A Conversation with Andrew Robinson - Managing Director, Harkness Screens

http://www.digitalcinemareport.com/Harkness-theatre-screens-exhibition-3D

 

2009 February 26

Submitted by Nick Dager on Thu, 02/26/2009 - 10:22.

·         Feature Stories

·Q&A

As the exhibition industry makes the move to 3D the demands on the actual, physical screen in a theatre are changing. Digital Cinema Report spoke with Andrew Robinson of Harkness Screens to get his insights on the subject.

Digital Cinema Report: Please give us a short history of Harkness Screens.

Andrew Robinson: Harkness Screens was founded in the 1920s in London in the UK.  It is now an international company with manufacturing operations in the UK, France, USA and China.  The main activity is manufacturing screen surfaces for cinema.  Every year thousands of screens are supplied all over the world.  Screens are also supplied for special events, custom AV applications and theme parks, etc.  In fact, Harkness is very much a specialist for large custom screens, and cinema is the main application.  We are a medium-size, privately owned business employing approximately 100 people in total worldwide.

DCR: What is your role with the company and how long have you been there?

AR: I am the managing director as well as running the group; I take an active role in meeting customers all over the world.  I attend all the main cinema conventions around the world and, from time-to-time, get asked to speak on screen-related topics.  I have worked for Harkness for 10 years.  During my time at Harkness, the business has greatly expanded its international presence and market share.  

DCR: Film, digital 2D and digital 3D are all here for the foreseeable future in most markets.  What is the ideal kind of screens for exhibitors to consider when showing all three types of content?

AR: Harkness cinema screens can be used for film or digital projection.  We also have specific screens for 3D polarized light technology.  We also make screens with different gain levels.  The important point is that the right gain level of screen should be used in relation to the size of the screen and the power of the projector.  With digital projection, there are usually savings in operating costs (essentially lamps and power costs) in using higher gain screens than one would normally use with an equivalent sized film projector.  These savings can be significant and could easily pay for the replacement of a screen in a couple of years.

DCR: How critical is the screen to a successful 3D experience?  How much brightness can a screen add to 3D projection?  Is that true for all size venues?

AR: The screen is critical to the 3D experience.  All 3D technologies "lose" a lot of light. Up to 85 percent of the light available in 2D mode is lost. Big lamps and gain screens are needed to get an acceptable brightness level.  On screens that measure around 50 feet, very high gain levels will be necessary.  Polarized light 3D systems require "silver" screens – white screens will not work because they depolarize light.  For other 3D technologies, white screens can be used but the gain level must be high enough.  The screen is therefore critical to the brightness and also to a successful 3D presentation.

DCR: Cost is always a critical factor in exhibition.  Can theatre owners compete in 3D with their existing screens?

AR: With a 3D system, the screen may need to be changed.  Silver screens are needed for polarized light systems, which is the most popular 3D technology.  Many new cinemas are fitting two to three silver screens as standard equipment.  You can show 2D movies on silver screens and actually any 3D technology.  In retrofits, polarized light 3D requires a screen change.  Other technologies may need upgrades to higher gain screens, depending on what gain level was installed originally.

DCR: What cost-effective steps can they take to maximize the effectiveness of their existing screens when projecting 3D?

AR: It is likely cinemas will need to change screens depending on whatever 3D technology they use.  Certainly, having the right gain level is important.  Cinemas showing 3D movies also show 2D movies.  In this situation, the screen may be too bright for 2D, so changing the lamp is recommended.  This can itself bring significant operating cost savings.