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RALPH WOOLSEY, behind boom-mounted camera, shooting a TV film for Warner Brothers on location near Hollywood.
Interview with Ralph Woolsey, ASC
SOME ASPECTS OF PHOTOGRAPHING
FILMS FOR TELEVISION
Here is an expert look at television film production today by a director of photog¬ raphy who has photographed both tele¬ vision films and feature productions. In this
interview with Ralph Woolsey, ASC, some interesting aspects of photographing films for various TV film series are explored and compared with feature film photography.
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Q — Mr. Woolsey, viewing television film production objectively today what, in your opinion, are the differences if any in the problems encountered by the director of photography shooting films for television as compared with feature films?
A — One area of difference lies in pre-production preparation. For feature films, a lot more money is usually spent and a lot more time is devoted by each department in the studio in the planning of a picture. This is rarely the case with TV films. When a tele¬ vision film gets under way on the sound stage it happens not infrequently that the script for the pic¬ ture has just barely been approved. I have at times
been assigned to photograph a TV film where the script has undergone many drastic changes before the production was completed. There have been in¬ stances where we have photographed sequences and shortly afterward that same day someone would ap¬ pear on the set with new, revised pages of script for the scenes already shot, and we would then have to re-shoot the scenes in order to incorporate new and different dialogue. This is not typical practice, of course, but it does happen. The most efficient produc¬ tion companies aim to get all scripts fully approved before they start the cameras rolling.
When this happens and the cameraman directing
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AMERICAN CINEMATOGRAPHER, MAY, 19M