Movies for TV - Early Television Foundation

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338 THE PROGRAM ANGLE within the next few years the industry will see great changes both in the quality and use of recordings. The cost should come down as the amount of use increases. There may even be home kinescope recording outfits similar to the present home tape, wire, and disc recordings for the general public. Perhaps we'll see in every home an outfit for recording the program in the absence of the owner and showing it when he returns for his own individual repeat performance.
CHAPTER 20 SCENERY AND PROPS Rhythm and motion have as much place in the setting of a production as they do in the music for an extravaganza. Although one is heard and the other is seen the effect of the visual medium is just as important; in fact, it should be said that it is more important since the eye is so much more critical than the ear. When the stage was in its infancy, scenery was not used and the players performed before bare walls. Since that time the art of stage dressing has made tremendous strides and anything is possible today. Television, a medium that is still finding its feet, has been a vehicle for many kinds of productions using all varieties of scenery, including none at times. The influence of movies on the growth of television is natural and as inevitable as gas engines in autos. Scenery considerations are dealt with in this chapter to- gether with abstract and concrete discussions of usage. Television has infinitely much to learn from the motion picture, and for all intents and purposes of stage direction and mechanical operation television is motion pictures by radio. Everything we have learned about scenery placement and usage in movies should be applied to television with, of course, some slight modification, as, for instance, the elimination of most long shots. Even so, limitations such as these are really only tem- porary and will vanish with improvements in the technical aspects of the art. Certain conditions do not hold for film operation which are confining for live television. The logical path for television to follow is that of the movie, always with the guiding principle in 339
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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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TITLES AND SPECIAL EFFECTS 209 at t
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TITLES AND SPECIAL EFFECTS 211 been
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TITLES AND SPECIAL EFFECTS 213 glas
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TITLES AND SPECIAL EFFECTS 215 ligh
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TITLES AND SPECIAL EFFECTS 217 are
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TITLES AND SPECIAL EFFECTS 219 the
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TITLES AND SPECIAL EFFECTS 221 opti
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TITLES AND SPECIAL EFFECTS 223 the
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TITLES AND SPECIAL EFFECTS 225 read
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CHAPTER 11 MAKING FILMS FOR TV Up t
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MAKING FILMS FORTY 229 many feet aw
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MAKINGFILMSFORTV 257 holes in the h
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MAKINGFILMSFORTV 233 appear in the
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f MAKINGFILMSFORTV 235 color combin
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MAKINGFILMSFORTV 237 a special 12-v
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MAKINGFILMSFORTV 239 produce only a
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MAKINGFILMSFORTV 241 Chalk marks ar
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PART TWO THE PROGRAM ANGLE
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246 THE PROGRAM ANGLE delegated to
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248 THE PROGRAM ANGLE stages, scene
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250 THE PROGRAM ANGLE and said the
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252 THE PROGRAM ANGLE mean that thr
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254 THE PROGRAM ANGLE staff might f
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256 THE PROGRAM ANGLE If the film i
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258 THE PROGRAM ANGLE rent for from
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260 THE PROGRAM ANGLE does is to ma
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262 THE PROGRAM ANGLE Camera #1. Pa
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264 THE PROGRAM ANGLE Different sho
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266 THE PROGRAM ANGLE arches or Mos
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268 THE PROGRAM ANGLE For this reas
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270 THE PROGRAM ANGLE producer cann
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272 THE PROGRAM ANGLE tion. This ca
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274 THE PROGRAM ANGLE and the film
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276 THE PROGRAM ANGLE in the studio
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278 THE PROGRAM ANGLE of scene. Or
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280 THE PROGRAM ANGLE chocolate and
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282 THE PROGRAM ANGLE will be the r
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284 THE PROGRAM ANGLE film, or pays
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286 THE PROGRAM ANGLE vision newsre
Page 308 and 309: 288 THE PROGRAM ANGLE unusual, it w
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Page 312 and 313: 292 THE PROGRAM ANGLE in darkness,
Page 314 and 315: 294 THE PROGRAM ANGLE Suppose we ar
Page 316 and 317: CHAPTER 16 PROCESSING NEWSREEL SCRI
Page 318 and 319: 298 THE PROGRAM ANGLE CONVERSION TA
Page 320 and 321: 300 THE PROGRAM ANGLE to someone wi
Page 322 and 323: 302 THE PROGRAM ANGLE come into gen
Page 324 and 325: 304 THE PROGRAM ANGLE is quite natu
Page 326 and 327: 306 THE PROGRAM ANGLE write under w
Page 328 and 329: 308 THE PROGRAM ANGLE they were mad
Page 330 and 331: 310 THE PROGRAM ANGLE carefully man
Page 332 and 333: 312 THE PROGRAM ANGLE picked up the
Page 334 and 335: 314 THE PROGRAM ANGLE cial to sell
Page 336 and 337: 316 THE PROGRAM ANGLE For a straigh
Page 338 and 339: 318 THE PROGRAM ANGLE commercial wh
Page 340 and 341: 320 THE PROGRAM ANGLE in which the
Page 342 and 343: 322 THE PROGRAM ANGLE repetitious n
Page 344 and 345: 324 THE PROGRAM ANGLE have not been
Page 346 and 347: 326 THE PROGRAM ANGLE of the medium
Page 348 and 349: CHAPTER 19 USE OF KINESCOPE RECORDI
Page 350 and 351: 330 THE PROGRAM ANGLE TELEVISIONNET
Page 352 and 353: 332 THE PROGRAM ANGLE film. Now the
Page 354 and 355: 334 THE PROGRAM ANGLE Paramount has
Page 356 and 357: 336 THE PROGRAM ANGLE Closed-circui
Page 360 and 361: 340 THE PROGRAM ANGLE mind that the
Page 362 and 363: 342 THE PROGRAM ANGLE covers the fi
Page 364 and 365: 344 THE PROGRAM ANGLE add a little
Page 366 and 367: 346 THE PROGRAM ANGLE sound effects
Page 368 and 369: 348 THE PROGRAM ANGLE are used very
Page 370 and 371: 350 .5
Page 372 and 373: 552 THE PROGRAM ANGLE stores which
Page 374 and 375: CHAPTER 21 STUDIO OR LOCATION SHOOT
Page 376 and 377: 356 THE PROGRAM ANGLE (this is some
Page 378 and 379: 358 THE PROGRAM ANGLE sees around N
Page 380 and 381: 360 THE PROGRAM ANGLE was a good ba
Page 382 and 383: 362 THE PROGRAM ANGLE for ordinary
Page 384 and 385: 364 THE PROGRAM ANGLE releases. It
Page 386 and 387: 366 THE PROGRAM ANGLE have afforded
Page 388 and 389: 368 THE PROGRAM ANGLE shots of the
Page 391 and 392: INDEX Academy leader, 109, 256 Accu
Page 393 and 394: Film, producer, 180 recording, 328
Page 395 and 396: Perspective, 143, 267 Petty cash, 3
Page 399 and 400: 5. .9 = *.I * "O c>l O* O _S .E I -
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