Movies for TV - Early Television Foundation

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84 FUNDAMENTALS be used type 1230 in 35 mm and type 5420 in 16 mm, both Eastman Kodak. If Du Pont film is used, it could be Du Pont Superior 2 type 126 for 35 mm work. All the films mentioned are negative type films. On the other hand, if a scene had to be filmed at night at the station with an express dashing through in a blaze of lights, smoke, and flame, it would be natural to use the fastest film obtainable assuming that faked shots using infra red light would not be possible. Du Pont type 314A would be a good choice for this, or a Kodak Super-XX Panchromatic type 5242 or Ansco Triple S Panchromatic. For reversal processes, Kodak has four types. These are listed in the table below. Of these, super-XX Panchromatic is the fastest. A number of cameramen consider that direct-reversal film has less this is graininess than negative-positive operation. In some cases, probably true, it is quite often better for single system sound since there is less risk of dirt fouling the track during the extra processing and printing sequences for positive operation. Sound recording calls for special emulsion. If it is for double system, there is no particular problem as any of the fine-grain sound recording films can be used. They are generally somewhat blue-sensitive. Eastman Kodak makes the following recommendations: Variable Area Fine-Grain Sound Type 1372 (35 mm) Recording Film Type 5372 (16 mm) Variable Density Fine-Grain Sound Type 1373 (35 mm) Recording Film Type 5373 (35 mm and 16 mm) 35 mm Negative Film Background-X Panchromatic Negative Film, Type 1230 Plus-X Panchromatic Negative Film, Type 1231 Super-XX Panchromatic Negative Film, Type 1232 16 mm Negative Panchromatic Negative, Type 5240 Super-XX Panchromatic Negative, Type 5242
MOVIE-MAKING EQUIPMENT Reversal Plus-X Blue Base Reversal, Type 5276 Super-XX Blue Base Reversal, Type 5277 Cine-Kodak Super-X Panchromatic, Type 5256 Cine-Kodak Super-XX Panchromatic, Type 5261 Color Kodachrome, Daylight Type, 5263 Kodachrome, Type A, 5264 Kodachrome Commercial, 5268 FILMS FOR KINESCOPING Size Camera Film Film Type 16 mm Panatomic-X Negative Film 5240 16 mm Cine-Kodak Super-X Reversal Panchro- matic Film 5256 16 mm Cine-Kodak Super-XX Reversal Pan- chromatic Film 5261 16 mm Plus-X Blue Base Reversal Film 5276 16 mm Super-XX Blue Base Reversal Film 5277 35 mm Fine-Grain Release- Positive Safety Film 5302 16 mm Fine-Grain Release- Positive Safety Film 7302 35 mm Fine-Grain Sound Recording Safety Film 5373 16 mm Duplicating Film 35 mm Fine-Grain Duplicating Panchromatic 16 mm Negative Safety Film 5203 Sound Recording 35 mm Fine-Grain Sound Recording Safety Film 16 mm (for variable-area recording) 5372 35 mm Fine-Grain Sound Recording Safety Film 16 mm (for variable-density recording) 5373 Du Pont makes similar emulsions, such as the Superior 2 type 126 and Superior 3 127 for 35 mm general use, and 314A for 16 85
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John ison
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CARL GENTRY OEHLER PROFESSIONAL PHO
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THE MACMILLAN COMPANY NEW YORK . CH
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Copyright, 1950, by The Macmillan C
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INTRODUCTION Television and the man
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INTRODUCTION ix since many subjects
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CHAPTER 1 CHAPTER 2 CONTENTS PART O
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CHAPTER 11 CHAPTER 12 CHAPTER 13 CH
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CHAPTER 20 CHAPTER 21 CHAPTER 22 SC
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CHAPTER 1 PRINCIPLES OF MOVIES WHAT
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PRINCIPLES OF MOVIES 5 perforations
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PRINCIPLES OF MOVIES 7 time ago, be
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PRINCIPLES OF MOVIES p are the crys
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change occurs. The grain PRINCIPLES
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PRINCIPLES OF MOVIES 13 changing fi
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PRINCIPLES OF MOVIES 75 Fig. 1-3. H
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PRINCIPLES OF MOVIES 77 expressed a
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PRINCIPLES OF MOVIES 19 It is used
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PRINCIPLES OF MOVIES 21 dub-in The
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PRINCIPLES OF MOVIES 23 floor manag
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PRINCIPLES OF MOVIES 25 to reduce t
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PRINCIPLES OF MOVIES 27 modelling l
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PRINCIPLES OF MOVIES 29 left to rig
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PRINCIPLES OF MOVIES 31 ture over a
Page 53 and 54: CHAPTER PRINCIPLES OF TV Before pro
Page 55 and 56: PRINCIPLES OF TV 35 photocell intel
Page 57 and 58: PRINCIPLES OF TV 37 48 flashes per
Page 59 and 60: PRINCIPLES OF TV 39 most important,
Page 61 and 62: PRINCIPLES OF TV 41 method is bette
Page 63 and 64: PRINCIPLES OF TV 43 good. Unfortuna
Page 65 and 66: PRINCIPLES OF TV 45 Figure 2-1. Typ
Page 67 and 68: 1 a I an CHAPTER MOVIE-MAKING EQUIP
Page 69 and 70: ! MOVIE-MAKING EQUIPMENT 49 hundred
Page 71 and 72: j cased MOVIE-MAKING EQUIPMENT 51 F
Page 73 and 74: MOVIE-MAKING EQUIPMENT 53 Fig. 3-3.
Page 75 and 76: MOVIE-MAKING EQUIPMENT 55 the batte
Page 77 and 78: MOVIE-MAKING EQUIPMENT 57 (Courtesy
Page 83 and 84: MOVIE-MAKING EQUIPMENT 63 up to 999
Page 85 and 86: MOVIE-MAKING EQUIPMENT 65 Fig. 3-12
Page 87 and 88: MOVIE-MAKING EQUIPMENT 67 point on
Page 89 and 90: MOVIE. MAKING EQUIPMENT 69 Sound Re
Page 91 and 92: MOVIE-MAKING EQUIPMENT 71 sound mod
Page 93 and 94: MOVIE-MAKING EQUIPMENT 73 Single Sy
Page 95 and 96: larger crew required, MOVIE-MAKING
Page 101 and 102: MOVIE- MAKING EQUIPMENT 81 Sound, o
Page 103: MOVIE-MAKING EQUIPMENT 83 electrici
Page 107 and 108: MOVIE-MAKING EQUIPMENT 87 Care of F
Page 109 and 110: MOVIE-MAKING EQUIPMENT 89 This defe
Page 113 and 114: MOVIE-MAKING EQUIPMENT 93 posed, th
Page 115 and 116: FILM TRANSMISSION EQUIPMENT 95 "mai
Page 117 and 118: FILM TRANSMISSION EQUIPMENT 97 in s
Page 119 and 120: FILM TRANSMISSION EQUIPMENT 99 ther
Page 121 and 122: FILM TRANSMISSION EQUIPMENT Wl GE a
Page 123 and 124: FILM TRANSMISSION EQUIPMENT l/12Sec
Page 125 and 126: FILM TRANSMISSION EQUIPMENT 105 Fig
Page 127 and 128: I working FILM TRANSMISSION EQUIPME
Page 129 and 130: FILM TRANSMISSION EQUIPMENT 109 tro
Page 131 and 132: FILM TRANSMISSION EQUIPMENT 111
Page 133 and 134: FILM TRANSMISSION EQUIPMENT 113 a m
Page 135 and 136: FILM TRANSMISSION EQUIPMENT 115 the
Page 137 and 138: FILM TRANSMISSION EQUIPMENT 117 Fig
Page 139 and 140: FILM TRANSMISSION EQUIPMENT 119 wit
Page 141 and 142: FILM TRANSMISSION EQUIPMENT 121 dif
Page 143 and 144: KINESCOPE RECORDING 123 New York ti
Page 145 and 146: KINESCOPE RECORDING 725 characters
Page 147 and 148: KINESCOPE RECORDING 127 situation w
Page 149 and 150: KINESCOPE RECORDING 129 the mechani
Page 151 and 152: KINESCOPE RECORDING 131 movies, or
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LENSES 135 old one. There is not mu
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f LENSES 137 In addition the older
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ing. 1 LENSES 139 This has a number
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LENSES 141 struction book for the i
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LENSES 143 duces some spherical abe
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LENSES 145 Fig. 6-1. Zoomar long di
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CHAPTER 7 LIGHTING If the technical
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LIGHTING 149 temperature, and somet
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LIGHTING 757 or reflects a light of
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(From Alton, Painting \vith Light.
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LIGHTING 755 to make the exposure,
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LIGHTING 757 tion equally well with
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LIGHTING 159 job; the set was flood
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LIGHTING 161 Fig. 7-2. Lighting equ
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LIGHTING 163 In setting up stage li
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LIGHTING 165 employment of a meter
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COLOR 767 monochrome system show up
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COLOR 169 mitted. The system is seq
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megacycles, COLOR 777 with contribu
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COLOR 173 Thus a light with a low c
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COLOR 775 color film is seldom used
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COLOR 777 toward red for day use is
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CHAPTER EDITING AND CONTINUITY ossi
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EDITING AND CONTINUITY 181 Some of
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literary development; EDITING AND C
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EDITING AND CONTINUITY 185 down in
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EDITING AND CONTINUITY 187 simple d
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EDITING AND CONTINUITY 189 For this
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EDITING AND CONTINUITY 191 Fig. 9-3
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EDITING AND CONTINUITY 193 Fig. 9-4
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EDITING AND CONTINUITY 795 onto one
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EDITING AND CONTINUITY 197 on top o
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CHAPTER 10 TITLES AND SPECIAL EFFEC
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TITLES AND SPECIAL EFFECTS 201 psyc
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TITLES AND SPECIAL EFFECTS 203 sile
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TITLES AND SPECIAL EFFECTS 205 Fig.
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TITLES AND SPECIAL EFFECTS 207 long
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TITLES AND SPECIAL EFFECTS 209 at t
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TITLES AND SPECIAL EFFECTS 211 been
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TITLES AND SPECIAL EFFECTS 213 glas
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TITLES AND SPECIAL EFFECTS 215 ligh
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TITLES AND SPECIAL EFFECTS 217 are
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TITLES AND SPECIAL EFFECTS 219 the
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TITLES AND SPECIAL EFFECTS 221 opti
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TITLES AND SPECIAL EFFECTS 223 the
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TITLES AND SPECIAL EFFECTS 225 read
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CHAPTER 11 MAKING FILMS FOR TV Up t
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MAKING FILMS FORTY 229 many feet aw
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MAKINGFILMSFORTV 257 holes in the h
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MAKINGFILMSFORTV 233 appear in the
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f MAKINGFILMSFORTV 235 color combin
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MAKINGFILMSFORTV 237 a special 12-v
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MAKINGFILMSFORTV 239 produce only a
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MAKINGFILMSFORTV 241 Chalk marks ar
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PART TWO THE PROGRAM ANGLE
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246 THE PROGRAM ANGLE delegated to
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248 THE PROGRAM ANGLE stages, scene
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250 THE PROGRAM ANGLE and said the
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252 THE PROGRAM ANGLE mean that thr
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254 THE PROGRAM ANGLE staff might f
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256 THE PROGRAM ANGLE If the film i
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258 THE PROGRAM ANGLE rent for from
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260 THE PROGRAM ANGLE does is to ma
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262 THE PROGRAM ANGLE Camera #1. Pa
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264 THE PROGRAM ANGLE Different sho
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266 THE PROGRAM ANGLE arches or Mos
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268 THE PROGRAM ANGLE For this reas
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270 THE PROGRAM ANGLE producer cann
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272 THE PROGRAM ANGLE tion. This ca
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274 THE PROGRAM ANGLE and the film
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276 THE PROGRAM ANGLE in the studio
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278 THE PROGRAM ANGLE of scene. Or
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280 THE PROGRAM ANGLE chocolate and
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282 THE PROGRAM ANGLE will be the r
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284 THE PROGRAM ANGLE film, or pays
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286 THE PROGRAM ANGLE vision newsre
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288 THE PROGRAM ANGLE unusual, it w
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290 THE PROGRAM ANGLE Fig. 15-1 The
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292 THE PROGRAM ANGLE in darkness,
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294 THE PROGRAM ANGLE Suppose we ar
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CHAPTER 16 PROCESSING NEWSREEL SCRI
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298 THE PROGRAM ANGLE CONVERSION TA
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300 THE PROGRAM ANGLE to someone wi
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302 THE PROGRAM ANGLE come into gen
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304 THE PROGRAM ANGLE is quite natu
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306 THE PROGRAM ANGLE write under w
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308 THE PROGRAM ANGLE they were mad
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310 THE PROGRAM ANGLE carefully man
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312 THE PROGRAM ANGLE picked up the
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314 THE PROGRAM ANGLE cial to sell
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316 THE PROGRAM ANGLE For a straigh
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318 THE PROGRAM ANGLE commercial wh
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320 THE PROGRAM ANGLE in which the
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322 THE PROGRAM ANGLE repetitious n
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324 THE PROGRAM ANGLE have not been
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326 THE PROGRAM ANGLE of the medium
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CHAPTER 19 USE OF KINESCOPE RECORDI
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330 THE PROGRAM ANGLE TELEVISIONNET
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332 THE PROGRAM ANGLE film. Now the
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334 THE PROGRAM ANGLE Paramount has
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336 THE PROGRAM ANGLE Closed-circui
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338 THE PROGRAM ANGLE within the ne
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340 THE PROGRAM ANGLE mind that the
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342 THE PROGRAM ANGLE covers the fi
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344 THE PROGRAM ANGLE add a little
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346 THE PROGRAM ANGLE sound effects
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348 THE PROGRAM ANGLE are used very
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350 .5
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552 THE PROGRAM ANGLE stores which
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CHAPTER 21 STUDIO OR LOCATION SHOOT
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356 THE PROGRAM ANGLE (this is some
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358 THE PROGRAM ANGLE sees around N
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360 THE PROGRAM ANGLE was a good ba
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362 THE PROGRAM ANGLE for ordinary
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364 THE PROGRAM ANGLE releases. It
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366 THE PROGRAM ANGLE have afforded
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368 THE PROGRAM ANGLE shots of the
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INDEX Academy leader, 109, 256 Accu
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Film, producer, 180 recording, 328
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Perspective, 143, 267 Petty cash, 3
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5. .9 = *.I * "O c>l O* O _S .E I -
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Movies for TV - Early Television Foundation

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