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

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"ENTER THE NEW ART —" 147 located in still another building. Of course, we're in constant touch with all these groups by telephone; everything's carefully rehearsed. As a rule, nothing goes wrong—we hope!" "Ever shoot outside?" we ask. "We can, easily enough. Most remote pick- ups and special events are televised by daylight. Matter of fact, the 'orthiconoscope' will register a better picture on a dull day than the most sensitive news-reel cameras. However, we don't have much control over Mother Nature. Gen- erally speaking, on dramatic shows and polished studio productions, we prefer to work inside, where we can control our lighting conditions. You'll notice the lights don't have to be dis- tressingly bright—about the same as you'll find on an average motion picture set. Our experi- mental department is testing some new 'cold lights,' which may help to make the actors' work less tiring." "When the actors have to change make-up between shots, how do you manage that?" Our guide shrugs. "Make-up takes time. You can't rush grease-paint. If the changes are dras- tic, we have to pre-film the sequence which in- volves the make-up change. However, we have