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surface mirrors would probably represent the ideal reflecting surface, their use would hardly be practicable owing to the difficulty of keeping large numbers of them clean under the studio conditions.
Either a mat white surface of slightly bluish tint or a mat aluminum surface are found quite satisfactory, particularly for the flame arcs, as the white ash deposit from the carbons does not materially alter the reflective value of the surface; thereby keeping the light source practically as constant as the lamp itself. With mirror-surfaced reflectors, this ash deposit would gradually decrease the light strength, and cleaning would suddenly restore it to full brilliancy. It is plain that this would be a disturbing factor to the camera man.
The value of reflecting panels has long been recognized by portrait photographers. Cinematographers also use them when working with sunlight; but they have been slow to adopt them in conjunction with artificial light. These auxiliary reflectors are, however, none the less valuable for this purpose. Mat white or aluminum painted surfaces have been the customary practice, but a much more efi^ective reflecting surface may be made by stretching white oil cloth on a frame, treating the smooth surface with sizing and coating it with leaf aluminum, in a manner similar to that employed in show-window lettering. Such reflectors will do wonders in bringing out detail in shadows and in toning down hard contrasts, and will actually reduce the number of lamps required.
DIFFUSING SCREENS
Much experimenting has been done with diff^erent materials for difl^using the light and unfortunately the ones which absorb the least light are also least capable of resisting the hard usage in the studio. Very thin glass roughed, finely ribbed, or of otherwise irregular surface, while highly efficient, is out of the question owing to its fragility. Draughtsman's tracing linen is a good and fairly efficient diff^user, but must be kept at a considerable distance from the heat of the arcs to prevent burning or scorching. As this increase in distance from the light source increases the degree of diff"usion and necessitates a larger diff"using area, this material is only practicable where extreme diflPusion is desired, and therefore, for contrasty efi^ects it is better to use a smaller surface closer to the light source. Strips of glass, about oneeighth inch in thickness, roughed, ribbed or prismatic, give fair results, and one form of diff"user made of woven spun glass mounted in frames does quite as well and overcomes the mechanical weakness of the fragile glass strips.
2 Arrangement of Light Sources
Almost everyone directly connected with the art and technique of motion picture production has some pet ideas of his own on lighting and many who exploit their ideas in their daily work are getting commendable and pleasing eff"ects; some as the result of forethought in arranging the light, and others by mere accident.
However, the arrangement of the lights and reflectors is as much a matter of art as of science, and it is futile to attempt to make fixed rules along these lines. In fact, such a step would meet with just re