> > > >

1952 Theatre Catalog, 10th Edition, Page 305 (269)

1952 Theatre Catalog, 10th Edition
1952 Theatre Catalog
1952 Theatre Catalog, 10th Edition, Page 305
Page 305

1952 Theatre Catalog, 10th Edition, Page 305





Sold through Authorized Distributors


Typo Maximum Maximum Maximum Screen Width . Recommended Arc Screen with 9 Ft. Lambert] 0' Type or carbon 51" Arc Current Volta Lumens at CenterLamP Amperes 90o Shutter 75% Screen Refiectivity High Intensity Positive 13.6 mm x 22 in. I50 78 9750 38.2 condense,- iIOrotip" Cored Negative 1A) x 9 in. Type NHitex" Super High-Intensity Positive l3.6 mm x 22 in. 180 74 12,400 43.2 Heavy duty NOrotip', Negative 1/2 x 9 in. Simplified Suprex Cored Positive 7 mm x 12 or 14 in. 50 37 5000 27.2 High Suprex Cored Negative 6 mm x 9 in. Intenshy Suprex Cored Positive 8 mm x 12 or 14 in. Suprex Cored Negative 7 mm x 9 in. 70 4-0 7000 31.6 K1 ione D C Suprex Cored Positive 7 mm x 12 or 14 in. 40 27.5 3250 21.9 1 03:?" ' i NOrotip" C. Negative 6 mm x 9 in.

* (All data based on use of F/2.0 treated projection lenses) The terms NNationalii, NHitexii and iiOrotipii are trade-marks of Union Carbide and Carbon Corporation.


A Division of Union Carbide and Carbon Corporation

30 East 42nd Street. New York 17. N. Y.

DISTRICT SALES OFFICES Atlanta-Chicago-DaHas-Kansas City-New York Pittsburgh-San Francisco

In Canada: National Carbon Limited Montreal. Toronto. Winnipeg


The history of screen lighting, even from the beginning, has been one move after another to obtain more and better light. High intensity projection has always produced enthusiastic response from theatre patrons, since they notice and show favorable reaction to the improvement resulting from installation of this type equipment.

High intensity lamps provide a greater volume of screen light than the older low intensity lamps. This allows a clear cut screen image to be shown in the presence of a safe and comfortable level of general illumination. Patrons entering the auditorium from the lobby tind their seats without discomfort or embarrassment, while the lighter contrast between the screen and surrounding illumination adds to visual comfort in viewing the picture.

A further advantage of the high intensity are for projection is the snow white quality of its light. Light from the low intensity are is comparatively dull and yellowish. This distorts the hues of color features and detracts from the impression of realism which color is designed to create. High intensity projection reproduces all colors with great fidelity and gives a realistic quality to color features not otherwise obtained.



From the standpoint of the small theatre, the iIOne Kilowattfi carbon arc ranks among the most important advances in the art of motion picture projection. It enables the smallest theatre, at little or no increase in operating cost, to have the advantages of snow white projection light and the recommended level of illumination on the screen. It removes the edge enjoyed by those theatres having the more expensive types of high intensity lamps.

One of the most important objectives in preparing for future business is improvement in the quality and quantity of screen illumination, especially since increased production in color films is expected. No theatre will be a

modern theatre without high intensity projection.

The iiOne Kilowattii are, without increasing operating cost, now allows the small theatre to give its patrons 50 to 80 per cent more screen light, more realistic color reproduction, and a quality of picture presentation un surpassed by any theatre, regardless of size.
1952 Theatre Catalog, 10th Edition, Page 305