Page 24 - CinemaRecord Edition 3-2002 #37

On the technical front, some of the
new features were a parallel opening
detachable gate and a glass window
through which the mechanism could
be viewed as oil pumped through the
gears and into the intermittent
movement. The oil bath had returned,
as had the single-bladed shutter used
on the first projector, the No. 3. The
fast cut off time was reputed to
increase the light output by 20 per
cent. Kalee had abandoned the larger
sprockets in favour of four frame
sprockets; in fact all sprockets, while
not interchangeable, were the same
size. A clever centrifugal safety
shutter closed the light off until the
projector reached a safe running
speed. The same shutter mechanism
operated by a solenoid facilitated
instant changeovers. Optional extras
such as an automatic fire extinguisher
and reel alarm were also available.
The threading path was enclosed and
the gate water-cooled.
Soundhead
The soundhead was a design
similar to the RCA Photophone which
won RCA an Academy Award. It
incorporated a rotary stabiliser in an
aluminium shell containing a heavy,
viscous fluid. Kalee claimed it would
run for twenty years without going
back to the factory for a service. The
soundhead had a ‘back-scanning or
visible image type’ of optical system.
An image of the sound track was
projected on to the slit aperture. The
light was then reflected via a prism to
the photoelectric cell. This was called
the 83 sound head. There were a
range of models - the 876 had a
conventional projected slit type optical
system, the 378 was the same thing
with a sprung roller assembly instead A measure of quality: Kalee projectors were installed in the prestige Rivoli Camberwell.
of a take-up sprocket, and the 543 was
the same again with a belt drive to the Stand Design Arc lamps.
take-up clutch instead of chain. Many There were three stands: the Pre-war there was the Commander,
projectionists will remember snapping elaborately shaped 21, incorporating part of the GK 40 plant. This was
leaders on start-up by not making sure the take-up enclosure; the box stand sometimes seen fitted on the back of
that the sprung rollers were set in the with control panel often sold with the GK12s, a rugged looking unit using a
correct position after threading up. 20, and the lighter pedestal type often 12-inch short focus aspherical mirror.
Kalee made other models of the sold with the 18 and 19 projectors. The feed mechanism was located at
same projector by stripping away The projectors and other components the rear of the mirror with feed
refinements. On the No. 20 the high- were designed to look as one integral controls and motor rheostat at the
speed, single-bladed shutter was unit but could be mixed and matched back. These were not a joy to use, the
replaced with twin blades for with all models in the same range. An ratchet type feed mechanism was
situations where light output wasn't so external gearbox was fitted if the primitive. They were not stable either,
critical. A solenoid changeover shutter projectors were mounted on requiring constant adjustment. Some
was omitted from the 20 and this WESTREX, RCA and W.E. Universal of these arcs were converted for slide
became the 19. Bases. lanterns in the sixties.

24 2002 CINEMARECORD