British Kinematography (1951)

January, 1951 SWINGLER AND PULMAN '. MOTION PICTURE PRESENTATION comfort over long periods of time. Cleanliness must make itself felt, and in fact, everything must be focused on the provision of satisfying entertainment and comfortable relaxation for the patron. Structural Costs It is not the purpose of this paper to examine in detail the technical complexities, but rather the broader aspects, and in this connection it might be interesting to give some indication of the costs of certain items embodied in the kinema which contribute very largely to " patron comfort." These figures are percentages based on the total cost of an average kinema built, equipped and furnished prior to the war, excluding the cost of the site. Naturally these percentages vary in accordance with the type of building and the degree of " patron comfort " desired, but the following figures may be taken as an average for a typical kinema built between 1932-1939 : Projection and Sound 4.0% Electrical Installation 5.1% Heating and Ventilation 6.3% Furnishings, Seating, Carpets ... 9.0% Decorations, Fibrous Plaster, and Acoustic Materials 5.6% In the main, no new kinemas have been built over the last ten years and so observations are naturally confined to what may be termed " present day techniques " and methods of operation. Behind the scene, developments and planning have been carried out unceasingly and one cannot foretell the surprises in store for the kinema patrons of the future. Some members of this Society were able to hear Dr. Wells Coates present a paper on " Planning the Festival of Britain Kinema," and were privileged to get a glimpse of the possibilities of developments in the future. Nothing can remain static, we must always progress, and while the future must necessarily be shrouded in mystery, it holds considerable promise in our part of the entertainment industry. I. PICTURE PROJECTION High standards of projection and sound reproduction must be given first considera tion. Accurate determination of the suitability of grades of equipment for particular auditoria has a distinct bearing on the ultimate results. The fundamental requirements for good projection have been discussed elsewhere, but from the patron's point of view these may be stated as: 1. Clear vision of the entire picture area from every seat. 2. Skilful and unobtrusive operation of the equipment. 3. Adequate screen illumination and brightness. 4. Suitably arranged surroundings to the picture area. Viewing Conditions The first item, that of clear vision, is somewhat elementary and more a matter of careful planning than anything else ; but it is the first fundamental step in good motion picture presentation. No patron can enjoy viewing a picture area, part of which is obscured by the head, if not the shoulders, of another person seated within the visual angle subtended by the picture. Good viewing conditions demand compliance with the Eyestrain Regulations in the relationship of picture size to seating layout. Distortion, both in viewing angles and in projection angles, must be kept to an absolute minimum. The Skill of the Projectionist The second item, that of operational perfection, is of paramount importance and calls for the full use of the projectionist's skill and sense of showmanship in presentation. It lies within the power of every projectionist to add to or detract from the final result, into which the brains and experience of a band of technical and artistic experts in every phase of film production have merged to produce what might well be the finest scenic and artistic presentation in the motion picture field. So much effort is put into the making of a motion picture that final interpretation cannot be ignored. Here the skill of the projectionist makes itself felt, for in many ways he can help to turn what might be a