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CHAPTER 7
But I have allowed my story to gallop far ahead of my facts, and I must take you back nearly three years to the time of Rescued by Rover.
It was shortly after Rescued by Rover — and perhaps because or on account of it, for it brought considerable grist to the mill — that I began to contemplate building an indoor studio for film-making. This was in the summer of 1905. I had nothing to go upon because, so far as I knew then, or indeed, so far as I know now, there was no studio in existence and working at that time. So all the conditions had to be envisaged and the details thrashed out in my own mind. There was no thought at all of a 'dark5 studio; what I wanted was one that would let in as much as possible of the daylight while protecting us from rain and wind, but it must not cast any shadows. Ordinary window-glass would let through the maximum of light, but in sunshine there must always be the shadows of the wood or iron bars in which the glass is mounted. So I set about looking for a glass which would diffuse the sunshine and so kill the shadows but without greatly diminishing the amount of the light. After considerable experiment I hit upon Muranese glass which exactly fulfilled these conditions. It gives beautifully smooth flood -lighting but cuts off no more light-value than ordinary glass.
But I realised, of course, that sunshine cannot be relied upon and I wanted to avoid the inconvenience of having to wait upon its vagaries. So I rigged up in our back garden — where all of this sort of thing had perforce to be done — an electric arc-lamp and tested as well as I could what additional help we might expect from this source. The result was our first studio. It was so shaped that the daylight could reach the acting floor from every reasonable point, including the space over the cameras, and, in addition, there was a row of hanging automatic arc-lamps and some more on stands which could be wheeled about into various positions.
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