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1945 Theatre Catalog, 4th Edition, Page 328 (304)

1945 Theatre Catalog, 4th Edition
1945 Theatre Catalog
1945 Theatre Catalog, 4th Edition, Page 328
Page 328

1945 Theatre Catalog, 4th Edition, Page 328

Notes on Projection, Projection Equipment

Survey on Makers' Opinion on What Is Best And What They Offer to Achieve Those Ends

Ideal results on the motion-picture screen are those which make the audience forget there is a screen, or a motion picture. The patrons want to forget they are watching a mechanical trick. They do not come to see mechanical tricks. They want real people, living out real life problemseloving, laughing, sorrowing. Ideal screen results allow the audience to imagine that that is just what it is watching.

To provide this ideal result, the projection must be perfect. Specifically, it must satisfy these four requirements: (1) The picture must be steady on the screen; (2) it must be bright; (3) it must be clean; and (4) the focus must be sharp. Any shortcoming in these four respects distracts the attention of the patrons from the entertainment and compels them to take notice of mechanics.

The exhibitor, it is important to remember, pays for perfect screen results even when he does not deliver them to his patrons, because the producers go to enormous expense in the matter of photography and its related arts. That expense is added in to the rental cost of the picture. The exhibitor pays it. He is paying for nothing if he allows his own equipment to destroy the screen values the producers send him in those cans of film.

What happens if the projection is less than perfect in any of the four ways mentioned?

If the picture is not bright enough, the spectators have to make a deliberate


All material presented under the name of a manufacturer has been received from the particular company involved. Presentation of

this material in these columns does

not necessarily signify the endorsement, by the THEATRE CATALOG or its Editors and staff, of the opinions expressed or of the equipment described.

eEort to see it clearly, and that effort reminds them that they are looking at a picture, not at people. The resulting eyestrain will also remind them. The dinginess-or unnaturalness of colors, in the case of under-illuminated color picturesewill have a similar effect.

As to the very vital need for steadiness, real people in real life do not Vibrate up and down. Eye muscles, furthermore, have no practice in ordinary life at following such rhythmic vibrations and, if forced to do so in a theatre, they tire quickly and become painful.

If the focus is not sharp, the unreality of the whole presentation becomes very marked. Real people in real life do not blur here and there. Real people are not streaked, spotted and smeared. Hence, if the picture is to seem real to the audience, it must be clean.

Bright, steady, sharply focused, and clean projection preserves the screen values for which the producers and dis tributors charge in their rental prices, and for which the customers pay at the box office.

That the reader may have a better understanding of projection equipment enot so much from the standpoint of the actual picture on the screen, but, rather, how it gets therkthe manue facturers have been given the opportunity to talk about their products.

While the various companies, naturally, have good reasons for doing things as they do, all of them still have but one major objective: To create the mechanisms and machinery that will put the best pictures possible on your screen.

For the material that follows, acknowledgment and thanks are expressed to L. W. Davee and the Century Projector Corporation; C. H. Roloti' and the DeVry Corporation; Arthur E. Meyer and National-Simplex-Bludworth, Inc. (for the International Projector Corporation); Fred C. Matthews and Motiograph; Homer B. Snook and the Radio Corporation of America; Carl M. Weber, Jr., and the Weber Machine Corporation; and C. G. Ollinger and the National Carbon Company, Inc.


The history of the design of motion picture projectors in the United States is well known. Until the beginning of the talking motion picture there was little or no reason for standardization



1945 Theatre Catalog, 4th Edition, Page 328