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624 BROLLY
; MB. J. A. OUIMET: We have a problem in the Toronto area where we have 25-cycle alternating current. What would you say would be the problem in this case?
CAPTAIN. EDDY: How difficult can television get? I do not really know. It is possible that fluorescent lights balanced on a 3-phase circuit and containing phase-splitting ballasts within them might be satisfactory. Also, incandescents would be less subject to nicker from the low frequency. You might have to use incandescents entirely. It might even be necessary to use direct current.
MR. OUIMET: Would you say that the use of 3-phase, 25-cycle, or even more phases if necessary, tends to give the same effect as direct current would?
CAPTAIN EDDY: I should think so. That would be my method of approach to it. I cannot tell you what the results would be until we have tried it. In fact, we have not approached the Canadian situation in lighting.
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MR. F. T. BOWDITCH (written comments): Mr. Brolly states that "arc lamps require too much attention, discharge fumes, and are apt to be noisy," and so are not suited to television studio illumination. While this statement possibly represents a reasonable analysis of the present position of carbon arcs in this industry, it should be pointed out that this is in large part because television studio practice is still in an early stage of development, both technically and economically. Present budgets apparently cannot support studio sizes and personnel on anything approaching the scale found desirable in the more highly developed motion picture industry, although the light levels and the inherent artistic requirements seem to be substantially the same in both cases.
Whenever the present economic limitations are removed, and when, in addition, television picture quality improves to the point where more artistic lighting effects can be effectively recorded and appreciated, the carbon arc will find an important place here just as it has in motion picture studio lighting. Any added cost of lamp attention will then be properly recognized as an insignificant part of the total studio expense, while the noise and dust problems will be easily and effectively handled just as they have been in motion picture work.