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f MAKINGFILMSFORTV 235 color combinations for close-up work is very important. Try not to have a large white expanse near a large black area. For instance, a player in a white shirt or blouse against a dark background, or beside a darkly dressed actor, will cause the white to run over into the black. This is a fault of the television camera and not the film camera. Whenever there is an abrupt change of color value over large masses, it usually results in a smearing of one edge over the other. For this reason, night scenes are not very satisfactory since, due to the large amount of black or dark area around the edges, edge flare is produced in the iconoscope camera. Middle grays reproduce best over the air, and a film which runs from light to dark gray will give excellent results. The dark gray colors will reproduce on the screen as a black, and the light gray will appear as white as the color of the kinescope tube permits. As far as any difference between 16 mm and 35 mm film is concerned, apart from the increased cost for the latter, the chief improvement is in the quality of the picture. With 35 mm film a larger image is produced in the first place; this, therefore, requires less magnification, and more attention needs to be paid to scenery details. The scene appearing in the view finder is the same with either film. When watching the set through the view finder, there are a number of items which require attention. If the scene is a close-up, conditions of parallax error may occur. These are caused by the fact that the axis of the view-finder lens is displaced a few inches from the axis of the camera lens. At distances of over a few feet, this is not important because the field covered is about the same for either lens. However, for close-ups of only a compara- tively few inches, the difference in area covered may well be sufficient to spoil a shot. This is shown more clearly in Figure 11-2 A and B where the fields from both lenses are indicated by crosshatching. In the first figure the two areas overlap, but in the second—the close-up—the subject would be displaced to one side and the composition of the scene ruined. The various makers of cameras have their own particular versions of view finder. In many of the three-lens turret cameras a complementary three-lens view finder is used. This makes it necessary to remember to select