International projectionist (Jan 1963-June 1965)

1 r^-o—^i 1_J i 1 i I i ] i / i ( ^Screen i / i i i ] J^Ja. FIG. 3 — Corner portion of a screen, showing the method of lacing to the screen frame. This method is the best for stretching large theatre screens. Note that about 6 inches of space should be allowed between each edge of the screen and the inside edge of the screen frame. Also, a screen should be one foot larger each way than the largest picture to be projected upon it. This gives a 6-inch margin of safety all around the screen. be attached to the outer edge of the screen frame to hold the panels in place, or they may be hung from the top. In any event, they should be readily removable for making desired adjustments in their position at the sides of the screen. Discrepancies in Picture Heights All four sides of the screen should be masked for the largest aspect ratio used. As stated, above, this will be the CinemaScope aspect ratio (2.35/1 or 2/1, whichever is chosen ) . But note that the height of the 1.75/1-ratio non-anamorphic image may turn out to be slightly greater or less than the height of the C'Scope image even with the most exact matching of lenses. This will probably be because sets of lenses can be matched only in ^-inch increments of focal length. If such a small discrepancy in the heights of the two images is present, adjust the position of the top or bottom masking batten for a 1-inch image overlap, top and bottom, with the aperture image of lesser height. This will insure an image overlap with the other aperture — perhaps from 2 to 4 inches top and bottom. Naturally, an undersize non-anamorphic widescreen aperture may be carefully enlarged by filing one horizontal edge to match the projected image height of the C'Scope aperture. This is admittedly a tricky job because it is so easy to file out too much or to file the edge crooked. Furthermore, attention should be paid to vertical centering. If the unfiled apertures are perfectly centered in relation to the projected image of the C'Scope apertures, then both the top and bottom edges will have to be filed out. The side masking panels, as described, are not intended to be moved in and out to accomodate the different widths of the two different aspect ratios. Their function is only to insure correct side masking for the CinemaScope or 70-mm picture. Movable black-velour side drapes should always be used as "sliding panels" to alter the width of the screen for the two different aspect ratios. Movable Side Masking The side-masking drapes should be motor-driven, have an automatic stop, and be controlled by the projectionist. He will open them up from the projection room when switching to CinemaScope; close them in when switching to regular projection. It is important that the side-masking drapes be made of a black velour material similar to that used for the "fixed" screen masking, and heavily weighted with lead shot in their bottom hems to insure straight hanging at all times. The motor curtain stop should be adjusted so that the motor shuts off when the drapes have reached the point where they overlap on the sides of the non-anamorphic picture by about 2 inches. It is a good idea to regulate the speed of the drive for a rather slow rate of travel, thus preventing any possible swinging of the side-masking drapes. Movable side masking can be a home-made affair, but it is better to purchase the masking drapes, overhead rigging, and electric curtain control with its relay ready made. Excellent setups expressly made for the purpose may be obtained from many theatre supply dealers and from such favorably regarded manufacturers as Vallen, Inc., Akron, Ohio. Glamour Pays Off! A properly centered, neatly masked screen set into a tastefully appointed proscenium is the principal point of interest in any motion-picture theatre. If the screen is a good one, reflecting a bright, uniformly lighted, undistorted picture to all seats in the auditorium, the presence of colorful draperies on the stage, overhead valances to conceal the striplights and the top of the screen frame, and some special decoration (even if it be but a vase of flowers at each foot of the proscenium arch ) , places the all-important screen in the truly theatrical setting it deserves. The stage decor and color-effect lighting in a motionpicture theatre is really nothing more than "window dressing" for the screen. Even the overture and intermission music is a factor to be tied into the overall scheme. The beauty and glamour of the screen surroundings should be apparent the moment the grand drape opens, revealing the color-lighted title curtain. The audience should be pleased by what they see and delighted by the atmosphere of tasteful beauty. If they experience the warm satisfaction we wish them to have, they will come back again and again to enjoy our screen presentations. The projectionist's first duty is the projection of a technically good image and the reproduction of technically good sound. This is, of course, just about the only duty he has in those garage-like modern theatres which possess all the glamour of an empty grain elevator! In the more conventional house, with its warmer, more comfortable atmosphere, the projectionist has a second duty, namely, the enchantment by means of his specialized skills and innate flair for showmanship of all the glamour that the quality of the screen attractions, the decor of the theatre, and the co-operation of the management will permit. And when you get down to the root of the matter, what is showmanship but the art of making an audience happy? iP International Projectionist October. 1963