Movies for TV - Early Television Foundation

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70 FUNDAMENTALS Fig. 3-13. Sound tracks of variable-area and variable-density recordings. Left (A) is variable-area negative, center (B) is variable-area positive, and right (C) is variable-density. G I
MOVIE-MAKING EQUIPMENT 71 sound modulation on it and therefore causes no sound in the loudspeaker when it is reproduced. When modulation occurs, the mirror swings rapidly back and forth and produces a characteris- tic pattern on the film. It looks something like a saw-tooth pattern. Actually it is caused by the light's passage through the triangular mask opening. The higher the frequency, the closer together the little triangles. The louder the sound, the wider the track. Positive track is always used for reproducing, and a moment's thought will show why this is preferable. The frequency of the reproduced sound depends on the number of times per second that the light is changed by the valleys and peaks of the triangular- based sound track. Volume is controlled by the width of the track: the wider it is, the louder the sound is, since more light then reaches the photoelectric cell. Considering the positive track for a moment, it is seen that the loudest parts they are quite wide and that there is a large, are obvious because clear area for the light to pass through. On the other hand, a glance at the negative track will show that in the corresponding part of this track the black area is at a maximum, cutting off light whereas it should be passing the maximum amount of light. Thus the sound might almost be said to operate in reverse, or at least in a very distorted form. With this type of recording, it is essential to have properly operating equipment which produces a clear, unfogged area on the film where the light falls. The blacks should be very opaque, and the clears should show no signs of fogging or haziness. It should be quite apparent that the less light that gets through the clear area, the less light will fall on the photoelectric cell, and consequently the less sound will be produced from the loudspeaker. A form of noise reduction is used consisting of a voltage which keeps the width of the sound track to a minimum during periods of non-modulation so that the least possible track and photocell hiss is heard from the speaker. It is known as a noise-reducing bias* The Variable-Density Method This system, more generally known as the Western Electric, or WE for short, has been in use
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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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Page 51 and 52: PRINCIPLES OF MOVIES 31 ture over a
Page 53 and 54: CHAPTER PRINCIPLES OF TV Before pro
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Page 57 and 58: PRINCIPLES OF TV 37 48 flashes per
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Page 61 and 62: PRINCIPLES OF TV 41 method is bette
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Page 67 and 68: 1 a I an CHAPTER MOVIE-MAKING EQUIP
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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 and 84: MOVIE-MAKING EQUIPMENT 63 up to 999
Page 85 and 86: MOVIE-MAKING EQUIPMENT 65 Fig. 3-12
Page 87 and 88: MOVIE-MAKING EQUIPMENT 67 point on
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Page 105 and 106: MOVIE-MAKING EQUIPMENT Reversal Plu
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Page 109 and 110: MOVIE-MAKING EQUIPMENT 89 This defe
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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
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Page 133 and 134: FILM TRANSMISSION EQUIPMENT 113 a m
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Page 137 and 138: FILM TRANSMISSION EQUIPMENT 117 Fig
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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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326 THE PROGRAM ANGLE of the medium
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CHAPTER 19 USE OF KINESCOPE RECORDI
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330 THE PROGRAM ANGLE TELEVISIONNET
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332 THE PROGRAM ANGLE film. Now the
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334 THE PROGRAM ANGLE Paramount has
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336 THE PROGRAM ANGLE Closed-circui
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338 THE PROGRAM ANGLE within the ne
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340 THE PROGRAM ANGLE mind that the
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342 THE PROGRAM ANGLE covers the fi
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344 THE PROGRAM ANGLE add a little
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346 THE PROGRAM ANGLE sound effects
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348 THE PROGRAM ANGLE are used very
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350 .5
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552 THE PROGRAM ANGLE stores which
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CHAPTER 21 STUDIO OR LOCATION SHOOT
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356 THE PROGRAM ANGLE (this is some
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358 THE PROGRAM ANGLE sees around N
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360 THE PROGRAM ANGLE was a good ba
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362 THE PROGRAM ANGLE for ordinary
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364 THE PROGRAM ANGLE releases. It
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366 THE PROGRAM ANGLE have afforded
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368 THE PROGRAM ANGLE shots of the
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INDEX Academy leader, 109, 256 Accu
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Film, producer, 180 recording, 328
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Perspective, 143, 267 Petty cash, 3
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5. .9 = *.I * "O c>l O* O _S .E I -
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