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1949 TELEVISION STUDIO LIGHTING 619
FIXTURES
Let us consider television operations for a moment. All who have watched a television show realize that it must progress smoothly from act to act and scene to scene without interruption. The lighting facilities must be adaptable to this kind of continuity. Hence in addition to being kept out of the way of activity on the studio floor they must be capable of quickly changing the center of illumination from one part of a scene to another or even to a different scene instantaneously. And this must all be done silently. After long experience it has been found that the only solution for this problem is not only to have the lights remotely controlled, but to have enough lighting units available to make two or more scene setups in advance of the show. The remote control can be handled very nicely by the rope controls apparent in Figs. 2 and 3. They permit tilting through a vertical angle of 90 degrees and a rotation in a horizontal plane through 360 degrees.
STUDIO INSTALLATIONS
To provide for advance setups requires a number of lighting units. That may sound expensive, but its cost is small compared to the television equipment with which it will be used. $5000 spent on lighting would go along with $75,000 to $100,000 for television gear. It is found that from 20 units for a small studio to 50 units for a large studio are normal requirements. Fig. 4 is a typical plan.
Hanging so many lights in a studio poses a problem of one lighting fixture shadowing the light from one behind it. This has led us to a scheme of locating fixtures in the pattern of an inverted pyramid (Fig. 4). To lay out an arrangement of this kind, lines are drawn from the top of the scenery at one end of the studio to the probable camera lens level at the other end. Where these lines intersect the light locations on the plan, the height of each light above the floor is determined. Lighting units farther from the staging area are lower, hence shadows caused by the close-in banks are avoided. Also so long as the camera field of view is limited to the top of the scenery, the lighting fixtures will never intrude upon the picture.
The television-lighting planner gets one break from nature. We are so accustomed to having daylight fall from overhead upon the things we see that it is natural to have the majority of our light in the television studio do likewise. This fits in beautifully with our desire