Quote Originally Posted by singlo View Post
hey Kino (any relation to Kino Flo? :O)) ),

I heard of Kleig Eye...it is an inflammation of cornea or a small burnt hole in the retina caused by looking at very intense light source... I suffered " Kleig eye" myself from observing the Sun Eclipse in London years ago with insufficiently strong sun protection filter! My trouble is I have to shoot in an incredibly small space while the Technicolor film set guys shot in a studio had the ceiling height and size of a small aircraft hanger. Carbon arc went out of fashion quickly, it was quite possible that actors/actress worked in much better conditions with popularity and advancement of tungsten spots from 1940s.

Tungsten bulb converts electrical power into about 70% radiation in the infra red wavelength and the rest into visible light spectrum. It is not energy efficient (except Dedo). HMI light is the opposite, converting most energy into visible light spectrum similar to sun light. I used to own an old Strand 575W HMI fresnel running on magnet ballast (which weighted a ton). It is much less hot and brighter than a 1KW quartz junior. But its light flickers and rich in UV. You can get kleig eye by staring at the HMI light directly. I didn't like to use old HMI light because you have to handle it with great care or it could kill you during a strike if there is a short with the EHT, so I got rid of it in the end. Obviously the modern HMI fresnels running on electronic ballasts are great but very few people can afford one.
No, no relation, but I have done a fair amount of DP work...

Sorry, wasn't trying to make light (ugh!) of your problem, just clumsily responded with some trivia...

I've heard Kleig-eye attributed to both carbon dust and over exposure to UV from the arc; you are probably right, more like welder's eyes...

Carbon arcs went out when sound came in; you couldn't have the strike and the hum/splatter of a big arc during a quiet scene. This lead to a push to use incandescent lights which, in turn, caused an eruption of various "studio styles" that came about in the early years of talkies as cinematographers reacted and tried to deal with the loss of blue-rich light sources the filmstocks preferred.

Yes, panchromatic was available, but was still red-weak, which is (as you say) the bias toward which radiated energy emitted from early incandescent luminaries, so they had an urgent problem on their hands that had to be dealt with post-haste.

Auteur theorists will no doubt rise in revolt, but I think like the Novelle Vague owed its revolutionary styles of production to a basic technical break-through in lightweight location equipment, so to did Hollwood Studio "styles" emerge in their fight to regain enough illumination to continue their film factory output.

No doubt a few bright individuals made good use of this technical problem to craft a creative response and continue it as a signature, but I highly doubt the various "styles" would have been so pronounced had there been no technical crisis.

Man did I wander off topic, sorry!