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February, 1951
HILLYER, HALLETT AND CARDIFF: STUDIO LIGHTING
45
Africa. The former unit made use of the system on six occasions; the latter unit reported that the saving in time and labour (due to the reduction in cabling and to dispensing with resistors), and also in current —about one-third reduction — was such that lighting rigs, so far as M.R. Type 170 arcs were concerned, were always planned in pairs. However, neither unit made use of the " Mole float," and results were inconclusive.
twin arcs. Allowing for diversity factors it was considered that the power house rated output of 32,000 amps, could cope. Tre stage is installed for 12,000 amps, with a main breaker distributing to twelve 600 amp. gantry panels and two 6,000 arr.p. floor panels, the whole system being 3wire, 240v. across outers.
However, it early became apparent that the whole industry could not produce
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INCANDESCENT^
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MOLE FUQAT
NEUTRAL
MOLE FLOAT
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Fig. I. Theoretical Circuit for series-parallel running. 59 M.R. Type 170 arcs in seriesparallel, I incandescent and 2 " Duarcs " in parallel.
Fig. 2. Practical Circuit of
Fig. 3. Connections were
made by means of 3-way
Boxes.
INCANDESCENT
Large-scale Test
Coming now to September last, the third act of ' ' Tales of Hoffman ' ' was to be filmed in a set of the Music Room; 45 minutes of finished cut film had to be shot in eight days. For this huge set the lighting rig called for some 35,650 amps., and was made up of 176 Type 170 150-amp. H.I. arcs, 6 Type 1450 " Brutes,"4 100 Type 40 " Duarcs,"2 and 26 G.E.C. 150 amp. H.I.
enough cable to enable us to carry the current required from the power house to the stage and then distribute it inside. Thero were obviously only two alternatives: reduce the size of set or make use of series runnirg using the " Mole float."
It was at this stage that we learned that at Beaconsneld the " Mole float " was ir use, which puts the Crown Film Unit as the first people actually to use this system, al