International projectionist (Jan-Dec 1950)

INCREASING evidence is at hand that the presentation of motion pictures in theaters will be subjected to what are now regarded as radical innovations. It is known, for example, that such advances as three-dimensional pictures, true stereophonic sound reproduction and vastly improved color processes have long languished in a practically completed state in .the laboratory; and the lethargy displayed by the film production-distribution-exhibition forces in taking the wraps off such improvements in the face of declining box-office receipts is most difficult of understanding. It is anticipated, however, that in the not too distant future the exhibition end of the industry will be galvanized into below that of the screen. The intensity of the light was varied by means of a simple system: a fraction of the light passing through the projector gate was deflected upon a photocell, the output of which was read upon a meter. "As the needle of the meter moved, a dimmer knob was shifted by the projectionist. It would not be difficult today to introduce a completely automatic relay system." More Physiology Than Showmanship Martin Harper's aim, observes Mr. Cricks, aim less a matter of showmanship than of physiology. He held that an illuminated screen surround caused the pupil of the eye to open, and so en Renewed Interest in The AAaskless Screen action on the score of improved presentation technique by sheer economic pressure as represented by sharply sagging receipts. One means of effecting improved projection technique is presently engaging the earnest attention of motion picture technicians not only in the United States but also in England. Reference is made here to the elimination of the traditional black masking which effects a sharp cutoff of the projected light and lets the light splay off vignette-fashion on all sides of the screen. Illuminated Screen Surround The illuminated screen surround is not, of course, a new idea, but it has never been able to win general acceptance in the exhibition field. Numerous attempts to popularize this technique have been made down through the years, notably by Ben Schlanger, prominent American theater architect, of whom more anon herein. Let us consider first recent developments in this connection as reported from England. In a recent issue of Ideal Kinema (London) R. Howard Cricks, technical editor, reports on recent experiments with illuminated screen borders (no masking) in British theaters. Mr. Cricks introduces his report by describing the first such demonstration he witnessed, the development of the noted inventor, Martin Harper. Recounts Mr. Cricks: "A trough was arranged around the screen, concealing low-powered lamps which gave the effect of 'grey light' — in other words, an intensity considerably hanced the contrast of the picture by deepening the blacks; the system also reduced eyestrain — a contention subsequently approved by a report of a committee of the Illuminating Engineering Society which considered auditorium lighting. At the SMPE autumn, 1947, convention in New York, R. Gillespie Williams (noted British engineer) advocated that the screen should be silhouetted against a border of complementary color to that of the picture.* The continual change of color was effected by a color control system whereby movement of a single pointer over a scale produced an infinitely large number of colors throughout the spectrum. A rather similar system is operating at the Fontainebleu Kinema, Paris, France, wherein the projection screen is placed a small distance in front of another screen which is lit by colored lamps. The color and the intensity of the light are controlled by the projectionist, and according to his taste the color may correspond with the dominant hue of picture, or it may be a complementary color in order to heighten contrast. Two Recent British Ventures Mr. Cricks reports the French journal La Technique Cinematographique as having suggested that the continual variation of color imposes a certain strain upon the projectionist, thus making desirable a system of automatic control. The desirability of the system, continues * "Dynamic Luminous Color for Film Presentation"; J. Soc. Mot. Pict. Eng., April, 1948. INTERNATIONAL PROJECTIONIST April 1950 the journal, is a matter of taste: for short scenes one's attention is fixed on the picture, and changes of color are hardly noticed; but a too-frequent change of color is a source of distraction. The application of such a system to two British theaters is described by Mr. Cricks as follows: When engineer W. J. Foy's circuit took over the Empire, Penge, an old legitimate theater, he was faced with the difficulty that although it was fairly large, sight lines prevented the screen being larger than 16 by 12 feet. He argued that he could increase the apparent size of the screen by an illuminated surround. He obtained a special plastic screen which was strained round the frame without any masking and without the fixing ropes showing. The frame was mounted in the center of the stage, with the normal speaker system behind it. Around it was arranged a semicircle of drapes, lit in several colors from the stage battens, which enabled a wide range of color. The projector apertures were carefully filed out so that the picture exactly fitted the screen, with only an unnoticeable margin to prevent it spilling over the edge. The effect is that the picture is either silheuetted upon the colored surround, or merges into it, according to whether the color of the picture and the background contrast or match. The lighting is used at full brilliance during titles, and dimmed down during a color film; it is switched off altogether for blackand-white films. The colors are not changed during the performance. I found the appearance very attractive. My only criticism was that the screen stands upon the stage. At the Majestic, Portsmouth, Mr. Foy has an improved system in hand. He is strongly of the opinion that the surround should not be a flat surface, but should be draped. At Portsmouth he proposes surrounding the screen on all four edges by drapes, which will be illuminated in the same way as at Penge — which means to say that light of different colors can be used. Representing the American viewpoint, Ben Schlanger holds that the original conception of a non-masked screen wherein consideration was given only to the physical means of seeing has long since been supplanted by the psycho-physical theory which gives precedence to the phychological effect of a vignetted screen image upon the viewer. Screen Light Level Controlling Mr. Schlanger holds that only the low screen light level prevailing many years ago justified the use of a black screen masking. The comparatively high screen light level of today, he avers, has eliminated the need for screen masking, quite apart from any consideration of the greatly heightened dramatic impact upon the viewer which could be realized by the elimination of masking. The original Schlanger proposal was that the light passing through the edges of an unmasked screen should be so utilized that it would vignette off on all sides of the picture area and illuminate an 11