of course,
by using the monaural optical-sound system, which is
exactly what is done in many theatres. The directional
effect of stereo records is lost, but the quality of the
sound is entirely satisfactory if the low-frequency re-
production is sufficiently strong to balance the high-
frequency reproduction. A high-frequency response
which is too strong makes the sound "thin" and harsh.
High frequencies may be attenuated if a separate phono
preamplifier is used (highly recommended) by shunt-
ing a capacitor of 0.01 to 0.1 mf. across the preampli-
fier output.

With the technical details of record players and
their connections out of the way, attention should be
devoted to building up a good record library contain-
ing as many different types of music as possible —
jazzy, moody, gay, atmospheric, etc. It will thus be pos-
sible to match the overture and intermission music to
any conceivable type of feature film. And if "locale"
music is at hand — French. Latin American, western,
hillbilly, oriental, etc. — the matching of music and mood
will be all the closer.

Next month's article, however, will concentrate on
theatre-organ music in response to numerous requests
from projectionists anent suitable organ records. We'll
review and recommend quite a few such discs; and
more than that, we'll delve into the mechanics and
audio magic of the "Mighty Wurlitzer"!
(To Be Continued)

13

'."--;-

Automatic Projection: A Progress Report

In the past IP has kept projec-
tionists up to date on automatic
projection as it has developed in
Great Britain, under the particu-
lar circumstances that make the
system more practical than many
other areas. U. S. projectionists
have little to be concerned about,
according to this recent TOA re-
port.

We wrote recently to exhibitors in
England, asking for a report on
"automatic projection" in use in the
United Kingdom. While we recog-
nize that local safety ordinances
would bar the system in many Am-
erican communities, and the reac-
tion of the projectionist union would
be an important factor in the accept-
ance of this equipment in the United
States, we felt the reply was so in-
teresting, that it merits dissemination.

Here is the report:
* * *

"Here in the United Kingdom this
automatic equipment is much beyond
the testing stage; indeed, it is in-
stalled in over 350 cinemas and dur-
ing the last 4-5 years has given a
good account of itself.

The automatic equipment is of two
distinct types, namely :

(1) Projection Room Automatic
Equipment

(21 Automatic with Remote Con-
trol

In the former type the entire pro-
gramme can be controlled by an elec-
tric clock, that is to say, at a pre-
determined time the house lights can
be lowered, the screen curtains open-
ed, and the projectors brought into
operation automatically. Similarly
and again automatically, when a film
is completed, the curtains can be
drawn and the house lights raised —
and so on throughout the day's per-
formance. All the projectionist has
to do is to load the machines and
thread the film through the gate, re-
wind in the normal manner and re-
place carbons when necessary. The
projectionist is also responsible for
focussing and framing.

The foregoing is the "full works,"
but a shortened version — which is
the more popular — does not auto-

matically control the house lights,
curtains, masking, etc., but controls
the projectors, and here again, the
>rojectionist is responsible for thread-
ing up the film, rewinding, replacing
arc carbons, focussing and framing.
In the smaller theatres with a
screen up to 35 ft. wide, the Xenon
(lamp) arc is now being widely used
with automatic control equipment,
since it lends itself readily to auto-
matic control and obviates the neces-
sity for replacing carbons.

National Safety Laws

Cinemas in the United Kingdom
operate under safety regulations is-
sued by the secretary of state, and in
1958 the regulations were amended
to take account of this automatic
equipment. This permits the equip-
ment to be in use without a projec-
tionist being in the booth — although
his absence is limited to fifteen min-
utes. The reason for this is that a
projectionist must go to the booth
once every fifteen minutes to remove
the film that has been shown and re-
place the next reel.

The regulations require a warning
bell to sound in the projection room
suite and to be in a position where
another member of the staff is norm-
ally employed and can hear it — in
case anything should go wrong with
the automatic control.

There has been no active opposition
to automatic equipment by the labor
union, although where the equipment
is installed there was a tendency to
demand a higher minimum wage.
What happens in practice, however,
is that in theatres that previously em-
ployed a total of four or five pro-
jectionists, there are only two on the
payroll — one on duty at any given
time. These two operators receive a
wage higher than the minimum agre-
ed between the employers and the
union, but the wage is a matter for
negotiation between the employer
and the individual projectionist.

It must be remembered that there
is a rather acute shortage of projec-
tionists in the United Kingdom and
many cinemas are able to keep going
only because automatic equipment
has been installed.

Remote Control System

Automatic equipment with remote
control is installed in about 14 cine-
mas in the United Kingdom and is
operating very satisfactorily. The
automatic side includes the automat-
ic changeover from one machine to
the other and automatic close-down
should anything go wrong with the
light source circuit or the motor
circuit. The remote control consists
of a control board placed in a suit-
able position in the auditorium from
which it is possible to start or stop
either machine, to focus and frame
the picture and to control the volume
of sound. Although at the present
time a projectionist is employed to
operate the remote control, the con-
trol is so simple that an unskilled
person, e.g. an usherette or under-
manager, could run the show.

With this equipment it is, of course,
still necessary to employ a projec-
tionist to change the reels and re-
wind, but experiments are already
being carried out with the possibility
of accommodating the entire pro-
gramme on two machines and to have
automatic rewind. Indeed, we have
a prototype equipment in two cine-
mas in a town in the United Kingdom
where 8000 ft. spools are fitted to
the machines. Since they are special-
ist houses, their programmes never
exceed 16,000 ft. In this particular
instance, we have one operator in
charge of the two cinemas. The re-
mote control is situated at the rear
of the auditorium and is in the charge
of the under-managers."

It is obvious from the above report,
TOA points out, that the equipment
is working satisfactorily, and is giving
English theatres the equivalent of a
one man booth. If the remote control
operation does not evoke severe labor
union reaction, it is also obviously
conceivable that a very limited num-
ber of trained service projectionists
could take care of a large number of
British theatres within a small geo-
graphic area, with unskilled theatre
help watching the individual theatre's
control panel.

It is TOA's understanding that

BRIGHTER LIGHT
LONGER BURNING
SHARPER PICTURE
free Test Samples

mwrnv*

*T?W»«f»»WF»

wnamS^SL(2m6o*t4

CARBONS INC., BOONTON, N. J.

STEADIER LIGHT
LESS ATTENTION
PERFECT COLOR BALANCE
Free Carbon Chart

14

International Projectionist

January, 1963

British laws regarding booth opera-
tion would probably have to be mod-
ified if remote operation is to be-
come widespread. Unlike the U. S.,
Britain has one safety code adminis-
tration that functions nationally.

The reported shortage of union
projectionists in England, coupled
with the distressed state of the Eng-
lish exhibition industry, set the stage
in the United Kingdom for this tech-
nological advance. This would prob-
ably not be the case in the United
States, the association comments.

Differences Highlighted

The British situation is yet another
highlight of the differences between
the British and American theatre in-
dustries. In Britain, as an example,
there are no anti-trust laws similar
to ours. In enforcing their "FIDO"
plan to keep current feature films off
television, British distributors, with
the support of exhibitors, have re-
fused to supply film to a violator,
and the courts have condoned this
boycott. Under the Eddy Plan, Brit-
ish theatres pay a small tax on each
admission, and the funds are used to
subsidize new production. Also, the
British have a mandatory classifica-
tion system. iP

Pine Hollow Theatre
Uses Century Sound

An article in the November issue
of International Projectionist de-
scribed the sound system of the Pine
Hollow Theatre incorrectly. The
Pine Hollow is equipped with the
Century Projector Corp. all-transis-
tor 6-4-1 channel sound system. The
sound equipment was furnished by
Century dealer Joe Hornstein, Inc.,
and installed by engineer Joe Kelley
of the Skouras circuit. iP

Reevesound Company
Retains Barbara Skeeter

NEW YORK— Reevesound Com-
pany, Inc., Long Island City motion
picture engineering firm, announced
it has retained New York consulting
publicist Barbara Skeeter to expand
its information program.

Reevesound designs specialized
sound and visual communications
systems for governments and indus-
trial firms.

A former director of public rela-
tions for the Society of Motion Pic-
ture and Television Engineers, Miss
Skeeter has a broad background in
corporate and association publicity
and newspaper work. iP

International Projectionist

PROFICIENCY

from page 9
quently, the person manning this
equipment should have as much
knowledge as possible about the
projection room. For example, a
knowledge of the electronic funda-
mentals connected with sound be-
comes increasingly important be-
cause the patrons, with their own
Hi-fis at home, require high stan-
dards in sound reproduction. The
added complexity of the four-and six-
track stereophonic systems is a real
challenge to the theatre projectionist.
Although the sound service engineer
maintains this system in many
theatres, he cannot be present at
all theatres all of the time; there-
fore, a major responsibility rests
with the projectionist for keeping
the system in good condition.

It is the good projectionist who
possesses enough knowledge about
his sound system that he can make
emergency repairs when necessary.
The patron becomes disgruntled if
a sound outage occurs and he must
wait until a sound service engineer
comes from across town to repair it.

Though it is the most complicated
part of the projection room equip-
ment, the sound system does not
constitute the only electronic ap-
paratus. The various motors, the
arc lamps, the motor-generators and
the rectifiers must also function
properly so that the show goes on the
screen in a pleasing manner. In this
area, the projectionist has a greater
responsibility than in servicing sound
systems because he must institute the
maintenance procedures. Therefore,
a thorough knowledge of the elec-
tronic fundamentals involved is a
prerequisite of proper servicing. As
the equipment, such as the arc lamp,
becomes increasingly simple to oper-
ate, its construction becomes more
complicated. Consequently, an in-
creasing knowledge of electronics
and theories explaining the opera-
tion of these systems is another rea-
son why this subject represents a
basic requirement for all projection-
ists.
Mechanics Should be Mastered

The motion picture projector is
not only an electronic marvel, but
it is also one of the most intricate
machines in today's world of auto-
mation.

Again, the burden for adequate
maintenance and servicing rests with
the person in the projection room;
it is only natural, therefore, that
this man acquire a knowledge of
mechanics so that he can adequately
perform the duties required of him.
Unless the basic mechanical func-

January 1963

*£{ \ "LETS TWIST"!

Yes, That Easy to Use -No Tools Needed

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PREFER

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15

lions of the projector become a part
of his knowledge, he will have diffi-
culty maintaining equipment.

For example, a knowledge of how
the star-wheel intermittent operates
precludes its servicing as directed for
a specific brand of projector. With
an understanding of the mechanical
essentials, the projectionist can then
make the necessary repairs and ad-
justments to his particular installa-
tion.

Light and Lenses Must be Understood

The third basic requirement for
the well-equipped projectionist is an
understanding of the principles of

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optics. This requirement is impor-
tant because of the ever-changing
methods of presentation and the
problems introduced by the drive-in
theatre. With more and more thea-
tres installing 70 mm. equipment is
is the projectionist's responsibility to
make sure that the effect of the pre-
sentation meets the requirements de-
manded by the public.

For instance in a large downtown
theatre, the new 70 mm. equipment
was installed haphazardly and it was
several days before the performance
met already established standards.
Although this may be a rare case,
the man in charge of running the
show should do his best to prevent
such occurrences. Even though such
practices are not the fault of the pro-
jectionist, a man with a thorough
knowledge of optics is valuable when
new theatres go up or when estab-
lished theatres are remodeled.

Before concluding these three sec-
tions here is a brief summary. In
order to do his job adequately, the
theatre projectionist needs an under-
standing of ( 1 ) basic electronics,
(2) basic mechanics, and (3) basic
optics. A problem arises as to how
one can properly gain this knowl-

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edge. Experience is particularly need-
ed for mechanics, but the theories of
light and electronics require outside
study. If possible, an engineering
program at one of the leading uni-
versities would be beneficial, but
since many projectionists cannot
undertake such a program, there are
other methods of learning this mater-
ial. For example, there are many
specialized electronic schools
throughout the country, and corres-
pondence courses also present a
method of gaining necessary knowl-
edge.
Positive Altitudes Are Necessary

This section includes the most im-
portant data in the report. In order
to perform properly the skills men-
tioned, the three kinds of knowledge
just discussed play an important role.
One authority defined a projectionist
who had these skills as a "presenta-
tion man." The term describes the
actual running of the show as op-
posed to maintaining the equipment.
It is in mechanics that experience
proves most helpful, but just because
a man has many years experience, he
does not necessarily become an ex-
pert "presentation man." There are
other factors entering into the quali-
fication.

First, and one of the most impor-
tant, is attitude toward the job. Be-
cause many of the duties performed
daily become more or less routine
after they are learned, the man run-
ning the projectors may develop a
complacent feeling toward the work,
and an inferior product sometimes
results. With the new arch lamp
and projectors that the present thea-
tres use, the hazard of this attitude
increases because one can get by
with less supervision than before.
The projectionist ought to feel that
he is as much an artist as the stars
on the screen, for without him their
acting ability is lost; consequently,
constant awareness of his important
function to the entertainment indus-
try is necessary, for every man re-
gardless of the size of the theatre in
which he works. With the proper
attitude toward the profession, the
normal daily duties contribute to
job satisfaction and pride in the
work.
Checking is a Key Word

The second requirement of a good
presentation involves a key word in
every projectionist's vocabulary —
checking. Unfortunately, since people
all make mistakes and projectionists
are human, a good presentation de-
mands constant checking of the var-
ious functions performed. On many
jobs, a small mistake goes unnoticed
and does little real harm, but even

16

International Projectionist

January 1963

the smallest mistakes in the pro-
jection room erupt upon the screen
in view of hundreds of patrons. In
order to eliminate these occurrences,
the projectionist ought to check and
re-check his work. Certain key
points such as the proper lens and
aperture plate, proper reel, proper
threading, proper carbon trim, and
others require constant supervision
because without a program of double
checking the show may suffer.

Another item that demands in-
spection and checking is the opera-
tion of the equipment. This is the
section of the program that makes it
necessary for the projectionists to
have the specialized knowledge dis-
cussed in the first three sections, for
without it the projectionist may find
it difficult to adopt an effective pre-
ventive maintenance program for his
machinery.
Film Inspection Must Take Place First

The last major topic considered
in this section pertains to film in-
spection. A few brief remarks on
this subject will suffice. First, if
a projectionist wants a perfect show
at all times, he must inspect all film
before its showing. However, in
many cases conditions may prevent
the proper inspection. If this is the
case, one must do the best possible
job under the handicap. The time
allowed for such inspection remains
a controversial subject and until
the question can be effectively solved
the present unfortunate conditions
must be tolerated. Again the factor
of experience plays an important role
in deciding the individual case.

But the projectionist should keep
in mind that his primary job is to
run the film and maintain his equip-
ment, and the film should arrive at
the theatre in good condition; there-
fore, if film inspection interferes
with the primary obligation of the
person running the show, the inspec-
tion of film ought to remain secon-
dary on the agenda of duties.
Summary and Conclusions

Most of the material presented
here is a part of every good pro-
jectionist's background but it is ad-
vantageous to review basic concepts
and goals periodically so that pri-
mary objectives gain predominance
in setting goals. This report says
that in order to adequately perform
the duties required of him, the the-
atre projectionist should possess a
background in (1) electronics, (2)
mechanics, and (3) optics. It is with
this background, plus the specialized
skills necessary, that this magician
of the theatre can present a flawless
show.

Sometimes overlooked, but equally
important as his knowledge, is his

International Projectionist

attitude toward his profession. The
projectionist is an artist who uses
machines to paint pictures, and he
can gain satisfaction from a "can-
vas" well done. The projection
equipment resembles the surgical in-
struments in the operating room of a
hospital, for unless the person per-
forming the operation uses highly
skilled techniques, the job is a
failure. Therefore, when the pro-
jectionist fails to present a flawless
canvas of picture and sound, his
patient dies. The patrons of the
theatre go home to watch television.

iP

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How electrical noise is produced . . .
calculated • . . measured , . . controlled

Here are the basic facts about electrical noise — how it originates
in circuits . . . what terms describe it . . . how to measure it . . .
how to design circuits to minimize its undesirable effects. The
physical nature of the various sources of noise are clearly de-
scribed, including such sources as thermal agitation or resistance
noise . . . shot noise in vacuum tubes and semiconductor junctions
. . . noise from spontaneous emission of electromagnetic radiation
. . . and noise in gas discharges. This practical book also explains
auxiliary mathematical techniques, and discusses the relation of
signal and noise in various types of communication systems. For
ease in use, the simple tuned circuit associated with a device for
measuring average power is made the basic tool for analyzing

ELECTRICAL

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105 illustrations
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By WILLIAM R. BENNETT

Data Communications Consultant, Bell Telephone Laboratories, Inc.

Each chapter in this helpful book begins in
a simple, practical manner and works toward
more complicated examples. For example, prop-
erties of thermal noise and its relation to black-
body radiation are deduced from basic laws
of thermodynamics and statistical mechanics.
You also will find a clear treatment of elemen-
tary quantum mechanics in discussions of the
maser and of noise in semiconductors. And, in
describing noise properties of various devices,
the book fills in your working background with
basic facts on junction diodes — transistors —
gas discharge tubes— klystrons— traveling wave
amplifiers— and others. Both independent and
dependent noise sources are analyzed.

In addition to the standard theory of noise
figure and its significance, a treatment is given
of the more comprehensive Haus-Adler theory
of noise measure. Throughout, the book stresses
the universality of noise-like phenomena. Noise
formulas for diodes and transistors; noise gen-
eration to meet specifications; design of ampli-
fiers for minimum noise effects— these and many
other topics 'are covered. A comprehensive re-
view of noise in the various methods of signal
transmission such as amplitude modulation . . .
frequency modulation . . . and the different
lands of pulse modulation is included.

January 1963

CONTENTS

1. General Properties of Noise

2. Thermal Noise

3. Distribution of Magnitudes in Noise Sources

4. Noise in Vacuum Tubes

5. Noise in Semiconductors

6. Noise in Electromagnetic Radiation

7. Noise-generating Equipment

8. Noise Measurements and Techniques

9. Design of Low-noise Equipment

10. Application of Fourier Analysis to Noise
Problems

11. Noise in Communication Systems

' 1

INTERNATIONAL PROJECTIONIST

Post Office Box 6174

Minneapolis 24, Minnesota

Please send me a copy of "Electrical Noise"

by William R. Bennett. (I enclose $10.00.)

Name

Address
City & State

17

IMPROVING THEATERS

theater is a matter of the utmost
impo.rtance. If members of the
audience have a pleasant recollection
of their hours in the theater, they
will frequently return and become
regular customers. If they are re-
pelled by unpleasant surroundings,
sooner or later they will be perman-
ently lost. Some become bitter critics.
Whispering campaigns are either the
best or the worst advertising.

For this and other reasons, the
theater lighting should be most care-
fully adjusted in each part of the
theater. The street lighting of the
theater is, of course, for conspicu-
ous display purposes. The lobby
lighting should be much softer, and
graded downward so that entering
the auditorium does not find the eye
blinded by previous excessive illu-
mination. Colored lighting (amber
or rose, for example) is often help-
ful. And the lighting in the main
portions of the house must be care-
fully adjusted so that vacant seats
can be readily found and yet the
general lighting level is low. Above
all, house lights should never illumi-
nate the screen.

It goes without saying that the
utmost cleanliness and attractive-
ness in lounges, rest rooms, and lavo-
ratories is essential. Few things are
less attractive to the audience than
shabby or unpleasant rest portions
of the house.

In this general connection, it is
essential that odors of rancid but-
ter or peanut oil shall be completely
banished from the house and its
refreshment portions. Sufficiently
powerful ventilation and exhaust
fans will greatly help. Many of the
theater owners have found that the
audience cultivates theaters which
are free from stale odors.

Courteous Treatment important

The operation of a theater is not
a mere perfunctory matter, largely
to be neglected as a routine propo-
sition. Life in the theater should be
a model of courteous treatment by
ushers and management. Any re-
quests for information or complaints
should be very promptly handled
and clearly answered with a real
show of interest and sympathy on
the part of the management. And the
ushers and managers should not be
remote and inaccessible people but
should be continually on the look-
out for any questions, complaints,
disturbances, or events requiring at-
tention. One of the great assets of
the theater is the existence of dis-

18

from page 5

cipline and control of the audience
which ensures uninterrupted enjoy-
ment of the performance. In the
home there are often enough in-
evitable interruptions of any enter-
tainment. But in the theater such un-
necessary interruptions are often in-
tolerable and repel the audience.

Of course, the main commodity
which is sold in the theater is the
program. Too much time can hardly
be spent selecting and arranging the
program, choosing times for the
showings, and generally building up
an attractive performance. A good
showman will study the audience in
his vicinity and learn their prefer-
ences. After a few months, he will
know that in the vicinity of his
theater, people prefer romantic
shows, costume dramas, comedy,
vivid action films, so-called "art"
pictures, or other forms of enter-
tainment. The successful exhibitor
will learn of these preferences and
will build up his programs, wherever
possible, around a suitable selection
and succession of attractive show-
ings. It is a good idea to have dif-
ferent types of films at the same
performance. It is also often worth
while shifting the major emphasis
in performances from each show to
the ones on the following weeks.

The skilled showman will make
good use of the advantages of color
films which have now been devel-
oped to the point of exquisite beauty
and dramatic value. Experience has
shown that color can set a mood in
a fashion almost impossible for black
and white. Accordingly, the balanced
theater program will have a full
quota of color films wherever pos-
sible.

Exhibitor Should have Good P.R.

And finally, the exhibitor must
establish the closest possible rela-
tionships with his community and
its members. He should be the "best-
liked man in town." This may take
some time and trouble on his part.
But anything he does with and for
the community is well rewarded. In
addition to studying the customer's
preferences and establishing excel-
lent public relations with the com-
munity, the exhibitor should discover
whether his prospective audience re-
spond better to hard-selling or to
soft-selling in advertising. Of course
the type of advertising may depend
to some extent on the type of pic-
ture that is shown each week.

If the exhibitor establishes cordial

contacts with the schools, clubs, as-
sociations, and churches of his town
— as well as with the civic leaders of
the community — his prospects of
success will be considerably bright-
ened. It takes an extremely compe-
tent, pleasant, diplomatic, and cap-
able man to be a truly successful
showman. iP

London News

and Views

By Stanley T. Perry

The Odeon Theatre in Leicester
Square which is the Rank Organiza-
tion's key house had a "face lift" in
its projection booth just prior to a
Royal Film Performance.

The Odeon, which needed a change
of equipment, installed three Cine-
maccanica Victoria X, a multi pur-
pose 70/35mm projector, with elec-
trical interlock between any pair.
Also installed were three Super
Zenith 460 arc lamps with 18 picroid
reflectors, operating at 110 amps.,
with a corbon trim of 10 mm posi-
tive, 9 mm negative, both copper
coated. The positive is non-rotating
and the carbon contacts and the lamp
are generally air-cooled, although
water circulation is now being used,
except for the projector film gate.

A new G. B. Kalee Duosonic-
Multichannel sound equipment for all
film systems, including unmarried
prints was included. Also installed
was a 12- way sound reinforcement
system and remote control focusing,
framing, sound volume from the
auditorium.

Prior to the installation of the
projection equipment, Mick Mc-
Laughlin, chief projectionist at the
Odeon, and Bob Pulman, projection
engineer of the circuit, were guests
of the Cinemaccania Company in
Milan, Italy, where they spent some
days at the factory familiarizing
themselves with the equipment.

The "late night show" policy
which has been in operation for
some time in the West End, is now
spreading to the suburbs. The Clas-
sic Circuit, which runs a number of
small repertory theatres, have started
the late night shows at Chelsea and
Notting Hill, and no doubt there
will be more of these in the future.
The nine small houses in the West
End late night shows have now
firmly established themselves. Some
show the current feature and shorts.
Others have a special program for
the late show only. iP

International Projectionist

January 1963

» AUTHORITATIVE
» COMPREHENSIVE
» PRACTICAL

Acclaimed by leading technicians in
the industry as the most comprehen-
sive and down-to-earth handbook pub-
lished to date on the subject of motion
picture projection. Ideally suited for
study and reference by your opera-
tors.

ROBERT A. MITCHELL'S

MANUAL OF PRACTICAL PROJECTION

HANDY 5"/2" X 8|/2" SIZE

450 PAGES

ILLUSTRATED — CROSS INDEXED FOR EASY REFERENCE

A Here is one of the most help-
ful works ever published for
the motion picture projection-
ist. A handsomely bound and
profusely illustrated compila-
tion of the BEST of the Robert
A. Mitchell articles that have
appeared in "International
Projectionis t," revised,
brought up to date.

!

ic The author covers clearly
and thoroughly every aspect of
motion picture projection, pre-
senting his material in easily
understood language — not too
technical, yet technically ac-
curate. The Manual is divided
in 8 sections and contains 30
chapters — a valuable refer-
ence work no progressive pro-
jectionist should be without.

SECTION HEADINGS

(1) 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 * USE THIS HANDY FORM

INTERNATIONAL PROJECTIONIST
Post Office Box 6174
Minneapolis 24, Minnesota

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

$6.00

per copy
including postage

CITY

ZONE STATE

International Projectionist

January 1963

19

.,4 Scene From America's Projector Carbon Center.,

Lamp for simulating operating conditions

" With this unique lamp we keep millions of
moviegoers happy with your screen lighting"

A ^^

To the best of our knowledge
there are only two of these
lamps in existence— and both
are located in our Fostoria,
Ohio, plant. This remarkable
lamp is vital to quality screen George Mayer
lighting because it enables our development de-
partment to simulate any operating conditions
encountered by projectionists.

For example, we can alter the negative car-
bon angle from 0 to 90°, with respect to the
positive carbon axis. The lamp will take any
size negative, either copper -coated or black.
Jaws are available to burn either copper-coated

-says GEORGE MAYER

National Carbon Sales Engineer

or black positive carbons. Rotational speeds
range from 0 to 20 rpm, and feed rate can be
varied from 1 to 120 inches per hour. Power
variations range from 5 to 300 amps under
normal conditions. Up to 800 amps have been
carried for short periods of time.

Such advanced research equipment, quality
production, and precision testing are only a
part of the "National" projector carbon story.
Since 1917, National Carbon has set the pace
for outstanding technical service . . . through
Sales Engineers equipped with today's most
modern test devices for assuring optimum
lighting efficiency.

Contact

Mr. National Carbon

UNION
CARBIDE

"National" and "Union Carbide" are registered trade-marks for products of

NATIONAL CARBON COMPANY

Division of Union Carbide Corporation • 270 Park Avenue • New York 17, N. Y.
In Canada: Union Carbide Canada Limited, Toronto

as

'£.?

u':&

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&

NO

oo

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0)

FEBRUARY

VOLUME 38

1963

NUMBER 2

£

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n

u ca

40c A COPY

$3.00 A YEAR

A Scene From America's Projector Carbon Center.

Testing for arc consumption and light distribution

"Every day is 'double -feature' test day at
our projection booth in Fostoria, Ohio"

****** «

Bill Brenner

You're looking into the motion
picture industry's most unusual
projection booth. We run the
same "double-feature" every
day —fifty- two weeks a year. Our
program covers two important
phases of "National" projector carbon produc-
tion — the testing of arc consumption and light
distribution. Their ultimate results are to help
you obtain the finest picture quality!

Tests are conducted on representative sam-
ples from every lot of projector carbons manu-
factured in Fostoria, Ohio. This specialized

says BILL BRENNER

National Carbon Sales Engineer

quality control effort not only pays dividends
to the theatre owner in projection carbon econ-
omy, but assures movie patrons the best-lighted
indoor or outdoor presentations that carbon
dollars can buy !

Quality manufacturing and precision testing
are only a part of the "National" projector car-
bon story. For 45 years National Carbon has
backed theatre owners with the industry's most
dependable technical service.

Our Sales Engineers are equipped with to-
day's most modern test devices ... to assure you
maximum light efficiency on your screen.

Contact

Mr. National Carbon

UNION
CARBIDE

"National" and "Union Carbide" are registered trade-marks for products of

NATIONAL CARBON COMPANY

Division of Union Carbide Corporation • 270 Park Avenue • New York 17, N. Y.
In Canada: Union Carbide Canada Limited, Toronto

INTERNATIONAL

PROJECTIONIST

Including a special Audio-Visual section relat-
ing to the operation and maintenance of A-V
equipment in the educational and industrial
fields.

Volume 38 February, 1963 No. 2

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO

Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue, New York 17, N. Y.

Telephone Murrayhill 7-7746

(Area Code 203)

IN THIS ISSUE

Part II A

Organ Recordings for the Theatre
By ROBERT A. MITCHELL

Projectionist Profile: Ernest Lang

TESMA Board Named l2

New Century Projector Series 10

Norelco, Ballantyne Agreement 1 1

News Notes — Technical Hints — Miscellaneous Notes

INTERNATIONAL PROJECTIONIST, published monthly by the
International Projectionist Publishing Co division ot The
Northern Publishing Co., Post Office Box 6174, Minneapolis
24 Minnesota. Editorial offices, 1645 Hennepin Avenue,
Minneapolis 3, Minn. Subscription Representatives: AUS-
TRALIA—McGills, 183 Elizabeth St., Melbourne; NEW
ZEALAND — Wixon's, Ltd., 64 Courtnay Place, Wellington;
ENGLAND and ELSEWHERE — Wm. Dawson & Sons Ltd.,
Macklin St., London, W. C. 2. Subscription Rates: United States,
Canada, and U. S. Possessions, $3.00 per year (12 issues) and
$5 00 for two years (24 issues). Foreign countries: $4.UU
per year and $7.00 for two years. Changes of address should
be submitted four weeks in advance of publication date to
insure receipt of current issue. Second-class postage paid at
Minneapolis, Minn. INTERNATIONAL PROJECTIONIST as-
sumes no responsibility for personal opinions appearing in
sianed articles, or for unsolicited articles. Entire contents
copyrighted 1963 by INTERNATIONAL PROJECTIONIST
PUBLISHING CO.

1

MONTHLY CHAT

»*VVVVV»V**VV*VVV»*»»»»*»VVVVVVV»»*»iV»VV*V*V»VVVV*VVV<

Better Days for Craftsmen Ahead?

1963 may be a year of good theatre business and a
turning point for projectionists who were affected by
theatre closings and discouraged by working with worn-
out equipment. Film men who have traveled around the
country talk about a possible revival of theatre owners'
plans to build new theatres and refurnish older houses,
including new booth equipment.

During the "golden age" of movies, 1920 to 1929, the
theatre owners that prospered recognized that boothmen
held a big responsibility in the proper presentation of
the motion pictures. These owners encouraged constant
improvement in projection equipment and used innova-
tions and new developments for high quality screen
shows as they came along.

Different From the Past

In the past decade the exhibitor wanted attractions to
wow his audience from the film producer-distributor. But
there are signs that the exhibitor realizes he must depend
upon himslef for high standards of screen presentation,
including good housekeeping to induce the public to
attend his theatre more often.

If that happens — as eventually it must — the projec-
tionist will enjoy his old status as a key man of the
theatre, responsible for keeping the equipment in shape
and putting a good show on the screen.

During the "Golden age" of movies there were added
attractions, such as organ solos and live stage presenta-
tion. Now more than ever the film house relies on the
motion picture to attract patronage. The boothman is
the key man in the theatre because the public has learned
to expect good projection and sound from showcase
houses featuring 70mm and stereo sound.

New Equipment Increases Prosperity

If theatre owners spend money on new projection
equipment and remodeling older theatres, they can
advertise that they have superior projection, comfortable
seats and attractive surroundings, and that they provide
courteous service for patrons. This can help make their
theatre an institution of the city — after all, that was how
prosperous showmen made money in the 1920's, in addi-
tion to exploiting the current and forthcoming attractions.
Consequently, the exhibitor, realizing a good, efficient
craftsman in his booth means a lot to his box-office
business, will have more regard for his projectionists.

Veteran projectionists will remember P. A. MacGuire,
who served as public relations man for International
Projector Corp. for many years, and was a drum-beater
for the cause of better projection. In his advertisements
for the Powers and Simplex projectors he used the head-
line "Better Projection Pays," and he also preached the
slogan in speeches to exhibitors. Not only did MacGuire
promote his company's projector, but he made the exhibi-
tor realize that there was more profit in better projection,
and he caused the projectionist to take pride in his craft.

Time for Action

IP thinks the time has come for a similar slogan to
be taken up by equipment makers, local unions, the pro-
jectionists' social clubs and the individual projectionist.
After all, the modern projectionist is a technician, a
well-read and skilled machinist; he has to be an engineer
to handle the complex projection and sound equipment

(Continued on Page 14)

International Projectionist February, 1963

■ - — - - : " ■■mtmmaBaamMMMm

INTERNATIONAL PROJECTIONIST

Volume 38

February, 1963

Number 2

Part II

Organ Recordings For The Theatre

By ROBERT A. MITCHELL

The alliance between the mo-
tion-picture theatre and the orches-
tral pipe organ seems indissoluble in
spite of the fact that silent movies
faded into history more than 30
years ago.

The tonal eloquence of the organ
is no longer needed to support the
action on the screen or to intensify
its drama. Why, then, the continued
association of the pipe organ with
motion pictures and the theatres in
which they are shown?

There is no doubt that the richly
varied voices of the theatre organ
exerted a tremendous impact upon
moviegoers in the days when the
audible "voice" of the screen was not
speech, but dramatically keyed mu-
sic. The "silents" were never really
silent, at all!

The silent film, with its character-
istic techniques of photography, act-
ing, and continuity ( with sparing use
of dialogue subtitles ) , was an art in
its own right, and one which attained
a high degree of development before
its demise. The silents were an ex-
travagantly emotional form of visual
story-telling enhanced, ordinarily, by
an equally emotional form of musi-
cal scoring. (Many of our best-loved
"pop" melodies, now classics, were
composed for silent pictures, e.g.
"Diane" written for the 1927 film
"Seventh Heaven" with Charlie Far-
rell and Janet Gaynor.)

Even modern moviemakers of long
experience must admit that the glam-
orous dream-stuff of the silent
motion picture possessed a strange
power to play upon the feelings of
the audience to a degree seldom

4

achieved by the stage-borrowed ec-
lecticism of the talking picture. This,
in brief, is the background of cinema
history which solidly established the
pipe organ — or, at least, fond mem-
ories of the pipe organ — in the mo-
tion-picture theatre.

The silent photoplay will never re-
turn, despite its fluidity, its beauty,
and its music. Tastes have changed.
Modern movies must reflect every-
day realities and communicate ideas
to the mind as well as feelings to the
heart. The exaggerated melodrama-
tics usual in silent pictures would
only be laughed at if presented today
in the rose-tinted elegance of a by-
gone era. But the organ, musical
voice of cinematic never-never lands
of yesteryear, persists even when its
magic is transmitted through the me-
dium of "canned sound."

Use All Types of Music

Although this article is specifically
devoted to the music of the theatre
organ, it should not be supposed that
we advocate the use of organ re-
cordings to the total exclusion of
other kinds. Nothing could be farther
from the truth. Different types of
movie programs require widely dif-
ferent types of overture and inter-
mission music to establish the moods
appropriate to them, or at least to
avoid monotony or musical incon-
gruity.

In general, therefore, the projec-
tionist should exercise a high degree
of musical judgment. An "atmospher-
ic" or intensely dramatic film should
be prefaced by concert-type mood
music, not by twist music or ballads
which are more appropriate to light

International

oomedy-dramas or genre plays of con-
temporary theme. Similarly, western-
type music goes best on days when a
western picture is playing, and is in-
apropos with sea pictures, crime or
mystery films, etc.

A particularly happy combination
of overture music and the current
screen attraction is furnished when
the actual theme music of the picture
is available on a disc. This is rarely
possible with commercial records un-
less the picture is a second-run book-
ing. (It's a mystery to us why the
film companies, themselves, do not
supply movie theme music on records
for use in the theatre with their pic-
tures. This would be especially de-
sirable with musicals and dramatic
pictures having notable incidental
music.)

Vocal numbers are not the best
choice for interval music. Intermis-
sion music is intended only as a back-
ground, not as a major performance
requiring the full attention of the
audience for its appreciation. So no
matter how popular or desirable cer-
tain vocal numbers may be in the
home or in juke boxes, they may
prove distracting in the theatre at
times when patrons either chat with
friends or relax to a pleasing musical
background without being forced to
concentrate on the lyrics of a song.

These suggestions appear to apply
to the great majority of theatres, no
matter whether the interval music for
any specific performance is played
on an organ or by an orchestra, or
features a solo instrument such as the
violin, clarinet, piano, trumpet, or
some other. Even rock V roll and
twist music is not ruled out for pic-

Projectionist February, 1963

tures catering to adolescent audiences,
but the antipathy of most adults to-
ward this kind of music must be taken
into consideration.

We recall a theatre that used the
jazziest, most toe-tapping kind of
barrelhouse piano music imaginable
when "The World of Harold Lloyd"
was playing. The effect was mar-
velous, and perfectly keyed to the
rapid-fire pace of silent slapstick.
(A perfect example of nickelodeon
jazz highly recommended with silent
comedy re-releases is Forum Hi-Fi
33%-RPM record no. F-9002, "Bar-
relhouse with Moe Wechsler.")

This same theatre concentrates on
theatre-organ music most of the time
with good effect; and we are happy
to add that all the recorded music
used in that theatre is selected by
the projectionists.

Theatre Organ for the Theatre

Organ music is peculiarly suited to
the motion-picture theatre because
of the amazing tonal range, versa-
tility, and mood-evoking power of
the orchestral pipe organ. Only the
organ can whimper and coo with
sentimental intimacy one moment,
then blare forth with all the thunder-
ing, trumpeting majesty of a brass
band the next. The Mighty Wurlitzer
is the instrument of a thousand
voices; and of all the instruments
devised by man, it is the one that
trulv glorifies music.

Moviegoers greatly enjoy watching
an organist performing at the con-
sole of a giant pipe organ. But "live"
organ music during intermissions is
a rarity today, inasmuch as most
theatre managements are unwilling
to hire an organist when phonograph
records are so readily available at
little cost. As a result, thousands of
fine theatre organs have been neg-
lected or dismantled; and few of the
theatres built since 1930 ever had
pipe organs in the first place.

Only a handful of the largest and
most famous motion-picture theatres,
such as the Radio City Music Hall in
New York, still spotlight the Mighty
Wurlitzer as an added attraction —
a real treat for moviegoers who
cherish memories of the silents, and
a delightful novelty for those whose
memory does not go back so far.

What is the physical structure of a
giant movie organ capable of sur-
passing a symphony orchestra in
tonal variety and sheer audio power?
How does the "king of instruments"
imitate sound effects ranging from
a whispering breeze and the hoof-
beats of a horse to the roar of a
speeding locomotive and the crashing
of thunder? How is all this audio
mimicry combined with every con-

International Projectionist February, 1963

ceivable musical effect from the
plaintive sobbing of a distant flute
to the brassy fortissimo of a military
band? — and all through the artistry
of a single musician seated at a con-
sole which includes a bewildering
array of keyboards, pedals, and
"stop" tablets? The answer is simply
that an organ is many instruments
combined.

No sound is emitted from the con-
sole of an organ. The console is
fundamentally a complex switch-
board. Even the keys of the key-
boards are switches which operate
electromagnets and pneumatic valves
in the distant organ chambers con-
taining, in addition to thousands of
pipes, such percussive attachments
as xylophones, chimes, celestes,
drums, and pianos.

Theatre organs are classified in
various ways as, for example, the
number of kinds, or "ranks," of
pipes and the number of keyboards,
or "manuals," in the console. In ad-
dition to the manually played key-
boards, every organ has a pedal key-
board played with the left foot. The
pedals supply the deep, resonant bass
notes which accent the rhythm of the
music. The organist's right foot works
the "swell pedal" which regulates
the volume of the sound. Since
organ pipes "speak" under constant
wind pressure to maintain true pitch,
the swell pedal actually only oper-
ates a series of shutters which open
up or close off the chambers in which
the pipes are housed. There may be
several swell pedals for different
parts of the organ, and there are
"effect pedals" for cymbals, drums,
traps, gongs, etc.
Complexity of a Theatre Organ

Above the keyboards of an organ
are rows of tabs called "stops."
These are marked with the names of
various solo instruments and dis-
tinctive organ voices. One may be
labelled "violin," another "French
horn." another "melodia," another
"dulciana." and so on. Also indicated
on the tabs is the musical pitch of
each stop on the basis of 8 feet for
the open diaposon pipe sounding the
lowest note of the keyboard in "uni-
son pitch" — the pitch of a particular
"C" when the pipe is sounded by
pressing the lowest key.

Ranks of pipes pitched an octave
lower than unison are designated 16
feet, those an octave higher than
unison. 4 feet, an octave higher than
this. 2 feet. In addition, there may be
5 1 /3. 3 1/5. 2 2/3, 1 1/5, and 1 1/3
foot stops that sound various G's
and E's when a C is pressed on the
keyboard. These modify the tone
by adding new harmonics to the
sound. The warm and vibrant tibia

quint, for example, sounds both C
and the G next above at the same
time! The organist can couple to-
gether as many tones and pitches
as he desires in order to obtain
distinctive "registrations." Hun-
dreds upon hundreds of registra-
tions are possible on a large organ.

An organ contains thousands of
pipes, the largest ones 16 or 32 feet
in length and the smallest ones no
larger than penny whistles. Indeed,
an organ is fundamentally a colossal
agglomeration of horns and whistles
together with bells, chimes, harps,
vibraphones, pianos, bass drums,
snare drums, cymbals, gongs, Chi-
nese blocks, castanets, etc. Each of
these is controlled by a stop tab or
effect pedal in the console. The organ
is thus a veritable one-man band
which can be made to sound like
almost anything imaginable, and is
capable of effects no other instru-
ment can give.

All of the pipes and percussives of
a theatre organ are housed in large
rooms, called organ chambers,
which open into the auditorium
through the volume - controlling
"swell shutters" behind ornate grilles.
The audience, accordingly, never
sees the organ, itself, but only the
organ-controlling console which the
organist manipulates.

All of the pipes of a theatre organ
are behind swell shutters, but a
classical organ has rows of large
diapason pipes exposed to view.
These cannot be controlled as to
the volume with which thev are
beard, and are generally played from
the lowest keyboard of the console,
called the "great organ." The second
kevboard of a church organ plavs the
enclosed pipes, and is called the
"swell organ" because its loudness
may be controlled with the swell
pedal. This old terminology is re-
tained in theatre organs even though
any stop may usually be plaved
through any keyboard. When there
are four manuals, the third is called
the "solo organ," and the fourth,
the "echo organ."

Tbe theatre organ is characterized
by the distinctive instrumental tone
dualities of its stops. Many of its
pipes are much too piquant in tone
for anv other kind of organ. Then,
too. a church organ is usually played
with unmodulated wind pressure,
which results in a steady, rather
monotonous tone. The theatre organ
is nearly alwavs "tremulated" by
means of a vibrato control. This
varies the wind pressure in a gentle
3 cycles-per-second rhythm. The rich
expressiveness of tone provided by
the vibrato contrasts amazingly with

the heavy, dull monotone of the
classical organ.

The wind pressure needed to make
an organ pipe speak is not very
great. But in order to provide ade-
quate pressure in all the wind chests
at all times, permitting the full
organ to be played, a large motor-
driven blower is required. This is
usually located in the cellar of the
theatre, the wind being conducted
into the wind chests of the organ by
air-tight conduits.

Variety of Organ Pipes

A glance into an organ chamber
will disclose rows upon rows of pipes
in great variety. Some look like con-
ventional diapason pipes, others are
gently tapered, some look like trum-
pets, while still others are square
wooden pipes. Each row is evenly
graduated in the length of its pipes
from the tallest giants down to the
tiniest ones the size of lead pencils.

Tin is the preferred material for
pipes of the "string" class — the
violin, viol d'amour. cello, aeoline.
dulciana. gamba, viola, salicional.
voix celeste, etc. Not ordinary tin-
plated iron, but pure block tin. Other
materials include brass, copper, lead,
zinc, and wood for both "flue" and
"reed" pipes, the latter having vibrat-
ing reeds to produce the tone.

All of the "flutes" in an organ are
flue pipes which have no reeds, but
venerate a vibrating column of air.
Some are open at the top, while
others, an octave lower in pitch for
the same length, are closed off at the
top by stoppers. Among the organ
flutes we find the orchestral flute,
piccolo, melodia. and the soulful
tibia, which is a stopped wooden
pipe very characteristic of the the-
atre organ — intimately "throaty"
and "cooing." and often played solo
during tear-jerking scenes in silent
movies.

A large part of the organ, however.
is made up of the reed pipes of
many shapes and sizes. These range
from the powerful stentorphone to
the delicate vox humana, and include
the trumpet, cornet, trombone, clari-
net, bugle. French horn, English
horn, muted horn, basoon, concertina,
tuba, saxophone, and a whole familv
of organ oboes.

If the organist wishes to play a
passage of music "full organ," using
all of the ranks coupled together, he
does not have to reach up and flick
all of the stop tabs. He has only to
touch a pre-set button under the key-
board— and so with all other stop
registrations he may have selected
beforehand for each of the key-
boards.

"Theatre-Organ Style"

In general, theatre-organ music is
distinguished from other kinds by
its variety, use of the vibrato, open
harmony, accented rhythm, and by
a legato solo-type melody with glis-
sandos to provide melting, gliding
transitions from one note to an-
other. The late Jesse Crawford, re-
nowned self-taught organist at the
old Chicago Theatre in silent-movie
days, probably did more than any
other organist to develop the char-
acteristic style of theatre-organ
music.

The theatre organ is often called
the "Mighty Wurlitzer" because
Wurlitzer pipe organs were acknowl-
edged leaders in the field. But there
were many others, just as there
used to be a dozen makes of projec-
tors on the market in more pros-
perous days. The Robert Morton
organ, for example, was considered
one of the very finest. The tonal
beauty of its strings, tibias. and
melodias has never been surpassed.
Then there was the Marr & Colton.
the Barton. Kilgen. Moller, and Kim-
ball. Some of the orchestral organs
used in theatres were modest 6- and
7-rank jobs; others were 20- and
30-rank giants. The Radio City Music
Hall Wurlitzer. mightiest of all.
comprises 58 ranks of pipework
housed in eight large organ cham-
bers !

The fascinating musical magic of
many famous theatre organs, includ-
ing the Music Hall colossus, is avail-
able via SS^-RPM phonograph
records, both monaural high-fidelity
and stereophonic. And before com-
menting on the content of some of
these records, the writer wishes to
transmit a word of warning to the
unwary.

Warning No. 1. Quite a few phono-
graph records in the low-price cate-
gory are inferior soundwise and,
worse, are mislabeled and pirated.
Special attention is directed to a
long-play record titled "Organ Fan-
tasies— Jesse Crawford." This in-
cludes ten selections, five of which
are played on an electronic organ by
God-knows-whom, and the other five
are re-recordings of the Keith Me-
morial pipe organ in Boston played
by John Kiley. The record jacket
states specifically that this is all the
music of Jesse Crawford — which is
simply not true. Kiley's playing, by
the way, has also been reissued on
other discs as the work of "Merlin."
Caveat emptor! — "Let the buyer be-
ware!"

Warning No. 2. An electronic
organ is not an orchestral pipe
organ. No electronic organ ap-

proaches the theatre organ in tonal
range, versatility, and beauty. The
pipe organ has both sweetness and
majesty; the electronic organ lacks in
both qualities. No matter how skill-
ful the organist, no matter how
closely certain pipe-organ effects are
imitated, the synthetic character and
musical limitations of the electronic
organ are always apparent. This is
a point worth keeping in mind, inas-
much as several famous organists
have recorded on both types of in-
strument, and the record labels do
not always tell which has been used.
Only true orchestral pipe-organ re-
cordings are reviewed below. Never-
theless, we recognize the importance
of the electronic organ in its own
field, particularly for novelty jazz.
One of the most "organ-sounding"
electronic-organ recordings we have
heard recently is "Organ Songs We
Love" played by Eddie Baxter on the
lowrey Organ. I Dot DIP-25435.
stereo. ) It is very good and suitable
for theatre use. but it is still an
electronic organ.

A Few Long-Play Pipe-Organ

Records Suitable for the

Theatre

Note: Records are rated for their
suitability for theatre use as follows.
*** Just great. ** Pretty good.
* Only fair, or of limited useful-
ness.

*** POET AT THE PIPE ORGAN,
Jesse Crawford. Decca DL-8565 (mon-
aural). Irving Berlin's best oldies master-
fully interpreted by the late Jesse Craw-
ford at his finest. The sensitive artistry
of the "poet of the organ" is displayed on
the Lorin Whitney Studio Pipe Organ.
(Needle-tracking difficulties have been
noted with this disc if the record player
is not perfectly level.) Highly recom-
mended.

** THE SOUND OF JESSE CRAW-
FORD, Jesse Crawford. Decca DL-4028
(monaural). Broadway and movie show
tunes of more recent vintage styled by the
inimitable Crawford in a somewhat slow
and pensive tempo.

** OVER THE RAINBOW, Jesse Craw-
ford. Decca DL-8984 (monaural). A
treasure chest of dreamily romantic Craw-
ford stylings of older popular stand-bys.
Crawford's tempo is terribly slow, unlike
his playing 30-some years ago. Hear this
record and use your own judgment as
to the film programs suited to its use.

* GOLDEN OPERA FAVORITES, Jesse
Crawford. Decca DL-4301 (monaural).
An impeccable disc, but accorded only one
star here only because as it seems just
a mite too "classical" for routine use in
the theatre. It comprises well-known melo-
dies from grand opera (whence come some
of our very best tunes), and is suitable
for a subdued dramatic mood. If you ap-
preciate a very fine pipe organ played by
a real maestro, listen to this one whether
you play it in the theatre or not !

** PIPE ORGAN MAGIC, Jesse Craw-
ford. RCA Camden CAL-300 (monaural).
Wow, get a load of that slinky siren on
the jacket! No, Jesse Crawford didn't
look anything like that. She must be the

International Projectionist

February, 1963

goddess of the organ materialized for our
visual delectation.

The jacket doesn't say so, but this
interesting disc is a re-recording of Mr.
Crawford's 78's made on the old Victor
Orthophonic label more than 30 years
ago. You will hear perennial pop tunes
in Crawford's old-time '"movie" style on
the Chicago Theatre Wurlitzer. I compare
this disc with the original 78's in my col-
lection, and found the re-recording job
well done. Some of the songs, not often
heard nowadays, are certain to awaken
memories.

*** COMMAND PERFORMANCE,
George Wright. Life L-1006 (stereo). IP
has received many requests for the titles
and catalog numbers of Wright's organ
recordings, making it apparent that IP's
projectionist readers have an ear for the
very best in organ music. Yes, George
Wright is universally considered to be one
of the best theatre organists of all time.
His playing is dramatically exciting, tonally
varied, and gorgeously phrased. Under
the enchanting spell of his artistry, the
organ comes to life and speaks with the
voices of celestial orchestras. How can
one artist, with only two feet and ten
fingers, summon forth such audio magic
from the pipes of the organ? Well, it's
nothing short of genius — the genius of a
master musician who possesses the heaven-
sent ability of translating mood and feel-
ing into audible terms. COMMAND PER-
FORMANCE is Wright at his best, but
no better than he is in the following discs,
also highly recommended. George Wright
is always at his best — and the best of all!

*** GEORGE WRIGHT PLAYS THE
MIGHTY WURLITZER PIPE ORGAN,
George Wright. Hifirecord R-701 (stero).
Like the foregoing and the following
George Wright recordings, this is also
available on a monaural long-play disc and
on stereophonic tape.

*** GEORGE WRIGHT ENCORES AT
THE MIGHTY WURLITZER PIPE
ORGAN, George Wright. Hifirecord R-702
(stereo) .

*** GEORGE WRIGHT'S SHOWTIME,
George Wright, Hifirecord R-708 (stereo).

*** THE GEORGE WRIGHT SOUND,
George Wright. Hifirecord R-710 (stereo).

*** THE ROARING 20'S, George
Wright. Hifirecord R-718 (stereo).

*** THE GENIUS OF GEORGE
WRIGHT, George Wright. Hifirecord R-
713 (stereo).

*** HAVE ORGAN WILL TRAVEL,
George Wright. Hifirecord R-721 (stereo).

*** THE MIGHTY WURLITZER RE-
MEMBERS THE GOOD OLD SONGS,
Leonard Leigh. RCA Victor LSP-1795
(stereo). The Mighty Wurlitzer sure goes
to town when Minneapolis' Leonard Leigh
tickles the keyboards! Talk about organ
magic — this one is pure musical sleight-
of-hand ! The giant organ sheds its majesty
and romps to toe-tapping glorifications of
pre-World War I jazz. Sheer delight.

** GREAT LOVE THEMES, Dick Lei-
bert. Reprise R-6037 (monaural). Dick
Leibert needs no introduction. One of the
greatest of theatre organists, he has been
staff organist at the Radio City Music
Hall for many years, and is also well
known for his RCA Victor organ records
and his many organ recitals throughout

the country. In this record he treats us
to some of the most famous love music
of all time — themes from the classics
which have been turned into popular
melodies. Beautifully played on the great
Radio City Music Hall Wurlitzer Organ,
but just a tiny bit too "serious" to show
off the tremendous tonal resources of that
famous organ with solo registrations. High-
ly recommended for a serious dramatic
mood.

*** THE FAMOUS RADIO CITY
MUSIC HALL ORGAN, Ashley Miller.
Columbia CS-8230 (stereo). Ashley Miller
and Dick Leibert are equally talented
organists, but in this disc Miller dis-
plays the tonal possibilities of the world's
mightiest Wurlitzer to better advantage
because his selections are more varied
than Leibert's in the preceding record.
Organist Miller's artistry treats us to
glorious renditions of both old and new
pop tunes on one side of this beautifully
recorded disc, to exciting "theatrical"
waltzes on the other.

*** GUS FARNEY AT THE GIANT
FIVE -MANUAL WURLITZER PIPE
ORGAN, Gus Farney. Warner Bros. WS-
1409 (stereo). Sometimes jazzy, some-
times sentimental, this disc is just about
the best sampling of real theatre-organ
music you can get. And no wonder! Gus
Farney was employed by the Wurlitzer
people in the days of silent movies to
perform the Opening Night Concert at
the new Wurlitzer Organ installations.
Master Organist Farney's musical magic
can now be yours for the price of a record.

(Continued on Page 14)

c^d^SrS

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What it does

(Patent Vending)

Trademark registered and copyrighted. Patent applied for.
The C. S. Ashcraft Mfg. Co., Inc.
36-32 Thirty Eighth Street, Long Island City, N. Y.

WHAT the Ashcraft CORE- LITE Arc Lamp
does, makes more sense than HOW it does it.

So, ask any National Theatre Supply Com-
pany man to tell you WHAT the Ashcraft
CORE-LITE Arc Lamp does and he will give
you an earful of facts.

Like this. The CORE-LITE will increase your
screen side-lighting 75 to 1QO% . . . and can
prove it!

Or like this. The CORE-LITE will save more
carbons than you can shake a stick at. 35%
savings can be expected, 50% is not unusual.

And he will prove it in indoor or drive-in
theatres, using existing screens and lenses.
Call or write him NOW!

International Projectionist February, 1963

Projectionist Profile . . .

Ernest Lang Secretary of Local 306,
A Dedicated Man to the Labor Movement

New York's Moving Picture
Machine Operators Union Local 306
rates high among the unions where
the rule is democracy. And the major
credit for that is Ernest Lang, elected
secretary in 1947, and his stalwart
fellow members. Just to name a
few, Harry Garfman, Steve D'Inzillo,
respectively business agents for
Brooklyn and New York.

Ernie Lang's other religion is the
labor movement. He's an idealist
where the union brotherhood is con-
cerned. He told his interviewer "that
the union movement should be free of
corruption, bossism and dictators and
self-seeking leaders or officers."

Lang's door is open to 306 mem-
bers, and the members can have their
say or gripes at the business meet-
ings.

In the old days of the local that
was not the case. The leaders took
control and the members could like
or not. Lang became actively en-
gaged in the struggle in Local 306.
His aim was to destroy these evils
and all the benefits for the member-
ship of a democratic ruled union with
sincere and honest officals. Ever
since Lang's membership in 306 — he
joined the Local in 1933 — he has
studied the labor movement by taking
extra courses, so his union dedication
is honest and real.

He was on the executive board of
306 before he was elected secretary.
Now he is responsible for the Welfare
and Pension Funds (over $2,000,-
000), negotiation of new contracts
and the busy business of the Local.
Under his leadership not a cent rides
on the Funds.

Lang gets to his office at 262 W.
50 St. at 9 a.m. and he is lucky if
his quitting time is 10 p.m. One
time this reporter was in Langs
office the wife of a projectionist who
was a member of 306 told Ernie
about her family troubles and wanted
Lang to speak to her husband to be
more careful and considerate of his
wife and their children. That same

BRIGHTER LIGHT
LONGER BURNING
SHARPER PICTURE
Free Test Samples J

day a member got Lang on the phone.
It seems he got a divorce and wanted
to change the beneficiary of his 306
death benefit.

Ernie Lang has joined numerous
fraternal and charitable organiza-
tions. The Projectionist Square Club
is giving Lang a Gold Card for his
activity in the Club.

He instituted the Will Rogers Hos-
pital donation whereby carbon drip-
pings yield hundreds of dollars a
year to Will Rogers Memorial Hos-
pital and Research Laboratory. Lang
devotes his time to the campaign to
get the copper from the odds and
ends of the carbon from the city's
theatre booths. His friends in the
Local collect the carbons from Man-
hattan, Brooklyn and Queens on their
own time. He is very proud of the
plaque on which Will Rogers gave
him a citation.

Local 306 operates with a part-time
president since 1959. Ernie Lang,
Harry Garfman and Steve D'Inzillo
comprise the working executives.
They had the foresight 10 years ago,
when television was raising hell with
theatre attendance, to slow down on
new members. As a matter of fact
now, on a membership of 16,000,
about 70% of the membership is
above retirement age.

That's why the contract in 1962
with theatres Local 306 negotiators
insisted on raising from 10% to
15% for the welfare and pension
funds. Incidentally that 1962 pact
6-year raises the vacation from two
weeks to three weeks in 1964, with
a 5% increase in wages.

About half of Greater New York
theatres have closed since 1950. With
a sick industry, the 1962 contract
was all the 306 membership could
expect, and without a strike, in which
the projectionists would lose pay;
the unions around the country have
congratulated the negotiators.

Ernest Lang's forebearers were
Hungarians. He went to public grade
and high schools in New York City
and had two years of college. When

ninf* ff?»nf»T» wi'iwwtt*

Ernest- Lang

he was in college he worked as a
reel boy and as a projectionist in
theatres in Manhattan, Brooklyn and
Queens. His favorite hobby is hunt-
ing for deer. He can prove that he's
a good shot by the mounted antlered
buck which adorns his office.

iP

Ruth E. Sherman,

Official of IP, Dies

NEW YORK— Ruth E. Sherman,
widow of Harry I. Sherman, past
president of the 25-30 Club, New
York, and long-time official of
IATSE locals in the New York area,
died recently. Operating Internation-
al Projectionist for many years fol-
lowing the death of her husband,
Mrs. Sherman was serving as a con-
sultant and official of IP at the time
of her death.

iP

William J. German,
Industry Film Veteran,
Will Retire This Year

NEW YORK— William J. German,
an associate of the Eastman Kodak
Co. for the last 57 years and since
1922 a distributor of professional
film to the industry, has announced
that he will retire at the end of 1963.

It is expected that at that time the
distribution of its films will be con-
ducted directly by Eastman Kodak
Co. Eastman expects to continue to
operate from the New York. Los
Angeles, and Chicago metropolitan
areas, with no substantial change in
operational methods. The many users
of Eastman film who purchased film

WM»^^«4

CARBONS INC., BOONTON, N. J.

[tf..»....t|1|fr.... , ,

STEADIER LIGHT
LESS ATTENTION
PERFECT COLOR BALANCE
Free Carbon Chart

International Projectionist

February, 1963

>fc .^

through German will be able to do so
in substantially the same fashion
from Eastman.

Mr. German was first associated
with Eastman in 1906 and in 1922 he
joined the late Jules Brulatour as the
distributor of Eastman raw film to
the nation's motion picture produ-
cers. Jules Brulatour, Inc., was form-,
ed in 1924 with Brulatour as presi-
dent until his death in 1946. At that
time German succeeded as president.

In 1952 German negotiated the
purchase of Brulatour interests and
incorporated two firms under his own
name in Fort Lee, N. J., and in Cali-
fornia. German's firm continued as
supplier to the motion picture indus-
try and captured a large slice of the
burgeoning television business. He
also supplied film for commercial
users and to the U. S. government.

Well-liked throughout the industry,
he was frequently honored by trade
groups for the contributions, both in
time and money, to charity and wel-
fare organizations.

In his 41 years of direct associa-
tion with the motion picture indus-
try, German has become one of its
most widely known and prominent
figures. He has been honored in New
York and in California by industry
and trade groups as well as industry
charity and welfare organizations.
He has been closely affiliated with
a host of humanitarian activities.

His business is not limited to the
motion picture industry since film
was sold and distributed to the bur-
geoning television industry from its
outset, as well as to industrial con-
cerns and governmental agencies.
Shipments were made to practically
all of the states of this country.

In the years that German has been
associated with the motion picture
industry many wide changes took
place. He spanned the era of the
silent pictures, the advent of sound
pictures, the second World War, and,
finally, television. When the first
distributed film there were essentially
two kinds of black and white film
available. Today. W. J. German.
Inc., carries in its inventory more
than three hundred different kinds of
Eastman black and white and East-
man color films, and upon special
order can make available to its users
about 50 additional kinds of Eastman
films.

Looking back over the years, Ger-
man commented that his biggest re-
ward during his years in business
was in the many friends which he
made.

"These years have been rich and
rewarding for me because of the won-
derful people I have come to know

International Projectionist February, 1963

and who have become my friends,"
German said. "These were people
with extraordinary imagination and
genius who enriched the lives, and
are continuing to enrich the lives of
all of us in this country and abroad.
They utilized the technology and the
scientific advances available to them
to create the greatest form of enter-
tainment yet developed by man which
is able to be shared by so many
people. Movies, from the days of the
silent pictures to the present, continue
their magical hold on all people of
all nations. I am optimistic that in

the future, as in the past, the movies
will continue as a great source of
entertainment and influence through-
out the world.

"From the beginning of the motion
picture industry in this country,
Eastman Kodak has made significant
contributions throughout the years to
the progress of the industry through
its great products. The future holds
as much promise as the past in the
development of film products by the
Kodak Co. Eastman films will be
better than ever in the years to

come," he concluded.

iP

■ ■■:;- V:*-' *:":
JWV<

TIP1

SPEED

IN PROJECTION

Kollmorgen lenses rate tops in the motion
picture industry. Used exclusively with
Cinerama, they are standard equipment
in more than 70% of American theaters.
High light uniformity and less light loss
on the screen — the whole screen — are typ-
ical of the outstanding performance of
super snapliteB1 lenses.

Other advantages that add up to supe-
rior screening with super snaplite are:

Wire sharp contrast
Uniform illumination
Crystal clarity

Wide range of focal lengths
Sealed construction

II :

4,

Bulletin 222 describes Kollmorgen
lenses in detail. See your equip-
ment dealer, or write us direct.

CORPORATION

NORTHAMPTON, MASSACHUSETTS

Century Projector Announces New
Series of Projectors, Sound Systems

NEW YORK— A new series of Di-
rect Drive projector mechanisms and
sound reproducers, to be known as
Series M. has been made available to
the theatre trade by Century Projec-
tor Corporation.

THE
VERY.FJUSEST

PROJECTOR
' PARTS i

4635 WEST LAKE ST., CHICAGO, ILLINOIS

PROJECTIONISTS
PREFER

ETHYLOID

Film Cement For
BEST RESULTS

Available from
Supply dealers

FISHER MFG. CO.

1185 Mr. Read Blvd.
Rochester, N.Y.

10

Frank E. Cahill, Jr., Century's dis-
tribution vice president, stated that
the mechanisms are completely new
in design and that both the projector
mechanism and the sound mechan-
isms were designed to complement
each other and will not be marketed
separately. Sold as a combination.
Cahill stated, the mechanisms "are
the answer to the industry's long felt
need for an integrated direct drive
assembly."

Proved Gear Arrangement

The background and history in the
development of the gear arrangement
which has proven to be reliable over
25 years of operation were comment-
ed upon by Cahill, who said that the
present day sound reproducer is an
addition to the motion picture pro-
jector, not a part of a complete and
logical mechanical design.

The speeds of the several shafts
in projectors and sound reproducers
now in use were dictated by the de-
sign of the original hand-cranked
projectors and were never intended
for motorized operation. Also is the
fact that motion picture projectors
were operated at 16 frames per sec-
ond and then increased to 24 frames
per second without adequate re-de-
signs of bearings, shafts, etc. to with-
stand the increased motorized speeds.
A large number of these projectors
are still in use.

All this has been taken into con-
sideration in designing the new Cen-
tury direct drive projectors. Cahill
said.

At the recent Allied-Tesma conven-
tion in Cleveland, Century Projector
Corp. introduced and displayed this
new arrangement for coupling the
projector mechanism and sound re-
producer together. This new drive
incorporates additional features
which result in optimum quietness
with stable, vibration-free perform-
ance, safe and dependable operation.
Cahill added.

Easily Adapted

The New Century drive is said to
be easily adapted for interlock or
synchronous operation with separate
sound reproducers or interlocked to-
gether for 3-D projection. Because
the main drive shaft of the projector
mechanism operates at 1440 RPM ( in
exact synchronism with the shutter
shaft ) interlock motors are easily
attached with simple 1:1 pulleys.

Because of the direct drive coupl-
ing between the mechanism and the
sound reproducer in the new series it
is no longer necessary to utilize a
timing belt drive between the motor
and reproducer, nor from the repro-
ducer to the projector mechanism.
Therefore the requirements for stable,
quiet mechanical operation are ful-
filled without troublesome multiple
gear trains, excess gears and extra
belts.

Analysis of features

( 1 ) Direct Drive Projector Mech-
anism

( a ) The PROJECTOR Main Drive
Shaft Speed is now 1440 RPM
( same as the Shutter Shaft I .

( b ) Good mechanical designs dic-
tate that high speed gears driving
low speed gears are advantageous
for many reasons. In other words,
speed reduction should be used
whenever possible.

The new Century gear arrangement
progresses with mechanical stability
from the motor, operating at 1765
RPM. to the main drive of the projec-
tor at 1440 RPM. Then a step down
in speed to the vertical shaft that now
e tends not only upward through the
projector but also downward through
a flexible, isolation, coupling to the
sound reproducer. This vertical shaft
running through the mechanism and
siund reproducer rotates at 720
RPM. At the several sprocket shafts
the speed is further reduced to 360
RPM which is standard sprocket
speed for 35mm projectors using
standard 16-tooth sprockets.

( c ) Because of the direct drive
coupling between the mechanism
and the sound reproducer it is no
longer necessary to utilize a timing
belt drive between the motor and
reproducer, nor from the repro-
ducer to the projector mechanism.
Therefore the requirements for
stable, quiet mechanical operation
are at last fulfilled without trouble-
some multiple gear trains, excess
gears, extra belts, etc.

The Poly "V" belt incorporates six
parallel "V" tracks running in space-
saving pulleys especially grooved to
mate precisely with the belt ribs.
Thus the advantages of the smooth-
ness of "V" belt drives is combined
into 6 "V" belts operating together
to give greater power efficiency and
additional smoothness. Because the
Mechanism is driven directly from
the motor through the belt, fluctua-
tions in load from the intermittent
movement, sprocket shafts, etc. are
not reflected to the sound reproducer.

iP

International Projectionist

February. 1963

Norelco, Ballantyne Sign Agreement
For Distribution of FP-20 Projector

A major theatre equipment sales
agreement has been announced be-
tween North American Philips Com-
pany, Inc., New York City and Bal-
lantyne Instruments & Electronics,
Inc. of Omaha, Neb., electronics di-
vision of ABC Vending Corp.

Ballantyne will become the major
distributor for the Norelco Model FP-
20 35mm projector.

The announcement was made by
Niels Tuxen, general manager, Mo-
tion Picture Equipment Division of
North American Philips and bv J-
Robert Hoff. executive vice president
of Ballantyne.

Projectors to Ballantyne

The agreement calls for the pur-
chase by Ballantyne of a large num-
ber of Norelco 35mm projectors.
Norelco. in turn, will purchase from
Ballantyne certain assemblies and
sub-assemblies for its projector line
which Ballantvne will manufacture to
Norelco specifications.

Ballantyne will use the FP-20 pro-
jectors for a lara;e number of indoor
theatres already contracted for. In
addition, the units will be adapted to
accept high intensity lamps for use
:i drive-in theatres.

The Norelco units are considered
to be among the most advanced on
the market today and include the
same engineering features as the
Norelco 70/35mm model. Not only
will the units conform to all Ameri-
can standards, but they will contain
some unique features for positioning
and focusing of all makes of arc
lamps, it was stated.

Curved film gate

FP - 20 features simple driving
mechanisms with a minimum of
transmission. It is said to be easy to
thread with the smallest number of
oarts included in the film path. It
has a curved film gate and is suit-
able for all 35mm films. It has double
soeed. single blade shutters and a
high liffht efficiency, the announce-
ment said.

In addition, the above projector
can be supplied with facilities for
remote focusing and framing. As a
complete unit, the FP-20 incorporates
the optical sound head on the same
base with the proiector mechanism.
Provision is made for a magnetic re-
producer which is supplied as an op-
tional feature.

A water-cooled film gate is said to

eliminate the problem of film buckl-
ing.

Mr Hoff said that the trade will be
supplied under the existing teams ap-
plicable to the sale of this projector.
He also said that within a few weeks
Ballantyne would announce a "revo-
lutionary new concept in the market-
ing of theatre equipment."

iP

PROJECTOR
CARBONS

Better
Light!

Lower
Costs!

RINGSDORFF CARBON CORP. East McKeespor.t, j'a.

How electrical noise is produced . . .
calculated . . . measured . . . controlled

Here are the basic facts about electrical noise — how it originates
in circuits . . . what terms describe it . . . how to measure it . . .
how to design circuits to minimize its undesirable effects. The
physical nature of the various sources of noise are clearly de-
scribed, including such sources as thermal agitation or resistance
noise . . . shot noise in vacuum tubes and semiconductor junctions
. . . noise from spontaneous emission of electromagnetic radiation
. . . and noise in gas discharges. This practical book also explains
auxiliary mathematical techniques, and discusses the relation of
signal and noise in various types of communication systems. For
ease in use, the simple tuned circuit associated with a device for
measuring average power is made the basic tool for analyzing
noise.

ELECTRICAL

270 pages, 6x9
105 illustrations
$10.00

By WILLIAM R. BENNETT

Data Communications Consultant, Bell Telephone Laboratories, Inc.

Each chapter in this helpful book begins in
a simple, practical manner and works toward
more complicated examples. For example, prop-
erties of thermal noise and its relation to black-
body radiation are deduced from basic laws
of thermodynamics and statistical mechanics.
You also will find a clear treatment of elemen-
tary quantum mechanics in discussions of the
maser and of noise in semiconductors. And, in
describing noise properties of various devices,
the book fills in your working background with
basic facts on junction diodes — transistors —
gas discharge tubes— klystrons— traveling wave
amplifiers— and others. Both independent and
dependent noise sources are analyzed.

In addition to the standard theory of noise
figure and its significance, a treatment is given
of the more comprehensive Haus-Adler theory
of noise measure. Throughout, the book stresses
the universality of noise-like phenomena. Noise
formulas for diodes and transistors; noise gen-
eration to meet specifications; design of ampli-
fiers for minimum noise effects— these and many
other topics "are covered. A comprehensive re-
view of noise in the various methods of signal
transmission such as amplitude modulation . . .
frequency modulation . . . and the different
kinds of pulse modulation is included.

CONTENTS

1. General Properties of Noise

2. Thermal Noise

3. Distribution of Magnitudes in Noise Sources

4. Noise in Vacuum Tubes

5. Noise in Semiconductors

6. Noise in Electromagnetic Radiation

7. Noise-generating Equipment

8. Noise Measurements and Techniques

9. Design of Low-noise Equipment

10. Application of Fourier Analysis to Noise
Problems

11. Noise in Communication Systems

INTERNATIONAL PROJECTIONIST

Post Office Box 6174

Minneapolis 24, Minnesota

Please send me a copy of "Electrical Noise"

by William R. Bennett. (I enclose $10.00.)

Name

Address

City & State

International Projectionist February, 1963

11

W. J. Cosby, J. R. Hoff Named
To TESMA Board of Directors

NEW YORK— W. J. (Bill) Cosby
and J. Robert (Bob) Hoff have been
appointed by TESMA president
Larry Davee to the board of directors
of that organization to fill unexpired
terms of two resigned directors.

Cosby will fill the unexpired term
of V. j. (Jack) Nolan of National
Carbon Co. and Hoff is to serve the
unexpired term of Leonard Satz.
Techikote Corp. Both directors re-
signed because of press of business.

Cosby, presently marketing man-
ager, arc carbon products for Nation-
al Carbon Co.. has been with that
company since his graduation from
Purdue in 1950. Cosby matriculated
at Purdue, immediately upon his
discharge from the U. S. Army Air
Corps, in which he served as a bom-
ber pilot in the European Theatre, as
a 1st Lieutenant.

Cosby started with National Car-
bon as a salesman after undergoing
the company's training course, was
advanced to district sales manager
in the Cleveland area. He came to
New York three years ago as national
sales manager for arc carbons in the
theatre division and was advanced
to his present job as marketing man-
ager for all arc carbon products
about a year ago.

Hoff is a veteran in the theatre
equipment manufacturing field and

*tf

'LET'S TWIST"!

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NO GRINDING— NO DIRT

<»»*

IF YOU ARE NOT USING The

"Little Miser" Carbon Saver

YOU are losing several Hundred Dollars

Each Year!

4 Sizes 9-1 0-11 m.m. $3.00 Each
13.6m.m. $4.50 Each

ORDER Now— Start Saving Money $$
(We Suggest 3 In Each Projection Room)

LOU WALTERS

Sales & Service Co.
MOTION PICTURE EQUIPMENT

EV 8-1550

4207 Lawnview Ave, Dallas 27, Texas

is a veteran executive of TESMA.
He was a practicing attorney and
subsequently joined the Ballantyne
Co. as sales manager following World
War II, during which he served in
the Navy. He has been a board mem-
ber, vice-president and president of
TESMA and has served on its board
since TESMA's reorganization in
1946. Hoff presently is executive
vicepresident of the Ballantyne In-
strument & Electronics Co. and a
member of the board of directors of
ABC Vending Co.. the parent com-

pany of Ballantyne.

iP

Radiant Represented
At German Photokina

Radiant Manufacturing Corp.,
world's largest producer of projection
screens for home, school and indus-
try, will again participate in the
International Photokina Exposition,
March 16-24 at Cologne, Germany.

Being introduced for the first time
is a new. low priced tripod screen
with silver lenticular surface. Radiant
pioneered in the development of len-
ticular surfaces and through its
modern, fully automated plant has
now brought the price within most
budgets. The silver lenticular surface
has achieved popularity around the
world because it provides brilliant
pictures over a wide angle of view
both in darkened and partly lighted
rooms. iP

SMPTE SETS MEETING PROGRAM;
LITTLE ON PROJECTION EDUCATION

NEW YORK— A wide range of
motion picture and television techni-
cal topics will be discussed when
scientists and engineers meet this
spring at the Traymore Hotel in
Atlantic City, N. J..' April 21-26. for
the 93rd seminannual convention of
the Society of Motion Picture and
Television Engineers.

Subjects of interest to projection-
ists include:

"Application of Motion Pictures
and Television to Education" under
0. S. Knudsen of Iowa State Univer-
sity.

"New Instrumentation in Tele-
vision" under R. L. Pointer of Ameri-
can Broadcasting Co.. New York.

"New Technology of 8mm Com-
mercial Motion Pictures" under Dr.
C. Loren Graham. Eastman Kodak
Co., Rochester. N. Y.

In a move to accommodate an
increasing number of industrial firms
and government agencies requesting
exhibit facilities at its 93rd Conven-
tion, the SMPTE has. arranged for
an additional 1,500 sq. ft. of display
space.

The equipment exhibit will include
a variety of high-speed and instru-
mentation devices, film laboratory
control and processing tools, tele-
vision cameras, television tape and
film recording equipment, as well
as special motion-picture and tele-
vision devices and 8mm motion-
picture equipment.

Among those manufacturers that
have already contracted for display
space at the convention are the fol-

12

lowing: Animation Equipment Com-
pany; Arriflex Corp. of America:
Bell & Howell Co.; Birns & Sawyer
Cine Equipment Co.: CBS Labora-
tories: Camera Equipment Co.:
Camera Mart; Canon Camera Co. of
Japan; ColorTran Industries; Com-
prehensive Service Corp.; Ehren-
reich Optical Industries; Elgeet
Optical Co.: Filmline Corp.: Oscar
Fisher Co.: Florman & Babb, Inc.:
Hi-Speed Equipment Co. ; Hollywood
Film Co.: Houston-Schmidt. Ltd. of
Canada: Lipsner-Smith Corp.; Mag-
nasync. Inc. ; Motion Picture Enter-
prises; Photo-Sonics, Inc.; Precision
Laboratories; Quick-Set. Inc.; Shiba
Electric Co. of Japan; S.O.S. Photo-
Cine-Optics; Sylvania Electric Pro-
ducts; Time Automated Mfg.. Inc.:
Wollensak Division. Revere Camera
Co.: and Zoomar. Inc.

IP

Motion Pictures Being
Lost Through Neglect

Large numbers of historically
significant motion pictures are deter-
iorating through neglect. John Flory.
Eastman Kodak non-theatrical film
advisor, told participants at the 92nd
convention of the Society of Motion
Picture and Television Engineers at
Chicago's Drake Hotel.

"Mile after mile of motion picture
film is turned out each year for fic-
tional, informational, and documen-
tary productions," Flory said. "Little
is being done to preserve these im-
portant records of our times. A coor-

February, 1963

International Projectionist

dinated, national program of motion
picture archives is desperately need-
ed."

Flory commended the work of the
Library of Congress, the National
Archives, several private museums,
and a number of government agen-
cies. But he said that these few insti-
tutions could not cope with the econ-
omic and engineering problems
posed by ever increasing numbers of
films.

'"The current output of new motion
pictures in the U. S. is nearly 30,000
per year," he said, "more than double
the number of books published an-
nually in this country."

"We will reach a point-of-no-return
unless orderly channels can be set
up to cope with the problems of
housing, preserving, and cataloging
this material," Flory stated. "The
task is too great for one or a small
number of groups. It must be under-
taken at local, state, regional, and
national levels."

Flory recommended a broad pro-
gram to include : 1 ) efforts to make
archivists more aware of the histori-
cal significance of film; 2) better
dissemination of technical informa-
tion; 3) the development of person-
nel qualified to serve as film archi-
vists; 4) the collection of films by
specialized institutions; 5) the col-
lection and publication of a list of
institutions where films exist; and
6 1 an immediate catalog of films
now held in archives. iP

Harwald Develops
"Coordinator" for
Auto. Film Inspection

A further stride in the automation
of motion picture film inspection and
maintenance is offered in the new
dual-unit "coordinator" developed
by the Harwald Co.. Evanston, 111.,
manufacturer, to increase the effici-
ency and reduce worker fatigue in
film libraries where one man operates
two of the firm's widely used film
inspection and cleaning machines.
The new coordinator unit is designed
to fill the corner created by two
adjacent Inspect-O-Film machines
set at right angles to each other. It
adds to their already ample table
space, keeps a record of the time each
machine has been run, and affords an
indisputable graphic paper record
of an inspected film's physical con-
dition.

When an expert inspector works
by hand he passes the film slowly
through his gloved fingers to "feel"
for tears, thick spices, burned frames,
punch marks, bad sprocket holes —

the machine does all this automatical-
ly by means of jewelled feelers with
an electronic control that stops a
film instantly, without coasting,
whenever such defects appear. Fur-
thermore, it does this many times
faster than the most expert manual
inspector, and much more accurately.

Professional engineering counsel
is offered on all film inspection and
cleaning problems, and on film
library layout and operating routines,
on a non-obligation collect phone-
call basis, to Evanston, 111. Area Code
312, DAvis 8-7070. iP

SOS Has New Front
Projector Editor

NEW YORK— A new way of direct
front projection editing by means of
a small bench or table mounted unit
has been announced by S.O.S. Photo-
Cine-Optics, Inc. This device, mea-
suring 7 in. by 6 in. by 7 in. is said
to project a large image without
flicker or distortion. Called the
S.O.S. Projectola, it is designed for
viewing by a number of persons
simultaneously.

A four element projection lens with
front objective 40mm diameter com-
prises the optical system which has
been coated and corrected for high
illumination and sharp, brilliant
pictures.

The film guiding elements have
grooves for the picture and sound-
track, thus safegarding the film
against damage and ensuring uni-
formly sharp pictures with forward,
reverse or still projection. Little
adjustment is required. The gate
holds the picture in focus at all times.

The S.O.S. Projectola for 16mm
silent and sound films, left to right
operation, including lamp and pro-
jection case sells for $169.50. Re-
winds, rods and a splicing table for
the unit cost $29.95 additional.

iP

MARTIN KIRCHNER

SPRINGFIELD, MO. — Martin A.
Kirchner, 63, suffered a fatal heart
attack while working at the Gillioz
Theatre here. He had been employed
at the Gillioz since it opened 36 years
ago.

Mr. Kirchner was a member of IA
local 447, Springfield, for most of
that time.

Surviving are his widow. Edna M..
two daughters, a brother, two sisters
and two grandchildren.

A. J. Hatch of Strong
Electric Details Xenon
Lamp to Dealers

CLEVELAND— The place of the
new Xenon projection lamp in
motion picture theatres was the sub-
ject of an address by Arthur J.
Hatch, president of the Strong Elec-
tric Corp., before more than 30 inde-
pendent theatre supply dealers at a
special meeting at the Allied-TESMA
TEDA meet at the Sheraton-Cleve-
land. Hatch also presented a low
current economy model projection
lamp. k

The dealers were briefed on the
Strong sales policy, new prices and
discounts.

Cliff Callender, sales manager
discussed the blown arc type lamp
and cold type reflectors. William
White, sales, and Harold Plumadore,
projection lighting engineer, were
also in attendance. A question and
answer session also was on the pro-
gram.

Dealers registered at this special
session included Jack Dusman of
Baltimore; Hal Hornstein of Miami;
George Hornstein, New York City;
Lou Walters. J. H. Elders and J. C.
Skinner, Dallas; Joe Birdwell, El
Paso; Dick Sutton, Des Monies;
William Edmondson and A. E. Geis-
sler. Atlanta; Harold Wayne and
Tom Graham. Charlotte; H. J.
Ringold, Grand Rapids: Roy Smith,
Jacksonville; Vivian Harwell, Birm-
ingham; S. L. Contos. Lou Watke,
and J. E. Miller, Los Angeles; A.
Weiss and N. Lubich, Cleveland; Al
Boudouris. Toledo; Bob Tanker-
sley, Denver; Phil Wicker, Greens-
boro; John Kinney, Detroit; Al
Morton, Houston; Ernest J. Comi
and Peter E. Comi, Boston; Armond
Besse, Montreal. . IP

Norelco

projection
equipment

Available from

leading theatre supply

dealers

North American Philips Co., Inc.

Motion Picture Equipment Division
100 E. 42nd St., New York 17, N.Y.

International Projectionist February, 1963

13

THEATRE ORGAN

** EDDIE LAYTON AT THE MIGHTY
WURLITZER. Eddie Lay ton. Mercury SR-
60105 (stereo). Old and new pops played
on the organ in the broadcasting studio
above the Music Hall, not the giant organ
in the Radio City Music Hall, itself. The
added percussive accompaniment seems
unnecessary, considering the percussive re-
sources of a theatre organ. One of the
numbers ("I'm a Little Teapot") is musi-
cally a mess; another ("Baubles, Bangles,
and Beads") is spoiled by the presence
of low frequencies which may cause
groove-skipping and other tracking diffi-
culties. Most of this record is very good,
however.

PIPES AND PEDALS, Charles Rand.
Coronet CXS-152 (stereo). Classical melo-
dies somberly and unimaginatively styled.
Definitely too "'churchy" for the theatre.
Limited display of organ voices, and no
vibrato is used. As might be expected,
Handel's "Largo," famous showpiecs for
the classical organ, is present, but cut
off in the middle of a bar at the end
of the second side! From the musical
point of view, this is equivalent to de-
capitating Handel, himself. I cannot re-
commend this record, and mention it only
because so many stores have it on their
"bargain" shelves.

** ORGAN MAGIC, Kenneth Lane.
Tops L-1707 (monaural). Standard pop
tunes well played on the Palace Theatre
organ.

*** SOPHISTICATED PIPES, Don
Baker. Capitol T-1171 (monaural). The
famous organist Don Baker has never been
heard to better advantage on a recording.
His superbly masterful stylings are redo-
lent of the dramatic eloquence we associ-
ate with the theatre organ. This is a
thrilling and often haunting evocation of
organ moods on the beautiful Robert
Morton pipe organ, considered by many
to be the finest theatre organ ever made.
Marvelous!

*** AMERICA'S FAVORITE ORGAN
HITS, Don George. Reprise R-6008 (mon-
aural). Meltingly moody interpretations
of older pops very beautifully played by
a master of the theatre organ. Wonder-
fully enjoyable.

* LEON BERRY AT THE GIANT
WURLITZER ORGAN, VOL. 4, Leon
Berry. Audio Fidelity AFSD-5845 (stereo).
The Wurlitzer recorded on this disc is not
exactly a giant, but a rather small one
located in the basement of Organist Berry's
home near Chicago. The great variety of
percussion attachments which have been
added to this organ are overdisplayed,
making the older pop tuns distinctly
mechanical and unexpressive in rendition.

JOHN KILEY PLAYS BIG PIPE
ORGAN, VOL. I, John Kiley. Diplomat
2203 ( monaural ) . Old standards and
chestnuts muddied by "nervous" phrasing
and a tiresomely "quivery" pipe organ
which doesn't seem to be quite in tune —
the "calliope" in the Keith Memorial
Theatre, Boston. Not even one star for
this record.

JOHN KILEY PLAYS BIG PIPE
ORGAN, VOL. II, John Kiley. Diplomat
2207 (monaural). It may be only a matter
of personal taste, but this writer feels that
Vol. 1 (above) is quite enough. Kiley's
phrasing often appears nervously hurried,
and some of the melody chords seem con-
fused. But perhaps the organist is not so
much to blame as the organ. The vibrato

14

from page 7

is so excessively quivery that tonal purity
is lost and some of the pipes sound
slightly out of tune. The music some-
how fails to "communicate," and tends to
become irritatingly tiresome as it goes on
— and on and on.

MAGIC FINGERS OF MERLIN, Mer-
lin. Grand Prix K-141 (monaural). Mer-
lin's fingers are not nearly as magical as
his identity. All the selections on one
side of this disc are duplicated exactly by
numbers on John Kiley's Diplomat 2203,
and all on the other side by Kiley's Diplo-
mat 2207. They are exactly the same. The
out-of-tune vibrato is the same, and this
reviewer's estimation of the music is the
same.

Worse than this, five of Kiley's Diplomat
renditions have popped up on ORGAN
FANTASIES— JESSE CRAWFORD (Spin-
orama S-102). John Kiley may be Merlin,
but he is not Jesse Crawford!

Organ recordings with precussive
accompaniments (bongo drums,
traps, cowbells, rattles, etc.) are not
recommended for use where theatre-
organ solos are desired. In general,
these percussion-accompaniment re-
cords sacrifice musical quality to
show off high-fidelity recording or
the stereophonic effect. These are
"sound samples," not works of music,
and hence generally fail to perform
the functions of music, which are
esthetic, not scientific. There is no
place for these in the theatre.

There may be a difference of opin-
ion with regard to organ music ac-
companied by some other instrument
— a piano, harp, saxophone, harmon-
ica, etc. Many people feel that the
organ is sufficient unto itself, and
that no independent accompaniment
is needed. Pianos and harps, for
example, are built into most pipe
organs, and may be played from the
keyboard by the organist. An inde-
pendent accompanist tends to subdue
the organ because the organist, aware
of the power of his instrument, is
always on guard against "drowning
out" the accompanist. A full organ
played with the swell pedal open is
even louder than a large orchestra!

If you want to try out something a
bit off the beaten track of indepen-
dently accompanied pipe organ, how-
ever, vou mav find ORGAN IN THE
MODERN MANNER by Perry Bur-
gette with trio of pleasing listening
experience. ( Hi-Life HLS-36, stereo. )
It features organ stylings of romantic
favorites with instrumental accom-
paniments sandwiched between the
straight organ solos on the disc. And
there is something strangely be-
witching about the organ — fluty and
celestially remote like music from the
stars. An odd one, but worth trying.

iP

Skouras Building

Theatre in

New York Suburb

NEW YORK — Skouras Theatres
Corp., will build a theatre in Lefrak
City, near Rigo Park, Queens, Long
Island, it was announced by Salah
M. Hassanein. president of the cir-
cuit. The theatre will be located in
the heart of a vast apartment house
complex which is presently under
construction by the Lefrak Organiza-
tion.

According to Mr. Hassanein, the
theatre will be one of the most luxur-
ious showcases ever built in the
metropolitan area. Included in the
plan is provision for roof-top parking
with direct access to the theatre.
The attraction signs will face the
Long Island Expressway. iP

New Brochure

A new brochure on a complete line
of incandescent and carbon arc spot-
lights for theatres has just been pro-
duced by the Strong Electric Corp.
It includes a description and illus-
tration of each model, together with
range of focal length lens system, and
specifications.

A copy will be sent to anyone ad-
dressing a request to the Strong
Electric Corp.. 31 City Park Avenue,
Toledo 1, Ohio. iP

Sound Service Men
Get Wage Increase

Sound service engineers employed
by Altec and RCA this month are re-
ceiving first benefits of a two-step
wage increase negotiated by the
IATSE general office. The raise
amounts to $5 per week for 1963. to
be followed by another $2.50 in
1964. That will bring the minimum
weekly pay of IA sound men to
$160.

The automobile allowance has been
increased from 7c to 8c per mile.
Special meal periods have been pro-
vided, and the clause covering com-
pensation for work on holidays has
been strengthened.

The contracts with Altec and RCA
normally become the pattern for
later settlements with other sound
service companies. iP

MONTHLY CHAT

(Continued from Page 3)

of today's new developments in
screen presentation. It's time for the
film industry to launch a public rela-
tions campaign to recognize the the-
atre projectionist as an important
man in the film house. iP

International Projectionist February, 1063

» AUTHORITATIVE
» COMPREHENSIVE
» PRACTICAL

Acclaimed by leading technicians in
the industry as the most comprehen-
sive and down-to-earth handbook pub-
lished to date on the subject of motion
picture projection. Ideally suited for
study and reference by your opera-
tors.

ROBERT A. MITCHELL'S

MANUAL OF PRACTICAL PROJECTION

HANDY 51/2" x 8l/2" SIZE — 450 PAGES

ILLU STRATED

CROSS INDEXED FOR EASY REFERENCE

*k Here is one of the most help-
ful works ever published for
the motion picture projection-
ist. A handsomely bound and
profusely illustrated compila-
tion of the BEST of the Robert
A. Mitchell articles that have
appeared in "International
Projectionis t," revised,
brought up to date.

* The author covers clearly
and thoroughly every aspect of
motion picture projection, pre-
senting his material in easily
understood language — not too
technical, yet technically ac-
curate. The Manual is divided
in 8 sections and contains 30
chapters — a valuable refer-
ence work no progressive pro-
jectionist should be without.

!

SECTION HEADINGS

(1) 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 * USE THIS HANDY FORM

INTERNATIONAL PROJECTIONIST
Post Office Box 6174
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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

$6.oo

per copy
including postage

CITY

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International Projectionist February, 1963

15

WHY PAY 25%
MORE FOR
PROJECTION
LAMPS AND
RECTIFIERS?

SAVE BIG MONEY

PROOF:

(See any published list prices of all makes)
on

LOW CURRENT • HIGH INTENSITY

PROJECTION LAMPS
AND BI-POWR RECTIFIER

See Your Independent Theatre
Supply Dealer Today or send for
details on this complete booth

equipment

BY FAR THE LOWEST IN COST

and having every desirable
feature, is

WORTH MANY TIMES THE PRICE

YOU GET MORE LIGHT
AND RADICALLY CUT
OPERATING COSTS

Here's why:

-Ar Burns a 20-inch (not just a 17%") black 11 mm. positive carbon
at 85 amperes, consuming only 7 inches per hour, insuring 214
hours' operation at only 15.7c per hour. Projects about

10% MORE SNOW WHITE LIGHT
than lamps burning 8 mm. copper coated carbons at 70 amperes,
which costs 23c per hour.

• OBTAINS SCREEN UNIFORMITIES OF UP TO 100%

• FULL 18-INCH DIAMETER REFLECTOR.

An Optical System Acknowledged To Have No Peer In Efficiency.

• Both positive and negative drive motors are Bodine geared
head— the finest. Each motor has a separate feed controL

ELECTRIC CORPORATION

31 City Park Avenue • Toledo I, Ohio

The World's Largest Manufacturer
of Carbon Arc Lamps

ALWAYS FIRST

with new and efficient developments.

INTERNATIONAL

iitilMP

j*

Daniel Rehklau and Art Partis of IA Local 228 check Strong Electric Corp. lamps — Story on page 8.

(X896°) UOTSTAXa *z>vzo
sssj3uoo jo iCiBiqx'i

MARCH
VOLUME 38

40c A COPY

1963
NUMBER 3

$3.00 A YEAR

SHARP NEGATIVES RATE SHARP PRINTS! That's the only way to get and hold audience attention-to
do full justice to a script. Answer: Go Eastman all the way— negative and print-stock. And give the
print-maker time to do his job right. Also, in the case of questions— production, processing, projec-
tion—always get in touch with Eastman Technical Service.

For more information, write or phone: Motion Picture Film Department, EASTMAN KODAK COMPANY,
Rochester 4, N. Y. Or— for the purchase of film: W. J. German, Inc. Agents for the sale and distribution
of Eastman Professional Film for Motion Pictures and Television,
Fort Lee, N. J., Chicago, III., Hollywood, Calif.

EASTMAN FILM

International Projectionist March 1963

INTERNATIONAL

PROJECTIONIST

Including a special Audio-Visual section relat-
ing to the operation and maintenance of A-V
equipment in the educational and industrial
fields.

Volume 38 March, 1963 No. 3

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO
Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue, New York 17, N. Y.

Telephone Murrayhill 7-7746

(Area Code 203)

IN THIS ISSUE

Arc Lamps and Power 4

By ROBERT A. MITCHELL

The Cover Story 8

Theatres arrd Pay TV 10

Letters to the Editor 12

New Cinerama Theatre 15

"Talaria" for Pay TV 16

News Notes — Technical Hints — Miscellaneous Notes

INTERNATIONAL PROJECTIONIST, published monthly by the
International Projectionist Publishing Co. division of The
Northern Publishing Co., Post Office Box 6 1 74, Minneapo'is
24, Minnesota. Editorial offices, 1645 Hennepin Avenue,
Minneapolis 3, Minn. Subscription Representatives: AUS-
TRALIA — McGills, 183 Elizabeth St., Melbourne; NEW
ZEALAND — Wixon's, Ltd., 64 Courtnay Place, Wellington;
ENGLAND and ELSEWHERE — Wm. Dawson & Sons, Ltd.,
Macklin St., London, W. C. 2. Subscription Rates: United Stotes,
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be submitted four weeks in advance of publication date to
insure receipt of current issue. Second-class postage paid at
Minneapolis, Minn. INTERNATIONAL PROJECTIONIST as-
sumes no responsibility for personal opinions appearing in
signed articles, or for unsolicited articles. Entire contents
copyrighted 1963 by INTERNATIONAL PROJECTIONIST
PUBLISHING CO.

1

VVVVV%VVVVVVVVVVVVVVVVVVVVVVVV%VVVVVVVVVVVVVVVVVVWVM

MONTHLY CHAT

vvvvv»v»vvvvvvvvvv»vvvv»»vv»v»v»vvvvvv»v»vvvvvvvvww<

FILM HANDLING BEGINS AT HOME

No useful purpose would be served at this stage by
opening up the perennial question: who is responsible
for the poor condition of prints which are delivered to
the theatres — the projectionists or the exchanges?

Leaving aside the exchange's lack of care, a minority
of operators, so the conscientious projectionists say,
mutilate the prints with cue marks and sloppy patches
and badly done repairs.

The projectionist knows that the print and his equip-
ment is the bloodstream of the film industry, because
the paying customer sees the print the operator is project-
ing and that is what the customer will see whether its
perfect print or a scratchy and mutilated one.

So the good craftsman will handle the print carefully
in the many operations in the booth, such as its inspec-
tion, projection, rewinding, repair and storage.

The consensus of veteran projectionists is that about
eight operators in ten will handle the film with the
utmost care in addition to the operations in the booth
such as repair of breaks, badly made splices and tears.
So he can send it to the next projectionist in runable
condition at least.

Then maybe the laggards in the booths have been
disgusted in the prints delivered to the theatre; have
gotten tired of spending two or three hours to put the
prints in running condition. Maybe the exchanges could
give a good lesson to the minority of operators who don't
handle film with care by delivering prints in fine run-
ning condition. The laggards in the booth have the per-
fect alibi for continuing their slouchy ways if the ex-
changes have the very same attitude.

While there is just as much need from the projection-
ists to exercise greatest care in handling prints as for
exchanges to do so. There is one factor of negligence
which is more glaring when the fault is with the ex-
change. The exchange is the real sponsor of the picture
and should set a good example by seeing that the print
is in good running condition before delivering it to the
theatre.

The Projectionist Responsible

But the projectionist is responsible for screening a
picture for the theatre customers in the best condition
with the poor or good print and the condition of his
equipment.

The projectionist has to be conscientious in inspect-
ing the film when it's first delivered, and repair breaks
and loose splices to put the print in running condition.
The boothmen are responsible from the minute the print
is delivered to the time that it goes out of the projection
room. It's their responsibility to carefully handle the
print during its operation in the projection booth.

The big city showcase houses do not have the print-
problem the subsequent runs do, but patrons of the subse-
quent run theatres pay the admission price and their
right to see the same picture is as valid as the city
folks, because the picture is advertised in the national
magazines as glowingly as in the city newspapers.

Sad to say, many of the subsequent run theatres
have worn-out projectors, lamps and sound systems. But
the skilled craftsman makes the best of it and carefully
handles the print.

(Continued on Page 9)

International Projectionist March 1963

Volume 38

March, 1963

Number 3

ARC LAMPS ARE 'FUSSY" ABOUT
THE POWER THEY BURN!

By ROBERT A. MITCHELL

It doesn't take much projection experience to teach
the lesson that the carbon arc is mighty particular about
the electric power supplied to it. So narrow is the mini-
mum-maximum current range for any one trim of car-
bons, that it's inviting trouble to ignore the current
ratings specified by the carbon manufacturers. And mat-
ters are complicated by the fact that the carbon arc,
like any other gaseous discharge, is a greedy "current
hog"!

We can burn an ordinary household light bulb at
a certain standard voltage, and that is that. The bulb
takes just so much current (amperes) from the line,
and consumes electric power at a constant rate. A 100-
watt bulb never takes it upon itself to burn up 150 or
200 watts! The electrical resistance of the filament re-
mains constant (for all practical purposes) over a wide
range of supplied voltages. The carbon arc behaves very
differently — the more current it gets, the more it wants!

Apply a certain voltage across the terminals of an arc
lamp, then strike the arc to start it burning. This voltage,
if supplied by a powerful source of direct current, results
in the passage of a certain number of amperes in the
arc-lamp circuit. But as the arc stream (composed of
gases and electrons) gets hotter, it becomes more con-
ductive, and the resistance of the arc to the passage of
current decreases. More current (amperes) then flows
through the arc, making the arc stream still hotter and
more conductive. Almost immediately (if the fuses don't
blow or the wiring doesn't burn up) the arc becomes a
virtual short circuit, flaming violently along the length
of the carbons. A "fixed resistance," such as a light-bulb
filament, never behaves like this.

In order to burn properly, therefore, the carbon arc
must be electrically controlled in an automatic fashion.
The supply of current must be automatically limited as
the arc stream loses resistance and tends to pass more
and more current. Rectifiers limit the current by means
of the reactance of the transformer coils. The greater the
current consumed by the arc, the greater the opposing
counter-electromotive force which limits the voltage (and
hence the current) in the rectifier circuit. This process
is a continuous one, and results in a constant current in
the arc-lamp circuit as long as the carbon-feeding mecha-
nism of the lamp maintains a constant arc-gap length —

the distance between the tips of the positive and negative
carbons.

The flow of current is automatically limited when a
generator is used by a "ballast rheostat" which is con-
nected in series with the arc lamp. The ballast is a
"fixed" ohmic resistor having sufficient resistance to the
flow of arc current to develop a "voltage drop" across
its two terminals. As more current flows through the arc,
more flows through the ballast rheostat, too. More cur-
rent means a higher voltage in the circuit, and hence a
proportionately greater voltage drop across the ballast.
This limits the voltage (and hence the current, or am-
peres) which can flow through the arc. The arc stream
then stops getting hotter and more conductive, and a
constant current is established.

Unfortunately, a ballast rheostat wastes valuable pow-
er by converting it to heat (as any resistance does), but
its use is absolutely necessary in an arc circuit supplied
by a multiple-arc motor-generator set.
Wiring Requirement for Arcs

A high-amperage current needs heavy wires, connect-
ing lugs, and switches to conduct it without loss from
its source (generator or rectifier) to the unit in which
it is used (carbon arc or xenon lamp).

B & S wire size No. 3 is the smallest that should ever
be used between the power supply and an arc lamp,
no matter how low-powered the lamp may be. This size
will serve for all arc currents up to 100 amps. No. 2
wire, still heavier, should be used for currents in the
100-120 amp. range, while No. 1 wire is needed for
120-140 amps. Arc currents more powerful than 140
amps, require No. 0 wire. Most lamp manufacturers
recommend that wires one size larger be used whenever
the transmission line between the source and the lamps
exceeds 15 or 20 feet in length. This recommendation
is important for those theatres having a motor-generator
set located in the cellar, far removed from the pro-
jection room.

The xenon lamp equipments presently on the market
have power ratings ranging from 900 to 2500 watts.
These xenon lamps are served by No. 3 leads from the
rectifiers to the lamps.

It is always better to use transmission wiring larger
than required by immediate needs. If the wires are
heavy enough, they will still be serviceable when a

International Projectionist March 1963

change is made to more powerful lamps. Undersize
wires warm up when carrying the 40 to 180 amps,
burned in an arc lamp. This is dangerous, particularly
when the heat is confined by insulation, cable sheathing,
conduits, etc. The temperature may rise high enough
to char the insulation and render the transmission wiring
more unsafe than ever.

A corroded or loose connection anywhere in an arc-
lamp circuit will cause serious operating difficulties
even when the transmission wires from the rectifier or
generator to the arc lamp have adequate current-carrying
capacity. And the heavier the arc current, the more
likely that a bad connection will offer erratic resistance
to the current and cause the arcs to behave unpredictably.
Thus the projectionist is never allowed to forget that his
projection lamps are the most sensitive of electrical de-
vices. They brook no deviations whatever from their
normal current requirements.

Are the Carbons at Fault?

Time and again the carbons get unfairly blamed for
electrical defects in the arc-lamp circuits. If the carbons
escape the projectionist's wrath, the current source or
the lamps, themselves, may be the targets of a few choice
cuss-words. And while it is true that carbons, generators,
rectifiers, and lamp mechanisms can be at fault, a mis-
behaving arc is usually only reacting to current variations
or inadequacies caused by a bad connection at the current
source, the ballast rheostat, the fuse blocks, or in the
lamp, itself.

The heat of the arc is very bad for the wiring inside

FOR CURRENTS FROM

75 TO 90 AMPERES
90 TO 110 AMPERES
110 TO 135 AMPERES

FOR RUNS UNDER

15 FEET
USE WIRE SIZE

• 3RH

• 2 RH
" I RH

FOR RUNS OVER

15 FEET
USE WIRE SIZE

Courtesy Strong Electric Corp.

FIG. 2 — A current-controlling ballast rheostat and a lamp-
house table switch are absolutely necessary in each arc -lamp
circuit powered by a motor-generator set. Rectifiers, on the
other hand, require no heat-producing, current-wasting
ballast. Many rectifier manufacturers also recommend elimi-
nation of the usual table switch, the current being turned
on and off at the rectifier, either directly or by means of
a relay button at the lamp.

International Projectionist March 1963

Binding post tightened /
for better contact

ndin^-
post lu£

FIG. 1 — An electrical binding post should be tightened se-
curely in order to insure good electrical conductance. Note
how the contact area of a round wire (shown in cross-sec-
tion) is gready increased by squeezing it out of shape
when the binding post nut is tightened. A sufficiendy large
contact area is best established by use of a washer-shaped
binding-post lug. Insufficient contact may offer enough
resistance to the flow of current to develop heating and
"burning" of the connection. This is especially true of arc-
lamp circuits because of the heavy currents involved.

the lamphouse. The flexible stranded-wire leads are espe-
cially liable to deterioration. The individual copper
strands are rather fine, and consequently expose a large
total surface to the oxidizing influence of the air. Badly
oxidized wires offer increased resistance to the flow of
current, and hence hasten their own destruction by
heating up.

Flexible wires will last for many years if large
enough to carry the current without heating, but may
in some cases deteriorate rapidly in a hot, poorly venti-
lated lamphouse. (Another good reason to heed the
manufacturer's advice on lamphouse ventilation ! ) Ex-
amine the arc leads in each lamphouse to make sure that
they are stiff and springy. If the individual strands are
dark brown in color, and seem to be brittle and crumbly
when bent sharply, the wiring should be replaced.

The carbon-holder or feed-head binding posts should
be examined several times a year for evidence of loose-
ness or corrosion. Lugs and other contact surfaces
should be polished with extra-fine, or No. 00 sandpaper,
and the binding-post nuts brought up tight when re-
placed. A loose contact "burns" and fails to transmit the
power properly.

Never use emery paper or cloth for polishing or
cleaning electrical contacts. Emery dust conducts current
to a slight extent. Sandpaper is safe because quartz sand
( unless molten ) is a non-conductor of electricity.

Inasmuch as the same number of amperes flow in
all parts of a circuit, the connections should also be
clean and tight at the generator or rectifier terminals, the
ballast rheostat, and at all fuse blocks and switches. In
cases where the binding posts are so badly corroded that
the lug nuts cannot be loosened without damage, a few
drops of kerosene and thin lubricating oil applied to
the binding post and left on for several hours often
works miracles.

The carbon-holding jaws of simplified HI lamps and
the contacts of rotating-positive HI lamps should normal-
ly never be filed or sandpapered. Filing roughens them
and may get them "out of true" or spoil the fit. Rough-
ened metal, by the way, oxidizes more rapidly than
smooth, highly polished metal.

Carbon holders are usually made of special heat-
resistant bronzes; and certain high-powered lamps have
water-cooled contacts of pure silver, which is the best
conductor of electricity known. The dull brownish color-
ation produced by a microscopically thin film of copper
oxide (or silver sulfide) on the surface of the metal
need cause no concern, and should not be removed.
It offers no measurable resistance to the passage of
current; and its formation is a normal occurrence. The
copper commutator bars of motors and generators are

5.

considered to be in good condition only when this red-
dish-brown oxide film is present!
Generators Good, But Wasteful

Motor-generator sets are still retained in many the-
atres using simplified HI arc lamps. Motor-generators
have the advantage of delivering extremely smooth direct
current relatively unaffected by AC line-voltage fluctu-
ations. This is important in neighborhoods where the
main current is poorly regulated. But motor-generators
are noisy, they are relatively costly to purchase and to
maintain in good working order, and they require the
use of current-wasting ballast rheostats. Even though a
motor-generator set, considered by itself, may have the
same 85% power-converting efficiency of a selenium,
tube-type, or silicon diode rectifier, it is much less effi-
cient than a rectifier in actual service because of the
unavoidable ballast losses.

The voltage drop across a ballast rheostat (when
the arc is burning normally) is the difference between
the generator output voltage (indicated by the volt-
meter in the control cabinet) and the actual voltage
drop across the arc. This difference should never be less
than 15 volts for the smallest simplified HI ("Suprex")
arcs, or less than 25 volts for the most powerful rotating-
positive HI arcs. An excessively large ballast drop insures
stable burning of the arcs, but also wastes electric
power unnecessarily.

In general, the ballasts should be adjusted so that
the arcs burn at their maximum rated current or, better,
at 2 or 3 amperes above the rated maximum. Then the
generator voltage is slightly decreased by means of the
field rheostat (usually located in the generator control
cabinet) until the current drawn by the normally burn-
ing arc is at the desired value in the current range
recommended by the carbon manufacturer for the size
of trim being used. The voltage drop occasioned by the
very slight resistance of the transmission line is so small
that it may be ignored.
"Creeping" Arcs in Suprex Lamps

Certain lower-priced simplified HI arc lamps have
a fixed positive-negative carbon feed ratio. The lamp
manufacturer has assumed that the positive carbon will
be consumed just so much faster than the negative car-
bon, and accordingly has threaded the carbon-feed shafts

Positive
electrode

UXl

ijiary^

mirror

?1

Film
aperture

Negative
electrode

PIG. 3 —The optical system of a xenon-bulb light source
is similar to the optics of a carbon-arc reflector lamp. The
spherical auxiliary mirror, not used in a carbon arc lamp
except the "blown-arc" type, nearly doubles the luminous
output of the lamp and smoothes the screen illumination
by superimposing an inverted image of the xenon arc upon
the light source, itself.

Unlike the carbon arc, which emits most of its light
from a crater in the tip of the positive electrode, the xenon
lamp emits its light from the gaseous discharge between
two tungsten electrodes.

r

+-

Rectifier

iii

3-phase A.C.

\ ,\ Xenon
bulb

1 — r

Igniter

' I Combination con->
© trol pushbutton
for igniter and
rectifier.

FIG. 4 — The carbon arc has movable electrodes which are
brought together and then separated to establish a current-
conducting arc, but the xenon bulb has fixed electrodes. The
low-voltage, high-amperage current needed for this lamp
cannot pass until a conducting path has been established
through the xenon gas by a high-voltage spark. This is
furnished by an ignition device which automatically cuts
in the low-voltage operating circuit the moment a spark
jumps between the electrodes. Actual operation of a xenon
projection lamp is extremely simple — just press a button!
No optical adjustments are necessary once the long-life
bulb has been installed and "lined up".

to correspond with this particular ratio. Actually, this
ratio (whatever it may be) obtains only at one definite
arc current. Other positive-negative feed ratios are ob-
served at other arc currents even when the same trim
of carbons is used.

If the current be decreased or increased in a lamp
having a fixed feed ratio, the positive-negative burning
ratio will be changed. No way is provided for the pro-
jectionist to compensate for the change in such a lamp:
all he can do is make sure that the current is maintained
at a value which will hold the arc in focus.

Suppose that the current is increased for some reason,
perhaps to get a brighter picture or to get a whiter,
more efficient light. The rate of positive consumption
then increases over the rate of negative consumption
relative to the feed ratio at which the lamp was set at
the factory. What happens? The entire arc creeps out of
focus away from the mirror, and the light on the screen
gradually becomes dim and bluish. The reverse happens
when the current is decreased, perhaps for the purpose
of saving money on carbons — a false economy, by the
way. The positive burning rate decreases over that of
the negative, and the entire arc creeps toward the mirror.
The screen light then becomes dim and brownish.

If a radical increase or decrease in arc current is
desired in a fixed feed-ratio Suprex lamp, it is best to
use the next larger or smaller trim of carbons. This is
sometimes possible without having to replace the carbon
holders, but not always. At all events, we suggest that
the size of trim chosen be burned as close to the
maximum rated current as possible in order to get the
brightest, whitest light. It has been determined by actual
test that a 7- and 6-mm Suprex (copper-coated) trim
burned at 50 amps, gives fully 30% more screen light
than an 8- and 7-mm Suprex trim burned at 60 amps!

There is more leeway in the choice of arc currents
for burning any particular Suprex trim if the lamp has a
separate feed control for the negative carbon. Even so,
it is best to hang pretty close to the maximum rated
current for the carbons in order to obtain the kind of
light that pleases the cash customers.

Arc Gap in Rotating HI Lamps

Higher-powered HI arc lamps — those having rotating
positive carbons — respond to current variations in a
(Continued on Page 11)

International Projf.ctionist March 1963

A Scene From America's Projector Carbon Center.

Testing for arc consumption and light distribution

"Every day is 'double -feature' test day at
our projection booth in Fostoria, Ohio"

Bill Brenner

You're looking into the motion
picture industry's most unusual
projection booth. We run the
same "double-feature" every
day —fifty-two weeks a year. Our
program covers two important
phases of "National" projector carbon produc-
tion — the testing of arc consumption and light
distribution. Their ultimate results are to help
you obtain the finest picture quality!

Tests are conducted on representative sam-
ples from every lot of projector carbons manu-
factured in Fostoria, Ohio. This specialized

says BILL BRENNER

National Carbon Sales Engineer

quality control effort not only pays dividends
to the theatre owner in projection carbon econ-
omy, but assures movie patrons the best-lighted
indoor or outdoor presentations that carbon
dollars can buy !

Quality manufacturing and precision testing
are only a part of the "National" projector car-
bon story. For 45 years National Carbon has
backed theatre owners with the industry's most
dependable technical service.

Our Sales Engineers are equipped with to-
day's most modern test devices ... to assure you
maximum light efficiency on your screen.

Contact

Mr. National Carbon * »**"

UNION
CARBIDE

"National" and "Union Carbide" are registered trade-marks for products of

NATIONAL CARBON COMPANY

Division of Union Carbide Corporation • 270 Park Avenue • New York 17, N. Y,
In Canada: Union Carbide Canada Limited, Toronto

The Cover Story:

Local 228 at the Valentine Theatre

IATSE Local #228 had been organ-
ized but one year when Daniel
Rehklau. shown at the left in the
cover illustration, became a member
in 1912. For the next half century he
worked in the booths of many Toledo
theatres. In fact, he has never oper-
ated outside that city. During the
last 12 years he has been at the
Valentine Theatre, until recently a
Loew's operation.

He particularly recalls when he was
employed at the Vita-Temple, the
first theatre outside New York City
to present talking pictures.

With Rehklau in the Valentine
booth is Art Partis, business agent of
Local 228. Although he has worked
in Toledo theatres since 1945, he has
just joined the Valentine crew.

These craftsmen are shown operat-
ing the recently installed new low
current Strong Electric Corp. pro-
jection arc lamps using a standard
20" by 11 mm carbon trim. These
lamps provide what both the men
claim to be by far the most evenly
distributed screen light they have ever
enjoyed. Actual light readings at the
Valentine have proven a distribution
of 87% over the 40-foot screen.
Rehklau also says that these lamps
are the easiest to operate of any he
has had during 50 years as a pro-
jectionist.

Controls on the lamps are "self-
suggestive," providing ease of ad-
justment. The lamps have 18-inch
reflectors and improved carbon
imager screen and carbon control
system.

The Valentine is owned by Jack
Armstrong, who operates 23 theatres
in Northwestern Ohio. Armstrong
was recently elected president of
Allied States. He got his start in the
theatre projection business as an
operator in the Cla-Zel Theatre, Bowl-
ing Green. Ohio.

Born in Napoleon, Ohio, he started
there as an usher 35 years ago in
1928, and worked up to management
with Clark M. Young. Later went to
work for Butterfield as manager in
1932 at Jackson, Mich., and manager
for the Schine Circuit.

Mr. Armstrong was associated with
Carl Schwyn for 14 years in opera-
tion of theatre circuit as general
manager, booking and buying, and
subsequently a partner upon Mr.
Schwyn's retirement from theatre
operations and purchased the balance

S

Jack Armstrong

of theatres. The circuit's headquar-
tered in Bowling Green, Ohio, oper-
ates 11 drive-ins and 14 indoor
theatres, all located in northwestern
and central Ohio and served from the
Cleveland exchange area.

Additionally he is a director and
vice president of Theatre Owners of
Ohio, member of Variety Tent No. 6,
Cleveland, member of Bowling Green
Country Club, director of Downtown
Toledo Associates, also member and
past president of Bowling Green
Chamber of Commerce, and member
of Port Clinton Yacht Club.

His home is in Bowling Green. He
married Dorothy Wilken in 1935;
they have one married daughter and
Jack is the proud grandfather of two
young grandsons. iJP

C. W. Handley Retires
From National Carbon

NEW YORK— Charles W. Handley,
recognized as an authority on carbon
arc light sources for the motion
picture industry, has retired after 42
years of service with National Carbon
Co., division of Union Carbide Corp.

Mr. Handley had been special rep-
resentative for National Carbon in
Los Angeles for a number of years.
In addition to his work with motion
picture theatre owners and managers
on the use of carbon arcs for projec-
tion, Mr. Handley devoted a great
deal of time to motion picture studio
lighting, and was the author of sev-
eral technical papers on the subject.

He was active in the American
Society of Cinematography, and was
recently designated a Life Fellow in
the Society of Motion Picture and

iP

Television Engineers

Jamestown Local
Celebrates Its
50th Anniversary

JAMESTOWN, N. Y.— Local 266
of the IATSE is celebrating its 50th
anniversary as a member of the mo-
tion picture projectionists union in
conjunction with the New York State
Association of Motion Picture Pro-
jectionists spring meeting.

Tentatively, the program will be-
gin with registration at the Hotel
Jamestown at 10 a.m. Monday, May
20. Following luncheon, an educa-
tional meeting will be held at 2 p.m.,
with the ladies' auxiliary planning a
fine tour. A cocktail hour will pre-
cede the banquet in the hotel's Cry-
tal Ballroom at 6:30 p.m., and there
will be entertainment during and
after the banquet.

R. Monaco, business agent of Local
337, Utica, N. Y. emphasizes that
the ladies' tour will be through the
Union-National Furniture Co., one of
the top high-grade furniture plants in
the country. They specialize in Italian
and French Provencial Furniture.
Here the group may see the machin-
ing and the assembling of these fine
products up to their completion.

Those driving to Jamestown will
be in for a spring treat, Mr. Monaco
points out. Take New York State
throughway to Westfield. (For scenic
Route) Take Route 17 or 17J. Either
route goes on one side of Beautiful
Chautauqua Lake. Route 17J passes
Chautauqua Institution, and those ar-
riving on Sunday may go through the
gates without charge and drive
around the grounds, as the season
is not yet open. iP

Ballantyne to Distribute
Norelco FP-20 Projector

NEW YORK — North American
Philips Co. Inc.. and Ballantyne
Instruments & Electronics Inc., elec-
tronics division of ABC Vending
Corp., have signed an agreement
whereby Ballantyne will become the
distributor for the Norelco Model
FP-20 35mm projector, and Ballan-
tyne in their factory at Omaha, Neb.,
will make components for the Norelco
35mm projector, under the specifica-
tions of Norelco.

The agreement was announced
jointly by Neils Tuxen, general man-
ager of the motion picture equipment
division of North American Philips,
and bv J. Robert Hoff, executive vice
president of the Ballantyne Co.

The agreement calls for the pur-
chase by Ballantyne of a number of
Norelco 35mm projectors, and Norel-
co will purchase from Ballantyne

International Projectionist March 1963

®

assemblies and sub-assemblies for its
projector line.

Ballantyne will sell the FP-20 pro-
jectors to indoor theatres and the
FP-20 projectors will be adapted to
high intensity arc lamps for use in
drive-in theatres.

The Norelco FP-20 has many ad-
vanced features, among which are
claimed the smallest number of parts
in the film path, simple driving mec-
hanisms, curved and water-cooled
film gate. iP

Technical Equipment
Set For SMPTE
Convention

NEW YORK — Displays of new
film and laboratory equipment will be
an important feature of the 93rd
Convention of the Society of Motion
Picture and Television Engineers, to
be held April 22-25, at the Traymore
Hotel, Atlantic City, N. J.

According to SMPTE Exhibit Com-
mittee Chairman, Dennis Kealey, of
Reevesound, Inc.. L. I. City, N. Y.,
the exhibition area will be comprised
of 40 booths. Manufacturers will
show: motion picture and television
devices; film laboratory test, con-
trol and processing tools; instru-
ments for time lapse and high and
ultra-high frequency photography ;
means of making and using 8mm
small format motion pictures; ap-
paratus used in special motion picture
and television technology, data re-
cording and data reduction; color
and black-and-white television cam-
eras and television tape and film re-
cording equipment.

Comprehensive
Canon Camera Co.
Corp. of America,
Ltd. (Canada), Camera

Service Corp.,
Japan ) . Arriflex
Houston-Schmidt
Mart, Inc.,

Hi-Speed Equipment, Inc.. Lipsner-
Smith Corp.. S.O.S. Photo-Cine-
Optics. Inc. and Motion Picture
Enterprises, Inc., are among the
manufacturers who have already an-
nounced that they will show their
equipment at the convention. iP

MONTHLY CHAT

{Continued from Page 3)

Tip To Help Will
Rogers Hospital

I.A.T.S.E. locals around the coun-
try collect scrap carbons with the
copper salvaged and the money do-
nated to the Will Rogers Memorial
Hospital.

If the projectionist would strip the
carbons, the salvage operation would
be more efficient. Also, it would help
the collectors — who volunteer their
time picking the '"scrap-n-drippings"
from theatre projection booths. iP

International Projectionist March 1963

BalCOLD

REFLECTORS
CUT HEAT
IN HALF

Read this Hollywood test report. "Film gate heat at 1.85 aperture,
is 280° F. with silvered reflectors, but only 140° F. with BalCOLD."
And look at the benefits when BalCOLD Reflectors cut heat in half:

NO FOCUS DRIFT. As much as 5400 feet of film have been run
without refocus. Cooler film gate cuts down film bulge — keeps con-
stant focus.

GREATER DEPTH OF FIELD. Less film bulge means better back-
ground resolution, color fidelity, and clearness of detail.

NO END-OF-REEL CONTRACTION. Lens and projector parts
can't cool off and contract (thus changing focus) because BalCOLD
Reflectors don't let them get hot enough to expand!

NO EMULSION PILE-UP. Green film never gets hot enough to
leave emulsion coatings on film tracks and shoes.

LONGER REFLECTOR LIFE. Theatres all over the country report
up to 17 months and more constant, top-quality performance.

LONGER FILM LIFE. Theatres report film life doubled with
BalCOLD Reflectors. Means a lot when prints cost up to $10,000 ea.
Next time you replace silvered reflectors, replace them with
BalCOLD — the only reflector whose proven contribution to the
advancement of motion picture projection has won for its designers
the highly regarded technical award from the Academy of Motion
Picture Arts and Sciences.

BAUSCH & LOME ^

BAUSCH & LOME
61639 Bousd. Sr.,

INCORPORATED
Rochester 2, N. Y.

□ Send me BalCOLD Data Brochure E-35.

Name .

Theatre

Address

City

Zone State

Century Has New Power Amplifier

Century Projector Corp. announces
new and exclusive additions to their
line of all-transistor 50 watt power
amplifiers, which now have built-in
insurance against failures from exces-
sive overloads or other abnormal
operations.

Also engineered into these 50 watt
amplifiers are four special indicator
lamps (shown in the illustrations)
for observation of any overload, low
impedance or short circuit conditions
in the output circuit.

The red indicator lamps light up
when an overload (volume) or some
other abnormal condition develops or
exists. This visual observation warns
the projectionist or service engineer

of any abnormal condition which may
be present. The lamps will automati-
cally go off when the difficulties have
been cleared.

If during a performance someone
or something introduces a short cir-
cuit into the speaker system or the
power amplifier output, the indicator
lamps will light up. The lamps will
go off when the abnormalities are
removed.

The Century 50 watt all-transistor
power amplifier with indicator lamps
plus plug-in provisions ( another
Century exclusive) has been coded
W6-13.

% %

/"""**

NEW POWER AMPLIFIER— The new Century Projector Corp. 50 watt
power amplifier is shown here, featuring indicator lamps to instantly pinpoint
system malfunctions. One view of the equipment shows the open top of the
amplifier, the other indicator lamp viewing ports and plug-in provision, described
in the article.

Davee Says Theatres Can
Own a Toll-TV System

NEW YORK— Larry Davee, presi-
dent of Theatre Equipment & Supply
Manufacturers Assn., said that
TESMA has a patented Pay-TV
system and it will be available to any
theatre or group of theatres interested
in research and development of the
patent.

According to the patent, Davee
stated, the system ties in with the
existing community antenna — systems
in areas where signals from a regular
broadcasting TV station cannot be
received in homes in the area — with
an unused TV channel in the area.

Davee said that the equipment can
be manufactured for sale to theatres
at a "very reasonable" cost, followed
by amortization of research and
development costs.

If a theatre or theatres were in the
area of existing CATV system, the
theatre owner could have home sub-
scribers for his first run pictures, if
he were to set up a pay-TV station.

Thus, a first run theatre in any

10

area could widen its audience and
be paid for it to the extent of the
number of homes that are subscribers
to the local community antenna
system.

It is estimated that there are now
licensed by the FCC as many as 3,000
CATV systems, each having hundreds
and some case thousands of homes in
the area subscribing to the system.

The CATV System

For the benefit of projectionists
who are not familiar with it, a Com-
munity Antenna Television system
exists in areas where signals from a
regular broadcasting television station
cannot be received in the home with-
out a re-broadcast over wires of a
CATV system. The CATV antenna, a
high tower or in many cases perched
atop a mountain, picks up the regular
broadcast from the originating sta-
tion, amplifies it and sends it by
wire into subscribing homes, which
pay for the service usually on a
monthly basis. In some areas there

are as many as seven channels avail-
able to subscribing homes.

In areas where this kind of system
exists, theatres may now or in the
near future make a deal with the
CATV system, whereby the theatre
pick-up system will be enabled to
channel exactly what is on its screen,
over the wires and into subscribing
homes for a fee.

A Theatre Opportunity

There are many systems (electroni-
cally ) that will enable the theatre and
its CATV cooperating system to col-
lect their money from subscribing
families. These charges would be in
addition to regular monthly service
fees under which the CATV system
normally makes its money.

"It can be seen upon examination of
the patent that there is no other way
in existence, and none in the foresee-
able future, under which theatres can
supply television into homes, without
the expenditure of enormous sums of
money, except under the new patent.
Under the projected, patented sys-
tem now in the hands of TESMA for
disposition, theatres are in a position
to compete economically, and with
considerable profit to themselves,
with any Pay TV system now on the
market," Mr. Davee says. iP

Eugene Levy Head of
Camera Equipment Co.

NEW YORK— Directors of CECO
Industries, Inc. have elected Eugene
H. Levy president of Camera Equip-
ment Company, Inc., major operat-
ing subsidiary, it was announced by
Robert B. Bregman, board chairman.

The company is the world's larg-
est rental and sales service organiza-
tion serving the motion picture and
television industry with professional
equipment used for theatrical and TV
production. It maintains facilities at
Hialeah. Fla.. Hollywood. Cal., New
York City and Syosset, N. Y.

Mr. Levy succeeds Frank C. Zuck-
er, who retires to become president of
Local 644, International Photograph-
ers of the Motion Picture Industry.

The new Camera Equipment presi-
dent has been associated with the firm
since its founding in 1936. Prior to
assuming his new post, he was vice
president for sales and national direc-
tor of advertising and promotion.

Mr. Levy is a member of Local
644, International Photographers of
the Motion Picture Industry, and The
Pioneers of the Motion Picture In-
dustry.

He also holds membership in the
Society of Motion Picture and TV
Engineers, the National Audio Visual
Assn. and the Industrial Film Pro-
ducers Assn. iP

International Projectionist March 1963

LAMPS AND POWER

from Page 6

different way. Most reflector lamps of this type have
an automatic optical crater-positioning device which
insures that the positive crater remains in the focus of
the mirror at all times. If the current supplied to the
trim is too low, the arc gap becomes gradually shorter
than normal; if the current is too high, the gap lengthens.
Some lamps have independent negative-feed controls:
others have positive-negative feed rate selectors for a
number of different trims and currents.

The optimum length of arc gap (the distance be-
tween the tips of the two carbons) is about % inch for
arc currents between 40 and 50 amps., % inch for
currents between 60 and 120 amps., and % inch for
currents between 130 and 180 amps. A variation in
gap length not exceeding 1/16 of an inch does not
appear to be important. However, the use of an ex-
cessively long arc gap may allow the arc to waver,
causing the screen illumination to flicker in an an-
noying manner.

To sum up: If your arcs burn in an unstable man-
ner, with erratic feeding of the carbons, check the
electrical system before blaming the lamps or the car-
bons for the difficulty. A cracked carbon will certainly
give trouble, but damaged carbons can usually be dis-
covered by inspection. Water does no permanent damage
to carbons, but they must be thoroughly dry when
burned. It is a good idea to keep a few dozen carbons

under the lamphouse or in some other warm place to
insure a supply of dry carbons.
Check the System Methodically!

How to go about checking the electrical system?
A measurement of arc amperage and voltage comes
first. Arc voltage drop is measured with a DC voltmeter
across the lamp lead wires or table switch when the
arc is burning normally. This voltage is less than
generator output voltage (as indicated by the voltmeter
in the control cabinet ) . and should be 15 volts less for
the smaller lamps and about 25 volts less for the larger
ones. This voltage difference happens to be the ballast-
rheostat voltage drop spoken of earlier.

An ammeter is ordinarily present in the system,
either in the generator control cabinet or in the lamp-
house, itself. An ammeter is absolutely essential for
keeping the projectionist informed as to the current
being drawn by his arcs.

All connections everywhere in each arc circuit are
then checked for evidence of corrosion, looseness, un-
due heating, etc., special attention being given to the
wires and terminals exposed to the heat of the arc
in each lamphouse. Perfect performance of the arcs
is not guaranteed by a perfect electrical system, of
course, — the lamp and carbon control and feed mech-
anism may be worn, out of adjustment, clogged by
dust, incrusted with grime, or improperly lubricated.
But no matter what the age or physical condition of the
lamps may be, satisfactory burning of the arcs is man-
ifestly impossible unless the electrical factors to which
the carbon arc is extremely sensitive are all in A-l order.

iP

There is a FIRST BEST in Anything!

In ARC LAMPS

IT IQ TUP ADTlfikllY IMTEAPATEn

I 1 I** 1 lib %f¥^ I l%MlHk 1 1 lH 1 Ea^^l%#%l cy

C S. ASHCRAFT'S

^^^^■■HB^m^HmnBEI^^HHHBV (Paten

(Patent Pending)

Trademark registered and copyrighted. Patent applied lor.
The C. S. Ashcraft Mfg. Co., Inc.
36-32 Thirty Eighth Street, Long Island City, N. Y.

It does unheard of things in screen lighting. Such as ... up to
100% increase in screen side-lighting.

It works on any current from 78 to 115 amperes. It does it
on a single size positive carbon, 11mm in diameter.

It will exceed accepted industry standards in lighting an out-
door screen 52 feet wide. It is the answer to the ill-lighted
Drive-ln screen up to 95 feet in width.

It is a miserly brute in its operating expenses. Saves you up
to 50% in carbon costs.

Want proof? Call your National Theatre Supply Co. man. He
will prove the CORE-LITE worth in indoor or drive-in theatres
with existing screens and lenses.

International Projectionist March 1963

11

Letters to the Editor

Editor, IP

Dear Sir:

While making magnetic sound in-
stallations for various theaters in the
past few years I have become aware
of the great amount of confusion
among exhibitors, distributors, and
the public in general about current
motion picture sound. For instance;
one exhibitor of my acquaintance, on
the strength of three mag-optical
prints in a row culminating in the 35
mm. release of "Ben-Hur," invested
several thousand dollars in stereo-
phonic equipment in 1960. In 1961
he was not able to get a single mag-
netic print and has had only one in
1962. In this respect the exhibitor is
at the mercy of the distributor who is
often equally uncertain as to which
pictures are available in stereo.

Here are some questions I have
which might serve as a guide to a
future article on soundtracks in your
magazine.

1. Is magnetic stereo sound being
soft pedaled or phased out by the
major producers or is there still a
general enthusiasm for this type of
sound?

2. Where can one obtain a listing
of the type of sound that is avail-
able on current and future releases?
In this regard the various trade pub-
lications such as Greater Amuse-

ments, Variety, Box-Office, Exhibitor,
and even the press books and adver-
tising copy carry no mention of stereo
sound when such is available.

3. How is six-track sound re-mixed
to four-track and single track sound
for the 35 mm. version?

4. How much actual stereo is con-
tained in current release tracks, that
is, is only music recorded using three
channels with dialogue and effects
recorded mono and then shifted to
follow the action during re-record-
ing?

5. Are there any general rules that
producers use in determining what
material to put on the fourth or
effects track?

Sincerely,
William E. Lobb
* * *

The views of this writer anent the
present-day neglect of magnetic
stereophonic sound for CinemaScope
motion pictures closely parallel those
implied by Mr. Lobb. In an article
published in the February 1962 issue
of INTERNATIONAL' PROJEC-
TIONIST I wrote: "In view of the
demand for stereophonic sound, we
cannot refrain from wondering why
the great majority of movie producers
have so neglected the CinemaScope
magnetic sound process. The mag-
netic reproducers in thousands of
theatres remain idle most of the time.

ALLEN SMITH HONORED— Allen G. Smith of National Theatre Supply
Co., recently featured in an IP profile, is shown above receiving a presentation
from W. J. Turnbull, left, president of National Theatre Supply Co. On the
right, Arthur Baldwin, vice president in charge of export and New York op-
erations, looks on.

12

and in their failure to utilize fully a
stereosound system already at their
disposal, all too many movie moguls
are guilty of the shortsightedness for
which Hollywood is notorious."

To reply specifically to Mr. Lobb's
first question, we can say that the
neglect of stereosound by the major
producers is deliberate. The movie-
going public is far more enthusiastic
about stereophonic sound for pano-
ramic pictures than the producers,
themselves, appear to be. Hollywood
film producers have a well-known
tendency to consider immediate costs
rather than the quality of their
product or long-range results in the
theatre.

It might be assumed that the great
popularity of stereosound in the
home through the media of binaural
phonograph records, multitrack
sound tapes, and dual-channel FM
radio broadcasts would stimulate the
use of magnetic 4-track prints for
stereosound in the theatre. As things
actually turned out, producers began
to neglect movie stereosound from the
very moment that multichannel repro-
duction of music in the home soared
to the zenith of popularity.

CinemaScope stereosound admit-
tedly suffered from technical inepti-
tudes which proved distracting to
audiences, but some of the early
attempts in this sound medium were
pleasing and effective. We know that
optical-track recording is more ser-
viceable than magnetic for monaural
motion-picture sound, but the 4-track
magnetic process is more convenient
than multitrack optical for stereo-
phonic reproduction, and the extra
cost of magnetically striped prints is
not excessive. Nevertheless, the pro-
ducers seem unable to look beyond
the added costs to the realism of the
results and the benefits of patron
satisfaction. Stereophonic sound may
contribute little or nothing to stan-
dard non-anamorphic projection, but
it is a definite advantage to specta-
cular CinemaScope pictures in natural
color.

Question 2: There are not at pre-
sent any complete listings of the type
of sound available on current and
future releases. This lack is just
another example of the narrow-
visioned. dead-head policies of an
industry which goes on and on court-
ing financial disaster through a deli-
berate process of business stagnation.
Exhibitors' trade publications should
be pressured into obtaining and pub-
lishing this vital information, inas-
much as the thousands of theatre
owners who have gone to the expense
of installing stereosound equipment
have an indisputable right to know of

International Projectionist March 1963

Investment Opportunity

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gram. It's part of your neighbors', too. And your suppliers'
and your customers' and your competitors'. It is there for
all Americans to enjoy.

A healthy economy is a bulwark of the freedom it sym-
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American businessmen like you can protect the invest-
ment you have in this benefit program by promoting the
Treasury's Payroll Savings Plan for U.S. Savings Bonds.
It makes for a strong America and a sound America. And
it engenders a sense of thrift and independence and con-
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of monuments like that set in the beautiful Black Hills.

When you bring the Payroll Savings Plan into your
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Don't pass this investment opportunity by. Call your
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in your plant... promote the PAYROLL SAVINGS PLAN for U.S. SAVINGS BONDS §§||)|)

°«c s[(^

The U. S. Government does not pay for this advertisement. The Treasury Department thanks, for their patriotism. The Advertising Council and this magazine.

INTERNATIONAL PROJECTIONIST

International Projectionist March 1963

13

the availability of all stereophonic
releases — what few there are.

Question 3 : Although not the usual
procedure, a 6-track stereophonic re-
cording can be converted to a 4-track
CinemaScope recording by omitting
tracks 2 and 4 (left center and right
center channels ) and transferring the
remaining four tracks to the four
CinemaScope tracks. By taking
special pains to insure accurate phas-
ing, however, tracks 1 and 2 and
tracks 4 and 5 of the 6-track record-
ing can be electrically combined for
tracks 1 and 3 (left and right chan-
nels ) of the CinemaScope recording,
none of the six tracks then being
omitted.

A 4-track CinemaScope recording
can be converted to a single monaural
track by electrical combination of all
signals, the fourth "surround" sound-
effects track usually being omitted. A
more common method is to utilize
track 2 (center channel) alone for
the monaural transcription. This is
made possible by the admixture of
some sound from the left and right
channels ( tracks 1 and 3 ) in the
center-channel track. (The intro-
duction of side-channel signals into
the center-channel track has been
criticized because it decreases the
sound-separation, or directional, ef-
fect.)

Question 4: Most movie stereo-
phonic sound is recorded monaurally
in a single channel and afterward
"pan-potted" by a sound-following
technique to obtain the effect of direc-
tional sound in the four Cinema-
Scope channels. In this case, the
monaural optical-track version is
transferred directly from the magnetic
single-track original recording.

About the only actual stereophonic
recording made with a multiple-
microphone setup in CinemaScope
pictures involves musical sequences
in which an entire orchestra is photo-
graphed. Because a multiple-mike
setup is acoustically "tricky" and
rather time-consuming for the studio
sound technicians, the pan-pot method
of faking stereosound from a single-
track original recording is nearly al-
ways used for action-and-dialogue
scenes. The pan-pot method saves
time and money and simplifies the
"sound-mixing" operation wherein
the original records are combined
with effects and background music.

In general, the pan-pot method
gives a stereophonic effect which is as
good, and sometimes better, than is
obtainable by multiple-channel origi-
nal recording. Trouble in encountered
in scenes where players located at op-
posite sides of the screen speak simul-
taneously, but even these difficult sit-
uations can often be faked reasonably

14

well by use of the center channel.
When perfection is mandatory, how-
ever, complex scenes of this nature
must be set up for multiple-channel
recording on the set.

Question 5: The general rules gov-
erning material to be put on the
"surround," or "effects," track reside
mainly in the artistic intuition of the
director and sound recordist. Natur-
ally, all sounds which should emanate
off screen are placed on this track —
the sound of an unseen orchestra, of
a roiling sea, of a distant locomotive
whistle, or the voices of off-screen
actors. A novel use for the fourth
track involves what may be termed
"psychological audio," that is to say,
voices and other sounds heard only
in the mind of a character in the
story.

The use of the fourth track is there-
fore largely a matter of artistic crea-
tivity which strives to produce dram-
atic effects in the photoplay and an
emotional response in the audience
through the medium of sound which
comes from speakers located at a
distance from the screen.

—Robert Allen Mitchell
iP

Trans-Lux To Open
New Theatre in April

A new theatre, "The Trans-Lux
East," located at 58th St. and Third
Ave., will open during the first part
of April, it is announced by Thomas
Rodgers, vice president of Trans-Lux
Corp. Said to be the finest theatre

ever to be constructed in Manhattan.
The architect, planned a "theatre with
a personality," and the results are
both striking and dramatic. Total
investment for the 600-seat house, will
be in excess of $500,000.

An unusual feature of the theatre
will be a viewing window in which
the heart of the theatre, the sound
and projection equipment, may be
seen by the public.

The Trans-Lux East is the first
theatre ever to be constructed as part
of an office and apartment building.

iP

Eastman Kodak Sales
Top Billion Mark

ROCHESTER, N. Y.— William S.
Vaughan, president of Eastman Ko-
dak Co., has announced that company
sales and earnings topped the billion-
dollar figure for the first time in its
history last year.

In a report also signed by Albeit
K. Chapman, board chairman, Kodak
disclosed that sales of $1,056,072,473
were 7% higher than the $989,171.-
969 reported for the previous year.

Net earnings were $140,342,438, or
almost 8% above the 1961 total of
$130,203,447 for 1961. The total was
figured at $3.64 per share as com-
pared to $3.38 per share in 1961.

The report also disclosed a favor-
able cash position with working capi-
tal available totaling $412,000,000.
up $25,000,000 in the last year. In-
ventories were $18,700,000 higher
than at the close of 1961. iP

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MOTOR

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PROJECTOR DRIVEN GEAR
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RECT DRIVE FLEXIBLE
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DIRECT DRIVE SHAFT,
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SOUND SPROCKET SHAFT

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PROJECTOR MECHANISM ' SOUND REPRODUCER
DIRECT-DRIVE

DIRECT DRIVE projector mechanisms and sound reproducers have been
made available by Century Projector Corp. Detailed in this illustration, the
mechanisms were described fully in the February issue of IP. The new Century
drive is said to be easily adapted for interlock or synchronous operation. A
timing belt drive between motor and reproducer is no longer necessary, it is said.

INTERNATIONAL PROJECTIONIST MARCH 1963

CINERAMA DOME THEATRE revealed by Nicolas
Reisini, Cinerama, Inc. president. This radically-new movie
theatre is based upon the "geodesic dome" concept.

Revolutionary New
Theatre Idea Revealed

A radically-new design for motion
picture theatres has been disclosed to
a special meeting of more than 100
leading movie exhibitors by Nicolas
Reisini, president of Cinerama, Inc.
The new Cinerama theatre is based
upon the "Geodesic Dome" principle
developed by R. Buckminster Fuller.

A model-and-plans of a typical Cin-
erama Dome Theatre of 1,000 seats,
to be constructed of precast concrete,
was displayed by Mr. Reisini, who
stated that the new Cinerama theatre
will cost approximately $250,000,
said to be one-half as much as a
conventional motion picture theatre
of comparable size, and it will take
half as long to construct.

Cinerama is making its patented
designs and blueprints available to
selected exhibitors desiring to build
these unique Cinerama showcases in
the U. S. and Canada.

The revolutionary new motion pic-
ture theatre presents a new approach
to geodesic dome design and the use
of relatively - inexpensive precast con-
crete as a building material. The
designs were produced by Geome-
tries, Inc., Cambridge, Mass. archi-
tectural and engineering firm, in
association with Cinerama's own
technical staff. Also present at the
meeting was John J. McNamara.
prominent theatre architect.

The model of the Cinerama Dome
Theatre shown to the assembled

movie executives was of a 1,000-seat
theatre approximately 140 ft. in dia-
meter and 52 ft. high. It is assembled
from some 300 precast concrete
panels fitted together to form the
dome shape.

Reisini stated that "Cinerama's
goal is to see that at least 300 of these
dome theatres are built in the U.S.
and Canada in the next two years,
and that an equal number are con-
structed abroad. The new and econ-
omical geodesic dome theatre will
also enable exhibitors to bring Cin-
erama to many smaller localities
which hithertofore could not afford
to sustain a large house."

He added, "We hope to greatly en-
large the family of Cinerama exhibi-
tors this way. The philosophy behind
Cinerama's thinking is that we must
concentrate not only in producing the
best Cinerama films possible, but
also in seeing that these films are
exhibited in the most appropriate new
theatres throughout the world."

The dome is constructed by bolting
the panels together flange-to-flange.
Resilient anchor plates are used for
mounting the dome onto the founda-
tion. After assembly, the joints
between the panels are packed with
an expoxy mortar. This transfers the
loads between panels and forms a
watertight seal. After the dome is
assembled, an interior coat of sprayed

BRIGHTER LIGHT
LONGER BURNING
SHARPER PICTURE
Free Test Samples

n*w*

F Wf ■» » 1IWVT1 W» » f » ■ WF»

asbestos plaster is applied which pro-
vides thermal insulation, acoustical
absorption and fireproofing.

The fire-resistant characteristics of
concrete make it particularly advant-
ageous for theatre use.

The geodesic dome is the creation
of R. Buckminster Fuller, an archi-
tect-engineer, mathematician and
philosopher whose work is based
upon an analysis of the principles of
structure as found in nature. The
design is based on mathematical
principles embodying force distribu-
tions similar to those found in atoms,
molecules, and crystals. It is consi-
dered one of the lightest, strongest
and most economical of all construc-
tion forms.

A geodesic dome has the structural
advantage inherent in a spherical
shape, which presents an almost ideal
configuration for withstanding wind,
snow and dead loads. Applied loads
are transferred in an arc manner
(Continued on Page 18)

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International Projectionist March 1963

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15

"Talaria" Offers Pay TV to All Theatres

NEW YORK — National General
Corp.. owner of theatre circuits on
the west coast and the continental
divide (220 theatres), has announced
that it is pushing ahead with plans to
form a theatre pay television network
utilizing General Electric's new
Talaria light valve projector system.

Eugene V. Klein. National Gen-
eral president, said that by next year
the company hoped to have approxi-
mately 100 of its houses in a pay
television web which would include
programming "52 weeks of the year."

Although Talaria was developed by
General Electric and uses some of the
patents included in the Eidophor
process to which 20th Century-Fox
has American rights, it is understood
that GE carries it further, adding its
own secret processes. National Gen-

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16

TALARIA— New General Electric
color projector which makes possible
the nation's first full-scale pay TV
network will be used in movie theater
chain of National General Corp. Pro-
jector has wide range of possible uses
outside the commercial entertainment
field, including medical and other in-
struction, military briefings, long-dis-
tance business meetings and political
conventions.

eral will handle the franchising, leas-
ing and selling of Talaria on a nation-
wide basis but servicing of the
equipment will be from GE shops
located around the country.

Talaria makes possible, the joint
announcement said, for the projection
of both color and black and white
television images on the large-size
theater screens. It is National Gen-
eral's plan to include in its program-
ming Broadway shows, national
sports events and other special fea-
tures which it may purchase or pro-
duce itself. Transmission of the pro-
grams to theatres joining NG's net-
work will be by leased telephone
wires.

Klein said that he believed that
admission prices can be held "sub-
stantially lower" than those currently
charged for conventional film product
shown in metropolitan theatres.

"This new network makes pay TV
a fact of today rather than a complex
dream of tomorrow," Klein said. "It
puts major entertainment events
where they belong and can achieve
their greatest effect — in the theatre.

"Our present theatre operations
show that the American public wants
to get out of their homes to be enter-
tained. The type of entertainment
now planned will prove this beyond a
doubt." Klein declared.

The large-screen capability of
G. E.'s new Talaria projector is ex-
pected to have important implications
for the entertainment industry, as
well as for education ( particularly

medical education), military and
business communications.

Until perfection of the projector by
G.E.'s Technical Products Operation,
Syracuse. N. Y., display of TV pic-
tures on full size (25-by-33-footj
screens with adequate brightness was
limited to black and white. Previous-
ly most color systems were limited to
screens about one-fourth this size and
thus were impractical for large
audiences.

Robert L. Casselberry, general
manager of TPO, said the Talaria
projector provides a picture with
brightness, contrast ratio, geometric
accuracy and color fidelity that com-
pares very favorably with color film.

National General has signed multi-
million-dollar contracts under which
General Electric will supply projec-
tors and service.

The key factors which make possi-
ble the capabilities of this projector
are the development of a special con-
trol fluid, the development of a novel
light gathering system to utilize the
very high light output of a 5-kw

BIG-SCREEN COLOR TV— Unique
color television projector developed by
General Electric throws high-quality
picture on theater-size screen. National
General Corp., 220-theater movie ex-
hibitor, plans to use the new Talaria
projector in a nationwide pay theater
television network. Before G. E. de-
veloped the projector, only black-and-
white TV projection was possible on
large screens. Color projection was
limited to one-fourth the size of stand-
ard movie screens. Talaria produces the
three primary colors (red, green and
blue) from only two light beams (green
and magenta). Simplified projection op-
tics make it possible to get primary
red and blue from the single magenta
beam.

International Projectionist March 1963

xenon arc lamp, and a simplification
of the projection optics wherein all
three primary colors are projected
with onlj two output light beams.

This dual-beam method results in a
simpler and more reliable projector,
and substantial!) simplifies the prob-
lem of achieving and maintaining
precise color registration. This is
particularly important for large-
screen projection where minute errors
would be greatl) magnified.

The Talaria projector has a high-
power light source and an optical
projection system similar to that of a
motion picture projector. But in
place of the motion picture film, a
thin la\ei of viscous fluid is used.
This control fluid was developed by
General Electric for this particulai
application and is said to have unique
electrical, mechanical, chemical and
optical properties.

This control layer is continuously
scanned lt\ an electron beam in the

COMPARISON— Diagram compares
operation of new General Electric Ta-
laria (light valve) projector with stand-
ard film projector and with TV sys-
tem using cathode ray tube. In Talaria
system, a layer of special viscous fluid
is continuously scanned by electron
beam. Light from high-power source,
is controlled by layer which takes place
of printed film in standard movie pro-
jector. Third system at bottom projects
light directly from cathode ray tube and
is limited in brightness. The Talaria
projector is similar to a standard movie
projector in that both use a high-power
light source and a system of lenses to
direct the light beam through the film
and produce a picture on the screen.
For practical purposes, the Talaria light
valve projector works the same way,
except that the printed motion picture
film is replaced by a transparent thin
layer of viscous control fluid. An elec-
tron gun operating as it does in a TV
picture tube scans the surface of the
control layer. Instead of producing a
picture directly on the layer as it does
on the phosphor face of a TV picture
tube, the electron beam causes the fluid
layer to control the light so that the
picture is projected onto the screen.

International Projectionist March 1963

same manner as the phosphor on the
face of the picture tube in a conven-
tional TV set. But instead of produc-
ing a picture directly on the control
layer, the scanning process controls
the light from the lamp which passes
through the control layer in such a
manner that a live picture is instan-
taneously produced on a large screen
in full color and brightness.

The projector uses an optical pro-
jection system so arranged that all of
the light from the source is intercept-
ed by sets of stops so that no light is
projected onto the screen as long as
the control layer is smooth. The elec-
tron beam deforms the surface in
accordance with the incoming picture
information. Electrostatic forces
produce these deformations which
cause the light to be deflected around
the stops and onto the screen to re-
produce the original scene.

The technique of employing a high
efficiencj 5-kw xenon lamp at the
source <>f light for the projected pic-
ture and utilizing the- electrical pic-
ture signal to control or modulate this
light overcomes the limitations nor-
mall) encountered regarding screen
brightness and picture size.

I he xenon lamp can convert far
greater electrical power into light
with much higher efficiency than can
he accomplished on the phosphor face
of a projection cathode raj tube. The
xenon lamp has an intrinsic peak
brightness of 730.000 candles per
square centimeter, which is five times
the apparent brightness of the sun.
For comparison, tungsten lamps have
a brightness of onl\ .1000 candles per
square centimeter.

Persistence, or storage character-
istics of the Talaria projector depends
on the rate at which deformations of
the control fluid decay or subside.
Control fluids can be compounded
which allow the persistence to be
made correct for the fast frame rates
required in live television presenta-

tions, or very long for long storage or
slow rewriting cycles. This long stor-
age characteristic prevents objection-
able "flicker" when the projector is
being used for static display in which
much of the picture may remain un-
changed for long periods.

The Talaria projector is a highly
flexible unit that can be used for

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17

How electrical noise is produced . . .
calculated . . . measured . . . controlled

Here are the basic facts about electrical noise — how it originates
in circuits . . . what terms describe it . . . how to measure it . . .
how to design circuits to minimize its undesirable effects. The
physical nature of the various sources of noise are clearly de-
scribed, including such sources as thermal agitation or resistance
noise . . . shot noise in vacuum tubes and semiconductor junctions
. . . noise from spontaneous emission of electromagnetic radiation
. . . and noise in gas discharges. This practical book also explains
auxiliary mathematical techniques, and discusses the relation of
signal and noise in various types of communication systems. For
ease in use, the simple tuned circuit associated with a device for
measuring average power is made the basic tool for analyzing

ELECTRICAL

270 pages, 6x9
105 illustration*
$10.00

By WILLIAM R. BENNETT

Data Communications Consultant, Bell Telephone Laboratories, Inc.

Each chapter in this helpful book begins in
a simple, practical manner and works toward
more complicated examples. For example, prop-
erties of thermal noise and its relation to black-
body radiation are deduced from basic laws
of thermodynamics and statistical mechanics.
You also will find a clear treatment of elemen-
tary quantum mechanics in discussions of the
maser and of noise in semiconductors. And, in
describing noise properties of various devices,
the book fills in your working background with
basic facts on junction diodes — transistors —
gas discharge tubes— klystrons— traveling wave
amplifiers— and others. Both independent and
dependent noise sources are analyzed.

In addition to the standard theory of noise
figure and its significance, a treatment is given
of the more comprehensive Haus-Adler theory
of noise measure. Throughout, the book stresses
the universality of noise-like phenomena. Noise
formulas for diodes and transistors; noise gen-
eration to meet specifications; design of ampli-
fiers for minimum noise effects— these and many
other topics "are covered. A comprehensive re-
view of noise in the various methods of signal
transmission such as amplitude modulation . . .
frequency modulation . . . and the different
lands of pulse modulation is included.

CONTENTS

1. General Properties of Noise

2. Thermal Noise

3. Distribution of Magnitudes in Noise Sources

4. Noise in Vacuum Tubes

5. Noise in Semiconductors

6. Noise in Electromagnetic Radiation

7. Noise-generating Equipment

8. Noise Measurements and Techniques

9. Design of Low-noise Equipment

10. Application of Fourier Analysis to Noise
Problems

11. Noise in Communication Systems

INTERNATIONAL PROJECTIONIST

Post Office Box 6174

Minneapolis 24, Minnesota

Please send me a copy of "Electrical Noise"

by William R. Bennett. (I enclose $10.00.)

Name

Address
City & State

INTERNATIONAL PROJECTIONIST

Post Office Box 6174
Minneapolis 24, Minnesota

□ 1 year (12) issues — $3.00

□ 2 years (24) issues — $5.00

FOREIGN: Add $1.00 per year

Enter my subscription for

Name

Address

City

Zone

State

black and white projection as well
as color, it is claimed.

Light output from the projector is
more than 3750 lumens. This is ade-
quate for all types of theatre screens
up to 25 ft. in height and 33 ft. wide,
including drive-in theatres. With
proper lens attachments the throw-
distance-to-picture-height ratio chan-
ges from 3.1:1 to 10:1, which covers
nearly all theatres.

The Talaria system is capable of
producing a wider gamut of colors
than the best color film available it is
claimed, because color is determined
by optical filters rather than dyes.

Resolution, or amount of detail, is
about 500 TV lines, better than home
TV receivers.

Uniformity of illumination is excel-
lent. Illumination at the edges of the
Talaria picture falls to 70% of that at
the center. ( SMPTE standards allow
a drop to 60%).

The Talaria projector is designed
to operate with the FCC-approved
color system which encodes color on a
3.58-megacycle chrominance subcar-
rier. The FCC system uses a band-
width of 4.5 megacycles, but the new
projector can also work on a wide-
band 7-megacycle system with a 6.44
megacycle subcarrier.

Overall length of the projector is
5 ft., 8 in.; height 5 ft., 4 in.; width,
2 ft.. 5 in. Weight is approximately
1.000 lbs. The projector can be dis-
assembled into two units for porta-
bility. iP

18

CINERAMA

from Page 15
over a much larger structural area,
which contributes to the resistance of
the loads.

Because the shortest distance
between two points on a sphere is an
arc of a great circle (called a geo-
desic I all of the force lines of the
dome lie along great circles. This
arrangement results in an equal dis-
tribution of stresses in all directions,
balancing tension against compres-
sion. It also makes possible the use
of lightweight materials which in
conventional structures would hardly
be able to support their own weight.

The dome can cover a large area
without requiring support braces and
trusses normally used in construction.
Instead, its structure and skin are
one. It is made by piecing together
diamond-shaped panels of concrete,
plastic, aluminum, or other material.
Each panel has turned-up edges, like
the rim of a pie pan. The dome is
assembled simply by bolting together
the rims of adjoining panels. iP

International Projectionist March 1963

» AUTHORITATIVE
» COMPREHENSIVE
» PRACTICAL

Acclaimed by leading technicians in
the industry as the most comprehen-
sive and down-to-earth handbook pub-
lished to date on the subject of motion
picture projection. Ideally suited for
study and reference by your opera-
tors.

ROBERT A. MITCHELL'S

MANUAL OF PRACTICAL PROJECTION

HANDY 5'/2" x 8' 2" SIZE — 450 PAGES — ILLUSTRATED — CROSS INDEXED FOR EASY REFERENCE

* Here is one of the most help-
ful works ever published for
the motion picture projection-
ist. A handsomely bound and
profusely illustrated compila-
tion of the BEST of the Robert
A. Mitchell articles that have
appeared in "International
Projectionis t," revised,
brought up to date.

* The author covers clearly
and thoroughly every aspect of
motion picture projection, pre-
senting his material in easily
understood language — not too
technical, yet technically ac-
curate. The Manual is divided
in 8 sections and contains 30
chapters — a valuable refer-
ence work no progressive pro-
jectionist should be without.

!

SECTION HEADINGS

(1) 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 * USE THIS HANDY FORM

INTERNATIONAL PROJECTIONIST
Post Office Box 6174
Minneapolis 24, Minnesota

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

$6.oo

per copy
including postag*

International Projectionist March 1963

19

*IU tamcua VENTARC

— BY FAR THE MOST POWERFUL OF ALL PROJECTION LAMPS

"Showing a picture in
a drive-in theatre for
the first time to com-
pete with an indoor
house. The increase in
revenue is worth the
investment," says the
Cranston Auto Thea-
tre, "New England's
Finest Drive-In Thea-
tre", Cranston, R. I.

The Ventarc employs a giant 21-inch
reflector and a totally different tech-
nique— a three dimensional, cylindri-
cal shaped light source which projects
twice the light of any lamps using
I6V2" reflectors, and 51% more light
than lamps using f 1.7 — 18 lens —
evenly distributed screen light of con-
stant intensity and unchanging color,
without manual adjustment.

NATIONAL THEATRE SUPPLY COMPANY

Branches Coast to Coast

a subsidiary of general precision equipment corporation
20 International Projectionist March 1963

SMPTE
Special issue

lighting
Requirements
for Drive-ins

THE I1IIO Ullk

John Conway, Local 306 MPO, is
r shown with his Simplex XL projec-
tors in the projection room of an-
other twin theatre, Cinema I and
Cinema II in New York. Story on
page 12.

APRIL
VOLUME 38

40c A COPY

1963
NUMBER 4

$3.00 A YEAR

» AUTHORITATIVE
» COMPREHENSIVE
» PRACTICAL

Acclaimed by leading technicians in
the industry as the most comprehen-
sive and down-to-earth handbook pub-
lished to date on the subject of motion
picture projection. Ideally suited for
study and reference by your opera-
tors.

ROBERT A. MITCHELL'S

MANUAL OF PRACTICAL PROJECTION

HANDY 5!/2" x 8i/2" SIZE

450 PAGES

ILLUSTRATED

CROSS INDEXED FOR EASY REFERENCE

it Here is one of the most help-
ful works ever published for
the motion picture projection-
ist. A handsomely bound and
profusely illustrated compila-
tion of the BEST of the Robert
A. Mitchell articles that have
appeared in "International
Projectionis t," revised,
brought up to date.

it The author covers clearly
and thoroughly every aspect of
motion picture projection, pre-
senting his material in easily
understood language — not too
technical, yet technically ac-
curate. The Manual is divided
in 8 sections and contains 30
chapters — a valuable refer-
ence work no progressive pro-
jectionist should be without.

SECTION HEADINGS

(1) 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 * USE THIS HANDY FORM

INTERNATIONAL PROJECTIONIST
Post Office Box 6174
Minneapolis 24, Minnesota

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

$6.oo

per copy
including postage

CITY ZONE STATE

A Scene From America's Projector Carbon Center...

X-ray reveals breaks and voids in positive projector carbon core:

"The x-ray eyes of our inspectors are your
assurance of perfect projector carbon cores"

You can't judge a movie by its
title. And you can't judge a pro-
jector carbon solely from the
outside. That's why carbon in-
spectors in our plant in Fostoria,
Ohio, test every carbon from Veryi Johnson
the inside out — with modern x-ray equipment.
As an extra safeguard, our inspectors are paid
a premium for every imperfect carbon they re-
ject and scrap.

Shown above is our x-ray room, through which
all positive carbons must pass on a belt contain-
ing from 6 to 20 carbons, depending on size. The
assignment is to weed out carbons with voids or

-says VERYL JOHNSON

National Carbon Sales Engineer

breaks in their rare earth cores — the key to un-
interrupted burningand maximum light quality.

As a further inspection safeguard, operators
of this x-ray equipment stay keen and alert by
changing off every 30 minutes!

Quality manufacturing and precision testing
are only a part of the "National" projector car-
bon story. For 45 years National Carbon Com-
pany has provided the motion picture theatre
industry with unsurpassed technical service.

Our Sales Engineers are equipped with, and
are specialists in using, today's most modern
test devices for assuring more screen light per
projector carbon dollar!

Contact
Mr National Carbon

UNION
CARBIDE

"National" and "Union Carbide" are registered trade-marks for products of

NATIONAL CARBON COMPANY

Division of Union Carbide Corporation • 270 Park Avenue • New York 17, N. Y.
In Canada: Union Carbide Canada Limited, Toronto

Volume 38

April, 1963

Number 4

Proper Drive-ln Projection by Robert a. Mitcheii

A Picture that is consistently bright and clear on
the screen bespeaks a high degree of competence on the
part of the "unseen showman" in the projection room. A
brilliant, uniformly illuminated screen, free from brown-
ish or bluish discolorations, reveals that the projectionist
takes extra care to line up his lamp equipment and to
keep the arc burning properly at all times. Likewise, a
knife-sharp focus of the picture (barring "fuzzy" prints^
is another hallmark of the conscientious projectionist,
inasmuch as different prints, and even different portions
of the selfsame reel, ordinarily require slightly different
lens settings for the highest resolution of the image.

It's a safe bet that the projectionist who gives fre-
quent attention to the arcs and to the focus presides just
as diligently over all the multifarious details of the
complex projection process.

Now. when we go from an adequately equipped in-
door theatre to the usual drive-in having an excessively
large screen (perhaps badly weathered and in need of
repainting ) , the aforementioned indications of expert
work in the projection room come in for a rude shaking-
up! How can the picture possibly be well lighted when
the tremendous area of the drive-in screen overtaxes the
capacity of the arc lamps? How can a knife-sharp focus
be obtained when the radiant heat blazing upon the aper-
ture is so intense that the film flutters like a rag in the
breeze? The projectionist in the average drive-in labors
under a disadvantage even when he does the best he can
with the unsuitable equipment given him to operate. Low-
powered lamps forced beyond their capacity, the absence
of heat filters, cold mirrors, or water-cooled film gates,
and the use of "slow" uncoated projection lenses all con-
tribute to the shockingly low quality of much of the
drive-in projection presently on view.
Minimum Brightness Raised to 41/2 FL

The dim, shadowy images which wander like half-
materialized ghosts on most drive-in screens today are
wholly unnecessary. Up to a certain screen size for each
type of screen surface, it is possible to achieve an accep-
table screen brightness level in drive-in projection. Mod-
ern arc lamps of high power are capable of adequately
lighting white-painted drive-in screens up to width of
75 feet, and aluminum-painted screens of only moderate
"gain" up to a width of 105 feet. The lamps we have in
mind are of the "blown-arc" type; but the maximum al-
lowable screen sizes when the most powerful regular
rotating-positive mirror lamps are used are only 10 or
15 feet smaller in width.

So gratifying have been the results obtained on drive-
in screens with the powerful lamps designed expressly
for large-screen projection, that the old unofficial stan-
dard of 4 footlamberts as the minimum center-screen
brightness for drive-ins has been supplanted by SMPTE

INTERNATIONAL PROJECTIONIST, published monthly by the Inter-
national Projectionist Publishing Co. division of The Northern Publish-
ing Co., Post Office Box 6174, Minneapolis 24, Minnesota. Editorial
offices, 1645 Hennepin Avenue, Minneapolis 3, Minn. Second-class
postage paid at Minneapolis, Minn.

4

Recommended Practice RP12, which requires a minimum
of 4.5 footlamberts measureed on the viewing axis at the
center of the screen illuminated by one projector running
without film.

A screen brightness of 4% FL is 45% of the indoor
minimum standard of 10 FL (the brightness difference
between a rather pale light gray and white ) , or 28% of
the indoor median standard of 16 FL. The maximum cen-
ter-screen brightness for both indoor and drive-in thea-
tres, specified by American Standard PH22. 124-1961, as
20 FL.*

Unfortunately, more than half of the drive-in thea-
tres recently surveyed by professional groups have screen
brightness of less than 3 FL, substantially below the of-
ficial recommended minimum. (About 40% of all drive-
ins have screens from 80 to 100 feet wide, while another
40% have screens wider than 100 feet. )

Reflectivity of White Screens

Most drive-in screens are surfaced with matte (non-
gloss white paint presumably formulated for high re-
flectance and resistance to sun, wind, rain, and the severe
weather conditions of winter. If the white screen paint
has a pigment composed principally of titanium dioxide,
and if two coats are applied by spraying over a bright
aluminum undercoat, the screen should reflect somewhat
more than 90% of the light. A "diffuse reflectivity" in
excess of 90% cannot be surpassed by any other white
paint having acceptable covering power and resistance
to time, weather, and chemical fumes.

Screen paints formulated with zinc oxide and/or bari-
um sulfate have diffuse reflectivities of about 85%,
which must also be considered good. Paints containing
white lead ( basic lead carbonate ) have excellent covering
power and are initially very white, but should be avoided
because lead pigments darken and turn, first yellow, then
brown, when exposed to the sulfurous fumes usually pres-
ent in the air in the vicinity of towns and highways. The
disastrous color change is due to the formation of traces
of black lead sulfide.

A very cautious consideration of all available arc-
lamps, lens, and screen data enables us to state that matte
drive-in screens of 85% reflectivity be no wider than 65
feet for 4% footlamberts or more of brightness with 18-
inch mirror lamps burning 13.6-mm carbons at 160
amps., or no wider than 75 feet for the same light levels
when blown-arc lamps — the most powerful of all — are
used. Screens wider than 75 feet (most of them are!)
require "directional" aluminum-type paints to obtain at
least the minimum recommended 4% footlamberts with
even the most powerful arc lamps presently available.

*The SMPTE-American Standards specification of 10, 16,
and 20 footlamberts for the minimum, median, and maximum
indoor screen brightness levels is somewhat mystifying, inas-
much as visual brightness differences are Weber-Fechner
functions of physical luminance. If 16 FL be accepted as the
median, and 10 FL the minimum, we should expect a maximum
allowable brightness very close to 23 FL.

International Projectionist

April 1963

Aluminum-painted screens require a difficult and ex-
pensive installation of the screen surface. This is also true
when corrugated or lenticulated aluminum plate is used
for optimum light distribution. It is absolutely necessary
to tilt aluminum-surfaced screens so that the light will
be thrown down into the viewing area. A perfectly verti-
cal aluminum screen is verv unsatisfactory in a drive-in.
and is worse than useless if the upward projection angle
is much greater than 5 degrees. Aluminum-painted sur-
faces reflect light mirrorwise; and failure to tilt the
screen downward will result in the light being directed
over the tops of the cars and up into the sky . Only the
owls and nighthawks will see a bright picture.

The downward tilt of an aluminum drive-in screen
should be 2 or 3 degrees le?s than the upward projection
angle. That is. if the projectors tilt up at a 7-degree
angle, the screen should tilt down by about 5 degrees.
I Too great a tilt will rob the ramps behind the projec-
tion building of light! i

\fter some months of weathering, an outdoor alumi-
num screen loses both light-reflecting power and direc-
tional "gain." An aluminum-painted screen which initial-
l\ had an overall "integrated" reflectivitj of ">()'< drop-
ped to 65', after one winter. This is a change in color
from a bright silver) white to light gray. Then. too. the
initial light gain of 3 of thi> screen la center-screen re-
Oectivit] of 300^5 measured on the optical axis 1 dropped
to l1^ l center-screen reflectivity of 15095 in the same
length of time. Even though the extreme ends of the
ramps received a hit more light than they did when the
aluminum paint was fresh, the overall reflectance was
down, and the middle of the viewing area suffered ex-
cessive dimming of the picture.

Aluminum paint manufacturers mav claim that the

particular brand of paint used on this screen was of
poor quality, but this severe loss of reflecting power
and gain in a 12-month period is entirely in line with
our experience with several brands of aluminum screen
paints used out of doors. Indeed, we are reluctant to
assign a center-screen reflectance greater than 150% •
to any weathered aluminum-painted drive-in screen even
when the screen is properly tilted so as to give the
audience the benefit of this admittedly moderate light-
gain. An aluminum-screen reflectivity of 150%, con-
servative though it may be. is a very safe one to guide
us in the choice of a suitable screen size and a set of
arc lamps to insure the standard minimum brightness
of 41 L. FL.

Therefore, if the aluminum screen has an axial
reflectivity of 150%. it should be no wider than 90
feet when the lamps burn regular 13.6-mm carbons at
about 160 amps., or no wider than 105 feet when the
lamps are of the blown-arc type. Of course, a higher
gain than 1 j L> will permit the projection of still larger
pictures having a brightness of at least 4VL> FL, but we
refuse to count on a gain much exceeding 1% for out-
door aluminum screens.

The foregoing maximum screen-width recommenda-
tions are for 35 - mm non - anamorphic projection, and
are based on the assumption that the light transmission
of the projector shutter is at least 50% ( it is usually
a little more in drive-in projectors I. that there are
no physical obstructions in the path of the light beam
a- it comes from the arc lam)) I onlv modern mechanisms
fill this requirement), that the projection lens is anti-
reflection coated and has an optical speed of at least
f 1.''. and preferably f 1.7. If projector-port glasses
are used in the drive-in projection building to prevent
urilt\ du-t from blowing in and settling upon the lenses,

LUMENS FOR H F00TLAMBERTS

LUMENS FOR 10

F00TLAMBERTS

SCREEN

WIDTH

Q5%

CARBON

150^

CARBON

85%

CARBOl

150^

CARBON

(Feet)

MATTE

AND

ALUMINUM

AND

MATTE

ANI

»

ALUMINUM

AND

SCREEN

AMPERAGE

SCREEN

AMPERAGE

SCREEN

AMPERAGE

SCREEN

AMPERAGE

20

1 ,600

7mm 40A

900
1,400

7mm 40A 3,500

7mm

42A

2,000

7mm 40A

25

2,500

7mm 40A

7mm 40A 5,500

7mm

50A

3,100
4,500

7mm 40A

30

3,600
4,900
6,400

7mm 42A

2,000

7mm 40A 8,000

9mm

80A

7mm 46A
8mm 60A

3

7mm 46A

2,800

7mm 40A 11 ,000

10mm

110A

6,100

8mm 60A

3,600

7mm 42A 1 4,000

13.6

145A

8,000

9mm 80A

±5

8,100

9mm 80A

If, 600

7mm 46A 18,000

13.6

165A

10,000

10mm 100A

50

10,000

10mm 100A

5,600

7mm 50A 22,000

Blowr

i arc

13,000

11mm 115A

55

12,000

10mm 105A

6,800

8mm 65A (27,000)

15,000

13.6 150A

60

14,000

11mm 120A

8,000

9mm 80A (32,000)

18,000

13.6 165A

65

17,000

13.6 160A

9,500

9mm 85A (37,000)

21 ,000

Blown arc

70

20,000

Blown arc

11,000

10mm 110A(43,0O0)

25,000

Blown arc

V

23,000

Blown arc

13,000

1 1f, 000

11mm 115A(50,000)

(28,000)

80

(26,000)

11mm 120A(57,000)
13.6 155A(64,000)

(32,000)

85

(29,000)

16,000

(36,000)
(41 ,000)

90

(32,000)

18,000

13.6 165A(72,000)

95

(36,000)
(40,000)

20,000

Blown arc (80,000)

(45,000)

100

23,000

Blown arc (88, 000)

(50,000)

105

(44,000)

25,000

Blown arc (97, 000)

(55,000)

110

(48,000)

(27,000)

(110,000)

(61,000)

115

(53,ooo)

(30,000)

(120,000)

(66,000)

TABLE 1 — Required screen lumens (projector run-
ning without film) and suggested sizes of positive carbons
and arc currents for screen widths of 20 to 115 feet for
either 4J/2 or 10 footlamberts brightness on white and

International Projectionist

April 1963

aluminum screens. (Lumen values in parenthesis exceed
the capacities of the most powerful arc lamps.) MULTIPLY
ALL LUMEN VALUES IN THIS TABLE BY 2 TO
EQUATE WITH MANUFACTURERS' RATINGS.

5

Reasonably uniform illumination
on drive-in screens is desirable.

Side -to -center light distributions
of less than 60% results in a
center -screen "hot spot"

they should be of the finest quality flat-ground and
polished colorless optical glass. Anti-reflection coating
of projector-port glasses is desirable, but not abso-
lutely necessary.

All available methods of reducing heating of the
film and projector gate should be utilized in drive-in
projection, otherwise it will be impossible to get sharply
focused pictures on the screen. Air cooling of the film
is optional, however, as there is some doubt as to its
efficacy in reducing film flutter. Water cooling of the
gate and aperture is a necessary adjunct to successful
drive-in projection: and the use of either heat filters
or cold arc-lamp mirrors must be regarded as an abso-
lute necessity.

Interference-type heat filters ( not the older absorp-
tion type! ) should be used with Suprex-type lamps burn-
ing 8-mm positive carbons at 70 amps, and with Suprex
lamps burning 9-mm carbons at 75 or 80 amps. The
more powerful rotating-positive high-intensity mirror
lamps require either heat filters or cold mirrors, but
the latter being preferred because they reduce heat as
effectively as the best filters without wasting light as
filters do. Light, it must always be remembered, is
at a premium in drive-in projection.

Filters and Cold Mirrors Compared

Old-fashioned infrared-absorbing filters reduce heat-
ing of the film by about 40% with an accompanying
light loss of 20% . Interference, or "dichroic,"* heat
filters do not absorb infrared radiation, but reflect it
tack toward the lamphouse. These reduce the heat by ap-
proximately 45% with a 15% light loss. Cold mirrors,
on the other hand, allow the invisible heat-producing
infrared rays to pass through into the rear of the lamp-
house, and thus reduce heating of the film by about
46% with no loss of light relative to the efficiency of
ordinary silvered mirrors.

In order to reduce focus-ruining heat on the film
without the light losses occasioned by heat filters, we

urgently recommend that interference (dichroic*) cold
mirrors be installed in all rotating-positive reflector
lamps, and that heat filters be eliminated. As a matter
of fact, the successful operation of all the more power-
ful high-intensity arc lamps, including those of the
blown-arc type, absolutely requires the use of cold mir-
rors.

Because of their prodigal consumption of power and
relatively low luminous efficiency, condenser-type arc
lamps are not recommended for drive-in use. A few
of the larger indoor theatres retain these old power-
eaters because they are relatively insensitive to small
errors in arc focus, making their operation very simple,
and because they provide exceptionally uniform illumina-
tion on the screen. Frequent replacement of chipped
and cracked condensing lenses adds to the cost of their
operation.

60% — 80% Light Distribution

All high-powered mirror lamps of American manu-
facture provide a reasonably uniform distribution of
light without a conspicuous "hot spot" in the middle
of the screen. When the arc is focused for maximum
screen light, Suprex-type lamps having 14-inch mirrors
give a side-to-center light distribution of 60% with 7-
and 8-mm positive carbons, and 65% with 9-mm car-
bons. Rotating-positive lamps having 16- or 18-inch
mirrors provide a distribution of 55% with 9-mm car-
bons, 60% with 10-mm carbons, 65% with 10-mm Hi-
tex and 11-mm regular carbons, and 70% to 80% with
13.6-mm carbons, the more uniform light distribution
being obtained at currents close to the rated maximum
for this size.

A new lamp on the market gives a side-to-center
distribution in excess of 75% by shifting the "spot,"
or arc-image focus, ahead of the aperture. The Strong
Jetarc blown-arc lamp, which burns 10-mm Hitex car-
bons in the 130-138 amp. range, and 10-mm Ultrex
carbons in the 155-160 amp. range, provides a light dis-
tribution of 80% and higher on the screen. This ap-
pears perfectly uniform to the eye.

It was previously stated that the drive-in minimum
light-level standard of 41/>> footlamberts can be ob-
tained on matte white screens 65 feet wide with mirror
lamps burning 13.6-mm carbons at 160 amps., or 75
feet wide with blown-arc lamps. The maximum widths
for the same light level with the same types of lamps
on aluminum screens of 150% center reflectivity are
90 and 105 feet. If the screen width is substantially
smaller, the attainment of the indoor minimum standard
of 10 footlamberts is entirely feasible, providing a bril-
liance of projection which will prove an eye-opener to
most drive-in patrons, and gain considerable favor for
the theatre. Audiences appreciate seeing motion pic-
tures at their best!
"Indoor" Brightness for Drive-Ins?

How wide can the screen be to have not less than
10 FL of center-screen brightness when the more power-
ful arc lamps are used? If the screen is matte white
(85^ refl. ), it may be up to 45 feet wide for a 10 FL
level when 13.6-mm carbons are burned at approxi-
mately 160 amps, in mirror lamps, or up to 50 feet
wide when blown-arc lamp equipment is used. If the
screen is of the 150% aluminum-painted type (properly

*The word "dichroic" actually means "two-colored," and
should be restricetd to mean only interference filters and mirrors
which transmit one color, or portion of the visible spectrum, and
reflect another. The term "color" does not properly apply to
infrared or any other invisible radiation. All colors are perforce
visible: the terms "invisible colors" and "invisible light" are
absurd.

(Please turn to page 18)

International Projectionist

April 1963

The Cover Story:
Simplex Projector
Line Humming

If you wanted to see some evidence
. >f the recent upswing in the motion
picture theatre industry, all you
would have to do is \ isit the produc-
tion line of Simplex XL projection
mechanisms. Hundreds of XLs in
various stages of completion and
testing were in evidence at the Plea-
santville. New York plant of National
Theatre Supply's fellow subsidiary of
the General Precision Equipment
Corp., the Pleasantville Instrument
Co.

\t one end of the production line.
■ in- could see a i emarkable $45,000
Bui'irmaster machine, which i> con-
trolled hv magnetic tape and auto-
matical drills, taps and does other
operations on castings. In the final
stages "I the assemblj process, vou
find experts utilizing test film to
check ever) mechanism for the
steadiness that the Simplex \l. mech-
anisms have become famous for. No
projector can he shipped out unless
it nicety the most rigid standards of
perfection set up for this equipment.
\\ il la id J. Turnhull. president of
National Theatre Suppl) Company, is
extremelv enthused about prospects
of the motion picture- industry. Last
summer, for example, his companv
supplied Simplex \l. projection and

Cover Story:

John Conway, member of local 306,
Motion Picture Machine Operators,
I.A.T.S.E., is shown on the cover in
the projection room of Cinema II, the
lower level theatre in the structure that
houses two theatres in one building.
The upper level theatre is called
Cinema I.

Located on Third Avenue in New
York City, Cinema I and Cinema II
were opened last June by Rugoff
Theatres, Inc. Both theatres are equip-
ped with Simplex XL projection and
sound systems. Conway, who has been
a projectionist since 1923, feels very
strongly that a pair of Simplex XL's
are the best friends a projectionist can
have. Their smoothness and reliability
are unexcelled, in his experience.

Cinema I and Cinema II are two of
) the seven new theatres opened in the
New York City area during a six week
period last summer. All seven of the
theatres chose Simplex XL projection
equipment. National Theatre Supply's
New York City bran;h handled all
the installations.

"Remarkable Reliability"

At New York's famed Radio City Music Hall, chief projectionist Ben Olevsky put it this
way. "The reliability of the Simplex X-L projector is remarkable. Our projectors were
installed by National Theatre Supply in 1950 and have been maintained by our staff
since then. In 11 years of operation they have never been removed for overhaul!"
Similar opinions and experiences are reported all the time by projection "pros" like
Ben at most top theatres throughout the country. The facts are that no other mechanism
on the market is designed and built to the engineering perfection achieved in the X-L.
Incorporating every new advance in projection, the X-L is your assurance that you'll
have a dependable, up-to-date projector for many years to come.

projection and

SOUND SYSTEMS

NATIONAL THEATRE SUPPLY COMPANY Branches Coast to Coast

50 PROSPECT AV ENU E • TAR RYTOWN, N.Y.'MEDFORD 1-6200

SUBSIDIARY OF GENERAL PRECISION EQUIPMENT CORPORATION

International Projectionist

April 1963

sound equipment for seven new thea-
tres that opened during one six week
period in the New York City area
alone. Turnbull pointed out the
growing awareness on the part of the
industry for the need to have projec-
tion and sound of the finest quality.
He stated "Brilliant projection and
excellent sound reproduction are two
vital elements of motion picture pre-
sentation that no other entertainment
media can compete with. A theatre
owner that shows a jumpy, out-of-
focus film, with poor quality sound,
is selling shoddy goods. Customers

The Simplex XL production line where parts and major sub-assemblies are added
to the main frame.

don't like it and won't come back
even if the best feature pictures are
being shown. This is one reason why
many of our orders for new equip-
ment are for replacement of 20 and
30 year old projectors."

In the final stage of assembly, the
shutter is installed prior to putting the
outside covers and doors in place.

SPEED

IN PROJECTION

Kollmorgen lenses rate tops in the motion
picture industry. Used exclusively with
Cinerama, they are standard equipment
in more than 70% of American theaters.
High light uniformity and less light loss
on the screen— the whole screen— are typ-
ical of the outstanding performance of
super snaplite'I" lenses.

Other advantages that add up to supe-
rior screening with super snaplite are:

Wire sharp contrast
Uniform illumination
Crystal clarity

Wide range of focal lengths
Sealed construction

All mechanisms are run-in and final
adjustments or touching up is com-
pleted at this stage of the production
line.

Bulletin 222 describes Kollmorgen
lenses in detail. See your equip-
ment dealer, or write us direct.

CORPORATION

NORTHAMPTON, MASSACHUSETTS

The mechanisms are now ready for the
steadiness test. The projectors shown
here are part of over a million dollars
worth of Simplex XL projectors in
various stages of assembly.

International Projectionist

April 1963

Every mechanism is cxactingly tested
for steadiness. Experts use special test
films to check for picture jump and
side weave.

Three Get New Kodak
Executive Positions

ROCHESTER, N. Y. — Appoint-
ment of three Eastman Kodak execu-
te ea to new positions within the com-
parn have been announced here.

Mechanisms are thorougly cleaned by
means of a spray bath with special
chemicals.

This $45,000 Burgmaster machine is
controlled by magnetic tape. It auto-
matically drills, taps and does other
operations on the castings. il*

\\ illmont. Moss, eastern regional
assistant credit manager since L954,
has been appointed manager of the
western credit region. R. G. Van
Duyne, office manager for the south-
eastern sales division with headquart-
ters at (lhamhiee. (la., has been

brought to Rochester as credit man-
ager for the midwestern division.
He will be replaced by Louis B.
Stahlman who moves from the Kodak
Distribution Center to the office
managership at Chamblee. il*

CMcMfL PROVED BYTEST...BYFARTHE BEST

Arc Lamps and Rectifiers for Every Projector... for Every Theatre... The World's Finest

HERE ARE THE FACTS

SUPER CINEX ... The masterpiece
of the most experienced projection lamp
designer. No other lamp has even re-
motely approached its perfection from
every point of view— mechanically, elec-
trically, optically, hydraulically or its fine
air-conditioned system. Its durability and
stamina have been proved. More and more
fine theatres and drive-ins are re-equip-
ping with Ashcraft Super Cinex daily due
to their fine reputation for perfect screen
light and service. Current range with 1 3.6
mm carbon, 125-165 amperes.

CORE-LITE ... the latest and most
phenomenal producer of white light at
lowest possible operating cost in the fam-
ily of Great Ashcraft Arc Lamps. Same arc
burner and arc controls as the SUPER-
CINEX. Same quality and built-in reliabil-
ity. The lamp is optically designed to give
greater white light distribution at less cost
for carbons and electricity. There is none
better— anywhere! 70-110 amp.

CINE X 35/70 SPECIAL . . . The

Great of the Ashcraft Arc Lamps is a modi-
fied Super Cinex. Like the Super Cinex no
third element or relay lens is necessary
regardless whether 35 mm or 70 mm film
is being projected. Uses a 13.6 mm ^^
high intensity positive carbon at
current ranges between 1 25 and
1 40 amperes.

RECTIFIER ...THE SPECIAL CORE-
LITE 1 2 PHASE HIGH REACTANCE

"fCTIrltK . . . designed for the require-
ments of the Core-Lite lamp, this rectifier wi
give the best results. Low reactance 6 phase
rectifiers should not be used. Certain motor gen-
erators, but not all, are acceptable. The special
Core-Lite S/1212 rectifier will give you long,
excellent service with an absolute minimum of
expense. Other Ashcraft rectifiers available for
every power need. The cost is no more than for
inferior rectifiers.

SOLD EVERYWHERE IN THE UNITED STATES BY LEADING RECOGNIZED THEATRE SUPPLY DEALERS

CS. ASHCRAFT MFG. CO., INC. • 36-32 38th STREET- LONG ISLAND CITY 1, N.Y.

International Projectionist

April 1963

23

22

21

20

19

18

17

24

25

26

27

28

29

30

W. J. GERMAN, INC

. . . agent for the sale and distribution of

FORT LEE, N. J.
Jane Street
LOngacre 5-5978

CHICAGO, ILL.

6040 N. Pulaski Rd.
IRving 8-4064

HOLLYWOOD, CALIF.
6677 Santa Monica Blvd.
HOllywood 4-613 1

EASTMAN FILMS

that you should
specify for the
best of motion
picture and tele-
vision quality from
photography thru
release printing.

EXHIBITS

AT THE 93RD SMPTE CONVENTION, ATLANTIC CITY,

Company Booth

Mr. Edword Willerte 9

Animation Equipment Corp.
38 Hudson Street
New Rochelle, N. Y.

Mr. Victor Jomes 24, 25

Arriflex Corp. of America
257 Park Ave. South
New York 10, N. Y.

Mr. James L. Wossell 29

Bell & Howell Co.
7100 McCormick Rd.
Chicago 45, III.

Mr. Clifford Sawyer 34

Birns & Sawyer Cine Equipment, Inc.
6424 Santa Monica Blvd.
Hollywood 38, Calif.

Mr. Elliott R. Kurtz 12

CBS Laboratories
High Ridge Road
Stamford, Conn.

Mr. Lou Girola 5

Camera Equipment Co.
315 West 43rd Street
New York 36, N. Y.

Mr. Paul Meistrich 17

Camera Mart, Inc.
1 845 Broadway
New York 23, N. Y.

Mr. George Kyotow 16

Canon Camera Co., Inc.
30 East 42nd Street
New York 17, N. Y.

Mr. Herbert A. Hollander 23

ColorTran Industries
P. O. Box 188
Burbank, Calif.

Mr. Jules Leni 4

Comprehensive Service Corp.
245 West 55th Street
New York 19, N. Y.

Mr. Stuart Held 7

Ehrenreich Photo-Optical

Industries Inc.
1 1 1 Fifth Avenue
New York 3, N. Y.

Mr. Manny Kiner 26

Elgeet Optical Co., Inc.
303 Child Street
Rochester 11, N. Y.

Mr. Edward B. Krause 1 4, 1 5

Filmline Corp.
Erna Street
Milford, Conn.

Mr. Stephen G. Fisher 30

Oscar Fisher Co., Inc.
P. 0. Box 426
Newburgh, N Y.

Intern ^tional Projectionist

Compon ,

Mr. Arthur Florman
Florman & Babb, Inc.
68 West 45th Street
New York 36, N. Y.

Booth
21, 22

Mr. Ralph T. Jope
Hi-Speed Equipment,
73 Pond Street
Waltham 54, Mass.

Inc.

Mr. Harry Teitelbaum
Hollywood Film Co.
956 N. Seward Street
Hollywood 38, Calif.

Mr. Guenter Schmidt
Houston-Schmidt Ltd.
1450 O'Connor Drive
Toronto 16, Ont., Canada

Mr. E. Werner
Lipsner-Smith Corp.
3475 W. Touhy Ave.
Chicago 45, III.

Mr. Richard P. Sullivan
Logos, Inc.

1017 New Jersey Ave., S. E.
Washington 3, D. C.

28

39, 40

36

Company

Mr. D. J. White
Magnasync Corp.
5546 Satsuma Ave.
North Hollywood, Calif.

Mr. T. H. Truesdell
D. B. Milliken Co.
131 North Fifth Avenue
Arcadia, Calif.

Mr. Herbert Pilzer

Motion Picture Enterprises, Inc.

Tarrytown 83, N. Y.

Mr. Walter Braun
Paillord Incorporated
100 Sixth Avenue
New York 13, N. Y.

Mr. A. Potter

Photographic Applications, Inc.
160 Herricks Road
Mineola, L. I., N. Y.

Mr. A. M. Urenovich
Photo-Sonics, Inc.
95-25 Georgia Ave., Suite 201
Silver Springs, Md.

Booth

10

38

32

18

THE REVOLUTIONARY XENON LIGHT SYSTEM
FOR SUPERIOR MOTION PICTURE PROJECTION

check these big zeiss-ikon
xenosol advantages:

■ COLOR FIDELITY

■ LOW CURRENT CONSUMPTION

■ SUPERIOR QUALITY PROJECTION

■ TROUBLE-FREE CLEAN OPERATION

■ IMMEDIATE STARTING

ZEISS-IKON XENOSOL equipment -for new installations and
existing carbon arc housings— is available in 900 watt, 1,600 watt
and 2,500 watt sizes to fit every theatre's need.

For complete information: CINE ELECTRONIC SYSTEMS, INC.
225 East 46th Street, New York, New York. Phone: PLaza 8-1561

April 1963

11

Animation Stands*

*OXBERRY

For Slide-Filmstrip . . .
For Full Animation.

Available with Aerial
Image Projector.

Models Built to tit all
requirements . . .
all budgets.

America's finest ani-
mation studios use
only Oxberry.

FOR TECHNICAL INFORMATION
AND BROCHURE ... WRITE

the ANIMATION EQUIPMENT corp.

DEPT. P 38 HUDSON STREET
NEW ROCHELLE, N. Y.

West — 7445 Sunset Blvd., Hollywood, Calif.

England — 33 Liberty Lane,

Addlestone, Surrey

You Name It...
S.O.S. Has It!

Everything from A to Z

Here, under one roof, an entire building de-
voted to all your needs for producing pro-
cessing, recording, editing, lighting and show-
ing motion picture films . . . and at WORTH-
WHILE SAVINGS IN PRICE!

i

Amplifiers

Anamorphic Lenses

Animation Stands,
Titlers

Arc Lamps

Auricon Cameras

Books, Technical

Booms, Micro-
phones

Cameras, Profes-
sional

Colortran Lights

Dollies, Cranes,
-Tripods

Drive-ln Theatre
Equipment

Film Magazines

Film Printers

Film Cleaning
Machines

Film Cabinets

Film Editing
Equipt.

Film Lab Equipt.

Film Numbering
Machines
• Film Processors

± Visit S.O.S. Booth No. 1
^ S.M.P.T.E. Convention

S.O.S.
PHOTO-CINE-OPTICSJNC.

formerly S.O.S. CINEMA SUPPLY CORP.

602 West 52nd St., N.Y. 19— Plaza 7-0440

Western Branch: 6331 Holly'd Blvd.,

Hollywood, Calif.

12

Generators
Hot Presses
Lenses, All Sizes
Lighting Equipt.
Marquee Letters
Moviola Editors
Projection Equipt.
Projection Lamps
Projector

Mechanisms
Rectifiers
Reels, Cans, Film,

Tape
Reflectors
Sound Cameras
Soundheads
Sound and Speaker

Systems
Stage Equipmnet
Stripping Machines
Synchronizers,

Splicers
Technical Books
Theatre Equipt.
Viewers, Sound

Readers
Zoom Lenses, etc.

Mr. Irwin R. Sheldon 1 1

Precision Cine Equipment Corp.
928-930 East 51st Street
Brooklyn 3. N. Y.

Mr. A. J. Briglia 19, 20

Quick-Set, Inc.

8121 N. Central Park

Skokie, III.

Mr. Dominick J. Capano 1

S. O. S. Photo-Cine-Optics, Inc.
602 West 52nd Street
New York 19, N. Y.

Mr. T. Tanabe

Export Section

Shiba Electric Co., Ltd.

Hibiya-Kaikan Bldg., 20, 2-chome

Uchisaiwai-cho, Chiyoda-ku

Tokyo, Japan

Mr. David V. Hall

Photolamp Division

Sylvania Electric Products, Inc.

730 Third Avenue

New York 17, N. Y.

Mr. Fred Emens
Wollensak Division
Revere Camera Co.
850 Hudson Avenue
Rochester 21, N. Y.

Mr. Walter Steuer
Zoomar, Inc.
Sea Cliff Rd.
Glen Cove, N. Y.

Neils Tuxen

N. A. Philips Corp.

100 East 42, NYC.

Al Nathanson

Camera Service Center

333 West 52, St., NYC.

George Vanoni
Permacel, Inc.
New Brunswick, N. J.

George Vaughn

Time Automated Mfg. Co.

Woodside, N. Y.

Allen Processors
Milford, Conn.

27

35
31

13

37
33
48
49
50

iP

PROJECTIONISTS
PREFER

ETHYLOID

Film Cement For
BEST RESULTS

Available from
Supply dealers

FISHER MFG. CO.

1185 Mr. Read Blvd.
Rochester, N.Y.

3 NEW CAMERA MART ACCESSORIES

newGTC-59

LENS CLEANER
& PROTECTOR

• Anti-Fog • Anti-Static

Ideal for lenses, cameras,
condensors, reflectors, optical
equipment, etc.

6 oz. can with Spray Applicator $1.65 each
Case of 12/ $ 1.00 each

m-hmi) liquid

INSULATING TAPE
lust Brush it on Those
Hard-To-Tape Places

Designed for use in electrical in-
stallations, maintenance and re-
pair. Prevents shorts, shocks.

2 oz. Bottle $1.65 each Case of 12/$1.00 each

Restores,
Quiets,
Lubricates

cnmzft

f/zn/

'•aiil^

Completely safe for sound pro-
jectors, amplifiers, studio rec-
ording equipment and editing
equipment. Non-inflammable.
Used for all gummy parts —
instantly cleans and deposits a
hard bonded dry lubricant.
2 oz. Bottle $1.00 each Case of 12/75C each
Write for complete literature. All Prices F.O.B. N. Y.

tinman mum*

1845 BROADWAY (at 60th St.)
NEW YORK 23, NX • PLaia 7-6977

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
Company, Inc.

Visit SMPTE Booth — #5
315 W. 43rd St. New York 36, N.Y.

JUdson 6-1420

6510 Santa Monica Blvd., Los Angeles

51 E. 10th Ave., Hialeah, Fla.

International Projectionist

April 1963

SMPTE Studies Wide Range
Of Technical Projection Subjects

\ wide range of motion picture
and television technical topics will
he discussed when scientists and
engineers meet this spring at the
Travmore Hotel in Atlantic City,
\. J.. April 21-26. for the 93rd
semiannual convention of the Society
of Motion Picture and Television
Engineers.

The format of the meeting is based
on these subject areas, handled b\
these topic chairmen:

"Application of Motion Pictures
and Television to Education" under
0. S. Knudsen of Iowa State L ni-
versirj .

"Current Trends in Laboratory

Send

for complete

information

NATIONAL STUDIOS

42 West 48 Street, NYC

You want to project
a good picture?

Install a

Hurley Screen

HURLEY SCREEN CO., INC.

96-17 Northern Blvd.
Corona 68, New York

See your theatre supply dealer

Practice under John J. Kowalak of
Movielab, Inc.. New York.

"Instrumentation and High-Speed
Photography" under Morton Sul-
tanoff of Ballistic Research Labora-
tories. Aberdeen. Md.

"New Instrumentation in Televi-
sion under R. L. Pointer of Ameri-
can Broadcasting Co., New York.

"New Technology of 8mm Com-
mercial Motion Pictures under Dr.
('. Loren Graham. Eastman Kodak
Company, Rochester. N. Y.

"Recent Motion Picture and Tele-
vision Developments in Outer Space
rechnology" under H. M. Gurin.
RCA Astro-Electronic Division Prin-
• eton, Y .1.

I he program will open April 22.
with a session ol papers in the area
of film processing and laboraton
developments. The next session will
cover 8mm md 16mm technical and
engineerini; developments.

Motion pictures and television in
outer space and instrumentation and
high-speed photograph) comprise
three «.~M,,n^ on Tuesday. Three
television sessions on Vi ednesdav ami
llunxlav cover circuit development:
color and monochrome TV, and
automation ; and motion pictures tor
television, and video tape. Beginning
Hiursda) evening and finishing on
Iiidav are three sessions on motion
pictures and television in education.

iP

Miss M. B. Reilly to

Head W. J. German

\IA\ YORK — Miss \l. 15. Reilly,
associated with Jules Brulatour and
the sale of Eastman kodak raw film
since I'M), has been elected president
ol \\ . J. German, Inc. as the suc-

cessor to the late William J. German
who died on the West Coast last
month.

Miss Reilly. who is Mrs. James F.
Burns in private life, served as execu-
tive secretary of the German com-
pany. Her entrance into the raw film
business preceded that of German by
nine years, German having left
Kodak in 1922 to join the Brulatour
organization. In 1952 she and Ger-
man joined to form the German
(Continued on Page 15)

the only

guaranteed

scratch

removal

process

for 16 and 35 nun Prints

• Originals

• Negatives

RAPIDWELD for scratched
film: We remove scratches
and abrasions from both
sides of film, restore
flexibility, repair all
improper splices, and apply
our exclusive protective
coating.

8mm Service Now Available
"The Film Doctors"

rapid Film Technique Inc.

37-02 27th St., L.I.C. 1, N. Y.

STillwell 6-4600

New Life For Old Film

Long Life For New Film

CREATE THE RIGHT MOOD EVERY TIME WITH THE

Major Mood Music Library

MAJOR offers you a full thirty-five hours of mood music for

titles, bridges, backgrounds.

Write for Free Catalogue

THOMAS J. VALENTINO, INC.

Established 1932
150 West 46th Street CI 6-4675 New York 36, N. Y.

International Projectionist

April 1963

13

PROJECTED HIGHLIGHTS

By Ray Gallo

The 93rd SMPTE convention and Spring Equipment
Exhibit now going on at the Hotel Traymore in
Atlantic City. N. J., displays some unusual motion pic-
tures, highspeed photography and television instru-
mentation for conventional and "outer space" uses.
Nearly every conceivable invention has been utilized
first for military purposes — now we use these same
techniques to make civilian amusements more perfect
and enjoyable. For instance, take the telephone, the
radio, the phonograph and the latest, television. Once
they served the needs of our national defense in World
Wars I and II and in between skirmishes, and now
all have been combined to make film and tape record-
ing an integral part of our sound and sight develop-
ment to record data and to serve our generation in
developing a better appreciation of music and photog-
raphy as part of our American culture. All this and
more is well displayed in 8mm - 16mm - 35mm - 70mm
equipment at the SMPTE exhibit of commercial and
military systems now available to all branches of amuse-
ment. The dedicated scientist and engineer who works
quietly in the laboratory has made this all possible,
and this week was an active member of the SMPTE,
his work is on display and speaks for itself. Among
the many exhibitors are firms such as Animation
Equipment Corp., leaders in the field of animations
instruments: Arriflex Corp. of America, distributors
of the Siemens & Halske West German 16/16 single
and double sound system projector: Camera Equip-
ment Co.. headquarter and distributors of a complete
line of production, laboratory and studio equipment:
S. 0. S. Photo-Cine Optics, Inc.. America's department
store of motion picture and television equipment for
all blanches of the arts; Camera Mart Inc., sponsors
of the Annual Film Editing Workshop Seminar and
equipment rental firm. And there are many other
interesting displays. More than 60 booths will exhibit
domestic and foreign and U. S. government develop-
ments. Jack H. Freeman, sales vice president of Radi-
ant Manufacturing Corp. just appointed Charles R.
Horwritz. formerly with Graflex. district manager
of the Chicago projection screen firm. Nicholas Rei-
sini, present head of Cinerama, another U. S. govern-
ment development that has given the American mo-
tion picture industry a real "shot in the arm" received
a "Congressional Record" tribute by Senator Hum-
phrey for his public spiritedness. To demonstrate how
America produces top high-grade furniture of the
Italian and French Provincial style, the New York State
Association of Projectionists will take a tour through
Jamestown, New York, furniture plants during their
50th anniversary convention in May. William J. Red-
dick of the W. J. German Inc. Eastman Film Sales
Agency, has been elevated to the post of vice president.

Reddick has been one of the important working mem-
bers of the SMPTE since 1952. Word comes from Rav
Brian, business agent of the Peoria and Pekin. Illi-
nois local #434 of the IATSE, projectionist unit, that
he has received an invitation to make available some
of his "antique projectors" as permanent exhibits for
the new Hollywood Museum. This is the outfit be-
ing sponsored by leaders of the motion picture indus-
try. Arthur Knight is the curator. Cinerama. Cine-
mascope. Todd-AO and many other systems have made
wide screen projection extremely popular — the screen
in Constitution Hall, the National Geographic Society,
in Washington. D. C. measures 23 feet wide by 13
feet, 8 inches high. It provides a throw of about
160 feet for lectures, utilizing both 16mm black and
color. 35mm film, color and slides. If any member
of the SMPTE has a book or literature that explains
how sound motion pictures are made and projected,
it would help William M. Burt. Director of Film Equip-
ment Exchange at the Dept. of the Army at Vallev
Forge General Hospital, prepare lectures for his post
projectionists. In fact, any films on the subject would
be very welcome. You can address Mr. Burt at Pheo-
nixville, Pa. c/o MEDFV-PT. Another person very
much interested in receiving catalogs and data on ail
types of motion picture equipment is Jean Audie Fabius
fo Port Au Prince in Haiti. He is learning the business
and can be reached by mail c/o P. 0. Box 1124.
Recordak, another new Eastman product is the world's
fastest microfilmer. It is specially designed for high
speed recording of continuous forms produced bv
modern computers in high volume. New product re-
leases which have come to our attention recently are
the "Edling Teachers Console" for group reading and
the "Keystone View" both audio-visual equipment.
The former is designed by Staples-Hoppmann, Inc.
of Alexandria, Va. and the latter by Mast Develop-
ment Co. of Davenport. Iowa. Dennis Kealey of
Reevesound Co., ( one of the many units developed
by Hazard Reeves, and now headed by Boyce Nemic.
former executive secretary of SMPTE ) should be com-
plemented for his wonderful work as exhibit chair-
man at the current SMPTE convention. The job was
so well done that an upper section exhibit had to be
added for extra displays. Nathan D. Golden, who is
retiring this month as Director of the Scientific Photo-
graphic and Business Equipment Division of the De-
fense Services Administration. U. S. Dept. of Com-
merce, is one of the best known and liked Washington
officials who has served the motion picture industry
interests for so many years and will be missed by
SMPTE members who worked with him so well — Good
Luck. Nate, on your future plans. Besides General
Electric, Sylvania will make the theatre screen type
of television soon. In fact, plans are now being formu-
lated to install theatre TV screens from coast to coast
in selected key spots as a counter move against pay-
TV in the home. So far. the many toll-TV systems
tried out for home subscribers have not been very suc-
cessful, but to offset any possible "real threat" theatres
will now compete to control their "friendly enemy."

iP

BRIGHTER LIGHT
LONGER BURNING
SHARPER PICTURE
Free Test Samples

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CARBONS INC., BOONTON, N. J.
Illll'^'--1liiiliii i inn i - I

STEADIER LIGHT
LESS ATTENTION
PERFECT COLOR BALANCE
Free Carbon Chart

14

International Projectionist

April 1963

*tf

• "LET'S TWIST "I

Yes, That Easy to Use-No Tools Needed

Just Twist The Stub In & Out . . .

NO GRINDING— NO OIRT

& r s *

IF YOU ARE NOT USING The

"Little Miser" Carbon Saver

YOU are losing several Hundred Dollars

Each Year!

4 Sizes 9-10-llm.m. $3.00 Each
13.6m.m. $4.50 Each

ORDER Now— Stort Saving Money $$
(We Suggest 3 In Bach Projection Room)

LOU WALTERS

Sales & Service Co.

MOTION PICTURE EQUIPMENT

EV 8-1550

4207 Lawnview Ave. Dallas 27, Texas

PROJECTOR
CARBONS

Better
Light!

Lower
Costs!

RINGSOORFF CARBON CORP. East McKeesport. Pa

Norelco

projection
equipment

Available from

leading theatre supply

dealers

North American Philips Co., Inc.

Motion Picture Equipment Division

100 E. 42nd St., New York 17, N.Y.

International Projectionist

W. J. GERMAN

from page 13
company which was successor to J.
E. Brulatour. Inc.

The company also announced the
election of Morris H. Bergreen. a
hoard member and general counsel.
to the post of senior vice president.

It is understood that Eastman
Kodak will take over sales and dis-
tribution of raw film from the W. J.
German company Jan. 1. 1964. but
the German organization will con-
tinue to administer its other holdings
and enterprises.

Norelco Projector
Gets Academy Award

SANTA MONICA, CM. IF. — The
Norelco Universal 70 35mm. projec-
tor received one of the special awards
from the Academv of Motion Picture
\rt> ami Sciences in recognition of
outstanding technical achievement
for the showing of the newer wide
gauge tilms. It is the first such
award in the projection field since
1959.

Accepting a plaque for the North
\merican Philips Co. was lied I.
Pfeiff, technical manager of the
motion picture equipment department
of the firm. Mr. Pfeiff has been
closelv associated with the develop-
ment of the 70 35 mm. projection
system since it first became available
in L955. Original!) designed and
developed through the joint efforts

ol the American Optical Co. and
l'hilip>. this projector introduced the
70mm. Todd- M) process — a 1957
\c -adernv Ward winner— into movie
theatres. Jan Kotte of Norelco was
commended as the original designer
of this equipment.

Today there are more than 1,50
installations of the Norelco Uni-
versal 70 >5 projector in 35 states,
Canada and other countries.

In receiv ing the award. Pfeiff stres-
sed that motion picture audiences the
world over are enjoying greater
claritv and better quality of screen
images with less eye strain, thanks to
the wider films and the award-win-
ning Norelco projection equipment.

And there are important benefits
to the exhibitor. Pfeiff pointed out.
explaining that a single 70mm. print
has been played for as many as 1600
runs, film damage is greatly reduced,
and the Norelco 70/35 Projector may
be converted in minutes for either 70
mm. or 35mm. operation, providing
the theatre owner with greater ver-
satility in presenting the latest films.

North American Philips Company,
Inc. also produces the new Norelco
35mm. Pulse-Lite shutterless projec-

April 1963

tor for smaller theatres, a 35mm.
projector for arc lamp operation, as
well as professional 16 mm. equip-
ment.

Built primarily for 70mm. with
the added convenience of 35mm., the
Norelco Universal 70/35 Projector
enables audiences to see easily the
tiniest photographic details in such
current films as "Lawrence of Ara-
bia." '"Mutiny on the Bounty," the
forthcoming "Cleopatra." and many
more now in production. il*

— THE ENEMY —
HEAT

A 10 DEGREE REDUCTION

iN HEAT WILL TRIPLE

TRANSFORMER LIFE.

ARC AND SOUND SYSTEM

POWER SUPPLIES RUN

COOLER. A MODEL TO

REPLACE ANY BULB.

Write

BROWN ELECTRONICS

1717 South St., ALLENTOWN, PA.

THE VERY
FINEST

IN
PRO

4635 WEST LAKE ST., CHICAGO, ILLINOIS

15

Century Announces JJ-2 Model
to Project 70/35mm fill

^ NEW YORK— Century Projector
Corp. has announced a new Ameri-
can-made universal projector for pro-
jection of 70 and 35 mm films.

The new projector is called the
Century JJ-2. and according to
distribution vice president Frank E.
Cahill Jr.. is unique in design with
film traps and film gates with direct
coupling to the mechanism and opti-
cal sound reproducer with a Poly
"V" motor drive belt to the projector
main drive shaft.

Both the film trap and gate can
be easily removed for changing, in-
spection and cleaning without dis-
turbing any other units.

The Century designed water-cell
and aperture plate are positioned in
the projector so the film is as close to
the aperture plate as desired for
sharper focus all around the edges.
It is also possible to "set" the film
gate to provide a soft edge aperture.
With these new film traps and film
gates it is possible to run both 70mm
and 35mm films with ever-so-lisht

ims

tensions for better overall in-focus
picture. Film tensions can be easily
adjusted and set to the desired posi-
tions for optimum screen results.

A less complicated method has
been engineered into the Century
JJ-2 for changing from the standard
24 frames per second to 30 frame
speed.

Conversion kits are available to
adapt 3-D Sync projection if and
when needed.

Century's features are incorpor-
ated in Century JJ-2 models such as:
double rear shutters; water-cells;
separate 70/35mm Ampex magnetic
clusters; less gears and other Cen-
tury refinements. iP

New Theatre Opens
In New York

Walter Reade-Sterling. Inc., has
opened a new theatre, the Continental
in Forest Hills, N. Y. in the populous
and fast-growing Borough of Queens.

DO YOU BUY

fled

T^^U ON PRIC

ON PRICE OR COST?

2-YEAR COATING

GUARANTEED FIRST SURFACE

DICHROIC REFLECTORS

They're a bargain because everything an ordinary
reflector does TUFCOLD does better and longer. That's
why they're worth more yet actually

COST 43% LESS

based on life expectancy. So, since your old reflectors, by wasting power,
carbons, and light, cost more than new TUFCOLDS, replace them now.

THE STRONG ELECTRIC CORPORATION

31 City Park Avenue • Toledo 1, Ohio

16

Architect John J. McNamara de-
signed the new deluxe 600-seat
motion picture theatre. The Contin-
ental is of split-level construction,
is believed to be the first theatre in
the U. S. with its own roof-top park-
ing, and has a permanent art gallery
for the exhibition of works by Queens
artists.

The Continental opened March 21
and it will operate on a first-run
policy. Its inaugural attraction was
the screen version of "The Balcony"
starring Shelley Winters, Peter Falk
and Lee Grant. Incidentally, The
Continental shared the world pre-
miere of "The Balcony" with 20
other theatres in the greater New
York area.

Capital Motion Supply Corp., of
New Y®rk, supplied and installed the
specialized theatre equipment, con-
sisting of two Century projectors
complete with full Century transis-
torized sound equipment; Peerless
Magnarc arc lamps, Kneisley silicon
rectifiers, two sets of Bausch & Lomb
lenses, and Neumade rewind equip-
ment. VP

NEW ENTRY...

Kinoshita offers the
70/35 mm Japanese
Projector in U, S.

NEW YORK — Kinoshita & Co.,
Ltd., USA will distribute in the
United States the Japanese projec-
tion and sound equipment made by
the Nichion Co., Ltd., Tokyo and
Osaka.

The Pherex Crown-S 70/35mm
projection equipment was shown in
the New York office of the Kinoshita
company. The Nichion company's
managing director Nakama explained
the projector.

The all purpose projector comes
with a 70/35 head machine, water
and air cooling: magnetic sound-
head; 35mm conversion kit; Phirex
optical soundhead with drive motor;
two 70 mm film pressure band; two
35mm pressure band; exiter lamp;
upper magazine: lower magazine;
70/35 reel; Super Prominar 70,
70mm projection lens, Phirex pedes-
tal.

The Nichion company makes a
Cineron Xenon lamp equipment in
5kw and 4kw power, and the makers
said a life of 1,500 hours for 5kw is
expected. iP

International Projectionist April 1963

New Film Equipment
At SMPTE Meeting

Demonstration* of new camera.
lighting projection, editing and TV
equipment will hold the stage at the
April 2 1 morning session of the semi-
annual convention of the Society of
Motion Picture and Television En-
gineers at the Travmore. Atlantic
City, April 21-26.

Eight engineering committees will
meet during the convention. Commit-
tees have been appointed by Dr.
Deane R. Vt bite, associate director of
du Ponts Photo Products research
laboratory, who is SMPTE engineer-
ing vice-president. Dr. White and
SMPTE Staff Engineer Alex E. Alden
aranged the schedule of meetings.

Committee chairmen are:

Laboratory Practice. William D.
Hedden. Vive-President, Calvin Pro-
ductions. Inc. Kansas Cit) : televi-
sion. William T. \\ intringham, Bell
Telephone Laboratories. Murrav Mill.
\. J.: lumm and <imm motion pic-
tures. Robert G. Herbst. superinten-
dent <>f Engineering Laboratories.
Bell & Howell Co.. Chicago: color.
Dr. LeRoj M. Dealing. Studio City.
Calif.: film projection practice: C. E.
Heppberger. National Carbon Co.,
Chicago; sound. J. L. Pettus. RCA.
Burbank. Calif.: instrumentation and
high-speed photography, Morton Sul-
tanoff, Terminal Ballistics Labora-
tory, Aberdeen Proving Ground,
\ld.: film dimensions. Walter C.
Brandsma. E. I. du Pont de Nemours
8 Co.. Inc.. Parlin. N. J.

Also meeting during the week will
be committees planning subsequent
convention papers programs, the
board of editors of SMPTE's Journal.
an dadministrative committees.

BACK NUMBERS, ANYONE ?

Homer Neal, Jr., of Columbus,
Ohio, an IP subscriber for 16 years,
has a two-foot stack of back num-
bers he wishes to sell. Interested per-
sons should contact Neal direct.
His letter to IP follows:

"Until a few months ago I was
a subcriber to IP continuously since
1945, except for a while in 1951.
Your magazine has served me well
and I value it. Now that I no longer
have a need for it, I know that this
two-foot stack has value to others.
Would you be kind enough to
mention in IP that I would like to
sell these for a reasonable offer?

"Best wishes and kindest regards,"
HOMER NEAL, Jr. (386)
867 Wainwright Drive
Columbus 24, Ohio

International Projectionist

NEW YORK — SOS Photo-Cine-
Optics. Inc. announces that Alan C.
Macauley and Jan T. Macauley to-
gether recently acquired approximate-
ly 53% of the outstanding common
stock of the company. Eight years
ago, the Macauleys opened an office
in Hollv wood and became the first
representatives for SOS in the 13
western states. Prior to 1955, the
Macauleys were actively engaged in
the motion picture production bus-
iness.

Alan Macauley has become a di-
rector of the companj and its new
president. Joseph A. Tannev. who has
been president of SOS since its found-
ing 37 years ago. has become chair-
man of the board. The other new of-
ficers of the compan) are: Dominick
J. Capano, vice president and general

manager: William H. Allen, engineer-
ing vice president and secretary; and
Jan T. Macauley, treasurer. Mr. Ca-
pano and Mr. Allen have each been
with the company for over 25 years.
Claude C. Pitts has been engaged as
sales engineer with headquarters in
the Hollywood office.

S. O. S. Shows Auricon
Camera Improvements

NEW YORK — Two new improve-
ments for the Auricon Camera have
been announced by S.O.S. Photo
Cine Optics. These are balanced cine-
voice conversion and an improved
transisto-sound amplifier with an
exclusive built-in limiter. They will
be demonstrated at the SMPTE Con-
\ ention.

Levine, Mage Constructing
New York "Intimate" Theatre

\K\\ YORK— Joseph E. Levine.
president of Embassj Picture, in as-
sociation with James I. Mage, film
producer and exhibitor, are construct-
ing an intimate theatre on 57th St.
near Fifth Ave.

The name will be Festival Theatre.
and it will seat (>()(! patrons. The

Festival is scheduled to open June
I ■>. with the American Premiere of
Fillini's "!! '■_."*. a Joseph E. Levine

presentation and an Embassy release.

Simon B. Zelnik. New York archi-
tect, has designed the Festival Thea-
tre, which is in an existing building.

The facade will be of colored Dur-
anodic aluminum, with a "'flower-
box" arrangement projecting from
the building above the lobby en-
hance, to make it blend with the rich-
flowing architecture of the build-
ing it occupies.

There's Plenty for You At

CENTURY!

. . and from CENTURY only

dramatic, New ALL TRANSISTOR
sound systems

'True high-fidelity,

distortion free.
'Low installation cost,

minimum space needs.

Increased reliability,
less maintenance.
No vacuum tubes, no
photoelectric cells.

and the only American-made 70 mm 35
theatre projection systems

SEE

YOUR CENTURY

DEALER

. . . for bigger, brighter projection.

CENTURY PROJECTOR CORP.

New York 19, N. Y.

April 1963

17

vertical aluminum screen in
a drive-in wastes li^ht by re-
flecting it up into the sky.

Projection
building"

QJor maximum picture brightness, an
aluminum screen should be tilted to
race the projection axis sauarely.

Drive-In Projection . . . from page 6

tilted, of course), the corresponding maximum widths
are 60 and 70 feet. Just imagine indoor projection qual-
ity on a drive-in screen! It is easily possible to have
brilliantly lighted pictures in the smaller drive-ins and
to fill these theatres every night with satisfied patrons.

Although we have implicitly specified the use of
modern projection mechanisms, modern "fast" lamps,
and coated "fast" lenses for drive-in use in order to
achieve satisfactory light levels, we have purposely
avoided being too specific or dogmatic.

Slight departures from optimum lamp or lens speed
can usually be compensated by the use of projector
shutters having the blades trimmed especially for drive-
in use, a small increase in arc current, the elimination
of light-wasting heat filters in favor of cold mirrors,
the elimination of projector-port glasses, the use of a
more highly reflecting or slightly directional screen
surface, etc.
Lumen and Lamp Calculations

The lumens of projector light output required for
any particular footlambert light level (e.g. 4.5 or 10
f ootlamberts ) may be easily calculated when the width
of the projected picture and the reflectance of the
screen are known. A safe figure for the reflectance
of a good white-painted matte screen is 0.85, and that
for the on-axis reflectance of an aluminum screen is
1.5. (These correspond to reflectivities of 85% and
1 50 % , respectively . )

For the reflectance or gain of an unusual screen
paint or surface, consult the manufacturer of the ma-
terial.

The "screen area" ( in square feet ) needed in the
following formula is found by multiplying the width
of the projected picture by three-fourths of the width
of the projected picture. This gives the projected-
picture area on the basis of the standard Academy
35-mm aperture (0.600" x 0.825"), and should be used
in this formula even though a widescreen aperture is
used in actual projection. The reason for this is simply
that lamp lumen ratings are nearly always specified on
the basis of the Academy aperture. To repeat, just
ignore the fact that you are using a widescreen aper-
ture, and carry through the lumen calculation on the
basis of the standard Academy aperture, as directed.

Area x Desired footlamberts

Lumens = 5 j, — :

screen retlectance

When you have thus calculated the required projector
light output in lumens for the desired footlambert
brightness level, you are ready to select an arc lamp,
carbon trim, and amperage to supply this number of
lumens. But note that the lamp and carbon screen-
lumen ratings published by manufacturers and trade
papers are for projectors without any shutter (that is,
not running ) , whereas the above formula gives the
number of lumens with the shutter running. Screen
brightness standards always specify that the projector
be running, but without film, when the light is measured.

Therefore, to correlate the lumen result you get by
using the above formula with manufacturers' screen-
lumen ratings, multiply your result by 2. This is valid
because the average projector shutter halves the amount
of light reaching the screen — a shutter transmission of
50%.

Lamp, carbon trim, and arc-current light output
data in lumens are furnished by the Strong Electric
Corp., 87 City Park Ave., Toledo 1, Ohio for lamps
of their own manufacture, by the National Carbon Co..
30 East 42nd St., New York 17, N. Y. (Bulletin No. 3 K
and by the very complete and trustworthy tables in the
article titled "Screen Light Requirements in Modern
Projection, Part I" in IP for June 1959. Consult any
or all of these sources, but reject all suspicious or
unverified advertising claims.
Example Shows How Simple It Is

Suppose that you are operating in a small drive-in
having a 60 ft. white-painted screen of about 0.85 re-
flectance, (a) How many lumens of light (projector
running without film ) are needed to give the drive-in
minimum of 4% footlamberts of brightness? (b) What
lamps, carbon trims, and currents will serve to give
this screen brightness?

The area of this 60-ft. screen ( on the basis of the

Academy aperture, as explained above ) is 60 x ( 0.75

x 60) = 60 x 45 = 2,700 square feet. Therefore:

2,700 x 4.5
Lumens = ^

= 12,150/0.85 = 14,294 lumens

(a) This result may be "rounded off" to 14,000
lumens. Because lamp and carbon light outputs are
measured without the projector shutter running, we
should select a carbon-trim and current combination
rated at approximately twice 14.000 lumens, that is.
28,000 lumens.

( b ) Consulting any of the available trustworthy
lamp and carbon tables, we find that 28,000 lumens
( approximately ) are supplied by ( 1 ) an 18-inch mirror
lamp burning 11-mm regular positives at 120 amps.,
(2) by an 18-inch mirror lamp burning 10-mm Hitex
positives at 125 amps., or (3) by an 18-inch mirror
lamp burning 13.6-mm regular positives at 145 amps.
The projection lens should be coated and of f/1.9 — f/1.7
speed.

The accompanying table gives suggested carbon
sizes ( regular carbons only except for blown arcs ) and
currents which, burned in modern large-mirror lamps
used with projectors having f/1.9 or f/1.7 coated
lenses, will give 4% and 10 footlamberts of brightness
on 85% white and 150% aluminum screens. This table
is intended to be only suggestive, but may neverthe-
less be used as a trustworthy guide in the correction
of the serious lighting deficiencies which prevail in
far too many of the nation's drive-in theatres. Because
no account was taken of side-to-center screen light dis-
tribution in the computation of this table, it favors a
slightly brighter-than-minimum-standard light level at the
center of the screen, which is all to the good. iP

{TO BE CONTINUED)

18

International Projectionist

April 1963

America's First and Oldest Motion Picture Trade Journal

Established 1914

- GREATER AMUSEMENTS -

News about the motion picture industry, new products
and new methods, for exhibitors and projectionists alike.

John

mufffljf/jr

* ^fflfc*!' ft *

20th

r? *°^xz: ^

GREATER AMUSEMENTS supplies an every-theatre audience to the na-
tion's motion picture industry, features equipment, theatre projection and
film servicing products of interest to the projectionist who wants to keep
up with the general news of the industry.

YOU NEED only one publication to inform you about the other side of
the theatre picture — for $3 a year, 26 issues, plus a special introductory
rate to subscribers to International Projectionist.

PUBLICATION OFFICE

1645 Hennepin Avenue

Minneapolis 3, Minn.

FE. 2-8401

NEW YORK OFFICE

Suite 410

545 Fifth Avenue

New York 17, N.Y.

MU. 8-7746

WEST COAST OFFICE

1206 N. Orange Grove
Hollywood, Calif.

jQ®W7 0® '
®(°][IDQD@@D®D0

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on

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^'°rtao/e Seat/ng
^ ***** Ff0nt

Courteous Em i
"~~*"' wkat

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4*0*).

S3

ca

Which projection lamps should you be using? It depends on one that exactly matches your requirements — the one that ■will
several factors — size and type of screen, length of throw, size project ever-so-much brighter pictures in your theatre. Your
and shape of the viewing area. patrons will SEE the difference.

The complete line of Strong projection arc lamps includes the

WRITE FOR LITERATURE

THE £%0f& ELECTRIC CORPORATION

\^^ 31 CITY PARK AVENUE • TOLEDO 1, OHIO

"The World's Largest Manufacturer of P r ojection Arc Lamps"

INTERNATIONAL

Drive-ins
Deserve
Good
Sound

Europe's most
luxurious theatre

MPAA SCREENING
ROOM HAS
EVERYTHING

J. Al Pratt, MPO Local 224 of
Washington, DC, discusses the op-
eration of his Century Projector
Corp. 70/35mm projector with J.
William Garcia, also of the Wash-
ington IATSE local. Story on page 10.

I

■

1

Cont

Copj

/

o

w.%

&

%r\

X

1

',

ss©o3uoq jo £reaqx!

MAY
VOLUME 38

40c A COPY

1963
NUMBER 5

$3.00 A YEAR

A Scene From America's Projector Carbon Center...

Pyrometric cones accurately check baking cycles

" This sure-fire test is one of the ways we
know a projector carbon is perfectly baked"

^■k*V^Bk^

This photo isn't an abstract
rendering of an artist's idea. It's
a picture of one of the many
important steps in projector
carbon production at our Fos-

tOria, Ohio, plant. Jim Hoynes

These three-sided figures are called pyromet-
ric cones. Because they react in a predeter-
mined way to high temperatures, we use them
to help tell us exactly when National projector
carbons have reached the end of their baking
cycle.

When one cone is leaning and the other is
sagging, we know it's time to remove the pro-

-says JIM HOYNES

National Carbon Sales Engineer

jector carbon material from the baking furnaces
for cutting and further processing.

Every step of the baking cycle, of course, is
constantly watched over by standard heat
checking instruments, such as thermocouples
and highly sensitive optical devices.

In the manufacture of top quality projector
carbons it is very important to know the precise
moment they reach the peak point in baking.
That's why at Fostoria we take every precau-
tion in quality control to provide theatres with
perfectly baked carbons. Only the finest quality
can give movie audiences the finest screen light-
ing—indoors or outdoors.

Contact
Mr. National Carbon

UNION
CARBIDE

"National" and "Union Carbide" are registered trade-marks for products of

NATIONAL CARBON COMPANY

Division of Union Carbide Corporation • 270 Park Avenue • New York 17, N. Y.
In Canada: Union Carbide Canada Limited, Toronto

INTERNATIONAL

PROJECTIONIST

Including a special Audio-Visual section relat-
ing to the operation and maintenance of A-V
equipment in the educational and industrial
fields.

Volume 38 May, 1963 No. 5

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO
Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue, New York 17, N. Y.

Telephone Murrayhill 7-7746

(Area Code 212)

IN THIS ISSUE

Good Sound for Dnve-lns
By ROBERT A. MITCHELL

The Cover Story

Exhibitors Must Remodel

Core-Lite Evaluations

New Century Projector

News Notes — Technical Hints — Miscellaneous Notes

10
12
13
14

INTERNATIONAL PROJECTIONIST, published monthly by the
International Projectionist Publishing Co. division of The
Northern Publishing Co., Post Office Box 6174, Minneapolis
24, Minnesota. Editorial offices, 1645 Hennepin Avenue,
Minneapolis 3, Minn. Subscription Representatives: AUS-
TRALIA— -McGills, 183 Elizabeth St., Melbourne; NEW
ZEALAND — Wixon's, Ltd., 64 Courtnay Place, Wellington;
ENGLAND and ELSEWHERE — Wm. Dawson & Sons, Ltd.,
Macklin St., London, W. C. 2. Subscription Rates: United Stotes,
Canada, and U. S. Possessions, $3.00 per year (12 issues) and
$5.00 for two years (24 issues). Foreign countries: $4.00
per year and $7.00 for two years. Changes of address should
be submitted four weeks in advance of publication date to
insure receipt of current issue. Second-class postage paid at
Minneapolis, Minn. INTERNATIONAL PROJECTIONIST as-
sumes no responsibility for personal opinions appearing in
signed articles, or for unsolicited articles. Entire contents
copyrighted 1963 by INTERNATIONAL PROJECTIONIST
PUBLISHING CO.

MONTHLY CHAT

Craftsman Taken for Granted

The projection booth houses the most expensive the-
atre equipment, and the projectionist rules over this
costly inventory.

The theatre owner or the house manager have not
the skills to adjust and clean the booth equipment. That's
up to the projectionist. The good craftsman treats his
machines like a baby, because he knows he is in charge
of costly machines, and that dust grinds down his
delicate parts in his equipment.

Electrical contacts get dirty, so he cleans them.

The lamp reflectors get pitted and grimy and the
lamphouse must be cleaned.

\nd the same goes for the sound system with its
electrical contacts.

The booth craftsman has the responsibility for the
inventory of spare parts and outside service, if needed
to repair the equipment under his care.

To insure proper and smooth operation, all projectors
should be kept clean and well lubricated and in proper
adjustment. Cleaning should be carried out as a daily
routine. Otherwise the hardening of lubricating oils
under the heat of the projection lamp will bake onto
any surface, and that is difficult to remove.

The modern projector requires very few adjustments,
but the daily routines of the hoothmen are an important
chore. They include the timing of the shutter, focusing
the lens, proper tension of the film path and other parts
of the projector.

The condition of the projector and soundhead
sprocket teeth should be carefully inspected at frequent
intervals, and if there is any visible undercutting of a
small notch at the base on the contact side of the teeth,
the sprocket should be replaced, as any teeth consider-
ablj reduced in width at their base will cause an unsteady
picture and will damage the sprocket holes in the film.

The lamp optical surfaces should he kept clean and
a regular routine before the day's program begins is a
must, feed relay contact points should be checked regu-
larly, and cleaned with fine sandpaper if any sparking
is visible. Persistent arcing across the relay points is
the warning sign that the resistor bridging has de-
teriorated and should be replaced. If the relay contact
is faulty then noise gets in the sound system. This calls
for cleaning the relay points and adjusting the tension,
and in extreme cases for installation of filter condensers
connected with either across the points or from each
point to ground. All moving parts of the lamphouse
should be carefully lubricated.

Rectifiers of the bulb type requires these procedures:
keep the rectifier clean and dry, clean the bulb and
socket contacts periodically with 00 sandpaper, keep
all connections tight, pre-test all spare bulbs.

The soundheads must be kept clean, and the face
of the photocell must be optically clean; any oil should
be thoroughly cleaned off or it will attack the rubber
insulation of the photocell wiring.

Those are a few fundamentals which projectionists
well know, they are cited here because the theatre owner
or the house manager does not have the skills and know-
how that the projectionist has to know about this com-
plex machinery before he goes on the job.
(Continued on Page 9)

International Projectionist May 1963

Volume 38

INTERNATIONAL PROJECTIONIST

May, 1963

Number 5

Good Sound for Drive-ins

The Paramount Consideration in motion-picture
pi ejection is the quality of the picture itself — its bright-
ness, uniformity and color of illumination, clarity of
focus, reproduction of photographic contrasts, and rock-
steadiness. The movies are primarily a visual art; and
the picture on the screen is what the public pays for
at the boxoffice. Nevertheless, the quality of the sound
reproduction must in no wise be relegated to second
place, for sound and picture go together to create a life-
like illusion and to tell a story in audiovisual terms.
Bad sound reminds the audience that it is only looking
at a picture.

There are important technical differences between
the reproduction of sound in a drive-in, with its hun-
dreds or thousands of separate speakers, and the pro-
duction of high-fidelity sound in a conventional the-
atre. The management of an indoor theatre need con-
sider only one "focal point" of sound reproduction,
namely, the stage-speaker installation which provides
the sound for every patron in the house. The system of
amplifiers is built up to match a speaker assembly having
a power capacity and sound-radiating characteristic best

^Matching
transformer

Speaker

voice

coil

i — wmrm

Rheostat
volume control

Ivlatching
transformer

Speaker

voice

coil

Potentiometer
volume control
for constant impedi

ance

/

FIG. 3 — A potentiometer is preferred to a simple rheostat
for an in-car speaker volume control because of its constant
impedance and load on the sound amplifier regardless of
volume setting.

4

By Robert A. Mitchell

suited to the size and acoustic properties of that partic-
ular auditorium.
Adequate Sound Power Essential

A drive-in theatre must not only have amplifiers of
sufficient power output to provide an adequately strong
sound signal to all of its many hundreds of individual
in-car speakers, but should also have a reserve power
which will minimize the "power robbing" effects of
accidental variations in electrical load. Such variations
are certain to occur when the speaker volume controls
are of the simple rheostat, rather than the constant-
impedance potentiometer type.

The in-car speakers purchased for drive-in use should
be large enough to give an acceptably strong reproduc-
tion of the low-frequency bass tones in the sound. In no
case should the cone of the speaker be under 4 inches in
diameter: 5-inch cones are recommended, though the
quality of the sound reproduction by a speaker does not
depend on the size of the cone alone. It should always
be remembered that the smallest, cheapest speakers re-
quire more watts of power from the amplifiers to give
the same volume of sound, that they usually give "tinny,"
distorted sound, and that they are constructed in such a
way that it is impossible to re-cone or otherwise repair
them. Speakers of good quality are more economical
in the long run, and certainly satisfy the patrons in a way
that cheap speakers can never do.

Assuming an average consumption of 0.25 watt by
each speaker and associated matching transformer (mea-
sured at 1000 cycles, 90 per cent soundtrack modula-
tion), the following amplifier power outputs should be
provided for drive-ins of various sizes:

400-car theatres, 100 watts.

500-car theatres, 125 watts.

600-car theatres, 150 watts.

800-car theatres, 200 watts.

1000-car theatres, 250 watts.

1200-car theatres, 300 watts.

1500-car theatres, 375 watts.

2000-car theatres, 500 watts.

In addition to the amplifiers needed to supply the
minimum required audio power, there should be at least
one stand-by amplifier of 25 watts output for emergency
use. An amplifier of this size is large enough to serve
100 cars ( 1 to 4 ramps) in the event of amplifier break-
down.

Each drive-in speaker is powered through a matching
transformer usually located in the junction box on the
speaker post. Accidental short circuits in the speakers
or their connecting cords cannot, therefore, render other
speakers on the same ramp inoperative.
Leeway in Impedance Matching

The way the speaker-matching transformers are inter-
connected depends upon the impedances of their primary
(input) windings and upon the output impedance of the

International Projectionist May 1963

power amplifier serving them. The total impedance of a
number of individual ""loads'" is greater than the in-
dividual impedances when thev are connected in series.
less when thev are connected in parallel.

For the maximum transfer of power, the two im-
pedances, source and load, must be of equal ohmic value.
If the "'load resistance" has a value (ohms) substantially
lower than the impedance of the source, the current
(amperes) flowing through the circuit will be relative!)
great, but the load voltage drop will be small. Electrical
power in watts is found by multiplying amps, by volts:
and in a case like this flow voltage, high amperage I .
the watts of power expended in the load resistance will
be small.

On the other hand, if the load resistance has an
ohmic value substantial!) higher than the impedance of
the source, the voltage drop across it will be great, but
the amount of current able to force its way through the
high resistance will be small. Here we have a case of
high voltage and low amperage: and the mathematical
product of amps, times volts equals watts will again be
small.

When the ohmic resistances are equal, however, the
watts of power obtained bv multiplying the voltage drop
across the load bv the current in the circuit will be at a
maximum. Matched impedances accordingly permit the
maximum transfer of power. \everthele>s. quite a bit
of leeway in the match of ohmic values is allowable. One
impedance mav have a resistance I ohms i as low as one-
half that of the other, or as high as twice that of the
other, and the power loss through mismatch will amount
to only about 10 per cent. This is well below the maxi-
mum power variation which can be detected in sound
reproduction bv the human ear.

Rad mismatches between sound-circuit components
have a much more serious effect than the mere loss of
audio power, however. The impedance of transformer
coils and the voice coils of speakers varies with the
frequency of the audio signal. When we say, for ex-
ample, that a certain speaker has an impedance of 6
ohms, we mean that the voice coil of the speaker has
a resistance of 6 ohms to AC at a frequency of 1000
cycles per second. The resistance will be less than 6
ohms at lower frequencies, and higher than 6 ohms at
higher frequencies. Now. if a speaker or its matching
transformer is improperly matched to the output trans-
former of the amplifier, the frequency characteristics
of the system will be altered. The result is distorted,
unnatural sound.

It is generallv believed that the human ear is unable
to detect harmonic distortions in sound reproduction
amounting to less than 5 per cent of the total power
output. Distortion is much reduced in certain amplifier
circuits bv the use of deliberate impedance mismatching!
For example, it has been found that second-harmonic
distortion is greatly reduced by making the impedance
of a load resistance about twice as great as the plate
resistance of the tube supplying it.

By a thoughtful choice of impedances and by the
use of degenerative feedback, modern theatre amplifiers
have an overall distortion factor of less than 2 or 3
per cent. A drive-in theatre absolutely requires ampli-
fiers of the same high quality as those used in indoor
theatres.

Speakers Weak Link in Chain

Drive-in sound seldom equals the high quality of
good indoor-theatre sound even when the very best
amplifiers are used. As in all sound systems from the

International Projectionist May 1963

jwtmr

#1

jwwwwv-

*3

Impedances in series:

R= Rx+ Rz + R3+ . . .

R\ Rz /?3

Impedances in parallel:

FIG. 1 — When impedances (resistors, transformer wind-
ings, speaker voice coils, etc.) are connected in series, the
total impedance in ohms is the simple sum of the indi-
vidual impedances. When connected in parallel, however,
the ohmic values of individual impedances are each divided
into 1, the quotients added, and the sum divided into 1.
Thus three 25-ohm resistors in series have a total impedance
of 25 + 25 + 25 = 75 ohms; in parallel, 1/(1/25 + 1/25
+ 1/25) = 1/0.12 = 8.33 ohms.

mightiest public-address system to the smallest home
"hi-fi." the speaker, itself, is the weakest link in the
chain of sound components. Even when the amplifiers
introduce no perceptible distortion in the reproduction,
the sound may have a slightly unnatural quality. This
is due entirely to distortions arising in the speaker.
Because a loudspeaker is a mechanical device as well
as an electrical one, it is extremely difficult to design
one which perfectly translates the fluctuating sound-
signal currents into air-pressure waves.

It is therefore unfair to expect an "unbaffled" drive-
in speaker having a 4-, 5-, or 6-inch cone, and no
separate "woofer," or low-frequency unit, to equal the
sound-reproducing quality of a large and carefully engi-
neered indoor-theatre speaker assembly. But in spite of
these unavoidable physical limitations, we have a right
to expect acceptably good sound in the drive-in theatre.

In-car speakers should be specially designed and
constructed for drive-in use. Cheaply priced speakers
"adapted" from units originally designed for small
radio sets or phonographs are unsatisfactory in almost
every respect. Drive-in speakers should be completely
waterproof in order to resist the effects of the rain
and damp weather to which they will be exposed. They
must also be reasonably heat-resistant — the summer
sun is sometimes hot enough to fry an egg! And last
but not least is ruggedness. In-car speaker units must
hold up under the rough usage that the rank and file
of the public accords to property not its own.

Spare Speakers and Amplifiers

Prospective purchasers of in-car speakers should
make certain that the units they intend to buy have
constant electrical impedance regardless of the setting

250

£ 200

IA

c

? 175

Jj 150

O
0-125

<0
.^ 100

u
-P

ju 75

o

$

50

25

10

20 30 40 50 60 70 80 90 100

Ohms load resistance for 10-ohm source

FIG. 2 — This graph reveals that the maximum transfer of
electrical power (watts) is achieved when "source" and
"load" impedances are the same. It is here assumed that
the source impedance is 10 ohms; the number of watts
developed when different load resistors are used may be
read from the curve. Thus a 10-ohm load resistor gives a
maximum power of 250 watts; both 5-ohm and 20-ohm
loads (one-half and twice the source impedance, respec-
tively,) give 221.77 watts.

of the volume control. In other words, the volume
control should be of the potentiometer, not the simple
rheostat, type. If a simple dead-end reostat is used,
the load on the amplifiers will increase with the number
of speakers turned up loud, thus causing annoying
variations in system output and, worse, in the fre-
quency characteristics of the system.

No matter how much is done to prevent it, a num-
ber of speakers are damaged and stolen every season.
Deliberate theft cannot be prevented if the larceny-minded
patron brings along a pair of wire cutters. Accidental
severance of speaker cords can nevertheless be min-
imized by using waterproof coiled cord instead of the
ordinary flexible cord which may loop down and catch
on automobile bumpers and door handles.

A number of spare in-car speakers are an absolute
necessity to avoid losing parking spaces when some-
thing goes wrong with speakers previously installed.
To play it safe, there should be at least one spare speaker
for every hundred speaker posts. The projectionist must
also have a spare speaker known to be in perfect work-
ing order for his own use in checking ramp and junc-
tion-box circuits — this in addition to the permanently
installed projection-room monitor speaker.

We do not believe that it is desirable to complicate
the sound wiring to the extent of having a separate
on-off switch for each and every ramp, together with
loading resistors to preserve system impedance; but it
is certainly necessary to provide switching for each
individual power amplifier.

The most convenient arrangement is a plug-in switch-
board having one heavy-duty plug for the output term-

inals of each amplifier. If, for example, there are four
amplifiers, there must be four output plugs, each supply-
ing audio power to one-fourth of the drive-in. The plug
arrangement permits very rapid replacement of an ailing
amplifier with an emergency stand-by amplifier of the
same type and power output. (Two other plugs must also
be provided for each power amplifier, one for the
current which operates the amplifier, and the other for
the sound input from the preceding driver or voltage-
gain stage.)

Even though the plug-in arrangement is preferable
for drive-ins in which all the equipment is removed at
the end of the season and re-installed at the opening of
the next one, permanently wired emergency amplifiers
connected through a main switchboard are recommended
both for indoor theatres and for those drive-ins in
southern climates which operate the year around.

The presence of a spare power amplifier in good
working condition does much to reduce the projectionist's
worries, to prevent ticket refunds because of sound loss,
and to allow repairs to the sound system to be made in a
careful, unhurried manner in the daytime instead of
under stress and the pressure of time while a show is in
progress.
Sound Service Indispensable

The services of a good sound-maintenance organiza-
tion are a "must" because the projectionist, already
burdened with the duties involved in his work, cannot
rightly be expected to jeopardize the condition of films
and equipment or the presentation of the show to
"double" as a sound engineer. Sensitive electrical ad-
justments in amplifier circuitry, the correction of noise
and distortions arising from electrical, optical, or mech-
anical causes, and the balancing of amplifier outputs are
not normally a part of the projectionist's job.

It is nevertheless quite proper for the projectionist
to familiarize himself with the types of vacuum tubes
used in his system, and with the locations of their
sockets in the rectifier and amplifier units. A full com-
plement of all rectifier and amplifier tubes, together
with soundhead photocells and exciting lamps, should
be stored in the supply cabinets ready for instant use.
And do not forget spare fuses!

It is very doubtful that frequent or routine sand-
papering or burnishing of vacuum-tube prongs is at all
necessary. The prongs of tubes are made of a plated
alloy which does not corrode. If the prongs are wiped
clean when the tubes are inserted into their sockets,
and if the socket contacts are sufficiently tight to begin
with, the amplifier tubes can be left alone during the
season — except, of course, for the testing and replace-
ment of the few tubes which may go bad or be sus-
pected of defects.

If at any time the tubes are removed from an ampli-
fier chassis for the purpose of cleaning it, cover the
prong holes of the tube sockets with strips of mask-
ing tape or "Scotch" tape to prevent dust and dirt from
going inside the chassis through the holes.
Big Power Tubes Have Shortest Life

Transistorized preamplifiers and voltage-gain "driv-
ers" eliminate tube troubles and filament ("A") circuits
from the first two stages of the system, and also re-
duce hum and distortion due to "microphonic" and
gassy tubes.

The power amplifiers, on the other hand, usually
employ vacuum tubes to provide the audio power (watts)
required by a large number of in-car speakers. Power-
gain tubes are larger and more expensive than voltage-
gain tubes, and they get rather hot in operation. They
are more likely to deteriorate and cause distortion than

International Projectionist May 1963

are the voltage-gain tubes. But the faint bluish glow
sometime- seen in power tubes, and which flickers with
the varying le\el of the sound being reproduced, is en-
tiieU normal and does not necessarib indicate exces-
sive "gassines9.

Except for the replacement of noisj volume-control
potentiometers, damaged in-car speakers cannot ordinar-
ill\ be repaired in the theatre, but must be sent to a com-
panj specializing in speaker re-coning, i Write to the
manufacturer or to his distributor for advice before
\ou need work done! i V torn or punctured cone mended
with a patch of adhesive tape cut from a plastic Band- \'u\
will work temporarily, but it maj distort the sound b\
weakening certain frequencies and overemphasizing
others.

\ll speaker-post junction boxes should be brushed out
clean at the beginning of the season when the speakers
are connected, and again whenever damaged speakers
are replaced. \ weatherproof junction box of respon-
sible manufacturer is not likeb to admit enough dust
during the 3-to-5-month drive-in season to require mid-
season cleaning. Naturally, a "spot check" is a good
idea after a sandstorm or a spell of high winds which
mav stir up clouds of dust!
120 V Dangerous in Junction Boxes

\lo>t junction boxes are fitted with small lights
which permit the patron to locate the speakers easily
for removal and replacement on the hangers. Some
boxes also have additional lamps for signalling con-
cession attendant-. Ml of these lamps are ideally sup-
plied 1>\ a 2-wire system COmpletelj independent of
the sound circuitry, but in practice it is usual to have

a common-ground 3-wire system. Une of the three wires
is the "live" power wire for the post lamps, the second
is for the sound, and is connected to the speaker trans-
formers, while the third wire is the common ground
shared by both the lights and speakers.

It is recommended that 30-volt post lamps be used
when the 3-wire system is employed. A pressure of 120
volts presents a hazard which would become positively
dangerous in the event that the "earthed" ground be-
comes accidentia disconnected or electrically weakened.
A patron handling a speaker case or other conductor
connected to the common-ground wire might then re-
ceive a shock, or be seriously injured if he happens to
be standing on wet earth.

It is undeniably a time-consuming job to check all
of the speakers in a 1000-or-2000-car drive-in. Such a
check cannot be made every day without the help of a
special crew : but we do suggest that such a check be
made once a week, if possible, and all defective speakers
replaced from the stock of spares. Phonograph records
of good quality can be played in the projection building
to furnish sound during the time it takes to inspect
the speakers.

The care and servicing of the projector soundhead
units is. of course, exactb the same in a drive-in as in a
conventional theatre. The soundheads may need more
frequent cleaning because of the presence of gritty dust
in the air; but in-drafts which sweep dust-laden air over
the projectors can be minimized b\ using ground and
polished optical glass in the projector ports, and a good
grade of plate glass in the observation ports. iP

2»WE PROVED BYTEST...BYFARTHE BEST

Arc Lamps and Rectifiers for Every Projector... for Every Theatre... The World's Finest

HERE ARE THE FACTS

SUPER CINEX ... The masterpiece
of the most experienced projection lamp
designer. No other lamp has even re-
motely approached its perfection from
every point of view — mechanically, elec-
trically, optically, hydraulically or its fine
air-conditioned system. Its durability and
stamina have been proved. More and more
fine theatres and drive-ins are re-equip-
ping with Ashcraft Super Cinex daily due
to their fine reputation for perfect screen
light and service. Current range with 1 3.6
mm carbon, 125-165 amperes.

CORE-LITE ... the latest and most
phenomenal producer of white light at
lowest possible operating cost in the fam-
ily of Great Ashcraft Arc Lamps. Same arc
burner and arc controls as the SUPER-
CINEX. Same quality and built-in reliabil-
ity. The lamp is optically designed to give
greater white light distribution at less cost
for carbons and electricity. There is none
better— anywhere! 70-1 10 amp.

CINEX 35/70 SPECIAL .. .The

Great of the Ashcraft Arc Lamps is a modi-
fied Super Cinex. Like the Super Cinex no
third element or relay lens is necessary
regardless whether 35 mm or 70 mm film
is being projected. Uses a 13.6 mm
high intensity positive carbon at
current ranges between 1 25 and
1 40 amperes.

RECTIFIER ...THE SPECIAL CORE-
LITE 7 2 PHASE HIGH REACTANCE

RcCTIrltR . . . designed for the require-
ments of the Core-Lite lamp, this rectifier will
give the best results. Low reactance 6 phase
rectifiers should not be used. Certain motor gen-
erators, but not all, are acceptable. The specia
Core-Lite S/1212 rectifier will give you long,
excellent service with an absolute minimum of
expense. Other Ashcraft rectifiers available for
every power need. The cost is no more than for
inferior rectifiers.

SOLD EVERYWHERE IN THE UNITED STATES BY LEADING RECOGNIZED THEATRE SUPPLY DEALERS

;.S. ASHCRAFT MFG. CO., INC. • 36-32 38th STREET- LONG ISLAND CITY 1, N.Y.

eun \Tio.\AL Projectionist

May 1963

FRANKLY, YOU'RE DOING JUST THAT, if you're buying top-quality negatives-and "economizing" on prints. Fact
is: to do its job, a crisp, clear negative must have top-quality prints. Otherwise, your message falls flat and
you've wasted negative and print costs. Moral: Go Eastman all the way-negative and print-stock. And in the
case of questions - production, processing, projection - always get in touch with Eastman Technical Service.

I

losing dollars?

IE

For further information, please write or phone: Motion Picture Film Department,
EASTMAN KODAK COMPANY, Rochester 4, N. Y. Or-for the purchase of film:
W. J. German, Inc. Agents for the sale and distribution of Eastman Professional
Film for Motion Pictures and TV, Fort Lee, N.J., Chicago, III., Hollywood, Calif.

EA^TlvllAlSj FILM

The Cover Story:

Century Projectors at MPAA

This classically beautiful private screening room is in the offices of the Mo-
tion Picture Association of America in Washington, where under Eric Johnston
the American motion picture industry is represented to the world, and where
many pictures are evaluated as to their effect, and chances of success, in the
world market. The projection room is equipped with Century Projector Corp. s
70/35 projector, staffed by the MPO Local 224 gentlemen featured on the front
cover. This screening room entertains the leaders of the motion picture industry,
government officials, as well as diplomats from all over the world.

The Motion Picture Association of
America, Inc.'s screening room in
Washington, D. C. is one of the out-
standing screening rooms in the world
— in fact, those who have visited this
exquisite room come away with the
feeling that they have enjoyed Ameri-
ca's pastime (movies) in the atmos-
phere of a beautiful living room.

As for motion picture presentation
facilities, the MPAA projection booth
has everything from 16mm to 70mm
equipment.

The new Century American-made
70/35mm projectors as well as the
Century multiple 6-4-1 channel All-
Transistor sound equipment was sup-
plied and installed by H. C. Dusman
of the firm of J. F. Dusman Co. of
Baltimore, Md., established in 1912.
The Dusman Co. has been a Century
dealer for over 35 years. In addition to
the 70/35mm equipment, auxiliary in-
terlocks for 3D or separate sound heads
were installed, which makes this room
unique in every respect.

J. Al Pratt, consulting projection
engineer, member of Local 224 MPO,
was in direct charge of the installation
completed March 15, 1963. iP

10

J. Al Pratt, member of Local 224
M.P.O. congratulating H. C. Dusman
of J. F. Dusman Co., Century's Balti-
more dealer who sold and installed
the Century 70/35mm projectors and
the All-Transistor 6-4-1 channel sound
equipment.

EDITORIAL

from page 3
The projectionist in the smaller
and late-run theatres has to struggle
with damaged film, because the ex-
changes don't carefully inspect the
film that goes out to theatres.

The craftsman in run-down the-
atres struggles with worn-out pro-
jectors, lamp houses and sound sys-
tems.

It's a fine tribute to the projec-
tionist that many film theatre patrons
see tolerable pictures, and that's due
to the craftsman's skills and know-
how about wet-nursing these worn-
out projectors, lamps, sound system
and rectifiers. iS8

Ernest Lang, secretary of Local 306 and treasurer of the Projectionist Square
Club, New York, was presented with a Gold Card by the Club recently. Photo
shows Mr. Lang, Harry Apsel, president of Projectionist Square Club, pre-
senting the Gold Card to Lang; Steve DTnzillo and Harry Garfman, Local
306 business agents for New York and Brooklyn, and Izzy Schwartz, secre-
tary of Projectionists Square Club.

International Projectionist May 1963

Investment Opportunity

You are looking at a part of your employee benefit pro-
gram. It's part of your neighbors', too. And your suppliers'
and your customers' and your competitors'. It is there for
all Americans to enjoy.

A healthy economy is a bulwark of the freedom it sym-
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American businessmen like you can protect the invest-
ment you have in this benefit program by promoting the
Treasury's Payroll Savings Plan for U.S. Savings Bonds.
It makes for a strong America and a sound America. And
it engenders a sense of thrift and independence and con-
servation that helps us all to fathom the real significance

of monuments like that set in the beautiful Black Hills.

When you bring the Payroll Savings Plan into your
plant — when you encourage your employees to enroll — you
are investing in the most precious of America's natural
resources. In the vastnesses of its mountains and plains
and coasts that offer physical and spiritual recreation to us
and our children. You are investing in the heritage and the
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Don't pass this investment opportunity by. Call your
State Savings Bonds Director. Or write today to the
Treasury Department, U.S. Savings Bonds Division,
Washington 25, D.C.

: in your plant... promote the PAYROLL SAVINGS PLAN for U.S. SAVINGS BONDS ||

The V. S. Government does not pay for this advertisement. The Treasury Department thanks, for their patriotism, The Advertising Council and this magazine,

INTERNATIONAL PROJECTIONIST

HEYER-SHULTZ
UNBREAKABLE METAL REFLECTORS

TOP SCREEN
ILLUMINATION

WILL NOT
PIT OR TARNISH

5 YEAR
GUARANTEE

FACTORY

REFINISH1NG

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See Tour
Theatre Supply Deafer

Manufactured by

HEYER-SHULTZ, Inc. cedar s,„vC, N. j.

How electrical noise is produced . • .
calculated . . . measured . . . controlled

Here are the basic facts about electrical noise — how it originates
in circuits . . . what terms describe it . . . how to measure it . . .
how to design circuits to minimize its undesirable effects. The
physical nature of the various sources of noise are clearly de-
scribed, including such sources as thermal agitation or resistance
noise . . . shot noise in vacuum tubes and semiconductor junctions
. . . noise from spontaneous emission of electromagnetic radiation
. . . and noise in gas discharges. This practical book also explains
auxiliary mathematical techniques, and discusses the relation of
signal and noise in various types of communication systems. For
ease in use, the simple tuned circuit associated with a device for
measuring average power is made the basic tool for analyzing
noise.

ELECTRICAL

270 pages, 6x9
105 illustrations
$10.00

By WILLIAM R. BENNETT

Data Communications Consultant, Bell Telephone Laboratories, Inc.

Each chapter in this helpful book begins in
a simple, practical manner and works toward
more complicated examples. For example, prop-
erties of thermal noise and its relation to black-
body radiation are deduced from basic laws
of thermodynamics and statistical mechanics.
You also will find a clear treatment of elemen-
tary quantum mechanics in discussions of the
maser and of noise in semiconductors. And, in
describing noise properties of various devices,
the book fills in your working background with
basic facts on junction diodes — transistors —
gas discharge tubes— klystrons— traveling wave
amplifiers— and others. Both independent and
dependent noise sources are analyzed.

In addition to the standard theory of noise
figure and its significance, a treatment is given
of the more comprehensive Haus-Adler theory
of noise measure. Throughout, the book stresses
the universality of noise-like phenomena. Noise
formulas for diodes and transistors; noise gen-
eration to meet specifications; design of ampli-
fiers for minimum noise effects— these and many
other topics "are covered. A comprehensive re-
view of noise in the various methods of signal
transmission such as amplitude modulation . . .
frequency modulation . . . and the different
kinds of pulse modulation is included.

12

CONTENTS

1. General Properties of Noise

2. Thermal Noise

3. Distribution of Magnitudes in Noise Sources

4. Noise in Vacuum Tubes

5. Noise in Semiconductors

6. Noise in Electromagnetic Radiation

7. Noise-generating Equipment

8. Noise Measurements and Techniques

9. Design of Low-noise Equipment

10. Application of Fourier Analysis to Noise
Problems

11. Noise in Communication Systems

INTERNATIONAL PROJECTIONIST

Post Office Box 6174

Minneapolis 24, Minnesota

Please send me a copy of "Electrical Noise"

by William R. Bennett. (I enclose $10.00.)

Name

Address

City & State ,.

CONSTANT FLIGHT . .

Exhibitors Must
Remodel Theatres,
Walters Says

DALLAS — Lou Walters of Lou
Walters Sales & Service here, con-
stantly emphasizes the need for many
exhibitors to remodel and refurbish
their theatres and install new equip-
ment.

"You have to spend money to make
money," Walters said. "How many
times have we heard this? Yet, we do
not heed this good advice. We hear
exhibitors complain every day about
bad business, when they could help
themselves considerably at the box-
office.

"A great deal of the equipment
most theatres are using is old, worn-
out and obsolete. This not only is
true in the projection room, but the
seats and carpets as well, and the
general appearance of the theatre is
run-down.

"There is nothing wrong with most
good pictures but that better projec-
tion would add to the boxoffice take.
Pictures that are poorly projected
with obsolete equipment don't do the
theatre any good. The customers soon
find a theatre with up-to-date and
modern equipment."

There is no question, Walters said,
that 70mm pictures are the best pro-
jection. "The sooner the theatre own-
ers realize this and equip the projec-
tion room with 70mm projectors,
the sooner they will reap the bene-
fits. We know the producers have,
in many csaes, put the same picture
on 35mm prints, but this is partly the
fault of the theatre owner for not

Lou Walters

International Projectionist May 1963

having equipped his theatre or the-
atres to run 70mm prints."

"' I here is," he said, "a difference
r in the two projected pictures and
there is also a difference in good
projection and better projection.
Main advantages are to be had in
the installation of 70mm equipment
for the indoor theatre such as mag-
netic sound reproduction which is
considered the best and. too. he gets
the benefit of the surround speakers.
I here is also a big advantage for
the drive-in theatres with their large
screens and long throw. That advant-
age i? light, which is so badh needed
in the drive-in theatre. The 70mm
projectors will improve the projec-
tion not only in increased light but
also with a sharper and steadier pic-
ture.'"

Walters also sa\s it is possible now
because of recent changes of the loan
rules in the Small Business Adminis-
tration enabling motion picture the-
atre- to lift low interest mone\ sim-
|)l\ bj applying to their local bank,
which will handle all necessary ap-
plication paper work for them. With
this money, the) can then re-equip
and refurbish their theatres.

Walters Sale- \ Service last year
moved to a new location. 1207 Lawn-
view We., Dallas 27. The company,
he said, has received dealer appoint-
ments from even manufacturer to

CURTAIN CONTROLS,
TRACKS and SPECIAL
OPERATING DEVICES

VALLEN, Inc.

AKRON 4, OHIO

— THE ENEMY —
HEAT

A 10 DEGREE REDUCTION

iN HEAT WILL TRIPLE

TRANSFORMER LIFE.

ARC AND SOUND SYSTEM

POWER SUPPLIES RUN

COOLER. A MODEL TO

REPLACE ANY BULB.

Write

BROWN ELECTRONICS

1717 South St., ALLENTOWN, PA.

which it has applied, including Nor-
elco. Strom; and Diamond carbon.

iP

Brightness Gains for

Philadelphia Theatre

PHILADELPHIA— Evaluations of
a recent installation of the C. S. Ash-
craft Manufacturing Co.'s Core-Lite
Lamps in the Stanley Warner cir-
cuit s Logan Theatre here showed
marked screen brightness gains, said
Henry Eberle. the circuit's chief
sound engineer. Philadelphia zone.

The new lamps were installed by
the Stanle\ \^ arner Service Dept..
and are being sold throughout the
countrv 1>\ National Theatre Supplv
Co.

Eberle said readings indicated an
average increase of 20' « more light
on the theatre's 16.!! ft. by 38 ft.
screen. A gain of 35% in side light-
ing was recorded.

In addition to the increased screen
brightness, Eberle said the lamps cost
less to operate than the ones that
were removed. He said carbon con-
sumption records kept by Logan pro-
jectionist William Singer I 1ATSE Lo-
cal 307). show a 2595 savings on
carbon costs, despite the fact that the
Core Lite uses larger carbons than
the Super Powers, which were re-
moved.

The Core-Lites are being operated
on 80 amperes of current supplied In
motor generator.

Carbon trims used are 11mm x
17'L." positive rotating and ."> 16x0"
negative, and have \ ielded an operat-
ing cost-per-hour figure of 26c. This
compares to a 34c cost-per-hour fig-
ure for the old lamps.

Suggested current range for the
Core-Lite is 75 to 110 amperes.

Eberle said the <>0 ampere operat-
ing level had proven highlv satisfac-
tory for the Logan's requirements.

I he theatre is equipped with Sim-
plex projectors using Kollmorgan
1.5" back-up lenses and Kollmorgan
F 1.9's up front for CinemaScope.
Bausch \ Lomb E 1.8's are used for
standard 35mm presentations. Screen
brightness increases cited apply to
the C-Scope setup.

Eberle said the Core-Lites met all
the claims of Ashcraft and NTS. and
were well suited for a medium-sized
theatre such as the Logan.

Ashcraft attributes the absence of
brown and blue rays with Core-Lite
to the lamps ability to completely
cover the aperture with pure white
light only. Magnification of the car-
bon core makes possible the high per-
centage of white light distribution
and the elimination of brown, yellow,
and red rays of the hard rim or shell
of the carbon. iP

PROJECTIONISTS
PREFER

ETHYLOID

Film Cement For
BEST RESULTS

Available from
Supply dealers

FISHER MFG. CO.

1185 Mr. Read Blvd.
Rochester, N.Y.

%v £>( ; "LETS TWIST"!

Yes, That Easy to Use-No Tools Needed

Just Twist The Stub In & Out . . .

NO GRINDING— NO DIRT

*****
yr if.

IF YOU ARE NOT USING The

"Little Miser" Carbon Saver

YOU are losing several Hundred Dollars

Each Year!

4 Sizes 9-10-1 lm.m. $3.00 Each
13.6m.m. $4.50 Each

ORDER Now— Start Saving Money $$

(We Suggest 3 In Each Projection Room)

LOU WALTERS

Sales & Service Co.
MOTION PICTURE EQUIPMENT

EV 8-1550

4207 Lawnvlcw Ave. Dallas 27, Texas

PROJECTOR
CARBONS

Better
Light!

Lower
Costs!

RINGSDORFF CARBON CORP. East McKeesport, Pa

International Projectionist May 1963

13

CHRISTIE

since 1 a a a ®

Also 200 ofher Models of Power Supplies
and Battery Chargers. Write for Catalog.

CHRISTIE ELECTRIC CORP.

341 6 W. 67th St., Los Angeles 43, Calif.

Norelco

projection
equipment

Available from

leading theatre supply

dealers

North American Philips Co., Inc.

Motion Picture Equipment Division

100 E. 42nd St., New York 17, N.Y.

n»»JMWBI«*JlillBI».M«fTC

BRIGHTER LIGHT
LONGER BURNING
SHARPER PICTURE

NEW CENTURY
70/35 PROJECTOR

A new model 70/35 projector has
been announced by the Century Pro-
jector Corp., New York. A further
development of the Century JJ-Z, it
has been designed, according to
Frank E. Cahill, Jr., vice president in
charge of distribution, to embody all
that is desired by American stand-
ards as well as by experienced Ameri-
can projectionists and service engi-
neers. Features of the new projector
cited in the announcement are unique
designs of the film traps and film
gates (70mm and 35mm), and the
direct coupling of the mechanism and
the optical sound reproducer in con-
junction with a poly "V" motor
drive belt to the projector main drive
shaft.

Accompanying photographs show
the new mechanism as well as the new
70mm film trap, the new curved film
gate and the 70mm sprocket pad as-

Century JJ-2 mechanism with new
70mm trap and gate mounted.

sembly. Both the film trap and gate can
be easily and quickly removed from the
projector for inspection, cleaning and
changing to 35mm, without disturb-
ing any other units. The new projec-
tor has been tested in actual theatre
operation by competent projection-
ists.

The film gate has solid hardened,
polished heavy-duty steel runners for
longer life. The Century-designed
watercell and aperture plate are po-
sitioned in the projector to allow the
film to come as close to the aperture
plate as desired for sharp focus all

mmwwwiv*i*rmT*>i*wT¥'

around the edges. It is also possible
to "set" the film gate to provide a
soft edge aperture focus if so desired.
These same designs are also in-
corporated in the 35mm film trap
and film gate for sharper pictures,
less film wear and for fast and easy

The 70mm film trap, gate and (bot-
tom) intermittent pad assembly.

removal from the projector when
changing to 70mm films. With these
new film traps and film gates, it is
possible to run both 70mm and
35mm films with extremely light ten-
sions ( feather touch ) ; even with
buckled films, tensions are held to a
minimum, it is pointed out. Film ten-
sions can be readily adjusted and set
to desired positions for optimum
screen results.

In addition, a method has been en-
gineered into these projectors for
changing from the standard 24
frames per second to 30-frame speed
without extra motor or change of
parts. Transfer is made by slipping
the new multiple "V" belt over to
the proper pulley, which is already
mounted in place.

Provisions also have been included
to adapt 3-D synchronous projection
and synchronized separate sound re-
producers if needed. Conversion kits
are available.

The new design retains such Cen-
tury features as double rear shutters,
watercells, dual purpose sprockets
(70mm-35mm) and pad roller arms,
separate 70mm and 35mm Ampex
magnetic clusters, simplified thread-
ing, unit construction of vertical and
shutter shaft assemblies; absence of
oil baths except for the intermit-
tent movement, and separate 7/16
and 5/16 magazine spindles for all
reels. iP

OVtCUHC

&Vt6o*t&

Free Test Samples

CARBONS INC., BOONTON, N. J.

STEADIER LIGHT
LESS ATTENTION
PERFECT COLOR BALANCE
Free Carbon Chart

14

International Projectionist May 1963

» AUTHORITATIVE
» COMPREHENSIVE
» PRACTICAL

Acclaimed by leading technicians in
the industry as the most comprehen-
sive and down-to-earth handbook pub-
lished to date on the subject of motion
picture projection. Ideally suited for
study and reference by your opera-
tors.

ROBERT A. MITCHELL'S

MANUAL OF PRACTICAL PROJECTION

HANDY 5'/2" X 8!'2" SIZE

450 PAGES

ILLU STRATED

CROSS INDEXED FOR EASY REFERENCE

* Here is one of the most help-
ful works ever published for
the motion picture projection-
ist. A handsomely bound and
profusely illustrated compila-
tion of the BEST of the Robert
A. Mitchell articles that have
appeared in "International
Projectionis t," revised,
brought up to date.

* The author covers clearly
and thoroughly every aspect of
motion picture projection, pre-
senting his material in easily
understood language — not too
technical, yet technically ac-
curate. The Manual is divided
in 8 sections and contains 30
chapters — a valuable refer-
ence work no progressive pro-
jectionist should be without.

J

SECTION HEADINGS

(1) 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 * USE THIS HANDY FORM

INTERNATIONAL PROJECTIONIST
Post Office Box 6174
Minneapolis 24, Minnesota

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

$6.oo

per copy
including postage

WHY PAY 25%
MORE FOR
PROJECTION
LAMPS AND
RECTIFIERS?

SAVE BIG MONEY

PROOF:

(See any published list prices of all makes)
on

LOW CURRENT • HIGH INTENSITY

PROJECTION LAMPS
AND BI-POWR RECTIFIER

See Your Independent Theatre
Supply Dealer Today of send for
details on this complete booth
equipment.

BY FAR THE LOWEST IN COST

and having: every desirable
feature, is

WORTH MANY TIMES THE PRICE

YOU GET MORE LIGHT
AND RADICALLY CUT
OPERATING COSTS

Here's why:

-k Burns a 20-inch (not just a 17'/2") black 11 mm. positive carbon
at 85 amperes, consuming only 7 inches per hour, insuring VA
hours' operation at only 15.7c per hour. Projects about

10% MORE SNOW WHITE LIGHT
than lamps burning 0 mm. copper coated carbons at 70 amperes,
which costs 23c per hour.

* OBTAINS SCREEN UNIFORMITIES OF UP TO 100%

* FULL 18-INCH DIAMETER REFLECTOR.

An Optical System Acknowledged To Have No Peer In Efficiency.

ic Both positive and negative drive motors are Bodine geared
head— the finest. Each motor has a separate feed control.

ELECTRIC CORPORATION

31 City Park Avenue • Toledo 1, Ohio

The World's Largest Manufacturer
of Carbon Arc Lamps

ALWAYS FIRST

with new and efficient developments.

INTERNATIONAL

Testing in the XeTRON Division of Carbons, Inc,: Story on Page 4

ary of Congress
Order livision (o368X)
Washington 25, D.C»

JUNE
VOLUME 38

40c A COPY

1963
NUMBER 6

$3.00 A YEAR

WHY PAY 25%
MORE FOR
PROJECTION
LAMPS AND
RECTIFIERS?

SAVE BIG MONEY

PROOF:

(See any published list prices of all makes)
on

LOW CURRENT • HIGH INTENSITY

PROJECTION LAMPS
AND BI-POWR RECTIFIER

BY FAR THE LOWEST IN COST

and having every desirable
feature, is

WORTH MANY TIMES THE PRICE

YOU GET MORE LIGHT
AND RADICALLY CUT
OPERATING COSTS

Here's why:

-k Burns a 20-inch (not just a 17'/2") black 11 mm. positive carbon
at 85 amperes, consuming only 7 inches per hour, insuring 2V2
hours' operation at only 15.7c per hour. Projects about

, . . 10% MORE SNOW WHITE LIGHT
than lamps burning 8 mm. copper coated carbons at 70 amperes,
which costs 23c per hour.

* OBTAINS SCREEN UNIFORMITIES OF UP TO 100%

* FULL 18-INCH DIAMETER REFLECTOR.

An Optical System Acknowledged To Have No Peer In Efficiency.

* Both positive and negative drive motors are Bodine geared
head— the finest. Each motor has a separate feed control.

ELECTRIC CORPORATION

31 City Pork Avenue • Toledo 1, Ohio

The World's Largest Manufacturer
of Carbon Arc Lamps

ALWAYS FIRST

with new and efficient developments.

i i

INTERNATIONAL

PROJECTIONIST

Including a special Audio-Visual section relat-
ing to the operation and maintenance of A-V
equipment in the educational and industrial
fields.

Volume 38

June, 1963

No. 6

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO
Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue, New York 17, N. Y.

Telephone Murrayhill 7-7746

(Area Code 212)

IN THIS ISSUE

XeTRON Lamp System 4

Xenon Projection Lamps 6

By ROBERT A. MITCHELL

New South Carolina Theatre 12

London's Empire Theatre 1'

News Notes — Technical Hints — Miscellaneous Notes

MONTHLY CHAT

CLEAN EQUIPMENT MINIMIZES
TROUBLE

The clean equipment minimizes extra work, as the
projection craftsman well knows!

Electrical devices, unlike wine, do not improve with
age. One of the essentials of electrical circuits is to
maintain the flow of electrical energy in the circuits, and
if permitted to stray by dust or dirt, only trouble will
result.

Only a routine cleaning of the electrical contacts can
avoid extraneous interferences in the sound system. A
surge of noise at the inopportune time will ruin the finest
picture, and the same holds good for faulty projection.

If the craftsman has years of experience, he knows
that dirt or dust allowed to collect on his equipment
means trouble ahead, and wasted time at an inconvenient
time. The \eteran craftsman is not a philanthropist. He
can be selfish, knowing that such painstaking methods for
cleaning his equipment means he doesn't have to work so
hard at sen icing dirt] machines.

Atmosphere and Oxidation

\tmopsherc attacks the terminals, causes oxidation,
and oxidized terminals mean poor contacts. Unboxed
tubes kept on the shelves for months should be cleaned,
else when the tubes are placed into the socket the contact
is poor between the tube and socket prongs.

The veteran projectionist has a routine check-up of
all of his equipment, including a check of sound ampli-
fiers, sound heads, corrosion on all switches, all tubes
(the} do not leave any doubtful lube in service), lenses,
lamp reflectors, condensers and fuses, and many other
parts of his machines. Hell tightl) close the oil cans so
atmospheric moisture cant condense in the lubricant
i main cases of rusting equipment are traced to that
condensed in open oil cans).

And he can't take chances on fire, from time to time
he'll inspect the film cabinet to make sure it is still in A-l
condition, and he will periodically inspect the rectifiers,
generators or other apparatus located outside the booth.

INTERNATIONAL PROJECTIONIST, published monthly by the
International Projectionist Publishing Co. division of The
Northern Publishing Co., Post Office Box 6174, Minneapolis
24, Minnesota. Editorial offices, 1645 Hennepin Avenue,
Minneapolis 3, Minn. Subscription Representatives: AUS-
TRALIA— -McGills, 183 Elizabeth St., Melbourne; NEW
ZEALAND — Wixon's, Ltd., 64 Courtnay Place, Wellington;
ENGLAND and ELSEWHERE — Wm. Dawson & Sons, Ltd.,
Macklin St., London, W. C. 2. Subscription Rates: United Stores,
Canada, and U.S. Possessions, $3.00 per year (12 issues) and
$5.00 for two years (24 issues). Foreign countries: $4.00
per year and $7.00 for two years. Changes of address should
be submitted four weeks in advance of publication date to
insure receipt of current issue. Second-class postage paid at
Minneapolis, Minn. INTERNATIONAL PROJECTIONIST as-
sumes no responsibility for personal opinions appearing in
signed articles, or for unsolicited articles. Entire contents
copyrighted 1963 by INTERNATIONAL PROJECTIONIST
PUBLISHING CO.

1

International Projectionist June 1963

Dust Deteriorates

The usual thing is a painted floor in the projection
room, and when the paint is worn to the point that walk-
ing on the floor will scuff concrete dust into the equip-
ment, the projectionist has an insurmountable task. The
effect of dust upon electrical apparatus is of greater
importance at the seashore, where the atmosphere is very
moist.

The new and older large installations, carry all wires
though conduit, but in many cases with open wiring the
wires develop puncture due to moisture absorption.

The projectionist cannot coordinate electrical distur-
bance with dirty equipment. The projectionist should take
a firm stand with the exhibitor or the manager if dust gets
in the booth. He is powerless to keep the equipment clean.
And why should the exhibitor permit dust and dirt on his
own equipment — assuming his projectionist cleans the
equipment regularly? iP

XeTRON

Frank H. Riffle, general
manager of the XeTRON
Division of Carbons, Inc.,
points out the simplicity
of the pushbutton starting
device of the XeTRON
CX unit, designed main-
theatres'' 35mm, 16mm
and 8mm operations. The
unit has a 40 watt lamp-
house.

Carbons, Inc. announces the
launching of its XeTRON Division as
its entry into the Xenon light field.

This will be in addition to the Lor-
raine Arc Carbon Division which
supplies the "Orlux" arc carbons to
the motion picture industry; "Ac-
tina" carbons to the graphic arts in-
dustry, and "Solar" carbons to the
environmental sciences industry.

The XeTRON Division will be built
around the sale of Xenon short arc
bulbs, highly efficient XeTRON
lamphouses, XeTRON silicon power
supplies and associated items.

Heading up the XeTRON Division
as technical director and general
manager will be Frank H. Riffle, a
veteran of 35 years in theatre projec-
tion and sound work. Mr. Riffle is

Lorraine Carbon Enters
Xenon Lamp Field

a professional registered engineer
whose experience includes 20 years
with ERPI and Altec Service, eight
years as chief engineer with Motio-
graph, Inc. and three years as field
engineer with Carbons, Inc. He is an
active member in the Society of Mo-
rion Picture and Television Engineers,
as well as IATSE Local 163.

Edward Lachman, president of
Carbons, Inc. said recently: "The
growing interest in Xenon as a new
source for motion picture projection
and other applications cannot be ig-
nored. During the past years we have
watched carefully the development of
the enclosed-short arc and have seen
it improved through the use of pat-
ented features to a point where it
is a very reliable high quality light
source suitable for color as well as
black and white projection, in the
range of 1 to 2 kilowatts. For the
present time, needless to say, for the

large theatre or drive-in, the carbon
arc remains still unmatched and can-
not be replaced.

"Our laboratories in France and
Italy have cooperated to develop
these advances in this Xenon field.
The lamphouses and the enclosed
short arcs have been proven and are
now used the world over. Originally
there may have been some deficien-
cies in the spectral output but by
careful lamp and optic design this |
was corrected and/or changed to
match the color quality of the high
intensity carbon arc lamp.

"We feel that the XeTRON lamp-
house can meet the very exacting
requirements for screen brightness
and color demanded by the studios of
Hollywood and a great number of
theatres in America.

"Therefore, Carbons, Inc. through
its new XeTRON Division, proudly

An inside view of the new unit

ON THE COVER:

Gathered in front of the neiv Lamp are chief projectionist
Charles Bachert of the State Theatre, Boonton, N.J.,
a member of IATSE Local 502, Frank Riffle, Lorraine

Carbon engineer and general manager of the XeTROI\
Division, and Edward Lachman, president of Carbons.
Inc., Boonton, N.J. Several of the other illustrations
were taken in the experimental and test laboratories
of the division in the State Theatre.

International Projectionist June 1963

Frank Riffle Heads New Division;
Will Distribute Cinemeccanica Lamp

announces that it is the distributor
for the XeTRON lamphouses, manu-
factured by Cinemeccanica of Milan.
Italy.

"These lamphouses will he avail-
able in two basic sizes. The XeTRON
CX unit will use a 150 watt Xenon
bulh and is destined for the 16mm
and 8mm projection. The larger

The lamphouse closed

XeTRON lamphouses are designed
for 900, 1600 or 2500 watt Xenon
bulbs, and can be used with screen
sizes up to 40 feet wide. Specially
designed, patented front surface
"cold" reflectors are standard equip-
ment. The coating is "super hard"
and withstands repeated cleaning
without losing its characteristics.

"XeTRON is also happy to an-
nounce that they have been selected
by the Christie Electric Co. of Los
Angeles, as the exclusive distributor
for their power supplies for those
fields in which the XeTRON Divi-
sion is primarilv concerned."

The XeTRONPOWER units use
Silicon rectifiers. They have the prop-
er volt-ampere characteristics, cur-
rent ripple and the Vc RMS or less,
current regulation as specified for
proper Xenon operation. These fea-
tures provide XeTRON equipment
users with maximum protection as far
as trouble-free, low cost operation is
concerned.

Mr. Lachman said the same type
of customer service by field techni-

I.VTERNATIONAL PROJECTIONIST

cians ?upplied by Lorraine Carbons,
will be available from the XeTRON
l)i\ ision.

For those not familial with the
\enon short arc and it> character-
istics, the following information ma\
be helpful.

The Xenon bulb consists of a
quartz envelope containing two
tungsten electrodes in an atmosphere
ol Xenon gas.

Some of the important character-
istics are outlined:

I. Average color temperature is 6,-
000 degrees Kelvin, which is con-
sidered best for motion picture pro-
jection. 2. Color remains unchanged
even when input power is varied o\cr
a wide range. ^. Maximum arc sta-
bility I. Constant light output over-
rated average life when hull) is oper-
ated according to specifications.

The bulbs must he operated from
direel current with the proper polar-
ity. The power supplies an- designed
especially for the Xenon operation
and must meet several requirement.
sucb as:

(a) Proper no load voltage, (b)
Satisfactory voltage regulation to re-
duce arc voltage to proper operating
level after arc i- established, id how
current ripple to prevent damage to
Xenon bulb and give a flicker-free
picture, id I Provide a fine type of
current control in order to adjust the
bulb current to the needed value.

The current design of the power
supply is of utmost importance to a
successful Xenon operation, such as
Christie's, otherwise it can reduce
bull) life considerably and create
several hazards to a normal opera-
tion. Due to electrode spacing and
pressure of Xenon gas inside the
bulb, a certain procedure should be
followed to start the arc. When the
start button is depressed a high
voltage of high frequency of 40.000
volts is developed and applied across
the bulb electrodes for a fraction of
a second. This ionizes the gas in the
bulb and reduces the resistance of
the gap. If the power supply, no load
voltage, is sufficient, current will
flow between the electrodes and
establish an arc. Due to the regula-
tion characteristics of the power sup-
ply, the arc voltage will immediately

June 1963

Operating details of the
Cinemeccanica lamp are
shown here, with the
lamp in place in front of
the reflector, and the
entire lamphouse.

drop to the proper operating level.

While the ignition voltage is very
high, it is of such a nature that it
is not considered hazardous when
normal precautions are employed. It
is similar to the spark from an auto-
mobile ignition system or the fly-
back voltage in a television receiver.
In normal operation, full protection
is provided to avoid unpleasant re-
action.

For the first time a real "push
button" operation is available for a
high intensity type light. About two
seconds after the arc is established
it settles down to a high degree of
stability and needs no further atten-
tion.

It appears that the "Xenon Age"
is approaching and we feel sure that
many people will be amazed with the
results being obtained and with the
potential that exists in this field. iP

XENON

Projection
Lamps

PART I
CHARACTERISTICS AND BASIC PRINCIPLES

By ROBERT A. MITCHELL

Professionally alert, the projection craft is always
intrigued by new technical developments which show real
promise of improving the presentation of motion pictures.
Exhibitors, by and large, do not evince an interest until
the innovations have been adequately tested by actual use
for a long period of time. The xenon "short-arc" pro-
jection lamp is just such a development. Although new,
it has already proved its worth by years of gratifyingly
satisfactory use in theatres. Its use is rapidly expanding.

Introduced in Germany nearly 10 years ago, the
xenon lamp quickly won acceptance as an adequate, and
in some respects superior, substitute for the smaller
carbon-arc lamps burning relatively low currents. When
substituted for the low-intensity carbon arcs which were
still used in many European theatres a few years ago,
the superiority of xenon lighting was impressively ap-
parent. The push-button ease of operation, the constant
color temperature of its daylight-white light, and the
absence of moving parts together with is cleanliness and

The name "xenon" comes
word xenos, meaning "stranger.'

from the Greek
This refers to

the rarity of xenon gas in nature, for the xenon
short arc is no longer a stranger in the projection
room. Clean and easy to operate, this novel source
of dependable daylight- white projection light has
proved its worth by actual use over a period of
years, and is now the preferred illuminant in
studio and laboratory preview rooms and in many
of the smaller theatres.

This, the first of two articles on xenon, explains
the basic spectrophotometric principles of gaseous-
discharge light sources. Though xenon cannot com-
pete in light output with high-intensity carbon arcs
burning more than 55 amperes ( 12,500 screen
lumens without shutter under standard conditions),
it represents a distinct improvement over the small-
er "simplified" HI arc lamp, which it may one day
replace.

operating economy also commended the xenon lamp as
a more-than-adequate substitute for the smallest "simpli-
fied" high-intensity mirror lamps burning 7-mm positive
carbons.
Carbon Arcs for Large Screens

Even though the advantages of the xenon lamp over
the very smallest carbon arcs are obvious, it must be
borne in mind that there is not now, and probably never
will be, any substitute for the high-intensity carbon
arc for the larger screens. It is possible that the intrinsic
brightness of the xenon light source will be somewhat
increased in the future, but there appears to be a
definite limit as to the feasible maximum luminosity of
a light source which already has the maximum radiating
area permissible for optical projection — a fan-shaped
"flame" of ionized gas enclosed in a quartz-glass bulb.

In the present state of the art, therefore, the xenon
lamp offers its marvelous advantages only to those
theatres where the screen is small enough to be adequately
illuminated with Suprex carbon arcs burning no more
than 55 amperes. Theatres requiring from 60 to 80
amps, in Suprex lamps, or 75 or more amps, in rotating-
positive lamps, must retain the high-intensity carbon
arc.

The excellence of the xenon lamp in its rather more
modest range of luminous outputs nevertheless merits
the greatest attention. The projectionist, in particular,
should familiarize himself with the picture-illuminating
and operating characteristics of this new light source.
If his theatre has a matte screen of 0.85 reflectance no
wider than 27 feet, or a pearl or low-gain aluminum
screen of 1.5 reflectance no wider than 35 feet, the
possibility that he may one day be operating on xenon
equipment most assuredly exists! Xenon lamps are easier
to operate than carbon arcs.
Xenon a True Arc

All of the different illuminants heretofore used for
the projection of motion pictures in theatres derive their
light from brilliantly incandescent solids. In the old-
fashioned limelight, a solid "pin" of quicklime is heated

International Projectionist June 1963

A Scene From America's Projector Carbon Center...

Equipment for coaling carbons with copper

if

Coating projector carbons with the right amount
of copper is a top-billing production step"

Sid Morley

This equipment performs the
important task of coating pro-
jector carbons with copper— not
for eye appeal, but for the vital
purpose of assuring more de-
pendable screen lighting. The
coating helps conduct current from the jaws of
the lamp to the arc. For maximum light effi-
ciency the copper coating must be of precision
thickness — no more — no less!

From the coating operation at National Car-
bon's plant in Fostoria, Ohio, projector carbons
move on to an automatic resistance test, where
a direct reading instrument measures in ohms-

-says SID MORLEY

National Carbon Salt's Engineer

per-inch the coating on each carbon. If the coat-
ing is too thin or too thick, the unwanted carbon
is ejected from the line.

How is this rigid test related to good lighting?
First, if the coating is too thin, the carbon might
spindle back to the holder, resulting in freezing
and a possible lamp shutdown. Secondly, if too
thick, it might produce copper dripping and
cause the arc to wander.

In coating and all other manufacturing steps,
National Carbon utilizes today's most reliable
quality control methods. We want to be sure
your patrons get the finest screen lighting that
projector carbon money can buy !

Conlact
Mr. National Carbon

UNION
CARBIDE

"National" and "Union Carbide" are registered trade-marks for products of

NATIONAL CARBON COMPANY

Division of Union Carbide Corporation • 270 Park Avenue • New York 17, N. Y.
In Canada: Union Carbide Canada Limited, Toronto

*

International Projectionist June 1963

FIG. 1 — Two sizes of xenon
bulb manufactured by the
firm of Osram in Germany.
The bulbs are made of heat-
resistant quartz, the metal
electrodes of tungsten. The
bulbs are filled with pure
xenon gas at a pressure of
from 8 to 10 atmospheres.

to incandescence by an oxyacetylene flame which, by
itself, is only feebly luminous in spite of its high tempera-
ture. The "mazda" light bulb used in small projectors
emits its radiation from a solid tungsten-wire filament
heated to incandescence by an electric current.

The low-intensity carbon arc produces its light from
the white-hot tip of a solid carbon rod heated, like an
incandescent-bulb filament, by the passage of electricity.
The solid carbon does indeed slowly vaporize and burn
away, but the "arc" of current-conducting gas between
the tips of the two carbons, although luminous, is much
less bright than the glowing positive crater. Even the
high-intensity arc is a solid emitter. Some of its light
comes from the solid carbon of the crater, but most comes
from a cloud of electrically excited cerium oxide particles
suspended in a film of carbon gas covering the crater
floor. Inasmuch as the low-intensity crater light is
yellowish, and the high-intensity cerium light is bluish,
varying the electrical load varies the color of the high-
intensity carbon arc.

The xenon light source, on the other hand, is a true
gaseous-discharge type of illuminant, and "arc light" in
the true sense of the term. All of the radiation is emitted
from an arc of glowing gas between the two metal
electrodes, not from the electrodes, themselves.

Bluish
violet

400 436

Yellow- „
£reenYellow

546 578V

700

SPECTRUM OF MERCURY

400 436 546 578

700

SPECTRUM OF MERCURY
(VAPOR UNDER PRESSURE)

FIG 2 — The spectrum of mercury vapor con-
sists of bright colored lines on a dark back-
ground. The three most intense lines are
bluish violet, yellowish green, and yellow. If
the pressure of the vapor is greatly in-
creased, the lines broaden to give a more
satisfactory light for illuminating purposes.
Nevertheless, the absence of red rays in
mercury light causes all red objects illumin-
ated by it to appear dark brown or black in
color. This diagram is for illustrative purposes
only: there is no mercury in a xenon bulb.

Common Discharge Lamps Colored

Most of the common gaseous-discharge illuminants,
such as the neon-type tubes used for illuminated signs, are
manifestly unsuitable for projection purposes. First, they
aire not sufficiently concentrated (low luminosity per
unit area ) . and hence cannot be focused to a small,
intensely bright "spot" by mirrors or lenses. Second,
they emit a strange sort of light which usually appears
more or less colored and which, when analyzed with a
spectroscope, is seen to consist only of a few intensely col-
ored "emission lines" (Separate wavelengths of light) on
an otherwise dark spectral background.

The mercury-vapor lamp used for blueprinting is
another common example of an electric gaseous-discharge
light source. Electricity passes through mercury vapor
and excites the mercury atoms into emitting radiation.
The light of a mercury-vapor lamp has a ghastly green-
ish white color, but this is not its worst feature as an
illuminant. It makes most colored objects illuminated by
it, look horribly discolored and blackish.

The discoloring effect of mercury-vapor light is due
to the absence in its spectrum of all but a very few colors.
The mercury spectrum consists chiefly of only three
bright colored lines on a black background — yellow,
yellowish green, and bluish violet. (The strong ultraviolet
lines, useful in a few special applications, are invisible. I
In mercury light, all objects which are bright blue, bluish
green, orange, or flesh-colored appear grav or brown;
and all red objects look black for the simple reason that
mercury light is almost completely devoid of red rays!

An improvement in both the illuminating intensity
and visual quality of mercurv light results when the
pressure of the electricity-conducting vapor, or gas, is
greatly increased. Not only does the mercury-vapor
tube then give more light, but the spectral emission lines
(yellow, green, and violet) widen into relatively broad
bands which include more colors. The light then has a
less ghostly appearance and gives a somewhat better
(though still very far from perfect) rendition of colored
objects illuminated by it.

This is why the mercurv vapor in modern street-
illuminating lamps and in the "pulsed-light" tube for
shutterless motion-picture projectors is excited under high
pressure. But even so, the extreme weakness of the red
region of the mercury spectrum and the absence of pure
blue are serious handicaps from the visual point of view.
The light from a high-pressure mercury bulb may have a
daylight-white appearance, but it is spectrally too selec-
tive to behave in a natural manner as an illuminant. This
is true even when cadmium has been added to the mer-
curv to supply the missing red wavelengths, or rubidium
and cesium to supply both red and blue.

The mercury arc and its spectrum have been described
here only to clarify the basic spectro-colorimetric prob-

International Projectionist June 1963

lems peculiar ti> gaseous-discharge light sources. That the
tenon arc is free from the energy-distribution limita-
tion- of the mercury are will soon he apparent. Vo
mercury is used in the xenon lamp.

Xenon Satisfactory for Projection

Xenon is an invisible, heavy, odorless, non-poisonous,
Don-combustible, and verj rare gas of the helium family
of chemically inert elements (helium, neon, argon.
krypton, xenon, radon); and it. too, emits light when
excited In the passage of electricity. And as is the case
with mercury vapor, the emission lines of xenon are
broadened and improved for illuminating purposes by
pressurizing the gas.

However, there are very important differences
between xenon light and mercury light — differences which
serve to impress us with the very satisfactory visual
qualiu of the light emitted In pressurized xenon gas when
an electric current of the proper voltage characteristics
is passed through it.

Unlike mercurj light, which has onl\ three brighl
•■mission lines, xenon lignl has a large number of lines
evenhj distributed throughout the entire \ i-il >!«• spectrum.

\nd when the xenon gas is placed under pie— me. the

lines broaden and merge into one another to form a
continuous spectrum containing all of the color- associ
ated with the different wavelengths of lighl from TOO
millimicrons (deep red) to 400 millimicrons (intense
violet). None are missing. The result is a daylight-
white light of continuous energy distribution which is
visually pleasing and ui\e- a complete!) natural rendi-
tion of the colors recorded on dye-image color films,

Violet

Blue Cya

n Green

YdlowOrui^*

Red

,^

&*

'I

_i -*»■

. ^ — — ■

~^z£

;"'-%

_>UN

.

2^

"*«"**

;r0\

3

f L.I. ArtC s&P

/"V

400

300 600 700

Nanometer*

FIG. 3 - - Spectrophotometric curves in the
visible spectrum of average noon sunlight, the

high-intensity and Ion-intensity carbon arcs,
ami the tungsten-filament (mazda) lamp. The
weakness of mazda illumination in the short-
it arc end of the spectrum ! violet to blue)
results in a distinctly yellonisli li^ht.

such
color

as

Eastman Color,

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to their fine reputation for perfect screen
light and service. Current range with 1 3.6
mm carbon, 125-165 amperes.

CORE-LITE ... the latest and most
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burner and arc controls as the SUPER-
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ity. The lamp is optically designed to give
greater white light distribution at less cost
for carbons and electricity. There is none
better— anywhere! 70-110 amp.

CINEX 35/70 SPECIAL ... The

Great of the Ashcraft Arc tamps is a modi-
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regardless whether 35 mm or 70 mm film
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1 40 amperes.

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International Projectionist June 1963 9

picture projection is ordinarily described as "daylight
white." An illuminant will give this quality of light when
it emits all visible wavelengths about equally. If the light
is weak in the shortwave end of the spectrum (violet,
blueviolet, blue), it will be yellowish in color. If weak
in the longwave end (red scarlet, orange), the light will
be bluish. If weak at both ends, the middle green and
yellow rays will preponderate, and the light will look
greenish. Less frequently, the middle part of the spec-
trum may be weak. In this case, the preponderance of
red and violet rays will impart a purplish or pinkish
color to the light.

For the purpose of measuring light, particularly with
reference to its color, scientists have agreed upon three
standard illuminants designated as Source A, Source B,
and Source C. Source A is amber-yellow tungsten-lamp
illumination. Source B is direct noon sunlight. Source
C. the one we are most interested in, is diffused daylight
(direct sunlight plus blue skylight). Compared with
lanmplight. Source C illumination has a bluish cast, but
it is actually the near-neutral whiteness of skylight on a
heavily overcast day.

Unless they are perceptibly purplish, pinkish, or
greenish, illuminants may also be rated on the basis of
the temperature to which a perfectly absorbing "Planc-
kian-type radiator" must be heated to match them in
color. Thus the light of a candle flame may be said
to have a "color temperature" of 3,015° Fahrenheit, or
1,657° Centigrade; and because the glowing carbon par-
ticles in a candle flame actually have this high tempera-
ture, carbon may be said to be a near-perfect Planckian
radiator.

In practice, color temperatures are specified on the
absolute, or Kelvin, thermometer scale, which is the same
as the Centigrade plus 273 degrees. In the example
above, 3,015° F = 1,657° C = 1,930° K. Zero on the
Kelvin scale is particularly significant: it is the tem-
perature at which all heat vanishes — the absolute and
unsurpassable cold. (0° K = -273° C = -460° F.)

It can readily be understood that reddish and yel-
lowish light sources have lower color temperatures than
pure white and bluish white sources. The standard tung-
sten mazda lamp ( Source A ) , for example, has a color
temperature of 2,854° K, while a 1000- watt mazda pro-
jection lamp has a color temperature of about 3.200° K,

Ultra
violet

-<— VIsib

e —

Infrared

H.I

.AC

\c

f I

\

V.

1 XI

:nc

)N

:■ :

C

1

\'i>

\ *I

_C

1

;

:1:

;

?•

ij-

.-'*

•+*•**—'

>..

,»..

i

X

/,

X

ENC

)N

**.

'•4

d^*3

/

"c

•-"**

^*as

*•—•"

!.!»»

300 -4O0 500 600 70O 800 900 100O 120O 140O 1600

Wavelength in nanometers (millimicrons)

FIG. 4 — Ultraviolet, visible, and infrared
energy distribution for the high-intensity
carbon arc and the xenon short-arc bulb
(dotted line). The energy distribution of
xenon light is continuous and nearly level in
the visible spectrum. Xenon light is therefore
daylight-white in color and very satisfactory
for the correct rendition of the colors in
color-film prints.

10

and hence emits a somewhat whiter light. Nevertheless,
the "white" light of a mazda projection bulb is de-
finitely yellowish in comparison with direct noon sun-
light (Source B = 4,870° ) or diffused daylight (Source
C = 6,740° ) . The color temperature of clear blue sky
is said to be about 25,000°, while an "infinitely hot"
body would emit a light just perceptibly bluer than the
clear blue sky. (Even this is far from a "saturated"
spectrum blue ! )
Co9or Temperatures of Carbon Arcs

The color temperature of the low-intensity carbon
is 3,900°, which is, in fact, the actual temperature of
solid carbon heated to the temperature at which it va-
porizes. (3,900° K = 3,600° C = 6,800° F in round
figures. ) The LI carbon arc is thus whiter than a
tungsten-filament bulb, though slightly yellowish in
comparison with the high-intensity carbon arc or with
daylight.

Except for solid carbons, tungsten-lamp filaments,
and other Planckian radiators, color temperature has no
connection with the actual temperature of light sources.
Thus clear blue sky, which has the enormously high
color temperature of 25,000°, is actually freezing cold!
But a lump of matter heated to a temperature of 25,000°
(as in certain stars) would have exactly the same bluish
color.

Unlike the low-intensity arc. the high-intensity carbon
arc does not obey Planck's rule. It is a non-Planckian
radiator. The actual temperature of the crater of a HI
positive carbon is the same as that of the crater of a
LI positive carbon (3,900°). but the color temperature
of a HI arc is quite a bit higher than that of a LI arc.
This means that the HI carbon arc gives a less yellow-
ish, or "whiter," light than the LI carbon arc does.
The blue-white component of the light of a high-intensity
carbon arc comes mainly from cerium atoms in an elec-
trically excited state.

As a matter of fact, the pure white light of a properly
operated HI carbon arc is similar to direct sunlight
(color temperature about 5,000°) both in appearance
and in spectral energy distribution — no empty "gaps"
or sharp emission "peaks" in the spectrum. This makes
the HI carbon arc very satisfactory for color-film pro-
jection. Unfortunately, however, two important operat-
ing factors familiar to all projectionists militate against
the achievement of an invariably constant color tempera-
ture for HI carbon-arc screen illumination.
Color Temperature of HI Arc Varies

One of these carbon-arc operating factors is electrical
load. If HI carbons are burned at the minimum recom-
mended currents, the color temperature may be as low
as 4,500°. This represents a distinctly yellowish light,
and only just a bit "whiter" than LI arc radiation. On
the other hand, HI carbons burned at the maximum re-
commended currents emit a blue-white light of about
6,500° in color temperature. This is substantially the
same as diffused daylight (Source C) in color.

Readers of IP mav recall that we have always recom-
mended that HI positives be burned at. or very close to,
their maximum current ratings in order to obtain this
snow-white daylight quality of light on the screen. The
picture will also be brighter, the screen illumination more
uniformly distributed, and the reproduction of color
films more vivid and lifelike.

The second carbon-arc factor affecting the color
temperature of the light on the screen is arc focus.
If the positive crater advances too far toward the mirror,
the light will become brownish — a very low color tem-
perature. If the crater recedes too far away from the

(Continued on Page 16)

International Projectionist June 1963

MPAA Officials
Praise Century
Projection Booth

WASHINGTON — Following the

installation of the Century projection
booth for the Motion Picture Associ-
ation ot America's screening room
here, MP A \ officials expressed their
satisfaction with the installation, de-
tailed in the May, 1963, issue of IP.

Kenneth (Mark, executive vice presi-
dent ot MPAA, disclosed his satisfac-
tion with the Century-equipped pro-
lection booth in a letter to Frank E.
Cahill, Jr. ot Century:

"It's the talk of the town . . . the
Century-equipped projection booth in
our screening room.

"Now. with this marvelous new in-
stallation, we can show everything from
lonim to 70mm. The transistorized
sound system is also perfect.

"A top I. S. Government official
who attended a screening here the
other night came out smiling and said:

"'It this is how it is in theatres. I'm
becoming a movie Fan again. It's al
most like attending a live stage show.
only better in many respects. I reali/e
now how much I've been missing from
passing up too many motion pictures.'

"When theatres ha\ e equipment such
■ is you have installed lor us. I am sure
it will lure back customers who have,
as our friend said, been passing up
too many mm its.

"We are delighted with it all."
Ih-' Motion Picture Association of
America. Inc's screening room in
Washington, D.C. is one of the out-
standing screening rooms in the world
— in fact, those who have visited this
exquisite room come awaj with the
feeling that the) have enjoyed Amer-
ica's pa-time f movies) in the atmos-
phere of a beautiful living room.

\- for motion picture presentation
facilities, the MP \ \ projection booth
has everything from 16mm to 70mm
equipment.

The new Century American-made

'» '>imm projectors as well as the
Centurv multiple 6-1-1 channel All-
Transistor sound equipment was sup-
plied and installed by H. C. Dusman
of the firm of J. F. Dusman Co. of
Baltimore. Md., established in 1912.
The Dusman Co. has been a Centurv
dealer for over 35 years. In addition
to the 7<> 35mm equipment, auxiliarv
interlocks for 3D or separate sound
heads were installed, which makes
J. Al Pratt, consulting projection
this room unique in even respect,
engineer, member of Local 224 MPO.

was in direct charge of the installa- .

tion completed March 15. 1963.

International Projectionist June 1963

IF YOU ARE NOT USING THE
"LITTLE MISER" CARRON SAVER

YOU ARE LOSING SEVERAL
HUNDRED DOLLARS EACH YEAR

AN

NEW

ILLUMINATED SCREW DRIVER

Just twist the stud in and out

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4 sizes, 9-10-1 1mm, $3.00 ea.

13.6mm, $4.50 ea.

for working on speaker post after dark . . . com-
plete with 4 driver bits; two sizes flat head and
Phillips head and two No. 135 batteries, $3.35
each.

LOU WALTERS

Sales and Service Co.

4207 Lawnview Ave., Dallas 27, Texas
Phone EV 8-1550
Post paid when check is sent with order.

*'

CRYSTAL
CLARITY

IN PROJECTION

Kollmorgen lenses rate tops in the mo-
tion picture industry. Used exclusively
with Cinerama, they are standard equip-
ment in more than 70% of American
theaters. Crystal clarity of projection
on the screen — the whole screen — is typ-
ical of the outstanding performance of
super snaplite" lenses.

Other advantages that add up to
superior screening with super snaplite
are:

Fastest tens speeds

Crystal clarity

Wire sharp contrast / 1^

Wide range of focal lengths I "

Sealed construction \ | £

Bulletin 222 describes Kollmorgen
lenses in detail. See your equip-
ment dealer, or write us direct.

CORPORATION

NORTHAMPTON. MASSACHUSETTS

11

THE CINEMA THEATRE

LOBBY CONCESSION AREA

Well-Chosen Location, Top-Flight Projection
Equipment Pay Off for South Carolina Theatre

LOBBY LOUNGE AREA

AUDITORIUM AND STAGE

Stewart & Everett Theatres, Char-
lotte, N. C, has a new, modernistic
theatre in Rock Hill, S. C, the Cinema
Theatre.

Charles H. Wheatley & Associates,
architects in Charlotte, designed and
supervised the construction of the
theatre. The architects were given
freedom by Stewart & Everett to give

expression to "something new and
different, yet incorporating in the
design the proved principles condu-
cive to good theatre operation and
good presentation."

The Cinema Theatre has a fine
location on Oakland Avenue, which
is a thoroughfare bringing traffic
into Rock Hill from the more popu-

lous outlying area. It's one block
from Winthrop College, a South
Carolina State girls' college with an
enrollment of 2,100 students. Rock
Hill has a population of 30,000 and
a drawing radius of approximately
60,000.

All equipment, both sound and

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12

International Projectionist June 1963

*•*> ■

Double 84 inch relay racks for stereo
pre-amplijier anil controls. No. 2,
and No. 3 amplifier channels to stage
speakers, and output selector panel.
On the right is the optical stereo
selective monitor and input controls
to the optical power amplifier.

projection and intercommunication
system was installed l>\ Carolina
Sound Kquipment Service. Charlotte,
under the direction of the firm's
engineer, R. W. Ramsey, and John L.
Shaver. Jr.. assistant to Ramsey.

The Cinema Theatre has a seating
capacity of 600. The cost of the
building was $133,500, exclusive of
land. The cost of the equipment was
approximatel) S 10,000.

The exterior was constructed of
glass, ceramic tile, brick and con-
crete, with the main sign and marquee
huilt in Plexiglas with Wagner glass

H

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SINCE 1908

MACHINE WORKS

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TELEPHONE— AREA 312— ES 8-1636

How electrical noise is produced • • .
calculated . . . measured . . . controlled

Here are the basic facts about electrical noise — how it originates
in circuits . . . what terms describe it . . . how to measure it . . .
how to design circuits to minimize its undesirable effects. The
physical nature of tbe various sources of noise are clearly de-
scribed, including such sources as thermal agitation or resistance
noise . . . shot noise in vacuum tubes and semiconductor junctions
. . . noise from spontaneous emission of electromagnetic radiation
. . . and noise in gas discharges. This practical book also explains
auxiliary mathematical techniques, and discusses the relation of
signal and noise in various types of communication systems. For
ease in use, the simple tuned circuit associated with a device for
measuring average power is made the basic tool for analyzing
noise.

ELECTRICAL

270 pages, 6x9
105 illustrations
$10.00

By WILLIAM R. BENNETT

Data Communications Consultant, Bell Telephone Laboratories, Inc.

Rear of right projector assembly
wiring and booth intercommunica-
tion and house lighting control. (No
horizontal conduit runs.)

International Projectionist June 1963

Each chapter in this helpful book begins in
a simple, practical manner and works toward
more complicated examples. For example, prop-
erties of thermal noise and its relation to black-
body radiation are deduced from basic laws
of thermodynamics and statistical mechanics.
You also will find a clear treatment of elemen-
tary quantum mechanics in discussions of the
maser and of noise in semiconductors. And, in
describing noise properties of various devices,
the book fills in your working background with
basic facts on junction diodes — transistors —
gas discharge tubes— klystrons— traveling wave
amplifiers— and others. Both independent and
dependent noise sources are analyzed.

In addition to the standard theory of noise
figure and its significance, a treatment is given
of the more comprehensive Haus-Adler theory
of noise measure. Throughout, the book stresses
the universality of noise-like phenomena. Noise
formulas for diodes and transistors; noise gen-
eration to meet specifications; design of ampli-
fiers for minimum noise effects— these and many
other topics "are covered. A comprehensive re-
view of noise in the various methods of signal
transmission such as amplitude modulation . . .
frequency modulation . . . and the different
kinds of pulse modulation is included,

CONTENTS

1. General Properties of Noise

2. Thermal Noise

3. Distribution of Magnitudes in Noise Sources

4. Noise in Vacuum Tubes

5. Noise in Semiconductors

6. Noise in Electromagnetic Radiation

7. Noise-generating Equipment

8. Noise Measurements and Techniques

9. Design of Low-noise Equipment

10. Application of Fourier Analysis to Noise
Problems

11. Noise in Communication Systems

INTERNATIONAL PROJECTIONIST

Post Office Box 6174

Minneapolis 24, Minnesota

Please send me a copy of "Electrical Noise"

by William R. Bennett. (I enclose $10.00.)

Name

Address

City & State

13

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PROJECTIONISTS
PREFER

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BEST RESULTS

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FISHER MFG. CO.

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Norelco

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Available from

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dealers

North American Philips Co., Inc.

Motion Picture Equipment Division

100 E. 42nd St., New York 17, N.Y.

Edward L. Taylor of Rock Hill,
S. C. is the projectionist, with 10
years operating experience since the
service. He was formerly employed
as projectionist at the Stevenson
Theatre, Rock Hill, S. C.

panels and letter frames, and Wag-
ner's changable letters.

The accompanying illustrations
show the design of the front; lobby
with its oval refreshment counter, and
the auditorium with its Ideal chairs,
and its carpeted aisles.

The projection room is 18 by 20
feet, with ceiling height 10 ft. It is
completely fireproof, of finished
block wall and cement. Floors and
walls sealed and painted.

Projection, sound and arc lamp
equipment include: Century CC pro-
jectors with Century R5 reproducers.
Magna-Sync penthouse reproducers
for stereo. Lamps are Peerless Mag-
na-Arc and 65 amperes D. C. power
supply is from ventilated Strong
vertical selenium rectifiers.

Circuitry of the equipment is com-
posite but conventional, with im-
provement modifications added by
Carolina Sound Equipment Service,
who designed, engineered, and super-
vised installation of all booth equip-
ment at the Cinema. This includes
all projection and sound equipment,
theatre intercommunication System,
close-in screen curtain controls, auto-
matic screen masking;, remote con-
trols, and "High Fidelity Ceiling Sur-
round" speakers.

Century W5-17 optical and Cen-

tury-Altec stereo magnetic four chan-
nel sound amplifiers, sold by Stand-
ard Theatre Supply Co., are being
used in two 84 in. rack mountings.
Special sound control pre-amplifiers
and switching panels custom designed
by Carolina Sound Equipment Ser-
vice permit operation of front stage
public address and "Sound Reinforc-
ing" facility through the optical
sound amplifier channel and the
ceiling "surround" speakers.

A booth microphone also is provid-
ed for use in paging or making an-
nouncements to the audience through
the "surround" auditorium speakers.
This reinforcement and its PA func-
tion works very well with minimum
acoustic feedback when cardioid
directional microphones are used.
Special loading switches are provided
to transfer the output of the optical
amplifier from the center stage
speaker channel to the ceiling "sur-
round" speakers since these are also
used as fourth track effects channel
from stereo-magnetic film operation.

The optical amplifier rack is pro-
vided with a selective channel stereo-
optical - PA output monitor with
level control.

Special input selector switch is
provided to permit use of the Century

Also 200 other Models of Power Supplies
and Battery Chargers. Write for Catalog.

CHRISTIE ELECTRIC CORP.

34123 W. 67th St., Los Angeles 43, Calif.

14

International Projectionist June 1963

» AUTHORITATIVE
» COMPREHENSIVE
» PRACTICAL

Acclaimed by leading technicians in
the industry as the most comprehen-
sive and down-to-earth handbook pub-
lished to date on the subject of motion
picture projection. Ideally suited for
study and reference by your opera-
tors.

ROBERT A. MITCHELLS

MANUAL OF PRACTICAL PROJECTION

HANDY 5' 2"

SIZE — 4<50 PAGES

ILLUSTRATED — CROSS INDEXED FOR EASY REFERENCE

* Here is one of the most help-
ful works ever published for
the motion picture projection-
ist. A handsomely bound and
profusely illustrated compila-
tion of the BEST of the Robert
A. Mitchell articles that have
appeared in "International
Projectionis t," revised,
brought up to date.

* The author covers clearly
and thoroughly every aspect of
motion picture projection, pre-
senting his material in easily
understood language — not too
technical, yet technically ac-
curate. The Manual is divided
in 8 sections and contains 30
chapters — a valuable refer-
ence work no progressive pro-
jectionist should be without.

!

SECTION HEADINGS

(1) 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 * USE THIS HANDY FORM

INTERNATIONAL PROJECTIONIST
Post Office Box 6174
Minneapolis 24, Minnesota

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Booth Left Projector Assembly with Sound and Control wiring Channel
Box Method shown.

W5-17 optical amplifier with mon-
Aural phonograph input, pre-ampli-
fier PA input, mixer or FM radio
and the fourth channel stereo mag-
netic pre-amplifier switcher. Normal
function of the Amplifier is optical
sound from number 2 stage center
speaker.

Stereo-phono record player repro-
duction ( 2 channel ) is used for inter-

mission or incidental music record-
ings. A novel and enhanced reproduc-
tion effect is secured from stereo re-
corded records through use of the
number 2 stage channel speaker for
the number 1 channel stereo and the
Hi Fi flush ceiling "surround" speak-
ers for the number 2 stereo-phono
channel. The public is very congni-
zant of the improvement in sound
reproduction quality, often question-

ing whether recordings heard are
from tape or film.

The Cinema Theatre auditorium
has some "live" acoustic resonant
tendencies at voice fundamental fre-
quencies due to the absence of drape
or wall fabric materials on side and
rear walls or ceiling.

Acoustic plaster is used over the
rear curved auditorium cement wall.

The ceiling consists of eleven tilted
panels in three large sections. These
panels consist of steel angle iron
frames and metal lath, covered with
acoustic plaster. They are spaced
from and suspended by steel wire
and anchor bolts from the pre-cast
concrete ceiling beams and cement
beam stems. This spacing and "tilt"
installation provides a variable acous-
tic pocket but with negligible surface
absorption. The side walls to ceiling
consist of perforated and corrugated
aluminum over fiberglass insulation,
decorative as well as fireproof.
Resonant damping so acoustically de-
sirable to securing intimate screen
presence from stage speaker repro-
duction is minor, but the decorative
effect and new commercial materials
design is modern and unique. In-
direct auditorium lighting is provided
around ceiling panels and is best
controlled using conventional Mazda
multi-colored tungsten lighting strips
and motorized dimmer. iP

XENON Projection Lamps

Continued from Page 10

mirror, the light will become bluish — an excessively high
color temperature. In either case, the light will become
annoyingly dim.

Xenon Arc Always Daylighr-Whire

The xenon arc is free from both these causes of color
change. It emits light having a constant color tempera-
ture of about 7,000° regardless of current changes,
which affect only the brightness of the emitted light.
There are no variations in color over the emitting area
( the xenon arc between the two tungsten electrodes ) , and
there is no burn-away of electrodes to introduce dis-
turbances in the optical focus.

Though smooth and continuous, the spectrum of the
high-pressure xenon discharge reveals a moderate emis-
sion peak in the blue; but the spectrum has no dark
gaps; and the blue peak introduces no perceptible visual
effects or distortion of the colors in color prints.

The invisible portions of the xenon-lamp spectrum
produce unimportant physical effects. Xenon radiation
is proportionately richer in ultraviolet radiation than
is the HI carbon arc, and quartz transmits ultraviolet
rather freely. Ultraviolet rays act upon the oxygen of
the air to produce ozone, a gas which is perceptible
to the projectionist by its chlorine-like, but not un-
pleasant, odor. Ozone does no harm in the small quan-
tities produced by projection light sources.

just beyond the red end of the visible spectrum

16

of xenon we find a rather large energy peak. This is in
the infrared region. Infrared rays contribute nothing
to the luminance of a light source, but increase the
heating effect of its radiation. The xenon infra-
red peak is nevertheless neither intense enough nor broad
enough to require use of heat filters where these would
not be required by other considerations. Lumen for
lumen, xenon radiation is a trifle more heat-producing
than HI carbon-arc radiation, rather cooler than LI arc
radiation, and considerably cooler than tungsten-filament
radiation.

Its color temperature of 7,000° K makes xenon light
an extremely close match for diffused daylight or Stand-
ard Source C. The match is probably exact after the
xenon light has passed through film, lenses, and port
glass, and undergone reflection from the screen surface
as well as from the silvered lamphouse mirrors, all of
them elements which tend to yellow the light and thereby
lower the color temperature. It is interesting to note that
diffused daylight (approximately 6,500° K) has been
chosen as the standard white for both black-and-white and
color TV picture tubes.

The physical structure and operation of the xenon
short-arc bulb will be described next month — mighty im-
portant considerations for the thousands of projectionists
who may soon be called upon to operate this clean,
convenient, and very pleasing light source.

(To Be Concluded)

International Projectionist June 1963

The grand foyer retains the sweep of the old Empire
Theatre promenade, and features curved sales counter for
soft drinks, confections and cigarettes.

The projection room with two Philips 70-35 mm projec-
tjrs, fitted with Ashcraft Super Cinex arcs, a Philips FP7,
and a Westrex transistorized sound system.

MGM's New Empire Theatre in London
Occupies a Famous Site in Leicester Square

LONDON. ENGLAND— Only the

outside walls remain of the Metro-
Goldwyn-Mayer old Empire Theatre
in Leicester Square, and the new

Empire Theatre on this famous site
is advertised as the most luxurious
cinema in Europe. Ii opened in late
December with "Jumbo" the attrac-
tion.

The new Empire shares the build-
ing space with the Mecca Ballroom.
with the theatre above the ballroom —
the cinema is a few steps from the
street level.

The architect had to design the

theatre within a theatre, leaving the
existing structure without altering it.
\n\ interference with the foundations
on Lisle Street and Leicester Place
would have affected the stability of
the retaining walls.

I he heating and air conditioning
equipment is in the sub-basement, and
above this is the Mecca Ballroom.
which operates many ballrooms in
London. North Ireland and Scotland.

The new Empire has a seating cap-
acity of L,330 seats, whereas the old
Empire could accommodate 3,500.
In other words, the new theatre is in

step w ith the today's economy in the
industry .

The old Empire's gilt columns,
(lassie freizes and ornate ceiling are
all pone. In what was originally the
circle of the old theatre is a new
luxuriously modern cinema, with the
finest in projection and sound, the
latest type of super-comfort seating
and generous leg room throughout.

Construction of the auditorium
floor is insulated so that it excludes
any noise from the dancing in the
ballroom, below the auditorium. Its
base is a slab of concrete five inches

A rear view of the auditorium from the stage showing
the concealed lighting and the projection booth, designed
in consultation with IP columnist Stanley Perry.

International Projectionist June 1963

A view of the auditorium, which now seats 1,330 peo-
ple— the old Empire could accommodate 3,500 — in modern
decor with its ceiling and walls of plaster tile.

17

thick, steel girders form walls separa-
ting the auditorium and the grand
foyer.

The lobby contains four cashiers
booths, faced with blue Beige marble,
along the left-hand wall. The vesti-
bule contains two short flights of
stairs across its full width. Up the
stairs the patrons get a view of the
grand foyer. The grand foyer is 130
feet long and features a curbing re-
freshment counter where ice cream,
confectionery, soft drinks and cigaret-
tes are sold. It's decorated in modern
style and preserves the large prom-
enade of the old Empire.

The auditorium is the stadium type
with 642 seats in the ground floor
and 688 chairs in the stadium. The
auditorium is fan-shaped and like
the Radio City Music Hall — which
pioneered the lighting design — the
concealed lighting spreads to the six
facets in a rainbow of colors by the
18 three-color circuits.

Seating is staggered. The Ameri-
can Seating Co.'s lounge chairs are

PROJECTOR
CARBONS

Better
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installed. The seats are installed at
a distance of three feet back-to-back.

The auditorium color scheme is
mink and gold. The contour curtain
— it will operate electrically to any
pre-determined shape — is gold. The
curtain has 15 vertical lines, so it can
raise, tableau or drape. The vertical
lines are controlled by 15 separate
motors operated from the projection
room.

Stanley Perry, who is M-G-M pro-
jection supervisor, and well known
to IP readers because of his contribu-
tions to this journal, has designed a
projection room which is roomy.
Perry, who had charge of the booth
when the old Empire opened in 1928,
is the only person from the original
staff still with the theatre.

The new Empire's projection room
accommodates two Philips 35-70 mm
projectors, a Philips FP7 projector, a
spotlight, Westrex sound and the
usual accessories.

The Philips 35-70 mm projectors
are mounted with arc lamps by Ash-
craft Manufacturing Co., Super Cinex
running at 135A. The water supply is
taken from the mains, but Ashcraft
water-coolers are provided for stand-
by supply.

The Westrex sound system picks
up its signals from the magnetic
heads, but for optical sound a Wes-
trex photo-transistor is installed. A
pre-amplifier and line amplifier are
fully transistorized. A knob on the
operating side of the pre-amplifier
gives change-over between the six-
track, four-track and optical sound.

Four picture sizes: the wide-screen
picture, with a ratio of 1.75 to 1,
measures 40 ft. by 23 ft. ; the Cinema-
Scope ratio is 2.32 to 1, the picture
measuring 50 ft. by 21 ft. 6 in.; Pana-
vision ratio is 2.7 to 1. and the screen
size is 64 ft. by 23 ft. 6 in.; Todd-AO

INTERNATIONAL PROJECTIONIST

Post Office Box 6174
Minneapolis 24, Minnesota

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18

the actual ratio is 2.21 to 1, the
picture measuring 60 ft. by 27 ft.

The screen, a Perlux. measures 63
ft. by 30 ft.

Alongside the projection room is
the rectifier room. It contains four
Hewittic silicon rectifiers, all operat-
ing from 415V three-phase supply. At
the end of the projection room is a
compact control system for the house
and stage lighting.

Other Westrex equipment installed
in the new Empire includes two stage
amplification systems, record playing
system feeding to 18 loudspeakers
in the foyer, and a manager's an-
nouncement system. iP

Demand Reported for
Ashcraft Core-Lite Lamp

Since the first installation of Ash-
craft Core-Lite arc lamps and rec-
tifiers was made in the Palace theatre
in Orange, N. J., eight other theatre
owners located in the New York sales
area have installed them, or have
signed orders for them, the National
Theatre Supply Co. reports:

Cinema I, New York City; Cen-
tral theatre, Cedarhurst, N. Y. ; Stan-
ley-Warner Theatres, New York;
Strand Theatre. Astoria, New York
City; Plainfield theatre, Edison
Township, N. J.; Turnpike theatre,
East Brunswick, N. J.; Walter
Reade-Sterling's Barclay Farms the-
atre, Cherry Hill, N. J., and a new
Skouras Theatre at Closter, N. J.

Interested theatre owners were in-
vited to visit theatres where tests were
conducted.

The report states that in a compar-
ative test recently conducted at
Charles Moss' Central theatre in
Cedarhurst, between a Core-Lite lamp
burning an 11mm x 17%" black ro-
tating positive carbon, and a lamp
burning a 9mm x 14" copper-coated
positive carbon, the Core-Lite gave
notably uniform light distribution de-
spite the necessity to use projection
lenses of S^-inch E. F. for Cinema-
Scope, and 214-inch lenses for stand-
ard because of a 47-ft. picture at 90
ft. throw.

Foot-lambert readings were taken
by Larry Orthner of the C. S. Ash-
craft Manufacturing Co.; Milton
Berk, supervisor of projection of B.
S. Moss Theatres; and Allen Smith
of National Theatre Supply. Accord-
ing to the readings reported, the Core-
Lite developed an increase of 61%
in side lighting over the lamp burn-
ing the 9mm copper-coated carbon.
Core-Lite distribution was 81%,
compared with 53%. iP

International Projectionist June 1963

Today's audiences respond to technical quality in showmanship. . .quality that starts with sharp
negatives and sharp prints. So, go Eastman all the way— negative and print stock. And always give
the laboratory time to do its job right. Most important, it you have questions— production, processing,
and projection— always get in touch with Eastman Technical Service. For more information on this
subject, write or phone: Motion Picture Film Department, EASTMAN KODAK COMPANY, Rochester
4, N. Y. Or— for the purchase of film: W. J. German, Inc., Agents for the sale and distribution
of EASTMAN Professional Film for Motion Pictures and Tele- ■■■■■■■■■»■■■■■■■■■»■■ ■ ■ rr
vision. Fort Lee, N. J., Chicago, III., Hollywood, Calif. ^35!^lPSy2,^E^BSE^3

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CARBONS, INC

Thru Lorraine Arc Carbons, distributors of

"ORLUX" arc carbons to the_ Motion Picture Industry
"ACTINA" carbons to the Graphic Arts Industry
"SOLAR" carbons to the Environmental Sciences Industry

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DIVISION
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900, 1600,
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_ by "Cinemeccanica" . of Milan, Italy,

/C eTJ-J- OJ\f outstanding motion picture equipment

- ' manufacturer.

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by Christie Electric Corp., manufac-
turers of the finest in power supply
equipment.

XeTRON Lamphouse, complete with associated optics, heat transmitting
hard, front-coated 16" reflector, auxiliary mirror and starting devices.

I his advanced "XENON Age" development makes possible a
degree of light brilliance, reliability and performance hereto-
fore unknown.

Exclusive patented features including color correction and
balanced optics in the XeTRON lamphouses make it possible
to duplicate the Kelvin temperature of the high intensity
carbon arc in the 450 to 2500 watt range.

The large lamphouse can be used with 900 watt, 1600
watt and 2500 watt lamps and are recommended for picture
widths up to 45 feet. (2500W).

The XeTRON CX lamphouse stands alone in its field as a
very compact, highly efficient unit designed especially for the
small art theatre or screening room. It will also replace the
750 and 1000 watt incandescent type lamps in studio, labor-
atory and processing applications. It can deliver up to three
times the illumination of the 750-1000 watt incandescent
bulbs and with a Kelvin temperature comparable with that of
the high intensity carbon arc.

The reputable, unique Lorraine Carbons Customer service
by Field Technicians will be available in this new XeTRON
Division.

Literature on Request.
Franchise dealerships available.

A division of CARBONS, Inc. Boonton, N. J.

XeTRON CX lamphouse with
450 watt bulb. Equipped with
5" reflector and diffuser. Will
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three times the light flow with
Kelvin temperature similar to
that of the high intensity car-
bon arc.

XeTRON Silicon Power Supplies
are built by Christie Electric Corp.,
meet the exacting requirements of
the Xenon bulb manufacturer. This
assures full value from the bulb
warranty. The normal bulb life is
extended by hundreds ot hours due
to design to meet Xenon bulb re-
quirements. Other operational char-
acteristics such as low current rip-
ple, proper no load voltage and
current control facilities are pro-
vided.

' o 0«

INTERNATIONAL

George Kleiser, Projectionist, is
shown with one of the Norelco
Universal 70/35mm Projectors
in the projection room of the
Cheltenham Theatre, Philadel-
phia, Pa.

The Cheltenham, a 1,200 seat
shopping center house, is one of
some 20 Stanley Warner theatres
now equipped with Norelco 70/-
35mm projectors. Chief projec-
tionist at the Cheltenham is Wi
liam Braunewell. Story on page
11.

~rary of Congress
ier Division (o368X)
Washington 25, .D.C.

JULY
VOLUME 38

40c A COPY

1963
NUMBER 7

$3.00 A YEAR

rT

A Scene From America's Projector Carbon Center.

X-ray reveals breaks and voids in positive projector carbon cores

"The x-ray eyes of our inspectors are your
assurance of perfect projector carbon cores''

ill-

You can't judge a movie by its
title. And you can't judge a pro-
jector carbon solely from the
outside. That's why carbon in-
spectors in our plant in Fostoria,
Ohio, test every carbon from veryUohnson
the inside out — with modern x-ray equipment.
As an extra safeguard, our inspectors are paid
a premium for every imperfect carbon they re-
ject and scrap.

Shown above is our x-ray room, through which
all positive carbons must pass on a belt contain-
ing from 6 to 20 carbons, depending on size. The
assignment is to weed out carbons with voids or

-says VERYL JOHNSON

National Carbon Sales Engineer

breaks in their rare earth cores — the key to un-
interrupted burning and maximum light quality.

As a further inspection safeguard, operators
of this x-ray equipment stay keen and alert by
changing off every 30 minutes!

Quality manufacturing and precision testing
are only a part of the "National" projector car-
bon story. For 45 years National Carbon Com-
pany has provided the motion picture theatre
industry with unsurpassed technical service.

Our Sales Engineers are equipped with, and
are specialists in using, today's most modern
test devices for assuring more screen light per
projector carbon dollar!

Contact

Mr National Carbon

UNION
CARBIDE

"National" and "Union Carbide" are registered trade-marks for products of

NATIONAL CARBON COMPANY

Division of Union Carbide Corporation . 270 Park Avenue • New York 17, N. Y.
In Canada Union Carbide Canada Limited, Toronto

_

INTERNATIONAL

PROJECTIONIST

Including a special Audio-Visual section relat-
ing to the operation and maintenance of A-V
equipment in the educational and industrial
Jiolds.

Volume 38

July, 1963

No. 7

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO
Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue, New York 17, N. Y.

Telephone Murrayhill 7-7746

(Area Code 212)

IN THIS ISSUE

Xenon Projection Lamps

By ROBERT A. MITCHELL
Letters to the Editor

Cinerama Single-Lens System

Norelco's Improved Projector

The Piggy-Back Coronet

News Notes — Technical Hints — Miscellaneous Notes

10

11

13

MONTHLY CHAT

THE EXHIBITORS' FALSE ECONOMY

Many exhibitors have hesitancy on ordering new
supplies for the projection room. They dubiously look on
the projectionists request for new items for the booth
and doubt whether the supplies are really necessary.

it's a form of false economy, and so far as economy is
concerned it does not matter at all. Whether the supplies
are carbons or fuses or bulbs, even if they are not in the
quantities requested or an excess the surplus will be used
an) how.

The same consideration applies with needed repairs.
Nothing is gained by postponing them except the trifling
benefit that can result from spending the same money
next month.

In the case of needed repairs, the advantage is in
doing it now. lest the machine break down in the middle
of show, which will embarrass the management and the
theatre, too. but the damage that will be done to the
machine, might be b\ far the most costly.

Exhibitors Not Technical-Minded

Most exhibitors and theatre managers are not too
technical-minded. The exhibitor and the manager must
remember that the projectionist in their theatre is a skilled
mechanic, and he has the know-how about the machines
he cares for. If he recommends that supplies or needed
repairs, he doesn't do it for his convenience or waste
money for the theatre.

Another false economy is found in making temporary
or inadequate repairs to the machines in the projection
booth. That kind of penny-pinching defeats itself. For
the repair has to be done over again. This is another
example of false economy in that it will cost for two
jobs of repairing instead of one.

Buying an) equipment or supply item that will not
stand up well in service, is another example of false
economy. Buying any piece of equipment so expensive
to maintain, or that will require overtime or service fees
because of inadequate accessibility, is another.

INTERNATIONAL PROJECTIONIST, published monthly by the
International Projectionist Publishing Co. division of The
Northern Publishing Co., Post Office Box 6174, Minneapolis
24, Minnesota. Editorial offices, 1645 Hennepin Avenue,
Minneapolis 3, Minn. Subscription Representatives: AUS-
TRALIA — McGills, 183 Elizabeth St., Melbourne; NEW
ZEALAND — Wixon's, Ltd., 64 Courtnay Place, Wellington;
ENGLAND and ELSEWHERE — Wm. Dawson & Sons, Ltd.,
Macklin St., London, W. C. 2. Subscription Rates: United Stctes,
Canada, and U. S. Possessions, $3.00 per year (12 issues) and
$5.00 for two years (24 issues). Foreign countries: $4.00
per year and $7.00 for two years. Changes of address should
be submitted four weeks in advance of publication date to
insure receipt of current issue. Second-class postage paid at
Minneapolis, Minn. INTERNATIONAL PROJECTIONIST as-
sumes no responsibility for personal opinions appearing in
signed articles, or for unsolicited articles. Entire contents
copyrighted 1963 by INTERNATIONAL PROJECTIONIST
PUBLISHING CO.

1

The Paradox of Improvements

Another is the common reluctance to spend money for
improvements while business is bad. In fact with good
business the improvements aren't needed. In the long
run. the purpose of improvements when business is poor
is to bring more patrons and make business better.

Many of the country's theatres, particularly the small
town neighborhood houses, have worn-out projectors,
lamps and other equipment that should be in a museum.
The poor projectionist has to call on his ingenuity to
keep the show running night after night. It requires a
great deal of technical know-how to keep these museum
pieces running.

"^FWaaJt*- Qoo^u^.

I.NTKKNATIONAL PkOJECTIONIST JULY, 1963

XENON

Projection
Lamps

PART 2
CARE AND OPERATION

By ROBERT A. MITCHELL

As explained in the first installment of this article,
the high-intensity carbon arc reigns supreme for the
projection of motion pictures on large screens. It has the
highest intrinsic brilliance of any man-made illuminant,
and is optically the most efficient because of its concen-
trated radiating area. Nevertheless, the xenon short-arc
bulb is a very attractive substitute for the smaller "simpli-
fied" high- intensity carbon arc, and it has unique advant-
ages which have already proved valuable in theatre use.

The outstanding advantages of xenon lamps are push-
button ease of operation (no arc to "strike," no trimming
of the lamp with carbons, no optical variations, no dirty
ash to soil the lamphouse), an unvarying daylight-white
color of the light, a continuous, equal-energy type of
spectrum ideal for the projection of color films, a constant

Familiarity with the operating characteristics
of the new xenon projection lamp may soon prove
to be a valuable part of the projectionist's armamen-
tarium of technical knowledge. This, the concluding
installment of a two-part article, sets forth the
basic principles and "do's and don't's" of xenon
lamp operation.

The carbon arc is still the undisputed monarch
of motion-picture projection on screens having a
width of 28 feet and more (85% matte surface),
but the convenient and easy-to-operate xenon lamp
has amply demonstrated its value on matte screens
up to 27 feet wide (and on wider directional
screens) in many European theatres and American
preview rooms.

The incipient new wave of prosperity in the
motion-picture industry bids fair to sweep the
revolutionary new xenon lamp into thousands of
American theatres where the unavoidable screen-
light discolorations and variable output of the
smaller "simplified" HI arc lamps are rightly con-
sidered incompatible with the high pictorial quality
of modern black-and-white and color prints. So
herewith a practical introduction to xenon!

ANODE

CATHODE

FIG 1 — Anatomy of the
xenon gas-discharge bulb.
Note that the anode (posi-
tive electrode) is positioned
above the cathode (negative
electrode) when the bulb is
installed in the lamphouse.

color temperature regardless of electrical load, no
troublesome moving parts, absolute cleanliness, and an
overall operating cost the same or less than that of
simplified HI carbon arcs of equivalent luminous output.

Output's of Xenon and Carbon Arcs

It was stated in Part I that xenon lamps are suitable
for use only in those theatres where carbon-arc lamps
burning no more than about 55 amps, are powerful
enough to provide a screen brightness of not less than the
standard minimum of 10 footlamberts with the projector
shutter running. Exact light values are given in the ac-
companying two tables.

Table 1 lists the maximum widths of two common
types of screen for 10 footlamberts (with the shutter)
when simplified HI arc lamps burning up to 60 amps, are
used. In conformity with the customary way of rating

International Projectionist July, 1963

^HS^CREEN YOURS

IS !K>" COMPETITOR^

Only 1 in 20 Drive-Ins, {perhaps your competitor) has even the minimum
screen illumination (4.5 foot lamberts at the center of the screen with a stand-
ard width aperture and the shutter running, measured from a midpoint on
the ramp center line), recommended by The Society of Motion Picture & Tele-
vision Engineers.

Which of these projection lamps will properly illuminate YOUR screen?

Here's a guide:
PICTURE WIDTH

50 FOOT

60 FOOT

70 FOOT

PROJECTION ARC

_14" REFLECTOR 65 AMPERES.

80 FOOT.
90 FOOT.

.18" REFLECTOR 11 MM LOW CURRENT RANGE.

_18" REFLECTOR 11 MM HI CURRENT RANGE OR
13.6 MM LOW CURRENT RANGE.

_18" REFLECTOR 13.6 MM HI CURRENT RANGE.

.21" REFLECTOR BLOWN ARC LOW RANGE.

100 FOOT AND UP_

.21" REFLECTOR BLOWN ARC HI RANGE.

IF YOU'RE FED UP—

with a dismal boxoffice, brighten it up by brightening up your screen. The
theatres with inadequate screen lighting are the theatres with the anemic
boxoffices.

Strong's complete line of lamps, includes one which will project the brighter,
patron-pleasing pictures in your theatre. Discuss your needs with your equip-
ment dealer now.

FOR LITERATURE WRITE—

THE

ELECTRIC CORPORATION

31 CITY PARK AVENUE

TOLEDO 1, OHIO

A SUBSIDIARY OF GENERAL PRECISION EQUIPMENT CORPORATION

luminous powers of lamps, the lumen values indicate
:he light flux from the projector without the shutter.
(Divide by 2 to find the approximate value with the
shutter running.)

Table 2 supplies similar data for the three models of
xenon projection lamp equipment produced by the Strong
Electric Corporation of Toledo, Ohio.

TABLE 1
SIMPLIFIED HI CARBON-ARC LAMPS

Carbon Trim

Amps

Lumens

(No shutter)

Screen Width for 10 Footlamberts

85% Matte

150% Directional

7 mm-6

mm

40

7,000

20'

26'

7 mm-6

mm

42

8,600

22'

29'

7 mm-6

mm

46

10,000

24'

32'

7 mm-6

mm

50

11,700

26'

34'

7 V2 mm-6 Vi mm

55

12,500

27'

35'

8 mm-7

mm

60

13,100

28'

36'

TABLE 2

XENON

LAMPS

Xenon Bulb Wattac

ie

Lumens

(No shutter)

Screen

Width for 10 Footlamberts

85% Matte

150% Directiona

900 W

4,500

16'

21'

1600 W

9,000

23'

30'

2500 W

12,500

27'

35'

LACK -A A +

WIRING DIAGRAM
PLATE 1799

NO. 14
STRANDED
WIRE

NO. 4
STRANDED
WIRE

±i±

LINE 000
SAFETY
SWITCH

FIG. 2 — Wiring schematic for a xenon projec-
tion lamp powered by a 3-phase rectifier.

A comparison of these two tables serves to show that
the highest-powered xenon projection lamp (the 2500-W
model) is equivalent to a Superex-type lamp burning a
hypothetical 7% mm - 6V2 mm carbon trim at 55 amps,
to give 12,500 screen lumens without the projector shutter
running. This is why we say that theatres needing more
than 55 amps, of arc current for adequate screen illumina-
tion must make use of high-intensity carbon arcs.

Xenon lamps have already proved popular in hundreds
of the smaller theatres in Europe and in dozens of preview
rooms in the United States. Their use in American
theatres has only just begun, and with extremely gratify-
ing results from the point of view of all concerned —
the moviegoer, the projectionist, and the theatre owner.
And once again we must point out the fact that color
films are seen at their best when projected by pure day-
light-white xenon light. The xenon lamp is undoubtedly
very desirable for the critical visual evaluation of color
prints in studio and laboratory projection rooms because
of the freedom from color-temperature changes of this

light source.

Anatomy of Xenon Bulb

The structure of the xenon short-arc bulb is simplicity,
itself. The transparent "envelope" is made of fused
quartz, a material which is more resistant to the softening
effects of heat than ordinary glass, and much less likely
to crack from sudden temperature changes. Even so,
it is plain commonsense to protect the bulb by preventing
down-drafts and rain from entering the lamphouse
through ventilating pipes.

The two cone-shaped electrodes inside the strong
quartz envelope are made of pure tungsten, a silvery-gray
metal which has a very high melting point. The larger
electrode is the positive one (anode) , and is positioned
above the smaller negative electrode {cathode) when the
bulb is installed in the lamphouse.

The bulb is filled with the chemically inert gas xenon
under a pressure of from 8 to 10 times that of the
atmosphere. The pressure increases to 20 or 30 atmos-
pheres when the bulb is in operation. Any increase in
the current at which the bulb is burned increases the
temperature, and hence the pressure of the gas inside it.

Xenon, itself is a very rare constituent of the air ( 1
cubic foot of xenon in 15,000,000 cu. ft. of air), and is
obtained by the fractional distillation of liquefied air.
This is the only way to get it because xenon, like
its sister elements of the helium family, forms no chemical
compounds whatever.

Igniting the Xenon Bulb

The flamelike arc in a xenon bulb is started by a
high-voltage discharge which breaks down the electrical
resistance of the gas and establishes a conducting path
between the two tungsten electrodes. The source of
momentary high voltage (20,000 - 30,000 volts) is an
"igniter" device consisting of an induction coil and
capacitors, and is usually installed as a compact unit
inside the lamphouse to keep the high-voltage leads as
short as possible.

Once a conducting path has been established by the
high-voltage spark (applied for only a fraction of a
second), the regular current supply for the lamp takes
over. This is ordinarily a rectifier designed to furnish an
initial voltage of 60 to 75 volts to establish a direct-
current discharge. The arc thus established, the voltage
spontaneously drops to the normal operating value of 20
to 30 volts in a current range of 30 to 70 amperes, de-

(Please turn to page 16)

International Projectionist July, 1963

WILL ROGERS TOUR — Ned
Depinet (left), president of Will Rogers
Memorial Hospital and O'Donnell
Memorial Laboratories, exchanges greet-
ings with Richard F. Walsh, interna-
tional president of IATSE, during a
tour of the hospital and laboratories at
Saranac Lake, N. Y. During the meet-
ing Walsh was appointed chairman of
the executive committee and reelected
to his post as chairman of the board of
directors. iP

K. \. ROSENBLATT

Edward \. Rosenblatt ~>2. of Sher-
brook Drive. Charlotte, N. C. died
in late spring in a loeal hospital.
"Eddie" a> he was well known to
motion picture exhibitors and pro-
jectionists and his many friends
throughout the two Carolinas. was a
sound engineer and assisted many
independent exhibitors to achieve
good operation during the period
when television was making its
strongest debut in the Carolinas.

I.oved bv all who knew him or
ever had dealings with him, "Ed"
began to diversify in business about
1959 and established with his associ-
ates a manufacturers agency distri-
buting parking gates and municipal
fire and police department technical
equipment, a business in which he
was very successful. In addition to
his mother, survivors include his
wife, Marv Nell Rosenblatt: two
sons, James \shlej and John Ed-
ward at home. His wife. Mary Nell
lias long been associated with the
Carolina and Atlanta "Wompis"
and heartfelt sympathy by the indus-
try is ixraciouslv extended. R.W.R.

iP
H. A. HARTMAN DIES

Harry A. Hartman. 70. retired
tiieatre engineer for the Wil-Kin
J heatre Corp. for many years and
traveling engineer for theatres in the
Carolinas for the past 20 years, died
recently at his home at 1100 Andover
Road. Charlotte. N. C. Mr. Hartman
made many friends in the Carolinas
durins the early transition to sound
and Cinemascope motion pictures and
his many friends express sympathy
to his surviving family. R.W.R.

iP

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For Your Money

WITH

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•
WRITE FOR DETAIL FOLDER

NOSAWA & CO., LTD. Sole U. S. A. Agent

180 Madison Ave., New York 16, N.Y.

IBIGAWA ELECTRIC INDUSTRY CO.; LTD.

Manufacturer — Japan

NOTICE: we welcome inquiries for

TERRITORIES FROM SUPPLIERS AND
DISTRIBUTORS.

International Projectionist July. 1963

BETTERS TO THE EDITOR

For a second time I find myself
tempted to contribute something to
IP of a nostalgic rather than scienti-
fic nature. | See WHO REMEMBERS
WHEN? in IP for September 1959,
page 20). However my recent acqui-
sition of an old Powers 6-B mechan-
ism as a museum piece brought to
mind a most amusing incident of the
silent days which I cannot resist
passing along.

In the early 20's I served for a
time as projectionist I they called me
"that operator" then) for a mid-
western college where movies, open
to the general public, were run each
week-end in the gymnasium. The pro-
jectors consisted of a pair of used
Powers, with hand-fed AC arcs ener-
gized bv one Bell and Howell com-
pensator. (One arc had to be turned
off as the other was struck, a pro-
cedure which gave a nice fading ef-
fect on changeovers.

The "projection room"' which was
located at and partially over the edge
of a small gallery at one side of the
gymnasium, was an asbestos board
enclosure with holes sawed out. more

or less rectangular in shape, for pro-
jection and observation.

Drop fire-shutters were conspicu-
ous bv their absence. "Ventilation"
was provided by the simple expedi-
ent of leaving the door open so that
"fresh" air from the audience would
flow in through the open ports.

Now this little incident that I am
about to recount couldn't possibly
have happened had it not been for a
series of existing conditions to all
intents and purposes completely un-
related. (Note: Those of the young-
er generation who never ran a Pow-
ers projector will either have to use
the imagination or refer to the early
editions of Richardson's Handbook
of Projection to visualize some of
the action. ) Here, then, were the
existing conditions:

1. There was no glass in the ports.

2. There was a shelf extending
from just below the mechanism of
each projector to the bottom of its
port, forming a convenient place for
tools, oil can, etc.. but when the
ensuing events took place there was

■Just try to scratch or destroy the harder
than glass front coating of a

TUFCOLD

FLAKE AND PEEL-PROOF

FIRST SURFACE

COLD REFLECTOR

—then you'll see why it's

Guaranteed 2 Years

-TWICE AS LONG against
coating deterioration

Replace uour
old reflect or 4 now

nothing on the shelf of the right-
hand projector.

3. The Powers mechanism ( we
oldsters will recall I had two remov-
able plates on the front. One carried
the lens mount, and a smaller one
below bore the patent information. I
had removed the latter to facilitate
cleaning inside the mechanism.

4. The Powers mechanism had a
"loop-setter." Again, for the younger
generation, let me explain that this
device consisted of a roller between
the intermittent and take-up sproc-
kets around and clearing which the
lower film loop was formed. If the
lower loop became lost, the tighten-
ing of the film lifted the roller which
in turn threw the take-up sprocket
out of gear until a new loop formed.
The re-forming loop permitted the
roller to drop back to its normal
position thus starting the take-up
sprocket again. "The whole train of
operation is automatic — its results
instantaneous." ( Richardson's 4th
Edition Handbook of Projection,
page 649, Instruction No. 40.)

Now for the action. One evening
when the first show was well along
and I was threading the left projec-
tor, an unearthly scream sounded
from the audience. I thought little of
this, however, since the feature was
a mystery melodrama and there was
a large sprinkling of youngsters in
the audience. But all of a sudden an
usher rushed into the booth shout-
ing: "Stop the show, quick!" Not
being unduly excitable I asked him:
"How Come?," since I had a good
picture on the screen and the ma-
chinery sounded normal. He got as
far as: "A woman . . ." when an-
other scream hit the air. Coin-
cidently my eye caught a strip of
film gliding snake-like from the open
mechanism of the right-hand pro-
jector along my empty tool-shelf and
out the open port.

Instantly I flipped the dowser, shut
off the motor, and rushed out to the
edge of the gallery and looked over.
By this time the house lights had
been turned on and all eyes were
focused on two dear old ladies who
were sitting under the gallery just
below the right-hand projector port.
They were petrified with fright, with
\ irtually a hundred feet of nitrate
film entwined about their necks and
arms with more draped over their
laps and on down around the floor!

I rushed down and extricated the
ladies, tried to calm them down,
apologized for the annoyance, clean-
ed up the film and then went back
upstairs to see what had actually
happened. Then I discovered that the
loop-setter had been activated and
then become stuck, thus immobiliz-

International Projectionist July, 1963

ing the take-up sprocket while per-
mitting the film to run off the inter-
mittent sprocket, and. because of the
shelf, the lack of a front plate, and
the open port, to continue on out and
downward.

This was one occasion when two
members of an audience certainly go/
the feel of the picture.

Dm. C. Blanchard

Department of Audio Visual

Education

Claremont Graduate School

Claremont, California

There are lots of old-tirners in the
projection game that had experi-
ences such as this, and we think it's
pleasant reading about them. We
thank Mr. Blanchard and offer this
column for others' reminiscences.
Ed. iP

Spirit of 1-7-7-6
At 25-30 Club

The Spirit of 76 prevailed at the
final meeting of the summer for the
25-30 Club at the Hotel Claridge in
New York. Good will toward all was
the keynote of the speeches, short
and inspiring.

To an assemblage well aware of a
troubled world, the speakers stressed
their gratitude to the projectionists
for a minimum of labor, health and
political worries. "For this we should
be thankful." declared president
William C. Anderson.

Abraham Kalmus. returning from
a world-tour of camera wonders, was
honored. His work was looked upon
as a credit to all. Little else to do
by way of appreciation but for Abe
and Bea Kalmus to throw a party,
which they did. As Morris J. Rotker
pointed out, "It does us all good to
see the smiling faces of the boys as
they entered this room."

"How much better it is to hear
the wisecracks our members heard
on the way to the meeting than sly
digs and unpleasant rumors." added
Mr. Rotker. the recording secretary.
And in good humor the champ
moocher, name kept secret, who bor-
rows cigarettes. brought hearty
laughter. All but the man's name was
revealed, although it didn't mean
anything because his theatre' was
mentioned and his own laughter was
loudest.

The second Thursday in January,
1%4, was avowed for the announced
big annual event at a New York
hotel. iP

IA Takes Firm Stand
On Uninspected Film

The following letter has been sent
to all IATSE Operators and Mixed
locals. Film Exchanges, General
Managers and the Minister of Travel
Publicity for the Province of On-
tario in Canada bv the International
vice president A. L. Pat Travers in
his capacity as business manager of
Toronto Operators Local 173:

"The condition of film being
shipped to theatres has. over the past
years, become progressively worse.
This is understandable, as the in-
specting personnel has been reduced
considerably.

"Appeals to the distributors, while
being recognized, have not produced
the desired results. The director,
Theatres Branch, has apparently
withdrawn from film exchange su-
pervision, which has certainly not
helped.

"The projectionist, usually work-
ing alone since the reduction of
booth personnel, and with ever in-
creasing responsibilities, does not
have the time to repair film which
should be received in good condition
from the supplier.

"A motion has therefore been
passed by Focal 173. Toronto Mo-
tion Picture Projectionists Union, at

a regular meeting: 'That film will be
run as received from the exchange
or repaired on an overtime hourly
basis charged to the theatre.' This
rule will become effective at once."

iP

Strong Electric Has
New Brochure on
Rectifier Models, Uses

A new brochure on rectifiers for
use as powrer supply for projection
arc lamps has been made available by
The Strong Electric Corp. Featured is
the Bi-Powr silicon stack transformer-
rectifier for use with two lamps, now
available in four ratings: 60-85
ampere /35-45 volts, 75-105 ampere
7 48-61 volts, 90-135 ampere / 56-70
volts, and 120-160 ampere / 58-75
volts.

The Bi-Powr employs two silicon
stack assemblies, one for each out-
put. The life expectancy is greatly
lengthened due to the fact that there
is no "aging" of the elements. Since
there is no aging, there can be no un-
balance in the units, and hence, no
flicker on the screen caused by un-
balance in power supply.

A copy of the brochure will be sent
to anyone addressing a request to the
Strong Electric Corp., 31 City Park
Avenue. Toledo 1. Ohio. iP

There's Plenty for You At

CENTURY!

. . and from CENTURY only

dramatic, New ALL TRANSISTOR
sound systems

*True high-fidelity,

distortion free.
*Low installation cost,

minimum space needs.

Increased reliability,
less maintenance.
No vacuum tubes, no
photoelectric cells.

*and the only American-made 70 mm 35
theatre projection systems

SEE

YOUR CENTURY

DEALER

. . . for bigger, brighter projection.

CENTURY PROJECTOR CORP.

New York 19, N. Y.

International Projectionist July, 1963

Specialists in Light Projection

CARBONS, >nc.

through
division

PRESENT THEIR NEW

DIVISION

for

LAMPHOUSES & POWER SUPPLIES

employing the compact Zenon Arc!
featuring

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leading motion picture equipment mfgrs.

yLxTJZOJPf POWER SUPPLIES

by Christie Electric Corp., makers of
the finest power supply units.

XeTRON Lampnouse with 450 watt bulb. Equip-
ped with 5" reflector and diffuser. Replaces 750^
1,000 watt incandescent lamps and provides three
times the light flow with Kelvin temperature,
similar to hi intensity carbon arc.

XeTRON 1600/2500 Lamphouse
c.mplete with associated optics,
hear transmitting, hard, front-
ccated 16" reflector, auxiliary
mirrors and starting devices.
XeTRON Silicon Power Supply by
Christie Electric Corp.

<eTRON Lamphouse with 450 !
vatt bulb. Equipped with 5" re-
lector and diffuser. Replaces
'50-1,000 watt incandescent
amps and provides three times
he light flow with Kelvin tem-
jerature, similar to hi intensity
:arbon arc.

Literature on Request
Franchise Dealerships Available

division of CARBONS, Inc. Boonton, N.J.

New Cimerama Single-Lens
Projection System Unveiled

Cinerama, Inc. has developed a
revolutionary new single-lens system
for the exhibition of motion pictures
in the Cinerama process, it has been
announced by Nicolas Reisini, presi-
dent and board chairman of the com-
pany.

The new system was developed by
the Cinerama Camera Corp., a wholly-
owned subsidiary of Cinerama, Inc.,
working in close conjunction with
Tom Conroy. Cinerama's vice presi-
dent in charge of production.

The dramatic Cinerama effect,
heretofore obtained only by the use of
three projectors, can now be achieved
by the use of a single projector. The
system in effect consists of four inter-
locking elements - the newly created
lens, a special printer and associated
optics, the single projector resulting
from the Company's intensive re-
search and development, and the
famous and unique deeply curved
Cinerama screen.

The new system was demonstrated
at a screening of selected footage of
"It's a Mad, Mad, Mad, Mad World,"
held at Cinerama's Hollywood Studio
for reoresentatives of the press and
the exhibition industry. The comedy
spectacular, produced by Stanley
Kramer in Panavision and Techni-
color for United Artists Corp.. will
have its world premiere on Nov. 7
in Hollywood at the new Cinerama
Dome Theatre, built by Pacific
Theatres Corp.

Mr. Reisini, president of Cinerama,
and Arthur Krim, president of United
Artists, were present with Mr. Kramer
and Mr. Conroy at the screening.

Mr. Reisini commented: "The re-
sults which you have seen demon-
strate the latest achievement in Cin-
erama exhibition. Cinerama's re-
search and development has always
been directed not only towards exhi-
bition, but production as well. We
are pleased to announce that in the
earlv part of next year we will have
ready an enually revolutionary Cin-
erama sinffle-lens camera and pro-
duction system. It will then be pos-
sible for the first time for motion
nictures to be produced and exhibited
in a single-lens Cinerama system."

Mr. ^'"mer explained how he had
filmed the picture in Panavision and
Technicolor, after which the 65mm.
negative was printed into Cinerama
proportions, so that it can be viewed
on a cinerama arc of 146 degrees

SINGLE LENS — Stanley Kramer
(right), producer of the comedy specta-
cular, "It's A Mad, Mad, Mad, Mad
World," joins two Cinerama executives
in examining various lens components.
Tom Conroy, (center), Cinerama's v p
for production, and Gerhart Lessman,
Cinerama's research director (left),
worked together with the research and
development staff of the Cinerama
Camera Corp. to produce the new Cin-
erama single-lens projection system.

horizontally, and 55 degrees vertical-
ly, and an aspect ratio of 2.6 to 1.
Thus, the special optical treatment
adapted the film to the deeply curved
wide-angle Cinerama screen. Mr.
Kramer noted that the screening com-
pletely fulfilled all expectations as
to the ability of the new single lens
system to project the specially-proces-
sed negative of his motion picture
with the full scope and sense of par-
ticipation that is so much a part of
the Cinerama exhibition. iP

Lou Selber Heads
Baltimore MPO

BALTIMORE, MD. — Lou Seiber
was elected president of the Local
181. Motion Picture Operators,
IATSE, at a recent special election.

William T anee. Sr., is first vice
president, Bernard Terry second vice
president and Norman Marks third
vi^e president.

Maurice Rushworth is business
agent and Thomas P. Finn, Sr., fin-
ancial secretary. Recording secretary
is Irvin° Whitehill. and trustees are
Ralph W. Rushworth, Chester Towers
and Roland Bruscup. LeRoy Gold-
bloom and Ned Isbeck are the wage
scale committee and Hal Braswell is
sergeant at arms. Messrs. Seiber,
Whitehill and Maurice Rushworth are

delegates to the AFL-CIO.

iP

Norelco Introduces Improved 70/35mm
Projector, The Model AAII Universal

NEW YORK— The North Ameri-
can Philips Co.. has announced the
development of a new, improved
70 35mm motion picture projector
to he known as the Norelco Model
\ \ll L niversal TO 35 projector. This
projector provides main new features
that have heen added to the popular
and highh successful equipment first
introduced for the Todd-AO system
in 1955.

Orders for the new projectors have
heen accepted 1>\ theatre supply deal-
er- in all parts of the U. S. In fact,
installations of the new Model \\ll
70 35"s are in process in Pittsburgh,
I'a.: Portland. Oregon: San Juan.
Puerto Rico and Poughkeepsie. !Y Y.

In a joint announcement from Niels
lu' en. general manager of Norelcos
motion picture equipment division,
and Fred Pfeiff, technical manager, it
was stated that more than 1 <"> impor-
tant technical improvements have
be 'ii incorporated into the equipment

by the famed engineering section of
the North American Philips Co.
Vmong them are: New dual split
70 35 magazine shafts which elimin-
ates need for theatres to purchase
special 35mm reels with 70mm
flanges: new non-glare plexiglass
observation window in projector
door: new threading guards on mag-
netic shield and idler roller: new im-
proved intermittent assembly: new
oil vapor leak protection: new dowser
assembly: simplified built-in water
cooling circuit: heavier main drive
gear set: new single motor drive;
new 2-speed clutch : new reduced tor-
que motor: new 4-pole motor start
contactor: optional optical pre-ampli-

I INTERNATIONAL PROJECTIONIST J

fier: new easy installation lower
compartment door: new cast alumin-
um lamphouse bracket with adjust-
able slide for easy alignment of lamp:
new spiral gear take-up drive; new
graphite impregnated nylon idler and
pad rollers: and a pre-wired magnetic
cluster block.

The increasing amount of 70mm
product in release and in production,
plus exceptionally large boxoffice
grosses these pictures have experien-
ced, heralds a bright future for 70mm
projection. Norelco states. With over
150 theatres in the U. S.. and some
300 others throughout the world
equipped with Norelco 70 35"s. Nor-
elco's experience in this field is ex-
tensive. In Vpril of this year, the
•Vcadenn of Motion Picture Arts and
Sciences presented a special award
for outstanding technical achievement
to the North American Philips Corn-
pan) for the design and engineering
of the Norelco Universal 70 35mm
motion picture projector. I See story. I

Previous Projector
Wins Academy Award

The Norelco Universal 70 35 mm.
projector received one of the special
awards from the Aeadeim of Motion
Picture Arts and Sciences in recogni-
tion of outstanding technical achieve-
ment for the showing of the newer
wide gauge films. It is the first such
award in the projection field since
1059.

Accepting a plaque for the North
American Philips Co. was Fred J.
Pfeiff. technical manager of the
motion picture equipment depart-
ment of the firm. Mr. Pfeiff has been
closely associated with the develop-
ment of the 70/35 mm. projection
system since it first became available
in 1055. Originally designed and
developed through the joint efforts
of the American Optical Co. and
Philips, this projector introduced the
70 mm. Todd-AO process — a 1957
Academy Award winner — into movie
theatres. Jan Kotte of Norelco is to
be commended as the original de-
signer of this equipment.

Today there are more than 450
installations of the Norelco Universal
70/35 Projector in 35 states, Can-
ada and other countries.

In receiving the award, Mr. Pfeiff
stressed that motion picture audi-

uly, 1963

ences the world over are enjoying
greater clarity and better quality of
screen images with less eye strain,
thanks to the wider films and the
award-winning Norelco projection
equipment.

And there are important benefits
to the exhibitor, Pfeiff pointed out.
explaining that a single 70 mm. print
has been played for as many as 1600
runs, film damage is greatly reduced,
and the Norelco 70/35 projector may
be converted in minutes for either 70
mm. or 35 mm. operation, providing
the theatre owner with greater ver-
satility in presenting the latest films.

North American Philips Company.
Inc. also produces the new Norelco
25 mm. Pulse-Lite shutterless pro-
jector for smaller theatres, a 35 mm.
projector for arc lamp operation, as
well as professional l<> mm. equip-
ment.

Built primarily for 70 mm. with
the added convenience of 35 mm.,
the Norelco Universal 70/35 pro-
jector enables audiences to see easily
the tiniest photographic details in
such current films as "Lawrence of
Arabia", "Mutiny on the Bounty".
'"Cleopatra", and many more now in
production. iIB

NORELCO Wins Academy Award —
Fred J. Pfeiff, technical manager of the
motion picture equipment department
of Norelco, proudly holds award re-
ceived at the 35th Annual Academy
Awards. The Technical Award was
presented to Mr. Pfeiff for his firm's
development of the Norelco Universal
70/35 mm. projector, an innovation in
the showing of wide gauge films.

11

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TAeOfre Supp/y Deafer HEYER-SHULTZ, IllC. Cetfar Grove, N. J.

How electrical noise is produced . . .
calculated . . • measured . . . controlled

Here are the basic facts about electrical noise — how it originates
in circuits . . . what terms describe it . . . how to measure it . . .
how to design circuits to minimize its undesirable effects. The
physical nature of the various sources of noise are clearly de-
scribed, including such sources as thermal agitation or resistance
noise . . . shot noise in vacuum tubes and semiconductor junctions
. . . noise from spontaneous emission of electromagnetic radiation
. . . and noise in gas discharges. This practical book also explains
auxiliary mathematical techniques, and discusses the relation of
signal and noise in various types of communication systems. For
ease in use, the simple tuned circuit associated with a device for
measuring average power is made the basic tool for analyzing
noise.

ELECTRICAL

270 pages, 6x9
105 illustration*
$10.00

By WILLIAM R. BENNETT

Data Communications Consultant, Bell Telephone Laboratories, Inc.

Each chapter in this helpful book begins in
a simple, practical manner and works toward
more complicated examples. For example, prop-
erties of thermal noise and its relation to black-
body radiation are deduced from basic laws
of thermodynamics and statistical mechanics.
You also will find a clear treatment of elemen-
tary quantum mechanics in discussions of the
maser and of noise in semiconductors. And, in
describing noise properties of various devices,
the book fills in your working background with
basic facts on junction diodes — transistors —
gas discharge tubes— klystrons— traveling wave
amplifiers— and others. Both independent and
dependent noise sources are analyzed.

In addition to the standard theory of noise
figure and its significance, a treatment is given
of the more comprehensive Haus-Adler theory
of noise measure. Throughout, the book stresses
the universality of noise-like phenomena. Noise
formulas for diodes and transistors; noise gen-
eration to meet specifications; design of ampli-
fiers for minimum noise effects— these and many
other topics "are covered. A comprehensive re-
view of noise in the various methods of signal
transmission such as amplitude modulation . . .
frequency modulation . . . and the different
lands of pulse modulation is included.

12

CONTENTS

1. General Properties of Noise

2. Thermal Noise

3. Distribution of Magnitudes in Noise Sources

4. Noise in Vacuum Tubes

5. Noise in Semiconductors

6. Noise in Electromagnetic Radiation

7. Noise-generating Equipment

8. Noise Measurements and Techniques

9. Design of Low-noise Equipment

10. Application of Fourier Analysis to Noise
Problems

11. Noise in Communication Systems

INTERNATIONAL PROJECTIONIST

Post Office Box 6174

Minneapolis 24, Minnesota

Please send me a copy of "Electrical Noise"

by William R. Bennett. (I enclose $10.00.)

Name

Address

City & State

Ibigawa Theatre
Carbons Introduced
To U.S. Market

NEW YORK— Projection carbons
which have been in use in Japan and
internationally for many years have
been introduced to the U. S. market
through the import agents here,
Nosawa & Co., Ltd., 180 Madison
Ave., New York 16, N. Y. Telephone
is LE 2-1198.

Produced by the Ibigawa Electric
Industry Co., Ltd., Ogaki, Japan, the
Ibigawa carbons are said to provide
brilliance, steadiness and correct
color balance, thus affording excellent
projection light with economy. High
intensity AC and DC carbons are
available, the latter in non-rotating or
rotating positive type. Brochures
from the agents here describe trims
and lengths available. Carbons for
spotlight and studio lamps are also
available.

Ibigawa cinema carbons were
granted the Ohkouchi commemorative
award in 1958 because of the produc-
tion methods used. iP

SPECIAL RATES

On group subscriptions to IP for
IATSE Locals and audio - visual
groups. Write for details.

GIVE UP? — If you like guessing
games, we'll give you three tries at
identifying these weird-looking tri-
angles. Or if you give up easily, as we
do, here's the answer — they are pyro-
metric cones used for telling exactly
when a batch of motion picture projec-
tor carbons is ready to leave the oven
after the baking cycle. They are but
one of the quality control techniques
used by National Carbon Co., division
of Union Carbide Corp., to produce
projector carbons that provide motion
picture audiences with today's finest
screen light. Two of the heat-sensitive
cones are placed in every baking fur-
nace, and when one is leaning and one
sagging, as shown, the proper tempera-
ture has been reached and the projector
carbons are removed for further pro-
"~ cessing.

International Projectionist July, 1963

New \ oik — The Baronet and the Coronet
Theatres occupy a single building on Third Ave. at
59th St. Both theatres share a facade which rises
to a height of 68 ft., but they have different en-
trances at street level.

The cost was $1,500,000 when the Walter Reade-
Sterling Group remodeled the Baronet and put a
tw in theatre above it.

Instead of entrance doors the Coronet has an
"air curtain" which gives an unobstructed view of
the vestibule and lobby. Through the marquee
soffit warm air is blown at high velocity, passing
continuously, to form an air barrier to prevent the
infiltration of cold air in the wintertime.

The Coronet's seating capacity is 598, larger
than the Baronet which has 118 scats. The Coronet
is equipped with Centur) 35mm projectors with
\>hcraft Cinex lamps. Century's transistorized
sound system, Ashcraft rectifiers and stereophonic
surround horns.

The facade of the twin theatres. The upper wall
is faced in wide alternate stripes of black and white.

CAMERA VIEWS
OF THE PIGGY-
BACK CORONET

/ estibule u ith steps to the Coro-
net's lobby and gallery.

Coronet lobby with its escalator leading to the auditorium, features the
Proscenium Gallery where paintings and sculptures are exhibited and sold.

The Coronet's auditorium, like its tivin, the Baronet, is a stadium-type
theatre. Walls are blue perforated aluminum. The curtain is gold and blue.

International Projectionist July, 1963

Rear view of the auditorium, show-
ing the projection room.

13

New York's Festival Theatre So Luxurious
It Includes Private Art Gallery

Showman Joseph E. Levine cele-
brated "New York is a Summer Festi-
val" by opening his new Festival
Theatre. 57th St.. just west of Fifth
Ave., recently with Federico Fellini's
"S1/)" as the inaugural attraction.

Built in the former location of the
Milgrim store, the Festival Theatre
will hold just under 600 seats. De-
scribed as the most luxurious of inti-

PROJECTIONISTS
PREFER

ETHYLOID

Film Cement- For
BEST RESULTS

Available from
Supply dealers

FISHER MFG. CO.

1185 Mr. Read Blvd.
Rochester, N.Y.

ASHCRAFT

equipment

Available from

leading theatre supply

dealers

North American Philips Co., Inc.
Motion Picture Equipment Division

100 E. 42nd St., New York 17, N.Y.

mate cinemas in New York, it boasts
the largest, most elaborate lounge
space of any East Side theatre. In
addition to an upstairs gallery lounge
with windows facing 57th Street, the
theatre will have a downstairs coffee
lounge running the entire length of
the building.

Designer of the Festival Theatre is
Simon B. Zelnik, New York architect.
A unique marquee fronts the new
cinema. Blending in with the rich-
flowing architecture of the existing
building will be a flower-box arrange-
ment, projecting from the building

SUPPLIERS FOR
FESTIVAL THEATRE

Architect Simon B. Zelnik

Steel Work . . Irvington Steel & Iron
Consulting Engineer .... Strobel &

Rongved
General Contractor lenkin Con-
tracting Co.

Electrical Charles Hyman

Heating & Air Cond. . . Weathermatic

Corp.
Acoustical Work . . Jacobson & Co.

Inc.

Seating Joe Hornstein Inc.

Sign .... Interstate Neon Sign Co.

Terrazzo V. Foscato, Inc.

Plumbing . . L. Parhman & Sons. Inc.

Store Front E. K. Anderton

Decorator . . Mrs. Ellen McCluskey

above the lobby entrance, made of
a new material. Duranodic aluminum,
providing fixed. weather-proofed
metallic colors. The facade will also
be of colored Duranodic aluminum.

Byzantine glass mosaics and etched
terrazzo will grace the lobbv area,
inside. The two lounges, with decor
designed to enhance the living-room
comfort of patrons, will be an inte-
grated part of the theatre's architec-
ture. Featured in the downstairs
lounge will be two separate areas,
decorated respectively in French and
Italian motifs. Special areas in the
lounges will be devoted to coffee bars,
picture galleries, and seating.

The Festival Theatre will be located

Projection equipment in booth of
Festival Theatre.

at the apex of the exclusive depart-
ment-store, office-building and resi-
dential area uptown.

According to Zelnik. a veritable
engineering "miracle" was required
to transform the store space into a
cinema. Six supporting columns were
removed from the structure and re-
placed with transverse beams, without
occasioning any settlement in the
stories above.

Paintings covering a span of five
centuries and representing a value in
excess of $100,000 are on display in
the lounge.

Front of Festival Theatre, 6 West
57th St., New York City.

BRIGHTER LIGHT
LONGER BURNING
SHARPER PICTURE
Free Test Samples

PHV**w

Tn»»'iiii»»

wuUtteWk(2antf<ut4

CARBONS INC., BOONTON, N. J.

STEADIER LIGHT
LESS ATTENTION
PERFECT COLOR BALANCE
Free Carbon Chart

14

International Projectionist July, 1963

CURTAIN CONTROLS,
TRACKS and SPECIAL
OPERATING DEVICES

VALLEN,lnc.

AKRON 4, OHIO

MODERNIZE
POWER UNITS

No burned contacts, cooler
operation, smoother current
with BE silicon rectifiers. A
model to replace any bulb
type.

One year guarantee

BROWN ELECTRONICS

1717 South St., ALLENTOWN, PA.

PROJECTOR
CARBONS

Better
Light!

Lower
Costs!

RINGSOORFF CARBON CORP. East McKeesport, Pa

Top :

Downstairs lounge of Festival
theatre, running whole length of
theatre, and containing art display
rallied at $100,000.

Center:

View of upstairs gallery-lounge of
Festival Theatre, with windows open-
ing out on 57th Street.

Bottom:

Auditorium of Festival Theatre,
viewed from screen toward balcony.

iP

International Projectionist July,

IF YOU ARE NOT USING THE
"LITTLE MISER" CARBON SAVER

YOU ARE LOSING SEVERAL
HUNDRED DOLLARS EACH YEAR

Just twist the stud in and out

No grinding — No dirt

4 sizes, 9-10-1 lmm, $3.00 ea.

13.6mm, $4.50 ea.

NEW

AN ILLUMINATED SCREW DRIVER

1963

For working on speaker post after dark . . . com-
plete with 4 driver bits; two sizes flat head and
Phillips head and two No. 135 batteries, $3.35
each.

LOU WALTERS

Sales and Service Co.

4207 Lawnview Ave., Dallas 27, Texas
Phone EV 8-1550
Post paid when check is sent with order.

15

FIG. 3 — A xenon lamp of European manufac-
ture (Zeiss Ikon). The square metal box seen
in the rear of the lamphouse contains the
high-voltage igniter unit which starts the
xenon bulb burning.

XENON

from page 6

pending upon the size and rating of the particular xenon
bulb used.

The xenon arc, itself, is a blue-white, intensely bright
flame-like arc which "fans out" from a brilliant gas ball
close to the tip of the lower (negative) electrode — the
cathode. The lamp is provided with an auxiliary spherical
mirror which superimposes a reversed image of the fan-
shaped flame upon the actual flame, thus effecting great
uniformity of the screen illumination.
Power Requirements for Xenon

Xenon bulbs normally have an extremely long use-
ful life, and are seldom discarded before blackening of the
quartz bulb, caused by slow evaporation of the tungsten
electrodes, requires too great an increase in arc current
to maintain the initial high light output.

It should especially be remembered that AC ripple
pulsations in the DC supplied to a xenon bulb shorten its
life by "atomizing" the tungsten cathode and increasing
the length of the arc. A longer arc increases the operating
voltage which, in turn, increases the thermal stress and
hastens breakdown. It is generally believed that an
operating voltage much in excess of 30 volts is unsafe,
and indicates that the bulb should be replaced with a new
one.

The "ripple content" of the direct current supplied to
a xenon bulb should never exceed 17% of the maximum
DC voltage, otherwise bulb life will be materially shorten-
ed. Certain old-style carbon-arc rectifiers are therefore
unsuitable for xenon operation. Then, too, a current
source for xenon lamps should have voltage characteristics
which impress the required 60 - 75 volts upon the bulb
after the initial high-voltage discharge, then automati-
cally dropping to the normal operating voltage of 20 - 30
volts when normal current is being consumed.

A low ripple content and the proper voltage character-
istics are the two imperative reasons why rectifiers for
xenon lamps should be specifically designed for the job.
The Strong Electric Corporation of Toledo manufacturers
excellent silicon-diode rectifiers for xenon operation.
However, motor-generator sets having a terminal voltage
of 60 to 80 or so volts may also be used after certain

16

changes have been made in the ballast rheostats. Con-
sult the manufacturer of the xenon lamps before making
these changes.

Two Mirrors in Lamphouse

The xenon lamphouse, itself, is very similar to the
lamphouses designed for reflector-type carbon arcs,
except that it is mechanically simpler. There are no
motors, crater-positioning devices, or carbon-feeding
mechanisms. But unlike all carbon-arc lamps except the
"blown arc," which has a cylindrical flame, the xenon
lamp employs a small sperical-surfaced "backing mirror"
to intercept and utilize the light which would otherwise
be wasted. By forming an inverted image of the xenon
arc upon the actual arc inside the bulb, the auxiliary
mirror practically doubles the screen illumination and
gives it greater uniformity. Correct optical adjustment
of this mirror is very important.

The large main reflector functions exactly like the
elliptical mirror in a carbon-arc lamphouse. It intercepts
the light from the xenon arc ( plus the light from the
image superposed upon it by the auxiliary mirror) and
focuses it as an intensely bright "spot" upon the film
aperture,

Certain European manufacturers of xenon lamp equip-
ment place a "honeycomb" relay condenser, consisting of
two reticulated pressed-glass lenses, in the cone of the
lamphouse. The intention is to insure a high degree of
screen-light uniformity. We know that honeycomb con-
densers cause a loss of light amounting to nearly 20% :
and reports have come to us that they are hard to clean
and are liable to cracking. American-made xenon lamps
attain a uniformly distributed maximum screen light
without the use of troublesome honeycomb condensers.

Xenon-Lamp Safety Precautions

The high pressure of the gas in xenon bulbs demands
a strict observance of safety precautions. If carelessly or
accidentally broken, xenon bulbs explode and throw sharp
fragments of quartz glass in all directions. This is why
xenon bulbs are encased in a removable protective shell of
tough plastic. The shell must be left on while the bulb is
being installed in the lamphouse, and not removed until
the cables are connected to the two bulb terminals (upper
one positive, lower one negative).

In addition to the plastic shell for the bulb, a pro-
tective face mask is supplied by the lamp manufacturer
( obtainable as Part No. 76181 from the Strong Electric
Corp. ) . The projectionist shall not fail to wear the pro-
tective mask when handling the bulb and when opening
the lamphouse! Even though accidental breakage of
xenon bulbs rarely occurs, the possibility of losing an eye
through an explosion should provide sufficient inceptive
to guard against carelessness and wear the face mask
when handling, installing, adjusting, inspecting, and
removing xenon bulbs.

The face mask shall be worn while cleaning the xenon
bulb and the lamphouse mirrors. Never touch the quartz
envelope, as fingerprints will burn in and dull the bulb.
If fingerprints are made, the bulb should be cleaned
with chemically pure methyl ("wood") alcohol.

Wear the face mask and replace the plastic protective
shell on the xenon bulb when cleaning the lamphouse or
using tools which might conceivably break the bulb.

When removing the bulb from the lamphouse. put the
face mask on before opening the door. Encase the bulb
in its protective shell before disconnecting the terminal
cables. Discarded xenon bulbs should be wrapped in

International Projectionist July, 1963

POWER
SWITCH

\

IMAGER

SCREEN

AUXILIARY

REfLECTOR

ADJUSTMENTS

FIG. 4 — Convenient arrangement of the simple
controls of the Strong K.-16 xenon lamp. The
accompanying text explains the use of these

controls.

several layers of canvas or hem y cloth and smashed with
a hammer before being deposited in the trash can.

Simple Servicing, Cleaning

Never open the lamphouse u licit the xenon hull) is in
operation! U ait at least ten minutes for the bulb to cool

before opening the door. The purpose >>t 1 1 1 i — precaution
is to prevent cracking ami explosive destruction of the
bulb from the chilling effects of drafts. For tin- same
reason, the ventilating system must be arranged so that
down-drafts cannot force their \\a\ into the lamphouse.
The ventilating requirements of the xenon lamp are
modest, inasmuch as the xenon bulb, unlike a carbon arc.
generates no gases to be expelled.

Once a xenon lamp has been connected to a suitable
rectifier, power-suppl) problem- seldom arise. There are
no electro-mechanical feed mechanisms to go wrong.

The quench spark gap of the high-voltage igniter unit maj

need adjustment or replacement after long periods of use,
but there are no moving parts in the xenon lamp aside
from the expected mirror-adjusting controls. No lubri-
cation of the lamp is needed. There are no carbon-core
ashes to soil the lamphouse. hence cleaning is an excep-
tional eas) chore. The large main reflector and the
small auxiliary mirror ordinarily require no cleaning
beyond a fortnightly wiping with a clean, soft, dry cloth.

Adjustment of Mirrors

Detailed instructions for "lining up" 900-, 160U-. and

| 2500-watt xenon lamps are given in the Strong operating

manuals for these lamps. Initial alignment of the xenon

lamphouse is best accomplished with the aid of a special

aligning tool supplied by the lamp manufacturer.

The three control knobs for the main reflector are

| located on the operating side of the lamphouse at the

' rear: the three for the auxiliary reflector are at the

front of the lamphouse. So critical is the adjustment of

the auxiliary mirror that its controls should be locked in

place once the adjustment has been made.

The large main reflector is adjusted first. To prevent
the appearance of confusing patterns of light on the
screen, the optical effect of the auxiliary mirror is
eliminated bv mo\ ing this smaller mirror toward the front
of the lamphouse.

The xenon bulb is switched on and the light centered
on the screen with the main-mirror horizontal and vertical

adjusting knobs, then focused with the focus knob to
obtain the smallest "V" pattern of light. After this is
done, the auxiliary mirror is returned to its normal posi-
tion, and its optical adjustment effected bv means of the
horizontal, vertical, and focus knobs for this mirror, as
described below.

Optical adjustment of the auxiliar) mirror is very
critical and must be performed with great care. The
horizontal and vertical controls are adjusted until the
bright "cathode spots" are aligned vertically, one above
the other, on the imager screen in the side door of the
lamphouse. The two bright spots should be about 1/8
inch apart on this little screen, and care should be taken
not to focus the bright spot of the cathode directly upon
the tip of the anode. To do so will overheat the anode and
harm the xenon bulb.

This done, further adjustments ol the auxiliary mirror
are made bv observing the projected light on the theatre
screen. After giving a finishing touch to the auxiliary-
mirror horizontal adjustment, if nccessarv. the auxiliary-
mirror focus knob is adjusted to obtain the brightest pal-
tern of light on the screen. This will be superimposed
upon the "V" pattern formed bv the main reflector. To
"disentangle" the two patterns, it is advisable to run
through the focal position of the auxiliar) mirror a lew
limes before a fine adjustment is made.

\lter these patterns of light from the main and auxili-
ary reflectors are obtained, the last step in the adjust-
ment of the reflectors is to turn the auxiliary-reflector
focus knob one-half turn to the right, and the main-
reflector focus knob two turns to the right — that is to say.
in a clockwise direction. This will then provide a screen
light of utmost uniformity, and all is in readiness for the
projection of pictures.

Pushbutton Starting

\etual operation of the xenon lamp is simplicitv itself.
There are two switches directlv beneath the three main-
reflector adjusting knobs. One is the rectifier-relay ON —
OKI switch for the power. This is turned on first. Then
the igniter button is pressed [or not more than half a
second. There will be a distinct buzzing sound, and the
xenon bulb will light up. What could be easier?

Because of the slow evaporation of tungsten from the
hot electrodes, the quartz envelope of a xenon bulb gradu-
ally darkens — just the same as with an ordinary tungsten-
filament mazda lamp. To maintain a constant high light
output, therefore, the current is graduallv increased by
small increments at the rectifier. When the current has
been boosted to a stated maximal value, after many
months or even a year or so of service, the bulb must be
replaced.

Too high a current destroys the tip of the tungsten
cathode and dangerously increases the pressure of the gas
inside the bulb. Xenon lamp equipments manufactured
by the Strong Electric Corp. have a running-time meter
which shows the time in hours that the xenon bulb has
been burned. The running-time meter is conveniently
located on the back of the lamphouse beside an ammeter
which shows at what current the lamp is operating.

Imbalance in the light outputs of xenon-equipped pro-
jectors is corrected by increasing the current of the dim-
mer lamp, decreasing the current of the brighter lamp,
or by a combination of both measures.

All things considered, the xenon lamp is a welcome
boon to projection in theatres which formerly found the
smaller simplified high-intensity carbon arcs adequate for
satisfactory screen brightness. It is designed to produce
an ideal light for motion-picture projection and to
provide long periods of service with an absolute minimum
of attention. iP

International Projectionist July, 1963

17

Another Wide-Screen
Process - - Now It's
"Dimension 750"

Todd-AO and Dimension 150 have
combined forces to furnish motion
picture producers with all of the
finest features of wide screen motion
picture processes according to an
announcement from George P.
Skouras, president of the Todd-AO
Corp. and Dr. R. Vetter and Profes-
sor Carl Williams, developers of the
new Dimension 150 process.

Dimension 150 was developed by
Dr. Vetter and Professor Williams,
members of the faculty of the Uni-
versity of California at Los Angeles
as a process that requires the use
of only one camera and can be pro-
jected with a single projector on all
screens, including the most deeply
curved screen, without distortion.

The Dimension 150 system in-
cludes the use of numerous wide
angle lens up to a 150-degree bugeye
lens which will give producers the
widest camera range ever developed
in the history of motion picture-
making.

In addition, pictures produced in
Todd-AO or Dimension 150 will of-
fer to producers and exhibitors the
facility and flexibility of presenta-
tion without incurring conversion
costs in theatres currently equipped
for 70 mm. projection on deeply
curved screens used in several exist-
ing processes.

Dr. Vetter and Professor Williams,
who specialize in audio-visual educa-
tion at UCLA, have concluded the
development of Dimension 150 and
have patents pending on the process.

Arrangements are being made to
present the process and demonstrate
its possibilities, flexibility and eco-
nomics to members of the motion
picture industry within the near
future.

Negotiations have been concluded

with Louis de Rochemont for the
production of three films in Dimen-
sion 150, one of which will be "All
The World's A Stage," a large-scale
spectacle-drama based on the real life
of a famous Broadway-Hollywood
personality. iP

New Strong Rectifier
Operates 2 Arc Lamps
From Single Supply

One of the first installations of the
new Strong Bi-Powr silicon stack
rectifier is that of the Astro Theatre.
Omaha, Nebr., shown with Richard

Smith operating. This new type recti
fier was developed for the operation
of two projection arc lamps off oi
a single power supply. It employs two
silicon stack assemblies, one for each
output. The life expectancy of the
equipment is greatly lengthened due
to the fact that there is "no aging."
Hence there can be no unbalance in
the units and no flicker on the screen
caused by unbalance in power supply.

The Bi-Powr is designed for opera-
tion on 220V 50/60 cycle three phase
AC and is available in four ratings:

/6i
vttL

T>)

INTERNATIONAL PROJECTIONIST

1 Post Office Box 6174

VWW^MK Jf

Minneapolis 24, Minnesota

Enter my

□ 1 year (12) issues — $3.00
subscription for

□ 2 years (24) issues — $5.00

FOREIGN: Add $1.00 per year

Nan

ie

Add

ress

City

Zone State

60-85/ 60-85 ampere/ 35-45 volts:
75-105/ 75-105 ampere/ 48-61 volts;
90-135/ 90-135 ampere/ 56-70 volts;
and 120-160 120-160 ampere/ 58-75
volts.

A novel "Lo-Strike" feature associ-
ated with each output on the 90-135
and 120-160 ampere models protects
the silicon stacks from overload and
prevents the destruction of the carbon
crater upon striking the arc. An ex-
clusive automatic reset permits im-
mediate restriking in the event that
the arc is not established on first
strike.

Literature may be obtained by
addressing the Strong Electric Corp.,
31 City Park Ave., Toledo 1, Ohio.

iP

Christie Electric
Features New Xenon
Power Supplies

Christie Electric Corp. is featuring
a new line of xenon arc lamp power
supplies, said to be ideally suited for
such applications as solar simulators,
data display systems, flight simulators
and star tracking systems.

These extremely versatile units may
be used equally well with xenon or
mercury xenon lamps (inset) and fea-
ture automatic current regulation and

18

extremely low current ripple. Each
unit is designed to work with two or
more lamp sizes. Output character-
istic may be adjusted for operation of
all lamps.

Further information may be obtain-
ed by writing Christie Electric Corp..
3410 W. 67th St., Los Angeles 43, |
Calif. iP

International Projectionist July, 1963

» AUTHORITATIVE
» COMPREHENSIVE

»

PRACTICAL

Acclaimed by leading technicians in
the industry as the most comprehen-
sive and down-to-earth handbook pub-
lished to date on the subject of motion
picture projection. Ideally suited for
study and reference by your opera-
tors.

ROBERT A. MITCHELL'S

MANUAL OF PRACTICAL PROJECTION

HANDY 5'/2" X S'V SIZE

450 PAGES

ILLU STRATED

CROSS INDEXED FOR EASY REFERENCE

* Here is one of the most help-
ful works ever published for
the motion picture projection-
ist. A handsomely bound and
profusely illustrated compila-
tion of the BEST of the Robert
A. Mitchell articles that have
appeared in "International
Pro jectionis t," revised,
brought up to date.

* The author covers clearly
and thoroughly every aspect of
motion picture projection, pre-
senting his material in easily
understood language — not too
technical, yet technically ac-
curate. The Manual is divided
in 8 sections and contains 30
chapters — a valuable refer-
ence work no progressive pro-
jectionist should be without.

!

SECTION HEADINGS

(1) 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 * USE THIS HANDY FORM

INTERNATIONAL PROJECTIONIST
Post Office Box 61 74
Minneapolis 24, Minnesota

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

NEW PRICE
$"700

7

per copy
including postage

*r

A/oreft

presenting the NEW /VOretCOAA U UNIVERSAL 70/35

Leave it to famed Norelco engineering to take a projector
that has just received an Academy Award for design and en-
gineering . . . and improve it!

That's right. ..the new Norelco AAH 70/35 projector has 18
major technical improvements including: new dual-split maga-
zine shafts that eliminate need for special 35mm reels with
70mm flanges; new intermittent assembly; new single motor
dual drive; new adjustable lamphouse bracket for moving
lamp without realignment; new threading guards; new oil
vapor leak protection; new reduced torque motor; and others.

Most of today's top boxoffice attractions are 70mm releases.
Even more are coming. By equipping with Norelco AAH
70/35's you'll be able to show them in all their spectacular
brilliance and cash in on their tremendous drawing power.
What's more, in a quick 4-minute changeover, you also have
the most modern, rugged and trouble-free 35mm mechanism!

No matter how you look at it... for today and tomorrow,
Norelco AA n 70/35 projectors are your wisest investment.
Get all the facts from your theatre supply dealer or write
Norelco today.

The Academy of Motion Picture Arts and Sciences presented this
award for outstanding achievement to the North American Philips
Company for the design and engineering of the Norelco Universal
70/35mm motion picture projector.

®REG. UNITED STATES PATENT OFFICE BY NORTH AMERICAN PHILIPS COMPANY, INC. NORELCO IS KNOWN AS PHILIPS IN CANADA. 100 E. 42nd Street, New York, N.Y. • Phone: 212-OX 7-3600

I

INTERNATIONAL

/I

J

\

During the National Carbon tour, the Star-Lite Drive-In in Fostoria, Ohio, owned by
Virgil P. Fau, was visited. Left to right in the booth are Phil H. Freeman, sales manager
for arc carbon products, National Carbon Co. division of Union Carbide Corp.; E. A. Bowen,
local sales manager for the division; Carl E. Short, local 267 IATSE, Tiffin, Ohio, and
J. W. (Bill) Cosby, marketing manager for arc carbon products. Story begins on page 8.

Library of Congress

Order Division (o368X)
Washington 25, D.C.

AUGUST
VOLUME 38

40c A COPY

1963
NUMBER 8

$3.00 A YEAR

Investment Opportunity

The hand holding the hammer will someday make
products for you.

Long years of training will have to go into making
those chubby fingers productive. Much care, much love,
much planning and money.

But no matter how lean and hard and skillful they
become, it will signify little if the fruits of their skill
are produced in anything but a free society.

You have an investment in those hands. To protect
your investment, you can join with other leading Amer-
ican businessmen to promote the Treasury's Payroll
Savings Plan for United States Savings Bonds. The
Treasury Department's Plan works for soundness in

our economy, strength in our defenses, and thriftiness
and self-reliance in our thinking.

When you bring the Payroll Savings Plan into your
plant — when you encourage your employees to enroll
— you are investing in the hands of tomorrow's tool
makers and tool users. You are investing in America's
next generation of machine operators, mechanics, metal
workers — in all of America's skilled labor force. You
are investing in America's future. In freedom itself.

Don't pass this investment opportunity by. Call your
State Savings Bonds Director. Or write today to the
Treasury Department, U.S. Savings Bonds Division,
Washington 25, D.C.

in your plant... promote the PAYROLL SAVINGS PLAN for U.S. SAVINGS BONDS f||

'""corf
The U. S. Government does not pay for this advertisement. The Treasury Department thanks, for their patriotism, The Advertising Council and this magazine.

INTERNATIONAL PROJECTIONIST

INTERNATIONAL

PROJECTIONIST

Including a special Audio-Visual section relat-
ing to the operation and maintenance of A-V
equipment in the educational and industrial
fields.

Volume 38 August 1963

No. 8

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO

Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue, New York 17, N. Y.

Telephone Murrayhill 7-7746

(Area Code 212)

IN THIS ISSUE

Film Shrinkage, Frame Registration 4

By ROBERT A. MITCHELL

National Carbon Tour 8

History of the Carbon 8

Screen Design Developments 17

News Notes — Technical Hints — Miscellaneous Notes

INTERNATIONAL PROJECTIONIST, published monthly by the
International Projectionist Publishing Co. division of The
Northern Publishing Co., Post Office Box 6174, Minneapo'is
24, Minnesota. Editorial offices, 1645 Hennepin Avenue,
Minneapolis 3, Minn. Subscription Representatives: AUS-
TRALIA — McGills, 183 Elizabeth St., Melbourne; NEW
ZEALAND — Wixon's, Ltd., 64 Courtnay Place, Wellington;
ENGLAND and ELSEWHERE — Wm. Dawson & Sons, Ltd.,
Macklin St., London, W. C. 2. Subscription Rates: United Stores,
Canada, and U. S. Possessions, $3.00 per year (12 issues) and
$5.00 for two years (24 issues). Foreign countries: $4.00
per year and $7.00 for two years. Changes of address should
be submitted four weeks in advance of publication date to
insure receipt of current issue. Second-class postage paid at
Minneapolis, Minn. INTERNATIONAL PROJECTIONIST as-
sumes no responsibility for personal opinions appearing in
signed articles, or for unsolicited articles. Entire contents
copyrighted 1963 by INTERNATIONAL PROJECTIONIST
PUBLISHING CO.

MONTHLY CHAT

WHY NOT TRY
BOOTH SHOWMANSHIP

The low dollar volume at the boxoffice in movie the-
atres all around the country is the prime worry of the
film industr) .

The exhibitor says "give 'em a big picture and the
public will bin tickets." And that checks out when the
movie attraction catches the fancy of the mass public
in this country and abroad, for the "big picture" grosses
more millions today than ever in the "past.

But the men with investments in theatre properties
might well ask themselves "what are we doing about the
situation of complete dependence on the people who make
films?"

IP would like to suggest that the theatre owner
would give a try at Booth Showmanship. Since its pretty
plain that there are millions of people who attend the
movies infrequent!) (for instance when the "big picture"
comes along) and certainl) not for the reason that
they don't have the admission price — according to Wash-
ington the income is at an all-time high.

Booth Showmanship is a good presentation of all pic-
tures the theatre presents to the patrons. A picture that
is bright from margin to margin of the bigger screens.

The booth craftsmen's skill is at an all-time high and
is capable of Booth Showmanship if onl\ the theatre
owner would give him a chance with the modern tools
ol his craft.

Available are high standard projectors, sound sys-
tems, light sources, power converters and necessary booth
accessories

W ilh man) theatres in deplorable out-moded and
well-worn projection equipment many industry men
place the blame mi the low-dollar \olume at disappoint-
ing grosses of good pictures, not necessarily with the
automatic drawing-power, right at the theatre whose
projection equipment is not up to modern standard and
whose unattractive surroundings don't invite the public
to the patrons of the house.

To meet present-day standards all pictures, even the
new -reel presented at movie theatres should be bright,
with good distribution, and color rendition.

Mam a theatre has too large screens for the light
source being used. This stems from the neglect when the
theatre put in a large screen without stepping up the
light source. There are cases when screen area was more
than doubled using existing lamps. Naturally, the screen
illumination was reduced radically, the projectionists, the
patrons of the house, noted the dimness when they saw
a black and white film especialh. when the low-key and
night scenes, with color film dim at the margins.

The equipment dealer is the best source for the the-
atre owner to get good advice to upgrading, at minimum
cost, his booth equipment.

According to informed equipment men. more than
M'' of the arc lamps in theatres in this country are
more than 20 years old. And the projector manufactur-
ers say the same thing holds for projectors.

During the last decade a lot of improvements in
techniques have gone into the motion picture, particu-
larly by the equipment manufacturers and the film
makers.

For all of the know-how of the production men, with
their costly pictures, not every film attraction turns

(Please turn to page 18)

International Projectionist August, 7963

Volume 38

August, 1963

Number 8

FILM SHRINKAGE AND FRAME

REGISTRATION

By ROBERT A. MITCHELL

Improvement in the rocksteadiness of theatre motion
pictures during the past few decades is due in great
measure to improvements in the aging characteristics of
the film, itself.

Other refinements in the art which have exerted a
decidedly beneficial effect upon the quality of professional
projection include more accurate camera and projector
intermittents, improvements in film processing and print-
ing, the use of film stock perforated by the manufacturer
instead of by the studios and laboratories, and a better
understanding of optimum storage conditions for all the
different types of film stock in use.

As far as theatre-release positive film stock is con-
cerned, the substitution of high-acetyl acetate safety film
for the relatively unstable and dangerous nitrate film
formerly used has been a significant factor because of
the relatively low and comparatively uniform shrinkage
of triacetate base.

The film shrinkage problem still exists, of course, be-
cause all known cellulose-ester plastic materials shrink
to some extent with time and upon exposure to varying
conditions of heat and moisture. The film processer wor-
ries about the difficulties resulting from the stretching
and shrinking of film in his developing and drying ma-
chines. The special-effects man is concerned about the
rocksteady superposition of mask films. The color lab
technician is likewise concerned with the registration of
his three color separations, and in black-and-white work
with the bad effects resulting from negative shrinkage.
And the projectionist has anxieties of his own: variations
in the normal shrinkage of the positive print films he

projects will cause unsteadiness of the pictures on the

screen.

Film is Perforated Accurately

Assuming that all camera, printer, and projector units
are correctly designed and maintained in top-notch op-
erating condition, the accuracy with which the succeed-
ing frames of a film are registered, one after another,
is determined by the accuracy of the perforations punched
in the margins of the film. Shrinkage of the film stock
alters the "pitch," and if the shrinkage is irregular,
the accuracy, of the perforations. When film shrinkage
disturbs the accuracy of frame registration in printing
or projection, the bad effects result directly from ensu-
ing inaccuracies in the pitch of the perforations — the
distance from the edge of one perforation to the corres-
ponding edge of the succeeding one.

Film is perforated accurately by the manufacturer,
the errors in pitch, if any, being well below the 0.00015-
inch tolerance specified by the American standards for
perforations in 35-mm motion-picture film stock. This
statement probably applies to all the leading brands of
film, European as well as American.

It would not be an easy job to discover any inac-
curacies in the perforating job done by the film manu-
facturer, and would be impossible if the film samples
had been processed, used, or stored for any length of
time. Check-tests on perforation accuracy must be made
on unprocessed raw stock immediately after it is per-
forated, and under the same conditions of temperature
and humidity maintained in the perforating rooms. Such
check-tests are made at frequent intervals by the film

International Projectionist August, 1963

manufacturer to insure a consistently high quality of
product.

All film, even triacetate, swells in processing solu-
tions and shrinks upon drying. More important, film
normally swells when the moisture-content of the air
is high, shrinks when it is low. and keeps on shrinking
w ith the passage of time. Old or processed film can pro-
\ ii U» no clues whatever as to the accuracy of the per-
forating process.
Nitrate Film Shrank Severely

Certain samples of nitrate film of very ancient vintage
reveal apparent shrinkages in excess of 1', in length, but
we cannot he sure that the films in question really shrank
so much — we do not know what the original perforation
pitch may have been. But we do know that nitrate film
shrank much more badlv than modern triacetate stock,
and in a more irregular manner.

The irregularity of shrinkage is easily discovered
l>\ projection with a mechanism specially modified to
increase the length of film between the intermittent
sprocket and the projector aperture, inasmuch as shrink-
age registration errors add up algebraically, sometimes
cancelling one another and sometimes stacking.

\- all old-timers in the projection craft remember.
nitrate film had undergone considerable improvement
since the earliest days of the art. Although triacetate film
is better in main ways, nitrate was prettv good stuff at
the time acetate supplanted it. After five years of stor-
age under good conditions of temperature and relative

humidit) I 7!!: F and (>()', Rlli. \ essed positives

on the best nitrate stock shrank longitudinal]} about
0.0',. Ordinarv projection use with repeated shipping
and storage intervals under diverse conditions un-
doubted!) accelerated the shrinkage of nitrate and mav
have aggravated irregularities in the rate of shrinkage,
but unless very old or much abused in use. nitrate theatre-
release prints gave fairlv pood screen results.

It is doubtful, however, that the shrinkage character-
istics of nitrate release stock would permit this type of
film to be used with satisfactory results under modern
conditions of high-intensitv widescreen projection, or in
large drive-in theatres. For these conditions triacetate
stock is preferable.
Normal and Low-Shrinkage Acetate

Triacetate release-positive film, processed and stored
at 7!! F and Oil', KH. shrinks onlv 0.1', in a 5-year
period. Continued storage due-- not appear to result in
appreciable additional shrinkage.

Triacetate negative stock shrinks less than 0.2',
after 3 years of storage at 78° and 60', RH: and
no further shrinkage normallv occurs. The sharpness
of modern color-film prints is largely due to the low
shrinkage of triacetate negative, for large and irregu-
lar shrinkages in the separation masters, duplicate nega-
tives, imbibition positives, etc. might result in mis-
registrations which would blur the images.

Special low-shrink base may not be quite tough
enough to withstand the wear and tear and intense
heating of the projection process, but it is now nearly
always used for duplicating films as well as for camera
negative stock to insure rocksteady photographic images
in the final prints.

Since there are 16 frames per linear foot of stand-
ard 35-mm film, the frame pulldown distance amounts
to three-quarters of an inch. And with 4 sprocket holes
per frame, the standard perforation pitch must be one-
quarter of three-quarters of an inch, namely. 0.1873"
between corresponding edges of two adjacent perfora-
tions. In actual practice, however, a slightly smaller
perforation pitch has been agreed upon and universally
used.

International Projectionist August, 1963

B&H

DH

Fig. I — Shapes of film perforations in present-day use.
The B & II < Bell & Howell) perforation, oldest of the
jour, is the preferred type of perf. for most negative film.
It was also universally used for positive stock until the
mid-1920's. and continued to be used for Technicolor
prints until about 1950.

The KS I Kodak standard) rectangular perforation
leas devised by J. C. Jones of Eastman Kodak in 1923,
and put into use almost at once for release-print stock.
The improved Hearing qualities of the KS perf. is due to
the roundei/ corners; and the increased height (from
0.073 inch to 0.078 inch) eliminated the mechanical in-
terference experienced with B & II perfs. in one make
oj projector.

The 1)11 ( Dubray-Houell ) perforation was proposed
in the eurh I930's to provide a long-life perforation
which could be used in precision step-printers designed
for B & H perfs. The DH perf. was adopted for color
prints in 1 '>!(>. and resembles the KS perf. except for a
height corresponding to that of the old B & H perf. The
CS (CinemaScope) perforation is a reduced-width version
oj the Dll per). The use of CS-perforated prints requires
the narrow-tooth sprockets now used almost everywhere.

This diagram and notes on perforations suggested by
"Pin Registration" by A. C. Robertson, JOURNAL OF
THE SMPTE, Feb. 1963.

"Long" and "Short" Pitches

The regular ■"long*' pitch for the perforations
punched in all positive stock and some negative and
intermediate-film stocks is 0.1870". A special "short"
pitch of 0.1866" is also available for negative films.
Short-pitch negative gives optimum results in con-
tinuous-type printers having curved exposure gates to
compensate for the average amount of negative shrink-
age encountered in the days of nitrate film.

Although the maximum amount of shrinkage en-
countered in triacetate theatre-release prints is not very
great, certainly not much greater than about 0.4%,
projectionists have sometimes wondered whether this
normal shrinkage is deleterious to the quality of the
picture on the screen. The answer is definite: it is not
harmful in any way and cannot be perceived on the
screen so long as the amount of shrinkage, whatever it
may be, is uniform. Neither will there be any mechani-
cal difficulties in the running of the film. The 0.943" — ■
and 0.945" — diameter intermittent sprockets in general

FIG. 2— Evolution of the B&H perf.
Old~<style circular^ B&H negative
perforation perf ovation

use can accept film shrinkages up to 0.96% and 0.75%,
respectively.

If. however, there are variations in shrinkage, some-
times greater and sometimes less than the mean value,
the picture will weave vertically, or "dance," in a ran-
dom fashion. Variations in shrinkage result in corres-
ponding irregularities in perforation pitch, and these,
in turn, produce irregularities in frame registration
even though the intermittent movement of the projector
is functioning perfectly.

Picture-Jump Tolerance

It is ironic that severe demands of mechanical pre-
cision must be made of a material as pliant and dimen-
sionally variable as plastic motion-picture film base.
On the basis of accepted geneva-intermittent tolerances,
the permissible limit of frame misregistration is 0.0004"
(a vertical "jump" of 1/5 inch on a 36-foot screen).
This is, of course, nearly three times the allowable error
in film perforating (0.00015"), but often below the
shrinkage error over the 3 to 5 frames of film between
the intermittent sprocket and the projector aperture.

To repeat: a uniform degree of shrinkage through
substantially long lengths of film produces no visible
effects on the screen. It does not cause the picture to
be unsteady. The trouble is caused by frequent varia-
tions in shrinkage; and the longer the length of film
between the intermittent sprocket and the aperture, the
more pronounced is the weaving of the picture from this
cause.

How Weave is Caused

The distance from a point in one frame of stand-
ard 35-mm film to the corresponding point in the suc-
ceeding frame is 4 times the perforation pitch. This
amounts to a frame distance of 0.7480" in unshrunken
long-pitch (0.1870") positive stock. Assuming that the
shrinkage in a certain release print varies in an ir-
regular manner from 0.2% to 0.4%, the frame dis-
tance will vary from 0.7465" to 0.7450". If there are
3 frames between the intermittent sprocket and the
aperture, misregistration can be any amount up to the
limiting value of 3 times the difference in frame dis-
tances, namely, 0.0045", fully 11 times the intermittent-
movement jump tolerance. If sprocket and aperture are
separated by 5 frames, the misregistration can have
any value up to 0.0075", or nearly 19 times the jump
tolerance.

The 0.2% — 0.4% shrinkage variation employed here
by way of illustration is not meant to suggest that varia-
tions of this magnitude are common. They are not. But
it seems probable that smaller variations in shrinkage
are frequently responsible for small-range picture weav-
ing which cannot be accounted for by any known me-
chanical factors in the projector mechanism.

The print, however, is not always the culprit. Similar

6

picture-weaving effects may be produced by printing from
badly shrunken negatives. The effect of severe negative
shrinkage is easily distinguished when the printer used
was of the "continuous" type in which the negative and
positive raw stock are pulled continuously (without inter-
mittent motion ) past an exposure slit. In such a case the
vertical dimension of the projected picture expands and
contracts in an irregular manner to produce an unusual,
but characteristic, weaving effect. A projector cannot give
this peculiar effect.

Ancient nitrate negatives used for printing reissued
"screen classics" and TV "late show" releases are the
most likely to give unsteady images on the screen and a
tremendous flutter in the accompanying optical-track re-
production.

Effect of Non-Uniform Conditions

Because the original structure and composition of
film stock is absolutely uniform, and because film is al-
ways manufactured under uniform conditions of temper-
ature and relative humidity, the finished product may
be expected to undergo its normal shrinkage in a uniform
manner. That it does so even in spite of very non-uniform
conditions of subsequent treatment, storage, and use is
indicated by the extreme rocksteadiness of most profes-
sionally produced motion pictures. It is the exceptions
that particularly interest us.

As a matter of fact, the exceptional nature of shrinkage
variations large enough to produce visible vertical danc-
ing of the projected pictures leads us to look for differ-
ential effects in the conditions to which some, or perhaps
most, theatre-release prints are subjected. It is well known
that moisture and heat have the greatest effect upon the
dimensions of cellulose-ester films, but release prints are
also subjected to processing solutions, protective waxes
or lacquers, film cleaning solvents, and the inevitable oil
and grease which comes off the projectors.

It is believed that the normal gradual shrinkage of
film is caused by the slow loss of plastic solvents from
the base material. The loss of these substances is accel-
erated by heat and moisture. Short-term exposure of film
to excessively dry or moist air produces changes which
are reversed, with some degree of restoration of the film
to its original physical condition, by long-term storage
under the ideal temperature and humidity conditions
which prevailed during its manufacture. Inasmuch as
weeks or months of such storage make it out of the ques-
tion for heavily booked release prints (periodically sub-
jected to intense heat) these films may shrink rather
rapidly and possibly in an irregular manner.

Projector Design Important

Contrary to popular belief, prolonged exposure of film
to excessively moist air hastens shrinkage. So long as the
air remains humid, the film swells slightly and remains
pliant and soft, and the gelatine emulsion is then especial-
ly liable to destruction by the growth of molds. But when
taken into normally dry air, the effects of solvent loss, ap-
parently hastened by the moisture to which the film was
previously exposed, begin to show up. The film will be
found to have shrunk more than films of similar age not
subjected to high humidities.

If variations in shrinkage cannot be entirely prevented
by the most intelligent care which we are able to accord
release prints, then it behooves the designers of motion
picture projectors to position the intermittent sprocket
as close below the film aperture as possible to minimize
the shrinkage-variation weave of the projected pictures.
A 2-frame sprocket-to-aperture film distance is entirely

International Projectionist August, 7963

Fig. -i — In exploring the possible causes of weave-pro-
ducing variations in film shrinkage, the effect of the
flange design of shipping reels is mentioned in the ac-
companying article. Is the film more quickly affected by
humidity and heat where exposed by the large holes than
where covered by the solid portions of the flanges?
Other suggested causes of shrinkage variations are oil mot-
tle on film, deposits of edge-wax, and uneven or careless
rewinding of the film for shipment or storage.

feasible r\ni though all presently used theatre projectors
allow a longer length of film to exist between the sprocket
and the aperture.

This suggestion is nothing new to the manufacturers of
cameras, optical printers, and background projector
heads. They wisely position their claw pulldowns and reg-
istration pin- vejrj close to the aperture, thus practically
eliminating the annoying effects of an) shrinkage varia-
tions which ma) be present in the film-.

Possible Causes of Variation

It is possible that variations in the tightness of the
film in a roll may induce irregularities in shrinkage by
\ irtue of uneven mechanical strain. Stresses of this nature
ma\ be verj significant during the natural aging-shrink-
ing period in the life of the film. For this and other rea-
sons the projectionist should make certain that his pro-
jector takeups and bench rewinders are properly aligned
and wind up the film smoothly under reasonably uniform
tension.

Film which has been roughly or irregularly rewound
on hand rewinders las during inspection and print repair I
should never be stored or shipped out until after it has
been smoothly rewound on a low-speed motorized machine
having accurately aligned elements. The exchanges' sug-
gestion that the reels of film be returned without rewind-
ing after their last showing is a very good one. as projec-
tors in good working order wind up the film very uni-
formly. Nevertheless, many projectionists refuse to use
shipping reels in the projectors, admittedly a dangerous
practice when the shipping reels are badly bent and bat-
tered out of shape. It is clearly the responsibility of the
film exchanges to provide good reels.

It is also possible that the flanges of metal shipping
reels permit a differential "conditioning" of film by ex-
posing the edge of the roll to free circulation of air
through the large holes in the flanges, and covering the
edge of the roll under the solid sections. The writer per-
sonally believes that this could be a significant factor only
when the reels of film are removed from the shipping
cases in an unusually hot and humid ("quick-acting")

International Projectionist August, 1963

atmosphere. In any case, film should be wound on a core
as a bare roll and placed in a metal can for long-term
storage under the conditions recommended in the booklet
"Storage and Preservation of Motion Picture Film" (East-
man Kodak Co., Rochester, N. Y., 50c).

Still another possibility is that variations in the distri-
bution of projector oil, grease, lubricating wax, etc. ad-
hering to the film is the cause of some shrinkage-variation
in used release prints. Moisture presumably passes into
the film more slowly through oil than when unobstructed.
And if the film is subsequently cleaned with carbon tetra-
chloride. Freon compound, or methyl chloroform, possible
extra loss of film solvents with the removed oil and dirt
might conceivably alter the pattern of shrinkage varia-
tions. This is a matter worthy of study by film technolo-
gists because we know so little about the effects of oil,
wax. and cleaning fluids on film shrinkage.

Booth "Treatment" of Film Tabu

Except for the cleaning of short rolls of trailers and
announcement titles in the projection room with a pad of
soft cloth moistened with film-cleaning fluid, no attempt
should be made by the projectionist to undertake an ex-
fensive and tricky cleaning job which is the responsibility
of the exchange supplying the print. Careless cleaning,
with failure to renew the soiled pad frequently, may
scratch and mottle the film. The Kodak booklet men-
tioned previously gives directions for cleaning film man-
ually.

Never — and we mean never!

"humidify" or

'"steam-treat" motion-picture film! With the best of in-
tentions a few misguided projectionists have been known
to pass film through a steaming arrangement while re-
winding it and to store the reels in bins having wet
blotters or open pans of water. The idea, of course, is to
"restore the moisture" expelled from the film during pro-
jection. These are not approved methods for "restoring
moisture" even if that expedient were deemed desirable.
Treating film with steam will ruin it. Storing it in
humidifiers or over water will hasten shrinkage, possibly
shrink it irregularly if the film is put into a moist atmos-
phere while still warm from the projectors, spot the emul-
sion, and lay the film open to fungus attack.

Other Causes of Weave

Examination of picture quality in theatre after theatre
indicates that sidesway originating in flat-gate projectors,
especialh in CinemaScope anamorphic projection, is a
more serious matter than the very small amount of verti-
cal unsteadiness which in most cases is visible only from
a vantage point relatively close to the large theatre screen.
Such unsteadiness is only rarely troublesome, but it would
be best not to have any unsteadiness at all. Naturally,
there is nothing the projectionist can do to correct mat-
ters when a jumping picture is printed on the film, as is
sometimes the case with technically unpretentious pictures
of foreign origin and with reissues printed from old nega-
tives.

Although there is some evidence that shrinkage vari-
ations in well-worn prints is rather common, it would be
a big mistake to assume that all random small-range ver-
tical weavings of projected pictures are due to this cause
alone. If the intermittent movement of the projector is in
good condition, and the teeth of the sprocket unworn,
similar effects can be produced by uneven gate tension,
the wrong amount of gate tension, a loose intermittent-
sprocket shoe, the bad practice of making excessively
large upper and lower film loops, torn or badly abraded
perforations, and an unsteady pedestal or support for the
projector. iP

National Carbon Tour Shows
Carbon Mfg. Technology

By Ray Gallo

We had the pleasure, recently, of
taking a behind-the-scenes look at
how arc carbons are made in Ameri-
ca's only projector carbon plant, the
Fostoria branch of National Carbon
Co. (a division of Union Carbide
Corp.)

With our hosts, J. W. (Bill) Cos-

by, marketing manager, and Philip
H. Freeman, sales manager of the
arc carbon products, we flew with a
group of trade press editors and sev-
eral key personnel executives from
National Carbon Co. to Fostoria and
Parma. Ohio in a Union Carbide

(Please turn to page 14)

ON THE NATIONAL CARBON TOUR are shown J. W. (Bill) Cosby, Na-
tional Carbon marketing manager; C. J. Chapman, vice president of marketing
for National Carbon; Ray Gallo, eastern representative for INTERNATIONAL
PROJECTIONIST, and Philip H. Freeman, sales manager for carbon arc products.

The History Of The Carbon Arc

In the year 1801 an English scien-
tist, Sir Humprey Davy, produced a
brilliant light between two carbon
rods connected to a high-voltage gal-
vanic battery. He named his dis-
covery "carbon arc." But because the
galvanic battery was the only source
of continuous electric current, any
commercial exploitation of the brilli-
ant source of radiant energy was
precluded. Three-quarters of a cen-
tury later, Charles F. Brush, with the
invention of the power-driven
dynamo, applied the carbon arc as an
economically feasible source of illum-
ination.

The high-intensity carbon arc in
these days is so taken for granted as

8

a light source for screen illumination
that little thought is given to what
actually creates the light.

The National Carbon Co. (a divi-
sion of the Union Carbide Corp.)
was host to the trade press recently.
The trade press representatives visited
National Carbon's headquarters in
Cleveland, to the Fostoria plant,
where they manufacture the carbons,
and Parma laboratory, a carbon arc
research center.

The carbon arc is the preferred
source of light for applications requir-
ing extremely high brilliancy. It can
produce the highest useful brightness

(Please turn to page 12)

National Carbon Company
Arc Carbon Development1 Personnel

W. J. Spry, Development Manager, Fostoria
Laboratory

B. S. Physics, University of Rochester;
Ph. D. Nuclear Physics, University of
Rochester.

Company Service — 9 years.

Research Physicist, Research Group Leader.

Fields of Special Competence: Solid state
physics — carbon and graphite technology.

Member of American Physical Society.
E. L. Piper, Division Manager for Product
Development

B. S. Physics, Case Institute of Technology;

M. S. Physics, University of Illinois.

Company Service — 12 years.

Research Physicist, Research Group Leader,
Development Group Leader.

Fields of Special Competence: Classical
physics — carbon and graphite technology.

Member of Cleveland Physics Society, Cleve-
land Astronomical Society.
J. Weinard, Division Manager for Laboratory
Services and Materials Evaluation

Liciencie-es-Science-Physique, University of
Nancy, France; M. S. Physics, Ph. D.
Physics, University of Saarbrucken, Ger-
many.

Company Service — 7 years.

Development Engineer, Development Group
Leader.

Fields of Special Competence: Atomic
physics — spectroscopy and X-ray — carbon
and graphite technology.

Member American Optical Society, Ameri-
can Physical Society, Society of Applied
spectroscopy. Committee Member of
ASTM.
W. R. Lauzau, Development Group Leader

B. S. Chemistry, Niagara University; M. S.
Chemistry, University of Toledo.

Company Service — 12 years.

Development Engineer.

Fields of Special Competence: Chemistry —
carbon processing — high temperature
compounds — arc carbons — optics.

Member of Space Simulation Subcommittee
of ASTM, American Chemical Society,
American Institute of Chemists, Ameri-
can Ceramic Society.
J. T. Cedargren, Development Engineer

B. S. Mechanical Engineering, Ohio State
University.

Company Service — 3 years.

Design Engineer.

Member of Ohio Society of Professional
Engineers, Associate member of ASME.
L. H. Matthews, Development Engineer

B. S. Physics, Washington and Jefferson
College.

Company Service — 1 year.

Fields of Special Competence: Spectroscopy
and X-ray.
M. R. Riek, Development Engineer

B. S. Chemical Engineering, Fenn College.

Company Service — 4 years.

Fields of Special Competence: Illuminating
carbons.
W. W. Lozier, Consultant

A. B. in Physics from DePauw; Ph. D. in
Physics from University of Minnesota;
additional studies at Princeton and
Columbia.

Fields of Special Competence: Arc and gas
discharge pheonomena — illuminating car-
bons — arc image furnace — re-entry
studies.

Member of American Physical Society, So-
ciety of Motion Picture & Television
Engineers, Illuminating Engineering So-
ciety.

Marketing Personnel

C. J. Chapman, Vice President, Marketing
L. F. Granger, Advertising Manager
J. W. Cosby, Marketing Manager, Arc Car-
bon Products
P. H. Freeman, Sales Manager, Arc Carbon

Products
P. D. Ries, Manager, Engineering Services,

Arc Carbon Products
W. R. Kraft, Staff Assistant, Arc Carbon
Products

Arc Carbon Product Sales Engineers

W. T. Brenner C. E. Heppberger

R. D. Brissey J. B. Hoynes

E. A. Bowen V. D. Johnson

C. W. Handley G. H. Mayer
S. Morley, Jr.
J. C. Naughton

D. P. White

From Union Carbide International Co.

0. B. Rendahl, General Sales Manager, Carbon

and Graphite Department
R. Raya, Area Sales Manager
M. R. Null, Senior Scientist

From J. M. Mathes Inc.

Gordon Dille, Publicity Account Executive

J. E. Jamison, Art Director

D. T. Meade, Assistant Account Executive

International Projectionist August, 1963

■ ■HHHHHi :

A Scene From America's Projector Carbon Center.

Equipment for coating carbons with copper

it

Coating* projector carbons with the right amount
of copper is a top-billing production step"

This equipment performs the
important task of coating pro-
jector carbons with copper— not
for eye appeal, but for the vital
purpose of assuring more de-
pendable screen lighting. The
coating helps conduct current from the jaws of
the lamp to the arc. For maximum light effi-
ciency the copper coating must be of precision
thickness — no more — no less!

From the coating operation at National Car-
bon's plant in Fostoria, Ohio, projector carbons
move on to an automatic resistance test, where
a direct reading instrument measures in ohms-

-says SID MORLEY

National Carbon Sales Engineer

per-inch the coating on each carbon. If the coat-
ing is too thin or too thick, the unwanted carbon
is ejected from the line.

How is this rigid test related to good lighting?
First, if the coating is too thin, the carbon might
spindle back to the holder, resulting in freezing
and a possible lamp shutdown. Secondly, if too
thick, it might produce copper dripping and
cause the arc to wander.

In coating and all other manufacturing steps,
National Carbon utilizes today's most reliable
quality control methods. We want to be sure
your patrons get the finest screen lighting that
projector carbon money can buy !

Contact
Mr. National Carbon

UNION
CARBIDE

"National" and "Union Carbide" are registered trade-marks 'or products of

NATIONAL CARBON COMPANY

Division of Union Carbide Corporation • 270 Park Avenue • New York 17, N. Y.
In Canada: Union Carbide Canada Limited, Toronto

Today's audiences respond eagerly to high technical quality in showmanship— quality that starts with
sharp negatives and sharp prints. So— go Eastman all the way— negative and print stock. And be sure
to give the laboratory time to do its job right. Most important, if you have questions— production, proc-
essing, or projection— always get in touch with Eastman Technical Service. For more information on this

wrm

subject, write or phone: Motion Picture Film Department. EASTMAN KODAK
COMPANY, Rochester 4, N. Y. Or-for the purchase of film: W. J. German,
Inc., Agents for the sale and distribution of EASTMAN Professional Film for
Motion Pictures and Television. Fort Lee, N. J., Chicago, III., Hollywood, Calif.

EA^TlJlAN FILM
I J J 1 I

When the
print's sharp...
the audience
gets the
point

Today's audiences respond eagerly to high technical quality in showmanship-quality that starts with
sharp negatives and sharp prints. So-go Eastman all the way-negative and print stock. And be sure
to give the laboratory time to do its job right. Most important, if you have questions-production, proc-
essing, or projection-always get in touch with Eastman Technical Service. For more information on this

s"b|ect. write or phone: Motion Picture Film Department. EASTMAN KODAK
COMPANY, Rochester 4, N. Y. Or-for the purchase of film: W. J. German,
lnc'. Agents for the sale and distribution of EASTMAN Professional Film for
Motion Pictures and Television. Fort Lee. N. J.. Chicago, III.. Hollywood, Calif.

Extrusion of hollow arc carbon from
a hydraulic press.

Arc carbons cut into lengths for
further processing.

Hand placement of arc carbons into
saggers for oven baking.

One of many visual inspections dur-
ing arc carbon manufacture.

12

HISTORY from page 8

of any known artificial light source,
and provides a color quality matching
that of sunlight.

The brightness of the high-intensity
arc results from a combination of
high current density (resulting from
a high concentration of electrons in
the arc stream I and an atmosphere on
the positive crater region that is rich
in flame materials volatilized from
the core in the positive carbon. As
the carbon burns to form a crater, the
core is exposed to the extreme arc
temperatures in excess of 10.000
degrees F., approximately that of the
sun's surface.

The Story of Fostorsa Know-How

As is true of any quality product,
the manufacture of arc carbons
begins with careful selection and
preparation of raw materials.

In the extrusion operation, carbon
is squeezed out by the pressure of an
hydraulic ram.

At the other end of the 70-foot run,
lengths of carbon are cut and checked
for size. This is but one of approxi-
mately 60 quality control inspections
the arc carbons will undergo during
their manufacture.

Loaded saggers are next placed in
huge gas-fired baking ovens, and the
lengthy baking cycle begins. A tem-
perature in excess of 1800 degrees F.
is reached, which fully "bakes" the
carbons.

The longer lengths of carbon are
then cut to more nearly their finished
size, and several more inspections are
made, including a visual check. Also
very important is the straightness of
the arc carbon, and every one is
passed under an accurately-position-
ed guage, with those that are only a
few thousandths of an inch out of
alignment rejected.

The carbons are then baked again
briefly to set the core material, and
the positive carbons undergo X-ray
examination that detects any core
flaws.

As part of its continuing technical
service to motion picture exhibitors.
National Carbon also evaluates other
light sources that are introduced from
time to time and reports its findings.
The carbon arc, however, continues to
outperform all other sources of screen
illumination, and still holds the
greatest promise as the most brilliant
li«ht source of the future.

The Parma Research Story

To project motion pictures, or to
illuminate motion picture studios, it
is necessary to collect the light emitt-
ed by the carbon arc and project it
where needed. Research devoted to
improving the process requires study

■■■HI

A close check of arc carbon diameter
prior to further processing.

All arc carbons must pass stringent
straightness tests.

Projection booth is operated to test
carbons under actual theatre conditions.

Recording spectroradiometer
matically measures and charts
spectrum.

International Projectionist August,

auto-
color

1963

of the arc itself and of the optical
system used to project the light. Thus
there are facilities at the Parma re-
search laboratory of National Carhon
to measure the brightness and color
of the arc crater, as well as for pro-
jecting motion pictures in a theatre-
size auditorium to test the complete
-\<tem under normal operating con-
ditions.

In measuring the color of a carbon
arc. light from the crater is received
on a diffusing plate in front of the
-lit of a recording spectro-radiometer.
Light enters the ?lit. and a grating in-
side separates the component colors
of the white light that enters. The
instrument automatically measures
the amount of each color present and
records the figures on a chart that
-hows the amount of energy present
at each wavelength throughout the
\ i-ihle spectrum. The light meters
seen in the background measure the
intensity of the projected beam to
determine the distribution efficienc)
of a lamp's optical s\slcm as well as
the overall light output.

History of the Carbon Arc

In the earliest days of the motion
picture industry, a light source was
coupled to a projector for "screen
projection for an audience of main
people." The initial light source used
a block of calcite. hut it was soon
replaced by the carhon arc. Through
the years, technological advances in
the art of motion picture production
brought developments such as "talk-
ie-."' adding a sound tract to film and
creating problems both of quiet studio
lamps and of silent projection. The
advent of color film increased film
density, calling for a source of light
to illuminate a scene and project an
image through film with onlj one-
tenth the speed of black-and-white
film, while matching the color balance
of the sun. Drive-in theatres were
built with beam throws more than
MO feet long, and wide-screen sys-
tems increased lateral dimensions to
as much as 150 feet. Even with all
projected light passing through an
aperature the size of a postage stamp,
the high levels of screen brilliance
were made possible by the carbon arc
meeting these and other challenges. IP

Projectionist Develops
New Device for
Carbon-Saving

NEVA l ORK — The Master carbon
saver has been developed by an IA
projectionist "who spent 50 years in
a projection booth." Distributed by
Master Specialty Products. 200 West
72nd St., New York 23. N. Y.. the
carbon saver is also available at the-

atre supply dealers.

Decreasing present projection cost
by decreasing carbon waste with the
Master saver is claimed, allowing the
projectionist to "relax with freedom
from fear of show interruption or
arc disturbance."

The carbon saver is made of high
grade heat-resistant steel, contain-
ing no springs, screws, bolts, nuts or
carbon grinding, the manufacturer
states. The carbon is tapped into the
carbon saver by "precision taper."

The carbon saver is made for

Suprex non-rotating arc lamps and
also for the rotating type, designed to
feed itself into the positive contacts.
The Master carbon saver is available
for delivery on the Strong high in-
tensity rotating. Ashcraft Super Pow-
er rotating, Super Cinex, Core-Lite
and Peerless Hy-Candescent rotating
arc lamp. Suprex universal non-
rotating type for high intensity.
Sizes 6. 7. o. 9mm for the Suprex
type and 10, 11, 13.6 for the rotating
lamp. S3. 50 each: 13.6mm. $4.50
each. iP

£ *

HIGHEST

SPEED

IN PROJECTION

Kollmorgen lenses rate tops in the motion
picture industry. Used exclusively with
Cinerama, they are standard equipment
in more than 707c of American theaters.
High light uniformity and less light loss
on the screen — the whole screen — are typ-
ical of the outstanding performance of
super snaplite" lenses.

Other advantages that add up to supe-
rior screening with super snaplite are:

Wire sharp contrast
Uniform illumination
Crystal clarity

Wide range of focal lengths
Sealed construction

Bulletin 222 describes Kollmorgen
lenses in detail. See your equip-
ment dealer, or write us direct.

CORPORATION

NORTHAMPTON, MASSACHUSETTS

International Projectionist August, 1963

13

THE V.F

^SOPE*

REG.U.S.PAT.OFF.

IN PROJECTOR PARTS

YES, the Very Finest in Projector Parts for
over 50 years. The ultimate in precision, long-
life and dependability. Available through your
Theatre Equipment Dealer.

How electrical noise is produced • . .
calculated . . . measured . . • controlled

Here are the basic facts about electrical noise — how it originates
in circuits . . . what terms describe it . . . how to measure it . . .
how to design circuits to minimize its undesirable effects. The
physical nature of the various sources of noise are clearly de-
scribed, including such sources as thermal agitation or resistance
noise . . . shot noise in vacuum tubes and semiconductor junctions
. . . noise from spontaneous emission of electromagnetic radiation
. . . and noise in gas discharges. This practical book also explains
auxiliary mathematical techniques, and discusses the relation of
signal and noise in various types of communication systems. For
ease in use, the simple tuned circuit associated with a device for
measuring average power is made the basic tool for analyzing
noise.

ELECTRICAL

270 pages, 6x9
105 illustrations
$10.00

By WILLIAM R. BENNETT

Data Communications Consultant, Bell Telephone Laboratories, Inc.

Each chapter in this helpful book begins in
a simple, practical manner and works toward
more complicated examples. For example, prop-
erties of thermal noise and its relation to black-
body radiation are deduced from basic laws
of thermodynamics and statistical mechanics.
You also will find a clear treatment of elemen-
tary quantum mechanics in discussions of the
maser and of noise in semiconductors. And, in
describing noise properties of various devices,
the book fills in your working background with
basic facts on junction diodes — transistors —
gas discharge tubes— klystrons— traveling wave
amplifiers— and others. Both independent and
dependent noise sources are analyzed.

In addition to the standard theory of noise
figure and its significance, a treatment is given
of the more comprehensive Haus-Adler theory
of noise measure. Throughout, the book stresses
the universality of noise-like phenomena. Noise
formulas for diodes and transistors; noise gen-
eration to meet specifications; design of ampli-
fiers for minimum noise effects— these and many
other topics "are covered. A comprehensive re-
view of noise in the various methods of signal
transmission such as amplitude modulation . . .
frequency modulation . . . and the different
lands of pulse modulation is included.

14

CONTENTS

1. General Properties of Noise

2. Thermal Noise

3. Distribution of Magnitudes in Noise Sources

4. Noise in Vacuum Tubes

5. Noise in Semiconductors

6. Noise in Electromagnetic Radiation

7. Noise-generating Equipment

8. Noise Measurements and Techniques

9. Design of Low-noise Equipment

10. Application of Fourier Analysis to Noise
Problems

11. Noise in Communication Systems

S INTERNATIONAL PROJECTIONIST

| Post Office Box 6174

! Minneapolis 24, Minnesota

Please send me a copy of "Electrical Noise"
by William R. Bennett. (1 enclose $10.00.)

NATIONAL CARBON

from page 8

plane. We spent a very pleasant and
educational two days inspecting de-
velopment and research laboratories.

This was the first tour of arc car-
bon production and processing tech-
niques ever extended to the motion
picture press. To this reporter the re-
velation was a very illuminating ex-
perience, and I, who has spent the
greatest part of my career in the mo-
tion picture trade press industry, feel
I have learned a great deal by it.

Basic research and work on the
physics of carbon arc as a light
source has become a "perfect science"
with National Carbon Co.'s techni-
cal staff in Fostoria and Parma. In
addition about 1,000 plant workers
in the actual processing steps of mak-
ing a studio or theatre arc carbon
there are over 350 scientists engaged
in research and development in the
U. S. operation alone. Several other
plants and laboratories in other
parts of the country and overseas are
engaged in various other by-product
activities. In fact, Union Carbide
Corp. and its many subsidiaries, in-
cluding the international division,
represent an operation employing
nearly 150,000 people world wide.
About 10% of this figure is engaged
in arc carbon product activities used
extensively in motion picture studios,
laboratories, and theatres and by the
photographic industry.

American "Know-How"

Is it any wonder then, that the mo-
tion picture public today looks to the
American "know-how" of American
motion picture product manufacturers
to supply the best possible technical
results in their screen attractions. As
Bill Cosby, our co-host stated: "Ever
since the motion picture industry's
inception. National Carbon has been
a leading supplier of arc carbons,
and through the years it has played
a major role in the advancement of

National Carbon Co.

Production Personnel

C. E. Stollenmeyer, District Works Manager
J. G. Kemp, Head, Product and Processes

Control Laboratory
M. J. Scharf, Assistant Head, P and P Con-
trol Laboratory
R. F. Burden, Group Head, Control Engineering
L. E. Wentzke, Assistant Plant Manager, Pro-
duction

Development' Personnel

Dr. W. J. Spry, Development Manager, Fos-
toria Laboratory

E. L. Piper, Division Manager for Product
Development

W. R. Lauzau, Development Leader

Research Personnel

J. C. Bowman, Director of Research
Dr. W. W. Lozier Assistant to the Director
of Research

International Projectionist August, 7963

"

quality motion picture projection."

Of all the products used in the op-
eration of a motion picture theatre,
projection carbons are perhaps the
most complex and least understood
b\ the average exhibitor. In fact he
often is reluctant to spend a feu
more cents for quality when it could
mean the difference in a "perfect pic-
ture on the screen" and one that just
misses.

Many times the proper size trim,
along with the correct projection
equipment can spell the difference
between a successful theatre opera-
tion and one which is never profit-
able. After all. good carbons cost very
little more than paper towels, and
while both are necessary to theatre
maintenance, you can never project
a picture with paper towels. No mat-
ter how much a picture has cost to
produce nor how perfect its photo-
graphic technique it must always be
projected through an amperture that
needs the finest steady screen illumi-
nation to reproduce all that went into
the production. And with more color
being utilized toda\ we need to pro-
ject more light on a larger screen.

Only the best will create the desire
of people to go back into any mo-
tion picture theatre. Think, more
about this. Mr. Theatre- owner, and
then listen a bit more to the expert
advice of your projectionist when
he suggests what to do "up in your
booth."" I wish you could have been
with me on this tour for you would
have been convinced that it pavs
to put "a better lighted picture" on
vour screen.

Inspection Tour Pictured

Elsewhere in this issue we report
the inspection tour with photographs
and the storv of how carbons are
made. A list of those who are in
charge of the National Carbon devel-

opments and research and their tech-
nical backgrounds is being printed
w ith this report.

Any authorized theatre equipment
supplier with whom you deal on pro-
jection carbons can contact the Na-
tional Carbon Company sales engi-
neer in vour area whenever a screen
illumination problem arises in your
theatre. The man with the modern
test devices kit is always ready and
willing to be of service to vou. iP

Use of 8mm Sound
On Upswing, Film
Group Reports

Use of small forma! (8mm) sound
motion pictures by business, industry
a nd t'd unit ion appears to be on the
upsurge.

A committee of 24 engineers and
management personnel representing:
'notion picture equipment manufac-
turers and users observed that in
many quarters there is a substantial
commitment to the present 8mm
sound format. This commitment Kill
probably continue and grow in the
\tiirs ahead to meet many customer
needs.

"Th<' committee discussed the
background from which its work is
to be done, and we agreed that the
work must stem from the present
standardized 8mm system with mag-
netic sound record. Important com-
mitments have been made to this sys-
icm and undoubtedly will continue
to be made in the years ahead. It
is serving many customer needs to-
day, and the committee believes that
it uill continue to serve such needs
in the years ahead." Prof. Louis
I orsdale. chairman of the SMPTE
engineering committee, reported.

(Please turn to page 18)

n

WHY WASTE CARBONS?

Use The "Master Saver Device

Reduce your projection carbon cost by adopting the MASTER
CARBON SAVER (designed by a pioneer IATSE projectionist.)
The only simple and accurate saver on the market with no
springs, screws, nuts and bolts and requires no carbon grind-
ing. Each carbon held by "Precision Taper" after stub is easily
tapped into saver. There is a "MASTER" saver for every type of
Suprex non-rotating or rotating arc lamp. Now being used by
hundreds of theatres on STRONG. ASHCRAFT. PEERLESS, etc.;
sizes 6-7-8-9-10-llmm. S3. 50 each: 13.6mm. 84.50 each.

SOLD BY YOUR LOCAL SUPPLY DEALER

Manufactured by

MASTER SPECIALTY PRODUCTS

200 Wesr 72nd St., New York 23, N. Y.

Specialists in Light Projection

CARBONS, inc.

through
division

PRESENT THEIR NEW

employing the compact Xenon Arc!

featuring

^/jtmON LAMPHOUSES

by Cinemeccanica of Milan, Italy,
leading motion picture equipment mfgrs.

y^tinOfS POWER SUPPLIES

by Christie Electric Corp., makers of
the finest power supply units.

XeTRON 900/1600/
2500 Lamphouse
complete with . .
associated optics,
heat transmitting,
hard front-coated
16" reflector, auxiliary
mirrors and starting
devices.

XETRON lamphouse with

450 watt bulb. Equipped

with 5" reflector and

diffuser. Replaces 750-

1,000 watt incandescent

lamps and provides three

times the light flow with

Kevin temperature,

similar to hi intensity

carbon arc.

XeTRON Silicon Power
Supply by Christie
Electric Corp.
Full Warranty for
Xenon compact arc
bulbs 10B expected
from Xetron Power
Supplies by Christie
Electric Corp.

International Projectionist August, 1963

Literature on Request
Franchise Dealerships Available

division of CARBONS, Inc. Boonton, N.J.

15

European movie goers are being
treated to a new "avant-garde" mo-
tion picture technique in which live
actors play their roles side-by-side
with their own or other actors' filmed
images. It's of interest to the IA and
projectionists generally because it
shows how far their craft might pro-
gress in the years to come.

Fred Warendorp, projectionist, is shown with the two Strong Constellation projec-
tion arc lamps and two Strong Trouper carbon arc follow spotlights installed
in the new Mai Kai ("The World's Most Beautiful Theatre in Livonia") which
opened recently in the Detroit suburb at Plymouth and Farmington Roads. Stage
attractions and orchestra, as well as the screen-fare, were featured in advertising,
as was the "giant screen" and direct radio broadcasts. Literature on this type of
equipment will be sent to any reader addressing The Strong Electric Corp., 31
City Park Ave., Toledo 1, Ohio.

New Motion Picture Technique May Bring
Complex Developments for Projectionists

Frantisek Pilat. Czechoslovak Film
Corp., Praha, Czechoslovakia, has de-
scribed "Magic Lantern" ("Laterna
Magica" ) , a new art entertainment
form in which, for example, a living
ballet dancer might dance with a
film partner. According to Pilat, the
actor's action is "inseparably com-
bined with the motion picture," giv-
ing the impression that both are live
performers.

Pilat also described "Poiyecran,"
another new art form, which involves
simultaneous exposure to the viewer
of eight screens, each carrying a dif-
ferent image tied in with the central
theme of the artistic presentation.

According to Pilat, "The new tech-
nology of wide-angle and panoramic
motion pictures renders it impossible
for the artists to use a quick compo-
sition of shots, large close-ups or
rapid panning movements of the
camera, ie, to take advantage of the
principal and specific means of mo-
tion picture art. Experience has
shown, that the more the spectator is
surrounded by the projection screen,
the narrower is the choice of drama-
tic material, which can be reproduced
with the aid of these new technical
devices.

ASHCRAFT

CORE-LIGHT

SUPER CINEX

CINEX SPECIAL

PROJECTION LAMPS

And

HIGH RECTANCE

MULTI-PHASE

RECTIFIERS

World's Standard of
Projection Excellence

"In order to eliminate these dis-
advantages of wide-angle motion pic-
tures, extensive experiments have been
carried out by artists and technicians
in Czechoslovakia in an effort to cre-
ate a new type of film show by means
of a simultaneous projection system
employing projection screens, which,
though variously arranged in space,
are in direct connection with one
another.

"The screens are of different size
and differently inclined towards one
another. On to those screens the pic-
ture from the film projectors or slide
projectors is projected. The picture is
accompanied by sound, which is re-
produced over loudspeakers placed
behind the various screens and also
over loudspeakers suitably accommo-
dated in the auditorium. The project-
ed picture, which completely fills the
spectator's field of view, creates inter-
related impressions and their synthe-
sis produces in the spectator's brain
a unified image.

"To suit the action shown, one
screen only is sometimes projected
upon, the action spreading later grad-
ually to further screens. At other oc-
casions identical pictures are shown
on several screens; sometimes the
overall picture is on the main screen
and the closeups on the flanking
screens; black-and-white film is com-
bined with colored film, static pro-
jection with film projection, etc.

"Numerous shows produced for
'Poiyecran' have proved that it is an
unusually adaptable means of expres-
sion for a new form of motion pic-
ture art. It has also been proved that
the spectators, who number more than
two million so far, have no difficul-
ties in grasping the artist's aims and
the structure of the action or story,
even if it proceeds on a plurality of
screens simultaneously." if?

PROJECTIONISTS
PREFER

ETHYLOID

Film Cement- For
BEST RESULTS

Available from
Supply dealers

FISHER MFG. CO.

1185 Mr. Read Blvd.
Rochester, N.Y.

16

International Projectionist August, 1963

New Screen Design Developments
Allow Brighter, Cleaner Projection

Motion picture screens are better
tiuia\ than e\er before in the history
of the theatre. Not onI\ has the re-
Hecting surface been made brighter
but with an increase in gain it has
been possible to greatl) improve side
viewing conditions. Pearlescent pig-
ments are responsible for increased
efficiency. These pigments have been
a\ailable in artificial form for main.
many \ears and now there is avail-
able to manufacturers a natural pearl
essence of unusual]] high purity. The
lustre of this natural pearl surface
not only increases initial brightness
gained but the optical performance at
wide viewing angles is of a high
standard. The unique orientation of
the pigments in the plastic mix ac-
( omits for this.

Also available on the market today
is a surface that has anti-static quali-
ties and which is claimed to repel the
attraction of dust. The industry has
recognized the dust problem for a
long time. Even with the protection
of a screen curtain, the picture image
is nevertheless exposed all during op-
erating hours to a large volume of air
in motion. Dust-laden atmosphere ac-
counts for an a\erage light loss of 10
to 15 percent each year. This, togeth-
er with normal oxidation, accounts
fur regular deterioration of the re-
flecting surface. Now. for the first
time, the dust problem can be mater-
ially reduced and the efficiency of the
reflecting surface maintained for a
longer time.

Screen Brighreners

Projectionists everywhere have read
with great interest the report of the
Motion Picture Research Council on
the problems of screen brightness in
outdoor theatres. The fact that their
investigation showed some 57' . of all
drive-in theatres surveyed had center
screen brightness levels under three
foot lamberts comes as no surprise.
Indoor standards are 9 to 14 foot
lamberts of reflected light, leaving
most drive-in screens far short of
what is considered a satisfactory level.

There are. however, one or two
compensating factors which must be
taken into consideration. Firstlv. vis-
ual acuity, which in simple terms is

the ability of the human eye to per-
ceive detail, increases as the size of
the picture image increases. There-
fore, the very large size of modern
drive-ins is in itself a great help to
the eye even though light is lacking.
W hat is known as a satisfactory pic-
ture is the result — satisfactory in the
sense that the public accepts the pre-
sentation without complaint. This
should not deter any one from tr\ ing
to improve a situation that definitely
needs improvement.

Secondly, the usual combination of
arc light and a reflecting surface that
creates light that is predominantly in
the yellow-while part of the spectrum
enables the human eye to respond
well. Hard) and Perrin in their
" Principles of Optics" show that the
response curve of the eye is greatest
<n that portion of the spectrum be-
tween green and yellow. This means
that the threshold of \ ision is greater
in this area than it is say, for blue or
red. It should be clear at this point
that a properl) designed reflecting
surface i> <>l tin- greatest impor-
tance. Fortunately, a pure while sur-
face is perfect although it- brightness
gain leaves a lot to he desired. How-
ever, combining available reflecting
surface with modern light sources
permits the average drive-in in gel
li\. This is real!) not enough. Effort
is constantly being expended by
man) in the industry to improve the
situation.

So far. reflecting surfaces of high-
er gain have made some progress but
the problem requires a substantial
expenditure of monev . New surfaces
have been plannd but man) cannot
lick the problem of weathering, nor-
mal expansion and contraction and
screen surfacings that are not uni-
formly applied and in perfect align-
ment, panel to panel, from side to
side and from top to bottom. Apply-
ing higher gain panels on top of
existing surfaces will, in most cases,
make the new panels appear like a
mosaic, simply because they cannot
be perfectly aligned.

The most commonly used surface
application is still white projection
paint because of its comparative ease

BRIGHTER LIGHT
LONGER BURNING
SHARPER PICTURE
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of application and its reasonable cost.
It can also be removed without too
much difficulty when complete re-
treatment is necessary. Until some-
thing practical comes along the drive-
in exhibitor should look to the fol-
lowing: An adequate light source. An
efficient optical system. Proper selec-
tion of apeiture size. A clean and
well maintained screen surface.
Equipment to do a good job is read-
ily available and supply dealers are
prepared to improve conditions with
the exhibitors desire to do so. iP

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headquarters

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theatre equipment

supplies

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International Projectionist August, 1963

17

PROJECTOR
CARBONS

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8mm Sound

Other evidence was offered at the
convention in support of the present
format, which is basically the same
as the long-time accepted configura-
tions for amateur 8mm film. These
findings include:

1. SMPTE revealed that the Amer-
ican Standards Assn. has ac-
cepted and will sponsor a
society-written standard for 8-
mm sound film based upon the
present widely accepted config-
urations.

2. A spokesman for the Fairchild
Camera and Instrument Corp.,
one of the major domestic man-
ufacturers of 8mm sound pro-
jectors, estimated that there are
perhaps as many as 10,000
8mm sound projectors now in
use.

3. Eyre Branch, of Noel Enterpris-
es, Hartsdale, N. Y ., reported
in the findings of a survey he
conducted for the society that
there are presently 13 process-
ing laboratories and 10 motion
picture distributors in this coun-
try handling 8mm sound. One
of these, the George Colburn
Laboratory, Chicago, was re-
ported to have nearly 60 clients
using 8mm sound film. Colburn
has processed and printed near-
ly 300 subjects for 8mm sound
release. Typically, these films

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(or working on speaker post after dark . . . com-
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Phillips head and two No. 135 batteries, $3.35
each.

LOU WALTERS

Sales and Service Co.

4207 Lawnview Ave., Dallas 27, Texas
Phone EV 8-1550

Post paid when check is sent with order.

INTERNATIONAL PROJECTIONIST

Post Office Box 6174
Minneapolis 24, Minnesota

□ 1 year (12) issues — $3.00

□ 2 years (24) issues — $5.00

FOREIGN: Add $1.00 per year

Enter my subscription for

Name

Address

City

Zone State

from page 15

run from 10 to 15 minutes.
Print orders have varied, with
the smallest order for a single
print and the largest for 1,266.
Subject matter has similarly
been varied, ranging from "how
to bowl better" to "why to buy
our bulldozer."

4. Several exhibits set up by man-
ufacturers of lightweight, rear
screen 8mm sound projectors
demonstrated a wide variety of
films, ranging from selling
computers to training new car
dealers in sales techniques.
These exhibits drew wide atten-
tion and favorable comment.

5. Much of the conversation about
8 mm sound film centered
around its extremely successful
utilization by the Do-All Co.
and the Ford Motor Co. Do- All
a manufacturer of industrial
machine tools, has more than
100 8mm sound projectors in
the field with its sales repre-
sentatives. The company has a
special carrying case for the
projector and the 23 product
films they have produced. Sales-
men can carry these dramatic
illustrations of all their prod-
ucts on every call. Furthermore,
films can be projected in nor-
mal room light on a screen set
up right on the buyer's desk.

Ford has set up 1,000 rear
screen 8mm sound projectors
in dealer showrooms across the
country. They supply dealers
with periodic motion pictures
of then new lines of automo-
biles. These films are often
used in sales training as well
as in direct sales.
The many technical sessions dedi-
cated to discussions of small format
films drew probably the largest and
most vocal response from SMPTE
convention delegates. iP

MONTHLY CHAT

(Continued from Page 3)

out to be a "must see picture, where
the exhibitor can advertise he's "got
it."

It takes a lot more to make theatre
a profitable enterprise. Waiting for
the "must see" picture the theatre
owner could go broke.

So we suggest what we said be-
fore in this Monthly Chat. Give the
projectionist crew the working tools
to give high standard screen presen-
tations and give a try to Booth Show-
manship of which your craftsmen are
willing and able to give. iP

18

International Projectionist August, 1963

» AUTHORITATIVE
» COMPREHENSIVE

»

PRACTICAL

Acclaimed by leading technicians in
the industry as the most comprehen-
sive and down-to-earth handbook pub-
lished to date on the subject of motion
picture projection. Ideally suited for
study and reference by your opera-
tors.

ROBERT A. MITCHELL'S

MANUAL OF PRACTICAL PROJECTION

HANDY 51/2" x 81 2" SIZE — 450 PAGES — ILLUSTRATED — CROSS INDEXED FOR EASY REFERENCE

* Here is one of the most help-
ful works ever published for
the motion picture projection-
ist. A handsomely bound and
profusely illustrated compila-
tion of the BEST of the Robert
A. Mitchell articles that have
appeared in "International
Projectionis t," revised,
brought up to date.

* The author covers clearly
and thoroughly every aspect of
motion picture projection, pre-
senting his material in easily
understood language — not too
technical, yet technically ac-
curate. The Manual is divided
in 8 sections and contains 30
chapters — a valuable refer-
ence work no progressive pro-
jectionist should be without.

!

SECTION HEADINGS

(1) 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 * USE THIS HANDY FORM

INTERNATIONAL PROJECTIONIST
Post Office Box 6)74
Minneapolis 24, Minnesota

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

1 J.

NEW PRICE
$700

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per copy
including postage

^USSCREEN YOURS

Only 1 in 20 Drive-Ins, {perhaps your competitor) has even the minimum
screen illumination (4.5 foot lamberts at the center of the screen with a stand-
ard width aperture and the shutter running, measured from a midpoint on
the ramp center line), recommended by The Society of Motion Picture &. Tele-
vision Engineers.

Which of these projection lamps will properly illuminate YOUR screen?

Here's a guide:
PICTURE WIDTH

50 FOOT

60 FOOT

70 FOOT

PROJECTION ARC

J.4" REFLECTOR— G5 AMPERES.

80 FOOT.
90 FOOT.

.18" REFLECTOR— 11 IVIM LOW CURRENT RANGE.

.18" REFLECTOR— 11 MM HI CURRENT RANGE OR
13.6 MM LOW CURRENT RANGE.

.18'' REFLECTOR— 13.6 MM HI CURRENT RANGE.

.21" REFLECTOR— BLOWN ARC LOW RANGE.

100 FOOT AND UP.

.21" REFLECTOR— BLOWN ARC HI RANGE.

IF YOU'RE FED UP —

with a dismal boxoffice, brighten it up by brightening up your screen. The
theatres with inadequate screen lighting are the theatres with the anemic
boxoffices.

Strong's complete line of lamps, includes one which will project the brighter,
patron-pleasing pictures in your theatre. Discuss your needs with your equip-
ment dealer now.

FOR LITERATURE WRITE—

THE

ELECTRIC CORPORATION

31 CITY PARK AVENUE

TOLEDO 1, OHIO

A SUBSIDIARY OF GENERAL PRECISION EQUIPMENT CORPORATION

NEW PROJECTOR
DEVELOPMENTS

The Drive-In

Theatre

Revolution

&

to

G

*-. c

I0 3

An example of the increased use of Xenon projection lamps by insti-
tutions of learning is that of the recent installation of a Strong 1 600-watt
lamp in Spaulding Auditorium of the new Hopkins Center, Dartmouth Col-
lege, Hanover, N. H., where it is used on a Hortson projector. Shown with
the Hortson 16mm projector, which has 5000-foot reels and magazines, is
Paul Layton. Also shown in the booth are two 35mm projectors with carbon
arc lamps. *

SEPTEMBER
VOLUME 38

40c A COPY

1963
NUMBER 9

$3.00 A YEAR

Volume 38

INTERNATIONAL PROJECTIONIST

September, 1963

GLAMOURIZING THE SCREEN

PART 1

ies Plus Glamour Equals Good Business!

By ROBERT A. MITCHELL

There is more to a theatre screen than its obvious phys-
ical function of reflecting the projected picture to the
eyes of the audience! The side of a white barn would be
adequate for the projection of pictures if flat, bright, and
free from blemish : indeed, it might well be a better screen
and give a better-looking picture than is possible with the
yellowed, seam-streaked, vandal-dented curved aluminum
screens still retained in the Opera Houses and Bijous of
a few back-woods towns! It goes without saying that a
motion-picture screen should be physically satisfactory.
But to be "good theatre" it must be more than just flat,
bright, and unsoiled.

Two aspect ratios only are needed today for 35-mm
and 70-mm film presentations. These are 2.35/1 or (2/1)
for CinemaScope and 70-mm, and 1.75/1 for standard
non-anamorphic 35-mm prints. The advantages of the
1.75/1 aspect ration for regular prints are now so well
established that there is no need to consider using any
other.

The screen of an indoor theatre, unlike the side of
a white barn or a drive-in screen, should have a distinctly
theatrical setting in the midst of glamorous and color-
fully beautiful stage appointments. Why? Beauty stimu-
lates the imagination, and thus enhances the dramatic
effect of the motion-picture attractions, which have also
been created to stimulate the imagination. The moviegoer
must be made to feel that the screen is not merely a white
surface upon which patterns of light are thrown, but a
sort of "window" through which a fascinating world of
make-believe is seen and experienced. But first a few
basic technical details which must be kept in mind.

It is now generally agreed that good projection re-
sults are obtainable only when the screen is matte white
or pearl-coated (aluminum surfaces only for unusually
Ions;, narrow auditoriums ) . and is stretched perfectly flat
without curvature in any direction.

Cinerama and other special processes specifically de-
signed for a substantial amount of screen curvature are
accepted, of course : but the picture - distorting curved
screen, ill-advisedly forced upon exhibitors when the ana-
morphic widescreen process was introduced, is definitely
tabu in theatres showing regular film releases, standard
or anamorphic, 35-mm or 70-mm. Curved screens have
no effect whatever upon "depth perception." and actually
do nothing except spoil the appearance of the picture.

Two Aspect Ratios Only

The "battle of the aspect ratios" which began in full
fury with the inception of panoramic movies in 1953 has
now all but abated. The old 4:3-proportioned screen (an
aperture-plate aspect ratio of 1.375/1) is practically out
of the running for theatre use. Television uses it. and is
welcome to it ! It is too nearly square in shape for theatre

International Projectionist September, 1963

Chicago is famous for its beautiful theatres, among
irhich are the Avalon, Chicago, and Capitol. Here is the
truly gorgeous auditorium of the Capitol photographed
in the days of the old conventional 1 .375/] ratio.

lovies, ami i> distinct!) unsatisfactor) to patrons who
ave become accustomed to a more panoramic vista on
he giant theatre Bcreen.

I he standard non-anamorphic ISS-nim print gives the
dosI pleasing picture at an aspect ratio of 1.75 1. using
m aperture which measures 0.825 \ 0.171 inch. This
>pinion is strong!) backed l>\ the thousands of projec-
ionists who arc alread) using the 1.75 1 ratio, and b)
lozens of producers who advocate it > use for their m>n-
inamorphic 35-mm relea>es. K\en th<' older pictures, ic-
eleased from time to time, look better with tin- aspect
atio!

The 1.75 1 aspect ratio is wide enough to impart a
panoramic visual impression, and yet sufficientl) "con-
lervative" to preserve good photographic acutance with-
out excessive graininess. undue magnification of picture
unsteadiness, loss of light, or loss of contrast. The higher
aspect ratios formerly used in man) theatres for standard
jrints — ratios as high as 1.85 1 and even 2/1 — are going
he way of the picture-ruining curved screen. To state
he matter bluntly, a non anamorphic 35-mm picture
ooks like hell at 2 1 !

Even CinemaScope. itself, has undergone a reduction
in aspect ratio. Originally 2.55 1. the addition of an op-
tical soundtrack to the magnetic-track C Scope print has
reduced the ratio to 2.35 1. But even this is pretty big.
and just about right for Technicolor epics featuring mobs
of sword-wielding warriors and throngs of bosomy danc-
ing-girls undulating in clouds of pink smoke.

Some theatres, however, are physically unable to ac-
commodate the full CinemaScope aspect ratio of 2.35/1.
'The lower ratio of 2 1 must be used. This is not too bad:
but wherever possible, the full ratio should be used in
order to reproduce on the screen the visual composition
planned by the director and captured on film by the
cinematographer.

Aim for a Constant Picture Height!

The modern indoor-theatre screen, then, should be
flat, white or pearl-surfaced, free from visible seams.

International Projectionist September, 1963

blemishes, and streaks of dirt, and capable of receiving
two projected aspect ratios, nameh . 2..15 I lor 2/1) for
CinemaScope anamorphic prints and 1.75/1 for standard
non-anamorphic prints. No other ratios should be used
— these two are best.

II 70-mm prints are also shown, the CinemaScope as-
pect ratio should be used for these, the 70-mm projector
apertures being proportioned accordingly (that is, for
either 2.35/1 or 2/1, whichever is used for C'Scope).

Now, here is something we consider very important.
The proper lens focal lengths should be chosen to main-
tain <i constant vertical dimension of the projected pic-
lures. The standard 1.75/1 non-anamorphic picture and
the CinemaScope 2.35/1 anamorphic picture should both
have exactly the same aperture image height on the screen.
The overall visual effect is good this way, and the need
for movable top and bottom masking battens is thereby
eliminated.

With a CinemaScope aspect ratio of either 2.35/1 or
2 1. and a standard-film aspect ratio of 1.75/1, the
C'Scope prime lens should have a focal length (E.F.)
1.518 times that of the 1.75/1 standard-print lens, or as
close as you can come to this with the usual ^-inch lens
E. F. increments. Or, to state the matter conversely, the
E. F. of the 1.75/1 standard-print lens should be 0.6587
times that of the C'Scope prime lens — again, as close as
you can come.

It is comforting to realize that, even though the total
screen light on a 1.75/1-ratio non-anamorphic picture is
slightly less than on a C'Scope picture, the quality of the
image is approximately the same — Sometimes better and
sometimes worse, depending upon the photographic
sharpness of the original negatives, the quality and ad-
justment of the anamorphic lenses used for C'Scope pho-
tography and projection, etc. Indeed, theatre patrons
often have to look at the extreme sides of the picture, to
see how far out they extend, to be able to distinguish
standard from CinemaScope projection. And most patrons
simply have no interest in these minor technical matters:

The Future presents . -£ «-J ^j^D.C.
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WITH SCREENS UP TO 120 FEET

The oofica/ system maK*" ,he
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BIG 18-INCH FIRST SURFACE
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Silvered reflectors are provide
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Great ideas in projection lighting in-
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he Future Comes in Three Ratings:

» f="ljtljf=?a i For economy of operation with
I mm carbon trim burning at 75 to 105 amperes.

• futura je with automatic crater positioner for
3.6mm carbon trim burning at 120 to 160 amperes.

1 f^uTURA m with automatic crater positioner for
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Real vzfue fe*
been engineered
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* you tf *""* I

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is equipped -with an

AUTOMATIC CRATER POSITIONER

which maintains constant a white screen light of
3table intensity and color, evenly distributed over
the entire screen area. -A. single adjustment controls
both feeds and allo-ws tailoring of the burning rate
to the length of reels, permitting more efficient use
of carbons. The positive can be burned at from V to
20 inches per hour.

Send Today for Brochure

is without question the
most economical pro-
jection arc lamp for pro-
viding powerful screen
illumination with utmost
reliability. The standard
1 1mm carbon is burned
efficiently at 75-105
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70mm projection to re-
sult in the greatest
amount of light ever
delivered per carbon
dollar.

ELECTRIC OOFLZPOFL^TTOISr

OLED<

Projection Equipment
At Europe's Photokina

By R. Howard Cricks,
Hon. FBKS, FRPS

Photokina. Europe's vast photo-
graphic exhibition held every two or
three years at Cologne, Germany, is
primarily devoted to photography
and amateur cine. But there is quite
a lot of equipment of interest to the
film trade; besides odd pieces of
equipment in the general sections,
there was one hall, the farthest from
the entrance, containing only profes-
sional cine equipment.

If one is to go by the projectors
on show, the plain 35mm projector
is a back number. Every projector
firm showed a 70/35mm machine.
Most widely used in Great Britain
is the Philips; the Cinemeccanica is
making headway. Enormous ma-
chines were shown by Zeiss-Ikon.
Siemens, Bauer, FEDI and Pio Pion.

These machines differ chiefly in
the difficulty of conversion from 70-
mm to 35mm. In the simplest, all
that is needed is to change the gate
runners, but most need also a change
of the sprocket rollers. Some have a

three-lens turret, for wide-screen,
CinemaScope and 70mm respectively.

Most projectionists have forgotten
what excellent effects we used to get
on the Brenograph. A simple effects
device was shown by Herceg Skobla
of Vienna: a box like a shutter hous-
ing, containing sections of figured
glass rotated by a small motor, and
a hand-operated color wheel.

In Europe — more I believe than in
America — automation and remote
control are coming into use in the
cinema. The reason is simply the
shortage of skilled projectionists.

Pioneer system was Projectomatic
— ■ now handled by Rank Kalee; in
this, by inserting pegs into a rotat-
ing drum every aspect of the pro-
gram can be controlled completely
automatically — opening music,
screen curtains, house lights, starting
of the program, change-overs, right
up to the final shut-down.

An alternative I personally prefer
is remote control. From a console in
the auditorium the projectionist con-
trols the whole of his equipment; be-

CAN YOU MATCH
ONE OF THESE 3

TO YOUR SCREEN?

X-16 XENON ARC
PROJECTION LAMPS

900-watt model for screens up to 23 feet wide (matte— Cinemascope Aperture)

or 28 feet wide (high gain— Cinemascope Aperture)

1600-watt model for screens up to 29 feet wide (matte— Cinemascope Aperture)

or 36 feet wide (high gain— Cinemascope Aperture)

2500-watt model for screens up to 35 feet wide (matte— Cinemascope Aperture)

or 43 feet wide (high gain— Cinemascope Aperture)

• Steady, flickerless, pure white light is independent
of voltage variations of the power line supply.

• Extremely even distribution of light throughout the
total screen area.

• "Push-Button repeatability" of intensity and color
temperature.

• Excellent color film reproduction.

• Focus remains constant.

• Projects practically no heat to the film or aperture
plate. No cooling required.

• Cleanliness assures maximum life for the projector.

• Simple operation. No moving parts in the light
source.

• Maintenance and current costs are approximately
the same as for carbon and current costs for operat-
ing a carbon arc lamp of equivalent light output.

THE

Send for brochure. Demonstration in your theatre on request.

ELECTRIC CORPORATION

31 CITY PARK AVENUE

TOLEDO 1, OHIO

Philips FP20S projectors as installed
in the ABC Cinema, Croydon, Eng-
land. Identical in appearance are the
other two Philips projectors recently
introduced at the Photokina exposition,
FP22S and FP25S.

ing in the midst of his audience, he
can sense their reaction, making, I
am sure, for better showmanship.

Several firms showed both sys-
tems: Philips, Zeiss-Ikon, Siemens,
Bauer. A problem with such a sys-
tem, however, is the striking and con-
trol of the arc. Projectomatic makes
use of a metal pellet which is grip-
ped between the carbon tips, and
fuses when current is applied, strik-
ing the arc.

An alternative answer is to replace
the arc by a light source needing no
adjustment and the minimum of con-
trol. Increasingly used in the xenon
lamp, which Osram and Philips
showed in a range of sizes up to 2.5
kw — this is large enough for most
cinemas, I have my own preference
for the Philips pulsed discharge
lamp, to be discussed later.

Projectors are used nowadays not
only in cinemas, but for television.
Several firms showed machines adap-
ted for this purpose. Zeiss-Ikon, for
instance, showed the Ernemann ma-
chines fitted with a vidicon, and
geared to run at the European frame
rate of 25 frames per second. (In
America one doesn't realize how sim-
ple it is to run both film and TV at
25 frames, instead of having to con-
vert a film frequency of 24 frames
to a TV frequency of 30). For stu-
dio use the same machine was shown
fitted with a 300 ft. non - rewind
device.

But it was Philips of Holland
(Norelco to you) whose exhibit was
the most advanced. As usual, they
had a complete auditorium in which
to demonstrate the full range of their

10

International Projectionist September, 1963

The Philips Solo projector, demonstrated for the first time at Photokina.
The giant-size reels are transported on the dolly at the right On the left is the
console which controls the complete functioning of the machine.

cine equipment. Most of il centered
on the pulsed discharge lamp.

This tiny lamp — the size and
shape of a clinical thermometer —
in its original form consumes 800
watts, yet produces as much light as
a 2 k\\ arc. It flashes 3 times per
picture frame, instead of twice like
the ordinary shutter. A demonstra-
tion showed the practical value of
this. Two pictures were projected
side by side, lit to exactly the same
measured brightness of 27 foot-lam-
berts; on the left was an FP7 pro-
jector with arc. on the right the
FP20S with pulsed lamp. At this
high brightness le\el the arc-lit pic-
ture showed a very noticeable flicker,
which was completely absent from
the picture lit by discharge lamp.

The screen illumination from the
800-watt lamp is 500 lumens — low
b] I . S. standards, but adequate for
most of our theatres. Now introduced
is a more powerful lamp consuming
1000 watts: with an improved mir-
ror system this gives a screen illumi-
nation of 9000 lumens. We saw a
70mm film projected on a 40 ft.
screen, with excellent brightness. On
this large screen, and in a small au-
ditorium, the evenness of illumina-
tion from centre to edges was most
noticeable. iP

Three New Processes
To Be Demonstrated
For Large Screen

Three new large-screen color
processes are due for demonstration
soon: National Generals Talaria.
the Todd AO-Dimension ISO s\stem
ami color Kidephor.

Theatre Network Television held
a demonstration of color Kidephor.
a theatre closed circuit, the result of
years of development, at its techni-
cal center at Woodside. L. 1. The
demonstration was sponsored with
TNT l.\ CIBA Ltd.. involved in
Eidephor. and Philips of the Nether-
lands, which provides optical sys-
tems.

While the Eidephor demonstration
will be on a 12xl6-ft. screen, a TNT
spokesman said the process is in-
tended for large screen theatre TV.

Dimension 150 coupled with Todd
AO had another demonstration for
company executives in Santa Monica.
Calif., and an exhibitor demonstra-
tion there is being scheduled.

The General Electric Talaria sys-
tem, which will be used in the The-
atre-Vision Color closed circuit the-
atre network, is planned for demon-
stration shortly on the West Coast
and in New York. iP

ASHCRAFT

CORE-LIGHT

SUPER CINEX

CINEX SPECIAL

PROJECTION LAMPS

And

HIGH RECTANCE

MULTI-PHASE

RECTIFIERS

World's Standard of
Projection Excellence

PROJECTIONISTS
PREFER

ETHYLOID

Film Cement For
BEST RESULTS

Available from
Supply dealers

FISHER MFG. CO.

1185 Mr. Read Blvd.
Rochester, N.Y.

MODERNIZE
POWER UNITS

No burned contacts, cooler
operation, smoother current
with BE silicon rectifiers. A
model to replace any bulb
type.

One year guarantee

BROWN ELECTRONICS

1717 South St., ALLENTOWN, PA.

CARBON ARCS FOR THE FINEST PROJECTION . . . XENON COMPACT ARC

JtowtaUte Anc Ga>ibo*U

division
Brighter Light on Screen

• Longer Burning per Carbon

* More Economical ... /

CARBONS. INC.

eJTRON

division

riMfi/s LAMPHOUSES • Krimw POWER SUPPLIES

by Cinemeccanica by Christie

BOONTON. N. J.

International Projectionist September, 796.3

II

■khmmmbbmm

■; :tv5

New Strong Lamp said to be First

To Fill Needs of All

Indoor and Drive-ln Theatres

CURTAIN CONTROLS,
TRACKS and SPECIAL
OPERATING DEVICES

VALLEN, Inc. ■ )■

AKRON 4, OHIO

Norelco

projection
equipment

Available from

leading theatre supply

dealers

North American Philips Co., Inc.

Motion Picture Equipment Division
100 E. 42nd St., New York 17, N.Y.

What is said to be a new concept in
projection lighting equipment, the
first projection lamp to adequately
fill the 35mm and 70mm needs of
all indoor theatres with screens up
to 65 ft. and drive-ins with screens
up to 120 ft. has been announced by
the Strong Electric Corp. Known as
the Futura, this crisply sleek equip-
ment is not only beautiful in design
but encompasses, Strong officials say,
the most projection lighting develop-
ments ever assembled within one
lamphouse.

The optical system of this power-
ful direct current angle trim high
intensity arc has been designed to
match the requirements of all 35mm
and 70mm projectors. A single knob
moves the entire arc burning assem-
bly in relation to the reflector focal
point to make the change from 35 to
70mm or 70mm to 35mm projection.

A calibrated scale with reference
pointer permits precise reset of burn-
er focus once the 35mm and 70mm
positions are established. This sim-
plicity is exclusive with Strong.

The Futura comes in three ratings:
Futura I for economy of operation
with 11mm carbon trim burning at
75 to 105 amperes; the Futura II
with automatic crater positioner for
13.6mm carbon trim burning at 120
to 160 amperes; and the Futura II
with automatic crater positioner for
11mm carbon trim burning at 100
to 125 amperes.

Highly efficient utilization of the
standard economical 20-in. length
carbon insures more light per carbon
dollar, and permits projection of an
extra reel of 35 or 70mm films per
length of carbon.

A big 18-in. diameter first surface
Tuf-Cold reflector, developed by
strong and bearing a two year slid-
ing scale guarantee is provided for
use with those lamps burning at 95
amperes and above. Low aperture
temperature assures perfect projec-
tion without the film damage and
buckling which results in in-and-out
of focus. Silvered reflectors are pro-
vided with those lamps burning less
than 95 amperes. The mirror is inte-
gral with the rear lamphouse door
and swings completely out of the
way to facilitate retrimming, clean-
ing of the lamphouse, and mainten-
ance of the reflector.

A constant curtain of forced cool
air flows over both surfaces of the

reflector. This results in a uniform
temperature over the entire reflector
surface.

The self - contained centrifugal
blower ventilating system cools the
carbon feed mechanism and lamp
base. A jet of air is employed to sta-
bilize the arc.

For arc currents below 135 am-
peres a choice is offered of water
cooled silver contacts or heavy duty
long life air cooled positive carbon
contacts. For currents above 135 am-
peres, water cooled contacts are pro-
vided.

The Futura has a new type arc im-
ager system, redesigned to eliminate
parallax, and relocated for the full
convenience of the projectionist. Oth-
er features include a streamlined am-
meter for reading the current at the
arc, an automatic trimming light and
inside dowser system. Unit construc-
tion permits instant removal of the
various components for cleaning and
inspection.

The Futura is of streamlined de-
sign with a silhouette which is 25%
lower than other lamps of the same
class, permitting ready installation
in low-ceilinged projection rooms.

The Futura I is without question
the most economical projection arc
lamp for providing powerful screen
illumination with utmost reliability,
the manufacturer states. The stan-
dard 11mm carbon is burned effi-
ciently at 75 - 105 amperes for both
35 and 70mm projection, to result in
the greatest amount of light ever de-
livered per carbon dollar.

The Futura II is equipped with an
automatic crater positioner which op-
erates over the complete range of the
lamp. Once the burner has been fo-
cused to the reflector a constant
white screen light of stable intensity
and color, evenly distributed over the
entire screen area, is automatically
maintained. Spot focusing never dis-
turbs the equilibrium of the arc since
the electrode spacing is not disturbed.
The correct position of the positive
crater is automatically controlled by
a sensing element which governs the
speeds of the separate positive and
negative Bodine geared head motors,
advancing the carbons as consumed
to maintain a uniform gap length.
A single manual adjustment controls
both carbon feeds and readily allows
the burning rate to be tailored to the
length of the reels so as to permit
most efficient use of carbons. The

12

International Projectionist September, 1963

THE FUTURA

positive can be burned at from 7 to
20 inches per hour as desired.

The use of a single Bi-Powr sili-
con stack transformer-rectifier is re-
commended as an ideal power suppl)
for two Futura lamps.

I iterature on the new futura will
be sent to anyone addressing a re-
quest to the Strong Electric Corp..
31 Cit\ Park Vvenue, Toledo I, Ohio.

iP

Cinerama Develops
Non-Louvered Screen

Cinerama has disclosed it is de-
veloping a new screen to eliminate
the present louver system. The new
development is planned for intro-
duction in theatres after the current
conversion to the new single lens
process is completed.

The new screen will cover the same
large viewing angle as the wide,
multi-louvered screen now in use,
but invisible miniature ribs will re-
place the louvers as part of a smooth
surface. The present Cinerama screen
characteristics will be maintained,
but with increased efficiency, the de-
velopers claim.

iP

New 16mm Projector
Uses Xenon Arc

A new light source for 16mm mo-
tion picture projection, a Xenon arc.
has been announced by the Strong
Electric Corp.

Known as the Strong X-16. the
lamo is adaptable to such projectors
as Eastman arc and incandescent.
Norelco. Hortson. Bell and Howell.
Victor. RCA. and Ampro. The li<rht
source utilizes tungsten electrodes to
provide an arc in a Xenon gas atmos-
phere, totallv enclosed in a quartz
envelope. It has the advantages of
providing a steadv. flickerless. pure
white light source with no discolor-
ation and with extremelv even distri-

bution of light over the total screen
area. The spectral composition of the
Light, which is unaffected b\ voltage
variations of the power line supply,
results in excellent reproduction of
color films.

The equipment, once aligned and
focused, needs no further adjust-

ment. No moving parts are employed
in the light source and no special
cooling is required.

Four models are available: 150.
900, 1600 and 2500 watt. The igniter
is built into the lamphouse and pro-
vides the proper starting or ignition
voltage. The associated silicon diode
transformer- rectifier is specially de-
signed to provide the exact current
characteristic and regulation capa-

bility for optimum operation of the
light source.

Literature on the X-16 can be ob-
tained by addressing a request to
the Strong Electric Corp, 31 City
Park Avenue. Toledo 1, Ohio.

iP

Wilschke Joins EPRAD;
Pioneer Sound Engineer

Elmer O. Wilschke, a pioneer in
the motion picture industry has
joined EPRAD. Inc.. Toledo, Ohio
manufacturer of communication,
sound, heating and electronic equip-
ment for theatres, hospitals and
restaurants according to EPRAD
president Al Boudouris.

Wilschke, one of the original ERPI
engineers, served in various capaci-
ties in this countrv and abroad until
the formation of Altec Service Corp.,
at which time he was eastern division
manager.

iP

PROJECTIONISTS WANTED!

National Sound Service Co.
will interview competent IATSE
personnel for position as Field
Service Men in theatrical and
industrial field. Send letter to:
Box 410, International Projec-
tionist, 545 5th Ave, New York
17, N. Y.

PROJECTOR
CARBONS

Better
Light!

Lower
Costs!

RINGSDORFF CARBON CORP. East McKeesport, Pa.

IF YOU ARE NOT USING THE
LITTLE MISER" CARBON SAVER

YOU ARE LOSING SEVERAL
HUNDRED DOLLARS EACH YEAR

Just twist the stud in and out

No grinding — No dirt

4 sizes, 9-10-1 1 mm, $3.00 ea.

13.6mm, $4.50 ea.

AN

NEW

ILLUMINATED SCREW DRIVER

For working on speaker post after dark . . . com-
plete with 4 driver bits; two sizes flat head and
Phillips head and two No. 135 batteries, $3.35
each.

LOU WALTERS

Sales and Service Co.

4207 Lawnview Ave., Dallas 27, Texas
Phone EV 8-1550
Post paid when check is sent with order.

International Projectionist September, 796-3

13

XeTRON Projector for 16mm Available
As Modification Kit for JAN

The XeTRON division of Car-
bons, Inc. made its first official dem-
onstration of a JAN projector modi-
fied for Xenon compact arc at the
Chicago convention of N.A.V.A. and
for the first time showed a big (9 ft.
by 12 ft.) bright (12.5 F.C.) picture
with the new XeTRON type JX Xe-
non 450 watt lamphouse. It is now
possible for the modified projector to
deliver three times as much screen
brightness as can be obtained from
a 16rnm projector using a 1000 watt
incandescent bulb, the company
states.

The 450/JX lamphouse has been
designed only for the "JAN" pro-
jector and meets the needed require-
ments for increased screen illumina-
tion. This JX unit is sold as a modi-
fication kit, complete with instruc-
tions for making the changes to im-
prove the quality and intensity of
the projected light. Other designs will
be available in the near future for

use with other make professional,
heavy duty type projectors.

Dimensions: JX is 14 % in. high
by 5% in. wide by 7% in. deep.

The 450/CX lamphouse can be
used with many standard projectors
now using carbon arc lamphouses,
16mm and 35mm, and will deliver
up to three times greater illumina-
tion as will a standard 1000 watt in-
candescent bulb. The quality of light
is said to be far superior and is sim-
ilar in Kelvin temperature (5450° -
5800° K) to the high intensity car-
bon arc.

Both the JX and CX units are a
"push-button" operation capable of
delivering 2100 lumens (open shut-
ter) of high intensity professional
type light when properly utilized.
They are self-contained with built-in
ventilation system and require no ex-
haust stack; there is no ash or soot
developed as products of combustion

ti

W/HY WASTE CARBONS?

Use The "Master Saver Device

Reduce your projection carbon cost by adopting the MASTER
CARBON SAVER (designed by a pioneer IATSE projectionist.)
The only simple and accurate saver on the market with no
springs, screws, nuts and bolts and requires no carbon grind-
ing. Each carbon held by "Precision Taper" after stub is easily
tapped into saver. There is a "MASTER" saver for every type of
Suprex non-rotating or rotating arc lamp. Now being used by
hundreds of theatres on STRONG, ASHCRAFT, PEERLESS, etc.;
sizes 6-7-8-9-10-llmm, $3.50 each; 13.6mm, $4.50 each.

SOLD BY YOUR LOCAL SUPPLY DEALER

Manufactured by

MASTER SPECIALTY PRODUCTS

200 West 72nd St., New York 23, N. Y.

^1

INTERNATIONAL PROJECTIONIST

' Post Office Box 6174

V***^"* M

Minneapolis 24, Minnesota

Enter my

□ 1 year (12) issues — $3.00
subscription for

□ 2 years (24) issues — $5.00

FOREIGN: Add $1.00 per year

Name

Address i

City

Zone State

14

since the Xenon gas and compact arc
are enclosed in a quartz bulb.

Dimensions of the CX are 17*4 in.
high x ll1^ in. wide x V2 hi. deep.

The power supplies are manufac-
tured for XeTRON by Christie Elec-
tric Corp. of Los Angeles, said to be
recognized as the foremost manufac-
turer of silicon power supplies. The
XeTRON - Christie power supply is
sold as an important adjunct to the
CX and JX type Xenon units and is
required if maximum light output
and bulb life warranty is to be ob-
tained.

Dimensions of the Christie unit is
13% in. high by 17% in. wide by 13
in. deep.

List prices are:

450 watt CX Lamphouse
complete, less bulb $595

450 watt JX kit complete,
less bulb 595

XeTRON-Christie silicon
power supply 590

450 watt Xenon bulb 175

Dealer discounts are given on ap-
plication. Address all inquiries to:
XeTRON Divisions, Carbons, Inc.
400 Myrtle Avenue, Boonton, N. J.

National Carbon Co.
Changes Its Name

National Carbon Co. has changed
its name. It is well known in the
motion picture business, National
Carbon Co. is a subsidiary of Union
Carbide Corp. It is not as well known
that some of the consumer products
of Union Carbide were produced by

SMPTE Exhibit
Nearly Sold Out

Only seven exhibit booths were still
available late last week for the 94th
Technical Conference of the Society of
Motion Picture and Television Engi-
neers, to be held at Hotel Somerset in
Boston. The equipment exhibit will
open Oct. 14-17.

subsidiaries of that company. It is
for this reason, among others, that
the parent corporation decided to
change the names of all of its sub-
sidiaries, to more closely identify
with Union Carbide Corp.

Effective Sept. 1, National Carbon
Co. became Union Carbide Corp.,
Carbon Products Division.

The product sold to theatres, are
carbons which had simply been
known as National Carbons, will con-
tinue to be known as National Car-
bons, but they will be produced by
Union Carbide Corporation, Carbon
Products Division. iP

International Projectionist September, 1963

» AUTHORITATIVE
» COMPREHENSIVE

»

PRACTICAL

Acclaimed by leading technicians in
the industry as the most comprehen-
sive and down-to-earth handbook pub-
lished to date on the subject of motion
picture projection. Ideally suited for
study and reference by your opera-
tors.

ROBERT A. MITCHELLS

MANUAL OF PRACTICAL PROJECTION

HANDY 5'/2'- x 8' 2" SIZE

450 PAGES

ILLU STRATED

CROSS INDEXED FOR EASY REFERENCE

* Here is one of the most help-
ful works ever published for
the motion picture projection-
ist. A handsomely bound and
profusely illustrated compila-
tion of the BEST of the Robert
A. Mitchell articles that have
appeared in "International
Projectionis t," revised,
brought up to date.

* The author covers clearly
and thoroughly every aspect of
motion picture projection, pre-
senting his material in easily
understood language — not too
technical, yet technically ac-
curate. The Manual is divided
in 8 sections and contains 30
chapters — a valuable refer-
ence work no progressive pro-
jectionist should be without.

I

SECTION HEADINGS

(1) Film; (2) The Projector; (3) Projection-Optics, Screens; (4) The Arc Lamp;
(5) General Projection Practice; (6) Motori, Generators, and Rectifiers; (7)
Sound Reproduction Systems; (8) Projection of Color and 3-D Films, Formulas.

ORDER YOUR COPY TODAY * USE THIS HANDY FORM

INTERNATIONAL PROJECTIONIST
Post Office Box 61 74
Minneapolis 24, Minnesota

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

j CITY ZONE STATE

NEW PRICE
$700

7

per copy
including postage

A Scene From America's Projector Carbon Center.

Final inspection before packaging

"Pre-packaging inspection . . .the last of
61 checks that keep our projector carbons tops!"

Jim Hoynes

From milling and blending of

raw materials to packaging of

the finished product, National

projector carbons must pass

one of industry's widest and

most rigid ranges of tests and

inspections. They are outstanding for depth of

quality control— from start to finish.

The above view in our Fostoria, Ohio, arc
carbon center shows inspection No. 61 — a final
overall check of each carbon before packaging
for shipment to distributors.

During their many manufacturing and test-
ing stages, National projector carbons are

-says JIM HOYNES

"National" Sales Engineer

baked and re-baked at precisely-controlled
temperatures. All dimensions and straightness
of carbons must be within thousandths of an
inch. Voids or breaks in rare earth cores are
detected by x-ray. Sensitive instruments meas-
ure the thickness of copper coating to assure
maximum current delivery and light quality on
the screen.

All the way up the 61 steps to packaging, the
dominant idea at Fostoria is to produce a car-
bon that gives both exhibitors and patrons the
best light for their money.

Today, this sound policy is fast approaching
its 50th Anniversary !

"National" is a registered trade-mark of

UNION CARBIDE CORPORATION

CARBON PRODUCTS DIVISION

270 Park Avenue, New York, N. Y. 10017 • In Canada: Union Carbide Canada Limited, Toronto

UNION
CARBIDE

I NTE R NATIONAL

i

Qp»

L

SO

— - •

e »

B
H 0

SMPTE

Three members of IATSE Local No. 228 were present when the new
Strong Futura projection arc lamps were installed in late August at the
Jesse James Drive-In, Toledo, one of the 23 theatres of the Armstrong
Circuit. Left to right are Harold Plumadore, project engineer of the Strong
Electric Corp., Arthur Partis, business agent of Local 228, and Bill Dusseau,
projectionist at the Jesse James. (See story on page 16.)

L

Special Issue

OCTOBER
VOLUME 38
40c A COPY

1963

NUMBER 10

$3.00 A YEAR

w

> CO

^mrmmm*m*

A Scene From America's Projector Carbon Center.

Equipment for coating carbons with copper

«t

Coating projector carbons with the right amount
of copper is a top-billing production step"

( )

S IS* gi \

This equipment performs the
important task of coating pro-
jector carbons with copper— not
for eye appeal, but for the vital
purpose of assuring more de-
pendable screen lighting. The sid Moriey
coating helps conduct current from the jaws of
the lamp to the arc. For maximum light effi-
ciency the copper coating must be of precision
thickness — no more — no less !

From the coating operation at "America's
Projector Carbon Center" in Fostoria, Ohio,
National carbons move to an automatic resist-
ance test, where a direct reading instrument

-says SID MORLEY

"National" Sales Engineer

measures in ohms-per-inch the coating on each
carbon. If the coating is too thin or too thick,
the unwanted carbon is ejected from the line.

How is this rigid test related to good lighting?
First, if the coating is too thin, the carbon might
spindle back to the holder, resulting in freezing
and a possible lamp shutdown. Secondly, if too
thick, it might produce copper dripping and
cause the arc to wander.

In coating and all other manufacturing steps,
National carbons are produced by today's most
reliable quality control methods. We want to
be sure your patrons get the finest screen light-
ing that projector carbon money can buy !

UNION
CARBIDE

National" is a registered trade-mark of

UNION CARBIDE CORPORATION

CARBON PRODUCTS DIVISION

270 Park Ave., N. Y., N. Y. 10017 • In Canada: Union Carbide Canada Limited, Toronto

INTERNATIONAL

PROJECTIONIST

Including a special Audio-Visual section relat-
ing to the operation and maintenance of A-V
equipment in the educational and industrial
fields.

Volume 38 October, 1963 No. 10

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO
Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue, New York 17, N. Y.

Telephone Murrayhill 7-7746

(Area Code 212)

IN THIS ISSUE

Masking the Modern Wide Screen 4

By ROBERT A. MITCHELL

SMPTE Convention- 10

Strong Electric's Cover Story 16

Photokina Projection 14

News Notes — Technical Hints — Miscellaneous Notes

INTERNATIONAL PROJECTIONIST, published monthly by the
International Projectionist Publishing Co. division of The
Northern Publishing Co., Post Office Box 6174, Minneapo'is
24, Minnesota. Editorial offices, 1645 Hennepin Avenue,
Minneapolis 3, Minn. Subscription Representatives: AUS-
TRALIA— McGills, 183 Elizabeth St., Melbourne; NEW
ZEALAND — Wixon's, Ltd., 64 Courtnay Place, Wellington;
ENGLAND and ELSEWHERE — Wm. Dowson & Sons, Ltd.,
Macklin St., London, W. C. 2. Subscription Rates: United Stages,
Canada, and U. S. Possessions, $3.00 per year (12 issues) and
S5.00 for two years (24 issues). Foreign countries: $4.00
per year and $7.00 for two years. Changes of address should
be submitted four weeks in advance of publication date to
insure receipt of current issue. Second-class postage paid at
Minneapolis, Minn. INTERNATIONAL PROJECTIONIST as-
sumes no responsibility for personal opinions appearing in
signed articles, or for unsolicited articles. Entire contents
copyrighted 1963 by INTERNATIONAL PROJECTIONIST
PUBLISHING CO.

MONTHLY CHAT

THE SUPPLY DEALER IS ESSENTIAL

This journal has consistently urged the recognition
due the established equipment dealers, who deserve far
more prominence than is given them in the film industry,
and the theatre branch in particular.

The theatre owner and dealers relations should be
far better than they are now.

The reputable theatre equipment manufacturer picks
and chooses his outlet around the country for the sale
oi his good product. So the exhibitor can be sure that
the installation will be expertly done.

The booth craftsman should be buddies with the
dealer. He should call on the dealer's store and chat
awhile with the dealer. They make a living in the same
business.

The dealer is up-to-date on the latest equipment.
tfaybe llif projectionist could interest his theatre owner
i" buj thai equipment. And just nun be the dealer can
pass along lips that the projectionist could use profitably.

There's remodeling in the theatre industry in several
parts of the country. So the film houses face a severe
competition with the well-equipped theatres. After all,
Americans have autos ami the) use them. If their neigh-
borhood theatre is shabbv and has bad projection and
sound, they'l] go to another theatre of their choice.

I he established dealer is the best friend of the theatre
owner and the booth craftsman in this business. He'll
stack his reputation on the line when he recommends a
piece of equipment. And he can be called back if the
installation is faulty.

The manufacturers have put money on the line im-
proving the theatre equipment with changes in film
techniques — sound, CinemaScope, 70mm, Cinerama,
lamps, screens, etc.

The dealers have kept up with the manufacturers by
their solving the operation of the complex machines with
their top qualitv installations.

Manufacturers and dealers are maintaining the theatre
industrv with up-to-date equipment necessary for the film
theatres' survival.

The "house divided" in the film industry has lasted
long enough, with exhibitors fighting the distributors and
the other way around, and theatre owners' penny-
pinching on equipment.

The theatre branch better go back to showmanship
with improving their houses, advertising their forthcom-
ing and current shows, courteous staff and good equip-
ment so the booth craftsman has pride to work there.

The supply dealer is a service organization, to service
the theatre. If the booth machines themselves were that
necessary for the exhibitor the dealer would be out of
the picture. The dealer has to sweat his own profits on
the deal, while satisfying the customer with all the man-
hours of skilled labor for installing and making the
machine function properly as per the guarantee.

The theatre supply dealer is a mighty important
ment looks for, is that there will exist such a wholesome at-
tion, servicing the equipment the dealer is essential to the
theatre industry.

One of the most important improvements this depart-
ment looks for. is that there will exist such a wholesome at-
titude within the industry, particularly by the theatre own-
ers and projectionists, for even more cordial relations
with the supply dealers and equipment manufacturers.

Intern vtional Projectionist

October. V)G?

INTERNATIONAL PROJECTIONIST

Volume 38

October 1963

lumber 10

GLAMOURIZING THE SCREEN

PART 2

Masking The Modern Wide Screen

By ROBERT A. MITCHELL

Even though this writer personally favors the
black-masked screen, there is much to be said for the
"ultramodern" maskless screen and for the psycho-
visual principles on which it is based. Such screens,
including those fitted with illuminated borders, have
been the subjects of experiment for many years; and at
least some of the psychovisual principles underlying
the maskless screen were well known and utilized photo-
graphically in the long-ago days of silent pictures.

The type of screen favored by the noted theatre archi-
tect Ben Schlanger, for instance, "dissolves" and extends
the boundaries of the projected picture by being set
into a close-fitting, bent-wall alcove painted white like
the screen to reflect a pattern of light which blends
softly with the edge of the picture. So instead of
being bounded sharply by black masking, as is usual,
the Schlanger screen provides an indefinite boundary
of light which fades off into darkness in an ever-
changing manner.
Vignetting by Photography

The device of vignetting the picture by means of
a mash in front of the camera lens was frequently used
in the days of silent films. This provided a soft, out-of-
focus boundary to the picture photographed on the film,
but without the varying light effects produced by the
Schlanger screen setup. Also, the camera-vignetted
image restricted the total area of the frame and resulted
in a slightly smaller picture on the screen. The Schlanger
screen, on the other hand, does not take any area away
from the frame and gives, in addition, the impression
of a larger screen.

The foregoing is not meant to imply that silent-
film cameramen did a bad job with the tools at hand.
Quite the contrary, they were an ingeniously "arty"
lot, and succeeded admirably in their compositional
aims. The purpose of camera vignetting was not to
fool the eye into seeing a larger screen than was
actually present, but to focus the attention of the
audience upon the dramatic action at the center of the
screen.

The circular mask was often used for the same
purpose in the earliest days of the moviemaking art;
and the "iris-in," "iris-out" beginnings and ending
of scenes found in certain old movies suggested by

4

expansion and contraction of the frame that the drama
is spotlighted in the middle of the screen.

Other old-time picture-vignetting tricks included
the use of lenses having severe spherical aberration to
soften detail near the edges, and diffusing lenses to cast
an ethereal, luminous mist over the irrelevant detail
surrounding the middle of the picture. The psychovisual
suggestiveness of these devices was extremely effective.
There is rarely anything similar to them in panoramic
CinemaScope pictures, the chief shortcoming of which
seems to be their inability to focus dramatic interest
and involve the spectator in the picture emotionally.
The characters depicted on the CinemaScope screen are
often too "remote," and their dramatic conflicts too
static, to affect the feelings of the audience the way
the old-time movies did with apparent ease.
Black Screen Masking Desirable

Despite the invention of maskless screens of vari-
ous types, we believe that black velour screen masking
will continue to be used in 99 per cent of all theatres.
Black masking has much to commend it. There is a
visual neatness to the straight, sharp picture-framing
boundaries it provides. Brought an inch or two into
the picture area, it conceals aperture irregularities
caused by small deposits of film dust. The straight
vertical sides conceal the keystoning caused by steep
projection angles. Very important, the sharply de-
fined black edges raise apparent picture brightness at
the sides of the screen where, actually, it is some-
what lower than at the center of the screen. This gives
an impression of uniform screen brightness, a very de-
sirable condition.

Until about 1953, motion-picture screens had a width-
height ratio of 4:3 (an aspect ratio of 1.333/1). This
ratio was established in the first place by the early
Edison-Dickson 35-mm film specifications;* and con-
sidering that the movies began to flower commercially
by the turn of the century, the 4:3-proportioned screen
enjoyed universal use for more than half a century.

When the soundtrack was added to the film in 1928.
the incursion of the track by about a tenth of an

"The 35-mm silent-film frame was approximately one
inch wide and three-quarters of an inch high.

International Projectionist October, 1963

JE2I

inch into the silent-aperture picture area resulted in a
square picture on the screen. No one liked a square-
shaped picture. In order to rectify this defect, the so-
called "proportional" aperture measuring 0.825 \ 0.600
inch was laid down as the standard aperture for 35-mm
sound-on-filra prints. This represents an aspect ratio of
L.375 I. which, however, gives a 1.333 1-ratio picture on
the screen at a moderate projection angle.

H\ interchanging apertures and lenses las is done to-
iia\ lor CinemaScope) , standard silent prints and sound-
oil-film prints could he shown on the same screen at
the same aspect ratio.

Remember Those Round Corners?

1 he very earliest movies were shown upon un-
masked screens, ordinarily whitewashed plasterboard

or painted cam as tacked to a wooden frame in the
manner of an oil painting. \- a result, the projected
picture was framed bj the edges of the film aperture
in the projector gate. Forasmuch as the aperture
usuallv had smoothly rounded corners, the 1 ^-pro-
portioned round-cornered rectangle was generally re-
garded as the proper "frame" for motion pictures.

When the advantages of velour screen masking came
to be recognized, some projectionists and theatre man-
agers went SO far as to contrive rounded coiner- Eor
the screen masking to match the image ol the old-
style film aperture. This was done in man) theatres
light up to the time when the wide much per-
manently retired the proportional soundfilm aperture.

The persistence of rounded screen corners was due.
not only to a conservative adherence to cinema tra-
dition, hut to definite visual-psv etiological advantages
accruing from their use. First of all. a round-cornered
picture looked good. It looked good for reasons which
just suited the character of dramatic motion pictures.

The angular sharpness of square screen corners dis-
tract the eye from the central area of the screen where
all significant dramatic action takes place. Round coi-
ners remove these four "points" id visual distraction
and rest the eye. Square corners emphasize the sharplv
hounded nature of the rectangular screen no matter how
large it may actually he. Round corners seem to cause
the boundaries of the picture to fade from consciousness
once interest has been established in the photoplay. This
writer stronglv advocated the round-corner screen in
the days before w ide screens came into vogue. See
"Psvchological Elements in Projection." IF for May
1949, p. II et seq.

Contradictory as it may seem, however, a round-
cornered screen appears, at a glance, slightly smaller
than a square-cornered one of the same size! This
might be a disadvantage today.

It is possible to round the corners of a 1.75 1
aspect ratio wide screen with good effect and with an
improvement in the appearance of the screen: but
the use of the same screen for the even wider Cinema-
Scope picture 1 2.35 ll makes this stratagem imprac-
tical.
Frame, Screen Sizes

As stated earlier in this article, it is advantageous
to emplov only two aspect ratios. 2.35 1 I or 2 1 I for
C Scope and 70-mm prints, and 1.75 1 for standard
non-anamorphic 35-mm prints. The screen should
therefore be proportioned and masked at the outset for
the large C'Scope aspect ratio after being stretched
smooth and flat on a properly set up screen frame.

A screen frame should be one foot larger on the in-
side than the overall measurements of the screen, itself.
This will allow 6 inches between each edge of the screen
and the frame, which is the space required to permit

International Projectionist October, 1963

FIG. f — The Schlanger type of maskless screen in a
theatre of ultramodern design (the Shoppers' Haven
Cinema in Pompano Beach, Florida). The theory and
advantages of the Schlanger screen are described in the
accompanying text. Ben Schlanger is a noted theatre archi-
tect of long experience who has devoted much attention
to sight lines and the "framing" of the projected picture.

proper hiring of the screen to the inside of the frame.
Then. too. the screen, itself, should be one foot larger
each way than the largest picture to be projected upon
it — the CinemaScope or 70-mm picture. This allows
sufficient space to accommodate the webbing and
grommets on each edge of the screen.

I op and bottom screen-masking battens are best
constructed ol light-weight plvwood hoards of the
proper width i 1 ' - to 2 feci i and cleated at the joints
with long iron straps having holes so that they may
he fastened to the plvwood sections with short wood
-( rews.

I In- black velour should be applied smoothly to the
front (uncleated) sides of die battens, wrapped over
tightly, and l.ukcd mi the back. The masking battens
thus prepared may be fastened to the screen frame
bv means ol iron-strap brackets and screws or hung
h\ their ends.

Kxtra care should he taken to insure that the edges
are straight and level, and that a uniform picture height
i~ maintained all along the width of the screen. The
battens should be secured to the screen frame solidly,
bul not so ■■permanentlv " that they cannot be removed
For later adjustment or for the installation of a new
screen.

I he side flats are usually considerably wider than the
top and bottom battens. Fight-weighl plvwood panels,
firmly cleated. are satisfactory. Stout angle irons may

■■"Mi

FIG. 2 — A round-cornered screen in the old conven-
tional aspect ratio (1.375/1) photographed in the New
Crest Theatre, Seattle, Washington, before conversion to
widescreen aspect ratios. Although round screen corners
are distinctly advantageous and pleasing in appearance for
the conventional aspect ratio, they are not feasible for
screens requiring movable side masking to accommodate
both CinemaScope and the now established 1.75/1 wide-
screen aspect ratio.

1

r^-o—^i

1_J

i 1
i I

i ]
i /
i (

^Screen

i /
i i

i ]

J^Ja.

FIG. 3 — Corner portion of a screen, showing the
method of lacing to the screen frame. This method is the
best for stretching large theatre screens. Note that about
6 inches of space should be allowed between each edge of
the screen and the inside edge of the screen frame. Also,
a screen should be one foot larger each way than the
largest picture to be projected upon it. This gives a 6-inch
margin of safety all around the screen.

be attached to the outer edge of the screen frame to
hold the panels in place, or they may be hung from the
top. In any event, they should be readily removable for
making desired adjustments in their position at the
sides of the screen.
Discrepancies in Picture Heights

All four sides of the screen should be masked for
the largest aspect ratio used. As stated, above, this
will be the CinemaScope aspect ratio (2.35/1 or 2/1,
whichever is chosen ) . But note that the height of the
1.75/1-ratio non-anamorphic image may turn out to
be slightly greater or less than the height of the
C'Scope image even with the most exact matching
of lenses. This will probably be because sets of lenses
can be matched only in ^-inch increments of focal
length.

If such a small discrepancy in the heights of the two
images is present, adjust the position of the top or
bottom masking batten for a 1-inch image overlap,
top and bottom, with the aperture image of lesser
height. This will insure an image overlap with the
other aperture — perhaps from 2 to 4 inches top and
bottom.

Naturally, an undersize non-anamorphic widescreen
aperture may be carefully enlarged by filing one hori-
zontal edge to match the projected image height of the
C'Scope aperture. This is admittedly a tricky job be-
cause it is so easy to file out too much or to file the
edge crooked. Furthermore, attention should be paid
to vertical centering. If the unfiled apertures are per-
fectly centered in relation to the projected image of
the C'Scope apertures, then both the top and bottom
edges will have to be filed out.

The side masking panels, as described, are not in-
tended to be moved in and out to accomodate the

different widths of the two different aspect ratios. Their
function is only to insure correct side masking for the
CinemaScope or 70-mm picture. Movable black-velour
side drapes should always be used as "sliding panels"
to alter the width of the screen for the two different
aspect ratios.
Movable Side Masking

The side-masking drapes should be motor-driven,
have an automatic stop, and be controlled by the pro-
jectionist. He will open them up from the projection
room when switching to CinemaScope; close them in
when switching to regular projection.

It is important that the side-masking drapes be made
of a black velour material similar to that used for
the "fixed" screen masking, and heavily weighted with
lead shot in their bottom hems to insure straight
hanging at all times. The motor curtain stop should
be adjusted so that the motor shuts off when the
drapes have reached the point where they overlap
on the sides of the non-anamorphic picture by about
2 inches. It is a good idea to regulate the speed of
the drive for a rather slow rate of travel, thus pre-
venting any possible swinging of the side-masking
drapes.

Movable side masking can be a home-made affair,
but it is better to purchase the masking drapes, over-
head rigging, and electric curtain control with its
relay ready made. Excellent setups expressly made
for the purpose may be obtained from many theatre
supply dealers and from such favorably regarded manu-
facturers as Vallen, Inc., Akron, Ohio.
Glamour Pays Off!

A properly centered, neatly masked screen set
into a tastefully appointed proscenium is the principal
point of interest in any motion-picture theatre. If the
screen is a good one, reflecting a bright, uniformly
lighted, undistorted picture to all seats in the auditorium,
the presence of colorful draperies on the stage, overhead
valances to conceal the striplights and the top of the
screen frame, and some special decoration (even if it
be but a vase of flowers at each foot of the proscenium
arch ) , places the all-important screen in the truly
theatrical setting it deserves.

The stage decor and color-effect lighting in a motion-
picture theatre is really nothing more than "window
dressing" for the screen. Even the overture and inter-
mission music is a factor to be tied into the overall
scheme. The beauty and glamour of the screen sur-
roundings should be apparent the moment the grand
drape opens, revealing the color-lighted title curtain.
The audience should be pleased by what they see and
delighted by the atmosphere of tasteful beauty. If
they experience the warm satisfaction we wish them to
have, they will come back again and again to enjoy
our screen presentations.

The projectionist's first duty is the projection of a
technically good image and the reproduction of techni-
cally good sound. This is, of course, just about the
only duty he has in those garage-like modern theatres
which possess all the glamour of an empty grain eleva-
tor! In the more conventional house, with its warmer,
more comfortable atmosphere, the projectionist has
a second duty, namely, the enchantment by means of
his specialized skills and innate flair for showmanship
of all the glamour that the quality of the screen attrac-
tions, the decor of the theatre, and the co-operation of
the management will permit.

And when you get down to the root of the matter,
what is showmanship but the art of making an audience
happy? iP

International Projectionist

October. 1963

jry.

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'Nobody
wants
a turkey

Today's audiences know real class; aren't happy
entation. That's why it's so important that crisp,
. . . why it pays to GO EASTMAN all the way— neg
laboratory to do the job right. Remember, too:
tions — production, processing, projection. For fu
Film Department, EASTMAN KODAK COMPANY,
W. J. German, Inc. Agents for the sale and distri
Pictures and Television, Fort Lee, N. J., Chicago,
Hollywood, Calif.

with less than the best— story, production, pres-
sparkling negatives have sharp, top-quality prints
ative and print-stock— with plenty of time for the
Call Eastman Technical Service in case of ques-
rther information write or phone: Motion Picture

Rochester 4, N. Y. Or— for the purchase of film:
bution of EASTMAN Professional Film for Motion

III.,

FOR COLOR

EASTMAN FILM
I I II

International Projectionist October, 1963

THE VERY FINEST PROJECTOR PARTS

ARE MADE BY

There's nothing like them for pre-
cision manufacture, close inspec-
tion, efficiency in operation, depend-
ability and long life. Obtainable from
your Theatre Supply Dealer.

SINCE 190

MACHINE WORKS

4635 W. LAKE ST., CHICAGO 44, ILL.
TELEPHONE— AREA 312— ES 8-163G

*f

£

MIfiHKT

5PEED

IN PROJECTION

Kollmorgen lenses rate tops in the motion
picture industry. Used exclusively with
Cinerama, they are standard equipment
in more than 70% of American theaters.
High light uniformity and less light loss
on the screen — the whole screen — are typ-
ical of the outstanding performance of
SUPER SNAPLITE® lenses.

Other advantages that add up to supe-
rior screening with super snaplite are:

Wire sharp contrast
Uniform illumination
Crystal clarity

Wide range of focal lengths
Sealed construction

Bulletin 222 describes Kollmorgen
lenses in detail. See your equip-
ment dealer, or write us direct.

CORPORATION

NORTHAMPTON, MASSACHUSETTS

Strong Electric
Issues Brochure
On Futura Lamps

A brochure on the new Futura
projection arc lamps is now available
from the Strong Electric Corp. It
describes in detail this new lamp
which fills the 35 and 70mm needs
of all indoor theatres with screens up
to 65 ft. and drive-ins with screens up
to 120 ft.

The Futura comes in three ratings:
Futura I for economy of operation
with 11mm carbon trim burning at
75 to 105 amperes; and the Futura
II with automatic crater positioner
for 13.6mm carbon trim burning at
120 to 160 amperes or 11mm carbon
trim burning at 100 to 125 amperes.

Utilization of the standard 20-inch
length carbon permits projection of
an extra reel of film per length of
carbon. The optical system matches
the requirements of all 35 and 70mm
projectors. An exclusive is the
simplicity of change from one film
width to the other by the turning of
a single knob.

A copy of the brochure will be
sent to anyone addressing a request
to the Strong Electric Corp., 31 City
Park Ave., Toledo, Ohio, 43601. iP

New Product-
Is Good Mixer

The newest "baby" in the SOS Tel-
Amatic line is a two-position, tran-
sistorized mixer.

Though small and lightweight
(21/4"x3"x5" and less than a pound
including cable and attached Cannon
connector) the new mixer — Model
MX-1 — will provide for two addi-
tional low-impedance microphone in-
puts. Designed especially to be used
with Auricon Sound-on-Film Ampli-
fiers, MX-1 can actually be used to
advantage with Magnasync and other
high-quality recording equipment.

It is easy to operate, plugging
directly into the Phono Input of an
Auricon, for example; uses low-noise
RCA transistors and a self-contained
9 Volt battery.

For further information, inquiries
should be made to either of the S.O.S.
offices: East coast, 602 W. 52nd St.,
New York City 10019, or West coast,
6331 Hollywood Blvd., Hollywood,
Calif. 90028, asking for details on
the SOS Tel-Amatic Two-Position
Transistorized Mixer Model MX-1.

- •■'■■--*■ iP

International Projectionist October, 1963

Investment Opportunity

The hand holding the hammer will someday make
products for you.

Long years of training will have to go into making
those chubby fingers productive. Much care, much love,
much planning and money.

But no matter how lean and hard and skillful they
become, it will signify little if the fruits of their skill
are produced in anything but a free society.

You have an investment in those hands. To protect
your investment, you can join with other leading Amer-
ican businessmen to promote the Treasury's Payroll
Savings Plan for United States Savings Bonds. The
Treasury Department's Plan works for soundness in

our economy, strength in our defenses, and thriftiness
and self-reliance in our thinking.

When you bring the Payroll Savings Plan into your
plant — when you encourage your employees to enroll
— you are investing in the hands of tomorrow's tool
makers and tool users. You are investing in America's
next generation of machine operators, mechanics, metal
workers — in all of America's skilled labor force. You
are investing in America's future. In freedom itself.

Don't pass this investment opportunity by. Call your
State Savings Bonds Director. Or write today to the
Treasury Department, U.S. Savings Bonds Division,
Washington 25, D.C.

: in your plant... promote the PAYROLL SAVINGS PLAN for U.S. SAVINGS BONDS |||lf

The U. S. Government does not pay for this advertisement. The Treasury Department thanks, for their patriotism. The Advertising Council and this magazine.

INTERNATIONAL PROJECTIONIST

SMPTE Studies Wide Range
Of Technical Projection Subjects

BOSTON, MASS. — Latest equip-
ment in the fields of motion pictures,
television, photoinstrumentation and
high-speed photography will be ex-
hibited Oct. 14 - 17 during the 94th
convention of the Society of Motion
Picture and Television Engineers.
The convention will be held at the
Somerset Hotel here.

Included in the 2,000 persons who
will view the exhibits will be com-
mercial motion-picture producers,
owners of processing laboratories,
television engineers, medical re-
searchers, persons involved in edu-
cational television, and space-
research scientists.

The Society's Exhibit Award Com-
mittee will again present a plaque to
the firm that has the most interesting
and effective exhibit. The plaque for
the best exhibit at the 93rd Conven-
tion in Atlantic City was won by
the Photolamp Division of Sylvania
Electric Products, Inc.

Morton Sultanoff, a physicist at
Aberdeen Proving Ground. Md., has
been named to receive this year's

E. I. du Pont Gold Medal Award.

The award, which recognizes out-
standing contributions to the en-
gineering phases of instrumentation
and high-speed photography, was
announced by SMPTE President
Reid H. Ray. Chairman of the award
committee was Carlos H. Elmer, an
executive of Traid Corporation, En-
cino, California.

Mr. Sultanoff, who is chief of the
detonation section at Aberdeen's
Ballistics Research Laboratories,
studied at Drexel Institute of Tech-
nology in Philadelphia, the Univer-
sity of Delaware, and at Johns Hop-
kins University. He is a Fellow of
SMPTE and of the Society of Photo-
graphic Instrumentation Engineers,
and in 1961 received SPIE's Robert
Gordon Memorial Award. Mr. Sul-
tanoff also holds the Superior Ac-
complishment Civil Service Award.

The technical sessions format for
the 94th Semi-annual Technical Con-
ference of the Society of Motion Pic-
ture and Television Engineers has
been announced by program chair-

man Morton H. Read of Bay State
Film Productions, Springfield, Mass.

The technical program will open
Monday, Oct. l4, with papers on
photography in medicine scheduled
throughout the day and evening.

Papers on processing laboratory
practice will be presented Tuesday
morning, and those on 8mm and
small-format will be read during the
afternoon.

Wednesday morning will be de-
voted to papers and demonstrations
of new equipment in the fields of mo-
tion pictures, television, instrumen-
tation and high-speed photography.
Papers in the subject area of sound
recording will be presented Wednes-
day afternoon.

Instrumentation and high-speed
photography will be the subject of
papers to be presented all day Thurs-
day. Concurrent sessions on motion
pictures and television in education
are scheduled for Thursday afternoon
and evening.

The Semiannual Technical Confer-
ence will close Friday with the pre-
sentation of papers on television
engineering development and on
space technology.

Arthur C. Hardy, Emeritus Profes-
(Please turn to page 15)

W. J. GERMAN, INC

agent for the sale and distribution of

EASTMAN FILMS

FORT LEE, N. J.
Jane Street
LOngacre 5-5978

CHICAGO, ILL.
6040 N. Pulaski Rd.
IRving 8-4064

HOLLYWOOD, CALIF.
66yy Santa Monica Blvd.
HOllywood 4-6 1 3 1

that you should
specify for the
best of motion
picture and tele-
vision quality from
photography thru
release printing.

10

International Projectionist

October, 1963

TO
TECHNICAL
SESSIONS

EXHIBITS

Company

Booth

Company

Booth

H. F. Ormsbee
Allen Products Inc.
986 Bridgeport Avenue
Milford, Conn.

25

Oliver E. Cain
Florman & Babb, Inc.
68 West 45th Street
New York 36, N.Y.

17 & 18

Victor James

Arriflex Corp. of America
257 Park Avenue South
New York, N.Y.

16

Ralph T Jope
Hi-Speed Equipment, Inc.
73 Pond Street
Waltham, Mass.

5

Burt Grodin

Camera Equipment Co.
315 West 43rd Street
New York 36, N.Y.

6 & 7

Harry Teitelbaum
Hollywood Film Co.
956 N. Seward Street
Hollywood 38, California

1

John P. McCarthy
Edgerton, Germeshausen &
160 Brookline Avenue
Boston, Mass.

Grier,

15
Inc.

E. Werner
Lipsner-Smith Corp.
3475 W. Touhy Avenue
Chicago 45, Illinois

28

Gerard J. Morio
Elgeet Optical Co.
303 Child Street
Rochester, N.Y.

21

Wm Willette
Animation-Oxberry Corp.
38 Hudson St.
New Rochelle, N.Y.

2

International Projectionist

October. 1963

Send

for complete

information

NATIONAL STUDIOS

42 West 48 Street, NYC

You want to project
a good picture?

Install a

Hurley Screen

HURLEY SCREEN CO., INC.

96-17 Northern Blvd.
Corona 68, New York

See your theatre supply dealer

Norelco

projection
equipment

Available from

leading theatre supply

dealers

North American Philips Co., Inc.

Motion Picture Equipment Division
100 E. 42nd St., New York 17, N.Y.

11

PROJECTED HIGHLIGHTS

By Ray Gallo

The 94th SMPTE Technical Conference and Equipment
Exhibit being held at the Somerset Hotel, Boston, Mass.,
certainly presents a series of new professional products for
motion pictures and television — in fact, this 94th semi-
annual convention, held in the city where the American
dream of Democracy had its early beginning, offers many
interesting sidelights. It introduced many new instrumen-
tations for use in medicine such as medical photography
devices and techniques. Some of these make it more ac-
curate to probe into the human anatomy for known and
unknown diseases. Stereocineradiography combines the four
dimensions of space, time, sound and motion — a 4-D
system. A miniature television camera for medical pur-
poses (endoscopic examinations) along with laboratory
practices, 8mm and 16mm recording, high-speed photogra-
phy and educational motion picture and television engineer-
ing were added to the field of electronics. These and space
technology, over the years, have given the world sound,
motion and image for "better living." The SMPTE talented
members represent the real un-sung heroes of today's in-
dustries. Yes, from the days of Marconi down to the

Spectral Energy Distribution of Various Light Sources

5000 6000

WAVE LENGTH IN ANGSTROM UNITS

deForest photo-cell, some dedicated engineer, like any dedi-
cated professional, has made our lives more pleasant and
fulfilled by their inventions and scientific hardships. Speak-
ing of hardships, this writer recently had the privilege of

The XeTRON Divi-
sion of Carbons, Inc.
made its first official
demonstration of a JAN
projector modified for
Xenon compact arc at
the Chicago convention
of N. A. V. A. and for
the first time showed a
big (9' x 12') bright
(12.5 F.C.) picture with
the new XeTRON type
JX Xenon 450 watt
lamphouse.

It is now possible for /
the modified projector
to deliver three times as
much brightness as can
be obtained from a
16mm projector using a 1000 watt incandescent bulb.

The 450/JX lamphouse has been designed only for the
"JAN" projector and meets the needed requirements for
increased screen illumination. This JX unit is sold as a
modification kit, complete with instructions for making
ihe changes to improve the quality and intensity of the
projected light. Other designs will be available in the near
future for use with other make professional, heavy duty
type 16mm projectors. JX is 14% in. high by 5% in. wide
by 77/s in. deep.

inspecting the Union Carbide Corporation's arc carbon
division plants and laboratories, and, while engaged in the
motion picture industry's activities for the greater part of
my adult life, even I had no conception of the tedious
research and long hours of manufacturing processes it
takes to fashion a projector carbon. The chart on this
page shows a set of curves based on one of the sequences
in the National Carbon technicolor film which demonstrates
the spectral characteristics of various light sources. I'm
sure Bill Cosby or Phil Freeman, both top executives of
the arc carbon sales division, would be happy to arrange
a free screening of this excellent short if you are interested
to see it. Incidentally, right after this convention (Oct. 13 -
18) another very important Trade Show Exhibit will be
on display at the Hotel Americana in New York from
Oct. 28-31. There you will see the new Strong "Futura"
projection lamp designed for both 35mm and 70mm exhi-
bition, whether it is a conventional indoor or Drive-in
type of theatre, and the new model AA11 Norelco Uni-
versal 70/35 projector that includes a dual split 17/35
magazine shaft to eliminate need for 35mm reels with
70mm flanges. You will also be able to see the Ashcraft
arc lamp and the Century projector — an all-purpose 35mm
and 70mm American made system with the transistor
sound. In fact, there are over 50 firms, mostly American,
that will demonstrate new theatre equipment at the TOA-
TESMA-TEDA trade show. And don't forget the Spring
SMPTE convention, the 95th semi-annual technical and
equipment exhibit conference to be held at the Hotel
Ambassador in Los Angeles, April 12-17. iP

CARBON ARCS FOR THE FINEST PROJECTION

XENON COMPACT ARC

jetTJFIOjW

d i vision

Brighter Light on Screen

• Longer Burning per Carbon
• More Economical

CARBONS, INC.

■J '-hum LAMPHOUSES • Xrf7/w/ POWER SUPPLIES

fcy Cinemeccanica by Christie

BOONTON. N. J.

12

International Projectionist

October, 1963

Max Blo.m 13

Cine 60 M.P. Equipment

630 Ninth Ave.

New York 36, N.Y.

Aristide Ippolito 10

Photo-Kinetics, Inc.

1624 Stillwell Ave.

Bronx, N.Y.

B. Ingram 4

Heico, Inc.

Stroudsburg, Pa

H. Pilzer

Hudson Photographic Industries

Irvington, N.Y.

Robert H. Lawrence 11

L-W Photo, Inc.

15451 Cabrito Road

Van Nuys, California

Ruth Sheldon 22

Precision Laboratories

928-930 East 51st Street

Brooklyn, N.Y.

A. J. Briglia 1 9 & 20

Quick-Set, Inc.

8121 N. Central Park

Skokie, Illinois

Hy Shaffer 8

Smith's Photographies

269 Massachusetts Avenue

Boston, Mass.

David V. Hall 14

Sylvania Electric Products, Inc.

730 Third Avenue

New York 17, N.Y.

Robert King 3

Traid Corporation

17136 Ventura Blvd.

Encino, California

Walter Steuer 9

Zoomar Inc.

55 Sea Cliff Avenue

Glen Cove, N.Y.

Detailed Program
SMPTE Convention

-4
p.m.

p.m.

SUNDAY, October 13

REGISTRATION — 10 a.

BUFFET DINNFR — 5:30

MONDAY, October 14

REGISTRATION — All Day

PHOTOGRAPHY IN MEDICINE —
Morning

Television and Cine Systems for Med-
ical Fluoroscopy; Television X-Ray
Image Storage Aparatus; Television
X-Ray Image Amplifier; Image Am-
plification and Television for Medical
Education; Research Documents for
Psychotherapy.

GET-TOGETHER LUNCHEON — Noon.
Guest Speaker: Gen. George W. God-
dard, Speciol Assistant to the President
of Itek Corp.

BUSINESS MEETING — Afternoon
PHOTOGRAPHY IN MEDICINE —
Afternoon

Stereocineradiogrophy; Endoscopic Pho-
tography Through the Fiberscope; X-
Ray Time-Lapse Studies of Living
Bone; Time Lopse Studies of Living
Cells in Division; Advances in Polar-
ized Light Microscopy; Technical Prob-
lems in Endoscopic Cinematography,
Miniature Television Camera for En-
doscopic Purposes.
PHOTOGRAPHY IN MEDICINE —
Evening

National Institutes of Health Film:
"Microelectrophoresis: The Fabrica-
tion and Use of the Five-Barrel Micro-
electrode"; Cinegastroscopy; High-
Speed Photography of Eye Circulation.

TUESDAY, October 15

LABORATORY PRACTICE — Morning
Design of a 1 6mm Editing Machine;
Rapid Processing of a Panchromatic
Negative Film by a Viscous Mono-
bath; Method for Converting Subtrac-
tive Timing and Color Balance Print-
ing Data to Additive Printing Settings;
Step Scale Metrics and Quantitative
Exposure Determination; Gevacolor
Position T953; Metro-Kalvar Motion-
Picture and Television Film; Techni-
scope; Comparison of Projected Ima-
ges; Optical Effects.

8MM AND SMALL-FORMAT FILM —
Afternoon

Photographic Variable-Area Sound Re-
cording for 8mm; 8mm Variable-Area
Sound; Technical Program for 8mm
Educational Sound Film; 8mm Sound
— The Film in Education; 8mm Test
Film Report; 8mm Sound — Review of
Progress; Magnetic and or Optical
Sound for 8mm Film; Challenge of
8mm Sound Film.

PRESENTATION OF SOCIETY AWARDS
— Evening

WEDNESDAY, October 16

EQUIPMENT PAPERS AND DEMON -
STRATIONS — Morning
New products described ond demon
strated by exhibitors.

SOUND RECORDING — Afternoon

Synthesis and Manipulation of Natur-
al Sounds in Electronic Music for
Films; 8mm High-Speed Magnetic
Multiple Sound Dubber; Cross Modu-
lation Distortion in Present Recording
Practice; Viscous Layer Processing of
Variable-Area Sound Negatives; New
Magnetic Film.

COCKTAIL PARTY, BANQUET AND
DANCE — Evening

THURSDAY, October 17

INSTRUMENTATION AND HIGH -

SPEED PHOTOGRAPHY — Morning
and Continued Concurrent Sessions.
Application of Focal Plane Shutter
Camera to Explosives Research; High-
Speed Studies of Fractures of Brittle
Materials; Laser Applications; Image
Enhancement Through Development of
Film — Photo-Optics Today and To-
morrow; Camera Mount for Missile
Tracking; Optical and Infrared
Masers.

MOTION PICTURES, TELEVISION AND
EDUCATION — Afternoon
Developments in School Television
Programming; Tele-Lecture; Parlons
Francois and the Training of Class-
room Teachers; Mobile Viedeo-Tape
Production for Educational Television.

INSTRUMENTATION AND HIGH-
SPEED PHOTOGRAPHY — Afternoon
(Concurrent Session)

MOTION PICTURES, TELEVISION AND
EDUCATION — Evening
Instructional Television Overseas; Lo-
cation and Newsreel Motion-Picture
Equipment; Audio-Visual Devices; Ef-
fective Visual Presentations.

FRIDAY, October 18

TV ENGINEERING DEVELOPMENTS;
SPACE TECHNOLOGY
Developments of Electronic Special
Effects in Television; Subjective Eval-
uation of Broadcast TV Pictures;
Simplified Operating Practices for
Studio Cameras; Television Film Re-
corder for Field Sequential Color and
Standard Monochrome; Image-Orthicon
Operation; Secondary Electron Conduc-
tion in Low-Density Targets for Signal
Amplification and Storage in Camera
Tubes; Portable Television Tape Re-

DAMAGED FILM
HOSPITAL

Why Junk DAMAGED FILM?

"The Film Doctors'" (specialists in the
science of film rejuvenation) can restore
scratched, brittle, and worn film at a
fraction of new print costs. Old, damaged
8, 16, 35mm film can be restored to orig-
inal screening quality and its life can be
prolonged indefinitely.
RAP1DWELD: restores damaged originals, neg-
atives and prints.
RAPIDTREAT: completely protects and prolongs

the life of new prints indefinitely
RAPID FILM SHIPPERS: vault storage, interna-
tional distribution and inspection facilities.

Ask for Booklet Y-8

For complete details write:

ARID FILM
TECHNIQUE. INC.

37-02 27 ST., L. I. C. 1, N. Y.
STillwell 6-4600 • Est. 1940

<GF\

You Name It...
S.O.S. Has It!

i

Here, under one roof, on entire building de-
otcd to all your needs for producing pro-
essing, recording, editing, lighting and show-
ing motion picture films . . . and at WORTH-
WHILE SAVINGS IN PRICE!

Amplifiers

Anamorphic Lenses

Animation Stands,
Titlers

Arc Lamps

Auricon Cameras

Books, Technical

Booms, Micro-
phones

Cameras, Profes-
sional

Colortran Lights

Dollies, Cranes,
Tripods

Drive-ln Theatre
Equipment

Film Magazines

Film Printers

Film Cleaning
Machines

Film Cabinets

Film Editing
Equipt.

Film Lab Equipt.

Film Numbering
Machines

Film Processors

Generators
Hot Presses
Lenses, All Sizes
Lighting Equipt.
Marquee Letters
Moviola Editors
Projection Equipt.
Projection Lamps
Projector

Mechanisms
Rectifiers
Reels, Cans, Film,

Tape
Reflectors
Sound Cameras
Soundheads
Sound and Speaker

Systems
Stage Equipmnet
Stripping Machines
Synchronizers,

Splicers
Technical Books
Theatre Equipt.
Viewers, Sound

Readers
Zoom Lenses, etc.

International Projectionist October. 1963

^ Visit S.O.S. at Booths 23-24
^ at the Convention

S.O.S.

PHOTO-CINE-OPTICSJNC.

602 West 52nd St., N.Y.C. 10019.

Tei. PLaza 7-0440

Western Branch: 6331 Holly'd Blvd.,

Hollywood, Calif. 90028

13

3 NEW CAMERA MART ACCESSORIES

NEwGTC-59

LENS CLEANER
& PROTECTOR

• Anti-Fog • Anti-Static

Ideal for lenses, cameras,
condensors, reflectors, optical
equipment, etc. \. /

6 oz. can with Spray Applicator $1.65 each
Case of 12/$1.00 each

m-fap€) LIQUID

INSULATING TAPE
Just Brush it on Those
Hard-To-Tape Places

Designed for use in electrical in-
5?& :. stallations, maintenance and re-
^2j/ pair. Prevents shorts, shocks.

2 oz. Bottle $1.65 each Case of 12/$1.00 each

artrmn

bJ^—Jb Restores,

'/BE/ Quiets

Lubricates

Completely safe for sound pro-
jectors, amplifiers, studio rec-
ording equipment and editing
equipment. Non-inflammable.
Used for all gummy parts —
instantly cleans and deposits a
hard bonded dry lubricant.

2 oz. Bottle $1.00 each Case of 12/75c each
Write for complete literature. All Prices F.O.B. N. Y.

unman mhrt

1845 BROADWAY (at 60th St.)
NEW YORK 23, N.Y. . PLaza 7-6977

corder; Correction of Differential
Phase Distortion in Color Video-Tape
Recording; New Concept in Studio
Lamps; Stratoscope II Television Sys-
tem; Surveyor Television Subsystem.

EXHIBITORS

Allen Products, Inc.

Arriflex Corp. of America

Camera Equipment Co.

Edgerton, Germeshausen & Grier

Elgeet Optical Co., Inc.

Florman & Babb, Inc.

Hi-Speed Equipment, Inc.

Hollywood Film Co.

L-W Photo Products, Inc.

Lipsner-Smith Corp.

Photolamp Div., Sylvania Electric

Products, Inc.
Precision Cine Equipment Corp.
Quick-Set, Inc.

S.O.S. Photo-Cine-Optics, Inc.
Smith's Photographies
Traid Corp.
Zoomar, Inc.

ASSOCIATION OF CINEMA
LABORATORIES

The ACL will meet at The Somerset on
Saturday, October 12, immediately pre-
ceding the SMPTE Technical Conference.
The Equipment and Techniques Forum
during the afternoon will be open to
SMPTE members. There will be a special
preview of the SMPTE Equipment Exhibit
for ACL members at 10:30 a.m. Mon-
day, October 14.
COMMITTEES

SMPTE Engineering Committees will
meet during the Technical Conference
— committee members will be notified
by letter of the times and dates of
their meetings. Editorial activities dur-
ing the conference will include meetings
of the Papers Committee, the Board of
Editors and the Publications Advisory
Committee.
LADIES' PROGRAM

Boston's many places of cultural and
historical interest will keynote the Ladies'
Program. There will be a full schedule of
events to make this a delightful week
for the wives.

iP

Projection Equipment
At Europe's Photokina

By R. Howard Cricks,

Hon. FBKS, FRPS

The first portion of IPs report on
Photokina, one of the world's largest
projection shows, was carried in last
month's issue. Continuing the dis-
cussion of new European projection
equipment featured there, we must
say something more about the Philips
projectors.

THE REVOLUTIONARY XENON LIGHT SYSTEM
FOR SUPERIOR MOTION PICTURE PROJECTION

check these big zeiss-ikon
xenosol advantages:

■ COLOR FIDELITY

■ LOW CURRENT CONSUMPTION

■ SUPERIOR QUALITY PROJECTION

■ TROUBLE-FREE CLEAN OPERATION

■ IMMEDIATE STARTING

ZEISS-IKON XENOSOL equipment-for new installations and
existing carbon arc housings-is available in 900 watt, 1,600 watt
and 2,500 watt sizes to fit every theatre's need.

For complete information: CINE ELECTRONIC SYSTEMS INC
225 East 46th Street, New York, New York. Phone : PLaza 8-1561

14

We saw another application of the
new lamp: a new projector-a slight
modification of the FP20S — known
as the FP22S, which uses two 1000-
watt lamps. One is in the normal
place just behind the gate; the other
is at the side, and a mirror shutter
three times per frame reflects its
light into the aperture, which thus
receives six flashes per frame. The
light output is 15,000 lumens.

Yet another development is a new
pulsator. The previous types are of
course synchronized from the pro-
jector, running at 24 frames per
second, and to smooth the 50 c/s of
the European mains sufficiently to
prevent flicker needs quite costly
circuits. The new pulsator is syn-
chronized with the 50 c/s mains; it
operates in conjunction with the new
FP25S projector, which is driven by
a synchronous motor at 25 frames
per second. The new pulsator is half
the size and half the cost of the pre-
vious type.

But the highlight of the Philips
exhibit was the Solo projector. It is
designed to carry 13,000 ft. reels,
and as shown in the photograph, the
magazines are positioned either side
of the projector stand. A loaded
spool is pretty weighty, so the
spools are carried on the trolley
shown, which is wheeled up to the
magazine and the spool is slid on to
the shaft. The foot - pedal shown
serves to rewind after the complete
reel has been shown (a fully auto-
(Please turn to page 18)

International Projectionist October. 1963

I train page 10 1

sor of Optics and Photograph) at
Massachusetts Institute of Tech-
nolog) . has been named to receive
the 1963 Progress Medal Award of
the Societj of Motion Picture and
Television Engineers.

The award, which recognizes out-
standing technical contributions to
the progress of motion-picture and
television engineering, was announced
In SMPTE President Reid H. Ra>.
Chairman of the award committee
was Sidnex P. Solow. vice president
and general manager of Consolidated
Film Industries. Hollywood.

Dr. Hard\. who completed a 11-
year teaching career at MIT on his
retirement in 1961, is probably best
known for his pioneer work in mo-
tion-picture sound recording during
the mid-1920's and his later work
on the theory of color reproduction
in the fields of photography, televi-
sion, and the graphic arts. With F. H.
Perrin he is the author of "The Prin-
ciples of Optics." a standard refer-
ence in the field.

Henr\ V Kozanowski, manager of
tcle\ ision advanced development for
Radio Corporation of America in
Camden. \. J., will receive the 1 963
David Sarnoff Gold Medal of the
Societ) of Motion Picture and Televi-
sion Engineers.

Robert L. Lamberts, research asso-
ciate with Kodak Research Labora-
tories in Rochester, N. Y.. has won
the 1963 Journal Award of the So-
ciety of Motion Picture and Televi-
sion Engineers.

SMPTE Editorial Vice-President
Herbert E. Farmer announced the
award, which recognizes the most
outstanding technical paper published
in the monthly Journal of the SMPTE
during the preceding year.

The award committee, headed 1>\
H. Theodore Harding, motion-picture
marketing manager for Du Pont in
\\ ilminiiton. Del., also named two

honorable mention winners. They are
Walter Bach, president of Bach Auri-
con, Inc.. of Hollywood, and Dr. J.
S. Courtnev -Pratt, research physicist
at Bell Telephone Laboratories. Mur-
ray Hill. N. J.

Mr. Lamberts's winning paper.
"Application of Sine-Wave Techni-
ques to Image Forming Systems."
appeared in the September 1062 is-
sue of the Journal. The paper dis-
cusses the derivation of spatial fre-
quency— more properly called modu-
lation transfer function — and illus-
trates the usefulness of modulation
transfer function in evaluating opti-
cal and photographic systems.

New uses of photography and tele-
\ ision in education will be outlined
in technical papers. The topic chair-
man for the education papers is
Hartford Gunn. Jr.. general manager
of WCBH-FM and TV. educational
stations in Cambridge. Mass.

Among those persons scheduled
to present papers are:

I beodore R. Conant. The Ford
Foundation. New York. "New De-
velopments in the Role and Scope of
Instructional Television Overseas."

Michel Beilis. \merican Telephone
and Telegraph Co.. New York, "What
is Tele-Lecture?"

Alan R. Stephenson. The 21 -Inch
Classroom. Watertown. Mass.. "De-
velopments in School Television Pro-
graming."

Russ Morash. WGBH. Cambridge.
Mass.. "Mobile Video-Tape Produc-
tion for Educational Television."

Robert \\ . Cannaday, Jr.. Modern
Language Project. Boston. " "Parlous
Francais' and the Training of Non-
specialist Classroom Teachers for
Follow-up in French."

John A. Maurer. JM Develop-
ments. Inc.. New York. "A Techni-
cal Program for 8mm Educational
Sound Films."

iP

CREATE THE RIGHT MOOD EVERY TIME WITH THE

Major Mood Music Library

MAJOR offers you a full thirty-five hours of mood music for

titles, bridges, backgrounds.

Write for Free Catalogue

THOMAS J. VALENTINO, INC.

Established 1932
150 West 46th Street CI 6 4675 New York 36, N. Y.

OXBERRY

16mm HIGH SPEED
INSPECTION PROJECTOR

Features:

• Rapid inspection at variable 50-140 ft/min.

• Optical rotating prism intermittent elimi-
nates hazards of scratching or damaging
film— reduces maintenance.

• Continuously projects 1 frame at a time,
including perforations and sound track.

• Feed and take-up receives reels and cores.

• Direct intent light 13 ft-candles, with 17"
x 23" image at 10 ft throw.

Available in 3 models

MODEL 70 . . . Self supporting base type.

MODEL 71 ...Adapts to dry end of proces-
sing machine; film speed automatically
syncronized with processor. 50-140 ft/min.

MODEL 72 . . . Ultra high speed for research
and special applications.

For further information, write to:

tfieaffJmat/offeqi/fpmentGorp.

38 HUDSON STREET, NEW ROCHELLE, N.Y.

TELEPHONE: (914) NE 6-8138
OFFICES: HOLLYWOOD • LONDON

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
Company, Inc.

Visit SMPTE Booth — #5
315 W. 43rd St. New York 36, N.Y.

JUdson 6-1420

6510 Santa Monica Blvd., Los Angeles

51 E. 10th Ave., Hialeah, Fla.

International Projectionist October. 1963

15

America's
headquarters

lor all
theatre equipment

supplies

•AI.TS-

+

National

THEATRE SUPPLY COMPANY

ASHCRAFT

CORE-LIGHT

SUPER CINEX

CINEX SPECIAL

PROJECTION LAMPS

And

HIGH RECTANCE

MULTI-PHASE

RECTIFIERS

World's Standard of
Projection Excellence

THE HIGH ■■:■'.<:
MOST INTENSITY

POWERFUL Ajg*°*

SPOTLIGHTS

ARE MANUFACTURED BY

GENARCO inc.

97-00 B SUTPHIN BLVD.

Jamaica 35, N. Y. OL 8-5850

Ask for Illustrated Literature

Present at the installation of the new Strong Futura projection arc lamps in
late August at the Jesse James Drive-In Theatre, Toledo, one of the 23 theatres
of the Armstrong Circuit, were (left to right), William White, field representa-
tive of the Strong Electric Corp.; Clifford Callender, sales manager of the motion
picture division of Strong; Arthur J. Hatch, president of the Strong Electric
Corp., and Jack Armstrong, head of the Armstrong Circuit and president of
National Allied.

Cover Story:

Strong Electrics "Futura"
Projection Lamp Shown to
Exhibitors at National Show

The new Futura projection arc
lamp, unveiled in September, will be
the feature of an exhibit by Strong
Electric Corporation at the TOA -
TESMA - TEDA - NAC trade show
Oct. 28 - 31, Americana Hotel, New
York City.

The Futura fills the 35 and 70mm
needs of all indoor theatres with
screens up to 65 ft. and drive-ins with
screens up to 120 ft. The optical
system of this powerful direct cur-
rent angle trim high intensity arc
has been designed to match the re-
quirements of all 35mm and 70mm
projectors. An exclusive with Strong
is the simplicity of change from one
film width to the other, the turning
of a single knob. A calibrated scale
with reference pointer permits pre-
cise reset of burner focus once the
35 and 70mm positions are esta-
blished.

The Futura comes in three ratings:
Futura I for economy of operation
with 11mm carbon trim burning at
75 to 105 amperes; and the Futura II
with automatic crater positioner for
13.6mm trim burning at 120 to 160
amperes or for 11mm carbon trim
burning at 100 to 125 amperes.

Efficient utilization of the standard

economical 20-inch length carbon
permits projection of an extra reel of
film per length of carbon.

An 18-inch diameter first surface
Tuf-Cold reflector, developed by
Strong and bearing a two-year sliding
scale guarantee is provided for use
with lamps burning at 95 amperes
and above. The resulting low aper-
ture temperature assures perfect pro-
jection without the film damage and
buckling which results in in-and-out

The Futura:

Strong Electric Company's new Fu-
tura projection arc lamp is available
in three ratings for varied carbon trims
and amperages.

L6

International Projectionist

October. 1963

An example cf the brilliant image projected tj a lirge drive-in theatre screen
by the new Strong Futura projection arc lamp is shown in this unretcu.hed
photo made recently at the Jesse James, Toledo, one of the 23 theatres of the
Armstrong circuit. All of the lighting around the concession building, turned
on so as to illuminate the patrons' cars, had no appreciable effe.t m the pow-
erful light projected to the screen.

of focus. Sikcred reflectors are pro-
vided with tamps burning at less than
')r> amperes.

The futura has a new t\pe con-
venient arc imager s\stem. redesign-
ed to eliminate parallex.

The Strong exhibit will also include
the X-16 Xenon Projection lamp, new
Bi-Powr silicon diode stack trans-
former-rectifier designed as a power
source for the operation of two arc
lamps, and Tuf-Cold reflectors. iP

¥ ^^

Norelco To Show 360°
Exhibit at World's Fair

\ number of Norelco Pulse Lite
projectors will be an integral part of
a giant ■')()() motion picture exhibit
at the forthcoming New York World's
Fair. The exhibit will be shown on
surround walls, broken l>\ partitions
so that about a thousand persons may
stand in a sort of circular well to see
the picture. The performance is ex-
pected to be of about 20 minutes
duration. The building has been
designed to accommodate another
1000 persons waiting for each per-
formance and is intended to be a
temporary one.

It will be demolished and re-erected
somewhere else when the fair (loses
at the end of 1%5.

One of the state exhibits will house
the circularl) projected picture
system. iP

PROJECTIONISTS WANTED!

National Sound Service Co.
will interview competent IATSE
personnel for position as Field
Service Men in theatrical and
industrial field. Send letter to:
Box 410, International Projec-
tionist, 545 5th Ave., New York
17, N. Y.

PROJECTIONISTS
PREFER

ETHYLOID

Film Cement For

BEST RESULTS

Available from

Supply dealers

FISHER MFG. CO.

1185 Mr. Read Blvd.
Rochester, N.Y.

PROJECTOR
CARBONS

Better
Light!

Lower
Costs!

RINGSDORFF CARBON CORP. East McKeesport. Pa

DOUBLY PLEASED — Lloyd A.
Turel, proje;tionist at the new Norwest
Theatre, Detroit, appears to be doubly
pleased with his position - pleased with
his Strong Lo-Current projection arc
lamps and pleased to have such an at-
tractive boss. Dale Young Killeen,
manager.

International Projectionist October. 196.c

Stea4c*tp Tflttvwid? it c*«t u&e* »at,

HEYER-SHULTZ
UNBREAKABLE METAL REFLECTORS

TOP SCREEN
ILLUMINATION

5 YEAR
GUARANTEE

WILL NOT
PIT OR TARNISH

FACTORY

REFINISHING

SERVICE

Stt Yon Manufactured by

Theatre Supply Dtaler HEYER-SHULTZ, Inc. cedar Grove, n. j.

17

Photokina

matic rewind was thought to he
undesirable) .

The Solo is designed to be oper-
ated from the auditorium console on
the left of the picture. Everything is
remotely controlled: start, stop, light
brightness, sound volume, focus,
racking, and even the 3-lens turret
which operates in conjunction with
a 3-way gate aperture.

A number of years ago Andre
Debrie showed me in Paris a proto-
type of an attachment for fitting to

from page 14

an ordinary 35mm projector, and
using the same illuminant, enabling
16mm films to be projected in the
cinema. The latest development was
shown at Photokina: a simple fit-
ting which hinged to the existing
projector, and was driven by either
of two motors, for 16 and 24 frames
per second respectively.

A new range of 16mm projectors
was demonstrated by Associated Elec-
trical Industries — formerly British
Thomson-Houston, which made the

n

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Philips FP20S projectors as installed
in the ABC Cinema, Croydon, Eng-
land. Identical in appearance are the
other two Philips projectors recently
introduced at the Photokina exposition,
FP22S and FP25S.

first successful 16mm sound projec-
tor in Europe. It uses a relay optical
system, which besides making effi-
cient use of the light, enables the
shutter to be placed at a cross-over
point, so that it also works at maxi-
mum efficiency. It is available with
optical and optical/magnetic sound.

I saw a very attractive Japanese
16mm machine, the Elmo. It is com-
pletely self-contained, and uses a
1000-watt xenon lamp. It provides
optica] and magnetic sound.

A final point of interest, although
not in the projection field: a camera
running at the rate of 8,000,000
frames per second, and another ca-
pable of exposures down to 20 milli-
microseconds— one-fiftieth of a mi-
crosecond ! The first is made by the
British firm of Barr & Stroud, and
the second, employing an image in-
tensifier, by the German firm of
Impuls-Physik. iP

Xenosoi Reports Long
Operating Bulb Hours

Cine Electronic Systems Inc., has
announced the results of a series of
in-the-theatre tests to determine the
burning life of various Xenon lamps
of their Xenosoi System installations.

Amherst Theatre in Batavia, New
York, now has over 2,877 operating-
hours on their 1,600 watt bulbs and
still putting out with almost 100%
light. Peter Becker reports they are
still working fine and it loks like thev
are going to get a lot more hours,
before they have to make any
change. iP

Hi

International Projectionist

October. 1963

» AUTHORITATIVE
» COMPREHENSIVE

»

PRACTICAL

Acclaimed by leading technicians in
the industry as the most comprehen-
sive and down-to-earth handbook pub-
lished to date on the subject of motion
picture projection. Ideally suited for
study and reference by your opera-
tors.

ROBERT A. MITCHELL'S

MANUAL OF PRACTICAL PROJECTION

i-iANOY 5' 2

SIZE

450 pages — illustrated

CROSS INDEXED FOR EASY REFERENCE

* Here is one of the most help-
ful works ever published for
the motion picture projection-
ist. A handsomely bound and
profusely illustrated compila-
tion of the BEST of the Robert
A. Mitchell articles that have
appeared in "International
Projectionis t," revised,
brought up to date.

* The author covers clearly
and thoroughly every aspect of
motion picture projection, pre-
senting his material in easily
understood language — not too
technical, yet technically ac-
curate. The Manual is divided
in 8 sections and contains 30
chapters — a valuable refer-
ence work no progressive pro-
jectionist should be without.

!

SECTION HEADINGS

(1) 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 * USE THIS HANDY FORM

INTERNATIONAL PROJECTIONIST
Post Office Box 6174
Minneapolis 24, Minnesota

Gentlemen: please send me copy (copies) of ROBERT A. MITCHELL'S MANUAL OF

PRACTICAL PROJECTION. Enclosed is my check (or money-order) for $

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crater positioner for 13.6mm carbon trim burning at 120-160 amperes, or 11mm carbon
trim burning at 100-125 amperes. The optical system matches the requirements of all
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Strong TUF-COLD reflector for operation above 95 amperes, silvered reflectors for opera-
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(See Story on Page 10)

NOVEMBER
VOLUME 38
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1963

NUMBER IT

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Investment Opportunity

The tools this young apprentice is learning to make will
one day be used to turn out your company's products.

A great investment in time, money, effort and faith
will have to go into making him productive. Every one
of us has a stake in his success— and every one of us
must invest something — for on the developing skills of
America's young tool-makers depends the continued
functioning of all industries.

You can protect your investment by joining with other
leading American businessmen to promote the Treas-
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Treasury Department's Plan helps safeguard the individ-

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When you bring the Payroll Savings Plan into your
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you are investing in the next generation of America's
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Don't pass this investment opportunity by. Call your
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The U. S. Government does not pay for this advertisement. The Treasury Department thanks, for their patriotism. The Advertising Council and this magazine. •

INTERNATIONAL

PROJECTIONIST

Including a special Audio-Visual section relat-
ing to the operation and maintenance of A-V
equipment in the educational and industrial
fields.

Volume 38 November, 1963 No. 11

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO
Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue, New York 17, N. Y.

Telephone Murrayhill 7-7746

(Area Code 212)

IN THIS ISSUE

Takeup Action Important 4

By ROBERT A. MITCHELL

The Cover Story:

The Community Theatre 10

Miami's Concord Theatre 12

TEDA Developments 1 1

News Notes — Technical Hints — Miscellaneous Notes

INTERNATIONAL PROJECTIONIST, published monthly by the
International Projectionist Publishing Co. division of The
Northern Publishing Co., Post Office Box 6174, Minneapo'is
24, Minnesota. Editorial offices, 1645 Hennepin Avenue,
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signed articles, or for unsolicited articles. Entire contents
copyrighted 1963 by INTERNATIONAL PROJECTIONIST
PUBLISHING CO.

1
International Projectionist November. 1963

MONTHLY CHAT

SHORTAGE OF 70MM PRINTS

The exchanges around the country have not many
70mm prints — one, two or three, with the bulk of
course 35mm prints.

The 70mm cost is five times more than the 35mm
print. The basic print order is 250 on the 35mm prints,
say these cost $1,000, the same 70mm prints would
cost 85.000 to $8,000. (70mm prints last longer than
the 35mm prints.)

No wonder producers or distributors say that the
average movie patron won't know the difference if
70mm or 35mm prints are projected on the screen.

Well, why bother to use 70mm prints on hard-
tickel showings around capital cities of the country?
Because the producers and distributors cash in the long-
run and publicity on the big city's showings.

Holding Back The Industry

Nevertheless, the producers and distributors are hold-
ing hack the film industry on getting 70mm prints
around to their exchanges.

The theatre owners won't install 70 35mm projectors
a> the status quo lasts — they can't get 70mm prints for
love or money. The exhibitor keeps worn-out and
obsolete equipment, with expensive repairs, waiting for
the change of scene in the film industry.

According to one equipment manufacturer, who has
traveled the country several times, "this won't last long."
lie says the public is selective. The public listens to
stereo on the radio, many families have their own hi-fi
phonographs and they know what Cinerama, Todd-AO.
and 70mm looks like on the screen.

Progress bound to come

Progress in the film industry is bound to come. But
it will come only when the producers, distributors and
exhibitors get together.

There are many shabby theatres in which the dis-
tributor's opulent show reaches the public; it is as
important to the picture's sponsor as it is to the ex-
hibitor.

The men with investments in theatre properties
might well ask themselves what they are doing about
this condition. Well, there's no theatreman of experi-
ence who does not know full well that it takes more
than a picture to keep the film business prosperous.

The most serious factor about this situation is that
the industry recognizes it, but chooses to argue back
and forth between the exhibition branch and distribu-
tion branch.

Study the new processes

So the projectionist better study the new processes,
such as the president and chairman of Cinerama, Inc.,
Nicolas Reisini, said in his financial report that Cine-
rama installations in theatres "should reach 200 by the
end of 1963."

The movie theatre was once the leader in providing
creature comforts. It is now trailing the retail establish-
ments catering to the American consumer.

IP will hope that the well-traveled man is right
about: "this won't last long." iP

INTERNATIONAL PROJECTIONIST

Volume 38

November, 1963

Nymber 1 1

Takeup Action Important To
Good Projection

By ROBERT A. MITCHELL

The lower-magazine film takeup of projectors are
only rarely a serious concern to projectionists. It is more
or less assumed that, somehow, the film will wind up
properly on the takeup reel. This assumption is not
always warranted. We have found that incorrect and
erratic takeup tension, together with worn holdback
sprocket teeth, are frequent causes of print damage.

Some of the projectors made during the first decade
of motion-picture projection — 1896 to 1906 — had no
takeups at all! A large canvas bag was hung underneath
the projector stand to catch the film as it issued from the
machine. Without the bag, a full 1000 feet of dangerously
inflammable nitrate film ran out onto the floor in a
loose pile! It is not difficult to imagine the condition of
the film after being scratched, trampled upon, and soiled
by such rough treatment.

Principle of Film Takeup

The problem of designing a satisfactory and depend-
able film takeup was complicated by the variable rate
at which the lower reel of a motion-picture machine must

FIG. 1 — Conventional type of takeup clutch assembly
used in nearly all projectors. The drive pulley, run by
a belt from a pulley in the soundhead, is not fastened
directly to the takeup spindle, but runs freely on a steel
sleeve. In the Simplex, the pulley turns a flange which
communicates its rotation to the takeup spindle via a
leather slip-disc which allows the reel to revolve more
slowly as the film, fed to it from the holdback sprocket,
retards its rotation. The tension of the coil-spring which
couples the flange and friction disc is adjustable by means
of a locknut near the end of the takeup spindle.

4

turn. It is obvious that the rotation of the reel must
decrease in speed as the diameter of the film roll increases.

This problem was successfully solved in the motion-
picture camera by devising a friction-clutch arrangement
which allowed the takeup reel to be retarded in its rota-
tion by the film itself. The tension of the clutch was
adjusted so that the reel revolved at all times, but with-
out placing undue strain on the film being fed to the
reel.

The same type of friction-disc clutch was adapted for
use on projectors at an early date; but whereas old-
time movie cameras handled only relatively small and
light-weight rolls of film (250 to 500 feet), projectors
had a film capacity of 1000 feet, soon increased to 2000
feet in order that 2-reel "features" might be shown with-
out an interruption for changing reels.

The principal difficulty encountered with projector
film takeups was, and still is, the large difference in the
diameter and weight of the film roll between the time that
the showing of a reel has just begun and the time when
nearly all of the film has been wound up at the end of
the run. A 200-ft. roll of film wound on a 4-inch
diameter core or reel hub. for example, has an outside
diameter of 14 in. and a weight of approximately 9
lbs. — plus the weight of the empty reel.

The takeup unit must accordingly accommodate a
large variation in the weight of reels of film and also be
able to wind the film without fail at the end of the run
while taking it up without undue strain in the sprocket
holes at the beginning when the roll diameter is still
small.

These difficulties have been aggravated in recent
years by the use of 300-ft. 35-mm reels for half-hour TV
programs, the increasing popularity of 4000-ft. reels for
theatre use (originally introduced for the now defunct
double-strip 3-D process), and 4000-ft. reels for 70-mm
film ( weighing about 36 lbs. when fully loaded ) . We
hesitate to comment on the 13.000-ft. reels of the amaz-
ing Philips Solo projector except to express admiration
of the engineering ingenuity responsible for the endless
parade of cinematic wonders emanating from the Philips
factories!

Except for special modifications involving separate
motors for driving the takeups, the classical friction-
disc clutch still remains standard equipment for transmit-
ting rotary power to the takeup reel.

International Projectionist November, 1963

FIG. 3 — The Philips Norelco 70/35-mm projector cm-
ploys a drive shaft instead of a pulley-and-belt arrangement
for driving the takeup friction clutch.

Construction of Tokeup Unit

Fig. 1 shows ilif simple construction of a regular
35-mm projector takeup. A belt driven l>\ a pullej in the
projector mechanism or soundhead runs the drive pulle)
of the takeup at a constant speed. The reel shaft, or
sj)in< I K-. i- nut Fastened directlj to the drive pulley, how-
ever, but to a friction clutch which has the requi>ite
degree of slippage. The clutch consists of two smooth-
faced metal discs between which is a friction disc <>l
leather, cork, or similar material.

\\ ith no film in the projector, the coupling is com-
plete, and the takeup spindle revolves at the same speed
as the pullev . But when film is being taken up on a reel,
the film, fed at a constant rate from the holdback sproc-
ket of the soundhead, retards the rotation of the reel
and causes the jriclion-dise and metal-flange clutch In
slip while transmitting the rotary pouer. The larger the
diameter of the roll of film on the takeup reel, the more
slowly the reel revolves, and the greater the friction-
disc slippage.

The Simplex projector, like most others, employs a
leather friction disc. The Motiograph. however, uses a
cork-faced discs to provide the same result. Leather discs
should be relatively free from oil to work satisfactorily:
cork discs should be soaked in projector oil.

The speed at which the drive pulley of the takeup unit
turns should be only very slightly greater than the speed

International Projectionist November. 1963

required by the smallest reel-hub diameter used in the
lower magazine. The high rotational speed required for
the 1%-inch hub 1000 ft. reels (10 inches in outside
diameter) places a great deal of tension on the film at
the beginning, particularly when the tension spring
of the takeup is adjusted to guarantee rotation of a
fully loaded 2000-ft. reel. There is thus great danger
that the teeth of the holdback sprocket will tear the
perforations of the film at the commencement of a run
when the diameter of the roll of film on the reel is small.
In order to minimize this danger of damaging expen-
sive film footage, pulleys should be selected which im-
part just sufficient rotational speed to the takeup spindle
to wind up the film on reels having 31 ■_> or 4-inch hubs.
When this is done, the projectionist should instruct his
relief men never to use the small 10-inch (1000-ft.)
shipping reels in the lower magazines. To disregard this
precaution may result in a film jam-up or an ocean of
loose film on the projection-room floor!

Takeup Power Drive

Most projectors have the old familiar pulley-and-
belt transmission for the lower magazine film takeups.
This type of transmission is capable of giving trouble-
free service only so long as the belt remains tight and
firmh coupled by a strong, properly inserted metal
staple. Cheap belting may be satisfactory on grand-
mothers sewing machine, but it simply is not good
enough - not reliable enough — for a motion-picture
projector takeup.

If the leather takeup belt stretches, it will slip on the
pulleys and cause the film to wind up unevenly — or
even to pile up in the lower magazine, jam the projector,
Mi ip gears, and stop the show for the rest of the evening.
\nd if the belt becomes so rotten that the coupling staple
pulls out. the same dismaying result will ensure in an
c\ en shorter time!

A sprocket-and-chain transmission has been used

FIG. 2 — The enclosed friction-disc clutch assembly of
the Motiograph AA lower magazine takeup.

in the DeVry and, of course, in that "Old Reliable." the
Western Electric (ERPI) universal projector base.
Failure of chain takeup drives must indeed be very rare,
inasmuch as this writer, who has seen just about every-
thing that can go wrong in a projection room, has never
heard of such a thing happening. It is only necessary to
inspect the chain for worn or weak links every year or
two, and to keep the chain and drive sprockets clean and
lightly lubricated. Gear grease should be used on chains
— grease heavy and sticky enough not to be thrown off
when the machine is running.

Among the many modern features of the Philips
Norelco 70 35-mm projector is the elimination of all
takeup belts and chains. A vertical drive-shaft extends
from the mechanism down into the lower-magazine com-
partment where the friction-disc clutch is located. A
universal-shaft coupling insures smooth, vibrationless
operation; and simple bevel gears transmit the rota-
tion of the shaft to the clutch which is essentially the
same as the type American projectionists are already
familiar with in the Simplex and other popular ma-
chines, and which is adjusted for tension in the same
way.

Individually Motorized Takeups

The Bauer U2 and Cinemeccanica Victoria-X
70 '35-mm projectors employ separate drive motors for
their takeups. (The two motors of the Philips Norelco
are both for driving the projector, itself, one motor
being used for a film speed of 30 frames per second,
and the other for the standard 24- frames/sec. rate.) In
the Bauer and Victoria, therefore, there is no mechanical
connection between the picture-sound mechanism and
the film takeup.

The Bauer has an unusual friction-clutch arrange-
ment. It is designed so that the weight of the film roll,
itself, determines the degree of coupling through the
clutch — the more film on the lower reel, the greater
the friction of the power-transmitting clutch. This is
intended to ease the strain on the film at the beginning
of the run, and yet insure fail-proof rotation of the
heavy reel as the showing goes on. Several other
manufacturers prefer simple arrangements.

The large lever visible in the photograph of the
Bauer U2 takeup assembly (Fig. 6) must be inserted
in one of the five bore-holes in such a way that the
white line on the lever stands vertical. In order to
guarantee non-retarded starting of the large heavy reels
when switching the projector motor on, a relay switch
magnet drawing its current supply from the 60-volt
rectifier for the changeover is momentarily switched in
while the projector motor speeds up. The "in-circuit
time" of the magnet can be altered at the slotted brass
pin. on the delay relay. Although correctly set at the
factory, adjustment of this device has sometimes been
found necessary to prevent film breaks in the lower
magazine.

Adjustment of the tension of the friction-disc clutches
of both the Philips Norelco and the Cinemeccanica Vic-
toria-X is completely orthodox, and similar to that of
the familiar Simplex. (The Victoria utilizes a separate
takeup drive motor, but the gearing is direct and
simple. ) A small amount of gear grease should be ap-
plied to the takeup drive gears of the Norelco once every
three months.

Servicing Simplex-Type Takeups

The grimy, maladjusted takeup assemblies of older
projectors are fortunately easily restored to top-notch
condition. Even if a takeup unit looks okay on the
surface, an overhaul is called for if the film winds up

FIG. 4 — Closeup of the Philips Norelco takeup drive.
The friction-disc clutch is geared directly to the mechan-
ism drive. Adjustment is simple, upkeep negligible. Note
the centrifugal governor which operates a relay for shut-
ting the projector down should motor speed decrease
through failure of the electric power.

FIG. 5 — The Bauer U2 70/35-mm projector employs
an independent drive motor for the film takeup, thus
eliminating all gearing, pulleys, belts, etc. which would
otherwise be present. The Cinemeccanica Victoria-X also
has a motorized takeup.

International Projectionist November, 1963

FIG. 6 — The motor-driven friction-clutch unit of the
Bauer U2 features a load-dependent friction takeup whose
degree of coupling is determined by the weight of the reel
itself. This device assures a constant, even pull on the
film.

unevenly, if the sprocket holes of the film are torn when
the projector 3tarts up, or if the lower reel fails to
start turning when fulh loaded las when the projector
is switched on again after a shutdown near the finish

of a reel I .

1. Remove the takeup belt.

2. Remove the loeknuts. tension spring, pulles ami
flange, and friction-disc assembh from the reel-
spindle shaft, and pull the shaft from the lower maga-
zine after loosening the retaining collar.

). Clean all metal parts of the completeU dis-
mantled takeup unit, using Carbona (a carbon tet and
gasoline-naptha mixture) or lighter fluid (verj inflam-
mable! i to remove grirm grease and deposits of dirt.
Examine the slip-friction surfaces of both metal clutch
discs or flanges to make sure that these surfaces are
smooth, i If they are scored or scratched, they must be
replaced with new components. I

1. If the leather or cork friction discs are worn or
damaged in any way, replace them. Otherwise wash
the leather disc in Carbona or lighter fluid to remove
the oil it may have soaked up. Allow to dry. then
rub one side only of the leather disc with a very small
amount of Vaseline. But note that Motiograph cork
friction discs are treated differently: they should be
soaked in projector oil.

5. Oil the reel-spindle shaft and reassemble the
takeup. Do not oil the slipping surfaces of the metal
flan ice-discs! Be careful not to spill projector oil upon
the friction clutch when routinely lubricating the gear
side of the projector and soundhead!

6. Examine the takeup belt carefully. If rotten,
grease-soaked, or frayed in the vicinity of the coupling

staple, replace it with new leather belting of the best
quality obtainable. Never use belts made up of several
leftover ends of belting — no more than one staple should
be present in a belt!

7. With a sharp awl. punch the holes to receive the
the coupling staple. Try the belt on the machine to
see if it is really tight. If not tight enough, remove
the staple, cut off a small section from one end of
the belting, and punch a new hole for the staple. The
takeup belt, we repeat, must be very tight, and the taut-
ness checked from time to time.

o. Loosen the set-screw of the locknut on the end
ol the spindle shaft and adjust the tension spring so
that a full reel of film of the largest size used in the
projector starts turning the moment the projector motor
is -witched on. But test the revolving reel of film by
holding it back from turning with the finger in order
to guard against excessive tension which could easily
tear the sprocket holes of the film. Not too much force
should be necessary to restrain the reel while the pro-
jector is running.

Adjustment ol the friction-clutch tension spring
is essentially the same for the Simplex. Wenzel. ERPI
universal base. Motiograph. Philips, and many other
popular makes of projector. When the tension spring
i- correctly adjusted, the film winds up uniformly.
\et with just sufficient "looseness" of the roll to be
detected when the roll is pressed in from opposite sides
with the fingers.

9. \\ hen the takeup tension is at last just right.
tighten the set-screw of the split locknut securely. Many
projectionists use two loeknuts on the spindle shaft for
extra safety. At any rate, it is a good idea to have a
lew extra loeknuts in the spare parts cabinet.

Holdback Sprocket Important

\ "singing holdback sprocket is commonly attri-
buted to excessive takeup tension which pulls the film
too taut between the sprocket and the reel. This is
true: but worn holdback sprocket teeth will also cause
a loud buzzing noise and chip or tear the film perfora-
tions.

It has been the writer's experience that some
"singing of the holdback sprocket of the venerable
old KRPI universal base is normal even when takeup
tension is correct and the sprocket teeth are in good con-
dition. This sprocket, by the way, is located in the
lower-magazine compartment, not in the soundhead
when the old-style gate-type Western Electric soundhead
is used on the universal base.

W hen checking the condition of the teeth of the
holdback sprocket, remember that it is their upper edges
which become hooked or undercut — this sprocket does
not pull the film down, but literally holds it back
and takes all the strain imposed by the tension of
the takeup friction clutch. It restrains the speed at
which the lower reel turns.

The bad effect on the film of excessive takeup ten-
sion or worn holdback-sprocket teeth can be seen by
examining the perforations anywhere in the first 25
feet or so of a reel which has been run through the
projector. Holding the film so that the tiny pictures
appear right-side-up. and using a magnifying glass,
note the position of any^ cracks or tears present in the
edges and corners of the sprocket holes. Cracks at the
tops of the perforations (pulldown edge) are usually
caused by worn intermittent-sprocket teeth and /or
excessive gate tension. Cracks at the bottoms of the
perforations (holdback edge) are caused by worn hold-
back-sprocket teeth and /or excessive takeup tension.

International Projectionist

November. 1963

It ShOllldn'f happen tO a dOg ... or cat for that matter But it does - all too
often! Someone gets behind schedule— feels that he has to cut corners. Result: dull, "tired"
prints, even though the original negatives were top quality. Fact is, with a crisp, sparkling negative,
anything less than the best is a waste of time and money. That's why it pays to GO EASTMAN all
the way— negative and print-stock. And in the case of questions— production, processing, projection

—always call Eastman Technical Service. For more information write or
phone: Motion Picture Film Department, EASTMAN KODAK COMPANY,
Rochester 4, N. Y. Or— for the purchase of film: W. J. German, Inc. Agents
for the sale and distribution of EASTMAN Professional Film for Motion
Pictures and Television, Fort Lee, N. J., Chicago, III., Hollywood, Calif.

EASTMAN FIL

On The Cover:

Frank Hauss and Allen
Haitss in the projection
room of the Community
Th eatre.

The Cover Story . . .

Professional Skills, Modern Equipment Make
Walter Reade Theatre's Screen Lighting Tops

In the projection room of the new
Walter Reade Community Theatre.
Cherry Hill. N. J., there is a com-
bination of professional skills and
modern screen lighting equipment
which is unique.

Our cover photo starts a very in-
teresting story. Frank Hauss, busi-
ness manager of Local 418, Camden.
N. J., and his son, Allen, are the
projectionists in this newest of Wal-
ter Reade Theatres. Father-and-son
projectionists on the same job is not
a new situation, but when Ashcraft
Core-Lite arc lamps are added, the
result is a combination of profes-
sional skills and modern equipment.

Projection conditions at the Com-
munity are not ideal. The picture is
large and the projection distance is
short and when such conditions exist,
problems develop. Very short focal
length lens must be used with all
their attendant faults. Screen light-
ing and other projection problems at
the Community were overcome
through the use of new Ashcraft
Core-Lite arc lamps.

214" E. F. Kollmorgen Super-
Snaplite F:1.7 X lenses are used on
the flat or wide screen picture and
• >1i" Kollmorgen Super-Snaplite
F:1.9 lenses are used as backup
lenses for CinemaScope.

The secret of the light-making
capabilities of the Core-Lite arc
lamp is in optical projection dis-
tances. 6-5/8" to 6-13/16" is the pre-
scribed distance from the positive
carbon crater to the rear surface of
the reflector (depending upon the

10

focal length of projection lenses.)
29-1/2" is the prescribed distance
from the rear surface of the reflec-
tor to the aperture plate. A 16"
diameter reflector is used because a
reflector of larger diameter is neith-
er needed nor optically necessary at
these operating distances which are
exclusive with Ashcraft Core-Lite
arc lamps.

"We are proud of the new Ash-
craft Core-Lite arc lamps." said
Frank. "'They are fine new modern
tools in the hands of the projection-
ist in his never-ending effort to put
a better picture on the screen for
the added entertainment of the the-
atre patron and satisfaction of the
owners."

Frank further commented: "These
new arc lamps, with our new Simplex
XL projectors and Simplex XL all-
transistor sound system form a fine
combination of everything that is
needed to deliver the absolute best
in sight and sound entertainment to
our patrons free from all interfering
mechanical and audio faults."

The complete equipment installa-
tion was made by the Philadelphia
office of National Theatre Supply
Co. under the supervision of Bill
Hutchins. manager, and Mickey
Lewis, installation engineer. Frank
and Allen Hauss assisted in the in-
stallation.

Frank states that a Cinemascope
picture, 40 feet wide is projected
with a back-up lens of only 3% in.
and a flat picture of 30 feet wide

needs only a 2*/> in. lens. He com-
pliments the Walter Reade Circuit
for equipping this theatre with most
modern light producing systems
which enable patrons to see pictures
as perfectly as they are photograph-
ed in Hollywood studios.

In case there are readers who are
not yet familiar with a few of the
outstanding features of the Ashcraft
Core-Lite, we herewith briefly out-
line some. The Core-Lite is a 35mm
projection lamp into which is incor-
porated an entirely new optical sys-
tem that can be integrated with the
projection lenses now being used.
Because the particular shape of the
Core-Lite conical light beam elimi-
nates the losses in your lenses due to
vignetting, the light on the sides of
the screen is increased to any degree
desired.

It is also designed to use only one
size positive carbon, the 11mm x
17% inch high intensity carbon
combined with the 5/16 x 9 inch
negative projection carbon which is
operated at recommended current
range of 72 to 95 amperes. Because
of these and other important fea-
tures it burns the carbon slower and
eliminates projection losses. It also
reduces the carbon consumption and
use of high speed lenses. Besides
the present National Projector Car-
bon other firms will soon make
available suitable carbons for Core-
Lite. Both Ashcraft mirrors and rec-
tifiers are recommended for use with
any Core-Lite projection arc lamp
system. iP

International Projectionist November. 1963

Wicker Elected
TEDA Prexy At
N.Y. Convention

\K\\ YORK— L. Phi] Wicker 01
Greensboro, Y C, was elected presi-
dent of Theatre Equipment Dealers

\~-n. (TEDA) at its annual meet-
ing held in conjunction with the
TEDA-TESM V-\ \C trade show at
the Theatre Owners of America con-
vention in the \mericana hotel here.

Officials announced that thej were
pleased at the show attendance and
at the turnout of members, (H) per

cent t>f whom were present. It was
believed to indicate that theatre busi-
ness. slow for several years, had
turned the corner and was headed
for better linn-.

Elected to serve with Wicker were
Lloyd ('. Pearson, Toronto, Canada,
vice president: and Boh I ankerslev .
Denver. Colo., secretary-treasurer.

Kiei ted to the hoard of director-
were Tom Shearer, Seattle. Wash.:
George Hornstein, New York; Hal
Hornstein, Miami: Charles C.
Creamer. Minneapolis, Minn.: Louis
M. \\ utke. Los \n«elt's: J. H. Klder,
Dallas, lex.: Spero Kontos, I .os
Vngeles. M Boudouris of Toledo.
O.. was assigned to membership
and liaison. iP

'Golden Hot-Shot' Added
As EPRAD Heater

TOLEDO. OHIO— Drive-in the-
atre viewing in cold weather has an-
other heater entrant with the intro-
duction of the new Golden Hot-Shot
electric in-car heater. made l>v
LPRAD Co.

The Golden Hot-Shot will make
the average automobile warm and
comfortable in 60 seconds, accord-
ing to LPRAD engineers. It is de-
signed to be placed on the floor ol
the car to allow an unobstructed \ iew
of the screen.

The new heater is constructed ol
stainless steel and aluminum to re-
sist rust and corrosion. V heavy-dut)
General Electric heating element i-
said to provide safe, reliable heat.
Designed bv General Electric's In-
dustrial Heating Department. ol
Shelbwille. hid., the corrosion re-
sistant Inconel tubular healing ele-
ment i> sealed with silicone to pre-
vent the entry of moisture even
under the most adverse weather con-
dit ions.

I isted bv I nderw riters I abon-
tories, Inc. and Canadian Standards
Association, the (.olden Hot-Shot
electric heatei incorporates a louvred
design so that the movie-goer can
no! accidentally, touch the heating
element, according to the companv

Nicholas George, owner of the Jolly Roger Drive-In theatre, Dearborn,
Michigan, one of the Nicholas George theatres, is shown with Fred Warendorp,
projectionist, admiring their new Constellation projection arc lamp and Strong
Bi-Powr rectifier.

FROM EVERY ANGLE

BI-POWR

A new type silicon diode stack transformer
rectifier designed as a power source—

FOR THE OPERATION
OF 2 ARC LAMPS

•••

«

DUAL OUTPUT RATING OF:

60-85/60-85 AMPS/35-45 VOLTS

90-135/90-135 AMPS/56-70 VOLTS

120-160/120-160 AMPS/58-75 VOLTS

SAVES ON INITIAL COST!

Sells for 15% less than two of the lowest priced
90-135 ampere rectifiers, and costs less to install.
Requires only one line service. Built for extremely
long life. Class H glass insulated transformers.

SAVES ON OPERATIONAL COST!

Greater efficiency than selenium rectifiers and
previous silicon types.

SAVES ON SPACE

Requires one-third to one-half less floor space
than two separate rectifiers spaced for proper
ventilation.

THE

Send for literature.

ELECTRIC CORP.

31 CITY PARK AVENUE
TOLEDO 1, OHIO

International Projectionist November. 1963

11

CURTAIN CONTROLS,
TRACKS and SPECIAL
OPERATING DEVICES

VALLEN, Inc.

AKRON 4, OHIO .

Norelco

projection
equipment-

Available from

leading theatre supply

dealers

North American Philips Co., Inc.

Motion Picture Equipment Division
100 E. 42nd St., New York 17, N.Y.

The Concord Theatre's Projection Room

Miami's Concord Theatre Combines
Comfort for Patrons Projectionists

;:Vii:::v::^:p^:;-^S:

".'■;.';'':■'■

:■

;™#

;d::

:

^ ■
:

■

M',

in one package

LEASE FINANCE PLAN

TECHNICAL PLANNING

TOP GRADE EQUIPMENT

THAT INCLUDES NORELCO PROJECTORS

Soundheads — Lamps — Projectors — Amplification Speakers — Seating — Screens
Screen Towers — Carpets — In A Car Speakers — In-A-Car Heaters.

Now you can finance new theatre equipment — remodel or replace outmoded equip-
ment in your present one all with the same company. No need to purchase part of the
equipment from one company, have it installed by another, and serviced by a third.
Ballantyne technicians handle your theatre work from start to finish. And saves you
money. //^^f.

3 lis n tyn e

Instruments and Electronics, Inc.

1712 JACKSON ST. OMAHA, NEBRASKA 68102
A DIVISION OF ABC VENDING CORPORATION

MM. - '

12

a division of abc vending corporation

Intern

Miami, Fla. — The new Concord
Theatre here is operated by the
Town & Country Theatres. Glen
Cove, L. I., N. Y.

The Concord has 1,100 seating ca-
pacity and the cost of the building
was $300,000 and the cost of the
I equipment was approximately $100.-

1 °00-

Joe Hornstein, Inc., of Florida.

I equipped the Concord Theatre.

The projection booth is equipped
I with Century water-cooled projec-
tors, and a Century dual channel

■ transistorized sound system; Ash-

■ craft Cine water-cooled high inten-
I sity lamphouses and three Ashcraft

No. 1412 rectifiers; B & L F:1.8
lenses of focal length of 50 ft. wide
CinemaScope picture, and 42 ft. flat
picture on Tecknikote XR-171 Pearl-
escent screen; film handling equip-
ment by Neumade and Goldberg
with Best Devices port shutters and
controls.

Also. Joe Hornstein furnished the

■ wall treatment of fluted Fiberglas
to serve acoustical and decorative
purposes. The stage treatment is a
special Austral shade lift curtain
of gold Fiberglas with side legs
trimming the curtain in turquoise
Fiberglas with heavy duty A.D.C.
control equipment.

Specially designed footlights with

national Projectionist November, 1963

three different colors accent the
curtain treatment, on dimmer ar-
rangements, which also control spe-
cial hanging lighting fixtures of
modern design as well as recessed
concealed house lights, also con-
trolled In the special dimmers for
lighting intermissions and for
dimmer operation.

The carpet, furnished h\ Horn-
stein, is a -|>ccial all wool with a
turquoise ground and gold and black
splash accent.

The marquee attraction letters arc
\dler. three dimension, IT in. in
black and red.

Vnother innovation at the Con-
cord Theatre i- the specially taped
music public address h\ Hal Horn-
stein, which is located in the man-
ager's office. with speakers in
the ceiling of the marquee and lobb)
to entertain the hold-back crowds in
the expansive lohln with music
while awaiting the break in the show.
as well as for the convenience of
switching i>\.t the public address
bj the manager to control traffic.

I con Miller of New York was the
architect. The electrical and techni-
cal design In \. Marglin. The entire
supervision of installation and engi-
neering l>\ Hal Hornstein of foe
Hornstein, Inc. The Concord Theatre
has parking for 2,000 cars. iP

New Brochure

\ new light source for 16mm and

35mm motion picture projection is
described and illustrated in detail in
a new brochure now available from
the Str< ng Electric Corp.

This lamphouse, known as the
\-lo. utilizes an Osram Xenon bulb
to produce a uniform white light
comparable to carbon arc lighting.
Three models for 16mm projection
are rated at ISO, ()00 and 1600 watts.
For screens up to 21-feet wide, and
three models for 35mm projection are
rated at 900. 1600 and 2500 watts for
screens up to 36-feet wide. This light
source requires practically no atten-
tion by the operator.

There are no moving parts and the
complete absence of dirt assures
longer projector life. The operating
costs are about the same as for those
of carbon arcs projecting an equal
amount of light. \ copj of the bro-

chure will be sent to anyone address-
ing a request to the Strong Electric
Corp., 31 City Park Avenue. Toledo.
Ohio. 43601. ' iP

Hornstein Furnishes
Nassau Theatre
Projection Equipment

NASSAU, B. YV. I. — The new
Shirley Street Theatre has a 10 ft.
wide screen, and uses Strong X-16
2501) watt Xenon lamps. Joe Horn-
stein. Inc.. of \ew York, furnished
the equipment and stage draper)
treatment.

The Shirle\ Street Theatre is
equipped with Centurj Projection
and Centurj transistorized sound
equipment; Hausch & Lomb lenses;
Strong rectifiers. and. as noted
above, Strong Xenon lamphouses.

Engineering and supervision of
the installation was bj Hal Horn-
stein ol Joe Hornstein. Inc. iP

XeTRON Officials
Show "Break-Thru"

New York The XeTRON

booth, at the recent TO V trade show,
had a big sign: ""Break- Thru." an-
nouncing the \RO ().">() )\\ high pres-
sure Xenon discharge lamp. I Xe-
I HON is a di\ ision of ( larbons,
Inc. I.

Edward Lachman, president of the
parent company, and Frank II. Rif-
fle, general manager of XeTRON,

explained to the exhibitors the de-
tails of the 6500\K Xenon.

Features of the high pressure
(>.">( )()\\ Xenon are the constant lu-
men output: a light that resembles
natural daylight, having a color
temperature of approximate!) 6000°
K: independent of variations in the
suppl\ of voltage, which remains un-
changed even when the light output
i> being regulated.

The bods of the XBO Xenon lamp
consists of an ellipsoidal shaped
discharge vessel centered along the
axis and containing the opposing
electrodes. Both ends of the lamp are
fitted with cylindrical caps which are
provided with prefocus pins. A spe-
cial igniter is required ( approxi-
mately 50 KV pulse. 200 amp capa-
city I. XBO Xenon requires DC
power. iP

PROJECTIONISTS
PREFER

ETHYLOID

Film Cement For
BEST RESULTS

Available from
Supply dealers

FISHER MFG. CO.

1185 Mr. Read Blvd.
Rochester, N.Y.

PROJECTOR
CARBONS

Better
Light!

Lower
Costs!

RINGSDORFF CARBON CORP. East McKeesport. Pa

ASHCRAFT

CORE-LIGHT

SUPER CINEX

CINEX SPECIAL

PROJECTION LAMPS

And

HIGH RECTANCE

MULTI-PHASE

RECTIFIERS

World's Standard of
Projection Excellence

CARBON ARCS . . . for finest Projection . . . Compact Xenon Arcs

JtowuUne Anc GgaMg*U

MM
• Brighter Light on Screen

* Longer Burning per Carbon

• More Economical ... /

CARBONS. INC.

vmoss

products

rrxosf LAMPHOUSES • X*r*iosr POWER SUPPLIES

by Cinemeccanica by Christie

BOON TON, N.J.

International Projectionist November. 1963

Century Introduces
Acoustic Compensator

NEW YORK— Century Projector
Corp. has introduced what is said to
be an entirely new device to provide
motion picture theatres with a fast
and accurate means of adjusting the
frequency characteristics of multiple
channel theatre sound systems for
the best possible sound reproduc-
tion.

The device, called by its manu-
facturer the Century Acoustic Com-
pensator, is engineered and designed
as a fully contained, compact unit,
has no insertion loss, nor does it re-

PROJECTIONISTS WANTED!

National Sound Service Co.
will interview competent IATSE
personnel for position as Field
Service Men in theatrical and
industrial field. Send letter to:
Box 410, International Projec-
tionist, 545 5th Ave., New York
17, N. Y.

quire changes in system gain or
amplification, the company states.

It can be added to practically any
multi-channel sound system.

Century states in its supplied tech-
nical information that 1) the input
is a bridging type having an imped-
ance of about 100,000 ohms (IK).
It will therefore, connect to most
pre-amplifier outputs. 2) The output
is high impedance and will connect
to the input of power amplifiers hav-
ing input impedances of 1000 ohms
or higher. The output will simulate
the output of the average pre-ampli-
fier. 3) it can be used at a remote
distance ( in the auditorium) by us-
ing shielded cables for the connec-
tions. IP

JOHN STRADCUTTER DIES

MINNEAPOLIS— John Stradcut-
ter, 54. projectionist at the Belle
Plaine. Minn., theatre, was killed by
an automobile on Highway 169 near
Le Sueur. Minn. Investigation show-
ed that Stradcutter walked into the
side of a car driven by a Chaska.
Minn., man. iP

n

WHY WASTE CARBONS?

Use The "Master Saver Device

Reduce your projection carbon cost by adopting the MASTER
CARBON SAVER (designed by a pioneer IATSE projectionist.)
The only simple and accurate saver on the market with no
springs, screws, nuts and bolts and requires no carbon grind-
ing. Each carbon held by "Precision Taper" after stub is easily
tapped into saver. There is a "MASTER" saver for every type of
Suprex non-rotating or rotating arc lamp. Now being used by
hundreds of theatres on STRONG, ASHCRAFT, PEERLESS, etc.;
sizes 6-7-8-9-10-llmm, $3.50 each; 13.6mm, $4.50 each.

SOLD BY YOUR LOCAL SUPPLY DEALER

Manufactured by

MASTER SPECIALTY PRODUCTS

200 West 72nd St., New York 23, N. Y.

INTERNATIONAL PROJECTIONIST

Post Office Box 6174
Minneapolis 24, Minnesota

D 1 year (12) issues — $3.00

n 2 years (24) issues — $5.00

FOREIGN: Add $1.00 per year

Enter my subscription for

Name

Address

City

Zone State

14

ACTS OF MARCH 3, 1933, JULY 2, 1946
MENT, AND CIRCULATION OF

STATEMENT REQUIRED BY THE ACT OF
AUGUST 24, 1912, AS AMENDED BY THE
AND JUNE 11, 1960 (74 STAT. 208)
SHOWING THE OWNERSHIP. MANAGE-

INTERNATIONAL PROJECTIONIST
Published monthly at Main Postoffice. Min-

neapo'is, Minnesota for November, 1963.

1 . The names and addresses of the pub-
lisher, editor, managing editor, and business
managers are:

Publisher, frank W. Cooley. Jr., Min-
neapolis, Minn.

Editor Frank W. Cooley, Jr., Minneapolis,
Minn.

Managing editor, Ray Gallo, New York,
N. Y.

Business manager, None.

2. The owner is: (If owned by a corpora-
tion, its name and address must be stated and
also immediately thereunder the names and
addresses of stockholders owning or holding
1% or more of total amount of stock If not
owned by a corporation, the names and ad-
dresses of the individual owners must be
given. If owned by a partnership or other
unincorporated firm, its name and address,
as well as that of each individual mem-
ber, must be given.)

Northern Publishing Co., Minneapolis, Minn.
Frank W. Cooley, Jr., Minneapolis, Minn.
Rita Cooley, Minneapolis, Minn.

3. The known bondholders, mortqaaees, and
other security holders owning or holding 1 %
or more of total amount of bonds, mort-
gages, or other securities are: (If there are
none, so state.) None.

4. Paragraphs 2 and 3 include, in cases
where the stockholder or security holder ap-
pears upon the books of the company as
trustee or in any other fiduciary relation,
the name of the person or corporation for
whom such trustee is actina: also the state-
ments in the two paragraphs show the af-
fiant's full knowledge and belief as to the
circumstances and conditions under which
stockholders and security holders do not
appear upon the books of the company as
trustees, hold stock and securities in o
capacity other than that of a bona fide
owner.

5. The average number of copies of each
issue of this publication sold or distributed,
throuqh the mails or otherwise, to paid sub-
scribers durina the 12 months precedinq the
date shown above was: (This information is
reauired by the act of June 11. 1960 to be
included in all statements regardless of fre-
quency of issue.) 5,925.

F. W. COOLEY, JR.
Sworn to and subscribed before me this
8th dny nf OctobP' 1°*-'

THEODORE GLAROS
Notary Public, Hennepin County. Minn.
My Commission Expires Sept. 23, 1969.

International Projectionist November, 1963

» AUTHORITATIVE
» COMPREHENSIVE

»

PRACTICAL

Acclaimed by leading technicians in
the industry as the most comprehen-
sive and down-to-earth handbook pub-
lished to date on the subject of motion
picture projection. Ideally suited for
study and reference by your opera-
tors.

ROBERT A. MITCHELL'S

MANUAL OF PRACTICAL PROJECTION

HANDY 51 2" x 81 2" SIZE — 450 PAGES — ILLI STRATED

CROSS INDEXED FOR EASY REFERENCE

LAST CHANCE!!

The supply of the current edition of the Mitchell Manual for Practical Projection is nearly
exhausted — when the present supply is gone, there will be a ONE-YEAR wait until the
new edition is prepared. Get your copy now at the low price of seven dollars, postpaid.

!

SECTION HEADINGS

(1) Film; (2) The Projector; (3) Projection-Optics, Screens; I4j 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 * USE THIS HANDY FORM

INTERNATIONAL PROJECTIONIST
Post Office Box 61 74
Minneapolis 24, Minnesota

Gentlemen: please send me copy (copies) of ROBERT A. MITCHELL'S MANUAL OF

PRACTICAL PROJECTION. Enclosed is my check (or money-order) for $

NAME

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per copy
including postage

A Scene From America's Projector Carbon Center...

Equipment for coating carbons with copper

it,

Coating' projector carbons with the right amount
of copper is a top-billing production step"

( )

This equipment performs the
important task of coating pro-
jector carbons with copper— not
for eye appeal, but for the vital
purpose of assuring more de-
pendable screen lighting. The s;a Moriey
coating helps conduct current from the jaws of
the lamp to the arc. For maximum light effi-
ciency the copper coating must be of precision
thickness — no more — no less !

From the coating operation at National Car-
bon's plant in Fostoria, Ohio, projector carbons
move on to an automatic resistance test, where
a direct reading instrument measures in ohms-

-says SID MORLEY

National Carbon Sales Engineer

per-inch the coating on each carbon. If the coat-
ing is too thin or too thick, the unwanted carbon
is ejected from the line.

How is this rigid test related to good fighting?
First, if the coating is too thin, the carbon might
spindle back to the holder, resulting in freezing
and a possible lamp shutdown. Secondly, if too
thick, it might produce copper dripping and
cause the arc to wander.

In coating and all other manufacturing steps,
National Carbon utilizes today's most reliable
quality control methods. We want to be sure
your patrons get the finest screen lighting that
projector carbon money can buy !

Contact
Mr. National Carbon

UNION
CARBIDE

"National" and "Union Carbide" are registered trade-marks for products of

NATIONAL CARBON COMPANY

Division of Union Carbide Corporation • 270 Park Avenue • New York 17, N. Y.
In Canada: Union Carbide Canada Limited, Toronto

INTERNATIONAL

KODAK MODEL — Sur-
rounded by film packages, Sue
Smith, Eastman Kodak film-
testing model, shows a winning
smile. Her job is posing for
pictures — more than 70,000
stills and 150,000 feet of
movie film a year — to make
her the leading candidate for
the title of world's most photo-
graphed girl. She works at
Kodak Park in Rochester, N.Y.
(See Cover Story, page 11.)

DECEMBER
VOLUME 38
40c A COPY

1963

NUMBER 12

$3.00 A YEAR

A Scene From America's Projector Carbon Center...

.. "^iitfc'io5."«:,LJ ;■. ;,*■ ■■ .'.i_i,w,;,.,,. -,,.. '. ... ■:. ». .i.

Equipment for coating carbons with copper

Coating projector carbons with the right amount
of copper is a top-billing production step"

Sid Morley

This equipment performs the
important task of coating pro-
jector carbons with copper— not
for eye appeal, but for the vital
purpose of assuring more de-
pendable screen lighting. The
coating helps conduct current from the jaws of
the lamp to the arc. For maximum light effi-
ciency the copper coating must be of precision
thickness— no more— no less!

From the coating operation at "America's
Projector Carbon Center" in Fostoria, Ohio,
National carbons move to an automatic resist-
ance test, where a direct reading instrument

-says SID MORLEY

"National" Sales Engineer

measures in ohms-per-inch the coating on each
carbon. If the coating is too thin or too thick,
the unwanted carbon is ejected from the fine.

How is this rigid test related to good fighting?
First, if the coating is too thin, the carbon might
spindle back to the holder, resulting in freezing
and a possible lamp shutdown. Secondly, if too
thick, it might produce copper dripping and
cause the arc to wander.

In coating and all other manufacturing steps,
National carbons are produced by today's most
reliable quality control methods. We want to
be sure your patrons get the finest screen light-
ing that projector carbon money can buy !

UNION
CARBIDE

National" is a registered trade-mark of

UNION CARBIDE CORPORATION

CARBON PRODUCTS DIVISION

270 Park Ave., N. Y., N. Y. 10017 • In Canada: Union Carbide Canada Limited, Toronto

INTERNATIONAL

PROJECTIONIST

Including a special Audio-Visual section relat-
ing to the operation and maintenance of A-V
equipment in the educational and industrial
fields.

Volume 38 December, 1963 No. 12

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO
Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue, New York 17, N. Y.

Telephone Murrayhill 7-7746

(Area Code 212)

IN THIS ISSUE

Tinted Release - Print Film

By ROBERT A. MITCHELL

The Cover Story:
Kodak's Girl

306's 50th Anniversary

New Audio System for Drive-In

News Notes — Technical Hints — Miscellaneous Notes

11

10
12

INTERNATIONAL PROJECTIONIST, published monthly by the
International Projectionist Publishing Co. division of The
Northern Publishing Co., Post Office Box 6174, Minneapo'is
24, Minnesota. Editorial offices, 1645 Hennepin Avenue,
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Minneapolis, Minn. INTERNATIONAL PROJECTIONIST as-
sumes no responsibility for personal opinions appearing in
signed articles, or for unsolicited articles. Entire contents
copyrighted 1963 by INTERNATIONAL PROJECTIONIST
PUBLISHING CO.

1

MONTHLY CHAT

EXHIBITORS ARE REFURBISHING—
CHEERY NEWS FOR CRAFTSMEN

One indication that the exhibitors are refurbishing
their theatres is that the equipment manufacturers were
verv happv at the recent TO A trade show.

The manufacturers who had a booth in the trade
show sot man) orders, particularly on projection room
equipment, and the exhibitors who did not order still
seemed interested in the new. up-to-date equipment.

The TOA business sessions were in the morning,
and after the formal lunch the theatre owners crowded
the trade show.

Just maybe the booth craftsmen will get a break.
particularly in the subsequent runs. The theatre own-
ers maj uet wise to protecting their investment against
their competition or maybe even pop for a new theatre.

The TOA keynote speech was the "'boom"' ahead for
the theatre industry. Exhibitor Richard A. Smith dis-
cussed the growth in the shopping center theatre and
drive-ins.

lie estimated thai 2.000 theatres will be constructed
within tin' ne\i five years. He said that if only 1.500
were built in the next five years the building boom
should stimulate the production of films by their in-
creased revenue.

Mr. Smith said if 1.501) theatres are constructed in
I he next five vears that will bring to the film industry
over $175,000,000 a year in increased box-office grosses.
lie winl mm ,ii [he same lime In sav thai downtown
theatre operations can also continue to prosper with the
proper handling.

I hi- is cheer) news for the booth craftsmen.

To meet present-day standards, for even the subse-
quent runs and neighborhood theatres the picture should
he bright, with good distribution and color rendition.

There are many theatres, especially in the subse-
quent runs, which have out-moded and well-worn arc
lamps and projectors (according to the equipment men
more than 55' i of the arc lamps and projectors in
the. il res in this eountrv are more than 20 years old I .

Exhibitors look for 1064 to be a good year in their
business, topping 1963, which was not bad, at least
for the big pictures. If the exhibitors spend money for
new projection equipment and they advertise that they
have high-standard projection and sound, they can help
their theatre by attracting more patrons just because
the theatre-goer knows what "modern sound" is.

The theatre owner should consult the projectionist
for tips on what he is buying. The projectionist keeps
up-to-date on the booth equipment — or he should if
he is doing his best job. But how many men can keep
up their interest when they must do with ancient gear,
and when their suggestions are never requested?

For Will Rogers Memorial Hospital

The projectionist should save copper drippings for
the Will Rogers Memorial Hospital.

Morris J. Rotker, a member of Local 306 and a
member of the 25-30 Club in New York, originated the
copper drippings for the Will Rogers Hospital; the union
locals gather the copper drippings for donation for the
Hospital at Saranac Lake, N. Y. In some theatres the
projectionists strip the copper from the carbon. The Will
Rogers Hospital needs the money, so see what you can do.

iP

International Projectionist December. 1963

INTERNATIONAL PROJECTIONIST

Volume 38

December, 1963

Number 12

A Neglected Asset:

TINTED RELEASE-PRINT FILM

By ROBERT A. MITCHELL
PART I

Tinted-base release prints have only seldom been
used since the advent of talking pictures, and to the best
of this writer's knowledge, not at all during the past
twenty years. What a contrast to silent-picture days
when every available trick of the trade was pressed into
service to beautify the screen and amplify — or even
over-amplify, if possible, — the emotional and atmos-
pheric values inherent in the dramatic photoplay!

All monochrome prints of the present day are a stark
and unexpressive black-and-white — the black of the silver
image and the white of unfiltered arc illumination on a
chalk-white screen. The effect of plain black-and-white,
while of great visual clarity, is sometimes harsh and
nearly always pictorially monotonous because of the un-
relieved absence of dramatically suggestive or emotion-
ally contextual color. Experience has demonstrated that
dominant color tone, especially when appropriately varied
from sequence to sequence, enhances in a powerful man-
ner the mood and feeling of each individual scene of a
motion picture.

The dramatic technique of tinted film was utilized
at a very early date. At first, plain black-and-white
footage was colored by dye solutions which were readily
and uniformly absorbed by the gelatine emulsion. So
widespread did the use of colored film become that the
manufacturers of film offered, as an improvement,
tinted-base positive raw stock in a wide variety of colors.
Eastman Kodak, for example, supplied seventeen stan-
dardized colors of film, millions and millions of feet
of which were consumed by the industry. In fact, fully
90 per cent of all feature-film footage was printed on
tinted positive during the 1920's.

Old-Style Photocell Rejects Tints

It is entirely probable that effective dramatic use of
tinted release stock would have continued into the days
of sound pictures had it not been for the "blindness" of
the old-style potassium photoelectric cell to the broad
infrared region of the spectrum freely transmitted by
most dyes. In other words, tinted film stock seriously
interfered with optical sound reproduction when the
potassium photocell was used. The old-style metallic
cesium cell, unlike the modern cesium-oxide and silver-
oxide cell, was similarly afflicted with this sort of
"color-blindness."

The early potassium cell, like the modern blue-sen-
sitive photocell having what is called a "type S-l re-

sponse," is affected only very feebly by green, yellow,
and orange light, and not at all by red light and the in-
visible infrared radiation to which the modern S-4 ces-
ium-silver-oxygen photocell and the silicon photodiode
are most sensitive.

With a blue-sensitive photocell in the soundhead, use
of green, yellow, or amber-tinted film attenuated the
sound output to such an extent that a compensating
boost in fader setting unpleasantly decreased the signal-
to-noise ratio of the system. Use of deep red film cut
the sound off entirely! It is understandable, then, that
movie producers resorted to exclusive use of clear-base
stock as the best way to avoid unnecessary trouble with
a method of sound reproduction which, even at its best
during the infancy of talking pictures, left much to be
desired.

But things have changed. Except for the isolated in-
stance of a few European equipments, blue-sensitive
photoelectric cells have now been completely replaced
by infrared-sensitive photocells and phototransistors to
which all colors of tinted-base film "look" very nearly
as transparent as clear-base film. Accordingly, tinted-
base release positive can now safely be used indiscrim-
inately, with as many color changes as may be desired
in a single reel, or even intercut with clear-base stock,
without noticeable attention of optical-track reproduc-
tion.

Tinted Film for Monochrome

This assertion can be proved: and this we intend
presently to do to the satisfaction of all concerned — di-
rectors and producers as well as projectionists, — but first
let us attempt to dispose of two questions which are
surely uppermost in the minds of many who may wish
to re-examine the dramatic potentialities of tone-coloring
the screen.

First, doesn't the prevalence of natural-color filming
preclude the need for tinted-base prints? No one can
be more enthusiastically appreciative of natural color
than we are; but the fact remains that there will always
be a place on the screen for monochrome ( represented
at present only by plain black-and-white ) . As Bette
Davis says in her autobiography. The Lonely Life,* "I
have always thought color robs an emotional story of
power, and most of my work was of an emotional nature.
History, however, is usually enhanced by color." Not
history only, as Miss Davis may agree, but musical

International Projectionist December, 1963

Some thingS Can't be hUrried: Sharp, crisp, top-quality prints take time to pro-
duce. Don't push your print-maker into making short cuts. Give him time to do the job right, do your
negatives justice. Otherwise, you're throwing away good money. Matter of fact, better play it safe.
GO EASTMAN all the way— negative and print-stock. And always, in the case of questions— produc-
tion, processing, projection— get in touch with Eastman Technical Service. For further information:
write or phone Motion Picture Film Department, EASTMAN KODAK COMPANY, Rochester 4, N.Y.
Or— for the purchase of film: W. J. German, Inc. Agents for the sale and distribution of EASTMAN
Professional Film for Motion Pictures and Television,
Fort Lee, N. J., Chicago, III., Hollywood, Calif. ...... ................. ..r

FOR COLOR...

EASTMAN FILM

photoplavs. sagas of God's great out-of-doors, and spec-
tacular epics of every conceivable kind. But the the-
atrical motion picture depends for its existence upon
the human soul projected in an intense isolation: and
for the deeper introspection of human nature, the pro-
founder mood, monochrome appears to be the most
suitable medium.

As we said, the blindness of the old-time potassium
photocell to the red and infrared wavelengths of exciter
radiation prevented the unrestricted use of tinted-base
stock for sound-positive printing. The need for mood-
coloring monochrome productions was nevertheless oc-
casionally met by toning the silver image without adding
color to the base or to the clear gelatine of the emulsion.
White areas of the photographic image remained white,
but the halftones became sepia-brown or some other
muted shade of color — a welcome relief from the ex-
pressionless achromatic grays of the silver image.

Image-toning was possible because the metallic salts
which replaced the silver of the photographic image are
nearly opaque to the wavelengths which affect the photo-
cell most strongly, thus insuring a normal sound level
without affecting the signal-to-noise ratio. For present-
lnv. Visible Invisible

Wavelength (nyt)

Scale of Electromagnetic Radiations

FIG. 1 — The radiant emission of light sources, the response
of photocells to various wavelengths of radiation, and the
transmittance of radiation by colored plastics can best be
shown graphically by a "curve" drawn on a rectangular
network of co-ordinates.

This diagram is just such a graph, but presented without
a curve of any kind in order to reveal more clearly the range
of radiation wavelengths in which we are most interested —
a "spectrum" from 350 to 1200 millimicrons. Note that
this range includes the visible spectrum (unshaded) divided
into its characteristic color bands, violet, blue, green,
yellow, orange, and red. Beyond the shortwave and
longwave extremes of the visible spectrum lie the invisible
ultraviolet and infrared regions, respectively.

day use, the colored salts chosen for image-toning must
absorb strongly in the low red and near infrared regions
of the spectrum so as to "look" opaque to the S-4 type
of photocell. Many projectionists will remember the blue-
toned soundtracks of the old Cinecolor and Trucolor
prints. The blue salt was a form of Prussian blue I ferric
ferrocyanide), opaque to the infrared.

The writer recalls several dramatic westerns and
other "locale" pictures ( e.g. "The Good Earth" ) which
were enhanced in mood by sepia toning. Also much
used about 25 years ago was a beautiful process called
Sepia-Platinum which resulted in a pleasing combina-

400 500 600 700 800 900 1000 1100 IZ0O

Wavelength (mu.)

Emission of tungsten-filament exciter (2x00° Kj

FIG. 2 — The emission of a tungsten-filament soundhead
exciting lamp operated at a color temperature of about 2500°
K (amber-yellow light) has most of its radiant energy con-
centrated in the infrared region of the spectrum. The
maximum intensity of exciter radiation occurs close to 1000
millimicrons in the invisible infrared.

tion of greenish pastel tones and chocolate-brown deep
tones.

Tinting and toning were often used together in
silent-film printing practice. For example, a green image
on a yellow ground produced by blue toning on "Sun-
shine" positive, a violet image on a rose-pink ground
produced by blue toning on "Caprice" positive, a sepia
image on an amber ground produced bv brown toning
on "Afterglow." "Candleflame." or "Firelight" positive,
etc.

These and other attractive color combinations were
especially frequent and varied in such "novelty reels"
of yesteryear as Walter Futter's Curiosities. Pathe Re-
view. Lynam Howe's Hodge Podge, and Paramount Pic-
torial. We miss the color effects as well as the lively
variety of the movie shows of other days, for, after all.
the public doesn't attend the theatre to be bored to death !

Tinted Film Glorifies the Screen

The second question we have in mind concerns the
improvement of theatre motion pictures by the use of
tinted positive for monochrome feature-film releases. Is
tinted film a boxoffice asset? That is to ask, will the
average moviegoer enjoy the movies more when they
are pictorially beautified, emoticnallv enhanced, and
dramatically enlivened by the use of tone color for
monochrome productions? Our answer is a resounding
YES!

Aside from the undisputed fact that tinted film allows
pictorial effects which the dead white-and-grav scenes
of monochrome TV sets are unable to duplicate, tinting
and toning motion-picture film makes for visual interest,
viewing comfort, and a significant intensification of the
emotions being portrayed on the giant theatre screen.
Let the case be stated by Dr. Loyd Jones, an authority
on film and color who wrote on the subject during the
transition from silent to sound motion pictures:*

"There is little doubt that the employment of material
which imparts a pleasing and variable color to the
screen adds to the beauty of the production, breaks the
monotony of looking for long periods at a plain black-
and-white picture, and softens harsh outlines which other-
wise may produce unpleasant impressions. But of much

"The Lonely Life" by Bette Davis, G. P. Putnam's
Sons, now also available in a Lancer paperback
edition.

"Tinted Films for Sound Positives" by Loyd A.
Jones, Transactions of the SMPE, Vol. XIII. No.
37. 1929.

International Projectionist December. 1963

r

greater importance than these rather incidental aesthetic

contributions of color is its great potential power to
enhance, b) either objective or subjective association.
the emotional significance of the scene with which it
is assocated."
Technical Considerations

The pressing technical problem attendant upon the use
of tinted film is. of course, satisfactory reproduction of
the optical soundtrack. If the tinted base interposes an
appreciable optical densit) to the photoelectric cell or
phototransistor, significant!) reducing response, it will
be necessary for the projectionist to increase the fadei
setting in order to obtain a normal level of sound volume.
\nd no matter how much '"reserve power" the amplifier
nun bave, compensation bj means of the volume con-
trol invariablv increases "ground noise;" and if the
photoelectric densit) ol the film is excessive, the in-
i rease in gain required for adequate volume mav he so
great as to introduce overload distortion.

These fears were well founded in the days of blue-
sensitive photocells. Tests confirmed the fact that cer-
tain red. orange (amber), yellow, and green films had
excessive photoelectric densit) to potassium cells. The
main difficulh however, was not >n much the ground-
noise as the rather drastic and frequent changes in
fader setting required for the projection of reels in
which different colors of film were intercut.

\- stated at the outset, this difficult no longer ex-
ists. The possibility of interference with photocell re-
sponse b\ the film-base dyes has now been completely
eliminated l>\ the almost universal use of red — and in-
frared-sensitive photoemissive cells (type S- 1 rseponse),
silicon photodiodes, and germanium transistors. This
statement can be proved.

Tig. 1 is the tvpe of chart used for plotting the re-
sponse of photoelectric devices as well as the radianl
emission of exciting lamps and the transmission char-
acteristics of tinted film-base material-. It is, in effect,
a graph having rectangular co-ordinates extended from
the horizontal scale of radiation wavelengths and the
vertical scale of response, radiant emission, or trans-
mittance in terms of relative energy.

Fig. 1 has no "curve"" to indicate am of the data
which we shall presentlv examine. The chart has pur-
poselv been left blank in order to shov more clearlv the
nature of the spectrum wavelengths which mosl concern
us — the wavelengths from 350 millimicrons in the near
ultraviolet down to 120(1 millimicrons in trie infrared.

Note that the visible portion of the spectrum, with its
characteristic bands of colors (violet, hlue. green, yellow,
orange, and red), extends onlv from -100 to 700 milli-
microns.* Beyond the shortwave extreme of the visible
spectrum i v iolet I are the chemicallv active, but in-
visible, ultraviolet wavelengths: beyond the longwave

Although the human eye responds only very feebly
to wavelengths shorter than 100 millimicrons or
longer than 700 millimicrons, the most painstaking
recent research proves that there is some visual re-
sponse, albeit extremely slight, to about 360 milli-
microns in the violet-ultraviolet and to about 830
millimicrons in the red-infrared. The commonly
stated limits. 400 and 700 millimicrons, are never-
theless good round figures to remember.

Ordinary crown window glass is opaque to ultra-
violet beyond 330 millimicrons and to infrared be-
yond 5000 millimicrons. Clear acetate film base is
opaque beyond 300 millimicrons and has strong ab-
sorption bands in the far infrared I beyond 3000
millimicrons I .

International Projectionist December. 1963

v;s;bi

Q?l

400 500 600 700 800 900 1000 1100 1200

Wavelength (ny*)

Equal- energy response of various photoelectric cells

FIG. 3 — The sensitivity of three different types of photoelec-
tric cells to the range of wavelengths under consideration.
The heavy line charts the response of the common cesium-
silver-oxygen photoemissive cell (type S-4). Observe that
there are two peaks of strong response, one in the ultra-
violet and a broader one in the infrared. The S-4 photocell
is alsa sensitive in greater or lesser degree to all visible
wavelengths.

The response curve drawn as a broken line indicates the
sensitivity of the S-l blue-sensitive potassium cell. Formerly
used in America, the blue-sensitive photocell is now con-
fined to a few European equipments. It has the disadvant-
age of excessive sensitivity to variations in exciter voltage
and ensuing changes in the color of the light, causing
undesirable variations in sound volume.

The light solid line shows the response of the modern
silicon photodiode or phototransistor. It closely matches the
S-4 curve in the important yelbw-red-infrared band of the
spectrum.

extreme I red I are the heat-producing, but also invisible,
infrared wavelengths.

Because the photoelectric cells commonly used in
soundheads at the present time are red — and infrared-
sensitive devices, it is the longer wavelengths, both vis-
ible and invisible, which most concern us.
Exciter Emission, Photocell Response

Fig. 2 presents the radiant emission curve of a tung-
sten-filament exciting lamp operated at 10 lumens per
watt — a "color temperature" of 2500° on the absolute.
or Kelvin, thermometer scale (=2227° C=4532° F).
Light of this color temperature may be described as
amber-yellowish in appearance.

It is of particular interest that most of the radiant
energy emitted by a soundhead exciter occurs in the
invisible infrared, with its maximum close to 1000
millimicrons when the lamp is burned at 10 L/W.

Fig. 3 shows the response characteristics of three
photoelectric devices employed in optical soundheads.
The blue-sensitive type S-l photoemissive cell, used in
the early days of sound-on-film reproducers, is totally
blind to the red and infrared wavelengths which pre-
dominate in exciter radiation. This cell has been brought
back for use in a few equipments of European manu-
facture, but it may justly be condemned because it ag-
gravates the bad effect of incidental variations in ex-
citer voltage.

When exciter voltage decreases, the light not only be-
comes dimmer, but also redder. The S-l cell is insen-
sitive to red light. In consequence, sound volume falls
off more markedly than it would with an infrared-sen-
sitive cell, thus annoying the projectionist with the
necessity of "riding the gain" to maintain a reasonably
level volume of sound output.

The blue-sensitive photocell is suitable for the re-

production of yellow-image dye soundtracks, but is un-
fit for use with tinted-base films.

Fortunately, the cesium-silver-oxygen S-4 photoemis-
sive cell in common use is most sensitive to those red
and infrared wavelengths which form the bulk of exciter
radiation. Maximum response occurs at about 800 milli-
microns. Small variations in exciter voltage are well
tolerated bv S-4 photocells. They are also suitable for
the reproduction of regular silver-image tracks on both
clear and tinted-base film.

The silicon photodiode is perhaps the most trouble-
free and satisfactory of all optical-sound pickups be-

Vlsible

Infrared

Visible

Infrared

t

X \

>N

/ \

'an

l»

V

i.

Of

\

V

\

>

\

10

\

£

i i

+00 500 fcOO 700 800 900 1000 1100 1200

Wavelength (ny*)

Response of S'4- photocell under gxciter illumination

FIG. 4 — The integrated response curve of a photocell
illuminated by an exciting lamp amounts to the simple
mathematical product of photocell sensitivity and exciter
emission at each wavelength all along the spectrum. Here
we have the response of the common S-4 photocell to excit-
ing light having a color temperature of 2500° K. Note
that tne strong ultraviolet peak of S-4 photocell response
(Fig. 3) is markedly diminished by the weakness of the
ultraviolet in exciter radiation (Fig. 2). A similarly inte-
grated curve for the silicon photodiode would be much the
same as this one, except for sharp cutoffs at 455 millimi-
crons (blueviolet) and 1010 millimicrons (infrared).

cause of its high signal output, low noise level, ex-
treme ruggedness, and indefinitely long life. Its response
to the various wavelengths of radiation is very similar
to that of the S-4 photoemissive cell and to the general
characteristics of a large family of phototransistors.

Fig. 4 is an "integrated curve" — the response of the
S-4 photoelectric cell multiplied all along the spectrum
by the radiant emission of a tungsten-filament exciter
operated at a color temperature of 2500° K ( 10 lumens -
watt). This curve indicates the response of a standard
type S-4 photocell under actual operating conditions.
A comparison of this integrated curve with the S-4 curve
in Fig. 3 reveals little alteration in shape except for
marked attenuation of the secondary response peak in
the ultraviolet. This attenuation — quite unimportant —
is caused by the very feeble emission of ultraviolet by
the exciter lamp.

Dyes Transparent to Infrared

Now we come to a most important matter — the trans-
mission characteristics of tinted film bases. It is evident
that such materials absorb certain parts of the visible
spectrum, for that is what causes the color. Are there
any absorption bands in the infrared which might con-
ceivably decrease S-4 photocell response? Happilv. the
answer is negative.

The three colors of tinted base chosen for illustration
in Fig. 5 are widely separated in absorption character-

1 ' 1 '

700 800 900 1000 1100 1200

Wavelength (ny*)

Transmission of three colors of tinted -film stock

FIG. 5 — The spectral transmittances of clear film base and
of three selected colors of tinted film base, amber, bluish
green (aquamarine), and deep blue. Observe that the clear
acetate base transmits all wavelengths freely except for an
insignificant falloff in the extreme violet and near ultra-
violet. The colors of the tinted-base samples are produced
by selective absorptions in the visible spectrum, as the curves
show. All samples nevertheless transmit the infrared spec-
trum down to about 1500 millimicrons as freely as the clear
base does — a transmissivity of about 90 per cent.

istics and representative of film tints available in the
days of nitrate film and silent pictures. They are amber
I soft orange I . bluish green I vivid aquamarine ) , and
deep blue, corresponding roughly to the tinted films
made by Eastman Kodak many years a~o under the
names "Peachblow." "Aquagreen," and '"Nocturne."

The curve in the upper left-hand corner of Fig. 5
is for clear acetate film base. This material freely trans-
mits all of the wavelengths under consideration: and the
slight "dip" in the far violet is not sufficiently pro-
nounced to produce either visual or sound-reproduction
effects.

The transmission and absorption bands of the three
colored film bases are distributed only in the visible
part of the spectrum I and also in the unimportant ultra-
violet] : and it is these selective absorptions, as we said,
which are responsible for the colors exhibited by the
tinted base materials. There are no absorption bands in
the infrared down to 1200 millimicrons, however. Is this
merely a fortunate coincidence? Not at all. The organic
chemical dyes employed to impart color to the filmbase
material, in common with most organic dyes, transmit
freely, without any absorption bands, in the all-import-
ant infrared region of the spectrum.

The top horizontal line of Fig. 5 may be taken to
represent a radiant-energy transmissivity- of 90% (a
transmittance of 0.9).

Visible

Infrared

S

t

3

L.

C

//

>
J?

//

-i 1 i -^^"

600 700 800 90C

Wavelength U

Tungsten- excited S~4- cell"" — Amber-tinted film

FIG. 6 — This diagram is extremely important to the sub-
ject under discussion. See text for details.

International Projectionist December. 1963

Tinted Film and Sound Reproduction

The final and most crucial step in evaluating the
effect of tinted films on optical sound reproduction is
integration of the spectral curves of the tinted base
materials with the S-4 photocell response which has al-
read\ been integrated with the radiant emission of the
exciter i its shown in Fiji. 4 1 . This has been done in
Figs. (>. 7. and 8.

Fi«z. 6 conclusive!) proves that yellow, orange, and
red films cause no perceptible attenuation of sound

Visible Infrared

700 BOO 900 1000 1100 1200

Wavelength (m^)

Tunrfsten-excited S-.4- cell ' Bluisn pVeen film

Fig. 7
volume or other audio disturbance of anj kind. Fig. >
reveals that the bluish green film all but eliminates the
S-4 photocell's response to the visible spectrum, but
whereas most of the response »>f this tvpe of cell occurs in
the infrared, which is unaffected bv the bluish green dvc.
the resulting sound-volume attenuation amounts to less
than is noticeable, and even less than can he compensated
for by a single Step on the fader. Reproduction is en-
tirely satisfactory.

The bluish green sample plotted here has a sli^htlv
greater photocell densitv than the deep blue plotted in

Visible

Infrared

400 50C 600 700 800 900 1000 1100 1200

Wavelength (nya)

Tungsten -excited S-<4- cell' Deep blue film

Fig. 8
Fig. 8. Most blue dyes, especially if thev incline to blue-
violet in tone, transmit the low red rather freely, and the
infrared perfectly. A few blue dyes are known which are
opaque to low red and near infrared: but there is no
reason to employ these relatively unusual colorants in
tinted-film base.

W e mav safelv conclude, therefore, that all colors of
tinted-base prints mav be intermixed with one another
or with clear-base film without producing audible changes
in sound volume when the optical soundtracks are re-
produced bv photoelectric devices having a type S--1 re-
sponse. Bluish green film of high color saturation presents
the greatest photoelectric density, but not even with this
color do soundtrack re-recording compensations or
changes in projection-room fader setter appear to be
necessarv .

(TO BE CONC LVDED)

International Projectionist December. 1963

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50th Anniversary

NEW YORK — The Americana
Hotel was the scene of the 50th An-
niversary of Local 306. The attend-
ance was above 1,700, which in-
cluded celebrities, film company
executives, and members of 306.

Norelco

projection
equipment

Available from

leading theatre supply

dealers

North American Philips Co., Inc.

Motion Picture Equipment Division

TOO E. 42nd St., New York 17, N.Y.

ANNIVERSARY— Local 306 of the IATSE celebrated its 50th anniversary re-
cently with a 1,700-person party. Seated above left to right are guest of honor
Robert Preston; Richard Walsh, IA president, and Steve DTnzillo. Standing are
Gene Stridel, Ernie Lang, Harry Garfman and Joey Adams.

Steve DTnzillo introduced dis-
tinguished guests, and Joey Adams
was the master of ceremonies.

Short speeches were made by
Harry Brandt, theatre owner; James
J. McFadden, acting; commissioner
of the New York City division of
labor relations: Armand D'Angelo.
commissioner of the department of

CAN YOU MATCH
ONE OF THESE 3

TO YOUR SCREEN?

X-16 XENON ARC
PROJECTION LAMPS

900-watt model for screens up to 23 feet wide (matte-Cinemascope Aperture)

or 28 feet wide (high gain— Cinemascope Aperture)

1600-watt model for screens up to 29 feet wide (matte-Cinemascope Aperture)

or 36 feet wide (high gain -Cinemascope Aperture)

2500-watt model for screens up to 35 feet wide (matte-Cinemascope Aperture)

or 43 feet wide (high gain-Cinemascope Aperture)

Steady, flickerless, pure white light is independent

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Extremely even distribution of light throughout the

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"Push-Button repeatability" of intensity and color

temperature.

Excellent color film reproduction.

Focus remains constant.

THE

Projects practically no heat to the film or aperture
plate. No cooling required.
Cleanliness assures maximum life for the projector.
Simple operation. No moving parts in the light
source.

Maintenance and current costs are approximately
the same as for carbon and current costs for operat-
ing a carbon arc lamp of equivalent light output.

Send for brochure. Demonstration in your theatre on request.

ELECTRIC CORPORATION

31 CITY PARK AVENUE

TOLEDO 1, OHIO

water supply, gas and electricity:
Harry Garfman. business agent for
Brooklyn and Queens; Ernest Lang,
secretary of Local 306, and Richard
F. Walsh. International President of
IATSE.

Robert Preston was the guest of
honor, currently starring in "All the
Way Home." Gene Stridel sang the
national anthem.

306 Elects the Same
Management Except for
The VP for 1964-1965

NEW YORK — Members of Lo-
cal 306 voted for the same officers,
except for the vice president, for
the term of 1964-65.

Dick Cancellare. president; Al
Ashman, vice president; Ernie Lang,
secretary-treasurer, Mr. Lang has a
new duty as treasurer; Izzy Schwartz,
financial secretary; Steve DTnzillo,
business agent for New York; Harry
Garfman. business agent for Brook-
lyn and Queens.

The management supported Al
Ashman for vice president.

Gerson Cohen, Archie Hollander.
Artie Klein, Max Rosenberg, Phil
Shafran make up the Sick Commit-
tee.

The executive board consists of
Herman Boritz, Sol Gabel, Frank
J. Inciardi, Abe Kessler, Max Kessler.
Sol Kirschenbaum, Irving Meltzer.
Frank E. Miller, Tony Rugino, Sam
Salvino.

Board of Trustees: Al Sprung.
Ben Stern, Herman Stoller.

Richard F. Walsh, the Interna-
tional President of IATSE, installed
the newly elected officers at the regu-
lar meeting of 306 Dec. 4.

iP

10

International Projectionist December, 1963

THE COVER STORY:

Kodak Cover Girl
"Most Photographed"

The most photographed girl of the
year is probablj not am of the
glamour gals you see in the maga-
zine ads. but an attractive young
lad) named Smith.

Uthough her face ma) not be
familiar to \ou. it definitely is to
a large group of technicians at

stman Kodak Company who are
concerned v\ i t h the qualit) ol kodak
photographic film.

Twenty-year-old Miss Sue Smith.
5'3" and 1 In Ih.. poses all da) long
for still and motion pictures, mostl)
in color, as part of her job as a
model in the film testing division at
Kodak Park Work-, where film is
made She's been facing the camera
lens for more than two \ears.

In an average year Sue poses for

over Til. 011(1 -till pictures and more
than 15(1.11(11) feet of movie film. She
is photographed in both indoor and
outdoor scenes, in winter and sum-
mer, under good and poor lighting
conditions. She poses on the beach,
in parks, in the living room, at the
airport, in the backyard, on the front
steps of a cathedral a- well as under
careful!) controlled studio condi-
tions.

I'lie idea is to duplicate man) of

the typical picture-taking scenes
laced b) amateur photographers.

I he colors in her clothing and in tin
props in certain scenes are -elected
to check the color characteristics of
a particular film. Examination of
the negatives and prints also permits
judgments to he made about film
sharpness, contrast, and graininess.

Sue Smith is an ideal testing
model for film because her flesh
tones are ver\ close to those of the
average person. Kodak technician-
have a precise idea of just what flesh
tones are required after making
thousands of scientific measurements
using a spectrophotometer. Her light
brunette hair was just what was
needed.

When you put these requirements
together, you don't have the average
girl. Far from it. You have a girl
who is photogenic in the technical
sense as well as in the everydav mean:
ing of the word. A girl pretty enough
to be pictured water skiing in a na-
tional advertisement bv Kodak.

About a year ago Sue started pos-
ing for tests of Kodak's newest film.
No. 126. which goes into the recentlv

(Continued on page 14)

Need
repairs?,

.SvJPE^^

Service'

REG. U.S.PAT. OFF.

The next time your projection equipment needs repairs ask your
dealer to install genuine LaVezzi Super Service replacement parts.
Their unexcelled performance and long life make them your best
buys . . . Only the finest— since 1908.

HIGHEST

SPEED

IN PROJECTION

Kollmorgen lenses rate tops in the motion
picture industry. Used exclusively with
Cinerama, they are standard equipment
in more than 70 % of American theaters.
High light uniformity and less light loss
on the screen — the whole screen — are typ-
ical of the outstanding performance of
super snaplite" lenses.

Other advantages that add up to supe-
rior screening with super snaplite are:

Wire sharp contrast
Uniform illumination
Crystal clarity

Wide range of focal lengths
Sealed construction

Bulletin 222 describes Kollmorgen
lenses in detail. See your equip-
ment dealer, or write us direct.

CORPORATION

NORTHAMPTON. MASSACHUSETTS

Dealers for the Strong Electric Corp., in attendance of
the TOA TESMA-TEDA-NCA convention and trade
show, heard a detailed description of the features and
operational advantages of the new Strong Futura projec-
tion lamp at the City Squire Motor Inn, by Arthur J.
Hatch, president of Strong. Harold Plumadore, product
engineer of the Strong motion picture division, discussed
the development of the new lamp and answered technical
questions. The new Bi-Powr silicon type rectifier, cold type
reflectors, the new Strong X-16 Xenon lamp for 35mm
and 16mm projectors, and a new slide projector with
Xenon light source were described by Clifford Callender,
sales manager of the theatre equipment division. Also lead-
ing discussion was Bill White, field sales representative for
Strong Electric. Dealers attending the meeting were: left
to right, standing - Al Boudouris, Theatre Equipment
Co., Toledo; Harold Plumadore, Strong Electric Corp.,
Toledo; Frank Strange, Charlotte Theatre Supply Co.,
Ci?rJ~**e. N. C; Ernest Comi, Capitol Theatre Supply
Co., Boston, Mass.; J. W. McBurnie, Charleston Theatre
Supply Co., Charleston, W. Va.; H. J. Ringold, Ringold
Theatre Equipment Co., Grand Rapids, Mich.; H. J. Dus-

man, J. F. Dusman Co., Baltimore, Md.; Carl White,
Quality Theatre Supply Co., Omaha, Neb.; Al Mortsen,
Southwestern Theatre Equipment Co., Houston, Texas;
Bob Tankersley, Western Service & Supply, Inc., Denver,
Colo.; }. Ed Miller, John P. Filbert Co., Los Angeles,
Calif.; E. J. Peterson, Abbot Theatre Equipment Co., Chi-
cago, 111.; Bill White, Strong Electric Corp.; Jake Elder,
Modern Sales & Service Inc., Dallas, Texas; Roy Smith,
Roy Smith Co., Jacksonville, Fla.; Seated - Arthur J. Hatch,
Strong Electric Corp.; Cliff Callender, Strong Electric
Carp.; John J. Kenny, Theatre Equipment Co., Detroit;
Lloyd C. Pearson, General Sound and Theatre Equipment
Ltd., Toronto; A. D. Turnbull, General Sound and Theatre
Equipment Ltd., Montreal; Wm. Geissler, Wil-Kin Inc.,
Atlanta; Phil Wicker, Standard Theatre Supply Co.,
Greensboro, N. C; Armand Besse, Besse Theatre Supply
Reg'e, Montreal; L. M. Wutke, Pembrex Theatre Supply
Corp., Los Angeles, Cal.; G. Nadeau, Besse Theatre Sup-
ply Reg'e, Montreal; George Hornstein, Joe Hornstein Inc.,
New 'rork City; Hal Hornstein, Joe Hornstein Inc.,
Miami, Fla.; Charles B. Kinney, Modern Sales and Servi.e
Inc., Dallas.

Split Audio System Designed
For New Skouras Drive-In

NEW YORK— The Skouras Route
17 Drive-In Theatre is equipped with
a sound system designed by Joseph
J. Kelly, technical supervisor for the
Skouras/United Artists Theatre
chains, employs a split audio dis-
tribution system to channel the
sound to the numerous ramps com-
prising the 1200 car drive-in theatre.

Unlike most conventional drive-in
sound systems, the new system util-
izes a total of ten 75 watt power
amplifiers, each one of eight am-
plifiers distributing sound to an in-
dividual segment of the field, the
ninth amplifier feeding the conces-
sion, playground and patio theatre
areas and the tenth amplifier acting
as a standby unit that can be switch-
ed in place of any of the others

12

through a specially constructed
switching panel mounted in ore of
the racks.

The front end of the system con-
sists of a conventional Century tran-
sistorized 2-projector optical mag-
netic system; the output from the
projector reproducers feed a low
powered transistor amplifier the
gain of which is adjusted to produce
an output level of .7 volt RMS at
1030 cycles. This comprises a low
impedence signal bus which in turn
drives the ten amplifiers, the in-
puts of which are all in parallel.
Altec A-256C power amplifiers are
used, each having an individual level
control.

Each of the eight field amplifiers
are connected to an average of 75

Simplex junction boxes equipped
with 1125 ohm line transformers.
The impedence match is such that all
amplifiers operate at identical gain
settings and control of sound to the
ramps is simply a matter of turning
on or off the individual amplifiers
which are labeled to coincide with
the part of the field they serve. In
this manner the power of the system
is adjusted to suit the attendance,
and no change in volume or distor-
tion content is present when the field
is lightly filled or jammed to
capacity.

Another feature of this system is
protection for short circuits in the
field wiring since a short in a junc-
tion box post can only affect at worst
Vsjth of the field, which if not correct-
ed entails shifting cars in this im-
mediate area to any place in the
other 85% of the field. A special
junction box on the rear wall of the
booth enables quick isolation of
short circuits down to an individual
ramp as the field wiring is such that
all ramp feeders enter this box con-

Internatioxal Projectionist December. 1963

SKOURAS ROUTE 17 DRIVE-IN THEATRE— Left to right are Phil Taylor,
projectionist; Joe Kelly, designer of new sound system; Walter Heaney, man-
ager, and Spyros Lenas, zone manager, gathered around the new equipment
discussed in IF for November.

necting to designated barrier strips.

Special input facilities consist <>! a
booth microphone mounted <>n one
of the rack panels, a phonograph
mounted on a sliding drawer also in
the rack and a selector switch feed-
ing an \ltt-c L566A pre-amplifiei
connected for 150 ohms output. Ilii-
amplifier feeds the signal bus in
place of the film input through a
latching relay, the control ol which
is available at each projector operat-
ing position as well as on the rack.
\ 2 circuit push button located in
each Century optical sound head de
feats the special input amplifier
simultaneously with the sound
change-over function with a special
circuit arrangement through the
latch relay contacts to cut-off power
to the relax during normal change-
o\ers while film is in progress.

Monitoring facilities consist of a
111 position selector switch to connect
the outputs of the power amplifiers
to an audio output meter and a trans-
istor monitor amplifier and speaker.
The output meter has a calibrating

attenuator .die. id ol it to permit the
meter to deflect to "O" when normal
level is present at each segmenl ol
ill.- Field. W iih this facility the pro-
jectionist can (|iiickl\ balance the
levels on all amplifiers b\ running a
louo c\cle loop in either of the pro-
jectors operating the selector and
obsen \i\ii the meter deflection.

The concession building is equip-
ped with eight ceiling speakers in-
side and two outside under a por-
tico: the patio theatre is equipped
with lour and the playground, two
\tlas coaxial outdoor speakers
mounted on posts. These speakers
contain linematcliing transformers,
the impedence of which is adjusted
for a power level in each area that
will permit the same gain setting on
Amplifier 9 that is present on the
other amplifiers. In addition, four
rheostat potentiometers are installed
on the ramp distribution box to per-
mit individual volume control or cut-
off of sound to each of the special
locations without affecting the am-
plifiers gain setting. iP

PROJECTIONISTS
PREFER

ETHYLOID

Film Cement For
BEST RESULTS

Available from
Supply dealers

FISHER MFG. CO.

1185 Mr. Read Blvd.
Rochester, N.Y.

PROJECTOR
CARBONS

Better
Light!

Lower
Costs!

RINGSDORFF CARBON CORP. East McKeesport, Pa.

ASHCRAFT

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CARBON ARCS . . . for finest Projection . . . Compact Xenon Arcs

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CARBONS, INC.

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products

\cTrtoAr LAMPHOUSES •

by Cinemeccanica

BOONTON, N.J.

\rTHQSf POWER SUPPLIES

by Christie

International Projectionist December. 1963

13

America's
headquarters

for all
theatre equipment

supplies

National

THEATRE SUPPLY COMPANY

VISITING FIREMEN — Accepting the invitation of Edward Lachman, presi-
dent of Carbons, Inc., this group of technicians toured the XeTRON Division
projection test laboratory at the State Theatre in Boonton, N. J., recently.
There was considerable interest as they viewed and measured the light output
of the unusual Xenon lamphouses pictured above.

COVER STORY:

from page 11

introduced Kodapak cartridge. This
cartridge is simply dropped into the

it

WHY WASTE CARBONS?

Use The "Master Saver Device

Reduce your projection carbon cost by adopting the MASTER
CARBON SAVER (designed by a pioneer IATSE projectionist.)
The only simple and accurate saver on the market with no
springs, screws, nuts and bolts and requires no carbon grind-
ing. Each carbon held by "Precision Taper" after stub is easily
tapped into saver. There is a "MASTER" saver for every type of
Suprex non-rotating or rotating arc lamp. Now being used by
hundreds of theatres on STRONG, ASHCRAFT, PEERLESS, etc.;
sizes 6-7-8-9-10-llmm, $3.50 each; 13.6mm, $4.50 each.

SOLD BY YOUR LOCAL SUPPLY DEALER

Manufactured by

MASTER SPECIALTY PRODUCTS

200 West 72nd St., New York 23, N. Y.

INTERNATIONAL PROJECTIONIST

Post Office Box 6174
Minneapolis 24, Minnesota

L7I 1 year (12) issues — $3.00

D 2 years (24) issues — $5.00

FOREIGN: Add $1.00 per year

Enter my subscription for

Name

Address

City

Zone

State

Kodak Instamatic cameras, thus
eliminating loading and unloading
problems.

Those posing for their first picture
taken with an Instamatic camera
using a Kodapak cartridge are more
than 5,000 poses behind Sue. She
has been "snapped" that many times
and more by photographers using
this new film size as part of the pro-
gram to test all films by actual use.

Some of these pictures were taken
to test film flatness, which is now
controlled by the Kodapak cartridge
rather than the camera. Uniformly
sharp images over the entire negative
area are an indication that the
film is flat in the cartridge.

Studies of the keeping qualities of
film under a wide range of tempera-
ture and humidity conditions also in-
volve our model. Half a roll of
film may be exposed in photograph-
ing a particular scene. The unde-
veloped film, still in the camera, is
then placed in a special room where
the temperature and humidity re-
produce the hottest and most humid
of summer days. Still other rolls are
stored where the temperature may
be below zero. Weeks or months later
the film and camera are removed
from the room, and the same scene is
photographed. Then the entire roll
of film is developed and the results
compared.

The more technical film testing
procedures, in which Sue does not
participate, yield data in the form of
charts, graphs, or tables. Data pro-
cessing equipment is used to obtain
quickly many of the required an-
swers in numerical terms. iP

14

International Projectionist December, 1963

» AUTHORITATIVE
» COMPREHENSIVE

»

PRACTICAL

Acclaimed by leading technicians in
the industry as the most comprehen-
sive and down-to-earth handbook pub-
lished to date on the subject of motion
picture projection. Ideally suited for
study and reference by your opera-
tors.

ROBERT A. MITCHELL'S

MANUAL OF PRACTICAL PROJECTION

HANDY 5l/2" x 8'/2" SIZE

450 PAGES — ILLUSTRATED

CROSS INDEXED FOR EASY REFERENCE

LAST CHANCE!!

The supply of the current edition of the Mitchell Manual for Practical Projection is nearly
exhausted — when the present supply is gone, there will be a ONE-YEAR wait until the
new edition is prepared. Get your copy now at the low price of seven dollars, postpaid.

I

SECTION HEADINGS

(1) 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 • USE THIS HANDY FORM

INTERNATIONAL PROJECTIONIST
Post Office Box 6174
Minneapolis 24, Minnesota

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

NEW PRICE

$700

7

per copy
including postage

01 C"\ »
03 OO

Q) — - •

&0 °
£3 C *

O o*Q

O "HCNi
CO

o > o

CO U'ri
U c3

cJ-fzaxtu axszUnai at tnl± £h.xL±tma± ^>za±on and brsit
ivLilizi fox a hxo±p.EXou± ana nah.hu czyVzai ^L/zax

3

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

Sec reta ry-Treasu re r

INTERNATIONA

1

1

A-

n

With Projectionist Charles Linett standing
this is the booth of the 34th St. East, newest
atre in Manhattan of the Walter Reade-Ster
Inc., organization. The machines have op1
sound heads and Peerless lamp houses, and em
the Century transistor sound system. Rectifiers
the new Sil-Cons. A complete picture story on
new theatre will appear in the next issue of IP.

by,
the-
ing,
tied
ploy
are
the

JANUARY
VOLUME 39

1964
NUMBER 1

40c A COPY

■&$&&/}$$>

$3.00 A YEAR

*0*a *$Z uo^Sa-RSBft
ssa.i3uoo jo Are^qxi

A Scene From America's Projector Carbon Center.

Final inspection before packaging

"Pre-packaging inspection... the last of
61 checks that keep our projector carbons tops!"

Jim Hoynes

From milling and blending of

raw materials to packaging of

the finished product, National

projector carbons must pass

one of industry's widest and

most rigid ranges of tests and

inspections. They are outstanding for depth of

quality control — from start to finish.

The above view in our Fostoria, Ohio, arc
carbon center shows inspection No. 61 — a final
overall check of each carbon before packaging
for shipment to distributors.

During their many manufacturing and test-
ing stages, National projector carbons are

-says JIM HOYNES

"National" Sales Engineer

baked and re-baked at precisely-controlled
temperatures. All dimensions and straightness
of carbons must be within thousandths of an
inch. Voids or breaks in rare earth cores are
detected by x-ray. Sensitive instruments meas-
ure the thickness of copper coating to assure
maximum current delivery and light quality on
the screen.

All the way up the 61 steps to packaging, the
dominant idea at Fostoria is to produce a car-
bon that gives both exhibitors and patrons the
best light for their money.

Today, this sound policy is fast approaching
its 50th Anniversary !

UNION
CARBIDE

"National" Is a registered trade-mark of

UNION CARBIDE CORPORATION

CARBON PRODUCTS DIVISION

270 Park Ave., N.Y., N.Y. 10017 ■ In Canada: Union Carbide Canada Limited, Toronto

JROWR RECTIFIER
SAVES EVEN MORE
THAN PROMISED

"Your local dealer . .

pointed out that we would save about

$35 per month on our electric hill.

Actually we save close to $42 per

month since we have changed over

from our generator. It is good to

know that we can depend upon you

and your dealer organization."

— D. At. Pearce

Atcarale Drive-In Theatre,
tl Poio, T»xof

DESIGNED

FOR THE OPERATION

OF 2 ARC LAMPS

This new type silicon diode stock
transformer-rectifier, Is the most
economical means of power conver-
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No flicker or other change in pro-
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arc.

DEPENDABLE

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feature associated
with each output
protects the silicon
stacks from over-
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destruction of car-
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sinking the arc.

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SAVES
ON INITIAL COST!

Sellt for 15% lets than two of the loweit
priced 90-135 ampere rectifiers, and costs
less to install. Requires only one line service.

SAVES ON SPACE

Requires one-third to one-half less floor
E space than two separate rectifiers spaced
for proper ventilation.

DUAL OUTPUT RATING OF

60-85/ 60-85 AMPS/ 35-45 V

75-105/ 75-105 AMPS/ 48-61 V
90-135/ 90-135 AMPS/ 56-70 V
120-160/ 120-160 AMPS/ 58-75 V

SEND FOR LITERATURE

The

Electric Corp.

31 City Park Ave., Toledo 1, Ohio

Not supplied as regular equipment on 60-85
ampere and 75-105 ampere models.

INTERNATIONAL

PROJECTIONIST

Including a special Audio-Visual
section relating to the operation
and maintenance of A-V equip-
ment in the educational and in-
dustrial fields.

January 1964
Volume 39 No. 1

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO
Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue, New York 17, N. Y.

Telephone Murrayhill 7-7746

(Area Code 212)

IN THIS ISSUE

Tinted Release - Print

Film - Conclusion 4

By Robert A Mitchell

Picture News 12

Kollmorgen's Talaria Lenses 13

A-V Design Conference 1 4

News Notes — Technical Hints —
Miscellaneous Notes

INTERNATIONAL PROJECTIONIST, published
monthly by the International Projectionist
Publishing Co. division of The Northern Pub-
lishing Co., Post Office Box 6174, Minneapolis,
Minnesota 55424. Editorial offices, 1645 Hen-
nepin Avenue, Minneapolis, Minn. 55424.
Subscription Representatives: AUSTRALIA —
McGills, 183 Elizabeth St., Melbourne; NEW
ZEALAND — Wixon's, Ltd., 64 Courtnay
Place, Wellington; ENGLAND and ELSEWHERE
— Wm. Dawson & Sons, Ltd., Macklin St.,
London, W. C. 2. Subscription rates: United
Slates, Canada, and U. S. Possessions, $3.00
per year (12 issues) and $5.00 for two years
24 issues). Foreign countries: $4.00 per year
and $7.00 for two years. Changes of address
should be submitted four weeks in advance
of publication date to insure receipt of cur-
rent issue. Second-class postage paid at Min-
neapolis, Minn. INTERNATIONAL PROJEC-
TIONIST assumes no responsibility for per-
sonal opinions appearing in signed articles,
or for unsolicited articles. Entire contents
copyrighted 1964 by INTERNATIONAL PRO-
JECTIONIST PUBLISHING CO.

35 and 70mm

viiMHi

• ■-::.,

"*. * . ..

International Projectionist January, 1964

Volume 39

INTERNATIONAL PROJECTIONIST

January, 1964

Number 1

A Neglected Asset:

TINTED RELEASE-PRINT FILM

By ROBERT A. MITCHELL

PART II

Tinting the screen with a dominant color tone to match
the mood of the scene, with an appropriate change of
color with each change of mood, time, or locale, is a
trick of the trade so well known and so emphatically ef-
fective in the days of the silent films that it seems almost
ridiculous to belabor the manifold virtues of tinted-base
print films. But hammer away we must: the art of utiliz-
ing tinted release positive for monochrome ("black-and-
white" ) productions is at present totally neglected to the
detriment of screen and boxoffice alike.

Interference with the reproduction of the optical sound-
track is no longer a valid excuse for the abandonment of
this effective instrument of cinematic art. The first in-
stallment of this article demonstrated conclusively that
no color of tinted film noticeably attenuates sound vol-
ume when the common infrared-sensitive photocell or
phototransistor is used in the soundhead. The entire
question boils down to a matter of showmanship, an alert
recognition of the uniquely visual character of entertain-
ment motion pictures. Why should the theatre screen
remain stripped bare of a most useful dramatic embel-
lishment? Why should moviegoers be subjected in the
theatre to the same monotonously unexpressive and vis-

4

ually unattractive gray image tones that they see all the
time at home on black-and-white TV?

Remember — about 90 per cent of all feature-film
print footage was tinted in the days when black-and-
white movies were undeniably very attractive pictorially
and dramatically powerful. Of course, we have superb
natural color today, but the majority of feature pictures
are still photographed in monochrome, a practice that
should continue because monochrome seems best suited
to the more emotional type of screen play.

The theatre screen is vastly superior to television as
an audiovisual medium. It is large and panoramic: it is
pictorially superior to TV, presenting images of greater
clarity and with a wider range of lifelike photographic
contrasts: it does not "fog over" on low-key scenes: it
has no disturbing scanning-line pattern: it presents nat-
ural color of much higher quality than even the very best
color TV: it is able to offer stereophonic sound of the
highest audio fidelity. The theatre screen formerly did.
and could right now, appropriately color by means of
tinted-base film and toned photographic images its mono-
chrome offerings, thus enhancing the pictorial values
and scene-to-scene moods of pictures not photographed

International Projectionist Januarv. 1964

In natural color. The power of the theatre screen to ab-
sorb the interest of the audience would be increased: the
small stature of TV as a dramatic medium would be di-
minished even more, inasmuch as the tiny screen of
monochrome TV is imprisoned in a dreary little world
of chalky highlights and emotionally neuter shades of
gra] .

Natural Color Limits "Mood Color"

Although the psychological use of color is by no
means absent from the modern theatre screen, natural
color must look natural at all costs, and hence limits by
its ver) nature the variet) and scope of the color effects
that the imaginative producer can employ. It is well
known that the public insists upon flesh tones redder
than those of real life in Technicolor pictures, but. aside
from this, the chromatic rendition of natural color can-
not be violated in an attempt to flood the screen with a
color tone to express the dominant emotion built up in
an) particular sequence.

The most that can be done with mood coloring in
natural-color productions consists of minor variations in
-ft and costume color tones. But the faces of the players
ami all other significant pictorial detail must consistent-
K be rendered in their natural colors in order to avoid
grotesque results which the average moviegoer would
interpret as serious color distortion. So it is that violet
lighting cannot be used In generate a feeling of m\ster\
and foreboding, nor green lighting to emphasize hate or
envy, nor bright yellow to express hope or happiness, nor
pink to enhance a feeling of beauty or a romantic mood.
The natural color of green Foliage might be destrov ed :
the painstakingly selected color of costumes and set fur-
nishings would be distorted, and the effects of the tinted
lighting on the actors" face- ran well be imagined.

Tinted and toned black-and-white film- are complete-
l\ exempt from this consideration. The screen ma\ be
flooded with sunshiin \ellow to intensih cheerful, viva-
cious emotions, with amber to express a -unset or western
mood, or the coz) warmth of firelight, with layender to
enhance an atmosphere of m\ster\ and solemnitx. with
pink to express Frivolous gaiety, romance, or sensuous
luxury, with blue to con\e\ the impression ol moonlight
and a nocturnal mood, with green to create a feeling of
the sea. etc.. etc.

And extremely important in the dramatic application
of tinted films is the well-known fact that the psycho-
logical effect of the color imparted to any specific scene
persists even after the initial physical awareness of the
color has been dulled by visual adaption to it. Color
really works for the screen dramatist!

Director Wellman's Color Artistry

Attempts to use color psychologically in Hollywood's
natural-color productions have been very numerous, and
most of them successful. William A. Wellman. the noted
director, was among the first to study and use contextual
color in a systematic manner. He conducted a survey and
set down the emotional effects and associational conno-
tations of a few basic colors in the form of a chart which
was useful to him as a working guide for his Technicolor
filming.

In one of his earlv films. Nothing Sacred, Mr. Well-
man took special pains to color-key the costumes of his
players to the prevailing dominant mood according to
his oun conception of general emotional reactions to spe-
cific colors.

Said Mr. Wellman : ""Grayness. more than black, is
the dismal color of death. Yet when gray is brightened
with the metallic luster of silver, it becomes something
else again. In a scene in Nothing Sacred, Carole Lombard

International Projectionist January, 1964

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wore such a dress ; and its effect was to accent her blonde
beauty, to heighten the tones of her hair.

In another scene in Nothing Sacred, a sad, lugubrious
effect was desired, and both Miss Lombard and Frederic
March wore dark, dull-brown clothing. The predominat-
ing colors of the scene were browns and blacks. On the
other hand, a night-club sequence in this same picture
was a veritable rainbow of warm, gay colors — reds, pur-
ples, and gold. They conditioned a happy, joyous mood.

"Our conclusions anent color mood-conditioning are
based on the average norm of amny reactions. In such
a survey as we could undertake, it was impossible to
consider individuals except as they influence mass calcu-
lations."

It is Mr. Wellman's belief that the color preference of
an individual has nothing to do with his reactions to color
on the screen. If this condition obtained, it would be
impossible to formulate an emotional scale of colors for
screen use. Conditioning moods with color appears to be
dependent largely upon instinctive color reactions and to
color symbolism based upon psychological and physical
associations. A very large book could be written on the
subject.

Black, gray, and brown are rather negative colors in
Wellman's color chart: white is affirmative (which it
would not be in China, as white is the Chinese color of
mourning! ). The four saturated hues in his list — blue,
green, red, and yellow — are accorded positive conno-
tations. This indicates a rather limited appraisal of the
effect of color, however, inasmuch as an older evaluation
compiled by Dr. Lloyd A. Jones as a guide to the use of
tinted-base films takes account of the ambivalent char-
acter of certain colors — positive and uplifting in certain
dramatic and scenic contexts, negative and subduing in
others.

Ambivalent Colors

The strongest examples of emotional ambivalence are
to be found among such "transitional" colors as lemon-
yellow and chartreuse (yellow-green), cyan and tur-
quoise-blue, and purple, amaranth, and magenta. A yel-
low-green, for example, may suggest, on the positive side,
springtime freshness, youthfulness, gladness, joyous ex-
pectation, etc., or, on the negative side, squalor, sickli-
ness, hopelessness, loathing, etc.

It is significant that a greenish yellow or yellow-green
corresponding to the hue popularly known as chartreuse
was absent from the colors supplied in the otherwise in-
clusive range of Eastman Kodak tinted-base positive films.
This may have been due to their strong ambivalence and
the resulting uncertainty of their application in motion
pictures, but Dr. Lloyd A. Jones of the Kodak Research
Laboratories pointed out that colors of the yellow-green
range have been found to be the least agreeable or least
preferred in all surveys conducted to determine color
preferences.

Be this as it may, the writer remembers that the old
Universal Film Co. frequently dye-tinted scenes a bright
greenish yellow (lemon) in the days of silent pictures to
express the sunshiny, joyous moods usually associated
with a warmer yellow, and also that this choice of film
color was generally disliked by color-conscious projec-
tionists.

Dramatically Versatile Colors

The emotional ambivalence of colors does not neces-
sarily limit their usefulness on the motion-picture screen.
The bluish greens and greenish blues, for example, or,

6

more important, the purples and amaranths (magenta-
purples) .

Vivid aquamarines and cyans are handsome and use-
ful colors in the art of tone-coloring the screen, and pos-
sess many positive dramatic connotations — summery
calm, repose, tropical seas under clear skies, tranquility
without depression, etc. However, there is an unsavory
quality about aquamarine and cyan ( and to a lesser ex-
tent about turquoise) which is well expressed by the
popular term "poisonous green." ( Could this be an un-
conscious association of the color with the coldly beau-
tiful, but intensely poisonous, arsenic-containing pigment
emerald green or Paris green?) This ambivalence creates
confusion and somewhat restricts application of these
particular colors.

Purple, amaranth, magenta, and to some extent cerise
( red-magenta ) are also ambivalent, though much more
versatile and of wider usefulness. The tints of magenta
and cerise, for instance, are the ever-popular cool pinks
and rose tints without which the user of tinted-base prints
would feel severely handicapped.

Purple may be described as violet with a touch of
magenta or pink, and is undeniably a dangerous color to
use on the screen. In certain context it suggests royalty,
dignity, pomp, and opulence, and in other contexts it
admirably creates an atmosphere of luxurious revelry,
abandoned sensuality, degradation, and sexual depravity
in the haute monde.

Magenta and cerise, together with their rose-pink
tints, suggest refined luxury, an elegant way of life, and
a romantic mood. At lower screen brightnesses or in
stronger color saturations they tend toward connotations
of violent passion. In fact, if we pass on through cerise
to red, wc arrive at the most intensely violent of all col-
ors. The use of red film in the heyday of tinted-base
positive was usually confined to scenes in which the color
had a physically objective association, such as fiery holo-
causts, night battles in which artillery fire flashes vio-
lently, and the like. But red film has been employed many
times to intensify a mood of violence and excitement,
unbridled passion, active evil, and many varieties of de-
structively strong emotion.

The family of amber tints ranging from vermilion
through orange, pyridian, and saffron, together with
their peach and soft-amber tints, gained the widest use
of all. In fact, most silent-film features were printed in
their entirety on amber film; but this thoughtlessly indis-
criminate use of just one color tended to diminish the
atmospheric potentialities of tinted film. At any rate,
the amber tint "settled" the audience in a dramatic mood
more effectively than plain black-and-white film, and it
also increased viewing comfort by softening the cold
glare of unfiltered projection lighting.

To be most effective, the color of tinted-base film
should be judiciously matched to (1) the mood of the
scene or to (2) the time of day or the season depicted
or, closely connected in physical context. I 3 ) the locale,
interior or exterior.

It is well-nigh impossible to correlate the physical
association of colors (time, locale, and depicted objects)
with their emotional connotations ( mood, mental state,
or that indefinite psychic "feeling" called "atmosphere"),
or to classify the emotional characteristics of ambivalent
colors which depend so largely upon dramatic and scenic

International Projectionist January. 1964

context. I hese colors surest one mood or emotional
state in one scene, and an entirely different emotional
feeling in a scene of different character.

It is a simple matter to draw up a list of colors —
red. orange, yellow, etc.. and even include all the tints
of these colors conceivablv useful to the motion-picture
dramatist — but it is next to impossible to match them
in an) systematic wav with a list of dramatic moods or
generalized emotion-, such as the following one which
contains tour positive and four negative emotional states
arranged in graded order with a neutral midpoint I "in-
difference" i :

Incitement i Passion I -) 1 ( (-

Joy I Satisfaction i -)- H h

Contentment (Satisfaction) -j- -j-

Iwpectation I Hopefulness I -|-

lndifference I Knnui I 0

Apprehension I Anxierj I —

Fear I Aversion i
Hatred i Aversion I
Terror I Anguish i
I his is win simplified color-mood charts of the kind

drawn up l>\ William \. \\ ellman are necessarilv limited

in scope and restricted in applicability.

The Important "Jones Paper"

The most complete and practical color guide for the
producer contemplating the use of tinted release-print
stock is contained in an old paper b\ Dr. Lloyd \. Jones,
"Tinted Films for Sound Positives." published in the
Transactions of the Society of Motion Picture Engineers,
Vol. Mil. No. 37, l')2«). pp. 199-226.

Following are excerpts from Dr. Jones' suggestions

regarding appropriate application of the seventeen tinted-
base 35-mm positive films manufactured 1>\ Eastman
Kodak and verv widelv used until the advent of sound-
oii-film. I The light grav neutral-base film called '" \rgent"
is omitted because of its lack of hue and incompatibility
with the optical soundtrack.)

These 35-year-old suggestions are revived here, not
just to reopen memory lane to old-time motion-picture
men. but because they are important enough, valid
enough, to inspire later comers with the creative use of
screen mood-coloring via the movies' neglected asset,
tinted-base release-print film.

# # •

Tint \<>. 1. Nose Doree. A deep warm pink suggesting
3ensuousness and passion. Amorous, romantic, and ex-
otic. It is adapted to the rendition of scenes representing
an intimate atmosphere, such as a luxuriously appointed
boudoir. In keeping also with feelings of happiness, joy.
and excitement.

7 int No. 2, Peachbloiv. A delicate flesh-pink. This has
a small but definite blue content, making it somewhat less
warm than Afterglow. It is adapted to the rendition of
close-ups where it is desired to do full justice to feminine
beauty. The hue and saturation are such as to suggest
the glow of life.

Tint 1X0. 3, Afterglow. A soft rich orange color. It is
probably the warmest color of the series. It is appropriate
to exterior scenes at dawn and sunset. /The magenta-pink
film called Caprice seems more appropriate for dawn
scenes. (R.A.M.) It lends to interiors an atmosphere of
warmth and intimacy stronger than Firelight. It should
excite mood reactions in general connected with luxury,
wealth, security, and relatively strong affections. It is
also related to the autumnal mood by obvious direct as-
sociation with the autumn colors of nature. By indirect

International Projectionist January, 1964

or subjective association it is symbolic of the same rela-
tive period in the life of an individual and its associated
moods. It is indicative, therefore, of repose, ambitions
attained, accomplishment, and similar psychological as-
pects of maturity.

Tint No. 4, Firelight. A soft yellow-orange. This is
warmer than Candleflame to which it is closely akin in
mood-reaction value. It is particularly adapted for use on
an interior scene where it is desired to suggest an artifi-
cial illumination softened and subdued, perhaps, by shad-
ed lamps and candles. It is suggestive also of illumination
emanating from an open fire: but it is not quite orange
or red enough to satisfactorily render the fire itself if
visible, for which Afterglow is perhaps better. It stimu-
lates mood reactions of the same category as Candle-
flame, but with greater intensity. Suggestive of warmth,
comfort, intimate home relationships, mild affection, etc.

Tint No. 5, Candleflame. A pastel orange-yellow. It is
•dightlv lower in transmission than Sunshine, giving a
screen more orange in hue and lower in brilliance, which
definite!) suggests artificial illumination when used on
interior scenes. Somewhat warmer than No. 6. Possibly
useful on exteriors in suggesting morning or afternoon
with less intense sunlight than prevails at midday. By
objective association useful in inducing rather mild mood
reactions such as feelings of coziness, comfort, intimacy,
well-being, peace and plenty without opulence, etc.

Tint Vo. 6, Sunshine. A clear brilliant yellow approx-
imate!) complementary, to sky-blue, therefore quite close-
Iv matching the subjective color of sunlight when seen
in contrast to blue sky. The visual transmission is high;
therefore it is particularl) adapted for use on a scene
designed to give the impression of brilliant sunlit con-
ditions and where an interior is obviously illuminated by
sunlight entering through windows and open doors. This
color is definitelv warm, but not to the same extent as
Candleflame. Firelight, and Afterglow which make with
lhi> color a series increasing progressively in warmth. It
is mildlv stimulating, suggesting a mood of lively interest
and attention, but not one of high excitement or nervous
tension.

(Most 1- and 2-reel slapstick comedies of silent-movie
days were printed on clear-base film. When tinted-base
stock was used for these pictures, yellow "Sunshine'" film
was chosen. R. A. M.)

Tint No. 7, Verdante. A pure green, rather pastel in
character. It is the hue of spring foliage, suggesting di-
rectly trees, grass, and vernal landscapes. By subjective
association typical of youth, freshness, unsophistication,
innocence, etc. It is only slightly warm, but definitely
not cold. It is very close to the neutral point in the
warm-cool scale.

Tint No. 8, Aquagreen. A brilliant blue-green. The
color of more northern waters and suitable to the ren-
dition of the sea under clouds and in storm. It is sug-
gestive of wetness. Its transmission being lower than
that of Verdante, it gives a less brilliant screen. This
together with its greater blue tint probably makes it more
suitable for the rendition of the darker green of mature
foliage, dense forests of pine, jungles, etc. By extension
from the objective correlation to summer, it is suggestive
of such mood reactions as pertain to maturity, wisdom,
dignity, repose, and restfulness. It is cool but not cold:
tranquil, but not subduing.

Tint No. 9, Turquoise. A clear brilliant blue. It is
definitely cool, but less cold than Azure or Nocturne.

(Please turn to page 12)

7

Type A704_the uniform
magnetic sound recording film

HEAR THE DIFFERENCE: "R-type"
binder — an entirely new, smoother,
homogeneous oxide layer— reduces tape
noise and intermodulation distortion.

Extremely tough, wear-resistant, but
without abrasiveness, it minimizes oxide
build-upon recordingand pick-up heads.

With its high chemical stability, it
makes for long life, prolonged usefulness
of the recorded library.

And, most important, new "R-type"
binder permits uniform oxide coatings of
superb magnetic characteristics. Its high
output and low print-through result in
excellent reproduction quality — more
vibrant highs, a more natural balance
between highs and lows.

EDGE SLITTING exerts great influence on ulti-
mate audio quality; uneven tracking introduces
intermodulation distortion. Note loose particles
on rough guiding edge shown in photomicro-
graph of conventional film at left compared to
evenness of EASTMAN Magnetic Sound Record-
ing Film at right.

SEE THE DIFFERENCE: Printed on the
back of the new Type A704 film is the
permanent legend "Eastman KodakCo.,"
together with a series of dispersion num-
bers. This "Life-Time Coding" provides a
convenient, accurate means of indexing
film by content, a useful reference for
logging of optimum bias settings, re-use
and purchase data. What's more, it is
your assurance of highest quality.

PERFORATING affects audio fidelity. Note the
superior perforations of the Eastman product at
right compared to the uneven perforations of
conventional film at left. Eastman perforating
is known for quality, for conformance to high
standards and for rigorous uniformity.

AVAILABLE NOW: 16, 17Vfe and 35mm
widths in a complete range of cores and
windings. For further information about
EASTMAN Magnetic Sound Recording
Film, Type A704, as well as the new
EASTMAN Sound RecordingTapes, write:

MOTION PICTURE PRODUCTS SALES DEPT.

EASTMAN KODAK COMPANY, Rochester, N.Y. 14650

Letters...

to tl3.e editor

Gentlemen:

We are subscribers to your maga-
zine for many years and would ap-
preciate your information at this
time as to the following:

We believe that from long exper-
ience in the Theatre Industry, some
conclusive figures are available in
regard to the proportional screen
sizes. We would like to know what
recommendable relationship has been
determined between the dimensions
of screen pictures in standard, pan-
oramic, CinemaScope and 70 mm
projections.

J. Datshkovsky

Cinema Division

West rex Co., Mexico

There is considerable evidence
that non-anamorphic 35-mm projec-
tion is becoming standardized at a
"widescreen" aspect ratio of 1.75/1.
using a projector film aperture
measuring 0.825 inch wide by 0.600
inch high. Screen light falls off and
image quality deteriorates when
higher aspect ratios are used for the
projection of regular prints; and the
old conventional 3:4-proportioned
ratio of 1.333/1 (more exactly
1.375/1) is now considered too
nearly square in shape to suit the
tastes of moviegoers who are now
accustomed to the more panoramic
visual sweep of widescreen pictures.

Many responsible film producers
in Europe and America recommend
the 1.75/1 aspect ratio for the most
satisfactory widescreen type of pre-
sentation with standard 35-mm
prints. We heartily endorse this re-
commendation. Accordingly, we feel
that there is no longer any need for
such aspect ratios as 1.66/1.
1.85/1, and 2/1, all of which have
been used to some extent for show-
ing regular 35-mm prints.

Originally 2.55/1, CinemaScope
was standardized at an aspect ratio
of 2.35/1 by the addition of an op-
tical soundtrack to the four magnetic

EQUIVALENT

1.75/1 widescreen lens =
2.35/1 C'Scope lens E.F.
2.35/1 70-mm lens E.F.
Conversely:

1.75/1 Widescreen lens =
2.35/1 C'Scope prime lens =
2.35/1 70-mm lens = 1
2.35/1 70-mm lens =

10

soundtracks on CinemaScope prints.
The CinemaScope film aperture
measures 0.839" x 0.715". and an
anamorphic expansion factor of 2X
doubles the width of the projected
image.

The Todd-AO 70-mm projector
aperture measures 1.913" x 0.866".
giving an aspect ratio of 2.21/1. It is
very desirable, however, to reduce
the height of the 70-mm aperture to
0.814 inch in order to conform ex-
actly to the CinemaScope aspect
ratio of 2.35/1. We therefore regard
a 1.913" x 0.814" 70-mm aperture
as the most serviceable standard for

wide-gauge film.

It is good practice to select a set
of projection lenses which will give
the same height of picture on the
screen with all of the various aper-
ture sizes and widths of film. It is
a simple matter to calculate the lens
focal lengths needed if it has previ-
ously been established what focal
length is satisfactory for one size
of aperture used. If a certain lens
E.F. (equivalent focus) gives the
right picture height with the old con-
ventional 1.375/1 aperture, multiply
this E.F. by the following factors to
obtain the correct focal lengths for
(a) 1.75/1 non-anamorphic wide-
screen 35-mm projection, (b) 2.35/1
CinemaScope 35-mm projection, and
(c) 2.35/1 70mm projection (see
table I .

It is not always possible to
"match" lens focal lengths exactly,
but usually one can come close
enough to maintain very nearly the
same projected-picture heights with
all processes. Of course, whatever
picture height is chosen, the screen
should be wide enough to accom-
modate the full 2.35/1 Cinema-
Scope and 70-mm images. That is,
the width of the screen should be
2.35 times its height.

Some of these aspect-ratio prob-
lems were discussed in several
articles published in INTERNA-

FOCUS FACTORS

= C'Scope prime lens x 0.6587

= 1.375/1 lens E.F. x 1.1917

= 1.375/1 lens E.F. x 1.3567

= C'Scope prine lens x 0.6587

1.75/1 widescreen lens x 1.5180

75/1 widescreen lens x 1.7282

C'Scope prime lens x 1.1385

TIONAL PROJECTIONIST, e.g.
"Non-Anamorphic Aspect Ratios: a
Return to Sanity" (Dec. 1961). Of
special interest are the two articles
under the title "Glamourizing the
Screen" in the current September
and October issues of IP.

Tables of projected picture sizes
with various lenses, apertures, and
projection distances or "throws" are
published by the manufacturers of
lenses: where these are not available,
the height of the projected picture
may be calculated by means of the
following formula, the same linear
units ( inches or centimeters ) being
used throughout:

Picture height =

Throw x Aperture height

Focal length (E.F.) of lens

This formula assumes a 0° projec-
tion angle. If a steep projection
angle prevails, the picture height
will be greater than calculated. In
such a case use the trigonometric-
formula on p. 423 of "Mitchell's
Manual of Practical Projection."

There is considerable leeway al-
lowable in the size and shape of the
seating area in a motion-picture
auditorium. Above all, the picture
should be large enough to be viewed
comfortably from even the most dis-
tant seats. In general, we recom-
mend that the front row of seats be
2 "picture heights" distant from the
screen, and that the back row of
seats be no farther away than 6
"picture heights" from the screen
— regardless of the width of the pic-
ture, which will presumably vary
from 1.75 to 2.35 times the picture
height. Moreover, the width of the
seating area should not exceed 4
times the picture height. As we said,
there is no hard-and-fast rule.

iP

Hornstein Furnishes
Nassau Theatre
Projection Equipment

NASSAU, B. W. I. — The new
Shirley Street Theatre has a 40 ft.
wide screen, and uses Strong X-16
2500 watt Xenon lamps, Joe Horn-
stein, Inc., of New York, furnished
the equipment and stage drapery
treatement.

The Shirley Street Theatre is
equipped with Century Projection
and Cenutry transistorized sound
equipment; Bausch & Lomb lenses:
Strong rectifiers, and, as noted
above. Strong Xenon lamphouses.

Engineering and supervision of
the installation was by Hal Horn-
stein and Joe Hornstein, Inc. iP

International Projectionist Januarv, 1964

Harry Rubin

The film industry calls him a
"perfectionist." and Harrj Rubin
richlv deserves that title as a pro-
jectionist and as a man.

This correspondent i we're old
friendsi just reeentlv had a talk with
llarrv in his office at the New York
Paramount Theatre, where he has
spent II years with the Paramount
theatre chain as a supervisor of pro-
jection and sound. Now he super-
vises projection for the \B-Para-
mount Theatres.

Han\ Rubin pioneered man) ol
the industry's most helpful projec-
tion devices, because ol hi> creative
talent. B\ hi- showmanship as a
projectionist, Rubin surrounded the

ACOUSTIC COMPENSATOR— The

Century theatre acoustic compensa-
tor is said to be an entirely new and
unique device to provide the motion
picture theatre with a fast and accu-
rate means of adjusting the frequency
characteristics of multiple channel the
atre sound systems for the best possible
sound reproduction for any and all
films. The compensator is engineered
and designed as a fully contained,
compact unit which has no insertion
loss nor does it require changes in
system gain or amplification. It was
discussed in a news story in the No-
vember issue of IP. It can be added
to practically any multi-channel sound
system. The photo shows the Century
acoustic compensator installed in the
Junction Box of a Century 6/4/1 chan-
nel sound svstem

Film Industry Calls Harry Rubin
A "Perfectionist" — Both as
A Projectionist and As A Man

screen with rich effects and novelties.
He did this with special pattern
slides and floodlights. Harry's flare
for showmanship induced him to
blow-up portions of the film, when
there was a spectacular sequence.
His timing had to be right on the
button and the screen masking too.
to fill the proscenium area.

Manufacturers of new projection
devices would turn to Harry to test
their equipment. \nd when il was
passed b\ Rubin the) knew that their
new equipment was okay.

In I'M 7. Rubin was supers isor of
projection at the Rialto and Rivoli
theatres, when the late R<>\\ was
managing director, lie began dev is-
Ing effects and no\elties. and his
outstanding contributions to the pro-
jection of pictures attracted the at-
tention of Sidnev Kent, then the
high executive of Paramount Pic-
tures.

In that same year, Paramount was
buying theatres and building new
theatres to expand their theatre
chain. And Paramount signed Harrv
as the supervisor of projection.

Rubins first assignment was to
supervise projection of the two-a-day
engagement of "The Covered Wag-
on." Paramount sent Harry to St.
Augustine, r la., to handle the tech-
nical details of a special showing
of "The Covered Wagon" for Presi-
dent Warren G. Harding.

Rubin went on the road to plan
projection rooms for new theatres
and inspect the older theatres' pro-
jection booths.

With the formation in 1925 of
Paramount-Publix. Rubin was ap-
pointed director of projection and
toured the country. Paramount-
Publix eventually had upward of
2.000 theatres, so Rubin was busy
keeping an eye on the equipment and
the personnel.

When the New York Paramount
Theatre was built. Harry planned the
projection room. And when it open-
ed, Harry had three projectors, in-
stead of two: one floodlight: one
lantern slide and one effects machine
and two spotlights.

When in 1927. the Paramount

Theatre was installed with a sound
system, the cautious Rubin insisted
on an emergency amplification sys-
tem with a switch for turning to the
other svstem if regular system breaks
down. And that was the birth of an
emergency amplification system.
Harry reasoned that if a single sys-
tem goes amiss, he'd better have an
emergency system for safety.

Rut Rubin is not so cautious to try
am thing new. His habit was to test
anything new at all hours of the
night. The equipment manufacturers
appreciated Harry's testing to get the
bugs out of their new equipment.
\nil the new development, what-
ever it was, llarrv wouldn't show the
movie patrons unless it was smooth
and an advance in projection and
sound.

i Concluded in the !\ exl Issue )

Probably the largest installation of
carbon arc lighting equipment in any
theatre is that of the 5,000-seat Crown
Theatre in Chicago's huge exposition
building, McCormick Place. It includes
three Trouper follow spotlights (one
illustrated), eight powerful Super
Trouper follow spotlights, 3 of the
worlds' largest slide projectors to pro-
vide 50,000 X on the theatre's 40' x 80'
screen, and two carbon arc motion pic-
ture projection lamps. Literature on this
type of equipment will be sent to any
reader addressing the Strong Electric
Corp. 31 City Park Ave., Toledo 1,
Ohio.

1

International Projectionist January, 1964

11

Altec Engineers Train at Century Projector Plant

TRAINING — Altec service engineers attending train-
ing sessions at the Century Projector Corp. factory in Long
Island City New York are shown above. The training covers
Century's American made projectors and Century's all
transistor sound systems. Left to right in left picture are

Altec engineers D. S. McLean, George Evans, Artie Baus,
Ralph Kautzky, Jack Gnirrep, Jim Raia, and Peter Capone.
Left to right in tihe right picture are Altec engineers M.
Goldberg, H. Schwartz, Robert Sweeny, H. Lateltin, S.
McGuigan, J. Eves, and F. Hall.

Tinted Release Print Film

tending to produce a mood of peace, reposefulness, and
tranquility. It is the color of calm tropical seas under
clear skies. It is suggestive of the Mediterranean and the
South Sea Islands. If used on interiors it would impart
a feeling of restfulness, dignity, and reserve without in-
ducing appreciable depressive moods. (I disagree. No
shade of blue is suited to interior shots unless it is de-
sired to convey a feeling of coldness, gloom, neglect,
poverty, or night — the "haunted-house" type of atmos-
phere. R. A. M.) With proper contextual influence it
might be used for the suggestion of brilliant moonlight
effects, although No. 10 may be somewhat better for this
purpose.

Tint No. 10, Azure. A strong sky-blue. It is colder
than Turquoise; tranquilizing to the point of becoming
depressing. It is suggestive of the sedate and the re-
served, even approaching the austere and forbidding;
under certain conditions slightly gloomy

Tint No. 11, Nocturne. Deep violet-blue. The visual
transmission is low, giving a screen of low brightness. It
definitely suggests night, shadows, gloom, coldness, etc.
By subjective associational reactions appropriate to de-
pressive conditions, despair, failure, unattained ambi-
tions, intrigue, the underworld.

Tint No. 12, Purplehaze. A bluish violet or lavender,
rather pastel in character. It has a relatively high visual
transmission, giving a screen of greater brilliance, higher
key, than the adjacent tints, Nocturne and Fleur de lis,
to both of which it is closely related in emotional value.
The mood induced by this color is particularly dependent
( more so than many of the other colors ) upon contextual
factors. For instance, to a twilight scene on the desert
with distant mountains it imparts a feeling of distance,

12

from page 7

mystery, repose, and languorous warmth; used on a
scene containing snow fields, glaciers, snow-capped moun-
tains, etc.. it has a pronounced cooling effect. The hue
of this color is approximately the same as that of the
shadows on sunlit snow under a clear blue sky.

Tint No. 13, Fleur de lis. A rich royal purple. This
color has long been the badge of royalty, high office,
power, and pomp. In ancient times the dye was very
costly and was used to color the garments of the aristo-
cracy. (A common misconception. The "royal purple"
of ancient times corresponds to the vivid rose color we
call "magenta" today. R.A.M.) The transmission of this
film tint is low, thus giving a depressed screen bright-
ness suggestive of reserve, dignity, and austerity. It has
a relatively cool color, but not as cold as Nocturne.

Tint No. 14, Amaranth. This is also a purple, but has
a greater red content than Fleur de lis; therefore it is
warmer and less austere. It is adapted to the rendition
of scenes showing opulence and luxury together with
refinement. With proper contextual relation it may be
well adapted to scenes approaching sensuality and aban-
don, such as bacchanalian revels staged in settings of
wealth, luxury, and elegance.

Tint No. 15, Caprice. Cool pink. The visual trans-
mission is relatively high, thus giving a brilliant spark-
ling screen. It is a jolly, carefree, hilarious color sug-
gestive of carnivals, Mardi gras, fete days, and merry-
making in general.

Tint No. 16, Inferno. Fiery red tinged with magenta.
Since it is directly suggestive of fire, it is adapted to
scenes of burning buildings, glowing furnaces, forest
fires, etc. By subjective association indicative of riot,
panic, anarchy, mobs, turmoil, strife, war, battle, and
unrestrained passion. iP

International Projectionist January. 196-1

Kollmorgen Will Supply Lenses for
GE Theatre Color Television

The Kollmorgen Corp. has been
selected !>\ the General Electric Co.
lo provide the projection and Schlier-
en len- assemblies for the first pro-
duction of "Talaria." General Elec-
bric's revolutionarj color projector.
National General Corp.. a 220-the-
atre movie exhibitor plans to use the
Talaria projector in a nationwide
theatre TV network.

I In- quarter-million dollar award
l>\ General Electric to Kollmorgen
for the production of projection and
Schlieren lenses was made after com-
petitive bidding l>\ major projection
lens manufacturer- in the United
States. Vmong factors governing se-
lection were the ahilit\ to produce
complex precision lenses possessing
ultra-high resolution, linearity, uni-
formity and contrast, plus a proven
"quick-reaction" capability .

"Talaria"" has a wide range ol pos-
sible uses outside the commercial en-
tertainment field, including medical
and other instruction, military brief-
ings, and national conventions.

I ntil development of the projector
l>\ Genera] Electric, display of TV
pictures on full size 25 l>\ 33 ft.
-i reens with adequate brightness wa>
limited to black and white. Previous-
ly, most color systems were limited
lo screens about one-fourth this size.
Talaria provides a color picture with
characteristics that compare verj lav-
orabbj with color film.

The key factors which make pos-
sible the capabilities of this projector
are the development of a special con-
trol fluid, the development of a novel
light gathering ~\-tem to utilize the
ver\ high light output of a 5-kw
xenon arc lamp, and a simplification
of the projection optics wherein all
three primary colors are projected
with only two output light beams.

This dual-beam method results in
a simpler and more reliable projector.
and substantial!) simplifies the prob-
lem of achieving and maintaining
precise color registration. This is
particularly important for large-
screen projection where minute errors
would be sreatlv magnified.

The Talaria projector has a high-
power light source and an optical
projection system similar to that of a
motion picture projector. But in place
of the printed motion picture film, a
thin laser of viscous fluid is used.
This control fluid was developed bj
General Electric for this particular
application and has unique electrical.
mechanical and optical properties.

This control layer is continuously
scanned b\ an election beam in the
same manner a> the phosphor on the
face ol the picture tube in a conven-
tional TV set. But instead of produc-
ing a picture directly on the control
laser, the scanning process controls
the light from the lamp which passes
through the control laser in such a
manner that a live picture is in-
stantaneousl) produced on a large
screen in lull color and brightness.

In addition to producing high
speed 35mm projection lenses for the
motion picture industry, and projec-
tion lenses for Cinerama, Kollmorgen
produces sophisticated optical align-
ment instrumentation, submarine per-
iscopes for the \av\. and a variety
of optical-mechanical and electronic
instruments for the militarv and in-
dustry. iP

Norelco

projection
equipment

Available from

leading theatre supply

dealers

North American Philips Co., Inc.

Motion Picture Equipment Division
100 E. 42nd St., New York 17, N.Y.

PROJECTOR
CARBONS

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WHY WASTE CARBONS?

Use The "Master Saver Device"

Reduce your projection carbon cost by adopting the MASTER
CARBON SAVER (designed by a pioneer IATSE projectionist.)
The only simple and accurate saver on the market with no
springs, screws, nuts and bolts and requires no carbon grind-
ing. Each carbon held by "Precision Taper" after stub is easily
tapped into saver. There is a "MASTER" saver for every type of
Suprex non-rotating or rotating arc lamp. Now being used by
hundreds of theatres on STRONG, ASHCRAFT, PEERLESS, etc.;
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SOLD BY YOUR LOCAL SUPPLY DEALER

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by Christie

International Projectionist January. 1964

13

SMPTE Calls A-V
Design Conference

NEW YORK — A conference of
experts in audio-visual education has
called for a "systems," or integrated,
approach to the design and use of
A-V devices.

Their report, recently put in final
form by the Society of Motion Pic-
ture and Television Engineers
! SMPTE ) under contract with the
U. S. Office of Education, notes that
because of the "piecemeal" evolution
of today's audio-visual devices,
schools have not been able to make
the effective use of A-V techniques
that the state of the art permits.

The 240-page report, entitled "De-
signing New Apparatus for Learn-
ing," grew out of a three-day con-
ference held at Princeton, N. J., in
1961. Findings of the conference
were outlined by the SMPTE project
director, John Flory of Eastman
Kodak Co., in Oct. at the Society's
94th Technical Conference, held in
Boston.

The conferees saw a number of
reasons why the audio-visual move-
ment has encountered resistance.
Among these factors are economics,
ignorance of A-V techniques and pos-
sibilities, inefficient equipment and
"a print-oriented . . . tradition" in
instruction.

"For many years," they reported,
"some teachers have been combining

America's
headquarters

lor all
theatre equipment

supplies

•N.TS-

National

THEATRE SUPPLY COMPANY

14

different kinds of materials — films,
filmstrips, still pictures, models, etc.
— to realize their teaching goals.
These are instructional systems at the
simplest level. . . . Not only do we
need to develop packages of inter-
related instructional materials . . . we
need also to analyze the entire educa-
tional process in an effort to made
it operate at an optimum level."

The conferees suggested that the
recent success of language laborator-
ies lies in the fact that they are set
up not as isolated devices, but rather
as "total configurations of equipment
and materials to meet certain aims."
This, they suggested, is the funda-
mental purpose of any system. iP

Local 306 Plays Santa

BROOKLYN, N. Y.— For the 14th
year, the Movie Social Club of Kings
County spread Christmas cheer at the
various hospitals throughout Brook-
lyn by giving out candy and toys to
sick children.

The overall activity is under the
direction of Harry Garfman, execu-
tive director of the club, who is also
Brooklyn and Queens Business Agent
of IATSE Local 306 of the Projec-
tionists Union. Burt Sutter is chair-
man of the entertainment committee.

In addition to special yuletide
activities, the Movie Social Club
projects movies throughout the year
at the various hospitals in Kings
County. Projection equipment is
loaned free to these institutions and
oftimes films are projected on ceil-
ings for prone patients. iP

Hughes Electronics
Announces New Xenon
Solid-State Power Supplies

LOS ANGELES, Calif. — A new
"Solid-State-Series" of nine power
supplies designed to optimize the
life of high cost Xenon and Xenon-
Mercury arc lamps in equipment
such as motion picture and micro-
film projectors, theatrical and photo-
graphic spot and flood lights, sun
simulators, comparators, interfero-
meters, oscillographs and polari-
scopes is now available from Hughes
Electronics Co., Los Angeles, Calif.

Utilizing high efficiency solid-
state circuitry throughout, units in
the series feature output ratings from
30 to 5000 watts, and meet all of the
technical requirements of Xenon
and Xenon-Mercury lamps to assure
maximum life.

Performance and operating charac-
teristics include: inherent, self-
regulating volt-ampere characteris-
tics; DC output ripple less than 1%:

International Projectionist

Hughes Electronics Co. Model 1200-
A33T, 1200 watt solid-state power sup-
ply for xenon and xenon-mercury
lamps. One of nine models rated from
30 to 5000 watts.

automatic current limiting; adjust-
able output range selector; and pro-
tection against high voltage igniter
starter. Free convection cooling
eliminates noisy fans and blowers
and permits continuous operation in
temperatures ranging from 0°C to
50° C.

Models 100A25S and 300A25S are
compact, portable units measuring
9V1>" x 6%" x 5Y2". Weighing ap-
proximately 20 pounds, they provide
outputs of 30-100 and 150-300 watts
respectively. Models in the series in-
crease in size and rating to the Model
5000A65T for powering 5000 watt
Xenon lamps. Priced from $405 de-
pending on output rating.

All units in the series have been
designed to occupy a minimum of
floor space, with a single control re-
cessed into the front panel of the
two-tone cabinets. For mobility,
casters can be supplied on all models
as an optional feature.

Bulletin AL-64 describing the ser-
ies in technical detail will be sent on
request through International Pro-
jectionist. iP

CURTAIN CONTROLS,
TRACKS and SPECIAL
OPERATING DEVICES

VALLEN,lnc.

AKRON 4, OHIO

January. 1964

basic
mathematics

by NOIMAN H C»0 WHUI «T

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VOLUMES
1 through 4
COMPLETE

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LEARNING

BASIC MATHEMATICS
by Norman H. Crowhurst

4-volume 'pictured-text' course makes it easier than
ever before possible to learn all the math you'll need
to know to speed your progress in electronics — no
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This remarkable 4-volume course takes you in easy
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presenting basic mathematics as on continuous devel-
opment of mathematics. The individual branches of
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in the different volumes. Each volume reinforces your
understanding as you penetrate more deeply into
the subjects. Selected illustrations create clear
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understand.

A KNOWLEDGE OF MATH SPEEDS YOUR PROGRESS IN
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more math you know, the easier it is to learn
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Volume I — ARITHMETIC AS AN OUTGROWTH OF
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Volume II — INTRODUCING ALGEBRA, GEOMETRY
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Available at parts distributors, bookstores, or direct.

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INTERNATIONAL PROJECTIONIST
1645 Hennepin Avenue, Suite 212
Minneapolis, Minnesota 55403

Please send these paperback volumes:

□ Vol. I— $3.90; D Vol. II— $3.90; Q Vol.
Ill— $3.90; □ Vol. IV— $3.90; D Send 4-
Vols. in one clothbound edition, $15.95.

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Projectionist Stan Goldstein, member of New
York Local 306, is shown here pointing out some
of the important features of the XeTRON lamp-
house. Note the clarity of the picture on the
black-back side of the rear process screen. (See
story on page 9.)

FEBRUARY
VOLUME 39
40c A COPY

1964

NUMBER 2

$3.00 A YEAR

A Scene From America's Projector Carbon Center...

X-ray reveals breaks and voids in positive projector carbon cores

"The x-ray eyes of our inspectors are your
assurance of perfect projector carbon cores"

You can't judge a movie by its
title. And you can't judge a pro-
jector carbon solely from the
outside. That's why carbon in-
spectors in our plant in Fostoria,
Ohio, test every carbon from VeryUohnson
the inside out — with modern x-ray equipment.
As an extra safeguard, our inspectors are paid
a premium for every imperfect carbon they re-
ject and scrap.

Shown above is our x-ray room, through which
all positive carbons must pass on a belt contain-
ing from 6 to 20 carbons, depending on size. The
assignment is to weed out carbons with voids or

-says VERYL JOHNSON

"National" Sales Engineer

breaks in their rare earth cores — the key to un-
interrupted burning and maximum light quality.

As a further inspection safeguard, operators
of this x-ray equipment stay keen and alert by
changing off every 30 minutes !

Quality manufacturing and precision testing
are only a part of the National projector car-
bon story. For more than 45 years we have pro-
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unsurpassed technical service.

Our Sales Engineers are equipped with, and
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INTERNATIONAL

PROJ ECTIONIST

Including a special Audio-Visual section relat-
ing to the operation and maintenance of A-V
equipment in the educational and industrial
fields.

Volume 39

February, 1964

No. 2

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO

Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue, New York 17, N. Y.

Telephone Murrayhill 7-7746

(Area Code 212)

IN THIS ISSUE

That Vital Leader Footage
By Robert A. Mitchell

New Strong Lamp

XeTRON for Rear Projection
The Cover Story

10

11

Harry Rubin, Part 2 13

News Notes — Technical Hints — Miscellaneous Notes

INTERNATIONAL PROJECTIONIST, published monthly by the
International Projectionist Publishing Co. division of The
Northern Publishing Co., Post Office Box 6174, Minneapo'is
24, Minnesota. Editorial offices, 1645 Hennepin Avenue,
Minneapolis 3, Minn. Subscription Representatives: AUS-
TRALIA — McGills, 183 Elizabeth St., Melbourne; NEW
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Minneapolis, Minn. INTERNATIONAL PROJECTIONIST as-
sumes no responsibility for personal opinions appearing in
signed articles, or for unsolicited articles. Entire contents
copyrighted 1963 by INTERNATIONAL PROJECTIONIST
PUBLISHING CO. <2^^ta>

International Projectionist February, 1964

MONTHLY CHAT

THE DESIGN FOR PROJECTION ROOMS

Thank heaven for new theatres. They're designed and
constructed around the projection room, enabling the
craftsman t<> act around his machines.

The older theatres, except for the downtown city
houses, have their quota of cages and what-nots, where
in b\ dint of much squeezing, a pair of projectors
and rewind bench nestle up to one another in an ef-
fort to remain within the confines of the space so
grudgingh allowed them.

In spite of the increasing recognition of the im-
portance which is attached to the projection in mo-
tion picture theatres, no small number of freaks in
the projection room design continue to make their ap-
pearance.

The question might logicalh he asked: "In what
manner do improperly designed projection rooms af-
fect the presentation of the pictures on the screen?"
It is true that the effects of relatively minor errors
in design are seldom visible on the screen, since they
but serve to make the craftsman work harder in order
to overcome the handicaps needlessly and thoughtlessly
Imposed upon him. The major errors, however, of
which the undersized projection room is perhaps the
most serious, result in the curtailment of equipment
ami the effects of such curtailment are plainly visible
to an experienced observer, since certain elements which
are necessary to a well balanced program must be
sacrificed, due to the lack of projection equipment.

The construction of which dates back to the times
when the builders held less tolerant views concerning
tin- importance of projection than do those now engaged
in the business of exhibition.

In the final analysis, the responsibility for such
errors rests with the architect, or at least with some
member of his organization whose duty it is to look
after such details. Indirectly, the owner of the theatre
is to blame, since he should see to it that where the
architect is incapable of handling the design of the
projection room with all its ramifications, the logical
person to call upon for assistance is the chief, or senior
projectionist, and the supply house. Even where the
architect is experienced in such matters, the projection-
ists should be consulted — -while the plans are being
drawn and not after the construction of the theatre
has advanced to such a stage that the size of the pro
jection room governs the amount of the equipment
to be used rather than letting the selected equipment
determine the size of the booth.

There is a simple way, of course. The owner of the
theatre could ask a competent projectionist to super-
vise the selection of equipment, and charge him with
the responsibility of seeing to it that all matters per
taming to projection are carried out in strict accord-
ance with the plans. The owner should then go to
the architect with a list of proposed equipment and a
notation of the space required by each piece and in-
sist that the projection room be of a size sufficienf
to meet the necessary space requirements. UP

Volume 39

February, 1964

Number 2

That Vital Leader Footage

By ROBERT A. MITCHELL

The Few Seconds between the appearance of the
motor-start and changeover cues on the screen consti-
tute projection's "moment of truth," the most critical
period of the entire projection process.

Although this crucial period lasts only about seven
seconds, it recurs at every changeover with all its in-
herent dangers. When it exposes the projectionist's
neglect in the inspection and repair of leaders and cue
marks, it does so right on the screen for all to see!
This is when a film break is most likely to occur, or, less
serious but still intolerable, a misframe, a sudden change
in light or focus, a momentary "blackout," or a "white
screen."

It is unfortunately true that slip-ups sometimes hap-
pen in spite of the best projectionist's best efforts, but
why invite trouble with neglect or carelessness? Those
15 or 20 feet of leader footage that the audience never
sees are the most important of the entire show!

Professional presentation of a film program begins
with inspection and repair of the prints. The projection-
ist can be reasonably confident about the performance
of the projectors because he works with them every day
and has plenty of opportunity to keep them up in good
working order. The prints are a different matter: he
never knows what he is going to find when he opens
up the shipping cases and begins to inspect the footage
on his hand rewind. This is particularly true in subse-
quent-run theatres.

In view of the crucial nature of the changeover
period, the standard film leader which heads each reel
is extremely important to the quality of the presenta-
tion. And yet the leaders are often mangled and soiled
and excessively patched even when the picture footage
is in excellent condition! All projectionists know that
every splice in a leader offers one more chance of a
misframe, a momentary blackout, or even a film break
which will interrupt the show and cause audience
grumbling. Unlike the operators of television stations,
we can't excuse our faults by announcing that we are
"experiencing slight technical difficulties"! Moviegoers
expect perfect, uninterrupted projection on the theatre
screen.

Now, the irony of the situation is that the vital
leader footage is more exposed to abuse than any other
part of a reel of film. It may be damaged by careless
threading of the projectors, torn, indented by sprocket

teeth, mashed in the gate, the edges of the film chipped,
and much of it unwound upon the floor where it picks
up oil and dirt, and is occasionally creased and cracked
by being stepped upon. No wonder that leaders have
to be replaced several times during the useful life of a
release print!

Standardization of Film Leaders

The standardization of the release-print leader is its
most valuable feature. Accordingly, any alteration of
its length or transposition of its parts greatly dimin-
ishes its usefulness. The general lack of leader stand
ardization in the days of silent movies required the
projectionist to measure off and "play out" the requisite
length of framelined blank film. We would be doing
this today were it not for the standard leader.

The modern release-print leader begins with several
feet of opaque or transparent "projection leader" on
which the picture title and reel number may be written
lengthwise in large characters for ready identification.
Then comes the "identification leader" which gives in
each of its 24 frames the print type, reel number, and
picture title. This is followed by 12 feet and 20
frames of the main "synchronizing leader" having
black frames separated by rather thick transparent frame-
lines. Every 16th frame of the synchronizing leader
is transparent and marked with an inverted footage-
indicator numeral for threading purposes.

The footage-indicator frame located exactly 12 feet
from the first frame of the picture is marked "Picture
Start." One foot from the Picture Start frame is the
indicator frame "11." Each succeeding foot is marked
by a numbered frame, "10," "9," "8," etc., down to
"3," followed by three feet of black film and the first
frame of the picture. Each indicator frame, including
the "Picture Start," is preceded by a sound-synchron-
izing diamond exactly 20 frames ahead of it.

Television leaders containing image adjustment pat-
terns and focusing targets should not be used on theatre-
release prints.

The "protective leader" of transparent blank film
or opaque raw stock is supposed to be restored to its
initial length of 8 feet when repeated use has reduced
it to 6 feet. This leader is threaded onto the takeup
reel; and because its end is frequently trimmed with the

(Please turn to page 6)

International Projectionist February, 1964

Investment Opportunity

The skills he's learning today he will someday put
to use for you.

But it is going to take a substantial investment
before the strides he takes will be sure and swift and
strong. An investment of time, of love, of money
and thought.

You have a stake in that investment.

You can protect it by joining with other leading
American businessmen to promote the Treasury's
Payroll Savings Plan for U. S. Savings Bonds. The
Treasury Department's Plan encourages habits of
prudence and diligence and responsibility that are

the most valuable currency of a free society and a
free economy.

When you bring the Payroll Savings Plan into
your plant — when you encourage your employees
to enroll — you are investing in the skills of tomor-
row's workers. In the energy and ability of youth
that is our real wealth. You are investing in Amer-
ica's future. In freedom itself.

Don't pass this investment opportunity by. Call
your State Savings Bonds Director. Or write today
to the Treasury Department, U. S. Savings Bonds
Division, Washington, D. C. 20226.

! in your plant. ..promote the PAYROLL SAVINGS PLAN for U.S. SAVINGS BONDS M(Km

The U. S. Government does not pay for this advertisement. The Treasury Department thanks, for their patriotism, The Advertising Council and this magazine.

International Projectionist February, 1964

azine

Slack
film may
break when
projector starts/

FIG. 1 — Always bring the film up taut in the upper mag-
azine to avoid a length of slack film. Be sure that upper-
reel tension is sufficient to hold the reel where you turn
it (but not enough to strain the film, of course). If the
slack in the film is not removed, the teeth of the upper
feed sprocket may rip out the holes when the projector
motor is turned on.

scissors to permit easier insertion into the reel slot, its
length is gradually reduced.

Protective Leaders Too Long?

The writer believes that a protective leader 8 feet,
or even 6 feet, in length is inconveniently long. If the
projector is threaded up with the indicator numeral
"7" or "6" at the aperture, about seven feet of leader
drape down to the floor until threaded into the re-
mainder of the machine. If the picture aperture is 4
feet above floor level, approximately 3 feet of the
standard leader will lie on the floor. Add to this
8 feet of opaque protective leader, and a total of 11

Lower

Slack

film WILL

BREAK when projector starts/
FIG. 2 — Most dangerous of all is a slack length or loop of
film in the lower magazine. Make certain that the film is
taut before the projector motor is switched on! When not
held back, the takeup reel turns so fast that the film will
break when it tightens.

feet of film are curled around the projectionist's feet.
All this excess film must be wound up on the hub of the
takeup reel as the last step of the threading operation.

It seems to us that 2 or 3 feet of opaque protective
leader are enough, and certainly much easier to handle
than the longer recommended lengths. Surely, a 21/2-ft.
length is sufficient to protect the main leader and to
provide space for writing the reel number on the film
when necessary for ready identification of the reel in
the storage bin.

Splices in Leaders

Unless the print is a fairly new one, the leaders are
usually patched in several places. This means that they
have been torn several times by rough handling, or that
misthreading has caused them to break when the
projector was started up. One or two splices are rather
common in the leaders of used prints, and each one
must be scrutinized and tested for mechanical strength,
ability to run through the projector smoothly, and for
frame registration.

The very worst time of all to have a film break is
when a changeover is being made. Two projectors are
then operating at the same time; and the projectionist's
attention is glued to the screen as he waits for the
changeover cue. Likewise, an out-of-frame splice in a
leader will result in an out-of-frame picture on the
screen when the changeover is made. Misframed splices
are most likely to be found in the black film between
the "3" indicator frame and the picture, especially where
the leader is spliced to the black footage of a fade-in.

Sections of leader in which three or four splices oc-
cur within a few inches of each other should be cut
out completely and replaced by the requisite length of
new plain leader stock having black frames and white
framelines. Such stock may be purchased in 100-ft.
rolls at about 3c per foot. The short lengths of leader
cut from brand-new preview trailers and usually thrown
away are worth saving for the repair of standard
leaders.

Shortened Leaders

After checking all splices for strength and frame
registration, observe whether the leader has been ma-
terially shortened by the patching previously done on
it. Loss of a foot or less does no harm, but it should
be kept in mind that a shortened leader causes the pic-
ture to come into the aperture prematurely before the
changeover, and that 1 second of picture running time
is thus lost for every 1% feet of film missing from
the leader. Continuity is not disturbed unless a fade-in
is lost or a few words of dialogue are "clipped off" at
the changeover.

The recommendation that "significant sound should
be kept at least 5 feet from the start of the picture"
is unfortunately not always heeded by the people who
assemble the prints and decide just where the reels shall
begin and end.

Loss of action due to a shortened leader can be
avoided either by threading up on a larger indicator
number to compensate, or by allowing just the right
amount of time-delay in switching on the incoming
projector when the motor-start cue appears. Either
method risks a momentary blackout through miscalcu-
lation. It seems better to restore the leader to its cor-
rect length or to lose only a second or two of unim-
portant action: the audience probably will not notice
any "jump," but they do notice blackouts and com-
plain if the screen "goes black" for even the merest
fraction of a second!

From the point of view of the average moviegoer, the

International Projectionist February, 1964

worst sin a projectionist can commit is to allow the
indicator numerals and sound-synchronizing: diamonds to
flash b\ on the screen. This seldom happens unless the
projectionist habitually threads up on a high indicator
number and "runs down'" to the correct starting number
— and then forgets to run the film down after threading!

Excessive Leader Length Tabu

Strange as it ma) seem, replacement of damaged
leader- l>\ the exchanges sometimes results in the inclu-
sion of more than 3 feet of black film between the
"T" indicator frame and the first frame of the picture
An excessively long leader is actual!) worse than a
shortened one. for if the projectionist does not notice
and remove the excess film before the reel is shown,
both he and his audience will be treated to a brief
blackout when the changeover is made.

On the protection-leader footage of fairlv new prints
the projectionist max find the words: "Do not patch
this leader. Replace if torn." This notice is addressed
to the operator of the film-printing machine, not to the
projectionist. It refers to the negative from which the
leader is printed, and i> intended to present the printing
of defective leaders.

Having been unwound upon the floor inaiiv times,
the leaders of old prints ma\ he badl) soiled. The oil
and dirt adhering to them should be removed 1>\ draw-
ing them through a folded pad of soft cotton cloth
moistened with film-cleaning fluid.

Conserve Those Leaders!

Most projectionists help save leaders by keeping
them a- (lean as possible and by treating them gentlv
when threading the projectors. One simple rule is to
make sure that the film is on the sprocket before closing
the idler roller or the gate door. Carele»ness ma\ re-
sult in a film break and one more splice in a leader
which may already have more than its fair share of
patches!

It i- especially important to take up all slack film
on both the upper and lower reels to avoid sudden
tightening of loose lengths of film. Perforations are
ripped out bv the teeth of the upper and lower sprockets
when the film snaps tight. If the film does not break
immediately, it will in the gate when a loop is lost.
The takeup reel turns verv fast when not held back by
the film, and is \er\ likelv to break the leader if a
length of slack film is left between the lower sprocket
and the takeup reel. This is probablv the chief cause
of damage to leaders.

A misthreaded leader ma) break if the film is "run
down" to the correct indicator number by switching on
the projector motor instead of using the handwheel.
The best way to thread is to bring down a sufficient
length of leader from the upper reel so that the correct
indicator number can be placed just above the aperture
in the gate. The threading can then be checked by
running down a few frames with the handwheel. Very
serious damage can be inflicted upon the projector by
snitching the motor on and off rapidly to check the
threading.'

In the first place, the motor-switch contacts may be
badly burned when the projector motor is turned off
before it has attained full running speed. The starting
w hiding of a motor consumes a very strong current and
produces a hot spark when the circuit is broken. In
the second place, the starting winding of a motor has a
powerful "torque," or force of rotation. If the motor
i- -witched on again before it has had a chance to stop
turning, the powerful starting torque is added to the
momentum of the revolving rotor and the projector

International Projectionist February, 1964

FIG. 3 — Here is what happens to the sprocket holes when
film is violendy "yanked" on a sprocket — the perforations
in each margin are simply ripped out! If this happens on
the upper sprocket, a loop may be lost when the torn per-
forations come to the intermittent sprocket. The result:
a film break and possibly a "burn-out" when the film
stops in the gate.

-ear- and flv wheels. This results in an almost in
stantaneous acceleration which may strip the teeth from
the main drive gear and the shutter spiral gears.

It i> a matter of great convenience to have equal
starting times for both projectors of the installation
in order that the same indicator-frame number be used
in threading anv projector. The time required for a
projector to reach normal operating speed may be
regulated with the starting-winding rheostat on most
split-phase induction motors.

Film Cues Also Standardized

Because the motor-start and changeover cues at the
end of a reel are 11 feet apart (7.333 seconds), it is
obvious that the speed-up time of a projector must be
less than 7 seconds. Actually, a speed-up time between
2 and 3 seconds seems to be best, and requires the
projector to be threaded up on "6," "7," or "8."

Naturally, the two sets of cues, each consisting of
four consecutive frames having a white-outlined black
dot in the upper right-hand corner of the picture, must
be the correct distance apart (11 feet between the first
(iied frames of the two sets) in order that the standard
leader be used with confidence. There should also be
22 frames of film between the first frame of the
changeover-cue set and the first frame of the black
"run-out trailer" to allow a fraction of a second for the
changeover device to function.

Splices in the film between the motor and change-
over cues make it advisable to check the length of
film between the two sets of cues when inspecting the
print, i This is easily done by noting the footage num-
bers printed in the perforation margin of the film.) If
more than 4 or 5 frames are missing, a new set of motor-
start cues must be marked on the film 11 feet ahead of
the changeover cues.

A cue-marking die is an absolute necessity for scor-
ing a neat, inconspicuous set of cues on film. Crude
lines and X's scratched over the frames are an unneces-
sary form of film mutilation, as is also the punching of
holes in film. Many projectionists use china-marking
crayons on the base side of the film for temporary cur-
tain cues which can be wiped off with a clean cloth
before the film is returned to the exchange. Red china-
marking crayon cues show up the best, but the red dye
seems to streak over the film to form an indelible
smear. The black crayons are safest. iP

If you want crisp, top-quality prints— and you most certainly do— don't waste good
negative quality by pushing your laboratory into making short cuts. Give them
time to do the job right with the right materials. In other words, GO EASTMAN
all the way— negative and print-stock. For the purchase of film, technical queries,

and service, write or phone: Motion Picture Products Sales Department,
EASTMAN KODAK COMPANY, Rochester, N.Y. 14650, or the regional

sales divisions, 200 Park Avenue, New York, N.Y.; 130 East Randolph
Drive, Chicago, III.; 6706 Santa Monica Boulevard, Hollywood, Calif.

EASTMAN FILM

You can't stretch time:

If you want crisp, top-quality prints— and you most certainly do-don't waste .
negative quality by pushing your laboratory into making short cuts. Give them
time to do the job right with the right materials. In other words, GO EASTMAN
all the way-negative and print-stock. For the purchase of film, technical queries

and service, write or phone: Motion Picture Products Sales Department,
EASTMAN KODAK COMPANY, Rochester, N.Y. 14650, or the regional
sales divisions, 200 Park Avenue, New York, N.Y.; 130 East Randolph
Drive, Chicago. III.; 6706 Santa Monica Boulevard, Hollywood, Calif.

...ifclfj

Strong Develops New Arc Lamp

For 35mm Portable and 16mm Projector

A new high intensity reflector
type projection arc lamphouse and
associated rectifier equipment for
use with 35mm portable and semi
portable projectors and 16mm pro-
jectors has been developed by the
Strong Electric Corp. The 2600 lu-

mens of light produced for 16mm
projection and 4000 lumens produc-
ed for 35mm projection is approxi-
mately four times that of a mazda
light source, in both instances suf-
ficient for showing brilliant pictures
up to 18 feet in width. The snow

white character of the light makes it
ideal for the projection of colored
films.

The type 48600-1 lamp for 16mm
projectors uses a 6mm x 8%" posi-
tive and a 5%mm x 6" copper coat-
ed Pearlex negative carbon to burn
for an hour at 30 amperes and th<>
type 48400-2 lamp for 35mm pro
jectors utilizes a 6mm x 9" nega-
tive and a 7mm x 12" copper coat-
ed positive to burn one hour and
twenty minutes at 40 amperes.

Known as the Univarc, the lamp-
house weighs only 55 pounds, and
shipping weight is 70 lbs. The 40
ampere type measures 29 29/32" long
x 14 3/8" high x 11 7/16" wide
and the 30 ampere type measures
28 13/16" long x 14 3/8" high x
11 7/16" wide.

Direct current for the 40 ampere
29-30 volt arc is supplied by a
4-tube Type 16200 rectifier which
measures 13" x 20" x 21" and weighs
125 pounds and the 30 ampere 26-28
volt arc is supplied by a two-tube
Type 26,000 rectifier which meas-
ures 20" high x 12" wide x 11"
deep and weighs 100 pounds. The
single phase full wave rectifiers for
16mm projection consist mainly of a

(Please turn to page 12)

Cbtwafr PROVED BYTEST...BYFARTHE BES1

Arc Lamps and Rectifiers for Every Projector... for Every Theatre. . .The World's Finest

HERE ARE THE FACTS

A

y<

SUPER CINEX ... The masterpiece
of the most experienced projection lamp
designer. No other lamp has even re-
motely approached its perfection from
every point of view— mechanically, elec-
trically, optically, hydraulically or its fine
air-conditioned system. Its durability and
stamina have been proved. More and more
fine theatres and drive-ins are re-equip-
ping with Ashcraft Super Cinex daily due
to their fine reputation for perfect screen
light and service. Current range with 1 3.6
mm carbon, 125-165 amperes.

CORE-LITE ... the latest and most
phenomenal producer of white light at
lowest possible operating cost in the fam-
ily of Great Ashcraft Arc tamps. Same arc
burner and arc controls as the SUPER-
CINEX. Same quality and built-in reliabil-
ity. The lamp is optically designed to give
greater white light distribution at less cost
for carbons and electricity. There is none
better— anywhere! 70-110 amp.

CINEX 35/70 SPECIAL ... The

Great of the Ashcraft Arc tamps is a modi-
fied Super Cinex. tike the Super Cinex no
third element or relay lens is necessary
regardless whether 35 mm or 70 mm film
is being projected. Uses a 13.6 mm
high intensity positive carbon at
current ranges between 1 25 and
140 amperes.

RECTIFIER . . . THE SPECIAL CORE-
LITE 1 2 PHASE HIGH REACTANCE

RECTIFIER . . . designed for the require-
ments of the Core-Lite lamp, this rectifier will
give the best results. Low reactance 6 phase
rectifiers should not be used. Certain motor gen-
erators, but not all, are acceptable. The special
Core-Lite S/1212 rectifier will give you long,
excellent service with an absolute minimum of
expense. Other Ashcraft rectifiers available for
every power need. The cost is no more than for
inferior rectifiers.

SOlD *"«»WHE«E IN THE UNITED STATES BT LEADING AUTHORIZED THEATRE SUPPLY DEALERS

C.S. ASHCRAFT MFG. CO., INC. • 36-32 38th STREET- LONG ISLAND CITY 1, N.

Cover Story:

Boat Show Exhibit Uses XeTRON
Light for Rear 16mm Projection

\l \\ YORK — The rear projection
system designed to show 16mm
movies with the XeTRON lamp was
demonstrated here at the National
Boat Show, an important part of the
Johnson Motor Co. exhibit.

The Gardner Display Co. of
Chicago, built a display to house the
equipment and included a shadowbox
arrangement to reduce washout of
the picture due to high ambient
lighting.

\l. E. Pickrell of the XeTRON
Division, Carbons, Inc., Boonton,
N. J., supervised the installation and
instructed the operators to its use.

I he result- were considered sen-
sational and attracted man) people
to the Johnson display area, where

for the first time an excellent picture
about 10 ft. wide was being pro-
jected in an area where 15 to 20 foot
candles of ambient lighting could be
measured. Due to the nature of the
new light, ambient washout was no
problem.

Bv using a special wide-angle lens
it »;h possible to make a picture
III Feel wide with a projection dis-
tance of only 1<* feet.

The equipmenl operated 12 hours
a day lor lit days under the super-
\ ision of Stanley Goldstein, of 1 \
New ^ork Local 306. Goldstein was
impressed wiih the reliability of the
equipmenl and the result obtained.
I See cover, i

I he demonstration was -how n to
be approximately three time- .1-

Edvvard Lachman, President of Carbons, Inc., observing the operation of the
Johnson Motor film.

Even when viewed from a consid-
erable angle the brightness is very
outstanding as is the Johnson Motor
Model, Miss Sigrid Nelsson.

much as screen brightness.

This equipment will be in opera-
lion at other boat shows, also for the
boat shows in San Francisco, Los
\ni;eles boat show, the Denver boat
-how. and Chicago boat show. iP

An amazing demonstration of back-
ground projection in an area having
high (15 to 20FC) ambient lighting.
The picture is 10 feet wide.

Union Carbide Corp. To Build New
Technical Facilities in Cleveland

Lnion Carbide Corporation will
establish a technical center in the
Cleveland. Ohio, area to consolidate
its technical and development activi-
ties in the carbon and graphite fields.
it was announced by Birny Mason.

Jr.. president. Motor and generator
brushes and mechanical seal rings,
now manufactured in Cleveland, will
be produced in a new plant in Green-
ville. S. C.

Union Carbide's Carbon Products

International Projectionist February, 1964

Division will operate both of the
facilities. J. R. Johnstone, president
of the division, said that the technical
center should be in full operation by
the end of 1965. Work on the Green-
ville plant will begin in June, 1964,
with completion scheduled for mid-
1965.

The technical center will consoli-
date the activities of three Carbon
(Please turn to page 14)

11

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dramatic, New ALL TRANSISTOR
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''True high-fidelity,

distortion free.
"Low installation cost,

minimum space needs.

Increased reliability,
less maintenance.
rNo vacuum tubes, no
photoelectric cells.

*and the only American-made 70 mm 35
theatre projection systems

SEE

YOUR CENTURY

DEALER

for bigger, brighter projection.

CENTURY PROJECTOR CORP.

New York 19, N. Y.

12

STRONG LAMP

from page 10

transformer for reducing the high
line voltage to a potential correct
for operating the arc. an overload
circuit breaker, line relay which is
connected to a lamphouse auto-
matic door switch and the necessary
sockets, switches, voltmeter and
terminals, all of which are housed
in a substantial metal case whicb
is provided with handles for easy
portability. The a-c load, or recti-
fier input, does not exceed the 15-
ampere iimit provided by any 110-
volt convenience outlet.

The live parts of the lamp are
effectively insulated from the ground-
ed line current by use of a separate
primary and secondary winding in
the transformer. There is also a
smoothing reactor which is connect-
ed in the direct current circuit to the
arc. This reduces the a-c componen'
so as to eliminate light flicker.

The lamphouse is provided with
horizontal, vertical and focus ad-
justments for the reflector; manual
controls for carbon alignment: an
adjustable-speed motor for feeding
the carbons; an arc imager; and an
ammeter for reading the current a.,
the arc.

The reflector is 10V4 inches in
diameter and has a working distance
of 24 inches for 35mm projection
and 18 inches for 16mm projection.
The geometric focus is S1/^" for the
40 ampere and 4" for the 30 am-
pere to result in an f value of f 2.3
on the 40 ampere and f 1.6 on the
30 ampere to match the commonly
used lenses of modern projectors.

For further information address
the Strong Electric Corp., 31 City
Park Avenue. Toledo. Ohio 43601.

iP

S.O.S. Announces
New Appointment

Arnold T. Nappi has joined the
New York staff of S.O.S. Photo-
Cine-Optics, as sales engineer. The
appointment was announced by the
firm's president, Alan C. Macauley.

Mr. Nappi comes to S.O.S. from
Fischer & Porter Co., where he was
a sales engineer and manager of
their New York sales office: and has
also worked as a mechanical and
electronics technician for American
Machine & Foundry Co.. in Brook-
lyn, N. Y.

He began his technical and engine-
ering education early, receiving his
high school diploma in mechanical
technology. iP

International Projectionist February. 1964

Film Industry Calls Harry Rubin
A "Perfectionist" — Both as
A Projectionist and As A Man

Harry Rubin

Ham !ni> learned bis work the
hard way (the other men referred to
Rubin a* "the kid projectionist' at
a New York film house on the East
Side). He contributed much — pio-
neered is the better word — when the
film industry was improving and
refining the technology and the art
of showmanship in projection.

In V)l~ when Hairs Rubin was
at the New York Rialto, Roxj had
Hugo Riesenfeld, the orchester lead-
er, write the music score for the
silent features, and Rubin's job was
to co-ordinate the projection with
the musical effects. The projectors
were equipped with speed meters.
The projectionist had to accelerate
and speed up the film when the
orchestra leader buzzed the booth
from the orchestra pit. That would
mean rehearsal when the Rialto had
a new bill.

Harry's wide-screen presentation
of "Old Ironsides" at the New lork
Kivoli Theatre in 1 026.

The production had a magnificent
view of Old Ironsides in a battle,
and to take advantage of that. Rubin
designed the proscenium-wide screen,
with the screen masking drawn back
and up and the screen image expand-
ed in size to fill the proscenium area.
Harry had the sequence blown-up
with a wide-angle lens in the pro-
jector. It was one of the movie sen-
sations of the early 1920's.

Producer-director Cecil B. De-
Mille. up to his last picture, insisted
that Harr\ Rubin be around the pro-
jection booth at the premiere of his
new production. That started with
C. B. at the world premiere of the
original "Ten Commandments" at
the Criterion Theatre in 1923 when
Harrv was the head projectionist.

PART 2

J. Edgar Hoover called on Harry
Rubin to install a motion picture
projection room at the F.B.I, head-
quarters in Washington.

For 12 years, Harrv Rubin was
chairman of the Projection Practice
Committee of the Society of Motion
Picture Engineers.

\ml during those years many new
projection developments were in the
making. I nder Rubin's leadership
that committee pioneered — to cite
onl\ one detail — the SMPTE pro-
jection room plans that are now
standard guides to projection room
layout, consulted l>\ theatre men and
architects the world over.

A fellow committee man said:
'Those who were privileged to work
under Harry's direction during those
years knew that be always insisted
on quality, objected to the weak or
(independable solutions of problems,
.-tressed reliability of performance.
,iml was read) at the drop of a hat
to take up the cudgel against those
who would have accepted lowered
standards of projection. The pro-
jection art owes him much for the
basic work which he did during
those years."

Harry Rubin has contributed to
projection innovations. The film in-
dustry can thank Harrv for his
patience and his perfectionist atti-
tude to projection. He has many
new things come before him as a
projectionist, and many new pro-
jection devices he has developed by
testing the new projection equip-
ment.

During the formative period with
film projection. Harry said that
"showmanship is involved with pro-
jection," and he did something about
it. iP

PROJECTIONISTS
PREFER

ETHYLOID

Film Cement For
BEST RESULTS

Available from
Supply dealers

FISHER MFG. CO.

1185 Mr. Read Blvd.
Rochester, N.Y.

PROJECTOR
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International Projectionist February, 1964

13

Union Carbide

from page 11

Products Division development labor-
atories now in Niagara Falls. N. Y. ;
Fostoria. Ohio: and Lawrenceburg.
Tenn. In addition to the consolida-
tion of development activities, those
existing departments responsible for
division-wide engineering, quality
control, and customer technical ser-
vices will be incorporated in the
technical center. The center, when
completed, will occupy about 175.000
sq. ft. of space.

The machining operations of
specialty graphite and carbon pro-
ducts, now being done at the Cleve-

America's
headquarters

lor all
theatre equipment

supplies

IV I _M_™ I

THEATRE SUPPLY COMPANY

land site, will be combined, in ex-
panded facilities, with the division's
other specialty machining operations
in Niagara Falls.

Carbon brushes are important com-
ponents in industrial and railroad
motors and generators and in elec-
trical household appliances. Carbon
seal rings are used in steam turbines,
jet engines, and pumps for industrial
and household use.

Union Carbide's Carbon Products
Division (formerly National Car-
bon Company ) has pioneered in the
fields of manufactured carbon and
graphite. Among its many products
are the giant electrodes used in elec-
tric furnaces; arc carbons used in
motion picture photography, and
theatre projection, solar simulation
and other special lighting; graphite
cloth and fibers; and activated car-
bon. New forms of graphite have
been developed for nuclear and aero-
space applications. The division also
produces special high-temperature
refractory materials. iP

Kodak Appoints

Simmons To

Los Angeles Post

Norwood L. Simmons has been
appointed general manager of the
West Coast division of Eastman
Kodak Co. motion picture products
sales department.

He succeeds John L. Courcier. a
veteran of 45 years in the film in-
dustry, who died Jan. 6, a few davs
after his appointment to the West
Coast spot.

Vaughn C. Shaner succeeds Sim-
mons as manager of engineering
service at the West Coast Division's
Hollywood offices. Both appoint-
ments were announced by Gerald B.
Zornow. vice president for marketing
at Kodak. iP

THE VERY FINEST

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they keep projectors in top operating condition essential
to good pictures, patron satisfaction and good business.
Available through your Theatre Equipment Dealer.

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MACHINE WORKS n

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TELEPHONE— AREA 312— ES 8-1636

£1§3

14

Midwest Gets First
Twin-Screen Theatre

CHICAGO — Construction is
underway on Evergreen Theatres I
& II, the Midwest's first indoor
twin-screen motion picture theatre.
Twin-screen design will permit
simultaneous showing of two dif-
ferent films.

Evergreen Theatres I & II will
bring a new look in motion picture
presentation, convenience and com-
fort to the Chicago area. The build-
ing will house a central lobby with
two auditoriums which will allow the
presentation of two feature films.
Though there are a number of
double outdoor drive-ins, the move-
ment of the twin screens indoors
represents a new direction in theater
design.

The theater will be supported on
stilts that serve not only to elevate
the theater to the same level as
Carson Pirie Scott & Company, the
adjacent store, and its parking deck,
but to allow for a parking area di-
rectly underneath the structure. This
will allow theatre-goers to avoid in-
clement weather and brings the total
number of free parking facilities to
over 5,000 when combined with
other areas in the shopping center.

Continuous malls make Evergreen
Theatres I & II available from all
buildings in the center and eliminate
the need for changing levels while
shopping and theater-going.

Target date for completion of the
theaters is mid-June. 1964. iP

Oxberry Changes Name

NEW YORK— Oxberry Corp., is
the new name for the Animation
Equipment Corp., 38 Hudson St.,
New Rochelle, N. Y. Oxberry will
continue to be the trade name for
all company products.

Ownership, management and fin-
ancial responsibility are in no way
affected by the name change. Up to
seven years ago, the company's chief
products were animation stands and
Oxberry animation cameras. Today,
the firm makes optical printers, film
strip equipment, special projectors
and several types of process cameras
besides animation stands.

The Oxberry precision film move-
ment is featured on most of the com-
pany's products which are engineer-
ed to meet exacting specifications for
photographic applications in scienti-
fic, industrial and government fields.

An expansion of Oxberry s engine-
ering staff is planned in order to
speed development on a number of
new concepts and designs. iP

International Projectionist February, 1964

basic
mathematics

by NORM AN N. CROWHURST

-. r

+

VOLUMES
1 through 4
COMPLETE

not! couNTwe
through uacuin

« MOHIN

UMBO APffOACH

ro lurMUurxs
we in iftB

PRACTICE
METHOD

fl

LEARNING
MATHErMTI

m

"

i

BASIC MATHEMATICS

by Norman H. Crouliurst

4-volume 'pictured-text' course makes it easier than
ever before possible to learn all the math you'll need
to know to speed your progress in electronics— no
short cuts — no gimmicks.

This remarkable 4-volume course takes you in easy
stages from counting through algebra, geometry,
trigonometry to calculus so that you will understand
easily, quickly, all the math you will need to get
ahead in electronics — regardless of your previous
education! It employs an exciting new technique
presenting basic mathematics as on continuous devel-
opment of mathematics. The individual branches of
mathematics are not divided into separate and un-
related subjects. Algebra, geometry, trigonometry,
calculus are interwoven at progressively rising levels
in the different volumes. Each volume reinforces your
understanding as you penetrate more deeply into
the subjects. Selected illustrations create clear
images of mathematical ideas formerly difficult to
understand.

A KNOWLEDGE OF MATH SPEEDS YOUR PROGRESS IN
ELECTRONICS — No matter what your plans are in
electronics — mathematics plays a vital role. The

more math you know, the easier it is to learn
electronics. And, if you've set your sights on being
an advanced technician or an engineer, this course
will speed you towards your goal.
Volume I — ARITHMETIC AS AN OUTGROWTH OF
LEARNING TO COUNT — You gain the self-confidence
you need to master mathematics! You build a solid
foundation in mathematics without realizing that
you are being introduced to subjects usually con-
sidered dry and difficult to master. #268-1, S3. 90

Volume II — INTRODUCING ALGEBRA, GEOMETRY,
TRIGONOMETRY AS WAYS OF THINKING IN MATHE-
MATICS — Building on the solid foundation laid in
Vol I., you learn to apply algebra, geometry and
trigonometry as better methods of solving a problem
when the arithmetic begins to get involved. #268-2,
S3.90

Volume III — DEVELOPING ALGEBRA, GEOMETRY,
TRIGONOMETRY, CALCULUS AS WORKING METHODS IN
MATHEMATICS — This volume continues the search
for new and better methods of calculating, and adds
calculus to the group of 'tools' already introduced.
=268-3, $3.90

Volume IV — DEVELOPING ALGEBRA, GEOMETRY,
TRIGONOMETRY, CALCULUS AS ANALYTICAL METHODS
IN MATHEMATICS — Once you've reached volume IV,

you're ready to apply all that you've learned in the
earlier volumes. You'll be able to find the right
approach to each individual problem. You'll be ready
for a career in which mathematics play a most
important part. #268-4. $3.90

Available at parts distributors, bookstores, or direct.

INTERNATIONAL PROJECTIONIST
1645 Hennepin Avenue, Suite 212
Minneapolis, Minnesota 55403

Please send these paperback volumes:

□ Vol. I — $3.90; D Vol. II— $3.90; □ Vol.
Ill— $3.90; □ Vol. IV— $3.90; D Send 4-
Vols. in one clothbound edition, $15.95.

Name
Address
City

Zone

State

The

autiLl New

UTU

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GREATER CONVENIENCE

Unit construction permits instant removal of
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The FUTURA n

with automatic crater positioner for 13.6mm
carbon trim burning at 120 to 160 amperes,
or for 11mm carbon trim burning at 100 to
125 amperes.

IIWIWIll—l— ■— i MM—

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and drive-in screens up to 120 feet.

LESS COST

to buy and less to use. Efficient utilization
of standard 20-inch carbons insures THE
GREATEST AMOUNT OF LIGHT EVER DE-
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The FUTURA I

for utmost economy in operation with stand-
ard 11mm carbon trim burning at 75 to 105
amperes.

MORE FEATURES

New type relocated arc imager system elimi-
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Tufcold reflectors used in lamps operating
above 95 amperes assure lower aperture
temperatures. Silvered reflectors used in
lamps burning under 95 amperes. Stream-
lined ammeter for reading arc current. Auto-
matic trimming light. Inside dowser system.

INTERNATIONA

*Gr0

M

2

7T

JP'

Dane Hansen, Local 165 IATSE, Colsolidated
Film Industries' head projectionist, is pictured in
the booth of one of CFI's review rooms. Hansen has
been with CFI since 1936. (See story on page 1 1).

*0*a *9Z ao^Sa-pqsBft
ss&jrJuoo jo Arsj.qxi

""^T

MARCH
VOLUME 39
40c A COPY

i

1964

NUMBER 3

$3.00 A YEAR

New.Jrom [l/^@cir[fi]£\ffl...Type A704-the uniform magnetic sound recording film

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reduces surface noise and intermodulation distortion.

At the same time, extremely wear-resistant and chemi-
cally stable, "R-type" binder minimizes oxide build-up on
equipment, making for longer recording usefulness.

Most important, "R-type" binder permits uniform oxide
coatings of superb magnetic characteristics which result

in high output and low print-through . . . more vibrant
highs, a more natural balance between highs and lows.

Another valuable convenience. "Lifetime Coding" offers
an accurate means of indexing film as well as a useful ref-
erence for logging of bias settings, re-use and purchase
data.

AVAILABLE NOW: 16, 17% and 35mm widths-complete
range of cores and windings. For further information about
EASTMAN Magnetic Sound Recording Film, Type A704,
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Magnetic Products Sales Division

EASTMAN KODAK COMPANY

343 State St. 200 Park Ave. 130 E. Randolph Dr. 6706 Santa Monica Blvd.
Rochester, N.Y. New York, N.Y. Chicago, III. Hollywood, Calif.

INTERNATIONAL

PROJECTIONIST

Including a special Audio-Visual section relat-
ing to the operation and maintenance of A-V
equipment in the educational and industrial
fields.

Volume 39

March, 1964

No. 3

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO
Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue, New York 17, N. Y.

Telephone Murrayhill 7-7746

(Area Code 212)

IN THIS ISSUE

The Drive-in's No. 1 Problem 4

By Robert A. Mitchell

D-150 Wins Acclaim 8

RKO's New 23rd St. Theatre 10

COVER STORY;

CFI's Review Facilities 1 1

News Notes — Technical Hints — Miscellaneous Notes

INTERNATIONAL PROJECTIONIST, published monthly by the
International Projectionist Publishing Co. division of The
Northern Publishing Co., Post Office Box 6174, Minneapo'is
24, Minnesota. Editorial offices, 1645 Hennepin Avenue,
Minneapolis 3, Minn. Subscription Representatives: AUS-
TRALIA — McGills, 183 Elizabeth St., Melbourne; NEW
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be submitted four weeks in advance of publication date to
ensure receipt of current issue. Second-class postage paid at
Minneapolis, Minn. INTERNATIONAL PROJECTIONIST as-
sumes no responsibility for personal opinions appearing in
signed articles, or for unsolicited articles. Entire contents
copyrighted 1964 by INTERNATIONAL PROJECTIONIST
PUBLISHING CO. <^f^rr>

International Projectionist March. 1964

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INTERNATIONAL PROJECTIONIST

Volume 39

March, 1964

Number 3

Screen Light . . .

The Drive-in's No. 1 Problem

By ROBERT A. MITCHELL
PART I

Rising Boxoffice Receipts and the truly astonish-
ing ubiquity of film presentations are the best evidence
that theatrical movies, like music and literature, are
part and parcel of the human scene, and are not go-
ing to be displaced by TV or by any other substitute
in the field of commercial entertainment. There is no
substitute for the entertainment film optically projected
on a large panoramic screen!

The field of professional movie presentation has
become so broad that it embraces every conceivable
place where an audience can be assembled and motion
pictures shown. The very latest feature attractions are
now routinely exhibited on trains, ships, and planes.
There are undersea theatres for skin-diving enthusiasts,
theatres suspended on the dizzy heights of observation
towers, "trot-in" theatres for the horsey set, and screens
suddenly materializing in the intimate atmosphere of
cabarets. The regular drive-in theatre seems hardly
less orthodox today than the conventional 4-wall show-
place, and deserves, so far as it can be achieved, the
same high quality of projection and sound.

Professional quality of the screen presentations is
the keynote of successful movie exhibition, especially
in these days of near-perfect color, higher image acut-
ance, high-fidelity soundtracks, and panoramic aspect
ratios. No matter whether the film is presented indoors
or out, in a conventional theatre or in the most novel
screening locations, the craftsmanship of a skilled pro-
jectionist practised upon the most refined modern equip-
ment is absolutely necessary to the successful reproduc-
tion of all the professional visual, aural, and dramatic
qualities latent in the reels of film.

Perfection Worth Shooting For

The drive-in projectionist, therefore, should strive to
attain indoor-theatre quality on his outdoor screen;
and with the most powerful modern lamps, mechanisms,
and lenses to aid his efforts, a reasonable degree of
success can be expected even on the larger drive-in
screens. The film is the same whether it be shown in-
doors or out, and the audience expects the same excel-
lence in its presentation — an uninterrupted projection
of clear, bright, rocksteady pictures accompanied by the
most lifelike sound. Thanks to modern motion-picture

technology, the severe drive-in projection conditions
which militate against indoor-theatre quality are being
overcome.

The size of the drive-in screen creates many prob-
lems, the most obvious of which is the attainment of
adequate light levels. The development of more power-
ful arc lamps and larger, more efficient lenses has made
possible a screen-light level of 4% to 5 footlamberts of
brightness even on drive-in screens 100 feet wide. This
is only half the minimum brightness recommended for
indoor-theatre screens, but nevertheless entirely adequate
for comfortable viewing. But with the development of
more powerful lamps, the heat problem became more
serious. This, too, has been successfully vanquished
by modern technological means.

Evils of Overheating

Excessive heat on the film induces a rapid in-and-
out buckling, or flutter, that hopelessly blurs the pic-
ture. A sharp focus is impossible, particularly with
shortfocus lenses having small depth of focus. More-
over, hot film-gate rails may permanently deform the
film, while direct irradiation in excess of well-defined
energy levels may actually blister the emulsion of black-
and-white prints. Blistered film is unfit for further use.

Heating of the film has been dramatically reduced
by the use of water-cooled film gates, interference-type
heat filters, and, especially, by interference-type ("cold")
arc-lamp reflectors. One or more of these heat-reduc-
ing means must be used in drive-in theatres to insure
good focus of the picture and to prevent damage to the
film. Air-cooling of the film at the aperture may also
be of benefit, but this method should be used in con-
junction with water-cooled gates and removal of hot
infrared radiation from the arc beam.

As for sound reproduction in drive-in theatres, it
must not be expected that small in-car speakers can
give the same high quality of sound as an expensive
indoor-theatre speaker assembly having powerful low-
frequency units and the most carefully engineered speak-
ers for the treble range. However, the most modern
in-car speakers undeniably give better sound than the
average car radio, and are an absolute necessity for the
excellence of sound reproduction that drive-in patrons
have a right to expect.

International Projectionist March, 1964

Secretary of the Treasury Douglas Dillon discusses prospects
for 1964 with the chairman of the United States Industrial
Payroll Savings Committee- — Frank R. Milliken, President of
Kennecott Copper Corporation.

■

THE 1964 INDUSTRIAL PAYROLL SAVINGS COMMITTEE
OF THE TREASURY DEPARTMENT

The leaders of America's business
community invite you to join in a
major fiscal undertaking

"The volunteer efforts of such distinguished busi-
ness leaders as yourselves on behalf of the Payroll
Savings Plan are a notable instance of the active
and productive concern of American business gen-
erally for the fiscal soundness and economic well-
being of this nation."

With these words the Secretary of the Treasury
greeted leaders of 27 basic industries and opened
the 1964 planning of the U. S. Industrial Payroll
Savings Committee, a group formed of key busi-
nessmen and industrialists who assist the Treasury
Department in its debt management program by
promoting U. S. Savings Bonds.

The Committee's prospects for 1964 are bright.
Thousands of companies will be urged to promote
the Payroll Savings Plan enthusiastically within
their organizations. Your support is needed. Will
you join your fellow businessmen to help millions
of American employees help themselves by saving
regularly? Your own organization — with your
backing — can make a splendid showing!

For full information, contact the chairman of
your field of activity — today.

Honorary Chairman:

Honorable Douglas Dillon

Secretary of the Treasury

Chairman:

Frank R. Milliken, Pres.
Kennecott Copper Corporation
(Copper)

Members:

Crowdus Baker, Pres.

and
James T. Griffin, Vice Pres.
Sears, Roebuck and Company
(Retail Merchandising)

Walter Bouldin, Pres.
Alabama Power Company
(Public Utilities)

Maurice R. Chambers, Pres.
International Shoe Company
(Shoe Manufacturing)

Harold W. Comfort, Pres.
The Borden Company
(Food Manufacturing)

John D. deButts. Pres.

Illinois Bell Telephone Company

(Telecommunications)

John D. Ehrgott, Chm. of the Bd.
The Great Atlantic & Pacific

Tea Company, Inc.
(Retail Food)

Dr Elmer W. Engstrom, Pres.
Radio Corporation of America
(Electronics)

Ray R. Eppert, Pres.
Burroughs Corporation
(Office Equipment)

Raymond C. Firestone, Pres.

Firestone Tire & Rubber Company
(Rubber)

Alexander H. Galloway, Pres.
R. J. Reynolds Tobacco Company
(Tobacco)

Harold S. Geneen, Pres.

International Telephone &

Telegraph Corporation
(At Large)

John F Gordon, Pres.

General Motors Corporation
(Automotive)

Crawford H Greenewalt, Chm. of the Bd,

E. I. du Pont de Nemours & Co., Inc.
(Chemicals)

John L. Gushman, Pres.

Anchor Hocking Glass Corporation
(Glass)

Reed 0. Hunt, Pres.

Crown Zellerbach Corporation

(Paper)

Thomas V. Jones, Pres and Chm.

Northrop Corporation
(Aerospace-Aircraft)

Clarence A. Kelley, Pres.
Dixie Ohio Express, Inc.
(Trucking)

Lawrence Litchfield. Jr., Chm. of the Bd.

Aluminum Company of America
(Aluminum)

Joseph A. Martino, Chm. and Pres.

National Lead Company
(Lead)

Charles F. Myers, Jr. Pres.
Burlington Industries, Inc.
(Textiles)

William J. Quinn, Chm. and Pres.

Chicago, Milwaukee, St. Paul and

Pacific Railroad Company
(Railroads)

M J. Rathbone, Chm. of the Bd.
Standard Oil Company (New Jersey)
(Petroleum)

H. I. Romnes, Vice-Chm. of the Bd.

American Telephone and

Telegraph Company
(Electrical Equipment)

W Cordes Snyder, Jr., Chm. of the Bd.

Blaw-Knox Company
(Machinery Manufacturing)

C. E. Woolman, Pres.

Delta Air Lines. Inc.
(Air Transportation)

Leslie B. Worthington, Pres.

United States Steel Corporation
(Steel)

Charles J. Zimmerman, Pres.

Connecticut Mutual Life

Insurance Company
(Insurance)

in your plant. ..promote the PAYROLL SAVINGS PLAN for U.S. SAVINGS BONDS

The U. S. Government does not pay for this advertisement. The Treasury Department thanks, for their patriotism, The Advertising Council and this magazine.

INTERNATIONAL PROJECTIONIST

International Projectionist March, 1964

Light rays from the aperture spread
out as they pass through a conven-
tional projection lens, represented here
by a simple biconvex element; and the
shorter the focal length of the lens, the
more rapidly the rays diverge. This
may result in shading of the sides and
corners of the picture by the lens
holder and the hole in the front of
the mechanism. A reverse-Galilean

lens, on the other hand, employs a
strong positive element close to the
aperture to "pipe" the rays through
the lens holder with very little diver-
gence. The negative element at the
front of the barrel diverges the near-
parallel rays and establishes the de-
sired focal conditions.

Many drive-in theatres, unfortun-
ately, are operating with lamps,
lenses, projectors, and sound systems;
that are wholly inadequate for their
exacting job and totally incompatible
with the high picture and sound
quality today's moviegoers insist
upon regardless of the type and size
of the theatre. It is clearly the duty
of the projectionist, after he has
evaluated the drive-in's equipment
unfavorably, to point out its short-
comings to the management and
strongly urge the purchase of more
suitable units.

Such projection troubles as jumpy
pictures, sidesway, travel ghosts.

"wows" in the sound, high-frequency
attenuation, frequent film breaks,
etc. are common to all theatres and
not peculiar to the drive-in. Actually,
the severe light requirements of giant
outdoor screens with attendant heat
and focus troubles constitute the
drive-in's Number One problem, as
suggested by the foregoing. And the
logical place to begin an attack on
the screen-light problem is at the
drive-in screen, itself!

Most drive-in screens are con-
structed of large, flat, weather-proof
panels with the joints between them
sealed with a cement compound.
Cement-plaster screen surfaces laid
over a wire-grid or steel-rod backing
are also commonly used. But which-
ever material is used, the screen
surface, if perpendicular to ground
level, should be painted with at least
three coats of a matte (non-gloss,
or "flat" ) durable white paint of
high reflective power. The screen
must be repainted whenever the sur-
face becomes dull, discolored, streak-
ed, or damaged in any way. Ade-
quate picture illumination is too dif-
ficult and too costly to achieve in a
drive-in theatre to be wasted by a
dull or darkened screen surface!

Reflectivity Varies

You must choose your drive-in
screen paint with a full knowledge
of its pigment composition. Don't be
misled by "secret formulas"! There
are only a few suitable white pig-
ments of high reflectance — titanium
white (titanium dioxide, also called
permanent white I , white lead ( basic
lead carbonate, also known as flake
white and Cremnitz white ) . zinc
white (zinc oxide, also called Chinese
white), and lithopone (mixture of
barium sulfate and zinc sulfide,
sometimes called silver white ) .

Lithopone has the highest initial
reflectivity (97%), but is unsuitable
for painting drive-in screens because
it is slightly darkened by exposure to
daylight. Zinc white has the lowest
reflectivity of the four (93%), and

also the least effective opacity, or
covering power. However, zinc white
is completely permanent, and is not
discolored by time, light, or gases.
White lead has excellent covering
power and a fairly high reflectivity
when fresh (95%), but is quickly
turned yellowish brown by sulfur-
containing fumes such as coal gases,
auto exhaust, etc. For this reason
white lead should be avoided for
painting screens. Titanium white has
good covering power and a very high
reflectivity (96%), and is the most
permanent and stable of all white
pigments. It does not discolor with
age or upon exposure to light or
gases. Titanium white is definitely
the choice for use as a screen paint.

Pigment Critical

Screen paints for -drive-in screens
should have a pigment composition
of pure titanium dioxide alone, and
not adulterated with any other white
pigment or with such commercial
"extenders" as asbestine, talc, silica,
whiting, china clay, or barytes.
Neither should they contain magne-
sium oxide, a substance which has
low covering power despite its ex-
tremely high reflectivity in thick lay-
ers (98%).

Freshly powdered titanium white
has, as we said, a reflectivity of
96%. In the form of paint contain-
ing linseed oil, it has a reflectivity
of about 90% when fresh, and about
85% after the oil has aged. "Chalk-
ing" of the surface caused by the ef-
fects of weather may restore reflec-
tivity to a value close to 90%, but
it is safer to reckon on 85% as the
reflective power of aged titanium
white screen paint. This is very
bright for a white paint, and is the
value adopted in Table I, given below.

Now a word of warning. Never
use aluminum paint for surfacing a
perpendicular drive-in screen. Alumi-
num paint is directional; and used
on a perpendicular screen lighted
by projectors pointed up at it, most
of the light will be reflected mirror-

TABLE I

ARC CURRENTS AND CARBON TRIMS
NEEDED FOR 4y2 TO 5 FOOTLAMBERTS
ON 85%-REFLECTING WHITE SCREENS

SCREEN

CARBON TRIM

WIDTH

Pos., Neg., and Type

(Feet)

25

7 mm - 6 mm, Surrex

30

7 mm - 6 mm, Suprex

35

7 mm - 6 mm Suprex

40

8 mm - 7 mm, Suprex

45

9 mm - 8 mm, Suprex

50

10 mm - 11/32 in, Reg. HI

55

10 mm - 11/32 in, Reg. HI

60

11 mm - 3/8 in, Reg. HI

65

13.6 mm - 7/16 in, Reg. HI

70

Blown Arc, 10 mm Hitex pos.

75

Blown Arc, 10 mm Hitex pos.

80

Blown Arc, 100 mm Ultrex pos.

REQUIRED

ARC
AMPERES

40

42

46

60

80
100
110
120
160
130
138
155

TABLE II

ARC CURRENTS AND CARBON TRIMS

NEEDED FOR 4J/2 TO 5 FOOTLAMBERTS

ON DIRECTIONAL SCREENS (150% Refl.)

SCREEN CARBON TRIM

WIDTH Pos., Neg., and Type

(Feet)

50 7 mm - 6 mm, Suprex

55 8 mm - 7 mm, Suprex

60 9 mm - 8 mm, Suprex

65 9 mm - 8 mm, Suprex

70 10 mm - 11/32 in, Reg. HI

75 11 mm - 3/8 in, Reg. HI

80 11 mm - 3/8 in, Reg. HI

85 13.6 mm - 7/16 in, Reg. HI

90 13.6 mm - 7/16 in, Reg. HI

95 Blown Arc, 10 mm Hitex pos.

100 Blown Arc, 10 mm Hitex pos.

105 Blown Arc, 10 mm Ultrex pos

REQUIRED

ARC
AMPERES

50

65

80

85
110
115
120
155
165
130
138
155

International Projectionist March, 1964

Ill
the

light

pro-

wise ovr the tops of the car
the parking area and up into
sk\ .

In order to obtain the light-direct-
ing benefits of aluminum paint, the
screen must be tilted forward toward
the parking area by an angle about
equal to the upward projection angle.
In other words, the aluminum screen
should face the projectors squarely.
If this is done, a "low gain" alum-
inum surfacing will provide an effec-
tive reflect i\ it \ of about 150' < as an
average over the central part of the
viewing area, and may be a decided
advantage when the screen is more
than 110 feet wide. Experience indi-
cates, however, that the results do
no justify the increased construction
costs of tilted screens when the width
of the screen is under 100 feet.

Fast Lenses and
Beam Clearance

In order to get all available
from the arc to the screen, the
jector lamp and optics must have
maximum efficiency. This means
that the rated mirror speed must be
at least f 1.9, and preferably f 1.7.
except in the case of "Suprex," or
simplified high-intensit\ arc lamps.
most of which have an optical speed

of f 2.3.

The projection lenses must be
antireflection-coated and have a
speed of at least f 2.0 or f 1.9 in the
longer focal lengths and f 1.7 in the
medium and short focal lengths
This recommendation is a good one
to follow when f 2.3 Suprex lamps
are used. For the most efficient
overall optical performance, the lens
should be somewhat faster than the
lamp, a desirable state of affairs not
always possible to achieve.

It is extremely important in drive-
ins to insure unobstructed light-beam
clearance through the projector,
making sure that the rear-shutter
case, heat baffles, and sight box do
not cut into the arc-lamp beam and
cause shading or loss of light. This
is a serious problem with the Sim-
plex Regular. Super Simplex. Bren-
kert, Motiograph. and other mechan-
isms designed before the davs of
widescreen projection and fast short-
focus lenses. In some cases the ob-
structing parts can be cut away; in
others it may be necessary to install
special replacement parts.

The small lens holder and hole in
the front of the mechanism case pro-
duce severe vignetting, or fadeaway
at the sides and corners of the pic-
ture, when short-focus lenses are
used for widescreen projection.
Modern mechanisms are designed
with 4-inch diameter lens holders;
and these are adequate for the fastest

International Projectionist

lenses in all focal lengths. Unless
larger lens holders can be installed in
old-time mechanisms, and the open-
ing in the front of the case enlarged,
special long-tube short-focus lenses
must be used to avoid vignetting and
loss of light.

These special long-tube lenses not
onlv eliminate the vignetting prob-
lem with Simplex Regulars and other
old machines, but give the brightest
pictures possible and a more consis-
tentlv sharp focus than ordinary
short-focus lenses do. They have an
optical speed of f 1.7. are antire-
flection-coated, and are manufactur-
ed l>\ the Kollmorgen Optical Cor-
poration under the series named
"X-tended Super Snaplites." I'hev
arc available in focal lengths of from
l1^. to 3 inches, and all have a barrel
diameter of 2.7!!1 inches.

The optical design of an X-tended
lens bears a resemblance to that of
an opera glass, or Oalilean-tv pe tele-
scope, used in reverse. The strong
"'positive'" lens element faces the
film, and maintains a nearlv con>lant

beam diameter through the long bar-
rel. The "negative" clement partialis
counteracts the effect of the positive
element and establishes the correct
focus. This type of optical svstem
has the advantage of an unusuallv

■.: I depth of focus, making the lens

relativel) immune to the focus-ruin-
ing effects of film buckle.

Clearer Pictures

Owners <>f drive-ins requiring len-
ses of 3 inches or shorter E. F. for
non-anamorphic widescreen projec-
tion should seriously consider the
purchase of Kollmorgen X-tended
Super Snaplites for brighter and
much clearer pictures. These unusual
lenses are so satisfactory in every
way that they are even widely used
in modern mechanisms having large
lens mounts! The pictures are much
sharper than is possible with ordin-
ary short-focus lenses under the
severe heat conditions imposed by
powerful arc lamps.

The use of reversed anomorphic
lenses commends itself in drive-ins
having "throws" so long that the
focal length of the CinemaScope
prime lenses would otherwise be ex-
cessive. Even the biggest lenses in
the longest focal lengths are not
quite so fast as lenses in more
moderate focal lengths. Instead of
expanding the horizontal dimension
of the CinemaScope image 2 times to
double the width of the projected
picture, a reversed anamorphic lens
squeezes the vertical dimension to %
the normal picture height. The end
result is the same, but the reversed
anamorphic lens permits the regular

March, 1964

SMjgi&fc^;

m: uTi—MMf

IPP^i

**»% mm

The small-diameter lens holder of
most of the older projectors cut into
the diverging beam of light rays
thrown forward by fast lenses of short
focal length, wasting light by shading
the sides and corners of the picture.
The short-focus f/1.7 Kollmorgen
X-tended Super Snaplites eliminates
shading by utilizing reverse-Galilean
optics to "pipe" the light through the
small-diameter lens holder without
vignetting. In addition, X-tended Super
Snaplites have such a great depth of
focus that many exhibitors use them
in the most modern projectors for the
clearer, more evenly illuminated pic-
tures they make possible.

projection lens for non-anamorphic
projection to be used as the prime
lens for CinemaScope projection.

Best Heat Reducer

Water-cooled film gates are very
desirable when arc currents are so
high that the film might otherwise be
warped, or permanently buckled, by
hot gate rails. Air cooling helps re-
move heat from the picture area of
the film, and is of positive benefit
in curved gate mechanisms. There
is some evidence that air cooling
generates film flutter in flat-gate
machines. When "cold" arc-lamp
mirrors and water-cooled gates are
used, air cooling is probably un-
necessary.

If ordinary silver-coated reflectors
are used in the lamps, and the arc
current exceeds 75 amperes, inter-
ference-type heat filters should be
interposed in the arc beam. These
reflect most of the invisible, heat-
producing infrared radiation and al-
low most of the light (about 85%)
to pass on. In order to avoid this
rather serious loss of light, inter-
ference-type "cold" mirrors should
be used without heat filters. "Cold"
mirrors (such as the Strong TufCold
and the Bausch & Lomb BalCOLD)
transmit the useless infrared, but re-
flect light as well as silver mirrors do.
Please turn to Page 13

'I

D-150 Demonstration Run
Gets Unanimous 'Raves'

A demonstration of Dimension-
150 was held recently at the Skouras
Syosset Theatre, Syosset, Long
Island, N. Y.

At the invitation of Marshall
Naify, president of Dimension-150,
film industry executives and exhibit
ors attended. They report the equip-
ment had notable depth of focus,
definition and clarity.

Dimension-150 is the newest de-
velopment in the field of wide-
screen. The system, single-image in
connection with Todd-AO, requires
a 65mm camera equipped with wide-
angle lenses and standard 70mm pro-
jection machines for presentation on
a deeply-curved screen. The new

tion to the new process are "South
Pacific" and "80 Days Around the
World." Louis de Rochemont expects
to release a feature in D-150 by earlv
1965.

Motion picture producers and
technical experts in the field of cine-
matography have expressed great
enthusiasm about the process and the
many benefits to be derived in pro-
duction and exhibition through its
use.

Thus, the new process offers
the producer and exhibitor maximum
flexibility — from big, deeply-curved
screen for 'hard ticket' roadshow
policy, to standard flat-screen with
70mm prints and 35mm reduction

D-150 image
65mm neg.

D-150 film section compared to 35mm

process offers producers and exhibi-
tors maximum flexibility — from big,
deeply-curved screen for roadshow
policy, to standard flat-screen with
70mm prints and 35mm reduction
prints in subsequent runs.

Dimension-150 printing utilizes a
standard 65-70 optical printer, and
allows an area for stereographic
6-track. The system requires 50°, 70°,
120° and 150° lenses. Specially de-
veloped print lens "corrects" image
for projection on deeply-curved
screens. This printing permits the
correcting of previously photograph-
ed 70mm material. Projection optics
proved extreme wide-angle projection
to ensure viewing of a substantially
distortion-free picture on a deeply-
curved screen.

Dimension-150 was developed by
Dr. Richard Vetter and Carl W. Wil
liams. Dr. Vetter is assistant pro-
fessor of audio-visual communication,
and Carl Williams is instructor in the
same department. Both are from the
University of California at Los
Angeles. Their system employs
screens from 120 degrees to 150 de-
grees of arc, depending on the physi-
cal features of various theatres. A
typical deeply-curved screen size:
34' high by 92' wide; its aspect ratio
is 2.7 to 1.

Two re-releases suitable for adapta-

prints in subsequent runs.

Dimension-150 was developed over
a period of several years by Dr. Vet-
ter and Williams. Their many and
varied tests under the most stringent
and demanding conditions have re-
sulted in a combination of technical
developments to assure motion pic-

projector
Auditorium, showing projection arc

ture producers the maximum in pho-
tographic and projection quality.

The unique flexibility factors of
D-150 in both photography and exhi-
bition, plus its ability to create a
sense of realism and audience partici-
pation mark an important step for-
ward in the technical advancement
of the motion picture medium.

The reactions of motion picture
and entertainment trade journals
have matched the enthusiasm of
D-150's developers. Following other
debut showings over the U. S., trade
reporters gave the new process
"raves," and heralded it an important
milestone in the state-of-the-art.

One of the more important com-
ments that came out of many re-
views was the absence of distortion
over the entire 150° arc sweep. iP

close-up photography still and action photography

ultra-wide angle audience

participation sequences

Projection arcs employed in D-150

International Projectionist March, 1964

Don Davis of Chicago (standing), Altec Lansing sound specialist, checks
out new sound laboratory equipment with Harry Thielvoldt of Northwest Sound
Service, Inc., Minneapolis.

Sound Laboratory Takes the
Guesswork out of Acoustics

Northwest Sound Service <>f Min-
neapolis is now full) equipped to
make scientific acoustic analysis and
sound system tests. The) recently
purchased a $5,000 portable sound
laboratory with some of the equip-
ment developed b\ Purdue Univer-
sity only a few months ago.

The sound laboratory is the same
t\pe of equipment used by the U. S.
Bureau of Standards. It take- the
guesswork out of sound engineering
and often saves thousands of dollars
by enabling trained sound specialists
to make detailed recommendations
for improving sound that are based
on scientific facts.

This equipment turns an auditor-
ium or church into a huge test area.
It generates a piercing 1 100-second
pulse that checks the "echo" or re-
verberation time. The initial sound
pulse triggers the recording equip-
ment. The "echo" bounces back
from the ceiling, walls, windows, bal-
cony, etc.. and the return time and
intensity are measured, graphically
displayed and automatically photo-
graphed - all within a few seconds.
These tests are repeated across the quality.

International Projectionist March, 1964

entire sound spectrum as the auto-
matic equipment records the auditor-
ium's acoustical "personality."

By studying the maze of photo-
graphs and graphs, the skilled sound
technician can pinpoint the source of
trouble as accurately as the radar
operator, and locate the areas that
are dead, too loud or fuzzy. For
example, in churches or other multi-
purpose buildings good music re-
quires long reverberation time at low
frequencies to give it rich, full tone
quality. But short reverberation time
at higher frequencies is required foi
speaking to make the voice crisp,
clear and easily understood. A sound
survey permits a scientific compro-
mise to retain the best characteristics
of both speech and music.

Northwest Sound Service is a pio-
neer in acquiring this advanced lab-
oratory equipment. Like a doctor
checks a patient, the sound specialist
obtains photographic evidence from
oscilloscope patterns and strip charts
made by the sound itself as it booms
and bounces, echoes and re-echoes to
smother the original sound's natural

iP

NY, Eastern Film
Making Boosted
by Acquisition

Florman and Babb, Inc., a lead-
ing supplier and servicer of motion
picture equipment, has acquired a
controlling interest in the Camer^
Equipment Corporation and Ceco
Industries. Inc.

The motion picture industry's
future activities in the New/ York
area, specifically, and the entire East
Coast, generally, are certain to be af-
fected by the move, according to
Arthur Florman. President of Flor-
man and Babb.

Florman added. "With the indus-
tr\ showing a steady increase in pro-
duction of theatrical, commercial, in-
dustrial, educational and scientific
films, it became obvious that if the
present rate of growth was to be
maintained, more and better facili-
ties would have to be made available
to the film producer. The move is a
giant step in that direction, and one
that will insure continued growth."

Florman also pointed out that "The
combined knowledge of the enlarged
staff of technicians will be made
available to all producers — large and
small. Their collective know-how,
with respect to the tools of the trade,
cameras, lighting, grip, sound and
editing equipment, for example, will
be at the producer's disposal." IP

B & L Chairman Retires

ROCHESTER, N. Y. — Carl S.
Hallauer. board chairman of Bausch
& Lomb Incorporated, retired from
active duty with the company Janu-
ary 31, 1904. He reached the manda-
tory retirement age of 70 on Janu-
ary 5.

At the request of the board, he is
remaining as chairman and will serve
as a consultant to the company with
which he has been associated for
over 45 years.

Hallauer started with Bausch &
Lomb in 1919 as manager of Indus-
trial Relations. iP

SMPTE Exhibit,
Conference Set
For April 13-16

NEW YORK — Motion-picture
laboratory equipment will be in the
spotlight at the Equipment Exhibit
April 13-16, during the 95th Techni-
cal Conference of the Society of Mo-
tion Picture and Television Engi-
neers (SMPTE). The semi annual
conference will be held at the Ambas-
sador Hotel in Los Angeles. iP

New RKO Theatre
Graces 23 rd Street

With the opening of RKO 23rd Street Theatre (on
23rd Street near Eighth Avenue) the RKO Theatre chain
is now operating eight theatres in Manhattan.

The new theatre is of the stadium type. Modern in
architecture and decor, its seating capacity is 900.

The projection booth was equipped by Joe Hornstein,
Inc. with Norelco 35/70 mm, mounted with Ashcraft
Super Cinex (water cooled) and Ashcraft rectifiers.
Bausch and Lomb lenses are used for flat, CinemaScope
and 70mm projection.

The sound system reproduces single track optical,
and three, four and six track magnetic. Mixing is done
at high level with Ampex and RCA equipment. Five
sets of RCA stage loud speakers, and surround speakers
are concealed in the ceiling and at the rear wall of the
auditorium. Projection is zero.

Push-button Screen

The screen is a 23x46 ft. Hurley Super-Option, and
can be masked to fit all processes and aspect ratios by
push button control from the booth. Morris Heller,
Irving Specland, Michael Goldstein, Joseph Schweit and
Benjamin Phillips make up the projection crew.

The RKO 23rd Street is part of the Penn Station
South development, by Mutual Redevelopment Houses
Inc. RKO Theatres has a long-term lease. Mutual Re-
development has constructed the outside walls of the new
theatre. Under the agreement, RKO Theatres, at a cost
of more than $350,000, constructed and decorated the
interior of the theatre. The walls of the theatre are
landscaped on three sides. John J. McNamara, architect
for the RKO Theatres, and Herman J. Jessor, architect
for the development, collaborated on the design.

Hot water during the heating season and chilled
water in the air conditioning season is piped into the
theatre from the control plant of the development, elim-
inating the need for compressors or boilers in the
theatre.

The seats are Griggs pushback type, with foam rub-
ber added to both the spring-type bottoms and backs.
Upholstery is a combination of blue and gold. Carpeting,
by Stephen Leedom Company, especially designed and
woven for the theatre, is a matching combination of
blue and gold.

Modern Lighting

The lighting system is mainly down lights in the
lobby, sunken lounge and the auditorium. Decorative
lighting fixtures are the only exception to the down
lighting. Auditorium down lights are by Century Light-
ing Company. Wall brackets and general lighting fix-
tures are by Adams Lighting Company. All auditorium
lighting is motorized, two-scene, Kleigl silicon type
electronic dimmer system, controlled from the projection
room.

Two motorized curtains, proscenium and title curtain,
arranged for stopping at any position, are controlled
from the booth. The attraction signs are illuminated by
fluorescent lamps, installed by Artkraft Strauss. Change-
able sign letters are Adler Silhouette in colors.

Sal Parete is the manager of the theatre, which is
being operated on a first-run policy. iP

10

The modern facade of the RKO 23rd Street Theatre
in Manhattan is a suggestion of the modern decor and
furnishings inside.

Norelco 35/70mm projectors, fitted with Bausch and
Lomb lenses, are capable of flat, CinemaScope and 70mm
projection. Ashcraft, RCA and Ampex equipment is also
used in the theatre's optical and sound amplification
systems.

The RKO 23rd St's 900-seat auditorium is done in
blue and gold. This photo shows its well modulated down-
light system, and reveals the house's excellent acoustic
properties.

International Projectionist March, 1964

Pictured here is one of the five review rooms at CFI where customers' films
are projected at the Hollywood facility.

COVER STORY:

CFI Review Rooms Boast the
Finest in Projection Equipment

Consolidated F i 1 m Industries
i CFI i . one of the country's largest

and most modern film processing
laboratories, is the site of the latest
in projection equipment operated bv
skilled professionals emplo) ing Stan-
dard techniques.

This Hollywood concern, founded
in 1920. maintains and operates five
full) -equipped review rooms for use
by its customers in viewing all t\pes
of commerical films from lOmm
black-and-white or color educational
films to 35mm anamorphic <>r wide-
screen color spectaculars.

Ml rooms have high-gain alumin-
ized screens, and are equipped with
CFI-de\ eloped scene counter systems,
for which the company was present-
ed a technical award from the Acad-
emy of Motion Picture Arts and
Sciences in 1956. These scene coun-
ters operate a read-out device located
at the base of the screen, which
allows the viewer to identify scenes
by number during projection so that
minor intensity and color corrections
may be indicated on the light cards
or timing cue sheets for use in mak-
ing subsequent prints.

In keeping with CFI's policy of
utilizing only the most modern equip-
ment available, in 1963. all three
35mm projection booths were fur-
nished with pairs of Zeiss-Ikon
"Xenosol III" lamphouses. Two of
these booths are equipped with 2500
watt lamps, and the other with 1600
watt lamps.

In addition to the Simplex Pro-
jectors! which are used exclusive!) I.
the 35mm booths are also equipped
with Bell and Howell J\\ lOmm
Projectors. The 16mm review rooms
offer the use of Eastman Model 25
Projectors equipped for optical
sound reproduction. All 35mm rooms
have provisions for both optical and
magnetic pick-up of sound tracks,
with one room having two additional
playback channels for magnetic pick-
up. This room console is equipped
with four volume controls.

The CFI projection booths are
manned by members of Local 165.
1ATSE. Howard Bishop, Al Bourne
and Ed Lemare each have over ten
years" service with CFI. and Dane
Hansen, head projectionist, has been
at CFI since 1936. The projection
staff of five men is rounded out by
Herbert Starke, projection engineer.
These men are charged with main-
taining constant color temperature,
screen brightness and field unifor-
mity in compliance with ASA Stand-
ards.

CFI's pair of 16mm review rooms
have a seating capacity of about
twelve each, while the three 35mm
rooms seat thirty-five, twenty-five
and eighteen respectively, bringing
the total to slightly over one-hundred.
These one-hundred seats offer Con-
solidated's customers comfortable
viewing of their prints in a conven-
ient and professional fashion. iP

PROJECTOR
CARBONS

Better
Light!

Lower
Costs!

RINGSDORFF CARBON CORP. East MeKeesport. Pa

ASHCRAFT

equipment

Available from

leading theatre supply

dealers

North American Philips Co., Inc.
Motion Picture Equipment Division

100 E. 42nd St., New York 17, N.Y.

America's
headquarters

lor all
theatre equipment

supplies

National

THEATRE SUPPLY COMPANY

International Projectionist March, 1964

11

New York Projectionists
Schedule May Meeting

The Annual Spring Meeting of the
New York State Association of Mo-
tion Picture Projectionists will be
held at the New Sherwood Hotel.
Hornell, N. Y., on Monday, May 18,
1964.

The meeting will be held in con-
junction with the 35th Anniversary
Affair of Local No. 676 of Hornell,
and marks the Local's 35th year as a
member of the I.A.T.S.E.&M.P.M.O.

Registration will start at 10:00 a.m.
in the Lobby of the Hotel, followed
by a day of activities arranged by
Business Agent Elliott Hazen and his
Local 676 Committee. At 2:30 p.m.
Frank E. Coniglio, Business Agent of
Rochester, New York, Local 253, will

25-30 Club Honors
C S. Ashcraft Co.

NEW YORK— The 25-30 Club, an
organization comprised mainly of
Projectionists from Local 306, re-
cently held its annual dinner-dance at
the Empire Hotel.

A featured event of the evening was
the presentation of Honorary Mem-

Morris J. Rotker (right) is shown
presenting the plaque to Mr. and
Mrs. Buddy Ashcraft.

bership to the C. S. Ashcraft Manu-
facturing Co., Inc., including Clar-
ence, Mary and Buddy Ashcraft.
Buddy Ashcraft and his wife accept-
ed the plaque on behalf of Clarence
and Mary Ashcraft. Morris J. Rotker,
past club president, presented the
plaque. iP

preside over the business meeting.

The Ladies Auxiliary will meet at
2:30 p.m. in a room provided for
them by Local 676. A relaxation
room for guests will also be furnished
by the Local. A dinner will conclude
the affair.

All wishing to attend are asked to
contact Elliott Hazen at 10 Mays
Avenue, Hornell, N. Y., by Mav 11.
According to George F. Raaflaub,
secretary-treasurer, at the last associa-
tion meeting held in Utica, N. Y., in
October, 1963, the following resolu-
tion was unanimously adopted and
ordered forwarded to the producers
of motion pictures:
"That a standard title be
placed on all films and each
reel to be plainly marked with
reel number printed in Large
Type and not overdeveloped
so that the projectionist can
readily determine the name
and number of each individ-
ual reel. That the cue dots be
printed on the ends of the
reels on light scenes or circled
so that the projectionist will
not have to resort to ugly
markings of his own." iP

Wolk, Inc. Adds RCA
Equipment- to its Line

Edward H. Wolk, Inc. of Chicago
recently announced it has acquired
the RCA (Brenkert) 35mm Projec-
tor and Arc Lamp Business from the
Radio Corporation of America. The
Wolk Company now manufactures
replacement parts for this equipment,
making them available through local
theatre supply dealers.

Recognized throughout the world
as the largest single supplier of re-
placement parts for the motion pic-
ture industry, the company was
founded in 1920 by the late Edw. H.
Wolk, one of the pioneers of the
motion picture industry. Today the
company enjoys a prominent posi-
tion in the industry, maintaining an
extensive inventory of precision
parts ready for immediate shipment
to all parts of the world. iP

Dutch Introduce
Projection Stands

Negema Projection Stands, made
in Holland and distributed in the
United States by Burleigh Brooks,
Inc., are said by the distributor to
offer a unique run-down of features,
all designed to add to the convenience
of use and ease of storage.

Negema stands are a full 42'/^ in.
to clear the heads of a seated audi-
ence. Steadiness and freedom from
vibration is accomplished through
the use of a multi-braced A-frame
construction of tubular steel. The
stand folds flat to a mere S1/-? in. for
easy storage.

This construction is sufficient to
hold the heaviest 16mm sound pro-

A new line of Dutch-made projector
stands, featuring rigid strength and
easy compactability, is shown above.

jector with no quiver or shake. Level-
ling and control of the angle of pro-
jection are provided by one leg which
may be adjusted to bring the pro-
jected picture to exact alignment with
the screen edge, compensating lor
uneven floors or tipped screens.

A feature of the Negema line is the
"piggy-back platform." This is a
snap-up shelf that locks securely in
position on the rear of the frame,
below the main projector platfoim.
It provides a rest for a tape recorder
in conjunction with a projector, kejp-
ing both items of equipment near at
hand, so one operator can handle
both with optimum convenience. iP

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products

CARBONS, INC.

erjioss LAMPH0USES

by Cinemeccanica

BOON TON, N.J.

emeu/ POWER SUPPLIES

by Christie

12

International Projectionist March, 1%4

Drive-in's No. 1 Problem

35 and 70mm

Neither "cold" mirrors nor heat
filters can remove all of the heat,
however, for the needed light rays
are just as hot as the unwanted in-
frared ra\s.

The use of a heat filter with a
"cold" mirror is wasteful because the
mirror, itself has already removed
most of the heat-producing infrared.
Any further reduction of heat can
come onh through reduction of the
light — and light is something we are
trying to get more of, not reduce!
So don't use heat filters with your
"cold" mirrors. It would be cheaper
to diminish your arc current to re-
duce the heat I and the light I b\
about 15% ! This should not be
necessary — not even if you are using
the most powerful arc lamps at the
highest currents possible.

Arc Current You Need!

The minimum recommended
screen brightness for drive-in thea-
tres is 41 o footlamberts at the center
of the screen when the projector is
run without film and the brightness
is measured from the center line of
the viewing area. If you can get a
brighter screen than this, all the
better: but the 1 ' -j-footlambert level
actually represents a higher light
level than the majorit) of drive-in
theatres are getting. The all-import-
ant question is: What arc current
should be burned in order to achieve
this minimum level of screen illum-
ination?

Assuming that the projection len-
ses are optically fast and antireflec-
tion coated, and that no obstructions
are present in the optical trains of
the projectors, the required arc cur-
rent depends entirelv upon the light
reflecting power and size of the
screen, provided that the arc lamps
are efficient.

Now. the average white drive-in
screen several years old has a reflec-
tivity of about 85' c . By calculating
the lumens of light needed for 41/-?
footlamberts of brightness on 85%-
reflectivity screens of different
widths, and equating the results with
the luminous outputs obtained with
various trims of carbons burned at
suitable currents in efficient reflector
arc lamps, we arrive at the informa-
tion listed in Table I. These data
assume a 50% shutter transmission
and hold good regardless of the
aspect ratio of the 35-mm projection.

International Projectionist March

(Continued from Page 7)

Nor does it matter whether the pro-
jection is regular or anamorphic —
the extra light passed by the Cinema-
Scope aperture is wasted by the
anamorphic lens.

Never forget that high-intensitv
arc-lamp carbons burn most efficient-
lv with the brightest, whitest light at
or very close to their maximum rated
currents. It is a serious mistake to
''underburn" carbons just to slow
down consumption and save on car-
bon costs. If burned well below their
maximum ratings, carbons give an
unpleasantly dim. \ellowish light.
For quality projection in drive-in
theatres you need snow-white light
of at least 1 ' ■_> footlamberts of
brightness! Of course, if you can go
beyond this minimum level and come
up to the indoor-theatre minimum
level of 10 footlamberts. all the bet-
ter, but this is generalh impossible
in the larger drive-ins.

The actual "make-ready" and
''lining up" of projection and sound
equipment which has lain idle all
winter, or partially dismantled, is a
most important part of the drive-in
projectionist's job. These procedures
will be outlined in next month's IP
article with a particular view to spar-
ing the projectionist complicated
knock-down and inspection jobs that
seem to us unnecessary and time-
wasting. It shouldn't be necessary,
for example, to rebuild the intermit-
tent units or to inspect hundreds of
in-car speakers every day.

First Consideration

The very first matter to be con-
sidered when a drive-in opens for
the season, however, is the matter
which has been discussed in this
article — adequate picture brightness.
The screen surface, the projection
lenses, the lamps, mirrors, and heat-
reducing means, and the correct car-
bon trims and currents for quality
projection are the things which must
be checked at the outset. The owner
of the drive-in may have to spend
money for the replacement of inade-
quate ecjuipment. but he really has
no choice if his object is to stay in
business and make a profit. The
moviegoing public insists upon pro-
fessional quality in the exhibition of
motion pictures, and will no longer
tolerate substandard projection in
drive-in theatres.

i m '

* MMCL

To Be Concluded

1964

13

a..- •:;. ■

CURTAIN CONTROLS,
TRACKS and SPECIAL
OPERATING DEVICES

VALLEN, Inc.

AKRON 4, OHIO

Norelco

projection
equipment

Available from

leading theatre supply

dealers

North American Philips Co., Inc.

Motion Picture Equipment Division
100 E. 42nd St., New York 17, N.Y.

Ford Named to Tech
Post at Union Carbide

NEW YORK— Curry E. Ford has
been named General Manager of
Technology for the Carbon Products
Division of Union Carbide Corpora-
tion. In his new position, Mr. Ford
will be responsible for the Technical
Center the Divi-
sion is to estab-
lish in the Cleve-
land, Ohio, area,
and will direct
the research and
development lab-
oratories operat-
ed by the Divi-
sion.

Mr. Ford was
graduated from C. E. Ford

Purdue University in 1933 with a
B. S. degree in engineering, and re-
ceived his M.S. degree from Harvard
in 1934. He joined the Carbon Pro-
ducts Division in 1937.

In 1953, he was named manager of
chemical product sales, and was ap-
pointed new products marketing
manager in 1957. In 1960, he was
named director of marketing; since
August 1961, he has served as dir-
ector of development. iP

"I don't open the

lamphouse door

once in 30 days"

says a projectionist operating

PROJECTION
ARCS

■ ;.-■ ■ ■ ■■""::;'■:

THE

<f^««?

It's that simple. No moving parts in
the light source. Focus remains
constant. So clean the projector
lasts much longer.

Projects a pure white light, evenly
distributed over the entire screen
area. Steady, flickerless regardless
of voltage variations in power sup-
ply. "Push button repeatability" of
intensity and color temperature.

4 models for matte screens up to
35 feet and high gain screens up
to 43 feet.

Maintenance and current costs?
The same as for carbon and current
costs for a carbon arc of equivalent
light output.

Send for literature.
Demonstration in your theatre on request.

ELECTRIC CORPORATION

CITY PARK AVENUE

TOLEDO, OHIO 43601 • PHONE: (419) 248-3741

14

Upswing in Hollywood
Producing Is Foretold

SAN FRANCISCO — Richard F.
Walsh, International President of
IATSE, said at a recent meeting of
the group's executive board that
1963 may have marked a turning
point in the current decline in Holly-
wood movie-making.

"Though employment in no way
equals that of the immediate post-
WW II years, it has improved great-
ly over the employment record of
the last few years." he said. "If the
forecasts are to be believed, 1964
will be an improvement over the
past year."

An audit of the IATSE records by
the trustees for the first half of last
year disclosed assets totalling $1,-
620,999. Here's the breakdown: gen-
eral and special class "B" funds,
$356,388; securities, $1,092,194;
cash on hand, loans to locals and
interest receivable, $15,386; trans-
portation and per diem fund (bien-
nial convention), $157,031. IP

Strong Develops Light
Source for 16 and 35 mm

A new light source for 16mm and
35mm motion picture projection has
been announced by the Strong Elec-
tric Corporation. The lamphouse,
known as the X-16, utilizes an Osram
Xenon bulb to produce a uniform
white light comparable to carbon arc
lighting. Three models for 16mm
projection are rated at 450, 900 and
1600 watts, for screens up to 24-feet
wide.

Three models for 35mm projection
are rated at 900, 1600 and 2500 watts
for screens up to 36-feet wide. This
light source requires practically no
attention by the operator, according
to the company.

There are no moving parts, and a
dirt-free environment assures longer
projector life. Operating costs are
about the same as for those of car-
bon arcs projecting an equal amount
of light. A descriptive brochure will
be sent on request to The Strong
Electric Corporation, 31 City Park
Avenue, Toledo, Ohio, 43601. iP

Training Executives
Appointed at Kodak

Robert C. McClelland has been
appointed director of training for
Eastman Kodak Company, accord-
ing to Monroe V. Dill, director of
industrial relations.

Frederick E. Viken succeeds Mc-
Clelland as manager of technical
training. Ervin L. Perkins moves up
to Viken 's previous post as manager
of training services. iP

International Projectionist March, 1964

ifff&S-

basic
mathematics

by NORM AH H CROWHURST

•

kLH

VOLUMES
1 through 4
COMPLETE

ROM (OUNTHft

TttOUW CAUUlft

I MOMIN

UMFKD APftOACM

TO WmUUTKS

AND ITS USES

J MM

PRACTIC
METHOD

J]

LEARMfNG

_

j

A RIDER

-!»■

BASIC MATHEMATICS

t>i/ Norman H. Croivhurst

4-volume 'pictured-text' course makes it easier than
ever before possible to learn all the math you'll need
to know to speed your progress in electronics— no
short cuts— no gimmicks.

This remarkable 4-volume course takes you in easy
stages from counting through algebra, geometry,
trigonometry to calculus so that you will understand
easily, quickly, all the math you will need to get
aheal in electronics — regardless of your previous
eJucation! It employs an exciting new technique
presenting basic mathematics as on continuous devel-
opment of mathematics. The individual branches of
mathematics are not divided into separate and un-
related subjects. Algebra, geometry, trigonometry,
calculus are interwoven at progressively rising levels
in the different volumes. Each volume reinforces your
understanding as you penetrate more deeply into
the subjects. Selected illustrations create clear
images of mathematical ideas formerly difficult to
understand.

A KNOWLEDGE OF MATH SPEEDS YOUR PROGRESS IN
ELECTRONICS — No matter what your plans are in
electronics — mathematics p'ays a vital role. The

more math you know, the easier it is to learn
electronics. And, if you've set your sights on being
an advanced technician or an engineer, this course
will speed you towards your goal.
Volume I — ARITHMETIC AS AN OUTGROWTH OF
LEARNING TO COUNT — You gain the self-confidence
you nee l to master mathematics! You build a solid
foundation in mathematics without realizing that
you are being introduced to subjects usually con-
sidered dry and difficult to master. #268-1, $3.90
Volume II — INTRODUCING ALGEBRA, GEOMETRY,
TRIGONOMETRY AS WAYS OF THINKING IN MATHE-
MATICS — Building on the solid foundation laid in
Vol I., you learn to apply algebra, geometry and
trigonometry as better methods of solving a problem
when the arithmetic begins to get involved. #268-2,
S3. 90

Volume III — DEVELOPING ALGEBRA, GEOMETRY,
TRIGONOMETRY, CALCULUS AS WORKING METHODS IN
MATHEMATICS — This volume continues the search
for new and better methods of calculating, an-l adds
calculus to the group of 'tools' already introduced.
-268-3, S3.90

Volume IV — DEVELOPING ALGEBRA, GEOMETRY,
TRIGONOMETRY, CALCULUS AS ANALYTICAL METHODS

IN MATHEMATICS — Once you've reached volume IV,

you're ready to apply all that you've learned in the
earlier volumes. You'll be able to find the right
approach to each individual problem. You'll be ready
for a career in which mathematics play a most
important part. #268-4. $3.90

Available at parts distributors, bookstores, or direct.

INTERNATIONAL PROJECTIONIST
1E45 Hennepin Avenue, Suite 212
Minneapolis, Minn'sota 55403

Please send these paperback volumes:

D Vol. I — $3.90; □ Vol. 1 1 — $3.90; □ Vol.
Ill— $3 90; □ Vol. IV— $3.90; Q Send 4-
Vo's. in one clothboun I edition, $15.95.

Name
Address
City

Zone

State

A Scene From America's Projector Carbon Center...

Equipment for coating carbons with copper

Coating projector carbons with the right amount
of copper is a top-billing production step"

Sid Morley

This equipment performs the
important task of coating pro-
jector carbons with copper— not
for eye appeal, but for the vital
purpose of assuring more de-
pendable screen lighting. The
coating helps conduct current from the jaws of
the lamp to the arc. For maximum light effi-
ciency the copper coating must be of precision
thickness— no more — no less!

From the coating operation at "America's
Projector Carbon Center" in Fostoria, Ohio,
National carbons move to an automatic resist-
ance test, where a direct reading instrument

-says SID MORLEY

"National" Sales Engineer

measures in ohms-per-inch the coating on each
carbon. If the coating is too thin or too thick,
the unwanted carbon is ejected from the line.

How is this rigid test related to good lighting?
First, if the coating is too thin, the carbon might
spindle back to the holder, resulting in freezing
and a possible lamp shutdown. Secondly, if too
thick, it might produce copper dripping and
cause the arc to wander.

In coating and all other manufacturing steps,
National carbons are produced by today's most
reliable quality control methods. We want to
be sure your patrons get the finest screen light-
ing that projector carbon money can buy !

UNION
CARBIDE

National" is a registered trade-mark of

UNION CARBIDE CORPORATION

CARBON PRODUCTS DIVISION

270 Park Ave., N. Y., N. Y. 10017 • In Canada: Union Carbide Canada Limited, Toronto

4i - i

' ■

^^Mr*

~^

qf

1 *»• li ™ ^

1

•.'a*

'^••,t^ '

II £

m

U^1

Shown with the new Futura II projection
lamps recently installed in the Studio
Theatre at Paramount Pictures Corporation
West Coast Studios is Edward V. Maule,
Supervisor of Projection. Where screen
lighting requirements are much more exact-
ing than those of the average theatre, such
I as in studio theatres, the new Strong Futura
projection arc lamps are meeting with wide
acceptance. Steadiness of arc, a highly uni-
form field, and the absence of color rota-
tion are requirements essential to determin-
ing release print quality.

seaaSuoo jo Araxqxi

APRIL

VOLUME 39
40c A COPY

1964

NUMBER 4

$3.00 A YEAR

A Scene From America's Projector Carbon Center...

Equipment for coating carbons with copper

it.

Coating projector carbons with the right amount
of copper is a top-billing production step"

O

Sid Morley

This equipment performs the
important task of coating pro-
jector carbons with copper— not
for eye appeal, but for the vital
purpose of assuring more de-
pendable screen lighting. The
coating helps conduct current from the jaws of
the lamp to the arc. For maximum light effi-
ciency the copper coating must be of precision
thickness— no more— no less!

From the coating operation at "America's
Projector Carbon Center" in Fostoria, Ohio,
National carbons move to an automatic resist-
ance test, where a direct reading instrument

-says SID MORLEY

"National" Sales Engineer

measures in ohms-per-inch the coating on each
carbon. If the coating is too thin or too thick,
the unwanted carbon is ejected from the fine.

How is this rigid test related to good fighting?
First, if the coating is too thin, the carbon might
spindle back to the holder, resulting in freezing
and a possible lamp shutdown. Secondly, if too
thick, it might produce copper dripping and
cause the arc to wander.

In coating and all other manufacturing steps,
National carbons are produced by today's most
reliable quality control methods. We want to
be sure your patrons get the finest screen fight-
ing that projector carbon money can buy!

UNION
CARBIDE

National" is a registered trade-mark of

UNION CARBIDE CORPORATION

CARBON PRODUCTS DIVISION

270 Park Ave., N. Y., N. Y. 10017 • In Canada: Union Carbide Canada Limited, Toronto

BFPOWR RECTIFIER
SAVES EVEN MORE
THAN PROMISED

"Your local dealer . . .
pointed out that we would save about
$35 per month on our electric bill.
Actually we save close to $42 per
month since we have changed over
from our generator. It is good to
know that we can depend upon you
and your dealer organization."

— D. M. Pearce

Aicaratc Drive-In Theatre,
tl Pato, Texas

DESIGNED

FOR THE OPERATION

OF 2 ARC LAMPS

This new type silicon diode stack
transformer-rectifier, is the most
economical means of power conver-
sion ever manufactured.
No flicker or other change in pro-
jected light when striking the second
arc.

DEPENDABLE

"Lo-Slrike*"
feature associated
with each output
protects the silicon
stacks from over-
load, and prevents
destruction of car-
bon crater upon
striking the arc.

SAVES
ON INITIAL COST!

Sells for 15% lest than two of the lowest
priced 90-135 ampere rectifiers, and costs
less to install. Requires only one line service.

SAVES ON SPACE

Requires one-third to one-half less floor
space than two separate rectifiers spaced
for proper ventilation.

DUAL OUTPUT RATING OF

60-85/ 60-85 AMPS/ 35-45 V

75-105/ 75-105 AMPS/ 48-61 V j
90-135/ 90-135 AMPS/ 56-70 V I
120-160/ 120-160 AMPS/ 58-75 V

SEND FOR LITERATURE

The ^^fr0& Electric Corp.

31 City Park Ave., Toledo 1, Ohio

*Nor supplied as regular equipment on 60-85
ampere and 75-105 ampere models.

INTERNATIONAL

PROJECTIONIST

April 1964

Volume 39

No. 4

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO
Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue, New York 17, N. Y.

Telephone Murroyhill 7-7746

(Area Code 212

In This Issue

Projection Make-ready

for Drive-ins

by Robert A. Mitchell
Jack Winick — Still on

the Job

Fair Features "Voyage to

the Moon"
Skouras Remodels Great

Neck Playhouse
Wonderama Reviewed
39th Street East Opens
Theatre-within-a theatre

7

8

9

10

12

INTERNATIONAL PROJECTIONIST, published
monthly by the In. emotional Projectionist
Publishing Co. division of The Northern Pub-
lishing Co., Post Office Box 6174, Minneapolis,
Minnesota 55424. Editorial offices, 1645 Hen-
nepin Avenue, Minneapolis, Minn. 55424.
Subscription Repressntat.ves: AUSTRALIA —
McGills, 183 Elizabeth St., Melbourne; NEW
ZEALAND — Wlxon's, Ltd., 64 Courtnay
Place, Wellington; ENGLAND and ELSEWHERE
— ■ Wm. Dawson & Sons, Ltd., Macklin St.,
London, W. C. 2. Subscription rates: United
States, Canada, and U. S. Possessions, $3.00
per year (12 issues) and $5.00 for two years
(24 issues). Foreign countries: $4.00 per year
and $7.00 for two years. Changes of address
should be submitted four weeks in advance
of publication date to insure receipt of cur-
rent issue. Second-class postage paid at Min-
neapolis, Minn. INTERNATIONAL PROJEC-
TIONIST assumes no responsibility for per-
sonal opinions appearing in signed articles,
or for unsolicited articles. Entire contents
copyrighted 1964 by INTERNATIONAL PRO-
JECTIONIST PUBLISHING CO.

35 and 70mm

■^■us

International Projectionist

April 1964

Volume 39

April, 1964

Number 4

Projection

AAAKE-READY FOR DRIVE-INS

By ROBERTA. MITCHELL

PART II

Adequate screen light is the primary concern of
the drive-in projectionist. This important problem was
discussed in last month's article. Beyond this, and except
for the fact that the sound is reproduced through
hundreds of individual in-car speakers, a drive-in projec-
tion setup is very similar to the booth installation in
almost any large indoor theatre. Accordingly, routine
cleaning, lubrication, and adjustment procedures follow
the same pattern as in any projection room.

Nevertheless, the preparation of the projection and
sound equipment for the opening show after months of
storage inundates the drive-in projectionist with an im-
mense amount of work to be accomplished in a very shoit
time. The numerous make-ready details press for atten-
tion just as soon as the equipment has been reinstalled
or the wraps removed after the winter's hibernation.
Everything must be checked, cleaned, oiled, adjusted,
and lined up for top-quality performance.

Much confusion can be avoided and valuable time
saved by tackling the make-ready job in an orderly,
systematic manner. Assuming that the rewinders, splicing
blocks, film bins, parts cabinets, music phonographs, and
ventilating equipment are ready for use (important
details), the overall job can be broken down into four
divisions: (A) Cleaning and Electrical Checking, (B)
Lubrication, (C) Adjustments, and (D) Optical Lineup
and Sound Check.

The following systematic tabulation of the work to be

done may seem rather overwhelming just to read it
through, but keep in mind that many items need only to
be inspected and require no outlay of time. The pro-
jectionist can therefore literally sail through large
sections of the work list, but its inclusiveness insures
that nothing of importance will be overlooked. His
checkout should follow the general headings of:

A. Cleaning and electrical checking; B. Lubrication;
C. Adjustments and D. Optical line-up and speaker check.
Following are guidelines for each of these major areas.

A. CLEANING AND ELECTRICAL
CHECKING

Preliminary: Check all fuse boxes to make sure that
the fuses are secure and unblown, and that spares are
close at hand.

1. ARC LAMPS

(a) Vent pipes. Remove deposits of carbon core ash
from the interiors of the vent pipes, dampers, and fans.
Guard against allowing this dirt to fall down into the
lamphouses.

(b) Lamphouses. Brush out all ash and dust from
the interiors of the lamps. Wipe the carbon holders with
a dry cloth. Never file or sandpaper them! Clean all
shafts and bearings, and remove grime from carbon-
feeding gears. If the lamps are of the modern rotating-
positive type (Strong), and the manual carbon feed

International Projectionist

April, 1964

cranks hard, remove the drive-roller unit and spin the
rollers immersed in a can of kerosene. This will remove
caked lubricant. Relubricate as suggested under B2.
Check and tighten, if necessary, all electrical connections
to the lamp table switch, lamphouse terminal board,
carbon holders, control relays, and feed motors.

2. RECTIFIERS AND GENERATORS
Remove dust from the interiors of the rectifier
cabinets, and see that the cooling fans and automatic
switches function properly. Wipe rectifier bulbs and
check connections for tightness. See "hat the main
switch and relays are functioning well and that the current
selector switch and all connections are clean and tight.
Turn generator over by hand to note feel of the machine.
Blow all dust from the interior with a hand bellows
carefulK wipe commutator with a clean, dry cloth. applv
a thin film of vaseline to the commutator and wipe off
excess to lease onlv a trace. I The color of the copper
commutator bars should be a darkish brown, not bright
copper color! i If brushes are worn, replace them and
"run in" the new ones for an hour after the generator
has been lubricated ( Bl I .

Check and tighten electrical connections at generator
terminals and ballast rheostats.

3. PROJECTOR MECHANISMS
Remove am rust-preventative grease that ma) have
been applied to exposed metal parts. Drain old oil from
gear side, soak up oil from floors of old-style mechan-
isms, and remove mime from gears and shaft.- of old-
-t \ If* heads b\ scrubbing with a stiff-bristled toothbrush
moistened with kerosene. Drain oil from intermittent
movement and flush out the oilwell with clean projector
oil. not kerosene. No attempt should be made to remove
lubricating grease from Motiograph A Vs. however.

Blow out dust from heat shields and baffles after
removing sight box for easier access. If this is done,
i heck framing lamp and replace bulb if blackened. \\ ipe
the film gate and rails of each mechanism, also the
gate-door tension pads, using a clean, lintless cloth
lightlv moistened with cigarette-lighter fluid. Remove
all dirt which mav be lodged underneath the tension
pads! Clean all aperture plates. Gently remove din
from the flanged guide rollers and coil spring bv means
of a camels-hair watercolor brush. Be sure to get out all
the dirt lodged in the film strippers, swinging the
strippers out. if necessary, then replacing in their original
position after cleaning.

Scrub all sprocket teeth and idler rollers with a tooth-
brush lightlv moistened with kerosene — but use a
clean toothbrush, not the one prev iouslv used for cleaning
the gear teeth !

I. SOUNDHEADS
CarefulK clean the sound gates of old-style optical
soundheads, or the sound scanning drums and pressure
rollers of newer models, using a clean, lint-free cloth
very lightly moistened with lighter fluid. Remove dirt
from the film strippers and clean the sprocket teeth with
a kerosene-moistened toothbrush. I Guard against spatter-
ing the sound optical lenses. I Clean magnetic sound-
heads in the same way. and remove deposits of film wax
and dirt from the magnetic-cluster surfaces. An orange-
wood fingernail stick may be needed.

5. MAGAZINE VALVE ROLLERS
With the scissors cut along a length of film midwav
through the perforations so as to obtain a rough, saw-
tooth edge. Draw this back and forth through upper
and lower valve-roller boxes to catch and draw out

In Memoriam

R. A. Mitchell

It was with great sadness and a
sense of personal loss that the
staff of the International Projec-
tionist received the word of the
death March 28 of Robert Allen
Mitchell, the author of so many
technical articles we have printed.
He will be missed for his per-
sonal warmth and great char-
acter, as well as for his contri-
butions to projection tech-
nology. He was an acknowl-
edged authority in this field,
and we feel privileged to have
worked with him.

stubborn deposits of film dirt. Finish the job with a
clean cloth.

6. OPTICAL COMPONENTS

l a I Lamp mirrors. Wipe silver-coated mirrors clean
with a drv cloth. Use a razor blade to scrape off copper
-|ila-he>. If necessarv to use soap and water, moisten
the cloth lightlv to avoid wetting the back of the mirror,
then rinse with clean water and wipe dry with another
(loth. It may be convenient to remove the reflectors
from the lamps: if so. do not tighten them excessively
when replacing. Badly tarnished or partly cracked
mirrors should be replaced with new ones without delay!

Clean front-surface "cold" mirrors by first wiping
dust awav with a soft, dry cloth, then removing stains
and fingerprints with a soft cloth moistened with lens-
cleaning fluid, and finally wiping the mirror with lens
tissue. Silver mirrors may be lightly scoured with steel
wool to remove stubborn deposits of scum, but, abrasives
should never be used on "cold" mirrors! Scouring soap
is helpful for cleaning badly scummed silver mirrors, but
avoid any containing chlorine bleach, which may turn the
silver coating milky-white if the fumes work through the
mirror backing! All chlorine-releasing compounds
I hypochlorites I as well as sulfides and cyanides ( in some
silver polishes) should be kept far away from silvered
arc-lamp mirrors!

I b I Heat filters. Remove dust by wiping with a dry
cloth, then clean with lens-cleaning fluid and lens tissue.
As with front-surface "cold" mirrors, do not scour or
scrub — it may scratch the delicate interference coatings,
(c) Port glasses. Avoid the use of projector port
glasses if possible, but if they are absolutely necessary,
treat them very carefully because an image-forming light
beam must pass through them. First dust off. then wash
with a weak solution of Ivory soap. Rinse with pure
water and dry with a soft cotton cloth or lens tissue.

(Please turn to page 12)

International Proj ectiomst

April, 1964

Projectionist for 57 Years,
Jack Winick Keeps Working

Jacob S. Winick wears two hats,
and on him they look good. Jack, as
his friends know him, has 57 years
behind him as a projectionist. Winick
is also a great organization man. as
we'll see later in this profile.

He is proud to be a native New
Yorker, and fondly reminisces about
his education in the New York City
public schools.

Jack was born on the City's East
Side. His first job, in 1905, was as
printer's devil; but a year later he
became assistant to Charles Burton at
the Vitagraph "studio" on Nassau
Street. There they filmed silent
movies under the sunlight with such
stars as Flora Finch, John Bunny and
Maurice Costello. In this first-hand
environment Jack learned to be a pro-
jectionist.

He was an apt pupil, because one
year later he installed projectors at
a N. Y. hotel and at Luna Park in
Coney Island, for the picture called
"The Bull Fight."

When Jack Winick recalls his past,
he calls up great names connected
with the motion picture industry:
pioneers like Adolph Zukr, D. W.
Griffith and early screen actors, in-
cluding Henry Walthall and Lillian
Gish.

Carriage Trade Came

In 1912, when Zuker was prepar-
ing to launch "Queen Elizabeth"
starring Sarah Bernhardt, Jack Win-
ick projected that film in New York
theatres. Incidentally, "Queen Eliza-
beth" was sold to exhibitors for $50
a day, an unheard of price in those
times. It demanded prices above the
regular admission to movie houses,
and started the carriage trade's
movie-going. The Lyceum Theatre,
the first legitimate house used to ex-
hibit movies, was used for the trade
and press preview on July 12, 1912.

Winick was projectionist for the
first $2 movie in New York. He was
in the projection booth for the Italian
super-spectacle titled "Cabiria."

In 1915, Jack went with the D. W.
Griffith Company as projectionist
for "The Birth of a Nation," the
start of road shows. He was with
the Griffith company for their other
legendary road shows: "Intolerance,"

"Orphans of the Storm" and "Way
Down East." Griffith was the first
producer who had sound effects for
movies. Back stage drums and other
sound devices were cued to make the
pictures more realistic.

In 1926, Winick was associated
with Western Electric as an installa-
tion man; a year later he made the
installation in the Winter Garden for
the Al Jolson picture, "The Jazz Sing-
er." It was the first time an actor
had delivered a spoken dialogue from
the screen. A couple of years be
fore that, "Don Juan," starring John
Barrymore, played an engagement at
the Warner Theatre on Broadway.
"Don Juan" was the first film to have
recorded on discs the background
music for the feature. On the same
program were Warner Bros, sound
shorts.

Active Clubber

Threaded through Jack's 57 years
as a projectionist is much hard work
as an organizer and active member
of union, civic, fraternal and social
clubs. He signed the Charter for Lo-
cal 306, and was a business agent in
its early days.

Jack has an imposing record of
past presidencies of civic, fraternal
and social clubs. Among them are the
Projectionists Square Club (Ma-
sonic), the Theatrical Square Club,
National Masonic Club and the 25-30
Club. He is Past District Deputy
Grand Master of 12th Odd Fellows.
He was an officer of the New York
Association of Motion Picture Pro-
jectionists and the Central Trades
Labor Council. In recognition of
Jack's activities in the Projectionists'

CURTAIN CONTROLS,
TRACKS and SPECIAL
OPERATING DEVICES

VALLEN, Inc.

AKRON 4, OHIO

Square Club, the organization has
awarded him a life membership, and
he was presented with its "Gold
Card" in 1962.

Jack hasn't the time to sit back
and meditate on the enviable profes-
sional recognition he enjoys; he's on
the job as projectionist at the Grand
Central newsreel theater. IP

Klapholz New Prexy
For 25-30 Group

NEW YORK— Morris I. Klapholz
was named president of the Twenty-
Five-Thirty Club at its recent election
meeting.

Others elected to office were:
Robert Sanders, vice president; Mor-
ris J. Rotker, recording and corres-
ponding secretary; Jacob Krimon,
financial secretary and treasurer;
Nathan Stauss, sergeant-at-arms.
Other offices filled were: three year
trustee, Tony Rugino; two year
trustee, Harry Bergoffen. iP

Lindemeyer Gets Tech
Post at Metro-Kalvar

NEW YORK — Robert B. Linde-
meyer, a former armed services tele
vision and photographic officer, has
been named director of Technical Ser-
vices for Metro-Kalvar, Inc.

The announcement was made by
Metro-Kalvar Vice President Noel R
Bacon. A 1958 graduate of Iowa State
University, Lindemeyer served in the
U. S. Navy, where he was assigned
to the Naval Photographic Center in
Washington, D. C.

He later became Television Produc-
tion Director at the Air Force Sys-
tem Command, also in Washing-
ton. iP

Hornstein Equips

Two New York Theatres

New York — The Festival Theatre
and the Trans-Lux East Theatre
were equipped by Joe Hornstein,
Inc.

The Festival Theatre at 57th St.
has Century projectors and Century
transistorized sound equipment;
Magnarc lamphouses and silicon
rectifiers; Bausch & Lomb lenses;
Neumade and Goldberg film han-
dling equipment, and a Tecknikote
XR-171 Pearlescent screen.

Retractable chairs, Wilton carpet
and special stage draperies and spe-
cial aluminum frames were supplied
by George Hornstein.

The Trans-Lux East, on 58th St.
has Century projectors and Century
transistorized sound equipment;
Magnarc lamphouses and silicon
rectifiers; B&L lenses, Neumade and
Goldberg film handling and a Tech-

nikote Pearlescent screen.

International Projectionist

iP

April, 1964

Amity Granted
Century Foreign
Distributorship

\mit\ International Distributors.
Inc.. Amityville. L. I.. N. Y.. has
been appointed a non-exclusive for-
eign distributor | except Canada I for
the Centurv Projector Corporation,
it was announced recently In Vdolf
R. Schwartz, President of Amity.
Schwartz, Manager of Branch

Operations for Westrex International
until his retirement last August.
will travel extensively to strengthen
and enlarge the \.I.D. network of
overseas dealers. Schwartz lived for
several years in Australia, India and
Trinidad as manager of the Westrex
branches in those countries, selling
and servicing Centurv projectors and
sound systems.

Facilities available

Vice President of \.I.D. is Charles
Friedman. Friedman operates Pyra-
mid Power Products, Inc. at the
Amityville address, manufacturing
engine-driven power plants which are
frequentl) used in theatres abroad as
standhj power sources during main

line power failure-. I lie plant. >tm-

. tml export packing facilities "i
Pyramid are available to VI. I), for
the export operation.

Schwartz, who was associated with
Westrex and it- predecessor, ERPI,
for thirty-five years, says the over
Seas market for \inei iean-made

equipment has displayed a health)
resurgence due Larger] to the marked
expansion in 70mm and drive-in
theatre presentation.

Money available

"Exhibitors abroad demand high
quality equipment," be savs: "maxi-
mum reliability in equipment per-
formance is essential to bold break-
downs and servicing to a minimum
and Century projectors and transis-
torized sound systems are the answer
Importers and local dealers can now
get more dollar exchange to assur«
this protection. Dollar scarcity in
most countries is history now. The
awakening of Africa and the develop-
i ment of Asia, for example, supported
b) L. S. aid. are gratifying and
healthy signs. Latin America also
continues to be an excellent market
for the importation of U. S. theatre
equipment." "Inflationary rises in
European production costs are a con-
tributing factor." Schwartz says. iP

I NTERNATIONAL PROJECTIONIST

Cinerama Voyage to Moon'
Set for N. Y. World's Fair

A voyage to the moon via the revolutionary "Spacearium" film process will
take place within the "moon dome" of the Transportation & Travel Pavilion at
the New York World's Fair. Announcement of the space show was made jointly
by Fair president Robert Moses and Nicolas Reisini, president of Cinerama, Inc.,
at ceremonies marking the start of steel construction for the pavilion, last of
the major exhibition buildings to rise at the Fair.

NEW YORK \ "voyage to the
Moon" via a revulutioiiarv new Cine-
rama motion picture process never
before seen here, will be offered t>>
\ i—it<>t — to the L96 1-65 New ^ ork
World's Fair at the Transportation
and Travel Pavilion, ii was announc-
ed recently l>\ Fair President Robert

Moses and Nicolas Reisini. President

of Cinerama, Inc.

I he announcement was made at
ceremonies marking the start of steel
construction for the Transportation

and Travel Pavilion, last of the ma-
jor exhibition buildings to rise at
the Fair. The film exhibition will be
shown within a 96-foot-high "moon
dome" that forms the northern end
of the pavilion.

Called Cinerama-Spacearium-360,
the unique film process that will
simulate the moon voyage was de-
veloped by Cinerama. The Federal
Pavilion at the Seattle World's Fair
featured a film entitled "Journey Into
Space". It attracted more than six
million viewers. The process provides
for a film to be projected from be-
low into a huge domed screen th?.l
completely surrounds the audience —
on all sides and above. The 18-minute
film depicting the moon voyage will
utilize all information on space
flight and lunar science presently
available, according to Reisini.

The "Spacearium" project in-
volves: the world's largest projection
screen: the world's largest and wid-

April, 1964

est-angle projection lens: an out-
standing undertaking in animation
and stop-motion photography, and a
realistic trip into space.

The film utilizes a new lv-designed
Cinerama lens to achieve its startling
effect. The lens projects the film 360
degrees horizontal I \ and 180 degrees
vertically. Thus, the viewer is actual-
l\ enveloped in the picture, which is
above and on all sides of him.

Scientists who have acted as advis-
ors to Cinerama in the preparation of
the system say that the entire projec-
tion concept is a highly sophisticated
stej) far beyond the planetarium.

Cinerama will assume full opera-
tion of the theatre at the Fair. In
operation, the domed screen will be
tilted forward at a slight incline, in
keeping with the pitch of the audi-
torium. Viewers will stand behind
tiered rails which make up the the-
atre. The slight forward incline is
for theatrical visibility and to help
focus attention on the central point
of the show, which will be approxi-
mately 10 degrees above the horizon
in the center of the screen. Although
action will take place all over the
domed screen, a central focal point
is necessary for continuity.

Because of the size of the screen,
Cinerama technicians feel they need
the greatest possible film area from
which to project the show. The actual
prints will be loaded into continuous
magazines for projection on the spe-
cial equipment. iP

Skouras Playhouse
Undergoes Extensive
^00,000 Remodeling

GREAT NECK, N. Y. — The Skouras Playhouse
Theatre in this Long Island community has been under-
going a major remodeling at a cost of $100,000, exclu-
sive of equipment.

The brick structure was decorated, lobbies enlarged
and new furnishings installed during three weeks when
the theatre was closed.

The booth is now equipped with Super Simplex pro-
jectors, Peerless Magnarc arc lamps, Knisley rectifiers,
Simplex rewinders and Neumade film cabinets. The
sound system is an Ampex Super 30 watt, 3 channel
magnetic - optical with special modifications by the
Skouras Theatres' sound department. The screen is a
Pearlescent. by the Technikote Corporation. Mrs. Neva
Hassanein was the decorator, and Novelty Scenic Studios
installed the drapes.

The Playhouse Theatre has a seating capacity of 1,000
with American Seating Company chairs. The seats are
upholstered with red nylon. Auditorium walls are
covered with two-inch acoustical fiberglass. The lobby
and foyer has an acoustical hung ceiling, with vinyl on
the walls.

The Skouras Theatres chain operates the Playhouse
Theatre for the Metropolitan Playhouses, Inc. It is
located in the main business area, and operates on a
single feature, first run policy. iP

; j 1 I I I t

1 i f I I I J L k
' J t t

Auditorium seating arrangement

Super Simplexes in remodeled booth

Mezzanine lounge at Playhouse

Concession stand features modular areas
International Projectionist April, 19G±

Wonderama Reviewed in New Jersey

The Wonderama Process, the projection of which is shown above, was
viewed by the public for the first time last month. The process is a development
of Walter Reade-Sterling, Inc.

New Equipment for
Sayrewood Theatre

SAYREVILLE, Y J. The pro-
jection booth of the new Sayrew I

rheatre is well equipped ti> accom-
modate modern needs. New Century
projectors and ( entury transistorized
sound: Magnarc lamphouses and
silicon rectifiers; Bauscfa \ Lomh
lenses; Neumade and Goldberg film
handling equipment and a Techikot*
Pearlescent screen.

Other new equipment includes
nylon rubber-backed carpeting, stage
draperies and aluminum frames 1>\
George Hornstein. Hie Sayrewood
Treatre was equipped by Joe Horn-
stein, Inc., <>f New ^ ork. iP

Ballantyne Orders
Norelco Projectors

OMAN t— Orders for over $350,-
000 worth of Norelco \\ II 70 35
mm projectors have been placed 1>\
R ilhtntMie Instruments and Electron-
ics, Inc. with North \meiican Philips
i i mpany . Inc., according to I. Rob
ert Hoff. Executive Vice President of
Rallantvne. He said the new order
is "one of the largest equipment or-
ders l>\ an) distributor, and will
probably take care of our needs
through June of 1964." Hoff added.
"This will keep us a leading distribu-
tor for Norelco in the I . S."

The new order brought Ballan-
tyne's 1963 Norelco purchases to i
total of more than $689,000, includ-
ing over a quarter-million dollars for
Norelco FP 20 Rs. Rallantvne in
stalled main of them in 1963, as part
of the company's All-in-One theatre
package. iP

International Projectionist

Enthusiastic
Welcome for
New Process

Wonderama, a revolutionary new
screen process, had its World Pre-
miere March 5 at the Strand Theatre
in Plainfield, N. I.

W ilt. i Re ide, Jr., Chairman of the
Board of \\ alter Reade-Sterling Inc.,
said the innovation i- the result of an
electronic and prismatic lens inven-
tion that includes the printing oi
each of the thousands of picture
frames t li.it make up a motion picture
vertically in two babes on the film,
instead of horizontally . I lie two parts
are projected and joined together l>\
prismatic optic lens to fill a screen
which i~ the largest ever to be in-
stalled in a theatre in New Jersey.

The motion picture shown in the
new process was "Mediterranean
Holiday," in which twenty teen-age
sea cadets sail a three-masted clipper
ship to the colorful countries of the
Mediterranean.

The Wonderama process was devel-
oped bv Leon Rronesky. It is the in-
vention of Dr. Leon Wells, a noted
polish-born American scientist.

Wonderama produces an evenly-
lighted picture through the use or
one light source, providing double
the brilliance normally used in mo-
tion picture theatre projectors (140
amps instead of 65 amps I .

Samuel J. Colosimo. Chief Engi-
neer of Walter Reade-Sterling. Inc.
supervised the installation of Won-
derama at Plainfield. The Wonder-
ama system can be attached to am
35mm projector. iP

April. 1964

TNT Demonstrates
First Big-Screen
Color Television

WASHINGTON, D. C. — TNT
(Theatre Network Television. Inc.)
the companv which founded closed-
circuit television communications,
demonstrated Color Eidophor - the
world's first practical large-screen
television system in true color - link-
ed with a revolutionary Norelco
color TV Plumbicon camera in a
series of showings recently.

The showings included material
which demonstrated the wide range
of closed-circuit uses now made prac-
tical for the first time. A model
twirled a parasol that created a dra-
matic, rainbow effect in completely
realistic colors. Art-work for fash-
ion and cosmetic advertising came
through with equally realistic flesh
tones. \ table covered with fruit
demonstrated the kind of color qual-
itv which observers said was com-
parable to that of 35 mm. color
motion picture film.

The terrain seemed to leap from
the television screen during the dem-
onstration of a flight simulation. A
tactical military situation was dis-
played against a map background.
Mpha numeric characters and sym-
bols were electronically generated to
represent missiles, aircraft and other
military units, which moved on the
Eidophor display. Information, such
as weather, was shown in appropriate
colors on the map background.

Nathan L. Halpern. TNT presi-
dent, predicted that the new color
television system "will inaugurate a
new era in closed-circuit television
communications." He said that in-
dustry as well as theatre pay-TV
will make use of the new system for
color transmission and projection of
business meetings and for presenta-
tion of musical, dramatic and sports
events.

T h e Pentagon demonstration
marked the debut of a revolutionary
Plumbicon closed-circuit color TV
camera described by Halpern as a
"major breakthrough in color tele-
visions production." The camera
was specially built for color closed-
circuit TV work by Philips for TNT.

The color Plumbicon camera is
based upon a revolutionary camera

I Please turn to page 11 )

9

New Headquarters for the Company . . .

Walter Reade-Sterling Opens 34th St. Theatre

A building in New York's fash-
ionable Murray Hill section, which
for decades housed a utility sub-sta-
tion, has become the home both of
New York City's newest motion pic-
ture theatre, and the New York head-
quarters for the far-flung Walter
Reade-Sterling, Inc. organization.

The theatre is the 34th St. East,
latest of the deluxe cinemas operated
by the circuit which now numbers
nearly 50 theatres under a rapid ex-

pansion program, and also engages
in the production and distribution
of theatrical, television and 16mm
film. In the three stories above the
theatre are the new consolidated Man-
hattan offices of the company.

The building was acquired by the
company about a year ago. All that
remains now is the shell — the entire
interior has been rebuilt to house the
modern theatre and offices.

The exterior has a facade of heavy
granite stone blocks on the street
level, and bricks on the upper three
floors. A modern marquee, built by
Artkraft Strauss of New York, marks
the theatre entrance. Access to the
office area is through the theatre
lobby. Visitors can reach the self-
service elevator without passing the
ticket-taker.

The new building not only gives

Taking its place in a graceful background, the new 34th
St. East complements its surroundings.

Glass doors lead from the foyer to the main corridors,
well-lighted by recessed fixtures.

The gentle slope cf the auditorium assures good visibility
from all parts of the house.

10

Wide, attractive corridors afford movie-goers ample room
for locating seats and facilities.

International Projectionist

April, 1964

Walter Reade-Sterling its fourth de-
luxe New ^ ork cinema fur the pres-
entation of specialized film — the
others are the DeMille on Seventh
\\eiuie and the twin Baronet and
Coronet on the East side — hut also for
the first time brings under one roof
the theatrical film, television and
lOmm film, and theatre exhibition
offices which formerl) occupied m-|>-
arate offices in New ^ ork.

The company's executive offices
continue in tin- Mas fair House in
Oakhurst, Y J., approximate^ 60

miles from New \ oik Cit) .

John J. \li Namara, \. I. V. was
architect for the theatre and office-,
and Holhv \ Hewes of New York

Citj were the general contractors.

The theatre, with a Beating capacit)
of ahout 500, i> a stadium type, with
a mezzanine or loge area slight!)
raised above the resl of the orchestra.

The dominant color i> an unusual
lavender, which lias been carried

through in the curtain, carpeting and
the accoustical walls. Griggs push-

back seats, used throughout, are
white, providing a sharp color con-
trast. \ Bingle large gold sunburst
dominates each side wall.

Entrance from the Btreel leads to
an outer lobby, with a cashier behind
the counter-level de>k. Four modern
ceiling fixtures Bpotlight the cashier;
other lighting is provided hv ceiling
sed lamps. Vnother set of glass
doors leads into the inner lobby,
which provides access both to the ele-

irator, and to the- theatre auditorium.

Rest room facilities, the- manager's

office, telephone- booth and the- eleva-
tor are- all situated off the inner lob-
by. Modem paintings have he-en hunjl
alonj; the walls, and just before the
several steps leading up to the audi-
torium are a drink, a candy, and a
cigarette machine, each recessed into
the wall.

The projection hooth is a half-
floor up. above the loge area. The
curtain, which wraps around the
front portion of the side walls, opens
from the center.

The offices of executives and de-
partment heads of the Walter Reade-
Sterling organization are located on
the top floor of the building. Adver-
tising and sales staffs are on the third
floor: film inspection, storage, edit-
ing, and shipping rooms and stock
and mail facilities are on the second
floor.

Capitol Motion Picture Supply
Corporation of New York City pro-
vided seats, projection and sound
equipment: Doolittle-Allen Co. of
Trenton. N. J., carpeting: King Dis-
plays. Inc. of New York City, adver-
tising displays. iP

International Projectionist

Big - Screen
Color Television

f Continued from page l> I
tube completely different from the
image orthicon tubes previously
used in color television cameras.
Compared with image orthicon tv pe-
ed color cameras, the Plumbicon
color camera is only about one-third
their size, thereby providing ease of
operation, greater maneuverability
and production economy hitherto
impossible in color television pro-
gramming. \ Plumbicon color cam-
era has the advantage of requiring
onlj about five minutes of prepara-
tory "warm-up" time, whereas image
orthicon cameras need as much as

one hour. Furthermore, these cam-
eras, because of the Plumbicon tube

characteristics in combination with
an improved optical system, can
operate at a light level two-thirds
less than that required previously.

I he new (.olor hidophor projec-
tor, for which TNT i- the exclusive
distributor in the I nited States and

Canada, solves three major engineer-
ing problems, according to Mr. Hal-
pern, which have -lowed progress in
closed-circuit color TV communica-
tion— bright illumination, true color.
and claritj of picture detail.

Plumbicon cameras for closed-
circuit color television will be- manu-
factured and marketed bv North
American Philips Company, Inc.
INI' is the exclusive distributor to
the I .S. government and to industry
in defense and other government
work. Philips, in conjunction with
Greta- Ltd.. a subsidiarv of Ciba of
Switzerland. also developed the
("olor Eidophor projector.

iP

R. Goldblatt, 81,

Dies in New York

Robert Goldblatt. former foundei
of the Motion Picture Projectionist
Societv died recent!) at the age of
81.

In 1 (J07 he and a number of other
projectionists in New \ ork gathered
around his Star Theater, where he
was an operator, and founded what is
now IATSE Local 306.

Mr. Goldblatt for mam vears was
projectionist at the old Bijou Dream
Theater in New York Citv .

His family, consisting of a wife,
children and grandchildren, survive.
They still operate the Music Hall
Theater in Tarrvtown. New York,
which he started fifty years ago. Be-
sides being a charter member of 306.
he was also an honorarv member of
the 2530 Club. iP

April, 1964

PROJECTOR
CARBONS

Better
Light!

Lower
Costs!

RINGSDORFF CARBON CORP. East McKeespoit. Pa

Norelco

projection
equipment-
Available from
leading theatre supply
dealers

North American Philips Co., Inc.

Motion Picture Equipment Division
100 E. 42nd St., New York 17, N.Y.

America's
headquarters

lor all
theatre equipment

supplies

National

THEATRE SUPPLY COMPANY

11

UA Opens 'Theatre-Within-A-Theatre in Louisville

This sketch of the interior of the United Artists Theatre in Louisville,
Ky., shows the relative locations of the 2,000-seat auditorium and the 810-seat
Penthouse.

Projection Make-ready for Drive-ins

(Continued from page 5)

( d ) Projection lenses. Do not at-
tempt to disassemble modern sealed-
gasket projection lenses. Clean only
the two exposed surfaces. First, wipe
away dust with a soft camel's-hair
brush kept for the purpose, then
breathe a film of moisture on the
glass and wipe gently with lens tissue,
using a circular motion. Lens-clean-
ing fluid, not alcohol, should be
used for removing greasy stains from
lenses. Pure grain alcohol is indeed
satisfactory if you can get it, but
commercial denatured alcohols usual-
ly contain oily and tarry substances.
Unless you own a still, stick to lens-
cleaning fluid.

(e) Soundhead optics. Without
removing or disturbing the adjust-
ment of the optical tube, wipe the
exposed lenses with lens tissue wrap-
ped around a piece of toothpick.
Wipe the exciter lamps, photocell
lenses, and photocell tubes with a
clean cloth or lens tissue. Avoid get-
ting fingerprints on the glass surfaces.

7. AMPLIFIERS

All amplifier racks and cabinets
and sound power supply units should
be wiped free from dust. It is very
important to avoid getting dust into
the tube or transistor sockets, so do
not remove the tubes before cleaning.

Check all fuses in these units. All
tubes and rectifier bulbs should be
checked for tight connections. As a
rule, it is not necessary to open up
rheostats, potentiometers, sound
switches, changeover faders, etc. for
inspection unless a later sound check
reveals trouble. That is properly a
job for the sound service engineer, as
is also the testing of amplifier tubes.

12

B. LUBRICATION

Preliminary. Assure yourself thaf
the water supply for lamp and aper-
ture cooling is functioning properly.
Recirculators require special atten-
tion — flush out the tubing, reser-
voirs, and circulating pumps accord-
ing to the manufacturer's instruc-
tions before filling with pure water
for operation.

1. GENERATORS

Fill grease cups half full of bearing
grease with a grease gun or other
suitable means. If bearings are over-
filled, wipe off excess as it is forced
out during an hour of "running in'*
the machine. Keep grease off the
commutator and brushes

2. ARC LAMPS

Suprex ( simplified high-intensity )
type ( Peerless Magnarc ) : Introduce
a few drops of projector oil into each
oil cup or bearing oil hole. Do not
overoil. Use no graphite grease.

Rotating - positive high - intensity
type {Strong) : Use the manufac-
turer's heat-resistant lubricant con-
taining metallic powder. Add just a
drop or two of the thoroughly shaken
lubricant to positive and negative
feed-head oiling points. Use no
graphite, grease, or projector oil in-
side the lamp.

Caked metallic powder in tne
positive carbon drive mechanism,
indicated when the manual carbon
feed handle cranks hard, should be
removed by taking the assembly from
the lamp and spinning the drive
rollers under kerosene. The motor
gear-box is sealed and seldom re-
quires greasing.

(Please turn to page 14)

The United Artists Theatre in
downtown Louisville, Ky., by imagin-
ary architecture and engineering, has
been converted to a theatre-within-a-
theatre.

The United Artists Penthouse
Theatre occupies the balcony, and
the United Artists Theatre occupies
the lower floor. Then Penthouse has
810 seats and the United Artists
Theatre has 2,000 seats.

Fourth Avenue Amusement Com-
pany Inc., the lessee from the United
Artists Corporation, had direct
supervision of remodeling and con-
struction. The Fourth Avenue
Amusement Company operates six
theatres in Louisville: the Rialto, Up-
town, Penthouse and United Artists,
and the Twilite and Skyway, both
drive-ins.

The company is headed by D.
Irwin Long. Louis Arru is executive
vice president and Robert E. Gross is
purchasing director and supervisor.
The company relinquished its lease
to the Brown Theatre, the film road
show house. The Fourth Avenue
company has transferred the 70/35
equipment to the Penthouse Theatre,
and will operate on a road show
policy.

Walter C. Wagner and Joseph H.
Potts were the architects on the pro-
ject. They built a wall from the
balcony rail to the ceiling, and con-
structed another projection booth on
that same wall for the United Artists
Theatre on the lower floor.

The Penthouse uses the existing
projection room up near the ceiling,
and is a stadium type of theatre. The
Penthouse booth is equipped with
Norelco 70/35mm projectors with
Ampex stereo sound system. The
35mm projectors and sound system
were moved from the original booth
to the United Artists Theatre. The
Penthouse screen is 42 ft. wide x 22
ft. high; projection throw is 74 ft.
For the convenience of patrons of the
Penthouse Theatre, an escalator con-
nects it to the lobby floor.

According to president Long, the
Fourth Avenue Amusement Company
had decided to build a new theatre
on the outlying shopping areas. The
location of an expressway was a
major factor in Long's decision to
stay downtown. He said since the
opening of a new bridge, people from
Indiana will have quicker access to
downtown Louisville. The Penthouse
Theatre opened with "Lawrence of
Arabia." iP

International Projectionist

April, 1964

Arc Lamps tor Virginia Drive-In

New 'Trouper'
For Chicago's
McCormick PEace

The new Strong Futura projection arc lamps just installed at the Wilder
Drive-In Theatre, Norfolk, Va., are shown in operation by W. H. Poore, pro-
jectionist.

Ballantyne Has
Banner Year

Ballantyne Instruments & Electron-
ics. Inc. wound up 1963 with gross
sales doubled and net income quad-
rupled from those of 1962. Ballantyne
is a division of ABC Vending Corp.

J. Robert Hoff. executive vice-
president and general manager <>f
Ballantyne said. "This record year
has been the result of the introduc-
tion of our complete equipment fin-
ance package for shopping center the-
atres, deluxe downtown theatres, and
small and large drive-in theatres.
Sales of our Flavor-Crisp pressure
frying equipment have also shown
dramatic growth. \s of today, we
have a backlog of theatre contracts
in excess of $2,000,000, which is
equal to our entire business in this
division in 1963. Therefore, 1064
should produce e\en greater gain-
in gross business and net income."

Mr. Hoff said that over 20 the-
atres were installed during the last
four months of 1963, climaxed by
seven theatres being opened in Dec-
ember alone, which is normally a
month that theatre owners shun for
business reasons. A first was prob-
ably set with the simultaneous open-
ing of two shopping center theatres in
Youngstown. Ohio for the Broumas
circuit late in December.

Edward J. Nelson, vice-president
and assistant general manager of

International Proj ectiontst

Ballantyne, said all-in-one package,
complete!) financed theatre installa-
tion contracts will be set in the next
lew months. In at least two instances.
both an indoor and a drive-in theatre
are involved in the same city.

Each equipment package can be

A recent addition to what is prob-
ably the world's largest installation of
carbon arc lighting equipment, is that
of a short throw Super Trouper follow
spotlight put into use at the 5000-seat
Crown Theatre in Chicago's exposition
building, McCormick Place. The in-
stallation now includes 12 follow spot-
lights, three slide projectors and two
motion picture projection arcs.

purchased on a delivered and in-
stalled basis using factory trained
Mipci \ isoi \ engineers working w illi
RCA and Altec service companies,
I VI'SC projectionists and stage-
hands, chair and carpet specialists.
1963 marks the 31st year Ballan-
tyne lias supplied equipment to the
theatre industry. iP

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they keep projectors in top operating condition essential
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April. 1964

13

Atlanta Threatre Displays New Lamps

Installation of Strong projection arc lamps and Bi-Powr rectifier in another
of the new shopping center theatres is that at The Lenox Square, Atlanta, Ga.
Pictured with the equipment is John McCarthy, projectionist, and H. W. Ruther-
ford, right, manager of the Lenox Square.

Cinerama, Altec Service
Conclude Agreement

NEW YORK — Negotiations have
been successfully concluded between
Gerhard Lessman, Vice President of
Cinerama, Inc. and R. E. Pierce,
Operating Manager of Altec Service
Corporation, a subsidiary of Ling-
Temco-Vought, Inc., giving Altec the
responsibility of supervising the in-
stallation of equipment in new Ciner-
ama theatres through the continental
United States. Installation respon-
sibility will include screen, curtains,
projection and sound systems.

At his Anaheim, Calif, office,
George L. Carrington, Jr., General
Manager of Altec Service Corpora-
tion stated: "We are extremely proud
to have been selected for this large
responsibility. We feel that our con-
tinued policy of primary attention to
the motion picture industry, our
engineering knowledge and exper-
ience on all of the latest techniques
has, again, proven of value to the
trade." iP

Soldier Develops
New Projection,
Filming Process

Korea — A postage stamp picture
on an envelope-sized screen are
things of the past because of a new
motion picture filming process and
revolutionary projecting technique
copyrighted by Pfc. Clarence B.
Fletcher, on duty here with the U. S.
Army.

The process features the use of the
anamorphic lens, similar to the
image-squeezers of cinemascope, and
either a telephoto, wide-angle or nor-
mal lens in 8mm filming. The zoo-
mar lens (of the same type which
allows TV to move quickly from nor-
mal views to close-up ) and the
anamorphic lens are used simultane-
ously during projection to give a per-
manently fixed and focused picture
regardless of the projector's location.

Super-Cogitation-8 is a boon to
TV producers and has potentialities
for C-Z movie makers using the
8mm film process. iP

Projection Make-ready
For Drive-ins

Continued from page 12
3. PICTURE MECHANISMS
Follow the manufacturer's instruc-
tions, depending on make and model.
Use oil liberally on the gear side of
old-style mechanisms, but guard
against soiling the projector. Oil the
rear shutter bearings. Refill auto-
matically lubricated mechanisms with
fresh oil after flushing out old oil.
Lubricate the cleaned gear teeth (A3)
with a light application of gear
grease, except in automatically lubri-
cated mechanisms. Use gear grease
on the chains of chain-drive mechan-
isms and takeups. ( Gear grease is
sticky — oil or ordinary grease is
thrown off when the machine runs.)
Bearings of the Motiograph AA
require no lubrication at any time.
Flush out and refill oil wells of Sim-
plex-type intermittents, but do not
risk soiling the machine by over-
filling. Inject grease into Motiograph
intermittents, AA as well as the Ff
and K models. On the operator's
side, place one or two drops of pro-
jector oil in the idler oil holes. Light-
ly oil the gate carriage, lens focusing
device, and framing carriage parts.
4. SOUNDHEADS AND MOTOR
Lubricate drive-gear bearings, uni-
versal transmissions, and projector
motor according to the manufactur-
er's instructions. Gear teeth should
be lubricated with grease, as in B3.

iP

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14

International Projectionist

April, 1964

ilmY

basic
mathematics

by NORMAN H CIOWHUSIT

PRACTICAL
METHOD

y

/

VOLUMES
1 through 4
COMPLETE

HOU (0UNTW6

TMIOUCM UiCUlft

* HOOUN

UMFH> MtlOAOt

to mathematics
amd its uses

LEARNING
MATHErMTICS

i

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BASIC MATHEMATICS

by Norman H. Crowhurst

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presenting basic mathematics as on continuous devel-
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the subjects. Selected illustrations create clear
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A KNOWLEDGE OF MATH SPEEDS YOUR PROGRESS IN
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Volume I — ARITHMETIC AS AN OUTGROWTH OF
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Available at parts distributors, bookstores, or direct.

INTERNATIONAL PROJECTIONIST
1645 Hennepin Avenue, Suite 212
Minneapolis, Minnesota 55403

Please send these paperback volumes:

□ Vol. t — $3.90; □ Vol. II— $3.90; □ Vol.
Ill— $3.90; □ Vol. IV— $3.90; □ Send 4-
Vols. in one clothbound edition, $15.95.

Name
Address
City

Zone

State

YOUR H'HUI PATRONS ARE
WATCHING A BRIGHT PICTURE
IN THAT LITTLE BLACK BOX

Actual brightness readings with Panavision brightness
meters on numerous TV tubes of various vintages show
an average brightness of 13.4 foot lamberts.

5 TIMES BRIGHTER THAN THE
AVERAGE DRIVE-IN SCREEN

Although technical groups recommend a minimum of
4.5 foot lamberts for drive-in screens, surveys disclose
that the actual measurements read as low as 1 foot
lambert and only as high as 4 foot lamberts.

If you hope to bring back those patrons you must have
a screen brilliance that at least competes with TV.

Your Strong Dealer can show you how the new type
projection lamps will do it.

Send for literature now.

THE

31 City Park Ave.

ELECTRIC CORPORATION

Toledo, Ohio

The rather unorthodox Simplex X-L
shown above is an adaptation by Detroit's
Jam Handy Organization to project three
1 dimensional images on an hemispheric
screen in the Wrap-Around Theatre Sys-
tem. (See story on Page 8).

(X89£°) uofSXATd Jap^O

MAY

VOLUME 39
40c A COPY

1964

NUMBER 5

$3.00 A YEAR

A Scene From America's Projector Carbon Center...

X-ray reveals breaks and voids in positive projector carbon cores

"The x-ray eyes of our inspectors are your
assurance of perfect projector carbon cores"

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Veryl Johnson

You can't judge a movie by its
title. And you can't judge a pro-
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outside. That's why carbon in-
spectors in our plant in Fostoria,
Ohio, test every carbon from
the inside out— with modern x-ray equipment.
As an extra safeguard, our inspectors are paid
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Shown above is our x-ray room, through which
all positive carbons must pass on a belt contain-
ing from 6 to 20 carbons, depending on size. The
assignment is to weed out carbons with voids or

-says VERYL JOHNSON

"National" Sales Engineer

breaks in their rare earth cores — the key to un-
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As a further inspection safeguard, operators
of this x-ray equipment stay keen and alert by
changing off every 30 minutes!

Quality manufacturing and precision testing
are only a part of the National projector car-
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INTERNATIONAL

PROJ ECTIONIST

Volume 39

May 1964

No. 5

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO
Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue, New York 17, N. Y.

Telephone Murrayhill 7-7746

(Area Code 212)

IN THIS ISSUE

Equalizing Sight and Sound

The Cover Story . . .
Wrap-around Theatre

WR S Opens Unique Theatre

Wayne Theatre Opening

Wonderama Augments Capabilities

10
12

14

And a new feature .
Sound Track

By J. G. Jackson

Newt Notes — Technical Hints — Miscellaneous Notes

INTERNATIONAL PROJECTIONIST, published monthly by the
International Projectionist Publishing Co. division of The
Northern Publishing Co., Post Office Box 6174, Minneapo'is
24, Minnesota. Editorial offices, 1645 Hennepin Avenue,
Minneapolis 3, Minn. Subscription Representatives'. AUS-
TRALIA — McGills, 183 Elizabeth St., Melbourne; NEW
ZEALAND — Wixon's, Ltd., 64 Courtnay Place, Wellington;
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be submitted four weeks in advance of publication date to
insure receipt of current issue. Second-class postage paid at
Minneapolis, Minn. INTERNATIONAL PROJECTIONIST as-
sumes no responsibility for personal opinions appearing in
signed articles, or for unsolicited articles. Entire contents
copyrighted 1964 by INTERNATIONAL PROJECTIONIST
PUBLISHING CO. <^0^^>

International Projectionist May 1964

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INTERNATIONAL PROJECTIONIST

Volume 39

May, 1964

Number 5

Equalizing projectors for sight and sound

Noticeable changes in projec-
tion quality on changeover can
be prevented through compet-
ent operation, matching of
equipment.

Among the defects in projection considered
especially annoying by filmgoers are bad focus, un-
even and discolored screen illumination, picture jump,
improper sound volume, and noticeable sudden changes
in the quality of the projection when changeovers are
made. The last defect is unavoidable when the others are
present because it is unlikely that both projectors would
be malfunctioning in the same way and to the same degree.
The use of more than one projector in a theatre in-
stallation is necessary, of course, for uninterrupted per-
formances. A few very large theatres have three, or even
four, projectors, providing even more opportunity for
projector imbalance to show up at changeovers. And
even the most subtle changes in pictures and sound qual-
ity are noticed by movie patrons.

Nearly every motion-picture audience includes a few
individuals who are aware of the fact that two projectors
are normally employed, and they know just enough
about the projection process to determine (by glancing
up toward the projection room) which of the two pro-
jectors is malfunctioning. It bodes our craft no good
when such a patron informs the manager which projec-
tor is performing like a mechanical lemon.

"Projectionists" versus "Operators"

IP has frequently repeated the truism that "compe-
tence is the only commodity the projection craft has to
sell," for without competent handling of the sight-and-
sound process there is nothing worthy of the name
projection. We therefore find it incredible that the den-
izens of certain projection rooms simply don't give a
damn how the picture looks or sounds so long as film
travels through the mechanism. We hesitate to call such
fellows projectionists; they are "operators," and not
competent ones, either!

Like anyone else, a projectionist is not personally
enthralled by each and every picture that comes along.
But a good projectionist never forgets that the motion-
picture industry strives to cater to all tastes. There are all
kinds of audiences; and the films that would bore one
audience may enchant another, and vice versa. Because

every audience deserves our best efforts, every film must
be projected as well as it can be projected. This in-
volves the ethics of our craft. It does not seen quite
ethical to take special pains with an "art" film which
draws a small, select audience, and allow a western that
packs the house to run out of focus just because the
hackneyed plot isn't worth a twist of the focusing knob!
Laying aside his personal preferences in the matter
of film fare, therefore, the truly professional projectionist
views the picture as an optical image, and the sound as
an electro-acoustic reproduction. He may privately damn
the short-sightedness and inanities of Hollywood, but
he is not satisfied as a projectionist until the image and its
accompanying sound reproduction are as good as film
and equipment allow him to make them. Fortunately for
the industry in these days of a return of the public to
the movies, the vast majority of projectionists adopt
this professional attitude, and there is nothing "sloppy"
about their work.

Watch that Focus!

Poor focus stamps projection as "sloppy" as does
nothing else. When one projector is consistently operated
out of focus, the audience is made painfully aware of
the mechanics of the process at every changeover. For
every eighteen or twenty minutes of a sharp, easy-to-
view image, there is an equal interval of eye-straining
blur. The audience indirectly pays our salaries: is this
the best we can do for them?

The maintenance of sharp focus is an important facet
of the projectionist's art, a job that requires a watchful
eye and a skilled hand. There's no such animal as an
automatic focusing device — you have to perform the
operation yourself. Focus should be checked ( 1 ) at the
commencement of each reel and (2) again when the reel
is about halfway through. Arc currents in excess of
100 amperes may require more frequent focus checks,
especially if short-focus lenses be used.

It's the "operators," not the "projectionists," who
set the focus once at the beginning of the day and ex-
pect it to hold until midnight. The "operators" place

Please turn to Page 7

International Projectionist May 1964

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Sound Track

William Dozier, Greenway Prexy,
Addresses SMPTE Conference

by J. G. Jackson

Starting in the June, 1964
issue o£ International Projec-
tionist, contributing editor.
J. G. Jackson will conduct a
column to be carried under
the heading "Sound Track."
This will afford readers an
excellent opportunity to ex-
press their views on a variety
of subjects dealing with pro-
jection technology and the
industry in general.

Dear Readers:

This column has been suggested
for the purpose of getting the view-
points of projectionists throughout
the world. We will discuss one sub-
ject at a time and when sufficient in-
formation is gathered, we can make
some form of recommendation to the
standards committees of the indus-
tries. In this way the voice of the
projectionist can be carried to the
powers that be in the production end
of the industry.

The first topic I wish to discuss is,
I think, very pertinent to all pro-
jectionists, "Curtain Cue Marks on
35mm Film." The deplorable condi-
tion of film received in the theatres
is nothing short of shameful. Every
one puts on his own marks by
scratch, punch or grease pencil, with
the result no one can tell which one
to use.

Surely we as Projectionists of 1964
can find a solution to this wanton
mutilation of valuable film stock.

My own suggestion is; a curtain
cue be placed on the film at a dis-
tance from change over to suit a slow
curtain and the mark to be a thin
straight line. In this it would not be
confused with the motor cue and we
who have fast curtains will simply
delay a second or two before striking
the curtain switch. When the cue is
set at a standard distance from
change over there is no excuse for
anyone putting any extra marks on
the film.

So let's go, brothers, drop a line
to Sound Track and give your sug-
gestions and views as to what kind of
a mark would you like to see and
how many feet from change over.

I can well remember the silent
days of the roaring twenties when
there were no cue marks of any kind

William Dozier, President of Green-
way Productions, Inc., Hollywood
television production organization,
was guest speaker at the 95th Tech-
nical Conference of the Society of
Motion Picture and Television Engi-
neers (SMPTE) April 13 at the Am-
bassador Hotel in Los Angeles. His
subject was "The State of Television
. . . An Appraisal."

Long active in the motion-picture
and television industries, Mr. Dozier
for four years until
last January was
senior vice-president
in charge of produc-
tion and West Coast
operations for
(Screen Gems, Inc.
IPrior to his associ-
ation with Screen
|Gems, he was vice-
W. Dozier president in charge
of network programs for CBS-TV in
Hollywood.

A native of Omaha, Neb., Mr. Doz-
ier attended Nebraska schools and
received his bachelor's degree from
The Creighton University, Omaha, in
1929. He was studying law at the Uni-
versity of Southern California in Los

on the film. Each projectionist had to
check the film and look for some
specific point of action at about
where to start his motor. Later the
film exchanges produced a cue sheet
which was put in the tin with the
film. When sound came in the projec-
tion craft demanded something better
so the standard motor and change
over cues were put on when the film
was printed.

Now it is high time we made our-
selves heard again and get the pro-
ducers to give us a standard curtain
cue as well.

So come on boys — "Sound off"
and let me record your voice on the
Sound Track.

J. G. Jackson

Sound Track Editor

P.S. Address your cards and letters
to Sound Track, c/o International
Projectionist, 1645 Hennepin Ave.,
Minneapolis, Minnesota 55403.

Angeles in 1935 when he first entered
the entertainment business, represent-
ing writers with the Phil Berg-Bert
Allenberg talent agency. After six
years with Berg- Allenberg, he joined
Paramount Pictures as head of the
studio's story and writer department.

Held RKO Office

In 1944, Mr. Dozier was appointed
executive assistant to the late Charles
Koerner, then vice-president in charge
of production at RKO. In 1946, he
joined Universal-International as as-
sociate head of production, and in
1949; moved to Columbia Pictures
as a producer.

Mr. Dozier left Columbia to work
as executive assistant to Samuel Gold-
wyn, where he remained until he
joined CBS Television in 1951 as a
member of the New York program
executive staff.

In February, 1952, he was named
executive producer in charge of dram-
atic programs, in which capacity he
guided such programs as "Studio
One," "Danger," "Suspense" and
"You Are There." In January, 1955,
he was transferred to the West Coast
and was elevated to the post of di-
rector of network programs, Holly-
wood.

Returned to Hollywood

Mr. Dozier returned to RKO in the
fall of 1957 as vice-president in
charge of production in Hollywood.
He returned to CBS Television City
in November, 1957, and on April 1,
1958, became vice-president in charge
of all Hollywood programming. Dur-
ing his administrative regime at CBS,
such Hollywood-originated programs
as "Gunsmoke," "Have Gun — Will
Travel," "Playhouse 90," "Rawhide,"
"Climax" and "Perry Mason," sev-
eral of which are still on the air,
came into being.

He married actress Ann Ruther-
ford in 1953. Mr. Dozier's son, Rob-
ert, by an earlier marriage, is a well-
known motion-picture and television
writer, whose current credit is the
screenplay of Otto Preminger's film.
"The Cardinal." He also has a daugh-
ter, Deborah, 15, whose mother is ac-
tress Joan Fontaine, to whom Mr.
Dozier was married from 1946 to
1950. iP

International Projectionist May 1964

Equalizing Sight
and Sound

Continued from Page 4

their trust in focusing scales and
marks on the lens barrel, and sel-
dom bother to look at the screen.
The "projectionists" not only use
their eves at frequent intervals, but
enlist the aid of low-power binoculars
or screen telescopes when their pro-
jector lenses have focal lengths longer
than 5 inches.

It goes without saying, of course,
that bad focus is not always the pro-
jectionist's fault. A conscientious pro-
jectionist really suffers when a "fuz-
zy" print comes his way. The projec-
ted picture can never be clearer than
the image printed on the film: and
the larger the screen, the worse an
out-of-focus picture looks. Excessively
high arc currents produce out-of-
focus effects by aggravating the rap-
id flutter and buckling of the film at
the aperture: and the use of lenses
under 4 inches E. F. makes the pic-
ture very difficult to keep in focus.
as is well known in these days of
VistaVision and cropped apertures
for non-anamorphic projection upon
wide screens.

These unavoidable causes of blur
nevertheless cast no aspersions upon
the projectionist's competence when
conditions are the same in both pro-
jectors, as they should be.

The use of different makes, models,
or "speeds"' of projection lenses in
the projectors can cause sufficient
difference in the appearance of the
pictures projected by the two pro-
jectors to make changeovers percept-
ible even when two lenses have ex-
actly the same focal length. It is ex-
tremely unwise, for example, to use
an uncoated lens in one machine and
a coated lens in the other. The pro-
jectionist, in such a case, may be the
victim of necessity; but such a state
of affairs is not good for the exhibi-
tion business. These remarks apply
in equal force to CinemaScope ana-
morphic attachments.

Very similar to this is the use of
different kinds of arc mirrors in the
two lamps — or even one new and
one old mirror of the same brand and
specifications. Except for a brief per-
iod of testing and comparison, a dich-
roic I "cold" I mirror should never be

paired with a silver mirror. The light
from one machine may be dimmer
than that from the other, and of a
perceptibly different color — slightly
more yellowish, bluish, pinkish, or
greenish. A change of screen-light
color at the changeovers is most no-
ticeable during the showing of black-
and-white prints.

Difference in arc-lamp adjustment
also cause mismatched light, but the
projectionist should not rely wholly
on the tape-measure and the align-
ment rod. necessary as these aids are.
Small differences in mirror focal
length, arc current, mechanism shut-
ter transmission, and port-glass trans-
mittance can result in a brighter light
from one machine even when the
geometric focus I distance from the
positive crater to the center of the
mirror) and the working distance
I center of mirror to film aperture I
are the same in both machines, and
both lamps arc in perfect optical
alignment.

1. Nevertheless, the first step in
equalizing the light from both pro-

Please turn to Page 9

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International Projectionist May 1964

The Covet Stoty . . .

'Wrap-around' Theatre Amazes Audiences

Audiences across the United
States and as far distant as New
Delhi. India, have been enjoying
the sensation of being "inside" a
projected motion picture instead of
just looking "at" a picture. This
effect is achieved by the use of a
lens whose angle matches the
broad angle of vision of the
human eye — plus the screen which
curves around and above the spec-
tators.

Better viewing for larger audiences
in the special type of traveling the-
atre in which the show is given, how-
ever, called for changes. Under the
guidance of veteran Jam Handy Or-
ganization (Detroit) projectionists,
members of IATSE Local 199, the
changes were made to effect several
improvements.

The standard projector was given
a lower base so that the equipment
would not obstruct the view of any

Because of the optical qualities of the projected image on a hemispheric screen,
flat photography makes tjhe projection appear distorted. Not so in the theatre,
where viewers are transported via three-dimensional effeqt to any place
the camera leads.

Spectators at the World Agricultural Exposition in New Delhi, India, registered
appropriate amazement at the images projected by a prototype "wrap-around"
projector on an hemispheric screen. Recent improvements by Detroit's Jim Handy
Organization have made the projection system suitable for large enclosures.

of the 175 spectators who now can
be seated in the Wrap-Around The-
atre. Projection is done close to the
screen because of the optical qualities
of the lens. The theatre is a large
portable dome that is easily trans-
ported and inflated with compressed
air on a show site in quick time.

The top magazine also now is in-
stalled below the lens, instead of on
top of the projector. The exhaust,
which was on top of the projector,
now is below; only clean, warm air
escapes from a filter.

So the projectionist may operate
the projector while seated and out of
the way of front-row spectators; re-
wiring of all controls also had to be
done.

The Wrap-Around system has an
interesting history, going btck to the
day during World War II when the
Navy called on Jamison Handy, now
president of The Jam Handy Organ-
ization, to help create a lens that
would simulate natural human ob-
servation as realistically as possible
by means of motion pictures.

The need was urgent, because new
developments — such as aircraft mov-
ing at vastly greater speeds than ever
before — called for a new training de-
vice with a much greater angular
view of sky and earth. The final de-
sign of the lens, which contains 11
elements of glass of different com-
position, required more than a year
of computations by optics engineers
and mathematicians.

A lens similar to the projection
lens is also used in the making of the
picture, so there is no distortion when
the picture is projected on the hemi-
spheric screen. Obviously, any photo
taken of the Wrap-Around Theatre in
operation shows distortion; but that
is not the way the picture is seen by
the audience.

The spectators travel along, so they
feel, on highways, on roller coasters,
under Niagara Falls, or wherever the
Wrap-Around cameramen take them.
The result is a "you are there" and
perfectly natural, if thrilling, visual
experience. The latest picture that is
being used is appropriately titled "Ex-
citement." iP

International Projectionist May 1964

Trailer Hailed
Great Assist To
Theatres, Dealers

Theatre patrons, managers and
equipment dealers are responding en-
thusiast icall) to the new 35mm "talk-
ing" trailer produced by Strong Elec-
tric Corporation for theatres instal-
ling the new Futura projection arc-
lamps.

The trailer calls attention to the
great improvement in the brilliance
of the projected picture, "takes the
patron into the projection room",
showing the installation, depicts l>\
means of a split screen effect the ex-
tent of the increase in brilliance, and
then extends an invitation by the man-
agement to the patron to see the lamps
in actual operation in the projection
room.

Theatre men say that the trailer
creates much good will among the
patronage by extending the invita-
tion to see the new lamps and by em-
phasizing their efforts to keep equip-
ment up to date for the better view-
ing and greater pleasure in film offer-
ings. Patrons seem to gain apprecia-
tion of the theatre's efforts toward
that end and more respect for the fi-
nancial investment involved in up-
grading.

Equipment dealers say that avail-
ability of the trailer shows appreci-
ation of the purchase and indicates
the dealer's continuing interest in the
theatre after the purchase. Theatre

Altec Engineers Checked Our on Century

Contrasts in clarity of projection are
obvious in the Strong trailer.

managers also see their dealer as be-
ing interested in helping "sell'' the
new equipment to his patrons and so
increase boxoffice as to make the
purchase even more profitable.

The trailer is available at no cost
to all theatres installing Futura lamps.
Arrangements for a 2-week booking
can be made by addressing a request
to The Strong Electric Corporation.
76 City Park Avenue. Toledo. Ohio
43601. iP

International Projectionist

Altec service engineers recently completed training sessions at the Century Pro-
jector Corp. factory in Long Island City. The workshop covered all Century's
domestic projectors and the firm's all-transistor sound systems. Pictured (left to
right) are Altec engineers Hans Newberger, Russell R. Giveans, Harry Randel,
F. W. "Bill" Boettcher, Joseph Raho, Doug McLean and Ralph Siegal.

Equalizing Sight
and Sound

Continual from 1'irj.c 7

jectors is to line up the lamps accord-
ing to the manufacturer's instruction-,
and with his recommended alignment
tools (available through dealers and
service companies I. The centers of
the mirror, arc crater, light cone, pro-
jector aperture, and projection lens
will then all lie on the same straight
line — the optical axis. — and the
suggested optimum focus and work-
ing distances will have been estab-
lished.

2. The individual arc currents are
then checked. Trim both lamps with
new, dry carbons, making certain
that you have the same positive and
negative carbon protrusions bevond
the burner jaws in both lamps. "Burn
in" both lamps for about a minute,
establish the same arc gap. and note
the current consumed by each by
reading the ammeter. The difference,
if any. should not exceed 2 or 3
amperes. If a greater difference in
current consumption exists, and it
is certain that the ammeters are read-
ing correctly, adjustments should be
made in the rectifier transformers or
the motor-generator ballast rheo-
stats.

3. Project blank light to the screen

April, 1964

i both projectors running, but with-
out film I and change over from one
machine to the other several times in
rapid succession to detect visible dif-
ferences in the brightness, distribu-

0.006

Z72.5 f
3" LENSe

60%--

Average
depth of focus

£_

Relative light
transmission

-0.004

FIG. 1 — Lenses of different speeds
have different light transmissions and
different optical characteristics even
though their equivalent focus (E.F.)
is the same. The lenses in a 2-projec-
tor installation should therefore be
identical in speed, type, and make as
well as in E.F.

tion, or color of the screen illumi-
nation. The most exact determina-
tions require the use of a light meter
or photographer's exposure meter,
but the equalization is close enough if
no difference can be detected visually.

Arc Focus

and Color of Light

If a difference can be seen, the
working distance of the mirror in
Please turn to Page 18

Walter Reade/Sterling Opens Um

Art Gallery, Split-level
Entry Featured in New House

New directions in theatre design are
very much in evidence at the Con-
tinental, a new first run house in the
Forest Hills Section of Long Island,
opened recently by Walter Reade/
Sterling, Inc.

Featuring a split-level entrance and
its own roof top parking facility, the
Continental seats 600 and specializes
in quality foreign and domestic films.

Built as part of a $5,000,000 ex-
pansion program which includes two
other new deluxe theatres in New
York City, and one in Camden, N.J.,
the Continental was opened March
20th.

The dominant interior innovation
is the split-level construction. Patrons,
upon entering the theatre foyer, have
the choice of walking down a short
flight of stairs to the orchestra level,
or up a short flight of stairs to the
twin mezzanine sections. This is sim-
ilar to entering a conventional split-
level home, where stairs lead down
to the family room, and up to the
living quarters.

The patron may also drive his car
up a ramp along one outer wall of the
theatre to the roof atop of the sec-
ond story of the building, where there
are accommodations for 300 cars. A
special roof-top entrance brings him
right into the theatre lobby.

The unique theatre building was
designed by House and Bresin,
A.I.A. architects of Jackson Heights,
L.I., with John J. McNamara, A.I.A.,
as consulting architect for the interior
theatre construction.

Like Walter Reade/Sterling's Cor-
onet Theatre in Manhattan, the Con-
tinental also has an art gallery in
it's lounge, where local artists and
sculptors display and sell their work.
The lounge is reached by a separate
stairway off the foyer, and also con-
tains facilities for serving coffee to
patrons. There are rest room facili-
ties both off the main lounge, and the
mezzanine lounge. The manager's of-

10

Sol Rosenberg, a projectionist at the new Continental Theatre in Forest Hills,
Long Island, is shown loading the theatre's 35mm Century projectors, which are
equipped to reproduce multi-channel audio.

fice is located at the rear of the or-
chestra entry lounge.

The mezzanine has been split by
projection booth facilities. On either
side of the booth are seating for 60
persons in six-row depth. All seats
are Griggs push-back on the orchestra
floor, and Griggs spring-back in the
mezzanine. Blue is the main color
throughout the theatre. The orchestra
seats are all white, and those in the
mezzanine have white frames with
blue covering.

Especially woven Kharagheusian
blue carpeting is used through the
theatre. All interior decorations were
furnished by Doolittle- Allen Company
of Trenton, N.J. The marquee was
erected by Artkraft Strauss, utilizing
Adler plastic snap-lock letters. The
screen is a 22 foot by 44 foot seam-
less Technicoat Pearlite, with mobile

masking permitting adjustment to
any 35mm ratio.

Another feature of the theatre is
an Austrian shade contour curtain,
which like the wall treatment, uti-
lizes Blue Bengaline material. Un-
like most theatres where the curtain
draws to the sides, the Austrian cur-
tain rises in folds from the floor to
the top of the masking.

Sound and projection were furn-
ished by Joe Hornstein Company, uti-
lizing Century projectors and transis-
tor multi-channel sound. The theatre
can project all 35mm wide-screen
processes.

Located near the center of Forest
Hills, the Continental was the Walter
Reade/Sterling organization's first
house in the rapidly-growing Queens
Borough of New York City. iP

International Projectionist May 1964

Theatre in Long Island

Departing from the traditional "box office," the Continental vends its tickets
from this attractive semi-circular counter just inside the front entrance.

d

This is the unique "split level" entrance of the Continental. After obtaining their
tickets, patrons can choose between walking up to the balcony level or down a
few steps to the orchestra.

International Projectionist May 1964

"Demountable'
Seats Premiered
In California

A new instantly demountable
spectator luxury seat which provides
multi-purpose use of theatre-in-the-
round seating areas is now in use on
the Pacific Coast. It is a product of
Pacific Seating Corp.. San Pedio.
Calif.

Among the first installation of the
new "Demountables" is at the Valley
Music Theater in the San Fernando
Vallev near Hollywood.

In addition to their portability fea-
tures "Demountables" provide the
widest upholstered chair now on
the market — adding an extra 3" of
seating space to every chair.

One man can disassemble and
stack 100 "Demountables" in a single
hour, the company states. The chairs
and mounting units can be reassem-
bled just as quickly iP

Altec Anounces
New Managerships

R. E. Pierce. Operating Manager
of Altec Service. Corp., recently an-
nounced the two new following ap-
pointments:

Fred Hall is now Manager of the
Northeastern Division of Altec, with
Jack Gnirrep acting as Mr. Hall's
assistant. The Northeastern Division
covers the greater New York area,
part of New York State, and all of
the New England states.

Jim Eves has been elevated to
Manager of the Eastern Division.
This Division serves part of New
York state, New Jersey, Pennsylvania,
Maryland, the District of Columbia
and Virginia. iP

Automatic Devices
Acquires Ohio Firm

Automatic Devices Co., Allentown,
Pa., manufacturer of stage and dra-
pery tracks and curtain machines,
recently announced it has taken over
the facilities of Vallen, Inc., of
Akron. Ohio. The Akron firm pro-
duces a similar line of products.

According to company officials, all
the combined facilities will be con-
solidated in an enlarged Allentown
plant. The acquistion will require a
50 per cent expansion in floor space,
according to Automatic Devices,
President, Abram Samuels. iP

11

Skouras Theatres
Opens New House
In Shopping Center

Skouras Theatres have opened a new 900-seat house
in Wayne, N. J., at the Preakness Shopping Center. The
new theatre, named appropriately for the city in which it
is located, was erected at a cost of $265,000.

The air-conditioned auditorium is decorated in blue
and white, a color scheme begun in the lobby and foyer.
Stage curtains are gold; auditorium seats are in blue
and gold.

In the projection booth are two Simplex XL's, with
Ashcraft Corelit lamps and rectifiers. The sound system
is Ampex multichannel magnetic and optical.

Architect Drew Eberson gave the building a varie-
gated color fieldstone, granite and glass facade, and
integrated the interior to provide a smooth flow of traffic
through the various areas leading to and from the
auditorium. The Wayne's concession stand is in walnut,
and stands in a lobby whose floor is in black flagstone
and carpeting.

Downlighting in lobby and foyer accent the soft blue
and white vinyl wall covering. The accompanying photos
are views of the new Skouras house.

The grand opening was held early this year, and
featured the showing of "Four for Texas."

Bold block letters, backlighted on the marquee of the
Wayne Theatre, attract shoppers and passing motorists.

A bright setting combines with modern appointments to
make the Wayne Theatre's lobby most attractive.

Two Simplex XL's, with Ashcraft rectifiers and lamps,
serve the new Wayne Theatre in the Preakness Shopping
Center, Wayne, N. J.

12

Polished wood backs of the auditorium seats lend rich con-
trast to the blue and gold decor. The "business end" of
the seats are deep cushion upholstery, however.

International Projectionist May 1964

Investment Opportunity

The plant your company builds in 1984 will be designed
by this youngster.

But long years of training must come first. Years of
patience, love and planning. Years of peace and free-
dom. For in any but a free and stable society, how can
young people develop into the responsible, productive
citizens our country needs?

You have an investment in this boy.

To protect this investment, you can join with other
leading American businessmen to promote the Treas-
ury's Payroll Savings Plan for United States Savings
Bonds. The Treasury Department's Plan works for
stability in our economy . . . strength in the defenses of

our liberties . . . prudence and industry in our thinking.

When you bring the Payroll Savings Plan into your
plant — when you encourage your employees to enroll —
you are investing in all the children who dream of some-
day working in steel and stone and space to make our land
more beautiful and more productive. You are investing
in the builders of our tomorrow, in America's future.
In freedom itself.

Don't pass this investment opportunity by. Call your
State Savings Bonds Director.

Or write today directly to the Treasury Department,
United States Savings Bonds Division, Washington,
D.C., 20226.

tftfr in your P|ant--- promote the PAYROLL SAVINGS PLAN for U.S. SAVINGS BONDS

'"est**1*

The U. S. Government does not pay for this advertisement. The Treasury Department thanks, for their patriotism, The Advertising Council and this magazine*

In response to many requests from readers, Inter-
national Projectionist has secured additional infor-
mation on the Wonderama process described in an
earlier issue. Intended for use in smaller theatres,
Wonderama (formerly called Arc 120) is the inven-
tion of Leon W. Wells, and has been developed by
Leon J. Bronesky.

Leon Bronesky, developer of the Wonderama process from
an invention of L. W. Wells, is shown adjusting the adapt-
er lens on standard projection equipment at the Strand The-
atre, Plainfield, N. J.

"With the Small Theatre in Mind" ...

Wonderama Augments Capabilities

The incontrovertible fact that
"Movies Are Getting Better All the
Time" is further reinforced by a new
process described briefly in a recent
issue of International Projectionist,
and known as Wonderama.

Contrary to the initial fears of
some in an industry which is becom-
ing "process-oriented," Wonderama
is not a new entry to compete with
Cinerama, Dimension 150, or any
other wide-screen process. It has been
designed specifically with the small
theatre in mind, according to its de-
veloper, Leon J. Bronesky, and
Walter Reade/Sterling, holder of
Wonderama rights.

Walter Reade Jr., chairman of
Walter Reade/Sterling, said at a re-
cent demonstration at his company's
Strand Theatre in Plainfield, N. J.
that total conversion would cost ap-
proximately $3,000. The specialized
lens is intended to be lent exhibitors
by distributors handling Wonderama
films.

Reade said the Wonderama process
charges 10 cents royalty for every
ticket sold, no matter what the price
of the seat may be.

He said the Strand's per ticket
price of $1.25 had increased for
"Mediterranean Holiday" to $1.50,
and that he expected the picture
would run about six weeks, in com-
parison to two or three weeks for an
unusually strong feature.

Any 35 or 70mm film can be re-
produced optically for the Won-
derama lens, at a cost similar to that
for printing a standard 35mm film.

14

The original negative is returned un-
affected.

The Strand Theatre has a deep-
curved screen — 61 feet wide and 21
feet high. The Strand shows "Medi-
terranean Holiday" at 2.65 to 1 as-
pect ratio picture on the screen.

To replace a flat or slightly curved
screen with a deep-curved screen can
be done between the close of a night
performance and the start of the
next night performance. The screen
can be adapted in about six hours;
the lens can be adapted to any pro-
jector in approximately the same
time. In this way the theatre owner
need not interrupt normal operation.

The Strand's Simplex X-L pro-
jectors and Ashcraft lamphouses were
used in the normal 140-ft. throw for
the Wonderama presentation. All that
requires attention in most theatres
is the lens and screen variations.

Lenses are now available for im-
mediate "Mediterranean Holiday"

Available by arrangement with distri-
butors, l)he Zeiss Ikon Wonderama
lens adapts standard projection
equipment for use with Wonderama
films.

bookings. These lenses are being tool-
ed and ground by Zeiss Ikon works
in Germany. Walter Reade/Sterling
is now negotiating with an American
firm to make the lenses. iP

The Wonderama image, and how it is projected, is portrayed in the outline
drawing above.

International Projectionist May 1964

Century Introduces New
10-hole Pull Down Projector

35 and 70mm

Centurv Projector Corporation re-
centlj announced a new 70mm. 10-
hole pull down projector.

The Spacearium Projector, design-
ed and manufactured bv Centur\. is

one of the most unique projector ever
used for the public exhibition of

motion pictures. I he projector »a>
made for Cinerama Inc. and is used

' A*t i i ri A II ■ ■ ......

,N ,^-

/ s.

ZJ^m^-^^S^

These illustrations compare the aver-
age small theatre screen (top) and the
required adaptation for Wonderama
(bottom).

Optical handling of the dual film
used in Wonderama is represented in
this illustration.

in the Cinerama-kLM Royal Dutch
Airlines Exhibit at the New York
World's Fair.

ReportedU the largest motion pic-
ture projector ever built, the Space-
arium uses 70mm film with a 10
perforation frame (1.870" - twice
normal size I . Film speed is twice
normal — or 225 feet per minute at
21 frames. As used at the Worlds
Fair, it projects 18 frames per second,
equal to a film speed of L68.75 feet
pel minute.

Six-channel Sound

The projected is complete with a
6-channel magnetic sound reproducer
employing the ahead) proven Hy-
draulic Flutter suppressor, as modi-
fied from a Century standard 70mm
sound reproducer. \ 6-channel \m-
|m\ magnetic pick-up head is used.

Tin- film sprockets, including the
intermittent sprocket, an- double the
size of standard 70mm sprockets, [he
webbed back starwheel is the same
a> is used in standard 70-35mm

projectors.

The new Centur] direct drive is
used with a pol\ "V" bell from the

V4 hp. motor to the main drive shaft
which rotates it 1 I lo UPM in syn-
chronism with the double rear
shutters.

The water-cooled film trap and the
film gate are designed to handle the
larger (circular) aperture plate. A
unique feature added to the intermit-
tent movement is a film stabilizer -
operating independently, but in con-
junction with the "fixed film trap
and izate shoes.

Loop Stabilizers

At this high film speed and great!)
enlarged film loops, special mechan-
ical film loop stabilizers are employ-
ed, thereby minimizing film loop
noise.

The gear train has been generally
patterned after the design of the Cen-
tury 70-35mm projector. Changes in
the gear train have been made, where
necessarv. to accommodate larger
sprockets and facilitate higher film
speeds.

The higher film speeds I feet per
minute I require a special motor
driven take-up. This take-up is essen-
tially the same as is used on the Cen-
tury standard 70mm projectors,
except that it is separately motor
driven. The take-up motor can be
turned on prior to starting the pro-
Please turn to Page 17

■ J _m1

' -,y— — — - *

1

:m^WI

International Projectionist May 1964

Eastman Kodak
Fair Pavillion
Pulling Crowds

One of the most popular and
well-attended exhibits at the New
York World's Fair is quite obviously
going to be the Eastman Kodak
Pavilion. This was made abundantly
clear at a preview of the Pavilion
given representatives of the press at
the Fair grounds a week before the
official opening on April 22.

In spite of the drizzling rain that
refused to cease except at rare inter-
vals, a large contingent of the press
turned out for the advance tour.
And they were vocally impressed by
the wealth of exciting and informa-
tive things to observe and hear in
the Kodak Pavilion.

Foot-long Goldfish

The Pavilion itself is a two-level,
free-form structure some 400 feet
long and over 200 feet wide. The
lower level is open on all sides and
houses the main motion picture the-
atre, numerous exhibit areas and
various plants and sculptured foun-
tains (complete with goldfish at least
a foot-long) and several rest areas.

The upper deck, reached by several
staircases, contains another theatre,
rest areas and some fascinating walk-
wavs open to the sky where visitors
will be able to take pictures against
unique backgrounds, including a
"moonscape" and a panoramic view
of the Fair itself.

This upper deck is topped by a cir-
cular picture tower surrounded by
five huge color prints, each of which
measures 30 by 36 feet. The tower is
illuminated day and night by a
special lighting system and is visible
from afar as one approaches the Fair
grounds.

Film Featured

A major attraction of the Kodak
Pavilion is a new 20-minute film
called "The Searching Eye," which
the press was shown in the ground
level theatre upon arriving at the
Pavilion. The picture was produced
by Saul Bass & Associates of Holly-
wood and takes as its theme, in the
words of Bass himself, "the idea of
seeing."

To carry this out Bass devised this
scheme: A 10-year-old boy walks
along the beach and observes the
ocean, pebbles, sea birds, sand castles
and other sights, and his responses to
them are of wonder and delight. The
point is made that man learns
through his experiences with nature

16

New Equipment for Hollywood's Cinerama Dome

Installation of the first three Ventarc hmps and associated Strong rectifiers for the
projection of the new single lens Cinerama system was recently made at Pacific
Theatre's Cinerama Dome Theatre, Hollywood. Shown in the projection room is
chief Projectionist Tom Ginther, IATSE Local 150 (Theatre) and IATSE Local
165 (Studio), who has been a projectionist in Hollywood since 1934. Twenty two
more of these blown arc type lamps are being installed for this form of exhibition
in other cities throughout America. The Ventarc lamps and rectifiers were sold by
National Theatre Supply.

and at the same time acquires an
acceptance of reality.

Tour de Force

The theme is developed in poetic
fashion with brilliant imagery, and
most impressive are the cinematic
devices that Bass has employed.
Through masking, the large screen
on which the picture is projected
changes shape from a smallish tri-
angle to the full width of a 70mm
image. Cameras were taken under
water as well as in the air, and other
techniques employed include a split
screen (on occasion into six parts)
and "time-lapse" photography to
show flowers grow from a bud into
full bloom in seconds. "The Search-
ing Eye" offers the viewer an extra-
ordinary experience — it dazzles the
eye and stirs the imagination.

A second film is shown in the
Dome theatre on the second level.
This takes the audience "inside" the
atom and demonstrates how modern
chemistry "makes the good things in
life even better."

Highlights of the exhibit area on
the ground level are as follows:

A display of photographic equip-
ment in the Information Center.

An "Adventures in Photography"

exhibit in which the amateur photo-
grapher is shown how to improve his
technique.

An actual model of the Tiros wea-
ther satellite to demonstrate the part
that space photography plays in
round-the-world weather forecasts.

An exhibit called "The History of
Photography" which contains objects
on loan from the George Eastman
House collection in Rochester.

And so on. What the narrator of
"The Searching Eye" says of life
itself could apply to the Kodak Pavil-
ion — "So much to see, so much to
learn, so much to know." iP

Kollmorgen Releases
New Lens Catalog

The Kollmorgen Corporation has
just released its new Projection Lens
Catalog, #K 7-01. The new brochure
includes descriptions of the new short
focal length lenses, under 2 inches,
and the new "Magna-Com" focal
length adapter of 2.78 inches di-
ameter. The Kollmorgen 4 inch dia-
meter lenses have been tested and
recommended for 70 mm use and are
already being applied successfully by
many projectionists for 70 mm in-
stallations. iP

International Projectionist May 1964

Spocearium

Continued from Pirie 15

jector, thereb\ keeping film locps
constantly under tension, anil helping
to prevent film breakage.

V special \shcraft Super Cinex
Are Lamp is used with the Space-
arium Projector. Because of the
closely controlled air flow and arc
stabilization, operation ol carbons in
a vertical position is entirely satis-
factory. Special precautions are
taken to collect the copper drippings
and prevent them from falling on the
Bausch & Lomb Balcold Reflectors.

The projectors as used at the
World- lair are mounted to project
vertically with a special lens supplied
by Cinerama. This lens projects a
360° picture onto a complete hemi-
sphere. I The included angle from
one side of the picture to the other
is 160°.)

Obviously, the screen is in tin-
form of an overhead dome - giving a
360' image. If the projector were to
be used in a horizontal position a
complete visual angle of 160 hori-
zontally and vertically i- possible.

Century believes that this new
projector marks another milestone in
motion picture history and adds
another first to Century Projector
Corporation - contributions to motion
picture engineering advancements.

IP

America's
headquarters

lor all
theatre equipment

supplies

+I.TS-

National

THEATRE SUPPLY COMPANY

International Projectionist

India Depends
Increasingly Upon
Its Own Films

In 1963, a total of 298 feature
films were produced and certified for
exhibition in India, compared to 312
in 1962, and a record 320 in 1960.
the Scientific. Photographic and Bus-
iness Equipment Division. Business
and Defense Services Administration
reported recently .

Kle\en full-length color films were
completed in 1963; however, industry
sources report that approximated 50
color films are currently under pro-
duction with about 20 expected to be
completed in 1901. The demand for
color films is increasing, both for
domestic screening and for export.
despite their higher cost.

Production costs for feature films
rose about 20', in 1003 and are ex-
pected lo rise even more in 100-1- be-
cause of higher fees for top stars and
an all-round increase in wages and
material costs. Many producers con-
tinue to experience difficulties in
raising funds for film production.

Overall film production in 1964 is
not expected to vary greatly from

recent sears. Despite India's position

as one of the world's largest movie
producers, revenue from exports
remains fairly small, amounting to
about $2.5 million during the first 9
months of 1963 and about $3 million
for all of 1962.

Of 136 foreign feature films im-
ported into India in 1963, United
States films accounted for 65, the
U.S.S.R. 19, United Kingdom 15,
Italy 14. with 23 coming from other
countries. This was a sharp drop
from the 221 foreign films imported
in 1902. of which 144 were from the
United States. iP

ASH CRAFT

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And

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dramatic, New ALL TRANSISTOR
sound systems

'True high-fidelity,

distortion free.
rLow installation cost,

minimum space needs.

* Increased reliability,
less maintenance.

*No vacuum tubes, no
photoelectric cells.

and the only American-made 70 mm 35
theatre projection systems

SEE

YOUR CENTURY

DEALER

... for bigger, brighter projection.

PROJECTOR CORP.

New York 19, N. Y.

May 1964

17

Equalizing Sight
and Sound

(Continued from page 9)
the "dim" lamp should be adjusted by
trial and error to see if shortening or
lengthening this distance by small
increments steps up the brightness to
the level obtained with the other
lamp. (It may be necessary in the
case of some lamps to move the
entire lamphouse forward and back
on the projector lamp table.) As a
rule, moving the mirror closer to
the mechanism distributes the light
more evenly over the screen; mov-
ing it farther away increases the
brightness at the center of the screen.
The arc (crater) position must be
readjusted each time the working
distance is changed, of course; and

FIG 2 — The light transmission of
a 2-blade shutter depends upon the
angular width of the blades, measur-
ed with a protractor. The shutters
in both projectors of an installation
should have blades subtending the
same number of degrees.

you should wait until both lamps are
perfectly adjusted before setting the
arc-indicator cards or arcoscope
screens.

Very slight brightness differences
can often be eliminated by adjust-
ment of the arc (geometric focus) in
one of the lamps; but this method
should not be relied upon to "iron
out" gross differences because chang-
ing the arc focus changes the color of
the light. iP

B Er K Opens First
Chicagoland House
Since Late 30fs

The first new Balaban & Katz
theatre to be erected in the Chicago
area in 27 years is due to open this
fall at a site adjoining a shopping
center in suburban Oak Brook, 111.

Ground-breaking ceremonies last
month were attended by Oak Brook
Mayor, Ted A. Mehlman, David B.
Wallerstein, president of Balaban &
Katz, Richard M. Bennett of Loebl,
Schlossman & Bennett, architects,
Douglas Kramer, vice president of
Draper and Kramer, Inc., agents, and
Miss Helen De Witt, executive secre-
tary of the Oak Brook merchants
association.

Also on hand were Norman Cohn,
president, and Bernard Blake, vice
president of the Inland Construction
Company of Morton Grove, contrac-
tors for the project.

The design and decor of the new
theater will conform generally to that
of the shopping center it adjoins.

iP

Ampex Names Robt. Hill
Ad Sales Promotion Mar,

Robert G. Hill, former manager
of advertising for Columbia-Geneva
Division, U.S. Steel, has been named
advertising and sales promotion man-
ager for Ampex Corporation, it has
been announced by Thomas E. Davis,
marketing division manager.

In his new post, Hill is responsible
for advertising and sales promotion
of video, instrumentation, computer
and professional audio products in a
wide range of markets including
broadcasting, industry, defense, aero-
space and medicine.

The holder of more than 20 awards
for advertising achievements, Hill
was named "Industrial Advertising's
Man of the Year" for 1957, the only
Westerner so honored in the 32-year
history of the award. The award is
presented annually by the national
sales and advertising magazine, In-
dustrial Marketing, Chicago.

He is a graduate of San Francisco
City College. iP

Stadium Theatre
Opens in Bayside

A 1400-seat, stadium-type theatre
opened its doors last month in Bay-
side, Long Island, N. Y.

Operated by Fabian Theatres, the
new house was equipped by Capitol
Theatre Supply Co.

The screen was supplied by Hurley
Screen Company. Adler Frames and
glass were used and General Register
supplied ticket machines.

ERROR

International Projectionist is
doubly regretful about its
error in reporting the recent
25-30 Club dinner dance in
New York. It was erroneously
reported that Local 306 makes
up the bulk of the club's
roster; in fact, most of its
members are not New York
area people, but belong to
locals all over the U.S., Can-
ada, England and New Zea-
land. It is also regretful that
more of these members
couldn't attend the party, as
it was reportedly one of the
nicest functions yet held by
the group.

Norelco

projection
equipment

Available from

leading theatre supply

dealers

North American Philips Co., Inc.

Motion Picture Equipment Division
TOO E. 42nd St., New York 17, N.Y.

CARBON ARCS . . . for finest Projection . . . Compact Xenon Arcs

JfcowuUne Abe QgsiAjosU / Y ^^T'T^f n i\r°

division
• Brighter Light on Screen

• Longer Burning per Carbon
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CARBONS, INC.

rrsiosf LAMPHOUSES •

by Cinemeccanica

BOON TON, N. J.

\Ernosf POWER SUPPLIES

by Christie

18

International Projectionist May 1964

basic
mathematics

PRACTICAL
METHOD

by NORMAN H CIOWHUIST

VOLUMES
1 through 4
COMPLETE

ROM (OUNTIM

TWOUtM UlOAIft

* itOOttN

UWHiD APftOAlH

TO tunCMATKS

AMB ITS IRB

m RIDER

1 '

■ •■

M

■

V

• -

i

BASIC MATHEMATICS
by Xorman H. Crowhurst

4-volume 'pictured-text' course makes it easier than
ever before possible to learn all the math you'll need
to know to speed your progress in Jectroni.s— no
short cuts— no gimmicks.

This remarkable 4-volume course takes you in easy
stages from counting through algebra, geometry,
trigonometry to calculus so that you will understand
easily, quickly, all the math you will need to get
aheal in electronics — regardless of your previous
e'ucation! It employs an exciting new technique
presenting basic mathematics as on continuous devel-
oorrnnt of mathematics. The individual branches of
mathematics are not divided into separate and un-
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calculus are interwoven at progressively rising levels
in the different volumes. Each volume reinforces your
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the subjects. Selected illustrations create clear
imajes of mathematical ideas formerly difficult to

'aid.
A KNOWLEDGE OF MATH SPEEDS YOUR PROGRESS IN
ELECTRONICS — No matter what your plans are in
electronics — mathematics plays a vital role. The

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Volume I — ARITHMETIC AS AN OUTGROWTH OF
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you are being introduce I ta subjects usua ly con-
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trigonometry as better m tho s of solving a problem
when the arithmetic begins to get invo ved. =258-2
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Volume III — DEVELOPING ALGEBRA, GEOMETRY,
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you're ready to apply all that you've learned in the
earlier volumes iou'II be able to find the right
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for a career in which mathematics play

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Available at parts distributors, bookstores, or direct.

You'll be ready
a mast

INTERNATIONAL PROJECTIONIST
1645 Hennepin Avenue, Suite 212
Minneapolis, Minnesota 55403

Please send these paperback volumes:

□ Vol. I — 53.90; D Vol. 1 1 — $3.90; □ Vol.
Ill— $3.90; □ Vol. IV— $3.90; □ Send 4-
Vols. in one clothbounJ edition, $15.95.

Name

Address

City Zone Stat?

• i

The

aatiLl New

LJTLJF^

PROJECTION ARC LAMP

A Product of

The ^twS Electric Corporation

31 City Park Avenue • Toledo, Ohio 43601
Phone: (419) 248-3741

Brochure on request

WIDER USE

Matches the optical requirements of ail 35mm
and 70mm projectors. A single knob allows
instant change between film widths. A cali-
brated scate with reference pointer facilitates
precise reset of burner focus ... a Strong
exclusive.

GREATER CONVENIENCE

Unit construction permits instant removal of
components for cleaning and Inspection. 25%
lower silhouette permits easy installation in
low-ceiling projection rooms.

The FUTURA n

with automatic crater positioner for 13.6mm
carbon trim burning at 120 to 160 amperes,
or for 11mm carbon trim burning at 100 to
125 amperes.

MORE LIGHT

for ail Indoor theatre screens up to 65 feet
and drfve-in screens up to 120 feet.

LESS COST

to buy and less to use. Efficient utilization
of standard 20-inch carbons insures THE
GREATEST AMOUNT OF LIGHT EVER DE-
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projection of an extra reei p&r carbon.

The FUTURA I

for utmost economy in operation with stand-
ard 11mm carbon trim burning at 75 to 105
amperes.

MORE FEATURES

New type relocated arc imager system elimi-
nates paraiiax. Big 18-inch first surface Strong
Tufcold reflectors used in lamps operating
above 95 amperes assure lower aperture
temperatures. Silvered reflectors used in
lamps burning under 95 amperes. Stream-
lined ammeter for reading arc current. Auto-
matic trimming light. Inside dowser system.

Larry Collins, manager of the 41 Drive-In,
Macon, Ga., and projectionist Andrew
Nobler, Jr. examine one of their new Strong
Futura I projection lamps. Greatly increased
brightness at negligible cost has been
i realized since installation of the Futuras.
See story on page 18.

sseaSuoo jo Arejqxi

JUNE

VOLUME 39
40c A COPY

1964

NUMBER 6

$3.00 A YEAR

.._/•":..,:

t. Bonus brilliance
2. Bonus burning time

The longer your throw and the wider your screen, the
more you need the two big bonuses that go with
"National" projector carbons!

So why short-change yourself? Why settle for less
when you can fill your screen with today's brightest
light and get longer screening time per inch of car-
bon burned?

Specify "National"— and you specify the projector
carbons that have been the standard for quality
screen illumination since 1917.

"National" is a registered trade-mark of

UNION CARBIDE CORPORATION

CARBON PRODUCTS DIVISION
270 Park Avenue • New York, N. Y. 10017
In Canada: Union Carbide Canada Limited, Toronto

INTERNATIONAL

PROJ ECTIONIST

Volume 39

June 1964

No. 6

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO
Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue, New York 17, N. Y.

Telephone Murrayhill 7-7746

(Area Code 212)

IN THIS ISSUE

Proper Projection 3

New Construction Methods

Cut Expense 4

Lenox Square Theatre 6

Sound Track

By J. G. Jackson 8

Hollywood at the N. Y. Fair 9

Characteristics of Film 12

News Notes — Technical Hints — Miscellaneous Notes

INTERNATIONAL PROJECTIONIST, published monthly by the
International Projectionist Publishing Co. division of The
Northern Publishing Co., Post Office Box 6174, Minneapo'is
24, Minnesota. Editorial offices, 1645 Hennepin Avenue,
Minneapolis 3, Minn. Subscription Representatives: AUS-
TRALIA — McGills, 183 Elizabeth St., Melbourne; NEW
ZEALAND — Wixon's, Ltd., 64 Courtnay Place, Wellington;
ENGLAND and ELSEWHERE — Wm. Dawson & Sons, Ltd.,
Macklin St., London, W. C. 2. Subscription Rates: United Stores,
Canada, and U. S. Possessions, $3.00 per year (12 issues) and
$5.00 for two years (24 issues). Foreign countries: $4.00
per year and $7.00 for two years. Changes of address should
be submitted four weeks in advance of publication date to
insure receipt of current issue. Second-class postage paid at
Minneapolis, Minn. INTERNATIONAL PROJECTIONIST as-
sumes no responsibility for personal opinions appeoring in
signed articles, or for unsolicited articles. Entire contents
copyrighted 1964 by INTERNATIONAL PROJECTIONIST
PUBLISHING CO. <^^SSfe>

PROPER PROJECTION

To insure proper lamp operation, and to prolong the
life of the lamp, these procedures should be strictly
followed :

Optical surfaces should he kept scrupulously clean.
A regular program for cleaning them each morning be-
fore the days operation begins is an important part
of projection room routine.

Only lens tissue should he used for cleaning optical
surfaces. \ full supply of this material ought to be
on hand. If the supply is unavoidably exhausted, silk
or soft flannel materials may be used, never cotton.
If the dr\ lens tissue does not effect complete removal
of stubborn dirt, it may be moistened slightly with
carbon tel rachloride.

The floor of the lamphouse should be kept clean,
carbon dust and copper particles swept out regularly.

Feed relay contact points should be checked regu-
larly, and cleaned with fine sandpaper if sparking
appears. Continued arcing across the relay points in-
die ates that the introduced into

the sound. This
ing them has calls for clean-

d el crio rated. ing the relay

and should be
replaced. If re-
lay contact ac-
tion is faultx.
noise ma\ he

points, read-
justing their
tension, and, in
extreme cases,
for installation

of filter condensers, connected cither acress the points
"i from each point to ground.

Commutator action of the arc feed motor may also
create noise in the sound if the commutator is dirty or
in poor condition, or if the brush tension is incorrect.
In such cases the commutator should he cleaned, sanded
or repaired; or the brushes should be adjusted or re-
placed. It max also be necessary to connect filter con-
densers across the brushes, or from each brush to
g] mind.

Ml inoxing parts schould be kept carefully lubri-
cated at all times, in accordance with the manufacturer's
instructions.

Optical adjustments should be checked frequently.
\n\ improper adjustment will show up immediately in
reduced or incorrect screen illumination.

Onl\ the correct size carbons should be used, and
each carbon should be carefully inspected before it is
inserted in the lamp. Carbons must be kept in a dry
place.

Maintaining a stead) arc at all times is one of the
most important responsibilities of the projectionist.

Film Maintenance

Things to watch:

Improper packing and rough handling in shipment.

Excessive tension at the projector aperture, and in-
correct take-up action.

Improperly adjusted sprocket idlers, loose splices
and poorly made splices, which allow the film to run
off the sprocket, thus embossing sprocket teeth impres-
sions on it or actually^ tearing it.

Rewinding should be done at the rate of 1,000 feet
in six minutes — no faster.

Reels should not be overloaded with excessive
footage.

Proper tension must be maintained on the upper
reel.

Film should be stored only in a clean, humid
atmosphere.

Undercut or worn sprocket teeth. iP

International Projectionist

June, 1964

INTERNATIONAL PROJECTIONIST

'■■ t,.J ,■ I'-

Volume 39

June, 1964

Number 6

Construction, Remodeling on Upswing . . .

New Methods Cut Expense

A theatre construction boom is in full swing, Theatre Equipment Dealers
Assn. members were told at a recent meeting in Chicago.

Mel Glatz, design, construction and maintenance engineer for National
General Corporation Theatres, said theatres of conventional design are being
erected particularly in key locations and shopping centers.

"Experimental theatres, properly
located, improved product and popu- =

lation trends have reestablished faith
in the industry," he said. "This
renewed faith was backed up by hard
cash to the tune of $97 million in
new construction in 1963, plus
another $15 million on refurbishing
and reequipping older theatres.

"It is predicted that in 1964 there
will be considerably more new
theatre construction and many more
remodeling projects — possibly at a
combined amount near $130 million.

The expert told the dealers that . . .
"While the industry has lost an audi-
ence to other forms of entertainment
and sports media, except for rare oc-
casion, it is starting to feel the effects
of the population explosion.

Population Increase

"You are aware of this great
population growth, but to bring it
into full and proper focus, may I
remind you of a few significant
statistics and predictions.

"In 1950 the U. S. population was
152.3 million. In 1960 the figure was
180.7 million. We are approaching
1965. and the prediction is 195.1 mil-
lion. The prediction continues by
estimating that the population figure
in 1970 wii be 211.4 million: and by
1980, only 15 short years away, the
figure will reach 252.1 million.

"No doubt much of the new faith

in the industry is based correctly on
these figures.

"While on statistics," he continued,
"the migration of population should
be of some significance to you in
planned marketing.

"It is predicted that during the
sixties this migration west will in-
crease, with the migration south
being a close second.

"It is estimated that by 1975, the
majority of the population will live
in only 20 super cities!

"Considering these facts and pre-
dictions — plus your realization that
there are eight to ten thousand
theatres in the nation badly needing
remodeling — new equipment — new
furnishings — your future appears
bright!

"It appears that for those who can
adapt and qualify, they are on the
threshold of the biggest, most reward-
ing opportunity they will experience
in a lifetime.

"The question becomes: What
Does It Take to Qualify?

"You Must Become a Hard-Headed
Realist, and realize that many of the
items and services you are offering
your customers are as obsolete as
most of our ancient theatres. In fact,
some product and methods are the

same as were being offered and sold
in the thirties!

"I believe . . . that our production
end of our business is also way in
advance of our physical properties
and equipment, and that there are
relatively few theatres which can
present this product to the customer
as it should be presented, and give
the customer the full impact of what
has been put on the film.

New Attitude

"The attitude of 'you make it, we'll
sell it' was discarded 15 years ago by
most every other business.

"In modern business, those dislik-
ing change have gone. Those pre-
ferring to remain status quo, have
not been able to maintain their status
quo.

"Those who welcome change, who
adopted and initiated new concepts
in product and marketing, are the
Successes of today in modern busi-
ness. This must be your philosophy,
as of now.

"The industry needs an organized
research program of your customers'
needs, and those of the demanding
public. The whole picture must begin
and end with the public's likes and
dislikes. I am not speaking of equip-
ment and furnishings only — but of
the composite theatre — the complet-
ed end results.

"There are literally hundreds of
exhibitors wanting and needing new
facilities — remodeling — equip-
ment. Most of them haven't the slight-
est idea of how to begin, or where to

International Projectionist

June, 1964

start, or what they will need, or with
whom to counsel, who can really
guide them and who really knows.

"W ith no new. up-to-date guide
line? and requirements to go by for
today s streamlined functional theatre
an inexperienced person is bound to
make costly errors and come up with
obsolete facilities.

View the Future

"Here, again, research by a group
such as yours can be invaluable to
the industry, Guess work — personal
opinion — tradition must go. Every-
thing must start with the customer
and end with the customer — his
needs, his like-, his wa\ of life: anil
with vision to the future.

"\K company has been ver) active
in this new expansion program; has
completed several new projects, both
conventional and drive-in theatre-.
And there air man\ more in the
planning stage. \\ e need many re-
placement- of obsolete facilities, not
only in metropolitan areas, hut in
town- of 25,000 to 100,000 popula-
tion, as well.

"The tremendous cost of these
completed projects has made our offi-
cials consider each project more care-
fully. It would be m\ guess that
others interested in expansion and
improvement are finding the same
condition.

"It would also he m\ guess that for
ever) new project under ua\ or com-
pleted, there are at least twenty to
thirty more which are desired and
needed, but which have been shelved
or halted.

"In my company, those of us in
the design and construction field
have been challenged by our top
management to do something about
this problem: to produce a new.
deluxe conventional theatre for $300.
per seat, complete in ever) respect,
fulh equipped, exclusive of land
cost. The past completed theatres
have been costing between $400. to
S600. per seat. This means cutting
the cost of an average 800-seat.
equipped theatre by $50,000.00 to
$100,000.00.

Can Be Done

"This, you may say. is impossible.
Yet, every indication is that it can
and will be done.

it can not be done by some of
our ancient standards.

"Getting back to the challenge of
creating a greatly reduced cost on
our new theatre . . .

"\X e cut our over-building height
by 30" by using the former attic
space to mount draperies and tracks.
This eliminates a valance and also

International Projectionist

cut out another 14,000 cubic feet
from the auditorium, helping on
heating and air conditioning require-
ments and future costs. This also im-
proves the picture presentation.

"Electrical systems can and are
being simplified, primarily in the
projection booth, and simplification
of the main distribution system.
While some of this ma) create a few
extra steps for theatre personnel, it
-a\es thousands of dollars in first
cost and later maintenance.

"Catwalks through the attic have
been eliminated by discarding old
standards — new engineering and
adapting new type fixtures, lhi-
item. alone, saves approximated

$3,000.00.

"New approaches to traffic pat-
terns of patrons entering and exiting
also conserve precious square feet.
b\ rmfing normally waste -pace to
w or'

" \ unique use of common mater-
ials has eliminated plaster or acou-ti-
cal materials for auditorium side-
walls not < overed l>\ draperies.

New Products

"Special products ha\e been de-
veloped in conjunction with standard.
inexpensive T Grid acoustical ceiling

products, which eliminate the appear-
ance of the grids, making possible a

one-hour rated ceiling at 2.V . less
COSt from normal method-.

"Win can't we gel manufacturers
to consider the problems and the cost
he creates in the use of his product?
The market i- large enough to war-
rant consideration.

"If \ou will recall my previous
remarks, nowhere have I mentioned
eliminating, changing or cheapening
any item or phase of the composite
theatre which would diminish in any
wa\ the esthetic atmosphere — the
comfort — the functional qualities —
the maintenance — the abilit\ to pre-
sent motion pictures as they should
be presented. Because all of these are
primary, and are of extreme impor-
tance.

"I have not covered drive-in
theatres. Here again, most are still in
the cow pasture stage. Prestige is
seriouslv lacking.

"We need improvements, studies,
research, and cost reductions in every
phase of the composite theatre, tun-
ed to today's and tomorrow's needs:
functional design of building, use of
materials, boxoffice equipment and
security control, floor coverings,
lighting and electrical, seating, adver-

(Please turn to page 18)

June, 1964

35 and 70mm

"teg** —

Shopping Center Theatre . . .

Lenox Square Has The Modern Look

In the April 1964 issue of International
Projectionist, the projection lamps newly
installed in the booth of the Lenox Square
Theatre, Atlant, Ga,, were described (page
14). Here is additional information on the
new theatre.

Luxury and comfort abound in
the new Lenox Square Theatre, At-
lanta, one of Georgia Theatre Co.'s
new "showcase" houses.

From its distinctive marquee — said
to be the largest straight-line model
in the U. S.- — to its deep pile gold
carpeting in the auditorium, the
Lenox Square is truly an example
of what modern architecture and fur-
nishings can do for a motion picture
house.

The marquee is 58 feet long, with
19-foot openings accommodating ten
lines of ten-inch letters, six lines of
17-inch letters and four lines of 24-
inch letters. The letters, in all sizes.
are red plastic. The theatre name is
formed of molded, 48-inch letters,
protruding from a blue plastic back-
ground.

The entrance lobby is 30 feet wide
and 120 feet long. Walls on one side
are paneled in walnut, while the other
side is in vari-colored Vicratex wall
covering. The 40x60 ft. display
frames are inserted between uprights
which serve to divide the orange.

canary and turquoise panels. One
half of this entire area is floored
with vinyl, while the other half is
carpeted. The carpet here, as else-
where throughout the theatre is in a
solid-color design composed of
orange, canary and beige yarns. A
30-foot settee is built into the rear
wall of the lobby space, fitted with
12 vari-colored foam rubber cush-
ions.

A modern concessions counter is
built-in, holding many varieties of
candies in the center section, and
with soft drink dispensers for grape
and orange drinks. An icemaker is
attached to Coca-Cola dispensers. A
large popcorn machine which has
been vented occupies one end of the
side counter. On a background made
of pegboard is a pictorial display of
the products sold, composed of four
panels of plastic, shaped to resemble
film strips, with lighted, colored
photographs of the actual items sold
protruding from these plastic panels.

The lobbyr also houses two drink-
ing fountains, public telephone pay

cowmc

$if tCARITAXERS'

stations and modern furniture. A
16-foot circle of modern lights, in
matching colors, beautifies each end
of the lobby, while the central por-
tion is illuminated by hidden lights
focused on the refreshment area.

There are 700 rocking chair seats
in the auditorium, installed on a
staggered floor plan. The seats are
upholstered with nylon over foam
rubber cushioning, plus springs, with
double-width, upholstered armrests.
Carpet in the auditorium extends to
the stage and up three steps and
over the entire stage to the screen
location. Walls are draped in gold
damask around the entire auditori-
um, broken only by five hidden
lighting devices on each side wall.

The close-in curtain and screen
masking are controlled automatically
from the projection room, and the
dimmer for auditorium and stage
lights is also controlled from the
booth. In the projection room, the
latest in 70-35mm projection equip-
ment was installed, using all-trans-
sistor sound. The arc lamps are pow-
ered by rectifiers, and three sets of

^^^SFf^P^^P

A smuch smaller version of the main marquee lights the
passage from foyer to lobby and advertises coming attrac-
tions, channels waiting, exiting traffic.

An ultra modern lobby provides ample waiting space for
patrons. Cheerful lighting and a 30-ft. settee, part of which
shows lower right, are features of the Lenox Square's lobby.

International Projectionist June, 1964

lenses provide for the different pic-
ture sizes. Tile projection room is
beautifully equipped with all of the
special dei ices needed for the hand-
ling of 70mm film, as well as a spot-
light, |>tiliii address system, mag-
netic tape recording and background
equipment, as wel] as record players.
The auditorium i> equipped with five
wall speakers on each side ami five
speakers are located in bai k
of the ld\ 10-foot screen.

Comfort for Patrons

\ spacious ladies' lounge, carp. -led
and decorated l>\ an Vtlanta depart-
ment stoic i- adj. Kent to the muni'ii -
restroom, the latter being tiled from
floor to ceiling in a canar) motif.
A dressing room for cashiers and

Concessions attendant- i- connected

to the ladies' room. The men's room
is of the same spacious design, in a
cocoa color. The ushers' dressing

loom i- attached to this space.

The Lenox Square Theatre i- con-
ditioned throughout for summer cool-
ing and winter heating l>\ three
separate units.

I. B. "Bill" Finch of Finch, Uex-
ander, Barnes, Rothchild \ Pasi hal,

was architect for the theatre.

President of the I exox Square
Shopping Center, one of the most
outstanding in the nation, i- Edward
I.. Noble, and John I). Smith i- vice-
president and general manager.
Smith -aid. rejiardhi" the theatre.

Something More'

"\\ e are happj to have Mr. John
Stembler, presidenl of Georgia The-
atres Co., ami I.. E. W hitaker. the
company's general manager, and
their associates with us as the firm
the) represent i- congenial with the
aims of our other tenants — to contin-
uall\ strive to make Lexon Square
more than a market place."

Carrier air conditioning units were
used: other suppliers are as follow-:
Bigelow, carpeting; soft drink dis-
pensers. Coca Cola Co. and Jet
Spray: Scotsman, ice machine: pop-
corn machine. Star: seats. Heywood-
Wakefield; screen. Technikote:
speakers. Altec: marquee. State
Neon: and letters. Bevelite.

Century provided projectors and
sound reproduction. emplo\ im_r
Strong lamps and rectifiers and
Bausch & Lomb and Kollmorgen
lenses. iP

International Projectionist

T'HTm*VAESCAPPE-

STW McOUEEN JAMES GARNER

Georgia Theatres' new Lenox Square Theatre, located in an Atlanta chop-
ping center, uses its giant marquee to attract customers. State Neon, Atlanta,
supplied the marquee, which uses Bevelit letters.

Rocking chair type seats and ample leg room complete
the picture of comfort and luxury in the Lenox Square
auditorium. The interior is done in gold, accented by both
carpeting and drapes.

A colorful backdrop for the Lenox Square's refreshment counter simulates
film strips with individual "frames" highlighting pictures of the treats.

June, 1964 7

Sound Track

by J. G. Jackson

College Boasts Modern Projection Room

Nashville, Tenn.

Dear J. G.:

I'm told that light inbal-
ance is mainly caused by
using projectors of different
makes or models. Does this
always occur?

Ralph Agar

Dear Ralph:

The use of different makes or
models of projector mechanism on
the two machines does not necessarily
cause an inequality of screen-light
balance, but whenever a light mis-
match is obtained from a hybrid in-
stallation, do not fail to check the size
of the openings in the shutter case and
heat shield of the "dim" machine.
It may be that these openings are too
small to allow the light beam to
pass through the aperture unobstruc-
ted.

An obstinate case of brightness
mismatch may require a recheck of
the reflectance of the lamp mirrors
and even if the angular width of the
shutter blades in each of the projec-
tors. Remember, it is the angular
width of the shutter blades in degrees
that affect shutter light transmission,
not the actual size or diameter of the
shutter in inches. Angular width,
which should be exactly the same for
the - shutters of both projectors, is
measured with a protractor, obtain-
able at almost any dime-store station-
ery counter.

Because the optical plate glass in
the projector ports may absorb 8 or
more per cent of the light, a notice-
able brightness mismatch will occur
if the glass is present in one of the
ports and absent from the other. The
average observer is able to detect a
brightness difference in the neighbor-
hood of 4 or 5 per cent.

More subtle causes of faulty pic-
ture equalization which make change-
overs perceptible to the audience in-

8

One of the finest equipped, roomiest projection rooms in any institution of
learning is that of Ball State College, Muncie, Indiana, where a Strong Xenon
projection lamp has just been installed for 16mm film projection along with two
Strong Carbon Arc projectors for both V-/J' x 4x/i" slides and 35mm slides.
Shown operating the Eastman projector is Robert E. Jolliffe. Two Strong Super
Trouper Carbon Arc follow spotlights complete the booth equipment.

volve the lateral-guide flanges and
the intermittent movements. It is cer-
tainly true that if the picture pro-
jected by one machine is more or
less jumpy, the difference in pro-
jectors will be noticed. We can state
categorically that, unless the picture
has been badly photographed or care-
lessly printed on the film, or the
print is in poor physical condition,
there is seldom any excuse for pic-
ture-jump or side-weaving.

The test for camera or printer
jump is simple, although it cannot
be carried out during a performance
for an audience. The picture must be
racked out of frame, with the frame-
line placed across the middle of the
screen. The bottom half of the picture
will occupy the top half of the screen,
and the top half of the picture, the
bottom half of the screen. If these
two "picture halves" are seen to
weave and jump independently of
each other, and the frameline, itself,
is rocksteady, the camera used for
photographing the picture caused the
jump. If, however, the two halves of
the picture and the frameline all jump
together in the same direction, either
the projector is at fault or the sproc-
ket holes of the print are worn out.

Address your cards and let-
ters to Sound Track, 1645
Hennepin Ave., Minnea-
polis, Minn., 55403

After 35 Years

George H. Mayer (left) is all smiles
as he retires after 35 years with Union
Carbide Corporation's Carbon Products
Division. For the past decade, Mr.
Mayer .has .been .headquartered .in
Atlanta, responsible for the sale of arc
carbons for motion picture projection
throughout .the .southeastern .United
States. Extremely active in the Atlanta
Men's Garden Club, he was a driving
force in the local beautification pro-
gram that has led to the planting of
countless trees and shrubs. Looking on
is his wife, Becky, as he receives a
retirement gift and good wishes from
C. J. Chapman, vice president, market-
ing, for the Carbon Products Division.
Mr. Mayer is also an active member of
the Variety Club.

International Projectionist

June, 1964

Filmland Goes To The Fair

This sketch of the Hollywood pavilion at the World's Fair shows the main
facade of the 75,000 sq. ft. exhibition area, which contains selected famous movie
sets and many other features.

Hollywood Pavilion
Dazzles Fair Visitors

Famous Hollywood seta actually
used in outstanding pictures, a L0O0-
seal theatre in which audiences can
watch the shooting of a film on

- mulated sound stage, and a Mo-
tion Picture Museum »>f memorabilia
from the treasure chests of the ma-
jor studios, an- highlights of the
Hollywood Pavilion at the New York
\\ mi Id's Fair.

The exhibit reflects the color,
clamour and excitement of the Holly-
wood motion picture industry. Occu-
pying a 75,000 square foot exhibi-
tion area, the Hollywood Pavilion is
operated by George Murphy & Asso-
ciates, with Trans World Financial
Company participating a> financial
manager.

Utilizing all the magic <>f the world
of Hollywood as its theme, the Pa-
vilion has as its entrance a replica
of the facade and forecourt of Grau-
mans Chinese Theatre, most- publi-
cized movie palace in the world. This
ambitious recreation is complete with
the footprints and handprints of
Hollywood's most-renowned stars.

Broadcasts, telecasts and a non-
stop schedule of other entertainment
is spotlighted in the Pavilion lobbv.
which features a Gallery of Stars and
a Reception Court. There is also a
Celebrity Retndesvous. where visiting
stars can sign 100 autographs at a
time on a multiple writer.

Visitors have an opportunity to

International Projectionist

roam through the throne room From
"Cleopatra", the candj shop From

"West Side S".or\". the court room
From "The King and I", the French
street from "Irma La Douce" and
mam other original sets from cele-
brated Hollywood motion pictures
of the past, present and future

Vuthenticity is the keynote of the
presentation of these fully-dressed
movie sets, further enhanced in
many instances by the use of dress
extras and musical backgrounds.

The skills and techniques of movie-
making are given full play in the
large Sound Stage Theatre where
\ isitors see the actual shooting of a
film in a demonstration presented
twice every hour. There is a break-
away fight scene with top motion
picture stunt men. and a love scene
that turns into a three-way comedy
between ingenue, juvenile and direc-
tor. The climax of this "inside look",
narrated by a well-known movie per-
sonality, is an audience participation
scene that gives every Pavilion
visitor a chance to boast that he
has been in the movies.

Hollywood nostalgia, in the form
of yvell-remembered props, costumes
and jewelry, as well as models, de-
signs and stills for classic films, are
displayed in a rotating exhibition
in the Motion Picture Museum. One
section of the Museum is devoted to
mementoes of the career of the late

June, 1964

Cecil B. DeMille. master of spec-
tacles.

Also scheduled are Hollywood
Fashion Shows and promotions for
new motion pictures to be conducted
with the flavor of a Hollywood Pre-
miere. In a replica of an old-fash-
ioned penny arcade, visitors can be
photographed in a Star Cut-Out and
place their footprints in clay to
commemorate their visit. In a Music
Gallery. leading recording stars
make personal appearances and
autograph their latest records as gifts
for Pavilion guests.

\ series of billboards displaying
outdoor advertisements for many of
the most famous films of the last
25 years ring the entire Pavilion en-
closure. The Hollywood theme is
excitingly evident in both the Holly-
wood Garden Restaurant and the
cocktail lounge t.he Hollywood Celeb-
rity Room. il'

Norelco

projection
equipment

Available from

leading theatre supply

dealers

North American Philips Co., Inc.

Motion Picture Equipment Division
100 E. 42nd St., New York 17, N.Y.

OUT OF PRINT

MITCHELL MANUAL

AVAILABLE!

The renowned "Manual for
Practical Projection" by Robert A.
Mitchell is now out of print, ac-
cording to an announcement by the
bookseller, International Projec-
tionist.

Returns from our retail outlets
have been consolidated and we
now have approximately 40 vol-
umes of the Mitchell Manual avail-
able on a first-come-first served
basis.

These books are in brand new
condition, complete with dust
jackets; have never been used.
This rare publication can be yours
for $10 cash or money order.
Sorry, no C.O.D. or foreign orders
can be accepted at this price.

Sheehan Booksellers

Box 410, Route 5

Wayzata, Minnesota 55391

"**»»

When the hait's right ... the fish hite !

Today's audiences respond to quality showmanship . . . quality built on sharp negatives and
sharp prints. That's why it pays to GO EASTMAN all the way— negative and print-stock. And
/always give the laboratory time to do its job right. □ For the purchase of film, technical queries
and service, write or phone: Motion Picture Products Sales Department, EASTMAN KODAK
COMPANY, Rochester, N.Y. 14650, or the regional sales divisions, 200 Park Ave., New
York, N.Y.. 130 East Randolph Drive, Chicago, III., 6706 Santa Monica Blvd., Hollywood, Calif.

mi itiiiiiiiiiiiiii

EASTMAN FilLM

r

When llic bait's right... the fish bite

A

Today's audiences respond to quality showmanship quality built on sharp neg.ii-
top prints. That's why it pays to GO EASTMAN all the way-negative and pi
ilwaysgive the laboratory time to do its job right □ For the purchase ol film, technli »i queries
1 e. write or phone: Motion Picture Products Sales Oepartmi-nt EASTMAN KODAK
COMPANY, Rochester. NY. 14650. or the regional sales divisions. 200 Park Ave . New
ton, N Y 130 East Randolph Drive. Chicago. III.. 6706 Santa Monica Blvd , Hollywood. Calif.

Of prime importance to the projectionist:

Characteristics of film

Of prime importance to the the-
atre projectionist are the nature and
working qualities of the film he pro-
jects. And by the term film we refer
to perforated and processed motion-
picture positive stock which consists
of a plastic base coated with one or
more thin layers of gelatine emul-
sion. Now, the trems used here are
strictly projection terminology in-
asmuch as "film" and "emulsion"
have somewhat different meanings
to the photographic engineer.

The word "film" in photographic
jargon refers only to the hardened
gelatine coating which carries a
photographic image in the form of
dispersed silver or salt grains, or as
colored organic dyes. This "film"
may be coated upon glass, paper,
or transparent plastic; and to facili-
tate the formation of a coating of
uniform thickness, it is applied not
directly to the supporting material,

but to a "substrate," or thin bond-
ing layer, of clear pre-coated gela-
tine.

The substrate and gelatine film,
taken together, are what the pro-
pectionist calls "emulsion" ( as when
he speaks of scratches in the emul-
sion, or of scraping off the emulsion
preparatory to splicing a print ) . To
chemists, however, an emulsion is
a uniform dispersion of a very finely
dividen liquid or sold in a liquid — a
milky suspension of microscopic
silver bromide grains in a solution
of gelatine for example. Such a solu-
tion-like emulsion of light-sensitive
silver salts hardens to a pellicle —
or photographic film — when spread
out upon a smooth support material
and allowed to "set" in the dark.

An actual photographic emulsion
is made by adding solutions of silver
nitrate and sodium bromide to a
warm solution of gelatine. A chemi-
cal reaction occurs in which these

PROPERTIES OF DIFFERENT TYPES OF MOTION-PICTURE FILM

PROPERTY OF BASE OR FILM

5-mil

CELLULOSE

NITRATE

5i-mil
CELLULOSE
DIACETATE

5i-mil
CELLULOSE
ACET0-
PR0PI0NATE

5i-mil

CELLULOSE

TRIACETATE

if- mil
CR0NAR

Tensile strength (lbs/in2)

15,000

10,000

1 1 ,000

13,000

16,000

Elongation at break {%)

10

20

10

5

70

Tear strength (grams)

65

^5

55

60

180

Rigid ity (105 lbs/in2)

6.5

lf.0

k.2

5-3

5-5

Flexibility (folds)

16

7

16

15

20,000

Swelling, 30 min water

0 17

0.52

0A7

0.37

0.07

Per cent shrinkage:
2 yrs. storage
2 yrs projection use

0.30
0 60

0.!*0

1.5

0.35
1 .

0.25

o.to

0.05
0.05

Decomposition temp F ( )

300-380

375

400

h-50

700

Focus drift

Moderate

Great

Great

Moderate

Slight

Buckling effects

Slight

Great

Great

Moderate

Slight

Frame embossing

Slight

Moderate

Moderate

Moderate

Slight

Brittleness tendency

Slight

V. great

Great

Moderate

None

Rel projection life

1200

t+oo

600

1000

10,000

Solubility in solvents:

Alcohol & ether mixt

sol

si. sol.

insol.

insol.

insol.

Acetone

sol.

sol.

sol.

si. sol.

insol.

Methyl acetate

sol.

si. sol.

sol.

si sol.

insol.

Isoamyl acetate

sol.

insol.

insol.

insol.

insol.

Acetic acid (glacial)

sol.

sol.

sol.

sol.

insol.

Dloxane

sol.

sol.

sol.

sol.

insol.

Chloroform

insol.

si. sol.

si. sol.

si. sol.

insol.

Methylene chloride

si. sol.

sol.

sol.

sol.

insol.

two salts are converted to the desir-
ed insoluble silver bromide and to
soluble sodium nitrate, a by-product.

Smal lamounts of chlorides and
iodides may be introduced into the
gelatine solution to make emulsions
of special photographic properties,
while panchromatic and infrarad
negative emulsions require the addi-
tion of sensitizing dyes. Without
these special dyes, the film would
be sensitive only to blue, violet, and
ultraviolet rays, and all yellow,
orange, and red objects would photo-
graph as black!

To make negative emulsions "fast-
er," or more light-sensitive, they are
ripened for prescribed periods of
time at high temperatures before be-
ing coated upon the base material.
Because the ripening process also in-
creases the size of the silver-salt
grains, the fastest films are inclined
to give "grainy" images. The posi-
tive emulsions employed for release-
print films are neither sensitized to
the longened wave lengths of light
nor ripened for increased photo-
graphic speed. They are thus "slow"
and red-blind, but also remarkably
fine-grained.

Gelatine, so necessary to the manu-
facturer of photographic films, is an
unusual substance. It can absorb

(FIG 1)

large amounts of water without dis-
solving. The gelatine merely swells.
Up to a limit, it can be repeatedly
melted by warming and "set" by
cooling.

Contrary to popular opinion,
gelatine does not occur in nature.
It is a derived protein made by chem-
ical treatment of collagen, the prin-
cipal protein of the connective tissue
found in muscle, hide, and the os-
sein of bones.

Gelatine contributes to the photo-
graphic sensitivity of the silver
bromide crystals, and it allows de-
velopers and other processing solu-
tions to enter and leave the emul-
sion without dissolving it. It would
indeed be difficult to find a satis-
factory substitute for gelatine in
photography.

The substrate, or thin bonding
layer of gelatine directly coated
upon the transparent base material
is necessary because the emulsion,
itself, is water-attracting, while the
base is water-repelling. In order to
obtain a coating of emulsion of uni-

12

International Projectionist

June, 1964

form thickness, therefore, a special
tvpe of clear gelatine having both
"water-loving" I hydrophilic I and
"u ater • dreading" i hydrophobic l
properties is chosen for the all-im-
portant sublayer.

What about the plastic film-base
material, itself? A gelatine film,
alone, would be too fragile and di-
mensionally unstable to serve as a
motion-picture film. \ relatively
tough transparent support material
must he used to give the film the
uecessar) strength and rigidity. \-
a matter of fact, the qualities of
the base are largely responsible for
the working and handling properties
of all the different available types
of motion-picture film. Yi hen the

Photographic emulsion

.£$

Gelatine
substrate

Plastic base, or
"emulsion support"

Fig. 1 — Motion-picture film consists
of a relatively thick plastic base upon
which is coated (1) a thin transparent
layer of banding gelatine and (2) a
somewhat thicker layer of photographic
emulsion consisting of silver salts in
gelatine. The emulsion of dye-coupler
color film consists of three or more
very this layers.

projectionist blames a specific kind
of film for poor splicing character-
istics, excessive buckling, rapid wear
of the perforations, etc. he usuallv
land rightly) blames the base ma-
terial.

I wo broad categories of film base,
nitrate and safety, have been known
since the early days of the art. but
the chemical nature of safety base
has been changed repeatedly to im-
prove its working qualities and to
make it comparable to nitrate base
in strength, toughness, rigidity, flex-
ibility, and resistance to the wear
and tear of repeated projections.
Even though it was preferred for
half a century for professional mo-
tion-picture film because of its un-
equalled physical properties, nitrate
base is dangerously inflammable —
almost explosive — and liable to ex-
cessive shrinking and to spontaneous
deterioration with the passage of
time.

Nitrate base is a form of cellu-
lose nitrate made by treating cot-
ton or paper with strong nitric and
sulfuric acids. The pure cellulose
nitrate, called Collodion, is subse-
quently dissolved in a solvent I ace-
tone or a cheap mixture of alcohol,

International Projectionist June, 1964

ether, and banana oil ) containing
"plasticizers" i camphor and tricresyl
phosphate I to increase the tough-
ness and pliancy of the material as
well as to reduce the tendency to
shrink and become brittle.

The common name of the com-
pleted base material is celluloid, first
manufactured bv John Wesley Hyatt
in 1872. The first celluloid photo-
graphic film was produced in 1887
by Hannibal \\ illiston Goodwin of
Newark. N. J., who received an or-
der dated September 2. 1889 from
Edison for one roll of such film at
$2.50. \ year earlier, however. Edi-
son had obtained nitrate film from
George Eastman, who must be re-
garded as the first manufacturer of
a satisfactory nitrate film stock.

Safer) motion-picture film is very
nearly as old as nitrate stock, but
until the late 1940's it was larger)
confined to amateur and other non-
professional applications. The old-
tvpe cellulose diacciair safet) base
was first made on a large scale in
1908 by the German chemical firm
of Bayer (the originator of aspirin).
This base material is made bv sub-
stituting acetic acid lor acetic an-
hydride i for the nitric acid of the
usual celluloid-manufacturing pro-
cess: and in order to make the safet)
film soluble in acetone and other
common film-cementing solvents, the
degree of acetylation was purposely
limited hv hydrolysis.

Vspirin and di acetate film base
were an appropriate combination, for
the costliness, low tensile strength,
shrinkage, and excessive brittleness
of the old-type safet) film were pro-
ductive id headaches aplentv . The
professional motion-picture field
had no choice but to reject diacetate
film from the outset, and in spite of
w idespread dissatisfaction with the
dangers of nitrate film.

By using other organic acids in
conjunction with acetic acid, a num-

ber of "mixed-ester" celluloses have
been obtained and used as film base.
The best known are cellulose aceto-
butyrate and acetopropionate. the
latter having constituted the safety
film of Eastman Kodak manufacture
from 1937 to 1948. Although some-
what more satisfactory than diace-
tate base, acetopropionate film lack-
ed the strength and durability.

The big break-through in safety
film was the discovery of German
scientists that a cellulose somewhat
more highl) acetylated than the
diacetate* furnishes a material for
film base which more nearly resem-
bles nitrate base in working prop-
erties while retaining the advanlage
(Continued)

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ARE MADE BY

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13

of non-inflammability. This is the
so-called triacetate* base which is
now universally used for theatre-
release prints, but first manufac-
tured as early as 1939 by the Ger-
man photographic firm of Agfa.
Production of triacetate film was cur-
tailed during World War II. but was
resumed in 1948 when Eastman
Kodak led the way by adopting it
as a replacement for nitrate, the man-
ufacture of which was totally dis-
continued in 1950.

All of the professional 35-mm
negative and positive film stock
regularly supplied to the industry
in both Europe and America is now
made of triacetate safety base.
Representative are the acetate film
stocks manufactured by Agfa (Lever-
kusen ) , Agfa ( Wolfen ) , Ansco. Du-
Pont. Eastman Kodak, Ferrania, Ge-
vaert, Hauff, Ilford. Kodak Ltd.
( London ) , Kodak Pathe, Lainer &
Hrdliczka, Mimosa, and Perutz.

In general, triacetate film is al-
most as good for projection pur-
poses as nitrate; and, of course, it
possesses the supreme advantage of
being completely safe under all con-
ditions of use and handling. Acetate
film burns much less readily than
paper or wood, and it will not sup-
port combustion at all when wound
up in a roll: it is, in fact, com-
pletely devoid of fire danger.

Triacetate film is superior to ni-
trate in at least a few other ways,
e.g., it does not decompose on long-
term storage, and it shrinks a bit
less than nitrate with age. Modern
triacetate film is almost (but not
quite) as strong as nitrate film, and
it is almost (but not quite) as long-
wearing in use.

Triacetate is undeniably a big im-
provement over diacetate and ace-
topropionate in regard to brittleness,
but even though initially very pliant,
repeated projections cause it to be-

* A 10-octave frequency range
means that the lowest frequency is
doubled, the resulting product like-
wise doubled, etc., for a total of 10
times. The mathematical formula is
a equals 512b, in which a is the high-
frequency limit and b is the ow-
frequency limit.

* The Greek letter 77 ("pi")
represents a definite transcendental
number which cannot be exactly ex-
pressed as a rational integer. Ap-
proximately equal to 3.1416, it is the
ratio of the circumference of a circle
to its diameter. Its reciprocal (1/77-)
equals 0.3183, approximately. See
Chapter 30 of Mitchell's Manual of
Practical Projection for an easy-to-
understand explanation of a few
common mathematic?l terms with
which the projectionist should be
familiar.

14

come more brittle than nitrate film.
This has been as much of a nuisance
with TV stations using 16-mm film
as with theatres using standard-gauge
prints The tear strength of brittle
triacetate film still in usable condi-
tion is scarcely 30 to 40 grams,
whereas that of fresh triacetate stock
of the same thickness ( approximately
5V2 mils) is close to 60 g (ASTM
method D689-42T at 45 per cent rela-
tive humidity ) .

Also, triacetate film is a trifle
more liable than nitrate to perma-
nent deformation by mechanical
stress when it is heated, as by the
arc-lamp beam at the aperture of a
projector. Nitrate film also softens
when heated, but instead of soft-
ening at relatively low temperatures
(viz. 200 degree F, the soft-base),
it retains a fair degree of rigidity
until the temperature approaches
close to 300 degree F. which is high
enough to be dangerous in the case
of old nitrate prints.

Softening of triacetate film makes
it more liable to become permanently
buckled by projection with powerful
arc lamps, and it becomes increas-
ingly brittle each time it is heated
and cooled:**

Even though nitrate film is no
longer manufactured, and is pro-
hibited by law in most European
countries it is useless to deny the
fact that the desirable projection
qualities of fresh nitrate stock are
still the ideal toward which im-
provements in acetate film are
aimed.

Acetate Results

When it comes to old, well-sea-
soned prints, acetate films give bet-
ter screen results than nitrate films
which have also been much used.
This is because well-worn nitrate
film shrinks and deteriorates physi-
cally more than acetate does.

The greatest amount of linear
shrinkage of nitrate film seen by
the writer was 1.7 per cent in some
used theatre prints made during
World War I. Film as shrunken as
this really "sings" on the sprockets,
making such loud buzzing and crack-
ling noises that the projectionist
may fear imminent breakage. Care-
ful control of the nitration process
and the use of superior plasticizers
resulted, in later years, in nitrate
positive stock which shrank onlv
about 0.30 per cent after a 2-year
storage period under ideal condi-
tions, or 0.60 per cent after 2 years
of wear and tear in the theatres.

Triacetate Shrinkage

The frequently repeated statement
tha ttriacetate film is practically im-
mune from shrinkage is, of course,
completely untrue. It shrinks less
than nitrate; but the usual triacetate
base formulated for theatre-release
positive does shrink appreciably and
it becomes more brittle than nitrate.

Tests on different brands of tri-
acetate projection film reveal that
this type of film shrinks 0.25 per
cent after 2 years of storage and
about 0.40 per cent after 2 years
of heavy projection duty in the-
atres. In other words triacetate
shrinks about 80 per cent as much
as nitrate after 2 years of storage,
or 65 per cent as much after a like
period of normal projection use.
It must be kept in mind, however,
that different samples of different
brands of film show a wide vari-
ance in the rate of shrinkage.

Special Base

A special triacetate base has been
formulated for motion-picture nega-
tive which shrinks up to 0.18 per
cent after 2 years of storage, and
never seems to exceed the low shrink-
age of 0.20 per cent no matter how
long it is stored! This type of base is
unfit for projection purposes, how-
ever, because the heat of the arc
lamp expels the plasticizers and
causes it to become excessively
brittle.

The shrinkage of release-positive
stock it an important factor in
the design of projector sprockets,
especially the intermittent sprocket.
The perforations of freshly made
35-mm positive raw stock are spaced
0.187 inch from the edge of one
sprocket hole to the film cements
and dimensional change. In some
ways polycarbonate resembles ace-
tate. There are no good solvents for
Cronar, which is formed into film
by extrusion when molten. Polycar-
bonate, on the other hand, can be
dissolved in certain liquids and
"cast" in the usual way onto the
polished surface of a slowly revolv-
ing drum. There is some question as
to whether polycarbonate is suffi-
ciently rigid for motion-picture film,
and to date it is used chiefly for
graphic arts sheet film in applica-
tions requiring an extremely thin
base and freedom from dimensional
change under varying conditions of
temperature and humidity. iP

International Projectionist

June, 1964

Screen luminescence was "better than new" after a 12-year-old Planetarium
dome was repainted with velvet coating. Glare was eliminated. The dome is 65
feet in diameter, with a nine-foot horizon line and an apex at 41.5 feet above
the center of the floor.

Planetarium Dome Is Rejunevaled
By New 3M Velvet Coating

Housekeeping problems in a
planetarium are compounded 1>\ its
scientific orientation. This is es-
pecial!) true in the mallei of screen
luminescence, a> demonstrated re-
centl) at the Morrison Planetarium
of the California Vcadem) <>f
Sciences, San Francisco:

"Painting the 12-year-old dome
with a virtually perfect light-diffus-
oating has enabled us to screen
a better presentation todaj than at
an\ time in the planetarium's his-
tory," according to Alvin C. Gund-
red. supervisor of instrument shops
and technical advisor ot the plane-
tarium. "That screen surface is bet-
ter than new.

After a dozen years, it became ap-
t that the domed screen of this
planetarium, opened to the public
in November. 1052. was losing some
of its luster. Quality of the project-
ed imanes deteriorated so that the

loss \va> readil\ noticeable t<> the ex-
perineced staff, Gundred said.

This problem ol screen lumiiu -
cence is particularl) acute for a
planetarium, where spectators must
be able to see images of stars and
planets clearl) from extreme viewing
angles. Depending on the scat lo-
cation, an imperfect screen surface
can create either:

1 i Dull images caused by a loss

of surface reflectance, or

2 i \ flared effect from too much

reflectance at extreme viewing

angles.
Attention to image presentation
qualities of a screen is part of the
continuing maintenance function per-
formed by Gundred.

He supen ised much of the four-
and-a-half year program for the
building and installation of the pro-
jection instrument of this planetar-
ium. Since then, he has been re-

sponsible for continuous maintenance
and calibration of the instrument
and of scientific exhibits.

Qualtity maintenance has been a
vital factor in the establishment of
a record of perfect performance —
Morrison Planetarium has never can-
celled a show because of mechanical
failure of its projection equipment.

This is noteworthy because the
instrument complex contains 141 pro-
jectors which cast images of some
3,800 individual stars and planets.
Operation of this equipment utilizes
321 separate lenses, 304 operating
bearings. 158 gears and 220 relay
switches interconnected with more
than four miles of wire.

^ears of continuous operation
took their toll on the surface condi-
tion of the dome. To achieve glare-
lice luminescent surfaces in both
the white and the black areas of the
planetarium interior, Gundred se-
lected ;i single coat of 3M brand vel-
vet coating (Series 200). This ma-
terial is an air drying lacquer de-
signed for spray application and full
coverage of any primed surface with
a single eoat .

I he 3M velvet coating is designed
specifically to diffuse incident light
while retaining a high reflectance
capacity. In the case of the white
lacquer applied to a domed screen
of a planetarium,- this means that
spectators watching a star image
virtuall) head-on from the projection
angle are not bothered by glare.

But the same image seen by per-
sons on the other side of the room
reflects more brightly and more ex-
ac||\ than ordinary flat paints. Re-
sult: the screen image remains uni-
form throughout the auditorium.

The only pre-painting preparation
necessary — aside from scaffolding —
was to vacuum the top of the dome.
Morrison Planetarium has a two-
inch-thick pad of fiberglass above
its dome to deaden echos and to pro-
tect the accoustical quality of the
room. Lectures are carried to the
audience through the perforated
screen of the dome via 40 speakers.

The screen perforation is a pat-
tern of one 1/16" hole every
1/4". The vacuuming removed dust
from above the screen, eliminating
the chance of having holes plugged
because lacquer adhered to dust. iP

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JtoWuUne Ale Gasikotvi

division

• Brighter Light on Screen

• Longer Burning per Carbon

* More Economical ... /

CARBONS, INC.

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products

moss LAMPHOUSES • Juntos/ POWER SUPPLIES

by Cinemeccanica by Christie

BOONTON. N.J.

International Projectionist

June, 1964

15

Three Execs Appointed
In Kodak Ad Dept.

Appointments for three Eastman
Kodak advertising executives have
been announced by A. Dexter John-
son, director of advertising and an
assistant vice-president of the com-
pany.

Robert W. Brown has been ap-
pointed manager of advertising ser-
vices. He will be responsible for
Kodak's editorial service bureau,
the photo services and the photo-
graphic illustrations divisions, ad-
vertising production and scheduling
and, in addition, will supervise ad-
vertising budgeting, research, per-
sonnel, and media co-ordination.

Leo W. Young has been appointed
manager of consumer advertising.
His responsibility will be concerned
with the advertising of still and
movie equipment, amateur film, and
other photographic products and
services in the consumer area.

Robert W. Edwards has been ap-
pointed manager of professional and
industrial advertising. He will be
concerned with the supervision of
advertising in professional, indus-
trial, commercial, and scientific
areas and with the advertising of
other Kodak products for specialized
markets. iP

J. R. Stiftel Named
SMPTE Staff Engineer

Joseph R. Stiftel has been ap-
pointed as assistant staff engineer
for the Society of Motion Picture
and Television Engineers ( SMPTE ) .
In this new position, Mr. Stiftel
will be primarily responsible for
augmented quality-control procedures
in the SMPTE test-film program, and
will assist in the development of new
test films. His appointment was
announced June 2 in New York.

For three years until his appoint-
ment to the SMPTE headquarters
staff, Mr. Stiftel was employed in
the Thin Film Solid State Electronics
Program at General Telephone and
Electronic Laboratories in Bayside,
N. Y. At General Telephone he was
directly involved in the research and
development of a solid-state television
display panel.

Mr. Stiftel, before joining Gen-
eral Telephone, was in the systems
engineering department of Mergen-
thaler Linotype Co., where he assist-
ed in research on a photocomposi-
tion system and an infrared electro-
optical scanning system.

His educational background in-
cludes work at the University of Den-
ver, Syracuse University, the State
University of New York and the Air

16

Force Photographic and Electronics
School. Mr. Stifel holds a New York
State vocational teachers license for
profesisonal 35mm motion-picture
projection. iP

S.O.S. Home Office
In Midtown Manhattan

Alan C. Macauley, President of
S.O.S. Photo-Cine-Optics, Inc., New
York City, has announced moving
the home office to a larger, more
convenient location at 387 Park
Avenue South in Mid-town Manhat-
tan, two blocks from Fifth Ave., and
minutes from Times Square, Grand
Central, Eastside Airlines Terminal
and Penn Station.

The new headquarters has over
18.000 square feet on one floor with
the newest most modern Display
Room in the industry, and complete-
ly separate warehousing facilities
under the same roof.

The 38-year-old company with its
newly expanded operation, is the
largest professional motion picture
equipment organization, with coast
to coast offices, devoted entirely to
sales and service. According to
Macauley, the move was scheduled
to be completed June 30. iP

Radiant's Screen Surface
Used in New Process

Preview Production, Inc., of Van
Nuys, California, selected Radiant
Mfg. Corp's new silica-textured
screen fabric, "Micro-Fleet" as the
projection screen material to be used
in demonstrating their new type opti-
cal process called "Cine-Depth".

Micro-Fleet is created by "Deep-
Bonding" the smallest, optically pure
glass beads ever used on a screen
surface, to a specially prepared
double-coated plastic base. This as-
sures brightness at all viewing
angles and makees the viewing of
color movies and slides a fresh, stim-
ulating and delightful experience.
Among the advantages of Micro-
Fleet is its resistance to fungus and
flame.

Micro-Fleet is being used in Radi-
ant's new 1964 line now available- -
the Radiant PictureMaster. Film-
Master and the two-second opening
"AutoMaster". iP

EPRAD Elects Elmer
Wilschke Vice President

Elmer O. Wilschke, who joined
EPRAD, Inc.. September, 1963, has
been elected vice president of the
Toledo, Ohio manufacturing firm,
according to Al Boudouris, president
of EPRAD, Inc.

In addition to his duties as vice
president, Wilschke will continue in

his capacity as general manager.

Boudouris credited Wilschke as
playing a significant role in the de-
velopment of EPRAD's CARCHEK
Electronic Boxoffice Cash Control
System for use by the Theatre In-
dustry.

Wilschke, one of the original
E. R.P.I, engineers, served in various
capacities in this country and
abroad until the formation of Altec
Service Corporation, at which time
he was Eastern Division Manager.
During the war, he was plant mana-
ger of Altec-Lansing Company and
after the war served as general op-
erating manager for Altec Service
Company. iP

Strong Equipment Is
Widely Used at Fair

Visitors to the World's Fair can
see Strong Electric Corporation
products used in every section of the
fair, the U. S. Government, indus-
trial, foreign, state, amusement and
transportation areas.

Many of the larger exhibits are
employing Strong carbon arc fol-
low spotlights, incadescent follow
spotlights, carbon arc projection
lamps, Xenon projection lamps for
automated programming, and recti-
fiers for the projection of film pre-
sentations or lighting of live stage,
water and ice shows.

They include the U. S. Federal
Government. IBM, United Air Lines,
Dupont, the Hall of Science, Better
Living exhibit. Spanish Pavilion,
the Texas Pavilion, and amphithe-
atre using a total of 57 equipments.

iP

Supplemental Lens Now
Available for Omnitar

The new Birns & Sawyer Telebar
supplemental lens is designed to en-
hance the capability and versatility of
the famous Omnitar telephoto lens
family by extending the effective
focal length of Omnitar lenses rang-
ing from 300mm through 1000mm
by 70%.

For example, the regular 500mm
Omnitar telephoto lens increases its
effective focal length to 850mm when
used with the Telebar supplemental
lens. The regular 1000mm Omnitar
is increased to 1700mm when used
with the Telebar.

The Telebar. a fluoride-coated,
two-element Achromat lens, provides
an extremely sharp image. One end
of the Telebar housing is threaded
to fit the existing adapter locking
ring provided with the Omnitar tele-
photo lens. A rear locking ring lo-
cated on the housing secures the
lens assembly to the adapter. iP

International Projectionist

June, 1964

Cinerama Exhibits Quartet
Of New Facilities, Techniques

In the past few weeks a quartet of
unusual new motion picture ideas
have been put on public display l>\
Cinerama, Inc. These range from
portable movie theaters and ultra-
wide screen drive-ins to experimental
film processes at the World's Fair.
In total, the) reveal a major step
forward in the art of motion picture
production and exhibition and indi-
i ate the pattern of much future
development for the entertainment
industry .

On April 27th. in the small town o!
Richmond, England, just outside of
London, the world'- first mobile
movie house was premiered. Much
like a circus tent, the plastic-treated

Canvas portable movie house will
-t iv Beveral weeks at a location, then
moved man) miles awa) to a new
locale. Intended for use in the l> —
populous areas of the world. Ciner-
ama has 50 of these thousand-seat
tent theaters in the planning -ia^<-
for Kurope. Africa, the Middle and
Far East, and the I nited States.

Cinerama has just opened the
motion picture industry's first such
drive-in theater. overcoming the

man) problems presented b) the need
for a huge screen and ultra-powerful
projection equipment. Pacific's Cen-
turv Drive-in. an 1100-car outdoor
theater in [nglewood, California,
opened in late April featuring the
world - largest motion picture screen.

\udiences have been enthusiastic
about the open-air results, and a great

man) additional Cinerama drive-ins
are scheduled for the exhibition pro-
gram.

\t the New York World's Fair,
Cinerama is responsible for two of
the most startling film techniques
ever shown anj w lid v. U the Federal
Pavilion, the film companv has creat-
ed for the L nited States Government
a new exhibition system in which the
audience, seated in large open vehi-
cles, is carried through a Vi mile-
long "tunnel" comprised mostlv of
121) movie screens of various shapes
and sizes.

At the Transportation and Travel
Pavilion. Cinerama is showing its
much-heralded "Spacearium-360 de-
gree" film process, in which viewers
seated in swivel chairs look up into
the inner-side of a massive domed
screen, as the picture surrounds them
on all sides and above.

Both of these revolutionary World's
Fair movie techniques pioneered by

International Projectionist June, 1964

Cinerama may be considered "envir-
onmental" films, where the spectator
becomes an active participant in the
film situation, and viewers must
actuall) learn a new wav of looking
at life-through-movies to get the lull
benefits of these experimental Ciner-
ama sv stems. But each conta n-
man) elements which will certaiiil)
be translated, in the near future, into
commercial realitv on an internation-
al scale. iP

New Carbon Boasts
High Amps, Low Voltage

ElectroCarbons, \n-Lee, Inc.. has
announced a new carbon that has
been years in the laboratory and in
the experimental field and is now
available for the trade — a heavily
tungsten - impregnated carbon thai
will allow a much higher amperage
at a verv reduced voltage. Example:

The conventional I I mm carbons
now on the market have recom-
mended amperages "I I'11' to 120
amp- in the 60 to 65-voll range,

burning .it 21 per hour at the 120

amps. The new Lee Artoe carbon
has an amperage range of 100 to
140 amps in the 48 to 56-volt range,
burning rate at 21" per hour at
the 140 amps. At the same burning
rate (21 inches per hour) the new
carbon will give 25 per cent addi-
tional light. At the same amperage
range, the new carbon will give a
10 per cent reduction in burning
rate. ElectroCarbons says that the
development of this Lee Artoe car-
bon now allows the drive-in theatres
using an 11mm carbon to get an
extra 25 per cent more on the screen
without increasing carbon cost or
spending large sums of money to
convert the booth to the large lamp-
houses using the 1.5.6mm carbons.
This new carbon is available in the
I0mmx20 size, the llmmx20 size, the
13.6mmx20 inch and 13.6mmx22
inch -i/e only. It is manufactured
bv Ship Carbon (*o. of Great Britain.

iP

National Studios
Expands Color Lab

Herman Kosenberg. president of
National Studios. Inc.. announced
that with the starting of their 52nd
year, thev have greatly expanded
their color department. iP

17

Sloan Circuit Will
Build 1350-Sear House

Plans for construction of a 1,350
seat theatre at Northland, the world's
largest regional shopping center, in
the Detroit suburb of Southfield,
were confirmed by Eugene Sloan, of
the family operating the Sloan Cir-
cuit here. This marks the implemen-
tation of over ten years of plans for
a major theatre at Northland. Plans
for the theatre, first announced by
the Wisper and Wetsman Circuit, at
the three major centers planned by
J. L. Hudson Company, date back
several years earlier, to start of plans
for Eastland — a theatre still un-
built.

The new house, will be called the
Northland Cinema, with Eugene
Sloan as president of the company
of the same name, and Irving Gold-
berg of Community Theatres as sec-
retary. Ownership will be divided
between the members of the same
"syndicate" which owns the down-
town first run Adams Theatre and
the suburban Terrace in Livonia,
including also Richard Sloan, Adolph
Goldberg, Lew Wisper, and William
Wetsman.

Operating policy will be first run,
with some foreign films. The new
house is projected as the "midwest's
version of Radio City Music Hall" by
Richard Sloan. iP

Reeves Sound Industries
Names Nemec to Post

Boyce Nemec has been elected
Vice-president of Reeves Industries,
Inc. (AMEX). Nemec is also Presi-
dent of Reevessound Co., Inc., Long
Island City, New York, a wholly-
owned subsidiary of Reeves Indus-
tries.

Nemec is widely known in the
field of photographic technology and
motion picture engineering. During
the second world war, Nemec served
as Chief of the Equipment Specifi-
cations Branch and Assistant to the
Director of the Pictorial Engineering
and Research Laboratory and after
that as Executive Secretary of the
Society of Motion Picture Engineers.
In both positions, Nemec made im-
portant contributions to national and
international standardization of mo-
tion picture equipment.

As President of Reevesound Co.,
Inc., Nemec has guided the com-
pany's efforts in the design, engi-
nering and installation of several
unique systems including the Inflight
motion picture system design, now in
use by two major Airlines and those
of a number of major exhibitors at
the World's Fair. iP

18

The Cover Story . . .

Futura I Lamps Increase
Brightness For 1c An Hour

The installation of Strong Fu-
tura I arc lamps at a Macon, Ga.,
drive-in has produced a dramatic im-
provement in screen light at very
little cost.

The 41 Drive-In Theatre, part of
Georgia Theatre Circuit operations,
noted a drastic change when the 1am-
bert measurements at the center and
side of the screen was doubled with
the new Strong Futura I arc lamps
installed. The lamps burned at 97
amperes as compared to the former
installation which burned at 85 am-
peres. The increase in carbon costs
per hour amounted to only 1 cent.

The Georgia Theatre Circuit has
been striving constantly to increase
its all around efficiency in its the-
atres and has decided that the first

place to increase efficiency is in the
projection booth. At the 41 drive in
this included replacing old type arc
lamps with new Futura 1. Unbiased
observers measured the foot lambert
readings with the old equipment and
found 21/*? foot lamberts ato the cen-
ter and P/2 foot lamberts at the side.
This is well under the recommended
level of light on the screen. With the
new equipment the foot lamberts
read 5 at the center and 4 foot lam-
berts at the side. This is an 80 per-
cent light distribution which exceeds
standards accepted even for indoor
theatres.

Operating costs for the Futuras
were computed at 36 cents per hour
as compared with 35 cents for the
former lamps. iP

New Methods Cut Expense

Continued from page 5

tising panels, displays, sound and
projection, and all items connected
therewith, air conditioning and heat-
ing, maintenance, merchandise of by-
products, and the equipment.

"At least until you get started, I
heartily recommend that you support
to the fullest those manufacturing
concerns which have been desperately
attempting to create new and im-
proved products — and we really have
quite a few.

"There is a new and improved
screen that most objects will not
break through.

"There are new lamphouses em-
ploying new principles.

"While considerable improvements
have been made in some U. S. -built
projectors, the major advancements
have been by foreign companies.

"The Xenon lamp appears to have
a bright future.

"There are new theatre seats avail-
able.

"Improvements and new ap-
proaches have been made in change
letter displays.

"Transistorized sound is a definite
and great improvement. However,
we need factory-assembled plug-in
units, eliminating the tremendous on-
site assembly costs; and, of course,
this principle of simplicity should be
a major consideration of any future
equipment and furnishings." iP

DIAMOND

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International Projectionist

June, 1964

basic
mathematics

by NOMA AN N. CROWHUBST

y

f

■
■ .

VOLUMES
1 through 4
COMPLETE

ROM COUNTING

IWOOGH CAlCUlft

A MOOttti

UNKKD APPIOACH

TO MATHEMATICS

A» ITS USB

K* AHIDER

PRACTICAL
METHOD

♦

■».

BASIC MATHEMATICS

by Norman H. Crouhurst

4-volume 'pictured-text' course makes it easier than
ever before possible to learn all the math you'll need
to know to speed your progress in electronics — no
short cuts— no gimmicks.

This remarkable 4-volume course takes you in easy
stages from counting through algebra, geometry,
trigonometry to calculus so that you will understand
easily, quickly, all the math you will need to get
ahead in electronics — regardless of your previous
education! It employs an exciting new technique
presenting basic mathematics as on continuous devel-
opment of mathematics. The individual branches of
mathematics are not divided into separate and un-
related subjects. Algebra, geometry, trigonometry,
calculus are interwoven at progressively rising levels
in the different volumes. Each volume reinforces your
understanding as you penetrate more deeply into
the subjects. Selected illustrations create clear
images of mathematical ideas formerly difficult to
understand.

A KNOWLEDGE OF MATH SPEEDS YOUR PROGRESS IN
ELECTRONICS — No matter what your plans are in
electronics — mathematics plays a vital role. The

more math you know, the easier it is to learn
electronics. And, if you've set your sights on being
an advanced technician or an engineer, this course
will speed you towards your goal.
Volume I — ARITHMETIC AS AN OUTGROWTH OF
LEARNING TO COUNT — You gain the self-confidence
you need to master mathematics! You build a solid
foundation in mathematics without realizing that
you are being introduced to subjects usually con-
sidered dry and difficult to master. #268-1, $3.90
Volume II — INTRODUCING ALGEBRA, GEOMETRY,
TRIGONOMETRY AS WAYS OF THINKING IN MATHE-
MATICS — Building on the solid foundation laid in
Vol I., you learn to apply algebra, geometry and
trigonometry as better methods of solving a problem
when the arithmetic begins to get involved. #268-2
S3.90

Volume III — DEVELOPING ALGEBRA, GEOMETRY.
TRIGONOMETRY, CALCULUS AS WORKING METHODS IN
MATHEMATICS — This volume continues the search
for new and better methods of calculating, and adds
calculus to the group of 'tools' already introduced.
#268-3, S3.90

Volume IV — DEVELOPING ALGEBRA, GEOMETRY,
TRIGONOMETRY, CALCULUS AS ANALYTICAL METHODS
IN MATHEMATICS — Once you've reached volume IV,

you're ready to apply all that you've learned in the
earlier volumes. You'll be able to find the right
approach to each individual problem. You'll be ready
for a career in which mathematics play a most
important part. #268-4. $3.90

Available at parts distributors, bookstores, or direct.

INTERNATIONAL PROJECTIONIST
1645 Hennepin Avenue, Suite 212
Minneapolis, Minnesota 55403

Please send these paperback volumes:

□ Vol. I — $3.9C

III— $3.90; D

Vols, in one c'
Name

; D Vol
Vol. IV-
jthbounJ

. II— $3.90; D
$3.90; □ Send
edition, $15.95.

Vol.
4-

Address

City

Zone

State

y

#

4'

m

jr

JF

/

Mf

w

0

I

WE WONDER WHAT

Sir Humphrey Davy

would have thought of
the new F U T U R A

In 1800, using charcoal electrodes, connected to a
battery, he produced a brilliant flame by bringing
the electrodes together and then separating them
by a short gap. He had discovered the parent
of today's carbon arc, the brilliancy of which
has never been surpassed by another man-made
light source.

But just as the Wright brothers' first plane has
been replaced by today's jets, so too have most
previous projection arcs been outdated by Strong's
Futura. It provides that extra measure of light for
today's big drive-in and indoor screens— the greatest
amount of light ever delivered per carbon dollar.

The Futura costs less to buy and less to use with
all 35mm and 70mm projectors, and any Strong
dealer can prove it.

s\\f ■

SEND FOR BROCHURE

"X

The

Electric

Corporation

31 City Park Ave. • Toledo, Ohio 43601
Phone: (419) 248-3741

INTERNATIONA

HMIMMIMi

1 ■■

N

One of the first theatres to install the
new method of Cinerama presentation is
The Warner in New York City. As for all
other theatres presenting this technique,
there have been installed National Ventarc
I projection lamps. Joseph Brandfon is shown
with three of these blown arc type lamps in
the Warner projection room. The lamps
were installed by National Theatre Supply.

JULY

VOLUME 39
40c A COPY

1964

NUMBER 7

$3.00 A YEAR

I A.T.S.E. CONVENTION ISSUE

1. Bonus brilliance

2. Bonus burning time

The longer your throw and the wider your screen, the
more you need the two big bonuses that go with
"National" projector carbons!

So why short-change yourself? Why settle for less
when you can fill your screen with today's brightest
light and get longer screening time per inch of car-
bon burned?

Specify "National"— and you specify the projector
carbons that have been the standard for quality
screen illumination since 1917.

"National" is a registered trade-mark of

UNION CARBIDE CORPORATION

CARBON PRODUCTS DIVISION
270 Park Avenue • New York, N.Y. 10017
In Canada: Union Carbide Canada Limited, Toronto

INTERNATIONAL

PROJ ECTIONIST

Volume 39

July 1964

No. 7

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO
Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue, New York 17, N. Y.

Telephone Murrayhill 7-7746

(Area Code 212)

IN THIS ISSUE

I.A.T.S.E. Convenes

I.A.T.S.E. Works on Consent Decree

Autoscope System Tried

Sound Track

by J. G. Jackson

Queens Theatre Revamped

News Notes — Technical Hints — Miscellaneous Notes

4
5
6

8
12

INTERNATIONAL PROJECTIONIST, published monthly by the
International Projectionist Publishing Co. division of The
Northern Publishing Co., Post Office Box 6174, Minneapo'is
24, Minnesota. Editorial offices, 1645 Hennepin Avenue,
Minneapolis 3, Minn. Subscription Representatives: AUS-
TRALIA — McGills, 183 Elizabeth St., Melbourne; NEW
ZEALAND — Wixon's, Ltd., 64 Courtnay Place, Wellington;
ENGLAND and ELSEWHERE — Wm. Dawson & Sons, Ltd.,
Macklin St., London, W. C. 2. Subscription Pates: United Stores,
Canada, and U. S. Possessions, $3.00 per year (12 issues) and
$5.00 for two years (24 issues). Foreign countries: $4.00
per year and $7.00 for two years. Changes of address should
be submitted four weeks in advance of publication date to
insure receipt of current issue. Second-class postage paid at
Minneapolis, Minn. INTERNATIONAL PROJECTIONIST as-
sumes no responsibility for personal opinions appearing in
signed articles, or for unsolicited articles. Entire contents
copyrighted 1964 by INTERNATIONAL PROJECTIONIST
PUBLISHING CO. -ca^^ro

MONTHLY CHAT

I.A.T.S.E. CONVENTION

As this issue of IP comes off the press, I.A.T.S.E.
will be meeting in Louisville. Ky. at the group's 47th
annual convention. More than 1,100 delegates were
expected to be in attendance as the vital issues facing the
International Alliance are discussed and acted upon.

On the agenda are some items that may be casting
shadows on that assemblage at Louisville's impressive
Convention Center. Chief among these, of course, are
the unemplo) ment problems common to many locals.
Matters of grave importance to the 60,000 or more mem-
bers of I.A.T.S.E. are being covered in reports ranging
from the status of efforts to ease the industry's tax
burden to presentations of data on a nation-wide closed
circuit medium and a newly proposed pension plan.

I.A.T.S.E. President Richard F. Walsh, as convention
chairman, will be conducting the sessions according to
plans drafted during the week-long meetings of the board
of directors that preceeded the convention. With people
of this caliber hard at work on the problems that face
the organization, there can be no doubt there will be
some break-throughs soon to cheer the membership.

It is most appropriate that this convention is being
staged in Louisville, for it was there 30 years ago, with
the nation climbing out of the depths of depression, that
I.A.T.S.E. first visited the city. Viewing how small an
organization convened then, and how great their prob-
lems were, and reflecting on the progress that has been
made in the ensuing years, one quickly finds many
achievements of which to be proud. And in this respect
there is sufficient reason to believe any shadows that may
lurk will be dispersed before long.

A Legal Decision

The Stanley Warner Theatre in Norwalk, Conn.,
agreed to pay §330.00 a week to the Union for the man-
ning of the projection booth. The Union chose to employ
three men. and to divide the $330.00 among them.

The theatre then decided to eliminate winter matinees,
and the Union agreed to receive $220.00 week instead of
$330.00. The Union was still to have the exclusive
control of the number of men and the number of hours,
and kept three men working. These projectionists made
application for unemployment compensation for each
third week that they didn't work, and their applications
were granted. After an appeal by the theatre, the
Commissioner of Unemployment Compensation sustained
the granting of the applications, holding that the men
were entitled to receive benefits because they were idle
each third week, under the reduced operating schedule
initiated by the theatre.

The theatre took an appeal to Superior Court, claim-
ing that their reduced hours of employment were agreed
to by the projectionists. The Court ruled, in part: "A
voluntary' cessation of employment does not entitle a
person to the benefits of the Unemployment Compensa-
tion Act. It would appear that the plaintiffs chose un-
employment and they were not involuntarily unem-
ployed." iP

International Projectionist

Julv, 1964

Volume 39

July, 1964

Number 7

I.A.T.S.E. Convenes in Louisville .

Role of Labor Stressed

The staff of International
Projectionist extends greetings
to I.A.T.S.E. and its convention
delegates at Louisville. May the
next half century be as spec-
tacular as the last.

The forty-seventh annual convention of the In-
ternational Alliance was called to order July 20 at
Convention Center in Louisville, Ky., with an esti-
mated 1.100 delegates in attendance.

The assembly was preceded by a week of planning
sessions and regular businessi transactions by the
General Executive Board, held at the Louisville Shera-
ton Hotel, the convention headquarters.

The 14 district organizations of I.A.T.S.E. also
held sessions during the week-end preceding the con-
ventions opening day.

Third Visit

This year marks the third occasion on which the
Kentucky city has been chosen as the scene of the I.A.T.-
S.E. biennial gathering. The first was 30 years ago —
June 4-8, 1934 — at a time when America was struggling
to climb out of the depths of depression. Wage cuts and
unemployment were the chief problems before that con-
vention, and much hope was being pinned on the new
wage and price codes which had been worked out, in-
dustry by industry, under the auspices of the National
Recovery Administration.

The second Louisville convention — June 3-6, 1940 —
grappled with the effects of significant changes on the
national and world scene. Much to the regret of officers
and members of the Alliance, the N.R.A. codes had
been declared unconsitutional by the Supreme Court, thus
upsetting years of constructive effort to achieve economic
stability. Employment however, was showing improve-
ment, largely because of war production.

Many Changes

The return to Louisville this summer focuses atten-
tion on the further tremendous changes which a quarter
of a century have brought. The threat of world domina-
tion by Fascism has been put down, at tragic cost. The
threat of Communist subversion in the United States

and Canada also has been largely overcome, but this
type of dictatorship has engulfed more than half the
world, reaching almost to our boundaries, and com-
pels us to live in perpetual hazard of total devastation
by atomic war. Fortunately, a combination of un-
equalled military preparedness and wide, sober sales-
manship have held off the threatened catastrophe so far.
However, America faces a new challenge in the form
of apostles of military recklessness who have risen to
alarming political prominence.

Rise of TV

Within the entertainment industry, the years since
I.A.T.S.E. last met at Louisville have brought the rise
of television as a major entertainment medium. Although
TV has given employment to thousands of LA. mem-
bers, it also created grave problems, diminishing the
number of motion picture theatres and for a time shak-
ing the movie industry to its very foundations. Recent
years have seen this crisis pass. New theatres now are
being built, and much of the lost audience has been re-
covered. By pushing organizing in many directions.
LA. membership has been maintained near an all-time
high of around 60,000. Numerous locals, however, are
troubled periodically by employment problems, and the
advancement of automation looms as a challenge to our
industry as well as to all others.

Employment

Many of the matters to be considered by the dele-
gates at Louisville will have a bearing on the employ-
ment situation. Reports will be received regarding steps
taken in an effort to ease the industry's tax burden,
to overcome the continuing depressive effect of the anti-
trust degrees, to curb runaway film production and to
prevent loss of work by updating some of our union
procedures and requirements.

International Projectionist

July, 1964

Reports also will be received on
new progress in the closed circuit
TV field, on gains made in nation-
wide contract negotiations, on the
start of a pension plan available to
all locals, on a coordinated approach
to common problems of entertain-
ment unions throughout the Western
Hemisphere, and on numerous other
matters affecting the welfare of the
Alliance and its members. iP

Ampex Develops
Moving Movies

\mpex Corporation has announced
the development of what it calls
Travelvision: a self-contained svstem
providing motion pictures to passen-
gers in airliners, trains and other
media of public transport.

Vlso a part of the svstem is option-
al high-fidelity music for individual
passenger-.

In the \mpex system, first-run
motion pictures, recorded on high
< in il i t \ video tape, can be played
back through TV receivers located at
various parts of the vehicle. Aboard
ship, or in train compartments,
receivers can be installed t<> provide
priv ate \ icu ing.

In announcing the development.
C. Gus Grant, vice president of
operations at Ampex added that on-
board iLimeras could be used to
transmit scenic views while enroute.

iP

Replacement for
Memphis1 Strand
Is Scheduled

The first four-walled theatre to go
up in the Memphis area in eight
years is due to go up soon in the
Eastgate Shopping Center. It is being
built for Paramount Gulf Theatres.
a New Orleans chain which is losing
its lease to the downtown Memphis
location of their Strand Theatre.

The new house will seat around
1.(11)0. and will be equipped to handle
all current popular projection techni-
ques, plus a few not yet on the mar-
ket, according to Paramount Gulf
President Kermit Carr. Single lens
Cinerama. 35 70mm conversions.
1)150 are a few of the processes that
will be displayed in the new first-run
polic) house. Stereophonic sound
will also be installed. Carr said.

Strand Theatre manager Lloyd
Bailej i- scheduled to take over the
as yel un-named theatre when the
compam's lease expires at his presenl
location Oct. 1.

The new house will occupy a build-
ing 80x165 feet, of which over 2,500
square feet will be devoted to a car-
peted lounge; concession stand and
rest rooms. New York architect
Henry George Greene is in charge of
the project, on which construction i-
LiettiiiL; underwav . iP

IATSE Continues Work for
Consent Decree Modernization

lie I \ I SI, is continuing its efforts
to win a reopening and moderniza-
tion of the industry consent decrees
in the Paramount anti-trust case, de-
spite a rebuff bv the anti-trust divi-
sion of the Department of Justice.

A report on the steps taken "to
overcome the continuing depressive
effect of the anti-trust decrees" is
scheduled to be made to the IA's
17th convention to be held in Louis-
ville. Ky., beginning July 20.

I \ made representations to the
Justice Department last year in an
eforf to obtain the government's sup-
port for modification of some of the
Paramount decree restrictions which
she union regards as hampering in-
dustry progress and expansion and
thus curtailing employment oppor-
tunities.

It has been especially anxious to
cbtain relaxation of decree restric-
tions on the expansion of divorced
theatre companies, contending that
the circuits, discouraged from adding
theatres, are investing in diversified
interests outside the industrv. to the

International Projectionist

detriment of those cmploved in it.
as well as those who might be attract-
ed to il bv increased employment op-
portunities.

I he Justice Department displavcd
no interest at the time in sponsoring
or agreeing to the suggested decree
changes. Without its cooperation,
decree changes are unlikelv to be
approved by the Federal court.

Other subjects scheduled to come
before the I V convention include the
international union's cooperation in
endeavoring to obtain repeal of the
remaining 10', Federal tax on
theatre admissions over $1, and the
Hollywood unions" efforts to curb
runaway film production.

The I A has requested the House
Ways and Means Committee, which
is scheduled to start hearings July 20
in Washington on a new excise tax
bill, for permission to be heard on
repeal for the admission tax. Lester
Isaac. IA international representative.
will present the union's case against
the tax when the hearing is granted.

iP

July, 1964

Get all the facts! Ask your equip-
ment dealer for the new 1964
Kollmorgen Projection Lens Cata-
log or write us direct.

k KOLLMORGEN

CORPORATION

NORTHAMPTON, MASSACHUSETTS

Autoscope System
Tried in Southwest

By David Hamrah
I.A.T.S.E. Local 423

The Autoscope system was con-
ceived and built by Tom Smith, LA.
member from Local 280, Denison,
Texas, and his brother Bob. They
have been working on this system for
the past ten years.

The booth is built in a three-story
building. On the ground floor is
located the generator and amplifier.
On the second floor is the projection
system and on the third floor, or
penthouse, is located the optical sys-
tem. The entire feature film is put on
a 40" reel. This reel has an 8" hub.

The feed reel and take-up reel each
have an idler roller (fig. A.), that
works on a floating principle and
keeps the film at a proper tension at
all times. The film then goes under
and over a series of large (l1/^"
diameter) wooden rollers to a metal
chute (fig. B. ) . This chute is located
just over the lamps to protect the film
from the heat. The projector head
( fig. C. ) , used in this set up, is a
Simplex Excel with two modifica-
tions.

Directly back of the aperture is
mounted a frosted glass to spread the
light. In front of the aperture is a
holder to take a hand-ground 1" by
P/2" lens to unsqueeze the Cinema-
scope frame. This lens is used for
Cinemascope as there are no other
lenses in the projector.

This system uses Simplex sound
head and amplifier. The Strong (90)
lamps, using 75 amps, are mounted at
right angles to the projector head.
The light is reflected to the aperture
by a highly polished mirror. This
mirror is mounted on a swivel and is
used to change over from one lamp
to the other. Directly above the 40"
feed reel is mounted a pair of re-
winds. These rewinds are used in
making up the program, i.e., transfer-
ring the film from the shipping reels
directly to the 40" reel.

A mirror (fig. D.), is mounted on
an angle in front of the projector
head where the conventional lenses
are normally used. This mirror re-
flects the picture to a large cluster of

lenses. The optical system is mounted
in the penthouse directly above the
projector.

There are 260 long focal-length
lenses, one for each mirror and
screen. These lenses are mounted in
a lens tube four inches long and have
a %" diameter. The lenses for the
inner circle of screens have a 26"
focal length, the outer circle a 32"
focal length. The lenses are aimed at
a series of mirrors 1%" by 3%" in
size and are mounted on steel plates.
These mirrors are angled off through
four portholes, each porthole cover-
ing 65 screens.

The screens are set in two circles.
The inner circle is 200' from the
booth, the outer circle is 50' beyond
and has a five' higher ramp eleva-
tion. The screens are 3' by 5' and
made of a plastic material. The
screens are set 4' from each other,
and mounted in a wooden frame for
easy replacement. The speakers are
mounted on posts and are in easy
reach as in the conventional Drive-in.

Local 423 in August signed its first
contract with the Circle Drive-In
Theatre. Under terms of the one-year
agreement, some concessions were
made because the project is experi-
mental. The projectionist spends an
average of 15 minutes per day check-
ing the mirrors for alignment. iP

Weis Co. Plans
Drive-in Car
Comfort Units

A new drive-in theatre that will
eventually accommodate up to 1,200
vehicles is planned in Macon, Ga. by
Weis Theatres of Savannah and
Macon.

A revolutionary new item will be
added to facilities: a temperature
control unit for each car that will
blow hot in winter, cold in summer.

Another modern trend in outdoor
presentation will be observed in that
the new theatre, named for the com-
pany that operates it, will be run on
a strict first-run policy.

Other features include a 65-ft. Cin-
emaScope screen, and a modern con-
cessions pavillion designed by archi-
tect William Finch. iP

Corpus Christi Theatres
Plan Two New Houses

The construction of two movie
theatres was recently announced by
Bruce Collins Sr., executive vice
president of Corpus Christi Theatres,
part of Rowley United Theatres.
Collins said one will be built in the
Woodlawn Shopping Center by the
Peterson Development Co. and the
second one in the south side of the
city. Each will seat about 600 per-
sons compared to about 1,200 at the
downtown theatres. iP

Projectionists

who like quality

always use the best

Film Cement

Sold by Supply Dealers

Send for FREE Sample

ACE CHEMICAL CO.

■ (Division of the
Ace Electric Mfg. Co.)

1923 Bay Road
Miami Beach, Florida

OUT OF PRINT

MITCHELL MANUAL

AVAILABLE!

The renowned "Manual for
Practical Projection" by Robert A.
Mitchell is now out of print, ac-
cording to an announcement by the
bookseller. International Projec-
tionist.

Returns from our retail outlets
have been consolidated and we
now have approximately 40 vol-
umes of the Mitchell Manual avail-
able on a first-come-first served
basis.

These books are in brand new
condition, complete with dust
jackets; have never been used.
This rare publication can be yours
for $10 cash or money order.
Sorry, no C.O.D. or foreign orders
can be accepted at this price.

Sheehan Booksellers

Box 410, Route 5

Wayzata, Minnesota 55391

International Projectionist

July, 1964

Ace Chemicals
Merkur Started
As Projectionist

In ing Merkur. a veteran of motion
picture projection for nearly 50
vears. and who started with Marcus
Loew as an office boy and general
helper, has be-
come the "pro-
jectionists1 pro-
jectionist" by de-
veloping and
manufactu ring
tools for belter
picture presenta-
tion. Merkur got
his first exper-
ience as assistant
to Martin Ber-
knwitz at the

«^T> <E>

«

I. Merkur

Eden Museum in New York and was
one of the first projectionists to oper-
ate the Simplex projector in 1910.
He was also chief projectionist for
Reeves Sound. His extensive experi-
ence as chief supervisor of electrical
engineering with the Grand Union
organization gave him a background
to apply to his design and manu-
facturing of the famous "Ace" pro-
ducts, such as the film cue-marker.
hot splices, and Jefrona cement. His
firm is Ace Chemical Co.. a division
of Ace Electric Company. It oper-
ates plants in Placid Park. N. J., and
in Syracuse. N. Y. The Miami Beach
factory, where \ce "Blue Star" film
cement is made, occupies 2,000
square feet, and Merkur personally
supervises this operation with a staff
of over a dozen workers. iP

Non-slip Mat Available

American Mat Corp. of Toledo.
Ohio, recently announced the de-
velopment of their *"Walk-Kz\" floor
matting, available in a wide variety
of runs and colors.

The new mat material is smooth,
yet non-skid on top. and is cushioned
underneath by a built-in foam layer.
According to the manufacturers, it is
resistant to wear over a long, hard
use. and they add proudly that it can-
not be penetrated by the ladies' high

heel;

iP

Twin Indoor
Houses Slated
For Toledo

Cinema I and Cinema 11. the first
new indoor theatres to go up in the
Toledo area since before WW II. are
now under construction in the citvs
Westgate Shopping Center develop-
ment.

The two houses will share both
roof and lobby, but the similarity
will end there. The larger will seat
1.100 and will lie equipped to show
everything from 35mm to Cinerama.
The smaller, more intimate house, will
have seating for 750 and will not
Im\ e ( iinerama capability.

Redstone Management. Inc.. of
Boston operates the twin movie
house-, adding these facilities to three
outdoor theatres it acquired in 1963
from Theatre Operating Corp.

I he theatres' site is a six-acre tract
that will provide ample parking for
patrons. The Toledo package i< simi-
lar to one Redstone is putting up in
Springfield, \Ia-s. iP

Kollmorgen Appoints
Salig to Sales Post

Louis F. Salig has been appointed
manager of Projection Lens Sales at
Kollmorgen Corp., Northampton,

\fa->.. according to a recent an-
nouncement I) v
coinpanv offic-
ials. He will be
specializing i n
the sales of stan-
dard and special
purpose projec-
tion lenses, such
as: 35 MM Snap-
lite lenses used
for cinerama and
other motion pic-
ture projectors;
special lenses for studio television
projectors; and lenses for film
editing equipment.

Salig. a resident of Fairview,
Mass., has been with the firm for 16
years, and has served in the general
sales of all Kollmorgen industrial
products. iP

L. F. Salig

Bausch & Lomb
Promotes Three

Herbert J. Mossien, vice president
and marketing manager of the Scien-
tific Instrument Division at Bausch
& Lomb, Inc., recently announced
three new ap-
pointments.

Elbert F. Day
is now head of
the Commercial
Contracts Depart-
ment. Section
heads of newly
created posts are
David Allen,
Military Con-
tracts Section
E. F. Day a n d Robert

Thomas. Photogrammetric Section.

Day joined B&L in 1948 as a sales
correspondent. In 1951 he became
assistant manager of Photographic
Sales, section head of Defense Con-
tract in 1956, and three years later
was named manager of the Photo-
graphic & Industrial Optics Dept. A
native of Rockville. Conn.. Day and
his familv reside in Pittsford. New
York. IP

Dual Rectifier
Is Announced

Two independent power sources,
housed in one unit and interfaced to
provide instant take-over in case of
power failure, make up the new 2-in-l
rectifier manufactured by Kneisley
Electric Co. of Toledo. Ohio.

Either rectifier will operate either
lamp, and each is capable of sustain-
ing both during changeover, accord-
ing to company literature.

Long stack life is assured by the
use of two 480 amp. silicon. Recti-
fiers have built-in minimizers to pre-
vent sooting and pitting of reflectors
and damage to carbon craters. Should
an emergency arise, the minimizer is
automatically by-passed. Three pole
relays are also incorporated.

Individual lamp adjustment is
provided by twin eight-position
switches located on the face of the
rectifier's panels, while 190/210/230-
/250 AC taps are located behind a
hinged door just below the fine cur-
rent adjustment switches. iP

CARBON ARCS . . . for finest Projection

Jlowurine Ale GgaMo+U /

Compact Xenon Arcs

division
• Brighter Light on Screen

* Longer Burning per Carbon
• More Economical

vTJFlOM

products

CARBONS, INC.

rmoss LAMPH0USES •

by Cinemeccanica

B O O N T O N. N. J.

leTKOsr POWER SUPPLIES

by Christie

International Projectionist

July, 1964

New Ballantyne Amplification System

Billings, Mont.

Dear J. G.:

We were interested in
your explanation of the rea-
sons for light mismatch in
the last issue. But what
about the difference in
sound reproduction?

T. Cravella

in

T. C—

The sound reproduction can also
call attention to the change from one
projector to the other. This will occur
if the sound from one projector is
distorted or weaker than the sound
from the other. Careful listening
tests should be made of the sound-on-
film reproduction (both optical and
magnetic) obtained with each pro-
jector. Run tracks of good quality
( preferably test films of piano music
to test sound quality, continuous
tones for output level ) , and do not
depend on the projection-room moni-
tor. Use earphones or send an ex-
perienced listener to check on the
sound from the auditorium.

Most modern sound systems em-
ploy small potentiometers for the
photocell load resistance in the optical
soundheads or their preamplifiers.
The outputs of the two soundheads
are matched by painstaking adjust-
ment of these potentiometers while
identical test loops are run simultane-
ously.

Certain old-style systems depend
upon exciting-lamp rheostats to ad-
just exciter voltage, and hence the
brightness of the scanning beams.
The correct procedure is to adjust
both exciting lamps horizontally and
vertically for maximum output, and
then match the two outputs by re-
ducing the greater one.

just as the average observer can
detect brightness differences as small

8

Shown above is the complete Ballantyne transistorized amplification system.
Each cabinet measures only 26^4 in. high, 10 in. wide and 7x/2 in. deep.

Ballantyne Marketing

Transistorized Amplifiers for Higher Quality

as 4 per cent, the average listener
can, under favorable conditions, de-
tect loudness differences as small
as % decibel. The outputs of the two
projectors should, therefore. be
matched to within V2 db. Sound
matching as close as this is greatly
facilitated by the use of an output
meter, of course.

Many projectionists depend upon
their sound-service engineers to
equalize the sound outputs. Profes-
sional sound engineers have the ex-
perience, knowledge, and equipment
to do the best job. But if one projec-
tor falls off in output at a time when
the engineer is not available, the out-
put of the "louder" projector can be
temporarily reduced to match the
other by wrapping several turns of
clear film around the photocell, hold-
ing it in place with rubber bands.
Under no circumstances should an
exciter be deliberately thrown out of
focus to attenuate output: distortion
of the sound may result.

Address your cards and let-
ters to Sound Track, 1 645
Hennepin Ave., Minnea-
polis, Minn., 55403.

International Projectionist

A new, all-transistorized amplifi-
cation system featuring greatly im-
proved sound quality and flexibility
in use has been announced by Ballan-
tyne Instruments & Electronics, Inc.,
Omaha, Neb. Ballantyne is a division
of ABC Vending Corp. Company of-
ficials said that while the transistor-
izing gives many features, the im-
provement in sound quality is most
outstanding. They described the
sound as true hi-fidelity with great
clarity and presence.

The new amplification system is
manufactured in three units. Each
unit measures only I1/*" deep x 10"
wide x 26V4" high. The system elim-
inates all photo cells, vacuum tubes
and relays. As a result of the use of
transistor components, there is no
problem of heat dissipation. A sec-
ond feature is enormously improved
reliability, because the transistors
used in the Ballantyne amplifier are
designed to operate well within power
requirements, with a very safety fac-
tor. The new amplifier has undergone
a thorough program of installation
testing which began early last sum-
mer in theatres that include the shop-
ping centers at Poughkeepsie, N. Y.,
Johnstown. Pa. and Youngstown.
Ohio. iP

July, 1964

Investment Opportunity

A dozen years from now these boys will be riding
trail for real — herding cattle to help feed your chil-
dren.

Till then, how much patience and love and plan-
ning must go into their training? How much effort
into keeping our society free and our economy
stable, so young people can develop into respon-
sible, productive adults?

You have an investment in these boys. To pro-
tect it, you can join with other leading American
businessmen to promote the Treasury's Payroll
Savings Plan for U. S. Savings Bonds. The Treas-
ury Department's Plan helps to encourage the habits
of self-reliance and thrift we so need in all our

citizens ... it helps us maintain that love of indi-
vidual liberty which is basic to the well-being of
our nation.

When you bring the Payroll Savings Plan into
your plant — when you encourage your employees
to enroll — you are investing in the young people
who will help feed the world a decade from now.
You are investing in all the ranchers and herders
and farmers of America's tomorrow. In America's
future. In freedom itself.

Don't pass this opportunity by. Call your State
Savings Bonds Director. Or write today directly
to the Treasury Department. United States Savings
Bonds Division, Washington, D.C. 20226.

4S%

"^SfS^

in your plant. ..promote the PAYROLL SAVINGS PLAN for U.S. SAVINGS BONDS M$ji)

• The U. S. Government does not pay for this advertisement. The Treasury Department thanks, for their patriotism, The Advertising Council and this magazine.

International Projectionist July, 1964

THE
INTERNATIONAL ALLIANCE OF THEATRICAL STAGE

EMPLOYES AND MOVING PICTURE MACHINE
OPERATORS OF THE UNITED STATES AND CANADA

Names and Addresses of Local Secretaries and Business Agents

(These listings are all operators
officers. Future listings will include
mixed locals.)

ALABAMA

236 BIRMINGHAM — W. H. Neal, Jr.,
P. 0. Box 847. Tele.: 409 N. 90th St.
Bus. Agt.: J. B. Colley, 4110 N. 43rd
Ave., Zone 7.

236-A BIRMINGHAM— Chester Hawes,
Jr., P. 0. Box 962. Tele.: 1140 12th St.
N.( Zone 4. Bus. Agt.: Otis Howard, 813
Center Place, S. W.

519 MOBILE— R. E. Morris, P. 0. Box
638, ZIP 36601. Phone: 473-4742. Bus.
Agt.: T. J. Mayher, 111 Elinor.

ARIZONA

294 PHOENIX— Charles B. Kendall, 1317
W. Holly St. Bus. Agt.: Edward A.
Dougherty, 3243 E. Cypress St. Zone 8.

CALIFORNIA

150 LOS ANGELES— C. Y. Crowe, 1800
S. Vermont Ave., Zone 6. Bus. Agt.:
Arthur C. McLaughlin, 1800 S. Vermont
Ave., Zone 6.

162 SAN FRANCISCO— Edward H. Ponn,
Room 302, 230 Jones St., Zone 2. Tele.:
58 Havelock St. Bus. Agt.: Henry Meyer,
2343 46th Ave.

165 HOLLYWOOD — (Motion Picture
Studio Projectionists, Moving Picture
Machine Operators)— Richard B. Frisbie,
1065 N. Fairfax Ave., Room 100. Zip
90046. Tele.: 4951 Alcove Ave., North
Hollywood. Bus. Agt.: Leo S. Moore,
3851 Motor Ave., Culver City.

10

169 ALAMEDA COUNTY— Frank E. Hes-
ter, 5848 Foothill Blvd., Oakland, Zone
5. Tele.: 2599 Kelly St., Hayward. Bus.
Agt.: Ralph P. Thiers, 2769 Parker Ave.,
Oakland, Zone 5.

252 SACRAMENTO— Thomas J. Farrell,
P. 0. Box 2149. Tele.: 4001 Ramsey
Drive, North Highlands. Bus. Agt.: Leslie
E. McMillin, 10222 Sally Court, Rancho
Cordova.

297 SAN DIEGO COUNTY — J. W.
Abrams, 3921 Park Blvd., Zone 3, San
Diego. Tele.: 4565 Wightman St., San
Diego. Bus. Agt.: George L. Abrams,
3623 Third Ave., San Diego, Zone 3.

428 STOCKTON— Carl W. Howe, Sr.,
P. 0. Box 909. Tele.: 3745 Webster
Ave., Zone 4. Bus. Agt.: A. W. South-
wick, 3411 Delaware, Zone 4.

431 SAN JOSE— Edward M. Collinson,
P. 0. Box 754. Tele.: 1680 Los Padres
Blvd., Santa Clara. Bus. Agt.: Fred E.
Skinner, 261 S. 4th St., Zone 12.

521 LONG BEACH— Alonzo S. Bennett,
P. 0. Box 1264. Tele.: 1103 E. First St.,
Zone 2. Bus. Agt.: Stanley B. Wedell,
6740 Monlaco Road, Long Beach, Zone 8.

577 SAN BERNARDINO, RIVERSIDE,
POMONA and REDLANDS— E. J. Stejskal,
P. 0. Box 273, Pomona 91769. Tele.:
2204 Titus, Pomona. Bus. Agt.: M. D.
Krausman, 1549 W. Orange Grove Ave.,
Pomona.

599 FRESNO— Marlin C. Young, P. 0.
Box 511. Tele.: 530 N. Hughes Ave.,

Zone 5. Bus. Agt.: Edward C. Irvin,
3546 E. Picos Ave., Zone 26.

CANADA

173 TORONTO, Ont. — Graydon Hulse,
Labour Temple, 167 Church St., Zone 2.
Tele: 20 Rossander Court, Scarboro,
Ont. Bus. Agt.: A. L. Pat Travers, 304
Broadway Ave.

257 OTTOWA, Ont.— W. Murray Hall,
P. 0. Box 122. Bus. Agt.: John Ma-
cauley, 547 Laurier Ave., West Ottawa.

262 MONTREAL, Ouebec— Pierre Hand-
field, 60 Jardins Ste Dorothee, Ste
Dorothee. Bus. Agt.: Marcel Desrocher,
482 Wood Ave, Westmount.

299 WINNIPEG, Man.— E. L. Turner,
P. 0. Box 143. Tele.: 1084 Ashburn St.,
Zone 10. Bus. Agt.: Lawrence Hackie,
458 Melbourne Ave., E. Kildonan. .

302 CALGARY, Alta. — Stan R. Sadler,
205 Labor Temple. Tele.: 82 Gladview
Crescent. Bus. Agt.: Burt Roebuck, 121
24th Ave., N. E.

303 HAMILTON, Ont.— H. W. Usher, 69
Weir St., South. Bus. Agt.: H. W. Usher.

348 VANCOUVER-VICTORIA, B. C. —
Frank M. Smith, 1356 Seymour St., Van-
couver. Tele.: 4395 Williams St., Barn-
aby. Bus. Agt.: D. A. Cooper, 907 Fifth
St., New Westminster. Victoria Repre-
sentative: W. More, 1276 Vista Heights,
Victoria.

371 EDMONTON, Alta.— M. L. Adamson,
9921 113th St. Bus. Agt: A. H. Godgkin-
son, 8763 Strathern Drive.

CANAL ZONE
686 BALBOA— E. F. Forbes, 6718 15th
St., N., St. Petersburg, Fla. 33702.
Bus. Agt.: F. M. Oltenburg, P. 0. Box
162.

COLORADO

230 DENVER— R. E. Waller, P. 0. Box
302, Zone 1. Tele.: 777 High St., S. Bus.
Agt: Charles P. Weber, 991 S. Holly
St., Zone 22.

448 PUEBLO— Syd Jefferson, P. 0.

Box 1185. Tele.: 1619 Iroquois Road.
Bus. Agt.: Lloyd M. Cloer, 914 Van
Buren Ave.

CONNECTICUT

273 NEW HAVEN— George Smith, P.
0. Box 639, Zone 3. Tele.: 91 Parker
Place, Zone 12. Bus. Agt.: Ernest V.
DeGross, 147 Beacon Ave., Zone 13.

277 BRIDGEPORT — Merrick Parrel!!,
104 Glendale Ave., Zone 6. Bus. Agt.:
John Martin. 234 Dexter Drive, Zone 6.

486 HARTFORD— D. I. MacDonnell, P.
0. Box 486, Zone 1. Tele.: 159 Man-
chester St., Zone 12. Bus. Agt: Peter
J. DeCarli, 521 S. Quaker Lane, Zone
10.

DELAWARE

473 WILMINGTON— Walter D. Sullivan,
8 Lyons Ave., Overview Gardens, New
Castle. Bus. Agt: John Maisel, 104 W.
28th St.

DISTRICT OF COLUMBIA

224 WASHINGTON — Malcolm E. Spar-
rough, Plaza Theatre Bldg., 1336 New
York Ave., N. W. Tele.: 5702 84th Ave.,
Carrollton, Hyattsville, Md. 20784. Bus.
Agt: Fred C. Kelly, 7100 Cedar Ave.,
Takoma Park, Md.

FLORIDA

316 MIAMI— Frank A. Lewis, P. 0.
Box 284, Zip 33101. Tele.: 3751 N. W.
1st St. 33126. Bus. Agt: Paul G.
Robertson, 857 N. E. 145th St. 33161.

316-A MIAMI— Calvin C. Marks, 51-
125 Edison Center Station. Tele.: 2490
N. W. 60th St Bus. Agt.: Harold J.
Jones, 1645 N. W. 65th St.

511 JACKSONVILLE— A. J. Rehkopf,
P. 0. Box 4224. Tele. : 1639 Pearl St.,
Zone 6. Bus. Agt.: Douglas D. Tidwell,
7017 Castilla Ave., Orange Park.

GEORGIA

225 ATLANTA — C. B. Baldwin, P. 0.
Box 365, Zip 30301. Tele.: 1226 Oak-

International Projectionist

July; 1964

land Terr. Bus. Agt.: W G Means,
1130 HancocK Drive. N. E.

ILLINOIS

110 CHICAGO - Ralph R. Mooney,
Suite 2105. 188 West Randolph St., Zone
1. Tele.: 645 N. Taylor, OaK Park 8us.
Agt.: Clarence A. Jalas, Suite 2105. 188
West Randolph St., Zone 1.

288 EAST ST. LOUIS - BELLEVILLE
Anire* J. Foehrkalb. 108 S. Charles St.,
Edwardsville. Bus. Agt.: Lloyd Smith.
7330 Carr Drive. Belleville.

323 SPRINGFIELD — Wilbur F. Wepner,
13 Verna Drive. Bus. Agt.: William L.
Rasar. 1934 S Lincoln.

374 JOLIET — Harold J. Brown, P. 0.
Box 1050. Tele.: 135 E. Jefferson.
Bus. Agt.: Leo O'Connor, 1107 Loral Ave.

433 ROCK ISLAND - MOLINE, III. -
DAVENPORT. Iowa - George A. Stod-
dard, 914 23rd St., Rock Island 61201.
Bus. Agt.: Edward A. Short. 3620 18th
Ave . Rock Island.

INDIANA

194 INDIANAPOLIS - Lawrence A.
Mulry, Jr., 1105 Prospect St.. Room 311.
Zone 3. Tele.: Box 38-1. 9880 W. 10th
St.. Zone 31. Bus. Agt John E. Mulry,
2706 Shakespeare Drive. Zone 27.

367 EVANSVILLE - Otis Potter, 1107
S. Boeke Road 47714. Bus. Agt.: Otis
Potter.

373 TERRE HAUTE — Roy V. Barrett,
P. 0. Box 373. Bus. Agt.: Thomas A.
White. 3000 N. 11th St

466 FORT WAYNE - H E Thompson,
P. 0. Box 381. Tele.: 620 W. Oakdale
Drive 46807. Bus. Agt.: Paul M. M.vrill.
3042 Swift Drive.

IOWA

286 DES MOINES George A. Hartnett.
3933 41st St., Zone 10 Bus. Agt.:
Verne Warner. 3108 S. W. 13th St.
Place. Zone 15.

355 SIOUX CITY - Burt P. Martin,
P 0. Box 834, Zone 5. Tele.: Alhambra
Apts., Apt. D4, Zone 4. Bus. Agt.: J. R
Ma'ksbury, 425 Center St.. Zone 3.

J33 HAVENPORT - (See Rock Island,
Illinois)

KANSAS

404 TOPFKA Paul L Anderson. 929
Randolph Ave. Bus Agt.: C. W. Bur-
gess. 211 Courtland Ave.

414 WTHITA Robert H. Heagler,

P. 0. Box 741. Tele. 208 S. Glenn.
Bus. Agt.: Lyman L. Covey, 2650 N.
Poplar.

KENTUCKY

163 LOUISVILLE - John Dahl, P. 0.
Box 422. Zone 1. Tele.: 4206 S. 3rd
St Bus A?t : Jess Hopewell, 5405
Westhall Roat

163-A LOUISVILLE Anlrew E. Wade.

Jr. 3311 Greenwood Ave. Bus. Agt.:
Andrew E. Wade. Jr.

LOUISIANA

222 SHREVEPORT - Cecil G. Parker.
Sr . P 0. Box 721. Tele.: 107 Pennsyl-
vania Ave. Bus. Agt.: N. S. Laird, 837
Linden Ave.. Zone 27.

293 NEW ORLEANS - V. C. Mathis.
P. 0. Box 50293. Zip 71150. Tele.: 412
N. Causeway Blvd.. Metairie 70121. Bus.
Agt.: L. N. Chateau, 4959 Lafaye St.
70122.

293-A NEW ORLEANS - H. Bucksell,
1938 Dules St. Bus. Agt.: David A.
Segue. 3419 Live Oak Place.

MAINE

458 PORTLAND and LEWISTON— Leslie

S. Way. P. 0. Box 1894, Zone 2. Tele.: 75

Allen Ave. Bus. Agt.: George E. Francis,

288 State St., Portland.

MARYLAND

181 BALTIMORE - Irving Whit»hill,
404 W Baltimore St., Room 3. Tele.:
3304 Parkington Ave.. Zone 15. Bus.
Agt.: Maurice Rushworth, 1159 Gran-
ville Roa1. Zone 7.

181-A BALTIMORE — Robert E. John-
son. 566 Mosher St. Tele.: 2212 Whit-
tier Ave.. Zone 17. Bus Agt.: George
H. Douglass. 901 N. Fremont Ave.

MASSACHUSETTS

182 BOSTON— Ralph S. Frazier, 45 Win-
chester St., Zone 16. Tele.: 8 Angus
St., North Quincy. Bus. Agt.: Ralph
Frazier.

186 SPRINGFIELD — Ovila C. Lattin-
ville. P. 0. Box 835. Tele.: 35 Emerald
Road, Zone 9. Bus. Agt.: Edward J.
O'Connor, Jr., 109 Melha Ave., Zone 4.

245 LYNN-SALEM — Frank D. Halleran,

30 Chestnut St.. Peabody. Bus. Agt.:
L. F. Barber. 9 Shirley Rd., Lynn.

256 LAWRENCE — Clarence Bell, 61
Waverly Rd., North Andover. Bus. Agt.:
William Walsh, 11 Boston St.

334 NEW BEDFORD — Alfred A. Landry.
35 Bentley St. 02746. Bus. Agt.: Edward
Patrick, 51 Newton St. 02740.

382 HOLYOKE — Henry Desnoyers, 439
Beech St. Bus. Agt.: Henry Desnoyers.

397 HAVERHILL — Edward M. Foley, 3
Maple Ave. Bus. Agt.: Edward M.
Foley.

424 FALL RIVER — Thomas R. Nasser,
Jr.. 818 Robeson St. Bus. Agt.: Anthony
J. Salvo. 5 Merrit Ave., Riverton, R. I.

437 BROCKTON — Joseph K. Hooker, 25
Belcher St.. Holbrook. Bus. Agt.: Vin-
cent Buckley, 13 Merritt St., West
BrHge water.

452 PITTSFIELD — William L. Volin,
332 South St. Bus. Agt.: Edward J.
Rogers. 338 Daiton Ave.

546 LOWELL — Sidney E. LeBow, P. 0.
Box 8Vt. Tele.: 11 Belmont St. Bus.
Agt.: Sidney E. LeBow.

MICHIGAN

199 DETROIT — John Lindenthal, 2988
E. Grand Blvd., Zone 2. Tele.: 23147
Firwood, East Detroit. Bus. Agt.: Roy
R. Ruben, 2988 E. Grand Blvd., Zone 2.

472 FLINT - OWOSSO— Ray Field, P. 0.
Box 243, Flint. Zone 1. Tele.: 936
Alvord St, Flint, Zone 3. Bus. Agt.:
Ray Field.

MINNESOTA

219 MINNEAPOLIS - Rodolph A. Peter-
son. 2806 W. 88th St.. Zone 20. Bus.
Agt.: Wallace J. Yutzy, 5508 Kellog Ave.,
Zone 24.

356 ST. PAUL - Charles B. Ludwig,
P. 0. Box 63. Zone 2. Tele.: 1466
Berkeley Ave. Bus. Agt.: Harold L. Miller.
2863 Stillwater Road.

509 DULUTH . . Russel Gran, 5714
Wadena St. Zip 55807. Bus. Agt.:
Harold G. Olson. 231 N. 4th Ave , W
Zip 55806.

MISSOURI

143 ST. LOUIS -Wilburn Routszong, 520
N Grand BlvL, Room 201. Zone 3. Tele.:
9030 Rosemary. Zone 23. Bus. Agt ■
Herbert Butz. 520 N. Grand Blvd., Room
20 1. Zone 3.

170 KANSAS CITY - Fred H. Shirley.
Jr.. 108 Railway Exchange Bide.. 705
Walnut St. 64106. Tele.: 7306 Elm
Raytown. Zone 33. Bus. Agt: Shannon
W. Jones. Railway Exchange Bide.. 705
Wa'nut St.. 64106.

170-A KANSAS CITY - William Walker
907 Freeman Ave.. Kansas City, Kan. Bus
Agt • John H Adams, Jr.

447 Springfield - James L. Wilson,
P. 0 Box 1513. S. S. Station. Tele.:
840 E. Tracy St. Bus. Agt.: Elmer H
Nuttleman, 311V4 E. Walnut St., Apt.
201 Zone 4.

465 JOPLIN _ R. L. Long, P. 0. Box
465. Tele.. 910 W. First St.. Webb City.
Bus. Agt.: G. W. Wilson, 415 Ninth St.

559 ST. JOSEPH - Gerald P. Barsh.
3513 S. 11th St Bus. Agt.: Ed A Har-
ris, 1911 S. 17th St., Washington.

NEBRASKA
343 OMAHA — Richard G. Smith, P. 0
Box 465. Dcwntown Sta.. Zone 1. Tele •
12366 Shirlev. Bus. Agt.: Floyd R
Gibson. 2220 Fort St.

NEW JERSEY
244 ESSEX COUNTY - Patrick Fazzini

31 Halsey St.. Newark. Tele.: 85 Albe-
marle Road, Colonia. Bus. Agt.: Harry
Schocket. 150 S. Harrison St., East
Orange.

310 ATLANTIC CITY - Vincent J. Shee-
ran. P. 0. Box 572. Tele.: 600 Linden
Ave., Pleasantville. Bus. Agt.: Augustus
Hilton. 11 N. Osborne. Margate.

359 MERCER COUNTY — R. Douglas
Hewitson. P. 0. Box 506. Trenton. Tele.-
24 Lee Ave., Trenton. Bus. Agt.: Walter
W. Hoffman. 1612 Riverside Drive, Tren-
ton. Zone 8.

384 HUDSON COUNTY — Arthur Mc-
Mahon, 130 Central Ave., Jersey City
Zone 6. Tele.: 82 Liberty PI., Wee-
hawken. Bus. Agt.: Ralph DeMea, 9008
S"rond Ave.. North Bergen.

"18 CAMDrN — Samuel J. Berger, 626
Federal St., Zone 3. Tele.: 24 Park Drive.
Bellmau'r. Bus. Aet: Frank Hauss. 157
Paris Ave., Audubon, Zone 6.

NEW YORK

233 BUFFALO— Carl F. Patterson, 498
Pearl St., Zone 2. Tele.: 81 Delwood
Road, Kenmore. Bus. Agt.: K. J. Kava-
nash. 498 Pearl St., Zone 2.

253 ROCHESTER— Walter A. Knopf, 1109

Monroe Ave., Zone 20 Bus. Agt.: Frank
Coniglio, 35 Bouckhaart Ave., Zone 9.

285 TROY— Earl V. Cooney. Box 147,
West San1 Lake. Bus. Agt.-. Geo. L.
Nueent, 12 Plum Ave.

306 NEW YORK— Ernest Lang, 362 W.
50th St. Bus. Agts.: (New York) Steve
D'lnzillo. 362 W. 50th St. (Brooklyn)
Harry Garfman. 250 Ashland Place,
Brooklyn, Zone 17.

314 SCHENECTADY— Joseph Rogers, P.
0. Box 70. Tele.: 27 Windsor Drive,
Scotia. Bus. Agt.: Patrick Smith, 847
Stanley St., Zone 7.

324 ALBANY— Norman L. Wirz, 46 Hill-
crest Ave. 12203. Bus. Agt.: AnJrew
Antoinette. 677 Central Ave.

337 UTICA— Rocco Monaco, 609 Steele
Place, Zone 3.

376 SYRACUSE-George F. Raaflaub.
1145 Glen Cove Road, N. Bus. Agt.:
Walter Scarfe. 306 Clarence Ave.,
Zone 5.

396 BINGHAMTON C E. Nicholas, 1447
Upper Chenango St. Bus. Agt.: Earl
Tuttle. 39 Linden St.

640 NASSAU and SUFFOLK COUNTIES
— W. R. Lord. 22 Pine St.. Freeport, L. I.
Bus. Agt.: Charles Washburn, 22 Pine
St., Freeport, L. I.

650 WESTCHESTER and PUTNAM
COUNTIES— Michael J. Nugent, 53 S.
Broadway. Room 502, Yonkers, Zone 2.
Tele.: 186 Park Ave., Yonkers. Bus.
Agt.: Anthony Dente. 53 S. Broadway,
Room 502. Yonkers, Zone 2.

OHIO

160 CLEVELAND - Robert A. Dolan.
Suite 506. Warner Bldg., 2300 Payne
Ave., Zone 14. Tele.: 16701 Larchwood
Ave. Bus. Agt: Perry L. Carter, Suite
506, Warner Bldg., 2300 Payne Ave.,
Zone 14.

228 TOLEDO T. D. Liggett, P. 0. Box
1602. Central Sta. 43603. Tele.: 662
Forsythe St. 43605. Bus. Agt.: A. F.
Partis, 804 Klipping Drive, Zone 12.

248 DAYTON -Robert C. Kennedy, P. 0.
Box 222. Zone 1. Tele.: 1524 Laird Ave.
Bus. Agt.: Wilmer Rousch. 2034 Mal-
colm Onve.

327 CINCINNATI - Henry Williams,
Room 506, Palace Theatre Bldg.. 12 E.
6th St. Tele.: 2636 Ida Ave., Zone 9.
Bus. Agt.: Earle Wagner, 3815 Edwards
Rd.. Norwood.

327-A— CINCINNATI Chester C. Pryor,
3621 Eaton Lane, Zone 29. Bus. Agt:
Edward Taylor, 907 Mound St., Apt. 11

352 SPRINGFIELD -Robert W. Mills.
P. 0 Box 357. Tele.: 2430 Mayfair Drive.
Bus. Agt: Lloyd M. Blue, 918 Grant St

364 AKRON S. W. Galloway, P. 0. Box
364. Tele.: 177 Benson Rd. Bus. Agt:
J. A. Shuff. 133 Alden Ave., Zone 13.

386 COLUMBUS— William M. Sillins, 36
W. Gay St.. Suite 211-212, Zone 15. Tele.:
2811 Halstead Rd., Zone 21. Bus. Agt.-
Ned R. Welch. 598 Garden Road, Zone 2.

388 YOUNGSTOWN-Cecil H. Cook, P.
0. Box 1384. Tele.: 726 Crestview Dr.
Bus. Agt.: George A. Amreihn, 217 E.
Avondale Ave.

576 MANSFIELD Harvey Kibler P 0
Box 112. Tele.: 680 S. Main St. Bus.
Agt: A. F. Esbenshade. 908 Benedict Ave.

671 CANTON-Ray A. Bederman, 1540
Spring Ave., N. E., Zone 4. Bus. Agt:
Russell T. Goodwin. 915 5th St. N. W.

OKLAHOMA

380 OKLAHOMA CITY-R. L. Jack, P.
0. Box 380, Zone 1. Tele.: 2228 W. Park
Place. Bus. Agt.: Kenneth Lyons, 5105
S. Lee St.

513 TULSA-Claude H. Keith, P. 0. Box
513. Tele.: 2912 W. 40th St. Bus. Agt •
Carnie A. Burton, 2803 East 1st Place.

OREGON

159 PORTLAND-C. W. Christenson,
4806 S. E. 52nd Ave., Zone 6. Bus.
Agt.: S. E. Phillips, P. 0. Box 275
Lake Oswego

PENNSYLVANIA

171 PITTSBURGH— Luther W. Thomp-
son, 918 B. F. Jones Building Annex, 311
Ross St.. Zone 19. Tele.: 3215 East-
mont Ave.. Zone 16. Bus. Agt.: Martin
Torreano, 918 B. F. Jones Building An-
nex. 311 Ross St. Zone 19.

307 PHILADELPHIA— George Feldman,
1317 Vine St., Zone 7. Tele.: 1605 West
End Drive. Bus. Agt.: Abbott Oliver,
1317 Vine St., Zone 7.

307-A PHILADELPHIA— Herman K. Wil-
liams, 5925 N. 21st St., Zone 38. Bus.
Agt: Charles Polk, 15 S. Ruby St.

325 WILKES-BARRE — Kenneth A.
Thomas, 91 Downing St., Plymouth. Bus.
Agt.: Kain Jacobs, 197 Old River Road.

488 HARRISBURG— Paul N. Hippie, P. 0.
Box 1408. Tele.: 317 Linden St., Marys-
ville. Bus. Agt: E. Richard Bennett,

International Projectionist

Julv, 1964

317 S. Front St.

585 ALLENTOWN— Harry C. Hohl, P.
0. Box 1205. Tele.: 2119 Washington St.
Bus. Agt.: LeRoy Rau, 235 Water St.

621 ERIE— Michael Campagna, P.O. Box
435. Tele.: 333 E. 25th St. Zip 16503.
Bus. Agt.: Edward P. Krayer, 3506 Cherry
St

661 READING— LeRoy Wagner, 389 Oak
Terr., West Reading. Bus. Agt.: LeRoy
Wagner.

682 LANCASTER— Laird A. Hall, P. 0.
Box 645. Tele.: Ill S. Pearl St Bus.
Agt.: Laird A. Hall.

RHODE ISLAND

223 PROVIDENCE— Sydney T. Clarke,
1 Goolall PI., Riverside, Zone 15. Bus.
Agt.: H. F. Slater, 675 County Road,
Barrington.

SOUTH DAKOTA

556 SIOUX FALLS— Roy E. Munson, P.
0. Box 327. Tele.: 932 N. Spring Ave.
Bus. Agt.: Executive Board, c/o K. L.
Lewis, 1603 S. 10th Ave.

TENNESSEE

144 MEMPHIS— J. W. McAfee, P. 0.
Box 947, Zone 1. Tele.: 4707 Coro Road.
Bus. Agt: A. G. Shelton, 191 Elm Ave.

259 CHATTANOOGA — W. R. Hundley,
P. 0. Box 1002. Tele.: 1815 Everglades
Blvd., Zone 11. Bus. Agt.: Robert B.
Lowry, 6109 E. Brainerd Rd., Zone 11.

405 KNOXVILLE-C. V. Warwick, P. 0.
Box 974. Tele.: New Beverly Church Rd.
Bus. Agt: John McLean, Lakeland Drive,
Lenoir City.

62fi — NASHVILLE— Stanley E. Hime, P.
0. Box 626. Nashville 2, Tenn. Tele.:
4117 Lone Oak Rd. Bus. Agt: Ben C.
Thomas. 1240 Kenmore Place.

TEXAS

249 DALLAS— Harvey D. Hill. Jr., P
0. Box 1584. Tele.: 4319 Hall. Bus. Agt:
Harvey D. Hill. Sr., 8647 Grove Land.

249-A DALLAS-S. R. Tankersley, 2409
South Blvd. Bus. Agt: S. R. Tankersley.

279 HOUSTON -Lewy Evans, 1815 Walker
Ave. 77003. Bus. Agt.: E. J. Miller, 1815
Walker Ave. 77003.

279-A HOUSTON Willie Monie, 3272 E.
Alabama Ave.. Zone 4. Bus. Agt.: Willis
L. Beat Jr.. 3002 Chimira Lane, Zone 51.

305 GALVESTON W. M. Scott P. 0.
Box 305. Tele.: R. D. 1. Box 934 Hitch-
rock. Bus. Agt: A. J. Warren, 4415
Ave. R.

330 FORT WORTH B. Y. Coffman, P.
0. Box 543, Zone 1. Tele.: 7348 Grapevine
Hgwy. Bus. Agt.: V. 0. Huffines, 509
Havnes St.

407 SAN ANTONIO -Henry Villapadierna,
P. 0. Box 501. Tele.: 1509 N. W. 23rd
St Bus. Agt.: John D Dennis, 224 E.
Courtland,

597 WACO R,iy I. Morrow. Tele.: 2911
Waco Drive. W. Bus. Agt: H. L. Tulloch,
145 Brewster Drive.

UTAH

250 SALT LAKE CITY-Carl E. Peter-
son, 3145 E. 2920 South. Bus. Agt •
James F. Sullivan, 2237 Broadmor St.

VIRGINIA

370 RICHMOND— Howar-i S. Powers Jr
P. 0. Box 1681. Tele.: 7620 Elkhardt' Rd!
Bus. Agt: John W. Aders, 105 N. Allen
Ave.

370-A RICHMOND-Allie Laury, 502 S
Harrison St. Bus. Agt: Allie Laury.

550 NORFOLK— Alonzo T. Hughes, P. 0
Box 632, Zip 23501. Tele.: 56 Chat-
ham Rd., Portsmouth. Bus. Agt.: Alonzo
T. Huehes.

550-A NORFOLK— Albert W. Sprueill
P. 0. Box 1942. Tele.: 2819 Beachmont
Ave. Bus. Agt: J. P. Omohundro, 1440
Poescher St.

WASHINGTON

154 SEATTLE— Gerald Lloyd, Room 124,
Labor Temple, 2800 First Ave. Tele.:
18649 S. E. 128th St., Renton. Bus.
Agt.: Ken Dowling, 7931 California Ave.,
S. W.

WEST VIRGINIA

500 CHARLESTON— Franklin C. Schoon-
over. P. 0. Box 5, Zone 21. Tele.: 2104
W. Washington St., Zone 2. Bus. Agt.:
Ray T. Cummings, 100 Arlington Ave.

WISCONSIN

164 MILWAUKEE— Oscar E. Olson, 454
Cawker Bldg., 108 W. Wells St. Tele.:
604 W. Maquon Rd., 112 N. Mequon,
Bus. Agt.: Oscar E. Olson.

460 RACINE— D. C. Cavan, 1015 Ro-
mayne Ave. Bus. Agt.: John Ozowski,
3015 Kearney Ave.

11

Queens Theatre Gets
$100,000 Face-Lifting

A $190,000 refurbishing and remodeling of the
Strand Theatre in the Astoria section of Queens, N. Y.,
was recently completed by veteran theatre operator Sid-
ney Dreier, including full external face lifting with a
new marquee, front and boxoffice.

The interior design, including new fireproof fiber-
glass gold curtains by Chevron Fiberglass and fiberglass
walls is strikingly but simply decorative, featuring floor
to ceiling etlectrified panels on the orchestra floor.
Even the ceiling over the loge portion of the 1000-seat
house features special lighting effects and was super-
vised by Harry Pear of National Theatre Supply.

Booth installation was under the direction of Bill
Nafash of N.T.S., and includes Ashcraft Corelight
lamphouses with water circulators and new rectifiers.
A red floral pattern carpeting of Alexander Smith is a
matching companion for the Phil Furst seating in the
auditorium, allowing 40 inches from back to back for
maximum seating comfort. Seats in the loge are in mid-
night blue as is the wall color. Orchestra curtain de-
sign was achieved by Manhoff Studios. The marquee,
using Wagner letters, was installed by Joseph Berman
Neon Co. of Brooklyn. The new front was the work of
Superior Front Co. of the Bronx.

Dreier recently acquired the Julius Joelson circuit

A broad, graceful lobby greets Strand theatre patrons,
and offers a variety of concessions from a convenient area
away from traffic.

12

in the Bronx in association with Harry Brandt. He is a
director of the Independent Theatre Owners Association
of New York, and operates the first-run art house Astor
in Brooklyn, also in partnership with Brandt. iP

An old friend with a new face — that's the Strand
theatre in the Astoria section of Queens, N. Y. Joseph
Beoman Neon Co. of Brooklyn furnished the new marquee
shown in the photo above.

1 SIB

' J ft ' -

Wmt. \ JK Ik * J

Red floral carpeting, by Alexander Smith, compliments
the subdued tones of the Phil Furst seating in the Strand
auditorium.

International Projectionist

July, 1964

.

Environmental' Film
Premiered at NY Fair

\n unique "environmental" film
program, The American Journey, is
being shown at the United States Pa-
vilion at the New York World's
Fail .

The film presentation, produced b>
Cinerama, Inc. under a contract with
the I nited Slate- Fair Commission,
actuallv has its audience moving

through 130 screens depicting the
|i 10-year histon of America.

United States Fair Commissioner
Norman K. Winston said the spec-
tacular production will be in opera-
non continuous!) at the Federal Pa-
vilion. Some 2,500 viewrs an hour
can Fe accomodated at this revolu-
tionary motion picture show . I itl\ -
Eve views at a lime can >il in open

conveyances and In- whisked through
an unusual!) designed theater that
look- something like a big, winding
tunnel . . . onlv tlii- tunnel is com-
prised mostl) of L30 movie screens
of various sizes and shapes.

There are 12 of these 55-seal ve-
hicles, with a car departing from
the staging area even !!•) seconds
to carrj viewers through the 1 ■>'•_.

minute -how. Each contour seat in

the moving conveyance is individual-
ly-equipped with sterephonic speak-
ers in the headrest In this way, the
story-line narrative, music, and sound

effects are molded into the varied
tempo of the visual adventure. One
of the vehicles i- equipped with seats
having five-channel selector speak-
ers, SO viewer- can elect to heal' the
narration in cither French, German,
Spanish, Italian or English.

New Drive-in Added
To Skouras Circuit

I he newest addition to the Skouras
Theatres Circuit, the I'lainfield \ll
Weather Drive-In Theatre, located

at Oak Tree Road and Route 27.
Edison, New Jersev. had its opening
March 25th. The theatre accommo-
dates 1 100 cars, and includes a lux-
urious 1 Dill I seat indoor auditorium
with electronicall) controlled air con-
ditioning and heating to provide year-
round viewing comfort.

A streamlined refreshment pavil-
ion is accessible from both the in-
door and outdoor viewing areas. A
patio provides seating for patrons
who wish to dine outdoors in warm
weather and watch the picture on the
drive-ins huge screen at the same
time.

The kiddies have not been forgot-
ten in this new indoor-outdoor enter-
tainment palace. iP

International Projectionist

No Spectacle
3D Process
Due This Fall

In bvgone da\s when red-and-blue
bespectacled audiences gasped as
three-dimensional wild beasts seemed
to leap from the screen at them.
everyone recognized the entertain-
ment potential of 3D viewing. Rut
one objection was the inconvenience
of the little cellophane "glasses"
audiences had to wear, \nother was
the [OSS of useable -eating due to a
degradation of 3D effect at the sides
i I the audience.

Before the end of the veal . Marks

Polarized Corp. of White-tone. N. Y.
intends to market a three-dimensional
process thai can be used to overcome
both these major objection- while
adding a dynamic new presentation

medium for motion pictures.

I sing standard projectors mounted

in tandem ami borrowing an idea

from live stage technology, the Marks
organization ha- developed what the)
consider to he the most revolutionary
advance in motion picture excitemenl

- ince talkie-.

I he major difference in the new

process i- in where, not how (he dual

images are projected. I w o parallel
com ave -en-en- are emplo) ed, the
rear screen a -olid reflecting type

upon which lie background image is
projected, and the front screen scrim-
like affairs to receive foreground
images. Recause the screens are
polai ized, image- intended for the
rear screen will filter through its
openings without being reflected.
I ikewise, an) ■"bounce-hack from
I he rear screen is rejected.

Companv spokesmen sav the) will
probabi) license their patented pro-
cess alter it- introduction latei llii-
year.

Low Cost, Simple
Zoom Lens Made

A Northrop Corp. scientist reccnllv
demonstrated a new zocm lens that
is regarded a real breakdiroujrh in

precision optical design.

Glenn Wooters, who developed the
mathematical formulae that led to
the production of a prototype this
year, gave a public showing of a
system with one moving part capable
of magnifying images ten-fold. iP

Ballanryne System
Installations Listed

In theatre sales Rallantyne is em-
phasizing its all new 6-4-1 transistor-
ized sound system for small and large
conventional theatres. This system has
alread) been installed in shopping-
center theatres in Poughkeepsie, New
York. Johnstown. Pa.. Youngstown,
Ohio and the RKO Orpheum in Den-
ver. Col. It features greatlv improved
sound qualitv, and flexibility. Com-
panv officials describe the transist-
orized svstem as true hi-fidelity with
great clarilv and presence.

The equipment finance package, in
addition to Rallantv ne. includes: Nor-
elco projectors. Ideal seating, Wil-
liam- and Technikote screens. Mo-
hawk carpet, General Register. John-
sou coin changers. Strong arc lamps
and rectifiers. Neumade film han-
dling equipment, Bausch & Lomb.
Kollmorgen or Super Kiptar lenses,
Goldberg reels and Metropolitan
Slaue wall and staire draperies, il*

ASHCRAFT

CORE-LIGHT

SUPER CINEX

CINEX SPECIAL

PROJECTION LAMPS

And

HIGH RECTANCE

MULTI-PHASE

RECTIFIERS

World's Standard of
Projection Excellence

HEYER-SHULTZ
METAL REFLECTORS

Top Screen Illumination

Will Not Break, Pit or Tarnish

No Replacement or Spare Reflectors Required

See your dealer or write for full particulars
Manufactured By HEYER-SHULTZ, Inc., Cedar Grove, N. J.

July, 1964

13

Committees Named
For SMPTE Meet
Sept 27 -Oct 2

C Russell Dupree, of J. A. Maurer,
Inc., has been named General Chair-
man of arrangements for the 96th
Technical Conference of the Society
of Motion Picture and Television
Engineers (SMPTE) scheduled this
fall.

Arthur J. Miller, of Du Art Film
Laboratories, will serve as vice-chair-
man of arrangements. The confer-
ence will be held September 27
through October 2 at the Commo-
dore Hotel, New York City.

These and other appointments were
announced by Conference Vice-Presi-
dent George W. Colburn.

Others who will serve on the vari-
ous committees are: Dominick J.
Capano, Sheldon Kaplan, Frank
Bucci, Herbert De Groot, Calvin M.
Hotchkiss, Stan Appenzella, Robert
Nothdurft, Donald H. Horton, Saul
Jeffee, John E. Asher, Jack Haber,
Harold J. Freedman, Robert Crane,
Charles Austin, Peter P. Cardasis,
Pat Mule, Edward A. Winkler, and
Harold Jones.

Program Chairman for the SMPTE
conference is John J. Kowalak of
Movielab, Inc., 619 West 54th St.,
New York. The deadline for ab-
stracts of papers is June 17; reading
copies of these papers must be sub-
mitted no later than August 5.

Topic areas for technical papers
to be presented during the week-long
confernece are new techniques for
World's Fair projection; cinema-
tography; motion pictures and televi-
sion for education; special effects
and optics; laboratory practices;
medical motion pictures and televi-
sion; instrumentation and high-
speed photography; television engi-
neering and production; 8mm and
small-format films; space technology,
and sound recording.

Kodak Sales Post
to Messner

NEW YORK— Frederick W. Mess-
ner, technical sales supervisor of
Eastman Kodak Company's North-
eastern Sales Division, has been ap-
pointed division sales manager for
professional products. He succeeds
Louis J. Parker, who was appointed
assistant to the general manager of
Eastman Kodak Stores.

Succeeding Messner as technical
sales supervisor is James A. Unger-
man, now serving as professional
technical sales representative in the
Northeastern Sales Division. iP

Congress Rules
Luminous Intensity
Now Called 'Candela'

A recent Act of Congress (PL 88-
165) changed the name of the unit
of luminous intensity from candle
to candela. This action should bring
usuage in this country into conform-
ity with that of the rest of the scienti-
fic world. The size of the unit was
not affected by this action.

The International Committee on
Weights and Measures agreed in
1946 to new definitions of the units
of electricity and of light, to go into
effect January 1, 1948. In anticipa-
tion of this action, legislation was
introduced in the U. S. Congress to
alter the legal definitions of the
electrical units and to adopt legal
definitions of the unit of light.

The unit of luminous intensity
(luminous intensity is commonly
called candlepower) was defined by
both the International Committee and
Congress as 1/60 of the luminous
intensity of 1cm2 of a blackbody
at the temperature of freezing plati-
num (1769 °C IPTS). The name se-
lected for this unit for international
usage was candela, the Latin word
for candle, but in conformity with
common usage in this country it was
translated as candle and incorporated
into law.

As international usage of the term
candela grew, it became obvious that
possible confusion would be lessen-
ed if a common terminology were
employed. As an example of the am-
biguity that has grown up, the Na-
tional Bureau of Standards has been
using candle on its domestic calibra-
tion reports, but candela in reports
to the International Bureau of
Weights and Measures.

Furthermore, the Illuminating
Engineering Society of this country
has been using candela since 1959.
To clarify this situation, NBS backed
legislation which resulted in the
change to candela and which should
bring about uniformity of usage.

iP

Wenzel Projector
Company Sold

The acquisition of the Wenzel Pro-
jector Co. by Edward H. Wolk Co.
was announced recently. Both Chi-
cago firms have been in the motion
picture theatre equipment business
for more than 40 years.

Fred J. Wenzel, president of the
firm his brother founded, announced
his retirement at the same time the
sale was noted. He had guided the
firm since Mack Wenzel died in 1941.

iP

Better
Light!

Lower
Costs!

RINGSDORFF CARBON CORP. East McKeesport. Pa

Norelco

projection
equipment

Available from

leading theatre supply

dealers

North American Philips Co., Inc.

Motion Picture Equipment Division
100 E. 42nd St., New York 17, N.Y.

'America's

headquarters

for all

theatre equipment

supplies

National

THEATRE SUPPLY COMPANY

14

International Projectionist

July, 1964

basic
mathematics

by NOB MAN N. CROWHURIT

_r

—

VOLUMES
1 through 4
COMPLETE

ROM (OUNTMC
UiClAUS
» MOMtN
i AfnOACH

ro lunouncs

a» m u«s

PRACTICAL
WETHOD

51

LEARNING

r

A RIDER

BASIC MATHEMATICS

£>;/ Norman H. Crowhurst

4-volume pictured text' course makes it easier than
ever before possible to learn all the math you'll need
to know to speed your progress in electronics— no
short cuts— no gimmicks.

This remarkable 4-volume course takes you in easy
stages from counting through algebra, geometry,
trigonometry to calculus so that you will understand
easily, quickly, all the math you will need to get
aheaj ir. electronics — regardless of your previous
eJucation! It employs an exciting new technique
presenting basic mathematics as on continuous devel-
opment of mathematics. The individual branches of
mathematics are not divided into separate and un-
related subjects. Algebra, geometry, trigonometry,
calculus are interwoven at progressively rising levels
in the different volumes. Each volume reinforces your
understanding as you penetrate more deeply into
the subjects. Selected illustrations create clear
images of mathematical ideas formerly difficult to
understand.

A KNOWLEDGE OF MATH SPEEDS YOUR PROGRESS IN
ELECTRONICS — No matter what your plans are in
electronics — mathematics plays a vital role. The

more math you know, the easier it is to iearn
electronics. And, if you've set your sights on being
an advanced technician or an engineer, this course
will speed you towards your goal.
Volume I — ARITHMETIC AS AN OUTGROWTH OF
LEARNING TO COUNT — You gain the self-confidence
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you are being introduced to subjects usually con-
sidered dry and difficult to master. #268-1, $3.90
Volume II — INTRODUCING ALGEBRA, GEOMETRY,
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trigonometry as better methods of solving a problem
when the arithmetic begins to get involved. #268-2,
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Volume III — DEVELOPING ALGEBRA, GEOMETRY,
TRIGONOMETRY, CALCULUS AS WORKING METHODS IN
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calculus to the group of 'tools' already introduced.
=268-3, S3.90

Volume IV — DEVELOPING ALGEBRA, GEOMETRY,
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IN MATHEMATICS — Once you've reached volume IV,

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approach to each individual problem. You'll be ready
for a career in which mathematics play a most
important part. #268-4. $3.90

Available at parts distributors, bookstores, or direct.

INTERNATIONAL PROJECTIONIST
1645 Hennepin Avenue, Suite 212
Minneapolis. Minnesota 55403

Please send these paperback volumes:

Q Vol. I — $3.90; D Vol. II— $3.90; □ Vol.
Ill— $3.90; □ Vol. IV— $3.90; □ Send 4-
Vols. in one clothbound edition, $15.95.

Name
Address
City

Zone

State

Library of Congress
Order Division (o368l)
Washington 25, D,C*

BEN HUR DRIVE-IN THEATRE CRAWFORDSVILLE, INDIANA

4&jfa0l& Futura Projection Lamps Deliver

4 TIMES THE LIGHT

— says Trueman T. Rembusch., one whom slio-u-ld. kno-w

- " _, TT Lamps and

Bi_Powr Rec;tx.11p mdiana.

at cravfordsvxlle/ re£lected screen

,-re talcen of reV = trong la^P
^ondinqs were <- eW Btru»y

twice as mucn.

twice as mucn. ^ ^^ Tu£_Cold

I was very ^^f|trong L»«P9 ■

Reflectors m the . , ^,,:

. .-,.„ "strong lv

t vas very r"r Z^ Strong i^r-

Reflectors in the Tu£_cold" ^flectors^

, x.v.e "Strong T^Jr^ rear coated ron
Xn ^ <*»*££ \s ''efficient as tbe
about two tunes ^^ ^^

yours truly.

****** •^*%'J0i'

.„ m Rambus ch
■Xrueman J- • ^
president

You, too, should get Futuras
and enjoy the advantage of
the extra measure of light
available for 35mm and 70
mm projection to big drive-
in and indoor screens... the
greatest amount of light
ever delivered per carbon
dollar.

Send l/o* biocluvie

The ^*"& Electric Corp.

31 City Park Avenue, Toledo, Ohio 43601

Phone: (419) 248-3741

>./*

:%W ^t

MS^L

1/*

Admiring the new Ashcraft Core-lite lamps
recently mated to Norelco 70mm projectors
at the Fox Aladdin Theatre, Denver, is chief
projectionist Les Reimer. Operating figures
/ show that the resulting high quality is at-
tended by significant cost reductions. (See
story on page 11).

AUGUST
VOLUME 39
40c A COPY

1964
NUMBER 8
$3.00 A YEAR

ssaa3uoo jo Areiqxi

7%

jl e_y

BEN HUR DRIVE-IN THEATRE CRAWFORDSVILLE, INDIANA

p2nft&& Futura Projection Lamps Deliver

4 TIMES THE LIGHT

— says Trueman T. Rembusch, one -wlio sliouilci know

,_ _^ tt i,amps and

- Z^^« StrBInFSurr5rfve-Xn ^atre

We recently g ^ oar B-n n

Bi_Powr ReCt:L.T1p Indiana.
at crawforasville, xn re£iected screen

„Pre talcen of rex* g lamp

twice as much. ^ „strong Tuf-Cold

I vaS foS SP tSSesdtroyng Lamps -
Reflectors xn

Yours truly/
SYNDICATE THEM*BS

INC.

„ t Rembusch
Trueman i • **
president

You , too, should get Futur as
and enjoy the advantage of
the extra measure of light
available for 35mm and 70
mm projection to big drive-
in and indoor screens. ..the
greatest amount of light
ever delivered per carbon
dollar.

Send l/vi Itsiocktite

The ^*"& Electric Corp.

31 City Park Avenue, Toledo, Ohio 43601

Phone: (419) 248-3741

INTERNATIONAL

PROJ ECTIONIST

Volume 39

August 1964

No. 8

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO
Executive Publisher

AL BLOOM
Monoging Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue. New York 17, N. Y.

Telephone Murrayhill 7-7746

(Area Code 212)

IN THIS ISSUE

House Committee Hears Appeal 4

Lincoln Art Theatre Opens 6

From Broadway To Main Street 6

IATSE Convention Report 10

The cover story: —

ASHCRAFT Corelite Lamps 11

News Notes — Technical Hints — Miscellaneous Notes

INTERNATIONAL PROJECTIONIST, published monthly by the
International Projectionist Publishing Co. division of The
Northern Publishing Co., Post Office Box 6174, Minneopo'is
24, Minnesota. Editorial offices, 1645 Hennepin Avenue,
Minneapolis 3, Minn. Subscription Representatives: AUS-
TRALIA ^ McGills, 183 Elizabeth St., Melbourne; NEW
ZEALAND — Wixon's, Ltd., 64 Courtney Place, Wellington;
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August. 1964

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International Projectionist

INTERNATIONAL PROJECTIONIST

Volume 39

August, 1964

Number 8

IATSE Approves Strong
Measures at Convention

Unanimous Vote
For R. F. Walsh
at I.A.T.S.E.

Richard F. Walsh was elected
unanimously to a 12th term as presi-
dent of I.A.T.S.E. at the group's
convention in Louisville.

In addition, a series of resolutions
read in the meeting praised Walsh's
activities over the years in behalf of
the

Delegates to the I.A.T.S.E. convention in Louisville, Ky. voted to ask
Congress to investigate the adverse effects of the divorcement action of 1949,
which separated production, distribution and theatre exhibition operations by
law.

Characterizing the 15-year-old
Consent Decree as "outmoded," the
convention called upon Richard F.
Walsh, IA president, to take appro-
priate action in the legislative field
to have the decree altered or re-
moved so that distribution groups
could be free to build more and
newer theatres, but urged that such
action be independent of exhibitor
action because of possible manage-
ment-labor legal involvements.

The same resolution also asked for
Federal subsidies for American film
producers.

In other action the convention
also went on record as opposing any
tariff cut on finished positive film
imported from abroad. Richard Gra-
maglia, New York Laboratory Tech-
nicians, Local 702, joined by Holly-
wood laboratory spokesmen spoke
urgently on the subject.

Other resolutions called on the
Government to process documentary,
training and information films
through industry laboratories; urged
strong medical legislation and sought
repeal of restrictive labor legislation.

Efforts to make local union affilia-
tion with districts voluntary were
defeated despite the eloquent efforts
of Steve DTnzillo, New York Pro-
jectionists Local 306, to bring about
passage of this resolution.

Several resolutions which sought to
increase the number of International
vice presidents, one of whom would
specifically represent motion picture
studios, were deferred for further
study and action by the convention.

AFL-CIO COPE (Committee on
Political Education ) director Alexan-
der Barkin called upon the conven-
tion to participate actively in the
November elections in behalf of
labor-oriented candidates who will
fight to protect and implement labor's
rights and gains. IP

Other officers elected unanimously
and without opposition were: Harlan
Holmden, general secretary-treasurer;
first vice president, James J. Annan,
Ramsey, N. J.; second vice presi-
dent; Harry D. Abbott, Philadelphia:
3rd vp, Orin M. Jaccbson, Tacoma,
Wash.; 4th vp, John A. Shuff, Akron.
Ohio; 5th vp, Leo R. Up'on, St.
I ouis, Mo.; 6th vp, George J. Flah-
erty, Hollywood, Calif.; 7th vp,
Edward J. Miller, Houston, Tex.; 8th
vp, Hugh J. Sedgewick, Hamilton,
Ontario; 9th vp, Jerry Tomasetti,
Brooklyn, N. Y. Trustees: William
N. Scanlan, Lynn, Mass.; R. E. Mor-
ris, Mobile, Ala.; George W. Bray-
field, Olden, Colo. Delegates to
AFL-CIO, Fred Jienicke, Seattle.
Wash. ; Richard Hancox, Jersey City.
Delegate to Canadian Labor Con-
gress, William G. Dale, Toronto.

4

SPECIAL IA GAVEL — Bruce J. Colville (left), business representative of
Hollywood Studio Property Craftsmen's Local 44, gives a very special gavel to
International President Richard F. Walsh at the recent IATSE convention in
Louisville, Ky. It was made by Vern Tinsdale of Local 44. The head is laminated
from white maple salvaged from a miniature used in filming "Mutiny of the
Bounty" and black walnut from one of the chests used in "Cleopatra." The handle
is of birch from "The Greatest Story Ever Told" and walnut from a character
chair in "My Fair Lady."

International Projectionist August, 1964

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International Projectionist August. 1964

Lincoln Art Theatre
Graces West 50's

Simplex equipment is featured in the projection booth of
the Lincoln Art Theatre.

^.ii.iM>CT« ■>?»;*•

MXCOLX AET

An attractive front combines the modern sleekness of
marble and glass with the dignity of broad-serif letters
reminiscent of the 1860's.

New York's newest motion picture theatre, the Lincoln
Art, located at 225 West 57th Street, was dedicated at
its opening July 21 to President Abraham Lincoln by
Joseph E. Levine, president of Embassy Pictures.

Decor of the 570-seat theatre is Lincolnian and
Victorian.

Architect for the theatre, which has a modern front
of veined marble and plate glass, was William Ely Kohn.
Interior decoration was by Yale R. Burge, Inc. Building
and general contractor was Lasberg, Inc.

Decorative focal points inside the Lincoln Art Theatre
are enlarged prints of Lincoln, made from old newspaper
clippings. Included are scenes of the White House ball-
room and the President's inaugural parade. An impres-
sive Lincoln bust stands on a pedestal in the entrance
area. A large standing portrait of Lincoln, from a little
known engraving, keynotes the first-floor lounge.

Furniture, in deep, vibrant colors, is in Victorian
style. Period mirrors and consoles, in gilt, are high-
lighted by ruby-red damask and striped olive-green flock
wallpapers. Featured in the lower lounge are a Franklin
stove and iron furniture of the Civil War period. The
large chandelier in the lobby is also typical of the
gaslight fixtures of the period. Boldly patterned carpets
enhance the mid-1800 mood.

The ticket booth, adapted from one used in a Victor-
ian opera house, is of panelled mahogany, with etched-
glass front panels and brilliant lacquer-red, flock wall-
paper.

Other appointments are as follows: carpeting, Alex-
ander Smith, by National Theatre Supply; chairs, Ameri-
can Seating Co.; curtain controls, ADC; screen, Techni-
kote; sound, National Theatre Supply; amplifiers,
Simplex Altec; changeovers, Tide; film cabinets,
Neumade; generators/rectifiers, Ashcraft; lenses,
Bausch & Lomb, Kollmorgan; pre-amplifiers, Simplex
Altec; projection lamps. Peerless Magnarc; projectors,
Simplex-X-L; rewinders, Neumade: sound heads,
Simplex-X-L; speakers, Altec; splicers, Neumade; signs,
Artkraft Strauss Sign Corp.; and ticket machines,
General Register.

The Lincoln Art Theatre runs through the complete
block from 57 to 58th Street. Lobby and entrance area
is on the main floor of the 12-story building, facing 57th
Street. The auditorium is on the site of what was a
parking lot facing 58th Street. iP

International Projectionist

August. 1964

LBJ Hosts As Kodak
Receives Award For
Foreign Success

President Johnson presented East-
man Kodak Company with an Export
"E" Award recently at the White
House.

W illiam S. Vaughn, president and
chief executive officer of the corn-
pan), accepted the award in Wash-
ington at a special ceremony spon-
sored hy the Department of Com-
merce to mark the 500th "E" Ward
presentation.

Kodak received the award for
"success in export markets." Prin-
cipally due to higher export sales.
Kodak has earned a total of almost
$500 million in foreign exchange for
the United States during the past five
years, a report indicated.

That sum represents the amount l>\
which Kodak receipts from abroad
exceeded expenditures for imports,
additional dollar investments in
foreign subsidiary companies, and
dividend and royaltv payments to
foreigners.

Sales to export dealers and to
Kodak associate companies outside
the United States during L963 totaled
1 1 10.2 million, about 1<> percent
higher than those recorded in the
preceding year. Exports accounted
for about 13 percent of the com-
pany's total sales in L963, compared
M itli 12 percent in L962.

A report submitted l>\ the company
at the request of the Department of
Commerce indicates that Kodak's ex-
ports increased $45.7 million or 56
percent from 1957-62. In that same
interval, total I*. S. exports of mer-
chandise increased 6 percent and
total U. S. gross national product
rose 25 percent. iP

Stodter Retires;
SMPTE Names
Bernhard to Post

Lewis A. Bernhard. Jr.. has been
named executive secretary of the
Society of Motion Picture and Tele-
vision Engineers i SMPTE I. He suc-
ceeds Col. Char-
les S. Stodter.
who is retiring
after serving the
Society since
L956.

Bernh a r d
comes to SMPTE
from the Society,
of Plastics Engi-
neers, where he
had been admin-
istrative manager
L955. During liis nine years
the plastics society, Bernhard
saw membership triple in number.
Mr. Bernhard, in addition to mem-
bership promotion, was responsible
for publications promotion, technical
conference management and business
affairs of the plastics group.

A native and resident of Stamford,
Conn.. Mr. Bernhard holds a degree

in chemistry and business administra-
tion from r ordham University. Be-
fore entering Fordham. he served as
a Nuv v petty officer first class during
World War II.

Mr. Bernhard was employed as
laboratory chemist at St. Joseph's
Hospital in Stamford and in the
quality-control department of Mach-

American Theatre

Bernhard

since

with

Charles W. Wainvvright, Local -55,
I.A.T.S.E., is shown threading up for
the first show after the recent installa-
tion of new Strong Futura projection
arc Limps at the American Theatre,
Roanoke, Virginia.

lett Laboratories. Springdale. Conn.,
before joining the Society of Plastics
Engineers.

The retiring SMPTE executive
secretary. Col. Stodter, retired in
10.5 1 after a 30-year Army career,
the last four years of which he served
as chief of the Army Pictorial Ser-
vice. Following his retirement from
the Army. Col. Stodter was engaged
in communications research at the
University of Pennsylvania.

SMPTE. founded in 1916 as the
Society of Motion Picture Engineers,
is a professional organization of
engineers and executives in the fields
of motion pictures, television, photo-
instrumentation and high - speed
photography. iP

The gallery features groupings of period furniture and
authentic wall hangings.

International Projectionist August, 1964

The brilliance of the Technikote screen is apparent in this
view from the rear of the auditorium.

Theatrofilm Brings B'way to Main St.

Through the medium of Theatrofilm, the capturing on film of action on the live
stage, top companies are now able to "tour" without leaving home base. In a
scene from ''Hamlet," one play recently rendered in the new medium, we see
(left to right) such stars as Richard Burton as the Melancholy Dane; Alfred
Drake as a modern Claudius; Hume Cronyn as Polonius; and Eileen Herlie as
Gertrude, Hamlet's "father's brother's wife, and — were it not so — my
mother."

Play's The Thing — On Theatrofilm

By Charles Washburn

The original cast intact, exactly as seen on Broadway, now becomes a
fact for the first time in American theatricals. Even the smallest as well as
the biggest roles go on tour. The original scenic production, too, takes to the
road. Thanks to Theatrofilm cameramen, the Richard Burton Hamlet comes
direct to sticks, stony points and stellar cities from the Lunt-Fontanne plush
Broadway theatre.

The viewer will be in a down-front seat in some 1,000 picture houses
seeing a performance at less than one-third (not counting the extra $10 to
he'd have paid scalpers) the Manhattan tariff.

stage play. No strange screenwriters
to overshadow Shakespeare on the
house boards; no misspelling his
name on banners nor hams in his
great "Hamlet."

More than this, he'll be "mingling
with the old time throng" because
there are shots of the audience, the
pushing and shoving at the stage
door for Burton autographs, and the
commotion at the box office just for
standing room. Everything for the
road showing, through the genius of
cameramen and what is called
Electron-O-Vision, except the loss of
buttons torn from the clothing by
the wild drama lovers. Shakespeare
never before had anything to even
approach it.

If The Bard's astral body is hang-
ing around, the chances are he will
stay out of his tomb long enough to
appreciate what is the most important
technical treatment ever afforded a

8

Let's look behind the scenes while
cameras grind the first true transition
of stage to screen.

Occasionally we see a closeup of
Burton, which is more than the New
York balcony seat-holder in New
York ever sees; but this only for a
few seconds — the play must go on.

All around are cameras, somewhat
comparable to videotape devices, but
now concerned with making an exact
replica of the Broadway performance.

Hamlet is on view to a New York
audience. What they are seeing is

exactly what you'll see in Cherry
Valley or Valley Forge. The play
isn't on location, nor are there studio
sets. It is in a theatre and it shall
remain in the theatre — on the new
Theatrofilm. The real, diamond-
studded live gathering applauds. The
cameras silently click Broadway as
Broadway has never been clicked
before . Even audiences unknowingly,
are lensed in all their eager enthu-

siasm.

See photo on
page 14

Electron-O-Vision is an indepen-
dent New York corporation formed
this year. William Sargent, Jr., is
president ; Alfred W. Crown, is execu-
tive vice president. William Colleran
directed this film duplicate of the
John Gielgud production. William
Sargent, Sr., is treasurer; Albert W.
Ham, is secretary. These are the
master minds behind a specially-
developed electronic process for
photographing and recording stage
production.

Available light from the stage is
adequate, thus no display of equip-
ment is ever visible to the audience.
As for Theatrofilm, it is a registered
trademark. The finished product can
be shown on any standard motion
picture projector without special
equipment. The picture is made on
high speed film, using special
cameras operated by specially-trained
operators ; while, as in this case, Bur-
ton's Hamlet, is being performed to a
live, cheering throng.

Motion picture houses everywhere
can show the production. Only four
performances per engagement are
currently scheduled, on a reserved
seat basis. In most cases the seats
will not be especially reserved by
number.

Warner Bros, have assigned a
large staff to the distribution and
promotion of this extraordinary film.
Benj. Kalmenson, Warner executive,
is directing its far-flung distribution.

Not to be overlooked in the man-
agerial setup are Richard Lederer.
executive vice-president and director
of Warner advertising and public re-
lations, and Morey (Razz) Goldstein.
Goldstein headed the Chicago con-
ference. Joe Hymas is national pub-
licity manager.

Others include: Ernie Grossman,
studio publicity director; Max Stein,
field coordinator; Jules Lapidus.
Ralph Iannuzzi, Robert L. Conn, Ollie
Williamson and Al Grubstick, Haskell
M. Masters and Robert E. Myers.

iP

International Projectionist August, 1964

Walter Reade-Sterling
Acquires San Francisco
First-run Theatre

The Bridge Theatre, first-run
specialized motion picture house in
San Francisco, became a unit of the
Walter Reade-Sterling, Inc. organiza-
tion on August 1st. it was announced
jointl) In Waller Reade, Jr., Chair-
man of the Board, and Maun \.
Schwarz, of The Bridge,

Schwarz will continue to operate
the theatre, with the supervision of
Waller [{eade-Stei ling. Keade saiil
that the arrangements were consis-
tent with his company's growth pro-
gram, and that when other opportuni-
ties presented themselves, his com-
pan} would continue to add theatres
in other major cities, beyond its
present East Coasl base ol operations.

W ithout interruption to its regular
performance schedule. I he Bridue
will he refurbished, and it> projection
and sound equipment rechecked, to
maintain it as one <>l the W esl Coast -
best and most comfortable cinemas,
Reade said. The W alter Reade-
Sterling organization operates 50
theatres in the New York-New Jersej
area.-, and is also one of the nation -
largest independent producers and
distributors «>f motion picture- For
theatre-, television, education, ami
non-commercial use.

Strong Products Used
Widely at Fair

\ isitors of the W mid'- fair can see
Strong Electric Corporation products

used in even section of the fair, the
I . S. < -o\ri nment. industrial, foreign,
-late, amusement and transportation

areas.

Mans larger exhibits are emplo\-
ing Strong carbon arc follow spot-
lights, incandescent follow spotlights,
carbon arc projection lamps. Xenon
projection lamps for automated pro-

i gramming. and rectifiers for the pro-
jection of film presentations or light-
ing of live stane. water and ice shows.
Exhibits include those of the U. S.
Federal Government. IBM. United

I Air Lines. Dupont. the Hall of
Science. Better Living exhibit, Span-
ish Pavilion, the Texas Pa\ilion. and

I amphitheatre, representing a total of
57 devices. iP

Space Journey
Film Thrills
Fair Visitors

"To the Moon and Beyond." a
motion picture filmed and shown in
the Cinerama 360-degree Spacearium
process, is being shown l>\ co-spon-
-ois Cinerama. Inc. and KLM Royal
Dutch Airlines at the Transportation
and Travel Pavilion of the New York
W orld's Fair.

The inner surface of a 70-foot high
dome provides the screen for an
audience of 700 seated below. A
modified 70mm projector, using a
special lens, is situated on the audi-
torium floor at the center of the
dome, rising slightly above yet sur-
rounded h\ the audience. This pro-
jector throws its huge images onto
the dome, while viewers are sur-
rounded h\ the film. The audience.

in -eats which tilt up to 35 degrees,

experience the sensation of soaring
toward the moon, over it and then
be) "lid it into outer -pare.

Spectators see the formation of
galaxies ami stars systems through
the consolidation of gaseous matter —
the prevailing theory of how all life
began. I hi- -pace journey, on an
expanded time scale, deal- in terms of
millions of light wars and gives il>
audience a look at things which no
man of our era will ever see first-
hand.

Narrated l>\ Hod Selling, the film
runs 15 minutes and was produced
bj a variety of methods. About half
of it was filmed via animation tech-
niques and with scale models, while
the other portions represent live-
action photography. Another exciting
segment of the film is a combination
of microphotograph) and the special-
ized production of optical effects, to
depict force fields and nuclear energ\.
because viewers actually experience
the sensation of entering the heart
of an atom.

Trans-Lux Corp. is operating the
exhibit for Cinerama during the two-
year run of the Fair. Graphic Films
of Los Angeles did the actual photo-
graphy under the guidance of Cine-
rama producer Jeremy Lepard and

Tulsa Installation

Four of the new Super Trouper carbon
arc tallow spotlights developed by The
Strong Electric Corporation, Toledo,
have just been installed in the audi-
torium of the City Assembly Center,
Tulsa, Okla. Shown operating one of
these powerful spotlights is Gene W.
Johnson.

Fair Operators Will
Be Paid $3 Million

More than 225 members of Opera-
tor".- Local 300 of the 1ATSE em-
plo\ed by exhibitors at the World's
Fair will' he paid almost $3,000,000,
it i> announced by Harry Garfman.
Brooklyn and Oueens business repre-
sentative of the union. He also said
an additional $400,000 will be paid
into the union's pension and welfare
fund during the run of the Fair
through 1(X)5.

Contracts call for a total of 84
hours between 10 a.m. and 10 p.m.
daily. The pay scale ranges from $6
per hour for 8mm. 16mm. and 35mm
operation to $7 hourly for 70mm
operation. Projectionists work five
shifts per week, six hours per shift.
Overtime is paid at time and a half.

A 15 per cent payment is given to
the organization's welfare and pen-
sion fund, and vacations are set at
one week for every six-month period
of employment. Supervisory projec-
tionists come under a special classifi-
cation and receive $7.50 per hour for
8, 16 and 35mm, and $8.50 hourly
for 70mm.

executive producer Arthur Finston.
There are three shows an hour of
"To The Moon & Beyond" at the T &
T Pavilion, with an admission charge
of 75c for adults and 25c for
children. iP

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International Projectionist August, 1964

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BOONTON. N.J.

IATSE Convention

from page 4

convention took the following action:

Put LA. on record as favoring el-
imination of the remaining Federal
admissions tax of 10 per cent on
prices over $1;

Voted support of a bill now in
Congress which would require film
producers to label their films made or
acquired outside the U.S. with the
country of origin;

Voted down a proposal to expand
the executive board by the addition
of two vice presidents, one of whom
would represent east and west coast
film studios, and all of whom would
be elected by regional district cau-
cuses, instead of by the entire IA
convention, as at present;

Referred a resolution opposing the
election of Sen. Barry Goldwater as
President to the leadership of IA for
implementation through the AFL-CIO
Committee on Political Education
(COPE);

Approved action against student
workers at universities' stagings of
professional shows;

Passed a strong resolution asking
the IA administration to study the
legality of the individual projection-
ist's right to refuse to run non-IA
films.

The convention adjourned shortly
after the conclusion of one of the
most dramatic sessions in its long
history. A growing campaign to
overturn a 1963 videotape agreement
signed by Walsh and motion picture-
TV studios in Hollywood, by six Hol-
lywood locals, exploded in the waning
hours of the convention on a report
by the Grievances Committee, chaired
by Vice President E. J. Miller, which
supported Walsh's aclion.

The complaining unions hit the
floor for one hour of statement stress-
ing in all their presentation that
Walsh had gone beyond the authority
of the Constitution in unilaterally
signing a contract without involve-
ment or approval by the interested
locals.

Opponents of the president's action
included John W. Leyners, Film Ed-
itors; Herb Aller, Cameramen; Don
Haggerty, Film Technicians; Hefry
Villardo, Makeup Artists; Clayton
Thompson, Scenic Artists; Russell
Ashley, Sound; G. Erickson, Makeup
Artists; and Ernest Bachrakh, Still
Cameramen.

Hollywood spokesmen stated that
the Grievance Committee hearing pre-
ceding full convention consideration,

which disallowed verbatim transcript
of the proceedings, outlawed addi-
tional observers beyond five from
each local, and foreshortened state-
ments by interested parties, were part
of improper procedures. Points of
order were raised which questioned
conduct of the hearing, and also
asked that President Walsh relinquish
the chair during the ensuing debate.

Lehners referred to the contract as
a "secret tape deal," an allegation
which Walsh was later to stoutly
deny in his 30-minute reply to the
Hollywood spokesmen. "He acted in
the name of expediency," Lehners
charged. "We do not question his
motives, but his authority." Walsh
replied by reiterating his firm belief
in local autonomy, which he stressed
would be preserved. Quoting I. A.
bylaws to support his action in what
he characterized a special situation
requiring the direct intervention of
the LA. president, Walsh cited his
22 years of service to the Alliance
and asked dramatically whether he
had ever abused his authority to the
detriment of the Alliance? Stoutly
denying that he had signed the 1963
videotape agreement in secret. Walsh
asked the convention for its vote of
confidence and was supported by
more than 10 to 1.

In other action the LA. approved
a bylaw which strengthens jurisdic-
tional definitions, and arms the LA.
for future possible conflicts over jur-
isdiction with other internationals.
The convention, at the request of
President Walsh, retained its so-called
"special laws" which were initially
devised eighteen years ago to root out
subversives among the membership.
Although several delegates spoke
against that portion of the President's
Report which sought the retention of
the "special law" because of the ap-
parent stigma which it implied, the
convention heeded Walsh's request.

In closing the convention, Walsh,
speaking directly to the Hollywood
locals of District Two, spoke of work-
ing harmoniously and cooperatively
with them, and promised to work out
their problems amicably and in the
best interests of the LA. His final
remarks did much to cool down the
rancor engendered by the heated de-
bate which had transpired earlier in
the afternoon. It was announced that
the 48th Biennial Convention will be
held in 1966 in Detroit. iP

Geodesic Dome
For Las Vegas
Cinerama House

The world's first "stressed-skin"
aluminum dome designed for a
motion picture theatre will soon be
built in Las Vegas, Nev., according to
Cinerama President William R. For-
man.

The Mahon geodesic dome was
developed by the western division of
the R. C. Mahon Company, steel and
aluminum fabricators, in Terrance,
California. The company will start
construction of a 1000-seat theatre
for exhibitor Harry Nace later this
month.

Predicting that Mahon Dome will
be "the shape of things to come,"
Forman said that the geodesic struc-
ture is the most practical form of
exhibition for Cinerama. A partial
sphere offering a self-supporting
building with maximum column-free
floor space, it affords an unlimited
versatility potential for attractive
interiors. The new engineering prin-
ciple of a sphere within a sphere
offers an interior acoustical dome
which also supports fixtures and
fireproofing.

Forman pointed out further that
its unique safety factors give the
dome a considerable edge over the
conventional theatre. Its light weight
construction and resiliency reduce
earthquake inertia loads on supports,
preventing collapse or shattering. Its
spherical shape and high tensile
strength make it resistant to hurri-
cane winds of over 125 miles per
hour. Its redundant construction
gives it greater fire resistance; a
large portion of the dome could be
destroyed without total collapse. It
is designed for 40 pounds per square
foot loading making it impervious to
snow as deep as four feet.

The weight of the entire structure
is one-thirtieth of the only other
Cinerama dome in existence, a pre-
cast concrete structure at the corner
of Sunset and Ivar in Hollywood.

"We envision many of these Mahon
Dome Cinerama theatres," said For-
man. "Supporting its own weight
without space-wasting, vision-inhibit-
ing pillar or suspensions, it is the
ultimate in design and beauty for
Cinerama, and is one of the most
economical buildings in motion pic-
ture history."

Perry Neuschatz, AIA Architect,
designed the projected Las Vegas
structure for Nace. It will be con-
tracted by the E. L. Parmer Construc-
tion Company of Phoenix, Arizona.

iP

10

International Projectionist August, 1964

The Cover Story . . .

Ashcraft Scores with New Core-Lite Lamps

The installation of Ashcraft Core-lite lamps with existing Norelco 70mm
projectors has resulted in improved qualit) and cost reduction at Fox Inter-
Mountain's Alladin Theatre in Denver.

The Fox Alladin is a combination
hard ticket and show case run. and
has been one of Denver's top outlets
for 70mm runs for several years.
The theatre is equipped with Philips
Norelco) projectors. Before the
recent Core-Lite installation used
F:2.0 condenser type high intensity
arc lamps burning [3.6mm \ 22-inch
positive and ' '■> x 9-inch negative
carbons at 16U amperes.

The decision to install Ashcraft
Core-lite lamps was made after com-
parative tests were run in the theatre.
The Core-lite arc lamps were burned
at 100 L05 amperes using I lmm \
17'^-inch high-intensit) positive, and
11 32 x 0-inch negative carbons.
Center screen lighting increased 12
per cent, and screen side lighting in-
• leased II per cent. This increase
in overall screen lighting is even
more significant when the size <>l On-
screen is taken into consideration.
Both 70mm and CinemaScope pro-
jected pictures are in excess of 50
feet in width.

\lter 30 da\s. operation with the
Core-lite lamps. Joe Stone, who super-
vised the installation for National
Theatre Supplv Co's. Denver Branch.

America's
headquarters

lor all
theatre equipment

supplies

National

THEATRE SUPPLY COMPANY

International Projectionist

came up with a compilation of sav-
ings in the cost of operating the
Core-lite lamps. The savings in cost
of carbons and current is in excess of
$900.00 per year — enough to enable
the Core-lite lamps to "'pay for them-
selves" in less than four years of
operation. Such savings were good
news to Mel Glatz. Fox Inter-Moun-
tain purchasing agent, who was
alreadv happy with the improvement
in screen lighting.

New S.O.S. Printer
Features Improvements

Alan C. Macauley, President of
S.O.S. Photo-Cine-Optics, Inc.. re-
cently announced the development of
a new Model B TEL-Amatic Printer.

The new devise is an improved
continuous contact sound and picture
printer for double 8mm and 16mm
films, having been equipped with a
semi-automatic 21-scene light change
which assures perfect exposure. In
addition, feed and take-up shoes now
replace the pad rollers. Many more
features never before achieved in the
low cost professional printer field are
described in a folder available from
S.O.S.. 387 Park Avenue South. New
York, Y Y. L0016; or 6331 Holly-
wood Blvd. Hollywood, Calif.. 00028.
lamp, when used with 70mm pro-
jectors, is that no intermediate opti-
cal elements or changes in lamphouse
positioning is necessary when chang-
ing from 70mm to 35mm projection.

National General
Opens $350,000 House

A gala opening night July 15
marked the opening of the new
$350,000 Fox Theatre in Orange
County, Calif.

The 838-seat deluxe showcase is
located in the Bossmoor Shopping
Center. It is the latest addition to
National General Corp's. Fox West
Coast operation.

The opening also provided an op-
portunity for scholarship fund-raising
activities by the Rossmoor Women's
Club.

According to National General
Corp. president and chairman Eugene
V. Klein, the theatre is part of plans
to extend the company's Western and
Mid-western operations, which now
encompass 217 conventional and
drive-in theatres in 16 states. iP

August. 1964

Get all the facts! Ask your equip-
ment dealer for the new 1964
Kollmorgen Projection Lens Cata-
log or write us direct.

kTkollmorgem

CORPORATION

NORTHAMPTON. MASSACHUSETTS

11

Autoscope System Diagram

.2.60

HOW IT'S DONE WITH MIRRORS (260 of them) in the central projection building.

24

In response ta many reader inquiries, the illustration above depicts the operation
of the novel Autoscope drive-in theatre projection system. David Hamrah's
article describing this unique method was reprinted in the July, 1964 IP from
the original story in the I.A.T.S.E. Bulletin.

Trans-Lux Names
Linn to Washington

Byron R. Linn has been appointed
director of Trans-Lux theatre opera-
tions for Washington, D. C, it was
announced by Thomas E. Rodgers,
vice president in charge of theatres
for Trans-Lux Corporation. Linn was
formerly vice president, film buyer
and booker for the Comerford
Theatre Circuit.

He will handle the activities of
three Washington theatres, the Trans-
Lux, the Trans-Lux Plaza and the
Trans-Lux Playhouse, the latter to
serve as his headquarters.

Bollantyne Sales Mount

First-half sales of Ballantyne In-
struments and Electronics, Inc., divi-

12

sion of ABC Consolidated, are 109%
ahead of a year ago. Profits in the
first six months exceeded all 1963. iP

Stiff-el Named To
SMPTE Staff

Joseph R. Stiftel has been appoint-
ed assistant staff engineer for the
Society of Motion Picture and Tele-
vision Engineers ( SMPTE ) . In this
position, Mr. Stiftel will be primarily
responsible for augmented quality-
control procedures in the SMPTE
test film program. He also will assist
in the development of new test films.

For three years prior to his ap-
pointment to the SMPTE headquar-
ters staff, Mr. Stiftel worked in the
Thin Film Solid State Electronics
Program at General Telephone and
Electronic Laboratories. At General
Telephone he was directly involved in
the research and development of a
solid-state television display panel.

iP

Projectionists

who like quality

always use the best

Star

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Sold by Supply Dealers

Send for FREE Sample

ACE CHEMICAL CO.

■ (Division of the

Ace Electric Mfg. Co.)

1923 Bay Road

Miami Beach, Florida

THE VERY FINEST PROJECTOR PARTS

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There's nothing like them for pre-
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SINCE 1908

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TELEPHONE— AREA 312— ES 8-163G

International Projectionist

August. 1964

Battery-Powered
Projector Marketed
By Viewlex, Inc.

A batter) powered filmstrip slide
projector designed l«> be used inde-
pendent!) of an) outside power
source was announced l>\ Viewlex
i \\ll.\> of Holbrook, Long Island.
\. V.

Light enough to l>e carried easily,
il e unit is enclosed in its own sturd)
Bispatch type carrying case which

F. Lachman
Dead at 56

Viewlex, Inc. has announced a new
lightweight portable filmstrip and slide
projector, shown above. The unit is
self-storing and will operate on stand-
ard 110 VAC, or any 6 VDC source,
including its own rechargeable battery.

serves as a projection screen as well.
The Viewlex Batter) Powered Film-
strip Slide Projector can he set up in
Beconds and used anywhere. The unit
can also be operated from an) stan-
dard power outlet, including a car
batters .

Designed initialh For use l>\ tin-
Peace Corps in areas where electrical
power was not readily available.
the Viewlex Battery Powered Film-
strip Slide Projector proved to be an
invaluable teaching tool.

The View le . Batten Powered
Filmstrip Slide Projector, which as
its name applies can be used either
with filmstrips or conventional color
slides, receives its energy from a
6-volt wet cell Viewvolt spill-proof
battery. A recharger also built in will
rejuvenate the batters in 12 hours or
less. The Viewvolt battery can be
recharged at least 500 times. Each
charge is good for a full hour's
projection.

The Projector can be used with a
variety of lamps and lenses, from
"small-screen" projections to "long
throws" filling large conventional
screens. Size of the unit, encased, is
17 x 17 x 5-inches. Its weight is 25
pounds. The complete unit, ready for
use. ee!!s for under $150.

International Projectionist August. 1964

Edward Lachman, president of
Carbons, Inc., Boonton, N. J., died
during his attendance of the conven-
tion of the \llied Theatre Owners of
New Jersey, at the Concord Hotel
Kiamesha I ake, N. Y., \ug. 1. at the
age of 56.

To projectionists, exhibitors, deal-
ers and others in the trade as well as
the trade press. Ed was the epitome of
warmth, friendliness and enthusiasm
in his business as well as in his
social acti\ ities.

I rider his leadership and guidance
Carbons, Inc., enjoyed considerable
growth with the recent establishment

of the XeTRON division, which

distributed motion picture sound
equipment and power supplies. His
plans for a well-rounded expanded

organization began to take Form as

he added to his starf several well
known engineering and executive
people in the industn and embarked
on a program of sizeable expansion

Mr. Edward Lachman

for XeTRON and Lorraine Carbons.

Mr. Lachman started in the busi-
ness in Chester. Pa., where his father
had a theatre. He was once asso-
ciated in exhibition with Wilbur
Snaper in New Jersey. At the time of
his death he owned the Stale Theatre,
Boonton. N. J.

Surviving Ed are bis wife Rosa-
bella, his elder son, Edward. Jr. and
twin sons \Ya\ne and Robert.

13

Execs Ink Theatrofilm Pact

Norelco

projection
equipment

Available from

leading theatre supply

dealers

North American Philips Co., Inc.

Mot-ion Picture Equipment- Division
100 E. 42nd St., New York 17, N.Y.

Benj. Kalmenson (seated), executive vice-president of Warner Bros., signs
Theatrofilm distribution pact as (L. to R.) William Sargent, Alfred W. Crown
and Morey (Razz) Goldstein look on. Sargent is president and Crown is
executive vice-president of Electronovision Productions, Inc., developers of
Electronovision Productions, Inc., developers of Theatrofilm. Goldstein is vice-
president and general sales manager of Warner Bros. (See story on page 8).

G & G Theatres
Takes Over Strand

Better
Light!

RINGSDORFF CARBON CORP. East McKeespo<t. Pa

The Strand Theatre, Milwaukee's
leading hard - ticket house, was
acquired this week by G. & G. Theatre
Corp., New York. G. & G. is owned
by Herbert L. Golden and Leonard S.
Gruenberg.

Gruenberg was formerly Eastern
Diyision Manager for RKO Pictures,
and subsequently Vice-President of
NTA. Golden, now in the investment
and the finance business, was
formerly Vice-President of Bankers
Trust Company and United Artists
Corporation.

The 850-seat Strand Theatre, was
formerly operated by Joseph Seiter's
Prudential chain. The Strand recentJ
ly closed after a lengthy run of
"Cleopatra." It has played such road
show film attractions as "Ben Hur,1"
"Lawrence of Arabia," "West j Side
Story," "South Paciiic,"' "Okla-
homa!", "Exodus" and "Mutiny on
the Bounty."

The theatre is being, managed for
G. & G. by Jerry Gruenberg, who
formerly headed the Prudential and
Joseph Gran theatres in the Milwau-
kee area.

14

There's Plenty for You At

CENTURY!

. . . and from CENTURY only

dramatic, New ALL TRANSISTOR
sound systems

"True high-fidelity,

distortion free.
''Low installation cost,

minimum space needs.

'Increased reliability,
less maintenance.

:No vacuum tubes, no
photoelectric cells.

*and the only American-made 70 mm 35
theatre projection systems

SEE

YOUR CENTURY

DEALER

. . . for ibigger, brighter projection.

\ I

CENTURY PROJECTOR CORP.

New York 19, N. Y.

International Projectionist

August. 1964

Investment Opportunity

The tools this young apprentice is learning to make will
one day be used to turn out your company's products.

A great investment in time, money, effort and faith
will have to go into making him productive. Every one
of us has a stake in his success — and every one of us
must invest something — for on the developing skills of
America's young tool-makers depends the continued
functioning of all industries.

You can protect your investment by joining with other
leading American businessmen to promote the Treas-
ury's Payroll Savings Plan for U.S. Savings Bonds. The
Treasury Department's Plan helps safeguard the individ-

ual liberties, and encourages the industrious and respon-
sible attitudes so necessary for the growth of our econ-
omy and the well-being of our society.

When you bring the Payroll Savings Plan into your
plant — when you encourage your employees to enroll —
you are investing in the next generation of America's
skilled craftsmen and technicians. You are investing in
our future. In freedom itself.

Don't pass this investment opportunity by. Call your
State Savings Bonds Director. Or write today to the
Treasury Department, United States Savings Bonds
Division, Washington, D.C., 20226.

in your plant. ..promote the PAYROLL SAVINGS PLAN for U.S. SAVINGS BONDS W^m

The U. S. Government does not pay for this advertisement. The Treasury Department thanks, for their patriotism, The Advertising Council and this magazine.

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INDOOR THEATRES!

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C. S. ASHCRAFT MANUFACTURING CO., INC.

36-32 THIRTY-EIGHTH STREET, LONG ISLAND CITY 1, NEW YORK

SOLD EVERYWHERE IN THE UNITED STATES BY LEADING AUTHORIZED THEATRE SUPPLY DEALERS

INTERNATIONAL

Here's a helicopter view of the Kodak
Pavilion at the New York World's Fair.
Its 400-foot long sloping surface matches a
lunar landscape. Five 30-by-36 foot color
prints ring the 80-foot picture tower, and
can be seen for miles by day and night.
(See story on page 16).

6

OCT 261964
Cont Copy

SEPTEMBER
VOLUME 39
40c A COPY

1964

NUMBER 9

$3.00 A YEAR

See SMPTE Technical Exhibit Directory on Page 8

The

ea

KtiU New

The

PROJECTION ARC LAMP

A Product of

^*0£ Electric Corporation

31 City Park Avenue • Toledo, Ohio 43601
Phone: (419) 248-3741

Brochure on request

WIDER USE

Matches the optical requirements of all 35mm
and 70mm projectors. A single knob allows
instant change between film widths. A cali-
brated scale with reference pointer facilitates
precise reset of burner focus ... a Strong
exclusive.

GREATER CONVENIENCE

Unit construction permits instant removal of
components for cleaning and inspection. 25%
lower silhouette permits easy installation in
low-ceiling projection rooms.

The FUTURA II

with automatic crater positioner for 13.6mm
carbon trim burning at 120 to 160 amperes,
or for 11mm carbon trim burning at 100 to
125 amperes.

MORE LIGHT

for all indoor theatre screens up to 65 feet
and drive-in screens up to 120 feet.

LESS COST

to buy and less to use. Efficient utilization
of standard 20-inch carbons insures THE
GREATEST AMOUNT OF LIGHT EVER DE-
LIVERED PER CARBON DOLLAR. Permits
projection of an extra reel per carbon.

The FUTURA I

for utmost economy in operation with stand-
ard 11mm carbon trim burning at 75 to 105
amperes.

MORE FEATURES

New type relocated arc imager system elimi-
nates parallax. Big 18-inch first surface Strong
Tufcold reflectors used in lamps operating
above 95 amperes assure lower aperture
temperatures. Silvered reflectors used in
lamps burning under 95 amperes. Stream-
lined ammeter for reading arc current. Auto-
matic trimming light. Inside dowser system.

INTERNATIONAL

PROJECTIONIST

MONTHLY CHAT

►**w********v*%wv*<v**v

Volume 39 September 1964 No. 9

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO
Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAL GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue. New York, N. Y., 10017

Telephone Murrayhill 7-7746

(Area Code 212)

IN THIS ISSUE

Xenon Projection Lamps 4

SMPTE Exhibit Directory 8

Heyer-Schultz Reminisces 14

Tri-State's Golden Anniversary 15

The Cover Story

Giant Kodak Prints for Fair 16

Ashcraft Lamps Debut in St. Louis 17

News Notes — Technical Hints — Miscellaneous Notes

INTERNATIONAL PROJECTIONIST, published monthly by the
International Projectionist Publishing Co. division of The
Northern Publishing Co., Post Office Box 6174, Minneapo'is
Minnesota 55424. Editorial offices, 1645 Hennepin Avenue,
Minneapolis, Minn. 55403. Subscription Representatives: AUS-
TRALIA — McGills, 183 Elizabeth St., Melbourne; NEW
ZEALAND — Wixon's, Ltd., 64 Courtnay Place, Wellington;
ENGLAND and ELSEWHERE — Wm. Dawson & Sons, Ltd.,
Macklin St., London, W. C. 2. Subscription Pates: United Steves,
Canada, and U. S. Possessions, $3.00 per year (12 issues) and
$5.00 for two years (24 issues). Foreign countries: $4.00
per year and $7.00 for two years. Changes of address should
be submitted four weeks in advance of publication date to
insure receipt of current issue. Second-class postage paid at
Minneapolis, Minn. INTERNATIONAL PROJECTIONIST as-
sumes no responsibility for personal opinions appearing in
signed articles, or for unsolicited articles. Entire contents
copyrighted 1964 by INTERNATIONAL PROJECTIONIST
PUBLISHING CO.

The exhibitor owners meet this fall.

The Theatre Owners of America annual convention
first. September 28, 29, 30, October 1. The meet in Chi-
cago, Conrad Hilton Hotel.

The TOA is the 17th annual convention. National As-
sociation of Concessionaires will trade show.

Allied States Association of Motion Pictures Ex-
hibitor, October 19, 20, 21, 22. The equipment manu-
facturers hold the trade show. The Allied 35th annual
convention.

Its TOA and Allied members will be well advised
to attend. For these are times when no theatreman can
afford to miss the opportunity to get into first-hand
contact with fellow theatremen for the discussion of
mutual problems and swapping ideas, as well as for
cn-the-ground participation in discussions and formu-
lation of programs of action which are the business oi
these annual get-togethers.

The projectionists urged to attend, particular at
the Allied equipment manufacturers and the dealers
here at the trade show. They will have the opportunity
of looking at the latest in theatre equipment for
four-wall houses and drive-ins.

The aroused interest in projection and sound tech-
niques may stimulate more concentration by exhibitors
on the important details of equipment for screen pre-
sentation.

International Projectionist September, 1964

and Television Engineers

Atttention to that detail definitely seems to belong
on the agenda of these exhibitor conclaves. None of
the exhibitor leaders and none of their organization's
membership that all theatres are giving the public the
kind of screen presentation (from the technical stand-
point). Thoroughly efficient management should proved.

Because plant improvements beget their kind. And
newer accessories in the department of projection and
sound stimulate theatre attention to other phases of
the theatre — including seating, decoration and better
housekeeping around the lobby, foyer and rest rooms
as well as the auditorium.

The conditions of exhibitor should be intensely
concerned with the vital matter of film supply and
rental cost. They chooses to back and forth between
exhibitor and distribution. The way is life for the
motion picture industry .

The national exhibitor conventions, for the long
years, they lacked entirely one important ingredient.
This is organized discussion of the way and means
cf pleasing the customer better and thus getting more
customers of the individual theatre. iJP

3

H

INTERNATIONAL PROJECTIONIST

*'-■* — « * ■ . . —-_—___ - — „... -., ■-^—

Volume 39 September, 1964

Number 9

A Resume . . .

Xenon Projection Lamps

By Don V. Kloepfel

(Reprinted from the Journal of SMPTE, June, 1964)

The motion-picture industry has depended primarily
upon two sources of light for projection purposes — the
incandescent lamp and the carbon arc, each of which has
certain disadvantages.

The incandescent lamp has an adequate life span,
consistent with its cost. It is easily replaced and aligned,
and it uses alternating current, which is universally
available. A major disadvantage, other than limited out-
put, is the color of the light it emits. Across the visible
spectrum, incandescent light is deficient in the short or
"blue" wavelengths, and the amplitude of the longer
or "red" wavelengths is high. The result is a yellow light,
rather than pure white light, which is desirable because
it more closely resembles average daylight (Fig. 1).

The carbon arc overcomes these difficulties. The light
emitted is blue-white, approaching the color of daylight
(Fig. 1). Also, it is the most powerful source of arti-
ficial light known, therefore the size of motion-picture
screens under carbon arc illumination can be determined
more by such factors as heat dissipation, optical design,
and motion-picture film properties than by the limits
of carbon-arc brightness.

A disadvantage is that carbon arcs must be vented
because the carbon and core materials decompose, form-
ing gas and ashes. Also, they require elaborate feed
mechanisms to keep the positive crater properly posi-
tioned in relation to the optical system to prevent screen
illumination changs in color, brightness and distribution.
Current changes also affect the color of the light.

The xenon high-pressure projection lamp emits light
that is essentially flat across the visible spectrum (Fig. 1) .

Other distinctive characteristics under typical opera-
tion in laboratory and studio review rooms are described
below.

The warranted life of a typical xenon high-pressure
lamp is 1500 hr. This warranty can be given only if
auxiliary equipment meets the requirements established
by the manufacturer. The rated life is based on an off-
cycle of 20 min, such as would be the case in most the-
aters. Film roll sizes in studio and laboratory review
rooms are quite likely to be small. If the lamps were
extinguished at the end of each roll, the on-off cycle
would be increased. Damage to the lamps would result,
due to the increased number of ignitions. One report
stated that, when on-off operation was abandoned and
the lamps left burning continuouosly for a 13-hr. period
each day, lamp life increased from an average of 750
hr. to over 1800 hr.

Xenon lamps require a direct-current power supplv
with a no-load voltage of at least 72v and an a-c ripple
content of less than 17%. Practical operation has indi-
cated that useful life will be further increased with
ripple lower than that figure. In fact, most well-regulated
power supplies have far lass ripple; in some cases
less than 1%. Several manufacturers have designed
power supplies for xenon lamps that meet these re-
quirements. They have included relays to provide 220-v
d-c for the igniter and also some means of increasing
the d-c current while the lamp blackens due to decompo-
sition of the tungsten electrodes.

Sixty percent of the installations surveyed included
rectifiers designed for xenon service. Forty per cent had
modified existing rectifiers and generators by adding
ballast resistors and, in some cases, increased filtering.

The xenon arc appears to be inherantly unstable
during the first few minutes of operation after ignition.
Flicker was reported during that period in every instal-
lation reached by the survey. After a short time, the

International Projectionist September, 1964

BLue cyx*/ GRseh

YELLOW Ofi/\N6e

flicker disappears and the arc is
completely steady during the rest
of the burning period. One possible
explanation is that the high ignition
voltage produces minute irregulari-
ties on the surface of the cathode.
As the cathode heats up, these bub-
bles smooth out. The problem is not
considered to be serious as it is
usually possible to pre-heat the arc
before screenings. This is good prac-
tice with the carbon arc as well.

Because the xenon arc lamp radi-
ates its light in all directions, an
auxiliary mirror is placed in front to
reflect light radiated in a forward
direction back to the main mirror.
The superimposition of this real but
reversed image of the arc requires
extremely careful adjustment if dis-
tribution on the screen is to be uni-
form. Further, the discharge between
the electrodes is bell-shaped. If the
major portion of the arc is to be
utilized, some optical rectification is
necessary for good screen distribu-
tion. One such optical rectifier or
corrector is the Zeiss-Ikon Honey-
comb lens. A single element cor-
rective lens designed to spread the
light evenly across the aperture is
also used. That these devices are
practical is evidenced by reports of
up to 90% side-to-side screen light
distribution, compared to the center
of the screen.

It was discovered in the first the-

7S-Q

ater installations of xenon lamps thyt
the violent igniter discharge caused
a brief cracking in the sound system.
To overcome this both lamps weu
ignited before the performance and
the "off" lamp current was decreas-
ed. Such operation ended the sound
problem without materially affect-
ing the life of the lamps. Shortly be-
fore the changeover, the current was
increased to normal and the change
from one projector to another ef-
fected without a noticeable change in
screen brightness. Later, a relay was
inserted in the igniter circuit which
shorted the amplifier input, inter-
rupting the sound for about 0.1 sec.
during ignition. A sound interrup-
tion cannot be tolerated in a review
room. Films being viewed are sub-
ject to very critical visual and aural
examination. A recorded foreign
noise, a poorly looped splice or a
projector sound system defect will
in most cases prompt intensive in-
vestigation. Most of the installations
surveyed reported igniter noise prob-
lems. Of course, if both lamps are
left on during the entire perform-
ance, there is no problem. A more
sophisticated approach might be to
investigate the effectiveness of im-
proved shielding around the first
stage of the preamplifiers, the addi-
tion of a suitable low-pass filter in
the first stage grid, or a small r-f
(Please turn to page 6)

Get all the facts! Ask your equip-
ment dealer for the new 1964
Kollmorgen Projection Lens Cata-
log or write us direct.

KOLLMORHEN

CORPORATION'

NORTHAMPTON. MASSACHUSETTS

International Projectionist September, 1964

lZi^velnc^!S! Xenon Projection Lamps

M. M. Rand has been named direc-
tor of marketing for the Carbon
Products Division of Union Carbide
Corporation. Succeeding him as mar-
ie e t i n g manager
for electrode and
metallurgical prod-
ucts is Robert D.
Kennedy.

Rand joined
Union Carbide in
19 4 8 following
graduation from
Michigan State
University with a
B. S. degree in
M. Kand chemical engineer-
ing. After serving in the production
and development departments, he
joined the electrode products market-
ing group in 1954, and since Janu-
ary, 1962, has been marketing man-
ager for electrode and metallurical
products.

Kennedy was graduated from Cor-
nell University in 1954 with a B. S.

The true average temperature of
the xenon arc is rated at 9000K, while
the plasma ball Kelvin temperature
is even higher. The color temperature
measured at the center of the arc is

degree in mechanical engineering,
and joined Union Carbide in 1955.
Following assignments as a field
sales engineer, he was project engi-
neer on mechanical products from
1959 until 196', when he was named
division sales manager for electrical
and mechanical products in Chicago.
Since June, 1963, he has served as
product manager for electrical and
mechanical products in New York,
rated 6200-6500 K, while the color
temperature of the total radiation is
about 150 K lower due to propor-
tional electrode radiation.

CAN YOU MATCH
ONE OF THESE 3

TO YOUR SCREEN?

X-16 XENON ARC
PROJECTION LAMPS

900-watt model for screens up to 23 feet wide (matte-Cinemascope Aperture)

or 28 feet wide (high gain— Cinemascope Aperture)
1600-watt model for screens up to 29 feet wide (matte-Cinemascope Aperture)
„„„ or 36 feet wide (high gain-Cinemascope Aperture)

2500-watt model for screens up to 35 feet wide (matte-Cinemascope Aperture)

or 43 feet wide (high gain -Cinemascope Aperture)

Steady, flickerless, pure white light is independent

of voltage variations of the power line supply.

Extremely even distribution of light throughout the

total screen area.

"Push-Button repeatability" of intensity and color

temperature.

Excellent color film reproduction.

Focu remains constant.

Projects practically no heat to the film or aperture
plate. No cooling required.
Cleanliness assures maximum life for the projector.
Simple operation. No moving parts in the light
source.

Maintenance and current costs are approximately
the same as for carbon and current costs for operat-
ing a carbon arc lamp of equivalent light output.

THE

Send for brochure. Demonstration in your theatre on request.

ELECTk C CORPORATION

31 CITY PARK AVENUE

TOLEDO 1, OHIO

Continued from, page 5

The color temperature of the high-
intensity carbon arc is rated at
5400 K.

Bearing in mind the disparity be-
tween the true temperature in degrees
Kelvin of a blackbody radiator, and
the apparent color temperature of
light radiating from a non-blackbody,
it is difficult to refer to such light in
terms of the absolute scale. It is even
more difficult to measure this appar-
ent "color temperature" accurately.
The problem was covered quite thor-
oughly by Crandell, Freund and
Moen.

A wide difference of opinion con-
cerning the color of xenon light com-
pared to carbon-arc light was indi-
cated by the survey. Color tempera-
ture readings were generally incon-
clusive. When viewed side by side
under identical conditions, the xenon
light appeared to have a lower ap-
parent color temperature than the car-
bon arc The addition of a filter com-
parable to a Wratten CC10 to the
xenon output produced a visual
match with the carbon arc light of
equal brightness. This led to the
conclusion that the xenon light is
minus green when compared to car-
bon arc light; yet when a 16mm
projector equipped with a 450-w
xenon lamp was added to the com-
parison it appeared to have a much
higher apparent color temperature
than either the 1600-w xenon or the
carbon arc. The material and design
of the optical system is perhaps re-
sponsible for the difference in ap-
parent color temperature, and is the
subject of further investigation.

Results of the survey indicate that
the xenon-arc lamp, operated under
conditions that meet the manufac-
turer's warranty, is a satisfactory
high-intensity light source for motion-
picture projection. It is constant in
color and intensity and requires little
adjustment or maintenance, other
than routine cleaning of the optics. 1/
can be operated over a wide current
range without change in color. It re-
quires no attention while operating,
thus the projectionist can pay more
attention to sound level, focus, fram-
ing threading and handling of film,
and to other projection details that
all add up to better motion-picture
™ ^^^™ presentation. iP

International Projectionist September, 1964

Indoor House
Completes N.J.
Cinema Center

Walter Reade-Sterling's new Com-
munity Theatre located adjacent to
the Eatontown Drive-in Theatre at
the Eatontown Traffic Circle on
Route 35 in Eatontown, N. J., held
a gala opening Auguset 26th.

The entire area is known as the
"Eatontown Cinema Centre" with
both the Community and Eatontown
Drive-In Theatres operating concur-
rently.

Early American

The new 900 seat Community The-
atre which fronts on Monmoulh
Parkway is of early American de-
sign, and is a virtual duplication of
the organization's Community in
Cherry Hill. N. J., which opened
a year ago and has received archi-
tectural awards for its designs and
decor. The Eatontown Community
is shingle-roofed with red sidings.
and has a white colonnade front.
Although the decor is colonial, the
theatre has the most advanced pro-
jection and sound equipment. Among
the many patron conveniences are
push-back seating with extra wide
rows to assure ample leg room.

Another First

Public officials of Eatontown and
Monmouth County joined celebrities
of the motion picture industry at a
reception and buffet dinner at the
Crystal Brook Inn prior to a special
preview.

The "Eatontown Cinema Centre"
complex is another first for the Wal-
ter Reade - Sterling organization,
comprising both a major conven-
tional roofed theatre and a year-
round outdoor theatre within the
same area, accommodating over 1200
cars. Although major first-run films
are shown simultaneously at both
theatres, occasionally each theatre
plays different attractions.

The Community, the first to be
built by the Circuit in Monmouth
County in many years, raises to more
than 50 the number of theatres for
the Walter Reade-Sterling organiza-
tion, and represents another mile-
stone in its expansion program. In

(Please turn to page 8)

International Projectionist

Christie Electric Corp.
Offers Broad Line of
DC Power Supplies

Christie Electric Corporation is cui-
rentlv featuring a newly expanded
line of DC Power Supplies designed
specifically for operating Xenon and
Mercury-Zenon Arc-Lamps. This ver-
satile line now consists of 14 units,
includes both highly regulated and
manual units.

Covering lamp reading from 150
to 10,000 watts, each unit will oper-
ate any of two or more different
lamp sizes, either Xenon or Mercury-
Xenon. They include automatic reg-
ulation as well as extremely low cur-
rent ripple and other special features
for longer lamp life. Unique "slope
control" in the Christie units auto-
matically provides either regulated
constant current, constant power, <>•
increasing power.

This enlarged line is widely used
in such applications as solar simula-
tion, data display systems, scientific
instrument-, and projection systems,
to name only a few. Further infor-
mation can be obtained from Christie
Klei trie Corporation. 3110 West 67th
Street. Los Weles, Cal., f)()043.

Shown above is the Christie Electric
Corp. Model CX5000-4S, 5 kilowatt
power supply, which is capable of
operating either Xenon or Mercury-
Xenon lamps of ratings 450 through
5,000 watts. The unit has a maximum
power output of 6,000 watts with a
smoothly adjustable current range from
30 to 180 amperes. It provides a cur-
regulation of ±1% and a current
ripple of less than 1%.

look

into

Stewart

Film screens

• • • the

choice

of
experts

►

y

FILMSCREENS FOR SHOWMEN-Stew-

art Projection Screens-the choice of
15 major exhibitors at the New York
World's Fair!

ULTRAMATTE — for commercial play-
houses, theatre TV. viewing rooms ■
Seamless to 46 by 88 feet ■ Optical
efficiency ■ Durable economy.
LUXCHROME 50-seamless rear pro-
jection ■ Superior image contrast in
lighted rooms.

FILMSCREENS FOR FILM PRODUCERS

-used by CBS Studio Center, Colum-
bia. Desilu, Disney, Fox, Goldwyn,
MGM. Paramount. Revue, UPA, Uni-
versal, Warners.

HI-TRANS- Academy Award back-
ground screen-highest calibre
production "tool."

ULTRAMATTE gain white, and LUX-
MATTE white matte— front projection
screens ■ Demanded by studios and
film labs for viewing during produc-
tion, dubbing, and scoring.
T-MATTE BLUE -rear-illuminated
screen for latest traveling-matte
process ■ Practical for large and
small sets, major productions, or TV
commercials.

►

FILMSCREENS FOR TV PRODUCTION

TV-BLUE— background screen ■
Favorite of networks ■ Versatile ■
Efficient.

LUXCHROME 60— neutral gray screen
for closed-circuit techniques, back-
grounds and rear projection viewing.

A

y

. STATE .

A

FILMSCREENS also designed for A-V,
fairs, trade shows, exhibits, simula-
tors, plotting and display systems, and
special architectural requirements.

4

STEWART FILMSCREEN CORP.

1161 W. Sepulveda Blvd.
Torrance, Calif. 90503 (213) 326-1422

I want to look further into Stewart Film-
screens. Please send me additional

information on:

NAME

STREET

CITY

September, 1964

EXHIBITS

Company

Booth Company

Allen Products, Inc. 4

Milford, Conn.

Amega Corp. 19

Sun Valley, Calif.

Arriflex Corp. of America 51, 52

New York, New York

Boston Insulated Wire

& Cable Co. 65

Boston, Mass.

Camera Mart, Inc. 16, 17, 18

New York, New York
Camera Service Center, Inc. 41
New York, New York
Comprehensive Service Corp. 59
New York, New York
Dage Television Co. 21

Michigan City, Ind.
Andre Debrie of New York 44, 45
College Point, New York
DuKane Corporation 14

St. Charles, Illinois
Eclair Corp of America 61

Los Angeles, Calif.
Carlos H. Elmer 38, 39

Scottsdale, Arizona
"Eumig" Elektrizitats und

Metallwaren Industrie 23

Vienna, Austria

F &B/Ceco, Inc. 9, 10,11 & 12
New York, New York
Fairchild Industrial Products 49
New York, New York
Filmline Corporation 62, 63

Milford, Conn.

Frigidheat Industries, Inc. 28
Nashville, Tenn.

General Camera Corp. 22

New York. New York
Harwald Company 58

Evanston, Illinois
Heico, Inc. 27

Stroudsburg, Pa.
Karl Heitz, Inc. 13

New York, New York
Hi-Speed Equipment, Inc. 68

Waltham, Mass

Hollywood Film Company 40

Hollywood, Calif.
MGM Telestudios, Inc. 48

New York, New York
Macbeth Corp. & Subs. 46

Newburgh, New York
Machtronics, Inc. 5

Palo Alto, Calif.
Magnasync Corp. 70

No. Hollywood, Calif
Magna-Tech Electronic

Co., Inc. 3

8

Booth

New York, New York

Metro/ Kalvar, Inc. 15

New York, New York

Motion Picture Enterprises,

Inc. 20

Tarrytown, New York
National Cine Equipment, Inc. 56
New York, New York
Neumade Products, Inc. 53

New York, New York
Novatech Corp. 69

New York, New York
Oxberry Corporation 60

Mamaroneck, New York
Paillard, Inc. 6

Linden, New Jersey
Photo Lectronic Research 50

New York, New York
Photo-Sonics, Inc. 39

Burbank, Calif

Plastic Reel Corp. of America 47
Weehawken, N. J.
Precision Laboratories Div. 55
Brooklyn, New York
Quick-Set, Inc. 7, 8

Skokie, III.
Revere-Wollensak Div.,

3M Co. 1

St. Paul, Minn.

Roanwell Corp. 64

New York, New York
S.O.S. Photo-Cine-Optics,

Inc. 54

New York, New York
Sylvania Electric Products,

Inc. 29, 30

New York, New York
Traid Corporation 38

Encino, Calif

Thomas Valentino, Inc. 24

New York, New York

Cinema Center

(Continued from page 7)

July, in conjunction with the Gen-
eral Cinema Corporation, the com-
pany opened the Cinema Theatre in
the Blue Star Shopping Center near
Plainfield. On August 1st, it acquir-
ed the Bridge Theatre in San Fran-
cisco, Calif., and on August 10th.
took over the Fine Arts Theatre on
New York's exclusive East Side. In
1963 Walter Reade-Sterling built or
acquired seven new theatres.

A pioneer in the motion picture
industry, with almost sixty years of
theatre operation, Walter Reade-
Sterling has been a leader in Mon-
mounth County's entertainment field
for decades. Its theatre operations
are centered principally in New Jer-
sey and New York, and includes
seven first- run theatres in Manhat-
tan and Queens.

Send

for complete

information

NATIONAL STUDIOS

42 West 48 Street, NYC

From Coast- to Coast

From the

Music Hall

to

Graumann's Chinese

For Good Projection
It's Hurley All the Way

HURLEY SCREEN COMPANY, INC.

96-17 Northern Blvd., Corona, N.Y.C.
(See your theatre supply dealer)

International Projectionist September, 1964

Two Kodak Supervisors
To Be Honored by SMPTE

.* * * • * *

Optical Design Director
To Receive New Award

Dr. Rudolph Kingslake, director of
optica] design for Eastman Kodak
Co., Rochester, N. Y., has been
named to receive the 1964 Progress
Medal Award of the Society of Mo-
tion Picture and Television Engi-
neers (SMPTE).

The Progress Medal is the pre-
mier award of the U!-\ ear-old pro-
fessional society and recognizes out-
standing technical contributions to
the progress of motion-picture and
television engineering. The award was
announced by SMPTE President Reid
H. Ray.

Formal presentation of the Prog-
ress Medal to Dr. Kingslake will be
made during SMPTE's semiannual
technical conference Sept. 27 - Oct.
2 at the Commodore Hotel in New
York. Chairman of the award com-
mittee was Sidney P. Solow, vice-
president and general manager of
Consolidated Film Industries. Holl\-
wood.

Dr. Kingslake, who received bach-
elor, master, and doctor of science
degrees from the Imperial Collet' ol
Science and Technology in London,
has been awarded 10 patents in the
field of optics, and is the author of
numerous scientific papers.

Noted for his ability to write lu-
cidly on technical subjects, he has
contributed articles to several ency-
clopedias and is the author of the
book, "Lenses in Photography," now
in its second edition.

Dr. Kingslake came to the United
States in 1929 to join the faculty of
the University of Rochester as assis-
tant professor of geometrical optics
and lens design. In 1937, he joined
Kodak and became head of the lens
design department two years later.

He is a Fellow of SMPTE. of the
Society of Photographic Scientists
and Engineers, and of the Optical So-
ciety of America. Dr. Kingslake serv-
ed as president of the OSA in 1947-
1949. He is also a member of tin-
Physical Society of London.

Earl L. Arnold, manager of the
Film Emulsion and Plate Manufac-
turing divisions of Eastman Kodak
Co. in Rochester. N. Y.. has won the
1061 Herbert T. Kalmus Gold Medal
Award of the Society of Motion Pic-
ture and Television Engineers (SM-
PTE).

The medal will be presented to
| Mr. Arnold in
ceremonies during
the Society's 96th
Technical Confer-
ence, Sept. 27-Oct.
2 at the Commo-
dore Hotel in New

A\ York-

^^^^^^L Established n

A ^^ in

A ■ I I the developer of
E. L. Arnold t h e Technicolor
process, the award recognizes out-
standing technical achievement in

CREATE THE RIGHT MOOD EVERY TIME WITH THE

Major Mood Music Library

MAJOR offers you a full forty-five hours of mood music for

titles, bridges, backgrounds.

Write for Free Catalogue

THOMAS J. VALENTINO, INC.

Established 1932
150 West 46th Street CI 6 4675 New York 36, N. Y.

color motion pictures for theater oi
television use. This year's award was
announced by SMPTE President Reid
H. Ray. Chairman of the award com-
mittee was Edward H. Reichard,
chief engineer of Consolidated Film
Industries. Hollywood.

A Fellow of SMPTE, Mr. Arnold
has been engaged in the development
of improved photographic emulsions
since the mid-1920's. He has been
genei al superintendent of the emul-
sion and plate manufacturing divi-
sions of Kodak from 1937 to 1952.
and manager of these divisions since
1952.

Mr. Arnold holds a degree in
chemistry from Cornell University.
He is an associate of the Photo-
graphic Society of America and a
member of Sigma Xi, the Photo-
graphic Society of Great Britain,
the Society of Photographic Scientists
and Engineers, the American Chemi-
cal Society, and the American Asso-
ciation for the Advancement of
Science.

The revolutionary, proven
Xenon Light System for
Quality Motion Picture Pro-
jection.

xenosol features
these advantages:

■ COLOR FIDELITY — pure
white-colored light — equally
effective for black and white
or color films.

■ ECONOMY — far lower cur-
rent consumption. Bulb
guaranteed 1,500 hours —
bulb averages 2,500 hours.

■ SUPERIOR QUALITY PRO-
jection — permanent adjust-
ment. Even distribution of
light over screen. Low tem-
perature. No buckling of
film.

■ TROUBLE-FREE — unin-
terrupted performance —
operates without routine
maintenance. No carbons to
change.

■ CLEAN OPERATION — no
residue from combustion —
no waste gases, no ventila-
tion required, lower cleaning
and maintenance costs.

■ IMMEDIATE STARTING —
no burning in or heating up
time — the lamps can be
turned on just before
changeover.

CINE ELECTRONICS
SYSTEMS, INC.

980 Madison Ave., New York 17, H. Y.

An Affiliate of City Invss^fig Co.

International Projectionist September, 1964

Type A704_the uniform
magnetic sound recording film

HEAR THE DIFFERENCE: "R-type"
binder — an entirely new, smoother,
homogeneous oxide layer— reduces tape
noise and intermodulation distortion.

Extremely tough, wear-resistant, but
without abrasiveness, it minimizes oxide
build-up on recording and pick-up heads.

With its high chemical stability, it
makes for long life, prolonged usefulness
of the recorded library.

And, most important, new "R-type"
binder permits uniform oxide coatings of
superb magnetic characteristics. Its high
output and low print-through result in
excellent reproduction quality — more
vibrant highs, a more natural balance
between highs and lows.

EDGE SLITTING exerts great influence on ulti-
mate audio quality; uneven tracking introduces
intermodulation distortion. Note loose particles
on rough guiding edge shown in photomicro-
graph of conventional film at left compared to
evenness of EASTMAN Magnetic Sound Record-
ing Film at right.

SEE THE DIFFERENCE: Printed on the
back of the new Type A704 film is the
permanent legend "Eastman KodakCo.,"
together with a series of dispersion num-
bers. This "Life-Time Coding" provides a
convenient, accurate means of indexing
film by content, a useful reference for
logging of optimum bias settings, re-use
and purchase data. What's more, it is
your assurance of highest quality.

PERFORATING affects audio fidelity. Note the
superior perforations of the Eastman product at
right compared to the uneven perforations of
conventional film at left. Eastman perforating
is known for quality, for conformance to high
standards and for rigorous uniformity.

AVAILABLE NOW: 16, UV2 and 35mm
widths in a complete range of cores and
windings. For further information about
EASTMAN Magnetic Sound Recording
Film, Type A704, as well as the new
EASTMAN Sound RecordingTapes, write:

Magnetic Products Sales Division

EASTMAN KODAK COMPANY

343 State St.
Rochester, N.Y.

200 Park Ave.
New York, N.Y.

130 E. Randolph Dr.
Chicago, III.

6677 Santa Monica Blvd.
Hollywood, Calif.

There is

To Light the

Projection Lamp

Screens!

INDOOR THEATRES! • DRIVE-IK THEATRES!

The -:< ^\ ' ' ,>v

(MCM&W^

/

r

y*

r

- <

~,<

The Ultimate in Projection Lamps!
Engineered for the Projectionist !

OPTICALLY AND MECHANICALLY
PERFECTED TO PROJECT THE MOST
BRILLIANT PICTURE POSSIBLE! .-,

THE SUPER CORE-LITE PROJECTS:

MAXIMUM LIGHT -MAXIMUM
LIGHT DISTRIBUTION!

THE RESULTS 0Af THE SCREEN:

PERFECT FOCUS • PERFECT DEFINITION • PERFECT
^SOLUTION PERFECT WHITE LIGHT PRODUCES
TR IE COLOR REPRODUCTION! - v

ASHCRAFT MANUFACTURING CO., INC,

36-32 THIRTY-EIGHTH STREET, LONG ISLAND CITY 1, NEW YORK

SOLD EVE* WHERE IN THE UNITED STATES BY LEADING AUTHORIZED THEATRE SUPPLY DEALERS

Eastman Kodak's
New Print Format
Boosts 8mm Utility

An experimental format for 8mm
motion pictures for educational, in-
dustrial, and commercial purposes
was described by two Eastman Kodak
Company men recently before the
Society of Motion Picture and Tele-
vision Engineers. Their report was
made in response to growing interest
in commercial 8mm prints in the
trade.

E. A. Edwards and J. S. Chandler,
both of Rochester, N. Y., said that
their theoretical study of a modified
8mm format had the objective of
getting the best quality sound and
picture from 8mm film with mini-
mum added cost. It provides a pro-
jected image with approximated 50
percent more area than present 8mm.

In a study of the four major
functions of the film — pictures,
sound, indexing, and guiding — they
found that the present 8mm formal
uses oiil\ 17 pi'iicnl <>f the film area

for picture image.

Thev were able to raise this to 63
percent for the experimental format.
This was accomplished by reducing
the size of the perforations and plac-
ing the perforations nearer the edge
of the film. The sound track was also
moved to the opposite edge of the
film from the perforations.

After extensive testing they arrived
at an 8mm strip of film with 36-mil
wide perforations spaced 20 mils
in from one slit edge of the film, a
somewhat larger pitch of .1667
inches, and a magnetic sound track
30 mils wide along the other slit edge
of the film. This leaves 228 mils
down the center of the strip for the
picture.

One of their objectives with the
experimental 8mm format was com-
patibility, so 16 mm originals or
masters can be reduction printed onto
the 8mm film. According to their
design, the 16 mm image will fit the
width available on the new experi-
mental 8mm film at a reduction of
1.8 to 1. iP

New Process

Handbook Describes
Film Aging Blemishes

Over the years the National Bureau
of Standards has conducted consider-
able research on the permanence of
record materials, including both
paper and photographic film. Recent-
ly, microscopic blemishes have been
found on microfilms; apparently
they had developed after the film was
put in storage. Practically no infor-
mation loss has been observed, but
any potential threat to the perman-
ence of Government records is a
matter of concern not only to the
National Bureau of Standards but
to records officers throughout the
Government. There is much to be
learned from these blemishes and
they are being studied in many
laboratories.

A report on findings is contained
in Inspection of Processed Photo-
graphic Record Films for Aging
'Blemishes, by C. S. McCamy, Na-
tional Bureau of Standards Hand-
book 96, available for 25c from the
Superintendent of Documents, U. S.
Government Printing Office, Wash-
ington. I). C. 20402. iP

OUT OF PRINT

MITCHELL MANUAL

AVAILABLE!

The renowned "Manual for
Practical Projection" by Robert A.
Mitchell is now out of print, ac-
cording to an announcement by the
bookseller, International Projec-
tionist.

Returns from our retail outlets
have been consolidated and we
now have approximately 40 vol-
umes of the Mitchell Manual avail-
able on a first-come-first served
basis.

These books are in brand new
condition, complete with dust
jackets; have never been used.
This rare publication can be yours
for $10 cash or money order.
Sorry, no C.O.D. or foreign orders
can be accepted at this price.

Sheehan Booksellers

Box 410, Route 5
Wayzata, Minnesota 55391

New process Cinerama came to
Washington when The Stanley War-
ner Uptown equipped its projection
/ room with National Ventarc blown arc
type lamps. Shown here is Kenneth
R. Davis, manager, looking over the
new equipment with Charles Sadder,
Sr., projectionist. Literature on this
equipment will be sent to anyone ad-
dressing a request to The Strong
Electric Corporation, 31 City Park
Avenue, Toledo, Ohio, 43601.

HEYER-SHULTZ
METAL REFLECTORS

Top Screen Illumination

Will Not Break, Pit or Tarnish

No Replacement or Spare Reflectors Requi
See your dealer or write for full p~'
Manufactured By HEYER-SHULTZ, Inc., Cedar Grove, N. J. M

International Projectionist September. 1964

13

Hey er - Schultz

Thirty years ago, on November 10, 1934, the Heyer-Schultz Precision
Metal Reflector was developed and shortly thereafter was placed on the market
in the form of Motion Picture Projection Arc Reflectors. In the years that
have passed the facilities for this activity have found new fields in Govern-
ment Research & Development projects such as searchlights, radar, ultra-
violet and infra-red applications, solar furnaces, arc image furnaces, solar
simulators, etc.

It all began when the late Charles
E. Schultz, a local projectionist, ran
into the problem of mirror breakage
with the new reflector arc lamps he
was operating. He

, t i^i

%

*Q&-

LMiL

Heyer

took his problem
to a friend, Earl
B. Heyer, now
president of Hey-
er-Schultz , Inc.,
who at that time
was a machinist
and an active
member of a local
camera club. The
matter was dis-

cussed, a plan formulated and within
two days the first prototype reflector
was on test.

The initial model to be made was
a 7 5/8" elliptical reflector for use
in the Peerless low intensity lamp,
which at that time was being con-
verted from the combination para-
bolic mirror/condenser arrangement.
From there the next step was a re-
flector of 11 3/8" diameter for use
in the 1 KW lamps and then the
13 1/2" and 14" sizes for use in
the larger lamps.

These reflectors were constructed
of a pre-formed to near curvature
brass base material which was then
lathe turned to optical precision,
ground, polished, nickel plated, pol-
ished and rhodium plated. Due to the
high degree of optical precision of
this product it was able to meet the
screen illumination requirements as
established by the more reflective
silvered back mirror, which was not
optically ground.

The H-S Reflector was marketed
through independent motion picture
equipment distributors for several
years until a national organization
realized the merits of the product
and took over its distribution. As
irive-In Theatres became popular
' large screens for Cinemascope
were necessary lamps were converted
to bu n larger carbon trims at higher
arnper =. Because these lamps were
not on ally designed with suffi-
cient ventilation to handle this
amount of sat and arc smoke the
mirror brea, r_'e problem became
paramount, with the result that the

14

H-S Metal Reflector was a MUST
in many instances and a real econ-
omy item in less extreme cases.

With the advent of the larger
screens more illumination was re-
quired and to fill this damend Heyer-
Schultz, Inc. introduced its High
Efficiency Aluminized Metal Reflec-
tor in 1952. This type reflector was
12% more reflective than the stand-
ard rhodium plated type and was
made available for use in all lamps,
including the then new 16" and 16%"
reflector lamps, as well as the 18" and
21" lamps that followed.

About this time numerous Govern-
ment projects began to appear in
which precision metal reflectors were
specified, for use in searchlights,
missile range shadowgraph photog-
raphy, infra-red detecting devices,
radar scanning reflectors and arc
image furnaces, plus many other
types made to special specifications
for which the end use was not re-
vealed. Current R&D work in pre
cision metal reflectors is extremelv
active.

An unexpected by-product that
resulted from this activity is the re-
habilitation of H-S metal reflectors
that have, in many instances, been in

Oxberry Moves To
Expanded Facilities

Oxberry Corporation has relocated
all offices, engineering and manu-
facturing facilities to a large plant in
Mamaroneck, N. Y.

A. Kip Livingston, Executive Vice
President, stated that "the increased
activity in the company's current line
of professional printers and anima-
tion equipment, as well as the firm's
expansion into the film processing
and lower priced animation equip-
ment have made this move essential."

The new facilities also enable Ox-
berry to increase its activity in the
development of special photographic
equipment and embark on a more
comprehensive program for reaching
the world Markets with this profes-
sional equipment. IP

The famous shape of quality — a Heyer-
Schultz reflector. This product was the
development of the late Charles E.
Schultz and Earl B. Heyer, now presi-
dent of the firm.

regular use for more than 20 years.
This refinishing operation restores
the scratched reflective surface to
its original lustre and durability for
but a part of the new reflector price,
thereby adding economy to dependa-
bility.

And it all started in a small town
projection booth!

The home of Heyer-Schultz precision metal reflectors in Cedar Grove, N. J. is the
scene of advanced research and development in behalf of the government

International Projectionist September, 1964

Tri-State

On June 7th, Local 57o. IATSE. was
vention of the Tri-State Association, wh
western Pennsylvania, eastern Ohio and

Following the annual meeting, a
banquet was attended by 140 mem-
bers, including International Presi-
dent Richard F. Walsh, Assistant
President Walter F. Diehl, Vice Pres-
ident Harry J. Abbott and Represen-
tative Maynard Baird.

At the banquet the locals only

host to the Fiftieth Anniversary Con-
ich is composed of I. A. locals from
West Virginia.

?urviving charter member. Henry
Bennett, was honored. Two other
members. C. P. DeFere and H. D.
Kellv. were honored for their 40
years' service. International Officers
were presented with honorary mem-
bership cards in Local 578.

[il3JiniLiimt&mjrrj

A=rT?S^A £ ^CTa/ A *W

NG
INE

Celebrating the Tri-State association's anniversary (left to right) were: Interna-
tional President Richard F. Walsh; H. D. Kelly, secretary of Local 578; Richard
J. Hcrstine, Business Manager of Local 578 and Sec'y of the Tri-State Association;
Assistant President Walter F. Diehl.

Front (1-r): Philip Bordonaro, 4th Dist. Secretary; Vice-President Harry Abbott;
Henry Bennett, charter member of Local 578; President Richard F. Walsh; Ass't.
President Walter F. Diehl; Representative Maynard Baird. Second row (1-r):
Richard D. Herstone, president Local 578; H. D. Kelly, secretary, Local 578, Ell-
wood Ohleger, Local B-ll; Joseph Marchant, Local 113; Edward Krayer, Local
621; Patricia Daherty, Local 862; W. Huett Nestor, Local 239; David Cornwell,
Local 386. Thir row (1-r): Emmett Barnes, Local 566; Martin Torreano, Local
171; George Figard, Local 636; Denny Sigler, Local 566; T. P. Edkins, Jr., Local
3; Richard J. Herstine, Local 578; Henry Becker, Local 3; August A. DeFrere,
Vice-President Local 578; William J. Howe, Local 287.

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Designed for alternate use with
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Features of the Model 816 will de-
light a technician. When he's work-
ing with 16mm sound film, two sets
of pilot pins permit splicing with the
perforations either toward or away
from him. This eliminates the neces-
sity of looping the film around the
splicer — important when using "A"
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15

Kodak Photographers Travel
750,000 Miles to Find Color
Pictures for N. Y. World's Fair

Fourteen footsore but satisfied Eastman Kodak photographers recently
completed a world-wide search for suitable pictures for the Kodak World's
Fair Pavilion. The photographers traveled the equivalent of six times around
the world in their search for 60 pictures which appear in color as 20 x 36 fool
prints on Kodak's Picture Tower at the New York World's Fair.

Lincoln V. Burrows, Kodak's Di-

rector of World's Fair Planning, ex-
plains that the pictures "are intended
to focus the attention of 70 million
World's Fair visitors on the people
and places of our world of contrasts.
"By employing the universal language
of photography we at Kodak hope to
do our part in implementing the
World's Fair theme of 'Peace through
Understanding'." he added.

Wide Search

The photographers, advised to con-
tact local Kodak dealers and repre-
sentatives for advice, began their tra-
vels in early 1963 and completed their
assignments by late fall. A special
Washington, D. C. ceremony launched
the station-wagon-trailer accommoda-
tions for those photographers work-
ing on assignment in the U. S., Can-
ada and Mexico.

The picture-taking project, largest
of its kind ever undertaken, called for
some bizarre travel arrangements
ranging from jet planes and helicop-
ters to Norwegian pack horses, Alpine
cable cars and several hundred miles
of hiking. For example, photographer
Lee Howick flew by jet to Australia
only to crawl by jeep over a dry riv-
ei bed to photograph desolate but
beautiful Palm Valley. Later, Ho
wick's seven-hour trek to the Banawe
rice terraces in the Philippines neces-
sitated constant contact with tele-
phone stations strung along the one-
lane path.

Hawaiian Scenes

Ralph Amdursky, another Kodak
photographer, captured Hawaiian
?in forest beauty on film and then
- zed himself and his equipment
intc a helicopter to film native out-
rigge. canoes crashing through the.
surf at 'aikiki. On the other side of
the globe. Neal Montanus set out one
day to ph raph the Matterhorn in
the Swiss i s and returned in the
late afternoon /ithout his picture but
with a skier w > had been rescued

16

from a crevasse. Montanus made his
picture of the Matterhorn a few days
later.

Eleven Kodak photographers con-
tributed to the domestic phot cara-
van effort. Stopping their specially
equipped trailer whenever they dis-
covered a possible picture story, the
men shot the steel mills at Bessemer,
the French Quarter in New Orleans,
as well as shrimp fleets in the Gulf of
Mexico. In the West, Texas location
shots included the Alamo as well as
modern-day cattle ranches and the
photographers, often working in
pairs, also found time to capture on
film Pueblo Indian life, the Rockies,
Yellowstone National Park and the
Grand Teton Mountain range.

The 60-odd pictures for the Kodak
Picture Tower are illuminated night
and day with special lights so bril-
liant that the color prints have the
visual impact formerly associated
only with transparencies.

Commenting on the photographs
in their World's Fair context, Peter
Braal, manager of Kodak's Photo-
graphic Illustrations Division, said,
"The giant photographs are oui
World's Fair beacon — they are as
appealing as the world we searched
to find them." iP

G. M. Berggren
Named by Kollmorgen

NORTHAMPTON, MASS.— Glenn
M. Berggren has been appointed to
the new position of Manager, Thet-
ater Equipment Sales at Kollmorgen
Corporation.

Berggren, a graduate of the Uni-
versity of Rochester, will be respon-
sible for the sale of standard and
special purpose lenses, including
35MM Snaplite Projection Lenses.

He will take over all duties for-
merly held by Louis F. Salig, who
has recently joined Pembrex Theater
Supply Corp. in Los Angeles. IP

Lena Hudson, B & L
Lens Designer, Retires

Miss Lena Hudson, lens designer
in the Optical Systems Research &
Development Department at Bausch
& Lomb Incorporated, retired August
28 after more than 41 years of ser-
vice.

Miss Hudson's career at Bausch &
Lomb started in
1923 in the Sci-
entific Bureau, fol-
lowing graduation
from Syracuse
University with a
B. A. in Mathe-
m a t i c s . Subse-
quently, she be-
came associated
with Dr. Wilbur
Lena Hudson Rayton in Photo-
graph Lens Design, where she was
involved with the design and de-
velopment of lenses for camera fans
and newspaper photographers.

She has also designed lenses for
TV and movie cameras, plus those
used in aerial photography. Her most
recent contribution has been the de-
sign of the new Super Baltar Lenses,
lately put on the market, three of
which were used in the recent Moon
Shots.

Miss Hudson is a member of the
Optical Society of America, the
Bausch & Lomb Early Settler's Club,
and holds a number of patents and
applications. iP

National General
To Build 800-Seat
Denver Showhouse

As a part of a major theatre ex-
pansion program, National General
Corp. held ground-breaking cere-
monies for its 220th motion picture
theatre, an 800-seat showcase in
the Lakewood section of Denver,
Colo., it was announced by Eugene
V. Klein, chairman and president
of the Los Angeles-based theatre cir-
cuit operator and entertainment com-
pany.

Scheduled for opening early next
year, the newest Fox Theatre is lo-
cated in the center of a population
area of 130,000 not served by a mo-
tion picture theatre, Klein pointer!
out.

Recently NGC announced con-
struction of a shopping center the
atre in Las Vegas, following the pat-
tern set last year when NGC opened
shopping center showhouses in Al-
buquerque, New Mexico, and in
Palos Verdes, Northridge and Thou-
sand Oaks in the Los Angeles metro-
politan area, and also at Los Alami-
tos in Orange County. iP

International Projectionist September, 1964

Ashcraft Super Core-Lite
Debuts in St. Louis Drive-ins

Three St. Louis Drive-In Theatres, all built in pre-Cinemascope days, have
modernized their projection and screen lighting equipment by replacing all of
the equipment previously used with new and improved equipment designed
to give the most light possible per kilowatt of electricity used.
Mr. Barton Krueger, General Man- ~

ager of the Wehrenberg Circuit of
theatres, selected Ashcraft Super
Core-Lite Arc Lamps to light the 52'
X 104' screens in their Ronnie's
Drive-In, located on Lindberg Blvd.
in South St. Louis County, and in
their North Drive-In, located on
Highway 67 in North St. Louis Coun-
ty. In addition to Ashcraft Super
Core-Lite Arc Lamps, Philips Norelco
35 70mm projectors with multiple
magnetic and optical sound pickups
were installed.

Trend Noted

The Holiday Drive-In, located on
Page Blvd. in West St. Louis Count).
i- owned and operated bj Louis Ja-

blaknow of Mid- America Theatres.
I he) selected Ashcraft Super Core-
Lite Arc Lamps and new Simplex XL
projectors with high speed 5-to-l ra-
tio intermittent movements. The size
of the Holiday screen is also 52' hinli
and 104* wide.

All three Drive- Ins made these im-
provements in projection and screen
lighting equipment within a thirty
day period, which indicates a trend
towards the upgrading of eqiupment
in older drive-ins.

Specifications

The Ashcraft Super Core-Lite Arc
Lamps in each of the three theatre.-
burn at 145 to 160 amperes with (> I
to 66 arc volts. The working distance
between the cold type reflector and
the film is 29%", an exclusive feature
of Super Core-Lite Arc Lamps.
13.6mm x 18" positive rotating high
intensity and 7 16" x 9 special cop-
per coated negative carbons are used.
The pure silver positive carbon jaws
are water cooled.

' Vast Improvement

No change in current converters in
the three theatres was necessary, since
existing motor generator sets were of
capacity well within the current and
voltage range to operate the Super
Core-Lite Arc Lamps.

The three installations were mad':"
under the supervision of Harry Hoff,

International Projectionist September, 1964

Manager of National Theatre Supply
Company's St. Louis branch, who
said, "The improvements in screen
lighting in these three drive-ins is a
decision of their agressive manage-
ments to give the nearest possible ap-
pioach to indoor projection quality
for their drive-in patrons."'

Three new Ashcraft equipment instal-
lations, all in St. Louis County, St. Lou-
is, Mo., are shown in these photos.
(Top) Ashcraft Super Core-Lite arc
lamps, Simplex XL Projectors with 5-
to-1 ratio fast pull down intermittent
movements, and Simplex XL sound
heads are used at the Holiday Drive-in
on Page Boulevard (West); the owner
is Louis Vablaknow, Mid-America The-
atres. (Middle) Ronnie's Drive-in, on
Lindberg Boulevard (South), uses the
Ashcraft Super Core-Lite arc lamps
with Philips Norelco 35 70 mm pro-
jectors. Owner is Wehrenberg Circuit
Theatres, the manager is Ronald Krue-
ger. (Bottom) At the North Drive-in
on Highway 67, IATSE projectionist
Irving Mueller is shown with the new
Ashcraft Super Core-Lite arc lamps and
Philips Norelco 35 70 mm projectors. .

17

Drive-in Theatre Mfg.
Acquires RCA In-Car
Speaker Business

The acquisition of the in-car
speaker operations of Radio Corpora-
tion of America by Drive-in Theatre
Mfg. Co. was announced recently.

The transaction includes all tool-
ing, dies, drawing and the inventory
of finished items. The tooling and
dies include all models of the in-car
speaker, both aluminum and plastic,
and all models of junction boxes,
both new and old style, as well as all
component parts for the speakers and
junction boxes.

Drive-In Theatre has announced
that all speakers and junction boxes
will be produced in strict accordance
with RCA's drawings, and will incor-
porate all of the latest improvements
developed by RCA. Exhibitors will
continue to have the double payoff
of top quality and long-operating life
assured by RCA engineering, with
equipment and parts produced from
genuine RCA dies.

Speakers will be available as al-
ways in the deluxe Starlight finish
or natural aluminum finish, and with
straight or Koiled Kord. The popu-
lar, formed-aluminum screen guard
grill and floating-action volume con-
trol knob, firsts from RCA, will be
standard on all speakers.

The new style "Circlite" junction
box will still be available with plastic
diffuser strips in red, white or green,
and may be purchased with or with-
out downlight. Speaker baskets of
strong, formed-aluminum rod are
optional. Drive-In Theatre will con-
tinue to produce old-style aluminum
junction boxes, with or without
downlights, for drive-ins which still
use this kind; the red or green
plastic top replacements will be avail-
able and speaker baskets will be pro-
duced for this junction box.

Drive-In Theatre's production
manager spent several days at RCA's
Camden, N. J., plant, studying pro-
duction techniques and conferring
with engineers, preparatory to main-
taining a policy of rigid quality con-
trol and dependable products. The
aluminum foundries were also visited,

study methods and the formula of
hi -.grade aluminum used. Every
eff c r: has been made to assure exhibi-
tors that no substitutions will be
made, .cording to company spokes-
men.

Drive-L Theatre is in full pro-
duction of e RCA line and can
make prompt hipment of speakers,
junction boxes and all parts. iP

18

Macon Projectionists'
President Dead at 53

J. Clarence Norton, president of
Local 507, I.A.T.S.E., Macon, Ga.,
died suddenly while vacationing in
North Carolina, it was learned re-
cently by International Projectionist.

At 53, Mr. Norton had served as
piesident of the local for eight years.
He also had been vice president of
the Sixth District State AFL-CIO for
three years.

He was projectionist at the Bibb
Theatre in Macon. iP

Evro Co. Acquires
Loew's Coney Island

A famous Coney Island landmark
and theatrical showplace has been
acquired from Loew's, Inc. by the
Evro Theatre Corp., according to an
announcement by Sam Kantor, presi-
dent of Evro.

Lcew's Coney Island building, on
the corner of Surf and Stillwell
Avenues, and the theatre will be re-
furbished under a modernization
plan blue-printed by Kantor, who will
operate the theatre.

Kantor was general manager with
the Brandt theatre circuit for 27
years, and will continue his associa-
tion with Harry Brandt in the buying,
booking and advertising for the
theatre. The theatre's name will be

changed to the Shore and wl!!

on a first run policy.

will operate
iP

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25-30 Club Observes
Special Occasions

Two special events marked the pre-
summer meeting of the Twenty-five —
Thirty Club, held at the Hotel Cla-
ridge in New York.

The group was presented a
statuette of Will Rogers, inscribed
"Awarded to the Twenty-five — Thirty
Club, Inc., for Meritorius Service."
Through it "copper drippings" pro-
gram started by president Morris I.
Klapholz, 25 — 30 helps support the
Will Rogers Memorial Hospital.

Another happy occasion was ob-
served at the meeting — - the Golden
Wedding Anniversary of long-time
member Sam Kirshenbaum and his
wife, Rose. iP

America's
headquarters

iur an

theatre equipment

supplies

•Al.TS-

National

THEATRE SUPPLY COMPANY

INTERNATIONAL PROJECTIONIST

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International Projectionist September, 1964

basic
mathematics

by NORMAN H. CIOWHURST

PRACTICAL
METHOD

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VOLUMES
1 through 4
COMPLETE

am couMint
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LEARMfNG
MATrtErMTICS

A RIDER

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BASIC MATHEMATICS

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INTERNATIONAL

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The Martin Cinerama, New Orleans,
has joined the ranks of theatres using the
new method of Cinerama presentation. Paul
J. Nosacka, Jr., assistant manager (left)
and James E. Skelly, Jr., projectionist, are
shown with the new National Ventarc pro-
jection lamps that deliver the abundance of
light required by the modern technique.
Ventarcs are widely accepted for Cinerama
throughout the country.

6

jj) OCT '28 1**1

VOLUME 39
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1964

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CARBON PRODUCTS DIVISION
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In Canada: Union Carbide Canada Limited, Toronto

INTERNATIONAL

PROJ ECTIONIST

Volume 39

October 1964

No. 10

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO
Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

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IN THIS ISSUE

Film Mutilators

Inflight Motion Pictures

Sound Track

IATSE Local Directory

Oxberry Animation Process

New National General Theatre

4
6
8
9
14
16

News Notes — Technical Hints — Miscellaneous Notes

INTERNATIONAL PROJECTIONIST, published monthly by the
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Minnesota 55424. Editorial offices, 1645 Hennepin Avenue,
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copyrighted 1964 by INTERNATIONAL PROJECTIONIST
PUBLISHING CO. <2^t^K>

International Projectionist October, 1964

MONTHLY CHAT

CAN YOU TOP THIS?

Can anybody top this?

Projectionist John Stauffer and Exhibitor John Mar-
tina of the Cinema Theatre. Rochester, New York, are
claiming a national record for a continuous run with 920
performances of "Irma La Douce" — from the same
release print with never a break and no need to replace
the original leaders.

Furthermore, after the print had played a total of
179,054 admissions, it was examined by experts at East-
man Kodak Company in Rochester and pronounced good
as new — "still suitable for use in a first-run theatre."

The United Artists release was an imbibition print
made by Technicolor on Eastman Fine Grain Release
Positive. Type 5307. It ran for nearly 51 weeks starting
in June. l963, showing twice daily and four times on
Saturdays and Sundays, a recognized world-wide record
for Irrriu.

Experts' Opinion

The da\ of its final Cinema showing ("It could have
run well over a year; it was still doing business when we
took it out." said Martina) the exhibitor invited a team
of motion picture experts from Kodak to take seats in
the audience. They reported:

"The presentation was excellent and the screen image
was remarkably free from dirt and abrasion."

Subsequently, the print was examined in Kodak lab-
oratories where it was reported that "the release could
still be classified as a new print."

The moral of the story for projectionists is clear. It
was stated this way in the Kodak report complimenting
Mr. Martina and Mr. Stauffer:

"The performance of this print emphasizes that the
life of a motion-picture print is more frequently limited
by accidental damage than by wear alone.

"When a print is run on equipment in reasonable
repair and adjustment, handled in areas that are moder-
ate^ clean and demonstrate good housekeeping, and used
with reasonable regard for good practices, the life may
be startling!) long.

Reduced Perforation Life

"On the other hand, perforation life may be reduced
drastically by inadequate lubrication, worn sprockets,
misalignment, etc. Image quality may be degraded rap-
idly by letting the film flop into dirty areas, acquiring
dust that can scratch the image, running it against dirt
and misaligned projector or rewind components and
handling at improper tensions so that cinching is fre-
quent.

"General performance may be degraded by careless
cueing, inattention to lighting trim, sloppy splicing and
repair."

That John Stauffer has a high regard for good prac-
tices is amply demonstrated by the record run of "hmd"
in his theatre. When this was mentioned to his boss,
John Martina's reaction was prompt and to the point:
"Doesn't everybody?" Does everybody? iP

3

Volume 39

INTERNATIONAL PROJECTIONIST

October 1964

Number 10

Human and Mechanical . . .

Film Mutilators Still at Large

by L. A. Pierre

In spite of the extensive changes that have taken place in our industrv
there are still many contributors to film damage in the mechanical department.
One is improper magazine alignment. If the film tends to twist as it leaves
the upper reel or leaves the sound head, the magazine needs adjusting. Dam
age from this source will appear, after long run. as checked or broken sprocket
holes — which in time will lead to trouble.

Another cause of film damage is ~
improper tension on reels. The upper
reel tension should be onlv sufficient
to restrain the film. The takeup reel
snould have onlv sufficient tension
to start a full reel of film. Any ad-
ditional tension will shorten the
film's life. If the film "sings" on
either the pulldown or the holdback
sprocket, check first for misalign-
ment or excessive tension.

Film sing might also be
caused by badly worn sprockets, par-
ticularly upper and lower. All sprock-
ets should be carefully checked with
a magnifying glass at regular inter-
vals for wear or hook, and replaced
if visibly worn. It is inconceivable
that some theatres may not have

converted to narrow (Fox) sprock-
ets — in which case excessive dam-
age to the film will be caused. All
equipment — splicers, footage coun-
ters, etc. — should have narrow
sprockets.

A greater source of film strain is
created at the aperture than might
be suspected. Better than four tons
of pressure are exerted by the in-
termittent sprocket per hour, with
tension at a safe minimum. The ad-
dition of one unnecessary ounce to
aperture tension would add more
than 500 pounds per hour to film
and equipment wear. Equipment pro-
vided with adjustable tension should
be maintained at a minimum possible

to avoid picture slippage at the aper-
ture, which would appear as picture
jump. A maximum of one pound
pull-down pressure should be ade
quate for any film. If there are stiil
in use projectors without tension
adjusting, a method of testing and
adjusting tension can be provided
upon request. A clean film track is
of utmost importance and should be
checked frequently.

Magazine fire valve rollers are a
major source of film damage, and
should be inspected regularly to see
that accumulated lint and dirt are
not preventing their unrestricted op-
eration. Where they are not readily
accessible for cleaning, a short piece
of film pushed through behind them
will usually do a good cleaning job.
A piece of dental floss or thread can
also be useful in removing dirt that
may be hard to dislodge at the roller
ends.

With all film now fire resistant,
fire valve rollers could well be re-

Exomplc of extreme film abuse. At least four
artists hove contributed their efforts. The small
scratch in the upper right hand corner should
hove been sufficient for all but no, some one
hand scribed the circular marks. The large
china marker XXX could not have been
missed by anyone but obviously the fellow
who added the lines thought not. The lines

i

■

i

I*

> -

continue thorugh 17 frames of picture. It ap-
pears to be cue marker made. The large circle
a hond in this work. The one small circle ap-
pears tc be cue marker made. The large circle
is very evidently hand scribed. The scratches
ore completely uncalled for. This pattern con-
tinued through the entire feature even on
fade outs.

This splice is unique. Some operator has cat
the film just short of meeting then cropped
all cornets. A white piece of blan-c film two
sprockets long with all corners rounded is then
cemented to the back of the film ends. It went
through the machine okey but with a grand
clatter

4

International Projectionist OctJj

1961

1 oN
U31IVH1

133d

These two film samples show pro
ducer's mutilation. The one with
printing on the sound track was from
a trailer but it is not uncommon to
any subject and is not pleasant when
reproduced on the sound system. The
other is an extract from a first run
picture and occured at about one
foot from the regular sound start.

duced to guide purposes. For thai
matter, there is no reason wh\ the
enclosed magazines could not be re-
duced to a piopei l\ supported shaft
such as is generally used on 16mm
equipment.

Excessive oil on the equipment or

an) place the film ma) contact can
also contribute to film damage. \l!
areas the film ma) contact should
be kept clean and oil free.

Rewinds, too. ma) contribute to
film damage. It is necessar) that both
heads be in true alignment to avoid
the film's rubbing reel sides during
rewinding. Enclosed rewinds ar^
prett) much immune to misalign-
ment. Rewind speed also deserve:-
attention. Onl) in case of inspection
or program makeup should less than
five minutes per double reel rewind
time be tolerated, and then onl) un-
der constant observation. The faster
the film is whipped past the reel
edges the more damage can result.

Having touched on most of the
sources of mechanical film damage-
let's check on the human element.
Fortunately, most projectionists en-
deavor to avoid inflicting damage to
the film either mechanical or per-
sonal. Not all those entrusted with
the fragile strip of entertainment
which is our livlihood have such
scruples. Marking subsequent reel
ends by any means for any reason
except that the producers have faile 1
to properly install standard cue
marks that can be clearlv seen, is
deliberate film mutilation. If. how-
ever, the producer has failed to mark
reel ends clearly, every effort should
be made to locate the original mark-
ings. Then, with a marker such as
"Clint Phare," scribe them. Any

other marking, punch, scratch or
marking pencil is mutilation.

Subject ends are quite another
thing. The variety of "signatures
on subject ends are as numerous as
the film butchers who handle it. It
is not enough that some previous
"operator" has inscribed the film end
at exactly the place a certain cue is
desired. Some feel compelled to add
their personal moniker. Some sub-
jects come through with so main
curtain cue marks it is impossible to
determine which one is accurate
After removing a variety of crayon
marks, one recent subject still was
blessed with six scratch, punch and
scribe marks that could not be re-
moved.

Another subject, a first quality
feature, had three superimposed
markings at the same location, huge
WW maik< in red china marking
pencil, scribed cue marks and —
worst of all — several wa\\ crayon
markings continuing through 1 7
frames of the film. To say that this
was striking on a light black and
white scene is putting it mildly.

A second screening of such film
mutilation should be grounds for dis-
charge without notice. There is no
excuse for exposing the customers to
such abuse even once — but there
sometimes is not sufficient makeup
time to thoroughly check the new
pro- ram.

Click patches are another means
of film mutilation practiced by too
man) men in the booth. True. the)
are not exposed to the public, and do
no particular damage to the film.
The fault in this practice is that
there are materials used for this
purpose which leave an adhesive gum
on the film when patches are re-
moved or wear off that is next to
impossible to remove. If click patch-
es of a material which can easily
and completer) removed are used,
this is the least objectionable means
of personal cue markings. The "op-
erator" who recently returned for
circulation a print with two splices
at four frame intervals at both motof
start and changeover position was
carrying a privilege a bit too far.

In summation; no projectionist
has a right to put anv markings of
any kind on any film at any time,
except to brighten up standard cue
marks with an approved cue marker.
If he finds it impossible to present a
show without some additional visible
marking — and if his boss will per
mit such abuse — he owes it to his

Please turn to page 6

Get all the facts! Ask your equip-
ment dealer for the new 1964
Kollmorgen Projection Lens Cata-
log or write us direct.

kTkollmorgen

CORPORATION'

NORTHAMPTON. MASSACHUSETTS

International Projectionist October, 1964

Inflight Motion Pictures
Marks Third Anniversary

On Sunday, August 16, some 4,000 persons took in a movie— a big screen,
full color production.

The remarkable point about this otherwise unremarkable event is that
these movie-viewers were passengers in flight aboard 50 Trans World Airlines
jetliners on air routes over four continents and one ocean.

tional routes after a brief schedule
of showings on domestic flights. The
movie-equipped aircraft were trans-
ferred back to the international fleet.
For the first two years, Inflight mov-
ies were shown only in first-class on
trans-Atlantic routes between New
York and London, Paris, Madrid,
Frankfurt and Rome; later on flights
direct to Europ e from the Wesc
Coast and flights originating at
Chicago.

And although most passengers
probably didn't think of it as they
saw the Oscar- Winning "Tom Jones"
"The Chalk Garden" and other top
films, they helped mark the third
anniversary of the introduction of
Inflight Motion Pictures, the inter-
nationally known feature of TWA's
passenger services.

Three years ago, when TWA be-
came the first airline to offer in-
flight entertainment to its passenger?,
a total of eight flights were equipped
to show one film to a total of about
100 first-class passengers.

Today, all passengers, economy as
well as first-class, on all TWA trans-
Atlantic and international flights,
and on all trans-continental nonstop
StarStream flights in the United
States, have the opportunity to at-
tend a movie in flight. Last month
TWA lanunched the first of its movie
flights from Chicago to the West
Coast.

In all, more than 21.000 film
showings have been seen by TWA
passengers in the three-year period
— a little more than 3,000 the first
year, 5,000 the second, and 13,000
in the past year. Currently, movies
are being shown 1,500 times each
month over the entire TWA system
which covers Europe, North Africa
and the Near and Middle East as far
as Bombay, as well as the United
States.

Inflight movies can be shown with
the cabin fully lit without interfer-
ing with any other airborne service.
The earsets can be worn comfortably
during dining.

Anniversary film fare on August
16 for the TWA's domestic passen-
gers include such other full-color
films as Alfred Hitchcock's "Mar-
nie" the wide - screen comedies
"What a Way to Go" and "Move
Over Darling" and the widely-her-
alded Tennessee Williams "Night of
the Iguana."

Trans-Atlantic passengers saw the
Jack Lemmon-Romy Schneider com-
edy "Good Neighbor Sam" and "The
Chalk Garden," both in color.

TWA launched regular showings
of Inflight movies on its interna-

In May 1963, TWA extended the
movie service to the economy class
cabins of international flights. In
August 1963, with more new Boeing
StarStream equipment added to its
fleet, TWA began showing Inflight
movies in first class cabins on non-
stop transcontinental flights, extend-
ing the feature to the coach cabins
last April ( 1964) .

During the 36 months of its oper-
ations. Inflight has presented 156
top motion picture attractions, at the
rate of one new film a week, on the
TWA system. Of thes^, 101 or 65
per cent were in full color. Sixty-four
were shown in the full wide-screen
aspect ratios of Cinemascope and
Panavision.

Inflight Motion Pictures, Inc., is
the culmination of five years of ex
perimentation by its president, David
Flexer, a theatreman from Memphis.
Tennessee, who poured over a mil-
lion dollars into developing the fully
automatic, unattended and totally
safe-guarded projection system. It be-
came airborne with the cooperation
of TWA, who provided the first fa-
cilities for experimentation and test-
ing in the sky.

The projection system is compara-
ble to the best deluxe theatre pre-
sentations, maintaining full values of
color, screen size and sound. Feather
weight earsets deliver the dialogue,
music and sound effects to the indi-
vidual passengers, so that others are
not disturbed. Without sound, the
screen, placed far forward in the
cabin, is not distracting to anyone,
reading, sleeping, or otherwise oc-
cupied. iP

Film Mulitarors

Continued from page 5
profession to remove his trademark
before he foists it on the next
Brother.

Splicing can be a source of trouble
and if poorly done is a form of
mutilation. Improper splices can
cause the picture to jump; weak-
splices may hold through the maker's
run, but part at the next showing.

In the early days, it was regular
procedure to run the end of the film
over the tongue to moisten the emul-
sion, give it a swipe or two with a
razor blade or pocket knife, then
holding the two ends between thumb
and fingers flow cement thru the
joint for a very acceptable splice.
Today's film is quite another thing.
A good splice is pretty much a work
of art. A firm, smooth, lasting splice
combines these elements: a good film
cement that will not wrinkle film, a
piece of 80 grit production sand pa-
per cut l/2 to %" wide and about
W2 l°ng, and a good film splicer.
Do not wet the emulsion. With the
film in place in the splicer, fold the
sand paper once, and using the edge
against the clamping finger, remove
the emulsion. Then reverse the hands
and remove the gloss from the other
end film back. Apply cement gener-
ously, close the splicer for about
three seconds, open splicer and firm-
ly rub off surplus cement with a
cloth or paper. Remove the film
from the splicer and again rub off
any surplus cement. This entire pro-
cess will require about ten seconds,
but must be developed in accordance
with conditions and speed of the ce-
ment. A splice properly made fol-
lowing the above procedure will out-
last the film. iP

West- Coast- Mourns
Cappy DuVal, IATSE
Business Representative

Funeral services for B. C. "Cappy"
DuVal, International Representative
of the IATSE, were held September
26 at Our Savior Lutheran Church
in Los Angeles, Calif.

DuVal died suddenly and unex-
pectedly of a heart attack at his
home in Inglewood, Calif.

A member of Hollywood Property
Craftsmen's Local 44 since 1923, he
served it as Business Representative
for many years prior to joining the
staff of the International union sev-
eral years ago. At the time of his
death, he was connected with the
lATSE's West Coast office. He
served also as a delegate to the Los
Angeles Central Labor Council.

Since 1926, he had been a mem-
ber also of Chicago Stage Employes
Local No. 2. iP

International Projectionist October, 1964

As a young fellow of
19 I remember that
Dad operated a 1926
Strong Standard low
intensity arc lamp.

When I started oper-
ating in 1928 1 had
the Strong U\-Lo.

Five years later, in
1933. 1 ordered Strong
Moguls.

When in 1949 the
Strong Mighty 90 was
announced 1 bought a
pair of the first ones

available.

1 believe that if any-
one wants to make
money in show busi-
ness he must keep up
with the times, so last
month I installed new
Strong Futuras. I
know that it pays, be-
cause my box office
reports prove it.

•tGetU*

&»****— THE ^b"& ELECTRIC CORPORATION

^f% CITY PARK AVE., TOLEDO, OHIO 43601 • PHONE: (419) 248-3741

International Projectionist October. 1964

Sound Track

by J. G. Jackson

Cinemascope and Wide Screen
have for the past ten years been
going through a period of adjust-
ment, with each settling down to its
own aspect ration.

In most theatres the Cinemascope
picture is only a very few feet wider
than the flat wide screen. In some,
the depth is exactly the same for
both Scope and Flat. Where there is
a difference? It is only a matter of
inches, so what's the percentage?
How much better is Scope than Wide
Screen, if at all?

Not more than one percent of the
theatre patrons know the difference
between Cinemascope and Wide
Screen. Furthermore not one of them
give a hoot whether the picture is in
Scope or Wide Screen. I doubt if
any customer buys a ticket to see a
show just because it's in Scope.
Let's face it, it is the story that
brings the patrons to the box office,
the Gimmick called Aspect Ratio
has lost its appeal, if it ever had
any.

I am not going to argue which is
better, but I do think it is high time
the industry accepted one or the oth-
er as a standard and make all release
prints accordingly. Ten years of
teething should be sufficient for the
industry to arrive at a point of stan-
dardization.

Such a move would eliminate all
the confusion of changing lenses, ap-
ertures and screen maskings count-
less times during a show. All of
which does nothing to sell tickets
at the box office.

I would like to hear from readers
as to what they think would be best
to accept as a standard.

Dear J. G.:

Regarding curtain-cues — I al-
ways use a red pencil to put them
on and I rub it off when I ship out.
The so called Kid and Drive In op-
erators in some places in N.C. and
S.C. are doing most of the change
over cue damage.

Ernest Tipton
Gastonia, N. C.

Dear J.G.:

First, let me say that I am very
happy to see an article such as yours
back in the I. P. I feel that manv
projectionists enjoyed an article that
was opened to comment. I know my-
self that 1 profited from the ideas

8

and comments that I have read in
the past.

In answer to your comment in the
last (May) issue of LP. I would like
to express my sentiments.

If the exchanges did cue the end
of a feature for curtain it would
certainly cut down on what I call
mutilating of film. However, I don't
think this mutilating of film will ever
end. Fortunately, I have never been
employed in a theatre with this prob-
lem, but they must exist. These the-
atres are using undersized apertures
for their anamorphic prints. Appar-
ently these apertures are so small
that the cue marks will be blocked
from the screen. If these fellows
would use a crayon or something that
can be erased from the film after
their use, it would certainly be ap-
preciated by a great many in the
craft. However there are a certain
few that scratch the film from the
cue in, thus enabling them to make
a change-over. More than once I
have cut these scratches out of an
entire feature and then re-cued it
One, a real artist had the letter "R"
scratched inside the cue marks. Who-
ever he may be he doesn't belong in a
projection room. If some of these
fellows who have a very small aper-
ture would please use a crayon in-
stead of scratching the film it would
certainly be appreciated by a great
number of projectionists.

James Bursey
West Palm Beach, Fla.

Dear J. G.:

Your column in LP. May 1964
was very good. We could certainly
use a curtain cue and yours is a
good suggestion. As for the change
over cues, why the heck don't the
operators just leave the prints alone
without punching holes, scratches,
etc. They are all right just as they
are.

Lawrence Scheverer
New York
Dear J. G.:

As a regular reader of LP., may
I congratulate you on "Sound
Track." It will allow conscientious
Projectionists to contribute their
ideas with the view of reaching an
ultimate in projection standard
throughout our industry and by so
doing, adding to the enjoyment of
that most important individual, the
Patron.

Every theatre has different cur-

Address your cards and let-
ters to Sound Track, 1645
Hennepin Ave., Minnea-
polis, Minn., 55403.

Dupage Automatic Dry
Splicer Now in 16mm

An easy to use motion picture
splicer, that splices and tapes both
sides of your film at once, is now
available in 16mm as well as 8mm
models.

Designed for color and black and
white film (sound or silent), these
DuPage splicers combine three
features to make splicing faster and
better. Special strong, thin, film-
backed tape is dispensed by a roll
built right into the splicer.

The new 16mm all metal die cast
model is $12.95. 8mm models
range from $4.95 to $7.95. (For
additional information write DuPage
Products. Box 295, Lombard, 111.
Request folder No. S-7).

Pictured above is the DuPage Auto-
matic Dry Splicer, available in both
16 & 8mm sizes.

tain speeds, and — as found in Mel-
bourne (Australia) — times range
from 30 seconds down to 10 seconds
closing time.

Because of these variations, these
are my suggestions for a cueing sys-
tem compatible to all requirements —

1. "The End" titles to be made to
a standard 30 second length, where
there is no cast-titling.

2. A series of inconspicuous count
down numbers at 5 second intervals
be printed in the top right corner
starting at 25 seconds, then 20, 15
and 10 seconds from the end. These
numbers should be printed on simi-
larly to the framing guide lines or-
iginally printed onto the start of
spools on Vistavision prints which
went unnoticed to the general patron.

This should give plenty of latitude
for any theatre anywhere and help
in eliminating the most annoying mu-
tilation of curtain cueing.

You may recall that big M.G.M.
productions such as "King of Kings'',
"Mutiny on the Bounty", and "Ben
Hur", bad very long end and Inter-
mission titles, about the length which
has been suggested.
Clayton, Victoria, Australia

B. A. Quigley

International Projectionist October, 1964

IATSE DIRECTORY

Names and Addresses of Mixed
Local Secretaries and Business Agents

ALABAMA

92 MONTGOMERY - Li Hard T. Farris.
Sr.. P. 0. Box 203. Zone 1. Tele.: 118
Truett Drive. Bus. Agt.: Lillard T.
Farris. Sr.

413 GADSOEN - ). E. Forman. P. 0.
Box 441. Tele.: 2424 Scenic Highway.
Bus. Agt.: Lewis L. Smith, 230 S. 6th
St.. Apt. 10-A.

506 ANNISTON — George W. McGuire.
P. 0. Box 421. Tele.: 715 E. 22nd St.
36201. Bus. Agt.: Leonard H. Gunn,
834 E. 22nd St. 36201.

537 JASPER — Harry P. Smith, P 0
Box 1026. Tele.: Rt. 6. Cullman. Bus.
Agt.: Clarence C. Hamrick. P. 0. Box
1026

547 FLORENCE, SHEFFIELD and TUS-
CUMBIA — J. M. Stutts. P. 0. Box 547,
Sheffield. Tele.: 1400 25th St.. Shef-
field. Bus. A«t: J. M. Stutts

553 DECATUR — Graly Kirby. P 0
Box 1121. Albany St. Tele.: 1801 Wads-
"Orth St.. S. E. Bus. Aet.: Hugh W.
Terry, 612 Thirl Ave., S W

793 HUNTSVILLE - Charter revoke!
Road men contact Ben R. Nation, 6302
Madison Pike, N. W.

806 TUSCALOOSA — Earl Ford, P 0
eox 851. Tele.: 2303 16th St. Bus. Agt :
S W. Kent. 54 Cedar Knoll.
ARIZONA

415 TUCSON - William D. Traweek,
3714 S. Lundy Ave. Bus. Agt.: Ronald
McCarty, 2213 N. Belvedere Ave

569 DOUGLAS - Tom C. Millican,
Rt. 1. Box 67. McNeal. Bus. Agt.: G. M
Gray. 1300 8th St.

731 PRESCOn - C. D. Born, P. 0
Box 1106. Tele.: 212 No. Mt. Vernon
St Bus. Agt.: C. D. Born.
ARKANSAS

204 LITTLE ROCK-Jack Schoemaker,
2.25 McAlmont St.. 72206. Bus. Agt •
• S-hoemaker.

326 HOT SPRINGS-Rufus D. MrMoran,
P 0. Box 64. Tele.: 1607 St. Louis. Bus
Agt.: James T. Mosley, Rt. 6, Box 319-A

328 PINE PLUFF-Everett J. Stanley,
1606 W. 18th Ave. Bus. Agt.: Herman
Zaooe, 1417W Olive St

455 FORT SMITH-Nicholas Kolb, P 0
Box 271. Tele.: 2205 South "N" St. Bus
Agt.: Gene Woods. 3921 S West St

817 FAYETTEVILLE - Roy Williams.
P 0. Box 711 Tele.: P. 0. Box 500. Bus
Agt.: Harold L. Bausinger, Rt. 1. Box 296
Spring^le

826 CAMDEN - Troy S. Carver, 512
ackson St. Bus. Agt.: j. L. Wilson,
1321 Rowald Drive.

CALIFORNIA

215 BAKERSFIELD - William Romley,
P. 0. Box 555. Tele.: 2407 Driller
Ave. 8us. Agt.: Don Marshall, 2813 Berger

216 MARYSVILLE-Everett Reid 1310
Buchanan St. Bus. Agt.: Ben J. Rose
890 Jones St.. Yuba City.

241 VALLEJO-Edward R. Boyle, 1960
Evergreen Ave., Antioch. Bus. Agt •
Daniel W. Akin. 102 Ciaremont Ave

<M SAN MATEO COUNTY and PALO
ALTO— Richard Rhodes, 2303 Wooster Ave
Belmont. Bus. Agt.: John Turturici, 270
Chestnut St., San Carlos.

420 SANTA ROSA - Charles Bauman,
P. 0. Box 474. Tele.: 752 Pine St. Bus
Agt.: Charles Bauman.

430 EUREKA - Leon H. Thomson, 226
Randolph Way, Fortuna. Bus. Agt • Harrv
Bishop, 1414 Hays St.

442 SANTA BARBARA - John H. Got-
chel, P. 0. Box 413. Tele.: 304 Samark-
and Drive. W. H. LeCompte, 545
Alan Road.

501 CHICO - M. E. Maxwell, 276
E 6th Ave. Bus. Agt.: M. E. Maxwell.
,504 SANTA ANA - George M. Hiam,
-3801 Howard Circle. Garden Grove. Bus
Agt.: Frank Owen Smith, 231 Evergreen
St.. Anaheim.

560 RICHMOND — Charles W. Glum
P. 0. Box 1043. Tele.: 658 33rd St.
Bus. Agt.: Sam Jagard. 5300 Barrett Ave.

564 MOOFSTO - Charles C. White
1675 Union Ave., Merced 95340. Bus
Agt.: Ervm Fetzer, 525 Millo St.

605 VISALIA. PORTERVILLE, TULARE
HANFCRD. CORCORAN, LINDSAY, Dl-
NUBA — Frank Price. P. 0. Box 281
Visaha. Tele.: 2608 S. Watson, Visalia
■us. Agt: Albert M. Cox, 512 W.
irshen, Visalia.

611 WATSONVILLE. SANTA CRUZ, SA-
LINAS. GILROY, HOLLISTER, MONTE-
REY. CARMEL. PACIFIC GROVE and
SEASIDE — Stan Dietrich. P. 0. Box
584, Watsonville. Tele.: 44-D Crest Drive,
Watsonville. Bus. Agt.: James Wilson,
228 Peyton St. Santa Cruz.

656 EL CENTRO — Paul R. Steward,
P. 0. Box 615. Tele.: 843 Woodward
St. Bus. Agt.: Norman Morris, 1283 El
Dorado St.

707 HFMET - Derek H. Parker, P 0
Box 481. Riverside 92502. Tele.: 4275
Elmwool Court. Riverside. Bus. Agt.:
Daniel Weisberg, 408 25 Brookside Ave.,
Bea"mont

709 VENTURA COUNTY - Edwin E.
Griffith, P. 0. Box 811. Santa Paula.
Tele.: 1243 Newman St.. Simi. Bus. Agt.:
Willis Anderson, 438 W. Wooley Rd.,
0>nard.

730 BARSTOW - Rudy Trotter, 1290
Flora Ave. Bus. Agt.: Charles A. Hall,
38714 Larkin Ave.. Palmdale.

739 REDDING - Jerry Q. McGee. 289
Weldon St. Bus. Agt.: Jerry Q. McGee.

762 SAN LUIS OBISPO - W. Young
Lewis, P. 0. Box 691, Zip 93402. Tele.:
351' Lincoln Ave. Bus. Agt.: Lloyd E.
Berry, 214 Esparto Ave., Shell Beach
93462.

796 SUNNYVALE. MOUNTAIN VIEW,
LOS ALTOS, CAMPBELL, LOS GATOS —
Thomas G. Bracking, 693 Salberg Ave.,
Santa Clara. Bus. Agt.: Eugene Schloem-
e;. 681 Clara Vista, Santa Clara.

811 MARIN COUNTY — George H. Whit-
ten. Box 353, Novato. Tele.: 1141 Mira-
bella Ave., Novato. Bus. Agt.: 0. L.
Woodall, 8 Hacienda Ct., San Rafael.

CANADA

105 LONDON. Ont.— John McCully, 33
Dennis Ave., Lambeth, Ont. Bus. Agt.:
Walter Drennan, 106 Price St.

295 REGINA, Sask. -Jack Garvey, 1001
10th Ave., E. Bus. Agt.: Roy A. Thorn,
1928 Athol St.

300 SASKATOON, Sask. Ben Waldron,
804 8th St.. E. Bus. Agt.: Robert Cor-
rigal, 1002 7th S. E.

345 BROCKVILLE. Ont. G. A. Wood,
44 Ann St. Bus. Agt.: C. J. Ford, 35
Jessie St.

357 KITCHENER. STRATFORD, GALT,
and GUELPH, Ont. — J. Hoodless, 196
Duke St.. East, Kitchener. Bus. Agt.:
Douglas Linder, 32 Munroe Ave.

406 MOOSE JAW. Sask.-S. D. Stephen.
1229 Redland Ave. Bus. Agt.: Norman
Gamble. 421 Main St. S.

432 PETERBOROUGH. Ont.-John O'Leary,
192 Hunter, Apt. B. Bus. Agts.: (S)
Benjamin Clute, 34 Jackson Ave. (0)
Frederick Cranham, 232 Hartley St.

435 SAULT STE. MARIE, Ont.— G. H.
Stephen, 664 Queen St., E. Bus. Agt:
Harvey Annett, 166 Stanley.

438 SHERBROOKE, Que.— Leopold Dion,
240 Court St., Apt. 12.

440 SAINT JOHN, N. B.— Jas. A. White-
bone, P. 0. Box 1045. Tele.: 537 Ed-
ward Ave., W. Bus. Agt: Jas A. White-
bone.

461 ST. CATHARINES, Welland Niag-
ara Falls. Ont— C. A. Dentelbeck, 536
Carlton St., East, St. Catharines, Ont.
Bus. Agt.: B. McCullum, 9 Grapeview
St.. St. Catharines.

467 FORT WILLIAM and PORT AR-
THUR, Ont— P. R. Wright. 104 McKibbin
St., Port Arthur. Bus. Agt.: William
Gardiner, P. 0. Box 325, Port Arthur.

523 QUEBEC, Que. — George Gingras,
P 0. Box 422. Tele.: 1376 Gamier St.,
Zone 6. Bus. Agt.: Jules Pacaud, 2266
Choouette Ave.

528 KINGSTON and BELLEVILLE, Ont.
—Roy Smith, 33 Westmorland Rd., Kings-
ton. Bus. Agt: Roy Smith.

580 WINDSOR and CHATHAM, Ont—
lohn B. Sherwood, R. R. 2, Maidstone,
Ont. 8us. Agt: Walter E. Bennetie, 845
Rutland Rd., S. S. No. 1, Tecumseh, Ont.

582 BRANTFORD, Ont — Arthur C.
Roberts, 319 Nelson St. Bus. Agt.: E. R.
Pettifer. 52 Park Rd.

622 PORT HURON. Mich., and SARNIA.
Cnt (See Michigan).

634 SUDBURY, Ont— D. E. Tighe, P. 0.
Box 341. Tele.: 1073 Hawthorne Dr.
Bus. Agt: A. J. Spalding, 12 Glover Ave.

699 KIRKLAND LAKE and TIMMINS,
Ont— Joseph Scalzo, Box 171, Haileybury.
Bus. Agt: Le Roy Jewell, P. 0. Box 547,
New Liskeard, Ont.

680 HALIFAX - OARTHMOUTH, N. S.—

G G. Pring, P. 0. Box 711, Halifax. Tele.:
51 Newcastle St., Dartmouth. Bus. Agt.:
G. G. Pring.

848 SYDNEY -GLACE BAY, N. S. — F.
J. McGuire, 49 Alexander St., Glace Bay.
Bus. Agt.: F. J. McGuire.
COLORADO

62 COLORADO SPRINGS — Ronald W.
AuBucon. P. 0. Box 522. Tele.: 722 Bryce
Drive. Bus. Agts.: (0) Jack Armstrong,
1432 Norwood; (S) Arthur Johnson, P. 0.
Box 184. Cascade.

184 GREELEY — John McCandless, 1311
12th Ave. Bus. Agt.: Wallace Sjoberg,
1426 5th St.

229 FORT COLLINS — Gerald Elliott,
1308 Pitkin St. Bus. Aet.: Gerald Elliott.

602 TRINIDAD — L. R. Guye, P. 0. Box
355. Tele.: 824 Pine St.. Bus. Agt: Tony
locabell. 1043 2nd St., Las Vegas, N. M.

608 BOULDER and LONGMONT — J.H.
Shephard, P. 0. Box 141. Tele.: 845 Pearl
St Bus. Agt.: E. C. Caywood, 1810 Wal-
nut St.

689 GRAND JUNCTION - F. E. Grumpp,
P. 0. Box 484. Tele.: 1127 Chipeta
Ave. Bus. Agt: Allan H. Wasson, 530
Chioeta Ave.

736 LAJUNTA - Olin R. Fenter, 1023
Raton Ave. Bus. Agt: Charles 0. Sex-
ton, 519 Colorado Ave.

CONNECTICUT

301 NEW BRITAIN — Edward Regula,
P 0 Box 852. Tele.: 126 Clinton St.
Bus. Agt: Harry Grischuk, 419 Myrtle St

304 WATERBIJRY - Abe Fandiller, 219
Cooke St., Zone 10. Bus. Agt i Ralph
Di Pietro. Marie Hotchkiss Rd., Prospect.

350 MERIDEN - MIDDLETOWN - John
T McG'ew. P. 0. Box 463. Tele.: 15 Fair
St. Bus. Agt: John T. McGlew.

402 TORRINGTON — John Navin, 59
Lawndale Ave., Bristol. Zip 06010. Bus.
Agt: Michael Scanlon, 15 Lawton St.

439 NEW LONOON— John S. Kane. P.
0. Box 662. Tele.: 48 Main St. Bus. Agt:
Fred C. Nowell, 23 Sunshine Rd., Quaker
Hill.

449 STAMFORD. GREENWICH an d
DARIEN - Vincent J. Mitchell. Jr., P.
0. Box 669, Stamford. Tele.: 75 W.
Broad St. Bus. Agt: Kenneth D'Andrea,
104 McMullen Ave.. Stamford.

453 WILLIMANTIC-STORRS - Gerard R.
Lussier. 120 North St., Willimantic
0F226 Bus. Agt.: Otis Fairbanks, P. 0.
Sox 203, Willimantic.

459 NORWICH - Raymond C. Lamothe,
145 Ashland St., Jewett City. Bus. Agt:
Charles Oldham. R. F. D. 4.

479 NORWALK - Harry M. Johnson,
P. 0. Box 63. Tele.: County St. Bus.
Agt: George Brazil. 5 Sherry St.

662 DANBURY Felix Tomaino, P. 0.

Box 986. Tele.: 75 Franklin St. Bus. Agt:
Robert L. Mclntyre. 5 East Pembroke
Road.

DISTRICT OF COLUMBIA
224-A WASHINGTON William D. Wil-
liams, 1834 Ninth St., N. W. Tele.: 1260
Talbert St., S. E. Bus. Agt: Ralph T.
Dines, 510 Varnum St, N. W.

FLORIDA

60 PENSACOLA - J. S. Bainter, P. 0.
Box 1084. Tele.: 1304 N. "T" St. Bus.
Agt: Lloyd E. Joyner, 105 Georgia Drive,
Oakcrest, Pensacola.

321 TAMPA — John B. Fette, P .0. Box
1463, Zone 1. Tele.: 1102 31st Ave., Zone
3. Bus. Agt. 9323 Dartmouth Ave.

360 GAINESVILLE — V. F. Snellgrove,
722 N. W. 8th Place. Bus. Agt: Tommy
A Ridgell. 1715 N. W. 16th Ave.

412 BRADENTON - SARASOTA — Joe E.
Sanders, P. 0. Box 1073, Bradenton.
Tele.: 808 43rd St., W. Bradenton. Bus.
Agt.: C. E. Manson, 2731 N. Lemon
Ave., Sarasota.

552 ST. PETERSBURG — Claude R.
Shorts. P. 0. Box 920, Zone 1. Tele.:
8001 32nd Ave., N. Bus. Agt: Francis L.
Hill. 935 42nd Ave., N.

558 DAYTONA BEACH — Nelson Spock,
P. 0. Box 534. Tele.: 822 Valencia Rd.
Bus. Agt.: M. E. Forsyth, Tourist Hotel.

623 WEST PALM BEACH - James A.
Bursey, 1619 Julie Tania Drive. Bus. Agt.:
R J. Allison, 437 Summa St.

631 ORLANDO, CAPE CANAVERAL, CO-
COA and MELBOURNE — Richard Gabel,
P. 0. Box 631. Tele.: 207 S. Hyer St.
Bus. Agt: Richard Gabel .

643 LAKELAND — Frank Walker, P. 0.
Box 612. Tele.: 1056 South Blvd. Bus.
Agt.: Arthur Bowden, 404 Palmola Dr.

646 FORT LAUDERDALE, BOCA RATON,
KALLANDALE, HOLLYWOOD — Perry Mc-
Cune, 5607 N. W. 25th St., West Holly-
wood. Bus. Agt: Paul L. Robinson, Jr.,
1219 Cordera Rd., Fort Lauderdale.

716 PANAMA CITY — Allen M. Douglas,
P. 0. Box 752. Tele.: 1605 Tyndall Drive.
Bus. Agt: Harold McKenzie, 1202 Christel
Ave.

GEORGIA

320 SAVANNAH — L. Martin Boyd, P. 0.
Box 1941. Tele.: 117 E. Fairmont Ave.
Bus. Agt.: R. 0. Hardee, 907 Seiler Ave.

427 ROME — C. R. Chambers, P. 0. Box
Ml. Tele.: 202 N. Elm St. Bus. Agt.: L.
W. Van Horn, Wilkerson Rd.

507 MACON — Gilbert J. Poirier, P. 0.
Box 451. Tele.: 2828 Alta.Vista Ave. Bus.
Agt: Marion H. Sanders, 3740 Irwinton
Rd.

518 AUGUSTA — F. B. Beaufort, Jr.,
P. 0. Box 421. Tele.: 208 Summit Ave.,
W., N. Augusta, S. C. Bus. Agt.: F. B.
Beaufort, Jr.

568 COLUMBUS — E. L. Gullatt, P. 0.
Box 455. Tele.: 2205 Summerville Road,
Phoenix City, Ala. Bus. Agt.: George H.
Reese, 2636 Walnut St.

824 ATHENS — James E. Wall, P. 0.
Box 161. Tele.: P. 0. Box 352, Bogart.
Bus. Agt.: Marvin Sexton, 175 Combs St.

837 GRIFFIN — Charter revoked. Road
men contact R. E. Morris, International
Trustee, P. 0. Box 811, Mobile, Ala.
36601. HAWAII

665 HONOLULU — Tsutomu Hiramatsu,

P 0. Box 498, Zone 9. Cable: 1403 16th

Ave., Zone 16. Bus. Agt: Sammy Aras-

hiro, 1618 S. King St., Zone 9.

IDAHO

91 BOISE, NAMPA, CALDWELL, TWIN
FALLS, SUN VALLEY — Charles R.
Wiley, 4407 Clark St., Boise. Bus. Agt.:
James Wroten, 6715 Platinum Drive, Boise.

463 POCATELLO — Earl Thomas, 752
Hemlock St. Bus. Agt.: Richard P. Greg-
ersen, 3134 S. 5th.

629 IDAHO FALLS — Alden E. Hill,
3455 Teeples Drive. Bus. Agt.: Alden
E. Hill.

663 LEWISTON — B. F. Hughes, P. 0.
Box 374. Zip 83501. Tele.: 1320 14th
Ave. Bus. Agt: Hobart D. Burns, 1010
13th Ave

742 WALLACE - KELLOGG — Carmello
Amato, Jr., 1717 Burke Rd., Wallace.
Bus. Agt: Carmello Amato, Jr.
ILLINOIS

156 DANVILLE — Claude H. Lovejoy,
P. 0. Box 144. Tele.: 601 Wayne St.
Bus. Agt.: Claude H. Lovejoy.

166 GALESBURG — Leon S. Neblock.
P. 0. Box 42. Tele.: 633 Lincoln St
Gus. Agt: Leon S. Neblock.

193 BLOOMINGTON- NORMAL — Karl
B. Blakney, P. 0. Box 172, Bloomington.
Tele.: 943 McArthur Ave., Bloomington
Bus. Agt: Arthur W. Tucker, Hay-
worth, III.

207 FREEPORT — Albert Staver, 1642 S.
Highland Ave. Bus. Agt.: Karl Fritzen-
meier, 3O8V2 N. Cherry Ave.

217 ROCKFORD — Lewis R. Hickox, P.

0. Box 472. Tele.: 1420 Auburn St. Bus.
Agt: E. G. Sutphen, 1012 16th St.

221 AURORA — Harold H. Nelson, 603
Spring St., Bus. Agt.: Frank L. Allen,
702 Jackson St.

268 ALTON — Roy C. Gunter, P. 0. Box
133. Tele.: 1637 Rock Spring Park Drive.
Bus. Agt: Wallace Foster, 905 Wash-
ington.

317 WAUKECAN — Milan D. Miloshe-
vich, R. R. 2, Box 655A, Gurnee. Bus.
Agt.: Maurice B. McMahon, 421 Ridge-
land Ave.

392 KEWANEE — Darwin Davis, P. 0.
Box 214. Tele.: 515 Willow St. Bus. Agt.:
Edward Lams, 500 West Prospect St.

419 DECATUR — H. J. Steele, 1313 E.
Sedgwick.

421 HERRIN, III., and CAPE GIRAR-
DEAU, Mo. — Joe Pirka, 802 Baggott
St., Ziegler. Bus. Agt.: Roy Brown, 710

1. Oak St., W. Frankfort.

425 KANKAKEE — James T. Schmidt,
P. 0. Box 182. Tele.: 210 S. Fraser
Ave. Bus. Agt.: Oscar H. Schmidt, 410
S. Schuyler Ave.

434 PEORIA. PEKIN — A. D. Dittmer
209 W. Melbourne Ave., Zone 5. Bus.
Agt.: Ray Brian, 812 W. Maywood, Peoria.

482 CHAMPAIGN and URBANA — Rich-
ard Klemm, P. 0. Box 327, Champaign.
Tele.: 1204 Mimosa Dr., Champaign. Bus.
Agt: Owen Marshall, 209 W. University
Ave.

483 ELGIN — John H. Stickling, RR No.
1, Box 510, Dundee. Bus. Agt: John H.
Stickling.

522 QUINCY — George W. Fruehe, 2226
Madison St. Bus. Agt: T. W. Vollmer,
722 N. 24th St.

565 CENTRALIA — John W. Ramp, 703
Kensington, Mt. Vernon. Bus. Agt: Art
LaSalle, 3216 Central, Mt. Vernon.

600 LaSALLE, STREATOR, OTTAWA —
John Oberhloz, 1414 Bluff St., Peru.

658 JACKSONVILLE — Albert H. Gour-
ley, P. 0. Box 173. Tele.: 2010 Plum.
Bus. Agt.: Arthur McFarland, 30] Falton.

681 GILLESPIE — Elmer Dworsak, P. 0.
Box 45, Saunton. Tele.: 120 S. Wood,
Saunton. Bus. Agt.: Wilfred Day, P. 0.
Box 16, Carlinville, III.

'mer.natioxal Projectionist October. 1964

725 MATTOON - CHARLESTON — Wilmer
J Harper, 724 Oklahoma Ave., Mattoon
61938. Bus. Agt.: John Kruger, 1419 13th
St.. Charleston.

726 O'FALLON — Lloyd Smith, 513 Long-
view Drive, Belleview. Bus. Agt.: Frank
Mann, Bethel Road, Collinsville.

748 STERLING, ROCK FALLS and

OIXON — Chester L. French, 1029 Peoria

Ave., Dixon. Bus. Agt.: George J.

Tuft, 1305 15th Ave., Sterling.

INDIANA

106 MARION — Arlington Hankins, P.
0. Box 106. Tele.: 1009 Oxford Drive.
Bus. Agt.: Glenn Weaver, 2104 Valley Ave.

133 HAMMOND — George J. Martin, 534
Conkey St., Suite 1. Zip 46324. Tele.:
938 Summer St. Bus. Agt.: Richard M.
Parbst, 1143 Fisher St., Munster.

145 GARY — J. M. Hartsock, R. R. 3,
Box 152, Crown Point. Bus. Agt.: George
Sargent. 1030 Union St.

148 LOGANSPORT — Richard D. Red-
inger, P. 0. Box 502. Tele.: 1236 Wood-
lawn Ave. Bus. Agt.: Paschal P. Woodling,
1622 Miles St.

174 LAFAYETTE — Eugene Farrington,
3106 Prairie Lane. Bus. Agt.: Charles
E. Colvin, 1900 Indian Trail Drive, West
Lafayette.

187 SOUTH BEND — John E. Marker,
P. 0. Box 474, Zip 46624. Tele.: 210 Vil-
lageway. Bus. Agt.: Sylvester J. Bueche,
14413 St. Road 123, Granger.

263 RICHMOND - CONNERSVILLE — Wil-
liam J. Kyle, 205 N. W. "I" St., Rich-
mond Bus. Agt.: William J. Kyle.

292 MUNCIE- PORTLAND — James E.
Rawlinson, 2804 Rosewood Ave., Muncie.
Bus. Agt.: Fred Femeyer, 3031 Ivy St.,
Muncie.

372 VINCENNES — Ray Leech. P. 0.
Box 25. Tele.: 1321 Nichols St. Bus.
Agt.: S. A. LaCoste, 1209 N. 12th St.

490 ELKHART -GOSHEN — Robert Bow-
ser. 5118 E. Jackson St., Elkhart. Bus.
Agt.: LeRoy Lape, RR 4, Box 96, Elk-
hart.

494 FRANKFORT - CRAWFORDSVILLE —
Claude C. Sheets, P. 0. Box 168, Frank-
fort. Tele.- 507 Delphi Ave., Frankfort.
8us. Agt.: L. R. Jackson, 251 W. Boone
St.. Frankfort.

539 ANDERSON — Horace D. Eubank,
P. 0. Box 241. Tele.: 812 West Sixth
St. Bus. Agt.: Roy Shepherd, 1624 W.
9th St.

544 KOKOMO — George R. Plummer,
P. 0. Box 313. Tele.: 2542 Walker Ave.
Bus. Agt.: Fred L. Grady, 518V2 W.
Taylor.

570 MICHIGAN CITY - LaPORTE — E. L.
Holem, P. 0. Box 69, Michigan City.
Tele.: 413 Derby St., Michigan City.
Bus. Agt.: Sid Blande, 212 E. 10th St.,
Michigan City.

618 BLOOMINGTON, BEDFORD, COLUM-
BUS and SEYMOUR — Burl McGuire,
P. 0. Box 552, Bloomington. Tele.: 523
S. Walnut St., Bloomington. Bus. Agt.:
Burl McGuire.

630 PERU — Claude McElheny, 359 Arm-
strong Ave. Bus. Agt.: Claude McElheny.

660 HUNTINGTON — M. C. Kennedy,
P. 0. Box 3. Tele.: 1835 Dean St. Bus.
Agt: M. C. Kennedy.

696 NEW CASTLE - L. E. Thomas,
P. 0. Box 7. Tele.: 2704V2 Grand Ave.
Bus. Agt.: John Strong, Spiceland.

701 NEW ALBANY — Charles N. Long,
P. 0. Box 283. Tele.: 1235 Slate Run
Road. Executive Committee, P. 0. Box 283.
IOWA

103 DUBUQUE — Louis W. Huggins, 2205
Rhomberg Ave., Bus. Agt.: Executive
Board, 2205 Rhomberg Ave.

191 CEDAR RAPIDS — Herbert W.
Johnston, P. 0. Box 847. Tele.: 421 24th
St., N. W. 52405. Bus. Agt.: Blake St.
Clair, 135 38th St. N. E. 52402.

202 WATERLOO — Martin S. Frank,
P 0. Box 62. Tele.: 2204 Rainbow Dr.
Bus. Agt.: Executive Board.

332 CLINTON — A. E. Hubbard, P. 0.
Box 332. Tele.: 320 Ruth PI. Bus. Agt.
A. E. Hubbard.

385 BURLINGTON — Joe W. Harter, 238
S. 8th St. Bus. Agt.: C. Art Gardner,
807 S. 10th St.

389 FORT DODGE — Alvin E. Pieper,
Jr., P. 0. Box 754. Tele.: 1527 Fourth
Ave., S. Bus. Agt.: Ralph J. Bolender,
R. F. D. 1.

441 OTTUMWA — John J. Johnston, 509
S. Miller St. Bus. Agt.: Herbert Utterback,
260 S. Willard St.

450 MASON CITY — Paul F. Cota, 829
3rd St., S. W. Bus. Agt: Paul F. Cota.

527 MARSHALLTOWN — Victor H. Sell,
208 W. State St. Bus. Agt: William Mar-
tens, 206V2 N. 4th St.

593 CRESTON — P. E. Thomas, 2221
Jones St., Apt. 23, Omaha 2, Neb.
Bus. Agt: Executive Board.

687 SHENANDOAH, Iowa; BEATRICE and
NEBRASKA CITY, Neb. - See Nebraska.
690 IOWA CITY - Wm. H. Singleman,
P. 0. Box 42. Tele.: 8 Triangle Place.
Bus. Agt: Charles Singleman, 832
Dearborn St.

JO

KANSAS

242 PITTSBURG — James C. Evans, 1604
N. Joplin. Bus. Agt.: 0. D. Barger, 427
W. Seventh.

261 SALINA — Floyd W. Ringer, P. 0.
Box 262 Tele: 230 S. 3rd St. Bus. Agt.:
Donald Gray, 437 S. 5th.

368 HUTCHINSON. DODGE CITY, PRATT,
GREAT BEND — Lloyd S. Fuller P. 0.
Box 125, Hutchinson. Tele.: 715 E. 5th
St., Hutchinson. Bus. Agt.: G. E. Fayette,
207 E. 10th St., Hutchinson. Bus. Agt.
for Dodge City: Virgil L. Seals, 1505
W. Chestnut, Dodge City.

464 EL DORADO — Lee McNair, P. 0.
Box 321, Towanda. Bus. Agt.: Donald E.
Walker, 712 W. 5th St., Newton.

491 PARSONS — H. R. Reed, Box 86,
Tele.: 1516 Appleton. Bus. Agt.: Ira
Haskett, 613 N. 13th.

495 COFFEYVILLE — Bernard Williams,
602 Highland. Bus. Agt.: Olin K. Ham-
lin 10 E. North St.

498 KANSAS CITY and JOHNSON COUN-
TY — C. C. Bretz, P. 0. Box 1146, Zip
66117. Tele.: 3059-B Parkwood Blvd.,
Zone 4. Bus. Agt.: Bruce Stone, 4008
Oakland.

555 ATCHISON — Frank Antle, 819 Price
Blvd. Bus. Agt.: Clarence Bigelow, 920
Santa Fe, Atchison.

632 FORT SCOTT — William H. Betts,
727 N. Cedar St., Nevada, Mo. Bus. Agt.:
Eugene D. Rector, 510 Meadow Lane.

641 ARKANSAS CITY — John A. Ray,
P. 0. Box 405. Tele.: 1120 North C.
Bus. Agt.: Melvin G. McCall, 1102 N. D.
St.

657 LEAVENWORTH — B. A. Spinner,
316 Lawrence Ave. Bus. Agt: L. H. Vander
Staay, 928 Ottawa St .

KENTUCKY

281 PADUCAH — Arthur L Melton,
P. 0. Box 184. Tele.: R. F. D. Hinkleville
Road. Bus. Agt: Arthur L. Melton

346 LEXINGTON — J. W. Williams, 813
Oak Hill Dr., Zone 14. Bus. Agt.: R. J.
Baxter, 752 E. 7th St.

369 ASHLAND, Ky., HUNTINGTON W. Va.,
and IRONTON, 0. — (See 369, West
Virginia)

712 OWENSBORO and HENDERSON —
Earl Hardin, 820 E. 20th St., Owensboro.
Bus. Agt: William L. Cart, W. 5th Road,
Owensboro.

724 BELL and HARLAN COUNTIES —
William. H. Ballard, P. 0. Box 689, Mid-
dlesboro. Tele.: 612 Manchester Ave.,
Middlesboro. Bus. Agt.: William H. Bal-
lard.

828 HOPKINSVILLE-MADISONVILLE —
William L. Swykard, P. 0. Box 450, Hop-
kinsville. Tele.: 520 Brown. Hopkins-
ville. Bus. Agt.: William L. Swykard.

836 BOWLING GREEN — James E.
Thompson, P. 0. Box 856, Zip 42101
Tele.: Ridge Road. Bus. Agt.: James E.
Thompson.

LOUISIANA

260 LAKE CHARLES — James K. Hollier,
P. 0. Box 1234. Tele.: 3409 Patrick St.
Bus. Agt: Harry T. Estes, 2609 Cy-
press St.

400 ALEXANDRIA-PINEVILLE-FORT POLK
—Stewart E. Wilson, P. 0. Box 841, Alex-
andria. Tele.: 214 Payne St. Pineville.
Bus. Agt: W. Martin Lipscomb, 1200
Jeanie St., Pineville. Phone: 318-445-4957.

540 BATON ROUGE — L. A. Rice, P. 0.
Box 125. Tele.: 125 Belleview Dr. Bus.
Agt.: J. 0. Cothern, 5153 Bradley St.

668 MONROE — Charles Roddy, P. 0.
Box 1050. Tele.: 407 Morris Ave. Bus.
Agts.: (0) D. H. Mobley, 315 McEnery.
(Sj Vernon Riddik, P. 0. Box 1050.

708 VIVIAN — Harry M. Allgood, 2601
Williams Ave., Shreveport. Bus. Agt:
George Ragon, Sr., 1743 Maple St.,
Shreveport.

888 LAFAYETTE — Steven J. Duhon, 152
S. Richter Drive. Bus. Agt.: Clarence
Richard, 121 S. May Drive.

MAINE

198 BANGOR — Francis V. Riva, 72
Oak St., Old Town. Bus. Agt: Charles F.
Rice, 984 Broadway.

MARYLAND

258 CUMBERLAND — Chester Barkman,
200 Wilmont Ave. Bus. Agt.: Russell Hi I -
leary, 515 Patterson Ave.

591 HAGERSTOWN and FREDERICK,
Md., WAYNESBORO, Pa., WINCHESTER,
Va., and MARTINSBURG, W. Va. - Charles
D. Warner, 130 North Ave., Hagerstown.
Bus. Agt.: George Wagner, 129 Belview
Ave., Hagerstown.

MASSACHUSETTS

83 NORTH ADAMS — Peter J. Koch, 326
State Rd., Bus. Agt.: James A. Coddaire,
28 Porter St.

86 FITCHBURG - LEOMINSTER — Wil-
liam H. Moran, 49 Forest St. Bus. Agt.:
William H. Moran.

96 WORCESTER — Robert Krock, P. 0.
Box 326. Tele.: 251 May St. Bus. Agt:
John E. Murphy, 58 Winifred Ave.

232 NORTHAMPTON — Daniel Schwartz,
84 Eames Ave., Amherst. Bus. Agt.: John
Tichy, 2 Lang Ave., Easthampton.

454 ATTLEBORO — Thomas DePalma, 16
Shawmut Ave., Mansfield. Bus. Agt: Ed-
ward J. Ringuette, 15 Avery St., N. Attle-
boro.

505 WALTHAM — Fred Rousseau, 29
Farmington Road, West Newton, Zone 65.
Bus. Agt.: Vincent T. Kavanaugh, 8 Fells
Circle, Wellesley, Zone 81.

549 TAUNTON — Roland Robino, 17
Fourth Ave. Bus. Agt.: Mathew De Silva,
12 Dean Ave. 02780.

596 GREENFIELD — A. A. Drew, 16
Myrtle St. Bus. Agt.: George F. Patnode,
341 Chapman St.

723 NORWOOD — J. Alphonse Grenache,
206 Main St., Hopedale. Bus. Agt: Ernest
M. Santamaria. 35 Turtle St., Revere.

792 PLYMOUTH-CAPE COD — William
Leming, 128 Sandwich St., Plymouth 02360.

MICHIGAN

35 SAGINAW — C. D. Kelly, 1027 S.
Washington Ave. Bus. Agt.: C. D. Kelly.

125 BAY CITY — Fred Morse, 2120 2nd
St. Bus. Agt: Earl F. Drouin, 2103 16th
St.

172 JACKSON — Charles Ramsey, 231
W. Mason. Bus. Agt.: Leslie Tingley, 115
Round Lake Drive, Michigan Center.

188 KALAMAZOO — A. J. Thornton, 730
Pleasant Ave. Bus. Agt.: Harry Williams,
2007 Miles Ave.

274 LANSING and EAST LANSING —
Craig A. Chapin, P. 0. Box 95, Lansing.
Tele. 1912 S. Rundle, Lansing. Bus. Agt.:
Jay Roberts, 3306 Stoneleigh Drive,
Lansing.

291 GRAND RAPIDS — Walter J. Sowa,
1026 Lockridge, N. E. 49505. Bus Agt:
J. 0. Bogardus, 344 Coldbrook, N. E.

395 ANN ARBOR — Howard Fanslow,
302 Middle Dr., Ypsilanti. Bus. Agt.: Clar-
ence Purdy, 505 Eberwhite, Ann Arbor.

435 SAULT STE. MARIE — (Secretary,
see 435, Canada.) Bus. Agt.: H. C. An-
nett 166 Stanley St., Sault Ste. Marie,
Ont, Can.

492 BATTLE CREEK — William J. Bar-
ber, P. 0. Box 637. Tele.: 83 Lakefront
Drive. Bus. Agt.: John 0. Griggs, 163
Calhoun St.

538 MUSKEGON — William P. Oswald,
2172 Leif Ave. Bus. Agt.: Geo. Oplinger,
1833 Sanford St.

601 BENTON HARBOR — Victor Pitlik,
515 LaSalle, St. Joseph. Bus. Agt: Karl A.

Loeffler, 818 Main St., St. Joseph.

620 PONTIAC — Robert W. Dearth, 2737
Silverhill Drive. Bus. Agt: Jack D. Tobin,
2151 Derby, Birmingham.

622 PORT HURON, Mich., and SARNIA,
Ont.— Ernest Cassin, P. 0. Box 41. Tele.:
1619 Chestnut St. Bus. Agt: J. F. Cassin,
P. 0. Box 41.

735 MT. CLEMENS — James R. Kim-
mick, 16405 Curtis Ave., Roseville. Bus.
Agt.: Roy F. Suckling, Brumar Manor,
22810 Nine Mile Road, Apt. 16, St. Clair
Shores.

738 ALLEGAN — Wm. L Johnson, P. 0.
Box 69, So. Haven. Tele.: 522 Superior
St., So. Haven. Bus. Agt.: Francis J.
Falk, Route 2, Box 273.

744 CADILLAC - NORTH CENTRAL MICH-
IGAN — Lester Van Buskirk, 404 N.
Second Ave., Alpena. Bus. Agt.: Lester
Van Buskirk.

807 STURGIS — Eric D. Earl, 179 N.
Hudson St., Coldwater. Bus. Agt.: C. A.
Allen, 431 5th Ave., Three Rivers.

MINNESOTA

416 ROCHESTER - AUSTIN — R. W

Gaskill, P. 0. Box 793, Rochester.
Tele.: 1533 Third Ave., S. W., Rochester.
Bus. Agt.: Wray Eastlick, 516 Tenth
Ave., S. E., Rochester.

436 WINONA — George E. Eggers, 1706
Monroe St. Bus. Agt.: Ed Pellowski, 209
W. 5th St.

487 VIRGINIA, HIBBING and EVELETH
—Joseph L. Newman, P. 0. Box 356, Hib-
bing 55746. Tele.: 422 Highland Drive
Hibbing. Bus. Agt: Milan Lonchar, 8 Sec-
ond St., S. E. Chisholm.

510 MOORHEAD, Minn., and FARGO,
N. D. — (See North Dakota).

583 ST. CLOUD — C. G. Buchan, P. 0.
Box 254. Tele.: 346 11th Ave., Waite
Park. Bus. Agt: Lloyd DeVries, 411 2nd
Ave., N. E.

684 MANKATO — George J. Homer, 401
Moreland Ave. Bus. Agt: Tony J. Knoll
936 Marsh St.

714 RED WING — Harold Bennett, 1114
Kellog Ave. Bus. Agt.: Harold Bennett.

743 BEMIDJI — Charter surrendered.
Road men contact Glenn C. Kalkhoff, In-
ternational Representative, 108 W. Wells
St., Room 454, Milwaukee, Wis.

MISSISSIPPI

589 JACKSON-VICKSBURG — John R.
Frankinson, P. 0. Box 1753, Jackson,
Zone 9. Tele.-. 902 Dorgan St., Jack-
son. Bus. Agt.: C. B. Carroll 414 W.
Capitol St., Jackson.

589-A JACKSON-VICKSBURG — A. C

Taylor, 3305 Center St., Jackson. Bus.
Agt.: Edward Henry, 920 Dondo St.,
Jackson.

590 CLARKSDALE-GREENWOOD — Olin
L. Spencer, 616 Desota Ave., Clarksdale.
Bus. Agt.: Mark L Cagle, 506 Lynn St.,
C '3 rk^ri?i ! p

615 HATTIESBURG — R. C. Boatman
P. 0. Box 1106. Tele.: 307 Eighth Ave.
Bus. Aet.: R. C. Boatman.

616 MERIDAN — Sandy A Scalco, 3305
27th St. Bus. Agt.: Sandy A. Scalco.

617 GREENVILLE — Joe F. Marshall
431 Eureka St. Bus. Agt.: Charles B
Mullen, 143 N. Edison St

674 BILOXI and GULFPORT — Paul B
Ussery, 331 Bayly Drive, Biloxi. Bus
Agt: W. H. Watkins, 1153 Old Pass
Road, Long Beach.

MISSOURI

135 SEDALIA — Bernard Hill, 1713 W
16th.

143-A ST. LOUIS — Cecil R. Keene,
1023 N. Grand Blvd. Tele.: 4315 Page
Blvd. Bus. Agt.: Elmer Sims, 4408
Evans Ave., Zone 13.

421 CAPE GIRARDEAU-(See Illinois. 1

443 JEFFERSON CITY — Ralph Darnell,
321 Case Ave. Zip 65101. Bus. Agt •
Lerov Hackman 1208 Lee St.

497 INDEPENDENCE — Laird B Jef-
fers, Sr., 6846 Oak Terrace, Kansas
City 10. Bus. Agt.: Walter S. Jennings.
1719 Aopleton Ave.

562 HANNIBAL — Abbott V. Shear-
man, P. 0. Box 201. Tele.: 307 N.
Sixth. Bus. Agt: Phil B. Conn, New
London

573 MOBERLY — Lawrence Stringer.
1120 Concannon. Bus. Agt.: J. 0. Crook
811 E. McPherson, Kirksville.

595 CARTHAGE — Rex B. Mealey, Sr
509 E. 4th St. Bus. Agt: Rex B.
Mealey, Sr.

MONTANA

94 BUTTE-ANACONDA — Rene Rou-
leau. P. 0. Box 157. Tele.: 412 W
Park St. Bus. Agt.: Jack McNaugh
ton. 227 E. Front St.

213 GREAT FALLS -HELENA — Paul
Morse, P. 0. Box 1581, Great Falls.
Tele.: 305 Beth Drive, Great Falls
Bus. Agt.: Paul Morse.

240 BILLINGS — Lou S. Smith, P. 0.
Box 545. Tele.: 2022 Picket Lane.
Bus. Agt.: (S) D. J. Farrell, 2714 2nd
Ave, S. (0) James C. Nelson, 337
Burlington Ave.

339 MISSOULA - KALISPELL — Merle
Olson, 220 E. Kent. Bus. Agt.: Merle
Olson.

NEBRASKA

151 LINCOLN — D. D. MacDougall,
P. 0. Box 487. Tele.: 4631 Holdredge
St. Bus. Agt.: Anthony L. Polanka,
1812 Cotner

586 COLUMBUS, HASTINGS, NORFOLK,
GRAND ISLAND — Conrad Krieger, P. 0.
Box 152, Grand Island. Tele.: 436 E
South St., Grand Island. Bus. Agt ■
Leo Tews, 1201 S 6th St, Norfolk.

649 NORTH PLATTE, KEARNEY and
OGALLALA — Robert Barton, 415 W.
2nd St., North Platte. Bus. Agt:
Charles Easton, 307 S. James, North
Platte.

687 BEATRICE-NEBRASKA CITY, Neb.,
SHENANDOAH, Iowa — Wilmer C. Way-
man, P. 0. Box 122, Beatrice. Tele.:
1329 E. Court St, Beatrice. Bus. Agt:
Wilmer C. Wayman.

NEVADA

363 RENO — Herbert H. Hinze, P. 0
Box 5278, Washington St. Sta. Tele.:
1950 W. Plumb Lane. Bus. Agt: Rob-
ert H. Wetherill, P. 0. Box 538, State-
line, Lake Tahoe, Calif.

NEW HAMPSHIRE

195 MANCHESTER — Thomas P.
Swist, P. 0. Box 483, Zip 03105. Tele.:
306 Lowell St. 03104. Bus. Agt.: Thomas
P. Swist

685 CONCORD — Charter revoked.
Road men contact William C. Scan-
Ian, International Trustee, 574 East-
ern Ave., Lynn, Mass.

NEW JERSEY

243 ASBURY PARK — James N. Con-
way, P. 0. Box 402. Bus. Agt.: Con-
way Drewitz, IIO21/2 Third Ave.

269 OCEAN COUNTY — James D.
Gibson, 711 Bay Ave., Toms River. Bus.
Agt: Edw. Griesenbeck, 405 Lenape
Trail, Brielle.

362 PASSAIC COUNTY — Hugh Thomp-
son, Jr., 539 Van Houten St., Pater-
son, Zone 1. Tele.: 10 Brookside Ave.,
Hawthorne. Bus. Agt.: Kenneth Chamb-
ers, 3 Greene Ave., Totowa, Zone 2.

365 WARREN and HUNTERDON COUN-
TIES — Frank P. Sheets, Box 343, An-
nandale. Tele.: West St., Annandale.
Bus. Agt: George F. Miller, 210 W.
Stewart St., Washington.

International Projectionist October. 1964

379 PERTH AMBOY — James Quinn,
660 Main St.. Fords. Bus. Agt.: John
Rosan, 54 Carlton St.. Fords.

462 VINFLAND — John F. Rhodes.
R D. 2 Lincoln Ave. Bus. Agt.: Eugene
V. Mathis. R. D No 4. N. Oelsea Dr.
185 UNION COUNTY - George F.
Cushing, Room 406, Martin Bid?., 1139
E Jersey St.. Elizabeth, Zone 4. Tele.:
639 Salem Ave.. Elizabeth. Bus. Agt.:
Georee F. Cushing.

502 MORRIS COUNTY — William
Jukes. 18 Hinchman Ave., Oenville. Bus.
Aet-: Dominick Caravaggio, 25 Pine St.,
Morristown

529 LONG BRANCH — Charles W. Cha-
peil. Sr., 31 S. Fifth Ave. Bus. Agt;
Charles W. Chapel'. Sr.

534 NEW BRUNSWICK Charles

Stillman. P. 0. Box 722. Tele.: 2051
AuJubon Ave.. South Plainfield. Bus.
Agt.: Kenneth McManis. 19 Chapel
St. Nixon N. J. 08818

536 RED BANK- FREFHOLO — Alex
ander Sastokas, R. D. 2, Hwy. 33,
freehold. Bus. Agt.: Anthony Talarico.
84 John St.. Re1 Bank.

642 BERGEN COUNTY — Charles La-
martin. 366 Trensch Drive. New Milford.
Bus. Agt.: Edward H. Paul, 141 Lozier
Terr.. Ri"er Fdee.

813 CAPE MAY COUNTS - Roscoe
L. Smith. 915 Washington St.. Cape
May. Bus Agt.: Harold F. Sherwood,
3707 Pacific Ave.. Wildwood.

885 SUSSEX COUNTY - Stanfor-1 Tida-
back. P. 0. Box 1, Newton. Bus. Agt.:
Pa'il C. Rennert. 16 Orcharl St., New-
ton.

NEW MEXICO

423 ALBUQUERQUE and ROSWELL —
David Hamrah, 412 Gnegos Roat, N. W.,
Albuaueraue. Bus. Agt.: Don Brooks,
520 Richmond. S. E., A'buquerque.

843 LAS CRUCFS - Walter A Bowra.
P. 0. Box 87. Tele.: 808 S. Melendres.
P'is. A-t.: Archie M Chambless, 840
Maple St

NEW YORK
45 NEWBURGH - Anee'o Pizarro, 39
Farrington St. Bus Agt.: Frank Pea-
cock. 36 Lander St.

108 GFNEVA — Arthur J O'Neill.
379 Castle St. Bus. Agt : E. Francis
Larham. 568 Liberty St., Penn Yan.

119 AUBURN - James J. Gallery, 86
Hamilton Ave. Bus. Agt.: A'bert E.
Green, 51 Ross St

121 NIAGARA FALLS - Leonard Has
tee. 2463 Willow Ave. Bus. Agt.: J.
Frederick Yiung. 714 83rd St.

266 JAMESTOWN - George W. Sam-
uelscn, P. 0. Box 153 Tele.: 26
Hazeltine Ave. Bus. Agt.: George W.
Samuleson.

272 CORTLAND — Jack LeRoy. 97
Tompkins St. Bus. Agt.: Henry Jeffery.
101 Maole Ave.

289 ELMIRA — H. Paul Shav, P. 0.
Box 371. Zip 14902. Tele.: 1201 Lake
St. Bus. Agt.: H. Paul Shay.

290 GLOVERSVILLE - Lyn'on B.
Harvey, P. 0. Box 145, Gloversville.
Telet.: 21 Western Blvd. Bus. Agt.:
H. S. Laird. 113 E. Clinton, Johnstown.

308 DUNKIRK John Houghtalmg.

P. 0. Box 203. Tele.: 91 East 7th St.
Bus. Agt.: Charles Acker, Jr., 525 Wash-
ington Ave.

311 MIOCLETOWN - William F. Ro-
backer, 119 N. Beacon St. Bus. Agt.:
0. A. Garcea. 234 Phillip St.

313 AMSTERDAM - Elmer J Rossi,
Jr. R. D. 4, Bus. Agt.: Alfred Noble,
91 Division St.

318 LOCKPORT — Justin J. Burns. P
0. Box 374. Tele.: 42 Genesse St. Bus.
Agt.: Justin J. Burns.

338 WATERTOWN — Richard Hartness,
327 Coffeen St. 13601. Bus. Agt.: Henry
O'Neil. 1110 Academy St. 13601.

353 PORT JERVIS and SULLIVAN
COUNTY - Raymond L. Smith, P. 0.
Box 82, Forest City, Pa. Bus. Agt.:
David Powell, P. 0. Box 384, Hurley-
viiie.

377 ITHACA — Robert H. King, P.
U. Box 244. Tele.: 49 Cayuga St.,
Trumansburg. Bus. Agt.: John Detrick,
809 S. Aurora St.

474 ROME-ONEIDA-James A. Street,
R. D. 1, Verona Bus. Agt.: Frank
Zugner, 117 MacArthur Drive, Rome.

480 CORNING — John F. Short, 135
Pntchard Ave. Bus. Agt.: Frank Luck-
ner, 3 High St.

484 OLEAN — James R. Norton, 20
Jerome Ave., Bradford. Pa. Bus. Agt ■
James R. Norton.

499 POUGHKEEPSIE — Bunnell Eigh-
mie, P. 0. Box 482. Tele.: 28 Ham-
mersley Ave. Bus. A*t.: Ed Batey. 25
Hammersley Ave.

524 GLEN FALLS — Phil Brilling,
P. 0. Box 201. Tele.: 100 Cooper St.
Bus. Agt.: William T. Axton, 145
Maple St.

532 OSWEGH — Leonard Scheutzow,
P. 0. Box 252. Tele.: 23 West Mohawk
St. Bus. Agt: Fred Timon, Apt. 109,
Hami'ton House.

581 BATAVIA — Herman Gabriel, 123
S. Main St. Bus. Act.: William J.
Pickert, 22 Fordham Drive.

592 SARATOGA SPRINGS — Haverly
Jeffers. 98 N. Main St., Mechanicville.
Bus. Agt.: Frank La Brum. 99 White
St.. Saratoga Springs.

609 LITTLE FALLS — Stanley Cwalin-
ski. 325 Pleasant Ave., Herkimer. Bus.
Agt.: Norbert Steele, East Monroe St.
637 KINGSTON — Geo. P. Seymour,
19 N. 5th St.. Hudson 12534. Bus. Aet.:
Wilfred Mitchinson, 435 State St.,
Hudson 12534.

645 ROCKLAND COUNTY — William
O'Mahoney, P. 0. Box 234, Congers.
Tele.: 59 Hlghmount Ave., Nyack. Bus.
Agt.: Claude C. Curtis, 15 Elise Drive,
Spring Valley.

676 HORNELL — William K. Jackson,
8 Mays Ave. Bus. Agt.: Elliott Hazen,
10 Mays Ave.

749 MALONE — Arthur Nacashian. 88
Webster St. Phone 483-0475. Bus. Agt.:
Charles Brown. 123 S. Williams St.
NORTH CAROLINA
1-78 SALISBURY - L A. Fox. P. 0.
Box 81. Tele i 1660 Park Road. Bus.
Agt.: James B. Mahaley, 206 E. Bank
St.

278 ASHEVILLE — H. J. Cunningham,
67 E. Chestnut St. Bus. Agt.: S. E.
Holland. Woo-'fin Apts.. Woodfin St.

322 CHARLOTTE W. L. Jenkins.

1831 Thomas Ave. Bus. Agt.: K. M.
Clontz. 1724 Independence , Blvd.,
Zone 5.

417 DURHAM — George A. Godley.
P 0. Box 947. Tele.: 1623 Avon 'ale
Drive. Bus. Agt.: I. L. Tilley. 2511
Farthint! St.

481 GASTONIA - A. R. Walker, 221
S. Oakland St. Bus. Agt.: A. R.
Wa'k^r

520 WILMINGTON - J. A. Johnston,
P. 0. Box 238 Tele: RFD 1, Leland.
Bus. Aet.: J. A. Johnston.

574 GREENSBORO - Paul Covington.
P. 0. Box 666. Tele.: 512 Tate St.
Bus. Agt.: S. P. Kersey, 2106 Wright
Ave.

603 RALEIGH - 0. B. Morris. P. 0.
Box 1822. Tele.: Rt. 5. Bus. Agt.:
G. H. Edwards. 2713 Trawick Rd.

635 WINSfON-SALEM — C. E. Morgan,
P. 0. Box 313. Tele.: R. F. D. 2, Walnut
Cove. Bus. Agt.: 0. L. Ziglar, 113 Rose-
dale Circle.

670 WILSON-ROCKY MOUNT — R. C.
Rountree, Anderson Apt. No. 1, 503 Vance
St.. Wilson. Bus. Agt.: R. C. Rountree.

717 CONCORD — Carl Hintz. P. 0. Box
64. Tele.: R. D. 1. Mt. Pleasant. Bus
Agt.: J. R Parker, 108 Barnhardt Ave.

778 BURLINGTON — C. J. Ross, 231
Lakeside Ave. Bus. Agt.: H. C. Fondow,
516 Planner St.

797 HIGH POINT — H C. Simmons. P
0. Box 206. Tele.: 1100 Greensboro Rd.
Bus. Agt.: Rush Crawford, 2414 Lexington
Ave.

821 LEXINGTON-THOMASVILLE — Billy
R. Kanoy, P. 0. Box 188, Lexington. Tele.:
602 E. Guilford St.. Thomasville. Bus.
Agt.: F. Marshall Leonard, 221 Coutland
Terr., Burlington.

870 FAYETTEVILLE — Roy Herring, 121
Peace St. Bus. Agt.: William Lucas, 126
Camelia Drive.

NORTH DAKOTA
231 GRAND FORKS — Kenneth C. Lowe,
718 N. Fifth St. Bus. Agt.: Kenneth C.
.ove.

510 FARGO, N. D. and MOORHEAD, Minn
— E. J. McCannel, P. 0. Box 574. Fargo.
Tele.: 915 2nd Ave., S., Apt. 5, Fargo.
Bus. Agt.: Henry G. Lehr, 706 N. 10th.

654 MINOT — John S. Ceglowski, P. 0.
Box 486. Tele.: 713 3rd St., N. W. Bus.
Agt.: John S. Ceglowski.

698 BISMARCK — W. Schmaltz, P. 0.
Box 445. Tele.: 909 16th St. Bus. Agt.: W.
Schmaltz.

OHIO
71 NEWARK — G. E. Camp, P. 0. Box
424. Tele.: 353 Eddy St. Bus. Agt.: Forrest
Bartlett, 142 Riley St.

79 MASSILLON — Owight E. Dietz, 327
Korman Ave., N. E. Bus. Agt.: Dwight E.
Dietz.

100 MARIETTA, Ohio and PARKERSBURG,
W. Va. — (See West Virginia).

104 ZANESVILLE — Edgar H. Fuller,
1760 NorwooJ Blvd. Bus. Agt.: Edward H.
Kenily, 41 S. 4th St.

123 EAST LIVERPOOL — Thirl Biggins,
P. 0. Box 564. Tele.: 306 E. Chestnut St.,
Lisbon. Bus. Agt.: Frank Marshall, 307
Carolina Ave.

132 NILES-WARREN — Henry J. Blakley,
P. 0. Box 764, Warren. Tele..- 1541 Gene-
see Ave., N. E. Warren. Bus. Agt.: Ralph
W. Bailey, 791 Kenmore, N. E. Warren.

136 HAMILTON — Tom C. Smith, 403
Progress Ave. Bus. Agt.: Peter Bisdorf,
1441 Maple Ave.

155 TROY-PIOUA-SIDNEY — Glenn F. Ba-
d;rtscher. 1062 Boone St., Piqua. Bus.
A°ts.: (S) Joel J. Hixson, R. R. 3, Box
293-A, Piqua. (0) Robert Phillips, 403
Wagner Ave., Sidney.

189 ALLIANCE — John H. Greenlees,
P. 0. Box 434. Tele.: Route 30, East Ro-
chester. Bus. Agt.: Floyd E. Bowman,
10560 State Street, Louisville.

192 FINDLAY — Richard Dunlap, 813
Tiffin Ave., Bus. Agt.: Harrison Van Dorn,
313 East St.

214 SANDUSKY — J. E. Gardner, P. 0.
Box 1133. Tele.: 1326 Vine St. Bus. Agt.:
J. E. Gardner.

267 TIFFIN — Russell G. Kitchin, 262' 2
N. San-'usky St. Bus. Agts.: (0) Burt C.
Brickner, P. 0. Box 724; (S) Sam Shaw,
R. F. D. 3.

282 MIDDLETOWN — Charles Roberts,
P. 0. Box 284. Tele.: 313 Arcadia Drive.
Bus. Agts.: (S) Earl S. Roebuck, 2203
Arlington Ave. (0) F. L. Francis, 14 Har-
rison St.

315 STEUBENVILLE — T. P. Caniff,
P. 0. Box 94. Tele.: 3081 Crestline Dr.
Bus. Agt : T. P. Caniff.

349 LIMA — W. J. Courtney, P. 0. Box
491. Tele.: 710 Albert St. Bus. Agt.:
R. G. Neff, Waynesfield.

369 IRONTON, Ohio, HUNTINGTON, W.
Va.. and ASHLAND, Ky. — (See 369, West
Virginia.)

422 ASHTABULA — H. L. Rood, P. 0.
Box 243. Tele.: 521 Prospect Rd. Bus.
Agt.: Jack P. Lynch, P. 0. Box 243.
571 PORTSMOUTH — Russell Jarris, P. 0.
Box 33. Tele.: 620 John St. Bus. Agt.:
Ofa Osborne, 1722 Charles St.

598 MARION — Richard Baldauf, P. 0.
Box 101. Tele.: 619 Mary St. Bus. Agt.:
Leon Obenour, 396 Commercial St.

G33 CAMBRIDGE — Aaron C. Swank, P.
0. Box 15, Newcomerstown. Tele.: 452
N. College St., Newcomerstown. Bus. Agt.:
653 LORAIN-ELYRIA — Louis Horkay,
Jr.. P. 0. Box 278. Tele.: 738 Brownell
Ave. Bus. Agt.: A. L. MacPhail, 140 N.
Ridge. E

733 ATHENS — Hal K. Osborne, P. 0.
Box 53. Tele.: Mound St. Bus. Agt.:
Charles Farrow. 72 N. Congress St.
OKLAHOMA
227 PONCA CITY — Arthur H. Erwin
302 S. 4th St. Bus. Agt.-. R. B. Alston,
525 N. 12th St.

246 MUSKOGEE — U. J. Orrell, P. 0.
Box 246. Tele.: 1208 Cincinnati St. Bus.
Agt.: Milo Miller, 905 S. D. St.

312 ENID — George L. Virgil, 1604
Lake. Lawton. Bus. Agt.: George L.
Virgil.

387 LAWTON - 0. B. Ranes, P. 0.
Box 387. Tele.: 1415 Arlington. Bus. Agt.:
E. Burrell Jones, 722 N. 31st St.

399 BARTLESVILLE — Floyd Blackman,
123 S. Quapaw. Bus. Agt.: Albert Lee
Findley, P. 0. Box 1162.

471 OKMULGEE — Charter revoked.
Roa1 men contact LeRoy Upton, Interna-
tional Vice-President, 320 N. Grand Blvd.,
St. Louis 3, Mo.

517 SAPULPA — B. E. Robertson, 2013

S. Cedar St. Bus. Agt.: B. E. Robertson.

679 MIAMI — Orrick Sparlin, Jr., 325

"B" St.. N. W. Bus. Agt.: Stanley J.

Sullins, 403 "G" St., N. W.

OREGON

234 PENDLETON, LA GRANDE — (See
Washington).

446 ASTORIA — Chester R. Lamont, 262
Ninth St. Bus. Agt.: Chester R. Lamont.

613 SALEM — J. M. Kemper, 957 Bel-
mont, N. E. Bus. Agt.: J. W. Simeral,
990 Winter St., N. E.

672 KLAMATH FALLS and MEDFORD —
Richard E. Teater, 2345 Applegate Ave.,
Klamath Falls. Bus. Agt. for Klamath
Falls: Roger Porret. Bus. Agt. for Med-
ford: Robert E. Biehn, 369 Oakgrove
Road. Me .ford.

675 EUGENE, CORVALLIS and BEND —
Richard P. Lyons, 1443 E. 20th Ave. Bus.
Agt.: Harold DeLarm, 1565 Linda Ave.

785 COOS BAY — A. E. McDuffie, Rt.
Box 751. Bus Agt.: Leonard Ingeman,
1816 Madrona, North Bend.

PENNSYLVANIA

101 SHARON-FARRELL — Michael Ya-
nak, 1109 Spearman Ave., Farrell. Bus.
Agts: (S) Fred Bennett, 1079 E. State
St., Sharon. (0) Frank Crivello, 1241
Roemer BIvj., Farrell.

120 PITTSTON — James A. Casala, 143
Mill St. Bus. Agt.: Stanley Yanick, 202
Phila elphia Ave., West.

130 ALTOONA — Richard Bradley, P. 0.
Cox 263. Tele.: 2626 Pleasant Valley
B vd. Bus. Agt.: Urgie Baker, 3816 Maple
Ave.

152 HAZLETON — Joseph Rubinate, 549
W. Green St. Bus. Agt.: Anthony DeCosmo,
549 James St.

International Projectionist October. 1964

177 CONNELSVILlE — Byron K. Bishop,
P. 0. Box 304. Tele.. R. D. No. 2, Box
240. Bus. Agt.: Robert Albright, P. 0.
Box 138, South Connellsville.

179 WILLIAMSPORT — Harold B. Lilley,
P. 0. Box 411, 1218 Vine Ave. Bus. A"t :
Glenn Crossley, Sr., 2381 Riverside
Drive, S.

200 NORRISTOWN -- John Seal, 266
Prince Frederick St., King of Prussia.
Bus. Agt.: Julius Needleman, 1144 Ver-
non Rd., Phi la 1e1 phia 50, Pa.

203 EASTON-STROUDSBURG — J. Wal-
ter MacCracken, P. 0. Box 65, Easton.
Tele.: 831 McCartney St.. Easton. Bus.
Agt.: Kenneth S. Mack,, Stone Crossing,
Easton.

208 UNIONTOWN — K. S. Haines, P. 0.
Box 814. Tele.: 56 Elma Ave. Bus. Agt.:
Charles W. Vincent, Sr., 151 Connells-
ville St.

218 POTTSVILLE — Carlton Wiest, P. 0.
Box 194. Tele.: 800 W. Norwegian St.
Bus. Agt.: Anthony Discavage, 807 N. 3rJ
St.

265 GREENSBURG — M. J. Packerene,
P. 0. Box 452. Tele.: 828 Wool St.,
Latrobe. Bus. Agt.: George W. Mooney,
625 W. Newton Ave.

283 YORK, HANOVER and GETTYSBURG
—Harry L. Olp, P. 0. Box 181, York
17405. Tele.: 213 Main, Red Lion. Bus.
Agt.: Emory Myers, 1702 W. Market St.,
York.

287 BEAVER FALLS, ALIQUIPPA, AM-
BRIDGE, BEAVER, MONACA, MIDLAND,
NEW BRIGHTON and ROCHESTER — Wil-
liam J. Howe, P. 0. Box 328, Rochester.
Tele.: 761 Sunflower Rd., Rochester Bus.
Agt.: David E. Dickinson, Fastvale Trailer
Park. Eastvale, Beaver Falls.

296 WARREN — E. J. Lesser, P. 0. Box
32. Tele.: 122 Conewango Ave. Bus. Agt.:
K. K. Sigworth, 308 Hazel St.

329 SCRANTON — Clayton R. Leas,
P. 0. Box 228. Tele.: 2923 Frink St.
Bus. Agt.: Sam Kessler, 512 Wheeler Ave.

335 BRADFORD — Leo J. Foran, 48
Bedford St. Bus. Agt.: Executive Board,
48 Bedford St.

341 OIL CITY — Howarl R. Findlay,
R. D. 2. Bus. Agt.: Robret R. Tarr, 305
Wilson Ave.

342 BUTLER — Paul E. Smith, P. 0.
Box 415. Tele.: Highland Ave. (Meridian),
Butler. Bus. Agt.: Paul E. Smith.

398 MEADVILLE — August F. Bodisch,
R. D. 3, Box 9-A, Linesville,. Bus. Agt :
Russell C. Bortles, P. 0. Box 364,
Linesville.

403 SUNBURY, LEWISBURG, SELINS-
GROVE — Russell H. Search, P. 0. Box
225, Sunbury. Tele.: College Park, Lewis-
burg. Bus. Agt.: Robert E. LeVan, 902
Avenue "G," Riverside.

444 NEW KENSINGTON an I TARENTUM
-Anthony Haracznak, 1910 Constitution
Blvd., New Kensington. Bus. A7t.: Joseph
Milburn, 1131 Wills Ave., New Kensington.

451 NEW CASTLE - Robert 0. Wood-
ring, P. 0. Box 583. Tele.: 26 Cecil Ave.
Bus Agt.: Executive Boar1.

478 BETHLEHEM — Charles Beyea, P.
0. Box 1213. Tele.: 430 Main St. Bus.
Agt.: Charles Beyea.

515 SHAMDKIN — F. Shirman, 119 N.
Grant St. Bus. Agt.: Cement Yeager,,
233 W. Third St., Mt. Carmsl.

516 CHESTER — Jack Mullen, P. 0.
Box 92. Tele.: 4 W. 24th St Bus. Agt.:
Perry Restucci, 104 Edwarl Drive,
Brookhaven.

554 LEBANON — Albert Spayd, P. 0.
Box 193. Tele.: 55 N. 12th St. Bus. Agt.:
John Shultz, 704 N. 3rd Ave.

561 JOHNSTOWN — Paul Halovich, P 0.
Box 665. Tele.: 220 Haynes St. Bus.
Agt.: Joseph C. Burgo, 362 Moore St.

566 McKEESPORT — Herbert W. Schae-
fer, P. 0. Box 157. Tele.: 27'2 Lafayette
Ave. Bus. Agt.: Emmett A. flames, 3512
Woodland Ave.

575 POTTSTOWN — Kenneth H. Delo-
plaine, R. D. 1, Gilbertville. Bus. A;t.:
GerarJ T. Boyle, R. D. 2, Boyertown.

591 WAYNESBORO — (See Maryland).

607 KITTANNING — James Gallo, 135
Main St., Ford City 16226. Bus. Agt.:
James Gallo.

627 WASHINGTON — E. W. Seal, 28 S.
Wale Ave. Bus. Agt.: J. P. Lane, 260
Donnan Ave.

628 CHARLEROI and MONESSEN — Wil-
liam C. Giles, P. 0. Box 519, Browns-
ville. Tele.: 422 Brashear St., Browns-
ville. Bus. Agt.: R. J. Crosby, Jr., 513
1st St, Monessen.

636 LEWISTOWN, STATE COLLEGE, HUNT-
INGTDON — Gregory Crawfor , R. D.
Mt. Union. Bus. Agt.: George Figard,
R. D. 2, Box 406 Huntingdon.

664 VANDERGRIFT — James L. Davis,
227 Clymer Ave., Indiana. Bus. Agt.: Al-
bert Sack, 425 Emerson St.

11

703 DuBOIS — James R. Fleming, P. 0.
Box 295, St. Mary's. Bus. Agt.: R. R.
McGreevey, 509 Grant St. Reynoldsville.

718 PHILIPSBURG — James Wood, P.
0. Box 204, Ramey. Bus. Agt.: Executive
Boari, Box 204, Ramey.

832 LANGHORNE — Howard Scheicher,
6 Summer Lane, Levittown. Bus. Agt.:
Frank Fee, 10 Pumpkin Hill Road, Levit-
town.

RHODE ISLAND

309 NEWPORT — Harold W. McGinn,
10 Summer St. 02842. Bus. Agt.: W. H.
White, Jr., 10 Pennacook St.

538 WESTERLY — H. Irvine Pendlebury,
P. 0. Box 365. Tele.: Boston Post Rd.
Bus. Agt.: Gerald H. Payne, 63 Beach St.

579 WOONSOCKET — William F. Dever,
P.O. Box 1164. Tele.: 23 White Parkway.
Bus. Agt.: William F. Dever.

677 KENT COUNTY — Harold F. Benson,
56 Harris Ave., West Warwick 02893. Bus.
Agt.: Harold F. Benson.

SOUTH CAROLINA

333 CHARLESTON — A. P. Jones, P. 0.
Box 671. Tele.: 1670 Garden St. Bus.
Agt: Robert L. Schardt, 619 Welch Ave.,
Riverlanl Terrace.

347 COLUMBIA — Carroll L. Addy, P. 0.
Box 972. Tele.: 4801 James St. Bus. Agt.:
W. H. Herring, 1420 Charleston Highway,
West Columbia.

512 SPARTANBURG — T. H. Childress,
C-28. Tele.: 103 Cambridge Circle. Bus.
Agt: Paul E. Kelley, 204 Willwood.

697 GREENVILLE — J. H. Austin, P. 0.
Box 343. Tele.: 115 Hillrose Ave. Bus.
Agt.: T. T. Sizemore, 143 Augusta Court.

741 ANDERSON — W. Lester Hubbard,
P. 0. Box 741. Tele.: 3 Jaynes St. Bus.
Agt.: John R. Cornwell, 309 Moultrie
Square.

SOUTH DAKOTA

503 MITCHELL-HURON — John M. Spry,
622 S. Duff St., Mitchell. Bus. Agts.:
(0) William F. Vogt, 1200 E. 4th Ave.,
Mitchell. (S) James M. Spry, 622 S. Duff
St., Mitchell.

525 ABERDEEN — Walter E. Bleckert,
P. 0. Box 525. Tele.: 1707 S. Main St.
Bus. Agt: Walter E. Bleckert
TENNESSEE

530 BRISTOL, 7a., ano Tenn. — Hugh
H. Home, P. 0. Box 12, Bristol, Tenn.
Tele.: 1725 Holston Drive, Bristol, Tenn.
Bus. Agt.: William Vernon, Maple Hurst,
Adt, Bluff City, Tenn.

639 JACKSON — Wm. H. Parham, P. 0.
Box 126. Tele.: 118 Edenwood Drive
Bus. Agt.: Paul Burke, 612 Lambuth.

699 JOHNSON CITY — Ralph C. Lusk,
P. 0. Box 764. Tele.: 301 W. G. St.,
Elizabethton. Bus. Agt.: H. B. Crowe
Sr., Wautauga Ave., Ext, Rt. 6, Elizabe-
thton.

713 MURFREESBORO — J. W. Young
236 E. Tanksley, Nashville 37211. Bus'
Agt: Sam Watson, R. D. 2, Lebanon
37087.

759 CLEVELAND — Claude A. West P
0. Box 302. Tele.: Star-Vue Theatre.
Bus. Agt.: William A. Smalling, George-
town Pike.

763 DYERSBURGH — Charter revoked
Road men contact R. E. Morris Inter-
national Trustee, P. 0. Box 811, Mobile
Ala. 36601.

814 OAK RIDGE — Willis E. Baker, Sr
P. 0. Box 3113. Tele.: 921 Fowler St.,
Clinton. Bus. Agt.: William P. Harding
104-A Elza Drive.

835 KINGSPORT - Claude K. Pendle-
ton, 1224 Holyoke St Bus. Agt: Mark
Rich, 1106 Wilcox Drive

851 MARYSVILLE anil ALCOA — Ken-
neth E. Sutton, 1003 Young Ave., Marys-
ville. Bus. Agt: Ed Abbott, Box 402
Marysville.

852 MORRISTOWN and NEWPORT — L
A. Collins, P. 0. Box 1491, Morristown
Bus. Agt: Aldon Vaughn, 318 Peachtree
St., Morristown.

TEXAS

153 EL PASO — Charles W. Moore,
P. 0. Box 1130. Tele.: 2300 San Jose
Ave. Bus. Agts.: (0) A. 0. Yonge, 2608
Silver St.; (S) G. R. Jones, 8287 San Jose

Rd.

183 BEAUMONT — H. E. Wilson, 4895
Detroit St. Bus. Agt.: Pete Navarro, 1463
RailroaJ.

205 AUSTIN— B. L. Westlund, P. 0. Box
142. Tele.: 4900 Lansing Drive, Zone 4.
Bus. Agt: Charles W. Schubbert, 606
W. 8th St.

276 BAYTOWN — Wayne E. Brock, P. 0.
Box 659. Tele.: 105 E. Fayle. Bus. Agt.:
Raymond M. Brock, Box 3383.

280 DENISON — R. T. Jones, P. 0. Box
228. Tele.: 516 W. Gandy St. Bus. Agt.:
B. E. Perry, 719 W Hull.

331 TEMPLE — R. L. Moore, P. 0. Box
392. Tele.: 911 S. 35th St. Bus. Agt.: G.
Molton Allen, 1215 N. 2nd St

378 WICHITA FALLS — S. F. Weidman,
P. 0. Box 777. Tele.: 2005 Tilden St
Bus. Agt.: Edgar D. Swartwood, 3007
Pennsylvania Ave.

383 TEXARKANA — Hugh Cavitt, P. 0.
Box 323. Tele.: 900 Whitaker St Bus.
Agts.: (0) Executive Board, 314 S. Robin-
son Road. (S) J. R. HenJerson, 908 East
33rd St.

391 PORT ARTHUR — R. T. Sipole, P.
0. Box 207. Tele.: 115 S. 15th St.,
Nederland. Bus. Agt.: Travis Emmons,
5145 8th St.

393 MEXIA - CORSICANA — Joe B.
Vaughn, 1102 W. 13th Ave., Corsicana.
Bus. Agt.: J. D. Walker, Hillside Drive,
Corsicana.

456 DENTON - McKINNEY — Metz Kin-
dle, 1408 N. WaJdill St., McKinney.
Bus. Agt.: Walter Harris, 225 Joge St.,
Denton.

469 AMARILLO- LUBBOCK — J. J. Che-
shire, Jr., P. 0. Box 1885, Amarilln. Tele :
4605 Bryan, Amarillo. Bus. Agts.: Solon
May, P. 0. Box 1583, Amarillo, and S. E.
Patterson, P. 0. Box 5754, Lubbock.

526 ORANGE — Walter Journeay, 909
4th St. Bus. Agt: Davis Gholson, 911 9th
St.

548 GREENVILLE -PARIS — Don C.
Morgan, 333 Sixth St., N. E., Paris. Bus.
Agt.: Rueben C. Vallier, 415 Fourth St.,
S. W., Paris.

584 BRECKENRIDGE — Cleo Carey, P.
0. Box 48. Tele.: 306 S. Miller. Bus.
Agt: J. H. Davis, Jr., 1304 Hopkins St.,
Dallas.

587 LONGVIEW- MARSHALL — J. Ray-
mond Walker, P. 0. Box 845, Longview.
Tele.: 703. E. Level Ave., Longview.
Bus. Agt.: Emmett Carter, Jr., 207 Smith
Drive, White Oak.

604 CORPUS CHRISTI — Leo Beckley,
P. 0. Box 969. Tele.: 918 Grant Place.
Bus. Agt.: D. A. Brandon, 2842 Austin.

612 ABILENE — F. R. Block, P. 0. Box
1396. Tele.: 850 Beechwood. Bus. Agt.:
F. R. Block.

625 TYLER — J. F. Welch, Sr., 235 S.
Fleishel St. Bus. Agt.: S. L. Davidson,
617 Mealow Lane.

652 KILGORE, HENDERSON, GLADE-
WATER and OVERTON — Jack T. Holbert,
P. 0. Box 388, Kilgore. Tele.: 1216
Andrews, Kilgore. Bus. Agt.: Jack T.
Holbert

678 LAREDO — Russell G. Ancira,
P. 0. Box 742. Tele.: I8I8V2 Farragut
St. Bus. Agt: Russell G. Ancira

688 HARLINGEN, McALLEN, BROWNS-
VILLE — G. I. Harp, 517 Patricia Ave.,
Mercedes. Bus. Agt: G. E. Ayoub, 451
S Crockett, San Benito.

692 MARLIN-HEARNE — Charter re-
voked. Road men contact E. J. Miller,
International Representative, 1815 Walker
Ave., Houston 3, Texas.

693 BROWNWOOD — Jim Pouns, P. 0.
Box 23. Bus. Agt.: Jim Pouns.

715 GAINESVILLE — G. L. Luther,
P. 0. Box 111. Tele.: 2516 Garapan Drive,
Dallas. Bus. Agt: G. L. Luther.

746 FREEPORT — Barnie T. Thomas,
P. 0. Box 716. Tele.: 204 Lotus, Lake
Jackson. Bus. Agt: Bernie T. Thomas.

765 VERNON -CHILDRESS — Argie Wal-
den, P 0. Box 2133, Vernon. Tele.: 4019
Circle Drive, Venon. Bus. Agt: Argie
Walden.

802 BRYAN — Jos. Pletzer, P. 0. Box
486. Tele.: 209 S. Hutchins. Bus. Agt.:
Harry Anthony, P. 0. Box 163.

865 ODESSA - MIDLAND — S. E. Furlow,
P. 0. Box 691, OJessa. Tele.: 400 E.

38th St., Odessa. Bus. Agt.:. S E. Furlow.
UTAH

358 OGDEN — Walter Wheelwright,
P. 0. Box 386. Tele.: 4983 S. 2527 W.,
Roy, Utah. Bus. Agt.: Dave Tompkins,
3305 Quincy Ave.

508 LOGAN — Eugene Bell, 463 W. 2nd
South St. Bus. Agt.: Charles McPhee,
234 S. 2nd East St.

648 PROVO — Wayne Cox, 337 E. Center
St., Spanish Fork. Bus. Agt.: Edward
Bushell, 609 W. First North.
VIRGINIA

55 ROANOKE — Ralph J. McDonald, P.
0. Box 1067. Tele.: 705 Marshall Ave.,
S. W., Zone 16. Bus. Agt: C 0. Lawr-
ence, 2318 Rush St., N. W

264 NEWPORT NEWS — W L. Strouf,
P. 0. Box 795. Tele.: 313 Cooper, Hamp-
ton. Bus. Agt.: Nelson S. Hawkins,
160 Algonquin Rd., Hampton.

390 LYNCHBURG — L. T. Godsey, P. 0.
Box 634. Tele.: Leesville Rd. Bus. Agt.:
James H. File, 2008 Broadway St.

531 PETERSBURG — W. S. Query, 1770
Oakland St. Bus. Agt: Carl F. Wood,
1901 Oakland St.

563 DANVILLE — Melville L. Perkins,
2134 Baxter St. Bus. Agt.: William 0.
Paul, 747 Melrose Ave.

572 STAUTON — Anthony J. Peduto,
1611 Pierce St. Bus. Agt.: Donald Pattee,
Singers Glen.

591 WINCHESTER — (see Maryland.)

619 ALEXANDRIA — Harold H. Phelps,
2005 Columbia Pike, Apt. 829, Arlington.
Bus. Agt.: S. A. Dale, 18 E. BradJock
Road.

711 CHARLOTTESVILLE — N. G. Dob-
son, P. 0. Box 611. Tele.: 1324 Long
St. Bus. Agt.: N. G. Dobson.
WASHINGTON

93 SPOKANE — Leo T. Vigil, P. 0. Box
1266. Tele.: 218 E. Walton Ave., Zone
22. Bus. Agts.: (S) K. R. Devereaux,
East 403 Rich. (0) Robert G. Crawford,
East 725 Thuraton.

117 BELLINGHAM — Fred A. Graham,
P. 0. Box 571. Zip 98225. Tele.: 1659
Chuckanut Point Bus. Agt: Stan Pehr-
son, 204 Brown Lane

175 TACOMA — C J. Ellis, P. 0. Box
1155. Tele.: 4301 80th Ave., W. Bus.
Agt.: W. H. Jarmon, 4802 N. 14th.

180 EVERETT — John C. Smith. P. 0.
Box 478. Tele.: 3715 Colby Ave. Bus.
Agt.: E. J. McMurray, 1027 Wetmore.

234 WALLA WALLA and TRI CITY —
Guy E. Blakely, 1409 Road No. 24, Pasco.
Bus. Agt.: Paul Sheley, 914 South 5th,

Pacp ("]

254' YAKIMA — Edwin G. Hauff, P. 0.
Box 1161. Tele.: 404 S. 18th Ave. Bus.
Agt.: L. B. Hinds, 2305 Summitview Ave.

344 OLYMPIA — Owen Linstad, P. 0.
Box 572. Tele.: 1218 N. Wilson. Bus.
Agt: G. K. Porterfield, P. 0. Box 245,
Lacey.

351 ANACORTES, MOUNT VERNON,
SEDRO - WOOLLEY, PORT ANGELES,
BURLINGTON, CONCRETE, STANWOOD,
MARYSVILLE, SNOHOMISH, MONROE —
S. R. Lowrie, 1718 12th St., Anacortes.
Bus. Agt.: S. R. Lowrie.

401 CENTRALIA, CHEHALIS, RAYMOND,
SOUTH BEND, LONGVIEW, KELSO, VAN-
COUVER, CAMAS — C. W. Wheeler, P. 0.
1842 Van couver. Tele.: 105 E. 31st St.,
Vancouver. Bus. Agts.: (Centralia-Che-
halis) W. A. Kirkpatrick, 413 Magnolia,
Centralia. (Vancouver-Camas) N. L). Stark,
P. 0. Box 12, Vancouver. (Longview
Kelso) H. A. Kirkpatrick, 1732 Ocean
Beach Highway, Longview.

429 ABERDEEN - HOKUIAM — Marvin
Frost, 2204 Aberdeen Ave., Aberdeen.
Bus. Agt.: Marvin Frost.

445 BREMERTON - CHARLESTON —
Arthur H. Miller, P. 0. Box 613, Bremer-
ton. Tele.: 1932 Burwell, Bremerton.
Bus. Agt: George Juricich, Route 1, Box
71, Silverdale.

651 WENATCHEE — George H. Henkel,
P. 0. Box 355. Tele.: 321 15th St., N. E.,
East Wenatchee. Bus. Agt.: G. H. Schu-
bert, 210 Spokane St.

WEST VIRGINIA

64 WHEELING — George J. Beltz, P. 0.
Box 292. Tele.: 33 9th St., McMe:hin.

Bus. Agt: Nile C. Canady, 3461 Franklin
St., Bellaire, Ohio.

100 PARKERSBURG, W. Va., & MARIET-
TA, Ohio — E. A. Earley, 1809 19th St,
Parkersburg. Bus. Agt.: E. A. Earley.

239 FAIRMONT — Bruce E. Vandergrift,
705 Potomac Ave. Bus. Agt.: William
Huett, Nester, 600 Benoni Ave.

270 CLARKSBURG — Dallas D. Cornell,
P. 0. Box 1453. Tele.: 5 Timberlake
Court. Bus. Agt: Delmer A. Fesler, 628
Philippi Pike.

369 HUNTINGTON, W. Va., ASHLAND,
Ky., and IRONTON, 0. — 0. M. Rose,
P. 0. Box 192, Huntington. Tele.: 1431
Grove St., Huntington. Bus. Agts.: (0)
Sam Hunter, 1132 Adams Ave., Huntington.
(S) Ralph E. Fowlkes, 932 Jefferson Ave.,
Huntington.

578 MORGANTOWN — H. D. Kelly, P. 0.
Box 293, Zip 26505. Tele.: 420 West
Virginia Ave. Bus. Agt.: Richard Herstine,
1157 Des Moines Ave.

591 MARTINSBURG — (see Maryland)

691 BLUEFIELD — Charles R. Brewer,
P. 0. Box 691. Tele.: 924 Frederick St.
Bus. Agt.: E. E. Broyles, 144 Giles St.

834 ELKINS - BUCKHANNON — Joseph

W. Blackwood, P. 0. Box 356, Philippi.

Tele.: 222 S. Walnut St., Philippi. Bus.

Agt.: Joseph W. Blackwood.

WISCONSIN

141 LaCROSSE — Arthur Frey, Rt. 1.
Bus. Agt: Frank Sieger, 139 S. 11th St.

167 OSHKOSH - FOND DU LAC — Harold
E. Hurlbutt, 1114 E. New York Ave., Osh-
Kosh. Bus. Agts.: (S. Oshkosh), Elmer
Retzloff, 917 Kansas St.; (Fon du Lac),
Gor on Tupper, 137 S. Park Ave.

251 MADISON — Thomas C. Tews, 2248
Rowley Ave., Zone 5. Bus. Agts.: (S)
Douglas Gauntlett, 213 State St (0) E. G.
Wigdahl, 4537 Winnequah Rd., Zone 4.

361 KENOSHA — John D. Sublisky,
R. F. D. 4, Box 615. Bus. Agt.: Stanley
Przlomski, 6211 40th Ave.

394 APPLETON, MENASHA, NEENAH —
Floyd Slayton, 1921 W. 5th St., Appleton.
Bus. Agt: Fred Kohl, 207 E. Calumet St.,
Appleton.

410 MANITOWOC — Harold Lemberger,
834 S. 18th St. Bus. Agt.: Frank
Swokoske, 1309 S. 18th St.

457 SUPERIOR — Erving Austin, 1721
Tower Ave., Apt. B. Bus. Agt.: Erving
Austin.

475 EAU CLAIRE — Floyd E. Garton,
1630 Main St. Bus. Agts.: Frank Schla-
geter, 641 W. Grand Ave., Eau Claire.
J. W. Crooks, 8 W. Elm St, Chippewa
Falls.

477 GREEN BAY - MARINETTE, Wis. -
MENOMINEE, MiCh. — Melvin Oswald,
Sr., 2312 Woodrow Ave., Green Bay. Bus.
Agt. for Green Bay: Bural Tallman, 1930
Farlin Ave. Bus. Agt. for Marinette-
Menominee: Herb Newman, 836V2 Wells
St., Marinette.

493 JANESVILLE - BELOIT — A. M.
Mitchell, 2441 E. Ridge Rd., Beloit. Bus.
Agt.: Bernard Marker, 1508 Magnolia
Ave., Janesville.

606 WAUSAU and STEVENS POINT —
Carmo Bierbrauer, 1231 Steuben St., Wau-
sau. Bus. Agt.: Carmo Bierbrauer.

655 SHEBOYGAN, KOHLER, PLYMOUTH—
Henry Udovich, P. 0. Box 64, Sheboygan.
Tele.: 2127 S. 12th St., Sheboygan. Bus.
Agt.: John Kunstman, 610 Broughton Dr.,
Sheboygan.

694 BEAVER DAM — Ralph Percifield,
P. 0. Box 34. Tele.: 123 Mary St.,
Beaver Dam. Bus. Agt.: Ralph Percifield.

721 ELKHORN — Norma Taylor, 414 S.
Main St., Delavan. Bus. Agt.: R. J.
Mellien, 513 Haskins St, Lake Geneva

722 WISCONSIN RAPIDS — Ronn R.
Desper, Route 1, Box 44. Bus. Agt:
Ronn R. Desper.

WYOMING

426 CASPER — John W. Buchanan,
P. 0. Box 643. Zip 82602. Tele.: 902 S.
Walnut. Bus. Agt.: John W. Buchanan.

489 SHERIDAN— Vergil J. Gilson, P. 0.
Box 3. Tele.: 742 Jackson. Bus. Agt.:
Frank V. Spainhower, 841 E. Heald St.

647 CHEYENNE — George Dauterman,
P. 0. Box 541. Tele.: 1309 East 20th
S; , Bus. Agt: Gordon A. Lewis, 3035
Snyder Ave.

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12

International Projectionist October, 1964

Kodak's McCelland Boosts
Training Based on Need

Industrial training pa\s when it is based upon the specific needs of the
company, needs that are clearly defined and concisely stated.

That thesis came from Robert C. McClelland, director of training for
Eastman Kodak Company, at a recent convention of the Department of
\udio-Visual Instruction, National Education Association in Rochester. N. Y.

Flexibility in response to company
training needs is essential. McClel-
land said. \- an example, he outlined
the evolution of a Kodak training
program in color photography.

"\\ hen the boom in color photog-
raph) began at the close of World
War II. Kodak's training department
was deluged with requests for courses
in color technology," he said. "Thou-
sands of people in our company
needed new knowledg for new jobs

""Our response was a standardized
program with courses taught in the
classroom and xheduled throughout
the academic \ ear. We even published
i catalog of Kodak courses in color
technology. With the lessening of the
need for new knowledge, we found
thai specialization, rather than stan-
dardization, best met the company's
needs," McClelland said.

"Today, we have more courses
more students, and keener interest on
the part of company people," he said.
"Our courses in photographic tech-
nology vary in length from 2 to 800
hours, and instruction takes main
form-.

McClelland indicated that Kodak
training people have broad latitude
in the selection of teaching methods.
He discussed a variety of approach-
es, among them: a self-taught course
in computer programming for 200
young men and women in Kodak's
data processing group: a course in
camera repair taught by means of
closed circuit television with each
student following instructions on a
TV monitor: the use of sound mo-
tion pictures made during class to
mirror student performance in a
course on how to conduct an effec-
tive business conference: and the use
of programmed teaching devices that
individually instru t production Der
sonnel on the si es where thev take
part in assembly and finishing oper-
ations.

"Good teachers, in our schools and
in industry, have always tried to an-
al vze the needs of their students."
McClelland said. "They have always

International Projectionist October. 1964

built teaching techniques around
those needs.

" I his kind of open-minded ap-
proach adds excitement and stimu
lation to the jobs of those of us in
Industrial training," he concluded.
"" \nd it permits the people of the

company to get on with their work,
as quickly and as efficiently as pos-
sible. 'iP

New York State
Projectionists in
Autumn Meeting

As this issue of International Pro
jectionist comes off the press, the
New York State Assn. of Motion Pic-
ture Projectionists \sill be in session
at Ithaca.

Scheduled for October 12. the
meetings are being held at the Clin-
ton House. It's a special occasion for
the Ithaca Local 377 hosts — they're
observing their 50th anniversary ol
affiliation with IATSE.

President Frank E. Coniglio was
scheduled to preside at a board meet-
ing following an opening luncheon.
He also serves as business agent of
Rochester Local 253. \u\iliar\ Pres-
ident Jennie Young and IATSE As-
sistant President Walter F. Diehl
were also listed on the program.

George F. Raaflaub and George
W. Samuelson were active in the
planning.

The sessions were slated to wind
up with a gala dinner and entertain-
ment. iP

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13

Sturgis - Grant Studio
Features Oxberry
Animation Process

by Vern W. Palen

Sturgis-Grant Productions, Inc., 328 East 44th Street, New York City.
is known best for its work with medical and technical films, although the
studio also handles its share of industrial films and other tasks. On a recent
visit, I spent two hours with William Terry, vice-president of the organization,
and was greatly impressed by the staff and by the modern equipment we saw
in this establishment. In the latter category, there are two Oxberry animation
stands that embody the newest design features.

Our discussion turned immediately

to recent projects, the first being a
production titled "Modern Obstet-
rics: Normal Delivery." This is an
official film of both the American
Medical Association and the Ameri-
can College of Obstetricians and
Gynecologists. Sponsored by the
Ortho Pharmaceutical Corporation,
the 16mm color sound film runs 27
minutes, and is a teaching aid for
the practicing physician, intern and
student.

Live photography and animation
are employed throughout the film,
the latter being especially effective
in showing internal mechanisms
which could not otherwise be visual-
ized. Opening scenes show the
arrival of the expectant mother in
the obstetrical department, starting
with the pre-delivery examination,
including determination of the fetal
position and status, and the manv
other procedures covered in the
doctor's examination. Animation is
used to explain the physiology of
the uterine musculature during the
first stage of labor, the principal
movements of the baby through the
birth canal in the second stage, and,
after the baby is born, the discharge
of the placenta. All of this anima-
tion was designed by Dwinell Grant
and photographed on the Oxberry
stand.

In this film, the animation
drawings are somewhat unusual in
dealing with curvature or roundness.
It wasn't just a simple matter of
making the usual background draw-
ings — each picture had to be an
air-brushed.

The usual type of cartoon anima-
tion allows a great deal of latitude in
the stylization, but the opposite is
true for medical films such as this.
Every movement, every bit of
physiological action, must be actually

14

prescribed within the most exacting
medical standards, and at each stage
of the film's progress an advisory
committee scrutinized every drawing
to check its accuracy. Of course, this
makes the job of the film producer
much tougher, but the final result is
most effective because of this care
and precision.

In contrast to the childbirth film,
which was made for professional use,
Sturgis-Grant made a 29-minute.
16mm sound film in color titled
"Diabetes — What You Don't Know
Can Hurt You" for exhibition to the
general public. It was sponsored bv
the Ames Company of Elkhart,
Indiana, manufactureres of testing
materials for diabetic patients, and
was made through the cooperation
of the famed Joslin Clinic of Boston.

The animation is schematic, and
is planned with considerable in-

genuity, since it must convey to a
lay audience how body processes
work. The stylized, cartoon-type
diagrams were shot on the Oxberry
animation stand, and include one
lengthy sequence depicting the pro-
duction of insulin by the pancreas,
and the action of insulin on the body.
The diagrams continue, showing how
insulin affects the utilization of
glucose, as well as what happens in
the kidneys if there is not enough
insulin.

Animation also is used in an
ingenious manner to explain the
relationship between exercise, insulin
and food intake. These sequences in-
volve multi-eel, multi-run techniques,
since objects must appear, and then
undergo constant movement, requir-
ing a great number of cycles. Thus,
animation is used throughout the
film wherever a concept needs to
be elaborated or more fully explained
than could be done with mere words.

An overhead view of Oxberry Auto-
matic animation camera equipment
shows a Sturgis-Grant technician pre-
paring a typical set up.

Another new Sturgis-Grant 16mm
color film was sponsored by Procter
& Gamble Company, and is titled
"Dynamics of Dental Caries." Here,
live action and animation are com-
bined effectively to get the message
across. Live scenes show patients in
the dentist's office and the research
carried on in dental laboratories in
support of the theory. The animated
sequences are very complex, showing
the action of acids and various
chemical reactions which take place
in the dental enamel. Techniques in-
volving cycles and scratch-off, often
using up to seven eel layers, were
necessary to show movement of
mo'ecnles. Time-lapse photography
is employed for certain sequences —
that is, the movie speeds up the
action that occurs in real life over
periods of days or months. This was
accomplished by using good color
transparencies that spanned the de-
sired time intervals. By aligning
them carefully and by timing brief
dissolves between them, it was poss-
ible to achieve time-lapse animated
movement. Where the scene involves
X-ray pictures, life and action were
attained with pans, zooms, top-
lighting, burn-ins on the second run,
pop-on arrows, and other techniques.
The Sturgis-Grant people believe this
film is about as complex as will be
found anywhere with respect to
structural animation, and for this
complicated work the Oxberry stand
was well suited.

Sturgis-Grant recently made a

series of 8mm color films for Esso

Please turn to page 17

International Projectionist October, 1964

Futuras Popular in Younqstown

Clean, attractive projection booths seem to be the rule in Voungstown, Ohio
theatres. Here is another installation of the new Strong Futura projection arc lamps
in that city — at Boardman Plaza Theatre. Operating the Futuras is projectionist
Mike J. Kohawski, of IATSE Local 388.

STATEMENT REQUIRED BY THE ACT OF
AUGUST 24, 1912, AS AMENDED BY THE
ACTS OF MARCH 3, 1933, JULY 2, 1946
AND JUNE II, I960 (74 STAT. 208)
SHOWING THE OWNERSHIP, MANAGE-
MENT, AND CIRCULATION OF

INTERNATIONAL PROJECTIONIST
Published monthly ot Mom Postotfice, Min-
neapolis, Minnesota for Octboer, Iy64

1 . The names and addresses of the pub-
lisher, editor, managing editor, and business
managers are:

Publisher, Frank W. Cooley, Jr., Min-
neapolis, Minn.

Editor Frank W. Cooley, Jr., Minneapolis,
Minn.

Managing editor, Ray Gallo, New York,
N. Y.

Business manager, None.

2. The owner is: (It owned by a corpora-
non, its name and address must be stated and
also immediately thereunder the names and
addresses or stockholders owning or holding
I % or more of total amount ot stock If not
owned by a corporation, the names and ad-
dresses of the individual owners must be
g.ven. It owned Dy a partnership or other
unincorporated firm, its name and address,
os well as that or each individual mem-
L^-r, must be given.)

Northern Publishing Co., Minneapolis, Minn.
Frank W. Cooley, Jr., Minneapolis, Minn.
Rita Cooley, Minneapolis, Minn.

3. The known bondholders, mortgagees, and
other security nolders owning or holding I %
ur more ot total amount of bonds, mort-
gages, or other securities are: (If there are
none, so state.) None.

4. Paragiaphs 2 and 3 include, in cases
where the stockholder or security holder ap-
pears upon the books of the company as
trustee or in any other fiduciary relation,
the name of the person or corporation tor
whom such trustee is acting; also the state-
ments in the two paragraphs show the af-
fiant's full knowledge and belief as to the
circumstances and conditions under which
stockholders and security holders do not
appear upon the books of the company as
trustees, hold stock and securities in a
capacity other than that ol a bona fide
owner.

5. The average number of copies of each
issue ot this publication sold or distributed,
through the mails or otherwise, to paid sub-
scribers during the i2 months preceding the
date shown above was: (This information is
required by the act of June 11, 1960 to be
included in all statements regardless of fre-
quency of issue.) 5,721.

F. W. COOLEY, JR.
Sworn to and subscribed before me this
6th day of October, 1964.

THEODORE GLAROS,
Notary Public, Hennepin County, Minn.
My Commission Expires Sept. 23, 1969.

G. L Carrington
Named VP for
Altec Service

Uvis A. Ward, President of Mtec

Lansing Corporation, Anaheim.
Calif., has announced the election ol
George L. Carrington, Jr. as Vice
President of Utec Service Corpora-
tion.

[n Ids announcement. Mi. Ward
stated: "'The election of Mr. Car-
rington to this
important post
indicates the vi-
tality of the com-
pany's stepped-
up program of
expanding its
sen ice activities.
not only in the
theatrical field
but in all techni-
cal and related
fields where the
Altec national service organization
can meet a required need."

Altec Service Corporation, a divi-
sion of Ling-Temco-Vought. Inc., is
regarded as one of the largest inde-
pendent national service organiza-
tions in the country. It originally
was formed out of Electrical Re-
search Products, Inc., a Western
Electric subsidiary, in 1937. at which
time it assumed the responsibility for

Carrington

International Projectionist October. 1964

the installation of a major portion
of the motion picture industry's
sound reproducing equipment.

Carrington assumed the respon-
sibility as General Manager of Altec
Service Corporation on April 2,
1962. He will continue to carry on
this responsibility in addition to
duties related to his newly acquired
position.

Prior to his association with Altec
Service. Carrington had been with
Altec Lansing Corporation from
1943 working in many capacities
throughout the company's facilities.
He started as a technician in the
Environmental Test Laboratories to
the position of General Sales Man-
ager in 1962. He is the son of the
late George L. Carrington. Sr.
(deceased in 1959), widely known
pioneer in the field of electronic
sound and one of the original foun-
ders of Altec Companies. IP

lATSE's Scanlon
Is Dead at 88

\\ illiam C. Scanlan. senior mem-
ber of the Board of Trustees of the
International Alliance of Theatrical
Stage Employees, died Sept. 20 in
Lynn, Mass.. after a short illness. He
was 88 years old.

A native of Salem, Mass.. Scanlan
moved to nearby Lynn as a youth
and helped form Lynn Stage Em-
ployees Local 73 in 1900. He was
elected business agent the next year
and continued in that capacity for
the rest of his life. For a number of
\ears, he served also as secretary.

He was appointed an International
Representative in 1921 and was elect-
ed to the Board of Trustees when it
was established in 1924. Until taken
ill a few weeks ago, he continued as
a Field Man in the New England
area, establishing many new locals
and assisting them in negotiations.
In 1949, he helped bring about the
absorption of the last vestige of the
old Knights of Labor with Boston
Moving Picture Machine Operators
Local 182.

Scanlan was a former president
and secretary of the Lynn Central
Labor Union and a former vice
president of the Massachusetts State
Federation of Labor. In 1948, he was
appointed to represent the amuse-
ment industry on the Massachusetts
Minimum Wage Commission. iP

15

National General Opens New
Fox Theatre in Los Alamitos

The new $350,000 Fox Theatre, which opened July 15 with a gala pre-
miere in the Rossmoor Shopping Center in Los Alamitos, Calif. (Orange
County), underscores National General Corporation's continuing program of
motion picture theatre expansion in shopping centers, according to Eugene V.
Klein, NGC chairman and president.

The 838-seat deluxe showcase is
the latest in NGC's announced plans
to add theatres, conventional and
drive-ins, to its circuit of 217 show-
houses in 16 Western and Mid-west-
ern states during the next three
years.

In the expansion program, Klein
said, continuing attention will be
given to the erection of theatres in
major shopping centers, following
the pattern set last year when NGC
opened shopping center showhouses
in Albuquerque, New Mexico, and
Palos Verdes. Northridge and Thou-
sand Oaks in the Los Angeles metro-
politan area.

The ultimate in theatre construc-
tion, the Fox Rossmoor is equipped
with the latest projection equipment
and a 25x50 screen, including Ampe^
stereophonic four-track sound. Cli-
mate controlled refrigeration to in-
sure comfort for patrons has been
installed. The theatre features mod-
ern Bodiform chairs built by Ameri-
can Seating Company.

The Fox Rossmoor, designed bv
Burke, Kober and Nicolais, Los An-
geles architectural and engineering
firm, working with J. Walter Bantau,
Fox West Coast Theatres' construc-
tion chief, features a unique drive-
through entryway which curves di-
rectly in front of the theatre entrance
making it easier for patrons to dis-
embark at the ticket window.

For extra convenience, the archi-
tects have added an unique con-
crete canopy which shades the entire
building front, and the drive-in ap-
proach. A special metal fascia em-
phasizes the canopy's distinct design
and accents the overhead illuminated
letters which spell out the theatre's
name.

The exterior of the 11,500-square
foot building is distinguished bv
white concrete columns, separated by
brown-toned, oblong block fillers. A
decorative center grill of perforated
cement blocks above the main en-
trance also aids the theatre's archi-
tectural appeal. Also highlighting the

exterior are three pair of glass entry
doors which are flanked to the right
by a ticket window and to the left
by a display case.

The interior of the theatre fea-
tures a large, carpeted foyer, with a
complete concessions counter, vend-
ing machines, an open ticket counter,
and restroom facilities. All have been
placed around the perimeter of the
lobby to provide patrons with un-
encumbered access to the auditorium

Carpeted aisles divide the audi-
torium into three sections. In addi-
tion, a third carpeted or cross on
aisle was used above the center sec-
tion to facilitate customer traffic. Lo-
cated above the rear of the auditori-
um is a mezzanine, housing projec-
tion room, offices, dressing rooms
for the ushers, and space for air-
conditioning and other mechanical
equipment. Ruane Corp., San Gabri-
el, was the contractor.

In the projection booth, Simplex
X-L projectors are used in conjunc-
tion with Kollmorgan and Bausch &
Lomb lenses, Strong Electric Futura
II lamps. Ampex sound equipment is
used; Golde rewinds and Kneisley
rectifiers complete the major booth
equipment picture. Roy Quinn was
named to manage the new theatre.

iP

The mcdern, bright marquee of the Fox Theatre invites
patrons to enjoy the comfort of the interior and the enjoy-
ment of excellent features.

16

The 838-seat auditorium of the new Fox Theatre re-
cently opened by National General Corporation in the
Rossmoor Shopping Center at Los Alamitos, California.

International Projectionist October, 1964

Frank H. Riffle
New President of
Carbons-Xetron

Frank H. Riffle, formerly i-i
charge of engineering sales for Car-
bons, Inc. anil a pioneer in the sound
projection field, has ju>t been elected
President to succeed the late Edward
Lachman, founder and head of the
Carbons-Xetron organization.

Under Riffle's supervision and di-
iection on the Board, which also in-
cludes the late founders wife, the
company says it will continue to ac-
quire and distribute complete lines
of modern motion picture projection
power and systems.

One of the last acquisitions is the
( inemeccanica Projector, manufac-
tured in Italy. This multi-purpose
V8 35-70mm system is standard con

vertible type and designed for fast
and easy change from either 35 to
71 ' or \ ice versa.

The Xetron-Cinemeccanica Projec-
tion System will be sold to author-
ized theater supply dealers all over
the country. A special model was on
display at the recent TKSM \- Allied
Exhibitors Trade Show held ii
Detroit. il*

Metro-Gold wyn-Mayer's
Merle Chamberlain
Outlines Print Saving Plan

Merle Chamberlain, supervisor
of post-production activities at
MCM. spoke at the IATSE
convention in Louisville, where he
outlined MGM's new Iv -dev eloped
process for preventing loss of
printed numbers which designate
the sequence of film reels.

"The problem which result-
when film leader is destroyed or
cut has resulted in development at
MGM,' Chamberlain said, "of a
new numbering process wherein
the reel number as well as a repeat
of the title have been moved
between sync foot numbers 5 and
6, thus preventing a loss of these
numbers through destructive
handling of film or snipping. The
new procedure is now standard
practice at MGM."

In a major speech to the con-
vention. Chamberlain also de-
plored projection inadequacies in
many theatres in the I nited States
as well as abroad. iP

Sturgis-Grant

Continued from p«ge 14

Chemical Company on the subject of
fertilizers. Original photography was
on 16mm color film, later reduced
to 8mm and put into Technicolor
cartridges for fool-proof projection
in the field. All tbe films in this
series are for release in foreign
countries and are made without
sound in order to avoid the language
problem. Each print of the series is
accompanied bv a written script
with story board sketches to show
where the narration matches the
picture, which allows the representa-
tive in anv foreign country to use
his own words. To "freeze' a parti-
cular scene, he tnerelv presses a
stop-motion button if he wishes to
explain something or more fully
answer a question.

The first five-minute film of the
series is titled "What Is Fertilizer?"
Made entirely in animation, this film
explains that plants need food to
grow just as man does. Other films
in the Esso series involve soil testing.
the Stor) of nitrogen, potassium.
phosphorus, and the like. Since they
are designed to be shown in South
America and other lands where
man) people have never heard of
fertilizers, they had to be made so
those who have never been to school
can get the message — this job was
handled most effect ivelj using simple
drawings and symbols which were
photographed on the Oxbcrrv anima-
tion stand.

Animation techniques were also
used by Sturgis-Grant on a film that
was produced for the Lutheran
Church of America. The church is
now faced with a world which has
expanding and rapidly -changing

Please turn to page 18

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International Projectionist October. 1964

17

Sturgis-Grant

Continued from page 17

concepts, some of which may alter or
come into conflict with existing
church dogma. The population ex-
plosion, life on other planets, and
similar problems eventually may
throw a different light on our former
ideas and concepts. The church
is meeting this situation head-on by
creating a film which will be shown
at its annual convention this summer.
The 30-minute. black and white.
16mm film has a montage sequence
of children, stellar objects and
microbiological organisms, which
were shot on the Oxberry stand using
still photos and artwork.

Sturgis-Grant is especially proud
of a one-minute spot, "Butterflies,"
whose artistry stems from the imag-
ination of Philip Stapp. Shot in
35mm color, this is released also on
16mm, and was photographed in
two sections, the first involving nor-
mal animation, while the second
utilizes a multiple effect. The entire
film is made up of butterflies of ir-
ridescent hues fluttering in beautiful
formations. Approximately 1500 eels
were used for this job, some showing
one or two insects, others showing
large groups in flight. As the butter-
flies move across the screen, the
wings move to show the colors on
top and bottom. For example, you
may first see yellow on top of the
wings, and then other colors on the
underwings, as the insects tilt and
soar through the air. The larger
groups of butterflies are shown in
formation, and occasionally, another
insect flies in from the side to join
the formation. By positioning sev
eral photos on the Oxberry stand,
pleasing effects we.e achieved by-
panning from one to another to give
the viewer the feeling that different
groups of butterflies are constantly
entering and leaving the screen.

"The Gift" is the title of a 35mm,
color, 20-minute religious subject
that Sturgis-Grant produced for the
Protestant Council of Churches.
Philip Stapp again wrote and direct-
ed the film, most of which is illus-
trated in his unusual and effective
style of animation. The opening
scene shows the universe with con-
tinuous movement out in space and
leads smoothly into the story of the
life of Christ. There is no narration
for the seven minutes it takes to tell
this story, but an original music

18

score accompanies the pictures. The
remainder of the film deals with the
history and growth of the Church to
the present day, and the responsibili-
ties of a true Christian.

In this film. Mr. Stapp wanted to
create the impression that there were
more people present than were shown
in the original scene. To do this,
Sturgis-Grant created triple- effect
images under the Oxberry camera,
employing the same background sev-
eral times in separate passes. With
the shutter opened only % for each
exposure, the scene was moved by

means of the peg bars at a selected
speed for the first exposure, at a
faster speed for the second exposure,
and still faster for the third exposure.
After each exposure, the film was
rolled back in the camera, and the
artwork and peg bars were returned
to the starting point for the scene.
In this manner, the viewer sees a
triple-image effect on the screen and
gets the impression there are three
times as many people as were shown
on the original drawing. Cross-
dissolves and fades were done with
the automatic devices which are built
into the Oxberrv camera. iP

PROJECTOR
CARBONS

In an animated scene from Sturgis-
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I

As Disastrous As No I
I Spare in the Desert,
Is No Spare in the Booth

For want of an extra mirror,
business can be lost by shut-
down.

FIRST SURFACE COLD
DICHROIC REFLECTOR

Better yet, also replace your old reflectors now with these
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CITY PARK AVENUE • TOLEDO, OHIO 43601 • PHONE: (419) 248-3741

International Projectionist October. 1964

Investment Opportunity

The tools this young apprentice is learning to make will
one day be used to turn out your company's products.

A great investment in time, money, effort and faith
will have to go into making him productive. Every one
of us has a stake in his success — and every one of us
must invest something — for on the developing skills of
America's young tool-makers depends the continued
functioning of all industries.

You can protect your investment by joining with other
leading American businessmen to promote the Treas-
ury's Payroll Savings Plan for U.S. Savings Bonds. The
Treasury Department's Plan helps safeguard the individ-

ual liberties, and encourages the industrious and respon-
sible attitudes so necessary for the growth of our econ-
omy and the well-being of our society.

When you bring the Payroll Savings Plan into your
plant — when you encourage your employees to enroll —
you are investing in the next generation of America's
skilled craftsmen and technicians. You are investing in
our future. In freedom itself.

Don't pass this investment opportunity by. Call your
State Savings Bonds Director. Or write today to the
Treasury Department, United States Savings Bonds
Division, Washington, D.C., 20226.

in your plant... promote the PAYROLL SAVINGS PLAN for U.S. SAVINGS BONDS W$m

* The U. S. Government does not pay for this advertisement. The Treasury Department thanks, for their patriotism, The Advertising Council and this magazine.

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featuring the same heavy duty projector as used in the
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This is the projection booth at The Community,
the new Walter Reade-Sterling Theatre in Eaton-
town, N. J. The projection machines utilize Simplex
pedestals, Ashcraft Core-Light lamp houses, and the
sound is Phillips Norelco transistor.

*0*CI *9Z uo^3uxi{SB^

NOVEMBER
VOLUME 39
40c A COPY

1964

NUMBER 11

$3.00 A YEAR

^1'

'National' projector carbons?

Plenty! Lobby-stand sales pay a welcome share of
theatre overhead. Sales depend on theatre box office
. . . and to build box office there is no substitute for a
top-notch show supported by top-notch screen illumi-
nation. Yes, popcorn and "National" projector car-
bons do have a lot in common. Both give the customer
his money's worth in entertainment and pleasure.

"National" projector carbons are an investment —
never a house expense. They have been the last word
in patron-pleasing lighting for nearly 50 years!

UNION
CARBIDE

"National" is a registered trade-mark of

UNION CARBIDE CORPORATION

CARBON PRODUCTS DIVISION

270 Park Avenue • New York, N.Y. 10017

In Canada: Union Carbide Canada Limited, Toronto

INTERNATIONAL

PROJECTIONIST

Volume 39

Nov. 1964

No. 11

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO
Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue. New York, N. Y., 10017

Telephone Murrayhill 7-7746

(Area Code 212)

IN THIS ISSUE

Read's Community Theatre

Sound Track

"Heartening" Industry Picture

Charlotte's Capri Theatre

4
6
8

11

News Notes — Technical Hints — Miscellaneous Notes

INTERNATIONAL PROJECTIONIST, published monthly by the
International Projectionist Publishing Co. division of The
Northern Publishing Co., Post Office Box 6174, Minneapo'is
Minnesota 55424. Editorial offices, 1645 Hennepin Avenue,
Minneapolis, Minn. 55403. Subscription Representatives: AUS-
TRALIA— McGills, 183 Elizabeth St., Melbourne; NEW
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Canada, and U. S. Possessions, $3.00 per year (12 issues) and
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per year and $7.00 for two years. Changes of address should
be submitted four weeks in advance of publication date to
insure receipt of current issue. Second-class postage paid at
Minneapolis, Minn. INTERNATIONAL PROJECTIONIST as-
sumes no responsibility for personal opinions appearing in
signed articles, or for unsolicited articles. Entire contents
copyrighted 1964 by INTERNATIONAL PROJECTIONIST
PUBLISHING CO. <^^feo

International Projectionist November, 1964

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The Eatontoivn Cinema Centre is evidenced in this theatre. Forming this new
entertainment complex of the Walter Reade-Sterling organization in Eatontown. N. J.,
is the long-established Eatontown Drive-In Theatre, ivhose screen tower, con-
cessions and projection booth, and ramps, are in the foreground. In the background,
between the trees, is the Colonial-styled new Community Theatre. Patrons may enter
the Community through the Drive-In Theatre. The Drive-In is a year-round opera-
tion, equipped ivith in-car heaters.

New Theatre "Entertainment Complex" Pays
Off In Sight and Sound Techniques

EATONTOWN, N. J.— The Com-
munity Theatre, newest unit of the
rapidly expanding Walter Reade-
Sterling, Inc., organization, uniquely
is part of an entertainment complex
known as the "Eatontown Cinema
Centre" in the popular North Shore
area of New Jersey. Built adjacent
to the circuit's existing Eatontown
Drive-In, with a common entrance
to parking facilities for nearly 2000
cars, the Centre offers patrons the
choice of outdoor drive-in movie-
going, or accomodations in the de-
luxe new conventional theatre.

Early American in its architec-
ture and decor — with a brown
shingled roof, barn-red sidings, and
a white colonnade front, the Com-
munity accomodates 900 people.
Opened in late August (August 26,
1964 ) it is a virtual duplication of
the organization's Community in
Cherry Hill, N. J., which opened
just a year ago (August 1963) and
has received architectural awards for
its design and decor.

The new theatre and the drive-in

occupy a large portion of the front-
age on what is known as the "Eaton-
town Traffic Circle" on Route 35 in
Eatontown in Monmouth County,
N. J., which is one of the fastest
growing areas in the nation. A ma-
jor shopping center is on the other
side of the circle.

The new theatre is playing a first-
run policy, with the same screen fare
often offered simultaneously at the
Drive-In. Combined facilities will en-
able the two theatres to handle more
than 3000 people at a time. Patrons
may enter the Community directly
from a side road, but the main en-
trance is through the Drive-In The-
atre. The complex is unique in the
respect that it contains the two sep-
arate theatres, which operate as an
entity.

Despite its 18th Century decor,
the theatre is modern in all respects,
with transistor sound, push-back
seating, extra-wide seating rows to
assure ample patron leg room, a 20
by 40 foot screen, and the newest
projection equipment.

The Walter Reade-Sterling organ-
ization pioneered, starting several
decades ago, with a Community type
theatre which had a Colonial white
pillar colonnade, and no marquee.
These theatres, which were finished
with red brick outer walls are lo-
cated in Morristown. Trenton, and
Toms River in New Jersey, and
Kingston and Saratoga in upstate
New York. The new Eatontown and
Cherry Hill Communities maintain
the same no-marquee, white-colon-
nade front, but have red wood sid-
ings and brown shingled roofs.

At the new complex, an attractive
board for the Community is located
away from the theatre and fronting
on the traffic circle. The drive-in
has its own separate attraction board
at its entrance.

The Community is situated within
30 feet of the road, separated by an
island of shrub planting, and a paved
drive. One attraction case is on either
side of the glass doors, and represent
the only advertising on the complete

(Please turn to page 10)
International Projectionist November, 1964

m~*

flnilMIMn...

A night-time view of The Community, the
neu 11 alter Reade-Sterling Theatre in the
EatOntOWn Cinema Centre entertainment

complex in Eatontown in the populous North

Jersey Shore area. With the adjacent Eaton-
loan Drive-In Theatre, the neu Cinema
Centre gives movie-goers the choice of see-
ing a film program either in the outdoor
theatre, or in the neu Community. Jointly
the tuo theatres can accommodate several
thousand patrons simultaneously.

high c e i I i n g
painted walls all

In acoustically-treated
draped screen and plain

lend ii feeling of spaccoiisness to the 000 seat
Community, newest Walter Reade-Sterling
theatre located in the Eatontown Cinema
Centre in Eatontown, V. /. This is the view
of the stadium-type house, looking towards
the 21) by 40 foot Pearl-Light screen. Cove
lights mid air conditioning vents stud the
ceiling. Seats are Cnggs push-hack.

The cleanness and simplicity of Colonial
design is here emphasized in the entrance
of The Community, newest of the 50 theatres
of the W alter-Reade-Sterling organization.
Following a no-marquee styling pioneered by
the Reade-Sterling company, the new the-
atre merely has its name on the white colon-
nade, and two display cases to show current
attractions. A large attraction board along
the highway and removed from the theatre,
tells passing motorists the current attractions.
The roof is brown-shingled ; the front and
sidings of wood, painted red. The style of
the pillars, the exterior coach lamps, and
the shrub boxes all carry out the early Ameri-
can decor. Just visible through the glass
panels over the doors is a large bronze
American eagle.

International Projectionist November, 1964

A settler s bench, antique mirror, massive
globed chandelier, beamed ceiling, wall paper,
and unique red-brick-designed Karagheusian
carpeting, all emphasize the early American
decor that is the hallmark of The Commun-
ity, newest Walter Reade-Sterling Theatre.
Patrons entering the theatre through the
white colonnade, pass through a small outer
lobby (at which the cashier is stationed
behind an open-faced, drum-shaped ticket
dispensing table), into this inner lobby.
Entrance to the stadium-type auditorium is
through the doors at the left, and a similar
set of doors to the right of the mirror. The
concessions stand is recessed into the left
wall of the lobby; on the right side are rest
rooms and telephones. The manager's office
is to the left of the concessions stand.

Sound Track

by J. G. Jackson

While reminiscing about some
experiences in years gone by, this
Old Timer's thoughts go back to the
days of silent pictures and the advent
of sound. (I presume 37 years in
projection will make me an old
timer.)

One unusual experience that comes
to mind is the time I ran a show with
only three amps on a low intensity
arc. I was barnstorming small towns
in a remote farming area and I had a
show booked for a small place that
was vertually a ghost town. I found
there was no electricity in the town
as the local power plant had been
closed down. The plant had consisted
of a small D.C. generator driven by
an old steam traction engine. I man-
aged to locate the previous steam
engineer and prevailed on him to
"steam up" and supply power for the
show.

My projection equipment consisted
of a Holmes portable projector,
which had a make shift sound head
coupled by means of a flexible shaft.
The motor was A.C. and the ampli-
fier was A.C. The arc was a small
low intensity rated at 15 amps power-
ed directly from the line through a
variable resistance. To supply A.C.
to the amplifier and motor I used a
small rotary converter.

Shortly before show time the steam
engineer managed to get light, so I
turned on the sound system and all
was fine, But when I tried to draw
an arc the line voltage went flat. I
sent a rush message to the power
plant two blocks away asking for
more voltage, the reply came back
NO CAN DO.

The old steamer just would not
produce any more power. So there I
was fit to be tied with not enough
power to supply both arc and sound.

Not wishing to give up and quit, I
did a little experimenting and I found
that if I put all the resistance I had
in the arc circuit I could get the
carbons to sizzle and still have
enough power for sound and motor.
I started the show and I found that
I could get some light on the screen
from the sizzling arc, and the am-
meter showed three amps. Luckily

6

we had a short throw and a small
screen so the small amount of light
made the picture visible.

I wiggled through the entire show
by keeping both hands on the lamp
controls, one to keep the carbons in
the right contact for sizzling and the
other for adjusting the mirror so
as to follow the sizzle around the tip
of the positive carbon!

What a night! But the customers
did not complain; they wanted the
show and they understood my prob-
lem.

No doubt many readers have had
some unusual experiences such as
this — so how about dropping me a
line and telling me about them. How
about some humorous incidents ■ —
come on Old Timers, reminisce a
little with me! iP

Film Projector
"Speaks" 13
Languages

NEW YORK — Nine times a day
during the World's Fair just closed
audiences in the 500-seat auditorium
at the Sermons from Science Pavil-
ion (sponsored here by the Moody
Institute of Science) watched sound
movies showing the interrelationship
of science and religion, and hear a
perfectly-synchronized commentary
in French, Japanese, Norwegian,
Swedish, Spanish, Italian, Mandarin,
German, Korean, Armenian. Danish.
Finnish, Greek and English.

At each seat there is a plastic ear-
phone and a five-position switch.
The foreign-language speaking visi-
tor uses the selector switch to tune in
one of the five foreign language
sound tracks recorded specifically
for that film. All films do not carry
all 13 languages. The most any can
carry is five in addition to English,
and these five vary from film to film.

For example, the film shown at
12:00 noon is "Dust or Destiny,"
and it is in Mandarin. Spanish.
French, German, and Japanese.
"Hidden Treasures," shown at 4:00
is in Danish. German. Japanese,
Norwegian, and Swedish. And the
6:00 film, "The Mystery of Three
Clocks," is in German only. All films
have an English language commen-
tary which is reproduced by the main
speakers at the screen, along with the
music and sound effects.

All these languages are spoken

At the Sermons from Science Pavi-
lion sponsored by Moody Institute of
Science at the New York World's
Fair, the Garflex 16 projector speaks
English like a native; its mechani-
cally-linked other voice-box — the
Stancil-Hoffman S-7 Reproducer at the
right, speaks 13 foreign tongues, five at
a time.

in the Sermons from Science Pavil-
ion by a Stancil-Hoffman S-7 Re-
producer which plays back the com-
mentaries prerecorded on 16mm
magnetic film. It is mechanically
linked to the Graf lex 16 sound
motion picture projector which
shows the picture and picks up the
optical main English language,
music, and sound effects sound track,
which is played at the screen. A gear
box reduces the projector's 1440 rpm
to the 900 rpm required by the re-
producer. This mechanical link keeps
pictures and languages in perfect
synch, so the program does not turn
into a modern-day Babel.

The ingenious sound-projection
system was worked out at the Moody
Institute of Science in California, a
ministry of the Moody Bible Institute
of Chicago. iP

IP DELAYED

This issue and a subsequent issue of
International Projectionist was delayed
by difficulties in the printing plant
which produces IP. Compositors and
pressmen, members of several unions
including the International Typograph-
ical Union, were on strike for over
a month. The discussion between the
company and the several unions took
place while IP was being produced;
naturally production had to be stop-
ped until a solution was reached and
the picket lines withdrawn. iP

International Projectionist November, 1964

Hatch Elected New
President of TESMA

DETROIT— Arthur Hatch, presi-
dent of Strong Electric of Toledo,
was elected president and chief execu-
tive officer of
Theatre Equip-
ment and Sup-
ply Manufactur-
ers Association
i TESMA).

He has been
vice-president of
t h e association
since 1960. Rich-
a r d Kneisle\ .
who has been a
Hatch member of the

issociatJon's board of directors for
several sears, was elected vice-presi-
dent. Kneislcs is president of Kneis-
lej Electric Corp.. also of Toledo.
The Hatch election was forseen.

Earn \\ . Davee. president of
Century Projector Corporation of
New York, who has been president
of TESMA since 1060. becomes
chairman of board.

Four directors of TESMA also
were elected to serve three years,
namely John Currie. General Pre-
cision Equipment. William Gedris.
Sr.. president of Ideal Seating Com-
pany of Grand Rapids: Don Peter-
son of Bauscb & Lomb and Sol Shur-
pin. president of Technikot Corpor-
ation. Brooklwi.

The terms of president and vice-
president are for two years. Merlin
Lewis continues as Executive Sec-
retary and Treasurer.

Rapidly advancing technical as-
pects of complex mechanisms of
equipment needed to operate theatres,
such as projection machines, carbon
arc lamps, sound systems, etc.. has
been a cause for concern on the
part of theatre equipment dealers
for some time, because of lack of
thorough current knowledge of the
equipment. Theatre Equipment Deal-
ers Assn. has. therefore, requested
Theatre Equipment & Supply Manu-
facturers Assn. and other unaffiliated
manufacturers to meet with TEDA
and other dealers in a four day tech-
nical session in Phoenix, Arizona,
March 13-16. There will be no trade
show exhibit.

TESMA has accepted the invitation
on behalf of its own organization.

TEDA plans to issue invitations to
other manufacturers and dealers not
affiliated with either organization
also to be present and to be prepared
to explain and clarify technical as-
pects of the equipment they manu-
facture.

The Phoenix meeting is expected

International Projectionist Nov

Shea

to be one of several similar meetings
expected to take place at least an-
nually, and entirely apart from meet-
ings of TESMA with exhibitor or-
ganizations. TESMA is expected to
continue its practice of staging year-
ly trade shows at which manufac-
turers exhibit their equipment t o
theatre owners attending annual con-
ventions. iP

Shea Named Technical
Services Manager For
Carbon Products Division
Of Union Carbide

J. W. (Jack) Shea has been named
to the newly-created position of
manager of technical services for the
Carbon Products Division of I nion
Carbide Corp.
Mr. Shea will be
headquartered at
the Di\ i-ion's
Technical Center
now under con-
struction at Par-
ma. Ohio, and
will report to M.
M. Hand, direc-
tor of marketing.
In his new po-
sition. Mr. Shea
will be responsible for coordinating
all technical service activities pro-
vided to customers For the Divi-
sion's complete line of carbon,
graphite, and high-temperature re-
fractory materials.

Most of the division's technical
service operations are now located
in New York City, and the trans-
fer of this activity to the new Tech-
nical Center, giving technical ser-
vice personnel intimate contact with
development and research functions,
is expected to result in even more
effective customer service.

Mr. Shea was graduated from
New York University with a B. S.
degree in mechanical engineering in
1030. and joined Union Carbide as
a salesman in 1037 following mar-
keting service in the petroleum in-
dustry. After Air Force service dur-
ing World War II, he was made an
industrial carbon products salesman
in 1047. and in 1053 became man-
ager of electrode and carbon refrac-
tory products technical service. Since
January. 1062, he has been man-
ager of graphite electrode technical
service in the marketing organiza-
tion. Mr. Shea is a member of AIME,
AISE, NEMA, and the Electrochemi-
cal Society, and is the author of nu-
merous papers on the electric arc
furnace. iP

ember, 1064

k

look

into

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NEW INSTALLATION — National Ventarcs, the powerful blown arc type
projection lamps, have been installed in the Indian Hills Cinerama Theatre,
Omaha, Nebr., which has embarked on the presentation of the new Cinerama
technique. Shown with these big lamps is Alvin G. Kostlan. Literature on this
equipment will be sent to those addressing a request to the Strong Electric Corp.,
31 City Park Ave., Toledo, Ohio 43601.

Hetzel Tells SMPTE
Industry is 'Heartening'

Addressing the opening luncheon
of the Society of Motion Picture and
Television Engineers Conference.
Ralph Hertzel. acting president of
the Motion Picture Association of
America, Inc., commented on the
close working relations in the pro-
duction of motion pictures for both
theatres and television.

Commenting on the exceptional
film business during the past sum-
mer, Hetzel stated: "Already this
year an extraordinary record has
been rolled up in motion picture
theatres. The first eight months of
1964 showed an average increase in
the United States domestic film ren-
tals for our member companies of
about 20% over 1963. Of course,
some companies did better than oth-
ers. That's the rule of our highly
competitive business.

"Last week, when in London. I
had reports that boxoffice returns in
Great Britain, a market that has had
drastic declines in theatre attendance,
had increased in 1964 at a percent-
age not much less than that in the
United States, for the first six
months.

"I think this resurgence in the

United States, as well as abroad, is
far more than a flash in the pan.
As an economist. I see ahead a lone

secular upward sweep of population
and economic developments that
promise to lift our business in the
same direction."

Hetzel further emphasized the
broad scope of the recent upward
surge of film business when he stat-
ed: "The new vitality and freshness
of films, and the production of films
aimed at special audiences have at-
tracted more and more people back
to the movies. The quality of prod-
uct today is, in my judgment, su-
perior to any we have enjoyed at any
time. Film makers still make mis-
takes — it is notoriously hard to
predict the taste of the American
public in advance, but they are ob-
viously doing a better job of match-
ing public taste with appropriate
product than ever before.

"This is a very subjective area,
and hard to evaluate. However, a
leading exhibitor publication report-
ed last week that a five-year record
has been set this summer in the
number of films which have won
exceptional public acclaim.

"Boxoffice magazine stated that,
of the 64 feature films in general dis-
tribution from June through August,
49. ranked in what the magazine
classifies in a 'top hit' classification
in terms of dollars paid at the box-
office.

"Put another way, exhibitors na-
tionwide claimed that over 76 per-

W. J. Cosby (right) presents a plaque to TESMA's retiring president, Larry
Davee, on his completion of four years as TESMA's president. The plaque reads,
"Presented to Larry W. Davee, upon his retirement as president of the Theatre
Equipment & Supply Manufacturers Association as a token of appreciation for
his sincere efforts in its behalf. 1960-1964. Detroit, Michigan, October 1964."
Davee becomes chairman of the board of directors of TESMA.

International Projectionist November, 1964

In this orderly projection room is shown William E. Walsh, president of
IATSK Local 388. The new Strong; Futnni projection arc lamps have just been
installed in this. The Lincoln Knolls Plaza Theatre, Youngstown, Ohio. Litera-
ture on this equipment will be sent to anyone addressing a request to the
Strong Electric Corp., 31 City Park Avenue, Toledo, Ohio 43601.

cent of tin- current films were above
average in boxoffice take.

"New trends in exhibition," Hetzel
continued, "strengthen the fact that
the new confidence shown bj all
members of the industr) is hearten-
ing." He pointed out that "exhibitors
have done their share to spark mo-
tion picture resurgence, 1>\ making
theatre-going more attractive. Last
year, .320 new motion picture thea
tres were opened, or were announce!1
or under construction, at a total cost
of almost $100 million. Most of them
were small or medium-sized houses
in shopping centers — located, need
less to sa\. where the people are and
where it is most convenient for peo
pie to go.

"In addition. 070 older motion pic-
ture theatres were remodeled. ISO
old ones were closed, and 170 which
had been closed were reopened."

Referring to the new and growing
interest of young people in motion
pictures. Hetzel said: "To me. the
most exhilarating prospect of all is
the growing interest and excitement
of young people in motion pictures
as a medium of e pression. I feel we
are confronted with evidences that
alert and intelligent young people,
especially at colleges and universi-
ties, are looking to motion pictures
for new ways of expressing their
ideas and emotions. If the young
people at colleges and universities,
while in school and later, have this

growing sense of interest in film-.
the\ will build a great new audience
that will <all forth more creative
films and greater films.

"Just lasl week, the American
Council on Education, the lop coor-
dinating bod\ for the colleges and

universities of this country, held a

conference at the Lincoln Center lo
encourage the development of the
stud) of film at collegiate level. Ii
was an exciting occasion and will. I
trulv hope, sow the seed of the great
er growth of interest in this field."

IP

Movie Patents
Now Re-Classified

Patent Commissioner Edward J.
Brenner has announced a revised
classification for the more than 8,000
patents relating to the field of optics
and motion pictures. He stated. "It is
an important re-classification proj-
ect grouping all of the significant
advances in optics together in one
particular subject matter category."

The re-classification involved the
reclassifying of 5.100 original pat-
ents. 3.421 cross references and a
technical history and encyclopedia
of the motion picture art.

Copies of the class schedule and
definitions. Class 352 Optics. Motion
Pictures can be obtained from the
Commissioner of Patents. Washing-
ton, D. C. 20231 for a nominal
charge. iP

Get all the facts! Ask your equip-
ment dealer for the new 1964
Kollmorgen Projection Lens Cata-
log or write us direct.

« KOLLMORGEX

CORPORATION)

NORTHAMPTON. MASSA CM U S E T T S

International Projectionist November. 1964

Ethan M. Stifle Takes
Over As SMPTE Head

Ethan M. Stifle, manager of en-
gineering services for the Eastman
Kodak Motion-Picture Products Sales
Department's East Coast, division
New York, has been elected presi-
dent of the Society of Motion Picture
and Television Engineers (SMPTE).

Th e SMPTE president-elect has
served as sections vice-president, fi-
nancial vice-president and executive
vice-president of the Society. Last
year he was a member of a four-man
delegation that studied technical de-
velopments in the Soviet motion-pic-
ture industry under the US-USSR ex-
changes program.

Other officers named in the recent
ballot are: G. Carleton Hunt, presi
dent of DeLuxe Laboratories, Inc.,
New York, elected executive vice-
president; Herbert E. Farmer, De-
partment of Cinema, University of
Southern California. Los Angeles, re-
elected editorial vice-president; Ken
neth M. Mason, general manager of
the Midwest division, Kodak Motion-
Picture Products Sales Department.
Chicago, elected conference vice-
president: and Robert G. Hufford,
physicist for Kodak in Hollywood,
re-elected secretary. iP

The Cover Story

More Work for Projectionists as
Reade-Sterling Adds 20 Theatres

Norelco

projection
equipment

Available from

leading theatre supply

dealers

North American Philips Co., Inc.

Motion Picture Equipment Division
100 E. 42nd St., New York 17, N.Y.

theatre front. These are "islands"
of shrubs planted on both sides of
the theatre, with the remaining area
paved for parking.

The outer lobby is red-brick

Fact Sheet on

Walter Reade-Sterling's

Community Theatre

in THE

Eatontown fN. J J

Cinema Centre

Architect: David Marner,
A. I. A.. Asbury Park. N. J.

General Contractor: Hend-
rickson Construction Com-
pany. Shrewsbury. N. J.

Projection Equipment:
Simplex pedestals
Ashcraft Core-Light lamps
Phillips Norelco transistor
sound

All secured through National
Theatre Supplv Company.
New York City

Screen: Pearl-Light 20' x 40'

Seats: Griggs Push - Back,
through Capitol Motion Pic-
ture Supplv Company. New
York City

Lens: Bausch and Lomb

Carpeting: Karagheusian.
through W. A. Doolittle &
Sons, Trenton, N. J.

Curtains and Drapes: From
Paramount Associates. Phila-
delphia. Pa.

Attraction Sign and .Let-
ters: Wagner. Plastic,
through Capitol

Antique Fixtures: Ruby Com-
pany of New York City

Electrical Work: Red Bank
Electric, Inc.. Red Bank, N. J.

Heating, Ventilation and Air
Conditioning: Noel R. Nil-
son Company, Little Silver.
N.J.

Seating Capacity: 900

from page 4

floored, with a drum-shaped open
counter for ticket dispensing. A
large Colonial bronze Eagle hangs
over the inner doors.

The inner lobby which is domi-
nated by a massive Early-American
chandelier is paved with a unique
new Karagheusian carpeting of red
brick design, and this same carpet-
ing is utilized for the auditorium
aisles. The inner lobby contains a
recessed concessions stand on one
side, and rest rooms and offices on
the other. Furnishings and fixtures
are all of Colonial decor.

The auditorium is a stadium type,
on one floor. The seats are gold and
white, the walls blue, and the cur-
tain white. The extremely high
vaulted ceiling, and the simplicity
of walls, seating and curtaining give
the auditorium an unusual air of
spaceousness. The last several rows
in the auditorium are on raised con-
crete steps, and serve as a smoking
loge.

The Community is located adja-
cent to the existing Eatontown Drive-
in Theatre, and the two theatres to-
gether form the "Eatontown Cine-
ma Centre". The entire complex is
located on the "Eatontown Traffic
Circle." Route 35, Eatontown, N. J.
on the North Jersey Shore.

The theatre raises the circuits
total to more than 50. In the theatre
operation field for more than 60
years, Walter Reade-Sterling is also
engaged in the production and dis-
tribution of films for theatres, tele-
vision, educational, and non-commer-
cial showing; in concessions, real
estate, and associated activities. In
the past two years it has built or
acquired nearly 20 theatres, with
more on the planning boards.

iP

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10

International Projectionist November, 1964

Neighborhood Theatre Draws
From 50,000 in Suburb
of Charlotte, N. C.

CHARLOTTE, N. C. — Out on
Independence Boulevard near the
k-Mart. Charles Trexler has put one
creek in a pipe and nudged another
one over with a great mass of con-
crete.

On this spot he has filled in gullies
and put up a 995-seat motion picture
theatre — Charlottes newest.

This is to be the new Capri Theater
of the Stewart & Everett chain of
which Charles B. Trexler. a young-
looking, slim, intense man of 48. is
president.

First show in this big structure of
grayish-yellow brick with an 80-foot
glassed-in lobby will be "Kisses For
My President." starring Fred Mac-
Murray and Polly Bergen, a comedy
about the first lady President, the
first male "first lady." and their
inevitable complications.

With two acres of lighted asphalt
for parking, this is a nice spot for a
theater. Right up the hill is the
turnoff toward Albemarle. The
theater is almost on the intersection
of Eastway Drive with the boulevard,
where the much-disputed belt road is
due to cut across.

Besides the prestige of being on
the boulevard, the theater has close-
in accessibility to 50.000 people who
might consider this their neighbor-
hood showhouse. Trexler says.

Discussed over the last eight years,
in the planning stage for two years,
the Capri had its ground-breaking in
May. Ryt Suez, now at the Manor,
will be the Capri's managing director.

Trexler likes to stress that right
down the line this is an all-Carolinas
production. Architect is Charlottean
Charles H. Wheatley. Laxton Con-
struction Co. is doing the work.

I A native of Anson county. Trexler
came to Charlotte in 1937. fresh out
of the University of North Carolina
with a B.S. degree. In 1942 he mar-
ried the former Miss Isabel White of
Greenwood. S.C. Members of Cov-
enant Presbyterian Church, they have
(five children and live at 2101 Buck-
nell Ave.
Sixty-nine Stewart & Everett thea-
ters stretch from Vireinia to the
Georgia line. Tn the Carolinas they
extend from Mount Airy to More-
head Citv to Aiken, products of a
corporate enterprise first organized
in Charlotte in 1037.

There are three entrances from the

boulevard to the new Capri Theater
parking areas. Automobiles that
circle behind the theater will be driv-
ing over one of Trexler's rerouted
creeks.

A 100-foot steel canopy roofs the
lobby. Supporting pillars thrust steel
fingers up in an inverted-umbrella
effect that will give a feeling of light-
ness to the lobbv when it is covered
with concrete. Lighting will emphas-
ize each angular effect.

Twenty-Foot Marquee

Two marquee signs above the
canopy are seven feet high and 20
feet long.

Circling the back of the auditor-
ium is a walled-in "standee." where
folks can circulate and congregate
without disturbing the audience.

The auditorium is 104 feet wide at
the rear. It is 115 feet long and 71
feet wide at the front end supporting
the 50-foot (or wider) screen.

Five sound speakers will be on the
stage and 10 more are recessed in the
walls around the auditorium for
stereophonic films.

The Capri is set up for four-track
magnetic sound, six-track magnetic
sound, and optical sound. 35 and
70mm.

The screen will rise above a con-
ventional stage with a performance
area eight feet deep, from which a
speaker or a small group of singers
could hold forth.

Thrown in for theatrical mood will
be an Austrian curtain that moves up
and down. There will also be con-
ventional screen curtains that open
to each side.

The Capri auditorium will have
five aisles, including aisles along
each side wall. A smoking area of 98
seats will be in the center rear, with
an air duct above drawing cigarette
smoke away from the audience.

The new Stewart & Everett theater
will be going into competition with
the 900-seat Park Terrace theater of
the Wilby-Kincey chain, which open-
ed last Mav at the Park Road shop-
ping center, and with Cinema I and
II, which have 1,500 seats between
them, open since last November at
Charlottetown Mall. iP

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Projectionists

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International Projectionist November. 1964

11

I

H. H. Waggershauser,
Kodak VP, Named
To Director Post

Herman H. Waggershauser. ar
Eastman Kodak vice-president and
general manager of the Apparatus
& Optical Division, has been elected
a director of the company.

Waggershauser was elected at a
meeting of the board of directors
held today in Rochester, N. Y. He
succeeds James E. McGhee, who i^
retiring from the board.

The new director came to the com-
pany in 1933. For several years he
was concerned with production and
development work at the Camera
Works in Rochester and later at
Kodak A. G. in Stuttgart. Germany.

He returned to the Camera Works
in 1938 and from 1942 - 43 served
as a process engineer in connection
with military optical instruments
produced by Kodak at the Hawk-Eye
Works.

He was appointed staff engineer
at the Camera Works in 1943, assis-
tant to the general superintendent of
manufacturing in 1945. and superin-
tendent of production engineering
and tooling in 1948. In 1952 he- be-
came general superintendent of man-
ufacturing at the Camera Works.

When the Apparatus & Optical
Division was formed in 1956. Wag-
gershauser was named production
manager. The Division includes three
plants in Rochester — the Camera
Works, the Hawk-Eye Works, and
the Lincoln Plant.

Waggershauser became assistant
general manager of the A&O Divi-
sion in 1958. In 1960 he was elected
a vice-president of Eastman Kodak
Company and appointed general
manager of the A&O Division. He
is president of the board of gover-
nors of Genesee Hospital, a director
of the Rochester Y Athletic Club, a
director of Eastman Savings and
Loan Association, and a member of
the executive committee of the Ko-
dak Employees Asociation.

He is also a member of the Amer-
ican Ordnance Association, the Pho-
tographic Society of America, and
the Rochester Chamber of Com
merce. Waggershauser received B. S.
and M. S. degrees in mechanical en-
gineering from the University of
Wisconsin. iP

McGhee retired as vice-president
in charge of U. S. sales and adver-
tising in January 1, 1963. He had
completed 42 years of Kodak service.

He came to the company in 1920
and for the next six years served

12

with Kodak's medical sales division.
He was transferred to the company's
Chicago branch in 1927 and returned
to the sales department in Rochester
four years later.

McGhee was appointed assistant
general sales manager in 1935 and
general sales manager of the com-
pany in 1937. He became an assis
tant vice-president in 1943 and two
years later was elected a vice-presi-
dent. In 1954 he was placed in charge
of U. S. sales and advertising.

He was elected a director of East-
man Kodak Company in 1956 and
in 1960 became a member of the
r>ompany's executive committee, iP

Todd-AO Announces
New Licensing System

A new licensing system for the use
of TODD-AO, making it competitive
with other 70mm processes, has been
announced by Salah M. Hassanein.
President of The Todd-AO Corpora
tion.

The institution of the policy per
mitting the use of the Todd-AO sys-
tem on a flat-fee basis marks the
beginning of a new era for Todd-AO
Todd-AO's perfection of quality and
unlimited possibilities for realism
and participation have been clearh
established, demonstrated and uni-
versally accepted through many great
motion pictures, including Rodgers
& Hammerstein's Oklahoma! and
South Pacific. Mike Todd's Around
The World in 80 Days, and 20th
Century Fox's Cleopatra araons
others.

In all of these films the process
was licensed on a royalty basis. The
process will now be available to those
producers who have long desired
Todd-AO quality at a competitive
cost.

Twentieth Century-Fox Film Cor-
poration is the first to take advan-
tage of the new arrangement. Sey-
mour Poe, Twentieth's Executive
Vice President, has just signed a 5-
picture deal with Todd-AO which
will include a multi-million dollar
i'rray of motion pictures: The Sound
of Music, The Agony & The Ecstacy,
The Day Custer Fell , Magnificent
Men & Their Flying Machines and
Justine. iP

New Mike For
Motion Pictures, TV

Shure Brothers, Inc., Evanston,
111., has announced a new unidirec-
tional boom microphone especially ing.
developed to uniquely satisfy the

International Projectionist

critical requirements of motion pic-
ture and television boom operation.

The new microphone is available
as the Model SM5A with an impe-
dance of 50 ohms and the SM5B with
an impedance of 150 ohms. It was
especially developed by the Shure
Professional Products Division to
provide a new degree of reproduc-
tion quality and flexibility of appli-
cation in television and motion
picture studio and location work.

Desk mounts are available as ac-
cessories for both SM5 models. This
feature, plus the unit's unusual
mechanical construction and perfor-
mance characteristics, makes possible
the SM5's use in many applications,
such as coverage of outdoor sports
and other difficult remote pickups,
where boom operation is not practi-
cal.

Demonstation of
Dimension-150

Approximately 100 of Hollywood's
top motion picture cameramen, mem-
bers of The American Society of
Cinematographers. participated in a
full scale demonstration of the Dim-
ension-150 filming and projection
process at the D-150 theatre-labora-
tory in Santa Monica.

The D-150 presentation at the
company's Rosemary theatre-lab was
arranged by Marshall Naify. presi-
dent of D-150 Inc., and Roy Evans,
sales manager, exclusively for A.S.C.
members throuih that organization's
president, Hal Mohr, and Walter
Beyer, chairman of the Society's edu-
cational and scientific committee.

Dr. Richard Vetter. executive vice
president and co-developer of the
Dimension-159 process, welcomed
the group and briefly reviewed the
background of the development and
various technical aspects of the pro-
cess. Also prior to the showing of
the demonstration film Carl Wil-
liams, co-developer and vice presi-
dent of D-150. spoke of his recently
completed survey of theatres in more
than 27 key cities in the U.S. Mr.
Williams reported on his visit to the
Dino De Laurentiis production loca-
tions shooting "The Bible" currently
being filmed in D-150 in Rome under
the direction of John Huston.

The cinematographers expressed
great interest and spoke enthusiasti-
cally about the demonstration. Many
of those present participated in an
intensive question and answer session
following the demonstration screen-

iP

November, 1964

basic
mathematics

by m— HM H CROWHUItT

VOLUMES
1 through 4
COMPLETE

PRACTICAL
METHOD

J\

LEARMWC

BASIC MATHEMATICS

by Norman H. Crowhurat

4-volume 'pictured-text' course makes it easier than
ever before possible to learn all the math you'll need
to know to speed your progress in electronics— no
short cuts— no gimmicks.

This remarkable 4-volume course takes you in easy
stages from counting through algebra, geometry,
trigonometry to calculus so that you will understand
easily, quickly, all the math you will need to get
ahead in electronics — regardless of your previous
education! It employs an exciting new technique
presenting basic mathematics as on continuous devel-
opment of mathematics. The individual branches of
mathematics are not divided into separate and un-
related subjects. Algebra, geometry, trigonometry,
calculus are interwoven at progressively rising levels
in the different volumes. Each voume reinforces your
understanding as you penetrate more deeply into
the subjects. Selected illustrations create clear
images of mathematical ideas formerly difficult to
understand.

A KNOWLEDGE OF MATH SPEEDS YOUR PROGRESS IN
ELECTRONICS — No matter what your plans are in
electronics — mathematics plays a vital role. The

more math you know, the easier it is to iearn
electronics. And, if you've set your sights on being
an advanced technician or an engineer, this course
will speed you towards your goal.
Volume I — ARITHMETIC AS AN OUTGROWTH OF
LEARNING TO COUNT — You gain the self-confidence
you need to master mathematics! You build a so>id
foundation in mathematics without realizing that
you are being introduceJ to subjects usually con-
sidered dry and difficult to master. #268-1, S3. 90
Volume II — INTRODUCING ALGEBRA, GEOMETRY
TRIGONOMETRY AS WAYS OF THINKING IN MATHE-
MATICS — Building on the solid foundation laid in
Vol I., you learn to apply algebra, geometry and
trigonometry as better methods of solving a problem
when the arithmetic begins to get involved. .#268-2
S3. 90

Volume III — DEVELOPING ALGEBRA, GEOMETRY,
TRIGONOMETRY, CALCULUS AS WORKING METHODS IN
MATHEMATICS — This volume continues the search
for new and better methods of calculating, and adds
calculus to the group of 'tools' alreaJy introduced.
ir268-3, S3. 90

Volume IV — EEVELOPING ALGEBRA, GEOMETRY,
TRIGONOMETRY, CALCULUS AS ANALYTICAL METHODS
IN MATHEMATICS — Once you've reached volume IV,

you're ready to apply all that you've learned in the
earlier volumes. You'll be able to find the right
approach to each individual problem. You'll be rea.y
for a career in which mathematics play a most
important part. #268-4. $3.90

Available at parts distributors, bookstores, or direct.

INTERNATIONAL PROJECTIONIST
1645 Hennepin Avenue, Suite 212
Minneapolis, Minnesota 55403

Please send these paperback volumes:

□ Vol. I — $3.90; D Vol. 1 1 — $3.90; □ Vol

III— $3.90; □ Vol. IV — $3.90; Q Send 4-
Vols. in one clothbound edition, $15.95.

Name

Address

City Zone State

i

America's

headquarters

lor all

theatre equipment

supplies

•Al.TTS-

National

THEATRE SUPPLY COMPANY

OUT OF PRINT

MITCHELL MANUAL

AVAILABLE!

The renowned "Manual for
Practical Projection" by Robert A.
Mitchell is now out of print, ac-
cording to an announcement by the
bookseller, International Projec-
tionist.

Returns from our retail outlets
have been consolidated and we
now have approximately 40 vol-
umes of the Mitchell Manual avail-
able on a first-come-first served
basis.

These books are in brand new
condition, complete with dust
jackets; have never been used.
This rare publication can be yours
for $10 cash or money order.
Sorry, no C.O.D. or foreign orders
can be accepted at this price.

Sheehan Booksellers

Box 410, Route 5
Wayzata, Minnesota 55391

World-Wide Business
For Walters Service

DALLAS — From local projector
repair work to a world-wide business
has become the story of Lou Vi alters
Sales & Service Co. of Dallas. Texas.
Service and good quality did it.
backed up bv advertising in such
publications as IP. As Walters says:

"In 1948 when I started in the
projector repair business here in
Dallas I was doing the repair work
only for the local branch of National
Theatre Supply Co. I found that this
work was spasmodic, and had lots of
time on mv hands, so I started adver-
tising that my time and shop were
available. My operation became na-
tional.

"This was the situation until I
started the manufacture of the "Little
Miser"" carbon saver, and then the
orders came not only from our states
but from all over the free woxld.
Along with the carbon saver busi-
ness, orders for hard-to-get parts
were sent along and even today many
supplv dealers check with our shop
for parts that have been discontinued.
1 am pleased to say we have helped
many of them find parts that are no
longer available from the factories.
This business continues even today,
although we no longer manufacture
the "Little Miser" saver, having sold
the rights to Theatre Products of
Lancaster. Tex., but we still retail it
to the theatres.

"Our business has been typed as
The Repair Shop in the U.S. and
we are very happy for it. At present
we are supplving repair and rebuild-
ing service to many supply dealers
who find, because of the uneven flow
of repair work, it is no longer econ-
omical to operate their own shop.

"Since the high-speed motor
freight lines bring shipments to our
door in two or three days, these
dealers can continue to give good
repair service, using our shop. A
number of export firms are making
use of our complete rebuilding ser-

INTERNATIONAL PROJECTIONIST

Enter my subscription for

Name

Address

City

Post Office Box 6174
Minneapolis 24, Minnesota

□ 1 year (12) issues — $3.00

□ 2 years (24) issues — $5.00

FOREIGN: Add $1.00 per year

Zone

State

14

vice, and our work is being sent all
over the world.

"After regrinding, at a nominal
cost, thousands of wide-tooth sproc-
kets to narrow tooth to allow the
running of narrow-hole Fox prints,
we are still getting sprockets for
regrinding." LP

Audio-Visual
Expenditures Up

Expenditures in the non-theatrical
motion-picture and audio-visual field
increased 3.6 per cent in 1963 over
the preceding year, reaching an es-
timated S638 million.

This continuation in the steady
growth of the field since World ^ ar
II is noted in a report prepared for
the August issue of the SMPTE
Journal.

The 1963 figure includes estimated
administrative costs not included in
previous reports, which have been
published by SMPTE since 1959
The revised total for 1962 is $616
million.

Prepared for SMPTE by Thomas
W. Hope of Eastman Kodak Co..
this latest interim report notes that
for the second consecutive year, A-\
expenditures by federal, state and
local government showed the biggest
percentage gain. The expenditures
totaled approximately §84 million
up 5 per cent from the revised 1962
figure.

Other gains were noted among
A-V users in business and industry
I up 4.5 percent, to $280 million i.
and in education I up 3.7 percent.
to $228 million).

Audio-visual expenditures by re-
ligious groups and by civic, recrea-
tional and social welfare dropped 5
per cent, to an estimated S19 million
each. Relatively unchanged at $8
million were expenditures in the area
of medicine and health.

Several trends were observed in
the SMPTE report. The trading-in
of used 16mm projectors for new ma
chines was found to have dropped off
by over 50 percent. The number of
high-budget business films fell off
considerably, but the number of spe-
cial-purpose films shot at lower costs
increased. Unit sales of overhead pro-
jectors rose, while the dollar volume
fell off.

Interestingly, the number of new
nontheatrical motion pictures in-
creased 5 per cent to an estimated
9,680 last year, but the cost of pro
duction was up less than 1 percent,
to $135 million. Commercial televi-
sion film production, although not
included in the figures for the report,
also was reported to be up.

International Projectionist November, 196i

Investment Opportunity

The tools this young apprentice is learning to make will
one day be used to turn out your company's products.

A great investment in time, money, effort and faith
will have to go into making him productive. Every one
of us has a stake in his success — and every one of us
must invest something — for on the developing skills of
America's young tool-makers depends the continued
functioning of all industries.

You can protect your investment by joining with other
leading American businessmen to promote the Treas-
ury's Payroll Savings Plan for U.S. Savings Bonds. The
Treasury Department's Plan helps safeguard the individ-

4S&

ual liberties, and encourages the industrious and respon-
sible attitudes so necessary for the growth of our econ-
omy and the well-being of our society.

When you bring the Payroll Savings Plan into your
plant — when you encourage your employees to enroll —
you are investing in the next generation of America's
skilled craftsmen and technicians. You are investing in
our future. In freedom itself.

Don't pass this investment opportunity by. Call your
State Savings Bonds Director. Or write today to the
Treasury Department, United States Savings Bonds
Division, Washington, D.C., 20226.

in your plant... promote the PAYROLL SAVINGS PLAN for U.S. SAVINGS BONDS [s

The U. S. Government does not pay for this advertisement. The Treasury Department thanks, for their patriotism. The Advertising Council and this magazine.

As a young fellow of
19 I remember that
Dad operated a 1926
Strong Standard low
intensity arc lamp.

When I started oper-
ating in 1928 I had
the Strong Hy-Lo.

Five years later*, in
1933, 1 ordered Strong
Moguls.

When in 1949 the
Strong Mighty 90 was
announced I bought a
pair of the first ones
available.

I believe that if any-
one wants to make
money in show busi-
ness he must keep up
with the times, so last
month I installed new
Strong Futuras. I
know that it pays, be-
cause my bov office
reports prove it.

vS«tf" #"*"*"' THE

ELECTRIC CORPORATION

CITY PARK AVE., TOLEDO, OHIO 43601 • PHONE: (419) 248-3741

INTERNATIO

liHHDfflH

— *

'SI

#n

T~=

MAR 1 0 1965

UCopy...

10

' s-

The Columbia Pictures Studios pro-
jection room in Los Angeles, Calif., has
been equipped with new Xenon projec-
tion arc lamps by the Strong Electric
Co., Toledo. That's J. W. Scales, pro-
jection supervisor, looking happy with
his National Theatre Supply installa-
tion.

'?

ssejSuoo jo Arsaqri

DECEMBER
VOLMUE 39
40c A COPY

1964

NUMBER 12

$3.00 A YEAR

ydi it s no box office secret

111(11 IIIUl t* ybUCI pUi bliM^Cl w liCG|J

coming back when you sell this triple
feature"performance package" .
1. A good moviel 2.The finest screen
lighting! 3. A comfortable theatre!

Play it safe— light up with "National" projector car-
bons. Guarantee your patrons a brighter, clearer pic-
ture.

If you want proof of the importance of a well-
lighted screen presentation — just try dimming the
screen light for a few minutes!

The spontaneous and noisy reaction of your audi-
ence will quickly tell you how movie patrons feel when
screen lighting isn't up to par.

You'll save money, too, because "National" car-
bons are slower-burning!

UNION
CARBIDE

"national" is a registered trade -mark of

UNION CARBIDE CORPORATION

CARBON PRODUCTS DIVISION
270 Park Avenue • New York, N. Y. 10017
In Canada: Union Carbide Canada Limited, Toronto

INTERNATIONAL

PROJ ECTIONIST

Volume 39 Dec. 1964 No. 12

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO
Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue. New York, N. Y., 10017

Telephone Murrayhill 7-7746

(Area Code 212)

IN THIS ISSUE

Walter Beyer and 70 mm 4

New Camera System 1 1

70 mm Houses Tested 1 2

Films for Motion Pictures 1 3

News Notes — Technical Hints — Miscellaneous Notes

INTERNATIONAL PROJECTIONIST, published monthly by the
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Northern Publishing Co., Post Office Box 6174, Minneapo'is
Minnesota 55424. Editorial offices, 1645 Hennepin Avenue,
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copyrighted 1964 by INTERNATIONAL PROJECTIONIST
PUBLISHING CO.

International Projectionist December, 1964

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INTERNATIONAL PROJECTIONIST

Volume 39

December 1964

Number 12

Parti

Drive-in Operations with
70 mm Equipment

It is necessary for any engineer
or technician, regardless in which
professional field he happens to work,
to occasionally put his books and
tools aside and take a good look at
statistical facts about the overall
business he is in. In the motion pic-
ture industry this type of thing
seems to be even more important
since, contrary to any other product,
we are sellling entertainment on cel-
luloid which seems to be a piece of
merchandise having very uncertain
and unpredictable acceptance and
market value.

When therefore, a few months ago,
I was approached with the question
of stating the total number of 70MM
theatrical projection installations
world wide, I found as many differ-
ent answers as there are figures pub-
lished in different magazines through-
out the industry. I therefore started
from scratch and undertook, with
the kind cooperation of 70MM pro-
jector manufacturers throughout the
world, a reliable survey of all pres-
ently existing theaters having 70MM
projection facilities.

For obvious reasons of course, I
shall refrain from listing these in-
stallations by manufacturer names

but merely list the total number of
installations. It would exceed the
scope of this presentation to publish
every theater by name, city, state and
country but merely summarize all in-
stallations supplied with projectors
from American, European and other
manufacturers.

There are now 1,100 theaters
throughout the world equipped to
show 70MM films. According to
data compiled chiefly from projector
manufacturers throughout the world,
the United States and Canada lead
the list of 70MM theaters with a com-
bined total of about 350 installations.
Italy is next with 175, France comes
third with 119, Japan fourth with
78, England has 54, Germany 44,
Africa 30 and remainder of installa-
tions are distributed among 46 other
countries.

Table 1 lists the 70MM facilities
in detail. Even though they add up
to only 993 it should be understood
that I have listings of 150 more the-
aters having installations with modi-
fied 35/70MM projectors such as XL,
Friesecke -f- Heopfner Zeiss Ikon
and others. My statistics do not in-
clude as yet installations for single
film 70MM Cinerama showings.

A preliminary follow up of my sur-

By Walter Beyer
Universal Pictures

vey shows a speeding up of 70MM
installations so that the total num-
ber at present will be considerably
higher than the above figures.

Hardly any new theater installa-
tion is being completed now without
serious consideration given to 35/
70MM projectors. I may furthermore
remark right here that having estab-
lished reliable information sources,
I shall repeat and extend my survey
at the end of this year and bring all
my figures correspondingly up to
date.

So much for the statistics on the
70MM situation. Let me now present
my views on "Drive-In operations
with 70MM projectors and prints".

During the last eight years at least,
a substantial amount of new wide-
screen processes of all kinds have
been introduced to the industry and
found practical application. Although
all of these innovations have been
widely ballyhooed, it seems strange
that one of the most important tech-
nical presentations has not yet found
the attention it deserves, namely, the
use of 35/70MM projectors and
70MM prints in Drive-In theaters.

Two basic viewpoints have to be
taken to recognize the importance

International Projectionist December. 1964

IP DELAYED

Thi- i.sue ;nd a previous issue of
Internationa] Projectionist was delayed
bv difficulties in the printing plant
which produces IP. Compositors and
pressmen, members of several unions
including the International Typograph-
ical Union, were on strike for over
a month. The discussion between the
company and the several unions took
place while IP was being produced;
naturally production had to be stop-
ped until a solution was reached and
the picket lines withdrawn. il'

por the release of 7* > M \ I prints in
Drive- In theaters:

I he) are, first -the drastic
change in the overall statistics
"I show-places in the I nited
States; and sec I the techni-
cal and engineei ing considera-
tions thai determine the limita-
tions ol overall picture presenta-
tion in Drive-In theati i s.

\- I. ii as statistics are concerned,

. ii - 1 1 < . 11 1 « 1 be ihiIimI thai eighl years

figo the total number of Drive-in

theaters was approximate!) 1.726

with roughl) 18,200 Hard-Top

bouses. I he 1961 statistics, howei ei .

-how ,i total of 1,768 Drive-In- and

1 1,335 Hard-Top theaters. I hese
figures -|H-.ik for themselves and
even to an impartial observer, i n< 1 i-
catr a drastic change in the total
revenue situation . . . undoubtedly

ill lav Or of llie I >l ive In.

I. ""kin- at the technical and engi-
neering considerations <>f the Drive-
on theater, it should he noted that
main engineering conventions, re-
■earch projects, and theater liaison
programs have, without success, been
devoted to the fact that the picture
in the Drive-In theater i- substantial-
K hampered in screen brightness due
to physical limitations inherent in
the film itself and due to the entire
concept of equipment, performance,
and capability .

In regard to screen brightness in
Drive-ins. for instance, it is known

from the Motion Picture Research
Council's theater liaison program,
that the nationwide average is only
3 foot-lamberts for a wide-screen
and not more than 5 foot-lamberts
for a Cinemascope picture.

While the above figures are based
on a nationwide average, relating to
all Drive-Ins, it should, natural!) he
noted that successful efforts have
been made to achieve higher screen
brightnesses. However, the overall
level Mill remains substantial!) be-
low the point of what one would call
a brilliant picture with good *torv-
telling impact in man) cases.

\\ tthoul going into technical de-
tail-, it should l>c recognized that
there are present!) limitations in

I sting these screen brightnesses

that are mainlv determined b) the

film itself that can -land no more

heal without suffering permanent
damage.

I consider it therefore, a most

natural Btep to think of the utilization

of 70MM projection in Drive-Ins
whenever possible, because thi- re-
lease -v stem piov ides us w ith an
apei tine size that w ill permit all the
light and illuminating power of the
arc to pass through it ami achieve
a picture of startling brightness —so

Urgentl) needed for outdoor -how-.

I he above statements an' not mere-
Iv wishful thinking, hut are the re-
sult of extensive tests that I made
in actual Diivc-ln theaters having
different tv pes of equipment. Ii ma)

In- worthwhile to disclo-e the results

of two experiments with 70MM film
ami equipment a- example we made
at the Midwav Drive In theater, in
San Diego, and the other at the North
Star Drive-In theater, in Denver.

The Midway Drive-In theater in
San Diego is owned and operated
bv Kenneth Gallion, who had
throughout the vears always main-
tained a close contact with the staff
of the Motion Picture Research Coun-
cil i now disbanded since March
19601. He therefore has the first all-
aluminum outdoor screen developed

Africa (inc. Mor., Kenya,

So. Africa, etc.) 30

Australia 10

Austria 11

Argentine Rep. 10

Belgium 8

Brazil 4

Burmo 1

Chile 3

Columbia 2

Cuba 1

Cyprus 3

Czechoslovakia ... 1

Denmark 14

England 53

Finland 2

Formosa 2

France 117

Germany 43

Greece 1

Holland 24

Hong Kong 5

Iceland 2

India 1

Iran 1

Iroq 1

Ireland 5

Israel 5

Italy 173

Jamaica 2

Japan 76

Jordan 1

Korea 5

Lebanon 3

United States and Canada

U.S.S.R. ffrom Western manufacturers

Luxembourg

Malaya

Malta

Mexico

New Zealand

Norway

Pakistan

Philippines

Portugal

Rumania

Spain

Sweden

Switzerland

Svria

Thailand

Venezuela

Vietnam

Uruguay

only)

202
5

1
7
2
5
5
7
2
4
5
2
13
19
22
3
5
2
1
1

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International Projectionist December, 1964

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Fig. 1 : The
Manco-Vision all-
aluminum screen
as shown in use
at the Midway
Drive-In in San
Diego, Calif.

Fig. 4: The
lamp house is
pulled back to
show the mount-
ing of the shallow
heat filter, a
liquid heat-absor-
bing installation.

Fig. 6: The
inside of the
booth at the
North Star
Drive-In, Den-
ver, Colo., show-
ing a pair of
Norelco and Jet-
arcs ready for
70 mm opera-
tion.

International Projectionist December. 1964

Fig. >: The modified 35/70 mm
\L projector and I entarc lamps ititli
the liquid heat filter, all threaded and
ready for a 7') mm. Projection at the
Midway Drive-In in San Diego.

In the Research Council, built .mil
installed b\ Manco- Vision.

Figure 1 shows a daytime picture
ol the Midwaj Drive-in and Manco-
Vision screen for a picture <>f 102 ft.
bj II ft. Even though (hi> \\a> one
of the first screen installations of
this kind, it is in excellent condi-
tion and has retained a gain of 2.5
plus. The 70.MM picture of 102 l>\
1 1 ft. had a center brightness of
lit foot-Lamberts.

As shown on Figure 2. be operates
with modified KL-projectors and
Strong Ventarc lamps. These lamps
are equipped with 21 in. silver mir-
rors and for the projection of both
his 35MM and 70MM prints he uses
the D -j- F liquid heat reducing fil-
ters with dichroic coatings, also a
Research Council development, and
shown directly mounted on the lamp-
bouse on (he side-view of Figure 3.

Needless to say that this liquid
filter is recommended for all high
power installations, since its heat
absorption is the most effective
known so far and will not only pro-
tect the 35 and 70MM prints but
eliminate focus drift as well. An-
other view of such filter installation
is shown on Figure 4. and the liquid
heat filter itself is seen on Figure 5.

I For the more interested reader 1
would like to refer to my article
"Research Council Development for

Better Theater Projection," by Wal-
ter Beyer, in the Journal of SMPTE.
November 1960 pages 792 through
794.)

In the North Star Drive-In the-
ater in Denver, Colo., which belongs
to the Wolfberg Theaters, Inc. we
projected with 70MM a picture of
135 ft. by 60 ft., having a center
brightness of 12-foot-Lamberts.

This Drive-in operates with Philips
Norelco projectors using again the

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Fig. 5: A close-up of the liquid
heat filter. The filter is only ~/%" thick
".ml does not interfere with light
beam and distribution over aperture.

International Projectionist December, 1964

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If you want crisp, top-quality prints— and you most certainly do— don't waste good
negative quality by pushing your laboratory into making short cuts. Give them
time to do the job right with the right materials. In other words, GO EASTMAN
all the way— negative and print-stock. For the purchase of film, technical queries,

and service, write or phone: Motion Picture Products Sales Department,
EASTMAN KODAK COMPANY, Rochester, N.Y. 14650, or the regional
sales divisions, 200 Park Avenue, New York, N.Y.; 130 East Randolph
Drive, Chicago. III.; 6706 Santa Monica Boulevard, Hollywood, Calif.

EASTMA
I I

nrrie 10 ao me jod ngnt with the right materials. In other words, GO EASTMAN
all the way— negative and print-stock. For the purchase of film, technical queries,

You can't stretch time:

If you want crisp, top-quality prints-and you most certainly do-don't waste good
negative quality by pushing your laboratory into making short cuts. Give them
time to do the job right with the right materials. In other words. GO EASTMAN
all the way-negative and print-stock. For the purchase of film, technical queries,

and service, write or phone: Motion Picture Products Sales Department,
EASTMAN KODAK COMPANY, Rochester, N.Y. 14650, or the regional
sales divisions, 200 Park Avenue, New York, N.Y.; 130 East Randolph
Drive, Chicago, III.; 6706 Santa Monica Boulevard, Hollywood, Calif.

Fig 2: Another illustration of the
Midway Drive-In in San Diego, Calif.,
showing 35/70 XL installation using
Venture lamps.

Strong Ventarc lamp — in this case
with a 21-in. Balcold mirror.

Figue 6 shows the booth of the
Northstar Drive-in. Their screen is
a very unique new design consisting
of corrugated steel sheets that have
been galvanized — after which several
coats of a special white paint are
applied.

In both cases, the Manco-Vision.
as well as the corrugated sheet metal
screen, have excellent horizontal light
distribution over the entire parking
areas of the Drive-Ins.

These tests have proven, beyond
any doubt, that 70MM prints, as used
in Hard-Top theaters, require abso-
lutely no change for running in
Drive-Ins, which is of special inter-
est in regard to six-channel sound,
as it can be picked up magnetically
just as in the indoor houses. The six-
channel reproduction also enhances
the sound outstandingly even through
the single speaker.

With the equipment, as described
above, the center screen brightness
in 70MM, both 18 and 12 foot-Lam-
berts, represents an unbelievable
achievement for a Drive-In picture.
One should not forget that the
brightness recommendation for a
70MM print indoors is not more than
1 5-16 foot-Lamberts.

In both cases the impact of hav-
ing a picture with such brightness
outdoors is beyond description. It
(Continued on page 14)

70/35MM TESTS AT MIDWAY DRIVE-IN
THEATER IN SAN DIEGO
Data

Motion Picture Research Council aluminum
screen — gain approximately 2.5 (1/3 of panels
on right side of screen slightly darker.)
102 x 44 feet — 4,488 square feet.
473 feet.

Modified XL projector heads with indoor shut-
ter blades, 50% efficiency.

Strong ventarc lamp with 21 inch silver mirror
burned at 130 amps, 73 volts.
1 Porthole glass; absorption approximately 11%.
1 Liquid heat filter with dichrck coating; ab-
sorption approximately 14%.
Focal length 5 inches, speed f:2, Bausch &
Lomb.

Focal length 4 inches, speed f:1.5, Super Kiptar
(Isco) plus anamorphic attachment.
Focal length 8 inches, speed f:2.2, Kollmorgen.

Technical

Screen:

Screen Size:

Throw:

Projectors:

Light Source:

In the Projection Beam:
In the Light Beam:

Lens for Wide Screen:

Lens for Cinemascope:
.715 x .868
Lens for 70MM:

SCREEN BRIGHTNESS READINGS
IN FOOT-LAMBERTS

1) 35MM Cinemascope Readings:

Left Center Center Right Center

8.0 8.0 6.0

7.5 7.5 5.0

8.0 7.5

6.5

7.5 Average 7.37 Average 5.5 Average

2) 70MM Readings:

Left Center Center Right Center

10 19 8.5

8 17.5 8.5
17.0

16.5

9 Average 17.5 Average 8.5 Average
Distribution approximately — 51%

We are mainly concerned with the 70MM situation, and assuming that
the 102 by 44 ft. screen image is as close in information as we can get it,
I have calculated backwards using the 8 in. focal length of the lens to
determine the 70MM aperture size.

This aperture was approximately 1.740 by .744. In order to determine
the luminous flux in the center of the image, the basic lens from his
CinemaScope setting having; 4 in. focal length but being of a speed of f:1.5,
contrary to the 8 in. f:2.2 lens as used during the measurements and show-
ings, several renter readings on the screen were made; and an average of
7.75 foot-Lamberts was re^d (average of two readings — 7.5 and 8.0).

The 4 in. lens would have equalled a picture size of 204 by 88 ft., or
17.952 sq. ft. If we consider a screen gain of 2.5, the 7.75 foot-Lamberts
correspond very roughly with 3 foot candles ?s identical to 53,856 lumens.

Since we had in 70MM a 50% distribution, which with t]he 4 in. lens
may even have been worss due to lens fall-off, it looks as if the total luminous
flux over the entire aperture area was verv nearly 27,500 with the shutter
running which clicks closely with 55.000 lumens of factory output rating.

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International Projectionist December. 1964

Mitchell Shows New
System 35 Camera

HOLLYWOOD — The Mitchell
Camera Corp. used one of New
York's club shows to demonstrate its
newest camera system to 400 film-
industr) executives yesterday.

Mitchell called upon the cast and
crew of Julius Monk's "Plaza" show
at the Plaza Hotel as subjects for
simultaneous filming and video-view-
ing on the company's new "System
35" equipment. The s\stem adds a
closed circuit and videotape capabil-
ity to the Mitchell Mark II 35mm
reflex camera.

Mitchells s\stem filmed the action
and telecasted what the camera saw
on monitors placed around the -up-
per club and in an adjoining cocktail
bar.

Edmund Di Giulio, Mitchell's chief
engineer, explained that the system
utilizes electronics to provide an in-
stantaneous "preview" of what is ac-
tual!) goimr on film to the director,
actors, and others on the set. In ad-
dition, the system provides an im-
mediate videotape record of what lias
been shot, for use in rehearsal or to
correct set arrangement or lighting.

Di Giulio also pointed out that Svs-
tem 35 will open up the possibility
of multi-camera film-making, in
which several cameras can be used
simultaneously or in sequence, and
turned "off or on" by remote con-
trol, while the director monitors all
of them on a closed circuit TV con-
sole.

Production of System 35 is under-
way, according to R. G. Tubbs. presi-
dent, who said first deliveries will
be made to customers in Europe and
the U.S. in April. Total cost of the
svstem is about 810.000.

said, continuing attention will be
given to erection of theatres in ma-
jor shopping centers, following the
pattern set last year when NGC
opened shopping center showhouses
in Albuquerque. New Mexico, and in
Palos Verdes. Northridge and Thous-
and Oaks in the Los Angeles metro-
politan area, and more recently at
Los Alamitos in Orange Counh .

On hand for the gala ground-
breaking, which was conducted with
traditional Hollywood fanfare, were
Las Vegas Mayor pro-tern Phillip
Mirahelli: Albert Horman. a director
of the Charleston Shopping Center:
\\ illiam H. Thedford. Pacific Coast
dhisicm manager of Fox West Coast
Theatres, subsidiary oi National Gen-
eral: Bob Smith. Los Angeles - Las
Vegas district manager: and French
\( tress Chris Carrole.

The ultimate in theatre construc-
tion, the Fox Theatre will be equip-
ped with the latest projection equip-
ment, stereophonic sound equipment.
climate-controlled refrigeration and
modem Bodiform seats built by
American Seating Company, said J.
\\ alter Bantau. Fox West Coast The-
atres' construction chief.

The building and construction linn
of Horman Construction Company.
Salt Lake City, developers of the
Charlestown Plaza Shopping Center,
will build the theatre, which was de-
signed by Fox West Coast Theatres.

\CC is also a leader in the de-
velopment of closed circuit TV in
theatres, packages and produces live
concerts and stage shows with name
talent, and another subsidiary, Car-
thay Center Productions, was formed
after NGC received court permission
last year to engage in motion picture
production.

Las Veqas Showcase
In Shopping Center

Continuing its proTram of motion
picture theatre expansion in shop-
nine; center locations. National Gen-
eral Corp.. is completing its S400.000
Fox Theatre in the Charlestown Plaza
Shopping Center in Las Vegas. Nev.

Eugene V. Klein, chairman and
president of the I os Angeles-based
theatre circuit operator and enter-
tainment comp-^iv. has announced
that the 900-seit Las Vesas show-
case is the latest in National Gen-
eral's announced plans to add to its
circuit of 217 theatres in 16 Western
and MidAS estern states during the
next three years.

In the expansion program, Klein

International Projectionist December, 1964

Opening of the new Fox Theatre,
scheduled for early Spring, 1965, will
be staged in traditional Hollywood
fanfare of stars, searchlights, music
and entertainment. iP

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12

International Projectionist December, 1964

Four New Film Types
Introduced by Kodak
At SMPTE Convention

Four new tvpes of motion picture
films. offering cinematographers
greater range and ease under vari-
ous operating conditions, were an-
nounced by Eastman Kodak Compa-
ny at the convention of the Society
of Motion Picture and Television
Engineers.

The films include a new reversal
print film, an extremely fine-grain.
low-speed tvpe for recording brighl
daylight scenes and a high-speed, me-
dium grain film for photographers
working with available light. They
are:

1 Eastman Reversal Color Print
Film. Type 7387, 16mm.

2. Eastman l\ Panchromatic Nega-
tive Film, Types ~y22\ 7221.
35mm and 16mm.

3. Eastman Fine Grain Duplicating
Positive Film. Types 5366 7366,
35mm and 16mm.

4. Eastman XT Panchromatic Nega-
tive Film. Tvpes 5220 7220. '>.">-
mm and lOmm.

Advances in emulsion making and
processing methods have enabled Kn
dak to introduce Eastman Reversal
Color Print Film, Type 7387. Su-
perior color reproduction — especially
in greens and reds, improved sharp-
ness, somewhat finer grain and high
er speed are features of this new
film.

In addition, this film type will be
of value when reversal film prints
are used for work prints or answer
prints. Its reproduced qualitv closelv
matches that of an Eastman Color
Print on Type 7385 through a Type
7270 internegative. It's almost a full
stop faster than Eastman Type 5260.
and has a high quality negative-posi-
tive silver sound track much like that
of Type 5269, but superior in cer-
tain respects.

The new Eastman 4X Panchro-
matic Negative Film will permit cam-
eramen to film in extremelv adverse
lighting situations. It even can be
used in places where the lighting is
so low that a reading cannot be ob-
tained with an exposure meter. For
this reason 4X Panchromatic is ex-
pected to be used extensively by news
and industrial photographers and for
night shooting. Despite the speed of
this new film — which is about tw ice
the speed of the Eastman Tri-X Pan-
chromatic Film it succeeds - there is
little or no increase in granularity .

The third new film. Eastman Fine
Grain Duplicating Positive Film.
Types 5366/7366, is faster than pres-
ent fine grain duplicating positive

1mkk.natio.nal Projectionist December, 1964

films and makes possible a fourfold
increase in printing speed - — without
a resulting increase in granularity.
Scene information can be placed
more easily than with earlier film
tvpes. The film can be processed at
high temperatures, as in an Eastman
Viscomat Processor using Kodak
Viscomat Developer. Type III.

Cinematographers will find the
new black-and-white Eastman XT
Panchromatic Negative Film, Types
5220 7220 of special value for ex
terior motion picture work. This film
provides extremely fine grain and
sharpness for outside photography or
lor other situations where the inher-
ent light level is high. It has approxi-
mately one-third the speed of East-
man Plus-X Panchromatic Negative
Film, Tvpes 1231 and 7231.

\\ Idle the new Eastman 4X Pan
will extend available speed range on
the high side. Eastman XT Pan will
extend the speed range on the low
side. Color sensitivity and filter fac-
tors for XT Pan are about the same
as those for other Eastman negative
films. iP

SMPTE Asks for
Color TV Control

M.\\ YORK — Careful control in
staging and photograph) of color
films for television has been recom-
mended bv a special engineering sub-
committee of the Society of Motion
Picture and Television Engineers.

I he joint subcommittee of the So-
cietv"s Television and Color Com-
mittees has been working to estab-
lish >\IPTE Recommended Practices
for density and contrast range of
films for color television. During this
work, the group reported, "it be-
came evident that optimum control
of release print density range could
be achieved onlv if the original
photography were carefully con-
trolled.'"

Subcommittee Chairman John M.
Waner. taking note of the special
problems of color television film
transmission and reception, summar-
izes the findings as follows:

• It is desirable to limit the den-
sity range of the color print, and to
include a ''reference white" and
"reference black" in the scene for the
benefit of the video operator or
automatic video control.

• The recommended maximum and
minimum refiectances of fully illumi-
nated materials that are to be re-
produced with good detail are 60%
for whites and 3% for blacks, with
existing
niques.

film products and tech-

used for special effects and night
scenes.

• It is emphasized that the most
important, practical and effective
way to control the density range of
the color print is in the staging and
photography, rather than in the final
printing.

"There is no sharp dividing line,"
the subcommittee reported, "between
color prints that would be generally
regarded as acceptable for television
transmission and those that would
be considered unacceptable.

"The particular recommendations
for color television films that are
described herein represent observa-
tions taken from films with scenes
that did reproduce well on a typical
color television system.

"Deviation from these recom-
mendations should be accompanied
with caution and should be under-
taken only if a particular effect is
desired or if tests show that good
color television reproduction can be
obtained from such films and that
they can be printed and intercut
properly with films that are known
to transmit successfully."

PROJECTOR
CARBONS

Better
Light!

Lower
Costs!

RINGSDORFF CARBON CORP. East McKeesport, Pa.

• For a fully lighted day interior
scene, a lighting ratio of 2 to 1 is
recommended. Higher ratios may be

Norelco

projection
equipment-
Available from
leading theatre supply
dealers

North American Philips Co., Inc.

Motion Picture Equipment Division
100 E. 42nd St., New York 17, N.Y.

13

70 mm

from page 10
could only be emphasized by saying
that in this manner it is possible to
to show Drive-in audiences a picture
they have never seen before — and
such presentation will also solve the
entire problem of low-key and night
scenes for Drive-Ins.

The accompanying chart is a com-
pilation of technical data prevailing
at both Drive-Ins mentioned above,
as well as a true report on the screen
readings made during my tests.

SATSE Local Riled
About- Film Prints

Charging that "for years now the
condition of too many prints ex-
hibited in New York City theatres
has been very bad," Moving Picture
Machine Operators' Union, Local 306,
IATSE, has issued a warning to the
film companies that, if something is
not done about it, action will be
taken by the union.

In a letter to the heads of all the
distribution companies Steve DTn-
zillo, Local 306's New York business
agent, put them on notice that "un-
less a marked improvement in print
condition takes place within the next
few months" the union "will have
no alternative" but to take the follow-
ing steps:

1. "Reject the very bad
prints."

2. "Refuse to do extensive
print repair during showtime."

3. "Charge overtime for any
print repairs other than normal
inspection for cuts, occasional
bad splices and cue marks."
"There are exceptions, to be sure,

which include the initial new prints
at the start of a release," DTnzillo
told the company heads. "It is obvi-
ous, however, that most often prints
are still kept in service long after
they should have been junked."

The "situation" was held to be "so
bad that it is causing an increasing
number of disputes between this
union and theatre managements."

"Many prints" were said to be in
such bad condition "that the pro-
jectionist should refuse to run them
according to the city code and there-
by protect his license."

"Some companies are more respon-
sible than others in servicing the-
atres with useable prints," added the
letter. "No effort is here being made
to blame all equally. Nevertheless
there needs to be a general coordi-
nated industry effort, as well as a

14

company-by-company one, if there is
to be demonstrable improvement."

"For the good of all concerned"
the company heads were exhorted to
give the problem their "immediate
and urgent attention."

Stambaugh Named by
UC's Carbon Products

Robert P. Stambaugh has been
named director of development for
the Carbon Products Division of
Union Carbide Corp. In his new posi-
tion, he will be located at the divi-
sion's Technical Center at Parma,
Ohio.

Mr. Stambaugh was graduated
from Purdue University in 1942 with
a B. S. degree in chemical engineer-
ing, and joined Union Carbide's
Plastics Division. He transferred to
National Carbon Co.. now known as
the Carbon Products Division, in
1946, and went to Cleveland in 1950
as a development engineer. Trans-
ferred to Niagara Falls, N. Y„ he
became head of the works laboratory
there in 1955, was named assistant
plant manager in 1956, assistant de-
velopment manager in 1957, and
since 1959 has ben manager of the
Niagara Development Laboratory.

Mr. Stambaugh is a member of the
Electrochemical Society and the
American Chemical Society.

SMPTE Conference
Set for March 28

NEW YORK — Planning of the
most diverse and comprehensive con-
ference in the history of the Society
of Motion Picture and Television
Engineers (SMPTE) is well under-
way.

The 97th semiannual conference
and exhibit is set for March 28 to
April 2, at the Ambassador Hotel in
Los Angeles. Program Chairman is
Dr. Richard J. Goldberg, Technicolor
Corp., Research and Development
Division.

There is an exhibit area for 81
booths of equipment to be located
adjacent to the technical sessions in
the hotel.

Topics and topic chairmen have
been chosen and numerous papers
have already been selected. Al-
though the formal topical structure
is broad, reflecting the growing in-
terests of SMPTE's members, any
papers which do not fit under one
specific topic heading will neverthe-
less be welcomed for the program:
they will be assigned a place in the
proceedings by the program chair-
man.

Authors forms are availale from

SMPTE Elevates
15 Members To
Society Fellowships

Fifteen members of the Society of
Motion Picture and Television En-
gineers (SMPTE) are being elevated
to the grade of Fellow of the Society
in recognition of their outstanding
contributions.

The 15 new Fellows, announced
by out-going president Reid H. Ray
are: Alex E. Alden, Wallace F.
Bischof, James P. Corcoran, C. Rus-
sell Dupree, George R. Groves, Wil-
liam G. Hyzer, Saul Jeffee, Harry
W. Knop, Jr., Orlando S. Knudsen,
Anthony H. Lind, Albert S. Pratt,
Alex S. Quiroga, Roderick T. Ryan.
William M. Sheahan and Edward A.
Winkler.

Fellows Recognized

The new Fellows, nominated by a
committee headed by SMPTE past-
president John W. Servies, were rec-
ognized during the Society's 96th
Technical Conference in New York.

Alden has been staff engineer of
SMPTE for the past three years.
Previously, he was employed for 15
years in the research and develop-
ment division of 20th Century-Fox
Film Corp., and in 1962 was a co-re-
cipient of the Academy Technical
Award given to 20th Century-Fox
for a decompression printer for TV
release of CinemaScope pictures.

Bischof is project manager for
RCA Redstone Pictorial Services,
Huntsville, Ala. A founder of SM-
PTE's Huntsville Section, he is a
graduate of The Colorado College
and did graduate work in Chemistry
at the University of New Mexico

20th Century Fox official

Corcoran is sound director for
20th Century-Fox Film Corp. in Los
Angeles. He is a graduate of the
University of Washington and has
been with Fox since 1938. Mr. Cor-
coran has served on the Society's
Sound Committee and has contrib-
uted papers to the SMPTE Journal.

Dupree is development engineer
for J. A. Maurer, Inc., in Long
Island City, N. Y. Previously, he was
an engineer at the Army Pictorial
Center in Long Island City, NY. Mr.
Dupree is current chairman of the
SMPTE. iP

Chairman Goldberg, or from any
topic chairman, or from SMPTE
headquarters in New York.

The complete list of topics and
topic chairman will appear in the next
issue of IP. iP

International Projectionist December, 1964

Cosby Sets Up New
Carbon Products Regions

The establishment of two regional

divisions in the arc carbon market-
ing group of Union Carbide Cor-
porations Carbon Products Division
was announced recently by J. \\ .
1 osby, arc carbon marketing man-
r. Mr. ('o?l>\ added that the
change was necessitated in order to
i •'iitinue to provide the best possible
customer service in the face of in-
creasing business activity.

The eastern division, to be head-
quartered in New York ('itv. will be
headed 1>\ P. H. Freeman as man-
ager. Western division manager will
be \\ . T. Brenner, who will he Io-
cated in Chicago.

Freeman joined I nion Carbide in
1950 following graduation from Ni-
na I niversity. \fter military ser-
vile from 1951 to 1953, li«' returned
to the arc carbon sales department
and served in both Charlotte, Y C.
and New York. Since January, L962,
be has been arc carbon -ale< man-
ager.

Brenner was graduated from Seton
Hall I niversit) in 1950 with a bache-
lor ol science degree. Following ser-
vice in the \rm\ \ii Corps . he work-
•il with two motion picture companies
and joined I nion Carbide in L959 as
an arc carbon sales engineer with
assignments in Charlotte. N. C, and
most recentl) in Dallas. Texas.

Kalart Firm Gets
Freedom Award

The Kalart Co., Inc. is one of
7 Connecticut Industrial firms of
a total of 104 U. S. firms
who received awards from the "Tools
for I' reedom" Foundation. U. S. in-
dustrial firms donated a total of
SuOO.UOO worth of new equipment to
be used in the International Center
for Advanced Technical and Voca-
tional training, a United Nations
sponsored facility for the develop-
ing nations in Turin. Italy. "Tools
for Freedom" is a non-profit organi-
zation formed by the U. S. business
community to advance technical
training in under-developed coun-
Vtries.

The Kalart Company, Inc., through
it- audio-visual division, The Vic-
tor Animatograph Corp.. donated a
Kalart Victor Model 70-25MP 16mm
sound projector with a 12-inch sep-
arately cased speaker. This unit in-
cluded a special built-in pre-ampli-
fier and interchangeable sound heads

Kalart officials show their award
from the Tools for Freedom Founda-
tion.

which permit projection of either op-
tical or magnetic sound tracks.

I he Victor Animatograph Corp.
manufactures and distributes an ex-
tensive line of L6mm sound projec-
tors and related audio-visual equip-
ment on a world w i<le basis.

Increased emphasis bv the Export
Department of the Victor Animato-
graph Corporation has resulted in
a far reaching program foi the de-
velopment and um' ol audio-visual
techniques in foreign countries. From
Iceland to Laos, regardless of cli-
mate or conditions. Kalart Victor
made projectors are used to teach
and train. Complete engineering and
technical services are offered bv the
\ ictor Animatograph Corp. to all for-
eign countries who request aid in
the development of their audio-visual
departments. Thru the extensive use
of 16mm sound movies manv of the
underdeveloped countries are able to
train and teach their personnel in
modern methods and procedures. iP

OUT OF PRINT

MITCHELL MANUAL

AVAILABLE!

The renowned "Manual for
Practical Projection" by Robert A.
Mitchell is now out of print, ac-
cording to an announcement by the
bookseller. International Projec-
tionist.

Returns from our retail outlets
have been consolidated and we
now have approximately 40 vol-
umes of the Mitchell Manual avail-
able on a first-come-first served
basis.

These books are in brand new
condition, complete with dust
jackets; have never been used.
This rare publication can be yours
for $10 cash or money order.
Sorry, no C.O.D. or foreign orders
can be accepted at this price.

Sheehan Booksellers

P.O. Box 6174
Minneapolis, Minn. 55424

America's
headquarters

for all
theatre equipment

supplies

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THEATRE SUPPLY COMPANY

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International Projectionist

December. 1964

15

Our greetings and best wishes for a Merry Christmas
and a New Year of fruitful discussions pointing the
way to fulfillment of the world's hope for lasting
peace.

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

- 1

!; 1

i

i

i'

Projection booth of the Walter Reode-Sterling Community
Theatre, Eatontown, N. J. showing Ashcraft's Core-Lite
arc lamps. The projected Cinemascope picture is 40 feet
wide at a projection distance of 95 ft. The projectors are
Simplex XL with Simplex XL-Norelco sound system. Photo
courtesy C. S. Ashcraft Mfg. Co.

(X89C<>) aoTrfATa «*ap*0

JANUARY
VOLUME 40
40c A COPY

1965
NUMBER 1
$3.00 A YEAR

Investment Opportunity

The tools this young apprentice is learning to make will
one day be used to turn out your company's products.

A great investment in time, money, effort and faith
will have to go into making him productive. Every one
of us has a stake in his success — and every one of us
must invest something — for on the developing skills of
America's young tool-makers depends the continued
functioning of all industries.

You can protect your investment by joining with other
leading American businessmen to promote the Treas-
ury's Payroll Savings Plan for U.S. Savings Bonds. The
Treasury Department's Plan helps safeguard the individ-

ual liberties, and encourages the industrious and respon-
sible attitudes so necessary for the growth of our econ-
omy and the well-being of our society.

When you bring the Payroll Savings Plan into your
plant — when you encourage your employees to enroll —
you are investing in the next generation of America's
skilled craftsmen and technicians. You are investing in
our future. In freedom itself.

Don't pass this investment opportunity by. Call your
State Savings Bonds Director. Or write today to the
Treasury Department, United States Savings Bonds
Division, Washington, D.C., 20226.

in your plant... promote the PAYROLL SAVINGS PLAN for U.S. SAVINGS BONDS §({

• The U. S. Government docs not pay for this advertisement. The Treasury Department thanks, for their patriotism, Tlie Advertising Council and this magazine. •

;

INTERNATIONAL

PROJECTIONIST

Volume 40 Jan. 1965 No. 1

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO
Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue. New York, N. Y., 10017

Telephone Murrayhill 7-7746

(Area Code 212)

IN THIS ISSUE

Part II

70 mm In Drive-in's 4

By Walter Beyer

Another Walter Reade Theatre, and

New Ashcraft Installations 6

Getting Ready for Spring 1 1

News Notes — Technical Hints — Miscellaneous Notes

INTERNATIONAL PROJECTIONIST, published monthly by the
International Projectionist Publishing Co. division of The
Northern Publishing Co., Post Office Box 6174, Minneapo'is
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copyrighted 1965 by INTERNATIONAL PROJECTIONIST
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International Projectionist January, 1965

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INTERNATIONAL PROJECTIONIST

Volume 40

January, 1965

Number 1

Part II

Drive-in Operations with
70 mm Equipment

By Walter Beyer
Universal Pictures

If one thinks of a shortage of 70MM prints it may be worthwhile to list
all the pictures that are now and in the near future available, such as:
Technicolor 70mm prints (general release) — "Oklahoma" "Sleeping
Beauty" "Around the World in 80 Days" "South Pacific" "Solomon and
Sheba" "Spartacus" "Porgy and Bess' "The Big Fisherman" "Ben Hur"
"Exodus" "West Side Story" "Black Tights" "King of Kings" "El Cid"
"Can-Can" "The Alamo" "Mutiny on the Bounty" "Cleopatra" "Lawrence
af Arabia" "It's a Mad, Mad, Mad, Mad World" "The Cardinal" "Becket"
'My Fair Lady" (to be released) "The Greatest Story Ever Told" (to be
released) "Cheyenne Autumn" (to be released) "The Golden Head" (to
be released) "Fall of the Roman Empire" (to be released) "The Long
Ships" (to be released) "Lord Jim" (to be released) "Circus World" (to be
released) "The Agony and the Ecstasy" "Sound of Music" "Magnificent
Men in their Flying Machines" "The Day Custer Fell" "Taras Bulba"
"Barrabas" "Carpetbaggers".

I like to say that my trial runnings of "Spartacus" material, for instance,
which is technically one of the best Super-Technirama 70MM pictures
released, created in every sequence an audience participation effect. This is
possible since, in spite of the huge Drive-In screen, the viewing distance
for the average patron is always at least more than two screen widths away
and, therefore, remains overall a small size picture. Whereas, with such
brilliance one loses the awareness of screen location and really views the
entire picture content with an increased depth effect.

Concluding, it should be stated that the 70MM print alone, however,
is not the solution for the Drive-In theaters, and even though many are
already equipped with 70MM projectors, I would like to emphasize very
strongly that in order to warrant the showing of 70MM prints these Drive-
ins should live up completely to specifications as close as possible to the data
as attained and published from these tests.

As to special applications of the 70MM release print, one could of
course write an entire article on that subject by itself. Within the scope
of this paper however, I like to restrict myself to some of the latest develop-
ments that have a direct bearing to increasing the availability of 70MM

4

Figure 7 A

International Projectionist January. 1965

TECHNICAL DATA DURING TESTS AT THE
NORTH STAR DRIVE-IN THEATER, DENVER

1) Wide Screen Readings

Screen brightness readings:
15 4.5 3

3 5.5 3.5

3.5 5 3

4

4.5

Average foot-Lamberts: 3.2

4.7 52

Light distribution: 70%

Lens used: 4 inch f:2

Aspect ratio: 2 to 1

Jet arc burned at 150 amps., 100

volts

Screen image size: Approx. 114 x

57 feet.

Throw: Approximately 552 feet
Screen size: 135 x 60 feet.

2) 70MM Readings

Screen brightness readings:
5.5 10 6

5 11 6.5

5.5 10 5.5

13
11.5
12
11.5
Average foot-Lamberts: 5.2
11.3 6.0

Light distribution: 50%
Lens used: Kolmorgen 7.5 inch f:2

Jet arc burned at 150 amps., 100

volts

Screen image size: 135 x 60 ft.

Figure 7C

prints. By that I mean the possibility to provide 70MM prints from pictures
that are originally photographed in CinemaScope or Panavision on 35MM
film.

This process is illustrated with the aid of film clippings from the picture
"Carpetbaggers". Figure 7 shows at "A" the squeezed camera original
negative. "B" is the 2:1 squeezed print for 35MM release and "C" repre-
sents a 70MM release print clipping made from the 35MM original negative.
In the Technicolor Laboratories the original negative is unsqueezed and
minutely magnified to fit perfectly on 70MM film for a compatible 70MM
release print.

With this process the producer has an excellent opportunity to provide
first run and/or roadshow houses and of course properly equipped Drive-Ins
with 70MM prints of outstanding quality. These prints are not to be
classified as "blow-ups" but rather "print-up" pictures. The unsqueezing
in the printer is not a blow-up or magnification and does not reduce picture
quality.

Another special type of prints from Technicolor are the single film
70MM prints for Cinerama, a clipping of which is shown on Figure 8. This
print has inherent a minute squeeze horizontally to compensate for the
"tangend" projection situation as it prevails at the sides when showing it
into a deeply curved screen. It thus avoids "elongation" of faces, etc., on
the sides but does not require anamorphic projection lenses.

Last but not least I would like to disclose a very special 70MM film
clipping related to using 70MM print stock to carry the left and right eye
images of a 35MM picture produced in 3D.

This print, again made by Technicolor shows that the 70MM print can
easily accommodate the two 3D - images in perfect registration for a single-
film single-projector 3D presentation.

In cooperation with the technical director of technicolor, Mr. W. Pohl,
I have made successful tests on a big screen proving this method to be
desirable for 3D showings either new productions or re-releases in this
medium.

It would exceed the scope of this article to go into further details on
beam-splitting etc. at this point but I considered it worthwhile to disclose
this special application of 70MM film at this time, as a possible prospect
for the future.

There are of course many more uses for the 70MM print as image
carrier for special types of shows, such as for instance used at the World's
Fair with 10 perforation pulldown projectors etc., too numerous to describe
in detail. jp

International Projectionist January. 1965

Figure 8

Figure 9

RURAL MOTIF — Walter Reade-Sterling's new Community Theatre, Eatontown,
N. J. The design and construction follows the rural motif established last year
with the opening of the Reade-Sterling Community Theatre in the Barclay Farms
section of Cherry Hill, N. J. Photo courtesy C. S. Ashcraft Mfg. Co.

The Cover Story

Walter Reade-Sterling Theatres Make
Fourth Ashcraft Core-Lite Installation

Walter-Reade-Sterling, Inc., operat-
ing more than 50 hard tops and
drive-ins in New Jersey, New York
and Long Island, recently opened its
latest new theatre in Eatontown, N. J.

The new Community Theatre seats
slightly less than 900 people, and is
a near duplicate in design and con-
struction of their new Community
Theatre which opened in the Bar-
clay Farms section of Cherry Hill,
N. J. last fall. The new Eatontown
Theatre is almost identically equipped
as the Cherry Hill Theatre (see Nov.,
1964 IP) which incidentally marks
the fourth Walter Reade-Sterling the-
atre to be equipped with Ashcraft
Core-Lite arc lamps and twelve phase
selenium rectifiers within the past
year. Other Reade theatres making
Core-Lite installations are the Strand
in Plainfield, N. J. and the Coronet,
New York City.

Sam Colisimo, chief of projection
and maintenance for all Walter
Reade-Sterling Theatres, said follow-
ing the Eatontown opening, "The
projected picture on the screen
should be reproduced with the same
lighting characteristics as when it

was photographed. Modern photog-
raphy demands modern projection
arc lamps if perfect screen lighting
is to be realized." iP

Sound Service Men
Receive IATSE Boost

IATSE sound service engineers
will receive a wage increase of $7.50
per week in two annual steps under
terms of an agreement announced
by Richard F. Walsh, president of
the union.

The new contracts with Altec and
RCA provide a $5 raise effective
Jan. 2, to be followed by another
$2.50 on Jan. 2. 1966. They ex-
pire at the end of that year.

The companies also agreed to
grant a third week of paid vacation
after 12 years of service. Heretofore
it was 15 years. In addition, the
sound men will be offered a major
medical insurance plan. As in the
past, the Altec and RCA pacts are
expected to set a pattern for later
agreements with a number of other
sound service companies. iP

SMPTE Conference
Names Topics Chairmen

NEW YORK — Topics and topic
chairmen have been set for the 97th
semiannual SMPTE conference and
exhibit, set for March 28 to
April 2, at the Ambassador Hotel in
Los Angeles. Program Chairman is
Dr. Richard J. Goldberg. Technicolor
Corp., Research and Development
Division.

Applications in Science and Tech-
nology: Dr. Philip N. James, Techni-
color Corp.. 2800 West Olive Ave.,
Burbank. Calif. 91505.

Aerospace Cinematography: Lloyd
E. Watson, Aerospace Corp.. P. 0.
Box 95085, Los Angeles. Calif.
90045.

Instrumentation & High - Speed
Photography: John Waddell Douglas
Aircraft Co.. 3000 Ocean Park Blvd..
Santa Monica, Calif.

Laboratory Practices: W. Daniel
Carter, Consolidated Film Industries,
959 Seward St., Hollywood, Calif.
90038.

Motion Picture & Television
Abroad: Rodger J. Ross, Canadian
Broadcasting Corp., 354 Jarvis St.,
Toronto, Ont., Canada.

Motion Pictures & Television in
Education: Dr. Bernard R. Kantor,
University of Southern California,
Dept. of Cinema, Los Angeles. Calif.
90007.

Motion Pictures & Television in
Medicine: Lowell Wentworth, Bay
State Film Production, Inc., 80
Boylston St., Boston, Mass.

New Materials and Processes:
George W. Boemler, Kalvar Corp.
12345 Ventura Blvd., Suite J. Studio
City, Calif. 91604.

Photographic Science & Engineer-
ing: Alan Gundelfinger, Technicolor
Corp.. 6311 Romaine. Hollywood 38.
Calif.

Rapid- Access Photography : Dr.
LeRoy M. Dearing, L. M. Dearing
Associates, Inc., 12345 Ventura
Blvd., Suite Rm Studio City, Calif.
91604, and

Television Developments: Eliot
Bliss, Columbia Broadcasting Sys-
tem, Inc. TV, 7800 Beverly Blvd.,
Los Angeles, Calif. iP

16mm-35mm Xenon
System Added by Xetron

The Xetron Division of Carbons.
Inc., Boonton, N. J., announces the
addition of the Cinemeccaniea CX-
900 lamphouse to their line of Xenon
light sources. This is a compact,
highly efficient unit, designed to

International Projectionist January, 1965

operate with 16mm and 35mm pro-
jection systems.

\\ lien operating at 45 to 50 am-
peres, this lamphouse will deliver
1000-5000 lumens of high intensity
light. It is a complete unit including
the high voltage starter, ventilating
fan. seven inch reflector and elapsed
time meter.

It is especially suitahle for small
screening rooms using 35mm projec-
tion and with 16mm applications to
replace the carbon arc lamp. iP

Identification of
16mm Film Simplified
In New Method

\ new method of "branding"
16mm film for positive owner identi-
fication will he uiv.-n a "sneak pre-
view" at the Film Council meeting
in New York Citv on \pril 21-22 hv
the Film Identification Bureau.

The Film Identification Bureau, a
Division of the Jack C. Coffev Co.,
Inc.. North Chicago. III., will he de-
Bcribed in detail. The "branding"
system will receive an industry-wide
introduction at the Department of
\udio- Visual Instruction convention
in Milwaukee immediatelv following
on April 26-30.

The service uses a patented, pre-
cision machined code press and
matching plates to emboss small in-
dentations on the frame lines of
film. The never-duplicated code is
unable to be copied and will prov ide
positive ^identifying marks for film
libraries, producers, schools and
others to prevent loss, "straying",
theft and print-switching.

Each subscriher leases the code
press and plates to mark the films
in his library, and the "branding"
is good for the life of the print.
Each subscriber to the Film Identi-
fication Bureau services will have his
"brand" registered for quick, posi-
tive establishment of ownership.

Every year tens of thousands of
feet of valuable film are lost, mis-
handled, shipping labels removed,
improperly mailed, even "accidentlv"
switched. This FIB service will quick-
ly get the right print back into it"s
owner's possession, so it can quicklv
become available for rental or show-
ing.

Films can be "branded" every
75-100 ft., in addition to the leader,
so that it will be impossible to re-
move the marking without ruining
the contents of the film. Special
leader material with imprinting is
available from the Film Identifica-
tion Bureau, or subscribers mav use
their own leaders and tails. iP

International Projectionist January, 1965

TAKE YOUR PICK

0/ the 2 means of power conversion for projection lighting.

^fatf BI-POWR

Silicon Stack Rectifier
for Operation off 2 Lamps

■

HEAVY

ROTATING

EQUIPMENT

Costs considerably less than 2 separate
low priced single rectifiers.

Costly to purchase and maintain in good
working order.

Saves average theatre about $42 per month
on power bill.

Power bills average about $42 higher than
with the Bi-Powr.

Double protection against failure. You keep
operating.

Failure means your show is down.

Require no current-wasting ballast rheostats.

Require current-wasting ballast rheostats.

Silent.

Noisy.

Easy installation. Requires only one line
service.

Expensive installation.

Requires one-third to one-half less floor
space than two properly installed conven-
tional rectifiers.

Requires about twice the space of other
means of conversion.

Send for literature on the Bi-Powr today. There are
^0^^. j2 models for every requirement.

THE £?&& ELECTRIC CORPORATION

31 CITY PARK AVENUE •TOLEDO, OHIO 43601 • PHONE: (419) 248-3741

There's Plenty for You At

CENTURY!

. . and from CENTURY only

dramatic, New ALL TRANSISTOR
sound systems

'True high-fidelity,
distortion free.
Low irrsta I lation cost,
minimum space needs.

* Increased reliability,
less maintenance.

*No vacuum tubes, no
photoelectric cells.

*

and the only American-made 70 mm 35
theatre projection systems

SEE

YOUR CENTURY

DEALER

for bigger, brighter projection.

CENTURY PROJECTOR CORP.

New York 19, N. Y.

LOTS Of LIGHT
FOR SALE

at a Bargain

with this marvel of
projection lamp.

e NEW

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LIGHT

PER CARBON DOLLAR

for 35mm and 70mm pro-
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.one film width to the other.

* NEW
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TOP LIGHT OUTPUT

for indoor and drive-in
theatrei.

.. NEW
|^S•**FUTURA,

THE MOST ADVANTAGES

Low original cost. Greater op-
erator convenience. Efficient
use of standard 20-inch car-
toons.

See your Strong dealer or
write for literature.

Electric Corp.

31

City Park Ave., Toledo, Ohio 43601

TELEPHONE: 248-3741
AREA CODE: 419

This is the entrance to the new Marbro Drive-In in Chattanooga, owned
by the Martin Theatre circuit. The illustration shows the changeable letter
sign, screen, concession building and projection building used in this new installa-
tion. Ashcraft products are used in the projection booth. A 6-foot high cedar
fence surrounds the entire drive-in.

Hollywood Cameraman
Relates Movie
Making Experiences

(SPLINTERS FROM HOLLY-
WOOD TRIPODS by Virgil E.
Miller, A. S. C, 139 pages,
$4.00, An Exposition-Banner
Book, Exposition Press, Inc.,
N. Y.)
Many books have been written
celebrating — or denigrating — Holly-
wood stars. Virgil E. Miller, prob-
ably more than any other person,
was the man behind the camera
which brought them immortality. In
his book. "Splinters From Holly-
wood Tripods," he focuses on his
fellow cameramen and others behind-
the-scenes colleagues and profes-
sionals.

Many of Miller's experiences — and
those of his coworkers — were filled
with danger, excitement and some-
times hilarity. How does one go
about photographing a runaway loco-
motive, for instance, so that it
smashes directly into the camera?
Miller solved that problem with a
mirror trick — and without injury.

He was less fortunate when an-
other assignment called for him to
get some close-ups of a group of
"tame" lions. One of the beasts sud-
denly swerved from the path he was
expected to run in and charged be-
tween Miller's legs, sending him and
his tripod flying into the air. The
cameraman next found himself rid-
ing, for about ten seconds, on the

Here is the installation of Super Core-
Lite arc lamps and twelve phase sele-
nium rectifiers in the projection room
of Martin Theatre's new Marbro Drive-
in, which opened early last October at
Chattanooga. Water recirculators are
used to cool the solid silver positive
carbon contacts with the lamps burn-
ing 13.6 mm x 18 high intensity car-
bons at 150 amps. Screen width is 110
ft. Illustration courtesy C. S. Ash-
craft Mfg. Co.

International Projectionist January, 1965

Beyer's 35170 MM Analysis

The following Drive-In theatres are presently equipped with 35/70MM pro-
jectors.

DRIVE.IN

Midway

Pacific

Rancho

Twin

Miracle Mile

Twin

Fairgrounds

Park Vu

Fairyland

North Sror

100 Twin

Maple Lear

Thunderbird

Cranston

Edgemere

Whitehorse Pike

Cascade

CITY and STATE
San Diego, Calif.
San Diego, Calif.
San Diego, Calif.
Indianapolis, Ind.
Pontiac, Mich.
Cincinnati, Ohio
Pittsburgh, Pa.
Salt Lake City, Utah
Kansas City, Mo.
Denver, Colo.
Minneapolis, Minn.
St. Paul, Minn.
Atlanta, Ga.
Cranston, R. !.
Shrewsburey. Mass.
Lawnside, N. J.
Vancouver, B. C.

lion's back, and only because the
bis cat was probably as surprised as
Miller did Miller escape with nothing
more than a few bangs and bruises.

Fast-paced and loaded with enter-
taining anecdotes, this chronicle <>f
the cinema greats and of the "little
people" who helped make them so is
fascinating reading for everyone who
is or ever has been a movie fan.

The author was born in 1 886 in
Illinois. In 1913 he went to Holly-
wood where he established the first
Electrical Department for Universal.
Subsequentlv he worked as a camera-
man for every major studio and be-
came head of both Paramount's
Camera Department and Selznick's.
Besides filming more than 100 fea-
ture productions, he has traveled
around the world photographing (>2
FitzPatrick Traveltalks. iP

William B. Spooner
Named to Manager
Post by Carbons, Inc.

In line with their program of ex-
panding services. facilities and
staff. Carbons. Inc.. Boonton. N. J.,
has announced the appointment of
\\ illiam B. Spooner as general man-
ager of Carbons. Inc.. Western Di-
vision.

"This is a progressive move,"
stated Frank Riffle. Carbons presi-
dent, "and particularlv a well de-
served promotion for Bill, whose
long, rich background along with
some 12 years with us in both sales
and engineering capacities has given
him a coast-to-coast reputation. His
highly specialized talents brings to
the field of theatre lighting and
projection exceptional skill and ex-
perience."

Mr. Spooner is located in the Los
Angeles area and will serve in both
the carbons and XeTRON divisions
of Carbons. Inc. iP

exchanges

Film Exchange
Workers Win
Wage Increase

Employees at film
throuuh the U.S. received a wage in-
crease of $5.50 per week effective
Dec. 1. Also presided in a new con-
tract announced bj the I.A.T.S.E.
are increased employer pension con-
tributions of 75c per week, bringing
the weekly total to $4.50.

Other benefits include:

\ third week of vacation after II
years of service. In the past it was
12 years. Maximum serverance pa\
of 15 weeks' salary for employees
who have worked 2!! vears or more.
The previous top was 14 week's pnv
after 2(> vears. Columbus Day off,
raising the number of annual holi-
days to nine.

Use- obtained was a clause giving
the local business agent and or an
International representative the right
to visit a branch during working
hours after notification to the branch
or office manager.

The agreement is for two years.
Companies coming under it are
M-G-M. Columbia. Buena Vista.
Allied Artists. National Film Service.
Bonded Film Service and National
Screen Service. iP

Closed Circuit TV for
RCA Stockholders Meet

The Radio Corooration of America
has announced that its 46th annual
meeting of shareholders will be held
in Chicago on May 4. 1965. and
linked to New York via a closed-
circuit two-way color television hook-
up.

The meeting will be held at the
Chicago Opera House. 20 North
Wacker Drive, and joined to the Na-
tional Broadcasting Company's fa-
mous Peacock Studio in Rockfeller
Center. New York, via closed circuit
color TV. iP

■3f

look

into

Stewart

Film screens

• ••the

choice

of
experts

►

y

FILMSCREENS FOR SHOWMEN-Stew-

art Projection Screens-the choice of
15 major exhibitors at the New York
World's Fair!

ULTRAMATTE-for commercial play-
houses, theatre TV. viewing rooms ■
Seamless to 46 by 88 feet ■ Optical
efficiency ■ Durable economy.
LUXCHROME 50-seamless rear pro-
jection ■ Superior image contrast in
lighted rooms.

FILMSCREENS also designed for A-V,
fairs, trade shows, exhibits, simula-
tors, plotting and display systems, and
special architectural requirements.

STEWART FILMSCREEN CORP.

1161 W. Sepulveda Blvd.
Torrance, Calif. 90503 (213) 326-1422

I want to look further into Stewart Film-
screens. Please send me additional

information on:

NAME

STREET

CITY STATE

H

4

FILMSCREENS FOR FILM PRODUCERS
-used by CBS Studio Center, Colum-
bia, Desilu, Disney, Fox, Goldwyn,
MGM, Paramount. Revue, UPA, Uni-
versal, Warners.

HI-TRANS -Academy Award back-
ground screen-highest calibre
production "tool."

ULTRAMATTE gain white, and LUX-
MATTE white matte— front projection
screens ■ Demanded by studios and
film labs for viewing during produc-
tion, dubbing, and scoring.
T-MATTE BLUE — rear-illuminated
screen for latest traveling-matte
process ■ Practical for large and
small sets, major productions, or TV
commercials.

FILMSCREENS FOR TV PRODUCTION

TV-BLUE-background screen ■
Favorite of networks ■ Versatile ■
Efficient.

LUXCHROME 60— neutral gray screen
for closed-circuit techniques, back-
grounds and rear projection viewing.

A

International Projectionist January, 1965

America's
headquarters

lor all
theatre equipment

supplies

National

THEATRE SUPPLY COMPANY

Norelco

projection
equipment-
Available from
leading theatre supply
dealers

North American Philips Co., Inc.

Motion Picture Equipment Division
100 E. 42nd St., New York 17, N.Y.

C. S. Ashcraft, Jr., president of the C. S. Ashcraft Mfg. Co., recently
announced two important promotions. Mr. Ashcraft said - "the promotions of
these two brilliant young engineers to administrative positions is a progressive
step in the top management of our company to make secure the high quality
of workmanship of our products, and a continuation of the arc lamp and rectifier
market our company has enjoyed for more than 40 years under the same owner-
ship-management."

Pictured above in the Allied booth at Detroit showing the Ashcraft Super
Core-Lite arc lamp are Larry Orthner, left, who .has been promoted to manufac-
turing superintendent, and Albert John, who smiles at his new responsibilities
as plant manager. Mr. Orthner will be in charge of all manufacturing and
assembly operations as well as quality control. Mr. John will be in charge of
factory personnel, material procurement and assistant to the president on matters
pertaining to engineering and development. Each has nearly 20 years experience.

Walter Beyer's iP
Article Forecasts
Growth in 70 mm

Top equipment manufacturing esti-
mates now place the number of the-
atres in the U.S. and Canada equip-
ped for 70mm showing at between
300 and 350. It is estimated that by
the end of 1965 there will be as many
as 500. The number is accelerating
rapidly.

Of the present total, some 25 or
30 of the theatres are drive-ins. Of
the new theatres bein°; built, the ratio

is running about 75-25% in favor of
hardtops.

A good part of the increase is due
to the overall boom in theatre con-
struction, rather than renovation of
old theatres, although this too is oc-
curing to some degree.

Installation of a pair of 35mm pro-
jectors costs somewhere between
$3,000 and $5,000, For a pair of
35mm- 70mm projectors the cost rises
to $12,000-$16,000, a sizeable dif-
ference, but not so when the expendi-
ture for the theatre is in terms of six
or seven figures.

Another reason for installation of
the 70mm equipment lies in the fact
that the major companies are in-
creasingly using some form of 70mm
process. iP

CARBON ARCS . . for finest Projection . .

JlowiaUte Ale GgsiJmhU / \

Compact Xenon Arcs

division
• Brighter Light on Screen

* Longer Burning per Carbon
* More Economical

MTJFiajsf

products

CARBONS, INC.

eThoss LAMPHOUSES

by Cinemeccanica

BOONTON, N. J.

cmnsf POWER SUPPLIES

by Christie

10

International Projectionist January. 1965

ing the Drive-In
Projection Ready for Spring

These hints nun serve as a guide
in getting \<>ur projection and sound
equipment ready for spring:

Place <>ne or two drops projector
oil in each idler oil hole, and look
the soundheads over carefully so as
not to miss an\ oil hole or oil cup.
The valve rollers of the upper and
lower magazines do not require luhii-
cation.

5. MAGAZINE REEL SPINDLE?

Plare several drops of projector
oil in the oil hole of each magazine
spindle shaft. Avoid spilling oil into
the friction-disc clutch of Simplex-
type lower magazine takeups. i ["he
cork discs of Motiograph takeups
nia\ be Boaked in oil when disassem-
bled, but this is the single exception
to the rule of "no oil in takeup fric-
tion clutches.'" i

C. ADJUSTMENTS

1. UPPER MAGAZINES

Make sure that the upper magazine
is in correct alignment with the valve
rollers and mechanism sprockets so
as to avoid twisting, scraping, ":
shearing the film. Spindle tension
should exert sufficient "drag" to pre-
vent a fully loaded 2000-ft. reel from
spinning too freely.

2. LOWER MAGAZINES

Replace takeup belt if loose, worn,
or oil-saturated. I Loose or oily belN
slip and cause the film to take up in
an irregular manner. I It is often
advisable to disassemble the takeups
completelv and wash the parts in
lighter fluid or cleaning naphtha to
remove oil and dirt from the friction
disc and clutch slipping surfaces, but
this chore takes time and may be
deferred if the takeups appear to be ir
good working condition.

Adjust tension so that a fully
loaded 2000-ft. reel in the lower
magazine will start turning of its own
accord when the projector is switch-
ed on. but not so much tension thai
the reel cannot easily be held back
from turning with light pressure cf
the finger.

3. FIRE V\LVE ROLLERS

Check the rollers for free turning
and absence of "flats" which scratch
the picture and soundtrack areas of
the film. Worn rollers should be re-
placed without delay!

4. AUTOM \TIC FIRE SHUTTER

Turn the projector motor on. and
after the machine has attained nor-
mal running speed, turn it off. mean-
while observing the lifting and drop-
ping action of the fire shutter be-
hind the film aperture. The shutter
should drop before the machine has
come to a stop. Remove obstructions
which interfere with it- action, and
make sure that the centrifugal gov-
ernor which controls its action is free
from dirt and in good condition.

5. TRANSMISSION. MECH VNISM,

\M) SOUND HEAD GEARS

(".heck all gears and replace those
having chipped or otherwise dam-
aged teeth. Check all gear trains for
c\cc--ive backlash, especially the
shutter-driving gears. A small amount
of backlash is normally present in
a projector, but excessive backlash
in the shutter gears is troublesome
and requires extra blade width to
avoid travel ghosts. This wastes
light. Replace gears having worn
teeth.

Racklash in the main gear train
can be reduced by replacing the gear
shafts with oversize shafts made es-
pecially for old machines with worn
bearings.

6. FILM SPROCKETS AND
IDLERS

Examine all sprockets in mechan-
isms and soundheads for worn and
undercut teeth. Undercutting is de-
tected by noticing whether a knife-
blade "clicks' when passed lightly
over the film-contacting face of a
tooth from base to tip. Reverse
or replace worn sprockets, deferring
the changing of sprockets on old-
style intermittents until the move-
ments are overhauled.

L ine up idlers laterally, if neces-
sary, and adjust each for a space of
2 thicknesses of film between idler
and sprocket faces. {Continued)

PROJECTOR
CARBONS

Better
Light!

Lower
Costs!

RINGSOORFF CARBON CORP. East McKcesport. Pa

Projectionists

who like quality

always use the best

itar

Film Cement

Sold by Supply Dealers

Send for FREE Sample

ACE CHEMICAL CO.

■ (Division of the

Ac* Electric Mfg. Co.)

1923 Bay Road

Miami Beach, Florida

ASHCRAFT

CORE-LITE

SUPER CINEX
CINEX SPECIAL
PROJECTION LAMPS

And

HIGH REACTANCE

MULTI-PHASE

RECTIFIERS

World's Standard of
Projection Excellence

International Projectionist January, 1965

11

ALLIED DISPLAY — The Bristol Beacons display at the Allied convention
and conclave in Detroit shows. (L-R) H. J. Ringold, president, Ringold Theatre
Equipment Co.; F. M. Meyers, president, Bristol Electronics, Inc., and Jack Arm-
strong, president o£ Allied. The Bristol Beacons manufactured by Bristol Elec-
tronics, are self contained, portable, flashing Neon signs designed for highway
approaches and drive-in theatres. Battery life is approximately 700 hours
and with batteries weighs only 12 lbs. The signs are available in 12x24 and
18x24 in. The legends available for the drive-in operation are depicted in the
photograph and other legends subjects to the requirements of the drive-in oper-
ator. The BRISTOL BEACONS are waterproof and weatherproof and are avail-
able for "horse mount" and "stanchion mount" and will rest on all flat surfaces.
The patented circuitry and neon tubing are guaranteed for five years, except
for breakage of tubing.

7. GATE TENSION
Replace worn tension bands

of

curved-gate mechanisms. Remove the
gate doors of straight-gate mechan-
isms and check the film rails for
flatness with a steel straightedge and
a flashlight. Replace uneven rails
and tension pads. Adjust tension of
the pads for average film — less ten-
sion if the film pulls hard through
the gate, more if the picture jumps
on the screen by "overshooting."
Pads on each side should exert equal
pressure.

8. LATERAL GUIDE ROLLERS
Check guide-roller flanges at top
of each film gate for ease of turning
and condition of the flanges. They
should have flat, unscored film-con-
tacting surfaces. Replace scratched
or damaged flanges. See that the ten-

sion is just sufficient to press the
laterally movable flange against the
edge of the film rather lightly. Ex-
cessive tension of the coil spring may
"pinch" the film as it enters the gate
and cause sidesway.

9. INTERMITTENT UNIT

An intermittent movement should
run quietly when the gate door or
tension shoe is open. Make absolutely
certain that there is no backlash in
the sprocket when in the "locked"
position. Neither should the move-
ment, when turned by hand, feel
tight.

If an intermittent runs tight, it will
wear out the starwheel and may
"freeze" during a show. If it is too
loose or runs noisily, the picture
may jump. If the starwheel or
sprocket are worn or the shaft bent,
the picture will "dance" or jiggle

INTERNATIONAL PROJECTIONIST

1645 Hennepin Ave.
Minneapolis 34, Minnesota

Enter my subscription for

Name

Address

City

D 1 year (12) issues— $3.00
□ 2 years (24) issues — $5.00

FOREIGN: Add $1.00 per year

Zone

State

12

rapidly. If the movement leaks oil
it will soil the machine, interfere
with sound reproduction if the oil
leaks into the soundhead, and also
soil the film. In the event of any of
these things, the movement must be
overhauled according to the manu-
facturer's instructions.

Worn starwheels and damaged
cams must be replaced ; but since this
job is critical and time-consuming,
and requires that the refurbished
movement be "run in" for at least
24 hours, the projectionist should
obtain spare movements from the
supply house and send the defective
ones to the repair shop. Be sure that
the intermittent cover screws are
tight. Never loosen the cover screws
unless the movement is out of the
projector for adjustment! Correct
end-play of the sprocket-and-star
shaft. See that the intermittent-
sprocket shoes have enough tension
to hold the film firmly on the face of
the sprockets, and that they are
aligned laterally so as not to scrape
the sides of the teeth.

10. SHUTTER TIMING

Turn the projector over by hand
very slowly; and when 2 teeth of
the intermittent sprocket have passed
a fixed reference point from the "at-
rest" position, set the shutter so that
the blade is midway in its covering
of the aperture. Fine shutter adjust-
ment may be made during a projec-
tion test with the shutter knob to
remove "flare" or slight traces of
travel ghost on the tops or bottoms
of bright objects in the pictures.

Travel ghosts on both the tops
and bottoms of bright objects simul-
taneously indicate shutter blades that
are too narrow or excessive backlash
in the shutter gear train. Widen the
shutter blades enough to get rid of
the ghosts.

11. SOUNDHEADS

Check the tension pads of old-
style sound gates for wear and pres-
sure. The pressure rollers of rotary-
stabilizer soundheads should exert
just enough pressure to bring the
scanning drum up to speed within
3 or 4 seconds from the time the
projector is switched on. Not
enough pressure will result in fluttery
sound for several seconds after each
changeover: too much pressure will
cause continual flutter and "wows."

Since the pressure roller also
guides the film laterally, the lateral
adjustment should not be disturbed
if neither perforation noise ("motor-
boating" ) or clattering frameline
noise is heard in the sound. Other-
wise a chopper and buzz-track test

International Projectionist January. 1965

Dealers fjr the Strong Electric Corp., Toledo, Ohio in
attendance of the Allied-Tesma-Teda convention and trade
show heard a discussion of the market potential for blnvn
type arc projection lamps by Arthur J. Hatch, Strong's
president.

Cliff Callender, Strong's sales manager of the theatre
equipment division, detailed the favorable experience with
Xenon projector lamps as encountered at the World's Fair.
A newly developed Xenon slide projector was also described.

Dealers attending the meeting were: left to right, seated,
Vm Geissler, Wil-Kin Inc., Atlanta; Bob Tankersley, West-
ern Service & Supply, Inc., Denver, Colo.; Bob Wolfe, San
Francisco; J. W. McBurnie, Charleston Theatre Supply Co.,
Charleston, W. Va.; H. J. Ringold, Ringold Theatre Equip-

ment Co., Grand Rapids, Mich.; Carl White, Quality The-
atre Supply Co., Omaha, Neb.; and Dick Sutton, Des Moines
The are Equipment Co., Des Moines, Iowa.

Left to right, standing, are Cliff Callender, Strong Elec-
tric Corp., Toledo, Ohio; Arthur J. Hatch, Strong Electri:
Corp., Toledo, Ohio; W. L. Waterhouse, General Sound &
Theatre Equipment, Ltd., Toronto, Ont.; Howie Forbes,
Theatre Equipment Co., Detroit, Mich.; John J. Kenny,
Theatre Equipment Co., Detroit, Mich.; Floyd C. Pearson,
General Sound & Theatre Equipment, Ltd., Toronto, Ont.;
Phil Wicker, Standard Theatre Supply Co., Greensboro,
N. C; Armand Besse, Besse Theatre Supply Reg'e., Mon-
treal, Canada; L. M. Wutke, Pembrex Theatre Supply Corp.,
Los Angeles; and Bill White, Strong Electric Corp., Toledo,
Ohio.

i

film will have to be used t<> obtain
correct lateral adjustment. Replace
exciters if the glass envelopes have

blackened or if the filaments are
Been to sag. Adjust exciters up and
down and sideways for maximum
light on the photocell cathodes. Be
sure exciters are tight in their soc-
kets— the\ draw a heavy current at
low voltage.

Adjustment of optical-tube fo us
and azimuth i rotational adjustment)
is a \ei\ critical matter, and is prop-
erly left to the service engineer v ho
will use his frequency test films ; nd
output meters. In an emergercy,
however, thread up a film bavin; a
lot of high-frequenc) sound — mnny
fine lines across the track. Draw ibis
down through the scanning beam
very, very slowly b\ means of the
handwheel, and observe the flicker-
ing shadow patterns on the photo-
cell cathode. If the shadow bands
move up on the photocell: the opti-
cal tube is too close to the film: if
they move down, the tube is loo far
away. Adjust the position of the tube
l without disturbing the azimuth I
so that the shadows of the sound-
track striations flicker uniformly on
the photocell cathode, moving neither
up nor down as the film is drawn

International Projectionist Jan

through the scanning point very
slowl) .

Check film tension in magnetic
soundheads and demagnetize all film-
contacting parts ol the entire projec-
tor with a "degaussing" electromag-
net energized In 60-cycle AC. Case-
hardened aluminum alien sprockets
offer no magnetization problems.

The outputs of the soundheads on
both projectors should be equalized
in the- preamplifiers. We must em-
phasize once again that sound ad-
justments should be made b) a
trained sound-service engineer, not
by the operating projectionist in the
normal course of events.

D. OPTICAL LINEUP AND
AND SPEAKER CHECK

1. OPTICAL LINEUP

Test the projector optical train for
alignment. This must be perfect,
especially in light-hungry drive-ins.
Stop up the automatic fire shutters
and remove the lenses from the
mechanisms. Sight through each ma-
chine l using a pocket mirror if
necessary I or stretch a string tightly
from the center-hole of the lamp mir-
ror to the middle of the lens holder.

uary. 1965

I his is the "optical axis." The cen-
ters of lamp mirror, positive carbon
holder, film aperture, and lens holder
must all be in a straight line.

The lamp mirrors should be posi-
tioned at the recommended "working
distances'" from the film apertures.
and the lens holders must support
the projection lenses square to the
apertures, and without looseness or
vibration.

Regulate arc current for normal
burning of the carbon trim used,
and correct any abnormal conditions
in the rectifiers or in the generators
and their ballast rheostats.

After it gets dark enough to
project light on the screen, adjust
the arc-lamp mirrors and carbon
burners for maximum light properly-
centered. ( Run the projectors, but
without film for these adjustments.)

2. MOTORS AND PROJECTOR
SHUTTERS

Check the pickup times of both
projector motors. They should be the
same, and bring the machines up to
normal running speed in 2 or 3
seconds. Pickup time can be adjusted
in split-phase induction motors by
means of the starting-winding rheo-

13

National Theatre Supply branch managers in attendance
at the Allied-Tesmi-Teda convention and trade show were
given an insight into the sales potential for blown arc type
projection lamps by Arthur J. Hat:h, president of the Strong
Electric Corp., Toledo, Ohio. Hafh also described a new
Xenon type slide projector and features of new model spot-
lights.

Cliff Callender, sales manager of the Theatre Equip-
ment Division of Strong Electric, related the favorable experi-
ence with 30 Strong Xenon projectors as employed at the
World's Fair.

Attending the meeting were: left to right, standing: Cliff

Callender, Strong Electric Corp., Toledo, Ohio; J. Currie,
vice president National Theatre Supply, Tarrytown; Harold
Plumodore, Strong Electric; Pete Peterson, Indianapolis,
Indiana; Vernon Barrett, Minneapolis, Minn.; Harry Russell,
Pittsburgh, Pa.; W. C. Hutchins, Philadelphia, Pa.; Arthur
J. Hatch, and Bill White, factory representatives, Strong
Electric. Seated are: Ed Novak, Chicago, Illinois; F. F.
McCleary, Pittsburgh, Pa.; Clarence Williamson, Detroit,
MLh.; J. Servies, vice president, Tarrytown; J. M. Fisher,
Cincinnati, Ohio; and Don Atkinson, Baltimore. Not shown
in the photo were Bud Mutchler, Cleveland, Ohio; and
Jerry George, Buffalo, N. Y.

stats. These are usually mourned on
the motors.

Thread up the projectors with
prints known to be of good quality
and run them. Observe the passage
of the film through the machines,
paying particular attention to the
film loops and the action of the take-
ups. If the film runs smoothly, strike
the arc and project it upon the
screen. Determine lens focus, center-
ing of the apertures on the screen.

OUT OF PRINT

MITCHELL MANUAL

AVAILABLE!

The renowned "Manual for
Practical Projection" by Robert A.
Mitchell is now out of print, ac-
cording to an announcement by the
bookseller. International Projec-
tionist.

Returns from our retail outlets
have been consolidated and we
now have approximately 40 vol-
umes of the Mitchell Manual avail-
able on a first-come-first served
basis.

These books are in brand new
condition, complete with dust
jackets; have never been used.
This rare publication can be yours
for $10 cash or money order.
Sorry, no C.O.D. or foreign orders
can be accepted at this price.

Sheehan Booksellers

P.O. Box 6174
Minneapolis, Minn. 55424

and put finishing touches on shutter
timing by means of the shutter ad-
justing knobs if travel ghosts are
detected.

3. SOUND QUALITY

Run the films again and switch on
the sound amplifiers whether or not
the in-car speakers have been in-
stalled at this point. Listen to the
sound very carefully in the monitor
speaker and note its quality. Test
functioning of volume controls,
changeover faders, etc. Advise the
sound engineer of any abnormalities
which may be detected — hums, static
noises, "mushy" sound, weak sound,
etc.

4. IN-CAR SPEAKERS

See that the speaker-post junction
boxes are in good condition and that
all post lamps are operative. Install
the in-car speakers, attaching each
securely to its junction box. Check
the performance of each by playing
phonograph records from the projec-
tion building. Short circuits and
noisy or erratic ramp circuits must
be corrected, and all defective speak-
ers laid aside for repair. Further
checks and routine daily inspection
of all speakers are unnecessary and
terribly time-consuming. iP

14

The "Tools for Freedom" award is
proudly displayed by Leonard J. Quar-
tin, vice president export sales and
Mrs. Dora Narzymski, coordinator of
export sales, of The Kalart Co., Inc.,
Plainville, Conn. The award was pre-
sented to The Kalart Co., Inc. by the
Tools for Freedom Foundation for
contributing a Kalart/Victor 16mm
sound projector, which will be used in
the International Center for Advanced
Technical and Vocational training,
Turin, Italy.

International Projectionist Januarys 1965

basic
mathematics

by NORMAN N. CBOWHUIST

VOLUMES
1 through 4
COMPLETE

PRACTICAL
METHOD

J]

LEARNING

X

•

mmm

•

•

■<„

2

j-~

• •

/

|

f

FtOM(0IMTM(

rmoutti (jucuha

I HOWIN

urotmua
to mathematics

A»fR USB

JT^ RIDER

—

I

—

BASIC MATHEMATICS

fay Norman H. Crouhurst

4-volume "pictured-texf course makes it easier than
ever before possible to learn all the math you'll need
to know to speed your progress in electronics — no
short cuts — no gimmicks.

This remarkable 4-volume course takes you in easy
stages from counting through algebra, geometry,
trigonometry to calculus so that you will understand
easily, quickly, all the math you will need to get
ahead in electronics — regardless of your previous
e-iucation! It employs an exciting new technique
presenting basic mathematics as on continuous devel-
opment of mathematics. The individual branches of
mathematics are not divided into separate and un-
related subjects. Algebra, geometry, trigonometry,
calculus are interwoven at progressively rising levels
in the different volumes. Each volume reinforces your
understanding as you penetrate more deeply into
the subjects. Selected illustrations create clear
images of mathematical ideas formerly difficult to
understand.

A KNOWLEDGE OF MATH SPEEDS YOUR PROGRESS IN
ELECTRONICS — No matter what your plans are in
electronics — mathematics plays a vital role. The

more math you know, the easier it is to iearn
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will speed you towards your goai.
Volume I — ARITHMETIC AS AN OUTGROWTH OF
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Volume II — INTRODUCING ALGEBRA, GEOMETRY,
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trigonometry as better methods of solving a problem
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Volume III — DEVELOPING ALGEBRA, GEOMETRY,
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MATHEMATICS — This volume continues the search
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calculus to the group of 'tools' already introduced.
=268-3. S3. 90

Volume IV — DEVELOPING ALGEBRA, GEOMETRY,
TRIGONOMETRY, CALCULUS AS ANALYTICAL METHODS
IN MATHEMATICS — Once you've reached volume IV,

you're ready to apply all that you've learned in the
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approach to each individual problem. You'll be ready
for a career in which mathematics play a most
important part. #268-4. $3.90

Available at parts distributors, bookstores, or direct.

INTERNATIONAL PROJECTIONIST
1645 Hennepin Avenue, Suite 212
Minneapolis, Minnesota 55403

Please send these paperback volumes:

D Vol. I — $3.90; □ Vol. II— $3.90; □ Vol
III— $3.90; D Vol. IV— $3.90; Q Send 4-
Vols. in one clothbound edition, $15.95.

Name

Address

City

Zone

State

If you aren't using National' projector
carbons you re missing two bonuses:

1. Bonus brilliance

2. Bonus burning time

The longer your throw and the wider your screen, the
more you need the two big bonuses that go with
"National" projector carbons!

So why short-change yourself? Why settle for less
when you can fill your screen with today's brightest
light and get longer screening time per inch of car-
bon burned?

Specify "National"— and you specify the projector
carbons that have been the standard for quality
screen illumination since 1917.

"National" is a registered trade-mark of

UNION CARBIDE CORPORATION

CARBON PRODUCTS DIVISION

270 Park Avenue • New York, N. Y. 10017

In Canada: Union Carbide Canada Limited, Toronto

INTERNATIONAL

To assure a professional touch to stage and
I screen presentations, Louisiana State University,
at Baton Rouge, La., has recently installed the
most modern projection room equipment. Shown
is James E. Mire, projectionist, operating the
carbon arc slide projector for showing big, brilliant
pictures on the screen. In the rear is also seen a

.powerful Strong Electric Super Trouper carbon arc
follow spotlight for abundant illumination of var-
ious types of live presentations on the auditorium

ijsfrage.

FEBRUARY ssajSuoo jo Araiqn

VOLUME 40
40c A COPY

1965
NUMBER 2
<**®b> $3.00 A YEAR

nvestment Opportunity

The tools this young apprentice is learning to make will
one day be used to turn out your company's products.

A great investment in time, money, effort and faith
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must invest something — for on the developing skills of
America's young tool-makers depends the continued
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You can protect your investment by joining with other
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When you bring the Payroll Savings Plan into your
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you are investing in the next generation of America's
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our future. In freedom itself.

Don't pass this investment opportunity by. Call your
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ifr^

- In your plant... promote the PAYROLL SAVINGS PLAN for U.S. SAVINGS BONDS

The U. S. Go\en.;. ent does not pay for this advertisement. The Treasury Department thanks, for their patriotism, The Advertising Council and this magazine.

INTERNATIONAL

PROJECTIONIST

Volume 40

Feb. 1965

No. 2

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO
Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue. New York, N. Y., 10017

Telephone Murrayhill 7-7746

(Area Code 212)

IN THIS ISSUE

Part III — 70mm Projection 4

By Walter Beyer

New Mitchell System 10

New Leader Style 1 1

Morris J. Rotker 14

News Notes — Technical Hints — Miscellaneous Notes

INTERNATIONAL PROJECTIONIST, published monthly by the
International Projectionist Publishing Co. division of The
Northern Publishing Co., Post Office Box 6174, Minneapo'is
Minnesota 55424. Editorial offices, 1645 Hennepin Avenue,
Minneapolis, Minn. 55403. Subscription Representatives: AUS-
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insure receipt of current issue. Second-class postage paid at
Minneapolis, Minn. INTERNATIONAL PROJECTIONIST as-
sumes no responsibility for personal opinions appearing in
signed articles, or for unsolicited articles. Entire contents
copyrighted 1965 by INTERNATIONAL PROJECTIONIST
PUBLISHING CO.

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International Projectionist February, 1965

■""""""""— ■"•- ■ '— ■-

Volume 40

-— -,

INTERNATIONAL PROJECTIONIST

February, 1965

Number 2

Part III

Technical Report on the
70 mm Sound System

In order to assist you in the installation of 70mm
projectors, as well as screens, screen masking, and sound
considerations, the engineering department of Universal-
International has compiled technical information data.

A feature is the screen chart which will facilitate

By Walter Beyer

Head of Engineering Research Department
Universal City Studios

screen size, all computed for the new 70mm projector
aperture. This is the first chart of its kind ever com-
puted for 70mm projection. A selection of easy-to-use
formulas has also been provided in case your theatre
requires deviation from the screen chart. (Figure 1)

the sel

ection

of

proper

focal

leng

th lenses for your A drawing

showing the

recommended

aperture for j

SCREEN CHART FOR 70 MM PROJECTION

LENS FOCAL LENGTH IN MM AND INCHES

66 MM

70 MM

75 MM

80 MM

85 MM

90 MM 95 MM f 4'/4" 41/4"

43/4-

5-

5>/«-

5W

5%"

6"

-

25

34.0

36.0

38.6

41.2

43.7

46.3 48.9 52.3 55.5 58.8

62.1

65.3

68.6

71.9

75.1

78.4

30

40.7

43.2

46.3

49.4

52.5

55.6 58.7 62.7 66.6 70.6

74.5

78.4

82.3

86.3

90.2

94.1

CONVERSION

35
40

47.6
54.4

50.4
57.6

54.0
61.7

57.6
65.9

61.2
70.0

64.8 68.4 73.2 77.7 82.3
74.1 78.2 83.6 88.7 94.1

87.0
993

915
104.5

96.1
1098

100.6
115.0

105.2
120.2

109.8
125.5

TABLE
MM TO INCHES

66 2.60

h-

45

61.2

64.8

69.4

74.1

87.7

83.3 88.0 94.1 99.9 105.9

111.7

117.6

123.5

129.4

135.3

141.1

70 2.76

bj

50

68.0

72.0

77.2

82.3

87.5

92.6 97.8 104.5 111.1 117.6

124.2

130.7

132X1

143.8

150.3

156.8

75 2.95

u.

z

55
60

74.7
81.5

79.2
86.4

84.9
92.6

90.6
98.8

96.2
104.9

101.9 107.5 115.0 122.2 129.4
111.1 117.3 125.5 133.3 141.1

136.6
149.0

143.8
156.8

150.9
164.7

158.1
172.5

165.3
180.3

172.5
188.2

80 3.15
85 3.35
90 3.54

1-
a

*

65

88.3

93.6

100.3

107.0

113.7

120.4 127.0 135.9 144.4 152.9

161.4

1699

178.4

186.9

195.4

2035

95 3.74

70

95.1

100.8

108.0

115.3

122.4

129.6 136.9 146.4 155.5 164.7

173.8

183.0

192.1

201.3

210.4

219.6

UJ

75

102.0

108.0

115.7

123.5

131.2

138.9 146.6 156.8 166.6 176.4

186.2

196.0

205.8

215.6

225.4

2352

IE

3

80

108.7

115.2

123.4

131.7

140.0

148.2 156.4 176.3 177.7 188.2

198.6

209.1

219.6

230.0

240.5

2505

O

85

115.5

122.5

131.2

140.0

148.7

157.4 166.2 177.7 188.8 2O0.0

211.1

222.2

2333

244.4

255.5

266.6

0.

90

122.3

129.7

1389

148.2

157.4

166.7 176.0 188.2 199.9 211.7

223.5

235.2

247.0

258.8

270.5

2823

95

129.1

136.9

146.6

156.4

166.2

175.9 185.7 198.6 211.1 223.5

235.9

248.3

260.7

273.1

285.5

298.0

100

135.9

144.0

154.3

164.7

174.9

185.2 195.5 209.1 222.2 235.2

248.3

261.4

274.4

287.5

300.6

313.6

105

142.7

151.3

162.0

172.9

183.6

194.5 205.3 219.6 233.3 247.0

260.7

274.4

288.2

301.9

315.6

329.3

110

149.5

158.5

169.7

181.1

192.4

203.7 215.0 230.0 244.4 258.8

273.1

287.5

301.9

316.3

330.6

345.0

120

163.0

172.9

185.2

197.6

209.9

222.2 234.6 254.9 266.6 283.3

298.0

313.6

329.3

345.0

360.7

376.4

.

FIGURES IN THE ABOVE TABLE SHOW PROJECTION DISTANCE IN FEET FROM PROJECTOR APERTURE TO CENTER OF SCREEN.

Width:

25

30 35

40

45

50

55 60 65 70 75 80

85

90

95 100

105

110

120

Height:

11.3

13.6 15.8 18.1

20.4

22.6

24.9 27.1 29.4 31.7 33.9 36.2

38.5

40.7

43.0 45.2

47.5

49.8

54.3

'

Figure 1

International Projectionist

Feb

ruarv.

1965

TRAVEL

0.023

TRACK 0.060
0.050
TRACK 0.060

0.053-

HEAD

#1

-•Jo.no kO.206— 1»

o.o5o ■^•|T|0050iTr °

UCAI-) 'ill/'

h~ 0.023

TRACK 0.060
0.050
TRACK 0.060

-H K-0.053

HEAD

MAGNETIC COATING AND TRACK PLACEMENT DIMENSIONS FOR 70 MM RELEASE FILM

Figure 2

•70mm projection has been included, as well as a draw-
ing showing tlic sound track placement for tin- -i\ mag-
retic tracks i Figure 2). Sound track, speaker arrange-
ner.is. and theatre specifications are also covered.

The Picture

The screen chart on the opposite page is especially
slculated for the 70mm projector aperture of 1.913-
. 0.868 inches. The aspect ratio is 2.21 to 1. This aper-

ture was established by Todd AO and is now a re-
< ommendcd SMI* I L standard.

Ill is table shows pic lure widths in the left and focal
length of lenses in the top column. The figures in the
table are distances from projector aperture to center
screen in feet.

Figure 3 below lists picture height to corresponding

(Continued)

GUIDED
EDGE

BASIC DIMENSIONS RELATED TO SIZE AND PLACEMENT
OF THE RECOMMENDED 70MM PROJECTOR APERTURE

Figure 3

\TI

L

Iernational Projectionist

Februarv. 1965

PERFORATION
APERTURE

Focal length

1.913 x throw

Throw

picture width

focal length x picture width
1.913

Picture width =

1.913 x throw
focal length

Aspect ratio =

Width
Height

Height of Picture =

Width
Aspect ratio

picture width based on a 2.21 to 1 aspect ratio.

The above formulas and comparisons is in an addition-
al small table to relate corresponding focal length in milli-
meters to dimensions in inches — just for general orienta-
tion. Even though the tables are self-explanatory, for
the calculation of specific installations, with given lenses,
screen sizes, and throw, the usual formulas can be ap-
plied using the dimensions of the 70mm aperture.

The focal length lenses listed in the top column
are all lenses especially designed to cover the 70mm
aperture, and only such lenses should be used. Do not
project 70mm prints with lenses only suited for 35mm
apertures— even if they have a 4" O.D., and do not
project 70mm prints by using supplementary lenses,
lens attachments, or focal length converting devices.

A 70mm projector alignment film with a test chart
as shown in Figure 4 should be used to check lens per-
formance for cleanest and sharpest picture projection.
This test film is available through supply houses and
shipped with instruction sheet for its use. It can also be
ordered from SMPTE, 55 West 42nd Street. New York
36, N. Y.

The Sound System

The sound system for six-channel sound reproduction,
as established for 70mm release prints, is generally
handled by service organizations. We think, however,
that it will be appreciated to publish the engineering
facts on the six magnetic sound tracks on 70mm re-
lease film.

As can be seen in Figure 2, the tracks are num-
bered from 1 to 6 — going from left to right if the film is
placed with the magnetic coating up and the emulsion
down.

The tracks are used as follows: (with the listener
facing the screen).

Track 1 for the left speaker — Track 2 for the left

center speaker — Track 3 for the center stage speaker —
Track 4 for the right center speaker — Track 5 for the
light speaker — Track 6 for the surround or auditorium
speakers.

The recording and reproducing speed is 24 frames
(5 perforations) per second — representing exactly 120
perforations per second or 112.2 feet per minute.

The center of the picture precedes the correspond-
ing sound by a distance of 24 five-perforation frames.

It should again be noted that the above specifica-
tions have been established by TODD-AO and are in
accordance with their presently used process. In line
with the specifications for 70mm composite film sound
as outlined by the TODD-AO Corp., the theatre sound
equipment should fulfill the following specifications:

1. The frequency response as measured on theatre
equipment should be

50-8,000 cycles flat within plus or minus V2 db.
40-12,000 cycles flat within plus or minus 1.5 db.

2. Cross talk between channel . . . minus 40 db. at
1,000 cycles.

3. Signal to noise ... 55 db.

4. Wow and/or flutter not to exceed 0.2 of 1% in
^ band width between 2-200 cycles.

5. Preamplifier distortion not to exceed 1% when
operated at a level of 12 db. above the level from mag-
netic film recorded at 3% distortion.

6. Power amplifier distortion not to exceed 2%
at rated output of the amplifier between 50 and 12,000
cycles.

7. Speakers and power amplifiers should be of such
power rating that any single track can properly fill
the auditorium's acoustical needs.

All necessary test films for checking 6-channel mag-
netic sound installations, as specified above, are avail-
able through the TODD-AO Corp., West Coast Division
1021 N. Seward St., Hollywood, Calif. IP

0.880 0.86O

I

' 0.870 0.890 2.050

0.850

♦

MOTION
RESEARCH

PICTURE
COUNCIL

HOLLYWOOD, CALIF.

1 imiiiii minim mini 111111111111111111111 iiiiii

fc

1.710
750

1.900
L 1.920
1.940
2.020 m
2040 0.88O °-860

0

:♦

♦

♦

♦

111!

= 2.030t
1.930
1.910-1

1.890

1.730
1.690

il

!!!!!!! iiiiiiiiiiiHiiiiiumimmimimmmiiimT

iiiiiiiiiiiiiiimiiiiimiiiiiiiiiiiiiiiiiiiiimiiiiiiiiMiiiiiiii mill

!!!!!!!!!!!!!!!!!""""""" '"" """ humiiiiii

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70MM- PROJECTOR

ALIGNME

NT FILM

♦

1.710J
1.750

1

L

L

1.900*

1.920J

1.940

111 2.020J

0-850 o.870 o.890 2.040^

J

J

70MM TEST FILM CHART

International Projectionist February, 1969

TEDA Sets
Extensive Meeting
Program

The Theatre Equipment Dealers
Assn. i TEDA i has arranged an
intensive program for its meetings
March 21-21 at Del Webb's Towne
House. Phoenix. Ariz. The meetings
orginallv had been scheduled for
March 11-17 in the same <it\.

These meetings will amount to a
national convention for TEDA and
during the four da) sessions the)
have scheduled two board of direc-
tors meetings and their annual elec-
tion of officers. TESM \ also will
conduct its annual membership
meeting and a board of directors
meeting during the sessions.

TEDA has invited theatre equip-
ment dealers who are not members
of TEDA to be present and has ex-
tended a special invitation to mem-
bers of Theatre Equipment and Sup-
pi) Manufacturer- \>-n. (TESMA)
to participate.

Phil Wicker, president of TEDA,
has said that the first three days
of the meetings are to be a working
forum, during which manufacturers
have been invited to present in detail
to the dealers whatever new or
modified equipment they now have
ready for sale to theatre- and
auditoriums.

Two manufacturers. Century I'm
jector Corp.. and Strong Electric
Corp. have arranged special meet-
ings with their own dealers, and two
other manufacturers. Edw. H. W elk.
Inc. and C. S. Ashcraft Manufactur-
ing Corp.. have sponsored luncheons
during the meetings.

The Carbon Products Division of
Union Carbide Corp. I National
Carbons I will entertain at a cocktail
party on opening evening which
will be followed immediately by a
dinner and entertainment sponsored
by TESMA. iP

Circuit Plans 60-75
New Houses by 1970

HOLLYWOOD — National Gen-
eral Corp. plans a major new subur-
ban theatre building program, it was
stated by NGC president Eugene V.
Klein at the company's annual meet-
ing of stockholders here.

Speaking in the Fox Wilshire
Theatre. Klein said National General
plans over the next five years to
build 60 to 75 new theatres, follow-
ing the "population trend" and
locating them in large new shopping
centers when possible. iP

International Projectionist Februarv. 1965

TAKE YOUR PICK

of the 2 means of power conversion for projection lighting.

^*Sf BI-POWR

Silicon Stack Rectifier
for Operation off 2 Lamps

HEAVY

ROYATING

EQUIPMENT

Costs considerably less than 2 separate
low priced single rectifiers.

Costly to purchase and maintain in good
working order.

Saves average theatre about $42 per month
on power bill.

Power bills average about $42 higher than
with the Bi-Powr.

Double protection against failure. You keep
operating.

Failure means your show is down.

Require no current-wasting ballast rheostats.

Require current-wasting ballast rheostats.

Silent.

Noisy.

Easy installation. Requires only one line
service.

Expensive installation.

Requires ono-lhird to one-half less floor
space than two properly installed conven-
tional rectifiers.

Requires about twice the space of other
means of conversion.

Send for literature on the Bi-Powr today. There are
^00i^^. jf models for every requirement*

THE g~P°& ELECTRIC CORPORATION

31 CITY PARK AVENUE •TOLEDO, OHIO 43601 • PHONE: (419) 248-3741

There's Plenty for You At

CENTURY!

. . and from CENTURY only

dramatic, New ALL TRANSISTOR
sound systems

*True high-fidelity,

distortion free.
*l_ow irrsta I lation cost,

minimum space needs.

* Increased reliability,
less maintenance.

*No vacuum tubes, no
photoelectric cells.

*

and the only American-made 70 mm 35
theatre projection systems

SEE

YOUR CENTURY

DEALER

... for bigger, brighter projection.

CENTURY PROJECTOR CORP.

New York 19, N. Y.

International Projectionist February. 1965

Now.

Are you
willing to risk
it all on less
than Eastman
films ?

More than anything else except creative
skill, film is crucial to quality in movie-
making. Isn't it a false economy, then, to
attempt to save a fraction of a cent per
foot on film stock which has less than
Eastman quality? And doesn't poor film
quality jeopardize your entire invest-
ment, even make talent look bad?

But total picture quality doesn't demand
that you merely shoot on the best nega-
tive. There's also the print stock to
consider . . . and some don't. It's a great
mistake— both from your point of view
and that of your audience — to print on
anything less than EASTMAN Film.

Look at it this way. Film— both nega-
tive and print stock — must have consistent
speed, uniform processing characteristics,
dimensional stability, precision perfora-
tions and uniform slit edges. In the theater
it must possess a long wear-tear capa-
bility for precision in projection and in
order to hold down costly print reorders.
EASTMAN Films have all these qualities
because Eastman's engineering and tech-
nical facilities are unique. Furthermore,
Eastman's film specialists are always at
hand to help you maximize production
efficiency.

Everything considered, doesn't it make
good sense to use EASTMAN all the way ?

Motion Picture Products Sales Department

EASTMAN KODAK COMPANY

Rochester, N. Y. New York, N. Y.

Chicago, 111. Hollywood, Calif.

■ ■ ■ ■ ■ it • ■ ■ • ■ ■ ••• • • •■ 1 1 • ■ • •

EASTMAN FILM

tiniiiiiiiiiiiie itiii»g II

International Projectionist February. 1965

m

Introducing the 1965

Is there really a new Simplex X-L for 1965?

Yes and No. Yes, because the X-L mechan-
ism never stops being refined and improved to
meet every new advance in motion picture pro-
jection. No, in the sense that the basic com-
ponents that have performed so perfectly for
so many years are still the heart of the X-L.

Fact is, there's a long list of advanced engi-
neering features on the X-L that are just not
available on any other projector. But it's suffi-
cient to say that the X-L is the pride of the
world's most experienced manufacturer of pro-
fessional motion picture projectors. And it's
the overwhelming choice of projectionists
everywhere.

Get all the facts about the '65 X-L. There's
nothing newer, or better on the market.

■^ National

S$g?

THEATRE SUPPLY COMPANY

Subsidiary of General Precision Equipment Corporation

HOME OFFICE, 50 PROSPECT AVENUE, TARRYTOWN NEW YORK
BRANCHES FROM COAST TO COAST • PHONE MEDFORD 1-6200

KALART RECEIVES AWARD — President Johnson's "E" Award for
excellence in exporting was awarded to The Klart Co., Inc. by John H. Royer,
deputy to the under secretary of commerce, U. S. Department of Commerce.
Receiving the award for Kdart was Morris Schwartz, president and Leonard J.
Quartin, executive vice president. Over 50 national, state and local business and
civic leaders attended the Award luncheon. Left to right are Hy Schwartz,
president, the Victor Animatograph Corp., Morris Schwartz, Mr. Royer, Deputy
to the Under Secretary of Commerce, Mr. Quartin, and James E. Kelley, director
Hartford field office, USDC. Following the luncheon a tour of the manufacturing
departments of the company was held. Highlights of the tour was the
inspection of the Kalart Victor Series 70 16mm sound projector assembly depart-
ment and 35mm filmstrip and slide assembly.

Mitchell Camera Corp.
Premieres 'System 35'

The Beverly Hilton Hotel in Bev-
erly Hills. Calif, became a Holly-
wood sound-stage for one day. when
Mitchell Camera Corp. premiered its
new "System 35" to more than 1000
members of the motion picture and
television industry.

"System 35," a building-block
system that includes the Mark II
reflex 35mm camera, an "electronic
door" to the camera's sound "blimp"
that provides a high-resolution
closed-circuit TV picture of exactly
what the camera lens sees, and a
small, semi-portable videotape re-
corder for making an instantaneous
transcript of the film shooting, was
shown for the first time to studio
and network executives, producers,
directors, cinematographers, and
camera operators.

The ballroom was transformed
into the famous mansion and ter-
race of "Philadelphia Story" in a
fully lighted and dressed set. Two
young Hollywood professionals.
Jonathan Bolt and Sybil Collier, per-

VIDEO VIEW-FINDER— Camera
director and operator both view dra-
matic action on TV monitor in Mit-
chell Camera's "System 35" develop-
ment, which films in 35mm and
videotape simultaneously and "broad-
casts" a live closed circuit TV picture
to monitors on the camera and around
the set.

International Projectionist February. 1965

PROJECTOR
CARBONS

Better
Light!

Lower
Costs!

RINGSDORFF CARBON CORP. East McKeesport. Pa

Projectionists

who like quality

always use the best

tar

Film Cement

Sold by Supply Dealers

Send for FREE Sample

ACE CHEMICAL CO.

(Division of the
Ace Electric Mfg. Co.)

1923 Bay Rood
Miomi Beach, Florida

flSHCRAfT

SUPER CORE-LITE
CORE-LITE

CINEX SPECIAL

35/70

PROJECTION LAMPS

AND HIGH -REACTANCE

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*

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y»w»<v»»»y¥yy¥y¥y»¥»»y¥¥»<w

formed scenes from the play for
System 35 to film and tape simul-
taneously. The audience, spread
from set-side to the far corners of
the ballroom, followed the action
both directly as they watched it
"live.'' and remotely on a series of
television monitors placed around the
room. They could hear directions to
the actors, and see immediate video-
tape re-runs of rehearsal sequences.

B. G. Tubbs. president of Mitchell,
told the audience that "this system
is one of the highlight develop-
ments of Mitchell's 45-year history
as the world's major producer of
cinematographic systems." He also
noted that "System 35 brings the
cinematographic art 'u.D-to-date' b\
incorporating advanced solid-state
electronic techniques to provide a
completely new creative tool to the
film-maker."

Tubbs reported that best estimates
indicate the system can reduce usual
sound-stage costs by as much as 2^' <
by "insuring" that the director
knows exactl) what the film has re-
corded, in rehearsal time-saving, and
in providing a preview look at pic-
ture composition and content. iP

New Leader Set by
SMPTE Standards

NEW YORK — A new leader for
all motion-picture film release prints
has been announced by the Society
of Motion Picture and Television
Engineers. Called the SMPTE Uni-
versal Leader, it replaces the old
Academy and Society leaders which
are no longer suitable for modern
film practices.

Though the SMPTE Universal
Leader includes many new features,
the major aspects of the old leaders
were retained to permit established
film laboratory and theatre practices
to be followed while meeting the new
requirements of television trans-
mission.

Changes incorporated into the
I niversal Leader include:

i 1 l Timing or count-down in
seconds at 24-frame second running
instead of the present 16-frame.
"footage" count down;

(2) A continuously moving clock-
type wedge to denote passage of
time:

I 3 ) Reduction of flashing to pre-
vent instability in automatic telecine
projection;

(4) Use of slightly redesigned
35mm and 16mm sound cues in the
anticipation of international accep-
tance;

( 5 ) Provision of space in the syn-
chronizing section to be replaced by
(Continued)

Get all the facts! Ask your equip-
ment dealer for the new 1964
Kollmorgen Projection Lens Cata-
log or write us direct.

i KOLLMORGEKf

CORPORATION

NORTHAMPTON, MASSACHUSETTS

International Projectionist February, 1965

11

CuMr OKI ABLE — • It is a spacious, "comfortably equipped" projection room
in which the modern projection lighting equipment and rectifiers have been
installed at the new Martin Cinerama Theatre, St. Louis, Mo. Shown is Paul
Danesh, manager, left, and Terry Savage, chief projectionist, with the new
National Ventarc blown arc projection lamps and Strong rectifiers, such as
are being installed everywhere for the new Cinerama projection technique. The
equipment was furnished by National Theatre Supply. Literature on this equip-
ment will be sent on request to the Strong Electric Corp., 31 City Park Avenue,
Toledo, Ohio 43601.

a similar number of Control Frames
to provide technical checking frames
or duplicated tests of the black-and-
white or color picture frames.

(6) Inclusion of 35mm and 70mm
magnetic cue positions:

( 7 ) Provision of three successive
frames, marked Head, 0, and Picture,
to guide the operator printer when
threading in the dark room;

(8) Retention of the former cue
for television switching which can
also indicate to film examiners, cut-
ters and projectionists, when a
leader has been spliced too often,
shortening its effective length;

(9) Addition of a series of X's
and O's on separate frame and on
opposite sides of the film to provide
print-through cues for sound on tape
sync.

The length of the new leader has
been kept the same as the original
Academy Leader to avoid errors in

printing and sound cuing and to
permit operators to continue using
well-established practices.

The new Universal Leader is des-
cribed in an article in the January
1965 SMPTE Journal, written by
chairman of the leader committee.
N. R. Olding of the Canadian
Broadcasting Corp., Montreal. Copies
are available from Smpte Head-
quarters, 9 East 41st St.. New York.
New York 10017.

The society will make available
copies of the leader on master posi-
tive material on both 35mm and
16mm film, to enable laboratories
to produce negatives for their own
customers. The societv points out
that anyone wishing to replace old
positive leaders can obtain the new
leader on release positive stock from
any commercial motion - picture
laboratory. IP

Foot Warmer Mat
Aids Projectionists

A new portable electric foot
warmer which cannot be punctured
or damaged by ladies' stilleto heels
has been announced by American
Mat Corp., Toledo. By simply plug-
ging into a convenient outlet, the
mat radiates comforting warmth to
the feet and legs and protects against
cold floors and drafts. It also may
help projectionists, acting as a
protective mat.

Made of durable. 7/16" thick
nyracord compound, the mat mea-
sures 14" long by 201/:/' wide and
has a ribbed surface and beveled
edges. It is available in mosaic on
black, or solid black. Easy to keep
clean, it may be washed in soap
and water. iP

Names Marketing Manager

NEW YORK — In a move to
expand its technical operations and
services, Reevesound Co., Inc., a
subsidiary of Reeves Industries, Inc.,
has added to its staff, it was an-
nounced here by Boyce Nemec, presi-
dent of the firm. Charles Beck, Jr.
has been named manager of market-
ing and sales. He has had wide
experience in the marketing and
sales of engineering systems and
electronic components. iP

Holds 2nd Election

MILWAUKEE — In a re-run of
the Dec. 4 election of the Internation-
al Alliance of Theatrical Stage Em-
ployes, Local 18. another election
was held in February.

The election was supervised by
Glenn C. Kalkhoff, IATSE repre-
sentative, assigned by Richard F.
Walsh, president. All members were
allowed to vote by mail.

Kalkhoff said that 22 members of
the local had presented a petition
alleging irregularities in the Dec. 4
election. It was agreed that a new
election would be held.

Elected in the latest balloting were
Curt Crain, president: H. Stahnke.
vice president: G. Baehler, secretary-
treasurer; W. Domach, business
manager; G. Kemmer. sergeant-at-
arms. and A. Crain. ninth district
delegate. iP

CARBON ARCS . . FOR FINEST PROJECTION

division
Brighter Light on Screen

• Longer Burning per Carbon
• More Economical

. . . Compact Xenon Arcs

division

yirriioss LAMPH0USES • X*r*icrAr POWER SUPPLIES

\ CARBONS, INC. BOONTON, N.J. |

12

International Projectionist February. 1965

■■

New Sound System Makes In -Flight
Motion Pictures More Enjoyable

\ revolutionary new sound system
for Inflight Motion Pictures aboard
jet aircraft is now in operation on
both Trans World Airlines and
[ nited Air Lines, it is announced b\
David Flexer, president of Inflight.

The wbolh new sound concept was
installed in all UAL jets. flying
from California to Honolulu, and in
I nited's long-range domestic aircraft.
which started showing wide-screen,
full color ino\ ie< on Sunday, Janu-
ary 17.

The entire transcontinental and
trans-Atlantic fleet of T\\ \ has also
been changed over to tbe new system.
I \\ \ has been featuring Inflight
movies since 1961. "Tbe new sound
development can provide true stere-
ophony," Mr. Flexer said. ""It is
based >>n a fundamental shift-over
from a magnetic to a dynamic prin-
ciple of sound reproducing."

Ml future Inflight installations
will feature the new sound system.

I be Cinemeccanica CX-(X)0

NEW LAMPHOUSE — The Xetron
Division of Carbons, Inc., Boonton,
NT. J., announces the Cinemeccanica
CX-900 lamphouse to its line of Xenon
light saurces. This is a compact, highly
effi ient unit, designed to operate with
16mm and 35mm projection systems.
When operating at 45 to 50 amperes,
this lamphouse will deliver 4000-5000
lumens of high intensity light. It is a
complete unit including the high volt-
age starter, ventilating fan, seven inch
reflector and elapsed time meter. It is
said to be especially suitable for small
screening rooms using 35mm projection
and with 16mm applications to replace
the carbon arc lamp.

which carries not only the dialogue,
music and sound effects track of
the movie, but also a wide range of
stereo and monaural audio program-
ming. The new Inflight sound s\stem
is the result of months of experimen-
tation. Development costs exceed
8500,000.

Originally the earsets, through
which the sound is delivered to each
airborne passenger, were equipped
with a tiny sound head, which were
about the size of a five-cent piece.
Ihc\ were magnetic transducers.
which bung from the left earpiece.
I hc\ weighed about an ounce. The
new earsets do awa\ with the mag-
netic transducers. Instead two
dynamic sound heads, each four
times larger than the original piece
of equipment, has been permanently
fixed in junction boxes attached to
the airplane seal. The earset is now
even lighter in weight. It consists of
two acoustical plastic tubes, forming
true stereophonic sound conduits.
1 he earpieces have been redesigned
to fit the contour of the head and
inner car. Disposable plastic eat
ti|>^ lit snugly against the car drum,
shielding out cabin noises and mak-
ing a rich and firm sound contact.

["he dramatic improvement in the
Inflight sound system was made
possible b\ the development of solid
state transistorized amplifiers, small
enough for aircraft application which
for the first time, could deliver suf-
ficient output to handle the doubled
number of four-times enlarged
dynamic transducers.

The junction boxes also have been
fitted with new sensitive volume
controls, so that the passenger can
find the level best suited to his own
enjoyment without disturbing any
other passenger. iP

THE VERY FINEST

PROJECTOR PARTS

SINCE 1908

The ultimate in precision, long life and dependability—
they keep projectors in top operating condition essential
to good pictures, patron satisfaction and good business.
Available through your Theatre Equipment Dealer.

MACHINE WORKS

4635 W. LAKE ST., CHICAGO 44, ILL.
TELEPHONE— AREA 312— ES 8-163S

i

Norelco

projection

equipment

Available from

leading theatre supply

dealers

North American Philips Co., Inc.

Motion Picture Equipment Division

100 E. 42nd St., New York 17, NY.

The

finest

carbons

ever

made...

National

^^^^ ^^0* TRADE MARK

PROJECTOR

I

CARBONS

|

International Projectiomst February, 1965

13

Morris J. Rotker, Boothman 51 Years,
Originated Will Rogers Copper Drive

MORRIS J. ROTKER. Boothmhan.
NEW YORK — Morris J. Rotker.
motion picture projectionist for 51
years until his retirement in 1057.
originated the "Save Copper Drive"
throughout the motion picture indus-
try in the U.S., on behalf of tl e Will
Rogers Hospital at Saranac Lake.
N. Y.

Rotker, a resident of the Bronx,
began his career as a projectionist in
April 1907 at No. 8 Bowery in the
heart of Chinatown, and through the
years has put forth outstanding
effort in behalf of the industry, civic
and service organizations and the
nation. For the last 2) years, pre-
vious to his retirement, Rotker
worked at the RKO Marble Hiil in
the Bronv. and he currently is secre-
tary to Hon. Sidney H. Asch, Judge
of the civil court.

Rotker, a native of Warsaw,

OUT OF PRINT

MITCHELL MANUAL

AVAILABLE!

The renowned "Manual for
Practical Projection" by Robert A.
Mitchell is now out of print, ac-
cording to an announcement by the
bookseller. International Projec-
tionist.

Returns from our retail outlets
have been consolidated and we
now have approximately 40 vol-
umes of the Mitchell Manual avail-
able on a first-come-first served
basis.

These books are in brand new
condition, complete with dust
jackets; have never been used.
This rare publication can be yours
for $10 cash or money order.
Sorry, no C.O.D. or foreign orders
can be accepted at this price.

Sheehan Booksellers

P.O. Box 6174
Minneapolis, Minn. 55424

Poland, is the father of two sons and
two daughters. Both sons served with
distinction in World War II after
enlisting as privates. Harold, the
eldest, was discharged with the rank
of first lieutenant, and Elias with
the rank of captain.

During World War II, the father,
too, gained special note, receiving a
citation from the U. S. Treasury for
selling almost $1,000,000 in bonds
and citations from the War Produc-
tion Board for the greatest single
collection of furs, nylons and books.
He was co-chairman of the Fleetwood
civil defense group and a member
of the War Production Board and
was the only male recruiting officer
for the WACS for New York, Pen-
nsylvania and Connecticut.

He has been a leader in many busi-
ness, labor, social, political and
community organizations. He was
former organizer and president of
the Bronx Electrical Contractors
Ass'n < nd former chairman of the
administrative board of Polish Jews
in America; former president of
the Independent Warschaver Sick
Support Society; member of the
board of Hyam Salomon Home for
the Aged; past chancellor of national
Lodge 407 of Knights of Pythias;
treasurer of Masonic Lodge 1035;
organizer and patron of Eastern Star
Lodge 798; member of the Kaplan
Projection Society; organizer and
past president and life member of
the 25-30 Club of Motion Picture
Machine Operators of the U.S.:
former chairman of the Bronx dis-
trict 18 school board; former secre-
tary of Bronx school board district
19; honorary buff of the New York
fire deparement; honorary member
of the Detectives Endowment Assn
of the New York police department;

INTERNATIONAL PROJECTIONIST

1645 Hennepin Ave.
Minneapolis 34, Minnesota

Enter my subscription for

Name

Address

City

□ 1 year (12) issues— $3.00

□ 2 years (24) issues — $5.00
FOREIGN: Add $1.00 per year

Zone

State

Morris J, Rotker

a former vice president of the Tack-
amuck Democratic Club of the
Bronx, and held various offices in
MPMO Local 306 of New York.

iP

Artoe Co. Perfects
Coldlite Reflector

The Lee Artoe Co. of Chicago has
announced a new development in
reflectors — the Artoe Coldlite PX —
which is a further perfection of its
Artoe Coldlite reflector.

The Coldlite PX is an improved,
front surfaced, dichroic reflector
made of unbreakable boro-silicate
glass, able to withstand extremely
high temperatures and very rapid
cooling. Boro-silicate glass is the
same compound used so successfully
in the latest ovenware as well as in
space technology and aerodynamic
research.

The Coldlite PX dichroic reflector
is optically ground by master crafts-
men who painstakingly hand rub
the reflector until its polished sur-
face is free from blemish, and a
maximum of light is transmitted
through the aperture opening. The
front surface of the reflector is
evenly coated on a special vacuum
coating machine in order to insure
top quality reflection.

The Coldlite PX is sold with a two
year guarantee against breakage
through temperature change or
against surface blistering and deter-
ioration. It is made in two sizes,
Ashcraft 16" and Strong 161/^".
There is no advance in price.

iP

14

International Projectionist February, 1965

basic
mathematics

by nmmtm u. caowmmtr

PRACTICAL
METHOD

1

1 — '

.

+

' ■ . "

-

y '

■

X

•

... • ••

•
•

M

%

i

i —

VOLUMES
1 through 4
COMPLETE

nOMCOUHTMC
DMUCM CALCUIUS

U»» *m<UCH
TO tUTWMATKS

juern iHB

51

LEARMING
MATHEiNAATICS

^2

■■■"''

TOM

A RIDER

BASIC MATHEMATICS

by Norman H. Crouhurst

4-volume 'pictured-teit' course makes it easier than
ever before possible to learn all the math you'll need
to know to speed your progress in electronics— no
short cuts— no gimmicks.

this remarkable 4-volume course takes you in easy
stages from counting through algebra, geometry,
trigonometry to calculus so that you will understand
easily, quickly, all the math you will need to get
ahead in electronics — regardless of your previous
education! It employs an exciting new technique
presenting basic mathematics as on continuous devel-
opment of mathematics. The individual branches of
mathematics are not divided into separate and un-
related subjects. Algebra, geometry, trigonometry,
calculus are interwoven at progressively rising levels
in the different volumes. Each volume reinforces your
understanding as you penetrate more deeply into
the subjects. Selected illustrations create clear
images of mathematical ideas formerly difficult to
understand.

* KNOWLEDGE OF MATH SPEEDS YOUR PROGRESS IN
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electronics — mathematics plays a vital role. The

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Volume I — ARITHMETIC AS AN OUTGROWTH OF
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Volume II — INTRODUCING ALGEBRA, GEOMETRY,
TRIGONOMETRY AS WAYS OF THINKING IN MATHE-
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trigonometry as better methods of solving a problem
when the arithmetic begins to get involved. #268-2,
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Volume III — DEVELOPING ALGEBRA, GEOMETRY,
TRIGONOMETRY, CALCULUS AS WORKING METHODS IN

MATHEMATICS — This volume continues the search
for new and better methods of calculating, and adds
ca'culus to the group of 'tools' already introduced.
=268-3, $3.90

Volume IV — DEVELOPING ALGEBRA, GEOMETRY,
TRIGONOMETRY, CALCULUS AS ANALYTICAL METHODS
IN MATHEMATICS — Once you've reaehed volume IV,

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earlier volumes. You'll be able to find the right
approach to each individual problem. You'll be ready
for a career in which mathematics play a most
important part. #268-4. $3.90

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i

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Minneapolis, Minnesota 55403

Please send these paperback volumes:

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Name

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City

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/

J?

WE WONDER WHAT

Sir Humphrey Davy

would have thought of
the new F U T U R A

-

In 1800, using charcoal electrodes, connected to a
battery, he produced a brilliant flame by bringing
the electrodes together and then separating them
by a short gap. He had discovered the parent
of today's carbon arc, the brilliancy of which
has never been surpassed by another man-made
light source.

But just as the Wright brothers' first plane has
been replaced by today's jets, so too have most
previous projection arcs been outdated by Strong's
Futura. It provides that extra measure of light for
today's big drive-in and indoor screens— the greatest
amount of light ever delivered per carbon dollar.

The Futura costs less to buy and less to use with
all 35mm and 70mm projectors, and any Strong
dealer can prove it.

SEND FOR BROCHURE

The ^t**& Electric
Corporation

31 City Park Ave. • Toledo, Ohio 43601
Phone: (419) 248-3741

II

mi ^ :

INTERNATIONA

^ ' flP» -79 1965 IV

, »•»

&l

1it:

"A

MIGM INTENSITY LAMP J

!ft

-■•::

io

F f

letter and brighter motion pictures at Texas A & M
ersity, College Station, Texas, are certain as
Villiam Spooner, middle, factory representative
'om Carbons, Inc., Boonton, New Jersey, explains
-pe operation of the equipment to Alfred Thiele-
lcnn, left, and Gayle Burrage.

MARCH
VOLUME 40
40c A COPY

1965

NUMBER 3

$3.00 A YEAR

Society of Motion Picture

and Television Engineers

I

(X89£°) uoxsxAxa ^apj:o

SMPTE Technical Exhibit Directory on Page 10

Theatremen Like the Futura

They like its looks.

They like the brilliant light it projects on the biggest
screens.

They like the low initial cost, low operating cost, low
carbon bills.

They like the ease of changing from 35mm to 70mm
• • . instantly.

They like its convenience in cleaning and inspection.

They like the many new exclusive features.

They like the • • . but what else is there to like?

Get brochures on the 75-105 ampere Futura I and 100-125/120-160 ampere
Futura II or see your Strong dealer. You'll like him, too.

THE^K^ELECTRIC CORPORATION

31 City Park Avenue • • Toledo, Ohio 43601

Phone: (419) 248-3741

INTERNATIONAL

PROJ ECTIONIST

Volume 40 March 1965

No. 3

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO
Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue. New York, N. Y., 10017

Telephone Murrayhill 7-7746

(Area Code 212)

IN THIS ISSUE

Industry News 4

The Cover Story 6

Texas A & M Uses 16 MM

SMPTE Meeting 9

New Rectifiers Developed 12

Sound Track — A New

Projection Standard 15

News Notes — Technical Hints — Miscellaneous Notes

INTERNATIONAL PROJECTIONIST, published monthly by the
International Projectionist Publishing Co. division of The
Northern Publishing Co., Post Office Box 6174, Minneapo'is
Minnesota 55424. Editorial offices, 1645 Hennepin Avenue,
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Minneapolis, Minn. INTERNATIONAL PROJECTIONIST as-
sumes no responsibility for personal opinions appearing in
signed articles, or for unsolicited articles. Entire contents
copyrighted 1965 by INTERNATIONAL PROJECTIONIST
PUBLISHING CO. <s^^W

International Projectionist March, 1965

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Volume 40

March 1965

Number 3

Four Year Contract Set
With Hollywood Studios

HOLLYWOOD — A 4-year con-
tract has been set between the IA and
local studios, with two wage increases
of 23c hr. attained as well as an
increase in the pension to $200.

The contract covers 29 studio
unions, 22 of them IATSE locals, and
seven basic cratts. IATSE president
Richard F. Walsh represented the
former, and Ralph Clare, Teamsters
representative, spoke for the latter.
Executive vice president Charles S.
Boren of the Association of Motion
Picture and Television Producers rep-
resented management, with Eugene
Arnstein, executive vice president of
the Independent Producers Associa-
tion.

Under the new contract the unions
get a 23c hourly wage increase at
once and another in the same amount
two years from now. The unions had
asked a 65-cent an hour increase. A
boost in the pay rate for holiday work
is provided.

Considered by the unions to be
more important than the wage in-
crease are the changes made in the
pension plan, under which retirees
have been receiving $120 per month.
This figure is increased to $200.
Additionally, a retiree's spouse is
now covered by the health and wel-
fare provision, and dependents are
given additional hospital room allow-
ances.

The new agreement creates a fund
to provide retraining for employees
whose occupation is affected by tech-
nological developments, and for train-
ing of new employees. The special
aspects of this new type of undertak-
ing are left to each individual local.

Severance pay provisions are lib-
eralized, increased incentive for
employees to retire at 65 is inherent
in several phases of the new contract,
and a standing committee of labor
and management to meet every four
months to discuss developments
affecting the contract or its applica-
tion is created.

Technological changes, an issue of
increasing importance, will be cov-

ered in a clause yet to be finalized.

The unions dropped demands for a
flat ban on runaway production and
did not negotiate residual payments
on television films for craft workers.

The increase in pension payments
will be made up by an increase in
employer contributions of 8.8c an
hour, and an increase in employee
contributions of 5.8c an hour.

iP

Film Salesmen Get
Wage Increase

Film salesmen throughout the U.S.
have ratified an agreement giving
them a wage increase of $5.50 per
week, retroactive to last Dec. 1, it is
announced by the IATSE.

The agreement, negotiated by the
LA. - affiliated Colosseum of Motion
Picture Salesmen, raises the minimum
pay of those having a year of selling
experience in the industry from $100
to $105.

Payments by the employers into
the IATSE Film Exchange Employees
Pension Fund in behalf of each sales-
man have been increased 75c. bring-
ing the total contribution to $4.50.

Other benefits include: A third

week of vacation after 11 years of
service. In the past, it was 12 years.
Columbus Day off, raising the num-
ber of annual holidays to nine. An
increase in the expense allowance of
country salesmen from $12.25 to $13.
per day.

The agreement is for two years.
Companies coming under it are
M-G-M. Paramount, 20th Century-
Fox, United Artists, Warner Bros..
Universal. Columbia, Buena Vista
and Allied Artists.

Representing the Colosseum in the
negotiations were President Bruce
Marshall of Denver; Stanley Kosit-
sky, Philadelphia; William M.
Garner. Cincinnati; Fred W. Bunkel-
man, Chicago, and Allen Boodman.
Hollywood, assisted by attorney
David B. Bartell and the IATSE gen-
eral office. iP

CLARENCE G. LAWING.
PROJECTIONIST, DIES

Clarence G. Lawing of Charlotte.
North Carolina, died recently at age
59. Mr. Lawing was spot lamp opera-
tor at the Colosseum and projection-
ist at the Visulite Theater. He was a
member of the IATSE, Local 322.

Mr. Lawing converted Trans-Lux
rear projection equipment for Cine-
mascope projection by moving the
machines and twisting the film be-
tween the sound head and projector
head. iP

Census Bureau Says 12,652 Theatres in
U.S. in 1963, Grossing $1,062 Billion

WASHINGTON — There were
12,652 motion picture theatres in the
U. S. in 1963, according to figures
from the Census Bureau, of which
12,040 had payrolls. Total receipts
for all theatres was $1,062,732,000,
of which the theatres with payrolls
received $1,057,224,000.

Of the theatres, 9,150 were conven-
tional houses and 3,502 were drive-
ins. The hard-top theatres had
receipts of $807,596,000 while the
drive-ins' receipts totaled $255,136,-
000. Conventional theatres with pay-
roll had receipts of $803,458,000,
while drive-ins with payrolls took
$253,756,000.

Payrolls for hard-top theatres in
1963 totaled $201,132,000 for their
89,999 employees, while drive-ins'
payrolls came to $48,867,000 for
their 22,522 employees.

There were 7,440 active proprietors
of unincorporated businesses in the
motion picture theatre business in
1963, of whom 5,331 had conven-
tional theatres and 2.109 had drive-
ins.

There were 3,729 establishments
engaged in motion picture produc-
tion, distribution and services in
1963. of which 2,829 had payrolls.
Their total receipts were $1,662,233.-
000. iP

International Projectionist March, 1965

■ ,i

What'll the boys in the
back row have? They'll
have the same bright picture as
the boys in the front row if you
use 'National' projector carbons!
(The No.1 choice since 1917)

Movie patrons in the rear rows, generally speaking,
pay the same box office prices as the downfronters.
But they get smaller images and less enjoyment if
your screen lighting isn't sufficiently brilliant.

Give them the break they deserve. Trim your lamps
with "National" projector carbons — the brightest
light in the movie industry for almost 50 years.

Remember, late comers in the back rows are the
extra-profit patrons. Keep them happy — keep them
coming back with the top-quality lighting of
"National" long-lasting projector carbons!

UNION
CARBIDE

"National" is a registered trade mark of

UNION CARBIDE CORPORATION

CARBON PRODUCTS DIVISION

270 Park Avenue • New York, N. Y. 10017
In Canada : Union Carbide Canada Limited, Toronto

INTERNATIONAL PROJECTIONIST March, 1965

The Cover Story . . .

XeTron Projection System

A highly-profitable summer at the Grove Theatre,
Texas A & M University, College Station, Texas,
has been translated into better business in Guion
Hall at the college. This installation shows motion
pictures before college students and gives some
employment to local projectionists.

Texas A & M University is the largest military
school in the United States, with 8,320 students.
Guion Hall seats 2,150 and has shown three mo-
tion pictures a week. 90% of the films have been
35mm and 10% 16mm in the past but with this
new equipment they now plan to produce 16mm
exclusively because of the great improvement in
the equipment. The projectors feature the XeTron
light source installed by Carbons, Inc. Boonton,
New Jersey.

"With this new type of lamp, the picture will be
more than three times brighter than our old 1200
watt bulbs," said Wallace Johnston, student pro-
gram advisor.

Here is the lamp house of the JAN projector, to-
gether with the various parts used in the modifica-
tion, an unusual application for 16mm motion pic-
tures, according to Frank H. Riffle, president of
Carbons, Inc.

This illustration shows the modified JAN pro-
jector using the XeTron Kit by William Spooner.
The letters and arrows illustrate the areas in which
Mr. Spooner made mechanical modifications to the
JAN projector.

*

The Texas A & M installation is a
■ very interesting application of 16-
mm projection as it is a large auditor-
ium with a seating capacity of 2,150.

Previously 90% of the films were
35mm because the 16mm equipment
was unable to provide the necessary
screen brightness. The screen size
for the 16mm presentation is 24x17
ft., which is a real test for any 16mm
projector.

The Bell & Howell JAN projectors
were modified by William Spooner,
representing the XeTRON Division
of Carbons, Inc. The results have
been so outstanding that the decision
has been made to use 16mm prints
on as many showings as possible.
It is estimated that in the future,

90% of all feature pictures will be
with 16mm prints.

The actual modification of the
standard JAN projector can be made
in about one hour. This permits
the attachment of the XeTRON lamp-
house and its easy removal for trans-
porting. This lamphouse contains the
necessary high voltage starter unit
plus a front coated reflector and
associated adjustment controls.

If the projector does not have t ie
standard two blade shutter, it should
be used, otherwise maximum serf
brightness will not be obtained.

The Osram 450 watt Xenon bulb
operates in the range of 23 to 28
amperes, and by careful design of
the reflector very good overall

efficiency is obtained. The arc volt-
age for this bulb is approximately
20 volts after ignition. As the quartz
envelope is filled with Xenon gas.
under pressure, a 30.000 volt pulse
is supplied at the instant the start
button is depressed. This ionizes
the gas and allows the initial current
flow.

The projected light is of the high
intensity type and compares favor-
ably with that of the small carbon
arc operating in the 28 to 30 ampere

International Projectionist March. 1965

■nge. The color temperature i- ap-
Eoximatel) 5600' Kelvin, and this
- an extra plus factor for audi-
fcrin ms which are used part time
for educational purposes — as the
pose lights can be used without too
ding the picture <>n the screen.

Hi.- power suppl) requirements are
of a special nature and calls for a
very low current ripple in order to
cl.tain maximum life expectancy
from the l>ull). The power suppl)
mu>t also suppl) a no-load voltage of
approximated 80 volts, to aid in the
initial start, and drop immediate!) to
the 20 volt value.

This i> one of the man) installa-
tion* where it has been possible to
kgrade the qualit) of L6mm projec-
tion to achieve professional type
results h\ the use of a properl) <\r-
Igned Xenon lamphouse, Mr.
Ipoonei and president Frank Riffle

report.

iP

Oklahoma City
Projectionists Note
50th Anniversary

0KLAHOM \ CI n rhe two-

da\ 50th anniversar) celebration of

tli.- Motion Picture Machine Oper-
ators. Local 380, I VI'SK. was held
here at the Oklahoma-Sheraton Hotel.

Gold membership cards were pre-
sented to three chartei members "I
local 380, Howard Wortham, Bert
Rell and Prank Holic. Speaker of the
Oklahoma House of Representatives.
J. I). McCarthy, acted a- m ister of
ceremonii -

For mam years the union has
nrnished equipment for the Crippled
Children's Hospital In re. ha\ ina
instructed a booth and furnished
the latest in projection equipment ami
have been showing motion pictures
on each Saturday for the past many
years to shut-ins.

Two vears asro. during the celebra-
tion and world premiere of MOM-
"Cimarron." the projectionists nlaved
a part in the festivities. Several
members of the Shrine's local group
drove their own matching white
Cadillac convertibles, complete w ith
( detachable) red revolving warnina
lishts. as parade vehicles for film
stars like Anne Baxter and Clenn
Ford.

For several vears the union has
been collecting carbon drippiners from
theatres in Oklahoma Citv and other
parts of Oklahoma and selling them.
This vear it pot enough with a dona-
tion from members to present a check
for *100 to the Will Roerers Hospital.

iP

All-Purpose Sound Projection System by

CINEMECCANICA

Complete change from 70 to 35 mm in

LESS THAN ONE MINUTE

The perfect, simplified system
for all processes

XeNON CINEMECCANICA Lamphouses for
450-900-1600-2500 and 6500 watt bulbs

Exclusive Distributor for U.S.

y.vTR OJ\T

ADivisionof CARBONS Inc., Boonton,N.J.

International Projectionist March. 1965

Get all the facts! Ask your equip-
ment dealer for the new 1964
Kollmorgen Projection Lens Cata-
log or write us direct.

^KOLLMORGEN

CORPORATION
MPTON, MASSACHUSETTS

Ballantyne Equips
California Drive-In

Ballantyne Instruments & Electron-
ics will completely equip the beautiful
1750-car Sunnyside Drive-In Theatre,
Fresno, Calif., and the fabulous new
1,750 car Kalua Drive-In in Hawaii,
for Pacific Drive-ins Theatres Corp.,
Los Angeles.

The complete job features Ballan-
tyne "All-in-One Package" equipment
including all-sound projection booth,
box office and concession equipment.

Ballantyne executive vice president
J. R. Hoff said that Pacific Theatres
has "gone all the way on top quality"
and included Ballantyne transis-
torized sound, pre-amplifier system,
and Ballantyne MX power amplifiers,
Norelco AAII 70mm projectors, Jet
Arce lamps and Ballantyne 360°
electric heaters.

The Fresno Drive-In will also in-
stall 525 Ballantyne 360° electric
heaters. Complete concession equip-
ment will include ovens, freezers,
Tappan Micro-Wave ovens, pizza
ovens, etc.

The Sunnyside Drive-In in Fresno
is scheduled for opening; April 1 and
the Kalua follows in 30 days.

The screen tower at the Sunnyside
in Fresno is 50x140 ft., while the
Kalua in Hawaii has a 50x114 ft.
screen.

IP

Ed Hill Retires
From Toronto's 173

TOP ONTO. CANADA — One of

the oldest pioneer projectionists, Ed
Hill. I ocal 173, has retired after 58
vears of service in the motion pic-
ture projection craft in show busi-
ness. A charter Gold Card member
for 50 years of Local 173 IATSE
and now holder of an honorable
withdrawal card, Mr. Hill started
his career with the Griffin Amuse-
ment Company as operator in the
silent days. Most film projectors were
hand-cranked varieties in those days,
and there was no sneaking out of
the booth to see what the picture
was all about. Mr. Hill points out.

There were illustrated songs and
slides with two single reels to a
show — Mr. Hill was able to crank
the projector with one hand and
rewind with the other, working from
9:00 A.M. to 11 P.M. and "lucky if
there even was a relief man."

Show business drew Mr. Hill about
1909 when he traveled road shows
with Johnston and Burns as well as
handling stage gear and spot lamps
at the old Star and Gaiety Theaters
in Toronto.

iP

1965 International
Convention Set for Audio
Engineering Society

LOS ANGELES — This city will
host the 1965 international conven-
tion of the Audio Engineering
Society April 27-30. The world
famous Los Angeles Music Center
and the Hollywood Roosevelt Hotel
have been chosen as conference and
special event sites.

More than 1000 representatives
and special invited guests are expect-
ed to attend the convention. Because
of the increased interest from exhibi-
tors and added technical papers, the
convention's original date of March
23-26 has been advanced.

"Audio Advancement" is the "key"
to this years convention theme.
"Audio For The Performing Arts."
Technical papers, conference sem-
inars and exhibit booths are sche-
duled.

This convention will host the
largest exhibit of professional audio
equipment on the West Coast. Pre-
sentation awards for outstanding pro-
fessional contributions to the audio
industry will be made to AES mem-
bers. A special honorary award and
membership will be presented to Walt
Disney for his signal achievement
and major tribute to the performing
arts, in recognition of his early use
of multi channel sterophonic motion
picture sound systems and for
developments in audio animatronics.

iP

New York State
Projectionists Plan
May 17 Meeting

The spring meeting of the New
York State Association of Motion
Picture Projectionists will be held
May 17 at the Hotel New Yorker in
New York City.

Steve D'Inzillo, Business Agent of
Local 306 in New York, has offered
the complete services of himself and
staff to make the spring meeting an
outstanding affair.

A highlight of the meeting will
be a tour of the World's Fair on
May 18 for delegates and guests,
sponsored by Local 306.

George F. Raaflaub is Secretary-
Treasurer of the New York State As-
sociation of Motion Picture Projec-
tionists and Edward G. Hurd of
Mixed Local 377, Ithaca, New York
is handling publicity on the meeting.

iP

International Projectionist March. 1965

I

Kodak Sales, Earnings
At New Highs in 1964

Eastman Kodak Co. sales and
earnings for 1964 advanced to new
highs. Albert K. Chapman, chairman,
and William S. Vaughn, president,
report. Consolidated sales of Kodak's
U. S. units in 1964 reached 81.237.-
i 7' :2V). about 12',' over the $1,106,-
670.760 of 1963. Net earnings were
$187,248,263, nearly $43 million— or
about 30rc over the 1963 total of
>1 ll.12o.503. Net earnings equalled
S4.64 a share of common stock as
compared with $3.57 a share in 1963.
They were 15.1'/' of sales for 196-1
as against 13.1' ', for 1963.

Cash dividends on the common
stock advanced 21', to nearU $121
million in 1964. Dividends declared
were $3 per share, compared with
$2.60 on the shares outstanding in
L963. V two-for-one stock split was
voted by the directors, subject to
approval by the share owners at the
annual meeting in April. This action
would double the number of shares
authorized and issued and would
reduce the par value from $10 to $5
per share. Total cash dividends on

the common stock have been in-
creased in each of the past 16 years.
Kodak has paid cash dividends on
the common shares for 63 consecu-
tive years.

On a world-wide consolidated basis
(eliminating intercompany trans-
actions). 1964 sales totaled $1,541.7
million, up about 12', from the pre-
vious year. iP

NEW TECHNIQUE
A special optical photographic
technique, incorporating still-picture
color negatives into a motion picture,
will be used for the first time in
Warner Bros.' "The Third Day."
starring George Peppard and Eliza-
beth Ashle\ under Jack Smight's
direction.

The technique was developed 1>\
David Sutton, who was retained b\
\\ arner Bros, for special magazine
photography on the drama, which is
being filmed in Technicolor and
Panavision. Technically, it involves
a progression of images within a
single exposure at the moment of
shooting with a zoom lens, creating
an illusion of movement within a
-!ill photograph. iP

Westland Theatres
Starts Construction of
$500,000 Hardtop

COLORADO SPRINGS — A new

$500,000 dollar 850-seat hardtop, in
construction by Westland Theatres,
Inc.. is planned for mid-summer
opening.

The new house will be called
Cinema 70. it was designed by Lusk
and Wallace, architects, and incor-
porates two dozen new features lack-
ing in the present modern theatre,
according to L.A. Staresmore. presi-
dent of Westland.

Features include is the away-from-
the-auditorium lobby, lounge, con-
cessions bar and boxoffice, which is
housed in a separate circular building
connected with a glass enclosed corri-
dor.

The large parking area will be
reached by a covered walk past land-
scaped grounds. A 25x56 ft. curved
screen and projection booth large
enough and so equipped as to ac-
commodate any current and experi-
mental system of projection is
promised. iP

X&h&taft

MTl

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International Projectionist March. 1965

Projection Treated . . .

Record Number of Papers and
80 Booths at SMPTE Meet

Motion picture and television
equipment manufacturers have re-
served exhibit space for the 97th
Society of Motion Picture and Tele-
vision Engineers Technical Confer-
ence Equipment Exhibit March 29
through April 1, states Warren

Strang, Hollywood Film Co., exhibit
chairman. The Conference is set for
March 28 to April 2 at the Ambassa-
dor Hotel, Los Angeles. An all-time
high number of technical and scien-
tific papers will be presented in 20
sessions.

Another FIRST for KNEISLEY

Miniaturized High Current
Silicon Rectifiers

THE MOST COMPACT RECTIFIERS
EVER DESIGNED

Occupy only 1/7 square foot of usable
floor space in your projection room

In uuest of projection room modernization and
elimination of costly booth wiring, Mel Glatz, of
Fox Inter-Mountain Theatres Inc., insisted upon
compact rectifiers to mount adjacent lamphouses.
Kneisley engineers complied by designing 115, 140,
and 180 ampere 3 phase rectifiers in housings
measuring 20" x 20" x 10" utilizing only a small
fraction of floor space.

R. F. Kneisley

President, The Kneisley

Electric Company

These miniaturized rectifiers
are designed to mount over
pedestal base beneath projector
motor. Required floor space is
reduced from 3 square feet to
1/7 square foot.

Installation provides "on
spot" current adjustment.

the

All three models are equipped with 480 ampere heavy duty
silicon stacks.

Automatic Arc Striking Current Minimizers supplied with each
rectifier for reflector protection.

Blower draws cool air into rear housing, through silicon stack,
upward and over transformers into lamphouse exhaust system,
eliminating heat in projection room.

V/rite us for detailed information. Address Dept. P.

Mel Glatz
Designer, Fox Inter-Mountain
Theatres, Denver, Colorado

Current adjustment is provided
by 4 rough and 8 fine taps,
conveniently located beneath
hinged doors.

Requires only 3 phase line into
rectifier. Practically all expen-
sive D.C. wiring as well as
direct current line loses are
abolished.

Employs new method of ventila-
tion (see chart below).

■-•" i i

THE KNEISLEY ELECTRIC COMPANY

P. 0. BOX 1506

TOLEDO, OHIO 43603

10

Over 80 booths will show services
and new equipment for the industry.
Exhibitors include:

Amega Corp., Sun Valley, Calif;
Amco-Engineering Corp., Madras, India;
Ana-Tec/Air Cargo Div. of Monogram,
Culver City, Calif.; Arriflex Corp. of
America, New York; Bach Auricon,
Inc., Hollywood; Bell & Howell Co.,
Chicago; Birns & Sawyer Cine Equip-
ment Co., Los Angeles; Cinnema Beau-
lieu, Hollywood; ColorTran Industries,
Inc., Burbank, Calif.; Andre Debrie of
New York, College Point, N. Y.; Eclair
Corp. of America, Los Angeles; John P.
Filbert Co., Inc., Los Angeles; Frigid-
heat Industries, Nashville; General Elec-
tric Co., Lamp Div., Los Angeles; Gor-
don Enterprises, North Hollywoood;
Gryphon Corp., Burbank, Calif; Karl
Heitz, Inc., New York; Frank Herrn-
feld Engineering Corp., Culver City,
Calif.; Hollywood Film Co., Hollywood;
Hughes Electronics Co., Los Angeles;
J & R Film Co., Hollywood; L-W Photo,
Inc., Van Nuys, Calif.

Macbeth Sales Corp., Newburgh,
N. Y.; Magnasync Corp., North Holly-
wood; Magnetic Sales Corp. and Ryder
Sound Services, Inc., Hollywood; Metro/
Kalvar, Inc., New York; D. B. Milliken
Co., Arcadia, Calif.; The 3M Co., St.
Paul; Mole-Richardson Co., Hollywood;
Moviola Mfg. Co., North Hollywood;
North American Philips Co., Inc., New
York; O'Connor Engineering Labs.,
Pasadena, Calif.; Oxberry Corp., Mama-
roneck, N. Y.; Plastic Reel Corp. of
America, Weehawken, N. J.; Quick-Set,
Inc., Skokie, 111.; Sarkel Corp., Los
Angeles; Sol-Lux Cinema Electronic,
Los Angeles; S.O.S. Photo-Cine-Optics,
Inc., Hollywood and New York; Stancil-
Hoffman Corp., Los Angeles; Traid
Corp., Encino, Calif., and Treise Engi-
neering, Inc., San Fernando, Calif.

Exhibits will be open Monday.
March 29, 5 to 8 p.m.; Tuesday!
March 30, 11 a.m. to 8 p.m. Wednes-
day, March 31, 9:30 a.m. to 4 p.m.;
and Thursday, April 1, 11 a.m. to 6
p.m. There will be an Exhibitors'
Open House on Monday, March 29 at
5 p.m., where all registrants and
holders of exhibit passes are invited
for the opening. Refreshments will
be served.

For the first time in Los Angeles,
the SMPTE will show its highly suc-
cessful Test Film Booth, which had
its initial showing at the Society's
96th Conference in New York last
fall.

Demonstration of the various
Society test films will highlight the
booth's activity, along with the show-
ing of the new SMPTE Universal
Leader (see separate story) and en-
larged pictures of many SMPTE test
films. Complimentary literature will
be available, including SMPTE
Recommended Practices relating to
test films, TV transmission and
image specifications.

The booth will remain open during
all hours of SMPTE Conference
activity and will be manned by
SMPTE assistant staff engineer
Joseph R. Stibfel. iP

International Projectionist March, 1965

Norelco Exhibits Special New
Projectors at SAAPTE Conference

New developments in Norelco pro-
jection equipment will be on display
in Norelco's booths 227-228 at the
Society of Motion Picture and Tele-
vision Engineers' Exhibit, in the Am-
bassador Hotel. Los Angeles, March
29 through April 1. states Niels
Tuxen. head of the Motion Picture
Equipment Division of the North
American Philips Co.

A brand new stop-motion 35mm
Norelco projector designed especially
for technical conferences and x-ray
and medical analysis will he shown
for the first time. This projector
operates at speeds ranging from
the normal 2 1 frames per second to
single frame stop motion. Also to be
shown is the Norelco portable 35mm
projector that weighs onl\ 67 lbs.
and yet has the features of regular
35mm professional projectors.

Another new projector to be shown
is the special purpose Norelco FP-20
35mm projector, modified, for use
in sound mixing studios and screen-
ing rooms. This unit operates for-
ward and reverse in sync or interlock
from local or remote control. The
projector includes looping rollers
and high speed rewind. It is available
with an incandescent. Xenon. Arc or
Pulse-Lite light source. Another
special model of this projector is also
available for TV scanning with simul-
taneous screen projection.

These special purpose projectors
are available from Ma<rna-Tech
Electronics Co.. Inc.. manufacturers
of sound recording and screening
room equipment. Magna-Tech is also
offering an all electronic interlocked
frame and footage read-out counter
featuring automatic preset stops for
use with this special purpose pro-
jector.

A complete line of Isco lenses.
which are distributed by Norelco in
the United States, will be displayed.
These lenses range from the T-Kip-
tagon. reported the most widely used
70mm projection lens in the world,
to the Super Kiptar. super-fast 35mm
lenses.

Norelco also manufactures a line
of 16mm Tele-Cine projectors and
related equipment. Although these
products will not be displayed at the
SMPTE exhibit, complete informa-
tion, literature and technical data

International Projectionist March,

will he available at the Norelco
booths.

Niels Tuxen and Fred Pfeiff. of the
Norelco Motion Picture Equipment
Division, and Norman T. Prisament
of Magna-Tech. are scheduled to be
on hand at the exhibit to provide
information and assistance t o
SMPTE members and other visitors.

iP

C. P. O'Grady

Elected by National Theatre

NEW YORK — C. P. O'Grady has
been elected to the office of admin-
istrative vice president of National
Theatre Supply Co., it was an-
nounced by W. J. Turnbull. presi-
dent. O'Grady has been associated
with National for 35 years in many
capacities. He will continue to serve
as president of Cinesound Service
Corp.. a wholly owned NTS subsi-
diary.

iP

Available now!
the NEW

SMPTE

UNIVERSAL

LEADER

Result of 5 years of work by

SMPTE Engineering Committees

made up of producers, laboratory

specialists, projectionists

and television broadcasters

FEATURES include:

Timing in seconds

Moving wedge for time measurement

Trailer section with ID frames

Master positives of leader and trailer
available from SMPTE Headquarters

Society of Motion Picture and Television Engineers

9 East 41 Street, New York, N.Y. 10017 Tel: (212) TN 7-5410

1965 11

■

Kneisley Electric Develops Miniaturized
Silicon Rectifiers for Projection Room

At the request of Mel Glatz.
designer and purchasing agent for
Fox Intermountain, Denver, Colo.,
in his quest for the elimination of
costly booth wiring, The Kneisley
Co., utilizing a new version of venti-
lation, has reduced the size of their
115, 140, and 180 ampere, 3 phase,
silicon rectifiers from 42^2 "x24"xl8"
to 20"x20"xl2". Simultaneously,
transformer operating temperatures
were reduced appreciably.

These designs, utilizing waste
space in the booth, mount over the
pedestal base, beneath the projector
motor, reducing usable floor space
requirements from 3 sq. ft. to l/7th
sq. ft. Costly wiring is eliminated.
Only one 3-phase line need be
brought into the rectifier through a
4" surface gutter positioned beneath
the rectifier.

Flue aperatures in the tops make
possible stacking out the heat loss of
the rectifiers into the lamphouse
exhaust system, so that you do not

pay for air conditioning loss; nor
do you heat up the projection room
in the summer, if not air conditioned.

Three models, M115RTK2, M140-
RTK2, and M180RTK2, utilize the
R-1325 480 ampere heavy duty sili-
con stacks. All 230 volt rectifiers
have voltage ranges of 190 to 250
volts. Odd voltage designs are
available. Four rough and eight fine
current adjustment taps, conveniently
located, replace switches. Emergency
studs are provided, on the terminal
board, so that either rectifier can
operate either lamp. Automatic arc
striking current minimizers are sup-
plied with each rectifier. Nothing
has been sacrificed, quality-wise, to
attain compactness, the company
states.

Being only 20" high ( without the
detachable legs used for installations
adjacent the pedestal) they can be
positioned directly beneath the lamp-
house in 70mm installations. The
base of the rectifier is solid sheet-

From Coast to Coast

From the

Music Hall

to

Graumann's Chinese

For Good Projection
It's Hurley All the Way

HURLEY SCREEN COMPANY, INC.

96-17 Northern Blvd., Corona, N.Y.C.
(See your theatre supply dealer)

CREATE THE RIGHT MOOD EVERY TIME WITH THE

Major Mood Music Library

MAJOR offers you a full forty-five hours of mood music for

titles, bridges, backgrounds.

Write for Free Catalogue

THOMAS J. VALENTINO, INC.

Established 1932
150 West 46th Street CI 6-4675 New York 36, N. Y.

metal, as the ventilating system is
located in the lower front of the
rectifier.

The M115RTK2 miniaturized Kni-
Tron silicon rectifier is housed in a
rectangular steel case, designed to set
adjacent the lamphouse pedestal,
providing "on the spot" current ad-
justment, eliminates wiring and
direct current line losses.

The rectifier consists primarily of
three transformers, an R-1325 (480
amp. ) Silicon Stack, a filter capaci-
tor, blower type ventilating system,
one control panel for wide range
current adjustment and voltage con-
trol, one fine current control panel,
and a three pole relay.

On a panel behind a hinged door,
in the left side of the rectifier, are
the wide adjustment and voltage
control taps. A heavy duty three-pole

Send

for complete

information

NATIONAL STUDIOS

42 West 48 Street, NYC

12

International Projectionist March, 1965

relay is also affixed to the panel.
Removal of the side panel exposes
entire internal construction. Fine
current adjustment taps are con-
veniently located on a panel directly
under a hinged door in the rectifier
top.

An automatic arc striking current
minimizer is furnished with each
rectifier, but not incorporated in the
same housing. It limits striking cur-
rent to no more than full load current
of the arc; also greatly minimizes
reflector and positive carbon crater
damage. The silicon stack is easily
accessible should removal be neces-
sary. Diodes employed in the stack
are far in excess of the required
rating and failures are rare, it is
claimed.

Miniaturization has reduced ship-

J

The new method of ventilation in the
Kncisley unit (see above and on facing
page) saves on heat loss and conse-
quent higher operating costs.

ping weights considerably, which will
be reflected in shipping costs. \\ rite
the Kneislev Electric Co.. P. 0. Box
1506. Toledo. Ohio. 43603, for full
details. iP

James Brennan Dies

NEW YORK— A Solemn Requiem

Mass was held for James J. Brennan.
80. first vice president of the Inter-
national Alliance of Theatrical Stage
Employees, at St. Pauls Church.
Ramsey. N. J. He died after an ill-
ness of several weeks.

A native of Brooklvn. i\". Y.. Mr.

Brennan entered show business as a
horseback rider at New York's old
Hippodrome Theatre when it opened
in 1905. Three years later, he helped
form the Theatrical Clearers Protec-
tive Union, and in 1914 he became
a members of New York Stage Em-
plovees Local No. 1. He served seven
terms as president of that union and
helped negotiate many of its con-
tracts.

Mr. Brennan was elected an IATSE
international vice president for the
first time in 1934. and since 1935
he had been on the staff at the organ-
ization's general office in New York,
handling the placement of stage crews
with road shows and other legitimate
theatre assignments. He was chair-
man of the grievance committee at
many of the union's conventions. He
is survived by his widow, two dau-
ghters and three sons.

iP

Tri-State Association
Of I A Plans
Erie Convention

MORGANTOWN. WEST VIR-
GINIA — The Tri-State Association
of IATSE and Motion Picture Opera-
tors, covering projectionists in West-
ern Pennsvlvania. Eastern Ohio and
West Virginia, will hold the 41st
Convention of the Association in
Erie. Pennysvlvania. Sundav. June
6. 1965.

Chairman of arrangements is
George F. Thompson. Business Agent
and Secretary of Erie Theatre Em-
ployees Local B-187.

Also hosting the Annual Meeting
will be members of Stage Employees
Local 113 and Moving; Picture Ma-
chine Operators Local 621. Addi-
tional details can be obtained from
Richard J. Herstine. Secretary-
Treasurer of the Tri-State Associa-
tion. 1157 Des Moines Avenue, Mor-
gantown. West Virginia 26503.

iP

HEYER-SHULTZ
METAL REFLECTORS

Top Screen Illumination

Will Not Break, Pit or Tarnish

No Replacement or Spare Reflectors Required

See your dealer or write for full particulars
Manufactured By HEYER-SHULTZ, Inc., Cedar Grove, N. J.

International Projectionist March. 1965

•3f

look

into

Stewart

Film screens

• • • the

choice

of
experts

►

►

FILMSCREENS FOR SHOWMEN-Stew-

art Projection Screens— the choice of.
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OLTRAMATTE — for commercial play-
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Seamless to 46 by 88 feet ■ Optical
efficiency ■ Durable economy.
LUXCHROME 50- seamless rear pro-
jection ■ Superior image contrast in
lighted rooms.

FILMSCREENS FOR FILM PRODUCERS

-used by CBS Studio Center, Colum-
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MGM, Paramount, Revue, UPA, Uni-
versal, Warners.

HI-TRANS -Academy Award,, back-
ground screen-highest calibre
production "tool."

ULTRAMATTE gain white, and LUX-
MATTE white matte-front projection
screens ■ Demanded by studios and
film labs for viewing during produc-
tion, dubbing, and scoring.
T-MATTE BLUE -rear-illuminated
screen for latest traveling-matte
process ■ Practical for large and
small sets, major productions, or TV
commercials.

FILMSCREENS FOR TV PRODUCTION

TV-BLUE-background screen ■
Favorite of networks ■ Versatile ■
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LUXCHROME 60- neutral gray screen
for closed-circuit techniques, back-
grounds and rear projection viewing.

FILMSCREENS also designed for A-V,
fairs, trade shows, exhibits, simula-
tors, plotting and display systems, and
special architectural requirements.

STEWART FILMSCREEN CORP.

1161 W.Sepulveda Blvd.
Torrance, Calif. 90503 (213) 326-1422

I want to look further into Stewart Film-
screens. Please send me additional

information on:

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13

THE NEW

TECHNIKOTE

SCREEN

. . . The anti-static pearlescent screen
that excels for both 35mm and 70mm.

USED FOR-

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and •

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Years of research, testing and development
have brought Technikote Screens to a state
of perfection which will meet the most
exacting projection requirements.

Technikote Screens are seamless in con-
struction, have perfect uniformity of surface
and will give the finest results for all systems
of projection . . . and are unconditionally
guaranteed.

TECHNIKOTE CORP.

63 Seabring St., Brooklyn, N. Y. 11231

•

EXPORT-AMITY INTERNATIONAL

DISTRIBUTORS-AMITYVILLE N. Y.

America's
headquarters

for all
theatre equipment

supplies

National

THEATRE SUPPLY COMPANY

George J. Flaherty
Of IA Elected to
Hollywood Canteen

HOLLYWOOD— Miss Bette Davis,
president of the Hollywood Canteen
Foundation, announced that gifts,
pledges and allocations exceeding
$70,000 were made by the trustees
at its annual meeting held on March
9. 1965.

The principal beneficiaries of this
year's commitment are pledges of
$25,000 to the building fund of the
Cedars - Mount Sinai Hospitals,
$10,000 to the American Legion
Rehabilitation Department, and
$5,000 to the Variety Club of South-
ern California. The Foundation also
authorized payments of previous
commitments. $25,000 to the Regents
of the University of California,
$2,500 to the Portals House and
$1,000 each to the Nursery School
for visually handicapped children, the
John Track Clinic and the 52 associ-
ates of Southern California.

The Hollywood Canteen Founda-
tion is an outgrowth of the Holly-
wood Canteen which was originally
formed by 42 unions and guilds
within the amusement industry to
entertain the members of the armed
forces during World War II. Its ori-
ginal source of income, besides gifts,
resulted principally from the produc-
tion of two motion pictures. "Stage
Door Canteen" produced by Sol Les-
ser, and "The Hollywood Canteen"
produced and released by Warner
Brothers.

The original fund transferred to
the trustees upon the closing of the
Canteen at the termination of the war
approximated $500,000. By invest-
ment and reinvestment of its funds,
the trustees have been able to make
gifts or pledges exceeding three-
quarter millions of dollars since that
time and Jules Stein, chairman of the
finance Committee, stated that the
market value of its funds presently
exceeds $1,300,000, all of which is
invested in marketable securities in-
cluding common stocks, bonds and
savings accounts.

George J. Flaherty, international
vice president of the IATSE was
elected to succeed the late B. C.
"Cappy" Duval. In addition to Miss
Davis and Jules Stein, the other
trustees are Ralph Clare, Baron
Morehead, John Tegroen and Lew
Wasserman.

iP

Wolk Acquires RCA's
Replacement Inventory

Acquisition of the Radio Corpora-
tion of America's inventory of re-
placement parts for RCA theater
sound equipment has been announced
by Edward H. Wolk, Inc., of Chicago,
supplier of replacement parts for the
motion picture industry.

The agreement was concluded by
A. J. Piatt, manager of distributor
sales for RCA. and Charles Wolk,
president of the Chicago firm. It also
gives Wolk rights related to the
manufacture of the replacement
parts.

Wolk said his company had
arranged to acquire RCA tooling and
would manufacture and inventory
parts for the sound systems. The
Wolk company also is the source of
replacement parts for RCA 35mm
projectors.

iP

Growing Competition
From 16mm Showings
Noted by Theatres

CEDAR RAPIDS— Roy Metcalfe,
president of Iowa Allied Independent
Theatre Owners, has cautioned the
industry against the mounting prob-
lem of competition from 16mm films
being shown in schools, colleges and
churches.

Cornell College. Mount Vernon.
Iowa, played "Flower Drum Song"
for an admission. This was in direct
competition with the theatre at Mount
Vernon, which was playing "The
Outrage."

He stressed that 16mm "is a big
business in the number of playdates
by which anybody can get into show
business by the back door . . . Just
why schools and colleges wish to get
into our business is anybody's guess.
My understanding is that film com-
panies send a questionnaire to an
organization that there is not any
theatre in the town or city these films
are to be shown."

Metcalfe noted that the First
Unitarian Church in Des Moines
showed "Pepe" at an admission of $1
for adults and 50 cents for children.
"Just how long can this situation
last?" he asked. "For many small
theatres the worry is over. They're
closed. Some small towns finding-
out their loss are attempting to
reopen theatres with the aid of the
Chamber of Commerce or other
groups," he said.

iP

14

International Projectionist March. 1965

Sound Track

by J. G. Jackson

A Proposed Standard for Studios
and Theatres

Bv B. A. Nixon

1. A Standard (Squeeze) 2 to 1 Image
for 35mm Print (.96S"x.895").

2. A Standard Image Height of 5
Sprocket Holes Per Frame (35mm
and 70mm).

3. A Standard Magnetic Sound Repro-
duction and Speed 22-1/2" Per
Second (35mm and 70mm).

4. A Standard Screen Ratio — 2.12 to 1
(35mm and 70mm).

I he attenti\e proposal would result
in practical advantages for the in-
<lu?tr\. Also mindful of a minimum
expenditure in time and financial
outlas to am one phase of the in-
dustry; initiator) <>r other\\i»<-

I he dimensions of the drawing i~
ol close proximitj and feasible as to
the intention for the described stan-
dards numbered 1 to 1. The neces-
sar\ exact measurement? would
natural!) be at the discretion of the
Societv of Motion Picture and Tele-
\ ision Knjnneers.

I he implication of a 20' < increase
in 35mm film stock required for final
prints ma\ appear startling; hut the
aihantages and elimination of man\
COStlj and time-consuming existing
processes, would more than offset this
increase: such as eliminating of
various ratios, which in a majority
of existing prints is a stock wasting
and time-consuming process.

Elimination of the antiquated
optical track and its main time-con-
suming processes.

Having a unified speed in all mag-
netic prints 1 35mm and 70mm i
eliminates varied processes also.

The image aperture I .%8" to
.895" J being identical height of
70mm .895", it eliminates man\ pro-
blems such as sound transfering to
print: printing down from 70 to
35mm, nr vice \ersa: sets a uniform
height for theatre screen and elimin-

i Please turn to page 18)

PROJECTOR
CARBONS

Better
Light!

Lower
Costs!

RINGSDORFF CARBON CORP. East McKeesport. Pa

MOVING?

Be sure to send IP the label
from the cover of your Inter-
national Projection-
ist as soon as you have
your new address. Please al-
low five weeks for change.

INTERNATIONAL
PROJECTIONIST

1645 Hennepin Ave.
Minneapolis, Minnesota 55403

.. * . '.>.'.-

V.»— *A t*» -

7

D
D

,y

a

Z

i, "*'

•tot

.wr'

nCTJK buc^ P«CC£X SOiXG It * >3T*«4 EOu*^

to i% rtMu -tu>£: *»om BUTCH * cawi»»c

zt

3

j — i

2 to 1 Squeeze Image .968" x .895" — Screen Ratio 2.12 to 1
International Projections March. 1965

Projectionists

who like quality

always use the best

Star

Film Cement

Sold by Supply Dealers

Send for FREE Sample

ACE CHEMICAL CO.

■ (Division of the
Ace Electric Mfg. Co.)

1923 Bay Road
Miami Beach, Florida

15

Four Marketing Appointments
Announced by Eastman Kodak

Four Eastman Kodak appointments
ment of its photographic marketing org
B. Zornow, vice-president, marketing.

Charles L. Resler was appointed
sales manager of the consumer mar-
kets division. He was formerly di-
rector of sales of the Apparatus and
Optical Division.

William A. Sawyer, former gen-
eral manager of the Northeastern
Sales Division, was appointed sales
manager of the professional, com-
mercial, and industrial markets di-
vision.

Resler and Sawyer will serve on
the company's Marketing Council,
along with the general managers of
the marketing divisions and the di-
rectors in the marketing organiza-
tion that were announced at the end
of November.

Dr. Norwood L. Simmons, former
general manager. West Coast Divi-
sion, Motion Picture Products
Sales, was appointed general man-
ager of the Northeastern Sales Divi-
sion, succeeding Sawyer.

C. Ray Troutner. former sales
manager, amateur products. Midwest-
ern Sales Division, was appointed
general manager of the Middle Atlan-
tic Sales Division, succeeding Wil-
liam S. Allen, who was recently
named general credit manager of
Kodak.

Resler, a graduate of the Univer-
sity of Rochester, has been associ-
ated with Kodak since 1930 when
he joined the company's training
program. After varied assignments
at Kodak Office, he transferred to
stores in Boston, then in Pittsburgh.

Sawyer, a 1937 graduate of Po-
mona College, attended the Harvard
Graduate School of Business and
joined Kodak in 1938 as a trainee.
After various assignments he trans-
ferred to the sales service depart-
ment in 1939. He was commissioned
in the U. S. Navy in 1941 and
served for the duration of the war.

Dr. Simmons joined Kodak in
1937 and for the next four years was
associated with the Company's film

related to the company's rearrange-
anization were announced bv Gerald

manufacturing operations at the
Kodak Park Works in Rochester.
N. Y. In 1941 he moved to the West
Coast Division of the motion picture
products sales department. He held
successive engineering and mana-
gerial posts and was appointed gen-
eral manager of the division in Janu-
ary, 1964.

Born in Washington. N. C, Dr.
Simmons received a B. S. degree
from the University of North Caro-
lina in 1933. an M. S. degree from
the California Institute of Tech-
nology in 1935, and a Ph.D. degree
at North Carolina in 1937.

Troutner is a graduate of Dart-
mouth College. He joined Kodak in
1938 and filled various assignments
in training and at Kodak stores. In
1939-40 he worked for two seasons
at the Kodak Exhibit at the New
York World's Fair and then be-
came a sales representative in
Pennsylvania.

He served with the U. S. Air Force
during World War II. On his return
to Kodak in 1946 he joined the
sales force in Pennsylvania and
later in Ohio. iP

New Tool Solves
Maintenance Clutter

Because of the neatness of peg-
board racks in the projection booth,
the drive-in maintenance storage
area and the like, projectionists and
theater operators generally will be
interested in the "Wire Former" by
M & W Manufacturing Co., 1950
Sheridan Road. North Chicago. 111.
60064.

This is a hand tool of case-hard-
ened metal for making peg-board
hooks, self hangers and holders for
use in the projection booth, work-
shop or for personal use.

The equipment shapes with pre-
cision any wire or cold rolled rod
up to 5/32" in diameter, makes eyes

This is the Wire Former, a handy
tool for projectionists in making peg-
board tool storage panels to end pos-
sible clutter in the projection booth.

with 3/16" inside diameter, to
make convenient anchoring to a
wall with screws or nails, if peg-
board types are not suitable.

With its own built-in cutter, it
bends wire right and left, forming
any angle, arc or circle or straight-
ening mistakes made. The equipment
may be ordered from the manufac-
turer for S3. 98. Galvanized steel wire
of 9 gauge .148 diameter, or hard-
ened aluminum wire 5/32" .156 di-
amater is also available from M & W.

iP

CORRECTION
In the September issue of Inter-
national Projectionist, it was inad-
vertently stated that the copper
drippings program was started by
president Morris I. Klapholz of the
25-30 Club Inc., a New York organi-
zation of motion picture projection-
ists. The statement was in error: the
originator and founder of the cop-
per drippings program, which is
now being used all over the U. S.
for the Will Rogers Memorial Hospi-
tal, was Morris J. Rotker. Mr. Rot-
ker has been presented with many
commendations for his efforts in this
drive as well as a statuette of Will
Rogers for his creativeness. Mr.
Rotker is now Recording and
Corresponding Secretary of the 25-
30 Club, Inc., and was the General
Chairman of the Silver Anniversary
Banquet of the organization held at
New York's Hotel Empire in Janu-
ary. iP

CARBON ARCS . . FOR FINEST PROJECTION

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• More Economical

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16

International Projectionist March. 1965

Motion picture projectors in storage and ready for shipment from the new
Norelco installation. That's an Academy Award model in the foreground, re-
ceiving final checks before crating for shipment.

New Norelco Operations Center in
New York Speeds Parts Shipments

In order t<> provide Norelco pro-
jector users and dealers with fast
delivery and service <>n motion
picture projectors and sound equip-
ment, North American Philips Co..
Inc. recentl] transferred warehousing
and shipping operations to a large
new building at 30-10 Review Ave..
Long Island City. On the roof of
the structure, one of the largest signs
in the metropolitan area flashes
time, temperature, and product an-
nouncements in the direction of
Manhattan throughout the da) and
night.

The new operations center provides
100.000 sq. ft. of space at ground
level plus 111.000 sq. ft. on the mez-
zanine for offices. Now. under one

roof, the company maintains a large
Stock of spare parts and complete
units which are reads for shipment
at short notice. Around-the-clock
shipments of stock items are gener-
all\ made on the same day and
always within 21 hours after the
order is received. This applies to the
Vadeim Ward Model Wll
70 35mm projector, as well as to all
other Norelco theatre t\ pes. audio-
visual and tele-cine units.

Norelco projectors are used in all
major Holhwood studios and l>\
theatres in 35 states. The inventory,
consisting of more than a thousand
parts and sub-assemblies, is constant-
ly reviewed and amended as usage of
Norelco projectors expands. iP

Norelco

projection
equipment

Available from

leading theatre supply

dealers

North American Philips Co., Inc.

Morion Picture Equipment Division
100 E. 42nd St., New York 17, N.Y.

America's
headquarters

lor all
theatre equipment

supplies

*W» mm mmW

National

THEATRE SUPPLY COMPANY

The sign atop the Norelco ware-
house can be seen for miles, reporting
time, temperature and Norelco prod-
uct messages.

International Projectionist March, 1965

THE VERY FINEST

PROJECTOR PARTS

SINCE 1908

The ultimate in precision, long life and dependability—
they keep projectors in top operating condition essential
to good pictures, patron satisfaction and good business.
Available through your Theatre Equipment Dealer.

MACHINE WORKS

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TELEPHONE— AREA 312— ES 8-1S36

17

New proposed film standard

Continued from page 15

ates the changing of lens in a pro-
jector for either 70 or 35mm, only
requirement is the addition of the
presently used C/S attachment lens
tor 35mm print.

The width of the 35mm print
would be .968" for the picture
image; this can be accomplished by
elimination of the antiquated optical
sound track, also the elimination of
the magnetic effects sound track,
which is of marginal value in any
case. This brings the image width to
V-2 the width of a 70mm image and
using a squeeze image 2 to 1 ratio.
It will expand with C/S attachment
to the same width as 70mm. By con-
forming to same screen ratio it elim-
inates various ratio screen maskings;
a 25% increase in definition; full
use of spot from light source and
superior sound from all prints.

With the elimination of all the
outdated, time-consuming, costly pro-
cesses the path is cleared to simplify
and unify all printing; both picture
image and sound. Every phase of the

OUT OF PRINT

MITCHELL MANUAL

AVAILABLE!

The renowned "Manual for
Practical Projection" by Robert A.
Mitchell is now out of print, ac-
cording to an announcement by the
bookseller. International Projec-
tionist.

Returns from our retail outlets
have been consolidated and we
now have approximately 40 vol-
umes of the Mitchell Manual avail-
able on a first-come-first served
basis.

These books are in brand new
condition, complete with dust
jackets; have never been used.
This rare publication can be yours
for $10 cash or money order.
Sorry, no C.O.D. or foreign orders
can be accepted at this price.

Sheehan Booksellers

P.O. Box 6174
Minneapolis, Minn. 55424

industry will benefit, including the
most important persons — the
patrons.

The requirement of parts in the
theatre for this change of image ratio
and sound, would be (2) magnetic
sound heads; (6) sprockets; (2)
modified gate assemblies; (2) modi-
fied intermittent brackets to accom-
modate the large sprocket should any
exhibitor initially choose to eliminate
stereo sound equipment, only a
matching transformer with three pri-
mary windings to one output, and
a pre-amplifier would suffice, and
could carry on with the existing
monoral amplifier and speakers.

Theatres now possessing stereo
equipment, their requirements for
parts would be less. Th changeover
to this proposed standard would be
gradual, from the first run down the
line to a final run in theatres, cover-
ing a period of 18 months to two
years; thus it would alleviate a
large demand for parts required in
theatres at any one time, keeping
prices stable.

Should any exhibitor find it neces-
sary to change back to the existing
ratio the time limit and effort would
be of no consequence.

Since the advent of CinemaScope
in 1953, many theatres should re-
quire a change of sprockets and etc.
at this date, in any event. The total
expenditure to accommodate the new
image would be very modest in
return for benefits received and up-
dating equipment for future use.

It has been stated throughout the
industry that 70mm prints outlast the
present 35mm print by many dozens
of runs. The proposed 35mm print
being basically identical, it would be
expected to last for increased runs
also.

Submitted for the benefit of the
motion picture industry and to the
Society of Motion Picture and Tele-
vision Engineers for consideration,

INTERNATIONAL PROJECTIONIST

1645 Hennepin Ave.
Minneapolis 34, Minnesota

Enter my subscription for

Name

Address

City

D 1 year (12) issues — $3.00
G 2 years (24) issues — $5.00

FOREIGN: Add $1.00 per year

Zone

State

corrections and adaptation for stan-
dardization.

Sincerely,
B. A. NiXON,
Eox Cinema,
Victoria, B. C, Canada
/. G. Comments:

Ihe proposed standards suggested
by brotner INixon is something that
should be given careful consideration
by the industry as a whole.

this plan would once and for all
eliminate the hodge podge that exists
in the projection room at this time,
such as the changing of lenses, aper-
tures and screen masking.

With this the audience would see
a full screen picture at all times,
with no change of aspect ratio. Also
the picture definition or focus would
be improved due to the larger film
image and the sound would be better
due to the extra quality obtained
from magnetic recording.

As brother Nixon points out, the
changes to the projector would be
of a minor nature. Ihe writer at this
time sees two more slight changes
required for the larger film aperture.
One is that a larger spot would be
needed to cover the larger aperture,
which has an increase of 25% in
depth.

In many cases this may be obtained
by moving the lamphouse back a few
inches and repositioning the carbons
to a new focal point to obtain a
greater magnification of the arc
crater. I am not at this time pre-
pared to say just how flexible the
present arc mirrors are in this res-
pect. I do however doubt if it could
be done with the Jet Arc mirrors as
they are of special design and do not
use the common elliptical curve as do
the conventional lamps. Perhaps the
manufacturers will comment on this.

Also a new prime lens will be re-
quired with the present anamorphic
since the aperture is 25% oversize in
depth and not many theatres could
increase the screen dimension to this
extent, hence a longer focus prime
lens will be a must in most cases.

All these of course are only minor
details, and would not stand in the
way of conversion to the new pro-
posed standard.

I heartily endorse brother Nixon's
proposals and 1 hope the industry
will give it a good hard look, and not
just shrug its shoulders as it so often
does when suggestions are made for
improvements.

I would be glad to hear from read-
ers with comments pro and con on
this subject, and I know Mr. Nixon
has also solicited comments from
individuals or organizations.

J.GJ.

18

International Projectionist March, 1965

basic
mathematics

by NORMAN H. ClOWHURtT

PRACTICAL
METHOD

_r

*J

j

VOLUMES
1 through 4
COMPLETE

ROM (OUNTINt

TMIOUGH CALCULUS

A HOOttN

UMfHI AfftOACM

to mathematics
ambits usb

IT

LEARMPNG

A RIDER

BASIC MATHEMATICS

by Norman H. Crowhurst

4-volume 'pictured-text' course makes it easier than
ever before possible to learn all the math you'll need
to know to speed your progress in electronics— no
short cuts — no gimmicks.

This remarkable 4-volume course takes you in easy
stages from counting through algebra, geometry,
trigonometry to calculus so that you will understand
easily, quickly, all the math you will need to get
ahead in electronics — regardless of your previous
education! It employs an exciting new technique
presenting basic mathematics as on continuous devel-
opment of mathematics. The individual branches of
mathematics are not divided into separate and un-
related subjects. Algebra, geometry, trigonometry,
calculus are interwoven at progressively rising levels
in the different volumes. Each volume reinforces your
understanding as you penetrate more deeply into
the subjects. Selected illustrations create clear
images of mathematical ideas formerly difficult to
understand.

A KNOWLEDGE OF MATH SPEEDS YOUR PR06RESS IN
ELECTRONICS — No matter what your plans are in
electronics — mathematics plays a vital role. The

more math you know, the easier it is to iearn
electronics. And, if you've set your sights on being
an advanced technician or an engineer, this course
will speed you towaras your goal.
Volume I — ARITHMETIC AS AN OUTGROWTH OF
LEARNING TO COUNT — You gain the self-confidence
you neej to master mathematics! You build a solid
foundation in mathematics without realizing that
you are being introduced to subjects usually con-
sidered dry and difficult to master. #268-1, $3.90
Volume II — INTRODUCING ALGEBRA, GEOMETRY,
TRIGONOMETRY AS WAYS OF THINKING IN MATHE-
MATICS — Building on the solid foundation laid in
Vol I., you learn to apply algebra, geometry and
trigonometry as better methods of solving a problem
when the arithmetic begins to get involved. #268-2,
S3. 90

Volume III — DEVELOPING ALGEBRA, GEOMETRY
TRIGONOMETRY, CALCULUS AS WORKING METHODS IN
MATHEMATICS — This volume continues the search
for new and better methods of calculating, and adds
calculus to the group of 'tools' alreaJy introduced.
#268-3, $3.90

Volume IV — DEVELOPING ALGEBRA, GEOMETRY,
TRIGONOMETRY, CALCULUS AS ANALYTICAL METHODS
IN MATHEMATICS — Once you've reached volume IV,

you're ready to apply all that you've learned in the
earlier volumes. You'll be able to find the right
approach to each individual problem. You'll be ready
for a career in which mathematics play a most
important part. #268-4. $3.90

Available at parts distributors, bookstores, or direct.

INTERNATIONAL PROJECTIONIST
164S Hennepin Avenue, Suite 212
Minneapolis, Minnesota 55403

Please send these paperback volumes:

□ Vol. I— $3.90; Q Vol. II— $3.90; □ Vol.
Ill— $3.90; □ Vol. IV— $3.90; Q Send 4-
Vols. in one clothbound edition, $15.95.

Name
Address
City

Zone

State

Investment Opportunity

The tools this young apprentice is learning to make will
one day be used to turn out your company's products.

A great investment in time, money, effort and faith
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of us has a stake in his success — and every one of us
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You can protect your investment by joining with other
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When you bring the Payroll Savings Plan into your
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Don't pass this investment opportunity by. Call your
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• The U. S. Government does not pay for this advertisement. The Treasury Department thanks, for their patriotism, The Advertising Council and this magazine. •

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INTERNATIONAL

PROJ ECTIONIST

Volume 40 April, 1965 No. 4

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO
Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Repres«ntatives

545 Fifth Avenue. New York, N. Y„ 10017

Telephone Murrayhill 7-7746

(Area Code 212)

IN THIS ISSUE

The 8mm Situation
Projection Room Dust Control
Southland's New Drive-In
Kodak's 8mm System

4

6

10

13

News Notes — Technical Hints — Miscellaneous Notes

INTERNATIONAL PROJECTIONIST, published monthly by the
International Projectionist Publishing Co. division of The
Northern Publishing Co., Post Office Box 6174, Minneapo'is
Minnesota 55424. Editorial offices, 1645 Hennepin Avenue,
Minneapolis, Minn. 55403. Subscription Representatives: AUS-
TRALIA — McGills, 183 Elizabeth St., Melbourne; NEW
ZEALAND — Wixon's, Ltd., 64 Courtney Place, Wellington;
ENGLAND and ELSEWHERE — Wm. Dawson & Sons, Ltd.,
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be submitted four weeks in advance of publication date to
insure receipt of current issue. Second-class postage paid at
Minneapolis, Minn. INTERNATIONAL PROJECTIONIST as-
sumes no responsibility for personal opinions appearing in
signed articles, or for unsolicited articles. Entire contents
copyrighted 1965 by INTERNATIONAL PROJECTIONIST
PUBLISHING CO.

International Projectionist April, 1965

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Volume 40

April, 1965

Number 3

A report on the future . . .

Several varieties of 8mm spell
opportunity, but also problems, for
the professional projectionist

The International Motion Picture
and Television Committee, motion
picture equipment manufacturers,
film producers and representatives
of the Ministry of National Educa-
tion recently attended a Continental
symposium on a new 8mm film size.

Audio-visual education is con-
stantly being extended to new fields,
in particular that of educational
motion picture which is, by far, its
most important aspect. In the latter
field, 16mm sound film has been
used for a long time and before
World War II the Institute Pedagogi-
que National had already conceived
and enforced rules for testing pro-
jectors for teaching.

4

8mm Sound Film

However, while 16mm sound film
was standing out in audio-visual edu-
cation, many professors (in applied
sciences, in particular) were becom-
ing keen promoters of 8mm film,
which enabled them to show their
own work to their pupils.

Then, three years ago, 8mm film
prints obtained by a reduction pro-
cess with magnetic track between
sprocket holes and film edge were
introduced. The outstanding results
achieved immediately induced manu-
facturers to start designing conven-
tional type 8mm sound projectors.

The most recent achievements were
shown at the Photokina in Koln and
the Salon Photo-Cinema in Paris
where many types manufactured in
particular in the United States, Ger-

many, Japan, Italy and France were
exhibited.

Magazine Type Projector

As a matter of fact, this promo-
motion of 8mm film as an audio-
visual aid led teachers to ask for a
high quality automatic projector do-
ing away with the inconvenience and
loss of time caused by the setting up
of a projector unit of conventional
design.

A magazine projector was de-
signed and introduced two years ago
by Technicolor Ltd. (London) for
short silent filmstrips. The members
of the meeting had the opportunity
of seeing a demonstration with an
American Fairchild projector having

International Projectionist April, 1965

PROJETS de NORME5 FILMS 8 mm (»$&*»)

Type
acfuel

Prqjef
Kodak

Projef
americain

Projet
Francais

.1 magazine accommodating up to
L50 ft. of film, with provision for
sound recording on magnetic track.
An automatic ally loaded projector
designed by the American special-
ist J. Maurer was also demonstrated.
The New 8mm Film

However, the attention given to
this extensive use of 8mm film was
bound to revive the objections raised
more than 10 years ago against a
film derived from the 16mm and
which, therefore, had sprocket holes
of superabundant section.

As earl\ as Vpril L941, in an
article published in the review "Cine-
\mateur" and entitled "La Bataille
des Formats n'est pas terminee"'
i the size quarrel is not over I . the
dejects of the 8mm size were stressed.
showing the advantages which could
be derived from the 10mm size with
sprocket holes of smaller section.

I his basii project was discussed at
a meeting organized by the Ameri-
can SMPTE with a view to study-

in- the respective merits of each
method proposed as a substitute
for the 8mm size. \ll llicse methods
were characterized by the use of
smaller sprocket holes than in the
16mm film:

— An 8mm film with magnetic
track between holes and film edge
and a pitch of 1.25mm.
— Tu<> 8%mm films (35 h. one
with a 1.25mm pitch and magnetic
track on picture edge, the other witli
a L75mm pitch and magnetic track
between holes and film edge,

— An 8mm film with photographic
track between holes and film edge
and with 3.81mm pitch.

To face all the methods proposed,
the former project of a 10mm film
to adapt it to new requirements was
proposed, and that — in addition to
an l!mm film intended for amateur
use only — a sound film size (with
optical or magnetic sound track at
option) he created for audio-visual
education purposes.

At the 4th UNIATEC Congress
held in Moscow an interesting pro-
posal made by Martin and Saint-
Hilaire again brought out the "tete-
beche" ( head-to-tail ) system in
which two series of opposed frames
are arranged on a 16mm film, driven
by a single row of central sprocket
holes with magnetic tracks laid on
the external edges.

This system does away with film
rewinding, since the projection of
the two series of frames successively,
brings back the film to the start po-
sition; it also eliminates the need
for a balance-track.

Finally, it was announced that
Eastman Kodak, Inc., had decided
to adopt an 8mm film with narrow
sprocket holes and a pitch of
4.25mm, providing a frame area of
21 sq. mm as against 14mm, i.e. an
increase of 50% in area (x 1.2
linear).

PROJETS de NORMES FILMS 2x8 mm

imagesSNfete-beche" avec enirainement central

International Projectionist April, 1965

^^^ammmmmmmmmmmmmmmmmammmmmammmmmammmm

Dust Is An Unmitigated Nuisance. Here,
From An Expert, Are Some New Facts
About Its Efficient & Economical Removal.

The Projection Room And Dust Control

By Edward H. Steinberg

Executive Director, Kex National Ass'n.

No ONE IS BETTER QUALIFIED than
the man in the projection room when
it comes to testifying that dust is a
menance that attacks man and
machine alike.

Dust has proven an especially grave
problem to the projectionist — a
problem that can threaten his health
and his theater's business.

Personal experience shows that
conventional clean-up methods can't
quite get the dust job done. One
reason the dust menace is more wor-
risome in the projection room than
in most other places is that the
projector creates its own carbon dust.

But, of course, carbon dust isn't
all the dust you encounter. Dust is,
unfortunately, one of the few univer-
sal substances which scientists have
discovered everywhere. They've found

AN END to projection room dust?
Dry, chemically-treated cloths and
mops, originating mainly for use in
hospitals where dust-bourne "staph"
was a serious problem, may have appli-
cation in the projection room. New
system really removes carbon dust
where conventional broom sweeping
and wet mopping does not.

'hitchhiking" on shoes and

tons of it in the atmosphere above
the North and South Poles, for
instance. Dust is spread by auto
exhausts, as a by-product of heating,
when a cigarette ash is flicked on a
floor. Whenever you or anyone else
enter the projection room, dust comes
in too
clothes.

The nuisance value of dust is so
obvious to the professional pro-
jectionist that the point doesn't have
to be labored. It can "gum up" pro-
jectors and other equipment, impair
the quality of exhibition of the film;
can be a real health hazard. As the
National Safety Council has pointed
out, dust and dirt can infect cuts and
minor scratches. Dust can cause or
aggravate respiratory ailments. In
short, dust is a menance as well as
a nuisance.

At the invitation of the editors of
International Projectionist, the
writer is glad to pass along some tips
about a new approach to dust control,
the use of chemically-treated mops
and tools that do a far better job
of dust removal than conventional
methods of broom sweeping and "wet
mopping."

For a long time, dust was a lot like
the common cold. Everybody admit-
ted it was a hazard and a nuisance but
nobody had figured out an easy and
economical way to do any thing about
it. Then the Bell Telephone Co., con-
cerned with the vexing problem of
dust in switchgears and other elec-
tronic equipment, got together with
Callaway Mills to experiment with
chemically treated dry mops. The
result was a new approach to dust
control. The dry mops really remove
the tiny particles of "invisible" dust,
almost too small to be seen by the

naked eye, but which unfortunately
is always very much present.

Interestingly enough, the initial
impetus for the new method of "dry
mop" dus control (available on a
rental basis) came from hospitals.
Dust is notorious as a carrier of
bacteria-borne diseases. For hospi-
tals, absolute cleanliness is a "must."
The new method of dust control,
combined with germicidal agents, has
played an important role in quelling
the rise of "staph" and other infec-
tions which, you may recall, was the
occasion of nationwide concern three
or four years back. You don't hear
much about "staph" any more.

Instead of "wet-mopping," the new
approach to dust removal relies
mainly on "dry-mopping."

It's easy to observe a really dra-
matic comparison of treated dry-mop
sweeping versus broom sweeping and
wet-mopping. Wet-mopping often
sloshes the finer particles around.
When the floor or other surfaces
dries, the dust is right back where
it started.

For a convincing demonstration,

Mops, Chemically-Treated, make dust
control faster, easier, really remove fine
dust particles missed by other means.
Study by American University shows
effectiveness of germicidals used, too.

International Projectionist April, 1965

sweep and mop a section of floor.
Then, as soon as it dries, without a
single foot ever having been set
upon it. whisk over it with a treated
dry mop. Invariably, the mop will
be literally black with resettled dust,
fine particles, and "invisible** dirt
from the so-called sparkling clean
floor!

Three impressive advantages are
offered by the new system: ll in-
creased cleanliness and better appear-
ance; 2l time and labor saving; 3)
keeping dust from resettling where
it may become a health or sanitation
hazard.

A headache

In the projection room, this "reset-
tling" of dust when conventional
cleaning methods are used can be a
real headache. When dust is "re-
moved" from the floor by conven-
tional methods, and resettles on pro-
jection or other equipment, you're
really worse off than when you
started!

Broom sweeping and wet-mopping
involve two separate, time-consuming
operations. The dry-mop operation
is a single step.

The new dust control method car-
ries a special "bonus": effective
germicidal control. Results of hun-
dreds of laboratory tests conducted
l>\ Prof. Martha Sager at the biology
department of The American Uni-
versitv have indicated that treated
mops provide substantial anti-micro-
bial activity and reduce the hazards
of transmission usually encountered
when untreated mops and dust cloths
are used by maintenance people.

Prof. Sager reports: "Each of the
germicides commonly added to treat-
ed drv mops i phenols, mercuric com-
pounds, and quaternary ammonium
compounds I affects the bacterial cell
in a different manner, so each is
effective in destroying the organism
or its ability to reproduce."

Let your screen show
everything that's on the
film

What is adaptable to the hospital
and other businesses may well be
adaptable to the projection room.
Chemically-treated cloths are quite
capable of removing carbon dust and
other dust more easily and efficiently
than anything yet devised.

Incidentally, if any reader of
International Projectionist would
like to have a copy of Professor
Sager's report, it is available free
upon request by writing: The Dust
Control Information Bureau, Execu-
tive Building. 7100 Baltimore Ave..
College Park. Md. iP

International Projectionist April, 1965

USE
BAUSCH & LOMB
SUPER CIIMEPHOR
PROJECTION LENSES

You can't show today's motion pictures with yesterday's
projection lenses . . . and expect to get top box office. You
need modern Super Cinephor lenses . . . designed to project
with high fidelity all the fine detail, subtle tones and true
colors on today's advanced film. Engineered and built by
Bausch & Lomb, Super Cinephors offer proven performance,
backed by years of unmatched experience and technical
know-how in optics, from the camera to the screen.

WRITE for Catalog 41-123 to get complete information.
Bausch & Lomb, 61616 Bausch St., Rochester, N. Y. 14602.

BAUSCH & LOMB W

Pioneers and leaders in optical design and manufacture for

the motion picture industry, including reflectors, optical sound units, Super Baltar^'

camera lenses and Super Cinephor and CinemaScope projection lenses.

m

■■■HHit; <;

International Projectionist April, 1965

Now.

Are you
willing to risk
it all on less
than Eastman
films ?

More than anything else except creative
skill, film is crucial to quality in movie-
making. Isn't it a false economy, then, to
attempt to save a fraction of a cent per
foot on film stock which has less than
Eastman quality? And doesn't poor film
quality jeopardize your entire invest-
ment, even make talent look bad?

But total-picture quality doesn't de-
mand that you merely shoot on the best
negative. There's also the print stock to
consider . . . and some don't. It's a great
mistake— both from your point of view
and that of your audience— to print on
anything less than EASTMAN Film.

Look at it this way. Film— both neg-
ative and print stock— must have consis-
tent speed, uniform processing charac-
teristics, dimensional stability, precision
perforations and uniform slit edges. In
the theater it must possess a long wear-
tear capability for precision in projection,
and in order to hold down costly print
reorders. EASTMAN Films have all these
qualities because Eastman's engineering
and technical facilities are unique. Fur-
thermore, Eastman's film specialists are
always at hand to help you maximize
production efficiency.

Everything considered, doesn't it make
good sense to use EASTMAN all the way?
Motion Picture and
Education Markets Division

EASTMAN KODAK COMPANY

Rochester, N.Y. New York, N.Y.

Chicago, 111. Hollywood, Calif.

I Ulllll II

EASTMAN FILM

iiniimm i in

International Projectionist April, 1965

International Projectionist April, 1965

Now.

Are you
n-illina to risk
it all on l<>ss
than Eastman
lihns?

More than anything else except creative
skill, film is crucial to quality in movie-
making, Isn't ii a false economy, then, to
attempt to save a fraction of a cent per
foot on film stock which lias loss than
Eastman quality? Ami doesn't poor film
quality jeopardize your entire invest-
ment, even make talent look had?

But total-picture quality doesn't de-
mand that yon merely shoot on the best
negative, There's also the print stock to
consider . . . and some don't, it's a great
mistake - both from your point of view
and that of your audience to print on
anything less than EASTMAN Film,

Look at it this way. Film both neg-
ative and print Stock must have consis-
tent speed, uniform processing charac-
teristics, dimensional stability, precision
perforations and uniform slit edges, In
the theater it must possess a loan wear-
tear capability for precision in projection,

and in order to hold down costly print
reorders. KAKTMAN Films have all these

qualities because Eastman's engineering
and tc.htiKv.l fuditi.sare unique. Fur
thermore, Eastman's film specialists arc
always at hand to help yon maximize
production efficiency.

Everything considered, doesn'l ii main'
good sense to use EASTM AN all the way '.'
Motion Picture and
Education Markets Division

EASTMAN KODAK COMPANY
Rochester, N.Y. New York, N.Y.

Chicago, 111. Hollywood, Calif.

EASTMAN FILI

International Projection!

st April, 1965 International Proj

ectionist April, 1965

introducing the 1965

Is there really a new Simplex X-L for 1965?

Yes and No. Yes, because the X-L mechan-
ism never stops being refined and improved to
meet every new advance in motion picture pro-
jection. No, in the sense that the basic com-
ponents that have performed so perfectly for
so many years are still the heart of the X-L.

Fact is, there's a long list of advanced engi-
neering features on the X-L that are just not
available on any other projector. But it's suffi-
cient to say that the X-L is the pride of the
world's most experienced manufacturer of pro-
fessional motion picture projectors. And it's
the overwhelming choice of projectionists
everywhere.

Get all the facts about the '65 X-L. There's
nothing newer, or better on the market.

% National

^<$*r THEATRE SUPPLY COMPANY

Subsidiary of General Precision Equipment Corporation

Southland's Finest New
Drive-In Boasts Better
Projection and Sound

HOME OFFICE, 50 PROSPECT AVENUE. TARRYTOWN, NEW YORK
BRANCHES FROM COAST TO COAST • PHONE MEDFORD 1-6200

Albert Weis, second generation
general manager of the Weis chain
of theatres in Macon and Savannah,
Georgia, wanted a new drive-in the-
atre for Macon, but not for the
prestige of building the biggest and
gaudiest in Georgia.

He set high standards in this
order.

No. 1) Brightest possible picture
consistent with screen size and car
capacity.

No. 2) Best sound reproduction
possible within capabilities of equip-
ment available.

No. 3) Plan the drive-in for con-
venience of entrance and exit to
highways yet far enough from high-
ways to avoid annoying interferences
from car headlights, flashing signs
and highway noises.

No. 4) Locate the screen for least
interference from sunset or twilight
shadows.

No. 5) Construct a beautiful and
functional main building to house
the projection room, rest rooms,
three lanes of concession operations,
ample patio space between main
building and screen for seating
walk-in patrons and to make the
entire complex as beautiful as pos-
sible through the lavish use of land-
scaping and shrubbery.

He did all of this and the new
Weis Drive-in Theatre opened last
fall to turn-away business.

But it took quite some doing
to build a drive-in to the Weis stand-
ards. First he commissioned William
Pulgram of the Fabrap Group of
Architects of Atlanta, Ga. as de-
signer and architect. Next he selected
a contractor of wide reputation and
ample equipment to carve the drive-
in out of the rolling hills of the site.

To get the best picture possible,
Mr. Weiss actually located the screen
and the projection booth and then
built the drive-in theatre around
them. He selected Ashcraft Super
Core-Lite arc lamps and 170 ampere
12 phase selenium rectifiers, Sim-
plex XL projectors with 5/1 fast
pull down intermittent movements,
Kollmoreen 4" diameter f:1.9 Cine-

mascope backup lenses with 4" di-
ameter Bausch & Lomb anamorphic
attachments, Kollmorgen f:1.7 flat
picture lenses.

For sound, he selected a special
Simplex-Altec sound system with
three 175 watt power amplifiers
(two in use, one for standby) fed by
transistorized pre-amplifiers. Ditmco
5" diameter speakers and Eprad
down-lighted junction boxes with
special baskets to receive the larger
type speakers were used.

The screen is 120 ft. wide, 52 ft.
high and is faced with Barrett white
butt jointed asbestos shingles.

Mr. Weiss installed Carrier year
{Continued on page 12)

New "Packaged"
Projection Booth

A new series of easy to erect
packaged buildings has been an-
nounced by FlexiBuilt-by-Master.
Models are available for gate houses,
projection booths, and refreshment
stands, and combinations of these
are easily arranged.

FlexiBuilt buildings are pre-manu-
factured, modern-style structures
easily and quickly erected. Flexi-
Built components include sandwich
type walls made of Alcoa "Alply"
with permanently colored aluminum
faces ; many styles of windows, doors,
roof styles and floor treatments.
Standard packages are available for
buildings as small as 4' x 4' guard
houses up to large warehouses, retail
stores, motels, school rooms, etc.
Buildings can be constructed from
standard components for almost any
use in any multiple of four feet.

The one-story structures can be
built on slabs or footings, with or
without basements. Most can be
erected quickly by local crews of
two to four men. The buildings are
shipped from the factory complete,
ready for instant erection and include
all kitchen, rest room or bath facili-
ties where desired.

For a free folder containing more
information about these packaged
buildings, write FlexiBuilt, 333 West
First Street, Dayton, Ohio, 45402.

iP

10

International Projectionist April, 1965

PROJECTOR
CARBONS

Better
Light!

Lower
Costs!

RINGSDORFF CARBON CORP. East McKeesport. Pa

Projectionists

who like quality

always use the best

,tar

Film Cement

Sold by Supply Dealers

Send for FREE Sample

ACE CHEMICAL CO.

(Division of the
Ace Electric Mfg. Co.)

1923 Bay Road
Miami Beach, Florida

ASHCRflFT

SUPER CORE-LITE
CORE-LITE

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AND HIGH -REACTANCE

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*^^^^^^^^^^^^^^^^»»^^^^^^^^^^?

Ballantyne Equips Two
Pacific Drive-ins

Ballantyne Instruments & Electron-
ics will completely equip the 1,750
car Sunnyside Drive-In Theatre,
Fresno. Calif., and the new 1.750 car
Kalua Drive-In in Hawaii, for Pacific
Drive-Ins Theatres Corporation, Los
Angeles.

The complete job features Ballan-
tyne All-in-One Package equipment,
including all-sound protection booth,
box office and concession equipment.

Ballantyne executive vice president
J. R. Huff said that Pacific Theatres
has "gone all the way on top quality
and included Ballantyne Transistor-
ized Sound. Pre-amplifier system,
and Ballantyne MX Power Ampli-
fiers, Norelco AAII 70mm projectors,
jet arc lamps and unique Ballantyne
double-cone speakers.

The Fresno Drive-In also will in-
stall 525 Ballantyne 360° electric
heaters. Complete concession equip-
ment will include ovens, freezers,
Tappan Micro-Wave ovens, pizza
ovens, etc.

The screen tower at the Sunnyside
in Fresno is 50 x 1 10 feet, while the
Kalua in Hawaii has a 50 x 114 foot
screen.

ip

Ballantyne Introduces
New Power Amplifier

I\ow, for indoor theatres, a new
all-transistorized, power amplifier,
the PAT-50. is being produced by
Ballantyne Instruments and Electron-
ics. Inc., in Omaha. This amplifier-
unit is designed for 50 watts un-
distorted power output with a 10-ohm
speaker load. Two PAT-50's are
housed together in a wall cabinet
measuring 12^4" wide x 17%" deep
and 321/." high.

The amplifiers are plug-in type,
and each PAT-50 is complete in it-
self. For convection cooling and with
a flat response, power is calculated
RMS and will operate under contin-
uous full power duty.

The cabinet has filtered forced air
cooling for added amplifier protec-
tion. Units are designed to be fully
compatible with the Ballantyne
transistorized pre-amps.

Full information, prices and tech-
nical data can be secured from
Ballantyne Instruments and Electron-
ics, Inc., 1712 Jackson St., Omaha,
Nebraska. Ballantyne is a division of
A.B.C. Consolidated Corporation.

iP

KOLLMOHGEN

International Projectionist April, 1965

11

New 8mm
Problems

from page 10

A Critical Study

All the factors involved having
heen defined, it was possible to
proceed to a critical study of the
problem both as regards film size
and projector design.

As regards the film size, the first
question to be solved was that of
the sound track to be adopted. In
spite of its higher cost and the draw-
backs encountered in operation, the

Norelco

projection
equipment-
Available from
leading theatre supply
dealers
North American Philips Co., Inc.

Motion Picture Equipment Division
100 E. 42nd St., New York 17, N.Y.

A

magnetic track seemed to prevail be-
cause it provided better quality of
sound reproduction, similar to that
obtained with a magnetic tape run-
ning at a speed of 9.5 mm/sec.

Therefore, there remained the
super 8mm film proposed by Kodak,
the 8%mm film proposed by Bell &
Howell in the United States and the
French 8.75mm film providing a
frame area of 25 sq. mm, i.e. twice
the present area . . . notwithstanding
the "tete-beche" 2 x 8mm formula
which can also embody the above
improvements by adapting it to the
4.75mm pitch with sprocket holes
of reduced section.

A substantial increase in frame
area constitutes an essential factor
in the design of projectors, as it has
been stressed by the manufacturers
of such apparatus, both in the U. S.
and in France.

The problem of projectors should
therefore be approached from the
viewpoint of performance require-
ments. Allowing for average class-
room dimensions, it is essential that
the picture — which has to be viewed
from a distance equal to six times
the frame width at the most — be
projected on a 0.70 to 1 screen.
Moreover, this picture must be suf-
ficiently bright to be viewed in a
room normally illuminated for
schoolwork.

These requirements should be met
under rear-screen projection condi-
tions so that the projector can be
placed near the professor's chair;

THE VERY FINEST

PROJECTOR PARTS

The ultimate in precision, long life and dependability—
they keep projectors in top operating condition essential
to good pictures, patron satisfaction and good business.
Available through your Theatre Equipment Dealer.

SINCE 1908

MACHINE WORKS

4635 W. LAKE ST., CHICAGO 44, ILL.
TELEPHONE— AREA 312— ES 8-1636

ft"

jiiil'l sssBfi

moreover, film handling in projector
operation should be limited to put-
ting the magazine in place. Finally,
reverse motion and still projection
are desirable features.

It was claimed that the American
formulae (Technicolor and Fair-
child ) did not meet the above re-
quirements on account of the small
size ci s^.eens, the fact that reverse
motion is not possible with closed
loop magazines, and, finally, of the
high cost of a magazine adapted
to sound film.

Conversely, the automatic film
loading projector seems to be more
rational, provided it be combined
with a simple magazine with auto-
matic film rewinding, in the view of
the Continental experts.

In this connection, attention was
drawn to the "Scopitone" system
designed by the Societe CAMECA,
while pointing out that constant film
speed running with optical compen-
sation projection was, at any rate,
preferable to the claw system, to
protect the film from damage due
to faulty operation of driving
mechanism or deterioration of sproc-
ket holes. On the other hand, men-
tion should be made of the advan-
tages which could be derived from
the use of embossed surfaces in the
design of transmission type screens
with a high photometric coefficient.

The optimum characteristics of a
projector intended for audio-visual
education was defined as follows:

— Automatic engagement of the
film enclosed in a magazine;

— Simple and inexpensive maga-
zine;

— Constant speed motion;

■ — Possibility of moving the film
in reverse direction and still projec-
tion;

— Transmission type screen with
multicellular embossing;

— Image brightness 500 to 1000
blondels.

Comparison tests between Conti-
nental and U. S. solutions to the
problem are being made at the
present time. For this discussion of
the European approach, IP is in-
debted to the Commission Superieuse
Technique du Cinema, Paris. iP

CARBON ARCS . . FOR FINEST PROJECTION

jdowiaUte Ale Gasiko+U

division
• Brighter Light on Screen

• Longer Burning per Carbon
• More Economical

. . . Compact Xenon Arcs

division —

Xrrsioss LAMPHOUSES • ^rrtzoAT POWER SUPPLIES

L_.

J CARBONS, INC. BOON TON, N.J. j'

12

International Projectionist April, 1965

New 8mm Kodak
Movie System
Ready to Go

Eastman Kodak Co. announced
that it plans to introduce a new
movie system comprising a new
Super 8 format, an improved Koda-
chrome II film and new equipment
for 8mm amateur and commercial
motion pictures prior to opening of
the International Photographic
Exposition on May 1.
The Kodak system of an enlarged
picture area, improved film quality
and new equipment and optics gives
brighter, sharper pictures on the
screen, it is said. Complete details
will be reported at the I HEX meet-
ing.

New system

Eastman Kodak Co. has announced
that it plans to introduce a new
movie system comprising a new
Super 8 format, an improved Koda-
< hrome II film, and new equipment
for 8mm amateur and commercial
motion pictures.

The Kodak system of an enlarged
picture area, improved film quality,
and new equipment and optics, gives
brighter, sharper pictures on the
screen.

The complete system includes an
improved 8mm film that gives ap-
proximate!) 50' < more projection
image area than present 8mm.

The reports in IP have detailed
how the company's technical men
had been able to provide the ap-
preciable increase in the picture
area which can be utilized for
brighter and larger pictures with in-
creased definition and sharpness.
This was achieved by reducing the
size of the perforationts and placing
the perforations nearer the edge of
the film. The sound track was also
moved to the opposite edge of the
film from the perforations.

Because the new format lends itself
to the use of either magnetic or opti-
cal sound, and for other technical
reasons, it is well-suited for educa-
tional, industrial, and commercial
motion picture use.

New equipment

The price of the Super 8 Koda-
chrome II film, which will be sup-
plied in an easy-load cartridge in
ri()-foot lengths 8mm in width, is ex-
pected to be only moderately higher
than conventional 8mm Kodachrome
II film in rolls. Cameras and projec-
tors for present film will not accept
the "super" film.

International Projectionist

CENTURY MODEL JJ-2
70-35MM PROJECTOR

This is the NEW

*dr

Projector-

It has everything
--^ you want
Zjk and more!

You can show better pictures, and at the low-
est cost — see for yourself at any CENTURY
dealer! CENTURY'S all-new Projectors—
35mm, 70/ 35mm and All-Transistor Sound
Systems — 4 channel, 6/4/1 channel, single
channel

CENTURY PROJECTOR CORPORATION

NEW YORK, N.Y. 10019

REDUCE

SCREEN

LIGHT

LOSS

with modern, first surface

TUfCOLD DICHROIC REFLECTORS

The light reaching your screen must be reflected by the
lamphouse mirrors, therefore brilliancy of your pictures is
dependent directly upon the condition of your reflectors.

Using TUFCOLD reflectors, projected light is reflected from
the front surface without passing through the glass twice,
as with second surface mirrors.

See your dealer now for the size you need or write
for data on sizes for all lamps.

The

Electric Corporation

31 CITY PARK AVENUE • TOLEDO, OHIO 43601 • PHONE: (419) 248-3741

April 1965

13

Projectionist Andy Noble looks very pleased with
the neat installation of his projection room at the
Weis Drive-In Theatre in Macon, Georgia. Featured
in this illustration are the two Ashcraft Super Core-
Lite Arc Lamp installations.

Also shown are the water recirculctors. The lamps
burn 13.6x18 high intensity carbons at 165 amps.
The screen width is 137 feet. The Simplex XL
projectors have high-speed movements. Simplex
XL-Altex 525 watt sound system and Simplex ped-
estals.

A general scene from the parking area of the
Weis Drive-In Theatre in Macon, Georgia, show-
ing the 125-ft. wide screen and the main building,
sunken seven feet below the grade level of the
parking area. At the far right of the illustration
is the projection booth, located above the three-
lane, cafeteria-style, air conditioned concession
area. The Drive-In playground is located at the
rear of the building.

New Drive-In

from page 10

'round heating and air conditioning
units for 80 cars, and said he would
equip the entire theatre with such
units provided the year' round popu-
larity of such units would justify
lhe expense.

Traffic and admissions accounting
at the box office are handled through
four lanes of Eprad Car-Check and
Watchdog car counting systems.

An area approximately 150 ft.

wide and 300 feet long was sunken
near the center of the drive-in and
the entire main building was lo-
cated in this depression, which is
approximately 7 ft. below the level
of the drive-in surface. The purpose
of this design is to lower the main
building to improve sight lines of
all the car ramps at the rear of the
drive-in area and to make possible
one of the most unique and beauti-
fully landscaped drive-in anywhere.
More than 6,700 different pieces of
shrubbery were used in landscaping
the project.

Currently the capacity of the Weiss
Drive-In is 850 cars, but rough
ramps have been provided and wir-
ing installed for an additional 300
cars when the need for more capa-
city justifies the expansion.

All of the projection and sound
equipment, speakers, junction boxes,
concession and box office equipment,
changeable letter signs and play-
ground equipment, were supplied and
installed under the supervision of
Bill Toney, manager of the Atlanta
Branch of National Theatre Supply
Co. iP

Look over Drive-In — here the owner and general
manager of the Weis circuit of theatres, Albert
Weis, is shown with architect William Pulgram on
the sunken patio of the Weis Drive-In Theatre in
Macon, Georgia. The illustration shows part of the
patio seating area and two goldfish ponds which
help make the entire recreation and playground
area a valuable adjunct to the Drive-In.

14

Another view of the Weis Drive-In Theatre show-
ing a view from the screen area — showing in
greater detail the sunken main building and pro-
jection booth. Unexcelled viewing is permitted from
the parking area in the back of the projection booth
and concession area; the pit also contains a play-
ground area, patio and even fish ponds.

International Projectionist April, 1965

basic
mathematics

by NOB MAN N. CIOWHUCST

VOLUMES
1 through 4
COMPLETE

ROM COUHTMS

nctwot calculus

A MOOftft
UMFIED AfNOACH

to ftunounts
urn us uses

LEARNING

:.-.■■

A RIDER

/>,

BASIC MATHEMATICS

by Norman H. Crowhurst

♦-volume 'pictured-text' course makes it easier than
ever before possible to learn all the math you'll need
to know to speed your progress in electronics— no
short cuts— no gimmicks.

This remarkable 4-volume course takes you in easy
stages from counting through algeoia, geometry,
trigonometry to calculus so that you win understand
easily, quick:), a I the math you will need to get
aheaJ in electronics — regardless of your previous
education! It empioys an exciting new technique
presenting basic mathematics as on continuous devel-
opment of mathematics. The individual branches ot
mathematics are not divided into separate and un-
related si.bjects. Algebra, geometry, trigonometry,
caxulus ft interwoven at progressively rising levels
in the different volumes Each vo ume reinforces your
understanding as you penetrate more deeply into
th; subjects. Selected illustrations create clear
ima;es of math;matical ideas formerly difficult to
understand.

A KNOWLEDGE OF MATH SPEEDS YOUR PROGRESS IN
ELECTRONICS — No matter what your plans are in
electronics — mathematics plays a vital role. The

more math you know, the easier it is to learn
electronics. And, if you've set your sights on being
an advanced technician or an engineer, this course
will speed you towards your goal.
Volume I — ARITHMETIC AS AN OUTGROWTH OF
LEARNING To COUNT — You gain the self-confidence
you neeJ to master mathematics! You build a solid
founoation in mathematics without realizing that
you are being introduced to subjects usually con-
sidered dry and difficult to master. #268-1, 53.90

Volume II — INTRODUCING ALGEBRA, GEOMETRY,
TRIGONOMETRY AS WAYS OF THINKING IN MATHE-
MATICS — Building on the solid foundation laid in
Vol I., you learn to apply algebra, geometry and
trigonometry as better methods of solving a problem
when the arithmetic begins to get involved. #268-2,
S3. 90

Volume III — DEVELOPING ALGEBRA, GEOMETRY,
TRIGONOMETRY, CALCULUS AS WORKING METHODS IN
MATHFMATICS — This volume continues the search
for new and better methods of calculating, and adds
calculus to the group of 'tools' already introduced.
#268-3, S3. 90

Volume IV — SEVELOPING ALGEBRA, GEOMETRY,
TRIGONOMETRY, CALCULUS AS ANALYTICAL METHODS
IN MATHEMATICS — Once you've reached volume IV,

you're ready to apply all that you've learned in the
earlier volumes. You'll be able to find the right
approach to each individual problem. You'll be ready
for a career in which mathematics play a most
important part. #268-4. 53.90

Available at parts distributors, bookstores, or direct.

INTERNATIONAL PROJECTIONIST
1645 Hennepin Avenue, Suite 212

Minneapolis, Minnesota 55403

Please send

these paperback volumes:

□ Vol. I— $3.90; □ Vol. II— $3.90; □
III— $3.90; □ Vol. IV— $3.90; □ Send
Vols, in one clothbounJ edition, 515.95.

Vol. i
4- 1

Name

Address

City

Zone State

. .

&n(y the^trc£amp o/Hanufacturer

who is the largest in the
world, has built the great-
est number of carbon arc
lamps, the most different
models, and who builds
lamps that deliver maxi-
mum light requirements
for indoor and drive-in
screens, could have de-
veloped the beautiful new

2:0 *-•
b < o

S3 H- H5

POH« O

UiO o

• 3D

O ^

• -^ <D
OO to

• U) to
O

s

lj-tl_->

That's why Strong lamps are used in "70% of all U. S. theatres.
Your Strong dealer will be happy to show you the Futura or
you can obtain literature by writing . . .

THE

ELECTRIC CORPORATION

31 City Park Avenue

Toledo, Ohio 43BQ1

Phone C413D 24B-3741

Note: Strong also is the only American Xenon lamphous e manufacturer.

INTERNATIONAL

A look at the projection room of the Basil Theatre,
sharon, Pa., suggests that a projectionist, after working
lis shift, would be reluctant to leave such surroundings
sven for the comfort of his home. Surely it is a splendid
example of fine equipment, well installed, and perfect
lousekeeping from floor to ceiling. Note the comfortable
iafety matting at each projector and the provision for
good booth lighting. Shown is Arnold F. Campana,
nanager, left, and William Taylor, projectionist, after the
retaliation of Strong Futura lamps was made by Ballan-
ryne Instruments and Electronics, Inc. Omaha, Nebr.

MAY
VOLUME 40
40c A COPY

(X89£o) uotsxatq japjo

1965
NUMBER 5
$3.00 A YEAR

"Just recently we completed installation of two
STRONG FUTURA II Lamps with the STRONG Bi-
Power Silicon Rectifier and two water pumps for the
water cooled, positive jaws. Both lamps work like a
charm. They're easy to clean and stay clean longer
than any lamps I've run. We are getting 25% more
light on the screen. Carbon consumption has been re-
duced by a big percentage. The lamps are beautiful.
There are many more things that I like about these
lamps and all of it is good."

W. C. Mathews, Projectionist

Shades Mt. Drive-In Theatre,
Birmingham, Ala., Member
of IATSE & MPMO Local 236

(Shown at left in picture with
Carl Wesler, Jr., Manager)

Such compliments make one blush

The Strong Electric Corp., • 31 City Park Avenue • Toledo, Ohio 43601

-i

INTERNATIONAL

PROJ ECTIONIST

Volume 40 May, 1965 No. 5

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO
Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue. New York, N. Y., 10017

Telephone Murroyhill 7-7746

(Area Code 212)

IN THIS ISSUE

Research Pays Off 4

New Trade Show Plans 11

Sound System Improvements 12

Rectifier Developments 13

News Notes — Technical Hints — Miscellaneous Notes

INTERNATIONAL PROJECTIONIST, published monthly by the
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sumes no responsibility for personal opinions appearing in
signed articles, or for unsolicited articles. Entire contents
copyrighted 1965 by INTERNATIONAL PROJECTIONIST
PUBLISHING CO.

International Projectionist May, 1965

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VOLUME 40

May, 1965

NUMBER 5

Motion Picture Theatre Research will
Pay Dividends for Projectionist

By M. C. (Mel) Glatz

No doubt everyone in the industry
is looking with great anticipation at
the growing activity in the construc-
tion of new theatres — remodeling —
refurbishing — and re-equipping of
existing theatres. By past standards,
we might say that there actually is
a boom developing, particularly in
conventional theatres in key locations
and shopping centers.

BACKED UP V/ITH
HARD CASH

Experimental theatres, properly
located, improved product, and popu-
lation trends have re-established faith
in the industry. This renewed faith
was backed up with hard cash to the

*Head of purchasing, construction and
real estate, Fox Intermountain Theatres,
Inc. Mr. Glatz is also a theatre design
engineer. Printed here is an address
given at the recent Theatre Equipment
Dealers Ass'n meeting in Chicago.

4

tune of $97,000,000 in new construc-
tion in 1963, plus another $15,000,-
000 on refurbishing and re-equipping
older theatres.

It is predicted that in 1964 there
will be considerably more new theatre
construction and many more remodel-
ing projects — possibly at a combined
amount near $130,000,000.

While the industry has lost an
audience to other forms of entertain-
ment and sports media except for
rare occasions, it is starting to feel
the effects of the population explo-
sion. You are aware of this great
population growth, but to bring it
into full and proper focus, may I
remind you of a few significant stat-
istics and predictions?

GREAT POPULATION
GROWTH

In 1950 the U. S. population was
152.3 million. In 1960 the figure was

180.7 million. We are approaching
1965, and the prediction is 195.1
million. The prediction continues by
estimating that the population figure
in 1970 will be 211.4 million; and by
1980, only 15 short years away, the
figure will reach 252.1 million. No
doubt much of the new faith in the
industry is based correctly on these
figures.

To refresh your memory on what
is happening to the youth population,
which, at present, makes up the
majority of theatre attendance.

In 1950 there were 51.4 million
under 20 years of age. By 1960,
there were 69 million — a gain of 35
per cent in only ten years. This will
expand as follow:

By 1970— to 85 million.

By 1980— to 103 million or double
the 1950 youth population.

While on statistics, the migration
International Projectionist May, 1965

of population should be of some
significance to you in planned mar-
keting. During the 50s. the rate of
growth in the the western states was
twice that of the national average.
It is predicted that during the 60s
this migration west will increase, with
the migration south being a close
second. It is estimated that by 1()75.
the majority of the population will
live in only 20 super cities!

BRIGHT FUTURE APPARENT

Considering these facts and predic-
tions: plus your realization that
there are eight to ten thousand
theatres in the nation badly needing
remodeling, new equipment new fur-
nishings. Your Future Appears
Bright!

However, even though your part of
this industry has been on "starvation
rations" for many years; even though
your service to the industry has been
of great value: even though you have
won deserving respect of the industry,
and no doubt are entitled to a break,
your fight for survival may be only
beginning!

It appears that for those who can
adapt and qualify, they are on the
threshold of the biggest, most reward-
ing opportunity they will experience
in a lifetime.

The question becomes: What Docs
It Take to Qualify?

You must become a hard-headed
realist, and realize that many of the
items and services you are offering
your customers are as obsolete as
most of our ancient theatres. In fact,
some product and methods are the
same as were being offered and sold
in the 30s!

Maybe there is a good excuse be-
cause your past energies and ingen-
uity have been centered on survival.
and rightly so. But now is the time
for a change. Otherwise, the oppor-
tunity may be a mirage.

I am not belittling, in any way. the
brave souls who have improved their
products and services during the past
"dry spell." In fact, they have the
industry's highest regard. These are
the ones who are pioneering the new
era. These are the ones whose place,
I believe, is secure.

STARTING A NEW ERA

We are in fact starting a new era.
And. speaking of new eras — most
U.S. businesses have been in a new
era for 15 years. The technological
advancements in all other businesses
have been tremendous. Their

methods of marketing have kept pace.
Their entire concept of doing busi-
ness, their dreams, their ideas, their
physical plants are tuned to 1964,
and beyond. They, in many instances,
are 15 years or more, ahead of our
industry, particularly in physical
properties. Competition has forced
these radical changes.

I believe, too. that the production
end of our business is also way in
advance of our physical properties
and equipment, and that there are
relatively few theatres which can pre-
sent their product to the customer as
it should be presented, and give the
customer the full impact of what has
been put on the film.

The attitude of "you make it. we'll
sell it" was discarded 15 years ago
by most every other business. In
modern business, those disliking
change have gone. Those preferring
to remain status quo, have not been
able to maintain their status quo.
Those who welcomed change, who
adopted and initiated new concepts
in product and marketing, are the
successes of today in modern busi-
ness. This must be your philosophy,
as of now.

INDIVIDUAL OBSOLESCENCE

Have you ever heard of individual

obsolescence? Well, there was a time
back in 1900 to 1920 when a person
might learn a trade and go through
his life without finding himself, his
ways, his thinking, his trade, obsolete.

World War I and technological ad-
vancements changed this somewhat.
By 1945 a person might get midway
in life before he became obsolete,
unless he kept pace with change.

Whether we know it, or want to
realize it. change on today's market
in some businesses, and particularly
in the engineering field, is so rapid
that a person's knowledge, approach
and training is obsolete before he can
begin the career for which he has
been trained.

How obsolete are we?

With others so far ahead, I believe
you can see a real danger which can
jeopardize your position, in that, as
the market grows, engineers, techni-
cians and outsiders with this
advanced knowledge and know-how,
will be enticed and intrigued by your
opportunity, and will, in fact, steal
your opportunity! Your stake is
large. The industry needs you as a
guiding force.

The industry needs an organized
research program of your customers'
needs, and those of the demanding
public. The whole picture must begin

FOCAL LENGTHS!

See Kollmorgen for l%"and below

FOCAL LENGTHS!

See Kollmorgen for 11" and beyond

Now, Kollmorgen offers you the widest
range of theater lenses, in speeds and
focal length extremes. For extra short,
e.f. range, the telescopic BX294 series
has no equal. This series has 7 items in
focal lengths of 1%", V/e", 2", 2y4",
2y2", 2%", 3". These superior lenses,
with built-in telescope adapters, bring
you the benefits of longer back focus,
larger rear aperture, sharper focus and
more complete overall corrections. Get
all the facts. Ask your equipment dealer
for latest information on Kollmorgen
Projection lenses for 1965 or write us.

^r>

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\ Y r"7 CORPORATION

\^ y NORTHAMPTON. MASSACHUSETTS

America's Number 1 Source
of Optimum Image Quality

International Projectionist May, 1965

end with the public's likes and
dislikes. I am not speaking of equip-
ment and furnishings only, but of the
composite theatre, the completed end
results.

DON'T KNOW
HOW TO BEGIN

There are literally hundreds of ex-
hibitors wanting and needing new
facilities. remodeling, equipment.
Most of them haven't the slightest
idea of how to begin, or where to
start, or what they will need, or with
whom to counsel who can really
guide them and who really knows.

It is a crime to see how money,
energy and time are wasted on new
projects, or old ones, which are
patterned after theatres and concepts
of the 20s or 30s.

Architects, engineers, designers "in
the know" in our business are few
and far between. Most of these desert-
ed the industry in the 40s and early
50s, because of necessity.

With no new, up-to-date guide lines
and requirements to go by for today'15
streamlined functional theatre, an
inexperienced person is bound to

make costly errors and come up wit'i
obsolete facilities.

Here, again, research by a group
such as yours can be invaluable to the
industry. Guess work — personal
opinion — tradition must go. Every-
thing must start with the customer
and end with the customer — his
needs, his likes, his way of life; and
with vision to the future. It cannot
start with a designer, an engineer, a
manufacturer, your wife or mine, a
vice-president, neither with the sales
manager, nor you, nor me — but with
the customer.

ACTIVE IN EXPANSION
PROGRAM

As you have read, my company has
been very active in this new expan-
sion program, and has completed
several new projects, both conven-
tional and drive-in theatres. And
there are many more in the planning
of obsolete facilities, not only in
stage. We need many replacements
metropolitan areas, but in towns of
25,000 to 100,000 population, as well.

The tremendous cost of these com-
pleted projects has made our officials

REDUCE

SCREEN

LIGHT

LOSS

with modern, first surface

TUfCOLD DICHROIC REFLECTORS

The light reaching your screen must be reflected by the
iamphouse mirrors, therefore brilliancy of your pictures is
dependent directly upon the condition of your reflectors.

Using TUFCOLD reflectors, projected light is reflected from
the front surface without passing through the glass twice,
as with second surface mirrors.

See your dealer now for the size you need or write
for data on sizes for all lamps.

The^'^ Electric Corporation

31 CITY PARK AVENUE • TOLEDO, OHIO 43601 • PHONE: (419) 248-3741

Ed Nelson, center, assitant general
manager and vice president of Bal-
lantyne Instruments and Electronics,
Inc., Omaha, Neb., and his wife,
Dorothy, are seen greeting Oregon
theatre owners, Mr. and Mrs. Tom
Moyer and their son, Tommy, on their
arrival in Honolulu. The Moyers are
owners of the Moyer Theatres in the
Portland, Oregon area. During their
stay in Hawaii, the Moyers had an op-
portunity to see Ballantyne's 70mm
equipment being installed in the new,
1700 car Kailua Drive-In Theatre in
Kailua, Oahu. Mr. Nelson is supervis-
ing the installation of the sound, pro-
jection and concession equipment fur-
nished by Ballantyne. After viewing
this impressive installation, Mr. Moyer
immediately commissioned Ballantyne
Instruments and Electronics to also
equip his new drive-in theatre in
Eugene, Oregon. The new Moyer
drive-in is expected to open in 60 days.
Ballantyne Instruments and Electronics,
1712 Jackson St., Omaha, Neb., is a
division of ABC Consolidated Corp.

consider each project more carefully.
Tt would be my guess that others
interested in expansion and improve-
ment are finding the same condition.

It would also be my guess that for
every new project under way or
completed, there are at least 20 to 30
more which are desired and needed,
but which have been shelved or
halted.

So what is really happening in this
new building spurt so far, must be
considered an extremely limited mar-
ket, as compared with the need, and
what might be built if costs could be
amortized and some profit foreseen.

In my company, those of us in the
design and construction field have
been challenged by our top manage-
ment to do something about this cost

International Projectionist May, 1965

problem: to produce a new. cle luxe
conventional theatre for $300 per
seat, complete in every respect, fully
equipped, exclusive of land cost. The
past completed theatres have been
costing between $400 to $600 per
seat. This means cutting the cost of
an average 800-seat, equipped theatre
In $50,000 to $100,000.

This, you may say, is impossible.
^ et. ever) indication is that it ran
and will be done.

A CHALLENGE EXISTS

1 1 cannot be done by some of our
ancient standards. I et me tell you a
little about the challenge. Much of
the sound system will be from outside
concerns. Why? Because we cannot
afford the luxurv of 12.000 cubic feet
of building space renuired to house
the conventional speakers vou have
to offer. We will use transistor am-
plifiers, not now offered by supply
houses such as yours, primarily be-
cause of first cost: secondly because
of installation cost. With ours, we
will be able to plug it in. and have
it operating in a few minutes.

Let me give you an example first-
hand of what happened in Albuquer-
que, N. M.. regarding our new theatre
in the Winrock Shopping Center.

We installed 70mm equipment,
with five-track transistor sound
equipment. Our cost of engineers
nnd installation supervision was
$1,799. We had two projectionists in
the booth for over four weeks:
$1,100; plus two electricians at
^2.210: plus material costs. Jjahnr
alone for this installation was over
$5,000.

This is not the end, we just spent
an additional $4,800 to install Cin-
erama sound equipment a few weeks
ago.

I'm sure you set the idea. And this
is typical. Multiply the problem
several times, in all categories, and
you can see the tremendous waste
that must be eliminated: and. of
course, it can be.

If vou force the exhibitor, such as
us. to take the initiative, he will cut
vou out as middle man. as in the
foregoing example.

Complacencv and lack of realistic
understanding and action on your
part, or on the part of the manufac-
turer, will cut your potential market
by 80 to 00 per cent, if not destroy
you.

HOUSING INDUSTRY
SHOWS WAY

As an example of what can be done
— the housing industry, which, as

International Projectionist May, 1965

you know, is one of the largest dollar-
volume businesses in this country,
through ingenuity, resourcefulness,
research and the use of new methods
and marketing, has stopped the
upward-spiraling costs. They now are
building a better house cheaper than
five years ago with prefab compon-
ents, with less on-the-site labor, new
materials. The end-result is an ever-
increasing market rather than a dim-
inishing one. primarily due to stabili-
zing and reducing costs. We must
adopt a similar approach.

Getting back to the challenge of
creating a greatly reduced cost on
our new theatre:

We cut our over-building height by
30 inches bv using the former attic
space to mount draperies and tracks.
This eliminates a valance, and also
cuts out another 14.000 cubic feet
from the auditorium, helping on heat-
ing and air-conditioning requirements
and future costs. This also improves
the picture presentation.

Fifty per cent of the sidewalls are
a continuation of the stage drapery.
helping with the acoustical problem
and eliminating expensive finishing
materials on a substantial portion of
tin- walls.

PACKAGE UNITS
CUT COSTS

Package heating and air-condition-
ing are available (and incidentally,
vou should be selling them), which
help to eliminate expensive duct work
and cut down the job installation cost
and on-the-job assemblv by approxi-
mately 80 per cent. This field is wide
open, with great potentials in im-
provement and adaptation for strictly
theatre use.

Inside boxoffices also save, create
a more friendly atmosphere, and
speed traffic.

Restrooms are simplified. While
nothing replaces ceramic tile for
floors, there are plastic materials in
abundance for walls. We have elim-
inated doors bv creating light and
sound locks. This speeds traffic:
there is a lower first cost and later
maintenance.

Electrical systems can and are
being simplified, primarily in the
projection booth, and simplification
of the main distribution system.
While some of this may create a few
extra steps for theatre personnel, it
saves thousands of dollars in first cost
and later maintenance.

Catwalks through the attic have
{Continued)

■Jf

look

into

Stewart

Film screens

• • • the

choice

of
experts

V

V

FILMSCREENS FOR SHOWMEN-Stew-

art Projection Screens-the choice of
15 major exhibitors at the New York
World's Fair!

ULTRAMATTE — for commercial play-
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Seamless to 46 by 88 feet ■ Optical
efficiency ■ Durable economy.
LUXCHROME 50- seamless rear pro-
jection ■ Superior image contrast in
lighted rooms.

H

FILMSCREENS FOR FILM PRODUCERS

-used by CBS Studio Center, Colum-
bia, Desilu, Disney, Fox, Goldwyn,
MGM, Paramount, Revue, UPA, Uni-
versal, Warners.

HI-TRANS -Academy Award back-
ground screen — highest calibre
production "tool."

ULTRAMATTE gain white, and LUX-
MATTE white matte— front projection
screens ■ Demanded by studios and
film labs for viewing during produc-
tion, dubbing, and scoring.
T-MATTE BLUE- rear-illuminated
screen for latest traveling-matte
process ■ Practical for large and
small sets, major productions, or TV
commercials.

FILMSCREENS FOR TV PRODUCTION

TV-BLUE-background screen ■
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LUXCHROME 60— neutral gray screen
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FILMSCREENS also designed for A-V,
fairs, trade shows, exhibits, simula-
tors, plotting and display systems, and
special architectural requirements.

STEWART FILMSCREEN CORP.

1161 W. Sepulveda Blvd.
Torrance, Calif. 90503 (213) 326-1422

I want to look further into Stewart Film-
screens. Please send me additional

information on:

NAME

STREET

CITY

A

_STATE_

mm

International Projectionist May, 1965

Now.

Are you
willing to risk
it all on less
than Eastman
films?

More than anything else except creative
skill, film is crucial to quality in movie-
making. Isn't it a false economy, then, to
attempt to save a fraction of a cent per
foot on film stock which has less than
Eastman quality? And doesn't poor film
quality jeopardize your entire invest-
ment, even make talent look bad?

But total picture quality doesn't demand
that you merely shoot on the best nega-
tive. There's also the print stock to
consider . . . and some don't. It's a great
mistake— both from your point of view
and that of your audience — to print on
anything less than EASTMAN Film.

Look at it this way. Film — both nega-
tive and print stock — must have consistent
speed, uniform processing characteristics,
dimensional stability, precision perfora-
tions and uniform slit edges. In the theater
it must possess a long wear-tear capa-
bility for precision in projection and in
order to hold down costly print reorders.
EASTMAN Films have all these qualities
because Eastman's engineering and tech-
nical facilities are unique. Furthermore,
Eastman's film specialists are always at
hand to help you maximize production
efficiency.

Everything considered, doesn't it make
good sense to use EASTMAN all the way ?

Motion Picture Products Sales Department

EASTMAN KODAK COMPANY

Rochester, N. Y. New York, N. Y.

Chicago, 111. Hollywood, Calif.

IIIIIIHIIIIIIIIIIII

EASTMAN FILM

nimiiiiiiiitii II

International Projectionist May, 1965

introducing the 1965

Is there really a new Simplex X-L for 1965?

Yes and No. Yes, because the X-L mechan-
ism never stops being refined and improved to
meet every new advance in motion picture pro-
jection. No, in the sense that the basic com-
ponents that have performed so perfectly for
so many years are still the heart of the X-L.

Fact is, there's a long list of advanced engi-
neering features on the X-L that are just not
available on any other projector. But it's suffi-
cient to say that the X-L is the pride of the
world's most experienced manufacturer of pro-
fessional motion picture projectors. And it's
the overwhelming choice of projectionists
everywhere.

Get all the facts about the '65 X-L. There's
nothing newer, or better on the market.

■%■ National

>*4>r THEATRE SUPPLY COMPANY

Subsidiary of Central Precision Equipment Corporation

HOME OFFICE, 50 PROSPECT AVENUE, TARRYTOWN, NEW YORK
BRANCHES FROM COAST TO COAST • PHONE MEDFORD 1-6200

been eliminated by discarding old
standards; new engineering and
adapting new-type fixtures. This
item, alone, saves approximately
$3,000.

USE NORMALLY
WASTED SPACE

New approaches to traffic patterns
of patrons entering and exiting also
conserve precious square feet, by
putting normally waste space to work.

A unique use of common materials
has eliminated plaster or acoustical
materials for auditorium sidewalls
not covered by draperies.

Special products have been de-
veloped in conjunction with standard,
inexpensive T-s;rid acoustical ceiling
products, whicVi eliminate the appear-
ance of the grids, making possible a
one-hour rated ceilina; at 25 per cent
less cost from normal methods.

As you can see. I am merely cover-
ing the hi«?h points, since this dis-
cussion could s;o on and on for days.

"Necessity is the mother of inven-
tion."

What I have outlined for econ-
omies in construction, must be follow-
ed in equipment and furnishings. It
can be done, and will be done.

We must get manufacturers to con-
sider the problems and the cost he
creates in the use of his product. The
market is large enough to warrant
consideration.

If you will recall my previous re-
marks, noivhere have I mentioned
eliminating, changing or cheapening
any item or phase of the composite
theatre which would diminish in any
way the esthetic atmosphere, the com-
fort, the functional qualities, the
maintenance, the ability to present
motion pictures as they should be
presented — because all of these are
primary, and are of extreme impor-
tance.

I have not covered drive-in
theatres. Here again, most are still
in the cow pasture stage. Prestige is
seriouslv lacking. Yet, they are a
way of life for many in both the low
and hish-income groups. Actually,
they offer some groups their only
outside the home form of entertain-
ment. They are a tremendous thing
for family groups, invalids and
handicapped.

CAN PRODUCE
DESIRED RESULTS

The human mind is capable of
creating, developing and producing
anything it can conceive. It can pro-
duce the answers and the end-results
we desire — if we will only dream and
put it to work.
The ideas presented are only the

beginning! We need a consolidated
force — the thinking of engineers,
manufacturers, designers, architects,
sales people, exhibitors, producers
and, of course, the customer.

Your future depends on this action.

We need improvements, studies,
research, and cost reductions in every
phase of the composite theatre, tuned
to today's and tomorrow's needs:
Functional design of building, use of
new materials, boxoffice equipment
and security control, floor coverings,
lighting and electrical systems, seat-
ing, advertising panels, displays,
sound and projection (and all items
connected therewith), air condition-
ing and heating, maintenance, mer-
chandise of by-products and the
equipment required.

What can, and will you do about
it?

At least until you get started, I
heartily recommend that you support
to the fullest those manufacturing
concerns which have been desperately
attempting to create new and im-
proved products — and we really have
quite a few.

There is a new and improved
screen that most objects will not
break through. There are new lamp-
houses employing new principles.
While considerable improvements
have been made in some U.S. -built
projectors, the major advancements
have been by foreign companies. The
xenon lamp appears to have a bright
future.

There are new theatre seats avail-
able, but the cost is staggering. Im-
provements and new approaches have
been made in change-letter displays.

Transistorized sound is a definite
and great improvement. However, we
need factor-assembled, plug-in units,
eliminating the tremendous on-site
assembly costs; and, of course, this
principle of simplicity should be a
major consideration of any future
equipment and furnishings.

In closing, let me again remind
you — I believe you must get your
feet wet in the industry's problems.
Get out of the class of an order-
taker and expediter, or, in fact, a
manufacturer's agent.

Get into the business as adviser,
counselor, consultant, assisting and
guiding manufacturers and exhibi-
tors, architects, engineers, designers.
But let me warn you again — this is
a great responsibility! Personal
opinion — guesswork — must go! Your
advice and counsel must stem from
knowledge based on study and re-
search. iP

10

International Projectionist May, 1965

N. Y. UNION PROJECTIONISTS HONOR ALLEN SMITH — Allen
Smith, National Theatre Supply Co.'s sales specialist in projection and arc lamp
equipment, is being presented with an illuminated Scroll on which is inscribed
a resolution by The Twenty Five-Thirty Club, IATSE of New York which
says in part - "in recognition of achievement in giving a superior meaning to
the word 'service' and for his unusual inspirational ability in bringing commend-
able benefit to all of the many who have been privileged to work with him."
He has been an honorary member of the organization since 1943. Presenting
the Scroll to Mr. Smith is Secretary Morris J. Rotker, and President Morris I.
Klapholz on the right. The occasion was the annual installation of officers with a
banquet and dinner dance.

First Installation of
Strong Futura II
In Mexico

The first installation of the new
Strong Futura II projection arc
lamps in the Republic of Mexico has
just been completed at the Cine Ter-
raza Mazatlan. Mazatlan. Sinalva,
Mexico.

This theatre, which has 3.00'J seits.
and a screen 67 feet wide x 31 feet
high, is the property of Cia. Opera-
dore de Teatros. S.A. The lamps
were sold through Abastecedora De
Cines. S.A. iP

New Entrance Mat Offers
Choice of Too Surfaces

\ choice of pyramid or ribbed
surface is now available for the first
time in one sectional heel-proof en-
trance and lobby mat. according to its
manufacturer.

This Roval Guardsman mat is con-
structed from molded links with a
special interlocking design for dimen-
sional stability and 100% heel-proof
protection. Any pattern or design is
produced from multiples of approxi-
mately 4" x 4" squares of various
colors.

Literature may be obtained from
American Mat Corp.. Wapakoneta.
Ohio 45895. iP

TESMA Joins TOA,
NAC in Trade Show

I lie Theatre Equipment and Sup-
ply Manufacturers Assn. will partici-
pate with Theatre Owners of America
and National Association of Conces-
sionaires in sponsoring the 1965
Motion Picture and Concessions In-
dustries Trade Show in Los Angeles.
The show will be held during the
concurrent conventions of TOA and
NAC at the Ambassador Hotel. Oct.
27-30.

This was announced by Sumner M.
Redstone. TOA president; Edward S.
Redstone, president of NAC,
Arthur J. Hatch,
TESMA.

A special section
Show area has been
theatre equipment manufacturers and
suppliers. TESMA last joined with
NAC and TOA in a convention trade
show in 1963 at the Americana Hotel
in New York.

Commenting on TESMA's partici-
pation this year, NAC President
Edward Redstone said: "By TESMA
joining as an active participant in
the 1965 Trade Show, delegates
attending the concurrent conventions
are assured of seeing one of the most
(Continued)

and
president of

of the Trade
set aside for

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every ficket purchaser
expects and deserves
a well-lighted
screen presentation

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INTERNATIONAL
PROJECTIONIST

1645 Hennepin Ave.
Minneapolis, Minnesota 55403

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Available from

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International Projectionist May, 1965

11

That manager and projectionists alike are proud and pleased with the new
Strong Futura projection arc lamps recently installed by Western Theatrical Equip-
ment Co., San Francisco, at the Southgate Drive-in Theatre, on Mack Road,
Sacramento, Calif., is evident from this picture. Left to right are Harold Eichler,
projectionist, and C. H. Granoski, manager. Literature on the Futura projection
arc lamps may be procured by addressing a request to the Strong Electric Corp.,
31 City Park Avenue, Toledo, Ohio 43601.

complete and all-embracing exposi-
tions of concession, theatre and vend-
ing equipment, supplies and services
displayed under one roof."

TOA President Sumner Redstone
stated that the inclusion of TESMA
in the 1965 NAC-TOA Trade Show
was another reason why every exhibi-
tor should be in Los Angeles in
October.

"The new merchandise, plus im-
provements in existing products,
along with the displays of concessions
and vending equipment, makes atten-
dance at the convention a sound
worthwhile investment," he said.

TESMA President Hatch declared
he thought the new TOA-NAC-
TESMA pact was a good one, parti-
cularly because by the terms of the
arrangement, TESMA member-manu-

facturers would display their equip-
ment in one section of the trade show.
He also said it was his conviction
that plans for the trade show and
its location in Los Angeles would
give manufacturers an opportunity
to talk to many of their customers in
the West Coast area and show them
equipment that had been discussed
only verbally and by mail until this
time.

"Our association with TOA and
NAC always has been stimulating,"
Hatch said. "I firmly believe that the
attendance at the 1965 Trade Show
will live up to expectations and that
theatre owners will get a better idea
about the newer equipment that they
have heard about and become more
familiar with improved equipment
that has come on the market in the
last few years." iP

New System Eliminates
Sound System Feedback

CHICAGO — The voice of a speak-
er in the vast expanses of a cathedral,
auditorium, theater or gymnasium
now may be amplified intelligibly up
to 100 times without the risk of
screeching "feedback" that hereto-
fore has limited the efficiency of all
public address systems.

The inclination to "feedback" is
positively eliminated by a new "equal-
ization" system which may be incorp-
orated into any properly engineered
public address installation, according
to Milton A. Boom, president of
Boom Sound Engineering, Inc.

The firm is one of six that have
been licensed as agents for the sys-
tem. Other licensees are Bolt, Beran-
ek & Newman, Inc., Boston, Mass.;
Tracor, Inc., Austin, Texas; Com-
mercial Electronic Products, Inc.,
Indianapolis, Ind. ; Everett, Inc.,
Denver, Colo., and Northwest Sound
Services, Inc., Minneapolis, Minn.

The licensor is Dr. C. P. Boner,
physicist, former president of the
American Acoustical Society and for
three years vice-president of the Uni-
versity of Texas, who has been study-
ing the feedback problem for 30
years.

The "Boner System", as it is
known, successfully filters out certain
sound frequencies — which differ in
various structures — that bounce back
into the microphone and cause acous-
tical feedback. Boom said. Narrow-
band filters, it was explained, are
employed to eliminate the feedback
sound waves after precision test
equipment locates bounce-back points
and identifies offending frequencies.

"Full range sound systems, with
high amplification and high fidelity,
are now a reality for areas where ef-
fective utilization of public address
installations has been impossible,"
Boom said. "Voice reproduction is
so true and natural the audience is
seldom conscious of the sound rein-
forcement."

iP

CARBON ARCS . . . FOR FINEST PROJECTION

J!(WHU4te Ale QgsiAo+U

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• Longer Burning per Carbon
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BOON TON. N. J.~l

May, 1965

International Projectionist

IA Covers Ballantyne
Sound Service Engineers

The IATSE has signed a nation-
wide agreement covering, for the
first time, the sound service engineers
employed by Ballantyne Instruments
and Electronics, Inc., it was an-
nounced jointly by Richard F. Walsh,
international president of the union,
and J. Robert Hoff. executive vice
president of the company.

The contract is identical with those
covering the engineers of RCA. Altec
and a number of smaller sound ser\-
ice firms.

Mr. Hoff explained that Ballan-
t\ ne's expansion program since be-
coming a division of \BC Consoli-
dated Corporation three \ears ago
"has made it important for our
sound men traveling in all parts of
the count r\ to establish a closer
liaison with projectionists and stage
employees. According), we welcome
the long established and well regard-
ed IATSE as exclusive bargaining
agent for all our employees engaged
in sound installation and sound sen-
ile work."

\ new brochure on replacement
reflectors for projection lamps and
their relationship to efficient, econ-
omical operation has been issued by
The Strong Electric Corp. It en-
compasses the use of second surface
rear silvered reflectors and also the
first surface I front coated I cold tvpe
and tells where each are appropriate
A cop) max be obtained b\ address-
ing a request to The Strong Electric
Corp.. 31 Cit\ Park Avenue, Toledo.
Ohio 43601.

iP

Kneisley Develops
Twin Rectifier

The Kneisley Eleceric Co., Toledo.
Ohio, announces the continuous dut\
115RTK2 TWIN Silicon Rectifier-
two completely independent power
sources compactly housed in one case
— designed for deluxe theatres where
interruptions cannot be tolerated.
Transformers consist of two sets of
primaries and two sets of second-
aries. Either rectifier will operate
cither lamp — and both lamps at
changeover, should emergency arise.

Two 480 ampere lR-1325) silicon
stacks, four times the required cur-
rent rating, assure unlimited stack
life. Arc striking current minimizers
are not required to protect the heavy
duty diodes but are incorporated in
the rectifier to prevent sooting and

International Projectionist May, 1965

pitting of expensive reflectors and
damage to carbon craters.

Minimizer shunting >\\ itches are
built in lo remove a minimizer from
the circuit should an emergencv
arise. Three pole relavs are also in-

< orporated.

Two eight position fine current ad-
justment switches are conveniently
installed on the front panel so that
each lamp can be adjusted individ-
ually. Full wide range adjustment is
obtained on a terminal board behind
a hinged door in the front panel.
A.C. voltage taps. 190/210 230 250,
are located on internal terminal
board.

Heavy transformers double-impreg-
nated in special coil varnish, baked
16 hours, operate at minimum tem-
peratures. A quiet fan. lubricated and
sealed for life, draws cool air through
lop. over the stacks and transform-
ers, exhausting out the base.

Kneisley believes this rectifier is
unmatched in quantity, quality, and
price — only §1580 for 427 pounds
of rectifiers which occupy just three
square feet of floor space.

For complete details write The
Kneisley Electric Co., P.O. Box 1506,
Toledo.' Ohio 43603. iP

Projectionists

who like quality

always use the best

tar

Film Cement

Sold by Supply Dealers

Send for FREE Sample

ACE CHEMICAL CO.

■ (Division of the
Ace Electric Mfg. Co. I

1923 Bay Road
Miami Beach, Florida

Better
Light!

Lower
Costs!

RINGSDORFF CARBON CORP. East McKeesport. Pa

HEYER-SHULTZ
METAL REFLECTORS

Top Screen Illumination

Will Not Break, Pit or Tarnish

No Replacement or Spare Reflectors Required

See your dealer or write for full particulars
Manufactured By HEYER-SHULTZ, Inc., Cedar Grove, N. J. V

13

Kodak Fair Pavilion
ias Fresh New Look

The Eastman Kodak Company's
World's Fair Paviiion, one of the ten
largest industrial exhibits at the Fair,
has taken on a fresh, new look for
the 1965 season.

"We think it's important to attract
repeat visitors as weil as first-time
Fair goers," said Lincoln V. Bur-
rows, Kodak's Director of World's
Fair Planning. "Thanks to photo-
graphy's f.e .ibie nature, we will offer
during 19j5 a number of exciting
new features plus our major 19C4
presentations."

Last year over 6,000,003 people
visited the Kodak Pavilion, one of
the most popular at the Fair. Special
emphasis has been given to photo-
graphy's role as a medium of inter-
national communication and its
potential in promoting "Peace
Through Understanding" — the
theme of the Fair. Throughout the
400-foot-long structure, all the e .-
Libit areas dramatize the phases of

photography's achievements through
the media of pictures, fiims, and
visual impressions.

In line with Kodak's "fresh look"
for 1965, the pavilion contains a
brand new third theater featuring
Herb Shriner in a laugh-producing
fi.m on heme movies.

Screening in the large Tower
The ate:-, the successful award win-
ning Saul Bass-produced movie,
"The Searching Eye" has been re-
vamped to make it even more excit-
ing and colorful. In 1964 the film
received a Grand Award from the
International Film and T.V. Festival
of Ne.v York. The Dome Theater on
the upper "moon deck" is again
showing the movie, "Quest," pro-
duced for Eastman Chemical Pro-
ducts, Inc.

For the young at heart, motion
pictures elsewhere in the pavilion
include Disney cartoons; Burr Till-
strom's puppets, Kukla and Ollie;
and the frolicsome chimpanzees
which proved so popular last year.

The Pavilion itself — winner of

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300 COMPLETELY MODERN ROOMS

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• All with Television

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• Convention Facilities and Group Rates

Singl.J7.50 to J13.50
Double M3.50 »o$18.50
Children under 14 Free

Telephone: Teletype:

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%.. Hudson S. Moi«* W. P. Williams

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HOTEL

INTERNATIONAL PROJECTIONIST

1645 Hennepin Ave.
Minneapolis 34, Minnesota

Enter my subscription for

Name

Address

City

□ 1 year (12) issues — $3.00

□ 2 years (24) issues — $5.00
FOREIGN: Add $1.00 per year

Zone

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14

two architectural awards for design
and construction ■ — is a two-level,
free-form building covering 69,003
square feet. Its undulating upper
deck, which provides spectacular
views of the Fairgrounds, is topped
by an 8-story-high circular Picture
Tower.

A landmark, and one of last year's
favorite meeting spots for Fair visi-
tors, the Tower is crowned with a
changing five-picture series of the
World's largest outdoor color prints
— each measuring 30 feet by 36
feet. They are illuminated day and
night by more kilowatts of electricity
than are used for an entire football
stadium or 3,000 average U.S. homes.
The giant prints are changed every
four weeks.

Exhibitions of some of the finest
and most unusual photographs ever
seen are being displayed in a chang-
ing series of shows in the Salon Area.
Exhibits include: Applied Photogra-
phy, Photography in the Fine Arts,
Kodak International Color Competi-
tion, Best of Kodak Photography
Throughout the World, and Photog-
raphy from the Air.

The information Center, one of
the highest traffic areas last year,
again is staffed by experts in all
phases of photography. In addition,
mjltilinguai attendants are on hand
to assist foreign visitors.

An additional exhibit, "How to
Photograph the Fair," has been
added which will provide picture-
taking trips for visitors, most of
whom use cameras extensively
around the Fairgrounds.

Some other exhibits, several of
which include audience participation,
are: Adventures With Your Camera,
International Center, Famous Press
Pictures, How Color is Created,
Who's Who on your Birthday, and
the Motion Picture-TV Story. iP

DEALER SERVICES

Irv Turvey, Western Manager,
S.O.S. Photo-Cine-Optics, Inc., New
York and Hollywood, was recently
invited to address the graduating
class, Motion Picture Dept. at Brooks
Institute of Photography, Santa Bar-
bara, Calif. He stressed the part of
the dealer as equipment counsellor,
whose wide knowledge of equipment
can aid the producer, saving him
time and money. The equipment
counsellor has the opportunity to see
many varied installations and gains
a good overall knowledge of the busi-
ness, all of which can be passed on
to his customers, according to
Turvey. iP

International Projectionist May, 1965

basic
mathematics

-

by NOIMAN M. CROWHURIT

L

■

S

z:

■

fyix

■■Vf.'J

j-

VOLUMES
1 through 4
COMPLETE

maamrmc

TMOWaCMCUUft

. ..* MOOfltN.
tMRDAmOAQI

to mathematics
ambits wb

PRACTICAL
METHOD

il

LEARHING
MATHEMATICS

■^

A RIDER

■■ +

«*

-*

-JSfF

BASIC MATHEMATICS

by Norman H. Crowhurst

4-volume 'pictured-text' course makes it easier than
ever before possible to learn all the math you'll need
to know to speed your progress in electronics — no
short cuts — no gimmicks.

This remarkable 4-volume course takes you in easy
stages from counting through algebra, geometry,
trigonometry to calculus so that you will understand
easily, quickly, all the math you will need to get
aheaJ in electronics — regardless of your previous
education! It employs an exciting new technique
presenting basic mathematics as on continuous devel-
opment of mathematics. The individual branches ot
mathematics are not divided into separate and un-
related subjects. Algebra, geometry, trigonometry,
calculus are interwoven at progressively rising levels
m the different volumes. Each vo'ume reinforces your
understanding as you penetrate more deeply into
the subjects. Selectel illustrations create clear
images of mathematical ideas formerly difficult to
understand.

A KNOWLEDGE OF MATH SPEEDS YOUR PROGRESS IN
ELECTRONICS — No matter what your plans are in
electronics — mathematics plays a vital role. The

more math you know, the easier it is to iearn
electronics. And, if you've set your sights on being
an advanced technician or an engineer, this course
will speed you towards your goal.
Volume I — ARITHMETIC AS AN OUTGROWTH OF
LtARNlNG TO COUNT — You gain the self-confidence
you neej to master mathematics! You build a solid
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Volume II — INTRODUCING ALGEBRA, GEOMETRY,
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Volume III — DEVELOPING ALGEBRA, GEOMETRY,
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calculus to the group of 'tools' already introduced.
#268 3, $3.90

Volume IV — DEVELOPING ALGEBRA, GEOMETRY,
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IN MATHEMATICS — Once you've reached volume IV,

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approach to each individual problem. You'll be ready
for a career in which mathematics play a most
important part. #268-4. $3.90

Available at parts distributors, bookstores, or direct.

i

INTERNATIONAL PROJECTIONIST
1645 Hennepin Avenue, Suite 212
Minneapolis, Minnesota 55403

Please send these paperback volumes:

D Vol. I — $3.90; O Vol. 1 1 — $3.90; □ Vol.
Ill— $3.90; □ Vol. IV — $3.90; □ Send 4-
Vols. in one clothbound edition, $15.95.

Name

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JUNE
VOLUME 40
40c A COPY

1965
NUMBER 6
$3.00 A YEAR

v

(Investment Opportunity

The tools this young apprentice is learning to make will
one day be used to turn out your company's products.

A great investment in time, money, effort and faith
will have to go into making him productive. Every one
of us has a stake in his success — and every one of us
must invest something — for on the developing skills of
America's young tool-makers depends the continued
functioning of all industries.

You can protect your investment by joining with other
leading American businessmen to promote the Treas-
ury's Payroll Savings Plan for U.S. Savings Bonds. The
Treasury Department's Plan helps safeguard the individ-

ual liberties, and encourages the industrious and respon-
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omy and the well-being of our society.

When you bring the Payroll Savings Plan into your
plant — when you encourage your employees to enroll —
you are investing in the next generation of America's
skilled craftsmen and technicians. You are investing in
our future. In freedom itself.

Don't pass this investment opportunity by. Call your
State Savings Bonds Director. Or write today to the
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in your plant... promote the PAYROLL SAVINGS PLAN for U.S. SAVINGS BONDS is

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The U. S. Government does not pay for this advertisement. Tlie Treasury Department thanks, for their patriotism, The Advertising Council and this magazine.

INTERNATIONAL

PROJ ECTIONIST

Volume 40 June, 1965 No. 6

FRANK W. COOLEY, JR.
Editor and Publisher

RAY GALLO
Executive Publisher

AL BLOOM
Managing Editor

TOM KENNEDY
Equipment Editor

RAY GALLO ASSOCIATES

National Advertising Representatives

545 Fifth Avenue. New York, N. Y., 10017

Telephone Murrayhill 7-7746

(Area Code 212)

IN THIS ISSUE

No Dearth of New Ideas 4

Warner Theatre 10

Century Cine-Focus 1 1

Century 21 Theatre 12

News Notes — Technical Hints — Miscellaneous Notes

INTERNATIONAL PROJECTIONIST, published monthly by the
International Projectionist Publishing Co. division of The
Northern Publishing Co., Post Office Box 6174, Minneapo'is
Minnesota 55424. Editorial offices, 1645 Hennepin Avenue,
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signed articles, or for unsolicited articles. Entire contents
copyrighted 1965 by INTERNATIONAL PROJECTIONIST
PUBLISHING CO.

International Projectionist June. 1965

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■HHBSh

VOLUME 40

June, 1965

NUMBER 6

No Dearth of New Ideas for
Projectionist Craft

By Merle Chamberlin

/\ S far as new ideas, inventions,
* * and technical dreams are con-
cerned, they have not been quite so
sparse this last two years.

It seems that every time I write
there is one process that keeps pop-
ping up. A lot of engineers and tech-
nicians in our industry are firmly
of the opinion that projection crafts-
men are firmly of the opinion that
3-D is dead. But it refuses to lie
down.

Now there is another new process
announced. This one is another one
announced as not needing glasses
to view the picture. The basic prin-
ciple behind this system as far as I
can determine is that the film is
once again projected from two pro-
jectors but it is projected on to
two screens, one installed directly
in back of the other. The picture on
the No. 1 projector is projected
through a vertically polarized filter
on to the front screen. The picture on

The following address was de-
livered at, the 47th Convention of the
IATSE by Merle Chamberlin, mem-
ber of !Iollywood Studio Projec-
tionists Local 165 and supervisor of
post-production activities for MGM.

the No. 2 projector is projected
through a horizontally polarized fil-
ter on to the rear screen.

Those of you who have had ex-
perience with polarized filters will
have to admit there is some merit in
this theory. There are, of course, a
couple of questions which remain to
be answered.

The first question is. where do we
place the speakers for the sound?
It is obvious we cannot place them

Merle Chamberlin

between the screens, or it will inter-
fere with the picture on the rear
screen. It is obvious if we place
them behind the two screens we are
going to have a frequency response
problem, which means modification
of all the equipment in all the the-
atres. We can go back 10 or 12 years
and place them around the screen,
which was attempted, many of you
recall, by RKO.

The other question which would
immediately come to anyone's mind
who is familiar with polarized filters
is, where do we get enough light to
project the size of a picture we are
all used to today in the average the-
atre.

As you all know, polarized filters
will absorb approximately 50% of
the light.

There have been many continued
improvements in lenses. In fact, we
are at the point where lenses are
available on the market todayr that
were unheard of three or four years
ago. We have seven-element and nine-
element, very fast long focal length
lenses.

The only problem as it exists to-
day with this type of a modification
i? the fact that, due to the precision
manufacture of all of these seven-
or nine-elements of these lenses, the

International Projectionist June, 1965

lens naturally is a comparatively ex-
pensive item, and because of that,
which I am sure is the only reason,
we have not seen too many of them
in the field.

A new projector on the market is.
as I choose to call it. a semi-portable
projector. This piece of equipment
has now had its field test. It is the
projector that is used for all types
of work in specialized installations.
Mich as production and censorship.

This projector will run any kind
or type of 35mm print regardless of
the status of production on that par-
ticular picture. It will run a mag-
optical composite movie-tone print.
1 1 will run a straight optical compo-
site movie-tone print. It will run a
separate picture and optical track
print and a separate picture and
magnetic track print.

In addition to all this, it will run
forward, backwards, and it will hold
a frame.

Now. the \alue of this piece of
equipment, of course, is basically
w ith in the studios, although they are
appearing in small screening rooms
in various isolated spots around the

i ountrj .

We at MGM use them for music
liming, for synchronizing and for
editing. In addition to that, we have
secured two of these machines.
mounted on wheels, which we use on
production stages for the purpose of
matching previously photographed
scenes, and we also send them on lo-
cation.

While they are on location, the)
are used during the daytime or the
early evening hours for screening
the previous day or two's rushes re-
turning from our laboratory, and at
night the\ are used for the entertain-
ment of the crew.

There is one installation of this
type of equipment that has proven
very interesting. That is the Beverly
Hills Hotel in Beverly Hills. Calif.
They have installed this equipment
in a new. little theatre they call the
'"Cinema Room." which is adjacent
to their bar and their dining room.
This has proven very satisfactory, be-
cause it affords the tired, weary inde-
pendent producer an opportunity to
keep on working while he is still
having his glass of lunch or dinner.

When we first received our 70mm
equipment and the installations
started all over the country. I know
vou will all agree, we received a very
finely engineered and manufactured
piece of equipment.

There was one minor defect —
minor as far as the manufacturer was
concerned, but major as far as we
were concerned: This was in the

changeover system. Ninety per cent
of the changeovers that were made
with this 70mm equipment ended up
as a dissolve. Manv of the shows be-
ing screened around the U.S. gave us
a free dissolve between every reel.
In other words, the last few frames
of the outgoing reel were still on the
screen when the first few frames of
the incoming reel hit the screen.

We have craftsmen in our various
I. A. locals who very seriously take
care of these dissolves. For example,
our editors' locals are responsible
for designating where a dissolve
should go in a picture. This is part
of their dramatic or creative edit-
ing. They use this device to signify
passage of time or to get an actor
quickly from one spot to another.

Our photographers' locals manu-
facture these dissolves, and our lab-
oratory craftsmen process them and
cut them into the negative of the pic-
ture.

By the wildest stretch of the imagi-
nation. I don't think that anv editor
has ever signified that a dissolve
should go between every reel.

The manufacturers of this equip-
ment continually ignored our com-
plaint but in Chicago the Essanay
Electric Co. engineered, designed and
is manufacturing a 70mm changeover
modification that is in every respect
just as clear-cut as any 35mm change-
over on the market.

There are quite extensive experi-
ments going on in certain areas of
Hollywood in respect to coming up
with a liquid gate for projection.
Those members of laboratory locals
are thoroughly familiar with printing
with a liquid gate. But printing with
v liquid gate is entirely different
than projecting through a liquid
gate.

The theory behind this is when
\ou run film through this liquid
many evils are cured. It is the same
principle as coating a piece of optical
glass. AH the little scratches, hills
and valleys are filled, and you have
a perfect optical plane.

The biggest problem, of course, is
that when compared to installing
liquid gates in anywhere from one
to four or five printers in a labora-
tory, the installation of liquid gates
in projectors in maybe even one-
fourth or one-fifth of the 14 or 15,-
000 theatres in the U.S. would be
quite a project.

Due to the fact that the film has
to enter a liquid gate in a perfect
seal, run through the liquid, leave
the liquid gate through another per-
fect seal and be dry before it hits the
take-up reel, the expense of this in-
stallation now would not anywhere

I

w(l6K UOU U26

\ {i/ist-su/ijace

Tl

The aperture and
lens never become
excessively hot.
Film Rate heat is
reduced 50% and
emulsion blistering
and film buckling
arc eliminated.

See your dealer for
the size you need or
write for data on
sizes for all lamps.

THE

ELECTRIC
CORPORATION

3i City Park Avenue
Toledo, Ohio 43601

Phone |419) 248-3741

International Projectionist June, 1965

7?)

near warrant the results that have
been demonstrated so far.

Another thing we talked about a
couple of years ago was Xenon lamps.
We had at that time available to us,
as I explained to you. a 450-watt
Xenon lamp that would very comfort-
ably take care of a 14- or 15-foot
picture. By using a high-grain screen
we could stretch that to say an 18- or
19- foot picture.

The prediction was made at that
time that there would be substantial
advances as far as Xenon lamps were
concerned, because the advantage of
the lamp was obvious. To remind you
of those advantages, a Xenon lamp
produces a perfectly steadv light
which remains absolutely constant as
far as color temperature is concerned.

The progress has been a little be-
yond even our expectations. Whereas
two years ago we had a 450-watt
lamp and let's say a 15-foot picture,
we now have available to us a 900-
watt lamp which will handle a 25-
foot picture, a 1.600- watt lamp which
will handle a 30-foot picture, and
within a very, very short few weeks
we will have a 2.500-watt Xenon
lamp that will handle up to a 40-foot
picture.

There is one company in the U.S..
for your information, that has seri-
ously gone into the Xenon lamp par-
ticulars. In other words, they have
assembled all the information avail-
able from all sources, not only on
the lamp, but on the auxiliary equip-
ment required to operate the lamp,
on the installation and operating
problems, the estimates as far as sav-
ings over carbons are concerned, and
so on. That company is Carbons.
Inc.. of New Jersey, better known
to all of you, I think, as Lorraine
Carbons.

I also spoke to you two years ago
about our prints and the treatment
of our prints. By treatment of our
prints, in this instance, I mean the
formula that we use to treat our
prints. I told you we were spending
money and time searching for a
formula that would not only provide
sufficient lubrication but would also
afford a certain amount of protec-
ion to the emulsion on those prints.

The project became much larger
than we thought it would. With every
change of temperature, with every
change of humidity, we have been re-
ceiving complaints.

After the expenditure of thousands
of feet < film in tests and after the
expenditure of quite a few dollars,
even to the point of hiring a high-
powered consulting chemist, we have

come up with a formula we believe
is the answer, and started to apply it
to our prints. This does not mean
that everything in the field from
MGM has got this formula on the
film.

We can make surveys and we do
make surveys. We can send techni-
cians in the field, and we do send
technicians in the field. But this is
only a spotcheck at best. The only
way we can get the real answer is
from the members of the projection-
ist locals in the Alliance.

There has been quite a bit of com-
ment about automation. Automation
as such in the studios seems to be
a different type of problem. There is
one big laboratory in Southern Cali-
fornia that has gone quite extensively
into automation and as a result there
have been many jobs eliminated.

But when you get on the produc-
tion phase of the motion pictures,
automation or improvements which
could be considered automation, in-
stead of actually and absolutely eli-
minating jobs, tend to shorten those
jobs.

With our specialized craftsmen
whose basic job is in the production
of motion pictures and, as such, a
large part of those jobs are satisfy-
ing the whims and whimsies (and in
all cases very creative whims and
whimsies ) of producers and direct-
ors, automation just does not work.
But there have been improvements
which will perform a job quicker
than previously. It naturally stands
to reason that the shorter the job
or the less time it takes to perform
c" specific job. the longer the layoff
in between jobs.

The only solution to that, of course,
which we can see, is the ultimate goal
we are all after and which we hope
someday, with the help of evervone
concerned, to realize: a steady flow
of production.

I would like to say a couple of
words about In-Flight Motion Pic-
tures. On the surface, the rental of
a movie to an airline flying between
New York and Los Angeles and re-
turn does not appear to present quite
a big item of income to a motion
picture studio. But when you couple
the rental from that film with some
of the other so-called fringe release
areas, such as movies enroute. which
is the showing of pictures to the pas-
sengers on luxury ocean-goins; liners,
this Avhole pool becomes a substantial
item.

Out of just a plain sense of curio-
sity, I have made four or five trips
to Los Angeles International Airport

and have stood around the TWA
check-in counter just to hear what
I could hear. You delegates would be
very surprised, I know, to realize that
ever 50% of the people I hear check-
ing in for transcontinental flights in-
quired. "What is the movie?" By
the same token, a large number of
people checking in at the TWA
check-in counter for shorter flights,
such as to St. Louis, Chicago, and
so forth, were asking, "Is there a
movie on this flight?"

I have been asked by manv what
the situation is on 70mm film. In
my personal opinion 70mm film has
more or less steadied down to a
steady rate. It is by no means
finished. And I do not think that
by any means we will experience the
terrific surge we had for a while.

20th-century Fox will release
three pictures in the granddaddv of
all the 70mm systems, Todd-AO.

United Artists is in production on
what could be called the baby of
70mm systems. D-150. They are pro-
ducing "The Bible" in that 70mm
system and have scheduled it for
1965 release.

The status, as far as MGM Camera
65 is concerned, the system with the
partial anamorph we used in "Ben
Hur" and "Mutiny on the Bounty,"
is that there are no pictures shoot-
ing today in that system.

We made 15 prints of "The Un-
sinkable Molly Brown" in 70mm. I
do not know how many of you
represent areas where those prints are
being shown. These prints are blow-
ups from a 35mm Cinemascope
negative.

Those of you who have seen it, I
am sure, will agree it is an excellent
job.

So, immediately posed is the ques-
tion. "Is it worthwhile to go to all
the additional trouble and expense in
shooting in 70mm when an excellent
70mm print can be made from an
equally excellent 35mm negative?"

This could be the wedge we have
all been waiting for for 70mm prints
in the drive-in theatres.

Our friends at Cinerama are still
going along. They have come up with
a new gimmick which they call their
single-lens system. Presently in re-
lease in the single-lens system is
"Mad, Mad. Mad." Mad World" and
"Circus World." This is a very con-
troversial subject. Ninety per cent of
the technicians you talk to. except
those in on the inventing of the sys-
tem, feel the single-lens system does
not hold a candle to the three-strip
system.

International Projectionist June, 1965

Ilif single strip s\stem was de-
veloped by scientists and engineers
.Kiel people from outside the industry.
There are those of us who feel that
the success of Cinerama from the be-
ginning was in a large measure re-
sponsible to the excellent craftsmen
of the I. A. staff, the technicians the\
had for the original productions and
installations. That staff has more or
less been completely depleted and
the experimentation and additional
work was taken over by the scientists
and the engineers. It all remains to
be seen as to whether or not a picture
in a single-lens system Cinerama will
hold up as those in the three-strip
did. I think one of the besl examples
of staying power of a Cinerama pro-
duction in three-strip was the one we
made in conjunction with them.
"How the West Was Won."

\~ soon as "How the West \\ as
Won" was pulled in three-strip, it
was our prerogative to release the
same picture in 35mm. Some of you

might be interested in how those
prints were made.

The three Cinerama negatives were
optically placed on one 65mm nega-
tive. This 65mm negative was then
reduced to a 35mm negative, from
which the 35mm prints wen- made
Fhe three lines are still there, we
grant \ ou that. Rut it is impossible
to jiggle them.

Cinerama equipped the Centun
Drive-In in 1 <>s \ngeles with the
three projectors and tried the projec-
tion of their travelogues in this drive-
in theatre. The travelogues met with
a relative degree of success in respect
to the qualit\ of the product, which,
after all. is still the basic answer to
all of our problems.

The big picture for Cinerama for
this year will be George Stevens'
"The Greatest Story Ever Told."

I also have been asked about dual
prints — the 861 question: Our thea-
tres are equipped, so wh\ don't we
get dual prints?

Well, there are several reasons for
the shortage of dual prints. The
first one. of course, is economic. The
manufacture of four-track sound
will cost about S2.500 if you make
50 prints. This is $50 a print. If you
stripe and sound each print at four
cents a foot, a 10.000-foot picture
means you are talking about another
> 100. This, however, is not the im-
portant reason behind the shortage
of dual prints.

The reallv important reason is that
the reports we get from the field are
that for some reason or other — and
we choose to believe it is the exhibi-
tor— the magnetic installations are
not being kept up to snuff. They are

The new Tee & Gee Drive-In, Aurora, 111., which has attracted such wide
spread attention because of the varied attractions offered patrons, constantly
employs a carbon arc slide projector as shown in this projection room illustration.
The booth equipment, which includes National Ventarc blown type arc lamps
and a Strong Universal Arc slide projector, was installed by National Theatre
Supply, Chicago. The projectionists are John V. Ray and James P. Ludwig. Lit-
erature may be procured by addressing a request to The Strong Electric Corp.,
31 City Park Ave., Toledo, Ohio 43601.

attempting to run magnetic prints

with worn out magnetic heads, with
maladjusted preamplifiers and with
surround speakers out of balance
with the rest of the system.

Well, a magnetic print projected
under these circumstances naturally
i- worse than even an optical print
jusl projected straight through the
one big speaker behind the screen.

Where a projectionist has told an
exhibitor employer that he definitely
needs these replacements, we have
found out that the exhibitor employer
will go out of his way to request an
optical print. So where we used to
make a hundred dual mag-optical
prints, on the big subjects, we are
now down to about 20 or 25. and the
occasion has to be rather exceptional
for us to make even 50 prints, as
we did on "The Unsinkable Molly
Brown" and "How The West Was
Won."

Film inspection is another big
controversial subject. As part of my
responsibilities at the MGM studios,
I have to worry about all the film
that leaves our plant, where it goes,
supposedly how it is handled, and
in what condition it ends up after
three or four months.

The consolidation of the back
rooms has definitely hurt us, and I

have so informed bur executives. It
will interest those of you from the
film exchange locals to know that
when we consolidated back rooms,
we went all over the world.

Many of our producers feel that
they are not getting the projection
results that they should be getting,
when the expense and effort of mak-
ing a motion picture is considered.

The majority of those producers
also know that it is impossible for
a projectionist member of this Alli-
ance to put a good picture on the
screen if his employer will not pro-
vide him with the wherewithal in
tools and equipment to project that
picture.

It is difficult for a lot of people
tc understand why — when it is com-
mon knowledge that you can buy
anything you want for a theatre on
a very easy payment plan. In fact,
the Ballantyne Co., as you all know,
has just announced that they will
lease anything on a weekly rental
plan. They will lease anything from
a sprocket to a whole theatre, and
it is very difficult for a lot of our
people to understand how much eas-
ier it is going to have to be made to
encourage an exhibitor to keep up his
theatre. iP

International Projectionist June, 1965

i

Wardrobe. J54.000

and Studio costs . . . $403,000
Production staff. . . $275,000
Talent . . . $390,000
Sets . . . $242,600
Story . . . $143,500

Would you

ntake u good

investment

took like

a poor one

. . . on purpose ?

&:

u

'

Certainly not, you say. But why, then,
would you — or anybody else — consider
making a motion picture on less than
Eastman films? Better to consider this:
the fraction of a cent per foot you might
save on less than Eastman films may cost
you everything in terms of quality.

Look at it this way. Film — both nega-
tive and print stock — must provide
detailed, full-tonal reproductions and
must have consistent speed, uniform pro-
cessing characteristics, dimensional stabil-
ity, precision perforations and uniform
slit edges. Go with anything less than
Eastman quality and you may be in for
retakes and headaches, reorders and "out-
of-orders" — not to mention audience
dissatisfaction. The savings you counted
on are, in the final accounting, no savings
at all.

With Eastman you also enjoy the ser-
vices of the world's finest film engineering
and technical facilities. Your total picture
quality is backed by Eastman's total
quality control. And Eastman's specialists
are always at hand to help you get maxi-
mum production efficiency.

Everything considered, doesn't it make
good sense to use Eastman all the way?

Motion Picture and

Education Markets Division

EASTMAN KODAK COMPANY

Rochester, N. Y. New York, N. Y.
Chicago, 111. Holly woo d, Calif.

EASTMAN

&

Wardrobe..*549OtH>

and Studio costs . . . $403,000
Production staff. . . $275,000
Talent . . . $390,000
Sets . . . $242,600
Story... $143,500

^

Tf

Womldgom
tmake a good

ini 4'sfnirii/

iook tike

a pooi' onv
•••on purpose?

illl cd|
With !

i \ i \i \\ KOI) U
III lln

EASTMAN III.M

Warner Theatre in New York Completes
New Projection Installation "Cine-Focus"

ASHCRflFT

SUPER CORE-LITE
CORE-LITE

CINEX SPECIAL

35/70

PROJECTION LAMPS

AND HIGH -REACTANCE

MULTI- PHASE RECTIFIERS

*

World's Standard

of

Projection Excellence

*^*^^^^^^^^^*»*^^^^^^^^^^?

MOVING?

Be sure to send IP the label
from the cover of your Inter-
national Projection-
ist as soon as you have
your new address. Please al-
low five weeks for change.

INTERNATIONAL
PROJECTIONIST

Suire 410, 545 Fifth Ave.
New York, N. Y. 10017

First installation of Century's
Cine-Focus projector film stabilizer
on Century 70mm projectors was re-
cently made at the Warner Theatre,
on Broadway, in New York City, for
opening of "The Greatest Story Ever
Told," Century Projector Corp. an-
nounces.

Century's most recent development.
Cine-Focus is reported a device to
provide better control of a motion
picture film as it is being projected
under any conditions. Cine-Focus is
a "combination of carefully engi-
neered related film controls," Cen-
tury adds, which enhances solidity
and optical perfection of the picture
and, by reducing to a minimum, eli-
minates, for all practical purposes,
film flutter and focus drift. It is
also said to solve the problem of
breathing necessitating focus read-
justments.

Positive Film Control

By correcting several factors caus-
ing picture depreciation, Cine-Focus
is also reported to maintain strict and
positive control over the film while
it is being projected and to contri-
bute to its longer life. Reduction of
the tension required by the film trap
shoes and maintaining positive con-
trol of the film positioning, without
exerting undue mechanical pressure
on the film, results in reduced
sprocket hole depreciation and makes
prints last longer.

Cine-Focus is "especially valuable
where limiting conditions are pres-
ent," says Century. Included are
70mm presentations on large screens
and 35mm in larger theatres and
drive-ins. It is also reported particu-
larly adaptable to 35mm projectors
in smaller, second-run theatres, as
an aid in using films that have been
projected under circumstances which
cause them to become permanently
buckled and cause in and out of
focus.

In development of Cine-Focus.
Century says its engineers have for
some time been studying factors
causing loss of picture quality.

One of the problems confronting

all projection is the tendency of the
film to distort as soon as the heat
from the arc lamp hits it. This dis-
tortion is reported well known and
has been carefully measured and de-
picted in high speed photographs.
Many technical papers have been
written about it, and attempts to eli-
minate the effects have produced
many patents.

The film flutter problem existing
during the projection cycle becomes
more and more acute as the inten-
sity of the heat of the light source
increases. This increase in heat, the
firm adds, has been especially mark-
ed in the past few years.

Another serious factor affecting
the clarity of the projected picture
has been demand by theatres for
higher speed, shorter focal length
lenses, Century states. Higher speed
lenses are used in an attempt to ob-
tain more light on the screen (larger
screens). Shorter focal length lenses
are used to increase the picture size
with shorter projection distances.

Introduction of new developments
has, also, usually been preceded by
"improvements" in associated equip-
ment— such as arc lamps, projection
lenses, screens, theatre interiors,
camera techniques, film and film pro-
cessing (including introduction of
motion pictures in color) .

Each phase of these developments
has created additional problems in
the projectors, it is said. Larger arc
lamps using higher power create heat
problems. New lenses with higher
"speeds" accentuate film flutter
problems. Larger screens require
either larger films or shorter focal
length lenses. Larger films create
mechanical problems. Higher gain
screens create reflection problems.
Higher screen illuminations create
film flicker problems as well as print
density problems. Use of color mag-
nifies the problem of selecting and
controlling all of the essential con-
tributing factors outlined as well as
numerous others.

iP

10

International Projectionist June, 1965

"Cine-Focus"

Century Proj. C
New Projection

Century Projector Corp.. "New
\ ork. has announced development of
a film stabilizer kit called "Cine-
Focus." The announcement states the
trade name was coined "to include
not one but several ideas, any one
of which would improve the opera-
tion of a projector but in combina-
tion produces a screen result which
has been acclaimed everywhere it
has been used."

The announcement describes the
equipment further as follows:

"By the use of water, air and cool-
ing, a film control has been achieved
which results in a picture having a
solidit) and optical perfection never
before achieved commercially. In
Combination with other well known
devices such as the Centurv water
cooled film traps plus the quartz
coated heat filters, film flutter and
focus drift has been reduced to a
minimum if not i for all practical
purposes! eliminated.

"Cine-Focus is a device to better
control a motion picture film as il
is being projected under any and all
conditions. It is especially valuable
where limiting conditions are present
as. for example. 70mm presentations
on large screens and 35mm in larger
theatres and drive-in-. It i- also par-
lii ularlv adaptable to 35mm project-

Cine-Focus projector film stabilizer
mounted in the Century 70mm pro-
jector operating side — inside view.

orp. Develops
System

ors in smaller theatres, second runs,
etc.. where films that have been pro-
jected under circumstances which
have caused them to become perman-
ently buckled as to cause in and out
of focus.

"Correcting several factors causing
picture depreciation Cine-Focus
maintains strict and positive control
over the film while it is being pro-
jected as well as contributing to its
longer life. Cine-Focus not onlv con-
trols the positive positioning of the
film but it ma\ also contribute to the
reduction of the tension required bv
the film trap shoes. It accomplishes
this liv maintaining a positive control
of the film positioning without exert-
ing undue mechanical pressure on
the film. This results in reduced
sprocket hole depreciation and makes
prints last longer.

"It should be explained that Cine-
Focus is not a so-called air pressure
gate." iP

EPRAD Announces
New Drive-In Speaker

A new (I rive-in theatre speaker
named the "Super Blazer" has been
announced bj Paul Voudouris, sales
manager for EPR \l). Inc.. Toledo.
Ohio.

I he "Super Blazer" features a I-
inch weatherproofed cone and a 1.17
oz. Alnico V magnet. The die-cast
aluminum case is manufactured from
a high grade corrosion resistant alu-
minum alloy. Other features include
a deluxe wire wound volume control,
rugged long lasting cord and theft-
proof screws to reduce tampering.
are standard. The "Super Blazer"
has a full 2 year warranty, according
to Voudouris.

The "Super Blazer." which is
priced at $4.36 with a straight cord,
is available only through EPRAD
theatre equipment dealers.

iP

TESMA to Join with
TOA, NAC for Show

Theatre Equipment and Supply
Manufacturers Assn. will participate
with Theatre Owners of America and
National Association of Concession-
aires in sponsoring the 1965 Motion
Picture and Concessions Industries

Trade Show in Los Angeles. The
show will be held during the con-
current conventions of TOA and
NAC at the Ambassador Hotel. Oct.
27-30.

This was announced jointly by
Sumner M. Redstone, TOA president;
Edward S. Redstone, president of
NAC. and Arthur J. Hatch, president
of TESMA.

A special section of the trade show
area has been set aside for theatre
equipment manufacturers and sup-
pliers.

iP

Norelco

projection
equipment

Available from

leading theatre supply

dealers

North American Philips Co., Inc.

Motion Picture Equipment Division
100 E. 42nd St., New York 17, NY.

International Projectionist June, 1965

11

Century 21 Theatre Gets Newest

Of Sound Systems in Ampex Installation

The Ampex Corp. has delivered its
3000th theatre sound system - a six-
channel. 960-watt installation in the
new circular-domed Century 21
theatre in San Jose. Calif.

Ampex. a pioneer in magnetic tape
recording and sound reproduction,
entered the theatre sound field in
1953. Working closely with motion

THEATER -IN -THE -ROUND —

The new circular-domed Century 21
theatre in San Jose, Calif., is designed
for the ultimate in acoustics, with the
940 seat auditorium encircled by a
960-watt, six-channel sound system by
Ampex. The new installation is the
3000th theatre sound system by Am-
pex Corp., which has similar equip-
ment in theatres around the world.

picture studios, the company devel-
oped the first true stereo sound sys-
tems for theatres. The system was
first used in theatres across the coun-
try in conjunction with the showing
of the motion picture "The Robe."
one of the first pictures filmed with
stereophonic sound tracks.

The system, which used a magnetic
recording head to pick up sound
from the magnetic track on the film,
offered a number of technical ad-
vancements over optical sound track
or disc recording. The advantages of
four channel, multi-directional sys-
tems with the superior sound pro-
duced by magnetic recording even
after hundreds of runs attracted the
movie industry.

Later, in 1955. Ampex developed
a new magnetic sound system with
six channels for the motion picture
"Oklahoma." This system earned an
"Oscar" for Ampex from the Motion
Picture Academy of Arts and
Sciences.

Since then virtually all motion
pictures have utilized the magnetic
recording sound track technique.
The Ampex sound systems have be-
come a standard of the industry.

Cinerama, which uses the Ampex
system exclusively, utilizes up to
eight channels of sound. The Century
21 theatre in San Jose employs five
Voice of the Theatre A4X speakers
on stage and eight Voice of the
Theatre A7-500 speakers surround-
ing the audience. Each of eight
amplifiers has a rating of 120 watts
with a total of 960 watts.

The quality of today's theatre
sound system is indicative of a mark-

PROJECTION ROOM — Ampex
amplifiers and allied equipment (fore-
ground) have been installed in the pro-
jection room of the new Century 21
theatre in San Jose, Calif., to power
the 960-watt six-channel sound system.

ed trend in growth and sophistication
in this field, according to Al Lewis,
manager of Ampex's theatre sound
system operations. Theatre owners
and motion picture executives, more
keenly aware than ever before of the
competition for entertainment dollars,
are turning to wide screen produc-
tions and the multi-channel multi-
speaker sound systems that accom-
pany them as offering new dimen-

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June. 1965

BOONTON. N. J

International Projectionist

sions in motion picture entertain-
ment.

Seventy millimeter films, which are
used on the wide screen, will he pro-
duced in growing numbers. Lewis
said. During the next two /ears some
20 new L.S. made 70mm films are
scheduled for release. Foreign pro-
ducers are also making a number of
lhe:-e films.

Of the 320 theatres in the United
States equipped with 70mm process
and six channel sound systems, the
majority emplo\ Ampex s\ steins, it
is claimed. Ampex also has 70mm
installations in theatres around the
world including Paris. Brussels,
Buenos \ires, Madrid and Taipei.
Formosa. During the next feu years,
hundreds of theatres in the United
States and overseas will he installing
six channel sound systems, Lewis
adds.

In addition to manufacture of a
complete line of sound s\stem> for
all theatre requirements including
control centers, preamplifiers, power
amplifier?, .-peakers ami recording
and playback head-, \mpex sound
speciali.-t? arc trained in the science
of acoustics and correct system in-
stallation. -\m|>e\ also manufactures
and markets professional recorders
for broadcast and the phonograph
record industry, home stereo recor-
ders. television and instrumentation
recorders, electronic recording and
data storage, geophysical exploration,
and automation equipment. iP

New General Electric
Lighting System claimed
Four Times Brighter

CLEVELAND. OHIO — A .evolu-
tional) new projection lighting
>\stem producing up to four lime?
the screen brightness of current 8mm
and 1 6mm systems has been de-
veloped by the General Electric Com-
pany's Photo Lamp Department.

Lester W. Dettman. department
general manager, said the new system
called "MARC-300" consists of a
two-inch-long. 300- watt quartz arc-
lamp and a power supply unit.

The lamp itself, under development
by General Electric for the past
several years, is small enough to
permit minimum redesign of current
projectors for its use. Dettman said.
It looks like an ordinary tubular
quartz lamp except for a half-inch
bulge near one end. The bulge is the
"arc chamber" where the light is
produced.

The power supply unit, which
starts the lamp and controls it during
operation, weighs about 25 lbs. It

International Projectionist June

BRIGHT EYE— The new "MARC-
300" projection lighting system de-
veloped by the General Electric Co.'s
photo lamp department produces up
to four times the screen brightness of
.urrent 8mm and 16mm systems.
MARC-300 includes this 300-watt
quartz arc lamp, a power supply unit
and accessories.

ma) be used as a base under the
projector or close to the projector.

In screen brightness, MARC-300
"outshines current 1,000-watt incan-
descent svstems b\ up to |l)0%.

"The experience of seeing MARC-
300 projection for the first time is
tiuK exciting, even for professional
users."' Dettman said.

"The whites, in particular, are
made so much more brilliant and
crisp. All the darker colors seem to
come to life too."

Demonstrated in side-by-side tests
with a standard 1.000-uatt 10mm
projector. MARC-300 shows its
added brilliance most dramatically,
he said. "The viewer is immediately

Projectionists

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1965

13

struck by the bright colors of the
MARC-300 screen image and the
comparatively drab hues of the
incandescent projector's image."

Because of its added brightness
and smaller source size, MARC-300
will increase the range of applica-
tions of all projectors, both movie
and still, in which it is used.

16mm projectors with MARC-300
would, for instance, be suitable for
use in smaller theaters. It is con-
ceivable. Dettman admitted, that
MARC-300 could broaden the use of
the new Super 8 projectors in educa-
tion and industry.

The lamp provides a brilliant
source of light about the size of a
drop of water. Because of its ultra
small arc chamber with its uniform
brightness. MARC-300 permits
smaller and less complex optics than
other systems. Key to the high
brightness of MARC-300 is the
lamp's super-bright gaseous atmos-
phere caused by the intense level of
electric discharge between two mol-
ten electrodes.

In spite of its high brightness,
MARC-300 requires little cooling. As
a result, this 300-watt source permits
more cooling air to be diverted to
the film and projector parts than
possible with l.OOO-watt systems.

The new projection lighting system
— the lamp, power supply unit and
accessories — will be sold to projec-
tor manufacturers. Dettman said
MARC-300 is not interchangeable
with any existing projection lighting
source. Prototype models of MARC-
300 have already been provided to
these manufacturers for integration
into future projectors. He added that
replacement lamps would be available
to users.

"Projectors with MARC-300 sys-
tems will find greatest acceptance in
audio-visual markets where high
brightness and portability are impor-
tant — mainly schools, the military
and industry," Dettman said. iP

New Lens Sweeps Focus

A lens that can sweep its focus
along any given plane without move-

CONVENIENTLY LOCATED DOWNTOWN

"A Short Step From everywhere"

BURLINGTON

1120 Vermont Ave., N.W.
300 COMPLETELY MODERN ROOMS

•All Rooms Air -Condi Honed

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INTERNATIONAL PROJECTIONIST

SUITE 410, 545 FIFTH AVENUE
New York, N. Y. 10017

Enter my subscription for

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merit of the camera, and draw the
viewer's attention to one then other
side-by-side objects is now ready for
use, according to its manufacturer.

The lens, called the Swing Sweep
Focus Lens, is a development of the
Fred A. Niles Communications Cen-
ters, Inc., Chicago, New York, Holly-
wood. The firm announced several
months ago that the lens was in the
development stage.

Now, according to Fred A. Niles,
president of the production firm, the
lens has been refined to a point
where it is ready for use in all types
of production.

Niles said that the development of
the lens was under the direction of
Lionel Grover Niles, vice president,
Hollywood, who worked jointly with
a staff member of the California
Institute of Technology.

A side benefit of the construction
of the lens is that it can be adjusted
to keep objects in focus from three
feet to infinity, along a narrow plane
within the scene, while maintaining
a natural perspective. A straight
road, for example, could be in focus
stretching off into the distance, while
both sides would be out of focus.

iP

$700,000 Theatre
For Houston

The multi-million dollar cost of
Houston's "'Magic Circle" develop-
ment will be complemented by a new
Loew's luxury theatre, representing
an investment of $700,000. A long-
term lease for the new showplace, to
be known as Loew's Magic Circle,
was signed by Art Tolchin and Ber-
nard Myerson, chief executives of
the theatre division of Loew's Thea-
tres, Inc., and George A. Butler,
president, and John Cater, Jr., vice
president of the Houston Corpora-
tion, builders.

The Magic Circle area, surrounded
by the lush Tanglewood, Memorial,
Spring Branch with River Oaks resi-
dential sections, contains branches
of the southwest's leading department
stores — Neiman-Marcus, Sakowitz,
Joske's, and magnificent, high-rise
apartment condominiums, and is
rated by real estate experts as one of
the top areas of its kind in the entire
southwest.

Loew's Magic Circle, in keeping
with the nature of the area, will be
of luxury type, seat 1,200, provide
acres of free parking, and be equip-
ped with 70mm projection and a 60-
foot screen. There will be "rocking-
chair" seating and a new type of
acoustical treatment of auditorium
walls and ceiling. iP

International Projectionist June, 1965

*

basic
mathematics

by mwmaii u. cmwwimt

'■ i

1 1

■ . • ^

U *-- 0

•

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... M • t

m

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VOLUMES
1 through 4
COMPLETE

PRACTICAL
METHOD

H

LEARNING

*

A

uiaiiB

tvntuat

to unuunu

/WITS KB

L

A RIDER

d

BASIC MATHEMATICS

by Norman H. Crowhurst

4-volume pictured-teit course makes it easier than
ever before possible to learn all the math you'll need
to know to speed your progress in electronics— no
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This remarkable 4-volume course takes you in easy
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presenting basic mathematics as on continuous devel-
opment of mathematics. The individual branches of
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A KNOWLEDGE OF MATH SPEEDS YOUR PROGRESS IN
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more math you know, the easier it is to iearn
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Volume I — ARITHMETIC AS AN OUTGROWTH OF
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Volume II — INTRODUCING ALGEBRA, GEOMETRY,
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Available at parts distributors, bookstores, or direct.

INTERNATIONAL PROJECTIONIST
1645 Hennepin Avenue, Suite 212
Minneapolis, Minnesota 55403

Please send these paperback volumes-.

D Vol. I— $3.90; D Vol. 1 1 — $3.90; □ Vol.
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