International projectionist (Oct 1931-Sept 1933)

November 1931 INTERNATIONAL PROJECTIONIST 19 tures will be a help to the projectionists in keeping in correct frame. If the picture should momentarily go a little out of frame the projectionist will be warned by seeing a frame line, but as the lines are wide, the mis-frame can be corrected before the audience notices it. 3. Standardization of exact dimensions by the studios will give the projectionist more uniform prints from the various companies. 4. Theatres now using reduced proportional apertures will gain four per cent, more screen image without additional magnification. 5. Theatres now using the Movietone aperture or the old silent aperture will gain the advantage that the studios can fill the whole area of the new standard aperture with essential dramatic action and will not have to leave a border of unimportant picture. Studio Equipment Changes Cameras: New apertures at a cost of about $25 per camera; new ground glasses; adjustments to re-center lenses. Laboratories: Minor adjustments depending on the present practice followed by the laboratory. Art Departments: New camera angles. In Viewing Rooms: Adjustment of projector apertures and Theatre Equipment Changes 1. Theatres now using reduced proportional apertures: (a) File out apertures to larger size or insert new plates; (6) Enlarge screen by about four per cent, of area. 2. Theatres now projecting in Movietone proportion: (a) Insert new aperture plates; (b) Either move the screen masks in from the top and bottom; or (c) install shorter focal-length lens and widen the screen. 3. Theatres now projecting full-frame silent or full-frame with disc sound: (a) Insert new aperture plates ; (b) Recenter head of projectors; (c) Either, move screen masks in on all sides, or (d) install shorter focal-length lens to enlarge image to present screen. Possible Objections to the Proposed Change 1. A large part of foreign release is now on full-frame disc, and foreign exhibitors are accustomed to showing American product in this way. This is probably the most important objection to the proposed change, even though foreign release is a comparatively small item. However, the same considerations of studio economy will also apply to foreign producers and it is probable that they will follow Hollywood's lead. Foreign theatres now showing full-frame can make the same adjustments Ameri can theatres have made. If they make no adjustments at all the picture will not be hurt except to show a heavy black border on the top, bottom and left side. 2. There will be a period when prints with different apertures are circulating side by side. While this is true of any standardization, the committee considered that the advantages will far outweigh any temporary inconvenience. Theatres will be given the necessary instructions in advance and should not make the changes until they begin to receive most of their bookings on the new standard. 3. Many theatres are unable to afford expensive changes in equipment. In answer to this it may be pointed out that this change puts no burden on the the atre. The new frame can be projected if necessary without any changes in apertures or screens whatever, and the only harm will be that a black border may show around the picture. The theatre can get rid of this by installing new aperture plates at a maximum cost of $3 and putting a rim of black paint around the screen or moving the screen masks in at very slight expense. 4. If an individual theatre does not want to install shorter focal-length lenses, and has been showing silent pictures or sound-on-disc pictures through the old silent aperture, the change will reduce its screen size by about eighteen per cent. If a theatre has been showing sound-on-film through a Movietone aperture the change will reduce its screen The New Standard 3x4 Aperture -' THE proposed new standard 3x4 aperture constitutes a technical advance of major importance. TTie introduction of sound pictures presented many difficult problems to the motion picture technical worker, but certainly none as serious as the matter of screen image, for a badly-proportioned screen image hit the industry where it hurt most — in the pocketbook. One need only glance at the accompanying analysis of theatre aperture practice {Table A), to become convinced of the extreme seriousness of this problem. Projectionists will naturally delve into the specifications of the proposed new standard in order to learn just how their work is affected. Complete details are supplied in the accompanying article, thus only the highlights of this phase of the standard need be cited here: (1) Uniform prints, the lack of which heretofore has occasioned serious damage to projection in particular and the industry in general; (2) a larger screen image without additional magnification; (3) vastly improved facilities for framing, which until now has been largely a hit-or-miss affair by the projectionist, and (4) a single standard aperture which will eliminate movable flippers and changes of screen masks, aperture plates and lenses during the show. These various improvements may be effected with an inconsequential expenditure and a minimum of effort. Changes in production equipment and procedure are included in the accompanying article so that the projectionist may be fully informed regarding all phases of this problem and thus be better able to appreciate the various factors entering into the process and ultimately affecting his work. A word of warning anent this proposed new standard: No changes should be made in the theatre until the standard is officially adopted, immediately after which the necessary information will be sent to every theatre in the country. Barring unforseen developments, prints made according to the new standard should reach the first-run theatres after January 1 next. We feel that we should not let pass this opportunity for paying tribute to all those who participated in the work of setting-up this new standard. This long and arduous task is one more red-letter achievement by the Academy of Motion Picture Arts and Sciences. One need not look far for the reason for the remarkable success enjoyed by the Technical Bureau of the Academy. Under the very able direction of Mr. Lester Cowan (now Executive Vice-President of the Academy), this department has won its spurs by concerning itself with the practical side of technical problems, the while it left the theorizing, the speechmaking and the production of high-sounding but inocuous platitudes to those who were content to do this rather than be concerned with that which obviously is their true function. JAMES J. FINN