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Masking is the material on the border of the [[screens|screen]] that covers the portion of the screen outside the picture area | <references /> | ||
Masking is the material on the border of the [[screens|screen]] that covers the portion of the screen outside the picture area. The top of the screen is covered by a valence, and the fixed drapery hanging below the screen is referred to as the skirt. Some masking is fixed in place, while some masking is adjustable either by hand or via a motorized masking system. Masking is typically matte black, with the side masking and skirt made of a lightweight fabric that is acoustically transparent so that it doesn’t muffle the screen speakers. | |||
Masking is | ==Purpose== | ||
<blockquote> | |||
''Where the black border is used there is not only less distraction for the eye, but the effect of added light brilliancy is had without its actuality.'' | |||
— F. H. Richardson | |||
<ref>F.H Richardson. ''Motion Picture Handbook: a guide for managers and operators of motion picture theatres'', 3rd ed. (New York: Chalmers Publishing Company,1916), 178.</ref> | |||
</blockquote> | |||
Masking serves several purposes in exhibition settings. When projecting film, the [[aperture plates|aperture plate]] casts a blurry shadow because it is not on the same focal plane as the film, and masking is used to crop off this shadow and giving the illusion of a sharp edge. It also hides structural elements of the screen and mechanical elements of the masking system itself. Masking also absorbs lights around the visible image area projected on screen, making the image stand out and appear brighter. | |||
==History== | ==History== | ||
[[File:Powers Sound Aperture.JPG|A 1.37 aperture plate on a Powers Cameragraph No. 6.|right|thumb|300px]] | [[File:Powers Sound Aperture.JPG|A 1.37 aperture plate on a Powers Cameragraph No. 6.|right|thumb|300px]] | ||
[[File:Masking - round corners.jpg|Silent era masking with rounded corners, | [[File:Masking - round corners.jpg|Silent era masking with rounded corners, F.H Richardson ''Motion Picture Handbook: a guide for managers and operators of motion picture theatres'', 3rd ed., 1916.|right|thumb|300px]] | ||
In the silent era, projectors had a fixed aperture and screens had fixed masking. Apertures typically had rounded corners, which were often reflected in the masking. In the early years, a border was either painted directly onto the screen with matte black paint or constructed out of matte black fabric. However, at theaters that employed a stereopticon that projected a taller image than the 35mm picture, the film presentation could not be properly masked. | In the silent era, projectors had a fixed aperture and screens had fixed masking. Apertures typically had rounded corners, which were often reflected in the masking. In the early years, a border was either painted directly onto the screen with matte black paint or constructed out of matte black fabric. However, at theaters that employed a stereopticon that projected a taller image than the 35mm picture, the film presentation could not be properly masked. | ||
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===Fixed Width Screens=== | ===Fixed Width Screens=== | ||
Although | Although less common than fixed height screens, some theaters have fixed-width screens on which the picture area becomes taller for narrower aspect ratios and shortens for wider aspect ratios. This is common in theaters built before the widescreen era that retained their original screen footprint (rather than installing a wider screen in front of the original proscenium, for example). It is also common in theaters in which the width of the auditorium is the limiting factor, such as single screens that have been twinned. | ||
=== | ===Current Practice=== | ||
Although being able to only accommodate 1.85:1 " | Although being able to only accommodate 1.85:1 "Flat" and 2.39:1 "Scope" works well for venues screening mostly new releases and older American titles produced after the "widescreen chaos" era of the 1950s, those committed to the proper presentation of films from any era, and any country, need more flexibility. They require masking systems that enable them to properly mask films of a wider variety of aspect ratios that span the entire history of cinema. While it's rare to encounter a venue operating today that has the masking, lenses, and aperture plates needed to accommodate every single aspect ratio, including those for both 35mm and [[70mm]], venues that routinely screen a wide variety of repertory titles will usually be able to accommodate full-frame 1.33:1 for silent films, 1.37:1, the widescreen aspect ratios 1.85:1 and 1.66:1, and 2.39:1. | ||
In the digital era, some first-run theaters (or theaters built in the digital era) started to move away from the use of adjustable masking, relying instead on the projected image to provide a sharp edge to the picture. However, improperly masked digital images will have grey letterboxing or pillarboxing around the image instead of a black border. | In the digital era, some first-run theaters (or theaters built in the digital era) started to move away from the use of adjustable masking, relying instead on the projected image to provide a sharp edge to the picture. However, improperly masked digital images will have grey letterboxing or pillarboxing around the image instead of a black border. | ||
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===Motors & Rigging=== | ===Motors & Rigging=== | ||
[[File:Masking Rigging.JPG|Masking rigging.|right|thumb|300px]] | |||
[[File:Masking Clew.JPG|A clew distributing the load to multiple cables to support the upper masking evenly across its length.|right|thumb|300px]] | |||
Some masking systems are fully manual, but most are motorized. Motorized systems may be chain-drive or cable-driven, with either a sprocket or cable drum attached to the motor shaft. For motorized systems, stops are programmed for each format. For manual systems, the stops must be marked somewhere on the masking system (ex., tape may be applied to the side of the screen frame or the top of the skirt to denote how far the sides should be brought in). | Some masking systems are fully manual, but most are motorized. Motorized systems may be chain-drive or cable-driven, with either a sprocket or cable drum attached to the motor shaft. For motorized systems, stops are programmed for each format. For manual systems, the stops must be marked somewhere on the masking system (ex., tape may be applied to the side of the screen frame or the top of the skirt to denote how far the sides should be brought in). | ||
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It’s a good idea to keep spare fuses on-hand for the masking motors, since masking frozen in the wrong position may require show cancellations. | It’s a good idea to keep spare fuses on-hand for the masking motors, since masking frozen in the wrong position may require show cancellations. | ||
===Masking Controls=== | ===Masking Controls=== | ||
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==Resources== | ==Resources== | ||
* [http://www.widescreenmuseum.com/ American Widescreen Museum] | * [http://www.widescreenmuseum.com/ American Widescreen Museum] | ||
==References== | |||
[[Category:Showmanship]] | [[Category:Showmanship]] | ||
[[Category:Equipment]] | [[Category:Equipment]] | ||