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1950-51 Theatre Catalog, 9th Edition, Page 473 (449)

1950-51 Theatre Catalog, 9th Edition
1950-51 Theatre Catalog
1950-51 Theatre Catalog, 9th Edition, Page 473
Page 473

1950-51 Theatre Catalog, 9th Edition, Page 473

direct projection theatre television is subject to the vagaries of non-theatreattendance times.

On the other hand, with a film intermediate system, happenings of the last 24 hours or several days can be scheduled and advertised in advance and shown over and over again until the public no longer wants to see them. Furthermore, as pointed out above, unscheduled events can be filmed at any time and shown later. Therefore, for all practical and financial reasons of boxofiice dollar income, the GPL System seems to have definite advantages over the direct type.

Secondly, while the GPL System enables the exhibitor to edit out any imperfect or undesirable sections of film, it also makes it possible for him to build up a ttfilm libraryH of reels that he may show again weeks, months, or even years hence, if he cares to do so. In other words, he has a permanent record of happenings that he could never have with a direct type of theatre television system whereby only one showing is possible.

Thirdly, it seems possible that the GPL System could readily be operated by the normal projection booth person ncl with a little training. Of course, there is always the question of whether the unions would permit the regular projectionists to take care of the theatre television system also, and, if they should decide that other personnel should handle it, operating costs would go up accordingly, particularly if the unions were to go so far as to demand that the television system operators be paid for 40 hours a week, even though television showings were given only a few hours during that period. The solution to this problem is, naturally, one that remains to be seen.

From another cost viewpoint, however, the GPL System offers a definite notable advantage with its use of 16mm film instead of the 35mm type. Figures obtained from a reliable source would appear to indicate that with 35mm film the film cost would approximate $80 an hour, the chemical for processing $6 an hour, and the power $.50 an hour for a total of $86.50, while these costs for 16mm film would be $17, $4, and $.30 per hour, respectively, for a total of $21.30. It would then appear that operating costs are reduced by approximately 4/5ths through the use of 16mm film instead of 35mm.

UNIT No. 2 is the rapid Film Processor that develops, washes, dries and waxes the positive print in less than a minute and speeds it on its way. This rmmature laboratory can make extra prints.


UNIT No. 3 is heavy duty projector and proiec tion arc lamp that guarantees a good image.

A final point still to be researched is whether the possession of a processing laboratory and 16mm projector and sound system will not open possibilities for the showing of newsreels of local events, such as the neighboring high school football game or the town baby parade, on the same night they took place to a real dollar advantage.


Although the development of equipment such as the GPL Videofilm System, which is being distributed by National Theatre Supply, has proved the technical feasibility of theatre television, its future, of course, will lie in its economic practicality.

Due to such factors as the high cost of materials and labor, both the direct and intermediate film types of systems are currently priced in the neighborhood of $25,000, but, as demand permits the introduction of mass production techniques, this figure will undoubtedly be lowered considerably. Even so, the majority of exhibitors who have already installed theatre television in their houses are inclinded to feel that they will recover the initial installation cost rapidly with increased attendance.

If we may judge from the success which has attended the theatre television showings given thus far, it is more than reasonable to assume that their popularity will increase further with the passage of time. The outlook appears to be an optimistic one, for various industry groups are continuing to seek the allocation of air channels from the Federal Communications Commission for exclusive theatre television shows that will bolster the welfare of the nations film houses.
1950-51 Theatre Catalog, 9th Edition, Page 473