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1948-49 Theatre Catalog, 7th Edition, Page 549 (534)

1948-49 Theatre Catalog, 7th Edition
1948-49 Theatre Catalog
1948-49 Theatre Catalog, 7th Edition, Page 549
Page 549

1948-49 Theatre Catalog, 7th Edition, Page 549

Emergency Use of 16mm. as Standby

Results of a Field Test of Sub-Standard Equipment Under Normal Theatre Operating Use Before Audiences

Once in a great while a golden opportunity comes along for conducting an experiment under actual operating con ditions and the results of such realistic testing generally throw new light on a much-discussed or controversial problem. A problem like the intrinsic value of 16 mm. film in regular theatre use, for example. Although narrow-gauge or substandard celluloid has been used successfully by the military and in foreign markets for some years, it has never been available in practicable quantities to the operator of the smaller domestic theatrem-undoubtedly the logical place for its utilization. Reasons for this dearth may be the problem of distributing more than one size film; or an absence of information on the capabilities of the smaller size film. Or the cause might ' even be traced to a lack of precedent. If this latter is a factor contributing to the situation, then a new era is at hand because the missing ingredients have been added as the result of a golden opportunity that came to Canada in 1948.

In the early part of that year, one of Torontols largest theatres and a firstrun Loew unit, the 2,743-seat Uptown, was informed of a certain power-line cutoff to be expected at an approximate

The Uptown Theatre, one of Torontois largest theatres, was the site in 1948 of an extremely interesting comparative study of the projection quality of 16 mm. arc-lighted projection equipment brought in as an emergency stop-gap measure when power line repair stopped the regular 35 mm. projectors. Here is an account of the event-4m ideal experiment under actual field conditionse and data on how the theatre used the smaller projection equipment. In conclusion, the significance of the experiment is commented on in regard to its value for the operator of smaller theatres.

future time. Ordinarily this Would have meant an embarrassing and awkward break in the show with admission returns. And that is exactly what happened at the other Toronto houses where the stoppage of electrical power caused a 45-minute postponement of screen entertainment.

However, the Uptown show went ahead as if nothing extraordinary had happened to the current supply; and the theatre accomplished this seemingly impossible feat by a skillful adaptation of available resources. First, by utilizing 16 mm. prints of its scheduled feature and, second, by installing 16 mm. equipment to run on the lZO-volt power line ordinarily reserved for lights and not affected by the power cut-off that deadened the 550-volt line feeding the regular projectors.

After learning of the imminent powerline crisis, Stanley Gosnell, manager of the Uptown, took immediate steps to forestall an emergency. The answer was inevitable-16 mm. And without any waste of time an Ampro-Arc 16 mm. projector, lit by a simplified-hi carbon arc and operating on 120 volts, was installed for business by Samuel Collis, general manager of Telephoto Industries, exclusive distributors for Ampro in Canada.

AN UNBROKEN DAILY SCHEDULE was maintained at The Uptown, Toronto. Canada. during a power stoppage by the use of a 16mm. proiector. Left to right are Sam Collis, Telephoto Industries: Walter Kennedy, Sovereign Films; Stanley Cosnell, mgr.. and Sam Wells. proiectionist.


1948-49 Theatre Catalog, 7th Edition, Page 549