International photographer (Jan-Dec 1934)

Fourteen The INTERNATIONAL PHOTOGRAPHER October, 1934 One Hundred Percent Arc Lamps By Walter Strohm Batteries of the newly developed silent arc lamps were necessary to film the Ice Cream color fantasy of "Kid Millions," Eddie Cantor's fifth annual screen musical comedy for Samuel Coldwyn. The new three-tone Technicolor process was used for this novel sequence. [F the executives of the United Artists Studios were to ask: "Is it practical to use arc lamps exclusively in the production of a major feature," the answer would be positively in the affirmative. Large quantities of arc lamps were used in the Technicolor sequences of the "House of Rothschild" and also in Eddie Cantor's picture, "Kid Millions." In most of the scenes the sound and pictures were taken together. Where the sound was added later it was because of the humming of hundreds of youngsters — in the Ice Cream Counter scene in "Kid Millions" — and not due to fear of humming of arc lamps. If proper precautions are taken it is practical to utilize the present arc lamp equipment in large quantities ; however, a reasonable appropriation for bringing the equipment up to date will cut the cost of operation considerably. For the past several months there has been a growing demand on the part of cameramen for 80 ampere rotary arc spots and for sun arcs, but it was not until Darryl Zanuck, of Twentieth Century Pictures, decided to photograph a part of the "House of Rothschild" in Technicolor, that we had the opportunity of using all types of arcs in large quantities. The Reception Hall set in the "House of Rothschild" contained 16,000 square feet of floor space and the lighting plan called for the following equipment : 99 80 ampere rotary arc spots, 42 24" sun arcs, 16 36" sun arcs, 40 arc broadsides, 25 arc scoops, and 28 effect lamps. For this particular set it Avas necessary to rent considerable outside equipment which also had to be adapted to sound requirements. The preparation work included a thorough inspection of the studio's arc lamps. Each lamp was fitted with a snap switch so the operator could cut off the arc control motor during the actual "take" if he found it necessary to do so. The arc control motors were equipped with special carbon brushes to eliminate the possibility of squeaking from that source. The contact brushes were well cleaned and graph ited. Electrolytic condensers were connected across the line in the generator room, and a number of choke coils secured for use on the set. The new type broadsides and scoops were obtained because of their silent features and increase light output. The key electricians were picked for their previous experience with arcs. Robert Comer, set electrician, on the "House of Rothschild," and James Portevin on "Kid Millions," took the responsibility of seeing that the equipment not in perfect condition, or equipped with cutout switches, was kept in the background or removed from the set. It was a reasonably simple matter to meet the lighting requirements of Ray Rennehan, in charge of Technicolor photography, because of their accurate methods of light measurements. The problem of the sound department, however, promised to offer some difficulties. To bring this under control choke coils were connected to the lamps located near the microphones, some lamps were shifted around and the operators graphited the carbons (Turn to Page 25) Please mention The International Photographer when corresponding with advertisers.