"Television: the revolution," ([1944])

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144 TELEVISION: THE REVOLUTION backdrop seems to be nothing but a large mo- tion picture screen. "We call that a 'process/ " our host explains. "Instead of using an actual painted setting, we merely project a picture on the screen; some- times it's a movie—traffic, for instance. Other times, it's a 'still.' We flash it on the screen from behind. When the actors perform in front of that 'process' nobody tuning in can tell that the background is only a picture." "What's the advantage of the clover-leaf de- sign?" we ask. "More compact. See how easy it is for the per- formers to go from one stage to another in this lay-out; think how difficult it would be if the different stages were scattered all over the lot, or were located on different floors of a building. Another advantage lies in camera-handling. Let's go upstairs, so you can get the whole lay of the land." We follow our guide to the center of the clover-leaf. A swift, silent elevator lifts us to the control-room level, overlooking all four stages. This sound-proofed, glass-walled second- story is perched directly over the heart of the clover-leaf. The control-room is a mass of equip-