Journal of the Society of Motion Picture Engineers (1930-1949)

Record Details:

Title:
Journal of the Society of Motion Picture Engineers
Date:
1930-1949
Publisher:
New York, N.Y. : The Society
Volume:
Journal of the Society of Motion Picture Engineers
Leaf #:
00049
Language:
English
Collection:
Technical Journals
Format:
Periodicals
Contributor:
Prelinger Library
Sponsor:
MSN
Coordinator:
Media History Digital Library
Description:
The Journal of the Society of Motion Picture Engineers (SMPE)Êdocuments the technological progress of the film industry, highlighting technical developments in production and exhibition. Of special interest are articles about special effects, theater practices, lighting, and the introduction of the 16mm format. Initially titled "Transactions of the Journal of the Society of Motion Picture Engineers."Digitized by the Prelinger Library and the Library of Congress Motion Picture, Broadcasting and Recorded Sound Division.
Date Added:
July 19, 2022
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44 W. C. EDDY [J. S. M. P. E. ductions. We naturally turned to the standardized fixtures of the moving picture lots for our first tests. In the Radio City studio we installed routine spots and broads. Due to the limitation of a nineteen-foot ceiling, a practical light bridge was out of the question. As a substitute, the major portion of our lighting equipment was installed on portable stands. Figs. 1 and 2 show the arrangement of the apparatus for our first television program from Radio City in 1936. From a quantitative standpoint, we had little to criticize in this installation, but it was immediately apparent that the excessive glare and operational requirements of such a battery of lights precluded their general use in television. An attempt was made to re FIG. 3. Illumination by battery of 500-watt units. design and redistribute these units, but with little or no success, indicating conclusively that equipment of such power and concentration could not be left unattended throughout a television sequence and that the proper manipulation of this type of illumination required a lighting personnel of considerable magnitude. Our next step was a gradual conversion from the concentrated type of unit to the more diffused and uniform light produced by scoop reflectors and floor broads. Focusing spots and suns were still maintained in the studio, but their function was limited to modeling rather than producing the foundation illumination. Lack of space for operation, weight, and their general inefficiency coupled with unbearable glare on the set soon proved their impracticability even though the