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July, 1939] TELEVISION STUDIO TECHNIC 37
assistant director supervises these operations and sees that the instructions of the production director are properly carried out.
Members of the studio personnel also to be mentioned include lighting technicians, the property man, and scene shifters, whose responsibilities parallel those of their motion picture counterparts. Specially trained men are also needed for operating title machines. In the future all titling will undoubtedly be done in a separate studio inasmuch as operating space in a television studio is at a premium. Today, however, title machines do operate in the studio and require the utmost care in handling. Types of titles used include dissolves and wipes similar to those used in moving pictures.
Sound Reproduction. — As in motion picture work, a microphone boom is used in television production, and is operated in a similar way. Perspective in motion picture sound is accomplished by keeping the microphone, during a long shot, just out of the picture and moving it down closer to the action as the camera moves in for a close-up, thus simulating a natural change in perspective. In television this is not always possible because there are always three cameras to consider. This same condition prevailed in the early days of motion pictures when it was thought desirable to take a complete scene, shooting both long-shot and close-up cameras, at one time. In the television studio at least one camera is always set for a long shot while the others are in position for closer shots. If the microphone is placed in such a position as to afford a "natural" perspective for close-ups, the succeeding switch to a long shot would reveal the microphone in the shot. You in motion pictures can order a retake ; in television broadcasting we can not rectify the mistake. It is quite obvious, therefore, that the man on the boom can not lower his microphone to the "natural" position for each camera shot. We therefore place the microphone in a position just out of range of the long shot. In order to accomplish some sense of perspective between long and close-up shots, a variable equalizer that drops the high and low ends of the spectrum is automatically cut into the audio circuits when the long-shot camera is on the air. In this operation, sufficient change in quality and level is introduced to aid the illusion of long-shot sound perspective. Of course, when a close-up camera is switched in, the audio returns to the close-up perspective quality once more. This may be called remote control sound perspective.
Special sound effects, music, etc., from the studio picked up from recordings are mixed in the control room. In motion pictures, some