Movies for TV - Early Television Foundation

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374 INDEX Lens 50 mm, 142 Kodak 15 mm, 142 one-inch, 141 speed, 134 turret, 141, 236 Zoomar, 145, 276, 349 Lenses coated, 134 Fresnel, 156 Libel, 248 Light balancing, 152 cold, 149 fill, 150 foundation, 1 54 hot, 149 infrared, 224 key, 152 modelling, 152 outline, 154 Lighting, 254, 360 edge, 106 Lip sync, 48, 237 Literary rights, 334, 364 Live commercial, 306, 310 Live presentation, 303, 307 Live show, 311 Live spots, 314 Live studio producer, 231 Location, 273, 308, 359 Long shots, 234 Loops, 115 Low-voltage motor, 48 M Mack Sennett movies, 237 Magazine, 236 Magnetic tape, 83 Maltese Cross, 101 Married, 241 Mass hypnosis, 229, 340 Matched dissolve, 186, 187 Maurer sound recorder, 77 Mickey Mouse, 229 Microphones Altc Lansing, 82 crystal, 82 dynamic, 82 Micro-wave link, 39 Middle close-ups, 234 Miniature, 342, 343, 345 Model railroad, 344 accessories, 344 equipment, 351 Model stage, 351 Monotony, 239 Montage dissolve, 224 superimposed, 224 Mosaic, 34 Motor drive, 47 Movie Advertising Bureau of New York, 253 Movie camera, 47 Movietone News, 283 Moviola, 194 Multiplexer, 107 Musical problems, 334 N Narration, 296, 298 National Association of Broadcasters 319 NBC kinescope recording equipment. 126 Negative modulation, 40 Newspaper station, 295 Newsreel production, 295 scripts, 296 Newsreels, 281, 282 self-produced, 285 Night effects, 225 Noise-reducing bias, 71 Nujol, 346 "Off-the-air monitor," 46 Overacting, 229 Painting with Light, 158 Pan shot, 183 Panning, 237 Parallax-correcting devices, 66 Parallax error, 140, 235 Paramount intermediate film system, 131 Paramount pictures, 345 Passive scene, 270 Per<strong>for</strong>mers' rights, 334 Persistence, of vision, 14, 37 Personnel, 361
Perspective, 143, 267 Petty cash, 362 Photicon, 44 Photoelectric, 37 Photoelectric meters, 163 Photoflood, 157 Poison, 348 Police permit, 274 Positive transmission, 40 Power, a-c, 355 Previewing, 250 Printer contact, 14 optical, 188, 211 Prints, 16 mm release, 325 Processing, 13 Program feature, 269 Projectionist-writer-contact man, 286 Projector brightness, 250 G E 16mm, 99, 105, 116 G E 35 mm, 112 RCA 16mm, 100, 118, 119 RCA 35 mm, 101 Prop hand, 347 stage, 347 Props, 254, 347, 361 Proximity, 268 Public affairs, 367 Pull-down, 104 Pulsed light system, 101 Racking, 115 Rack-over, 138 Radio relays, 328 Rain makers, 347 Rangertone, 192 RCA Model 400, 97 synchronizing cycle, 103 Reaction cut, 184, 186 Reflectors hard, 160 soft, 161 Releases, 248, 358, 365, 369 Repeat showings, 332 Repetition factor, 317 Reversal Kodachrome Type A, 175 Reverse-angle shots, 353 Rhythm, 239, 339 Right of privacy, 367 Royalties, 369 Rules, city, 355 INDEX 575 Sand erosion, 135 Scan, 36 Scene list, 255 Scenery, 339, 361 Screen, limitations of small, 316 Scrim, 162 Self-identification, 313 Semi-professional, 236 Sets, 254 Shading technician, 107 Shooting ratio, 292, 309 Shutter bar, 215 Simplicity, 239 Singing Death, 230, 239 Single or double system sound, 310 recording, 73 Slander, 248 Slimline lamps, 156 Small screen, 230 Smearing, 206, 298 Smith Kline and French, 172 Snow makers, 348 Sound, 250, 256 lead, 194 -on-film, 68 -over, 273 recording films, 67, 69, 84 Spatial dimension, 341 Special effects, 199,215, 341 Splice, 128 Splicing, 195 Split focus, 149 Sponsor identification, 313 Sponsors, 320 Spots, 301, 324 Spring drive, 47 Standard rate <strong>for</strong> sound, 13 Standing person, 352 Station breaks, 301 ten-second, 324 Stock shot, 270 Stoetzel, George, 147 Story-board outline, 260 Straight dissolve, 186 "String man," 283, 284 Subtitles, 199 Superimposition, 186 Super turnstile, 41
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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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322 THE PROGRAM ANGLE repetitious n
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Page 346 and 347: 326 THE PROGRAM ANGLE of the medium
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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
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Page 370 and 371: 350 .5
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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: Film, producer, 180 recording, 328
Page 399 and 400: 5. .9 = *.I * "O c>l O* O _S .E I -
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