Journal of the Society of Motion Picture and Television Engineers (1950-1954)

Record Details:

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Fig. 2. Looking down through lighting pipes. niques with stage techniques. The material above the hanging clamps on the lamps resembles stage techniques, with the counterweights, the steel cables, the lighting pipes that go up and down, and so forth; while below are Fresneltype spotlights, barndoors, scrims, and so forth, as in motion pictures. The lighting pipes in this studio are spaced about 4 ft apart, run all the way across the studio, and can be raised to a height of approximately 35 ft. One of the first things done in lighting a show is to set the height of the lighting pipes. In this studio there have been Westerns with live horses and very high scenery, for which the pipes were pulled up about 30 ft in the air, against the ceiling, to give the necessary clearance. In most dramatic shows, the sets are about 10 ft high, and the pipes are brought down to about 12 ft from the floor. Manila ropes operate the counterweights from the floor to change the height of the pipes. On each lighting pipe is a raceway from which the lighting outlets hang. The raceway is fed from a multicon ductor cable that loops down from the ceiling. The outlets, or pigtails, or lighting receptacles, are on 2-ft leads, and are spaced about 5 ft apart. A lamp can be hung and plugged in at any outlet with no waste of time to find a cable or jumper. In this studio there are approximately 425 of these outlets, to practically eliminate the time consuming procurement and use of extension cables. About 24 of these outlets are spread around the floor of the studio. Also, all outlets are numbered to identify circuits back at the switchboard. Figure 3 shows the distribution section of the switchboard which provides for choice of interconnections between outlets in the studio and dimmers or switches in the control section of the board. On the right is a patch-cord type of interconnection where each plug protruding above the horizontal surface is connected to a retractable cable that eventually feeds an outlet in the studio. On the vertical surface are the receptacles which are permanently wired to the various dimmers A hern: Television Lighting Routines 191