Boxoffice (Apr-Jun 1939)

ing from the reduced cost of special display panels should pay for these signs in six months. Posters are displayed in the lobby in four recessed wall niches which have builtin lighting. Each is lighted by one 36inch 30-watt and four 24-inch 20-watt daylight fluorescent lamps set behind narrow panels of cased-opal glass. This insures satisfactory lighting over the surface of the poster and enough of it for attractive appearance. A free-standing poster display located on the center axis of the lobby is somewhat similarly lighted with the addition of decorative luminous elements on the sides, lighted by colored fluorescent lamps. This display employs 16 fluorescent lamps. The lighting in the lobby, provided as it is by both blue and daylight fluorescent lamps, creates an atmosphere that would be difficult to produce economically with filament lamps. Moreover, the use of fluorescent lamps imposes less load on the air cooling system than would be the case if the same lighting effect were produced with filament lamps. Auditorium Lighting Indirect The auditorium for the most part is lighted indirectly by filament sources concealed in coves on either side of a huge panel (10'xll2') that is suspended 18 inches below the ceiling and extends from front to back of the interior. In each cove there are 98 50-watt inside frosted lamps, 112 15-watt yellow lamps, and 112 25-watt rose-colored lamps. Lamps of each color are located on 12-inch centers, and the circuits of yellow and inside frosted lamps are controlled by dimmers. The usual practice is to use the rose lamps during the showing of pictures to provide adequate general illumination for utilitarian purposes and a subdued decorative note. During intermissions the yellow and inside frosted lamps may be brought up as desired. When all the lights are on a pleasingly high level of illumination is provided throughout the auditorium. To add a touch of brightness and gaiety Cover Illustration An interesting night-time view of the artistic facade and luminous display facilities of the new Shore Theatre, in Euclid, Ohio, a suburb of Cleveland, recently completed by Associated Theatres Company. Fluorescent and filament sources combine to create an attractive and attention-compelling marquee. The luminous panel contains 28 36-inch 36-watt daylight fluorescent lamps, the chaser border 600 16-watt yellow filament lamps on 6-inch centers, and the marquee soffit 230 25ivatt inside frosted filament lamps. Letters in the vertical sign are of green fluorescent tubing. The tower is floodlighted from the top of the marquee. (Photo courtesy General Electric Company). , ij The suspended ceiling panel which extends from front to back of the auditorium of the new Shore conceals the filament sources that supply indirect general lighting for the auditorium. Colored fluorescent lamps on the soffit of the panel add a touch of brightness during intermissions. when the house lights are up (as well as to contribute to the general illumina tion) five fluorescent units are mounted on the soffit of the suspended panel. Each unit is made up of one 30-watt blue and two 30-watt gold fluorescent lamps. Tones of rose, sand, and brown comprise the color scheme for the walls and ceiling panel in the auditorium. The ceiling itself is done in cream color and the pilasters in blue. The architect for the Shore Theatre was Paul Matzinger of Cleveland. Decorative Setting for Better Lighting Ceiling and wall decorations and finishes are an auxiliary to the lighting system because they not only provide a background for the lighting elements but, in the case of indirect lighting, they become a part of the lighting system itself and if light in tone contribute greatly to its efficiency. Where the ceilings and walls are too dark, the lighting emits that would otherwise be comfortable when viewed against a light colored ceiling, become harsh and uncomfortable. Particularly with indirect or semi-indirect lighting, a large part of the ceiling should be mat-surfaced and light in color, as most of the light is directed to the ceiling and from there redirected and diffused to the area below. A glossy surface should be avoided because the lamps produce undesirable streaks in the shiny surface. It is a good plan always to try out ceiling surfaces with the type of lighting equipment to be used, viewing at many angles before a final decision on the ceiling finish is made. Low relief decorations and painted designs are oftentimes used to advantage to break up what would otherwise become unusually large and uninteresting expanses of ceiling area. Specifically, where cove lighting is employed, these decorations can be made to interrupt the ceiling at the point where the light from the cove fades off perceptibly. Theatre fronts that gleam and sparkle and form a fitting background for modern display lighting command attention from near and far and serve as the most potent patronage draw available. Sound presentation can deteriorate without the operator’s being aware of it. Have this vital part of your theatre’s physical property checked periodically to keep it in prime condition. The sign and marquee are a theatre’s best promoter. They dignifiedly take the place of the old-time ballyhooer; so don’t overlook the pulling power they present. Decorative Effects is the feature subject for discussion in next (June 241 issue of The Modern Theatre section . . . Theatre owners and managers will find much to interest and inspire them in this forthcoming presentation of another vital contingent of House Appeal. BOXOFFICE :: May 27, 1939 29