Boxoffice-January.07.1950

URGES USE OF LIGHTER
PRINTS
FOR BETTER DRIVE-IN PROJECTION
The rapid growth of drive-in theatres,
particularly within the past year, has resulted
in a need for consideration of the
requirements peculiar to drive-in projection
in planning and producing films, according
to Don Kennedy of the Town
Drive-In, Detroit. He goes on to assert
that an increased use of light areas in
black and white prints is imperative for
successful drive-in screen presentation.
Kennedy, a veteran of some forty years in
the booth, is a specialist in the field of
drive-in projection and has previously contributed
articles on this subject to The
Modern Theatre.
Adequate attention to the projection
quality of films will pay off, says Kennedy,
in reduction of print damage. The marked
increase in damage and warping of prints
used at drive-in theatres is not generally
realized Kennedy says, adding, "I understand
that some film exchanges are even
refusing to ship their better prints to the
drive-ins so that these houses get only the
already-damaged prints to show their patrons."
"The increased damage is caused by the
high intensities of 170-180 amps at which
projection arc lamps are operated. This is
not necessary if we can get pictures with a
decent proportion of lighter tones in them.
On such pictures we can i-un lamps at 150-
160 amps and, with standard shutters and
proper paint on the screens, we can get
acceptable projection," Kennedy asserts.
Film warpage became practically unknown
some 20 years ago, Kennedy says,
with the development of improved light
sources, rear projection shutters, and reduced
lamp amperage. At that time, he
points out, exchanges generally destroyed
the familiar "Don't Ship" tags formerly reserved
for their better prints, and projectionists
began to leave the focusing device
on the projector in a fixed position.
"With vast increases in the size of screens
as drive-ins have developed, equipment
manufacturers have started a race to higher
and higher amperages," Kennedy comments.
"One company has reduced the size
of their shutter blades in order to permit
more light to pass through to the projector
aperture," he adds, "which means, they
might as well revert to the old front shutter
again. To keep the film from boiling,
they direct a stream of air on the projector
aperature.
"At considerable expense one manufacturer
has developed a new carbon which,
with proper alignment, will produce a bluish-white
light to soften the projected picture
to the eye.
"And still some projector manufacturers
not only turn their backs on the rear shutter,
but also change carbon aligimients to
produce a yellowish-white light with a carbon
developed to produce soft bluish-white
light."
For best projection films should have a
ratio of 50-50 black and white, Kennedy
said, but even a 70-30 ratio is acceptable.
With 90 per cent of the film area black,
however, the images of the actors cannot be
seen on a large screen. The result may be
a bedlam of tooting horns demanding the
picture back.
As a solution Kennedy proposes that
drive-in owners use their combined efforts
to secure lighter prints which would reduce
light amjjerage. film damage, carbon costs,
and would result in better projection."
He pointed out, incidentally, that Technicolor
films rarely, if ever, give trouble of
this sort, because the nature of this medium
is such that intense light is required
on the set in the first place.
NEW CALIFORNIA DRIVE-IN OPENED
W iRTUALLY EVERYTHING is done in a big way out in the
Golden State, and the colossal approach applies also to outdoor
theatre operations. This is exemplified by the recently-opened
Whittier Drive-Jn, a unit in the Pacific Drive-In Theatres chain.
Located in Pico, Calif., the Whittier is the second largest open
air theatre in the world with a capacity of 1,225 cars. Architect
J. Arthur Drielsma made dual use of the lofty screen tower, which
is equivalent in height to a five-story building, by making the
rear of the screen into an office building containing business
offices, maintenance rooms, shop storage space and dressing
rooms, and camouflaging it with a spectacular theatre front.
Operating equipment, installed by the B. F. Shearer Co. of Los
Angeles, includes complete Motiograph projection equipment,
with a 300-watt multiple amplifier system. A high power generator
and Motiograph -Hall lamps of large reflector type, operate
at 85 amperes with increases of power to 115 amperes possible.
Such unusually powerful equipment is necessary to provide
proper illumination for the giant screen, with a picture measuring
51 by 68 feet. In the "auditoriiun" proper, 1,225 Motiograph