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July, 1939] TELEVISION PRODUCTION 65
and numerous individuals, who, with the above, form the regular entertainment staff of W6XAO.
DISCUSSION
MR. LOWNER: May I ask if the backgrounds are painted in formal black and white or are they in color?
MR. LUBCKE: They can be either. We usually use black and white and shades of gray in which the ship scene was painted. The forest scene was painted in color. The color rendition is approximately the same as that of the presentday panchromatic film but with an unusual accentuation of red.
MR. LOWNER: You mentioned in your paper that you preferred a white light source. Do you mean that the yellow or the reddish tendency of normal daylight tends to be detrimental?
MR. LUBCKE: The yellowness and more especially the redness of the lowtemperature tungsten lamps aggravates the camera's red spectral response; consequently the high-temperature, white motion picture type lamps are the preferred incandescent sources. We have experimented with and used mercury-vapor lamps and others particularly rich in blue. A certain amount of color correction can be achieved in the overall system by such methods. There appears to be an actual loss of detail with too much red light. With a white incandescent source or something toward blue the clarity is better.
MR. Ross: Since it is unusually receptive to red, would it not be possible to obtain color shading by merely using different depths of red; in other words, different tones of red,
MR. LUBCKE: Yes; however, red and its derivatives as a whole come out as white. For a time in the make-up department we utilized red lining for highlights; however, because the actors looked grotesque and this reacted unfavorably emotionally upon them, we discontinued this practice and now use a white or cream color for highlighting the faces.
From practical experience, I would say that we would not all want to use shades of red as a means of getting different shades of tone. We much prefer to work in black, white, and shades of gray, staying away from a very bright white. At times a very brightly illuminated white sheet of paper or similar thing will overload the television camera tube and even the transmitter or amplifier. Last night, however, one of our acts was portrait sketching by an artist who, at the conclusion of his act, held up his sketch, which was in black and white on a perfectly white paper. It was very well televised.
MR. TREMAINE: Do you use a-c or d-c for lighting your sets?
MR. LUBCKE: We use d-c. We have used a-c on usual motion picture type incandescent lamps, and have not found a discernible hum pattern on the television screen. With mercuryvapor lamps on single-phase a-c there is a pronounced dark and light band effect, however.