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42 W. C. EDDY [J. S. M. P. E.
the National Broadcasting Company has worked out as a result of several years of experimentation in this field.
This description covers primarily the lighting developments since 1935 when the Radio Corporation of America launched an extensive experimental field-test of television. Of considerably greater scope than previous tests, it was designed to permit a pre-commercial analysis of the art through a combined appraisal of the laboratoryreared electrical system and a comprehensive survey of the problems introduced by regular production of programs.
Starting with studio lighting equipment similar to that used in moving pictures, we have gradually evolved a reasonably satisfactory solution of our illumination problem that has resulted in a new and interesting layout of equipment applicable to the demands imposed by television studio operation. This was achieved largely through simplification of the equipment and the technic involved in handling it.
To permit both engineer and director to discuss the lighting set-up with a common terminology, and thus facilitate presentations, we also simplified the existing abstract definitions of light into two separate and distinct classifications: namely, foundation and modeling light.
Foundation light, according to our standards, is the non-characteristic flat illumination of a set, irrespective of its origin or amount. It is primarily the light energy necessary to create an electrical picture in the cameras and provide a foundation to which we can add the characteristic or dynamic quality of modeling light.
Modeling light is any illumination that adds to the contrast or delineation of the picture. It may be from overhead, from the floor, or from the back, but according to our definition, it must create some characteristic highlight or shadow, as opposed to the flat illumination function of the foundation lights.
It was, then, the creation of a satisfactory lighting installation for television rather than the adaptation of equipment and technics geared to an older art that paced our developmental work. It may help to follow the reasoning behind our transition from motion picture lighting into the present installation of incandescent sources, if we consider chronologically the television studio work at Radio City during the formative period from 1935 to the fall of 1938.
A rough analysis of the requirements for a satisfactory system seemed to indicate that flexibility and efficiency were the paramount