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Artificial Light in the Motion Picture Studio
By Max Mayer
When we turn back to the early pages of motion picture history, we come to the time when our pioneer producers began to look upon picture-making as an everyday and allday task, rather than an occasional diversion.
It was then that the pranks of old Sol began to be felt more keenly than when it was practical to wait for the clouds to roll by.
Confronted by a rapidly growing demand, the producer readily saw two alternatives; the land of eternal sunshine or artificial light, so he promptly reached out for both.
Artificial light was being extensively used both for still photography and in the Graphic Arts, and fairly suitable units were therefore available for cinematography.
At the time the main aim was to get lamps enough to light the sets, and somehow they never seemed able to get quite enough, no matter how many were used.
This condition prevailed, until the more recently developed tendency, to produce pleasing and natural light effects, superseded the earlier method of flooding the scenes with light from every available point.
Thus the lights were used virtually to produce shadows and contrasts, and far better results were attained with less light; in fact, many effects difficult and impracticable to obtain by sunlight are more readily achieved in a darkened studio with suitable electrical equipment.
This subject as a whole is wide in scope, and the writer dares herein to attempt nothing more than a superficial discussion thereof.
To this end three general classifications will aid in dealing with the topic:
(i) The nature of the light sources;
(2) The manner of their application;
(3) The manner of installation of equipment.
Under the first heading, consideration should be given to the color composition of the light, the degree of concentration of the light source itself, the nature and value of reflectors and auxiliary reflecting surfaces— and the nature and value of diffusing screens.
I Color Composition of Light
The color sensitiveness of the photographic emulsion, of course, determines the usefulness of the spectrum range of the light source.
The modern film used in the motion picture camera is sensitive over a considerable portion of the sun spectrum and consequently sunlight will record on the film more speedily and correctly than a light source in which one or more colors to which the emulsion is sensitive, are absent or weak.
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