American television directory (1946)

NO RHYTHM: An uninteresting arrangement because there is an absence of rhythm. controlled. The intervals used in cuts, fades and dissolves, and the cadence in the flow of picture continuity will have a very definite effect on the emo¬ tions induced. For this reason it is important that the rhythmic pattern of the continuity be in harmony with the program content. 6 — Pace Variety of pace, suitable to the con¬ tent, is very desirable in continuity. The pacing of a sequence of short shots is important because the intervals be¬ come obvious. There is also the factor of pace or time interval in the observation of a picture. In each composition there is a definite time in which it can be taken in, and there is a more or less definite rate of eye travel through it. Hence, for the picture that is to be held on the screen for only a short time, the eye travel must be fast, while for one of long duration, the pace of observa¬ tion may be as leisurely as desired. Pace of eye travel is subject to con¬ trol. It may be made fast or slow de¬ pending upon the number and place¬ ment of shapes and the use of transi¬ tional lines that lead the eye from one place of interest to another. 7 — Proportion It is axiomatic that everything should be in proportion — in life and in pictorial composition. Subtle proportioning of shapes, lines, colors, and gradations of light gives a picture distinction and contributes to its effectiveness. It would be wonderful if a set of formulas could be written for making things with good proportions, but it can’t be done — such things must be felt instinc¬ tively. Some people have an innate feeling for proportion. If you have it you are fortunate; if you haven’t, the only thing to do is to be observant of things around you, and to study the proportions in pictures that have stood the test of time. 8 — Emphasis The actor emphasizes important words and phrases in order that they will stand out from the rest. The same principle applies in picture construction. In order that the eye may be attracted to the important parts of the picture, it is necessary to give them emphasis. This can be accomplished by the use of line, by contrasts of light and dark or of color, by isolation, by repetition, by placement, and by movement. By referring to the list of factors contributing to balance you will find many of the methods of obtaining dramatic emphasis. 9 — Dominance The two greatest essentials of pictor¬ ial composition are unity and domin¬ ance. To tell a story, to create a mood, or to convey information a picture must have a dominant theme and one spot or area of attraction to which the eye is irresistibly led. If the picture is to be held on the screen for only an instant, the eye must find this place instantly; there must be no doubt or wavering as to the intent, or the scene is lost. If, on the other hand, the scene is long, the eye must be given other areas of lesser attraction, so that it may be led from one to another, always coming back to the dominant area. This may be done through repetition, simi¬ larity, or counterpoint in which some contrapuntal theme or pictorial form supports the main theme. It almost al¬ ways involves the sacrificing of interest in certain areas in the order of relative importance. The greater the number of interest¬ ing shapes a picture contains, the more difficult the problem of control becomes. Therefore, except in skilled hands, the safest rule is to keep the picture simple. 1 0 — Continuity As pointed out earlier, television in¬ volves not only the composition of sepa¬ rate camera shots, but putting those shots together in continuity. No matter how good the shots are, they will fall apart if the continuity is badly con¬ structed. In the paragraphs above, we spoke of eye travel from one place of attrac¬ tion to another. This is continuity within individual pictures. In television the flow is so continuous from scene to scene that the whole program is, in effect, one picture. This means that we must apply to continuity the same prin¬ ciples on which the individual pictures are built. The entire production must have varied unity embellished by rhyth¬ mic harmony; it must be balanced in pace and proportion; and controlled in emphasis by a dominant theme. These are the ten mileposts to good composition. They mark out the route which must be travelled in arriving at pictorial effectiveness. They apply to every segment of the program day and to every picture therein. The telling may make them seem all too compli¬ cated, but so it seems when first learn¬ ing to drive a car until, through familiarity and practice, it has become second nature. As you progress, you will add touches of distinction that re¬ ACCENTED rhythms in this arrangement of a three-shot make it alive and interesting. fleet your own personality. You will develop a style that is your very own-, and by it your work will be known. Procedure in Planning Pictorial Continuity There are, as we have seen, so many factors involved in television picturization that they can only be handled successfully by intelligent planning; there are too many other things to be thought of during production to leave the working out of visual continuity until the cameras are turned on. A fixed procedure for visual planning will be of infinite help for it will establish habits that make quick decisions pos¬ sible when under the tension of pro¬ duction. Such habits will have definite value in handling the off-the-cuff pro¬ gram which demands split-second think¬ ing and plenty of “know how.” In planning visual continuity, proceed as follows: 1 — Determine the over-all feeling which the production demands. 2 — Analyze the key picture sequences and the transitional scenes for their mood or factual content. 3 — Select the picture treatment — the basic compositional forms — best suited to those needs. 4 — Work out the supporting continu¬ ity. 5 — Put it down on paper, if possible, either in verbal outline or in story¬ board form. Pictorial continuity should be worked out in essentially the same way that an intelligent sales campaign is planned : It should open with some device to capture the attention; gradually it should unfold the charms or merits of what is being offered; it should appeal in varied ways to the fundamental de¬ sires and needs of a specific group of prospects; it should build to a climax, having left one thought, one image or impression so clearly developed that it will not be forgotten. Bear in mind that the audience will retain only a few highlights and an over-all impression. They will remember longest the spots they liked or disliked strongly. If the continuity builds to peaks of excellence and is not just a jumble of pictures, the audience will remember the program with pleasure and enthusiasm. “I predict that within five years this nation will enjoy more than 5,000,000 television sets in home opera¬ tion. Television will be a great new industry and a great new service to the American public.” — Ernest H. Vogel, Vice President in Charge of Sales, Farnsworth Television Sc Radio Corp. 66