We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
1950 TELEVISION CUTTING 251
operation. WCAU-TV and WPTZ in Philadelphia are good examples. Making a comparison with the T.D. system, they say at WPTZ, "It is easier to train a director to punch a few buttons than it is to teach an engineer showmanship."
This method of operation works out fairly well in small stations and on programs which are not too complicated. In the production of dramatic shows, however, it is advantageous to the director to be able to dispose of the burden of handling the dials and switches.
PRINCIPLES OF CUTTING
The principles of cutting that I shall outline here are the same that have governed film editing in all but the most esoteric types of films or film sequences. These are the techniques that achieve a "smooth cut" and assure a visual continuity. Good cutting, under this criterion, is unnoticeable. Two shots are joined in such a way that the audience is completely satisfied by the result and its attention can properly remain with the action, rather than being distracted by the method of production. Subject is more important than form in this type of production.
Basically, the responsibility of the television director is to satisfy the viewer. When something is going on and the director is makingpictures of it, he must show it properly, or the viewer will be dissatisfied. He must show the viewer what he wants to see. Forty years of an ever-improving motion picture art has educated him to expect a lot. He wants close-ups on essential action and he wants them quickly, just as he is used to getting them in the films. He wants to look around and know where he is and he expects good orientation. Above all, he doesn't want to miss anything that happens and he doesn't want to be confused.
The director must show the viewer what he wants to see, when he wants to see it, and cause him no confusion in the process. If the television director can achieve even so much as this, he will be a good director. Fancy angles, subjective camera and montage cutting also have their place, but they can never substitute for the basic requirements.
Showing the viewer what he wants to see might better be classified under camera handling than under cutting. But showing it to him when he wants to see it is definitely a principle of cutting. The timing of the cut is perhaps the most important single thing about it, and the