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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: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. | ||
The use of fixed masking, often with rounded corners, continued after the standardization of 1.37:1 as the aspect ratio for sound film. It was not until the proliferation of widescreen [[aspect ratios]] in the 1950s that theaters had to adapt by providing adjustable masking, which by necessity resulted in sharp corners on the screen. There were a few exceptions to this, including early pre-1950s widescreen gimmicks like [https://www.chicagofilmsociety.org/2016/02/02/magnascope// Magnascope] which would have required adjustable masking as early as the mid-1920s. | The use of fixed masking, often with rounded corners, continued after the standardization of 1.37:1 as the aspect ratio for sound film. It was not until the proliferation of widescreen [[aspect ratios]] in the 1950s that theaters had to adapt by providing adjustable masking, which by necessity resulted in sharp corners on the screen. There were a few exceptions to this, including early pre-1950s widescreen gimmicks like [https://www.chicagofilmsociety.org/2016/02/02/magnascope// Magnascope] which would have required adjustable masking as early as the mid-1920s for theaters interested in screening films using this early widescreen projection process. | ||
The early days of widescreen were fairly chaotic as studios tried out different widescreen aspect ratios. Many films released during this period were produced with the understanding that some theaters would still need to screen them 1.37:1 while those who were able (i.e had updated their theaters to accommodate widescreen) would screen them in a widescreen aspect ratio, with widescreen masking. | |||
===Fixed Height Screens=== | |||
By the late 1950s most American studios eventually coalesced around the 1.85:1 and 2.39:1 formats for 35mm, with some exceptions. Many theaters began installing masking systems that could only mask these two aspect ratios. The masking was typically fixed-height, with the sides expanding for 2.39 and narrowing for 1.85. This strikes a good balance between the aperture size and the illuminated surface area of the screen, with the larger Scope aperture corresponding to a larger projected image. With the same light output from the lamp, both aspect ratios can be illuminated within the SMPTE-specified parameters. | |||
===Fixed Width Screens=== | |||
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. | |||
In the digital era, | ===Current Practice=== | ||
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. | |||
==Masking Systems== | ==Masking Systems== | ||
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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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In particular, a masking change from a larger image to a smaller image should be avoided when the audience is present, as it can make the projected image seem less impressive. | In particular, a masking change from a larger image to a smaller image should be avoided when the audience is present, as it can make the projected image seem less impressive. | ||
==Related Pages== | |||
* [[Aspect ratios]] | |||
* [[Aperture plates]] | |||
==Resources== | |||
* [http://www.widescreenmuseum.com/ American Widescreen Museum] | |||
==References== | |||
[[Category:Showmanship]] | [[Category:Showmanship]] | ||
[[Category:Equipment]] | [[Category:Equipment]] | ||