American cinematographer (Jan-Dec 1949)

there are certain very definite factors which must be considered in filming. First, while it is granted that it is some¬ times necessary to show crowd scenes for establishing purposes, it is also true that this is one type of scene which does not reproduce to best advantage on the tube. It is better, whenever possible, to sacri¬ fice a bit of production value in favor of clarity — so, instead of a “cast of thou¬ sands,” hold the number of people within your scenes to a minimum and try to keep their action from becoming too com¬ plicated. Remember that television is an inti¬ mate medium — that it brings a visual program right into the spectator’s home. Said spectator will be sitting up rather close to the set giving the tube his un¬ divided attention. This means that the pace and action of the television film should be somewhat exaggerated. Keep your picture moving. The spectator be¬ comes bored by static scenes and slowmoving action. If he becomes bored enough he will reach for the dial and tune in another channel. Pace in filming is not simply a matter of staging the action to a certain tempo — it also involves correct cutting. Here again, static scenes should be cut to the bone. A staccato inter-cutting of action with reaction shots will help to keep the pace moving and the audience interested. Just a word should be said here re¬ garding the recording of sound by tele¬ vision films. Every time sound is re¬ recorded it loses some of its basic quality. In the assembling of a sound track for a film, the final track is often the prod¬ uct of two or three re-recording processes with a consequent proportional loss of quality. Therefore, motion picture sound at best is inferior to direct sound from a live action television show. While tele¬ vision sound is broadcast over FM chan¬ nels which offer superior sound fidelity, it is still next to impossible to improve upon a basically poor original film sound track. It therefore behooves the producer to get the very finest sound available for the films which he intends using on tele¬ vision. The production of films for television already bids fair to become a very large and important business. In these days of trial and error in the industry it is well to appreciate what can and cannot be done satisfactorily in shooting this type of film. Until the mechanical scope of the medium itself can be widened, the discerning producer will work within the admitted limitations to turn out in¬ teresting, educational and commercially acceptable film subjects for video. P combination machine for neqativ/e or — posi+is/o (Tims.... The Houston Model IOC is a precision-built, fully automatic developing machine that enables the laboratory to handle both negative and positive films alternately without changing solutions. Two developer tanks are provided, one for the negative, the other for the positive solution. Processes neg¬ ative film 600 to 1200 feet per hour; positive film 1200 to 2400 feet per hour. Write today for illustrated brochure. Automatic Film Developers Printers Studio & Laboratory Equipment THE HOUSTON CORPORATION, W. LOS ANCELES 25, CALIFORNIA Tel: BRadshaw 24331 Cable HOUSCORP August, 1949 American Cinematographer 295