British Kinematography (1951)

BRITISH K.1NEMATOGRAPHY Vol. IS, No. 2 ase of their equipment. Since I returned, many of these devices and ideas have been used in British studios. Mole-Richardson, Ltd., have taken full advantage of cordial relations with American colleagues, and have made many of these ideas — for example, the remotely controlled shutter dimmers — available in England; but, perhaps more important, they have produced many original improvements on existing designs and also entirely new and time saving lights. Larger Lighting Units When " The Red Shoes " was started, I was able to include in the lighting equipment many American ideas. Two Mole-Richardson " Brutes " were flown over in time. Thev were used on every shot of the ballet sequence, and were invaluable. Many more were needed on large stage sets, where each lamp had such a long throw. One 150-amp. arc had to be " spotted up " so much to obtain the required intensity of light, that it covered only a two-feet diameter spot. In order, therefore, to high-light a large section of the set, twelve or more lamps would be required, where only a few " Brutes " would have been necessary. This was the case when lighting the church set in the ballet sequence. Because the lamps were sported to such a small diameter, adjustment was most delicate. In order to trim and change carbons, it was necessary to swing each lamp off its finely set position, and so every lamp had to be frequently reset. Thanks to the new design, whereby the back instead of the side of the lamp is opened when trimming, the hold-ups previously experienced have now been eliminated. Another time-saving innovation is the use of fewer but more powerful lamp units The time saved in trimming is considerable. Although no production figures are obtainable, it will be agreed that trimming 31 " Brutes " instead of 83 150-amp. arcs does save time. The difficulty in getting a broad lighting effect with so many small lights was great, and had more " Brutes " been available, much time could have been saved and the lighting made more effective. The new lamp, the X6, will be of the greatest value in studio work. A reel of th ballet sequence from " The Red Shoes " zcas projected. Acknowledgments The authors gratefully acknowledge the valuable assistance of the experimental staff of Mole-Richardson (England), Ltd., in carrying out the many tests and calculations involved in the research; and of Mr. Michael Powell and Miss Saunders, of British Lion Studios, and the Still Department of that studio, for their active assistance in the preparation of these papers. REFERENCES 1. Brit. Kine., 10, No. 1, Jan. /Feb., 1947, p. 24. 2. /. Soc. Mot. Pic. Eng., 46, No. 6, June, 1946, p. 441. 3. Studio Rev., Mar., 1950, p. 17. 4. Brit. Kine., 15, No. 1, June, 1949, p. 183 ; 16, No. 3, Mar., 1950, p. 91. 5. /. Soc. Mot. Pic. Eng., 49, No. 3, Sept., 1947, p. 279. 6. Brit. Kine., 16, No. 3, Mar., 1950, p. 93 ; Studio Rev., June, -1949, p. 25. DISCUSSION Mr. F. V. Hauser: The diagram of the fivewire system is quite clear, but the wiring is rather intricate on the floor. I had the pleasure of attending Mr. Hillver's demonstration at Shepperton, and agreed that it was quite feasible and worked admirably. A point that should be mentioned to-night is the part played by the Morgan Crucible Co. in providing suitable carbons for series running. Turning to Mr. Hallett's figures, I feel he has made a conservative and reasonable study of the savings that can be effected. I foresee that for big scenes it will become normal to work on the series system. In regard to Mr. Cardiff's paper, Mole Richardson have made big advances since that fine picture " The Red Shoes " was made, and Mr. Cardiff would have been helped if these advances had been available then. I regard the development of this system as an important development in the British film industry . Mr. Brian* Langley : Does any studio have these special carbons, and can any studio wire up the lamps in this manner?