Movies for TV - Early Television Foundation

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372 INDEX Color films, 173 movies, 167 response, 149 Color television CBS, 168 RCA, 169 Color Television, Inc., 169 Color test chart, 150 Commercial, irritant, 321 Commercial position, 320 time, 301 treatment, 278 Commercials, 319 Common sense, 255 Composition, 238, 255, 263, 267, 268 Conflict, 262 Construction permits, 329 Continuity, 182 Continuity control, 276 Continuous production, 254 Contrast range, 305 Contrast ratio, 151, 227 Cookie, 162 Copyright law, 367 Costumes, 361 Cross reference, 293 Cutaway, 293 Cutting, 184 Cutting barrel, 190 Cyclorama, 341 Damages, 365 Definition, apparent, 168 Demonstration clothes, 316 live, 315 Demonstrations, 301 Detail, 229 Dinky-inky, 156 Dioramas, 352 Direct-reversal, 251 Divorce, 369 Dolly, 231 Double exposures, 209 Double system sound recording, 74, 292 Douser, 108 Dramatic right, 364 Du Pont, 12, 176 Ear, 162 Easter Parade, 368 Eberhard effect, 92 Edge flare, 235, 250 Editing, 179, 276 Editor, assignment, 286 Editor-librarian, 286 Editor, newsreel, 182 Effects, visual, 345 Electron gun, 36 Emotional appeal, 260 Emulsion, 3 speed, 10 speed values, comparison, 164 Equipment, 361 care of, 120 Eyelight, 154 Fade-in, 250 Fades, 186, 219 Failure on the air, 306 "Fifth Network," 330 Film, 3 Ansco color, 175 care of, 87 color, 85 chain camera, 44 clip, 270 commercials, 307 costs, 12 counter, 191, 296 direct reversal, 10, 292 director, 246 Du Pont, 176 editor, 182 gate, 233 "green," 88 identification, 292 insert, 271, 277 integration, 278 intermediate, 257 Kodachrome "commercial," 75, 173, 263 losses, 233 measurer, 297 motion editing equipment, 189 nitrate, 4 orthochromatic, 11 panchromatic, 11 process, 210
Film, producer, 180 recording, 328 rental, 247 reversal, 85 safety, 4, 86 16 mm, 4, 253, 256, 283 16 mm negative, 84 sound, 5 stock, 295, 309 storage, 198 technical director, 245 35 mm, 4 35 mm negative, 84 western, 257 Films for kinescoping, 85 Filter polarized, 145 Wratten, 144 Fine-grain work, 291 Fire, 217 First-class service, 42 Flagpole squatters, 300 Flashback, 185, 277 Flicker, 36 Fluttering, 90 FM and TV Digest, 247 Focus drift, 88 Focussing, 138 Fog niters, 346 Fog scenes, 344, 346 Folly's Reward, 260 Food, 362 Foot lambert, 150 Ford commercials, 308, 314 Fotofade, 220 "Four A's," 363 Frame count, 255 Frankenstein, 331 / stop, 135 Full-frame follow-focus, 139 Funny face, 300 G Gamble, Bud, 177 Gamma, 151 GE synchronizing cycle, 102 Geneva movement, 101 Glossary, 16-32 Gobo, 160, 275 Grain, 11 Gray scale, 349 Grip-handyman, 286 INDEX 373 Ground film, 67 Ground glass, 67 Group discrimination, 268 H Halation, 232 High-definition movie, 337 Home kinescope recording, 338 Horizontal synchronizing pulse, 37 Horns, 121 Hot spot, 264 Human error, 303, 311 Human interest, 285 I Identification, positive, 317 Image iconoscope, 44 Image orthicon, 35 Immediacy of television, 304 Incandescent lamps, 155 Incidentals, 361 Informality, 266 Insert, 357 Instantaneous system, 336 INS-Telenews, 283 Intercutting, 185 Interlacing, 37 Invasion of privacy, 293 Iris, 134 Jello commercials, 319 K Kelvin, 172 Kicker, 154 Kinescope conversion, 127 network, 329 recording, 122, 366 Kinescoping facilities, 345 service, 333 Kleigl Brothers, 162 Kodak, 12 Laboratories, 290 Lab test, 75 Lap dissolve, 186, 187, 220 Latent image, 9 Lead, 237 Leader, 109
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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
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288 THE PROGRAM ANGLE unusual, it w
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290 THE PROGRAM ANGLE Fig. 15-1 The
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292 THE PROGRAM ANGLE in darkness,
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294 THE PROGRAM ANGLE Suppose we ar
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CHAPTER 16 PROCESSING NEWSREEL SCRI
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298 THE PROGRAM ANGLE CONVERSION TA
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300 THE PROGRAM ANGLE to someone wi
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302 THE PROGRAM ANGLE come into gen
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304 THE PROGRAM ANGLE is quite natu
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306 THE PROGRAM ANGLE write under w
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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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Page 382 and 383: 362 THE PROGRAM ANGLE for ordinary
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Page 395 and 396: Perspective, 143, 267 Petty cash, 3
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