AN ANaLYSIS OF THE TEOHODS USED IN THE PRODUCTION OF THREE IYFORMA‘IOKAL FILVS FOR TELEVISION by Jack Jacob Fox W A TEESIS Submitted to the School of Graduate Studies of Kichigan .State College of Agriculture and Applied Science in partial fulfillment of the requirements for the degree of fiASTER or ARTSL Department of Speech, Dramatics, and Radio Education August 1952 /o-I6/"5'3'g) The author wishes to extend his sincere thanks to Dr. David Potter for his invaluable assistance and inspiration in the organization and completion of this study. Grateful acknowledgment is also given to Mr. Clair R. Tettemer and Mr. Harold F. Niven, for their technical guidance; to Dr. Wilson B. Paul, for his patience and understanding; to Dr. Armand L. Hunter, for his approval and encouragement; and to Mr. David M. Davis, who made this study possible by assigning the author to the position of associate director of these three films. . The author is greatly indebted to Mr. William H. Tomlinson and Mr. John Jennings for their kind assistance; and also to Mr. Joseph T. Cox, Mr. D. B. Varner and Mr. Paul Barrett the Agricultural Ex- tension specialists; Mr. Wilbur Nelson, the camera- man; and to the staff and students of Television Development who worked on these productions. To my daughter, Dana who supplied the - incentive; and to my wife, Judith, without whom this study could not have been completed. TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION. . . . . . . . . . . . . . . . . . . 1 II. PREPARATION FOR THE PRODUCTION OF THE SERIES, "DESIGN FOR LIVING" . . . . . . . . . . . . . . 8 Selection of personnel and crews. . . . . . . 8- Selection of talent and program material. . . 9 Use of the television studio and equipment. . 10 The television rehearsal. . . . . . . . . . . 13 Film equipment. . . . . . . . . . . . . . . . 15 16mm. reversal film . . . . . . . . . . . . . 19 Film tests. . . . . . . . . . . . . . . . . . 2O iusic . . . . . . . . . . . . . . . . . . . . 22 III. THE FILM, "LANDSCAPING YOUR HOME" . . . . . . . . 23 Planning. . . . . . . . . . . . . . . . . . . 23 The script conferences. . . . . . . . . . . 23 Selecting the title.. . . . . . . . . . . . 25 The program content . . . . . . . . . . . . 25 The format. . . . . . . . . . . . . . . . . 26 The physical setting. . . . . . . . . . . . 28 Visual aids . . . . . . . . . . . . . . . . 30 The shooting schedule breakdown . . . . . . 38 The shooting script . . . . . . . . . . . . 42 TABLE OF CONTENTS CHAPTER Filming . O . . . O O 0 Lighting. . . O C . . Directing . . . . . . Camera techniques . . (continued) Film processing and editing . . . Analysis. . . . . . . . IV. THE FILM, "THIS IS OUR WAY" . . . . . Planning. . . . . . . . The script conference The program content . The format. . . . . . The physical setting. The visual aids . . . The shooting script . Filming . . . . . . . . Lighting. . . . . . . Camera techniques . . Sound recording . . . Film processing and editing . . . Analysis. . . . . . . . V. TI-IE FILBJI, "36 FMIILLION ACRES". o o o 0 Planning. 0 O O O O O O The program conferences . . . . . PAGE 67 67 75 76 82 86 99 99 99 101 101 102 102 108 128 128 135 140 140 144 155 155 155 TABLE OF CONTENTS CHAPTER The program content. The format . . . . . The physical setting The title slides . . (continued) The specialist's slides. . . . . . The special effects. The slide schedule . Filming. . . . . . . . Lighting . . . . . . Camera techniques. . Directing. . . . . . Film editing . . . . Analysis . . . . . . . VI. SUMMARY AND CONCLUSIONS BIBLIOGRAPHY. . . . . . . . . BIOGRAPHY . . . . . . . . . . GLOSSARY. . . . . . . . . . . PAGE 156 158 159 159 161 161 162 167 167 169 171 172 175 188 197 200 202 TABLE I. II. III. IV. VI. VII. VIII. IX. LIST OF TABLES Non-script Blocking Sheet, "This is Our Way". Shooting Schedule Breakdown, "Landscaping Your Home”. . . . . . . . . . . . . . . . Shooting Data Sheet, "Landscaping Your Home" . . . . . . . . . . . . . . . . . . Take, Footage and Timing Sheet, ”Landscaping Your Home". . . . . . . . . . . . . . . . Shooting Data Sheet, "This is Our Way”. . . Take, Footage and Timing Sheet, ”This is Our Way”. . . . . . . . . . . . . . . . . Slide Schedule, "36 Million Acres". . . . . Shooting Data Sheet, ”36 Million Acres" . . Take, Footage and Timing Sheet, ”36 Million Acres". 0 O O O O 0 O 0 O O O O O O O O 0 PAGE 16 39 78 83 138 142 164 173 174 LIST OF FIGURES FIGURE 1. 2. 3. 4. 5. 6. 10. ll. 12. 13. 14. 15. 16. 17. 18. 19. Opening Shot of the Undeveloped Lot . . . . . . . . The Specialist and the Completely Landscaped Lot. . Introduction Shot of the Specialist . . . . . . . . Use of Charts as Visual Aids. . . . . . . . . . . . The Vacant Lot. . . . . . . . . . . . . . . . . . . The Completed Model . . . . . . . . . . . . . . . . Chart Number One. . . . . . . . . . . . . . . . . . Chart NuMber Two. 0 O O O O O O O O O O O O O O O O "Bulldozer” Cartoon. Use of Bulldozer May Result In Destruction of Usable Features. . . . . . . . . . "Drainage" Cartoon. Be Sure That Rain Water Drains Aggy From the House.. . . . . . . . . . . . . . . ”House in Hole” Cartoon. Pr0perty Below Road Level Requires Grading and Filling. . . . . . . . . . . "House on Fill" Cartoon. Plan Home on High Ground. ”Topsoil Cutaway" Cartoon. Ideal for Growing Plant Material. . . . . . . . . . . . . . . . . . . . . "Topsoil" Cartoon. Insist That Topsoil Be Saved. . ”Not Yet” Cartoon. Plan Before Planting. . . . . . "Mud" Cartoon. Walks and Driveways Needed Before Moving In . . . . . . . . . . . . . . . . . . . . The Title Roller Acknowledgments. . . . . . . . . . The Scene Board . . . . . . . . . . . . . . . . . . The "Source of Additional Information" Card Was Too Dark and Appeared Crowded . . . . . . . . . . . . PAGE 25 26 27 28 29 30 31 31 32 32 33 33 33 34 34 34 37 82 89 LIST OF FIGURES (continued) FIGURE 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. The Front Lighting Tended to Dominate Opening Shot of a Pile of Shoes . . . "The Individual is Supreme" Cartoon . "Build a Better Mousetrap and the World Will Beat a Path to Your Door? . . . . . . "We Have the Right to Own Property? . "You Have the Right to Choose Your Own Profession". "We Are a Profit System". . . . . . . "Prices Serve a Very Definite Function? . . . . "We Have Competition” . . . . . . . . The Title Slides. . . . . . . . . . . The Specialist Framed Before the Bare Flat. . . . . . . . . . . . . . . . The Opening Shot. . . . . . . . . . . Introduction of the Specialist. . . . The Title Slides. . . . . . . . . . . Closeup of the Specialist . . . . . . Duck on a Nest. . . . . . . . . . .‘. Canoeing. . . . . . . . . . . . . . . Significance of the Lettering is Lost Trout Fishing . . . . . . . . . . . . The Fish. . . . . . . . . . . . . . . The Fish in the Trees . . . . . . . . The Trees Without the Fish. . . . . . PAGE 94 100 102 103 103 103 104 104 104 106 147 157 158 160 167 175 176 176 177 178 178 178 LIST OF FIGURES (continued) FIGURE 42. Second Growth Forest. 43. Boy Fishing . . . . . 44. Dogs. . . . . . . . . 45. Miner's Castle. . . . 46. Lake on the Clouds. . 47. Northern Michigan . . 48. The Better Picture of 49. The Less Satisfactory Watchers. . . . . . the Bird Watchers Picture of the Bird PAGE 182 182 182 183 183 185 185 186 LIST OF PLATES PLATE PAGE A. The Studio Floor Plan. . . . . . . . . . . . . . 12 B. Title Roller . . . . . . . . . . . . . . . . . . 36 1. Floor Plan for the Film, "Landscaping Your Home”. . . . . . . . . . . . . . . . . . . . . 68 2. Light Plot Number One, "Landscaping Your Home". . . . . . . . . . . . . . . . . . . . . 7O 3. Light Plot Number Two, "Landscaping Your Home". . . . . . . . . . . . . . . . . . . . . 7O 4. Light Plot Number Three, "Landscaping Your Home" . . . . . . . . . . . . . . . . . . 72 5. Light Plot Number Four, "Landscaping Your Home". . . . . . . . . . . . . . . . . . . . . 72 6. Light Plot Number Five, "Landscaping Your Home". . . . . . . . . . . . . . . . . . . . . 73 7. Light Plot Number Six, "Landscaping Your Home". . . . . . . . . . . . . . . . . . . . . 73 8. Light Plot Number Seven, "Landscaping Your Home". . . . . . . . . . . . . . . . . . . . . 74 9. Light Plot Number Eight, "Landscaping Your Home". . . . . . . . . . . . . . . . . . . . . 74 10. Filming Title Slides, "This is Our Way". . . . . 107 11. Light Plots Numbers One and Three, "This is our Way” 0 O O O O O O O O O O O O O O C O O 129 PLATE l2. l3. 14. 15. 16. 17. 18. LIST OF PLATES (continued) Light Plot Number Four, "This is Our Way" Light Plot Number Two, "This is Our Way? Floor Plan, "This is Our Way". . . . . . Graphics, "This is Our Way". . . . ... . A Special Effect, ”36 Million Acres? . . Floor Plan, "36 Million Acres" . . . . . Light Plot, ”36 Million Acres" . . . . . PAGE 130 132 141 141 161a 168 168 CHAPTER I INTR CLI'CT ION Thirty percent of the nation' s prog :raa ing structure on television consists of films.1 An even greater proportion of film is used in New York City, the center of television. A recent poll of York City indicates that forty-two percent of the programming for television stations there is composed solely of motion pictures.2 Thousands of educational films, in film libraries, "which are not used nee rly so widely as they might be"3, will be called into use for programming newly-opened stations. However, up to the present time these films have been made for large—screen projection. They are, in most cases, technically poor for television showing. Of the films available to the television stations Battison says, "Only one in ts1enty-five is suitable for showing over the film 4 camera chain on television". Television appears to be the most powerful form of 1 Frederick Kug e1, "The Economics of Film", Television Magazine e, 8:11—47, July, 1951. 2 Dr. S Jdney R0 slow, "Programming Trends", Television Tiagazine, 9: 22- -23, Ma rch, 19 52. 3 Edward T. Schofield as quoted in TV Channels for Edu- cation, (The Joint Committee on Educational Television, hashington, L. C. ), p. 24. 4 John H. Battison,l iovies for TV (New York: The Ea cMillan Company,150), p. 227. he 4] .. . l.».. . F, N|l| communication today.5 One of the nation's leading television film producers estimates that in the next five years, "75% of TV's programming will be on film".6 Educational film pro- ducers will have to meet tre challenge of this new medium of communication by learning the new techniques and methods of producing films for television. On this problem of making television films, Lenox Lohr states: "The methods in tele- vision production must depart from those in the movie industry because the reapective requirements are fundamentally differ- ent".7 Recognizing the challenge of television and the need for information films produced for this new medium, President John A. Hannah discussed the film projects under way at Michi- gan State College in a statement to the Joint Committee on Educational Television: The delivery of the (television) equipment is nearly complete...we expect to have in Operation a closed— oircuit television project, linking the control room with the studio, two or three classrooms, and a large auditorium. With this equipment we plan to do exten- sive research in television...production and engineer— ing. Motion picture equipment is aéready in use in the production of television films. 5 Gloria Waldron, The Information Film (New York: Columbia University Press, 1949), p.5. 6 Bill Craig as quoted in "TV Film Trends", Sponsor, 186-200, July 14, 1952. 7 Lenox R. Lohr, Television Broadcasting (New York: MoGraw-Hill Book Company, 19405, p. 101. 8 John A. Hannah as quoted in I! Channels for Education (Joint Committee on Educational Television, Washington, D.C.), p. 23. .ip, _ In line with the proposed program of research as out- lined by President Hannah and the need for information on producing films eXpressly for television; the purpose of this study is to analyze the methods used in the production of three informational films for television. With a minimum of equipment, trained crews and technicians, the production of three films was planned co- Operatively by Television Development and the Agricultural Extension Division. Three specialists from Agricultural Extension developed informational programs for permanent recording on film. These films were produced with the idea that they could be transmitted over the college station when it becomes a reality, or that they could be sent to various commercial television stations all over the state for local transmission. The three films, "Landscaping Your Home", from the Department of Landscape Architecture and Urban Planning; "This is Our Way", dealing with Agricultural Economics; and "36 Million Acres", on the subject of conservation; were part of a series called, "Design for Living". These films were the first such attempts, and required much trial and error in their production. They served as a learning process for the extension specialists, the television students, and the production staff in a new medium. Educational film producers who intend to make films .. ll...n.l D'a_ for television using equipment similar to that used in this project, can benefit by studying the methods used in these files which have been analyzed and found satisfactory. On the other hand, pitfalls may be avoided by studying the unsatis- factory methods found in this study. Each show of the series was rehearsed before filming, on the live television facilities which were available. It is sig- nificant that a different nethcd of presentation was used in setting up each one of these films. In the first film a pre- pared script was used, which had also been used at the television rehearsal. For the second film, the television rehearsal was recorded on tape and transcribed into a script for shooting the film. The third film was completely extemporeneous, with only a list of slides used as a guide in shooting the film. In Chap- ters Three Four and Five, relating to the production of each of these films, these methods of planning and production are sum- marized, and then analyzed as being either satisfactory or un- t: 13 satisfactory. Chapte .wo is concerned with the preparatory steps for all three films, and Chapter Six presents the conclusions. The writer made an extensive search for previous studies and research done on films for telev'sion, and related fields. Failing to find any such material in the library indices of -—:a Michigan State College and the University of Ticnigan, the writer Sent 103 letters to heads of university film and television research departments; to the major film and television publica- tions in the United States, England and Canada; and to educa- \ 3 tional and governnental research organizations. The eighty— one replies indicated in all cases that no such study ias been done. It would appear that this thesis is one of the first of its kind to be prepared. To further illustrate this statement, excerpts from letters received from authoritative sources are included here: Albert Crews, Director of Radio and Television Broadcasting and Film Comiai sion Tational Council of the Churches of C nris t "I an not aware of any specific research done in the field of motion picture production for television. To tr e b:st of my knowledge, no theses have seen done in this field". John R. Winnie, Director, Film-Television State University of Iowa Iowa City, Iowa "I knov of nothing written that would be of value to you. The work I have done Bob wagner at Chio state, aegener of Io a eta e, and one or two others has never been put into print. Actually there is so little we know as yet that we prefer to keep workir ng in the field for awhile before attempting to make any Startling revelations". Information Department The Eritish Film Institute London, W.C. 2 "...the Institute has not published any material on tne use of filns in Television...but it ap— pears that not a great deal has been published ~7“~ " Jvt . iiartin Codel, Publisher Television Dizest Mshin gton, D. C. "...we frankly know little or notr ing ourselves about techniques of producing movies for TV. I wish I could help you -- but I don't see how I can..." 0\ America n Docun:ntation Institute T‘IILJtSklilfiggtor), IIQC. "We are sorry that we do not have :ny material on tile .ubject of files for te nlevi ion". Little, Brown end Conyany, Publishers Boston 6, H3ssachu; etts "I'm sorry not to be rble to h3lo you in vour search :or m3teri31 on groducin3 motion :ictures for t3 vision. we h ven't :ublis hei :ny bo ks on the subiect, and I haven't heard of :ny ut {no There are a number of conotnies in Hollywood that are activelv enqaeed in nroducine Mil ms for television. However 0 _. ._ L V , very little h:s b~en yublished on the tecinic al pect of the the trade methods used in producing these films. Some 0 and profession: l organizations h ve presented articles on 03 films for television, in their publications. The few arti— cles available are found in the Tournel of the Societx of Motion Picture an had Television Engineer§,9 Ifovie H kers,10 Ame riccn Circrrto"r oher,l1 Snecificetions :9; Hotion Picture ' 9 r w Films Intended for Televi sion,l- Hollywoon Querterly,l3 9 Jerry Fairbanks, "Motion Picture Production for evis ion", Journ l of t‘e Society of- fiction Picture and evision Engir e—ers, 567- S75, Ieceaber, 1930 10(1) FHA 10 Jerry Fairbanks, "Films for Television", Movie Hekers, 86-197, May, 1949. 11 Leigh Allen, "Filming The 'I Love Lucy' Show", American Cinenttogrrpher, 22-23, 34+, January, 1952. 12 Charles Townsend, Sgecifications for Motion Picture Films Intended for Television Transmission, (Hew York: Nation- al Broadcasting Company, Inc., 19503, p.3-l3. Irving Pichel, "Films for Television", Hollv":ood 13 Qucrteglx, S: 363— —373 Summer, 19:1. Ilb‘p‘r'{ y o I o , -.,. r- u [I _ British Kinematogrsphy,l4 EelQVlSan LngGZine 1) and Inter- ,/ nctionel Photojrsrher.13 These tub J1 cetions, the book, Hovies for 1y,17 and a United States Department of Agricul- ture Report, Television Resort, Section l, Ell: ,13 have I": been a source of reference to the writer in determining the satisfactory and unse i.3fectory methods used in the film series, "Design for Living. l4 Otto Senvik ard T. G. Veal, "Motion Pictures for Television", British Kinemctogroggx, 17:141-153, November, 1C)§O. 15 "A Primer of Film Technique for Television", lelevision Weaszine, 23, 26, July, 1951. 16 Jerry Feirbenhw "Television Filming", Interna- tione l Pnotogrzther, 6- -7+, Februery,1951. -—-——-——— & l7 Battison, 92. 913., p. 227. C5 e and Kenneth Genen, 3e crt, isction I, ffi ce 0: In Lornation, e, 12- -l7, June, 1950. 18 Tom Noone, Hrynard A. S; ec ew Films for Televis ion", Tzlevi~ on Ell3_, Radio and Television service. 0 i' r Un ed ~tates Department of ;gricultu I e i CHAPTER II PREPARATION FOR THE PRODUCTION OF THE SERIES, "DESIGN FOR LIVING” In the fall of 1951, the Television Development Service at Michigan State College planned the production of three motion pictures for television. These films were to be made in conjunction with the Agricultural Extension Division of the college. The proposed plans included full use of the closed-circuit television facilities and studio at Iichigan State College. The purpose of this chapter is to explain the methods used in preparing and planning this series of films. This includes the following: (1) selection of personnel and crews, (2) selection of talent and program material, (3) use of the television studio and equipment, (4) television re- hearsals, (5) use of film equipment, (6) 16mm. reversal film, (7) film tests and (8) music. fillSQILQD 21 212199221 in; 9:1130 One Of th. first Preparatory steps was the selection of personnel and the as- signment of crew positions for these productions. Two Separate crews were found to be needed. The television re- hearsals required more crew members of a less skilled nature than the crew operating the film equipment. ‘1 40......Ii1rllrfl. iii 5 7.-..1wm. ...e|wl‘la.s4 .. .. For the television rehearsals it was found to be ex- pedient to use students enrolled in television courses as the crew, except for the positions of engineering and di- rection. These latter positions were assigned to the Video Engineer and the Production Supervisor of Television Devel- opment. For the film production, members of the television production staff were assigned to positions of producer, director, scenic director, audio director and film editor, in a manner similar to that of a professional film produc- tion unit. The cameraman was a staff photographer in the Agricultural Extension Department. Lighting crew and general crew members for the film were selected from among the stu- dents. The author held the position of assistant director in both the television rehearsals and the film productions, and was able to see and record and analyze all aspects of this project. Sglectigp of talent gag program material. Another primary step in the preparation of these films was the selection of talent and program material. The selection of qualified specialists and the recommended program material originated from the Agricultural Extension Department. This department had a number of specialists whose informational talks were suitable for television films. Among its person- nel are a group of specialists who travel around the state of Michigan speaking on Agricultural Economics, Engineering, 10 Home Economics, Landscaping, Conservation and Poultry Hus- bandry, to name a few of the subjects covered. The Agricul- tural Extension Department, desiring to extend its message to a larger number of pe0p1e in Michigan, furnished the talent, program subjects and funds for these television films. The three specialists selected for these shows were I Mr. Joseph T. Cox, from the Department of Landscape Architec- , ture and Urban Planning; Mr. D. B. Varner, from the Department of Agricultural Economics; and Mr. Paul M. Barrett, from the Department of Land and Water Conservation. These men were chosen because they were qualified to speak on their special- ized fields. Prior to the filming of these shows, conferences were arranged between the specialists and the production staff. At these conferences the subject material was presented to the production staff members, who analyzed the material for visual qualities. These meetings are discussed at length in Chapters Three, Four and Five. One common factor which proved important in the planning stage was the necessity for reviewing all of the specialists' lecture material, prOps, charts and visual aids. This was done to select the material which could be in- corporated into these programs. mmmwmmw. Sine-1t was decided to rehearse these shows as television programs and view them on the television system before filming them, a brief 11 discussion of the studios and facilities is included here. The television studio, located in the Electrical Engineering Build— ing of Michigan State College, was used for these productions. The television area was divided into four units: studio; control room; projection room and announce booth. Plate "A" on the following page represents the studio arrangement. Facilities in this studio included two RCA field type cameras equipped with tripod dollies. Each of the camera lens mounts held four lenses. These lenses were a 50mm., a 90mm., a 135mm., an 8%-inch and a l3-inch lens respectively. For sound work the studio was equipped with several three-wheeled microphone booms. The types of micrOphones used in this studio were the Western Electric 639B and the RCA 77D, both of which are uni-directional types. A number of picture monitors on portable stands were in- cluded in the studio equipment. These monitors, which can be used to cue the talent, also served as guides to the boom 0p- erator and floor manager. The lighting equipment included large overhead fluorescent slimline floods, fresnel spotlights, scoops and reflector floodlights. The lighting of the studio was divided into four major areas. Each of the lights was se- cured to an overhead grid. Additional lights were set up on floor stands. The studio control room equipment was arranged on two levels. Located on the upper level were a field switching unit, an audio control board, two turntables and an intercom- munication system. On the floor level were the field camera a d ken-arhdllvafe. U. a .5h‘.. 1‘ It]. _ _ l2 mYSqLSULe oq . 4» u~.o a e.. \u c I, ‘4 l 1 ml... :u: :ani la . l >(h441! “6 a.” <4 .. I ll Inca n m”, canon \\\ .. \ l '1. I/ A _ uom r [l’ill.l A -ll. >iiwcqnn11 .~n_sno_ 800k JOkLROu 0.0350 \ . //41;. . l w-J . fililf _ . . / L /\q ’IA: . |\.. _.‘ w l P. ..L y . h 4 .e. a -.oo. .. L 3:3 2. ace: 0 FCU-tSOU .‘1- . i . rll. ‘‘‘‘‘ 1159.14 A 4 a. y..!Av- I. AJMI (ltum \\\\ recon mutants: mnuo / | t. . . Ill. elf." L / trl I 4 . no-.oo..e . l. . . . .eea . i 23h F . or.» name» are! I3].Ei1363 li«e Studio Floor Plan The 13 monitors, a master monitor and the film camera monitor. An RCA film camera chain and two slide projectors were in the projection room. The tglgvision zehgggsal. Each of these shows was first rehearsed on this closed-circuit television system. The date of the rehearsal was used as a deadline for the com- .‘__._.,_..,_ _ _ pletion of all sets, props, visual aids and special effects. The rehearsal also served as a means of introduction for the television staff, the students and the specialists, to the problems they would encounter in the show when it was filmed. % The methods used in these three rehearsals followed a similar pattern. Starting with a "dry" rehearsal, the director and his assistant ran through the show to block the action with the specialist. The second rehearsal, again “dry", or without cameras, was set up in order that the shots might be blocked. Using a viewing device called a ”Tele- viewer”, the director was able to see and block each shot as it would appear on camera. The blocking of shots meant the assigning of a specific lens size to a specific camera, a description of the shot, and instructions for movement of the camera in order to secure the shot. These shots were then written on the script or on lists by the assistant director. The third run-through was a start-and-stop rehearsal, using the cameras. This run-through was stopped at any point needing additional work, such as better picture composition or XI"... ’1)..." . .... 55.9. I'll. . ll. . ....A ‘3 14 sound balance. The next run-through was to get an accurate timing of the show, and to see and hear the program as a whole. This was the dress rehearsal for the filming which followed the next day. For the television rehearsal of the first show the specialist was asked to memorize a prepared script. However, ,in the dress rehearsal, the specialist did not have the script fully memorized, and had to read some of the lines. Since this could not be done in the film, the director decided to break the script down into segments of short duration for ~ filming. This was done to permit the specialist to memorize a scene at a time, after which.the scenes were shot. These scenes were assembled in their correct order by the film editor after the film was develOped. The script used for the tele- vision rehearsal and the film production of the first show, "Landscaping Your Home”, is found in Chapter Three. In the second show, ”This is Our Way", no prepared script was used at the television rehearsal. Instead, the specialist's program was outlined on a non-script television blocking sheet, which is shown in Chart I, on page 16. This sheet was used as a guide for the assistant director during the television show. Using it, he was able to (1) list the timing for each shot, (2) set up the cameras with the proper lenses and types of shots, (3) move the cameras into position, and (4) list the cues for the talent and the technical staff. I O O ' w ‘ I l! I ., ‘ , a . e .. l x C . x . . " i . I I ' I e a . l 15 During the dress rehearsal of this second show the dialogue was recorded on a tape recorder. This recording was then transcribed by a secretary into script form, to be used in the filming of this show. In the television rehearsal the director realized that the show could be filmed straight from the script in chronological order, instead of breaking down the script as had been done in the first film. The informa- tion on the non-script television blocking sheet was then transferred to the shooting script which is-a part of Chapter Four, on the production of ”This is Our Way”. The television blocking sheet which follows was one of the methods used in the rehearsal of this film, using television cameras. The specialist who took part in the third show, "36 lillion Acres”, also worked without a script at the television rehearsal. Instead of using a prepared lecture, as had been done in the second show, the specialist of this third show spoke extemporaneously on conservation, illustrating his talk ‘with slides which made up the main text of this show. A list of the slides used in the film, and the four timings of de- Ilivery which were recorded during the television rehearsal, is ilneluded in Chapter Five which deals with the production of ”36 Million Acres”, the final film of this series. Ella gagiplgnt. While these films were in the prepara- ‘tory stage, it was important for the director to be aware of the advantages and limitations of his film equipment. The camera used to film this series was a 16mm. Auricon Pro single ’0 ’D 16 TABLE I NON-SCRIPT TELEVISION BLOCKING SHEET ”THIS IS OUR WAY“ LENS CAMERA FOCAL REHEARSAL TIMINGS NUMBER LENGTH SHOT DESCRIPTION 4 : : :0 : £2 6" “Shoes” Cartoon, Announcer, :15 :18 :16 :19 #3 Sltdes, Hustg, Agggggggz. Waist shot of Woodyi‘hold :50 :50 :49 :51 £1 4” 20 seconds, D0112 in. Woody rises, walks to : 1 0 :40 : 8 2 4” ”Pergegtage Chazt, : 8 :4 : :46 Do ck n u W :o :hu 3: 8 :, ; 6' Chas sh: W...~ _ a Limbo 331.; 3:35 3:37 3:37 #2 6" "State Sgpzemg” can“, 3:33 3:50 3:50 3:45 #1 4" Waist shgt, ngd1. 0 y ac , nc ude desk 4.22.: 4:00 4:00 4:35 4:06 4: 4:2 : 4: ” h 0 Same shot, waist shot of 4:16 4:25 5:25 4:31 £1 4” Woody. (Limbo) £225 4345 5‘35 485233#2 6” EIaQAzisfls1_§nnzsnal_gs:§22n 4:31 4:54 5:47 4:59 ” C st 3 Woody. Limbo Personal gain £47 5: : : 0 " “Mousetra " Ca too . Truck right, pan Woody to 4:55 5:22 6:21 5:30 £1 4" ”Ptogugtigg Cantogn. 5:15 5:50 6:53 6:92 £2 é" ng1udg Wgodz gng ghggt, 840 6:04 : 0 :06 4" Pan W od as e Dolly in to waist shot, 8 : : : 0 Woodz. Cover shoté pan Woody to we 7:37 7:3g 7:35 #2 4" Mg; gtth sass 0325993, * note: In the script, Mr. Varner is referred to as "Woody”. “ .W in" z' 6 1 . E .- u - 4 “hi. .5» ... .. ,. < ~n - I .- 1. -’--. ~- 0-. www . » . .- A . . n - a l.v. . l . . . n a .. n . l -- n.-, c . I“ .. 3 .. . u - \ O -\ I : -' .-. —- l v . . I. _ ..-. . _ 4 O ‘ ¥ . ' \- . O :- - -— - -"l 4. v .. - v“ s..- . wQ-I- Q - .e‘e--- -o -. -- ... -. an. ~ -. .... l' v ‘ " I ' - " " . . r . 1' ‘ . _ . ’ . . _ ‘ e w . _ . - , -n . .. A --> n o - , -Q- — -- a L A now I ¥ o: » a l ‘ ’ ‘ “ - . . u ‘ , . ... -i C'n'3-HDB\VA4‘ .-..—, . -.-._- . ~ . e c. . O ’ ‘ ---... .. A e.. -A. “A , - .7- ....,.... IO—A ”.— :-—- -~ ... - e - v C 4 I. , .3 ,. .. I r , u . . . ‘ e e - --~- , - - - u. . .. . . - ~ 1. . __ . .un .— . . -«-. vuui —- 7-..--- .h.... ...-.. _._._, o. . 5 I ,\ .1 9 —H. . . - _ .. _ .-.._- . -. . . b—Omn‘ .. W~~u a u—n .-. _,- _.. v . . . .- ....-. . W4 . . . i . ‘ v 'e I Q ~ O ——.-.._--.——. ‘ -- . u... n .- -i _ , ,, 'v. _ ‘ ,_ ._. - . 3-- .- x-» - . . - - a- . -..- -V - .. ..w- . . e ._ “ . v : . » - e -- - \> —-.--.---. .-~ -.- . ,. . - 4...-. ~-.-. -m-.-.«—.-—‘ 3...--- A- ,. 1".» .H . . . ..n«3- 7‘ : '- . . .7 l 3 U s p - .1...~-.. --> - --.-4*-~ --~..— — cue-... ' h- , 3.». ..<-‘,._-. -.--4- ~—-..— ..- . --:- - .. ----. — -.-.-- ‘- .0 18 system sound recording camera. It was equipped to take 200- foot reels of film. The turret on this camera is built to hold three lenses, any of which may be used at random. The entire camera is ”blimped", or soundproofed, so that no internal camera neises can be heard during the filming. The complete filming unit included the camera, the tripod, the : lenses, the automatic parallax view-range finder, the tape A measure, the amplifying unit and the microphone. There are several advantages to using the single sys— - - 4am!" 'I...-'~ 3 tan sound camera. First, there is a saving in the original If-" film cost and the cost of developing, because the sound and the picture are exposed on the same film. Second, there is a saving of time in the processing, editing and printing, because the sound and picture are on one film during each of these steps. A third advantage is that there is no need to use a clapstick before each take, because the picture and the sound are synchronized on one film during the shooting. 0n the other hand, there are some limitations in using the single system sound recording camera. First, be- cause the sound is recorded twenty—six frames ahead of the picture on the same film, editing becomes difficult without having to sacrifice either sound or picture. Second, good sound recording calls for a very slow fine-grain film, which is not the most satisfactory type for picture reproduction. Good pictures call for fairly fast film, which is coarser in grain. The best that can be hoped for is a compromise. Both 19 sound and picture mustbe sacrificed to some degree when the film is selected. Third, there is very little separate lair oratory control that can be used on‘a film that has both picture and sound on it. Both receive the same processing. There were three lenses used in filming these shows. These lenses were changed at the discretion of the cameraman, to give the director the shot that cloSely matched the pic- ture seen in the television rehearsals. To give assurance that each shot was properly focused, a tape measure rule was used to measure exact distances from the camera to the sub- Ject. Also, a light reading was taken with a Weston Meter to obtain the proper lens aperture. In each rehearsal before the take, the sound director checked the level of the microphones on the volume indicator. This rehearsal also enabled the sound boom operator to become familiar with, and follow, each specialist's movements. Sud- den rises and actions could be anticipated, which prevented the boom from being caught and filmed in the final picture frame. The cameraman also used these rehearsals to learn to anticipate the movements of each specialist. He could then pan, tilt, dolly in or dolly out, and decide whether his lenses were adjusted for the prOper depth of focus. 1693. 3999;391 £11.. In the preparatory stage of these films, advice was sought on the type of film most suitable for reproduction on television. What was needed was an inexpensive 20 film that had the qualities of high fidelity sound and low contrast photographic reproduction. From the Eastman Kodak Company the cameraman learned that Super X reversal film would be closest to meeting the requirements of this production. The reversal original becomes the master positive, cutting the cost of making a positive from a negative. The master print is used to make a duped negative, and a work print is made from the negative. This work print is used in the edit- ing, saving the master positive. For this series, after editing the work print, the duped negative was edited and the release prints were made from this. £119 39999. On October 9, 1951, preliminary film tests were made using the Auricon film camera. Because of the limi- tations of the single system sound of this camera, production problems were tested before venturing into the filming of these three shows. Some of the major factors tested were sound level and sound track exposures, lighting, filming of slides and makeup. Various types of equipment were tested to determine which would be most satisfactory for use in these films. Two different micrOphones, an RCA 77D and an Auricon, were alter- nated in the sound tests. For lighting, several different lighting setups were tested. Graphic arts, titles and back- drops were also included in the tests to determine color values and the legibility of the lettering. One of the main aims of these tests was to determine the best means of sound reproduction with the Auricon camera. ,1; 3....“ “In ”.1. . a . ..... I awe II?- I... .i r .g' UH \rllk .‘I s . 4 a w 21 The various factors tested in sound reproduction were (1) place- ment of the microphone, (2) the distance of the mike from the subject, (3) variations of the sound track exposure, (4) varia- tions of voices alone, (5) testing the voice with music, and finally (6) testing music separately. In the sound tests it became obvious that further tests were necessary, because the variables were not all-inclusive. The filming of slides projected on a screen was also tested on the Auricon camera. In these preliminary takes it was necessary to determine whether or not slides could be photographed from front screen projection. The test slides were varied from long shots to closeups. Black and white slides, as against colored slides, were also tested for their effectiveness on film. Slides projected on a screen were found to photograph in greater detail, and with more clarity, if they were closeups. Stage makeup was tested, using various types of eye shadow, pancake makeup, lip rouge and face powder. A Max Factor #22 natural ”blush” pancake makeup seemed to be all that was needed for reasonable face modeling. In the second group of preliminary film tests, sound and lighting were the two main factors to be tested. The second group of tests was conducted on October 22, 1951, using the same equipment as had been used in the first series of tests, with one addition. This additional piece of equipment was a Western Electric microphone, 6393. This was included with the u e .: 4| . D) . 7 ,l .1 . .e .. I . ‘ _ ‘ v . a 7.. I e I ‘ ‘ C , . I n 1 e . 3) y . e v . r} nu: I I a . v 7 r: C e fi) A u \ e . . i . . r . . . . A III, I . . . I a u _ I a n I . It ' . . . A . . I. I: 7 u e a : . I t. h I n I V 9| . . _ r . . . e ‘ y . ' . I v A n O a e . . 4‘ I IVII . O . ' . f . l , . e e n a m . ‘ ' . u.‘ ' l , .\ O . ‘. a . . \ I I l r n s . O l I a. I, . n e e . . . a I we . ‘ 1. l I a u . . v . , . t 0 . u . . . A I n I . . . e e n ' ‘1 u . a a , O t. . t : . . . I. , a . . . 4 , I) e o . 22 two microphones which had already been selected for previous testing. In the first tests, the volume indicator peaks had been kept constant; however, in the second series of tests, the peaks and sound track exposures were varied. The Western Electric microphone 639B was found to be more satisfactory than the other two micrOphones tested. Consequently, for the production of these films, the Western Electric microphone, which had given the best results, was substituted for the Auricon microphone. 99919. The music was selected from the Lang-Worth transcription library. rael , by Jaunefelt, was chosen as being a suitable theme for the series, "Design for Living”, because it was felt that the melody suited the mood for the opening and closing of three informational films. rel.‘E..e4§“~E in: k... . n" «.1 ‘ hail-4 . CHAPTER III THE FILM, "LANDSCAPING YOUR HOME” The first in this series of films was on Landscape Architecture. In this chapter the methods used in the produc- tion of the film are organized into three sections entitled (1) Planning, (2) Filming and (3) Analysis. In the Planning section the methods followed before the filming of the show are shown. In the Filming section, the methods used in the actual shooting of the film are described. In the Analysis section the methods are analyzed in relation to making this film for television. PLANNING 199 992195 conferenge . One of the primary planning steps was the preliminary meeting between the landscape specialist and the production staff. At this meeting the specialist explained and demonstrated his subject matter in order to acquaint the production staff members with possible program material. Following this, the staff members selected those elements which would be best suited for a film on land- scaping. The purpose of this program, decided at this meeting, was to demonstrate visually to the average television viewer methods of planning and planting the area surrounding an aver- age home. The key ideas were (1) maintenance, (2) adjustment 24 to prevailing conditions and (3) the pleasing arrangement of materials. To narrow down this film to a specific period of time and to give a thorough treatment to the subject, a "before” and ”after” type of presentation was decided upon; that is, using two miniature models of lots, one landscaped and the other not landscaped. The general content and format were then worked around this basic approach. With this nucleus for the script decided upon, the scenic designer made notes of the visual settings that would be necessary. Finally, a general outline of the material which had been discussed and decided upon at this conference was made by the writer, for use in writing the final script. At a second meeting, the script was drafted. In order to maintain naturalness in the script, the writer asked questions on Landscape Architecture, and the special- ist's own words were noted by a recording secretary. Sub- sequently, the staff writer incorporated the agreed upon visual elements into the script. These were eight cartoons illustrating key ideas, two charts showing methods of land- scaping, and two scale models of the actual lot to be land- scaped for the show. An opening shot of an undeveloped lot was planned to attract the attention of the viewer. At the same time an announcer's voice would suggest to the viewer that he might own such a lot with the idea of building on it some day. This ills ‘3'. a. . :5 8}. . .. .,l'..ler. simian-Ir «e 25 opening shot is illustrated in Figure l. Figure 1. Opening Shot of the UndevelOped Lot Selegting 399 91919. The principal idea in selecting the title was to give it and the program a "you" approach. The intention was to make an informational show more attract- ive to the television viewer. Titles were listed and discussed by the production staff and ”Landscaping Your Home” was chosen. The program contegg. Starting with a scale model of the bare lot and pr0ps, the landscape specialist demonstrated: (1) how to preserve trees while building; (2) how to avoid root damage; (3) the importance of saving topsoil; (4) the planning of sunken gardens and (5) the necessity for proper drainage and planning before building the home. He stressed the importance of planning the placement of shrubs, trees, sidewalks and driveways, after the completion of the home. 1.! l:..-‘.:I -. j...‘ ‘ 26 The setting aside of special use-areas for recreation and work and living needs was discussed. The specialist showed when, where and how to plant greenery. Utility, judgment and planning were stressed throughout. The final shot, seen in Figure 2, showed a landscaped and developed lot much im- proved over the opening lot; and the specialist explained that this result was achieved by planning the work areas and the planting months ahead. . I. . - I +3" ‘79:»: g ‘ ‘2" ‘ , . V . a J . :4. a‘, 1‘ (~‘ I“ , - e .. A ‘ r " .l I j. 2 '73. ‘4‘ : ‘ ' Ir-" Figure 2. The Specialist and the Completely Landscaped Lot The formag. After the Opening, and the title acknow- ledgments, the specialist was introduced and appeared "on 27 camera", as shown in Figure 3. He started his demonstration Figure 3e Introduction Shot of the Specialist with the bare lot, on which he built and landscaped as he talked. He used cartoons and charts as visual aids to point up his ideas, as seen in Figure 4, on Page 28. Then a second, partially landscaped,lot was substituted. The specialist completed the landscaping of this second model illustrated in Figure 2, on Page 26. He then displayed a card indicating the source of additional information. After a final shot of the landscaped lot, the film ended with visual titles, a musical background and acknowledgments by the announcer. 28 Figure 4. Use of Charts as Visual Aids 199 physica1 septing. The setting for the filming was planned for low color contrasts, and to avoid extreme whites or blacks. The walls of the set were canvas flats painted a blue color which registered light gray on the film. The Properties were chosen to establish the realistic setting of a landscape specialist's office. In addition to the office furniture, an easel for holding paper charts and a model stand were placed to provide areas for movement. The two model lots used were designed and built by the scenic designer to a scale of one inch representing four feet. 29 The first model, shown in Figure 5, was of a vacant lot with two trees. The second model was an improved reproduction of Figure 5. The Vacant Lot the first, constructed to the same scale, with similar physical characteristics. The first lot had been covered with rubbish, but the second lot appeared completely land- scaped. The design of the second model warrants some explana- tion because its realistic design was planned to be seen on television. To give the model the effect of grass, a green terry cloth was used. Shrubs, trees, hedges and bushes also had to be shown. Therefore, various colored sponges were cut up in shapes resembling these natural elements surround- ing the landscaped home. Some of the sponges had to be dyed to match the needs of the monochrome scale. The house 30 and garage were scale miniatures made of cardboard and soft pine. This model is seen in Figure 6. Figure 6. The Completed Model 219991 g19_. Two charts were used as visual aids in pointing up the discussion of use-areas. Chart Number One illustrated a house with a public area in front, a private family area on the side of the house and a service area at the rear. Chart Number Two was a graphic picture of the finished model. The two charts are illustrated in Figures 7 and 8, on Page 31. w.”.l.l3hfll.ll.lt1 he.-. ‘i . Figure 7. Chart Number One Figure 8. Chart Number Two 31 v‘, '1' iii 32 The graphic arts prepared in the planning stage were cartoons, titles and flip cards. Twelve- by sixteen-inch cartoons combining explanation with humor added visual in- terest, and were attached to the office walls. An address card to be displayed by the talent was also prepared. The cartoons are shown here in Figures 9 through 16, along with the idea which they conveyed in the script. These illus- trations are enlarged reproductions of the 16mm. film used in this production. I.“ r/‘X Figure 9. "Bulldozer” Cartoon. Use of Bulldozer May Result in Destruction of Usable Features Figure 10. "Drainage" Cartoon. Be Sure That Rain Water Drains Away From the House Figure 11. "House in Hole” Cartoon. Property Below Road Level Requires Grading and Filling Figure 12. "House on FilT'Cartoon. Plan Home on High Ground Figure 13. "Topsoil Cutaway" Cartoon. Ideal for Growing Plant Material 33 .1'. | I . 1 grim..- u... an... 34 Figure 14. ”Topsoil" Cartoon. Insist That TOpsoil be Saved Figure 15. "Not Yet" Cartoon. Plan Before Planting , {1%} Figure 16. "Mud" Cartoon. Walks and driveways Needed Before Moving In 35 The opening and closing titles were printed in twentieth century style brown lettering, on brown wrapping paper. This paper was pasted on a title rolling drum, which is illustrated in Plate B, on Page 36. The titles are shown in Figure 17, on Page 37: as they appeared in the Opening. 6 TITLE ROLLER 3 1 ‘ . «In—0.75" '35” SFT' . V 295“ :% H——— l9" __., scale I": l' Plate B. 1 3'; " MICHIGAN ' v4 JOSEPH T. COX 33DSCAPE Figure 17. The Title Roller Acknowledgments 37 \I' .nnfln‘ir" 38 Eh; shooting schedule breakdown. In the television rehearsal the specialist had difficulty in memorizing the prepared script. Because of this the director decided to divide the script into small segments for shooting. These averaged from eight to twenty seconds. A shooting schedule breakdown was improvised from the television script. This breakdown is illustrated in Table II. The number on the left edge of the page is the order in which the scenes were shot; the next column is the shot number, as it appeared chronologically in the original script. The third column on the page lists the action and subject similarities. Under this heading, scenes which re- quired the fewest changes in lighting, props and movement, were grouped together. The fourth column is the prop check. This served as an assurance to the director that although the scenes were broken down from their chronological order, they would match in physical content in the final editing of ' the picture. This breakdown also served as a guide in the editing. In the arrangement of the shooting schedule, the scenes in which the specialist appeared in the picture were filmed first. The director felt that the specialist would communicate more effectively early in the shooting. A longer time than was originally planned was used in shooting the memorized scenes. The specialist was coached in his inter- pretation and in memorizing the script by a member of the production unit. a». A SHOOTING SCRIPT TABLE II 39 SHOOTING SCHEDULE’BREAKDOWN "LANDSCAPING YOUR HOME" ACTION AND SUBJECT SIMILARITIES PROP CHECK NUMBER SHOT NUMEEB 1 3 2 4 3 34 4 32 5 6 6 8 7 16 8 18 9 2o :10 22 11. 10 :L2 12 13 14 Cox seated at his desk. (LIGHTING CHANGE) Cox rises and crosses from the desk to a bare late Cox moves from Model #2 back to his desk and sits. Cox at Model #2 Cox at Model #1. Shot of Cox and Model #1. Cox at Model #1. Same shot as before. Same as before. Same shot as before. Cox at Model #1 moves to ”Drainage Cutaway” Cartoon. Same shot. Cox at "House in Hole” Cartoon moves to Model #1. Model #1 - Only trees are on the lot. Completed model, ex- cept for lawn furniture. Same as before. Trees on the lot are barricaded. Trees are barricaded. House, garage and bar— ricades are in. Debris is spread in the depression. Same as before. Same as before. Same as before. Trees are barricaded. Trees are barricaded. . I gull—37". "i e‘“ TABLE II (continued) SHOOTING SCHEDULE BREAKDOWN "LANDSCAPING YOUR HOME” 40 i driveway on lot. 1 House, garage, con- 7” SHOOTING SCRIPT ACTION AND SUBJECT PROP CHECK NUMBER SHOT SIMILARITIES NUMQER . 14 25a Cox at Model #1 moves Barricades, house towards the easel. garage, debris, stakes and wide 15 ‘ 25b Same shot. 16 25c Same shot. 17 30 Cox moves from the easel to Model #2. crete sidewalks and driveway, and trees. 18 27a Cox at the easel. First chart showing. 19 27b Same shot. (LIGHTING CHANGE) 20 1 Model #1, undeveloped lot. 21 5 CU same lot, Cox builds barricades. 22 7 Model #1, barricades are in. (LIGHTING CHANGE) 23 15 Same shot, Cox puts house in. 24 23 Model #1. House, garage, debris and barricades are in. (LIGHTING CHANGE) 25 24 Same shot, except add sticks for driveway. (LIGHTING CHANGE) TABLE II (continued) 41 SHOOTING SCHEDULE BREAKDOWN "LANDSCAPING YOUR HOME" SHOOTING SCRIPT ACTION AND SUBJECT PROP CHECK NUMBER SHOT SIMILARITIES NUMBEH f 26 28 Model #2. House, garage, side- walk, driveway and lawn are in. 27 31 Same as before. 28 35 Completed Model #2. (LIGHTING CHANGE) 29 9 ”Bulldozer” Cartoon. 30 11 “Drainage” Cartoon. 31 13 "House in Hole" Cartoon, camera pans to "House on Fill" Cartoon. 32 17 ”Topsoil Cutaway" Car- toon. Camera pans to ”Topsoil Pile” Cartoon. 33 19 "Not Yet" Cartoon. 34 21 ”Mud" Cartoon. 35 33 Address Card. (LIGHTING CHANGE) 36 26 Easel and Charts. First Chart, Cox points. 37 29 Second Chart. Cox turns around. 38 2 Open. 39 36 Close. .r.‘ p at E5} , . «tell I V x filly-IIIIII‘ 42 The shooting scrip . The final shooting script for ”Landscaping Your Home" contained all the data on the blocking of camera shots and lenses, learned from the television rehearsal. The shooting order number was added from the shooting schedule breakdown. The script order number indicated the chronological order of the shot in relation to the order in which the script was put back together. This number was important in assembling the filmed shots into the final film. In the shooting script the lenses used for filming with the Auricon camera are listed at the right margin. The director attempted to reproduce the shots used in the television rehearsal. However, there were more filmed shots than there had been television shots. This, was because the director had divided some of the original TV shots into smaller segments, to overcome the memory problem. The shooting script for "Landscaping Your Home” follows on Page 43. Under the ”Video" column is the visual action, and the physical setting and description of the graphic arts. Under ”Audio" appears the dialogue of the announcer and the specialist. r Mid]; rail... Iiu‘. . y rll.\,oufr “I. I. 3 4. one .=mna>flq pom :mwmoa: :mnH>HA pom cmHmoQ= mpcmmonm omoHHoo mpzomopm omeHHoo .mnoa opapm manageas “noonsocca m mm upwpm awmhnona .eemMH Ha .nonns age as gonpoaaonqu “owmpa mama quHe .pH no ammo: m MQHUHHSQ mmwmsom mo movfl esp Spas man so» meanpceom .pOH m ma .pH omflsmoooh p_cov .pOH .Famm do» ammo 2H .mfisa ”noocsocc< H om comoaobocss ac Homow .EEmma wk nacho newno pmaaom manpoonm msem ofiwsm venom Hafim oe©H> mama mnoEmo «mmamo zoonpq gammmmmmm EOHCH>mqma .pcespnmmom mcfimamam cmnnb cam opsuoopasonm ommomccmq omoaaoo opmpn cmmfisoafi any mo .mcficcwam swap: new oompoopasona ommomcsmq 2H pmHHmHoomm .xoo haemOb .AE mchSpmom .HmmH .om nonopoo no oosawm =mzom mbow uZHmaommzwq= BmHmom wZHaoorm .I..v qu h 44 .fime mmmspom .pOH nomoao>o©qs cm 3mm 50% 0mm pcoEoE m "x00 .x00 .95 .unm upammcoo p50 ma .pmfiamaoumm ogmomnsmq .Moo .9 snonOh .ng .omoHHoo opmpm cmm THQOHE go moa>pvm pceamoao>om conH>eHoe exp mp couscoug mum .mcchme canon cam vamp noepH£on< ommomccma we pave npnmgom esp nmsonnp oofl>nom :oncepxm o>Hpmpomooo 0:» mp 50% 0p pnmsomn ma pH gum .zuFom 950w MQHQmomwcmq= m“ Emnmoua wasp you obapoonno ,‘ 1‘ ‘ ‘dl 1: ll- lilqfliullefllifldll all ‘wlwm 1e0-.!l llllllllllloin . .. 9.- .zH NQQOQ .xmvn pm x00 pmaamfioomm .H amomOh camomccmq .xoo psoemoao>om coamw>vaoa mcwccmam smpnb cam endpoopflgon< vqmomocmq oo~>oom noncopxm o>Hpmpvmooo =050m 950M mcfimmomccmg: .aaoa mung chase ammzau ZQOHmpa manpoozm zmsom g0 09©H> mcoq gammqmmmm ZQHMH>mqme Hmmom02mq= AmounapnoOV amHmom ozHaoomm whoamo Ill 45 .Ermw .Eme .pOH MDOh no mopsumom Honspmn moon» oanmnflmoo room 0p mH pmomopca omega oedema moomofipnmn pawns HH.o% .ommfimo mo ocax mam EOHC Eon» poopopm 0p woos 03 com noasa ponuo com 039 o>hom “mane ago .pOH oomoao>o©cs pomp pm xooa noguocm oxmu m.poq .pmop mph xooa op wcma poo» pom on 50% gaon w» map 0p mcfiom on.oa .mmgms¢ .mowwpm can omonp coogpon 2H omegaoHOm cum mom mmmnpom no .pHHsn omson poem o>m£ 50% comma no 90H m nosm ago 50% m Hm Koo d m on mo>og gum woman x00 .mocmofippmn moaflsn .pOH no pogm phone .eammH .oHpmp Hopes H% mcoq chose amHSao ZOUHmpa nacho poono pmnaom manpoonm ocoom EHam =mzom mDOM oszmqu muoEmo 34,1... 4 «.1; Jo. lumoH on coo mongopm mosoa one 5 mm mpcwom N00 .Hoooa mo ponm .SEmMH Hm % .ofio haamsnEgo .32.; women 03p onm nmmomxo on Hafiz mpoop «no “@268: ma Haom oma 00p mH .wonospoEm on Hafiz mooup any wooom ma HHom nods oou Ma omsmoop mpoon ogp mo>o Ho>oH HflOm esp ma“ amcmso oHo>< .ngopm oompsm macaw CH mansopp mamas moon» .Esmm omonp mo mpOOA on» pmdpmaw 09 m m .Hoooe pm xoo Mo ponm .aeoo N% .moomp can omonp ongoam mooflonon as use o>m£ H poa 03p so open pomp oofipoz .moonp 03» use mpcwom om .UOHHoQ cofiposopmcoo mam nofipmbmoxo esp pom moonp poono nacho panaom manpoogm mcoq 0Ho34 osoom saam oo©H> mcoq mHoEmo ammmao ZOOHmma gammammmm onmHsmome :mflom mbow mszmommar : nooschcoov emHmom oszoomm esp Ho>oH ou oomooHHsn m 7. 4. guano HHH; mpocso use: endpsm cop mo poo omen .noflposppm .Hmon .FEov 1:00 mo mmooopg on» MQHHSQ 0 0w Momma .coopnmo mo poSm =mw Hk Apomooaasmv .Hama co .man no good .oaasn Economo on mpcflog xoo .mm :0» omsoc so unoSoHoEoo op mocsonw ogp mcfimoao>oo 2H ppommo cam usap o>mm coo do» pomp ow .mapmo mcaocoao ppmom .Feoo 0p pnmpnomaa mHoEoopxo m.pH m m .mcflpnflom onoo mo pogo pzmfia .5800 wk .ngmH Hosea m no .mopma mono pcmam w on Ina nomoao>oc 09 mos mono ogp pop .mQHNomHHSQ mo umoo esp .QHAOE mo mama goaaom sz magma mo mow mnoq mo>mm maze p0: mane .pomunH zgom mom .mocsoom pogoa p50 guano noouo paaaom monoooom neon oHoss onoom EHHm oooH> mcoq mnoEoo ¢mmzmo ZOUHme \qmmmwmmmm onmH>wqwa :mzom mbow oszmosz¢q= Aooscnpcoov emHmom ozHaoomo 1:... x . ._ a .24. 8 4 .CEOd .EEmm .omsos esp monmaop comp nozpmn .mnnp oxnn nose: up goon hmam omoam wagonm onmfi one .noSponm no oonm ago on osos esp Bonn mmam mocnmno mn nonms anon pmzp ondmmm on .ommcnmno mo msoanonm psopm xensn on Haas an on psnoo mnno no .moooonm esp mo ooconmomgm gunmncn; 03p a: moougm OmHm pn mew memos mo>mm maadmonmo swag OH .p0H can no oHannm>m human uHm monSpmon oanmms .Hmnspm: hams manhonpmoo on manoo mHHm napow onm mozp pox; ocm .mcmH Ha Om 0H HH .ommcnmnv mo mcngmnc Amsmupdo mo ponm =, r4" 1 (I) .mo .won Iaonn mmgoupso on mc>oe Moo .Hooos mp monocmpm Hanpm N00 .5800 an msou 0H©5< 4mmhdo ZQUHMDQ noono noono ponnom manpooom ocoom aanm oo©n> mung A¢mmqmmmm onmH>mAma :mgom mDON oszm£ Hana Eon ummm omqumno noaonm m .conp nmspnm mHSp hnnpoon op noono :H .omon mnnwoc ogp no Ho>oH on» goaon manna coma ocp Song mpHSmon nosgo 090: can manomm copmo mEoHnonm omp no 020 .mHHms menu umocson onp Eonm hmao none? can Qoox Hana_mnze A.mmampso no sonpmnwamxo cocoom noav osomv NH NH mo Aoaom En .noounmo on mo>os x00 .Hoooe eonm ow Noo no pogo .aEmmn $2. maoq OHUSQ novno nonno ponnom monnooom onoom sank oo©n> mung mnoamo «mmfifiu ZOUHMD¢ :MEom mbow 02Hmmqu Acoscnpsoov HmHmom czHaoomm W9.(~.~n...-.1r,vd ‘ Nav~uvma a.?.~.~.:.~n. n£p ome On manow 50% onw 30m A.mHma EBHQ. mw .omsos oaounogoo-snsoo a song. . nnmnnmomxm .mnnammo nann nn . "meoz m_m090mmHmv .omsos an .Eamm onm oz onom .mmmo mm; pong ma mm mpsm N00 .pOH mo pogo psmne .aammH Hfi .ommnwm 0cm omsOa Gap onnso m.oon .omnnn .nnmmm xpnomong 0gp pm xOOH .Mqu wqqoa m axon m_poH aoz .QOnpooHom .Hooos on goon mon>om .mm opnm cam mcnnnmfig manna Co mnmeQEo mnnppsg mp nannmmog .anoo 0n mnzp ono>m on noppop mn pH oa MH .Moo 0» p50 .5500 m% .0nmm umooon on Han; an manaann 02o mnnnmnm .Ho>mH coon onn Boaon mn hunogonm n50» nH .uaon m an on on Mn mm xooa ammo: on» .Hth gpna omsom .eaoe mansms no pooono on» onosg mn nm on non .Amv mooopnao .mm =nm Ha noono noono pannom manpoogm mzoq onosq onoom sank oo©n> mcoq mnoamo «mmfi£o ZOUHmD¢ memmmmmm ZOHmH>mqu =Emom mbON wszanm Humid: Amossnpsoov amHmom czHeoomm _ .. a - .l. a ‘JIWE-VAhFAn. .- n o x . _ . hHQQSm m upon Hana so» pomp 51 0m .0200 on muncmnm mom «an» .ano esp pm anew wasp obnemonm 0H mm .HnOona mo scepnmo _ =Mm afi. .moon pawnn van was :ma mane .Hmnnouma pumam oHnm rnnmoo wnnsonm non HHOm Hound on» on anomQOP pogo Genomes .eooo on pomoo o; oonoo anon no on u .xoo no ooom .aeoo Na .mmaw oonmoao on on o>mn Hans mnna .mpnwam oamomocwa onnm sonm Hans coo; mo mooonq cam manm: .pcosoo .nopmmam 0 .H0002 pomp pauses a non xnnnp u.:oa onoonm mnnnoo mnoupmom .mw .mcnnp ono m.onona moons» noon wcnamomocmfi mnmmmoooa esp mcncow mp 080: m undo: noono noono ponnom mongoosm moon odosn onoom Hank oocn> mung «nosmu - ammnoo zoonmoa gammammmm zonmn>mnmn =Bmom MDOW 02H nflwom OZ 44H : Avodflapfloov HmHMOm UZHHOONW .aaoo .geoo esp maco mn mnsngm cam moonp mo monppom 02m muncnnmop Hmon can on manncmam .maamopod .momn muons 059 mm: cos mans .mnsnnm one moonu munpnoau mo mango on cnmon oamoom pmos pmoe poop ponoo mnop no on on .mpnomonm on» no 230nm on coo mnopnsnnm mum ononon 0:00 on on mm: mnse .QOnn sm>moxo cum manomnm mo vanp «So no poa 0gp mo pnog mm; nonnunoupso no 2n ooanmxoOpm on anommop nook pogo pmnmnH .mmnnpnmfim onspsm non nose: on» on xomn wanna 0p 0H mm ma 0 an HHOmmoe no pnmno on com .coopnoo =pow p02: :ww xoo no noon .aooo .oHHm Hk wk mnoq 0H05< F‘D "b'h’l' ##5#wa ECCF EH4 nooocnnooov amnmom unnnoomm noono noono ponnom manpooom ocoom aHnm :MEOm mbow msz¢owQ24q= ooon> mcoq qsmmqmmmm 20HOH>mqma mnosmo l. .7 . Ii..- . ,t. entail. . . ..,.. uwufle... 5mm.) ... .. .1» .Esmm no gopmmm m moon oasonm sow mm 0H x00 no ponm .8800 m% mm A .9004 on common on mn£p pom; p.200 hannmpnoo 50% ago how manmn .Eeoo m so an mcn>oe on mos now am om :00pnm0 052 :mm H? .mxamzoonm 02m mmm30>nnm ooh .mn pogo mnnooonoo: nanmmomn mn anponm pcopnogsn nonpocm .COOm omsos esp 0pcn .Efimm o>OE op mango: onm 50% MH 0m 0 M00 no posm .8800 m% .nonquOp mongonm woo 0503 can wank» mo memoa onp onm has» p59 .mo>aom isomp mEoHnonm on» o>H0m pom I on maonnopwe pumam one .2ng on» 950 mnnmnnmo mo mamas noono noono ponnom wonoooom mcoq Onosm onoom anm ooon> moon mnoEmo - amnaao zoonmbo \qommammmm zonmnnmnmn :mnghom EON mszdomeH j : hoooonpcoov nonmoo o2nnoomm .. I-V 4 l ‘40 u . v, . ‘I-Vlr‘E ‘Ic . 1.3!}...03 .. . I. . , . _. I . i . — n I Inflfi i.ill‘...|.. Hans .osos onp oocwcnm on gang 4 a) .) 0 G._ :2 on; mononemw ocnmson uses 0 unno>om no Hoooa onp maoxna mn pH .psomoa opmsooom cm anon gang Hans moxmpm omega .mmonm mamaoonm cam mums ao>nno no mocnapso opmonUCH I .Ammso>nno Bonnmn monnapsov moxmpm an mung .EEmm on com: on coo moxmpm cocooa mm dm M00 mm H0005 no pogo pgmna :mm H% .xamaoonm 02m mmm3o>nno on» non name I :omcmnnm oocnoam m #50 xnos 02m anmmm neon opp no xooa m.uoq .nonmn>onm oposooom coon ooomm muncnsp 02m mun :xnom .mooon noon nova Hana mmnp mm3o>nn0 m mam wMHmB noono noono ponnom manpooom mnoq 0n054 ocoom Hank ooon> mcoq mnoEmo «mMSmo ZOOHmD¢ Qflmm mmmm ZOHMH>WAHH =m§0m MDOW oszaomQZ¢Q: Aoooonpooov amnmom cannoomm F5.J 55 can ocoaon monopxo xamaovnm ©o>n5o esp onom wasp oonpoz .caoH pconn onp mmonom mama 0p o>o£ p.noa mpmosm pomp 0m ['1 loan 02m 0903 noon on manomoa mononnnonmooo xnoaoonm eon modum op coon sow .wnmo mo 0H050o w now mnnxnmm oonnonm 0p omsos n50» no oonm can amonmos zmao>nn© esp omnoa Ino mmnwo nnosp mcnxnmm on nnna on; .oooonnn no xenon on noon so» .mmao>nnv ndom mannzmaa onm so» oEnp emu um A.Qopmv .Foanonm pampnoman mnsp awn; pmnmmm .xnosoonm on wood .hmao>nn© momnmanm .moxmpm an manppsa mmnnnm mcoq 0H©3< ¢mm240 ZOOHmDm ll noono ponnom wonoooom annn ooon> moon gammanmnm zonmn>mnmn =mflom MDOM oszmomnzn .uomnppm ocm noon nmommm ones esp oxos on mn Soanonm one .apnomonm can no mmonm om: esp poonm xnnsp on can» on pn oomncmmno aopmam xam: cam mmzo>nn© oLp o>o£ o; mep 302 mmm ¢H .moms nonpo non onmh goon can an oonm onoe oon> song oadog mnna .o>nn© o>nm unomxo wcoa m unmananao 0H503 on oooon ooh on oonooopo .oommm hmao>nno nap on ammo: xoo no noon .Ammso>nno no npmzoa poo mm; ommnmm on» an .omnsoo MO om mm mpnnoav owmnmm no pogo oonm .8800 r gammn Hk wk moon noono noono ponnom monoooom 0no5« ocoow aanm ooon> mnoq mnosmo ammfifio ZOUHMDm =mzom mbow Usznom_Rmnma HA ll .|.Jo [ (J J .ar.|. '_‘.ll, .\ . 1. 05%| mono oon>nom on» can: Hmonmoa mqaamm on Han; soapmunnmmno 0:9 omm . 0H .pmnH on» on ooocm on pose .oonm oon>nom can as oxma gonna coonmm oanmpomob flap .ommnmm «Ln .onna monpOHo one .mooon wan>nH ono monnm new n50» mnmnpmm pose moonm om: asp .QOHpnooo cH .xnoa mnmmmooon no mnnmo no mononnn oun>nn on oomHQ m ono .oomHQ nonnn m .monpnanomm menuoo nonopso .monpn>npom opm>nnm non psomma on» an oomam Hon .Eeoo nooam m mo>nomoo man8mn ndoM 9mm ma Koo no posm .Ea00 m* .080: n50» - noono novno I: ponnom manpooom moon onoso enoom Hank coon> anon mnoamo J «mmaao zoonmoo qummommmmnzqmmmummwn II =maom moon o2nmaomo2on= nooocnpooov nonmom o2nnoomm -1111‘-‘ .5 . , on. 11:. LU VH3 . , u . . a 58 .EEmm .EEmm ‘IIIIIIIJJ. .II. . I FmOVF1£4L1¢iIIIrI| il 00 onnx mane .monSpmon onwom nonofl pnocmfinom no QOHpmooa esp no madngm no msnpnmaq 0cm owooong wagonm mnncnmam mnsa .poonpm exp Bonn cocoonom .nmon can no mono xnog no oonbnom onm .oonm esp pm mono manamn opmnnnm can .pconn an mono onfinsm on» on mnna .omson exp mn onom .moono oms omen mannSpmon .pso ooxnos o>.oa swag on» no good m.poH .302 .pnonn exp no mono onnooo ono coo .oonm ago no Tuna oumnnnu on» .xomp esp um k.” mum om ma .xoo no noon .monm onanso moo omson no pconn on mpcnoo x00 .nopnnog non: .onooo no pogo oomnn .Hommo on wcn>oe .xoo no pogo 05mm .8800 .EsmmH wk an mcoq onoso mmmfino Euonnm noono ponnom manpooom ocoow noono EHnm 000H> mnog Hammammmm ZOHWH>MAmH =m€om mbow oszwonQEGQ: noooonpooov nonmon oZHnooMm mnosmo I V.~1u-.ola1ned 4‘. .m. 1 ..I"~ . 4 '9 3...»... ... I'm; a 3 . . . o, . m2 1“..\n.elval“l.' lloiulu'l'llIl'lqtl oon nonoo anon no poop nnoa :2 om commonmonm onus om .uoa .EEmm on» on oooooooo m_oooa noon mm om .mn nooo: no pogo pomnn .oammn ma .pnosQoHo>oo unmom nocoa nonpnon non nnmmmoooc on ooo .nnoo ooh onon nnns mnnn .moonp no nnoonsnnm 3oz no manpmmam emu ooooono wasozm mama one .oogmnapmpmo mn mama esp nopnm oomnmnnm on coo moonw woman no acnpownsww Inc one .HnOm on» noxsman on .syoo on non on ooo coon ono oxon mum on .xoo no no .eaoo nn .opon noon mongoomwnma no sch voom m on on new; naaoun do» nn .nmse m mn mnncnoan noono noono ponnom manpoonm moon 0no94 oooon EHnn ooon> mcon onoemo mmmzno ZOUHmbq Anmmnmmmm ZOHQH>HAEH :MECE MDON on m¢omQE¢H= noooonocoov nnnm o mnnnoomo I nH'". “'32 6O .cnoppmm Hmfinonnn non 02m Hoonmoa w an moonm on puma Hang son gonna omwnaon no mommoe connnno onu on Hana omonn .munomonn o3» no enumoaooo 03p on mcnmom mm maonnopon pzmfin onp no gonna .ononon nuns ooxno; o>o£ o3 gonna Woonw ems anSonno man oqsonm oomzmnnm on Hana mmnnpnmam .mccdonm exp on pn on» cam omson esp pomsoammoo on unopponSm mom on unmop coo on now .opoan .Eoo onm moonm caoH 0cm vmsos il.||.. J. [[s. , (L. 3.9!! alh’Jilllll I 0m mm .moom on mm poo mpnnon x00 .oan nooaon nnoso on onnn .020 nopfisz pnmno .EEmMH moon onooo annnao zoonmoa noono ocoom noono ponnoo manpooom annn ooon> mcoq Anmmnmmmm onnHwEAEH :MSQE mbow 03H0§0MQZonn on npaonm no .HHmu p59 noaonnoc non oopooH .om on on moo: Han; mHonnome pcoam van nocna nocnop onn on non: oaoo moonm om: ono.§ .mmcnm om: oman on» no 20np -mnonom m opocmnmoo Hana mnsn .nconn 2n mnsnnm wcngonm noHHo5m apng moonm om: omen» A.moxmp no connonsn amp um mooman amn5 com Hana woo .mpnenon o5nn nHv .mpann 5n mung .55mm on Goo mpCmHn nomnma one Hm 0m #00 mo Hooos no ponm psmnn .55mMH H; .anQ ‘sp on mnnonooom pcmam on anon cam .Hommo .FEmm H0005 esp pm anomm gooa m.nog 0m 0H 50nn H0005 op mo>o5 Koo .5500 N% noono noono J11 pmnnom wenuoonm , moon canon ocoom EHHM ooonb mama mno5m0 «mmzmo ZOUHmb¢ nnmmm 1mm onmH>mqma :mmom mbow osznonazmq= noooonpooov nnnmom oznnoomm .‘UJm-l. oi. t). I... ‘l 62 . ..|‘.d.-|. on from-«thy. esp omnfin5n5 on oomncomno onm munmaq omvnm .Hanm goo Inna ozp soap noSMHE on gonw Hana gonna mpomam om: moon Inn; on» noonp .onnH mesonm Hmpcomnnos van gun; on0m mesa mm mnonnoo Hmonpno> can oun5ncn5 on momma manomonnm 30H mp ooxcman mcoonmno>o no mnsnnm Hamp omb .mocdonm 05w omsos oLp cooapon gonna» won» on «Koo on non .cgmH van non Monmoo no o©n>ona gonna .mnsnnm manaonmuzoa esp soap ooo .moonam noonoo agnooo can «50o nxo: .ocdonmxomp moon Onosn mmmfino EQUHHEQ noooonoooov nnnmoo o2nnoono noono noono ponnoo manpooon onooa EHHm :mmom MDON wuHmQOGQMQA: ooon> mcoq Qmmmnmnam ZOHWH>MQMH mnoemo Pup! CLIVI. 5,. Mia's 1E1? ol'.‘ tall! -. noon .omonnoo ooopm oomnoonm no psoEpnonoQ mnnccmHm sonny f 63 wow onopoopHSonm onmomcqoq esp pm oHannm>m enm mcoonw uno>o 02m mnsnnm so mcnnoHHdp .F5oo, noo .COHnmEnoncn onmmn non mm mm .onoo mmonoon :«w H: .0003 .unopanen ogp on mo5on nonno news mo oocmnmommo 09mm ogp omsoc can o>nm omnsa .mmoonm unobo ooponon esp no omsuno>o onond .oomnnom con Hmucow unnon ogp onmmm pcooom HHn; gonna mpmon munmo no munHmcnm .Ffimm Inno m>onzom on no 2 mo5 30% mm o .Hooom pm 500 no pogm .5500 NH .mononnoo ono no noonoo nocno Gnocno nonnon oonnoosm mcoH 0n05¢ osoom EHHm oonn> mCoH mno5m0 I mqu :mfiow mbow mszdoanmq: noooonoooov nnnmoo onnnoomo 1.”..I.vlo..nl..eh... .41 e . on . .._..|\.. n .‘ 64 .Fsmm .Fsmm unnnpsmon 0nmomocoH mun gun? npnogonm one .@0>Ho>0 mmn .mmcoonm 03p QOH0>00 on monnmpm 02 05np 03p 5onn mznccoHn ommomosmH no mnupm m50nnm> 0gp gmsongp 050m enms oh .nanooOH noon non 0Hnmpnom moonpmommom onmpno coo son nma mnnp CH .505 Innomnsn new mnoopnnonm 0noom uocoH omHm 05o .pcomm 50nm Iconxo nundoo HmoOH noon Bonn COnannoncH 05p cnonno Ome .xmoo 03» on noon .smmnnonz .mcnmnoq mongonm 090$ 0p0Hmsoo m 502 mm mm .Hoooe oopoHnsoo no ponm .GSmMH cmo so» mooompmcn nmoe 2H om m m0>o5 moo .500 no nonm .5500 H» m% mcoq n0©n0 noono nonnoo wonnooom canon envom EHHn ooon> HHB =mflom mbON QEHQHUMQZmH= noooonnooov nnnmow mannoomo mnosoo thul ...vrfidflt.. .550o oponm nomnnonfi “noocoounn om 0m 0moHHoo oompm nmmnnonfi =ww Hn “w .noch 020 90 “onmbs .Sbmm HHHHH .mcnnnq non nmnmom m an mpHomon oonnmou 0gp oonoono mos pmzp smnmonn m soon was anson pru so» HHop HHna nona .son pco5nHQ5oo on mesonnn woo mnonnmnoc oan55nnm HHHa monoonw noon no pc0nm xnoa woo 0on0npon .05nn one .po05 unmnHm5ooom noon 000 on oonn unpmnm H00n coo 0Hn5m 50o 30% A00 awn .xoo no pogo .0nonon mnnno5 >205 noncoHQ mpcmHg 020 mo0nm own no m5mnwmno 0gp no oeoopdo 0gp mn cenpmo nocno nocno ponnom manpoonm mcoq Onosn 0:000 5Hnn 00©n> m50H on05mo ammnno moonmoo gnomnmmmm monmn>5nmn :mmmom HBO». Uhannnwonefiwg= noooonnuooo annmom mannoomo -" riloiu. a... .c finfivVJRV . l Hm .ooo ooo no “onmpn .omonnoo oponm Gownnonm Eonn son on mosoo 0m0HHoo 090nm :mmnnona =m5n>nq non awnm00= .0on> zmnnnnq non :mnmom: unom p505m0H0>00 QOHmnnoHon p205n0H0>00 COHmn>0Hon on» an voodoonn own man .mnncnoHn gonna com 0n5po0p unospnmmom mcnccon noon: nzonq 0nmomosmq no n205unon00 woo endpoopngonn omoomonoq on» gmsonzp 0on>n0m :0nm 0on>noq Icopxm obnpmnomooo 02p an son COHmzopmm obnpmnomooo on unmoonn coon won Eonmonn mnnn .pmnHonoonm ongomonmu umnHonoonm 0Qmomonoq {Moo .9 gnomOh mm; poopHSmnoo x00 .9 zoomOb n50 .=0som noow mcnnmomocmq: :05om noon mnnmmomocwq= noncomonn posh won 0m0HHoo n0nn0 noono ponnom monnoooo mcoq Oncom 0:0om 5Hnn ooon> m50H mn0500 «mmflao ZOOHmsq annmmmmmmmeHMH>EHmH :mmoa mbow mszmonflqu: nooocnocoov nnnmom onnnoowo 67 FILMING The shooting of "Landscaping Your Home" began on October 30, 1951. Two full days were allotted for the shooting. During the setting up of the set, as seen in Plate 1, the specialist memorized the lines of the scene which was first on the shooting schedule. Face powder was applied to the specialist's face, to help conceal his beard. It was the only form of makeup used. Lighting. Eight lighting setups were planned ac- cording to the specific needs of each shot. The lighting contrasts were kept low to reduce the highlights and fill in the shadows. The scenic director had planned the light- ing, but the final setups were left to the discretion of the cameraman. The light plot used in the opening shot of the specialist seated at his desk is illustrated in Plate 2, Page 70. Basic fill light was arranged in the form of two 1500-watt diffused sc00p lights at the right side of the camera, seven feet from the floOr. Fill light is used to lower contrasts by filling in the shadows. A lSOO-watt fres- nel mounted on a pedestal eight feet high was placed several feet in front of and to the left of the camera, and served as a key light, or main point of illumination. Another 1500- watt fresnel was placed behind the talent on stage right. This light was seven feet high and acted as backlighting, or D-ani allw‘ a it .Iiri'l'. '.\ PLATE I. FLOOR PLAN FOR THE FILM 'uuascume was none" b " "" h 'wu- 034"” 'uouu 'uouu m: enemas porn TAN-3 m . on , uou nu. Oneal. ‘ouma I non. noon. LOT tenure fit .'07 I 0"10‘ 7‘7' C DE.‘ 'ror l sou. "TOP ' can can" 36' count/4" " H‘— 2!’ H 69 a means of separating the head and side of the face from the background. The second light plot (see Plate 3 on Page 70) was used for eighteen successive film shots. The problem of lighting was to eliminate shadows on the cartoons fastened to the flats, and to separate the specialist from the background. Two overhead scoop lights and one floor scoop, each lSOO-watts and placed 8% feet from the floor, were used as basic fill light on the left of the camera. Foundation light was achieved by placing two additional floor scoops of lSOO-watts each, on the right side of the camera. For background sepa- ration and shadow balance, two lSOO-watt fresnel spotlights were used as backlighting from stage right and stage left. Extra modeling light was provided by placing a lEOO-watt floor scoop on stage right center. A 300-watt reflector floodlight was also used on stage right center, at waist level, to elimin- ate eye and chin shadow. The next lighting change, illustrated in Plate 4 on Page 72, was made on Shot Twenty. For the next three shots the only area to be lit was Model Number One. For basic flat light, two lSOO-watt scoOps were placed flush at the right side or the model lot, and three feet above it. For backlight, a 15004watt fresnel spotlight was used at a height of five feet, directly over the back right corner of the model. In shooting the partially landscaped lots, the same lighting was used as I. LIGHT PLOT WORK 3"ch FIL‘ CABIN! TS LL..— UODEL L‘O‘NO ' '0 III . I IOOO W. FLOOR FLOOD I ”I IIJOOU.FL. FRESNEL ' I 'uwoscapme YOUR Home” PLATE 2. _4 woueewcwl 0 .. m ‘ ' lmz «sum 3' (\nopn, . _ ' .m'".1.1. r. ——®1.e m V 1.0'm , Ell % .e' 4 0' 7°- m" 1.0'm 0 U 0 0'0" 0' m scam ”4." I' noon emu"! new. "LANDSCAPING roun HOME" PLATE 3. 7O 60 ska 71 in the third light plot shown in Plate 4, but an additional reflector floodlight was placed below the back level of the model, pointing towards the backdrop, to add some degree of separation or rimming. (See Plate 5 on Page 72.) Another minor change in lighting, illustrated in Plate 6 on Page 73, was made in Scene Twenty-five, to get more shadow on the driveway layout of small sticks. One of the lSOO-watt scoops was moved to the left side of the lot, and a lSOO-watt fresnel was placed seven feet from the model, to act as keylighting. The cartoons and cards were removed from the flats for closeup shots. The cards were placed on an easel. The only lighting used was a lSOO-watt scoop light at the right of the camera, five feet from the floor. Plate 7, on Page 73, illustrates this setup. The lighting used to illuminate ‘the charts was like that used on the cartoons, except that an additional Isoo—watt scoop light was placed at the left side of the camera. Plate 8, on Page 74, is a diagram of ‘this setup. To light the title roller, one less scoop light Iwas utilized than had been used on the charts. (See Plate 9, on Page 74.) L i d T P L i) T WW MKNM FIL A IN TS WORK BENCH I C 8 E s'm on 5"" IA DESK LEOEND' _. - “If-.. _ -,,.....n_.__..__—_-. . .———— ..—__— , --—<——-——-—-———- _—..-—..__.._.—.—u— ‘—.-—— "LANDSCAPING YOUR HOME“ PLATE 4. I IOOO W. FLOOR FLOOD 'ISOON. FL. FNEONEL ' W FILE CABINETS SCALE' M."- I' "LANDSCAPING roan HOME" PLATE 5. 72 .IILO' LIVIL OF IOOIL LIGHTING ' PLATE NO. 6 E e' e' "1 {CAMERA PIDIITAL FOR CARTOON. ecALe: Ile" - I'-o' LANDSCAPING YOUR HOME LIGHTING- PLATE no.7 73 caugwa ‘0.- owners 0'»: PLATE NO. 0 TITLE ROLLER J soul: He" - u' PLATE NO. 9 LANDSCAPING YOUR HOME 74 75 Qiregting. The director checked the composition of each shot for prOper framing, and to be sure that the picture was similar to that of the television rehearsal. He also coordinated the functions of each production member, and showed the specialist, in the preliminary blocking of this film, what he wanted. 5‘ .An example of the directing problems is seen in Shot ‘1..- .. Number Two. The seated specialist said, "Let's take another look at that undeveloped lot”, pushed away from the desk, rose, walked to the model of the lot, and continued his dis- cussion. The problem here was, when should the specialist speak - during action or while he was standing still? If he talked only when standing still, how would his action be motivated? This problem was met by having the dialogue motivate the action physically and photographically. In the shots of the lots the closeups left the talent out of the picture. The director had the specialist read his lines from the script, out of camera view, while he built on the lot. Once again the problem was, which comes first - the action er the dialogue, or should they have appeared simul- taneously? In this instance the dialogue came first, then action which was supplemented by more dialogue. For the filming of the titles, the director had to co- ordinate the timing of the title drum, the announcer who paced his lines according to the title frame and the audio man who was feeding the music from the studio console. 76 Still another problem in directing was to match the action and the arrangement of the props and models in each scene. The shooting schedule breakdown was used to check this. As mentioned previously, this schedule had all the action and subject similarities grouped together, and also contained a prOp check for each shot in its respective shooting order. To alleviate the problem of matching the preps on the models, each prop was outlined on the model. Camera technigue . The camera technique used in the opening shot consisted of a camera dolly in from a long shot to a closeup, to give the viewer the effect of coming closer to the subject. In filming the next eighteen shots, the specialist moved around from the desk to the model, to the cartoons, to the easel and then back to the desk. There were no long shots in this film, but the majority of medium shots were included in this eighteen-shot sequence. In the first three shots of the undeveloped lot, the cameraman attempted to shoot within the edges of the model. In the next shots, the house, the garage, the debris and the barricades had been placed on the model. In order to in— clude the tops of the house and garage, the cameraman had to shoot off the lot. Some of the cartoons included at various points in the specialist's talk were filmed consecutively. Other car- toons were shot to compare one with the other. For example, 77 the two related cartoons on topsoil were placed side-by-side on a pedestal, with one cartoon in the camera frame. On the "take”, the camera was simply held still for several seconds on the framed cartoon, and then panned smoothly across to the contrasting cartoon. The same method was used to pre- sent the two house cartoons. ~During the filming of this show the assistant director kept a running record of all the pertinent data on the camera, lighting and sound setups. This data sheet served as a time-saver because it contained the necessary data for re-shooting. For example, after Shot Twenty-eight, the 25mm. lens of the Auricon camera was changed for the 40mm. lens. Eight shots later it was discovered that the viewfinder mattes had not been changed. These eight shots had to be repeated because the exposed shots were framed with the 25mm. matte instead of the 40mm. matte which should have been in the viewfinder. Refilming these shots was simple, because all the data from the preliminary shots was merely taken from the data sheet. Table III, the Shooting Data Sheet of "Land- scaping Your Home", follows on Page 78. Note that the majority of shots used were closeups. 78 mm .nn mH mn m.m mm :©.HH =©H mHE 0H mm mm .0 mn m.m mm :m.0 :oH 0H2 0H 0N mm .m mn m.m oe ..m.0 =©H Do 0H wH mm .0 m 0H m.m 0e =m.0 0H 0H mm .m HH mn m.m oe :m.0 :OH Do 0H mm .mn on mn m.m mm .NH :®H mqfi 0H 0 mm .on pH mn m.m mm .NH =©H mqfi 0 0H mm mm .mn em mn m.m mm .NH :OH mHE 0 0H em mm .0 on mn m.m mm =m.nn =m.m :OH was 0H :mzom mDOM wszaowQZHH Bmmmm «B¢Q wzHaoomm = HHH mqm onsmonxm goona 0:500 nooasz poem ponnom 79 Nm .0 OH 00 mm am.w .m ..0H Do 0H mm .mn om mn m.m oo =0.0H :QH Do 0H nnm mm .on on mn m.m mm :N.MH :0H mHE 0H mmN mm .m mn m.m mm ..vH :wH mHE 0H om mm .mn mn mn m.m mm so.¢n so.on :oH qu 0H 0mm mm .oH mm mH m.m 0¢ :¢.® :QH N Do 0 0H nmm Bmmmm mm .nn on mn m.m mm =0.HH :oH was 0 0H mmN mm .m mH mH m.m mm .mH :0.mH :0H N mHS 0 0H ¢H :maom mbow 02Hm¢omQZ enamonwm xoana endow nonadz ponw pQHnom 80 mm .0 0H 0m 0w =m.m =®H Do 0H HH Nm .OH mn om 0w =®.m mm .HN mm 00 mm :©.m :wH Do on mm mm .mw mNnH 00 mm =®.m :QH Do 0H Hm mm .on mn mmn on mm .0 :0H Do 0H mN Nm Nm Nm .0 .Hm .ON mn mnum om mm om ow m.o m 0 mm mm mm ”mun an s. =©H :QH zmH m a a DO DOE DOS 0 o m on on on on mm mn emzom mDON UZHQHUmQZ onsmoaxm Momnn 05:00 neoasz poem eonnom 81 mm mm me 00 0e .0 :0." Do 0H mm mm mm mm 00 oo .0 :0H Do 0H mm 5H mm oon mm :w.m :oH D0 0H 0N mm HH 00H mm :m.m :OH Do 0H 0N Nm NH 0m 00 =m.m :QH Do 0H mm Nm Nm mm m on m 0H om 0m 0m m.o m m mm oe 0e .0 :m.m em.m =©H 20H :©H 0 0 so no 0 0 on on «mm nm on Bmmmm enamonxm xownn 0:500 nooasz poem sonaom 00 me mm o... 00 mm mm mm 00H Am an mm mo 82 Film processing and editing. The reversal film was sent to the Eastman Kodak Company for processing. They shipped the positive to a laboratory where a duped negative and a work print were made. The negative, the work print and the master print were returned to Michigan State College for editing. The film editor divided and cut the work print into takes, and arranged them in script order in a film barrel. The scene board illustrated in Figure 18 was used to identi- fy each take. The bad takes were then discarded, and the Figure 18. The Scene Board frames showing the scene board were removed from the good takes. These were spliced together in the order in which they appeared in the script. The work print was then run off on the television closed—circuit system for continuity. The scenes were tightened by cutting the beginnings and endings right up to the sound track. A "Take, Footage and Timing” Sheet recording the length of each scene was used in the edit- ing. This is illustrated in Table IV. TABLE IV TAKE, FOOTAGE AND TIMING SHEET "LANDSCAPING YOUR HOME" 83 FOOTAGE TIMING SCENE TAKE BEGIN. END. /SHOT /sHOT” ' TOTAL HEEE'I‘ J .3 10 J :18 J 3 2 23 35 12 J :19 :19 4 i 336 45 J :14 I J 4 2 J 46 54 8 J :14 :33 _34 J 55 20 1 J :24 :52 .32.... J 71 79 J :12 32 2 i 80 82 J :10 3g 3 88 99 11 J :1 1:14 6 100 J :07 _§____. J _0 118 1 J :18 1: 2 _§____. J 19 J :05 8‘ 2 -2 13; 8 :ll Fl:43 _1§___q - 2 _;;8 5 :09 1:52 _;§___q 1 ° _;44 5 J :07 :59 20 i 4 151 J :08 _gg__ J 1 2 458 6 J :08 ;:02 2; J - 120 l J :18 _g:25 _19____ J l l 181 10 J :16 2:4 ‘ J 11o111w_11_1J_”.8211__1°8 -..__Hll.___}24 M__ _ “1..” REEL 2 J J 12 2 26 l J :24 3:05 14 a J 27 37 J :_4 __ _ J 8 46 8 _ J :13 3:18 TAKE, FOOTAGE AND TIMING SHEET "LANDSCAPING YOUR HOME" TABLE IV (continued) 84 FOOTAGE TIMING SCENE TAKE BEGIN. END. [SHOT [SHOT TOTAL: _25A 42 58 11 :18 03:36 LL 59 68 :08 2 69 79 :15 j 80 96 36 J :25 4:0; . J 250 1 97 102 J :15 4:;6 30 L 108 r_1_13 5 :07 4:23 224 l .14 124 10 , 2.6 4:39 22B J “2 138 :20 4:59 1 _ J ' _156 J : 0 l _ J 14 _1_53 J :10 5:09 J 4 182 J :4 REEL 3 J J 1 L35 :40 5:49 _7 J _32 45 : 33 2 J 46 55 9 : 6:02 _15 13 J . 76 20 :34 6:36 _23___ - I 77 8 8 : 8:48 24 J . $93 9 : 3 9:0; 28 J 6' “28 :14 2 J ° 8° 10 : °:_6 REEL 4 J _31_____ J 64 53 ,:26 0:42 35 J 65 86 2 :33 WRONG J J MTTE - ,_ f 87 108 21 :33 w141,545 - u a o - w ..—- a . TABLE IV (continued) TAKE, FOOTAGE AND TIMING SHEET "LAND SC APING YOUR HOME" 85 FOOTAGE TIMING §Q§fl§_‘ TAKE BEGIN._EHD._ [SHOT /SHQ_T_____1 TOTAL 9 10 120 ___;; J :16 11:3; _;;___ 1 22 _;3O 8 :11 11:42 J3— 1 _139 ' 8 :12 : 4 _12__ 140 __1_54 34 :2_2____3 12:16 .19 155 _;66 :;7 _2 H léZ___ 77 ;;O :17 12:33 .21... 1 8 __;83 5 :;O ';g:43 33 L493 9 :;4 1&5? 26 194 ;;:;§ REEL 9 2 .AAL____£flL___,_ELO =15 11139;... .11... 22 29 :;;; _30 37 J : 0 4 38 45 7 J 10 :40 _13_____g 4§ 53 2 J :11 11:5; .12... J 54 62 J :20 2: _l9 3 J 68 78 o J :_. __;glgz____ _2;__3 J 79 84 5 J :07 12:34 33 J 85 93 8 J :_2 :46 26 1 J 94 _;9g 8 J :l 12:52 _29 J O 120 J :2 : 4 _g____ J 2 __155 J :37 _3§__J 2 J 4. ;69 2 J :35 313:59 86 ANALYSIS A brief explanation of this study is necessary before examining the methods used in the film production of "Land- scaping Your Home". Since this project was pioneering in a relatively new field, the trial and error course was followed in checking the methods to be used. While it was hoped that some of these methods would be successful, it was also ex- pected that there would be errors in a project of this kind. Mainly, these errors were due to the lack of information on preparing films for television, and to the limitations of the equipment used in these productions. In each successive film the methods found to be satisfactory were used again and im- proved upon. Likewise, the errors of the previous films were discussed by the production staff, and an effort was made to avoid them. To understand the component parts of these methods, they are shown here in relation to their effectiveness in the final film. The television rehearsal served satisfactorily as a means of viewing the entire program on the television screen, before the filming. As a result of this rehearsal, many of the visual problems were foreseen and corrected, such as the selection of the most desirable shot, the proper centering of the talent, the most effective use of visual aids and models, and staging. Time and money were saved by using the television cam- era show as a rehearsal before the first foot of film was shot. 87 The trial and error with the live cameras helped to familiar- ize the film production staff with the program content and the talent, the best use of equipment, and many of the pro- duction problems. One of the more important problems which showed up in the television rehearsal was that of the specialist's diffi- culty in communicating while adhering to a memorized script. His talk on landscaping was broken up and stiff, which was in direct opposition to his natural and informal style of speak- ing. To overcome this problem, the film production script was broken down into small segments which could be easily memorized. While this breakdown method is an accepted tech- nique in the average Hollywood film production, it was un- satisfactory in its application to this film. Before this film, the specialist had had no formal training in straight memory presentation or acting. Conse- quently, although his own speaking style was incorporated into the writing of the script, the specialist did not de- liver these lines in his own natural manner of talking. While the script gave better control of the timing of the film, the disadvantage was that it impeded the specialist's delivery. It is interesting to note that this same man has done some informal live television shows since the production of "Landscaping Your Home", and that they were quite satis— faCtoryo 88 One unsatisfactory aspect of the television rehearsal was that the director and assistant director were involved in complex technical details, and at times the visual moti- vation, action, sound and content communication could not be given proper attention. The method used in writing the script was unsatisfac- tory, because the final result tended to impose a restraint on the specialist. Forgetting the specialist for a moment, the methods used in writing the script were adequate. The technique Of asking the specialist questions, and then using the words of his own answers, proved satisfactory. The con- tent of the script was factual, and contained a message of value to the home owner who would view the program on his television receiver. In view Of what has been said about the unsatisfactory and the adequate aspects of the script, a question is posed here. Would the trained actor have pre- sented this show more effectively? This problem could be answered in another study if the script listed the business, or detailed the action for an actor to follow. Possibly an additional secretary at the preliminary conference could have recorded the specialist's movements as he spoke, and included them under the "Video" portion of the script. Visual aids in the form of cartoons played a very im— portant part in this film. 'They emphasized the program material and added visual meaning to the dialogue. These cartoons (seen in Figures 9 through 16 on Pages 32 to 34) were a help to the production because they combined the factors 89 of humor and fact. These cartoons were tacked to a blue flat which appeared to be light grey on the film, and therefore served as'a satisfactory setting for the film. The two scale models were adequate as visual aids in presenting the "before" and "after" approach of this film. The models were designed in colors that looked natural in the gray scale, and added much visual interest. To outline the projected driveway on the models, miniature white sidewalk stakes were used. These failed to achieve their purpose, because they were "washed out" by the lighting on the lot.. Perhaps stakes of a darker color would have given more satisfactory results. The one graphic that was not satisfactory was the ad- dress card, which was filmed on a stand. In the first place, the message appeared crowded, as can be seen in Figure 19. Figure 19. The "Source of Additional Information" Card Was Too Dark and Appeared Crowded While the type font is satisfactory for use on television, the message should have been divided between two cards. As this card reads now, the words "Landscape" and "Michigan" would not 90 be seen on some home receivers, because Of the masking. In the second place, the lighting of this card appeared too dark on the final film. In shooting all of the visual aids and graphic arts on the stand, only one light reading was taken. Comparing this card with the cartoons in Figures 9 through 16, on Page 32, it becomes Obvious that a separate light reading was necessary. Most Of the visual aids in the film were satisfactory because they were planned in aspect ratio. The ratio of picture height to its width is known as aspect ratio. The standard television picture aspect ratio used is three to four, because it is most pleasing to the eye for long periods of viewing.19 The charts which were used were not in aspect ratio. They were the specialist's own visual aids, for use in public lectures. To get the proper picture of the charts, it was necessary for the cameraman to include the top half first, and then pan to the bottom half of the chart. This is shown in Figures 7 and 8, on Page 31. Notice the key- stoning of the tOp frame in each chart. This was because the camera shot the top of the charts at an angle, and then panned down. Notice that there is no keystoning in the bot- tom frame Of the charts, because the camera was directly in line with the charts at that point. To get completely satis- 19 Morton G. Sherage and Joseph J. Roche, Video Hand- bQQk (New York: William F. Boyce, 1951), p. 79. 91 factory effects with visual aids, they should be designed in the aspect ratio. In this film, the title roller did not prove entirely satisfactory. The brown wrapping paper on which the titles were printed appeared wrinkled and unattractive. This did not Show up in the television rehearsal. There is no indica- Ff tion of why this should have been true, except perhaps a difference in lighting. Another unsatisfactory aspect of the title roller was the difficulty in controlling the roll. The handle of the roller was bulky and could not be turned smoothly. A long time was taken in the rehearsals, trying to practice this control. There was no way of stopping the roller as each title group appeared in the frame of the camera viewer during the filming, although in the TV rehearsal the person turning the drum could watch the monitor, for framing. These problems might have been circumvented by de- signing a mask in aspect ratio for the camera and the man Operating the roller, to use as a guide in lining up the title in frame. The roller could be improved by adding a set of reduction gears or belts on pulleys, for control. The use of face powder to serve as makeup was unsatis- factory. During the filming the specialist's beard became pronounced. A skin-colored talc was used to cover the result- ing dark shadows on the specialist's face. However, in the final film, his beard is very obvious. 92 The shooting script appeared to be satisfactory. With it, a series of shots were set up to match those used in the television rehearsal. Also, the shooting script served as an effective method of controlling the timing Of each shot. This also made a satisfactory guide for the film editing. In the shooting schedule breakdown, scenes with a similar subject and action were grouped tOgether, saving time and labor in shooting the film. Moreover, this gave the di- rector a prop check in all the scenes. Six out of the eight lighting setups seemed satisfactory in achieving low contrasts, picture depth and clear definition. This favorable lighting was used on the models, the special effects, and the closeups of the models. The two exceptions are the lighting plots illustrated in Plates 2 and 3 on Page 70, of scenes in which the specialist appeared on camera. What applies to TV lighting is in most cases applica- ble to films for TV.20 The lighting on the models met the requirements set up in the CBS Tglgyigign Staging and Lighting Practices, by Richard O'Brien. This book states that back- light intensity should be 1: times that of the baselight.21 Baselight is a foundation lighting that covers the general working areas, including backgrounds. 20 John H. Battison, Movies 39; TX (New York: The MacMillan Company, 1950), p. 232. 21 Richard S. O'Brien, CBS Television Staging and Lighting P actices (New York: Society of Motion Picture and TV Engineers, 1950), p. 255. 93 In analyzing Plates 4 and 5, two floods are at the side of the model, a fresnel is used as a backlight, and a 300-watt reflector flood light is used as an indirect light source. The baselight looks stronger than the backlight, but if the model is divided in half, the backlight projected on the front of the lot is stronger than the baselight. Parmelee substan- tiates this lighting theory in the Television Engineering magazine for January, 1952, in which he states: "Backlighting provides separation between foreground material and backing, and adds depth and enhances general appearance....Back to front light of 13:1 should not be exceeded."22 In view of what has been said about baselight, and upon examining the lighting setups in Plates 2 and 3 on Page 70, the techniques used here seem to be unsatisfactory. The front lighting tended to dominate, which hardened the features of the specialist and caused high contrasts, as can be seen in Figure 20. Another possible cause for the intense highlight in these scenes was that the Eastman Kodak Company in Chicago had advised using an emulsion speed of 32 in determining the stop on the camera lens. However, when the film was developed and a duped negative made, the processing laboratory advised using an emulsion speed of 40. They felt that the 32 speed might have caused an over-exposure of the film. The writer 22 C. Dan Parmelee, "Video Studio Techniques", Television Engineering, 3:8-11, January, 1952. 94 Figure 20. The Front Lighting Tended To Dominate sent four sample scenes to the Berndt-Bach Company technical staff, to check this. They suggested that some of the trouble was due to the final processing of the film. That is, the light used in printing was not properly adjusted to the difference in light level between scenes and grain structure. If this is true, perhaps the lighting setups would not be considered totally unsatisfactory. A satisfactory permanent record of all pertinent camera, lighting and sound data was achieved in the shooting data sheet, which is illustrated in Table III, on Page 78. This sheet served as a time-saving device in reshooting eight scenes, when the framing mat in the camera viewfinder was not switched to match the lens which was changed. How- 95 ever, the shooting data sheet was not designed to describe all of the problems. Therefore, while the statistics are valuable as a checking aid, a written description of filming, lighting and sound problems experienced by each technician would give a more thorough picture of the production. Because of the many sound changes from shot to shot, it becomes Obvious that the decision to record the sound over cartoons with the talent off the set, was unsatisfactory. The sound that was recorded close to the flats differed from that Off the set. The number of sound changes pointed up the need for having all sound recorded on the same set loca- tion, the same measured mike distance, placement and angle, in adjacent scenes in the final film. Another reason for the sound changes was that the specialist spoke much more clearly in the scenes when he was reading, off camera, than in the scenes in which he was facing the camera. In the final assembling of the film this change in Speech pattern from shot to shot was very noticeable. Environmental noises, such as the building elevator and overhead exhaust fans which could be heard on the sound amplifier, were successfully overcome by turning them off for the filming. The crackling sound of a chart being turned ‘was eliminated by bringing the volume down and cutting the dialogue during the changing Of the chart. There was a noticeable distortion in sound on one complete reel, which made the reel unusable for use in the film. NO definite 96 reason for this distortion has been established. The Berndt- Bach Company, who received a sample clip of this distortion, were at a loss to determine the cause. They suggested an increase in the sound exposure and volume indicator. How- ever, the sound exposure and volume indication was the same for all Of the reels. A further unsatisfactory production technique showed up in the visual aids, which lost some of their impact be- cause there was no subtle motivation for their use. For example, the address card broke in abruptly over the dialogue and picture of the specialist. A photographic dissolve would have solved this problem of cause and effect, but this technique is not possible when using the Auricon camera and reversal film. Another unsatisfactory production method was apparent in the opening and closing of each scene. The specialist appeared static in the beginning and closing of scenes. Some action at these points would have helped in the editing. Action in scenes showing the talent standing at the side of the models, reciting lines, would have added visual interest. Some of the methods used in editing this film appeared satisfactory, and are worth mentioning here. First, the lining up of all the scenes in a film barrel according to their script order, and then assembling them, worked well. The film barrel protected the film from scratches and dirt particles. The twenty-six picture frames allowed in the '. -w um], ‘fi‘A—n I .53.... .Heauflniflxumfl 97 editing at the Opening of each scene before the sound track appeared, were satisfactory, as were the twenty-eight frames of the picture after the sound track at the end of each scene. In the use of the camera, the centering of the subject in the majority Of shots was satisfactory, as was the rhythm in the panning of two sets of double cartoons. The achieve- ment of movement through dollying the camera in and then out 'was also satisfactory. Some of the camera techniques were not successful. For instance, the failure of the "attention- getter" in the opening shot to achieve its purpose was not completely due to bad sound. While the idea was good, the picture composition tended to confuse, rather than to attract. (See Figure l, Page 25.) The picture was supposed to repre- sent a bare lot, but the camera was too close and the edges of the lot didn't show. Filming the lots would have been simpler had they been in the television aspect ratio. It was impossible to achieve any angle shot, or elevation low shots, because of the limitations of the camera tripod. Finally, filming the scene board from a distance proved to be unsatis- factory, because the relatively small printing was difficult to read in the editing. Closeups of the scene board would have been more satisfactory. In the first film, a dupe negative was ordered with the release print and the master print, all in the first process- ing. When the work print was edited a number of sound distor- tions were found which made the film unusable. Consequently, 'f—oa—nn «nu-nut. . o 98 the money that had been expended for the master and release prints was wasted. CHAPTER IV THE FILM, "THIS IS OUR WAY" The second in the series of film programs pertained to Agricultural Economics. Following the procedure used in the discussion of the last film, this chapter is organized into three sections. These are referred to as (1) Planning, (2) Filming and (3) Analysis. PLANNING Thg script conference. A conference was attended by the specialist in Agricultural Economics and the production staff. The specialist presented one of his more popular. talks to the group. As he spoke, the scenic designer and the director prepared an outline of visual aids showing the key ideas and statistical facts to be illustrated. There was no need for a writer in this film, because the show was built around the specialist's talk, which was already organized. At this conference the director outlined the necessity for visual movement and pointing up subject content with graphic arts. Whenever the specialist gave this talk before an audi- ence he started by asking them to remove their shoes. To adopt a similar pattern in the film, a cartoon showing a pile of shoes was used as the "attention-getting" opening shot. The announcer's voice in the background said, "These are shoes. . 100 Do you own a pair of shoes?" This opening shot is illustrated in Figure 21. Figure 21. Opening Shot of a Pile of Shoes After listening to the agricultural economist speak, the members of the staff felt that the content of his talks would be suitable for an informational film. The director decided to tape record this talk during the television re- hearsal and transcribe the tape into a shooting script for the film. This method was described in Chapter Two. A title for the Agricultural Economics show was dis- cussed at the preliminary conference. Since the main sub- ject matter was an explanation of the American way of life, the specialist suggested, "This is Our Way". It was agreed that this title suited the idea of Free Enterprise. The pur- pose of this film was to illustrate that Free Enterprise is one of our basic rights, and must be preserved. lOl Th2 program content. A summary of the program content is given here tO explain some of the methods used in this production. The specialist first reviewed the luxuries we enjoy, and the percentage of natural resources, wealth and population, in comparison with the rest of the world. He reviewed the reasons why our forefathers sought economic, social and political freedom. The characteristics of Free Enterprise were analyzed as (l) the right to own property, (2) the right to choose a profession, (3) the right to make a profit, (4) the right to adjust prices and (5) the right of competition. Then came a recapitulation of the progress made in the United States as compared with that in Russia and England. Th; format. The film was planned with a format similar to that of the landscaping Show. The Opening cartoon of a pile of shoes was accompanied by the announcer's voice in the background. This was followed by the musical theme and the title acknowledgments. The economic specialist was introduced seated at a desk, as seen in Figure 30, on Page 147. The pre- sentation was one of direct communication, and visual aids presenting an array of statistics and ideas on economics. These were illustrated by cartoons tacked on the flats. After covering the content of fourteen illustrations, the consultant returned to his desk and ended with a relevant quote from Emerson. The closing followed with a musical theme which came up and then faded under the announcer's voice speaking the _ __T.._._.__---.. “’13..“ .13. I - ' . ' \ i¢hfluu .7! ,. «dub-Jig‘ 102 closing credits which appeared simultaneously on the film frame. Thg physical settipg. The setting for this program was planned with the basic idea of lowering color contrasts by avoiding extreme whites or blacks in the planning of sets and props. The set properties were selected to resemble the office of an agricultural economist. Visual aids were tacked to flats to facilitate their use during the film. Thg visugl aidg. Simplicity and immediate understand- ing, large print and broad humor were needed in planning the visual aids. Ten cartoons and charts were planned with a yellow background and blue-gray lettering. Four additional cartoons were shot separately, and did not appear on the set. The designer planned these fourteen cartoons to represent ideas in the program. These cartoons shared frames with the Specialist, and were not seen on a closeup. Therefore, the size of the cartoons was twice that of the cartoons used in the first film. Some of these cartoons and the visual ideas they portray are shown here. L” Figure 22." "The Individual is Supreme" Cartoon 103 Figure 23. "Build a Better Mousetrap and the World Will Beat a Path to Your Door" Figure 24. "We Have the Right to Own Property" "You Have the Right to Choose Your Own Profession" 104 Figure 26. ”We Are a Profit System" Figure 27. "Prices Serve a Very Definite Function" Figure 28. "We Have Competition” 105 Additional cartoons and charts used are indicated on the shooting script. For this production the title roller was discarded and slides were introduced. These slides were made from 35mm. film ”stills" of the titles which had been printed in stylized black lettering on twelve-inch by sixteen-inch white poster board. The 35mm. film was cut into individual strips and mounted on two-inch by two-inch slide frames. The gray was controlled by overdeveloping the film. These slides are shown in Figure 29, on Page 106. A special unit consisting of a variac transformer and two slide projectors was designed to project the slides for filming. Turning the variac clockwise faded in the lamp in the slide projector at the right Of the camera shown in Plate 10, on Page 107. Turning the dimmer counter-clockwise faded out the first projector and faded in the second, giving a dis- solve effect. The projectors were placed as close together as Operating them would permit. The camera was placed ten inches behind the projectors, and directly in line with the projected image. This setup is illustrated in Plate 10, on Page 107. The filming of the titles was accomplished by project- ing the slides on a small two-foot-square screen. The 25mm. lens was used for filming most of this show, except for the Slides, where a 63mm. lens was used. In filming these titles, the director utilized the television technique Of cueing each ‘1'»... ....d. p 106 Slide 1. Slide 4. Slide 2. Slide 5. Slide 3. Slide 6. Slide 7. Figure 29. The Title Slides 107 —— FILMING TITLE SLIDES, "THIS IS OUR WAY" VARIAC clwcun J" ._ Q 2- mo: "Micron ' no um venue cum" ,4 AUIICOI “nu J u nu ma J OCALI' In“ . |'- o" Plate 10 108 member of the film unit through earphones. The announcer in the announce booth; the audio man at the turntables and moni- tor, ready with the music to be fed into the Auricon camera amplifier; the cameraman, ready to roll his camera on the small screen; the sound director, awaiting his cue to Open his sound exposure and volume indicator togrogram level; the scenic designer, operating the variac; and his crew operating the slide projectors; all were coordinated by the director in filming the titles of the Opening and closing Of this program. Th2 shooting script. Timings were made of the four television rehearsals of this Show, and noted on the non-script blocking sheet, which is shown in Table I, on Page 16. The major areas, camera shots and lenses were determined, and the rehearsals also served as a general orientation of the talent to the problems of making a film for television. As mentioned in Chapter Two, the decision was made to shoot this film in chronological order straight from the script recorded in the television rehearsal. In the fourth rehearsal, the specialist's talk was recorded and adapted as a shooting script. The main reason for shooting this film almost straight from the trans- cribed script was that the specialist built up to an enthu- siastic level of communication in explaining economic concepts, which would have been difficult to duplicate if broken up into tiny segments. 109 The Shooting script for "This is Our Way" contained a "Video" column on the left, describing the visual action, the subject, the Object, the graphic arts and the slides. The next column was the timing of the dress rehearsal. The shot number was listed in a third column. Under the "Audio" column on the right appeared all voiced or musical sound. The shooting script is shown here. llO SHOOTING SCRIPT QEIIES: "A DES GT TOR LIVING" PROG.’ :LI-I: "THIS I.) OUR ITAY" 09 :d :4 "3 Filmed on November 19, 1951, featurih Specialist in Agricultural Economics, 0 Agricultural Economics of Michigan Stat Video Shot TV Audio NO. Timing 1 Announcer: These are shoes. DO you own a pair Of shoes? (End) :05 MUSIC: Theme up and under. Slide: MICHIGAN :20 Announcer: Michigan State College STaTE COLLEGE presents Slide: "DESIGN "Design for Living". The Objective FOR LIVING" for this program is the American way Slide: "THIS IS 2 of life, "This is Our Way", and it OUR WAY" is brought to you by the Slide: COOPERATIVE :30 Cooperative Extension Service at EXTENSION SERVICE Michigan State College in cooperation with the Slide: LEPARTMENT Department Of Agricultural Economics. OF AGRICULTURAL ECOHOMICS :33 This production is under the super- vision Of the Slide: TELEVISION Television DevelOpment Service. DETELOPHEN * Note: In the ript, Mr. V rner is referred to as "Woody". lll DISSOLVE STUDIO DOLLY IN SILCCTIIIG SCRIPT "THIS I. OUR ‘.‘IAY" (continued) Video Shot TV Audio NO. Timing Slid:: D. B. :43 Mr. D. B. Varner, Agricultural Econ- J.nu-R omist, is our consultant. Hr. Varner... TO :51 gfiggg: Out. STUDIO: In. ”TI° You were asked a moment ago pair Of shoes. Such V5111 .4- o a if a you owned question as this in this country of ours - this land Of plenty - is almost ridiculous, isn't it? But that's just the point we want to You see, a thing so make with you. commonplace as shoes, we take for Yet, for more than half the granted. peOple in the world today, a pair of shoes is an item Of the first type lot for granted 0 O. of luxury. We take in this country of ours...electricity with which we light our homes, the heat with which we heat our houses, the food in the pantry, the clothing All of these things, We take them you wear. they're commonplace. Yes. They simply be- for granted. They're a part Of our way Of it. long. living. 11‘ IT IV": T ‘1" u..CU.L .1. -"J SCRIPT "I” L- 112 Is IS OUR JAY" (continued) Video Shot TV Audio NO- Timing DOLLY ECCK TO ,Varner: Yes, we're a prosperous WAIST SHOT VARNER GETS UP PERCENIAGE CHART ON WALL AND VARNE DOLLY SITS DOWN ON CORNER OF DESK land. There's no question about it. There's no denying it. You ask how prosperous? Perhaps we ought to take a look at the record. E‘ . You see, in this land Of ours, L where we have only seven percent of , the population and only seven per- : cent of the natural resources, we 2 have amassed thirty-five percent of all the wealth in the world. That's truly a remarkable record. I know a lot of people would say, "SO what? He have thirty-five per— ent of the wealth in the world. SO what?" I think it deserves a little better treatment than that. You see, this didn't merely happen. It didn't just come by chance or by accident, but rather as a result of some rather concrete effort on the part of a lot of peOple. And I think it would do us well if we could cast our attention for the moment, into some Of the background of how this -4 . v V'- r‘ v i - J31. 113 -OOTING SCRIPT "THIS IS 0L1 WAY" (continued) Video Shot NO. TV Timing Audio DOLLY INTV system Of ours, this land of plenty, developed. Perhaps it would do well if we looked back some two hundred years ago at these colonies, these thir- teen colonies which were later to become the United States Of Ameri- ca. You see, the people in these colonies cane here as refugees. People from a lot Of different lands, and they came for a lot of different reasons. Some Of them came because they didn't feel they had enough political freedom, others thought they didn't have enough social freedom, and others came be- cause Of a lack of economic freedom. They were, for the most part, cer- tainly refugees. But they had a few things in common. In the first place they were a courageous people, they were an adventuresome lot, or else they wouldn't have been in this new land, and they were peOple who had a pretty keen sense Of what was right and what was wrong. You see, “- n #3an 7,! H St‘OK/L“ J tCRIPT H m '3 .Ls.. 114 IS I: OUR JAY" (continued) Video Shot _NQ, Timing TV Audio LIKED CARTOON 3 2 :50 34 they came out of a land where we would have said the conditions were intolerable - highly intolerable - and ther thoucht so, too. Under the conlitions that they left in their mother lands, they found _ “Cg-3‘.” ~ , .~. that if they wanted to be a farmer it was necessary to get a permit {DJ from the feudal lor 3. If they wanted to be a businessmsn, they had to get a pe nit from the king, and they had to pay a rather hand- some fee for it. II they were a aboring man, they found that they O’H arely had enough to live on, the wales were so very low. And above supreme, (End) ...that the individual was subordin- ate. It was felt that the job of the individual was to make the state strong and powerful and rich. Varner: Now, this was not the only kind of thinking that was going on in these days. There was a school 3.43.: It’d-i? ., . .. a .0 .n». 1...”.N‘ilw. 115 ShOCTIIG SCRIPT "TH 3 IS OUR WAY" (continued) Video Shot TV Audio of thought developing, and rather rapidly, too. Perhaps the leader DOLLY BACK T0 in this new school of thought, the‘ INCLUDE DESK revolutionary notion as to how a nation ought to be organized, how m society ought to be put together for the business of earning a liv- . ing, this school of thought was led ‘ 2" -' 8 '0'1. by a man named Edam Smith. 4A Eé£fl££3 Adam Smith was a Scotsman, and quite a scholar. He pulled to- gether the thinking of himself and his contemporaries in a book which has become quite important to us. DOLLY IN TO BOOK It's a book called, The Wealth gfi Now you see, this book was published, this Egglth of Nations, in the year 1776 which was, as you will recall, the year of our Declaration of Inde~ pendence. DOLLY BACK TO Now Kr. Smith in writin tki b 1 INCLUDE WOODY 1 , w L s 1 S 004, laid out many new notions. But among those that are most important to us in the development of our system here in America were some . "g\."x:"11' T" J;A\kai LIT \J ECEIPT "TH IS I5 OUR WAY" 116 (continued) Video- Shot TV No. Timing Audio "INDIVIDUAL JUFRELL" CLRTOON wC-OLY, CHES SHOT "HOUSE TRAP" CARTOON 52 6 5:00 7 5:20 said that nation is people do nize that supreme. important hat I'd like to mention to you. He in the first place, if a really to prosper and its well, then we should recog- it's the individual that's It's the individual that's and the state should be subordinate. And in keeping with this thought he then said that if this be so, then we should let each individual pursue his own selfish goals, and in so doing, he would contribute the maxi— mum amount of good to the community as a whole. He would say if a man wants to become rich, let him try to become rich. That's his own right. But in doing so, he can only become F rich if he provides a good or a serv- ice that someone else is willing to buy and to pay for. It's nothing more than that old adage that we know so well here, "Build a better mousetrap and the world will beat a path to your door". That's a L OELCOTINC} SCRIPT "THIS IS QC; 117 WAY" (continued) Video Shot No. Timing TV Audio WOCDY FOLLOW TO "PRODUCTION" EART DOLLY IN TO CARTOON DOLLY BACK WOO DY SITS DOWN AT DESK :30 principle Adam Smith lay down 175 ‘ years ago. Varner: He went beyond this. He said that if we're really going to take advantage of what we have in a F! nation, we ought to let each indivi- . dual do that job which he excels at. if In other words, let's have a divi- sion of labor. Let's let that man 'ui.r.—e1 -. “’31.. A 1 specialize in making shoes if he makes shoes best...or in carriages, if he makes carriages best. And look how far we've gone in that, here in America today. Not only do we find one huge plant devoting all of its entire output to one product, but we find one individual special- ing at one single operation on the production line. Now that's special- ization as we know it here in America. I like to mention these points to you. I know we've gone a long way back, 175-80 years. Yet, I think it's important for us to get our bear- ing as to how this system of ours de- veloped. You see, the thinking that \ If ll‘lxlll I.“ Ipr‘ . SHOOTI 118 KG SCRIPT "THIS IS OUR WAY" (continued) Video Shot No. TV Timing Audio TRU nrr Oh DOLLY IN went on in the minds of Adam Smith and his peOple at this time certain— ly must have had a great deal of bearing on the thinking of our fore— fathers who drew up the Declaration of Independence and our Constitution and our Bill of Rights, because among the many interesting things we find in our Declaration of Indepen— dence, is one very pertinent state— ment. It says that each individual is en- titled to the right to life, liberty and the pursuit of happiness. The right to liberty is essentially a political right. The right to the pursuit of happiness is a combination of many rights. But the right to life, you see, is basically an econ- omic right. And this is what we'd like to talk to you about today, how our peOple have been organized to pursue and to take advantage of this right to life. You see, our fore- fathers could have selected any one of a number of economic organizations. snoorlwo 119 SCRIPT "THIS IS OUR WAY" (continued) Video Shot TV No. Timing Audio DOLLY BACK "PROPERTY" CARTOON There's a caste system that they practice in India. You're born into a trade or profession, very diffi- cult to get away from. You could be in a militaristic organization where each person is assigned a mission. But our founding fathers selected none of these. They said, "We'll take the Free EnterpriSe system. We hear a great deal about this, this Free Enterprise system, the American way, the capitalistic system - they all mean the same. I think perhaps we ought to go back and review some of the fundamental characteristics of this Free Enterprise system. And perhaps we can do this best by taking a look at four or five of these points we'd like to Show you. In the first place, one fundamental right or distinction of the Free Enterprise system is that we have the right to own property. You can own your home, you can own your farm, or your place of business. You can own property in your own right. This is a distinctive 14:4: 4: Wu. - N N" ‘CRIFT 5':- b L) v—3 l-«l *1 L ) L: ‘a— I! WWII {.3 120 I; CUR WAY" (continued) Shot TV No. Timing Audio. WOODY "Paolasslor" CARTOON V'Y ‘ A‘ -. ,c 4 . "n V UDY "PROFIT" CARTOON 'JOODY" characteristic of the American Free Enterprise system. Now, the second such point I think we ought to recognize as a character- istic of Free Enterprise is that you right to choose your own profession. You can enter any enter- prise that you want to enter. You can be a doctor, a lawyer, a business- man, a farmer. You can be a laborer. You have the right of choice. The government does not tell you what you must do. I think that‘s import- ant. And that's a second character- istic of this Free Enterprise system. Varner: 'Now, the third thing we'd like mention is that we to are a profit system. he work for profit If? in this system of ours. we can't deny it. Profit is not a curse word. It's a good American word. Without profit we'd be without the Free En- prise system. You see, there are people who work for something other than profit, of course. The Clergy - a good example. They work to render SEOOTI PG SCRIPT "TH 121 I3 IJ OUR HAY" (continued) Video Shot TV No. Timing Audio "PRICE" CARTOON WOODY "COMPETITION" CARTOON a service to their fellow-man. But by and large, peOple produce in this nation of ours, in order to reap a profit. he cannot do without profit if we want to maintain the Free En— r terprise system. ; Now, the fourth characteristic of this system of ours is simply this: We have a price system that performs a 'E a very definite function. Prices tell the producer what it is that he ought to produce. If you're a potato farmer, prices tell you that you ought to produce more or less. If the price rises, naturally you feel that you should increase your production. If the price falls, if you're smart, you cut your production of potatoes. And so it goes through business, and it goes fight across the board in this Free Enterprise system. Prices serve a very definite function. Now the fifth characteristic of the Free Enterprise system, and equally important, is that we have competi- exocrine SCRIPT 'If‘fiT" 4.1.1. IS 15 one way" (continued) 122 Video Shot No. Timing TV Audio WOODY lOa \O tion. Price competition, sure. For example, if one merchant marks his price down, his competitor across the street knows that he, too, must mark his price down. And Ff so we get price competition. We _ 'ulI -Z . '3‘». get competition between products. Let's see if a new automobile manu— facturer devises a new gadget how Q quickly his competitors have to put this same gadget on theirs, or an improvement. Competition. Yes, these are five of the important points in distin- guishing our Free Enterprise system. Perhaps there are many others. But. at least we can get these five fixed clearly in our minds. Now, I know you would like to ask a question now. So what? We have come a long ways. We have made some progress. Just how far have we gone? How good has this Free Enterprise system been to us? Let's take a look at some figures. In the first place, let's make some \. III. ,3....P .11.. 123 szoorrrs SCRIPT "THIS IS CUR HEY" (continued) Video Shot TV Audio No. Timing "COHPARATIVE comparisons between some common PRODU TS" CARTCON ' ‘ commodities produced by three major nations today...the United States of America, Russia and Great Britain. 10 Varner: You see, automobiles are a necessity for us, they're not a luxury. We have one for each four persons in our country. Yet, in Russia, they have only one for 252 persons, and in England they have one for each twenty-two persons. Radios, we have one, two, three to the home. We find we have one radio for each three persons in the United States of America. In Russia, they have only one for forty-five per- sons. And in Great Britain, one for five. If we want to look at another measure, how about electricity? That's certainly a very, very in- portant commodity today. We produce forty—six percent of all the electric power today that is produced around VARNER MOVES the world. Russia produces only six 124 QHCCTITG oCRIPT "T316 Id CUR WAY" (continued) ' Video Shot TV Audio No. Timing - "PER CAPITA IIICCI'E." CARTOON woony moves TO percent, and Great Britain, five percent. Yes, we have made tremendous pro- ress. No denying it. You want to take a look at another record? Let's look at this one...Per Capita Income. The year 1947. We use those prices as a guide. Dollars that will buy the same quantity of on oods. In the year 1950, every man, womrn and child in this country of ours earned an average of $243 per person. One hundred years lat— er, in the year 1950, every man, woman and child earned an average of $1473 per person. Real economic progress. Let's go beyond this and let's take a look at another record. You might ask a question, "Well, isn't it just possible that other nations do as well as we? Let's take a look at what we could do if we were in Russia today, comparing what one week's wages would buy there compared to what it would buy in the United 125 JHOOTING SCRIPT "firs I: CUR ELY" (continued) Video Shot TV Audio " An average week's wages in the vii LBJ—1.x L.) t... :1. G CARTOON United States, if it were all in- vested in bread, we could buy 400 pounds of bread. If you were in I Russia, you could buy only twenty- ; three rounds of bread. If you were and in Russia, only fifteen. Or beef, high though it is. You could buy eighty-one pounds of beef in the United States, and only eight pounds in Russia. WOODY Yes, I think the record is perfect- ly clear. That we heve made tre- mendous progress in the United States of America. The Free Enterprise in; system has been good to us. lOb Yet, there is something else we should think about. We could lose this Free Enterprise system. We could lose the freedoms that we en— joy. And certainly, among the many achievements of our system, we must L recognize that freedom is the "‘ P‘, [Tfl 1"; 4:.T‘_ . \l "nI _‘ Dist-x - _L .14 -J 'J'vgu “I93 126 l‘. r' . i-‘TT‘ l" f t - ' L - \fi ‘ 111-3 Io won ”mi" (con tlEJue-fi) Video Shot TV Audio No. Timing IOVEQ TO DESK h T.._'-! CQIil'wflJ DOLLY IN ‘30 35 greatest of then :11. Freedom to belong to any political oarty we choose, freedon to belong to any religious concern, freedon of the s ess, freedon of assenbly. You - F: see, all that we have seen here to— ': Y day, the record we have seen, this . is n=rely the result of a system of freedoms. fie dare not lose the in i freedoms that we now heve. And I went to caution you that we too busy to take advantage of our opportunity to be good citizens. We must concern ourselves with the problems of the iere are OJ (‘3 ‘<.‘ O t—B "Y our country. (.0 Ho 0 J problems. Thi This is our world. L (D C+ d w '1 \D J VJ. I3 ,3; '~< O :3 so ‘23 E H J: 3.3 ‘ Q ( "‘4 (D U1 d d- O and weaningful poem written by Ralph Waldo Emerson many years ago. He said, simply, "For whet avail the plow or sail, or land, or life, if 127 SHOCTIYG LCRIPT "THISE.C CU: HAY" (continued Video Shot TV Audio No. Timing freedom fail". HUEIC: Up and under. fl“ «a Slide: MIcinaN 11 13:50 Announcer: Michigan State College STATE COLLESE has presented S ide: "THIS IS "This is Our Way", a film feature. C'Ljsl ”AI" glide: D. B. Our consultant was D. B. Verner, VARJER Agricultural Economist. 14:00 This program has been brought to 3 idg:CCOPERATIVE you by the CooperatiVe Extension LLLLLSICN JSRVICE Service at Michigan State College, Slide: DEPARTMENT in c00peration with the Department CF AERICULTURAL ECONCHICj of Agricultural Economics. Slide: TV 14:05 The production was under the super- DEVELimeNT vision of the Television DeveIOpuent Szrvice. Slide: "DEnIGN 14:10 "Design for Living" cores to you FOR LIVING" Slide: MICHIGAN 14:13 from Michigan State College. STATE COLLEGE 14:15 EdsIC: Up and out. ‘ *cw-fitufl 128 FILMING This film was produced on November 19, 1951. Less than two days was required for the shooting. Since the first film results had indicated that face powder was an unsatisfactory makeup, a natural blush pancake makeup was applied to the specialist's face. Lighting. Lighting for long sequences in which the specialist moved about in three or four areas presented one major problem. That was, how to light the areas closest to the flats where the specialist stood using the visual aids. Eighteen reflector floodlights, nine on each flat, were placed directly against the flat, reflecting downward. This set up a solid border of backlight, eliminating practically all the shadow on the flats. This backlight was kept constant through- out the lighting setups, in scenes in which the specialist appeared. The general aim was to achieve a flatness in lighting, to balance the modeling of the face, and to bring out the dimensional qualities of the physical objects. A cursory look at the Lighting Setups Numbers One, Three and Four (Plates 11 and 12 on the following pages) for this film, reveals an abundance of light used. The purpose of this lighting load was to achieve an over-all basic foundation light, consistent in all areas covered by the specialist. 129 LIGHT PLOTS NUMBERS ONE AND THREE "THIS IS OUR WAY"? @ooooooo . or ' (2;: \ ‘ . 1 .IDI FL‘? \VA‘ ’ ‘\eoeeeooe63 undo 7". m ® - noon. noon I W m @- nooovJuouL rm "'III 0 ' @- zoo I. ”count-mun: noon) “"1 ' "If' Plate 11 130 LIGHT PLOT NUMBER FOUR "THIS IS OUR WAY" Loomoooo (E}” JEJEL, 1‘) Is' 9 ° 2 ‘3 I' | o . 9 9 7.0m l .L v'm G Plate 12 131 In Lighting Setup Number One (Plate 11) a high key light was arranged using two lSOO-watt fresnels, one seventy inches and the other eighty-seven inches from the floor, and placed at the right of the camera. The first was ten feet and the second was eleven feet from the subject. Four fill lights set up on the left of the fresnels, each lSOO-watt floods, were eleven feet high. Modeling light was attained by using three lSOO-watt floor floods facing the stage left side of the specialist. Two additional fresnels were util- ized as cross backlights. These lights also acted as rim lights, and helped to separate the Specialist from the back- ground. The purpose of Lighting Setup Number Two (Plate 13) was to light the pedestal for the off-set cartoons. Two 1500- watt flood lights, fifty-seven inches in height, were used. The right flood was twenty-eight and the left flood was thirty- three inches away from the easel holding the cartoons. Lighting Setup Number Three (Plate 11) was much like Setup Number One, with additional overhead lights added be- cause of the change in area from center stage behind the desk to stage left. Two floods fourteen feet overhead were used for side modeling. More foundation and key light were added with one floodlight five feet highland seven feet from the subject. Another lSOO-watt fresnel was used as additional key lighting in the new area at stage left. A fill light was added to fill in the highlights and shadows on stage left. 132 LIGHT PLOT NUMBER TWO "THIS IS OUR WAY" I“ EE‘ n nouns. lr'm Plate 13 133 In Lighting Setup Number Four, the major foundation lighting was shifted tosstage right. Four lSOOewatt flood lamps were placed left of the camera for fill light. Another flood left of the camera was used as a modeling light, placed behind a isoo-watt fresnel. Behind the camera, and seven- feet-six-inches high, was the key light for the scene. At the right of the camera were placed four more basic founda— tion lights. This setup is seen in Plate 12, on Page 130. ! 134 THE LIGHTING LEGEND THROUGHOUT THIS THESIS IS STANDARDIZED AS FOLLOWS: F 3 lSOO-Watt Floodlight S I lSOO-Watt Fresnel B = 300-Watt Birdseye (Reflector Flood) in : .1?4\—fi.a.§whhi ' 135 Camera technigggs. In planning the filming of this program, the director attempted to simulate a television show. The method used was to establish long sequences, varying them by dollying in to closeups, or dollying back to medium shots. No full-length shots were used. The inter-cutting technique of television, that is, switching from one camera to another, was simulated by cutting from the specialist to cartoons which were shot off the set_and edited into the sequence. The dialogue on the sound track of the cartoons was that of the specialist. Any deviations from the regular shooting script in filming, were due to the limitations of the ZOO-foot film magazine of the Auricon camera. If the shot ended with un- exposed film left in the camera, the shot selected to follow matched the leftover footage, and not the script. The other exceptions to the straight filming were the titles and the opening shot, which were filmed at the end of the show. A good example of the camera technique used is seen in the shooting script marginal directions of Scene 4A, on Page 115. The camera dollied back from a medium closeup to a. medium shot of the specialist,zas he moved from the back to the front of his desk. He picked up a book and the camera dollied in to a closeup of the book, then dollied back to a medium closeup of the specialist at the desk. These move- ments were predetermined, measured and chalk-marked on the studio floor. During these movements, the assistant cameraman 136 adjusted the focussing mechanism of the camera. As previously mentioned, the characteristics in the design of the cartoons were simplicity and easy recognition. These characteristics were important because none of the visual aids fastened to the background were filmed on closeups, alone. The specialist and the visual aids shared the frame throughout the film, in order to maintain a constant eye contact type of communication between speaker and viewer. Three cartoons on the easel were shot as full closeups, but these were visual punctuation of the political concepts described by the speaker. For example, while the specialist was seen "on camera" saying that the state was supreme and the individual was subordinate, a cartoon was intercut into the frame, depicting a huge state towering over a tiny individual. Similarly, when the speaker stated that the individual was supreme and the state subordinate, a cartoon was again inserted in full closeup, as a visual punctuation of the idea, showing a tall individual towering over a tiny state. In each of these intercuts, the specialist continued to speak, without attempt- ing to motivate the cuts. In the actual shooting, the camera stopped at these cuts, and the cartoons were shot separately on an easel. The camera position was changed only when there was a wide panning movement of the camera out of its ninety degree angle to the flats. To avoid keystoning of the wall cartoons (wide at one end and narrow at the other), and to get a frontal 137 shot of both specialist and cartoons without any serious distortion, the camera was moved into a new position. The operation of the slide projectors also presented the problem of avoiding a keystone effect, in which one side of the pic- ture is wider than the other. Keystoning was caused by placing the projector at an angle to the screen. The angle can hardly be avoided when using two slide projectors side by side. .Another problem with the slide projectors was in the matching of the slide titles. In the process of dissolving from one projector to the other, there is an instant when both slides are projected on the screen. This superimposi- tion pointed up any defect in the mounting of the slides. By re-mounting some of the slides and trying various speeds of dissolving, some of the defects were reduced. The data sheet of this production follows in Table V. This sheet, illustrated here, contains the statistics of the filming, lighting and Sound recording. It also serves as a means of understanding better the analysis of the methods used in the production of this film. 138 oe Ave oe oe oe oe oe noodm noamasam H m m N H H H ssnmoaa meanness ow m e a ma mm moa owssooe sans moum NH“ eon no” mm” om“ meam housed: no menooom on many mm oom com com mm mm mm mdanoom nouns cosmos m ma 0H 0H m m m um mnacoao mama mm mm mm mm mm mm mm npmaoq Hmoom mama =©.m .:©.ml=w.u .m|.¢ :©.NH wumfimo .HH-.m so.m so.m em.m .u .ma-.e em.HH sons poonnsm no oesopman eta sea sea eta sea sea eta poofinsw soon oonepmam sea: was no Do Do paono mmomw «mono nodunanoaoa sonm m w w m m m w xwom QOponcaH masao> ma ma ma ma ma mH ma onshoexm Boone endow m a m e m «e m noeoo season nonssz u w m e m N H nacho mcauoonm :N<3 mDO mH mHmB= Bmmmm mqm¢a 139 0% 00¢ m.m mo =m.© :2” Do mH ma 0% am can mm mm .OH :04“ hwo mH HH NH Cd cm can mm mm .OH :ma Do mH HH oe e mm omum om m.o mm .OHI:©.® I:©.m :OH mg m ma ¢OH OH oe em mmuH mm o.m mm .¢|=w.w .NHI.m :0.” m2 mH OH :Mdg mDO mH mHmB: Hmmmm mam¢a oe m mm mmum mm o.m mm .m :©.ul.m =oH WAS m mH comma nOHdeEm awnwwHa wchanq omwpoom aHHm mopanE no mucooom QH oeHa mchwom hopes dogma; um mzHaoqo mama summon Hmoom mama anoamo Scum pomnnsm no monmpmHQ poonnsm 80AM moqmumHQ mxHE GOHpaHnonma ponm xwom noponocH mesao> onsmoaxm momma wagon nacho pmHnom nonadz noose moHpoonm 140 Sgugg recording. The sound director Operating the amplifying unit encountered problems similar to those in shooting the first film. One of the sound team's signifi- cant problems in this film was to keep a balanced volume while the talent moved about in various studio areas. Some of these areas were extremely difficult to follow with a sound boom. The boom man had to follow the Specialist, who moved along the wall flats pointing to the visual aids which were arranged as seen in Plate 15. However props imposed a barrier to the microphone tripod (as seen in Plate 14). It was also a problem for the boom man to stay out of the pic- ture, keeping his micrOphone within head distance of the specialist when the camera was dollied backfbr medium long shots. Eilm processing and editing. The reversal film was sent to Eastman Kodak, but no duped negative or work print was made of the master print. In this show there were very few scenes to cut, and the majority of the scenes were shot in the order of the script. Therefore, the editor preferred to edit the master print which was returned from Eastman Kodak. This master print was then divided into respective film takes in the order of the script, as was done in the first film. The bad takes and frames showing the scene board were dis— carded. Then, using the Take, Footage and Timing Sheet (seen in Table VI, on Page 142), the good takes were spliced, FLOOR PLAN "THIS IS OUR WAY" _ a-.. Plate 15 141 I.._ u'o' noun rut nu noose»: clown out: no: D rum 1 ‘ “3'." I o ‘0 L——’ _ Plate 14 GRAPHICS "THIS IS OUR WAY” nooocnou ml: - m: ..... at. swwsfl a...“ moon UCTIOI owner I connfvmou m. D I ma norm ..____J I scan: I14": I'-o' I nonnnou / non TABLE VI TAKE, FOOTAGE AND TIMING SHEET ”THIS IS OUR WAY" 142 FOOTAGE TIMING SCENE TA BEGIN. END. 7SHOTfllgTAL APPROX. 7SHOT TOTAL REEL 1 3 .11; 114 103 0:00 2:46 2:47 0:00 4A 1 115 148 33 136 1:07 :50 3:37 6 1 142 __168 19 155 :21 :29 4:06 4 1 162 __126 7 162 :08 :07 4:1 5 1 177 182 :07 :05 2 183 182 4 166 :04 4:12 88 : 0 : 0 REEL 2 ‘ L__2 6 15 9 125 :1g_ 4:22 8 1 6 96 80 255 2:05 2:09 6:38 _9____:__=_1 92 191 94 2:07 2:33 REEL 3 2 _g 6 99 93 348 2:32 1_9:10 193 1 __100 154 54 402 1:30 1: 5 0: .JUNL__JL____;LL____;IO4 93 495 2:20 2:30 13:05 2 1 105 134 _g9 :40 :41 2 2 135 :10 _2_1_ 3 145 121 26 521 :40 :4 REEL 4 _11_ 11 10 :40 :25 an. 2 55 :40 - 3 156 :09 _. 4 64 91 _22 548 :40 4:2 1 92 :04 2 97 101 4 552 :05 14:30 . -—‘-‘ “qua-flu! I... c - .. . -- . “- v . - .- - c o . ._ ... - .3. -. l : - H -: .--o - u n"- ,- o-- ' I .- c u o o u n -. . up. ‘\ - u o a - I g r . a..- . - -- -._ '. :. .. 143 tightened up and run off on the television closed-circuit system for continuity of picture and sound. Finally, the edited master was sent off to the laboratory. From this master a duped negative was made, and then release prints were made. 144 ANALYSIS In this second film some of the difficulties and the pitfalls of the first film were avoided. New methods were introduced and tried, again through trial and error. Once again these methods are examined in their component parts, and for their effectiveness in making a film for television. The live television rehearsal made it possible to pre- view this production, as the final film would eventually ap- pear on the television monitor. Problems not anticipated in planning stage were observed, such as (1) the framing of the talent and visual aid on the same closeup shot, (2) the means of keeping the mike boom and operator out of the picture while maneuvering into four areas on the set, (3) the use of back- light banks to separate the talent from the cartoons on the backdrop, and (4) the movement of the camera into proper posi- tion to avoid keystoning of the visual aids on the backdrop. Furthermore, a satisfactory script was made by recording the dialogue of the final television rehearsal. Also, a non-script television blocking sheet was successfully used in the TV re- hearsal to accurately time each shot. This timing was later 00pied on the final script at corresponding points of identifi- cation. The television rehearsal appeared inadequate as a means of detecting the sound variations due to changes in mike place- ment which showed up on the final sound track of this film. In -. b in." ”94:31—11” I" ! i. 145 the television rehearsal there were no interruptions for real changes, repositioning of the cameras, or recording of sound off the set. These were necessary in the filming because of the limitations of using one camera capable of shooting only two hundred feet of film before reloading. Unless the most extreme caution is taken, sound variations are unavoidable. On this point, Gibson says, "On interior locations great preparation and care must be taken to insure pr0per acoustics. Various forms of sound baffles must be hung and tested to insure quality and soundreproduction."23 Offenhauser, in his thorough treatment of this topic in 16mm. Sound Motion £13- tgggg states that 16mm. single system equipment is used to a limited extent because "the sound quality is so inconsistent and so poor compared with the quality from double system sound recording...."24 The television rehearsal did not reveal the fact that the inter-cutting of cartoons was out of rhythm and tempo with the camera movements. Inter-cutting is a means of pointing up ideas by quick flashes of visual aids that are parallel or in opposition to key ideas.25 While the continuity of the tele— —_l 23 Henry Clay Gibson, £11m§ 1n Businesg and Industry (New York: McGraw—Hill Book Company, Inc., 1947), p. 207. 24 William H. Offenhauser, Jr., 16mm. Sound Motion P are (New York: Interscience, Inc., 1949), p. 164. 25 Hoyland Bettin er, Television Techniques (New York: Harper and Brothers, 1947 , p. 92. 146 vision rehearsal went unnoticed, the inter-cutting of the cartoons over key ideas in the film appeared abrupt and un- motivated. This inter-cutting method was out of step with the rest of the production, which used dollying movements. The method of obtaining a film shooting script by recording the "Audio" of the television rehearsal was satis- factory in several respects. First, the recorded script eliminated the time and cost of a writer, and second, it eliminated the problems encountered in the first show which had been brought about by having the specialist memorize a prepared script. Of course, the effectiveness of this method would depend upon the quality of the television re- hearsal. The only forms used to prepare the television show were an outline of visual aids, and a non-script blocking sheet. (Table I, Page 16.) The physical setting seemed adequate, specifically in making use of cartoons to point up economic ideas. Here were visual aids presented in an unobtrusive manner. Simplifica— tion was the key in portraying each idea clearly and succinctly. Again, the blue flat, registering in a light gray, was a satisfactory background. However, in some scenes the back- ground seemed cluttered because of the background visual aids. Battison says, "Avoid anything which has a lot of complicated lines in it; in other words, a busy background."26 The —_ 26 John H. Battison, Movies :9; TV (New York: The MacMillan Company, 1950), p. 255. 147 cluttered background was the exception rather than the general rule in this film. Wherever the specialist's head was framed against the bare background flat, as in Figure 30, the picture appeared uncluttered. (See Figure 24, on Page 103, for an example of a cluttered background.) Figure 30. The Specialist Framed Before The Bare Background Flat Photographing the slides projected on a screen was a satisfactory title-making technique. This method was an improvement over the title roller used in the previous film. Lettering and backgrounds seemed fairly uniform. In adapt- ing a variac transformer to the two slide projectors, the 148 effect of a dissolve was relatively good, and is cited as an example of the ingenuity shown in devising better methods for the projection of slide titles. The titles were photographed from a white backing with black letters, and the film was overdeveloped to register a gray background with black lettering. These titles were then mounted on two-inch by two-inch slide frames. The trial and error necessary to determine the point at which the cam- era and the two slide projectors could operate at the maximum point of efficiency, required time. Mainly, the dissatis- faction with this method of projecting the slides was due to the time Spent in setting up the equipment. Another unsatis- factory feature which was noted was the tendency of the pro- jected slide to cause a keystone effect. This problem was solved to some extent by placing the slide projectors as close to each other as possible. Several minor aspects of the variac also appeared unsatisfactory. The slow dissolve of the variac transformer resulted in dimming the light intensity between each new slide, causing a choppy effect of brightness and darkness on the film. The shading engineer in a television station would have his hands tied to the dials at this point in the film. The dissolve effect exaggerated any faults in the letter spacing and the mounting, because one line would be superim- posed over another in the variac fade. A final source of dis- satisfaction was the slanted appearance of some of the slides, 149 caused by the looseness of the slide projector carriages. The two banks of background lights seemed satisfactory as a method of backlighting in this film. Eighteen reflector floodlights illuminated the background. These were used to separate the specialist from the visual aids on the flats and to bring out lighting uniformity in all the areas with a broad range of gray contrast. The general lighting layout of this film served satisfactorily in lighting long se— quence shots with suitable light in each area. This can t” muum.xmamu ”a be attributed to two factors. One, the use of key light, fill light and background light tended to add more dimen- sion and modeling than had the flat foundation lighting of the previous film. On this point the United States Depart- ment of Agriculture Television Report says, "Contrary to the theory that television could reproduce only flat (front) lighting, it was found that back and side and other model lighting, improve picture quality in the same degree for television as for large screen projection.”27 The second change which may have been responsible for the bet- ter picture quality was that the emulsion speed used in determining the F- number on the lenses was changed from 32 to 40, at the request of the processing laboratories. The shooting data sheet was used to good effect in 27 Tom Noone, Maynard A. Speece, Kenneth M. Gapen, Television Report, Films, Section I,, (Radio and Television Service, Office of Information, United States Department of Agriculture, 1950), p. 8. 150 this film, in recording all pertinent camera, sound and lighting data. At the tOp of the page was the only actual scene record of the shooting order and the script order of this film. (See "Shooting Script" "This is Our Way", Page 110. In the previous film the specialist's beard had become pronounced, even with a powder covering. Pancake makeup was substituted for face powder in this film, and it seemed to give the desired results. This film was shot in the script order, much like a continuous television show, with long sequences and dollying in and out for movement. This has been acknow- ledged as a satisfactory technique in making television films. "Producers of television films, in their use of the camera, their sets, lighting, direction and acting, imitate the procedures of the television studio, not those of the film studio",28 according to Irving Pichel, a Hollywood movie director. Dollying is not absolutely standard in films for television. This is best illustrated in the Groucho Marx show, "You Bet Your Life", filmed especially for televi- sion. The Marx Show is filmed continuously for an hour, of which thirty minutes is edited for air time on televi— 28 Irving Pichel, "Films for Television" Hollywood Quarterly, Vol. v, No. 4, Summer, 1951, p. 3é3-372. 151 vision. "All cameras are tripod mounted. No dollies are used at any time. The four cameras that are 'on' afford sufficient variety of angle to enable the film cutter to edit a smooth show. Dispensing with dollies is in defer- ence to Groucho, who finds any movement between him and the audience disconcerting."29 The significance here is that few stock formulas have been made standard for television Shows. The precautions taken to achieve high fidelity sound recording in this film seem not to have been adequate. The sound varied in level between the scenes shot on the set and the scenes shot off the set. Possibly this problem could have been eliminated by keeping the microphone in the same location and at the same angle for all of the sound record- ing. A To some extent, the absence of monotony can be attri- buted to the specialist's style of communication. His personal enthusiasm seemed to help him to build a high level of contact. However, it was primarily the movements of the camera which gave the viewer a feeling of action. This technique of utilizing camera movements made it possible to shoot the film in long chronological sequences, and gave the final film the appearance of a standard live television Show. 29 Leigh Allené "Filming 'You Bet Your Life' Television 0 Show", American Cinema grapher, March, 1952., p. 114, 115, 124-126 0 152 In addition, the continuous shooting required much less time than the sequence breakdown method of the last film. Satisfactory effects were achieved through the use of several camera techniques. The camera distances were pre- determined and marked on the floor, and the camera was kept in focus while it was dollied. The chalk marks aided the cameraman's assistant in gauging the distances for focussing the lens while the camera moved, and the cameraman was able to set his lenses for the prooer depth of focus, no matter how far or near he moved his camera. These techniques are used successfully in filming the "I Love Lucy" television show, according to an article in the American Cinematographer, which states: "...each camera Operator has a major responsibility. He must get each take right the first time - every time. Of course, he can hardly miss, considering the careful preparation that went into the filming phase of the production beforehand. Focus was carefully measured and noted for each camera posi- tion; chalk marks were placed conspicuously on the stage floor...."3 The centering of the specialist and the visual aids on the same frame was a satisfactory technique used in this film produced for television. In this way the key speaker appeared on camera throughout the film, with the exception of the cartoons which were inter-cut. However, the use of the ¥ 30 Leigh Allen, "Filming the 'I Love Lucy' Show", Amer1§gn Cinematographer, January, 1952., p. 22— 24. 153 static front shot of the specialist was not too good, be- cause it lacked interest. This type of shot had had to be used because of the limitations of the equipment. The Auricon camera is limited to forward and backward dollies. There is no way to boom up or down, or truck (track) to either side in a moving shot, which are basic film techniques. Nicoll says, "Fundamentally, the camera serves as the eye Of the observer with the result that, although we remain seated in our chairs, we truly seem to move while the film displays to us, now a direct shot, now one taken from above, now one from below."31 Hanvell adds that a film is ”...a collection of camera angles selected and purposely limited within the frame."32 The quality Of the sound in each sequence or individual scene Of "This is Our Way" was satisfactory, although the sound from sequence to sequence did not match in the final assembling. Each word was heard clearly, and with a minimum of distortion. During the filming the microphone had been kept at an average distance of sixteen inches from the speaker. In the sound accompanying the titles, the music was successfully blended into the background under the announcer's voice. —_ 31 Allardyce Nicoll, Film and Theatre, (New York: Thomas M. Crowell Company, 1936), p. 74. 32 Roger Manvell, Film (London: Penguin Books, Ltd., 1946), p. 40. . . has. ! 154 The sound of this show dominated the visual picture. This is not good television practice, because, "Television", as stated by two critics, "is a visual medium, not a sound program with pictures added."33 In this film the Specialist talked on economics and illustrated factual data. However, it would not be unreasonable to say that the dialogue in it- self seemed complete and continuous enough to be used as a radio program. The visual element was subordinate to the sound. This is not an uncommon factor of informational films, according to Lindgren, who clearly states the problem: "The great temptation to which @nformationafl films too Often succomb, is to say nearly everything through the commentary and to leave the minimum to the picture....Such films are sometimes basically little more than illustrated lectures, the visual illustrations being at some points highly effective, at others, merely stop-gaps."34 The final phase of production of this film was the editing. There were fewer scenes, since most of the film was shot straight and in long sequences; and for this reason less time was required in the editing than had been necessary in the first film. It seemed economically wise to edit the master print first and then make a duplicate negative and re- lease prints from that, to avoid the error of the first film, of ordering these extra prints and possibly finding them un- satisfactory. 33 Edward Stasheff and Rudy Bretz, The TglevLsion Program (New York: A. A. Wyn, Inc., 1951), p. 24. 34 Ernest Lindgren, Thg Art pf the Film (George Allen and Unwin,Limited - London, 1948), p. 111. CHAPTER V THE FILM, "36 MILLION ACRES" Last in the series of shrvs was a program on conser- Vaticn. Like the precadirg charters, this chapter is urgen- ized into three sectinns referred to as (1) Planning, (2) Filni 1 {rd (3) Analysis. PLANNING IE: pzoggfim gonfgzenggg. At a meeting between the procuction staff and the conservation specialist, the latter played a tape recording of one of his lectures and simul- taneously showed some of his unusual collection of slides on conservation. This recording illustrated the slides shown. Those present at the conference agreed that this show would be suitable for television. However, there was some question about the effect of the slides in recording them in the monochromatic gray scale, since they were in color. The slides were tested for low color contrasts on the television closed-circuit system. and the extemporaneous talk was planned around those which were selected. The purpose of the film, decided at this meeting, was to promote under- standing, appreciation and proper use of natural resources in Michigan. 156 No script was prepared for this Show. The main pre- paration was in the selection of the slides, and the special- ist was depended upon to integrate these slides into his main theme. It was planned that while the slides were filmed, the specialist would narrate freely on the sound track with- out being confined to a script. This differed from the methods used in the previous films. 1p; program content. An extensive account of the content is given here, since there was no script used in the film. Fifty-two slides were used to portray the visual content. Linking the title with the subject matter, the specialist explained that Michigan contained thirty-six million acres, which, divided among the population, allots six acres to each resident. Of these six acres, three are used as forest land, and three as farm land. The specialist went on to show slides of the Great Lakes, the state forests and the farms and fac- tories of Michigan. These were presentations of the natural resources, recreation areas and production facilities. They illustrated the factors which might make life more secure for a little boy shown in the opening slide. (See Figure 31.) A great deal of this land has been destroyed by wind and water. The specialist went on to explain (1) how in- stitutions are devising new ways to conserve the soil, (2) how legumes are planted and then plowed under to build up 157 Figure 31. The Opening Shot soil fertility and yields, (3) the method of contour strip farming that has been tried and found effective, (4) how recreation areas are used to replace noise, dirt and con- fusion with swimming, sunshine and fresh air, and (5) how forests are made available for hunting, canoeing, fishing, camping and industrial uses. The title of this film was selected to embody the entire conservation program in the land areas of Michigan. Since there are thirty-six million acres in this state, the title was "36 Million Acres". 158 1gp,fng§§. This Show used a slide of a little boy as an "attention-getting" opening shot. (See Figure 310 As this opening slide appeared "on camera", the announcer's voice was heard asking, "DO you know someone like this? What does he mean to you"? This was followed by the theme music, titles, and the opening credits. Then, the specialist was introduced, seated on the corner of a desk, beside a slide projector, as seen in Figure 32. After a very brief preface to his talk, the camera dollied back, and the main body of the show cut to slides and was projected on a screen. The last slide was the same as the opening one, showing the little boy. The purpose behind this was to emphasize the importance of conservation to the generation of tomorrow. Figure 32. Introduction of the Specialist 159 At the end of the Show, the specialist was again seen "on camera" while he briefly summed up the content of the Show. The musical theme, titles and the announcer followed. The physica1 settipg. No attempt was made to design an elaborate set for this film, because the talent Was seen for only about a minute and a half during the entire program. The basic set was made up of the two light blue flats used in the two previous films. Props were also limited to a bare minimum. In the film, the specialist sat informally on the corner of a desk, with one hand placed on a slide projector, as seen in Figure 32. Eng p151p,§1ig a. The titles for this film were made in the same manner as those of the last film. Slides were projected on a screen and photographed. Again the variac transformer was used to control the two slide projec- tors. The filming of the titles was speeded up because most of the problems that had required a great deal of time in the last film, in setting up, were now solved. Only three new title slides were needed for this film, since the only changes were the film title, the specialist's name and his department in the college. The Opening and closing credit titles of the "Design for Living" series were used, as illustrated in Figure 33. The same artist lettered the twelve-inch by sixteen-inch white poster board with black twentieth century lettering to match the previous titles. 160 ‘- 4‘36 I’ULLION 445} this Slide 2. ' Slide 3. Slide 6. Slide 7. Figure 33. The Title Slides 161 These were then photographed on 35mm. film and overdeveloped to lower the contrast of white and black. The film was then cut and mounted on two-inch by two-inch slides. The finished slides appeared in shades of gray and black. Tpp specialist's slides. Selecting the slides most suitable for this show was another step in the planning stage. One hundred and twenty slides, on various phases of conservation, were previewed on the closed-circuit television system. Slides that were too dark or too light, poorly defined, not prOperly centered, too high or too low in con— trast. W??? elirinated. 223 special gfiifigfij. In the television rehearsal of this Show, noises caused in operating the slide projectors presented a problem. It was decided that for the film the specialist's voice would not be recorded in the same room with the projectors. However, it was necessary for the special- ist to see each of the slides on the screen, as he talked. To solve this problem, a special effect was introduced, using the live television camera, and moving all of the film equipment out of the studio, with the exception of the microphone. The special effect was arranged as diagrammed in Plate 16, which can be seen on the following page. Seated in the studio at-a microphone stationed in front of a television moni- tor, was the specialist. The Auricon camera, the slide projectors, 161a A SPECIAL EFFECT "36 MILLION ACRES” stoma . 1 'rvtaourron ‘ .\\ a DESK a T l \‘ EC] \ \ AME/i, §‘, \ Put Button 3 The talent ’umltu In the studio, control- III. the slide: by pub- In the button on he not It“ the television 0 scut- IOI ‘0'. 1 .[Q' I l' HALLWAY ‘ SH 0! PROJECTORS 7 minus SCREEN Plate 16 162 the variac transformer and the screen, were set up in a hall outside the studio. The television camera televised the slides as they were projected. The final picture was seen on the television monitor in the studio. To coordinate the slide changes, the specialist had a signal button in his hand which flashed a light to the variac operator in the hall, who changed the slide on cue. In other words, the specialist was able to speak at his normal rate of speed and control the slides, while the Auricon camera filmed the slides projected on a screen outside the studio. At the same time the camera was also recording the speaker's voice inside the studio. The,§lidg schedule. In the television rehearsal of this film, the specialist was found to be fairly accurate in using the allotted time for his talk. As mentioned earlier, the specialist controlled the speed of the slide changes, so the director's responsibility was one of coordination. There was no need for blocking or staging shots, with the exception of the introductory and closing scenes of the specialist. "on camera", because all the shots were slides. Since there was no script used in this film, the director and the assistant director designed a slide sched- ule to be used in the film production. This schedule was used in four television rehearsals, to determine the aggregate timing. As in the last film, the director decided 163 that the specialist and the film production staff could use the extra rehearsal time to advantage, mainly to save film footage and time on retakes in the shooting of the show. The cumulative timing on the slide schedule was used as a check in the final film. When the specialist was ahead of time, he was able to add to some of his talk, and when he was behind time, he cut some of the dialogue about each slide. The slide schedule is illustrated in Table VII, as a method used in the production of this film. Note that the four columns on the left side of the page are the four timings of the television show. The title at the right side is the name of each slide, and the order number in which it appeared in the film. The slide schedule was also used to coordinate the work of the projector crews. All the odd-numbered slides were given to one crew, all the even-numbered slides were given to the other crew. Each projector was operated alter- nately, using the variac transformer. From the slide schedule, the projector crews learned the chronological order of each Slide. The slides were not marked, but were identified by their titles on the slide schedule. TABLE VII SLIDE SCHEDULE ”36 MILLION ACRES" TELEVISION REHEARSAL TIMINGS SLIDE TITLE 1st 2nd 3rd 4th 1:45 2:01 1:40 1:50 1. Lake Michigan 1:55 2:14 1:55 2:08 2. Lighthouse 2:08 2:25 2:07 2:22 3. Forest 2:24 2:42 2:26 2:37 4. Farm country 2:40 2:57 2:38 2:52 . Farm 2:50 3:10 2:45 2:58 . Detroit 3:04 3:27 3:10 3:15 7. Iron mine 3:15 3:45 3:20 3:35 8. Copper mine 3:28 3:57 3:28 3:43 9. Oil tanks 3:43 4:15 3:38 4:01 10. Lumber 4:03 4:35 4:00 4:16 11. Wheat fields 4:13 4:50 4:10 4:31 12. Livestock 4:32 5:03 4:26 4:44 13. Boy and calf 4:55_ 5:15 4:55 5:00 14. Corrosion 5:12 5:31 5:15 5:20 15. Good crops 5:23 5:40 5:24 5:32 16. Legumes 5:31 5:48 5:28 5:38 17. Contour farming 5:44 5:58 5:50 5:55 18. Non-farm land 6:03 6:15 6:07 19. Big city 6:15 6:31 6:21 6:25 20. Factory worker 6:24 6:40 6:28 6:31 21. Stenographer rt O 165 TABLE VII (continued) SLIDE SCHEDULE ”36 MILLION ACRES" TELEVISION REHEARSAL TIMINGS SLIDE TITLE lgt 2nd 3rd 4th 6:30 6:50 6:35 6:39 22. House wife 6:39 7:00 6:42 6:50 23. Recreation area sign 6:56 7:12 6:57 7:00 24. Swimming 7:16 7:27 7:17 7:20 25. North Michigan 7:28 7:45 7:27 7:30 26. State Forest sign 7:40 8:00 7:32 7:38 27. National Forest sign 7:50 8:20 7:38 7:48 28. Logging truck 8:00 8:30 7:53 8:02 29. Second growth forest 8:15 8:44 8:08 8:23 30. Trout fishing 8:30 8:53 8:20 8:36 31. Boy fishing 8:40 9:02 8:30 8:48 32. Canoeing 8:56 9:20 8:45 9:08 33. Meal preparation 9:05 9:26 8:53 9:16 34. Broiling steaks 9:13 9:34 9:00 9:18 35. Camping 9:25 9:43 9:12 9:32 36. Highway 9:35 9:53 9:20 9:40 37. Dogs 9:40 9:58 9:25 9:53 38. Bird watcher 9:54 10:07 9:35 10:00 39. Duck on nest 10:15 10:28 9:53 10:20 40. Church 10:28 11:05 10:05 10:35 41. Falls I - . - . . - . . . - O ' ' . . . . . ‘ e e . t I , ' a. e n ’ . \ . I ' ' I u. r' . - I A I . "e l, ' - U ' '. ..‘ O . .. . ,. . a I n e -, ,. I . . ' . ' - v re . t e l . . t , j . _ . .. ' O O. 166 TABLE VII (continued) SLIDE SCHEDULE ”36 MILLION ACRES" TELEVISION REHEARSAL TIMINGS SLIDE TITLE 1§1______ZQQT_ _3£d 4th 10:36 11:15 10:23 10:43 42. Miner's Castle 10:45 11:32 10:38 10:58 43. Lake on the Clouds 11:00 11:35 11:10 11:15 44. Presque Isle 11:12 11:44 11:15 11:23 45. Fish 11:20 11:50 11:25 11:32 46. Trees 11:43 12:14 11:52 11:58 47. Brockway Drive 12:00 12:25 12:08 12:14 48. Isle Royal 12:16 12:38 12:23 12:31 49. Cabin 12:30 12:53 12:31 12:41 50. Moose 12:43 13:05 12:40 12:52 51. Fawn 12:55 13:05 52. Boy 13:20 END OF SLIDES 167 FILMING On December 9, 1951, the shooting of "36 Million Acres" began, with two days allotted for the filming. Because of the specialist's ruddy complexion, makeup was not necessary. As in the other films, the Western Electric microphone 639B was placed in the studio with the specialist. Lighting. The one lighting setup and the floor plan used for this film are shown in Plates 17 and 18, on Page 168. The lighting setup for the opening and closing shot of the specialist was arranged to allow a darker background behind the specialist, because of his white hair. (See Figure 34.) Figure 34. A Closeup of the Specialist 168 FLOOR PLAN, "36 MILLION ACRES" w . Plate 17 LIGHTING, "36 MILLION ACRES" Plate 18 169 Two floor floods were used as basic light. One was placed four feet away from the specialist, pointed towards him from stage left. The other flood light was placed ten feet away, and was directed towards the specialist from stage right. A fresnel floor flood was placed upstage left, six and one-half feet behind the specialist and was used as a backlight. Camera :ecrnicues. For the opening shot of the specialist, the camera was dollied back from a closeup to a medium shot. This shot was planned as a transition, to motivate the picture slides which followed. The camera distance from the subject was measured and chalk-marked on the studio floor to achieve proper centering, focussing and smooth movement. While the cameraman dollied back, keeping the specialist centered in the frame and attempting to avoid weaving, the assistant cameraman adjusted the focus with the camera movement. In filming the conservation slides, the camera was placed in a stationary position, directly behind the two projectors, as in shooting the titles of "This Is Our Way". During the rehearsal, the light exposure of every slide was observed by the cameraman. Since each slide's light exposure differed, an average point between the highest and lowest readings was selected as the basis of exposure. The lens F- number was then determined by this middle read— .. -'-§‘- ”l." .141 h‘_‘. .5 32" .m: “a. 170 ing, for all the slides in each scene. Only the first slide (shown in Figure 31, Page 157), of the little boy, was given an individual light reading and F- number, because it was shot separately. The organization of the slides Was important. The director had assigned two crew members to each slide pro- jector. One crew handled the odd-numbered slides and the other, the even-numbered slides. When slides appeared in the wrong order in the final takes, the director called for re-takes. Avoiding finger prints, inserting the slides right-side-up, keeping the slide carriage still until the projector was off, and inserting the correct slide in proper order were problems that were corrected by rehearsals and re-takes. When two slide projectors were used to pro- ject the slides on the screen, the dissolved image from one slide to another did not always line up correctly. However, the cameraman was able to eliminate this problem by shooting within the border of the two overlapping slide frames. Each grouping of slides was determined by the capacity of the 200-foot reel. Scene IA was the opening slide of the little boy. Three takes were necessary for this. Scene 1B was the opening titles, and it also reouired three takes before being acceptable. The situation here was similar to the problem of filming the titles in "Landscaping Your Home". 171 Dissolving from one slide projector to the other left the image of the last slide long enough to show up any fault in lettering in the next successive slide. Keystoning of the frame on the screen was a problem here, because of the angle at which the projectors were arranged in relation to the screen. Scene Two was the opening shot of the special- ist on camera. Then, in Scene Three, the slides 1-22 on conservation were projected. This scene lasted for five minutes, and was acceptable on the first take. In Scene Four, which included slides 23-45, four takes were necessary because of the slide crew problems previously mentioned. Scenes Five and Six included the slides 46-52, and were filmed without any additional re-takes. Once the projectors were lined up, the closing titles in Scene Seven were filmed on the first take. Directing. The directing of this film was similar to that of a television show. The director communicated with the crew members by use of headphones. However, once the Camera began to roll, the director was silent and the specialist signalled the crew. The director's role in this film was that of coordinating of technicians, rather than of organizing, blocking and staging of talent and shots. A data sheet was also recorded for this film. In a comparison between the figures of this sheet and the data sheet of the last film, some changes are evident. While . 172 the sound exposures were kept at fifteen for all the shots in both films, the volume indication for this film was ten, as compared with eight of the last film. Notice also that the 63mm. lens was used for all of the shots of the slides, but the two shots of the specialist "on camera" were filmed using the 40mm. lens. This data sheet, Table VIII, follows, on Page 173. Film ggiting. Editing this film was less complex than the previous film. It had only eight scenes as com- pared, for example, with the first film which had thirty- eight scenes. Again, the reversal stock was sent to Eastman Kodak in Chicago after exposure. The work print was also found unnecessary in this film, because of the limited number of scenes. After the reversal master print was re- turned, it was divided into corresponding scenes and stored in the film barrel for assembling. The scene boards and unwanted takes were then discarded. All the good scenes were assembled in order, and run off on the television sys- tem. The following sheet in Table IX, Page 174, was the Take, Footage and Timing Sheet of the film, "36 Million Acres”. 173 06 .mm .oom me N.m mm :m.@ 20H Do 0H ma O¢ .mm .oem oe m Now mo =m.© ewe so on ma ma » Quirk“, 3.. O¢ .5 .oom u N.N mm :m.© zed no OH ma «a , “Quail. gang; argue. .3 I oe ca 04 .HN .mm .05 .00» 0m .00» mm .aae H .aaa H m m ma m.m m.m m.m oe oe me new new at :0H :0H :0H so no :0 0H 0H 0H ma ma ma 0 m m o¢ .mme .00» we .:«a e mm m mo :m.© zed no oH ma e emmmo< onqus on: gamma «Hen czHaoomm HHH> mnm mmbmomxm Mo¢ma QZDOm mmmfibz 90mm 174 TABLE IX TAKE, FOOTAGE AND TIMING SHEET "36 MILLION ACRES" FOOTAGE TIMING SCENE TAKE BEGIN. END, (DHOT TOTAL APPROX. [SHOT TOTAL _3 1 11 195 184 184 I 5:00 5:00 5:00 REEL 2 ‘ 4 1 11 4:40 2 ' 8 195 182 I 4:45 EE ‘ 4 3 12 97 gggo 4A _; ~8 122 4 I 1:55 REEL 4 I ' 4 4 1 183 172 356 . 4:42 9:42 WEE I I _§ 1 11 81 70 426 1:48 1:50 11: 2 2 I 8_ __120 38 464 I :o 1:00 12:3; _é____,. I 21 ..1£2._121 485 I =30 132.."_13192_ .12.... I 4 __151 8 I :05 :02, 2 I 2 __157 I :08 3 I . 8 __165 ‘Z 49 I :02 13:11 B I 6 __190 I :40 :40 REEL 6 | I .12 2 I 4 __5g 28 520 I :40 13:51 I ' 43 21___32§ 548 I :43 y 4: 4 . u e ’ 4. . h . 4 .. . . 1 . 7 - . - . . . . . , , - _ - . . - . . - 4 n 4 , - V . . I O . . e r ' r e e - . .. - 4 o n . . . .- - u- — — — . n - _ - - - - — a . o - - - o - . -. — . q - .5 - o - . - . s . . o - _ t e a 1 . . .—.. -— “g — .- 5 - — - e n — a a — - u o. o- a. - — c. . - . 4 . .. n - .- u - . . i - . .4 u - - h e u . . » .. . p .. - . . - . - - . - . - t _ I t - n b e - 'u- _ - — - . . n - — . a n - — . — .- u a— s- — - —..» y - .-.0- - — o - .- M q . Ale.- ,. - - . . - - - s - .7. - . . r ‘ P . fi — - . _ — — - . - . . . . . — - . a - u o - . - - -‘. . . u . .o . . . . . w . .- u o O o -. - - -. n . . -' a. n g . o . . - - . - 4- - - ' . e I .— . V- - - i V . . . u . n i - - . t . - -- - »— . . . . _ . .9 o a - v w u - v - . -~ ~— \ , . r . . I e . I F r(‘ ' I” ‘ . ' 4 .- .- - u v v c . - — - - u .- - . .- . » - o- - - o . , o p . ~ .- o - - I w- -v .- O- ‘ ¢ i' I . I r F ' O u . - . - . _. - . , . c - e. r o - ~ o». . - , e . _ . . - . - o. . .. - . .. 4 - . .- . '- r r. - 4 . . . - . - _ . .. . . u - . . . o. . . . . . - ~ . : v - 4 e 4 ' e ( v‘ e‘ I I f n ‘ . — - — - .. s p .. o a. 4‘ -. --- - e u - - - a» or ' : .,.. -44- .o . ..'.U - - - . -. 4 - o. u. e - a - n ’5 R ‘ -' ' r” O I - - . V - . . I . . .. . . - . -. . .- .. .. - -. . , . - . i A . ( I . I ‘ l - - . u e:.- . - . -. . - . . .— 4 - 4. -. - m..- _ .-.— -44. ‘e c - - . _ 4 u - . i - - .- -4 .. v , . 4 - p .- I, \ , . .. « t r . e d O ‘ ' I l I 175 ANALYSIS Use of the television film camera to preview the conservation slides in selecting those most favorable for use, appeared satisfactory in the production of this show. The director and the cameraman were able to see each slide approximately as it would finally appear when projected over the television system. Some concessions were made because there were only one hundred and twenty slides from which to choose. Some of the slides which were selected in this pre- view, and which did not appear satisfactory in the film are shown in Figures 35-38. Figure 35 is a duck on a nest. . § 0 n' ’- Figure 35. Duck on a Nest There is hardly any contrast in this picture, and the effect is lost. Figure 36, a shot of canoeing, is too dark. When this shot appeared on the television tube, the video gain had to be raised. In Figure 37, the "State Forest" sign has a "busy" background. The significance of the lettering 176 is lost because of the map in the background. Figure 36. Canoeing I Figure 37.‘ The Significance of the Lettering is Lost In Figure 38, called "Trout Fishing", the subject is not centered. Because of the masking around the average television monitor, a poorly centered shot means that some part of the picture will be lost. Use of the television live camera to transmit a remote picture to the monitor viewed by the specialist was a satisfactory special effect used in this film. To 177 E '.E E E E; Figure 38. Trout Fishing operate the slide projectors which were noisy, and to record the specialist's voice at the same time using single system sound, required planning. By using the television camera, the specialist was able to see the slide as it was projected, and to talk extemporaneously about the slide without any sound problems. This special effect eliminated the noise of the slide projectors from the sound track. One unsatisfactory aspect of the special effect was in the dissolve of the variac transformer. In the final film, the dissolve effect appeared too slow. In Figures 39 to 41 we see an example of this slow dissolve. The specialist was talking about the fish, and then switched to a discussion of the forests. In Figure 39 we see the fish. Then, in Figure 40, we see the fish in the trees for a few seconds, and finally, in Figure 41, the trees minus the fish. The problem here may have been in the bulk of the 178 Figure 39. The Fish Figure 40. The Fish in the Trees Figure 41. The Trees Without the Fish 179 knob of the variac control, so that the superimposure was too long for transition purposes. The television rehearsal was satisfactory for this film. It served as a preview in integrating the entire production as it would finally appear on film. The rehearsal served to perfect the performance of the technical crew, and also presented an opportunity to work out a successful method for filming the slides. Rehearsing the show four times gave the director an accurate timing on each slide sequence. The wasted footage was then kept down to a minimum, because most of the production problems had i been worked out in the television rehearsals. The method of using the extemporaneous talk was satisfactory. Having the specialist speak extemporaneously captured his natural style of speaking. A script was com- pletely avoided, since the specialist had spoken many times on each of the slides used, and there was little risk of "fluffs" or the need for retakes. The method of photographing the title slides pro- jected on a screen was satisfactory in comparison with the title roller used in the film, "Landscaping Your Home". E However, there had been some inadequacies in the preparation of the slides. Dissolving from one slide to another retained the image of the last slide long enough for the image to conflict with the next successive slide. Had the slides 180 been prepared and planned for a matched dissolve, where the lines would have covered each other, this technique might have been successful, but such was not the case. The result was that some of the Opening titles in the film (seen in Figure 33, Page 160) appeared slanted. The problem of key- stoning, where the frames appeared wider at one end than at the other, was overcome to some extent by shooting within the frame. Again, in the dissolve from one title slide to another, the final film appeared to lack smooth transition. This can be attributed to the dissolve which faded from light to neutral and than light again, causing the video gain to rise and fall rapidly. What was needed here was a dissolve with a fairly constant light source. Using slides for the presentation of facts for tele- vision seemed satisfactory in this film. Giving due consideration to the fact that each slide was a static picture, continuity and movement were nonetheless achieved. The use of fifty-two slides in 730 seconds averaged about twelve seconds for each slide. The average shot length for a film feature, according to Spottiswoode, is thirteen seconds.35 The interest and movement were developed by quick changing of slides. 35 Raymond Spottiswoode, F11m and It; nghnigues, (Berkeley and Los Angeles: University of California Press, 1951), p. 110. 181 The use of kodachrome slides in the production was not completely satisfactory. While the pictorial value of the majority of the slides is unquestioned (as can be seen in the samples of satisfactory shots shown in Figures 42, 43, 44, 45 and 46 on the following pages), the wide area of light density caused striking contrasts in the final film. Striking contrasts are not compatible with the low contrast range of the television iconoscope. In M911g§ fgz_gl, Battison advises, '...use films which have a lower density contrast range...."36 The specialist felt that if he were ever called upon to do another film for tele- vision, using slides, he would use black and white slides. He felt that some of his best color shots lost their effect when they were reproduced for monochromatic showing on television. In the slide schedule, with its four cumulative timings taken during the television rehearsals, was found an apparently satisfactory means of controlling this entire production. Since no script was used, this schedule (seen in Table VIII on Page 173) became the visual cue sheet for both the director and the slide crews. 36 John H. Battison, Mov {gr 21’ (New York: The MacMillan Company, 1950), p. l. 182 Figure 42. Second Growth Forest Figure 43. Boy Fishing Figure 44. Dogs 183 Figure 45. Miner's Castle Figure 46. Lake On the Clouds The one lighting setup used in the film appeared satisfaCtory in putting into use front, back and side lighting to achieve a balanced gray contrast. (This setup can be seen in Plate 18 on Page 168.) With the basic light coming from either side of the specialist, and the backlight coming directly behind him, the slightly darker background needed to set off the specialist's light hair was achieved. This is illustrated in Figure 34 on Page 167. As Gurin of NBC states, "...the importance of 184 separating the most important element of picture interest from the surrounding backgrounds cannot be overemphasized. This effect can be achieved with the proper use of spot- lights by backlighting“.37 The sound recording was satisfactory in this prod- uction. There was hardly any distortion or noticeable rise in gain level between shots, but there were also none of the problems of movement which had been in the other films. The major problem of the noise feetor had been solved in the television rehearsal by moving the camera and the slide projectors out of the studio, and recording the specialist's voice from within the studio. Photographing slide pictures projected on a screen appeared to be a satisfactory technique in producing this film for television. The best resolution was in the close- ups, and the slides with a wide band of greys. (Samples of some of the satisfactory slides can be seen in Figures 42-46 on Pages 182 and 183.) While the majority of the slides were satisfactory, some were too bright, or too dark. Figure 47, a shot of northern Michigan, was too bright for use on television broadcasting, because of the shading problem it would present to the video engineer. 37 H. S. Gurin, "Lighting Methods for Television Studios", Journal 9: the Society 9; Motion Picture Engineegg, December, 1950, p. 576-589. A”: 185 Figure 47. Northern Michigan In Figures 48 and 49, two pictures are shown of the bird watchers. The better picture is a frame cut from the film Figure 48. The Better Picture of The Bird watchers halfway into the dissolve, or when the variac knob was three-quarters of the way into a complete turn. The less satisfactory picture of the bird watchers was taken when the dissolve turn was complete. The problem here was not in the picture content of the slides, because they had been l86_ Figure 49. The Less Satisfactory Picture of the Bird Watchers pre-tested on the television system and found acceptable. It was in their wide light contrast when projected. In the film rehearsal, before each slide.was shot, the cameraMan had observed the light reading of each slide in the sequence. The average reading that fell between the maximum and minimum of all of the slides was used in determining the F- setting of the camera. This method was obviously unsatisfactory, because the light densities exceeded the brightness range for television films. Accord- ing to Eastman.Kodak, the effective brightness range should not exceed thirty to one. That means that the brightest and darkest portions of the picture should be within this ratio. To solve the problem in this film, the slides could have been grouped together according to similar densities, and then filmed. However, this would have upset the con- tinuity of the production. Had time permitted, remaking 187 the slides would probably have been the most satisfactory solution. A satisfactory method used in filming the slides was in having the cameraman shoot within the border of the projected picture. In this way, the risk of poor framing because of keystoning of the slides on the screen was eliminated. By shooting within the frames, the camera- man used his viewfinder matte for framing the picture. The method used in organizing the slides was un- satisfactory, which resulted in the necessity for a number of film retakes. The wrong slides were projected occasionally, breaking the continuity of the specialist's organized talk. The problem here might have been solved by numbering each slide to correspond with a number on the slide schedule. The methods used in the editing of this film appeared satisfactory. With only seven film scenes to edit, less time Was required than had been needed in either of the previous films. Again, as in the film, "This is Our Way", a saving was initiated by the film director, by carefully editing the master print, and eliminating the cost of a duped negative and work print. Of course, had prints of this film been needed, a duped negative would have been necessary. CHAPTER VI SUMMARY AND CONCLUSIONS This study was undertaken because very little research has been done on the subject of making films for television. With newly-opened television channels now available to edu- cators, there is an increasing need for informational films made especially for television, and for information on the methods of making these films. This study was made as a part of the research prOgram in Television Development at Michigan State College. The purpose of this study was to analyze the methods used in the production of three informational films for television. The procedure followed was to report on the methods used in these productions, and then to examine the strengths and weaknesses of these methods. The conclusions arrived at in this chapter are based on the production of the three films, and the use of a single system sound recording Auricon camera. The significant methods used in each film are summar- ized here under classifications of "satisfactory" and "unsatisfactory". The means of classifying these methods was based, in part, on the discussions at the production staff meetings when these films were previewed on the closed- circuit television system. The author's background as an 189 assistant film director in a television station and as a technician in a film processing company served to aid him in additional Judgments. In the film, "Landscaping Your Home", the following were found to be satisfactory: The television rehearsal served as a means of viewing the entire show before the filming. Employing visual aids in the form of cartoons gave visual meaning to the dialogue. The use of two landscaped models served to present a "before" and "after" type of show. The designing and use of a shooting schedule helped to save time and labor in the filming. Drafting a shooting script served as a means of matching the shots of the TV rehearsal and the film, and as a method of checking the timing of the film. The arrange- ment of backlight to baselight ratio at 1&31 resulted in low contrasts and clear resolution on the models. Design- ing the flats and models in the gray scale for best tele- vision reproduction was a final satisfactory method used. In the same film, the following were found to be unsatisfactory: The use of a memorized script imposed a restraint on the specialist. Crowded lettering and inadequate lighting lessened the impact of the address card. Charts and models were not planned in aspect ratio. The title roller needed a system of pulleys to slow down and control its movement. Front lighting without backlight balance caused high con- 190 trasts on the specialist. Changes in the location of the sound recording equipment resulted in tone changes from shot to shot on the film. Similarly, reading lines "off camera" and then reciting them "on camera" resulted in a noticeable change in speech pattern from shot to shot. Action which was needed for good editing was not planned in filming the openings and closings of each shot. The "attention-getter" lost its effect because the sound and the picture quality were poor. Having the dupe negative and release print made at the same time that the master was processed resulted in a loss of money, because one real with bad sound distortion made the production useless. Visual aids were introduced abruptly, and lacked motivation. The filming of scene boards in long shots made the numbers difficult to read on 16 mm. film. In the time intervening between the filming of the first and second shows, a number of methods used in the first show were changed in planning the production of “This is Our Way". The memorized script, short scenes, the script breakdown, the title roller, front flat lighting and the processing of the dupe and print at the same time as the master print, were discarded in the second film. The methods retained from the first show were the TV rehearsal, the shooting of the majority of the shots in closeups, the use of visual aids to point up ideas clearly, the use of balanced lighting between the backlight to base- 191 light and the setting planned for the gray scale. In the film, "This is Our Way”, the following were also found to be satisfactory: The shcw we; gcw built arcurd the t,lert ’«.+r;d af er Vrd the script. The rehearsal provided the means of taping the "Audio" for use in making up a shooting script from the specialist's prepared talk. The framing of talent and viéual aids in the same closeup was also made possible with the television rehearsal. Titles were made by photo- graphing slides projected on a screen. Lighting Was improved upon by using banks of reflector floodlights to separate the specialist from the visual aids on a background flat. Shooting the film in chronological order with long sequences, and dollying in and out gave the film the appear- ance of a live television show. More movement than in the first show was achieved by dollying in for closeups and backing out for medium shots. Camera distances were pre- determined and chalk marked on the floor for the dollying of the camera. In this second film, the following were found to be unsatisfactory: The television rehearsal was inadeQUate as a means of detecting sound variations due to changes in mike placement, which showed up on the final sound track. The same angle and location of the microphone was not used for all the sound 192 recording, which resulted in sound level variations from shot to shot. Use of charts :nd cartoons behind the specialist's head cluttered up the background. Motivation was needed for the method of intercutting cartoons over the regular picture to point up ideas. Use of the static front shot lacked interest. In addition, the method of projecting title slides invariably resulted in keystoning. The third film differed almost completely from the others in its type of presentation. The major portion of the third film was made up of slides on the subject of conservation. The specialist was seen "on camera" only in the opening and closing shots. The method used in the second film, of filming long sequences, was used again in the third film. In the film "36 Million Acres", the following were found to be satisfactory: The utilizing of the television film camera to pre- view the slides on conservation showed them approximately as they would appear on the final film. The live television camera was used to transmit pictures from slides projected on a screen outside of the studio, so that the specialist could see the pictures on a monitor inside the studio. The television rehearsal made it possible to reconstruct the entire production as it would appear on film. Extemporaneous speaking captured the natural style of the specialist, who was unhampered by a script. Slides were used to present 193 pictorial facts, to good effect on television. Application of the use of back, front and side lighting achieved the proper results in gray contrast. The slide schedule, with four television rehearsal timings, served to give control to the actual filming. Sound recording using single system sound proved to be adecuate when there was no movement. The best picture reproduction in the slides was found in closeups. Shooting within the border of the picture frame avoided uneven overlapping of the slides. Finally, because of the few scenes, and as a economic measure, the master print was processed, previewed and then edited. In the third film, the following were found to be unsatisfactory: Slides that had low contrasts lost their effect on the television system, and looked very flat and lifeless. Slides that were too dark required a high video gain. Slides with lettering and "busy" backgroundslost their impact. Slides in which the subject was improperly centered could not be seen on some receivers, because of the masking. The slow dissolve that was achieved by the use of the variac transformer caused the final film to appear choppy. In filming the slides an average light reading was taken, result- ing in some cases in an excess over the 30:1 brightness to darkness range considered the maximum satisfactory contrast range for the television tube. 194 This was a pioneering project in a relatively new field. Therefore, many of the methods were determined by trial and error. Each film turned out to be an improve- ment over the previous one. This improvement was achieved by incorporating the satisfactory methods and techniques found into each successive film. The most satisfactory methods found in each of these films are suggested here for further use in producing informational films for tele- vision, using talent such as the extension specialists in these films who were experienced speakers. A television rehearsal serves as a means of viewing a show before filming. The most desirable shot for use in the film may be selected at this viewing. This rehearsal indicates the efficient use of visual aids and props. It gives the director greater control over the sound and picture for the eventual filming, and serves as a means of avoiding wasted footage on the film. However, the television rehearsal is not absolutely necessary. The equipment necessary for even a closed-circuit operation is extremely costly, and the lack of it need not prevent efficient production of films for television. For example, if television equipment is not aVailable, the films can be blocked out to resemble a television show by using a horizontal angle lens, a Televiewer, or by simply using the viewfinder of the Auricon camera for a "dry" run, instead 195 of the live TV camera. Visual aids should be used wherever possible to give visual emphasis to the dialogue. Animation of factual data is the most desirable method of illustration. However, in presenting these visual aids, motivation is extremely important. When the specialist is used as the talent in an informational film for television, the film should center around the talent and the program content. The talent should not be forced to adapt his talk to a formal script. Spontaneity is achieved in retaining the specialist's natural manner of speaking. In filming the opening and closing of a scene, action is needed to facilitate the work of editing. This is true particularly when using single system sound recording. The technique of dollying in and dollying out in long sequences gives movement to the scene, in a manner similar to that of the television show. The following methods should be avoided in producing an informational film for television: Avoid the use of a memorized script if the performer is not an actor. The specialist will need complete free- dom to talk on his subject matter. It is significant that since the time this study was initiated, no individual has had to memorize a script (with the exception of persons in 196 dramatic performances) in the Television Development program of Michigan State College. Recording of sound in a variety of locations on a set may result in a number of unsatisfactory tone changes when the picture is finally assembled. Avoid having a dupe negative or release prints made up when the master print is sent for processing, until the master has been previewed. During the writing of this thesis the writer came across several problems which might make interesting studies for further research. These problems are: l. The determination of a standard lighting procedure for films for television. 2. The comparative impact of an informational show given by a specialist, and by a trained actor using a script prepared from a specialist's recorded dialogue. 3. An investigation into the problem of keystoning in the filming of slides and visual aids. 4. Various methods of presenting titles on films for television. 197 BIBLIOGRAPHY A. BOOKS Battison, John H., Mgvies :9; 21. New York: The MacMillan Company, 1950, 370 PP- Bettinger, Hoyland, Tglevigigg Egg 'qg_§. New York: Harper and Brothers, 1947, 237 . Gibson, Henry Clay, Filgs in gagingag .pg Industry. New ._ a York: McGraw-Hill Book Company, Inc., 1947, 291 pp. Lindgren, Ernest, The Art 9: Egg Film. London: George Allen and Unwin, Limited, 19437‘242 pp. Lohr, Lenox H., Telgyision Broadgagtigg. New York: McGraw— Hill Book Company, Inc., 1940, 274 pp. Manvell Roger, Film. London: Penguin Books, Limited, 194%, 199 pp. Nicoll, Allardyce, Film egg Theg re. New York: Thomas M. Crowell Company, 1936, B O'Brien, Richard S., C S Tglgvision Staging apd Lighting Practicgs. New York: Journal of the Society of Motion Picture and Television Engineers, 1950, 22 pp. Offenhauser, Jr., William H., léMM Sound Motion Picture. New York: Interscience, Inc., 1949, 580 pp. Sherage, Morton G. and Roche, Joseph J., Video Handbogk. New York: William F. Boyce, 1951, 892 pp. Spottiswoode, Raymond, Film and Its Technique . Berkeley and Los Angeles: University of California Press, 1951, 516 pp- Stasheff, Edward, and Bretz, Rudy, The Televisign Program. New York: A. A. Wyn, Inc., 1951, 355 pp. Townsend, Charles, Specifications for Motion Picture Eilmg lgtended for Television Transmission. New York: National Broadcasting Company, Inc., 1950, 18 pp. 198 BOOKS (continued) Waldron, Gloria, The Information Film. New York: Columbia University Press, 1949, 281 pp. B. PERIODICALS Allen, Leigh, "Filming the 'I Love Lucy' Show", American Cinematographer, 33:22- -24, January, 1952. _____, ”Filming 'You Bet Your Life' Television Show", American Cinematographer, 33: 114— —1l5, 124-126. "A Primer of Film Technique for Television", Televisign Magazine, 8:23, 26, July, 1951. Craig, Bill, As Quoted in "TV Film Trends", §ppp§9§, 186- 200, July 14,1952. Fairbanks, Jerry, "Films for Television", Movie Makers, :186-197, May, 1949. %&otion Picture Production for Television", Socie of Motion Picture and Television Engineers, 5 7— F575, December, 1950. "Television Filming, International Photographer, 23: 6- -7, 16, February, 1951. Gurin, H. M., "Lighting Methods for Television Studios", Sociegyy of Motion Picture and Television Engineers 5, SF 9, December, 1950. Kugel, Frederick, "The Economics of Film", Television Magazine, 8: 11- -47, July, 1951. Parmelee, C. Dan, "Video Studio Techniques", Television Engineering, 3: 8-11, January, 1952. Pichel, Irving, "Films for Television", Hollywood Quarterly, 5: 363- -373, Summer, 1951. Roslow, Dr. Sydney, "Programming Trends", Television Wgazine, 8:11-47, July, 1951. 199 PERIODICALS (continued) Sanvik, Otto, and Veal, T. G., "Motion Pictures for Television", British Kinematography, 17:141-158, November, 1950. C. EDUCATIONAL AND GOVERNMENT REPORTS Hannah, John A., As quoted in "TV Channels for Education" F- Washington, D.C.: The Joint Committee 2g Educational f ' Television), p. 23. Noone, Tom, Speece, Maynard A., and Gapen, Kenneth "New Films for Television", Television Report, Sect on I, Elias, (United States Department of Agriculture: Radio and Television Service, Office of Information, 1950), p. 12-17. Schofield, Edward T., A3 quoted in "TV Channels for Education", (Washington, D.C.: The Joint Committee 9n Educational Televigigg), p. 24. 200 BIOGRAPHY F03, Jack Jagg . Mr. Fox was born on June 21, 1920, in New York City. At the age of two he entered an orphanage in Brooklyn; and when he was six years old, he was trans- ferred to Homecrest, an orphanage in Yonkers, New York. He lived there for ten years, while attending Yonkers schools. In 1936, Mr. Fox graduated from Saunders Trade School, and went on to work as an instrument repair man for the Great Eastern Oil Company in Brooklyn, and then as a technician for the Light-olier Company in New York City. In January, 1942, Mr. Fox was inducted into the United States Army, where he was trained in air conditioning and refrigeration for tropical areas. After this he was trans- ferred to British Guiana, where he spent twenty-seven months. In 1944 Mr. Fox was promoted to Staff Sergeant, and was re- turned to the United States to serve as a.chief clerk at the Lake Placid Club, a rehabilitation center for war prisoners. At the end of World War Two, Mr. Fox returned to high school. He graduated from Bay Ridge Evening High School in 1946, with an academic dipldma. He then enrolled at Michigan State College, and received his B.A. in Radio and Advertising in 1950. During one of his undergraduate years Mr. Fox was a counselor in a men's dormitory. 201 While attending the graduate school at Michigan State College, Mr. Fox held a graduate assistantship in the Depart- ment of Speech, Dramatics and Radio Education.- He also worked for Capital Film Service in East Lansing, and as Assistant Film Director for Station WJIM-TV in Lansing. Mr. Fox is a past treasurer of Pi Kappa Delta, ex- president of the Radio Guild, and a charter member of Ian Epsilon Lambda, the television honorary. The work included in this thesis represented eleven months' research in television and films, in partial fulfill- ment toward the degree of Master of Arts in the field of Speech, Dramatics and Radio Education at Michigan State College. Mr. Fox and his wife, Judith, have a young daughter, Dana Ellen Consuela, who was born as this thesis neared its completion in the summer of 1952. f. {I .e O a l .e . u e 202 GLOSSARY Amplifying unit. An electronic instrument used to increase the volume of sound . Angle shot. A view taken from the camera either above or below eye level of the subject, or not directly in line with the subject. Announce booth. A sound-proof cubicle from which the announcer reads his COpy over a microphone for broadcasttrans- mission. Aspect ratio. An accepted ratio in television and films for the most pleasing frame of width to height, which is 4:3. Audio. The common accepted term for the sound portion of film and television transmission. Audio control board. A system of switches and knobs by which the sound from the microphone, turntables and film chain are controlled for transmission. Auricon camera. A single system sound recording camera, "blimped" or soundproofed, equipped for 16mm. film, which has a three-lens turret, a single lens turret and a viewfinder. The Auricon is equipped to run on batteries or standard voltage, and has a 200-foot reel capacity. (Auricon Pro.) Background separation. A means of separating the subject from the background by backlighting. ngklighting. A light placed at the back of the stage, facing the camera, lighting the back of the head and shoulders of the subject, thus separating him from the background. Baselight. An overall light, directed from the camera side towards the subject. Bigdggze floodligh . A trade term referring to reflector flood- lights. These lights are conical in shape and silvered on the sides so that the light flood comes only through the wide base end. Blimp. A sound-proof casing around the camera that cancels out all of the internal noises of the camera mechanism, which would otherwise be picked up by the micrOphones during the shooting of film. 203 GLOSSARY (continued) Blocking. The preliminary working out of movement in a television show. Usually this is done by the director before the rehearsal of each scene. Boom. A long metallic arm used to suspend the micrOphone over the heads of the talent, keeping it out of the frame of the camera. 2§g§y" background. Too much detail in a background which causes the subject to lose some of its effectiveness. Chest_§hot. A shot of the talent from the waistline up, and including some significant detail in the background. Clapstick. (Also called "C1apperboard”) Two pieces of wood, hinged together which, when struck, cause a sharp indi- cation on the sound track for the purpose of synchron— izing the picture and the sound before or after a take, to facilitate the editing. Cl'p. A short length of film out from a larger accumulation of film footage. Closed—circuit system. The system on which the program is fed from the camera to the monitor without being broadcast. Closeup. (CU) This shot is usually used to point up a detail by getting as close as possible to the object. Closing credits. A listing of titles, performers and produc- tion staff. Console. The complete unit that houses the sound input and output of the studio. vagr shop. The cover shot covers the main action and movement. It serves as a reserve shot to which the director can return if other shots are unfavorable. "Crgwl". A title rolling drum, controlled by gears and pulleys, which moves slowly. grosslighting. Lighting that comes from the side of the stage, crossing diagonally. This lighting is used for modeling or giving roundness to the talent or object. 204 GLOSSARY (continued) Data sheet. A statistical recapitulation of all the camera, lighting and sound data in the film production. Depth of fopus. The distance from the camera, in a specified area, at which the subject is most clearly seen. Dimmer control. A resistance device which is used to adjust the voltage of a lamp by raising or lowering the intensity. Dissolve. Two shots superimposed over each other so that as the second one begins to appear, the first one fades out and finally disappears. Dolly. (Verb) To move the camera.from one place to another. Also known as "trucking". (Noun) The wheel-mounted tripod base of the camera. flgry” rehearsal. A studio rehearsal done without the use of cameraSe Dupe negative. A duplicate negative film printed from a positive print, which is used for reproducing additional positive prints. Ediping. The joining, splicing and juxtaposing of scenes, to make up the complete film, in which the unsatisfactory footage is removed. Effective brightness. The average overall brilliance of the tele- vision image. Emulsion speed. The sensitivity of film to light, and the speed at which an image is formed on the film. Emulsion. A thin coating covering the celluloid base of the film, which is sensitive to light. Field camera monitor. Each camera has a monitor which shows its individual picture. Fill light. A frontal type of lighting used to fill in the shadows, thus lowering contrasts. Film barrel. A metallic or plastic cylinder lined with a soft cloth, in which edited pieces of film are placed, to avoid the scratching of emulsions, and to keep the film free from dust particles. 205 GLOSSARY (continued) Fi m camera chain. A complete unit used to present films on television, made up of a projector and an iconoscope. Flat. Flat sections of canvas stretched on a frame, to repre- sent a wall or background for scenes. Flip cards. 'Printed or hand-lettered cards used to present a message by having the cards fall consecutively. Elgt lighting. A front lighting, supported by little cross or backlighting, which does not afford much contrast or modeling of the subject. Flue grain film. A type of film the structure of which is most satisfactory for the recording of sound. "Fluffs". Errors in acting, lines or directions, or any phase of production. Fluorescent slimlines. A type of floodlight made up of fluor— escent tubes in a pan-like reflector. F- number. This number signifies the camera aperture. It is arrived at by dividing the diameter of the opening by the focal length. Footage. The way in which a film is measured, and the standard of length. Font. A description of the type face. Format. The structure of a show. Foundgtion light. A general overall illumination, having no character of its own. Frame. (Verb) T0 line up the subject in the viewfinder, pre- cisel as desired. (Noun One complete picture. Fresnel. The name of a spotlight with a simple lens optical system providing a beam which can be focussed between ten and forty-five degrees. Gain levgl. The control of volume peaks on an average below one hundred. 296 GLOSSARY (continued) Grain structure. The structural characteristic of film, which is either coarse or fine grains. Graphic arts. Lettering, titling, illustrative material and photographic cepy. Gray contrasts. The color range in which the picture is seen in the television image. Gray scale. A graduated scale of gray colors to compare the reproduction of natural colors on the television screen. Horizonpal angle lens. A piece of celluloid on which is in- scribed angles representing the various lenses Of a television camera. Iconoscope. A cathode mosaic which is used in the film camera chain. Inter—cuppipg. In television, this is a switching from camera to camera. It is also a means of pointing up ideas by quick flashes of visual aids, which correspond with the key ideas. Key light. The main point of illumination in a scene. Keystoning. The wedge-shaped distortion Of a picture frame, making it appear wide at one end and narrow at the other. Large-screen projection. ProjectiOn on theatre-sized screens. Lens focal length. That characteristic of a lens which deter- mines the field viewed by the lens. Lighp reading. The illumination level indicated on a light meter. Light density. The quality or degree of light on a film. Limbo. A shot used in television, using little or no background, but identified by some Object related to the show. Long shot. (LS) A shot taken from a long distance to provide a complete view of the subject in a background. Masking. A border around the home television set, blocking out some of the picture. . 207 GLOSSARY (continued) Mastgr prinp. In reversal film, the original print which is pro- cessed becomes the master. From this dupe negatives and release prints are made. Master monitor. A screen on which is seen the picture which is to be aired. The light contrasts on this monitor are controlled by the shading engineer. Matched dissolve. The superimposition Of a picture over another which it matches in shape, after which the first picture fades away. Matte. A framing unit placed in a viewfinder, to correspond with thelens in the camera. Medium_long shot. (MLS) Almost a full shot, with only the feet cut off. Medium shot. (MS) A camera shot which shows the subject from the knees up. Modeling light. Lighting from the side which adds roundness and depth to the face. Monochromatic scalp. A graduated scale Of one color. This scale, which is used in films, corresponds to the gray scale used in television. Mosglg. The sensitive surface Of a camera tube, usually made of some light-sensitive photo-electric material. 29g_gamg§gfl. Appearing in the picture. ngrhead grid. A system of overhead railings to which lights were attached. - Panning. A-slow swinging of the camera in any direction. Picture composition. The appearance Of the subject in the picture frame. a Procepsing. Developing and printing the film in the laboratory. Rgmote plctggg. A picture taken outside the studio. Release prints. Distribution prints made from the dupe negative. 208 GLOSSARY (continued) Reversal film. A film which after exposure is processed to produce a positive image on the same film rather than on the customary negative image. Rimmi.g. Light used from behind an object to produce depth by making it stand out from its background by rimming it with light. §§. Abbreviation for "Same Shot". Sggng Bgagg. An identification unit that is shot before each scene showing the scene, shot, 'take and title of the production. Sgoop ligh . A type of light which looks similar to a scoop in shape. It provides general light, rather than spot light. Shading. The control of the video signal which determines the contrasts on the television tube. Shadow balance. The elimination of extreme contrasts in shadows. Shooting script. The script used to shoot the final production. It contains all cues, camera angles, and shots used. Shot. The smallest breakdown in the production of a film. Single gystem sound recording. The simultaneous recording of sound and picture on one piece of film. Slide. A title or picture on a single 35mm. film frame pro- jected into the camera. Sound head. The part of a projector which contains a photo- electric cell beam focussed on the sound track. Sound track. A narrow band along one side of a sound film, which carries the sound record. Sgund track exposu g. The voltage fed from the amplifying unit to the sound track. Splice. A joining between two pieces of film. Start—and-stog rehearsal. A rehearsal which is started and stOpped for correction of poor shots, composition and continuity. 209 GLOSSARY (continued) Stills. Photographic or other illustrative materials which may be used in a television broadcast. Switching unit. A device used to control the picture which is to be aired, from among all of the cameras. Take. An exposure of film. Televiewer. A device which reproduces by means of a lens, the scene as it would appear through the television camera lens. Tight shot. (TS) A shot which includes only that physical part desired by the director. Title rolling drum. A moving cylinder on whose convex surface printing appears. The "drum" moves in front of a stationary camera, bringing the wording into view. Titles. Any titles used on a program. These can be motion picture film, cards, or slides. Tripod dollies. A type of three-legged camera support used to hold field cameras, and move them from place to place. Truck. To dolly in parallel motion with a moving figure. For example, to follow a person walking down the street. Turntables. Units on which electrical transcriptions are played and fed into the audio console. Uni-directional micrOphone. A micrOphone which responds to sound from one direction only. Variac transformer. An auto transformer unit which was used as a dissolving device for slide projectors. Video. Pertaining to that which is seen. Video gain, The signal on the television monitor in which the brightness or darkness is controlled by the video engin- eer. 210 GLOSSARY (continued) Viewfinder. An optical device on the camera which provides an Volume image approximating that which is formed by the lens on the film. The parallax viewfinder referred to here is defined as follows: It is adjusted so that the viewfinder and the lens converge on an axis. Compare the viewfinder to a pair of eyes focussed on an object. When you close either eye, the object appears to have moved. Actually, the observer has moved. aids. Charts, props, models and cartoons used to emphasize the talk visually. indicator. A meter which shows the total variations in volume during a program, expressed in decibels. Waist shot. (W8) A shot which includes the subject from the waistline to the t0p of the head. Weaving. Unwanted lateral motion of the film in the camera or projector, or of the camera itself. Work prinp. The print produced from the original camera nega- tive. All editing work is done on this work print. ”J- v V— .- A A ,_ I ova—urn... ..-wmw “L ‘W. h‘.—'._ ____A I A , 5'57 MW noon “55 da 19 ’53 I 10 '5' names ”1653 i2 '53 .- t :_?‘-.'_.‘~L;§-"‘-_~"ii{-l,g g. 17 '53 . N0 4 '5? ti '54 , i. 22 APR 2 9 '5?— Dac 20' ’3' “2456 Mar9'56 Dec 12:55 Oi“.Y MICHIGAN STATE UNIV RSITY LIB Ill If Will” 0 "WI“ 3056 6230 3 1293