British Kinematography (1951)

BRITISH KINEMATOGRAPHY Vol. 18, No. 1 passable motion picture into entertainment value. Consistency of screen illumination is perhaps the most important item under the direct control of the projectionist. Screen illumination that flickers, is unsteady or shows signs of uneven colour — the " blue " or " brown " corners that result from incorrect arc focusing or maladjustment of the optical system — reminds the patron of the illusory nature of the entertainment being offered and spoils his enjoyment accordingly. Proper distribution of the light intensity across the screen is another factor under the control of the projectionist, and one which, when properly adjusted, adds its own contribution to perfection in presentation. Picture focus is another item that demands constant attention. Sharply focused detail gives good clarity but necessitates some delicacy in adjustment. Picture focusing by the over enthusiastic sometimes gives rise to a slight feeling of sea-sickness among the viewers. A keen sense of timing on the part of the projectionist is part of showmanship in presentation, and gives a polish to the finished product. Careful and split-second timing of screen tabs against titles and ends, of main tabs, of house lighting, all add lustre to the general effect. Projector and Film Care Modern motion picture projectors give a picture image that is amazingly steady considering the large linear magnification of the tiny film frame, and it is only when the projector needs repair, adjustment or replacement of worn parts that picture unsteadiness becomes detectable to other than the trained observer. Transient movements caused by joins or poor print condition are generally not observed by the audience, but any permanent weave or jump should be corrected at once. Coupled with this question of operation of the equipment is the need for proper handling of the film stock. Scratches, " rope marks," damaged perforations, and poor joins all tend to remind the patron of the mechanical nature of the entertainment, and can utterly spoil outstanding photography and sound recording. Change-overs are a potential source of programme discontinuity. They should be invisible and inaudible, and except to the habitual dot watcher they should pass undetected. There is no excuse for a poor change-over, even when the print is in poor condition, lacks standard change-over dots, and is probably mutilated by the trademarks of incompetents. Unless there is definite discontinuity or badly cut dialogue, the patrons will not notice a good changeover, and good change-overs are the hall marks of good projectionists. Screen Illumination The third item, that of adequate screen illumination and brightness, depends upon the total light output available from the motion picture projectors and is, therefore, not generally under the control of the projectionist, except when it is less than normal owing to maladjustment of the equipment. Much has been written on the subjects of screen illumination and screen brightness, and it is readily available for reference; it will suffice here to recommend that screen brightness should lie near the upper limit laid down in the British Standard No. 1404. This recommendation will assure " sparkling " picture quality and help both the film production technician and the laboratory technician in their efforts to give our patrons maximum clarity, contrast and beauty in photography. It should be noted that to exceed the B.S.I, recommendation is less desirable than to be below the minimum, for it results in washing out certain prints and produces scintillation and flicker which cause visual discomfort. The Screen Screen surfaces are designed to suit different shapes and dimensions of auditoria, and a pre-requisite of good presentation lies in the correct choice of a suitable surface and its maintenance in good condition. A