We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
THE FILMIC COMPONENTS 95
duction setups completely if they expect to compete with the television film companies that are currently turning out films at costs within the advertising budgets available.
To make television films cheaply enough, these producers have resorted to every cost-cutting dodge and device available. They have limited the number of sets; reduced the size of the casts; refrained from using high-salaried stars; resorted to P. P.P. P. (pre-production planned preparation) so that the casts are perfectly rehearsed before they come onto the set, thus reducing the time and money spent on the set for actual production.
They have also devised such shooting methods as the "multicam" system, which shoots each scene with three cameras instead of one, so that a medium-long shot, a medium shot, and a close shot can be photographed simultaneously, thus making for obvious shooting economies. When such a system is used, the detailed shooting script must give way to the master-scene script. But, like all stopgaps, the multicam system has its faults. No one will contend that it is possible for a cameraman to light a set that will be photogenic for a variety of shots. Extreme close-ups, and inserts, for instance, will have to be shot in the conventional manner. Pans and other camera movements will, of necessity, be restricted by the presence of other cameras which can obtrude in the "take" and thus "n.g." it.
So far, the films produced by this method have been found wanting in many respects. The all-important chase has been studiously avoided; in the main, action has been confined to interior sets; pacing and tempo have suffered because film editors have not been furnished with sufficient shot material, with varying angles and image sizes to make for effective montage and building effects; and what would have ordinarily been n.g. takes from one camera have been cut into the film because no more satisfactory shot was available. Also, it is difficult enough to dress a set for a single camera with the actors and props in their right places so as to obtain the most felicitous composition possible; to expect to obtain esthetically satisfying composition from three cameras, while the actors are in motion, is to expect the impossible. The only way to accomplish it is to limit the action of the actors, which is tantamount to obstructing the flow of action necessary to a motion picture.
Therefore, it can be seen that for television films to be produced both economically and esthetically, the traditional methods of pro