International projectionist (Jan 1963-June 1965)

JE2I inch into the silent-aperture picture area resulted in a square picture on the screen. No one liked a squareshaped picture. In order to rectify this defect, the socalled "proportional" aperture measuring 0.825 \ 0.600 inch was laid down as the standard aperture for 35-mm sound-on-filra prints. This represents an aspect ratio of L.375 I. which, however, gives a 1.333 1-ratio picture on the screen at a moderate projection angle. H\ interchanging apertures and lenses las is done toiia\ lor CinemaScope) , standard silent prints and soundoil-film prints could he shown on the same screen at the same aspect ratio. Remember Those Round Corners? 1 he very earliest movies were shown upon unmasked screens, ordinarily whitewashed plasterboard or painted cam as tacked to a wooden frame in the manner of an oil painting. \ a result, the projected picture was framed bj the edges of the film aperture in the projector gate. Forasmuch as the aperture usuallv had smoothly rounded corners, the 1 ^-proportioned round-cornered rectangle was generally regarded as the proper "frame" for motion pictures. When the advantages of velour screen masking came to be recognized, some projectionists and theatre managers went SO far as to contrive rounded coiner Eor the screen masking to match the image ol the oldstyle film aperture. This was done in man) theatres light up to the time when the wide much permanently retired the proportional soundfilm aperture. The persistence of rounded screen corners was due. not only to a conservative adherence to cinema tradition, hut to definite visual-psv etiological advantages accruing from their use. First of all. a round-cornered picture looked good. It looked good for reasons which just suited the character of dramatic motion pictures. The angular sharpness of square screen corners distract the eye from the central area of the screen where all significant dramatic action takes place. Round coiners remove these four "points" id visual distraction and rest the eye. Square corners emphasize the sharplv hounded nature of the rectangular screen no matter how large it may actually he. Round corners seem to cause the boundaries of the picture to fade from consciousness once interest has been established in the photoplay. This writer stronglv advocated the round-corner screen in the days before w ide screens came into vogue. See "Psvchological Elements in Projection." IF for May 1949, p. II et seq. Contradictory as it may seem, however, a roundcornered screen appears, at a glance, slightly smaller than a square-cornered one of the same size! This might be a disadvantage today. It is possible to round the corners of a 1.75 1 aspect ratio wide screen with good effect and with an improvement in the appearance of the screen: but the use of the same screen for the even wider CinemaScope picture 1 2.35 ll makes this stratagem impractical. Frame, Screen Sizes As stated earlier in this article, it is advantageous to emplov only two aspect ratios. 2.35 1 I or 2 1 I for C Scope and 70-mm prints, and 1.75 1 for standard non-anamorphic 35-mm prints. The screen should therefore be proportioned and masked at the outset for the large C'Scope aspect ratio after being stretched smooth and flat on a properly set up screen frame. A screen frame should be one foot larger on the inside than the overall measurements of the screen, itself. This will allow 6 inches between each edge of the screen and the frame, which is the space required to permit International Projectionist October, 1963 FIG. f — The Schlanger type of maskless screen in a theatre of ultramodern design (the Shoppers' Haven Cinema in Pompano Beach, Florida). The theory and advantages of the Schlanger screen are described in the accompanying text. Ben Schlanger is a noted theatre architect of long experience who has devoted much attention to sight lines and the "framing" of the projected picture. proper hiring of the screen to the inside of the frame. Then. too. the screen, itself, should be one foot larger each way than the largest picture to be projected upon it — the CinemaScope or 70-mm picture. This allows sufficient space to accommodate the webbing and grommets on each edge of the screen. I op and bottom screen-masking battens are best constructed ol light-weight plvwood hoards of the proper width i 1 ' to 2 feci i and cleated at the joints with long iron straps having holes so that they may he fastened to the plvwood sections with short wood -( rews. I In black velour should be applied smoothly to the front (uncleated) sides of die battens, wrapped over tightly, and l.ukcd mi the back. The masking battens thus prepared may be fastened to the screen frame bv means ol iron-strap brackets and screws or hung h\ their ends. Kxtra care should he taken to insure that the edges are straight and level, and that a uniform picture height i~ maintained all along the width of the screen. The battens should be secured to the screen frame solidly, bul not so ■■permanentlv " that they cannot be removed For later adjustment or for the installation of a new screen. I he side flats are usually considerably wider than the top and bottom battens. Fight-weighl plvwood panels, firmly cleated. are satisfactory. Stout angle irons may ■■"Mi FIG. 2 — A round-cornered screen in the old conventional aspect ratio (1.375/1) photographed in the New Crest Theatre, Seattle, Washington, before conversion to widescreen aspect ratios. Although round screen corners are distinctly advantageous and pleasing in appearance for the conventional aspect ratio, they are not feasible for screens requiring movable side masking to accommodate both CinemaScope and the now established 1.75/1 widescreen aspect ratio.