MOTION-PICTURE PHOTOGRAPHY 



Table II. — Scope of Lighting 



691 



General lighting: 



Broadsides, side-arcs, rifles 



Overhead scoops 



Overhead strips or domes . , 

 Modeling lighting: 



36-in. or 24-in. reflectors. . , 



18-in. reflectors 



Lens spots, large 



Lens spots, mediurn 



Lens spots, small 



Close-up 



Min. 



Max. 



Small room, 

 20 X 20 ft. 



Min. 



Max. 



Medium size, 

 50 X 50 ft. 



Min. 



10 



Max. 



20 

 10 



4 



Large size, 

 over 50 X 50 



ft. 



Min. 



20 

 12 



Max. 



40 

 30 

 12 



16 

 20 

 16 

 24 



motor continuously while burning, and they may also be adjusted manually. The 

 motors have grease-packed reduction gears; most of the shafts and other rotating 

 members are mounted upon ball bearings and are designed for quiet operation on sound 

 stages. If it is necessary to position a lamp less than 6 • 

 ft. from a microphone, the motor may be stopped. 



The Studio Lighting Committee lists the modeling 

 units in their usual sizes ^ in Table I. 



In a typical interior set most of the lighting equip- 

 ment is likely to be found on platforms suspended above 

 the back line and side lines of the set. This overhead 

 arrangement comprises both general lighting and modeling 

 lamps, the latter including "back-lighting" units which, 

 directed diagonally downward from the rear of the set, 

 high-light the heads and shoulders of the principal actors. 



Other lighting units may be disposed on the stage floor 

 in two rows just off the camera line on either side. For 

 foUoM'-up or dollj'" shots one or several small lamps are 

 frequently mounted on the dolly to maintain constant 

 illumination on the players' faces during the entii'e 

 maneuver. In order to clear the stage for moving shots, 

 the tendency is to suspend as much of the lighting equip- 

 ment overhead as possible. 



The total amount of light required increases with the 

 size of the set and the scope of the shot, being least for 

 close-ups. The table above gives an idea of the 

 ordinary limits of lighting equipment in current studio 

 practice. 



I Diffusion or "silking " — the mterposition of a thin scrim 

 between the light source and the scene — is intended to scatter the rays and bonce* 

 lessen glare and reflection. It is properly employed to avoid harsh lighting and 

 secure softness of outline, but it should not be carried to the point of fuzziness. 



Fig. 



37. — High-intensity 

 arc. 



1 This table has been slightlj' modified to conform to later practice. 



