Page 22 - CinemaRecord Edition 3-2002 #37

sound and silent films. Because the
sound track ran along the side of the
frame, there was a need to mask that
portion. Some films had wide frame
lines as today, but those that didn’t had
an aspect ratio that was almost square.
The Kalee 8 was fitted with adjustable
masks to cover the area occupied by
the sound track, and another to vary
the height. A swivelling lens mount or
turret enabled the use of either of two
lenses, set directly on the optical axis
irrespective of whether sound or silent
films were projected. These turrets
would have been a useful addition
when wide screen formats were
introduced.
The next move was to design a
machine specifically for sound. Two
experimental models - the numbers 9
When two film company salesmen convinced a Leeds engineer to build and 10 were never marketed.
them a projector it was the beginning of fifty years of innovation in
The ‘Twilight’ Phenomenon
cinema equipment. Warren Smyth tells The Kalee Story.
The No. 11 shared with Simplex
the innovation of a rotating oil bath for
ngineer Cecil Kershaw and his Indomitable. In this machine the framing. The increased running speed
two sons were known for shutter was driven from a bevel gear for sound necessitated improved
E camera components when Reg on the camshaft. Framing was lubrication and No. 11 was promoted
Storey and Fred Steele of New Century accomplished by a simple mechanism as the first projector (in Britain) to use
Films came to them in 1910 and asked to raise the gate, aperture and lens. pump lubrication. This was about
1933. Sound also brought the need for
them to build a film projector. They The factory moved during the First
increased light to compensate for
gave the Kershaws a Gaumont Chrono World War to Harehills Lane, Leeds
perforated screens. One way to do this
et Cle of Paris, as an example of what but production was suspended during
was to maximize the time the shutter
was required. the war years.
was fully open to the light beam. The
Their first model was the Kershaw On the No. 6 (1920-21) Kershaw
faster the transition from the fully open
Number 3 - similar to the Chrono but raised and lowered the intermittent
shutter to fully closed minimized the
black instead of green. Perhaps there movement on slides, with the
so called ‘twilight’ and the better the
were other differences between the two advantage that the optical centre
overall light output.
machines, or else Georges Demeny of remained constant irrespective of the
Gaumont had failed to register a patent framing setting. The No. 11 had a large diameter
for his machine in England. This was New Century had given up their rear disc shutter. The larger diameter
certainly the case with the first camera interest in projectors, so with the would have increased the speed of the
manufactured in Britain by Robert support of Storey and Steele, a new cut off and opening period, with the
Paul, which was a direct steal of company was formed. The combination light beam located near the outer edge
Edison's Kinetoscope. of family name and location gave of the shutter. This factor was to play an
important role in the design of the 21.
KALEE LTD. The No. 7 (1925)
The Kershaw Name Appears differed only in the oiling system and The No. 11 was also available with
The Number 4 for New Century gears. There was also a left-hand- a housing over the film path for export
Pictures had a large diameter front thread model produced for the to countries which demanded added
shutter, which was considered more Continent where right and left-hand fire protection.
efficient than the former tiny one. Light machines were of value in small The Kalee 12 (1935) was similar in
transmission was not a significant projection rooms. design except that it had a rear drum
factor at this time, so the claimed shutter with centrifugal flaps which
efficiency improvement probably A British Motion Picture Legend opened when the projector reached a
related to the mechanics. The name The Kalee No. 8 arrived in 1927, safe running speed on start up. This
Kershaw appeared on the machine for just before the advent of sound. A was similar to that of the Ernemann.
the first time. New Century Pictures heavier machine, the continuous film The demand for lighter, less costly
wouldn't permit the family name to be sprockets were reduced from eight machines, was the basis for the Invicta
used at first, but "Kershaw Leeds" was frames to six. It was adapted to suit and Kalee Transportable Projectors.
deemed acceptable. every sound head and drive, including
Kershaws' next machine was made the Western Electric Universal Base.
for the Tyler Apparatus Company. The Sound brought about varying
Number 5 became famous as the Tyler aperture sizes on mixed programs of

22 2002 CINEMARECORD