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1948-49 Theatre Catalog, 7th Edition, Page 551 (536)

1948-49 Theatre Catalog, 7th Edition
1948-49 Theatre Catalog
1948-49 Theatre Catalog, 7th Edition, Page 551
Page 551

1948-49 Theatre Catalog, 7th Edition, Page 551

The 16 mm. machine, which used a 2inch lens and provided an image only slightly smaller than the 24-foot screen, was placed in the booth from which the projection throw is 120 feet. To eliminate any possible interruption which might arise from the fact that the power would end while the picture was showing, Collis had the 16 mm. projector focused and placed next to the 35 mm. projector which began the performance.

Then, Sam Wells, the regular projectionist, started both projectors which ran at identical speedse24 frames per second. However, the Ampro Arc machine duplicated the larger projector in everything but light and sound. At the critical moment of power shut-om Wells switched on current to the 16 mm. projector arc lamp, turned on the sound and the show continued without a noticeable break. In fact, so successful was the change-over that not one of the Uptownls patrons complained or even commented to members of the staff on any variation in show quality. For that

matter, not even the management of the theatre detected the change of machines.

This experiment began during the film run of thhe Senator Was Indiscreet" and was continued during HA Double Life". Both films were Universal-International productions, and Walter Kene nedy Who handles that companyls 16 mm. departmenteSovereign Films-was able to supply the necessary small-gauge prints of each. When 16 mm. prints of scheduled short subjects could not be included, other films of similar interest were substituted. So successful was the experiment that the Uptown management continued their 16 mm. projection for three weeks and brought it to a close only after the installation of a central plant system to generate power during emergency shut-downs.

Certainly the Uptown experiment serves to further emphasize the versatility of 16 mm. projection and to prove its value even under operating conditions more severe than any for which it was originally designed. In Canada there is

a renewed interest in the use of 16 mm. are projectors-especially in out-door theatres, local halls, and villages-since many operators can now see their way clear to a means of providing motion picture entertainment at a fraction of the cost of 35 mm. sound equipment. Even more important, the use of 16 mm. safety film prints would eliminate the need to erect steel and concrete auditoriums; and in Canada this is a substantial item in any new theatre budget, because strict Dominion and Provincial fire restrictions make it almost impossible for a community of under 10,000 population to justify the investment represented by a 3 or 4 day a week theatre. For the U. S. operator, too, the experiment provides an entree into more economical exhibition with attendant savings in building costs, insurance rates, and all the other figures that dwell on the debit side of the books. Thus, the Uptown experiment may bring about a healthful stimulation, both in the 16 mm. equipment and film industry, and in the field of small theatre exhibition.


Minimum requirements for the safe construction of theatres within the limited range of building operations common in smaller communities are set forth in the abridged edition of its master basic building code prepared by the Building Officials Conference of America, Inc., especially for communities of 25,000 and less.

The code comes out against the location 70f theatres "above or below the grade fioor of any building." It stipulates that all theatre buildings more than two stories high ifshall be of not less than one and one-half hour fire-resistive construction."

Where seats are fixed the codes requirement is that all rows be "individually fixed or fixed in rigid units between longitudinal aisles not less than 36 inches wide," with the distance from back to back being Snot less than 32 inches." Aisles must also be 36 inches wide where the seats are not fixed.

The code limits to seven the number of seats intervening between any seat and an aisle. It is suggested that in all theatres with an occupancy load of 100 or more persons all exit doors be equipped with panic-proof latches or bolts which release under a pressure of 15 pounds.

The BOCA advocates that all means of egress be indicated with approved metal signs spelling out "Exitll in red letters

not less than six inches high on a white background or other approved distinguishable colors.

Minimum floor loads are set at 60 pounds per square foot where seats are fixed and 100 where they are removable. Allowed for every person in a theatre are six square feet of floor space. Exits must be so arranged as not to require more than 100 feet of unobstructed travel to reach in structures of fire-resistive and protected incombustible construction and 75 feet in those of other type of construction. Structures seating 500 persons or less should have at least two exits, 501 to 900, three exits; 901 to 1800, four exits; over 1800, five exits.

Six air changes per hour are held necessary for a theatre to provide the required fresh air supply. Heres the minimum requirement covering sanitary fixtures: Up to 100 seats, two lavatories; 101 to 250, three; 251 to 500, four; 501 to 1000., six; 1001 to 1500, eight; 1501 to 2000, nine; more than 2000, one per 400 occupants.

(Reprinted [mm FILM DAILY)

EDITORS NOTE: With the availability of current prints on "safety-film", many of the restrictions in present day building codes should evaporate, The fire hazard 0/ 35:11.1". nitro-rellulose lilm has ("routed and developed many of the codes that plague the industry today. ,

1948-49 Theatre Catalog, 7th Edition, Page 551