Broadcasting Telecasting (Jul-Sep 1954)

than twelve as with the RCA monochrome camera. When the lens is raised opposite performers' faces, the viewfinder is above the eye level of the cameraman. Because of this, and because of the length of the camera, a tilt-down from this level will raise the rear of the camera so high that the cameraman cannot see through the viewfinder hood. But if the hood is removed, the image on the viewfinder will probably be obscured by the strong studio lights. Down shots with the camera close in to a table or counter are therefore very difficult unless the cameraman is provided with a stool. But this may immobilize the camera in a position too close to take an adequately wide shot of the scene. Focusing is controlled by a handle bar grip, which is also used for pushing the camera, and revolves just opposite from the crank on the monochrome camera. A new cameraman may need time to get used to these differences. COLOR SLIDES: At WTMJ-TV slides are fed horizontally through the flying spot scanner in a holder which accommodates only four slides at a time. To prevent showing each new slide move into place, it is advisable for the video control man to go to black on the cue "change slide," fading up again when he sees the next picture in position. If more than four slides are used in direct succession, time must be allowed for already used slides to be removed and new ones substituted. Depending on the circumstances, it may be necessary to hold a slide on the air for as much as ten seconds while such changes are made, in which case there should be enough copy or music to cover. Six slides, pretty evenly spaced, are probably maximum at present for a minute commercial or promotion. Once the primaries have been balanced, the color appearance of any given slide depends on how much light passes through it to the pickup tubes. Obviously a film of great density will let less light through than one of thinner density. Therefore it is desirable to select slides of similar density for any given sequence. When this is impossible, the differences may be evened out with neutral density filters. Otherwise an engineer must regulate the iris, opening and closing it as required to transmit the proper amount of light to the pickup tubes. In making color slides, remember that color receivers have the French oval screen, which mask some of the corners. Safety area is 1" x 3A", with the corners kept in mind. Aspect ratio will rule out in color, as it does in monochrome, most slides made vertically. Color slides made from underexposed negatives should be avoided. Underexposure generally takes on a blueness in the slide which is accentuated in the system. In scenic slides, large dark areas (such as trees in the foreground) may not show all the color they do in natural projection, due to the weaker light source of the scanner. Maximum readability of title and caption slides is secured from white lettering. Black is less effective because of the added interest of the background color. Slides should be delivered to the color coordinator well in advance of contemplated use in order to check density and aspect ratio. Normally this check will be made with a projector in the Art Department office. SWITCHING: One can dissolve between slide and live camera. With advance notice one can incorporate black-and-white film into the program, but one must switch to and from it rather than dissolve since the chrome and monochrome systems operate on different sync generators. Do not forget the cues "switch to color" and "switch to monochrome" when beginning and ending your program. GENERAL: The factor of color should not be construed as a reason for elaborate productions. If color is to be feasible here, we must be able to do it economically. In our experiments with local shows, we should keep as close to the normal monochrome format and mounting as possible, adding or changing elements only when absolutely necessary. Thus make-up is not necessary for all performers here. Nor is it invariably necessary to use the special CTV (Color Television) make-up that is deficient in red. Staff members who need make-up are expected to apply their own. Regular non-staff performers should also be encouraged to do their own, perhaps after some initial instruction jo I PRC A S T I Nl Advance Schedule I Of Network Color Shows CBS-TV Mondays (5:30-6 p.m. EDT): Film, Time for Color. Aug. 25: The Big Payoff, Colgate-Palmolive Co., through William Esty Aug. 31: Danger, Block Drug Co., through Cecil & Presbrey Sept. 7 (10-10:30 p.m. EDT): Life With Father, Pet Milk Co., through Gardner Agency Sept. 8 (12:15-12:30 p.m. EDT): Love of Life, American Home Products Corp., through Biow Agency Sept. 14 (9-9:30 p.m. EDT): Meet Millie, Carter Products, through SSC&B Sept. 15 (10-11 p.m. EDT): The Best of Broadway, Westinghouse Electric Corp., through McCannErickson NBC-TV Following is a list of mobile unit segments to be shown on Home and Today shows on days indicated: Aug. 24: (Home Only) Cooking demonstration by Chef Phillip. Also four-minute color film. Aug. 26: (Home) Remote pickup from Milwaukee, Wisconsin State Fair. Also Pickup from New York Museum. *.,-.'*',-..* Sept. 12 (7:30-9 p.m.): Color Spectacular— "Satin & Spurs" — sponsor, Reynolds Metal Co., through Russel M. Seeds, Chicago. [Note: This schedule will be corrected to press time of each issue of B«T.] from a member of the Production Department. At present, however, color will certainly take more check time than monochrome — largely because light distribution is so critical a factor and requires time and patience to get right. During production of a color show, the director should work closely with the engineering supervisor in regard to lighting, and with the color coordinator in regard to color selection. He should also consult the production manager well in advance whenever a color problem seems to require some new element of scenery, properties, or make-up not normal to the monochrome production of the show in question. FREE PERSONNEL SERVICE The big problem in television today is competent people. Here we believe we can help you, as we have many station managers. From our school we supply qualified assistants who have a fundamental background so they blend into any TV operation. Call us for any of the following: • Announcers • Writers • Camera Assistants • Boom Operators • Floor Directors • Make-up Artists • Film Editors • Salesmen Remember, our service is FREE. We are not an employment agency. We simply supply you with graduates from our school who have been screened for ability and willingness to work. Write John Birrel, Personnel Director, for complete background data. NORTHWEST RADIO & TELEVISION SCHOOL 1221 N.W. 21st Avenue Portland 9, Oregon Page 74 • August 23, 1954 Broadcasting • Telecasting