Movies for TV - Early Television Foundation

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376 INDEX Sweepstake winners, 300 Synchrolite, 101 Synchronizing generator, 37 Synchronous motor, 48, 237 Sync stretcher, 39 Take board, 241 Taste, good, 323 Teaser, 162 Technical flaws, 274 picture quality, 305 Telenews, 282 organization, 283 Telephoto, 136 Tele-Tech, 247 Televiser, 247 Television, 247 Television band, 43 camera, 34 commercials, 253, 310 film camera, 106 film camera tube, 106 newsreel, 284 newsreel service, 286 Testlight, 159 Theatre television, 333 Three-gun tube, 171 Three-shot, 231 Tilt shot, 237 Tilting and panning head, 237 Time multiplex transmission, 1 70 Title credit, 184 flopover, 203 Titlers, 207 Titles, 199, 249, 255, 298 background, 208 PHOTOGRAPHER CARL GENTRY OEHLER Post Office Box 2702 Long Beach 1, California Titles, book, 208 drum, 203 main, 298 Transition, 305 Transmission standards, 329 Transportation, 361 Tripack, 174 Trick shots, 215 Tripod, 237 T stops, 135 Twentieth Century Fox, 283 Two-shots, 264 Type stick, 207 U United Press, 283 Underwater scene, 342 Variable-area system, 69 -density method, 71 Variety, 239 Vertical shading, 107 Vertical sync, 37 Video recording, 122 View finders, 66 Viewers, "split-tuned," 332 W Water scenes, 346 WBAP-TV, 272 Weather, 360 Western Electric, 71 Western Union Zirconium arc light, 157 Wide-angle, 136 "Wild" motor, 48 Wipes, 220, 221
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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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324 THE PROGRAM ANGLE have not been
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Page 350 and 351: 330 THE PROGRAM ANGLE TELEVISIONNET
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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 374 and 375: CHAPTER 21 STUDIO OR LOCATION SHOOT
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Page 378 and 379: 358 THE PROGRAM ANGLE sees around N
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Page 382 and 383: 362 THE PROGRAM ANGLE for ordinary
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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: Perspective, 143, 267 Petty cash, 3
Page 400: IMPORTANT BOOKS FO* TELEVISION TECH
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