Journal of the Society of Motion Picture and Television Engineers ( Volume: 59, Issue: 5, November 1952)

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Motion Picture Studio Lighting and Process Photography Report

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Publisher: SMPTE — White Plains, NY, USA
Doc Type: Journal Article
Content Type: Original Research
Abbreviated Title: J SMPTE
Volume: 59, No. 5, pp. 417–422
Abstract: THE BASIC COLOR sensitivity of the Technicolor process has been changed to a color temperature of 3350 K. When white light sources, such as sunlight, are used, the camera optical systems are filtered for proper balance. Incandescent tungsten filament lamps of the proper color temperatures are used unfiltered. When carbon arcs are used mixed with unfiltered tungsten lamps it becomes necessary to filter the carbon arcs to the lower color temperature. This is accomplished by using one MT-2 and one Y-1 filter on all high-intensity arc spotlamps and one MT-2 filter only on Duarc flood lamps. It is possible, however, to filter the camera optical train for sunlight balance and use the carbon-arc floodlamps unfiltered, the high-intensity carbon-arc spotlamps with only a Y-1 light yellow straw filter, and to filter the incandescent lamps with whiterlite filters as in the past. This gives the system a greater latitude so it may be used with incandescent tungsten lamps alone, where desired, at a key-light level as low as 150 ft-c; or with carbon arcs, or sunlight, with a key-light level of 300 ft-c; or with mixed lighting in either case provided the light sources are all adjusted to the balance of the particular camera filter system.
Publication Date: 1952-11-01
DOI: 10.5594/J04957
ISSN: Print: 0898-042X
Link: https://doi.org/10.5594/J04957
Author(s): John W. BoyleDirector of Photography, 139 1/2 S. Doheny Dr., Los Angeles 48, Calif.
Copyright: © 1952 Society of Motion Picture and Television Engineers, Inc.

Bibliographic Reference(s)

Carbon Arcs for Motion Picture Studio Lighting [Active]
Illumination in Motion Picture Production [Active]
3. Rowan Arthur , “Set lighting by remote control,” Am. Cinemat. , 32 : 444 , Nov. 1951 . EXTERNAL
4. Allen Leigh , “Reflected light for color photography,” Am. Cinemat. , 32 : 446 , Nov. 1951 . EXTERNAL
5. Freund Karl , “Shooting live television shows on film,” SMPTE 72d Convention Program , Oct. 7, 1952 . EXTERNAL

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John W. Boyle; Motion Picture Studio Lighting and Process Photography Report, Journal of the Society of Motion Picture and Television Engineers ( Volume: 59, Issue: 5, November 1952); SMPTE, 1952. Available at https://doi.org/10.5594/J04957

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John W. Boyle; Motion Picture Studio Lighting and Process Photography Report, Journal of the Society of Motion Picture and Television Engineers ( Volume: 59, Issue: 5, November 1952); SMPTE, 1952. Available at https://doi.org/10.5594/J04957

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<span class="citation">John W. Boyle; <cite>Motion Picture Studio Lighting and Process Photography Report</cite>, Journal of the Society of Motion Picture and Television Engineers ( Volume: 59, Issue: 5, November 1952); SMPTE, 1952. Available at <a href="https://doi.org/10.5594/J04957" target="_blank" rel="noopener">https://doi.org/10.5594/J04957</a></span>

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John W. Boyle; <cite id="bib-10-5594-j04957">Motion Picture Studio Lighting and Process Photography Report</cite>, Journal of the Society of Motion Picture and Television Engineers ( Volume: 59, Issue: 5, November 1952); SMPTE, 1952
<span class="doi">10.5594/J04957</span>
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Referenced By

Progress Committee Report [Active]
A 225-Ampere Motion-Picture Studio Carbon for Use with 3200–3400 K Color Film [Active]