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

candescent lamps are used they are equipped with whiterlite filters. The Paramount Studio's engineering department has developed a remotecontrol lighting system for use with incandescent lamps (Fig. 2).3 With this system lightweight units, mounted in various places, may be moved at almost any angle, or the focus changed by remote control from a master station. The system was designed for use on a circus picture where the lamps had to be mounted on the tent poles; however, it is being adjusted with the thought of bringing studio lighting to an automatically controlled operation insofar as is possible. At the time of this writing only the one studio has built any of these motor-drive remote-controlled units. Several studios have rediscovered the desirable qualities of diffuse lighting of the "north sky light" type for certain applications.4 It is indicated for general fill-light, for supplementing more directional light on close shots, and overhead on foliage where its diffuse distribution creates a uniformity of illumination as contrasted to the heavier shadow effects produced by the Fresnel-lens type units. For the same reason it is not suitable for shadow effects. While most of the studios have produced one or more of these "reflected light" units, Figs. 3 and 4 illustrate types produced at the M-G-M and Columbia studios. These units are lightweight, are easily handled and rigged, are of a simple cone-and-drum shape with interior surfaces coated with flame retardent white paint which has not discolored under temperatures encountered in use. They are fitted with either one or two bulbs from 750-w to 5-kw in size. At present the housing diameters range from 24 to 60 in., but experimental models of other sizes and shapes are being made. Figures 5 and 6 illustrate sets used on the Desilu Productions of "I Love Lucy" which is photographed for television. This work is of particular interest because Karl Freund, the veteran Director of Photography who is in charge of photography of this show, has utilized his wide knowledge of motion picture studio lighting practice to produce "planelighting" and modelling effects. Many people have indicated that the use of multiple cameras and restricted economies would necessitate very flat lighting but Freund has shown that the judicious use of directional light is not only possible, but is highly desirable.5 In spite of the trend toward economy and simplicity of production a number of epic pictures have been made in which production values have been stressed with spectacular sets and lighting techniques. The year 1952 will probably be one where the more or less mechanical, production-line type of lighting will compete with the daring effect lighting to determine if the latter has the draw at the boxofHce which many feel to be the case. One element feels that the audiences do not know the difference between the two and because they do not know the difference, they will not feel the difference; the other element believes that spectacular lighting makes spectacular pictures. References 1. R. G. Linderman, G. W. Handley and A. Rodgers, "Illumination in motion picture production," Jour. SAfPE, 40: 333-367, June 1943. 2. W. W. Lozier and F. T Bowditch, "Carbon arcs for motion picture studio lighting," Jour. SMPTE, 57: 551-558, Dec. 1951. 3. Arthur Rowan, "Set lighting by remote control," Am. Cinemat., 32: 444, Nov. 1951. 4. Leigh Allen, "Reflected light for color photography," Am. Cinemat., 32: 446, Nov. 1951. 5. Karl Freund, "Shooting live television shows on film," SMPTE 72d Convention Program, Oct. 7, 1952. 422 November 1952 Journal of the SMPTE Vol. 59