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1945 Theatre Catalog, 4th Edition, Page 329 (305)

1945 Theatre Catalog, 4th Edition
1945 Theatre Catalog
1945 Theatre Catalog, 4th Edition, Page 329
Page 329

1945 Theatre Catalog, 4th Edition, Page 329

of equipment as related to interchangability of operation except, of course, that effort had been made by the Society of Motion Picture Engineers to create standards as to film dimensions, sprocket design and aperture sizes.

With the beginning of sound reproduction other more serious limitations were imposed upon the industry. The sound reproducer became an adjunct of the projector and was designed as a convenient method of providing a motor drive, then becoming more or less popular, as well as containing the items necessary for converting the variations of black and white of the sound track into electrical impulses which could be amplified for the loudspeakers.

As we review the rapidly expanding era of conversion from the silent to sound pictures there are many things which could have been done to give the future of our industry more opportunity for engineering development. One of these decisions could have been to design equipment primarily for the projection of talking motion pictures rather than attempt to use the silent projectors which were never made for the higher film speeds nor the more rigid mechanical hazards of motor drives.

The industry well remembers the bindups, stripped gears, hot bearings and closed theatres caused by inadequate equipment lacking the strength and durability to withstand the rigorous service of this new era.

After ten years of such unsatisfactory industry service from projection equipment, the engineers of the Century Projector Corporation began an intensive study in View of developing a projector free from the diniculties every theatre booth faced and something which would be simple and dependable under the most adverse operating conditions.

As a first step in a planned program, the company announced, in 1939, the now well known line of Century Model C and Model CC projector mechanisms.

These projectors were only the first step in this expanded program. Tradition was relegated to the background and the designs adopted were based upon sound engineering principles, together with years of first-hand experience in theatre operation.

Gear designs were simplified to an irreducible minimum, film-handling devices (traps, gates, and guide rollers) were designed to accomplish perfect registration of the film in the aperture of the projector with a consequent more accurate registration of the picture on the theatre screen. Higher light efficiencies were obtained with increased picture definition.

As soon as the new designs of projector mechanisms were well established and production problems solved, the next step in the program begane-that of providing a sound reproducer which would match the improved quality of the projector mechanism.

This work did not progress far before World VVar I began to take all of the facilities of the engineering personnel and shortly the entire production of the factory.


Since the introduction of sound in motion pictures, it has been the custom to



add the sound head to a projector originally designed for silent pictures. Such an arrangement results in a lack of harmony between the picture mechanism and sound head, with an inevitable waste in space, material, and number of working parts. These problems have been solved by designing a new, simplihed theatre projector incorporating both sound head and picture mechanism as an integral part of the projector.

Absolute simplification is the most difficult task of the designer. The elimination of superfluous intricate parts has endowed the new DeVry theatre projector with physical sturdiness, freedom from operating trouble, and ease of operation.

Into DeVry equipment has gone a wealth of new knowledge and experience gained in the vast laboratory of war production. Back of its sterling performance are new assets of heightened ingenuity, new manufacturing techniques, the jewel-like craftsmanship of men who have devoted a lifetime to the making of fine projectors, and also an old skill which will never change*the fundamental belief in quality, the traditional purpose that every product of DeVry shall first and of all things be dependable.

The sturdiness of the new DeVry is obvious even upon casual examination. It was deliberately designed and staunchly built to outlast your ownership.

You have to see them in action to realize their rock-steady, fiicker-free screening, the high fidelity of their trueto-life sound. From the softest whisper, the warmest tone, the weirdest shriek to the roar of a mighty organ there is no perceptible flutter, hum, nor wow.

DeVry was a pioneer in the use of the silent chain drive for motion-picture equipment. This positive, shock-proof method of power transmission has proved itself as a highly efficient and reliable system in the thousands of DeVry 35-mm. professional projectors now in use round the world. The ease, convenience, and fiexibility afforded by the silent chain driVe in servicing has made the new DeVry projector one of the favorite choices of projectionists. Only in a DeVry are the advantages of the silent chain drive, became of basic DeVry patents involving the use of such a system in a motion-picture sound projector.

The DeVry intermittent is easily and quickly removed as a unit without the

need of special tools. One of the finest mechanisms available, it performs with amazing quietness due to precision manufacture. All vital parts are made from selected steel, accurately ground and properly hardened for longer, trouble-free peformance. The move-1 ment will not leak or siphon oil into the film compartment to soil the picture or sound track. The position of the intermittent sprocket is below and in exact vertical line with the aperture, permitting a framing mechanism that is a marvel of ingenuity and simplicity, correct framing being accomplished without changing the shutter timing.

The aperture plate casting will not warp under continuous heat of even the highest intensity are lamp. Film guide rollers assure picture steadiness and eliminate side sway of film. Highly polished and ground film rails guide the film accurately and safely to the intermittent sprocket.

The improved film gate holds film securely and with equalized tension from a point above the aperture to the intermittent sprocket--quaranteeing a steady image. The gate assembly is, without tools, quickly and easily demountable as a unit for cleaning and adjustment between reels.

Film sprockets are of the 16-tooth type reversible type, accurately machined from selected steel and hardened to insure long life and minimum film damage.

The feed magazine accommodates 2,OOO-foot reels. Body and door of heavy construction, hinges are cast and chrome plated. The door latch is positive, acting and sure-locking. The fire valve is provided with polished rollers.

The famous DeVry Brillante lens brings all the brilliance, clarity, and contrast that Hollywoodfs camera wizards have been able to capture on the film.

A smooth take-up eliminates jerks and tugs. There is no piled up film, pulled splices, or film damage. Tension always self-adjusting for the necessary pull on the film.

The self-locking idlers speed up threading, mere pressure of finger opens and closes the idlers.

In the centralized lubrication oil tubes lead to each bearing and friction point, all other lubricating points easily identified by red oil cups. No vital part is neglected.

1945 Theatre Catalog, 4th Edition, Page 329