Movies for TV - Early Television Foundation

More documents

Recommendations

Info

64 FUNDAMENTALS Fig. 3-11. The Mitchell 16 mm professional camera. The large hood mounted on two rails in front of the lens is a sunshade. turret, spring and hand drives, rewind feature, single picture control, and built-in view finder. A great many are in use in the television news departments in this country. The Pathe 16 mm Camera This is a comparatively new camera, but it shows promise of becoming a favorite. Its great feature is the full-frame follow-focus which enables the operator co watch the action through the actual lens which is recording the scene. This is made possible by the addition of a small mirror at the picture gate. When not in use, a shutter blanks off the view- finder tube so that stray light cannot fog the film; when it is in
MOVIE-MAKING EQUIPMENT 65 Fig. 3-12. Opened view of Mitchell 35 mm sound camera. The heavy construction and solid workmanship of this fully professional Hollywood camera are very apparent. use the operator's eye at the end of the tube prevents light from entering. It has all the refinements found in the other cameras including adjustable shutter <strong>for</strong> effects, hand turn, and single-frame control. A strong spring drive is included, and provision is made <strong>for</strong> an electrical drive. Both this camera and the Bolex described above take 100-foot film spools; however, larger magazine fittings are in process of introduction. It should be realized that the cameras described above do not by any means constitute the complete list of equipment available but are a representative sample of instru-
Page 1 and 2:
John ison
Page 3:
CARL GENTRY OEHLER PROFESSIONAL PHO
Page 6 and 7:
THE MACMILLAN COMPANY NEW YORK . CH
Page 8 and 9:
Copyright, 1950, by The Macmillan C
Page 11 and 12:
INTRODUCTION Television and the man
Page 13 and 14:
INTRODUCTION ix since many subjects
Page 15 and 16:
CHAPTER 1 CHAPTER 2 CONTENTS PART O
Page 17 and 18:
CHAPTER 11 CHAPTER 12 CHAPTER 13 CH
Page 19:
CHAPTER 20 CHAPTER 21 CHAPTER 22 SC
Page 23 and 24:
CHAPTER 1 PRINCIPLES OF MOVIES WHAT
Page 25 and 26:
PRINCIPLES OF MOVIES 5 perforations
Page 27 and 28:
PRINCIPLES OF MOVIES 7 time ago, be
Page 29 and 30:
PRINCIPLES OF MOVIES p are the crys
Page 31 and 32:
change occurs. The grain PRINCIPLES
Page 33 and 34: PRINCIPLES OF MOVIES 13 changing fi
Page 35 and 36: PRINCIPLES OF MOVIES 75 Fig. 1-3. H
Page 37 and 38: PRINCIPLES OF MOVIES 77 expressed a
Page 39 and 40: PRINCIPLES OF MOVIES 19 It is used
Page 41 and 42: PRINCIPLES OF MOVIES 21 dub-in The
Page 43 and 44: PRINCIPLES OF MOVIES 23 floor manag
Page 45 and 46: PRINCIPLES OF MOVIES 25 to reduce t
Page 47 and 48: PRINCIPLES OF MOVIES 27 modelling l
Page 49 and 50: PRINCIPLES OF MOVIES 29 left to rig
Page 51 and 52: PRINCIPLES OF MOVIES 31 ture over a
Page 53 and 54: CHAPTER PRINCIPLES OF TV Before pro
Page 55 and 56: PRINCIPLES OF TV 35 photocell intel
Page 57 and 58: PRINCIPLES OF TV 37 48 flashes per
Page 59 and 60: PRINCIPLES OF TV 39 most important,
Page 61 and 62: PRINCIPLES OF TV 41 method is bette
Page 63 and 64: PRINCIPLES OF TV 43 good. Unfortuna
Page 65 and 66: PRINCIPLES OF TV 45 Figure 2-1. Typ
Page 67 and 68: 1 a I an CHAPTER MOVIE-MAKING EQUIP
Page 69 and 70: ! MOVIE-MAKING EQUIPMENT 49 hundred
Page 71 and 72: j cased MOVIE-MAKING EQUIPMENT 51 F
Page 73 and 74: MOVIE-MAKING EQUIPMENT 53 Fig. 3-3.
Page 75 and 76: MOVIE-MAKING EQUIPMENT 55 the batte
Page 77 and 78: MOVIE-MAKING EQUIPMENT 57 (Courtesy
Page 83: MOVIE-MAKING EQUIPMENT 63 up to 999
Page 87 and 88: MOVIE-MAKING EQUIPMENT 67 point on
Page 89 and 90: MOVIE. MAKING EQUIPMENT 69 Sound Re
Page 91 and 92: MOVIE-MAKING EQUIPMENT 71 sound mod
Page 93 and 94: MOVIE-MAKING EQUIPMENT 73 Single Sy
Page 95 and 96: larger crew required, MOVIE-MAKING
Page 97 and 98: MOVIE-MAKING EQUIPMENT 77 Fig. 3-15
Page 101 and 102: MOVIE- MAKING EQUIPMENT 81 Sound, o
Page 103 and 104: MOVIE-MAKING EQUIPMENT 83 electrici
Page 105 and 106: MOVIE-MAKING EQUIPMENT Reversal Plu
Page 107 and 108: MOVIE-MAKING EQUIPMENT 87 Care of F
Page 109 and 110: MOVIE-MAKING EQUIPMENT 89 This defe
Page 113 and 114: MOVIE-MAKING EQUIPMENT 93 posed, th
Page 115 and 116: FILM TRANSMISSION EQUIPMENT 95 "mai
Page 117 and 118: FILM TRANSMISSION EQUIPMENT 97 in s
Page 119 and 120: FILM TRANSMISSION EQUIPMENT 99 ther
Page 121 and 122: FILM TRANSMISSION EQUIPMENT Wl GE a
Page 123 and 124: FILM TRANSMISSION EQUIPMENT l/12Sec
Page 125 and 126: FILM TRANSMISSION EQUIPMENT 105 Fig
Page 127 and 128: I working FILM TRANSMISSION EQUIPME
Page 129 and 130: FILM TRANSMISSION EQUIPMENT 109 tro
Page 131 and 132: FILM TRANSMISSION EQUIPMENT 111
Page 133 and 134: FILM TRANSMISSION EQUIPMENT 113 a m
Page 135 and 136:
FILM TRANSMISSION EQUIPMENT 115 the
Page 137 and 138:
FILM TRANSMISSION EQUIPMENT 117 Fig
Page 139 and 140:
FILM TRANSMISSION EQUIPMENT 119 wit
Page 141 and 142:
FILM TRANSMISSION EQUIPMENT 121 dif
Page 143 and 144:
KINESCOPE RECORDING 123 New York ti
Page 145 and 146:
KINESCOPE RECORDING 725 characters
Page 147 and 148:
KINESCOPE RECORDING 127 situation w
Page 149 and 150:
KINESCOPE RECORDING 129 the mechani
Page 151 and 152:
KINESCOPE RECORDING 131 movies, or
Page 153 and 154:
CHAPTER LENSES 'n this chapter the
Page 155 and 156:
LENSES 135 old one. There is not mu
Page 157 and 158:
f LENSES 137 In addition the older
Page 159 and 160:
ing. 1 LENSES 139 This has a number
Page 161 and 162:
LENSES 141 struction book for the i
Page 163 and 164:
LENSES 143 duces some spherical abe
Page 165 and 166:
LENSES 145 Fig. 6-1. Zoomar long di
Page 167 and 168:
CHAPTER 7 LIGHTING If the technical
Page 169 and 170:
LIGHTING 149 temperature, and somet
Page 171 and 172:
LIGHTING 757 or reflects a light of
Page 173 and 174:
(From Alton, Painting \vith Light.
Page 175 and 176:
LIGHTING 755 to make the exposure,
Page 177 and 178:
LIGHTING 757 tion equally well with
Page 179 and 180:
LIGHTING 159 job; the set was flood
Page 181 and 182:
LIGHTING 161 Fig. 7-2. Lighting equ
Page 183 and 184:
LIGHTING 163 In setting up stage li
Page 185 and 186:
LIGHTING 165 employment of a meter
Page 187 and 188:
COLOR 767 monochrome system show up
Page 189 and 190:
COLOR 169 mitted. The system is seq
Page 191 and 192:
megacycles, COLOR 777 with contribu
Page 193 and 194:
COLOR 173 Thus a light with a low c
Page 195 and 196:
COLOR 775 color film is seldom used
Page 197 and 198:
COLOR 777 toward red for day use is
Page 199 and 200:
CHAPTER EDITING AND CONTINUITY ossi
Page 201 and 202:
EDITING AND CONTINUITY 181 Some of
Page 203 and 204:
literary development; EDITING AND C
Page 205 and 206:
EDITING AND CONTINUITY 185 down in
Page 207 and 208:
EDITING AND CONTINUITY 187 simple d
Page 209 and 210:
EDITING AND CONTINUITY 189 For this
Page 211 and 212:
EDITING AND CONTINUITY 191 Fig. 9-3
Page 213 and 214:
EDITING AND CONTINUITY 193 Fig. 9-4
Page 215 and 216:
EDITING AND CONTINUITY 795 onto one
Page 217 and 218:
EDITING AND CONTINUITY 197 on top o
Page 219 and 220:
CHAPTER 10 TITLES AND SPECIAL EFFEC
Page 221 and 222:
TITLES AND SPECIAL EFFECTS 201 psyc
Page 223 and 224:
TITLES AND SPECIAL EFFECTS 203 sile
Page 225 and 226:
TITLES AND SPECIAL EFFECTS 205 Fig.
Page 227 and 228:
TITLES AND SPECIAL EFFECTS 207 long
Page 229 and 230:
TITLES AND SPECIAL EFFECTS 209 at t
Page 231 and 232:
TITLES AND SPECIAL EFFECTS 211 been
Page 233 and 234:
TITLES AND SPECIAL EFFECTS 213 glas
Page 235 and 236:
TITLES AND SPECIAL EFFECTS 215 ligh
Page 237 and 238:
TITLES AND SPECIAL EFFECTS 217 are
Page 239 and 240:
TITLES AND SPECIAL EFFECTS 219 the
Page 241 and 242:
TITLES AND SPECIAL EFFECTS 221 opti
Page 243 and 244:
TITLES AND SPECIAL EFFECTS 223 the
Page 245 and 246:
TITLES AND SPECIAL EFFECTS 225 read
Page 247 and 248:
CHAPTER 11 MAKING FILMS FOR TV Up t
Page 249 and 250:
MAKING FILMS FORTY 229 many feet aw
Page 251 and 252:
MAKINGFILMSFORTV 257 holes in the h
Page 253 and 254:
MAKINGFILMSFORTV 233 appear in the
Page 255 and 256:
f MAKINGFILMSFORTV 235 color combin
Page 257 and 258:
MAKINGFILMSFORTV 237 a special 12-v
Page 259 and 260:
MAKINGFILMSFORTV 239 produce only a
Page 261 and 262:
MAKINGFILMSFORTV 241 Chalk marks ar
Page 263:
PART TWO THE PROGRAM ANGLE
Page 266 and 267:
246 THE PROGRAM ANGLE delegated to
Page 268 and 269:
248 THE PROGRAM ANGLE stages, scene
Page 270 and 271:
250 THE PROGRAM ANGLE and said the
Page 272 and 273:
252 THE PROGRAM ANGLE mean that thr
Page 274 and 275:
254 THE PROGRAM ANGLE staff might f
Page 276 and 277:
256 THE PROGRAM ANGLE If the film i
Page 278 and 279:
258 THE PROGRAM ANGLE rent for from
Page 280 and 281:
260 THE PROGRAM ANGLE does is to ma
Page 282 and 283:
262 THE PROGRAM ANGLE Camera #1. Pa
Page 284 and 285:
264 THE PROGRAM ANGLE Different sho
Page 286 and 287:
266 THE PROGRAM ANGLE arches or Mos
Page 288 and 289:
268 THE PROGRAM ANGLE For this reas
Page 290 and 291:
270 THE PROGRAM ANGLE producer cann
Page 292 and 293:
272 THE PROGRAM ANGLE tion. This ca
Page 294 and 295:
274 THE PROGRAM ANGLE and the film
Page 296 and 297:
276 THE PROGRAM ANGLE in the studio
Page 298 and 299:
278 THE PROGRAM ANGLE of scene. Or
Page 300 and 301:
280 THE PROGRAM ANGLE chocolate and
Page 302 and 303:
282 THE PROGRAM ANGLE will be the r
Page 304 and 305:
284 THE PROGRAM ANGLE film, or pays
Page 306 and 307:
286 THE PROGRAM ANGLE vision newsre
Page 308 and 309:
288 THE PROGRAM ANGLE unusual, it w
Page 310 and 311:
290 THE PROGRAM ANGLE Fig. 15-1 The
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 358 and 359:
338 THE PROGRAM ANGLE within the ne
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 -
show all

Movies for TV - Early Television Foundation

Create successful ePaper yourself

Delete template?

Save as template?