From the collection of the
m
o Prelinger v Jjibrary
San Francisco, California 2007
JOURNAL OF THE SOCIETY OF
MOTION PICTURE
AND
TELEVISION
ENGINEERS
THIS ISSUE IN TWO PARTS Part I, June 1953 Journal • Part II, Index to VoL 60
VOLUME 60 January — June 1953
SOCIETY OF MOTION PJ& T U R E AND TELEVISION ENGINEER'S
40 West 40th St., New York 18
CONTENTS— Journal
Society of Motion Picture and Television Engineers
Volume 60 : January — June 1953
Listed below are only the papers and major reports from the six issues. See the Volume Index for those items which generally appear on the last few pages of each issue: Standards, Society announcements (awards, Board meetings, committee reports, conventions, engineering activities, membership, nominations, section activities), book reviews, current literature, letters to the Editor, new products and obituaries.
January
Frlm Projection Using Image-Orthicon Cameras . . . R. D. CHIPP 1
Shooting Live Television Shows on Film KARL FREUND 9
Practical Aspects of Reciprocity-Law Failure J. L. TUPPER 20
A Method of Lighting Large Fields for High-Speed Motion Picture
Photography HARRY R. CLASON 30
X-Ray Motion Picture Camera and Printer for 70mm Film ....
S. A. WEINBERG, J. S. WATSON and G. H. RAMSEY 31 Application of Wide-Angle Optics to Moderately High-Speed Motion
Picture Cameras H. E. BAUER and A. W. BLAKE 38
New Automatic Film-Threading Motion Picture Camera
G. J. BADGLEY and W. R. FRASER 49
Animation Stand of New Design E. H. BOWLDS 58
February
Rapid Drying of Normally Processed Black-and- White Motion Picture
Film F. DANA MILLER 85
Further Experiments in High-Speed Processing Using Turbulent Fluids
LEONHARD KATZ and WILLIAM F. ESTHIMER 105
Isotransport Camera for 100,000 Frames Per Second
C. DAVID MILLER and ARTHUR SCHARF 130 Photographic Instrumentation in the Study of Explosive Reactions .
MORTON SULTANOFF 145
Television Camera Equipment of Advanced Design L. L. POURGIAU 166 Splicing Motion Picture Safety Film Without Cements or Adhesives .
LEONARD A. HERZIG 181
ii Contents: Journal of the SMPTE Vol. 60
March
Sound-on-Film Recording Using Electrooptic Crystal Techniques . .
ROBERT DRESSLER and ALBERT A. CHESNES 205 An Intermediate Positive-Internegative System for Color Motion
Picture Photography
C. R. ANDERSON, N. H. GROET, C. A. HORTON and D. M. ZWICK 217
Kinescope Recording Film Exposure Control
RALPH E. LOVELL and ROBERT M. ERASER 226 Time-Zone Delay of Television Programs by Kinescope Recording .
RALPH E. LOVELL 235 History and Present Position of High-Speed Photography in Great
Britain W. DERYCK CHESTERMAN 240
Rapid-Sequence Camera Using 70mm Film . CHARLES A. HULCHER 247 Precision Film Editor Utilizing Nonintermittent Projection ..... ...
TORBEN JOHNKE 253
The Bridgamatic Developing Machine ,.
JOSEPH A. TANNEY and EDWARD B. KRAUSE 260 The Stereoscopic Art (A Reprint) JOHN A. NORLING 268
April — Part I
Recommendations of the National Television System Committee for
a Color Television Signal A. V. LOUGHREN 321
Eidophor System of Theater Television .... EARL I. SPONABLE 337 The Fischer Large-Screen Projection System (A Reprint) . E. BAUMANN 344 Review of Work on Dichroic Mirrors and Their Light-Dividing Char- acteristics MARY ELLEN WIDDOP 357
Television Recording — Abstract W. D. KEMP 367
Synchro-Lite Powered 16mm Projector ............. !
R. E. PUTMAN and E. H. LEDERER 385
New Professional Television Projector W. E. STEWART 390
High-Speed Photographic Techniques for the Study of the Welding
Arc I. L. STERN and JOHN H. FOSTER 400
Use of Photography in the Underground Explosion Test Program, 1951-1952 R. M. BLUNT 405
April — Part II
Manufacture of Magnetic Recording Materials
EDWARD SCHMIDT and ERNEST W. FRANCK 453 Commercial Experiences With Magna-Stripe . . EDWARD SCHMIDT 463
Magnetic Striping Techniques and Characteristics
B. L. KASPIN, A. ROBERTS, JR., H. ROBBINS and R. L. POWERS 470 Magnetic Striping of Photographic Film by the Laminating Process . 485
A. H. PERSOON
Contents: Journal of the SMPTE Vol. 60
iii
Magnetic Sound Tracks for Processed 1 6mm Motion Picture Film
THOMAS R. DEDELL 491
Notes on Wear of Magnetic Heads
G. A. DEL VALLE and L. W. FERBER 501
A Study of Dropouts in Magnetic Film .... ERNEST W. FRANCK 507 Methods of Measuring Surface Induction of Magnetic Tape ....
J. D. BICK 516 Standardization Needs for 16mm Magnetic Sound . E. W. D'ARCY 526
May
Progress Committee Report GEORGE R. GROVES 535
Color and Reflectance of Human Flesh
ALLEN STIMSON and EDWARD FEE 553
Televising a Symphony Orchestra RUDY BRETZ 559
Influence of Echoes on Television Transmission . . PIERRE MERTZ 572 Erratum : Recommendations of the National Television System Com- mittee for a Color Television Signal 596
Applications of High-Speed Photography in Rocket Motor Research .
FLOYD G. STRATTON and KURT R. STERLING 597 Simple Electronic Devices for High-Speed Photography and Cine- matography P. FAYOLLE and P. NASLIN 603
June
Resolution in Stereoscopic Projection . . . BERNARD G. SAUNDERS 651 Depth Perception; With Special Reference to Motion Pictures — A
Reprint THADDEUS R. MURROUGHS 656
70mm Test Vehicle Recorder CHARLES T. LAKIN 671
High-Speed Motion-Picture Photography of Electrical Arcs on a
High- Voltage Power System
EVERETT J. HARRINGTON and HAROLD C. RAMBERG 675 Addendum to Progress Committee Report : Developments in Germany
GEORGE R. GROVES 680
Visual Examination of 16mm Photographic Sound Tracks
O. L. GOBLE 688
Processing 16mm Color Film With a Silver Sound Track
JOHN FRITZEN 690
Matching Densitometry to Production .... HOWARD T. RAFFETY 692 Transmission Densitometer for Color Films ... K. G. MACLEISH 696 Motion-Picture Sound Installation at the University of California at
Los Angeles BARRY EDDY 709
Improved Equipment for Drive-in Theaters . . . . R. H. HEACOCK 716 Drive-in Theater Dub'l Cone In-a-Car Speaker . J. ROBERT HOFF 721
iv Contents: Journal of the SMPTE Vol. 60
Film Projection Using Image-Orthicon Cameras
By R. D. GHIPP
Presented here are the results of over a year's use of image-orthicon cameras for all film transmitted by television station WABD, New York, totaling ap- proximately 2000 hr. In addition to brief consideration of the technical problems encountered, cost, reliability, convenience and other operational factors are discussed.
o
VER THE PAST two years there have been a number of discussions concerning the use of the image-orthicon pickup tubes for the transmission of film.1"3 These have covered, in some detail, the characteristics of such tubes, and the basic design of film projectors for television. They have also suggested some of the advantages and the dis- advantages of film cameras using image orthicons. The Research Division of the Allen B. Du Mont Laboratories, Inc. commenced tests of this type of pickup in 1948. By early 1950 image-orthicon techniques were such that practical operating tests were in order. WABD in New York then installed one unit. The results led us to conclude that, for the broadcasting of "run-of-the-mill" available film, often without system preview or rehearsal, the image-orthicon camera had several desirable features. By early 1951, WABD was using Type 5820 Image Orthicons for all film transmission. It
Presented on October 6, 1952, at the Society's Convention at Washington, D.G., by R. D. Ghipp, Director of Engineering, Du Mont Television Network, 515 Madison Ave., New York 22, N.Y.
should be emphasized that we were primarily concerned with consistently good reproduction of films of uncertain vintage and quality, rather than with excellent reproduction of a few films especially made and processed foi television.
Projectors
The WABD projection room was originally laid out in March 1946, and equipped with two Simplex 35mm and one Victor 16mm projectors. These had been modified for 2-3-2-3 pull- down. In 1948 we added two Du Mont- Holmes, Model 5130G, 16mm television projectors. These were placed and mounted as shown in Fig. 1 . Mounting details for the 16mm projectors, which weigh approximately 300 Ib, are shown in Fig. 2. The concrete base weighs approximately 500 Ib and provides extremely steady operation. Tests for picture stability are better than the proposed RTMA/SMPTE specifica- tions, and no mechanical changes have been necessary to adapt any of the projectors to image-orthicon use.
Cameras
The cameras are standard Du Mont equipment, Model TA-124, normally
January 1953 Journal of the SMPTE Vol. 60
Fig. 1. WABD projection room.
Fig. 2. Mounting details of 16mm projector.
used in studios and in the field. Each is equipped with a 90-mm //3.5 lens, and so placed with respect to the screen that the photo cathode is 1 8f in. distant. The only change required was reversal of the horizontal sweep, which is ac- complished by switching two leads on
the deflection yoke. The cameras are aligned and adjusted in a conventional manner, using the "knee-of-the-curve" technique.
Screen
The original projection room was equipped with iconoscope cameras mounted on tracks. These were moved into position in front of any one of the four available projectors, which were separated from the cameras by a fire wall. This was a conventional arrange- ment. In order to substitute image- orthicon cameras, with no disruption of a heavy operating schedule, it was decided to retain the same method of camera mounting. This, in turn, pre- cluded use of direct projection, and indicated use of an intermediate screen between the projector and camera. The 16mm projectors, originally
January 1953 Journal of the SMPTE Vol. 60
equipped with 4-in. lenses for iconoscope use, were refitted with 2-in. //1. 9 lenses to produce a 3f in. X 4j in. image on the screen. The 35mm projectors, origi- nally equipped with 8^-in. lenses, were refitted with 5-in. //1. 9 lenses. Tests of many screen materials were made. Among the materials tested were tracing paper, standard rear-projection ma- terial, experimental translucent plastic, latex, ground glass and flashed opal. In view of the relatively small image size, most of these materials were dis- carded because of excessive grain. From the standpoint of minimum grain and minimum light dispersion, latex ap- peared to be superior to other materials. However, it aged rapidly, changed color, and was difficult to keep clean. Ground glass, which did not have these undesirable characteristics, was finally selected as satisfactory for practical use. A metal hood is used to prevent stray light from reaching the screen from either side. Figure 3 shows the hood from the projection-room side, and Fig. 4 from the camera side. Note in Fig. 4 the detent mechanism which permits the rapid movement and precise location of the cameras.
Light Reduction
As is well known, substitution of image orthicons for iconoscopes requires a substantial reduction of the light intensity to secure operation of the pickup tube at the proper point on the characteristic curve. Many means of accomplishing this have been suggested. We elected an extremely simple method : the substitution of a 300-w projection lamp for the usual 1000-w lamp. These lamps are operated at 90 v instead of the nominal 1 1 5 v. Screen brightness meas- urements, with no film in the gate, showed 125 ft-L, uniform within ap- proximately ±10 ft-L. In order to reduce the light output of the 35mm projectors to equal that of the 16mm projectors, we dropped the arc current
from 25 amp to 20 amp and added neutral density filters having 40% transmission. With the opening of the Du Mont Tele-Center in New York, new and less expensive light sources, now under investigation, will be used.
Operation and Adjustment
Image-orthicon cameras are equipped with vertical and horizontal saw-tooth controls for shading. We have found that these can be set for a particular pickup tube and specific light input, and no shading adjustments need be made during the running of a film. Figure 5 shows the operating position at WABD. One operator handles two cameras, plus remote control of a flying spot scanner and automatic slide changer. The Du Mont cameras in- corporate a black peak clipper as well as a white clipper. The white clipper is set so that normal white is never saturated, but extreme highlights may be reduced in amplitude. The black peak clipper is set so as to maintain constant black level and thus maintain standard setup. With most film, and a Type 5820 Image Orthicon, the camera lens may be stopped down to //5.6. When using a 5826, a typical aperture is //3.5. These lens settings are average. We have observed that the sensitivity of image orthicons of equal age may vary from tube to tube by a factor of 5. Sensitivity may also change with age by a factor of as much as 10. These variations are equalized by changing the lens stops. As indicated above, we have used both 5820 and 5826 for film transmission. The 5826 pro- vides improved signal-to-noise ratio, and a somewhat better gray scale. Under some circumstances, with very dark scenes or very dense film, some adjustment to the iris is made. Also on occasion video gain and target voltage may be varied in order to avoid excessive black saturation. However,
R. D. Chipp: Image-Orthicon Film Pickup
Fig. 3. Light shield in front of 35mm projector.
Fig. 4. Light shield on camera side of fire wall. January 1953 Journal of the SMPTE VoL 60
Fig. 5. Film camera operating position.
we have found that very little "gain- riding"* is necessary on average film.
Cost
There has been considerable discussion of the cost of using image orthicon tubes for film projection. Table I shows the life records of iconoscopes used in 1948, 1949 and part of 1950, together with those 5820 Image Orthicons used for film from mid 1950 to early 1952. Experience to date indicates that 5826 and 5820 Image Orthicons have com- parable life when used for film. The average hourly costs, based on list
* "Gain-riding," an expression which originated in sound broadcasting, origin- ally referred to the frequent and sometimes continuous adjustment of audio amplifier gain controls to compensate for changes in program volume. The term has carried over into television broadcasting and may refer, in addition to its original meaning, to adjustment of the various video controls to compensate for changes in picture content.
prices, are 25.7j£ and 83.8^, respectively. Table I shows also the hourly cost of projection lamps, which is believed in this instance to be of significance.
The iconoscopes were generally re- moved from service for loss of resolution
Table I
Image orthicon (5820) |
Icono- scope (1850A) |
|
Hours Average hours Cost/hour Proi. lamp cost /he |
2200 2660 765 665 1407 666 804 2285 1431.5 |
1256 1481 1533 1441 2660 1876 3590 3003 2102.5' |
$0.838 mr 0.128 |
$0.257 0.660 |
Total cost /hour $0 . 966 $0.917
R. D. Chipp: Image-Orthicon Film Pickup
Fig. 6A. A frame reproduced on an iconoscope system,
Fig. 6B. A frame reproduced on an iconoscope system. January 1953 Journal of the SMPTE Vol. 60
Fig. 7 A. The same frame as in Fig. 6A reproduced on an image-orthicon system.
Fig. 7B. The same frame as in Fig. 6B reproduced on an image-orthicon system. R. D. Chipp: Image-Orthicon Film Pickup
and low output, whereas the orthicons are generally removed, as is the case in studios, for "sticking."* Note that when tube and lamp costs are added, the expense of using iconoscopes is 92£ per hour and the expense of using image orthicons is 97^ per hour.
Conclusion
Admittedly, an iconoscope chain, carefully modified and maintained and skillfully operated, can produce ex- tremely good pictures from good film. However, it has been our experience at WABD that the image orthicon camera can also produce good pictures, with no operational difficulty, from nearly all grades of film. Moreover, to the broadcaster, there are certain other advantages that may be gained from the use of image orthicons. Technical man- hours used for system previews and film rehearsals may be eliminated. When all cameras in a station are of the same type, maintenance procedures may be stand- ardized and simplified. Further, spare parts and tube inventories may be reduced. Finally, the operating cost is not appreciably in excess of that of the iconoscope. Figures 6A and 6B are frames from film reproduced on an iconoscope system, and teletranscribed directly from the line. Figures 7A and 7B are the same frames from the same film, as reproduced on an image orthicon system and teletranscribed on the same facilities. Although many conclusions may be drawn from careful analysis of these pictures, it may be said that the second picture does not suffer by comparison.
References
1. R. L. Carman and R. W. Lee, "Image tubes and techniques in television film
* "Sticking" refers to a phenomenon which occurs in image orthicon tubes, wherein, when a camera is panned from one scene to another, the first scene is briefly retained on the photocathode. As tubes age, the period of retention increases, and the tube is finally no longer satisfactory for broad- cast use.
camera chains," Jour. SMPTE, 56: 52-64, Jan. 1951.
2. K. B. Benson and A. Ettlinger, "Prac- tical use of iconoscope and image orthicons as film pickup devices," Jour. SMPTE, 57: 9-14, July 1951.
3. P. J. Herbst, "Televised film," Broad- cast News, May- June 1952.
Discussion
George Lewin (Signal Corps Photo Center): If there's a problem due to grain of the screen material, can't that be eliminated by just using a larger image on the screen?
Mr. Chipp: Yes, it could. Perhaps I didn't stress sufficiently the physical prob- lem that we had in using an existing loca- tion. Now, when we move to our new studios — if we do not use direct projection into the tube, we will use a larger screen.
Anon: I wonder if you must form a first image on the screen. I'm not sure what your optical system is, but it would seem that the screen can be eliminated.
Mr. Chipp: Well, the optical system is conventional in both the projector and the camera, so that we form an image on the screen. . . .
Anon: There is then no reason really to form a first image. All you need is a field lens between two lenses.
Mr. Chipp: Yes, that's probably true. I think investigation might show the field lens would be something rather expensive.
Anon: Also, a field lens could be very cheap and very simple as long as it's in the plane of the first image. Every micro- scope uses this in almost every optical sys- tem. It's used to carry an image through several lenses.
Mr. Chipp: That might be the case. We haven't fully investigated that.
Barton Kreuzer (RCA, Camden, N.J.): What do you do in case of stills?
Mr. Chipp: We use the flying-spot scan- ner for all slides. You didn't see the scan- ner in the picture, but the controls for the scanner are next to the video operator below the orthicon camera controls. In the case of a program where there may be a series of titles, we use title cards in the studio. They're picked up by the studio image orthicon.
Mr. Kreuzer: In these iconoscope com- parisons, did the iconoscope chain have the latest improvements in it that were described to the industry and pretty generally accepted about six or eight months ago?
Mr. Chipp: Yes, to the best of my knowl- edge.
January 1953 Journal of the SMPTE Vol. 60
Shooting Live Television Shows on Film
By KARL FREUND
Experience in shooting live television shows on film is described, in which three motion picture cameras were used instead of television cameras, with overhead lighting and in the presence of an audience. Subject contrast was measured by means of a flare-free brightness photometer.
JL HERE ARE various methods by which programs are produced for home television: (1) the direct live show with audience participation, (2) the same show kinescope recorded, (3) motion picture films formerly made for theater exhibition and (4) motion pictures especially made for television by the use of one camera and lights properly placed for each individual camera setup. In 1951 Desilu Productions (Desi Arnaz and Lucille Ball) asked me to be Director of Photography for the / Love Lucy audience-participation show, intro- ducing for the first time a deviation from standard procedure. Television cam- eras were to be replaced by three motion picture cameras to provide more flexi- bility in editing and nation-wide better photographic quality than that accom- plished by kinescope recording.
Presented on October 7, 1952, at the Society's Convention at Washington, D.C., by John W. Boyle for the author, Karl Freund, Director of Photography, 15024 Devonshire St., San Fernando, Calif.
Being aware that this was a step in the right direction and a challenge to a motion picture camerman, I accepted the assignment without realizing that be- sides the usual problems connected with photographing motion pictures, I would inherit additional troubles photograph- ing a live television show.
A regular motion picture studio was equipped with bleachers to accommodate approximately 300 people and a series of directional microphones and loudspeak- ers installed overhead (Fig. 1). The lighting for the sets had to be placed above, to give the audience a clear view of the show and also to give the cameras 100% mobility without interference of floor cables.
Motion picture technicians have ex- pressed a special curiosity as to why it was decided to present the / Love Lucy show before a live audience. It seemed unusual to make so many painstaking preparations to please a group of only 300 spectators each week when the show was aimed at an ultimate audience of many millions. And yet the one thing which may be the key to the popularity
January 1953 Journal of the SMPTE Vol. 60
Fig. 1. Regular motion picture studio equipped with bleachers to accommodate
approximately 300, with directional microphones
and loudspeakers installed overhead.
10
January 1953 Journal of the SMPTE Vol. 60
Fig. 2. Lights placed above the set to give the audience clear view of show and to give the cameras 100% mobility.
of the program is the long accepted fact that an audience has an astonishing effect in stimulating performers. It also has been generally acknowledged that laughs dubbed in later sound highly artificial.
It naturally would have been com- paratively more simple to produce / Love Lucy in routine fashion, and certainly a better guarantee of good photographic and composition results would have been accomplished through ordinary methods of setups and close-ups with as many re- takes as necessary.
Since it was necessary to place the lights overhead (Fig. 2) and at the same time do photographic justice to the actors, the natural thing was for me to begin with a series of tests. After pro- jecting these tests in the laboratory pro- jection room, I found they had the qual-
ity I was accustomed to when photo- graphing motion picture comedies, but when viewed over a closed television circuit, these prints showed too much contrast.
Seeking an explanation for this, I was briefed by television engineers and in- formed that the iconoscope tube, which is most used for monochrome film tele- casting, has certain limitations not yet overcome by the manufacturer and I was cautioned to keep this in mind and reduce my lighting contrast and sup- press the brightness range considerably. Next, I familiarized myself with current television publications of film manufac- turers from which I quote:*
*"The Use of Motion Picture Films in Television," Eastman Kodak Co., 1949, p. 12.
Karl Freund: Shooting Television Films
11
Fig. 3. Brightness spot meter to measure brightness of a very small area at any distance from 4 ft to infinity.
"The most notable departure from standard motion picture technique in making films for television use is that relating to the subject lighting contrast which is required. The limited range of brightnesses which can be reproduced as satisfactory tone scale values in the television system imposes restrictions on the range of brightnesses which can be effectively reproduced on a receiver screen from a subject being televised."
It should be noted that the term "lighting contrast" does not mean sub- ject contrast or subject brightness range.
The true subject contrast or subject range is usually much higher than the lighting contrast since it takes into account the different reflectances of the various elements of the scene. It can be measured accurately only by means of a flare-free telescopic type of brightness photometer (Fig. 3) which measures an extremely small area and which allows the instrument to be situated at a suffi- cient distance so as not to obstruct any light falling on the subject. In film tele- casting the subject is an image on film,
which means that the density range must not exceed a certain value if good tone reproduction is to be obtained both in highlights and shadows.
I should quote further :
"The question which immediately arises is what method to use in order to obtain the desired density compression in the positive print. Upon first ex- amination it might appear that this might be accomplished equally well in at least three different ways :
(1) In exposing the original negative, use a subject lighting contrast which is considerably lower than that which is normally used for conventional black-and- white motion picture photography, and process both the negative and print in the normal way.
"(2) Use normal lighting contrast and exposure but alter the processing condi- tions of negative or positive or both, to obtain an overall reproduction gamma which is lower than normal.
"(3) Use normal lighting contrast and exposure, process the negative and posi- tive in the usual manner, but make the print 2 or 3 or more printer steps lighter than what would be desirable if the print were to be used for normal projection purposes."*
In shooting / Love Lucy I selected the first method since this involved no de-, partures from standard practice in proc- essing laboratory operations.
One important point I want to men- tion at this time is that in viewing the first show over my own television re- ceiver, I realized that I do not have com- plete control of the end results. There is an engineer in every control booth when the show is televised who can change the screen image according to instructions and depending upon the condition of the equipment he has to work with; besides, there are millions of individual television owners who also have control over the quality of the final product on their own screens. Disturbed by all these condi-
Ibid., p. 13.
12
January 1953 Journal of the SMPTE Vol.60
REHEARSAL SCHEDULE FOR "I LOVE LUCY" #46 Friday, September 5, 1952
8:00 A.M.
9:00 A.M. 10:30 A.M. 11:00 A.M.
11:30 A.M. 11:45 A.M.
12:00 Noon
to 12:30 P.M.
12:00 Noon
to 3:00 P.M.
3:00 P.M.
to 4:00 P.M.
4:00 P.M.
to 7:00 P.M.
7:00 P.M.
to 8:00 P.M.
ELECTRICAL
Gaffer7"
Best Boy
3 Operators
2 Dimmer Men
1 Gen. Oper. (GSS)
1 Stand-By Laborer
GRIPS
Noble Craig 2nd Grip
Karl Freund Jack Owen
2 Cable Men
2 Stand-ins
3 Asst . Cameramen 1 Mike Man
3 Dolly Grips
3 Camera Operators
Lunch for early crew
REHEARSAL WITH CAMERAS
Lunch for late crew and cast
REHEARSAL WITH CAMERAS
DRESS REHEARSAL — CAST
N. Craig F. Jenkins Best Boy Jack Owens
Fig. 4A. Typical schedule for first day rehearsal with cameras. Karl Freund: Shooting Television Films
13
SHOOTING SCHEDULE FOR "I LOVE LUCY" #46 Saturday, September 6, 1952
12:30 P.M. ELECTRICAL GRIPS
Gaffer Head Grip
Best Boy Floor Grip 2 Operators
1 Floor Man
2 Dimmer Men
1 Gen. Oper. (GSS)
12:30 P.M. Hairdresser — B. French
1:00 P.M. 3 Asst. Cameramen
SOUND
Mixer— 1:30 P.M. Mike Man— 1:00 P.M. 3 Cable Men— 1:00 P.M.
3 Dolly Grips —1:00 P.M.
2:00 P.M. |
Karl Freund |
2:00 P.M. |
REHEARSAL WITH CAST |
to |
|
5:30 P.M. |
|
4:00 P.M. |
1 Camera Loader-Recorder |
1 Makeup Man — Hal King |
|
5:30 P.M. |
Dinner for cast and crew |
to |
|
6:30 P.M. |
|
6:15 P.M. |
MUSIC BALANCE and RECORDING |
from stage |
|
6:30 P.M. |
TALK THRU — Conference with Bill |
to |
Asher (all crew except sound |
7:15 P.M. |
man) |
7:15 P.M. |
Doors Operu |
7:45 P.M. |
Warm-up |
8:00 P.M. |
SHOW |
to |
|
9:30 P.M. |
|
9:45 P.M. |
Start pickup shots |
Fig. 4B. Typical schedule for second day rehearsal with cameras. 14 January 1953 Journal of the SMPTE Vol. 60
Fig. 5. The only floor lights used are mounted on the bottom of each camera dolly; movements of the dollies are marked on floor for each individual scene.
tions, I was advised by television authorities to be. patient, compromise with the young industry and trust in future developments which in time would give us the quality we are accus- tomed to seeing in motion pictures.
The following is an outline of the prac- tice established in shooting the / Love Lucy and Our Miss Brooks shows.
Four days are required to line up each weekly show — two days of which are taken by the director and the cast for re- hearsals. At the end of the second day I have an opportunity of seeing a run- through which enables me to make notes and sketches of positions to be covered by the cameras and to instruct the elec- trical crew as to where the lights are to be placed. The last two days are occupied by rehearsals with Cameras. Figures 4A
and 4B show typical schedules for the two days of rehearsal with cameras. These schedules have to be kept up to the minute by everybody concerned, in- cluding the cast, because a show with audience participation must go on at a specified time. The actual shooting time for the entire show is approximately one and a half hours.
The cameras used are three BNC Mitchells with T-stop calibrated lenses on dollies. The middle camera usually covers the long shot using 28-mm to 50- mm lenses and the two close-up cameras 75° to 90° apart from the center camera using 3- or 4-in. lenses, depending upon certain requirements for coverage.
Mounted on the bottom of each cam- era dolly and above the lens, controlled by dimmers, are the only floor lights used
Karl Freund: Shooting Television Films
15
Fig. 6. Electricians handling the dimmer board.
Fig. 7. Overhead lights using 6 1-K silver-coated lamp bulbs for indirect lighting. 16 January 1953 Journal of the SMPTE VoL 60
(Fig. 5). A crew of four men — the operative cameraman, assistant, grip and cable man — is required on each camera, and coordination among them is essential, unlike in television where the responsibility lies with only one man handling his own camera movements, focusing, tilting and panning and having the additional advantage of viewing his results immediately.
Each movement of the dollies is marked on the floor for each individual scene (Fig. 5). The entire crew uses an intercommunication system, since all the movements of the camera are cued from the monitor box. I personally use a two-circuit intercommunicator to enable me to talk separately to the monitor booth and the camera crew on one, and to the electricians handling the dimmers and the switchboard on the other (Fig. 6).
It is a noteworthy coincidence that just 30 years ago this month, I introduced the moving camera to the motion picture industry in the German picture Last Laugh. If I had known then what trouble I was storing up for myself, especially in the / Love Lucy show where the cameras are moving constantly, I certainly would have thought twice be- fore starting this innovation.
Since the audience is lost at the end of each show, retakes are not desirable be- cause laughs would then need to be dubbed in. Retakes are therefore made in emergency cases only. Even better- lit close-ups, taken by a single camera with properly placed lights, had to be discarded. Cutting these so-called "glamour" close-ups into the picture proved unsatisfactory as it was found that they stood out like a sore thumb. Retakes were made when necessary, and the same lighting used as during the show except for minor unnoticeable changes.
The illumination level of 250 foot- candles measured with the incident light meter and the lighting contrast of 2 to 1
are maintained practically over the en- tire set.
The lens T-stop is 4.5. The per- missible brightness range which is gov- erned by both the illumination and the reflecting power of the various parts of the scene should not exceed a 20 to 1 ratio, so special attention is paid to makeup, dresses, props and color of the sets. The best reproduction of face tone quality I experience with makeup two to three shades darker than usually applied in motion pictures.
The following materials were of East- man Kodak manufacture: Plus X, 35mm, type 5231 Negative developed to gamma 0.68; print on Fine-Grain Re- lease Positive, 35mm, type 5302, gamma 2.40; Fine-Grain Duplicating Positive, 35mm, type 5365, gamma 1.40; Fine- Grain Dupe Negative, 16mm, type 7203, gamma 0.55; Fine-Grain Release Posi- tive, type 7302, 16mm, gamma 2.15.
New overhead lights were developed with six 1000-watt silver-coated lamp bulbs for indirect lighting (Fig. 7). For front key-light, converted 5000-watt pans with sleeves to accommodate dif- fusing material are used (Fig. 8) ; other- wise there is no deviation from standard motion picture lighting equipment.
All the lights are preset for each indi- vidual scene and changed accordingly by signals to the switchboard operator. Experiments are now under way to eliminate many individual spot lights by replacing them with sealed beam lights and better lighting equipment is in de- velopment to enable easier operation for this type of show.
To have had the opportunity to play a part in the success of the / Love Lucy show which is now rated the No. 1 television show in the nation assures me that the efforts to overcome the handicaps have not been in vain, and the results accom- plished are comparable to motion picture photographic quality where comedy treatment of lighting is required.
In conclusion, I want to give credit to the producer, cast and crew, Dr. Nor-
Karl Freund: Shooting Television Films
17
Fig. 8. Front key-light, converted 5-K pans with sleeves to accommodate diffusing material.
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January 1953 Journal of the SMPTE Vol. 60
wood Simmons of Eastman Kodak, Mr. Herb Pangborn of CBS and the staff of Consolidated Laboratories. Through their lively cooperation I am able to achieve the best photographic results.
Discussion (replies written by the Author)
Robert Af. Fraser (National Broadcasting Co., New York): How much time is spent in editing? While production time is four days up to the time of shooting there must be considerable time, of course, spent after the shooting.
Dr. Karl Freund: Four days are not re- quired for shooting; as mentioned, only two days are used for rehearsal with actors and two days for rehearsal with cameras. The actual shooting time is approximately
one hour and fifteen minutes. This in- cludes reloading the cameras, makeup changes and costume changes of the cast. The editing time is approximately four weeks.
Mr. Fraser: Is the sound recorded after the show, the musical bridges, for example, which are used evidently to cover up time lapses in the actual show?
Dr. Freund: The sound is recorded magnetically and the musical bridges are recorded before the actual shooting of the show to save expenses for special orchestra sessions.
R. T. Van Niman (RCA Victor Div., Camden, N.J.): How many weeks ahead do they shoot the shows before they are shown on television screens?
Dr. Freund: Shows you see on a television screen were shot six weeks ahead.
Karl Freund: Shooting Television Films
19
Practical Aspects of Reciprocity-Law Failure
By J. L. TUPPER
The occasional failure of sensitometric data to provide a reliable indication of the practical performance of photographic materials is usually attributable to the failure of the reciprocity law. The effect of reciprocity-law failure on the characteristic D-log £ curves of various films is shown graphically. The influence of developing time and of the temperature of the film on the effec- tiveness of exposure at various intensity levels is discussed. Certain generali- zations are made about the failure of the reciprocity law which may be helpful in reconciling differences between laboratory measurements and the results obtained in motion picture practice.
w,
ITH THE general acceptance of the methods of photographic sensitom- etry in the control of the uniformity of production of motion picture nega- tives, prints, duplicates and sound records, and in the analysis of new techniques and processes, there has been a growing concern about occasional failures of this tool to provide a reliable indication of the performance of photo- graphic materials in practice. Similarly, there is the problem in high-speed photography of reconciling sensitometric data obtained under standard conditions with the effective characteristics of the material realized at extremely short exposure times. There are many pos-
Communication No. 1518 from Kodak Research Laboratories, a paper presented on April 23, 1952, at the Society's Con- vention at Chicago, by J. L. Tupper, Eastman Kodak Co., Kodak Park Works, Rochester 4, N.Y.
sible causes of these discrepancies, but the one most frequently responsible is the failure of the reciprocity law. It is only through an understanding of the practical manifestations of this phe- nomenon that sensitometry can be uti- lized most effectively in the wide variety of applications to which it may be put.
An assumption which is frequently made in the substitution of a sensito- metric test pattern composed of sys- tematically graduated exposures for an actual pictorial or sound record is that there will be a one-to-one correspondence between the densities of the developed images resulting from equal exposures, regardless of the mechanism used in impressing the exposures on the sensitive material, or of the intensity and time components of the exposures, provided their products (/ X 0 are in all cases equal. However, the density obtained is not uniquely determined by the value
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January 1953 Journal of the SMPTE Vol. 60
of the exposure, but it usually depends upon the individual values of / and t. This failure of time and intensity to act reciprocally is a consequence of the dependence of the latent-image-forming process on the rate at which the exposure event takes place.
Latent-image theory suggests a mech- anism which explains the normal de- crease in efficiency of latent-image formation when the rate at which energy is received exceeds or falls below a certain optimum value. The tendency for latent images formed at high in- tensities to be less readily developable than those formed at low intensities has been explained on the basis of differences in the spatial distribution of the latent-image nuclei in the silver halide crystal. From a practical point of view, however, it must be reported that few photographic materials are affected exactly alike by changes in the parameters of time and intensity in the exposure equation. Strictly, in dis- cussing reciprocity failure, each material should be treated as a special case. On the other hand, there are certain typical patterns which characterize many films used in motion picture photography, and it is those which will be used to illustrate the practical significance of this phenomenon.
The conventional method of repre- senting the effect of reciprocity-law failure is a curve in which the logarithm of the exposure required to