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organization and jurisdiction, of frittering away time and energy on a score of side-issues unconnected with pictures, having at last found itself truly united in revulsion and resentment over the shocking events of the past few weeks, can maintain that unity and pour it into the making of better, more entertaining pictures to solace the war-ridden nerves of this and other countries. That is Hollywood s chance to prove itself as an agency of world-reaching service.
Tenuring the past few weeks, we've enjoyed the pleasure of using some of the “dinky” spotlights recently developed for studio use. While doing so. we couldn’t help remarking on the advances in film-speed which have made such tiny lamps practical. Two or three years ago, before the introduction of Agfa Supreme ushered in the day of modern, super-speed films, the idea of using little 150-Watt spotlights for serious professional cinematography would have been out of the question. Such lamps might suffice as playthings for amateur photography, but for any serious professional camerawork they would have been inadequate.
Today they are being used enthusiastically in every studio. We’ve seen tests in which a good-sized set was entirely illuminated by four or five of these tiny lamps. Another cinematographer told us of having used fifteen of these little lamps as the mainstay of his lighting throughout an entire feature production. In almost every studio there is a continuous minor battle going on between the Directors of Photography and the elec
trical departments over these lamps; for no matter how many “dinkies” a studio may buy, there never seem to he enough to give each Director of Photography as many of them as he wants!
Incontrovertably these lamps bring the cinematographer a new lighting tool — one that enables him to do things never before possible, when larger, more powerful units were necessary, and one which enables him to achieve more routine tasks with greater ease and efficiency. At the same time, the acceptance of these new lamps has brought business benefits to several manufacturing firms closely allied with the motion picture industry, and welcome employment to their staffs. That’s quite an array of achievements for something which only two or three years ago would have been treated as a toy.
Without any intention of taking a bit of credit from the several engineers who conceived and developed these lamps, we’d like to point out that this latest development in lighting equipment has its roots at least indirectly in Agfa Supreme, for only since Supreme revolutionized the industry’s conception of film-speeds have such small packages of illumination been of practical value for studio use. We can’t help feeling a glow of pride when we realize this is so.
/_p HREE or four years ago, the ■** cinematographer who used a photoelectric light-meter (except, perhaps, on a few rare location exteriors) ran the risk of being considered either an impractical theorist or a simple crackpot. Today, the cinematographer who
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