International projectionist (Oct 1931-Sept 1933)

November 1931 INTERNATIONAL PROJECTIONIST 17 time were photographing for the full height of the frame. The Academy made a national survey of the situation (the results of which are given in Table A), and found that something had to be done — although there was still so much full-frame disc release that it was too early to standardize. As a temporary measure the Academy then recommended that all vital action be kept within a 3 X 4 rectangle marked on the camera glasses of such size that the picture would not suffer when projected through a reduced proportional aperture. For the past year cameramen have thus had to fill about twenty per cent, of their frame — the ten per cent, of sound track area, five per cent, at the top, and five per cent at the bottom — with non-vital action or unessential views of the set. Re-Centering Methods Probably the most difficult problem in connection with the reduced aperture method {A in Table A), is to recenter the picture after it has been enlarged. The amount masked out from the top and bottom of the picture in reducing the aperture is calculated to balance the increased magnification so that from the standpoint of height the picture will fit into the screen frame. Magnification extends the left margin of the picture to cover about half of the blank strip. The right margin is extended an equal amount beyond the black border so that the picture must be moved to the left in order to be properly centered. Several other aspects of the reduced aperture practice are worthy of notice herein, as follows: 1. The shorter focal-length length increases the graininess of the picture on the screen. No theatre reported this as a serious defect. 2. One theatre chain called attention to the fact that the smaller aperture slightly reduces the amount of light that gets to the screen. Due to the fact that the size of the picture is increased, this reduced light must cover a larger screen area. However, there has been no indication that this constitutes a serious problem. The Framing Problem 3. The projectionist's problem of keeping his picture in the frame is more difficult and requires painstaking care. Although the cameraman may keep his action within the smaller area he usually fills up the balance of the frame with foreground and background for the benefit of theatres using the standard aperture. This means that the projectionist finds no indication on the picture as to the exact line of its upper and lower limits. More is dependent upon his own judgment than formerly and his responsibilities are greater. The proposal now is to mat off this useless space in the camera and standardize the American industry on the 3x4 proportions preferred by the theatres. By careful calculations it has been found possible to use a little more image area on the film than has been included inside the marks on the ground glass and thus give four per cent, more image area for vital dramatic action to reach the screen.* The proposed standard apertures for all pictures are: * Note.— -The question of the relation of the motion picture aperture to a possible aperture for television was brought to the attention of the subcommittee by the Television Committee of the Radio Manufacturers Association. The standard specifications allow for an adaptation to the requirements of television when such adaptation may be commercially desirable. New Camera Aperture: .651" x .868" {Corners to be rounded by an arc of a circle of .0279" radius) Replacing the present: Ground glass markings of: .620" x .835" in the Mitchell aperture of: .720" x .923" and the Bell & Howell aperture of: .720" x .969" New Projector Aperture: .615" x .820" Replacing the present: Most commonly used proportional of: .600" X .800" Movietone aperture of: .680" x .800" Old silent aperture of: .680" x .906" (Continued on next page) Table A. Summary on Theater Aperture Practices Theater Chain Projector Aperture Policy for Projector Aperture Dimensions for Sound-on-Film Pictures Sound-on-Filra Picture* Publix Theaters, Inc. Method A standard for all larger houses 0.593" X 0.796" Loews, Inc. Method A standard for all larger houses 0.607" X 0 800" Fox-West Coast Method A standard for all houses. About 65 houses already installed 0.597" X 0.796" Fox-New Englana Method B in all houses; if no better improvement by fall, 0.680" X 0.820" (approxir will adopt Method A mate) Balaban and I^tz Method A standard for circuit 0.609" X 0.815" Warner, Brothers-Skouras Bros. Method B in all theaters 0.680" X 0.820" (approxi Ci;:ciiit mate) S^e'nger Theaters Method A standard for circuit for Silent and Vitaphone as 0.610" X 0.829" well as sound-on-film Universal Theaters Methods B, C, and D 0.680" X 0.820" mate) (approxi Commertord Theaters Method A standard for circuit 0.600" X 0.810" R. B. R. Amusement Company Methods B, C, and D R. & R. Circuit Methods B, C, and D R. C. A. equipped theaters. Method B standard for all (R-K-0, etc.) houses 0.687" X 0.812" Method A in not more than 5% 0.624" X 0.812" *S.M.P.E. standard projection aperture — 0.680" x 0.906". When sound track only is masked out the aperture is reduced to approximately 0.680" X 0.820". Simplex standard apertures — Vitaphone or silent picture. 0.679" x 0.904". —Movietone picture, 0.6093" x 0.7968". Method A — Combination of Reduced Aperture with Shorter Focal Length Lens. — An aperture is inserted in the film gate which masks out, in addition to the sound track, a portion from the lop and bottom of the picture sufficient to reduce the height to about three-fourths of the reduced width. The smaller 3 by 4 picture is enlarged by a one-half inch shorter focal length lens to fill the screen. Recentering is accomplished by auxiliary devices which enable the lens on the machine 0 be moved from right to left. Unless due allowance has been made in production for this smaller aperture vital portions of the picture will almost certainly be cut out. The estimated cost of installing this method is $200. Method B — Movable Mask or Flipper. — A movable mask or flipper about 30 inches wide at the left si;'e and facing the screen changes the screen shape to correspond with the picture shape. When sound-on-film pictures are being shown it i? moved over to cover the blank strip on the left of the screen. The flipper is operated by a stage hand, some member of the regular house staff, or by remote control from the booth. Method C — Blank Strip on the Left Side of Picture. — A sliding plate masks out the sound track. A blank strip shows on one side of the screen. Method D — Small Blank Strip on Each Side of the Picture. — Rather than leave a blank strip on the left side of the picture some theatres shift the projection mach'.ne in order to center the pcture, so as to divide the blank area between the two sides.