International projectionist (Jan-Dec 1950)

appropriate surround. This method was held to be applicable with equally good results to both black-and-white and color films. A logical extension of this idea, and a more ambitious undertaking which would require the cooperation of the studios in the taking of the pictures, was advanced by Mr. Schlanger in a detailed presentation to the autumn, 1947, meeting of the SMPE.* Here are excerpts from this presentation: Enlarged Screen, Image Location Figure 1 is a view looking at the proposed screen. The area enclosed by Line 1 represents the average present screen size; while Line 2 shows the proposed enlarged screen area. The bean-shaped form enclosed by the dotted line indicating area A will be referred to as the "distinct visual field"; while the area remaining between Line 2 boundary and the bean shape will be referred to as the "peripheral vignette." Area C outside of boundary Line 2 is the surface outside of the screen area. The beanshaped area A is intended as a momentary shape only: this shape may change in form and size in accordance with dramatic requirements. Assume first that instead of projecting a picture of approximately 18 feet wide from a 35-mm film, a picture approximately 5 feet wider and of a height consistent with present standard proportions is projected. Right here there seems to be a handicap presented by the difficulty of enlarging the screen area because of proscenium-size limitations and balcony overhang cutoffs in existing theaters. The answer to this is that wherever these difficulties can be overcome economically with a change in structure, the effect proposed would be most desirable; but where such difficulties cannot be so avoided, the effect still will be better than the present one, because any portion of the enlarged screen that would be cut off from view because of an overhanging balcony would not create any serious loss of picture area. Loss of view of some portion of the peripheral vignette would not prove serious. Requisites on Production End Now, what happens in Hollywood? Generally, the picture would be taken on film as it is now. But the director and the cameraman would become aware of a new freedom in picture composition and in creating dramatic impact. Their focal point of action could be concentrated at center, left, right — and at the corners — or any part of the screen. The physical area of clearly-defined picture area, which would be the "pear shape" shown or any other desirable shape, will always be large enough to tell its story but need not and should not necessarily fill the entire screen area. When the director chooses to use the entire screen he will be doing so for special emphasis only. What happens with the rest of the screen area that is not being used for clearly-de * "Increasing the Effectiveness of Motion Picture Presentation"; J. Soc. of M. P. Eng., April, 1948. ' c FIGURE 1 fined images is very important, and it is here that the peripheral-vignette idea comes into play. The vignette recommended here is one that diminishes the light value toward the edges of the picture. Light and color values seem to dim out in the visual peripheral. Colors do not change in hue, rather do they seem to become grayer. The reduced light value proposed for the vignette is also the means for creating a transitional light intensity between the bright picture and the picture environment. This development at last gives something that will make it possible to eliminate the false black masking now used around the motion picture. Any lingering doubts as to Mr. Schlanger's sincerity of purpose no less than a profound belief in his own proposal was dispelled more than two years ago when he designed two theaters to serve as pilots for the future development of maskless motion picture screens. For more than a year now these two theaters, situated in desirable residential sections of Connecticut, have been utilizing maskless screens which employ the peripheral-vignette idea — and to date there has not been a single unfavorable comment thereon from the audience, or the management, or the projectionists. In fact, all concerned seem to be wholly unaware of this innovation in motion picture projection, which is probably the best endorsement that might be had therefor. Significant developments in connection with the spread of this maskless screen are even now in the making — developments which IP is not at liberty to divulge at the moment. It is hoped, however, that in the interim projectionists will give this idea serious thought and that they will not hesitate to forward to IP any interesting conclusions that they may reach in connection with this novel technique. New 'National' Hitex Super-High Carbon Now Available National Carbon Co. made available during March its new and greatly improved 13.6-mm x 22" super high-intensity positive carbon designed for normal operation within the range of 170-180 amperes. This new carbon is marketed under the name "Hitex." The "Hitex" carbon, compared with the previous super-high intensity carbon, gives as much as 50% longer life at the same current. At a higher current it gives as much as 15% more light without any measurable increase in heat at the aperture, thus the higher light level is attained without in any way aggravating the problems of heat on the film. In addition, the light is noticeably "whiter." It burns with 30 to 50% greater efficiency in terms of light produced for a given length of carbon consumed. This new carbon was described in detail in IP several months ago,* including the accompany table of operating characteristics. *"The new 13.6-mm National Hitex Super HighIntensity Carbon**; IP for December, 1949, p. 14. TABLE A. Characteristics of 13.6-mm old and new National super highintensity projector carbons under typical operating conditions. Old Super Arc Amperes 170 Arc Volts 75 Positive Consumption Rate (inches per hour) 24.0 Screen Lumens at Maximum Light* 21,500 Side-to-Center Screen Distribution Ratio at Maximum Light 65 Screen Lumens at 80$ Screen Distribution** 18,500 New 'Hitex' Super 170 70 180 74 16.0 21.5 20,700 24,800 60 60 17,500 19,300 Scrsen lumens with no projector shutter, film or filters; condensers at F:2.0 adjusted for maximum light. Same, except that condensers are adjusted for 80% side-to-center screen light distribution ratio. INTERNATIONAL PROJECTIONIST • April 1950 13