The Cine Technician (1943 - 1945)

38 THE CINE-TECHNICIAN .Mav— June, 1044 the result, printed below, makes rather a sad story : — Readings with ISO amp. H.I arc with Y.I Filter, 25ft. from Weston Meter — Hollywood Studio Home Studio Full Flood 885 foot candles L60 foot candles 10 turns spot 610 ,. .. 230 .. 20 „ .. 1,410 .. .. 160 ., 30 „ .. 4.22D .. 1,360 „ There would appear to be two main reasons for this pitiful discrepancy. The first, "Pool" carbons, and the second that the Americans are putting 150 amps through their lamps, whereas up to now we have only been using 13(3 amps. I am glad to say that recent experiments with higher amperage have already proved a greal success and I hope before long all studios will convert thengrids in this way. In addition to the light being brighter it is also much cleaner and whiter, and this is indeed important. It is essential when lighting for colour to make sure that your arcs are burning correctly. If the gap between the positive and negative carbons is too large, in addition to loss of light the colour of the light will change to pink instead of white, and our old pal " lobster" will crop up again. While writing about the colour of light, it would be as well to mention another problem, the problem of " practical " lamps on sets : wall brackets, table and standard lamps, etc. The ordinary 60 watt or 100 watt bulb is far too yellow to look natural, therefore it is necessary to dip these in a blue cellulose before using them on colour sets. So far I have discussed only straight forward lighting, and before passing from this to night, and effect stuff, I would like to sum up by stressing the importance of getting fully exposed negatives with plenty of detail in the shadows. There is no doubt that sometimes excellent results can be obtained by breaking this rule, but generally speaking a well-exposed negative will give the most consistent and most pleasant effect. I think it is right to say that Technicolor exteriors are lovely, and not a little of this loveliness is due to good bright daylight and its accompanying strong and healthy negative. The amount of " control " that Technicolor have to exercise in order to give you a good result on the screen is something to be marvelled at, and it is not fair to make their problems greater by giving them a negative that because of thinness, or contrast, has little or no latitude. Don't forget that a negative printing correctly on light 12 will look reasonably good printed on light 14 or light 10, thus allowing for a margin of error — but a negative that is so thin that its correct printing light is light 4 will look quite impossible on light 6 or light 2. Here is a still of a shot taken from This Happx Breed with particulars of lighting used. (At the time This Happy Breed was in production, Tech nicolor negative stock was faster than it is at present, but I have adjusted photometer readings to suit the stock we are using today). ] have picked this still for its simplicity of light ing. Lighting plan — Still No. 2: — 1 120 amp H.I arc three quarters back, on John Mills, reading 800 foot candles, kept from burning up Kay Walsh by two thicknesses of net in kidney frame. 1 120 amp H.I arc three quarter back on Kay Walsh, reading 800 foot candles, kept from burning up John Mills by two thicknesses of net in kidney frame. 2 twin arc Broads, one either side of camera, each with one silk, giving together a front liudit meter reading of 400 foot candles. 1 three-quarter front 150 amp H.I arc from rail of set striking wall behind artists, with two twin arc Broads, with two silks each, one either side of settee on wKich figures are seated, giving total meter reading for set lighting of 400 foot candles. Now to pass on to effect lighting. This is so much a matter for the individual that I do not intend to deal with it at length. " Night Exterior " in the studio is, perhaps, the most generally used effect. I have already mentioned the necessity of dropping the Y.l filter, which will result in a colder more realistic night light. Hollywood obtain their romantic moonlight shots with the aid of light blue gelatine filters placed over their lamps, and these in conjunction with Y.l filters covering lamps lighting the interior of windows, etc., can be very effective indeed. As a rough guide a key light readin," of about 300 foot candles to 350 foot candles will give a good rendering of moonlight strength, hut this is naturally dependent on the amount of shadow light which accompanies it. Firelight effects, as I have already mentioned, .ire besl obtained with the use of incandescent