Boxoffice (Oct-Dec 1963)

SCREEN CARE A MUST' The unusual auditorium of the new Walter Reade-Sterling theatre in the Barclay Farms Shopping Center, Cherry Hill Township, N.J., is dominated by a Technikote Pearlite seamless screen, 2 0x40 feet. When not in operation, the screen is covered by a massive blue and gold-flecked curtain, a practice recommended to prevent dust from settling on it during theatre cleaning work. The Griggs Push-Back seats have white standards with gold seats and backs, and all carpeting throughout the theatre is blue. METICULOUS After Selection of the Right Kind of Screen For the Particular Auditorium, Regular Cleaning Is Vital By WESLEY TROUT I N ORDER TO obtain a sharp, wellilluminated picture, one must have sufficient light from the arc lamp; highquality, coated projection lenses and a good screen surface. All three work together to secure the desired results. It should be understandable that an inferior, cheap projection lens will completely mar good projection; and an arc lamp that does not have sufficient light output will deliver only a dull-looking image and spoil completely the beauty of colored photography. No projection screen, no matter how good the reflective surface may be, can overcome either one of these projection room faults. REQUIREMENTS OF SCREEN The function of a screen is to reflect the projected picture in the most pleasing manner. In order for the audience to enjoy the projected image, the screen surface must deliver to the audience the largest percentage of the light incident upon its surface; it must do this with a minimum fadeaway at side angles and must have its perforations spaced so that there will be a minimum of interference to sound volume (sound output through the perforations) and distribution. Let us point out to our readers that these are characteristics that should be required when purchasing a new screen to assure a full measure of efficiency during its life in the theatre. It is a good idea, when planning to purchase a new screen, to obtain several large samples before finally purchasing any make of screen for your theatre. In order to secure highest efficiency and a minimum fadeaway, it requires a particular surface for each particular theatre — a special surface for narrow and wide auditoriums. Reflection power of any projection screen surface is affected by age, cleanliness and color. As the screen ages its power of reflection will gradually diminish and, if it is not kept free of dust, it will require more and more light from the arc lamp, with an increase in electrical consumption, making your light bills higher and higher. Use a screen brush at least once a month. The selection of the correct type of screen surface is very important. There are two distinct factors to keep in mind when making the selection — one, the width of the auditorium; two, the total percentage of incident light reflected and its distribution. It should be kept in mind that the measurement in a single direction is no proof of the total reflection power of a screen surface. A screen surface that has high efficiency in a 30-foot auditorium might prove extremely inefficient in one twice this width. A smooth-surface screen should never be used in a wide auditorium because the fadeaway will be too much at the side seating. And, bear in mind, the type of light source will also determine the reflective type of surface necessary for a pleasingly illuminated image. In many situations a very high gain is a “must” in order to secure sufficient light reflection or the beauty of colored pictures will be destroyed. There are several types of screen finishes on the market today and one should use care in their selection. TYPES OF SCREENS Glass bead screens are not suited for wide auditoriums or for theatres with balconies. This type of screen has been discontinued. The silver screen has its place in the theatre, but should be used only in a narrow auditorium. A highly reflective surface, when used in a wide auditorium, should have “a broken-up” type of finish in order to give better light distribution over a wide area. Screen manufacturers or theatre supply dealers will be glad to send or demonstrate large samples of the type of screen surface best suited for your particular auditorium and light source. Some patent screen surfaces can be re finished successfully. We strongly recommend that you have it refinished by the manufacturer, provided it is not too old and can be taken down and replaced without damage to the material. In most situations it is much better to install a new screen. At one time there were a few companies that refinished screens in the theatre. In any case the theatre owner should make sure about any claims made by the company because refinishing takes experience and the right kind of ingredients. DUST PENETRATES PERFORATIONS It should be borne in mind that perforated screens require frequent cleaning because of air circulating through the perforations and filling them with dust, cutting down sound output in many cases. Airborne grime and tar particles unavoidably settle upon the surfaces of projection screens, darkening and discoloring. Some types of finishes turn yellow in time and the only remedy is a resurfacing job. When screens become extremely discolored and dirty, they should be replaced because no amount of cleaning with a camel-hair brush will remove grime and stains after a passage of time, in some cases three or four years. Some modern plastic screens may be washed repeatedly but we strongly advise taking the matter up with the screen manufacturer before attempting to wash any screen. The back of a screen should always be cleaned first, before the front is cleaned. Use a soft camel-hair brush. Never use a brush with stiff bristles, as these may imbed gritty particles in the screen surface that cannot be removed. It is best to always start at the top of Continued on following page Wesley Trout BOXOFFICE ;: October 21, 1963 27