Broadcasting Telecasting (Jul-Sep 1953)

ion both sides. It is normally shot and always [projected at a speed of 90 feet per minute. I Thirty-five mm is bulkier and more ex'iei ilpensive when compared with 16mm film, ilts mass is IVi times 16mm film or IVz of i35"nm equivalent to one foot of 16mm film. Cost per foot of raw stock depends upon jtype. Different emulsions which might vary islightly in speed are priced with variations iof pennies per hundred or thousand-foot ;iroll. However, this price differential is determined more by the emulsion itself than by the final photographic speed. Color film is considerably more expensive [than black and white, but the question of i whether to use black and white or color -j should not be determined by raw stock cost i . I alone. A number of producers prefer 35mm to atifl^il6mm film because each 35mm frame is, ! as we have said, 21/2 times the size of the TiA\ 16mm frame; and it is believed that the 35mm will project more clearly over the TV sytem. This may be, however, a matter of istalfi opinion. It is true, perhaps, that a 16mm reduction print of 35mm film makes for a clearer image than film shot originally in 16mm. Certainly, the 35mm sound track is clearer, more brillant, and more accurate than existing 16mm sound tracks. As to color vs. black and white, whatever stock is used for producing, it is advisable to make black and white prints for use on TV from color originals or negatives. Their quality, if timed correctly, can be excellent. 24 Frames Per Second Sixteen mm raw stock is available with single and double perforation — single perforation for sound-on-film, double perforation for silent picture film only. All 16mm film is on safety stock (nonexplosive) . Here there are no restrictions as to shipping, transportation, and general handling. Sixteen mm should be shot normally and always projected at the sound speed of 24 frames per second. The 1 6-frames-per-second rate should not be used any longer, even though silent footage at this speed is still available and though a saving may be effected through its use. This is because fewer feet of film are used for a given scene than if shot at 24 frames per second. Sound projectors, from the less expensive to the newest and most elaborate now used in TV stations or networks, are geared for the projection of sound film at 24 frames per second only. Variations from the normal speed of 36 feet per minute should be employed only if special effects are desired, as in the case of a speed-up or slow-down of a given scene. When 16mm black and white film originally appeared on the market for use by amateur cinematographers, it was, in a sense, film "made smaller." It was therefore grainy and of poor quality, although the emulsions used in both were identical; but the graininess of 16mm emulsions naturally was not also "reduced" as it is in presentday 16mm stock. Now, with new improvements, the emulsions for 16mm film are such that it may be safely said that 16mm film is equivalent in resulting picture quality to 35 mm film, with perhaps one exception: 16mm film projection tends to fuzziness when used in theaters with extremely large screens. This fact, how Broadcasting Telecasting ever, is of only academic interest to the TV film producer. Incidentally, an out-of-focus quality and "jumping" of film can be a result of "hand-holding" the camera, rather than using the camera on a fixed tripod. This is again a case of an initial mistake magnified. When film to be televised is projected onto the 4" x 6" "screen" of the TV camera lor telecasting, each single 35mm frame is magnified 16 times; each 16mm frame, 40 times. Compared with the screen used in homes, auditoriums, and theatres, the 4" x 6" "screen" of the TV camera is infinitesimal, and it makes little difference to the eye whether the single frame is magnified 16 or 40 times, provided the film used is of high quality. In other words, 16mm film may be no grainier to the naked eye than 35mm. This is true, always provided the film was originally shot on good 16mm raw stock, correcdy lighted, and exposed and printed carefully. If this is the case, definition on 16mm will be, for practical purposes, equivalent to anything attained on 35mm. Admittedly this optimism is by no means shared by all film producers. The objectors point out that there is very litde 16mm equipment — from cameras and their lenses through laboratory processing and printing apparatus to projection machines — that compares in any way with the precision of professional 35mm equipment. Theoretically, they concede, we can use a precision camera and fine lenses with high resolving power to put an excellent image on 16mm emulsions available today. But we must then find a lab, they insist, that takes the 19 chapters by 19 specialists on everytliing you need to itnow about ADVERTISING^ PRODUCTION HANDBOOK BY IRVING SETTEL, NORMAN OLENN AND ASSOCIATES Wilh an in/roducfion fay Bernard C. Duffy, presidenf of 6SD&0 Outstanding authorities give you their years of "know-how" in this thorough and up-to-date new guide to the advertising and production phases of television. 480 pages iam-packad with vital facts Here are just a few of the essential things you will find in this book: how to choose the right TV station for your product; how a TV show should be written; successful mail-order advertising on TV; getting publicity for TV stations and shows; how to use premiums effectively on television; etc. 69 illustrations, charts and graphs make every point lucid and easy-to-grasp at once. There are, in addition, helpful appendices which give you a complete dictionary of TV terms, the Television Code, an explanation of how television works, and many practical visual aids you may use in your work. Contributors are acknowledged leader* in their fields 20 experts write on the phases of television for which they are noted: Robert J. Wade discusses "Staging"; Milo Frank — "Casting"; Ann Howard Bailey — "Dramatic Writing"; Bill Todman "Selling a TV Package"; Walter A. Lowen— "Personnel"; Allen H. Kalmus — "Publicity"; Stockton Helffricli— "Censorship"; and many others. Here is a "how-to" book that will be read and re-read, that will be kept at hand as a necessary reference book for all who work in TV or related fields. $6.00 The authors IRVING SETTEL U Sales Promotion Consultant, Dumont Television Network Film Syndication; Advertising Manager of Concordes Inc.; and Instructor in Radio and TV at Pace College. NORMAN dLENN is Editor and Publisher of _^ Sponsor Magazine. ^ MAIL THIS COUPON TODAY — — — — — — — ■ THOmAS y. CROWELL COMPANY, Dept. BT-8 432 Fourth Avenue, New York 16, N. Y. Please send me copies of TELEVISION ADVERTISING AND PRODUCTION HANDBOOK. I enclose check or money order. Name Address City ..Zone .State August 10, 1953 Page 85