Movies for TV - Early Television Foundation

MAKINGFILMSFORTV 233
appear in the picture. In film work one part of the scene is shot,
action is halted, and the lights rearranged for the next bit. The
BBC in its live operation has a trick which is worth remembering ;
a small floodlight is mounted on the front of the camera, shielded
from the lens, and used if necessary in close-ups.
When making films for television it is important to bear in
mind the fact that two field losses take place. One is in the film
gate of the projector. To make sure that distorted or poorly registered
frames do not cause the edge of the frame to show, the gate
opening is slightly smaller than the frame itself. It is only very
slightly smaller, but it is possible to lose enough of an important
the value of the shot if this is
part of a character to destroy
ignored. Then there is the more important loss that takes place
in the screen of the receiver itself. Because the screen of the tube
is never completely flat, the focus changes over the face of the
tube, and if the edges are in focus, the middle is not and vice
versa. Finally, the technical "advances" of television have brought
another hazard many of the new sets have round screens, or
screens which can be made to enlarge the center of the picture.
When this occurs, all the information around the edges of the pic-
ture is lost.
To overcome the inflexibility of the live studio as far as possi-
bilities of sustaining interest in spite of its limitations, television
has gone in for somewhat excessive use of multi-camera angles
and shots. This is the most effective way to maintain interest and
sparkle in a production, but unfortunately too many producers
turn to it in lieu of good production, and the viewer is treated to
a succession of camera shots from all angles which have nothing
to add to his understanding of the story and merely confuse him.
One reason for this is the need to maintain continuity during the
time that the scene is changing and another camera is getting
for the next shot. Films do not suffer from the same handi-
ready
cap,
and there is no excuse for an excessive number of different
angle shots in the usual film.
It has been stated that the opening scene must be arresting
and establish the action of the play. This is important from more