I got to operate a 800 million candle power WW2 searchlight as a kid. Every Christmas eve the church would hire a guy to run his searchlight. To create the North Star. He was very kind to show me how to run the light. I have loved carbon arc lights ever since ❤️
I was a projectionist at a theater in the before time. Had a pair of these working 20-minute reels. Never broke myself of the habit of looking for change-over dots in the corners. Eight seconds. You had eight seconds for the next reel to come up to speed so you could "open the blast doors", and get ready to hit the foot switch to swap shutters, and flip the sound switch at the same time. Then it was on to closing the door on the old reel, shutting down the projector, queue up the next reel, check the rods -- which you did continuously during the film in between making some emergency splices and running off the old reel back onto a new one (rewinding). It was a job. You might have ten minutes for a bathroom break, but if you saw the film starting to "blue", you had to race back and get those rods realigned...quickly. They would shelf easily, but at least you never opened the doors while it was running...mostly never.
I have a friend into 16mm film and with the oversized reels depending on the movie it's one, maybe two switchovers. He's got two projectors and 2-3 times a year we do an outside movie night. Not as intense but I can relate. Having seen both digital and film based versions of movies there is no question that film is superior in experience IMO.
I was a protectionist also in the 70's and 80's. I still see the cue marks on old shows. A 200 amp dc generator in the back room. Peerless arc lamp, simplex project, exhaust fans. Candy girls. Those were the days
I remember back in the '70's going to the drive-in with friends using the carbon arc for the projector Ted's father taught me a quite a bit about it along with watching free movies evey summer good times back then.. and the bowl shaped mirror ...
I was lucky enough to work on a film in the 90's (Power Rangers The Movie) where Carbon Arc lights where being used. The light from these was like the sun, big powerful good looking light. Sadly it was the last time I saw these amazing lights in action, and nothing since has ever come close to the brute beauty of the light that's generated. Seeing the name Mole Richardson also reminds me of the best studio fans ever developed. Powerful and quiet and again there's nothing like them today.
I have two Mole stories. I came to L.A. in 1979 to do sound for the movies and was scratching my way through low-budget stuff, some commercials and maybe a pick-up day on a feature or two then disaster struck. No, not an earthquake but close...the SAG strike of 1980. That work stoppage really shut the town down. People were losing homes, boats and lots of sleep. Career-wise, I knew my prospects were dim for the summer since all the "A-List" sound people were now available and looking for work. Who was going to hire a rookie like me? I had a friend in those days that was a gaffer/best boy and thought maybe I could drag some lights around since the only work in town was on commercials. He said take a number and get in line but...if you knew how to operate an arc lamp, then you move right to the front of the line. The next day I went to Jerry's deli and got their best tuna sandwich with extra pickles. I then stood right outside the fence in this video and bribed one of the Mole techs to show me that lamp plus lunch was included! One guy [I wish I could remember his name] told me to come back in an hour. I left him the sandwich. Sure enough, he kept his end of the bargain. He showed me the Heavy and the Lite weight head pictured in this video. I became the Arc-Angel for the rest of that summer! I never really had to do lighting again after the strike settled, but I never got in the juicers way ever again either. They really work for a living. Cut to the 1990's, I'm mixing Paramount's "Rules of Engagement" [feature not TV series] when director Billy Friedkin suddenly changed DP's. The "new guy" was the legendary Billy Fraker, ASC! He came over and introduced himself as my new best friend. Look, I only knew him from the countless American Cinematographer articles I had ingested before moving out to L.A. so this was our first handshake but not the last. He told me that over the weekend he was having 728 and 80 [electricians & grips] re-rig the stage. All the humming, buzzing HMI's were gone and everything ran on DC power. Dead quiet. Those arcs put out the cleanest, non-flickering man-made light you've ever-seen! I bet the facilities guys on the lot looked at the work order and saw the request for DC power! Who knows the last time time had fired up those generators. :-) This video sure brings back great memories! Thanks for posting this!
I have a sound question for you; when doing location mixing, what are ways you and your team avoid ADR in the future, and on the flip side of that, what do you do in a situation where the location does not allow for clean dialogue recording?
@@kylewhytonen HI Kyle. Excellent questions. The culture of the biz back then was to rarely if ever invite either the sound mixer or at least someone from the sound community to accompany the director, DP, Production Designer, et al on the Preliminary Locations scouts. This is one of the best ways to avoid unnecessary ADR that is tied to the actual location acoustics and surrounding environment, sonically speaking. With the script in hand, you will know approximately how many pages of dialogue they plan to get (if any). Will this be the site of some pivotal scenes or just incidental ones? While they are all 'looking', you should be listening to what could be problematic right there at the camera position, or out by base camp or even beyond (like airports, hospitals, schools if in session, etc. Conversely, by the time you are invited to ride along for the 'Tech Scout', they have made those decisions without your input. They have probably spent money to construct, or renovate, or paint or dress the set with furniture etc., and then you come in and point out that the place looks great but you're right under the flightpath of Burbank Airport, or two blocks from a construction site, or one block from a busy freeway and these scenes take place in the 19th century, so all that ambience is wrong.Given a heads up earlier in the process they may be able to find a suitable location that actually works for sound and picture, imagine that. Sometimes you may be working in a historical or actual place where events took place and therefore are dealt a hand that has no Aces. For those you would get a 'guide track' including all the noise you don't want in order that the actors can ADR later. Depending on how much dialogue there is you might be able to commandeer and van or suv with the actors and get them to do their performance over without camera so you could get some good wildlines that editorial may be able to cut in where we don't see lip sync. Sometimes this is necessary in places so noisy that the actors couldn't hear themselves on the track even though they all wore rf mics. Lastly, in the post process a lot of ADR is motivated less by location conditions and more by the actor or the director wanting a different 'performance' of the dialogue they captured. Many directors may not take the time but I asked several to turn their back to the video monitor before they were sure they had the best take in the can and just listen to the track as if it were radio. Many times I have discovered that if it doesn't work as 'radio' it might not be working visually either...but that's just me. :-) Hope this helps.
@@russellwilliams846 Hey Russell appreciate the answers and information! That’s a very interesting element that the production wouldn’t request the sound departments input on location scouts it seems terribly important to have sound there for that. In the scenarios when you HAVE been on a scout and noticed prevalent audio issues and brought them up to production, was there any solution met? I would assume, as the mixer for period films like Glory or Dances... and an airplane is flying over location would not only give the sound issues, but also take the actors out of their moments. That is a revelation about ADR also being used to create a different performance in post, I’ve always looked at it as a fix for audio issues only, that’s an eye opener, and gives me a bit more confidence when doing my next gig Thank you!! Can I ask one more question, sorry to bug you....working with Spike, shooting on location in New York, what are the challenges in getting clean dialogue on the streets in comparison with shooting something more intimate on a stage like 12 Angry Men? Thanks!!
@@kylewhytonen From the bottom up, no prep in the schedule is the reason I declined to do "Malcolm X" No comparison as it relates to "12 Angry Men" as all 12 have excellent voice control and we are in a controlled environment. Billy Friedkin actually had special FX do a demo for me to listen to their 'rain gag' as some scenes would have dripping water on the windows to simulate weather.On "Training Day" not only did Antoine Fuqua have the whole movie 'boarded (and each dept got a copy of all the storyboards) we were (cam. snd, grip,elec, FX) were at the facility where they prepped the cars, so when we were on the process trailer we had cable pre-rigged to xlr boxes behind the passenger seats. That stuff stayed on the trailers (2 insert cars and trailers everyday we did car stuff) until we went on stage. THe grips got these three foot thick blocks of foam rubber that were large enough to put under the 'shell' of the car [no wheels, suspension or drive train just the compartment, doors and windows]. That way the shell wouldn't move with respect to the trailer floor. That's the benefit of prep.
@@russellwilliams846 Wow never knew boards were so important to sound, but that makes perfect sense when knowing what to expect when shooting in regards to setups and challenges. Those scenes in the car in Training Day are so integral to the story and character, so being able get the performances clean and taking the steps to do so the right way, can’t not make the film better. Will have to watch the film and those scenes again with that in mind. Appreciate you taking the time to give me some insight on the process, thank you!
I'm a computer geek (I work in IT), and have a fascination with old tube radios and phonos. Yet the algorithm knew I needed to know how to operate a Mole Richardson carbon arc lamp, and I love it! I find film fascinating and have been lucky enough to have service calls at several of the major Los Angeles studios, where I always take the long way out when I'm done.
Now imagine feeding over 10,000 times the amps as this 600 volts of triple phase power and you got yourself an electric arc furnace for converting iron into steel or recycling old steel.
Mole Richardson guy: I can strike a one inch arc! Foundry dude: How cute. My neighbor ran the crane at Ford Rouge Steel, I don't remember the size of the bucket, but they struck a 6ft arc!
So many years ago, my parents lived about 6 miles from the river. The barge tugs at night would use carbon arc lights to spot their targets. I would be in my bad, looking out the window and the lights would light up the tree tops. Kind of a good memory of cool summer nights. Smiles!
Man, no kidding on that quality light. As soon as you stepped in front of that lamp it was almost night n day. I really appreciate quality and craft, Ian see why these have fallen out of favour, despite their beautiful characteristics. Thank you for taking the time to share your families story and the technicalities of operating such a machine!
Fascinating!! Equally fascinating is that we have a relative of the INVENTOR not out on his yacht,sipping champagne, but here Teaching us how to use the gear and some history---sharing his knowledge. Thanks M-R, and Mr Parker on a job well done!
This video just answered all my questions about how this spotlight works. I clapped my hands when he said "we are going to start it with the door open". Bravo!
I did a Western in Flagstaff in '86. Two Lighthead Brute arcs and even a Duarc. Great lights; they each have a personality. Actually, each trim has a personality. And they kept the brothers workin'! Each lamp (sometimes two, if close together) needed an operator. I can recall various old-timers showing up to work w/ one pair of heavy leather gloves and one pair of pliers. (Maybe a small flask too) Notice a fold-up handle at each corner of that head. Yup, one man on each corner to lift it. It may look like a giant Midget, but it is truly a Heavy Head. Good times. IATSE 728 - Los Angeles
Awesome video! thanks for sharing! I have built, restored, maintained and operated the huge 60 inch carbon arc searchlights (GE and Sperry) for 31 years. Always enjoy seeing other carbon arc lights operating :)
cool, I once almost purchased one of those searchligh rigs. Use to be a lot of searchlights in advertising, but I heard, the carbon rods were getting difficult to procure.
this was fascinating, I remember driving by the plant many times in the 80's....my dad during WWII was in charge of some little arc lights in the South Pacific, those 800 million candle power babies made by GE and Sperry, we never missed going to a shopping mall or car dealer opening when one was fried up....I wish I had gotten to talk to him more about them.....cheers from Orlando Florida, Paul
Wonderful to actually see the man himself, demonstrating what was an essential lighting tool for the movie industry worldwide until led lights and hdmi lights took over, and film speeds increased. I worked at Pinewood in England in the ‘60’s and ‘70’s, and those lights were in constant use on the James Bond films. The “evil genius lair” sets, which were huge and incredibly expensive for the time, could not have been lit well without the big Mole Richardson arcs, hired in from Samuelsons, in London.
Worked for Mole in 1983, 1 year in the rental dept. The van used to be red and I remember all those lights, globes, stands and cables. Brings back great memories, Mike Parker gave me the job and i remember Larry as well.
This is a terrific historic resource. My career began as HMIs were moving in strongly, and Brutes were no longer on any of the sets I worked on. I was lucky to have a good education on their light, and differences with discharge types. Young folks often ask questions that lead to an explanation of spectra, the black body curve, and CRI. I love to send them here to see this video to see what a Bruite is. Thanks Mole-Richardson for making this available!
As a kid growing up in the 1960’s there were lots of carbon arc “searchlights” used in shopping center and car dealer promotions. This is the first time I have ever seen how they work> Thanks for the content!
I had completely forgotten about those lights that used to dance around the sky at night. Once or twice we visited the parking lots where you would find three or four big "batman" style lights (at least that's what I called them since they looked like the same light used to call batman).
This thing reminds me of the anti aircraft / anti warship torch we used in the coastal artillery in Norway until 30 years ago. Until the 1991 Iraq war showed us all that stationary artillery is no longer good for defending any territory against serious threats. The torch we used back then was a 1000 mm (1 meter) torch of nazi origin that was adopted after WW2. I guess it was 4 times more powerful than the Hollywood thing shown in this video. It had an 8 or 12 piston nazi Diesel generator powering it all. We accidentally placed the beam at the the Oslo - Kiel ferry in '89, and the ship made a comple stop from 15-20 knots. Go figure what they experienced. Distance to target was ~1 mile. And if we by accident hit a seagull in mid flight at night, the poor thing fell straight into the sea, even at a great distance...
@@fredorico41 I just googled the legacy torches we were using until 1991. They were actually 1,5 m (or 1500 mm) ones. Here are the specs: Brand / Make: AEG / AZG, ELC / Siemens-Schukert, Körting-Mathisen Nationality: German Mirror diameter: 150 cm Focal length: 65 cm Brightness: about 500 million revenge candles, 460 million new normallys. Effect: ca 16 KW. (78 volts, 200 amp.) Range: 22000 meters under favorable conditions. Weight, headlights: 2500 kg Weight, trailer: 1750 kg Total weight: 4250 kg translate.google.com/translate?sl=no&tl=en&u=www.hestvik.no/Thorgrim/AEG150cm.html
In High School, I was a theater projectionist. We used DC Carbon arc in the projectors. In a nearby room was the large rectifiers to make AC into DC from line AC power. Anode and cathode. The projectors had chimneys out thru the roof to carry the resulting smoke. Both projectors had broken mirrors, but I'd keep "repairing" them with metal tape. The carbon rods were copper coated. I kept a few for memories sake, but It's been 20 years since I saw em in a box in the basement. Fun stuff.
Lit up an old Carbon Arc today, been sitting for many decades now, and it lit quite nicely. beautiful light, the video dose not do it justice, one must see it in person.
What a blast from the past! We got to do a project with a Brute Arc Light very much like this at CBS Radford Stages in the 1990s, even then it was almost a museum piece. We got operating lessons from some of the older guys from the CBS Lighting Department. They came by a few times to check up on us. I joked with them that I was still getting the hang of it, but I kept scorching my forearm when I reached in with C-wrench to change the lower carbon from time to time. I was surprised when they told me “No, you’re doing it right!” The guy patted me on the back and says “now you’ve got you’re sergeant stripes!” He went on to explain, in the old days when you walk around the studio lot or went to the commissary, you could spot the electricians because they had tell-tale scorch marks on their forearms from changing the carbons- “We called those your sergeant stripes! You’re doing it right!”
My cousin used to work at the movie house in Mt.Airy, NC, as a teenager, and I was only 13, but, he took me in with him.And he had to put the “rods” in the movie projector,rewind the films,put out for pickup bu the movie courier.There was a very small window to look thru to check on the rods, and to adjust them.Man was that part HOT to touch and even with the good lens, it was bright.
I know what you saying there my buddy's parents owned a drive in out west and in the film room a few times telling me the bowl mirror was expensive back then that was the '70-80s even with the dark glass the light was very bright and showed a full spectrum...
I'm glad the algorithm showed me this. Really nice video, interesting, and well presented. I get Jay Leno's Garage vibes... passionate, informed, relaxed.
Yes. My uncle ran a theater that used carbon ark projectors. When he was short handed, he would get me to run the projectors. I remember adjusting the feed rate. I remember me and my friends watching movies from the projection booth. The worst place imaginable to watch a movie from. But it was the *projection booth* so me and all my fiends thought it was cool. Do you remember changing projectors?
I remember seeing a Searchlight in town around 20 -25 years ago. It operated with the carbon Arc inside. I don't remember what the event was but, I do remember the light. You could see it from 10 miles away!
When I worked as a projectionist many moons ago some smaller cinemas still had carbon arc lamphouses in use. The carbons burned down in about 30 mins so they weren't any good for full feature films unless you ran them on 20 minute spools with changeovers between reels, which is how it was done in the old days. During my time in the industry it had mostly gone over to xenon lamps that had a life of 2000 hours and only required the flick of a switch to start them. Much more practical. The old carbon arc machines were only being used to show film ads and trailers before the feature by that time. I sure did love tinkering with them though, and the quality of the light was better too - a much more accurate light spectrum than the xenons when you got them burning just right. Of course it's all dead tech now - the new digital equipment has replaced all that dirty noisy old gear these days, and a projectionist is no longer required. I'm told by those still in the game that xenon lamps are still used to project the image though, so at least one facet of the tech is still in use anyway. It was great to see an old carbon arc lamp once again, so thanks for that.
"We're going to strike this with the door open" *OSHA arcflash safety intensifies" Hully carp that will fry anything in front of it with a bath of UV 😬 70,000+ Watt arclight.
Always a pleasure to see folks keeping these old arc lights alive. I had the good fortune to work at a historical site with a working GE 60" AA searchlight - same basic principle, but with a 5' diameter housing, a throw measured in miles, and no way that you're standing in the beam and keeping your eyesight. Lots of fun to show off to visitors. Thanks for sharing!
I learned how to operate the beautiful Mole arc light in 1988. Operated them in Commercials till the mid 90's. Sorry to say I haven't oparated one in over 20 years. Those grids made great heaters on those cold nights.
I remember making a rudimentary Carbon Arch in the mid to late 1960’s with battery cores and the mains and I’m glad I only had it going for a few seconds as it lit up my bedroom. Oh brother was it bright and not to be repeated as the consequences of an accident could have been more than serious.
I did the same thing! Did you use the carbon rods from the squarish lantern batteries? Those are what is used and looking back I now realize how lucky I was not to have burned down my house.
@@kaptainkaos1202 I seem to remember that I used the carbon rods from depleted uranium… NOT! The carbon rod’s came from a A1 battery or 2 of them. And then rapped the mains around the ends of the rod’s and lit up my bedroom like there was another sun shining. Something that I should have done outside or at least in a outhouse of sorts. I’m glad I survived that little excursion into being a lay-scientist of 13 years old fully intact.
Loved the video! I used to work as a projectionist for some years and my boss used to talk to me about the old arc light cinema projectors. First time that I can really witness the technology 'first hand'. Thank you.
I remember in my younger years in the projector room at the drive-in that my buddy's parents owned with the carbon arc lights in the Camara and the bowl mirror to reflect the light..
This is freaking super cool!!! I'm sending this video to everyone. Makes me want to go out and buy one of these and try it out at night over the water and see what i can see out there. Great video!!!
Awesome. I was lucky enough to learn much of the old techniques for projecting with arcs when I worked as a young man in a chain of old theaters. So the carbon arc technology is familiar. But it's great seeing these large stage lights. Very cool. Thanks.
I remember I'm my younger days hanging out with some friends that had parents that owned the drive in and the had carbon arc lights in them as well as the bowl shaped mirror...good times back then
I really enjoyed this video I remember seeing one of the Old world war II search lights that operated with carbonarchs on the end of the pier in Daytona Beach many years ago. I really enjoyed seeing how the movie lighting worked using the similar principles.
I was just talking to a friend about how using this babies is become a lost art. Glad you documented this! I'm sure that someday some young director and cinematographer are going to use these for a project and they'll come in vogue again. (I hope!)
Super cool! Very informative and exactly what I was looking for. I just learned the term carbon arc as it relates to movie projectors and this makes perfect sense now! Thank you!
I remember years ago a small drive-in out west back in the '70's I used to hang out at with some friends that used the carbon type arc for the lights for the projectors and the perfectly bowl shape mirror .
This is an excellent video I remember the old drive in out west having projectors like this... I thought I would never see one of these ever again... This is the first time I seen it since 1980 good fun times never end they just become memories...
Wasn’t The Wizard Of Oz filmed under carbon arc light? That would pre-date this featured light. I read that the film used for that movie had a speed of 8. That necessitated the carbon arc lights.
Yes your right and I think ze Germans had a similar type of light long before that to spot allied planes and try to blow them out of the sky. I think that guy's grandfather worked for the Reich before coming to Hollywood
wow. i seem to know how to operate a carbon arc now! thank you for giving us a very good demo! awesome!!! 1 question though: -how many hours can we safely keep it running?
Thank you for this video. I grew up on a TV set in the 70's and this arc brought back so many memories. Any chance you have an old 9 light you can feature?
Carbon arcs were used in the original blade runner in outdoor scenes. I find a lot of today's films, particularly sci-fi's have a very flat look to the them (look at 2049 vs orig blade runner). I've come to the conclusion it's a combination of the digital cameras and LED lighting used now. Pre the digital era, film stock added grain and filament lighting and carbon arcs also added a slight natural variability to the lighting levels resulting in the film magic we see in these older flicks.
Never used one of these but I believe when he says it puts out a much more beautiful light than an HMI. Ive been hearing that for thirty years. Most big HMIs are pars and are used because of their high output not great light quality.
Extremely interesting. Never knew that their light quality was so excellent. I rather thought it was like a mercury arc where the electrodes are going sour, so it flickers. Would love to see one operating.
Thank you for sharing an interesting demonstration! When you mentioned "throw your HMIs away", I wondered if it would be true if digital cinematographers today would have less trouble with image flicker when shooting different frame rates and shutter speeds if they just used carbon arc lamps instead of HMIs?
@@Eli.Suarez : Actually, I didn't think (or say?) that HMI was LED. I just have heard that there is sometimes flicker problems in the recorded video (and not seen in the HMI light itself on set) when shooting with HMIs powered with magnetic ballasts. I just thought I'd give a plug for old-fashioned carbon arcs here, since I don't believe they can cause flicker problems for film and video like HMIs sometimes can.
As a teacher, i'm curious about the early beginnings of on set lighting technology. Was the carbon arc light the first artificial light source used on set? Did Mole create the carbon arc fixture first for the industry? When did they first go into service?
There used to be a carbon arc lamp atop the Palmolive Building on Chicago's near north lakefront. It was called "The Lindbergh beacon" and was at the time the brightest carbon arc lamp in the world. It could be seen for more than 30 miles over Lake Michigan.
Great video! Nothing beats the carbon arc for light quality. It's sad that good carbons are getting very difficult, if not impossible, to find nowadays.
I got to operate a 800 million candle power WW2 searchlight as a kid. Every Christmas eve the church would hire a guy to run his searchlight. To create the North Star. He was very kind to show me how to run the light. I have loved carbon arc lights ever since ❤️
I was a projectionist at a theater in the before time. Had a pair of these working 20-minute reels. Never broke myself of the habit of looking for change-over dots in the corners. Eight seconds. You had eight seconds for the next reel to come up to speed so you could "open the blast doors", and get ready to hit the foot switch to swap shutters, and flip the sound switch at the same time. Then it was on to closing the door on the old reel, shutting down the projector, queue up the next reel, check the rods -- which you did continuously during the film in between making some emergency splices and running off the old reel back onto a new one (rewinding). It was a job. You might have ten minutes for a bathroom break, but if you saw the film starting to "blue", you had to race back and get those rods realigned...quickly. They would shelf easily, but at least you never opened the doors while it was running...mostly never.
I have a friend into 16mm film and with the oversized reels depending on the movie it's one, maybe two switchovers. He's got two projectors and 2-3 times a year we do an outside movie night. Not as intense but I can relate.
Having seen both digital and film based versions of movies there is no question that film is superior in experience IMO.
I was a protectionist also in the 70's and 80's. I still see the cue marks on old shows. A 200 amp dc generator in the back room. Peerless arc lamp, simplex project, exhaust fans. Candy girls. Those were the days
I want to listen to stories about that job... im sure they would be more than a little bit traumatizing to recount though. Sounds stressful.
I remember back in the '70's going to the drive-in with friends using the carbon arc for the projector Ted's father taught me a quite a bit about it along with watching free movies evey summer good times back then.. and the bowl shaped mirror ...
Go Blind...just like welding ..
The RUclips algorithm succeeds again. I never would have looked this up, but I did enjoy it.
Hell yeah
Yea, it got me too!!
I am on an old lighting techniques marathon for a few days now and I absolutely love it
I was lucky enough to work on a film in the 90's (Power Rangers The Movie) where Carbon Arc lights where being used. The light from these was like the sun, big powerful good looking light. Sadly it was the last time I saw these amazing lights in action, and nothing since has ever come close to the brute beauty of the light that's generated. Seeing the name Mole Richardson also reminds me of the best studio fans ever developed. Powerful and quiet and again there's nothing like them today.
Ironically the Fox Kids logo used two yellow Klieg lights to form the X!
I have two Mole stories. I came to L.A. in 1979 to do sound for the movies and was scratching my way through low-budget stuff, some commercials and maybe a pick-up day on a feature or two then disaster struck. No, not an earthquake but close...the SAG strike of 1980. That work stoppage really shut the town down. People were losing homes, boats and lots of sleep. Career-wise, I knew my prospects were dim for the summer since all the "A-List" sound people were now available and looking for work. Who was going to hire a rookie like me?
I had a friend in those days that was a gaffer/best boy and thought maybe I could drag some lights around since the only work in town was on commercials. He said take a number and get in line but...if you knew how to operate an arc lamp, then you move right to the front of the line.
The next day I went to Jerry's deli and got their best tuna sandwich with extra pickles. I then stood right outside the fence in this video and bribed one of the Mole techs to show me that lamp plus lunch was included! One guy [I wish I could remember his name] told me to come back in an hour. I left him the sandwich. Sure enough, he kept his end of the bargain. He showed me the Heavy and the Lite weight head pictured in this video. I became the Arc-Angel for the rest of that summer! I never really had to do lighting again after the strike settled, but I never got in the juicers way ever again either. They really work for a living.
Cut to the 1990's, I'm mixing Paramount's "Rules of Engagement" [feature not TV series] when director Billy Friedkin suddenly changed DP's. The "new guy" was the legendary Billy Fraker, ASC! He came over and introduced himself as my new best friend. Look, I only knew him from the countless American Cinematographer articles I had ingested before moving out to L.A. so this was our first handshake but not the last. He told me that over the weekend he was having 728 and 80 [electricians & grips] re-rig the stage. All the humming, buzzing HMI's were gone and everything ran on DC power. Dead quiet. Those arcs put out the cleanest, non-flickering man-made light you've ever-seen! I bet the facilities guys on the lot looked at the work order and saw the request for DC power! Who knows the last time time had fired up those generators. :-)
This video sure brings back great memories! Thanks for posting this!
I have a sound question for you; when doing location mixing, what are ways you and your team avoid ADR in the future, and on the flip side of that, what do you do in a situation where the location does not allow for clean dialogue recording?
@@kylewhytonen HI Kyle. Excellent questions. The culture of the biz back then was to rarely if ever invite either the sound mixer or at least someone from the sound community to accompany the director, DP, Production Designer, et al on the Preliminary Locations scouts. This is one of the best ways to avoid unnecessary ADR that is tied to the actual location acoustics and surrounding environment, sonically speaking. With the script in hand, you will know approximately how many pages of dialogue they plan to get (if any). Will this be the site of some pivotal scenes or just incidental ones? While they are all 'looking', you should be listening to what could be problematic right there at the camera position, or out by base camp or even beyond (like airports, hospitals, schools if in session, etc.
Conversely, by the time you are invited to ride along for the 'Tech Scout', they have made those decisions without your input. They have probably spent money to construct, or renovate, or paint or dress the set with furniture etc., and then you come in and point out that the place looks great but you're right under the flightpath of Burbank Airport, or two blocks from a construction site, or one block from a busy freeway and these scenes take place in the 19th century, so all that ambience is wrong.Given a heads up earlier in the process they may be able to find a suitable location that actually works for sound and picture, imagine that.
Sometimes you may be working in a historical or actual place where events took place and therefore are dealt a hand that has no Aces. For those you would get a 'guide track' including all the noise you don't want in order that the actors can ADR later. Depending on how much dialogue there is you might be able to commandeer and van or suv with the actors and get them to do their performance over without camera so you could get some good wildlines that editorial may be able to cut in where we don't see lip sync. Sometimes this is necessary in places so noisy that the actors couldn't hear themselves on the track even though they all wore rf mics.
Lastly, in the post process a lot of ADR is motivated less by location conditions and more by the actor or the director wanting a different 'performance' of the dialogue they captured. Many directors may not take the time but I asked several to turn their back to the video monitor before they were sure they had the best take in the can and just listen to the track as if it were radio. Many times I have discovered that if it doesn't work as 'radio' it might not be working visually either...but that's just me. :-) Hope this helps.
@@russellwilliams846 Hey Russell appreciate the answers and information! That’s a very interesting element that the production wouldn’t request the sound departments input on location scouts it seems terribly important to have sound there for that.
In the scenarios when you HAVE been on a scout and noticed prevalent audio issues and brought them up to production, was there any solution met?
I would assume, as the mixer for period films like Glory or Dances... and an airplane is flying over location would not only give the sound issues, but also take the actors out of their moments.
That is a revelation about ADR also being used to create a different performance in post, I’ve always looked at it as a fix for audio issues only, that’s an eye opener, and gives me a bit more confidence when doing my next gig Thank you!!
Can I ask one more question, sorry to bug you....working with Spike, shooting on location in New York, what are the challenges in getting clean dialogue on the streets in comparison with shooting something more intimate on a stage like 12 Angry Men?
Thanks!!
@@kylewhytonen From the bottom up, no prep in the schedule is the reason I declined to do "Malcolm X" No comparison as it relates to "12 Angry Men" as all 12 have excellent voice control and we are in a controlled environment. Billy Friedkin actually had special FX do a demo for me to listen to their 'rain gag' as some scenes would have dripping water on the windows to simulate weather.On "Training Day" not only did Antoine Fuqua have the whole movie 'boarded (and each dept got a copy of all the storyboards) we were (cam. snd, grip,elec, FX) were at the facility where they prepped the cars, so when we were on the process trailer we had cable pre-rigged to xlr boxes behind the passenger seats. That stuff stayed on the trailers (2 insert cars and trailers everyday we did car stuff) until we went on stage. THe grips got these three foot thick blocks of foam rubber that were large enough to put under the 'shell' of the car [no wheels, suspension or drive train just the compartment, doors and windows]. That way the shell wouldn't move with respect to the trailer floor. That's the benefit of prep.
@@russellwilliams846 Wow never knew boards were so important to sound, but that makes perfect sense when knowing what to expect when shooting in regards to setups and challenges. Those scenes in the car in Training Day are so integral to the story and character, so being able get the performances clean and taking the steps to do so the right way, can’t not make the film better. Will have to watch the film and those scenes again with that in mind.
Appreciate you taking the time to give me some insight on the process, thank you!
I'm a computer geek (I work in IT), and have a fascination with old tube radios and phonos. Yet the algorithm knew I needed to know how to operate a Mole Richardson carbon arc lamp, and I love it! I find film fascinating and have been lucky enough to have service calls at several of the major Los Angeles studios, where I always take the long way out when I'm done.
Now imagine feeding over 10,000 times the amps as this 600 volts of triple phase power and you got yourself an electric arc furnace for converting iron into steel or recycling old steel.
Mole Richardson guy: I can strike a one inch arc! Foundry dude: How cute.
My neighbor ran the crane at Ford Rouge Steel, I don't remember the size of the bucket, but they struck a 6ft arc!
Used a carbon arc projector as a young projectionists assistant back in the day, so reliable and easy to operate and maintain.
What about the van? Most interesting custom made, it seems. And quiet for 1000 amps, What´s the story with it? Is it still around?
A tandem axle Econoline? I'll take it.
I only clicked for the van.
Please do a tour of the van
@@jhoncho4x4 me too three axle
That van is made to carry some heavy loads, thats for sure.
So many years ago, my parents lived about 6 miles from the river. The barge tugs at night would use carbon arc lights to spot their targets. I would be in my bad, looking out the window and the lights would light up the tree tops. Kind of a good memory of cool summer nights.
Smiles!
Man, no kidding on that quality light. As soon as you stepped in front of that lamp it was almost night n day. I really appreciate quality and craft, Ian see why these have fallen out of favour, despite their beautiful characteristics. Thank you for taking the time to share your families story and the technicalities of operating such a machine!
Fascinating!! Equally fascinating is that we have a relative of the INVENTOR not out on his yacht,sipping champagne, but here Teaching us how to use the gear and some history---sharing his knowledge. Thanks M-R, and Mr Parker on a job well done!
I doubt the INVENTOR was ever out yachting, let alone his relative
Carbon arc lamps were around in the early 1900s. This may be the inventor of this smaller type units.
the germans use cabon searchlights in WWII on the same
principle... so inventor no
Am I the only one more interested in the tandem van?
That's what I wanted to see. Bad ass!
+Jc Wolf ?
Right?! I want the story of that! Were the generators built into them?
Yep, that van is _so_ Hollywood special order!
Came here to say this
That carbon lamp is an absolute beast and so is that tandem axle van. Very cool!
This video just answered all my questions about how this spotlight works. I clapped my hands when he said "we are going to start it with the door open". Bravo!
I did a Western in Flagstaff in '86. Two Lighthead Brute arcs and even a Duarc.
Great lights; they each have a personality. Actually, each trim has a personality.
And they kept the brothers workin'! Each lamp (sometimes two, if close together) needed an operator. I can recall various old-timers showing up to work w/ one pair of heavy leather gloves and one pair of pliers. (Maybe a small flask too)
Notice a fold-up handle at each corner of that head. Yup, one man on each corner to lift it. It may look like a giant Midget, but it is truly a Heavy Head.
Good times. IATSE 728 - Los Angeles
Neat story thanks for sharing 👍
Awesome video! thanks for sharing!
I have built, restored, maintained and operated the huge 60 inch carbon arc searchlights (GE and Sperry) for 31 years. Always enjoy seeing other carbon arc lights operating :)
cool, I once almost purchased one of those searchligh rigs. Use to be a lot of searchlights in advertising, but I heard, the carbon rods were getting difficult to procure.
Wait until PhotonicInduction gets a hold of one of these...
"We're gonna pop it"
this was fascinating, I remember driving by the plant many times in the 80's....my dad during WWII was in charge of some little arc lights in the South Pacific, those 800 million candle power babies made by GE and Sperry, we never missed going to a shopping mall or car dealer opening when one was fried up....I wish I had gotten to talk to him more about them.....cheers from Orlando Florida, Paul
Spitfires in ww2
Wonderful to actually see the man himself, demonstrating what was an essential lighting tool for the movie industry worldwide until led lights and hdmi lights took over, and film speeds increased. I worked at Pinewood in England in the ‘60’s and ‘70’s, and those lights were in constant use on the James Bond films. The “evil genius lair” sets, which were huge and incredibly expensive for the time, could not have been lit well without the big Mole Richardson arcs, hired in from Samuelsons, in London.
Thank you.
I learned to use the copper clad carbon rods in the old 35 mm projectors. Your video brought back some good memories.
Thank you again.
Worked for Mole in 1983, 1 year in the rental dept. The van used to be red and I remember all those lights, globes, stands and cables. Brings back great memories, Mike Parker gave me the job and i remember Larry as well.
This is a terrific historic resource. My career began as HMIs were moving in strongly, and Brutes were no longer on any of the sets I worked on. I was lucky to have a good education on their light, and differences with discharge types. Young folks often ask questions that lead to an explanation of spectra, the black body curve, and CRI. I love to send them here to see this video to see what a Bruite is. Thanks Mole-Richardson for making this available!
This is incredible. The world is a better place because of this man.
As a kid growing up in the 1960’s there were lots of carbon arc “searchlights” used in shopping center and car dealer promotions. This is the first time I have ever seen how they work> Thanks for the content!
I had completely forgotten about those lights that used to dance around the sky at night.
Once or twice we visited the parking lots where you would find three or four big "batman" style lights (at least that's what I called them since they looked like the same light used to call batman).
I loved seeing this! Thank you for sharing! Hats off to your grand dad. Nice bit of engineering…
This thing reminds me of the anti aircraft / anti warship torch we used in the coastal artillery in Norway until 30 years ago. Until the 1991 Iraq war showed us all that stationary artillery is no longer good for defending any territory against serious threats. The torch we used back then was a 1000 mm (1 meter) torch of nazi origin that was adopted after WW2. I guess it was 4 times more powerful than the Hollywood thing shown in this video. It had an 8 or 12 piston nazi Diesel generator powering it all. We accidentally placed the beam at the the Oslo - Kiel ferry in '89, and the ship made a comple stop from 15-20 knots. Go figure what they experienced. Distance to target was ~1 mile. And if we by accident hit a seagull in mid flight at night, the poor thing fell straight into the sea, even at a great distance...
Wow thanks for sharing, I learnt a bit about these light from watching battleship New Jersey.
@@fredorico41 I just googled the legacy torches we were using until 1991. They were actually 1,5 m (or 1500 mm) ones.
Here are the specs:
Brand / Make: AEG / AZG, ELC / Siemens-Schukert, Körting-Mathisen
Nationality: German
Mirror diameter: 150 cm
Focal length: 65 cm
Brightness: about 500 million revenge candles, 460 million new normallys.
Effect: ca 16 KW. (78 volts, 200 amp.)
Range: 22000 meters under favorable conditions.
Weight, headlights: 2500 kg
Weight, trailer: 1750 kg
Total weight: 4250 kg
translate.google.com/translate?sl=no&tl=en&u=www.hestvik.no/Thorgrim/AEG150cm.html
More on the Hefner light unit: www.sizes.com/units/hefner.htm
In High School, I was a theater projectionist. We used DC Carbon arc in the projectors. In a nearby room was the large rectifiers to make AC into DC from line AC power. Anode and cathode. The projectors had chimneys out thru the roof to carry the resulting smoke. Both projectors had broken mirrors, but I'd keep "repairing" them with metal tape. The carbon rods were copper coated. I kept a few for memories sake, but It's been 20 years since I saw em in a box in the basement. Fun stuff.
Lit up an old Carbon Arc today, been sitting for many decades now, and it lit quite nicely. beautiful light, the video dose not do it justice, one must see it in person.
What a blast from the past!
We got to do a project with a Brute Arc Light very much like this at CBS Radford Stages in the 1990s, even then it was almost a museum piece. We got operating lessons from some of the older guys from the CBS Lighting Department. They came by a few times to check up on us. I joked with them that I was still getting the hang of it, but I kept scorching my forearm when I reached in with C-wrench to change the lower carbon from time to time. I was surprised when they told me “No, you’re doing it right!” The guy patted me on the back and says “now you’ve got you’re sergeant stripes!” He went on to explain, in the old days when you walk around the studio lot or went to the commissary, you could spot the electricians because they had tell-tale scorch marks on their forearms from changing the carbons- “We called those your sergeant stripes! You’re doing it right!”
Thanks for this video! I haven't worked with a carbon arc since I started in the business 20 years ago and this video brought back memories.
My cousin used to work at the movie house in Mt.Airy, NC, as a teenager, and I was only 13, but, he took me in with him.And he had to put the “rods” in the movie projector,rewind the films,put out for pickup bu the movie courier.There was a very small window to look thru to check on the rods, and to adjust them.Man was that part HOT to touch and even with the good lens, it was bright.
I know what you saying there my buddy's parents owned a drive in out west and in the film room a few times telling me the bowl mirror was expensive back then that was the '70-80s even with the dark glass the light was very bright and showed a full spectrum...
I'm glad the algorithm showed me this. Really nice video, interesting, and well presented. I get Jay Leno's Garage vibes... passionate, informed, relaxed.
Used to run a theater projector that ran on same principal. If you weren’t paying attention the movie would get dark after the rods burned back
Yes. My uncle ran a theater that used carbon ark projectors. When he was short handed, he would get me to run the projectors. I remember adjusting the feed rate. I remember me and my friends watching movies from the projection booth. The worst place imaginable to watch a movie from. But it was the *projection booth* so me and all my fiends thought it was cool. Do you remember changing projectors?
There was something about the light from those projectors that you don't see today.
I remember seeing a Searchlight in town around 20 -25 years ago. It operated with the carbon Arc inside. I don't remember what the event was but, I do remember the light. You could see it from 10 miles away!
awesome find of the day, i love videos on old equipment they built them right for sure
When I worked as a projectionist many moons ago some smaller cinemas still had carbon arc lamphouses in use. The carbons burned down in about 30 mins so they weren't any good for full feature films unless you ran them on 20 minute spools with changeovers between reels, which is how it was done in the old days. During my time in the industry it had mostly gone over to xenon lamps that had a life of 2000 hours and only required the flick of a switch to start them. Much more practical. The old carbon arc machines were only being used to show film ads and trailers before the feature by that time. I sure did love tinkering with them though, and the quality of the light was better too - a much more accurate light spectrum than the xenons when you got them burning just right.
Of course it's all dead tech now - the new digital equipment has replaced all that dirty noisy old gear these days, and a projectionist is no longer required. I'm told by those still in the game that xenon lamps are still used to project the image though, so at least one facet of the tech is still in use anyway.
It was great to see an old carbon arc lamp once again, so thanks for that.
"We're going to strike this with the door open"
*OSHA arcflash safety intensifies"
Hully carp that will fry anything in front of it with a bath of UV 😬 70,000+ Watt arclight.
One of the coolest videos i have seen in 2021 ...thank you sir ...you made my day today ...👍
Always a pleasure to see folks keeping these old arc lights alive. I had the good fortune to work at a historical site with a working GE 60" AA searchlight - same basic principle, but with a 5' diameter housing, a throw measured in miles, and no way that you're standing in the beam and keeping your eyesight. Lots of fun to show off to visitors. Thanks for sharing!
I learned how to operate the beautiful Mole arc light in 1988. Operated them in Commercials till the mid 90's. Sorry to say I haven't oparated one in over 20 years. Those grids made great heaters on those cold nights.
I remember making a rudimentary Carbon Arch in the mid to late 1960’s with battery cores and the mains and I’m glad I only had it going for a few seconds as it lit up my bedroom. Oh brother was it bright and not to be repeated as the consequences of an accident could have been more than serious.
I did the same thing! Did you use the carbon rods from the squarish lantern batteries? Those are what is used and looking back I now realize how lucky I was not to have burned down my house.
@@kaptainkaos1202
I seem to remember that I used the carbon rods from depleted uranium… NOT! The carbon rod’s came from a A1 battery or 2 of them. And then rapped the mains around the ends of the rod’s and lit up my bedroom like there was another sun shining. Something that I should have done outside or at least in a outhouse of sorts. I’m glad I survived that little excursion into being a lay-scientist of 13 years old fully intact.
Lots of UVC there plus mains voltage is lethal. Lucky you did not go blind. Or died.
I am just finding this. Very interesting! Enjoyed this very much. Thanks for sharing. Would love to see more on the generator...
The song "Blinded by the Light" takes on a whole new meaning....
Please make a video showing us what happens when you fill the head with popcorn.
Will the popcorn be edible?
@@RaymondHng if you like ash...
Loved the video! I used to work as a projectionist for some years and my boss used to talk to me about the old arc light cinema projectors. First time that I can really witness the technology 'first hand'. Thank you.
I remember in my younger years in the projector room at the drive-in that my buddy's parents owned with the carbon arc lights in the Camara and the bowl mirror to reflect the light..
This guy could make a McDonalds checkout cashier sound like an advanced mathematical degree was required.
Man, that was awesome. It was a joy to watch it work. I was born too late to use these. Thank you Larry !
This is freaking super cool!!! I'm sending this video to everyone. Makes me want to go out and buy one of these and try it out at night over the water and see what i can see out there. Great video!!!
Awesome. I was lucky enough to learn much of the old techniques for projecting with arcs when I worked as a young man in a chain of old theaters. So the carbon arc technology is familiar. But it's great seeing these large stage lights. Very cool. Thanks.
I remember I'm my younger days hanging out with some friends that had parents that owned the drive in and the had carbon arc lights in them as well as the bowl shaped mirror...good times back then
Good morning my name's Alexx Parker & I'd like to talk about how awesome you are for making this video. Thanks & have a wonderful day 🤙
Thanks for doing the carbon arc video. As a kid I was always fascinated by them.
I really enjoyed this video I remember seeing one of the Old world war II search lights that operated with carbonarchs on the end of the pier in Daytona Beach many years ago. I really enjoyed seeing how the movie lighting worked using the similar principles.
I was just talking to a friend about how using this babies is become a lost art. Glad you documented this! I'm sure that someday some young director and cinematographer are going to use these for a project and they'll come in vogue again. (I hope!)
Super cool! Very informative and exactly what I was looking for.
I just learned the term carbon arc as it relates to movie projectors and this makes perfect sense now! Thank you!
I remember years ago a small drive-in out west back in the '70's I used to hang out at with some friends that used the carbon type arc for the lights for the projectors and the perfectly bowl shape mirror .
What an awesome piece of tecnology!
Wow this is amazingly interesting. I’ve never thought that a simple light would be that complicated. Awesome. Thank you for sharing
Outstanding demo
Very interesting thanks, it is a fantastic light I have never seen one before. All the best from Henry in the UK
This is an excellent video I remember the old drive in out west having projectors like this... I thought I would never see one of these ever again... This is the first time I seen it since 1980 good fun times never end they just become memories...
wow. we used to only get carbon arc for drive-ins. i'm sure the original Blackpool illuminations were carbon arc, it's one helluva light
Very interesting and happy you posted this vid on carbon arcs.
Awesome light, I like the three axle van too! 👍
Awesome! Thanks for sharing this. I always wondered how they operated and what kind of light they put out.
Beautiful machine simple instructions, simple to use, quality on all ends.
Wasn’t The Wizard Of Oz filmed under carbon arc light? That would pre-date this featured light. I read that the film used for that movie had a speed of 8. That necessitated the carbon arc lights.
Yes your right and I think ze Germans had a similar type of light long before that to spot allied planes and try to blow them out of the sky. I think that guy's grandfather worked for the Reich before coming to Hollywood
@@Kevthebish I came to this video from a WWII German aircraft search light video.
@@kaptainkaos1202 You don't say? Imagine that
Awesome video. Love how he LOVES it. "Throw your HMI's away!" Great skin tone. Looks like John Wayne movie stuff.
The van dude. You knew we'd ask. Talk about the van.
excellent video, loved your narration!
Wonderful video of Larry Mole Parker with the Brute Arc. :)
My mentor, Foster Denker loved using Brute Arcs on shows.
Thanks for this tutorial! Much appreciated!
what quality amazing , also love the dual rear wheels on the van looks great !
My girlfriend is so fat -
How fat is she?
I had to add a third axle to my van!
(...sorry, couldn't resist)
wow. i seem to know how to operate a carbon arc now! thank you for giving us a very good demo! awesome!!!
1 question though:
-how many hours can we safely keep it running?
Thank you for this video. I grew up on a TV set in the 70's and this arc brought back so many memories. Any chance you have an old 9 light you can feature?
That was great and your granddad too! Full lovely natural light like the sun ☀️! 🌞
holy crap now I know why I have seen lights smoke. I don't know why this was recommended, but I am glad.
Carbon arcs were used in the original blade runner in outdoor scenes. I find a lot of today's films, particularly sci-fi's have a very flat look to the them (look at 2049 vs orig blade runner). I've come to the conclusion it's a combination of the digital cameras and LED lighting used now. Pre the digital era, film stock added grain and filament lighting and carbon arcs also added a slight natural variability to the lighting levels resulting in the film magic we see in these older flicks.
Never used one of these but I believe when he says it puts out a much more beautiful light than an HMI. Ive been hearing that for thirty years.
Most big HMIs are pars and are used because of their high output not great light quality.
HMIs are crap😁
Extremely interesting. Never knew that their light quality was so excellent. I rather thought it was like a mercury arc where the electrodes are going sour, so it flickers. Would love to see one operating.
Before Xenon, cinema projectors were all carbon arc.
@@telocho Didn't they use halogen at some point ?
This is unbelievable. I never knew! Is this why old theaters suffered so many fires? Flammable film and 2000 degree carbon
I love carbon arc lights. They're so cool!
Thank you for sharing an interesting demonstration!
When you mentioned "throw your HMIs away", I wondered if it would be true if digital cinematographers today would have less trouble with image flicker when shooting different frame rates and shutter speeds if they just used carbon arc lamps instead of HMIs?
HMI is not LED. it is another ARC source with a higher color temperature
@@Eli.Suarez : Actually, I didn't think (or say?) that HMI was LED. I just have heard that there is sometimes flicker problems in the recorded video (and not seen in the HMI light itself on set) when shooting with HMIs powered with magnetic ballasts. I just thought I'd give a plug for old-fashioned carbon arcs here, since I don't believe they can cause flicker problems for film and video like HMIs sometimes can.
Great video sir ! Very thankful for sharing
I worked with HMI double ended 18kw fresnel location lamp from Strand. That thing was a beast with beautiful light quality
When I was first working at Moore Egyption in Seattle, Dan Ireland would light a cig off the carbons after shutting it off.
Great video! Thanks for sharing!
That's the coolest thing I've ever seen!
very interesting video, thanks for posting it.
That van is awesome.
So cool would love to see this in person
This is cool.I remember seeing one back in 1989 when I was repairing HMI'S.
As a teacher, i'm curious about the early beginnings of on set lighting technology. Was the carbon arc light the first artificial light source used on set? Did Mole create the carbon arc fixture first for the industry? When did they first go into service?
There used to be a carbon arc lamp atop the Palmolive Building on Chicago's near north lakefront. It was called "The Lindbergh beacon" and was at the time the brightest carbon arc lamp in the world. It could be seen for more than 30 miles over Lake Michigan.
Thanks for the great video!!
Awesome demo, and that 1000 amp geney (in the van) is freegon Quiet!
Sweet van, and even sweeter Fresnel!
Love vids like this great work
Damn. Just damn amazing craftsmen ship and design.
Great video! Nothing beats the carbon arc for light quality. It's sad that good carbons are getting very difficult, if not impossible, to find nowadays.