American cinematographer (Oct 1933)

224 American Cinematographer • October 1933 HOW IT WAS DONE: Arrangement of the lighting- units. 250-Watt “broadside,” with diffuser beside camera; 500-Watt light by piano, 165-Watt globe in lamp on piano; 500-Watt light behind subject, and another illuminating back wall. Photoflood bulb in chandelier lighting far room, and 250-Watt tubular bulb in improvised reflector on floor behind buffet. W HEN the professional cinematographer starts tc light a studio set, he has at his disposal a prac- tically unlimited number and variety of lighting units, ranging from huge 10,000 Watt reflector-spots to tiny “baby - spots” equipped with ordinary photofloods. When he turns to his own 16mm work, he finds himself bound by the same restrictions as any amateur—only a few lighting-units at hand, and definite limitations as to the amount of current he can safely draw from his house-wir- ing. But he can take with him one vital thing from his studio work: the professional attitude toward lighting. This is something which can be of immeasurable value to the non-professional, as well, for it will help him to make the best use of what he has available in equipment, and to create effects he might otherwise overlook. Lighting, to the professional cinematographer, is far more than merely laying down enough illumination to permit an exposure, it is more truthfully a matter of painting with light—using patterns of light and shadow to model the Professiona faces and forms of his actors, and to give depth, roundness, naturalness, and a generally pleasing effect to the sets. All of this can be done equally well at home, with 16mm films; better, in fact, for the general conditions applying to 16mm work give the filmoist or cine-kodaker several im- portant advantages. In the first place, the area to be illuminated is generally smaller than the average studio set; secondly, while 16mm SuperSensitive film has the same effective speed as 35mm “Super,” most 16mm cameras have considerably greater shutter-apertures, and the lenses used are decidedly faster. In other words, since the 16mm user has, as a rule, a camera with a shutter-opening of around 215 degrees, and a lens working at f 1.9, while the profes- sional camera has a 180 degree shutter and f 2.5 lenses, the man with the Filmo can get the same effects with a much smaller expenditure of light than the studio man requires. There are, of course, two ways of attacking the problem: one may begin by laying down a sort of foundation of light, sufficient to give a general level of illumination sufficient for an exposure, and then build up your detailed effects; or one can begin by arranging the effects, and then, checking, perhaps, with a reliable exposure-meter, fill in wherever necessary. Of the two, the latter is decidedly the better course, for in most cases, once you’ve arranged your lights to give you the effects you want, you will find that you will naturally have the right volume and balance of illumina- tion; while, once the lights are so arranged, only a little manipulation will be necessary to fill in. As a rule, of course, the starting-point for lighting any set is to decide what is the keynote of the action of the scene: nearly always, we will find some one thing—a person, a face, or even some inanimate object—can be definitely labelled as the central point of interest in a scene. If we begin by lighting that properly, then filling in the rest of the set, our problem is immediately simplified. So much has been written in these columns about the lighting of people that very little can be added here. The best starting-point in lighting any scene is to light the people attractively and naturally, carrying out in this light- ing the effect of light from the sources which would be natural to such a room and such action. Then, the re- mainder of the room can be lit to carry out the same idea. It is a mistake, frequently made by amateurs, to attempt to light an interior scene simply on a basis of illumination. The scene shown in the illustration, for instance, could have been lit in a much simpler manner by merely placing two or three strong lights in front of, or slightly at the side of the subject, and letting the general flood of light carry the rest of the room. But the effect on the screen would have been flat and unnatural; so actually as many units and as much care were utilized in lighting the room as were used in lighting the subject herself. Similarly, the amateur has a tendency to work close to walls—probably because of his limited equipment, and the fear that it would not be sufficient to illuminate a larger area. The professional, on the other hand, fights incessant- ly to keep the action of his scenes well away from the walls, for he knows that only so can he light his people to the best advantage, and secure an attractive lighting of the set. Now, as to the more detailed methods of lighting a set! If you will study the illustrations, you will see that the