GKP process (Q38415)
From CanonBase
Method for short trow, corrected projection named after Geyling-Kann-Planer.
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | GKP process | Method for short trow, corrected projection named after Geyling-Kann-Planer. |
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Having worked as head of set design at Vienna's Burgtheater for more than a quarter of a century (1910-1913, 1922-1946), Geyling had no easy time of it in the difficult times following the First World War. But it was precisely during this time of need that he came up with his invention of replacing expensive equipment with the help of ‘optical alternation’. — In collaboration with stage manager Rudolf Lisatz, Professor L. Kann and engineer P. Planer, he developed the GKP process — named after Geyling-Kann-Planer. (English)
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These are special projection devices that allowed for a projection with a wide-angle lens onto the horizon, even when the stage was fully illuminated, without the projection shadow falling into the playing field. The devices were therefore not located behind the auditorium and were not housed in the auditorium ceiling or in the portal boxes, nor in the ramp towers, but directly above the stage, 3.50 m behind the ramp on a catwalk. The stage could be illuminated at any light intensity, but the stage lights were fitted with light shades and apertures on the horizon. The horizon projection was taken care of by the special equipment – with arc lamps – at a steep angle, so that the actors could get close to the horizon without casting a shadow on it. The luminosity of this direct projection was stronger than that of the back projections (Rückpros) that had already been tried out, which were projected onto a backdrop from behind and only had the translucency value of luminosity. (English)
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The difficulty for the GKP process, however, lay in the steep angle of the projection, which distorted every normal image. Geyling eliminated this distortion by creating precisely calculated counter-distortions on the projection plates, thereby obtaining correct, equalised projection images on the horizon. When these distorted images, projected from the apparatus at a steep angle, hit the curved horizon or the backdrop, they were perfectly natural and without any distortion. Geyling, who painted the glass plates himself, used this process for the first time in 1925 in ‘Peer Gynt’; it was an enormous success, mainly because of the brightness of the colours. The projection was done with arc lamps at a steep angle so that the actors could get close to the horizon without casting a shadow on it. The brightness of this direct projection was stronger than that of the back projections that had already been tried out, which were projected onto a backdrop from behind and only had the brightness of a translucent image. (English)
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However, the difficulty for the GKP process lay in the steep angle of the projection, which distorted every normal image. Geyling eliminated this distortion by producing precisely calculated counter-distortions on the projection plates, thus obtaining correct, undistorted projection images on the horizon. When these distorted images met the curved horizon or the backdrop at a steep angle from the projection apparatus, they were perfectly natural and without any distortion. Geyling, who painted the glass plates himself, used this process for the first time in 1925 in ‘Peer Gynt’; he had an enormous success with it – especially because of the luminosity of the colours. (English)
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