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

candescents which requires to be balanced, maybe with the use of a Wratten filter? Mr. Ahern: The combination of incandescent light and the color response of the image orthicon, you will find, gives scene color brightness response very closely matching the eye. For instance, the new image orthicons now are low in the red, counteracting the lights which are high in the red. Henry Roger (Rolab Studios}: Would it be possible to eliminate some of the human element during the actual performance by running a perforated strip of paper, such as actuates a player piano, a device which would automatically operate the lights? Mr. Ahern: We have in use a couple of devices that approach that. The Center Theater has a very excellent switchboard of the preset type, with approximately 10 preset setups. Just by flipping one lever, you can bring up any one of 10 combinations. Also the Colonial Theater has the preset board on which, during the re hearsals, you set up your combinations. When the show goes on you press one button and lights come up in the intensities which were set. John P. Muller (WDSU Broadcasting Services, New Orleans}: Do you set any light levels with meters or mechanical means, or does your director just watch it on the monitor? Mr. Ahern: All our lighting directors have light meters. Of course, with experience you get to the point where you can light pretty much by eye. You then use the meter as a check before going up in the control room and talking to the video operator. He may ask whether the light is too low and the lighting director can give him the measurement in foot candles. The video operator then knows whether he's got a camera tube that's giving trouble. Mr. Muller: What type of meter is used? Mr. Ahern: It's a special Weston, model 915. 198 March 1954 Journal of the SMPTE VoL 62