Movies for TV - Early Television Foundation

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260 THE PROGRAM ANGLE does is to make a story-board outline. This is a series of sketches showing high spots of the story to emphasize the key situations. When these highly important stages in the development of the story have been decided, the producer can start thinking of his actors. (This sequence is not necessarily followed by all producers, but it is one which is logical and which is presented with the thought in mind that it might be of assistance or interest to readers who have as yet no set ideas on the subject.) Until the key points of emotional appeal are decided upon the producer is hardly in a position to know with great certainty what he is expecting from his players. It is necessary to obtain the services of actors whose voices match their screen personalities; otherwise viewers may be puzzled when they appear. The physical size and appearance are important. A domineering mother might be a small woman, or she might, with more likelihood, be a big woman who is physically bigger than the remaining members of the family. So there is a choice of two players. But later in the production the size of the domineering person may become important to the sense of the story, because it symbolizes something which must be brought out. The story-board key scene enables the producer to catch this point and obtain a greater meaning from the story than might otherwise be the case. After the choice of players has been made, scene details must be worked out. It is easy to generalize, but it is not of much value to the reader if the generalization is not made in accordance with some specific plan. Therefore, an imaginary script will be followed to establish the reasons for some of the shots. FOLLY'S REWARD Video Audio TITLE ROLLING THEME MUSIC CREDITS DOWN TO FADE OUT Part of the story has already been unfolded and we see here . . . Scene 5: Dining room table father seated at head . . . family around sides . . . daughter at foot.
Camera #2. Wide-angle PLANNING THE SCENE lens shot of five people around table, D. in left foreground. Camera #1. Lap dissolve to CU of F. Camera #3. MS over F's shoulder of D, takes in part of table. Gut to F on D's last Camera #1. word. Camera #2. Wide-angle shot dolly-in to CU. Camera #3. Cut to MS of D over F's shoulder, takes in part of table. Camera #2. Dolly-out Camera #2 shot. from last tamera #3. Pans on her as she goes, dollies to two-shot MCU. DAUGHTER Father, marry Fred. 261 I want to FATHER (Aghast, pushing away from the table) What? You'll never marry that useless good for nothing as long as I have anything to say. DAUGHTER But you haven't anything to say. I ... FATHER (Standing) I have everything to say. I pay your bills, buy your food, house you, clothe you. ... I am your guardian. You will do as I say! DAUGHTER (Standing) No, Father. I am a grown woman now; you can no longer order my life. If you want I will pay you back for my board and . . . (sobs) clothes. Won't you just for this once let me do what I want to do? FATHER You know very well that I want you to marry George His father . . . James. DAUGHTER I can't. I hate him and you and your business deals. Don't you ever think of anything but business? Does love never enter your heart? (Runs round table and kneels by him) Oh, Father, please give me your love and blessing because I must Fred. ... I love him. marry FATHER (Sitting and patting her hair) Well ... I suppose if your mind is made up. ... I want you to be happy. . . .
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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
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CHAPTER PRINCIPLES OF TV Before pro
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PRINCIPLES OF TV 35 photocell intel
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PRINCIPLES OF TV 37 48 flashes per
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PRINCIPLES OF TV 39 most important,
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PRINCIPLES OF TV 41 method is bette
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PRINCIPLES OF TV 43 good. Unfortuna
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PRINCIPLES OF TV 45 Figure 2-1. Typ
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1 a I an CHAPTER MOVIE-MAKING EQUIP
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! MOVIE-MAKING EQUIPMENT 49 hundred
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j cased MOVIE-MAKING EQUIPMENT 51 F
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MOVIE-MAKING EQUIPMENT 53 Fig. 3-3.
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MOVIE-MAKING EQUIPMENT 55 the batte
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MOVIE-MAKING EQUIPMENT 57 (Courtesy
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MOVIE-MAKING EQUIPMENT 63 up to 999
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MOVIE-MAKING EQUIPMENT 65 Fig. 3-12
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MOVIE-MAKING EQUIPMENT 67 point on
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MOVIE. MAKING EQUIPMENT 69 Sound Re
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MOVIE-MAKING EQUIPMENT 71 sound mod
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MOVIE-MAKING EQUIPMENT 73 Single Sy
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larger crew required, MOVIE-MAKING
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MOVIE- MAKING EQUIPMENT 81 Sound, o
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MOVIE-MAKING EQUIPMENT 83 electrici
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MOVIE-MAKING EQUIPMENT Reversal Plu
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MOVIE-MAKING EQUIPMENT 87 Care of F
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MOVIE-MAKING EQUIPMENT 89 This defe
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MOVIE-MAKING EQUIPMENT 93 posed, th
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FILM TRANSMISSION EQUIPMENT 95 "mai
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FILM TRANSMISSION EQUIPMENT 97 in s
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FILM TRANSMISSION EQUIPMENT 99 ther
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FILM TRANSMISSION EQUIPMENT Wl GE a
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FILM TRANSMISSION EQUIPMENT l/12Sec
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FILM TRANSMISSION EQUIPMENT 105 Fig
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I working FILM TRANSMISSION EQUIPME
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FILM TRANSMISSION EQUIPMENT 109 tro
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FILM TRANSMISSION EQUIPMENT 111
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FILM TRANSMISSION EQUIPMENT 113 a m
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FILM TRANSMISSION EQUIPMENT 115 the
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FILM TRANSMISSION EQUIPMENT 117 Fig
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FILM TRANSMISSION EQUIPMENT 119 wit
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FILM TRANSMISSION EQUIPMENT 121 dif
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KINESCOPE RECORDING 123 New York ti
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KINESCOPE RECORDING 725 characters
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KINESCOPE RECORDING 127 situation w
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KINESCOPE RECORDING 129 the mechani
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KINESCOPE RECORDING 131 movies, or
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CHAPTER LENSES 'n this chapter the
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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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Page 233 and 234: TITLES AND SPECIAL EFFECTS 213 glas
Page 235 and 236: TITLES AND SPECIAL EFFECTS 215 ligh
Page 237 and 238: TITLES AND SPECIAL EFFECTS 217 are
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Page 241 and 242: TITLES AND SPECIAL EFFECTS 221 opti
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Page 245 and 246: TITLES AND SPECIAL EFFECTS 225 read
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Page 249 and 250: MAKING FILMS FORTY 229 many feet aw
Page 251 and 252: MAKINGFILMSFORTV 257 holes in the h
Page 253 and 254: MAKINGFILMSFORTV 233 appear in the
Page 255 and 256: f MAKINGFILMSFORTV 235 color combin
Page 257 and 258: MAKINGFILMSFORTV 237 a special 12-v
Page 259 and 260: MAKINGFILMSFORTV 239 produce only a
Page 261 and 262: MAKINGFILMSFORTV 241 Chalk marks ar
Page 263: PART TWO THE PROGRAM ANGLE
Page 266 and 267: 246 THE PROGRAM ANGLE delegated to
Page 268 and 269: 248 THE PROGRAM ANGLE stages, scene
Page 270 and 271: 250 THE PROGRAM ANGLE and said the
Page 272 and 273: 252 THE PROGRAM ANGLE mean that thr
Page 274 and 275: 254 THE PROGRAM ANGLE staff might f
Page 276 and 277: 256 THE PROGRAM ANGLE If the film i
Page 278 and 279: 258 THE PROGRAM ANGLE rent for from
Page 282 and 283: 262 THE PROGRAM ANGLE Camera #1. Pa
Page 284 and 285: 264 THE PROGRAM ANGLE Different sho
Page 286 and 287: 266 THE PROGRAM ANGLE arches or Mos
Page 288 and 289: 268 THE PROGRAM ANGLE For this reas
Page 290 and 291: 270 THE PROGRAM ANGLE producer cann
Page 292 and 293: 272 THE PROGRAM ANGLE tion. This ca
Page 294 and 295: 274 THE PROGRAM ANGLE and the film
Page 296 and 297: 276 THE PROGRAM ANGLE in the studio
Page 298 and 299: 278 THE PROGRAM ANGLE of scene. Or
Page 300 and 301: 280 THE PROGRAM ANGLE chocolate and
Page 302 and 303: 282 THE PROGRAM ANGLE will be the r
Page 304 and 305: 284 THE PROGRAM ANGLE film, or pays
Page 306 and 307: 286 THE PROGRAM ANGLE vision newsre
Page 308 and 309: 288 THE PROGRAM ANGLE unusual, it w
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Page 314 and 315: 294 THE PROGRAM ANGLE Suppose we ar
Page 316 and 317: CHAPTER 16 PROCESSING NEWSREEL SCRI
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Page 320 and 321: 300 THE PROGRAM ANGLE to someone wi
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Page 324 and 325: 304 THE PROGRAM ANGLE is quite natu
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Page 328 and 329: 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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