# The Moving Picture World/Volume 1/Number 2/The School of Operating

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THE SCHOOL OF OPERATING
Editor Moving Picture World:
Dear Sir—The need of skilled operators cannot be too strongly emphasized. A poor moving picture show is the poorest of all shows; fuses blow out, pictures are dim, lenses are too short of focus for a clear definition on the screen, and the blame reflects first on the company putting on poor results and damages their patronage, while the real cause for it is the uninstructed, unqualified operator, who imagines that all that is needful to do to get results is just to turn the handle of the machine. That is the ​last thing to do, and where it is done the work of that operator is on trial—the picture tells whether he knows his business or not. So many theatrical managers say their pictures are not satisfactorily displayed, so many audiences turn away disgustedly, vowing they will not come again, that for the sake of good results and the thorough enjoyment of a truly delightful form of entertainment where rightly displayed, in self-defense let the demand come for licensed operators from theatrical managers and form the public.
To the managers of playhouses we say that it is due to them to know the importance of having a thorough mechanic at the machine, one who knows what size of wire will bring the current safety to the machine from the mains. One who knows that there must be no short-circuit in his rheostat. One who must see that his lamp is properly insulated. One who knows that if his carbons are left together he has a complete short-circuit that will put him out of business. One who knows the limitation of his machine and avoids being put out of business by trying to get a 25-ampere current through a 7$^1$⁄$_2$-ampere metre. In short, operating is an exact science, and should be so regarded by bureaus who employ operators and by the company managers who include moving pictures as a feature of their show.
Again, it is not a boys' sport; there should be an age limit, where a young man, realizing the responsibility which is on him to protect the lives of his audience, always keeps on safe ground and insures the delightful entertainment of those who visit moving picture shows.
Are you a licensed operator? If so, if you have a certificate issued by authority of any State, showing that you have given proof of your ability and through knowledge so entitle you to such certificate, register your name at the office of The Moving Picture World.
If you are not a licensed operator, but wish to become one, send your name and address to The Moving Picture World office.
One effect is organization and protection of self and otherwise.
It is to give the operator standing. It is a recommendation of efficiency. It eases the mind of his employer. It says to the bureaus employing him: You have a skilled mechanic at your command; your business will be properly taken care of; the party is worthy of your full confidence.
No more men to be sent out by booking firms to make good who cannot get a light, to say nothing of putting on a picture, their chief recommended being cheap help. Within a few days a moving picture show man opened a place and hired a good, efficient operator at $25.00 per week. After the first week he said: "Why should I pay $25.00 per week? I will put my son at the machine. I will save an operator's salary. He did so. He burned up the place, machine, films. He wanted to make money. He did not know until too late that cheap help was dear at any price. If cheapness and quality could chum up, but they can't. "Knowledge is power," and operating is skilled employment, entitled to fair compensation. A man who knows this branch of employment thoroughly demands a man's wages. Until firms who employ operators wake up to this fact there will be a constant flood of accidents.
Yours faithfully,
G.