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

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146 TELEVISION: THE REVOLUTION The engineer presses a switch on his console, and we see the platform on which the icono- scopes are mounted begin to move—rapidly, silently. A few seconds later, the trio of icono- scopes is trained on Stage Two, and the walls of the camera segment are locked into the walls of the new set, making it an acoustic island. The guide smiles at our astonishment. "Two of these cameras are mounted on dollies—they can be wheeled about to any position we choose. The other is on a boom, which can hoist the iconoscope high above the stage for interesting angle shots. From this clover-leaf, we can put together as many different camera positions as almost any movie lot in Hollywood." "Does all of tonight's broadcast come from these four stages?" "Most of the principal action," our guide re- plies. "However, I pointed out to you the audi- ence theatre, from which we pick up an occa- sional glimpse of the audience-reaction. The orchestra, giving us the background music, is a quarter of a mile away on the music stage. Sev- eral complex sequences in tonight's drama had to be filmed before-hand. They will be inserted on cue by means of film-projection-iconoscopes,