The Exhibitor (Nov 1941-May 1942)

BM-8 BETTER MANAGEMENT DETERMINING DESIRABLE SEATING (Continued from page 5) FIG. 1. Location of Desirable Seat¬ ing Positions: The basic proportions of the form from the picture to the last row of seats and from the ex¬ treme side seats on one side to the opposite side, is one-to-two. The total seating width is three times the picture width. The seating position area "A" offers the best seating lo¬ cations. While this "A" area might be further subdivided into different qualities, this area in its entirety has seating positions that are all desirable enough to cause them to be linked into one group. Note that there is a small triangular "A" area outside of the recommended side lines. The use of these triangular areas is not recommended because including them in the basic form would create a physical shape which becomes un¬ economical structurally. However, where the additional structural cost can be allotted, the extreme side / lines can be flared as shown on line ^ "F". This would result in a worthwhile increase in desirable seating positions and also create non-paral¬ lelism of the side walls of the thea¬ tre, a feature which is acoustically desirable. Seating area "B" gives '''s.. seating positions which have proved to be useful, but are not choice locations. Seating area "C" gives seating positions which are not rec¬ ommended, but are usually resorted to in the average commercial project. Seating area "C" begins at a point away from the picture equal in distance to the width of the picture, and is outlined by a 40° angle subtended to the picture, as shown. Seating area "A" begins at a point distant from the picture equal to a dimension two times the picture width, and is confined to an angle of 55° subtended to the picture, as shown. Seating area "A" terminates at the rear, at a point distant from the picture equal to 5.2 times the width of the picture. The rear line of seating area "C" terminates at a point distant from the picture equal to a distance six times the picture width. Note that the total seating width amounts to three times the total picture width, a figure which agrees with an average found in an extensive survey made by the Society of Motion Picture Engineers for a similar location point. An interesting point of research is found in endeavoring to determine at which point to consider scheme No. 3 no longer effi¬ cient and adopt scheme No. 6. It is obvi¬ ous that scheme No. 3, to begin with, is more efficient than scheme No. 6 since it produces 14 chairs in the width per aisle whereas scheme No. 6 produces 10% chairs in the width per aisle. The point in ques¬ tion becomes how large a capacity can one force into the scheme No. 3 without creating a shape which is too elongated. Strictly Personal Ben Schlanger was born 36 years ago in New York, where he was educated at Columbia University and the BeauxArts Institute of Design. He worked for various architects until 1926, when he started his own practice as an architect for buildings housing public assemblies, for educational, recreation and community purposes. He is chairman of the sub-committee on the¬ atre design of the Society of Motion Pic¬ ture Engineers, and has been a member of the SMPE since 1931. His personal re¬ search of the visual and auditory problems of auditorium design has been published, and his original work in creating auditor¬ ium floor slopes to supersede the strong downwardly pitched floor is now widely used. Schlanger is a consultant to archi¬ tects in the United States, Canada, Central, and South America. Among the houses he has designed are the Normandie, -Jewel, Bell, New York; Whitney, Hamden, Conn.; Westville, New Haven, Conn.; Waldo, Waldoboro, Me.; Pix, White Plains, N. Y.; Pix, Rock Hill, S. C.; and Brockway, Brockway, Pa. Scheme No. 3 can accommodate a maxi¬ mum of approximately 850 seats on a single floor plan. The use of an over¬ hanging tier of seats designed for a max¬ imum overhang of five rows in front of the last row of the main seating level will increase this capacity to approximately 1000 seats. Scheme No. 6 can accommo¬ date a maximum of approximately 1300 seats on a single floor, with a possible in¬ crease of approximately 200 seats if a five row overhang upper tier of seats is intro¬ duced. It is therefore advisable to use Scheme No. 6 only if at least 1100 seats are to be accommodated, since scheme No. 6 is not efficient until 1300 seats are to be accommodated. By using the data given on Figure 1 and in the accompanying caption in con¬ junction with the suggestions made in the selection of aisle arrangement, it is possible to arrive at a practical and efficient form for the motion picture theatre auditorium. Additional research work is being contem¬ plated by the Theatre Engineering Com¬ mittee of the Society of Motion Picture Engineers so that a more refined study can be made of the desirable seating posi¬ tions, but until such time as this research work is completed the data here given should prove of practical use. Where Do We Go From Here, Boys ( Continued from page 6) two-column pictorial and stock mats have been most successful in all situations, par¬ ticularly in small towns and isolated cases where there is no artist. Short subjects offer a variety of “Unit Ideas.” There is the all-band program, the Mickey Mouse Carnival, Popeye Festi¬ val, Three Stooges Revue, Band Revue with Names, Patriotic Reviews, Sports Carnival. And so — one will find that showmanship is a serious business. Showmanship is advertising and selling, like showmanship in the world of bearded women and steam calliopes, is simply the adept presentation of what one sells to those who buy! It is skill, originality, and common sense de¬ voted to the one objective of making the theatre memorable and desirable in the steady and prospective patrons’ minds. It is more than good advertising and good selling. It is better advertising and better selling. It is good business. Good business also embraces sane, eco¬ nomical theatre operation which many the¬ atre operators never thought existed! Hon¬ estly, lets ask ourselves a few questions; for instance, did we know that by saving the “butts” of carbons that there was a salvage value? Did we realize, before the present priorities ruling that the ends of lamps were worth money? Did we ever stop to take into consideration the fact that old trailers could bring some extra change? And the junk around the theatre. Instead of leaving it for the trash-truck, make a deal with a local junk shop to stop by periodically for pickup. The best recourse to safety insofar as a projection room is concerned is personal interest in machine parts. In other words, if the equipment is given a thorough checking and old, used parts replaced as soon as possible, the booth will continue to operate efficiently. Projector lamps must be operated at a minimum rating as listed on each type of projector carbon, assur¬ ing a longer life. Lubricating oil and clean cotton rags will help keep projector motors young. Projection rooms must be given twice the attention of a rest room for the sake of economy. The cleaner the room, the less there is a possibility of dust grains snaking into vital parts of the machines or motors. And it does bring about a healthier condition for the men in the booth as well. Lubricating oil and clean cotton rags will also provide a high degree of main¬ tenance among air-conditioning machine, boiler generators, and motors, ticket machines, ticket chopper, flush handles in rest rooms, life-hinges on auditorium chairs which we doubt ever receive a little spraying which also makes it a mite simpler for patrons to maneuver them¬ selves in and out of chairs and avoid squealing and other unnecessary noises in a crowded theatres. Come in from the outside, boys, and start looking ahead. THE EXHIBITOR March 18, 1942