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622 BROLLY December
Some types of fluorescent lamps generate electrical oscillation which radiate and interfere with operation of the television equipment. This can be taken care of by intelligent choice of lamps and their installation.
Thus it may be seen that television studio lighting is a major problem but it can and has been solved in many cases through application of fundamentals of illumination and mechanics.
ACKNOWLEDGMENTS
The author wishes to acknowledge, with thanks, the encouragement and assistance of the following men in the developments which are the background for this paper: Captain W. C. Eddy, U.S.N. (Retired), President of Television Associates, Inc., and Richard Blount of the General Electric Company, Lamp Department, Nela Park, Cleveland.
DISCUSSION
DR. F. G. BACK: Captain Eddy has talked about filters in conjunction with his lights. I should like to hear more about those filters which he is using.
CAPTAIN W. C. EDDY: The filter system that I referred to was the one that was first proposed at NELA Park in our last lighting conference out there. These were used to get rid of some of the mercury lines that exist in all fluorescent lights, in addition to balancing out the spectrum. They do, however, cut down the sensitivity because we add two negative filters. It has been pointed out in the conference that filters at the camera will give a close representation of the perfect eye curve; in other words, the camera will see the picture as the eye sees it. Using the Ansco color charts at WBKB last June, we ran extensive tests to find out whether filters in front of the tubes are satisfactory. We found that if you have a good tube, you can use filters, but if you have a tube that is ready to be retired, it will not work. The use of filters opens up a brand new field in television lighting.
Then again, Dr. Back, I know you are interested in the matching of tubes. Each tube has to have a separate filter. You cannot take one tube and say the next one is going to be just like it. It may and probably will require a different type of filter, so each one has to be cared for separately.
DR. BACK: Also the tubes vary widely. I tested quite a number of tubes at the ABC studio and almost every one was different.
CAPTAIN EDDY: We in television know that every tube is different. We do not even have to go through a test. They all give a different response, and it is hard to match those tubes in production work.
MR. O. W. HUNGERFORD: You mentioned in your talk that two incandescents were used to one of your fluorescent fixtures. On what do you base the output level of these lamps to give you that ratio?
CAPTAIN EDDY: That is a rule of thumb. When we light a studio, we actually take our projected curves, that is, our light curves, lay them over the floor area,