Publix Opinion (Jun 22, 1929)

WATCH THES IN INTERIOR TOW “In this second article\ on, theatre: lighting, raneis M. Falge,| lighting expert attached to, the ame portant considerations im, interior lighting witch it ip’ ¢ severy theatre manager should know im order t attain, 1 PO! ce, points crt five! sential ( interior,.that atmosphere of well being and comfort which prompt people to return to his theatre. Read this article carefully and check up on all five points mem tioned. there. "As fim almost every phase of theatre operation,” says Mr. Falge, “the ehting plays @ very valwatole } part im the appearance of tine tims terior, and is a “repeat” gales methed of utmost importamce to every showman. But just as it is possible to have interiors that are a@ positive pleasure to visit, it is possible to have them decidedly anoying trom the standpoint of comfort. ‘ Im lighting your auditorium there are five impdértant considerations. They are: 1. Elimination of emmoying brightmess iin the lime of wisiom rime patrons aire distracted iby the occasion. The first consideration is @ simple one, but ome that is @ comstamt offender. Im the survey of the houses of ome of our circuits, almost’ every ome had this fault. Some of the thimgs to watch out for are— a. Have clocks and exit lights at the fronts of the theatres just luminous. b. Use only indirect or at least well diffused lighting beneath the balcony. c. Keep fixtures near front of the house high up out ofthe lime of vision at the top of the balcony and use indirect lighting. d. Use diffusing methods for side wall brackets and use them only as decorations. e. Where a cove is provided around the proscenium, have it well subdued. Um The second consideration is not as simple as it sounds, but re seatch work along these lines will. prove highly beneficial. By moving your hand in front of the sereen when no picture is being projected the resulting shadows will indicate the direction and usually the source of this undesirable © light. Each source should then’ be eliminated or baffled so that its light does not reach the sheet. REMEMBER ALWAYS THAT YOU ARE FIGHTING THIS BRIGHTNESS WITH VALUABLE CURRENT. . The third and fourth factors @re so closely related and one is so dependent on the other, that they will be considered together. 1. Daylight and night conditions, 2. The distamce from street to auditorium. eh 3. The illumination conditions en route. It is more dificult to accommodate the eyes from daylight to the darkened auditorium than from the lighted marquee, but inasmuch as the entrance from daylight is the worse case, it is best to go as far as possible with this in view or have the brightest auditorium consistent with the needs of the other factors. This is further exaggerated by a very short entrance so that this gives us our extreme condition. Intensity The intensity of the light from the auditorium should be graduated with the rear brighter than the front. Im general it is the light that falls on the sheet or in the line of vision while viewing Francis M. alge the picture that is troublesome, Using the rear of the auditorium es @ criterion, it is a good idea to hare it sufficiently bright so that, } after sitting fora time people are easily seen amd programs may he { meade out, but not so bright that people moving six or @ight feet away will bother one. From this ‘| poimt the intensity may be con siderably reduced toward the front of the auditorium. P Im similar fashion the intensity should be gradually reduced from |} street to auditorium. Especially fm the older theatres ome iis con-} stamtly faced with a lack of electrical capacity and lighting must be arranged accordingly. Care must be used to obtain whose coating absorbs as little light. as possible. The lighter colors and those which just timt the light are oftem the best. Under the fifth category are considerable number gf factors, one of the principal omes being the elimination of variegated color. schemes. Generally a solid or graduated color scheme with high lights of the complementary colors is best. For instance, starting with ivory in the lobby, the next step into the theatre would be flametint and the portion around the rear of the auditorium and the sidewall brackets would be amber orange with a solid blue color scheme in the auditorium, The rest rooms might be fametint. Colored lamps should be carefully watched to see that a definite standard is maintained. Lamps that are not of. proper appearance when purchased, should be returmed and faded or chipped ones discarded. Dipped lamps are often non-uniform and mesay in appearance. Burned out lamps should be promptly replaced, as their presence gives a devidedly unkempt appearance, A survey indicated a decided tendency to use up old lamps that have been used for other purposes. It resulted not only fn poor appearance, but is a constant source of current loss. For instance, in one place, two 100 watt natural} colored blue lamps and one 60 watt natural colored red were used im each of the floor lamps of a lounge, You can imagine the bad appearance, but figure the current joss by mot waing 3-10 watt amber orange lamps. Only | | 230 watis per floor lamp. And all in the attempt Pyeng ap lampe” GHTIN une. ap’ oid || a 2 Gi allerg in. You Rernande de Paee | 2am Garber's Bana eat A ny Chad’? i (3 Vietor Artiats) Tite Reo PIOTUREB The Squall , The Carsiess Age Wien Te Games Home to Me FIRST Nd y The Man and the Momnemt Broadway. Babies ; ‘onder Why? q (Beton Aitled Broken Careers | ‘twin Beds | The Drag Painting the Clouds With Sun| girl from Woolworths Mptas ‘Thru the Tulips, with Song of the Gold-diggers What Will I De Without You? My Strangest Weakness Is You Ome Swaet Little Yes . Beauty Shop ' He's A Geed Man to Have Around Tm Doimg What I'm Doing for Love Tm Feathering a Nest Love Will Find a Way There Jo Happy Land GS IN SOUND SHORT Songs I Get the Blues When It Rains Yes She Do J Was Not So Particular I've Got a Feeling I'm Failing Happy Days and y Nights Raisin’ the Roof * Honey You're Just Another Memory You'll Do It Some Day METRO By the Zuyder Zee Strike up a Bag Pipe Tone we Ia Love in Every Language Campbells Are Coming The International Melody What You Gonna Do Now? Pullman Porter Parade The Spell of the Bives Blackbirds Are Bluebirds Now He's Wonderful Happy Go Lucky Lane Comin’ Home Evenin’ I Knew That You Know 1812 Overture St. Louis Biuves Three Rivers Medley I Faw Down and Ge Boom I'd Rather Be Blue Over You Blue Grass Broadway's Not a Bad Pi Real Batate Pepe ince After Al) Trumpeter A Dream Tramp, Tramp, Tramp Half-Way to Heaven Good Little Bad Littl You Caprice Viennois It Goes Like This Bridal Rose Overture Washington and I s a. oe That's My Weakness Now Novelette When You Played the Rosary The Gypsy Love Song the Organ and I Sang hye a from “The Barber of When the Sergeant M » When Summer Is ae > The Two Grenadiers Wie Heat ‘s at Pretty Baby? I Love to Dunk a Hunk of & I'm Wild About Horns on Auhoumaiian How adi GE EEE EFF Mit ii min mma 5 ra q * 4