International projectionist (Jan 1963-June 1965)

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Volume 38 INTERNATIONAL PROJECTIONIST September, 1963 GLAMOURIZING THE SCREEN PART 1 ies Plus Glamour Equals Good Business! By ROBERT A. MITCHELL There is more to a theatre screen than its obvious physical function of reflecting the projected picture to the eyes of the audience! The side of a white barn would be adequate for the projection of pictures if flat, bright, and free from blemish : indeed, it might well be a better screen and give a better-looking picture than is possible with the yellowed, seam-streaked, vandal-dented curved aluminum screens still retained in the Opera Houses and Bijous of a few back-woods towns! It goes without saying that a motion-picture screen should be physically satisfactory. But to be "good theatre" it must be more than just flat, bright, and unsoiled. Two aspect ratios only are needed today for 35-mm and 70-mm film presentations. These are 2.35/1 or (2/1) for CinemaScope and 70-mm, and 1.75/1 for standard non-anamorphic 35-mm prints. The advantages of the 1.75/1 aspect ration for regular prints are now so well established that there is no need to consider using any other. The screen of an indoor theatre, unlike the side of a white barn or a drive-in screen, should have a distinctly theatrical setting in the midst of glamorous and colorfully beautiful stage appointments. Why? Beauty stimulates the imagination, and thus enhances the dramatic effect of the motion-picture attractions, which have also been created to stimulate the imagination. The moviegoer must be made to feel that the screen is not merely a white surface upon which patterns of light are thrown, but a sort of "window" through which a fascinating world of make-believe is seen and experienced. But first a few basic technical details which must be kept in mind. It is now generally agreed that good projection results are obtainable only when the screen is matte white or pearl-coated (aluminum surfaces only for unusually Ions;, narrow auditoriums ) . and is stretched perfectly flat without curvature in any direction. Cinerama and other special processes specifically designed for a substantial amount of screen curvature are accepted, of course : but the picture distorting curved screen, ill-advisedly forced upon exhibitors when the anamorphic widescreen process was introduced, is definitely tabu in theatres showing regular film releases, standard or anamorphic, 35-mm or 70-mm. Curved screens have no effect whatever upon "depth perception." and actually do nothing except spoil the appearance of the picture. Two Aspect Ratios Only The "battle of the aspect ratios" which began in full fury with the inception of panoramic movies in 1953 has now all but abated. The old 4:3-proportioned screen (an aperture-plate aspect ratio of 1.375/1) is practically out of the running for theatre use. Television uses it. and is welcome to it ! It is too nearly square in shape for theatre International Projectionist September, 1963