Movie Makers (Jan-Dec 1949)

463 CHOOSING YOUR LIGHTING UNITS Flood lights, spotlights, bar lights or boom lights. Here's what you'll want to know on their design and use DR. GILBERT W. SCHWARTZ, ACL ELSEWHERE in this issue of Movie Makers, in Equipment Survey: 8, there is presented a representative selection of the lighting units currently being offered for use in home filming. It is, of course, representative only, since the different types and brands of lamps, reflectors, spotlights, lighting bars and accessories are legion. Because of this profusion of equipment, this discussion will attempt to outline the fundamental features to be considered in their selection. THE LAMPS AVAILABLE The basic element in lighting is, of course, the lamp. The technical characteristics of these units — such as wattage, amperage, rated life and type of base — are itemized in the equipment survey. These facts need not be repeated here. It is possible, however, to add other data on their use which may be of practical aid and interest. Primarily, the number of lamps that the home filmer can use will depend on the wiring and fusing of his home. This generally is for 15 amperes. With this figure in mind, we see that no more than six No. l's, three No. 2's or four of the new 375 watt flood bulbs can be used safely on any one house circuit. It is often the case, however, that a home or apartment will be wired with two or more circuits, on each of which a maximum 15 ampere load can be carried. USE DETERMINES TYPE The second point to be considered in any lamp purchase is the purpose for which it will be used. The No. 1 photoflood is now generally employed only for small, special flood lighting assignments or to replace during filming the normal home lighting bulbs in stand or table lamps which appear in the scene. The No. 2 photoflood, used either in a metal reflector or in the built-in reflector (RFL-2) type, is the universally popular unit for overall flood lighting on the home set. Supplementing it is the RSP-2 lamp or the spotlight for pushing illumination into far corners or for the special effects of back lighting. All of these units create a light color balanced for use with Type A Kodachrome (3400° Kelvin). The B-l and B-2 lamps, housed in blue glass, are for use indoors in combination with daylight and are balanced for outdoor Kodachrome. The 500 watt PS-25 bulb is color balanced at 3200° Kelvin and is intended for use with Tungsten Type Ansco Color. It should not be used with Kodachrome. It is not itemized in the survey. THE CLAMP-ON REFLECTOR For modest expense, versatility and all around handiness, perhaps no lighting equipment exceeds in popularity the clamp-on unit. It is comprised of a strong springed arm with clamping jaws at one end and a lamp socket at the other. The socket is attached to the arm with a universal joint permitting adjustment in any direction; it may be used either with the RFL type of bulb or the simple photoflood in metal reflector. Items to examine in the clamp-on lighting unit are the strength of the jaws, which should be rubber covered and able to hold in any position without sagging ; the strength and adjustability of the universal joint; the presence of a switch in the current line, preferably near the lamp socket, and, if a reflector is part of the unit, its size and design. A 12 inch diameter is about right for the No. 2 lamp, while the reflector bowl should be made of substantial gauge metal to retain its shape and evenly etched inside for good light diffusion. REFLECTORS AND STANDS Handy as the clamp units are for placing a single, needed light source in an odd position, they should not be expected to replace the heavy duty sets of reflectors and stands in any well balanced lighting kit. These outfits have a number of variations, but essentially they are comprised of a collapsible metal stand, one or more adjustable cross arms and metal reflecting units for use at the arm ends. Here again sturdiness of design and construction are of first importance. The spread of the metal legs should be wide enough to prevent tipping (with its very real dangers of flying glass and possibly fire) and the feet on the legs should be rubber tipped. The central upright should be of substantial tubing to minimize weaving and to accept the pressure of thumbscrews, while the cross arms should be easily adjustable and positive locking. Height of the opened unit should be at least 5 feet and preferably more. One or more of these complete units will be the backbone of your lighting assembly. PORTABLE LIGHTING BARS With the advent of Kodachrome and its ability to reproduce a scene adequately under front lighting only, there have come on the market in late years any number of portable lighting units, or bars. In essence, they are nothing more than a cross arm with a central handle, equipped with lamp sockets at their ends or along their length. Some models carry two lamps, others four, while additional refinements include flexible arms, built-in fusing, separate switches and a high-low control. The camera with all models is attached by a tripod screw in the center of the bar and the entire assembly may be carried about the set, assuringadequate light on the subject before it. Provision is also made for mounting the bar, either with or without camera, on a tripod or light stand when it is desired to use it from a fixed position. Especial care should be taken in using the bar when it is equipped with the unshielded RFL-2 bulbs. The moving cameraman, with his eye glued to the viewfinder and his attention on the subject before him, may [Continued on page 478]