Movies for TV - Early Television Foundation

KINESCOPE RECORDING 331
and unfortunately is not generally as good as the signal over the
coaxial lines. This, of course, will improve with time, and by the
end of 1950 we may see recordings which are indistinguishable
from live shows. The viewers in New York are most fortunate in
that almost all their programs originate in that city or come from
Washington or Chicago via the coaxial cable. Thus, whenever a
kinescoping is shown there the difference in quality stands out like
a sore thumb; however, all recordings do not have to be bad.
Some of the west coast recordings of the winter of 1949 to 1950
were almost as good as live studio shows.
There are two schools of thought on the subject of film size
and type of operation, i.e., 16 mm versus 35 mm and single
system versus double system. Characteristics of these have already
been discussed and our interest here is in the practicality of each
system. The cheapest is, of course, the 16 mm single system and
properly operated and used it produces excellent quality films.
There is nothing to choose between it and the 16 mm double sys-
tem, and the latter has twice the film cost.
In 35 mm stock there is a choice of single and double system
there should be little difference between
operation and here again
derated and talked
the two, although the single system is always
down. Now as far as is picture quality concerned there is no
doubt that 35 mm does have better quality than 16 mm. When
enlarging takes place, either optically or electronically, 16 mm
film has to be magnified about three times more than 35 mm to
provide the same size picture. This means that the grain of picture
is more noticeable and resolution is poorer. However, first-class
picture definition of 16 mm film is higher than the 525 lines presently
used in television, but resolution of this kind requires the
finest of equipment in photographing and printing.
The kinescope recording, apart from offering a means of keeping
a record of shows, also provides a unique method of making
auditions portable without having to transport stage sets and
property, not to mention actors, around from agency to agency.
The act is played in a standard television studio under normal
live conditions, but instead of being transmitted it is recorded on