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ly work hand in hand in many respects. Why, then, should television in its developmental stage he denied the benefit of the cinema's technical knowledge and experience?
Locally, the Don Lee system has started in the right direction, engaging L y n n Dunn. Cecil Love and several other studio cameramen and technicians to take full charge of their lighting and similar production problems. So far as we know, no other television group, in this country at least, has paralleled this progressive step by Don Lee's television chief, Harry Lubcke. We predict it will prove beneficial.
From the figures quoted in the papers presented at the closing session of the recent Convention of the Society of Motion Picture Engineers, it is obvious that television lighting is a far different proposition from lighting a motion picture scene for a modern film like Agfa Supreme, where keylight illumination levels of as low as 75 foot-candles are common. One paper stated that during the past six months, the lowest key-light level used by NBC in New York was over 800 foot-candles, and the highest just under 2500 foot-candles. Yet it was also brought out in discussion that on one occasion locally, when a main fuse blew out during a program, leaving only a single 500-watt lamp, wired to a different circuit, alight, a discernible image was still televised.
In time we will probably see developments i n television iconoscopes comparable to the advance in sensitivity made when Agfa Supreme negative was introduced to motion pictures. Until then, is it not logical
to expect that many of television’s lighting problems could at least be minimized if television were to utilize the aid of some of the Directors of Photography who have made motion picture lighting the science it now is?
Tt is with a deep sense of personal
loss that we chronicle the passing, on May thirty-first, of Frank B. Good, A.S.C. He was a man who was in the finest sense of the word an artist and a gentleman; one in whose character, as well as ability, the camera profession could take great pride.
More significant than anything we might say is the tribute paid Frank Good during his lifetime by his fellow' cinematographers who for the past sixten years have kept him without interruption a member of the Board of Governors of the American Society of Ginematographers, and during most of that time, an officer of the organization. At the time of his death he had just been re-elected SecretaryTreasurer of the A.S.C. for the fifth consecutive year.
But it is not because of his distinguished career behind the camera or in the councils of his fellow cinematographers that Frank Good will be remembered — and missed. Bather, it is because he had the rare gift of winning the personal respect and friendship of all with whom he came in contact. Such a man leaves behind him a place that cannot be filled, and a host of friends who feel the better for having known him. We join them in extending to his wife and relatives the sincerest sympathy.
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