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

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176 TELEVISION: THE REVOLUTION get the illusion of continuous action. Then the iconoscope gradually pulls away from the still of the parachute, giving the impression that it is falling away from the rescue plane. The re- maining news-shots—all of them as exciting as the best views in a top picture magazine—are handled with a similar mobility. I give a con- tinuous commentary on what's happening. Re- sult? We can give a million people in ten thou- sand American theatres a complete, dramatic picture of a news event which broke two hundred minutes ago five thousand miles away. "Stand by, folks. We'll be hittin' the net with the news in just above five more seconds." The band comes to the finish of its number, the leader says his farewell, and the news broad- cast begins. The first shot in the telecast is a close-up of our host, the commentator, who an- nounces the news-transmission. In a control room at the far end of the studio we observe much the same activity going on as we watched in the broadcast of a dramatic show. Engineers are deftly cutting from film to transparencies to live shots in the studio. Appropriate musical backgrounds are dubbed in. Each sequence blends smoothly, one to the next.