Movies for TV - Early Television Foundation

KINESCOPE RECORDING 725
characters have slower actions. (If it had been taken at a slower
speed than twenty-four, the action would have been speeded up.)
So what can we do? Now we know the problems involved and it is
comparatively easy to solve them when you've been told how!
The problem boils down to converting thirty television frames
to twenty-four film frames each second just the opposite of converting
twenty-four frames of film to thirty frames of television when
we are exhibiting films. In the latter case the conversion was made
by the simple trick of exposing
one frame twice and the next one
three times. In this case it is not quite as simple, but the technique
is very similar.
There is one other factor which has to be considered, and this
is most important; it is the sound which accompanies the program
being recorded. Either of the two methods of sound recording al-
ready described may be used: that is, double or single system. So
far, it seems that the single system in which the sound is recorded
on the same film as the is picture more popular. Provided that the
quality can be maintained, and there is a way in which it can be,
there is no objection to this method.
Three it paragraphs ago was pointed out that merely speeding
results because the
up the camera would not produce satisfactory
actions would be too slow when the picture was projected. Also, the
sound would, of course, be affected and reproduce in a low pitch.
But even if the projectors in television stations were speeded up so
that a film made at thirty frames per second could be used, the
problem would be nowhere near solved since then the projectors
would not be usable with ordinary theatre film and this makes up
the bulk of the television programs at most stations. It would also
restrict the use of kinescope recordings for audition purposes. Thus
it is seen that the normal figures of twenty-four and thirty frames
must be retained and the conversion performed during the action
of recording on the film. Another aspect which may escape cursory
examination is the necessity to retain interlace. If film ran at thirty
frames, i.e., there was one exposure for each frame, the flickerreducing
effect of interlacing would be lost.
A number of different methods have been evolved, but they all