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We followed the hall into the smaller studio and there found a comedy company at work. Without stopping to watch the players, ghastly under the light from the Cooper-Hewitts and Kliegel arcs, we found a precarious way back of the set around and under stage braces, to the covered bridge leading once more to the corridor outside Manton's office.
The lights, staggered and falling away from the camera lines, were arranged to focus their illumination on the action of the scenes. There were four arcs and two small portable banks of Cooper-Hewitts, the latter used to cut the sharp shadows and give a greater evenness to the photography. Also there were diffusers constructed of sheets of white cloth stretched taut on frames.
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