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Movies for TV - Early Television Foundation

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COLOR 767<br />

monochrome system show up only too badly in this kind of shot.<br />

But many television programs are not particularly suited to color<br />

transmission simply because they are not colorful enough. The<br />

Macy Thanksgiving Day Parade and the Easter Parade would<br />

be naturals, but a quiz show would gain very little from the use<br />

of color. Note how few movies are produced in color, and note<br />

also the usual type of color production; it is always reserved <strong>for</strong><br />

either the extravaganza or overwhelming production.<br />

One reason<br />

<strong>for</strong> the scarcity of color movies is the great cost of the film used;<br />

it is nearly 50 per cent greater than black and white.<br />

In television, the addition of color would cost very little more<br />

and would not require any of the additional running expenses<br />

which keep color movies up in the high cost bracket. Once in-<br />

stalled and paid <strong>for</strong>, the maintenance costs would be the same as<br />

<strong>for</strong> black and white. There is a hurdle to overcome in educating<br />

the public to buy color receivers and during the interim period<br />

problems of dual transmissions would have to be solved. But those<br />

are problems <strong>for</strong> the industry, not this book. Here we are con-<br />

cerned with ways in which these colors are produced and applied<br />

to the art. The author, having had the privilege of working <strong>for</strong> a<br />

short time on the CBS color system and seeing color television,<br />

can only ask, "How long, Oh Lord, how long?" There are many<br />

color processes and each one has different features, but there are<br />

only two methods of obtaining color.<br />

subtractive methods.<br />

These are the additive and<br />

The <strong>for</strong>mer method consists of adding colors to make white<br />

light, the latter of removing certain colors from white light to<br />

leave the required color. In each case, filters made of gelatin or<br />

glass are normally used to control the colors.<br />

Many systems have been proposed <strong>for</strong> the creation of television<br />

pictures in color, but very few have actually been known to<br />

work even passably. So far, the Columbia Broadcasting System<br />

and the Radio Corporation of America have been the contenders<br />

<strong>for</strong> the color honors. Color <strong>Television</strong>, Inc. of San Francisco is<br />

due to demonstrate its system and by the time this book is pub-<br />

lished, it is probable that the decision on which system to use, if

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