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

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"ENTER THE NEW ART —" 145 merit, the center of which is the control console —a curved, organ-like structure—dotted with controls, "pots," "V.I.'s," and all the gadgets of radio. Along the "cowling" of this console are a half-dozen monitoring screens. Our guide draws us over to one of the control room windows. "That's Stage One—the largest set we have. You'll notice that the television cameras—three of them—are set up on that cir- cular platform in the center of the clover-leaf, right beneath us. The center platform turns, so that these three cameras can be brought to bear on any part of Stage One or Stage Two—over at the left. Another segment of this central turn- table rotates to face another crew of cameras toward either Set Three or Four. Thus we have flexible camera-coverage of four possible stages, with only two camera crews; this is smart econ- omy and simplification." "Is each leaf of the unit sound-proofed from the others?" we inquire. "See those heavy panels which wall in that segment of the camera turn-table? Those walls swing around as the platform rotates. So, which- ever 'leaf the cameras are trained on is effec- tively sound-proofed from the others."