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196 WRITING THE PHOTOPLAY 3. Stage Lighting. Everyone — at any rate, everyone living in the city — is familiar with the peculiar lights used in many photog- raphers' studios. These Cooper-Hewitt lights seem to be merely large glass tubes that shed a ghastly blue-green tinge over everything, and under which photographs may be taken regardless of exterior light conditions. Practi- cally the same kind of lighting is utilized in most studios, although, in addition to the Cooper-Hewitt tube system, there are electric arc lights, spot-lights such as are used on the regular stage, and even search-lights, used to obtain special effects. One of the big producing plants has two studios — one at which both daylight and artificial light are used, and another, at the top of the building, with glass walls and a ceiling which constitutes the roof of the building, where every scene is taken with natural light. On a bright day the latter studio is used; if there is no sunlight at all, the downstairs studio is kept busy. On the immense floor of the daylight studio, as many as eight different ordinary sets may be erected side by side at one time. It is pretty well known that many "interior" scenes are taken out of doors. That is, the set representing the inside of a building is built upon a stage or platform out of doors, usually in the yard of the studio. One frequently hears a spectator at a moving picture show wonder at the way in which, in some interior scenes, the curtains and other hangings, calendars and lighter pictures, etc., are blown about, as if stirred by a strong electric fan. The