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.
206
KARL FREUND, right, director of Lucy, and Jesse Oppenheimer, producer, ponder a problem during rehearsal. Note control booth in scene at left.
LETS LOOK AT "LUCY
n
Production on the "I Love Lucy" set, always open to the
amateur, is a lively lesson in well-planned movie making
WILL LANE
TO VISIT Hollywood and watch the professional production of a motion picture is an understandable dream for every movie maker. But it is one which few filmers are ever likely to realize. For the major studios decided long since that they simply could not risk disrupting a 100-G sound set with a swarm of curious (and noisy) tourists. Besides, the production
DOLLY OPERATOR watches stage action as he makes ready to roll the camera to one of the positions numbered in tape on floor.
of a conventional motion picture requires many days or weeks of shooting. You might spend an entire afternoon snooping around Stage 2, say — and only see them "can" a single scene. It's disappointing.
VISITORS ARE WELCOME
But there is one set in cinema-land where visitors are always welcome. It's at General Service Studio, and on it week after week a crew of harried technicians, headed by the veteran cinematographer Karl Freund, continue to create what is, simply, the country's most popular and most imitated show on television today. And they shoot the whole darn thing right there before your eyes in 60 minutes flat. The show? Why, / Love Lucy, of course!
Watching ace cinematographer Freund at work on the Lucy "set is a cine education in itself. And every Friday evening at 7:30 hundreds of "students," ranging from old-time Hollywood film experts to young amateur movie makers, foregather at General Service to study "Professor" Freund's three-camera technique. So, if you're planning a visit to Hollywood, write for your free tickets well in advance. Address your request to the Columbia Broadcasting System or to the sponsor, Philip Morris cigarettes, both in Hollywood.
CAMERAS IN MOTION
No small part of the success of this show is due to the camera work. Thirty years ago, in filming The Last Laugh, Karl Freund introduced the dolly shot. He says now that he almost regrets this innovation; for his standard technique in producing Lucy is to use three cameras — with all of them dolly-mounted. The center camera uses a 40mm. wide angle lens (instead of the 50mm. which is standard for 35mm. cameras) and provides the full shots. The two wing cameras shoot the closeups. Since they have to keep back, out of the field of the center camera, they use 3 inch (l^x) and 4 inch (2x) telephotos.
An additional problem is the microphone. This the sound engineers try to keep as close to the players as