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Word: moviola (lookup in dictionary) (lookup stats)
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...story in the raw includes visual background, interviews, possibly speeches, plus an opening, closing and bridge narrative by the correspondent. By the time the film has all been run through and vetted frame by frame on the Moviola, the ratio of on-the-air footage to cutting-room-floor surplus is approximately 1 to 20. The deadlines are so relentless that few TV editors have the time to transpose film even if they want to. Just splicing together two frames of film can take up to 20 minutes, and a filmed interview can take even longer to assemble...

Author: /time Magazine | Title: Television: The Art of Cut and Paste | 4/12/1971 | See Source »

...Kanfer assembled his story, Artist Robert Rauschenberg was observing footage from 35-mm. reels of the movie as it was cranked through a moviola machine. Single frames were chosen, blown up into black-and-white prints, and then transferred to silkscreens; he treated the final image with colored inks and paints, including splotches of bloodlike watercolor. Altogether, he made nine montages before the editors made their final choice. Though such characters as Bonnie and Clyde are not familiar images in Rauschenberg's art, his technique on TIME'S cover is. It will be immediately identified as a "Rauschenberg...

Author: /time Magazine | Title: A Letter From The Publisher: Dec. 8, 1967 | 12/8/1967 | See Source »

...master shots into closeups (never move the camera straight in, always shoot a little high or a little low, always be sure that the actor who "looks camera left" in the main scene is still doing so when his face is alone on the film). He peered at the "Moviola," the machine film cutters use in their harried inspections. He quizzed sound men as they muttered of click tracking and sink. He remembered an axiom of motion picture musical directors : "A woman will cry even if the music is bad, but if it's good you might make...

Author: /time Magazine | Title: Radio: Jack, Be Nimble! | 3/15/1954 | See Source »

When an animator and his assistants complete a scene, a test camera photographs the sketches on a film strip. Running this back and forth in a small two-way projector known as a moviola, the animator spots "bugs and bobbles," jerkiness or missteps in the animation. Not until a set of drawings is approved by Walt and the director does it go to the inking and "painting department, where over 150 nimble-fingered girls trace the sketches on 12½-by-15-in. celluloid transparencies, called "cels," paint in the designated coloring from a store of 1,500 colors...

Author: /time Magazine | Title: Cinema: Mouse & Man | 12/27/1937 | See Source »

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