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Author
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Topic: I need some more help on cinema history
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Mark DeLettera
Film Handler
Posts: 54
From: Venice, Florida
Registered: Aug 1999
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posted 04-20-2001 02:55 PM
Jamie,Here are a few web sites that may help:
http://www.geh.org/
http://www.eastman.org/home.htm They are both from the George Eastman House here in Rochester. I didn't get go into them too deep, but you may find what you need. Did you try a search, like in AltaVista, under "cinema" or "theatre" or "projector history"? I'm sure you will come up with plenty of info there. ------------------
Mark DeLettera
Eastman Kodak Co.
Worldwide Technical Svs.
Rochester, NY
mark.delettera@kodak.com
716-588-4189
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Leo Enticknap
Film God
Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000
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posted 04-20-2001 04:37 PM
I seem to remember there's a footnote somewhere in Scott Eyman's book 'The Speed of Sound - Hollywood and the Talkie Revolution, 1926-30' (NY, Simon & Schuster, 1999) which mentions the introduction of changeovers. Other sources which might help are:Raymond Fielding, 'A Technological History of Motion Pictures and Television' (Berkeley, U. of Calif. Press, 1968) Barry Salt, 'Film Style and Technology' (2nd ed., London, Starword, 1993). Paolo Cherchi Usai, 'Burning Passions - an Introduction to the Study of Silent Cinema' (London, BFI, 1994). Also the 1970s edition of the BKSTS projectionists' manual (the one written by Bernard Happe) might have something. The new version which came out a couple of years ago is basically a kiddies picture book which seems to be written for people with severe learning difficuties - for example, it contains two copiously illustrated pages on how to identify a reel number by reading the label on the can! I certainly very much doubt if it covers the historical background in anything like enough detail to answer this question.
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Leo Enticknap
Film God
Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000
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posted 04-21-2001 01:49 PM
I found the reference in Eyman. Quote as follows:"It was about the time of 'Good News' [1930] that the studios devised cue marks for the end of reels, to help projectionists make smooth changeovers. 'In the future, and until further notice, all changeover signals will be visual,' said the small print on the bottom of the 'Good News' cue sheet. 'These signals appear at the end of the reel in the form of a round, black spot appearing steady in the upper right hand corner of the screen during four consecutive frames. On a very dark screen or fadeout, the spot has a white line around it. The signal is fashioned so that it is clearly visible if watched for, but not particularly noticeable to an audience. Two sets of these signals appear at the end of each reel. The FIRST SET is the signal to start the motor of the incoming machine, and the SECOND SET is the signal to cut over the picture and sound...' When MGM said 'until further notice,' they probably didn't think they were referring to the next seventy years, for cue marks have remained the norm to the present day.' Eyman, 'The Speed of Sound', p. 349, footnote (I presume he's quoting the emphasis, though this isn't stated). I'm a bit surprised that cue marks were as late as 1930, given that multiple-reel features were commonplace by the middle of World War I. The only reason I can think of why it took so long is that, given that there was no worldwide projection speed standardisation until the introduction of sound-on-film, it would have been impossible to standardise the gap between the two sets of marks and so the system would have been unreliable. Can John P (or anyone) throw any light on this?
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