Journal of the Society of Motion Picture Engineers (1930-1949)

Record Details:

Title:
Journal of the Society of Motion Picture Engineers
Date:
1930-1949
Publisher:
New York, N.Y. : The Society
Volume:
Journal of the Society of Motion Picture Engineers
Leaf #:
000631
Language:
English
Collection:
Technical Journals
Format:
Periodicals
Contributor:
Prelinger Library
Sponsor:
MSN
Coordinator:
Media History Digital Library
Description:
The Journal of the Society of Motion Picture Engineers (SMPE)Êdocuments the technological progress of the film industry, highlighting technical developments in production and exhibition. Of special interest are articles about special effects, theater practices, lighting, and the introduction of the 16mm format. Initially titled "Transactions of the Journal of the Society of Motion Picture Engineers."Digitized by the Prelinger Library and the Library of Congress Motion Picture, Broadcasting and Recorded Sound Division.
Date Added:
July 19, 2022
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628 BLOUNT December effect can best be obtained by suitable design of scenery and by properapplication of light to the stage. This is accomplished by adding modeling and back lighting to the general illumination. It is the general light that provides the studio engineer with the necessary picture signal; generally it should be from broad floods, uniformly illuminating the stage and scenery so that as the cameras are directed toward various portions of the stage very limited changes in signal WAVELENGTH IN ANGSTROM UNITS | VIOLET I BLUE | CREEf |YELLOW| ORANGE | Fig. 5 — Photoeffectiveness of 5769 image orthicon with 4500 white fluorescent lamps. level occur. Modeling light for the three-dimensional effect is usually directed toward the stage at an angle to create enough unbalance so that shadows appear to give depth to faces and forms as well as to the supporting property. Back lighting serves to separate the actors from the background by providing an outlining line of light about their heads and shoulders. It must come from overhead and slightly to the rear of the actors so that only a thin line of light is seen by the camera and direct light