Motion Picture Herald (Jan-Mar 1954)

to handle this problem might seem to be to “black out” the invasive surfaces with a black matte (non-reflective) finish. A major functional objection to that method is the eye fatigue caused by high contrast between picture light and a dark surround. In addition, it would create a forbidding effect and produce an unsafe condition for normal as well as emergency traffic. It is desirable, therefore, to accept the screen light that is reflected on and re-reflected from auditorium surfaces. In most theatres, these surfaces have been designed primarily for decorative values rather than to provide a suitable surround for a screen image. And when screen light illuminates them, their decorative patterns is ordinarily sufficiently outlined to enter actively the field of vision of most of the audience. Avoidance of this condition is simple enough in designing a new theatre ; it can be readily corrected if the wide-screen installation is to be accompanied by comprehensive modernization of the auditorium. It presents a problem, however, under most circumstances of installation during these beginnings of widescreen technique. Often, however, these auditorium forms and surfaces can be made less objectionable without drastic changes. The surfaces should be without projections or indentations that create patterns by the shadows they cast on immediately surrounding areas. It is easy, of course, to remove non-structural mouldings and similar decorative appendages. It also should not be difficult in most cases to eliminate invasive light sources. Such fixtures often are more decorative than functional. Wall fixtures needed toward the rear of the auditorium for traffic illumination, can be retained, since they would not be within the effective field of vision. The best traffic lighting from all points of view, however, is downlighting directed into the seating and aisle area exclusively. Where differences in levels of forward surfaces are of such structural nature that FIGURE K-3: Plan of an auditorium similar to that of Figure K1 , showing a method of treating surfaces in Zone C for neutralization of the screen area. See text. it would be costly to remove them, it is possible to eliminate the shadow by applying a ramped surface from the high to the low point of the break (see Figure K-3). 1 he angle of the ramped part to the general surface should not be more than 30°. All breaks in surface which do not cast a shadow due to screen light, do not need this treatment. The texture of all of the critical surfaces should be non-glossy. A matte, or diffusive, finish is desirable because it will reflect the general tone and color of the picture light and avoid specular and spotted references to photographic details of a particular scene. The latter type of reflections can be distracting; it is desirable to have the surrounding illumination level in key with the picture, and not to have it extend or distort picture patterns. These surfaces should be painted in a light gray color. LOCATING THE SURFACES Figures K-l and K-2 show how to locate those auditorium surfaces which will be seen along with the projected picture. The position of the row of seats farthest from the screen is applied in these diagrams. Viewing positions closer to the screen would include less ceiling and side wall area for the critical zones ; but consideration must be given to the remote rows because increase in picture size has put yet a larger portion of the total seating capacity toward the rear of the auditorium. Figure K-l is a plan of seating area comparing the location of the critical surfaces of an auditorium 60 feet wide with those of an auditorium 90 feet wide. The large black dots at the intersection of the side wall lines, and the 60° angle subtended from the last row of seating, show where the critical surfaces begin. All wall surfaces between these points and the screen should be neutralized. Sur 4. OF I^SCREEN FIGURE K-l (above): Plan of seating area showing which of the wall surfaces near the screen are involved in the environment of the projected picture. See text. FIGURE K-2 (left): Longitudinal section through a typical motion picture theatre auditorium, showing ceiling areas to be considered in providing a setting for the screen. See text. 20 MOTION PICTURE HERALD, JANUARY 9, 1954