A HANDBOOK FOR EXTENSION AGENTS

LMTED STATES DEPAKTMKNT OF A( HICl LTl KE

Agriculture Handbouk No. 55—1953
Guide for the Reader—

Page

Television for me? 1

Inside television 1

The time it takes to plan 2

Arranging for the program 3

What kind of program will I do? 4

How do I begin? 5

What to show 6

How to show 8

Guests 8

Rehearsals 9

Rundown script 14

Cueing 14

I'm convinced television's for me! 15

Script examples 16

Television terms 20

Audience for This Handbook

Although this Handbook is written especially for county

extension agents, it should prove highly useful to many others

concerned with reaching people with agricultural and home

economics information, including extension supervisors and

specialists, U. S. Department of Agriculture workers, and teachers

of vocational agriculture and home economics.

Washington, D. C. Issued July 1953
TELEVISION FOR YOU

A Handbook for Extension Agents

ßy JOSEPH D. TONKIN, Division of Extension Information,

Extension Service

and ALICE F. SKELSEY, Radio and Television Service,

Office of Information

TELEVISION

FOR ME

Yes^ television for yçu—a better

way of extension teaching that makes

use of the same skills you use in the

everyday performance of your extension job—your ability to talk, to

show, to explain, to plan.

Television for you is more efficient

because it reaches more people with a

single effort on your part. It makes

possible the concentration of the best

demonstration equipment in one place

and the presentation of specialists to a

majority, not a fraction, of the people

in your area.

Television for you reaches many

people you have never reached before.

Some people will watch television, but

would not drive 5 miles to an actual

demonstration. Television for you,

then, will reduce the necessity for

many meetings.

Television for you provides a method

of teaching by which people learn

quickly and remember what they have

seen and heard.

Television for you is not difficult.

If it appears so at first, be assured that

television for you does get easier as

you go along. Extension television is

not a show window for glamour, but

for useful, practical information.

JUST BE YOURSELF.

INSIDE TELEVISION

One of the best ways to begin your

acquaintance with television is to visit

a studio. Several preliminary visits

will help you a great deal when you begin planning your own program. At

first you may be somewhat impressed

by all the activity, the cables, the lights,

the cameras, and the people moving

about. After a while this will be routine procedure to you.

Naturally you will be especially interested in the work of the cameramen

and the cameras. Television cameras

are much like motion-picture cameras

in the work they do. The majority of
them have four lenses that are used to

cover areas of the set or stage, from

wide-angle shots to closeups. Usually

there will be two cameras for your

program, but sometimes only one.

They are mounted either on casters or

on rolling platforms called dollies.

Hence, the expressions "Dolly in" or

"Dolly out."

There may be several microphones

on the set to handle the sound portion

of tke program. The one used most

often is called a "boom mike." It is

hung from the end of a long pole (the

boom), which is usually mounted on a

rolling platform. The boom operator

can follow the talent by swinging the

boom out over the set and positioning

it noiselessly and out of view of the

camera lens. Table mikes are also

sometimes used, as well as stationary

mikes hidden about the set.

The person in charge of the crew and

the cast on the studio floor is called the

floorman. He gives the talent their

cues and directions, switches the visual

aids used "on easel," and transmits the

directions he receives from the director in the control room.

The control room is often, but not

always, set above studio level with oneway windows looking out on the studio

floor. Here the program director, video

engineer, and others, "edit" the program that will go out on the air.

Several television screens, or monitors, placed side by^ide in the control

room, reflect the pcture each floor

camera is taking. The director selects

the scene he wants from those taken by

each camera, and the video engineer

switches it on the air. A master screen

reflects the actual program as it is going

out on the air. Through a two-way intercommunication system, the director

gives the floorman directions for the

cast and crew. By means of headphones, the cameramen receive the director's instructions for the movement

and placement of their cameras, as well

as for the angle and lens shots. While

one camera is on the air, others may be

positioning or changing lens or focus

for their next "take."

Motion-picture and slide projectors

usually are located in a separate projection room of the television studio.

They are mounted in such a way that

they can be focused directly into the

face of a television camera. The picture from the projection camera is received on still another monitor screen

in the control room and cut in as

necessary.

The kind of projection equipment

available varies with each studio.

Some of the questions you will want to

ask the station are: What projection

equipment does the station have?

Film? Slide? Opaque? What are

the requirements for each ? Must slides

be aluminum mounted or will cardboard mounts do? What size? What

are the required dimensions for opaque

materials? Almost all television stations have 16-millimeter film projectors,

but check to be sure. Some stations use

35-millimeter as well.

THE TIME IT TAKES

TO PLAN

The planning and preparation of

your first few television programs may

require a good deal of time, but as your

experience with this new medium increases, the time you will need to spend

on each program decreases. A large

part of your success will rest on details—simple but necessary things such

as a spoon, a box of soil, an apple, or a

tent caterpillar. These things are not
among the properties to be found at

the studio, and so they are your responsibility. It takes time to be sure of

these details, to think your program

through, to see the end product before

you start, and to rehearse, if only at

home. Give your programs a little

time, especially at first—it will be well

spent. After you have put on a few

programs, you will have established a

routine for getting things done, and

much less time will be needed for

preparation.

ARRANGING FOR THE PROGRAM

Station contacts,—If you are making

the initial contact—proposing a program to the station—these three suggestions may add to your confidence:

First, the wide variety of interesting

and timely subject matter that you

can program ; second, the fact that

you are experienced in giving demonstrations before groups, are an authority in your own right, and can call on

specialists in various fields to be guests;

and, third, the plain fact that television

has such an enormous appetite for program material that television directors

are constantly looking for new sources.

So don't be hesitant about taking the

initiative in suggesting a farm or homemaker program to your station.

Time of day,—Experience in farm

radio is valuable in determining the

best time for television programs, although the best television time is not

always the best radio time since television demands the attention both of

eyes and ears.

From radio experience and television research, it appears that: (1)

General farm television shows will have

the largest number of rural viewers

during the noon hour, farm breakfast

hour, in the evening between 7 and 10

o'clock in the winter, and during somewhat later hours in the summer. (2)

Homemaker programs will have the

largest audiences during the early

afternoon, from 1 to 3 o'clock.

In scheduling a program with the

television program director, there will

usually be a "middle ground" between

the time you want and the time the station can offer. Any time will be a

profitable time for you, because a wellpresented farm or homemaker program

will have an appreciable audience at

any hour.

Audience,—The time of day for your

program will largely determine your

audience, and your audience will determine the kind of program you will

want to do. Obviously, a weekday afternoon program would be best devoted

to the homemaker or to the children

home from school. More of the men

folks will be watching TV during the

evening hours or on weekends.
One thing to remember is that, regardless of the time of day, your

audience will be made up largely of

urban people. Direct your programs

to farm folks but keep the city folks in

mind, too. Until recent years, we have

neglected the urban audience, somewhat. We have lots of information of

interest to city folks, as well as to the

rural audience.

Naturally, there will be more urban

viewers, because there are more city

people than farm people.

On the other hand, don't underestimate the size of your rural audience

because farm people buy television sets,

too. A recent national survey found

that 46 percent of the people living in

rural television areas had television

sets in their homes, and 18 percent more

planned to buy sets in the next year.

This means that in presenting agricultural programs on television, you will

have an audience of both rural and

urban people.

WHAT KIND OF PROGRAM

WILL I DO?

1 For practical purposes there are three

types of programs that Extension Serv-

, ice has been doing on television.

1. The method demonstration.

2. The illustrated report.

3. The television discussion.

There is also considerable use of

these types in combination, either two

or all three.

Your method demonstration will be

closeup television, short, to the point,

and stripped of all distractions. For

that reason, it is sometimes called tabletop television. The viewer, through the

camera lens, will be within inches of

what you do, closer sometimes to your

own demonstration than you are. This

is one great advantage that the television demonstration has over the same

demonstration at an extension meeting.

Because you will be limited by time

and the space in which you have to

work, you will want to refine the demonstration to stress the key, or problem

part, on which the success of the method

depends. For example, you demonstrate how to sew a particular kind of

seam.. You use that kind of seam because you are working with a certain

kind of cloth. The kind of cloth is

chosen because it is to be made into a

self-help garment for wear by a preschool child. Thus, the method demonstration here becomes a functional

part of the program, rather than a dominating topic as it would in a direct

teaching series.

Your illustrated report offers much

latitude in the presentation of extension

information by television. It is concerned with results, conditions, and activities in farm, home, and community

life in your area. For this reason, it

may have a broader audience appeal

than a specific method demonstration

would, although how-to-do-it demonstrations are tremendously interesting

to the specific audience to which they

are directed.

Many of the illustrations you can use

on the illustrated-report type of pro-
gram wilt be the real thing: Actual

comparisons of plants in result demonstrations, examples of insect damage,

a sod sample of a recommended kind of

grass, extra-fine specimens of locally

grown fruits and vegetables, home firefighting equipment, and many others.

Along with these "real" objects, you can

also use short films, or film clips as they

are called, of special events or things

you want to feature. These films can

be used without a sound track. You

yourself will describe them from a monitor-in the studio as they go on the air.

In addition to films, you can use slides,

still pictures, artwork, and title cards

to help you with your television report.

You can introduce guests—a 4r-H Club

member with his prize chicken, a

specialist from the college, or a farmer.

The yardstick for measuring each item

for the program is its value to the whole

community. A variety of these items

makes an interesting and informative

program.

The number-one ingredient of your

discussion-type program on television

is a guest (or guests) who is personable to the extent that he can hold the

interest of the viewer without demonstrations, actions, or a large number

of visual aids. The selection of the

right kind of guest, therefore, is allimportant. This does not mean that

your guest must be handsome or beautiful. Some people do not appear at

all photogenic on the television

screen, but when they start to talk, and

talk well, they make a wholly different

and favorable impression.

Television producers have also found

that good stage settings will improve

a discussion-type program. The informal living-room setting for some

programs or the special sets for press

interviews are examples. If the discussion is merely an interview with one

person, the old radio rule of keeping

it to 5 minutes or less, applies. Naturally some visual aids may help, but a

good discussion can be visualized to

death, just as a good demonstration can

be talked to death.

These are the kinds of television programs that you can do. Your own

ideas and subject will determine the

type of presentation you will want to

use.

HOW DO I BEGIN?

In television, as in everything else,

you start with an idea. The source of

that idea is your own plan of work.

What are you demonstrating, recommending, and talking about right now

in your meetings, on your farm visits,

and in other contacts with the people

in your county? What are the big

problems? What has happened?

What were the accomplishments? If

you can show these things as well as tell

about them, you have the beginnings

of a television program.

The next step is to refine or test your

program idea further by asking yourself these questions:

1. Is the subject of direct interest to

my audience?

2. Can the subject's importance to

my audience be clearly shown ?
3. Is it timely in terms of current developments, research findings,

local problems, or seasons of the

year?

4. Does it further extension work ?

Also affecting your choice of subjects

will be such factors as the weather, special events, market conditions, and

emergencies. In other words, choose a

subject because it is needed, not because it is easy. And remember that

your treatment should be in keeping

with the family home situation. We

deal in many situations that are matterof-fact to us, but not familiar to nonfarm people. Therefore, the question

of good taste many times rests on how

a subject is handled in its presentation.

After you have settled on a subject,

take time to think about what you want

to accomplish on the air. Get a picture of the show in your own mind.

Divide your program idea into its important steps. These steps usually coincide with something you want to show

or something you want to do. Draw a

line down the middle of a piece of

paper. Outline the things you want to

talk about on the right-hand side. Outline the things you want to do or items

you want to show on the left-hand side.

Mark the right-hand column, or things

you plan to say, "Audio." Mark the

left-hand or action column, "Video."

Be sure to list the items you have to

show, or the things you have to do, in

the same order in which you are going

to talk about them. In other words, fit

the two columns together. Now you

are ready to talk to the person who is

going to direct your program at the

station.

Take the working outline of your program to him. He will have suggestions, corrections, and deletions. It is

his job to know what the cameras can do

and what they cannot do, and if your

plan will work. This corrected working outline is the rundown sheet or

script that the director will use to put

your show on the air.

Now, go after the properties and visual aids you will need. Don't overlook

any single small detail. Assemble

these properties, materials, equipment,

and visual aids and lay them out in your

office, or at home, in the exact order of

their use on the show. This order

should be the same as that on the video

side of your working outline.

WHAT TO SHOW?

The following is a list of the visual

aids familiar to you and that you will

probably use most frequently. There

are many adaptations of these, and

many others as well. You will be limited only by your own imagination.

Live objects.—A "live object" is a

television term for the actual object

rather than any representation of it.

If you were doing a program on saving baby lambs and wanted to use live

objects as visuals, you would try to use

a real baby lamb rather than a picture

of a baby. lamb. On a program on

garden tools, a rake or hoe would be

among the live objects you would use

as visuals. With few exceptions, live

objects—the real things—will be your

most effective visuals.

Film,—Motion pictures rank high as

good visual aids for television because

they can capture action as it happens.

A film clip (a short sequence on film,

often taken without sound and narrated

live in the studio) is one of the most

effective ways of taking a trip outside

the studio. Footage for television
should be made on 16-millimeter film

at sound speed.

Live graphics^—This is a term to describe any sort of drawing done "on

camera." It might be done with no

more than a blackboard and some

chalk, or with heavy art board and colored chalk or charcoal and paper

mounted on a stiff backing. Live

graphics—from simple line drawings

to statistics—help to make all sorts of

information easier for your viewers to

understand. You will want to remember that your writing or drawing should

be clear and simple with heavy lines and

ample margins. This, you will find, is

an easy and low-cost method of helping

to visualize your information.

Models and exhibits.—You may have

access to various models and exhibits

in classrooms, museums, laboratories,

and the like. Models have several advantages in television use. They can be

used when the real objects cannot be

brought to the studio because they are

too large or are hard to obtain. Some

models can also be taken apart to show

internal construction or operation.

Toys, such as toy tractors, cars, and

farm implements, provide models at

low cost.

Still pictures.—You will probably

make use of a good many still pictures

in your television programs. Still pictures for television use should be semimatte or matte finish (depending on

your station's preference ). A good size

for still pictures is 8 by 10 inches, and

they should be mounted on 11- by 14-

inch cards. Such pictures should be

horizontal shots rather than vertical,

simple in content, and made in closeup

for the most part. You can handle them

yourself on camera and point out any

details you want to call attention to a?

you go, or they can be put on easel and

picked up by the camera on cue. You

will find many other ways of using them

on your programs. They are coming

into wider use because of their relatively low cost compared with that of

other visuals.

Slides,—You will want to check with

your station on its requirements for

color, size, and mounting of slides.

Black-and-white 2- by 2-inch slides seem

to be the most popular. You should

use a fairly rapid pace with slides, to

keep motion on the screen. For example, if you are using a series of

slides to show a story, you can plan to

use from four to six slides a minute.

Charts^ tnaps^ and graphs,—^You

will use some of these on your programs, and they cari make good visuals.

Charts, maps, and graphs made originally for purposes other than television

usually contain too much detail and

must be simplified. If you are making

up new ones yourself, remember to

keep the story simple. Two comparisons on one chart are plenty. The television rules are for large, bold letters,

few words, well-centered material, and

ample margins.

Posters and placards,—You might

occasionally use posters or placards

7
for backgrounds or transitions. Such

posters or placards are best when simplicity and forcefulness are their two

main characteristics.

You will find yourself thinking of all

kinds of ways to present your stories

in a clear and interesting fashion. One

radio farm director (RFD) dips the

roots of the rose bush, shrub, or small

tree that he plans to transplant on his

television show into white paint. One

side of the planting box is made of

glass. Thus, when he plants the bush

or shrub, the viewer can see the white

roots against the dark earth. The same

RFD paints tulip bulbs yellow and

uses green tomatoes before the camera.

Imagination and close cooperation with

your program director will work wonders in developing the picture part of

your television show,

HOW TO SHOW

1. Have an interest-geiter in your

first 60 seconds.

2. Talk more slowly on television

than you do on radio. Fast talk

on television confuses your audience and hampers learning.

3. Limit the number of people in the

picture to two, or three at the

most.

4. Look at the camera and talk to it

when you are speaking or showing something to the viewer.

Don't talk to the table ; keep your

chin up.

5. Avoid clutter:

a. Keep equipment and supplies

out of sight until they are used.

They divert audience attention.

b. Keep supplies away from front

and center of the demonstration area. They interrupt the

viewer's line of sight.

c. Trays are useful for moving

small supplies off and on

camera.

6. Don't ignore obvious accidents.

Explain what happened if necessary, and go right on with your

program.

7. If the demonstration shows the

making of a product, have a finished product to show.

8. Hold your visuals where the camera can get a good view of them,

and hold them there long enough

for the viewer to see—at least 30

seconds.

9. Unnecessary gestures are a sure

sign of a newcomer to television.

10. Make your movements deliberate,

especially during closeups. Many

demonstrations are too fast for the

audience to grasp.

11. Don't look at the monitor when

you are on camera.

12. Be careful that your hands or fingers do not hide from camera

view the object you want to show.

GUESTS

Selection.—The same qualities that

make a good extension worker apply

to you and your guests on television:

Friendliness, enthusiasm, sincerity, and

simplicity. Most of the people with

8
whom you work are naturals for television. You, yourself, are. People who

are used to conducting meetings, giving

demonstrations, and speaking in public,

are all good television talent. They

have subject-matter knowledge and experience in demonstrating, and these

are the two most important factors in

selecting guests. Beyond that, showmanship is what you want. This

doesn't mean pulling rabbits out of a

hat, or song and dance routines. Showmanship means polish. It is a pleasant,

friendly manner; a smooth, unhurried

performance; and the breathing of entertainment values into your story.

For your talent pool, then, you will

find good television performers among

the extension subject-matter specialists,

4-H Club groups, urban and rural

homemakers, and the farmers and

ranchers you meet in your daily work.

Suggestions•—YOUI guests will want

to know about several things. They

often ask "What shall I wear?" Tell

them first of all to dress for the occasion. You don't wear your best suit

to take soil samples in the field, and you

shouldn't wear it to take soil samples

on a television program, either. Your

regular work clothes are more natural

for the setting. A home economist giving a food demonstration would choose

a simple housedress, not her best dress.

Stay away from black or white

clothes ! White shirts, blouses, aprons,

smocks—anything white—reflects light

into the camera. Black and dark colors

create "halos"—white lines around

dark objects. ,

A pale blue or gray is better than

white for men's shirts. Instead of

black or blue serge suits for men, gray

flannels or soft tweeds are excellent.

The gray and khaki colors of most

working clothes are also good for television. For women, simply designed

dresses in pastels are good—yellow,

pink, light blue, and green.

Conservative designs and patterns

are always the best choice. This applies to neckties for men as well as to

dresses and blouses for women. Too

much jewelry is usually out of taste and

also reflects light.

In general, then, tell your guests

to wear conservative clothes, suited to

the program situation, and to avoid

dark blues, black, and white.

Another question you will be asked

is, "Do I need special makeup?" The

answer is easy, "No. Special makeup

is usually not necessary for our kind of

programing." Occasionally a touch

of makeup may be needed to hide a

shadow, but ordinarily no special

makeup is required. The usual lipstick, rouge, and face powder for women will do. A lipstick of a light, clear

color is generally better than one of a

dark, blue-red shade. The darker and

deeper the red, the more chance it will

televise as black.

REHEARSALS

Rehearsals are a must, in spite of the

other considerable demands on an extension worker's time. Every minute

you can spend in rehearsal will pay big

dividends on the television screen.

256210°—53-
START OFF

WITH A

BANG

TALK MORE

SLOWLY

ON TV

THAN ON

RADIO

LIMIT THE NUMBER

OF PEOPLE TO

TWO OR THREE

TALK TO CAMERAKEEP CHIN UP

LOOK AT

CAMERANO! AT

MONITOR

EXPLAIN

ACCIDENTS

10
AVOID CLUTTER

. \s-:s

MAKE

MOVEMENTS DELIBERATE

VISUAL

HOLD VISUALS

FOR GOOD VIEW

HAVE

FINISHED PRODUCT

USE FEW

GESTURES

BE SURE

OBJECTS DISPLAYED SHOW

11
-'First rehearsals are usually called

walk-through or dry-run rehearsals.

You go through the sequence of events

in your program to give the talent an

idea of the program as a whole. Choose

a place for the rehearsals where the set

can be simulated. Your office will

probably do nicely if no special room is

available. Confine the rehearsal to an

area approximating the area in which

the performers will work before the

cameras. Use chairs, tables, and whatever else is necessary to simulate the

actual props on the studio set.

This first rehearsal is also a good time

to give some tips on good appearances

to the people new to television :

1. Make them aware of the camera.

They should look at it, not avoid it. If

necessary, rig up a facsimile of a

camera. A tin can hung over a doorframe or a piece of paper pasted on the

wall will do. During rehearsals, accustom the talent to looking in the

camera's direction. They should always look at the camera when they are

talking to the audience.

2. When the guest is talking to another person on the program—an interviewer or emcee, for example—he

should look at that person. This is

usually easier for the guest than looking

at the camera when he is talking to the

viewers. Rehearsing will help your

guests to talk naturally to the emcee

and to the viewer in turn.

3. Show them what the camera will

look like as they face it. A picture will

do. Tell them the position of the lens

that is taking the picture. Most often

it is either the top or left lens position.

There are other positions, however, so

this is another point you will want to

check with the station.

4. Explain to your guests how they

will know which camera is "live"—on

the air. For one make of camera, small

red lights at the bottom of the camera

identify it as live. This is another

point to check with each station since

television cameras vary in this respect,

too. Help the guests learn to switch

smoothly from one camera to another

as the signal indicates. In some cases

you will not want to switch your view

of the cameras, but you will quickly

learn these extra tricks through experience.

5. The matter of pace can also be explained in rehearsal. Tell your guests

to take their time. The audience is

watching as well as listening, so the

pace must be much slower than for

radio. In fact, during the course of

many demonstrations there will be times

when it is better not to talk at all. Let

the picture speak for you whenever it

can.

6. If your guests are mindful of the

camera, they will remember to hold

their visuals where the camera can get

a good view of them, and hold them

steady long enough for the audience to

see. Fast or jerky movements and

fleeting glimpses of visuals are bad. If

visuals are any good at all, they are

worth more than just a passing glance.

7. Don't have your guests memorize.

Help them to give a "rehearsed ad-lib"

12
performance. They may start with

word-for-word scripts but, if so, these

scripts are used not for rote memorization, but to placé in mind the area of

information covered and the sequence

of events. Occasionally, a phrase or

sentence may be memorized for transition or cue purposes. Except-for this,

a rehearsed but informal performance

is best. This is what is meant by rehearsed ad-lib.

8. For the most part, your guests can

relax about timing and taking cues.

This is your responsibility if you are

producing or emceeing the program,

or both. Don't be surprised or chagrined at the number of changes you

make in the program during the first

rehearsal. Its purpose is to give you a

chance to spot the program's weaknesses—to discard or change visuals,

add new ones, shift sequences, and to

polish the program, in general.

A dress rehearsal is important, too.

In this rehearsal you will have the actual

props-and visuals to use, just as you will

on the air. You will also go through

the demonstrations, just as you will on

the air. Although some accidents are

bound to happen, you can pick up valuable experience by having a dress rehearsal, and thus avoid making costly

mistakes on the air. If a bottle top

sticks during dress rehearsal, and time

is lost in prying it off, you will take

steps to be sure that the top doesn't

stick when the bottle is opened on the

air. You will also have a check on

whether the necessary props are complete, down to the last spoon.

You will want the television director

for your program present at the dress

rehearsal for each program if this is at

all possible. As you will probably

have little opportunity for camera rehearsal in the studio, dress rehearsal is

therefore your best chance to acquaint

the director with the program you want

to do.

In addition, dress rehearsals are the

only means of accurately timing your

program and tailoring it to the necessary time spot. You may think that

you can guess exactly the time it will

take to give the various parts of a

demonstration, but the time to peel a

potato can be longer or shorter than

you think.

In timing the various sequences, you

will also want to allow for a "time

cushion." This can be a summary or

"recap"; a few additional pointers on

the material or equipment used in conjunction with what you have shown;

or a special announcement. The time

cushion is a safety measure to allow

for unexpected incidents on the air

that use up time. The plug for the electric mixer may pull out during a

demonstration ; plugging it into the

socket and getting the mixer going

again may take extra time. A guest

may digress from the rehearsed topic,

and time may be lost before you are on

the subject again. A planned time

cushion will absorb such unpredictable

timewasters. If the program goes as

planned and no time is lost, you can

13
use the time cushion to summarize, add

a few pointers, or give the special announcement. If timewasters do occur,

or the pace is slower than expected, you

can leave out the cushion and close the

program on cue from the floorman.

As has already been said, you will

seldom have an opportunity for camera

rehearsal. Occasionally, you may find

the station willing and able to devote

the time of a camera crew to rehearsal,

especially when a regular series of

programs is planned. Take advantage

of any such offers. Camera rehearsals

are invaluable in adding polish to your

program. However, since they will

not be available to you ordinarily, it is

very important that the program director be present at a dress rehearsal

and that you give him a complete, clear,

and accurate rundown script of the

program.

RUNDOWN SCRIPT

The rundown script you give the

program director will contain a good

deal of information. This script is

usually in outline form and lists the

action and sequence of events. Wordfor-word scripting on the audio side is

unnecessary and usually undesirable.

The director will be scanning the script

quickly while the program is on the

air, and the more concise and clear the

script is, the easier it will be for him to

anticipate the action. On the video side

you list the visuals and action as they

occur. Mark the necessary cues

clearly—underline or circle them, or

distinguish them in some other way.

Also, leave enough space on the video

side for the director's notations on such

things as camera and lens shots.

Time segments are also noted on the

rundown script. With this information, the director keeps check on the

program's progress and can give the

floorman cueing instructions to pass on

to you. The script examples on pages

16 and 17 will give you an idea of what

is included. Some directors do not require a complete program rundown;

others may require more information.

Usually, as you and the director gain

experience in working together, you

will find that he will require less and

less detailed information on the rundown script.

CUEING

Cueing is a two-way proposition in

television. As has already been said,

you will provide the director with a

timetable in the rundown script. From

this information, the director gives the

floorman the necessary time cues to pass

on to you. In addition, the floorman,

through the sign language illustrated on

pages 18 and 19, cues you regarding

position, action, pace, and the best display of visuals.

You have also marked action cues in

the rundown script. They are usually

called action cues because they tell the

director when to roll film, cut in slides,

superimpose visuals, or provide for

other camera action. These action

cues may be either visual or spoken.

Spoken cues, unless direct "flags,"

should be used sparingly because they

require memorization on your part and

close concentration on the director's

part. Direct flags are such spoken cues

as "Now we'll see some slides which I

made the other day at Sam Jackson's

farm." Or even more direct, "Now, if

they'll roll that film, we can get an idea

of the widespread destruction soil erosion can cause." These direct cues are

used a great deal in informal program

situations. But, if used, they should

be consistent with the style of the show.

14
Visuals are also used for cueing

camera shots. Although this is chiefly

the concern of the director as far as

camera location and lens are concerned,

thfîre will be many times when you will

want to insure a particular shot, usually

a doseup. For example, you might be

showing a comparison between water

runoff on bare land and on cornland

planted on the contour. You might

have two flats showing the two types of

land. You will pour water over the

bare land first—and here you will want

a visual cue for the director to cut to

the water as it runs off into a container.

Unless you have marked a visual cue

for the director, he may miss a shot of

the runoff in favor of following the action provided by the pouring of the

water. On the video side of the rimdown script, your cue would be:

"Cut to CU (closeup) of water

runoff as demonstrator begins

pouring water on first flat."

TM CONVINCED

TELEVISION'S FOR ME!

It's good to hear that television is

for you, because it will be one of the

best working friends you have ever had.

And it will supplement your work in

other areas—your meetings, daily contacts, and other activities.

There is one more thing to remember. You have agreed that television

is for you. Remember the "you" part

of it. Television and the approach to

using it are individual in nature. This

handbook has presented some general

guides to help you get started in television. After you begin programing,

some of these guides may or may not

apply to you. Adjust them to fit your

own personality, needs, type of programs, area, and audience. You will

make many adaptations of the ideas

presented here, and you will develop

many new techniques yourself. Treat

television as a friend. It is for you.

15
SAMPLE RUNDOWN SHEET FOR HOME DEMONSTRATION TELEVISION FEATURE

TIME: 13 MINUTES

Note.—In actual practice, the method of using rundown sheets varies from station to station according to

the facilities and equipment available. These adjustments can best be made by getting the rundown sheet to

the director well in advance of the program date.

WHAT TO CONSIDER WHEN YOU MAKE OR BUY HOUSEDRBSSES

VIDEO AUDIO

PROGRAM TITLE CARD THEME AND ANNOUNCER.

MEDIUM SHOT (MS) OF DEMONSTRATOR Introduction to subject.

CLOSEÜP (CU) OF SLEEVE SKETCHES Desorille types of action sleeves

that give more comfort.

CLOSEUP OF BIAS-STRIP SKETCH Describe bias-strip construction

of bodice and sleeve.

CLOSEUP (CU) OF BIAS-STRIP OF

PLAID - DRESS ON DESK

GREEN PRINT DRESS - MEDIUM SHOT Discuss features of dress designed

by a pattern company.

CLOSEUP PHOTOGRAPHS:

1. BUTTONHOLE

2. SEWING ON BUTTONS

3. WIDTH OF SEAMS

Discuss construction details to

watch for when buying housedresses.

h. GRAIN OF FABRIC

PLAID AND STRIPED DRESSES OH

DESK - MEDIUM SHOT Point out attractiveness of matched

plaids and stripes.

PROGRAM TITLE CARD

SUMMARY

ANNOUNCER

CLOSE

16
SAMPLE RUNDOWN SHEET FOR A COUNTY AGENT'S TELEVISION FEATURE

TIME: 10 MINUTES

VIDEO AtJDIO

EROGBAM TITLE CAED THEME MUSIC

ANNOUNCER - Introduction«».."and here

Is your County Extension

Agent, John Roberts."

OPENî CAMEBA ON EOBEBTS AT TABLE "Good afternoon, friends. Today our

topic is about cricket control."

CLOSEÜP (CU) - LIVE CRICKETS

Hi JAR

PAN TO

Makes brief comment on crickets as a

household nuisance and fact that they

damage fabrics and sometimes crops.

CLOSEUP OF FIELD SPECIMEN OF

CRICKET DAMAGÜ

"Let's look at some of the vays we can

control these insects."

CLOSEÜP (CU) - WEATHER STRIPPING

ON BOARD Explains that proper weather stripping

keeps insects outside the house.

CLOSEUP (CU) - PIECE OF PIPE

THROUGH LARGE

HOLE IN BOARD

Explains that space around pipe

should be sealed.

MEDIUM SHOT (MS) TO CLOSEUP (CU)

DEMONSTRATION OF HOW TO SEAL PIPE Describes method.

CLOSEUP (CU) - ZIPPER BAG Explains importance of proper storage

of clothes.

MEDIUM SHOT (MS) OF THKEB TYPES

OF INSECTICIDES

"Protection is fine, but ve vant to do

away with these insects altogether."

"Here are three types of insecticides

that can do the Job."

CLOSEUP (CU) OF -

1. CAN OF DUSTING POWMR

2. LIQUID PREPARATION

3. BAG OF WETTABLE POWDER

Explains and shows how to apply

insecticides to doorsills, foundations

of buildings, etc.

CLOSEUP (CU) - BULLETIN

SUMMARY - Then tie-in for further

information - Write for bulletin.

CABD - WRITE TO COUNTY AGENT,

COURTHOUSE, etc. "That's our farm and home feature for

today. See you next week, same time,

same station."

PROGRAM TITLE CARD THEME MUSIC

ANNOUNCER - "This program has con» to

you, etc."

17
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MOREVOLÜIVtE

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19
TELEVISION TERMS

This glossary includes most of the television terms you will encounter

in your work. Though much of the lingo of television varies from

station to station^ the terms listed here are more or less standard and

will be understood in most television stations. Many technical and

engineering terms have deliberately been omitted, Don^t try to learn

all these terms,

ASPECT RATIO The ratio of the width to the height of the picture—

4 to 3.

AUDIO Sound portion of the program.

BALOPTICON OR BALOP_ A projection mechanism used in television to project

flat objects, photographs, and artwork, into the

camera tube.

BLOWUP Photographic or photostatic enlargement of written,

printed, or pictorial matter.

BOOM A mechanical extension support for equipment used

in a television studio.

BOOM MIKE ^^ A microphone suspended on a boom so that it can be

swung out over the set to pick up commentary of

the participants without being seen.

BOOM SHOT A camera shot made by use of the extended camera

boom which allows greater radius of action by the

camera.

BOOM UP,

BOOM DOWN Raise or lower the height of the camera from the floor.

BREAK 1. Station break.—Pause in programing for the insertion of station identification or other credits.

2. Break to another set.—To move cameras and the

like from one set to another for a different show or

a difl^erent scene. (Also see Strike,)

BUSINESS-. Stage action (gestures, crosses, etc.) in scripts. Often

abbreviated "biz."

BUSY Anything too complicated, detailed, or elaborate in

design. A "busy" background, for example.

CHEAT Perspective is "faked" on set to appear normal on

screen. For example, a person might stand closer

to another than would otherwise be necessary in

order to achieve the proper perspective on the

screen. Also tp direct words or business more to

the camera without actually facing it.

CLOSEUP (CU) The object seen closeup. Closeup might show one

object or part of an object as opposed to a scene.

20
A closeup of persons is a shot including head and

shoulders. Bi^ closeup (BCU), very closeup

(VCU), extreme closeup (ECU), or tight closeup

(TCU) are terms used to indicate an even closer

shot. If such closeup is of a person, the head fills

the screen.

COAXIAL CABLE (COAX)_- Specially built cable through which the television

signals are transmitted.

CUE „ 1. Signals from the floorman for the performer to

begin, speed up, slow down, or to tell him the number of minutes left.

2. Markers in the script indicating coming action.

Often written in the script as cue or Q.

CUT An instantaneous switch from one camera to another.

DEFINITION Distinctness, clarity of detail in the picture.

DIRECTOR The person in top command while the program is on

the air. He is responsible for getting all camera

shots, and for the calling of time and action cues.

DISSOLVE A simultaneous fadeout of one picture and fadein of

another, during the course of which both pictures

are momentarily seen at once, one increasing and

the other decreasing. Sometimes called lapdissolve.

DOLLY 1. Noun.—The mobile supporting carriage for a

camera or other equipment.

2. Verb.—"Dolly in," or "Dolly out" (or back). To

move camera toward the subject for closer shot, or

away for longer shot.

DRY-RUN A rehearsal without cameras, normally conducted on

the set. Also called dry rehearsal or walk-through,

ET Electrical transcription.

EMCEE Master of ceremonies. Also MC

FADEIN, FADEOUT To cause the picture to appear or disappear gradually. Sometimes the terms "come up from black"

(fadein) and "go down to black" (fadeout) are

used.

FILM CLIP A short length of film used within a live program.

FILM LOOP A length of film with the ends spliced together so that

it may be projected continuously. Frequently used

for special effects such as rain, snow, or smoke

which may be added to studio pictures by superimposition.

FLAT ¿Jnit of scenery, much the same as units used in stage

settings.

21
GHOST A multiple or secondary image on the receiver.

GOBO A shield used to block unwanted light from the set

or camera, or a window through which the camera

shoots to achieve a special design or effect.

HALF-LAP Control-room technique by which two pictures in a

dissolve are both held at maximum simultaneous

definition (50 percent each) so that both are visible

to viewers.

KILL To eliminate part or all of a scene, set, action, or

show. (See also Strike.)

KINESCOPE The picture tube developed by RCA.

KINESCOPE RECORDING- The film recording of a television program accomplished by recording directly from the picture tube.

The resulting film is called a KINESCOPE or

KINE (pronounced KINNY).

LAP An instruction often given calling for a superimposition. "Lap two" would mean to superimpose

camera two's picture over whatever other picture is

on the line.

LAP DISSOLVE See Dissolve.

LIVE !• Live action.—Action taking place in the studio as

opposed to film action.

2. Live visuals.—The actual object rather than a

representation of it. For example, a bushel of

peaches as opposed to a picture of a bushel of

peaches.

3. Live titles.—Titles on cards for studio pickup as

opposed to slide or film titles.

LONG-SHOT (LS) Ashot showing a relatively large area of the set. When

persons, usually a full-length shot. Medium long

shot (MLS) of persons is a shot including the figure

from the knees up.

MEDIUM-SHOT (MS) A shot of subject or set showing only part of each;

midway between closeup and long-shot.

MOBILE UNIT Field equipment carried in a truck or trucks for remote pickups.

ON THE LINE For practical purposes this means the same thing as

"on the air." Strictly speaking, it means that the

picture has left the control room on its way to the

transmitter for telecasting.

OPAQUE MATERIALS Materials for opaque projection. Also called balop

card or slide. Such material is not transparent.

PAN Movement of the camera right or left across a scene,

22
PRODUCER The person in top authority for fashioning the program's format and content and who gets the program ready for the director to put on the air.

PROP Property.—^The physical materials of a set, other

than the scenery and costumes.

REMOTE- Telecast originating outside the studio.

ROLL FILM Cue to start film projector.

SEQUENCE 1- A complete scene in a program or main division

of a program.

2. A succession of shots or scenes concerned with

the development of one idea.

SKIT__ A brief sketch done as a dramatic performance.

Generally in the nature of a comedy or a parody.

SLIDE Usually refers to a picture or title on 35-millimeter

film; if so, also often called a transparency. May

be 2 by 2 inches on a single or double frame,

usually mounted in cardboard or glass. Occasionally other sizes and sometimes opaque materials are

used. In any case they are projected directly into

the picture tube.

SNEAK Very gradual fades of music, sound, dissolves, and

the like, whose beginnings or endings are barely

perceptible.

SO F Sound on film.—Noted on scripts to indicate the

source of audio as being the film sound track.

STATIC VISUALS Any visual, such as a still photograph, chart, or poster,

that does not have motion or a means of motion of

itself.

STILI Any still photograph or other illustrative material

used in a television program.

STOCK FOOTAGE Scenes or sequences on film that are not limited to

onetime use, but that could be used in various programs for atmosphere, scene setting, montages,

and the like; for example, combines in the field,

cattle grazing, or fields of waving grain.

STRIKE To dismantle and remove sets and props.

SUPERIMPOSITION The overlapping of an image from one camera with

the image from another camera, often effected by

stopping a dissolve before it is complete.

SWITCH To cut directly from one camera or lens to another.

TAKE 1. Picture or scene held by television camera in any

one shot.

2. Such a scene so televised or filmed.

3. Command to switch directly from one camera to

another "ready one, take one."

23
TELECAST Atelevision broadcast, program or show.

THREE-SHOT Television shot of three performers.—See Two-shot.

TILT To move camera vertically ; to tilt up, or to tilt down.

TITLE CARD Printed cards that announce the titles and credits

of a program. Often used on easel.

TRANSITION To change or niove from one action, set, or scene, to

another by music, pause, narration, black screen,

dissolve, and the like.

TWO-SHOT Television shot of two performers, with camera as

near as possible while still keeping them both in

shot.

VIDEO The picture portion of a television program.

ZOOMAR -- A lens of variable focal length.—When the focus on

a subject is quickly increased during shooting, the

effect on the screen is a rapid change from an object seen.at a distance to a closeup view.

ir. S. GOVERNMENT PRINTING OFFICE: 1953

For sale by the Superintendent of Documents, U. S. Government Printing Office

Washington 25, D. C. - Price 15 cents

24
ACKNOWLEDGMENT

Acknowledgment is made to members of the Radio and Television Committee

of the American Association of Agricultural College Editors ; a number of Extension

Service and television station farm directors; and to program directors and officials

who collaborated in the preparation of this handbook. Some of the methods

included were developed in the IJSDA Television Project under the Research and

Marketing Act.