Theatre Design & Technology - Feb 1969 - 4

A High Speed Proiection System
FRANK B. SILBERSTEI N
University of Virginia
Professor Silberstein extends special thanks to Mr. Lon Davis for his
assistance in constructing the system described here.

In recent years there has been a growing awareness among
theatre practitioners of the technical inadequacies of a visual
format that has, in many respects, not changed appreciably
since the Renaissance. Obviously this is an overstatement in
the case of stage lighting, and machinery for the manipulation of scenery. Nonetheless, the disquieting realization remains that while other media, principally the cinema, have
made gigantic strides towards more evocative technology,
the usual techniques of the legitimate stage seem limited to
a comparatively restrictive vocabulary. Today, playwrights
and their audiences are increasingly demanding a flexibility
approaching that found heretofore only in the cinema.
One of the more succesful replies to this demand has been
the scenic use of projections. The intrinsic nature of profections allows not only very specific detail in the projected
material but great flexibility in their use; theoretically the
possible transition time is practically instantaneous. Some
problems remain, however, One of the most significant of
these lies in the inevitable conflict between the dynamic
subtlety of the actor and the relative inflexibility of still
projections on one hand or of previously filmed motion sequences on the other. A more desibable scheme that is frequently used is to combine the two techniques: to segue
from still to motion pictures and back, allowing the stage
manager to pace these effects to the Iive action. Unfortunately this doubling of facilities is often prohibitively expensive. Furthermore, as the sequencing of still and motion
picture projectors grows somewhat complex, it becomes apparent that considerable skill and much practice is required
of the various operating technicians involved.
Designing the System: The system described here is at
least the beginning of a solution to the various troublesome
requirements that have been outlined. The system util izes
still projectors to achieve many of the dynamic effects of
cinematography while maintaining the still projector's ability
to stop action indefinitely according to the needs of the production. This is achieved by relatively simple and straightforward application of available hardware. The resulting system allows surprisingly sophisticated results on the modest
budget usually associated with community and academic
theatres. This system was designed and built specifically for
a production under just such conditions at the University of
Virginia for Anouilh's The Lark.
Design Requirements. Nine months before production the
director, Edward Stern, broached the idea of using a series
of projections in almost cinematographic sequence. We had
absolutely no projection equipment and very little money, so
our first conference ended on a pessimistic note. The problem was a fascinating one, however, and as our discussions
continued various design requirements emerged. (1) The director felt that the variety of locales, the episodic nature of
the action, and the strong evidence of pol itical and social
implications all suggested elements of epic realism and its
consequent documentary emphasis. Thus it was necessary
that the system be capable of presenting a large number of
slides of varying material. (2) Slides could be expecially
effective in suggesting the large numbers of people in the
crowd scenes, notably the march to Orleans and the burning.
Hence, it was necessary that the system be able to present
the slides in very rapid sequence. (3) In order to integrate
these rapid shifts into the action aesthetically, it was considered advisable to synchronize the slides as closely as

4

possible with various pieces of background music. (4) Because the only photographic equipment available was of the
regular 35 mm. variety, it seemed advisable to find or adapt
existing "off the shelf" projectors normally sold for the domestic market. (5) Overall expenses for projections including
all rentals and necessary photographic materials had to be
kept under $200. (6) All work had to be done while the
technical staff maintained a regular academic load.
System Description. The envisioned scheme was simply
to pre-program a series of on / off events on some storage
medium such as tape or punched cards, and then read this
information back into various transducers--projection shutters, etc. This was to be done on precise cue from one of
two sources; a push button operated by the stage manager
or pre-programmed pulse cues recorded on magnetic tape.
The I atter were to be on the second track of a 2 track tape
recording with appropriate sound effects and music on the
other.
Hardware: Projectors. The actual form of the system was
very much determined by available hardware. The selection
of a suitable projector (in the absence of equipment designed specifically for stage use) was fairly simple. We
needed an automatic projector that could store a large number of slides, had as fast a change cycle as possible, and
was optically efficient. These criteria led us to the Kodak
Carousel. These machines were surprisingly effective, particularly in regard to optical efficiency.
Having made the decision to use the Carousel projector,
however, several other important decisions had to be made.
Our original scheme had called for three separate projection
screens each with its own projector. It had been realized
from the outset that any projector we would be abl e to obtain would require a finite amount of time to change slides
and thus there would inevitably be periods when the screen
went blank. This would be offset, it was hoped, by rapidly
switching in colored "cover floods" to the appropriate
screen during the time it was blank. Since we were already
planning some sort of automatic programmer, this was not
inconceivable. As we experimented with a rented Carousel
some six months prior to the production date, we realized
that even with the cover floods the Carousel change cycle
of nearly one second would be aesthetically objectionable.
The solution to the problem was to mount the projectors in
a long throw position in front of the screens. This allowed
each projector enough spread to cover all three of the
screens, eliminating the problem of how to cover the time
required for changing slides. All that was necessary was to
switch rapidly from one projector to a second which would
be focused on the same screen. This led to the system diagrammed in Figure 1. Each of the projectors was to cover
all three screens. The selection of the screen whose projected image was to appear at any given moment was determined not by what projector happened to be operating at
that moment but by what part of the slide happened to have
a photographed image.
We realized that this system added considerable difficulty
to the preparation of the slides, but in exchange it contributed enormously to our expressive capabilities. The slides
had to be photographed using a standard black mat that was
cut as a scale repl ica of the screens. Thus the area between

[]ill'CJ THEATRE DESIGN AND TECHNOLOGY

FEBRUARY, 1969



Table of Contents for the Digital Edition of Theatre Design & Technology - Feb 1969

Contents
Theatre Design & Technology - Feb 1969 - 1
Theatre Design & Technology - Feb 1969 - 2
Theatre Design & Technology - Feb 1969 - 3
Theatre Design & Technology - Feb 1969 - Contents
Theatre Design & Technology - Feb 1969 - 5
Theatre Design & Technology - Feb 1969 - 6
Theatre Design & Technology - Feb 1969 - 7
Theatre Design & Technology - Feb 1969 - 8
Theatre Design & Technology - Feb 1969 - 9
Theatre Design & Technology - Feb 1969 - 10
Theatre Design & Technology - Feb 1969 - 11
Theatre Design & Technology - Feb 1969 - 12
Theatre Design & Technology - Feb 1969 - 13
Theatre Design & Technology - Feb 1969 - 14
Theatre Design & Technology - Feb 1969 - 15
Theatre Design & Technology - Feb 1969 - 16
Theatre Design & Technology - Feb 1969 - 17
Theatre Design & Technology - Feb 1969 - 18
Theatre Design & Technology - Feb 1969 - 19
Theatre Design & Technology - Feb 1969 - 20
Theatre Design & Technology - Feb 1969 - 21
Theatre Design & Technology - Feb 1969 - 22
Theatre Design & Technology - Feb 1969 - 23
Theatre Design & Technology - Feb 1969 - 24
Theatre Design & Technology - Feb 1969 - 25
Theatre Design & Technology - Feb 1969 - 26
Theatre Design & Technology - Feb 1969 - 27
Theatre Design & Technology - Feb 1969 - 28
Theatre Design & Technology - Feb 1969 - 29
Theatre Design & Technology - Feb 1969 - 30
Theatre Design & Technology - Feb 1969 - 31
Theatre Design & Technology - Feb 1969 - 32
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