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Adapting Existing Auditoriums
To Tull Vision” Movies
By BEN SCHLANCER
New York theatre architect and consultant, codeveloper of the Schlanger-Hoffberg maskless screen and synchronous surround system, who here explains how the principles he used in the Framingham Cinema (see preceding pages) can be applied to auditoriums of present theatres.
THE MOUNTING evidence in favor of luminous screen surrounds has accelerated the need for enlisting the auditorium itself as a definite part of the visual presentation of the projected picture. Although it is possible that in the near future we can expect some radical developments in motion picture presentation, we can immediately make use of several proven methods for producing greater visual impact, resulting in favorable patron reaction. Let us consider the problem under three distinct headings; (1) picture size and brightness, (2) immediate picture surround: and (3) auditorium environment.
There has been a tendency in actual screen installations towards a somewhat
larger picture in recent months. The “Cinerama” screen process developed by Fred Waller has forcibly displayed to many persons who have seen it, the tremendous importance of the really enlarged picture. The “Cinerama” picture is of an arcuated shape, with a width of about 40 feet. It requires three separate projection rooms.
The purpose of this article, however, is to explore what can be achieved with available equipment and existing projection rooms. One of the major considerations of picture size is the ability to sufficiently illuminate a picture that is large enough to take command of an audience visually. There are arc lamps now available to achieve this.
Under no circumstances should a screen have an illumination less than 15 foot-candles of incident light, measured at the center. Your equipment dealer will doubtless co-operate in obtaining the use of a screen-brightness incident light meter for this test. Do not depend upon visual observation for evaluating screen brightness; it is completely unreliable.
After you have determined the maximum screen size and brightness achievable in your theatre, you are in a position to consider treatment for the immediate picture surround and the remaining auditorium surfaces. Now you have the choice between the traditional black masking with dark environment, or the use of controlled gradations of luminosity designed to provide a maximum of enjoyment and of visual comfort in picture viewing.
Black masking and a dark auditorium were necessary parts of picture exhibition when screen illumination was feeble and when there was a lack of picture steadiness. Now, with screen brilliance, steady projection and increasing use of color, many objections to the use of black masking and dark surround have become evident. The beauty of the brilliantly illum
BEHER THEATRES SECTION
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