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252 RUDY BRETZ March
one thing that is most likely to be a little off in television. Film editing procedures take account of the timing factor and usually include a "rough cut" stage where all the scenes are overlong. When the film is projected and studied in this condition, cuts can be more exactly timed. In television such a procedure is impossible. A long shot and a medium shot which are to be cut together exist side by side on two monitors. A switch between them is instantaneous and irrevocable.
Within a sequence of shots taking place in one scene, the actual length of an action cannot be changed. An actor crosses the room, and we cut to a close-up when he reaches the other side. In film editing there is a possibility of shortening the actual time of the cross. If the actor walks out of the frame on the first shot and into the frame on the second, the entire intervening time can be eliminated. This is known as "creating filmic time." In television we can condense time in this way only between sequences or by special devices, but not in the regular run of shooting. We are limited to actual time, since television is basically an art of actuality. The choice, by the director, of the best segment of this actuality, at the best time, is the process of artistic selection, which is a good part of what might be called the creative art of television.
Dependence on actual time, however, simplifies television cutting as compared to cutting film; there is no need to worry about matching of action. In film shooting, it is always a constant worry to be sure that the action is the same when you shoot a close-up as it was when you shot the medium-shot just before. If an actor sits down, he must do it at the same speed each time, hold the chair with the same hand, cross his legs in the same direction, etc., or joining the two pieces of film will be a great problem. Then, in film cutting, even when you have two shots with identical action in them, there is the problem of cutting between them, so that the action, which begins in one shot and ends in the other, will be smooth and continuous. There must not be any overlapping or anything missing. This also we are spared in television.
Cutting on Action
The principle of cutting on action is just as important in television as it is in films. There is nothing that will so disguise the fact that a cut has been made as a strong and positive action to carry across